Academic literature on the topic 'Restoration of architectural monuments'

Guidé par l’hypothèse que la doctrine des Monuments historiques – entre positions théoriques, appréciations subjectives et arbitrages opportunistes – constitue le point aveugle de la restauration en France depuis la fin du XIXE siècle, ce doctorat propose de rouvrir cette question, à partir des textes et des décisions de Paul Léon (1874-1962), principale responsable du Service des monuments historiques dans l’entre-deux-guerres. Bien que son rôle soit souvent méconnu aujourd’hui, Paul Léon a, en effet, une carrière exemplaire aux Beaux-Arts. Il a été responsable du Service des monuments historiques de 1907 à 1932, membre de la Commission de 1907 à 1962 et directeur des Beaux-Arts de 1919 à 1932. Il est de plus l’historiographe du Service. Par ses nombreux écrits, il est le principal auteur de la propagande du Service des Monument historiques pendant la première moitié du XXE siècle. Paul Léon justifie les pratiques en leur créant un cadre théorique sans énoncer clairement la doctrine, ni que cela ne se ressente. L’étude de ces textes, remarquables à ce sujet par leur cohérence et leur répartition chronologique, permet de mettre au jour la continuité des éléments doctrinaux sous-jacents et d’en observer les effets dans les travaux réalisés. Il est donc également nécessaire de questionner la pratique pilotée par Paul Léon, à travers l’analyse architecturale de projets réalisés : trois restaurations phares de la période (Saint-Rémi de Reims, les places flamandes d’Arras et le Palais des papes d’Avignon), qui permet de comprendre les pratiques du Service. Cette analyse permet aussi d’observer les points de cohérences et les omissions des textes de Paul Léon et l’influence de la pratique sur les discours<br>Guided by the hypothesis that the doctrine of Historic Monuments - between theoretical positions, subjective assessments and opportunistic arbitrations - has been the blind spot in restoration in France since the end of the 19th century, the objective of this doctoral thesis is to reopen this issue, based on the texts and decisions of Paul Léon (1874-1962), the main head of the historic monuments Department in the interwar period. Although his role is, today, often forgotten. In fact, Paul Léon has had an exemplary career at the Fine-Arts. He was head of the Historic Monuments Department from 1907 to 1932, a member of the Commission from 1907 to 1962 and Director of Fine Arts from 1919 to 1932. He is also the historiographer of the Department.Through his many writings, he was the main author of the propaganda of the historic monuments Department during the first half of the 20th century. Paul Leon justifies the practices by creating a theoretical framework for them without clearly stating the doctrine, without this being felt. The study of these texts, remarkable for their coherence and chronological distribution, reveals the continuity of the underlying doctrinal elements and allows to observe their effects on the work carried out.It is therefore also necessary to question the practice led by Paul Léon, through the architectural analysis of completed projects as three flagship restorations of the period —Saint-Remi de Reims, the Flemish squares of Arras and the Papal Palace in Avignon—, which makes possible to understand the practices of the Department. This analysis also allows to observe the points of consistency and omissions in Paul Léon's texts and the influence of practice on speeches

The present thesis is a critical introduction to a body of writings on heritage conservation by the Czech-born art historian Max Dvořák (1874–1921). From 1905 onwards, Dvořák was both professor of art history at the University of Vienna and Conservator General at the state institution responsible for heritage conservation in Austria: the ‘Royal and Imperial Central Commission for the Research and Preservation of Artistic and Historical Monuments’ (est. 1850). His published and archival texts on the subject are presented here for the first time in English translation. In this sense, the thesis follows the model of existing scholarship on the visual arts in Vienna around 1900, namely the combined English translations and critical introductions to the writings of Camillo Sitte (Collins & Collins, 1986), Otto Wagner (Mallgrave, 1988) and Alois Riegl (Forster & Ghirardo, 1982). A translation-based approach to foreign textual sources is essential to cross-cultural understanding in the study of art and architectural history, particularly in the case of German, which is no longer accessible to the great majority of scholars working in these fields. As an introduction to Dvořák’s Denkmalpflege, this thesis provides the historical context necessary for an informed reading of the texts and, on this basis, evaluates his considerable contribution to the conservation of Austrian cultural heritage. The institutional history of the Central Commission and the emergence of modern conservation theory around the turn of the century are outlined as the preconditions of Dvořák’s activity, which included inventorization, institutional reform, published propaganda and a number of case-specific polemics. His responses to conservation issues in Vienna and Split are analyzed in detail as representative case studies from the centre and periphery of the empire, where modern conservationists were fighting a battle on two fronts against the incursions of modernity on the one hand and the destructive practices of nineteenth-century restoration on the other. Dvořák’s close collaboration with the Austrian heir apparent Franz Ferdinand is then investigated, followed by a critique of his reaction to the devastation of the First World War. In each case, it is argued that the state administration of cultural heritage in late Habsburg Austria, with its diverse peoples, languages and histories, was an inherently political issue and part of a cultural effort to preserve the empire itself.

*Graveyards are significant sites that are consciously and deliberately created. As both architecture and landscape architecture, graveyards are an intrinsic part of history that have helped define and establish architectural styles as well as address land use and associated issues.Graveyards provide some of the best and most lasting examples of art and sculpture through the ages. By examining the size, shape, ornamentation/articulation, style of carving and materials from which the stones are constructed, elements of social status and what individuals thought of the themselves are revealed. Valuable historic documentation is gleaned from graveyards in the form of genealogical information, social history, widespread diseases, wars/battles and demographics. The study of epitaphs discloses biographies of individuals and indicates what type of professions were dominant during a certain period. The religious symbolism of individual stones differentiates denominations and may lend evidence of a once-existent church or parish.*This term was traditionally used throughout the seventeenth, eighteenth and nineteenth centuries and therefore will be applied in the text where appropriate. The need to preserve graveyards is essential to humankind's understanding of the past,, people and the environment. As outdoor museums that are open to all, regardless of social or economic status, to visit and experience, graveyards are potentially one of the best educational tools for interpreting history, yet are seldom used. Graveyards must begin to be viewed as "interpretive sites" and not just as functional and emotional places for the dead. As a tangible aspect of history that contains sensitive records, the preservation of a graveyard must be carefully and innovatively handled. The stability that a cemetery presents in the ever-changing environment of a disposable society is threatened unless the site and its artifacts are properly maintained.Historic Blandford Cemetery in Petersburg, Virginia, presents itself as a significant eighteenth, nineteenth and twentieth-century graveyard/cemetery. It is the site of the 1781 Battle of Petersburg and the burial grounds for approximately 30,000 Confederate soldiers from the United States Civil War. The Old Blandford Church is the oldest church in the Petersburg area (ca. 1734-1737) and was the last of three brick churches built for Bristol Parish of Bristol, England, in colonial Virginia. The church also contains fifteen Tiffany stained-glass windows designed by Louis Comfort Tiffany.Since the historic fabric at Blandford Cemetery needs to be preserved, restored, maintained and innovatively managed to ensure its future, this study has been undertaken with the sincere hope that others will find the enthusiasm, support and encouragement to seek out, preserve and interpret old graveyards and cemeteries.<br>Department of Architecture

De 1914 à 1964, la conservation des monuments historiques d'Alsace est progressivement soumise à la législation et à la pratique administrative françaises. Cependant, les institutions introduites dans le Reichsland d'Alsace-Lorraine avant 1914 sont maintenues en vigueur après 1918 et certaines d'entre-elles sont même étendues aux départements " de l'Intérieur ". Après la centralisation des services d'Alsace et Lorraine en 1925, les monuments historique d'Alsace sont soumis à la même pénurie budgétaire que ceux des autres départements français. Le maintien en Alsace du régime des cultes concordataires permet toutefois aux édifices cultuels protégés au titre des monuments historiques de bénéficier de l'apport du budget des Cultes. En outre, les départements du Bas-Rhin et du Haut-Rhin prennent le relai de l'ancien Land d'Alsace-Lorraine pour subvenir à l'entretien des monuments historiques. La conservation des monuments historiques d'Alsace constitue un véritable enjeu national : le nombre d'édifices protégés ne cesse d'augmenter, les souvenirs et vestiges des deux guerres mondiales et les monuments d'architecture française sont particulièrement mis en valeur, alors que les monuments qui avaient été restaurés par des architectes allemands avant 1914 sont souvent " dérestaurés ". Le champ des protections s'élargit progressivement aux sites pittoresques, aux abords des monuments et aux centres anciens. Enfin, la connaissance du patrimoine alsacien progresse grâce à la réalisation de nouveaux inventaires.

American cemeteries have evolved from unsophisticated and crowded burial grounds to curvilinear and elegantly designed rural cemeteries to the functional business of the memorial park. Regardless of the type, all cemeteries are constantly changing due to their natural features and because of the deterioration of stone after prolonged exposure to the elements. Then add neglect or vandalism into the mix and cemeteries appear to be particularly doomed.This creative project examines the cemeteries in Delaware County, Indiana. Working from "Cemeteries in Delaware County, Indiana" by Rosaella Cartwright and Elizabeth Modlin, an inventory was completed for the sixty located cemeteries. The ten that were not inventoried were outside the scope of the project, could not be located, or inaccessible. The landscape features, markers, funerary art motifs, and preservation efforts were recorded and the data was then analyzed. Issues and challenges facing the cemeteries were investigated, including how to go about properly documenting a cemetery and general information on cleaning and repairing markers. Finally preservation guidelines and recommendations were proposed for the cemeteries in Delaware County.<br>Department of Architecture

The aim of this work was to create a study of revitalization and restoration of the manor house and park in Veľké Leváre. During the creation of the design it was necessary to re-evaluate the cultural-historical values of the manor house, the construc- tional-technical condition, the requirements of the potential investor and the demand for functions in the village’s proximity. I have realized that placement of a mono-function in a mansion is almost impossible, considering its extensive ground plan. The manor house, thus, creates a complex of functions that overlap each other. The result of the entire design is a com- prehensive solution of the full use of the manor house with the park. Hence, the park will have a relaxing and recreational function. In the proposal, I have also offered a possible plan of stages of project’s works. The manor house and the adjacent park can, thus, fulfill the full function in the society again.

Cette recherche entend aborder la question de l’authenticité à travers les pratiques de restauration liées au patrimoine architectural au Japon avec pour principal objet d’étude, des bâtiments traditionnels en bois en cours de restauration. Une des particularités des techniques relatives à la transmission de l’architecture au Japon est certainement le démontage périodique des édifices. Cette impermanence constructive tire ses origines de conditions climatiques difficiles, de spécificités liées à l’architecture en bois, ou encore de pratiques religieuses ancestrales, comme la reconstruction périodique de certains sanctuaires shintō. Dans la notion de « reconstruction », il y a l’idée de bâtir « à nouveau » ce qui a été détruit, de rétablir, de reproduire, de redonner une forme primitive à une structure ou à un édifice à partir d’éléments fragmentaires (vestiges, sources épigraphiques, etc.). Cela suppose la mise en présence d’un objet nouveau – à la matérialité inédite – avec l’idée de refaire « une fois encore » quelque chose qui a, jadis, eu une existence. Cette définition nous invite à considérer la possible coexistence de différentes pratiques et différents niveaux de reconstruction. La « reconstruction - restitution » est souvent invoquée pour retrouver des savoir-faire manquants. Pour de nombreux spécialistes, la pratique de la restauration par désassemblage (et, par la suite, de la reconstruction) agirait comme une synthèse de techniques et de théories apparentées à l’architecture traditionnelle. L’objectif de cette recherche est d’étudier différents cas de bâtiments reconstruits et les pratiques qui les animent<br>This research addresses the issue of authenticity through restoration practices on Japanese architectural heritage and focuses mainly on traditional wooden buildings under restoration. One of the particularities of architectural practice in Japan is certainly the periodic dismantling of old buildings. The origins of this traditional practice stems from harsh climatic conditions, specificities related to wooden architecture, or ancient religious practices including the periodic reconstruction of some Shinto shrines. This “non-permanence” of buildings allows the transmission of forms and techniques through ages and time. With the concept of “reconstruction” comes the idea of building “once again” what was destroyed, as well as restoring, reproducing or restoring a primitive form, a structure or a building from fragmentary elements (vestiges, epigraphic sources, etc.). This presupposes the creation of a completely new object – with unprecedented materiality – that is triggered by the idea of making "once again" something that already existed. This definition of “reconstructing” invites us to consider a possible coexistence of different types of practices and standards of reconstruction. The act of “reconstruction - restitution” is often invoked to retrieve a missing “savoir-faire” (technical know-how). For many specialists, the practice of restoration by disassembling (prior to reconstructing) constitutes (or involves) the synthesis of techniques and theories related to traditional architecture. The aim of this research work is thus to study different cases of building reconstruction and type of practices that drive them

La destruction des villes et des monuments historiques a connu une ampleur sans précédent durant la guerre 1939-1945. La reconstruction après 1945 s’inscrit dans un moment de profonde mutation pour l’histoire du monde. La restauration post bellica des monuments historiques s’inscrit dans le vaste chantier de la Reconstruction territoriale et politique de l’Europe ; il s’agit l’intervention architecturale sur la ruine produite par la guerre. Il existe "mille façons", de protéger, de détruire, puis de restaurer les œuvres d’art et d’architecture lors des conflits armés. Le sujet de cette thèse réside dans ces trois actions : protéger, détruire et restaurer. Elles sont un travail de l’homme. Deux actions, protéger et restaurer participent à des enjeux positifs pour les sociétés indépendamment du lieu ou du temps. L’action, "détruire", porte des signes négatifs, hier comme aujourd’hui, l’action de détruire dépend ou procède de conséquences géopolitiques très complexes. Le sujet de cette thèse concerne notamment deux aspects de la restauration des œuvres d’art et des œuvres d’architecture de 1945 à aujourd’hui. Le premier aspect peut être nommé "les théories", le second aspect "les pratiques". Les deux sont indissociables, dans un processus réflexif où la pratique vient valider ou invalider la théorie, tandis que la théorie se base sur la pratique dans son élaboration. De l’intention d’étudier ces deux aspects, découle la problématique à laquelle je me suis particulièrement attaché ; celle-ci consiste à comprendre en quoi les destructions de la Seconde Guerre mondiale ont contribué à renouveler les théories et les pratiques en matière de restauration des monuments historiques ? J’ai identifié ce renouvellement pour ensuite le définir et le documenter, dans différents contextes spatio-temporels, à travers les 5 chapitres de ce travail. La restauration des monuments historiques après 1945 en Europe, est à la fois le sujet, le terrain et le corpus de cette thèse. Pour rester réaliste j’ai choisi de travailler cette question principalement dans trois pays d’Europe : l’Allemagne, la France et l’Italie. Il s’agit de 3 pays qui ont une longue tradition dans ce domaine. La restauration des monuments historiques après 1945, s’appuie sur l’acceptation ou le refus du drame de la perte. En Europe elle se développe selon quatre périodes que j’ai identifiées comme suit: de 1939 à 1945 la période bellica ; de 1946-1972 la période chaude de la Reconstruction; de 1973 à 1989 la période intermédiaire ; de 1990 à 2015 la nouvelle période chaude ou "le patrimoine à l’état gazeux". Le long chantier de la restauration des monuments historiques après 1945 est un laboratoire européen ou un "collège invisible". Dans ce laboratoire et à partir de la pratique de la restauration, travail alors colossal, urgent et nécessaire, sont élaborées des techniques et des théories toujours valides aujourd’hui. J’ai ici organisé l’analyse de la restauration post bellica autour de la question des lacunes, d’abord analysée d’un point de vue théorique. Ensuite, j’ai imaginé, de façon nouvelle, une typologie des lacunes en architecture afin d’expliquer d’un point de vue pratique et constructif ce qui vient après : la réparation ou "la réintégration des lacunes". J’ai identifié différentes familles de lacunes qui affectent les édifices anciens pris dans la guerre. Il m’a alors semblé possible de parler de lacunes à différentes échelles et indépendamment du type d’artefact touché. J’ai voulu guider le lecteur, dans le labyrinthe de la restauration post bellica, avec la lacune comme fil d’Ariane. Le trou ou la chute d’un fragment d’enduit dans une peinture murale, l’impact de mitraillette dans une façade en pierre, la chute des voûtes et des charpentes d’une église, les cassures dans les travées rythmiques d’une façade, l’écroulement complet de la nef ou de l’abside d’une église, la destruction de tissus urbains autour d'un monument<br>Restoration of historical monuments after 1945 is based on the acceptance or the rejection of the drama of loss. I identified for major periods of restoration in Europe after WWII : 1939-1945; 1946-1972 ; 1973-1989 ; 1990-2015. In France, as opposed to Germany or Italy, historiography in architecture still does not deal much with the history of restoration post-bellica, ie with historical monuments destroyed during WWII and progressively restored afterwards. The historiographical task at hand is to study within different contexts (Germany, France, Italy, ex-Yugoslavia, etc) the practices of restoration once peace is back, ie the architectural intervention on the ruins produced by war. Although ferments of restoration (for both works of art and architecture) can be identified, in the current sense of the term, as early as the 1930’s, the discipline is going to mature under the impetus of the immense workshop of post-bellica restoration. Methods, techniques and theories, still valid today, are then produced and applied. My suggestion is that such a workshop can be considered as an European lab within which a kind of "invisible college" is at work, centered around a few major international experts. Architects, historians of art, superintendents, archeologists, natural and social scientists share their experiences and points of view. Research laboratories, universities, museums, churches, international organizations are involved from all over Europe. But Italy is at the heart of the « invisible college ». I have organized the analysis of the post bellica restoration around the question of "lacunes" (deficiency, gaps; shortcomings), first from a theoretical point of view. Then I imagined a new way, a typology of architectural shortcomings in order to explain a practical point of view and constructive comes after the repair or "reintegration of lacune (gap)". I identified different families of "lacune" (gaps) affecting older buildings caught in the war. It’s then possible to speak about "lacune" at different scales and regardless of the type of hit artefact. I wanted to guide the reader through the maze of post bellica restoration, with the "lacune" used as a red string. The hole or the fall of a fragment of plaster in a mural painting, the impact of machine gun in a stone facade, falling arches and a church structures, fractures in the rhythmic span of a facade the complete collapse of the nave and the apse of a church, the destruction of the urban fabric around a monument and the demolition of an old stone bridge are all shortcomings that make us react. That's faces these shortcomings, different each time, what post bellica restoration thought martyr heritage, subject of this thesis