DOI Heft:
Nr. 1
DOI Artikel:Scarrocchia, Sandro: Dvořák and the trend in monument care
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.31179#0067
in the footsteps of Ruskin and Riegl, providing for
Conservation, which is indeed integral,
/o G /dí' h? Á G %/' and the
of the necessary intégration from the culture
of restoration as h? Instead, they
are based on a recovery and restoration of rebuild-
ing accompanied by a total mistrust, or if preferred,
abandonment of expelling
the latter from history. On the contrary,
is, according to Dvořák, the oniy compo-
nent that can create (and not, please note, recreate!)
the upper unity of réparation. Therefore, it should be
underüned that here, where Riegl sees a mission of
arbitration and not of direct interference, Dvořák, as a
resuit of the altered cultural context and the onset of
various post-secessionist artistic currents, pinpoints a
cultural batdeground: a /mG, the need for a trend and
the need to take sides according to a trend.
Secondly, the Av/G pinpointed by Dvořák of
/%vG/7? GGWhrw was to be taken up again on several
occasions during the twentieth Century, as mcntioned
above, with reference to German urban planning,
during the âge of Weimar, in the architectural context
of the Fascist period until the recommencement
by Aldo Rossi, who gives body to the precepts of
the "continuity" of Ernesto Nathan Rogers from
which it took shapeA That the trend of continuity
did not pay the least attention to the lessons of the
Viennese masters of conservation has to be put into
" ROGERS, E. N.: GA' Gzwwh Ed. C.
De SETA. Napok 1981; LÓPEZ REUS, E.: Er^Ao IWzAV??
Rígřn*.' ř Milano 2009.
CIORRA, P.: Eť nagAwF A WM chv. Roma
— Bari 2011.
The manifestation of this trend is David Chipperftelďs repair
of the Neues Museum in the Museumsinsel of Berlin and
perspective, as Ciorra again suggests, in an autonomy
of architecture that withdraws into itself, that is
not inclined to comparison or to interdisciplinary
contamination.^ It is signihcant that on this matter
of the dialogue of the antique with the Contempo-
rary, the Italian trend of continuity, i.e. that of the
line of Rogers — Rossi — Giorgio Grassi, but also of
Saverio Muratori — Gianfranco Caniggia, to which
Pier Luigi Cervellati should be added [Figs. 6-11], if
the held of interprétation is widened, is surpassed
by a further trend, coming from other co-ordinates:
that of minimalism, which is the most suited to the
respect of that which has corne to us and as it has
corne to us and to enrich it with a dialogue, that is
précisé, contained, modest, wise and undertone. A
trend of English tradition, upheld by the best radi-
calism of the German
What counts in the actuality of the position and
contribution of the Viennese maestro of Bohemian
origin is not how much he wrote about the trend, but
that he recognised its necessity for the conservation
of monuments. In other words: the intégration of
conservation with the fate of the project and the
impossibility to remove contemporary architecture
from monument care. A nation, a civilisation /LGoV
does not know about the conservation
of monuments. At most oniy old recipes, or, in the
words of Dvořák, 'GG RiqrpV.
řn%//tGG// Ay A. /. RGtyG/y
prior to that the repair of the Alte Pinakothek of Munich
by Hans Döllgast. See ARRAP, Das Neue Museum.
Denkmalpflegerisches Restaurierungskonzept. In:
ARnw/?? Vwjřnwrř/?, Rřjf<3%w7Y%, Aw RTGrV
Berlin 2009, pp. 59-64; WILL, T: Reparieren. Die Kunst des
Notwendigen. In: DEÆKwGlPEREE. TVni? awA
Gr (G^?y MAAG 70. GG^TAAg).
Eds. H.-R. MEIER -1. SCHEURMANN. Berlin - München
2010, pp. 203-216.
65
Conservation, which is indeed integral,
/o G /dí' h? Á G %/' and the
of the necessary intégration from the culture
of restoration as h? Instead, they
are based on a recovery and restoration of rebuild-
ing accompanied by a total mistrust, or if preferred,
abandonment of expelling
the latter from history. On the contrary,
is, according to Dvořák, the oniy compo-
nent that can create (and not, please note, recreate!)
the upper unity of réparation. Therefore, it should be
underüned that here, where Riegl sees a mission of
arbitration and not of direct interference, Dvořák, as a
resuit of the altered cultural context and the onset of
various post-secessionist artistic currents, pinpoints a
cultural batdeground: a /mG, the need for a trend and
the need to take sides according to a trend.
Secondly, the Av/G pinpointed by Dvořák of
/%vG/7? GGWhrw was to be taken up again on several
occasions during the twentieth Century, as mcntioned
above, with reference to German urban planning,
during the âge of Weimar, in the architectural context
of the Fascist period until the recommencement
by Aldo Rossi, who gives body to the precepts of
the "continuity" of Ernesto Nathan Rogers from
which it took shapeA That the trend of continuity
did not pay the least attention to the lessons of the
Viennese masters of conservation has to be put into
" ROGERS, E. N.: GA' Gzwwh Ed. C.
De SETA. Napok 1981; LÓPEZ REUS, E.: Er^Ao IWzAV??
Rígřn*.' ř Milano 2009.
CIORRA, P.: Eť nagAwF A WM chv. Roma
— Bari 2011.
The manifestation of this trend is David Chipperftelďs repair
of the Neues Museum in the Museumsinsel of Berlin and
perspective, as Ciorra again suggests, in an autonomy
of architecture that withdraws into itself, that is
not inclined to comparison or to interdisciplinary
contamination.^ It is signihcant that on this matter
of the dialogue of the antique with the Contempo-
rary, the Italian trend of continuity, i.e. that of the
line of Rogers — Rossi — Giorgio Grassi, but also of
Saverio Muratori — Gianfranco Caniggia, to which
Pier Luigi Cervellati should be added [Figs. 6-11], if
the held of interprétation is widened, is surpassed
by a further trend, coming from other co-ordinates:
that of minimalism, which is the most suited to the
respect of that which has corne to us and as it has
corne to us and to enrich it with a dialogue, that is
précisé, contained, modest, wise and undertone. A
trend of English tradition, upheld by the best radi-
calism of the German
What counts in the actuality of the position and
contribution of the Viennese maestro of Bohemian
origin is not how much he wrote about the trend, but
that he recognised its necessity for the conservation
of monuments. In other words: the intégration of
conservation with the fate of the project and the
impossibility to remove contemporary architecture
from monument care. A nation, a civilisation /LGoV
does not know about the conservation
of monuments. At most oniy old recipes, or, in the
words of Dvořák, 'GG RiqrpV.
řn%//tGG// Ay A. /. RGtyG/y
prior to that the repair of the Alte Pinakothek of Munich
by Hans Döllgast. See ARRAP, Das Neue Museum.
Denkmalpflegerisches Restaurierungskonzept. In:
ARnw/?? Vwjřnwrř/?, Rřjf<3%w7Y%, Aw RTGrV
Berlin 2009, pp. 59-64; WILL, T: Reparieren. Die Kunst des
Notwendigen. In: DEÆKwGlPEREE. TVni? awA
Gr (G^?y MAAG 70. GG^TAAg).
Eds. H.-R. MEIER -1. SCHEURMANN. Berlin - München
2010, pp. 203-216.
65