it is among the most representative achievements of the Secession from Timisoara
The report houses from Plevnei square / Ghe. Doja park

Acest perimetru se găsea inițial în afara zidurilor cetăţii Timişoara și a fost utilizat ca depozit de lemne, iar apoi ca piaţă de animale. După demolarea zidurilor cetății și ridicarea interdicției de construire pe arealul fostei esplanade, în această zonă a fost construit un ansamblu de clădiri impresionante, care a transformat acest spațiu într-unul dintre cele mai selecte cartiere din oraş. Clădirile din această zonă au fost construite după anii 1900 și impresionează şi în prezent prin arhitectura tipică stilului Secession.

Palatul Adolf Vértes, situat la nr. 5, este un imobil cu două etaje proiectat de László Székely, arhitectul-șef al Timișoarei în primele decenii ale sec XX. Pe faţada clădirii, sub ferestre, se remarcă două basoreliefuri în care apar tinere femei, una care cântă la vioară şi cealaltă care pictează. Deasupra porţii de acces în clădire poate fi admirat un spectaculos vitraliu. Clădirea are o planimetrie neregulată și se încadrează în caracteristicile stilului Secession. Construcția a fost finalizată în anul 1910.

Un alt edificiu situat în Piaţa Plevnei, cel de la nr. 4, este locuința cunoscută sub denumirea „Casa cu păuni” sau casa Romulus Nicolin, după numele proprietarului. Clădirea a fost construită de arhitectul Martin Gemeinhardt, în anul 1904, în stilul Secession. Pe faţada casei apare reprezentarea temei pomului vieţii, aceasta fiind redată în partea centrală a locuinței. Pomul vieții își întinde apoi ramurile simetric la etajul superior, susţinând diverse scene cu subiecte din natură. Totodată pentru marcarea celor trei travei interioare ale volumului, pe fațada principală  sunt utilizați pilaștrii ce au la bază console terminate în volute.

Near this house, at no. 7, is located "The House with Peacocks and Owls" or the Johann Hartlauer house, after the name of the owner. At this house, we identify large compositions, located above the upstairs windows - the famous crowned peacocks - but also other zoomorphic motifs (owls, squirrels), the decor is enriched with multiple plant motifs (sunflower, plant stems with fruit and flowers). At the same time, a very important architectural element is the cornice supported by thick metal brackets.

Clădirea de la nr. 2, cunoscută sub denumirea de casa Ing. Emil Szilárd, după numele proprietarului, sau „Casa cu poarta frumoasă”, a fost construită în anii 1904-1905 în stilul Seccession, de către arhitectul László Székely. Cum reiese și din denumirea acesteia, cel mai reprezentativ element al locuinței este poarta de la intrarea în curtea casei, o realizare cu totul remarcabilă. Datorită structurii și frumuseții constructive, poarta este probabil cel mai elegant exemplu de feronerie Secession din Timişoara.

 

Bibliography::

  1. http://merg.in/timisoara/de-vizitat/monumente/cladirile-somptuoase-din-piata-plevnei-3311.html site accessed on March 15, 2020 .
  2. https://www.pressalert.ro/2014/05/timisoara-uitata-casele-vechi-din-elisabetin-intre-ruine-si-bijuterii/ site accessed on March 15, 2020 .
  3. http://www.timisoara-info.ro/ro/atracii-turistice/cartiere-istorice/iosefin/obiective/171-casa-cu-poarta-frumoasa.html – site accesat în 16 martie 2020.
Video
The report houses from Plevnei square / Ghe. Doja park

Pia Brînzeu, Family Journal, Manuscript

Stop 4: The houses in Plevnei Square/Gh. Doja Park

May 3, 1920. Aloysia Cecilia Katharina Gombocz Bayer de Rogacz, my great-grandmother, sits at her window watching Jimbolia’s main street. It’s a frequent activity for a housewife. Since she has all sorts of servants – a cook, a woman to clean and do the laundry, a gardener, and a driver –, she is not very busy. So what else is there for her to do? To see who’s passing by carriage or walking through town, to admire the sweet scented acacia, and to listen to the shouts of the children playing outside with a rag ball.

Today, though, she hopes that the commotion in the street will help her to forget her great trouble: her son, Ludwig, came back from Austria with a wife before Luiza, his sister, got married. The conditions were clear regarding the order of marriages: she should marry first, and he only after that. How dared he disobey? Was love to blame? But who gets married for love? Only the servants, no doubt. Everybody else can control their urges. We don’t live in the jungle, after all...

Luiza has a serious suitor. He sends her romantic love notes and seems to love her. He has it all: he is a baron, he is German, and he is Catholic. Why doesn’t she want him? Käthe, the servant, whispered to mother that Luiza might be in love. She didn’t dare to mention with whom, but mother found out from Willy, the driver. Of all possible options, she fell for a painter, Ştefan Jäger, the son of a barber. That’s why he always comes and offers to paint all the family members. Not for the money, as she had thought. To see Luiza... Luiza, of course, he doesn’t have the courage to paint. He just inserts her face in the paintings depicting Swabians. Hidden in the background on these canvases you can see the suave face of a blond girl, who could be Luiza. They have become the laughing stock of the town.

Willy also told her that it was Obendorf, the drawing teacher, who, a long time ago, had convinced Jäger’s parents to send him to Budapest to study painting there, and who had convinced count Szechy to give him money to tutor his offspring. The painter travelled a lot, it’s true, to Austria, Germany, and Italy, he stood out during the war, on the Dalmatian front, and about ten years ago he painted a triptych about the Swabians’ arrival in the Banat. So what? European culture, a soldier’s courage, artistic talent? What kind of painter is he if hasn’t had any exhibitions yet? For sure, it can only be his charmingly curled up moustache that makes young girls fall for him... And the four thousand crowns received to prepare the triptych, to wander through the German lands the Swabians came from and understand what kind of costumes they were wearing at the colonization moment, that money is long gone. He has no stable income to start a family, and, on top of that, he is very old. He’s over forty…... What to do, what to do?

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