According to the International Council of Monuments and Sites (ICOMOS), when we talk about architectural heritage we refer to buildings or ruins, whether single or set of constructions, whose original value in terms of emotional, cultural physical, intangible, technical or historical has been increased over the years. Ultimately, it is those buildings without which the place in which they are located on would lose its essence.
According to this definition, the architecture salvage is simpler or easier to understand when what is intended to be protected is a work that falls within the framework of several centuries ago, but this is more complicated to accept it as architectural heritage when the building in question was erected in the twentieth century. In our view, in the latter case, the time factor should not be relevant when assessing its protection, but more attention should be paid to its uniqueness and quality. As examples of this, we will talk about two works: one over which we will carry out a museumization and renovation project called “In Natura Veritas“, and the other is the recently disappeared Casa Guzmán by Alejandro de la Sota.
Regarding our project, it is precisely a space for the preservation of the memory of 18 “castros” in the province of Pontevedra. Like any self-respecting renovation of this type, it intends to be as non-invasive as possible, with regards to both the historical heritage and the natural environment in which it is framed. In fact, this environment is the starting point of the In Natura Veritas program and as the observer approaches it, he can perceive an abstract and projected world, as well as a natural museum that recovers the lost native vegetation to recreate the memory of the landscape. This translates into a unique network for the interpretation of archaeological sites.
It is not only minimally invasive, but extremely respectful and sensitive to the archaeological and natural environment; In fact, its sustainability is one of its strengths, as is the entity itself that is given to the place by offering a unique and memorable experience for the visitor without competing with the “castros”.
The layered abstract system (sound, lighting, vegetation, paths and soils) aims to convey the knowledge of each “castro”. The generating and museographic element is based on a system of spikes of great versatility.
In the case we are talking about, there was a project’s competition which we have entered ourselves, so there was an actual interest by the government to preserve it. Unfortunately, the same cannot be said for works belonging to the twentieth century contemporary architecture such as the Guzman’s House, which, as you probably know, was demolished earlier this year in full legality.
About it, its author said: “The good thing about today is that we can make an open house open that closes; it seems silly, but it is so, that’s the great news. Being inside your house and that it penetrates the garden, do not step on a line going from the inside out.”
In 1972, the year of its construction, it was an example of perfect integration in its natural environment, within the best contemporary works of architecture of Spain; nowadays it had become a reference of the housing of the time as evidenced by all the visits that received year after year by architecture students. This only confirms that there is a lack of architectural sensitivity in this country and, therefore, a worrying lack of protection of our twentieth century heritage, especially when compared with other countries.
We believe that, without any doubt, there are works that don’t belong to time, but to space and that pertain to us all as artistic elements and as components that shape our culture.
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