ICOMOS Charters

דרך הבשמים בנגב הוכרזה בשנת 2005 כאתר מורשת עולמית כחלק מההכרזה של דרך הבשמים – ערי המדבר בנגב. ההכרזה התבססה על המאפיינים של מקטע הדרך בנגב, על האתרים שלאורכה – התחנות, המצדים והמעלות – ועל ייחוד המקטע כולו בהקשר האזורי הרחב. שלוש שנים לאחר מכן, בשנת 2008 , אשררה האספה הכללית של ארגון איקומוס את האמנה לדרכי תרבות ׁICOMOS Charter on Cultural
Routes. במסמך זה הוגדר המונח "דרך תרבות", הודגשה המשמעות של דרכי תרבות בשיח העוסק במורשת תרבות ובשימורה, וצוינו העקרונות והמאפיינים הנדרשים כתנאים להגדרת דרכים כדרכי תרבות ולבחינתן.

מאמר זה מתמקד במקטע הדרך שהוכרז כאתר מורשת עולמית. מטרתו לבחון את דרך הבשמים בראי האמנה לדרכי תרבות והנושאים שנדונו בה, ולשאול אם דרך הבשמים עונה על ההגדרה של דרך תרבות במאפייניה, באתרים שלאורכה ובעמידה בתנאי האותנטיות והשלמות, ואם היא עונה על מטרות האמנה, הרואות בדרכי תרבות כלי לקידום הידברות והשפעה הדדית בין תרבויות. לשם כך יכלול המאמר שני חלקים:
בחלקו הראשון נציג את המונח דרך תרבות ואת מקורותיו, ובחלקו השני נבחן את דרך הבשמים. נסכם במבט לעתיד על התרומה הטמונה באמנה לקידום השימוש בדרך הבשמים ובנתיביה במשמעות התרבותית שלהם כיום, כחלק משיתוף פעולה אזורי רחב.

Adaptation of existing buildings or old/heritage structures for a new function is not a new trend. The theoretical approach towards the adaptive reuse was established and theoretically formulated at the beginning of 19th century. The research will explore an alternative strategy to a conservative adaptive reuse practices for different building typologies, considering the case of Lal Baradari, Lucknow (a summer house with twelve doors) .One of the heritage structure, located at a prime location. It is historically and administratively very important structure, Currently under State Lalit Kala Academy, Government of Uttar Pradesh. The paper will focus and explore adaptive reuse strategies that not only compliment's, but also challenges and reveals the history through the unique character and the original intent of the edifice by preserving the spirit of the place that is more than often lost in process of adaptation by conserving the meaning of the place conveyed through its architectural expression. The adaptive reuse strategy will be formulated and tested through case studies and the live case of the Lal Baradari. The dissertation will focus on framing adaptive reuse guidelines for existing building or heritage building (either in use or abandoned).

This study focuses on how heritage interpretation can be planned and operated as an integral part of a site management process. The ICOMOS Charter for the Interpretation and Presentation of Cultural Heritage Sites, which was initiated by the International Council on Monuments and Sites (ICOMOS), offers professional principles for effectively interpreting cultural heritage sites. The Charter principles include ‘access and understanding’, soundness of ‘information sources’, attention to ‘setting and context’, preservation of ‘authenticity’, planning for ‘sustainability’, concern for ‘inclusiveness’, and importance of ‘research, evaluation and training’.
Considering the necessity of correlating these international principles with interpretation practices, this study analyzes and assesses interpretation practices at the Boston National Historical Park, a unit of the National Park Service in the US; and at the same time tests the practicality of the Charter principles. This park is composed of eight nationally significant historical sites located separately in an urban context.
Certain aspects of the park that affect the effectiveness of its interpretation activities i.e., management policies, organizational model, partnerships with stakeholders, fiscal resources, management planning, and interpretive planning have been examined. Besides, on-site interpretation at three sites of the park - the Charlestown Navy Yard, Old South Meeting House and Paul Revere House- have been analyzed within the ICOMOS Charter framework. Finally, recommendations have been developed for the ongoing work of the ICOMOS, for the Boston National Historical Park as well as for other cultural heritage sites.
Keywords: Interpretation, Cultural Heritage, National Park Service, Boston National Historical Park, ICOMOS Charter

The examination of the value of authenticity, value, its interpretation, and consequences for heritage conservation practices in China have followed a trend that is both global and local. The existence of two translations of authenticity, “yuanzhenxing 原真性” and “zhenshixing 真實性,” has documented two understandings of what heritage conservation in China is concerned with: the conservation or rebuilding of an “original state”–understood as a building´s original form–or the preservation of the present form, including different stages of a structure´s building history. The Chinese conservation scene has attempted to define its own authenticity criteria through learning from both its history of restoration and “international” principles: The defense of the principle of “restoring the old as it was (修舊如舊 xiujiu rujiu),” may be considered, as well as the attempt to preserve a site´s “historic condition” including different stages of its history. The search for authenticity has formed a dynamic and diversified presentation through the local economic, social and cultural development. The juxtaposition of different value systems on heritage conservation in the process of globalization and modernization in China continuously leads to diverse Chinese practices.

De acuerdo con la Resolución Suprema N° 2900-72-ED, el Teatro Municipal de Trujillo posee la condición de Monumento Histórico del Perú desde el 28 de diciembre de 1972. El presente artículo analiza al teatro como espacio físico y la vida cultural que se generó en este importante recinto cultural desde sus inicios a finales del siglo XIX hasta la actualidad. Se considera, en este sentido, su destrucción en el año de 1910 a raíz de un voraz incendio que colapsó completamente su estructura y su reinauguración en el marco de las celebraciones del Centenario de la Independencia del país.

The temporary exhibition Mythical dances of Messenia,presented at the Archaeological Museum of Messenia in Kalamata, ended in September 2019 after five years of its opening in June 2014. The goal of the exhibition was to connect the local museum with the successful institution of the International Dance Festival of Kalamata. In doing so, a dialogue was opened between the Messenian antiquity and the modern art of dance.
At the opening of the exhibition, the choreography Lux aeterna was presented for the first time to the public. This was the result of a dance seminar conducted inside the museum  in collaboration with the Municipal Dance School of Kalamata. In the following years, many more dance activities, educational programmes and tours were organized (combining the permanent with the temporary exhibition), addressing to both adults and primary and secondary school students. One of the highlights is the dance seminar seminar entitled The Museum is dancing that was delivered by Barbara Kane during the 23rd International Dance Festival of Kalamata (July 2017).

This paper aims to present the educational programmes that have been taking place at the new Archaeological Museum of Pella (inaugurated in 2010), after the implementation of the new structure of the Ministry of Culture and Sports (2014), in an attempt to reach different social groups.
We have tried to lay the foundations so that the museum can: 1) contribute to the shaping of people’s cultural values and become a reference point in their lives;
2) perform, in a period of crisis, a civic role as a nonprofit institution at the service of society and its development, open to the public and aiming at education and entertainment (figs. 1-10); 3) contribute to social inclusion and to the offering of learning and social equity opportunities (fig. 4); 4) make the visit of individual visitors and families more enjoyable (fig. 5); 5) help adult visitors overcome the “threshold fear”; and 6) extend itself beyond its walls (figs. 8-10).
To achieve those goals, we turned to two types of storytelling, which are often absent in museum: first, the fairy tale that aims to offer visitors an emotional and embodied connection to museum objects by putting visitors into the story (figs. 6-7); and second,
the theatrical analogion, which by addressing universal issues, such as Eros, Lamentation, Outlands, both helps museums become better narrators and offers participants ways to see, listen and understand the world.
The paper reflects on the benefits and challenges of this process. The overall positive reactions of visitors suggest that the foundations for building a two-way relationship between the museum and visitors have been laid. However, this relationship needs to be maintained. And to be maintained, it must be continuously strengthened.

RESUMO O trabalho tratará brevemente do histórico do alargamento do patrimônio, do edifício isolado ao patrimônio urbano, através da análise das principais cartas patrimoniais, e onde o patrimônio urbano aparece citado pelos principais teóricos. Com relação às cartas patrimoniais, pretende-se comparar especialmente a " Carta de Washington " (1986) e os " Princípios de Valleta para a salvaguarda e gestão das cidades e áreas urbanas históricas " , documento adotado pela XVII Assembléia Geral do ICOMOS (International Council on Monuments and Sites), em 28 de novembro de 2011, sendo que esta última, pretende ser a atualização da anterior e cujos princípios ainda são pouco difundidos no Brasil. Além disso, ao longo do trabalho, pretende-se questionar a aplicação dos princípios das cartas patrimoniais na preservação do patrimônio urbano brasileiro. Palavras-chave: patrimônio urbano; carta patrimonial; critérios de intervenção.

Il restauro dei giardini e parchi storici, oggetto di un corso attivato presso la Scuola di Specializzazione in Beni architettonici e del paesaggio a partire dal 2013, rappresenta un tema estremamente attuale nell'ambito della conservazione e tutela del patrimonio architettonico e storico-artistico. Nel volume, si è voluto dar conto dell'approccio multidisciplinare necessario per definire correttamente l'iter progettuale della pratica restaurativa. In Italia, il tema dei giardini e dei parchi, all’interno della città storica, inizia a essere oggetto di attenzione solo a partire dalla fine del XIX secolo, con l’Unificazione dello Stato, insieme alla consapevolezza di conservare e valorizzare le antiche vestigia. La realizzazione e la riorganizzazione del verde urbano s’intensifica, però, a partire dai primi decenni del XX secolo nell’ambito delle programmazioni urbanistiche rese necessarie per le esigenze di Roma capitale. Si analizzano, quindi i documenti internazionali relativi alle ‘questioni’ del verde, dei giardini e del paesaggio, partendo compresa la Carta del restauro dei giardini storici di Firenze, del 1981, per arrivare alle più recenti acquisizioni come il Document on historic urban public parks, del 2017.
Restoration of historical gardens and parks, subject of a post-graduate course within the Scuola di Specializzazione in Beni architettonici e del paesaggio at the University of Rome La Sapienza, is the main theme of this collection of essays. The topic will be analysed from different perspectives representing the variety of fields related to it. In Italy, the theme of gardens and parks, within the historic city, begins to be the object of attention only from the end of the nineteenth century, with the Unification of the State, together with the awareness of preserving and enhancing the ancient ruins. The construction and reorganization of urban greenery intensified, however, starting from the early decades of the twentieth century in the context of urban planning of Rome as the capital of the State. The essay, then, analyze the international documents relating to the ‘issues’ of greenery, gardens and landscape, starting with the Charter for the restoration of historic gardens in Florence (1981) to arrive at the most recent acquisitions such as the Document on historic urban public parks (2017).

Respectively elected first President and first Secretary General during the first general assembly of ICOMOS in Cracow in 1965, Piero Gazzola and Raymond M. Lemaire have deeply contributed to the success of the newly born organisation. During the first years, they didn’t only provoke the creation of numerous national committees around the world, but they also positioned ICOMOS as a major actor of the international conservation scene, through the organisation of conferences and an active participation in the debates initiated by Unesco and the Council of Europe, for which ICOMOS acted as a consultant.

The study of Raymond M. Lemaire’s archive, kept at the KU Leuven in Belgium, clearly shows that one of the major concerns of both Lemaire and Gazzola, who had been, in 1964, amongst the main authors of the Venice Charter, was to broaden the scope of the document in order to address the issue of pre-industrial city centres, threatened by late reconstruction or development projects mostly promoting functionalist approaches.

Depending on the time available, this presentation will address one or various aspects of Lemaire’s and Gazzola’s contribution to the emergence of integrated conservation, consecrated by the European Charter and the Amsterdam Declaration of 1975, that is:
the new ideas (social value of heritage for example) developed during the expert meetings organised by the Council of Europe in 1965-1968, where they both represented ICOMOS. These ideas are synthesised in the report “Saving the face of Europe” in 1973,
the relation between these theoretical contributions and Lemaire and Gazzola’s contemporary field experience,
the role of Eastern Europe experiences (D. Libal in Prague and M. Horler in Budapest) in the development of an appropriate methodology to address urban issues,
the differences between the concept of “integral planning” proposed by Lemaire in 1973 and the “integrated conservation” that was promoted by the 1975 Council of Europe charters,
an epilogue could mention the revision projects of the Venice Charter between 1975 and 1981.

Based on my PhD about R.M. Lemaire, recently presented at the KU Leuven (Belgium), this presentation aims at clarifying and illustrating the shift from monument restoration towards city “reanimation” or “rehabilitation” during the late sixties and seventies, as well as paying tribute to the action of two of the most important figures of the beginnings of ICOMOS.

In:  The Venice Charter Revisited: Modernism, Conservation and Tradition in the 21st Century.  Ed. Matthew Hardy. Cambridge Scholars Publishing: United Kingdom, 2009. ISBN-10: 1847186882, ISBN-13: 9781847186881. P. 669-681; 2nd ed. February 1, 2011. ISBN-10: 1443826669, ISBN-13: 978-1443826662. P. 669-681

Keywords: authenticity, central-eastern europe, cultural heritage, ename charter, faro convention, icomos, modernism, monument, nara document, reconstruction, urban conservation, tradition, venice charter, virtuality

During the rapid process of deindustrialization in Iran, the term ‘industrial heritage’ has recently emerged as a new subject into public realm. In order to integrate the methodologies for the protection and adaptive reuse strategies, the ‘industrial heritage’ itself needs to be divided into various categories. UNESCO has begun inscribing increasing numbers of local industrial legacies such as railway, mines, factories, assembly plants, agricultural production and manufacturing production in its World Heritage List. However, in the process of their adaptive reuse the question of heritage meanings arises. Over the past century in Iran, powerful corporate and governmental actors have created a broad range of oil imaginaries that changed over time and in line with local cultures. Starting from 1920s and after the nationalization of oil industry in Iran, oil cities such as Abadan and Masjid Suleiman saw massive expansion to house labors and oil-industry specialists who had arrived from the United States, Europe, India, and the Persian Gulf states.
This research aims to clarify how the oil industry, in close collaboration with national governments, has materially shaped the oil cities through oil-specific architecture like company headquarters, gas stations, retail and infrastructure buildings. The current legacy of oil industry continues to reshape the industry, society and politics as well. This research uses a critical and analytical problem-based approach to examine the current policies that build a new image and identity through adaptive reuse strategies to promote sustainable local development in Iran’s industrial heritage.

A côté de ces catastrophes naturelles, les conflits armés
constituent une des principales menaces pour le patrimoine.
Le juriste Massimo Carcione a étudié le régime de la
protection internationale des biens culturels en cas de
conflit armé. Considérant que la situation actuelle du
Bouclier Bleu est comparable à celle de la Croix-Rouge
quelques années après Dunant, il insiste sur la mise en
place du nouveau système dans lequel cet organisme et
les ONG devraient jouer un rôle très important mais pas
encore connu et moins encore organisé, que ce soit au
niveau international ou national.

(da Info-AAFB, n. 12/2011)

In this paper we discuss the initiative of the ICOMOS International Committee for Archaeological Heritage Management (ICAHM) to contribute to the UNESCO strategy to create a more representative and balanced World Heritage List. This can be done by concentrating on archaeological sites in Africa that potentially have Outstanding Universal Value. In so doing, we address at the same time the (thematic) under-representation of archaeological sites on the list, as well as the (regional) under-representation of African properties that have been inscribed.

Ξενάγηση για ενήλικες στην ομώνυμη ενότητα της μόνιμης έκθεσης του Μουσείου.

Παρουσίαση: Δρ. Νικόλαος Β. Παππάς, Αρχαιολόγος
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A guided tour for adults in the homonymous section of the permanent exhibition of the Museum.

Presentation: Dr. Nikolaos V. Pappas, Archaeologist

Since the 1960’s and the foundation of ICOMOS, charters have been considered as a sort of conservation gospel. In this presentation, we would like to question this fact, in the light of the very particular production and reception conditions of the documents. What may be perceived as a mostly provocative approach seems to us a constructive basis for future reflections.

When we read and use charters – in this presentation, we will mainly focus on the Venice Charter, the Nara document and the Riga Charter – , we forget too often that they have been written by human beings, sometimes very tired, in a hurry, and even arguing with each other. The study of the archival material related to the writing of the Venice Charter and the Nara document very clearly illustrates that these documents are rather a conceptual “bricolage” than indisputable normative texts as if they had been written by lawyers. In the case of the Venice Charter, the archive as well as the records of Raymond M. Lemaire, Paul Philippot or Gertrud Tripp make clear that the document has been written at the last moment and adopted too rapidly by an assembly too glad to finally have a updated version of the Athens charter. As a consequence, only a few years later, Raymond Lemaire and Piero Gazzola already questioned the validity of the new text in the light of the extension of heritage debates to the city centers. On the other hand, the fact that a French and an English version of the Nara document were written in parallel by Raymond M. Lemaire and Herb Stovel in 1994 has had immediate consequences on the content and the formulation of the text, which logically left both of them unsatisfied with the result.

Even so, the Venice charter and the Nara document still have force of law today. Yet, besides the particular circumstances of their writing, we must keep in mind that these texts answered specific questions, closely linked to the context: a critical answer to postwar reconstruction for the first, and apparently opposed visions of authenticity between East and West for the second. As far as the Riga charter is concerned, the influence of the delicate context of the Eastern bloc collapse is evident. For this reason, using such documents today requires at least a critical reading, going back to the spirit beyond the text. Our presentation will illustrate ad absurdum, through recent case studies, how a cynical reading of such documents can lead to interventions dangerously in conflict with this spirit and the fundamental ideals of conservation philosophy. In the era of late capitalism and heritage globalization, are we allowed to forget the conditions and the context in which our doctrinal documents have been written to justify anything and everything and to meet, for example, the “tourist gaze”, the “nouveaux riches” taste or the architect’s egomania? Do architects really want to know what the writers of the Venice charter’s article 9 meant by the “contemporary stamp”? What are the limits of the tolerance towards reconstruction first expressed by the Nara document, and a few years later, the charter of Riga? So many questions that ICOMOS must face if it wants to pursue its guiding mission in a mostly financial world.

Εκπαιδευτικό πρόγραμμα για μαθητές Ε΄-ΣΤ΄ Δημοτικού. Οι συμμετέχοντες είχαν την ευκαιρία να κατανοήσουν τη λειτουργία ενός δημόσιου κοινωνικού χώρου, της μεγαλύτερης αγοράς του αρχαίου κόσμου. Μέσα από την καθοδήγηση, την παρατήρηση, τις ερωταποκρίσεις, ειδικά φύλλα εργασίας, ειδική ηλεκτρονική εφαρμογή, αλλά και το θεατρικό παιχνίδι γνώρισαν ότι η αγορά ήταν αφενός ένας χώρος ποικίλων δραστηριοτήτων παραγωγικού και οικονομικού χαρακτήρα και αφετέρου ένας χώρος διοικητικής, κοινωνικής και πολιτικής δράσης. Με τη διανομή, τέλος, συγκεκριμένων ρόλων (λ.χ. καταστηματάρχες, πελάτες, τεχνίτες, δούλοι, γραφείς, κλπ), τη συλλογική εργασία και τον αυτοσχεδιασμό, προχώρησαν, βάσει και των δικών τους βιωματικών εμπειριών, στη σύνθεση και παρουσίαση όλων των πληροφοριών που συνέλεξαν.

Σχεδιασμός προγράμματος: Δρ. Νικόλαος Β. Παππάς, Αρχαιολόγος
Υλοποίηση προγράμματος: Νικόλαος Β. Παππάς, Αρχαιολόγος, Δέσποινα Ζηλίδου, Σχεδιάστρια.
Διάρκεια προγράμματος: 60-90΄.

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Educational program for students of 5th-6th class of Primary School. Participants had the opportunity to understand the operation of a public social space, the largest agora (market-place) in the ancient world. Through guidance, observation, questions and answers, special worksheets, special electronic application, but also the theatrical play, they learned that the agora was on the one hand a place of various productive and economic activities and on the other a place of administrative, social and political action. Finally, through the distribution of specific roles (e.g. shopkeepers, customers, craftsmen, slaves, etc.), the collective work and improvisation, they proceeded, based on their own experiential experiences, to compose and present all the information they collected.

Program design: Dr. Nikolaos V. Pappas, Archaeologist
Program implementation: Nikolaos V. Pappas, Archaeologist, Despina Zilidou, Designer.
Program duration: 60-90΄.

The focus of the research is the concept of context, guidelines for the approach to it, and the ways by which it was regarded in the development of urban environment. The paper defines how these approaches and practices changed during the last century. During the last century, an especially dynamic and turbulent one, Lithuanian state experienced divergent and controversial periods: independence (1918-1940), World War II (1939-1945), Soviet period (1944-1990) and independence restored (1990-present). The paper discusses the Western attitudes and the evolution of approach towards context while dealing with urban environment, and peculiarities of Lithuanian practice in conformity with these attitudes during last century. The theoretic investigation is grounded by the documents formulated and declared by international organisations like CIAM, UNESCO, ICOMOS and others, as accumulations of pioneering thought. Particularly, their statements that consider the surrounding context as basis, principle, or inspiration for the creating, transforming or reconstructing the urban environment are analysed. The term context is used as a generalising term, an umbrella one, which covers several terms used in the documents or literature to define closer or wider urban environment while dealing with it. The paper focuses mostly on historical urban situations, and wide range of activities in changing the environment from architect or landscape architect's professional point of view. The theoretic analysis is followed by the critical review of certain experiences in Lithuanian practice at that time, in characteristic redevelopment of spaces in the main cities (state capitals). The identified evolution reveals the expansion of the concept of urban context and growing regard for it both in theory and in practice. The evolution of contextual approach in Lithuanian practice follows the guidelines stated in documents of international organisations in spite of its political situation, but the research discloses its certain peculiarities.

Patrimônio é um termo amplo que pode significar os lugares (por exemplo, estruturas, espaços abertos) e as paisagens terrestres e marítimas (por exemplo, fazendas, cidades e vilas, centros urbanos históricos, áreas protegidas, territórios indígenas, rotas marítimas) que são valorados por uma ou mais comunidades. Normalmente, a água é um elemento chave ou secundário de tais lugares e paisagens patrimoniais. Uma Declaração de Significância (SoS, em inglês; DS nesta versão) pretende declarar de forma sucinta e clara a principal base de significância de um item do patrimônio, como um local. Geralmente, isso serve para subsidiar a gestão futura e como base contra a qual impactos potenciais futuros deverão ser avaliados. Esta DS emprega a abordagem, mas de maneira genérica e conceitual para todo o patrimônio cultural relacionado à água. O objetivo é fornecer um ponto focal para todos os responsáveis pelo gerenciamento do patrimônio relacionado à água, para assessoras os gestores a reconhecer onde esse é o caso e como suas atividades se relacionam com a amplitude total do significado do patrimônio cultural da água. Esta DS segue a abordagem estabelecida pela Carta de Burra do ICOMOS Austrália (2013), que recomenda que os lugares sejam analisados em quatro categorias principais: histórica, científica (incluindo nesta avaliações arqueológica e tecnológica), significado estético e social/espiritual. A declaração de significância fornece uma descrição de: • O que é significativo (em termos dos elementos que possuem significado); • Como é significativo (em termos de valores históricos, estéticos, técnicos, científicos ou sociais); e • Por que é significativo (em termos de como a entidade demonstra ou revela os valores que a tornam significativa na área local, na região, no Estado e além). Declaração de Significância da Água como Patrimônio Cultural O que é significativo? Os oceanos cobrem 71% da superfície e contêm 97% da água da Terra. Os recursos de água doce-incluindo rios, córregos, pântanos, lagoas e lagos contêm apenas 3% da quantidade total de água na terra.

Hace 80 años, un 1 de abril de 1939, se fundó el Museo de Arqueología, Antropología e Historia de la Universidad Nacional de Trujillo, conocido por los trujillanos como el Museo de arqueología. Los Liberteños hemos sido testigos de cómo esta institución ha sobrevivido al tiempo. A pesar del esfuerzo, dedicación y entrega total, por parte de sus actuales gestores, existen problemas tan antiguos que ponen en evidencia un claro desinterés, por parte del Estado, para modernizarlo.