The Italian Paesaggio 2. Part

Jukka Jokilehto, 2018 Education & Policies

2 Gustavo Giovannoni (Rome, 1873-1947)

• Engineer, historian as well as architect • Professor of architecture at Regia Scuola di Applicazione per Ingegneri, 1927-1935 • Promoter of the first School of Architecture in Rome, where he taught documentation and restoration of monuments; • Founder of the Institute for Roman Studies

3 Roberto Pane (Taranto 1897-1987) • Architectural historian and architect • Graduate in architecture (Giovannoni) • Director of the School of Architecture, Naples • One of the founders of the modern conservation theory, “Restauro critico” • Restoration should be conceived in a new dimension, including a creative element, and, if well done, could itself become a work of art (Che il restauro è esso stesso un’opera d’arte sui generis . . .).

4 Guglielmo De Angelis d’Ossat (Rome, 1907-1992)

• Engineer, architect, architectural historian • 1931-33, assistant to Gustavo Giovannoni • 1933, School of Archaeology, Athens • 1947-1960, Director General of the Built Heritage (Antichità e Belle Arti) • Founder of the School of Restoration, at the University of Rome, in collaboration with ICCROM (1965-1970s)

5 Giulio Carlo Argan (Turin, 1909-1992)

• Art historian and politician • 1930, worked for the National Antiquity and Arts • 1938, contributed to creation of Istituto Centrale del Restauro (ICR) • 1976-1979, Mayor of Rome; establishment of special office for the urban conservation of the historic centre of Rome • Storia dell'arte italiana (1968) • Storia dell’arte come storia della città (1983)

6 Cesare Brandi (Siena, 1906 – 1988)

• Art critic and historian; graduated in law • 1939-1959, Founding director of the Italian State Institute of Restoration (Istituto Centrale del Restauro) ✓ Teoria del restauro (1963), ✓ Le due vie (1966), ✓ "Dialoghi di Elicona": Carmine o della pittura (1945), Arcadio o della Scultura (1956), Eliante o dell'Architettura (1956), Celso o della Poesia (1957) • 1883, Carta del Restauro (Camillo Boito), 3rd congress of Italian engineers and architects; • 1932, Norms for the restoration of monuments, Ministry of National Education; • the interventions on built artistic and historic Restoration documents are no less valid than those preserved in museums and archives, permitting Guidelines structural studies able to throw new light on elements of importance for the history of art and building; • convinced therefore that no reason of haste, of practical necessity or personal desire can justify that such activities should not correspond to a well-defined series of criteria […] • Nel restauro dei monumenti e delle opere d'arte è tassativamente da escludersi ogni opera di completamento o di ripristino o comunque 1'aggiunta di elementi che non siano strettamente necessari per la stabilità, la conservazione e la comprensione 1938, Istruzioni dell'opera. • L'eventuale aggiunta o sostituzione consentita dall'enunciato per il Restauro precedente, deve essere contenuta nei limiti della più assoluta semplicità ed eseguita con materiali e tecniche che ne attestino la modernità ed evitino, con 1'eliminazione di ogni ripresa decorativa dei Monumenti o figurativa, ogni possibile confusione con 1'antico. Ministero della Pubblica • Le integrazioni e le varianti anticamente subite da un monumento o Istruzione (Ministero da un'opera d'arte, quando abbiano per se stesse interesse artistico dell'Educazione Nazionale) o costituiscono un documento significative per la storia dell'operaio, devono essere conservate nel restauro, che in nessun caso dovrà ispirarsi ad astratti concetti di unità stilistica o tradurre in pratica ipotesi sulla forma originaria dell'opera, anche se appoggiate a testimonianze figurative o letterarie. Post-war Restoration Tempio Malatestiano, Rimini

10 ICCROM

• Rome Centre – ICCROM (1956; 1959) Informazione, Ricerca, Consulenza, Formazione • Jan Karel VAN DER HAAGEN (1902-1966), UNESCO, • Guglielmo DE ANGELIS D’OSSAT (1907-1992), Ministero • Paul COREMANS (1908-1965), IRPA • Cesare BRANDI (1906-1988), ICR • Frédéric GYSIN, ICOM.

• Harold James PLENDERLEITH (1898-1997), • Paul PHILIPPOT (1925-2016), • Sir Bernard Melchior FEILDEN (1919-2008) • Elaboration of theory: the fundamental principles of a modern conception of restoration based on methods of approach, theoretically established by reliable authors • The diffusion of knowledge of a rigorous conception of conservation and its methodology covers a very important part of the whole teaching of the Centre. 1960, Carta di Gubbio ANCSA

• Principi sulla salvaguardia ed il risanamento dei centri storici. • L’estensione a scala nazionale del problema trattato è stata unanimemente riconosciuta, insieme alla necessità di un’urgente ricognizione e classificazione preliminare dei centri storici con la individuazione delle zone da salvaguardare e risanare. • Si afferma la fondamentale e imprescindibile necessità di considerare tali operazioni come premessa allo stesso sviluppo della città moderna e quindi la necessità che esse facciano parte dei Piani Regolatori comunali, come una delle fasi essenziali nella programmazione della loro attuazione.

12 Conservation Theory

13 Human Creativity vs. Culture Cesare Brandi

• In contrast with certain trends, tending to integrate works of art in their general socio- economic context, Cesare Brandi sustains the specificity of a work of art. • He claims that the work of art is the result of a unique, creative process.

14 M. Heidegger & Natural object; C. Brandi There is no work

Tool / Instrument: The scope of design Walking is outside the object; “common product”

Work of art: The scope is in the work of art itself; “special product”

15 Perception by artist Cesare Brandi in “Carmine”

• Look, Carmine, if you approach a window and watch the panorama, an intuition of that panorama takes place quite suddenly … • But, if you are a painter and, with the glance you take at the panorama, you feel a particular interest in that landscape, there occurs an imperceptible change inside you, and yet fundamental, that can give a distant hint of what is going to come; when you adjust the lenses of the binoculars, the landscape now leaps at you with new clarity. • This second vision, that really can be called phenomenal, is not identical with the first - existential - vision, that you received, nor does it destroy it, but will be like catching an instance and prolonging it in time: you will have arrested something …

A. Gallen-Kallela 16 Authenticity achieved through Creative Process

C. Brandi Object in existential reality

Work of Art: Image revealed in form “Phenomenon that In the artist’s mind is not phenomenon” as ‘pure reality’

Immaterial + Material Work of art given “material reality”; Independent life 17 Paul Philippot (Former Director of ICCROM)

• Indeed, whatever period the work of art was created in, it gives itself to us hic et nunc, in the absolute present of perception. It lacks a reality of its own until it is recognised by a consciousness, and this recognition is not the result of a judgment arising from an analysis, but the identification of a specificity within the perception itself and the point of departure for the historian’s study. 18 Gunnar Berndtson Critical Process of Restoration

Transmission to future generations

Work of art in its Singularity of the work of art as a physical consistency and Special Product in its twofold aesthetic of human creativity and historical polarity

Methodological moment of recognition of

the work of art 19 Restoration of works of art

• Restoration consists of (establishes) the methodological moment of the recognition of the work of art, in its physical consistency and in its twofold aesthetic and historical polarity, in view of its transmission to the future.

20 Restoration work

❖One only restores the material of the work of art. ❖The specificity of the work of art, compared to other human products, does not depend on its material consistency nor on its twofold historicity, but on its artistic quality, of which, once lost, only remains a relict.

21 Aim of restoration

• Restoration should aim at the re- establishment of the potential unity of the work of art so far as this is possible without committing an artistic or historical fake, and without cancelling any traces of the passage of the work of art in time.

22 Whole of the work of art

• The unity of the work of art refers to the ‘whole’ and not the ‘total’; e.g., in a mosaic, the total of the pieces does not form the whole; • The image is really and only as it appears. (L’immagine è veramente e solamente quello che appare. Brandi, 1963:43)

23 Limits of Intervention

• Unity of whole vs. organic unity; • Analogy? • The limits of an intervention are defined in relation to the potential unity and authentic records of the historic (original) condition;

24 Inner and External Spatiality

• Built-in spatial quality in a work of art; • The work of art in relation to external space; • Relation of painted surfaces and sculptural décor within architecture; • Relation of historic building within its physical context;

25 Historical Time Line (‘Tempo storico’)

Period restoration: Colonial Williamsburg Reconstruction of Warsaw

Duration and changes Recognition at First Creation over historic time Present time

Historical Time Line

26 Historical stratigraphy

27 • In order to be able to provide for the adequate safeguarding of the urban organism concerned, considering its continuity over time and the functioning of the civic and modern life therein, it is necessary, first of all, to reorganize the Historic 1972 Charter of Centres in their largest urban and territorial context and in Restoration their relationships and connections with future ‘all works of art, in developments. • This is necessary also for the purpose of coordinating the their broadest urban planning activities in a way to achieve the safeguard meaning – from the and rehabilitation of the historic centre starting from the exterior of the city, utilising the adequate management and urban environment to programming of projects in the territory. architectural • It will thus be possible to redefine, through such projects monuments, …’ (using urban planning tools), a new urban organism, where the historic centre is liberated from functions that are not congenial to its rehabilitation (recupero) in terms of conservative recovery (risanamento conservativo).

28 International Context

29 • The studies and measures to be adopted with a view to the safeguarding of landscapes and sites should extend to the whole territory of a State, and should UNESCO: not be confined to certain selected landscapes or Safeguarding of sites. • In choosing the measures to be adopted, due the Beauty and account should be taken of the relative significance of the landscapes and sites concerned. Character of • Protection should not be limited to natural Landscapes and landscapes and sites, but should also extend to landscapes and sites whose formation is due wholly Sites (1962) or in part to the work of man. • Measures taken for the safeguarding of landscapes and sites should be both preventive and corrective.

30 Camonica Valley (Valcamonica) • The first Italian WH nomination (1979) in Camonica Valley (in the Alps) concerned one of the largest collections of prehistoric petroglyphs in the world. The earliest of these dated to some 8,000 years ago.

31 • European Charter of the Architectural Heritage, 1975 • The European architectural heritage consists European not only of our most important monuments: it also includes the groups of lesser buildings in Architectural our old towns and characteristic villages in their Heritage Year, natural or manmade settings. • Considering that the future of the architectural 1975 heritage depends largely upon its integration into the context of people's lives and upon the weight given to it in regional and town planning and development schemes

32 • Historic areas and their surroundings should be regarded as forming an irreplaceable universal heritage. The governments and the citizens of the States in whose territory they are situated should deem it their duty to UNESCO: safeguard this heritage and integrate it into the social life Safeguarding & of our times. • Every historic area and its surroundings should be Contemporary considered in their totality as a coherent whole whose balance and specific nature depend on the fusion of the Role of Historic parts of which it is composed and which include human activities as much as the buildings, the spatial Areas (1976) organization and the surroundings. All valid elements, including human activities, however modest, thus have a significance in relation to the whole which must not be disregarded.

33 • (i) Venice is a unique artistic achievement. The city is built on 118 small islands and seems to float on the waters of the lagoon, composing an unforgettable landscape whose imponderable beauty inspired Venice and its Lagoon, Canaletto, Guardi, Turner and many other painters. • (v) In this coherent ecosystem where the muddy shelves (alternately WH 1987 above and below water level) are as important as the islands, pile- dwellings, fishing villages and rice-fields need to be protected no less than the palazzi and churches. • (vi) Venice symbolizes the people’s victorious struggle against the elements as they managed to master a hostile nature. 34 • Landscape is defined as: • a given territory is perceived by an individual or community CoE, Recommendation • past and present relationships between on the Integrated individuals and their environment • mould local cultures, sensitivities, practices, Conservation of beliefs and traditions Cultural Landscape • Cultural landscape areas: specific Areas as part of topographically delimited parts of the Landscape Policies landscape, formed by various combinations of human and natural agencies, which illustrate (1995) the evolution of human society, its settlement and character in time and space and which have acquired socially and culturally recognised values at various territorial levels

35 Ferrara and Po Delta

• Ferrara, City of the Renaissance, and its Po Delta, situated within the Emilia Romagna region of Italy, is a remarkable cultural landscape. • The area comprises the urban centre of Ferrara and adjoining agricultural lands within the ancient and vast Po River Delta.

• WH 1995, 1999; Criteria: (ii), (iii), (iv), (v), (vi)

36 • to recognise landscapes in law as an essential component of people's surroundings, an expression of the diversity of their shared cultural and natural heritage, and a foundation of their identity; European • to establish and implement landscape policies aimed at landscape protection, management and planning through Landscape the adoption of the specific measures set out in Article 6; • to establish procedures for the participation of the general public, local and regional authorities, and other parties with Convention an interest in the definition and implementation of the (CoE 2000) landscape policies mentioned in paragraph b above; • to integrate landscape into its regional and town planning policies and in its cultural, environmental, agricultural, social and economic policies, as well as in any other policies with possible direct or indirect impact on landscape.

37 • d. "Landscape protection" means actions to conserve and maintain the significant or characteristic features of a landscape, justified by its heritage value derived from its natural configuration and/or from human activity; Landscape • e. "Landscape management" means action, from a perspective of sustainable development, to ensure Management the regular upkeep of a landscape, so as to guide and harmonise changes which are brought about by (CoE 2000) social, economic and environmental processes; • f. "Landscape planning" means strong forward- looking action to enhance, restore or create landscapes.

38 • Art. 131: For the purposes of this Code, a landscape is a homogeneous part of territory whose characters derive from nature, human history or mutual Code of interrelations. The protection and enhancement of the landscape safeguard the values ​​that it expresses cultural as perceptible identity manifestations. heritage and • Art. 133: The activities of protection and enhancement of the landscape comply with the landscape obligations and principles of cooperation between States deriving from international conventions. (2004) • Art. 135: The regions ensure that the landscape is adequately protected and valued … approving for this purpose “landscape plans”.

39 Vienna Memorandum, 2005

• The historic urban landscape is embedded with current and past social expressions and developments that are place-based. • It is composed of character-defining elements that include land uses and patterns, spatial organization, visual relationships, topography and soils, vegetation, and all elements of the technical infrastructure, including small scale objects and details of construction

40 • The historic urban landscape approach aims at preserving the quality of the human environment, enhancing the productive and UNESCO, sustainable use of urban spaces while recognizing their dynamic character, and Recommendation on promoting social and functional diversity. It The Historic Urban integrates the goals of urban heritage Landscape (HUL conservation and those of social and economic development. It is rooted in a balanced and 2011) sustainable relationship between the urban and natural environment, between the needs of present and future generations and the legacy from the past.

41 • Civic engagement tools should involve a diverse cross- section of stakeholders and empower them to identify key values in their urban areas, develop visions that reflect their diversity, set goals, and agree on actions to safeguard their heritage and promote sustainable development. • Knowledge and planning tools should help protect the integrity and authenticity of the attributes of urban HUL Tools heritage. • Regulatory systems should reflect local conditions and may include legislative and regulatory measures aiming at the conservation and management of the tangible and intangible attributes of the urban heritage • Financial tools should aim to build capacities and support innovative income-generating development, rooted in tradition.

42 Traditional town in painting by Lorenzetti

43 Meeting Challenges

44 Risk Map by ISCR

• "Risk Map" is a territorial information system that gives scientific and administrative support to state and regional bodies in charge of protecting the cultural heritage. • Map of Rome

45 • ‘The profound discomfort that pervades all the categories involved in the protection of the Italian Cultural Heritage is particularly felt among the restorers. • For the complex and delicate care, not only material, for which they are responsible, the restorers live in first 2016 person the paradoxical reality of being among the most Manifesto of Italian important operators of the protection and conservation of our unequalled works of art and, at the same time, Restoration part of an unstable category oppressed by confused and Restauratori Senza contradictory rules, if not irrational, which deny, in Frontieri – Italia substance, the precise role assigned to them. … • Beyond the recurrent political discourse and statements full of phrases so reassuring as empty of content, the feeling remains that our culture and our cultural heritage are increasingly relegated to the margins of our consciences

46 2017 MiBACT: Stati Generali del Paesaggio

(Ministero dei beni e delle attività culturali e del turismo)

• Salvatore Settis: • ‘… it is urgent … to de-aestheticise the notion of landscape, considering it primarily not as a view to look at, but as an environment in which to live. • It is necessary to mobilize knowledge, from the right to the history of art, from sociology to anthropology, from urbanism to architecture, so that they can gather at the bedside of that great patient who is our landscape. In fact, urban regeneration cannot be achieved if there is no human regeneration, an even truer principle in the face of emergencies, such as earthquakes. • Italy … has the historical responsibility of having, in the protection of the landscape and the historical-artistic heritage, the most ancient legislation of the world, prior to the same national unity.

47 2018 MiBACT ‘Charter for the Landscape’

Osservatorio nazionale per la qualità del paesaggio

• The principal sections of the charter concern: • 1) governance, • 2) education, • 3) protection

48 1. Promote new strategies for the governance of the complexity of landscape; a) Promote, with a long-term vision, the attention to the quality of the landscape in all the public policies that affect the Governance territory. b) Ensure the centrality and pre-eminence of the Landscape Plan as a Constitution of the territory.

49 2. Promote education and training for culture and knowledge of landscape; a) Promote landscape culture as a common good for the creation of a widespread civic consciousness. b) Promote landscape issues in training Education university and post-graduate, and provide for refresher courses on the transformation of the landscape for the institution of specialist figures, in particular for the public sector Administration.

50 3. Protecting and enhancing the landscape as a tool for cohesion, legality, sustainable development and wellness, even economic: a) Assume the quality of the landscape as a strategic scenario for the development of the country and promote the redevelopment of the landscape as a tool Protection to combat social decay and illegality. b) Counteract illegality. c) Provide for policies and actions aimed at valorisation of the rural, agricultural, forest and natural landscape.

51 WH Cultural Landscapes

52 • Cultural landscapes are cultural properties and represent the "combined works of nature and of man“… • They are illustrative of the evolution of human society and settlement over time, under the WH influence of the physical constraints and/or opportunities presented by their natural Operational environment and of successive social, economic and cultural forces, both external and internal. Guidelines 1. landscape designed and created intentionally by man 2. organically evolved landscape: a) relict, b) continuing; 3. associative cultural landscape

53 Assisi, WH 2000

• ‘Assisi represents a unique example of continuity of a city-sanctuary within its environmental setting from its Umbrian- Roman and medieval origins to the present, represented in the cultural landscape, the religious ensembles, systems of communication, and traditional land-use.’

54 • Giovanni Astengo: ‘Il volto di Assisi’: • Viewed from the plain, the city appears as a whole, like a large Assisi, Giovanni Astengo built scene, formed by long walled stages, and imperiously superimposed on the green slopes of the mountain, which urban master plan (1955-1958) disappears under the walls as if swallowed, to resurface at the top, crowned by the Rocca, and then merging to the east, after the short break of the saddle of Piazza Nova, with the slopes of Mount Subasio. 55 Assisi, territory and analysis of vulnerability Dr. Viviana Martini56 Urbino, WH 1998

• Criterion (ii): During its short cultural pre-eminence, Urbino attracted some of the most outstanding humanist scholars and artists of the Renaissance, who created there an exceptional urban complex of remarkable homogeneity, the influence of which carried far into the rest of Europe. • Criterion (iv): Urbino represents a pinnacle of Renaissance art and architecture, harmoniously adapted to its physical site and to its medieval precursor in an exceptional manner.

57 Urbino Duke Federico da Montefeltro & Battista Sforza,

Painting by: Piero della Francesca (c. 1465)

58 Urbino, Master plan 1958-1964

• Giancarlo De Carlo • The Plan has a number of technical objectives, but the ultimate aim is always the same - to give Urbino and the region in which it lies, a system of planning which will enable it to take its place once again in the modem world .

• Visual analysis by De Carlo

59 Urbino Objectives of the Master Plan

₋ to re-establish links and communications between the area and the regions surrounding it, facilitating the flow of traffic and economic interests; ₋ to encourage the localization of any activity fit to the character of the area which already exists inside the area, as a natural trend ; ₋ to reconstruct and renovate buildings and amenities so as to raise the standards of living, to halt the deterioration in housing conditions; ₋ to eliminate the emergence of depressed areas, and to root out the causes and consequences of segregation; ₋ to spread and improve the advantages of the urban life; ₋ to ensure that the Historical Centre and the surrounding countryside are not destroyed; to give the artistic treasures and natural beauty of the area a social role and context, so that they can act as a stimulus to further development.

60 Urbino, Master Plan

61 Rome: Urban Master Plan 2000

62 63

Rome, La Rinascente, 2017 64 Thank you, Mange Tak

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