Functionalism, comfort, back to pure, simple lines...



The 19th century saw, on the one hand, the city and generally Wallachia importing the West European trends, with Neoclassical architecture prevailing especially in the case of the rich and famous. On the other hand, the end of the century saw the Neo-Romanian style developing and spreading at a fast pace while employing traditional patterns and Brâncoveanu elements. Both styles featured a typically heavy structure and the resulting buildings bore rich decorations, hence some architects’ arguing that the house had gone astray from its original purpose: that of providing a comfortable, yet functional host for people living there. Beginning during the third decade of the 20th century, this movement went hand in hand with an urge to modernize the local society in all its fibers and features. So, what Iancu brothers (and especially Marcel Iancu, a.k.a. Marcel Janco) did for architecture and drawing, Tristan Tzara and Ion Vinea did for poetry and they actually often worked together, such as for the ‘Simbolul’ art magazine they founded. In terms of architecture, basic shapes (such as squares, rectangles and circles) were used in order to produce a fully functional work and living space. The furniture inside often followed the same patterns, while the main purpose was to provide a relaxed environment that allowed and, more, encouraged breathing, as opposed to the ever more crowded and agglomerated buildings in the central areas of metropolis around Europe. This return to the basics found inspiration, among others, in local Sculptor Constantin Brâncuși with his abstract, clean geometrical lines. In Bucharest, as the city developed greatly in the 1920s and 1930s and whole new plots of land were available, the period saw a tough competition between traditional projects, especially in Neoclassical and Neo-Romanian style, but also with Italianate or even Neo-Gothic additions, respectively this new trend that promoted functionalism and purity. The result included a plethora of single family properties, average multi-family properties, relatively tall apartment buildings and even public edifices striking one through their almost exclusively white walls, harmony and symmetry (the latter not always, as for instance Marcel Iancu did not favour it), but also through their ‘speaking’ to the individual in a straight, simple way. The number of these buildings is great even nowadays and they often lie in clusters, while at other times they are mixed with classical style properties. This is what I invite you to explore along this walk. Be warned, a long walk that is.







What to see: Single family Modernist residences, blockhouses sometimes featuring unexpected, fine Art Deco decorations, airy administrative and public buildings, all boasting of simple lines. The first part of the walk (to Victoria Square) visits buildings set by architects like Horia Creangă, Duiliu Marcu and Arghir Culina (more impressive in terms of size), while the second part is dedicated almost exclusively to Marcel and Iuliu Iancu, mainly residential projects.



Having a bite and / or a pint: as this walk passes by the Old Town, it provides an easy access to the many restaurants there. Then, there are always places to eat along it, such as the Casa Doina or the Zafferano about half the way into the walk. All the way to Victoria Square, there are many handy covrigi and pastry shops, while the same happens in the second part of the walk, from the University Square on. Towards the end of the walk there is the Rosettya, which might be an appropriate place for a rewarding dinner after a day’s walking around.



Duration: allow 5-6 hours with breaks without the extra 2 hours taken by the Știrbei extension. Note that there is a good share of walking involved; it can be done by bicycle, in around 3 hours with breaks. It might be a good idea to split it up in 3 sections: the University Square to Charles de Gaulle Square first, the University Square - Carol I Avenue - Unirea Square loop then and the Știrbei Vodă addition afterwards.







For more pictures shot along the route taken by this walk (complete with GPS co-ordinates), click here and enjoy. You can download here the three sections of the walk, as it follows:







Touch of a genius. Architect Marcel Iancu (also referred to as Marcel Janco) was born in Bucharest of a Jewish family in 1895 and he traveled extensively with his parents in Western Europe. Together with his brother Iuliu, he studied architecture in Zurich; he expressed himself in architecture, painting, sculpture, but also in dance; note one of his paintings here below (exhibited in the Macovei House ). He founded, together with Poet Tristan Tzara, the Dada movement. This anti-war movement advocated the freedom of the artist to create beyond any given direction, rule or constraint, turning its back to the bourgeois past. Marcel Iancu returned to Romania in 1922 and showed a great interest in the Constructivist section of Modernist architecture, wishing to share his knowledge in the country and to help bring a change in the artistic and architectural approach there. Founder of the ‘Contimporanul’ avant-garde magazine, Marcel Iancu promoted functional, Futurist, Cubist and Constructivist architecture, as well as an innovative urban planning much needed in a city that had developed rather chaotically, featuring narrow, meandering streets and little or no planning. Between 1922 and 1938 he designed, together with his brother Iuliu, 40 buildings most of which were meant as residences. His first project in the city including 7 small properties on Trinității Street and a villa, provided the transition from classical architecture towards future works. The decisive step towards Modernism was provided by a 1927 project, the Fuchs Villa, which came complete with low, long windows, a flat roof, prevailing horizontal lines, white facades and no decorative glitz; the neighbours were shocked and criticism immediately stroke.







For Marcel Iancu, things went on and he continued designing properties that bore a strong Functionalist - Constructivist feature. The villas he designed have a vast, open space ground floor with the diverse function areas separated by a different floor level, low parapets or extensive glass-wands. The first floor is dedicated to the sleeping quarters, while the last floor is partly dedicated to minimalist arbor terraces. On the facade, he was against a symmetric approach, using instead an emphasized vertical structure from which all balconies, window lines and other horizontal patterns evolved. Modernism slowly got more popular and the turning point was the beginning of the 1930s when more architects, most returning after studying abroad, started to promote Modernist projects. Marcel and Iuliu Iancu continued to work on designs, especially for larger projects this time: several apartment buildings, an office building (the Bazaltin), a sanatorium (the one in Predeal) and a painter’s studio (for Milița Pătrașcu). Facing the Nazi threat, Marcel Iancu left the country in 1941, settling in British Palestine. He designed a couple of Mediterranean Modernist villas off Tel Aviv and then founded the artists’ village of Ein Hod near Haifa as he believed that art should serve the community. At the same time, he continued to paint until his death occurred in Ein Hod in 1984.







As he himself put it:







The modern house is the result of the new life approach, which goes hand in hand with urban planning. The balance and co-ordination between the exterior and interior values create the core of new architecture...







The walk: Start in University Square and walk on the Southern sidewalk, the one with the statues, along the Regina Elisabeta. Go West and note the tall apartment building to the right (on the Regina Elisabeta and Academiei Street corner, with a bookshop on the ground floor): the four tall columns and the wave-pattern balustrade balconies are well worth a look. Then take the Academiei to the South (to the left), then turn to the right, along the Doamnei. Right on the corner there is a round, tower-like apartment building: the City Block. The building was designed by Architect Leon Stern and it was completed in 1936. At the time it was renowned for its cylindrical shape which came as an innovation even in a city where Modernism was getting ever more popular.







Follow the Doamnei to the West until it crosses the Calea Victoriei. Note the building to the right across the Calea Victoriei. The Central Palace Building was designed by Architect George Negoescu (even though it was initially meant to be larger and the original project was done by Architect Leon Stern) and completed in 1937. It bears an apparent brick facade, while the whole structure has a gradual evolution towards the last floors featuring wide terraces. To have a better view of the building, walk some 50 m. South along the Calea Victoriei or go back a little along the Doamnei. Go down along the Eforie, which is bordered by several Modernist style apartment buildings, such as the 8 Eforie brick facade property completed in 1940. Upon the crossing with the Brezoianu, take the latter to the right and immediately note on your left two interwar apartment buildings: the first one featuring ornate, wave-shaped balconies with rosetta-shaped dividing fences, and the following one with long balconies, simpler lines and a majestic top loggia.







Cross the Regina Elisabeta and continue along the Brezoianu. Past the glass-covered Bog’art building, note the white apartment building at number 29, featuring vast corner balconies (just across the street from a tree cluster and pictured here above). Farther up the Brezoianu and also on your left there is the well restored Opera Hotel the current colour scheme of which somewhat emphasizing the architectural details. Turn back to the tree cluster and take the Matei Millo to the left all the way to its crossing with the Calea Victoriei. Right there, on your right, there is the Phone Company Building.







The Phone Company Building was designed by two New Yorkers: Louis Weeks and Walter Froy, while the steel structure was designed by Dutch Architect Edmond van Saanen Algz. The plot of land of the former Oteleșteanu Terrace, a locally famous place in the second half of the 19th century, was bought over by the Phone Company in 1931. The company chose this plot for a building hosting its headquarters. The plans - including that for the metal carcass - were drafted in New York, as the building was meant to have a modern approach, making a parallel with the phone that was - at the time - a symbol of technologic progress. The building went through 3 stages, the first one being completed by 1933. Two floors were added afterwards and the building became the tallest in Romania at the time, with its 52.40 m., position that it kept until 1970, when the local Intercontinental was completed. Unlike the National Theatre across the street, it was not hit by the Allies’ bombings in WW2, but the structure was affected by the earthquakes in 1940 and especially 1977, so that it underwent a restoration and reinforcement process between 1995 and 2005. As far as the facade is concerned, the building features several V-shape patterns, as well as a gradual vertical evolution. It currently hosts the headquarters of the Romtelecom, one of the landline and mobile communication operators in the country.







Leaving the Phone Company Building, turn left (North) along the Calea Victoriei and, past the Novotel, you will notice Adriatica Building on your left (the clock tower building pictured down here).







Adriatica Building (also known as Socomet Building) was designed by three architects as well, among which Dem Săvulescu, and it was completed in 1937. It was set on the site where there had existed, in chronological order, Iancu Ghica’s mansion, Török Mansion, the first Bucharest club and then the famous Fialkowsky Confectionery Shop (1853-1890), popular with top political and business figures coming to talk the day’s top stories. The last host before the 1937 structure appeared was a luxury French restaurant, the Élysée, closed down in 1933. The building features two wings springing from a corner tower bearing a big clock. It hosted at the time the offices of the insurance company Adriatica and of the Socomet steel plant. The building balanced at the time this side of the Calea Victoriei, as the National Theatre used to lie in the place of the actual Novotel and the Phone Company Building had been already erected on the other side of the theatre.







Turn to the right (East) along the Ion Câmpineanu and, just after passing by a fine Art Deco main door (past Continental Confectionery Shop), you will have Union Building ahead of you, across the street.







The Union Building was set between 1929 and 1931 following Architect Arghir Culina’s plans. The property was built as a hotel, the Union, as it was preceded by an inn of the same name. Note the ziggurat shape of the building. The two wings have subsequent receding upper floors with loggias, while the alternating of concave and convex shapes on the facade create the illusion that the building is higher than it actually is: 9 floors of which 2 are only for decoration purposes. Across the Ion Câmpineanu from the Union there is the building of the former Stănescu Hotel (built in 1928-1929 and following the plans of the same architect), later renamed as the Negoiu. Both buildings were turned into office buildings after 1990.







On along the Ion Câmpineanu, note the fine loggias and the main door on the badly kept building at number 9. Continue and, upon meeting the main avenue, turn left along it. Cut across this part of town between 1923-1930 in order to take some of the traffic along the Calea Victoriei, the actual Nicolae Bălcescu (known back then as the Tache Ionescu) is bordered by several Modernist buildings. Of these, I shall list here just a few, but feel free to have a look at others as well, despite the time that has passed over their facades and the ads that sometimes cover part of their avenue sides. First, note the white stone facade, corner building at number 22 - the one partly hosting the Relax Comfort Suites - with the typical narrow balconies and the symmetrical layout. Then, right next to it, there is an U-shape apartment building hosting a small green spot in the middle, by the busy avenue; both buildings are notable for their harmony.







Past the brick facade Italian Church and another interwar apartment building featuring symmetrical balconies, pass by Horia Creangă’s Malaxa - Burileanu apartment building (1935-1937) and then cross the C. A. Rosetti, immediately noting the Magheru One Building on your left.







Angelescu Building (known after its opening as Jawol Building due to the big commercial it had on top, nowadays known as the Magheru One) was completed in 1936 on a piece of land owned by former Minister Constantin Angelescu Monteoru. The same person owned Angelescu Mansion (just around the corner, on the C. A. Rosetti, featured in my Neo-Romanian heritage walk ) and Angelescu Hotel (known as the Lido, just the next building to the North along the Nicolae Bălcescu, currently closed down and waiting for restoration). The property was bought over by an Austrian real estate agency and it was entirely reinforced, then turned into an office building opened in 2012.







Go on and, past the Magheru One, you will pass by Lido Hotel, currently closed down. It was designed by Architect Ernst Doneaud and completed in 1930. Upon its completion, the hotel came with a 500 sq. m., backside artificial wave swimming pool that turned into an immediate success among Bucharestians. Lit from the bottom and with screen projections, as well as with a pool side restaurant open in the evening, the venue was innovative at the time. A modern gym and an equally innovative automated massage equipment added to the place’s attractions. A walk along the street to the back of the building, the Nicolae Golescu, allows a peek to some fine Art Deco patterns and the remains (nothing much unfortunately) of the pool. Angelescu died in 1948 and the hotel was typically confiscated by the Communist regime. Following the 1989 coup, and despite the several requests made by the original owner’s inheritors, the property was taken over by an influent, corrupt association of the Păunescu Brothers. Following a 17 year trial, the Angelescus however managed to get back their properties: the Lido, the actual Magheru One and Angelescu Mansion, as well as Monteoru House.







Just past the Lido and also to your left there is yet another fine interwar building with a particularly interesting history: the Simu.







Smaller than the blocks nearby and located a bit off the street line, Simu Building was also built in the 1930s. The facade is rather simple, but the particular feature making it interesting is made of two bas-reliefs symmetrically located on the 5th floor. They depict the Inspiration (the one to the right, pictured here) and a hammer-holding figure which is not the original one (the one to the left, see further on why). Also, the style of the two reliefs is obviously different. At a closer look, the right part of the building looks older and more altered by the time than the left one. This happens because during the March 4, 1977 earthquake, the left side of the building collapsed and it was re-created afterwards, including the facade bas-relief which however was granted a typical Communist propaganda look glorifying the working man.







On the opposite side of the Magheru there are Ambasador Hotel and Aro Building, but you might prefer staying on the Lido and Simu building side, as you can see the properties on the other side better from here.







The Ambasador was designed by Architect Arghir Culina (the same author of the Union and Stănescu / Negoiu hotels mentioned before) and it opened in 1939; Culina himself held shares at the hotel. Two huge columns flank the facade, while the upper floors have receding terraces that provide a fine street view. The 12 floor building is arranged around an artificial yard located on top of the entrance hall. The hotel has its share of history: as Romania was part of the Axis, the hotel was host for German officers in 1940-1941. On January 18, 1941 Major Helmuth Doring, member of the Deutschen Heeres-Mission, was shot dead in front of the hotel. The crime was used by Marshall Ion Antonescu (the Chief of State at the time) to act against the Legionaries that were getting ever stronger. After the war, in 1949, the hotel was closed down and it re-opened in 1954. As of 2013 and following a 10 year trial, Arghir Culina’s inheritors got their ancestor’s property back.







Next to the Ambasador there is the Aro Building.







Aro Building was designed by Architect Horia Creangă for a local insurance company, the Asigurarea Românească. The architect won the project soon after completing his studies at the École des Beaux-Arts in Paris. The building was completed in 1931 and was at the time one of the first major Modernist structures in the country. The building started many controversies at the time, due to its novelty and innovation as opposed to the classical lines that still prevailed in the local architecture. Many local people chose to cross the avenue and walk on the other side in protest against the project they considered as monstrous. The building nowadays lies in a rather bad state, especially as far as the facade is concerned, and large banners often cover up its corner, but there is a project dating in 2011, meant to have it reinforced.







Continue up the avenue, with two Stilus Sovieticus, Communist era apartment buildings on the left side. Past the second one, you have the option to take the Știrbei Vodă extension hereunder.







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The Știrbei Vodă extension. Leave the Magheru and turn to the left / West past the second Communist block, along the George Enescu. You will then have on your right the UGIR (the General Union of Industrialists in Romaia) Building, designed by Architect Constantin Moșinschi and completed in 1938, with its tall columns and decorated with six Mac Constantinescu bas-reliefs in the Mussolini-promoted Fascist style glorifying physical work. Immediately afterwards turn to the left along the Nicolae Golescu. Past La Mama Restaurant turn to the right along the Episcopiei, with a lightly arched apartment building at number 5. You will soon have the Athenaeum on your left and Athénée Palace Hilton Hotel on your right. Designed by French Architect Théophile Bradeau, it was built in 1912-1914 and it initially had a French fin de siècle look with a richly stucco decorated facade. It was reshaped by Architect Duiliu Marcu in 1935–1937, when it was granted the actual Modernist looking facade. At the time, it was the first building to use a reinforced concrete structure in Bucharest. It was later touched by the WW2 Allies’ bombing, restored with several changes under the new Communist regime and then touched again by the fighting during the 1989 coup. It got its actual looks following the 1995-1997 restoration, when the hotel was affiliated with the Hilton chain.



Continue straight, cross the Calea Victoriei and from here it is always straight all the way to the Eroilor. Note the round, tower-like, interwar apartment building on the crossing with the Strada Luterană and also the two fine, same era buildings on the left up the Luterană, backed by an ugly, contemporary office building (the controversial Cathedral Plaza). Go on along the Știrbei Vodă passing by a few other Modernist blocks, some of which feature particularly interesting, black marble-paved main entrances with stylish doors. Continue and, upon crossing the Spiru Haret, note the appealing building at number 3, complete with an excellent top arbor. On along the Știrbei Vodă, past the Popa Tatu crossing, note the metal work on the property at number 63: the balcony balustrade and the sun ray-shaped gate are brilliant samples of the 1930s Bucharest.



A more Ordnung building follows at number 65 and one can peek in at the stairway through the glass door. Just past it, take a 50 m. detour to the left along the Constantin Stahi, as there is a beautiful building at number 16; note the decorative panels and the small flower pot supports under the windows. Back along the Știrbei Vodă, go on and note on your left the dark brown and white house designed by Architect Nicolae Cucu at number 85. Then, upon facing the typical Communist era blocks, continue straight on along the left hand sidewalk. Note, at number 155, the Court of Justice of District 6.



The Court of Justice of District 6. The building was set in 1934-1936. Set in Modernist style, it was designed by architects Emil Nădejde and Eugen Cuscenko. The building impresses through its monumental facade, adorned with the Miliţa Pătraşcu frieze above the main entrance. There are four halls inside: 2 large ones and 2 small ones. In the main hall, there is an impressive painted background behind judge’s seat.The facade was unfortunately partly altered in 1947 as the original name (Ro. ‘Judecătoria Ocolului 8 Urban’ / En. ‘The Court of City District 8’) no longer fit the situation and the large stone inscription mentioning it was destroyed. For a better view, cross the avenue; the afternoon is a good time to enjoy the building, as the light is at its best then.



Continue along the Știrbei Vodă all the way to the river and, after crossing it, you will immediately find the entrance to the subway station at Eroilor; you can use the subway to return to the Piața Romană, where one can continue the main route of this walk. Another option is to venture in Cotroceni Quarter which begins at Eroilor, hence exploring the many Modernist properties there. A suggestion of a route there can be found in the Cotroceni District walk . Or, a 5 minute walk past the Opera House can take you to the Law School on Mihail Kogălniceanu Avenue; to get there, turn left before crossing the river and, 5 minutes later you will get to the Opera House, while the Law School lies 5 minutes farther on.



The Law School. Architect Petre Antonescu designed this building in 1935. The architecture of the building is severe, conceived in 90 degree angles. The central wing is endowed with an ample set of stairs. There are tall pilasters along the facade. Above the entrances, between the pilasters, there are statues depicting the great jurists of the ancient times: Licurg, Solon, Cicerone, Papinian, Justinian. The statues were carved by Ion Jalea and Costin Georgescu. The reliefs on the side walls were done by Mac Constantinescu. The building is surrounded by a green area. Also have a look at the Modernist apartment building across the street, featuring a door with fine Art Deco metal works.







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If you took the Știrbei Vodă extension, return to the place where you left the main route (optionally by subway from Eroilor to Piața Romană). Then take the Tache Ionescu to the West (the street splitting from the Magheru across the street from the Mc Donald’s), with a few similar style apartment buildings on your right, past Yeshua Tova Synagogue; note, for instance, the one at number 3. Pass by Ion Creangă Theatre, which lies on your right with its broad entrance shade.







Ion Creangă Theatre was not actually meant to be located here in the first place. Instead, the building was meant to host the Yellow District (according to the Bucharest divisions at the time) City Hall, a cinema and the Court of Justice for the same district. In the beginning of the 1930s, the Amzei was still an extensive market place complete with a hall where vegetables, dairy and meat products were traded. The Yellow District Mayor of the time decided to have the hall demolished and the area brought to a sort of Ordnung, founding instead a complex use building complete with many small shops on the ground floor. In the Northern section of the building, there was supposed to be located the court of justice and a public library on the first floor, while there were two apartments meant for the judges on the second floor. On the Southern, opposite side (the actual Ion Creangă Theatre side) the same building was to include a 700 seat cinema. As works were carried away, the mayor decided to also host more city hall departments in the same structure, so the library was turned into a council hall, while additional spaces were added and meant for different functions of the city hall. At the same time, the cinema was replaced with a theatre. The building was completed in 1936. It is well worth going around the building and also seeing the entrance on the opposite side, in order to have a complete image of the whole. Also note the royal, carved stone blazons along the frieze on the theatre entrance, dolomite facade; look up, above the last row of windows.







Go on straight all the way to the Calea Victoriei. Before turning to the right along it note the white building across the street, featuring a vast ground and first floor commercial area. Then, at number 101 (on the same side of the street with the latter, after your turning to the right along the Calea Victoriei), go through a passage under an interwar block of flats and reach a patio (also known as the Domnița Atrium) with a beautiful carved stone fountain locally called the Season Fountain. Note the fine Art Deco carvings; the fountain was created by Mac Constantinescu. Then continue along the Calea Victoriei to the North, soon noting the former State Monopolies Building on your right (under restoration as of June 2013).







The State Monopolies Building was designed by Architect Duiliu Marcu and it was completed in 1941, at a time when the Romanian Government held a monopoly over tobacco, salt and alcohol production and trade. The building is 50 m. long and it is set in U-shape, with a grassy back yard. It has a reinforced concrete structure. While the walls are covered in travertine, the window separating pillars and parts of the main facade are covered with Dobrogea stone. At the same time, the exterior platforms and stairs by the main entrance are covered in Carrara marble. Two stylized clocks decorate the tower overlooking the whole building. Even though the building was completed in 1941, works on details continued until 1946. It hosted the Planning Committee during the Communist time and after the 1989 coup - the Ministry of Industries, followed by a division of Economy and Finance Ministry. The building has been recently restored (2015 data).







Continue up the Calea Victoriei, cross the Dacia and later on, upon the Gheorghe Manu crossing, after noting the fine column capitals of the building on your left, turn to the right along the latter street. At 12 Gheorghe Manu there is the partly graffiti-covered Elena Ottulescu Building. It was completed in 1936 according to Architect Horia Creangă’s plans and it is arguably the building with the most innovative interior space organization set in Romania at the time. Go on along the Gheorghe Manu and, upon the crossing with the Lascăr Catargiu, cross the latter. Before turning to the left along it, have a look at the building at number 28, with a fine natural light solution for the cylindrical staircase. Go to the NW along the Lascăr Catargiu and, upon reaching the wide Victoria Square, go straight on, crossing the Iancu de Hunedoara and passing in front of the Government Building.







Initially meant for the Ministry of Foreign Affairs, the Government Building was designed by Architect Duiliu Marcu and built between 1937 and 1944. Due to the WW2 bombings, it was restored after the war and works were accomplished by 1952. It hosted the Ministry of Foreign Affairs at first, followed by the Council of Ministers and, following 1990, the government. The main facade was initially covered, just like the sides, with Carrara marble and it bore two carved stone panels on the sides, but these elements were not reinstalled after the war destruction, the facade being instead covered in cheaper travertine. According to Duiliu Marcu himself, both interiors and the facades showed ‘the focus on preserving the classical background while at the same time granting the overall concept and the detail study a modern simplicity idea’. Be careful with pictures from the front of the building, as the guards at the two entrances are rather sensitive to that. And you anyway have a better angle from next to the subway station entrance across the street.







The Marcel Iancu Section. From here on most of the buildings along the itinerary were designed by Marcel Iancu and his brother, Iuliu Iancu (in many situations it is not clear to which of the two a certain project belonged, as they shared the same architecture office and often worked together). Go on along the Aviatorilor and, some 10 minutes later, note the statue depicting the air heroes in the middle of a roundabout.







The Air Hero Statue was designed by sculptors Lidia Kotzebuie and Iosif Fekete; it was completed in 1935. The 20 m. tall structure has a 5 meter tall, 5 ton bronze figure symbolizing a stretched wings, flying man. He stands on an obelisk with three other bronze figures resting on a pedestal at its base. Each of the three figures symbolizes an aviator in different stages of the flight attempt. The monument also includes a list of local aviators meeting their death upon crashing while fighting, researching or innovating by the time it was built. The top figure used as reference the body of Boxer Joe Louis who had visited Bucharest.







At the statue-centered roundabout crossing, turn left along the Ion Mincu and take the Kiseleff to the right; go along the sidewalk on the left. Past several fine residences, note the residence of the Ambassador of Venezuela in Bucharest at number 49. The house, initially built for Florica Cihănescu’s family, was designed by Marcel Iancu in 1930. If you peek over the fence, you can spot the Milița Pătrașcu sculpture in front of the house. Continue straight along the Kiseleff to the Arch of Triumph which, even though a Neoclassical structure, also bears some Art Deco features in the bas-reliefs depicting the Victory. Turn to the right along the Constantin Prezan and take the last street to the right before Charles de Gaulle Square, the Popa Savu. Note the top, corner balcony of the building at number 74, as well as the extensive one on the crossing with the Ion Cantacuzino. Also note the finely restored property at number 19 and its rectangular second floor balcony. Then, at number 5 there is Marcel Iancu’s Maria Lambru House, built in 1928: this was the first property Iancu designed in this Northern part of the city that was developing at a quick pace at the time. Even though covered with ivy nowadays, one can still get a sense of the volume layout. On along the Popa Savu, do not miss the property at number 1 with its tower staircase.







Then take the Ion Mincu to the left. At the Air Hero Statue turn to the left along the Aviatorilor after crossing it, then take the Zambaccian to the right (it is the first right possible) and the first street to the left afterwards, the Grigore Mora. Note the fine metal work (windows, main door, balcony balustrade and fence) of the house at number 28, then go on with another fine property featuring a wave-shaped window balustrade at number 34. The next house, the Paul Wexler, was designed by Marcel Iancu in 1931 and it features a garden-like terrace on the top floor. On the opposite side of the street there is the fortress-like Florica Reich House, designed together with the interior decorations by the same architect in 1936. There is an art gallery on the top floor.







Upon meeting the main avenue, turn left along it for 50 m., cross it and go on along the service street around Charles de Gaulle Square. At 2 Charles de Gaulle Square there is Bazaltin Building (you can see it better from a distance, either from the other side of the Calea Dorobanților or from the other side of the square). It was designed by Marcel Iancu in 1935 and it was meant to host the offices and work apartments for Bazaltin, a local construction company. This is one of the very few non-residential properties designed by Iancu. The office area was in the middle, there was a luxury, multi-storey apartment to the right and 4 other apartments to the left.







Then take the Primăverii to the right and follow the second street to the right, the Pictor Ion Negulici. Find Emil Pătrașcu House at number 19, even though it is not very appealing from the street. It was designed by Marcel Iancu for the Pătrașcus in 1937, meant both as a residence and Sculptor Milița Pătrașcu’s workshop. The workshop was set on two levels featuring an interesting street side metal window panel. Go on along the Pictor Ion Negulici and take a right along the Amiral Constantin Bălescu, but not before noting on your left a large villa set in the typical Modernism of the 1960s, with wide balconies and a leafy layout. On along the Amiral Constantin Bălescu, upon the Pictor Barbu Iscovescu crossing, also note the 5 storey apartment building on your left, across the Amiral Constantin Bălescu; the metal work on the balcony balustrade, as well as the 4th floor corner apartment layout are well worth a closer look.







Turn Northwards along the Pictor Barbu Iscovescu and, at number 32, you will find Hermina Hassner’s house. It was equally designed by Marcel Iancu in 1937. As Hermina’s husband was a banker and the budget was not an issue, Iancu integrated a fresco and a Milița Pătrașcu sculpture in the interior design, but both of them have meanwhile disappeared. Another notable feature is the imposing entrance shade that goes way off the building, as well as the facade perforations granting the whole structure an airy atmosphere. On along the Pictor Barbu Iscovescu, pass by the imposing entrance, wave-shaped apartment building at number 44, go back to the Primăverii and turn left along it. Just before reaching Charles de Gaulle Square, cross the Primăverii to the right and then cross the Aviatorilor, immediately finding the subway station. Take the subway to University Square / Piața Universității. Once there, go upstairs using the escalators in front of the train, then, once in the wide passage, take the exit to your immediate left, the ‘Teatrul Național’ exit.







Then take the Carol I to the East (to the right as you get to the surface from the passage). Upon passing through Rosetti Square, note the last two buildings on your left, of which the one on the corner between Dianei and Vasile Lascăr streets has some fine balcony balustrades, as well as interesting upper floor decorative patterns. On along the avenue, soon afterwards note the Asirom Building, also on your left, featuring a blue, imposing, brass door. The building was erected following Architect Ion Ionescu’s plans in 1930. It was initially meant to host the Social Security Company and then hosted the Național Hotel. During the Communist era, the Ministry of Foreign Affairs was temporarily located there and it nowadays hosts the headquarters of a local insurance company, the Asirom. To have a better look at the whole structure, cross the street and walk a bit to the back along the Caimatei (alternatively wait until our walk gets there, because it will do); note the decorative top including the clock.







Go on along the Carol I, cross the tramway tracks, pass by the Armenian Church and go on, noting the Modernist apartment buildings on your left and right. A special note goes to the buildings at number 50 and 51. Take a left along the Strada Spătarului and have a closer look at the beautiful, symmetrical building at number 6, with its crescendo. Then pass by the building at number 32 and note its typical door. Then turn to the left along the Popa Petre, with a fine corner stairway window at number 25. Turn right along the Silvestru (just around the homonymous church), finding Jean Juster House at number 75. It was designed by Marcel Iancu and completed in 1931 for a local banker. The cylindrical shape dominating the facade hosts the stairway. There currently is a kindergarten inside.







On along the Silvestru, upon meeting the busy Dacia, turn to the right along it, cross the tramway track-centered Calea Moșilor and, at the fork afterwards, turn to the right along the Calea Traian. Then, facing a three storey Modernist building hosting a tyre service shop, turn lightly to the right along the Dimitrie Onciul. Note the Poldi Chapier Building at number 16A. An apartment building designed by Marcel Iancu and completed in 1935, it does not stand out much from the other properties plying this street. Across the street from the Poldi Chapier there is an unfortunately modified building designed by Architect Popescu Spiridon Cegăneanu in 1937. Continue and turn to the right along the Strada Zece Mese, noting the fine Art Deco frieze at number 16 and then the interesting property at number 10.







Upon reaching the busy Calea Moșilor again, turn left along it and take the first left again, the Intrarea Grigore Ipătescu, just before ‘Gul Studio’. At number 4 there is the Poldi Chapier House. It was designed by Marcel Iancu and completed in 1929 for Lawyer Poldi Chapier, the owner of the apartment building on the Dimitrie Onciul previously mentioned. The property features a light grey paint scheme nowadays. Back to the Calea Moșilor, go on to the left along it and take a left again on the first option, pass by a church and turn to the left again along the Olari. At number 23 you will find the not quite impressive Paul Iluță House, designed by Marcel Iancu and built for a pharmacist between 1931 and 1935. The house proper was completed in 1931, but Iluță’s laboratory was added as the second floor in 1935. Iancu also designed the furniture inside.







Go on along the Olari and take the Ferdinand to the right, passing by three small Modernist blocks (on your left) before reaching the Izvorul Rece Roundabout. Turn to the right along the Carol I and, on the crossing with the Strada Lunei, note the fine round window decorations on a three storey corner building. Go on and join the tramway track-centered Calea Moșilor to the left, with a fine Art Deco frieze building on your right. Along the Calea Moșilor, on the crossing with the Ioan Luchian (at number 3 on this street), there is an apartment building completed in 1935 after Marcel Iancu’s plans. Note the many windows on the round-shaped side of the building. Continue along the Calea Moșilor and take the next street to the left, the Paleologu. At number 5 and partly covered up by ivy there is Jacques Costin House, following the plans drawn by Marcel Iancu and completed in 1933. The right hand property was designed by Marcel Iancu and probably the same goes for the one to the left as well. Together with his family, the architect lived for a while in an apartment there. The apartment featured frescoes along the walls on the inside, as well as pieces of furniture that were incorporated in the building structure.







Back on the Calea Moșilor, go on to your left (continuing the walk along this street) and, after crossing the dead end Intrarea Nicolae Vermont (which comes complete with interesting interwar Modernist apartment buildings), take the second street to the right, the Strada Sfinților, just before a church. Note the Modernist apartment buildings bordering this street farther on, especially the one at number 3. Turn to the right along the Radu Cristian, with yet another fine apartment building on your left. Also note the exquisite, light yellow building on the crossing with the Dimitrie Bolintineanu and especially the fine arbor top. Turn to the right along the Strada Caimatei and find the Clara Iancu Block at number 20. It was designed by Marcel Iancu and built for his own use in 1931, being however registered on his wife’s name, Clara Iancu. On the last floor there used to be Marcel and Iuliu’s architecture office. There is an apartment on every upper floor, while the ground floor is dedicated to garages and service spaces. From next to the building one can have a better look at the current Asirom Building described earlier. But go on, as there follow two of the most interesting properties designed by Marcel Iancu (personal point of view, of course): the Jean Fuchs and the Solly Gold properties.







Return to the arbor top building and take the Dimitrie Bolintineanu to the West. Upon meeting the Hristo Botev turn left along the latter, cross the tramway tracks along the Calea Moșilor bearing a well preserved apartment building on your left and then take the next street to the left, the Strada Negustori. Past some beautiful Neoclassical houses set in leafy gardens with old trees, there is the Fuchs House at number 27, behind a hard to peek over gate. It was built in 1927, being ordered by a wine dealer for his daughter, being one of the first Modernist properties in town. It was nicknamed the ‘ship house’, as its two round windows reminded people of portholes, while the terrace looked like a deck and the cellar - like a ship’s hold. As Marcel Iancu himself noted: ‘the house I designed has rocked the neighbourhood. The priest, the police officers and all neighbours alike could swear I had built a laboratory’. The building was unfortunately added a hip roof instead of the original flat one, while the simple, Modernist balcony balustrades were given a misplaced, decorated touch. Refer to this article’s photo album for a period picture of the property.







Back to the Hristo Botev, do not miss the fine balcony balustrades at number 24, just across the street from the Negustori crossing. Turn to the left along the Hristo Botev and find, at number 34, Solly Gold Building with its vast second and third floor balconies springing like drawers from the main body of the property. It was designed by Marcel Iancu and completed in 1934. The irregular pentagon - shaped building hosts four apartments of different sizes and layouts on the ground and first floor, respectively a duplex on the last two floors where a part of the original furniture and dividing glass-wands have been preserved. There is a Milița Pătrașcu bas-relief by the entrance, visible from the sidewalk.







Go on along the Hristo Botev and take the Radu Calomfirescu to the right, then go straight along the Stelea Spătarul and find, at number 17, the Frida Cohen Block, in a piazzetta next to Police Station number 10. The building was completed in 1935 and it is Iancu’s tallest project. Across the square from this building there is another Modernist block well worth a look. Go on straight, reach the Sfânta Vineri, turn to the left along it and then to the right along the Corneliu Coposu that will soon burst into the wide Unirea Square.







The walk, well, huh, ends there. Even though there are more of Marcel Iancu’s and other interwar architects’ Modernist buildings around. Ask me for more if you are not too tired. ;)







For more pictures shot along the route taken by this walk (complete with GPS co-ordinates), click here and enjoy. You can download here the three sections of the walk, as it follows:

