Architectural movement based on brancovenesc architecture
Romanian Revival architecture
|
Years active
| late 19th century?first half of the 20th century
|
---|
Romanian Revival architecture
(
a.k.a.
Romanian National Style
,
Neo-Romanian
, or
Neo-
Brancovenesc
;
Romanian
:
stilul na?ional roman, arhitectura neoromaneasc?, neobrancoveneasc?
) is an
architectural style
that has appeared in the late 19th century in Romanian
Art Nouveau
,
[4]
initially being the result of the attempts of finding a specific Romanian architectural style. The attempts are mainly due to the architects
Ion Mincu
(1852?1912), and
Ion N. Socolescu
(1856?1924). The peak of the style was the interwar period. The style was a national reaction after the domination of
French
-inspired Classicist
Eclecticism
. Apart from foreign influences, the contribution of Romanian architects, who reinvented the tradition, creating, at the same time, an original style, is manifesting more and more strongly.
[5]
Ion Mincu and his successors,
Grigore Cerchez
[
ro
]
,
Cristofi Cerchez
,
Petre Antonescu
, or
Nicolae Ghica-Bude?ti
declared themselves for a modern architecture, with Romanian specific, based on theses such as those formulated by
Alexandru Odobescu
around 1870:
"Study the remains ? no matter how small ? of the artistic production of the past and make them the source of a great art (...) do not miss any opportunity to use the artistic elements presented by the Romanian monuments left over from old times; but transform them, change them, develop them ..."
Of course, such a program was not easy to accomplish. All the more so as the new types of urban architecture, especially those with many floors, demanded simple solutions, which hardly supported the world of medieval forms and
ornaments
or that of
folklore
, the main sources of inspiration of the style.
19th century nationalism combined without problems with Europeanism and admiration for the West, Romania wanting to prove that it is a European country. After 1900, without abandoning European trends, the emphasis is more on values with Romanian specificity. As a result, the Parisian and Viennese buildings of the late nineteenth century are contrasted with a "Romanian style". The popularity of the Romanian style continues and intensifies in the
interwar period
.
[6]
The heyday of the style were the 1920s, when many Romanian Revival houses, churches and institution buildings were erected, both in Bucharest and in the rest of
Greater Romania
. The trend had also extended into the
decorative arts
from the start, with examples of Neo-Romanian design of furniture and other objects appearing, but also illustrations and graphic design (including stamps and magazine covers).
Origins
[
edit
]
Romanian Revival architecture is a revival of the
Brancovenesc
[br?ŋkovenesk], a style in medieval Romanian art and architecture, more specifically in
Wallachia
during the reign of
Constantin Brancoveanu
(1688?1714). This is because it was seen as the style specific to Romania, which is true. Brancovenesc buildings are characterised by the use of
porticos
(mainly the entrances of churches), trilobate or
kokoshnik
arches
, columns (usually
Corinthian
), sometimes with twisted
flutings
, and metallic or ceramic tile roof. The main ornaments used for decoration are the
interlace
and the complex vegetal spiral (aka
rinceau
). Some of the features of Brancovenesc architecture derive from
Byzantine
and
Ottoman architecture
, and a some can also be found in medieval
Russian architecture
.
Brancovenesc churches usually have facades decorated with reliefs, most churches being white, while some have elaborate paintings on the facades (like the
Stavropoleos Monastery
from
Bucharest
). The walls of their interiors are filled with Byzantine style frescos. Above their main door there is a
pisanie
, which is an inscribed stone plaque. The inscription usually includes a religious invocation, the name of the founder or founders, the date of construction, the motivation of the building, the circumstances of the time and other data.
Characteristics
[
edit
]
-
-
-
Metal roofs, with diamond-shaped parts - Strada Constantin C. Nottara no. 6, Bucharest
-
Complex knots (aka
interlaces
) - Br?tianu Settlements Bucharest
-
Complex foliage spirals (aka
rinceaux
) - Br?tianu Settlements
-
Elements brought from peasant houses - Br?tianu Settlements
-
Elements brought from religious architecture - Br?tianu Settlements
-
Elements brought from
Byzantine architecture
(in this case the fish, aka
ichthys
, an early
Christian symbolism
) - Strada Louis Pasteur no. 24, Bucharest
-
Elements grouped in threes (in this case three arches) - Strada Pictor Constantin Stahi no. 14, Bucharest
-
Building structure inspired by
cule
- Strada Grigore Romniceanu no. 54, Bucharest
-
The influences of peasant houses were manifested through ornaments and elements used under various interpretations, but which retain their origin. Among the elements are the
loggia
, the trilobed arch, wooden pillars, a treatment of the cornice as an ordinary eaves of a peasant house, the inclusion of the roof in the image of the facade as an element of ornament, carved wooden
awnings
, and
tiled roofs
. Commonly used ornaments are knots and ropes (aka
interlace
), peacocks drinking symmetrically from a cup, and complex vegetable spirals (aka
rinceaux
). Some of the ornaments of some Neo-Romanian buildings from the
Belle Epoque
are made of
polychrome
glazed ceramic, as is the case of the
?coala Central? National College
in Bucharest.
[9]
Considering the fact that most Romanians were and are
Orthodox
, the architects sometimes added
Byzantine
-inspired elements (like the two peacocks drinking from a cup) or with Christian significance. A characteristic of the style is the use of elements grouped in threes (for example a row of three windows), which refers to a Christian concept, representing the
Holy Trinity
(
Father
,
Son
and
Holy Spirit
).
The buildings often have a medieval castle or fortress look, with
turrets
and parts of the structure on different levels. This thing is inspired by the
cule
, a type of semi-fortified construction, specific to the 18th century, spread throughout the
Balkan
space, including Romania, especially in
Serbia
and
Albania
. In essence, the cule were the dwellings of the
boyars
, built for the defense of the owner and their family members against invasions.
Representative architects
[
edit
]
The first generation of Romanian architects, creators and promoters of the Romanian Revival style, is composed of
Ion Mincu
(1852?1912),
Ion N. Socolescu
(1856?1924) and
Grigore Cerchez
(1850?1927).
[10]
Ion Mincu
[
edit
]
-
Lahovari House
, now in the courtyard of the Cantacuzino Hospital in Bucharest (1885-1886), Strada Ion Movil? no. 5
-
Central Girls' School
in Bucharest (1890), Strada Icoanei no. 3-5
-
The Cloister of the
Stavropoleos Monastery
in Bucharest (
c.
1899?1910), Strada Po?tei no. 6
-
Design for the Bucharest city hall (1900)
-
Nicolae Petra?cu House (1900?1904),
Pia?a Roman?
no. 1
-
Ghica Family Tomb in the
Bellu Cemetery
in Bucharest (unknown date)
[14]
-
Cantacuzino Tomb in the Bellu Cemetery (unknown date)
[15]
-
Gheorghieff Brothers Tomb in the Bellu Cemetery (unknown date)
-
Iacob Lahovary Tomb in the Bellu Cemetery (unknown date)
His first attempts in Bucharest, after his return from studies in Paris, were the
Lahovary House
[
ro
]
(1884?1886), the
Kiseleff Roadside Buffet
[
ro
]
(1889?1892) and the
Central Girls' School
(1890?1894). They effectively marked the birth of Romanian Revival architecture with all the persistence of
eclectic
or, in general,
historical
tendencies. From this point of view, the Buffet is very characteristic, being one of the most successful buildings (initially designed as a Romanian pavilion at the
1889 Paris Universal Exposition
), which is, on the whole, in line with the balance of
Brancovenesc architecture
. Its most expressive element remains the gazebo: eight wooden pillars, connected with wooden beams, support a large masonry superstructure (trilobate arches in the shape of
braces
/
kokoshniks
and a complete
entablature
). The impression is also accentuated by the strong embossed ornamentation, made of
polychrome
glazed ceramics. Above the protruding
cornice
of the ceramic entablature, wooden pieces appear again: the ends of the transverse beams and the
corbels
that hold the very wide eaves of the roof. And as important spaces remain visible between the beams and corbels, the roof - large, high and covered with tiles - seems suspended. Eclectic elements appear in the ceramic ornamentation: Classicist geometric motifs or
Renaissance
floral motifs (but interpreted wavy, in the
Art Nouveau
spirit), which cover the entire surface of the gazebo masonry and the technique itself, of the
high relief
, colored in white, blue and
ocher
, of the
Luca della Robbia
type, contrasts with the relative sobriety of the old Romanian architecture from which, obviously, it started. Thus, the Buffet has a happy, lively and, especially, Romanian air.
[16]
Petre Antonescu
[
edit
]
One of the most vigorous and typical representatives of Romanian Revival architecture was
Petre Antonescu
. He studied (1893?1898) at the
Beaux-Arts de Paris
, then became a professor, and later rector of the Academy of Architecture in Bucharest. His works include houses, such as the Vintil? Br?tianu House (Strada Aurel Vlaicu no. 19) or the Oprea Soare House (Strada Poenaru Bordea no. 2), all built in Bucharest before World War I; and more extensive programs such as the old Ministry of Construction (the current
Bucharest City Hall
, Bulevardul Regina Elisabeta no. 47) or the
Marmorosch Blank Bank Palace
(2-6 Strada Doamnei). It combines a series of elements that belong to either the international or the local repertoire: monumental plinths with large
bossages
, massive pieces (
columns
and
corbels
, and
keystones
, oversized) often with a purely decorative function, suggesting archaic or rustic buildings;
reliefs
mix national inspiration (Moldovan window ornaments,
capitals
and
balustrades
of
Brancovenesc
inspiration, etc), with those of the symbolic European heraldic repertoire (shields, dragons, eagles,
griffins
, shells, etc); as well as traditional forms of gaps, trilobate or in
brace
/
kokoshniks
, mixed with other ones, semicircular, retreating portals, of
Romanesque
or
Renaissance
proportions and profile, etc. This process does not completely protect the work from eclecticism, but the ansamble still tilts the balance towards a national physiognomy.
[17]
In other art media
[
edit
]
-
Romanian Revival display cases in the
George Severeanu Museum
, Bucharest, in which
Ancient
ceramic is exhibited, unknown designer, unknown date, wood and glass
-
Picture frame sold in the
Dimitrie Gusti National Village Museum
, Bucharest, unknown designer, unknown date, wood
-
Coffee table, unknown designer, early 20th century, wood
-
Desk, unknown designer, early 20th century, wood
-
Design for living room furniture, by
Nicolae Ghica-Bude?ti
, 1906, ink on paper
-
Curtain design, by
Ion Theodorescu-Sion
, unknown date, watercolour
-
Illustration for the Ileana magazine, by Ludovic Basarab, unknown date, ink on paper
-
Vessel design, by
Apcar Baltazar
, unknown date, watercolour
-
Stamp with king
Carol I
, unknown illustrator, 1906, ink on paper
-
Stamp with king Carol I, unknown illustrator, 1906, ink on paper
-
Stamp with queen
Elisabeth
, by C. Stengel, 1906, ink on paper
-
Stamp with queen Elisabeth weaving, by C. Stengel, 1906, ink on paper
-
The Magazine of the Holy
Synod
from March 1927, unknown illustrator, ink on paper
In addition to architecture, the Romanian Revival style manifested itself in other media, including graphic design, pottery, furniture and illustration. There are good examples of Romanian Romanian furniture in the
George Severeanu Museum
in Bucharest, mostly display cases, where
ancient Greek
and
Etruscan
vessels are exhibited.
Besides buildings, architect
Nicolae Ghica-Bude?ti
also produced Romanian Revival furniture. His example followed by artists like O. Roguschi, Gh. Lupu, A. Clevel,
Hugo Storck
, who made furniture in this style. During the 1900s,
Apcar Baltazar
is preoccupied with the creating a new Romanian style in decorative arts. In November 1908, an essay called "Spre un stil romanesc" (
Towards a Romanian style
) is published in the Via?a Romaneasc? (
Romanian Life
) magazine. Using example from world art history, he tries to find ideas for his creation and for how an authentic Romanian style should look like. As a key feature of this style, he recommends elements of
Byzantine art
, present in medieval
Romanian architecture
. He was an advocate for introducing them in an harmonious way, not straight up copying. Baltazar was also an admirer of both peasant and religious art. A motif he used in multiple designs is the stylized rooster.
Al. Tzigara-Samurca? was a militant for the conservation of traditional peasant art. He was also an influence for Apcar Baltazar.
[18]
Periods
[
edit
]
In general, architectural styles popular in a period tend to influence each other, sometimes leading to mixes. The Romanian Revival is no exception. Because of this, the year when many buildings were erected can be approximated more or less easily.
Early (before 1906)
[
edit
]
-
Entrance of the
Central Girls' School
,
Bucharest
, by
Ion Mincu
, 1890.
Notice the
pediment
above the door, that makes this entrance similar with one of a
Neoclassical
building
-
Folk Art Museum,
Constan?a
, Romania, 1893 unknown architect. The complex foliage spirals (aka
rinceaux
) may have been inspired by Islamic architecture
-
Strada Polon? no. 13,
Bucharest
,
c.
1900, unknown architect. Notice how highly decorated this house is. Also, the small brown wooden pediment above the door is fully Neoclassical
-
Strada Grigore Alexandrescu no. 42, Bucharest,
c.
1900, unknown architect. This house is a mix of Romanian Revival and
Beaux-Arts architecture
. The shape of the windows may have been inspired by the Islamic the world
-
Strada Franzelarilor no. 2A, Bucharest, unknown architect,
c.
1900. This house stands out through its
polychrome
glazed ceramic ornaments, similar with the ones of some churches from
Moldavia
, like the
Saint Nicholas Princely Church
in
Ia?i
-
Diamandi House, Bucharest, unknown architect,
c.
1900. While all the ornaments are Romanian Revival, the structure of the house is specific to the Belle Epoque: a house with three or two windows towards the street, garden, entrance in the garden, and only one story high
-
Base of a Romanian Revival lighting pole at the intersection of Streets Popa Tatu and Mircea Vulc?nescu, Bucharest, unknown architect,
c.
1900
The Belle Epoque is the period in which the style was created. Because it was not fully defined until the 1906 General Romanian Exhibition in the
Carol Park
, Romanian Revival buildings before 1906 can look quite different one from another, especially those of the 1890s. Architects looked for inspiration in multiple sources. Some were inspired by the Islamic world, more specifically by the
Ottoman
influences on traditional Romanian architecture. Others were influenced more by the
Brancovenesc style
, popular in
Wallachia
in the early 18th century. In his creations,
Ion Mincu
mixed intentionally or not intentionally
Neoclassical
,
Beaux-Arts
and
Gothic Revival
elements. For example, the
Central Girls' School
has an entrance with a
pediment
above it, similarly with what you would find at a Neoclassical building. The Romanian Revival of the Belle Epoque is also more decorated compared to the later phases of the style.
Mature (1906-early 1930s)
[
edit
]
-
Palace of the Arts
, part of the 1906 General Romanian Exhibition in the
Carol Park
,
Bucharest
, by
Victor ?tef?nescu
and
?tefan Burcu?
, 1905-1906
-
Interior of the Palace of the Arts, by Victor ?tef?nescu and ?tefan Burcu?, 1905-1906
-
-
A. Mincu House, Bucharest, by
Arghir Culina
, 1910
[20]
-
Door of the Lauren?iu and Louise Steinebach House, Bucharest, by
Alfred Popper
, 1915-1916
[21]
-
Byzantine Revival
window detail of the Lauren?iu and Louise Steinebach House with peacocks drinking from a cup, by Alfred Popper, 1915-1916
-
Strada Grigore Romniceanu no. 54, Bucharest, unknown architect,
c.
1920
-
C.N. Campeanu/Alfred E. Gheorghiu House, Bucharest, by
Constantin N?nescu
,
c.
1923
[22]
-
Apartment building built by the Communal Society for Affordable Housing for the State Monopoly Company in the Lahovary Square, Bucharest, by Lucian Teodosiu, 1926-1929
[23]
-
Saint George Grivi?a Church (Calea Grivi?ei no. 218), Bucharest, by Constantin Pomponiu, 1926-1931
[24]
-
Communal Society for Affordable Housing Building in the
C.A. Rosetti Square
, Bucharest, by
Virginia Andreescu Haret
, 1927
[25]
-
Cezar Golici House, Bucharest, by Virginia Andreescu Haret, 1928
To celebrate the 25th anniversary of the coronation of king
Carol I of Romania
, 40 years of his reign, 25 years since proclamation of the
Kingdom of Romania
, and 1800 years since the
Romans
came in the
Dacian province
, the
General Romanian Exhibition
took place in the
Carol Park
(Park of Freedom) of Bucharest in 1906. Most of the pavilions of the fair were temporary structures, the only ones that survived being the
Silver Knife Church
, the
Roman Arenas
, the Filaret Electricity Station, small pavilions, the Mining Ministry fountain, and the water tower, designer to look like a medieval relic from the time of
Vlad the Impaler
.
[27]
The 1906 General Romanian Exhibition is important because this when the style started to be fully developed.
Buildings from this phase have a consistent look. The 1920s was the peak of popularity, multiple schools, houses and institutions built after WW1 being Romanian Revival. Sometimes it was mixed with
Art Deco
, a style equally popular in the 1920s.
Late (late 1930s and 1940s)
[
edit
]
-
White House Restaurant (Aleea Privighetorilor no. 31-35),
Bucharest
, by
Octav Doicescu
, 1930
[28]
-
Palace of the Patriarchate, Bucharest, by
George Simota
, 1932-1936
[29]
-
Pavilion of Romania at the
1937 World Exhibition
, Paris, by
Duiliu Marcu
, 1937
[30]
-
Romanian restaurant at the
1939 World's Fair
, New York, by Octav Doicescu, 1939
[31]
Under the pressures of
Modernism
, the style became more and more simplified. Initially, the supporters of the Romanian Revival style rejected
Modern architecture
. They saw Modern buildings as creations that lack a local spirit. However, their opposition faded with time, leading to mixes of the two movements. Multiple architects, without dropping elements inspired by local tradition, will adopt new materials and techniques. Romanian Revival proportions and volumes were kept, but ornaments were highly simplified or sometimes were just nonexistent. Buildings were reduced to essences.
[32]
Notable examples
[
edit
]
History and Archaeology Museum
,
Constan?a
, by
Victor ?tef?nescu
, 1912-1921, with the Statue of
Ovid
in front of it
The central stairs of the Constan?a History and Archaeology Museum, an example of a Romanian Revival interior
Romania
[
edit
]
- Alexandria
- Bucharest
- Nicolae Minovici Villa
(Strada Doctor Minovici Nicolae 1)
- Sector 1 Town Hall (Bulevardul Banul Manta 9)
- Gheorghe T?t?rescu House (Strada Polon? 19)
- Hagi-Theodoraky House (
?oseaua Kiseleff
57)
- Romanian Peasant Museum
(?oseaua Kisseleff 3)
- Dissescu House (
Calea Victoriei
196)
- Amza's Church (Strada Biserica Amzei 12)
- Lahovari House
(Strada Ion Movil? 5)
- Oprea Soare House (Strada Poenaru Bordea 2)
- Kiseleff Palace (Strada Barbu ?tef?nescu Delavrancea 6A)
- Gheorghe Petra?cu House (
Pia?a Roman?
5)
- Interior of the Ion Mincu House, its exterior being just
Eclectic
(Strada Arthur Verona 19)
- Central School (Strada Icoanei 3-5)
- Elie Radu House (Strada Alexandru Donici 40)
- Bucharest City Hall (Bulevardul Regina Elisabeta 47)
In addition, there are areas in Bucharest where most houses are Romanian Revival, such as
Cotroceni
and
Doroban?i
.
Moldova
[
edit
]
Albania
[
edit
]
Bulgaria
[
edit
]
Ukraine
[
edit
]
- Khotyn
- House of Culture (Vulytsya Nezalezhnosti, 19-17)
- Chernivtsi
- St. Nikolai Church
- Holy Apostles Peter and Paul Church
- Palace of the border guards
- Priests' dormitory building
See also
[
edit
]
Notes
[
edit
]
- ^
Woinaroski, Cristina (2013).
Istorie urban?, Lotizarea ?i Parcul Ioanid din Bucure?ti in context european
(in Romanian). SIMETRIA.
ISBN
978-973-1872-30-8
.
- ^
Paul, Constantin (1977).
Mic? Enciclopedie de Arhitectur?, Arte Decorative ?i Aplicate Moderne
(in Romanian). Editura ?tiin?ific? ?i Enciclopedic?. p. 109.
- ^
Popescu, Alexandru (2018).
Casele ?i Palatele Bucure?tilor
(in Romanian). Editura Cetatea de Scaun. p. 69.
ISBN
978-606-537-382-2
.
- ^
Lucian, Boia (2016).
Romania, ?ar? de Frontier? a Europei
(in Romanian). Humanitas. p. 103 & 104.
ISBN
978-973-50-5470-0
.
- ^
Florea, Vasile (2016).
Arta Romaneasc? de la Origini pan? in Prezent
. Litera. p. 244.
ISBN
978-606-33-1053-9
.
- ^
Popescu, Alexandru (2018).
Casele ?i Palatele Bucure?tilor
(in Romanian). Editura Cetatea de Scaun. p. 69.
ISBN
978-606-537-382-2
.
- ^
Croitoru-Tonciu, Monica (2022).
Alfred Popper - 1874-1946 - (re)descoperirea unui arhitect
(in Romanian). SIMETRIA. p. 70.
ISBN
978-973-1872-51-3
.
- ^
Rimniceanu, Marin Sorinescu (1924).
Istoria Artelor
(in Romanian). p. 158.
- ^
Rimniceanu, Marin Sorinescu (1924).
Istoria Artelor
(in Romanian). p. 158.
- ^
Paul, Constantin (1977).
Mic? Enciclopedie de Arhitectur?, Arte Decorative ?i Aplicate Moderne
(in Romanian). Editura ?tiin?ific? ?i Enciclopedic?. p. 109 & 110.
- ^
Paul, Constantin (1977).
Mic? Enciclopedie de Arhitectur?, Arte Decorative ?i Aplicate Moderne
(in Romanian). Editura ?tiin?ific? ?i Enciclopedic?. p. 110.
- ^
Florea, Vasile (2016).
Arta Romaneasc? de la Origini pan? in Prezent
(in Romanian). Litera. p. 668, 669.
ISBN
978-606-33-1053-9
.
- ^
Woinaroski, Cristina (2013).
Istorie urban?, Lotizarea ?i Parcul Ioanid din Bucure?ti in context european
(in Romanian). SIMETRIA. p. 218.
ISBN
978-973-1872-30-8
.
- ^
Croitoru-Tonciu, Monica (2022).
Alfred Popper - 1874-1946 - (re)descoperirea unui arhitect
(in Romanian). SIMETRIA. p. 72.
ISBN
978-973-1872-51-3
.
- ^
Woinaroski, Cristina (2013).
Istorie urban?, Lotizarea ?i Parcul Ioanid din Bucure?ti in context european
(in Romanian). SIMETRIA. p. 210.
ISBN
978-973-1872-30-8
.
- ^
Voinea, Andrei R?zvan (2018).
Idealul Locuirii Bucure?tene: Familia cu Cas? ?i Gr?din?: Parcel?rile Societ??ii Comunale pentru Locuin?e Ieftine - Bucure?ti (1908-1948)
(in Romanian). p. 160.
ISBN
978-973-0-28434-8
.
- ^
Voinea, Andrei R?zvan (2018).
Idealul Locuirii Bucure?tene: Familia cu Cas? ?i Gr?din?: Parcel?rile Societ??ii Comunale pentru Locuin?e Ieftine - Bucure?ti (1908-1948)
(in Romanian). p. 127.
ISBN
978-973-0-28434-8
.
- ^
Voinea, Andrei R?zvan (2018).
Idealul Locuirii Bucure?tene: Familia cu Cas? ?i Gr?din?: Parcel?rile Societ??ii Comunale pentru Locuin?e Ieftine - Bucure?ti (1908-1948)
(in Romanian). p. 158.
ISBN
978-973-0-28434-8
.
- ^
Croitoru-Tonciu, Monica (2022).
Alfred Popper - 1874-1946 - (re)descoperirea unui arhitect
(in Romanian). SIMETRIA. p. 180.
ISBN
978-973-1872-51-3
.
- ^
"Arh. OCTAV DOICESCU: Restaurantul Romanesc B?neasa (in prezent Casa Alb?), 1930"
.
octavdoicescu.blogspot.com
. Retrieved
6 March
2023
.
- ^
Florea, Vasile (2016).
Arta Romaneasc? de la Origini pan? in Prezent
. Litera. p. 321.
ISBN
978-606-33-1053-9
.
- ^
Florea, Vasile (2016).
Arta Romaneasc? de la Origini pan? in Prezent
. Litera. p. 325.
ISBN
978-606-33-1053-9
.
- ^
Florea, Vasile (2016).
Arta Romaneasc? de la Origini pan? in Prezent
. Litera. p. 325.
ISBN
978-606-33-1053-9
.
- ^
Florea, Vasile (2016).
Arta Romaneasc? de la Origini pan? in Prezent
. Litera. p. 321.
ISBN
978-606-33-1053-9
.
References
[
edit
]
- Celac, Mariana; Carabela, Octavian; Marcu-Lapadat, Marius (2017).
Bucharest Architecture - an annotated guide
. Order of Architects of Romania.
ISBN
978-973-0-23884-6
.
External links
[
edit
]
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France
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Germany, Austria-Hungary
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Great Britain
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Greece
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Italy
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Netherlands
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Nordic countries
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Portugal
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Poland
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Romania
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Russian Empire and USSR
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Serbia
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Spain
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United States
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