As conservators we are, most likely, called to act on the constructed matter. If this is obvious, less obvious may be the methodology, the modus operandi, which must organize our work and leads us to select the most valuable choices.
The integration of authenticity
The will to intervene in a conservation project in order to re-integrate the monument in the present context gets, inevitably, into conflict with the desire to respect the charm that the monument emanates as a ruin. While a ruin could represent a strong evocation of the past, the image of the matter after restoration suggests a vision imbued with the aim of conserving the monument for the future, its aesthetic and historical value through a process of change.
The sensibility that we are asked to develop comes from the assumption that each single destruction is, indeed, a permanent destruction: what is lost is lost forever.
Every single intervention to prevent the loss of matter and hence the loss of memory, forces us to make the ethical choice of discerning what has to be demolished, changed and conserved in order to re-gain the original authenticity of the monument.
In the operational guidelines of Unesco the concept of authenticity is defined such as the “ability to understand the value attributed to the heritage” depending “on the degree to which information sources about this value may be understood as credible or truthful. Knowledge and understanding of these sources of information, in relation to original and subsequent characteristic of the cultural heritage and, and their meaning, are the requisites bases for assessing all aspects of authenticity.(i)
For authenticity we are hence considering the truthfulness’ conditions of the monument’s material evidence.
Therefore, the conservation project is a critical interpretation of the heritage, i.e. a single proposal among different others of a certain epoch. In order to guarantee the authenticity of our interventions we have to admit that every design carries in itself the characteristics of a clearly defined historical period – the period into which it has been realized and thought. A project is indeed an interpretation of the reality, imbued with the cultural belief that constitute the lens through which we perceive the surrounding elements of the world.
The guarantee of the truthfulness of our action is well described in the Charter of Venice where it is stated that “any extra work which is indispensable (for the conservation of the monument) must be distinct and must bear a contemporary stamp”(ii). The concept of recognizability of the intervention tied with its condition of reversibility/retreat has to lead us in every proposal of restoration and conservation of heritage being any project subject to the action of time and destined to be perceived – sooner or later – as proper of a former epoch.
It appears thusly immediately evident that a clear vision of what are the different perspectives over the shaping of the matter and space is an operation that requires a continuous effort of research. Nevertheless, the awareness that the research of authenticity represents a key component in a conservation project is firmly tied, in my opinion, with the necessity of comprehending the changeability of conditions that justified a proper architectural choice in the past.
Achieving integrity
When we are called to consider a monument, we immediately understand that our perception of it is not just depending by the materiality of the heritage that we aim to preserve. The heritage is not represented just by the matter which constitutes it but also by its particular environment: the essence of the monument derives from the un-divisibility of surrounding space and artifact.
The link between the monument and the context is, arguably, the main responsibility of the conservation specialists. It is indeed the wholeness of the monument tied with its site that we aim to conserve together with its primary authenticity.
According to article 88 of the Unesco’s Operational guidelines for the Implementation of the World Heritage Convention, integrity is “a measure of the wholeness and intactness of the natural and/or cultural heritage and its attributes. Examining the conditions of integrity, therefore requires assessing the extent to which the property:
- includes all elements necessary to express its understanding universal value;
- it is of adequate size to ensure the complete representation of the features and processes which convey the property’s significance;
- suffer from adverse effect of development and/or neglect”.
In practice, the research of the integrity of the matter with its surrounding elements is arguably realized with the design of the interstitial spaces. With the interstitial spaces I mean that residual space that is created between autonomous entities. When the new states as an independent entity, with no continuity with the existing, it contributes to the fragmentation of the city.
If the fragmentation of the space is one of the larger ambiguities of (for?) the architect called to intervene on the city of today, this element (of integrity) is even more appreciable if translated in the field of conservation.
Integrating the monument in the evolving space in order to research its primal authenticity, is a concept strongly related with the aim of fostering the identification of cultural identity in society.
The too often forgotten Declaration of San Antonio states in its first article that: “the authenticity of our cultural heritage is directly related to our cultural identity [...] the authenticity of our cultural resources lies in the identification evaluation and interpretation of their true values as perceived by our ancestors in the past and by ourselves now as an evolving and diverse community”(iii).
Just forwarding the understanding and perception of the monument as fundamental component for the life of the community we can hope for the continuous conservation and maintenance of it.
So, in closing, I would argue that in the field of conservation there is the necessity of developing unique, case-specific methodologies that could take into consideration the architectural, spatial and social aspects of heritage, in order to foster a truly integrated approach to the conservation of monuments.
- UNESCO, Operational guidelines for the Implementation of the World Heritage Convention, 2005. art. 80.
- The Venice Charter 1964, art. 9.
- Declaration of San Antonio, 1996, art. 1.



