https://stuffstudio.eu STUFF STUDIO Thu, 17 Sep 2026 17:43:33 +0000 https://stuffstudio.eu en https://stuffstudio.eu/Home-Image-Scroll Sat, 11 Dec 2021 13:34:58 +0000 STUFF STUDIO https://stuffstudio.eu/Home-Image-Scroll https://stuffstudio.eu/Info Sat, 11 Dec 2021 13:34:59 +0000 STUFF STUDIO https://stuffstudio.eu/Info Founded by Radu Remus Macovei (he/his), Stuff Studio gathers a portfolio of architectural and urban planning &amp; design work across academic, experimental, research and uncategorizable areas.&nbsp;Radu Remus Macovei is a Registered Architect in New York, urban planner and educator, currently a Doctoral Fellow and Scientific Researcher at the Swiss Federal Institute of Technology ETH - Zürich. His ongoing doctoral research focuses on vernacular architecture, open-air museums and the emergence of nationalism in 19th - 20th c. Eastern Europe. This topic builds on design research he developed through Harvard University’s Appleton Fellowship (2020) and Robert A.M. Stern’s Traveling Fellowship (2019) which enabled him to pursue fieldwork in Eastern Europe. Before starting his doctoral research, Radu Remus was the Architectural Activism Fellow at the University of Wisconsin – Milwaukee where he taught design studios and a history and theory seminar which investigated how material culture and social phenomena enable architectures in a state of flux. Prior to his academic appointments, Radu Remus worked for various international architecture practices, most notably at Diller Scofidio + Renfro (New York City, USA), Herzog &amp; de Meuron (Basel, Switzerland) and Dogma (Brussels, Belgium). He has also recently consulted the United Nations Human Settlements Organization (Nairobi, Kenya) on inclusive and sustainable urban regeneration. Radu Remus graduated with a Master in Architecture with Distinction and a Master in Urban Planning with Distinction from Harvard University Graduate School of Design (Cambridge, USA) and pursued undergraduate studies at the Architectural Association (London, UK). https://stuffstudio.eu/Public-Engagements Wed, 22 Dec 2021 16:07:01 +0000 STUFF STUDIO https://stuffstudio.eu/Public-Engagements Awards New York, New YorkMarch 2026 Selected among 8 best interior design projects of 2026, among Diller Scofidio + Renfro and SO-IL“The Room in Front of the Closet” Interior DesignArchitectural Record, Interiors 2026 Bucharest, RomaniaNovember 2024First Prize in Interior Architecture - Residential Section“The Room in Front of the Closet” Interior DesignAnnual of the Romanian Order of Architects 2024 Bucharest, RomaniaNovember 2023First Prize in Portfolio Architecture Section“House Drapes” Architectural DesignAnnual of the Romanian Order of Architects 2023 Iasi, RomaniaOctober 2023Nomination in Visionary Architecture Section“House Drapes” Architectural DesignBiennial of the Union of Romanian Architects 2023 Bucharest, RomaniaOctober 2021Nomination in Visionary Architecture Section“Death in the City” Architectural DesignBiennial of the Union of Romanian Architects 2021 Los Angeles, CaliforniaNovember 2020Winner, Best of Best “Death in the City” Architectural DesignArchitecture Master Prize 2020 Conferences + Lectures delivered by Radu Remus Macovei Mexico City, MexicoApril 2026“Models and Miniatures” Conference Paper Society of Architectural Historians 2026Conference Panel “Erasure and Resilience in Eastern European Architectures” Prague, Czech Republic March 2026 “Reenactment of Planned Open-Air Museum” Workshop Getty Foundation x University of Tübingen“Modernism's Future Pasts: Abstraction and Identity in 'East-Central Europe', 1910-1930s“Workshop organizer on research methods in art and architecture Graz, AustriaJanuary 2026 co-authored with Lindsey Krug and Edward Wang“The Desire to Fix What Is Already Broken” Conference PaperDiskursiv Conference “Desire” Technical University of Graz Brno, Czech Republic November 2025 “The Craftsman's Ladder and the Contractor's Scaffolding” Conference Paper Masaryk University, Faculty of Art History Conference “Who Owns Local Heritage” Bardejov, SlovakiaOctober 2025 “The Craftsman's Ladder and the Contractor's Scaffolding” Conference Paper Museum of Folk Architecture of the Šariš Museum 4th Annual Conference of the Union of Open-Air Museums “Wooden Architecture of the Borderland” London, United KingdomOctober 2025 “Investigating Architectural Relocation Processes” LectureRoyal Academy of ArtGuest Lecture for ADS7 Architecture Studio “En Route” instructed by Sabrina Morreale and Lorenzo Perri Nanjing, China September 2025 “The Village’s Beauty and Poverty: The Politics of Wear and Tear” Conference Paper ETH - Southeast University Doctoral Symposium Alexandria, Egypt May 2025 “The Village, More Cosmopolitan than the City?” Conference PaperInternational Association for the Study of Traditional Environments Conference Panel “Rural Cosmopolitanism” New Orleans, Louisiana March 2025 “Inside Out to Outside In” Conference PaperAssociation of Collegiate Schools of Architecture x Tulane University Conference Panel “Pedagogy: Foundations of Design” New Orleans, LouisianaMarch 2025 “Scaffold Thinking” Conference PaperAssociation of Collegiate Schools of Architecture x Tulane UniversityConference Panel “Pedagogy: Sustainable Construction” Columbus, OhioOctober 2024“Mutability, Not Fixity: Ongoing Projects” LectureOhio State University (OSU)Guest Lecture for “Slavic, East European and Eurasian Architecture” instructed by Prof. Ashley Bigham Toronto, Canada April 2024“In Place, but Out of Place” Lecture University of Toronto,&nbsp;John H. Daniels Faculty of Architecture, Landscape, and Design Guest Lecture for Undergraduate Core in Urban Design and Urbanism instructed by Prof. Lukas Pauer Winnipeg, Canada March 2024“Brown Bags” Symposium Talk University of Manitoba Faculty of Architecture x CARTHA MagazineSymposium Organizer and Contributor Vancouver, CanadaMarch 2024“Mutability, Not Fixity” Conference PresentationAssociation of Collegiate Schools of Architecture x University of British Columbia Conference Panel Co-Organizer &amp; Lecturer Bucharest, Romania November 2023“Drapes and Buildings: Instability and the Monolithic Project” Competition Presentation Public Pitch Day, The Annual of Architecture Order of Romanian Architects Bucharest, Romania October 2023 “Traveling Buildings, Not-Skansen, Not-Potemkin Villages and Model Villages” Lecture Ion Mincu University of Architecture and Urbanism Guest Lecture for Second Year Undegraduate Studio instructed by Prof. Lorin Niculae Columbus, Ohio October 2023“Ongoing Projects: Leveraging History for Design Processes” Lecture Ohio State University (OSU) Guest Lecture for “Slavic, East European and Eurasian Architecture” instructed by Prof. Ashley Bigham Helsinki, FinlandJune 2023 “The Disassembly, Relocation and Reconstruction of Carpathian Wooden Churches”&nbsp; Conference Paper Presentation European Architectural History Network (EAHN)Thematic Conference “States in Between” Hong Kong SAR, People's Republic of China May 2023“Scaffolds, Drapes and Battens: Architecture in a State of Flux” Lecture University of Hong KongPublic Discussion Series Fargo, North DakotaApril 2023 “Gentle Giants” Conference Paper PresentationNational Conference on the Beginning Design Student Paper and presentation on the architectural pedagogy of my beginning design studio at University of Wisconsin - Milwaukee. Zurich, SwitzerlandJanuary 2023 “Revisiting the Origin Story” Research TalkSwiss Federal Institute of Technology (ETH) Zurich Institute for the History and Theory of ArchitecturePresentation on the relocation of wooden churches in open-air museums in Eastern Europe.Madrid, Spain November 2022“Buildings in a State of Flux: The Wooden Churches of the Carpathians“ Conference Paper Third International Conference of Traditional Architecture 2022 ConferenceINTBAU, the Rafael Manzano Prize for New Traditional Architecture, the School of Architecture of the Universidad Politécnica de Madrid Milwaukee, WisconsinOctober - November 2022 “Fireside Chats: Architecture + BLANK” Organizer &amp; Moderator University of Wisconsin - Milwaukee School of Architecture and Urban PlanningI organized and hosted four architectural designers who presented their emerging creative practices (Yina Luo Moore of Adams Theater, Khorshid Naderi Azad of WindowWorks, Joshua Peasley of CAUKIN Studio, Adam Nathaniel Furman of his eponymous atelier) Milwaukee, WisconsinNovember 2022 “Queering Design Today” Organizer &amp; Moderator University of Wisconsin - Milwaukee School of Architecture and Urban PlanningI organized a lecture series internal to my seminar focused on design practices integrating queerness (Andrew Holder of LADG / Harvard University, Lindsey Krug of UWM, Samantha Vasseur of Harvard University, Adam Miller of University of Michigan) Milwaukee, WisconsinOctober - November 2022 “How to Start a Project” Organizer &amp; ModeratorUniversity of Wisconsin - Milwaukee School of Architecture and Urban Planning I organized a lecture series internal to my beginning design studio asking diverse guest speakers to talk about how they start design projects (David Eskenazi of d.esk / SCI-ARC, Calvin Boyd of Payette / Harvard University, Andy Tinucci of Woodhouse Tinucci Architects / IIT) New York, NYFebruary 2020 “Sacred Space in the Rural Imagination” Lecture Robert A.M. Stern Architects Presentation on my findings with the RAMSA Fellowship travelling through the Carpathian region. Cambridge, MAApril 2019 “Family Jewels” / Public Lecture Introduction Harvard Graduate School of Design / Queers in Design Organizing and introducing Adam Furman on queerness and architecture. Cambridge, MAApril 2019 “Family Dinner” / Public Dinner Harvard Graduate School of Design / Queers in Design Organizing a public dinner for discussing queer architecture with Andrew Holder, Jaffer Kolb, Laida Aguirre, Ellie Abrons, Victor Jones, David Eskenazi. Publications by Radu Remus Macovei Leuven, Belgium Forthcoming 2027 (peer-reviewed, accepted) Detaching the Wooden Church from the Carpathian Land: Deterritorialization and Decontextualization Practices in Ukrainian National Aspirations, 1880s - 1940 Leuven University Press“Off-Centre: The Architectures of Russian and Soviet Imperialism” edited by Markus Lähteenmäki and Da Hyung Jong New York, NYForthcoming 2027 Sacred Space in the Rural Imagination Tradition and Invention 2017 - 2022 Robert A.M. Stern ArchitectsEssay summarizing author’s travels with the RAMSA Travel Fellowship 2019 in the Carpathian region. Graz, Austria Forthcoming 2027 (selected contribution) co-authored with Lindsey Krug and Edward Wang Overcoming Resolution Diskursiv Journal, issue “Desire” Geneva, Switzerland June 2025 (selected contribution) co-authored with Artai Sanchez and Davide Morgillo 56 m PAV living room, issue “Territories of Time” Bucharest, RomaniaApril 2020 New York Model for Victory Way, Bucharest Interview for Tudor Chira’s Bucharest Urban Design Blog Nairobi, KenyaJuly 2019 UN Habitat’s Urban Lab and Global Public Space Programme Community Service Fellowships Harvard Graduate School of Design Cambridge, MANovember 2018 UD:ID Harvard Graduate School of Design “The Planner as Tastemaker” is an article questioning the role of the planner as design regulator in the 21st century. Cambridge, MASeptember 2018 Open Letters: to Eva Franch i Gilabert with Nabila Mahdi Cambridge, MA2017 Platform Publication Harvard Graduate School of Design Core I Hidden Room Project was featured on a spread in the GSD’s yearly publication Platform. London, U.K.June 2014 (P)Relocating the Language of Post-Modern Architecture AA Awards 2014 The essay exposes Jean-Jacques Lequeu’s influence on Post-Modernism. London, U.K.January 2014 Jean-Jacques Lequeu: architecte revolutionnaire or proto-postmodernist? AA Conversations The opinion article traces the narrative elements that point out to Lequeu’s influence on Venturi’s and Jencks’s Post-Modernism. London, U.K.June 2014 AA Confidential AArchitecture Journal Issue 22 Conversations In this interview, Brandon Mak focuses on hearsay in architecture. London, U.K.June 2013 Between Surge and Paralysis: A Story of Two Towers AA Awards 2013 The essay dips into the British Telecom archives to research the BT Tower’s status as a ‘secret building’ and to present its contradictions. London, U.K.June 2013 Stuff AArchitecture Journal Issue 19 Stuff In this interview, Peter Cook reflects on the role of stuff in architecture. London, U.K.June 2013 Remembering Alan Colquhoun, the Friend AArchitecture Journal Issue 19 Stuff Upon Alan Colquhoun’s death, Barbara Weiss remembers the famed theorist and educator’s life. London, U.K.September 2012 Choreographing the Invisible AArchitecture Journal Issue 17 Curating Architecture In this interview, Oliviu Lugojan, winner of the AA Drawing Award, presents the process behind a visually captivating drawing. London, U.K.September 2012 Writing as a Form of Architecture AArchitecture Journal Issue 17 Curating Architecture The article presents the winning entries for the AA’s Writing Awards. London, U.K.June 2012 From Alberti to Koolhaas: Tracing an Urban Conception AA Awards 2012 The academic essay traces an urban conception from the Renaissance city of Rome to the contemporary city of Dubai. Exhibitions showcasing Radu Remus Macovei’s work Sighetu Marmatiei, RomaniaOctober 2025Participation, ‘Rural Revitalization’ Category “Breaza PavilionsRomanian National Biennial 2025, Union of Romanian Architects Budapest, Hungary October 2024 Physical Model of House DrapesInternational Architectural Model Festival 2024 The Contemporary Architecture Centre (KEK) Iasi, Romania October 2023 Nomination, ‘Visionary Architecture’ Category “Drapes and Buildings: Instability and the Monolithic Project” Romanian National Biennial 2023, Union of Romanian Architects Milwaukee, WisconsinMay 2023&nbsp; Fellowship Exhibition “Buildings are the Reverse of Rocks”Exhibition on my Fellowship research. Milwaukee, WisconsinMarch 2023 “Gentle Giants: Unifying Difference”Exhibition of my beginning design students’ work from Fall 2022. Bucharest, RomaniaOctober 2021 Nomination, ‘Visionary Architecture’ Category “Death In the City” Romanian National Biennial 2021, Union of Romanian Architects Exhibition including my nominated Graduate Architecture Thesis. New York, NYFebruary 2020- February 2021 The Future is in the Countryside Solomon R. Guggenheim Museum in New York and OMA/AMO Research I developed with OMA/AMO on Universal Basic Income projects. Cambridge, MAOctober 2018- December 2018 Dean’s Wall Exhibitions Harvard Graduate School of Design My “Museum Islands” project from Sharon Johnston and Mark Lee’s Studio. Cambridge, MAMarch 2018- May 2018 Platform Exhibition Harvard Graduate School of Design Physical model from Core III “Integrate” was exhibited in Druker Gallery. London, U.K.July 2014- December 2014 Director’s Selection Architectural Association School of Architecture The ceramic models and prototypes developed as part of my 3rd year project were exhibited in the Director’s Selection exhibition. London, U.K.July 2014- December 2014 Award-Winners’ Exhibition Architectural Association School of Architecture Drawings and models from my projects in first, second and third year have been exhibited in the Award Winners’ Exhibition. London, U.K.June 2012- October 2014 Projects Review Architectural Association School of Architecture Drawings, models, prototypes, videos and texts I produced as part of my projects in first, second and third year have been exhibited at the AA’s Projects Review Exhibition in Bedford Square. JuriesSCI ArcUndergraduate Elective Mid-Reviews 2024 University of California Los Angeles, School of Architecture and Urban Design Graduate Core Studio Reviews 2024 University of Wisconsin - Milwaukee, School of Architecture and Urban PlanningUndergraduate Core and Elective Studio Reviews Graduate Core and Elective Studio Reviews 2022 - 2023New York Institute of TechnologyThesis Studio Reviews 2023 Graduate Core Studio Reviews 2024, 2025 Undergraduate Elective Studio Reviews 2024, 2025University of Michigan Taubman CollegeUndergraduate Second Year Reviews 2023Harvard Graduate School of DesignGraduate Second Year Reviews 2019 Ion Mincu University of ArchitectureUndergraduate First Year Reviews 2020 Boston Architectural CollegeUndergraduate (Second and Third Year) Reviews 2018, 2019 Graduate (Fourth Year) Reviews 2022, 2023 Wentworth Institute of TechnologyUndergraduate First Year Reviews 2019 Architectural Association School of Architecture London Summer School Reviews 2024, 2025 Undergraduate First Year Reviews 2013 https://stuffstudio.eu/Contact Sun, 19 Jan 2025 14:30:20 +0000 STUFF STUDIO https://stuffstudio.eu/Contact info@stuffstudio.eu https://stuffstudio.eu/1-The-Labyrinth-in-the-Mound Tue, 20 Feb 2024 14:38:03 +0000 STUFF STUDIO https://stuffstudio.eu/1-The-Labyrinth-in-the-Mound window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-F0EE91XK76'); The Labyrinth in the Mound, ES: A Temporary Installation <img width="5000" height="3700" width_o="5000" height_o="3700" data-src="https://freight.cargo.site/t/original/i/07b632ecd85fb0df3fbbd453f658b934c3157164fa600173dae380fa19a81896/1.jpg" data-mid="205050735" border="0" src="https://freight.cargo.site/w/1000/i/07b632ecd85fb0df3fbbd453f658b934c3157164fa600173dae380fa19a81896/1.jpg" /> <img width="4590" height="4408" width_o="4590" height_o="4408" data-src="https://freight.cargo.site/t/original/i/b4af77d13e54a81f16f4492b241a3fef001daef3f9e802396aadcdd61d2e9ded/2.jpg" data-mid="205050736" border="0" src="https://freight.cargo.site/w/1000/i/b4af77d13e54a81f16f4492b241a3fef001daef3f9e802396aadcdd61d2e9ded/2.jpg" /> <img width="3200" height="2500" width_o="3200" height_o="2500" data-src="https://freight.cargo.site/t/original/i/6654730066588f800e4a695a0abc59d45f9e74fde95a3bab3b5814a4e3d3e8e9/3.jpg" data-mid="205050742" border="0" src="https://freight.cargo.site/w/1000/i/6654730066588f800e4a695a0abc59d45f9e74fde95a3bab3b5814a4e3d3e8e9/3.jpg" /> <img width="5000" height="3700" width_o="5000" height_o="3700" data-src="https://freight.cargo.site/t/original/i/26c1c19a3c686e41cec3312406d19e150f5e248495794509c25724f701b59689/4.1.jpg" data-mid="205051067" border="0" src="https://freight.cargo.site/w/1000/i/26c1c19a3c686e41cec3312406d19e150f5e248495794509c25724f701b59689/4.1.jpg" /> <img width="3200" height="2500" width_o="3200" height_o="2500" data-src="https://freight.cargo.site/t/original/i/57ba78431f9ba253679a8c0591c8efd8e5861e563f7ccebb4cd367e442c01862/5.jpg" data-mid="205050753" border="0" src="https://freight.cargo.site/w/1000/i/57ba78431f9ba253679a8c0591c8efd8e5861e563f7ccebb4cd367e442c01862/5.jpg" /> <img width="5000" height="3700" width_o="5000" height_o="3700" data-src="https://freight.cargo.site/t/original/i/d99f17653bcc055288eaf6409454f4b68dd29efd99a438eac1cbbb15ea2424a6/4.2.jpg" data-mid="205051256" border="0" src="https://freight.cargo.site/w/1000/i/d99f17653bcc055288eaf6409454f4b68dd29efd99a438eac1cbbb15ea2424a6/4.2.jpg" /> <img width="3200" height="2500" width_o="3200" height_o="2500" data-src="https://freight.cargo.site/t/original/i/343578e1838c1ca33fcc158eaa78d68371f922925a37f4b58d972c5618d5ad5a/6.jpg" data-mid="205050759" border="0" src="https://freight.cargo.site/w/1000/i/343578e1838c1ca33fcc158eaa78d68371f922925a37f4b58d972c5618d5ad5a/6.jpg" /> <img width="7017" height="4963" width_o="7017" height_o="4963" data-src="https://freight.cargo.site/t/original/i/12f16e1e5030bccb9d11e8f305f00663345a83b4b73a9be8efbf27cddb4ca23c/7.jpg" data-mid="205050767" border="0" src="https://freight.cargo.site/w/1000/i/12f16e1e5030bccb9d11e8f305f00663345a83b4b73a9be8efbf27cddb4ca23c/7.jpg" /> <img width="3200" height="2500" width_o="3200" height_o="2500" data-src="https://freight.cargo.site/t/original/i/f0036a332f3261fabb7f48e51f081b23185ce7c962608f4a8eea4276a235b9fe/8.jpg" data-mid="205050772" border="0" src="https://freight.cargo.site/w/1000/i/f0036a332f3261fabb7f48e51f081b23185ce7c962608f4a8eea4276a235b9fe/8.jpg" /> <img width="3423" height="2718" width_o="3423" height_o="2718" data-src="https://freight.cargo.site/t/original/i/95e81ef03b3ac283be1a58c0cd889720ad824f621057397264bbda86e843bc68/9.jpg" data-mid="205050777" border="0" src="https://freight.cargo.site/w/1000/i/95e81ef03b3ac283be1a58c0cd889720ad824f621057397264bbda86e843bc68/9.jpg" /> <img width="3200" height="2500" width_o="3200" height_o="2500" data-src="https://freight.cargo.site/t/original/i/439a3ad9f1364ba7ada26bd63240a51083dc012d6d727d0e53fbc2dbc2b39b2f/10.jpg" data-mid="205050782" border="0" src="https://freight.cargo.site/w/1000/i/439a3ad9f1364ba7ada26bd63240a51083dc012d6d727d0e53fbc2dbc2b39b2f/10.jpg" /> Open Competition “Concéntrico 10: International Architecture and Design Festival” / 2023 COT LA COT (Stuff Studio + Alexandru Vilcu) The Labyrinth in the Mound The tenth intervention in Plaza Escuelas Trevijano continues Logroño’s tradition of labyrinths and brings one to the forefront of the architectural festival. The first labyrinth of Logroño (1991) is a 1.5 m wide iconographic circle and the second labyrinth (2015) presents a 28 m wide field condition. The proposal for Logroño’s Labyrinth in the Mound (2024) meanders the visitor through an extruded labyrinth that coils centerless within a 10 m wide square on a singular path with three alcoves as triptychs displaying the previous 9 Trevijano pavilions. Squeezed between the two identitygiving figures of the Plaza - the tree planter and the trekkers sculpture - the Labyrinth in the Mound provides a spatial experience of discovery as a celebration of the decade-long series of interventions in the square. The Mound in the City From afar, the pavilion takes the form of a mound - an urban topography that temporarily raises the plaza from flatness to a peak of 250 cm, the standard plywood sheet height. The structure is made of 71 aggregated green stained plywood walls which hide and reveal its occupants along the slopes. The walk through the labyrinth between alcoves encourages spontaneous interactions with other festival-goers as the varying heights of the standard stick frame walls envelop the occupant and then slowly reveal them back to the city. Thus a new way of experiencing the flat Plaza emerges by maximizing a winding path that gradually conceals and reveals the surrounding urban constructions.&nbsp; The City in the Labyrinth Up close, the symmetry of the mound is distorted by four oriented-strand-board (OSB) extensions which contrast in coloration to the dominant green of the labyrinth and interact with the Plaza’s existing features, amplifying their functions. During the festivities, a series of events will activate the four OSB protrusions. The Plaza’s iconic tree planter will mark the point of entry to the pavilion and provide the backdrop for large gatherings for the introduction to the festival. The ground on which the Plaza’s sculptures walk is extended into a stage for small-scale children’s performances or just lounging at level with the trekkers. Similarly, one of many street lamps is embraced by a curving dinner table where an evening discussion with various Concentrico pavilion designers will take place or where one can just grab lunch. On the southern side, a sandbox filled with woodchips made from the plywood panel offcuts allows kids to play and encourages intergenerational interactions with users of the nearby benches. Materiality and Construction The construction of the pavilion exhausts the provided forty standardsized plywood panels to produce the labyrinth’s walls (Fig. 2). The planning module for the labyrinth is based on the width of the plywood sheet, producing a 64-square grid that is 122 cm by 122 cm, the standard width of a plywood sheet. This dimensional logic requires a single cut for the mound edge. Each panel is framed by 2”x4” studs, adjoined to adjacent assemblies in stable L-shaped structures. The panel assembly meets the uneven paved ground of the square with a steel swivel leveling mount. This simple construction method extends to the programmed urban furniture, which are constructed of 8 economical OSB panels of standard 122 x 250 cm. The plywood panel assemblies are stained with a “Woodland Green” semi-transparent waterproofing exterior wood stain and sealer to provide a durable protection from the elements, both during the festival and in its potential afterlife, as it is designed for disassembly. Further, any waste and offcuts become the fill for the woodchip playmound, providing a soft surface for kids to play on. &nbsp; &nbsp; &nbsp; &nbsp; https://stuffstudio.eu/15-From-Fort-to-Filament Mon, 31 Aug 2026 20:06:48 +0000 STUFF STUDIO https://stuffstudio.eu/15-From-Fort-to-Filament window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-F0EE91XK76'); From Fort to Filament, NO: A Temporary Canopy Activating a Stranded WWII Site <img width="1517" height="1008" width_o="1517" height_o="1008" data-src="https://freight.cargo.site/t/original/i/a2f54c4eb08988282dc766923f42e87407a1b18b0dc5c85fca5795f36ce1afdc/Screenshot-2026-08-31-231553.png" data-mid="251716079" border="0" src="https://freight.cargo.site/w/1000/i/a2f54c4eb08988282dc766923f42e87407a1b18b0dc5c85fca5795f36ce1afdc/Screenshot-2026-08-31-231553.png" /> <img width="1510" height="1003" width_o="1510" height_o="1003" 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data-src="https://freight.cargo.site/t/original/i/00fe634bbba709ca2323165bc711af77142505184db878986e7d27000db4a73c/detail-axon-white.jpg" data-mid="251714456" border="0" src="https://freight.cargo.site/w/1000/i/00fe634bbba709ca2323165bc711af77142505184db878986e7d27000db4a73c/detail-axon-white.jpg" /> <img width="1508" height="1007" width_o="1508" height_o="1007" data-src="https://freight.cargo.site/t/original/i/d7042d14a08071863da222691e2a264ca7ff6a16fa7e321241f04dc8fcc0736e/Screenshot-2026-08-31-231533.png" data-mid="251716077" border="0" src="https://freight.cargo.site/w/1000/i/d7042d14a08071863da222691e2a264ca7ff6a16fa7e321241f04dc8fcc0736e/Screenshot-2026-08-31-231533.png" /> <img width="1092" height="1012" width_o="1092" height_o="1012" data-src="https://freight.cargo.site/t/original/i/ec74dc5cb39643f3631f70eb0e734509d497a4f51a4e3e5c4f33d72bb6fe4532/Screenshot-2026-08-31-231515.png" data-mid="251716075" border="0" src="https://freight.cargo.site/w/1000/i/ec74dc5cb39643f3631f70eb0e734509d497a4f51a4e3e5c4f33d72bb6fe4532/Screenshot-2026-08-31-231515.png" /> <img width="1467" height="1007" width_o="1467" height_o="1007" data-src="https://freight.cargo.site/t/original/i/093408d9b396093555510c9f20d7e420f07942fd376e8b831a6210ccd87824cc/Screenshot-2026-08-31-231525.png" data-mid="251716076" border="0" src="https://freight.cargo.site/w/1000/i/093408d9b396093555510c9f20d7e420f07942fd376e8b831a6210ccd87824cc/Screenshot-2026-08-31-231525.png" /> <img width="1502" height="1008" width_o="1502" height_o="1008" data-src="https://freight.cargo.site/t/original/i/329546c438d8637189782a74abd2e1981794a56970d85b03f7cfd93a8f7682a8/Screenshot-2026-08-31-231430.png" data-mid="251716074" border="0" src="https://freight.cargo.site/w/1000/i/329546c438d8637189782a74abd2e1981794a56970d85b03f7cfd93a8f7682a8/Screenshot-2026-08-31-231430.png" /> Successful Competition Entry for Faerderbiennalen, Built / 2026 Radu Remus Macovei in collaboration with Edward Wang Photo Credits: Ioana Marinescu The intervention is situated within the abandoned remains of the Vardaas fort, a WWII military structure, inserting a new spatial narrative into the ruin. What once operated as a device of exclusion and defense becomes, through this gesture, a site of collective presence; a decisive shift from the logic of militarized closure to one of shared experience. At the center of the proposal is a lightweight hoop, spanning roughly twelve meters, which encompasses the inner ring of the former fort. From a distance, it signals an opening: a mark of invitation laid atop a structure once defined by its opacity. Up close, it offers shelter, recasting the fort's concrete void as a place for gathering and performance. The hoop structures a disc composed of multiple layers of reclaimed fishing net, a material that is at once fragile and resilient, both providing canopy space underneath and a surface for lounging and watching the sky. Their accumulation produces a surface that is porous and luminous. By night, the canopy becomes a soft radiating plane, projecting the silhouettes of those beneath it; by day, it casts shifting, ephemeral shadows that animate the heavy concrete with unexpected delicacy. The disc rests on a family of wooden supports—approximately ten in number—that ‘hook’ onto the existing concrete structure. These elements are intentionally slight, almost anthropomorphic in their disposition. They perch, lean, and settle against the ruin, reading at times like figures or glyphs temporarily inhabiting the site. In their quiet presence, they introduce a playful dimension to the austere geometry of the fort. Together, the disc and its supports establish a flexible framework for performance. Beyond programmed events, the space is intended to function as a place of pause. It is an invitation for visitors to inhabit the shade of the canopy, to linger, and to experience the fort anew. &nbsp; &nbsp; &nbsp; &nbsp; https://stuffstudio.eu/16-Eartfold Mon, 31 Aug 2026 20:21:07 +0000 STUFF STUDIO https://stuffstudio.eu/16-Eartfold window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-F0EE91XK76'); Earthfold, IL: A Temporary Mound for Performance <img width="4000" height="2000" width_o="4000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/d3221d70bf0e6f3e47d778b7f4577d39a76def201f85a48fc0dc5f0704a49a63/260111_VIEW_APPROACH.jpg" data-mid="251716123" border="0" src="https://freight.cargo.site/w/1000/i/d3221d70bf0e6f3e47d778b7f4577d39a76def201f85a48fc0dc5f0704a49a63/260111_VIEW_APPROACH.jpg" /> <img width="4000" height="2000" width_o="4000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/0453883c33fc80dd4bf6a09fcbce2ca6dbe0dd94ec14b457da571f769a56f6e8/260105_VIEW_INTERIOR.jpg" data-mid="251716119" border="0" src="https://freight.cargo.site/w/1000/i/0453883c33fc80dd4bf6a09fcbce2ca6dbe0dd94ec14b457da571f769a56f6e8/260105_VIEW_INTERIOR.jpg" /> <img width="4000" height="2000" width_o="4000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/cb6541261fd4747a20c4fcc7dcc9219045b1eeecd2e0025c1e1dc809dcb6998e/260109_VIEW_ENTRY2.jpg" data-mid="251716121" border="0" src="https://freight.cargo.site/w/1000/i/cb6541261fd4747a20c4fcc7dcc9219045b1eeecd2e0025c1e1dc809dcb6998e/260109_VIEW_ENTRY2.jpg" /> <img width="7200" height="5400" width_o="7200" height_o="5400" data-src="https://freight.cargo.site/t/original/i/8f6a1b62a2191a0bd2fefc149865b456aeab055c752545db8f25df9dddcaf4ac/260115_Plan.jpg" data-mid="251716125" border="0" src="https://freight.cargo.site/w/1000/i/8f6a1b62a2191a0bd2fefc149865b456aeab055c752545db8f25df9dddcaf4ac/260115_Plan.jpg" /> <img width="4000" height="2000" width_o="4000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/660cdda6c05a46be9d9a3752606ab74c6b8966d6b46432d8936f1a9a03954e82/260109_VIEW_ENTRY1.jpg" data-mid="251716120" border="0" src="https://freight.cargo.site/w/1000/i/660cdda6c05a46be9d9a3752606ab74c6b8966d6b46432d8936f1a9a03954e82/260109_VIEW_ENTRY1.jpg" /> <img width="7200" height="5400" width_o="7200" height_o="5400" data-src="https://freight.cargo.site/t/original/i/302007edca8e30c17fe6dfc9800d88cab51eb6807059cee6551186853e8d819b/260115_Section.jpg" data-mid="251716126" border="0" src="https://freight.cargo.site/w/1000/i/302007edca8e30c17fe6dfc9800d88cab51eb6807059cee6551186853e8d819b/260115_Section.jpg" /> <img width="4000" height="2000" width_o="4000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/34093bbfff58e9ed7d144bac03a934e35393816cd72f1f0b44946720e1aed0a1/260109_VIEW_UNDER.jpg" data-mid="251716122" border="0" src="https://freight.cargo.site/w/1000/i/34093bbfff58e9ed7d144bac03a934e35393816cd72f1f0b44946720e1aed0a1/260109_VIEW_UNDER.jpg" /> Competition Entry for Ragdale Ring / 2026 Radu Remus Macovei in collaboration with Edward Wang EARTHFOLD gently deforms the lawn into a grassy mound that appears monumental and surreal from the parking lot. As visitors approach, its apparent mass gives way to a thin, tent-like structure enclosing an outdoor performance room in the round. The oval frames the sky, trees, and performances while supporting gatherings, individual acts, movement, and improvisation. Twenty-four timber A-frame bays organize seating, alcoves, and gathering pockets along the perimeter. Two entrances connect the mound to the lawn, parking lot, and forest, accommodating different arrivals. A subtle teardrop-shaped splay introduces direction while maintaining the oval’s continuity. Referencing and inverting earthworks, the landform appears to float above the ground, offering shelter without severing its connection to the open lawn. Its ten-foot height establishes a new datum against the trees and sky, creating a focused interior condition. The ring consists of concentric layers: an exterior fabric perimeter, an occupiable timber frame, and inner curtains. Fabric thresholds compress and release visitors into the center, while curtains can open or close to support public events, rehearsals, listening, and gathering. Inspired by wild meadow ecologies, the exterior graphics will be developed with artists, ecologists, and local participants, challenging the lawn’s monoculture through shared authorship. EARTHFOLD is a flexible, low-impact performance environment—neither building nor landscape alone, but an inhabitable landform for experimentation and collective use. &nbsp; &nbsp; &nbsp; &nbsp; https://stuffstudio.eu/17-Window-Schedule Mon, 31 Aug 2026 20:28:52 +0000 STUFF STUDIO https://stuffstudio.eu/17-Window-Schedule window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-F0EE91XK76'); Window Schedule, RO: Restoration &amp; Transformation of Broken Windows <img width="3648" height="3648" width_o="3648" height_o="3648" data-src="https://freight.cargo.site/t/original/i/451c0ce49b599d57570428bc5c5129615f44587ed50a4997585108966b9071c1/Beta-2026_Press_David-Dumitrescu-6.jpg" data-mid="252271569" border="0" src="https://freight.cargo.site/w/1000/i/451c0ce49b599d57570428bc5c5129615f44587ed50a4997585108966b9071c1/Beta-2026_Press_David-Dumitrescu-6.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/f1cf1fccd09e73d528c64f2df70e2eb5d5f5089d7b3448e50feee4e13c435c13/260905_radu_photo_IMG_5261_folding.jpg" data-mid="252271572" border="0" src="https://freight.cargo.site/w/1000/i/f1cf1fccd09e73d528c64f2df70e2eb5d5f5089d7b3448e50feee4e13c435c13/260905_radu_photo_IMG_5261_folding.jpg" /> <img width="4122" height="2953" width_o="4122" height_o="2953" data-src="https://freight.cargo.site/t/original/i/07b1d5d3726b7f7baccc6b50716e2f73852b92cf7dc1990e4e16f4c4ff8cac7a/260831_PORTFOLIO_enlarged.jpg" data-mid="252271697" border="0" src="https://freight.cargo.site/w/1000/i/07b1d5d3726b7f7baccc6b50716e2f73852b92cf7dc1990e4e16f4c4ff8cac7a/260831_PORTFOLIO_enlarged.jpg" /> <img width="4284" height="5712" width_o="4284" height_o="5712" data-src="https://freight.cargo.site/t/original/i/5eed7e001f1d9dd5c1bc98f0edd178212decd048db21a676af82523d92aba2ce/260905_Radu_Sliding_IMG_5259_desat.jpg" data-mid="252271575" border="0" src="https://freight.cargo.site/w/1000/i/5eed7e001f1d9dd5c1bc98f0edd178212decd048db21a676af82523d92aba2ce/260905_Radu_Sliding_IMG_5259_desat.jpg" /> <img width="4284" height="5712" width_o="4284" height_o="5712" data-src="https://freight.cargo.site/t/original/i/75392061fe7e485431ed59490614b3b840f83c0128f068a3d311816d091610ac/260905_radu_photo_revolvingIMG_5349.jpg" data-mid="252271577" border="0" src="https://freight.cargo.site/w/1000/i/75392061fe7e485431ed59490614b3b840f83c0128f068a3d311816d091610ac/260905_radu_photo_revolvingIMG_5349.jpg" /> <img width="1127" height="1001" width_o="1127" height_o="1001" data-src="https://freight.cargo.site/t/original/i/775f879812aea3a8a5bdcffa7ba16c8076e20c8d4400681bad182ac5caa984de/Screenshot-2026-08-31-233415.png" data-mid="251716227" border="0" src="https://freight.cargo.site/w/1000/i/775f879812aea3a8a5bdcffa7ba16c8076e20c8d4400681bad182ac5caa984de/Screenshot-2026-08-31-233415.png" /> <img width="3543" height="2906" width_o="3543" height_o="2906" data-src="https://freight.cargo.site/t/original/i/0c139e00cd62105758bc4bad6398a2333b92e8740232502638edc6b0927d8bdc/FRONTAL-COLLAGE-FINAL5.jpg" data-mid="251716180" border="0" src="https://freight.cargo.site/w/1000/i/0c139e00cd62105758bc4bad6398a2333b92e8740232502638edc6b0927d8bdc/FRONTAL-COLLAGE-FINAL5.jpg" /> <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/14e2e58b5bddd04629fd48dadf47a809d14376c8ff5800dae0bd9d32ab053800/701895446_1793571398752355_7848859519148746029_n.jpg" data-mid="251716179" border="0" src="https://freight.cargo.site/w/1000/i/14e2e58b5bddd04629fd48dadf47a809d14376c8ff5800dae0bd9d32ab053800/701895446_1793571398752355_7848859519148746029_n.jpg" /> Successful Competition Entry for Timisoara Architecture Biennale (BETA), Built / 2026 Radu Remus Macovei in collaboration with Lindsey Krug, Edward Wang Featured in Der Standard (Austria) (2026), KoozArch (2026) Photo Credits: David DumitrescuIn the former Ion Mincu Technical College, the pragmatic task of repairing broken panes becomes an inquiry into the building’s future reuse. We propose constructing four new window prototypes, each functioning as a mock-up for the building’s future life. Each plays with a different kind of threshold — walk-up window, revolving door, hung pane, and bay window — as well as a different opening mechanism — awning, pivot, sliding, and casement. These new window prototypes directly augment the use of their respective adjoining rooms during Beta Biennale. At the same time, they lay the groundwork for a broader reimagining of the building by producing new spatial conditions: a public interface for gathering and exchange in the courtyard, a new rotating front door to the park, a sliding parapet crown signaling a renewed relationship with the garden, and an enclosed quiet place of repose with a view. These four windows can be easily adapted to multiple positions across the facade, working in tandem with neighboring Beta interventions. The windows are produced in collaboration with Lipoplast, a window manufacturer based in Timișoara. At a larger scale, the windows are envisioned as a system of elements that could deploy across the entire façade, taking advantage of the building’s modular and repetitive elevation. As a riff on the traditional window schedule drawing, the project explores potential window types that range from the existing, standardized to the imaginative, whimsical. ‘Window Schedule’ aspires to synchronize the many viewpoints of architectural production: design intention, regulatory demands, site coordination, and fabrication by shifting the schedule drawing from a technical inventory to an activating diagram reframing how the campus can be repurposed and given new life. Der Standard (Austria), 2026: “Einfach und clever: das "Window Hacking" eines rumänisch-schweizerisch-amerikanischen Trios, die einige der seriellen Fensterelemente der Schule neu arrangierten; gedreht, gekippt, als Erker.“ KoozArch (Federica Zambeletti), 2026: “Window Schedule: Sliding Crown by Lindsey Krug, Radu Remus Macovei and Edward Wang begins with the ordinary task of repairing a broken window – the work that curator Kofler has called the real heroism of this edition. Existing frames and familiar mechanisms are retained and recombined to support new uses. Placed beside the cuts, the project reveals care and subtraction as complementary operations. One creates possibility by removing; the other by attending closely to what remains. Repair is not a return to a previous condition but a means of allowing the building to behave differently.” &nbsp; &nbsp; &nbsp; &nbsp; https://stuffstudio.eu/1-TEMP-Belvedere-and-Shed-RO Thu, 17 Sep 2026 17:43:33 +0000 STUFF STUDIO https://stuffstudio.eu/1-TEMP-Belvedere-and-Shed-RO Belvedere on the Slope and Shed in the Gardens, RO: Rural Annexes <img width="2348" height="3000" width_o="2348" height_o="3000" data-src="https://freight.cargo.site/t/original/i/f4ffaff4e8f02b0ea9173ff2de249315e98c669b7e55165614a95962cee20c82/8.jpg" data-mid="252271602" border="0" src="https://freight.cargo.site/w/1000/i/f4ffaff4e8f02b0ea9173ff2de249315e98c669b7e55165614a95962cee20c82/8.jpg" /> UNDER CONSTRUCTION - MORE PHOTOGRAPHY COMING SOON Private Commission, Built / 2024 - 2025 Radu Remus Macovei in collaboration with Noel Stascha Fäh, Giorgio Azzariti&nbsp; Photo Credits: Ioana Marinescu, Noel Stascha FähSet within the rural landscape of Breaza, a small town in the foothills of the Carpathian Mountains in Romania, the project improves an existing rural vacation homestead by connecting its spectacular topography through a belvedere that frames views, a shed-garage that envelopes storage and a sinuous path connecting them to the surrounding landscape. The project is situated within an environment that alternates between dense forest, cultivated field, and the riverbank. The plot has an irregular shape extending over approximately 1,200 m² capturing scenic views. Existing Structures Within the property, several structures already existed from the outset: the main family house; a rudimentary garage; a modest shed with a small underground cellar. The project focused on the latter two, treating them as opportunities to define new, architecturally meaningful presences forming a scattered household within the garden connected by a path that overcomes topographical variations. The shed was reconceived as a belvedere framing the view, while the garage was restructured as a multifaceted utilitarian shed. Project Scope The project comprises the transformation of two existing service structures, reinterpreting them as multifaceted pavilions of a scattered garden household, each with distinct spatial and material identities. Rather than proposing radically new forms, the design enhances the buildings’ functionality by reusing elements of the existing structures and reinterpreting familiar archetypes and materials, ensuring that the pavilions remain recognisably of the place while responding to contemporary needs. Materiality and Craft The project is rooted in local craftsmanship. The collaboration with artisans was essential for the material culture and expertise they possess and demonstrates a mutually-beneficial exchange between professionalized architects and vernacular craftsmen. Wood shingles, produced in Breaza and sourced from local forests, were chosen for the roof and facade/vertical surfaces, establishing a tactile continuity with the house’s shingled roofing. Stone sourced from nearby river quarries and workshops grounds the structures and ensures durability, while timber structures provide both simplicity of assembly and adaptability. By deploying these resources, the project consolidated a network of local skills, reinforcing the role of architecture as a catalyst for sustaining and transmitting local knowledge within a contemporary assemblage. Design and Adhocism A crucial part of the project lay in the day-to-day collaboration with local craftsmen, where many decisions were made directly on site rather than through rigid predefinition. Axonometric drawings and sketches served as instruments of dialogue, but it was often the testing of details, the adjustment of joints, or the reuse of available materials that determined the final outcome. This trial-and-error process recalls the spirit of adhocism, where improvisation and as-needed solutions guide construction, allowing design intent and practical know-how to converge in built form. In this context, the two interventions and connecting path, though modest in scale, articulate a careful balance between utility, tradition, and context. They affirm the possibility of designing contemporary architecture that does not overwrite the existing environment, but rather extends its logic and character into new forms of inhabitation. The first intervention addresses a small shed with an underground cellar. While the cellar was preserved, the above-ground portion was reconfigured, replacing an enclosed storage room with a belvedere that opens the view from the main building and frames the surrounding scenery. The new pavilion sits on a new concrete platform. Positioned tightly between two mature trees, the footprint had to be carefully adjusted to preserve them. By misaligning the edges, the plan assumes a parallelogram shape, a choice with formal consequences for the roof. At its corners, two half-cylindrical structures liberate the view, while simultaneously accommodating service needs: one shelters the ladder descending into the cellar, the other provides storage for foldable chairs. The roof follows the irregular plan, while its section rises and falls to produce a stereometric articulation that resonates with the undulating profile of the surrounding mountains. A small circular cut-out in the ceiling above the dining area admits light in the evening, transforming the pavilion into a stage for social rituals such as dining, conversation, and reflection—spaces poised between intimacy and openness. Atop the roof, a slender spire recalls vernacular apotropaic forms while also carrying a sundial, inscribing traditional modes of orientation into the life of the pavilion. The structure itself is built from locally sourced wood, with a continuous shingle cladding that both integrates into the landscape and revives regional craft traditions. The ceiling and doors, by contrast, are made of zinc-coated steel panels whose reflective surfaces capture the landscape during the day and amplify the glow of artificial light by night, offering a contemporary repose within the rustic material palette. Finally, the path leading to the belvedere is covered in river stone gathered from the nearby valley, rooting the pavilion even more firmly in its immediate context. The second intervention focuses on the existing garage roof. The original main structure—six stone-clad pillars with steel cores—and the stone-paved foundation were preserved and re-integrated, providing the basis for a new wooden roof. While the two ancillary additions—a compact service room and a small storage shed—are structurally independent, they are unified under a continuous envelope of timber shingles. This careful separation addressed structural concerns while visually binding the ensemble into a coherent whole. The programmatic functions of the spaces are directly inscribed in plan: the six punctuations of the stone pillars articulate the garage; a half-circular extrusion marks the storage shed; and a rectangular projection registers the service space. Each of these elements is clad in local timber shingles, establishing continuity with the belvedere and reinforcing the architectural coherence of the property. Inside, the facade facing the sheltered parking area is clad with silver-painted wooden planks, echoing the reflective metal surfaces of the belvedere while also acknowledging the utilitarian character of the garage. Attention was also given to apertures and light. Circular incisions provide ventilation from the doors upward and allow natural light to filter in by day while projecting artificial light outward by night. The double doors of the circular shed open fully, extending the toolshed into the garage and enabling its use as a workshop. Although its primary role remains that of car shelter and storage, the garage is no longer a purely utilitarian enclosure. By integrating additional functions and extending its spatial character, it becomes simultaneously storage, protection, and an adaptable setting for everyday use. Conclusion Together, the two interventions demonstrate how peripheral, utilitarian structures can be transformed into meaningful architectural presences. Through sensible reuse-practices, careful articulation of form, attention to materiality, and reliance on local craftsmanship, the project asserts the possibility of modest yet precise architecture that extends the cultural and spatial logic of Breaza’s landscape. . &nbsp; &nbsp; &nbsp; &nbsp; https://stuffstudio.eu/1-The-Porch-and-Other-Impossible-Originals-RO Fri, 27 Dec 2024 00:50:52 +0000 STUFF STUDIO https://stuffstudio.eu/1-The-Porch-and-Other-Impossible-Originals-RO window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-F0EE91XK76'); The Porch, and Other Impossible Originals, RO / IT: A Temporary Installation <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/8b0f41344693dbd16ab2f8012c613a809bff561c875a0dd2c27e16d93df5004e/1.jpg" data-mid="223841385" border="0" src="https://freight.cargo.site/w/1000/i/8b0f41344693dbd16ab2f8012c613a809bff561c875a0dd2c27e16d93df5004e/1.jpg" /> <img width="8000" height="8000" width_o="8000" height_o="8000" data-src="https://freight.cargo.site/t/original/i/0e051931d93d250c2203113e4a8b0b7fa2faa0382125807dea5c4daba39ee2d9/2.png" data-mid="223841386" border="0" src="https://freight.cargo.site/w/1000/i/0e051931d93d250c2203113e4a8b0b7fa2faa0382125807dea5c4daba39ee2d9/2.png" /> <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/32454cd083ba3f90f7f92fe6484116cad21b8c024aecf5de89f8c10809566b2e/4.jpg" data-mid="223841388" border="0" src="https://freight.cargo.site/w/1000/i/32454cd083ba3f90f7f92fe6484116cad21b8c024aecf5de89f8c10809566b2e/4.jpg" /> <img width="4329" height="3133" width_o="4329" height_o="3133" data-src="https://freight.cargo.site/t/original/i/2bc5136de3d1f5215125d38ef2385aa77a674d55b4d4780df7442dea6a3cddd3/3.jpg" data-mid="223841387" border="0" src="https://freight.cargo.site/w/1000/i/2bc5136de3d1f5215125d38ef2385aa77a674d55b4d4780df7442dea6a3cddd3/3.jpg" /> <img width="1728" height="2160" width_o="1728" height_o="2160" data-src="https://freight.cargo.site/t/original/i/47fa48ec79ebf644541fcf5bef1baf6b6764caa15d1a5cf2c4d121d954e0f038/5.jpg" data-mid="223841389" border="0" src="https://freight.cargo.site/w/1000/i/47fa48ec79ebf644541fcf5bef1baf6b6764caa15d1a5cf2c4d121d954e0f038/5.jpg" /> <img width="2490" height="2139" width_o="2490" height_o="2139" data-src="https://freight.cargo.site/t/original/i/2bd7d1a4a234cea890c571b59dfbcfb928802070d66c5ee05297e4339eeaa1e2/6.jpg" data-mid="223841424" border="0" src="https://freight.cargo.site/w/1000/i/2bd7d1a4a234cea890c571b59dfbcfb928802070d66c5ee05297e4339eeaa1e2/6.jpg" /> <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/b2c9b56314f8d8edfe1dd71a7aba10732393aaf896aeaa44ccb6954a920e9175/7.jpg" data-mid="223841391" border="0" src="https://freight.cargo.site/w/1000/i/b2c9b56314f8d8edfe1dd71a7aba10732393aaf896aeaa44ccb6954a920e9175/7.jpg" /> <img width="8008" height="8008" width_o="8008" height_o="8008" data-src="https://freight.cargo.site/t/original/i/ca3c58c73003d735a1703fd8f5fcc0da8ed3a35f5a898ad14005bfcae8a105c4/8.png" data-mid="223841392" border="0" src="https://freight.cargo.site/w/1000/i/ca3c58c73003d735a1703fd8f5fcc0da8ed3a35f5a898ad14005bfcae8a105c4/8.png" /> <img width="4000" height="1781" width_o="4000" height_o="1781" data-src="https://freight.cargo.site/t/original/i/2611c7a29acf701ea63d48363d24cc2f6108b7d3442596b2ff594e3253f1c5b4/9.jpg" data-mid="223841393" border="0" src="https://freight.cargo.site/w/1000/i/2611c7a29acf701ea63d48363d24cc2f6108b7d3442596b2ff594e3253f1c5b4/9.jpg" /> <img width="6278" height="3334" width_o="6278" height_o="3334" data-src="https://freight.cargo.site/t/original/i/749ef6db9b17711550c801420f5aa36a86e39301c961c86821403100f6ae3e3b/10.jpg" data-mid="223841394" border="0" src="https://freight.cargo.site/w/1000/i/749ef6db9b17711550c801420f5aa36a86e39301c961c86821403100f6ae3e3b/10.jpg" /> Proposal for the Romanian Pavilion at the Venice Biennale / 2025 Radu Remus Macovei of StuffStudio collaboration with co-authors Alexandru Vilcu, Zsuzsa Peter, Denisa Balaj, Edward Wang&nbsp; Apart from the big letters ‘R-O-M-A-N-I-A’, there is little else to identify the Romanian pavilion within the grounds of the Giardini. Part of a larger ensemble accommodating ‘new nations’ planned and built by Brenno del Giudice in 1938, the building is imbued with the political, aesthetic, and physical traits affiliated with European modernism of the 1930s: stability, monumentality, and permanence. A kind of charged blank, the pavilion stands witness to the tides of the contemporary Biennale context, where installations arrive and vanish in fleeting succession. Every six months, after its contents and the statements they carry are cleared, the pavilion is yet again patched, plastered, white-washed back to its former immaculacy. From the example of the pavilion—the monumental shell and its ever-changing interior—we might extract a generalisation about architecture: the desire for the durability and solidity of its image is often in tension with the realities of its purpose, which must be attuned for adaptation and change. Our proposal challenges this binary by introducing the notion of sempiternity. The sempiternal describes that which exists within time yet endures through perpetual transformation. Neither eternal nor fully ephemeral, a sempiternal architecture implies the longevity of architectural assemblages with tectonic features that maintain it in a malleable state, perpetually changing. Semiternity is a determining feature of Romanian architecture’s stubborn other – what might be termed vernacular or local intelligence. Buildings made from wood to clay, covered in shingles, tiles and hay, transform over time to adapt to changing conditions, from demographic growth and shrinkage (the addition or removal of rooms) to economic needs (the sale or purchase of buildings, parts, or materials) to aesthetic adaptations (e.g. the replacement of spires with bulbous domes in wooden churches and vice-versa). Shifting away from the Vitruvian assumption of firmitas that biases masonry and permanence as preconditions for ‘building-as-architecture,’ these practices demonstrate an understanding of buildings as transformable assemblages. Amidst larger discourses surrounding circularity, the temporal mode through which architecture is produced and sustained has become increasingly up for debate. The sempiternal assemblage, as a rhetorical frame for architecture, liberates us from the need to find and freeze the ‘original’, and spares us from exhausting any potentially dangerous associations of the ‘authentic’. By now, preservation for the sake of preservation is well trodden territory; by turning away from the crisis of the original, we hope to offer to Biennale attendees and visitors to the ICR Gallery an insight into how Romanian architecture adapts, renews, and ultimately endures through actions within the everyday. A LOCAL SOLUTION: Responding to Carlo Ratti’s prompt "One Place, One Solution," we adopt an approach that is both pragmatic and layered: our place, the Romanian pavilion itself, recast as an architectural site; rather than one solution, a polyphony of stories of adaptability and transformation within Romanian architecture. The intervention consists of two principal gestures: a transformable assemblage that engages the pavilion’s existing architecture, creating a new façade on the outside and a new floor within, both occupiable. This dual act of addition transforms the pavilion into a liminal space—partially enclosed, partially revealed. The transformability of the intervention is further emphasized by its afterlife: once the Biennale is finished, all wood material used for both elements will be dismantled and reused through a partnership with a Romanian NGO in the restoration field. Inside the pavilion, the new floor serves as both a physical and conceptual platform. It hosts a sound installation: a collection of more than 20 anonymous recordings gathered over the spring in collaboration with Romanian cultural and educational partners. These stories, as told through the voices of a diverse group of Romanians, detail moments of architectural change and adaptation—intimate acts of negotiation between structure and life. The approach is at once indexical and deeply subjective, both spatially minimal but rich in content. The singular place of the pavilion interior thus becomes a host of many places. Within the ICR gallery, the themes of the pavilion are echoed and expanded. Presenting works by Romanian artists, architects, and students, the exhibition explores adaptability and transformation in Romanian vernacular architecture. Through a scenography of window displays, curtains, and tables, the gallery provides a historical and didactic counterpart to the broader themes articulated in the Giardini. COUNTER PAVILION: This project envisions a “counter pavilion” situated on the terrace of the Romanian Pavilion, an intervention that both inhabits and challenges this symbolic void. Constructed from a wooden assemblage, the counter pavilion offers a deliberate contradiction to the original building’s austere formalism. At its core lies the wooden shingle—a material steeped in memory, at once deeply local and imbued with transformative potential. Central to our conceptual framework is the pridvor, the quintessential Romanian porch. This architectural form redefines the pavilion’s façade as an adaptable membrane rather than a sacrosanct boundary. In Romanian vernacular architecture, the pridvor occupies a space between the private and the public, mediating interior intimacy with exterior openness. It resists a singular purpose, accommodating circulation, rest, meals, and even sleep—a space of deliberate fuzziness, where functions coexist without resolution. The counter pavilion situates this ambiguity not merely in its program but in its material presence. The pridvor acts as a disruption to the pavilion's formal rigidity, unsettling the symmetry of the terrace and veiling its iconography. In the context of the Giardini, this intervention achieves a radical spatial reorientation: outward, it engages with the surrounding gardens and the façades of neighboring pavilions; inward, it reframes the pavilion's vacant interior as a self-reflective spectacle. Visitors are invited to inhabit the terrace in unprecedented ways, occupying its ground level while also ascending within the new structure. This ascent provides an intimate, close-up encounter with the original façade, rendering the architecture itself an object of scrutiny. Simultaneously, the elevated vantage offers views of the Giardini landscape, intertwining the pavilion’s introspection with a new outward gaze. VOICE NOTES: Sound operates as a counterpoint to the visual hegemony traditionally associated with the Biennale. It subverts expectation by centering the fragmented voices of individuals, allowing no definitive narrative to emerge. The room becomes a resonant void—an instrument in itself—activated through an occupiable floor where sound emanates beneath wooden panels via directional speakers. The carefully calibrated volume ensures that narratives remain elusive unless one is in intimate proximity to the source, leaving the rest of the pavilion seemingly silent and empty. Here, absence becomes presence, as the void prompts visitors to project their own imaginings onto the interior. By selectively opening the ground, a new spatial order emerges, inviting visitors to pause, rest, and listen to the layered stories embedded within. The apertures further articulate this experience: small openings offer solitary engagement against the ground, medium-sized ones accommodate seated reflection, and the largest create communal chambers, expanding the sonic architecture of the space. The stories they contain range from the domestic to the urban, the prosaic to the mythical. These stories challenge us to rethink the role of the asrchitect—not merely as a designer of physical objects but as a mediator of processes, an anticipator of the intelligence, irreverence, and creativity of future users. What might it mean for architecture to embrace the ingenuity, contempt, or even disregard of those who inhabit it, both near and far in time? What forms of architecture can sustain themselves in time, rather than defy it? COMMON INTELLIGENCE: At its core, the project explores two interwoven themes. First, it calls into question architecture’s presumed durability, challenging the modernist notion that architectural integrity is synonymous with unyielding solidity. Second, the proposal critiques the marginalization of the vernacular—so often relegated to the exotic periphery of architectural discourse as “local” or “traditional.” The vernacular carries with it a profound intelligence of place, an inherent responsiveness to its environment. Instead of attempting the futile return to some original, static state, the question arises: how do architecture and its users effect transformation over time? How might we design in anticipation of this continual flux, without falling into the trap of prescriptive solutions? These questions emerge and unfold within the context of the privdor, a space that is at once intimately familiar yet entirely foreign within the context of the Giardini. The privdor itself embodies the sempiternal—a form endemic to Romanian architecture, yet replicated and reinterpreted so thoroughly that it transcends its literal historical origins, an impossible original. &nbsp; &nbsp; &nbsp; &nbsp;