From the corner-building category....This subject presently generates numerous debates: should the corner-building represent an accent or not, should it take in the tension of the confrontation between the streets and to relax it by a unification gesture or, to the contrary, to express it by conflict and different treatment of the facades, to lie pleasantly or to tell the truth, to derogate from the height regime stipulated by the urbanism regulations or not and so on.
PROIECT: GRAPHIC STUDIO, ARH. DRAGOS PERJU, ARH. REMUS HARSAN, ARH. KAROLY NEMES, ARH. RADU GADIUTA, ARH. MIH
TEXT: SILVIA GUGU
FOTO: STEFAN TUCHILA, GRAPHIC STUDIO

Razvan Sipos arranged the Concordia Hotel in Targu Mures in a previously existing building, later remodeled, greatly inclining towards the nowadays design, and trying to stump as much as possible its confines with contemporary art. From the very beginning, the hotel was accompanied by the Zoltania Group productions (Tatiana Papuc and Covács Zoltán, both bachelors in visual communication and photography). The opening was accompanied by a waterfall’s projection on the façade, followed by a TV spot, and – the greatest contribution – photographs exhibited in the hotel rooms. These photos have been taken in the hotel’s public places, in the foyers, at the pool, in the rooms, etc., combining the icy and minimalist space scenery with the image of persons posing decadent attitudes marked by discomfort and perversity. The two artists responded using the same wavelength, such as the designer inferred. It is hard to tell whether the space was created in order to be consumed by such characters, or the characters have been fabricated in order to intensify the challenging lavishness of the spaces. The “tales behind the doors” of the hotel seem woven by some contemporary Oscar Wilde’s imagination, vaguely contaminated with the marquis de Sade.
PROIECT: ARH. ALEXANDRU PUSKAS
INTERIOR DESIGNER: RAZVAN SIPOS
TEXT: RAZVAN SIPOS
FOTO: ZOLTANIA

In 1893, B. P. Hasdeu, invited by the chemist Constantin Istrati at his summerhouse in Câmpina, decided to buy the vast park next to his friend’s estate in order to build there a commanding castle in memory of his deceased daughter. Finished in 1896, the “Iulia Hasdeu” Castle, nowadays a museum, is a unique piece of the Romanian cultural patrimony due to the symbolic load carried by each of the building’s features.
TEXT: VIORICA BUICA
FOTO: SERBAN BONCIOCAT

Often associated with biomorphism mostly on a formal level, the style of the Australian Marc Newson is a completely special and unconventional combination between technical rigorousness and shape. Inspired from the Lamborghini classical line, from the surfing culture (a special status culture in Australia), from the spaceship design, or from Ken Adam’s scenography (a name particularly linked to the 70’s James Bond movies), all Newson’s concepts have common features, even though extremely diverse from a functional point of view.
TEXT: IOANA PAUNESCU
FOTO: MARC NEWSON LTD, RICHARD ALLAN

The “New Lipscania-Perspective” gathers around various symbolical subjects over 250 photo documents accomplished by young architects and photographers: “The Earth and Sky”, “Stairs”, “Frights”, “Customs”, “From Old and New”, “Appearances”, “Nostalgias”, “Talents”, “To Europe”. The first out of a connected manifestation series, the exhibition (at whose opening Mona Musc_, Minister of Culture and Cults, also took part) tried to draw attention upon the unprecedented degradation of one of the defining points in the history of Bucharest.
FOTO: RADU PONTA,MIOARA LUJANSCHI, IRINA POPESCU CRIVEANU, BOGDAN BORDEIANU, ANDREI MARCULESCU, PETRU MORT
ANCHETA: VIORICA BUICA