MIHAI V. POPA - 'INTRE ALCHIMIE SI NATURA'

Venus din Milo / Venus of Milo

2012-01-21T18:54:00.001+02:00

We don't know for sure anything about our origins and space. Is emergence, this state of intimacy absence really necessary?
Who's winning from it ?

When press and media are the ones that create, by means of propaganda, culture and history you have the impression that time has never walked so many paths.

Art is always shaped by frustration and it perfectly illustrates mankind's fail in integrating in the universe and the gloomy reality that it consists mainly of individualities connected to the same apparatus.

Atunci cand presa si lumea media sunt cele care creeaza, propagandistic, cultura si istorie, ai impresia ca timpul nu a umblat niciodata pe atatea carari.

Arta imbraca mereu forme de frustrare si ilustreaza perfect esecul omenirii in a fi parte integranta in univers si realitatea sumbra ca ea coincide cu un amalgam de individualitati conectate la acelasi aparat.

'Reteaua sociala este o forma de industrie culturala fara un astfel de rol de formare, care nu creeaza cultura, doar o distribuie de la emitator la receptor intr-un timp foarte scurt, astfel grabind procesul de culturalizare, orice ar presupune ea. Functioneaza ca un hipercub, alcatuit dintr-un circuit intern neuronal cu puncte si muchii, care face uz de interactiunea si gradul de cunoastere si apropiere a indivizilor. Numarul mediu de prieteni pe facebook este de 130 pe anul 2011. Initial utilizatorii se focalizeaza pe adaugarea cunostiintelor, a persoanelor cu care au cu siguranta ceva in comun. Personalitatile sunt mereu intr-o goana nebuna dupa celebritate si dupa adunarea unui numar cat mai mare de fani. De obicei, statusul de a fi ‘fan’ inseamna in general obedienta, ascultare, urmarea modelului, de multe ori lingusire, astfel incat idolul sa fie multumit. Facebook propune un mod de idolatrizare virtualizata a unor modele false de comportament si gandire, de automatism si religie emergenta, bazata pe non-valoare.'

2012 High density housing

2012-01-13T14:05:00.000+02:00

work done in JAN 2012 at grafISIS architecture office

When the business of a client interferes with smaller area sites and obvious needs and reglementations the result is a conglomerate of clichees. In this case, the project is a multi-layered composition of such elements, that could be or not integrated of kept in the project due to building costs.

LOVE LOST IN A HYPERCUBE

2012-01-06T02:32:00.002+02:00

THIS IS MY LATEST MUSICAL DEMO. IT IS A PASIONATE JOURNEY IN A LOVESTORY THAT LOSES ITS OBJECT AND ITS TRACK IN A VERY ODD HYPERCUBICAL ENVIRONMENT.

love [luhv]
noun
1. a profoundly tender, passionate affection for another person.
2. a feeling of warm personal attachment or deep affection, asfor a parent, child, or friend.
3. sexual passion or desire.
4. a person toward whom love is felt; beloved person;sweetheart.
5. (used in direct address as a term of endearment, affection,or the like): Would you like to see a movie, love?

lost [lôst, lst]
v.
Past tense and past participle of lose.
adj.
1. Unable to find one's way: a lost child.

2.
a. No longer in the possession, care, or control of someone or something: a lost pen.
b. No longer in existence; vanished or spent: lost youth.
c. No longer known or practiced: a lost art.
d. Beyond reach, communication, or influence: The expedition was lost to the world for two months.

3. Not used to one's benefit or advantage: a lost opportunity.

4. Having not been or unlikely to be won; unsuccessful: a lost battle; a lost cause.

5. Beyond recovery or redemption; fallen or destroyed: a lost soul.

a. Completely involved or absorbed; rapt: lost in thought.
b. Bewildered or confused: I'm lostcan you start over?

hypercube \hypercube\ n. [hpr-kyb]

1. A mathematical object existing in more than three dimensions, analogous to the cube in that each two-dimensional facet of the surface is a square; a generalization of a cube in more than three dimensions.

2. An object resembling a three dimensional cube but having an arbitrary number of dimensions (typically more than three, although cubes and squares can be considered hypercubes in three and two dimensions). Each corner or node of a hypercube is equidistant from every other. The number of corners in a hypercube is equal to 2n, where n is the number of dimensions. Diagrams and models of hypercubes of four or more dimensions are not real hypercubes any more than a diagram of a cube is an actual cube, but they do depict the manner in which the corner points are connected

Alchimie de iarna / Winter Alchemy

2011-12-28T01:51:00.003+02:00

Alchimie de iarna

Calc pe o punte

Ce desparte apa de aer

Si lumina de intuneric,

Unde ‘buza de jos’

Crapata de frig

Lasa sa se intrevada

Fibrele-i alipite

De dor si lumina.

Si buza de sus ma acopera

De mantia incetosata

A tacerii,

Caci tot e tacere in jur,

Sub cerul albastru,

Si totul se-ntelege

Din priviri…

Winter alchemy

I walk on a bridge

Which separates water from air

And light out of darkness,

Where the ‘lower lip’

Cracked from the cold

Slightly outlines

Its fibers linked

With light and longing

And the upper lip

Covers me

With the foggy coat

Of silence,

Cause everything around is peace,

Under the blue skies,

And everything is at hand

Out of glances…

The Star of Bethlehem

2011-12-20T09:47:00.001+02:00

This is a documentary about an amazing discovery done recently based on real astronomical data and software and also on the Scriptures. It is for the first time in history whem someone makes a clear and complete connection between biblical events and scientifical data. A lot of people claimed that this special astronomical event was marked by a comet but they never found a corespondent between the Bible books and all the real astronomical events around year 0.

'This is the story of a man named Rick Larson who is a lawyer and wanted to find out: Was the star of Bethlehem that lead the wise men to Christ real or fiction. His findings based on NASA's math to map the stars proved that it had actually happened. He used the math that Nasa uses today to map out the skies, put it with the timetable that the bible gives as well as the events that the bible says happened and compared the two. It proved The Holy Bible is accurate in what it claims astronomically happened .'

Find out more about it at this link: http://www.bethlehemstar.net/

Monologue in seven billion acts

2011-12-18T01:08:00.002+02:00

Experimental music 2011

Involutie – monolog in 7 miliarde de acte

2011-12-15T00:40:00.002+02:00

(pictura de fundal cu acelasi titlu de Gyuri Lohmuller)

Imagineaza-ti o zi,

luata pe nepusa masa, (imi spun pe un ton ingrijorat)

fara facebook

fara internet

fara calculator

fara TV

fara curent electric

fara ziare...

fara stiri

fara barfa

fara religie

fara povestioare

fara dragoste

fara comunicare.

Poti ?

Nu. Pentru ca esti sclavul lor si nu stii ca 'motivul pentrucare a aparut comunicarea a fost ca ea sa serveasca dragostei. din prea multadragoste pentru povesti si povestioare, a aparut religia, care s-a transformat,peste noapte, in barfa si a ajuns subiect de stiri in ziare, care de prea multece-au fost, s-au transformat, electric, in clipuri promotionale aberante la TVsi apoi in ferestre sacaitoare pe internet, cu un x mic in colt, pe care le-aminchis cu greu si le-am alungat din conul nostru vizual, dar la care am dat toti,fara sa stim, ‘like’ pe facebook...

Cum ar fi o zi (ooo, devenim poetic)

fara dramul deCernobal din tine,

fara cer senin

fara umbrela

fara pereti intre care sa te inchizi

fara picioare ca sa fugi de toate fricile care te cuprind

fara maini, sa-ti scrii frustrarile

fara limba, sa le articulezi

fara ochi, sa le vezi

fara minte sa le ataci sau sa le visezi macar ?

Nu vei sti niciodata, pentru ca dramul de Cernobal din tine

nu te va lasa sa vezi ultima farama de cer senin

prin umbrela gaurita

de care te incolacesti

printre ruinele care te inconjoara

si printre care ratacesti, tarandu-te ca un vierme

fara sa te ancorezi si sa fara sa reusesti sa cuprinzi ceva

in tacerea care te-a cuprins pana si pe tine...mut

fara sa vezi de ce te freci

si ce se 'prinde scai’ de tine...

Gandeste-te cum ar fi o zi (tastez in graba sa nu pierd ideile)

fara ceas

fara graba

fara viteza

fara timp

fara distanta

fara doar si poate…?

Nu ai vreme sa o faci. (imi spune emisfera stanga,gandindu-se, cu dispret, la celebra pictura a lui Dali)

Ce-ai face daca intr-o zi (imi spun, uitandu-ma in tavan, cuvocea altuia)

Te-ai trezi singur

Intr-un loc cu multi oameni

Care s-ar uita complet in alte directii

Cand te-ai uita involuntar inspre ei,

Sau intr-un palat cu multe camere

In care fiecare se inchide in camera lui

Si inghite cheia comunicarii,

Sau, foarte banal,

Intr-o cutie pe roti

In care toti, agatati bare metalice, vizibil afectati,

S-ar chinui sa-si tina echilibrul

In timp si spatiu…?

Foarte simplu: te-ai uita in orice alta directie decat a lor,agatat de o bara ceva mai lunga, cu cheia de la hol in stomac, fara timp sifara prea mult spatiu. (o dam pe misto-uri)

Cum te-ai simti daca intr-o zi, (emisfera dreapta a dat intretimp search dupa toate folderele cu poze ale fostelor…)

Iubirea si-ar pierde sensul,

Natura si-ar pierde pulsul,

Omul si-ar pierde echilibrul,

Si Universul cumpatul. ?

N-ai putea sa te aduni de pe jos, si daca ai face-o n-ai fi deloc natural -beat si suferind de atata iubire irosita - ca sa dai raportul in fatasuperiorului. (din nou, imi spune o voce grava de femeie din inchipuirile mele)

Ce-ar fi daca intr-o zi (incercand, sa lovesc mingea cu emisferadreapta si sa imi dau seama cum viitorul poate sa arate in carne si oase)

Ai vedea in ‘carne si oase’

Viitorul in prezent ?

Te-ai intreba, cu siguranta, ‘cat e anul’, in loc de ‘cat e ceasul’

Si te-ai simti invizibil, imponderabil, incolor, inodor si insipid…Daca ar fi si altii in aceeasi situatie te-ar numi, in gluma, ‘nihilistule’.(ai avea senzatia ca ai ratat spatiul portii si timpul sutului, adica ai luftatcu propriile simturi)

Ce-ar fi daca intr-o zi (la modul absolut comic de grav)

Ti-ai da seama

Ca te-ai inselat complet

Si ca lumea nu e asa cum credeai

Ca viata merita traita oricum ?...

Ar fi cel mai clar semn ca ai fost sedat si spalat pecreier. (cat cinism poti sa ai prietene…)

Ce-ar fi daca intr-o zi

Ai ajunge la concluzia

Ca totusi, nu te-ai inselat

Si ca aveai dreptate… ?

Ar fi un semn evident

Ca esti confuz si ca vei trece in curand in etapa urmatoare

Adica, ma refer la cele 3 paragrafe anterioare. (cinismcurat !!! J)

(ma ia pe sleau)

Fiule, crezi in Cristos ?

(eu pe ocolite)

Cred in valorile lui,

Pe el nu l-am cunoscut decat de la TV. Nici nu stim dacaarata asa… (in cor)

Dar in Dumnezeu crezi ?

Care dintre ei ? (clipind des)

Ma refer la Creatorul Universului (cata siguranta inafirmatie)

Adica la Univers…la o forta superioara. (pt ambiguizarealucrurilor)

Ia-o cum vrei… Crezi in el ?

E interesant modul in care imi pune uneori replicile demonolog in gura. Cred ca in ultima vreme s-a plictisit de modul in care serepeta situatiile. Totul devine paradoxal….

Ai tinde sa crezi ca ne apropiem de un sfarsit…al naturii, al naturii umane insine. Devenim, noi insine actori de monolog tragic… (m-am lasat masca cuexplicatia mea)

Te-ai gandit vreodata, ca intr-o zi (pe alt ton)

Ai avea marea ocazie sa scrii ultima replica la monologul tau?

Imi vine greu sa cred asta…

Ok, sa o luam altfel.

Ce-ar fi daca ai avea tu ocazia sa alegi ziua in care sascrii ultima replica la monologul tau. (ce legatura are asta cu ce am discutatpana acum ??)

Cred ca cineva a intrat pe fir. E securitatea… Se audbaraituri…Astia nu-s sufleori.. Te sun mai tarziu…

Ok. Astept. (securitatea nota tot)

(peste 6 secunde ‘universale’)

Am revenit. Am un singur lucru sa te intreb.

Stii cine sunt eu ?

Nu, m-ai bagat in ceata rau de tot…

Hmmm.Uite cum facem, inversam rolurile pana aflu cine esti…(chiar le-am inversat ?)

Bine, dar pot sa-ti dau din start un indiciu..(pe un tonimpaciuitor) (se pare ca da ! go on)

Dami-l atunci. (normal ca am acceptat, trebuie sa se legemonologul)

Ok. De obicei sunt a treia voce, si atunci cand imi facsimtita prezenta, ceilalti se dezarmeaza complet.

Care ceilalti ? Ce vorbesti acolo?...

Securistii, prietene. Intrusii din mintea ta. Conflictulmicrouniversal…

Pai bun, dar cum… ajung ei sa se interpuna ? (nedumerit)

Ei bine, se intampla atunci cand imi inchizi in nas…dindiverse cauze si atractii de moment. Oarecum e si natural, dar natura poate fi copiata, supusa, etc….

(…pauza lunga)

Cred ca vreau o tigara, sunt confuz, m-ai inebunit de cap.

Vezi ? Ce ti-am spus…!

Vad ca incepi tu singur acuma cu monoloagele.

N-am incotro. Iti tin locul. Nu-i nici o problema, iti facun briefing cand revii din euforie…Daca vrei sa gandesti constructiv, in timpce bagi otrava aia, gandeste-te serios la ce ti-am spus…si da-i si-un minus infata…(in ce sens, fizic, sau spiritual….?!?)

(zambet ironic pe buzele conectate la ‘pulsul’ acestuimonolog pasional de 5 minute, in intuneric)

Care e morala (post-scriptum) acestui monolog ?

S-a pierdut pe parcurs, la fel cum ne pierdem noi capul silogica, pe drum.

Un motto, ceva…?

‘S-a inecat ca tiganu la mal’

Laitmotiv ?

‘Tutunul dauneaza grav sanatatii’ (DIR. CONS…….)

Deci cum se termina?

Deci nu se termina.

Ba da.

Ai sa vezi ca nu.

Negru !

Alb !!!!!!

Alb…?!? (ce genial sunt)

Alb galbui.

(vechime + absenta unui detergent, celalalt isifreaca mainile in semn de multumire)

Alb…? Muti, sau ce faci ?...

………..las-o balta.

Sah mat, prietene.

THE END

Following the shining, retrograde Jupiter, they brought Him gifts

2011-12-11T15:28:00.001+02:00

I do not believe in Santa Claus and Christmas but wish you all who are a Merry Christmas, a great winter holiday with the family and the beloved ones and also have a lot of fun ! My best thoughts and wishes of health and inner happiness !

This song is dedicated to the King of Kings.

I believe that such events occur only once in history and I always questioned why do we celebrate that annualy...

The interesting fact is that I based the concept of the song both on the Scriptures and on the astrologycal events that marked the birth of Jehoshua / Jesus / Emanuel, the triple conjunction of Jupiter, Saturn in Pisces in March 7 B.C. and the retrograde motion of Jupiter, which occurs annualy, that started in that year (7 B.C.) on 3th of December and ended in 25th of December.

you can find it here:

http://www.geocentricity.com/ba1/no122/bethstar1.html

Probably those facts determined the Old Church to adopt as the official birth in December because of the annual retrograde motion and that created a lot of controversy among skeptics, but the triple conjunction of Jupiter and Venus in Pisces is a unique universal phenomenon and it is the true cause of the shining light that guided the magi and that happened before the 0 year. So, the fact is that we celebrate the Holy Birth annualy, because the Old Church never knew about this triple conjunction at that time and based the choice of celebrating in December because of the annual retrograde motion of Jupiter. They never had a complete scientific view of all the facts.

These facts are demonstrated with accuracy and there is no doubt that these historical events really happened. Now, the birth date is probably in March, but the baby Jesus was presented to the magi in December. We should also take into consideration the fact that his parents were hiding and avoided a great children massacre in Judea:

http://en.wikipedia.org/wiki/Massacre_of_the_Innocents

I expect any feedback.

Thank you very much!

arch. M V P

Tommorow it's gonna be a better day

2011-12-08T12:33:00.001+02:00

This is the new link where you can acces my musical creations from now on.
http://www.myspace.com/solitariansoul

Acesta este linkul la care vor putea fi accesate lucrarile mele muzicale de acum inainte. http://www.myspace.com/solitariansoul

The song above is my last work and it concerns human conscience following short period thoughts and resolutions and how they turn into long therms resolutions and strange habits. The song has also a version with audibles.

I have recorded the guitar parts live and then mixed them into a progressive composition.

Enjoy!

Solitarian Soul - XIII:19 - Trilogy

2011-11-23T11:55:00.001+02:00

Experimental music 2011

THE CONCEPT FOR THIS SERIES IS INSPIRED FROM GLOBAL POLITICS WHICH IS MAINLY BASED ON ABSENCE AND IMMINENT LOSS OF SELF AND SELF-CONSCIENCE AND THAT IS THE ULTIMATE FIGHT FOR EVERY INDIVIDUAL.

THE VISION / GAINED SELF

THE FIRST PART IS DEDICATED TO ALL THE PAST VISIONS THAT WARNED AGAINST THIS AND IT IS MOSTLY A SOUND IMAGE. THIS IS ACTUALLY THE WAY I SEE MUSIC: WITHOUT GLAMOROUS VIDEOS AND BASED MOSTLY ON REAL MATTERS.

THIS PART IS SET ON A LONELY, ISOLATED PLACE, EXPOSED TO WINDS, WHERE A SOLITARY OLD MAN WRITES THE FUTURE OF MANKIND.

LOST SELF

THE SECOND PART DEALS WITH THE PARADOX OF MANKIND: LOSING SELF IS THE DIRECTION PRESENT SOCIETY HEADS TO. IN CHRISTIAN DOGMA, LOSING SELF IS ACTUALLY WINNING SELF BUT HERE 'SELF' IS DEFINED AS THE HUMAN SIDE. AS A PARADOX, IN A SOCIETY OF INVERSED VALUES, SUCH A THING IS FREQUENTLY LABELED AS NIHILISM AND NIHILISM IS A DOCTRINE THAT WAS FOUNDED ON ANTI-CHRISTIAN GROUNDS. BEING A CHRISTIAN OR A NON-CHRISTIAN, LOSING SELF AND OPENING AND DEDICATING TO THE OTHERS IS STILL A GREAT VALUE, AND IT IS THE ULTIMATE ONE IN A SOCIETY WHERE 'SELF' GETS A LOT OF DIVERSE AND RELATIVE MEANINGS, SUCH AS TO PURSUE MONEY, CAREER, BEING A PUBLIC PERSON OR CREATING A STRONG MEDIATIC BACKGROUND IN ORDER TO SUCCED AND IMPOSE IN FRONT OF OTHERS. THIS IS ACTUALLY VERY EASY IN A SYSTEM THAT PROVIDES ALL OF THAT WHEN YOU MAKE SURE THAT YOU FOLLOW THE GENERAL DOCTRINE OR AGENDA, THE MODERN VIEWS AND DIRECTIONS IMPOSED BY THE LEADERSHIP.

LOST SELF IS, THEREFORE A STATE OF LOSS BECAUSE SELF CONSCIENCE IS NO LONGER ACTIVE AND SELF CONSCIENCE, FROM MY POINT OF VIEW MAKES US COMPLETE FROM THE SPIRITUAL POINT OF VIEW. THE GUITAR PLAY WAS RECORDED BY MYSELF AND IT IS DOUBLED AND ECHOED WHEN THE INNER WAR IS CLOSING TO ITS CLIMAX. SOME OF US KEEP FIGHTING, SOME OF US RESIGN BUT MOST OF US IGNORE.

THIS PART IS THE STORY OF A MAN FROM OUR TIMES THAT ACKNOWLEDGED ALL THESE THINGS AND KEPT FIGHTING THE BATTLE UNTIL THE END.

THE MACHINERY

THE LAST PART IS A DESCRIPTION OF THIS SYSTEM AND PROBABLY THE NON TUNING OF THE MAIN LAYER WITH THE GENERAL BURDEN IN THE BACKGROUND IS A SYMBOLIC WAY OF DESCRIBING HOW THIS OPRESSIVE SYSTEM WORKS AT GLOBAL SCALE AND WHAT IS THE GENERAL APPROACH TO SELF AS A GENERAL IDEA.

THE BASS INSERTIONS ARE ALSO A SYMBOL OF HOW THE SYSTEM INTRUDES AND HOW PERSEVERENT IT IS IN RESHAPING THE HUMAN WAY OF THINKING.

I USED TO THINK THAT BODY IS A RECIPIENT BUT I MIGHT GOT IT WRONG AND MOST OF US MIGHT DID, BECAUSE THE BODY IS SO EASILY TO CONQUERE AND THAT HAS AN IMPACT OVER THE MIND. THEREFORE WHERE LIES THE LAST HOPE OF MANKIND AND WHAT IS THE REAL RECIPIENT THAN THE GUIDING SPIRIT THAT OVERTRONES MIND AND CARRIES OUR WISHES AND DREAMS TO ACCOMPLISHMENT. THEREFORE, BE CAREFUL WHAT YOU WISH OR DREAM OF AND WHERE DO ALL THESE OPTIONS COME FROM.

Solitarian Soul - Symmetry

2011-11-21T09:45:00.001+02:00

Experimental music 2011

THIS IS THE LIFE STORY OF A REGULAR GUY . FOLLOWING ALL THE IMPORTANT MOMENTS, THE CHANGES AND THE EVENTS THAT OCCUR AT LIFETIME SCALE, I MADE THIS SONG STARTING FROM THE PREMISE THAT A CLOSED LIFE CYCLE IS SYMMETRICAL. THE SONG LAYERS ARE THE MAIN COMPONENTS OF THE PERSONALITY: BIORHYTM, FEAR OF DEATH, ACCOMPLISHMENTS AND EXPERIENCE, LOVE LIFE...IT IS THE LISTENERS INITIATIVE AND PERCEPTION TO MAKE A CLEAR ASSOCIATION OF THIS IDEA TO THE SONG.

Solitarian Soul - Mysticism and Technology

2011-11-20T21:44:00.001+02:00

Experimental / conceptual music

2011

THE CONCEPT OF THIS SONG IS TO GET DEEP INTO THE CONSCIENCE OF MAN AND OBSERVE HOW WE LOSE IMMUNITY TO SUBLIMINAL CONTROL IN A WORLD WERE THE MECHANISM OF RELIGION IS IMPLEMENTED IN EVERY LIFE FIELD AND GETS A LOT OF TECHNOLOGYCAL SUPPORT. THIS IS MY PEACEFUL WAY TO PROTEST AGAINST THESE SORT OF SPIRITUAL ATTACKS AND I AM SURE THAT IN THE NEAR FUTURE WE WILL BE SLAVES OF IT. THERE IS NO BETTER MASS CONTROL THAN USING THE BYNOME OF MYSTICAL RELIGION AND EVOLVED TECHNOLOGY.

Solitarian Soul - Frequency of Thoughts

2011-11-19T19:22:00.001+02:00

Experimental music 2011

THIS IS A SONG ABOUT THE LAST HOURS OF A GUY FROM A SMALL TOWN THAT IS MAKING HIS WAY TO THE JOB, ONE REGULAR DAY. THE SONG IS A SORT OF INTRUSION IN HIS MIND FOLLOWING HIS PATH AND THE ACCIDENTS THAT OCCUR ON THE ROAD: A COLLISION WITH ANOTHER GUY, THE APPEARANCE OF BEAUTIFUL WOMEN AND ESPECIALLY THE THOUGHT THAT HE FORGOT THE KEY TO THE OFFICE. THE CALM WALK SUDDENLY TRANSFORMS INTO A RUN WHEN HE ALSO REMEMBERS ABOUT A VITAL MEETING WITH AN IMPORTANT CLIENT THAT MIGHT CHANGE HIS CAREER...THE INTERESTING PART IS THAT HE TAKES A CAB AND THE DRIVER TRIES TO TRICK HIM. HE ESCAPES THE CAR AND HE REACHES, SOMEHOW, AFTER A CRAZY RUN, HIS HOME, AN APARTMENT BLOCK. CLIMBING UP TO THE LAST FLOOR AND FINALLY REACHING HIS APARTMENT, HE DOES NOT REALISE THAT THE GAS COOKER WAS LEFT OPEN AND SEARCHING DESPERATELY FOR THE OFFICE KEY HE ENDS IN SWITCHING ON THE LIGHT. A, BOTH, FUNNY AND TRAGIC END.

Un loc in trenul / trena Universului // A place in Universe's train / dally

2011-11-19T00:36:00.001+02:00

Pe unica linie suspendata
Traversand spiralat
Vasta campie
Cu flori
De 'regina noptii'
Printre lumini colorate
Dispuse neuniform
Dar ordonat
Dupa ratiuni de atractie si subordonare imediata
Trece unicul tren
Care ne poarta
Prin pantecele pestelui
Cu mecanic de locomotiva
Asezat in postul 'cheie'
Calare pe situatie
Si cu varful de piramida
Infipt in fund
Tragand voios de manete si sfori:
Vagoane-dormitor
Cu somnul de-o noapte
Si somnul 'de veci'
Si vagoane-restaurant
Cu hrana materiala
Si 'Painea cea de toate zilele'...
Pe linie se chinuie din greu cativa
Sa aplice cu succes ideea lui Arhimede -
Cea cu punctul de sprijin -
Sa schimbe macazul spre linia B
Si trag si trag
Dar trenul nu se abate
De la al lui drum.
Intre timp isi fac aparitia
Prin vagoane
Vulpitze versate iesite la produs
De diverse coloraturi si proveniente
Prostituate, comis voiajori
Cu mostre sub brat
Si-n servieta
Toate inscriptionate cu numarul magic,
Cu reclame la noi si noi
Realizari 'obstesti'
De vagoane-restaurant
Vagoane-dormitor
Cu paine
Si circ
De toate zilele
Si somn...
Vesnic
Iar, pentru insomniaci
Nelipsitul vagon de fumat...
Fiecare cu viciul sau.
Toti cu-n zambet in coltul gurii
Sorbind din napasta celuilalt
Si cu mamele scoase la vanzare,
Toti platitori de tribut.
Imi intorc privirile catre peisaj
Numarand,
In timp ce din tren
Pe usa din stanga
Se imbulzesc sa se arunce-n gol
Toti cei carora nu le-a priit
Friptura gonflabila
Pe post de colac de salvare...
Trec zile, chiar saptamani si luni
Pana cand cineva se va incumeta
Sa iasa pe usa din dreapta
Si sa coboare 'la capat de linie'.
Imi intorc privirile catre usa
Numarand
Pe degete.
In timp ce trena
De foc,
A trenului gonind cu viteza,
Se mareste.

On the single suspended line

Drawing spiraled trails

On the vast fields

With 'night queen' flowers

Beyond the colored lights

Looking messy

But ordered

By the immediate reasons of attraction and subordination

There's only one passing train

Which takes us

Through this giant fish stomach

With its master-driver

Situated in the post 'key'

Riding on the situation

And with the tip of the pyramid

Stuck in his butt

Pulling cheerful the levers and ropes

With freight-bedrooms

For a night's sleep

And 'eternal sleep'

And the restaurant wagon

With food

And 'Our daily bread'

There on the line some are struggling hard

To successfully apply the idea of Archimedes -

The one with the point of support -

To change gears to line B

Pulling and pulling

But the train does not derail

From his way.

Meanwhile, appear

In the wagons

Skillful foxes doing their play

With different colors and backgrounds

Prostitutes, salesman

With samples at hand

And in briefcase

All marked with the magic number,

Advertising for brand new

'Communal' achievements

Wagon-restaurants

Freight-bedrooms

The daily bread...

And circus

For sleeping...

Permanently

And, for insomniacs

The official smoking wagon ...

Everyone with its own vice.

All with smile in the corner of their mouth

Sipping from the plague of another

And their mothers on sale,

All tribute payers.

I turn my eyes to the landscape

Counting,

While from the train

On the left door

Rush to jump out

All those who didn't enjoy

The inflatable roast meat

Given as life preserver ...

Gone are the days, even weeks and months

Until someone will dare

To get out the right door

And down 'at end of line'.

I turn my eyes to the door

Counting

On the fingers.

While the fire dally
Of the speeding up train

Dramatically increases.

Rana vie / The open wound

2011-11-13T20:33:00.001+02:00

Tot ce vezi va disparea.

Cartilajul de forme descompuse

Pastrand, inca, o parte din taina secolelor,

In aceasta implozie necontrolata

A macrocosmosului dintr-un colt uitat de lume

Unde sunt, am fost mereu sau am devenit un intrus...

Tot ce vezi se va stinge.

Pot sa inteleg cum natura

Si contranatura gestului de a fi

Parte din mecanismul si comuniunea arhetipala

Cu varful si declinul lor

Se intrepatrund sub ochii mei
Cu fiecare particica si pata de culoare...

Dar (la naiba) nu inteleg cum toamna vietii

Se revarsa atat de cumplit

Asupra batraneilor garboviti

Asteptand intr-o odaie

Plamadind aluatul.

Cu maini noduroase
Cu privire fixa

Acelasi oftat si plans inecat

Cu gandul la puntea de lemn

Pe care o sa treaca cineva...

Venind si plecand

Iti spun ca tot ce vezi va disparea...

Simt o bresa,

O rana vie in agonia cicatrizarii

Acestui colt de microcosmos,

Vad o fisura

In design-ul inteligent al universului

In decorul de forme excesiv romantizate

Care nu inceteaza a se reproiecta

Undeva in fundalul constiintei noastre

Unde putem sa zgariem cu creta

O suprafata de tabla

Si sa gasim pret de o clipa

Raspuns la probleme

Dezlegate dinainte de fire.

Tot ce vezi va disparea.

Viata si moartea deopotriva

Sunt singurele cunoscute.

Crede-ma, tot ce vezi va disparea.

Dupa moartea noastra,

A tuturor
Va muri si speranta

De plictiseala

Pierzandu-si obiectul muncii.

Everything you watch will disappear.

This cartilage of decomposed forms

Keeping still, some of the mystery of the ages,

In this uncontrolled implosion

Of a macrocosmos in a world's forgotten corner

Where I am, was always or simply became an outsider ...

All you see turns off.

I can understand how nature

And any counterpart gestures to be

Part of this mechanism and archetypal communion

With their own peak and decline

Merge under my eyes

With every particles and stained colors...

But (damn) I do not understand how life's autumn

Flows so terribly

Over hunched old people

Waiting in a room

Leaven the dough.

With gnarled hands

Eyes fixed

The same sigh and unstopable crying

Thinking of the suspended wood deck

Someone will pass...

Coming and leaving.

I tell you, everything you watch will disappear...

I feel a breach,

A deep live wound in the agony of cicatrizing

This piece of microcosmos,

I see a crack

In the intelligent design of the universe

In this setting of over-romanticized forms

Never taking a break in reprojecting

On the background of owr own conscience,

Where we can only scratch

The surface of a board

And find an instant

Response to problems

Solved even before their own existence.

Everything you see will disappear.

Life and death, altogether

Are the only certainties.

Believe me, everything you see will disappear.

After the very death,

Of us all,

Hope will die for sure

of boredom,

Losing its own purpose of meaning.

Autumn colors / Culori de toamna

2011-11-12T19:48:00.001+02:00

you paint me in autumn colors
but it seems you're never around to see
how sunrise washes my face.
escaping...
I hide from those one thousand eyes
that we see
wait
invent and re-invent
just like how I invent you in warm colors:
your eyes appear purple now,
the water that slips over temples
evaporates...
leaving salty taste on my lips
diluted with the american coffee -

water, far more than magic potion -

Myself, more human than angelical,

You, just an illusion
at the end of the 5 minutes

where you seem impossible to reach.

where did you come from, wonder?!...

what is your formula,...

and how did you dissapear,

how can you drain like ashes
and scatter, through my closed fists

when every morning

I write a scenario line

just for the two of us...

ma pictezi in culori de toamna,

dar nu esti niciodata sa ma privesti

cum ma scald in rasarit.

evadez...

si ma ascund de mii de ochi -

cei pe care ii vedem

cei pe care ii asteptam

cei pe care ii inventam -

la fel cum te inventez in culori calde:

ochii tai imi apar acum purpurii,

apa care-mi traverseaza tamplele

se evapora...

am gust de sare pe buze

se dilueaza cu cafeaua lunga -

mai mult apa decat licoare magica -

eu, mai mult om decat inger,

tu, iluzie...si atat

la capatul celor 5 minute

la care nu mai stiu de unde sa te iau.

de unde ai aparut minune?!...

care iti e formula,...

si cum te-ai stins,

cum te scurgi ca scrumul

printre degetele mele inclestate

cand in fiecare dimineata

am o frantura de scenariu

pentru noi...

Beyond light

2011-11-08T21:33:00.012+02:00

beyond warm light

anchored in glowing wires, trees grow

spreading tentacles

and growing shadow contours...

we roundabout them together

do not let anything pass

between us...

both of us, superstitious by nature

pay attention to signs -

sensitively,

easily get intrigued,

'rational', as you pretend to be

you treat them as they are...-.

beyond autumn lights

there lies the bench

we always chose...

you left your frozen knees

captured by my hands,

posing into

the funny smiling girl...

Wondering how do you do now?

beyond vital lights

our eyes are born

the ones who help us see anything

but what it really is...

preocupied by anything that there is:

our alienation

continues the shadowed contour...

beyond night lights

we expose

our game ..

that rite of ghosts -

For Light makes us true spirits...

beyond morning light

with eyes half-open

drunk of coffee aroma

Thirsty, I draw the smoke...

beyond the same and only, uncounted lights

I wait

or reinvent you...

beyond light

no matter what, there's two of us,

beyond shadows.

printre lumini calde,

ancorati in fire aprinse, cresc copacii -

intind tentacule de umbra -…

ii ocolim impreuna

nu lasam sa treaca nimic

printre noi.

superstitiosi din fire

suntem atenti la semne-

pe mine

sentimental cum sunt

ma intriga,

rationala cum pretinzi ca esti

le iei 'ca atare'...-

printre lumini de toamna

se intrezareste banca

pe care am stat

dintotdeauna

ti-ai lasat genunchi inghetati

prada mainilor mele,

ai pozat pe rand

razand, zambind,...

oare cum esti acum?

printre lumini vitale

se nasc ochii nostri

cu care vedem altceva

decat este...

framantati de ceea ce este:

instrainarea noastra

continua conturul umbrelor,...

printre lumini nocturne

ne expunem

jocul nostru..

e un ritual al fantomelor

caci tot Lumina ne face spirite..

printre luminile diminetii

tin ochii intredeschisi

beat de aroma cafelei

trag din tigare...

printre aceleasi nenumarate lumini

te astept

sau te reinventez...

printre lumini

orice-ar fi suntem doi..

printre umbre.

I'M LUCID // SUNT LUCID

2011-11-06T22:02:00.008+02:00

(lyrics 2004, images 2005-2011)

I distort reality better than ever

with my eyes on the ceiling -

lights out

the heartbeat inside -

I close windows,

the shutters pulse

the pupils dilate,

see the blocks -

apparently someone did not understand

where is the place of our steps,

the walking barefoot

on sill edge:

I'm not afraid of heights ...-

through concrete eyelids I notice

a black hole,

a great lack in our plans,

it worries me ...

I'm low on concentration

and leave the magic brush,

I plant a tree

in the middle of asphalt

one autumn day...,

disconnected from the apparatus

running barefoot

swimming through the pile of leaves -

subtle breeze

turns into real waves -

from a careless choice of ingredients

our dreams are born,

through mechanisms with thousands of wheels and clocks,

mercury thermometers measure our febrile creativity

to where it ends

our flight of Icarus

from a tall building:

we dispel

like romping berries of mercury

on the asphalt .......

I am aware,

even lucid...

distorsionez realitatea mai bine ca oricand

cu ochii pe tavan -

jocul luminii de afara

bataia inimii dinauntru -

inchid ferestrele

pulseaza obloanele

pupilele se dilata,

vad blocuri -

cineva pare-se ca nu a inteles

unde e locul pasilor,

mersul descult

pe muchia pervazului:

nu mi-e frica de inaltime...-

se intrevede printre pleoape de beton

o gaura neagra,

un lips in planurile noastre,

ma preocupa...

slabesc in concentrare,

las penelul fermecat,

plantez un copac

in mijlocul asfaltului..

..intr-o zi de toamna,

ma decuplez de la aparate

si pasesc descult

inot prin maldare de frunze -

adieri subtile

se transforma in adevarate valuri -

din ingrediente neatent alese

se nasc visele noastre

prin mecanisme cu mii de rotite si ceasuri,

termometrele cu mercur ne masoara febra creativa,

pana acolo unde se termina

zborul nostru de icari

de pe o cladire inalta:

ne risipim

ca bobitele de mercur

pe asfalt.......

sunt constient,

chiar lucid...

PULSUL UNIVERSULUI

2011-11-02T12:43:00.030+02:00

Imi place sa fiu conectat la pulsul Universului si gasesc in asta cel mai de pret dar pe care il poate primi cineva si, probabil, singurul adevarat pe care il poti primi, neconditionat, intr-o viata.

I like to be connected to the pulse of the Universe and I find it the most precious gift someone can be given and, perhaps, the only sincere gift one can, unconditionally, receive in a lifetime.

Despre re-inventarea roatei / About re-inventing the wheel

2011-10-30T19:50:00.030+02:00

Exista oameni revolutionari, care sunt capabili sa reinventeze roata, oameni care 'invart' roata si pe langa ei mai sunt oamenii care pun bete in roata' //

'There are revolutionary people, who are able to reinvent the wheel, people who stick up for it and around them there are also people who put sticks in the wheel'

/ Intrebare / Question /

2011-10-29T11:43:00.012+03:00

Ar trebui sa ne obisnuim cu gandul
ca natura este in plin proces de lichidare
si ziua de maine ne re-aseaza intr-o lume recompusa
de la micro la macroscara,
oameni - fiinte umane - fata in fata cu produsi organici
sau genetici,
oameni liberi cu nebuni care au impresia ca sunt liberi,
oameni care au un Cuvant de spus
de indivizi care au impresia ca au un cuvant de spus,
noi, in mizeria noastra naturala, fiziologica,
in imperfectiunea asumata...
contra voi, cei spalati complet si goliti de continut,
purtatori inconstienti de boala perfecta...
voi, 'ambasadori ai pacii,
fata in fata cu Dumnezeul nostru'...? //

Should we get used to the idea
that nature is in full liquidation process
and that tommorow comes with re-arranging us in a re-composed world
from micro to macro-scale,
people - human beings - face to face with organic
or genetic products,
free men aside of freedom inducted freeks
man that have a Word to say
out of individuals who have false impressions about themselves,
we, in our own physiological, natural dirt,
in our own asumed imperfection...
against you, the completely washed and emptied ones,
unconscious carriers of perfect disease...
you, 'pilgrims of peace,
face to face with our God'...?

Time (Definition) / Timpul (Definitie)

2011-10-27T10:11:00.004+03:00

Time can be defined without the verbs 'to be' and 'to have'. It is exactly how long it takes Season to test all His wardrobe. Sometimes, a scarf can be a difficult choice. I think we are somehow like moths who walk his clothes ...

Timpul poate fi definit fara verbele 'a fi' si 'a avea' langa. Este exact cat ii ia Anotimpului sa isi testeze toata garderoba. Uneori, este nehotarat ce esarfa sa aleaga. Am impresia ca noi suntem niste molii care umblam prin hainele lui...

Toamna in vara si moartea in viata (versuri 2002)

2011-10-19T21:45:00.021+03:00

Mi-a ramas sa vizualizez:
cum sta scris
Pseudonimul
incadrat de ecuatia mea umana
literele goale...
radacina firava
distrusa de Mana
de care nu m-am interesat
atata vreme.

Aleea pare atat de scurta:
chinuri diurne
trec
peste toate pendularile mele nocturne -
un nor de ceata
cand zbor
Acum.

de ce mi-ar fi pasat,

atata vreme
de care nu m-am interesat
distrusa de mana,
radacina firava:
literele goale...
incadrat de ecuatia mea umana,
Pseudonimul
cum sta scris.
Mi-a ramas sa vizualizez...

Foto 2006 - 2011

Mai multe imagini la acest link

2011 Holiday house

2011-10-09T18:42:00.016+03:00

2011

55 sqm holiday house + garages covered by terrace

Technical data:

- basement+garage // ground floor // attic
- living area (with kitchen) 28 sqm
- bathroom on each floor

- 2 large double bedrooms
- generous space for all the rooms and possibility of re-arrangement
- minimum use of space for circulations and stairs
- large basement
- large open terrace
- double garage

This is also a tutorial that proves that ArchiCAD 13 is a remarcable visualisation tool combined with other softwares and post-filters and of course, an open mind (!).

Blending done with any images editing software that works with layers
1st layer - Images rendered with Archicad 13
2nd layer - direct crops / captures from ArchiCAD 13 3d window

Applying of several effects on the layers and also blending the opacity between them leads to unusual, amazing renders. From my point of view they look better than the ones done with Artlantis and I did minimum of material setting in ArchiCAD.

I am among the first users of ArchiCAD that used this method and also thought some of my ex-coleagues. So, you are learning from a pro.

see more at these links:
Rendering / blending tutorial
3d Exploring

Here are some Artlantis interior renderings too...

Ideile plutesc...noi le culegem

2011-09-07T21:32:00.009+03:00

House of Seven Gardens - Ikimono Architects

Ideile plutesc...noi le culegem

Candva am schitzat o casa care arata cam 85% din casa asta si cand spun asta ma refer la cantitatea de idei ce o alcatuiesc conceptual, nu neaparat reflectia lor in spatii construite...E ciudat sa descoperi ca cineva din Japonia, de pe partea cealalta a globului, unde poti ajunge daca faci un foraj mare de tot prin centrul Pamantului, cineva de acolo, gandeste si simte atat de apropiat ca tine. Si totusi e frumos sa stii ca exista distanta si distanta aceea va ramane. Ceea ce ma bucura e ca macar acest vis pe care il aveam candva e macar realizat de altcineva, chiar daca nu de mine...Schitzele le-am facut intr-un local cu specific japonez acum 3 ani si le am pe undeva...probabil influenta culturii japoneze si-a spus cuvantul in design...:)

Ideile la care ma refer se gasesc in imaginile de mai jos:

- o casa in tesut urban care sa creeze un micro-univers al ei.
- arhitectura care sa reflecte o ierarhie spatiala descompusa pe orizontala cu relatiile intre membrii familiei- alternanta spatii inchise cu spatii semi-deschise (patio)
- terasa de pe acoperis (numai buna pentru un telescop :) )
- gruparea spatiilor de depozitare in perete spre holuri (idee folosita recent intr-un proiect de-al meu pt un concurs, iar holul se deschide printr-o suprafata vitrata spre o curte - mobilier minimalist- acoperis terasa realizat din tabla cutata- pereti albi, ferestre generoase, usi glisante, turnante
- ideea de mini-labirint
- vegetatie agatatoare si arbusti
- alei realizate din dale mici de piatra sau beton

Sursa: http://www.archdaily.com/154123/house-of-seven-gardens-ikimono-architects/

Si arhitectii au nevoie de case, au nevoie de spatiu, de recreere, de libertate, de iubire, de caldura, de tandrete, de satisfactie, de sentimentul pe care il ai atunci cand esti complet.

Ne-am nascut ca niste culegatori si am ramas la fel in esenta, pentru ca si azi noi continuam sa culegem idei din inepuizabila unda de nebunie si intelepciune care ne inconjoara.

Greece June-July 2011

2011-07-18T10:19:00.003+03:00

Now, there are available on my page on FB (because of a more user-friendly menu) the sets of pics from my latest journey and holiday in Greece.

The page is available at this LINK

ICON 2-8 COMPETITION

2011-05-23T22:21:00.032+03:00

2011

Competition project for a multi-use building in Bucharest.

Competition project

Multi-use architecture containing:

- housing

- experimental theater

- retail / comercial functions + services

- cafe

- minimarket

- parking

- green terraces

The concept is mainly based on the maximal use of underground and ground level functions (70% of the plot) and blending the housing modules in order to assure a proper sun lighting, but also to create a better, ecological environment. In therms of traditions and styles, the insertion was mainly inspired by local architecture elements and art-nouveau design principles, which is the main contemporary style in the area.

Green terraces and plants play an important role. The main facade is oriented North -North West, the back is south oriented. It is more appropriate for green terraces. The main facade is also oriented to a hystorical and architecture landmark. It was a must to make a traditionally inspired architecture with new-romanian elements and also art-nouveau ornaments. The deconstructivist proposed building is a false contextualist building and all that is justified in blending the appartments around the back yard for climatic and lighting purpose and making a perfect match to the context in the main facade with arabesques and ornaments specific to the art-nouveau in the zone.

The horyzontal registeres grow from a byzantin look (the neighbour church is in that style), then to a pastiche of art-nouveau, then they get clean at the 3rd level where there is a more modernist apporach and the last froor is covered by a metal folded pitched roof that makes a perfect spiral with the shading elements and acts along with them like a singular layer that distorts from a general roofline to a triangulated surface. The result is a building that grows out of local history.

CONCURS MANIFEST ICOANEI 2-8

ANALIZA CANTITATIVA

ZONA STUDIATA ESTE IN ESENTA UN INTERSPATIU URBAN, BINE MARCAT DE PREZENTA UNOR SPATII VERZI DE MARI DIMENSIUNI. EA SE CARACTERIZEAZA PRIN ETEROGENITATE FUNCTIONALA, DIMENSIONALA, SUB ASPECT CANTITATIV.

FUNCTIUNILE PREDOMINATE IDENTIFICATE SUNT:

- SPATIILE VERZI REPREZENTATE DE GRADINA ICOANEI SI GRADINA CASEI UNIVERSITARILOR

- FUNCTIUNI ADMINISTRATIVE - PREZENTA AMBASADELOR IN ZONA

- FUNCTIUNI DE INVATAMANT MEDIU SI SUPERIOR - SCOALA CENTRALA DE FETE SI CASA UNIVERSITARILOR

- LACASE DE CULT - BISERICA ICOANEI, RESPECTIV CEA ANGLICANA, ASEZATE FATA DE INTERSECTIA STRAZILOR ICOANEI, VERONA SI CARAGIALE LA UN RAPORT DE AUR

- 2 IMOBILE DE LOCUINTE SEMI-COLECTIVE P+5

PE LANGA ACESTE FUNCTIUNI PREDOMINATE CO-EXISTA FUNCTIUNI MICI DE LOCUIT SI DE ALIMENTATIE PUBLICA REPREZENTATE IN CLADIRI JOASE P - P+2, PRECUM SI UN CABINET STOMATOLOGIC CU CARE SE INVECINEAZA SITUL INSERTIEI. CELE MAI INALTE CLADIRI DIN ZONA SUNT O CLADIRE DE LOCUINTE RECENTA (P+5) SI O CLADIRE DE BIROURI (P+6) SE REMARCA CLADIRILE DE LOCUIT DE LANGA GRADINA ICOANEI CU O UTILIZARE INTEGRALA (MAXIMALA) A PARTERULUI, DATORITA PARCELELOR REDUSE SI CREAREA UNEI TERASE VERZI LA ETAJ, SOLUTIE ABORDATA SI IN PROPUNEREA PREZENTATA.

PE SIT SI IN IMEDIATA APROPIERE A SITULUI STUDIAT, EXISTA O SERIE DE CLADIRI CARE SUNT PARASITE SI NU DETIN IN PREZENT O FUNCTIUNE.

ANALIZA CALITATIVA

DIN PUNCT DE VEDERE CALITATIV, ZONA ESTE CARACTERIZATA DE O ACCEASI ETEROGENITATE ALTERNAND SPATII DE O CALITATE BUNA SI SPATII MARCATE DE CONFLICTE SI NEINTELEGERI IN EXPLORAREA LOR. INTALNIM IN MIXAJ, EDIFICII CU VALOARE DE REPER LA NIVEL ZONAL SI LOCAL, CU CLADIRI MODESTE, PROBLEMATICE IN ACTUALA CONJUNCTURA.

AM CLASIFICAT ELEMENTELE COMPONENTE ALE ANALIZEI IN URMATOARELE CATEGORII:

- INSULE - DELIMITATE DE STRAZILE PRINCIPALE (GRADINA ICOANEI E INSULA, NOD, REPER SI E BINE DELIMITATA.

- TRASEE - SE REMARCA VIITORUL TRASEU PIETONAL SPRE PIATA GALATI, DAR SI CELE CARE TRAVERSEAZA GRADINA ICOANEI

- NODURI - MARI -GRADINA ICOANEI, DE IMPORTANTA MEDIE SI MINORA (IN ORIENTAREA IMEDIATA - FANTANA, SCUAR, STATUIE - ORICE ELEMENTE INSULARE IESITE DIN COMUN)

- REPERE - CELE DOUA BISERICI CARE MARCHEAZA TRASEUL PRINCIPAL AMINTIT MAI SUS, SCOALA CENTRALA DE FETE, RENUMITUL TEATRU BULANDRA, APOI REPERE ZONALE (TERASA DIN GRADINA ICOANEI, CLADIRI DE DIMENSIUNI MARI) SI REPERE IMEDIATE (FANTANA, TURN, FRONT BOVINDOU, BALCON - ELEMENTE PROEMINENTE SAU SITUATE PE COLTURI)

- LIMITE - BALUSTRADE, FRONTURI CONTINUE, GARD VIU SAU ARTIFICIAL - MARCATE IN PLAN

- PERSPECTIVE VALOROASE - BISERICA ANGLICANA SPRE BISERICA ICOANEI, PERSPECTIVA SPRE IMOBILUL DE LOCUINTE TERMINAT RECENT, PERSPECTIVE DIVERSE, IN GRADINA ICOANEI SAU SPRE SCOALA CENTRALA DE FETE.

INSERTIA PROPUSA OCUPA O POZITIE PRIVILEGIATA IN ACEASTA SCENOGRAFIE SPATIALA, FIIND VIZIBILA DIN UNGHIURI DIVERSE, CU SPECIFICATIA CA O OCUPARE INTEGRALA A FRONTULUI AR OBTURA PERSPECTIVA VALOROASA DE LA BISERICA ANGLICANA SPRE BISERICA ICOANEI - CAPAT DE PERSPECTIVA, PE TRASEUL PIETONAL PRINCIPAL.

ANALIZA FONDULUI CONSTRUIT

ANALIZA FONDULUI CONSTRUIT A CONTURAT UN PORTRET SINCRON-DIACRON AL LOCULUI, IMPARTINDU-L IN DOUA MARI CATEGORII DE CLADIRI:

- CLADIRI DE PERSPECTIVA - RECENTE / CU VALOARE ISTORICA RIDICATA RESTURATE SAU IN PROCES DE RESTAURARE

- CLADIRI NEISEMNATE, IN STARE DE DEGRADARE AVANSATA, ABANDONATE, FARA FUNCTIUNE, PERSPECTIVE SI OPORTUNITATI IN ZONA

DIN PUNCT DE VEDERE AL VECHIMI CLADIRILOR SE REMARCA IN SPECIAL BISERICA ICOANEI, IN STIL BRANCOVENESC (SEC XVIII) SI GRADINA ICOANEI DATAND DE LA INCEPUTUL SECOLULUI XIX, APOI SCOALA CENTRALA DE FETE APARTINANDU-I MARELUI ARHITECT ION MINCU. DINTRE CLADIRILE RECENTE, SE REMARCA CLADIREA DE LOCUIT INVECINATA CU GRADINA ICOANEI, CARE A PASTREAZA UN FRAGMENT DINTR-O FOSTA CASA CU TURN IN STIL NEO-ROMANESC, DAR SI RELATIA EI CU VECINATATILE.

PREDOMINA CLADIRI DE LA SFARSITUL SECOLULUI XIX SI INCEPUTUL SECOLULUI XX IN STIL NEO-ROMANESC SI NEO-CLASIC. ELEMENTELE DEFINITORII ALE ACESTOR STILURI AU FOST AMPLU RE-ITERATE IN PROPUNERE.

AM PROPUS URMATOARELE FUNCTIUNI SI ACCESE:

L - ACCESUL PRINCIPAL IN ICON RESIDENCE 2-8 DE PE PIETONAL - 16 APARTAMENTE DE DIMENSIUNI SI TIPURI DIFERITE

ACCES LATERAL PARKING LOCUINTE - SUBSOL 2 - DE PE STR. I.L. CARAGIALE (SENS UNIC) CU ASCENSOR DE AUTOMOBILE. NUMAR TOTAL LOCURI - 33 (IN MEDIE 2 LOCURI / APARTAMENT)

M - ACCES PRINCIPAL MINI-MARKET DE PE PIETONAL. DALAJUL DE TIP GRILA OFERA VEDERE SPRE STRUCTURA SUBSOLULUI CONTINUATA PE VERTICALA CU STRUCTURA APLICATA A CORPULUI DE CIRCULATIE VERTICALA.

ACCES APROVIZIONARE DEPOZIT (SUBSOL 1) - LATERAL DE PE STR. I.L. CARAGIALE (SENS UNIC) CU ASCENSOR DE AUTOMOBILE

NUCLEU SCARA SI LIFT APROVIZIONARE MARKET DIN SUBSOL 1

GRUP SOCIAL / SANITAR ANGAJATI MINIMARKET (SUBSOL 1)

A - STUDIO TEATRU EXPERIMENTAL - ACCES DE BAZA COTA 0 (2 FLUXURI) - DE PE PIETONAL. STUDIOUL ESTE USOR CONVERTIBIL PRIN FORMA CIRCULARA TRIPARTITA SI COMPONENTA GRADENELOR RETRACTABILE. REZULTA UN EXEMPLU DE MINI-MAPARE TEATRALA. CENTRAL SE REGASESTE SI UN PODIUM MOBIL CU ROL IN SCENELE DE MONOLOG

- ACCES APROVIZIONARE / TEHNIC IN DEPOZIT SI MECANOSCENA - SUBSOL 1

PE TIMPUL VERII, TEATRUL GAZDUIESTE EVENIMENTE SPECIALE, DESCHIZANDU-SE PRIN PERETI PLIANTI SPRE INTERSECTIE IN EVENTUALITATEA PARALIZARII TOTALE A CIRCULATIEI AUTO SI PRIMESTE UN APORT SECUNDAR DE PUBLIC, DE ASEMENEA ISI CRESTE COMPONENTA INTERACTIUNII CU PUBLICUL SI SANSELE DE ATRACTIE. COLTUL TEATRULUI BENEFICIAZA SI DE O CORTINA MOBILA CARE PROTEJEAZA SIMULTAN ZONE DIFERITE ALE FATADEI.

ACCES SECUNDAR - LA SUPANTA +2.55 - ACTORI - GRUP SOCIAL, SANITAR, DEPOZITE DE RECUZITA, SPATII DE RELAXARE SI INTERACTIUNE, PRECUM SI REPETITIE.

C - CAFENEA / LOUNGE / BAR - FUNCTIONARE EXTENSIBILA PE SEZONUL CALD

ACCES APROVIZIONARE SUBSOL 1 IN DEPOZIT SEPARAT DE DEPOZITELE AFERENTE SPATIILOR COMERCIALE

TERASA DE VARA - COMUNICARE CU PIETONALUL, SPRE CARE SE DESCHIDE PRINTR-UN PERETE PLIABIL

B - ICON SHOP - HAINE SI ACCESORII DE LUX + SERVICII AUXILIARE

ACCES APROVIZIONARE - DEPOZITE SEPARATE / MODUL

MODULE COMERCIALE - POSIBILITATEA DE INCHIRIERE

GRUP SANITAR SI SPATII DE RECREERE ANGAJATI.

TERASELE VERZI DE PE LIMITA POSTERIOARA A PARCELEI PREZINTA FANTE DE VENTILARE ALE PARCAJELOR SI DEPOZITELOR SUBTERANE

G - ACCES EVACUARE RESTURI MENAJERE - LOCUINTE + SPATII COMERCIALE

ANSAMBLUL REZIDENTIAL ‘ICON RESIDENCE 2-8’

CONCEPTUL 'ICON RESIDENCE 2-8' PROPUNE UN SET DE APARTAMENTE DE LUX IN MIXAJ SOCIAL, PE GUSTURI SI STILURI DE VIATA DIVERSE. AM IDENTIFICAT URMATOARELE ATRIBUTE ALE LOCUIRII DE LUX, APLICATE SI BINE CONTURATE IN PROPUNERE:

- MIXAJ SOCIAL, DAR SI MIXAJUL SPATIILOR INTIME CU CELE DE SOCIALIZARE

- UNICITATE A FIECARUI MODUL IN PARTE

- LEGATURA CU IDENTITATEA LOCULUI SI REPREZENTATIVITATE - ASTFEL INCAT APARTAMENTELE SA FIE ASEMANATOARE UNOR IMOBILE IZOLATE PE LOT CU COMUNICARE CENTRALA SI ACCES PERIFERIC - TIPOLOGIE SPECIFICA BUCURESTIULUI, MAHALAUA - TRANSPUSA ETAJAT IN CURTEA INTERIOARA CU GRADINI SUSPENDATE

- ECOLOGIE SI NATURALETE PREZENTA ABUNDENTA A VEGETATIEI - TERASE VERZI, ARBORI DE TALIE JOASA SI ARBUSTI, PRECUM SI VEGETATIE CATARATOARE

- SUPRAFETE MARI SI COMFORT SPATIAL - O COMPONENTA ESENTIALA A SELECTIEI CLIENTELEI, IN CONTEXTUL IN CARE PRETURILE SE FIXEAZA LA METRUL PATRAT

SUBSOL 1 + SUBSOL 2 - CONSTRUITE APROAPE INTEGRAL - POT 95%

EXISTENTA IN ZONA A IMOBILELOR DE LOCUIT CU TERASE LARGI LA NIVELUL 1 AL CLADIRII AU DETERMINAT OPTIUNEA DE A ABORDA CLADIREA PROPUSA IN ACEASTA MANIERA SI DE A MAXIMIZA SUPRAFATA SPATIILOR COMERCIALE DE LA NIVELUL PARTERULUI.

PARTER

- MINI-TEATRU EXPERIMENTAL, SHOPPING CENTER, MINI-MARKET

- CURTE DE LUMINA CU TERASE VERZI

- SUPRAFATA TOTALA CONSTRUITA - 890 MP / 1300 MP

- P.O.T. = 70%

ETAJ 1

- 5 APARTAMENTE, CURTE INTERIOARA, TERASE VERZI

- SUPRAFATA TOTALA CONSTRUITA LOCUINTE - 755 MP / 1300 MP

- P.O.T. = 57 %

ETAJ 2

- 4 APARTAMENTE CURTE INTERIOARA, TERASE VERZI

- SUPRAFATA TOTALA CONSTRUITA LOCUINTE - 735 MP / 1300 MP

- P.O.T. = 55 %

ETAJ 3

- 4 APARTAMENTE CURTE INTERIOARA, TERASE VERZI

- SUPRAFATA TOTALA CONSTRUITA LOCUINTE - 655 MP / 1300 MP

- P.O.T. = 50 %

ETAJ 4 RETRAS

- 3 APARTAMENTE, CURTE INTERIOARA, TERASE VERZI

- SUPRAFATA TOTALA CONSTRUITA LOCUINTE - 460 MP / 1300 MP

- P.O.T. = 35 %

Panorame - M-tii Fagaras - Vf Suru

2011-04-09T22:02:00.001+03:00

Mai multe detalii aici:

http://ro.wikipedia.org/wiki/V%C3%A2rful_Suru,_Mun%C8%9Bii_F%C4%83g%C4%83ra%C8%99

LIVADA POSTEI COMPETITION 2011

2011-04-09T01:40:00.027+03:00

2011

MAR 2011 - Competition project

‘Livada Postei’ (‘Post Orchard’ – historical name)
Urban / Landscape Design & Remodel - ImPlanT

(text included in the submitted set – translated into English)

I. CONCEPT - CONNECTION WITH THE CITY

The main concept of my design is the following: 'not all that is born arbitrary ends in the same way'.

Any urban insertion is disputable and inevitably criticizable in an individual or common sense.

Sustainability gets an individualistic connotation, oftenly private or exlusiviste under purely financial circumstances.

Such situations under strange, aggressive circumstances massacre the cities and deprives the ordinary citizens of a pleasant environment. These situations have increased in recent years as the generation of 'copy and paste’ fully exploited them.

The strong alteration of such a special place as ‘Quaterpillar Hill’ (“Dealul Omizilor’ – hystorical name) particular should arouse strong emotions among Brasov’s citizens, also to give birth of strong reactions among specialists.

That's why I wanted this project to be a manifesto against such situations and, as an exercise in 'COURSE CORECTING', I proposed a 'green implant "instead of one based on concrete at the base of ‘Caterpillars’ Hill’. The new created space would be public, instead of enclosed, exclusive residential like the one built on the top of the hill, focusing a series of cultural and recreational activities, bringing to life a place that looked like losing its personality and breath...

II. OBJECTIVES

This project proposes, starting from the concept shown above, the zoning of the parc, in order to fulfill contemporary needs in use of such a public space, beyond the nostalgia of a set of certain inner impulses that throw us at the same time, paradoxically, in that dangerous zone where we are unable to react against incorrect and unfair facts which oftenly turn out into attacks over the quality and sustainability of urban space.

I called the proposed objectives, suggestively, romantic, yet simple, 'play, recreation', 'intimate hanginggarden ', 'usonian pavilion', 'sightsee', 'amphitheater' in order to attempt an attack inside the mind of a regular, conventional Brasov citizen, used and re-used with medieval, old, trditional automatisms, but with that hope to convince him to visualize that there may be something beautiful, yet modern fleet to be found and shared in his vision, too. And I am not reffering to a 'housing park’ but to a ‘green, urban parc’.

The porposed objects are a manifesto against the fake idea that 'what is arbitrary born ends in a similar way’. "Their layout is basically a pamphlet, but absolutely amazing, this arrangement fits perfectly in the force line and the main features of the landscape and that was positively 'speculated' (see the red zoning diagram).

III. VEGETATION

As the name suggests, ‘ImPlanT’ is a concept that aims to better mediate integration in the natural background of the artificial features proposed in a relatively natural and welcoming, landscape but erased, without affection, personality and assessment, and this mediation is based on the integration of nature in nature in the first place.

In terms of vegetation I proposed the following:

- Making floral carpets placed in terraces and hanging gardens, integrated in the land morphology and exposed to the main open perspective areas from opposed downtown

- Completing the alignment of chestnut orchards on the street side border and developing a fonic insulating green line along this limit

- Creating a secondary alignment of the genus Acer trees that separates the parking area of the park itself, coupled with shrubs and hedges

- Planting of Pinus (pine) in playground areas, because these trees fit perfectly with their ludic crown which also provides good sunshade for the supervising parents.

- Median planting areas with birch small clusters, exposed to main perspective directions from the base. This species is suitable for associating with the objectives, especially of a more modern origin and shape (amphitheater, pavilion, bridge for cyclists). Planting is done in small clusters, to highlight the sculptural qualities of particular strain of the species. (an the tall, straight, unique trunks)

- Clearing open spaces and are marked by oaks with large crown, in the most natural stance of the species. Ditto for Linden Trees (Tilia)

- Enclosing and consolidation of slopes with hornbeam, which have low stature and dense root

NOTE: Delineation of pathways or focal areas, it is proposed to supplement the mass of different species of trees with shrubs. Playgrounds and all places exposed to the street and parking areas will be lined with hedges.

IV. URBAN FURNITURE

- isolated Banquets 2 x 0.5 x 0.45 m with the galvanized steel and painted black electrostatic field and 2 layers of laminated wood fiber located at 90 degrees.
- Protective iron tree grates are made from a rectangular mesh mask form provided by the empty spot, lined with granite or marble cubic 9x9x9 cubes, 1 cm + joints prefabricated rectangular concrete tank and metallic mechanical fixing.
- Water Sourcesdrinking - drinking fountains Corten steel, which are placed in areas of pedestrian traffic nodes, being embedded in the pavement and also lined with cubic stone. May be associated with slatted benches and trees in a whole island.
- Metal waste sorting bins, mobile, with support possible to connect to the foundation blocks - located some 2 per item and the distances along the paths
- 2 bicycle parkings – metal manufacturing with heavy concrete foundation blocks
- Parc Logo - copper sheet metal manufacturing - located in all access points.

VI. LIGHTING

- The main component of night lighting is based on four lighting pillar fixtures in crossed solace. They should be placed on the corners of objectives to ensure a uniform lighting. Schematic representation of the surface coating simulates a parc lighting at night for a 45-degree cone of light. White LED based technology.

- Lighting of the paths that are not in proximity of the objectives is achieved by paving lamps. White LED based technology.

- Tree grates access areas are equipped with light spots. On the evening or night time, tree crown is lighted pleasantly.

- The most intimate lighting component is the location of a LED network under the benches in the recreational areas.

VII. Paving (SEE PLAN AND LEGEND)
I kept 65% of the existing pedestrian paths in the old memory of a naked body, with no vital organs, hanging in some drained blood vessels. I reconnected them to a system that I prefer to call it more than ‘transplanted’. The best word that fits is ‘implant’ because, in the operation lies a newly created body, if not the essence of life is based on ephemeral live events well articulated in a single space, later recollected by memory, individual and common?...

VII. Leaking water run will be achieved through enclosing the superior part of the proposed objectives with smaller gutters reunited in larger precast concrete trapezoidal channels taken up by radial gullies along the main access paths into the city sewers. For this purpose, the property limit, tangent to the parking will provide a continuous carriageable gutter.

REAMENAJAREA PARC ‘LIVADA POSTEI’ BRASOV - ImPlanT

I. CONCEPT – LEGATURA CU ORASUL

Conceptul de la care am plecat este acela ca 'nu orice se naste arbitrar se termina la fel'

Orice insertie urbana e discutabila si inevitabil supusa criticii individuale ori colective, dupa caz.

Sustenabilitatea unei insertii capata conotatii individualiste, private, exlusiviste, sub aspect strict financiar.

Astfel de situatii cu caracter agresiv si exclusivist masacreaza orasele si il priveaza pe cetateanul de rand de calitatea unui mediu ambiant placut. Aceste situatii s-au inmultit in ultimii ani pe masura ce generatia 'copy paste' le-a exploatat la maximum.

Alterarea unui astfel de cadru special cum este Dealul Omizilor trebuie sa trezeasca emotii puternice in randul louitorilor orasului, si in acelasi timp sa nasca si reactii in randul specialistilor.

Imi pun intrebarea absolut legitima, oare nu ar fi fost mai bine ca noul ansamblu rezidential sa fi fost construit la baza dealului, in relatie cu frontul opus ?..

De aceea am dorit ca acest proiect sa fie un manifest impotriva situatiilor de acest fel si, ca un exercitiu de 'COURSE CORECTING', am propus realizarea unui 'implant verde' in loc de unul de beton la baza Dealului Omizilor. Noul spatiu are caracter PUBLIC, fata de cel exclusivist prezentat anterior, concentrand o serie de activitati culturale si de agrement, readucand la viata locul care parea ca-si pierduse personalitatea si suflul.

III. OBIECTIVE

Prezentul proiect propune, plecand de la conceptul ilustrat anterior, zonificarea noului parc conform cu utilizarea contemporana a unui asemenea spatiu public si cu necesitatile omului contemporan, dincolo de nostalgia unor elemente care ne arunca totodata, in mod paradoxal, inafara lipsei de reactie fata de atentatele la calitatea si sustenabilitatea spatiilor urbane, fie ele preponderent naturale sau artificiale.

Am numit obiectivele, in mod sugestiv, romantic, dar simplu, 'joc, joaca, recreere' , 'gradina suspendata intima', 'pavilion usonian', 'belvedere', 'amfiteatru' pentru a incerca un atentat la comoditatea din interiorul mintii brasoveanului obisnuit, invatat cu ale lui, cu medievalul, cu ce e vechi, traditional, dar asta pentru a-l convinge sa spere si sa vizualizeze ca SE POATE sa existe ceva frumos, dar MODERN care sa se numeasca parc si in viziunea lui. Si nu 'parc de locuinte', parc de copaci.

Obiectivele propuse sunt un manifest impotriva ideii false ca 'ceea ce se naste in mod arbitrar se termina la fel'. Dispunerea lor este in esenta un pamflet, dar in mod absolut uimitor, aceasta dispunere se integreaza perfect in linia de forta a terenului si acest lucru a fost 'speculat' in mod pozitiv. ( vezi schema de mai sus )

IV. VEGETATIE

Asa cum ii spune si numele, 'imPlanT' este un concept care doreste sa medieze mai bine integrarea, pe langa natural, a artificialului intr-un background relativ natural, primitor, dar sters, lipsit de afectivitate, personalitate si apreciere, iar aceasta mediere porneste de la integrarea naturii in natura in primul rand.

Din punct de vedere al vegetatiei se propun urmatoarele:

- Realizarea de covoare florale care se remarca in ipostaza de gradini suspendate, bine integrate in morfologia Dealului Omizilor.

- Completarea aliniamentului de castani de pe limita cu Strada Sirul Livezii si dezvoltarea unei linii verzi in paralel cu aceasta limita

- Realizarea unui aliniament secundar cu arbori din specia Acer care sa separe locurile de parcare de spatiul propriu-zis al parcului, dublat de garduri viu

- Plantarea cu Pinus (pin) zonele cu locuri de joaca, deoarece, acesti arbori au un caracter ludic si umbresc bine locurile de odihna / supraveghere ale adultilor

- Plantarea cu mesteceni a zonelor mediene si expuse perspectivei. Aceasta specie se preteaza pentru asocierea cu obiective cu un caracter mai modern ale parcului (amfiteatrul, pavilionul, podul pentru biciclisti. Plantarea se face in mici palcuri, pentru a pune in valoare calitatile deosebit de sculpturale ale tulpinei speciei.

- Locurile deschise si de luminis sunt marcate de stejari cu coroana mare, in ipostaza cea mai fireasca a speciei. Idem pt Tei (Tilia)

- Bordarea si consolidarea bazei versantilor cu carpeni, care au statura joasa si o radacina deasa

NOTA: Pentru delimitarea aleilor sau a zonelor focale, se propune completarea masei de copaci cu arbusti de specii diverse. Locuruile de joaca si toate zonele expuse spre strada si parcare vor fi bordate cu garduri vii.

V. MOBILIER URBAN

Banchete izolate 2 x 0.5 x 0.45 m cu baza din otel zincat la cald si vopsit in camp electrostativ negru si 2 layere de lemn lamelar dispuse cu fibra la 90 grade.

Gratarele de protectie copac din fonta sunt alcatuite dintr-o masca sub forma de plasa rectangulara prevazuta cu gol pentru spot, bordata cu granit cubic sau marmura alba cubica 9x9x9, rosturi 1 cm + cuva beton prefabricata rectangulara si confectii metalice de fixare mecanica.

Surse de apa potabila - Cismele din otel corten, care se amplaseaza in zonele de noduri de circulatie pietonala, fiind incastrate in pavaj si bordate deasemenea cu piatra cubica. Pot fi asociata cu banchete si copaci cu gratare intr-un ansamblu insular.

Pubele din metal cu sortarea deseurilor, mobile, cu suport prin in blocuri de fundare – amplasate cate 2 per obiectiv si dealungul aleilor la distantele stabilite in PT .

2 Parcari de biciclete realizate din confectii metalice cu blocuri de fundare.

Sigla parc - confectie metalica din tabla de cupru – amplasata in toate punctele de acces.

VI. ILUMINAT NOCTURN

A. Componenta principala a iluminatului pe timp de noapte se bazeaza pe stalpi de iluminat cu patru corpuri in consola dispuse in cruce. Stalpii se amplaseaza pe colturile obiectivelor pentru a asigura un iluminat uniform. Reprezentarea schematica simuleaza o acoperire a suprafetei parcului pentru un unghi de 45 de grade al conului luminos. Tehnologie pe baza de LED alb.

B. Iluminatul aleilor care nu se afla in proximitatea obiectivelor este realizat integral prin lampi de pavaj dispuse uniform in zonele vizate.

C. Gratarele copacilor din zonele de acces sunt dotate cu spot-uri. Pe timp seara sau de noapte, coroana arborelui este luminata placut.

D. Componenta cea mai intima a iluminatului nocturn o constituie amplasarea unei retele de LED-uri sub banchetele de tip 'deck' din zonele de recreere. Amplasarea se face conform planului si imaginilor atasate.

VII. CIRCULATII SI PAVAJE (VEZI PLAN SI LEGENDA)
Am pastrat peste 65% din vechiile trasele pietonale existente in memoria unui 'organism gol, fara organe vitale' atarnat in cateva vase sanguine secate pe care le-am reconectat la un sistem pe care prefer sa-l numesc mai mult decat 'transplantat'. Cuvantul cel mai potrivit este 'imPlanT', intrucat, in ce rezida functionarea unui organism nou creat daca nu in esenta vietii furibunde de evenimente efemere care se articuleaza intr-un spatiu unitar?..

VII. SCURGEREA APELOR PLUVIALE

Scurgerea apelor pluviale se va realiza prin bordarea obiectivelor propuse cu rigole trapezoidale prefabricate din beton preluate de rigole radiare dealungul aleilor principale de acces in reteaua de canalizare a orasului. In acest scop, pe limita de proprietate, tangent cu parcarea se va prevedea o rigola carosabila continua.

2010 - DIPLOMA

2011-01-06T13:24:00.026+02:00

2010

The urban masterplan comes first to reorganize a non-identity site and then the architecture will come second, but there is still a good chance for a synthetic approach based on analysis and a lot of study. Other important facts are the presence of the river, the remarcable perspective towards the medieval Sibiu and the silhouette of Transilvanian Alpes embracing all, the presence of the railway lines, the interestingly well conserved medieval shaped street courses, social facts as housing in very bad conditions, the presence of large and small comercial units, yet unsuitable for our times, the construction of a new outer town bypass belt and the connection of this zone to it as the heavy trafic artery goes right near my site, the conection to the river and the watery depths of history assembled in an interesting green and architectural promenade, the conection to the other riverside, the diversity of urban morphology, the conection to the railway station after an old medieval go. The paradox of this site is the approach (less than 100 meters) to the historic perimeter and the non-presence in the city-life, the complete isolation, due to the 60s wrong urban practice...

My solution proposes a new urban pole which includes four buildings which are articulated around multipurpose spaces defining the main elements described below:- a mini-mall, with showrooms for interior design objects, articulated in a single volume with the total area held about 35,000 sqm which ranks former municipal slaughterhouse- An ‘L’ building that mixes hand him commercial and office building services, the average P 3 and P 10 in the articulation of new results in the demolition market hall selling the municipal slaughterhouse in a developed area of approximately 15,000 sq.m. area.- A ‘bar’ building with annexes, which contains functions of exhibition, trade and service totaling 14 floors housing 80 apartments, with covered parking cuterasă green to a market with other secondary buildings dotted brief service, the proposed solution this solves the problem of silt soil but shove iterates through the old industrial complex by mass redistribution building demolished, former high bar, but the body of horizontal and pushes it underground and reconverts it into a 2 level parking, with about 200 lots, a far more useful function in this newcontext.

The developed area consists of 11,000 sqm without the parking which is actually a virtual urban function.Finally, stoping on the building I chose to detail, a multipurpose tower, 25 storeys high and approximately 100 m height, which contains of:- two underground levels of parking suming 300 parking lots and depots for the ground floor and the apartments- commercial and services functions on the ground floor and partially the 1st floor ( a pharmacy, a small supermarket and a bank subsidiary, cafeteria, terraces and rest courts) ,totaling 1500 square meters, plus a large lobby floors dedicated to offices, a fitness and welness complex of 1600 square meters, with a dining ecological place and a summer terrace open to Cibin- five levels of office 1200 sqm with the possibility of reorganizing space- a ‘green pad’ type floor, a belvedere platform to the historical city center, and an upper recreation yard for employees, but also a playground court for the kids belonging to the families living on the upper floors, totaling 1000 square meters,- three double storey with duplex apartments, 900 sqm each, totaling an area of 5000 sqm and a number of such 21 "houses at height", with 2-4 rooms- 9 floors of apartments with a total area of 8000 square meters which held a number of 54 apartments with one and two bedrooms- 3 levels of penthouses on 2 layers, an apartment layer and a duplex layer with four top class living units each (over 300 sqm)- two smaller withdrawn technical floors with lightcourt (300 sq m together).The building would become the highest point of Sibiu, with a share of lightning at 120 m height. It will overcome Ana Tower (Golden Tulip Hotel), Ramada Tower, Ibis, and the CEC building, all located somewhere across the historical center, actually doubling their height.

CONTEST ON ARCHITECTSJURY.COM

2010-12-21T17:28:00.007+02:00

I'm in this competition on architectsjury.com which lasts until spring, I think.

I would be honored to get your rating. Feel free to do it and also rate other participants works!

Thank you!

http://www.architectsjury.com/latest

http://www.architectsjury.com/latest?sets=1
http://www.architectsjury.com/latest?sets=2

http://www.architectsjury.com/latest?sets=3

http://www.architectsjury.com/latest?sets=4

PREDIPLOMA - VOLUMETRII

2010-04-05T16:41:00.017+03:00

Urban Revitalization vs. Ordered growth 2009-2010

PREDIPLOMA - VOLUMETRIE - var 1

2010-04-05T16:25:00.021+03:00

Urban Revitalization vs. Ordered growth

Analiza urbana - SIBIU 2010 Zona Abator - Cazangerie

2010-03-03T16:39:00.008+02:00

2010

Complete analysis of my diploma site after 2 months of hard working in comprehending all these interesting, sometimes amazing urban and social aspects in a synthesis, seen in a dynamic, continuous evolution, and as a place of start for my proposals...Post(comunist)-industrial period of a site which initialy was supposed to become a green belt on the glacis line (XVIIIth century). The presence of river Cibin was perfect to protect the town from the west and the town leader decided to extend their fortification on the other side in the XVIIIth century. But it was a bit too late.

Sibiu had some delay in developing due to the geographical position and isolation of Transilvania from the western world. Any important european current reached this zone 100 years later than its beginnings. The old war defensive tactics became soon olf fashioned and the new fortifications they started building for almost 100 years were useless. The extension on the western side of Cibin was though good. They built a Nun Catholic School after the orders of Maria Tereza, the Austrian Queen and a Church in Baroque Style which carried her name. Tereza became a toponime and it is still used today to name the zone.

My site is composed of a large demolished brown field on the eastern side of the river and a smaller part un-demolished on the other side, unused and stronlgy deteriorated. Here, in the XVIII century, during the development appeared new urban island containing gardens and houses and a small gipsy camp (Tziganie) soon washed away and transformed into a market of rotated rectangular form on both river sides. The main, larger part of my site is a very interesting zone developed after the existence of defensive lakes and swamps. The town leaders tried for century to get the land clean and out of swamps. They started to drain the waters into Cibin and kept a few smaller irrigation rectangular lakes and around them built what I call 'urban garden-island' a mixture of low density housing with large agricultural fields and small fish lakes. They even built here 2 water mills on the course of a small course of water which had its course through the fortified Sibiu and reached out right in the spot where it was the old acces to the site, in the presence of a large defence tower built on the last completetd fortified belt (XVIth century). The mills were used to obtain paint and oil out of tree bark.

Soon the procent of land incresed rapidly and water was drained away. The most rich families from Sibiu, including the one fo Governer Brukenthal bought any land they could and divided the whole northern and north-western outskirt of Sibiu into 3 larger private gardens as a sign of power abuse. This affected also the street configurations, but all this was corrected later after the change of the land ownership...

In 1877 they built the railway station and started building the lines, yet the river's course had to be corrected to ease the built of a metal structure railway bridge. They did it in 20 years (1875-1895) and there is a very good evidence of the process in maps from those years. After the correction, there remained a quite big lake on the eastern side of my site which was also drained for years. On a plan from 1914 there was a small alveolar space left after the course correction which soon disappeared in favor of building a road parralel to the new straight course of Cibin. The plan also shows the beginnings of industry in my town, represented by small units, among them a distillery very close to my site. The older water mills dissapeared but the water course remained.A new mill appeared later in the '60s as use for candy industries.

In the 40's the zone had it's best image I could think of as a green belt and the presence of small industry was not really a big problem. The small water course (Farmandoala) coming out from the old town was partially sewed and its presence in the zone was more than pleasant.

But the huge catastrophe comes in the 60's when the comunist leaders started a masterplan of hyper-industrialisation and built here a huge production mammoth. Sibiu became one of the most industrialised towns in Transilvania but with the price of sacrificing what initially seemed reasonable for a zone like this, a green belt with a beautiful promenade. The small water course which once limited my site to the east was completely sewed into Cibin. There is though an evidence of its past presence and silhoutte in the form of the urban lots from the other side of the railway line, which were also designed at the end of XIXth century.

In the 90's the industry collapsed, the town leaders agreed to give interdiction for any industry around here and started an ambitious, yet slow process of revitalisation of this place. The Industry arised quickly and massivly outside town in other 2 landmarks proposed, encouraged by the town hall and it seems ok like this, they are doing their job and didn't affect anyone till now. Yet there's still a problem. The zone including my site was quickly demolished and it was proposed to be built there a large comercial center, which is more or less similar with the older industrial monsters...It wasn't approved yet, though.
I found this place intriguing and a great challenge for urban planning and architecture, that's why I have chosen it for my diplom.

Right now I am still working on analysing all the facts and non-facts here and in parallel on figuring a dual solution concept of urban revitalisation. The architecture will come second, but it is still a good chance for a synthetic approach based on analysis and a lot of study. Other important facts are the presence of the river, the remarcable perspective towards the medieval Sibiu and the silhouette of Transilvanian Alpes embracing all, the presence of the railway lines, the interestingly well conserved medieval shaped street courses, social facts as housing in very bad conditions, the presence of large and small comercial units, yet unsuitable for our times, the construction of a new outer town bypass belt and the connection of this zone to it as the heavy trafic artery goes right near my site, the conection to the river and the watery depths of history assembled in an interesting green and architectural promenade, the conection to the other riverside, the diversity of urban morphology, the conection to the railway station after an old medieval go. The paradox of this site is the approach (less than 100 meters) to the historic perimeter and the non-presence at the city-life, the complete isolation, due to the 60s wrong urban practice...

2010 The Lost Ark

2010-01-15T21:31:00.037+02:00

2010

Called 'The Lost Ark', my last design is a hostel based on the concept of arcology which meanssaving a corner of heaven into a man-made ship from the destructing forces of nature and anyother cataclism. This ark is carried by waters in a quiet place, and left here to build and developa new comunity after water retreats, surounded and protected by mountains and high hills, indeep conection to nature and its laws. The developement is based on organic universal, learnedrules, appliable anywere, the spiral movement and the golden section, an ultimate mistery...

The ark carries rather ideas and concepts, which are not likely to be applied and remembered inthe usual human routine, which creates other mechanisms, often getting out of control andevidence...We finally end in being mechanism wheels in our own man-made artificial systems.

It is a place of observation, meditation, intimacy and re-establishing a primordial connection tosurrounding natural environment, but also human nature with its inner, aparently impossible tosolve, problems. People come here in search of a new perspectives towards live and to find outmore about human condition in universe. The design was influenced mainly by the binoms open-closed, intimacy-socialising, on a rather simplified spiral structure.

The main building, situated higher on an earth force line, open to the beautful landscapeintegrates public services and an apartement for the maintenant. It mainly serves for socialisingand cultural activity like gatherings, study, discussions, comunion, even parties... It contains acarport, a reception and an info point, a public open kitchen, with a large dining zone, a largeliving with a library and a mediatheque and a fireplace surrounded by a spiral staircase. All theliving area is connected to a large system of open terraces and and a light court which cutinteresting frames out of the natural environment. The more you approach to the terrace, thelarger is the view. The main building has also views and paths to all the other living modules, for a better service and evidence.

The main building acts as a passive solar house with a cooling air circulation in the summer. As asecondary heating source, it has a heating station in the basement which works with recycledwastes.

The upper floor, dedicated to the maintenant and his familly, has larged glazed areas, covered by a triangled leaf pitched roof shaped after the silhoutte of the mountains, on a lamelar structuremade from recycling plywood and plastics.

The secondary modules have a small exterior terrace, a living area, a lower bedroom withaccesto a minimal bathroom with shower tray, a water tank for rainwater collecting and heatingit bysolar cells in the summer or by the fireplace, in the winter.There is a secondary bedroom attheupper floor on a wood platform, and a belvedere terrace, accesible by ladder. Electricity forthesecondary modules are produced by solar panels. They are open to a 270 degrees of view.

The compound has also a vegetables garden and an apple orchard which I extended fromtheinitial one (doubled), a wood / stone terrace system to integrate all these secondary modulesinthe whole organic composition. The maintenant's occupation is agriculture. He gets allthenecessary vegetables and fruits from his own land, and gets other organic products (bread,milk,other fruits) in exchange with an amount of these.

Man comes here for self-healing from extreme urban routine, to learn how to appreciate the real universal values and to learn how to be usefull for himself and the others.

Pensiune langa Vatra Dornei - IN PROGRESS...

2010-01-02T20:39:00.010+02:00

3D MODELING OF LOST ARK MOUNTAIN HOSTEL IN PROGRESS...

2008 IMOBIL 'PLOMBA' SIMLEUL SILVANIEI

2009-12-26T03:05:00.034+02:00

2008

Pe un teren in forma de L, in Simleul Silvaniei, rezultat prin demolarea a doua imobile S+P, se propune realizarea imobilului D+P(+M)+2E(mansarda) cu urmatoarea structurare a spatiilor:

- Demisol: parcaje/garaje, acces marfa, utilitati;

- Parter (ev. Mezanin): Orange shop - pe trama de 6x6 m.;

- Etajele1 si 2 (ev. mansarda): locuinte tip apartament.

Desi arhitectura propusa este mai degraba o pastisa deconstructivista, compozitia tine cont de specificul zonei central - istorice, de vecinatati si de valorile arhitecturale contemporane.

Proiectul de fata este mai degraba un exercitiu de fals contextualism intr-o zona cu multe restrictii.

Indici urbanistici:

- POT: 55 %

- CUT: 1,1

2008 ANSAMBLU SPORTIV CONSTANTA

2009-12-25T19:58:00.050+02:00

2008

Sports Center designed 3 years ago by MVP on a location close to the Romanian seaside it's based actually on a similar technology used by Terreform. Unfortunately its just an architectural exercise, a conceptual work.

Based on a reticulated 3d structure suported by pillons and concrete diafragms, which covers a competitional sports hall and a swimming pool, with a central accent create by a 6 floor hotel dedicated to host athlets and sports staffs for competition, this metal network has modular eyes to be filled with both earth and soil, for green purpose and modular hexagon paving tiles for walking paths and areas. A few of the eyes are covered with poly-carbon translucid modules for zenithal lighting.

As adittional pieces for the landscape design, the reticulated metal balls host suspended plants and inside bushes. Almost all of the covering surface of the green roof is designed for walk, except some larger glazed surfaces, designed to concentrate more ligh in certain spots.

2006 IMOBIL 'PLOMBA' CLUJ

2009-12-25T15:53:00.039+02:00

2006

This is a medium size building mixing services with housing. The social target of my work is the concept of 'yuppie' which describes a young couple with no children. The concept of the project is bazed on a few important aspects: multifunctionality of space, flexible furniture / on wheels, easy re-arranging/ re-design as this kind of a couple stays only temporary in such an apartement in most of the situations.

The ventilation and wires circulate through an envelope which embraces the central structural layer and continues to a virtual floor on the top terrace.

The interior design is simple and minimal. For this project I made a staircase study in the historic centre of Cluj, although the intervention zone is at the west extremity of historic perimeter with no special restrictions. I also made a massive 3d model of the zone and a light study based on it.

The mass which I take out from the acces way on property is displaced in a vertical position as staircase with zenithal light. The initial mass is redistributed by this very simple operation.

The 2 apartements are almost identical as space but, the flexible and mobile furniture can transform essentialy the living space. From this point of view, I developed a plan with a large 'living space', which was the name of the multi-function with large glazed walls oriented to the backyard and to the street and on the 2 opposite concrete structural walls I arranged the plumbing fixtures.

Imobilul multifunctional de pe strada Emil Isaac, Cluj Napoca intervine intr-un context ambiguu.: in zona centrala a orasului si-au facut aparitia in ultimii ani o serie de constructii noi care se interpun spiritului istoriei. Monumentele istorice, pe de o parte si noile imobile, pe de alta parte vorbesc limbi diferite.

Contextul ambiguu al zonei dat de regulament si practica de arhitectura si urbanism curenta lasa o oarecare libertate arhitectului in a alege elementele cu care se relationeaza de loc, la nivel global dar si la nivel de vecinatati. Arhitectul nu este un vizionar in adevaratul sens al cuvantului, dar are puterea de a se lega de un loc la un momet dat.

Conceptul in sine al proiectului se modeleaza dupa cerintele functionale si stilul de viata abordat de “yuppies”. Daca la exterior, imobilul comunica sobru cu vecinatatile, la interior am incercat sa creez un spatiu flexibil, usor de reamenajat., cu lumina si ventilare naturala reglabile.

Mobilierul pe role, al doilea perete flexibil, in spatele celui de sticla, care se poate inchide etans, poate glisa sau plia dupa necesitatile de iluminare naturala sau ventilare, precum si suprapunerile de panouri divers texturate ofera un joc de neepuizat. Structura este asezata la exteriorul volumui de locuit, grinzile sunt inchise in tuburi metalice multifunctionale (instalatie electrica, ventilare).

Fatada imobilului tine cont de ritmul casei vecine prin elementele structurale, alipirea la cornisa, ridicarea calcanului la inaltimea calcanului casei vecine, dar si prin volumul compact. Pozitionarea intr-o anumita tipologie se citeste si la nivel de scara, acces, utilizarea terenului asa cum prevede regulamentul.

Aparenta scarii pe fatada de la strada este pur conceptuala, si anume “decupajul unui volum inchis” care se observa si la ultimul nivel. Jocul de plin-gol se extinde pe fatada de la strada, totusi sub semnul sobrului si al oglindirii.

Spatiul interior se compune din dependente si libertati, din obiecte fixe, insulare si obiecte mereu in miscare, jocuri de plin-gol sau lumina-umbra, inchis-deschis. Libertatea e la mijloc, inconjurata de o serie de dependente functionale si structurale.

Este important de precizat faptul ca exista zone fixe permanent, dependente de instalatii pe care le-am asezat pe calcane, precum si casa scarii ca un obiect insular. Asta lasa un loc binemeritat spatiului de locuit.

Sudiul de iluminare naturala efectuat a decis parcela dar si locul de amplasare al capsulei cu baia pentru a nu umbri permanent o zona pentru care lumina naturala e indispensabila.

Privind amenajarea parterului este de sesizat popularitatea de care se bucura “Maimuta Plangatoare”, de aceea am optat pentru o cafenea cu terasa-curte de lumina care traseaza niste linii firesti privind impartirea si utilizarea terenului. In urma unui studiu de spatii plantate am decis sa inserez si o mica zona naturala pe langa putinele petece verzi care mai exista in marea densitate a centrului orasului.

2007 PIATA "CAROLINA" CLUJ

2009-12-24T14:02:00.034+02:00

2007

Intr-un context de dezvoltare si extindere fizica, orasul Cluj-Napoca isi propune sa isi schimbe fata urbana spre o imagine autentica care face apel la valoarea istorica a sa dar si la puterea locala a orasului. Centrul Clujului este momentan un loc al discrepantelor, al transcendentelor si se incearca, urbanistic vorbind, eliminarea de suprasarcini a centrului actual, si reabilitarea zonelor cu potential, printre care si micuta Piata a Muzeului (Carolina) care a scris pagini de istorie si a trecut prin diverse configuratii.

Imaginea actuala a pietei e de fapt o imagine consacrata compusa pe un ax central pe care am preferat sa-l pastrez ca o concluzie a analizei efectuate (trafic, functiuni, istorie etc.) dar si datorita rolului important pe care il poate avea in circulatia pietei care se desfasoara pe latura de E si creeaza o serie de probleme spatiale, aglomeratie, confuzie, neplacerea in a explora spatiul pietei care are, totusi mult potential, mult mai mult ca o artera de circulatie. Pornind de la actualele modificari in circulatia auto clujeana, conform propunerii Planwerk am pastrat circulatia auto perimetrala pe laturile scurte, cu restrictii de viteza si cu acces in spatiul prpriu-zis al pietei doar in caz de urgenta pe toate cele 4 colturi conform legislatiei in vigoare.

Fara intentia de a crea intimitate pietei si de a-i schimba fata complet, propunerea mea se leaga de existent, si anume prin faptul ca am incercat sa reciclez ce e de valoare pornind de la idei, material dar si pesrpective valoroase…

Forma rezultata nu e o forma premeditata, a rezultat din toate demersurile mele de a clarifica problemele pietei. In urma analizei urbane am ajuns la concluzia ca traficul auto actual e principala cauza pentru aglomeratia si confuzia din piata, de aceea am preferat sa pastrez si axul central cu deviere in fata bisericii, unde noul obiect arca-fantana se comporta ca o forma impersonala, un filtru, o legatura intre axa bisericii si si axa pietei care nu se suprapun.

Majoritatea obiectivelor isi pastreaza pozitia, cu exceptia statuii lui Daicoviciu pe care o consider un kitsch si consider ca merita o alta fata in contextul uneia din cele mai valoroase perspective ale pietei, putin mutata astfel cat sa nu deranjeze circulatia si sa ocupe spatiul intr-un mod irational sau lipsit de arta.

Pe langa obiectul arca-fantana-copac am considerat necesara o intrare in subteran in scopul valorificarii ruinelor romane care pot aduce turisti in Cluj. Accesul se face subtil pe sub consola dalajului. Forma intrarii se datoreaza necesitatii pietei a unui nivel de calcare si de aceea toate formele nou introduse vin sa filtreze, nu sa ocupe spatiul.

Asadar conceptul care sta la baza proiectului meu isi are bazele in existent si e selectiv in masura in care face uz de absolut toate resursele actuale care merita reciclate, reabilitate, readuse in atentie. Substratul simbolic al actului formal este o amprenta personala si cred cu tarie ca o astfel de piata are nevoie de interventii personalizate, generoase in idei, nu o abordare rece, de tip ‘tabula rasa’ cu elemente de mobilier de serie. Si de aceea am lasat si copacii sa traiasca alaturi de noi. Prezenta vegetatiei in oras, indiferent de zona si caracterul acesteia e un lucru vital si cred natura conlucreaza cu omul, ne intinde o mana. Actul de creatie, munca mea in sine se bazeaza pe actiune-reactiune, natural-artificial si omul isi are locul aici ca parte reconcilianta.

Simfonia texturilor, a formelor nu e intamplatoare, texturile isi dau mana, omul se aseaza unde simte ca apartine, poate la o cafea pe terasa sau poate ascuns undeva intre copaci, privind sub un ecran de frunze protector.Un motiv in plus care imi afirma abordarea o reprezinta contextul istoric al pietei, foarte colorat, lasand loc de orice stil sau NEstil…

2007 DESIGN MOBILIER TERASA

2009-12-24T12:35:00.041+02:00

2007

CONCURS ANTARES 2007 - PROIECT SELECTAT PRINTRE FINALISTE
EXPUS LA:
- EXPO TRANSILVANIA 2007
- ZA 2007

CONCEPTUL PROIECTULUI PLEACA DE LA O COMPOZITIE ORGANICA BAZATA PE ALGORITMUL SI STADIILE DE CRESTERE ALE TRANDAFIRULUI. IMAGINILE PROPUSE VORBESC DE LA SINE.

2007 LOCUINTE CUPLATE EFICIENTE ENERGETIC

2009-12-24T00:38:00.052+02:00

2007

The pasive-solar houses, conected by a liniar greenhouse, are designed on a slope oriented to the south, 45% immerged in the earth for energy conservation purpose. The energy loss is reduced to minimum by using a polyurethane membrane for non-structural walls. The structure is solved partialy by concrete (as minimun as possible - 30%) because of the earth pressure, the rest by steel profiled beams and columns embraced by a layer of polyurethane for fire insulation purpose.

The interior space of one module is designed to be circulated 100% by fresh natural air, directed by small plants and trees through the glazed, sunshaded south facade. Once entered inside, the cold fresh air from the rich planted hills it is circulated by the principle of vertical air zoning by temeprature (in the kitchen area and in the fireplace area) and controled in special designed open spaces. The warm / hot air from the fireplace and kitchen rise through these 2 large voids or 'trunks' in the structure.

There is a complete climate / vent control. On the top of the upper floor above the first void I have positioned the photovoltaic panels,to the south, mobile and adaptable to various angles, as the metal covering, itself, opens and closes in case of need by electrical control. I have developed a simple, multi-functional, interactive volume to embrace ecologic and energy needs. Between the 2 modules I have desined a linear, circulated greenhouse for temperature conservation. All the acces doors and exterior glazed walls are doubled and energy efficient.

The most interesting fact, maybe funny, of the house is the greenhouse which connects the 2 modules, developed in the last minute before I have finished the work as a solution to unite the twin houses in a singular composition and the perfect human scale of it. The exterior material is integrally stucco with mimetic properties. In the winter, the image of the organic developed, white houses is complete and has spectacular sculptural values.

The house has green roof / terraces open to the 270 view and sunlights for a proper natural lighting.

For this project I inpsired a bit from the houses of Charles Haertling, especially Johnson House which is my favourite.

The houses are embraced by minimal promenade / esplanade elements which connect the architectural pieces with the top, circulated garden, a terrace for summer and for belleview, and a intimate chat place. The car acces is solved from the base, not from the top, for freedom to explore the spaces above the house. The sound insulation from the very circulated road is solved by a massive wall to the east which is also made to protect the small front lawn from earth pressure or an innevitable car intrusion.

The interior space and furniture design is minimalistic and simple, affordable for a small family with one children.

2006 PENSIUNE URBANA CLUJ

2009-12-23T18:17:00.045+02:00

2006

CONCEPTUL PROPUNE O COMPOZITIE UNICA, REZULTATA DIN IMBINAREA A DOUA VOLUME ASEZATE PE GRILE DIAGONALE SI ARTICULATE IN JURUL SCARII CU ATRIUM, SPRE CARE SE DESCHID RESTAURANTUL SI O SERIE DE TERASE VERZI CIRCULABILE.

DE ASEMENEA RESTAURANTUL SE DESCHIDE CATRE O TERASA VERDE CIRCULABILA UNDE PE TIMPUL VERII SE POT ORGANIZA SERI FESTIVE SAU ALTE EVENIMENTE SOCIALE.

CORPUL DE CAZARE ESTE PROTEJAT DE ZGOMOTUL STRADAL PRIN DISPUNEREA PE O AXA N-S CARE ASIGURA LUMINAREA OMOGENA A CORPULUI-BARA PE PARCURSUL UNEI ZILE DAR SI EVITAREA EXPUNERII DIRECTE A CAMERELOR SPRE SUD.

INOVATIA CONCEPTULUI STA IN MODUL PRIN CARE ESTE REZOLVAT PROGRAMUL, COMPOZITIA ORGANICA, ADAPTATA LA RELIEFUL IN PANTA, DAR SI PRIN DESIGN-UL INTERIOR MINIMALIST SI STILAT.