The Football House is radically different from other "houses" built or under construction in Bucharest (People's House, House of the Lord, etc) due to the fact that it benefits of a fortunate placement and not only a beautiful and smart architecture but a surprisingly discreet one as well. This distinction is probably due to the existence of well-established authorities in both camps, respectively both in the football and in the architecture ones, which kept the situation under control. It is certain that the architects, within the budget limits, could build the FRF (Romanian Football federation) headquarters everybody is pleased with, a fact rarely seen nowadays. To be honest, when it comes to the headquarters of an institution, the representativeness becomes a necessary ingredient in just about any case, turning from occasional attribute into function. Often, it is more important for an office to be representative rather than be just an office. However, the reverence towards the entourage (worthy of the aquarelle of any impressionist) determined a degree of permeability, of fragility of the building. Satisfied with finding more discreet ways to be representative, they didn't raise the house too tall; neither did they choose massive proportions or shield it with opaque materials. On the contrary, the silhouette is slim, linear, and very simple; the proportions of the plane generate a volume that's rather graceful than imposing, with horizontal dominants, and the glass facade, light and transparent, avoids to brutally discontinue the lawn and all the vegetal exuberance it is mounted in.
COORDONATOR PROIECT: ARH. EMIL BARBU POPESCU
GRAPHIC STUDIO: ARH. REMUS HARSAN, ARH. DRAGOS PERJU, RADU GADIUTA, BIANCA POPESCU, MIHAELA BOGATEANU
TEXT: SILVIA GUGU
FOTO: SERBAN BONCIOCAT

With origins not yet established or certified in any kind of document, the research of infirmary-churches in Walachia remained somehow on the outside of the "big themes" of the Romanian medieval art historiography. As suggested by the very name of this type of monument, its origins are also connected to the history of medicine, as it was known after the spread of Christianity, when, next to the then established big monasteries, all kinds of philanthropic institutions develop (xenodochies = houses for strangers, ptochotrofies = houses for the poor or nosocomies = hospitals). The first nosocomies appear in Asia Minor, where St. Vasile the Great himself sets up hospitals, called basiliades by his contemporaries. The whole Christian world will adopt them and they will appear in Constantinople, Athos Mountain and Meteore as well as in Serbia, Russia or Walachia. Here, the infirmary was a small perimeter surrounded by walls, situated at a certain distance from the monastery, where a few cells, a church and the monastery's grave yard were built. On the Romanian territory the infirmary appears, probably, after the organization of the monachal life in the 14th century, although it is not documentarily certified before the 16th century. The church of the infirmary was not exactly a funerary space, as the monastery's pronaos was, because no burials took place there but only inhumation and remembrance ceremonies. The most important infirmary-churches in Walachia are, chronologically, the ones from the monasteries: Bistrita, Cozia, Sadova, Hurezi, Brancoveni, Campulung Muscel, Polovragi and the Ramnicului Archdiocese. If the first two were carefully studied, as they are directly connected to the evolution of the iconography in the 16th century, the others have never made the object of any study.
TEXT, FOTO: LUIZA ZAMORA

This is what it means to be living in suspended houses, far from the city. It comes as no surprise that on the tree-house constructors' websites some people register as with Jane and Tarzan. This is the reason why, when you have to fill in the registration form for the Tree House Institute courses in Takilma, there is a section where you can auto-define yourself as a "primate", "missing link" or "I don't know ". When you see the houses build by Tahitian self-taught sculptor and architect " Jean-Claude Michel and Laure Nimuc " you are in a familiar world. It's a world of habitable trees, of arboreal civilization and worlds suspended in their love for untouched nature. Next to the fare houses (traditional Tahitian houses) I will give a few examples of arboreal houses from the cinematic universe that place the architecture from Tahiti and from other places in the juvenile universe of camps and holistic utopias.
PROIECTE, FOTO: JEAN-CLAUDE MICHEL SI LAURE NIMUC
TEXT: STEFAN TIRON

If music is moving architecture, is club music moving within a particular architecture? If the dissolution in space is the architect's ultimate fantasy and the creation of images the musician's ultimate utopia, then how is the sound/space dichotomy expressed? Music fills space with "materials" inaccessible to the architect or the designer. Otherwise, image and space can instantiate the abstract sense of the sound, making it palpable. Once instantiated, the sound becomes a design element that makes empty, cold, impersonal spaces become livable. A version of the cohabitation between the tactile world (touch) and the acoustic one (sound) is found on the Tei Lake shore. As the proximity of the water (pool, lake) is essential in the tripartite editing of the club, the restaurant was conceived as a two-level ship's deck. With a minimalist appearance and prevalent orange as the dominant color, the area of gastronomical delights is seen, in the first place, as a place for exercising social relations, a space where conversation and mingling is essential.
PROIECT SI CONCEPTIE MOBILIER: STEFANO POZZI
TEXT: LUIZA ZAMORA
FOTO: SERBAN BONCIOCAT