REVIVAL OF DISAPPEARING

ARCHITECTURAL PROFESSIONS

STUDY ABOUT THE FUTURE AND CONTINUATION OF

TRADITIONAL BUILDING TRADITIONS & CRAFTMANSHIP
ABOUT REDIAPRO
From its start the aim of REDIAPRO - Revival of Disappearing
Architectural Professions program has been to provide
appropriate forum and possibilities for those institutions and
private persons who have their mission to preserve those
traditional building professions and craft traditions connected
to architecture, which represented building activities themselves
for centuries, in different forms and scales based on the different
time phases and locations.
The programme was realised in the framework of the Erasmus+
KA2 Strategic Partnership of the European Union in the period
between 2014 and 2017. Co-operating partners of the project
were the following institutions:
DOCTUM, Spain
Edinburgh World Heritage Trust, United Kingdom
ECIPA Umbria, Italy
EK Association, Hungary
Fine Crafts of Vilnius, Lithuania
SEK Stroyexpert, Bulgaria
Tektum Architectural Studio, Romania
Vanaajamaja, Estonia
2
Correct and authetic preservation of monuments clearly and
unquestionably raise the demand for a professional knowledge
- creator of the former ones -, that is not only available in
theoretical form to be researched in museums, but also as a
practical knowledge, furthermore it should be available in a
well-practised form for the help of restorers and architects, at
every single architectural or interior design intervention and
always adjusted to the volume of the actual individual projects.
REDIAPRO programme however tries to achieve even wider and
more all-embracing results, likewise we can not only recognise
heritage value on the level of the individual buildings, but in
the same time in a larger synthesis of these elements and in
the coherent system of different characteristics - distinguishing
local, municipal, regional, countrywide (nationwide) or even
higher levels.
In the times before the globally organised manufacturing
and trade of building materials the determining building
characters and differences were originated from the climatic and
environmental conditions of the given region. These territorial
characteristics could also partially overwrite the different styles
of the ages and the technological trends of architecture, creating
unique modifications and separate formal manifestations -
however their full scale achievement could only happen within
the domain of vernacular architecture. Keeping this comaprison
in mind, REDIAPRO programme wants not only to provide a
synthesis of problems on the level of public or residental houses
of greater volumes (urban dwellings, multi-storey houses), but it
also considers buildings of smaller scale and even in the rural
or village environment as equally important. And even this latter
area - the mass private house constructions, refurbishments and
reconstructions - where significant changes would be claimed
by the contributors of the programme, by trying to change the
architectural thinking of the wide public.
In accordance with the basic theories of critical regionalism
conceived by Kenneth Frampton, the main objective of the
programme is to support a modern architecture originated from
the own identity of the separate regions, which can re-emphasise
these determining regional images. This sort of adaptation - after
the aims of the programme and with respect to the possibilities
- should take place on the basis of the locally still available
traditional materials of these individual regions. So principles
determined in REDIAPRO does not exclude the usage of
modern technologies or global architectural endavours either,
but it considers usage of traditional and thereby sustainable
materials as primary. During the utilization of both traditional
and modern building technologies it is a basic expectation that
the representation should be honest, that means even during
the application of historical forms or angles these elements
can only come from the attributs of the given material and
the used building technology - so the look should not fake the
characteristics of the construction itself.
Harmonised utilisation of these three principles together - not
only at historic reconstructions but in the case of sustainable
architetcure as well - requires the existance of such craftmanship
and knowledge, as only that can give chance for the realisation
of an architecture which fits to the exisitng surroundings
respectfully and which is formed from local, economically
obtainable materials instead of catalogue products of the large
scale building industry.
Vocational knowledge of future masters idealised by this
programme will not be considered as only traditional or only
modern and their field of work will not be historic restorations
only or new constructions only, but their wide store of learning
should be connected with the different building materials
themselves and the behaviour of these between different
conditions, making it possible for architects and masters to
choose the building methods to be used after the character and
primary characteristics of the project, adapting either traditional
or modernised solutions, and if required, mixing these options
with each other.
3
The success for the architecture that keeps regional architectural
values in mind, respects ecological aspects, being based on the
usage of local materials and being respected by gross of people
- beyond the eligible architectural or heritage approach - comes
mainly from the successful development of the regionally
organised construction model. This model has two basic pillars:
re-opening of the sources of local materials and the masters
acting locally, while the third essential support is the vocational
training itself which provides appropriate and complex
knowledge operating with well-developed learning materials.
The construction industry being regionally organised, using
traditional materials and requiring specific craftmanship
knowledge can only reach its target and gain significant
segment in competition with large scale industry if it can collect
considerable support from the society and this will reveal itself
in client conceptions, on the other hand if within the individual
communities the demand for the valorised disappearing
professions is significantly raised, which is gratified by a
vocational training supported by state or EU funded programmes.
As the social recognition of a new Arts & Crafts movement has
a key importance, the success of the original movement started
by William Morris can also give useful strategic points of views.
With respect to all these, REDIAPRO partnership carried out
the following researches and investigations, summarising the
situations in the different areas by each partner on its national
level:
1. Overview of the architectural traditions of the individual
partner countries, vernacular regions and used building materials
and in close connection to these about the traditional building
professions. The latter in the same time are suggestions for
the trainings that can be started or imporved in the partner
countries.
2. Best prctices in the field of vocational education, acting in
order to revive and preserve the disappearing architectural
professions, with special regard to the methodology and to the
combinative solutions with other programmes.
3. Overview of the Arts & Crafts movements of the partner
countries as references to the REDIAPRO project.
4. Followable examples from the field of architectural planning
- examples of modern acrhitecture that takes local identity into
consideration.
5. Profiles of 24 masters (craftsmen, restorers, architects or
workshops), 3 from each partner countries to represent some of
the most important disappearing building professions.
General Editor INTRODUCTION
Gabor Palotas
2 ABOUT REDIAPRO
- EK Association
HUNGARIAN MASTERS
Editor (Spain) Portraits of REDIAPRO Masters
Laura Lpez Luiz
- DOCTUM 7 FERENC HEIMANN - BRICKLAYER OF WINE CELLARS
12 RPD ROSTS - CARPENTER
15 ISTVN CSORDS - REED THATCHER
Editor (Bulgaria)
Gergana Deeinchina SPANISH MASTERS
- SEK Stroyexpert Portraits of REDIAPRO Masters

Editor (Lithuania) 21 RAMN FRANCISCO RUBIO DOMENE - MASTER PLASTERER

Agne Zilinskaite &
Indre Rutkauskaite
- Fine Crafts of Vilnius
Editor (Scotland, UK)
Fiona Rankin &
Krzysztof Jan Chuchra
- Edinburgh World Heritage Trust
Editor (Romania)
Gabor Tthfalusi
- Tektum Arhitectura & Arta
Editor (Hungary)
Gabor Palotas
- EK Association
24 TRINIDAD LPEZ ALGUACIL - CERAMIST
27 JUAN ANTONIO ORELLANA - STONE PAVEMENT MAKER
LITHUANIAN MASTERS
Portraits of REDIAPRO Masters
31 MINDAUGAS RUTKAUSKAS - POTTER
34 AUDRONIS SKURVYDAS - CARPENTER
37 STANKUS FAMILY - BLACKSMITHS
ESTONIAN MASTERS
Portraits of REDIAPRO Masters
41 MARGUS PALOLILL - CARPENTER
43 AHTO RAUDOJA - SHINGLE ROOFER
45 COMMUNITY OF MOOSTE - WORKSHOPS
TRANSYLVANIAN MASTERS
Portraits of REDIAPRO Masters

49 ISTVN EGRI - GLASS ARTIST

Editor (Estonia) 52 JOINER & MASONRY WORKSHOP OF BONCHIDA CASTLE
Mari Kaisel &
Piret Uus BULGARIAN MASTERS
- Vanaajamaja Portraits of REDIAPRO Masters

Editor (Italy) 57 ANGEL MITROFANOV - CARPENTER

61 VARVARA VALCHANOVA - EARTH BUILDER
Irene Morici &
64 VESELIN VASILEV - CARPENTER
Adriana Chiachiella
- ECIPA ITALIAN MASTERS
Portraits of REDIAPRO Masters

69 ANTONIO LUNGHI - FOREMAN, ARCHITECT

71 LUCA GRILLI - STONECARVER
73 CHRISTIANE ZSCHIESCHE - RESTORER

SCOTTISH MASTERS
Portraits of REDIAPRO Masters

77 LEONARD GRANDISON & SON - MASTER PLASTERER

80 ROBIN ABBEY - SIGNWRITER
82 ANDREW RAMSEY - STONECARVER
MATERIALS &
PROFESSIONS
TRADITIONAL MATERIALS & BUILDING
CRAFTS BY COUNTRIES

87 ESTONIA
88 BULGARIA
90 LITHUANIA
92 SCOTLAND (UK)
94 ROMANIA
95 ITALY
96 HUNGARY
97 SPAIN

BEST PRACTICES IN
EDUCATION OF OLD
PROFESSIONS
OUTSTANDING VOCATIONAL
EDUCATION & TRAINING INSTITUTIONS

101 BEST PRACTICES OF VET

ARTS & CRAFTS AS

HISTORIC BASIS
FORMER ARCHITECTURAL MOVEMENTS
& TRENDS

107 ESTONIA
107 TRANSYLVANIA
108 SPAIN
108 LITHUANIA
109 SCOTLAND

COLLECTION OF
GOOD EXAMPLES IN
ARCHITECTURE
113 SELECTION OF PROJECTS
 HUNGARIAN MASTERS

Ferenc Heimann, Bricklayer

rpd Rosts, Carpenter
Istvn Csords, Reed Thatcher

6
FERENC HEIMANN
BRICKLAYER
SZEKSZRD, HUNGARY
F
erenc Heimanns family can date its presence in the city
of Szekszrd and its surroundings back 10 generations.
Their antecedents arrived in Hungary in the 1780s
from Stuttgart of Wrttemberg, based on available
information. After the expulsion of the Turks, the German settlers
(Donauschwaben) arriving in many parts of Hungary had the role
of repopulating the ghost-regions and resuming agricultural
production. For this reason, it was mostly peasants and farmers
who came to start a new life rebuilding the villages and towns.
Wine-growing and oenology was a basic part of everyday life
for the Swabians (Germans) of Szekszrd right from the very
beginning, and the Heimann family is also connected to this
sector and its centuries-old traditions. The most characteristic
signs of this heritage in amongst the rows of vines were the
7
press-houses and the rows of wine-cellars dug or built into the
silt walls.
Within the family, the only one to take up the oenologists trade
was his brother Zoltn, who has made the Heimann family
vineyard well known. It is recognised all over the country and
internationally, as part of the Hungarian wine economys revival
after the changes to the political system that took place in 1990.
Ferencs interests turned towards architecture and building in his
youth and he chose his schools accordingly. He left the Mihly
Pollck of Pcs Vocational School with a technician qualification,
which in those days would have allowed him to plan houses
on his own as a quasi-architect. To get some experience in
construction and the building trade itself, he started working
as a bricklayer entrepreneur. A 3 year period spent in Germany
beginning in 1993 brought plenty of new experiences whilst
he worked there as a foreman on housing developments, but
instead of bringing his work experience home he planned to
stay abroad indefinitely. Unfortunately, the work permit rules
prevented this and he was forced to come back home for 2 years.
In the end, his planned return to Germany never happened as life
brought along something completely different.
In his life working out differently, the brick-domed cellar that he
started building at the request of his younger brother, played a
key role. The precedent and model for it was their grandparents
domed cellar that had been filled with concrete during the
Communist period. Even though he had constructed smaller
barrel-vaulted cellars before, the considerable 4 by 4 metre span
posed such an interesting challenge for him that he resolved
to build it entirely unaided. After a whole month of trials and
researching professional literature from a hundred years earlier,
this first proper example allowed him to experiment with a long
lost technique from first principles. He subsequently improved to
reach excellence in his later works, making the cellars even more
decorative at the same time.
The finished domed cellar at the Heimann vineyard was
viewed as a masterpiece and this brought in new work all in
a row, as the sudden new appearance of this craft knowledge
met the basic needs of this reviving sector. During 40 years of
Communism, family vineyards had withered away and factories
operated instead as part of the state-run agriculture and food
industry. In the meantime, in the surroundings of Szekszrd a
lot of cellars that were out of use were simply filled with earth
or concrete, which illustrates how much heritage and tradition
was devastated among the limited possibilities of the era. The
transformation of the political and economical system allowed
changes to this almost completely closed process and so the
reopening of family vineyards and the start up of new private
companies escalated the demand for orders. The expanding
circle of clients came from all over Hungary and even beyond
the borders, from Austria, Germany and Slovenia. There were
8
times when he was working with 45 builders, as he was the one
building most of the new wine-cellars in Hungary.
What is even more important than the number of authentically-
built cellars is that Ferenc Heimanns lifes work is inseparably
tied to the latest renaissance of the Szekszrd and Hungarian
wine, making this movement more genuine and providing an
unbroken link to its forgotten traditions.
The Evolution of Heimann Cellars
Wine cellars of Szekszrd were originally hollowed out of the
loess walls of the hillsides. If the auger-hole was narrower than
1 metre, they were made without brickwork, but if they were
greater then barrel-vaults were built. The more characteristic
type, vaulted cellars, were usually 1.80 m wide, which took into
consideration the size of the basic Hungarian-type 70 litre barrel
and allowed space for them to be moved down to the cellars and
for handling them as well.
The barrel vaulted part of the example cellar that Ferenc
Heimann made for his brother was planned to have a width of
3.60 meters, double the traditional width, and making it possible
to organise the barrels in two rows. Although the resulting dome
at the intersection of the barrel vaults was a copy of a previous
example, it was a curio both in its execution and functionality
compared to traditional cellars. Despite the difficulties of the
actual construction, the dome had an additional importance:
as well as being a functional part of the vineyards technology
and unique system of barrels, the dome made it possible to
entertain visitors at a table, providing a suitable space for wine-
tasting and dining. Apart from just personal use, this could make
a charming place for catering and in fact this extra feature
stood behind the sudden, huge demand for these cellars. In
later works, a continuous goal was to increase the spans and to
fulfil a perpetual desire for innovation in creation by building
more and more special structural types. Many things thwarted
this ambition: starting with the clients wallet to the technical
necessities. In this way, the laboursome groin vaults that put
loading on the bricks turned into constructionally much simpler
domes or Baroque vaults.
In increasing the spans and room sizes by leaps and bounds,
building regulations also played an important role. Ferenc
Heimanns team also built cellars using the traditional technique
of hollowing out the hillside, a metre at a time, by excavating
the soil and supporting the cavity by brick from below. Later on
however, this kind of tunnelling technique needed permission
from the Mining Engineering Authority, which massively
increased the administration required for construction and
created far too many difficulties for the preparation and
execution of cellar-building. This had the effect of making it
much easier to excavate all of the soil above the floor area of
the cellar, to build the structure and then to back-fill the soil
afterwards, typically to a depth of 2 metres. Using this method,
limitations in size also disappear, as these were derived from
the self-supporting properties of the loess soil. Breaking away
from these constraints meant the previously separate tunnels
could now be joined together making it possible, to create the
same gross built area within a substantially smaller floor space,
opening the gates for the building of big spanned multiply-
bayed wine-cellars. It has always been a major consideration
to be able to use the event spaces as much as possible. This
was the main reason behind the endeavour for better results,
imagining large events such as weddings, for example. It might
be quaint, but this is why the starting point for the design was
the visibility of the bride.
Planning and Building
Ferenc Heimann usually had a free hand in the exact design of
the cellars, harmonising the clients agenda with his own ideas.
He also drew up the plans, for which he only created freehand
9
sketches. He says, apart from that fact, he planned the whole
cellar to its smallest detail so much so that he could even
walk around it in his mind. The planning process didnt stop
there however, new ideas could prompt to him create custom
solutions, forming the design as he went along just as a sculptor
does with his work. For instance, the very high arch of the
vaults at the Gothic-style cellar in Csopak came about when the
excavator worker accidentally dug the site for the cellar 2 metres
deeper than it was planned to be. Instead of taking the obvious
step of filling up the site with soil, Heimann decided to keep as
it was and to build higher lancet arches as part of the creative
process, resulting in much more special building. This way of
working results in lot of changes to the drawing plans, so there
is a need for extra co-operation on the part of the architect and
other designers as well, as the company only takes part in the
official architectural and construction planning as an advisor.
The Use of Materials and Common
Features
Ferenc Heimanns building method is synonymous with sticking
closely to traditions, existing roots and authenticity. As a
result, his firms cellars were all built exclusively in brick, in
the Szekszrd region. However, where it was traditionally
characteristic, for instance in the Balaton upperland he also
boldly used stone. Although it is quite widespread nowadays, the
Heimann company never turns stamped bricks outwards, except
for in the position of the vaults keystones, as originally the
stamp was only information for the bricklayer about the origin
and quality of the brick, and was meant to be decoration for the
final surface. It has been an unvarying signature of their work to
build a small window or niche in the form of a Latin cross out
of a few pieces of brick, which appears in every project without
exception.
The first use of salvaged brick is also connected to the St Dont
Cellar and Wine House. The client was decidedly insistent on
using the material which was originally thought to be of dubious
quality. Heimann accepted the commission with a great deal of
reservation after agreeing with the owner that they would only
build the cellar using the brick from a demolition, if he never
told anyone who the master bricklayer was. The result surprised
him so much that they have been only using large size salvaged
brick ever since. Although the bricks coming from all types of
demolition are of varying size and completeness, they perform
advantageously when used to build vaults as they can better
bear directional forces that arise there. One reason for this may
be the simple fact that those bricks which have survived well are
guararanteed to be of good quality, and that means they have
excellent rigidity. The other factor comes from the difference in
production method, which means that newer small-size bricks
(12.5 x 25 x 6.5mm) are much more susceptible to sideward
forces causing them to lose their front face much more often,
resulting in an imperfect surface. Besides which, the large size
brick (14 x 29 x 7mm) which is not produced anymore, is more
practical from the point of view of use of material as well as
requiring fewer joints. On the whole, from experience, well-
handled salvaged material enables much quicker and finer work
and in the same time reduces costs.
As well as the careful building of the structure and similarly
careful selection of materials, it has been always outstandingly
important to use appropriate lighting technology by working
in partnership with relevant masters who produce associated
ceramic objects and lamps. In both cases, forming long-term
relationships with the same designers was the expedient
way. It has been always Jzsef Nyls responsibility to create
cosy lighting solutions in every project that highlight the
monumentality of the brick structures, while ceramic decorations
and furniture have been the result of Jozsef Nyuls handiwork.
Retirement and Generational Change
Ferenc Heimann has been retired from the masonry and
construction industry since the end of the year 2014. His
decision was obviously influenced by the economic crisis and a
series of unpaid for works, however it would be difficult to call
him disillusioned in any way. They run the White Cow Bed and
Breakfast at the foot of the hills of Szekszrd, close to a number
of cellars built by him. He would only see the point in taking up
We could revive this world which was almost completely lost.
10
a trowel again, if he could build something unique once more.
If there was a client, who could stand a little experimentation
in the search for something special, for instance the technical
realisation of the herringbone brick pattern method as part of
a huge dome.
Luckily continuity is guaranteed through his foster-son who is
now fully grown. Csaba Heimann has had a great schooling,
being on all the construction sites since the age of 14, learning
all that he could over a twenty year period. Over the past few
years, he was the one who effectively supervised the buildings
and the workers, and in recent years he has run his own company.
In addition to the serious amount of work experience he has
had, he also graduated in civil engineering at the Mihly Pollck
College in Pcs, writing a thesis about traditional vaulted
structures of course. The examiners at the diploma thesis aural
did not have an easy job interviewing him about a long-lost
technology that hadnt been taught for decades. It equated to
doing static calculations for a structure operating with only
stressed inner forces using the current Eurocode standards. One
thing is for certain: it is much more straightforward to plan and
build based on a carefully developed method and 30 years of
experience. Similarly, Csaba is full of hope regarding the future,
believing that new challenges will appear and even greater
spans will be achieved in the near future.
Most important works
St Dont Wine-cellar and House, Csopak
Fritz Wine House and Pension, Szekszrd
Heimann Family Estate, Szekszrd
Liszt Wine-cellars, Szekszrd
Takler Wine-cellar, Szekszrd
Vesztergombi Wine-cellar, Szekszrd
Szchenyi Wine-cellar, Szentgyrgyvr
Rmer Wine-cellar, Hvz
Vincze Bla Vineyard, Eger
Strobler Hof Hotel, Salzburg, Austria
Koralevics Kroly (private owner), Csopak
Bodri Wine-Cellars, Szekszrd
Eszterbauer Vineyard, Szekszrd
Mszros Wine House and Cellar, Szekszrd
11
RPD ROSTS
CARPENTER
BUDAPEST, HUNGARY
rpd Rosts, cabinetmaker and restorer, has worked
in 200 castles and restored 1000 pieces of furniture
both home and abroad, over 36 years spent working.
He refers to himself as a travelling carpenter who,
following the example of medieval masters, goes around
looking for ever newer challenges and opportunities to learn
and accordingly travels from one job to the next, settling down
for longer or shorter periods depending on how much time the
current piece takes to finish. As well as Hungary, he has also
roamed all over the countries of Western Europe in this manner,
receiving orders from as far as France, England and Germany.
Currently he is mostly interested in the traditional carpentry
profession of India and he is thinking about about developing
his knowledge there in the near future. The outstanding
achievements of his lifes work are the repairs and restoration
work carried out in the Louvre, Versailles, in the Hungarian
Parliament or at the Academy of Science, but there are also many
other building components that were in a hopelessly dangerous
state and judged well beyond recovery by a series of previous
restorers, that have been returned to their original condition
specifically because of his personal contribution to the project
just as happened with the staircase of the hospital of Marcali or
with the ceiling of the Mirror Room at the Andrssy University
in Budapest.
He holds a number of Commendations and Awards, amongst
which he received the Hungarian Heritage Award in 2011 as an
acknowledgement of his work carried out 10 years previously
when he restored the Neo-Renaissance timber cladding of the
Hungarian Academy of Science. The honorary citizenship of
Kaposvr is another outstanding achievement, as this is the town
where he was born and studied, while growing up in the charity-
school of Ngocs. He was also nominated for the privately
organised Prima Primissima Award, which is the greatest honour
12
in Hungary that an artist can receive during his lifetime, after
the state-given Kossuth Prize. However he stepped down after
receiving insults, probably due to jealousy from within the
trade, as the comments were all negative. His withdrawal was
considered a missed opportunity by many people, especially
because Rostss story is an outstanding example of the progess
that can be achieved despite the poverty and hopelessness that
comes from being an outcast, since he grew from an orphaned
gypsy child to be an acknowledged expert and artist.
Rosts claims that one can only learn effectively through
practical training, and therefore after finishing vocational school,
he extended his education for many years by applying for jobs
with master after master in carpentry, trying to learn all the
master-strokes from his hosts. As he remembers it, this was
not always an easy task as his teachers often kept their most
valuable tricks and techniques as their most prized possessions,
so as a youngster he also had to be expedient to be able to
gather such precious knowledge. The secret was to never spend
too much time at any one of the masters: he was so thirsty for
knowledge that as soon as he learnt all that was possible he
would ask the master to recommend him to another carpenter.
Most of the time he only asked for food and accommodation as
a salary, but if he had the opportunity he would even pay for
training. Even when he was an expert craftsman he was not
ashamed to be a novice and later on too, if he had the chance
he worked for some older and more experienced professionals.
The Restorer without a Degree
Rosts has gained the highest respect as a restorer, despite
having no qualifications or papers, as he never earned a degree.
He believes that there is nothing usual about this though as
carpenters in olden times worked in exactly the same way: they
constructed furniture as well as timber
structures and they were also the ones
who repaired them. Later the profession
split into separate occupations: carpenter
and cabinetmaker, whilst the restoration
profession emerged with its higher level
of academic knowledge. In his opinion
however, restorers should not be allowed
to operate without real practical carpentry
knowledge and that even today it would
be the most ideal if it were carpenters
who performed this type of work. Another
alternative that could happen even
today, would be for master carpenters
and restorers to collaborate so that they
could rely on each others knowledge: on
the restorers deeper academic, historic
knowledge and the craftsmans greater
practical and technical skills. In cases
where a certain practical skill disappears,
sooner or later the academic knowledge
about it will follow on. This is a situation
that rpd Rosts has come across many
times as part of his practice, whenever
his name came up as the last ray of hope
for a piece of furniture or a structure
to be restored. He never turned down
a single request, instead he always
accepted the challenge to use his self-
My school is
acquired knowledge, confirming many
times over that the craftsmans skill is
specifically about
still in existence, and that the knowledge craftmanship,
that can save valuable timber or work
created from it from destruction, has not without any
completely disappeared.
machinery, only
Restoring the main staircase at the church handicrafts and
of Marcali was an important turning point
in his life. This project was also recorded the revivification
in the Hungarian Film Festival winning
documentary titled Stair (directed by
of traditional
Livia Gyarmathy, 1994), though filming
techniques using
started without the knowledge of the
main character. Although his extreme surface-planing,
efforts made it possible to rescue the
ornate wooden stair situated in the foyer milling, and jointing
of the building despite the original
architectural plans and the views of
by hand.
expert restorers the struggle was not
a success story. This is hardly surprising
13
as the gypsy carpenter would have needed to become an
entrepreneur to meet the impossible expectations of the
heritage office while wandering in the labyrinth of bureaucracy.
He was not even paid for the work he did and the project was
finally carried out by another much bigger firm for several times
the amount that his payment would have been. This period took
its toll on his personal life as well and his wife divorced him
soon after, taking their children with her. Although the situation
arising from work was tough, it pushed his life in a certain
direction. He started to get commissions from abroad, assisted
by those people who stood by him, and soon he was restoring
in the Louvre, and from there he moved on to Versailles, where
he repaired and restored the Sun Kings parquet floor. And from
this came further assignments and he went as far as castles in
England and Germany.
Although Rosts carried out more and more new works at home,
which far exceeded his original qualification level, he could not
undertake a restoration job on his own as a restorer without a
paper qualification. He could only work as a carpentry subcon-
tractor without requiring the contribution and supervision of
another restorer. This is a real sore point for him since he was
not able to undertake a number of restoration jobs because of
this. Furthermore his great accumulation of special knowledge
really annoyed the Company of Restorers as this type of knowl-
edge goes against the trades actual and general principles. As
he says, he has never experienced these kind of issues abroad,
getting on there was much easier, as it was never the paper
14
(degree) that was important but rather the references and
whether he had the professional knowledge and skills that were
required to obtain the expected quality and result. Although
there were restorers involved with the work in other countries
as well, the relationship was appropriately co-operative however,
and did not lack respect towards him.
Natural Solutions instead of Chemicals
One of the keys to success in his work is the home-made reci-
pes, made from natural materials, that he uses for the treatment
of wood to control the pests, to strengthen the timber and to
restore the original colour and tone. The materials used are
always specifically tailored to the given piece of furniture or
timber construction, and the various ingredients are based on
the characteristics and scale of the problem. Every recipe comes
from the disappearing, but in places still surviving, traditions and
historic descriptions from for example, the books of Vitruvius, so
some techniques can even be traced back to Ancient Egypt. The
exact methodologies and experiments with the proportions took
decades to perfect, and are professional secrets now. The group
of characteristic materials used are well known, but some of
them may sound strange like juice from garlic, apple and potato
peels, distilled fruit spirit (palinka) or even dung water or urine.
In using these materials he often has serious arguments with
timber preservation experts because in their profession they
are accustomed to using chemically produced materials and
solutions, while his own recipes sound a bit like quackery these
days. In spite of that, he goes against the trend much of the time
and has gained more and more results that give legitimacy and
meaning to these efforts, as lately he has started to be invited
to university conferences where he can express his own views
and show his solutions.
Rescuing and restoring the ceiling of the Mirror Room at
Andrssy University is a very good example of the success of his
techniques. In 2003, when the University was refurbished, the
ceiling of the room fell down and work stopped for 6 months
as there was no restorer who would accept the challenge of its
restoration, until it popped into someones mind that there was a
travelling carpenter in Marcali. He was able to use his own meth-
ods to demonstrate quite quickly that there was dry rot (fungus)
present, a diagnosis which equalled a death sentence and this
was later confirmed by a timber preservation expert. In the end,
Rosts restored the structure instead of the complete demolition
that seemed unavoidable before he arrived on the scene: he got
rid of the disease from the structure and substituted the missing
timber material thereby strengthening the structure.
Ambassador for Traditional Carpentry
In recent years rpd Rosts has paid great attention to making
furniture that he has designed himself, as he plans to work main-
ly as a cabinetmaker in the future. Only the greatest masters
match his ideals in these lofty ambitions, such as Michelangelo,
Girland or Leonardo. Some of his completed custom-made pieces
have attracted the interest of the media as well as they were
donated as gifts to well known people. The first such pieces
of furniture were the cradles made as gifts for the children of
the British royal couple, William and Kate, for George, Prince
of Cambridge in 2013 and later in 2015, for Princess Charlotte
(Charlotte Elizabeth Diana). The unique, Neogothic style cradles
are made of oak and nut-wood are richly ornamented and deco-
rated with inlay-work. Both handovers were preceded by church
benedictions of the cradles. In the case of Charlottes cradle, this
took place in St Peters Basilica (the main church in Budapest)
the Sunday before its departure, and the handover took place on
19th November 2015 in Kensington Palace.
With these donated pieces of furniture, Rostss main aim was
to represent some important issues at home as well as abroad,
to attract peoples attention to the real values of traditional
A restorer has to be somewhat like a magician - he has to be
able to hide any defects.
15
carpentry, to his rescuing of traditions and teaching activities
and also to the importance of appropriate vocational training to
tackle poverty and reduce the social vulnerability of Roma peo-
ple. In this vein, the handover of a throne made for Pope Francis
is planned for 2016 as part of a Vatican pilgrimage organised
for 100 children who have grown up in a boarding school, giving
them the experience of a lifetime. The highly decorated chairs
central design is a glass case in the shape of Hungary, in which
he plans to put Hungarian mother earth (soil). The back-rest of
the throne is decorated with the coats of arms of the Vatican,
Hungary, Argentina and Marcali (Rostss birthplace) while a
quadrilingual inscription asks for the blessing of Roma people
of the world in English, Latin, Hungarian and the Roma language.
rpd Rostss School and Textbook
Over and above the execution of his projects with humility
to achieve the best possible results, rpds career has some
further important goals, namely to ensure the survival of cen-
turies-old handicraft traditions, carpentry and cabinet-making
techniques for future generations. To achieve this, he is currently
working on putting together a comprehensive textbook which
summarises all the knowledge which he has gathered over his
lifetime through his work and will put teaching of the profession
on a new level.
He truly believes that his career can be a example to follow for
those young people whose fate is similar to his own childhood.
He therefore organises a summer school and creative workshops
every year for orphan children, where he gets them involved in
restoration and building activities. It is one thing to teach them
practical skills, but more importantly he can show that learning
a trade is worth sacrifice and effort to be able to produce work
of a good quality. Finally he teaches that belief is indispensable
for any creative activity or art and he also promotes a vocational
lifestyle that is closely connected to the work carried out. The
best result to come from the summer schools is a joint project to
restore the furniture of the castle in Somogyvr (Somogy County,
Hungary), where Dr. Andrs Morg, Professor of Restoration
provided the required professional background. Among Rostss
long-term plans lie the development of a vocational training
centre in Marcali (Somogy County, Hungary) and on top of that,
a timber-framed cathedral which is to be built together with the
trainees.
Love of nature,
need for liberty
and for the joy of
creation - these
are all required in
this profession.
ISTVN CSORDS
REED THATCHER
I
stvn Csords family deals with the economic and political circumstances
harvesting of reeds, distribution
of reed products and thatching in
the neighbourhood of Pakozd in
Fejer County, Hungary. Although thanks
to his parents profession, this was the
world that he was brought up in, and
as a a child whatever the season, his
life revolved around Lake Velence; as a
young man, he did not take up the career
offered by his parents. He tried different
occupations and was even member of
the fire department, till he finally found
his way back to the family trade. The
Start-up Licence was just a few years old
when the political changes happened in
1990 and this opened the gateway for a
series of new possibilities for this pro-
fession as well so he started up a family
business along with his wife, distribut-
ing assorted reed products to retailers
and wholesalers. As well as selling at
home, they also export materials and
products to Western Europe, primarily
to the Netherlands, Denmark, Belgium,
Germany and France. Besides harvesting
reeds, assembling products and selling
them, the business is equally involved in
construction work: planning and build-
ing thatched roofs and coverings, and
also managing their maintenance and
refurbishment. They built a number of
roofs in other European countries, such
as Germany and Belgium as well as the
Hungarian market.
Their most succcessful period lasted
until the end of the 90s, after which the
within the region started to be less SZKESFEHRVR,
and less favourable, not to mention
the high risk of continuously chang- HUNGARY
ing natural conditions and the growing
negative effects of global warming, all
making it more difficult to survive. The
continuation of the business has never
been in question though, nor could the
fire which broke out in the warehouse
and factory discourage them, mostly
because of their love of the profession
and the close-to- nature lifestyle associ- I can remember
ated with it. Continuity is also provided
within the family through their daugh- from my childhood
ter and son-in- law both of whom are
already working in the family business.
when we went to
harvest the reed with
Agricultural Reed
my father and my
Management
grandfather.
Reed is considered to be an ancient
building material, whose use as a roof
covering material or for other building
purposes is widely known across the
whole of Europe and other parts of the
world as well. The available habitat for
it, especially in Western Europe is gradu-
ally getting smaller and smaller, even
though it can significantly improve the
water quality of lakes and ditches, by
contributing to the self-purification of
the water, typically by acting as a filter
for organic and other types of dross.
With the elimination of the reed, the
associated characteristic wild fauna also
disappears with its song birds and other
waterlife animals.
17
Although the reed spreads very quickly wherever it appears,
primarily through vegetative propagation ie. through shoots
from its roots and stalks, but it equally easily die out should it
suffer two reapings in a year. The rootstock or rhizome serving
as store for nutrients cannot generally bear this burden and
repetitive sprouting can completely impoverish it. Wherever reed
is cultivated, the harvest is usually timed for the winter months,
always reaping the products of the current year, as only this has
value for building and industrial purposes. When harvesting, it
is also important to take care to minimise the potential damage
to the remaining parts. Similarly, reaping when the water level
is low can be also dangerous because a rise in the level of
water later on can prevent the roots from breathing. This type
of mistake can even affect or completely damage the next years
growth.
The Reed Colonies of Lake Velencei
Considered to be the third largest lake of Hungary, Lake Velencei
with its average depth of 1.5 metres it is an ideal habitat for reed.
It is therefore not surprising that until the 1960s, 60 percent of
the water surface was covered by vegetation. Today this number
is still high, at around 30-40 percent. There is evidence that this
wetland has been cultivated for centuries, contributing to the
architectural vernacular of the region and to the close ties of
many reed cutter families to the lake and the lacustrine world.
These reed beds are his homeland, Istvan Csordas insists. His
work is inextricably linked to the water world of this region, the
actual conditions around the lake, changes in water-level and
the effects that these inconsistencies have on the quality and
quantity of reed that grows here between two harvests and can
be used for construction or distribution.
Lake Velence is one of Hungarys most visited holiday resorts,
18
and it started to become established in an organised way in
the 70s. The proximity of the capital had an obvious role in this
process. The gross built area of the holiday resort and residential
area is continuously increasing, leaving less and less space for
nature. On the other hand, the excavation of the bottom of the
lake which took place during the redevelopment of the area
along with the newly built reservoirs around the lake and the
maintenance of water supplies is guaranteed to lengthen the
lakes lifetime. This is crucially important as we know that up
until then, the lake completely dried out every 100 years on
average and the last time this happened was in the mid 19th
century. The reed beds themselves had a role in this process,
contributing to the continuous decline of their own habitat as
a result of their spread and the increased sediment produced.
As the example above shows, there are plenty of conflicting
interests and points of view all at the same time, which are
impossible to fulfil equally, and therefore only the best possible
balance can be found. Best placed to answer these questions is
the Hydrographic Office of Central Transdanubia, caretaker of the
lake as a state property. The Office can exert power through the
continuous supervision of broad water management plans and
through the development and delivery of different long-term
plans in connection with the lake. Within these plans, as well
as many other issues, the sustainment of reed thatching and
the continuation of the reed-thatchers profession as a cultural
activity with its centuries-old traditions, should be considered
high priority as they were once responsible for the characteristic
architectural look of certain regions. Istvn Csords worries most
amongst many other things about the increasingly frequent
absence of the winter season. As he says, long-term freezing
periods are getting fewer and fewer, which is disadvantageous
for both the economic harvest which is carried out from the
surface of ice and the reed as a building material.
From the Harvest to Reed Products
Istvn Csords and his team work by themselves, not only with
the reed harvest but with thatching as well. This way, they are
familiar with both the construction and the agricultural work,
and this means they are also able to help with other activities
in both fields. The harvest period lasts for 5 months, normally
from November to March, depending on what the weather (tem-
perature and rainfall) conditions allow. Since the total or even
partial reaping of the reeds at Lake of Velence has become
almost impossible, the area of the harvest has extended to fish-
ponds and reed-beds in the surrounding area, sometimes even
futher than 100 km from the store in Pkozd. By the end of the
harvest period, cones made of sheaves are standing throughout
Northern Transdanubia waiting to be transported to the store
for future use.
Nowadays of course, the previously manual harvest has changed
with the use of different types of machine. Mechanisation makes
a more effective cutting and processing of the reed possible, but
on the other hand, these machines cannot be used in certain
tricky areas and so there, the harvesting and collection can be
only carried out in the traditional manner. Before the harvested
reed is ready for storing, the important step of expertly classify-
ing the reed spears by their quality and diameter. This phase is
almost exclusively done by an external team nowadays. This
often takes place at Balmazjvros situated next to the grass-
land of Hortobgy where Roma workers come from to carry out
the sorting which requires great physical strength and profes-
sional expertise as well.
The highest quality of reed is exported primarily to Western
Europe, where the best price is paid for them. The next level is
used for thatching, and the other categories are used for reed
plates and fences. The classification procedure is often also
19
called reed-pulling because the finer blades are chosen and
pulled out from the sheaves one after the other. Having finished
with picking these out, the leftover material is cleaned up to
remove dirt and foreign bodies and forms the 4th class of reed
which is used separately from the others. Reed panels are envi-
ronmentally friendly building materials with excellent physical
qualities. They are prepared by pressing the spears between
parallel lines of pairs of wires. Their most important quality is a
good thermal insulation capacity and a low weight. They can be
used for the insulating attic spaces and fixed to the walls and
rendered. The panels are made 5 centimetres deep, usually 1 x 2
metres in size. In conjunction with 2 centimetres of plaster they
are considered to be a hardly flammable material. The densely
woven reed texture contains 120-160 spears in a metre. The rolls
are 6 metres long and they are 100-200 centimetres wide. They
are used as panels against sun, wind and for privacy.
The Technique of Thatching with Reed
There is a big difference in thatching when compared to other
roof covering techniques in that its depth of 30 centimetres is
enough to provide all the requirements of a roof covering: it pro-
vides thermal insulation at the same time as water protection
and due to the pitch of the roof the transportation of rain away
from the building. It also stands up well against forces arising
from wind or snow. From real-life experience we know that only
the top one third works effectively against the forces of nature,
while the rest only functions as a reserve. In the case of thermal
insulation, the full depth is naturally relevant in both summer
heat and winter freezes. The owner has ensure the regular refur-
bishment of the roof, which mainly requires the partial exchange
of the upper 10 centimetres. The roof is more resistant if the
work is carried out expertly: by making sure that the sheaves are
properly distributed and fixed and afterwards that the compres-
sion and repeated compression are done in a professional way.
 Spanish Masters of REDIAPRO:

Ramn Francisco Rubio Domene, Master Plasterer

Trini Lpez Alguacil, Ceramist
Juan Antonio Orellana, Pavement Maker
RAMN FRANCISCO
RUBIO DOMENE
MASTER PLASTERER
GRANADA, SPAIN

R
amn is a craftsman and restorer specialised in
making official reproductions of parts of the World
Heritage Site the Alhambra. He holds a Doctorate
degree in Arts and Restoration cum Laude from the
University of Granada. He has been employed since 2000 on
the Board of the Alhambra, in the Conservation Department as
Head of the Restoration Workshop for plasterwork and tilling. He
therefore has extensive experience in these materials and the
daily interventions that are taking place in the Alhambra and its
Museum. He has been working with gypsum plaster for 26 years.
He started to work with it as a student of the Academy of Fine
Arts, when he decided to deepen his knowledge of the work made
in the Alhambra. I became fascinated and curious about how to
work with gypsum and I started to work with artisans who worked
in the Alhambra, learning their techniques. I learned, for example,
how to do direct curving and to work with moulds, he explains.

Ramon is also the Director of Doctum a private, cultural and non-

profit organisation whose mission is the protection, conservation,
restoration, management, promotion and growth of the Spanish
Culture and Heritage. It is involved in the study, research,
exchange, training and promotion of the methods, techniques,
procedures, materials, know-how and the protocols used in the
restoration, rehabilitation, management and consolidation of
cultural heritage. Its main objective is to transmit knowledge
and understanding of the traditional building and decorative
skills acquired by our ancestors. Doctum also actively takes part
in tangible and intangible Spanish heritage conservation with
projects aimed at halting the deterioration of its legacy being
caused by environmental and anthropogenic agents.

21
Ramon has also invented a new restoration mortar:
Procedimiento de Reconstruccin de Obras de Arte legally
registered at the Spanish Patent and Trade Mark Office (SPTO) by
the Council of the Alhambra and the Generalife. Finally, he has
published many books and articles on different topics, mainly
about the Alhambra, restoration and conservation techniques
among which the most important ones are the following:
BOOKS:
- The Alhambra Plasterworks: History, Technique and Conservation
CHAPTERS IN BOOKS:
In the book titled The Alhambra Official Guide:
- The Alhambra Plasterworks
- The Stalactite work
In the book titled The invention of the Hispanic-Maghrebi style:
present and future:
- Decorative techniques in the Alhambra: knowledge and
restauration
PUBLICATIONS IN JOURNALS:
- Preliminary Study on the Biodeterioration of Canvas Paintings
from the Seventeenth Century by Microchiroptera
- Innovations from the Alhambra: New Materials in the Application
of Traditional Restoring Mortars
He works every day at his workshop in Cenes De La Vega but
he also has experience working in Granada, Jaen, Saudi Arabia
and Morocco. In Granada, when he is not working making
22
official reproductions of parts of the Alhambra, he works on
the restoration of plasterwork and mouldings in many religious
buildings. In Jan, he worked on the plaster mouldings in Saint
Andrews Church. In Saudi Arabia, he worked on a reproduction of
the Alhambra in Riyadh. Finally, he has collaborated with other
artisans from Morocco, Turkey, Thailand, the Philippines etc. and
since March 2016, he has been working on the restoration of the
plasterwork in a mosque in Morocco.
Description of the Work and Materials
Ramn explains: My work consists of making reproductions of
Alhambra pieces. These can be of existing pieces or of pieces
that have to be re-created by designing them and cutting them.
Then we have to create silicone moulds to reproduce the new
pieces. Usually, this technique is used to reproduce parts of a
cornice or facade that have been ruined or damaged and which
need to be replaced.
The Source of Inspiration
As Ramn says, his source of inspiration is undoubtedly the
Alhambra, with its walls and Arabic motifs. There he can find
inspiration for the creation and reproduction of different motifs
(epigraphic, geometric or from nature). There are so many
different motifs that, when combined together, its possible to
have thousands of different variations. The final pieces are sold
as official reproductions of the Alhambra and its possible to find
them in the souvenir shops around the Alhambra. The majority of
Ramns clients are tourists, who want an exact reproduction of
the decorations which are on the walls of the Alhambra palace.
Summary
There will not be continuity within Ramns family. However,
many artisans want to work with this type of material and are
interested in the technique of plaster reproduction with moulds.
Many of them also come from the Academy of Fine Arts of
Granada. In addition, Ramon also collaborates and works with
students and professionals from beyond Granada and Spain.
future of this profession could be seriously in danger. However,
the use of new materials or technology is not considered
completely negative by Ramon, who adds: I support the artisans
work, but I do not deny the importance of using methods that
the advances in science have given us. Nowadays, without
silicone, my job would not even be possible.

And what about the job prospects for his field of work? The
future of this profession, just as the future of all the other crafts,
is uncertain. Artisans have to travel, constantly update their skills
and knowledge and try to find a niche in the marketplace for
themselves. New technology (for example a 3D printer) means
its possible to make cheaper reproductions. Of course that will
mean the reproductions are all identical, but nowadays many
customers prefer the lower prices due to mass production even
though the quality is inferior. If something does not change, the

23
TRINIDAD LPEZ
ALGUACIL
CERAMIST
SANTA F, SPAIN

T
rinidad and her husband Agustn have worked with
ceramic tiles for over 30 years. They produced them using
mainly water, mud and colours and they have sold their
produce all over Spain and internationally. Agustn and
Trinis factory is located in Santa Fe, in the province of Granada.
They started working in this field because of family tradition.
Trinis father had worked in this area since her childhood and
she really liked his job. She was always in the shop watching her
father working. Ever since she was a kid, she had always wanted
to participate in the work that her father did and day by day, she
learnt how to do the different techniques, distinguish the materials,
set up the oven temperatures and much more.

Their tiles are mainly used to decorate kitchens, bathrooms or

patios in homes, hotels and public buildings or even to decorate
the walls of any room. They are well known in the Santa Fe area
and in the region of Andalusia and they also have clients all over
the world: Saudi Arabia, Morocco, Algeria, Dubai, Quatar, Italy and
the United States. In Spain, they have worked for clients all over
the country: one example is the Pavilion of the International
Exhibition of Seville in 1992.

The origins of ceramic and its properties

Spanish tiles have gained a worldwide reputation for some of the

most brilliant and colourful combinations. The origins of Spanish
tiles go back thousands of years.

During Medieval times and before the Muslim invasion of 711AD,

ceramics were produced extensively in Southern and Coastal
Eastern Spain, including tiles for design and manufacture, practical

24
pieces, mosaic art pieces, roof tiles, fountains, and so on.
Amazing pieces of artisan tilework were made for palaces and
churches all around Spain. Ceramic tilework later developed
and spread throughout Spanish homes to floors, kitchens,
bathrooms and most of all, indoor patios.
Glazed tiles are enamelled with metallic and glass oxides that
help protect tile surfaces, making them durable but also glossy
and shiny in design. Spanish ceramics began to be exported
from many cities in Andalusia, southern Spain. Rich in Islamic
and Arabic heritage, ceramic tiles were exported throughout the
Mediterranean, Europe and then the world.
Nowadays, Spanish tiles vary from modern to traditional, from
colourful and patterned, to wood-like designs. The traditional
and original kinds of Spanish tile may be quite expensive but
they are extremely high-quality and durable. Ceramic tiles
are, in fact, very resistant against many potentially damaging
factors, such as water, wind and heat. The glazed surface of
this material provides the product with impermeability, which
makes it more resistant to rain, and that is why it was usually
used as a roof covering.
Description of the work and materials
Trini and her husband produce three types of tile:
- Arista: From the Arabic tradition each colour on the tile is
separated by a small ridge (arista).
- Cuerda Seca (dry cord): there is a small gap, like a path,
between the different motifs and colours that the tile may have,
to separate them.
- Artistic hand-painted tiles with floral motifs, animals etc.
Trini and her husband work with many different materials,
but mainly with clay and water. They also work with different
oxides, cobalt and tin which they use for decorating tiles. Taking
a rectangular or square-shaped piece of fresh clay, a specific
motif is applied. Once the pattern on the tile is drawn, it is
placed in the kiln at a temperature of 800-900 C. When the tile
is ready, it is painted with coloured glazes and then it is placed
back in the kiln to complete the process. We come here every
day and we always have work to do. If we have some pending
requests, we start to work on them first. There are always things
to do, such as cleaning, sorting or ordering materials that we
have run out of Trini explains.
The bases of the tiles are made of clay, they may be reddish
if they are highly ferruginous, or whiter if they are more
calcareous. To obtain strong colours on the tile, it is necessary
to use glazes that contain lot of silica, which will make the
tiles look like they are made of glass. The most expensive glaze
used today, and one of the most difficult effect to achieve, is
the metallic reflex, which needs to be processed with oxidizing
and reducing.
Summary
Trini and her husband have worked for many years as artisans,
and they have been through ups and downs in the market, but
they have always been able to keep going.The economic crisis
has also been a difficult period of time for our work, but we
25
have managed to maintain our profession and make a living
from it.
And what about the future of the factory? It looks like our
child is going to re-open the workshop, and even though we are
already retired, we will keep on helping him little by little. He is
not going to be directly involved in making tiles for now, but he
will mainly take over the management of the company. We are
also in contact with a private company that will try to open new
international markets for us to expand to new customers.
And she adds: After all these years it makes us sad to see the
profession of craftsman is increasingly less valued and is slowly
disappearing. We have already retired, but still keep coming to
the shop and doing small jobs. We know that soon we will have
26
to delegate someone to do all these tasks. We have spent a few
months in contact with an external company that is interested in
moving in to reopen the workshop and continue the tradition. To
do that I will hire new people and my son will also collaborate
with them and us, my husband and I. We will also be here almost
daily to help out in any way possible. Although our son did not
want to work in the workshop initially, because of the crisis
and the lack of work, he has been more inclined to get to know
this world and work in the workshop, even if not directly on the
creation of the tiles.
JUAN ANTONIO
ORELLANA
PAVEMENT MAKER
LOJA, SPAIN

J
uan Antonio Orellana is a stone pavement expert. He
started his career in 1990 at a small construction company
in Loja and the surrounding villages. This company was
involved in many construction projects and jobs including
constructing Granadino stone pavements (empedrado granadino).
When he began, there were already workshops dedicated to
making this particular type of stone pavement. These workshops
started appearing in Granada as early as the XIX century. His
current workshop is in Loja, although in reality most work is done
on site, so its more like a storehouse than a workshop.

The Origins of the stone pavement

The first culture to use stone pavements was the Aegean

culture (Neolithic Period 1600 -1000 BC). First the Greeks, then
the Romans decorated their buildings with beautiful mosaics
composed of small pieces of coloured stone called tesserae.

The type of pavement found in Granada is derived from the

Roman tessellations but it was conceived in Arab culture, with
the Umayyad dynasty being the first to create it and use it in
the independent Caliphate of Crdoba (Century IX XII). The
materials used to form these pavements were naturally rounded
little rocks (with a diameter of 5 cm) mainly obtained from
riverbeds.

The first creations during the Umayyads dynasty were geometric

compositions using darker rocks to fill in the decorations. The
Umayyads were copied by the Nazarites, descendants of Nasridas
who were early settlers of what later became the Kingdom of

27
Granada. In Granada, however, white and black stones (those
found in the ravines and rivers of Granada) were used to create
the stone pavements. This is what makes its empedrado special
and unique.
The Materials and Workmanship
The main materials that he works with are mortars a
homogeneous mixture of cement and sand, stone pebbles
or limestone for the infill and slate for pattern formation or
decorative motifs. The selection of materials is both important
and very basic at the same time. On one hand, you need to find
a material that is long-lasting and able to stand the wear and
tear of both people and vehicles. On the other hand, the material
should be physically and chemically stable, so that cant be
damaged by rain, and can cope with chemical elements that can
be present on the streets of any city.
The stones used to construct these typical Andalusian stone
pavements are white and black stones, and they are gathered
from ravines and rivers in Granada. These stones are used
because of their uniform consistency and because their form
makes them suitable for setting into the mortar in the street.
They are also very rich in quartz, which doesnt allow salt and
humidity to enter, and their edges are rounded by the passage of
time, which makes them ideal for street construction.
If they had not been paved, the streets would have been muddy
and in the past it rained much more than now. The choice of
stone for pavements over other types of material was mainly
because the stones were easily found in rivers and streams in
the area, and they were free. Besides which, these stones are
28
suitable for making a flat surface and they are comfortable to
walk on. There may be other materials used to create these
pavements in Andalusia, such as marble, but stones taken from
ravines and rivers are the main materials used. Finally, both
locals and tourists seem to appreciate and like these stone
pavements. They think of them as a symbol of Granada and
Andalusia and they find them very characteristic of Andalusian
culture and traditions.
Several steps are needed in order to
create a stone pavement:
1. The sand and cement are mixed in the following proportions:
of sand and of cement.
2. The mixture is spread out in the place where the stone
pavement is going to be laid.
3. The layer of dry mixture is smoothed and the motif is drawn
on with a finger.
4. The stones are placed to form the motifs and the background
infill.
5. The whole thing is flattened with a piece of wood in order to
leave all the stones at the same level and then it is covered with
a mixture of sand and cement and smoothed off until the result
is homogeneous.
6. Then water is sprayed very carefully to avoid removing the
cement. The stones are cleaned with a brush and left in such a
way that they just stand out from the mortar.
Finally, the stones are washed carefully with a sponge in order
to remove all the cement stains.
Summary
Nowadays not many artisans work as stone pavement experts
(only about 30 in the Andalusian region). Juans main clients
are private clients, however in the past he also worked for city
councils. With his job, he can barely pay for his food and monthly
expenses. Since most clients are private clients, the majority
of work is carried out directly in their private homes, chalets,
courtyards etc. When he works for city councils, he mainly works
in squares, pedestrian streets and footpaths. In the latter case
(public spaces) there are no restrictions applied in terms of
the choice of patterns: Juan is free to choose the patterns and
decorations himself. Since the work is generally done on smaller
areas, Juan usually works alone.
In Juans case, the family continuity has unfortunately been lost.
29
However, he has taught his craft to students that are currently
working in this field. He doesnt officially hold the title of
teacher but he knows his profession very well and in Spain and
in Andalusia, about 20 years ago, the administration created a
School Workshop (Escuelas Taller), where the teachers were
professional builders and carpenters etc. who taught their skills
and passed on their knowledge to students who learnt the
trades in these workshop schools. All of these Escuelas Taller
have now disappeared.
So what is the future of this profession in Spain? Just as for
all the artisan professions, it will only continue to exist if there
are still people who value and appreciate the workmanship and
the unique qualities of work by hand. However, because of the
spread of new materials it might be even tougher in the future.
Juan explains.
 Lithuanian Masters of REDIAPRO:

Mindaugas Rutkauskas, Potter

Audronis Skurvydas, Carpenter
Algirdas Stankus & Sons, Blacksmiths
MINDAUGAS
RUTKAUSKAS
POTTER
VILNIUS, LITHUANIA

M
indaugas Rutkauskas has been involved in the craft
of tile-making and pottery for more than 20 years.
This great artist was born on 1st January, 1956, in
Kaunas. He graduated from the Faculty of History
at Vilnius University in 1981. After graduation he couldnt find
a job that suited his education because of the constraints of
the contemporary government (at that time Lithuania was part
of the Soviet Union) so he became interested in ceramics. In an
independent Lithuania, he became a member of the Folk Artists
Union in 1991. The Union is a creative, independent, voluntary
and non-profit organization which unites the best folk artisans
from the fields of painting, sculpture, graphics, ironwork, pottery,
weaving, knitting, jewellery, braiding, and traditional art. It unites
non-professionals who do not have professional qualifications
in the art and crafts. Today, Lithuanian Folk Art is considered
to be a significant part of ethnic culture reflecting traditions
and a unique perception of the world. Mindaugas Rutkauskas
was given the status of Art Maker in 2007. This status is given
to people whose artistic work has been positively evaluated as
professional artwork and who have carried out craft activities
that are recognized as professional artistic creations. Finally, tiles,
jugs, bowls, plates, pots, jars and whistles made by Mindaugas
Rutkauskas were certified as National Heritage Products in 2010.
National Heritage Products are non-mass-produced, certified
items that are made by artisans, handmade using traditional
raw materials or new techniques based on old traditions while
maintaining the unique qualities and composition of the products.

Basically, Mindaugas Rutkauskas carries out all the major

processes for the production of ceramics starting with the search
for suitable clay, its cleaning and kneading, to throwing pottery
and ending with kiln construction, glazing and firing. All of this is
done following the principles of reproducing a craft, ie. using the

31
same tools, materials and techniques that were traditionally used
in the period of the pottery being replicated. Traditional methods The Manor of Bistrampolis and its Tile
are used for processes such as as clay preparation, moulding
and throwing pottery, decorating, and glazing in various ranges
Stoves
of firing. Chemical test results are analysed; clays of different
This manor has been in existence since the late 15th century.
masses are prepared; copies of selected archaeological samples
It belonged to the Bistramai family from the late 17th century
are moulded and fired.
until 1940. The manor was later nationalized (confiscated), and
then abandoned and so it began to decline. The manor house
Mindaugas Rutkauskas spends a lot of his time studying
was built in 1850 and survives to the present day. The two-storey
collections and ethnographic notes in museums. He has an
palace is built in the classical style with a rectangular plan.
archaeological knowledge of cultures development and the
The main facade is decorated with a portico with four columns
different ceramic techniques of these cultures, and he analyses
erected on the second floor above a porch of three arches. The
the patterns and techniques, and moulds and fires reconstructions
first floor of the palace was filled with guest rooms and the
of selected archaeological samples. He also reproduces the
whole right side had a large hall. The second floor was devoted
ancient techniques of Gothic and Renaissance ceramics in an
to creating an impression. It had larger and smaller salons, the
experimental way, exploring and reconstructing historic stoves,
dining room, workroom, and library. The landlords had collected
by analysing the evolution of stoves and tiles, samples of tile-
2000 books, a rich archive of the family and an art collection. In
moulds, plastercasts and clay matrix presses.
1997, the ownership was transferred to Christ the King Cathedral
in Panevys. The new owners did not maintain the park and
As well as his artisan activities, Mindaugas Rutkauskas also
as a result the manor buildings deteriorated. Since 2003, the
implements other initiatives relating to crafts and history. He
manor has been under patronage, maintained and restored by
is one of the organisers and participants of the international
PI as a Centre for Youth Integration Opportunities. Mindaugas
Bartholomew Fair which takes place every August in Vilnius.
Rutkauskas has manufactured two tiled stoves for the manor
This fair showcases the replication of crafts from the late middle
following the traditional methods used for the production and
Ages and the Renaissance, the arts and traditions of the artisan
decoration of tiles in Lithuanian territory (historic and current).
guilds which operated for several centuries in Vilnius. Mindaugas
http://www.bistrampolis.lt/
Rutkauskas is also one of the founders of PI Crafts Guild which
has been operating for 13 years. It is an open workshopgallery
seeking to revive and preserve craft traditions, participating A Success Story
in exhibitions, education, social and cultural activities within
Lithuania and in international events and projects. Mindaugas In answering the question of whether his activities can be called
Rutkauskas also carries out educational activities, for example a success story, Mindaugas Rutkauskas says that he is happy
he teaches tile-making and pottery mostly to individual adults that he has found his place under the sun and is engaging
and carries out informal education programmes for children. in a favorite activity even though it does not bring significant

32
earnings. However, money is not the objective. The goal is quite different, for instance
to replace the missing pieces of tile stoves to match the original design, and if there
are no illustrations available, then to restore them using his own intuition, and his
historical and architectural knowledge which helps to maintain authenticity.
We make everything
we need to: from the
whistle to the tile
stove.

33
AUDRONIS
SKURVYDAS
CARPENTER
LAPYNU VILLAGE, LITHUANIA
T
oday, Audronis Skurvydas spends most of his time as
a restorer artisan working with all things wooden. A
well known artisan, carpenter and restorer in Lithuania
he is also considered to be a built-heritage specialist
in the restoration of wooden structures, decoration and joinery.
About five years ago he completely abandoned a career in the
civil service at the Department of Cultural Heritage under the
Ministry of Culture of the Republic of Lithuania. According to this
artisan, it was easy to do because he is still working in the same
field. In addition, his educational experience in this field has led
to a deeper insight into the practical work that he carries out.
Nowadays, his tasks can be seemingly very simple, for instance
restoring old joinerwork (windows, doors, stairs, floors and other
interior and exterior wooden parts) and bringing it back to life
without damaging any valuable original features.
As well as being a professional restorer, Audronis Skurvydas is
also trying to adapt traditional carpentry to todays construction
world. As a result, he is in constant contact with architects and
building engineers who work with traditional craft skills. The
recipe for success is a common interest in historic structures,
the importance of their preservation and their potential for
adaptation.
The Road to becoming a Professional
Artisan
Audronis Skurvydass path to becoming a professional craftsman
began in early childhood, when he spent the summers at his
mothers ancestral home at the emaitija steading near the
town of Mosdis in Western Lithuania. Audronis Skurvydas
35
has been told by his mother that his first piece of work was
made in his grandfathers forge and it involved carpentry. His
grandfather stood a handmade stool in front of him, gave him
a hammer and a handful of nails and that was the beginning.
As for his second work, Audronis can remember that himself, it
was a whistle. Using his homemade folding knife and guided
by his grandfather, he managed the task really well for a child.
This suggests that he may have inherited these skills from his
family. Audronis Skurvydas studied and graduated from the old
high school of Palanga (as it is known today) where his most
memorable lessons were technical studies and music. There
were two eminent teachers there, the artist Vytautas Kusas and
the maestro Leonas idlauskas, who were and still are experts
in their fields. They both influenced Audronis from an early age.
After graduating from the Faculty of Arts at the University
of Klaipda (as its called today) and becoming a cultural
education professional, Audronis Skurvydas chose a career path
as a museum worker. He started work at the Lithuanian National
Museum in 1989. Soon he began to collaborate with Alfonsas
Gudzeviius, a restorer-expert from the workshop of artistic
furniture restoration at the Academy of Art P. Gudynas Restoration
and Conservation Centre. Maestro Alfonsas Gudzeviius taught
Audronis the basics and gave him an academic-scientific
attitude towards restoration work by sharing his insights into
antique furniture restoration and his practical experience.
Art versus Science
According to Audronis Skurvydas, the principles of restoration
work are generally determined by the ideas and concepts of
heritage protection which are clearly defined in both national
and international legislation. There is no place for creative
freedom or art. This scientific view is based on a wide range of
studies, experiments, and firmly established dogmas. Audronis
Skurvydas consolidates, preserves, conserves and reconstructs
items of ancient craftwork but by no means remakes them. As
a restorer, familiar with the historic work and art of artisans,
Audronis Skurvydas uses this experience to bring established
techniques to modern analogous activities. He has noticed that
what were previously technical joints, have now gained more
decorative features in the context of modern design.
The Most important thing is Cooperation
Audronis Skurvydas says that first thing he does on a project
is to engage with others. Before starting any work he gathers
together the widest range of information available. Just as in
medicine, where a surgeon listens to what the anaesthetist
or cardiologist says before an operation, the same goes for a
carpenter-restorer: when you carry out a restoration project you
usually need to get the views of the architect, archaeologist,
polychrome professional or others such as representatives of
traditional crafts. This means that the principle of partnership-
working is what usually determines the quality of the results.
Audronis Skurvydas is pleased that there has recently been a
connection made between the Vilnius Academy of Arts Applied
Cultural Heritage Research and Conservation Centre in Teliai
and the Kaunas College Art Faculty of Justinas Vienoinskis
Cathedral of Conservation and Restoration of Artworks which is
headed by Bangutis Prapuolenis.
36
Materials and Techniques
In his everyday carpenter-restorer work, Audronis Skurvydas uses
traditional and reliable handheld woodworking instruments like
planes, chisels, knives, sharpeners, clamps, choppers, scrapers,
axes, various hand-saws, drilling tools and others. He could
not manage without traditional materials as well such as
wood, metal, glass, linseed oil, pine resin, turpentine, alcohol,
shellac, chalk and a mixture of linseed oil (kitas), and others.
With the help of these tools and materials, authentic, historic
architectural details are refreshed, revived and preserved, such
as joinery details as doors, windows, shutters, stairs, floors, etc.
At the same time new pieces of joinery are born bearing the
hallmarks of ancient craft traditions.
Honours
Audronis Skurvydas, though modest, is very pleased that his
works have been recognised by others in several competitions.
He has been awarded:
- The Certificate of the Union of Restorers under the Republic
of Lithuania in a competition for the best restoration works in
2013-2014.
- A Certificate of Distinction in a competition for Built Heritage.
- A Certificate for the qualitative, methodologically-based
management of wooden and polychromic works and the
preservation of authenticity (Uupis Street 14-6).
STANKAI FAMILY
BLACKSMITHS
VILNIUS, LITHUANIA

T
he Stankai family is one of the most famous Lithuanian The Father of the Family Algirdas
families of blacksmiths. More than 5 generations of the
Stankus
best Eastern European blacksmiths, who were probably
the first to revive Damask technology in this region,
Algirdas Stankus says of himself: Blacksmith Domininkas forged
have this surname. However, the range of activities passed from
me with smooth movements of her body and I first saw light
generation to generation was not restricted to just gunsmithing.
of day in the Spring of 1948 in the town of Viekniai. I finished
Huge works of artistic ironwork were also created, adorning a
high school in Kaunas, and then I learnt order and discipline
number of luxurious homes (staircases, railings, chandeliers, parts
in the Navy, the arts in Teliai Applied Arts School, and worked
of furniture, etc.) were also crafted. The Stankai have also revived
as a restorer in Vilnius. It was a wonderful opportunity to study
the heritage of historic buildings by, for example, restoring or
the secrets of the ancient Art of the Blacksmith. I got new ideas
reproducing locks, keys, hinges and other architectural details.
and courage from Professor Giunter Laufer in Eisenach and from
Over many years of operation, the Stankai family has shown the
architect-blacksmith Achil Kiuhn in Berlin. I was sent the Czeck
importance, relevance and necessity of this traditional craft for
Metal-forging and Art News by Alfred Haberman. I taught the
todays society. Lets meet them!
ancient metal process methods of the Baltic tribes with the
help of archaeologists Jonas Stankus and Marija Gimbutien
(both Lithuanians), and Aleksis Anteinas (a Latvian). I have been
a member of the Lithuanian Artists Association since 1988.
I am a full and active member of the Estonian Blacksmiths
Association (ticket No. 2) and have been a associate member of
the Finnish Blacksmiths Association since 1991. I exhibited the
first Damask items at the Vilnius Decorative Arts Exhibition in
1987. My first exhibition and lecture cycle The Traditions and
Future of Artistic Metal Forging in the Countries of the Baltic
Sea Region were held in Miunemaki city at the Finland Institute
of Applied Arts and Design, and later at the Stockholm Academy
of Arts. I came back to my homeland at the start of Lithuanias
independence. I have passed on my experience of the art and
craft of the blacksmith to young blacksmiths. We participate in
exhibitions whenever possible. In conjunction with my students,
we exhibited blacksmith items in Turku city, Finland in June
1998. We have also participated in worldwide exhibitions of
artistic ironwork. We have had exhibitions in the Czeck Republic,
Poland, Germany, and Russia. You can find my work at St.
Johns Church, the Presidential Palace, Kaunas Priests Seminary,
Birtonas, and the Lithuanian Embassy in Moscow. I have made
lots of gravestone monuments
The Sons Mindaugas and Martynas
Stankus
I never dreamt of becoming an astronaut or soldier. To be a
blacksmith was already encoded in my genes at a young age
tells Algirdas Stankuss son Martynas. The brothers first home
was in the buildings of the present-day Lithuanian presidential
38
palace in the centre of Vilnius where their parents had a small
mould room. And of course, their second home was their fathers
forge. So the children of the family spent all day there learning
the skills to be artisan-blacksmiths. That is why their journey
to becoming blackmiths was so short from the start of their
conscious childhood, perhaps even from the age of three when
they could first hold a hammer. So it is not at all surprising that
from an early age they were able to contribute directly to the
rejuvenation of Vilnius blacksmith heritage. After all, their father
Algirdas Stankus was the blacksmith-restorer at the heart of the
restoration of Vilnius monuments. Mindaugas Stankus became
interested, due to his Lithuanian language teacher Stasys
Urnieius (Great Knight Vilkdaugas), in the archaeological digs
taking place at Vilnius Lower Castle, so much so that he actually
spent several teenage summers there.
Blacksmithwork Science versus Art
Today, the Stankai blacksmith family try to copy the techniques
of ancient forging traditions in every single work but at the
same time they do not completely avoid modern technology.
At first sight it might look as though these two methods
are incompatible, but this synthesis allows the craft of of
the blacksmith to adapt to modern needs and desires. The
techniques used by blacksmiths are very wide ranging. The latest
knowledge about technological stuff comes to blacksmiths not
only from personal experimentation and lots of experience, but
also by attending symposiums and festivals and especially by
communicating with other artisans.
The Most Important Thing is Continuity
One of the best methods of transmitting knowledge is through
the next generation of students. The Stankai family have signed
a contract with the Teliai Art Faculty of the Vilnius Art Academy
relating to students practical experience. As a result, they had
to educate themselves and then teach students for several
summers in a row. Another way of spreading knowledge is by
taking part in the activities of the Pajautaarchaeological club.
This club brings together artisans who replicate ancient crafts
and demonstrate these processes during various events for the
public. But according to Algirdas Stankus the most important
thing for the transmission and continuation of the craft of the
blacksmith is his family and his two adorable sons.
There is always plenty of work
Algirdas Stankus taught his art Finnish, he has made copies
of weapons for one of the famous museums in the world, the
Hermitage Museum, and has forged the most sophisticated
items for churches and Vilnius University. As a blacksmith and
gunsmith, his creations decorate the houses of well-known
businessmen. The blacksmith and the miller have always had
lots of work no matter what the prevailing conditions, ie. war or
plague says Algirdas Stankus.
Algirdas himself, his bearded son Mindaugas and his other son
Martynas who lives in Kaunas, can all three confirm by their
appearance, that blacksmiths are strong and stocky, although
the men mentioned several times that nowadays there are slim
blacksmiths, too. A woman and a gun should not be put together,
39
she is needed to give birth to children and look after the home,
and not behave like a Scandinavian woman thinks Martynas, a
strong man, who is 186 cm in height and 110 kg in weight. Then
he remembers a funny story and smiles: Once in Sweden, I saw
a woman carrying very heavy firewood, so I offered her my help,
and I just about got hit over the head with the firewood.
What are the most important characteristics for a blacksmith
Algirdas Stankus has no doubts: Talent, diligence, and a sense
of size, shape and distance. Algirdas Stankus is not a religious
man but maybe it is not a cooincidence that it is said that
blacksmiths are the closest ones to hell, and that the closest
way to the Devil is through smithwork. Hephaestus, the son of
Zeus and Hera, god of fire and guardian of blacksmithwork, had
a limp and I have lost an eye the famous blacksmith points to
his left eye. He does not talk much about this painful incident.
The irony of fate is this happened not in the forge, not close to
hell, but whilst restoring Vilnius Church of the Apostles Philip
and James, when he climbed high up a tower and a workman
wrapping metal wire accidentally poked him straight in the eye.
Cleaner than in an Operating Theatre
However, the fact is that the forge is a very clean place. You can
ask a surgeon. In the old days, giving birth took place in forges. I
took part in my sons birth, so if needed I could always deliver a
baby laughs Martynas. Once a famous journalist visited with a
girl wearing white shoes. I blew away the soot and offered her a
seat but she said: its not clean, laughs Algirdas. Lady, I said
to her, it is cleaner in here than in an operating theatre. Needles
are sterilised at 100 degrees Celsius there, and at 1000 degrees
Celsius here, so its 10 times cleaner.
Estonian Masters & Workshops of REDIAPRO:

Margus Palolill, Caprpenter

Ahto Raudoja, Shingle roofer
Community of Mooste (Workhops)
MARGUS PALOLILL
CARPENTER
MOOSTE, ESTONIA
M
argus Palolill was born and raised in south-
east Estonia, where the culturally distinct,
orthodox region of Setomaa is situated. He
studied environmental sciences at the University
of Tartu and did a masters degree in Geology. During his
studies he took an interest in southern Estonian solid clay
buildings and his primary field of research at university was the
contents and characteristics of various clay materials used in the
traditional, historic, clay buildings of Setomaa. He also collected
information about the building styles and architecture of the
local clay buildings, contributing thus to the understanding and
conservation of this unique but fast disappearing craft.
While studying clay buildings, Margus became interested in
the craft of Estonian traditional log-building as the primary
material for farm-houses. He started as an apprentice working
on shingle roofs and some years later he joined a traditional log-
building company, Saulerman, where he learned how traditional
handcrafted log-houses are produced industrially ie. in a fast,
efficient and profit-oriented way. Although he was grateful for
the experience, he soon realised that there was more he wanted
to know about the science of timber and woodcraft than just
mastering the production of log-houses. From 2009-2011 he
worked for the Rpina School of Horticulture as a log-building
teacher to landscape architecture students. In 2013, he opened
up his own carpentry workshop and is currently specialising
more on the skills of cabinetmaking. The primary produce from
his workshop is wooden doors and windows but he also makes
also indoor and outdoor furniture.
In 2005, Margus bought an old farmhouse in Setomaa and
started to renovate it in a responsible way, so that its historic
appearance would be preserved. Estonian vernacular farm
architecture is devoid of ornament or decoration and is notably
plain and modest with a particular room structure. Retaining the
historic appearance and simultaneously adapting it to modern
family life was therefore a real challenge. However, Margus
believes in taking things slowly and gradually learnt about the
history and character of his old house. He even interviewed the
former inhabitant of the house in order to gain more information
about it. He finally moved in with his family in 2007 and
continues the renovation at an equally slow pace still aiming for
authenticity. In 2008 he built a traditional smoke-sauna.
Drawing from his experiences in traditional log-building,
renovation and teaching, he joined Vanaajamaja in 2009 as
a log-building instructor and adviser on old wooden houses.
Vanaajamaja is an Estonian non-profit organisation that is
dedicated to the studying and teaching of traditional building
crafts. Margus has been tutoring traditional log-building courses
at Vanaajamaja since 2009 and in 2012 he started to teach
international log-building courses on Estonian smoke-sauna
construction. During the six day workshop, the participants
are taught how the log structures were built in the old days
with only hand tools. They will learn traditional Estonian log-
building by cutting and raising a traditional smoke sauna (in
est. suitsusaun), which is a sufficiently small log building but
nevertheless an iconic form in Estonian vernacular architecture.
Workshop participants will also hear about the historical and
cultural context of log-building in Estonia, and about historic
buildings and restoration techniques and usually Margus also
covers also the importance of the smoke sauna and Estonian
sauna culture in general in his courses.
42
Estonians are in general, fond of stressing that their ancestors
have lived in their present location for thousands of years.
The history of architecture in Estonia starts with cone-shaped
tents and stone graves, continues with fortified settlements
and unique barn-dwellings, and somewhere in between the
smoke-sauna appears, which is a small log-built sauna without
a chimney and is common to all Balto-Finnic people, including
Latvians-Lithuanians, Finns, Karelians and Estonians. As the
social status of Estonian villages did not change much until the
19th century, this type of building endured perhaps for centuries.
During the 20th century, smoke saunas in most of Estonia were
gradually replaced by Finnish saunas. However, it would appear
that southern Estonians have the smoke sauna tradition more
deeply rooted in their culture. Saunas of traditional design there
have been more resistant to the changes of modern times than
in other countries, and historic smoke-saunas are well preserved
and popular despite the inconveniences of a longer heating time
and greater consumption of firewood. The smoke sauna tradition
is an important part of everyday life for most southern Estonian
families. It comprises a rich set of traditions including the actual
bathing customs, the skills of making bath whisks, of building
and repairing saunas, and of smoking meat in the sauna.
The building material is usually Scotch pine or Norwegian
spruce and most of the traditional joints and notches are
covered. Although knowledge about traditional sauna customs
is still widely spread, the skills of building the saunas that were
also common once, and taught by fathers to sons, have mostly
disappeared these days. Margus and the rest of the Vanaajamaja
team do their best to encourage people to learn how to preserve,
restore and build their own log-buildings including smoke
saunas.
AHTO RAUDOJA
SHINGLE ROOFER
MOOSTE, ESTONIA

A
hto Raudoja is a carpenter with an education in forestry
and he is a spokesman for the tiny cultural nation of the
Seto people. Traditional wooden architecture has been
his interest since his university days, when he studied
forestry and made an inventory of and investigated the methods
used for Seto traditional buildings. Wooden roofs, as an important
part of traditional architecture, have been part of his work for the
last 20 years. Mainly, he has constructed and been an instructor
on the construction of shingle roofs, and he also has taught it to
young masters.

During his time at university in 2002, he already founded a small

enterprise Katuskatja, whose main area of work is building
shingle roofs and renovating wooden houses. The roofs constructed
under Ahtos supervision range from tiny 4 m2 shelters to huge
1400 m2 barn-dwellings all over Estonia. His most outstanding
projects have been installed in the Estonian Open Air Museum and
the Seto Farm Museum.

Seto Spokesman

In addition to his architectural experiences, Ahto is also a

spokesman for Seto culture. The Setos are a small Finno-Ugric
nation close to the border between Estonia and Russia. They have
their own language and clothing, cooking, music and architectural
customs, but their territory is found in both Estonia and Russia.

Amongst other things, Ahto has investigated and renovated

Seto tsssons, orthodox chapels which have a significant role
in Seto rural architecture. Unlike churches, the tsssons are
established by village communities and built by local men with
their own resources and willpower, using local traditional building
techniques. These buildings are therefore essential sources of
information for architectural heritage research.

43
Ahto has compiled the voluminous anthology, Tsssons of
Setoland (published in 2011, authors: Ahto Raudoja and Tapio
Mkelinen), which gives an overview of the research carried
out over last 10-12 years and allows an understanding of the
essence of the tssson in Seto culture. He has also written
the review Setoland: the basic features of the traditional
architecture (published in 2014 by Vanaajamaja), which gives
an overview of different types of buildings and the character of
Seto rural architecture.
Building shingle roofs
Wood, as the most easily obtainable building material, has been
in use in Estonia since prehistoric times. Until the stone roof
started to become popular in the 15th century, roofs of dwelling
houses and churches were covered by pieces of wood hacked
from timber logs using a wedge.
The growth of wooden roofs accelerated again at the end
of 19th century cooinciding with changes in agricultural
production. When the use of threshing machines overtook
manual harvesting, the straw processed by these machines
was not suitable for covering roofs anymore. Different kinds of
shingle roof (in Estonian: pilbas, laast, sindel, kimm) began to
appear alongside boarded, torn log and thatched roofs.
After the Soviet Era, when different kinds of industrial materials
were used for roof coverings, wooden roofs rose to prominence
again within rural architecture and spread to use in renovation
projects as well as in building new houses.
Shingles are cut from a raw block of spruce, pine, aspen or
44
alder using a special shingle-cutting machine. The most durable
species is spruce, but it is also the most knotty, which makes the
shingle-cutting quite complicated. Logs for shingle-cutting have
to be straight and knot-free. The average thickness of a shingle
is 3-4 mm, the width 7-12 cm and the length can be up to 75 cm.
The most suitable roof for a log building,which is the most
common rural architectural building type, is a roof made of
natural materials. Shingle is flexible and mouldable; it is
suitable for different shapes of roofs and a shingle roof is
relatively light often historic log houses are not able to carry
the load of a heavy stone roof.
The Revival of Ancient Skills
To build a house with a roof for your own household was an
obvious necessity for most peasants at the beginning of the 20th
century. Little boys learned the skills by their fathers sides and in
turn passed them on to their sons. During the Soviet Era building
traditions were interrupted and many traditional building
skills were in danger of disappearing. After Estonia regained
independence, the renovation of historic buildings and the
erection of new ones in a traditional style gained popularity and
alongside that there has been a growth in interest in traditional
skills. Nowadays it is possible to learn how to build a wooden
roof on short term courses, mainly organised by societies who
are promoting traditional building skills, or by practicing under
the supervision of an experienced master craftsman.
There are many wooden master roofers all over Estonia, but Ahto
is considered not only a craftsman, but also a ambassador for
traditional skills and conveyor of cultural heritage.
COMMUNITY OF
MOOSTE
WORKSHOPS
MOOSTE, ESTONIA
M
ooste is a tiny village in south-eastern Estonia with
a lively international arts and crafts community.
The life of the community centres around an
historic steading and its surrounding complex of
red brick farm estate outbuildings, gates, walls and majestic
valitsejamaja (manor house), set in relaxing countryside. Each
of the outbuildings has its own function and focus and hosts
different kinds of arts and crafts workshop.
The old manors grain-drying kiln is home to Vanaajamaja,
a nonprofit educational organisation that provides training
programs, promotes Estonian traditional architecture and
serves as a centre of knowledge for historic buildings and
log house renovation. In this cosy old stone building, the
Vanaajamaja team organises several courses on Estonian
traditional building, and provides continuing professional
development and skills advancement for carpenters. Their
course calendar is full of exciting training possibilities in
traditional building beginning with 1-day refresher courses and
information seminars progressing right up to full 10-day, hands-
on, practical logbuilding courses. Once or twice a year they offer
logbuilding, timber frame or other traditional building courses
for international masters, students and enthusiasts.
The earth building and clay plastering workshop is run by
Saviukumaja who produces and sells clay and lime plaster,
compressed earth blocks, clay blocks, clay mixtures for straw
bale houses, and masonry mortars etc. Their main interest is in
clay buildings. By constructing and renovating clay houses, they
continue to revive the farm architecture of Southern Estonia.
Unlikely most production companies, they also spread knowhow
and skills of how to work with these materials, they organise
workshops and courses for those who want to gain professional
certificates.
Next door to Saviukumaja is a wood restoration workshop where
you can bring your old doors or windows and at the skilful
hands of local masters, they will be made as good as new again.
They also make replicas if the timber is already too decayed to
be saved and restored. In addition, there is also a master bow-
maker, originally from South-Africa, who has set up his workshop
here and makes hand-made wooden bows that are used in
competitions all over the world.
Mooste is home not only traditional architectural and carpentry
crafts but also to a textile handicrafts studio and wool workshop.
At Sireli Farm woolshop, all kinds of lambswool products are
produced from warm woollen socks to majestic fur coats. The
blacksmith of the village works in a tiny old forge right next to
the main gates.
One very unique and attractive collaboration is MoKS a
non-profit artist-run project space. With its diverse approach
and open atmosphere, MoKS holds a unique position within
the Estonian and greater European cultural context. Their
main activities include an international Artist-in-Residence
programme, organising Art Symposia, workshops for adults and
youths, art and community events in Estonia and abroad, and
participation in various international projects in collaboration
with other arts organizations and cultural institutions. With its
46
broad scope and focused environment, MoKS is the only project
of its kind in Estonia and enriches the life of small countryside
community of Mooste.
Over the last hundred years, the manorhouse building has
hosted the local secondary school; the renovated vodka distillery
accommodates the Estonian Photo Tourism Centre, and contains
a suite of cosy rooms used as a photo studio, accommodation
and for various events. The former steam-driven sawmill and
flour mill was rebuilt to form a 60 seat village theatre, and much
of its special atmosphere is created by the interior of the old
mill. For big events, one of the stone barns was rebuilt as a folk
music hall that hosts several big concerts and theatre events,
weddings, parties and first and foremost, an annual folk music
festival at the end of April.
A recycling shop also occupies one part of Mooste manor. This
tiny, crowded shop is home to all kinds of domestic goods that
have been saved from the trip to the rubbish dump. The idea
behind the recycling shop is similar to garage sale or street sale
events held in the US instead of throwing away goods that are
no longer needed in your household, you can bring them to the
recycling centre and they might find a new home. At the end of
the day everybody is happy and there is a little bit less rubbish
on our planet.
In addition there is a folk music-school where local kids and
adults can study traditional folk music instruments.
Mooste was famous for its tradition of growing flax. The flax-
processing workshop is now a welcoming guesthouse offering
accommodation.
The history of the manor itself goes back to 17th century when the Baltic German
von Nolcken family started to establish a household there. The buildings you can
visit nowadays were mostly built in the beginning of 20th century. During the Soviet
Era the whole property was misused by a local collective farm and it was only
renovated during the last 10 years. Each house has found a new useful function, but
there still are opportunities for further potential some stone barns are waiting for
the chance to be renovated and turned into new attractive workshops/houses.

47
Transylvanian Masters & Workshops of REDIAPRO:

Istvn Egri, Glass Artist & Restorer

Masonry & Joiner Workshops of Bonchida Castle
ISTVN EGRI
GLASS ARTIST
CLUJ NAPOCA, ROMANIA
I
was born in 1963, on the 7 th of May, in Cluj, Romania.
My parents, both artists, are Nagy Enik, painter,
cloisonne enamel and painted enamel artist, awarded
at several international symposia, and Egri Lszl
my father, painter and glass artist. My father was part of the
first generation of professional artists that was included in the
glass industry in the country to organize its design departments.
He worked for 8 years at the glass factory in Turda and after
that he founded the glass department within the ceramics
department of the Ion Andreescu Institute of Fine Arts in Cluj.
I finished secondary school specializing in precision mechanics
and optics at the Industrial High School No. 8 in Cluj. I took
the first entrance exam to enter the Ion Mincu University of
Architecture in Bucharest, but my performance in mathematics
did not secure me a place, so starting the next year I turned to
arts, respectively to the Design department of the Ion Andreescu
Institute of Fine Arts in Cluj (now the Academy of Arts and
Design). While preparing for admission, I have worked as a pipe
glassblower at the Napochim Glass Factory in Cluj. In 1985 I
passed the entrance examination and became its student. During
the years spent at this faculty, I worked with glass for numerous
semester projects, such as the chess project or the perfume
bottles project. Also during those years I worked with my father
on several projects of stained glass, such as the stained glass
from the Roman Catholic Church in Tunad Bi, the Reformed
Church in Dej etc.
After the changes in 1989, I took an exam and continued my
studies at the Institute of Applied Arts in Budapest (now the
Moholy Nagy Laszlo University of Art) the glass department.
I had teachers artists like Bohus Zoltan and Horvath Marton.
During those years of study, the years before the faculty spent
as a pipe glassblower were of great help to me. Often, during
the practical courses within factories, I was the one blowing and
executing the projects of my colleagues and teachers. I passed my
graduation exam in 1993. Back to Cluj in 1995, with my first big
order ever, the restoration of the Calvaria Roman Catholic Church
in Cluj, I opened my stained glass workshop in Cluj, a workshop
which operates uninterrupted until this day, under different legal
forms. I became a member of the Romanian Restorers Union
since it was founded. I got the qualification of Stained Glass
Restoration Expert on movables in 2007 and the accreditation of
Stained Glass Restoration Specialist on real estate in 2012, both
issued by the Ministry of Culture of Romania.

Istvn Egri have had numerous restoration and stained glass works, both in public buildings and private villas throughout the country
and abroad:

MEDIA APPEARANCES AND OTHER ACTIVITIES:

1999, Member of UAP, the Union of Fine Artists in Romania;

Member of the Barabas Miklos Ceh Guild;
1998-2007, several articles on stained glass in the following magazines: Cminul, Casa Lux, Good Homes and in the local press.
Several appearances on the following TV channels: TV1, Pro TV, Duna TV, Realitatea TV, Klub TV, appearances with stories on stained
glass;
1998-2001, present with a stand at the International Symposium on Restoration in Tunad Bi;
Exhibitions held within the Introductory Courses in Restoration organized by Transilvania Trust, with the theme: Specific cases of
stained glass restorations: Augsburg, Canterbury;
2012-2015 exhibition with artists in the field of stained glass invited in the Roth Miksa Memorial House in Budapest;
2010-2016 annual participation in the Barabas Miklos Ceh exhibitions in Cluj.

STAINED GLASS RESTORATION WORKS (SELECTION):

1994 the Reformed Church in Uriu, Dej

1995-1996 the Adormirea Maicii Domnului Roman Catholic Church in Mntur Calvaria, Cluj-Napoca
1996-1997 the Evangelical Church in Bistria
1998-1999 the Lucian Blaga Central University Library in Cluj-Napoca
1998-1999 the Sf. Emeric Roman Catholic Church in the village of Ghelinta, Covasna
2000-2001 the Sf. Ioan Boteztorul Roman Catholic Church, Covasna
2000-2001 the Calvin Reformed Church in Turda-Poiana, Turda

50
2004-2006 the Reformed Church on Farkas Street, Cluj-Napoca
2006 the White Tower, Braov
2006 the History Museum in Turda
2007 the Reformed Church in Abram, Bihor County
2009 the Reformed Parish, the Protestant Center in Timioara (the place of the outbreak of the 1989 revolution)
2009 the Sf. Mihail Roman Catholic Church, Cluj-Napoca
2011 the Roman Catholic Church of Piarists in Cluj-Napoca
2011 the Evangelical Church in Baia Mare, phase 2
2011-2012 the Sfntu Mihail Roman Catholic Cathedral, Alba Iulia
2012-2013 the Budavari Matyas Catholic Church, Budapest, Hungary, commissioned by GLASS.HU, led by restorer Czebe Istvan
2013 the Sfntu Mihail Roman Catholic Cathedral, Alba Iulia, phase 3
2015 the No. 1 Central Reformed Church on Koglniceanu Street, Cluj
2016 the Mona Evangelical Church, Media

STAINED GLASS WORKS (SELECTION):

1996 the Ecumenical Chapel in Salina Praid, Praid

1985 the Roman Catholic Church in Bile Tunad
2004 the Reformed Church in Bonida, Cluj
2007 the Reformed Church in Finiel, Cluj-Napoca
2008-2009 the Orthodox Episcopacy of Alba Iulia
2009 the Reformed Church in Oorhei, Bihor County
2011 the Sfntu tefan Roman Catholic Church in Cluj-Napoca
2012 the Unitarian Church in Miercurea Ciuc
2012 the Marton Aron High School in Miercurea Ciuc, stained glass reconstruction
2012 The KOVER BELA Puppet Theatre in Szeged, Hungary
2013 Jazz Caf, Trgu Secuiesc
2015 the National Theatre of Satu Mare, stained glass, lighting objects concept, chandelier restoration
2015 the Pentecostal Church in Tulcea
2015 the National Bank of Romania, Baia Mare
2016 the Orthodox Church in Cornetu, Ilfov County

51
BNFFY CASTLE
MASONRY & JOINER
WORKSHOPS
INTERNATIONAL BUILT HERITAGE CONSERVATION

TRAINING CENTRE, BONTIDA, ROMANIA

B
nffy Castle, Bontida, one of the most significant
castle ensembles in Transylvania, reached an
extremely precarious condition by the end of the
nineties. The Transylvania Trust, since its creation
in 1996 has carefully followed the castles destiny. The size,
architectural and historic value, and degree of degradation of the
castle make its restoration and use a complex task, which will
only succeed with a proper long-term strategy and international
co-operation.
In 1998 the British Council and the Romanian Ministry of Culture,
recognising the need to develop a built heritage conservation
strategy, invited the Transylvania Trust and the British Institute of
Historic Building Conservation (IHBC) to design and implement
a project to promote historic building conservation in Romania.
The result is now the Built Heritage Conservation Training
Centre at Bnffy Castle, Bontida. The program initially began in
1999, and since 2001 has been based at Bnffy Castle, Bontida,
where the courses have been developed to meet international
demand. As a further step the International Built Heritage
Conservation Training Centre was officially opened in 2005.
The structure of the training
The Centre provides teaching modules, each of two weeks
duration, which offer a theoretical and practical understanding
of the care of the historic environment. Its principal emphasis is
to offer a direct hands-on learning experience for its students.
This is achieved through practical workshops in the crafts of
Rendering, Masonry Consolidation, Carpentry and Stonemasonry,
within which students undertake practical restoration projects
directly on the castle buildings. The workshops are jointly led by
British and Romanian craftsmen.

53
The courses provided through the centre are available to
craftsmen who are already within the building industry, who
seek to either specialise or widen their personal skills, and to
undergraduate and post-graduate university students. It is these
individuals who will be responsible for preparing specifications
and schedules of work for the care and maintenance of the
historic environment in the future. Typically, students have
a background in architecture or structural engineering or
conservation related subjects.
At the end of each course a Diploma (Certificate of Achievement)
is presented to successful students. The Certificate is accepted
by the Ministry of Culture and is widely acknowledged within
the building industry in Romania as having special value and
recognition of quality.
Goals and principles
The purpose of the centre is to promote excellence in the
conservation of the historic environment and specifically to
teach traditional building craft skills which can be utilised in the
repair and maintenance of historic buildings; whilst in parallel
undertaking the restoration of an endangered major historic
building.
The Centre promotes a policy of Minimal Intervention in dealing
with the repair of historic buildings, combined with a strategy of
Compatibility in techniques and materials, and the use of local
resources. It promotes a philosophy of researching, analysing,
understanding, and recording historic buildings before and
during intervention.
The BHCT Centre encourages an holistic approach to historic
building conservation, recognising that the care of the historic
54
environment is not the remit of a single group of specialists.
Many disciplines are involved in its care, and therefore in
addition to its practical courses it offers specialist workshops
to other participants such as Landscape Architects, Building
Historians and Archaeologists, who also have a role to play
within the historic environment.
The training specifically embraces the principal skills required
in the restoration of a building and promotes the concept
of understanding between craftsmen, project managers and
architects. It also embraces the concept of pride in workmanship.
Results
So far more than 2000 students have been trained through
the BHCT programme. They have come from Romania, Hungary,
Slovakia, Slovenia, the Czech Republic, Estonia, Latvia, Sweden,
France, Kosovo, Serbia, Albania, Croatia, Brazil, Australia, Belgium,
USA, and UK, etc.
Training through direct work on the castle has achieved the
partial restoration of a number of the buildings within the castle
ensemble. None have been fully restored to completion but
where work has been undertaken; all the buildings have been
saved from extinction. It was completed the restoration of the
former kitchen block, and its conversion into accommodation
and catering facilities for the students of the BHCT Centre,
as well as opening the Art Caf, the restoration of 2 floors of
the Mikls building and conversion into lecture rooms and
conference facilities, the restoration of the former chapel within
the main building, and conversion into a community cultural
hall, the partial restoration of the former stables and conversion
into workshops, and partial restoration of the main entrance
gate and adjacent rooms, and conversion into a visitor reception
and exhibition area, as well as a lapidarium.
The castle offers a perfect setting for this activity. Its severe
state of dilapidation provided a major challenge to the process
of restoration in 2001, and set major questions to the whole
approach of conservation restoration in Romania. If restoration
could be achieved here in the presence of such degradation it
could be achieved throughout Romania at many other sites. This
was the challenge. The success can only be judged from the
results.
The training model developed here at Bonida (conservation
through teaching; teaching through conservation) is now being
promoted in other countries, particularly in SE Europe, as
they emerge from years of communist rule which resulted in
55
problems similar to those experienced at Bonida.
The Training Centre has been awarded in 2008 with the top prize
for heritage preservation education, training and awareness
raising of the European Union and Europa Nostra. Highly
valued for its double approach: training for conservation and
conservation through training. It is an excellent example of cross
border exchange of knowledge. The castle has therefore once
again an international recognition, albeit in a different form than
that of its previous notoriety.
 Bulgarian Masters of REDIAPRO:

Angel Mitrofanov, Carpenter

Varvara Valchanova, Earth Builder
Veselin Vasilev, Carpenter
ANGEL
MITROFANOV
CARPENTER
ROUSSE, BULGARIA

W
hen Angel was only 12 years old he used to keep
a small knife and a piece of wood in his pocket,
always carving something My favorite theme
was The Statue of Freedom in Rousse City I kept
buying postcards of the statue and used to carve tiny wooden
sculptures, he remembers, smiling. One day, a teacher from
Angels school noticed his talent and asked him: Have you been
to the Tryavna School of Applied Arts? Of course I have! Angel
replied. Do you know that there is a class for woodcarvers? was
the teachers question afterwards and it was this very question
that kindled a desire for wood-carving in Angel. The young boy
had already found his ambition in life

Angel Mitrofanov chose to study at the wood-processing

Professional School of Rousse. After five years of hard study and
labour, he became a master of wooden art furniture. He was
taught by some of the legendary masters of the school of Tryanva.
However, his dream was to construct and carve more solid and
remarkable projects. The teachers encouraged his talent by
recommending the young wood carver to a local wood furniture
factory with lots of orders for serious carving constructions. This
happened in 1975 and since then Angel has been devoted to
his first love wood carving. The second one is his family his
beloved wife and their two children.

The Master

Angel Mitrofanov is a master of high quality, artistic work with

wood such as woodcarving, wood-turning, furniture, souvenirs
and decorative carved panels as well as the production of

57
household furniture and complete
interior solutions ie. both design and
implementation. Angel studied at the
Technical School of Woodworking and
Interior Architecture in Rousse City,
specializing in woodcarving, during the
period 1969 1973. He became a Master
Wood-Carver and has spent more than 30
years, dedicated to wood. He received his
Master qualification from the Association
of Artisans for Traditional Arts and Crafts
(AATAC) in the 80s. During the 90s he
became chairman of the Association of
Artisans for Traditional Arts and Crafts
(AATAC) in Rousse City, being a true
custodian of traditional crafts skills.
The Work
Angel Mitrofanovs work is completely
done by hand from the initial planning
of the product and its construction
to the final coating, using only basic
carpentry and wood-carving instruments
a rounded wooden hammer and wood-
carving chisels. The techniques he uses
are based on the typical Bulgarian wood-
carving art of the National Revival Period
from the XVIII century which contain
We are the last
precise ethereal and opulent floral
elements in several layers. The main
few masters of the
materials that this master uses to make craft left - like living
solid wood furniture are solid timber and
the natural veneers of precious wood monuments of our
species such as the oak and walnut tree.
The Master Wood-Carver makes solid
cultural heritage.
wood furniture with beautiful decorative
ornamentation as well as interior and
exterior decorative wooden elements for
different projects for example, carved
interior columns, complex balustrades,
gates and many more.
He believes that he is one of the last
true Masters of wood-carving in Bulgaria
because there are no disciples of his
mastery or students to inherit the craft.
There have only been three young men
who were willing to learn the master
skills of wood carving over the years. The
58
first one studied the craft for five years, the second one for
three years and the third one stayed with Master Mitrofanov for
only a year. Unfortunately, no matter how good they got as wood-
carvers, none of them practice their master skills now. They all
are great people and became true wood-carvers, but they have
to take care of their families and the craft of wood-carving is not
profitable enough in Bulgaria Each of them gave up carving
wood and found more lucrative professional fields.
The master believes however, that if there is a stable and
appropriate national and/or international policy to retain and
revive wood-carving craftsmanship, devotees will appear who
will work and create wood-carvings as they have been done for
centuries, with pride and desire.
59
Awards
1977 Regional Exhibition of Traditional Arts and Crafts (TAC),
Ruse.
1978 National Exhibition of TAC, Oreshak.
1978 The Third Exhibition contest Trojan Master, Oreshak.
1978 International Exhibition 100 years of the Ottoman
yoke, Oreshak.
1980 Sixth National Fair TAC, Sofia.
1980 National Exhibition of TAC, Sofia.
1983 National Exhibition of TAC, Sofia.
1984 Regional Exhibition for TAC northeastern Bulgaria, Ruse.
1984 Regional Exhibition TAC, Rousse.
1986 National Exhibition of TAC, Oreshak.
1987 Regional Exhibition for TAC northeastern Bulgaria, Ruse.
1987 Jubilee Exhibition of The Association of Artisans for
Traditional Arts and Crafts (AATAC), Sofia.
2015 Award Rousse City for Art and Culture.
VARVARA
VALCHANOVA
EARTH BUILDER
SLOW TECH CAMPUS,
RAHOVITZA, BULGARIA
V
arvara Valchanova grew up both in Bulgaria and
Algeria and studied architecture in Grenoble
(France), where she graduated in 2002. Afterwards
she specialized in earth construction at the Research
Centre for Earthen Architecture (CRATerre) in Grenoble. After
moving to the Netherlands in 2005, Varvara worked for a small
architecture office in the Hague specialising in ecological
building. Currently Varvara works in the field of advanced
lightweight structures with Buitink Technology in Duiven.
Varvara lives in Holland and has three children, however, these
facts never stop her from coming back to Bulgaria every year.
In a small mountain village, she is reviving the old tradition of
earth building. Fortunately, this skill has not been completely
forgotten and it deserves the chance to survive into the
future. She and her husband have bought three houses in the
abandoned Rahovitza a neighborhood outside the village
of Kosovo (Asenovgrad) in the Bulgarian Rhodope Mountains.
When Varvara and her husband bought the houses, there was
no road leading to the buildings and they were almost in ruins.
Varvara however, managed to recover their authentic charm with
her tireless work and growing enthusiasm. She uses solids and
stones from the hills and hardwood from the nearby sawmill.
The Master
Varvaras love of earth building started while studying
architecture in the University of Grenoble. In order to make
her living and study at the same time, she started working as a
builder-plasterer using natural earth plasters. At CRAterre, she
61
explored this further and joined international and European
projects in Central Asia, Africa and Europe. She is amazed by the
soft colors and full variety of shades of the natural material. A
master does not use common terms as clay and cob, because
they do not fully express the different building techniques she
uses. That is why Varvara has chosen the term earth building for
specifying all the construction techniques, which include subsoil
as a main construction material.
The material she uses for the earth building is the subsoil
hidden under the upper layer of the ground the unfruitful soil,
made of small stones, fractured into different sizes by erosion.
Soil, which is suitable for construction, should not contain
organic substances because they decay and are a good hosts of
mould. Varvara has dedicated herself to earth building in every
aspect she has planned and carried out the restoration of many
old houses in the Rodopa mountain area using earth building
techniques. She also organizes an international architectural
camp for alternative building techniques in the Rhodope
Mountains and has published a book called Earth Building,
written in Bulgarian.
The book is the result of the experience she has gained, it has
loads of information on how earthen materials are extracted,
tested and prepared, what kinds of earthen building techniques
are used in Bulgaria, as well as some useful tips and tricks for
preserving old buildings.
The Technology
Local materials and traditional techniques,
enriched with the latest science and
design for low-carbon, healthy and
beautiful living spaces is what the
slow technology of building naturally
is all about. Modern materials often
contain noxious impurities, which even
in small quantities, can affect health.
Earth building is completely ecological.
Unfortunately, today it is so rare to be
able to find someone who can repair and
restore old houses. Someone who works
with due skill and respect for the work
of the old masters. But it is encouraging
to find that Varvara Valchanova is one
young architects who has succeeded in
renovating a few old houses in both a
sympathetic and authentic way.
The Slow Tech Campus
Varvara Valchanovas aim is to inform
people about earth building and to teach
them how to use natural materials for
building. Since 2004, she has organised
architectural summer camps in Rahovitza,
where everyone, especially students of
architecture from all over the world, can
participate and learn about earth building.
During these seminars, they learn about
the characteristics of earth as a building
material, field tests that will enable them
to identify the right soil for building and
the main earth building techniques. The
participants gain practical experience on
adobe planning, straw-earth infill and
There is no other
plastering. A guided excursion to nearby
villages gives them the opportunity
material that has
to further explore traditional building more applications,
techniques and their possible adaptation
to modern requirements. it can be used for
almost everything.
The Book
Varvara Valchanova has gathered all
the knowledge she has gained, together
with her professional experience, in a
construction guide dedicated to earth
building. The book, Earth Building is
written in Bulgarian and was officially
launched on the 26th of November
2013, at the House of Culture in Plovdiv,
under the auspices of the festival, Sofia
Architecture Week.
The book reveals the features and the
properties of the building material which
has been used in Bulgaria for millennia.
It explains the parallels between
the geology of a specific terrain, the
properties of the local soils and the
different building techniques. The book
gives information on how to extract,
how to test and prepare earth materials,
which are the key building techniques
in Bulgaria, as well as lots of useful
62
information about the conservation and restoration of historic
houses. The books main purpose is to arouse the interest of
Bulgarian readers in the opportunities which earth can give,
as a natural and ecological construction material, towards the
restoration and maintenance of existing buildings, as well as
being a reliable material for a new, eco and bioclimatic building.
The Building Projects
After five years of hard work and building activities, the Kibela
house in the Rhodopean hamlet of Rahovitza is now complete.
Varvara and her team mainly used local and affordable materials.
The internal climate is unique and interactive. The walls are
built with timber/black pine with an infill of light earth and
insulated with reeds. The ground floor and the ceiling of the
house are insulated with perlite. The ground floor is covered
with a Bulgarian limestone and the first floor is made from
pine varnished with a linen-based product. For the kitchen,
she opted for a Bulgarian stove Prity, and for the first floor,
a Norwegian stove Smarty from the Nordpeis company. The
kitchen furniture was made by the local carpenter from oak and
for the worktops she integrated limestone that was leftover from
the floors. During the spring of 2015 an open doors event was
held.
Completed projects:
The Kibela house in Rahovitza, Kosovo, Rhodope mountains
The Bendida house in Rahovitza, Kosovo, Rhodope mountains
63
The Award
Terra [In]cognita, earthen architectures in Europe is a European
project financed through the framework for the EU Culture
2007-2013 program and also supported by the French region of
Provence-Alpes-Cote dAzur. One of its principal objectives is to
make the public more aware of earth architecture, the earthen
heritage and the modern application of earth as a building
material. An award for Outstanding Earthen Architecture in
Europe has been given to 42 construction projects selected by a
9 person jury from 6 different countries (France, Spain, Portugal,
Italy, United-Kingdom, and USA). The buildings were judged
under 3 different categories:
- buildings with an archeological, historical or architectural
interest
- buildings presenting a remarkable or pertinent intervention
(restoration, rehabilitation or extension)
- buildings constructed after 1970
In this context, the Bendida house in the Village of Kosovo
Narechenski Bani was given an award in 2011 under the category
Buildings presenting a remarkable or pertinent intervention.
VESELIN VASILEV
CARPENTER
ELENA, BULGARIA

V
eselin VasilevDarVesko was born in 1976 and over
the past 20 years he has become a real master of the
applied arts and authentic carpentry. He finished his
education in Furniture Design at the Tryavna School
of Applied Arts in 1995 where he gained a professional diploma
in carpentry and carving. Afterwards, he completed his education,
graduating from Veliko Tarnovo University in 2003 with a masters
degree in Sculpture. He has devoted his life and work to the Balkan
mountains in particular, the district where the small, picturesque
city of Elena lies with its typical medieval architecture consisting of
historic houses built from wood, stone and traditional plank roofs.
Veselin lives in Elena with his wife and daughter, however, they
spend every summer in the village of Mijkovtzi, a small, beautiful
village in the mountains where he works and creates his wooden
masterpieces of authentic Bulgarian architecture. DarVesko, as
he named himself, is a true custodian of historic traditions in
carpentry and his ecological thinking enriches his work with real
spirit and authentic mastery.

The restoration or renovation of authentic timber boarded houses

extends their lives and adapts them to modern life. Our special
approach to renovation retains the specific character of the house
and thus carries the tradition into the future says DarVesko.

The Master

Since 1997, Veselin VasileDarVesko has worked with wood,

building and restoring houses using the truly ancient techniques
of framed roof construction, building and restoration, learned
from the old-school masterscraftsmen. Historic timber framed
roof types, as authentic as they were 200-300 years ago, together
with typical Balkan architecture, slowly and imperceptibly appear
in the villages surrounding Elena, by dint of Veselins hands and
skills. Natural materials and traditional practices in restoration
and building are the only sources he uses and the true spirit of

64
the mountains can be felt in every timber
board of the houses that he builds.
The Kandaferi House
the Masterpiece Built
Twice Over
The first authentic house built by
DarVesko was finished in the summer
of 2000. The Kandaferi house, a large
3-storey building was made entirely of
wood and it quickly became a symbol of
the village of Mijkovtzi with its typical
mountain architecture. Several years
later, there was a terrible misfortune
for the master, when his masterpiece
Kandaferi was completely burnt down
in an accidental fire. Despite the fact that
it was a real tragedy for all concerned,
Veselin and his team summoned up all
their spirit, knowledge and skills and
rebuilt the house once again this
time more beautiful and stunning than
before. The houses in Svetolavtzi, The
White House and many more were about
to follow All of them custodians of
Bulgarian spirit and the old masters
traditions.
I am still optimist,
Veselins expertise does not end with
moderately optimist,
these astonishingly authentic houses that these crafts will
furniture, outdoor wooden playgrounds,
authentic wooden ceilings, external not die out.
stairs, doors and many other wooden
pieces of art and decorative elements
also come out of the Darvesko Workshop.
Working with a variety of architectural
constructions and client requirements,
DarVesko has an unique approach to
every project and he meticulously plans
all the restoration and construction works
with detailed construction drawings.
The young master works with wood and
has an understanding of wood shown by
his dedication. Enriching the traditional
with a hint of the contemporary, quality
and spirit are the most important aspects
of his mastery.
65
The roofs
DarVesko is certain that in general house restoration or the
restoration of an authentic timber framed house should extend
its life and modify it for a more modern lifestyle. If this master
has a special approach to renovation, it is to retain the specific
character of the house and thus carry tradition and heritage into
the future.
DarVesko uses only traditional carpentry techniques which have
been used in the district for centuries. He manages the entire
process of the different types of restoration of these historic
houses and roofs. He personally picks the hardwood from the
sawmills nearby. Afterwards, he treats the wood just as the
old-school masters did it hundreds of years ago and then he
constructs staircases, roofs or a porch for the building. Often he
has to use old pictures of the building in order to reconstruct it
in the same style.
The types of wooden roof constructions DarVesko restores and
builds are:
Mono pitch (slope);
Pitched roofs (slopes);
Two-level (saddled) roofs;
Two-level tapered;
Hipped roofs;
Pyramid roofs;
Hip and valley roofs;
Shed roofs.
66
The Projects
DarVesko finished his first house restoration in 2003. Some
of the projects he took on are completed by working with the
owners of the houses or with other master carpenters who
work in the Balkan mountains and for each restoration or
construction he gathers together a team of skilled carpenters
and builders who help him achieve these amazing restorations.
DarVeskos most significant works:
- The Svetoslavtzi House nr.1 in Seslavtzi village near Elena
complete renovation
- The Svetoslavtzi House nr.2 in Seslavtzi village, near Elena,
complete renovation
- The White House in Mijkovtzi village near Elena construction,
exterior and interior renovation
- The Kandaferi House in Mijkovtzi village, near Elena
construction, exterior and interior renovation
- Works in Timber
DarVesko loves wood and his work goes beyond the restoration
and conservation of old houses, roofs, and constructing new
buildings using traditional carpentry techniques. His field of
expertise is even wider and includes furniture, outdoor wooden
playgrounds, authentic wooden ceilings, external and internal
stairs, front doors, and many other wooden pieces of art and
even wooden bridges on eco paths high in the mountains.
 Italian Masters of REDIAPRO:

Antonio Lunghi, Architect & Builder

Christiane Zschiesche, Restorer
Luca Grilli, Stone Carver
ANTONIO LUNGHI
ARCHITECT
ASSISSI, ITALY

A
ntonio Lunghi is an architect working in the family business
specialized in the field of restoration of monuments and
artworks for generation. To be exact, four generations have
followed in the management: the first Alfonso Long who
was born in Costano and moved to Santa Maria degli Angeli (Assisi) at
the beginning of the Twentieth Century. Alfonso was a master builder
who coordinated the team in charge of restoring relevant artworks and
monuments, such as ancient stone wash, many objects in Montecatini
(Tuscany) and in the Basilica of Santa Maria degli Angeli (Assisi). His son
Esmeraldo continued the family business with difficulty; in fact because
of the economic downturn, the main activity of the family was in the
field of restoration of farmhouses located in the Umbrian countryside.
The Company Lunghi Esmeraldo was established in 1939, when
Esmeraldo affiliated with the Manufacturing Association of Perugia.
After the war the company throve again, leading the development of
Santa Maria degli Angeli. Esmeraldos sons Espartero, Orlando and
Erminio- supported him to manage the company. In 1951, Orlando
got his Degree in surveying in 1951 and he became the technical
manager of the Company. Later, the Company devoted to realize relevant
construction works (hotels, public buildings such as the cinemas,
the Primary schools, the Consortium of Santa Maria degli Angeli. The
Company has also been involved in key activities aimed at restoring
monuments, such as the entrance to the Convent of Santa Maria degli
Angeli. In 1980, the Company started collaborating again with the
Benedictine monks of Porziuncola. The cooperation between the
monks and the Company stopped in the 1970s, when they work together
on the paving of the Church; altar and crypt. Some years later Antonio,
Esparteros son, started working for the Company. Thanks to his Degree
in Architecture, Antonio became the technical manager of the Company.

The main activities carried out by the Company were mainly focused on
restoration works, consequence of the big earthquake struck the local
area in that period. The earthquake caused significant damage to the
lantern of the Dome. The Company worked on the restoration of the
monument, in collaboration with the Mr. Menegotto, an engineer coming
from Rome. Later, in 1989, Company Lunghi Esmeraldo & Figli S.n.c.

69
became Lunghi Ltd. New members of the family started working
for the Company: Giovanni -Erminios son- Marco Orlandos
son- and, some years later, also Luca Antonios brother. In
1997 a terrible earthquake struck Umbria and Marche, causing
relevant damages to the Basilica of Francesco[1]of Assisi. The
collapse of the vault and Bellower of St Francis Basilica caused
the dead of 4 people. The Local Authorities entrusted the
Company the management of the restoration works. From 1997
to 1999 the activity of the Company based on the restoration of
St Francis Basilica, a very intensive period that ends with the
reopening of the Upper Basilica.
After the earthquake, Antonio took responsibility for managing
and collaborating in many restoration works, such as the
Monastery of S. Giuseppe in Assisi, the Convent f the Missionary
Sisters in Santa Maria degli Angeli and the Monastery
of S. Andrea in Assisi. In 2007, relevant finds have been
rediscovered in Assisi, inducing interest towards an area where
a Roman amphitheater must have been located. So, Antonio
started carrying out important structural restorations in the
area surrounding the amphitheater. He also worked on the
interventions on the luxury hotel NUN. Located in a renovated
nunnery, the Nun is set in Roman excavations and uniquely-
decorated rooms with design furnishings.
Antonios professional profile stands out for his great awareness
about the old professions linked to the field of architecture
and construction industry. In fact, in total contrast to what
usually happens in the field of construction industry, Antonios
mission is to maintain a production capacity based on the skills
and competencies of the craftsmen such as bricklayers, floor
layers, plasterers, stonecutters, carpenters, blacksmiths, or better
those artisans who used to work in building companies and
now have been dismissed because of the economic downturn.
Antonios company is based on the idea that the integration of
different profiles (blacksmith, floor layer, marble worker etc) is
crucial. This made Antonio think it was necessary to rethink
his Company, focusing on some principles that the modern age
has almost wiped out; that is to say the need of gather some
craftsmen. That is the reason why the Company hired a group of
blacksmiths, such as Adelmo Mariani (born in Assisi in 1959, he
joined his fathers workshop where he learnt the traditional iron-
working techniques. He stayed in his fathers workshop until
1987, when he started combining working experiences linked
to his training as blacksmith and employee in a warehouse).
In 2006 Adelmo joined the construction company Lunghi Ltd
as Master Blacksmith, also having welding, folding, milling
and hot working duties. Adelmo has a particular professional
profile, as he can integrate different forms of traditional
processing techniques with the needs of a construction company
operating in the field of historic and artistic heritage, as well
as new constructions. The choice of creating a small team of
blacksmiths comes from the needs of the Company. In fact,
Antonio claims the situation in the field of restoration was
quite critical and nobody was able to provide adequate answers
to questions concerning key issues, such as the preservation
of conditions of monuments and making them safe and the
realization of products, antique items.
Besides standing out for a genuine interest towards the old
professions and the role they play in the field of architecture and
construction industry, Antonios professional profile also sticks
out for the commitment of the maintaining a balance between
old knowledge and new tools. In fact, nowadays, new techniques
and tools (CAD software , 3D printing and the technology of
laser cutting) can be applied to the old professions and the
traditional ways of working, widening the horizons of the
workers operating in our fields, allowing the integration of the
traditional knowledge and techniques with the modern ones.
Maybe such integration can be the key for solving the problems
linked to the world of restoration. The field of restoration is
based on uniqueness, each piece is unique.
LUCA GRILLI
STONE CARVER
GUBBIO, ITALY
T
he story of the Grilli family workshop starts in 1935
in the stone city of Gubbio, when Enzo Grilli, who
was just 11, became master of the workshop. His very
early works show his considerable standing, in fact,
the young stonecutter was engaged in the expansion of the
monumental cemetery. Unfortunately, the war years weighed
heavily on the Grillis and during this difficult time Enzo decided
to move to the small village of Narni. During his stay in Narni,
Enzo completed various works such as the statue of a bee at
the police station in Terni. Back in Gubbio after the war, he was
involved as a stonecutter in the construction of the Mausoleum
of the Forty Martyrs and in the restoration of the main altar of
the Basilica of St. Ubaldo of Gubbio.
A passion for the art of stone-carving was handed down from
father to son, so Luca Grilli, Enzos son, began working with his
father in the 1980s. Their work, which is full of passion, is not
merely a manual exercise, consisting of technical measures and
proportions. For them, it has become an art form that symbolises
the whole story of the Grilli family workshop.
Many important and satisfying commissions followed year after
year for Enzo and his son Luca, such as the faithful reproduction
of the office of the Duke of Urbino Federico da Montefeltro,
where Enzo carefully replicated the original architrave and
doorposts of the entrance doors of the Dukes study, which are
now exhibited at the Metropolitan Museum in New York.
Enzo worked alongside Luca, on the restoration of many
influential and prestigious historic buildings, such as the
Palazzo dei Consoli of Gubbio, the Ducal Palace and numerous
residences of the renowned, ancient families of Gubbio and the
surrounding area. In addition, the Grilli craftsmen worked on the
restoration of the upper basin of the fountain of the Bargello in
Gubbio, as well as making church altars and sacred furnishings
throughout Italy, for example the altar of the church of the
Franciscan Fraternity of Bethany located in Terlizzi (Puglia).
In 1993, Luca became the owner of the company, following in
his father and teacher Enzos footsteps. A commitment, love
and passion for this art form are in Lucas blood. The young
stonecutter worked on the construction of the altar of the
Church of Vittorina of Gubbio; the new altar of the Porziuncola
in the Franciscan convent of Santa Maria degli Angeli in Assisi;
the altar in the Chapel of the Basilica of St. Ubaldo in Gubbio. He
also carved the pulpit of the Basilica of Gubbio and in the same
Basilica, he has created a new semicircular theatre of peace.
Luca has also been involved in producing artistic funeral
aedicules, the recent restoration of the facade of a building
on Benveduti Ondedei Street in Gubbio, the renovation of the
building and terrace of the Ducal residence of Federico da
Montefeltro in Gubbio, the restoration of the castle of Carbonana
72
and the production of historical coats of arms for the Conti
Porcelli family. He has also been involved in some important
major restoration projects, such as the renovation of special
insets on the fountain SantErcolano in Perugia and the windows
of the Mausoleum of the Forty Martyrs of Gubbio. Luca also
made the artistic tank for the miraculous fountain of St. Ubaldo,
on the avenues of Mount Ingino. Amongst his recent works, is a
sculpture of a rose containing a reliquary for the altar dedicated
to St. George in the Church of Santa Maria dei Servi in Corso
Garibaldi in Gubbio.
For years, the company has dealt with both marble and stone
processing, from traditional to modern including restoration
work. The company is also engaged in interior and exterior
design work. For eighty years now, thanks to Lucas commitment
and passion, the Grillis workshop has been continuing to convey
a passion for handcrafted work that comes from the heart, taking
simple pieces of stone and turning them into pieces of history.
CHRISTIANE
ZSCHIESCHE
RESTORER
PERUGIA, ITALY

C
hristiane Zschiesche was born in Erlangen (Germany)
in 1963. She is married and she has three sons. After
graduating, in 1983 she moved to Italy to attend
Italian courses at the University for Foreign Students in
Perugia. Christiane gained experience in restoration at one of the
largest restoration company of central Italy. She has participated
in numerous restoration sites in central and southern Italy, in
the field of stone material, wall painting, paintings on canvas
and wood, wooden sculpture. Christiane started working in
a Restoration Company, one of the biggest company of the
central Italy learning the art of restoration. Since 2007 she has
collaborating with the Building Company Lunghi as responsible
of the restoration department. After a brief interruption for family
needs, he returned to work for the earthquake of 1997 , acting
as a link between the building companies and the restoration
needs. During the earthquake of 1997 the Building Company
Lunghi entrusted her the management of the coordination of the
restoration companies called to intervene on the damage caused
by the earthquake in order to supervise the work and avoid the
use of wrong materials.

Later on, Christiane has continued working as a restorer. She

has also worked on frescos restoration within restoration sites.
Christiane has also worked on stone cleaning restoration that
goes from the clean-up to plastering aesthetic representation
and protection. The peculiarity of her professional profile is
linked to the restoration of artworks in the building sector. Her
area of expertise focuses on the analysis and reproduction of
historical plasters, the treatment of surfaces of historic and
artistic interest (documentation, sampling, cleaning, integration,

73
preservation). Christiane working on the restoration of a stone
emblem (sandstone) belonging to the faade of the Domus
pauperum, Nobile Collegio della Mercanzia in Perugia. The
Nobile Collegio della Mercanzia, first city Guild followed by that
of the Moneychangers, is set in the fondachi (warehouses) of
Palazzo dei Priori since 1390. The Guild, to show its richness,
chose the precious wooden decoration, covering without
interruption both walls and ceilings of the Sala delle Udienze
(Audience Chamber).
Besides working on the restoration of artworks in the building
sector, Christiane is also responsible for workers training.
Considering the richness of the Italian architectural heritage,
it is indispensable for the building companies engaged in
architectural restoration works, have one or more technicians in
their staff able to intervene in contexts of considerable historical-
artistic interest. The peculiarity of the professional profile of the
building restorer is to apply to the field of restoration of the
historical-architectural heritage, the methods and knowledge
linked to the historical materials and the subsequent restoration,
acquired thanks to the experience of artworks restoration.
74
It is a versatile professional profile, with a good knowledge
of both old and modern materials. He/she must be able to
recognize the materials used over the centuries, reproduce the
composition and grain size of the aggregates in the mortars,
recognize and select binders, reconstruct the missing parts
without incurring false historical, provide real-time indications
for use of materials in use in modern buildings, such as synthetic
resins, silicates etc.
Through considerable experience gained in the restoration of
old artworks and the use of appropriate materials, the building
restorer will assess the compatibility of the products used with
the historic surface on which to intervene. So, he/she has to be
able to support the workers in the choice of suitable materials
to ensure durability and reversibility. An important aspect of this
work is the possibility to find painted surfaces and sculptural
reliefs within the building that has to be restored. The restorer
has the task to intervene immediate in order to preserve
the work. Last but not least, he/she will also has the task to
make the construction workers aware about the importance
of the materials and shapes which are crucial for preventing
irreparable human errors.
 Scottish Masters of REDIAPRO:

Leonard & John Grandison, Ornamental Plasterers

Robin Abbey, Signwriter
Andrew Ramsey, Stonemason
LEONARD & JOHN
GRANDISON
ORNAMENTAL
PLASTERERS
PEBBLES, SCOTLAND, UK
G
randison & Son Ltd have been restoring, conserving
and stabilising ornamental plasterwork in Edinburgh,
the Borders, Scotland and the North of England for
130 years. It is a family owned business where skills
and knowledge are passed from one generation to another.
The company is based in Peebles, the Scottish Borders, one of
the most picturesque parts of Scotland, only one hour away
from Edinburgh. The wealth of this legacy can be seen in the
Grandisons workshop, which contains numerous plaster moulds
and architectural features created and collected for well over a
century.
77
The firm was found by Leonard Grandison (1860-1934) in 1886
at the age of 26 years, with capital of 80. However, already at
the age of 12 he became an apprentice plasterer with then well-
known plastering firm James Annan of Edinburgh (with branches
in Perth and London). Leonard was almost certainly the youngest
apprentice working at a major plasterwork contract being carried
out at Cortachy Castle, Angus. Despite struggles of the business
due to the Glasgow Band failure in 1879 Leonard remained
in his occupation thanks to construction of new tenements in
Edinburgh. He became a foreman in his early 20s and came to
work at three sites in the Peebles area: Portmore House near
Eddleston, which was being rebuilt after a serious fire; the new
British Linen Bank in Peebles High Street; Tantah House, a large
villa being built about one mile south of Peebles.
One of the larger contracts was the plasterwork for the Peebles
Hydro rebuild after the fire in 1905. Since the firms own regular
staff was not large enough to cope with a contract of that size,
Leonard offered an additional half penny/hour to get plasterers
from further afield. There were no mechanical hoists for this
five storey building. Labourers had to carry the lime in hods and
would take a hod up one of two storeys, leave it leaning against
a wall (known as shanking), and then another labourer would
carry it up the next one or two storeys. Of course, the empty hods
were returned to ground level in the reverse manner.
By 1914 Leonard Grandison made a name for himself and
was involved in ornamental plasterwork in many houses in
the Scottish Borders and around Peebles where he eventually
settled down and built his workshop. In 1914 John Grandison,
Leonards son, was still a schoolboy when his father got him
to cast ornament in the evenings. As most of the men went to
the war every pair of hand that supported the business was
important. John started his apprenticeship in 1915 and at the
age of 17 he volunteered to join the army. He did his training
with the Royal Engineers at Chatham and then worked with a
team laying concrete runways on airfields in East Anglia. He
was then sent to France and was near Mons at the time of the
armistice. John survived the war unscathed but he was marching
into Germany to join the army of occupation he developed
influenza. He was in hospital for two weeks after which he joined
his unit near Cologne. He was demobilised in 1919, re-joined the
business and was made a partner in the 1920s.
After the war the market has changed and ornamental work
had a smaller demand against programmes of council housing,
78
constructions of bathrooms and toilets in farm cottages as well
as upgrades of cow byres sheep dippers in order to combat
various diseases. In the meantime John Grandison became a
good draughtsman known for production of excellent drawings
of the more elaborate ornamental ceilings. The firm was also
steadily growing as it bought its first car in 1923, a second-hand
Vulcan DS130. In 1920s also technology of work has changed
as a new gypsum plaster called Hardwell was introduced as
well as the invention of plasterboard, which has replaced the
traditional timber lath. In 1930s the firm has installed its first
telephone.
Leonard Grandison Snr died in 1934 leaving John in charge
of the business that was struggling through the economic
depression. Soon after that John started introducing young
Leonard Jnr to the business in the same way his father did after
1914. Just before the II World War he visited various projects in
Scotland and met prominent clients including architect Sir Basil
Spence at Gribloch mansion near Kippen (Stirlingshire) owned
by the Colville steel-making dynasty. When the war broke out, as
in 1914, most of workers left to join the forces and at one stage
the firm was down to three men. It seemed like the history had
turned the full circle.
Leonard Jnr started his five year apprenticeships in 1948, and
during that time, studied building construction at Heriot Watt
College in Edinburgh three evenings a week for five years. He
has finished with a Higher National Certificate in building and
passed the Licentiate examination for the Institute of Builders.
During the apprenticeship, he has experienced all aspects of
plastering and worked on one of the last lath and lime plaster
contracts, which was an extension to the Vert Memorial Hospital
at Haddington. After the war the firm went through some
difficulties, which peaked during the Thatchers time when
Grandisons had to lay off men because trading conditions were
very difficult.
In 1978 John Grandison Jnr (son of Leonard Jnr) started his
apprenticeship. This was somewhat interspersed with being at
university. When he completed both, he spent a few years with a
quantity surveyor, which gave him experience with that side of
the business. John Grandison Snr died in 1983. Also during that
time the plasterwork technique has changed as traditional wet
plastering was considerably reduced by dry lining. This involves
fixing plasterboard not plastered but only having the joints
filled.
In 1990s the revival of lime has started because conservation
was becoming increasingly important and there was a call
for traditional methods and materials to be used in restoring
older buildings, which were in need of repair. Thanks to that
Leonard Grandison became a renowned expert on plastering
and application of lime and therefore throughout 1980s and
1990s he was asked to give talks to master classes in Edinburgh,
Glasgow and Dundee. At that time the firm has also developed
a method called rivet replacement. This stabilises distressed
and mainly at risk ornamental ceilings. This method does not
normally require any temporary support of the ceiling and has
been used successfully on several occasions with the approval of
Historic Scotland and National Trust.
Grandison & Son owns a very large collection of original
patterns of ornamental features and some of them are as
old as the firm itself. With continued interest in conservation,
Grandisons decided to open Museum-Workshop of Ornamental
Plasterwork to the general public in 1988. The workshop still
contains an old lime pit, which Grandisons call ark. It has not
been used for well over 30 years but its owners were encouraged
by Historic Scotland to undertake a full run of putty lime for
young plasterers. At about 1998 Leonard wrote a little book
about plasterwork. There are plenty of good technical books but
79
he wanted to give the public a flavour of what plasterwork was
about in non technical terms. The book is called The Nearly
Non-Technical Book on Plasterwork
Currently, the firm is run by Leonard and his son John. In the
recent years the Museum-Workshop became a popular place
for everyone interested in traditional trades due to its amazing
collection and remarkable history behind. The firm has been
training plasterers until recently and it is not clear whether
anything is going to change in this regards. It is interesting to
find out about Leonards take on the future of the industry eight
years ago in 2008:
War, famine and pestilenceperhaps the apocalyptic vision is a bit
farfetched, but, it is not hard to see the impact of diminishing and
more expensive oil supplies, of steps to combat global warming and
terrorism and how they impact our lives and business.
Day to day maintenance will always go on, but large projects which
could have a political dimension could be spasmodic. There is
currently talk of building three million affordable homes, but we
will need to wait and see what the outcome is. Certainly too much
or too little building work available within a relatively short time
can cause problems.
Could the bureaucratic burden of running a business become too
onerous and put people off going into business?
Slow payments can lead to cash flow problems. In this respect we
have usually been reasonably fortunate, only occasionally have
customers used dubious pretexts to delay payments. If, however, cash
flow problems occurred with say redundancy; the outcomes could be
extremely serious.
We started off doing lime and ornamental work and 121 years later
we are now back doing the same
ROBIN ABBEY
SIGNWRITER
LEITH, SCOTLAND, UK
R
obin Abbey. Born near Beaminster, Dorset, England,
October 1948. Brought up in Cannington near
Bridgwater in Somerset. Attended the local Grammar
School, and Somerset College of Art in Taunton. There
he took a course in typographic design, and followed his interest
in traditional signwriting. The course involved learning about
lead and wooden type letterpress printing, which was critical in
understanding shapes of individual letters He was able to watch
the local signwriters (of which there were far more than there
are now), but received most of his practical training from Mr Bev
Blackmore, now of Milverton. Robin has since had several jobs
involving lettering in printing or signwriting, but after moving to
Edinburgh decided that he would commit himself to signwriting
full-time. That was seventeen years ago, and during that time
interest in painted signs, including gilding and glass-gilding, has
increased among a younger generation.
Robin started his business with a few signs presented on the
mantelpiece in his home at Albert Place. His current workshop
can be found in Coburg House Art Studios at Edinburghs Leith.
It is a small yet busy place, with an impressive wall of numerous
shades of paints, projects in various stages of completion and
samples of past work. Robin is an artist and tradesman. He offers
a wide range of signwriting services, including glass gilding, tra-
ditional lettering, typefaces while being open to special projects
such as lettering boats and painting decorative figures. Robins
projects became an integral part of the Old and New Towns of
Edinburgh World Heritage Sites streetscape where visual integ-
rity is one of the key reasons behind this prestigious inscription.
The best manifestation of that are traditional shopfronts, deco-
rative fascias and frontages of public houses that contribute to
Edinburghs historic atmosphere. However, they require regular
maintenance and appropriate restoration, which can only hap-
pen when traditional skills are involved.
Although signwriting as a discipline became recognised in the sec-
ond half of XVIII century it is fair to say that it has lost its primacy
in the second half of the previous century when advertising, new
technologies and materials became more accessible. In the recent I always liken it to jazz: there are
years signwriting started to come back in parallel to an increasing
need for placemaking and maintenance of historic assets. Therefore
several basic themes and you
Robin trains and works with younger professionals who often try to play infinite variations on that
pursue careers in signwriting after having experience in advertis-
ing. His approach to the discipline is authentic as he uses traditional and sometimes its brilliant but
methods and tools while leaving enough space for a competent cre-
ativity. Signwriting requires personal touch, patience and attention to
always its comptent.
details, which Robin describes accurately in economic terms: quality
is remembered long after price is forgotten.

81
ANDREW RAMSEY
STONEMASON
ST MARYS CATHEDRAL,
EDINBURGH, SCOTLAND
A
ndrew Ramsay is a rarity, a master stonemason
trained in the old traditional way. It is this historic
knowledge and skill he is now passes on to the
apprentices at St Marys Cathedral Workshop. He
served his apprenticeship at Edinburgh Castle from 1981-1989
under the tutelage of Andrew Atkinson, an Irishman who came
from a long line of old school stonemasons, all legends in their
own right.
Andrew remembers working in the coal yard at the top of the
Esplanade, there he learned all the hewing skills and it was
always one to one instruction. On his first day (in deep winter),
he was shown a large water container, this was the washing
bucket, with a film of ice on it which had to be broken before
use a far cry from todays all singing and dancing facilities for
apprentices. He was given a jib thumb cover made from an inner
tube cut to shape, and his heavy Mel was made of beech wood.
Andrew learned his skills using tempered chisels. It was
necessary to used really sharp chisels to hew stones into shape
they would use two sets simultaneously, as the tools were
constantly going backwards and forwards to the blacksmith to
be re-tempered.
The Army School of Piping was situated in the Castle, and his
foreman practiced the chanter there, but you could be sure over
and above the sound of the pipes he would hear if Andrews mel
paused for too long. One unforgettable day, when work began on
the tunnel (which now takes traffic through the rock) a cache of
ancient skeletons was found. Andrew has many happy memories
of working in that coal yard where the stonemasons had a
wooden hut. He qualified as a Master Stonemason with his City
and Guild (in those days) awards, winning the Dux Craft Award
with seven distinctions and a credit, and was then approached
by Lt General Sir David Young (latterly Governor of Edinburgh
Castle) who together with the then Provost of St Marys
Cathedral, The Very Revd Philip Crosfield, had founded St Marys
Cathedral Workshop to take up the position of Foreman there.
In 1991, Andrew judged at the Scottish National Stone Carving
Championships at Edinburgh Telford College where the standard
was extremely high.
The Workshop was founded in 1987 with twin aims the
restoration of the Cathedral exterior stonework, and the training
of young apprentices selected from unemployed 16 year-old
in the Edinburgh area in the specific craft skills, especially of
hand carving, required for restoration work. Andrew arrived as
Foreman in 1989 and has been responsible for the teaching and
mentoring of our apprentices ever since, and importantly, for
forging the excellent reputation for quality restoration training
St Marys has throughout Scotland. He has now been running
the Workshop for 27 years with the able assistance of Jordan
Kirk, Charge Hand, who in turn was one of Andrews former
apprentices some years ago.
The craft of stone masonry is an ancient one and our apprentices
learn in the traditional way, that passing on and continuity of
knowledge by Andrew who in turn gained it from a stonemason
with generations of knowledge behind him.
Gradually they learn to work on complicated pieces of carving,
and there is a great pride in those stones then being fitted on
83
to the Cathedral. Each summer stonemason firms ring asking
Andrew for his new graduates as they know that each and
every ex-apprentice from St Marys will be thoroughly trained
in traditional hand carving and will be honest, confident and
reliable.
St Marys Cathedral Workshop employs apprentices for four
years and enrolls them for three years to study for their Scottish
Vocational Qualification in stone masonry at Edinburgh College.
In short, we provide sound training in a rapidly disappearing
craft to young people with poor employment prospects who
might otherwise have no training of any sort, but who now will
be certain of a flourishing future. Even in a period of economic
downturn within the building trade, our apprentices find good
positions.
A purpose-built workshop with the latest dust extraction system,
showers, restrooms etc (a complete contrast to Andrews wooden
hut in the coal yard at Edinburgh Castle) was constructed in
2014 as part of the regeneration of the Cathedrals north side
which included not only the Workshop but also a brand new
GP surgery for the local community, funded by NHS Lothian.
Restoration works to the Cathedral are drawing to a close but
it is essential that the training function of the Workshop should
continue for the wider benefit of the city and its stonemasonry
contractors and clients. Historic Environment Scotland has
therefore helped us to develop a model that will train a greater
number of apprentices.
Long Term Impact of our Training
The long-term impact of St Marys training is to produce a
small but steady stream of qualified masons in the special
hand skills of stonework restoration. It is also good to see
with each apprentice, how they arrive as 16/17 year olds, still
almost children, shy and inarticulate and watch them develop
into confident, outgoing and responsible young master masons.
There will always be a need for skilled stone masons using their
specific skills within the building trade and thus playing their
part in the conservation of Edinburghs built heritage.
One of the highlights of Andrews career took place in 1996;
The Minister for the Environment and Built Heritage at the
Scottish Office presented a framed parchment to the Provost
of the Cathedral which reads: This inaugural award to mark the
first anniversary of inscription of the Old and New Towns of
Edinburgh as a World Heritage Site was presented to the Very
Reverend Graham Forbes . . . The award was made in recognition
of the quality of repairs to the stonework of the Cathedral
achieved by the apprentices of St Marys Cathedral Workshop.)
Other memories for Andrew include climbing the North West
spire, all 275 ft of it, to make a template for the replacement for
the badly perished capping stone. He made it, but felt incredibly
dizzy and vulnerable so courage and guts are also needed to
be a stonemason! A few years ago we had a deaf apprentice
and Andrew remembers learning sign language so that the
apprentice could be properly taught. On 27 June 1991 HRH The
Princess Royal made her first visit to the Workshop. HRH agreed
to be our official Visitor and has since visited the Workshop
many times. Thus apprentices meet her several times during
their four year training, and the conversations they have with
84
HRH are good for their confidence too. Andrew always makes a
stone gift ranging from a stone replica of the royal dog to carved
birds. It is the first question HRH asks when she arrives, What
has Andrew made for me this time?
Although the training Andrew gained at the Castle and is now
passing on to young apprentices remains in essence unchanged,
he has seen many developments over the years, the improvement
of facilities being one of the most important, the use of dust
extractors to avoid silicosis and an overall improvement in
health and safety practices, for example limiting the use of angle
grinders to prevent white finger due to vibration, mels made of
nylon. The shape of carving chisels has not changed but we are
now able to sharpen our tungsten chisels ourselves.
The skilled art of traditional stonemasonry will continue to be
passed down the generations, just as long as craftsmen like
Andrew continue to live and breathe, and can transmit their
passion for stone to the young.
St Marys New Project Begun 29 August
2016
Edinburgh with its Old and New Towns is a World Heritage Site.
The unique character and sense of place of the city is created by
the predominance of stone as a building material, complimented
and showcased by the variety of architectural styles in which
it has been used through the ages. Edinburgh undoubtedly
requires a skilled, well-trained work force of stonemasons to
maintain it for the future. However the economic downturn has
had a marked impact on the structure of the local stonemasonry
sector and its capacity to undertake training to maintain its skills
base. Many larger companies who regularly trained apprentices The Need for the Workshop
have gone out of business and in part been replaced by smaller
companies, undertaking smaller work packages that make it There is an urgent need for our training. Apart from Historic
more difficult to commit to taking sole responsibility for a Environment Scotlands training programme, St Marys Cathedral
four year apprentice. A new method of apprentice training is Workshop is the only place in Scotland providing traditional
necessary to improve this situation in Edinburgh. tuition, a skill in increasing demand but in short supply. This
dearth of stone masonry competence and the vast amount of
This model will allow the apprentices to work for a network of restoration to be done across Scotland is causing concern and
contractors across the city to gain experience in the workplace, is now a political priority. Our new project giving more places to
coordinated and managed by St Marys working closely with apprentices has full political support and we have recently had
the City of Edinburgh Council and other organisations, whilst a visit from the Minister of Employability and Training, Jamie
continuing repairs and maintenance to the Cathedral undertaken Hepburn MSP, to meet our new apprentices with further visits
as part of the training. Contractors would be required, when from MSPs booked in for the new year.
the apprentices are working for them to pay their wages plus
an additional levy of around 25%, to cover our training and
How We Address this Need
administration costs. We are simultaneously increasing our
outreach to apprentices, and are working with the Life Changes
Andrews training has a fully rounded approach in that he
Trust which provides real and meaningful improvement in the
not only teaches traditional hand carving to a high level, but
lives of young people with experience of being in care. Thus,
also address communication and social issues. He teaches the
in August two young people with this experience started their
apprentices to be confident with people, to be able to talk with
apprenticeship with us. We hope that this partnership will
ease about their work, and to be able to demonstrate what
continue and expand over the years. As our numbers are small, six
stone masonry work involves. They learn to do this rapidly at
apprentices, individual apprentices can benefit from one-to-one
our annual demonstration at the Royal Highland Show when
tuition, mentoring and support. Another of the new apprentices
literally thousands of people over the four days ask questions
who started recently is a girl and a very welcome addition. We
and watch them cutting and carving stone. The most frequently
are planning with Skills Development Scotland taster days for
overheard remark from the public is: Isnt it good to see young
girls to encourage them into a career in stonemasonry.
people working on a traditional skill. Andrew also teaches
the apprentices the importance of Health and Safety, and the
This new project will not dilute the quality of our training but
rudiments of running their own businesses later on in life.
rather enhance it. We recruit from Edinburgh and the Lothians
mainly by word of mouth.

85
MATERIALS & PROFESSIONS

Estonia - 87
Bulgaria - 88
Lithuania - 90
Scotland (UK) - 92
Transylvania (Romania) - 94
Italy - 96
Hungary - 96
Spain - 97
MATERIALS
& PROFESSIONS
TRADITIONAL MATERIALS AND BUILDING CRAFTS BY COUNTRIES
Estonia
Timber has been the most common building material in all over
Estonia. The dwellings were mostly built from Scotch pine (Pinus
sylvestris) because of straight and even trunks. Old handbooks
of building crafts state that the minimum age of the pine used
in a building should be at least 140-200 years. In nowadays
the felling cycle is much shorter and pines are used already in
the age of 80 years and less. In western parts of Estonia where
there has been more deciduous forests, oak (Quercus robur) and
aspen (Populus tremula) have been also used for building. Oak
timber is highly valued because it is strong and heavy and it
has been used for the lowermost logs for the buildings. Birches
were important because of their bark that has been used for
hydroisolation between the stone foundation and the logs.
Limestone is only found in western and northern part of Estonia,
therefore lime as building material is used on the coast and
on islands. Limestone as a building material has been used
already in the pre-historic times for dry-stone walls, but lime
mortars were introduced as late as the 13th century by Germans
and Scandinavians who came to Estonia as missionaries and
crusaders to Christianise the land. The churches and castles
were the first masonry buildings using local limestone and
locally burnt and slaked lime. Since then the lime mortars and
plasters were used consistently until the late 19th century when
Portland cement and other binding media were introduced. The
lime production and use declined rapidly and the techniques
and crafts were forgotten surprisingly fast. Lime products have
been reintroduced in conservation during the last twenty years,
but with varying degree of success. in southern and eastern part
of Estonia, lime was not easily accessible and therefore various
igneous rocks were used for building.
Rammed earth or massif clay was the most common form of
clay construction in Estonia. Its principle is that clay is being
stamped between the walls wooden holders or the layers are
placed on top of each other. As an adhesive, roots, branches,
87
heather and hashed straws are being added between them.
Building this way helps to retain the walls loadbearing function,
so simple buildings do not need a timber substructure. Light clay
construction technique has gained popularity in recent decades.
Its name derives from the large proportion of adhesives added
to the clay. Sawdust, wood shavings, flax bones, hashed straws,
hemp, broken thatch and heather stems are the main adhesives
added to the clay. Walls constructed in such a manner have
very good thermal properties that also respond to present-day
building regulations. Walls may be constructed by shedding them
between the holders as well as from blocks. The loadbearing
structure of a light clay wall is made up of wooden framings. In
addition to the above-mentioned methods of construction, it is
possible to see also walls made from unburnt bricks and walls
from clay and billet. Similarly to burnt bricks, the construction
from unburnt bricks goes like conventional masonry, where the
adhesive is clay or lime mortar. Billet-clay walls on the other
hand are quite peculiar. Basically, the billet-clay wall is like a
woodpile that has been put together with clay.
Granite stone buildings and foundations are common all over
Estonia, as the material has been easily available. Granit as
well as the limestone was used to build foundations, walls of
outbuilding, cold rooms and fences. The stone was used fully or
chopped.
Adobe has been used very rarely in Estonia and only in
outbuildings ofmanors.
Brick has been an important building material in southern
Estonia since the Middle Ages. It was introduced after the
Christianisation of the land in the 13th century. The first brickyard
is mentioned at 1365 in Tallinn. More precise information about
brick manufactories can be found since the end of the 16th
century. Brickyards were widespread all over the land where
those could have been found at every bigger town and manor.
Still the brickyards were more concentrated to southern Estonia .
Reed (Phragmites australis) as natural raw material is abundant
on the shores of the Baltic Sea and bigger lakes, especially after
the fast eutrophication processes. Traditionally reed has been
used (for over the centuries) as alternative building material,
mostly for thatched roofs. Besides being long-lasting and
good-looking reed has superb soundproofing and insulation
characteristics. Besides roofing reed has been used and still is
used as insulation material in walls and floors.
as in the northern and western Estonia (including the islands)
the main building stone was the local limestone. During the
18th century new smaller brick proportions were introduced.
Still the traditional proportions were used in smaller brickyards
until World War I. In the end of the 19th century bigger brick
factories were established and small brickyards became more
exceptional.
Log-building has been important in all over Estonia due to easily
accessible raw-material. The skills were passed from father to
son and basic log-building did not require any hired masters
- most of the necessary farm buildings were completed by the
family. Estonian carpenters employed a wide range of lapping
joints to bind the corners of their buildings. Most typical corner
joints were koerakael (dog-neck) and in the second half of 19th
century with widespread use of the crosscut saw the jrsknurk
(steep corner) joint that was faster to build.
Rammed earth buildings were abundant in southern and eastern
parts of Estonia where the clayey materials were easy to obtain.
The material was usually dug directly from the nearby earth and
in many farmsteads it is still in nowadays possible to see the
clay holes that are nearby the existing or ruined clay houses.
Clay or earth materials were used mostly for sidehouses (barns,
granaries etc). Earth building took more time as the material
was added layer by layer and had to stay and dry before the next
layer could be added.
Brickyards and brick buildings were common in southern and
eastern part of the country - mostly known in the shores of lake
Peipsi where the farm properties did not have much forest.
Further important building professions to be mentioned: Stone
mason, Reed thatcher, Shingle Roofer, Blacksmith
Bulgaria
The building methods were different in the different regions
of Bulgaria in 19th century but as a whole the construction
reveals one and the same spirit, provisionally called Bulgarian
Renaissance architecture /it is more accurate to be called
Bulgarian classical architecture/. It possesses exceptional
qualities that distinguish it from all other building traditions in
the world and it can be assumed that it reflects the character,
culture and mentality of Bulgarian people as a whole.
88
The separation of Bulgaria in different regions depending on
the building traditions is quite conditional, since different
construction techniques and materials overlap and are used in
many of the urbanized areas of the country.
Rhodope Region
Traditional crafts: copper processing (Smolyan); wood-carving
(Momchilovtsi village, Smolyan Region).
Rhodope wooden house (the so-called block construction) made
of whole pine logs and covered with planks can be found in
Devin region, the villages of Dospat and Chepino. The plank-
pillar system is typical for this part of the country. It is skeletal
with columns, called lintels. Between the lintels planks with
different thickness and width are stringed. The pillars are
connected at the top and bottom by horizontal beams connected
with the floor structure.
In this mountainous area the stone house is also widespread.
These houses are the most conserved ones by the influence
of time. The masonry has a significant thickness, sometimes it
reaches one meter depending on the location and height.
Lime production was well known to Bulgarians ever since the
medieval construction. In traditional masonry in mountainous
areas, where drier masonry or stone and mud is used, lime has
entered much later. But in some mountainous building centers,
which have sent migrant workers throughout Edirne region,
Aegean region and Plovdiv plane, as in the village of Slaveyno,
Smolyan region, for example, even in the second half of XIX
century a class of lime-burners or called also kirechchii was
formed. The lime-burners from the village of Slaveyno have built
their lime-pits at the southern slopes of the Rhodopes. The ready
lime they transported by mules to the city, where they possessed
lime-stores. They sold the lime to the craftsmen who erected
buildings throughout the whole region.
Dobrouja Region
Traditional crafts: copper processing (Varna)
Construction of houses with bearing adobe walls are found
almost everywhere in the country. It is most widespread in
Dobrouja region. We call adobe the unburned bricks of clay
soil, formed manually into molds. The molds are usually wooden,
for one or many bricks. It is desirable that the soil used for
such construction to contain between 15 and 20 percent clay.
Such soil is found almost everywhere in Bulgaria. Therefore,
the division of Bulgaria into separate areas has rather the aim
the differences determined by location to be notices. However,
buildings and facilities indicating the typical Bulgarian building
traditions and local architecture can be seen throughout the
whole country.
Until the Balkan wars, traditional brick-making is concentrated
mainly in cities in the fields and planes. The season for making
bricks is only four months - from late May to September.
Therefore, brickmakers in mountainous areas are forced to seek
work outside the area of the mountain. Many tilers learnt brick-
making and began working depending on the conditions and the
demand for tiles or bricks.
Northern Region
Traditional crafts: wood-carving (ryavna); copper processing
(Vidin, Teteven, Veliko Tarnovo, Gabrovo, Shoumen)
The skills of Tryavna masters to erect beautiful buildings
are invariably associated with the development of two other
crafts - carving and icon painting. In the early years of the
development of Tryavna art school masters very often undertook
both the construction and interior decoration of churches.
With the increasing demand and orders for the construction of
churches in the first half of the XIX century the construction,
icon painting and woodcarving were separated as crafts, which
did not prevent certain families to combine their skills in each
of them. For example, the Vitanovtsi family are carvers and
painters. Genchovtsi are excellent builders and carvers. The
grand master Gencho Kanev who managed to incorporate the
Bulgarian building traditions to European ones comes from this
clan. As a master he is equal in value with master Kolyo Ficheto
who is the most famous architect, builder and constructor of
this time. During the nineteenth century is active the other
great master of the Tryavna building school - Dimitar Sergiov.
He is the first among Tryavna builders who is recognized by the
Ottoman administration as an architekton, i.e. with the skills of
an architect.
Sofia Region
Traditional crafts: wood-carving (Samokov)
Construction approaches, typical for the region of Sofia 150-200
years ago:
stonework,
ramshackle wooden structures,
block construction of unhewn timbers,
walls of unburned bricks - adobe
wattle-and-daub,
cob walls,
timmer joists with clay filling,
roof of wooden shingles,
clay plaster and others.
Pirin Region
Traditional crafts: wood-carving (Bansko, Razlog)
89
The town of Bansko has a unique architecture in good shape
from the type of Banskos fortified house. Nowadays a clearly
shaped Renaissance core can be seen in the town with numerous
residential and religious buildings in good shape - typical
representatives of the original architecture of Bansko, some
of which are also valuable works of the famous art school of
Bansko. The revival house of Bansko is from the type of fortified
buildings and has a number of specific features that make it an
architectural phenomenon. It is erected entirely as a massive
construction, with one or several hiding-places, solid plated
doors, battlements and decorated facades remarkable with high
standard of living - several guest rooms and a fireplace in all
residential premises, even in the hiding-places.
Authentic fortified and artistically decorated houses, built mainly
of stone with small windows with bars, high walls, heavy metal-
plated gates and connected by narrow and winding cobblestone
streets are preserved from the 18th and 19th century.
Thracian Region
Traditional crafts: copper processing (Plovdiv, Pazardjik, Stara
Zagora)
In Bulgarian history the so called ramshackle structures formed
by three elements - a wooden skeleton, filling and plaster are
most often used for the construction of houses from natural
materials. Traditionally the ramshackle walls were plastered
both outside and inside. The filling is set in three variations:
pletarka when fields between the beams are filled with wattle
and plastered on both sides with clay, mixed with straw; dolma
when these fields instead of wattle are filled with clay adobe;
and basquii, where the skeleton of the building is plated on
both sides with wooden rods and then plastered with clay and
straw.
Strandzha Region
Traditional crafts: pottery-making (Aytos)
Until the Balkan wars the center of tile-making in Strandzha is
the town of Lozengrad. At that time tile-making is developed
also in some villages in Lozengrad district and in Bunarhisar
and Vizen districts. In Varna, Provadia, Custenja, Tulcea, Silistra,
Tutrakan, Rousse, Shoumen, Veliko Tarnovo, Razgrad and in many
other cities Lozengrad tile-makers have opened one or two
tileries.
In Strandja are extracted large quantities of marble and granite.
They are necessary for paving of big cities - Sofia, Plovdiv, Varna,
Bourgas and others. In the early twentieth century granite is
extracted from quarries in Atia and Butter Cape at the Black Sea
coast.
Traditional building crafts in general:
Carpentry - Art processing of wood and wood-carving - wood
processing is mostly typical for mountain areas - the Rhodope
region, Pirin region. The various dense forests which easily
provide the necessary timber are favorable for development of
this activity. Wood-carving is art processing of wood by cutting
(carving) of various decorative motifs and images. Wood-carving
is found both in church architecture and interior design -
iconostasis, pulpits, churches, carved doors and at home and
lifestyle - carved ceilings, furniture, chests, wooden utensils,
canes, distaffs, yokes. Carving is highly developed in the towns of
Teteven and Tryavna. Daskalovata house in Tryavna is a Museum
of woodcarving and icon painting, where the famous carved suns
are exhibited. Outstanding here is St. Archangel Michael church
with masterpieces from the Tryavna carving school the carved
iconostasis and bishops throne. Very beautiful carved ornaments
can be seen in the house-museums in the town of Koprivshtitza.
The craft is demonstrated in the architectural-ethnographic
complex Ether .
Brick-making - Until the Balkan wars, traditional brick-making
is concentrated mainly in cities in the fields and planes - in
Northern and Dobrudzha regions. Molds for bricks are usually
wooden, for one or more bricks. There are different forms.
Besides the most commonly used rectangular form trapezoidal
bricks for furnaces and arches, with a rounded corner for
formation of masonry corners, bricks with holes for installations
or reinforcing rebar are also to be found.
Roofing works - Laying of tiles, installing gutters, building
of chimneys - In ancient times, during the Middle Ages and
right up to the Renaissance (XVIII - XIX century) the popular
roof waterproofing was quite primitive. Buildings are covered
with available and local materials, such as straw, reeds and
rush, boards, sometimes animal skins or barks. The major
disadvantage of the straw roof is the low fire-resistance. The
other, historically speaking, main roofing material is the tiles.
The roofing waterproofing cover of stone slabs has important
advantages over straw and boards - it is fire resistant and
durable, with a significant own weight, making it suitable for
harsh mountain climate, but also requires a strong roof structure
capable to carry it.
Stone types from which it is possible to obtain roofing tiles (and
these are sedimentary, slaty rocks) can not be found all over the
country. Such rocks are found in some mountain areas such as
the Central Balkan Mountains, the Rhodope and Pirin mountains.
The production was at a low, at craft level at the best, never
industrial. The transportation was also a problem having in mind
the low level of development of the road network. Therefore,
roof covering with stone slabs was not wide spread. It remains
90
at the level of local, available materials.
During the Renaissance, as a consequence of the general cultural
and economic upsurge of the Bulgarian population, together
with the stone slab, the Turkish tile began increasingly to
be found on the roofs of Bulgarian buildings to the extent of
prevailing roof waterproofing at the end of the period. The one-
runnel tile is not a novelty in our country. It is special feature of
the Greco-Roman Mediterranean building tradition from which
we are influenced. The main advantage of the stone and tile
in comparison with straw and wood is their fire resistance and
durability.
Lithuania
Lithuania has 5 ethno regions (East and West Auktaitija (Higher
Lithuania); emaitija (Lower Lithuania / Samogitia); Lithuania
Minor / Klaipda Region; Southeast Lithuania (Dzkija);
Southwest Lithuania (Suvalkija)), but the main differences
in traditional rural architecture are between East and West
Lithuania. Architecture of West Lithuania is closer to countries
of Middle Europe, meanwhile of East Lithuania to Northeast
countries.
Log houses spread earlier in West Lithuania (5th - 8th centuries)
than in East Lithuania where more archaic building methods and
variety of constructions and shapes of architecture remained.
Several building methods were used at the same time in
East Lithuania: pole (wall) and roof constructions to build
barns, joist construction for roof cover to build garners, rafter
construction to build newer houses or stables. Wall notching
method did not change a lot from Middle Ages because all
rural buildings (except barns) were constructed from separate
cribs which were connected with jambs or wall inserts. Building
width remained stable (average size of living house was 5-7
m); it widened to length mostly adding new blockhouses.
Narrow rectangular-shape buildings with several blockhouses
formed in East Lithuania. Innovations were introduced faster in
West Lithuania, hence bigger sophisticated construction houses
were built earlier. For this reason houses of Samogitians and
Minor Lithuanians distinguish for bigger measurements and
monumental shapes. According to East and West characteristics
there are differences in lumber, corner connections, processing
of details, and constructive system, too. Building constructions of
other regions (Southeast, Southwest and Middle Lithuania) give
evidence about interaction of building traditions.
Building features were determined by climate, landscape and
local nature conditions. Cold and long Lithuanian winters forced
to build durable, lasting and warm houses. Wood building
dominated till 20th century in Lithuania. Usually there were
conifers (pine or spruce). Sometimes oak wood was used to
build lower lumbers, under-window parts and jambs. Walls,
windows, doors, floor and ceiling, roofs, decorations, sometimes
even the foundation were made out of wood. Field stones
were usually used to build foundation, and clay was used for
inner installations (dirt floor, stoves, and chimneys). Roofs were
covered with straws, reed, cats-tails, planks, splinters, shingles,
and chip; later with tiling and metal roofing. Sometimes people
built masonry houses in places where were lots of field stones,
and clay house where were lots of clay.
Masonries (stone and brick) were used often in building of
cities, churches and castles. The brick size was standardized
(12x6x3 Lithuanian inches) in Grand Duchy of Lithuania already
in 1549. Burnt clay brick technology and installation almost did
not change from Middle Ages. Masonries and clay buildings in
manor house architecture spread till the end of 18th century.
Clay was started to use for walls in the middle of 19th century in
rural places (lacking of wood), especially in those regions where
there are lots of clay suitable for constructions Middle and
North Lithuania, Southwest and Minor Lithuania / Coast part.
Outbuildings were usually built out of clay. Sometimes buildings
were built out of raw clay bricks. Masonries are common in North
and South Lithuania (mostly granite).
55% of Lithuanias territory consists of clay occurring in plains
which through the course of history formed the favorable
conditions for development of clay constructions.
Higher Lithuania (Auktaitija)
Landscape of East Higher Lithuania distinguishes for hills,
valleys, rich forests, and lakes, meanwhile West Higher Lithuania
for fertile flatlands. Agriculture (growing) was developed on
these flatlands, linear settlements with one expressive street
uniting regular and strict development of homesteads dominated
in villages which were structured in 16th century according to
Western Europe examples. Hilly terrains were of pour soil, so
additional income was gained from exploitation of lakes, forests,
and scattered or mixed structure villages were dominating.
Rural building features such as building sizes, amount, capacity,
shapes, structure, and materials (big and wide construction
barns, garners with beams on roof building, 5-7 buildings in
one homestead dominated here) were determined by type of
agriculture. Pine wood was usually used for buildings.
Lower Lithuania / Samogitia (emaitija)
Western Lithuania distinguishes for hilly landscape. There were
many free landlords in Samogitia in 16th 19th centuries and
for this reason reforms of villages were not as common as in the
rest of Lithuania.
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Freely scattered villages on landscape with irregular street
networking (the oldest of its structure) remained in the region.
In addition to these villages steadings existed since the old
times. Homesteads were huge with many outbuildings of
various purposes (up to 20). Spruce wood was commonly used
for buildings.
Lithuania Minor / Klaipda region (Maoji Lietuva / Klaipdos
kratas)
West Lithuania is a flatland region with wavy relief in some
places inscribed with rivers and streams. Impact of Western
culture is obvious here because of the geopolitical situation.
Here innovations came earlier and people were more technically
advanced. Region was densely populated with intensive
agriculture. Inequality of natural conditions determined specific
trades and lifestyle of inhabitants. Earlier than elsewhere
emerged differentiation of farming: free peasant (agriculture),
fishermen, growers at fertile Nemunas river delta, grass landers
at water meadows (haymakers and stockbreeders), duners at
wandering dunes (Kuri nerija), swampers at Nemunas river
delta, wood wards / boscagers at forests. After deforestation
and higher wood prices clay was started to use in construction
of houses and outbuildings (daubing walls or laying them with
adobe bricks) in this region earlier than elsewhere. Brickyards
were establishing and presentable buildings constructed with
red bricks and roofed with ceramic tiling were becoming more
common during the 2nd half of 19th century. Wooden log, framed
or mixed construction houses dominated at the constantly
flooded regions. Roofs were covered with nearby growing reed.
Southwest Lithuania (Suvalkija)
This region was occupied and under influence of other countries
(Prussia, Poland), and underwent different reforms from the rest
of Lithuania in 18th century. Villages of linear settlements (along
the road) originated at the middle of 19th century. Because of
the neighbour Prussia the region experienced faster economic
progress. Homesteads became rectangular shape and rationally
planned; buildings were placed parametrically around the yard
(an average of 4-6 buildings). Very fertile land and the earliest
abolished serfdom created perfect conditions to become the
richest region of Lithuania. Lack of land and early deforestation
has led to large-scale spread of clay and brick buildings.
Southeast Lithuania (Dzkija)
The land of forests and hills distinguished for differences in land
use and farming nature. There is a mix of linear settlements,
freely scattered villages on landscape and steadings. This region
is low on stones and clay which resulted in almost entirely
wooden architecture (even the foudations). Here the soil is not
fertile, region is not rich and being a nook it remained lots of
ancient construction methods. Buildings are smaller than of
other regions (an average of 3-5 buildings). According to the
structure and terminology it is clearly that there is a mix of
architectural traditions of East and West Lithuania. Because of
the neighbor Belarus there is a huge Slavic impact especially in
building decoration.
Traditional Building Crafts of Lithuania
The Ministry of Agriculture of the Republic of Lithuania made a
systematic list of national heritage products, items, and objects,
traditional species of plants and breeds of animals and its
products, and traditional services. Digest of traditional crafts
is made according to the historically formed terminology of
traditional crafts and artisans. Crafts which are assigned to the
field of architecture:
Carpentry, Joinery, Sawyery, Roofery, Bricklayery, Brickery, Glaziery,
Stonebreakery, Welldiggery, Cross craft
The majority of craftsmen were carpenters, joiners, sawyers,
roofers and bricklayers in a whole Lithuania in late 19th century
and 1st half of 20th century. Many masters came from the
neighboring Prussia to Southwest Lithuania (Suvalkija), and
from neighboring Belarus to East Lithuania. Most of the masters
learned their craft from parents and grandparents by helping
them in daily works and constructions. Others went to study
to the masters, firstly working without salary and later on as
apprentices. Some crafts such as blacksmither or potter were
inherited along with the workshop. Nearly every peasant had the
workbench and he made the simplest things by himself.
Connecting professions:
Carpenters, Joiners, Sawyers, Roofers, Bricklayers
Scotland, UK
In accordance to the Scottish House Survey 20% of the existing
housing stock in Scotland are traditional buildings. The main
building materials in Scotland are: stone, timber, lime, iron, clay,
sand and straw. Different regions of Scotland used different
building materials depending on the period of time, technology
and accessibility of materials. However, Scotland is the land of
stone, which has been the most commonly used material. Stone
was quarried depending on its numerous qualities in terms of
colour, grain density, and hardness. There are three geological
regions in Scotland: North of the Highland Boundary Fault,
extending from Arran to Stonehaven, the Highlands and Islands
are dominated by Precambrian (Dalradian, Moine and Lewisian)
crystalline metamorphic rocks including metasandstone,
quartzite, schist, gneiss, slate and, less commonly, marble.
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Lewisian gneiss makes up much of the Outer Hebrides and North
West Scotland where it is overlain by remnants of hard, bedded,
purple Torridonian metasandstone. Generally the crystalline
rocks are difficult to work using traditional methods and were
used only locally for building purposes. Slate (metamorphosed
mudrocks) of the Grampian Highlands were exploited on a major
scale for roofing. Although sandstone was the most accessible
building material in Scotland, granite was also widely sourced
- especially from Galloway, Aberdeenshire as well as Scottish
Highlands.
Timber
The UK has lost a lot of its woodland since the medieval times
in favour to farmland. Further reasons include a need of large
supplies for the benefit of the Industrial Revolution; as well as for
the I and II world war effort, when British import of timber was
hindered by the German isolation. Also other reasons resulted in
reduction of woodlands, such as fire and diseases. However, in
case of Scotland the main areas where different types of trees
could be found are: oak in Highlands Line, Scots Pine in the
Central Highlands, hazel/oak/birch in the north-east and south-
west Highlands, birch also in the Outer Hebrides, Northern Isles
and north of the mainland. Given that, predominantly timber for
construction was imported. In XVI and XVII century buildings
were built with oak and pine imported from the eastern Baltic,
Norway, Denmark and Sweden. In the early XVIII century mainly
pine was imported from Norway and Sweden, and in the
second half of that century pine was mainly imported from the
eastern Baltic. However, in north-east Scotland a fair amount
of buildings was built with Scots pine as the local woodlands
survived large scale exploitation until XVIII century due to their
inaccessibility and lack of a developed transport infrastructure.
As it was difficult to import and export in that part of Scotland
the local pine was very popular. Native oak was used in Scotland
however it was not a particularly good quality of timber, and it
was not widely present until the late medieval times. In 1602 the
export of Norwegian oak was banned due to limited sources of
this building material.
Iron
Scotland was the major producer of pig iron by 1830s - only
Glasgow had 800 operating foundries in XIX century. About
one third of the production was exported to England and
another third overseas. Cast and wrought iron gradually became
cheaper to produce thanks to the demand build during the
Industrial Revolution followed by technological advancement.
Iron was widely produced in the Scottish construction industry:
structurally to provide framing for mills (New Lanark for instance)
and other buildings such as train stations. Iron was also widely
used in production of smaller architectural details such as door
handles, boot scrapers, latches, locks and straphinges. In Scottish
cities a significant part of small architecture was also made
from iron including: railings, lamps, gates, benches and even
bandstands. Lead became a staple roofing material thanks to its
high resistance to corrosion, ductility and low melting point. The
main function of lead was to drain water from buildings through
flashings and rainwater goods. Bronze and copper were used in
decorative features and details such as door knobs, escutcheons,
hinges, knockers or name plates.
The first large blast furnace in Scotland was the Lorne at
Bonawe near Oban. It was erected in 1750 and fueled by the
local charcoal with iron ore shipped from Ulverston (Furness).
Carron Iron Works in Stirlingshire was established in 1759 and
was designed to produce 1500 tons of iron in its first year. Due to
high demand for production of munition Carron in collaboration
with Edington and Cadel, ironmasters of Crammond, established
Clyde Iron Works along north bank of River Clyde near Glasgow.
Thanks to its coal and iron mines, good transport connection
thanks to the Monklands Canal, Coatbridge in North Lanarkshire
became the main centre for iron in Scotland in 1828. Gartsherrie
(Coatbridge) was the largest foundry in Scotland and the second
in the UK, followed by Summerlee Iron Works (also Coatbridge).
The opening of the Caledonian Railway in 1848 raised the
role of Motherwell, which was at a junction with Wishaw and
Coltness Railway, in the iron industry. Currently there are only
23 foundries operating in Scotland and some of them, such as
Charles Laing & Sons or Ballantyne Boness, provide support for
conservation projects.
Lime
Lime is produced through heating of limestone and subsequent
slaking with water. This widely used building material in
Scotland is highly versatile and for a different purpose can be
mixed with other materials (sand, water or even oyster shells) to
produce mortar, plaster or limewash. Lime has been used until
XX century, when was gradually replaced by cement. There are
three main regions, which geologically matched the economic
demand and technical expectations in the past: the Southern
Uplands (Scottish Borders) and the Midland Valley (Central
Belt); Grampian and south-west Highlands; and the north and
north-west Highlands. The hydraulicity of limestones is an
important factor in production as well as application, and it
also depends on geology and geography. Mildly hydraulic limes
were formed from the reasonably pure limestones of Inverness-
shire and Perthshire, as well as the Central Belt, Borders, the
Lothians and Fife. Two of the more well known Scottish limes,
Charlestown lime and Arden lime (Central Belt) were more
strongly hydraulic; Charlestown lime was favoured for wet dock
and canal constructions including those of Fort George, Leith
and Granton docks and Dundee docks. Scottish lime produced in
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the Western Isles is made from sea shell, which after burning in
a kiln, reduces to pure non-contaminated lime that can be used
for internal plaster work.
Short Guide
Lime Mortars in Traditional Buildings
Published by Historic Scotland, February 2014
Stonemason
A significant part of the Scottish building stock and public realm
are built from stone, Especially in historic towns. Scotland was
one of the main producers of building stone the XIX century
- by 1860 Scotland had more than 1200 quarries. However, by
the end of XX century the number of quarries has dropped to
20. Also, the quality of stone used in new developments and
restoration works became questionable as a lot the material
is being imported from China and India. Unfortunately, in most
cases these materials are not suitable for the Scottish climate,
which is highly demanding and puts buildings against difficult
weather conditions. Due to the development of industrial
production of stone and innovation the role of stonemasons
has decreased. Nowadays, their skills are mainly relevant
in conservation and restoration industry where quality of
workmanship is critical. The challenge is, however, in providing
opportunities for apprenticeships as mastercraftsmen usually
do not have sufficient resources to facilitate training of new
adepts. In cities such as Edinburgh, where only within the World
Heritage Site boundary there are 1660 monuments mostly built
from the natural Scottish sandstone. The scale of maintenance
is great and it requires skilled stonemasons.
Joiner work and carpentry
The requirement of joinery skills for a conservation project
depends on its scope. In some cases a highly qualified specialist
in wood conservation is essential, however, the majority of
restoration projects need comprehensively skilled joiner.
Restoration projects may involve repair or replacement of
sash windows, doors, timber panelling, structural work such as
roof repairs, shopfront fascias, floor repairs, or even internal
structures of monuments/sculptures. In case of shopfronts
restoration projects may even require 90% of joinery work,
focused mainly on repairs of the woodwork.
Blacksmith and lead workers
Metalwork restoration projects are usually focused on public
realm objects such as sculptures, street lamps, railings; metal
frames of shopfronts; small architectural details such door
knockers or boot scrapers. Again, depending on a project
different specialists are required. Skilled blacksmith are sought
after by conservation managers looking for craftsmen to deliver
new and missing wrought ironwork such as gates or railings.
A different subgroup of specialists are lead workers who work
jointly with roofers responsible for dressing and laying slates on
mansard and pitched roofs, which are omnipresent in Scottish
historic towns. Lead workers provide solutions that ensure water
is shed from the roof. These solutions take for of flashings,
soakers, valleys, parapet gutters and can be very simple or
decorative. The principle is to make the roof water tight by
installing a lead sealing on, for instance, the junction between a
slate roof and a stone gable wall, or at the change of plane of a
roof at a ridge at a ridge, hip or valley.
Limeburner
Traditional lime burning occupation is virtually gone in Scotland
as there are only a few existing traditional kilns and production
has a rather modern industrial scale. Nowadays lime is usually
produced in quick mix forms with qualities depending on a
type of job. Since lime was a very common building material
throughout the UK many towns had their kilns and limeburners.
Although it may be difficult to classify limeburners as craftsmen
in the modern understanding their role in the construction
industry was essential.
Romania
Romania is divided, from a historic and geographic point of
view, in three main regions: Transylvania, Wallachia (ara
Romneasc) and Moldavia, which are in turn made up of
smaller regions, two of them having the same name as the larger
regions. Transylvania region, due to its various ethnic groups -
mainly Romanians, Hungarians and Saxons, has many vernacular
traditions. The other two regions have fewer ethnic groups, and
are more related in what concerns the way vernacular buildings
look, but one can say that there is a common building pattern in
all three. The emigration process from a region to another of the
traditional craftsmen started long time ago, when the regions
were politically separated or had major physical barriers. So,
many elements were transmitted in this way from one region
to another. Of course, the varied geography of regions- from
mountain to hill, from plain to delta and even semi desert -
determined the use of various construction materials.
Transylvania region
which includes Transylvania, Criana, Banat and Maramure - the
north-west area is very rich in nature, resources, flora, this is
why the raw materials used in traditional architecture are quite
diverse. Stone is generally used for foundations. Raw stone was
used in the centre of Transylvania (Clata, Transylvanian plane)
and in the southern part - were the majority of inhabitants are
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Szeklers - for wall building, household annexes, and fences.
The other main raw material used for walls, especially in the
mountain areas of Transylvania, is fir tree, which was used for
different purposes: beams, joists, and board. All over Transylvania,
the household annexes and fences are made of boards fixed on
a board frame. Another important raw material used for walls,
which also meant a certain degree of industrialisation, is brick.
Bricks are burned, but for household annexes, unburned brick
was also used. Nowadays, there are few examples, but from
the historical data results that it was used quite often, even on
gravel or afforested surfaces, yellow clay/clay roll and adobe,
made with mud, manure and straws.
Yellow clay was built on a stick or board, the adobe was sun-
dried and so, the walls were built. Yellow clay was placed on a
bat or board structure, yellow clay bricks were sun-dried and so,
the walls were built.
In Transylvania, walls were, in most cases, plastered. The plaster
of the wooden houses was quite often similar to yellow clay.
This activity is called gluing, because of the application method.
Whitewashing or the contact material was made with lime,
resulted from limestone and sand.
The simple roofs were made of beams, joists, and the more
complex ones of boards. The roof thatching materials were quite
diverse. In centre Transylvania, region crossed by rivers, the
houses were covered in common reed, which can still be found
in less accessible areas. A similar technique used in mountain
areas is straw thatching. Although straws are very inflammable
and hard to maintain, they preserve heat and look very good.
Shingle and shorter shingle was common in mountain areas, and
in ara Moilor and Maramure regions board was used and was
referred to as shingle. During the industrialisation period, tiles
started to be very common in traditional architecture and came
in two main forms: arched and long tile. Nowadays, these tiles
are produced in workshops, although they are hard to make and
there are fewer and fewer workshops were they are produced.
Stone, board, andra (auxiliary product resulted from turning
joists into boards) and beams are used for fences.
The houses were heated with an unenclosed fireplace. In time,
the fireplace was separated from the walls, and later started to
have arches and chimneys, such as the fireplaces in the middle
ages. Ceramic and faience vessels were placed on the heating
area, increasing the aesthetic value as well as the efficiency. The
bread ovens were built near the houses.
Wallachia region (ara Romneasc)
which includes Muntenia, Oltenia and Dobrogea regions -
represents southern Romania. The influence of the continental
and temperate-continental climate can be seen on the various
landscapes, from mountains, hills and hillocks to planes (in
Muntenia and Oltenia), semi-deserts and delta and seaside
landscape (in Dobrogea). Underground resources which can
be used in construction are stone, limestone, plaster stone,
clay, gravel, sand and others. Wood resources are also diverse,
such as breech, oak and lime tree species. Straws, common
hemp, common reed and cane are plants which are used in
construction materials.
Human settlement structures are dispersed, linear in mountain
areas, developed along rivers in planes, and gathered in hill
and plane villages, and have irregular planimetric shapes. The
traditional planimetric building type is similar in most of the sub
regions, with one or more rooms (when there are more built in
a symmetrical manner on the lateral parts of the central room).
The small mound of earth round a traditional house, (Romanian
- prisp) and the veranda (Romanian - cerdac) are the spaces
ones has to walk through when coming from the inside and
the outside of the house. The household annexes have different
functions around the house, according to the organisation of the
divider.
The foundations - whether there is a basement or not - are
entirely made from stone or are just covered in stone - or from
brick or local materials. The walls raised on these foundations,
which usually form houses with one, two or three rooms, with
delimiting small mound of earth, are made of: stone, wood,
brick, clay, the binding material being lime-sand or clay. The
natural materials are environmentally-friendly, and allow the
walls to breathe. The connection to the roof, namely the ceiling,
is made of wooden joists, covered by boards and lined with
cane, which is plastered with a construction material made of
crumbled clay mixed with minced straws and some minerals
(Romanian - ciamur). The roof on a wooden framework is simple
with 2 to 4 sloping sides, two small and two large (with the
exception of the eighteenth century halls in Oltenia region), with
the ridge parallel with the long side, with or without tower; Of
course, the slope increases proportionally with the altitude of
the landscape. The roofs are made from wood, short shingles,
shingles, ceramics - tiles, hollow tile (in Dobrogea region) -
straws and common reed.
Moldavia region
which includes Moldavia and Bucovina - is situated in the east.
It has a diverse landscape, from mountains to hills and plateaus,
to plains and flood plains, temperate-continental climate,
which means that the winters are usually without snow and
the summers are droughty. The mineral building resources are
limestone, clay, gravel, sand and the vegetal ones are wood -
beech, oak, poplar, willow- and plants such as cane and residual
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straws.
Taking into consideration the diversity of the landscape, the
architectural typologies are slightly different in the north and in
the south - the houses in the northern mountain area, Bucovina,
being similar to the Russian ones, and the ones in the southern
plane area being similar to the ones in Muntenia. However,
regarding the similarity, one of the common characteristic are
the building materials used. The morphology of the vernacular
houses is given by elements such as the socket, the walls which
separate one to three, four rooms, the small mound of earth (the
exterior space covered with or without wooden poles) round up
to three sides of the house and the roof in two to four sloping
sides. The annexes, the pit houses and the pantries - food storage
spaces, are built of clay, and the doors of wood.
Stone and brick is used to build socles and foundations. The
walls are made of different compositions in different areas. So,
the brick walls are plastered with clay and painted with white
lime and adorned with colourful ornaments. The walls can also
be made of timber work and covered with short shingles, or
the massive wooden beams can be exposed. The binder for the
brick or stone walls is made of lime-sand or clay. Throughout
the Moldavia region, in the past, buildings were built from the
materials that are nowadays considered environmentally-friendly
- of soil (construction material made of crumbled clay mixed
with minced straws and some minerals (Romanian - ceamur) -
houses and household annexes, public buildings (school, cultural
club, inn), of wood - especially religious buildings, or of stone,
rarely houses and household annexes, and more frequently
churches. When building soil houses (construction material
made of crumbled clay mixed with minced straws and some
minerals (Romanian - ceamur)), the clay roll technique was used,
building on a fork and lath structure, by fixing the construction
material made of crumbled clay mixed with minced straws and
some minerals (Romanian - ceamur) in multiple layers, or, at the
beginning of the twentieth century, adobe buildings.
The oldest types of roofs were the vegetal ones, cereal (rye)
straws, common reed, shingle and shorter shingles, and starting
with the twentieth century, metal sheets. The structure of the
roof was made of fir tree wood and, especially of spruce fir tree
wood, having very interesting types of joining notches (straight,
round or the swallow tail and others).
Connecting professions:
Brick workshops and brick production, Blacksmiths work, Cane
weaving, Wood processing, joinery, carpentry, turning, Stone
processing, stone carving and fountain drilling, Shingle splitter
and short shingle splitter, Stove building, Reed Thatcher, Glazier,
Tinsmithing, metal modelling, Building painting, plastering,
pargeting and lime burning and Masonry.
Italy
In the Venician area before the Serenissima Republic the
typicalhouse was called Casone. Simple buildings descended
from the primaveral hut made by raw earth and straw. The
walls are short and thick built in raw earth bricks, instead the
sloped roof has a wood main structure and is covered by marsh
reeds. When Venice became rich, the nobles started to build new
typologies around the island. The tradition developed the rural
house made in cooked bricks and designed to hold animals and
harvest. The big porch is the main design feature: it allows to
collect, work, dry and store the harvest (especially corn) and
protects from the hot or cold climate. It consists of a covered
space ground floor that opens to the field through many round
archs (they are bigger in front of the house and smaller in front
of the stable or the storage).
The building orientation follows the east-west axis to face the
long facade to the south: this to receive more solar radiation
in winter. The long facade to the north characterizes few little
windows to limit the heat loss. The porch allows the solar
radiation passage inside the building in winter and stops it in
summer. Often to improve the porch function in summer theres
a pergola in the southern, eastern and western sides.
The mediterrean house is the typical building we can find all
around the Mediterrean sea. The climate in this region is so hot
and dry and the vegetation consists of little shrubs, so the wood
is not a good material to build from. The main features of this
typology are:
Walls made in raw earth bricks, cooked bricks, stone or tuff.
50 cm - 100 cm thick walls accordingly to the construction
materials.
Roof charactecrized by light wood structure, more often in
bricks and lime.
Closed volumes, few and little windows.
There isnt roof projection, but often there are stairs outside to
reach the flat terraced roof.
Floors in hard court mixed to cooked oil and resin or in clay
tiles.
To avoid the strong solar radiation all year long there were some
features developed:
White color for both walls and roofs (sometimes also for the
streets, which are more narrow in hot climate) because this
colour reflects the 70% of the solar radiations.
Houses placed around little central courts (patios) and small
spaces between the houses: these spaces create big shadows,
often increased by the curtains on the courts. These spaces also
keep cool air, especially during the night.
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Presence of fountains inside the patio, whose water evaporate
or is squirted on the walls and the curtains to cool.
Massive walls with few small windows keep the solar radiation
outside and the cool air inside
Trulli - These typical mediterrean rural buildings were built
originally as seasonal stone structures that, after their use,
could be demolished. After a while the trulli became permanent
residential buildings and recently they are built using new
technologies as bricks and concrete
The trulli work as underground building: the huge massive stone
is usually joint to a big subterraneus basin to collect rainwater
used to decrease of 6-7C the interior temperature in summer.
This allows the natural ventilation through the dome holes and
is improved by the white color of the exterior surface made in
lime .
The plan is compact and almost square-shaped, instead the roofs
are cone-shaped: these allow to collect the solar radiation heat
in the domes during the day in winter to be transmitted during
the night inside the building. The whole shape of the trullo is
a mix between a cube and a cone where the walls are 1 or 2
m thick. The roos fcan be called false-dome, its so light and
its thickness decreases from the base to the top, where usually
there is a sphere. The central space is the living room and the
service spaces are placed around it in smaller rooms. The interior
is really dark because the only opening is the entrance door.
Hungary
Little & Great Hungarian Plain
The two main plain regions of Hungary have very similar
characteristics regarding their vernacular architectural traditions,
which can be noticed in the houseforms and floor plans, as well
in the used building materials and building technology. The
two regions together cover more than two-third of the countrys
area. The older house types were built exclusively from earthen
structure types: wattle and daub or clay bricks. Burnt bricks
gradually changed the ratio of houses with earthen walls, as
the number of brick houses raised - especially where the owners
could afford it, so usually in the case of richer houses. The
appearance of brick walls was much more noticable and quicker
on the Little Great Plain situated close to the Western borders
and being a bit wealthier. While materials of earthen walls could
be gained nearly anywhere in these regions, so it was produced
locally nearly everywhere, brick factories were also quite wide-
spread based on the quality adobe material. Regarding roof
coverings the most popular solutions were reed and straw
thatches till the 19th century. Similarly to bricks, ceramic tiles
became more and more popular later.
Upper Tisza Region
Though timber structures were widerspread in the area of
country as a whole in Medieval times, Upper Tisza Region is one
of those where this phenomenon could still noticeable until the
late 19th century. Log and timber-framed solutions were used
quite often arriving from the presence of good quality oak wood
which was provided in the closest neighbourhood. Beside timber
earthen wall structures were also used and often mixed with the
timber framed technology. These were mainly wattle and daub
systems. The region is especially famous of its wooden belfries,
timber framed constructions which stood next to the towerless
churches. Among coverings we mainly find shingles and hay
thatched roofs.
Western Transdanubia
Another small region where timber appears as the main
constructional material. Building technology was mainly carried
out with log constructions, often in a plastered, white-washed
form. Roofing was mainly realised with thatched straw.
Southern Transdanubia
While in the 17th-18th century timber framing was the most
often used wall-building technology, later it almost completely
disappeared from the traditions. By the appearance of modern
architectural solutions and styles the latest vernacular traditions
used mainly earthen wall technologies with straw thatched
roofs.
Balaton Highlands
One of the regions where stone, especially limestone was widely
or nearly exclusively used for the purpose of house building.
Stone walls were mainly combined with reed thatched roofs.
Houses of the region are remarkable of their porches built with
a series of vaults towards the courtyard and with gable walls
towards the street.
Upper Hungary
A mixed usage of materials for walls is characteristic: stone with
adobe, timber with adobe, wattle and daub etc. Roof coverings
were mainly of shingles and straw.
Connecting professions:
Thatcher, Adobe (cob) brick maker, Shingle Roofer, Carpenter,
Bricklayer, Stonecutter, Bricklayer
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Spain
Andaluca
In Andalusian architecture we can clearly distinguish two
mayor raw earth materials used in different construction
techniques, the domestic residential and the monuments. On
residential buildings, the solutions are directly excavated on
rock mass with adobe. These buildings can be found primarily
in medium and high areas of Alpujarra, between Jaen, Almeria
and Granada. In contrast, throughout Andalusia the solutions
are made on rammed earth or adobe which is dispersed and
almost undiscovered. This kind of systems we can see mostly
on towns which have buildings more than 100 years old. The
rammed earth is always used in structural load bearing walls
or dividing walls and adobe in the inner divisions. However, in
monumental architecture, the rammed earth is mainly used in all
forms of buildings. These buildings reflect the use of traditional
raw earth material, which was mostly available and closest to
the construction place, especially in the case of the clay soils
characteristic for the Guadalquivir valley. Differences are created
by iconographic traces according to the techniques employed in
a particular historical periods. In Andaluca very often we can
find combinations of basements, chained stones and ceramic
bricks which shows the Roman and Arabic cultural influence.
Murca
In the Murcia region there is interesting architecture which
highlights a flat roof covered by lguenas. Lguena is the
magnesium clay which after it is mixed with water creates a
homogenous impermeable paste which was used to cover roofs
and terraces. It is important to mention some building with
vernacular values such as flour mills, and water extraction mills
as well as pigeon houses. Usage of general type of house is
common all over this region. This general type consist of two
bays juxtaposed by its longer side and a lateral enclosed area.
In the first bay there is a tripartite space with rooms to the right
and left sides and hall-salon in the central part with a door to
the dining room in the second bay. On the other side of the
dining room there is a kitchen and storage room. The dwelling
dispose of thick wall of masonry, covered with a mortar layer. The
interior walls are also usually made by masonry or some of them
were from stew bricks or adobes. The cover system of lguena
can be found in whole area of Murcia region.
Valencia
Walls, slabs, roofing and constructive details consist of a
combination of masonry and gypsum pillars that support the
wood structure of the slabs. The walls that fill the spaces
between pillars are made of masonry with mud mortar on the
ground floor and vertical flat stones with the same gypsum
mortar on the upper floors. The houses are usually covered with
a one- or two-hipped tiled roof. The interior walls are made from
gypsum plasters, which were periodically given a coat of gypsum
wash, which ensured their maintenance and revived their natural
local soil colour. The wood from Spanish juniper was habitually
used for building in the area.
Castilla La Mancha y Madrid
The traditional architecture of Castillo La Mancha y Madrid
is a live sample of a great variety of nuances, diversity and
expressive ability, resulting from the countless variables of our
territories: terrain, climate, materials, history, technologies, uses,
powers, symbols, etc. For the construction in this area they were
mostly using wood and clay. In the pottery and ceramics include
the production of tiles and bricks, as well as the materials of
construction with clay.
Extremadura
Typical for the houses were thick stone walls, tiled floors, old
timbers and vaulted ceilings.
Castilla y Leon
The traditional building in Castilla y Leon region are called
chozos and casetas, and they have been erected with domed
solutions using the autochthonous materials: the mud in the
region of Tierra de Campos and the stone in the region of
Montes Torozos. The adobe constructions are very typical for this
region. The techniques which have been developed within this
area are varied and characteristic: adobe, rammed earth, half-
timber filled with adobe, rammed earth walls and many more.
Catalonia
The elements used in its construction have been changing with
the passage of time; in addition, the location of the farmhouses
has influenced also the type of material chosen. As well, in
mountain areas, the most common material used has been the
unfinished stone. In the lintels of doors and windows stone was
used minced. During the middle Ages, the stones were joined by
clay, a material that was replaced later by the lime or cement.
In the places where the stone was scarce was resorted to adobe
for the construction.
Aragon
In Aragon regions the main building materials used to be
mainly brick masonry with gypsum-lime based mortars-filled
joints. The mountain areas were characterized by large use of
charcoal and wood, especially acorn wood. Also in this region
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the Mudjar style was spread and the particular forms adopted
and the exceptional techniques and materials of construction
employed are evidence of the characteristics specific to the
Mudjar architecture of Aragon. For the Mudjar buildings were
typical structural condition of the buildings (supporting beams,
roofing, foundations, etc.), as well as the decorative elements
(frescos, plaster etchings and carvings, ceramic mouldings, etc.),
and the fixtures and fittings in each building. The decoration of
these monuments is an additional documentation of Aragonese
Mudjar art, as the vast majority of Aragonese Mudjar roofs
conserved are adorned with paintings.
La Rioja
La Rioja region and specifically the part corresponding to the
Ebro Valley, is an area in stone material is scarce and in which
the traditional construction was to use materials that are
perhaps more modest but also more versatile. In the town Alfaro
were found archaeological places with several quarries and
gypsum kilns which had operated during the 19th century and
the first half of the 20th.
Navarra
Its vernacular architecture is characterised by houses with white
walls and red ashlar decoration, taken from the nearby quarries
of Almandoz, pitched roofs, wooden balconies along the top
floor and coats of arms with the shield of the valley. In Navarra
region there were 2 mainly used sandstones-stone Estella or
Pitillas, as well as the reddish Baztan.
Basque Country
A baserri is a traditional half-timbered or stone-built type of
housebarn farmhouse found in the Basque Country in Northern
Spain. The Baserri buildings consisted of timbered structures
that are barely reminiscent of dwellings, most have three floors
with stables within the building and a gently sloping roof, stone
supporting walls and internal constructions made largely from
wood.
Cantabria
The oldest peasant houses in Cantabria belong to the end of
the medieval period, as before that time houses were made of
wood. The newer type of houses was mainly built from stone
and access to the house was often through an outside stairway
or landing, and the materials used might include brick or rough
adobe. The traditional mountain architecture in Cantabria
region is a cultural heritage that has been preserved over time.
Including its typical vernacular architecture, the Cantabrian
house stands out as the most traditional. Cantabrian houses
range from humble shepherd huts to the palaces and mountain
mansions of the higher classes and from traditional mountain
homes to the modest huts of the Pas valley.
Asturias
The traditional vernacular building in region of Asturias adapts
to climate conditions and integrally respects the wooded
area. Horreos and Granaries, are a common form of vernacular
architecture in Asturias.
Galicia
Galicia has an abundance of different types of granite. In the
past this region was covered eucalyptus plantations and also
had prodigious chestnut forests. Therefore, without any surprise,
the traditional Galician building is stone walled and has upper
floors and a roof structure made from chestnut wood (castao).
Buildings were still being built in the traditional way right up
into the 1980s in some rural areas, and these old buildings
are valued for their character, charm and restoration potential.
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Interior walls were typically made by single skin brickwork and
the roofs were normally constructed with the same block and
beam to make a concrete plate method. In Galician region we
can wind also larger traditional building, the two most notable
types of house being Pazos (Manor houses) and casas Indianas
(a 1920s/30s art deco style).
Balearic Islands
All this enchantment appears in its architecture, houses with
a Roman flavour and many Arabic remains. The soberness of
stone is what dominates in Majorca. In Minorca it is the colonial
style, and in Ibiza and Formentera it is enchanting white
limestone. This architecture include houses and other utilitarian
constructions: storage rooms, wine cellars, stables, etc. These are
usually constructed of stone held by mud, sometimes covered by
a lime plaster, with wooden structures and roofs usually covered
by round ceramic tiles. Other coverings used are flat roofs, with
mud or lime plaster, and roofs covered with French ceramic tile,
BEST PRACTICES
IN EDUCATION OF
OLD PROFESSIONS
OUTSTANDING VOCATIONAL EDUCATION & TRAINING INSTITUTIONS
I
NTBAU (The International Network
for Traditional Building, Architecture
& Urbanism)
The International Network for Traditional Building, Architecture
& Urbanism, INTBAU, is an international educational charity
that works under the Patronage of HRH the Prince of Wales to
promote traditional architecture, urbanism and building arts.
The Secretariat of the organization is based in London, United
Kingdom. 24 national Chapters of INTBAU are established as
independent, affiliated charities in countries around the world.
INTBAU is a worldwide organization dedicated to the support
of traditional building, the maintenance of local character and
the creation of better places to live. We are creating an active
network of individuals and institutions who design, make,
maintain, study or enjoy traditional building, architecture and
places.
INTBAUs architecture and urban design workshops bring
together practitioners, artisans and students. By education and
training in traditional architecture, urbanism and the building
crafts, we encourage people to maintain and restore traditional
buildings and to build new buildings and places that contribute
to traditional environments and improve the quality of life in
cities, towns and villages around the world.
INTBAUs 5,000 members are a global force for the continuity
of tradition in architecture and building and the promotion of
traditional urban design, working to develop programs tailored
to local needs on every continent. National chapters have been
formed in Afghanistan, Australia, Canada, Cuba, Cyprus, Estonia,
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Germany, India, Iran, Ireland, Italy, the Netherlands, Nigeria, the
Philippines, Poland, Portugal, Romania, Russia, Scandinavia,
Spain, the UK and the USA.
Centro Albayzn - Centro de Formacin,
Restauracin y Rehabilitacin del
Patrimonio Histrico, Artstico y Cultural
The Albayzn Center - Andalusian Restoration School emerges as
a consortium-school with the idea of creating a Craft Training
Center of Crafts, Restoration and Rehabilitation of the historical,
artistic and cultural heritage. Sponsored and funded by the
Ministry of Economy, Innovation, Science and Employment of the
Board of Andaluca and the city council of Granada.
The Albayzn center is currently recognized as National Model
Center in the areas of Traditional Crafts (Centro de Referencia
Nacional en las reas de Artesana Tradicional ARTA). It also
holds the qualification of Manufacturing and Maintenance
of Musical Instruments (Fabricacin y Mantenimiento de
Instrumentos Musicales - ARTG), Glass and Ceramics Crafts
(Vidrio y Cermica Artesanal - ARTN) and Artistic Recovery, Repair
and Maintenance (Recuperacin, Reparacin y Mantenimiento
Artsticos - ARTR).
It offers courses and training related to the heritage restoration:
gold application and its restoration, Mudejar coffered ceilings,
lime and stucco, decorative painting, stone carving etc.
Vanaajamaja
Vanaajamaja is an accredited training and consultancy provider
dedicated to Estonian built heritage. We provide training courses
related to traditional log building and historical renovation. We
regularly host master carpenters from all over the world to share
their knowledge and skills.
Vanaajamaja Training Centre for Traditional Building is located
in the small village of Mooste, in southern Estonia. We have
renovated an old grain drying kiln in Mooste manor and in
this cosy historic stone building we organise several courses of
Estonian traditional building. Our building consists of a broad
workshop with enormous two-storey heritage protected kiln
oven, a small kitchenette for coffee breaks and a Finish sauna
with showers and wardrobes.
Slow Tech Campus (Rahovitza)
Rahovitza is a mountain retreat, a place for experimentation,
learning and exchange. Local materials and traditional
techniques, enriched with the latest science and design for low-
carbon, healthy and beautiful living spaces: this is what the slow
technology of building naturally is all about.
Earth building seminar (from June to November)
Teacher: Varvara Valtchanova
During this seminar participants can learn about the
characteristics of earth as a building material, the field tests
that enable to identify the right soil for building and the main
earth building techniques. Participants will have a practical
experience on adobe making, straw-earth infill and plastering.
A guided excursion to nearby villages gives the opportunity
to further explore traditional building techniques and their
possible adaptation to modern requirements.
Assessment of Artisans by Department
of Cultural Heritage under the Ministry
of Culture (Lithuania)
Committee made by Deparment assesses artisans working
at immovable cultural heritage objects. Specializations of
regulative heritage protection works are assessed by these
activities:
- stone masonry, natural stone, and brick masonry;
- wooden constructions;
- products of joiners and wooden decorations;
- metal products and metal constructions;
- clay construction, ceramic products and constructions;
- decorative coverings, decorative plastering, painted and
plastered surfaces;
- roof coverings;
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- elements of terittories.
Professional requirements: to know the basics of immovable
cultural heritage protection, to know the techniques of
performing, materials, products, and structures, to be able to read
drawings / schemes and execute works, to distinguish valuable
properties of an object, etc. Short courses are organized to gain
all this special knowledge. Traditional building techniques are
not taught, the skills are acquired while working.
PI Academy of Cultural Heritage
Academy (non-governmental organization) organizes training
courses according to the applications of construction and
designing companies submitted to the Department of Cultural
Heritage under the Ministry of Culture for getting a sertificate of
the specialist of immovable cultural heritage. The main training
objective is to examine qualification, practice, and experiences
of professionals whose professional performance and decisions
determine the remains, valuable properties and authenticity of
immovable cultural heritage, and to determine their assessed
activities, areas of specialization, and to promote professional
trainings, also to protect immovable cultural heritage from
consequences of incompetent and unqualified activities.
Training courses for representatives of ancient architecture
professions in both theory and practice are held at ethno-
architecture objects while implementing trainings or projects
(usually on the basis of the project as one of the projects
activities).
Academy is constantly implementing projects in subjects of
preservation and actualization of Lithuanian wooden heritage.
21st 25th May, 2012. Theoretical and practical trainings were
organized at parish of St. Mark the Evangelist in ateikiai (Plung
region municipality, ateikiai eldership, Bukant steading).
Theoretical part was dedicated to the law acts of immovable
cultural heritage protection and their adaptation, and analysis
of themes in methods of management (conservation and
restoration). Practical part was dedicated to the management
works of Bukant chapel built in 1863. Totally 28 professionals
of different fields (old crafts artisans, architects, building
executives) from West Lithuania were working on this chapel.
During these trainings artisans restored walls, windows, faade,
cross and recovered the roof with shingles.
Fine Crafts Association of Vilnius
This non-governmental organization implemented the project
Preservation of Lithuanian wooden heritage and actualization
of trainings for representatives of old crafts professions. Project
is partly funded by Department of Cultural Heritage under the
Ministry of Culture.
25th 29th May, 2009. Training courses according to the
applications of organizations of construction and heritage
protection submitted to the Department of Cultural Heritage
under the Ministry of Culture subdivision of Teliai for getting a
sertificate of the specialist of immovable cultural heritage were
held at the parish of emaii Kalvarija (Teliai district, Plung
municipality, emaii Kalvarija town) organizes. Duration of
theoretical and practical trainings was 5 days. During practical
trainings chapels of Sorai and Kalvarijos were managed. Logs,
ceiling, windows, doors and crucifix were restored at Sorai
chapel; also roofing with shingles and fencing were performed.
Roofing with tiles was done at Kalvarijos chapel.
Scottish Lime Centre Trust
The SLCT provides a wide range of training courses focused
on traditional building skills, building repair and conservation.
They are tailored to different audiences encompassing:
building professionals, site managers and students of the
built environment courses, contractors, homeowner, people
responsible for traditional buildings. On top of that the Trust
organises special Built Environment Seminars, free training
courses for people living and working in the Townscape
Heritage Initiative areas. The SLCT is accredited by the Scottish
Qualification Authority (both as a training centre and, specifically,
to deliver the National Units in Conservation Masonry) and is a
branded Learn Direct Centre within the umbrella of the Scottish
University for Industry (SUfI) and most of our training courses
eligible for ILA Scotland funding.
Construction Industry Training Board
CITB is a national charity and social enterprise set up to build
capacity of the construction industry through training. The
organisation provides support and funding to help companies
with raising their qualifications, increase competitiveness and
ensure that they stay up to date with changing practices. CITB
offers outstanding (rated by Ofsted) apprenticeships, which
small companies and mastercraftsmen find very difficult to
offer to potential young professionals. Training is also delivered
through CITBs National Construction College (NCC) and National
Specialist Accredited Centre (NSAC). CITB is approved by the
Office of Qualifications and Examinations Regulation (Ofqual).
It is also a member of the Institute of Customer Service (ICS)
and accredited with the mark of service excellence Service Mark.
training courses last between 12 to 24 months depending on
a module and grant graduates with professional diplomas and
certificates.
Edinburgh College
Edinburgh College is the largest college in Edinburgh region
with around 20,000 students and 4 campuses in Edinburgh and
Lothians. It is a highly successful educational institution - 96%
of its successful full time graduates move on to work or further
study within six months. The College offers entry (pre-apprentice)
level courses to people interested in craft occupations such as:
plasterwork, roofing, stone masonry, trowel trades, carpentry
and joinery, and other. The majority of qualifications we offer at
Edinburgh College are from the Scottish Qualifications Authority,
as well as: the Business and Technology Council; City and
Guilds; the Vocational Training Charitable Trust; Scottish Wider
Access Programme; Degree Programmes in partnership with
a number of Scottish Universities; Advanced Highers, Highers
and Intermediates; Scottish Vocational Qualifications; National
Qualifications; Higher National Qualifications.
Scottish Traditional Training Centre at
Fyvie Castle (Aberdeenshire)
A charity set up in 2006 to address the issue of disappearing
knowledge and skills required in building conservation,
regeneration and maintenance of historic buildings. The
centre offers a wide range of training programmes depending
on interests, level of knowledge, and requirements of its
clients. Areas of training include: external building repair,
maintenance and preservation; internal building repair; built
heritage architecture, fabric, design and engineering; landscape
management - design, maintenance and repai; built heritage and
landscape awareness; secondary schools training programme.
Course qualification follow ICOMOS Guidelines for Education
and Training for the Conservation of Monuments, Ensembles and
Sites, and they include: National Vocational Qualification (NVQ)/
Scottish Vocational Qualifications (SVQ) in Construction Site
Management (conservation) Level 4, Conservation Control Level
4, Conservation Consultancy Level 5; the National Occupational
Standards; NVQ/SVQ in Heritage Skills (Construction) Level 3;
National Progression Award for the Conservation of Masonry.
Historic Scotland (HS) Training and Skills
Development Programme
Historic Scotland, as a governmental organisation responsible
for preservation and heritage management in Scotland, provides
a great deal of support for the sector directly and indirectly.
Directly, HS offers Fellowship and Internship programmes to
support particularly important and vulnerable skills areas. The
programmes include: craft, teaching and research fellowships;
research internships; traditional skills bursary schemes; the
Skills for the Past and Future Project; Conservation of Masonry
Bursary Scheme.
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On top of that, HS is leading development of the Engine Shed,
which is going to become a building-conservation hub to raise
standards in the care of traditional buildings, promote greater
understanding and interest of them. The Engine Shed is due
to be open in 2016 in a reused shed in the central Stirling. It
will be an interactive and modern venue where people will
have a chance to engage with traditional methods of building
conservation.
The St Marys Cathedral Workshop
The Workshop was set up in 1987 to undertake repairs and
restoration works on the St. Marys Cathedral in Edinburgh. The
restoration project includes the Young Hands for Old Skills
programme, which offers apprenticeships to young professionals.
The apprentices serve a four year apprenticeship and achieve a
Scottish Vocational Qualification. Over the years, 22 apprentices
have completed their training with the Workshop. A similar
workshop was set up at the Culzean castle.
The Monumentum Association
The Monumentul Association, represented by architect Eugen
Vaida, is a non-governmental organisation, founded in 2012 to
help protect the built heritage from the rural area in Romania.
Shortly after being founded in 2012, the association made
important steps against the inadequate intervention process on
the traditional buildings in southern Transylvania and also to
support the traditional crafts through projects, many of which
took place in collaboration with the Ministry of Culture. An
information and photo archive of the buildings was created,
more than 18000 being documented in Sibiu, Mure and Braov.
Another initiative of the Association was to inform 11000 owners
of traditional buildings, by recorded mail, about the obligations
they have in the historical monument protection area, on the
basis of the Romanian Law no. 422/2001. Having the same
objective in mind, the association, together with the Ministry of
Culture, installed 71 informative billboards in the Transylvanian
villages. The organisation offers free consultancy for some
County culture departments, in order to give information
about the urbanism regulations in the rural area. Since it was
founded, Monumentum Association launched, together with the
Global Heritage Fund and Anglo Romanian Trust for Traditional
Architecture collaborators, the integrated project, Daia, in a
village near Sighioara city. During the project, more than 150
interventions will be made on buildings, and at the end of the
project, the site will be proposed to be included in the world
heritage. In order to preserve the historical roofs in Transylvania,
Monumentum Association launched many exhibitions and, at
the same time, intends to build four traditional tile workshops
in Transylvania for the local communities and craftsmen (the
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first tile workshop being already built in Apo, Sibiu County, with
the intervention of His Royal Highness The Prince of Wales, who
supports some of the projects in which the association is part
of). His Royal Highness, who opened his home in Viscri village
for visitors, also helped launch, in 2014, the project Veni.vidi.
Viscri, an education intervention in the heritage domain for 1000
owners of historical buildings.
Monumentum Association apart from opening a tile workshop
(Apo) and planning to open three more in the southern area of
Transylvania, also owns a traditional joinery workshop in Valea
Hrtibacului (Hrtibac valley). 14 types of traditional historical
tiles from Transylvania will be produced. The project will
also include the Hungarian community from inutul Secuiesc
(Szeklers area). The handmade tiles will successfully compete
with the industrial produced ones, both with the price, and
quality.
There are two theoretical workshops, a do it yourself guide
for owners of rural traditional buildings who want to restore the
house by themselves, as well as an implementation/insertion
manual of the boarding houses in this historical and cultural
valuable context.
Arhitectur. Restaurare. Arheologie (Architecture, Restoration,
Archaeology) Association
http://www.simpara.ro/activitati-108.htm
Arhitectur. Restaurare. Arheologie (Architecture, Restoration,
Archaeology) Association became, in the last years, known for
the archaeological site which was proposed to be included in
the UNESCO heritage, site which lies in the mining city of Roia
Montan, Alba County (Transylvania), but not exclusively for this
site. Apart from this basic activity, summer schools/camps took
place in the Danube Delta (Nufru city, Dobrogea region) and
experimental archaeology in Covasna County (Transylvania).
Organisation of conferences, symposiums, seminars, exhibitions,
contests, stages, all kinds of activities which help promote the
heritage. Apart from owning a publishing house, publishing
books, albums, various publications, tape, audio, video, CD
recordings and translations, the association also supports the
establishment of information, documentation, research centres,
libraries, bookshops etc. Another goal is granting prises and
scholarships for students and specialists in various domains who
are involved in the activity of the Association.
Transylvania Trust Foundation
Transylvania Trust Foundation is an organisation established in
1996 by professionals and volunteers in the conservation and
restoration domain. As stated in its name, the area concerned
is Transylvania, with its diverse dowry of heritage buildings
belonging to the various ethnic groups who live together in
Transylvania. The purpose of the organisation, which is presided
by Mr PhD. Eng. Blint Szab, is to protect the built heritage in
Transylvania, to organise the protection activity and to develop
an integrated protection strategy. The foundation is active in
almost all the heritage protection domains: data collection
and inventory, documentation, conservation, restoration,
rehabilitation and maintenance, as well as in the scientific
research domain. Through professional training programmes,
it contributes to the increase of the number of specialists, and
through publications and symposiums, it shapes the societys
perception and mentality regarding the protection of the
built heritage. The background and applied research of the
built heritage tries to create an inventory and to document
the elements of the built environment - from interiors, to
entire towns, rural ensembles etc. The research covers the
durability of the historical buildings, consisting also of feasibility
studies. Scientific gatherings take place simultaneously for the
information to be widely-spread in the built heritage domain,
and with a view to improve the professional level and to educate
the general public. In this regard, speciality education for the
built heritage is promoted, in collaboration with acknowledged
and accredited education institutions (postgraduate education,
guidance and writing of doctoral theses, but also specialised
training of workers). The organisation also offers consultancy,
technical or legal advice to the owners of historic monuments,
in order to protect the built heritage. Also, the foundation
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synchronises with international organisations in this domain,
through its mobility programmes, it coordinates collaborations
with US/ICOMOS or with the Heritage Protection Office in
Slovakia or other associations/organisations/foundations in this
domain. The particularity of Transylvania Trust foundation is its
idea of integrated protection of the heritage. Through the active
programmes, it is tried to promote the entire Transylvanian
area to a storage area of the vernacular heritage values.
Conclusive examples are the protection programme of the
heritage in Rimetea commune or the intervention centre of the
foundation, specialised in the rehabilitation of the built heritage
in BnffyBonida castle, Cluj County. The foundation takes part
in supporting the local communities in the intervention areas,
counting also on the important contribution of the volunteers.
Transylvania Trust Foundation annually organises a summer
school/camp which has an international training program for
the restoration of the built heritage. This program is intended
for architecture students, civil engineers, landscape artists,
archaeologists, as well as for others who are interested. The
courses - which take place at Bnffy castle in Bonida commune,
Cluj County (Transylvania) are also addressed to construction
workers who want to specialise in the domain. All the subjects
which are annually discussed can be found in the syllabus -
masonry, arch restoration, pargeting (including 2 days of mural
techniques), respectively furniture and old joinery restoration.
ARTS & CRAFTS
AS HISTORIC BASIS
FORMER ARCHITECTURAL MOVEMENTS & TRENDS
Estonia
Despite the extinction of many original craft traditions - or,
ironically, rather because of that our and national have the urban areas, bringing along the Byzantine and Islamic ways
become, during the last one hundred years or so, a true fashion
of its own in Estonia. Among the most prominent examples of
the trend are the Arts and Crafts influenced manifestations of
the early 20th century Estonian National Romanticism - inspired
by the examples of Finland and Scandinavia and adopted to
compensate for the lack of shining heroes in the nations history.
http://www.estinst.ee/issues/63_arts_and_crafts.pdf
National Romanticism flourished in the end of 19th and in the
beginning of 20th century. It has also links with Art Noveau
search for new forms and symbols. NR is characterized by local
traditional materials and building skills which are formalized
and developed.
Karl Burman (1882-1965) was one of the firsts architect of
national romanticism who rise the question of characteristics
of Estonian national architecture. Kalevi Clubhouse (built 1911
- 1912, ruined) designed by him has remained the symbolic
building of Estonian architecture. Edgar Velbri (1902 - 1977) is
characterized as most fruitful designer of private houses of his
own time who was inspired by peasants architecture. August
Volberg (1896 - 1983) was known as continuator of national
rural architectural traditions. He designed rural buildings using
many typical traditional elements of peasants buildings in a
modern way in his works.
Transylvania
Due to the historical and political separations and to the
geographical delimitations of the historical regions of Romania
and Transylvania, the influences of the Arts & Crafts movement
because we cannot talk about a total equivalence gave
rise to quite varied outcomes in different areas. In the north,
i.e. Transylvania, Banat, Criana and Maramure, the Austro-
Hungarian influence is decisive in cities, we cannot talk about a
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national Romanian specific, only partially in the rural areas. In
the south and east, Wallachia and Moldavia, the secular Turkish
government has impregnated to some extent the buildings from
of building.
In the north-western region of Transylvania Transylvania,
Banat, Criana and Maramure during the Austro-Hungarian
Empire, a great attention was given to the so-called home
industry (e.g. weaving, production of ceramic articles, sculpture
and woodworking) or to the learning of industrial crafts within
school (joinery, masonry, the creation of plaster and stucco
ornaments, the painting of rooms, the processing of metals etc.).
That is the reason why, in the late nineteenth century and early
twentieth century, the urban and provincial constructions have
been built by a large number of skilled workers. In architecture,
the Secession movement in the Central and Eastern Europe
was expressed through the magic of the national past romance,
present in ornaments or mural paintings and stained glass, there
being presented numerous elements of bygone eras. Between
1890 and 1900, the architecture has essentially not changed;
actually, the organisation of the eclectic architecture space has
been carried on, with new style ornaments by Lechner dn and
his successors, the brothers Vg, Jakab Dezs and Komor Marcell,
Blint Zoltn and Jmbor Lajos, Zrumetzky Dezs, Medgyaszay
Istvn etc. They intensively used ornamental ceramic for the
coating of buildings, ceramic which was generally produced
in the world-famous ceramic factory Zsolnay in Pcs. The most
famous Transylvanian ensemble of this concept is the Palace of
Culture and the City Hall of Marosvsrhely, designed in tandem
by the architects Komor - Jakab. This quite sterile concept has
been changed on the one hand by the authentic and systematic
collections of ethnography and folk art (Malonyai Dezs: A
magyar np mvszete/Arta poporului maghiar/The art of the
Hungarian people, I-V., 19071922), and on the other hand, by
the modern concept of young architects (The young people) from
the Technical University Viceroy Jzsef from Budapest, who were
passionate about the Arts & Crafts English, American and Finnish
architectural image, respectively about the pre-modernist image,
early organic. A world-famous creator of this group is Ks Kroly,
who studied the folk architecture of Kalotaszeg, of the Szkelys
and of other regions of Transylvania, and who was inspired
by the shape and structure of the space and by the technical
solutions of folk architecture and assembled building materials
made with the industrial technology of that time, for modern
spaces or solutions (e.g. glass for the edge). Another important
source of inspiration was the medieval architecture. During the
execution of the works, it was very important to him to use local
materials and craftsmen.
form of the folk architecture and the culture of folk houses, and
this is present even today in the activity of traditional architects
(e.g. the architect Mller Csaba).
In conclusion, one can say that the eclecticism specific for the
Arts in 1900, and implicitly for the Art & Crafts movement, has
found its diverse expression in the varied stylistic conglomerate
of vernacular origins of Romania and especially of Transylvania.
Of course, the vernacular reference is more or less visible,
some examples relate more to the urban environment,
affirming cultivated searches, while others seek inspiration in
a very romantic, even dark, past. There are sometimes stylistic
disjunction between the elements of some buildings or even
splits between the interior and the exterior. Being one of the
first reactions to the capitalist and industrial society, the Arts &
Crafts movement re-appropriates the crafts and the traditional
building methods, but incorporating the industrial stylistics
as well. The various synthesis products that will gradually
sublimate into modernism represent authentic architectures
in the plural whose visual virtuosity and poetic meanings
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Ks has also been active in literature, in the organization
of society and education; for example, in 1950 he was a
teacher at the University of Agricultural Sciences in Cluj-Napoca,
where he taught the design of buildings for animal husbandry
(characteristic of that period, he did not taught at the Department
of architecture). An architect with a similar view, but with fewer
works and less successful, was Toroczkai Wigand Ede (one of his
important works is the project for the stained glass from the
Palace of Culture in Tg. Mure). The architect Lszl Debreczeni
was also a faithful successor of Ks Kroly. Because of their
activities, the Transylvanian architecture of today cherishes the
and beyond are valid inspirational sources worth being
reinvestigated in the new contemporary eclecticism.
Spain
Neo-Mudjar Style - In the late 19th century a new architectural
movement was created in Madrid as a revival of the Mudjar
architecture. The Neo-Mudjar style soon spread to all regions
of Spain. Such architects as Emilio Rodrguez Ayuso perceived
the Mudjar art as characteristical and exclusive Spanish style.
They started to construct buildings using some of the features
of the ancient style, as horse-shoe arches and the use of the
abstract shaped brick ornamentations for the faades. It became
a popular style for bull rings and for other public constructions,
but also for housing, due to its cheap materials, mainly brick for
exteriors.
During the Industrial Revolution, the new use of iron and glass
as the main materials for building construction was, as in the
rest of Europe, applied specially in train stations, winter houses,
industrial buildings and pavilions for exhibitions. The architects
who most developed this style were Ricardo Velzquez Bosco
and Alberto del Palacio, although glass for faades and iron
for structures were used to some extent by other architects, as
Antonio Palacios, Enrique Mara Repulls y Vargas or Narciso
Pascual y Colomer.
Catalan Modernism - The 20th Century saw the rise of Catalan
Modernism, a style that incorporated more natural and organic
elements. When the city of Barcelona was allowed to expand
beyond its historic limits in the late 19th century, the resulting
Eixample (extension: larger than the old city; by Ildefons
Cerd), became the site of a burst of architectural energy known
as the Modernisme movement. Modernisme broke with past
styles and used organic forms for its inspiration in the same way
as the concurrent Art-Nouveau and Jugendstil movements in the
rest of Europe.
Most famous architect of this style is with no doubts Antoni
Gaud, whose works in Barcelona and spread in other parts of
Catalonia, Len and Cantabria mixing traditional architectural
styles with the new, were a precursor to modern architecture.
Perhaps the most famous example of his work is the still-
unfinished cathedral La Sagrada Famlia. The other very famous
architecture made by Gaud are Park Gell, Palau Gell, Casa interwar period Kaunas. This is one of the most organic mixes
Batll and Casa Mil in Barcelona.
This cultural movement was filled with all the arts and sought
to recover Catalan culture and modernise the country. Other
artistic expressions were undertaken by such important figures
as the painters Santiago Rusiol and Ramon Casas, the sculptors
Eusebi Arnau and Josep Llimona, the cabinetmaker Gaspar
Homar or the glassmaker Llus Rigalt.
Lithuania
Arts and Crafts movement began in 1918 in Lithuania after
the restoration of Independence. Mission of craft recovery was
conducted by the Chamber of Agriculture; the program was
based on the Swedish model. The survey of fine crafts artisans
was conducted in villages and according to those results it was
intended to act in several directions: to support financially for
purchasing better tools (to give allowance), to promote, record,
collect and describe local folk art. Lots of trainings for artisans
were organized in 3rd decade of 20th century (mainly weaving,
sewing, ceramics, etc.).
According to the Law of Craft Education, schools or courses could
be established for one or several crafts. Duration of lower school
was 2 or 3 years and duration of secondary school was 4 years.
General educational subjects were taught in craft schools, such
as religion, Lithuanian language, and language of instruction,
109
the history with social science, geography, mathematics, sci-
ence, and hygiene. Special subjects were taught, too: drawing,
draughtsmanship, accountancy and correspondence, and craft
theory. After finishing the secondary school the name of a crafts-
man was gained. After 5 years of practice a person could take
exams under Committee of Education Ministry in order to get
the name of master (meisteris; the highest craftsman category).
Weekly magazine Amatininkas (Artisan) was being published
during 19341940.
Most interesting Interwar buildings of national style:
Tulip cooperative building (by Antanas Maciejauskas, 1925)
Perhaps it the most vividly represented national style where
the spirit of nationalism was tried to convey through the folk art
ornaments, and traditional historicism details were replaced by
Lithuanian stylized folk motifs. Sandriks, cornices, window and
door surrounds are created by an original architect nationality
understanding of the formula.
Rims of cornice, windows and doors were created according to
individual formula of architecs nationalism understanding.
Central Post Office Palace (by Feliksas Vizbaras, 1930-1932)
It is one of the most important representational buildings in
of two ideological powers in interwar architecture, i.e. modernity
and nationalism, with a combination of textile inspired floors
and wood carving resembling decoration of the faade. Architect
perceived his own building as an example of national style in
the first place, for which decoration, by the way, was used a tie
woven by one unknown prude weaver. At the written sources
we find an interesting remark that some main walls are partly
made out of original ancient bricks.
Officers Club in Kaunas (by Stasys Kudokas, Elmark Lohk,
Herbert Johanson, Vladimiras Dubeneckis, Jonas Kriiukaitis,
Kazys Kriiukaitis, Mykolas Songaila, John Kova-Kovalskis, 1931
- 1937)
It was one of the solemnest objects in the late interwar
Lithuania. One of the most impressive rooms was a representa-
tive room of the President which was intended to be created
as far as possible in the Lithuanian character using Lithuanian
materials, i.e. Lithuanian motifs as in furniture so in decoration
and if possible even in the inner structures. The works were
conducted by artisans graduated from Marijampol craftsman-
ship school with a leading teacher V. sas. Mainly Lithuanian
materials, oak and oilcloth were used at constructions. Surfaces
of doors and panels were covered with Caucasian walnut with
junipers inlays. Inlays of Lithuanian folk art motifs, i.e. stylized
tulip and spruce, were outlined with metal inlays. Ceilings were
made of solid oak. Parquet was made out of oak with patterns of
Lithuanian woven fabric.
Scotland
The Scottish movement occurred in the late 1880s and 90s,
more than 20 years after Morris had established his first shop in
London. The Glasgow School of Art (GSA) was the centre of the
Arts and Crafts movement in Scotland. Four key figures, Charles
Rennie Mackintosh, Herbert MacNair, Margaret and Frances
MacDonald were known as The Four who together created the
vision which became world famous as the Glasgow Style.
Mackintosh attended the Glasgow School of Art in 1883 and
became a trainee architect in the following year. In 1884 Francis
Newberry took over as the headmaster of GSA and became a vital
influence in the development of the movement. Newberry had
recently moved from London and brought with him an interest
in Arts and Crafts and an admiration of William Morris. Newberry
provided leadership for the development of the Glasgow School
of Art, pushing it forward from its traditional role of formal
instruction in painting by introducing a range of crafts including
pottery, embroidery, metalwork, stained glass and woodcarving.
He started the Art Club, organised exhibitions, and promoted
the work of his students who included Mackintosh, encouraging
them to be creative and to take an interest in the development
Arts and Crafts in England and Europe.
Glasgow Style
Working together The Four, with the support of Newberry,
compiled an exhibition of beaten metalwork panels, posters,
furniture and silverwork for the 1896 Arts and Crafts Exhibition
in London. Their work was not particularly well liked, but
one important critic, Gleeson White, editor of The Studio was
intrigued by the style and travelled to Glasgow to meet them,
in the following year he published two articles in The Studio
celebrating the Glasgow Style.
The style which The Four developed was not to everyones taste,
being derided as The Spook School because of the ghostly
ghoulish images portraying hobgoblins by misty moonlight. An
important element of Glasgow style was the importance of Celtic
imagery, with motifs and style of lettering inspired by carvings
on seventeenth century tombstones. A very popular motif was a
cabbage like rose, the Glasgow Rose which was adapted from
Aubrey Beardsley and employed widely within Glasgow Style
design. The Glasgow Rose was also adopted by English design-
ers of stained glass, and furniture. Shapland and Petter, the
Barnstaple furniture manufacturers providing some particularly
good examples in marquetry, carving and in repousse copper
panels. See the examples shown in Collecting
110
Charles Rennie Mackintosh
The life and work of Rennie Mackintosh, like William Morris was
of enormous significance in the development of the Arts and
Crafts style, and too expansive a subject to cover here. (Please
see the GSA website for more information). For his work in
architecture he is known particularly for the extension to the
Glasgow School of Art which was started in 1898, and for houses
such as the Hill House and Windyhill. His interior design and fur-
niture is perhaps best known for his designs for the Tea Rooms
in Glasgow which he did for Catherine Cranston in Buchanan
Street in 1896 ( see design above), Argyle Street in 1897 and the
Willow Tea Rooms in 1900. His furniture and his interiors show
a unique and beautiful vision and are revered throughout the
world. It is hard to identify anyone before or since Mackintosh
who has shown the same creative genius within the field of Arts
and Crafts.
The works of Mackintosh are beyond the realms of most collec-
tors though there are prints and replicas available as well as a
range of Mackintosh inspired copper, silver and pewter items,
sometimes referred to as Mockintosh.
Important Scottish designers
George Walton who assisted Mackintosh in the design of the
tea rooms for Miss Cranston, and who also may have designed
for Liberty & Co is one of the most significant designers along
with Earnest Archibald Taylor, George Logan and John Ednie who
designed for the furniture company Wylie and Lochhead. Other
designers created artwork, illustrations, designs for furniture,
jewellery, stained glass and their pieces are not uncommon in
auction rooms and specialist dealers.
An important aspect of the Glasgow Style was the role played by
women the most notable being the sisters Frances and Margaret
MacDonald. Important designers include Jessie King illustra-
tor and designer, Margaret and Mary Gilmour who designed
and crafted metalwork, and Ann MacBeth an embroiderer. The
Glasgow Girls: by Jude Burkhauser is essential reading on the
subject.
111
 GOOD EXAMPLES
IN MODERN
ARCHITECTURE
LOCAL IDENTITY SUCCESSFULLY COMBINED WITH MODERNITY

Hanul Muntelui (The Mountains Inn)

Location: Rnov, Braov County, Romania
Architecture: Mihai Nu (source: Mihai Nu)
 Hanul Muntelui (The Mountains Inn)
Location: Rnov, Braov County, Romania
Architecture: Mihai Nu (source: Mihai Nu)

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116
House Rauch
Location Schlins, Austria
Architecture: Martin Rauch (source: Martin Rauch) 117
118
San Benedict Chapel
Location: Sumvitg, Graubnden, Switzerland
Architecture: Peter Zumthor (source: Archdaily)

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Facts Tkern Visitor Centre
Location: Glns, Sweden
Architecture: Wingrdh Arkitektkontor AB (source: Archdaily)

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