preliminary study romania

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PRO-EXEMPLARIA

Preventive conservation andmaintenance of architectural heritage in

Romania and Portugal: transmission ofknow-how

www.pro-exemplaria.eu

Preliminary study

of built heritage in

Romania- PART 1 -

Mars 2011

With the support of the Lifelong Learning Programme of the European

Union. This publication reflects the views only of the author, and the

Commission cannot be held responsible for any use which may be made

of the information contained therein.Sub-Programme Leonardo da Vinci / Transfer of Innovation / Project n2010-1-FR1-LEO05-14510
http://www.pro-exemplaria.eu/http://www.pro-exemplaria.eu/


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PRO-EXEMPLARIA

Preventive conservation andmaintenance of architectural heritage in

Romania and Portugal: transmission ofknow-how

www.pro-exemplaria.eu

PRO EXEMPLARIA is a European project coordinated by

and implemented inpartnership with

[GAPADMINISTRAO =

This preliminary study was conducted under the direction of National Office of

Historical Monuments (INP) in cooperation with Transylvania Trust and the

University of Architecture and Urbanism Ion Mincu-UAUIM (Romania).

It consists of two parts:

- Part 1: chapters 1 to 4 (INP and Transylvania Trust)- Part 2 : chapter 5 (UAUIM) + Proposals (May 2012)

(jpincidades 1

With the support of the Lifelong Learning Programme of the European

Union. This publication reflects the views only of the author, and the

Commission cannot be held responsible for any us e which may be made

of the information contained therein.Sub-Programme Leonardo da Vinci / Transfer of Innovation / Project n2010-1-FR1-LEO05-14510
http://www.pro-exemplaria.eu/http://www.pro-exemplaria.eu/


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Preliminary study of built heritage in Romania- PART 1 -

CONTENTS

Introduction.............................................................................. pp. 2-3

I. A brief history of built heritage.................................................. pp. 3-21National Office of Historical Monuments

II .Construction materials............................................................ pp. 21-23National Office of Historical Monuments

III........................................................................................ Conservation report ................................................................................... pp. 23-28

Transy lvania Trust

IV.Legislation ........................................................................... pp. 28-39

Transy lvania Trust

V.Professional training ............................................................... cf. part 2

University of Architecture and Urbanism Ion Mincu (UAIM)

Conclusions ---------------------------------------------------------------------- p. 39

Annexes ................................................................................................. p. 40


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Introduction

Romania is the largest South-Eastern European country, extending from Serbia and

Hungary in the west, to the Black Sea and Republic of Moldova in the east, from

Ukraine in the north and to Bulgaria in the south. The Danube River drains the whole

southern border of Romania and completes its 2 850 km course through nine

countries. Romania has a population of 21,200,000 (2008) consisting of 89%

Romanian, 7.5% Hungarian, 1.9% Rroma, and 1.6% other. Romania is a country with

a significant, rich and diverse built heritage. Despite the ravages imposed upon it

through the process of "systematisation" during the Ceausescu years, it still retains

an important cultural built heritage, which has a potential to contribute to the

country's future and to be developed in a manner comparable to the role of cultural

heritage in Western Europe. Its destruction stems principally from the mid 1970's,

until 1989, prior to which most of its historic architecture (urban and rural), spaces

and areas, were intact, and being actively restored under the guidance of the

Directorate of Historic Monuments.

The country has ceased to be under Communist Rule since December 1989. Since

that period it has undergone many changes at political, social and economic levels

and joined the European Union in 2007. Political and social reforms have

incorporated the introduction of new legislation which sought to resolve the huge

social issues inherited from the pre-1989 period. It is within this context that reform

relating to cultural heritage and the protection of the historic environment has been

set.

Ancient Romania was inhabited by one of Thracian tribes, the Geto - Dacian

population. From the seventh century B.C. the Greeks established trading colonies

along the Black Sea. In the first century B.C., a Dacian state was established to

counter the Roman threat, but ultimately, after AD 106, Dacia became a province of

the Roman Empire. It was protected by a series of fortresses and defence towers

built in Sarmisegetuza Regia, the capital of former Dacian state. The Dacian fortress

of Sarmisegetuza Regia is now part of UNESCO World Heritage.

Faced with Goth attacks in AD 271, Emperor Aurelian withdrew the Roman legionssouth of the Danube, but the dacian-roman population remained in Dacia - hence the

formation of Romanian people. Goths, Huns, Avars, Slavs, Bulgars and Magyars

swept across this territory from the fourth to the tenth centuries. Small Romanian

state formations emerged, first as "cnezate" (cluster of villages) and later as

"voievodate"

Lifelong Learning Programme

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(princely states) and "ari" (literally "land"). Those led to the formation of the

principalities of Moldavia, Wallachia and Transylvania.

I. A brief history of built heritage

I.1. Architecture in the 11 th and 12th centuries

A phenomenon of capital importance for the historical evolution of Transylvania in

this period is the Saxons and Szekler colonization. Some of the factors contributing to

the expression of concepts and artistic aspirations of the Transylvanian population

are determined on the one hand by traditions of the local people, by the contacts it

establishes with the artistic movement in Wallachia and the Balkans countries, and

on the other hand by the Western medieval culture brought by the colonists

populations.

At the beginning, wood was the main building material, stone and bricks were only

scarcely found. The use of stone as a construction material increases around 13 th

century, so that numerous monuments survived this period.

Architecture in the Saxons' regions bears a sober and modest look, shapes resemble

much the Eastern Bavarian monuments as well as the Austrian, Moravian and

Bohemian ones at the beginning of the 13 th century. This may be due to the

neighboring origin of the master builders that managed the first building sites.

The Saxon churches are mainly of a basilica type, where the central nave is higher

than the collateral ones, with windows looking over the roofs of the lateral naves.

In the case of parish churches, naves seldom are longer than two, three bays, thus

the basilica results wider. An example constitutes St. Nicholas church in Cisnadioara

citadel, the most important monument of Saxon ecclesiastic architecture at the

beginning of the 13th century.

The characteristics of the first Romanesque basilicas are constituted by the way in

which the three apses of the eastern wing were disposed. Between the central apse

and the main nave, the choir is set into a square bay. This is the case of churches in

Ocna Sibiului, very well preserved, as well as of churches in Gusterija, Turnifor and

Vurpar.

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As a consequence of fires following the Tartar invasion in 1241, the wood material

was at least replaced out of the most important buildings.

The most important building site was the reconstruction of the cathedral in Alba lulia,

around 1246, when the old cathedral had been devastated by Tartars.

The Roman - Catholic cathedral in Alba lulia is a product of the late Romanesque

style, but it did not lead to an architectonic school of architecture. .

A much more important role holds the influence of late Romanesque architecture in

Hungary. The reformed church in Ac, the evangelical church in Herina belong to

this category, that show two towers on the west bay in the lateral naves, that border

a tribune at the top floor crossing the central nave. This building type is frequent in

Transylvania: the evangelical church in Sebe, Avrig, Scdate, Hrman, Ciucu,

Drueni. At the same time, in the XIII century, numerous halls-like churches appear,

that were carved out of raw stone: the reformed church in Sieu - Odorhei, the

reformed church in Sntmrie Orlea and the orthodox one in Strei.

An interesting piece for Romanian architecture is represented by the Densu church

as it molds together heterogeneous elements. The local artisans improvised here a

byzantine church that blends solutions borrowed from Roman architecture and

material from antique buildings thus giving birth to a rustic, but suggestive synthesis

of artistic trends across Transylvanian territory.

A forerunner of gothic architecture in Transylvania, as in the other countries in

Central and Eastern Europe, is the Cistercian architecture. The plan and structure of

the church in the Cistercian monastery of Cra, should be considered the oldest and

most imposing monument of Burgund gothic in Transylvania. The expansion of

Cistercian shapes can be traced out from Cra to the evangelical fortified church in

Prejmer or to the St. Bartholomew Church in Braov. As an example of the fame that

the Cistercian building benefited from stands the fact that it radiated up to the

Some land; the choir of the former minorite church in Bistria, the reformed church

in Sic, Cluj county, is just an example.

I.2. Architecture in 14th - 16th centuries

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Two trends exercised their almost equal influence over the art in the first half of the

14th century in the regions between the Danube and the Carpathians: the western,

catholic that came through Hungary and Transylvania, and the Byzantine - orthodox,

that came from the Balkans (especially Bulgaria).

Starting with the second half of the 14 th century, Wallachia falls definitely under the

Byzantine civilization area; its artistic forms shall penetrate mainly through Serbian

channels.

Military architecture enjoyed a wider development. The planimetric set or Westerntype elements can be recognized in most ruins of the fortified cities in Moldova and

Wallachia. Some of them were built out of wood and earth, some 2-4 meters wide

walls were made of river stone, rubble, and faceted blocks.

The prince's residences of the period, rather modest buildings as they appear after

archaeological investigation, are characterized by simple planimetry. Most of them

had been reinforced by adding some precincts with defense towers. Later alterations

transformed them into strongholds that stood over the centuries, such as Suceava

fortress. Fortifying the Danube line was a direct consequence of neighboring the

Ottoman Empire; a row of fortresses was build along the border at: Turnu, Giurgiu.

The main buildings that show the art of construction through the period are religious

buildings. St. Nicolae Domnesc in Curtea de Arge, the oldest building that hassurvived until present in good state and at the same time the first religious

monument of vast proportions, was under construction between 1352-1352. It was

finished a decade later. Conceived in the classical Byzantine style of "Greek cross

inscribed" it stands as one of the biggest in the Byzantine world. The painting

finished around 1364-1366, Vlaicu Voivode's rule, belongs to the period's Byzantine -

the Paleolog style. The wealth and clarity of the iconographic programme, it's high

artistically qualities place it among the most valuable painting ensembles of the

century.

The other religious buildings in Wallachia in the period pertain to lateral apses types.

The faades of Cozia Monastery church, besides the horizontal alternance of stone

and brick, consist in a series of wide arches on the whole length of the walls as wellas stone decorations beautifully carved. The particular shapes of the decorations and

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architectural solutions adopted are in strong connections with Serbian architecture

on the Morava valley.

In Moldova, documents of the time state the existence of wooden and clay

strongholds like: Baia, Romanul, Brladul, all of them gone. Other fortresses like:

Neamu Fortress, were built up out of thick stone masonry walls and tiled blocks that

supported the corners. As for the Suceava fortress, it was initially an inhabited

fortified castle that became a real fortress with an extremely important military

destination.

Civil architecture flourished together with the defense architecture. It was

represented by the princely courts - residences of voievodes from Arge, Cmpulung,

Trgovite in Wallachia, or Baia, Siret and Suceava in Moldova. Built up mainly from

wood and too little stone masonry, only ruins survived out of their architecture.

Just like the civil architecture, religious architecture, consisting of churches and

monasteries, has been largely built out of wood. Some of them were made of

masonry, like: Sf. Nicolae's Church in Rdui, a Romanesque basilica adapted to

orthodox cult. Most of this architecture was rebuilt as a consequence of its

degradation; other churches and monasteries made of masonry were built later on

the same site.

Another example that lasted was the Sf. Treime church in Siret, a modest building ona three apses plan, with raw stone walls and very few brick layers inserted.

For Transylvania, the second half of the 14th century has marked a period of

important momentum that had its impact mostly on religious catholic architecture,

ranging from late forms of Romanesque and gothic to forms of mature gothic. The

shapes it adopted were:

- the traditional one, the one that processed the basilica structure where space is

treated in the spirit of a gradual increase in volume;

- the structural type "Hallenkirchen", where the three naves are of comparable sizes

and where the arches of the vaults spring at an equal quota.

St. Mary church of Sibiu can be mentioned as one of the major gothic Transylvanian

churches. In Sebe, on the other hand, works to replace the existing Roman church

started in 1370 by the construction of the gothic choir. This side of the building,

exceptional from the point of view of monumental art and of the richness of

decorations, is unique among Transylvanian architecture.

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As a whole, the church in Sebe represents a monument of exceptional value that

pin points, by its vast choir, the prevalence of the second structural system - the

Hallenkirchen" type adopted by most cities: Cluj, St. Michael church started in 1350,

St. Nicholas in Deal from Sighioara, risen in the middle of the XIV century, the Black

Church in Braov, built in 1385. Some of the most representative examples are

churches in Almau Mare, Ribia, Rul de Morii Suseni and Brsu in Hunedoara

County.

The walled masonry orthodox churches built by Romanian princes, as compared to

all other catholic religious buildings, reflect the scarcity of the construction materials

available to small local nobility that resisted Catholicism.

Military constructions may be classified into two groups: strengthened medieval

castles and citadels - fortified precincts for refuge and defense. Among the examples

that are worth mentioning, modified in time but still in one piece, we can mention:

Calnic fortress, developed around the 13 th century donjon, site inscribed on the World

Heritage List, Bran Castle, built up by the people in Brasov in the last quarter of the

14th century, Corvin castle in Hunedoara, the most imposing of the series, and, at the

same time, the most complex and suggestive ensemble of medieval civil architecturein the country.

During this period, cities in Transylvania are extended and fortified. Sighisoara is one

of the most suggestive examples of a fortified Transylvanian city. The historical

centre of Sighisoara is inscribed on the World Heritage List since 1999.

As they lacked the wealth of cities to fortify the whole locality, village communities

have fortified the only masonry building and surrounded it by walls, thus creating

large enclosures around it that were able to include the entire population of the

community. Codlea and Cristian are numbered among the first fortresses of the 15 th

century.

New architectural programmes can be noticed in the case of Sibiu and Brasov in this

period: the merchandise hall" and the town hall". During this time the evolution of

architecture in Moldova recorded two important stages - the first, ranging up to the

first quarter of the 16th century, representing the conclusion of a Moldavian style of

outstanding originality, the second, characterised by the development of new but

original shapes derived from essential elements pertaining to the first stage.

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The ascent of Stephen the Great to the throne of Moldova marked the beginning of a

new era of stability after feudal turmoil. The first construction raised by the great

ruler was the Monastery of Putna. A reformer of the defence system, Stephen the

Great, had all the old citadel repaired and restructured and ordered some new ones

to be build (the earth and wood citadels in Roman, Brlad, Crciuna, the walled

citadels in Orhei, the new citadel in Gdini and Chilia). Between the citadels inside

the country, Neam and Suceava fortresses resisted in time, even if ruined. Besides

fortresses, an important defence role held the numerous fortified churches and

monastries that increased in numbers in this period. Neam and Putna were the most

significant ones.

Religious architecture is best represented throughout this period. From their

planimetric, volumetric and artistic characteristics, churches are inscribed into three

cathegories:

- rectangular plan churches with semi-cylinder unitary vaults, gathered under one

single roof Hetman endrea court church of Dolhetii Mari, Blineti and Volov

churches

- three apses plan churches with a steeple on the nave and fragmented roof. This

cathegory presents two variants:A. the first variant is represented by the churches of Ptrui, Milieui, Suceava (St.

Ilie), Vorone characterised by:

1. three apses plan, with a large altar apse and two smaller

lateral apses, out of the plan of the nave wall,

2. a rectangular nave with the longer side on the church axis,

topped with a steeple

3. slightly rectangular or square narthex covered with a range of

pendentives or, as is the case of Milisui, an indented semi-

cilynder .

B. the second variant of the three apses type consist of the special configuration of

the exonarthex towards the nartex, that has been developed in length or wideness -

Sf. Ion in Vaslui, Adormirea Maicii Domnului - Precista Bacu, Sf. Nicolae Domnesc in

Iai, Sf. Niculae Dorohoi and Sf. Niculae in Botoani, Sf. Gheorghe in Hrlu churches,

- rectangular plan churches with a vault and a line of cuppolas in one single roof.

This type includes two variants - one with three and one with two domes as are

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churches Adormirea Maiici Domnului in Borzeti, St. John in Piatra, Tierea Capului Sf.

loan Boteztorul in Arbore.

In order to complete the character of the plan and structure shapes of the

monuments in Stephen the Great's time, we have to mention the Church of the

Ascent in Neam Monastery. The church gathers a synthesis of essential elements for

the types previously elaborated. The monumental art, the architecture anddecoration of the faades constitutes a brilliant example of architecture of the

respective period. The element contributing most to determining the general aspect

of the monument is the roof:

-the type of church built on a rectangular plan where the entire body of the church

stands under a high, united roof, featuring four steep slopes and wide eaves.

-the steeple type, where the roof is fragmented and underlining the different

components of the plan. In the middle of these roofs rises the dominant element, the

steeple which is placed on a square prism like basis, made up of two starreed type or

polyhedral prisms one on top of the other.

The aesthetics of faades evolved continuously with every new monument, while

getting considerably richer. For the older churches (Ptrui), straight walls built out

of carved stone and facing bricks are smooth. The apses and the steeple are made of

bricks and underlined by a series of blind arches, each of them beeing topped by two

others blind arches. Between theese two levels of arches the wall is girded with a

girdle of coloured square glaze terracotta plates.

The three apses type monuments are placed on massive stone bases cornered by

plain profiles. The faades are divided into two zones, an inferior one, reprezenting

2/3 of the total height, built up of carved stone and the upper one, over the level

where vaults rise, is made up of facing brick masonry. The lower zone is devided in

two or three unequal sections by streeps of three to six layers of brick masonry. The

upper layer is underlined by two overlapping rows of blind arches. On top of these

arches there is a wide frieze made up of 2-3 rows of enameled terracotta discs, stuck

under the stone border of the cornice. Through keeping the fundamental traits of the

style forged under Stephen the Great, a major change in the art of the faades was

introduced during Petru Rare' reign (1527 -1538; 1541 -1546) - previous decoration

was replaced by a skilfull usage of facing materials into layered areas or by

monumental fresco paintings covering the entire faades walls. External painting on

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Moldavian churches in the 16 th centuries represent one of the most original pages in

the history of art. Rarely used in various

countries during the Middle Ages and used solely to decorate small portions of the

faades, external painting became in Moldova an aesthetic cathegory of universal

value and, at the same time, a vast ideological programme pictured by the means of

a complex iconography. A range of churches in Moldova featuring external painting

are the following: The Behaded of St. John the Baptise in Arbore village, the

Assumption and St. George of the former Humor Monastery, the Annunciation of

Moldovia Monastery, the Saint Cross in Ptrui, St. Nicolas of Probota Monastery,

St. George in Suceava.

Architecture practiced by artisans contemporary to Petru Rare is no less important.

Probota Church is built around 1530, Humor, Moldovia and St. Dumitru in Suceava

Churches, are built inside the respective monasteries.

Building continued throughout the late half of the 16 th century, when the church of

Bistria Monastery and the church of Sucevia Monastery were built. The architectural

programme of the monasteries has been developed through the works at Moldovia,

Probota, Sucevia, Slatina Monasteries.

The religious buildings best illustrate a development in architectural style of the

period. One of the most illustrative statements is the Dealu Monastery, built by Radu

cel Mare between 1499 - 1501. It has a slender figure, placed on a three apses plan,

and features a steeple upon the nave and, as an innovative characteristic, two other

steeples on the Eastern bay of the narthex having a funeral role.

Constructions built up in the last decades of the XVI century borrow the structural

techniques and the plans from the previous constructions;

- the type established in the church of Cozia Monastery (three apses plan

with a narthex topped by a cylindrical vault),

- the type represented by Dealu Monastery (with a narthex developed on

its length),

- the type of the Arges Monastery church; a plan in which the narthex is

widened.

The aesthetics of the faades is characterised by:

a. exclusive use of facing brick (the Monastery Infirmery, Cozia),

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b. walls built up of bricks massonery and the faades walls design

composed of horizontal strips of facing bricks, alternately with

plastered strips (Old Royal Court Curch, Bucharest, St. Nicolas Church,

Cozia).

c. the faades, keeping the alternate layered strips of bricks and plaster,

are divided into two registers by a strong median line molded girdle,

bordered by one or two brick rows. These registers are plain (Polovraci

Monastery church) or are decorated by a series of blind arches (the

churches of Gorgota Monastery, Cluiul, Radu Vod - Bucharest,

Mrcua Monastery, Mihai Vod - Bucharest).

Another construction illustrating the age is the Church of Snagov Monastery, a

complex monument that reflects the Athonite influence. Entirely built out of brick

masonry, with its facing faades walls, the church presents a three apses plan with a

steeple on top of the nave, the narthex cumulating also the necropolis function is

oversized in wideness, with an originally treated vault system.

From a stylistic point of view, elements that characterised Renaissance in

Transylvanian architecture, first appeared in a sporadic manner and became general

only around the second half of the 16th

century, irrespective of the spread ofhumanistic culture brought about on the one hand by close links with Italy and on the

other with Hungarian building sites. Gothic style was very well rooted and it

continued to maintain its prestige especially in the field of religious architecture,

even after the second half of the 16 th century.

At this stage, a gradual passage from the construction shapes on pointed arch to the

system of star shaped ribs, and then to combinations of indented semy-cylinder

vaults, was accounted for. The indents have a soffit covered in a thick texture of ribs,

rather decorative than structural, that in most cases are made of terracotta.

The Hallenkirchen" structural type continues to be used in the churches of the

former Dominican Monastery of Sighioara, of Mona and Cisndie (Sibiu County), ofthe Evangelical church in Biertan. The single nave churches with or without bell

tower are no less monumental (the Ursuline church in Sibiu, the Reformed churches

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The communities of free peasant villages, especially the saxon ones, have developed

one of the most impressive activities in view of fortifying churches and of building

fortresses around them. For a centurie and a half, a number of 300 saxon fortresses

were erected around Transylvania. As general defence and fortification systems,

these fortesses are no different from the military ones, but they cover vast land

surfaces, often divided into several concentrical or juxtaposed courts, each

surrounded by their own walls along which can be found on the interior side,

numerous lodgings and food deposits, layd on one or several levels. Their plan is

adapted to the shape of the land, with curved walls between the strongholds or

straight walls starting with the last quarter of the 16 th century. The walls are 2-5

meters thick at the base and reach up to 15 meters high, and are provided with

watching paths, battlements and machicolations. The walls are strategically

reinforced by towers. The church has been transformed into a fortress, by fortifying

either the bell tower or the attic on top of the nave, or the chorus and the apse.

Often, all the three parts were fortified. As the fighting strategies were enhanced, the

wood has been gradually replaced by masonry walls. We can mention: Hrman,

Agnita, Chirpr, Homorod, Hendorf, Melghindeal, Cincu, Dealul Frumos, Prejmer,

Ghimbav, ura Mic, Rotbav, Biertan, Viscri, Cisndie, Cristian, Drueni, Apold;

Saschiz, Ighiul Nou, Drjiu.One of the strongest and most impressive is Prejmer Fortified Church, ected in the

second half of the 15 th century. The strong walls, 5 m wide at the base and 14 m

high, follow an almost circular line. Inside, along the walls between the strongholds,

three levels of dwellings and pantries are placed, with wooden porches and

connecting staircases. On the fourth floor lays the watch path, 2 m wide.

I. 3. The Baroque

The architecture and auxiliary arts' turning to Baroque in the late stages of feudalism

corresponds to the Phanariot regime in Wallachia and Moldova, and to the Habsburg

one in Transylvania. The social economical upheavals that came along during this

period did not favour anymore the development of the religious architecture. Instead

of the big Monastery ensambles, more modest churches and convents were built,

due either to zealous country founders, country squires or peasants association, or to

newly rich merchants or to important guilds. 12


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The plan of the churches remains the one previously used around Wallachia - a

rectangle with one apse to the East or a three apses plan with the exonartex slightly

oversized, both with a bell tower on top and a porch with columns made of brick

masonry or stone.

Architecture and art in Wallachia is the result of an original synthesis between

Byzantine - Balkan elements and local traditions. They arrive at a climax during the

reign of Prince Constantin Brncoveanu (1688 - 1714). The architecture of the end of

the 17th century and the begining of the 18th century till around 1730, is

characterised by the Brancovenesc style, a synthesis of Byzantine, Renaissance and

Baroque architecture, the name coming from Prince Constantin Brancoveanu who

reigned Wallachia (1688 - 1714) and was a great patron of arts. The volumetry of

Brancovenesc architecture stands out by the exterior stairs which leeds to a turret

and the loggias who give personality and elegance to the buildings together with the

decorations with vegetal motives borrwed from the oriental art of the porches with

columns, the guirdles, the frames of doors and windows made out of stone or stucco.

Based on a synthesis between byzantine and local elements, but also receiving

oriental influences in decoration, a valuable architecture style was developed from

the fifteenth to the eighteenth centuries. The most significant examples are the

churches of Moldavia, renowned for their exterior walls paintings, the wooden

churches in Maramure and the Hurezi monastery in Wallachia, which are now part of

UNESCO World Heritage.

The decoration on the plastered faades is evolving through the theme of blind

arches, mostly used before, now to poly-lobate arches, that decorate the lower

register, while the upper narrow one receives a series of rectangular pannels,

whereas smaller ones are inscribed. They are ended up with eliptic arches or just a

series of circular or oval medalions.

Between the most wellknown monuments of the Brancovenesc style are the

ensamble of Hurezi monastry, the Mogooaia Palace, the Potlogi Palace. Asremarcable examples stand also the Colea church - 1702, the Stavropoleos church --

1724, both in Bucharest. The last one started as the chappel of a small inn, then was

restructured by adding the latteral apses in 1730 and a porch that becomes the most

valuable element, due to the rich stone carving. The St. Elefterie church - 1744, the

Batitei church - 1764,

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the St. tefan church - 1768, all in Bucharest and the Balamuci convent -1752, in

Ilfov County having elements of Brancovenesc style too.

As for Moldova the following churches are illustrative, the Holy Vergin church - 1716

and the Prophet Samoil church - 1750, both in Focani and the church of former

Fstci Monastery in Vaslui County. In the second half of XVII century, the art of

Moldavian churches is changing by getting an interesting Baroque allure. A few

examples are worth mentioning, in Iai, the Berzuni church - 1774, in Bacu County,the Doljeti church in Neam County.

Civil architecture in the two countries stands out by the way the styles of the

previous century were adapted and amplified to the enhanced needs of the

aristocrats.

In Oltenia, a special type of dwelling appears, it is called cula", and pertains to the

type of citadel house originating in Persia and Asia Minor. It is to be found also in

other Balcan countries during Ottoman Empire dominance - Albania, Macedonia and

Bulgaria. Built up of stone and brick masonry and plastered, these houses are

composed of three stories. For some of the houses the ground floor is lowered

slightly under the ground level, the first floor has separate access from the ground

area and no relation to the other level and the second floor linked to the first by

mobile stairs. The holes on the faades are insignificant, due to the defence

necessities, but there is a beautiful loggia at the second floor, a resting space

bordered by a high parapet made up of thick masonry wall.

It is worth mentioning, as an exemple of particular value, the cula" Cartianu from

Cartiu (Gorj County), raised in the second half of the 18 th century, that represents an

intermediate shape between cula" and country house or the new cula" in

Mldreti (Vlcea County), from the second half of the 18th century.

Along with these shapes the mansion is still standing, an evolved and spacious

house, following the taste of gentleman of the period, as well as houses of merchants

and townsmen in Bucharest, Ploiesti, Rmnicu Vlcea, Iai, Suceava. Traditional

elements of popular architecture are combined with oriental elements taken over,

mostly as decorations and furniture in these houses. It is in this particular period that

shops, town inns and highway inns appear. Shops, built on narrow plots of land,

along main streets

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were organised in a ground floor plus one or two levels. The ground floor was the

shop itself and the upper levels were used as the shop owner residence.

Some of the representative inns are: Beilicului inn - 1775, Dudescu - uu inn - the

second half of the XVIII century, Filaret inn, Hagi Papazoglu inn, Rou inn or Manuc

inn - 1808, all located in Bucharest. Most of them are U shaped, others maintained

the shape of the previous century, composed as monastery precincts: four wings

symmetricaly aranged around a vast courtyard of rectangular shape. Manuc innbelongs to this cathegory; it included a modest princely home and an annex within

it's construction. The wings include a row of cellars, some of them vaulted and two

floors above the ground, each showing a large porch with small wooden columns at

the front.

Inns facing the highway in Moldova, raised at crossroads of important commercial

roads, were of a long rectangular shape, with two entrances laying at the opposed

narrow sides, that ensured a current flow of the carts, holding no interior court, they

included rooms for the travelers at the same level with the spaces destined for

animals and carts.

The end of 18th century counts a large number of churches erected in Wallachia, on a

three apses plan, with porches adorned of columns around the entrance, with two

steeples, one on the nartex keeping the role of bells tower. The faades divided into

registers are mostly painted all over. Significant examples are churches in: Valcea

county, Mldreti - 1791; Trgu Hurezi, - 1807; Scueni - Berislveti, - 1796-1819;

Cineni - 1807; Domneti (Arge County) - 1820. All of them were built out of brick

masonry walls, some of them featuring external painting.

In Transylvania in the 18 th century, besides the previous century renaissance

architecture were to be found Baroque architecture, very appreciated at the time

even since the second half of the 17 th century.

The beginning of the 18th century is characterised by military architecture as

represented by Alba Iulia fortress - 1714 and Arad fortress - 1763. They were

conceived on a Vauban system, as basic instruments for the assertion of the central

Austrian power, intended not as much as a defence system as to ensure the

Habsburg domination in the country. In Alba Iulia, besides the massive brick masonry

walls with stone blocks adorned by ornaments that border a series of coats of arms

placed in the corners of the

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strongholds, the true sense of monument and richness is rendered by the four gates

of the city (1714 - 1738), carved out of stone in a Baroque style.

In the field of religious architecture, we can mention as a Baroque architecture

example the Jesuit Monastery in Cluj 1718-1724. In Timioara, between 1736 - 1754,

Josef Eanuel Fischer von Erlach build the Roman-Catholic Cathedral while in Oradea,

two Italian architects Giovanni Battista Ricca and Domenico Luchini start works for

the Roman-Catholic Cathedral in 1752, work that was continued by the Vienesearhitect Franz Anton Hillebrand. In Blaj, Anton Eckhardt Martinelli built the Roman

Catholic Church between 1738 - and 1765.

The Romanian Orthodox churches were more modest. They were elevated on a

rectangular plan, ending in a polygonal or semycircular apse, cylindric vaults and a

cuppola on top of the altar's apse, as was the case with St. Paraschiva Mezentea

church, 1750.

Churches with a bell tower over the narthex, are to be found in South Geoagiu, in the

first quarter of the 18th century and in Rinari, 1750. There were three apses plan

churches also, as is the case for the St. Nicolas in cheii Braovului where, between

1733 -1755 two chapels and a bell tower were added.

In the field of civil architecture, the simple, discrete shapes of the Austrian Baroque

are to be found in the architectural composition of luxurious castles on the land of

noblemen as well as in city noblemen's palaces. Relevant examples may be: the

Haller castle in Coplean - the first half of the 18th century, the Teleki castle in

Gorneti - 1772-1778, the siege of the Roman Catholic Bishop in Oradea - 1762-1777,

arch. Franz Anton Hillebrand built Banffy Palace in Cluj between 1774 - 1785, arch.

Eberhardt Blaumann, Brukenthal Palace in Sibiu, 1778-1785, arch. Anton Eckhardt

Martinelli.

More simplified elements of the Baroque appear and spread around the civil

architecture of cities and Transylvanian countryside, especially towards the end of

the second half of the XVIII century.

I.4. The Classicism

The characteristic phenomenon for the end of 18th century and the begining of 19th

century architecture was the rise and development of the Classicism. The need for a

lot

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of educated builders that might face the needs of classical architecure and of the

requested programmes, explains the arrival and the establishment in the

Romanian Principalities of a large number of foreign engineers, architects and

builders, that were trained in western schools. It is worth mentioning the Austrian

Johan Freiwald, Martin Kubelka, Czech citisen probably, Mihail Sigurov, Russian

citisen, Julius Villacrosse, Catalan citisen. It is also worth mentioning Romanian

Gheorghe Asachi - an engineer trained in Lvov, that studied also in Vienna and

Rome and was a collaborator of Freiwald for the Mitropolitan Cathedral in Iai,

Iacob Melic, trained in Paris, that works in Bucharest, arhitect Alexandru Orscu,

the most important of all, who ran his activity throughout the second half of the

19thcentury.

We shall mention representative religious monuments of the 18th- 19th centuries

like: St. George of Neam Monastery church, around 1795, Vratic Monastery

church, 1808, Rue Monastery in Botoani, 1825, St. Dumitru church in Bucharest,

1819, erected by the German architect Iosif Weltz, the rounded churches in

Lecani, 1795 and Teiul Doamnei in Bucharest, 1833, the church of Frumoasa

Monastery in Iai, 1836.

As of the 19th century, the main field for the expression of the Classicist style was

civil architecture, the building of palaces, princely houses and manors. It has to be

mentioned that once adopted, Classicism was not only the architectural style

chosen by the dominant classes, but also the bourgeoisie residence architecture in

cities and even in the countryside.

Some of the most valuable and interesting examples in Moldova worth mentioning

are: the former Calimachi palace, 1795, now the Old University in Iai, the

Cantacuzino- Pacanu Palace in Iai, the beginning of the 19th century. It is

remarcable that besides the classicist character of the buildings, marked by an

orderly line of columns and pilasters, of arches, frames, decorative elements, also

traditional architectural elements appear as, for example, the internal distribution

of functionalities, the full/hole rapport on the faade (the prevailance of full).

In Wallachia we can mention the former Creulescu house in Bucharest, ,the

Golescu house on Calea Victoriei in Bucharest, 1815, the Ghika Tei Palace in

Bucharest, 1822, the tirbei Palace in Bucharest, 1835, built by the French

architect's project Saujouand and later restored by Austrian architect Hartmann in

1881. At the same time with residential buildings programmes, cultural building

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programmes can be mentioned, as

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the monumental Palace of the National Theatre built between 1846 -1852,

following a blueprint of architect Josef Heft and destroyed in 1944, following

German bombardment.

The architect Alexandru Orscu has designed the Bucharest University building,

1869, that has suffered criticisable interventions and extensions between 1912

-1914.

The Palace of the University characterized by a beautiful Ionic row of columns - a

colossal order crowned by a triangular pediment, the work of sculptor Karl Storck

(disappeared in the bombardment of 1944) exerted an important influence over

the development of Neoclassical Romanian architecture. The same Al. Orscu

designed the Bulevard Hotel in Bucharest and Carol Hotel in Constana, the first

gymnasium in Ploieti and Princess Blaa church in Bucharest together with the

architect Carol Beni, in 1885.

In Transylvania, the Classicism appears around the early 19 th century, as a style

called "Empire". It is used in Cluj and Sibiu for palaces and noblemen's houses

such as: the interior courtyard of Banffy Palace in Cluj and the main faade of

Bruckenthal Palace in Sibiu. Out of the most illustrative buildings we can mention -

the Teleky Palace in Cluj by architect Josef Leder, 1787 - 1799 Toldalaghi-Korda

Palace, built on the design of architect Carlo Justi (1801 - 1807), the building of the

former Reformed College in Cluj, 1801.

In the field of religious architecture, the Roman-Catholic Cathedral in Satu Mare,

1786 - 1789 is remarkable. The style is characterized by the use of plastered brick

masonry, with stone like plaster, with stone blocks masonry basement, profiles out

of profiled brick or plastered profiles, stucco or stone decorative patterns or stone

veneer. The roofs were covered with slates, zinc or copper sheets, adorned by

elements made of the same sheet as the coverage. The interiors were richly

decorated with wood or stone, stucco or plastered marble elements andornaments. The ceilings were also richly decorated and often painted. The

woodwork, both external and internal, was generous in shape and size, adorned by

ornaments and wrought iron lattice work.


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The beginning of urban management belongs also to the 19th century. For

example, the need for compulsory cadastral surveys, the cutting of new streets

that would facilitate traffics, the prohibition of the use of easily flammable material

in buildings, the need to authorize any construction. A special importance was

rendered upon the network of roads, absolutely necessary to trade development.

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I. 5. Romanticism

Throughout the Romanian countries, the Romantic style was characterized by elements taken

over from medieval architecture, especially Gothic one.

In Walachia and Moldova we can mention: uu Palace in Bucharest, the creation of architect

Konrad Schwink, 1830, Palaces inside Bistria and Tismana Monasteries in Oltenia, works of

architect Schlater, the Palace of A. I. Cuza in Ruginoasa, 1860, the former house Librecht and

Filipescu in Bucharest; Pele Castle in Sinaia, 1875-1880, built by German architect Johannes

Schultz and Czech architect Karel Liman; the building of the Cartful of bier Restaurant in

Bucharest, 1875, by architect Z. Kofczinski; the Administrative Palace in Iasi, beginning of XX,

by architect I. D. Berindei. Construction techniques and materials are not very different fromthose used during Classicism.

I.6. Eclecticism

The constitution of the Romanian modern state and acquiring independence of the country laid

ideal conditions to accelerate the development of capitalism and therefore increased the

rhythm of activities in the field of construction. Most important buildings built in this period

were raised following the blueprints of French or Romanian architects that have studied in

schools around France. Among these buildings erected in the spirit of Eclecticism we can

mention: the National Bank, 1883-1885, by architects Cassien Bernard and Albert Galleron; the

Romanian Athenaeum, 1886-1888, arch. Albert Galleron; the Palace of Justice, 1890-1895, by

Albert Ballu, with the contribution of Ion Mincu for interior architecture; the Palace of the

Ministry of Agriculture, 1896, arch. Louis Blanc; the Institute for Medicine and Pharmacy, 1900-

1902, arch. Louis Blanc; CEC Palace, 1896-1900, arch. Paul Gottereau; Dinu Mihail Palace in

Craiova, arch. Paul Gottereau; the National Theatre in Iasi, 1896, architects Fellner and Melmer.

Some of the works of Romanian architects are following the same style of French school

academicism. Among them, an important place is taken by the former Justice Palace in Craiova,

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by architect N. Socolescu, the Postal office Palace in Bucharest, by architect Alexandru

Savulescu, the Palace of the Grand National Assembly, by arch. Dimitrie Maimarolu.

The same stylistic orientation is to be found in Transylvania. The Cluj and Oradea theatres were

built by architects Fellner and Helmer; the Cluj University, 1872, the Administrative Palace inOradea, 1899-1904, by arch. Kolman Rimanoczy jr., the Administrative Palace in Arad, 1913, by

arch. Ludovic Szantary.

The economical situation of the country and the financial possibilities of the bourgeoisie at the

end of the XX century allowed the continuous evolution of architecture up to the eve of the First

World War. During the years preceding this conflagration, architecture suffered the influence of

a new European architectural trend named Modern style, Art nouveau or Jugendstil, or

Sezession, according to the country. This particular style, decorative in essence, can be

recognised in buildings like the Black Eagle Gallery in Oradea, the Macca - Villacrosse passage

in Bucharest, designed by arch. Felix Xenopol in 1891, the Casino in Constana, 1910, by

architect Daniel Renard, the Casino in Sinaia, by architect Petre Antonescu.

The techniques and the building materials used in this period are brick masonry, finished instone like plaster, with a basement made of stone blocks masonry, brick patterned profiles or

plastered profiles, stucco or stone decorative patterns, stone or stucco veneer. The roofs were

covered with slates, zinc or copper sheets, adorned by elements made moulded from the same

sheet as the coverage. On the faades, statues or groups of statues are set, carved out of

marble by famous artists as Carl and Frederic Storck, or casted in stone like plaster. The

interiors were richly decorated with elements and ornaments in wood, stone or marble like

stucco. The ceilings were richly decorated and often painted. The interior and exterior wood

work was mainly made out of oak wood, adorned by ornaments and wrought iron lattice work.

I.7. National schools - the Neo-Romanian style

The modern architecture manifested itself towards the end of the XIX century - beginning of XX

century through the emerging of buildings raised on a metallic framework closed by glass

panels. A good example is the Asan mill in Bucharest, 1865 and the Unirii Place Market Hall in

Bucharest 1870, or the Traian Hotel in Iasi, designed by Gustave Eiffel in 1880-1882.

But the most important trend of the period is the one affirming national identity in architecture,

the Neo-Romanian style. The trend reflected ideas that circulated in most

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European countries on the second half of the XIX century, glorifying traditions and national

feelings. The most valued representative of the trend was the architect Ion Mincu and we list

some of his most important work: the Lahovary house in Bucharest, 1886, The Doina restaurant

in Bucharest, 1892, the Central Girl's School in Bucharest, 1890, the Administrative Palace in

Galati.

The architecture school started in Bucharest gave rise to a range of valuable descendants of IonMincu, such as Petre Antonescu - the designer of the City Hall in Bucharest, 1910, the

Administrative Palace in Craiova, 1912, the tefneti Manor, N Ghika-Budeti - the Palace of

Art Collections, 1938, the Greek-Catholic Church in Bucharest, Christofi Cerchez - the designer

of the Architecture school in Bucharest, 1923, Minovici Villa.

I. 8. Architecture between the two World Wars - tradition and modernism

The beginning of the 20th century and especially the period between the two World Wars is

characterised by a stabilisation of capitalism, leading to important investments in municipal

works as well as urban ones. Modernist and traditionalistic ideals defied one another as a

consequence of the thrust of architects to bring to life valuable works.

Along with pregnant architects that were validated through their works at the beginning of theXX century, between the two World Wars valuable architects became known for their creative

zest: G. M. Cantacuzino, Horia Creang, Duiliu Marcu, Marcel Iancu, Octav Doicescu, Henriette

Delavrancea-Gibory.

Buildings decorating the grand boulevards of the capital Bucharest or of other important cities,

residential districts, cultural programmes - theatres, cinemas, building with an educational role,

universities, high-schools, hotels, malls, all represent important creation assertions. They

rendered a modern and European status to Romania between the World Wars.

II. Construction materials

Over the centuries various construction techniques and various crafts developed,

depending on the technical capacity and the acquired knowledge in the field of constructions,

as well as on the materials that were at hand for the people who worked on the construction

sites, or on the geographical area the building sites were operated.

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During the middle Ages in Wallachia, Moldova and Transylvania, the construction materials

mostly used were wood and earth. Stone and brick, the more durable materials appear only

scarcely. The use of stone as a building material becomes more frequent in the 13 th century.

Fortified cities were raised using thick walls, approx. 3 m wide, made out of carved stone

masonry and faceted blocks that closed up the corners.

Churches, especially those in Transylvania, were erected in masonry and raw stone blocks, with

doors and window frames made of profiled stone, brackets, moulding and profiled or decoratedcornices, with motifs that are characteristic of the Romanesque and Gothic architectural styles.

Some of the churches of Byzantine influence in Wallachia and Moldova were raised using stone

and brick masonry walls, alternating materials and colours in a manner that lead to a great

aesthetics effect. For some of the churches, the stone masonry of the wall was covered with

plaster, showing only the brick portion of the wall. Besides the wall composition, the facades

were enriched with glazed coloured ceramic discs as well as doors and windows stone made

frames, finely carved and profiled, decorated consoles, cornices adorned, all decorated in the

characteristic style of the Byzantine architecture which enclosed oriental - Persian or Armenian

- influences.

The interiors were mostly painted, featuring wooden, stucco or stone ornaments.

The roof, as an important element of the faades composition, was provided with a woodenframework, covered by wooden tiles, ceramic tiles (hollow, gutter tiles or scales) or stone

slates. Other churches, from the 15 th-16th centuries, showed a wall built up of facing brick

masonry, with faades decorated in overlaid blind arches made of profiled brick, girdles and

cornices also in profiled brick. During the 17th-18th centuries, most of the civil or religious

buildings were erected using bearing brick masonry walls, plastered and adorned with

structural or decorative stone or stucco elements. Already around this period, brick did not hold

the quality of the bricks used in the 15th-16th centuries, plastering walls became thus of utmost

importance in ensuring a durability of the work throughout time. Roofs were mostly covered in

zinc or copper sheets.

At the end of the 18 th century and beginning of the 19th century, the techniques and

materials utilised are specific for Classicism, using brick masonry covered in stone

like plaster finishing, with stone block basement, brick profile decoration or plaster profiles,

stone or stucco ornaments, stone veneering. Roofs were covered in slates, zinc or copper

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sheets, adorned with ornaments moulded in the same material as the sheet coverage. The

interiors were richly decorated with wooden, stone or plastered marble elements and

ornaments. The ceilings were richly decorated and often painted. The woodwork, both exterior

and interior, was generous in shape and measure, adorned by ornaments and wrought iron

lattice.

The 19th century and beginning of the 20 th century includes Romanticism and Eclecticism

as architectural trends. Construction techniques and materials through architecture during this

period are no different from those used in the previous period, but the themes, functionality

and aesthetics differ from Classicism. Statues or groups of statues are featured on the faades,

carved in marble by famous artists, like Carl and Frederic Storck, or alternately casted in stone

like plaster or stucco. Ceilings were richly adorned and often painted. The wood work, both

exterior and interior uses mostly oak wood, adorned with ornaments and lattice work in

wrought iron, marked by richly adorned brackets.

1900 architecture or Art Nouveau faades get to be decorated in coloured ceramics, stone or

stucco. The modernist architecture between the two World Wars was characterised by strong

volumes, simplicity, and functionality. Construction techniques and materials diversified,

metallic and concrete structures coexisted with bearing brick masonry walls. Towards Cubism,

the faades lose their decorations; the aesthetics of the composition is reached by a variety oftextures and colours of building materials - facing bricks, various plastering, stone, wood, metal

or glass.

III. Conservation report

The aging and the specific climate conditions, the earthquake movements mainly in the active

area of Vrancea and the pollution that appeared after the industrial revolution of the late 19 th

century, led the historical monuments to suffer various stages of degradation.

The actual state of conservation of the built heritage in Romania can be classified into various

stages, according to the risk degree:

1. Collapse stage - serious decay of basic structures of the monument that lead to the loss of

its static balance. This situation involves the loss of integrity of the monument and values

that lead to be inscribed it in the Historic Monuments List.

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2. Pre collapse stage - a stage of decay of basic structures of the monument, which might lead

to the loss of integrity of the monument, if emergency measures are not taken to re-

establish the state of balance of the monument and afterwards, consolidation and

restoration works are made depending on the values and characteristics of the site.

3. Various stages of decay of the basic structure and of values that lead the object, the

ensemble, or the site, to be inscribed it in the Historic Monuments List, decay stages that

involve consolidation and restoration works.

Among the restoration works that are characteristic for interventions on historicalmonuments in Romania we can list the following works on the faades and interiors of the

buildings:

- reconstruction/ completion of various brick masonry walls,

- reconstruction/ completion of exterior and interior plaster with lime mortar,

lime/concrete mortar, stone like plastering,

- restoration/completion of interior and exterior decorations of stone, stone like

plaster, stucco and wood,

- restoration/completion of interior and exterior woodworks,

- restoration of the component elements and of the various finishing for ceilings

and floors in stone, mosaic, stone like plaster, stucco and wood,

- strengthening works for the roof frame,- restoration of the covering layers of the roof and of its decorating elements, made

of zinc or copper sheets,

- Consolidation/restoration of the wood painting, of interior and exterior frescoes.

According to all restoration doctrines, intervention on a historical monument should be

made in a way that would maintain the exceptional character of the monument, and the

techniques and materials used should be the original ones, except for the cases in which

this is no longer possible. According to the Venice Charter in 1964, traditional techniques

and materials may be replaced with new

ones if it is scientifically demonstrated that they are compatible with the initial ones,

from the point of view of the chemical, physical and aesthetic characteristics.

In 2008 the Ministry of Culture published a document "A Strategy on Cultural Patrimony 2008-

2013" in which they identified the following as contributing to cultural heritage:

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Monuments (archaeological and architectural) (immobile heritage)

Museums, archives, collections (mobile heritage)

Immaterial heritage

Cultural Landscape (Urban and Rural)

The Strategy goes on to say that "Culture is a fundamental factor in the life of society for a

number of reasons, suggesting that by asserting cultural diversity, it creates, an open society

that is aware of the other's value and it creates an environment for social integration".

Through its own assessment the Ministry considered that an Evaluation of the state ofconservation, protection, and capitalization of National Cultural Heritage (PCN), conducted in

2005 identified major dysfunctions and vulnerabilities in the field of cultural heritage of

Romania. Its response has been the production of the Strategy on Cultural heritage 2008-2013.

Within Romanian society there have traditionally been several ethnic groups, Romanian,

Hungarian, Saxon, Jewish and Rroma. The result is a very mixed built cultural heritage with

considerable diversity across the regions of the country.

Changes within the ethnic mix, since the fall of communism, has had a direct impact on the

state/condition of heritage in certain areas, most notably in relation to the former Saxon

heritage of Transylvania. There has been a Saxon presence in Transylvania since the 13 th

Century and this is reflected in the landscape of southern Transylvania as well as in

architectural styles. There are many abandoned churches and villages formerly occupied by thisgroup which are now seriously under threat of being completely lost. Others are occupied by

Rroma who do not share the same cultural aspirations as the former Saxon community, which

again is leading to loss of heritage through lack of care.

3.1. Value of historic town centres, (historic towns, townscapes) - cities, and mid sized towns /

excluding villages

The possibility of group listing - listing of a clearly identified and well limited area of a

city - is permitted by Romanian law. Within the listed area certain buildings can also be

separately included on the list of historic monuments. In this case all interventions relating to

any buildings, (individually listed or not) are the subject of special legal control. The local Urban

Development Plans - that have a power of law - have to consider the historic value of the

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protected area and have to determine a set of technical and architectural measures that must

be respected in the case of any intervention.

Certain historic towns in Romania have in their territories protected areas. But even with this

level of control, the level of success of protection is compromised by a set of factors:

-Very few protected areas have a conservation management plan, and very few local

authorities who are in charge of preservation areas have specialized professionals.

-The Urban Development Plans do not contain adequate measures that could guide theplanners, (especially in smaller settlements).

-The legal control is exercised by a specialized committee that has 1 meeting every month,

covering a territory of several counties - so there is not enough time or staff to cover each

problem properly.

-There is a lack of true understanding of the value of the historic environment from decision

takers, investors, and the general public.

-In certain cities or towns there is very heavy development pressure from investors.

3.2. Value of rural (vernacular) buildings, situation of historic villages

The vernacular heritage has a special value for society, which in comparison to other

countries of the European Union is very well represented in Romania. Its value is represented

not only by the individual architectural value of certain traditional houses, and secondary

buildings, but mainly by the traditional courtyard arrangement, the presence of traditional

volumes and materials, the traditional connection between buildings and the street, the historic

street structure which all together create the specific traditional character of the settlements.

Vernacular architecture is highly endangered and very vulnerable for multiple reasons:

1. The traditional agricultural life style, influenced by special historical and social

factors which created these villages and maintained their character for centuries has

drastically changed in the 20th. Century.

2. The buildings were built by organic materials which are less durable and more

vulnerable to physical factors. Their vulnerability is multiplied if the buildings are

unoccupied, which is quite frequent

3. Just a very small number of buildings belonging to this category are listed -

mostly houses connected to certain famous personalities.

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4. The group value of these buildings is not recognized by local communities, or

authorities, therefore a very small number of rural sites are listed. As a consequence the

urban development plans do not consider at all traditional plot arrangement, volumes or

materials elements that should be subject of protective measures.

As a consequence vernacular heritage on a general scale is highly vulnerable and endangered.

Development itself leads to change and transformation as far as the local built heritage is

concerned, which will lead to the loss of the traditional image of both the village and the

Romanian cultural landscape.

3.3. Attitudes towards Archaeological sites

Legislation exists for the protection of Archaeological Sites and control extends to the

requirement for special authorizations to work on such sites. Romania has signed the European

Convention for the Protection of Archaeological Heritage. As stated above there are 9662

protected sites.

There is a National Commission for Archaeology which comprises 21 members, many of whom

are associated with national or major museums throughout the country.

Romania is experiencing significant development pressures, which frequently conflict with

archaeological interests. In such circumstances archaeology is often dealt with through

excavation and recording, rather than retention in-situ combined with remodelling of theproposed developments. This can be a significant issue in and around the major cities.

Interpretation at archaeological sites is not consistent throughout the country, and lack of

interpretation, (and therefore lack of knowledge of the importance of a site), particularly in rural

areas is an issue which can result in neglect and even partial loss of a site.

IV. The legislation

The main governmental body in directing legislation in this field is the Ministry of Culture

and National Heritage. The role and effectiveness of successive such Ministries has varied since1989, but from a background of zero heritage protection and ineffective legislation (The

National commission for Historic Monuments and the Directorate for Historic Monuments was

disbanded in 1977) much has been achieved and attitudes towards cultural issues and historic

building protection in particular have been gradually enlightened.

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For many years' culture, including heritage protection was regarded as a very secondary

issue in a country where social issues needed desperately to be addressed. The concept of

Cultural Heritage is still very new to Romania, and this must be clearly understood when

assessing its present performance.

The legislation divides into two categories:

Legislation relating directly to the protection of the Monuments (In Romania the

reference to Monument is all-embracing) Legislation relating to the control of works to protected monuments

4.1. Protection of Monuments

Law no. 422/July 2001, on the protection of historic monuments (built heritage)

Besides establishing the mechanisms and rules of historic monuments protection and

interventions, the law lists the institutions and specialized bodies and committees that have a

role in the issue. The main item of legislation is still 422/2001 relating to protected monuments

but this was republished (re-ratified) in November 2006.

The Government Ordinance nr. 43 /Jan.2000, on the protection of archaeological heritage and

identification of a number of archaeological sites as national interest areas.

This law deals with both archaeological sites and the artefacts discovered during

digging or accidentally; it creates the National Commission of Archaeology and the

Archaeological National Register; it launches the philosophy of sustainable

development related to archaeological areas.

The Law no. 564 /Oct. 2001

This approved the Government Ordinance nr.47/2000 regarding the

protection of historic monuments which are on the UNESCO World Heritage List.

The Law no. 182/Oct. 2000, on the protection of cultural national mobile

heritage This includes museum collections and private mobile heritage.

Two other initiatives are important to the protection of cultural heritage:

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1. The Strategy on Cultural heritage 2008-2013 (referred to above)

2. The Presidential Commission on the Built and Natural Heritage of Romania.

This is currently ongoing and is expected to Report in Feb/March 2009. The

scope of the Commission is to examine the current threats and dangers to the

built and natural heritage (including archaeology) and to recommend priority

measures for dealing with the situation. It is likely to recommend changes to

legislation. The Commission was established in recognition of the current

threats to heritage and the actual loss of heritage assets on a regular basis. InRomania many buildings/sites are currently under enormous threat from

development pressure, and there is a real danger that much will be lost

completely or their setting destroyed.

A national Historic Buildings at Risk initiative has been launched with the aim of

highlighting the importance of those monuments, and thereby raising awareness

of their cultural value to the country. This is a very positive sign from which more

consistent protection and control mechanisms can be developed.

4.2. Control of Work to protected monuments:

In theory only companies directly authorised by the Ministry of Culture and

National Heritage can undertake work to protected monuments. There are veryfew companies with such authorisation in Romania. There is therefore a conflict

between the stringent regulation of the legislation and its practical

implementation. Provision also

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exists within legislation to ensure that such works are also overseen by an approved site

manager with experience in historic building conservation (this is not frequently enforced due

to the lack of experienced personnel)

The principal acts relating to this are as follows:

Law No. 50/1991 and nr.401/0ct. 2003

This authorises provisions to observe when these works are performed on historic buildings,

where joint approvals are needed from the Ministry of Culture and the Ministry of Transports,

Buildings and Tourism.

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Government Ordinance n0. 24/1997, on the protection of cultural national heritage (to complete

the Government Ordinance nr.68/1994)

4.3. Institutions and specialized bodies and committees: At

Ministry level

The National Institute of Heritage, under the Ministry authority, updates

and administers the historic monuments national database and works out rules and

methodologies; administers the funds, establishes the necessary credit lists, selects

priorities; administers in the Ministry's name those historic monuments that do not

belong to cultural public institutions but which are subordinated to the Ministry;

The Historic Monuments Services, created within the Bucharest/counties

Directorates for culture, denominations and national heritage;

The National Commission of Historic Monuments - (a scholarly,

consultative, advisory body, whose president is appointed by the minister of culture)

which is responsible for defining strategy and offering professional guidance; has an

advisory role in zoning urban/rural areas with heritage buildings or archaeological sites;

decides on registering heritage buildings and sites, including the applications for the

UNESCO World Heritage List.

The Regional Commissions for Historic Monuments that monitor theobservance of legal provisions and decide or have an advisory role for listed heritage of

local importance where changes/works are proposed.

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At local authority level:

Local councils, mayors, county/Bucharest councils have, according to the law, strictly

established roles regarding built heritage. They have to;

provide in their budgets funds for restoration and maintenance,

to include among their employees at least one person specialized in heritage,

to include in their development plans heritage protection issues,

to check that any intervention on historic buildings, be they public or private, is

performed in accordance with legal requirements

4.4.The Listing Process

Romania has 29546 protected "Monuments". This comprises 9662 archaeology, 17739

architecture (grades "A" and "B"), and 679 public and 1466 memorials- funerary. The

architecture (buildings) element is divided into two categories;

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-list B which is heritage of local importance.-22735

Buildings are theoretically protected under primary legislation, which is updated every 5 years.

Within the structure of the Ministry of Culture and National Heritage there is a directorate of

Historic Monuments and Museums, co-ordinated by a State Secretary for cultural national

heritage.

-list A which is heritage of world and national importance (6811)

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The List is drawn up by the National Institute of Heritage, at the recommendation of the

National Commission of Historic Monuments or, accordingly, the National Commission of

Archaeology.

The listing procedure can be initiated by county/Bucharest Directorates for culture,

denominations and national cultural heritage, either automatically or at the initiative of NGOs or

other organisations; there are also emergency procedures for cases of heritage in danger.

Each entry is approved by an Order of the Minister of Culture and National Heritage.

Each heritage building/archaeological site and the respective protection areas are

included in the Historic Monuments Register.

Within each county and within the Bucharest directorate there is a heritage department,

which in theory should have at least 1 person responsible for, and trained in, heritage issues.

These Regional offices are responsible for all the protected monuments within their region. Lack

of expertise/personnel and training is still a serious problem. The result is

Education and Ciiltu re DGLifelong Learning Programme

serious neglect to the historic fabric, even those which are under the responsibility of the

Ministry of Culture and national heritage.

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Actual works to historic buildings (including preparation of designs) is controlled through a

system of experts and specialists who are authorised to approve the initial design. Following

such approval the plans are then considered by the national/regional committees who give the

final approval for implementing the work. In the case of category A buildings the approval has

to be through the National Committee, in the case of Category B monuments works can be

approved through the Regional Commissions. Whilst the legal framework might therefore be in

place, there is little comprehensive control, and there are considerable inconsistencies

throughout the country.

Each county council also incorporates a building inspector's section, but most of those involved

have been trained only in the development of new works and not in the restoration of historic

buildings.

4.5. Commentary on the Legal Framework

Romania has a fairly strong base in terms of legislation which is relevant to cultural

heritage/historic buildings/monuments/archaeology. Although it is still reviewing and developing

its legislation it does not have strong enforcement powers, and frequently the legislation is

incorrectly applied or not applied at all.

An Assessment of NGO/Associations Activity

Environmental and cultural related issues are often perceived as being of secondary importance

in a society where major social issues need to be addressed. Consequently most NGO's are

associated with such problems (abandoned children, Rroma issues, women's rights and

protection, homelessness etc) There are over 4000 NGO's operating in Romania, but only a very

few of these actually deal with cultural heritage related to the built environment.

The main Foundation operating at an international level is the Transylvania Trust, based in

Cluj. It is involved in an extensive number and variety of projects ranging from craft skills

training, built heritage conservation restoration programmes, sustainable rural tourism,

assessment of condition of heritage and preparation of data bases, educational training in

conservation studies, etc. It has strong international connections and

influences (UNESCO, ICOMOS, and Europa Nostra). The Transylvania Trust was awarded the

European Union/Europa Nostra main prize for Education, training and awareness rising in 2008.

GTZ - based at Sibiu, GTZ is a German government funded organisation which acts as a charity

and who's main role is in advising on Historic Building Conservation. It has been involved in a

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number of projects in Sibiu which it supported through grant aid. It offers advice and access to

expertise for owners of historic buildings and has had considerable influence and success in

improving the historic environment of Sibiu.

The Romanian Environmental Partnership Foundation - based at Miercurea Ciuc, is

principally an enabling organisation which offers grants to NGO's as well as technical

assistance, networking, training activities, with strong emphasis on community involvement and

development.

The Mihai Eminescu Trust is a British based organization which undertakes some training

in historic building conservation at a local level in some of the Saxon villages of Transylvania.

Pro Patrimonio is a non-governmental independent foundation in Romania, whose mission is

to safeguard, restore and emphasize the natural, architectural and the cultural and traditional

patrimony of Romania.

Another important group dealing with Historic Building Conservation is the Churches of

Romania. Each of the priests is responsible for his church, and within each of the main

episcopacies there is a small group of conservator craftsmen, who are doing the maintenance

repairs to the heritage assets.

The geographical distribution of NGO's is not equal throughout the country. The majority ofthose dealing directly with cultural built heritage (and related subjects) appear to operate

mainly within Transylvania.

There is also a perceptible distinction between the number of Romanian and Hungarian NGO's

operating in this field whereby the number of Hungarian NGO's is high. There are two principal

reasons for this:

For Hungarians the protection of cultural heritage is seen as a means of

protecting cultural and national identity whereas the Romanian NGO's react to other

more immediate needs of Romanian society.

Government funding from Hungary was available for Hungarian NGO's active in

Transylvania, whereas the Romanian government rarely offered grants to NGO's.

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4.6. The relevance of international policy and funding

Romania has ratified a number of international and European laws and conventions. They refer

primarily to the wider definition of cultural heritage, and not directly to built heritage in the

main.

During the communist years the only source of international influence was through UNESCO.

That has now changed and Romania is a member of the Council of Europe and of the EU. In June

2007 Romania was host to the UNESCO South Eastern European Countries Summit on "Cultural

diversity - a bridge between cultural heritage and the culture of the future".

External financing from international organisations, foreign governments and international non-

governmental organisations is significant in Romania and is extremely important to most of the

major heritage projects. In theory each of the three regions (Transylvania, Moldova and

Wallachia) should have fairly equal access to external funding, but in practice this doesn't

actually happen. Much depends on the degree of activity, which is being developed by the

regional NGO's, and much depends on current government policy in directing finance to each of

the regions.

The main international organisations such as UNESCO, ICOMOS, The World Bank, Council of

Europe and the EU all have active projects, which they support in Romania. Many of the

European governments such as Germany, France, Belgium, Hungary, The Netherlands and

Great Britain support direct projects in Romania, and there is also funding from the

governments of Japan, and the United States. International nongovernmental organisations

such as the World Monuments Fund, the Getty Foundation, The Headley Trust, and the Europa

Nostra also support projects.

Lately the structural funds from the EU became operational in Romania, but NGO's have access

to that just in theory. At practical level, these funds (which are extremely small for

the needs of the country) are given to local governmental institutions, who do not always

address the most urgent restoration needs, due to lack of strategy and understanding.

It is very clear that the degree of support is such that without this external funding many of the

heritage projects, which are currently operational in Romania, would not be progressing. Within

this context much of the implementation of the projects is through the NGO's.

4.7. Media and Awareness - attitude to cultural heritage

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The concept of cultural heritage and the principles of sustainability are still in their

infancy within Romania. It is therefore not surprising to find that the majority of media reports,

particularly in the newspapers in Romania are reactionary sensationalist and without a depth or

understanding of the meaning of the cultural heritage. In recent years television has improved,

with specific programmes now dedicated to cultural heritage.

Within each of the principle newspapers there is often an individual within the editorial board

who is specifically responsible for cultural heritage issues, but it is frequently the case that that

particular individual has no specialist training in the field. In order to try and improve upon the

standard and scope of reporting, The Transylvania Trust launched in 2008, a Media Prize for

best report on Cultural Heritage, which will be presented annually.

At the government level the Ministry of Culture and National Heritage has a responsibility to

raise awareness in heritage issues. In order to do that it has amongst its priorities cultural

policies and promotion of the cultural heritage. There is no clear evidence that it is able to

utilise the media either through television or newspapers effectively in this regard. Its principle

means of promotion is either related to specific sites, or promotional exhibitions, book-fares,

etc. It does co-operate with UNESCO and participates in Council of Europe campaigns, on

specific projects, but this tends to be very specialised, and related to a particular issue, and is

not generally seen to raise awareness in the country relating to the importance of cultural

heritage.

4.8. Relevance of Cultural Tourism

The concept of Cultural Tourism is slowly becoming more widely recognised in Romania. There

appears to be a heavy concentration on attracting foreign tourists into the country, and less

activity in encouraging people within the country to visit their own heritage. In the first part of2008 Romania had 4million tourists, of which 62% came from within the EU (35% from

Hungary).

In 2007 the town of Sibiu in the southern part of Transylvania was the Cultural capital of

Europe. That designation had a major direct impact on heritage within the town, through

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preliminary study romania

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