布加勒斯特建筑127年
——主導(dǎo)城市建設(shè)及在伊恩·明庫建筑與城市規(guī)劃大學(xué)任教的風(fēng)云人物

埃米爾·巴爾布·伯佩斯庫，安娜瑪麗亞·安德里佐尤/Emil Barbu Popescu, Anamria Andritoiu

黃華青 譯/Translated by HUANG Huaqing

作者單位：埃米爾·巴爾布·伯佩斯庫，伊恩·明庫建筑與城市規(guī)劃大學(xué)名譽(yù)校長/Emil Barbu Popescu, Honorary President, Ion Mincu University of Architecture and Urbanism

安娜瑪麗亞·安德里佐尤，斯蒂芬·菲里米塔，菲里米塔建筑工作室創(chuàng)始合伙人/Anamria Andritoiu,Stefan Firimita, Founding Partners, Atelier Architecture Firimita

關(guān)于埃米爾·巴爾布·伯佩斯庫

埃米爾·巴爾布·伯佩斯庫生于1938 年9 月15 日。他先后擔(dān)任布加勒斯特伊恩·明庫建筑與城市規(guī)劃大學(xué)（UAUIM）系主任（1996）、副院長（1998）、院長（2000）和校長（2008-2012），如今他依然是該校名譽(yù)校長。

他漫長的職業(yè)生涯始于1970 年從建筑學(xué)院畢業(yè)之時，此后他在學(xué)術(shù)界歷經(jīng)浮沉，達(dá)到最高的職業(yè)地位。他始終如一地探尋設(shè)計課程教學(xué)過程的現(xiàn)代化；他在擔(dān)任系主任期間，制定了新的教學(xué)計劃，包括轉(zhuǎn)向?qū)W分系統(tǒng)；他建立了研究生課程，領(lǐng)導(dǎo)重組了研究生教學(xué)體系，并組織了繼續(xù)教育執(zhí)行委員會。

他的建筑實踐生涯共完成80 余項建成項目，其中一些重要作品獲得了國家和國際建筑獎項。他榮譽(yù)等身，包括2013 年獲得“羅馬尼亞建筑學(xué)會建筑獎”。

作為一個整體，埃米爾·巴爾布·伯佩斯庫教授的教學(xué)和實踐活動無疑是對建筑與城市發(fā)展的杰出貢獻(xiàn)，同時也是羅馬尼亞建筑教育事業(yè)發(fā)展的核心人物之一。

“我記得勒·柯布西耶去世前的一次訪談，他說，在我所處的年代，道德品行可以總結(jié)為：此生你必須有所作為。我的一生都執(zhí)著追尋這一目標(biāo)，在我所過之處留下痕跡！我還要補(bǔ)充的是，你應(yīng)以謙遜、清晰、精準(zhǔn)的姿態(tài)來完成這些事……藝術(shù)創(chuàng)作最適合的狀態(tài)就是不驕不躁、持之以恒、堅持不懈、‘公正不阿’。這是勇氣、尊重、內(nèi)在強(qiáng)韌的展現(xiàn)，因為最終，只會剩下一個評判標(biāo)準(zhǔn)——那就是每個人的良知。”[1]（斯蒂芬·菲里米塔 文）

本文試圖從較為整體扼要的視野，呈現(xiàn)布加勒斯特建筑大學(xué)過去127 年的崛起，及其與羅馬尼亞、尤其是布加勒斯特城市化進(jìn)程之間有趣而密切的關(guān)聯(lián)。從19 世紀(jì)末至整個20 世紀(jì)，羅馬尼亞經(jīng)歷了諸多重要的歷史事件及劇烈變遷，它們都給布加勒斯特留下了顯著而不可逆轉(zhuǎn)的痕跡與轉(zhuǎn)變。然而，布加勒斯特建筑大學(xué)在過去100 多年中，通過那些在此學(xué)習(xí)并最終留校教學(xué)的建筑師的努力，為城市建設(shè)提供了一定程度的延續(xù)性和相對的穩(wěn)定性——在此期間布加勒斯特經(jīng)歷了兩次世界大戰(zhàn)、5 種政治體制，還有一場摧毀了大部分城市的大地震。

1864 年，布加勒斯特正式出現(xiàn)了建筑高等教育的雛形，是作為路橋、礦業(yè)和建筑學(xué)院的一部分。然而，由于缺少學(xué)生以及對于機(jī)構(gòu)化建筑教育的理解，這所學(xué)院未能持久，但它還是催生了建筑教育理念的萌芽。早期羅馬尼亞建筑師大多在巴黎美術(shù)學(xué)院接受的教育，這批建筑師的辛勤工作真正奠定了布加勒斯特建筑教育的基礎(chǔ)。1892 年，羅馬尼亞建筑師協(xié)會創(chuàng)立了一所私立建筑學(xué)院。此前的1891年，該協(xié)會還創(chuàng)辦了一本名為《建筑》的雜志（至今仍在刊）[2-3]，這本雜志作為一個平臺，用以闡釋協(xié)會的理念，面向公眾普及建筑職業(yè)及建筑教育的知識——這些專業(yè)知識在當(dāng)時尚且鮮為人知，飽受誤解。1897 年的教育改革將這所私立學(xué)校改制為國家建筑學(xué)院（由政府資助），并入國家美術(shù)學(xué)院。盡管幾經(jīng)更名和改革，這一教育形式仍不曾間斷地持續(xù)至今[4]。

1 基塞萊夫路邊酒館，伊恩·明庫/The Kiseleff Roadside Tavern,Ion Mincu （圖片來源/Sources: SOCOLESCU T T. Monograph Ion Mincu [manuscript]. 1958.）

2 基塞萊夫路邊酒館，伊恩·明庫，1892/The Kiseleff Roadside Tavern, Ion Mincu, 1892（圖片來源/Sources: http://www.casadoina.ro）

3.4 女子學(xué)校，伊恩·明庫/School for Girls, Ion Mincu（3.4圖片來源/Sources: SOCOLESCU T T. Monograph Ion Mincu [manuscript]. 1958.）

About Emil Barbu Popescu

Emil Barbu Popescu was born on 15.09.1938.He has successively served as dean (1996), vicerector (1998), rector (2000) and president (2008-2012) of Ion Mincu University of Architecture and Urbanism (UAUIM) in Bucharest, where he currently holds the position of honorary president.

His long academic career started the moment he graduated the Institute of Architecture in 1970 and evolved through all the levels of academia until the highest distinctions. He permanently pursued the modernisation of the process of educating within the design studio; he formulated, while dean, the new educational plan, with the transition to the credit system. He organised postgraduate courses, led the reorganisation of the postgraduate education system and coordinated the Commission for the Implementation of the Continuing Education Programme.

His professional activities in the field of architecture have resulted in the completion of more than 80 built projects, the most important being the subject of national or international architectural awards. He has been the recipient of several distinctions and awards, including "The Prize for Architecture of The Romanian Academy"in 2013.

Considered as a whole, the activity on the didactic and professional level of prof. Dr. Arch. Emil Barbu Popescu can be appreciated as an exceptional contribution to the development of the activity of architecture and urbanism, as well as being one of the key figures in the continuing evolution of Romanian architecture education.

"I remember an interview of Le Corbusier shortly before his disappearance. He said: At my age, morality can be summarised in this way - in life you have to do something. I have been obsessively driven, all my life, to following this precept - to leave traces where I pass! I would add that you must do something with modesty, accuracy, precision...The only atmosphere suitable for artistic creation consists of modesty, continuity, perseverance, 'with just measure'. It is a demonstration of courage,of respect, of inner strength, because, ultimately,there is only one judgment, that of one's own conscience."[1](Text by Stefan Firimita)

The focus of this article is to present the interesting and tightly knit connection between the emergence of the University of Architecture in Bucharest, over 127 years ago and the history and urbanisation of the Bucharest in particular and Romania in a more generalised and schematic view.The end of the 19th century and the entire 20th century had seen many major historical events and drastic changes in Romania, all of which left their imprints and changed Bucharest in remarkable,irrevocable and very distinct ways. Yet, for more than 100 years during this period, the University of Architecture, through the architects that studied and eventually taught there, provided a sense of continuity and relative stability through two world wars, five political systems and a major earthquake that leveled out a great portion of the city.

In 1864, the first form of architectural higher education was legally established in Bucharest, as a part of the School of Bridges and Roads, Mines and Architecture. Although, for lack of students and understanding of what institutionalised architecture teaching meant, this school did not last long, it set the idea of centralised architecture teaching in motion.The first Romanian architects studied mostly in Paris,at the école des Beaux-Arts, and their enthusiastic undertakings lead to the true foundation of a school of architecture in Bucharest. Thus, in 1892 the Romanian Society of Architects set up a private school of architecture under its authority. The previous year,in 1891, the same Society established a magazine,Arhitectura (is still in publication today)[2-3], as a platform to clarify their mission and enlighten the general public on the subjects of the architectural profession and architecture education, subjects that was vastly unknown and misunderstood at the time. The Education Reform in 1897 transformed the private school into the National School of Architecture (financed by the government) as a part of the School of Fine Arts. Under various names and withstanding numerous reforms, this form of architectural teaching has endured without interruption to the present day[4].

Of that first generation of Romanian architects that founded the school of architecture and taught there, Ion Mincu (1851-1912) is one of the most illustrious examples. Although classically trained in the academic style in Paris, he was one of the first to understand the changes that modernity was bringing within architecture across Europe and bring it to his home country. In the new Romanian State,modernity manifested itself for the first time in the form of the neo-Romanian style, which represents the local variant of Art Nouveau, spread throughout Europe under different names, according to the traditions of each state. The Neo-Romanian style was born from the desire of Romanian architects to promote a movement that could be called "national",inspired mainly by the values and traditions of the old Romanian feudal and popular architecture,especially the church and the vernacular. In this sense, the architect understood that the only way to develop Romanian architecture was to implement the forms of popular architectural creation that had,over time, proved their validity, continuity and their adequate adaptation to the social needs of the new state. However, the Neo-Romanian style was not in tune with the fashion of the time, it was something entirely exotic and, as with all innovations, the first tendency was to reject it, to look at it with circumspection[3]. This perspective explains the small number of public buildings built prior to the First World War (in the early 1900s) in the new style. As such, Ion Mincu has a significantly small number of large scale or public projects, most of his projects consisting of houses.

伊恩·明庫（1851-1912）是創(chuàng)立建筑學(xué)院的第一批羅馬尼亞建筑師中最具代表性的一位。盡管他在巴黎接受了學(xué)院派的古典教育，但他卻較早認(rèn)識到，現(xiàn)代主義正給全歐洲的建筑領(lǐng)域帶來變革，他也將這種變革帶回了祖國。在新成立的羅馬尼亞王國，現(xiàn)代主義最初體現(xiàn)為一種新羅馬尼亞式風(fēng)格，這可視為一種新藝術(shù)風(fēng)格的地方變體——這一風(fēng)潮已席卷歐洲，并根據(jù)各地傳統(tǒng)被賦予不同名稱。新羅馬尼亞風(fēng)格源自羅馬尼亞建筑師對“民族主義”運動的推崇，這一運動主要來自舊羅馬尼亞封建及世俗建筑的價值和傳統(tǒng)，尤其是教堂及民居。在此意義上，建筑師認(rèn)為發(fā)展羅馬尼亞建筑的唯一方法，就是運用那些經(jīng)歷住時間考驗的民間建筑形式，它們在時間長河中不斷延續(xù)，并應(yīng)用到新國家的社會需求之中。然而，新羅馬尼亞風(fēng)格并不符合那個時代的潮流，它具有一種徹頭徹尾的異域風(fēng)情，盡管有創(chuàng)新意義，但大部分人依然抱以謹(jǐn)慎態(tài)度，最初的反應(yīng)就是拒絕這一風(fēng)格[3]。在這一態(tài)度影響下，羅馬尼亞在第一次世界大戰(zhàn)之前（1900 年代）建造的新風(fēng)格的公共建筑數(shù)量很少。伊恩·明庫的大型公建項目也極少，大部分項目都是住宅。

一戰(zhàn)后，也就是1930 年代，新興現(xiàn)代主義運動的思想和美學(xué)體系就像它在所有其他歐洲國家的傳播和實踐一樣，滲透至羅馬尼亞社會之中。由于這一時機(jī)正好與布加勒斯特的高速現(xiàn)代化進(jìn)程重合，新建筑風(fēng)格被廣泛應(yīng)用于城市最具代表性的中心地帶，為其賦予了一副現(xiàn)代主義的整體面貌，這在其他歐洲國家首都鮮有看到——那些首都城市大多在19 世紀(jì)便完成了現(xiàn)代建設(shè)。其中一個最顯而易見的案例，就是新南北軸線的建設(shè)以及城市中心區(qū)的重建，也就是當(dāng)時的塔切·伊恩內(nèi)斯庫-伊恩·C·布拉蒂亞努大道（如今的馬格魯大道）——這是當(dāng)時布加勒斯特最重要的大型建設(shè)項目之一。盡管該項目始建于19 世紀(jì)末，并忠實采取了奧斯曼巴黎改造的模型，但大道兩側(cè)的建筑幾乎都是一戰(zhàn)后才建成的，并由現(xiàn)代主義風(fēng)格主導(dǎo)。部分主要建筑是在1930 年代設(shè)計的，今天看到的主軸線風(fēng)貌直到1950 年代末期才完成。這對該時期在布加勒斯特求學(xué)及工作的建筑師而言是一個極好的佐證，即如此大規(guī)模的城市項目竟可以在長達(dá)30 年的時間段、中間還被世界大戰(zhàn)打斷的情況下，保持如此獨一無二的現(xiàn)代風(fēng)貌——它的統(tǒng)一性僅在1977 的大地震中不幸遭到些許破壞。

有兩位建筑師對這一現(xiàn)代建筑景觀做出了重要貢獻(xiàn)，他們也是當(dāng)時羅馬尼亞現(xiàn)代主義運動的核心人物——馬塞爾·伊恩庫（1895-1984）和霍里亞·克里昂加（1892-1943）。

5-8 塔切·伊恩內(nèi)斯庫-伊恩·C·布拉蒂亞努大道（現(xiàn)馬格魯大道）建筑/Architecture of the Tache Ionescu - Ion C.Bratianu Boulevard (today Magheru Boulevard)（5-8圖片來源/Sources: MACHEDON L, SCOFFHAM E.Romanian Modernism: The Architecture of Bucharest 1920-1940. Cambridge, Massachusetts: M.I.T. Press, 1999.）

9 布塞吉療養(yǎng)院，馬塞爾·伊恩庫/The Bucegi Sanitarium,Marcel Iancu（圖片來源/Sources: BOCANET A, LASCU N,ZAHARIADE A M. Marcel Janco in Interwar Romania:architect, fine artist, theorist. [Marcel Janco centenary 1895-1995: catalogue]. Bucuresti: Simetria, 1996.）

馬塞爾·伊恩庫是前衛(wèi)達(dá)達(dá)主義藝術(shù)運動的創(chuàng)始成員之一，與伊恩·維尼亞一起創(chuàng)建了羅馬尼亞第一本前衛(wèi)藝術(shù)雜志Contimporanul（1922），宣揚構(gòu)成主義、未來主義和立體主義思想。伊恩庫扮演著橋梁的角色，連接著西方世界的新興進(jìn)步思想與一戰(zhàn)后重建的羅馬尼亞剛涌現(xiàn)的現(xiàn)代主義運動[3]。兩次大戰(zhàn)期間的多座布加勒斯特住宅都出自他的設(shè)計。在羅馬尼亞，與歐洲其他地方一樣，私人住宅提供了新風(fēng)格試驗的最佳舞臺，也是將新思想推向大眾的完美媒介。因此，當(dāng)時的富人及知識分子階層風(fēng)行建造現(xiàn)代主義風(fēng)格的別墅或小型公寓樓，以彰顯兩次大戰(zhàn)之間的羅馬尼亞社會的經(jīng)濟(jì)實力[3]。

After the end of the First World War, the third decade of the twentieth century saw the penetration of the ideas and the aesthetic programme of the new Modern Movement, concurrent with their dissemination and implementation in all European countries. As this moment overlaps over the intense modernisation works of Bucharest, the new architecture is widely used in the central areas, representative of the city, which gives it a modernist general image, an aspect rarely found in other European capitals. that had seen their peak in development in the 19th century. An extremely clear and straightforward example is the development of the new North-South axis and restructuration of the central part of the city, the then Tache Ionescu - Ion C. Bratianu Boulevard (today Magheru Boulevard),one of the most important and major interventions in Bucharest of the time. Although begun at the end on the 19th century, in the true Hausmannian model, almost all the buildings flanking this artery are erected after the First World War and are dominated by the modern style. With some of its major buildings designed in the 1930s, the current form of the axis was finalised in the late 1950s. It is a testament to the architects that were educated and worked in Bucharest during this period that such a large scale urban intervention was given such a uniquely modern image over the span of 30 years and through the disruptions of World War II, the unity of which was somewhat unfortunately destroyed by the 1977 earthquake.

As a founding member of the avant-garde artistic movement DADA and founder (alongside Ion Vinea) of the first avant-garde artistic magazine Contimporanul (1922), advocating a mix of Constructivism, Futurism and Cubism, Marcel Iancu served as a bridge between the new, radically different ideas of the western world and the emerging modern movement of the newly formed,post First World War Romanian state[3]. A number of interwar Bucharest houses bare his signature.Individual houses in particular provided the perfect platform for experimenting with the new style, in Romania as well as in the rest of Europe, serving as the perfect medium for introducing new ideas to the wider public. It thus became a fashion for the wealthier and the more intellectually savvy to have villas or smaller apartment buildings designed in the new modern style, as a demonstration of the economic capacity of Romanian society in the interwar period[3].

With an architectural portfolio of works on a much larger scale, and considered as the"true founder" of Modernism in Romania, Horia Creanga's career is marked by a strongly personal interpretation of the international modern style,filtered through his own views and sensibilities.Unlike the European modernists, who deny all styles that went before them, Creanga is characterised by a more balanced vision that tends to incorporate or adapt local traditions and old Romanian folk art, a characteristic artistic choice that mark almost all Romanian architects. One of his most important and defining projects, ARO Building, with which he made name for himself in 1929, erected in 1931 and commissioned by the major insurance company by Asigurarea Romaneasca (ARO - Romanian Insurance Company) was an absolute novelty in Bucharest's architectural landscape at the time, both regarding its new geometrical and clean aesthetics,as well as due to its undeniably functional virtues[3].His large number of projects, most of which are in the urban environment, approached a wide variety of architectural programmes and, although most of these programmes were already well established, the functional solutions proposed by Creanga highlight numerous innovations and a dynamic and adaptable architecture. In 1935 Horia Creanga started the design of large industrial buildings (Malaxa Plants)and for the first time industrial architecture in Romania found its functional aesthetic expression.The development of technology and economic drive of the time provided an exceptional opportunity for the architects to reevaluate the efficient use of production spaces and deliver modern and aesthetic buildings by taking advantage of the possibilities offer by the use of reinforced concrete.

Characterised by horizontality and simplicity,the iconic image of Creanga's architecture sets a trend and establishes a theoretical and practical basis for evolution and assimilation of international and traditional architectural forms for other architects following in his footsteps, such as Duiliu Marcu and Octav Doicescu. These are the characteristics that mark the architectural development of inter-war Bucharest: a syncretic adaptation of modernism,Art-deco, vernacular and traditional elements grafted onto an urban fabric development policies reminiscent of Hausmann's Parisian grids for the core of the city and the European garden cities for new developments and the residential peripheries[3].

Some architects, such as Duliu Marcu, have careers that span over 50 years, both in the professional circle, as well as in academia. Duiliu Marcu's name is interlinked with the history of architecture in Romania during the first half of the 20th century, both literally, through his enormous professional contribution, as well as symbolically since he held the chair of the History of Architecture Department in the Bucharest Higher School of Architecture (the name of the University at the time) between 1929 and 1957.

10 ARO大樓，霍里亞·克里昂加/ARO building, Horia Creanga（圖片來源/Sources: CIMPOERU V. Bucarest: les annees '30. Bucuresti: Noi Media Print, 1995.）

11 MALAXA植物園，霍里亞·克里昂加/MALAXA Plants, Horia Creanga（圖片來源/Sources: Collection of photographs,Department of History, Architectural Theory and Heritage preservation, University of Architecture and Urban Planning"Ion Mincu".）

12-14 羅馬尼亞鐵路公司CFR建筑群，杜柳爾· 馬爾庫/Administrative buildings of the Romanian Railroad Company (CFR), Duiliu Marcu（12-14圖片來源/Sources: C.F.R. Administrative Palace Bucharest, 1939.）

霍里亞·克里昂加的設(shè)計作品規(guī)模較大，被認(rèn)為是羅馬尼亞現(xiàn)代主義“真正的創(chuàng)始人”。他的職業(yè)生涯是對國際現(xiàn)代風(fēng)格強(qiáng)烈的個人化詮釋，融入了他自己的所思所感。不同于那些試圖否定推翻所有歷史風(fēng)格的歐洲現(xiàn)代主義者，他采取了一種更加均衡的視野，融入或適應(yīng)于羅馬尼亞的地方傳統(tǒng)及民俗藝術(shù)——這種個性化的藝術(shù)道路，在幾乎所有羅馬尼亞建筑師身上都可以見到。他最著名、最具代表性的項目之一ARO 大樓設(shè)計于1929 年、建成于1931 年，讓他一舉成名，由羅馬尼亞保險公司委托，在當(dāng)時布加勒斯特的建筑景觀中絕對堪稱一項創(chuàng)舉——不僅就其新潮的幾何構(gòu)圖和簡潔的美學(xué)價值而言，而且還歸功于其不容置疑的功能優(yōu)勢[3]。他主持的項目為數(shù)眾多，且大多位于城市，涉及的建筑類型十分多樣。盡管大部分建筑類型早已成熟，但克里昂加提出的功能方案還是會帶來諸多創(chuàng)新點，形成一種高度靈活、適用的建筑。1935 年，霍里亞·克里昂加開始設(shè)計大型工業(yè)建筑（馬拉薩電廠），推動了羅馬尼亞工業(yè)建筑第一次獲得功能上的美學(xué)表達(dá)。新技術(shù)的發(fā)展以及那個時代的強(qiáng)勁經(jīng)濟(jì)動能為建筑師提供了絕無僅有的機(jī)會，以重新考量生產(chǎn)空間的高效使用，并利用鋼筋混凝土的技術(shù)優(yōu)勢探索建筑的現(xiàn)代美學(xué)表達(dá)。

克里昂加的建筑以水平延展和簡潔形象著稱，他的作品為杜柳爾· 馬爾庫、奧卡夫特·多伊切斯庫等后代建筑師確立了發(fā)展方向，并為國際式及傳統(tǒng)建筑形式的演化和同化建立了理論和實踐基礎(chǔ)。這是兩次大戰(zhàn)之間布加勒斯特建筑進(jìn)程的重要特征：將現(xiàn)代主義風(fēng)格、裝飾藝術(shù)風(fēng)格、鄉(xiāng)土和傳統(tǒng)元素進(jìn)行整合和調(diào)整，嵌入這樣一個城市肌理之中，這種肌理令人想起奧斯曼改造的巴黎中心區(qū)格網(wǎng)，以及歐洲在新城建設(shè)及住宅區(qū)中采取的花園城市理念[3]。

如杜柳爾· 馬爾庫等，建筑師的職業(yè)生涯可長達(dá)50 余年，橫跨職業(yè)圈和學(xué)術(shù)圈。杜柳爾· 馬爾庫的大名與20 世紀(jì)上半葉的羅馬尼亞建筑史密切交織：在物質(zhì)層面，是因其卓越的建筑實踐貢獻(xiàn)；而在名譽(yù)層面，他于1929-1957 年長期擔(dān)任布加勒斯特高等建筑學(xué)院（當(dāng)時的建筑大學(xué)）建筑史系主任的職務(wù)。

（1）碩士及以上學(xué)歷，主治醫(yī)師及以上職稱；（2）熟練掌握一門外語，達(dá)到熟練閱讀、翻譯和基本會話能力，尤其是英語；（3）在三級醫(yī)院骨科工作5年及以上；（4）有國外留學(xué)經(jīng)歷者優(yōu)先。

在羅馬尼亞的城市景觀中，盡管民族建筑教育的興起以及年輕羅馬尼亞建筑師競逐現(xiàn)代建筑浪潮的整體熱情，為一戰(zhàn)前及兩次大戰(zhàn)之間的建筑創(chuàng)新提供了十分豐沃的土壤，但二戰(zhàn)后的布加勒斯特則呈現(xiàn)出完全不同的景象。從二戰(zhàn)結(jié)束至1950 年代末，城市的主要特征是尋求平衡并修復(fù)戰(zhàn)爭造成的破壞，轉(zhuǎn)譯到建筑生產(chǎn)上便表現(xiàn)為一種對前人發(fā)展的自然沿襲。戰(zhàn)前開始實踐的建筑師基本上延續(xù)了自己的設(shè)計風(fēng)格，因而一些因戰(zhàn)爭而終止的投資項目也得以繼續(xù)。1945 年后，建成了一系列重要的公共項目，采取從現(xiàn)代主義到新古典主義等各不相同的風(fēng)格樣式，并發(fā)展出一種顯著的古典派現(xiàn)代主義風(fēng)格：如班洛克總部大廈和赫拉斯特勞海軍俱樂部（建筑師奧卡夫特·多伊切斯庫）、財政部大廈（建筑師拉杜·杜德斯庫）、CFR 建筑群 （建筑師杜柳爾· 馬爾庫）[3]。

這個時期更重要的或許是新功能主義理念的建筑實驗，尤其顯著地體現(xiàn)在米爾切亞·阿利法蒂等建筑師的作品中。他在杜柳爾· 馬爾庫事務(wù)所開始自己的職業(yè)生涯，在很長一段時間的建筑和建造實踐中經(jīng)歷了復(fù)雜、多面的演變，他還同時兼任布加勒斯特建筑大學(xué)和土木工程大學(xué)的教授。他設(shè)計的項目包括伯尼亞薩國際機(jī)場（1946，建筑師米爾切亞·阿利法蒂、阿斯卡里奧·達(dá)米安等）、APACA服裝廠（1947，建筑師米爾切亞·阿利法蒂等），實驗性地彰顯出多種表現(xiàn)性的方向及語匯，體現(xiàn)出比兩次大戰(zhàn)期間更雄厚的膽識，并帶有一種這個時代似乎非常賞識的現(xiàn)代主義者的自由表達(dá)[3]。

然而，這一時期活躍的建筑師的風(fēng)格延續(xù)性、實驗性及創(chuàng)造力皆受到同期羅馬尼亞所經(jīng)歷的社會及政治變遷的牽制。蘇聯(lián)廣泛流行的新社會主義風(fēng)潮對布加勒斯特城市肌理的影響極小。住宅開發(fā)依然延續(xù)了實驗性的現(xiàn)代主義風(fēng)格或花園城市規(guī)劃，而非蘇聯(lián)常見的方格形社區(qū)。

這一短暫時期完成的真正社會主義風(fēng)格的重要項目很少，值得一提的是羅馬尼亞新聞出版大樓，由米爾切亞·阿利法蒂設(shè)計、建設(shè)于1950-1955 年。20 世紀(jì)這段時期最顯著的影響，就是回歸19 世紀(jì)流行的古典主義風(fēng)格，還見證了過去幾十年盛行的現(xiàn)代主義風(fēng)格的回潮。提到這段插曲中的建成作品，值得一提的是1953 年由奧卡夫特·多伊切斯庫設(shè)計的羅馬尼亞國家歌劇院；而放在更廣闊的圖景中，建筑景觀對民族身份的持續(xù)追逐確保了現(xiàn)代主義永遠(yuǎn)不會完全退出羅馬尼亞的歷史舞臺。黑海沿岸的建筑是1950-1960 年代的典型風(fēng)貌，此外還可見于布加勒斯特的基瑟勒夫大街兩側(cè)的一大批私人住宅，以及為上流階層建造的新住宅區(qū)。

While the emergence of national architectural education and the general enthusiasm of young Romanian architects to compete and learn from modern trends had provided a fertile environment for creativity in the pre and inter war Romanian urban landscape, a very different scene is set for Bucharest after the Second World War. The period up to the end of the 1950s is marked by the search for balance and the need for restoration after the destruction of the war, translated in the architectural production by a feeling of a natural continuity with the previous evolution. Architects who had practiced before the war generally continue their own design style, to the extent that some of the investments already started are resumed. After 1945, a series of important public constructions are completed, in different stylistic manners, from modernism to neoclassical, passing through an emphatic classicist modernism: the Banloc office block and the Herastrau nautical club (arch. Octav Doicescu), the Ministry of Finance (arch. Radu Dudescu), CFR palace (arch. Duiliu Marcu)[3].

Perhaps more significant for this period is search for and the experimentation with the new functionalist ideas, especially visible in the works of architects such as Mircea Alifanti. He was an architect that had started his career with Duiliu Marcu and had complex and multifaceted evolution spanning a long period of time, both in the architecture and construction fields, as well as a professor at both the University of Architecture and the Construction University in Bucharest. Projects such as Baneasa International Airport (1946, arch.M. Alifanti, A. Damian, & all) APACA clothing factory (1947, arch. M. Alifanti, I. Ghica-Budesti,V. Krohmalnic, H. Stern, & all) are indicative of the experimentation with various expressive orientations and vocabularies, manipulated with greater audacity than in the interwar period, within a modernist freedom of expression to which the era seemed to be favourable[3].

Yet, the stylistic continuity and the experimentation and personal creativity of the architects active during this period is tempered by the social and political changes that were happening in Romania at the time. Some of the new socialist trends that were widely spread in U.S.S.R. had minimal impact on the urban fabrics of Bucharest.Housing developments continued the previous trend of experimental modernist arrangements or garden city planning, as opposed to the soviet square block.

Few important projects were completed during this short period in the true socialist realist style,the most relevant one being Complexul Tipografic Casa Scanteii (Romanian Newspaper and Printing House), built between 1950-1955 by Mireca Alifanti. The most notable influence of this period of the 20th century is the return to the classical style popular in the 19th century and a veering offthe modernist influences that had been flourishing in the last decades. This very short interlude is seen in buildings such as the Romanian National Opera House by Octav Doicescu in 1953 while, in the greater scheme of things, a continuing search for national identity in the architectural landscape ensures that a clean break with modernism never happens. The architecture on the Black Sea coast is relevant as an image for the 1950s through the 1960s as well as a lot of private villas built in Bucharest along Kiseleff Boulevard and in new residential developments for the more influential members of society.

This is especially relevant since, in the late 1960s a resynchronisation with European ideas is apparent within the architectural language in Bucharest.

The architects that teach and build in Romania at the time never gave up on the modernist dream despite the changing political climate and the increasing centralisation of the profession. The architecture school, through an entire generation of former students that were now leading exponents of the younger generation of modern professionals,also played an important role. It managed to change its orientation despite the political rigors of the time and, through persons such as Ascario Damian,rector of several legislations, Mircea Alifanti, Octav Doicescu, Horia Maicu, Grigore Ionescu and others that taught at the University in Bucharest though the 1960s and 1970s, education begins to assimilate the most open contemporary trends.

15.16 巴內(nèi)薩機(jī)場，米爾切亞·阿利法蒂/Baneasa Airport,Mircea Alifanti

17-19 羅馬尼亞國家歌劇院，奧卡夫特·多伊切斯庫/Romanian National Opera House, Ocatv Doicescu（15-19圖片來源/Sources: IONESCU G. Architecture in Romania during the years 1944-1969. Bucharest: Academiei Publishing House RSR, 1969.）

20-22 斯拉蒂納青年科技文化之家，埃米爾·巴爾布·伯佩斯庫，多林·斯蒂芬/The Culture House of Science and Technics for Youth, Slatina, 1971-1986, Emil Barbu Popescu, Dorin Stefan

23-25 布加勒斯特奧林匹克之家，埃米爾·巴爾布·伯佩斯庫/The Olympic House, Bucharest, Emil Barbu Popescu（20-25供圖/Courtesy of Emil Barbu Popescu）

這種現(xiàn)象到了1960 年代末更加凸顯，布加勒斯特的建筑語匯開始與歐洲的思想重新同步。當(dāng)時，盡管政治空氣在變化，行業(yè)的集中化愈發(fā)凸顯，但在羅馬尼亞教學(xué)與實踐的建筑師并未放棄對現(xiàn)代主義理想的追逐。建筑學(xué)院在其中亦發(fā)揮著重要作用，此前培養(yǎng)的一代建筑師如今正在年輕一代的現(xiàn)代主義實踐中發(fā)揮了領(lǐng)導(dǎo)作用。在緊張的政治氛圍下，這一批建筑師依然選擇改弦易轍，尤其是在曾擔(dān)任多所學(xué)院校長的阿斯卡里奧·達(dá)米安，以及米爾切亞·阿利法蒂、奧卡夫特·多伊切斯庫等曾于1960-1970 年代在布加勒斯特大學(xué)執(zhí)教的建筑師的努力下，羅馬尼亞的建筑教育仍然緊跟最開放的當(dāng)代建筑潮流。

從1970 年代初算起的20 年間，尤其是1977年的毀滅性大地震后，羅馬尼亞和布加勒斯特的建筑風(fēng)格逐步穩(wěn)固下來，特定項目皆采取特定的風(fēng)格類型，極少有建筑師個人的創(chuàng)造空間。一些年輕建筑師不甘隨波逐流，在艱難的限制條件下創(chuàng)造出獨特的作品，他們也是布加勒斯特伊恩·明庫建筑學(xué)院的教學(xué)中堅力量。這些項目包括倫尼庫·維爾切亞科技宮（1974-1982，建筑師埃米爾·巴爾布·伯佩斯庫、斯蒂芬·隆古、皮特·坎內(nèi)特）、斯拉蒂納青年科學(xué)與技術(shù)文化之家（1971-1986，建筑師埃米爾·巴爾布·伯佩斯庫、多林·斯蒂芬）、位于布加勒斯特的國家郵政總局（1986，建筑師佐爾坦·塔卡茨、V·西米翁、F·埃切里姆）。這些項目皆不同于該時期的大部分建筑，帶給人難能可貴的趣味和愉悅，它們也彰顯了這一代年輕建筑師在陳規(guī)之下工作的創(chuàng)造性和靈活性[3]。埃米爾·巴爾布·伯佩斯庫的個性印記已鐫刻在羅馬尼亞和布加勒斯特的建筑景觀之上，他也與伊恩·明庫建筑與城市規(guī)劃大學(xué)的發(fā)展密不可分，對這所大學(xué)取得今天的地位做出了不可磨滅的貢獻(xiàn)。

1990 年以后，再次解放的建筑實踐氛圍帶來多樣化的風(fēng)格和實驗的自由。然而，這一過渡時期的大部分建筑師皆不熟悉獨立實踐，且與過去40 年羅馬尼亞錯失的建筑潮流及建筑思想格格不入。埃米爾·巴爾布·伯佩斯庫、多林·斯蒂芬等少數(shù)建筑先驅(qū)再次站了出來，他們在這個混亂而迷失的時期設(shè)計了第一批具有連貫過渡意義的建筑。例如布加勒斯特足球?qū)m（2001-2002，建筑師埃米爾·巴爾布·伯佩斯庫）等項目，體現(xiàn)了國家層面上當(dāng)代建筑思潮所應(yīng)具備的品質(zhì)和內(nèi)涵，為其他羅馬尼亞當(dāng)代建筑師樹立了標(biāo)準(zhǔn)。

過去20～30 年間，羅馬尼亞、尤其是布加勒斯特的建筑學(xué)院愈發(fā)感受到肩上的重?fù)?dān)，即如何培養(yǎng)出如此的新一代建筑師，不僅能夠延續(xù)一個多世紀(jì)以來逐步確立的傳統(tǒng)，而且能夠適應(yīng)當(dāng)下這種混亂、乃至矛盾的職業(yè)環(huán)境。1990 年代末期，大部分較大城市皆爆發(fā)出新建設(shè)和規(guī)劃策略的需求，也亟需與此相適應(yīng)的法律法規(guī)。這些新規(guī)劃往往是匆匆制定的，且缺乏對于真實城市現(xiàn)狀和無法預(yù)知的發(fā)展速度的深入理解，亦不自知這些規(guī)劃方案所依托的理念模型。諸多類似的境遇給21 世紀(jì)前10 年參與實踐的建筑師帶來極大的困難及挑戰(zhàn)。在這種持續(xù)變化的不確定環(huán)境下，建筑教育亦不得不尋求更高的靈活性。羅馬尼亞的建筑職業(yè)界與布加勒斯特建筑與城市規(guī)劃大學(xué)之間的共生關(guān)系持續(xù)至今，有時候?qū)W校會直接參與到城市規(guī)劃之中（如2000 年布加勒斯特城市總體規(guī)劃），但更多是體現(xiàn)在學(xué)院的師生及其對當(dāng)代羅馬尼亞建筑風(fēng)貌的影響之上?！?/p>

For two decades, starting with the early 1970s more noticeable and impactful after the devastating earthquake in 1977, architecture in Bucharest and in Romania becomes more stylistically fixed,with certain approved typologies for projects and little leeway for individual professional creativity. A few young architects stand out from the uniformity to perform exceptional works under difficult constrictions while also active within the architectural education at the Institute of Architecture Ion Mincu in Bucharest. Projects such as The House for science and technology from Ramnicu Valcea (1974-1982, arch. Emil Barbu Popescu, Stefan Lungu, Petre Ciuta), The Culture House of Science and Technics for Youth, Slatina(1971-1986, arch. Emil Barbu Popescu, Dorin Stefan) or Romanian Post Office in Bucharest (1986,arch. Zoltan Takacz, V. Simion and F. Echeriu) are interesting and happy exceptions from the norm during this period and a clear indicator of the creativity and flexibility of the young generation of architects capable of working within and around rather inflexible norms[3]. The personality of Emil Barbu Popescu has left its mark on the architectural landscape of Romania and Bucharest, while also being inexorably linked with the name and evolution of Ion Mincu University of Architecture and Urbanism for his extraordinary contributions to making the school what it is today.

After 1990, the once again liberalisation of the architectural practice ensured stylistic diversity and freedom of experimentation. Yet, most of the architects that were practicing during this transition period were unfamiliar with independent practice and also out of touch with architectural trends and some architectural programmes that had not been needed in the previous four decades. It is again architects such as Emil Barbu Popescu and Dorin Stefan and few others who design the first coherent transitional architecture in a period of confusion and relative lack of direction. Projects such as The House for Football, Bucharest (2001-2002, arch.Emil Barbu Popescu) set the bar for other Romanian contemporary architects as it pertains to the quality and understanding of how current architectural trends and programmes can be implemented in the national landscape.

During the last 20 to 30 years a huge burden has fallen on the schools of architecture in Romania and in Bucharest in particular, that of educating a new generation of architects to continue with the tradition set forth more than a century ago,and doing so in a professional climate governed by confusing and sometimes contradicting situations.In the late 1990s there was a great need for new development and urban planning strategies for most of the bigger cities and all the laws and regulations that come with these strategies. More often than not, these plans were hastily put together and lacked an in-depth understanding of, firstly the real urban situation and the unforeseen at the time speed of development and secondly of the models on which they were based or were adapting.This, and other similar situations, gave birth to the difficult and challenging context for architects intending to practice in the first decades of the 21st century. It was also one of the leading motivators for an undeniable flexibility in teaching architecture in an ever-changing and unsure environment. The symbiotic relationship between the professional part of the architectural practice and the academic standing of the University of Architecture and Urban Planning in Bucharest continues to this day, sometimes seen as direct involvement in urban planning (the General Urban Plan for Bucharest,2000) but more often through its students and professors and their impact on what the architecture in Romania looks like today.□

26.27 蒂米什瓦拉奧林匹克游泳館，埃米爾·巴爾布·伯佩斯庫/Olympic Swimming Pool, Timisoara, Emil Barbu Popescu（26.27攝影/Photos: Cosmin Dragomir, 供圖/Courtesy of Emil Barbu Popescu）

參考文獻(xiàn)/References

[1] POPESCU M. Dialogues with Emil Barbu Popescu.Publishing House of Literary Bets, Bucharest, 2016.

[2] Arhitectura. http://arhitectura-1906.ro/revistaarhitectura-110-ani/[2020-01-15].

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