Nio Architects’projects deal with other kind of theoretical issues already very well-known (identity of a site, programme symbolistic) although not often "attacked into practise" in a such agressive manner so that it can clearly express their complexity. Town’s obsession and neurosis (noise, traffic, consumism, public-private, anonimous-individual) take the shape of fantastic architectural stories and the daily detail came and became primary and mythological gestures. Once finished the intricate project story, it appears, as natural can be, normal to the life of those who live with, as it has always been there.
PROIECT: NIO ARCHITECTS
TEXT: IOANA PAUNESCU
FOTO: NIO, HANS PATTIST, ONS BROOD, ANDREW THURLOW, ROB PONSEN

While most of his practice focuses on residences, Radu Teaca's works also include generic programs, the subtle character of which demonstrate not just his propensity for artistic performance, but also a very specific architectural vision. Situated in a unorganized periphery which allowed for generous space between neighboors, the Tg. Jiu residence is perhaps Teaca's first project radically modelled on right angles. The solid parts, the white plaster on neat rectangular surfaces, the sobriety and economy of gesture reminging of minimalism, the decomposed structures, the continuous quest, a sense of defiance coming from the "blind walls" and all other elements make this somehow atipical work by Radu Teaca the most spectacular synthesis in his portfolio.
PROIECT: ARH, RADU TEACA
COLABORATORI: ARH, ANDREI DUMITRESCU, ARH, TIBERIU NICA
TEXT: SILVIA GUGU
FOTO: ARH, RADU TEACA

In the year 1872, Charles the Ist managed to purchase the Burned Peak estate (Piatra Ars`), upon which he started a whole building complex’ foundation in 1875, comprising the Pele[ and Peli[or Castles, the Watchtower Villa, and a series of appendages (9 buildings). From its very beginning, prince Charles of Romania invested the castle with a symbolic value, to which other functions have later been added; such as: representational space, political forum, and, last but not least, cultural centre, occasionally accompanied by that of a museum. The Pele[ Castle has never been a leisure residence, for, up to King Charles’s death in 1914, the capital of Romania moved annually to Sinaia for 6 months. Architects and decorators worked under the orders and direct guidance of King Charles the Ist. The monarch acquired large collections of the ancient masters, weapons, and carpets, also ordering special furniture for various apartments or rooms. Even though still a private property, the Pele_ Castle opened to the public since the first decade of the XXth century. King Charles the Ist’s Castle earns its place among the 1860-1900 residence-castles erected throughout Europe.
TEXT: RUXANDRA BELDIMAN
FOTO: ARHIVA PERSONALA SERBAN BONCIOCAT

In nowadays Romania, if you say Bran you say flourishing agro-tourism, cheese in tree bark and Bran Castle. If you say Bran Castle you say Dracula and you’ll suddenly surrounded by different effigies of the Romanian Voivode Vlad the Impaler. Who was in fact Vlad, what did he reign upon and how his myth reach this final stage? Which is Bran Castle history and which is the connection between this castle built by people from Brasov and the Romanian Voivode, the named Vlad the Impaler? By strange pecuniary and imaginary mechanisms, Bran Castle became the residence of Dracula Vampire "whose spirit still rage these ancient places". After the taking over of this estate by the Romanian State, here was organized an ethnographic museum where one can enter among booth plenty with vampires and skeletons. Exhibit’s variety multiplies year by year assimilating various objects with no connection with the place and its spirit, but under an overwhelming Draculean patronage. All these belonging to K trademark.
TEXT: ARH. BRUNO ANDRESOIU
FOTO: SERBAN BONCIOCAT

The opaque fence and the garden behind at St. Stefan Str. corner "hide" the two architects’ house. A new old house. They gave a new glamour to the old annexe by the re-location of the entrance and by the open dialogue between its past draw up with objects and pieces of furniture from other times and the new most vivid restchair, divers tables and chairs. A house possessed by light and unexpected particularities . Even it is hard to see, the house is unfinished, as the architects said, and that makes me wonder if the architect’s home is ever finished?
PROIECT: ARH. ANDA STEFAN, ARH. DORIN STEFAN
TEXT: LUIZA ZAMORA
FOTO: SERBAN BONCIOCAT