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--ARCHIVE, ARCHITECTURE

Gellu Naum Fundatia Culturala

“Turnirul din subsol se continua picatura cu picatura pâna la ora finala

domn al erorilor mele ieseam atunci pe strazi

purtam sub brat o servieta cu pamânt de la zece ani de când iubisem o

mare actrita de drama

aveam niste sentimente aveam (ei) niste certitudini

aveam (eu) o iubire Vroiau sa ma sfatuiasca pa

rinteste cu cele mai bune intentii Aveau (ei) cele mai bune intentii

eu eram contra aveau (ei) între patruzeci si optzeci

iubeau (eu) o prea frumoasa a

vocata mâncau în acelasi pat cu ea discutau conceptii

erau toti pro si contra de neabatut

eu îmi declamam pohemele pe un teren de rugby gâfâind la gramada

ma credeam în conceptii mâncam în spasmele lor crepusculare atât de pa

rinteste[…]” ( TURNIRUL DIN SUBSOL, GELLU NAUM-Copacul-Animal, 1971)

Fundatia Culturala Gellu Naum din Comana reprezinta un ansamblu construit ridicat in spiritul suprarealismului, ce isi trage seva din mostenirea complexa si intortocheata a contextului. La nivel teritorial, Casa memoriala Gellu Naum se afla la unul din varfurile unui triunghi al punctelor de interes, celelalte doua fiind Parcul Natural Comana, sursa a specificitatii peisagere locale, si Manastirea Comana, ca si sursa istorica a cadrului antropic. Ceea ce rezervatia are special este tocmai acest mediu lacustru orizontal al stufarisului. Este un mediu in care apa are un rol primordial, ea fiind mediul de viata principal al vegetatiei si al faunei. Printre speciile de plante protejate sunt cea a bujorului si cea a ghimpelui. Pe cealalta parte, Manastirea Comana marcheaza vechimea locului(1461, ctitorita de Vlad Tepes) si de asemenea serveste drept model pentru dezvoltarea antropica in zona. Aceasta manastire se remarca in special prin galeriile subterane cu bolti din caramida ce pana astazi se pastreaza in stare foarte buna.

Gellu Naum este unul dintre marii scriitori suprarealisti din Romania. Universul scrierilor sale poarta marca unei claritati chirurgicale in mijlocul absurdului. Casa din Comana reprezinta pentru scriitor retragerea intr-un univers propriu al creatiei, izolarea fata de exterior, de contextul social si politic al acelor vremuri(1968). Casa si azi poarta urma acestui anonimat. Cu toate acestea la interior se pot vedea reminescentele lumii sale materializate in colectia de mici obiecte si organizare a spatiilor.

Ansamblul construit este la randul lui alcatuit din doua parti: spatiul fundatiei culturale si camerele de cazare.

The Gellu Naum Cultural Establishment in Comana is a built ensemble of spaces raised in the spirit of surrealism, which has its roots in the complex and contradictory context. In the territory, The Gellu Naum Memorial House is one of the points of a landmark triangle, the other two being the Comana Natural Reservation, which gives the landscape its specificity, and the Comana Monastery, as historical human intervention. What is particular about this Reservation is this lacustrine enviroment of reed. Water plays an essential part here, it being the main enviroment for the vegetation and fauna. The Comana Monastery, on the other hand, is the landmark for human intervention(1461, during Vlad Tepes) but also serves as building model for the nearby houses. The special feature if this Monastery consists in the underground galleries with brick vaults which have been kept intact up to date.

Gellu Naum is one of the greatest surrealist writers in Romania.The Universe of his writing bears the mark of surgical clarity in the middle of the absurd. The house in Comana represents the writer’s escape from the outside world, in the social and political context of those times(1968). The house has kept to these day that feeling of anonimity. However, the interior is reminescent of his world through the collection of objects and space layout.

The ensemble is made out of two parts: the establishment space and the accomodation rooms.


Spatiul fundatiei este o mare camera subterana, simbol al unui univers, articulata prin diferite mecanisme, traversata de o pasarela. Aceasta pasarela strapunge intreaga camera si face legatura dintre toate instalatiile si toate spatiile fundatiei si continua mai departe cu spatiile de cazare(0).

Una din primele articulatii reprezinta separatia dintre spatiul public(al expozitiei) si cel privat(al atelierului) materializata printr-un perete alcatuit dintr-un dublu strat de material elastic transparent ce vibreaza(1). Peretele este fals pentru ca tocmai prin vibratii actioneaza asemenea unui timpan. Accesul in spatiu se face prin intermediul unei platforme ce coboara in subteran, realizand astfel o intrare inversata in interiorul expozitiei(2). Exista un dialog intre noul spatiu al fundatiei si cel al casei memoriale in tunelul subteran ce face legatura dintre spatiul fundatiei si pivnita casei(3). Pivnita este la randul ei folosita ca mica biblioteca astfel incat spatiul major al casei memoriale (curtea acoperita)sa fie folosit ca si camera de lectura(4). Gellu Naum obisnuia sa faca plimbari cu barca pe lac si astfel ca un gest ironic la adresa scriitorului decedat si a lacului transformat in mlastina apare din nou barca si bazinul(5). Banca scriitorului din gradina ramane exact in aceeasi pozitie in timp ce toate lucrurile din jur se schimba radical(6). Aceasta is pastreaza si rolul de punct de meditatie datorita vederii ce i se deschide in fata prin incizia in teren. Legatura dintre lac si spatiul fundatiei si casa lui Gellu Naum este intarita printr-o scara ce urca de la nivelul atelierului la nivelul terenului orientand directia privitorului intai catre casa si apoi catre lac(7). Spatiul expozitional prezinta o serie de platforme si corpuri de iluminat miscatoare care pot fi controlate prin intermediul unui mecanism electronic ce servesc viitoarelor expozitii(8). Cafeneaua, destinata in principal publicului, de natura diferita decat cea al fundatiei, intervine intr-un mod violent in interiorul spatiului prin strapungere si parazitare(9). Punctul de intoarcere al pasarelei se marcheaza printr-un curent de aer vertical creat de luminator si pardoseala incalzita de dedesubt(10).

In sfarsit rezulta o complexitate destul de mare a spatiului care, o data perceputa, devine desueta si aduce din nou la suprafata simpla camera subterana.

The establishment space is one large room, symbolising a universe, articulated by various mechanisms, crossed by a path. This path pierces the entire room and connects all of the instalations and spaces and continues with the accomodation rooms.

One of the first articulation is represented by the separation between public space(the expo) and the private space(the workshop) through a wall made of a double layer of elastic material that vibrates(1). The wall is fake because of the way it behaves, like an eardrum. There is dialogue between the new space of the establishment and the memorial house through an underground tunnel connecting the main space of the establishment to the cellar underneath the house(2). Moreover the cellar itself is transformed into a small library and the main space of the house(the exterior living) into a reading area(3). Gellu Naum used to go on trips on the lake with his boat, so, as an ironical gesture towards the dead writer and the dissapearing lake, the boat and the lake reappear(4). The bench on which the writer used to sit keeps the same position while everything around it shifts radically(5). It also keeps its role of meditation point because of the incision in the landscape opening it to a view of the swamp. The connection between the new lake, the house and the establishment space is emphasised by a stair climbing from the workshop to the upper land guiding the visitor’s view first towards the house and then towards the lake(6).The expo space has a grid of platforms and lighting units that shift through a computer-controlled software in the technical room(7).The coffeeshop, for the public mostly, of different nature than the establishment, positions itself violently inside the space through penetration and parazitation(8). The turning point of the path is marked through a vertical flow of air created by the skylight and heated floor underneath(9).

There is a certain complexity to the space which, once understood, becomes useless bringing the simple room to light.


Spatiile de cazare se dezvolta deasupra fostului lac intr-o zona de stufaris incercand sa se contopeasca cu acesta. Stuful ca material sculptural prezinta anumite proprietati cum ar fi: cresterea pe verticala, culoare, textura, miros, transluciditate, densitate, proprietati care il fac un material dispus catre experiment. Din acest motiv spatiile de cazare sunt decupate in aceasta masa aproape omogena alcatuind un ansamblu volumetric inversat. Curbele dupa care se decupeaza stuful au rolul de a creea intimitate si individualitate la nivelul fiecarei camere deoarece pe langa odihna si relaxare, camerele servesc procesului de creatie. Dincolo de culoarul de acces se afla un spatiu comun decupat mai liber cu rolul de terasa descoperita. Drumul de halaj constituie o limita puternica intre spatiul fundatiei si cel al camerelor de cazare ce, de asemenea, separa camerele de anexe: receptie, restaurant, spalatorie, depozitare(camera administratorului fiind in casa memoriala); in acelasi timp el foloseste ca acces pentru aprovizionare si bagaje. Spatiile de cazare se racordeaza cu Fundatia prin pasarela ce traverseaza ambele spatii si constituie una din modalitatile de acces, celelalte doua fiind ori prin a traversa la exterior spatiul fundatiei ori prin intermediul drumului de halaj.

The accomodation rooms are located above the previous lake inside a thick reed area, trying to blend with it. Reed as a sculptural object has certain properties such as: vertical growth, color, texture, smell, translucidity, density, that make it an experiment-friendly material. That is why the rooms are cut into this almost homogenous mass, creating a reversed volumetric shape. The curves after which the reed is being cut create intimacy and individuality for every room, necesary qualities of space. On the other side of the acces path lies a common terrace. The towage road is a powerful feature of the land separating the accomodation rooms from the establishment space as well as from the annexed spaces: reception, restaurant, wash room, deposit room(the administrator bed room is located inside the memorial house); at the same time it serves as acces road for the restaurand and luggage. The rooms connect directly to the establishment spaces through the path.

http://iaim.ro/galerie/proiecte/555/


About alexandru senciuc

I am an architect in the pursuit of research and innovation in collective intelligence and healthcare planning. Currently, I work as an architect at Medical Architecture and a MPhil/PhD Student at the Bartlett School of Architecture, University College London.

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