NAUKA SCIENCE

Mykola Orlenko* Ivan Buzin** orcid.org/0000–0002–4154–2856 orcid.org/ 0000–0003–2104–0290

Stylistic peculiarities, features of the use of building materials and structures in buildings of the latter half of the nineteenth century and the early twentieth century, and methods for their restoration (evidence from ) Cechy stylowe i charakterystyka wykorzystania materiałów i konstrukcji budynków z drugiej połowy XIX i początku XX wieku, oraz metody ich restauracji (przykłady z Ukrainy)

Key words: restoration, period of multi-stylishness, Słowa kluczowe: restauracja, okres różnorodności stylistic features, Ukraine stylów, cechy stylowe, Ukraina

INTRODUCTION not strive for stylistic purity and freely combined the characteristic elements of several styles at once. In cases The period of the latter half of the nineteenth century where the author of the building was a famous master, the and the early twentieth century is the epoch of the multi- object looked harmonious, in other cases there could be stylishness, namely the epoch of historicism-eclecticism only one window or entrance from, for instance, Gothic and Secession, which originated in Ukraine at the begin- style in the house, and the whole facade was a traditional ning of the twentieth century. Since the second half of private house in the so-called “Brick” style. the nineteenth century, a great creative freedom appeared There were certain peculiarities in the application to replace the clearly regulated traditions of the Classicist of building materials and structures from the second style and Empire, that resulted in the emergence of pseu- half of the nineteenth century until the fi rst decades of do-Gothic, pseudo-Renaissance, pseudo-Russian and the twentieth century. Understanding this specifi city even pseudo-Mauritanian buildings. There were certain is a prerequisite for the implementation of restoration restrictions concerning religious buildings: churches and measures at the monuments of the era of historicism, cathedrals are most often built in pseudo-Byzantine or eclecticism, and . pseudo-Russian styles, whereas in public and especially residential buildings, traditions of many styles of the past were creatively rethought. At the same time, it should TYPES OF FOUNDATIONS be noted that these were precisely pseudo-styles, since Restoration problems in one way or another concern the architects of the era of historicism-eclecticism did the preservation of the balance of the “footing-founda-

* Doctor of Architecture, Professor, Honorary President of * dr architektury, profesor, prezydent Korporacji Ukrrestavratsiia Ukrrestavratsiia Corporation ** graduate student, National University of Construc- ** student studiów doktoranckich, Kijowski Uniwersytet Bu- tion and Architecture, Assistant to the President of Ukr- downictwa i Architektury, asystent prezydenta Korporacji restavratsiia Corporation, Ukrrestavratsiia

Cytowanie / Citation: Orlenko M., Buzin I. Stylistic peculiarities, features of the use of building materials and structures in buildings of the latter half of the nineteenth century and the early twentieth century, and methods for their restoration (Evidence from Ukraine). Wiadomosci Konserwatorskie – Journal of Heritage Conservation 2019;59:97–105 Otrzymano / Received: 20.02.2019 • Zaakceptowano / Accepted: 18.05.2019 doi:10.17425/WK59UKRAINE

Praca dopuszczona do druku po recenzjach Article accepted for publishing after reviews

Wiadomości Konserwatorskie • Journal of Heritage Conservation • 59/2019 97 tion – building” system, the loss of which leads to its dressing, the existing state is consolidated by appropriate emergency state. At all periods, except for the beginning engineering and chemical-technological measures (tight- of the twentieth century, strip and pier footings were ening of stone blocks with steel bandings, prosthetics, used. In the second half of the nineteenth century there cavity fi lling, thorough injection works, etc. (St. Volod- were foundations made of over burned bricks or of lime- ymyr Cathedral in Chersonesos) [5, p. 320]; stone and rubble concrete (stone, brick) foundations. At 2) creating of the outer casing of “the belt” with steel the beginning of the twentieth century with the invention banding ties, that obstructs the horizontal spread of the of the pile system, besides the strip foundations made masonry, its stratifi cation, eccentric reduction (Bessara- of limestone, of over burned bricks and rubble concrete bian quarter). The disadvantages of this method for foundations, the foundations of bored piles were used. strengthening of the walls of architectural monuments Thus, we can conclude that the most signifi cant changes are as follows: the presence of metal bands on the facades in the development of the “footing-foundation” system or in the interior, the possibility of their corrosion and occurred at the beginning of the twentieth century, and weakening of bandages, braces; the concentration of in other periods, already existing foundation systems loads on brick walls leads to crushing in the places of the were practically spread and improved. Yes, this includes banding ties fi xing; limestone and sandstone foundations, rubble concrete 3) replacement of the bearing elements of the brick- foundations, and footings for wooden and stone build- work walls and partitions with a concrete or frame metal ings made of oak logs. Some types of foundations – like ones (in these cases the old masonry serves as cladding) the foundation of the “opus mixstum” type – disappeared (“The House with Chimaeras” at 10 ; after the Tatar-Mongol invasion, some – like founda- the Dormition Cathedral of the Kyiv-Pechersk Lavra tions made of over burned bricks – emerged only in the – strengthening the brickwork masonry of the pylon seventeenth century. At the end of the nineteenth and at – “reinforced concrete shirt”, Kyiv-Passenger Central the beginning of the twentieth century, a combination Railway Station [6, p. 832]; of strip and pile foundations was introduced (“House 4) injection of brick or rubble masonry with solu- with Chimaeras”, the Roman Catholic Church of Saint tions (cavities in the masonry are fi lled, joints between Nicholas in Kyiv) Fig. 1. the stone or brick are sealed, the destroyed mortar is It is very important to have information which con- restored, the allowable force for the construction is cerns binders and masonry mortars that correspond to increased (The Bell Tower of Saint Sophia’s Cathedral a particular period and a certain type of masonry. In the in Kyiv – strengthening the wall of the eastern facade); nineteenth – twentieth centuries, the laying of yellow 5) Masonry reinforcement or stitching (Italian meth- brick foundations is made with the use of lime mortar od “cemented mesh”, “Reticolo cementato”) is carried and lime mortar with powdered bricks. out to increase the strength and stability of the building, The walls could be made of yellow bricks of different its resistance to tensile forces by grouting steel reinforcing sizes with the use of the limestone mortar (all fl oors ex- bars into small holes drilled in the wall (The facades of cept the basement, “House with Chimaeras” at 10 Bank- the Bell Tower of Saint Sophia’s Cathedral in Kyiv). At ova Street, 1901–1903) [14, p. 366], the lime-sand mortar the same time, the permissible efforts on the masonry in- (Mariinskyi Palace, 1748–1868) [2, p. 158, 14, p. 366], crease, the structural integrity of the masonry is restored. the lime-cement and the cement-sand mortar), lime- Steel bars of reinforcement are fi rmly connected with the cement-sand (the National Philharmonic of Ukraine, masonry in which they are cemented. The volumetric 1882) and cement mortar (the basement of “House with integrity of the reinforcement mesh is ensured by the fact Chimaeras” at 10 Bankova Street, 1901–1903). that the reinforcement that enters the masonry overlaps There are the following combinations of combined each other. The more damaged the wall, the easier it is walls: half brick work masonry made of brick and wood to strengthen it with this method; with the use of the lime mortar and lime mortar with 6) replacement of deconstructive and signifi cantly salt powdered bricks (the 19th–20th centuries). effl oresced bricks. Capillary moisture and moistening of In the building of the National Philharmonic of a stone for more than 5% with saturation of a stone with Ukraine (formerly the Merchant’s Assembly Club, salts, leads to destruction; humid acids in capillary water 1882), the facade was originally unpainted, the front and salts of chloride of sodium sulphate, calcium and masonry was made from Kyiv clay yellow brick with magnesium crystallize into salt effl orescence; brick decor of feather-edged brick with the use of the 7) Strengthening of the crumbling bricks by spackling lime-sand and lime-cement-sand mortar; later the facade of the external surface of the honeycombed wall and was painted [4, p. 3]. fi lling of the open joints are performed if the dimensions Methods for strengthening of brickwork masonry of the caverns are less than 5 cm. (Mariinskyi Palace, are as follows: “House with Chimaeras” at 10 Bankova Street, National 1) re-laying of the brickwork of the walls (if the loss Philharmonic of Ukraine (Merchants’ Assembly Club, of a brick exceeds 1/3 of the thickness of the masonry 1882)) Fig. 2. fragments, with the removal of the destructive parts and For limestone or clay brick walling, a technology for the insertion of new fragments of brick, is performed the removing effl orescence from the basement part of by highly qualifi ed bricklayers). In the presence of stone the walls to a height of 2–3 meters (The Saint Volodymyr

98 Wiadomości Konserwatorskie • Journal of Heritage Conservation • 59/2019 Fig. 1. Types of foundations and methods of their strengthening

Wiadomości Konserwatorskie • Journal of Heritage Conservation • 59/2019 99 Cathedral in Chersonesos Taurica) has been developed. original colour spectrum remains the same, the use of The method of removing of water-soluble salts is based modern high-quality facade paints is allowed. Painting on the application of the action of direct current applied of the walls of architectural monuments provides for to the electrodes into a capillary-porous masonry sys- the preparation of the surface for painting, preparation tem fi lled with steam solution, and under the action of and application of primer, putty and facade paint (The current the salt solution is displaced from small pores National Philharmonic of Ukraine, Opera Houses in into large draining pores, from which the solution shifts Kyiv, Odessa and Lviv, Drama Theatre in Chernivtsi). downwards due to gravitational forces. The process of removing effl orescence under the action of electric cur- rent occurs throughout the thickness of the masonry, the TYPES OF CEILINGS AND VAULTS AND salt content in the upper rows of the masonry gradually METHODS FOR THEIR RESTORATION decreases and increases in the lower rows, from where Most of the causes of the emergency state of the vaults the salts pass into the soil. A condition for completing the and ceilings are based on a change in the hydro-geological desalting process of the whole thickness of masonry is the conditions of the footings and foundations, as evidenced permissible salt content in the lower part of the wall at by the emergency condition of the structures of the a depth of 5–10 cm from the side of the installed anode. Odessa Opera Theatre, caused by fl ooding of its footings As practice shows, the process of removing effl ores- and foundations, subsidental phenomena through the cence lasts 2–3 months. These works are usually per- bulk soils, karst phenomena; overweight of additional formed in April-June. After completion of this process, technical equipment of the stage box; errors in the use the waterproofi ng of the walls begins in order to prevent of the system of strip foundations of various widths and secondary salinization. depths for the building of the signifi cant weight, the The restoration of arches includes the injection of ineffectiveness of the works on silicatization of footings cracks in the masonry, the preservation and restoration [13, pp. 191–192] Fig. 1–2. of the surface of brick masonry, restoration of plaster, the The auditorium of the former Merchants’ Assembly use of weather-resistant facade paints (arched openings Club (now the National Philharmonic of Ukraine) is of the National Philharmonic of Ukraine). covered is covered with a mirror vault on a ceiling border, The restoration of the columns consists of injection dissected by rectangular caissons [4, p. 72]. In the Odessa of mortar in cracks in the masonry, preservation and Opera Theatre, the cross vaults are used in the central, restoration of the brick surface of masonries (if the western and eastern porticos. All the vaults of the Odes- columns are made of brick and plastered and painted), sa Theatre were in disrepair, the ceiling of the western prosthetics of damaged brick or wooden columns, restor- portico was in the emergency condition, therefore partial ing plaster, applying weather-resistant facade paints (K. re-laying of the vault was recommended [3, p. 142]. Rozumovskyi’s Palace in Baturyn, Odessa Opera House). In order to eliminate the emergency state of the Restoration of balconies provides for the replacement cross-dome vaults, a full load alleviation of the vault is of destroyed concrete slabs, full or fragmentary replace- used in several ways: ment of plaster and cement sculptures, restoration of cast a) by means of metal beams, with gaps of 5–10 cm be- and forged artistic black metal gratings (restoration of the tween the beams and the vault; balconies of the Mariinsky Palace and the National Phil- b) load alleviation of the vault by the method of its harmonic of Ukraine, Kyiv and Odessa Opera Theaters). reinforcement and concreting; There are several types of restoration plaster on the c) establishment of the reinforced concrete slab above façades: the roof and adjusting of the vault to it; – the fi rst grade plaster, which is applied using plaster d) unloading of the support contour of the vault from or alabaster grounds installed on the wall surface from the expansion forces by ring reinforcement and con- a layer of sprinkling, one or several layers of ground creting of the support belts with tier reinforcement cleavage and covering (“House with Chimaeras” at 10 of the masonry in the middle and 1/3 of the height Bankova Street, in Kyiv), Opera Theatres in Kyiv, Odessa of the vault. and Lviv). At the beginning of the twentieth century the con- Plaster fi xing: injection, partial replacement, rein- crete vaults of the Monier system were already used forcement with dowels from stainless steel (brass or cop- in the “House with Chimaeras” at 10 Bankova Street, per) followed by injection, impregnation of the surface – above all cellars, stables, laundry, , drawing layer before painting. room, lobby, above the driveway into the courtyard and Painting works on the facades of architectural monu- under it. ments are performed as the fi nal stage of the complex of Flat ceilings made of metal beams are represented restoration works. Before the facades painting, a survey by several types: of the remains of old coats of paint is carried out, the Type 1 – consists of a metal beam, wooden fl ooring level of salinization of the masonry and the plaster layer and wooden overlays for ceiling fi ling (the 17th–19th cen- is determined; the restoration of the brickwork and turies, “House with Chimaeras”, National Philharmonic plaster is completed, and the colouristics of the facades of Ukraine, National Bank of Ukraine, Instytutska Street, is determined for the period of the restoration. If the the city of Kyiv).

100 Wiadomości Konserwatorskie • Journal of Heritage Conservation • 59/2019 The problems and causes of the destruction of fl at Considering the different types of ceilings, the prob- ceilings of Type 1 on metal beams are as follows: lems of their emergency state are different: as a result of – unsatisfactory technical, emergency condition, espe- deformations of bearing structures, trusses are bended; cially in places of support; the plates, attaching trusses to columns, buckle; com- – insuffi cient bearing capacity, increase, above the norm bined ceilings subside and gaps appear along the line of loading; bolt holes of beams, cracks and chips; corrosion of metal – corrosion of the metal bearing beams, defl ection of ceiling structures is fi xed. the ceiling itself; restrictions of the terms of suitabil- The works on the reinforcement of ceilings are of ity for use and operational integrity of the building high priority. materials of the ceiling; Methods of reinforcement of reinforced concrete To strengthen the metal supporting beams of Type ceilings on metal beams include the following: 1, they are replaced if they do not withstand the load on – an increase in the number of metal beams while the ceiling and have damages through the full length. reducing the pitch of their installation; Type 2 – consists of a metal beam of I-bar, twin – strengthening the ceiling with additional supports; channels, a rail, a brick cylindrical vault (the 17th–19th – change of the scheme of work of the ceiling (con- centuries, Odessa and Kyiv Opera Theatres, the National creting of the bearing reinforced concrete slab from Bank of Ukraine). The ceiling of the foyer of the fi rst above, using the ceiling as a formwork) fl oor of the National Philharmonic of Ukraine is made – Creation of armour cement shirts in the vaulted and with the use of profi led beams [4, p. 72]. arched ceilings; The fl oor joists of the second and third tier of the – reinforcement of bearing metal beams of ceiling by Odessa Opera House subsided by 30 cm as a result of metal welding (increasing the cross-sectional area); subsidence and destruction of the outer walls. – the creation of monolithic reinforced concrete fl at or The problems and causes of fl at slab failure on the ribbed ceiling on metal beams; Type 2 metal beams are similar to Type 1 beams, as well – fi xation of cracks in reinforced concrete and metal as methods for their reinforcement. Thus, the subsid- ceiling with reinforcing rods and grouting. ental phenomena in the footings and foundations of the The methods of strengthening trusses consist in the National Philharmonic led to deformations of the foyer arrangement of steel supporting posts of the trusses and ceiling with vertical displacement of particular sections bracings in two levels of the portal wall and formation of up to 20–25 cm. steel stiffeners at the attic level above the spectators’ part. Type 3 – the ceiling with the Klein’s slab – consists A special feature of spectacular buildings (on the ex- of bricks, reinforced with rods, which are supported by ample of the Odessa Opera House) is the simultaneous metal beams fl anges of 120–240 mm high (brick vaults use of various types of ceilings made of various materi- on the metal beams of the Odessa Opera Theatre, the als, several types of wooden and complex metal fl oors National Bank of Ukraine in Kyiv). can be applied at once – interfl oor ceilings – concrete Methods to strengthen the Type 3 ceiling include the [3, p. 8], attic structures – monolithic ceiling made of following measures: reinforced concrete ribbed slab, brick vaults on metal – an increase in the number of metal beams while beams, ceilings made of metal fl ooring on beams fi lled reducing the spacing of their installation; with the remaining residue of the limestone sawing with – strengthening the ceiling with additional supports; lime mortar; monolithic reinforced concrete ceilings; – change of the scheme of the ceiling work (concreting radial trusses of complex confi guration of upper ceiling of the bearing reinforced concrete slab from above, [3, p. 6], large-span supporting structures of ceilings of using the ceiling as a formwork); stage openings of fi rewall walls; large-span supporting – reinforcement of the bearing metal beams of the ceil- structures of roofi ng trusses auditorium; the monolithic ing by metal welding (increasing the cross-sectional reinforced brick ceiling in all rooms with water processes; area); the framed structures of fl oors of lodges and balconies. – the creation of monolithic reinforced concrete fl at or Radial trusses were attached with plates to the col- ribbed ceiling on metal beams. umns. The trusses of the upper ceiling rested on an Type 4 – the ceiling of reinforced concrete on the annular metal I-beam along the top of the wall of the metal beams – consists of a metal beam, concrete and auditorium; the ceiling of the stage cage was made of the reinforcement (National Philharmonic of Ukraine, beams of a monolithic ribbed slab. part of the ceiling of the Kyrylo Rozumovskyi Palace in Baturyn after the restoration activities of the 1990s). In the building of the National Philharmonic of Ukraine, SPECIFICITY OF INTERIORS the ceiling above the basement is made of reinforced OF THE LATTER HALF concrete and vaulted concrete along steel rolling beams. OF THE NINETEENTH CENTURY The main problems of destruction of the ceiling Representative interiors of the nineteenth century on metal beams of Type 4 is an unsatisfactory technical had the following characteristic features: instead of emergency condition, insuffi cient bearing capacity and marble, cement was used in the decoration of the walls; the need to increase the load on the ceiling. a few gilding was only on the eaves and in some places

Wiadomości Konserwatorskie • Journal of Heritage Conservation • 59/2019 101 Fig. 2. Types of foundations, walls and interiors on the ceilings. After reconstruction, instead of wallpaper, the second half of the nineteenth century the fl oors were a gentle yellow-brown colour was used, the interiors covered with Brailovsky lime mortar, in the kitchen there became much more modest, the walls of particular cer- were stone fl oors, instead of wooden; there was parquet emonial rooms were solved in grey-lilac and blue-white fl oor in the hall and , in some other rooms colours, as well as a carpet and furniture [2, p. 67]. Since there was timber fl oor or cement fl oor painted with oil

102 Wiadomości Konserwatorskie • Journal of Heritage Conservation • 59/2019 paint. Subsequently, calorifi c heating was used instead architects, is perceived harmoniously and makes aesthetic of heating with stoves. impression. A special feature of the interiors of the 19th century The main problems of the emergency state of the is the transition from the strict traditions of classicism of monumental and decorative setting of the unique spec- the fi rst half of the 19th century to the multistylishness of tacular buildings of the second half of the nineteenth the second half of the 19th century. A mixture of styles can century may be associated with the following things: be clearly seen in the decoration of the auditorium of the – with the destructive impact of the emergency condi- Odessa Opera House, where the stylistics of the Viennese tion of the supporting structures on the state of stucco Baroque, Italian Renaissance and French Rococo are com- decoration and interiors (deformations of profi les and bined. Thus, the peculiarities of the interiors of this period stucco decoration were observed in the scenic portal consist in excessive pomp, the use of sculpture, bas-reliefs, of the Odessa Opera Theatre in the places of subsid- picturesque panels, gilding, openwork metal elements and ence of the bearing portal wall, cracks and damage to lighting elements. Restoration technologies envisage the paint layers were observed on the walls and plafond restoration of sculptures, reliefs, ornaments with gilding, of the tiers) [3, p. 36]; oil and tempera wall painting and artistic metal. – with wetting of plafond, walls and decoration, con- The main issues of interiors of the nineteenth century tamination of the paint layer, peeling of the plaster were associated with the appearance of cracks, deforma- from the base, chips of the decoration of the plafond tion of structures, slope of fl oors due to uneven subsid- and corrosion of metal elements, with changes in the ence of foundations, wetting of the footings, emergency relief of the plafond as a result of repairs; condition of stucco decoration, murals, artistic metal, – with the detachment of the paint layer of the painting mosaic and parquet fl oors. of the ceiling due to damage to the coating; Interiors of the second half of the nineteenth century – with deformation of the stairs, mosaic and parquet can be divided into mass (in residential buildings, typical fl oors, the presence of cracks, chipping and with public buildings) and unique (in the most signifi cant a change in the original fi gure [3, p. 39]. public buildings, palaces). In mass interiors, moulded – with a change in the original lighting and loss of details of eaves and plafond were typical, of mass produc- decorative elements. tion. In unique interiors, each element of the interior was The main restoration measures, except for direct designed by renowned architects, artists, sculptors, and measures taken to eliminate deformations of the main carvers, therefore, it is of great artistic and architectural architectural and structural systems and interior decora- value Fig. 2. tion works, concerned the following: By the degree of complexity of the decoration, the – clearing and restoration of the stucco decoration auditorium, the main staircase with the lobbies of unique of the ceiling of the auditorium, ceilings and walls spectacular buildings exceed Category IV, the stalls lobby, with the removal of later layers, with the addition of the mezzanine and two tiers belong to Category IV. losses, surface out-drawing with the restoration of The interiors of the Odessa Opera House are unique the original relief; interiors of the nineteenth century, where there are vari- – clearing the painting of the plafond of the auditorium ous types of monumental and decorative art characteristic with the removal of dirt, fi xing the paint layer, retouch- of buildings of this period (painting, relief – bas-reliefs, ing, antiseptic and covering with a layer of varnish; sculpture, stucco decoration, artistic metal, lighting devic- – replacement of the mounting of the stucco decoration es – the main chandelier, lamps, candelabra, according to of the walls and ceilings with the addition of losses author’s sketches) [3, p. 200]. The peculiar feature of this and restoration of the original relief by plaster carving period is the decoration of walls, ceilings, columns, stairs, [3, p. 52]; tiers, lobbies, passages to the lies of spectacular buildings – gilding of plaster stucco parts of the ceiling, walls and with sculptures of cupids, putti, Atlantes, muses, satyrs, tiers with gold leaf on the lacquer “Mordan”; stucco ornaments with gilding. – The use of old technologies of fi nishing with the use According to the author’s sketch, a theatre curtain was of traditional materials to preserve the acoustics of the created (the sketch of the curtain of the Odessa Opera auditorium; Theatre was created by the artist A. Golovin). The most – restoration according to special templates of cracked luxurious room of the best opera houses is still the audi- steps and their connection with the help of metal torium, where the ceiling can be decorated with tempera strips on pylons, when the ends of the strips are or oil painting (the ceiling of the Odessa Opera Theatre welded to the stepped strings; is decorated with four paintings by artist F. Leffl er based – replacement of emergency parquet fl oors of the au- on Shakespeare’s works, and in the centre of the ceiling ditorium; there is a unique large chandelier) [3, p. 200]. In the dec- – cleaning the surface of the balustrades from layers, oration of staircases used mosaic fl oors with a pattern, the injection of mastic in the cracks; grinding and polish- balustrade of a staircase was made of multicolour artifi cial ing surfaces, restoring the balustrades “under artifi cial hone-stone marble. marble” using high-quality plaster; However, a mixture of styles, the synthesis of varie- – production of the stage curtain according to the initial ties of monumental-decorative art, thanks to the skill of sketch.

Wiadomości Konserwatorskie • Journal of Heritage Conservation • 59/2019 103 RECREATION OF INTERIORS CONCLUSION OF THE BEGINNING Many problems of the emergency state of architectural OF THE TWENTIETH CENTURY monuments, including arches and ceilings, are due to the fact that the architects who designed these buildings The interiors of the early twentieth century were made some mistakes in the design schemes, and did not notable for the spread of the Art Nouveau style in mod- understand the need to preserve the static nature of the elling, metal and ceramic elements, oil and tempera wall “footing-foundation-building” system, and the direct paintings, stained glass windows, therefore restoration connection between the emergence of cracks in the ceil- technologies are aimed at the restoring stucco and paint- ings and vaults and subsidental phenomena in the footings ing decorations, stained glass windows, metal elements, and foundations. heating appliances and fl oors made according to the On the example of the constructions of the Odessa author’s designs. Like the interiors of the second half Opera House, one can see how over time the design of the 19th century, the interiors of the beginning of the schemes of unique spectacular buildings became more 20th century were widespread, with typical factory-made complex, when several types of ceilings were used at the décor, and the unique ones. same time in one object. This is evidence that the restora- Comprehensive reproduction of interiors should be tion technology for the elimination of the emergency state considered on the examples of the “House with Chi- of each type of structure may be different, but the main maeras” and the former of the house owner requirement is the maximum preservation of authentic Rodzianko at 14-b Yaroslaviv Val Street, converted into materials and structures. This requires restorers to use a “Suziria” theatre, which embodies the characteristic technology fl exibly in accordance with each task. features of the interiors of the Art Nouveau era in Kyiv, A comprehensive survey and reproduction of the in- namely, a large number of lavishly decorated rooms, teriors of the “House with Chimaeras” and Rodzianko’s including the lobby with the original main stairs and apartment made it possible to determine those building sculptures. materials and technologies that were used in the residential Signs of Art Nouveau are in the ceiling of the cere- interiors at the end of the 19th and the early 20th centuries: monial lobby of the “House with Chimaeras”, where an a) At the beginning of the twentieth century a layer of enormous colour sprout spread along the edges, original lime-gypsum-sand mortar (vapor-permeable lime-gyp- asymmetrical phytomorphic compositions, picturesque sum of variable composition) plaster mortar was applied plafond; the plafond of Rodzianko’s English on the brickwork, on top of it – a gypsum fi nishing with plots on the subject of hunting and plaster stucco coat with a thickness of 3–10 mm, emulsion putty and decoration; in the designing of the decorated alcove emulsion paint. Lime prevailed in the composition of the in W. Horodetsky’s ; in the wall paintings on plaster mortar on the brickwork; gypsum prevailed on the a hunting theme on the main staircase of the “House wooden surfaces. Sometimes the layer of the lime-sand with Chimaeras”. The main staircases were lined with plaster mortar was covered with a lime-gypsum-sand white Carrara marble “in the black vein”, the black stairs cover, a textured linkcrusta paper, a putty and a paint were granite. layer, or old posters were stuck on the lime-gypsum-sand Since Art Nouveau in Ukraine was often combined fi nishing coat and silk wallpapers on them. with the layering of other styles, classical caissons could b) On the wooden wall frieze, a gray two-layer putty be used in the decoration. was applied, a layer of varnish, and the stucco details were In the unique interiors, plastering was made with cast from gypsum, then they were covered with several vapor-permeable lime-gypsum mortar on brick mason- layers of boiled linseed oil, an emulsion putty with a layer ry and wooden partitions (“House with Chimaeras”); of varnish and a layer of paint. plastering with the use of gypsum plaster mortar with c) Gypsum mouldings and stucco decoration were a small admixture of lime on shingles; gypsum stucco covered by impregnation with hot linseed oil, putty and mouldings of the ceiling coated with boiled linseed oil, a layer of ground cleavage. Often it was used imitation of putty, bronze paint and varnish (the apartment of L.P. wood grained borders or mouldings. Part of the stucco Rodzianko). decoration was made not of gypsum, but of a lime-gyp- Problems can be associated with the infl uence of sum-sand mortar (sometimes with the addition of gyp- deformations of architectural and structural systems on sum). If the molded parts were made of lime-sand mortar, the state of the interior décor; the appearance of cracks; a levelling layer of a gypsum fi nishing was applied on it, wetting of the base, plaster and paint layer; peeling of and then a layer of varnish imitating a natural texture was the plaster from the base and the wooden base structures applied on it. Sculptures and stucco decorations could were damaged by bio destroyers; deforming plaster areas be molded from the cement-sand mortar. A terrazzo with stucco decoration; loss of part of the mural painting technique was used – a casting of cement mortar with and stucco decoration; cracks, chipped and mechanically marble aggregate. Stucco decoration were covered with damaged marble of the front staircase and fi gured balus- transparent paints for pictorial art. They used decorative trade made of light gray terrazzo; later paint and plaster wood imitation, marbling, and natural stone imitation, layers, which covered the wall painting (wall painting including in the facing panels and fake fi replaces. Oil on the hunting theme in the “House with Chimaeras”). technology allowed you to create the so-called “alfresco

104 Wiadomości Konserwatorskie • Journal of Heritage Conservation • 59/2019 painted marble.” Fireplaces could also be made from oration of gypsum covered with boiled linseed oil, with lime-cement-sand mortar, decorated with plaster stucco emulsion putty, paint and varnish, was attached on top. and painted on top. The main restoration activities are as follows: d) The practice of arranging the lining of walls with – elimination of deformations of architectural and wood, the arrangement of wooden panels was used. constructive systems causing the destruction of mon- Wooden elements were covered with a layer of varnish, umental-decorative interior designing; wooden mouldings – with a thick layer of putty, on top – elimination of moistening and replacement of dam- with a layer of varnish, then with Dutch foil from white aged plaster; metal and paint, and a wooden frieze – with several lay- – restoration of stucco decoration and replacement of ers of putty and a layer of varnish. Directly the door was emergency areas; covered with oil putty with painting, a layer of lacquer – restoration of easel painting of the ceiling; with gilding, primer, and colorful layers were additionally – restoration of the stairs; applied to the laid on pattern. – layer-by-layer disclosure by compresses of paintings e) The ceiling is most often plastered with a plaster from later monochromatic layers and restoration of layer of gypsum mortar with lime additives, a stucco dec- wall paintings.

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Abstract Streszczenie The article describes the period of multi-stylishness W artykule omówiono okres różnorodności stylów in the architecture of buildings of the second half of w architekturze budynków z 2. połowy XIX wieku the 19th century – beginning of the 20th century, and i początku XX wieku, oraz wykazano, że materiały it is proved that building materials and constructions budowlane oraz konstrukcje, które zastosowano which were used at that time, determined the current w tamtym okresie, wpłynęły na dobór metod ich re- restoration methods. waloryzacji.

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