Editor Rob Cowan Editorial Coordinator Michael Taylor, ihbceditorialboard@gmail.com Editorial Board Tom Copp Nigel Crowe Aimée Felton Peter de Figueiredo (book reviews) Rebecca Madgin Duncan McCallum Andrew McClelland Fiona Newton Gordon Sorensen Jonathan Taylor Michael Taylor (chair) Cartoons by Rob Cowan Context is distributed to all members of the Institute of Historic Building Conservation. © Institute of Historic Building Conservation 2023 ISSN 0958-2746 Publisher Cathedral Communications Limited, High Street, Tisbury, Wiltshire, England SP3 6HA 01747 871717 context@cathcomm.co.uk www.buildingconservation.com Non-member subscriptions to Context Context is available to corporate bodies at an annual subscription rate, including postage, of: United Kingdom £60.00 Elsewhere £90.00 Context on-line archive Past issues of Context can be viewed on the IHBC website. The archive provides a searchable database and reference for key articles. See www.ihbc.org.uk/page55/ context_archive. The views expressed in Context are not necessarily held by the IHBC or the publisher. Neither the publisher nor the IHBC shall be under any liability whatsoever in respect of contributed articles. We gratefully acknowledge the support of firms whose advertisements appear throughout this publication. While every effort has been made to ensure that the information contained in this issue of Context is current and correct, neither the IHBC nor the publisher can be held responsible for any errors or omissions which may occur. Context themes and copy deadlines Context is published four times a year in March, June, September and December. The next three themes and copy deadlines are: Glass, September, issue 177 (7 July) Rural buildings, December, issue 178 (6 October) Hadrian's Wall, March, issue 179 (22 January) Please contact Michael Taylor at ihbceditorialboard@gmail.com to discuss any editorial submissions or for information about the Context editorial board. 2 CONTEXT 176 : JUNE 2023 Briefing World heritage status for Odesa Louise Priestman writes: Since January Unesco has formally recognised Odesa as a world heritage site. It describes the city as a ‘stand-out testimony to multicultural and multi-ethnic traditions of eastern European cities of the 19th century.’ The application was approved following the submission of recognition by President Zelenskyy in October 2022. Additional protective status has been granted as the city is also included in the list of world heritage sites in danger. Unesco’s decision was based on giving Odesa ‘reinforced technical and financial international assistance’. The area around Odesa has been inhabited since the sixth century BC. The city as we know it today was founded in 1794 by Empress Catherine II to provide protection and access to a warm sea port. The planning and architectural character of Odesa stems from the rapid construction completed during the 19th century, when the benefits of its location became widely recognised. The central core of the city is laid out on a gridsystem, with tree-lined streets and rectangular blocks. The buildings, primarily stone or brick with render, are often finished in bright colours and ornate decoration. Much of the influence stems from the Italian architects, engineers and builders who moved to the area to build it. Odesa’s most prominent and significant buildings and places include the port itself, which stretches for several miles, the Opera House and the Odesa Passage to the Palais-Royal House. Below ground are the city’s 200-year-old catacombs, a network The shopping arcade Odesa Passage (Photo: Sіlіch Marіja, Wikimedia) The Palais de Justice and Pantelimon Church in Odesa at the end of the 19th century (Photo: Wikimedia)
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