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1
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"Die Zukunft der Vergangenheit. Grundsätze Probleme und Möglichkeiten der Denkmalpflege", Friedrich Mielke, Suttgart 1975 : [recenzja]

100%
Krzyżanowski L.
Ochrona Zabytków
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1978
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issue 4
281-282
2
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Karta Wenecka czy Karta Konserwacji Zabytków?

100%
Krzyżanowski L.
Ochrona Zabytków
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1975
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issue 3-4
217-221
EN
In reference to the discussion that is being led in this country with concern to application of provisions contained in the Charter of Venice the author expressed a view th at the art of conservation can be considered as the interpretative humanist activity which is by no means in conflict with the main rule of conservation. The rules of conservation tre atments formulated in various times, though ranging over the national levels and progressive in their nature, while gathered to form a collection grew to an expression of views typical of a certain defined stage of historical development. Thus there arises a need of permanent confronting the present views of conservators with the relevant regulations in force and with documents declaratory as to their character. The Charter of Venice, a document that was not subjected to discussion in Poland until 1974 may be considered such an act. It did not also have any essential rank of a document governing the practice of conservation. On the other hand a legal act that makes the sign of equality between the rebuilding and reconstruction which, however, is in contradiction with rules of the Venice Charter. According to the author the Charter of Venice does not constitute a document covering the problems of both conservation and restoration of all historical monuments, but it relates to part of them only. So it seems quite easy to arrive at a reflection th a t the Charter of Venice has been confined in its coverage to architectural objects alone. But a definition of historical monuments is considered inadequate, for the material succession of the past forms a certain contained entity to which the passing years has been making their contributions and which is being also lessened with elapsing time. Each of its components is a document of the past. The appropriate formulations made by conservators relating to one area of art do not, however, exclude the integrated approach to the problem. In the case of conservation of architecture and te movable historical monuments the common undertaking of the problem of authenticity and of original matter of a historical monument will prove profitable for conservation of architecture where the primple of respect for an original object too often gives to place in favour of the object’s function and of technology. There is an urgent need to prepare a document on conservation having national character that could ' give a rise for international discussion.
3
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Nowe w starym – o dosłownej interpretacji Karty Weneckiej na przykładzie wybranych aranżacji malowideł ściennych w zabytkach architektury

100%
Korpała M.
Ochrona Zabytków
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2016
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issue 2
129-143
PL
Od początku XX w. toczyły się dyskusje wokół konserwacji malowideł ściennych. Karta Wenecka wskazywała reguły postępowania i inspirowała w ustalaniu zakresu ingerencji podczas prac konserwatorskich. W latach powojennych podejmowane prace konserwatorskie wobec zniszczonych malowideł ściennych zmierzały do uzupełnienia dekoracji malarskich. Było to przywracanie kompozycji, kształtu czy kolorystyki zgodnie z wiedzą o tym, jak wyglądały w przeszłości. Uzupełnienia rozumiano jako odtworzenie lub rekonstrukcję dzieła oraz jako jego współczesną aranżację, której celem było uzyskanie spójności estetycznej wnętrza. Nowoczesne polichromie stanowiły zwrot od wiernej odbudowy lub stylizacji historycznej zniszczonych zabytkowych wnętrz. Formy współczesne kontrastujące z historyczną strukturą odbudowywanych i poddawanych konserwacji zabytków spełniały postulat odróżnialności substancji dawnej-autentycznej od uzupełnień noszących „znamiona naszych czasów”, który jest zawarty w Karcie Weneckiej.
EN
Debates centred around the conservation of wall paintings have continued since the early 20th century. The Venice Charter indicated the rules of conduct and was an inspiration in setting the scope of interference during conservation work. In the post-war period, conservation work of destroyed wall paintings was aimed at replacing the missing elements of painted decorations. This involved restoring their composition, shape or colours in accordance with knowledge of how they had looked like in the past. This activity was understood as the restoring or reconstructing of a work of art and as its contemporary arrangement that was aimed to achieve aesthetic consistency of the interior. Modern painted decorations constituted a departure from the faithful reconstruction or restoring the historical look of destroyed historic interiors. Contemporary forms that contrasted with the historic structure of monuments under reconstruction or conservation met the postulate of distinctness between the old-authentic substance from replacements that “bear a contemporary stamp”, as stated in the Venice Charter.
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Wspomnienie o profesorze Zachwatowiczu - konserwatorze zabytków

100%
Gruszecki A.
Ochrona Zabytków
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1984
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issue 2
86-87
5
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Karta Wenecka i restaurowanie zabytków na Węgrzech

88%
Horler M.
Ochrona Zabytków
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1976
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issue 1
33-42
EN
The author starts his article with the explanation o f . historical significance of the Charter of Venice which was passed in 1964. He also describes some possibilities of its application in reconstruction of Hungerian monuments. As far as recoinstruction of historical buildings in concerner, Hungerian restorers and architects tend to adjut them to the needs of modern life. Their primary principle is to arrange luxurious apartments, which is the only way to find lodgers who will respect their historical character. The author gives some examples of such adaptation of historical houses in Sopron and Budapest. He also discusses various ways of exploitation of monuments of other kinds (such as churches, castles and palaces) in Hungary. Then he deals with monuments which have suffered partial destruction. In such cases it is very important for conservators to establish to what extent reconstruction can be done. The example which may be quoted here is the bastion of the Diósgyor castle, where for the reconstruction of isome time — worn fragment ferro — concrete has been used to mark the border line of the original walls. Gun hatches have also been made in this material. Now they enable to see the construction’s interior, to define the degree of destruction and to recognize technics and materials used for the reconstruction purpose. In other cases (e.g. in the Romanesque church in Varaszó) bricks and original stone material which came from derudition of the outbuilding have been used for reconstruction. Artificial stone is also employed to supplement missing parts (e.g. in the Simontornya castle). The author presents achievements of Hungerian conservators in the field of restoration of ruins, e.g. Roman amphitheaters or temples and medieval castles and palaces. Iu such cases the anastylosis method in applicable, e.g. in the restoration of the Esztergom castle or the ruins of the Visegrâd palace where time — worn fragments af vaults and w alls have been supplemented with modern material and original stone details have been put in their primary places. Then the author proceeds to discuss the restoration works at the Royal Castle in Buda. They have been performed in two ways: — by means of the anastylosis method in case of buildings occupying an opôn area, — on the basis of hypothetic data and annalogies as far as reconstruction of fortifications in concerned. Hungerian medieval monuments of greatest importance can be examined only by means of the excavatory method. This has resulted in the necessity to work out the way of reconstructing these monuments. Therefore the model of an object is made on the basis of its preserved parts and possibly — some written sources. Then places for some fragments recovered in the course of archeological investigations are found out. Finally, on the grounds of this discovery the object is reconstructed through supplement of missing elements with artificial material. Reconstructions of buildings composed of various elements which can be derived from various ages is the other problem that is being solved by Hungerian conservators. In this case the principle of the eldest relicts’ exposition is accepted (e.g. Gothico-Baroque tenement-houses of Sopron). In frequently happens, however, that a structure was remodeled in the 19th century in the course of present restoration the alternations are taken into account as manifestations of the epoch. At the end of the article the author postulates the necessity to begin international exchange of opinions on the subject of the idea and priciples of monuments’ preservation in various countries.
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Ku pluralistycznej filozofii konserwatorskiej XXI wieku

75%
Tomaszewski A.
Ochrona Zabytków
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2000
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issue 1
1-4
EN
Access to the UNESCO Convention on World Heritage, passed in 1972, by numerous states of the Far East and their declarations of cultural property to be placed on the World Heritage List, disclosed a profound divergence between two philosophical-methodological approaches to conservation and the protection of historical monuments. The European conception, based on the authenticity of substance, is derived in a straight line from the Roman-Christian cult of the holy relics, and is applied in the case of permanent building material and a mild climate. Only in those conditions, and with suitable conservation, can an architectural object last for centuries and millennia in its unaltered material structure. The Far Eastern conception is based exclusively on the authenticity of form, function and tradition, and originates from a belief in reincarnation. It is employed for unstable (soil, timber, bark, and bast) and in an extremel aggressive climate. Solely thanks to the principle of a systematic exchange of used elements or whole fragments of a building could the old architecture of the Far East, at Times boasting of a more than a thousand year-old lineage, survive to our times in a form close to the original. It must be stressed th a t both contradictory philosophies possess certain universal elements and made undeniable conmaterial tributions to the protection of cultural heritage. If during the discussion waged by the East and the West we opt for mutual respect for our philosophies, recognising their great although different merits for the protection of cultural property and, at the same time, indicate the fact that the development of science and technology permits and suggests the retention of original substance in all those instances when it is possible, then we shall be taking an important step towards a universal conception, albeit enmaterial dowed with a truly pluralistic character.
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KONSERWACJA RUIN HISTORYCZNYCH UWAGI O METODZIE

75%
Tajchman J.
Ochrona Zabytków
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2005
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issue 4
27-46
EN
The conservation of historical ruins is one of the most difficult domains of the protection of monuments of architecture. Unique methods were conceived relatively early on in England. The presented article is an attempt at a methodic description of the course of work intent on making ruins open to society, after the introduction of suitable protection as well as those ventures which would prolong their existence. Work is based on a complete examination of the ruins and their assessment, together with the directives of the Venice Charter (article15 ) : “Ruins must be maintained and measures necessary for the permanent conservation and protection of architectural features and of objects discovered must be taken. Furthermore, every means must be taken to facilitate the understanding of the monument and to reveal it without ever distorting its meaning. All reconstruction work should however be ruled out ‘a priori’. Only anastylosis, that is to say, the reassembling of existing but dismembered parts can be permitted. The material used for integration should always be recognizable and its use should be the least that will ensure the conservation of a monument and the reinstatement of its form”. The first stage of the undertakings should include initial reconnaissance of the ruins; studies, including archaeological and protection, and producing documentation; the assessment of type ruins from their viewpoint of their historical, artistic, emotional and picturesque qualities. The second stage consists of arriving at a general conception of the “reanimation” of the ruins by granting them a new role and planning their total protection. The final stage involves making a detailed programme and its realisation for the sake of the ruins, their background and surrounding. A detailed programme focused on ruins must take into consideration the necessity of limiting socalled consecutive supplements, usually caused by the following factors: - preparing the ruins for sightseeing, which results in outlining protected excursion routes, - construction reinforcement and the conservation of the substance of permanent ruins, with emphasis on the wall face and coping as well as the proper drainage of the whole premise, - the process of rendering the ruins legible (so-called interpretation supplementation) for the sake of a correct comprehension of the original structure and function, - display of the extracted details (lapidaries), - rendering the ruins more attractive, e. g. thanks to son et lumiere spectacles, - limiting the introduction of new functions into the ruins. The final shape of the conserved ruins is determined by the authentic substance, the manner and scope of the addition of necessary supplements as well as the preservation of the picturesque qualities of the monument. Authentic substance. The protection and conservation of ruins should serve the preservation and presentation of their authentic state. In the case of a stratified monument, the decisive role is played by an evaluation analysis. A monument which has preserved its original elements, i.e. the authentic substance, produces emotional experiences associated with history and possesses the merit of a document. This is the reason why the restoration of ruins cannot diminish the authentic substance. Scope of addition. All work involving ruins must take into account the proportions between that which is original and that which has been added. After the completion of suitable work the original elements should remain dominant. This is the reason why, for example, the scope of additional walls should remain limited to a minimum and can stem from technical reasons and the interpretation conception. Manner of addition. The added elements should be, on the one hand, legible, and, on the other hand, be integrated with the historical ruins according to the recommendations of the Venice Charter. The preservation of picturesque qualities. As a rule ruins are the most picturesque prior to conservation. Necessary work, even conducted with greatest possible piety, sometimes results in a certain “rigidity” of the preserved substance, which in time becomes alleviated by the impact of atmospheric factors. For this reason, while remaining well aware of the threats posed to the picturesque qualities of the ruins, we should aim at limiting all activity which produces such effects.
8
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Międzynarodowa Rada Ochrony Zabytków - ICOMOS

63%
Malinowski K.
Ochrona Zabytków
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1965
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issue 4
64-70
9
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Uwagi na marginesie artykułu K. E. Larsena pt. "O ochronie zabytków Japonii" opublikowanym w "ICOMOS Information" 1988, nr 3

63%
Bielawski B.
Ochrona Zabytków
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1989
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issue 3-4
282-285
EN
The remarks presented here refer to the following conclusion of K.E. Larsen’s article. „We must accept that the problem of authenticity is relative and has to be interpreted in accordance with natural, material and cultural conditions in each country". Following K.E. Larsen, the author of these remarks describes in brief the „natural, material and cultural conditions" of Japan's architectural monuments. The configuration of the land and the climate have always caused the country to be rich in wood, while the frequent earthquakes have determined that not stone, but light and flexible wood has been generally used in construction. The natural and material resources have in turn had their influence on the development in Japan of a rich system of joining wood. The adopted techniques made it possible to easily dismantle wooden structures and to change the deteriorated elements. A relative instability of this material in Japan's climate led to the frequent changing of building elements or even to entire reconstruction. However, cultural aspects such as Shintoism, the cult of ancestors and traditions favoured the preservation of form. In other words, the material of the structure could be changed, but its form had to be retained. The authenticity of form was possible thanks to the preservation and transfer from generation to generation of the ability to reproduce form. This tradition of restoration collided in the beginning of the 20th cent, with the Western idea of authenticity and conservation that had come into being on European ground in different natural, material (stone) and cultural conditions. The Western idea of authenticity strongly accentuates the necessity of retaining the continuity of the substance of a monument, because this is what determines whether something can be considered as a document of the past. The value of a document is particularly treasured in the culture of the West. This Western interpretation of authenticity has been adopted as the basis for the principles of the Athens Charter (1931 ) and the Venice Charter (1964), which attempted to determine the rules of conservation on an international scale. Japan complies with these principles, while also trying to protect its own traditions and the historical skills of reconstruction. It is important to preserve the traditional techniques considered to be significat, non-material cultural property subject to legal protection. In Poland, after the last war, on account of unprecedented demages, many structures were rebuilt contrary to the recommendations of the above-mentioned Athens and Venice charters. In these reconstructions, similarly as in Japan, emphasis was put on the recreation of the historical form. As opposed to Japan, however, traditional techniques were not much respected. Recently, Poland has also realized the necessity of retaining the dying out traditional crafts, such as carpentering, smithery and the importance of their appropriate use in conservation. In the manner of Japan, the current amendments of the Polish legal act on the protection of cultural property provides for the protection of non-material cultural property as well, e.g. historical skills, customs, crafts.
10
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ZASADY KONSERWACJI MURÓW CEGLANYCH I KAMIENNYCH DETALI ARCHITEKTONICZNYCH

63%
Domasłowski W.
Ochrona Zabytków
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2005
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issue 1
97-112
EN
The article starts by discussing the departure of Polish conservators from the ascertainments of the Charter of Venice, a process favoured by competitions for conservation designs, the principles of accepting completed projects and other factors; subsequently, it considers problems associated with the conservation of historical brick walls and stone architectural detail. A brief presentation of the durability of walls and stones as well as those factors which damage them, together with an examination of fundamental conservation undertakings, such as the removal of stratification, desalination, reinforcement, filling gaps, and treatment with water repellents. The article focuses on the binding principles of conservation, drawing particular attention to the encountered irregularities.
11
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Karta Wenecka a realizacja postanowień Konwencji w sprawie ochrony światowego dziedzictwa kulturalnego i naturalnego z 1972 roku – o pojęciu autentyczności

51%
Lipska D.
Ochrona Zabytków
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2015
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issue 2
185-197
EN
This article is devoted to the analysis of links between the Venice Charter and the Convention concerning the Protection of the World Cultural and Natural Heritage of 1972, along with the presentation of evolution of certain ideas exemplified by the term of authenticity, which constitutes one of the foundations of the Venice Charter. Some issues, currently well recognised, which constitute the basis of a modern conservation doctrine, are included in the very Venice Charter. Over years, they became reinforced in the international community’s awareness, which directly reflects the contents of the World Heritage Convention and its execution – starting from the term “heritage of mankind” found in the Charter and popularised by the Convention, through the establishment of ICOMOS, which became an advisory organisation to the World Heritage Committee, to the concept of authenticity and respect to historic substance. A historic substance is the basic carrier of the outstanding universal value of World Heritage Sites. However, the meaning of authenticity of the substance has changed within the last forty years. One of the most significant phases in this process, which influenced, among others, the UNESCO World Heritage List, was the adoption of the Nara Document concerning authenticity (1994), broadening and supplementing the provisions of the Venice Charter mainly in the context of authenticity. However, a high degree of arbitrariness in interpreting international doctrinal documents, resulting from their universal character, has led to blurring of importance of values underlying the World Heritage Convention, valuing intangible values over tangible ones, which derives from the Venice Charter. The concept of authenticity, although linked to the provisions of the Venice Charter, began to be defined only in Operating Guidelines to the execution of the World Heritage Convention. Since 1976 it has evolved, reflecting changes in attitude towards heritage. In this article the process has been illustrated by three entries to the World Heritage List: a historical centre of Warsaw, an Old Bridge within the Old Town in Mostar and a historical and archaeological complex in Bolgar.
12
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W SPRAWIE KONIECZNOŚCI USTANOWIENIA STANDARDÓW WYKONYWANIA PROJEKTÓW DOTYCZĄCYCH PRAC PLANOWANYCH W ZABYTKACH ARCHITEKTURY

51%
Tajchman J.
Ochrona Zabytków
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2008
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issue 1
79-106
EN
The recently observed disturbing degradation of our architectural heritage is the outcome not only of an unsuitable approach of the investors, but also the insufficient conservation knowledge of the projects' authors and the absence of appropriate standards for preparing fitting documentation. The presented article is an attempt at creating foundations for architectural-conservation projects and conservation undertakings. It must be stressed that the existing standards for designing new constructions do not encompass the conservation specificity of monuments of architecture, even though the range of the statute on Construction Law embraces also non-movable monuments, i.e. those of architecture. Additional emphasis is due to the fact that projects relating to monuments of architecture call for an approach divergent from that pertaining to designing new buildings. This difference appears already at the stage of pre-project initiatives, which must involve a full historical reconnaissance of a given monument and its assessment, as well as a definition of the state of preservation and causes of damage; complex conclusions and conservation directives comprise the end stage. From the very onset, pre-project efforts must engage all specialists working on the documentation. They should include authors of historical studies and conservators-restorers of works of art. Contemporary construction does not always require an initial project, which in the case of historical monuments is obligatory and often should appear in several versions so as to select the best possible conservation conception. A construction-conservation project differs essentially from a project needed only for obtaining a construction permission. The architectural-conservation part of the project must resolve all the existing problems, and thus every detail must be designed as part of the execution drawings. This stage has to involve the origin of all conservation projects of architectural details and the outfitting, planned by the conservator-restorer of works of art. The realisation must also entail the 'auteur' supervision of all the participants of the preparation of the pre-project and project documentation (this obligation should never depend on the good will of the investor). In addition, architectural studies must be continued. Realisation work should end with post-execution documentation, devised separately for each specialisation. It is postulated that the post-execution documentation be prepared by the architectural designers (naturally, for a suitable fee), since, as rule, the executor is unprepared and the realisation changes, compared to the project, are extensive.
13
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ZAMEK W JANOWCU NAD WISŁĄ. BUDOWA – ROZBUDOWA – RUINA KONSERWACJA – REWALORYZACJA – ZAGOSPODAROWANIE

38%
Żurawski J.
Ochrona Zabytków
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2003
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issue 1-2
5-33
EN
The castle in Janowiec on the Vistula (county of Puławy, voivodeship of Lublin) was erected as a bastion fortress at the beginning of the sixteenth century. Up to the end of the sixteenth century it was the property of great Polish magnate families : the Firlejs, the Lubomirskis and the Tarłos, whose representatives held the highest state offices in prepartition Commonwealth. Expanded and redesigned in the course of three centuries, from the beginning of the nineteenth century the castle turned into a ruin. Its rapid devastation was the result of dismantling and weak construction material – limestone bedstone. In 1975 the castle was purchased by the Vistula Museum in Kazimierz Dolny, which initiated the permanent securing of the object and opened its own on-the-spot branch entrusted with care for the historical monument. The revalorisation and preservation conducted for twenty five years were accompanied by thorough archaeological, historical and architectural research. Consequently, the museum, mindful of the technical state of the castle, recreated and protected part of the walls, predominantly for the purposes of displaying the original elements of defensive architecture and decorations from the first phase of the construction of the castle. In 1993 the range of the work was extended so as to include partial reconstruction intended to grant the castle assorted functions : museum, tourist, hotel and gastronomical. The general appearance of the castle will continue to be that of a permanent ruin. A complex of wooden manorial buildings transferred from assorted localities in the voivodeship of Lublin has been placed near the castle park. Together with the castle they constitute a functional entity. The author of the article maintains that the accepted range of the reconstruction of the castle, based upon the outcome of meticulous research, is acceptable and suits the criteria formulated in the Charter of Venice. Moreover, he regards a ruin to be a state highly undesirable for an architectural monument, and is in favour of reconstruction conducted to a degree permitted by the results of scientific investigations. J. Żurawski justifies his opinions by referring to universally applied practice which veers from official doctrine.
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