Applied Art and Constructivism: Solly Gold

This article is part of the Listening Rooms series, a personal project curated by Biljana Janjusevic that propose mapping of the crucial interior design movements, in order to reinterpret their role to the architecture as a discipline and their importance in contemporary (and past) everyday life. Este artículo es parte de la serie Listening Rooms , comisariada por Biljana Janjusevic que propone un mapeo de los movimientos cruciales en el diseño de interiores, con el fin de reinterpretar su papel en la arquitectura como disciplina y su importancia en la vida cotidiana contemporánea (y pasada). Article written by Biljana Janjusevic It is no rarity that the most remarkable architecture is created by multifaceted artisans who did not acquire exclusively architectural education, but have a broader artistic or other background. In the sensitive post WWI social context of young modernism in Romania, one of the founding fathers of Dadaist movement in arts – Marcel Iancu, designed several noteworthy buildings in downtown Bucharest. After graduating from ETH Zurich and gathering valuable artistic connections with the leading Swiss artists, as well as establishing his persona internationally Iancu returned to his home country with a clear vision of applying the modernist discourse in the local architectural and planning praxis. No es extraño que la arquitectura más notable sea creada por artesanos polifacéticos que no adquirieron una formación exclusivamente arquitectónica, sino que tienen una formación artística más amplia o de otro tipo. En el delicado contexto social posterior a la Primera Guerra Mundial del joven Movimiento Moderno rumano, uno de los padres fundadores del movimiento dadaísta en las artes, Marcel Iancu, diseñó varios edificios notables en el centro de Bucarest.