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ALa fix 4 ani dup` „Stuf” revenim cu „Olane”, cel`lalt material de acoperire care marcheaz` iden-titar zona dobrogean` pe harta cultural` a arhitecturii populare autohtone. Ne folosim, iat`, dinnou, de sonoritatea [i for]a unui cuvânt pentru a marca, înc` din titlul albumului, diferen]a spe-cific` a arhitecturii populare dobrogene fa]` de celelalte teritorii române[ti [i înrudirea sa direct`cu o lume care a f`cut din aceste forme de argil` ars` o podoab` de acoperit cele mai importantesemne ale culturii materiale. Adic`, într-un cuvânt, arhitectura. Nu m` pot ab]ine s` spun c` evorba de o inven]ie de categoria [i importan]a ro]ii, dovad` fiind faptul c` func]ia [i forma le-aur`mas nemodificate de mai bine de trei mii de ani, de când dateaz` cele mai vechi olane cunos-cute, g`site în vestigiile arheologice ale civiliza]iilor elenice.

So it is that precisely 4 years after ”Stuf“ we return with ”Pantiles“, another cover material that marks theidentity of Dobrogea on the cultural map of local folk architecture.Yet again, we make use of the resonanceand force of a word – through it and starting with the title of the album, we draw the specific differencesbetween Dobrogean folk architecture and the vernacular forms of other Romanian territories, as well as itsdirect kinship to a world that has turned these burnt clay shapes into a gem to cover the most importantsigns of its material culture – in a word, its architecture. I also cannot help but mention that pantiles are aninvention every bit as important as the wheel, and as proof of that fact we may state that their function andform have remained unchanged for over three thousand years, the age of the oldest known pantiles, discovered in archaeological vestiges of Hellenic civilizations.

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C A S E T R A D I } I O N A L E D I N D O B R O G E A

TRADITIONAL HOUSES FROM DOBROGEA

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Descrierea CIP a Bibliotecii Na]ionale a RomânieiOlane: Case tradi]ionale din Dobrogea - Olane: Traditional houses from Dobrogea

ed. coord. pref.: Bruno Andre[oiu; texte: Augustin Ioan, Andrei {erbescu, Stelu]a Påråu, Paul Drogeanu; trad.: Smaranda Nicolau, Andrea Nastac; foto.: Bruno Andre[oiu, {erban Bonciocat; grafica: C`t`lin Artenie.Bucure[ti: Igloo, 2012Bibliogr.ISBN 978-606-8026-21-3

I. Andre[oiu, Bruno (coord. ; pref. ; foto.)II. Ioan, Augustin (text.)III. {erbescu, Andrei (text.)IV. Påråu, Stelu]a (text.)V. Drogeanu, Paul (text.)VI. Nicolau, Smaranda (trad.)VII. Nastac, Andrea (trad.)VIII. Artenie, C`t`lin (graf.)

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Toate drepturile sunt rezervate. Ele sunt protejate de legile în vigoare privitoare la dreptul de autor. Orice reproducere total` sau în detaliu, prin orice fel de mijloace de copiere sau transmisie, esteinterzis` f`r` acordul editurii Igloo Media. All rights reserved. No part of this publication may be reproduced, stored in retrieval system, ortransmi tted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without written permission of Igloo Media.

Bucure[ti, © igloomedia, 2012

Proiect editorial finan]at de Administra]ia Fondului Cultural Na]ional

CASE TRADI} IONALE D IN DOBROGEA

TRADITIONAL HOUSES FROM DOBROGEA

igloopatrimoniu

M~N~STIREA DERVENT 30CANLIA 34CARV~N 40GORUNI 44NEGURENI 46ION CORVIN 50ADAMCLISI 58BREBENI 64ABRUD 68FLORIILE 72RASOVA 74COCHIRLENI 78C~SCIOARELE 80CHIRNOGENI 86OLTENI 90COTU V~II 96INDEPENDEN}A 97FÅNTÅNA MARE 98B~R~GANU 102

PREFA}~ / FOREWORDPLEDOARIE PENTRU OLANE 6A PLEA FOR PANTILES

{ARMUL INCONSECVEN}EI TRADI}IEI 10THE CHARMING INCONSISTENCY OF TRADITION

DOBROGEA – SPA}IU AL LOCUIRII INTERETNICE {I AL MULTICULTURALIT~}II 15DOBROGEA – SPACE OF INTERETHNIC DWELLING AND MULTICULTURALITY

COLINA DOBROGEAN~ 20THE DOBROGEAN HILLOCK

DOROBAN}U, JUDE}UL TULCEA (O MICROMONOGRAFIE LIRIC~) 24DOROBAN}U,TULCEA COUNTY(A LYRICAL MICRO-MONOGRAPH)

SUMAR/CONTENTS

BEIDAUD 140CEAMURLIA DE JOS 142CEAMURLIA DE SUS 148CAUGAGIA 150CAMENA 158VISTERNA 162SLAVA RUS~ 164SLAVA CHERCHEZ~ 165NICOLAE B~LCESCU 166IZVOARELE 170NALBANT 188VALEA NUCARILOR 190PLOPUL 192CERNA 194OSTROV 195

BIBLIOGRAFIE / BIBLYOGRAPHY 198

OVIDIU 106SEIMENII MICI 108SILI{TEA 110DUN~REA 112TOPALU 114GHIND~RE{TI 118PANTELIMON 122RUNCU 126TICHILE{TI 129VULTURU 130DULGHERU 132SARAIU 134GÅRLICIU 136

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Pledoarie pentru Olane

Constatând c` igloopatrimoniu dezvolt` tendin]a inte-rioar` de a se organiza în sub-colec]ii, nu putem decât s`o salut`m (un plus de ordine cred c` e oricând bine-venit, mai ales în lumea în care tr`im noi) [i s` ourm`m. Astfel, albumul pe care îl prefa]ez acum nu esteo apari]ie singular`, ci parte a unui demers care aînceput în partea de nord-est a Dobrogei cu o cartare(artistic`) a arhitecturii tradi]ionale din Delta Dun`rii.Cei mai în vârst` [i cu mintea limpede î[i amintesc f`r`îndoial` de „Stuf. Case tradi]ionale din Delta Dun`rii”,albumul care a inaugurat în 2008 sub-colec]ia dedicat`arhitecturilor vernaculare (tradi]ionale, populare) dinRomânia. Mai mult decât atât, se pare c` interesul nos-tru pentru arhitectura popular` pe cale de dispari]ie areu[it totodat` s` stabileasc` [i un anumit tip de abordare– una care privilegiaz` pitorescul [i farmecul [i le prefer`analizei seci, de laborator – [i astfel s` trezeasc` [i altecon[tiin]e dispuse s` investigheze vernacularul românesc. Pe noi, se pare c` timpul nu ne-a vindecat de pasiuneapentru semnele construite ale locuitorilor celui maib`trân [i în acela[i timp mai recent teritoriu al patriei,apendicele sud-estic dintre Dun`re [i mare, cunoscut detoat` lumea bun` drept Dobrogea. A[a c` la fix 4 anidup` „Stuf” revenim cu „Olane”, cel`lalt material deacoperire care marcheaz` identitar zona dobrogean` peharta cultural` a arhitecturii populare autohtone. Nefolosim, iat`, din nou, de sonoritatea [i for]a unui cuvântpentru a marca, înc` din titlul albumului, diferen]a spe-cific` a arhitecturii populare dobrogene fa]` de celelalteteritorii române[ti [i înrudirea sa direct` cu o lume carea f`cut din aceste forme de argil` ars` o podoab` deacoperit cele mai importante semne ale culturii materi-ale. Adic`, într-un cuvânt, arhitectura. {i nu vorbimnumai de Balcanii iubi]i [i detesta]i în egal` m`sur`, cide tot bazinul M`rii Negre, al M`rii Mediterane [i alteritoriilor care au fost colonizate plecând de-aici.Apropo de colonii, nu pot s` nu fac aici o mic` paran-tez`, vorbind de olanele braziliene, ce acopereau un micboutique hotel pierdut în imensitatea acelei ]`ri [i careaveau particularitatea c` p`reau foarte diferite unele dealtele. Întrebând proprietarii despre motivul evidenteideosebiri, am aflat c` respectivele olane, recuperate de ladiverse construc]ii vechi, fuseser`, în zona respectiv`,fabricate de femei, care le modelau pe propriile coapse.Din p`cate, la noi în ]ar` nu am g`sit nicio astfel depoveste [i m` tem c` micile jum`t`]i de tub sunt rezul-tatul unui proces mult mai prozaic, de turnare înmatri]e, uscare [i coacere obi[nuite. Ceea ce nu le facemai pu]in pitore[ti [i cu totul adecvate peisajului dobro-

A Plea for Pantiles

As it would seem that the iglooheritage series is developing anorganic tendency to organize itself in subdivisions (an extra bitof order is always welcome in the world we live in nowadays),all we can do is salute this trend and follow wherever it maylead. So it is that the album I am now foreword-ing is not asingular occurrence, but rather part of an endeavour that beganin the north-eastern part of Dobrogea with an (artistic) mappingof the traditional architecture of the Danube Delta. The olderand wiser among us will undoubtedly recall ”Stuf. TraditionalHouses from the Danube Delta“, the album that in 2008 inau-gurated the sub-collection dedicated to vernacular (traditio nal,folk) architectures in Romania. Moreover, it would seem that ourinterest in the endangered species that is folk architecture hasmanaged to put forward a particular kind of approach, one thatfavours all things charming and picturesque over a dreary lab-type analysis, one that seeks to awaken other consciousnesseslikewise willing to investigate the Romanian vernacular.In our case, it seems time has not managed to cure us of ourpassion for the built traces of the inhabitants of the oldest, andat the same time, most recent territory in our country, thesouth-eastern appendix between the Danube and the seaknown to everyone who counts as Dobrogea. So it is that pre-cisely 4 years after Stuf we return with Pantiles, another covermaterial that marks the identity of Dobrogea on the culturalmap of local folk architecture. Yet again, we make use of theresonance and force of a word – through it and starting withthe title of the album, we draw the specific differences betweenDobrogean folk architecture and the vernacular forms of otherRomanian territories, as well as its direct kinship to a worldthat has turned these burnt clay shapes into a gem to cover themost important signs of its material culture – in a word, itsarchitecture. And we are not only speaking of the equallyloathed and beloved people of the Balkans, but of the entireBlack Sea basin, of the Mediterranean Sea and all of the terri-tories that were colonized starting from here. And since we'vearrived at colonies, though I digress, I simply have to mentionthe Brasilian pantiles that used to cover a small boutique hotellost in the immensity of that country, whose peculiarity lay inthe fact that each tile was completely different from the others.After asking the owners about the reasons behind such obviousdifferences, we found that those pantiles, all recovered from var-ious older buildings in the area, had been handcrafted bywomen who would mould them after their own thighs. Sadly,no such story turned up in our country, and I fear our littlehalf-tubes are the result of a far more prosaic process of pouringclay into matrixes to dry and cook. Which doesn't make themany less picturesque or adequate to the Dobrogean landscape,

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gean, singurul din România care a [tiut s` cultive aceast`mo[tenire definitorie [i reprezentativ` a civiliza]iei medi -tera neene. Nu m` pot ab]ine s` spun c` e vorba de oinven]ie de categoria [i importan]a ro]ii, dovad` fiindfaptul c` func]ia [i forma le-au r`mas nemodificate demai bine de trei mii de ani, de când dateaz` cele maivechi olane cunoscute, g`site în vestigiile arheologice aleciviliza ]iilor elenice (asta în bazinul mediteraneean, c` înChina…). Din nefericire, ca s` spunem totu[i lucrurilor pe nume,cultura olanelor este [i ea pe cale de dispari]ie în ]aranoastr`, campioan` la a-[i anihila trecutul. Spre deose-bire de alte culturi care [tiu s`-[i recunoasc` valorile patrimoniale [i s` le protejeze, noi p`rem lansa]i într-ocurs` contra cronometru pentru a le distruge.Arhitectura popular`, fiind oricum cea mai fragil`, maipu]in versatil` [i mai lipsit` de glorie, pare a fi victimapredilect`, iar olanele acoperirii sale dobrogene nu facexcep]ie. Prin urmare, albumul acesta se vrea nu numaio modalitate de salvare, prin imagini, a ceea ce a mair`mas în picioare din arhitectura tradi]ional` dobro-gean`, ci [i înc` un semnal pentru drama pe care arhi-tectura tradi]ional` în general o tr`ie[te în prezent. Eu continui s` cred ([i s` sper) c` ceea ce tr`im ast`zi,inclusiv sau mai ales în materie de raportare la arhitec-tura tradi]ional`, este doar un nefericit hiatus, o ruptur`în curgerea fireasc` a timpului. }ine de specificul nostru(în principal de întârzierea fa]` de fluxurile culturale alelumii contemporane) [i felul în care ne raport`m înprezent la arhitectura tradi]ional`. Dup` p`rerea mea, nuam reu[it înc` s` metaboliz`m corect impactul moder-nit`]ii [i s` în]elegem nevoia nuan]`rii elanurilor distruc-tive ale proiectelor revolu]ionare încifrate în acesta.Satele române[ti tr`iesc ast`zi (de dou`zeci de ani), dinnou, sub semnul unei violen]e revolu]ionare care m`tur`totul în calea ei. Totul trebuie rescris, ars [i ref`cut dintemelii, nimic din ceea ce era nu mai e bun, s`n`tos,viabil. Între proiectul ceau[ist de anihilare a satului prinînlocuirea sa cu tabere de munc` în agricultur`, în care]`ranii erau caza]i la bloc, [i transformarea actual` aaceluia[i teritoriu, diferen]ele sunt mai mici decât s-arp`rea. Desigur, ast`zi lipse[te coeren]a aberant` [imalign` a ideologiei, dar rela]ia locuirii cu teritoriul, tre-cutul [i particularit`]ile culturale se modific` la fel degrav [i definitiv. În loc de cartiere de mici blocuriinsalubre, satul de azi [i de mâine va expune o imagineîn care se vor înghesui „vile” fistichii [i ciudate, într-odeplin` debandad` de stiluri, forme [i culori. {i, ca înatâtea alte domenii na]ionale, nu exist` preocupareserioas`, cercetare aplicat` [i dezbatere în leg`tur` cuviitorul unui teritoriu în care locuie[te înc` jum`tate dinpopula]ia ]`rii, satul. Care sat, este evident pentruoricine î[i bate pu]in capul, nu mai este ast`zi capabil s`-[i secrete o formul` proprie de existen]` coerent` [i

the only landscape in Romania that knew how to cultivate thisdefining and representative legacy of Mediterranean civilisation.I also cannot help but mention that pantiles are an inventionevery bit as important as the wheel, and as proof of that factwe may state that their function and form have remainedunchanged for over three thousand years, the age of the oldestknown pantiles, discovered in archaeological vestiges of Helleniccivilizations (in the region of the Mediterranean, to say nothingof China...).Sadly, to call things what they are, the culture of pantiles isyet another endangered species inhabiting the national land-scape of a country that is champion at annihilating its ownpast. Unlike other cultures who know how to acknowledge andprotect their heritage values, we Romanians seem to be racingagainst the clock to destroy ours. Folk architecture, at any ratethe most fragile of architectures, less versatile and less gloriousperhaps, seems to be the favourite victim, and the pantiles thatcover most of Dobrogea are no exception to this trend. It fol-lows then, that this album wishes to be not only a means forsalvaging, in images, what is still standing of traditionalDobrogean architecture, but that it also sets out to raise analarm signal and throw light on the tragedy that traditionalarchitecture is suffering at the moment. I continue to believe (and to hope) that what we are livingthrough today also (or especially) in terms of traditional archi-tecture is nothing more than an unfortunate hiatus, a tear inthe natural flow of time. It has something to do with our char-acter (mainly with the constant lag that seems to exist betweenus and the cultural flow of the contemporary world) and withthe manner in which we presently approach traditional architec-ture. In my opinion, we have not yet managed to correctlymetabolize the impact of modernity and understand the need todistinguish and to moderate the destructive impulses hiddenwithin any revolutionary project. Romanian villages nowadays(and for the past 20 years) are plagued by a revolutionary vio-lence that sweeps away everything in its path. Everything hasto be rewritten, burnt down and built up again from scratch, nothing of the past can still be considered good, healthy or viable.Between Ceau[escu's agenda to annihilate the village altogetherand replace it with agricultural work camps where peasantswould lodge in apartment buildings, and the present transfor-mations of that same environment, the past and the culturalpeculiarities of the village are being severely and irreparablyaltered. Instead of the communist vision of entire blocks of tiny,unsanitary flats, the village of today and tomorrow advertisesan agglomeration of wacky, weird 'villas' in an absolute confu-sion of styles, shapes and colours. And, as with so many othernational domains, there is a lack of serious preoccupation,applied research and debates concerning the future of an envi-

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ronment that is still home to half the population of the country– the village. And the village, as anyone with the slightestinterest in the matter can plainly see, is no longer capable ofsecreting its own formula for a coherent and valuable existence.It is so caught up in an endless cycle of destructive rages andmimetic rebuilding based on cheap copies of inadequate models,that its flesh now tolerates any graft whatsoever, no matter howill a match it may be.This is the reason why traces of traditional architecture can nowonly be found in the poorest and most isolated of areas, whereold houses (barely) subsist in the households of the elderly, wholack the vigour that this violent wave of change demands ofthem. As strange as it may sound to a normal mind, today, inRomania, folk architecture is only preserved thanks to old ageand sloth.The editorial structure of Pantiles is very different from thefour-chapter division based on progressive focus proposed inStuf: landscape – house – household – details. The muchvaster territory and, more to the point, the remarkable typologi-cal diversity of the objectives photographed in this album led usto a set-up that primarily marks the origin of the photograph,respectively the village where the house can be found. Then, forstrictly editorial concerns, we chose to divide the Dobrogean ter-ritory into three horizontal stripes, southern, central and north-ern, unequal in surface and the density of photographed houses,only useful in making the book easier to go through. Whoevershould wish to seek out other reasons for this division (historic,geographic or cultural) is unlikely to find any.For the texts that accompany the images, this time grouped intoan independent chapter, we opted for fundamentally differentpeople and perspectives: from the ethnic diversity that made pos-sible the architectural diversity of the region, to an analysis ofthe dissolution of vernacular architecture as experienced by ustoday, to a cultural survey of villages hidden in the hills and allthe way to personal memoirs relating to the Dobrogean village. Our goal was certainly not to establish a firm position or con-vey some clear or militant point of view, but rather to mark adifficult moment in time – should we prove unable to managethis moment in an appropriate manner, it is possible that notso many years from now, all that will be left of Dobrogeanarchitecture may very well be this album. It is fact that folkarchitecture and the societal model it puts forth are about to dis-appear all over the world. Sheltered by intellectual argumenta-tion or sheer ignorance, we may reconcile ourselvesto this fact, or we may make an effort tounderstand whether or not the built traces ofour rural grandparents might still provide mod-els, inspiration or values that are useful andusable today. I for one believe this to be true and Ihope this album will be instrumental in convincing othersof the same.

valoroas`. El doar distruge furibund [i recl`de[te mime -tic, copiind prost modele inadecvate, acceptând încarnea sa orice gref`, oricât de nepotrivit`. De aceea urmele arhitecturii tradi]ionale sunt de g`sitnumai în zonele cele mai s`race [i mai izolate, caselevechi subzist` (aproape) numai în gospod`riile b`trâne[ti,în care lipse[te vigoarea pe care violen]a schimb`rii oreclam`. Oricât de aberant ar suna pentru o minte normal`, ast`zi, în România, arhitectura popular` esteconservat` doar de b`trâne]e [i de lene. Spre deosebire de „Stuf”, care propunea o structur` edi-torial` în patru capitole bazat` pe focusul progresiv,peisaj – cas` – gospod`rie – detalii, „Olane” este struc-turat diferit. Teritoriul mult mai vast [i mai ales incredibila diversitatetipologic` a obiectivelor fotografiate ne-a condus c`tre opunere în pagin` care s` marcheze în primul rândprovenien]a fotografiei, respectiv satul în care se g`se[tefiecare cas`. Apoi, din motive de natur` strict editorial`,am ales s` împ`r]im teritoriul dobrogean în trei felii ori-zontale, de sud, centru [i nord, inegale ca suprafa]` saudensitate de case fotografiate, utile numai în logica de aface cartea mai u[or de urm`rit. Prin urmare, cine vac`uta altfel de ra]iuni (istorice, geografice, culturale etc.)nu cred s` aib` vreun rezultat. Pentru textele care înso]esc imaginile, de ast` dat` gru-pate într-un capitol de sine st`t`tor, am optat pentruoameni [i perspective fundamental diferite: de la diversi-tatea etnic` ce a f`cut posibil` diversitatea arhitectural` azonei, la o analiz` a disolu]iei arhitecturii vernaculare a[acum o tr`im ast`zi, [i de la survolul cultural al colinelorîntre care se ascund satele pân` la memorii personalelegate de satul dobrogean. Scopul nostru, în mod cert, nu a fost acela de a construio pozi]ie ferm` [i un punct de vedere clar sau militant,ci mai degrab` de a marca un moment dificil, pe care,dac` nu vom [ti s`-l gestion`m cum se cuvine, peste nufoarte mul]i ani tot ceea ce va fi r`mas din arhitecturapopular` dobrogean` va fi numai albumul acesta. E unfapt c` arhitectura popular`, odat` cu modelul de soci-etate care a produs-o, e pe cale de dispari]ie peste tot înlume. Ne putem împ`ca, la ad`postul unor argumenteintelectuale sau al nesim]irii pure, cu acest lucru sauputem face un efort s` în]elegem dac` semnele constru-ite ale bunicilor de la ]ar` mai pot furniza modele, inspi-ra]ie sau valori utilizabile ast`zi. Eu, unul, cred c` da [isper c` albumul acesta s` mai conving` [i pe al]ii.

BRUNO ANDRE{OIU

30 M~N~STIREA DERVENT

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32 M~N~STIREA DERVENT

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33 M~N~STIREA DERVENT

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35 CANLIA

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52 ION CORVIN

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53 ION CORVIN

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68 ABRUD

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69 ABRUD

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74 RASOVA

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75 RASOVA

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90 OLTENI

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91 OLTENI

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100 FÅNTÅNA MARE

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101 FÅNTÅNA MARE

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114 TOPALU

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115 TOPALU

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120 GHIND~RE{TI

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126 RUNCU

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127 RUNCU

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142 CEAMURLIA DE JOS

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143 CEAMURLIA DE JOS

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146 CEAMURLIA DE JOS

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147 CEAMURLIA DE JOS

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150 CAUGAGIA

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151 CAUGAGIA

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152 CAUGAGIA

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153 CAUGAGIA

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154 CAUGAGIA

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160 CAMENA

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161 CAMENA

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172 IZVOARELE

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178 IZVOARELE

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179 IZVOARELE

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186 IZVOARELE

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187 IZVOARELE

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198 BIBLIOGRAFIE

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Ionescu M.D., Dobrogea în pragul veacului al XX-lea, Bucure[ti, 1904.

Khosla, Romi, 2002, Inventing Future Prosperity: A Case in the Buddhist HimalayanRegion of Ladakh, în Turgut, Hülya [i Kellett, Peter (ed.), Traditional

Environments in a New Millenium: Defining Principles and Professional Practice,Istanbul: Nokta Ofset, pp. 86-89

Mateescu Tudor, Permanen]a [i continuitatea românilor în Dobrogea, Direc]ia General` a Arhivelor, 1970.

Pârâu Stelu]a, Multiculturalitatea în Dobrogea, Editura Ex-Ponto, Constan]a, 2007.

Popoiu Paula, Antropologia Dobrogei, Craiova, Editura Universitaria, 2010.

Popoiu Paula, Antropologia habitatului în Dobrogea – Om – natur` – cultur`, Editura Oscar Print, Bucure[ti, 2001.

R`dulescu Adrian, Bitoleanu Ion, Istoria românilor dintre Dun`re [i Mare, Dobrogea, Editura {tiin]ific` [i Enciclopedic`, Bucure[ti, 1979.

Tuan, Yi-Fu, 1989, Traditional: What does it mean?, în Jean-Paul Bourdier [i NezarAlSayyad (eds.), Dwellings, Settlements and Tradition: Cross-Cultural Perspectives,

Lanham: University Press of America, pp. 27-35

Upton, Dell, 2001, Authentic Anxieties, în N. AlSayyad (ed.), Consuming Tradition,Manufacturing Heritage. Global Norms and Urban Forms in the Age

of Tourism, London: Routledge, pp. 298-307

Bibliografie /Bibliography

199 COLOFON

OLANE. TRADITIONAL HOUSES FROM DOBROGEA

Olane. Case tradi]ionale din Dobrogea Olane. Traditional houses from Dobrogea

este al nou`lea album din colec]ia igloopatrimoniu.is the ninth album in the iglooheritage series.

board editorial / editorial board Bruno Andre[oiu, Adrian Cioc`zanucoordonator proiect / project coordinator Bruno Andre[oiu

foto / photo {erban Bonciocat, Bruno Andre[oiutexte / texts Andrei {erbescu, Stelu]a Påråu, Paul Drogeanu, Augustin Ioan

grafic` / graphic design C`t`lin Artenieprelucrare foto / image editing Cristian David, Robert Dumitru, {erban

Bonciocateditare text / text editing Andreea Amzoiu

traducere / translation Smaranda Nicolau, Andrea Nastactiraj / copies 2000, hârtie / paper 150 g/mp

tip`rit la / printed by Masterprinteditura / edited by igloomedia, noiembrie 2012

Colofon /Colophon

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ALa fix 4 ani dup` „Stuf” revenim cu „Olane”, cel`lalt material de acoperire care marcheaz` iden-titar zona dobrogean` pe harta cultural` a arhitecturii populare autohtone. Ne folosim, iat`, dinnou, de sonoritatea [i for]a unui cuvânt pentru a marca, înc` din titlul albumului, diferen]a spe-cific` a arhitecturii populare dobrogene fa]` de celelalte teritorii române[ti [i înrudirea sa direct`cu o lume care a f`cut din aceste forme de argil` ars` o podoab` de acoperit cele mai importantesemne ale culturii materiale. Adic`, într-un cuvânt, arhitectura. Nu m` pot ab]ine s` spun c` evorba de o inven]ie de categoria [i importan]a ro]ii, dovad` fiind faptul c` func]ia [i forma le-aur`mas nemodificate de mai bine de trei mii de ani, de când dateaz` cele mai vechi olane cunos-cute, g`site în vestigiile arheologice ale civiliza]iilor elenice.

So it is that precisely 4 years after ”Stuf“ we return with ”Pantiles“, another cover material that marks theidentity of Dobrogea on the cultural map of local folk architecture.Yet again, we make use of the resonanceand force of a word – through it and starting with the title of the album, we draw the specific differencesbetween Dobrogean folk architecture and the vernacular forms of other Romanian territories, as well as itsdirect kinship to a world that has turned these burnt clay shapes into a gem to cover the most importantsigns of its material culture – in a word, its architecture. I also cannot help but mention that pantiles are aninvention every bit as important as the wheel, and as proof of that fact we may state that their function andform have remained unchanged for over three thousand years, the age of the oldest known pantiles, discovered in archaeological vestiges of Hellenic civilizations.

70 lei igloopatrimoniuiglo

opa

trim

oniu

C A S E T R A D I } I O N A L E D I N D O B R O G E A

TRADITIONAL HOUSES FROM DOBROGEA

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