342 vioral Scienc~s 225 (20/6 ) 337 -347

Toma.sz Tonmszek I Procedia - Social and Be/11.J

3. Auth enti city an d significanc .e in wooden buildings

The concepts of ",.uthenticity" and "significance" of a historic building are considered as some of the central
issues oftbe contemporary theory of architecture conservation [Jokilehto, 1994). When the proper understanding of
"sig,,ific<lnce" of heritage building (and hence the understanding of its particular "values" which are responsible for
this significance and therefore must be saved) should help design a proper approach to its conservation, the se.arch
for "authenticity,. is intended to secure the guarantee for preserving the most important aspects of the site
(building).
The importance of "authenticity " while analyzing of any possible alterations to the condition of the building is
very clearly marked in the essential architectural heritage policy documents, even to mention "The Venice Charter"
or - especially important for wooden buildings - "The Principles for 11,e Preservation of l-listoric Timber
Structures ". Both those documents are stating that the primary aim of conservation is maintaining the historical
authen ticity and integrity of the cultural heritage, therefore the historic buildings should be preserved as "autl,entic
objects .. connecting the past with the present. How therefore "authenticity " should be understood in the case of a
wooden heritage building? Is there anything special that makes this kind of structures very unique?
\Vhen p lanning any kind of an alteration (or let say any conservation "action") the "authenticity,. consequently
ought to be the main factor for decision-making process. So conservation action, that is executed in order to
maintain significance of the building, should be designed at the same time as to maintain it.s [building) authenticity.
However, what was already described clearly at "The Bergen Conference on Authenticity. , (which took place in
I994 in Bergen, No rway) the "autl,enticity •.• of the built architectural monument does not apply to a particular
dimension but on the contrary it is a complex multi-faceted issue [Larsen, Marstein, 1994). According to the
proposals that were set out at that time ihe five areas might be designated in which authenticity could be considered
as an essential to determine the validity of calling something a part of cultural heritage [Larsen, Marstein, i 994).
And so are as follows: 1) The shape or design/project (shape is something that exists, the project is something
intended) ; 2) The material/fabric or substance; 3) The function or use of; 4) Context or place, "the spirit of place"
("genius loci"); 5) Techniques, traditions or technologies that include pre-industrial as well as industrial techniques
and technologies.
The above distinction allows us to notice immediately that the second area - authenticity of the material/fabric -
can't be easily applied to wooden architecture and may look very problematic. It is mostly due to very fragile nature
of the wood as an organic building material result ing in its rapid degradation and, what is the consequence, the
necessity of frequently replacement of destroyed elements or parts. This kind of procedure involving replacement of
completely degraded elements for new ones has long tradition in conservation of wooden architecture , especially in
Japan. Thus we must consider different look at this issue, as the "a11tl,enti c .. in this sense does not necessarily
means "original" [Larsen, 1994).
It will allow us to accept that the building remains "authentic" even the "or iginal" fabric is replaced, however in
order to be legitimate as "authentic" the "new'' elements must be fabricated in traditional way and by using the
traditional technologies. So the "authenticity" is maintained as long the traditional way of fabrication of elements
(let say traditional carpentry) is preserved.
But what about all the modifications made in the history of the building'? Can we easily distinguish what is the
necessary condition for "significance" and what is not? According to Jokilehto, who quotes the Article 9 of "The
Operational Guidelines for the lmplementation of the World Heritage Convention " (version from 1977), the
evaluation of the authenticity ,, ... does not limil C(msidera1ion to original form and stn,cture b111includes all
s11bsequen1modifications tmd additions over the course of lime, whic!, themselves possess artistic or historic value "
[Jokilehto, 1985). So in order to be significant these modifications ought to be a "valuable contribution" which has
been executed during the subsequent periods in history of a building (The Venice Charter, Art. 11).
The above mentioned concept of "val11tiblecontribution ·· seems to be justified in the case of structures built of
the durable materials like stone or brick, but requires a far-reaching interpretations to be applicable to the wooden
buildings [Larsen, I 994). The usual modifications executed during lifetime of the buildings erected of permanent
materials are mostly the additions of new parts or layers, while in the case of wooden architecture it is in general
replacement of elements (parts) which were damaged or burned for the new elements (parts). Also as "va/11able
co11trib11t/011 ·· can be regarded "patina .. of time, which as a condition responsible for recognizing the beauty
 Tomosz Tomto'zekl Proct!dfa•Sod a/and Behaw'oral Sdente .i.225 (2016) 337 -3 47 343

(aesihetic va lue) of building is again legitimate for structures made of permanent materials but almost not usable to
these made of wood (as ·'patina" most likely is the result of degradation and shows element that should be replaced).
So how to apply in the case of wooden structures the preferred nowadays in architectural conservation concept of
"minimum intervention ", or in the other words this kind of approach which in practice means preservation of the
building in its current condition together with the modifications executed in its history?
It can be assumed that as long as the "structural whole and stability" of the historic building is intact so called
"minimum intervention" approach in conservation is the most appropriate one and fully j ustified. Nevertheless this
postulated method (similarly like the concept of "valuable contribilfion ") seems to be more applicable in
conservation of buildings erected from the durable materials where the original fabric and the subsequent "valuable
additions" may be preserved without compromising the building to the loss of structura l stability. When we deal
with wooden structures the concept of "minimal intervention" takes on a new meaning [Larsen, I 994] as this
method of conservation often means the replacement of large amount of completely degraded elements (parts)
which is the only guarantee for re-establishing the threatened stability of the building.
So where to look for "significance" (which is, in fact, what we intend to save in conservation process) in such
structures like wooden buildings? How "significance" depends on "authenticity" and what are the holders of
significance? Accord ing to what it was said before "significance" of wooden stn,cture simply can·t rely on
"authenticity" of its original fabric as the only holder of s ignificance, but it is included in many other aspects.
Among the most important holders of significance, which result in significance as such, seem to be the authenticity
of traditional building methods as well as understanding of wooden building more as a process than a completed
task.

4. The guidelines for conservation

4.1. The introdr,ctory remark ~

It is proposed that the methodological approach for conservation of wooden orthodox churches from south-
eastern part of Poland ought to be in accordance with the guidelines def,ned in the charter "The Principles for the
Preservation of Historic Timber Stn1c111res ·· and thus it must strive to maintain the "authenticity •· of the temples.
Therefore the emphasis should be placed on the "imporwnce" of the usage of traditional techniques and
technologies whi.le carrying out conservation works, which is - as it was noticed by Larsen and Marstein [Larsen,
Marstein, 2000] - one of the priority aspects of the above document.
These traditional technologies, developed and perfected over the centuries, are the testimony of past epochs and
repository of knowledge about woodworking , construction of buildings or local architectural so lutions, and ihey are
ipso facto a guarantee for maintaining the "authenticity" of tradition of wooden architecture and its chann in
influencing modem pe-0ple. So, by repeating the so lutions known and used for centuries prolonged will be the
"value of life or the existence of a building in time " (the "living value") [Neuwirth, I 987] w ithout misstatements
and changes degrading original character of the building. The type of conservation intervention, which is based on
above assumptions, has been called by Larsen and Marstein as an "ecological t,pproach" [Larsen, Marstein, 2000].

4.2. Conservationrecommendtllions- architecture

A significant number of wooden orthodox churches from south -eastern Poland are in a very bad shape. In almost
all cases a huge amount of elements have degraded heavily and the same it requires to be replaced completely or
partially by new elements.
These elements should therefore be made from the same species of wood as the original ones and fabricated as
well as prepared following the traditional processing methods. According to the methodology of conservation
intervention that has been proposed only the elements that are totally degraded will be subject to comp lete
replacement, while those partially degraded - if it 1vill not affect their mechanical strength and the loss of local or
global stability of the object (building) - should have replaced just degraded fragments. It will guarantee that as
much as possible of original fabric is left.
344 Tomtu,z Toma.szd I Procedia - Sacic,1and Beha vioral Sdenus 225 (2016 ) 337 -347

The new fragments of elements (replacing exchanged items) should be combined with the remnants of the
original parts by using the traditiona l carpentry joints . If such bindings were not sufficient it is recommended to
additionally strengthen the contact points (area) of the original with the "insertion" using of an appropriate ly
selected binder.
Majority of wooden orthodox churches from south-eastern part of Poland have secondary brick foundation which
was executed during subsequent repairs and is improper in terms of techno logy. So it is recommended to replace
these foundaiions, now often preserved in fragmentary condition, with a stone "plinth". [t wiU allow to come back to
the traditional and thus "authentic" technological solutions which were most probably used originally. The "plinth"
however should not be made in the form of stone masonry foundation, but as construction of loosely set stones
stacked without mortar bonding. It would allow to prevent the penetration of moisture rising through mortar.
The biggest conservation issue is to find the appropriate technical solutions that would enable the execution of
the above mentioned treatments. Due to the severity of the damage of the majority of temples and the existing
possibility of losing the overall structural stability by some of them in short time it seems to be justified to use the
method of a s light elevat ion of the building. It will enable the access to degraded parts in the lower areas and the
replacement of the foundation. The intended elevation of the building above ground leve l (and ensuring its stability
during conservation work) is possible through the use of a specially designed "frame construction system" (a
supporting and stabilizing structure) fixed to the framework of walls and by the means of the pneumatic ja cks
arranged regularly in all comers (knots) (Fig I, Photo I 0).

•
I Beamsof the structureof walls
•'•I
•• '. I Foundatton
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Fig l - The scheme of the frameconsirucljon .sy.sttm fix-edto the framework 6f willls (a supporting and si.abilizing .lilruclure)proposed for lifting
the building
 Tomasz Tomt1szekI Prtx:edia- Social and Bt•ht1vioraf
Sdtm:es 225 (2016) 337 - 347 345

Photo 10- - The Chapelof the:Holy Nicho)a...:;

in Kenozc:roNational Park(Kardia,Russi.a) durin.gthe conSel'\'ation workcarried out underLhe
proje-ct""The Norwegian- Russianeuhuntl heritage co-operation 1995-2008'>,implemcnled by The Directora te forCulturalHeritage in Norway
(Riksantikvartn) in colJaborationwilh lhc Mjnjstryof Culture in Russia. The buildingwas c:le,•aled by jackingsystc:-mfor lifting the wooden
building:..,designed and patentedby NorwegiancarpenterDjame Loflhus. The authorof lhc photogrdphy: AndersHaslcstad(Riksantikvaren,
Norway)

If the method of the elevation of the building proved 10 be not feasible for the technical reasons a possible
dismantling to the individual elements and then re-assembling should be considered However this kind of
procedure, even if it is possible, is extremely difficult to be performed.

4.3. Conservation recommendations - polychrome of the interior

The other problem remains the conservation of usually painted in tempera decoration (polychrome) of the interior
of wooden orthodox churches from south-eastern part of Poland. Their condition, similarly to the whole
architectural structure itself, is very bad and therefore demands a full technical and aesthetic c-0nservation.
Regarding the complex procedure of replacement of totally degraded elements (or their degraded fragments) to
the new elements it will be necessary to perform a transfer of polychrome from these elements (or fragments) which
are covered by painted decoration and intended for c-0mplete replacement. The transfer of polychrome ought be
executed regardless of the carried out technical method of conservation intervention in relation to architectural
structure, both in the case of elevation of the building as well as its dismantling and later re-assembling.
The previous studies have shown that the most appropriate wou ld be to transfer to the new base the paint layers
together with layer of grounding and an outer layer of the original substrate - external layer of wooden element
(F ig 2).
 Tomasz Tnmal'Z.tkI Procedia - Soeial (JJJJ
Beha vioral Stie11tes 2?5 (2016) 337 - 347 347

The transferred outer layer of the original substrate will require a structural reinforcement due to advanced
deter.ioration of wood and significant weakening of its mechanical strength. The conducted studies has shown that
for the best results dte structural impregnation should be made with the so lution of synthetic resin (Paraloid 872)
[Tomaszek, 2011).
Technically prepared and protecte-0 from the polychrome face the transferred elemen ts (parts) should be fastened
"anew" in the original place to die previously replaced elements. It would ensure that the original composition of the
polychrome maintains its "authenticity".
With a view to the unforeseen deformations of the base/replaced elements (mainly due to the natural variations in
volume of timber) the elements which will be transferred should be fasten to the walls only by means of the wooden
pegs. ft will allow for their easy movement thus preventing them from breaking.

4.4. The 01!,er con~etva1/on recommendations

A separate issue is maintaining of the "authenticity" of the interior of the temples. As it ,vas said majority of
orthodox churches from south-eastern part of Poland were furnished with iconostasis. Unforrunate ly in almost all
cases this the most important element for orthodox churches bas been moved to the warehouses of museum from
Podkarpacie (the region of Po land located in south-eastern part of country) during protection works which had been
undertaken in the SO's and 60's of the twentieth century.
Therefore this is a priority to restitute these iconostasis to the interiors of the temples and thereby to reestablish
their authen tic formal and spiritual design. Due to dte advanced destruction of temples it will be possible only after
their full conservation and after carrying out all the necessary conservation work with iconostasis.

Acknowledgements

Special thanks to Anders Haslestad and Nils Marstein (the former Director General of The Directorate for
Cultural Heritage in Norway (Riksant ikvaren) for sharing posted picture (and consent for its publication) of the
jacking system for lifting of the wooden buildings .

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