Michael Petzet

PRINCIPLES OF PRESERVATION An Introduction to the International Charters for Conservation and Restoration 40 Years after the Venice Charter

The Venice Charter, the International Charter for the conserva- satisfied. But above alI, it is to be recognized that the most im- tion and Restoration of Monuments and Sites (1964), phrased 40 portant positive result by far of this assemblyhas been the for- years ago by the 2nd International Congress of Arcbitects and mulation of the international codefor restoration: not simply a Technicians of Historic Monuments, was also the foundation cultural episode but a text of historical importance. In fact, it stone ofICOMOS since the resolution to found an International constitutesan obligation which no one wiIl be able to ignore, the Council of Monuments and Sites was adopted in Venice at the spirit of which alI experts will have to keep if they do not want same rime as the Charter: the fundamental "resolution concern- to be considered cultural outlaws. The concerns thus codified ing the creation of an international non-governmental organiza- constitutefor everyonetoday an unassailable document the va- tion for monuments and sites", whose General Constituent As- lidity of which will be affirmed more and more as time passes, semble was held a year later in Cracow. In bis preface to the thereby uniting the name of Veniceforever with this historic publication of the congress papers Piero Gazzola, first President event.In fact, Jrom now on, the Charter of Venicewill be in alI of ICOMOS, later rightly underlined this close connection: The the world the officiaI code in thefield ofthe conservation of cul- results of the meeting are momentous. We need only recall the turalproperties. creation of the International Council of Monuments and Sites - ICOMOS- the institution which constitutes the court of highest With his words about the Venice Charter, the foundation docu- appeal in the area ofthe restoration ofmonuments, and ofthe ment of ICOMOS, Piero Gazzola, who demanded high stan- conservation of ancient historical centers, of the landscape and dards of the work of ICOMOS, standardsof which we should in general of places of artistic and historical importance. That stay awarein the future, was right. This Charter, to which in lat- organization must supervise the creation of specialized person- er years other Charters and Principles adopted by the General nel, its recruitment and advancement. It must oversee the use of AssembliesofICOMOS havereferred, is admittedly in some re- international exchanges and in addition concern itself with the spects a historical document typical of the time of its creation creation of local international commit tees that are capable of (cf. p. 28) and needs to be newly interpreted time and again. counseling international organizations (UNESCO, the Council However, it is and remains an irreplaceable instrument for our of Europe, etc.). ...With the creation of ICOMOS a gap lament- work on the international level, and attempts to write a "new ed by every nation has been closed and a need which had been Charter of Venice" -one example being the Cracow Charter of felt by every local organization concerned with conservation 2000- make little sense.

I. MONUMENTS AND SITES IN THE FULL RICHNESS OF THEIR AUTHENTICITY

Imbued with a message of the past, the historic monuments of as broadly as possible so that according to the decisive article 13 generations of people remain to the present day as living wit- it explicitly also included the immaterial values of cultural her- nesses of their age-old traditions. People are becoming more itage: Depending on the nature of the cultural heritage, its cul- and more conscious of the unity of human values and regard an- tural context and its evolution through time authenticity judge- cient monuments as a common heritage. The common responsi- ments may be linked to the worth of a great variety of sources bility to safeguard them for future generations isrecognized. It of information. Aspects of the sources may include form and is our duty to hand them on in the full richneJCsof their authen- design, materials and substance, use and function, traditions ticity. These are the first words of the introduction of the Venice and techniques, location and set ting, and spirit and feeling, and Charter, which however did not further define the authentic other internai and external factors . monument values to be safe~ded for future g~nerations. This Many of the factors named here are, however, already implied was the task of the Nara conference (1994): The Nara Document in the Venice Charter, e.g. authentic location and setting in arti- on Authenticity is conceived in the spirit of the Charter of Venice cle 6: The conservation of a monument implies preserving a set- and builds on it and extends it in response to the expanding ting which is not out of scale. Wherever the traditional set ting scope of cultural heritage concems and interests in our contem- exists, it must be kept. No new construction, demolition or mod- porary world (preamb1e otthe Nara Document, cf. p.118). The if/cation which would alter the relations of mass and color must Nara Document, one of the most important papers of modern be a//owéd. Also in il.rticle 7: A monument is inseparable from conservation theory, tried to define the "test of authenticity in the hi$tory to which it bears witness and from the set ting in design materia1 and workmanship" dève1oped for the imp1e- which it occurs. A further prerequisite for the preservation of mentation of the Wor1d Heritage Convention of 1972 (cf. p. 49) monuments concems use and function, about which article 5 of INTRODUC110N

the charter states:The conservation of monumentsis alwaysfa- course of the work, should be included. This record should be cilitated bymaking useof themfor somesocially usefulpur pose. placed in the archives of a public institution and made available Such use is thereforedesirable but it must not changethe lay-out to researchworkers. Il isrecommendedthat the report should be or decoration of the building. It is within these limits only that published. Someofthese reflections were already pre-forrnulat- modifications demandedby a change of function should be en- ed in the forerunner of the Venice Charter, the Charter of Athens visaged and may bepermitted. This article 5 refers to the limits (VIIc "values of international documentation", cf. p. 31). that must be placed on modifications necessaryfor the use of a Of utmost importance for the international role of the Charter monument, limits which must be emphasizedbecause of a ten- of Venice as an "officiaI code in the field of conservation" dency in modem managementtoward "use fetishism" ("a mon- (cf. quotation p. 7) was finally that in article 1 it defined ument without a use is lost"). Without going into more detail the monument concept, which was based on European tradi- conceming the very important basic issue of use as a general tions, very broadly: The concept of a historic monument em- prerequisite for the preservationof certain categoriesof monu- braces nol only the single architectural work but also the urban ments, we need only point out here that under the "useful func- or rural setting in which is found the evidence of a particular tion" of a monumentwe can understandnot only its actual use, civilization, a significant developmentor a historic event. This whatever that may be, but also its cultural statements,such as applies nol only to great workv of art but also to more modest the aesthetic statementof an "art monument" or the historical workl' of the past which have acquired significance with the statement of a "historic monument" (for example the function passing of lime. of a historic building as a spatial and historical "point of orien- If the Charter of Venice defines a monument concept that al- tation"). so includes "modest works of the past", at the time when it was But the Charter of Venice focuses not only on setting and adopted it probably had those monuments and sites in mind, function, but also on form, material and techniquesof produc- which a few years later, in 1972,the World Heritage Convention tion, on authentic monumentsand sites as a whole -monuments defined as "cultural heritage", howeverwith reference to monu- "in the full richness of their authenticity". A prime concem of ments of alI kinds, not necessarilywith the "outstanding value" the Charter is the preservationand conservationof the authentic demandedby the Convention: fabric. The "originalness" of a monument doesnot, however,re- fer only to its earliest appearancebut rather encompasseslater -monuments: architectural works, works of monumental alterations: The va/id contributions of al/ periods must be re- sculpture and painting, elements or structures of an archaeo- spected (article Il, cf. also p. 11). The Charter also emphasizes logical nature, inscriptions, cave dwellings and combinations the indissoluble connectionsamong all the parts of a monument of features, which are of outstanding universal value from the and between the monument and its decorative features,which point of view of history, art or science; should no more be tom out of their context: Items of sculpture, -groups of buildings: groups of separate or connected bui/d- painting or decoration whichform an integral part of a monu- ings which, because of their architecture, their homogeneity ment may only be removedfrom it if this is the sole meansof en- or their plaçe in the landscape, are of outstanding universal suring their preservation (article 8). valuefrom the point ofview ofhistory, art or science; ln any case modem preservation practice, understood as a -sites: works of man or the combined works of nature and man, conscious safeguardingof evidence,has to be able to justify re- and areas including archaeological sites which are of out- sPOnsibility for the loss of certain historic layers in some cir- standing universal value .from the historical, aesthetic, ethno- cumstancesor be able to tolerate lossesat times for the sake of logical or anthropological point of view . the continued guaranteeof a monument's function. Only as a discipline operating scientifically will preservation be able to Of course, it goes without saying that in the decadessince the master the issues involved in weighing gains against losses,to Venice Charter was passedthe idea of how modem society de- surmount the prol?lemsthat every work decision presents.The fines "cultural heritage" has grown considerably, if we only conservation and restoration of monumentsmust have recourse think of the categories of "cultural landscapes" and "cultural to al/ the sciencesand techniqueswhich can contribute to the routes" further developedwithin the framework of the imple- study and safeguardingofthe architectural heritage, assertsar- mentation of the World Heritage Convention, or of the growing ticle 2 of the Venice Charter. So today the scientific aspect of interest in rural settlementsand vemacular architecture, in the preservationpractice is a self-evident and generally acceptedre- heritage of the industrial age or in "modem" heritage, taking in- quirement. This is also true for the documentationthat is neces- to account that the 20th century has also become history. But sary to prepare, accompanyand conclude every individual pro- even such categoriesof cultural heritage are compatible with the ject that is carried out according to the inethods and principles Charter of Venice, if in accordancewith cultural diversity one described in the following chapters.The Venice Charter closes understandsthe terms "monuments" and "sites" in ail their for- along theselines with article 16, which is in fact self-evident for mations. If "everything which reminds us of something" can be the scieI:Itific-baseddiscipline of preservation but for various a "monument" according to the definition in a late classical reasonsis often badI y neglectedin practice: In al/ works of pres- commentary on Cicero ( omnja monumenta sunt quae facjunt ervation, restoration or excavation, there should always be pre- aljcujus rej recordationem)the public interest in protection and cise documentationin theform of analytical and critical reports, conservationof "objects of remembrance"can be very compre- illustrated with drawings and photographs. Every stage of the hensive and range from the authentic spirit of a holy place, pos- work of clearing, consolidation, rearrangementand integration, sibly only tangible in weak traces,to witnessesof the past made as weI/ as technical and forma/ features identified during the of seemingly indestructible material.

8 INTRODUCflON

II. PRINCIPLES OF CONSERVATION, RESTORATION, RENOVATION AND REPLAÇEMENT

Already the Athens Charter for the Restorationof HistoricMon- pears-as ifbehind a wall of fog -behind justifying, undifferen- uments (see pp. 31-32) distinguishes between restoration and tiated catchwords for a successful"restoration" or "renovation" conservation in the narrow sense( cf. the technique of conserva- which in fact cover up alI manner of work -and in extreme cas- tion in the case of ruins, quoted p. 32), both of which are then es even destruction of the original. To repeat once again: Every named in the title of the Venice Charter -International Charter preservation measure-whether conserving, restoring or reno- for the Conservationand Restorationof Monuments and Sites - vating -should serve the preservation of the monument and its and used for the subheadingsof the correspondingarticles, con- historic fabric; in other words, servethe preservation of the orig- servation abovearticles 4 to 8, restorationabove articles 9 to 13. inal in the form in which it has corne down to us, with its vari- Although nowadaysconservation/restoration is also used in gen- ous layers and with its outstanding as weIl as its seemingly sec- eral for all kinds of measuresfor the preservationof monuments ondary or insignificant components.Under the heading "Aim" and sites -that is preservation or conservation/restorationin article 3 of the Venice Charter summarizesbriefly this self-evi- general-it remains necessaryand useful for the understanding dent prerequisiteof every preservationconcept: The intention in of our international charters to diiferentiate between conserva- conserving and restoring monumentsis to safeguard them no tion and restoration in the narrow sense.The term "conserva- /ess as works of art than as historica/ evidence. tion/restoration" which in the meantimeis frequently used in pa- From this basic objective it becomes clear that in certain pers for the work ofrestorers (for instancein our new Principles cases only conservation in the narrow sense is: acceptable; for the Conservationof Mural Paintings,see pp. 162-164if.) on- restoration or renovation woold be possible or desirable on- ly emphasizesthe often indissoluble connection between these Iy onder certain preconditions, or perhaps most be strictly methods of preservation,both of which cover preservationmea- rejected. sures of very diiferent types, frorn conservation of prehistoric ln connection with the method of renovation which goes far traces to conservationand restoration of the exterior or interior beyond restoration the traditional preservation methods of con- of historic buildings, including alI works of art, fittings and servation and restoration will in the following therefore not be movable objects. describedwithout explicit referenceto the dangersof restoration In the history of preservation especially the term restoration and especially renovation, still existing 40 years after the Venice has been diiferently defined. If for some "puristic" colleagues Charter. Also at the beginning of the 21 st century these terms the term "restoration" still arousesnegative associations,it has can describe a wide spectrum of measuresin accordance with to do with the still existing consequencesof the battle fought the modem understandingof monuments and sites, whereas for- around 1900 againstthe restorationmethods of the 19th century merly the terms conservation, restoration and renovation were focusing more or less on reconstructions,for which Viollet-le- used primarily in connection with works of painting and sculp- Duc's famous definition of "restoration" (see p. 28) may serve ture or in the context of "art monuments" in the field of "classi- as a representative.Against this backgroundnot only such a fa- cal" preservation. ln the following conservation will only be mous catchphrase as Georg Dehio's "conserve, do not restore" used in the narrow sense,not as conservation in general. must be understood,but also the highly restrictive position of the Venice Charter when it cornesto replacementsor even recon- structions. The latter becomesparticularly clear in the French Conservation version of article 9: La restauration est une opération qui doit garder un caractère exceptionnel (!) (whereas in the English To conserve (conservare) means to keep, to preserve. Thus version it only says: Theprocess of restoration is a highly spe- the basic attitude of preservation cornes most purely to expres- cialized operation). It is also characteristicthat in this context sion in conservation:to conserve is the supreme preservation the term "reconstruction" is only usedin article 15 of the Venice principle. Together with stabilization and safeguarding meas- Charter, on the issue of excavations(see p. 24), while the term ures, conservation work that protects the fabric of a monument "renovation" is avoided altogether, although despite negative and prevents its further loss should therefore have absolute pri- experienceswith the restorationmethods of the 19th century the ority over all other measures,Unfortunately thisprinciple can- , 2Othcentury also very often not only conservedand restored,but not be taken for granted becauseoften parts of a monument are in fact renovatedand reconstructed. renovatedor even reconstructedat great cost while other com- Under these circumstancesin modern specialized literature ponentsof the samebuilding continue to deterioratewithout ur- these terms are often used without diiferentiation -restoration gently necessaryconservation work. as a generalterm for restorationand conservation,renovation in- All those measuresthat servethe preservation of the fabric of steadof restoration or the other way around-not tomention the a monument are to be counted as conservation work. conserva- fact that in some countries the term "reconstruction" is used in- tion includes, for example,consolidation of the historic fabric of steadofrestoration or renovationregardless ofwhethera struc- a monument: impregnation of a stone sculpture, injections in the ture is in fact being reconstructed,restored, renovated or merely cavitiesbehind a layer of plaster, securing a layer of peeling pig- conserved.Overlapping with one anotherin practice, the preser- ment on a painting or a polychrome sculpture, strengthening a vation methodsused in conservation,restoration and renovation picture support, etc. For a historic building conservation in- must therefore be precisely understood,also becauseunfortu- cludes all measuresthat prevent further decay and preserve the nately the basic goal of aIl preservationwork frequently disap- historic fabric. This can encompass structural strengthening

9 INTRODUCTION with appropriate auxiliary constructions,or the replacementand and that, without supervisio1!, only irrevocably destroy their completion of compQ~entsinsofar as this prevents their further findings. deterioration. In this sensethe constantreplacement of damaged As not only the example of the min makes clear, to conserve stones by the cathedral stonemasonworkshops is a borderline means to preserve the monument even in a fragmentary state: case between conservationand restoration. Moreover, in addi- the fragmentsof a fresco, a sculpture, a vase or an epitaph are alI tion to traditional techniquesavailable modern technology must objects whose historic state should not be "falsified" through also be usedin conservationin certain circumstancesto savehis- additions in the senseof a restoration or renovation. toric fabric. Special referenceto this is made in article lO of the ln other words, for certain categories of monuments con- Venice Charter: Wheretraditional techniquesprove inadequate, servation is the first and only measure! It is obvious for sev- the consolidation of a monumentcan be achievedby the use of eral reasonsthat this particularly applies to monuments that are any modern techniquefor conservationand construction, the ef- to be seenin a museum-like context. ln contrast an inhabited old ficacy of which has beenshown by scientific data and proved by town cannot be preserved as a historic district using conserva- experience. Caution with regard to methods that are not suffi- tion measuresexclusively. The "use-value" of many types of ciently proven or testedis alwaysin order, unlessthe monument monuments demandsrepair or careful rehabilitation that goes in question cannot be savedby any other means.In some caSes beyond conservation work and thus aIso involves additionaI -involving, for instance,full impregnation with acrylic resins of preservation methods which certainly include restoration and a stone figure that is not to be savedany other way -the princi- perhapsalso renovation work. However, conservation always is pie of reversibility must also be disregardedin conservation. and will remain the starting point for aIl deliberations in the field Repair measuresthat go beyonda mere safeguardingof the ex- of preservation. isting fabric are no longer within the scopeof conservationwork; for instancethe completion of a gap,be it a crack in a painting or a break in a city wall, is not conservationwork unless such fill- Restoration ins are necessaryfor the techniquesused in safeguarding.In con- trast, the removal of fabric that endangersa monument can be To restore (restaurare) means to re-establish; in the following consideredan important conservationmeasure, This sornetimes it is not to be defined as a terrn meaning major preservation includes the removal of intruding alterationsfrorn modern times, work in general, as is often customary,but mther as a measure to the extent that they actually endangerhistoric fabric (for in- that is to be differentiated from conservation and safeguarding stanceremoval of an installation that causesstructural damageor as weIl as from renovation. The Venice Charter says the aim of of new plastering that containscernent). restoration is to preserve and reveal the aesthetic and historic The ruin, especiallythe castleruin, which played a central role value of the monumentand is basedon respectfor original ma- in the preservationdebates at the turn of the 19th cen~, offers terial and authentic documents.Thus it should go beyond mere- a perfect illustration for conservationto which the Athens Char- ly "preserving", or conserving a monument to "reveal" aesthet- ter already refers: In the case of ruins, scrupulous conservation ic and historic values; or in other words to accentuatevalues of is necessary...Here the monument value also derives frorn the a monumenttliat are hidden (for whateverreason), disfigured or fragmentary, ruinous state that reminds us of the past, making impaired:that meansto "re-establish" them~Whereas conserva- history present through the "scars of time". Maneuvering be- tion of the existing fabric of a monument only attempts, as far as tween the idea of reconstruction, which crops up sornetimes is necessafy,to stabilize individual areastechnically and to elim- even today, and the occasionally advocatedidea of letting the inate sourcesof dangerthat directly threaten the fabric, restora- min "perish in beauty" (the latter being an understandablereac- tion is concemedwith the overall appearanceof the monument tion to destruction of the actual historic monument as usually as historical and artistic evidence. results frorn the former), the conservation plan must seek the Following upon the stabilization and conservation of the orig- correct path for each individual case: for instance stabilization inal fabric, a restoration adds new elements, without reducing of the walls -but only stabilization, without falsification of the original fabric. Becausea gap in a painting, for instance, can the character of the ruin through unnecessaryadditions. Even severelyimpair the overall aestheticeffect, far beyond the very the removal of plant growth,seemingly self-evident as an initial restricted area of the actual darnage(which may itself be rela- conservation measur~,must be carefully considered; although tively rninor), @~ffQ~i~,m~~~,,19~t9se~~ g~pby means of re- the growth endangersthe fabric it contributes very critically touching. The many possibilities for restomtion, which must be to the "picturesque" character of the monument. In cases of carefully weighed in each individual case, range here from a definitive, otherwise inevitable ruin of an important building neutral "adjustment" in a painting to a detailed replacement of component -such as the fresco fragments in the remains ofa rnissing elements,as would be undertakenfor gapsin decorative castle chapel -a roofing-over can be an unavoidable conser- plasterwork or for certain architectural sculpture. The bay that vation measure,even if it actually contradicts the nature of the has collapsedbecause of structural darnagein an otherwise in- min. In this context we can understandthe covering over care- tact Renaissancepalace, for instance, would hardly be con- fully conservedwall remnants and the paved floor of a Roman served according to the solutions applied to a medieval castle bath, which would be completely destroyedwithin a few years min, but rather, becauseof the overall aestheticeffect, would be without a protective roof. In the caseof castleruins, certain wall restoredto accord with the adjoining bays. remnantsand findings 'areand will remain best conservedunder A restoration can also go beyond the harrnonizing or filling- the earth, better preservedthaniftheyare subjectedto the aIJ;la- in ofgaps, to undo disfigurements from previous restorations. teur excavationsthat unfortunately are so populaf at such sites We must always be conscious of the danger that a new restora-

10 INTRODUCTION tion can also interpret certain aestheticand historical values in a ditions to ultimately conserv~its fragmentary state; but the saIne biased manner or can even falsify, thus perhaps "disfiguring" figure located on a Baroque altar as a devotional image must of the monumentjust as did an earlier restoration, the rnistakesof course retain its Baroque polychromy. An altar from the l7th which occasion the new interventions. A restoration can also century in a spacethat was uniformly redecorated in the mid- once again reveal a monumentthat has been completely hidden, 18th century would not be re-exposedto its initial paint scheme such as a classicaltemple beneathlater construction or a medie- but rather to the secondor third version, the one which harmon- val fresco under layersof later interior decorations. izes with the overaIl space. Even a restoration measure that With the re-exposureof a particular layer -such as a painting seemsextremely simple and self-evident, such as removal and that is not visible but rnight in fact be extremely weIl conserved renewal of a yeIlowing layer of varnish in order to recover the underneath severallayers of lime -a critical question must al- aestheticeffect of an old painting or of marbling, must be ques- ways be addressed:What is the goal of the restoration of a mon- tioned ifby giving up the "age-value" of the varnish layer the re- ument that, as so often is the case,is composedof very different lationship to other componentsof the work or to the remaining historicallayers? As tracesof its age and evidenceof its history, features of the monument is altered in the sense of "restoring alI ofthese layersare valid parts of the monument. Ifwe imagine asunder". that overtop the (to be exposed?)tnedieval painting there is aBa- Given the diverse layersof a monument and the varying goals roque painting as weIl as one from the 19th century, that the (to and prerequisites for a restoration project, excessesoccasional- be exposed?) original polychromy on a Romanesquecrucifix ly arise from a so-caIled "analytical restoration", which at- hasno less than eight subsequentpolychrome schemesabove it, tempts to simultaneously preserve and exhibit alI the historic that the (to be exposed?)Roman temple is integrated into a Byz- statesof a monument, at least in part. The Baroque facade of a antine church complex, then the problems inherent in alI resto- palace on which painted architectural decoration from the Ren- ration work becomeclear. These issues become particularly dif- aissance,deep medieval wall openings,remains of a re-exposed ficult if, as is frequently the case, a restoration is based on an late Gothic painting, and remnants of Roman ashlar have alI uncompromising orientation toward a genuine or supposed been made visible on a single bay becomes a mere preserved "original state" to which later historic layers are to be sacrificed "specimen"; the saIneis true of a sculpture on which individual without hesitation. In fact, after consideration of the results of parts have been restoredto different historic periods. As impor- detailed prelirninary investigations, we can only proceed with tant and necessaryas methodicaIly soundpreliminary investiga- the greatestcaution in accordancewith article Il of the Venice tions and documentationof previous historic states are in order Charter, which clearly disrnissesthe restoration practices of the to understand the essential character of a monument and to 19th century that airnedat a "unity of style": The valid contribu- guide the interventions a restoration plan has to be oriented to tions of aIl periods to the building of a monumentmust be re- the -evolved -historic and aestheticwhole of the monument. spected,since unity of style is not the aim of a restoration. When The safeguarding of evidence is necessary but the search for a building includes the superimposedwork of different periods, these traces cannot become an end in itself, determining the the revealing of the underlying state can only bejustified in e.x- goal of a restoration. ceptional circumstancesand when what is removedis of little in- Moreover, earlier historic situations can also be reconstructed terest and the material which is brought to light is of great his- on paper for scholarly publication. Regarding late Gothic frag- torical, archaeological or aesthetic value, and its state of ments in a Baroque church interior, for exaInple, there would be preservation good ènoughto justify the action. good reaSonto advise that they not be restored but rather cov- Extreme care is thus required; the goal of a restoration cannot ered up again, foIlowing conservationif necessary,in order not be coordinatedwith a particular "historic state" if other "histor- to endangerthe aestheticand historic whole of the monument. A ic states" will thus be destroyed.On principle, the existing fab- "window to the past", basedon what emergesin the course of a ric, which has evolvedover tirne, should be respectedinitially as restoration, is only possibleif it can be disposedin an inconspic- the historic state. Only after thorough analysiswill the removal uous place so that there is no negative impact of the kind dis- of insignificant work to the advantageof materials of "great his- cussedabove. ln generalthere must be a warning against the ex- torical, archaeologicalor aestheticvalue" appearto be warrant- aggerations of "analytical preservation", which represents a ed. Moreover, as important as an earlier statemay be in compar- special kind of "restoring asunder". isoo to later change~,it must also be so well preservedthat its This appliesofcourse not.9J1JytOindivid~ restoratiopcpro- state of preservation (is) good enough to justify the action. The jects and to monuments with extensive decorative components few particles of pigment that perhapsremain from the Roman- but equaIly to restoration work within a historic district. The esquepolychromy on a wood sculpture no more justify the re- reexposure of (originaIly visible) half-timbering can represent moval of a fully preservedBaroque paint schemethan the re- successfulrestoration work when considered alone, but in the mains of a medieval ashlar stone wall justify demolition of an context of a square with only Baroque buildings or Baroque entire building that has evolved over the following centuries. transformations of bousesthat are medieval in core, this inter- In a restoration project, preservationpractice must also con- vention must be rejected as a disfigurement and disturbance sider in particular the function of a monument and its relation to of the square as a historic ensemble.Likewise we must reject its surroundings, so that the componentsof a large monument the idea of restorin~ a streetscapethat was transformed in complex -for exarnple a monastery church with its decorative the 19th century back to its medieval "original state"; monu- features -will not be "restored asunder". In a museum there ments are not infrequently destroyedthrough such massive in- rnight be good reasonto re-exposethe 15th century polychr9me terventions basedon an unprofessionalunderstanding of resto- schemeon a late Gothic figure of the Virgin, retrioving later ad;. ration.

Il INTRODUCTION

Whereas"analytical restoration", a sort of "specimen prepar- ready been discussedin the context ofrestoration. Here, too, ar- ation" of ~storic stateswhich is with good reasonhardly prac- ticle II of the Venice Charter applies: renovation measuresmust ticed anymore today, adversely effects the coherent overall accept in principle the evolved state of a monument with ail its appearanceof a monument and leadsto loss of fabric in specif- superimposedhistoric layers; no layer may be sacrificed to the ic areas,the idea of "restoring back" to a single historic state, aestheticunity that is the goal of the renovation unless there is a concept that is always turning up anew, implies removal of justification based on detailed investigations that carefuily entire layers of a monument. A constant conflict with the su- weigh the gains and losses. preme dictate of preservation, the conserving and preserving Considering the priority of conservation -as the supreme of historic fabric, is pre-programmed,as is conflict with the principle that applies to ail efforts in the field of preservation - restoration principle, already cited above in article Il of the and the principle of limitation to the necessarythat is universal- Venice Charter, of acceptingthe existing stateand only re-estab- Iy valid for the repair of monuments(see p. 17), it could perhaps lishing a particular earlier state in weIl-justified, exceptional be argued that conservation is always necessary,restoration is cases. justifiable under certain conditions, but renovation, meaning as Finally, attention should stiIl be given to the general con~ it does to renew and therefore to destroy,is not compatible with nection between every restoration project and the principles preservation'sbasic demands.Thus in place of Dehio's phrase described for the conservation and repair of monuments (cf. "conserve, do not restore" do we rather have "conserve, restore p. 17/18). Conservationconcerns must take priority, also in the where necessary,do not renovate"? difficult questionsregarding the objective of a restoration pro- ln practice historic fabric is in fact being destroyed even ject. Furthermore, in general a restoration is only appropriate if now to a shocking degreein the name of "renovation" and also the necessarymeasures for stabilization and conservation are in the course of many "restorations", The great danger with executedbeforehand or at the sametime. ail renovation work lies in the fact that it is preceded by at The principles regardinggeneral repair -limitation to the nec- least a thorough "cleaning" of the surface of the monument: essaryand reversibility (seep. 26/27) -are also valid for resto- complete removal and renewal of plaster; scraping off of earlier rations. However, sincethe removal of evenan insignificant his- polychrome layers on an old altar in order to be able to renovate toric layer, permitted after thorough consideration,represents an it "according to findings" or freely "according to the taste" of irreversible intervention, in such casesa special measureofre- the authorities; stripping the layers off a figure and thereby de- sponsibility for the welfare of the monumentis required. In arti- stroying an essentialpart of the artistic and historical statement cle II the Venice Charter therefore demandsthe participation of of a work of art; even total reworking of a weathered wooden several specialists to weigh alI the possibilities: Evaluation of or stone sculpture through "re-carving" until the object is falsi- the importance of the elementsinvolved and the decision as to fied and devalued beyond recognition. Similarly, the sanding what may be destroyedcannot rest solely on the individual in of a gravestone or a stone portal down to an undamaged, charge of the work. "healthy" layer is equivalent to the replacement of the original A restoration that makes an effort to close and fiIl gaps that surface with a modern surface. These are all irreversible losses impair a monument's overaIl appearancecan also be linked to that rernind ~s that the general principle of reversibility must the principle of repair using historic materials and techniques be valid for renovation measuresas weil. ln this context refer- (seep. 18). This applies particularly to the preservation ofhis- encecan also be madeto the dangerof renovation using inappro- toric buildings, whereaswith individual works of art restorative priate màterials; dispersion paints, for example, have caused completions must sometimesbe executed in a different tech- devastating damageson plaster or stucco facades or on stone nique which can guaranteeits own damage-freeremoval, based surfaces. on the principle of reversibility. Of course,as with conservation ln order to avoid such damages,the basic demand for historic work, not only the traditional but also the most modern restora- materials worked in appropriatetechniques must be met in ren- tion techniques {which cannot be covered individuaIly here) ovation work in particular. Here is the opportunity to practice, must be employed where traditional techniquesprove inade- learn and pass-downtraditional technologiesand the handling of quate, as the Venice Charter saysin article 10. traditional materials. Renovation is seen in contrast here to the complicated field of conservation and restoration which, as al- ready described,cannotm...pense with modern restoration tech-

Renovation niques and newly developedresources. Furthermore in the case of renovation work repeatedin ever-shorterintervals even weil- To renovate (renovare) means to renew, and togetherwith con- meant and technically correct measuresrepresent a significant servation and restorationitis athird widespreadmethodin pres- danger to a monument'sfabric if only becauseof the preparato- ervation, although it is not mentioned specifically in the Venice ry cleaning that affects the original fabric. Charter.Renovation aims particularly atachieving aestheticuni- ln spite of the indisputable dangerssuggested here, a renova- ty in a monument in the senseof "making newagain" (the outer tion project which pays heed to the principles of conservation appearance,the visible sUrfaceof a monunlent, etc.) whereas can indeed be considered a preservation measure. Even if we "making visible again" by meansof conservationwork, cleaning constantIy remind ourselvesthat the new layer resulting from a or re-exposurein co~bination with completions still belongs in renovation cannot bea fully valid stand-in for the old fabric be- the realm of restoration. neath it, with its special "age-value", in preservation practice The sameconflicts concerning goals arisewith the renovation there are indeed certain areasin which renovation is the only of a monument which has multiple historicallayers as have al- way possibleto preservethe historic and artistic appearanceof a

12 INTRODUCTION

monument and to conservethe originallayers below. A renova- It is no doubt self-evident that a renovation is out of the tion measure is tbus justified ü it bas a conserving effect it- question for certain categories of monuments because only self or ü conservation measuresprove to be unfeasible. How- conservation and restoration work are within acceptable ever, as with conservation and restoration, such a renovation limits. Renovationmust be rejected as a legitirnate method for a must be understoodas being "in service to the original", which great number of "art monuments" in particular, objects which in should not be impaired in its effect and should be protected from general can only be conservedor under some circumstances re- further danger. stored but which should not be renovated.These include paint- In order to preservea monument severelywom, weatheredor ings and sculpturesor examplesof arts and crafts work; the chal- even soiled componentsmay haveto be renovated.For example, ice in a church vestry would, for example, be irnpaired in its a new coat of lime paint could be applied over an older one that historic value by a complete re-gilding, an approach we would has been badI y soiled by the modern heating system, without classify as renovation. This applies also to archaeological mon- thus excluding the cleaning and conservation-orientedhandling uments and to fragments,which may be conserved and, as far as of an old coat of lime paint at a later point in time. This approach appropriate and necessary,restored; but a total "renovation" of is often valid for the exterior of a building where worn and these objects would destroy their character as evidence. The weatheredoriginal plaster and paint layerscan only be preserved widely propagated methods of renovation are acceptable in under a new and simultaneously protective coat; the new coat preservation practice only if original fabric is no longer tech- can be executedas a reconstructionof a historic scheme,as doc- nically conservable and must be replaced or if old fabric can umented by investigative findings. Finally there are c~es in no longer be exposed to the effects of environment and use which old plaster is so badI y damagedby weathering and envi- and must be covered over for protection. ln both situations ronmental pollutants that it can no longer be preservedwith con- renovation work should be justified and supported by preserva- servation measuresand must be renewed.ln this situation the tion-oriented prelirninary investigations and by a preservation painted decorative articulation on the exterior, only traces of plan. which could still be detected,can be renovated-that is repeated ln the case of historic buildings, renovation work can also -by means of a new coat of paint based on the investigative be appropriate in particular locations, for example in parts of findings: the only possible way to passon the monument's aes- a monument where there is no longer historic fabric to be thetic appearance.As in the caseof a restoration, of coursevery protected because of previous extensive alterations, so that different possibilities can emergefrom the investigativefindings compatibility with the remaining monument fabric is the only covering various layers. Should the plan for the exterior renova- point that must be heeded,or where preservation concems for tion based on these findings repeat the architectural paint retaining historic fabric could not be made to prevail over other scheme from the Renaissance,from the Baroque or from the interests. Neo-Classical period, or should it take up the uniform ocher fa- To conclude this attempt to differentiate between conserva- cade from the 19th century? Whether this involves a palace fa- tion, restorationand renovationwork, it must be emphasizedthat cadeor the plain facadeof a townhousein the historic district of together ther constitute a graduated system of preservation an old town, this decision can only be reachedwithin the frame- measures; in other words, there are monuments that under cer- work of the overall preservationplan after thorough analysisof tain circumstancesshould only be conservedbut not restored;o. the findings and the history of the building and in coordination that may be conservedand restored but never renovated. Fur- with its surroundings. thermore; conservation, restoration and renovation measures Whereas the exterior renovation of a historic building has are interconnected, so that, according to the circumstances, to be coordinated with its surroundings, an interior renovation they may be carried out one after the other or sirnultaneously. must take into consideration the historic, aged surfaces of The gilding of a plasteredconcave molding in an interior space surviving elements,especially the "age-value" of alI the decora- can serve as an example. For the well-preserved components tive features; fo~ instance the variable intensity of renovated mere conservationis enough; in someplaces small gaps must be painted interior surfacesmust be of concem. As already sug- filled in and certain pieces"polished up" in order to more or less gested, the protective effect that a renovation measure can attain the overall aestheticappearance of the conservedelements have must also be taken into account. Thus renovation as -hence, restoration; on one side of the room the gilding, severe- protection is a valid aim even in cases in. which it conceals Iy damagedandto a ~g~ extentlost beca:\lSeofwaterpenetra;-, the "age-value" oran intermediate statethat,from an aesthetic tion, must be renewedaccording to traditional gold leafing tech- or historic standpoint, is worthy of preservation. An example niques -hence, renovation. ln other casesrenovation can even is offered by new plaster on a Romanesquetower to protect be considered a conservation measure,at least to a certain de- weathering stone; although findings of minimal remnants may gree: for instance, partial re-exposure of one or more historic provide proof that there was indeed plastering in previous cen- paint schemeswithin the framework of investigative analyses, turies, the new plaster replaces-in fact, disposesof -the "pic- consolidation (i. e., conservation) of the lathing, and complete turesque" and simultaneously"legitimate" version of thetower renovation over an intermediatelayer of one of the schemes.Un- with its exposedmedieval masonry,as it had appearedsince the demeath the new plaster alI the historical layers remain better 19th century. The renovation of an outdoor sculptureof stone or conserved(at least in the case of an exterior façade) than they wood by appl~g a new polychrome schemebased on investi- would be if subjectedto complete re-exposure,which is always gative findings or in ânalogy to similar painted figures can also combined with losses,and to subsequentconservation and res- combine a changein the aestheticappearance with a protective toration of the original fabric and the concomitant exposure to function. dangersof weathering.

13

~ INTRODUCTION

Replacement and Completion of Components ing as the gap in a painting. Finally, the filling in of a gap imrne- diately after its badly felt loss is more compelling than the some- Conservation, restoration and renovation measuresgive rise to times dubious practice of replacing details that have already different responsesto the issue of completion and replacement: been lost for decadesor even centuries. where only conservation of existing historic fabric is involved, The arguments for and against replacement, dependent on there is in general no need for replacements;restoration on the various artistic, historic and also functional factors, can only be other hand includes the closing of gaps and a certain degree of clarified after being given careful consideration in the restora- replacement, as would also be required under certain circum- tion conceptthat is worked out for a specific case.The "how" of stancesfor a renovation.Regarding the exchange or replacement replacements,ranging from neutral retouching in a restoration of elements,article 12 of the Venice Charter therefore maintains project to partial copying or partial reconstruction, is of equal under "restoration" that Replacementsof missingparts must in- concem; raising questions as to whether a replacement should tegrate harmoniously with the whole. but at the same time mus! imitate the original or show its own signature, the latter being be distinguishablefrom the original so that restoration does not more or less perceivedas a contrast to the original fabric. ln this falsify the artistic or historic evidence. context the issue of the use of historic or modem materials and In this context it must at first be pointed out that certain mon- techniquesalso arises (seep. 18). uments are documents of history precisely in the fragmentary Reference must be made again to article 12 of the Venice state in which they are passeddown to us. The fragment of a Charter, already quoted above, according to which the replace- gravestone,the torso of a figure, the remnant of a wall painting, ments must integrate harmoniously with the whole but at the the remains of a city wall or the castleruin: these are only to be same time must be distinguishablefrom the original, always as- conservedand not -or only to a very limited extent -to be re- suming that the replacement has not already gone so far as to stored; replacementscannot be made without danger of falsifi- representa "falsification" of the original. This applies, for in- cation or impairment of their monument character.This is also stance,to the various forms ofretouching that are necessary for particularly valid for small and even minimal replacements a restoration; according to the significance of the gap for the which are often completely unnecessary;arising only from an overall appearanceof the object, completions range from mere- exaggerated urge for perfection, they needlessly destroy the ly a pigmented or neutral "tuning" to a "depiction" that derives "age-value" of a monument. An example would be the com- from the existing composition but which on detailed inspection pletely unnecessary"clearing up" of all minor damagesin an (or at least from close up) always should be recognizable as a re- ashlar stone facade using an artificial stone material, whereas placement.On the other hand the completion should not give the the closing of a dangerousjoint or a hole can indeed be neces- effect of a strong contrast, which could only further impair the sary in order to avoid future major replacementof original ma- overall appearanceof the work of art. ln this sensea sculptural terials. It is important to guard against excessivereplacement group in a park which is so badly damagedthat its messageis no on both a large and a small scale. longer comprehensible could be treated differentially: the de- On the other hand,historic buildings, especially if they are in tailed completion of small gaps would be consciously avoided, use, sometimespractically tequire repair work that involves con- and only the elementsthat are important for an understanding of siderablereplacement. This is especiallytrue for the large num- the monument would be replaced,in areversible manner.Like- ber of monuments that are used for residential purposes or as wise, with a badly damagedgravestone or a wayside shrine the public buildings. The bay of an arcadedcourtyard that has col- restorer would not replace fragmentarily preserved omamental lapsed becauseof structural damagesmust be replaced; dam- and figuraI elements which are still comprehensible but rather agedbuilding surfacesmust be replaced,sometimes already for would complete the outer frame in a neutral manner and would reasonsofhygiene. The lost head ofa statueofNepomuk, saint renew (according to the old form) the cornice and projecting ofbridges, mustbe replacedif the figure is to fulfill its function roof that are important as protection against weathering. With in an understandablemanner. In general an element of reserve architectural fragments replacementswhich may be necessary must be maintained regardingreplacements because the historic for purely conservationreasons (such as a new covering) or for fabric should still"dominate" and should "carry" the addedfab- structural reasons(filling in of a crack) can also be kept neutral ric, so that a monumentdoes not appear more new than old. by using a material that sets itself apart somewhatfrom the his- Moreover, the individuality and the artistic quality of a monu- toric fabric (for instance 3; differentbrick" format or different ment are of critical importance in the issue of replacement; in method ofsetting stone). Thus the characterof the architectural some circumstancesthey prohibit any replacementwork other fragment is not falsifiedby an "imitation" that feigns another than a neutral retouching without which the oyerall appearance stateof preservationor by a modish "contrast" . would be impaired. On the other hand, the original artisticplan For completions that are necessarywithin the framework of sometimes makes completion of missing elements necessary, normal repair work ( see p. 18), the principle of the use of au- such as the filling in of a gap in a stucco ceiling, or closure ac- thentic materials in an appropriate, traditional manner is appli- cording to the original design of the ground floor zone of a Neo- cable,insofar as conservationreasons do not preclude it. The sit- Renaissancefacade which hasbeen disfigured by the addition of uation is different if newelements are necessaryfor functional storefronts, etc. . reasons,for instancein the design of new fittings (modem forms In principle a monumentthat has evolved over various epochs and materials can of courseappear next to the old) or the design will be less in need of replacementthan a "Gesamtkunstwerk" of modem additions neededto extendthe use of a historic build- that was created according toa single coherent plan and that is ing complex. Perhapsnew choir stalls are neededin a church, or unchangedin its appearance,where every gap is just as disturb- an addition must be made to the vestry -for such casesarticle

14 INTRODUCTION

13 of the Venice Charter makes special referenceto the caution stonemasonsprecisely becaIJsereplacement work is a tradition- and respect that must be shown for the preservation of existing al matter of course in their craft. The goal of this examination fabric: Additions cannot be allowed except in so far as they do must be conservation in situ, particularly of richly designed nat detract.from the interesting parts of the building, ifs tradi- componentssuch as profiles, tracery, pinnacles, sculptural ele- tional setting, the balance of its composition and its relation ments with their individual artistic signature or components with its surroundings. with a key function in terms of a building's construction history. Furthermore, the "how" of replacements depends critically Thus the stonework would be preservedwithout any reworking on the design and condition of the part to be completed as that destroysnot only the surface but also any surviving stone- weIl as on our knowledge of the earlier situation. If a severe- mason symbols and the traces of age that are caused by minor ly damaged,no longer repairable component is replaced, or an damagesand weathering. An appropriate plan for safeguarding interrupted profile is filled in, or a volute gable that is only half the stonesmust be developedon the basis of detailed conserva- preservedis completed,or themissing piece of a symmetrically tion-oriented preliminary investigations. designed stucco ceiling is replaced -then a replacement that copies the original is possible and for the most part even neces- sary.The appearanceof the partthat is to be replacedcan be re- Replacement by Copies constructedusing exact graphic or photographic materials that show its previous state. However, if there is no detailed knowl- In some casesa study might show that figuraI elements on the edge of a component that has perhapsbeen missing for a long exterior are already severely damaged and can only be saved rime, either no replacement should be attempted at aIl, or, as from further deterioration through the production of replicas by with retouching, the original should be replaced "neutrally" in the stonemasonsand the transferal of the originals to the interi- the manner discussedabove. With figuraI decoration, such as or or their deposition in a secureplace. The possibility of copies figures missing from a gable,even if there is someknowledge of in the context of a restoration concept, not explicitly mentioned the no longer extant predecessorsthis is perhapsthe opportuni- in the Venice Charter, was already critically cornmented in the ty for modern sculpture, adaptedof course to the surrounding Athens Charter, but not excluded for certain states of decay of context of the lost work. monumental sculptures: With regard to thepreservation of mon- Finally there are categoriesof monuments,particularly certain umental sculpture, the conferenceis of the opinion that the re- industrial monumentswhich are still in use, for which compo- moval of work'i of art from the surroundingsfor which they were nents must be exchangedcontinually in their original form and designed is in principle to be discouraged. It recommends, by original materials A special form of continuous replacement, way of precaution, the preservation of original models whenev- which could also be understood as continuous repair, involves er thesestill exist or if this proves impossible the taking of casts. the replacementof stonesby the stonemasonworkshops of ca- Replicating- i. e., making a copy of an existing original or of thedrals (seep. 10). This involves the exchange of damagedele- anotherreplica -has a long tradition in art history, as illustrated ments, from crumbling ashlar to artistically designed compo- by the "mult~plication" of a farnous pilgrimage painting or stat- nents such as tracery and pinnacles,work that has been oriented ue through countlesssmall copies. But replication can only be over centuries to the form, materials and craftsmanship of the considered apreservation measure if the copy is made inor- existing historic fabric. Recently on some such monumentsless der to protect an existing original: the copy as a means of detailed or consciously more "coarse" work has been carried saving a monument. We must always remain conscious of the out; only on close observation is this perceived as a "modern" uniquenessof the original because,no matter how faithful in development. forrn, material and scale, a replica is always a new object and Although in the end this constantex change can approacha to- merely a likeness of the original with its irreplaceable historical tal renewal of the original stonematerials, as a stonemason's tra- and artistic dimension. dition that has continued unbroken for centuries it is to be con- Production of a replica to replace an original, already referred siOOreda necessaryprocess which falls in betweenmaintenance to in the context of facade sculpture, can make it possible to re- and repair. The procedureis more a routine safeguardingor res- move and protect a work of art that can no longer be preserved toration of the monument than it is a renovation, since the sur- on its original location, without thereby disrupting the meaning face of a building i~ !lever totally reworked, even in Jargersec" ofa superordinatepiçtorial program ofwhich it is a part;.well- tions. Such partial exchanges require not only traditional craft known exarnplesinclude the sculpturespersonifying the Church techniquesbut also as far aspossible the use of material from the and the Synagogueon the cathedral of Strasbourg.To a certain original stonequarry, or at least of a comparablestone with sim- degreesuch a replica can be understoodas a partial replacement, ilar properties if the original is no longer available or is not re- a completion that servesrestoration of the whole. This can also sistant enoughto environmentalpollutants (and would therefore be a valid approachfor sculpturesin a park, each of which is an require anotherrenewal after an unacceptablyshortinterval). essentialelement, in its particular location, of an overall artistic Even with replacements that are correct in themselves in concept; if leaving them exposedto continued negative environ- terms of craftsmanship,according to the principle of limitation mental influences is no longer justifiable, the originals can be to the necessaryonly deterioratedstones should be exchanged, replacedby replicas while they themselvesare given the protec- whereasharmless small damageswould not justify replacement tion provided by a museum-Iike environment. Depending on the ofdle original. The piocessofexamining the stoneworkmust al- individual case, a combination of measures may be sensible: so be seen in this context; it is a procedure thàt is often Qver- replication ofendangered componentsof a whole, or the com- looked or not executed thoroùghly enough by the cathedtal pletion and conservation of originals that are already so badly

15 INTRODUCTION damagedor that havebeen so severelyaltered during earlier res- A further issueis the e~tentto wbicb a replica sbould duplicate torations that their non-reversible state of deterioration would the original in materials and technique: in eacb individual case make exhibition in a museumpointless. Given the abundanceof careful considerationmust be given as to wbether the best solu- atfected monuments-just among stonesculptures, for example tion calls for a bandcraftedor sculpted copy in the original mate- -it must be emphasizedthat this approachnonetheless has nar- rials or for one of the modem casting techniques, some ofwhicb row applications: even if appropriate storageplaces are availa- are very highly developed;of course a prerequisite for the latter ble, the deposited originals must undergo conservation treat- is that no damagebe done to the original during the process. ment so that the decaydoes not continue, an aspectthat is ofien Apart from the exarnplesmentioned bere, tbe possibilities for overlooked. And which museums or depots should accept the saving a monumentby bringing it into a protected spaceare very stainedglass from a cathedralthat has beenreplaced by copies? limited becausenormally a historic building cannot be moved, With the exception of a few special cases,such windows should nor can it be replaced by a replica. However, tbere are excep- be savedand restoredon their original location by meansof suit- tional cases of replicas in order to save significant monu- able protective glasswork. ments endangered by modern mass tourism. The paintings in The testimoniesin stonethat characterizemany culturalland- the caves of Lascaux, uncbanged over thousands of years, be- scapes-the waysideshrines,' stations of the cross,road markers, carnethreatened by the climatic fluctuations causedby visitors. boundary stones, etc. -must be preserved in situ as long as Closure of the caveand construction of an accurately scaled rep- possible using stone conservation treatments,even if we know lica nearby,whicb bas enjoyed acceptanceby tourists, bas saved these techniques are inadequate; if necessary they must be the original paintings. Another successful exarnple is the repaired by restorers. ln these cases only the threat of total, "tourist's copy" of the farnous Thracian grave of Kasanlyk in nonstoppableloss can justify replacementof the original with a Bulgaria. This approacbcould serveas a model for other objects replica. tbat are afllicted by masstourism.

rn. PRINCIPLES OF MAINTENANCE, REPAIR AND STABILlZATION, REHABILITATION AND MODERNlZATION, RECONSTRUCTION AND RELOCATION

Whereas in former times conservation and restoration were practice that expensiverepairs become necessary.ln such situa- practiced primarily in the context of works of art and monû.: tions the questionmayariseofwhetherthe darnagesare aIready ments of art and history, that is in the field of "classical" con- so advancedthat repair is no longer possible; then either the ul- servation/presetvation,certain forms of maintenance,repair and tirnate loss must be acceptedor a drastic renovation and rehabil- stabilization, reconstruction and rebuilding have been practiced itation may have to be undertakenas the only alternative. In the ever since there has been architecture.Therefore, as customary foIlowing the repair of monuments is understood as a general building methodsthey are not onlyof interest for the conserva- term that may include measuresof conservation and stabiliza- tion/preservation of monuments and sites. But of course espe- tionlconsolidation, measuresof restoration and renovation, and cially the p~ctice of maintenance and repair plays a decisive the replacementofmissing elements(see also p. 14/15), where- role in this context, and many conservationprinciples could al- as maintenanceis usedto mean lirnited, continuous preservation so be describedunder the heading "repair", evenif the term "re- work. pair" is not explicitly niimed in the Venice Charter. lnstead, un- In contrast to normal building maintenance, maintenance of deL the head~g "cpnservation" article 4 o~ the neçessary historicbuildmg&cm~&ta1waf$,~~-mtQaççoWlt the monwnent maintenance of monuments and sites stands here in the first value of the fabric as weIl as the monument character of a struc- place: Il is essentialto the conservation of monumentsthat they ture. Under these conditions, proper maintenance can be the be maintained on a permanent basis. sirnplest and gentlest type of preservation because it guards against potential damages,especially those causedby weather- ing, and thus preservesmonuments intact over centuries. Maintenance The maintenanceof a historic b\Ûlding includes seemingly self-evident measuressuch as the cleaning of gutters or the re- Entire cultural landscapesare perishing for lack of building nailing of damagedroof tiles, work that an owner can carry out maintenance,affecting the age-,.Qldtraditional earthenarchitec- himself and that wards off extensive damage. Obviously such ture particularly dependenton constantmaintenance as weil as maintenancework should be oriented to the existing materials stone buildings of abandonedvillages and towns. A lack, fOl and skiIled craft techniqueswith which the historic building was various reasons,of the most basic maintenancework is a prob- erected. For maintenance measures such as plaster repairs or lem that is sometimes overlooked for so long in preservation paint work on historic building components or on a facade, the

16 lNTRODUCflON professional advice of a preservationagency is necessary.Prop- theft security, etc.) could also be counted as part of the continu- er maintenanceis a direct outcome when a bistoric building is al maintenance that guaranteesthe survival of a monument. used appropriately (particularly in the case of residential use). Planning for such measuresmust, however, be coupled with ap- The maintenancework carried out on individual bistoric build- propriate preservation-orientedpreliminary investigations. ings can add up to an old townthat doesnot deny its age but is nonethelessvery much alive, an old town that neither seemsun- necessarily "spmced up" nor approachesa state of decay that Repair and Stabilization might be picturesquebut in fact is highly dangerousto the his- toric fabric. Even if the boundaries between maintenance and repair are Apart from buildings in continuaI use, some categories of fluid, in general the repair of a monument would be defined as monuments-from stoneboundarY markers to castle mins -re- work which occurs at greater intervals and is often necessitated quire only occasionalmaintenance measures, but the work must by inadequatemaintenance. Individual components of a monu- be done again and again; removal of plant growth that endangers ment might be repaired,added to or replaced. We can even speak the fabric of a min is one suchexample. Still other types of mon- of continuous repair concerning the routine replacement of uments such as bistoric parks with their paths and plantings re- stoneson certain monuments,as exemplified in particular by the quire constant intensive care ( cf. the section "Maintenance and stonemasonworkshops ofmedieval cathedrals (see p. 10). Conservation" of the Florence Charter, p. 89). Certain industri- A first principle of repair should be: Following thorough al monuments -an old locomotive, a steamsbipor a power sta- aualysis aIl work is to be Iimited to the truly uecessary! It is tion, for instance -that are outdated technically and have be- a mistake to assumethat nowadaysthe higher costs for unneces- corne more or less museum objects must also be intensively sary work would anywayensure that only necessarywork will be "serviced",just asiftheywere still in use. On the other hand,our done. Quite apart from increasedcosts, various factors -rang- underground archaeologicalmonuments could survive without ing from a changein use, an increasein the standardsof the use, any maintenancefor centuriesand millennia -if only they were inadequatepreliminary investigations,improper planning, inap- protected from constant endangermentcaused by human inter- propriate techniques, poor execution of work, or sometimes ference. even a misguided "preservation" plan that inclines toward per- Specialproblems of maintenanceare presentedby the decora- fection -can also lead to an uuuecessary,radical reuewal after tive features of bistoric buildings. There is a broad spectrum of which practically nothing is left of the bistoric fabric. possible damagesresulting from neglect, from incorrect climate Out of the principle of limitation to the necessary -in fact control in interior spaces,from improper handling of flowers or self-evident but nonethelessalways in need of special empbasis candles in churches, and even from cleaning or dusting under- -arises the principle that repair takes priority over renewal ( that taken in the name of monument care. For sensitiveworks of art is, replacementof components): As far as possible repair rath- evena seemingly harmlesscleaning can havea damaging effect; er thau reuew! ln generalrepair is understoodto mean the most in such cases maintenanceshould be entrusted to appropriate careful and localized exchange of materials or building compo- specialistsonly. nents possible. In this context referencecan be made to a trend-settmgmod- Without going into theparallels to this principle in the field of el, of wbich little use has beenmade to date: maintenance con- art restoI:ation,the principle of limitation to the necessary to- tracts with restorers for outstandingdecorative features wbich gether with the principle of the priority of repair over renewal are particularly endangered,for instance for climatic reasons. should be madeclear to plannersand especially to the craftsmen Threats to works of art could thus be identified early; minor in- who carry out the work- craftsmenwhose training today bas ac- itial damagescould be repaired year for year by a restorer with- customed tbem instead to building a new wall, replastering an out great expense.Over the long term the sum of simple conser- old wall; carpenteringa new roof frarne, re-tiling a roof, making vation measures would make major restoration work new floors, new windows and new doors, etc. The fact that pres- superfluous-certainly the ideal caseof maintenancebut in fact ervation principles call for limitation to absolutely necessary nothing different than the usuaI care that every car owner be- measures,and thus for repair work that is adapted to the actual stowson bis automobile in order to preserveits value. Yet the car extent of darnages-in other words stabilization and repair of the is an item of daily use that can be replacedby a new one at any existing wall,refilling ofthe.gapsin the oldplaster, re-nailing of time, whereasthe unique fittings of our bistoric buildings can- the roof covering,mending of the poorly closing window and the not be replaced; waiting until the next major restoration be- old door -often demandsradical rethinking not only on the part comesdue often meansan irretrievable loss. With modifications of planners and craftsmenbut in particular on the part of monu- this model could also be applied to maIntenance contracts for ment owners. In our modem throw-away society the abilities to the general preservation of historic buildings; restorers or repair materials and to use them sparingly -in earlier centuries craftsmen specialized in certain fields could look after certain a matter of coursefor economic reasons-are often underdevel- bistoric buildings, of course in coordination with the state con- oped or completely lost. Instead we produce not only consumer servation services. goodsbut to a certain degreeeven entire buildings on the assem- Just how seriously the issue of maintenancemust be taken is bly line, and after depreciationtheyare in fact "used up" dispos- shown by the possib~ty of deliberate neglect, whereby the able buildings. Everyone understandstoday that an old country conditions neededfor a demolition permit are quite consciously cupboard,after its repair, satisfactorily fulfills its purpose as a attained. Finally, certain precautionary measures againstca- cupboard and simultaneously represents a valuable original tastrophes and accidents (such as systemsfor fireprevention, piece (paid for dearly on the art market), wbereas a new cup-

17 INTRoDucnON board made in imitation of the old has a comparatively low val- But it is obvious that repair work which is limited to the truly ue. Quite apart from the issue of material value, a respect for the necessary-the mending of a damagedstone stair step by means value of the original as historic evidence-respect which would of a set-in piece, or the replacement of aceiling beam ~ is cer- calI for repair instead of replacementof the historic stairs and tainly more easily reversible (for instance when further repairs the banister railing, refiUing of gaps in plaster rather than com- or alterations become necessary in the future) than is the re- plete renewal of the plaster -unfortunately cannot be taken for placement in concrete of entire structural components or sys- granted. tells such as stairs, ceilings, girders or supports. Aside froro the Just as the maintenanceof a monumentpreserves original ma- irretrievable losses that arise at the time such work is done, it terials which havebeen worked in traditional techniques,the re- would be rouch more difficult or almost impossible in the future pair of a monumentmust be carried out in appropriatematerials to reroove an entire concrete framework than it would be to ex- and techniques,provided that a modem conservationtechnique changea few beams.Moreover, even without being deroolished doesnot haveto be usedto ensure preservation. That means:Re- a totally "rebuilt" historic monument for which the principle of pair using traditional materials and techniques! A door, a reversiblerepair hasbeen neglectedwill lose its character as his- window frame, a roof structure are thus best mended using an torical evidence. appropriate wood; old plaster is best supplementedin an analo- Repair of monuments also encompasses technology for gous technique; likewise brick masoll!Y is best repaired with stabilizing and safeguarding monuments (see p. 18). Where- bricks, a rubble wall with rubble stone, etc. Used as an addition as repair work in generalinvolves rerooval of damagedeleroents to old plasterwork or as new plaster over old masoll!Y walls, and replacementwith new materials -resulting in a very careful modem cernentplaster for exampleis not only an aestheticprob- exchange of materials or building componentslillited to the ac- lem but also soon becomesa seriousproblem leading to further tuaI location of the damage -stabilization measures have a deterioration. conservation-oriented objective that excludes as far as possi- As far as possible aIl such repair measuresare to be executed ble the replacement of materials or structural elements. according to skiUed craft techniques.Of course, in many cases Here, too, interventions in the original fabric cannot be avoided, modem hand tools or small electric machines can also be used for example in cases involving consolidation, hardening, im- to a reasonable extent, but the technical aids of the modem pregnation, pinnings or injections of substancessuch as lime large-scaleconstruction site should in generalnot be employed trass or cernent suspensions.Often just such "invisible" inter- as they can only lead to unnecessarydestruction in a historic ventions as these are rather massive. Techniques also include building. In such casessensitive skiUed repair that is adaptedto substitute structural systems and protective fittings against the old methodsof construction and especiaUyto the old surfac- weathering, the effects of light, etc. Stabilization technology es is much more the issuethan is the demandfor imitation ofhis- coversthe broad spectrumof materials and constructions within toric techniques. a monument, from the conservation of pigments, paint layers The principle of repaii using traditional materials and tech- and plasters to the structural securing of historic foundations, niques doesnot meanthat in specialcases the most modem tech- walls and load-bearing systems.Deciding whether and how re- niques must be excluded,for instanceif traditional repair cannot pairs should be made orhow a safeguardingmeasure should be remedy the causeof damageor if repairs would destroy essen- carried out are certainly among the moredifficult,specialized tial monument qualities whereas modem technology would plannipg tasks for which the preservationist together with the guaranteegreater successin the preservation of historic fabric. engineer,chemist or restorer must work out a technical plan that In certain casesthe use of conservation-orientedtechnology for accordswith the nature of the monument. Without preliminary stabilization and consolidation is unavoidable. investigations to ascertain a building's particular historic fea- In generalthe samepreservation principles are also valid if, in tures and to identify damages,qualified decisions in this field addition to mere repair work, certain ruined componentshave to are not possible; moreover results will be random and hardly be completely exchanged:for e~ample,use of traditional clay controllable for preservationpurposes. rooftiles which, asidefrom their aestheticeffect, possessdiffer- ent physical propertiesthan substitutematerials suchas concrete tiles; use of wooden window frames instead of plastic ones, of Rehabilitation and Modemization windowshutters insteadof roUerblinds; rejectionofal[the pop.. ,. ;'j;'i~';"1.: ular facade coverings of asbestoscernent or plastic, etc. This ln connectionwith the repair of monumentsthe term rehabilita- means renunciation of modern industrial throw-away prod- tion refers in current practice to more comprehensiveand far- ucts that are propagandizeddaily in advertisements;aside from reaching work than is involved in the forms of preservation- their other characteristics,these products can in fact only disfig- oriented repair described here. Today the term rehabilitation ure a historic building. implies much more than "recovery": rather, it refers to work that Another point that is of importance for aIl preservationwork is in part necessarybut also is in part much too extensive and involves the principle ofreversible repair: interventions neces- radical. Such work often results from the need to accommodate sary in connection with repair work such as mending and modem standardsand provisions or to changea building's use; replacement of componentsshould be "undoable". This princi- sometimesit is an outComeof revitalization measuresthat are pIe, not directly addressedin the Venice Charter mostly involves not necessarilyfocussed on a building's historic fabric. approximate values -more or less reversible -rather than Rehabilitation work undertakento accommodatea building to an "absolute" reversibility that can only rarely be guaranteed today's residential needs (for example through installation of a (seepp. 26-27). new heating systemor renewal of electrical or sanitary systems)

18

\ usually involves necessarymodernization measoreswhich go is valid for the principle of limitation to the truly necessaryand heyond p~rely preservation-oriented repair work. But the ba- thus for the principle of repair, emphasizedhere again: For the sic preservationprinciple is valid here, too: interventions in the replacementof truly wom out historic fabric, the replacement of original fabric made in connection with modernization work windows, etc. the principle of repair using traditional materials sbould be kept as limited as possible while nonethelessenabling and techniquesmust be applied. reasonablefurther use. The more conscientiously the preserva- tion-oriented preliminary investigations whichare essentialfor such a project are carried out, the more favorable will be the Reconstruction overall circumstancesfor preservation.A preliminary investiga- tion shows, for instance,where new ducts could or could not be Reconstruction refers to the re-establishmentof structures that laid, where later walls could or could not be removed without havebeen destroyedby accident,by natural catastrophessuch as damage,how the structural system could be most carefully cor- an earthquake,or by events of war; in connection with monu- rected, etc. This applies to historic dwellings, from farmhouses ments and sites in general to the re-establishmentof a lost orig- to palaces, as well as to ecclesiasticalbuildings. For churches, inal on the basis of pictorial, written or material evidence. The rehabilitation and "modemization" (typically installation of a copy or replica, in contrast to the reconstruction, duplicates an heating system) often involve major interventions in the floor original that still exists (see p. 15). Partial reconstruction as a and thereby in a zone of important archaeologicalfindings. It is preservation procedure has already been discussed under the obvious that the rehabilitation of public buildings can lead far topic ofcompletions and replacements(cf. pp. 14/15). beyond the repair that becomesnecessary from time to time, in- Reconstruction is by no means expressly forbidden by the volving massiveinterventions that are determined by the build- Venice Charter, as is often maintained; the passagein question ing's function and by special requirements and that are regulat- in article 15 -AlI reconstruction work should however be ruled ed by the relevantprovisions and standards,including fire walls, out a priori. Only anastylosis,that is to say, the reassembling of emergencyroutes, new staircases,elevators, etc. existing but dismemberedparts, can bepermitted -relates exclu- The term orhan rehahilitation is used to refer to the rehabil- sively to archaeologicalexcavations (see p. 24). In contrast the itation of an urban quarter or an entire city. Extensiveinvestiga- Athens Charter mentions the method of anastylosis, a special tions of the economic and social structure can precedeurban re- form of reconstruction (cf. also p. 19) in connection with ruins habilitation. ln some circumstancesthey are based on general of alI kinds: In the case of ruins...stepsshould be taken to rein- demands-for examplefor transformation into a "central busi- state any original fragment that may be recovered (anastylosis) ness district" with department stores, for provision of parking whereverthis is possible (Athens Charter, VI, Techniqueof con- buildings, etc. -that simply deny the given historic structure. servation, p. 32). There are good reasonsfor the preference for Clearanceurban renewalas practiced widely in the past decades anastylosisin archaeologicalconservation, although for didactic has resulted in either total removal of all historic buildings and reasons archaeological preservation work sometimes does in- thus, from a preservationstandpoint, bas actually acbievedthe volve partial.reconstructionsfor the interpretation and explana- opposite of "rehabilitation", or it has involved extensivedemo- tion ofhistoric context (seep. 24 and Charter for the Protection lition and restructuring with the retention of a few historic build- and Management of Archaeological Heritage, art. 7 on recon- ings, which is likewise tantamount to far-reaching annihilation struction, p. 105). ln another special field, historic gardens, re- of the monument stock and the historic infrastructure. The read- construction also plays a decisive role for obvious reasons (see ily used term "urban renewal" can signal "urban destruction" Florence Charter, "Restoration and Reconstruction", art. 14, 17, from a preservationperspective. By now clearancerenewal has p. 90). However, in generalwe can conclude that the authors of hopefully becomethe exception,and in many casesurban reha- the Venice Charter,based on the charter'shighly restrictive over- bilitation is being practiced "from bouse to house". ln the best all attitude also in regard to replacements(which according to cases of urban rehabilitation repair in a preservation-oriented article 12 should be distinguishablefrom the original), were senseis being practiced according to the principles of repair al- very skeptical of reconstruction work. ready described (see pp. 17/18), and the necessarymodemiza- The skepticism regarding any form of reconstruction is tion work (seepp. 18/19) iscarefully accommodatedto the bis- basedfirst of alI on the knowledge that history is not reversible: toric fabricc And of coursethe successof rehabilitationdepends in certaincircumstancesaftagmentarystate offers the only val., critically on a compatible use of the historic buildings. id, unfalsified artistic statement.Indeed even a totally destroyed As the most telling exampleof the "achievements"of modem monument is evidenceofhistory, evidencethat would be lost in technology, clearance renewal has proved that rehabilitation a "reconstruction" just as some castle ruins fell victim to "re- which is going to have a preservationorientation has need from building in the old style" in the nineteenth century. Where such the beginning of "gentle", more traditional practices. Modem tracesof history must be conserved,reconstruction is totally out technologies are undesirable if their implementation requires of place. Furthermore, the monument that could be restored or proceduresaccording to the tabula rasamethod, or if they cause renovated,or perhaps stabilized and repaired, must not be de- enormous initial damages:for instance,the large opening made molished and recreatedas a reconstruction "more beautiful than in the city walls (indeed demolition of half the structure that is before." But precisely this approach is being proposed dai1y. actually intended for, "rehabilitation") just in order to get the Thus the negativeattitude to reconstruction is basedon recogni- equipment "on the scene" and to work "rationally". Here in tion ofa genuine dangerto our stock ofhistoric buildings today, many casesit would be more advant;lgeouseconomically as well rather than merely on an aversion (found in preservation theory to work from a preservation-orientedstandpoint. Of course this sincethe turn of the century) to 19th century "restoration" work

19 INTRODUCTION

should not forget that the historic appearanceof a building can and the disastrousdamage it causedto original historic fabric, be reconstructedin designsand models to provide a very useful particularly on medieval monuments, through reconstruction trendsbased more or less on "scientific" hypothesesà la Viollet- foundation for deliberations on a conservation concept project although for good reasonsthe reconstruction may not be turned le-Duc (cf.his definition of "re~toration", p. 28). A reconstruction that does not replace a lost monument but into reality. A necessaryprerequisite for either a partial or a total recon- rather justifies and facilitates demolition of an existing monu- struction is always extensivesource documentation on the state ment is in fact a deadly danger for our stock of historic build- that is to be reconstructed;nonetheless, a reconstruction seldom ings. As far as "art objects" are concemed,it is the undisputed proceedswithout somehypotheses. One of the criteria for the in- opinion of the public that a reconstruction cannot replace the scription of cultural properties in UNESCO's World Heritage original, but there is need of intensive public relations work to List according to the Operational Guidelines of the Convention convince this samepublic that an object that is in use, such as is that reconstruction is only acceptableif it is carried out on the Baroque church pews, similarly cannot be replacedby a replica; basis of complete and detailed documentation on the original this lack of understandingoften also applies to historic build- and to no extent to the conjecture. Thus, in connection with the ings. Thus, becauseof imagined or actual constraints on their inscription of cultural properties in the World Heritage List re- use, houses and commercial buildings in particular are threat- constructions are not excluded,but they require a sound scien- enedby demandsfor total renewal insteadofrepair, for demoli- tific basis. The commentsin article 9 of the Venice Charter are tion and reconstruction "in the old form" -preferably then of in a sensealso valid for reconstruction: The process of restora- coursewith a basementthat never existed or with that inevitable tion is a highly specialized operation. It is ...based on respect underground garage.In this context the concept of "reconstruc- for original material and authentic documents. It must stop at tion" generally anyway refers only to the exterior, whereas the interior is reorganizedand floor levels revised so that the "recon- the point where conjecture begins ... The preceding discussionperhaps suggeststhat, although re- structed" facade must be "lifted" becauseof an additional story. What remains of the monument are perhapsa few building ele- construction is not "forbidden" and does not necessarily repre- ments taken up in the new structure as a "compromise": a stone sent a preservation "sin" -the pros and cons must nonetheless be very carefully weighed. Just as a reconstructed completion with acoat of arms, an arcade,etc. A reconstruction on the site of an existing monument, neces- that is based on insufficient evidence or questionable hypothe- ses in fact falsifies a monument, so an unverified "creative re- sitating removal of the original monument,can thus be ruled out as a preservation solution. A modification of this approach - construction" cannot really restitute a lost monument, not even formally- and certainly not in its historical dimension. ln addi- dismantlement and re-building using the existing materials tion there is often confusion about the materials and the techni- -also almost always leads to criticallosses, although it is tech- cal, skilled and artistic execution of the lost original. Under nically conceivablewith building elementsof cut stone or wood some circumstancesa reconstruction requires, in addition to a that are not plastered and have no fill materials. Log buildings sound scientific basis, executionin the original forms and mate- can usually survive such a procedure with limited loss, if the rials, necessitatingappropriate craftsmanship and artistic capa- work is done with care and expertise. With buildings of cut ' bilities; of courseàny extant historic fabric shoiildbe integrÎited stone, the joints and the connectionsto other building compo- to the greatestextent possible. On principle, reconstructions that nents are lost; the loss of context is anywaya problem with eve- involve an original that was unaltered are more easily justified ry reconstruction that incorporatesexisting elements.Buildings than reconstructionsattempting to recreate an organic state that with in-fillings or plastering, conglomeratestructures, massive masonry,etc. usually forfeit the greaterpart oftheir historic fab- evolved over the centuriesand thus can hardly be "reproduced". In special casesa reconstruction may also be conceivable in ric in such a project, Thus a reconstructionusing existing mate- order to elucidate a fragmentary monument, to re-establish the rial, through dismantlement and reassembly,can be successful setting for extant fittings and decorative features or significant only with very few objects. Prerequisites are preservation- building components.In this context the roofing over of a ma- oriented preliminary investigationsand an endangermentto the sonry wall or other fragments through reconstruction work can existing object which cannot be counteredby any other means. sometimesalso have advantagesin terms of conservation. ln or- Despite the mentioned dangers, under certain conditions der to tolerate thistypeofappro~çh,t4eremustbe no 1!?~t9 ~~, rêconstruction cao 'be 'cônsidered a1egitimate preservation existing historic fabric, for instancethrough the replacement of method, as are conservation, restoration and renovation. In a original foundationsor through other stabilization measures.Fi- preservationcontext reconstructiongenerally is relatedto the re- nally, a reconstruction may be justified within a historic com- establishmentof a statethat has bee~lost (for whateverreason), basedon pictorial, written of material sources;it can range from plex or in a particularly uniform ensemblein which a gap (for completion of elementsor partial reconstruction to total recon- whateverreason it has developed)reduces, impairs or disfigures the ensemble. A prominent example is the reconstruction in struction with or without incorporation of existing fragments. Within the framework of renovation projects (cf. p. 13) re- 1908 of the Campanile of San Marco in Venice, after its sudden collapse,because it was an indispensableelement of the histor- construction of the original paint scheme-for instancere-estab-

20 f ,

INTRODUCTION

For reasonsof economy,a frugal handling of availablematerials reconstruct.This basic hum~ concem was not only valid for re- tended to pick up on what already existed; indeed this some- building in the period right after the war, but rather is equalIy times led to a "reconstructing" approach.A casein point is the true for rebuildingprojects that for various reasonsfirst became cathedralof Orleans: destroyedby the Huguenots, it was rebuilt possible decadeslater, as for example the Church of Our Lady throughout the 17th and 18th cènturiesin Gothic style. Rebuild- in Dresden.Beyond purely preservation aspects,the critical fac- ing has dimensions that mere reconstruction on a so-caIled sci- toris the motivation that is behind the wilI to rebuild, marking entific-inteIlectual basis does not have, The rebuilding of totaJ- the consciousnessof loss; under such circumstances the idea of Iy or partI y destroyed historic buildings, in particular of a time frame in which reconstruction is "stilI" alIowed or "no monumental buildings which visually embodiedthe history of a longer" justifiable -as is sometimessuggested -is not relevant. city or a nation, can be an act ofpolitical self-assertion,in a cer- Sensible handling of the subject of reconstruction requires tain sensejust as vital for the population as the "roof over one's a correct understanding of monuments "in the full richness of head". A prerequisite for rebuilding is of course the wiIl to re- their authenticity", as it saysin the preamble of the Venice Char- build on the part of the generationthat still feels the hurt of the ter. According to the document agreed upon at the Nara con- losses.It is sometimesastonishing how structuresthat are rebuilt ference conceming authenticity (seepp. 118-119), in the evalu- out of this motivation close the gap renderedby the catastrophe ation of a monument not only the oft-evoked historic fabric but and are perceived as historic documentsdespite the irreplacea- also additional factors ranging from authentic form to authentic ble loss of original fabric. This is particularly true if salvaged spirit play a role. The true substancefetishist, with his "materi- original fittings legitimize the rebuilding. It is also amazinghow alistic" understanding of the monument, can only confirm a a rebuilt monument not only can fulfill its old function, but also continualloss of authentic fabric, given bis perception of histo- can re-occupy the building's old position in history despite its ry as a one-way street of growth and decay; he can try to con- mostI y new fabric, for instancein the caseof the Goethe House serve the most recent state of a monument up to the bitter end. in Frankfurt. On the historic site of its old foundations can a But the preservationistwho, as a sort of lawyer for the historic building also integrate as far as possible the remnantsofhistor- heritage in a world that is changing as never before, tries to pre- ic fabric that survived the catastrophe,as weIl as any salvaged serve at least a certain degreeof continuity by saving historical fittings and decorative features. Besides, the rebuilt structure evidencemust be consciousof aIl the authentic values of a mon- should representthe state of the historic building before its de- ument, including a "display" value that may be purely aestheti- struction, if the true intent of the rebuilding is to close the gap calIy motivated or the often neglected "feeling" value that per- and not to embody the break in tradition that the catastrophehas haps tends toward reconstructions of a particular form or caused. situation. ln conjunction with the deep-felt human concem that A special situation involves the rebuilding of a structure in ac- arisesover rebuilding after catastrophes,there is also always the cordancewith how it looked at an earlier time, as documented additional issue of the perceptible presence of the past at the by architectural history research,rather than how it appearedbe- monument site, an issue that involves more than extant or lost fore destruction. In this approachthe "mistakes", alterations and historic fabric. additions oflater periods are purified, and even salvagedfittings may be partly or completely sacrificed to the new plan in order to bring out the "original appearance"of the architecture once Relocation of Monuments again. A processthat is similar to restoring a building back to an earlier state (cf. p. 12) this approaGhto rebuilding is problemat- Part of the context of reconstruction is the relocation of monu- ic from a preservation standpoint and only justifiable in excep- ments. In rare casesrelocation can be possible technicalIy with- tional cases. out dismantling and rebuilding, for instance with small struc- The history of rebuilding in Europe after the Second World tures such as a gardenpavilion which can be moved by inserting War -with thepossibilities ranging from a totally new begin- a plate undemeathit. But with every relocation the critical rela- ning according to the rules of modern architecture to casesin tionship of the monument to its environment and surroundings which reconstruction indeed duplicated the materials and forms is lost, togetherwith that part of the building 's historic message of buildings before their destruction-cannot be describedhere. which relatesto its particular location. In this context article 7 of Even as we.mourn what was lost, aspreservatio~s~.~e m~tcc "th~yeniceC~~",CM a1~~t~.beapp)~çq;tore~Qpa~~~;4 mo~-, t now acceptthe different alternativesused in rebuilding after the ument is inseparablefrom the history to which it bears witness war. Indeed we mustalready look at the results of rebuilding as andfrom the setting in which it occurs. The moving of alI or part historic evidenceand admit that the buildings that were more or of a monumentcannot be allowed except where the safeguard- less faithfully reconstructed are the ones that have actually ing ofthatmonument demandsit or where it isjustified by na- proved most successfulin the long run: numerousrebuilt struc- tional or international interests of paramount importance. tures are now themselvesrecorded in monument lists as authen- Thus from a preservation standpoint relocation is only ad- tic historic buildings; evenif they can never replacethe partI y or missible if the monument cali no longer be preserved at its totally lost originals of the pre-war period they are a document originaJ l()~ation, ifit cannot be protected in any other manner, for the time of their reconstruction.Opposition to any kind of re- if its demQJitioncannot be prevented. This situation becomes construction in view of the many historic buildings in ruins quite relevant not only in such casesas the removal of historic build- simply contradicted\v hat had beenthe naturalreaction over cen~ ings f{)r brown coal mining or the flooding of a village for a turies: the wish to re-establishthe familiar surroundings after a mali-madelake, butalso in the case of the approval of a new catastrophe,to put the usable rilaterials together again -thusto building on the site, regardlessofwhy the permission was grant-

21 [NTRoDucnON edoThere is evensome danger that the mere possibility of the re- locations generally involvç wooden buildings, in particular location Qf a monumentto the next open-air museumwill be tak- building types that were relocated at times in past centuries as en as an excusefor the sought-afterdemolitiono It is mostly ru- weIl. The nature o( their construction makes log buildings par- ral houses and farm buildings that are relocated, not only for ticularly suited for dismantling, transport and reconstruction. open-air museumsbut also out of private interestsoThe first re- Under certain conditions buildings of cut stone can be relocated, quirement in such casesis to ensurethat the historic building, stone for stone and course for course. ln contrast the relocation though removed from its original surroundings, is at least re- of most other massive buildings is usually pointless, since a erectedin a comparabletopographical situationoIn general relo- plastered rubblework wall can at best be rebuilt using parts of cation to a site that is as close aspossible to the original location the original material. The sameprinciples that apply for the re- and as sirnilar aspossible to the originallandscape situation is to pair of other historic buildings -regarding the use of authentic be preferredo materials, techniques of craftsmanship and conservation treat- ments (cf. pp. 17-f8) -are also valid for the repairs and com- Ultimately, the crucial requirement for a relocation is that the pletions that are inevitably necessaryon a relocated building. historic building can in fact be moved,i. e., that the original fab- Scientific documentation and recording of the original condi- ric ( or at least the majority of ilie most essential components) tion of a building are essential requirements for correct dis- can be relocated. Thus for purely technical reasonsgenuine re- mantling and rebuilding.

Iv: PRINCIPLES FOR THE PRESERVATION OF ARCHAEOLOGICAL HERITAGE, mSTORIC AREAS (ENSEMBLES) AND OTHER CATEGORIES OF MONUMENTS AND SITES

The Venice Charter refers to all kinds of monuments and sites, mains of their former fittings. Indeed to a certain extent an ar- as defined for instance in article lof the World Heritage Con- chaeologica! excavation can turn an archaeological monument vention of 1972 as cultural heritage (see p. 8). On the basis of back into an architectural monument, for instance if the remains this Charter other charters and principles were later developed of a min within a castle complex are exposed and subsequently for individual categoriesof monuments and sites. The Venice must be co!:tserved.On the other hand many architectural mon- Charter itself devotedan entire article to only one classicalmon- uments and even urban districts are simultaneously archaeolog- ' ument category, namely tôarchaeological heritage (see article ica! zones becauseof the underground remains ofpredecessot 15 on "Excavations"), for which the ICOMOS General Assem- buildin~s. bly in Lausanne in 1990 ratified the Charter for the Protection Since archaeologicalmonuments of different epochs are hid- and Management of the Archaeological Heritage (see pp. 104- den beneaththe ground or under water, specia! survey, excava- 106). For underwater archaeologythis Charter was completed tion and documentationmethods have been developedto record by the Charter for the Protection and Management of Under- and investigatethem. Survey methods include field inspections water Cultural Heritage (see pp. 122-124), which was ratified and the collection of materials which make it possible to desig- in 1996 by the ICOMOS General Assembly in Sofia. In the nate archaeological zones (topographical archaeologica! sur- following no further referencewill be made to the framework of vey), aeria! photography,and the recently developed geophysi- underwater archaeologydescribed in detail in that Charter. cal survey methods (magnetometry). These survey methods, which do not need to be described here in any more detail, are alre~dy tied tpt}le firstb!lSicxeq~e:wep.t,o~~~1cip~~, intbe Archaeological Monuments and Sites field of archaeologica!heritage preservation: A survey of the ar- chaeologicalmonuments of a country using thesemethods must Archaeological monumentsand sites are those parts of our cul- be carried out as accuratelyand comprehensivelyas possible. As tural heritage that are investigatedusing the methods of archae- in all fields of preservation, a survey of the existing stock is a ology; mostly hidden in the ground or underwater,they are an ir- prerequisite for its protection. replaceable source for thousands ofyears of human history. Of coursethe generalprinciples of the Venice Charter are a!- Archaeological heritage conservation is understood here as a so valid for the particular circumstancesof archaeologica!heri- "safeguarding of traces"; and not as "treasure-digging".A strict tage preservation. Archaeological monuments and sites should differentiation betweenarchaeological and architectural monu- be preservedin situ and as intact as possible; they must be main- ments does not al~ays seem appropriate, since archaeological tained, conserved,and under certain circumstancesrestored. Ar- monumentsin fact frequently consist of the vestigesof buildings ticle 15 of the Venice Charter deals separatelywith archaeology: that are hiddenunder the earth: s~ctures of stoneor wood, rem- Excavationsshouldbe carried out in accordancewith scientific nants of walls, colorations in the ground, etc. as well as the re- standardsand the recommendationdefining international prin- lNTRODUcnON ciples to be applied in the case of archaeological excavation ular: The overall objective of archaeological heritage manage- adopted by UNESCO in 1956. Ruins must be maintained and ment should be the preservation of monumentsand sites in situ, measuresnecessary for thepermanent conservation and protec- including proper long-term conservation and curation of aIl re- tion of architectural features and of objects discoveredmust be lated records and collections etc. Any transfer of elements of the taken. Furthermore, every meansmust be taken to facilitate the heritage to new locations representsa violation ofthe principle understanding of the monumentand to reveal it without ever dis- of preserving the heritage in its original context. This principle torting its meaning. stresses the need for proper maintenance, conservation and According to the above-mentionedUNESCO Recommenda- management.It also asserts the principle that the archaeologi- tion on International Principles Applicable to Archaeological cal heritage should not be exposedby excavation or le/t exposed Excavations,passed by the GeneralConference in New Delhi on a/ter excavation if provision for its proper maintenance and 5 December 1956, the best overall conditions for the protection managementa/ter excavation cannot be guaranteed. The latter of the archaeologicalheritage call for the coordination and cen- princîple îs weIl worth heedîng,consîdering the zeaI- on an în- tral documentationof excavationsby the relevant public author- tematîonallevel -wîth whîch archaeologîcalsîtes are laîd bare, ity of each country in conjunction with support of international only to be left exposedto the dîsastrouseffects of tourîsm wîth- collaboration; further, unauthorized digs and the illegal export out proper maintenance,conservation and management. of objects taken from excavationsites should be prevented.Par- The Charter of Lausanne aIso clearly dîfferentiates between ticular value is placed on preservation of the findings from ex- unavoîdableemergency measures precîpîtated by threats to a sîte cavationsand their retention in central and regional collections and excavationsundertaken for purely scîentîfîc reasons;the lat- and museumsin the territory of the excavation,or in collections ter can also serve other purposes such as împrovement of the directly connectedto important excavation sites. However, the presentatîonof an archaeologîcaIsîte. Accordîng to artîcle 5 Ex- recommendation from 1956 does not yet emphasize clearly cavation should be carried out on sites and monuments threat- enough that excavatedfindings, just as fortuitous findings, are ened by development,land-use change,looting or natural dete- always only part of a monument which embodies multifaceted rioration. When an archaeologîcalsîte îs doomed because aIl historical relationships; the goal of modern preservation prac- possîbleprotective measureshave faîled or could not be împle- tice as a comprehensive"safeguarding of traces" is to preserve mented, then of course îts excavatîonmust be as thorough and this whole to the greatestextent possible.But the long-antiquat- comprehensîveas possîble.1ncomparîson, excavations for pure- ed idea of archaeologyas mere "treasuredigging" evenseems to ly scîentifîc purposesof archaeologîcalevîdence that îs not en- lurk behind the relevantparagraphs in some of our modern mon- dangeredmust be justifîed rn detaîl; these are explîcîtly desîg- ument protection laws. nated as exceptional cases în the Charter of Lausanne: In Another critical criterion for the practice of modern archaeo- exceptional cases,unthreatened sites may be excavated to eluci- logical heritage preservationis missing from the recommenda- date researchproblems or to interpret them more effectively for tions of 1956: the differentiation between excavations carried thepurpose of presenting them to thepublic. In such cases exca- out for purely scientific interestsand the unavoidableemergen- vation must be preceded by thorough scientific evaluation ofthe cy or salvage excavations which in many countries have be- significance' ofthe site. Excavation should be partial, leaving a corne the rule becauseof threats to archaeologicalmonuments portion undisturbedfor jùture research. Thus înterventîons în , on a scale that was barely conceivablein previous decades.It is archaeologîcalsîtes whîch are not endangeredor whîch can be not only private constructionprojects that arerepeatedly causing protected despîteendangerment by the avaîlable legal resources destruction of unrecognizedarchaeological monuments, but al- should be avoîded as far as possîble,except for specîaI casesîn so a general"upheaval ofland" in the courseof public works, gi- whîch specîfîc scîentîfic problems are to be explored by excava- gantic architectural and civil engineeringprojects, new transpor- tions that are lîmîted to part of a sîte or a scîentifîcally and dî- tation facilities, and especiallyintensive agricultural use with its dacticaIly motîvated presentationarea for vîsîtors îs to be devel- concomitant land erosion.At least in conjunction with preserva- oped. The prerequîsîte for these specîal-case excavatîons îs tion projects involving historic buildings efforts can be made to alwaysthat the exposedsîte can în fact be conservedand perma- avert interventions in the ground; a typical example would be nently preserved.If the requîrementsfor the contînued maînte- leaving the "terrasancta" under the floor of a religious building nance of an archaeologîcalsîte are not met, then such "expo- untouched-gro~d whic~ is almost always of interest archaeo- sures" can on princîple, not be. justifîed. logically but Is often endangeredby installation of modern heat- The aboye-mentîonedlîmîtation on excavatîons of non-en- ing systems. dangeredarchaeologîcal sîtes to those that can be warranted not In light of the ubiquitous threats that force a profusion of only under scîentîfîc but aIso under conservatîon standpoînts emergencyexcavation and salvageoperations in many countries should anyway be an outcome of the most reasonable applica- -in such numbersthat they can hardly be executedaccording to tîon oflîmîted resources:Owing to the inevitable limitations of the strict scientific standardsof modern archaeologicalpractice available resources,active maintenancewil/ have to be carried -the Charter for the Protection and Management of the Ar- out on a selective basis, accordîng to artîcle 6 of the Charter of chaeological Heritage (Charter of Lausanne) defines com- Lausanne.Moreover, a crucîal reasonfor exercîsîngthe greatest prehensively for the first time the conditions, goals and princi- possîble restraînt îs the fact that every excavatîon means de- ples of archaeological preservation. The validity of the most structiO1i:As excavation always implies the necessityof making important principle of conservation-as far as possible monu:. a selection of evidence to be documentedand preservedat the ments are to be preservedintact at their original site -for archae- cost of losing other information and possibly even the total de- ological monumentsas well is emphasizedin article 6 in partic- struction ofthe monument,a decision to excavate should only be

23 1NTRODUCI10N taken after thorough consideration (article 5). With excavations great caution, so as to avoid disturbing any surviving archaeo- that are motivated purely by research interests it is sometimes logical evidence,and they should take account of evidencefrom possible to limit interventions significantly when the objectives aIl sources in order to achieveauthenticity. Wherepossible and can be met without employing the usual horizontal-stratigraph- appropriate, reconstructionsshould notbe built immediately on ic methods but rather by excavatinga narrow field; for instance the archaeological remains, and should be identifiable as such. one sector of a ring wall could yield alI the necessaryinforma- A special variant of reconstruction,anastylosis, a method de- tion. ln this way the archaeologicalmonument is mostly undis- veloped in the field of classical archaeologybut also applicable turbed and is preservedin situ, thus remaining available for lat- for partially destroyedmonuments oflater epochs(cf. p. 19) is re- er investigations with improved scientific methods. The ferred to in article 15 of the Venice Charter: AIl reconstruction UNESCO recommendationfrom 1956 had already made a pro- work should howeverbe ruled out a priori. Onlyanastylosis, that posaI in this sense:Bach Member State should consider main- is to say, the reassemblingof existing but dismemberedparts, can taining untouched,partially or totally, a certain number of ar- bepermitted. The material usedfor integration should always be chaeological sites of di.lferent periods in order that their recognisableand its use should be the least that wilI ensure the excavation may benefitfrom improved techniquesand more ad- conservation of a monumentand the reinstatement of its form. vanced archaeological knowledge. On each of the larger sites According to this method the fragmentsof an ashlar stone build- now being excavated,in sofar as the nature of the land permits, ing -for instance a Greek temple -found on or in the ground well defined "witness"- areas might be left unexcavatedin sev- could be put together again; the original configuration is deter- eralplaces in order to allow for eventual verification of the stra- mined from the site and from traces of workmanship, from peg tigraphy and archaeological composition of the site. holes, etc. If extant, the original foundations are used in situ. ln this context the Charter of Lausannealso refers in article 5 Such a re-erection demandspreliminary work in building re- to an important basic principle that must be applied to excava- search;an inventory of all the extantbuilding components,which tions of non-endangeredsites, a principle that moreoverencour- must be analyzedand measuredexactly, results in a reconstruc- agesthe use of non-destructivesampling methodsin place of to- tion drawing with as few gaps as possible so that rnistakes with tal excavations: It must be an over-riding principle that the the anastylosis can be avoided. A technical plan must also be gathering of information about the archaeological heritage worked out to preclude damageduring re-erection and to address should not destroy any more archaeological evidence than is all aspectsof conservation,including the effect ofweathering. Fi- necessaryfor the protectional or scientific objectives of the in- nally, the didactic plan for an anastylosismust be discussed,with vestigation. Non-destructivetechniques, aerial and ground sur- concern also being given to future use by tourists. vey, and sampling should therefore be encouraged wherever In order to be able to show original fragments -a capital, part possible, in preferenceto total excavation. of an entablature,a gable, etc. -on their original location and in The principles that are valid for preservation in general also their original context as part of an anastylosis,there is of course apply to the preservation of archaeological sites and artifacts. a need for more or less extensive provisional structures. The The often very fragmentary condition of the objects makes it fragments in, an anastylosis should only be conserved and pre- possible to l~it wo~k more to conservation instead, of restora- sentedas originals; they are not completed as in a restoration or tion or renovation; completions are carried out eithersparingly embeddedin a pâftiillorcomptete reconstriictioi1,The lirnits of or not at aIl. Other problems of repair and rehabilitation which anastylosis are reached when the original fragments are too arise with architectural monuments, especially in conjunction sparseand would appear on the auxiliary structure as a sort of with modem usesofhistoric structures,are largely unimportant "decoration". Anastylosis, an approachwhich can indeed serve in archaeologicalheritage management.When the completion to protect original material in certain circumstances,also illus- of an authentic fragment appearsto be appropriate, the work trates the special role of the fragment in archaeological heritage should be distinguishable, for instance by means of a dividing preservation. joint or layer orby a different format in the brick. Additional Finally reference must be made again to the necessity of a layers of masonry, for instance to make the ground plan of an comprehensive record and inventory of archaeological mon- early medieval church visil?le once again, can also serve as pro- uments as a basic requirement of archaeological heritage tection for the original foundationsthat were discoveredthrough preservation, expounded in article 4 of the Charter of Lau- excavation; however they should not r~place the originals. In sanne: The proteq#Qn{J! t~e archaepJ9g~sa~' herit~g,i\'~;~~ ?~, fact some excavationsites with their neglected,graduaUy disin- based upon thejùllest possible knowledge of its extent and na- tegrating remnantsof walls would indeed bemuch better off if ture. General survey of archaeological resourcesis therefore an they were concealedonce againunder a protective layer of earth. essentialworking tool in developingsirategies for theprotection Archaeological monuments are often presentedto the visitor of the archaeological heritage. Consequently archaeological as "visible history" with the help of partial or total reconstruc- survey should be a basic obligation in the protection and man- tions, a legitimate approach as long as history is not falsified agement of the archaeological heritage. According to article 5 and the original remnants-the actual monument -are not re- this should include appropriatereports on the results of archae- moved. Indeed in somecircumstances reconstructions, which al- ological excavations:A report conforming to an agreedstandard waYs should remain recognizableas such, can be erectedat an- should be madeavailableto the scientific community and should other locationso that.they do not endangerthe existing remains, be incorporated in the relevant inventory within a reasonable In this context article 7 of the Charter of Lausannestates Recon- period after the conclusion of the excavation -quite an under- structions serve two importantfunctions : experimentalresearch standablewish given the many scientific reports that do not ap- and interpretation. They shouid, howeve1;be carried out with pear within a "reasonableperiod" but are very long in coming.

24 INTRODUCTION

Moreover, becauseof the almost unavoidableprofusion of emer- article 6 (Whereverthe traditional setting exists it must be kept) gency and salvageexcavations with their immense "publication can be understood as a referenceto a certain ensemble protec- debts" and the excessivestockpile of artifacts, it has to be clear tion. ln the Venice Charter ensembleprotection did not yet play that it is now more important than ever to protect our archaeo- the decisive role which it received in the theory of conserva- logical monuments frorn intervention. In the final analysis an tion/preservationin connectionwith the EuropeanHeritàge Year excavationwithout a subsequentscholarly publication and with- of 1975. Frirthermore, there is article 14 on "Historic Sites" out conservationof the findings is totally useless. which points outthat when it cornesto conservation and restora- The importance of comprehensivedocumentation and scien- tion the same articles of the Venice Charter apply as for single tific publication of alI work undertaken in archaeologicalheri- monuments: The sites of monumentsmust be the object of spe- tage managementmust be emphasizedagain and again. Docu- cial care in order to safeguard their integrity and ensure that mentation and publication are absolutely essentialbecause every they are cleared and presented in a seemly manne7:The work of excavationis in fact an irreversible intervention that partially or conservation and restoration carried out in such places should totally destroys the archaeologicalmonument; indeed in many be inspired by the principles setforth in the foregoing articles . cases after completion of an excavation the monument, apart Here with "sites of monuments" not only archaeological sites frorn the artifacts, exists only in Theform of a scientific descrip- are meant, but also groups of buildings, ensembles, small and tion and analysis,and no longer in the form of undisturbed his- large historic areas,historic villages and towns. The fact that the toric fabric. Frorn this situation cornesthe principle: no excava- authorsof the Venice Charterwere very much awareof the prob- tion without scientific documentation. ln a certain sensethe lem concerning historic centers is shown by the "Motion con- scholarly publication, which conveysalI the phasesofwork and cerning protection and rehabilitation ofhistoric centres" adopt- thus makes the archaeological monument virtually re-con- ed in 1964by the sameInternational Congressof Architects and structible in conjunction with the salvagedartifacts, has to re- Technicians of Historic Monuments. However, in view of the place the original monument.The documentationfor an excava- sparse reference in the Charter to this important category of tion must include all the overlapping layers frorn various epochs monuments and sites the Charter for the Conservation of His- and different building phases;all traces ofhistory must be giv- toric Towns and Urban Areas (Washington Charter 1987, see en serious consideration.A particular historic layer should not pp. 98-99), adopted by the ICOMOS General Assembly in be studied and others neglected in the documentation; for in- Washington,was meant to be understood as a necessarystep for stance the classical archaeologist cannot heedlessly remove the protection, conservation and restoration of such towns and Byzantine remains or the prehistoric archaeologistneglect the areas as weil as their developmentand harmonious adaptation remains frorn medieval rimes that would be of interest to an ar- to contemporary life. Apart frorn various other international pa- chaeologistof the Middle Ages. pers this was precededby the UNESCO Recommendation Con- The obvious care that must be given to conservation of the cerning the Safeguardingand Contemporary Role of Historic excavated artifacts frorn all historical epochsmust also be seen Areas (Warsaw-Nairobi 1976). in this context. The conservation of archaeological findings - the reassemblingof ceramic shards,the preservationof wooden materialsfoûnd in the dampearth orofa practically unrecogniz- OtherCategories of Monuments and Sites ably rusted metal artifact which would rapidly and completely decaywithout conservationtreatment -is also a prerequisite for As another necessaryaddendum regarding categories of monu- correct publication of the excavation. Subsequently,after their ments not expresslymentioned in the Venice Charter has to be scientific treatment, groups of artifacts that belong together understoodthe Florence Charter of 1981 (seepp. 89-91) on the should not be unnecessarilysplit up and distributed among var- preservationofhistoric gardens:As monument,the historic gar- ious collections, but rather should be housed in a nearby mu- den must bepreserved in accordancewith the spirit of the Venice seuin of the particular region so that the crucial relationship to Charte!: Howeve1;since it is a living monument,its preservation tre original monument site is at least to some extent preserved. must be governed by specific rules which are the subject of the present charter (Florence Charter, article 3). The Charter on the Built Vemacular Heritage (see pp. 150-151) ratified by the Bistoric Areas (Ensembles) JCOMOSGe~eral.~semblyin Mexico in !999 isalso tobeun,. derstood as an addition to the Venice Charter. Furthermore, in The Venice Charter defines nionuments and sites in the widest the years to come we can expect from ICOMOS and its Interna- senseand refers explicitly not only to the individual monument tional Scientific Committees charters on the topics of cultural but also toits surroundings:It saysin àrticle 1 The concept of a landscapesand cultural routes, perhapsalso on the current top- historic monument embracesnot only the single architectural ic of"Modem Heritage", the heritage of the 2Othcentury, whose work but also the urban or rural setting..., which together with documentationand preservationare highly demanding.

25 INTRoDucnoN

v. THE OPTION OF REVERSmILITY

The term reversibility, not mentioned even once in the Charter be madereversible like a "piece offurniture". ln this context the of Venice, has in the meantimebecome common in connection preservationistmust always pose critical questions: why must a with conservation/restoration/renovationissues and the conser- roofing structurebe convertedinto a "coffin lid" of concrete that vation/preservationmeasures of aIl kinds meritioned in the pre- burdensthe entire structural system of a building, why is the en- ceding chapters. Of course,our monuments with aIl their later tire foundation of a church to be replaced irreversibly in con- changesand additions which indeed are to be acceptedon prin- crete?Is this intrusion in the historic fabric from above or below ciple as part of the historic fabric are the result of irreversible really necessaryfor preservation of the building? Is there not a historic processes.Their "age value" is also the result of more or much simpler, less radical, perhapsalso essentially more intelli- less irreversible aging processes.It can hardly be a question of gent solution? From a larger perspectivethe new building which keeping there "natural" aging processes( catchword "patina") accommodatesitself within a gap in the property lots of an old reversible, of rejuvenizing the monument, of returning it to that town undergoing urban rehabilitation -a modest solution re- "original splendor" that is so fondI y cited after restorations. ducedto the necessary-will also appearmore reversible than a Rather it is only a questionof arresting more or less "unnatural" structure such as a parking building or a high-rise that irrevoca- decay (for example the effects of general environmental pollu- bly breaks up the urban structure by extending over property tion), ofwarding off dangers,and simply ofkeeping all interven- lots, causing damagesthat from a preservation standpoint can tions that are for particular reasonsnecessary or unavoidable as hardly ever be made good again. "reversible" as possible."Reversibility" in preservation work as Also in the field of modern safetytechnology ( technology that the option of being able to reestablish-in as unlirnited a man- for conservationreasons is indispensablefor the preservation of ner as possible -the previous condition meansdeciding in favor materials and structures), where interventions such as fasten- of "more harmless" (sometimes also simply more intelligent) ings, nailings, static auxiliary structures, etc. are often "invisi- solutions and avoiding irreversible interventions which often ble" but nonethelessserious, the principle of reversibility can be end with an irreversible loss of the monument as a historic doc- introduced at least as a goal in the senseof a more or less rever- sible intervention, for example an auxiliary construction, re- ument. ln this sensewe can speakof a reversibility option within the movable in the future, which relieves historic exterior masonry context of severalprinciples of modem preservation laid down walls or an old roof structure. The issue of more or less reversi- in the Charter of Venice. Regarding the maintenanceof monu- bility will naturally also play a role in the weighing of advantag- ments there are measuresthat must be repeatedconstant I y and es and disadvantagesof purely craftsman-like repairs as op- thus to a certain degreeare reversible. It can be assumedthat a posed to modern safety techniques, quite apart from the certain degree of reversibility is guaranteedregarding repair questions of costs, long-term effects, etc. For example, is the measuresas well, if the important principle of repairs using tra- consolida~onof a sandstonefigure using a silica acid ester dip or an acryl resin full impregnation simply unavoidable because ditional materials and techniques is observed.; For instance in case of repairs that becomenecessary agam in the future or in theré is no othei alternativè or;iristead of a

26 INTRODUCTION

layer, which in the senseof a cyclic renewal may seemto be "re- stancea new coat ofpaint açcording to historic evidence) is re- versible" becausevarnish is replaced again and again by varnish versible; that is a renewedre-exposure of the original would be can be connectedwith irreversible damagesto the paint layero just as possible ~ renewedrenovation (the ability to be renovat- The demand for reversibility is valid moreover for many resto- ed again). rative additionsoWith appropriately cautious treatment of the Even where the principle of reversibility is legitimately transition "seam" between the new and the historic fabric, we brought into play, it is never a matter of a total revetsibility but can speakhere of an almost complete reversibility, for instance rather of reversibility options, of a more or less genuine reversi- the closure ofa gap in a painting using watercolor retouching bility, if the work is not absolutely irreversible but rather remains that can easily be removedoJust as we can speak about reversi- "to a certain degree"reversible. Thus there is a clear discrepancy bility in the senseof "ability to be repaired again" (see po 18) between theoretically conceivableand practicaIly realizable re- here we are concernedwith the option ofbeing able to conserve versibility. A very helpful aim for preservationpractice seemsto or restore again with as little damageas possible. be in this context the possibility of repeating certain measures, It is no coincidencethat the "reversibility debate"was inaugu- thus the already mentioned ability to repair again, to conserve rated primarily in the literature on the restoration of paintings: again, to restore again, to renovateagain, to add again: a monu- presumablypainting restorershave always been vexed by the ir- ment that is to survive the coming centuries in spite of its in- reversible interventions of their colleaguesin the near and dis- creasing"age value" is never repaired and restored "once and for tant pastoBut evenif restorationhistory is in many casesa down- alI", as one must sometimesfear given the wild perfectionism of ri~t alarming process,it does not allow itself to be reversedin our time, which naturally hasn't skirted the field of preservation. the senseof a "de-restoration"oThe restorer will hopefully be Finally, the issue of reversibility is naturally to be subordinat- careful about removing retouchings and additions that already ed, as are other preservation principles as weIl, to the principle are a part of the "historic fabric" as ifthey had been applied ear- of conservationas the highest tenet; in other words, in preserva- lier as "reversibly" as we can expect today from such a work - tion there must also be deliberate or unavoidable irreversibility, \Wrk which should at least be left open for possible corrections the irreversible intervention as the only possibility for preserv- by future colleagueswho are perhapsequipped with better tech- ing a monument. However, decisions for reversible or irreversi- nical possibilities and new knowledgeoln addition to the rever- ble measuresnaturally presupposethorough preliminary inves- sibility option suggestedfor conservation and restoration work, tigations; investigationsinvolving restoration findings as weIl as this approachcan eventuallyalso be helpful in renovations.Ren- building research,the "art" ofwhich should be to manage them- ovations of surfacesare perhapsthe sole meansnot only to pass selveswith interventions which are as slight as possible. More- down the architectural appearanceof a monument but also to over, theseinvestigations should actually be repeatablein the fu- conserve the surviving historic fabric under a new "wearing ture on the object, in order to be able to control results and course" as it were -provided that this wearing course (for in- eventually to make corrections.

VI. A PLURALISTIC APPROACH TO PRESERVATION 40 YEARS AFTER THE VENICE CHARTER

ThÏ!ty years after the Venice Charter ICOMOS published its Charterdoes not completely meet the demandso/ contemporary Scientific Journal 4 (The Venice Charter/La Charte de Venise society.Proponents and critics o/the Charter may be grouped in 1964-1994). The Journal also contains the summaryreport of the general into threeseparate camps. One de/endsthe Venicechar- International Symposium connected with the 9th General As- ter as it stands.In this camp are also thosewho de/end the Char- sernbly of ICOMOS in Lausanne, where a working group dealt ter with the condition that regional charters/orm an adjunct to ""wit4 theactualitY of th~Yenice Charter. This report underlines c,, :the,pre~ent4?cume1Jt.Th~,sec()ndpwpp~cscha~ng tlwse ar., the necessity to create a working group on the Charter of Venice ticles which/ail to meet current demandsand introducing sup- doctrine, theoryand commenttlries and comesto the conclusion: plementary articles to complete it. The third insists that a new We can affirm that the Charter of Venice is a historical monu- charter beprepared to replace the VeniceCharter altogether . ment which should beprotected and pteserved; /t needs neither If now, 40 years after the Venice Charter was written, such restoration, renewal, nor reconstruction. As for the future, it has criticisms arehardly heard any longer, this may have to do with been suggested that a commentary or a parallel text should be the fact that this paper, by now translated into many languages drown up to present interdisciplinary regional and national per- and known and appreciatedworld-wide, is considereda historic spectives, with the object offinding a bettersolution to the needs document,which must not be correctedin any way. Thanks to its of the new generations and the coming century. The Charter broad definition of the term "monument" the Charter can easily should be considered in a philosophical and open perspective be integrated into the cosmos of international theory and prac- rather tha" in a narrow and technical one. The same publication tice of conservation/preservationalthough nowadaysdefinitions also contains a review of the Venice Charter, written as early as of cultural heritage go far beyond the ideas of 40 years ago (see 1977 by Cevat Erder: Recent reactions ...show that the Venice p. 8); Furthermore, aims and possibilities combined with catch-

27 lNTRODUCflON --

words such as "repair", "rehabilitation", "reconstruction" and who backed completely a fiGtion of "original" form and design "reversibility" openup new perspectivesfor the safeguardingof which negated later alterations in accordancewith the ideas of monuments and sites as weIl as new fields of duties for the "stylistic purity" and "unity of style". They sacrificed to this fic- preservationof monumentcategories on which the Venice Char- tion not only aIl tracesof agebut also the historic layers that bad ter commentedonly cursorily or not at aIl. evolved over centuries, quite in keeping with Viollet-le-Duc's In accordancewith the "cultural diversity and heritage diver- famous definition of restoration: Restaurer un édifice, ce n'est sity", explicitly emphasizedin the Nara Document, regional pas l'entreteni1; le réparer ou le refaire. c'est le rétablir dans un principles on protection and conservation are also very wel- état complet qui peut n 'avoir jamais existé à un moment donné" come, one examplebeing the Burra Charter of 1979 (The Aus- ( Torestore a building is not to preserve it, to repair or rebuild it, tralia ICOMOS Charter for Placesof Cultural Significance), al- it is to reinstate it in a condition of completenessthat could nev- ready revised several times (see pp. 62-69). It seems that for er have existed at any given time). ln its strict rejection of this world-wide efforts to preservemonuments and sites "in the full "restoration" practice of the 19th century the "classic" conser- richness of their authenticity", as it says in the Venice Charter vation practice of the 2Othcentury, developed at the turn of the (cf. p. 7), a pluralistic approach taking regional traditions of century, concentrated exclusively on themere conservation of preservation into considerationhas under these circumstances monuments of artistic and historic value. At the same rime the become a matter of course.Consideringthe omnipresentthreats Modern Movement jettisoned alI "historic ballast", thus declar- to our cultural heritage,in aIl necessarystruggle for the right so- ing the new form, "purified" of even the simplest ornament, an lution in every individual casethere should not be any "dogmat- expressionof the respectivenew function ("form follows func- ic wars" about principles. Insteadit is important to savewhat can tion") in contrastto the conservedold form as "document ofhis- be savedwithin the range of ourpossibilities. Of course,the pre- tory" .Under thesecircumstances "pure" architecture and "pure" conditions vary a lot and dependon the existing -or non-exist- conservationcan actually only exist as contrasts, if only for rea- ing -monument protection laws and on an effective management sons of "honesty" and "material justice" -catchwords from the as weIl as on the commitment of all parties concernedand on the Modern Movement, which occasionally are even used today as quality of the conservationprofessionals. arguments in conservation practice, although they are hardly Within the framework of a necessarilypluralistic approachto suitable for the handling of historic architecture. conservation the Venice Charter, the foundation document of Against this backgroundtypical attitudes of the time when the ICOMOS (see p. 7), will also in the future remain one of the Venice Charterwas written are noticeable in some ofits articles, most relevant paperson the theory and practice of our work. But reflecting a period that was not only higWy critical of the ques- exactly becauseof that we must not ignore that from today's tionable restoration practice of Historicism but also of its archi- point ofview the Venice Charter as a historic documentdepends tecture in general.Even the conservationauthorities either puri- on a certain period: Up to a certain degree the Venice Charter fied many of these architectural witnesses or bad them bears testimony of its time and therefore not only requires sup- demolished altogether-buildings which in the meanrime would plements to special points -supplements which in many areas have achievedmonument statusthemselves. In the senseof the have already been made -, but also needs interpretatiQn from famous slogan "conserve, do not restore" by Georg Dehio, who time to time. The history of its origin leads back to the First In- was one of the founders of "clàSsic.." nioniifuent côriseivation c ternational Congressof Architects and Specialists of Historic around 1900, we can understandthe Venice Charter's cautious- Buildings in Paris 1957 and to the result of a meeting of conser- ness about "restorations", which should only be the exception vationists of historic buildings, organized by the International (article 9, seep. 9), and its negation of the question of "renova- Museum Office at the Athens conference,the Athens Charter, tion" by leaving it out completely as weIl as its rather "prudish" already mentionedseveral times (cf. pp. 8,9, 10, 15, 19). In a attitude towards replacements(article 12) or, what is more, re- way some of the thoughts found in the Venice Charter were de- constructions (article 15). On this account from a modernistic veloped parallel to the reflections formulated in the 1920s and point of view it was seducingto manipulate certain articles of 1930s by the Modern Movement, for instance the famous the Venice Charter in accordancewith one's own architectural Athens Charter of 1933by ClAM (= Congrès Internationaux doctrines, for instance article 15 as alleged prohibition of any d' Architecture Moderne, founded in 1928). With considerable kind of reconstruction ( seep. 19), or article 5 as an alleged com- contributions. froiD Le Corbusier ClAM àt that timè laid down .m:andto usecandfind a function for e~ery monuroyn\ (st;,e,P: 8), the rules of modern urban planning. even if this new function is paid for with considerab1eloss. Also in the caseof the Venice Charter theory and practice of In so far we must consider the Venice Charter as a historic conservation, as they have developed since the 19th century, document in correspondencewith the "classic" monument con- must be seenin close correlation to the respective "modem" servation evolved aroundthe tum of the century in Europe in op- architecture. Conservationpractice of the 19th century, in Eu- position tothe restorationpractice ofHistoricism. And of course rope a "child of Romanticism", born against the background of a certain correlation to the Modern Movement is noticeable, a first brutal wave of destruction during the French Revolution which by the 19605had developedinto the "International Style" and the Secularization,must be seen in its fluid transition be- and overcome alI political borders and social systems. There- tween "restoration" and "new creation", drawing from the freely fore, the thought suggestsitself that the crisis of modern archi- available arsenalof historic styles in close co~ection with the 1ecture in the 1970s, marked by the appearanceof so-called architecture of Historicism. Thus in the 19th century, despite Post-modernism,must also have had an impact on the practice waming voices from such men as John Ruskin and Wi»iam of dealing with historic architecture. The various trends in the Morris, the pre5ervation architècts who prevailed were those architecture of the last decadeshave indeed openedup new per-

28 INTRODUCTION spectives,including the possibility of reacting to a historic sur- geist" that the monument embodies,a hard-to-translate German rounding in adifferentiated way, not simply by contrast offorrn word suggestingthe spirit of the times in which the way of life and material, but occasionally by even using historic architec- and the "style" of a particular period or epoch are reflected. ture as a source of inspiration. In this context new opportunities Spaceand time can evenbecome one in the spiritual messageof for the preservationofhistoric architecturehave also developed. a monument, -the apparently paradoxical but quite tangible The intercoursewith historic architectureis even understood as presenceof the past. a kind of "school for building" in the senseof repair and sus- ln the future the close cooperation in protection and preserva- tainability -chances which conservationistsacting world-wide tion of our natural and cultural heritage as demanded by the must use in a pluralistic approach,adapted from caseto caseto World Heritage Convention (1972) will surely influence the fur- the various categoriesof monuments and sites and also taking ther developmentof conservationprinciples, thus going far be- regional traditions into account. yond the Venice Charter which aimed exclusively at our cultur- Within such a pluralistic approachall monument values need al heritage in the form of monuments and sites. The fact that to be taken into consideration,in the way they were already de- environmental protection and monument protection belong to- fined 100 yearsago by the still useful systemof commemorative gether,that today'spreservation practice rests on the foundations and present-dayvalues in Alois-Riegl's Modem Cuit of Monu- of a general environmental movement is an aspect that is not to ments (1903), going far beyond the question ofmaterial/imma- be overlooked,although so far the consequencesof this connec- terial or tangible/intangible values. While the Venice Charter at tion are to some extent only reluctantly acknowledged by pres- the time when it was written could hardly free itself from a ervationists themselves.But against the background of world- slightly one-sided cuit of historic substance-i.e. the emphasis wide progressiveenvironmental destruction on a gigantic scale, on the role of the authentic material, which to a certain extent is monument protection and managementalso take on a true mo- of course indispensable-, the Nara Document (cf. p. 118) de- ral dimension which has hardly been discussed in connection scribed the authentic values, including the authentic spirit of with the Venice Charter.The moral question directed to the pres- monumentsand sites, in a much more differentiated way than in ervationist himself is very tightly linked with the issue of con- the current debateon the rather simple distinction between tan- serving, of preservation as the supreme principle. However, gible and intangible values. Concerningthis authentic spirit one within the framework oftoday's "monument cuIt" the attempt to could recall the remarks on works of art by Walter Benjamin, establishgeneral moral tenets for handling the historic heritage who speaksof a spiritual messagethat is also expressedin every could avail itself less of the key term authenticity and more of monument'sand every site's own "trace" and its "aura". Trace is the key term continuity. The concept of historic continuity - understood here as the meaning of the history of the building, continuity which should be upheld and which of course is not which is expressedby traces of age, the "scars of time". Aura only embodiedin our monuments-can also be called upon as a refers not only to the aura of the famous original but also to the moral justification for monument protection: the remembrance auraof the modesthistoric monument,an aurathat is present"in of history, also necessaryin the future for man as a historical situ", even when the monument is no longer existing or is hard- creature,mu~t not be broken off. Therefore monuments and sites Iy comprehensibleas "historic fabric". So the true and authentic are to be preserved; to surrender them to destruction is not a spirit of monumentsand sites norrnally only finds expressionin question ofweighiriglriterestsbutrather a question of moraIs. ln combination with a particular place, a space encompassinga a figurative sensethis is true not only for cultural landscapes certain environmeIit or what we may have defined as a cultural shapedby monuments,but also for our natural environment, in landscapeor cultural route. In conjunction with such a space which the continuity of a natural history that encompassesmil- time as a historical dimension becomescomprehensible: time lions of years (also embodied by "monuments of nature") ap- that has passedat this place, a processthat has left many traces pears today to be in question. since the creation of an object, which has perhaps become a The now 40 year-old Venice Charter and alI the other ICO- monument, an o~ject of remembrance,only in the courseof cen- MOS charters and principles will hopefully accrue the moral turies, a monument in the senseof the Roman definition quoted strength that will help us in the future in the daily struggle above(see p. 8); time that is also presentin the forrn of the "Zeit- against the all-presentpowers of destruction.

(Translatedfromthe German by Margaret Thomas Will and John Ziesemer)