Concept in sacred architecture. How we conceived the Cathedral

St. Andrew, the Romanian Christian

Accordingly, the symbolic sequence is as follows, from west to east: the western esplanade is called the Court of St. Andrew, the Apostle of the Romanians. St. Andrew's Court (west esplanade), which precedes the ensemble, is a story about how Christianity came to this country through the Greek colonies on the Pontus Euxin, carved into the stone of Dobrogea. We've resorted to the more familiar term courtyard, rather than square, trying to suggest that once we're here, we're in the space of the target we're heading for, which is a house. The house: symbolically, the outer courtyard of the Temple in Jerusalem has been reconstructed, rebuilt, conceived differently, so that it also takes on a local symbolic meaning, forming a welcoming space, the courtyard of the House of the Lord. Moreover, it was conceived as an inclusive area for large celebrations; here, worshippers will be able to step out of the church into this 'inner courtyard' of the ensemble. The courtyard consists of an expanse of water along the entire front and a colonnade formed of a single string, its theme is the Cross of St. Andrew, and the material used - ship parchment. The ship of the Romanian Orthodox flagship church protrudes from the waves, rising towards the east, i.e. orienting itself.

For this purpose, it is helped by the court of St. Andrew the Apostle, which precedes it. The expanse of water on the sunset esplanade emphasizes the cathedral's volume, mirroring the way the National Library would have been reflected in the water preceding it. The peripteral portico is marked with the insignia of St. Andrew (St. Andrew's Cross) and also refers to the fact that the Black Sea and Dobrogea, which were crossed by St. Andrew, represent the gateway through which Christianity penetrated Romania. The crosses of St. Andrew in the water perimeter are made of ship's parchment and the stones used are limestone and granite from Dobrogea, to contribute to the symbolic meaning. In the middle of the square is a shallow basin filled with sea water. The legend that St Andrew the Apostle preached in these parts, opting for the 'wilderness' (compared to the civilization of the Pontic cities) of cave-like settlements, is strongly glorified in Dobrogea. The Church has reclaimed it and considers Andrew the apostle who Christianized the Romanians (a nation that did not exist at the time Andrew preached). And last but not least, the day of his feast, November 30, precedes December 1, established after 1989 as the National Day of Romanians.

The triptych-icon (exonarthex with the votive icons, the Ascension and the icon of St. Andrew, the apostle of the Romanians) has in the middle a wall icon in gold mosaic, representing the traditional scene of the Last Judgment. The entrance to the building is through these glass door-icons, advancing towards the central icon, which dominates the actual access to the building. The idea was that the glass icon, poor in means and somewhat minor in genre, should be erected at the center of post-Byzantine art, as at the center of local art, in the form of monumental access gates, outside the center, but at the same time related to the axis of the edifice of worship, just as this tradition of the limes is related to that of the Byzantine center. At the same time, the icon made of the original material - gold mosaic - would have suggested the tradition, that of the center. From a distance, the three icons would have urged the faithful to come to the church, together forming a triptych of complementary icons.

The steeple could have been a copy of the campanile project by G. Simotta for the Patriarchal Palace in 1937. It was intended as a homage to Patriarch Miron Cristea and the forerunners who endeavored to fulfill the project of the Patriarchal Cathedral in the interwar period. It is a copy of a 7th century Venetian tower and, most probably for the author in 1937, it was a homage to Justinian's Italy, i.e. to Eastern Latinity, and yet an impossible solution for the schizoid identity of Romanians.

Saint Andrew, converter of Romanians to Christianity

Consequently, the symbolic sequence stands as follows from the West to the East: the West esplanade is called Courtyard of Saint Andrew, the Apostle of Romanians. The Court of Saint Andrew (the West esplanade), which precedes the ensemble, is a story about how Christianity found its place in this country, in the Greek colonies on the shore of Pontus Euxinus, dug in Dobruja stone. We have used the more familiar term of courtyard instead of square in an attempt to suggest that, if we have arrived here, then we find ourselves in the proximity of the target we have been heading for, namely, a house. The house symbolically consists in the exterior yard of a Jerusalem Temple, reconstructed and differently conceived, so as to also take on a local symbolic significance, to form a reception space, the courtyard of the House of Our Lord. Moreover, it was conceived with a view to accommodating large crowds on the occasion of the important celebrations: the worshippers will be able to exit the church in this "interior yard" of the ensemble. The courtyard also has a vast pool of water along the entire front and a cloister formed of a single string. The theme is the Cross of Saint Andrew, and the material used is hawser rope. The vessel of the landmark church of Romanian Orthodoxy rises out of the waves and, seeking orientation, soars towards the East.

To this end, it is helped by the Courtyard of Saint Andrew the Apostle, which precedes it. The water expanse on the western esplanade highlights the volume of the cathedral, mirroring it the same way the National Library must have mirrored it in the water pool preceding it. The peripteral portico is marked with the sign of Saint Andrew (Saint Andrew's Cross), also referring to how the Black Sea and Dobruja, traveled by Saint Andrew, represent the gateway of Christianity in Romania. Saint Andrew's crosses in the aquatic perimeter are made of hawser rope, and the stone used was limestone and granite from Dobruja, to enhance the symbolic meaning. In the midst of the square there is a shallow pool filled with sea water. The legend according to according to which Saint Andrew the Apostle preached in such parts, advocating the wilderness of settlements much like grottoes (in contrast with the civilization of the Black Sea towns) is particularly treasured in Dobruja. The Church retrieved it and considers that Andrew is the apostle who christened the Romanians (a nation which did not exist at the time of his preaching). Last but not least, the day of his celebration, November 30th, precedes December 1st, adopted as the national day of Romania after 1989.

In the middle of the icon triptych (antechurch with votive icons, the Ascension and the icon of Saint Andrew, the Apostle of Romanians) there is a wall icon in golden mosaic, depicting the traditional scene of the Judgment Day. The entry to the building is made through these icons-glass gates, advancing towards the central icon, which dominate the access point to the building. The idea was to place the glass icon, characterized by poverty of means and somewhat minor as a genre, to the center of post-byzantine, as well as local, art, in the form of monumental access gates, outside the center, but also related with the axis of the religious edifice, the same way this tradition of the limes relates to that of the Byzantine center. Also, the icon made of original material - golden mosaic - would have suggested a tradition springing from the center. From a distance, the three icons would have urged the worshippers to come to church, forming a triptych of complementary icons.

The bell tower could have been a copy of the campanile project drafted by G. Simotta for the Patriarchal Palace in 1937. It was conceived as a homage paid to Patriarch Miron Cristea and his predecessors, who had dared to complete the project of the Patriarchal Cathedral in the inter-war period. It is the copy of a VIIth century Venetian tower and it was, most likely, a homage paid by the 1937 author to Justinian's Italy, that is, for the Eastern Latinity, an impossible solution, however, for the schizoid identity of Romanians.