Museum of Contemporary Art - Miclescu House

Authors’ Comment

An architecture graduate, he develops his practice at the intersection of architecture, art, and materiality. For him, architecture is a compositional process through which space can become a vehicle for atmosphere, emotion, and experience. His interest in art is closely connected to this perspective, with the two fields intersecting through a shared concern for proportion, light, material, and the ways in which these elements can create a coherent and memorable experience.

His design process places particular emphasis on the principles of composition studied throughout his architectural education. Each project begins with an exploration of the relationships between volume, proportion, rhythm, solid and void, with these principles being reinterpreted according to the character and context of each site. His architectural approach therefore seeks a balance between compositional rigor and the freedom of contemporary expression, as well as between the identity of a building and its relationship with its surroundings.

A constant concern throughout his projects is the scenographic character of architecture. Space is conceived as a sequence of frames and perspectives, in which the user's experience unfolds gradually through movement, transition, and discovery. At the interior scale, this quality is achieved through the careful orchestration of perspectives, light, and spatial relationships, while at the exterior it emerges through the way volumes, proportions, and openings engage with the surrounding city. Architecture is thus understood not simply as an object, but as a journey and an experience in continuous transformation.

Architectural model-making plays an important role in his practice, regarded both as a means of representation and as a tool for exploring and understanding a project. Working at scale allows him to directly test proportion, materiality, light, and spatial relationships, offering a different perspective on the design process. His particular interest in wooden models is closely connected to his fascination with material and with the tactile nature of making.

His passion for wood also extends to woodworking, an area in which he gained practical experience working in a workshop specializing in solid wood furniture. Direct contact with the material and with processes of fabrication and craftsmanship developed a particular attention to detail, joinery, proportion, and precision. This experience complements his architectural education and contributes to a deeper understanding of the relationship between concept, material, and construction.