Dorota Kowalik-Kociszewska
As Laurence Sterne (1713-1768) once said: “The desire of knowledge, like the thirst for riches, increases ever with the acquisition of it”, therefore Dorota K.K. put a lot of effort to gain proper educational background and use it and explore in her career paths. Her adventure with architecture started in high school - High School of Monuments Renovation (stucco) and then at Postsecondary College of Architectural Design in Wrocław. In 2001 she graduated as a qualified Conservator Works of Art (6-year study) from the University of Nicolas Copernicus in Toruń. All the knowledge she gained she shared with her students in Nysa in the Institute of Works of Art Conservation in the State Higher Vocational School (2005-2008) where had an opportunity to use lasers in the conservation work. She also worked as an assistant in the Institute of Works of Art and Crafts Conservation in Wrocław. While she was doing a 4-year PhD study in the Institute of Geological Sciences at the University of Wrocław (Faculty of Mineralogy and Petrology), she was examining the historic sandstone epitaphs from the Lower Silesia. She also completed three semester postgraduate studies at the University of Wroclaw, ,, Preparation for the teaching profession - Pedagogy "( 2019). In her career she was once asked to be the second examiner at HAWK Hildesheim and co-supervised a BA thesis on the Egyptian sarcophagus. Since 2015 Dorota has become in 2015 a President of the Section Conservators of Works of Art by the Association of Polish Artists and Designers in Wrocław (OW ZPAP) and a member of the Presidium of the National Council of Conservators of Work of Art, Poland – ORKDS. Since 2017 an Expert of the Minister of Culture and National Heritage. She was working as a professional teacher and she was running her own company ISCRA (before DKKonserwacja).
Within 17 years’ experience as a contractor and supervisor in restoration and conservation works on the stone, architecture, ceramics, metal, wood, she performed dozens of conservatory works as a freelancer and as a team work.
Moreover, she did a great deal of researches, documentations, expert evaluations. Three projects out of many in which she participated as a performer and supervisor were awarded by the Ministry of Culture and National Heritage in Poland. In 2016 she was awarded by Gold badge,, For the care of monuments " by the Minister of Culture and National Heritage in Poland, in the occasion of the 25th Anniversary of the National Council of Conservatrors Works of Art – ORKDS.
Dorota has a broad educational background, broad knowledge in conservation and creation of artistic works. Her aim is to create an school of crafts and renovation which would renovate and create works of art in traditional methods of manufacturing to teach young people mutual respect and culture in international team, beyond nationality and religious divisions.
Phone: + 48 500094947
Within 17 years’ experience as a contractor and supervisor in restoration and conservation works on the stone, architecture, ceramics, metal, wood, she performed dozens of conservatory works as a freelancer and as a team work.
Moreover, she did a great deal of researches, documentations, expert evaluations. Three projects out of many in which she participated as a performer and supervisor were awarded by the Ministry of Culture and National Heritage in Poland. In 2016 she was awarded by Gold badge,, For the care of monuments " by the Minister of Culture and National Heritage in Poland, in the occasion of the 25th Anniversary of the National Council of Conservatrors Works of Art – ORKDS.
Dorota has a broad educational background, broad knowledge in conservation and creation of artistic works. Her aim is to create an school of crafts and renovation which would renovate and create works of art in traditional methods of manufacturing to teach young people mutual respect and culture in international team, beyond nationality and religious divisions.
Phone: + 48 500094947
less
Related Authors
InterestsView All (11)
Uploads
Papers by Dorota Kowalik-Kociszewska
Dorota Kowalik-Kociszewska
A qualified Conservator of Works of Art,, MA at UMK Toruń, Poland; a 4-year PhD study in the Institute of Geological Sciences at the University of Wrocław, Poland at the Faculty of Mineralogy and Petrology; DKKonserwacja, http://www.dkkonserwacja.pl/english/, mail: [email protected]
It has not been expected that after PhD study (started in 2009 and completed 2014), which concerned historic sandstone epitaphs from 16th – 18th centuries in Lower Silesia (SW Poland) located on the outer walls of churches, would lead to such interesting results. Fifteen sandstones epitaphs from five old churches were selected, and tested in the petrographic examination (CL,“cold” cathode, X-ray diffraction (XRD), scanning electron microscopy analysis (SEM and EDS), TEM with SEM/FIB and conservatory studies. The samples were classified in two ways: a) in terms of the directions of the world; b) in terms of the type of a wall on which they were mounted. That division highlighted the varied and specific conditions for the individual directions of exposure - symptoms of damages, conditions and confirmed the legitimacy of such a division. All samples were taken horizontally to the structure to recognize the processes running in the system of a sandstone plate-brick wall. There were also observed some suprising and interesting elements of the processes which are observed in metathamorfic precesses [Kruhl, Wirth, Morales, 2013] led to an interesting, brave hypothesis. On the earth’s surface in very specific conditions, there may occur processes not previously known by scientists. The searching for answers of this processes led me to raise a question: “Is it possible to reproduce minerals in the weakened parts of the sandstone? Could CVD (Chemical Vapour Deposition) be useful as a method of growing crystal minerals in plasma in high temperature by low pressure? Is it possible that well known ancient monuments may store significant for us information about important processes, and is there a link between Epitaphs and Stonehenge (stone +-heng, probably orig. “something hanging”) ?
This article presents the results of research, hypothesis and poses questions that are worth seeking answers in the international and interdisciplinary team of researchers.
Acknowledgements. Thanks are due to prof. Dr hab R. Kryza (supervisor), dr Richard Wirth for their help inTEM with SEM/FIB investigations. The PhD study was carried out in the Institute of Geological Sciences at the Wrocław University at the Faculty of Mineralogy and Petrology. In the years 2009-2014 it was written as a PhD thesis ,,Historical sandstones epitaphs in Lower Silesia (SW Poland): state of preservation, destruction processes, the analysis of the conservation techniques”.
References
Jörn H.Kruhl, R.Wirth, Luiz F.G.Morales (2013), Quartz grain boundaries as fluid pathways in metamorphic rocks. In: Journal of Geophysical Research: Solid Earth, vol.118, doi:1002/jgrb.50099, p. 1957-1967
henge. Dictionary.com. Dictionary.com Unabridged. Random House, http://dictionary.reference.com/browse/henge (accessed: August 14, 2015).
Dorota KOWALIK-KOCISZEWSKA
A qualified Conservator at University of Nicolas Copernicus in Toruń;
Phd at the Institute of Geological Studies at the University of Wrocław
DKKonserwacja www.dkkonserwacja.pl
The article focuses on an ethical-aesthetic aspect of conservatory
work conducted on few chosen historical buildings. Having worked as
a freelancer in the years 2001-2015, the author of the article had a chance to take part in all forms of the cooperation that is set in the job of
a conservator e.g. as a general contractor, a subcontractor, a co-worker, a manager of conservatory work, a conservatory work supervisor,
a conservation educator, an author of conservation research, projects and expert report and scientist. All the professions required interdisciplinary specialized knowledge, educational background, diligence, conscientiousness and reliability, high esthetic and perceptual abilities as well as an individual approach using the most traditional methods, materials and historical sources, and also modern tolls. However, two of the professions mentioned above required additional abilities that can be compared with cardinal virtues (prudence, justice, fortitude, temperance), simultanously with clearly hired employment. This work concerned mainly big and complex restoration projects run by construction companies that aspired to expand their operations to historical buildings.
Having analysed the great amount of the conservatory work conducted in 14 years as a freelancer, the author like many other former and current conservators, seeks universal truth about their profession, the definition of ethics and esthetics. Moreover, in an era of global crisis there are more and more new threats that we have to face and universal whereas simple truths always work.
To illustrate the issues of activities of conservation in the ethical, esthetical and legal aspect in the last few years, three examples were chosen: Villa of the Frankel family from the 19th century, the Church of Our Lady of Sorrows and St. Adalbert, called ,,the Church on the Hill” in Opole and the tenements in Lądek Zdrój, Rynek 1,6,7. These examples will be shown examples of the implementation of the known definition: preventive maintenance, along with a restaurant and reconstruction, creation of conservation and their synthesis.
Gained experience and knowledge, sometimes in adverse environmental conditions, led the author to conclude that the Code Conservator of Works of Art resembles a code of chivalry, which was a collection of ethical principles, moral and professional, and the convergence of those listed and the names used (Freelancer - Lancelot) evokes analogies.
It is the voice of a Conservator of Art who works beyond the structure of three conservation-renovation universities.
Keywords: Conservator works of arts, freelancer, contemporary Lancelot, Lancelot, ethics.
This article presents the results of research, hypothesis and poses questions that are worth seeking answers in the international and interdisciplinary team of researchers.
Drafts by Dorota Kowalik-Kociszewska
www.Mineralogia.pl
MINERALOGICAL SOCIETY OF POLAND
POLSKIE TOWARZYSTWO MINERALOGICZNE
__________________________________________________________________________________________________________________________
Mineralogy of baroque mortars from tenements in Lądek-Zdrój (SW-Poland).
Dorota KOWALIK-KOCISZEWSKA 1, Wojciech BARTZ 1
1 Institute of Geological Sciences, University of Wroclaw; [email protected]
Baroque tenements in Lądek Zdrój, situated in Marketplace 1, 6 and 7, date from the 17th and 18th centuries. They were partially rebuilt after fire in the 2nd half of the 18th century. These tenements, decorated with sculptural elements by Michał Klahr, a prominent sculptor of the Baroque era, are considered the characteristic baroque works of the Kłodzko region.
In 2007, façade renovations to tenements in Market 1 and Market 6 enabled sampling of the original mortars for detailed mineralogical studies. Their composition and condition, as determined by our studies, provided a basis for planning and for subsequent preservation works.
Various technological layers of mortar were indentified during our field-work. These are 1) primer mortar, 2) finishing mortar, 3) join mortar, 4) rendering mortar used for stuccowork and 5) secondary mortar (presumably applied at some time after the fire). All of the layers were carefully sampled. The samples were analyzed using polarizing microscopy, X-ray diffraction and differential thermal analysis.
All of the mortars display the same micritic binder mass (matrix) with common microcracks that reflect the shrinkage of applied lime. Locally, the micrite is weathered and replaced by secondary gypsum. The baroque mortars are characterized by distinct, rounded lime lumps in the micritic matrix. In most cases, these lumps are porous and composed exclusively of micrite, though a few contain relics of underburnt limestone fragments. The binder of the secondary mortars is relatively homogenous and free from lime lumps and other binder-related particles.
The main difference between mortars lies in their diverse fillers. Typically, the original baroque mortars (plasters and joint mortars) have medium- to coarse-grained fillers dominated by angular rock-fragment grains (gneiss, mica schist, marble), quartz and less common feldspars with accessory micas, staurolite and garnet. The filler of the finishing mortar is finer-grained in comparison to the filler of the primer mortar. The rendering mortars have fillers composed of angular basalts and less common rounded to subrounded quartz. The filler of the secondary mortar is fine to medium-grained and composed of rounded to subrounded quartz and less common feldspars and rock-grains (granitoids).
Petrographic studies show that aggregate from various, possibly local, deposits was used as filler in the manufacture of the mortars. Part of this aggregate is a rubble stone, mined from near a basalt quarry in Lutynia. Other parts comprise eluvium of metamorphic rocks present on the ground surface and, others, mature fluvioglacial sediment or river sand. Differences in the compositions of mortars depending on the site of application and their role in the buildings, show that the builders were aware of the use of natural ingredients in architecture and skilled in selecting appropriate mixtures of ingredients which determine both the durability of monumental objects and their decorative aspects.
Dorota Kowalik-Kociszewska
A qualified Conservator of Works of Art,, MA at UMK Toruń, Poland; a 4-year PhD study in the Institute of Geological Sciences at the University of Wrocław, Poland at the Faculty of Mineralogy and Petrology; DKKonserwacja, http://www.dkkonserwacja.pl/english/, mail: [email protected]
It has not been expected that after PhD study (started in 2009 and completed 2014), which concerned historic sandstone epitaphs from 16th – 18th centuries in Lower Silesia (SW Poland) located on the outer walls of churches, would lead to such interesting results. Fifteen sandstones epitaphs from five old churches were selected, and tested in the petrographic examination (CL,“cold” cathode, X-ray diffraction (XRD), scanning electron microscopy analysis (SEM and EDS), TEM with SEM/FIB and conservatory studies. The samples were classified in two ways: a) in terms of the directions of the world; b) in terms of the type of a wall on which they were mounted. That division highlighted the varied and specific conditions for the individual directions of exposure - symptoms of damages, conditions and confirmed the legitimacy of such a division. All samples were taken horizontally to the structure to recognize the processes running in the system of a sandstone plate-brick wall. There were also observed some suprising and interesting elements of the processes which are observed in metathamorfic precesses [Kruhl, Wirth, Morales, 2013] led to an interesting, brave hypothesis. On the earth’s surface in very specific conditions, there may occur processes not previously known by scientists. The searching for answers of this processes led me to raise a question: “Is it possible to reproduce minerals in the weakened parts of the sandstone? Could CVD (Chemical Vapour Deposition) be useful as a method of growing crystal minerals in plasma in high temperature by low pressure? Is it possible that well known ancient monuments may store significant for us information about important processes, and is there a link between Epitaphs and Stonehenge (stone +-heng, probably orig. “something hanging”) ?
This article presents the results of research, hypothesis and poses questions that are worth seeking answers in the international and interdisciplinary team of researchers.
Acknowledgements. Thanks are due to prof. Dr hab R. Kryza (supervisor), dr Richard Wirth for their help inTEM with SEM/FIB investigations. The PhD study was carried out in the Institute of Geological Sciences at the Wrocław University at the Faculty of Mineralogy and Petrology. In the years 2009-2014 it was written as a PhD thesis ,,Historical sandstones epitaphs in Lower Silesia (SW Poland): state of preservation, destruction processes, the analysis of the conservation techniques”.
References
Jörn H.Kruhl, R.Wirth, Luiz F.G.Morales (2013), Quartz grain boundaries as fluid pathways in metamorphic rocks. In: Journal of Geophysical Research: Solid Earth, vol.118, doi:1002/jgrb.50099, p. 1957-1967
henge. Dictionary.com. Dictionary.com Unabridged. Random House, http://dictionary.reference.com/browse/henge (accessed: August 14, 2015).
Dorota KOWALIK-KOCISZEWSKA
A qualified Conservator at University of Nicolas Copernicus in Toruń;
Phd at the Institute of Geological Studies at the University of Wrocław
DKKonserwacja www.dkkonserwacja.pl
The article focuses on an ethical-aesthetic aspect of conservatory
work conducted on few chosen historical buildings. Having worked as
a freelancer in the years 2001-2015, the author of the article had a chance to take part in all forms of the cooperation that is set in the job of
a conservator e.g. as a general contractor, a subcontractor, a co-worker, a manager of conservatory work, a conservatory work supervisor,
a conservation educator, an author of conservation research, projects and expert report and scientist. All the professions required interdisciplinary specialized knowledge, educational background, diligence, conscientiousness and reliability, high esthetic and perceptual abilities as well as an individual approach using the most traditional methods, materials and historical sources, and also modern tolls. However, two of the professions mentioned above required additional abilities that can be compared with cardinal virtues (prudence, justice, fortitude, temperance), simultanously with clearly hired employment. This work concerned mainly big and complex restoration projects run by construction companies that aspired to expand their operations to historical buildings.
Having analysed the great amount of the conservatory work conducted in 14 years as a freelancer, the author like many other former and current conservators, seeks universal truth about their profession, the definition of ethics and esthetics. Moreover, in an era of global crisis there are more and more new threats that we have to face and universal whereas simple truths always work.
To illustrate the issues of activities of conservation in the ethical, esthetical and legal aspect in the last few years, three examples were chosen: Villa of the Frankel family from the 19th century, the Church of Our Lady of Sorrows and St. Adalbert, called ,,the Church on the Hill” in Opole and the tenements in Lądek Zdrój, Rynek 1,6,7. These examples will be shown examples of the implementation of the known definition: preventive maintenance, along with a restaurant and reconstruction, creation of conservation and their synthesis.
Gained experience and knowledge, sometimes in adverse environmental conditions, led the author to conclude that the Code Conservator of Works of Art resembles a code of chivalry, which was a collection of ethical principles, moral and professional, and the convergence of those listed and the names used (Freelancer - Lancelot) evokes analogies.
It is the voice of a Conservator of Art who works beyond the structure of three conservation-renovation universities.
Keywords: Conservator works of arts, freelancer, contemporary Lancelot, Lancelot, ethics.
This article presents the results of research, hypothesis and poses questions that are worth seeking answers in the international and interdisciplinary team of researchers.
www.Mineralogia.pl
MINERALOGICAL SOCIETY OF POLAND
POLSKIE TOWARZYSTWO MINERALOGICZNE
__________________________________________________________________________________________________________________________
Mineralogy of baroque mortars from tenements in Lądek-Zdrój (SW-Poland).
Dorota KOWALIK-KOCISZEWSKA 1, Wojciech BARTZ 1
1 Institute of Geological Sciences, University of Wroclaw; [email protected]
Baroque tenements in Lądek Zdrój, situated in Marketplace 1, 6 and 7, date from the 17th and 18th centuries. They were partially rebuilt after fire in the 2nd half of the 18th century. These tenements, decorated with sculptural elements by Michał Klahr, a prominent sculptor of the Baroque era, are considered the characteristic baroque works of the Kłodzko region.
In 2007, façade renovations to tenements in Market 1 and Market 6 enabled sampling of the original mortars for detailed mineralogical studies. Their composition and condition, as determined by our studies, provided a basis for planning and for subsequent preservation works.
Various technological layers of mortar were indentified during our field-work. These are 1) primer mortar, 2) finishing mortar, 3) join mortar, 4) rendering mortar used for stuccowork and 5) secondary mortar (presumably applied at some time after the fire). All of the layers were carefully sampled. The samples were analyzed using polarizing microscopy, X-ray diffraction and differential thermal analysis.
All of the mortars display the same micritic binder mass (matrix) with common microcracks that reflect the shrinkage of applied lime. Locally, the micrite is weathered and replaced by secondary gypsum. The baroque mortars are characterized by distinct, rounded lime lumps in the micritic matrix. In most cases, these lumps are porous and composed exclusively of micrite, though a few contain relics of underburnt limestone fragments. The binder of the secondary mortars is relatively homogenous and free from lime lumps and other binder-related particles.
The main difference between mortars lies in their diverse fillers. Typically, the original baroque mortars (plasters and joint mortars) have medium- to coarse-grained fillers dominated by angular rock-fragment grains (gneiss, mica schist, marble), quartz and less common feldspars with accessory micas, staurolite and garnet. The filler of the finishing mortar is finer-grained in comparison to the filler of the primer mortar. The rendering mortars have fillers composed of angular basalts and less common rounded to subrounded quartz. The filler of the secondary mortar is fine to medium-grained and composed of rounded to subrounded quartz and less common feldspars and rock-grains (granitoids).
Petrographic studies show that aggregate from various, possibly local, deposits was used as filler in the manufacture of the mortars. Part of this aggregate is a rubble stone, mined from near a basalt quarry in Lutynia. Other parts comprise eluvium of metamorphic rocks present on the ground surface and, others, mature fluvioglacial sediment or river sand. Differences in the compositions of mortars depending on the site of application and their role in the buildings, show that the builders were aware of the use of natural ingredients in architecture and skilled in selecting appropriate mixtures of ingredients which determine both the durability of monumental objects and their decorative aspects.