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Ochrona zabytków architektury w świetle przygotowywanych nowych przepisów budowlanych

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Tajchman J.

Ochrona Zabytków

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1994

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issue 1

36-44

EN

Poland is at present the scene of work on ammendments to the Law on construction and the Decree of the Minister of Spatial Economy and Construction concerning technical conditions for buildings and their location. These regulations will be also binding for historical buildings subjected to construction work. The author draws attention to the fundamental contradiction contained in the formulation of the Law on construction which mentions the observation of the law on the protection of cultural property and the obligation to apply contemporary construction norms and regulations. Owing to the obligatory employment of those regulations, historical monuments which were created in different conditions will become the victim of devastation and deformation. Alongside these basic contradictions in the proposed Law on construction, there exists a whole series of faults such as the exclusion of the mandatory supervision performed by the author of the project, or the absence of the State Conservation Service in specialist supervision (as regards historical buildings). Subsequently, the author demonstrates that in the majority of instances it is impossible to apply the regulations of the decree in question without the destruction of certain historical elements. This holds true i.a. for outer doors, windows, ceilings and, predominantly for stairs which due to the implementation of the decree will be doomed to total disappearance although they do not constitute a value in themselves but comprise an essential element of the spatial configuration of the given historical building. The closing part of the article proposes statements which should be included in the Decree in order to avoid the destruction of historical monuments as a consequence of its appliance.

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W SPRAWIE KONIECZNOŚCI USTANOWIENIA STANDARDÓW WYKONYWANIA PROJEKTÓW DOTYCZĄCYCH PRAC PLANOWANYCH W ZABYTKACH ARCHITEKTURY

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Tajchman J.

Ochrona Zabytków

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2008

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issue 1

79-106

EN

The recently observed disturbing degradation of our architectural heritage is the outcome not only of an unsuitable approach of the investors, but also the insufficient conservation knowledge of the projects' authors and the absence of appropriate standards for preparing fitting documentation. The presented article is an attempt at creating foundations for architectural-conservation projects and conservation undertakings. It must be stressed that the existing standards for designing new constructions do not encompass the conservation specificity of monuments of architecture, even though the range of the statute on Construction Law embraces also non-movable monuments, i.e. those of architecture. Additional emphasis is due to the fact that projects relating to monuments of architecture call for an approach divergent from that pertaining to designing new buildings. This difference appears already at the stage of pre-project initiatives, which must involve a full historical reconnaissance of a given monument and its assessment, as well as a definition of the state of preservation and causes of damage; complex conclusions and conservation directives comprise the end stage. From the very onset, pre-project efforts must engage all specialists working on the documentation. They should include authors of historical studies and conservators-restorers of works of art. Contemporary construction does not always require an initial project, which in the case of historical monuments is obligatory and often should appear in several versions so as to select the best possible conservation conception. A construction-conservation project differs essentially from a project needed only for obtaining a construction permission. The architectural-conservation part of the project must resolve all the existing problems, and thus every detail must be designed as part of the execution drawings. This stage has to involve the origin of all conservation projects of architectural details and the outfitting, planned by the conservator-restorer of works of art. The realisation must also entail the 'auteur' supervision of all the participants of the preparation of the pre-project and project documentation (this obligation should never depend on the good will of the investor). In addition, architectural studies must be continued. Realisation work should end with post-execution documentation, devised separately for each specialisation. It is postulated that the post-execution documentation be prepared by the architectural designers (naturally, for a suitable fee), since, as rule, the executor is unprepared and the realisation changes, compared to the project, are extensive.

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Badania i prace projektowe w zabytkach architektury w świetle ogólnej problematyki ochrony i konserwacji zabytków

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Tajchman J.

Ochrona Zabytków

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1985

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issue 3-4

157-163

EN

The conservation of the complex or an individual monument of architecture is and should always be a uniform process representing the entity from the moment of its discernment, through design, research and executional work, until the accomplishment of post-execution documentation. Still, an inter-disciplinary nature of this process leads in practice to the „dispersion" of conservation problems, which finally brings about wrong decisions and thus about unsatisfactory execution. To large extent, problems of protection and conservation arise from the monument itself. They are inherent in its history, in individual character, value and also the „physical condition” it has preserved until today. A proper formulation of the conservators’ programmes is possible only through a full study of a given monument of architecture by all specialists participating in a conservation process and, first and foremost, by the persons setting out the programme for this process. I mean here the person or persons who carry out historic studies and the architect — the main designer. The first element in discerning monument of architecture by the designer is its correct conservatory cataloguing done by the designer or at least under his direction. The main basis for getting the knowledge of a monument of architecture should be complex historic studies. In practice we usually deal with three kinds of historic studies depending on the method employed and sources used. They include: 1. A historic-conservation study. This study covers research work carried out by means of humanistic methods through an analysis of written and iconographie sources and an analysis of the form and function of an architectonic work. The outcome of this analysis should always be confronted with general knowledge on the category of works to which a given monument belongs. 2. Archaeological studies: they are carried out by means of an excavation technique through an analysis of the stratigraphy of cultural strata and monuments of material culture contained in there. 3. Architectonic studies: these are studies on the examples of old architecture by means of surface and sounding techniques and by an analysis of building methods tand a stratigraphy of monuments substance. In addition to the above studies, other kinds of specialistic analyses are also employed. In some countries a term „archeometry" has been adopted for analyses made on the basis of natural sciences. Architectural studies in Poland are carried out by workers with different specializations: hence a number of incorrect measures can still be detected. The final goal of architectonic studies is to stratify a monument and to establish its absolute chronology. The final effect of comprehensive historic studies should be two kinds of conclusions: scientific and conservation ones. Conservation conclusions may be precised only after a given monument and its elements have been assessed. The assessment is a point of departure for all other activities. Basing on it as well as on full knowledge of the monument and the theory of the protection of cultural property a general conservation concept is being worked out. This concept determines a further vision of the monument as a unity. Unfortunately, in practice not many of measures undertaken are based on well-prepared and consistently executed conservation concepts. In the further part of conclusions one should deal with land layout (which should also be estimated) and specify the elements that have absolutely to be either preserved or restored. One should also single out less important elements of the layout which may be the subject of interference in order to adjust the monument to modern requirements. Only after a general concept has been solved and its relation to the spatial arrangement determined, other conservation problems can be dealt with. Architectonic studies have to be continued throughout building and conservation work. After conservation conclusions have been approved, further activities with regard to the monument depend on designers, including architects, who, apart from artistic abilities and technical knowledge, should also have additional predispositions such as affection and understanding of old architecture, ability to get subordinated to the monument, ability to work in a team, conservation knowledge and predilection for research work. The most common mistakes in conservation designing concern monuments’ substance and its creation (interpretation), As a rule, more attention is paid to artistic details, while monuments’ substance in form of technical elements as well as spatial or functional arrangements gets destroyed. A new function should be „inscribed” and not „cut in” the monument. Experience shows that the ways of using buildings get changed most often and therefore because these changes are frequent in a historic sense of the word, the old arrangement should not be destroyed. Mistakes concerning the creation are more difficult to be described. We should mention here a change in monuments' standard. How often rooms that were rather modest or had even a working nature are given an almost palace decor. This is a very serious but unfortunately also very common mistake. It changes completely a character of old architecture and is usually the result of an inability to get subordinated to the monument. The most difficult problem of the creation are additions. We speak then of the so-called reintegration. It is aimed at giving an incompletely preserved or deformed structure a certain architectonic form by combining its historic parts and indispensable complements into the uniform compositional entity. The method and scope of exposures of existing and uncovered historic elements should depend on the result of an assessing analysis made after the completion of studies. Integration work gives rise to broad discussions. It is associated with the problem of creative activity, a sense of composition and also of author’s rights with a simultaneous subordination to the monument. Building and conservation work requires a permanent author’s supervision, during which further designing takes often place. This supervision should be performed in a team with the participation of the author(s) of studies. An essential question of author’s supervision is the recording of discovered historic elements and consequent necessary changes in designing documentation. Apart from carrying out architectonic studies and compiling the material for post-execution documentation the implementation of author’s supervision is the best practical school of the conservation of architectural monuments.

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Drewniane drzwi zabytkowe na terenie Polski : systematyka i problematyka konserwatorska

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Tajchman J.

Ochrona Zabytków

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1991

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issue 4

269-277

EN

Among the numerous architectonic details which appeared in the course of centuries in Poland, carpentry offers the greatest number of various solutions. This divergence is true of fundamental elements (Table I — Doors and Gates), division according to the number of wings (Table II) as well as construction solutions (Table III). A true richness of forms, however, is to be found in the artistic decorations, their different systems and stylistic transformations (Table IV). Many of them could be compared to solutions applied in cabinet making (doors of wardrobes). We can distinguish three basic construction types in old door carpentry (Table III): 1. pivot doors, 2. plank doors, and 3. frame-panel doors. The plastic solutions depended on the classification of the doors, but above all on the various decorations on the outer side. These ornaments were characteristic either for a single type of construction or for two simultaneously. Moreover, in many instances one wing of the door revealed the simultaneous use of several types of embellishments. Decorations which occur on the door wings regardless of their stylistic and thus chronological character, can be presented in systems connected with the given type of construction: A. decorations on a plank construction (Table IV) — 1. metal, 2. wooden trellises, 3. pseudo-panel and-panel decorations, 4. planks, and 5. cut pseudo-panels; B. decorations on the plank and frame-panel construction — 1. elements of architectonic forms, 2. carvings; C. decorations on frame-panel constructions: 1. division into panels, 2. decorations along the edges of frames and on the surface of the panels, 3. covered meeting points of frames and panels. 4. ready-made elements. 5. in-laid ornaments, 6. filled clearances of panels. The conservation of door carpentry includes the following problems: 1. the retention of historical doors, 2. photographic, measurement and drawn documentation on a 1:10 scale — photogrammes and drawings of doors are made for both sides, while cross-sections on a 1:1 scale should show not only the profiles but also the construction 3. historical analysis which demonstrates the colour and layers; 4. technical analysis determining the state of preservation; 5. estimation of value; 6. programme of conservation work made upon the basis of points 2-5; 7. the realization of conservation (restoration) work and its documentation; 8. planning of new doors in historical buildings. A serious and frequently encountered error is to display unfinished carpentry work even in those cases when originally it was painted. In cases of a necessary planning of new doors, one should resign from reconstruction unless it is required by the extant interior.

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Konserwacja zabytków architektury - uwagi o metodzie

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Tajchman J.

Ochrona Zabytków

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1995

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issue 2

150-159

EN

The conservation of monuments of architecture is a highly complex process (Table 1). Its proper programming and execution call for a definite method of conduct whose point of departure is a thorough acquaintance with the monument in question and its assessment; these procedures lead to the formulation of conservation postulates and conclusions that serve as a base for the conservation project. The implementation of the latter must be conducted under suitable surveillance and end with post-execution documentation Extreme importance is attached to an all-sided familiarity with the monument since conservation is i.e. the outcome of the history and specificity of a given monument of architecture. We commence this examination with a measurement-drawing inventory. The basic part of the examination, however, consists of complex historical investigations which include: a) a historical-conservation study, b) archaeological research c) architectonic research (also known as a morphological analysis) .These investigations are supplemented by analyses of the decoration (e.g. paintings) and specialist analyses made upon the basis of the natural sciences (archeometric analyses). The final result of the study is the stratification and construction history of the monument together with scientific conclusions and a basis for preparing conservation conclusions and postulates.The monument under examination must be subjected to evaluation since the latter is decisive for the trend and range of further work. An evaluating analysis should pertain to all elements of the monument in its present-day shape as well as to historical transformations and conservation if such had been conducted. Detailed knowledge about the monument, the result of the evaluating analysis as well as postulates which stem from the contemporary theory of the protection of cultural property comprise a foundation for the preparation of conclusions and conservation postulates (Table II) which include: a) a general conservation conception which determines the further vision of the work of architecture as a whole, b) an analysis of the spatial-functional configuration which indicates which elements of that configuration should be retained (and even recreated) and which can be altered, c) an analysis of further various elements of the monument (such as its surrounding, the solid itself, details, outfitting, material etc.) from the point of view of their retention, manner of presentation, supplementation and eventual recreation.The accepted conclusions become directives that make it possible to prepare a conservation project which foresees various types of work such as adaptation, conservation (of the substance) and restoration. In case of need, these undertakings also include reintegration and recomposition, not to mention assorted manners of preservation (Table III). Such a project must be consulted by the authors of the research and it should resolve all conservation problems. It is precisely these features which distinguish it from projects made for modern constructions. The main executor of these projects is the architect who should have suitable predispositions and the capability of subjugating himself to the monument. The subsequent stage is the implementation of the project which should place the main emphasis on the concurrence of practical work and the project; it should also make the executor aware of the need to respect the authentic substance. Realisation calls for constant group surveillance whose duty it is to register the discovered elements, to alter the documentation, to pursue further research and to collect material for post-execution documentation. Authorss surveillance is the best school for the practical conservation of monuments of architecture.The realisation of the conservation programme should end with post-execution documentation which is not only essential for the future exploitation of the building but, predominantly, fulfils the scientific functions of an historical document. Documentation of this type should be prepared in such a manner as to enable its publication which presents the outcome and accomplishments of the conservation realisation.

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Ryszard Ganowicz, "Historyczne więźby dachowe polskich kościołów", z częścią Piotra Rappa "Historyczny rozwój ciesielskich konstrukcji dachowych w polskich kościołach", Poznań 2000 : [recenzja]

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Tajchman J.

Ochrona Zabytków

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2002

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issue 1

113-118

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6 Ochrona Zabytków

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Ochrona zabytków architektury w świetle przygotowywanych nowych przepisów budowlanych

W SPRAWIE KONIECZNOŚCI USTANOWIENIA STANDARDÓW WYKONYWANIA PROJEKTÓW DOTYCZĄCYCH PRAC PLANOWANYCH W ZABYTKACH ARCHITEKTURY

Badania i prace projektowe w zabytkach architektury w świetle ogólnej problematyki ochrony i konserwacji zabytków

Drewniane drzwi zabytkowe na terenie Polski : systematyka i problematyka konserwatorska

Konserwacja zabytków architektury - uwagi o metodzie

Ryszard Ganowicz, "Historyczne więźby dachowe polskich kościołów", z częścią Piotra Rappa "Historyczny rozwój ciesielskich konstrukcji dachowych w polskich kościołach", Poznań 2000 : [recenzja]