Guidlines for conservation by BERNARD FEILDON.pdf

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GUIDELINES FOR
CONSERVATION

A Technical Manual

Bernard Feilden

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TIE INDIAN NATIONAL TRUST FOR
ART AND CULTURAL HERITAGE
71, LOD1 ESTATE
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© Bernard Feilden, 1989

First published, 1989

Cover design. PAGE Consultants
Preise by Wordt, 11/56 Neha Face, New Dell 110019 and
Fonte by Printed at RA] PRESS, New Delhi 110001 Ph. 310964

Contents

Preface
Foreword
PARTI
/
sl a 1: VALUES, ETHICS AND THEORY OF CONSERVATION |

1.01 What is an historic building?
1.02 Causes of decay
1.03. Natural agents of deterioration and loss
1.04 Human factors
Y 1.05 What is conservation?
7 1.06 Values in conservation
1.07 Ethics of conservation
1.08. Preparatory procedures for consenaion=
Inventories — Initial inspections of bil
__ Contfiuing documentation
1.09,_Degrecs of intervention
— Prevention of deterioration — Preservation —
Consolidation — Restoration — Rehabilitation —
Reproduction — Reconstruction
1.10 The conservation architect
1.11 The role of conservation crafts
1,12 Workmanshiy
13_ The context of inspecting historic buildings
Ye ¡e theory of conservation
dix 1 — The Venice Charter
Appendix Il — The Burra Charter

3. » \ v

HI! ANAINTENANCE STRATEGY 4.18. Floors and pavements, 45
201 Maintenance is a process 2 3 a 4.19 Foundations 46
202 Preventive maintenance strategy 23 A 4.20 Fungi 46
= Regular inspections of historic buildings 24 i 1 PEN ie E
204 Standard cat y

7 ee = i j 423 Inlay Work — Commonly used stones in Indian
ou. causes or DECaY ix a 2 inlay work a
Pe 424 Iron bars 54
301 Extemal causes of decay in buildings 27 425, Iron preservative 54
~ Gravity Sun — Rain = Frost; Snow, Ice — 426 Lime s
Groundwater — Dust — Wind 427 Lime monar 55
302 Biological and botanical causes 30 428 Fine limewash 56
Animals — Birds — Insects — Trees and plants — 429 Limewash — removal of 56
Fungi — Moulds and lichens — Algae and moss 430 Limesatec 37
3.03 Natural disasters — Fire — Earthquakes 31 431 Lintels 57
3.04 Man-made causes of decay — Wars — Alterations — 32 432 Marking of stones 38
‘Changes in groundwater levels — Atmospheric 433 Masonry — cleaning of \ se
pollution — Vibration damage — Fire — Theft, 434 Notice boards 59
vandalism and arson — Tourism — Neglect y 435 Paintings 5
E 436 Paints 60
PART Il ' a 4.37. Plaster stucco 6
= \ fi 438 Pointing 61

& FV DETAILED SPECIFICATIONS AND INSTRUCTIONS i : 439 Rebuilding walls 63
401 Arches 36 | 440. Rehabilitation or refurbishment “a
402 Bats and birds 36 1 441 Relative humidity 65
403 Beams 37 442. Rock sulphur 66
404 Bitumite cement 37 4.43, Roofs and domes . 66
4.05 Brickwork 37 444 Sand G
4.06 Benches and seats 38 445. Stonework: New insertions ot
4.97 Carvings, images, etc. 38 446 Stonework: Staining of 687,
404 Cave temples, monasteries, etc. 38 4.47. Stone preservatives 68/.
409 Cement (Porland) 3 / 448 Termites 6”
4.10 Cement morar a 449 Tilework 7
411 Concrete 41 - 450 Underpinning B
412 Clamps and dowels 2 451 Vegetation B
4.13 Cracks and fractures 42 ‘ %: 4.52 Wall ends 74
414 Cutting out and cleaning masonry joints 43 “Et 4.53 Wall tops 75
415 Doors and windows 3 1 j 454 Walls out of plumb 75

| 16 Drainage # i 455 Waterproofing compounds 76
| 4:56 Weather stains and lichens 76

| 417 Fencing and compound walls 44 . 23 as
: : uit

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4. w
457
458

Wire netting
‘Woodwork:

PART IIL

CH: TOWN PLANNING AND URBAN MANAGEMENT IN HISTORIC CES

5.01
5.02
5.03

5.04
5.05
5.06

5.07
5.08
5.09
5.10
su
5.12
513
5.14

Qualities of life in historic cities

Problems arising in historic cities

Integrated conservatior

Planning and management

Conservation in the evolution of cities

Planning procedures

Conservation planning based on inspections and

surveys

Report on the Heritage/Conservation Area

Maintenance of historic buildings

Nes construction in Heritage/Conservation Areas

Planning for conservation

Social aspects of historic cities

Economic aspects of historic

Implementation of plans

Urban management

Appendix I — Heritage Conservation Areas

Appendix Il — ICOMOS Charter for Conservation
of Historic Towns and Urban Areas

Appendix Ill — Proposed Standards and
Guidelines for the Rebabiltation of Sbekhavati
Haveli in Rajasthan,

79
80
a

ze

SESLESVERES

8

Preface

This manual is based on the Conservation Manual written by Sir Job
Marshall in 1923 when he was Director General of the Archacolope:
Survey pfIndia. Part Il uses his basic text with a few revisions, updates:
additions. What is remarkable is how well SirJohn’stext has stoodthetes
of time. His alphabetical structure makes quick reference possible

Anew Part I has been written as the original consists of instructions:
officers of the Archaeological Survey. The aim of new Pan is
introduce the theory of conservation to a wider audience, to outline de
‘causes of decay of historic buildings and recommenda strategic approach
to the care of such buildings based on regular inspections.

It is introduced with a chapter on Town Planning and Urban Manage
ment in Historic Cities with the new 1cowos Charter for the Consenation
of Historic Towns and Urban Areas, followed up with a definition of
Heritage/Conservation Area by B.K. Thapar. Suggested standards and
guidelines for reHabilitation of historic buildings in such defined areas
have been given in order to help owners of buildings in hisiric cites
understand how to preserve the cultural values in their properties Much
of the material in Par II has been taken from the draft Guidelines fo
Management of World Cultural Heritage Ses which s being nes
sco.

Besides acknowledging unesco's help, 1 wish to express my gratelt
thanks to Messrs. Butterworths for allowing me to reproduce the só
stance of my introductory chapter in Conservation of Historic Buildin
published by them.

We must remember, however, that decay is a law of nature and that®
conservators we can only delay matters so that future generations #7
benefit from our actions. The crucial problem of conservation isto
the public's consciousness of the value of their cultural heritage bef?
is lost forever.

5. Foreword

Conservation is a moyentént activated by the realisation that the natural
and cultural resources of this planet are limited and are being eroded at
an alarming rate. Architecture is an irreplaceable cultural resource. The
aim of architectural conservation is to prolong the life of buildings and
the built environment of historic cities so that future generations can
enjoy them profitably. This follows the premise that the future of the past
is as, ifnot more, important than the past itself

Conservation of cultural heritage is increasingly becoming a shared
responsibility, nationally as well as internationally. Some basic prin
ples guiding the preservation and restoration of ancient buildings were
defined for the first time in 1931 by what is known as the Athens Charter.
“Ths led 0 Econ aces To de sen’ thatthe Sean
International Congress of Architects and Technicians of Historic Monu:
ments, held at Venice in 1964 under the patronage of uxesco, produced
an International Charter for the Conservation and Restoration of Monu-
ments and Sites, commonly known as the Venice Charter. Simultane
ously, by another Resolution an International non-governmental organi:
sation known as ıcowos (International Council on Monuments and Sites)
‘was set up. This was an opportune time, for two decades of post-war
development had obscured the cultural identity of the war-ravaged.
European countries with cement and steel structures. By that time the
concept of historic monument was expanded to embrace not only single
architectural works but also the urban or rural setting, In fact, the envir
‘onmer:: of the monument was thought to be as important for purposes
of conservation as the monument itself. The Venice Charter became a
basic reference for modem architectural conservation doctrine. In the
same vein Charters for Historic Town Areas, Cultural Tourism and His
toric Gardens and Sites (Florence Charter) were framed and registered
with icowos, Even uvesco formulated some recommendations concern:

6. x

ing the safeguarding and contemporary role of historic areas (Warsaw,
Nairobi, 1976). Responding to the Resolutions of the Sth General
Assembly of 1COMOS, held at Moscow in 1987, the Australian ıcowos, in
February 1981, adopted another Charter known as the Charter for the
Conservation of Places of Cultural Significance (The Burra Charter.

Over the years policies of conservation and rehabilitation have gener.
ally replaced the wholesale demolition and indiscriminate reconstruc

tion of historic towns. Recently, the 8th General Assembly of ıcouos,
held at Washington D.C. in October 1987, adopted another Charter for
the conservation of Historic Towns and Urban Areas, which is to sup:
plement the Venice Charter. While it remains to be established how the
new Charter might be applied in any given region of the world or in
different situations, it must nevertheless be recognised that the city isa
universal phenomenon, an expression of mankind's achievement in
social and economic order and, as such, the basic concepts for conserva:
tion do have universal application.

India, however, has been following essentials of the principles ensh.
rined in these Charters right from the beginning of the present century
and, in fact, was ahead of time. Sic John Marshall, the then Director-
General, Archaeological Survey of India, in his note on the operation and
future conduct of the Survey mapped out guidelines for arresting the
process of decay in ancient monuments. The year was 1903. He pointed
out that hypothetical restorations were unwarranted and that every orig:
inal component of the structure should be preserved. These principles
‘were embodied in a Government Resolution passed in July 1903. His
ideas were given a mature form in a subsequent Government Resolution
in 1915, highlighting the deplorable harm that could come to any
ancient building by ilkconceived attempts at restoration. These were
further elaborated and published in a book entitled, Conservation Man-
tual, wherein Marshall was clear enough to state that the aim of conserva:
tion is not to reproduce what has been defaced or destroyed but to save
‘what is left from further injury or decay and to preserve it as a national
heirloom. Its gratifying to note that Marshall's views have stood the test
of time and are as pertinent even today.

Against this background of current concepts, notions and mesiods of
conservation, we find that, while the methods of conservation followed
in India are of commendable standard, the new concepts of conservation
— viewing monuments and groups of monuments as wider conservation

areas and as ensembles — have not gained currency here. By the same
token, the concept of ‘conservation areas’ is itself quite new to India,

——

1

where the Government responsibility in conserving cultural heritage

limited to monuments and archaeological sites, declared to be protege
by either the Central Government (as monuments of national impa
tance) or by the respective State Governments (as monuments othe
than those of national importance). Many cityscapes and the neighbou
hood of the monuments thus fall outside the purview of the Gover:
ments responsibility and, as such, are increasingly vulnerable to misuy
damage and even extinction in the face of modernisation, leading y
irrevocable cultural, social and even economic loss

This state of affairs emphasises the need for non-government agencie
as well as civic bodies to share responsibility for preservation of o,
cultural heritage. It also focusses attention on the need for integrate:
urban planning whereby conservation is seen to be a useful 1001 fe
development rather than an isolated phenomenon, implying the inhi
tion of all change — a kind of heritage deep freeze.

‘To discharge this responsibility efficiently, we have to be conversan
with the principles and methods of conservation as understood anc
applied internationally. Besides, we also require proper undersundins
and skill in the intelligent management of our cultural resources. The
present book, written by Sir Bernard Feilden, Director Emeritus, rao.
will, it is hoped, fulfil this need. The author, who is a conservator 0
international repute, draws both from the experience of Marshall's cor
servation practices in India as well as his own carried out in various pan
of the world, and presents a very useful treatise on conservation, whic
may be used with advantage by conservators and urban planners alike

BK TH

7. Part!
I. Introduction: Values, Ethics and Theory

£

Y
1.01 What is an historic building?

(1) Briefy, an historic building is one that gives us a sense of wonder and
©” makes us want ro know more aboutthe people and culture that produced
it.) has architectural, aesthet

& ie values; but
the first impact is always emotional, for it is a symbol of our cultural
À 2 identity and coninuity — a part of our heritage. It has surviv
ia hazards of 100 vears of usefulness it has a good claim to being called —
a fi
From the first acto ts creation through ls long lifetothe present day,
an historic building has anistic and human ‘messages’ which will be
revealed bya study ofitshistory.Acomplexity fideasand of cultures may
; be said to surround an historic building and be reflected in it. Any
historical study of sucha building should include theclient whocommis-
sionedit, together withthe objectives which ldo the commissioning of
the project and an assessment ofthe success cf its realization; the study
should also deal with the political, social and economic aspects of the
period in which thestructure was built and should give the chronological
sequence ofeventsinthe life ofthe building. The namesand characters of
| the actual creators should be recorded, ifknown, and the aesthetic princi-
ples and concepts of composition and proportion relating tothe bullding
H should be analyzed.
Issteucturaland material condition mustalso be studied: the different
À phases of construction of the building complex, later interventions, any
internal or external peculiarities and the environmental context of the
surroundings ofthe building are all relevant mauers. Ifthe site Is in an

8. 2. Guidelines for Conservation

historic area, archaeological inspection or excavation may be necessary,
in which case adequate time must be allowed for this activity when
planning a conservation programme.

02 Causes of decay
Of the causes of decay in an historic building, the most uniform and
universal is gravity, followed by the actions of man and then by diverse
climatic and environmental 1s —botanical, biological, chemical and
“entomological. Nowadays, human canes POB POUR ene!
damage) reat do
Only a small fracıjon of the objects ‘and structures created in the past
survives the savages of time. That which does remain is our cultural
patrimony. Cultural property deteriorates, and is ultimately destroyed
through attack by natural and human agents acting upon the various
weaknesses inherent in the component materials of the object or
suructure
When analyzing the causes-of-deteriartion and loss in an historic
T Whatare the weaknesses and strengths inherent in the structu-
ral design and the component materials of the object?

2. What are the possible naturalagents of deterioration that could

affect the component Is?
3. What are the possible human ager terioration that could

affect the cnmponentmaterigls or structure? How much of their

1.03. Natural agents of deterioration and loss
Nature's most destructive forces are categorized as natural disasters,
and include earthquakes, volcanic eruptions, hurricanes, floods, lane
Gey have had a spectacularly destructive effect on cultural property

After natural disasters, less drastic agents account for the normal and
often prolonged attrition of cultural property. All these agents fall under
the general heading of climate. Climate is the consequence of many
factors, such as radiation (especially shor-wave radiation), temperature,
pene in die age lona repos oué ain teat woe “andl
Fe errr

Together, these environmental elements make up the various climates
of India which, in tum, are modified by local conditions such as moun-

Values, Ethics and Theory 3

tains, valleysat relative altitudes, proximity to bodies ofwater or cities. 10
create a great diversity of micro climates within the overall macroclimate

In general, climatic data as recorded in the form of averages does not
really correspond to the precise information needed by the conservation
architect, who is more interested in the extreme hazards that will have tc
be withstood by the building over a long period of time. Howe:
questions are properly framed, answers that are relevant to the particular
site of the building in question can be provided by an expert in applied
climatology.

1.04 Human factors Hum PA

Man-made causes of decay need careful assessment, as they are in general
the by-product of the industrial productivity that brings us wealth and
‘enables us to press the claims of conservation. They are serious and can
only be reduced by forethought and international co-operation. Neglect
and ignorance are possibly the major causes of destruction by man,
coupled with vandalism and fires.

It should be noted that the incidence of arson is increasing, putting
historic buildings at even greater risk. Tre misen ante
: setling sell anti
1.05 What is conservation? bus
Conservation is the action taken to prevent decay. It embraces all acisthat
srolong the life of eur cultural and natural herage-ibé objec sing 1e
present to those who use and look at historic buildings with wonder, the

artistic and human messages that such buildings possess. The minimum

effective action is always the best; if possible, the action shoun be
reversible and not prejudi le future interventions. The basis of

- pos e
historic building conservation is established by legislation through listing
and scheduling buildings and ruins, through regul2r inspections and
documentation, and through town planning and conservative action

‘The scope of conservation of the built environment, which consists
mainly of historic buildings, ranges from town planning to the preserva
tion of a crumbling artefact.

The required skills cover a wide range, including those of the twa
planner, landscape architect, valuation surveyor/rezltor, urban destguer,
conservation architect, engineers of several specializations, quantity zu:
veyor, building contractor and craftsmen related to each material
archaeologist, art historian and antiquarian, supported by the biologist
chemist, physicist, geologist and seismologist. To this incomplete list

9. 4 Guidelines for Conservation

wuld be added the architectural conservator. -

asthe list shows, a great many disciplines aze involved with building
conservation, and workers in those areas should understand its principles
nd objectives because unless their concepts are correct, working
together will be impossible, and productive conservation action cannot
result For this reason, this introductory chapter will deal briefly with the
principies and practice of conservation in terms suitable for all disciplines.

1.06 Values in conservation
Conservation must preserve and, if possible, enhance the messages and
lues of cultural property. These values help systematically to set overall
pricriies in deciding proposed interventions, as well as to establish the
extent and nature of the individual treatment. The assigament of priority
Jueswill inevitably reflect the cultural context of each historic building.
The ‘values’ assigned to cultural property come under three major
mcadings
A Emotional values: (a) wonder; (6) identi
(@ spiritual and symbolic.
7. Cultural values: (a) documentary; (5) historic; (c) archaeo-
logical, antique: (4) aesthetic and symbolic; (e) architectural:
(D) townscape, landscape and ecological; (g) scientific and

Cc) continuity;

technological
Use values: (a) functional; (6) economic; (e) social; (d)
political. -

Siilful rehabilitation of historic buildings can be economical, often
Dating only two-thirds of new buildings of the same area and saving the
ost of renewing the infrastructure.

‘There is an illusion that conservation is costly: in reality it often saves
“ge sums of money. À

57 Ethics of conservation
1: following standard of ethics must be rigorously observed in conser-
«ion work:

1. The condition of the building, before any intervention and al
methods and material used during treatment must be fully
documented.

2. Historic evidence must not be destroyed, falsified or
removed.

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Values, Ethics and Theory 5

3. Any intervention must be the minimum neces
-4. Any intervention must be governed by unswerving respect for
the aesthetic, historical and physical integrity of cultural
property.

Any proposed interventions should (a) be reversible, if technically
possible, or (6) at least not prejudice a future intervention whenever this
may become necessary; (not hinder the possibility of later access to
all evidence incorporated in the object; (d) allow the maximum amount
of existing material to be retained; (e) be harmonious in colour, tone,
texture, form and scale, if additions are necessary, but should be less
noticeable than original material, while at the same time, being identifi
able; (D not de undertaken by conservator/restorers who are insuffi
ciently trained or experienced, unless they obtain competent advice.
However, it must be recognized that some problems are unique and
have 10 be solved from first principles on a trial and-error basis

It should be noted that there are several fundamental differences
between architectural and ars conservation, despite stmilaniies of pur
poserátid method. Fisi, architectural work involves dealing with mate.
fials in an open and virally uncontrollable environment — the external
Zlimaie, Whereas the art conservatcr should be able to rely on good
Environment es sonıallıo minimize deterioration, the architectural con
Jesator cannot; he’ must allow for the effects of time and weather
Second, the{scalQof architectural operations is much larger, and in many
Sites methods used by art conservators may be found impractical due 10
the size and complexity of the architectural fabric. Third, and again
because of the fize and complexity of architecture, a variety Of people
GR a5 contractors, technicians and craftsmen are actually involved in
the various conservation functions, whereas the art conservator may do
__ most of the treatment himself. Therefore, understanding of objectives,
* communication and supervision are most important aspects of architec
‘\ural conservation. Fourth, there are those differences which result from
the fac tha the architectural fabric has to function as a structure, resist

idea div loadings; and must provide a suitable Internal envir-
onmiéñi as well as be protected against certain hazards such as fire and
vandalisni. Finally, there are further differences between the practice of
architectural conservation and the conservation of anistic and archaco-
logical objects in museums, for the architectural conservation ofa build
Ing also involves its site, setting and physical environment. .

IA :

10. [6 Guidelines for Conservation
12.08 Preparatory procedures for conservation

Inventories
‘At the national level, conservation procedures consist initially ofmakirig
an inventory of all cultural property in the country. This is a major
administrative task for the government, and involves establishing
appropriate categories of cultural property and recording them as tho-
Seay Dor grpmally anddeseintveiy, as possible. Computes and
Rain records ae velabie alle Toribio prado boe demal
tion those historic buildings listed in inventories. The inventories also

serve as a basis for allocating grants or providing special tax relief for”
those who must maintain historic buildings.

Initial inspections
A preliminary visual inspection and study of each building is necessary
in order to know and define it as a ‘whole’. The present condition of the
building must be recorded methodically and then whatever further stu-
dies are required can be reported. Documentation of these studies must
be full and conscientious, which means a diligent search of records and
archives. In some countries, reliance may have to be placed on oral
traditions, which should be recorded verbatim and included in the doss-
ier created for each building. E

All historic buildings should be inspected regularly at five-year inter: _
als, in order to establish ma 5; Such preventive mainte-
ance should, in most cases, forestall the need for major interventions,
and it has been proved that it reduces the cost of conservation of a

nayian's stock of historic buildings. ,

Continuing documentation
Complete recording is essential before, during, and after any interven-
tion. In all works of preservation, repair or excavation of cultural prop:
‘ery there must always be precise documentation in the form of analyti-
cal and critical report, illustrated with photographs and drawings. Every
stage of the work of cleaning, consolidation, reassembly and integration,
including all als and techniques used, must be recorded. Reports
‘on technical and formal features identified during the course of the work
should be placed in the archives of a public institution and made availa-
ble to research workers. Finally, if the intervention can in any way serve
to broaden general knowledge, a report must be published. Often in

hose!
Inn = 100,0?

Values, Ethics and Theory

large projects it may take several years to write a scholarly repost, so a
iminary repor or an anqual series is desirable to keep the public
De aus velez poplar suppor.

To ensure the maximum survival of cultural property, future conserva
tors must know and understand what has occurred in the past. Conse
quently, documentation is essential because it must be remembered that
the building or work of an will outlive the individuals who perform the
interventions. Adequate budgetary provision must be made for docu
mentation and this must be kept separate from that of the conservation
works. Full documentation, including photographs before and after the
Intervention, is also useful if the conservation architect has to refute
unjustified criticism.

1.09 Degrees of intervention

‘The minimum degree of intervention necessary and the techniques used
depend upon the conditions of climate to which cultural propery is
likely t6 be subjected. Atmospheric pollution and traffic vibration must
be considered, where relevant, and earthquake, fire and flood hazards
should be assessed.

Interventions practically always involve some loss of a value’ in cultu.
ral propery, but are justified in order to preserve the objects for the
future. Conservation involves making interventions at various scales and
levels of intensity which are determined by the physical condition,
causes of deterioration and anticipated future environment of the cultu
ral propery under treatment. Each case must be considered as a whole,
and individually, taking all factors into account.

‘Always bearing in mind the final aim and the principles and rules of
conservation, particularly that the minimum effective intervention is
always the best, seven ascending degrees of intervention can be identi
fied. In any major conservation project, several of these degrees may take |
place simultaneously in various parts of the ‘whole’. The seven degrees
are: (1) prevention of deterioration; (i) preservation of the exisin

state; (4) consolidation of the fabric, (ie) restoration; (1) rehabi
tion; (ui) reproduction; (vit) reconstruction, These degrees of interven
ton are dealt with below.

Prevention of deterioration (or indirect conservation)

Prevention entails protecting cultural property by controlling its e

11. 5 Guidelines for Conservation

cnment, thus preventing agents of decay and damage from becoming
active. Neglect must also be prevented by sound maintenance proce:
‘ares based on regular inspections.

Therefore. prevention includes control of internal humidity, tempera
ture and light, as well as measures to prevent ire, arson, theft and
vandalism, and to provide for cleaning and good overall housekeeping,
In an industrial environment, prevention includes measures to reduce
both atmospheric pollution and traffic vibrations. Ground subsidence
must also be controlled; it is due to many causes, particularly abstraction
on water.

In summary, regular inspections of cultural property are the basis of
preventicn of deterioration. Maintenance, cleaning schedules, good

housekeeping ansL-proper. prevention Such
inspections are the firs step in preventive maint
Preservation Wr as oe +

Reservation deals directly with cultural property. Its object is to keep it
in its existing state: Repairs must be carried out when necessary to

prevent further decay, Damage and destruction caused by water Inall ts
N es of pests and micro-organisms,

must be stopped in order to preserve the. is

,7 Consolidation
Consolidation is the physical addition or application of adhesive or
sugportive materials into the actual fabric of cultural property, In order
to ensure Its continued durability or structural integrity. In the case of
immovable cuitural propery, consolidation may, for example, entall the

niection of adhesives to secure a detached mural painting to the wall

and likewise grouting of the structure.

historic buildings, when the strength of structural elements has
Eo reuse Gat Jonas le io mes urs hats
‘@asolidation of the existing material may have to be carrled out. How.
Ger, he Tegrity of the srueural system must be respected and Its form
Pieserved. No_historical evidence should be destroyed. Only by first
understanding how an historic bullding acts as a whole, as a ‘spatial
environmental system’, is it possible to Introduce new techniques satis
hacroril provide a suitable environment for objects of art, or make

‘adjustments In favour of a new use.
The utilization of traditional skills and materials is of essentlal impor

G- Restoration |

e
Len r
Values, Ethics and Theory 9

tance, However, where traditional methods are inadequate the conserva:
tion of cultural property may be achieved by the use of modern tech

niques which should be reversible, proven by experience, and
applicable to the scale of the project and its climatic environment This
sensible approach to conservation uses appropriate technology.

With shor-lived materials, including reeds, mud, rammed earth,
unbaked bricks and wood, such materias and traditional skills should
Be used for the repair or restoration of worn or decayed pans. Preserva
tion of the design ls just as Important a function of conservation as
preservation of original materials. Finally, In many cases it is wise to buy
time with temporary measures in the hope that some better technique
will be evolved, especially if consolidation may prejudice future works

of conservation,
Fak — Ssneu

—+

The object of restoration is tqrevive the original concept or legibility of
the oblea. Restoration and e-ntegrtlon of dell and Teatures occues

frequently and is based upon respect for original material, rchacologi
cal evidence, original design and authentic das Replacement of
‘missing or decayed paris must integrate harmoniously with the whole,
Berne db able clone Papas Pants eiginalendat
the restoration does not falsify archaeological or historical evidence. In a
4 ‘OF Testoratfon, am the
replacement of missing decorative elements is another. =="

Contributions from all periods must be respected. Any later addition
that can be considered as an ‘historic document, rather than just a
previous restoration, must be preserved. When a building includes
superimposed work of different periods, the revealing of the underlying
state can only be justified In exceptional circumstances. That is, whe
the part to be removed ls widely agreed to be of litle interest or when it
is certain that the material brought to light will be of great historical or
archaeological value, and whea It Is probable also that the state of pres
ervatlon of the building ls good enough to justity the action. These are
difficult conditions tc satisfy, and unfortunately they may be brushed
aside by unscrupylous archaeological curiosity.

Restoration by\anäsiylosls, using original material, is justified when
Re nb rs arm
more comprehensible, allowing. the spatial volumes to be visuslizcd
easily. Iftaken 100 far, it can make an historic site foot life film set and
devalue the message of th: site

12. 10 | Guidelines for Conservation!

§ Rebabititation

‘The best way of preserving buildings as opposed to objects is to keep
them in use — a practice which may involve what the French call mise en
valeur, or modernization with or without adaptive alteration. The origi-
mal use is generally the best for conservation of the fabric, as it means
fewer changes

Adaptive use of buildings, such as utilizing a mediaeval convent in
Venice to house a school and laboratory for stone conservation, or turn:
ing an eighteenth century barn into a domestic dwelling, is often the
only way that historic and aesthetic values can be saved economically,
and historic buildings brought up to contemporary standards.

produc >

"Reproduction entails copying an extant artefact, often in order to replace
some missing or decayed parts, generally decorative, to maintain its
aesthetic harmony. If valuable cultural propery is being damaged irre.
tricvably or is threatened by its environment, it may have to be moved to
a more suitable environment and a reproduction substituted in order to
maintain the unity of a site or building,

Reconstruction

Reconstruction of historic buildings and historic centres using new
materials may be necessitated by disasters such as fire, earthquake or
war. Reconstruction cannot have the patina of age. As in restoration,
reconstruction musf be based upon accurate documentation and evi:
dence, never upon conjecture.

The moving of entire buildings to new sites is another form of recon
struction justified only by over-riding national interest. Nevertheless, it
entails the loss of essential cultural values and the generation of'new
environmental risks

1.10 The conservation architect

The conservation or historical architect, in addition to his (or her) basic
and practical experience as a general architect, must have a knowledge
and understanding of early building technology and must be able to
identify the original fabric and later additions, and interpret his findings
10 a client. To execute any scheme he must co-ordinate the work of
archaeologists, engineers, planners, landscape architects, contractors,
suppliers, consenation craftsmen and others who might be involved in

1?)

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4 eu fons, crumbling walls and rotting imbers,

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SEES) ñ 4 1
om Mabac Cuts ——Values, Etbies and Theory y

an historic building project.
‘The conservation architect is the generalist in the whole buil

conservation process. He must have a good knowledge of all sd
gchitecuure, combined witha thorough understanding of modern,

Ing practice; he must he able to reserve the artistic and historical vale
ee EE mt pepe iene Shik Le ON
réspeci 10 modern requirements. This latter includes complying wa
relevant requirements laid down by codes of practice and building rege
lations, or obtaining waivers to any inapplicable building codes or rege
lations, where justified by reference to fundamental principles, Ke

needs notoaly a knowledge of building technology but also an unde

ETAT

1.11 The role of conservation crafts
The scope of byilding craft skills in conservation ranges from the simple
repair and maintenance of domestic properties to the most complica
‘work that can be imagined, for which the highest skills are nece:
‘The men to carry out the latter class of work should be classified a
conservation craftsmen and have a status equal to that of other profs
sionals engaged in conservation. The clock cannot be put back and the
‘extreme diversification of eighteenth and nineteenth century crafts ca
not be recreated artificially. However, a young; but sufficiently expe
rienced, tradesman can acquire additional skills, and with arusuc ge
dance, skilled application and the help of science, he can repair ant
reproduce the craftsmanship of the past. The conservation crafts
therefore has to understand the history or technology of his craft and te
able to analyze how historic work was set out and produced. Samples
past workmanship should be collected and used fn: reference.

1.12 Workmanship

Good workmanship comes from proper training, continuity of work as
public appreciation and respect for the status of the craftsman. The sab
situation in the building industry now, is that the more skilled de
craftsman, the less money he earns because he is put onto the dificuk
time-consuming tasks. The industry pays for quantity, not quality. fd
muscle, not skill. Good workmanship depends upon proper pay for a fl
day's work. Overtime and the bonussing of prodıktion have led to bal
workmanship and should not be used to obtain Increased output OF
historic buildings

13. 12. Guidelines for Conservation

Crafismen are primarily responsible for the quality of workmanship.
‘The ability to evaluate quality of workmanship depends upon expe
nence obtained only from inspecting many buildings of different peri-
ods, but it is possible to generalize that a period when quality of mate
nals was at a premium would tend 10 be a time of prosperity when
building owners were also prepared to pay for good work. However,
‘generalizations are always dangerous and inere could be pronounced
regional variations within the same period. To obtain good workman:
ship, materials and detailing must be suitable and skills must equal
design

In earthquake zones the quality of workmanship is often the differ.
ence between collapse and stability. Although workmanship is
extremely difficult to assess, a study of all repairs carried out previously
is indicative of quality. I can be said that any structure built with undue
haste is liable to contain bad workmanship.

143 The context of inspecting historic buildings
Great emphasis will be placed upon the initial inspection of the historic
building. This has to embrace the whole problem as comprehensively
and quickly as possible. Suggested norms for an experienced conserva:
tion architect are five hours sitework for a small historic building, ten
hours for a more complicated one and between 20 and 40 hours for a
difficult or large one.

The causes of decay are so complex, and indeed two or three causes
may be operating simultaneously, that it is usual for an architect to be
unaware of all but the obvious ones when making his first inspection,
This must not deter him — his role is to record facts and then seek the
causes.

‘The work of survey, inspection and report should take account of the
building in its town planning context. Planners can be of great assistance
in preventing traffic vibration by diverting heavy vehicles; in preventing
or reducing atmospheric pollution by correct siting of industries and
power stations in relation to historic buildings; and in reducing fire
hazards by considering access for fire-fighting vehicles.

114 Theory of conservation {

The foregoing chapter is based on the Venice Carter which was framed
ata meeting of historical experts in Venice in 1964 and adopted by the
International Council on Monuments and Sites in 1966. It is an historic

Values, Ethics and Theory 13

document itself, and, in view of its importance itis given as Appendix I

The Australian Burra Charter is based on the Venice Charter and 1s
casier to understand; this is given as Appendix IL. Each country should
have its Charter so it is hoped that nstac will develop one to meet the

situation in India.
if ES

SECOND INTERNATIONAL CONGRESS OF
IITECTS AND TECHNICIANS al RIC MONUMENTS

International Charter for the Conservation and
Restoration of Monuments and Sites

1.15. Imbued with a message from the past, the historic monuments of
generations of people remain to the present day as living witnesses of
theirage old traditions. People are becoming more and more conscious
of the unity of human values and regard ancient monuments as a com:
mon heritage. The common responsibility to safeguard them for future
generations is recognized. It is our duty to hand them on we full
richness oftheir authe

lis essential that the principles guiding the preservation and restora:
tion of ancient buildings should be agreed upon and be laid down on an
international basis, with each country being responsible for applying the
plan within the framework of ts own culture and traditions.

By defining these basic principles for the first time, the Athens Charter
of 1931 contributed towards the development of an extensive Interna
ional movement which has assumed concrete form in national docu
ments, in the work ofıcos and untsco and In the establishment by the
later of the Intemational Centre for the Study ofthe Preservation and the
Restoration of Cultural Property (Iccrom). Increasing awareness and crit
ical study have been brought to bear on problems which have continu
ally become more complex and varied; now the time has come to exam
ine the Charter afresh in order to make a thorough study uf the
principles involved and to enlarge its scope in a new document.

14. comenabin meant AL proceed Tr metodos cate vetts
entre retoinieA The par ida
EEE d'a pe

Cotton eget 200 Kom caster

14. Guidelines for Conservation
DEFINITIONS

Article 1. The concept of an historic monument embraces not only the
single architectural work but also the urban or rural setting in which is
found the evidence of a particular civilisation, a significant development
‘or an historic event. This applies not only to great works of art but also to
more modest works of the past which have acquired cultural significance
with the passing of time.

Article 2, The conservation and restoration of monuments must have
recourse to all the sciences and techniques which can contribute to the
study and safeguarding of the architectural heritage

Article 3. The intention in conserving and restoring monuments is to
‘safeguard them no less as works of art than as historical evidence.

voile,
ERVATION A
Article 4. It is essential to the conservation of monuments that they be
maintained on a permanent bass.
Article 5. The conservation of monuments is always facilitated by mak-
ing use of them for some socially useful purpose. Such use is therefore
desirable but it must not change the layout or decoration of the building.
Icis within these limits only that modifications demanded by a change of
function should be envisaged and may be permitted.
Article 6. The conservation ofa monument implies preserving a se:ting

which is not out of scale Wherever the traditional setting exists, it must
$ Sinn den ea Be RO

i and colour must be allowed.
Article 7. A monument is inseparable story to which it bears

‘witness and from the setting in which it occurs. The moving of ll or part
of a monument cannot be allowed, except where the safeguarding of
that monument demands it or where itis justified by national or interna
tonal interests of paramount importance. si

Article 8. Items of sculpture, painting or decoration which form an
integral part of a monument may only be removed from it if this is the ,

sole means of ensuring their preservation. à by vemeving ge cr¢d seni

Ge Felle er by rastro

Lave of Me YestoraTION trösten, Cermpanen A
fe with Kail’ set of
Arilele 9. The process of restoration is a highly specialized operation. |

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waibtailaÚ, depa py

ent ps

Values, Ethics and neo")

Its aim is to preserve and reveal the aesthetic and historic value off
monument and is based on respect for original material and auther
documents. It must stop at the point where conjecture begins, and int
case moreover, any extra work which is indispensable must be dis
from the architectural composition and must bear a contempor
stamp. {he restoration in any case must be preceded and followed by
archaeological and historical study of the monument.

Article 10. Where traditional techniques prove inadequate, the con
idation of a monument can be achieved by the use of any mod
technique for conservation and construction, the efficacy of which
been shown by scientific data and proved by experience.

Article 11. The valid contributions of all periods to the building :
monument must be respected, since unity of style is not the aim :
restoration. When a building includes the superimposed work of di
is, the revealing of the underlying state can only be Justifie
exceptional circumstances and when what is removed is of litle inte
and the material which is brought to light is of great historical, arch:
logical, or aesthetic value, and its state of preservation good enoug
justify the action. Evaluation of the importance of the elements invol
and the decision as to what may be destroyed cannot rest solely on
individual in charge of the work.

Article 12. Replacements of missing parts must integrate harmonio
‘with the whole, but at the same time must be distinguishable from
original so that restoration does not falsify the artistic or hist
evidence.

Article 13. Additions cannot be allowed except insofar as they do
detract from the interesting parts of the building, its traditional set
the balance of its composition and its relation with its surroundings

HISTORIC SITES

Article 14° The sites of monuments must be thé object of special ca
order to safeguard their integrity and ensure that they are cleared
presented in a seemly manner. The work of conservation and restore
carried out in Such places should be inspired by the principles set
in the foregoing Articles.

15. Guidelines for Conservation
EXCAVATIONS

Article 15. Excavations should be carried out in accordance with scien:
fe standards and the recommendation defining international priáci-
ples to be applied in the case of archaeological excavation adopted by
UNESCO in 1956

Ruins must be maintained and the necessary measures taken for the
permanent conservation and protection of architectural features and of
‘objects discovered. Furthermore, every means must be taken to facilitate
the understanding of the monument and to reveal it without ever distort
ing its meaning.

All reconstruction work should, however, be ruled out a priori Only
anasıylosid, that is to say, the reassembling of existing but dismembered
parts, can be permitted. The material used for integration should always
be recognisable and its use should be the least that will ensure the
conservation of a monument and the reinstatement of its form.

PUBLICATION

Article 16. In all works of preservation, restoration or excavation, there
should always be precise documentation in the form of analytical and
critical repons, illustrated with drawings and photographs.

Every stage of the work of clearing, consolidation, rearrangement and
integration, as well as technical and formal features identified during the
course of the work, should be included. This record should be placed in
the archives of a public institution and made available to research
‘workers. It is recommended that the report should be published

APPENDIX II
in.”
THE BURRA CHARTER
1.16 Preamble |

Having regard to the International Charter Jor the Conservation and
Restoration of Monuments and Sites (Venice 1966), and the Resolutions

Se a ERS erence rte nneanrannneneneec

Values, Ethics and Theory 17

of Stb General Assembly ofıcomos (Moscow 1978), the following Charter
has been adopted by Australia ıcowos.

DEFINITIONS AS
Les
ACT

Article 1. For the purpose of this Charter: =

1.1. Place means site, area, building or other work, group of buildings
or other works together with pertinent contents and surroundings.
(Note: Place includes structures, Fülhs, archaeological sites and
areas.)

12 Cultural sigalficance means aesthetic, historic, scientific or
social value for past, present or future generations.

13. Fabre means al the physical material of the place.

14 Conservation means all the processes of looking after a place so
as to retain its cultural significance. It includes maintenance
and may, according to circumstance, include preservation, res-
toratlon, reconstruction and adaptation and will be com
monly a combination of more than one of these.

15. Maintenance means the continuous protective care of the fabric,

contents and setting of a place, and is to be distinguished from
repair. Repair involves restoration or reconstruction and it should
be treated accordingly.
(Note: The distinctions referred to in Article 1.5, for example, in
relation to roof gutters, are: maintenance — regular inspection and
cleaning of dislodged gute 10 their place; repalr involving
reconstruction — replacing decayed gutters.)

16 Preservation means mainaining the fabric of a place, in is
existing state and retarding deterioration.

17. Restoratlon means returning the existing fabric of a place 10 a
Known earlier state by removing accretiods or by reassembling
existing components without the introduction of new materia.

18, Reconstruction means returning a place as nearly as possible to
a known earlier state and is distinguished by the introduction of
materials (new or old) into the fabric. This is not to be confused
‘with either recreation or conjectyga) reconstruction which are out

le the scope of this Charter 2

19 Adaptation means modifying a place to suit proposed compat
ble uses.

16. 18. Guidelines for Conservation

1.10 Compatible use means a use which involves no change to the
culturally significant fabric, changes which are substantially ,
reversible, of changes which require a minimal impact.

CONSERVATION PRINCIPLES

Article 2. The aim of conservation is to retain or recover the cultural
significance ofa place and must include provision for its security, ts,
maintenance and its future expe
(Note: Conservation should not be undertaken unless adequate fesour-
Ces are available to ensure that the fabric is not left ina yulnetable state
and that the cultural significance of the place is not impaired. However,
it must be emphasised that the best conservation often involves the least
work and can be inexpensive.)

Article 3. Conservation is based on a respect for the existing fabric
and should involve the least possible physical intervention. It should not
distort the evidence provided by the fabric.
(Note: The traces of additions, alterations and earlier treatments on the
fabric of a place are evidence of its history and uses.
Conservation action should tend to assist rather than to impede their
interpretation.)
Article 4. Conservation should make use of all the disciplines which
can contribute to the study and safeguarding of a place. Techniques
nloyed should be traditional but in some circumstances they may be
zen ones for which a firm scientific basis exists and which have been
supported by a body of experience.
Article 5. Conservation of a place should take into consideration all
aspects of its cultural significance without unwarranted emphasis on
any one at the expense of others
Article 6. The conservation policy appropriate to a place must first be
determined by an understanding of its cultural significance and its
physical condition

Article 7. The conservation policy will determine which uses are

compatible.

Article 8. Conservation requires the maintenance of an appropriate

visual setting, e.g. form, scale, colour, texture and materials. No new

construction, demolition or modification which would adversely affect
the settings should be allowed. Environmental intrusions which adver-
sely affect appreciation or enjoyment of the place should be excluded.

17. Values, Etbics and Theory 19

(Note: New construction work, including infill and additions, may be
acceptable provided it does not reduce or obscure the cultural signifi
‘cance of the place, and it is in keeping with Article 8.)
Article 9. A building or work should remain in its historical location,
‘The moving of all or part of a building or work is unacceptable unless
this isthe sole means of ensuring its survival.

(Note: Some structures were designed to be readily removeable or
already have a history of previous moves, e.g. prefabricated dwellings
and poppet-heads. Provided such a structure does not have a strong
association with its present site its removal may be considered.

any structure is moved it should be moved to an appropriate setting

and given an appropriate use. Such action should not be to the detriment
‘of any place of cultural significance.)

Article 10. The removal of cóntents which form part of the cultural
significance of the place is unacceptable unless itis the sole means of
ensuring their security and preservation. Such contents must be returned
„should changed circumstances make this practicable.

CONSERVATION PROCESSES

Preservation
Article 11. Preservation is appropriate where the existing state of the
fabric itself constitutes evidence of specific cultural significance, or
where insufficient evidence is available to other conservation processes
tobe carried out.

(Note: Preservation protects fabric without obscuring the evidence of its
construction and use.

The process should always be applied where the evidence of the
fabric is of such significance that it must not be altered. This is an
unusual case and likely to be appropriate for archaeological remains of
national importance where insufficient investigation has been carried
out to permit conservation policy decisions to be taken in accord with
Articles 23 10 25.

À new construction may be carried out in Association with preserva
tion when its purpose is the physical protection of the fabric and when it
is consistent with Article 8.)

Article 12. Preservation is limited to the protection, maintenance
and where necessary, the stabilization of the existing fabric but without
the distortion of its cultural significance.

18. 20 Guidelines for Conservation

(Note: Stabilization is a process which helps keep fabric intact and in a
fixed position. When carried out as part of preservation work, it does not
introduce new materials into the fabric. However, when necessary for
the survival of the fabric, stabilization may be effected as part of a recon:
struction process and new materials introduced. For example, grouting
or the insertion of a reinforcing rod in a masonry wall.)

Restoration.

Article 13. Restoration is appropriate only if there is sufficient evi-
dence of an earlier state of the fabric and only if returning the fabric to
that state recovers the cultural significance of the place.

(Note: See explanatory note for Article 2.)

Article 14. Restoration should reveal anew culturally significant
aspects of the place. Itis based on respect for all the physical, documen-
tary and other evidence and stops at the point where conjecture begins.
Article 15. Restoration is limited to the reassembling of displaced
‘components or removal of accretions in accordance with Article 16.
Article 16. The contributions of all periods to the place must be
respected. Ifa place includes the fabric of different periods, revealing
the fabric of one period at the expense of another can only be justified
when what is removed is of slight cultural significance and the fabric
which is to be revealed is of much greater cultural significance.

Reconstruction

Article 17. Reconstruction is appropriate where a place is incom:
plete through damage or alteration and where it is necessary for its
survival, or where it recovers the cultural significance ofthe place as a
whole.

Article 18. Reconstruction is limited to the completion of a depleted
entity and should not constitute the majority of the fabric of a place.
Article 19. Reconstruction is limited to the reproduction of fabric
the form of which is known from physical and/or documentary evi-
dence. It should be identifiable on close inspection as being new work.

Adaptation

Article 20. Adaptation is acceptable where the conservation of the
place cannot otherwise be achieved, and where the adaptation does not
substantially detract from its cultural significance.

Article 21. Adaptation must be limited to that which is essential to a

19. Values, Ethics and Theory 21

use for the place determined in accordance with Articles 6 and 7.
Article 22. Fabric of cultural significance unavoidably removed in
the process of adaptation must be kept safely to enable its future
reinstatement

CONSERVATION PRACTICE

Asticle 23. Work on a place must be preceded by professionally pre-
pared studies of the physical, documentary and other evidence, and the
existing fabric recorded before any disturbance of the place.

Article 24. Study of a place by any disturbance of the fabric or'by
archaeological excavation should be undertaken where necessary to
provide data essential for decisions on the conservation of the place
and/or to secure evidence about to be lost or made inaccessible through
necessary conservation or other unavoidable action.-Investigation of a
place for any other reason which requires physical disturbance and
which adds substantially to a scientific body of knowledge may be per-
mitted, provided that it is consistent with the conservation policy for the
place.

Article 25. A written statement of conservation policy must be protest
sionally prepared setting out the cultural significance, physical condi

tion and proposed conservation process together with justification and
Supporting evidence, including photographs, drawings and all approp
riate samples.

Article 26. The organisation and individuals responsible for policy
decisions must be named and specific responsibility taken for each such
decision.
Article 27. Appropriate professional direction and supervision muist be
maintained at all stages of the work and a log kept of new evidence and
additional decisions recorded as in Article 25.

Article 28. The records required by Articles 23, 25, 26 and 27 should be
placed in a permanent archive and made publicly available.

Article 29. The items referred to in Article 10 and Article 22 should be
professionaily catalogued and protected.

20. Il. A Maintenance Strategy

respecs the
‘operates with the nature of materials and climate. It is a continuing
process which was described by William Morris in the Manifesto of the.
Society for Protection. af Ancient Buildings published in 1877, with
poetic simplification as ‘stave off decay by daily care’. Article 4 of the
Venice Charter states ‘It is essential to the conservation of monuments
that they be maintained on a permanent basis?

1k is woh remembering that annual maintenance was an essentis
feature of vernacular architecturg based on such sensitive materials as
mdd, brick and plaster or hatch. Traditional maintenance practices such
as lime washing or renewal of paintwork and even lacquer on temples
should be studied.

‘As Morris would have wished, we have moved from Restoration (this
word is used in the old critical sense with a capital R) to maintenance.
Restoration involved major interventions with campaigns at wide spaced
intervals which were expensive, often damaging, sometimes unjustified,
but dramatic, giving political mileage to those concerned. They wers
+ ¿vitably followed by long periods of neglect because everyone was

“aved into thinking that all that was necessary had been done, but
xe, the fourth dimension in all conservation work, would show other-
vise. When the forces of decay had sufficient time, it would be found
that another great Restoration was necessary. This was a very inefficient
way of looking after historic buildings particularly because it ignored the

21. A Maintenance Strategy à

need for continuous work by skilled craftsmen required to execute th
project.

Maintenance Isa process Imwalring she minimum fatervention san
ene, dE E ns ah ails 1 ba preserved by use, and)
tfaining to be developed. If properly organised, 11s lar Tess expensive à
thé long run than neglect. The level of maintenance required varig

because itis a combination of the standard required by the users of th
building, the minimum requirements of the building itself, and th

availability of finance. ¡ns builings requirements depend, fn the fy
ie on the climate 4 which iis suated and the agents of deca
nal The latter are generally by-pt “Othe climate
But also due to intrinsic causes such as the natuse of the materials q
eich the ling consi and de quality ofthe orginal work
manship, Bad repairs and unthinking past alterations, Or events sud
Goods, Rees and earhguates-caratatec the condor oF
ing it more-sensiive. External changes, such as increased traffic
vibrations and armospherió pollution, also Raga direct bearing oc
Halnigraice Harare Ws "worth noting that well maintained (rad:
onal buildings survived the 1979 Montenegro earthquake, wheres
those that had received no maintenance collapsed when subjected to the
same intensity of vibration.

Jas i nce is normal; one might say it is par „nature
49 put off something that at first sight seems unnecessary, or can be
postponed. Owners hope the day alien ıhevhave ID end honey ons
tépairwil he delayed, ver by this delayahey merely magnify the eventual

y. This is particularly so in the case of roofing materials and rainwater
Sisposal.

2.02 Preventive maintenance strategy
Bad maintenance is 'tatical' in that it only deals with the problem after
has occurred. We need to develop preventive maintenance, a strategy 0
eliminate emergencies as far as possible. There will always be a few rei
‘emergencies, but even these should be analyzed to see how they coul
have been prevented. Disaster preparedness is an extension of strategic
‘maintenance, and is outside the scope of this short section.

How do we develop a strategy for preventive maintenance? What i
against it?

To answer the second question first, the development of strategic
maintenance for historic buildings requires profes.‘ ! 14" sl

22. 24 Guidelines for Conservation

and cultural preparation, who must be paid. They save the building
‘owner a lot of money in the long run, but in the short run, he only sees
the cost of professional time, so he thinks it is expensive. However, if
professionals are not available, a dedicated amateur with the help of a
master craftsman can deal with the majority of the problems likely to be
encountered if the guidelines in this manual are followed.

A strategy for preventive maintenance is based on inspections by
properly trained professionals, generally architects, carried out at regular
intervals. The intervals depend on the climate, the construction of the
building and its environment, much in the same way as these affect the
standard required.

It should be recognised that due to their longevity, historic buildings
have to withstand greater hazards from wind and rain; also, because of
their irreplaceable value, fire precautions and lightning protection must
be given high priority.

2.03 Regular inspection of historic buildings
In England, 18,000 churches come under the scheme for regular inspec-
tions every five years, which has dramatically reduced the cost of main-
tenance which has been to the minimum standard of keeping the build:
ing wind-and-watertight, but this standard is interpreted in an
intelligent, not-too-literal way. Such inspection in due course reduced
the cost of repairs by preventing decay so one can give a confident
answer to the first question — what can be against such a scheme if it
saves money, and preserves historic buildings?

‘The key to the whole success of the operation is the inspection by a
competent person. To initiate the scheme, special short courses were
arranged by the Institute for Advanced Studies in York, and now there are
nearly 400 architects and a few surveyors with this specialist skill in
England.

Proper equipment is needed to make the inspection. One should
dress in old clothes or overalls, Paper, writing board, pencils, penknife
and short crow-bar are essential, to which you can add a mirror for
looking behind things, screwdriver, hammers for tapping, and special
equipment, such as moisture meters, hygrometers and metal detectors. A
magnifying glass is also useful. 1 like to write all my factual reports on
the site as this process makes me ‘see’ and ‘think’, and if ‘seeing’ raises
questions, I can easily solve them by locking from a different position.

The report must describe the building, its layout and surroundings

23. A Maintenance Strategy 25

and give a resume of its history. It Is most important to identify all
materials and clarify one’s report with sketch plans and details. Then one
lists the condition of all items methodically, working from the top to the
bottom, and always clockwise round the building or a suitable section of
the building, The inaccessible spaces and hidden places that cannot be
inspected must be listed in the report. Generally, two men with ladders
assist ifthe spaces to be inspected are high as it is particularly important
to look at all timberwork, especially where it is embedded in masonry.
‘The men can also clean out the rainwater gutters if this needs doing, The
site-written report contains facts which cannot be altered, but this is
followed by opinions which can be written up in the comfort of an office
when one has absorbed the condition of the building in iG totality.

Finally, one must propose a course of action and give approximate
estimates. Estimating is difficult, but experience helps.

2.04 Standard categories for maintenance work
‘Two figures should be given — a reasonable figure for the cost of the
work and a top figure that takes every unknown difficulty into account.
‘Only the person making the report has enough information to make the
estimate. Estimates should be given in four standard categories, but
there is also a fifth category whose merits will be explained below. The
five categories are:

Immediate

Any work needed to prevent imminent collapse or danger to

persons.

Urgent Work which must be done within 3 months to prevent

rapid decay, such as fungal attack, rainwater penetration

Necessary

Work which should be completed in 2-5 years, Le. before the

next inspection. The bulk of the maintenance work lies in this

category. Two years gives sufficient time for funds to be made

available.

Desirable

This is a variable quantity, and depends on the standard of main:

tenance required. It generally includes internal redecoration

and may include rehabilitation schemes. Unfortunately, this

item often gets postponed due to shortage of funds. If work

affects the life of the historic building, it should be classified as

necessary.

24. 26 Guidelines for Conservation

Monitor
‘This category includes any item which should be specifically
reported upon in the next inspection. Typical examples are the
movement of cracks or the deterioration in roof covering, or
possible failure of a heating system. It is a most important item
as it means that the architect is not forced to do too much work
at one time, but also can protect his professional position from
criticism,

eis often possible to forecast that major items such as roofs will need
attention in 10 or even 15 years' time.

Ik may be desirable to open up floors if fungal attack is suspected orto
initiate further studies to clarify difficult points such as ground water
level or foundation movements. These can be placed under the approp-
riate heading above.

In thé case of large and complex buildings, it is valuable to budget for
three sub-divisions of the necessary class as follows:

a) Large items: eg. re-roofing a section.

b) Rolling programme of repair: for example, to masonry walls,
taking ovo bays per annum where there is the equivalent of 60
days, so aiming to complete the programme in 30 years, that is,
‘one generation,

©) Housekeeping: small, but important items which might be
forgotten or squeezed out if not given a separate budget.

These categories give a strategy for each building in which one mus
balance the correct sequence for building repairs; Le. roofs first, with the
urgency of the item. This strategy for each building can become a
national strategy, and for this reason, it is important to use the five
categories which have been given. With a national strategy for mainte:
nance of our cultural property, we should at least hand on our historic
buildings to the next generation a little better than they were when we
received them from our fathers.

25. Ill. Causes of Decay in Cultural Property

Anyone concerned with historic buildings should have an awareness e
the causes of decay. This chapter aims at creating that awareness, using
simple language to indicate complex problems.

In addition to gravity, which is an ever-present cause of decay, we have
climatic causes, biological and botanic causes, as well as natural disaster
such as floods and earthquakes. Man-made causes are not negligible sc
must also be considered,

Ultimately, it is the design and quality of the workmanship that is the
major factor in the durability of a building,

3.01 External causes of decay in buildi
eo} otad!

Gray ( 20 to (

ravity i6 the universal cause of decay as it causes buil

sound structure resists gravity. /, y 00
a

_Giimatic causes,»

be suny The sun, with its strong radiant heat, can cause the surface
{Emperature of building materials, particularly those with absorbant non:
reflecting surfaces, to rise, often to uncomfortable temperatures. If the
daily build-up is gradual, the heat can penetrate and there is less stress. If
con the other hand, a roof or wall suddenly gets the full force ofthe sun the
stress is greater.

‘The process of warming up and cooling down is most acute in arid

26. Ks we.
28 Guidelines Jor Conservation

zones. Repeated daily it is a long-term cause of decay leading to move:
ments in masonry.

Seasonal warming and cooling down causes the mass Of masonry to
expand and contract. Masonry often forms cracks which are in effect
expansion joints and therefore should not be filled with hard material,
Historic buildings are always moving so cracks have an envelope of
seasonal movement which means that their movement should be studied
forat least a year, and preferably longer. The fact that cracks move rapidly
when the building is warming up should not be too alarming.

Wood is gradually destroyed by the ultraviolet ays in sunlight bu ts,
snot badly affected by temperature changes.(¢f ©) PAG word).

Z-Bain,Rain is most destructive if proper arrangements are not made for ts
“Gisposal. These arrangements should be checked twice a year and if
possible, during heavy rain also. The rate of precipitation, not the annual

$ total, is what should be of concern. Ponds on roofs, blocked gutters and

spouts and inadequate downpipes and drainage, all are common defects.

Heavy rain can wash away foundations and cause disasttous floods,
swhich may only occur at long intervals of years. Nevertheless, the flooding
hazard should be assessed as the contents of a building may be
vulnerable.

Rain is especially destructive of mud, brick or earth buildings iftheyare
not well maintained. — Bind Res \

Rain, if it penetrates a structure, causËs timber components to rot and
encourages insect attack. Ifa timber roof beam-end fails the beam will fall
and lever over additional masonry. The ends of embedded structural
timbers are most vulnerable and should always be inspect

Rains can cause the relative humidity in the air to increase and this will
cause untreated timbers to expand, especially across the grain. Rapid
changes in relative humidity cause greater damage to furnishings and art
objects in a building,

Frost, snow and ice. As India has every climatic zone, these must be
mentioned. Frostis destructive of masonry buildings ifthe pore structure
af stone or brick is hydrophilic and the binder not strong enough. It
destroys weak mortars. It affects exposed members most, e.g. parapets
and pirnacles, because their temperature falls quickest. If masonry is wet
it is especially vulnerable.

Snow generally oo may cause these 10 collapse

27. Causes of Decay 29

if not strong enough. Unless the underside of the roof is vented tocold air,
the snow may form ice, gripping he roof covering and then causing histo
fall. Snow can block gutters and so cause internal flooding when it melts.
A Ice is damaging to buildings when it forms at the caves in Jong jcicles
N —which are dangerous when they fall off. Icicles should be taker
down before they become so large and heavy that they pull off partof the
roof. ee
Changes in the level of ground water can be damaging to
historic structures — the larger the structure the more sensitive it is.
Ground water can be ascertained’ the level of the nearest wells which
should be recorded.
The depth of foundations and the nature of the soil which supports the
building should be assessed. The foundatlogs may be in waterlogged clay
psi supported by firm dry gravel and in either case the building would react

differently to a change in ground water. This a question for expert
A y ‘engineering advice. MN

The moisture in the soil does affect every building as it is drawn up by.
on capillary action to evaporate. With the moisture, called rising damp, come
\

dissolved salis, sulphates, nitrates, chlorides, etc. which crystallize when
the ground water evaporates. This crystallization is extremely destructive
toall types of masonry and is especially acute in arid zones =
"Rising damp can be cured by cutting in a damp proof course which is
ifficult in thick walls and hard in stone construction but fairly easy in thin
brick walls. Chemical injections by specialist firms can also be successful
mater condos,
Dust, Large particles driven by strong winds can cause erosion of soft
Building materials. Small particles get everywhere and can be carried
thousands of miles. Rain through a dust storm makes a horrid mess. Dust
should not be allowed to accumulate, it must be ‘dusted up’.

Wind, Because of their long life, historic buildings are called upon to
Tesist greater winds than the design codes stipulate. Minarets, chattis,
| towers and pagodas are the most sensitive structures. Heavy, stiff struc-
tures are the least sensitive but in tall lightweight structures there is a
danger of overturning unless there is a good tensile anchorage.
High winds can cause rain to move horizontally and raise tidal waves,
so causing flooding.

28. 30. Guidelines for Conservation
3.02 Biological and botanical causes

rate Animal conte the ground sain the sll by rating
ind defecating. In ancient sites occupied for a long time this can be a
us problem if there is no proper drainage or paving in the streets.

‘Animals cause abrasion to the building fabric and deposit grease and
detritus.

Monkeys can be destructive, removing tiles and anything that takes
their fancy.

‘Bats are mammals so, strictly speaking, animals. They can cause mess
and smell but are generally harmless. In some countries they are
protected.

s

Birds Pigeons are especially destructive. They like to nest in historic
buildings so build up a great deal of combustible rubbish which is a fire
hazard. Their faeces contain acids which are damaging to historic glass
and also aluminium. These faeces also block rainwater gutters and down-
pipes. Pigeons are very difficult to control but numbers can be reduced if
tourists are not allowed to feed them.

Most other birds are relatively harmless because they can be prevented
from nesting in vulnerable pans of a building.

sects. Some insects such as termites can be deadly to timber in historic
dings. A few insects, such as the masonry bee, attack brickwork and
mortar.

Generally insects like damp dark places in which to begin their attack.
Wood that has been wetted by rain is a good starting point.

In a country such as India, with every climatic zone, there is inevitably a
very wide range of wood-eating insects. In order to combat insects they
must first be identified (see paragraph 4.48), then their life cycle studied
and appropriate chemicals, preferably non-toxic to human beings and
wildlife, used to eradicate them. This generally means obtaining specialist
advice.

stain practical measures can be taken to minimise the threat ofinsect
tack from cas hees and termites, mainly depending on vigilance.
New construction should have a termite shield,

* Very little is known about the relative amount of damage attributableto
any particular insect, but in areas where the principal historic buildings
are of wood this is a relevant question. It is advisable to contact a state or
regional research organisation to identify insects or their grubs and
advise on curative and preventive methods.

29. = ù

Causes of Decay 31

Plants and trees should never be allowed to grow on
Istoric buiTaings. They are easy to deal with intially but terribly difficult
when firmly rooted into the structure and entwined with the masonry

Trees can destroy archaeological sites. Vigilance, with early removal using
an approved herbicide, is recommended.

gi Fungi attack wood if the moisture content is above 20 per cent
Fungi are sensitive to climate and do not thrive in extremes of heat or
cold. They like dark, humid, unventilated places. Some woods are more
resistant than others, due to their natural ois.

It is most important to ensure that the environmental conditions in à
building do not encourage fungi spores to germinate. The fruiting body
fa fungus can produce millions of spores. Fungal attack can be stopped
by creating safe envirenmental conditions, providing that there are regu:
lar check inspections, initially quarterly, later annually =

and lichens Mouldsand lichens live off masonry or plaster driving
‘small holes into the surface.

Black mould disfigures many, many buildings in India and itis difficult
and expensive to remove. It can be inhibited by spraying with 1 per cent
solution of zinc silico flouride in water, followed by brushing off some
two weeks later and treating with 1 percent solution ofammonia in water.

thas been suggested that incorporating formalin or boron into mortar
used for maintenance repairs would reduce the damage from moulds and
lichens to masonry.

‘Moulds and lichens produce humic acid which eats through copper,
lead and other roofing metals

Algae and moss Algae and moss grow on buildings, especially in humid
climates. They cause damage indirectly. Algae builds up the humus plants
need to stan, even only little. Mosses hold moisture and this moisture
enables other agents of decay to become active.

Both algae and mosses can be removed by chemical spray application.
Gross growth of mosses can be scraped off.

3.03 Natural disasters

Preventive action against natural disasters in fact lies largely in the hands
of administrators who should commission the necessary professional

30. 32 Guidelines for Conservation

paul die include earthquakes, tidal waves, bradeyism, floods,
Two Earthquakes, publisted by the International Centre for the Study of
Preservation and Restoration of Cultural Property (1ccaom), with the help
of the Getty Institute for Conservation, gives administrators guidelines
for necessary actions.

Fire in historic buildings is 98 per cent preventible, so is dealt with
under ma a CE a je causes — although itisa disaster. Fire is often caused by
lightning, so efficient protection is essential. The system must be tested
regularly.

Protection agains earthquakes depends onasalsisafthe weaknesses
gfe hire meer Suenghening melogs shoul he deizdalír
jynamic studies en made. It has been found however, that over
fal the damage caused by earthquakes is in fact attributable to lack of
maintenance, so a policy of preventive maintenance is important in
seismic zones. As and when repairs have to be made to a building
anti-seismic upgrading and improvements of its fire resistance should be
considered, Thismeans educating builders on the bestavailable methods
and avoiding ill-considered structural alterations which increase the
vulnerability of an historic building.

Indian Standard 1.5. 1893 of 1975 Criteria for Earthquakes Resistant
Design of Structures (Third Revision) gives a general record of earth-
quakes in Appendix 1 and a tectonic map in Appendix Il. Engineers —

working on hist offer alt
that these can be usa and evalmted porches anbistciancond”

arctagologise—

vA 3.04 Man-made causes of decay
Wars Wars are man-made disasters for cultural property, which sul
nearly as much as human casualties. Conservation must work for peace.
Alterations. Often alterations occur to our historic buildings without
those responsible understanding or even caring about the values con-
tained therein. It is our task to educate building owners who are often
motivated by mere fashion or unearned profit.

Rehabilitation involves alterations and if skilfully done will preserve

those features which give the historic building its unique value, The
general principle is that the closer the new use isto the original purpose