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Criterios De Intervención En El Patrimonio Arquitectónico Del Siglo XX Conferencia Internacional Cah20thc

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Criterios De Intervención En El Patrimonio Arquitectónico Del Siglo XX Conferencia Internacional Cah20thc MMiinniisstteerriioo CCrriitteerriiooss ddee IInntteerrvveenncciióónn eenn eell PPaattrriimmoonniioo ddee CCuullttuurraa AArrqquuiitteeccttóónniiccoo ddeell SSiigglloo XXXX CCoonnffeerreenncciiaa II nntteerrnnaacciioonnaall CCAAHH2200tthhCC.. DDooccuummeennttoo ddee MMaaddrriidd 22001111 I nnt te er rvveennttiioonn AApppprrooaacchheess iinn tthhee 2200tthh CCeennttuurryy AArrcchhiitteeccttuurraall HHeerriittaaggee II nntteerrnnaattiioonnaall CoConnffeerreennccee CCAAHH2200tthhCC.. MMaaddrriidd DoDoccuummeenntt 22001111 Criterios de Intervención en el Patrimonio Arquitectónico del Siglo XX Conferencia Internacional CAH20thC. Documento de Madrid 2011 Intervention Approaches in the 20th Century Architectural Heritage International Conference CAH20thC. Madrid Document 2011 Madrid, 14, 15 y 16 de junio de 2011 www.mcu.es Catálogo de publicaciones de la AGE http://publicacionesoficiales.boe.es/ Coordinación científica: Juan Miguel Hernández León Fernando Espinosa de los Monteros Dirección y coordinación: María Domingo Iolanda Muíña MINISTERIO DE CULTURA Edita: © SECRETARÍA GENERAL TÉCNICA Subdirección General de Publicaciones, Información y Documentación © De los textos y las fotografías: sus autores NIPO: 551-11-086-9 ISBN: 978-84-8181-505-4 Depósito legal: M-44469-2011 Imprime: Punto Verde Papel reciclado MINISTERIO DE CULTURA Ángeles González-Sinde Ministra de Cultura Mercedes E. del Palacio Tascón Subsecretaria de Cultura Ángeles Albert Directora General de Bellas Artes y Bienes Culturales Con motivo de la Conferencia Internacional sobre To mark the occasion of the International Confer- Criterios de Intervención en la Arquitectura del Si- ence on Intervention Approaches for 20th Century glo XX, deseo felicitar al Comité Científico Interna- Architectural Heritage, I would like to congratulate cional del Patrimonio del Siglo XX de ICOMOS y a la the ICOMOS International Scientific Committee on Escuela de Arquitectura de la Universidad Politécnica 20th Century Heritage and the School of Architecture de Madrid por la organización de este encuentro, así at the Polytechnic University of Madrid for organising como saludar a los participantes, profesionales e in- this event as well as welcoming the participants, pro- vestigadores en este campo, reconociendo el mérito fessionals and researchers in this field, and express- y valor de su tarea. ing my acknowledgement for the merit and value of Conservar el patrimonio arquitectónico del siglo XX their work. es un reto complejo y difícil. Complejo porque, a dife- Preserving the architectural heritage of the 20th rencia de la arquitectura histórica, las construcciones century is a complex and difficult challenge. It is del último siglo son muy variadas en sus materia- complex because, unlike historical architecture, the les, especializadas en sus espacios y fueron pensadas buildings of the last century feature highly varied ma- para que duraran media centuria. Difícil porque están terials and specially designed spaces, and were built especialmente amenazadas por los procesos urbanos, to last some fifty years. It is difficult because they are muchas veces no están adecuadamente protegidas y particularly threatened by urban processes; they are ni siquiera en muchos casos están suficientemente often inadequately protected and, in many cases, they valoradas por la sociedad. are not even sufficiently valued by society. Con estos condicionantes llevar a cabo las labo- Carrying out the tasks of protection, conservation res de protección, conservación y rehabilitación del and rehabilitation of 20th century architectural herit- patrimonio arquitectónico del siglo XX es en muchas age under these conditions is often an arduous mis- ocasiones una tarea ardua y de incierto resultado. A sion with an uncertain outcome. This is compounded ello se une la naturaleza efímera de nuestra civiliza- by the ephemeral nature of our modern civilisation, ción moderna, que hace que en términos generales which means that those words I wrote twenty years sigan teniendo vigencia aquellas palabras que escribí ago now are still generally valid: hace ahora veinte años: “Never has a civilisation given rise to so many cul- “Nunca una civilización ha generado tantos pro- tural products nor has one devoted so much effort to ductos culturales ni ha dedicado tantos esfuerzos a la the preservation of historical heritage as the present- conservación del patrimonio histórico como la actual, day civilisation, but never has a civilisation been so pero nunca una civilización fue tan efímera ni tuvo ephimeral nor has one ever had a footprint as in- una huella tan deleznable como la nuestra. La enor- significant as our own. The huge amount of objects me cantidad de objetos e ideas que estamos creando and ideas we are creating will soon be destroyed and será muy pronto destruida y olvidada. forgotten. “El arte actual, con sus infinitos materiales y técni- “Contemporary art, with its infinite variety of ma- cas diversas, se deteriora con gran celeridad; nuestra terials and techniques, deteriorates very quickly; our arquitectura está pensada para durar cincuenta años; architecture is designed to last fifty years; books, los libros, revistas y periódicos desaparecen en algu- magazines and newspapers disappear in a few dec- nos lustros, víctimas de su propia composición quí- ades, victims of their chemical composition; our be- mica; nuestras creencias, costumbres y rituales mo- liefs, customs and modern rituals change and occur dernos se modifican y suceden sin que puedan ser without being compiled and documented. recogidos y documentados. “In a few centuries, there will be nothing left of our “De nuestra vida y nuestra cultura no quedará life and culture but one big mysterious void. There dentro de algunos siglos sino un vacío misterioso. will be no legacy because our arsenal of expressions Nada podremos comunicar al futuro porque nuestro and the means we have to convey art, culture and arsenal de expresiones y medios de transmisión del thought will be devoured by their ephemeral nature. arte, la cultura y el pensamiento será devorado por su “Fighting to change the fate of our civilisation is 8 propia naturaleza efímera. a difficult task and one of colossal proportions. Con- “Luchar contra ese destino de nuestra civilización serving what is transient and making the ephemeral es una empresa difícil y de una dimensión colosal. endure has some of the charm of a drawing of ani- Conservar lo fugaz, hacer que perdure lo efímero tie- mals in motion or a photograph of kites. It is man’s ne algo del encanto del dibujo de animales en movi- rebellion against death, his attempt to freeze the tor- miento o de la fotografía de cometas. Es una rebelión rent of life”1. del ser humano contra la muerte, intentando congelar However, some things have changed in the past el torrente de la vida”1. twenty years in the culture of conservation and in the Sin embargo, en estos últimos veinte años algunas way we value the heritage of the 20th century. Organi- cosas han cambiado en la cultura de la conservación sations such as the Fundación DOCOMOMO Ibérico, y en la valoración del patrimonio del siglo XX. La professional associations and ICOMOS have managed labor que han realizado asociaciones como la Fun- to disseminate the importance of this heritage in so- dación DOCOMOMO, los colegios profesionales o ciety and carried out extremely important work in its ICOMOS han conseguido difundir en la sociedad la documentation, recording and publication. importancia de ese patrimonio y han propiciado una Concern over this issue prompted the Fundación labor de documentación, registro y publicación de DOCOMOMO Ibérico to make it the subject of its enorme importancia. sixth congress, held in Cadiz in 2007. The conclusion La preocupación por este tema llevó a la Fundación of that congress proposed that “conservation, neces- DOCOMOMO Ibérico a dedicarle su sexto congreso, sarily of a dynamic nature owing to the evolution of celebrado en Cádiz en 2007, en cuyas conclusiones uses and standards, requires a deep understanding of 1 Alfonso Muñoz Cosme. Presentación. Comunicaciones de la Segunda 1 Alfonso Muñoz Cosme. Presentation. Comunicaciones de la Segunda Reunión de Trabajo. Grupo Español de Trabajo sobre Conservación y Reunión de Trabajo. Grupo Español de Trabajo sobre Conservación y Restauración de Arte Contemporáneo. Imprenta de la Diputación Foral de Restauración de Arte Contemporáneo. Imprenta de la Diputación Foral de Álava. Vitoria, 1990, p. 7. Álava. Vitoria 1990, p. 7. se postula que “la conservación, necesariamente di- buildings and of the cultural background from which námica por la propia evolución de los usos y las nor- they were created, as well as heightened sensitivity mas, exige un profundo conocimiento del edificio y to prevent degrading deformations, which are some- de los antecedentes culturales que lo generaron, así times more negative than their disappearance”2. como una exacerbada sensibilidad para evitar defor- Moreover, the declaration of certain items as As- maciones degradantes, a veces más negativas que la sets of Cultural Interest or their inclusion in lists as- desaparición”2. sociated with urban planning tools has allowed pro- Por otra parte, la declaración de determinados ele- tection to be given to a part of these assets. Although mentos como Bienes de Interés Cultural o su inclu- this protection is not always ideal or fully adapts to sión en los catálogos asociados a los instrumentos de characteristics of the assets, it is a reflection of the planeamiento urbano
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