the doors

in the traditional architecture

of the boka kotorska and
their conservation
 Impresum Publishers:
EXPEDITIO
The doors in the traditional architecture of the Boka Kotorska and their conservation

Svenska Byggnadsvrdsfreningen
Donor:
SIDA - Swedish International Development
Cooperation Agency
Author:
EXPEDITIO, Aleksandra Kapetanovi, conservation arch.
Co-authors:
Jasminka Grgurevi, conservation painter
Ilija Laloevi, conservation architect
Consultant:
Calle von Essen
Text:
EXPEDITIO and participants of the 3rd restoration camp on
Viskovi Palace (listed on p. 13)
Material from the publication Conservation and Design
Guidelines for Zanzibar Stone Town (pp. 31-34)
Translation:
Vesna Lekovi
Proofreading:
Laura McCoy
Photographs:
EXPEDITIO, Stevan Kordi, Bojana Prazi, Kristina Janjetovi
Drawings:
EXPEDITIO, B. Koji, Rural architecture in the Bay of Boka
Kotorska (p. 20), Ilija Laloevi (pp. 46, 47)
Design:
EXPEDITIO
Printing: Biro Konto, Herceg Novi
Circulation: 500 copies
2006 EXPEDITIO
Why keep traditional doors? 4 Contents
About the publication 6

The doors in the traditional architecture of the Boka Kotorska and their conservation
I - Volunteer restoration camps

Volunteer restoration camps 7

Cooperation between EXPEDITIO and Svenska Byggnadsvrdsfreningen 8
Volunteer restoration camps in Perast 9

II - The Doors

The doors in the traditional architecture of the Boka Kotorska 17

The main characteristics of the doors 18
Types of doors 25

III - The door conservation

Causes of decay of wooden doors 31

The principles of repair 32
The process of conservation 35

Materials 42
Details of contemporary doors based on traditional models 46
Examples of inadequate solutions 48

Biliography 50
  Why keep traditional doors?
The doors in the traditional architecture of the Boka Kotorska and their conservation
The last century was full of optimism for all the new
things and materials that came up. Life became easier
with all the new machines and materials. At least it
seemed to be that way in the beginning.
In Boka Kotorska area, as well as in Sweden,
modern materials have replaced a lot of the
traditional ones for building purpose. In the 20th
century building materials used in Sweden increased
from a total number of about 500 up to about 50 000.
This causes many problems. So in Sweden for the last
10 to 20 years the use of the traditional materials and
techniques has become popular again. What are the
reasons?
- Technical. Traditionally craftsmen chose the
materials carefully, for instance the wood used for
doors and windows. Where I live, we have windows
that are from the 1800th century which are still in
good condition. They are also easy to repair, if a part is
rotten, it is just to exchange that part. But with metal
and plastic windows, it is doubtful if it is possible or
economical to repair them, most probably you will
have to exchange the whole window or door with
the frame, which will be expensive. Many of the new
materials that are sold with arguments like doesnt
need any maintenance, are very difficult, or even
impossible, to maintain or repair.
- Aesthetic. For example an old window is made
not only for the purpose of letting light in the room.
The wood is profiled because it shall be beautiful
to look at, and also to let the light play with the
shadows. A modern metal or plastic one, is just flat
and is not designed to be beautiful.
Old doors often have some pattern or even
beautiful carvings. Another difference is how the
material looks when it is getting older traditional
ones often still looks quite OK by age, sometimes
even get more beautiful with some patina. But have
you ever seen anything in plastic looking nicer as it
gets older?
- Historic. For instance the shapes, patterns
or figures on old doors is important to keep for the
future. They can tell many stories or give evidences
for future generations. They can also give important
knowledge for instance about different types of joints
etc. Facts that can be useful not only for repairing or
making new ones in old style, but also giving other
information useful for historical science. Sometimes
this goes together with technical reasons to. Old
shutters are adjustable, so you can regulate the
amount of light coming in the room.
- Environmental. Most old materials that
were used are taken from nature, and can also be
left there without any bad impact. But when using
all these modern materials, they contain a lot of
different chemicals, which themselves, or when
interacting with each other, are dangerous for
health and nature. In Sweden we now even have
an expression, sick houses, for houses which by
different emissions from the materials make people
living in them sick. Another example is that until
recently it was prohibited to build houses in wood
more than 2 storeys because of danger of fire. But

now there are no such restrictions. Because in case of

The doors in the traditional architecture of the Boka Kotorska and their conservation
fire, metal beams in a construction looses shape and
collapse quicker than wooden beams. Also, in case
of fire, a person in the 1950s had about 15 minutes
to get out of a flat before life was in danger. Now it is
about 3 minutes and it is not the fire that kills, but
the smoke with poisonous gases from textiles and
furniture in modern materials!
Perhaps you might have some problems to find
good materials or craftsmen, but if you demand it,
it will surely come by time. It was also very difficult
in Sweden 10-20 years ago, but now we can find it
almost everywhere.
Therefore I will strongly recommend people
in Boka to repair your beautiful doors, windows,
shutters, etc. in the traditional way and with
traditional materials. Or if in too bad condition and
impossible to repair, to make new copies. These
beautiful houses, in this beautiful region, deserve to
be taken good care of!
With Boka in my heart, I wish you all good luck
for the future!

Calle von Essen

Svenska Byggnadsvrdsfreningen
  About the publication
The doors in the traditional architecture of the Boka Kotorska and their conservation
This publication is the result of cooperation
between EXPEDITIO and the Svenska
byggnadsvrdsfreningen - the Swedish Association
for Building Preservation (SBF) following the restoration
volunteer camps carried out in Perast.
In the Boka Kotorska, a UNESCO listed World
Heritage Site, numerous traditional doorways,
windows and other timber elements have still been
preserved. However, these elements are often
neglected during the reconstruction of houses. Very
often, the traditional wooden doors are inadequately
conserved or simply replaced with new wooden,
metal or plastic ones. Furthermore, their adequate
maintenance had also been disregarded.
During preparations for the restoration camp on
the Viskovi palace, which focused on the doors in
the traditional architecture of the Boka Kotorska, we
became aware of the scarcity of information, at least
in written form, either on traditional doors, windows
and other timber elements, or on the process of their
construction and conservation. Fortunately, we still
have craftsmen who know the traditional techniques
of construction and restoration of wooden doors,
although their number is declining. There is the danger
that the knowledge of old craftsmen that has been
handed down from generation to generation might
gradually be lost. This is because less and less people
know, apply and further hand down these traditional
methods because they have not been recorded.
Handing down, through education, the
knowledge about traditional methods of construction
and restoration of wooden doors, together with
recording that knowledge and identifying the main
characteristics and elements of traditional doors, can
contribute to this knowledge to be preserved and
used in the future.
With this publication, we wish to draw attention
to the values of traditional doors and their
importance for preserving exceptionally valuable and
complex heritage of the Boka Kotorska. Furthermore,
we want to point out the necessity of preserving
the traditional doors, both through restoring and
maintaining old doors and constructing the new
ones by using traditional techniques and traditional
materials.
The publication contains basic information
about traditional doors and simple guidelines for
their maintenance and restoration, and can be used
as a guidebook not only by craftsmen but also by all
people who have traditional doors on their houses.
We hope that the publication will contribute, at least
to certain extent, to preserving the traditional doors
in the Boka Kotorska and be encouragement for
possible future researches of this and other topics
related to traditional techniques and crafts.
EXPEDITIO
 I - VOLUNTEER
RESTORATION CAMPS
Volunteer restoration camps are one of the possible Volunteer restoration 
and very positive aspects of non-governmental camps

The doors in the traditional architecture of the Boka Kotorska and their conservation
organizations that are concerned with heritage
protection. These volunteer camps contribute that contribute to national heritage, and to train
considerably to the conservation of cultural heritage volunteers to restore buildings by using traditional
and through these positive actions it is possible to materials and methods. The workshops are run
prevent degradation of cultural properties and by different organizations as well as communities,
train volunteers to carry out restoration work, using together with experts from institutions for cultural
traditional materials and techniques. At the same heritage protection and skilled craftsmen. The
time, by promoting the use of traditional techniques participants/volunteers are usually of various
and materials, awareness is raised about how professions, backgrounds and mixed ages. Each
important this type of work is. It is important that of the projects are different and usually consist of
volunteer camps are organized at public sites and, protected cultural monuments. The results from the
therefore, accessible both to wider public and local first volunteer camps have been so successful, it has
community. been a stimulus to local and state cultural institutions
The non-governmental organization EXPEDITIO in Sweden to support and engage in more projects.
has become acquainted with this type of work They have proposed more sites where intervention
through the experience of a partner organization could be undertaken, and often experts from
Svenska byggnadsvrdsfreningen the Swedish institutions for cultural heritage protection volunteer
Association for Building Preservation (SBF). as camp leaders.
The Swedish Association for Building
Preservation is a non-governmental organization
with about 6,000 members. One of its main activities
is organizing restoration volunteer work throughout
Sweden, and in recent years, in other countries as
well. The association started its first restoration
volunteer camps in 1991 and they were modelled on
similar camps that have been organized in France
since 1950s. During recent years, on average, 10
camps take part in projects each summer in Sweden,
with more than 120 participants. The basic idea and
aim of these camps is to prevent degradation of sites
  Cooperation between The cooperation between EXPEDITIO and the
EXPEDITIO and the Swedish Svenska Byggnadsvrdsfreningen began in 2001,
The doors in the traditional architecture of the Boka Kotorska and their conservation

Association for Building following the Europa Nostra Youth Heritage Forum
Preservation (SBF) in Piran, Slovenia, where the representatives of the
two organizations met. The same year, two members
of EXPEDITIO took part in the volunteer restoration
camp organized by the SBF on land Island in
Sweden.
Being able to see evidence of the good work that
volunteer camps organized by the SBF have produced
and having the experience that our members
have gained through participating with them, has
motivated us to try to do something similar in our
own country, in cooperation with the SBF.
Since 2002, EXPEDITIO and the SBF have
jointly organized three volunteer restoration
camps in Perast. The participants in these camps,
organized and conducted by coordinators from both
organizations, were volunteers from Sweden and
Serbia and Montenegro.
The site of first two restoration camps was the
Fortress of Perast, while the third one was carried out
on the Viskovi palace. The camps were organized in
cooperation with the Society of Friends of Perast and
the Regional institute for the protection of cultural
monuments from Kotor. The representatives of the
Local Community of Perast and numerous local
people activelly supported this restoration work.
The cooperation with the SBF has continued
further through the exchange of volunteers, so that
12 members of EXPEDITIO have had an opportunity to
participate in restoration camps in Sweden so far.
The first restoration camp
Clearing the Fortress of St. Cross in Perast
The Fortress of St. Cross, 3 14 November 2002
The first restoration camp which included clearing
the Fortress of St. Cross in Perast was held from 3 to
14 November 2002. The camp participants were 14
volunteers from Serbia and Montenegro and Sweden.
EXPEDITIO and SBF organized the camp in cooperation
with the local non-governmental organization Society
of Friends of Perast.
The main activity of the camp was removing
vegetation, mainly ivy, from the fortress walls, as well
as shrubs and trees with which the fortress has been
overgrown. The area around the fortress was also
cleared, including a water cistern and the road accessing
the fortress from the highway. In addition, the existing
state of the fortress was surveyed.
The second restoration camp
Preparatory works for the restoration of the St. Cross
Fortress
The Fortress of St. Cross, Perast, 5 18 October 2003
Following the success of the first restoration camp,
the funds for further works on the Fortress of St. Cross
were provided by the Parliamentary Assembly of the
Republic of Montenegro. The camp participants were 12
volunteers from Serbia and Montenegro, the Republic of
Srpska, Slovakia and Sweden, together with experts who
gave instructions and conducted workshops on methods
of work in stone and timber. The camp was organized
Volunteer restoration 
camps in Perast
The doors in the traditional architecture of the Boka Kotorska and their conservation
in cooperation with the Regional institute for the
protection of cultural monuments Kotor, and supported
by the Society of Friends of Perast, Local Community of
Perast and numerous local people.
One of the aims of the camp was to train the
volunteers to work with stone and timber. Assisted by
experts working with stone, we reconstructed a step
of the stone staircase of the fortress. Observing the
instruction of the carpenters, first we did a project and
then constructed and placed a wooden staircase in the
lower zone of the fortress. We also constructed a wooden
door for the newly opened entrance doorway to the
fortress, and cleaned and restored the entrance iron gate
situated in the lower defensive zone, supplying it with
a closing mechanism. These works were important for
controlling the entrance to the fortress and preventing
its construction material to be taken away, which has
become quite common over the last years. We thought
these works to be necessary in order to protect the
fortress. We applied further measures needed for the
maintenance of the fortress, i.e. clearing and removing
vegetation, together with carrying out additional
architectural surveys and analyses.
10 The first restoration camp

Clearing the Fortress of St. Cross in Perast

The doors in the traditional architecture of the Boka Kotorska and their conservation

The Fortress of St. Cross, 3 14 November 2002

The second restoration camp
11
Preparatory works for the restoration of the St. Cross Fortress

The doors in the traditional architecture of the Boka Kotorska and their conservation
The Fortress of St. Cross, Perast, 5 18 October 2003
12 The third restoration camp
Doors in the traditional architecture of the Boka
The doors in the traditional architecture of the Boka Kotorska and their conservation
Kotorska
Viskovi Palace, Perast, 26 September 9 October 2004
The third restoration camp on the Viskovi Palace
in Perast, focusing on the doors in the traditional
architecture of the Boka Kotorska was carried out from
September 26 to October 9, 2004. The camp participants
were 13 volunteers from Serbia and Montenegro,
Sweden and Bosnia.
The camp was funded by SIDA the Swedish
International Development Cooperation Agency.
As in the previous two camps, we were supported by
the Regional institute for the protection of cultural
monuments from Kotor, Local Community of Perast,
Museum of Perast and the Society of Friends of Perast.
Local people as well as local institutions and organizations
provided considerable assistance during the camp.
We chose the Viskovi Palace as the site for the
third restoration camp. It is one of the oldest structures
in Perast with multiple preserved layers of construction,
situated in the central part of the town, at one of the most
attractive sites. Today it is in very bad condition, ruined
and neglected. The palace was given to the municipality
of Kotor by the members of Viskovi family on condition
that a part of it should be of memorial character i.e. that it
should have public usage, regardless of its future function.
This was very important fact since our partners from
Sweden have the practice of organizing restoration work at
sites that have public character, ensuring, in that way, their
accessibility both to wider pubic and local community.
The topic of the camp was conservation and
restoration of wooden doors. Instructed by experts
for woodwork, i.e. two carpenters from Sweden, the
volunteers had a chance to become acquainted with the
whole process of timber restoration and to do the work in
practice. During the camp three doors were restored: main
entrance door on the Viskovi palace and two doors on the
neighbouring house of the Balaban family. This publication
describes the complete process of the restoration.
Besides restoration work on the doors, we did the
reconstruction of the garden ardin, surrounding the
loggia of the Viskovi palace. These works were conducted
by landscape architects. The garden was in neglected
state, completely overgrown with vegetation and weeds. The 3rd Volunteer Restoration Camp: 13
First, we removed weeds and vegetation and then applied Participants: Hanna Domfors, Jasna Jaramazovi,

The doors in the traditional architecture of the Boka Kotorska and their conservation
the garden archaeology, removing carefully the existing Ana Jovovi, Marko Aleksi, Nenad Peranovi, Ivana
layers and analyzing the original layout and design of the Srgota (part of the time: Lejla Hadi, Damir Hadi)
garden. Based on the found remains it was possible to Craftsmen: Ulf Hger, Stefan stberg
reconstruct the original form of the garden. We also found Collaborators: Jelena Franovi, Ivana Rakovi
bulbs of the plants originally grown in the garden. After Consultants: Zorica ubrovi, Jasminka Grgurevi
the analyses, we reconstructed the garden according to Coordinators: Calle von Essen, Bojana Prai,
its previous layout, and planted flowers and plants, both Aleksandra Kapetanovi
the ones found in the garden and other that are typical
of Perast. We also did the archeological probing in order
to examine older layers of the garden and determine its
development.
One of the activities of the camp was the
conservation of the metal fence on the boundary wall
towards the road. After cleaning the fence, we analyzed
the layers of paint on it and painted it by using paint
prepared in a traditional way: by mixing black pigment
and linseed oil.
What we find quite important is that the restoration
camp on the Viskovi palace was a stimulus for other
restoration works on the palace, contributing, at
least to some extent, to changing its state of neglect.
In the preparation phase of the camp, we consulted
the conservationists from the Regional institute for the
protection of cultural monuments from Kotor. After
examining the terrain and assessing very bad condition
of the palace, and especially its loggia with decorative
painting work inside, we managed to obtain the funds
needed for the reconstruction of the loggia roof. The
Society of Friends of Perast and Local community of Perast
have continued to maintain the palace and its garden.
 14
The doors in the traditional architecture of the Boka Kotorska and their conservation

restoration camp
before and after the
Palace Viskovic garden
The doors in the traditional architecture of the Boka Kotorska and their conservation
15
16 Why DOORS as the topic?
The doors in the traditional architecture of the Boka Kotorska and their conservation
We have chosen the traditional doors as the topic
because we want to draw attention to their values
and their importance for preserving exceptionally
valuable and complex heritage of the Boka Kotorska.
Furthermore, we want to point out the necessity
of preserving the traditional doors, both through
restoring and maintaining old doors and constructing
the new ones by using traditional techniques and
traditional materials.
Apart from the practical tasks they perform
as secondary elements of traditional buildings, the
doors are an important aspect of the multiple layered
heritage of an area. These elements are valuable
because they give us information about functional
requirements and aesthetical criteria of their
constructors and users, because they were made by
skilled local craftsmen using good-quality materials
and techniques confirmed by centuries of use, and
demonstrate multiple layers and richness of history
of the area. If these traditional elements are allowed
to disintegrate through neglect, or are destroyed or
removed by inadequate conservation work, the value
of the whole area is diminished.
The doors are boundaries. The open
ones symbolize communication, the
flow of life, a welcome to the guests. The
closed ones mean isolation, symbolizing
gathering of people and maintenance of
material values. They are the sign and
illustration of social status and power.
The place of reception of guests and the
first act of hospitality. They are sacred,
respected, marked. A part of mnemonic
communication, an element of desirable
and improper behaviour. Through
decorated doors one begins a new life
i.e. marriage, and because of their
significance, numerous procedures are
connected to the doors and entrances.
The Periodical of the Ethnographic Institute
SANU, book XLIX, Doors, gates, doorways
and entrances- a centuries-old need
for organization and security, Srebrica
Kneevi, Belgrade, 2000
II - THE DOORS
 The doors 17
in the traditional architecture

The doors in the traditional architecture of the Boka Kotorska and their conservation
of the Boka Kotorska

The woodwork in the houses of the Bay of Kotor

was made of excellent timber, in quite precise
manner. Furthermore, they were maintained very
carefully. Those who have experienced the climatic
conditions in Boka Kotorska, characterized by
frequent bad weather, long rainy spells and sea
cascades thrown on the houses in the form of fog
by south wind, marvel at a good condition of some
windows produced 150 years ago, or even earlier.
According to oral and preserved tradition, all
carpentry works were carried out in the area.

(Vinko urovi, On construction of houses and

craftsmen in the Bay of Kotor, from the 16th until
the end of the 19th centuries, Spomenik CIII, SANU,
Belgrade, 1953, p. 158)
18 The main characteristics The topic of this publication is external doors on the
of the doors houses of Boka Kotorska.
The doors in the traditional architecture of the Boka Kotorska and their conservation

The external doors differ in their character from

the inner ones. They are exposed to often harsh weather
conditions and provide functional requirements
(security, isolation), architectural and aesthetic criteria
(emphasized entrances, peculiarity). That is why they
differ in size, form, material, construction and manner of
treatment from the inner ones.
The external doors on houses include the
main entrance and the doors on balconies and
terraces. External doors are also found on stone
walls surrounding the gardens of houses in the Boka
Kotorska.
Door frames
19

The doors in the traditional architecture of the Boka Kotorska and their conservation
Door frames made of characteristic stone influence the
shape and dimensions of the doors. The frames can be
of rectangular or arched/semicircular shape. In Kotor,
a special type of jointed doorways with windows, called
vrata na koljeno, can be found, mainly used on shops.
The houses in the Boka Kotorska were built of
local stone, while the door frames were made of more
workable stone, which was brought from the Croatian
islands of Vrnik and Korula. The frames were made in
standardized measures, which controlled the dimensions
of the openings. Until the middle of the 19th century,
the Venetian foot (1 = 34.7 cm) was used as a unit of
20 measurement, which was divided into 12 ounces (1 = 2.9 Metal work
cm). The height of the external doors is usually 191.2 cm Different kinds of metal work were used on wooden
The doors in the traditional architecture of the Boka Kotorska and their conservation

(56) or 208.6 cm (6), while their width ranges from 104.3 doors:
cm (3) to 173.8 cm (5). The height of semicircular/arched > supportive forging:
doors varies from 243.39 cm (7) to 330.31 cm (96). baglame (hinges)
makuli
The structure of the doors > closing mechanisms:
latches
The entire structure of a door consists of a frame, locks
doorpost, hinge and the door itself (a wing). In > security mechanisms:
traditional stone houses, the stone door frames of klav
external doorways also function as door posts on which batun
the doors are hung directly. > opening mechanisms:
By the number of wings a door can be single or doorknobs
double-winged. In the beginning, the doors in traditional doorknobs with saltarela
houses used to be single-winged, developing later into
double-winged, which are prevailing today. In case of an As a special element, on the external side of a door,
arched portal, a separate semicircular part appears above knockers (or batadur) or other ringing systems are
the wings; however, the wings can also be arch-shaped, sometimes placed.
especially if they did not have sufficient heights when
ended flat.
doorknob with saltarela knocker

lock and handle door lock with a handle

The doors in the traditional architecture of the Boka Kotorska and their conservation
21
22 The metal work is made of a good-quality, polished
iron, so-called arcal, arcao (from Italian acciaio =
The doors in the traditional architecture of the Boka Kotorska and their conservation
steel). A characteristic of such forging is that they
could last for a few hundred years, even on the
seacoast, without experiencing much corrosion.
Makulis were fixed with lead, a method derived
from antiquity, which mitigated the possibility of
eventual corrosion that could have occurred with
direct contact between stone and iron.
Additional protection
Main entrance doors on houses, back doors or doors
on boundary walls usually had multiple protections
against possible burglars. On the inside of doors,
three to four closing systems can sometimes be
found: locks, latches, klav, batun (It. bastone), and
in some cases a pat is placed. The pat (Ven. pato)
is a strong, square beam which is drawn through
special holes in the wall. It is slid behind a closed
door, additionally protecting the whole doorway. In
baglama
(hinges)
makuli
klav
pat
batun
klav
the Boka Kotorska, an expression zapatat vrata has - These colours were known for their resistance 23
been preserved with the meaning to close the door. to air and humidity, and their protective properties

Type of wood
In an area such as the Boka Kotorska, subject to the
everyday influence of sea salt, rain and high humidity,
wood of good quality had to be used. In the past,
pine and another type of high quality pine - larch
tree - was used for doors. Larch tree cannot be found
today, so now white pine and oak are used.
Connective material
In the past, brokve - wrought square nails - were
used as connective elements, mainly imported from
Venice. Later, manufactured nails came into use, and
then screws and wood glue.
The doors in the traditional architecture of the Boka Kotorska and their conservation
against aggressive work of worms, algae, mould,
fungi, etc, which is quite important for this climate
(proximity of the sea, winds, rains, waves, high air
humidity).
The boats and ships in the Boka Kotorska during
the 19th and early 20th century were painted in
Schweinfurt green and white lead paint, with the
parts of the boats in the water painted green. They
used these types of paint on boats because of their
durability, resistance to air and humidity and their
protective properties against corrosion, wood worm,
algae, fungi, etc.

Paint colour
In the settlements of Boka Kotorska the doors were
painted in white and green colours.
White lead, white zinc and Schweinfurt green
(emerald green) paints were used and these colours
were produced by mixing fine powdered pigments
with linseed oil. The doors of Kotor were usually
painted green, and in Perast painted white.

Why these colours?

- As they were usually left over after painting
work on boats and ships, these colours were readily
available and were either free or cheap to obtain, so
were used by the local people to protect the wooden
parts of their houses.
24 During the 19th and early 20th century, together with
the mentioned colours people started using white
The doors in the traditional architecture of the Boka Kotorska and their conservation
zinc paint on woodwork, and this colour became
widespread owing to the fact that, unlike lead white,
it is non-toxic. Considering a weak covering ability
of white zinc colour, it was usually mixed with white
lead colour or some filling material, such as chalk, was
added to it.
In the first half of the 20th century, following
the discovery of white titanium paint, this paint often
replaced white lead paint because it proved to have
the strongest covering ability of all the white paints.
Oil paints started to be used for painting wooden
parts. They use linseed oil as the suspension, and are
produced by mixing powdered pigments of white
zinc/white titanium with linseed oil as a medium. This
combination proved to be good since titanium white
compensated for a major drawback of zinc white, i.e.
its weak covering ability. The new colour, produced
in this way, was not toxic (it could be used indoors,
as well), it had a strong covering ability and excellent
resistance to sunlight.
According to the method of construction Types of doors 25
(production), several types of doors can be found.

The doors in the traditional architecture of the Boka Kotorska and their conservation
The simplest doors were made by joining several (2
to 3) vertical boards, fastened together on the inside
with two to three horizontal boards, one of which
could be placed diagonally. In this case, baglame
(hinges) are placed on the horizontal boards.
The joint between these vertical boards can be
face, half scarf or pero i lijeb, which is made with 8 -
12 mm wide laths.
In a more developed type, two to three, usually
carved, talpe (boards) are joined together. In that
case, a dovetailed joint is used between vertical and
horizontal talpe.
26 A new door type can be produced by strengthening
the vertical boards with an additional layer, which is in
The doors in the traditional architecture of the Boka Kotorska and their conservation

the form of joined horizontal boards or a frame.

The layer with vertical boards is usually found
on the inner side, and horizontal boards or the frame
on the external; however, other combinations are
possible.
A fintagrilja door (finta meaning fake, griglia
meaning a window shutter) consists of two layers: an
inner layer made of vertical boards and an external
layer of horizontal, profiled boards with a groove,
joined in a similar way to kura (It. scuro), i.e. window
shutters.
The two-layer doors can have vertical, joined talpe
27
on the external side, which are then usually carved in

The doors in the traditional architecture of the Boka Kotorska and their conservation
various patterns. The inner layer, in that case, can be
either of joined horizontal boards or in the form of a
frame.
28 Some doors can have two inner layers of vertical or
horizontal boards, while the external layer can be in
The doors in the traditional architecture of the Boka Kotorska and their conservation

the form of a frame.

The frame can be divided into one, two or
three fields and these can be with or without fillings.
Usually, they have fillings or filunge, in the form of
plates inserted into the frame grooves, and can be
carved in various ways but older doors are usually
without fillings.
There is a special type of door with a frame, made
29
of wood talpe divided into two or three fields,

The doors in the traditional architecture of the Boka Kotorska and their conservation
filled with plates or filunge inserted into the frame
grooves. The plates can be carved in various ways.
The doors with frames are usually found as inner
doors but on the external doors, a variant with two
layers (both with frames) is sometimes found.
Lately, doors with glass panes inserted into the
frames instead of wood have been produced.
 30
The doors in the traditional architecture of the Boka Kotorska and their conservation

Details of carved filunga plates

 III - THE DOOR
CONSERVATION
Most problems with the decay of timber can be traced Causes of decay of 31
back to the presence of water and moisture. wooden doors

The doors in the traditional architecture of the Boka Kotorska and their conservation
Even good quality hardwoods become
vulnerable to decay caused by insect attack or mould
growth when saturated for long periods. Occasional
saturation will not normally cause problems, so long
as the timber dries in between, but when moisture
remains in the timber for long periods, it breaks down
the natural resistance of hardwoods, quickly leading
to decay.
Well-detailed and maintained timber should
not become saturated. Water ingress is often caused
by the failure of other building parts immediately
adjacent to the timber or even some distance from
it. For instance, inadequate drainage system around
the building can allow water to collect around the
entrance door leading to the decay and rotting of its
lower section.
When considering a repair, it is important that
the cause of the damage is diagnosed and dealt with,
as well as the actual damage to the timber part. If the
causes are ignored, the repaired piece will quickly
become like the original damaged section.
In most cases, it should be enough to repair the
original detail, but in some cases, the original detail
may have been at fault caused by usage. In these
cases, the fault must be corrected or the timber given
extra protection to help it cope with different effects.
32 Principles of repair
of wooden doors
The doors in the traditional architecture of the Boka Kotorska and their conservation
Always try to repair wooden door in a building
rather than replace it.
Often decay or structural damage affects only a part
of a timber element. For instance, doors may only be
rotten in the lower section, which is under greater
influence of moisture, while the rest of the door may
be perfectly sound. In such cases, it is sometimes
enough to cut away and repair the section of timber
that has failed or is rotten, whilst retaining most of
the original piece.
When carrying out repairs to wooden doors, always
consider these key points:
1. Assess the condition: Fitness for the job
As timber ages, it often becomes rough in the texture
as the grain is exposed, and wear and tear leaves
marks and scars across its surface. But this texture of
age is not in itself a reason to replace old timber. In
fact, the texture or patina of age is what gives old
doors its character.
When considering repairs to timber, it is
important to try and keep as much of the original
timber as possible. The judgment about whether
to retain or replace a section of the wooden doors
should not be made on the basis of appearance
alone, but rather on the fitness of the timber piece or
element to do the job it was designed for.
2. Use similar timber
When carrying out repairs, always use timber identical
or similar to the original!
As a living tree, wood is composed of millions of
small cells filled with moisture. When a tree is made
into timber, it is dried and most of the moisture in the
cells evaporates. The timber shrinks, but the cellular
structure remains, and because of this, timber will
continue to respond to its environment, expanding
and shrinking according to the dampness of the air.
It is important to bear this in mind when
carrying out repair to timber. For the repair to be 3. Grain 33
effective, the damaged part must be cut out and a

new piece of timber fixed in its place with glue or a
joint/connective elements. The new section is fixed
tightly against the old, but both the new timber
and the old will continue to move according to the
environment. If the new timber is very different from
the old in density or age, it will move at a different
rate. The joint between the two is put under pressure
and may eventually fail.
The doors in the traditional architecture of the Boka Kotorska and their conservation
When carrying out repairs by plugging, or repairs that
in any other way involve letting-in and mating pieces
of new timber to original joinery items, it is essential
that the direction of the grain of the repair as the
same as the direction of the grain of the surrounding
original timber. When making new members for
joinery items, the grain direction of the new member
must be the same as the original member.

Moisture content: Typically, new hardwoods will have

a moisture content between 15% and 18%, whereas
old hardwood may have a moisture contents as low
as 7%. For this reason, whenever possible, patching
repairs to old items should be made using old timber
of approximately the same age, taken from another
old timber piece that has been discarded, or new
but well dried timber. When, for instance, an entire
member of a frame is to be replaced, new hardwood
can be used, but the joint between old and new must
allow for movement.

Similar timbers: It is best to determine the species of

the timber to be repaired and to use the same species
for the replacement piece. Never use softwoods to
repair hardwoods. The repair will always fail.

Appearance: If the timber element is to be finished

with a clear finish such as linseed oil, an effort should
be made to match the appearance of the new timber
piece (e.g. colour, grain, pattern, etc.) with the original.
34 4. Strength
The doors in the traditional architecture of the Boka Kotorska and their conservation

The strength or rigidity of a joint must not be altered

in any way as a result of a repair. When joints have
originally been left open to allow for movement, or
fixed without glue or mechanical fastening, these
must not be strengthened during the course of the
repair by addition of glue, mechanical fixings such
as screws, or by any other method. Generally, care
should be taken to make joints that are not too rigid
or strong, as movement is inevitable, and if a joint is
inflexible, the stress will be transferred to the timber,
which, if old and brittle, may crack.

5. Repair in-situ

It is generally better to carry out repair to timber in

situ, or in other words, whilst the timber elements
remains in its original position. This is because
removal usually results in more unnecessary damage.
However, repair in situ is possible when smaller
repairs are required, however, when replacing a
certain part than it is usually necessary to remove the
door. In that case, the door should be carefully put
back into its original position.
The guidelines for the conservation of wooden doors The process of conservation 35
have been based on the restoration work carried out of wooden doors

The doors in the traditional architecture of the Boka Kotorska and their conservation
on the doors of the Viskovi palace and the house of
the Balaban family, during the 3rd volunteer restoration
camp, by the craftsmen and carpenters from Sweden
through consultations with the local craftsmen.
36 1. Analyses
The doors in the traditional architecture of the Boka Kotorska and their conservation

Before undertaking any preserving measures on the

doors it is necessary to make a detailed analysis of their
condition, the existing damage and the causes of that
damage.
It is important to establish the cause of the damage
first and eliminate it, then start repairing the door. If the
causes are neglected, a repaired section will soon decay
again.
On examining each door it is very important to
establish precisely the materials they are made of. Firstly,
the type of wood, and then, during and after cleaning, all
the layers and composition of paint, as well as the types
of nails, brokve screws, glue, etc.
In order that the restoration is carried out in a
professional manner and that its value is assessed
correctly, it is necessary to analyze the structure of the
doors and that all elements and details are noted and
their type determined. For this it is important to establish
at least the approximate age of the door.
Furthermore, it is necessary to establish whether
the door has already undergone any previous type of
conservation or restoration and evaluate the quality of
these works.
Following the analyses, an adequate approach
should be determined and the level of preservation work
needed defined.

2. Cleaning

Firstly, the surface of the door should be washed,

removing dust and dirt with a wet sponge and a gentle 37
solution of washing-up liquid or ammonia. It should be

The doors in the traditional architecture of the Boka Kotorska and their conservation
left to dry, for at least one day.

Removing old paint

Old paint should be removed with a trowel or raketa
tool, always in the direction of the grain of the wood.
Only the paint that comes away easily when using
this method should be removed, as old wood is moist
and soft so scraping tools can damage it. If old paint is
in good condition and adheres well to the wood, it is
recommended to keep it as an existing and protective
layer.

Sanding
After old paint is removed, sanding, first with rough
paper and then with fine must be carried out, again
always in the direction of the grain. The sanding with
rough sandpaper (grade ten) is done first, and then with
the fine (grade eight), beginning with the sections that
still have paint and then graduating to the areas that
have been freshly scraped. This way the surface is made
as even as possible and makes a smooth foundation for a
new coating of paint.
As an added improvement to the smoothness of
the surface, filling small cracks and holes with natural
putty is recommended. Putty is a very thick mixture
of chalk and linseed oil and a door treated with putty
should be left to dry at least over night, or longer if
needed, as long as the putty does not leave oily traces
when touched.
38 Metal work
All metal elements on the doors need to be carefully
The doors in the traditional architecture of the Boka Kotorska and their conservation
cleaned using sandpaper and their original paint
determined.
3. Replacing damaged sections
The most delicate part of the restoration work is
removing and replacing damaged sections of the door.
Selecting wood for replacement
The wood used for new sections of the door should be of
good quality, solid, oily, with a straight grain and without
dark knots. It is best to use the same type of wood as
the door if possible. If the same type of wood cannot be
found, a wood must be used that has as many similar
properties to the original type as possible, both in its
physical appearance and its behaviour when treated. New
wood of good quality does not require any additional
protection, especially with any synthetic protective
substances, as they can disrupt the natural flow of water
and moisture, preventing wood from breathing. At the
joint of two new sections it is not recommend to apply
any coating, not even a thin layer of paint because two
connecting surfaces function best when clean.
Removing damaged parts
When removing damaged sections of the door the
following simple rules should be observed: care should be
taken to remove the damaged part in one, two or three
bigger pieces. Cutting sections into many small pieces is
not recommended, as later on it is much more difficult
to reassemble them correctly. By following these rules,
the new connective surface is reduced and the door as a
whole will last much longer.
A decision should be made on which parts need
to be removed and these should be marked. Once this is
done the marked areas should be cut out, and it is always
recommended to cut under the angle of 45 or 30 degrees,
from the front view or the cross section. In this way, any
water can drain away from the joint effectively.
New sections should adhere to the original parts of
the door as tightly as possible and follow the direction of 39
the grain. It is desirable to cut them in such a way as to

The doors in the traditional architecture of the Boka Kotorska and their conservation
form a frame (especially if they are in the lower segments
of the door) so that they can additionally strengthen the
overall construction.

Joining materials
Nails and screws contribute to the durability of both
new and restored doors which do not have a frame
as part of the structure. Nails and screws that can be
obtained in our stores are made of metal, without a
protective layer and therefore susceptible to corrosion.
When exposed to harsh weather conditions decay starts
in the join between the wood and metal, so therefore it
is advisable to buy metal nails and screws coated with
an anti-corrosion product, and then only use them
sparingly. The greater number of joints of different
materials, the greater level of risk for potential damage!
It is also a question of choice whether to use
nails or screws in the construction. One can be guided
by the type of joining material used originally in the
construction of the door. If nails were used originally,
then they should also be used in the restoration process.
However, if screws were used, caution is required. They
are excellent for construction and they do not pierce
both sides of the door, so they are visually acceptable.
However, once they are used, the connected sections
cannot be disassembled without some problems, as old
paint has often filled the heads of the screws, giving a
poor grip for the screwdriver. Therefore, care must be
taken when painting to only apply a little paint on the
screws. Nails are used more often than screws where
40 restoration is concerned as old screws cannot be easily
removed and replaced.
The doors in the traditional architecture of the Boka Kotorska and their conservation

Wooden plugs are used on framed doors as these

make it easy in the future to separate the different parts.
Sometimes the plugs have to be replaced to strengthen
a joint if they have become rotten or worn out. Never
use glue when repairing these joints, as it will make it
impossible to separate the parts in the future.

4. Painting

After the work mentioned previously in points 1 to 3 has

taken place, the doors will be ready to paint.
Today there is a great variety of paints in the shops,
among them paint made of plastic components (latex,
acrylic, etc.). These plastic paints are easy to work with,
they dry quickly and it is easy to wash the brush after with
water only. But these plastic based paints should never be
used on doors, especially not entrance doors! The reason for
this, is that after some time small cracks will occur, which let
water into the wood, but not out again. This will lead to the
door, window or other exterior wood to start to rot.
Always use traditional oil paint made of linseed oil and
pigments, which allow the door to breath, letting moisture
pass out if it has seeped into the wood.
If it is difficult to find ingredients for traditional
paint, then at least a ready made oil paint should be used,
preferably with as much linseed oil as possible, and as little
additives of alkyd. Alkyd makes the paint stiffer, and as it
ages it will crack and fall off. A pure linseed oil paint is more
flexible, and as wood shrinks when it dries and expands
when it is damp, this prevents cracking.
A traditional white oil paint is a mixture of white powder smaller amount of solvent should be used, perhaps only 41
pigment and linseed oil. In the past, lead oxide was used 10%, or even none at all depending on how viscous

The doors in the traditional architecture of the Boka Kotorska and their conservation
and today zink and titanium oxides. the linseed oil is. To get good coverage white titanium
To make the paint, the pigment should be mixed pigment should be added, making up about 50% of
with a very small amount of oil, stirring/mixing carefully, the pigment. It should be applied in a thin layer in the
so that each particle of pigment gets coated. Then more direction of fibres, and where the old wood is dented
oil must be added, until a good consistency is achieved, or creased, several strokes in diagonal direction are
composed of roughly of half pigment and half oil, recommended so that all sections receive an equal
depending on what pigments and oil are used. quantity of paint.
Three layers of paint are usually applied. One The third and final layer should have the thickest
protective undercoat/base layer and two overcoats. consistency of all and the door can be hung and painted
The protective layer is made of zinc oxide and in-situ a few days after the first layer of paint has dried.
linseed oil and the wood does not require any additional The sign that the paint is completely dry is when it does
chemical substances or other additives. This mixture not leave moist, oily traces when touched.
should be thinner than the other two, enabling it to
penetrate deep in the wood. This is sufficient protection
because the oil goes deep into wood, fills the holes,
while the zinc oxide destroys micro-organisms and
protects wood from new ones. To make it thinner you
add about 30% of a solvent like turpentine or ligroin.
Applying the protective layer should be done in all
directions, so that the pores are soaked well, but when
painting with linseed oil, always be sure that you leave
the layer very thin, because if the coat of paint is too
thick it will not dry as linseed oil needs the oxygen in the
air to dry well! It should be left to dry thoroughly for up
to three days in stable conditions, but no longer than 2
weeks, because the undercoat has to accept the next
layer of paint. To make the surface extra smooth it can be
worked with a very fine sand paper.
The paint for the second layer should be of a
thicker consistency than the undercoat, therefore a
42 Materials
The doors in the traditional architecture of the Boka Kotorska and their conservation
Linseed oil
Linseed oil is produced from flax seeds and it dries
easily. Linseed oil produced from seeds grown in
colder areas is of better quality because is has better
oxidation and drying properties. Furthermore, linseed
oil produced by cold pressing is of better quality
than the one produced by warm pressing. Linseed
oil should be kept in white glass bottles, in dry and
light places, because it changes colour in shade. After
production, linseed oil should be left for at least half a
year to one year before it is used. It can be recognized
by hay fragrance it has when rubbed into a palm.
Types of paint
White lead paint
White lead paint is the oldest man-made white paint,
used since antiquity, has a strong covering ability.
When the coating is dry it is homogeneous, elastic
and durable and when mixed with oil it keeps stable
in light and humidity. If not mixed with oil, in the air
and light it turns grey and after some time in poorly-
ventilated and dark rooms it becomes pale yellow.
White lead paint is toxic and caution is required
when working with it. In the past, it was used as
protection against corrosion, especially on ships, and
also widely used in printing techniques, but today it
is used only in oil techniques.
White Zinc Paint
White zinc paint contains zinc oxide, an artificially
manufactured mineral pigment which has weak
covering ability. Zinc was discovered in 1721, while
the production of zinc oxide began in 1782 as an
additive to lead white paint. Between 1890 and 1930
white zinc paint was regarded as the white paint
of best quality, however, later research revealed its
drawbacks, such as poor covering ability, weakness to
humidity and brittleness.
White zinc paint is resistant to the effects of
damage caused by sunlight; however, it cannot
be protected from humidity, not even with an oil
covering. When mixed with oil it forms a brittle and
hard covering which cracks easily when dry. Unlike
white lead paint, zinc paint is non-toxic and that
is the main reason for it being widely used. When Where these paints can be found: 43
preparing white zinc paint it is recommended to mix

it with oil and leave for 12 hours, and then to add
sufficient quantity of dry pigment.
White Titanium Paint
White titanium is an inorganic pigment, a mixture of
titanium dioxide and barium sulphate. The method
of production of white titanium was discovered in
the 1930s. This paint has the greatest covering ability
of all the white pigments. It has a fine, irregularly
shaped grain, which contributes to the smoothness
and shine of a prepared surface. It is resistant to the
effects of sunlight, especially with the addition of 5%
zinc oxide, and when prepared in that way it mixes
well with oil and varnishes.
The doors in the traditional architecture of the Boka Kotorska and their conservation
In Montenegro and Serbia it is possible to find
linseed oil of good quality produced in the country;
we used the one produced by Zvezda. The
traditional pigments used in the Boka can be
difficult to find in the region but we found the white
pigments in Belgrade. It is most likely that they can
be found in Croatia and Italy also, and it should not
be difficult for the merchants in Boka (Kotorska) to
order them if asked.

Schweinfurt green
By its chemical composition Schweinfurt green
is a compound of copper, arsenic and acetic acid.
This artificial mineral pigment, of brilliant colour
and green-blue shade, was discovered in 1814 in
Schweinfurt. Schweinfurt green has a good covering
ability, but it is not resistant to the effects of sunlight
and uses a large quantity of oil (over 60%) as a
suspension liquid. Schweinfurt green is a highly toxic
colour and because of this and the fact that it turns
dark in contact with other pigments, it is not used
today. It is now only used as a protective colour for
boats and its shade is replaced with synthetic organic
colours and often comes on the market under the
same name (Schweinfurt green).
 44
The doors in the traditional architecture of the Boka Kotorska and their conservation

before restoration
The doors of Viskovic

palace and Balaban house

 after restoration
The doors of Viskovic

palace and Balaban house

The doors in the traditional architecture of the Boka Kotorska and their conservation
45
 46
The doors in the traditional architecture of the Boka Kotorska and their conservation

based on traditional models

Details of contemporary doors
The doors in the traditional architecture of the Boka Kotorska and their conservation
47
 48
The doors in the traditional architecture of the Boka Kotorska and their conservation

solutions
Examples of inadequate

Doorframes made of aluminum instead of wood

 Inadequate colour

The doors in the traditional architecture of the Boka Kotorska and their conservation
49
50 Bibliography Vinko urovi, O konstrukcijama kua od XVI do konca XIX vijeka
u Kotorskom zalivu i njihovim graditeljima, Spomenik CIII, SANU,
The doors in the traditional architecture of the Boka Kotorska and their conservation

Beograd, 1953.

Milan Zlokovi, Graanska arhitektura u Boki Kotorskoj u doba

mletake vlasti, Spomenik CIII, SANU, Beograd, 1953.

Branislav Koji, Seoska arhitektura u Kotorskom zalivu, Spomenik

CIII, SANU, Beograd, 1953.

A. Freudenreich, Narod gradi na ogoljenom krasu, Zagreb -

Beograd, 1962.

Zoran Petrovi, Selo i seoska kua u Boki Kotorskoj, Zbornik

Arhitektonskog fakulteta u Beogradu III, 1956-57.

Ivan Zdravkovi, Drvena vrata u naoj narodnoj arhitekturi,

Starine Crne Gore III-IV, Cetinje, 1965/6.

Srebrica Kneevi, Vrata, vratnice, kapije i ulazi -vekovna potreba

organizacije i bezbednosti, Glasnik etnografskog instituta SANU,
knjiga XLIX, Beograd, 2000.

Conservation and Design Guidelines for Zanzibar Stone Town,

UNESCO and The Aga Khan Trust for Culture

Ivo Fressl, Slikarska tehnologija, Zagreb, 1996.

Metka Kraihher-Hozo, Metode slikanja i materijali, Sarajevo, 1991

Namanja Brki, Tehnologija slikarstva, vajarstva i ikonografije,

Beograd, 1973.
 51

The doors in the traditional architecture of the Boka Kotorska and their conservation
CIP
,

692.8:72.025.4 ( 497.16 )

KAPETANOVI, Aleksandra
THE Doors in the Traditional Architecture of
the Boka Kotorska and Their Conservation / [ author
Aleksandra Kapetanovi ; co-authors Jasminka
Grgurevi, Ilija Laloevi ; translation Vesna
Lekovi ; photographs Stevan Kordi, Bojana
Prazi, Kristina Janjetovi ; drawings B.
[Branislav] Koji, Ilija Laloevi ]. Kotor :
EXPEDITIO ; [ Stockholm ] : Svenska
Byggnadsvrdsfreningen, 2006 ( Herceg Novi :
Biro konto ). 50 str. : Ilustr. ; 16 x 16 cm

Podatak o autorstvu preuzet iz impresuma. - Tira

500. Bibliografija: str. 50.

ISBN 86-907269-6-9
1. Gl. stv. nasl.
)

COBISS.CG-ID 10488080

EXPEDITIO Svenska Byggnadsvrdsfreningen

Center for Sustainable Spatial Development Box 6442
P. O. Box 85, 85330 Kotor, Montenegro 113 82 Stockholm, Sweden
t + 381 (0)82 302 520 t + 08-30 37 85, 08-30 67 85
f + 381 (0)82 302 521 f + 08-30 87 99
expeditio@cg.yu kansli@byggnadsvard.se
www.expeditio.org www.byggnadsvard.se
52

the doors
in the traditional architecture
of the boka kotorska and
their conservation