51 ta fram de ursprungliga ytorna. Väggarnas och takens ursprungliga dekormålningar restaurerades, även om det alltid är besvärligt att få fram den helt ursprungliga färgsättningen. På detta inverkar bland annat vedeldningen, som ger ytorna sin egen schattering. Avsikten var i varje fall att inte förvandla huset till ett museum, så vissa ändringar i färgsättningen accepterades med tanke på den kommande användningen. Syftet var att bevara epokens atmosfär och en harmonisk helhet, så att utrymmena skulle kännas trivsamma också enligt dagens måttstock. Tapetmodeller togs fram både ur Museiverkets samlingar och gamla inhemska tapetkollektioner. En del av tapeterna trycktes för hand. Utgångspunkten för färgsättningen var fö rutom de ursprungliga tapeterna också ugnarnas färgsättning. Trävirket i de ursprungliga fönstren var friskt, varför de sattes i skick och inmonterades på sina ursprungliga platser. I alla skeden av restaureringen utnyttjades ursprungliga material och arbetssätt såvitt det bara var möjligt. Renoveringen, som beaktade husets användningsändamål, genomfördes på den gamla byggnadens villkor, utan att man helt förnyade den ursprungliga rumsfördelningen, och utan att mycket utrymme anslogs för sanitet och underhåll. The renovation of Villa no. 14 The starting point for the renovation work was for all the original building material to be kept and reused, if possible. Only the ruined parts were replaced and during the gutting all the reusable material was carefully marked, in order to be returned to its original place. The heating and hvac solutions required careful weighing of different options. The many original wood-heated stoves in the building could not be the source of heat, not least because they would be used by guests and fire-safety could not be compromised. As a result, electricity and mechanical ventilation were the chosen alternatives. The restoration of the interior was based on the original wallpaper and paint. In the course of time, the walls had been repainted many times over and had several layers of wallpaper, so the conservationists had a huge task digging out the original surfaces. The original decorative murals and ceiling paintings were reconstructed although determining the exact original shades is always difficult. One detrimental factor, for example, is the wood heating, which alters colours. The intention, however, was not to turn the house into a museum, so some adjustments to the colour scheme were accepted to better serve the future use. The goal has been to retain the original atmosphere and overall harmony, so that the rooms would suit modern tastes, too. Wallpaper patterns were sought from the National Board of Antiquities collections, as well as old Finnish wallpaper models. Part of the wallpaper was hand-printed. The colour scale was based on the original wallpaper patterns and also the stoves. The wood of the original window frames was still in good condition, so they were repaired and reinstalled. In each phase of the restoration, original materials and methods were used as much as possible. The alteration of the villa to serve its new purpose was carried out on the terms of the old building. The room division was scarcely changed and not much space was sacrificed for sanitary and service purposes.
Elaintarhan huvilahistoriikki
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