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Saga założycielska „Bogorii” – gazety samorządowej z Grodziska Mazowieckiego

100%
Szurek A.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2021
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vol. 62
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issue 3
99-115
EN
The concepts of saga and rhetorical vision constitute an element of the method of rhetorical criticism of fantasy theme analysis, introduced by Ernest Bormann. A saga is a continuously told and re-told story of the accomplishments of an individual, a group, or an institution, explaining its place in the world, the purpose of its existence, and its modus operandi. The paper is an attempt at presenting the saga built around Bogoria, i.e. the local free monthly from Grodzisk Mazowiecki, Poland, which has been published since 1992 by the local Cultural Centre. The material for analysis comes from various jubilee and anniversary editions, which contain mainly articles and manifestos where the editors try to explain their perception of what a local newspaper should be and what role it should play in a local community. The paper discusses the transformation of the Bogoria’s saga from the righteous-social model to the social one.
PL
Pojęcia sagi i retorycznej wizji są elementem metody krytyki retorycznej „motywu fantazjowania” przedstawionej przez Ernesta Bormanna. Saga jest nieustannie rozwijaną opowieścią o dokonaniach jednostki, grupy lub instytucji, wyjaśniającą jej miejsce w świecie, cel istnienia i sposób działania. Artykuł jest próbą przedstawienia sagi budowanej wokół gazety „Bogoria”, ukazującej się w Grodzisku Mazowieckim od 1992 roku. „Bogoria” jest bezpłatnym miesięcznikiem wydawanym przez lokalne Centrum Kultury. Analizowany materiał pochodzi z wydań jubileuszowych – setnego i dwusetnego numeru, z numerów z okazji dziesięciolecia, dwudziestolecia i dwudziestopięciolecia czasopisma. Są to przede wszystkim artykuły i manifesty, w których redaktorzy starają się określić, czym ich zdaniem powinna być lokalna gazeta i jakie funkcje powinna pełnić w społeczności. Artykuł omawia przemianę sagi „Bogorii” od modelu społeczno-moralnego do społecznego.
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Destrukcyjny wpływ wilgoci na stan zachowania obiektów zabytkowych na przykładzie dworu Mokronowskich w Jordanowicach

89%
Potocka A. D., Gazda R. W.
Ochrona Zabytków
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2001
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issue 4
385-392
EN
The devastation of historical objects is caused by numerous factors. The gravest threat posed for even the best preserved objects is concealed in moisture. Publications describing the mechanisms of damage caused by dampness are extremely extensive, and their discussion exceeds the space provided by this article. To put it in most general terms, moisture causes physico-chemical, mechanical and biological damage. The prime reason for the dampness of building walls is gro u n d -, ra in - and condensation water. The destruction of such an object follows a rapid course, but drying it calls for a long period of time. This is the reason why at the outset of conservation it is necessary to establish the degree of the dampness of the historical building, measure the relative moisture of the air, the dampness and temperature of the wall surfaces, and the heat conduction of the outer walls. Only the determination and identification of the causes of dampness make it possible to formulate a suitable conservation programme and its effective application. An initial analysis and examination of the titular object found that the main reasons for dampness are: 1. the unsuitable drainage of rainwater, 2. the absence of suitable drain pipes on the building and tin roof, 3. the absence of horizontal insulation, 4. the absence of vertical insulation or its inappropriate execution, 5. incorrectly conducted repair. The encroaching threat can be prevented by vertical horizontal insulation of the outer walls, draining the area around the building, including water from the collective sump, and vertical insulation of the inner walls with the polychrome by J. B. Plersch. A suitable selection of the insulation method and its rapid realisation are decisive for halting the progressing destruction of the object in question. Vertical insulation, employing the injection-coating method in the Aida-Kiesol, Remmers system, was conducted on the outer wall. Moisture measurements carried out in the autumn of 2001 confirmed the effectiveness of this particular method. Undoubtedly, such insulation should be applied in the whole object; together with roof repair, this approach will guarantee proper p ro tection against dampness.
3
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Odbudowa dworców Kolei Warszawsko- -Wiedeńskiej i linii Warszawsko-Kaliskiej po I wojnie światowej: Pruszków – Grodzisk Mazowiecki – Żyrardów – Radziwiłłów oraz Teresin/Szymanów

75%
Dudkowski M.
Ochrona Zabytków
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2015
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issue 1
77-94
EN
Railway station buildings, with beautiful structures and ornamentation, originating from the age-long tradition of the Polish building engineering, are well-established in our landscape. The architectural form of those railway stations is closely connected with the period of rebuilding the country after the destructions of World War I. The creative solutions of architects at that time, that included forms of so-called country style, now referred to as national or manor house ones, supported the reviving Polish state and were connected with a search for roots of own identity and the elimination of cultural traces of the occupant states. The railways, functioning in the period of partitions of Poland, were destroyed during military activities. The state of railway infrastructure in the reviving Poland was catastrophic. The end of the period of partitions and the turmoil of war was followed by the time of freedom and euphoria. The rebuilding of state structures of the country was undertaken immediately. In order to maintain and use the existing railway lines and build new ones, the Railway Routes Division was established within the Warsaw Railway Directorate. The design works connected with rebuilding the railway stations were performed in the architectural section of the Railway Routes Division and managed by Bronisław Brochwicz-Rogoyski, an experienced architect, whilst his deputies were Romuald Miller and Józef Wołkanowski. The design study, arranged by Rogoyski and Miller within the architectural section, faced various problems regarding reconstruction of railway stations, like a lack of archival technical files of the former railway buildings and, at the same time, due to the poor financial condition of the country after the war, a necessity to use the walls which had survived. Finally, two solutions were adopted at rebuilding railway station buildings: either their previous architectural form was restored with certain functional modifications or completely new buildings were designed, sometimes using the walls which had survived. In the latter case, the structures were reconstructed using the so-called country style. As early as in March 1920, there were reports in the press on first completed investments. At the turn of 1921 and 1922, building works at the 12 railway stations buildings in Pruszków, Żyrardów, Grodzisk, Radziwiłłów, Skierniewice, Teresin, Modlin, Zieleniec, Urle, Biała, Chotyłów and Terespol were completed. The author of most of the designs was the architect Romuald Miller. The head of the architectural section, Bronisław Brochwicz-Rogoyski, died in 1921. His successor was Romuald Miller, who held the post until 1924. The first group of rebuilt railway structures included the railway station buildings in Pruszków, Grodzisk Mazowiecki and Żyrardów. At each of those stations, there was a building before World War I, constructed at the turn of 1870s and 1880s by the Directorate of the Warsaw-Vienna Railway. Like on other stations of that line, they were typical brick buildings. The architectural form given to them during their reconstruction after war destructions was, on the one hand, an outcome of the recommendation in the architectonic section to use the country style and, one the other hand, the “polonization” of their architecture resulted, as it seems, from the political and patriotic obligation felt by the architects personally. The railway station buildings in Pruszków, Grodzisk Mazowiecki and Żyrardów were rebuilt using the relics of their old walls. The twin buildings in Radziwiłłów and Teresin/Szymanów were built anew. The rebuilding was planned for the years 1920-1922. It should be underlined that the principle of making the architectural form of railway station buildings uniform on the Warsaw-Vienna Railway (for example, the buildings in Żyrardów, Grodzisk Mazowiecki) or the Warsaw-Terespol Railway or the Vistula River Railroad (for example, wooden buildings at the railway stations in Gąsocin, Ciechanów) was executed as early as at the beginning of functioning or, in many cases, even during the construction of those lines. At that time, however, the typization of railway station buildings resulted primarily from the intention of maximum simplification and reduction of costs of their construction. On the other hand, making the architectural form of the railway stations uniform, executed in the first years after regaining independence by Poland, was a manifestation of their designers to give their architecture a mark of vernacularity and a Polish character.
4
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Konserwacja grotesek J. B. Plerscha na ścianie północnej i fragmencie ściany północno-wschodniej westybulu dworu Mokronowskich w Jordanowicach

71%
Wierzbicka M., Sawicki T.
Ochrona Zabytków
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2001
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issue 4
372-384
EN
The grotesques by J. B. Plersch in Jordanowice were conserved thrice during the post-war period — in 195 0 - 1951, 1952-1953 and 1999-2001. The material applied upon the first two occasions and the fatal technical state of the manor house extensively damaged the paintings. The discussed article presents the “deconservation” and “reconservation” of a fragment of the J. B. Plersch decorations — the topic of a diploma study written in the Department of the Conservation and Restoration of Works of Art at the Academy of Fine Arts in Warsaw. The conservation dating from the 1950s was severely criticised, although it should be taken into consideration that it was conducted for the p u rpose of salvaging the paintings by resorting to material available at that time — shellac, oil, egg white, wax, plaster, etc. During the latest conservation, it was necessary to tackle difficult technical problems associated with the considerable salination and unsatisfactory condition of the plaster as well as the necessity of removing earlier applied material, which rendered the painted layer indelible. Disintegrated fragments of the plaster were hardened by means of silicone resin Funcosil Steinfestiger 300. The additional strata of wax, oil and shellac were removed with assorted solutions of solvents. The following stages of conservation included emulation retouching of the missing elements of the painted layer and small reconstruction. Such an aesthetic solution is justified by the fact that the polychrome constitutes the most important element of the decoration of the vestibule. Missing elements of the grotesques could be reconstructed u p o n the basis of better preserved parts of the decoration on other walls and the doors. A comparison with grotesques by J. B. Plersch in the White House and the Palace on Water in the Warsaw Łazienki proved to be of great assistance.
5
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"Peintures des arabesques" J. B. Plerscha we dworze Mokronowskich w Jordanowicach - historia, technika wykonania i problemy konserwatorskie

71%
Potocka A. D.
Ochrona Zabytków
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2001
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issue 4
358-371
EN
In 1782 Jan Bogumił Plersch used the tempera technique to execute painted decorations of the walls, ceiling, wardrobes and two doors in the octagonal study in the Mokronowski manor house in Jordanowice. The decoration involves arabesque-grotesque ornaments and candelabra arabesques composed of masks and medallions with allegorical figures depicted against a light-hued backdrop. The general purpose of the conservation was to halt the destruction and degradation of the historical polychrome by gluing loose fragments and reinforcing strata of the floating coat, to gether with the construction foundation (by using organic silicone compounds), and halting the unhampered migration of salt within stratigraphie layers. It was necessary to employ desalination compresses. Subsequently, the polychrome surface was cleaned and secondary stratification — repainting, darkened retouching, putty and patches — were removed. The execution of the supplementation was adapted to the degree of the destruction of adjoining strata, with due care not to introduce measures that could prove to be excessively strong, cohesive and binding. It became indispensable to use wide-porous plaster. Aesthetic conservation encompassed both the ornaments and the background of the decoration as well as the reconstruction of n o n -ex tan t fragments of the polychrome. Due to the extensive devastation of the original painted layer it was necessary to conduct numerous consultations and detailed co-ordination concerning the character and range of the reconstruction. The reconstruction of the painted stratum was carried out upon the basis of an analogy with preserved fragments in the study, archival material and comparisons with other realisations by J. B. Plersch. Conceptions of aesthetic solutions were presented on boards. Owing to the decorative nature of the polychrome, it was decided to resort to emulation retouching in a minimally lighter tone.
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