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Konserwatorstwo pomiędzy "estetyką" i autentyzmem

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Tomaszewski A.

Ochrona Zabytków

1988

issue 3

147-153

The main aim of the present conservation doctrine (codified in the 1964 Charter of Venice) is the protection and preservation of authentic monuments' substance for future generations. It recommends the conservation of monuments based on scientific principles and rejects their restoration, reconstruction and rebuilding, the danger of which is usually perceived. On the other hand, another danger threatening the display and flowing from practically applied principles of presentation is not as a rule seen. On the basis of the observation of ways of the presentation of monuments in different countries one can draw the conclusion that there exists an international school of displaying art monuments which employs similar aesthetic criterions and modern technical solutions. It may be supposed that models of handling monuments have been taken from the following four sources: 1) archaeology 2) museology and exhibitions 3) modern architecture 4) theatre and film. 1) Following principles of reconstruction applied in archaeology authentic parts are made up with neutral materials, with the care paid to a clear differentiation between the authentic and new material. Unfortunately, this method often gives a false picture of the monument. It happens also that whole structures are rebuilt only to place in them some preserved elements. All these measures are referred to as anastylosis, accepted by conservation theory. A separate problem is the conservation of relics or ruins of buildings made from stone or brick. Their conservation is often exemplary (without any additions or making-ups) but the exposition leaves much to be desired. The principles taken from the English school and transferred onto the Continent and non-European territories "enrich” the structures with fake walls from new materials and interfere into the closest environment of the structure. "Archaeological aesthetics” of the structure becomes more and more popular. If it is to serve the preservation and display of new values of the monument, then it may be accepted. If, on the other hand, it is to lead to the construction of pseudomonuments, then it should be rejected. 2) A work of art found in the museum is deprived of its natural environment and has become an object subjected to the principles of display. Similar tendencies take place on an ever bigger scale in the displaying of architectural monuments. The monument should be easily available for seeing, photographing or filming. Old cobbled streets or pavements are replaced with smooth stone streets or hewn lawns. The area adjoining the monument is adorned with trees, bushes and flowers. In that way a monument of architecture becomes a richly decorated exhibition object. Adopted from museology are modern exhibition pavilions in which preserved relics of architecture are put in. Also open- air museums of folk architecture, the so-called skansens, refer to the experience of museology. Taken from their natural landscape and largely deprived of their authentic substance during disassembling and reassembling monuments of folk architecture become accidentally placed exhibits. Also, putting the buildings brought from other places amongst tlie existing historic complexes has been taken from museology. The transfer of the principles of exhibiting applied in museology results in the loss of authencity by monuments of architecture. The work of architecture had always been blended with the environment. 3) Positive examples of a harmonous co-existence of old architecture with new one are extremely rare. The architect working in the historic environment may choose one of the following roads: to oppose modern forms to historic ones, to introduce neutral forms or the so-called pastiche or to build modern structures from modern materials but referring — in their scale and mass — to the neighbouring historic buildings. Unfortunately, in practice we often get an unfavourable effect. The aggressiveness of modern architecture brings about its predominance over historic structures. A modern work of architecture may be itself outstanding (e.g. Centre Pompidou in Paris) but when introduced into the historic environment, it brings about its degradation. 4) The fashion of artificial illumination of monuments of architecture has been adopted from the film and the theatre, where the action usually takes place in such a light. For monuments of architecture the natural lighting is the light of the sun and the moon and also of torches, kendles or chimneys. The introduction of artificial illumination for historic objects does not affect their historic substance. Still, it brings about other dangers in the creation of spectacular images of life in the old ages. Monuments are thus brought down to a decorative role. However, those failryland — historic images, adpoted from W. E. Disney, result in an irretrievable loss of the authencity of monuments. Summing up it may be said that more and more often the conservation doctrine has no effect upon practice. This fact cannot be covered in silence. In this context, it is necessary to prepare in individual countries reports on the state of conservation practice and its departure from binding principles. It would also be necessary to precise the conservation theory, with the attention paid to the greatest endangerings to which monuments are exposed.

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1 Ochrona Zabytków

1 Tomaszewski A.

1 1988

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Konserwatorstwo pomiędzy "estetyką" i autentyzmem