“The house on Dimitrie Onciul Street at number 31, built in 1914, according to a project of his, belongs to this stage in the evolution of the author's architectural thinking. As a continuation of classicism, this style was preferred by representatives of the borierim and the bourgeoisie during the late nineteenth and early twentieth centuries, "giving the impression of wealth and having an elegant outfit." Duiliu Marcu designed this house in a period of sunset of the academic current in Romania, in the second decade of the twentieth century, when ideas in architecture fully expressed the enthusiasm the nationalist spirit, the traditionalist or neo-Romanian current, impelled by Ion Mincu.”
“On the ground floor, on the axis of the entrance there is a vestibule with a hall and a small room; on the side from the street are the living room with a bay window, the bedroom with its own bathroom and closet; on the side of the courtyard a corridor opens the way to the office and living room, followed by the servants' room, bathroom, then kitchen and pantry. At the end of the corridor are the access stairs to the basement where it is located: cellar, washer, ironing room, radiator room, storage room coal and another bathroom. The plans of the architect Duiliu Marcu lack a plan with the development of the attic and corroborated with the text of the building permit it can be clearly deduced that it was arranged at a later date than 1914 and even 1921 when it was made execution control. The main facade is best defined from an artistic point of view, through a close repetition of decorative elements: well-contoured cornice with small brackets, cartridges with garlands in a delimited register, under the cornice, as well as frames above the windows. The bedroom has access to a French balcony whose very low railing is made of wrought iron. The spectacular part of the façade is it a largely glazed drop, belonging to the living room, in the form of a bay window, for the contour of which the cornice forms an arch in its right. The facade from the courtyard, where the main entrance is located, is decorated with the same motiveloral motifs under the cornice and above the windows. Unlike the main façade, where the portions immediately below the windows and under the glazed bay window are marked by small wrought iron railings designed to integrate the French balcony into a coherent assembly, on this side, below the windows, rows of decorative columns are inserted in rectangular niches. The entrance is covered with a canopy on the consoles decorative, which together with the door, both made of wrought iron and glass, complete the look elegant, specific to the era. The part generically called "service" enters the shadows by gradually reducing the volume of the house. This is the portion devoid of artistic elements, which suddenly begin with the most prominent side of the courtyard façade, corresponding to the office. The roof is made of tin with attic windows and decorative skylights on the attic. The house has not undergone substantial changes over time, the plan keeping the same configuration along with interior and exterior decorative details. Solution the reception area on the central axis, as delimited by the author of the project, does not involve full separations. The only one of its kind is between the vestibule and the hall, through high doors glass with wooden frames and linings, and from the lobby in a small reception room through a space formed by the opening between two columns placed on cubic bases and finished with Ionic capitals in the “Beaux-Arts” variant. On the side walls of the vestibule, two niches, formed by stepped retreats of the walls, were designed for the placement of two tall mirrors with frames decorated with stucco. In the lower register the walls are paneled, the vestibule also fulfilling the function to dress. In the hallway, the upper register of the walls has a continuous row of small consoles in stucco, very prominent, the general effect being that of imitating a cornice. from the middle of a blue glass skylight, in the shape of a pyramid trunk, descends a chandelier. Above the doors, the walls are adorned with cartridges that include as decoration garlands that unite to form medallions with representations of faces feminine. The lobby, the lobby and the small reception room are the most decorated rooms with mostly gilded stucco. The other rooms: the living room, the bedroom, the office and the living room marked the ceiling finish of the walls with thin stucco belts, as well as gilded medallions and motifs. alelorals in the middle of which the rods of the luminaires descend. In the living room, the edges the sides of the chamber are rounded. This small constructive detail also emerges from his drawings Duiliu Marcu. The windows are wide, high and arched in the basket handle. It is from mentioned as a constructive detail the ceiling of the rooms in the basement which is with vaults of brick on metal beams. The three rooms of the attic, smaller than the height to the roof truss, are separated from the rest of the bridge by masonry doubled by a wall made of wooden perches. Duiliu Marcu's house, through antiquity, style and functional solution, as well as in the virtue of his belonging to a small series of creations of a remarkable architect Romanian, cumulates the values by which it can be recognized as a heritage asset, deserving thus to be nominated in the list of historical monuments. (Fig. 15) In fact, recognizing its historical, architectural and urban values preserved, the area in which it is located is protected, at least in theory, by its inclusion in a large urban territory, conventionally called Site I of architecture, with a unique code in the list historical monuments in Romania.” - Alexandra Țânțăreanu (O CREAȚIE MAI PUȚIN CUNOSCUTĂ A ARHITECTULUI DUILIU MARCU)
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