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EN
The architectural investigations of th a t setting were started in 1967. They form a valuable supplementation to historical knowledge acquired as a result of inquiries made in source materials th a t are being kept in archives. Where such kind of source material is not available or .inadequate architectural investigations must be considered to be the only source of historical knowledge. A thorough analysis not only enabled those carrying investigations to reconstruct the history of the separate houses, but it also revealed th e ir technical conditions forming an important factor in the furthe r course of designing work. To present results gained during investigations the author dealt in detail with data and findings which have been gathered from investigations carried out in the house numbered 19.
EN
On the example of the renovation of one of tenement houses at Floriańska street in Cracow, the author presents both successes and compromises as w e ll as, unfortunately, mistakes made at the stage of both design works and during their execution. The history of the building dates back to the medieval time, although first archival mentions come from the 16th century. Prior to the commencement of the works there could be seen various historic elements on the site of the house. In the first place one should mention here a fine renaissance wooden ceiling with profiled beams covering the front tract of the first floor, i.e. the former vestibule (divided anew in the 19th century). Moreover, on the lev e l of the ground floor and the cellars there have survived renaissance stone portals. An important e le ment of the interiors were also baroque banisters of the staircase. In 1972 the house got subjected to conservation studies. Results of the studies were unexpectedly abundant. A number of the examples of stonework such as gothic portals and window framings, a brick frieze of a renaissance attic (preserved to its full height, i.e. up to its crest), wooden ceilings with sectional beams, coloured renaissance painters’ frieze encircling the rooms in the front tract of the first floor and finally wall niches under the ceilling were uncovered. The renovation (1972—1973) had to reconcile an endeavour for a maximum maintenance of historic elements with u tility requirements of the investor. A serious and difficult problem was the uncovering of the altic. At the height of its strip there is the third floor of the building; front and back rooms on this floor were alighted with new windows made in the frieze of the attic. A satisfactory compromising solution was the lighting of the third floor with skylights hidden behind the attic, which made4 it possible to get rid off the w in dows in the frieze. Concrete relieving ceilings were introduced into all rooms and placed over original wooden ones. This lowered the height of all rooms by ca half a metre, deforming thus proportions of the interiors. A furter interference of the designer was a change in the direction of the main staircase leading from the first floor up to the third one. The outcome of this was a change of a wooden baroque staircase into a concrete wood- coated one with a clumsy copy of baroque banisters. In order to eliminate secondary divisions of the former vestibule and to uncover a beam ceiling and portals, the designer put a lower flight of the staircase of the wall. Most of the conservation works (1974—1978) were e x e cuted in a very fine way. And so, the frieze of the attic was darned carefully with brick, while its historic substance remained unchanged. The uncovered polychromy was partially reconstructed and partially restored, according to its condition. The stonework was preserved and made up. New carpentry work was performed on doors. However, during repair works genuine banisters of the stairs disappeared. In the place of the old ones made in so ft wood, new cak ones, much thinner, were put in. The only preserved old banister was fixed on one of the flight of the staircase upon a firm request of the author of the design. The balustrade surrounding the orifice of the skylight in the landing of the second floor has most of its banisters original. Still, they had to be shortened, just as new banisters were shown to be lower than the old ones (by ca 7 cm). When analyzing the entire conservation process the author comes to the conclusion that in order to improve the situation in the field of design and performance what is required is just a good w ill on behalf of performers, which can effe c tiv e ly be stimulated by the management of the company. On the other hand, with regard to conservation design a personal responsibility of the designer should be increased.
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