Download urban route Marcel Iancu in format - E-cart

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13. Poldi Chapier Building - 1935
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23 Olari Street
One-family house, ground floor and two upper floors
Laboratory - ground floor and two upper floors
The villa and its furniture were designed for one of
Iancu’s relatives, the pharmacist Paul Ilu\[. The
laboratory for pharmaceutical products was built in
1935. The house has been well preserved with no
alterations, which is so rare among Iancu’s constructions.
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8
16A Dimitrie Onciu Street
Built in the same residential area as the Chapier house, the building
was obviously a real estate investment. Its aesthetics are not
particularly expressive, the architect merely following a stylistic
formula that conformed to the general direction of late 30’s
Bucharest modernism. It’s interesting that the executed façade is
different from the design submitted for the building permit.
14. Poldi Chapier House - 1929
4 General Ip[tescu Alley
Published in Contimporanul, no. 93-94-95, 1930
The house was built for Iancu’s friend, the lawyer Poldi Chapier, a former
high school colleague and member of the Simbolul group (1912).
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17 Stelea Sp[tarul Street
This is the tallest building designed by Iancu and it
conforms stylistically to the general direction followed by
Bucharest modernism.
It is composed of two units, each with its own main
staircase. All current floors of each unit contain two flats
and a studio flat. The façade overlooking the plaza is
concave and narrow, the lateral façade being more planar;
the particular aesthetic interest of this work resides in the
effect of its applied profile.
Herman Iancu Building - 1926
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25-29 Maximilian Popper Street
(Maior Zenovie and Vame§ul Raco\eanu Streets)
In 1922 Herman Iancu, Marcel Iancu’s father, opened an alley in the old Trinit[\ii Street. Marcel Iancu built
the first modernist house in Bucharest there in 1926, while the remaining part of the allotment was
approved 8 years later. The Iancu brothers designed 13 buildings on this land. These are set back from the
street line and include an apartment at each level. Parts of these buildings have been demolished and
other sections restored.
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11. Frida Cohen Building - 1935
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49 Kiseleff Highway
Published in Contimporanul, no. 96-98, 1931, and in Architecture
d’aujourd’hui, no. 5/1934
This building today holds the residence of the Ambassador of
Venezuela.
Built for the Chih[escu family, it is a modern interpretation of the
classical villa theme based on a central plan.
In front of the house there it was a sculpture by Mili\a P[tra§cu.
y
gua
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gu
stantin
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lga
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5. Florica Chih[escu Villa - 1930
G.ra
ti
o§ilo
aM
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10
P[tra§cu
B[niei
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Av.
39 Grigore Mora Street
Published in Alberto Sartoris (Gli elementi dell’architettura
razionale, Milano, 1937)
The villa belonged to the Reich family who were fur
merchants. Iancu’s interior design expressed his idea of
incorporating the applied arts in architecture.
Grigore Mora Art Gallery is now housed on the top floor
of the building.
u
lea
Zori
ei
Mavrogheni
±os
Bd.
and
a
Alde
N ac
sca
Muzeul Satului
i
p
Po
17
Salc
20 Caimatei Street
Published in Contimporanul no. 102/1923
The building, constructed for Marcel Iancu’s wife Clara, was
financed by the architect himself, and from 1931 the Iancu family
lived there. The Iancu brothers’ Bureau for Modern Studies was
probably located on the top floor. There is one flat on each floor.
On the ground floor - slightly sunken - there were garages and
service rooms. Iancu was very interested in dynamic and sculptural
façades, as in Villa Fuchs.
ia
ea
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oic
10. Clara Iancu Building - 1931
Dac
ciur
Serghiescu
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Col\ei
4. Florica Reich Villa - 1936
Bd. Co
[
\iei
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Pia\a
Arcul de Triumf
de
ica
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e
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D. P
a
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ag
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3. Paul Wexler Villa - 1931
36 Grigore Mora Street
Published in Contimporanul, no.102, 1932, and in Alberto Sartoris
(Gli elementi dell’architettura razionale, Milano, 1932)
Paul Wexler Villa was built for a rich family in the new residential
district in the north area of the city. It has a functional interior
space distribution with communicating living spaces and a big
garden terrace and some additional rooms on the top floor.
Significantly, Iancu himself chose this dwelling to be published in
a work dealing with modern architecture, a major European
reference book on architecture.
e
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iei
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19 Pictor Ion Negulici Street
Dwelling and sculpture studio.
Located in the luxurious residential district of the city,
Emil P[tra§cu Villa is the last villa that Marcel Iancu
built in Bucharest.
The building comprises two flats and a sculpture
studio for his friend, the artist Mili\a P[tra§cu.
The most interesting part of this building is the
double-storey studio. The wall of the studio facing the
street is dominated by a huge metal-framed window,
which in the initial project continued along the side
façade. Mili\a P[tra§cu was an important avant-garde
artist. She was active in the Contimporanul group
and participated in art exhibitions with Marcel Iancu.
ie
.C
2 Charles de Gaulle Square
Company headquarters and block of flats, ground floor
and 7 upper floors.
Built for the Bazaltin Company (which specialized in
bridge and road construction) this is counted among
Iancu’s rare projects, as it goes beyond residential
architecture. The building, which is altered today,
comprised three main functional areas: the headquarters
of the company, a luxurious apartment stretching over
several floors on the right side, and a tenement building
with two studio flats and two flats on each floor on the
left side.
32 Pictor Iscovescu Street
This is one of the last projects that Iancu
designed in Romania. It was also realized
after the period in which he had designed
tenement houses. This house commission
and the banker Hassner’s generous budget,
allowed Iancu the freedom to experiment.
He also integrated paintings, sculptures and
cubist stained glass windows in the design.
Above the hall fireplace was located his
famous painting, Jardin du Luxembourg
(1928), while the front door was enlivened
by one of Mili\a P[tra§cu’s base-reliefs;
neither of these survive.
Ro§
va
bra
Dum
eron
uis Cald
Jean Lo
escu
porg
l P ra
ezi
G.ra
rgh
T. A
2. Bazaltin Building - 1935
7. Emil P[tra§cu Villa - 1937
I .L
5 Popa Savu Street
Published in Contimporanul, no. 79, 1929
This is the first villa built by Iancu in the new North residential
area of Bucharest.
6. Hermina Hassner Villa - 1937
u
1. Maria Lambru Villa - 1928
Parcul
Ioanid
laic
Zone A
el V
Urban Route
The beginnings of modern architecture in Bucharest 1929 - 1938
Veric
e
Aga
t
55 Maximilian Popper Street
Built for the architect’s father, this building’s design is
unusual for two reasons. Its alignment was determined by
a town hall regulation facilitating the opening of a new
street, and it must also be attached to an existing
structure. Marcel Iancu lived in one of the apartments until
1931, when he moved out to Caimatei Street. Marcel
Iancu's studio occupied the top floor of the building, which
was smaller in plan than those below, and does not appear
in the construction authorization.
The house is remarkable for its artistic qualities, the
architect having exercised great freedom in a house he
designed for himself. This aesthetic experiment recalls a
plaster relief he created in Zürich, after 1917. The most
spectacular feature of the building was the colourism of its façade. The aesthetic qualities expressed in this
building, known as the first example of modern architecture in Romania, are not typical of later
development of Modernism in Bucharest. Its polychrome façade and its exceptional shape would have
been a confronting sight to the inhabitants of this quiet area, situated near Hala Traian. This building
represents an important phase of Iancu’s architecture, when his artistic interests were more noticeable.
9. Jacques Costin Building - 1933
5 Paleologu Street
The building was commisioned by Iancu’s brother in law,
Jacques Costin. The lawyer Jacques Costin was a fervent
member of the Contimporanul group. He also wrote avant-gard
texts like Exercise for the right hand and Don Quijote, illustrated
by Marcel Iancu and Mili\a P[tra§cu.
The building to the right is also designed by Iancu. It seems that
the building to the left was built by Iancu as well, though no
evidence for this has yet been discovered. Iancu lived with his
family on the first floor of the building and his studio was
located on the ground floor. According to some of his
contemporaries’ reminiscences, the walls of his flat were
covered with frescoes and the furniture was designed by Iancu
himself. Finally, the façade looks entirely different from the one
submitted for the authorization permit.
This address is mentioned as the administration office of
Contimporanul and also in building permits for the houses built
by Iancu after 1934.
15. Building of unidentified owner - (probably 1935)
3 Pictor ±tefan Luchian Street
This was one of Iancu’s largest projects of this kind, a luxurious
tenement house. The entrance is marked by an inconspicuous
vertical register with small balconies and a base-relief by Mili\a
P[tra§cu.
The building needs structural consolidation and has been
considered exposed to a high degree of seismic risk.
16. Alexandrescu Building - 1935
179 Traian Street
Marcel Iancu was probably commissioned by Mircea Eliade (a very famous
historian of religions) to design this house for his sister, Mrs. Alexandrescu.
Built in the old center of Bucharest, the building has one apartment on
each floor.
17. Jean Juster Villa - 1931
75 Silvestru Street
This villa was built for Jean Juster, a banker, in the central area of
Bucharest and was a very luxurious dwelling. Iancu placed the main
staircase within the façade, by employing a protruding cylindrical
volume that plays an essential role in its composition. The initial
formula had a canopy, demolished in 1977 after the earthquake.
18. Solly Gold Building - 1934
34 Hristo Botev Street
Built in 1934, this is a small, luxurious tenement house with
four flats of different sizes. The plan of the tenement is an
irregular pentagon with three of its façades aligned to the
streets; the flats are placed around the main central
staircase.It is probably one of the most spectacular buildings
designed by Marcel Iancu.
Urban route
Marcel Iancu
The beginnings of modern architecture
in Bucharest 1929 - 1938
This urban route constitutes an introduction to Bucharest’s modern architecture, through the
work of Marcel Iancu (1895-1984), one of its initiators.
The itinerary comprises two main zones of Bucharest, the North and the Center of the city,
known in the ‘30s as the Yellow sector and the Black sector.
deserves mention because it represented Iancu’s decisive step towards modernism.
The Fuchs villa was also one of the very rare cases in which details concerning the architectclient relationship are known, including the latter’s influence on the project.
In an interview published in 1930 in Rampa magazine, Iancu declared:
“The first modernist house in Bucharest was also the first of this kind in Romania. I built it for
a wine merchant who happened to read foreign art magazines and seemed to enjoy new
architecture. He told me he had one million lei and a building lot and would give me a free
hand. All he wanted was a modernist house.”
The novelty of this design drew the public’s attention and shocked many people. In the same
interview Iancu recalled that:
“The house I built in that area was a sensation. The priest, the policeman and the people
were convinced that I had erected a laboratory which was out of place in their
neighborhood”.
The critics, inspired by the people’s reactions, were ironical and skeptical about this kind of
new architecture:
“The neighbors can’t understand why instead of the traditional windows the house has but
one window, covering the whole width of the façade, like a morgue display window. Instead
of one attic window, usually placed in the roof, there are three, as if there were first class
This selection of buildings includes 18 houses and blocks that are emblematic of the
beginning of modern architecture in Bucharest, drawing attention to this very interesting
“layer” of the city. The buildings have been designed by Marcel Iancu, sometimes with the
support of his brother Iuliu. Together they owned an architecture office called the Bureau of
Modern Studies. Because most of the
buildings have been changed in a major
way, it is necessary to compare present
images with original ones.
Thus, the thematic map is illustrated with
drawings and documents published in
periodicals of the time (1924-1938).
Documents selected from the
construction authorizations preserved in
Bucharest’s City Hall Archive and images
from periodicals of the time have been
added, in order to give a clearer representation of the buildings’ initial aspects.
An important reference was the research
included in the catalogue Marcel Iancu
Centenary 1895-1995, Simetria, Bucharest,
1996, coordinated by Anca Boc[ne\,
Nicolae Lascu and Ana Maria Zahariade.
The route offers you a chance to explore
Bucharest’s urban and social history. It also
provides tools to evaluate contrasts
between ‘20s and ‘30s architecture, and the
communist and post-communist styles.
The words of Marcel Iancu, concerning
Bucharest and its utopia are still as
The Sciences and Voyages Journal, 1932
persuasive today as they were in the past:
“I feel it’s imperative that Bucharest should
be reconstructed; I have tried to sketch a new urban orientation that can be perceived as
utopian.
In fact, urbanism is an art that should scrutinize into the future. The city builders lacking foresight will be always left behind real life.” (Towards an Architecture of Bucharest, Bucharest, 1935).
“… We undergo a stage of full recovery. The buildings in the commercial center grow higher
and higher, the old and uncomfortable houses make room for central “blockhouses”, while
the very few courtyards and gardens vanish every minute …”
In 1935 attitudes to Bucharest’s urban future were very optimistic:
“… Luckily, Bucharest is a young town, at the beginning of its urban growth, and thus spared
of the exaggerated architectural development that led to unhealthy and overcrowded
Western towns during the last century… Should we follow the same chain of mistakes that
Western countries already have experienced and finally learnt their lesson?”
“… What we can do in Bucharest today, cannot be achieved in the future.
Modern style demands modern urban planning.“
“… Thus in 50 years, Bucharest will turn into a happy, healthy town with gardens, a garden-city
with parks and palaces… Every age has its own picturesque landscape and, no matter how
pathetic ruins may look, we vote for the present, colorful life and its picturesque ambiance. We
have no time to lament over the past; our duty is to see what we can do about the future...”
In Urbanism, by no means romanticism, an article from 1932, published in Ora§ul (The City),
Iancu underlines his trust in a visionary attitude, leaving behind the past and its nostalgias:
“… Our city, the capital of our country, is summoned to take up a European form and goal…
... The modern house is just one facet of the new interior life organization, tightly intertwined
with urbanism. The essence of the whole new architectural problem lies in the balance and
coordination of exterior and interior values.” (Contimporanul, September, 1931).
At the same time as the proclamation of his esthetic program in Contimporanul, Iancu
published many articles in periodicals such as Ora§ul (The town), Arta §i Ora§ul (The Arts and
Drawings for a country house
Contimporanul, 1931
the City) in which he strongly promoted modernist ideas.
Iancu accentuates the connection between modern architecture and avant-garde
experiments, fully aware of his own contribution to the artistic avant-garde movement:
“Modern architecture followed cubism.” He equally identifies strong ties with Dadaism, the
esthetic movement to which he ascribes the idea of interconnections between abstract art
and architecture. He payed special attention to the interior design of modern buildings; in his
opinion, the characteristics of a modern interior are synonymous with the goals of “the new
aesthetics”. This interest in interior design is reflected in some of his works included in this
thematic map.
Iancu introduced a new kind of modern residential architecture to Bucharest, the modern
villa, built for a bourgeoisie with progressive views. The houses benefited from a kind of
comfort that “pays no tribute to wealth”, as Iancu put it.
Although the Villa Jean Fuchs (27 Negustori Street, 1927-1929) is severely altered, it
Fuchs Villa
It is actually ironic that the critical ambience of Bucharest in the 1930s, when Iancu and his
modernist fellows protested against deplorable systematization, is to an extent being
repeated nowadays. Among the buildings that have suffered are those which were built in
the period between the wars – including Iancu’s houses.
Many buildings situated in the areas where Marcel Iancu’s houses are
located were demolished during the communist period and after 1989.
Many of those which were not demolished are nevertheless in a very
bad state of preservation. Buildings like that designed by Iancu which
is located on Pictor ±tefan Luchian Street are in urgent need of
structural consolidation. Moreover, the social and legislative
situations of these buildings reflect closely the historical and political
events of the last 75 years. First, most of the buildings’ Jewish
owners suffered violent Legionary persecution (the extreme right
party) around the end of the 1930s, and certain houses have
witnessed bloody scenes (as Jacques Costin house). Iancu himself
was forced to go into exile in Palestine, in 1941.
After World War II and the installation of the communist regime,
most of the proprieties were appropriated by the Communist
State, through the Nationalization Law (no. 119, July 11, 1948)
Marcel Iancu –
and the Decree of April 1950, which listed buildings to be
Jacques Costin
nationalized (“buildings owned by former industrial
entrepreneurs, former landed gentry, former bankers, former
important business men and other elements of the high
bourgeoisie”). In some situations, the owners had to accept tenants in their own houses.
Most of Iancu brothers’ clients belonged to this category. Their buildings consequently
suffered changes brought about by the nationalization process and were also ‘transformed’
socially.
This can be observed particularly in those areas where many buildings were demolished
during the communist period, for example around the Herman Iancu house, located on
Maximilian Popper Street.
Some houses and apartments have, in recent years, been affected by the development of
legislation concerning propriety and, in keeping with the Restitution Law no. 10 of 2001,
have been returned to their owners.
Architecture drawings, published in Contimporanul, 1925
Dada movement. As a member of the Dadaist group, Iancu conducted his first
experiments in collage, abstract relief and sculpture. These works are considered among
the most courageous and original experiments in abstract art.
During this period the artist came into contact with the most important personalities of
the international avant-garde of Italy, France and Germany.
Along with Hans Arp, Alberto Giacometti, Baumann, and Tauber, Marcel Iancu formed
the group Das Neue Leben in 1918. The group held a series of exhibitions, lectures and
manifest-demonstrations in the cities of Switzerland.
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Marcel Iancu –
cover of Contimporanul, October 1925
Marcel Iancu was part of a group that centred on Simbolul (The Symbol) magazine, along
with Tristan Tzara and Ion Vinea during his high school years in Bucharest
(1912 to 1913).
After completing high school, Marcel Iancu left Romania for Zürich, together with his
brothers Iuliu and George, in order to study architecture. He was an associate of Tristan
Tzara at the Cabaret Voltaire in Zürich during World War I. The nucleus formed at
Cabaret Voltaire in 1916 (along with Hugo Ball, Emmy Hennings and Hans Arp) founded
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Iancu published a series of drawings and
presentations of buildings he had designed in
Bucharest, and articles about urban planning,
architecture and art in the pages of the
magazine.
Marcel Iancu –
Ion Vinea
Painter, graphic artist, architect and
theoretician, Marcel Iancu (Janco) is one
of the most important personalities of
the avant-garde movement. He was
born to a Jewish family in Bucharest, in
1895. His work can be divided into three
major periods: participation in founding
and promoting the Dadaist movement
from Zürich; leading the avant-garde
group of Contimporanul in Bucharest;
and engaging in reviving the artistic life
of Israel. In 1983 he helped found the
Dada museum in Ein Hod which bears
his name.
Doina Anghel
Angelica Iacob
Doina Anghel
Ana Maria Guguian, Angelica Iacob, Mihai Pl[m[deal[,
Augusta Milena Pop, Silvana Râpeanu
Veronica Leca
Alexandru Beldiman, Mariana Celac
Simetria, E-cart.ro
MBStudio - Marius Marcu-Lapadat, Octavian Carabela
Octavian Carabela, Angelica Iacob, Mihai Pl[m[deal[
Angelica Iacob, Christopher Wood
The National Museum of Romanian Literature
The Romanian Academy Library
Bucharest’s Town Hall Archive
The National Museum of Art of Romania
Editura Simetria
Special thanks to: The National Museum of Art of Romania, The Chamber of Romanian Arhitects,
±erban Sturdza, Christopher Wood, Irina Cajal, Elena Fluera§u, Daniel Nicolae, Cristina Caute§,
Codru\a Cruceanu, Adrian Notz, ±tefana M[rmureanu, Monica Grigore, Ramona Mitric[,
Irina Ionescu
exhibition was set up in December 1924, in
which artists from all over Europe
participated. From 1925, Contimporanul
broadened its spectrum, publishing special
editions accompanied by programmatic
articles devoted to fine arts, architecture,
sculpture, crafts, and to personalities such as
Constantin Brâncu§i.
Suchard Pavilion, published in
Contimporanul, 1926
After a journey to Western Europe, to
Germany (where Marcel Iancu might
have seen certain achievements of the
Bauhaus school) and France (where he
met Robert Delaunay), Iancu returned
to Bucharest and designed two houses
on Trinit[\ii and Ceres streets, and a
pavilion for the Suchard factory at
Târgul Mo§ilor (an old fair of Bucharest).
From the early 1930s, the Iancu
brothers’ Bureau for Modern Studies
received plenty of commissions. Mass media representatives and fellow architects thus
began to pay attention to Iancu’s architecture. In January 1931, Contimporanul published a
letter addressed to Marcel Iancu by the young architect G. M. Cantacuzino, who had just
returned from studies in Paris. This letter is a declaration of commitment from G. M.
Cantacuzino and represents the first public recognition of Marcel Iancu’s work voiced by an
architect:
“…You were the first to turn your back on the sterile, exhausted mentality in this country. In
our chaotic, town ruled by mediocre and Balkan-like chaos and “petty triviality” as the poet
Tudor Arghezi said, your healthy houses come up as healthy premises for a healthy future,
when vigorous activity is not hindered by idle admiration of the past.“
The most original aspect of Marcel Iancu’s architectural work comes from his duality as a
painter-architect. This feature is recognizable especially in the plastic solutions of his façades.
The art critic Sandu Eliad wrote the most insightful remarks on Iancu’s architecture:
“None of Marcel Iancu’s houses seem to look alike, though they have the same architectural
basis, that is, a strict observance of the laws I have mentioned above (city regulation, physical
laws of the material, technical possibilities and the economic demands). The diverse interplay
of volumes, the daring rhythm of voids and compact walls, the alternation of verticals and
horizontals, although derived form the arbitrary dictates of the requirements of the interior,
all owe their symmetrical and asymmetrical equilibrium and architectural playfulness to his
artistic sensitivity alone. Furthermore, the successful integration of the building into the
atmosphere of the street and
landscape is due to his being an
Drawings for Villa and Cinema
accomplished colorist.“
In the circle of Ora§ul (The City)
publication, whose members
numbered Sandu Eliad, Cicerone
Theodorescu, and D. Anagnoste,
Iancu was seen as: “the
Romanian architect who
enjoyed the most enviable
reputation in the world of
European modern architecture.
When he returned to Romania
his celebrity was already
recognized. Being the leader of
the avant-garde group of
Contimporanul, Iancu remains
the initiator of modern
Romanian architecture, a
complex artist who brings new
and essential ideas. He is a real
revolutionary.” (Ora§ul, 1934).
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After a brief period spent in France, Marcel
Iancu returned to Bucharest. From 1921, for
ten years, together with Ion Vinea, Iancu
was the editor of Contimporanul avantgarde magazine, in which he promoted his
aesthetic ideas. Contimporanul was
published weekly between 3 July 1922 and
7 July 1923, and monthly between April
1924 and January 1932. Mili\a P[tra§cu,
B. Fundoianu, Felix Aderca, Ion C[lug[ru,
Camil Petrescu, M.H. Maxy, and Victor
Brauner were among frequent contributers
to the magazine. Under the auspices of the
publication were organized intensely
promoted individual and group exhibitions.
For example, a large international
cabins in an ocean liner, while the garage looks like a local branch of the central
crematorium.”
It is noteworthy that all buildings constructed before 1934 by Marcel Iancu were signed, in
the building permit, with the name of another architect (usually Constantin Simionescu).
Marcel Iancu only gained the right to use his own signature in 1934, when he was accepted
into the Chamber of Romanian Architects.
The first modernist buildings designed by the Iancu brothers were built in 1926-1927.
The urban itinerary Marcel Iancu (Janco) - the beginnings of modern architecture in
Bucharest was published in conjunction with the project Marcel Iancu (Janco) - the architect. The
project is implemented by E-cart.ro Association with the support of the following partners: The
Simetria Foundation for Urbanism and Architecture within The Chamber of Romanian Architects,
The European Center of Culture in Sinaia, Australians Studying Abroad in Melbourne, Ra\iu
Foundation UK, The Romanian Cultural Institute, C[rture§ti Book Stores. The project constitutes an
interdisciplinary research of Marcel Iancu’s architecture.
The project has benefited from the financial support of the Administration of the National Cultural
Fund, Visual Arts and Architecture area 2008.
The editorial staff of Contimporanul
magazine was housed on Imprimeriei
Street, no. 53 (the building no longer
exists today), and the administration
was located on Trinit[\ii Street, where
Marcel Iancu lived for a while (the
current name of the street is
Maximilian Popper).
By 1941, when he left Romania, Iancu
had pursued an effervescent artistic
career, both in architecture and
painting. Together with his brother
Iuliu he built 40 modernist houses and
blocks in Bucharest. His career as
architect blossomed in the '30s, when
he was already very popular in avantgarde arts media, as a painter,
journalist and graphic artist.
He finally settled in Israel, where he
founded the artists’ colony of Ein Hod
in 1953, devoting himself to painting.
Janco Dada Museum in Ein Hod near
Haifa holds an impressive collection of
his works.
Text by Doina Anghel
Marcel Iancu –
Hans Arp
Marcel Iancu – Mili\a P[tra§cu,
oil on canvas,
1925-1930
Urban route
Marcel Iancu
The circle of Simbolul, 1912. From left to right: Samuel Rosenstock (Tristan Tzara), unknown,
Marcel Iancu, Iuliu Iancu, Poldi Chapier, Eugen Iovanaki (Ion Vinea)
The beginnings
of modern architecture
in Bucharest
1929 - 1938