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Thread: Traditional Romanian architecture

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    Quote Originally Posted by Cereal Killer View Post
    Come on, there are obvious connections, you know it too.
    Like what? The Goths thought us how to build them? I don't think Viking traders heading to Constantinople passed through Maramureș, so I don't see where you're going with this...

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    Quote Originally Posted by Daos View Post
    Like what? The Goths thought us how to build them? I don't think Viking traders heading to Constantinople passed through Maramureș, so I don't see where you're going with this...
    Sure, it's quite possible the Goths are responsible for this building style. Do you think it's all a coincidence?

    And it's funny how you jump from talking about Goths and then Vikings. The two were totally different people (Goths weren't Vikings, and Vikings weren't Goths)

    Nor did Goths ever settle in Maramures.

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    Regards,
    The Papist.
    [Signature Pending]

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    Quote Originally Posted by The Papist View Post


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    The Papist.
    Those are Gypsy wagons are they not?

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    Quote Originally Posted by Cereal Killer View Post
    Those are Gypsy wagons are they not?
    Exactly.

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    Gypo's are as Romanian as Sioux are Dutch.


    Cereal Killer.. at least you could have bothered to look up the reason when and why they were build. They are not connected to the Vikings or the Goths or anything and relied solely on local craftsmanship and woodcarving traditions.










    Wake up and smell the coffee.


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    Quote Originally Posted by Cereal Killer View Post
    Sure, it's quite possible the Goths are responsible for this building style. Do you think it's all a coincidence?
    No, I think it's a style we developed. Just take a look at the wooden gates. Or did some Germanic tribe teach us how to build those as well?

    Quote Originally Posted by Cereal Killer View Post
    And it's funny how you jump from talking about Goths and then Vikings. The two were totally different people (Goths weren't Vikings, and Vikings weren't Goths)
    Thank you for the information, I had absolutely no idea.

    Quote Originally Posted by Cereal Killer View Post
    Nor did Goths ever settle in Maramures.
    I wouldn't know that, but they were allied with the Dacians and that's why I mentioned them.

    Quote Originally Posted by The Papist View Post


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    May you get molested by a gypsy catholic priest.

    Regards,
    The Zamolxian.

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    Quote Originally Posted by Asega View Post
    They are not connected to the Goths or anything
    You're welcome to have your own opinion.

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    Default Dwellings in the Neolithic

    The planimetric and volumetric typology of rural housing has been set since the Neolithic...


    Tangiru, Giurgiu county - middle Neolithic, ca. 4200-3500 BC - Boian culture, Vidra phase
    Megaron type dwelling due to the arrangement of the semi-open spaces on the short side of the building.


    Ariușd, Covasna county - late Neolithic, ca. 3500-2500 BC - Ariușd-Cucuteni culture
    Megaron type dwelling


    Petru-Rareș, Giurgiu county - end of the middle Neolithic - transition phase from Boian culture to Gumelnița
    The dwelling has its porch on the long side, facing south, while to the north it has a shelter for animals. This distribution will later appear in the rural architecture.


    Vădastra, Dolj county - middle Neolithic, ca. 4200-3500 BC - Vădastra culture, Vădastra II phase


    Hăbășești, Iași county - late Neolithic, ca. 3500-2500 BC - Cucuteni A culture

    Legend:
    - Walls made of trellis coated with yellow earth found "in situ"
    - Hypothetical route of the wall
    - Traces of poles stuck in the ground found "in situ"
    - Hypothetical position of poles
    - Hearths

    Source

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    Default Megaron Temple






    Sălacea, Bihor county - Bronze Age, c. 1800-1600 BC - Otomani culture

    Edifices from the Bronze Age use the same volumetric, planimetry and structural solutions used in the Neolithic. In this period the prototype is the Megaron type sanctuary, found in religious architecture of the previous stages.

    The sanctuary from Sălacea is composed, from a planimetric point of view, of three functional areas making up two well-defined spaces: the area that links with the outside, materialised through the semi-open space of the porch, placed between the pilasters on the north-western side, at the sanctuary's entrance and two areas for carrying out the ritual, arranged in enfilade, forming a well-defined closed space. The first area of the closed space, next to the entrance, acts as a lobby, being separated from the other area by a bump of 10 cm and is the place where vessels with offerings were placed, being a sort of small shrine. The second area, sheltering two shrines of remarkable dimensions, it's the place for the ritual ceremony. The architectural effect resulted from the arrangement of structural elements in two rows of interior columns and by articulating the functional areas and gradation of the space is remarkable.


    Fragments of the ornamented panels adjacent to the altars

    Structurally, the edifice uses traditional constructive elements perpetuated from the Neolithic: beaten clay floor, walls made of a wooden frame coated with clay, roof rafters covered with vegetation. The innovation consists of two rows of interior columns arranged parallel to the edifice's longitudinal axis, which supported the roof using the trabeated system known from the Neolithic. Beside supporting the roof, the poles also divided the interior space in three naves with distinct functional roles.

    The edifice's monumentality and interior environment were underlined by the existence of decorative wall panels, arranged adjacent to the two main altars. Continuing the Neolithic tradition, the decorations from Sălacea, relief made by shaping and incising the clay paste with geometric polychrome motifs, represent an obvious evolution in this field. On one hand, an ornamental repertoire with geometric elements such as the rhombus, triangle and double or simple spirals is crystallised, and on the other an execution technology based on the direct moulding of the clay paste on site is being contoured.

    The use of adobe bricks for the base of the north-eastern wall and for the porche's pilasters is also worth mentioning since this shows that the use of ceramic blocks has extended to walls as well.

    The architectural characteristics of the sanctuary from Sălacea fit between the parameters of Mediterranean architecture and are the proof of an obvious evolution of the local architecture.

    Following the Neolithic tradition of rural sanctuaries that adapted the planimetry and volumetry of the homes to the ritualistic functions, the sanctuary from Sălacea is individualised by the two rows of columns that announce the columns of Dacian temples that will appear later on. Also, the similarity between the sanctuary and a series of wooden churches from the plain regions is a proof that the architectural repertoire of the rural buildings of worship are perennial.
    Source

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