From restoration to conservation; from aesthetics to ethics.

[EN] This text makes a case for monument conservation culture as an ethical attitude that, contrary to what one might think, refuses to be a prisoner of the past but rather looks to the future. The author criticises the historicism involved in the concept of restoration and cries out for conservation, which rejects hierarchies of historic values based on concise interpretations of historiography and claims the solid potential value of architectonic testimony.[ES] Este texto reivindica la cultura de la conservación el monumento como una actitud ética que, al contrario de lo que cabría pensar, renuncia a ser prisionera del pasado para proyectar en el futuro. El autor censura el historicismo inherente al concepto de restauración y clama por la conservación, que rechaza toda jerarquía de valores históricos basada en interpretaciones sumarias de la historiografía para afirmar el sólido valor potencial del testimonio arquitectónico.Bellini, A. (2000). De la restauración a la conservación; de la estética a la ética. Loggia, Arquitectura & Restauración. (9):10-15. doi:10.4995/loggia.2000.5245SWORD1015

UN'IPOTESI SU DI UN PERSONAGGIO DI SAMUEL BECKETT

In the drama by Samuel Beckett En attendant Godot the real protagonist is never on the stage, he is simply the long-awaited one who never arrives: it is not even known if he really exists or if he is only a fantasy of those who on the stage converse about nothing waiting for who they know will never come. It has been much debated on the name Godot: reference to God suggesting various meanings, reference to real personages met by Beckett and much more. Here it is hypothesized a possible link with a character of Honoré de Balzac, a Godeau, he himself an absentee recalled who finally, without appearing on the stage, arrives as deus ex machina and rescues the protagonist from a difficult situation. Perhaps a metaphor for the contrast between the providential optimism of the nineteenth century and the scepticism of the twentieth century

Notas sobre a Carta de Veneza

This paper presents a critical reading of the Venice Charter, an Icomos key document, fruit of a conference held in 1964. The Charter is often quoted in Brazil but is not always properly understood. The conservation and restoration charters - especially those produced by international institutions - are documents that have an indicatory or, at the most, prescriptive character. They constitute the deontological foundation of many professionals involved in preservation, but they are not recipes for immediate use. In order to elaborate a well-founded reading of the document, its ideas must be understood in connection to the theoretical postulates of the time they were engendered and to the developments of the field. Thus this paper will examine these subjects, commenting and enlightening the Charter's articles and pointing out the origins of specific ideas. It also discusses how the Charter relates to previous documents and their theoretical foundations. This approach, based in a critical analysis, is necessary in order to reach a fuller interpretation of the Charter's indications so that they can be used in the present