TIPURI DE INTERVENÞII PE CLÃDIRI ISTORICE / Types of ... · mult pe patinã ºi picturã pentru...

Studii ºi cercetãri ºtiinþifice de arhitecturã ºi urbanism / Architecture and Urban Research Studies / AARRGGUUMMEENNTT 336611

TTIIPPUURRII DDEE IINNTTEERRVVEENNÞÞIIII PPEE CCLLÃÃDDIIRRII IISSTTOORRIICCEE // TTyyppeess ooff IInntteerrvveennttiioonnss oonn HHiissttoorriiccaall BBuuiillddiinnggss

Prep. drd. arh. /Junior Teaching Assist. PhD c. Arch. CCrriissttiiaa CCHHIIRRAA

[email protected]

RREEZZUUMMAATT

Bucureºtiul îºi poate pierde, încet dar sigur, clãdirile cuvaloare istoricã, clãdirile cu valoare arhitecturalã ºiambientalã. Clãdiri valoroase au fost declasate, pentru aputea fi demolate de diverºi întreprinzãtori locali ºi strãini,în schimb au fost pãstrate clãdiri ºi zone luate la grãmadã,în primii ani, care blocheazã ºi azi dezvoltarea corectã aoraºului.În mijlocul acestui haos se mai gãsesc investitori care înþelegvaloarea imobilelor ai cãror proprietari au devenit: clãdiride mijloc sau sfârºit de secol XIX, început de secol XX, careau aparþinut aristocraþiei locale sau marii burghezii, înputernicã ascensiune în acele perioade. Ei sunt investitoriicare aleg sã reabiliteze clãdirile ºi nu sã le dãrâme pentru ale înlocui cu imobile noi.Articolul se referã la lucrãrile de conservare ºi reabilitarea atrei astfel de clãdiri bucureºtene: douã dintre acestea segãsesc pe lista monumentelor istorice ºi au fost protejate delege; cea de-a treia a avut ºansa de a avea un proprietarcare i-a preþuit valoarea. În toate cele trei situaþii, reabilitarea a presupus:consolidare, conservare ºi upgradare respectiv echiparetehnicã la nivelul secolului XXI, operaþiuni ce presupuncolaborarea cu profesioniºti specializaþi din toatedomeniile.

CCuuvviinnttee cchheeiiee:: Bucureºti, secolul XIX, clãdire istoricã, valoarearhitecturalã, valoare ambientalã, consolidare, reabilitare,conservare, upgradare

AABBSSTTRRAACCTT

Bucharest can lose gradually its historical buildings, witharchitectural and environmental value. Valuable buildingshave been declassified, in order to be demolished by variouslocal and foreign businessmen, other buildings have beenkept with no discernment, thus obstructing the correct citydevelopment. In the middle of this chaos there are still investors whounderstand the value of buildings they own: the mid to lateXIXth century buildings which had been owned by the localaristocracy or great bourgeoisie from, then in full ascension.They were the investors who have chosen to rehabilitatenot demolish the buildings and replace them with newones. This paper refers to the preservation and rehabilitation ofthree such buildings in Bucharest: two of them are listed ashistorical monuments and have been protected as such bylaw; the other one is not listed, but had the chance to havean owner who apreciated its value. In all three cases, rehabilitation included consolidation,preservation and upgrade, respectively a modern technicalequipment, operations assuming collaboration betweenprofessionals from various fields.

KKeeyywwoorrddss:: Bucharest, XIXth century, historical building,architectural value, environmental value, consolidation,rehabilitation, preservation, upgrade

Bucureºtiul îºi poate pierde, încet dar sigur, clãdirilede valoare. Nu vorbim numai despre cele cu valoareistoricã, ci ºi despre clãdiri cu valoare arhitecturalã ºiambientalã. Clãdiri valoroase au fost declasate, pentru a putea fidemolate de diverºi întreprinzãtori locali ºi strãini, înschimb au fost pãstrate clãdiri ºi zone luate lagrãmadã, în primii ani, care blocheazã ºi azidezvoltarea corectã a oraºului.În mijlocul acestui haos se mai gãsesc investitori careînþeleg valoarea imobilelor ai cãror proprietari audevenit: clãdiri de mijloc sau sfârºit de secol XIX,început de secol XX, care au aparþinut aristocraþieilocale sau marii burghezii, în puternicã ascensiune înacele perioade. Ei sunt investitorii care aleg sãreabiliteze clãdirile ºi nu sã le dãrâme pentru a leînlocui cu imobile noi.Reabilitarea din punct de vedere arhitectural a unorastfel de clãdiri trebuie abordatã în primul rând curespect faþã de istoria lor, faþã de mediul înconjurãtorºi faþã de stilul cãruia îi aparþin. Conservarea arhitecturalã a unei clãdiri istorice estecomplexã: în primul rând pentru faptul cã edificiultrebuie sã rãmânã în picioare ºi sã fie stabil pentrumulþi ani ºi de acum încolo, în al doilea rând, dinpunct de vedere economic, trebuie sã fie funcþionalãºi utilizatã la maxima capacitate, în al treilea rând,trebuie sã reziste efectelor climatului ºi, în al patrulearând, o întreagã echipã de profesioniºti trebuie sãcolaboreze.Un profesionist poate fi definit ca o persoanã carecontribuie artistic, intelectual sau practic la un proiect.Profesiunile principale ce se pot implica într-un proiectde reabilitare sunt: arhitecþi, manageri de proiect,ingineri de structuri ºi de instalaþii, meseriaºispecializaþi în diferite domenii, constructori ºi, înunele cazuri, chiar arheologi, urbaniºti, geologi,hidrologi, seismologi etc. Nu trebuie uitat niciproprietarul clãdirii ºi reprezentanþii sãi, care sunt, de

336622 Universitatea de Arhitecturã ºi Urbanism “Ion Mincu”/”Ion Mincu” University of Architecture and Urban Planning

In a slow but sure process, Bucharest may loseimportant, valuable buildings. We do not have inmind only the buildings having historic value, but alsothose having architectural and environmental value. Valuable buildings have been downgraded in order tobe demolished by local or foreign investors, whilstother buildings or entire areas of little architectural orhistorical value have been maintained, fact which hasa negative impact on the correct development of thetown. In all this chaos, there still are investors aware of thevalue of the buildings they own at present, buildings

dated mid- or late 19th century, early 20th centurywhich belonged to local aristocracy or bourgeoisie infast progress at that time. Such investors choose torehabilitate the edifices instead of demolishing themin order to make room for new ones.In terms of architecture, the rehabilitation of suchedifices should be approached with due respect fortheir history, for the environment and the style theybelong to.The architectural conservation of a historical buildingis a complex process: first, because the edifice shouldbe standing and secure for a long time from now on;secondly, in terms of economy, it must be functionaland used at maximum capacity, then, it must beresistant to the effects of the climate and, finally, itrequires the cooperation of an entire team ofprofessionals.A professional can be defined as a person having anartistic, intellectual or practical contribution to aproject. The main professions involved in arehabilitation project are the architects, projectmanagers, structural or installation engineers,craftsmen specialised in different fields, builders and,in some cases, even archaeologists, town planners,geologists, hydrologists, seismologists, etc. We alsohave to mention the owner of the building and his

asemenea, figuri foarte importante în aceastãcolaborare. Este, deci, destul de complex sã ajungi lao armonie esteticã în cadrul unui asemenea grup deprofesii.Un arhitect trebuie sã se apropie de o astfel deconstrucþie cu mare atenþie, grijã ºi multã rãbdare. Având ocazia sã particip, în cadrul unei echipe deproiectare, la reabilitarea unor clãdiri de secol XIX ºiXX din Bucureºti, pe care le voi enumera mai târziu,mi-am dat seama ce mare importanþã au avut anii deucenicie din atelierul arhitecþilor Mãnciulescu -Negoescu petrecuþi în timpul bursei de la Paris ºiexperienþa de pe platourile de filmare, în construcþiidecor, de la Castel Film ºi de la Buftea din primii anide meserie. Nu numai cunoaºterea stilurilor, a materialelor,proiectarea propriu-zisã, dar ºi întâlnirea cumeseriaºii: la Paris, cei care moºteneau din tatã-n fiuun meºteºug, celebru, al înaintaºilor, iar aici, înconstrucþii decor, un domeniu în care se mai gãsesccâþiva meseriaºi adevãraþi, pãstrãtori ai unorîndeletniciri aproape dispãrute în România, a avutpentru mine o importanþã deosebitã. În Franþa, un arhitect lucreazã cu oameni care ºtiuexact ce au de fãcut ºi vin cu propuneri de aºamanierã încât arhitectul nu are emoþii cã nu i se vorrealiza proiectele legate de mobilier, tapiþerie,stucaturi, sticlãrie, restaurãri de parchet etc. La noi,arhitectul este mereu oprit din „avânt” de dificultateade a gãsi un om specializat, capabil sã ducã la bunsfârºit propunerile sale.De fapt comparând prima cu ultima lucrare, anii 2004cu anul 2011, am sesizat o revigorare a acestormeserii ºi la noi în þarã. În 2004 am colaborat cu un tâmplar singuratic carerenovase tâmplãria de la Peleº în anii 1978-79 ºireuºise sã îºi pãstreze pasiunea pentru meserie.Picturile de pe tavane au fost restaurate de o echipãde pictori cu care lucrasem la Buftea, specializaþi mai


representatives, who play a very important part inthis cooperation. Reaching the aesthetic harmonywhen so many trades are involved is, therefore, adelicate and complex process. The architect should address such edifices with greatcare, attention and patience. I had the opportunity to participate, as a member ofa design engineering team, in the rehabilitation of

some edifices from the 19th and 20th centuries, inBucharest. This activity helped me understand theimportance of the years of apprenticeship in thestudio of the architects Mãnciulescu – Negoescuduring the grant in Paris, and of the experience I hadin set construction for film industry in Castel Film andBuftea, during my early years of work. These yearswere important not only for the knowledge Iachieved on styles, materials, design, but also for theexperience of meeting expert craftsmen, both inParis, where they have inherited from father to sonthe famed craft of their ancestors, and here, in the artof set construction, a field in which we can still findsome true craftsmen, keepers of skills that havealmost disappeared in Romania. In France, an architect works with people who knowexactly what they have to do, and who come withsolutions; the architect has no reason to worry hisprojects on furniture, tapestry, stuccowork,glassware, parquet restoration might fail. Here, anarchitect is always stopped in his intentions by thedifficulty of finding experienced craftsmen capable togive substance to his ideas.Yet, when comparing the work experience I had in2004 with the one in 2011, I notice the renewal ofsuch crafts in our country as well. In 2004, I worked together with a solitary carpenterwho, in 1978-79, had refurbished the woodwork inPeleº Castle. When I met him, he was still verypassionate for his craft. The paintings on the ceilings

mult pe patinã ºi picturã pentru decoruri. Din aceastãcauzã, au fost nevoiþi sã se întoarcã sã refacã anumitedetalii pe care prima oarã nu au ºtiut cum sã leabordeze. Acum însã, tavanele arata încã perfect ºipictorii specializaþi pe pictura decor s-au specializat ºipe restaurãri.În 2011, însã, lucram cu un atelier de tâmplãrie, omicã antreprizã cu meseriaºi buni, de diferite vârste,ºi am avut de unde alege pictorii restauratori. Aceastaeste o consecinþã a cererii de pe piaþa construcþiilordin ultimii ani în domeniul restaurãrilor. Majoritatea clãdirilor istorice din Bucureºti au fost, înmai micã sau în mai mare mãsurã, mutilate delocatarii instalaþi dupã evacuarea adevãraþilorproprietari. Noii locatari erau prea îngrãmãdiþi ºi preapuþin interesaþi de valoarea arhitecturalã a clãdirii, înîncercarea lor disperatã de a convieþui.Mã voi referi în continuare la lucrãrile de conservareºi reabilitarea a trei astfel de clãdiri ce au avut ºi eleparte de acest gen de tratamente.


were restored by a team of painters with whom I hadwork in Buftea, specialised mainly in patina andscenery painting. Because of their former formation,they had to come back and rework some of thedetails they had not been able to approach the firsttime. At present, the ceilings look perfect and thoseartists, who were specialised in scenery painting, havespecialised in painting restoration as well.In 2011 I worked with a woodwork workshop, a smallenterprise with good craftsmen of different ages andI had a large choice of artists in painting restoration.This is the result of the demand on the constructionmarket in restoration field. Most of the historical edifices in Bucharest have beenmore or less mutilated by the occupants installed bythe communist regime after the owners had beenevacuated from their houses. Several families wereplaced in a house designed for one family, and intheir desperate attempt to live sharing the same area,they showed no interest at all in the architecturalvalue of the building. I am going to speak about the conservation andrehabilitation work on three such buildings.


Lângã Biserica Pitar Moº se afla vechea clãdire a uneilocuinþe bogate ridicatã la începutul secolului XX, oconstrucþie frumoasã care nu era trecutã pe listamonumentelor istorice /Near Pitar Moº Church thereis an old rich building erected in early 20th century, abeautiful edifice that has not been included on thelist of the historical monuments,

În piaþa cu rond de pe Stelea Spãtaru, în zonacentrului vechi al Bucureºtiului, o casã monumentistoric de sfârºit de secol XIX / A house declaredhistorical monument dated late XIXth century, in theround square in Stelea Spãtaru Street, in the historicalcentre of Bucharest.

Casa generalului Arion, o impunãtoare clãdire pestrada Nicolae Iorga, monument istoric ce dateazã dela 1882, lucrare încã în derulare / The house ofgeneral Arion, an imposing edifice in Nicolae IorgaStreet, historical monument dated 1882, an ongoingproject.

Interesantã a fost atitudinea noilor proprietari faþãde aceste clãdiri. Dacã primele douã clãdiri, cea din Stelea Spãtaru ºicea din Nicolae Iorga, se gãsesc pe listamonumentelor istorice ºi au fost protejate de legepentru a li se respecta valoarea, cea care ar fi putut fimodificatã în orice fel, cea din Pitar Moº, a avut ºansaunui proprietar care a preþuit-o tocmai pentru acestaspect. El a remarcat valoarea arhitecturalã a casei ºia hotãrât reabilitarea ei, urmând ca, în viitor, sã poatãfi folositã ca locuinþã, eventual sediu de firmã sauambasadã. Nu multe clãdiri vechi din Bucureºti au avut aceastãºansã.În toate cele trei situaþii, reabilitarea a presupus:consolidare, conservare ºi upgradare respectivechipare tehnicã la nivelul secolului XXI), iarproblemele cu care s-a confruntat echipa deproiectare au fost, în principal, urmãtoarele:

- restaurarea decoraþiilor interioare de la nivelultavanelor - revenirea la configuraþia planimetricã iniþialã azonelor reprezentative - recondiþionarea tâmplãriei interioare ºi exterioare - pãstrarea ºi recondiþionarea feroneriei - pãstrarea prin recondiþionare a parchetului iniþialsau înlocuirea sa - pãstrarea decoraþiilor exterioare - proiectarea mansardelor - probleme legate de echiparea tehnicã aconstrucþiilor

Toate acestea, dupã cum am spus, presupuncolaborarea cu profesioniºti specializaþi din toatedomeniile.


The attitude of the new owners towards theseedifices is indeed interesting. Two of the buildings, the one in Stelea Spãtaru Streetand the one in Nicolae Iorga Street, are listed ashistorical monuments and are protected by law. Thebuilding in Pitar Moº Street had the great chance tobe bought by someone who understood thearchitectural value of the house and took the decisionto have the edifice rehabilitated, in order to be usedas dwelling, company headquarters or embassy in thefuture. Few edifices in Bucharest have had such a chance.

The rehabilitation in these three cases consists of:consolidation, conservation and upgrading (installing

21st century utilities), and the main issues the designteam had to face were as follows:

- restoration of interior decorations on ceilings - return to the original planimetric configuration ofrepresentative areas - preservation and reconditioning of interior andexterior woodwork- reconditioning of ironwork- preservation of the original parquet throughreconditioning or replacement- preservation of exterior decorations - attic design - retrofitting the buildings with modern utilities

All these aspects, as already mentioned, suppose thecooperation with experts in each and every field.

CCOONNSSOOLLIIDDAARREE

ªtim cu toþii cã, prin forþa gravitaþiei, merele cad dinpomi ºi vechile structuri, pânã la urmã cedeazã.Pentru cei ce sunt familiarizaþi, cât de cât, cu acestdomeniu, devine evident faptul cã nu teoriagravitaþiei funcþioneazã în cazul rezistenþei lor întimp, ci mai degrabã o „putere a obiºnuinþei”. Înmulte cazuri, considerând cã „puterea obiºnuinþei” nueste una din explicaþiile valabile, ne întrebam ceanume tine aceste clãdiri încã în picioare ºi chiar maistabile decât ne-am putea imagina.Inginerii constructori cu care am colaborat spuneaucã primul ºi cel mai important lucru în abordarea uneiastfel de structuri este faptul ca ea trebuie înþeleasã.Problema este cã, la început cel puþin, este foartegreu de înþeles ce anume se întâmplã exact cu ea; nuºtim unde se descarcã sarcinile, nu cunoaºtem la ceeforturi poate fi supusã, nu cunoaºtem exact careeste nivelul ei de degradare ºi ce efecte are acestaasupra elementelor sale.Abordarea structurilor vechi se poate face pe maimulte cãi, din care unele pot fi de-a dreptuldistructive. De aceea arhitectul trebuie sã participealãturi de inginerul de rezistenþã la alegerea soluþieide consolidare.Este foarte dificil, când nu ai experienþã în domeniu,sã abordezi o structurã veche altfel decât structuranouã cu care te întâlneºti curent. Cei implicaþi în astfelde proiecte nu sunt oameni care riscã sã greºeascã, cisunt oameni cu experienþã, care ºtiu ce fac. Estedestul de greu pentru un inginer de structuri sã uitepregãtirea sa anterioarã care îi spune cã toateelementele verticale trebuie sã fie perfect verticale ºicã toate pardoselile trebuie sã fie drepte. El trebuie sãaccepte cã structurile vechi nu corespund perfectstandardelor. Ajungem deci la concluzia cã evaluarea unei astfel destructuri a unei clãdiri istorice are de-a face atât cu


CCOONNSSOOLLIIDDAATTIIOONN

We all know that the force of gravitation causes thefall of apples and the collapse of old structures. Forthose who are familiar with this field it becomesobvious that the resistance in time of old buildings isnot governed by gravitation, but by some sort of“power of habit”. In many cases, thinking that the“power of habit” is not a valid explanation, wewonder what keeps them standing in a more stablecondition than we could imagine.Civil engineers we worked with said that the first andmost important thing in approaching such structuresis the fact that they have to be understood, which isnot easy, at least at the beginning: we do not knowwhere loads are removed, we do not know the straina structure can bear, we do not know the level ofdegradation and the impact it has upon the buildingmembers. Old structures can be addressed in many ways, someof which can be totally destructive. This is why thearchitect should participate, together with thestrength engineer, in the selection of theconsolidation solution.It is difficult, when you lack experience in the field, toaddress an old structure; this process is different fromthe way you approach the new structures youcurrently meet. Those involved in such projects arenot people who take risks in making mistakes, butexperienced specialists, well aware of what they aredoing. It is rather difficult for a structural engineer toput aside his former education which says that allvertical members should be perfectly vertical and allfloors should be flat, and accept that old structuresdo not always perfectly meet standards. We come therefore to the conclusion that theevaluation of the structure, in the case of historicalbuildings, is related to both art and science. In the three cases under discussion there were several

arta cât ºi cu ºtiinþa.În cazurile la care ne referim au existat mai multeatitudini faþã de consolidare, deoarece clãdirile ºiproblemele lor au fost diferite. Aceste abordãri aleinginerilor au dus la probleme apãrute în zonadecoraþiilor, probleme ce au trebuit rezolvate dearhitecþi. Pot fi date ca exemplu completareadecoraþiei în zona perimetralã a tavanului, în cazulclãdirii din Pitar Moº, datorate îngroºãrii pereþilordupã cãmãºuire.La Nicolae Iorga, având în vedere starea bunã adecoraþiilor de la parter, consolidarea s-a rezumat laatacarea unor zone mai puþin importante, reuºindu-se evitarea unor încãrcãri suplimentare ale stucaturii ºipicturii tavanelor. Stelea Spãtaru însã, este un exemplu de clãdire veche,parter mansardã, foarte bine legatã constructiv, lacare consolidarea a presupus lucrãri minime.

CCOONNSSEERRVVAARREE

RReessttaauurraarreeaa ddeeccoorraaþþiiiilloorr ddee llaa nniivveelluull ttaavvaanneelloorr

S-a dorit pãstrarea tavanelor de la parter, gãsite înstare relativ bunã, cu stucatura originalã bineconservatã. Aceasta a fost problema numãrul unu latoate cele trei construcþii. În toate cazurile, datoritã stucaturii bogate, planºeelenu au putut fi popite pentru a fi turnatã placa, deaceea s-au ales soluþii inedite.Mai dificilã a fost rezolvarea pãstrãrii tavanelor laPitar Moº, unde grinzile originale prezentau oelasticitate cauzatã de uzura lor. Aceastã elasticitatear fi dus la fisurarea tavanelor existente, decorate custucaturã, în momentul turnãrii plãcii de beton. Deaceastã datã bogata stucaturã pictatã de laintradosul planºeului peste parter a fost salvatã prinancorarea grinzilor de lemn de pereþii laterali cutiranþi puternici, pe toatã perioada turnãrii plãcii.


attitudes towards consolidation, because thebuildings and the problems they had were different.The engineering approach led to issues occurring inthe decoration areas, issues that had to be solved byarchitects. Such an example is the completion of thedecoration in the ceiling perimeter area, due to wallthickening because of the additional reinforcement inthe building in Pitar Moº Street.In Nicolae Iorga Street, taking into account the goodcondition of the decorations of the ground floor, theconsolidation consisted in approaching less importantareas, avoiding, thus, an extra loading of thestuccowork and of the paintings on the ceilings. The edifice in Stelea Spãtaru Street is an example ofold building consisting of ground floor and mansardwith very good constructive connection, where theconsolidation required minimal work.

CCOONNSSEERRVVAATTIIOONN

RReessttoorraattiioonn ooff ddeeccoorraattiioonnss aatt tthhee cceeiilliinngg lleevveell

The intention was to preserve the ceilings on theground floor which were in quite good condition andhad the original stuccowork well conserved. This wasthe main problem for all three buildings. Due to the rich stuccowork, the ceilings of the threeedifices could not be propped for the placement ofthe concrete slab; this is why original solutions havebeen found. Because the original beams presented some elasticitycaused by wear, the operation of preserving theceilings in Pitar Moº Street raised more difficulties.During the placement of the concrete plate, thiselasticity would have resulted in the cracking of theexisting ceilings decorated with stuccowork. In thiscase, the rich, painted stuccowork on the soffit of theceiling above the ground floor was preserved byanchoring the beams to the walls, with anchoring

Aceastã turnare s-a fãcut manual, iar planºeul dingrinzi de lemn susþinute de cabluri, în care s-auintrodus grinzi suplimentare de beton armat, a fostfolosit ca un cofraj. La Nicolae Iorga, în urma expertizei, s-a constatat cãnu sunt necesare planºee de beton. Au fost, totuºi,luate în calcul în soluþia de consolidare, la insistenþabeneficiarului. Este ºi aceasta o atitudine. Proprietariiau dorit ca imobilul, monument istoric sã nu sedegradeze în anii ce urmeazã. Placa de beton a fostturnatã în condiþii normale deoarece grinzile aveaudimensiuni impresionante, fiind ºi traversate de oreþea suplimentarã de grinzi metalice adãugate înanii ‘70.


rods, during the placement of the concrete slab. Theplacement was made manually, and the ceiling ofwood beams supported by cables, in which additionalreinforced concrete beams were introduced, servedas shuttering. Following the expert assessment In N. Iorga Street, itwas decided that concrete slabs were not necessaryfor this building. Because the client insisted upon it,they were, nevertheless, taken into calculation in thesolution for consolidation. This indeed showsattitude! The owners wanted this edifice, which is ahistorical monument, to last over the years and beprotected against degradation. The concrete slab waspoured under normal conditions due to theimpressive size of the beams and to the fact that theyare crossed by an additional network of metal beamsadded in the 70’s. In the main hall of the building in Stelea SpãtaruStreet, the occupants had introduced partitions in

La Stelea Spãtaru, unde salonul principal a fostcompartimentat de chiriaºi pentru a crea spatiisuplimentare, decoraþia a avut de suferit ºi a fostnecesar sã se adauge stucaturi pentru a refacemodelul iniþial. De asemenea, au fost refãcute ºicelelalte încãperi, pentru a reda o imagine coerentãîntregului nivel. Tavanele valoroase, cu stucaturi bine conservate, aurãmas intacte la toate cele trei lucrãri. Intervenþia derestaurare a fost în mare mãsura pe picturã, ºi maipuþin pe stucaturã. Stucatura a fost restauratã prinluarea de amprente de pe martori ºi refacerea lor înateliere.Pictura a fost refãcutã cu ajutorul unei echipe depictori care au respectat culorile ºi modelele iniþialegãsite sub straturile de humã.Este o muncã migãloasã ºi foarte costisitoare pentruproprietari. De aceea este de admirat implicarea lor înrestaurarea acestor opere de artã.

RReevveenniirreeaa llaa ccoonnffiigguurraaþþiiaa ppllaanniimmeettrriiccãã iinniiþþiiaallãã aa zzoonneelloorr rreepprreezzeennttaattiivvee

Am afirmat ca aceste clãdiri au suferit multiplemutilãri în urma convieþuirii la comun a unorpersoane cu nivel diferit de educaþie ºi cu posibilitãþifinanciare diverse.La Pitar Moº, dupã o analizã a situaþiei existente ºi unreleveu amãnunþit, am constatat ca în locul scãriimonumentale pe care orice casã cu etaj de acest tip oavea în holul principal, existau douã bãi cuplate,construite de ultimii locatari pentru a-ºi îmbunãtãþiconfortul. Planºeul din zona fostei scãri fusesecompletat cu o dalã de beton armat. În urmaintervenþiei a fost înlãturatã placa ºi s-a reconstituitscara istoricã a cãrei balustradã originalã a fost gãsitãla o scarã de serviciu improvizatã în anii de dupãrãzboi.


order to create additional rooms, and this affectedthe decoration. It was, therefore, necessary to addstuccowork to recreate the original ornamentation.The other rooms have also been restored, to providethe entire storey with a coherent image. The valuable ceilings, provided with well conservedstuccowork, have remained intact in all three edifices.The restoration intervention was necessary especiallyon the painting, and less on the stuccowork. Therestoration of the stuccowork was made by takingmoulds from existing parts and recreating such partsin workshops. The painting was restored by a team of artists whofollowed the original colours and patterns foundbeneath the layers of clay.It is a long, painstaking work for the artists, andrather expensive for the building owners. This is whywe can but admire the owners’ involvement in therestoration of these pieces of art.

RReettuurrnn ttoo tthhee oorriiggiinnaall ppllaanniimmeettrriicc ccoonnffiigguurraattiioonn ooff rreepprreesseennttaattiivvee aarreeaass

We have already said that these buildings sufferedmultiple mutilations due to the fact that many peoplewith different levels of education and varied financeswere forced to live in the same dwelling.In Pitar Moº Street, after the analysis of the existingcondition and a thorough survey, we found out thatinstead of the monumental staircase any such houseused to have in the main hall, two bathrooms hadbeen built by the former occupants in order toimprove their comfort. An additional reinforcedconcrete slab had been added to the floor, in the areaof the initial staircase. During the intervention, theadditional concrete slab was removed and theoriginal staircase was restored. The original handrailof the staircase was found on some side stairwayimprovised during the war.

Un lucru asemãnãtor s-a petrecut ºi în casa din NIorga. De aceastã datã nu locatarii înghesuiþi înperioada comunistã au fost de vinã, ci, se pare,familia Slãtineanu, care a cumpãrat casa de lageneralul Arion. O scarã improvizatã dar de o calitateextraordinarã, cu un vang curbat cum numai meºteriiinterbelici puteau sã execute, a apãrut în holul centralal etajului pentru a face legãtura cu nivelul doi,mansardat. ªi aici s-a revenit la forma iniþialã aspaþiului, prin îndepãrtarea acestei scãri.

La Stelea Spãtaru, salonul principal a fost „recuperat”prin demolarea pereþilor de compartimentare carecompuneau un apartament. Aceasta a implicat atâtrefacerea tavanului despre care am amintit mai sus,cât ºi înlocuirea totalã a parchetului parterului,imposibil de recuperat în condiþiile date.


Something similar occurred in N. Iorga Street,although in this case the modification was notproduced by a crowd of occupants placed in thehouse during the communist time, but, apparently, bySlãtineanu family, who had bought the edifice fromgeneral Arion. The central hall was provided with astairway of exquisite quality, with a curvedstringboard that only the craftsmen in the interwarperiod were able to create, was placed in the centralhall of the first floor, to link it to the upper level. Heretoo, the space was brought back to its initial shape,by removing the staircase.

In Stelea Spãtaru Str., the main hall was “recovered”by demolishing the partition walls which formed anapartment. This action involved both the abovementioned ceiling restoration and the totalreplacement of the parquet on the ground floor, as itwas impossible to recuperate the original parquetunder the existing conditions.

RReeccoonnddiiþþiioonnaarreeaa ttââmmppllããrriieeii iinntteerriiooaarree ººii eexxtteerriiooaarree -- pãstrarea ºi recondiþionarea feroneriei -- pãstrarea prin recondiþionare sau înlocuireaparchetului iniþial

Pentru toate recondiþionãrile a fost obligatoriegãsirea unor echipe specializate de furnizori care sãînþeleagã bine tipul de intervenþie ºi care sã posedetehnicile, materialele ºi sculele necesare execuþieilucrãrii. Mã refer la restauratori de lemn, de stuc, deipsos, de stuccomarmurã, frescã, fier forjat, vitralii ºivitrouri, cristal bizotat, parchet, mozaic, sticlã givratãsau sablatã. La toate cele trei clãdiri problemele de restaurare aufost aceleaºi, cu diferenþa menþionatã la început, decolaborare cu meseriaºii.


RReeccoonnddiittiioonniinngg ooff tthhee iinntteerriioorr aanndd eexxtteerriioorr wwooooddwwoorrkk -- Preservation and reconditioning of ironwork -- Preservation through reconditioning or the initialparquet or its replacement

For the reconditioning work it was imperative to findteams of specialised craftsmen able to understand thespecific type of intervention and having thetechniques, materials and tools required for thecompletion of the work. I have in mind specialists inrestoration of woodwork, stuccowork, plaster, stucco-marble, fresco, wrought iron, stained glass, bevelledglass, parquet, mosaic, sandblasted or frosted glass. The restoration problems were the same for all threebuildings, with the above mentioned differencerelated to the role of the craftsmen.

De exemplu, restaurarea tâmplãriilorinterioare, de lemn, bogat sculptate, dardegradate, a cerut o muncã migãloasã ºide mare rãbdare ºi fineþe. / For instance, the restoration of theinterior woodwork, richly carved butdegraded, required a painstaking work,of great patience and finesse.


Uºi de mari dimensiuni,alcãtuite, în cele mai multecazuri, din mai multe esenþede lemn, de exemplu stejar ºinuc, au fost perfect restauratede tâmplari specializaþi./Large sized doors, most ofthem made of a combinationof wood essences, such as oakand walnut, have beenperfectly restored by expertcarpenters.

Tâmplãriile exterioare s-auexecutat din lemn stratificat,cu geam termopan,pãstrându-se conformaþiainiþialã a sprosurilor.Feroneriile au fost recuperateºi, repuse în operã, aufuncþionat perfect./Theexterior woodwork was madeof engineered wood, withinsulated glazing, preservingthe initial conformation ofsash bars. Most metal fittingswere recovered.

Multe dintre ele, au fost refãcute dupã modeleleiniþiale. În alte cazuri, respectiv Stelea Spãtaru, unde,o datã cu plecarea chiriaºilor din casã, au dispãruttotal, am reuºit sã le înlocuim cu feronerii originale,achiziþionate de la anticari.

Astfel, decorurile originale au fost respectate lainterior ºi la exterior.În casa din Pitar Moº, sticla glasswandului dintre douãsaloane era intactã, chiar daca a traversat douãcutremure mari . Din cauza unui accident pe ºantier,am fost nevoiþi sã refacem unul dintre ochiurile degeam. Am apelat la o fabricã specializatã care areuºit, prin tehnici actuale, sã redea identic modelulcomplex al geamului givrat.

Pardoseala parterului clãdirii din Nicolae Iorga areprezentat un caz interesant de rezolvare a unuiparchet al anilor 1882, un parchet triplu stratificat,având ca ultim strat un placaj de lemn în douãnuanþe. Este o dovadã a faptului cã aceastã tehnicãde execuþie, respectiv parchetul stratificat, dateazãdin secolul XIX. Reabilitarea pardoselii a fost, pentrurestauratori, o adevãratã provocare.

PPããssttrraarreeaa ddeeccoorraaþþiiiilloorr eexxtteerriiooaarree

O atenþie deosebitã s-a acordat faþadelor. Astfel, s-aurefãcut cu mare acurateþe detaliile ºi profilele petoate faþadele, confecþionându-se unele noi, acolounde reparaþiile nu au fost posibile. Bineînþeles, îndecursul acestei operaþii, s-a înlocuit total tencuialaexistentã, puternic degradatã, ºi s-au ales cu maregrijã culorile de faþadã pentru a o pãstra în spiritulepocii.Obþinerea nuanþelor iniþiale s-a fãcut prin decopertãrisuccesive ale straturilor de vopsea, pânã s-a ajuns lavopseaua originalã. De aici s-a încercat respectareacât mai fidelã a acesteia.


Some of them were remade according to the originalpatterns. In Stelea Spãtaru Street such fittings totallyvanished when the occupants left the house but wewere able to replace them with original metal fittingsfound in antique shops.

Therefore both interior and exterior originaldecorations were respected.In Pitar Moº Street, the glass of the glass-wallbetween two sitting rooms was intact, in spite of thetwo earthquakes it had suffered. Because of a siteaccident, we needed to remake one of the glasspanes. A specialised factory was able, throughmodern technique, to identically recreate thecomplex pattern of the frosted glass.

The floor of the building in Nicolae Iorga Street is aninteresting example of solving the parquet made in1882. We are speaking about parquet in three layers,with the upper layer made of wood in two shades. Itis a proof of the fact that this technique of layered

parquet dates since the 19th century. Therehabilitation of the floor was indeed a challenge forthe restoration team.

PPrreesseerrvvaattiioonn ooff eexxtteerriioorr ddeeccoorraattiioonnss

Special attention was given to facades. Facade detailsand profiles were restored with great accuracy, andwhere the repair work was not possible, newelements were created, similar to the existing ones.Of course, the existing coating, totally degraded, wasreplaced, and the colours for the facade werecarefully chosen in order to maintain the spirit of thetime. The initial colours were found by successivelyremoving the coat layers until the initial paint wasreached. Then, efforts were taken towards its faithfulobservation.

PPrroobblleemmee lleeggaattee ddee eecchhiippaarreeaa tteehhnniiccaa aa ccoonnssttrruuccþþiiiilloorr

Rezolvarea echipãrii tehnice a unei clãdiri istorice esteo mare provocare. Ea trebuie tratatã în detaliu,deoarece este dificil sã împaci cerinþele tehnice cuprincipiile conservãrii. Toate aceste noi dotãri trebuieluate în considerare, împreunã cu cele existente, înreabilitarea unei clãdiri vechi. Putem spune cã oclãdire are aceeaºi vârstã cu vârsta echipamentelortehnice pe care le conþine. În aceeaºi ordine de idei, oclãdire veche capãtã o viaþã nouã prin reînnoireadotãrilor sale.În cazul clãdirilor la care facem referire modificãrilestructurale au permis ºi necesitat ºi o îmbunãtãþire ainstalaþiilor. Au putut fi organizate noi încãperi debaie ºi un sistem centralizat de încãlzire ºi ventilare,sisteme de alarmare ºi informatizare. Montarea ºi instalarea acestor echipamente careasigurã un confort la nivelul secolului XXI presupuneintervenþii majore în zona pereþilor ºi a pardoselilor ºireprezintã o laturã importantã a unui astfel deproiect.A fost cazul ca, la rândul nostru, sã intervenim prin„inventarea” unor profile specifice care sã maschezeinstalaþiile noi, apãrute, câteodatã brutal, înambianta secolelor trecute.Aºa cum istoria a dovedit, reabilitarea a fost unproces natural în evoluþia oraºelor sau în viaþaclãdirilor bine construite. În zilele noastre, datoritãschimbãrii rapide a modelelor de viaþã ºi a scãriiactivitãþilor, trebuie adoptatã o politicã de„upgradare” mai conºtientã, mai ales daca toatevalorile clãdirilor istorice ºi a oraºelor din care acesteafac parte vor fi recunoscute, pãstrate ºi folosite.Reabilitarea are avantaje sociale, culturale ºieconomice. Sociale, deoarece oamenii ºi oraºele lor îºipãstreazã identitatea; culturale, deoarece valorileartistice, arhitecturale, arheologice ºi documentarepot fi pãstrate, atât pentru contribuþia lor la


PPrroobblleemmss rreellaatteedd ttoo uuttiilliittiieess iinnssttaallllaattiioonn

Solving the installation of modern utilities in ahistorical building is a huge challenge. It has to betreated in detail, because it is not easy to match thetechnical requirements with the principles ofconservation. During the rehabilitation of an oldbuilding, the elements of new equipment must betaken into consideration together with the existingones. We may say that the age of a building is givenby the age of the equipment in it, and we may addthat an old building is given new life when utilitiesand equipment are renewed. In the buildings under discussion, the modificationsbrought to structures required and allowed for theimprovement of the installations. Bathrooms werereorganised and a central heating and ventilationsystem was introduced, together with informationalarm systems. Mounting and installing such equipments which

provide 21st century comfort involve majorinterventions in the wall and floor areas andrepresent a major part in such a project. In our turn, we had to “invent” some specific profilesto mask the new installations which brutally showedup in the atmosphere of the old times. History has proved that rehabilitation is a naturalprocess in the development of towns or in the life ofwell built edifices. Nowadays, due to the rapid changeof life models and activity scale, a more “aware”policy of “upgrading” must be adopted, especiallywhen the values of the historical buildings and of thetowns to which these buildings belong arerecognised, are preserved and are put into use. Rehabilitation has social, cultural and financialbenefits. Social, because people and towns maintaintheir identity; cultural, because artistic, architectural,archaeological and documentary values are

conservarea oraºelor cât ºi pentru valoarea lorintrinsecã; economic, deoarece:a) se foloseºte un capital existentb) se economiseºte energiec) sunt evitate costurile de demolared) infrastructura existentã a drumurilor ºi serviciiloreste utilizatã.

În plus faþã de toate acestea, reabilitarea clãdirilorvechi din cadrul unei aºezãri este, în general, agreatãde cetãþeni, fiind privitã ca o redare a identitãþiioraºului. În acelaºi timp, provoacã mult mai puþinefricþiuni politice ºi întârzieri fizice ºi economiseºtesume importante.

Luând în calcul toate aceste aspecte avantajoase, nueste de loc surprinzãtor cã în multe situaþii este depreferat reabilitarea.


preserved, both for their intrinsic value and for theircontribution in the conservation of towns; financial,because:a) It makes use of an existing capital b) It saves energy c) It avoids demolition costs d) It makes use of the existent structure of roads andservices.Besides, the rehabilitation of old buildings within asettlement is usually appreciated by the inhabitantswho perceive it as the recuperation of the townidentity. At the same time, it causes less politicalfrictions and physical delays and saves large amountsof money.

Taking into account all these benefits it is notsurprising that rehabilitation is to be preferred inmany circumstances.

TIPURI DE INTERVENÞII PE CLÃDIRI ISTORICE / Types of ... · mult pe patinã ºi picturã pentru...

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