CHARTER ON THE BUILT VERNACULAR HERITAGE
(1999)
Ratified by the ICOMOS 12th General Asmbly, in Mexico, October 1999.
INTRODUCTION
The built vernacular heritage occupies a central place in the affection and pride of all peoples. It has been accepted as a characteristic and attractive product of society. It appears informal, but nevertheless orderly. It is utilitarian and at the same time posss interest and beauty. It is a focus of contemporary life and at the same time a record of the
history of society. Although it is the work of man it is also the creation of time. It would be unworthy of the heritage of man if care were not taken to conrve the traditional harmonies which constitute the core of man's own existence.英汉词典在线翻译
The built vernacular heritage is important; it is the fundamental expression of the culture of a community, of its relationship with its territory and, at the same time, the expression of the world's cultural diversity.
Vernacular building is the traditional and natural way by which communities hou themlves. It is a continuing process including necessary changes and continuous adaptation as a respon to social and environmental constraints. The survival of this tradition is threatened world-wide by the forces of economic, cultural and architectural homogenisation. How the forces can be met is a fundamental problem that must be addresd by communities and also by governments, planners, architects, conrvationists and by a multidisciplinary group of specialists.
Due to the homogenisation of culture and of global socio-economic transformation, vernacular structures all around the world are extremely vulnerable, facing rious problems of obsolescence, internal equilibrium and integration.
It is necessary, therefore, in addition to the Venice Charter, to establish principles for the care and protection of our built vernacular heritage.
GENERAL ISSUES
1.Examples of the vernacular may be recognid by:
a)A manner of building shared by the community;
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b)A recognisable local or regional character responsive to the environment;
c)Coherence of style, form and appearance, or the u of traditionally established building types;
d)Traditional experti in design and construction which is transmitted informally;
e)An effective respon to functional, social and environmental constraints;
英语学习 儿童f)The effective application of traditional construction systems and crafts.
2.The appreciation and successful protection of the vernacular heritage depend on the involvement and support of the community, continuing u and maintenance.
dovey3.Governments and responsible authorities must recogni the right of all communities to maintain their living traditions, to protect the through all available legislative, administrative and financial means and to hand them down to future generations.
PRINCIPLES OF CONSERVATION
1.The conrvation of the built vernacular heritage must be carried out by multidisciplinary experti while recognising the inevitability of change and development, and the need to respect the community's established cultural identity.
2.Contemporary work on vernacular buildings, groups and ttlements should respect their cultural values and their traditional character.ahoy
3.The vernacular is only ldom reprented by single structures, and it is best conrved by maintaining and prerving groups and ttlements of a reprentative character, region by region.
4.The built vernacular heritage is an integral part of the cultural landscape and this relationship must be taken into consideration in the development of conrvation approaches.
5.The vernacular embraces not only the physical form and fabric of buildings, structures and spaces, but the ways in which they are ud and understood, and the traditions and the intangible associations which attach to them.
GUIDELINES IN PRACTICE
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1.Rearch and documentation
Any physical work on a vernacular structure should be cautious and should be preceded by a full analysis of its form and structure. This document should be lodged in a publicly accessible archive.
2.Siting, landscape and groups of buildings
Interventions to vernacular structures should be carried out in a manner which will respect and maintain the integrity of the siting, the relationship to the physical and cultural landscape, and of one structure to another.
3.Traditional building systems
The continuity of traditional building systems and craft skills associated with the vernacular is fundamental for vernacular expression, and esntial for the repair and restoration of the structures. Such skills should be retained, recorded and pasd on to new generations of craftsmen and builders in education and training.
4.Replacement of materials and parts
Alterations which legitimately respond to the demands of contemporary u should be effected by the introduction of materials which maintain a consistency of expression, appearance, texture and form throughout the structure and a consistency of building
materials.
5.Adaptation
Adaptation and reu of vernacular structures should be carried out in a manner which will
respect the integrity of the structure, its character and form while being compatible with acceptable standards of living. Where there is no break in the continuous utilisation of
vernacular forms, a code of ethics within the community can rve as a tool of intervention.
6.Changes and period restoration
Changes over time should be appreciated and understood as important aspects of
vernacular architecture. Conformity of all parts of a building to a single period, will not normally be the goal of work on vernacular structures.
7.Training
In order to conrve the cultural values of vernacular expression, governments, responsible
authorities, groups and organisations must place emphasis on the following:
a)Education programmes for conrvators in the principles of the vernacular;
b)Training programmes to assist communities in maintaining traditional building道之道
systems, materials and craft skills;
c)Information programmes which improve public awareness of the vernacular
especially amongst the younger generation.
cnn chinad)Regional networks on vernacular architecture to exchange experti and
experiences.
奥斯卡最佳影片CIAV:
摇滚青春歌曲Madrid, January 30, 1996,
Jerusalem, March 28, 1996
Mikkeli, February 26, 1998.
Santo Domingo, August 26, 1998.
ICOMOS: Stockholm, September 10, 1998.
