The Parliament Palace is an unwavering, oppressive, white symbol of the communist era in Romania. It doesn’t represent neither purity nor grace, but a giant white display building which celebrates the era of tyranny in Romania. In order for this construction to be built, there were over 7 square kilometres of the old centre demolished and an artificial hill created.
Ceausescu came through with The Futurists’ idea that there is no need or time for God/Gods or religion and initiated the destruction of some of Bucharest‘s churches and monasteries.
Vacaresti monastery was one of the most valuable historical monuments from Bucharest and also the biggest monastery in the South-East Europe. It was an architectural masterpiece and it was used as royal court, cultural center, school and prison. On 2nd December 1984 Ceausescu visited the monastery ordering the demolition of the whole compound, under the pretext that on that place will be build the new Palace of Justice. The monastery was demolished in 1987, but the palace was never built in that place.
Churches were moved away and then enclosed by blocks so that they wouldn’t be seen. The “New Man” of Romania should not waste time praying to God; He had to celebrate the speed, machinery, youth and industry as per The Futurists’ manifesto.
The chief-architect of the construction was a young woman, Anca Petrescu, of only 28 years old, but the one in control of everything was actually, Nicolae Ceausescu.
Initially, the project presumed 7000 real-estates to be destroyed, but as the plan was chaotically evolving because of the “Prime-architect” of Romania, Ceausescu, the number of the buildings demolished raised to 9000. Anyone was able to understand the plans, apart from Nicolae Ceausescu and his wife, Elena. What the constructors build one day, they would tear it down the next day and completely change and rebuild the day after. There is not one imported item in the whole palace. If they needed a material that was only produced abroad, Ceausescu would give orders so that a factory would be built to produce it in Romania. He was very adamant that he didn’t want any imports to be used in his palace.
“The moral white” (Ripolin) of the building was adapted to Le Corbusier’s beliefs, even though Le Corbusier didn’t intend his ideas about a better tomorrow to be extended in such an extreme way by the totalitarian states. He saw white as a colour of clearness, innocence and virtue, but also as a sign which marks the transition from the old world to a new world. Romania was stepping into a new world and this was marked through the construction of “The House of People”.
The huge, white governmental building can be seen from any location in Bucharest and this has a huge impact on the way the citizens behave. The semiotics of its massive scale (power) and its design (order) give the Romanians various sensations making them unconsciously behave in a different way.
The cold, sterile, austere and completely unwelcoming whiteness of the building was accomplished by using one million cubic metres of marble. The marble used is also white and obviously it wasn’t decided to be like that for no reason. The marble had to be white and there had to exist columns, because of their association with the great qualities of the Ancient Greek civilisation.
For the ultimate note of elegance, the place was covered in crystal lamps and crystal chandeliers (one of them weights 2, 5 tons).
The Parliament Palace also contains 2 anti-atomic shelters that Ceausescu built, a symbol of his prolific paranoia, at the basement of the Parliament Palace where he could snug in case of a tragic event. The chief-architect, Anca Petrescu, also relates about some secret roads that led to the metro. The army made these secret roads completely hidden to the public eyes when the construction started. According to Anca Petrescu, the construction is not finished even today as the underground plans are still not complete. However, this wasn’t an impediment for Ceausescu to inaugurate the building, and the words he said when he did that still rules over the time: “What your father built in 7 years, you won’t be able to paint in 20”.