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1

"Esgrafiado segoviano" as an expression of the city's regional tradition and identity

100%

Bręczewska-Kulesza D.

Architectus

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2022

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issue 1 (69)

PL

Historyczne centrum Segowii obfituje w budynki z elewacjami w całości lub w części pokrytymi dekoracją wykonaną w technice sgraffito. Spójna forma zdobienia elewacji budynków, konsekwentnie stosowana i rozwijana przez stulecia, stała się elementem wyróżniającym architekturę miasta i całego regionu. Celem artykułu jest zbadanie segowiańskiego sgraffito jako wyrazu regionalnej tradycji i tożsamości miasta. W trakcie badań przeprowadzono studia historyczne nad rozwojem tradycji sgraffito w Hiszpanii. Pozwoliły one na uwypuklenie odrębności tej formy dekoracji w Segowii na tle innych ośrodków. Dokonano krytycznej analizy literatury przedmiotu i źródeł oraz opracowań architektoniczno-konserwatorskich. Na podstawie rezultatów badań in situ, podczas których zebrano bogaty materiał fotograficzny, przeprowadzono analizę formalną tych dekoracji. Następnie zbadany został wpływ sgraffito na spójność architektury miasta. W końcu rozważono problem, czy sgraffito może stać się elementem tożsamości miasta i jego wizytówką. W artykule skupiono się na dekoracyjnej funkcji sgraffito jako elementu regionalnej architektury. Po przeanalizowaniu aspektów historycznych i współczesnych rozwoju sgraffito w Segowii można uznać tę formę dekoracji za regionalne zjawisko, będące czynnikiem budowania tożsamości miasta, które tak jak akwedukt może stać się symbolem Segowii.

EN

The historic centre of Segovia abounds in buildings with façades entirely or partially covered with sgraffito decoration. Consistently applied and developed over the centuries, this consistent form of façade decoration has become a distinctive feature of the architecture of the city and the region. The aim of the article is to investigate Segovian sgraffito as an expression of the regional tradition and identity of the city. During the research, historical studies were carried out on the development of the sgraffito tradition in Spain. They allowed to emphasize the distinctiveness of this form of decoration in Segovia compared to other centers. A critical analysis of literature and sources as well as architectural and conservation studies was performed. In situ tests were also carried out, during which a rich photographic material was collected, necessary for the formal analysis of the tested decorations. The article follows the development of the sgraffito technique in Segovia against a historical background. A brief analysis of the formal decoration was carried out based on the in-situ studies carried out by the author. Subsequently, the influence of sgraffito on the cohesion of the city’s architecture was investigated. Finally, it was considered whether sgraffito could become part of the identity and business card of the city. The article focuses on the decorative function of sgraffito as part of regional architecture. After analysing the historical and contemporary aspects of the development of sgraffito in Segovia, this form of decoration can be considered as a regional phenomenon, representing a factor for the identity of the city, which, together with the aqueduct, can become the symbol of Segovia.

2

Details' wandering – transformations of architectural details and sgraffito of Grodno Castle in Zagórze Śląskie

84%

Dziedzic T.

Architectus

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2021

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issue 4 (68)

63-72

PL

Tematem artykułu jest próba prześledzenia historii powstania i konserwacji oraz zmian w lokalizacji nowożytnych portali w zamku Grodno (Kinsburg). Burzliwa historia ich przenoszenia, składania i uzupełnień łączy się ściśle z historią zamku w okresie ostatnich 200 lat. Studia oparte na analizie archiwaliów pochodzących z XIX i XX w., które jednak w sposób cząstkowy ujmują problematykę portali, uzupełniono analizą ikonografii oraz wynikami badań terenowych, prowadzonych w latach 2019-2021 przez zespół z Wydziału Architektury PWr. Zaprezentowane wyniki badań pozwoliły ujawnić problem związany z ustaleniem pierwotnej lokalizacji kilku portali oraz pochodzenia ich elementów składowych. Stan zachowania portali zmusza do podjęcia pilnej ingerencji konserwatorskiej. Niniejszy artykuł jest przyczynkiem do podjęcia szerszych badań i analiz detalu obramowań okiennych i drzwiowych w zamku Grodno w Zagórzu Śląskim.

EN

The article attempted to trace the history of the creation and conservation as well as changes in the location of modern portals in Grodno castle (Kinsburg). The turbulent history of their transfer, assembly and restoration is closely related to the history of the castle in the last 200 years. Research based on the analysis of archival materials from the $19^{th}$ and $20^{th}$ centuries, which, however, only partially capture the subject of the portals, were supplemented with an analysis of iconography and the results of field research conducted between 2019 and 2021 by a team from the Faculty of Architecture of the Wrocław University of Science and Technology. The presented research results revealed the problem of determining the original location of several portals and the origin of their components. The condition of the portals requires an urgent conservation intervention. This article encourages undertaking more extensive research and analysis of the details of window and door dressings in Grodno Castle in Zagórze Śląskie.

3

Odkrycie i konserwacja nieznanego sgraffita w Legnicy

83%

Rudkowski T.

Ochrona Zabytków

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1976

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issue 2

96-103

EN

In the second half of the 16th and at the beginning of the 17th century the biggest growth of sgraffito occured, aparat from Italy, in Silesia, Moravia and in Czechoslovakia. Adornments found in the Scholz House, 35 Rosenbergs Street in Legnica, make a good example of sgraffito. On the basis of investigations carried out it was stated that the adornments were preserved in a good state under plasters. It muJst be stressed that the rebuilding of the tenement house was not being carried out in accordance with restoration rules (e.g. the façade of the house was destroyed when the shop was being arranged at the ground floor). After completing the job of rebuilding, the restorers started the works associated with the uncovering of sgraffito. Plaster was being removed with hammers and scalpels while the sgraffito was protected with special bands of lime-sand mortar with addition of asbestos. Cracks and bubbles were eliminated with lime-casein injections. Places in which sgraffito mortar crushed were hardened with casein milk with addition of lime and phenol. Wlhen the adornments were uncovered, reconstruction of engobe and eompleitly destroyed drawings began. The author of this report is of the opinion that in spite of all the modern methods applied a number of mistakes were made. For instance some figurai representations underwent deformation. The Music Allegory, originally in a trailing dress, is now wearing tight-fitting trousers. The restorers must have missed the fold at the bottom of the dress and exposed the outline of legs. The author proves that the restorers did not get fully acquainted with the findings of laboratory experiments, which caused the removal of the fold at the bottom of the dress and exposed the Moreover, their knowledge of plaster tinting technology as applied to Silesian sgraffito was scanty. As no measures were undertaken in order to streighten the 17th century plasters, the author is of the opinion that the adornments will need restoration again in 10 or 15 years.

4

Konserwacja sgraffita z XVII wieku na kamienicy w Trzebiatowie

83%

Wójcik S.

Ochrona Zabytków

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1972

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issue 3

197-203

EN

The co n ten ts of th e p re s e n t re p o r t consists in conse rv a tio n of th e 17th c e n tu ry sg ra ffito decoration (256X312 cm) on a w a ll of th e town house in Z a ja z dowa s tre e t a t Trzeb iatów. The su b je c t of th is wo rk is an e lep h a n t w ith its k eeper. The sg ra ffito in q u e stion was a lre a d y two times su b d u ed to co n se rv a tio n tre a tm e n ts , n amely in 1895 an d in 1914. As a r e s u lt of th e s e tw o re s to ra tio n s a lm o st one q u a r te r of o rig in a l p la s te r was lo st an d th e th u s p ro d u c ed losses w e re filled w ith lim e -sa n d and cemen t m o rta rs , an d la te r on coated w ith two lay e rs of oil p a in t o v e r-p a in tin g s. The chemical in v e s tig a tio n s c a rrie d out on th e p re s e rved p o rtio n s of sg ra ffito h av e shown th a t th e lime- -s a n d p la s te r 1 cm th ick was la id in one la y e r an d th e n coloured g rey by m e an s of charcoal. On this g ro u n d was co n seq uen tly laid a th in g ro u n d c o n ta ining yellow ochre an d th e hollow cut d raw in g was made. P rio r to s ta rtin g th e co n se rv a tio n it h a s beer, sta te d th a t some 50 p e r cen t of p la s te r had b liste red an d c ra ck ed th u s showing n um e ro u s losses w h e re a s th e en tire su rfa c e was stro n g ly p o llu ted w ith ta r and flak in g p a in t th a t both caused th a t th e d raw in g is a t p re s e n t poorly legible. D u rin g th e p re s e n t co n se rv a tio n all th e la te r p la s te r su p p lem en ta tio n s and o v e r-p a in tin g s w e re removed. The oil p a in t was removed by means of p a ra f fin p a ste with a n a dm ix tu re of organic solvents. The b liste red p la s te r was fix ed w ith aq ueous solution of “P rim a l AC-33” (a k in d of ac ry lic resin) w ith an add itio n of sodium p e n ta c h lo ro p h e n o la te while th e m a jo r b lis te rs w e re a d d itio n a lly re in fo rc ed w ith th e use of copp e r w ire “sp id e rs ” fix ed w ith epoxide resin. To fix th e p a in tin g th e whole was s a tu ra te d w ith lime w a te r. The p la s te r losses w e re filled w ith lim e -sa n d m o rta r co ntaining an a dm ix tu re of charcoal. On completion of th e ab ove tre a tm e n ts a new lime p rim e r, con ta in in g yellow ochre has b een laid an d th e missing fragm e n ts of d raw in g w e re reco v ered . The re to u ch e s w e re e x e cuted w ith h o rizo n ta l yellow ochre lines w ith th e use of lime w ith “P rim a l AC-33” an d sodium p e n ta c h lo rp h en o la te addition.

5

Konserwacja sgraffit i wykusza kamienicy "Pod Przepiórczym Koszem" w Legnicy

71%

Stec M.

Ochrona Zabytków

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1996

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issue 3

313-323

EN

The most distinctive sgraffito decoration in Poland is found on the elevation of a house known as „Under the Quail Nest” in Legnica. The sgraffito in question was added into the elevation when the building was repaired in about the middle of the 16th century. The present-day state of the sgraffito is the outcome of three various conservation undertalkings, which means that we deal with four chronological layers: the original sgraffito from the middle of the 16th century, the supplementation from 1909, the year of restoration, new fragments made in 1971 during conservation and restoration, and, finally, supplementation carried out in 1993 in the course of the last conservation and restoration. At the end of the 18 th century or at the beginning of the 19th century the sgraffito decoration was covered by plaster and remained invisible and unknown for about hundred years. Conservation conducted at the beginning of our century recreated considerable parts of the most damaged sgraffito according to the then prevailing opinions i.e. by resorting to drawings — tracings of the pertinent fragments. The conservation performed in 1993 entailed cleaning the surface of the sgraffito, the liquidation of damaged joints and the supplementation of gaps. New bindings were applied after the completion of the work. The last operation involved infusing the whole surface with a hydrophobic substance. The stabilization of the sgraffito mortar was carried out by means of the injection method. In several spots the damaged joints were eliminated by applying the stucco technique used for transferring murals. As a rule, conservation was dictated by the unsatisfactory preservation of an object which, however, can be insufficiently legible. This was the case of the corner bay of the house in Legnica, whose actual condition became obvious after cleaning and the removal of loosened putties. This procedure disclosed the considerable threat to the construction. It now became necessary to take the bay apart, to conduct appropriate construction work and then to put the bay together again. The first of the three procedures entailed the transference of the sgraffito. This operation had to take into consideration the inclination of the sgraffito and the retention of the plastic qualities of the surface. The face was secured and the brick foundation was taken apart. After the completion of the construction, the sgraffito was replaced and the facing removed. The whole operation of the transference and the replacement of the sgraffito did not cause additional damage. Following conservation, the bay regained its earlier lightness and became an element which considerably enhanced the decorative merits of the house. The conservation of the sgraffito and masonry of the „Under the Quail Nest” house required the employment of numerous conservation techniques as well as technical and organizational solutions. Their realization was based on earlier conservation documents — written, photographic and published.

6

Kamieniarka i rzeźba dekoracyjna w Kazimierzu nad Wisłą

60%

Siciński K.

Ochrona Zabytków

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1952

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issue 2

95-104

7

Historia – kontekst – tożsamość. Powojenna odbudowa i dekoracja Starego Miasta w Olsztynie

59%

Wawrykiewicz L.

Ochrona Zabytków

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2019

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issue 1

73-112

PL

Artykuł jest kolejnym przyczynkiem do badań nad fenomenem powo¬jennej odbudowy polskich miast w formach historycznych i historyzu¬jących. W pracy podjęto próbę zarysowania mało znanych aspektów skomplikowanego i wielowątkowego procesu projektowania odbudowy Starego Miasta w Olsztynie po zniszczeniach 1945 roku oraz uzupełnienia dotychczasowego stanu badań w tym zakresie. Poruszono także problem oceny wartości architektury z okresu powojennej odbudowy staromiejskiej dzielnicy Olsztyna. W powojennej odbudowie miast rysuje się wyraźna dwoistość – odtwarzano średniowieczny układ urbanistyczny i jednoczenie realizowano założenia urbanistyki nowoczesnej. Odbudowę Olsztyna trudno nazwać rekonstrukcją, jego historyczna struktura została bowiem istotnie zmieniona. Patrząc jednak na realizacje późniejsze – modernistyczne oraz w duchu retrowersji – przyznać trzeba, że przyjęte wtedy założenia odbudowy w formach historyzujących okazały się z dzisiejszej perspektywy słuszne. Autorom takiej koncepcji udało się bowiem zachować „obraz” dawnego miasta. Kontekst historyczny, społeczno-kulturowy, polityczno-ekonomiczny i wreszcie architektoniczny miał niewątpliwy wpływ na kształt programu odbudowy tej dzielnicy staromiejskiej, a zrealizowana z niemałym trudem zabudowa stała się nośnikiem istotnych wartości. Wyróżnikiem olsztyńskiego Starego Miasta na tle innych odbudowanych ośrodków jest najbardziej współczesny charakter dekoracji plastycznych – specyficzne połączenie stylizowanej architektury o formach historyzujących ze sztuką już na wskroś nowoczesną, której cechy formalne w pełni odzwierciedlają współczesne tendencje rysujące się w plastyce lat 60. XX wieku. Wartością dekoracji staromiejskich, wykonanych głównie w technice sgraffito, jest zarówno indywidualny program tematyczny, jak i oryginalna forma plastyczna o współczesnym wyrazie artystycznym.

EN

This article is another contribution to research on the phenomenon of post-war reconstruction of Polish cities in historical and historicizing forms. The article attempts to highlight little-known aspects of the com¬plex and multi-task process of designing the reconstruction of the Old Town in Olsztyn after it was destroyed in 1945 and to fill gaps in the relevant research. It also examines the problem of valuation of the post-war architecture of the reconstructed Old Town District in Olsztyn. In towns and cities rebuilt after the war, there is a clearly visible duality – on the one hand, their restorers reconstructed the medieval urban layout, on the other hand, they aimed to achieve the objectives of modern urban planning. Olsztyn was rebuilt rather than reconstructed, because its historical structure was altered significantly. However, considering the subsequent projects – modernistic and in the spirit of retroversion – it must be admitted that, from today’s perspective, the then formulated objectives to rebuild the city in historicizing forms proved to be justified. This is because the authors of that concept managed to preserve the “image” of the pre-existing town. The historical, socio-cultural, political, economic and last but not least architectural context had an unquestion¬able impact on the nature of the old town reconstruction programme. The resulting built-up area, which required so much effort to recreate, embodies essential values today. What distinguishes the Old Town in Olsztyn from other rebuilt old towns is the most contemporary character of artistic decorations – stylized, historicizing architecture was specifically combined with art that was already thoroughly modern and whose formal features fully reflected the dominant trends in visual arts of the 1960s. The value of old-town decorations, produced mainly in the sgraffito technique, arises both from a specific range of themes and from their original artistic form, which is characterized by contemporary aesthetics.

8

Dekoracje architektury Starego Miasta w Olsztynie

48%

Czernik Z.

Ochrona Zabytków

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2010

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issue 1-4

61-72

EN

In 1945, the liberating Red Army caused enormous devastations to the Old Town in Olsztyn. Damaged, burnt and destroyed buildings – that was the picture of the liberation of the city, but also an unusual challenge for those who started to settle Olsztyn already from February 1945. In further years, the city was gradually cleared of debris and a non-uniform reconstruction process was eventually started, referring both to historicist (neo-Baroque) forms and the broadly understood modernism. By the beginning of the 1960s the Old Town in Olsztyn was reconstructed to a large extent. Among people engaged in the reconstruction of the Old Town there were also artists from Olsztyn. Their task was to arrange colours of selected objects and to design and prepare decorative motifs. Most of the artists living in the city participated in the performance of the above works, including Andrzej Samulowski, Bolesław Wolski, Maria Szymańska, Eugeniusz Kochanowski, Henryk Oszczakiewicz, Roman Ilkiewicz, Ryszard Wachowski, Maria Wachowska and Hieronim Skurpski. Works of those artists can still be seen today on the Olsztyn Market Square, Staromiejska, Prosta and Staszica streets, and we can also encounter single items on streets going beyond the area of the old historic Olsztyn. The thematic scope of the Old Town works oscillates around the subject of human labour. It can be categorised into several groups: the first of them comprises activities connected with the Warmia region and shown in a folk fashion. The second group is related to motifs referring to the intended use of buildings, which illustrate their functions connected with work and daily activities. The third group comprises geometrical motifs that complement figural decorations or occur as independent decorations. Another group represents the free use of plant motifs. We can also distinguish single independent decorations that are not linked thematically to the above, but refer to the Warmia and Masuria region. This undoubtedly interesting collection of works from Olsztyn is worth special attention. Inspired presumably by the Warsaw Old Town, it has become an integral part of the reconstructed city. It is also a testimony to the involvement of artists in the aesthetic aspect of the reconstruction. The prevailing technique is sgraffito, which is the most suitable technique for works of this kind because of its durability; the latter is best reflected by the fact that after more than 50 years decorations are still lucid and retain their colour. Painting & sculpture works in Olsztyn that are of interest to us are not covered by conservation protection; the same goes for most of the buildings decorated by them. As objects not entered into the register of monuments, they are handled without restraint, deformed or even destroyed fragmentarily or entirely. However, it is impossible to ignore their artistic values or grounds for their protection.

9

Metoda i wyniki badań wystroju malarskiego budynków przy ulicy Kanoniczej

48%

Bogdanowska A.

Ochrona Zabytków

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1972

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issue 1

17-22

EN

From among a number of possible methods as one most appropriate has been selected th a t consisting in making of cuts covering the outer p la ste r layers in the form of network formed of perpendicular and horizontal grooves of 10 cm width with spacings of 1 m between them. To expose all possible layers the stratigraphie sounds were placed at crossings or in places where a considerable loss of polychromed layers nearest to the surface has been observed. All the above works were carried out as those preceding investigations conducted by architects but in a close co-operation with a team responsible for these latter. As a result a number of painted ornamentations have been revealed dating as far back as to Gothic-times but also some of the most modern origin.

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7 Ochrona Zabytków

2 Architectus

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1 Bręczewska-Kulesza D.

1 Czernik Z.

1 Dziedzic T.

1 Rudkowski T.

1 Siciński K.

1 Stec M.

1 Wawrykiewicz L.

1 Wójcik S.

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"Esgrafiado segoviano" as an expression of the city's regional tradition and identity

Details' wandering – transformations of architectural details and sgraffito of Grodno Castle in Zagórze Śląskie

Odkrycie i konserwacja nieznanego sgraffita w Legnicy

Konserwacja sgraffita z XVII wieku na kamienicy w Trzebiatowie

Konserwacja sgraffit i wykusza kamienicy "Pod Przepiórczym Koszem" w Legnicy

Kamieniarka i rzeźba dekoracyjna w Kazimierzu nad Wisłą

Historia – kontekst – tożsamość. Powojenna odbudowa i dekoracja Starego Miasta w Olsztynie

Dekoracje architektury Starego Miasta w Olsztynie

Metoda i wyniki badań wystroju malarskiego budynków przy ulicy Kanoniczej