MUST COLLEGE OF ARCHITECTURE

ARCH 43/ PHILIPPINE ARCHITECTURE RENOVATION, RESTORATION,

PRESERVATION, CONSERVATION
CHAPTER 8
Renovation, Restoration, Preservation, Conservation
A. DEFINITION:

Word meanings, conditions and responsibilities, they engender when used in

connection to furnishings, art objects, environments, and architecture.

1. Renovation - to make an object look like new.

The object to be renovated is just a base or starting point for the
client/designers imagination.
The object, materials and method of construction, historical
importance, or place in time are not critical.
The object itself does not place restrictions on the work to be done.

Websters New Collegiate Dictionary (1975) defines restoration as, a bringing back to a former
position or condition. In restoring an art object, piece of furnishing, or architecture, the most
important requirement is the final appearance. The client and restorer determine the most desirable
period of an objects life; and the restorer does whatever is necessary to return the objects
appearance to that period.

2. Preservation - keeping an object from destruction and seeing to it that

the object is
not altered or changed. The word preservation is most commonly used in
relation to
architecture and built environments.
Preserving an object places additional layers of requirements on the
decisions regarding materials and methodology. In preservation, the
final appearance is no longer the prime factor, but rather, retaining the
maximum amount of building fabric.
Preservation dictates that in order to retain the maximum amount of
building fabric, repairs must be done with minimal or no changes to the
original building fabric and in like materials, and if possible using the
same methods as first created.

3. In conservation, the absolute maximum amount of the original material,

in as unaltered a condition as possible is preserved. Any repairs or
additions must not remove, alter or permanently bond/cross-link to any
original material. All repairs or additions must be reversible and removable
without affecting the condition of the original material now, and in the
future.

Conserving an object means the object dictates all choices on how it is

treated. Conservation does not involve artistic choices or material
experimentation on the object. It is important for; collectors and
renovators / restorers / preservationists / conservators to have a basic
understanding of these categories. It is also important to understand
that the lines between these categories change with the type of
object/situation involved.

For example:

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A project we had previously worked on involved almost all categories mentioned. It involved the
creation of an historical museum from a house which once belonged to a couple who were
legendary in their field of discipline. As the goal of the project was to restore the house environment
to its prime historical period, it was necessary to restore some pieces, preserve some pieces, and
conserve others.

The collectors responsibility is to choose professionals who can determine the category of a piece
and prescribe a work methodology that will maintain that categorization. The professionals
responsibility is to allow the piece to determine its own category and not allow a client/designer to
overrule that choice. A professional conservator is able to intervene, for example, when the
undereducated consumer wants to gut the clients eighteenth-century American highboy, with
original fittings and finish, to house the clients new entertainment center.

In recent years, only one of all the disciplines mentioned above has gained wide recognition.
Ironically, it is conservation which has become the key word amidst such a large vocabulary of
disciplines that are all equally important to the well being of our precious possessions, whether
personal or historical in value.

B. ARCHITECTURAL CONSERVATION

St Paul's Cathedral, London, clad for

Revision and conservation of Holy Trinity refurbishment in this case, cleaning the
Column in Olomouc (Czech Republic) in 2006. exterior.

ARCHITECTURAL CONSERVATION describes the process through which the

material, historical, and design integrity of humanity's built heritage are
prolonged through carefully planned interventions. The individual engaged in
this pursuit is known as an architectural conservator. Decisions of when and
how to engage in an intervention are critical to the ultimate conservation of
the immovable object. Ultimately, the decision is value based: a combination
of artistic, contextual, and informational values is normally considered. In
some cases, a decision to not intervene may be the most appropriate choice.

3 DEFINITIONS OF ARCHITECTURAL CONSERVATION

a. Narrow
Architectural conservation deals with issues of prolonging the life and
integrity of architectural character and integrity, such as form and style,
and/or its constituent materials, such as stone, brick, glass, metal, and wood.
In this sense, the term refers to the "professional use of a combination of
science, art, craft, and technology as a preservation tool" [1] and is allied with -
and often equated to - its parent fields, of historic environment conservation
and art conservation.
b. Broad

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In addition to the design and art/science definition described above,
architectural conservation also refers to issues of identification, policy,
regulation, and advocacy associated with the entirety of the cultural and built
environment. This broader scope recognizes that society has mechanisms to
identify and value historic cultural resources, create laws to protect these
resources, and develop policies and management plans for interpretation,
protection, and education. Typically this process operates as a specialized
aspect of a society's planning system, and its practitioners are termed built or
historic environment conservation professionals.
c. Functional
Architectural conservation is the process by which individuals or groups
attempt to protect valued buildings from unwanted change.

C. HISTORY OF THE ARCHITECTURAL CONSERVATION MOVEMENT.

As a movement, architectural conservation in general, and the
preservation of ancient structures specifically, gained momentum
during the 18th and 19th centuries.
It was a response to Modernism and its corresponding architectural
perspective, which eschewed sentimental attachment to old buildings
and structures in favor of technological and architectural progress and
change.
Prior to this time most of the ancient buildings that were still standing
had only survived because they either had significant cultural or
religious import, or they had yet to be discovered.
The growth of the architectural conservation movement is significant,
due to the following;
2 Schools of Thought of Conservation Movement:
a. archaeological discovery and
b. scientific advancement.

Preservation/Conservation were used interchangeably to refer to the

architectural school of thought that either encouraged measures that
would protect and maintain buildings in their current state, or would prevent
further damage and deterioration to them. This school of thought saw the
original design of old buildings as correct in and of themselves.
Two of the main proponents of preservation and conservation
in the 19th century were;
a. art critic John Ruskin and
b. artist William Morris.

Restoration was the conservationist school of thought that believed historic

buildings could be improved, and sometimes even completed, using current
day materials, design, and techniques. In this way it's very similar to the
Modernist architectural theory, except it does not advocate the destruction of
ancient structures. One of the most ardent supporters of this school of
thought in the 19th century was French architect Eugne Viollet-le-Duc.

Current treatments
The Department of the Interior of the United States defined the following
treatment approaches to architectural conservation:

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a. Preservation, "places a high premium on the retention of all historic
fabric through conservation, maintenance and repair. It reflects a
building's continuum over time, through successive occupancies, and
the respectful changes and alterations that are made." [4]
b. Rehabilitation "emphasizes the retention and repair of historic
materials, but more latitude is provided for replacement because it is
assumed the property is more deteriorated prior to work. (Both
Preservation and Rehabilitation standards focus attention on the
preservation of those materials, features, finishes, spaces, and spatial
relationships that, together, give a property its historic
character."[4] See also adaptive reuse.
c. Restoration "focuses on the retention of materials from the most
significant time in a property's history, while permitting the removal of
materials from other periods." [4]
d. Reconstruction, "establishes limited opportunities to re-create a non-
surviving site, landscape, building, structure, or object in all new
materials."
Other nations recognize some or all of these as potential treatments for
historic structures. Canada recognizes preservation, rehabilitation, and
restoration. The Burra Charter, for Australia, identifies preservation,
restoration, and reconstruction.

D. COMMON ARCHITECTURAL CONSERVATION/PRESERVATION PROBLEMS

Punched lead cast in a Venice bridge wall

Conservation patches on mosaics wall of
fixing the hard-metal connecting bar
Hospital de la Santa Creu I Sant Pau
(Barcelona)

The earliest building materials used by ancient peoples, such as wood

and mud, were organic.
Organic materials were used because they were plentiful and
renewable. Unfortunately, the organic materials used were also very
susceptible to the two most significant impediments to preservation
and conservation: the elements, and life (both human and animal).
Over time inorganic materials like brick, stone, metal, concrete, and
terra cotta began to be used by ancient people instead of organic ones,
due to their durability. In fact, we know that these materials are
durable because many ancient structures that are composed of them,

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even some built as far back as the Bronze Age, like Egypt's Great
Pyramids, still stand today.

Ancient buildings such as the Egyptian pyramids, the Roman

Colosseum, and the Parthenon face common preservation issues.

3 Most prominent factors affecting these structures

are:
a. Environment,
b. Pollution, and
c. Tourism.

1. ENVIRONMENTAL
As the Earth's climate patterns change, so too do the
environmental conditions governing these buildings.
For example;
The Colosseum has already faced lightning, fire, and
earthquakes.
The changing climate increases the accumulation of salt
crystals on the outside of monuments like the Colosseum
and the Parthenon. This phenomenon increases the
deterioration of these buildings.

The Salt crystals further contribute to the black effect that

man-made pollution has on these buildings.

2. POLLUTION
Factors of Pollution:
a. Erosion makes marble and other stones no longer be
identifiable.
b. Corrosive agents in the air - has also attributed to
this deterioration.

3. TOURISM - provides both economical and cultural benefits,

it can also be destructive.

The Egyptian tomb of Seti the 1st is currently off limits to the
public due to the deterioration that has been caused by
tourists. The pyramids in Giza have also encountered
problems due to large numbers of tourists; more tourists
mean greater humidity and water presence, which can lead to
erosion. All of the above factors complicate the conservation
options available to treat these buildings.

E. BUILDING CONSERVATION PROCESS

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1. Assessment
1st step:
A sensitive
assessment
of its history
and
merits. As noted architect Donald
Insall states, "Every building has its
own biography. A knowledge of the
whole life of a building brings an
essential understanding of its
features and its problems." He
gives the Parthenon in Athens as
an example; built between 447 and
432 BCE to serve as a temple
dedicated to the goddess Athena,
its purpose over time changed to
Christian church, mosque, and
powder magazine.
2ND Step:
A preserved historical A thorough
alleyway in Beirut Central measured
District survey with a
tape,
rod and level. Modern measuring
techniques, such as
photogrammetry (the use of aerial
photographs to make maps and
surveys) and
stereophotogrammetry, are also
used today to increase accuracy.

3rd Step:
Analysis of the structural stability of the building and its living
pattern of movement. No building is permanently still; soil and wind
can affect building stability and documented.
4th Step:
Finally, the architect or surveyor tests the electrical connections,
plumbing, and other utilities present in the building (this is more for
historic and re-purposed buildings). For both ancient and historic
buildings, lightning conductors and fire-fighting equipment are
checked to make sure they can provide sufficient protection.
5th Step:
At the end of this assessment process, the conservator will analyze
all the collected data and decide on a conservation plan based on
available funding sources.

2. Treatment
The phrase covers a wide span of activities, from the cleaning of the interior
or exterior of a building such as is currently underway at;
a. St Paul's Cathedral in London to the rebuilding of
damaged or derelict buildings,

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b. such as the restoration of the Windsor Great Hall
in Windsor Castle after a destructive fire in 1992.
c. The 19851989 removal of 38 layers of paint and
the cleaning and repair of the exterior sandstone
walls of the White House in the USA are an example
of building restoration.

Buildings are structures which have, from time to time, particular

purposes. They require ongoing maintenance to prevent them falling
into disrepair as a result of the ravages of time and use.
Building restoration can be thought of as that set of activities which are
greater than year-to-year maintenance, but which by retaining the
building are less than a demolition and the construction of a new
building.
Not all building conservation seeks to follow the original design of the
building. It is reasonably commonplace for the shell of a building its
external walls to be retained whilst an entirely new building is
constructed within. This approach is also referred to as adaptive reuse.

Although techniques of architectural conservation are improving, the action

of cleaning or repairing buildings can, with hindsight, be seen to cause
problems that at the time were unforeseen.
A good example is the unrestrained use of sandblasting to clean
smog deposits from soft-stoned buildings a technique employed in
the UK in the 1960s and 1970s which has damaged the external
faces of stonework to the extent that in some cases, later, the
stonework has needed to be replaced. Contemporary building codes
recognize such problems, and (it is to be hoped) mitigate poor
outcomes.

Case example: Ancient stone structures

Most ancient buildings are constructed of stone and have survived
from antiquity as a result of the stability of this building material.
However, stone can deteriorate rapidly without protection, particularly
in our modern era of pollution and climate change.
A simple technique for preserving stone in ancient building structures
that is effective in stopping deterioration and durable in its protective
effort while changing the appearance of stone as little as possible. It
should be simple to apply, and comparatively inexpensive and
reversible.

6 PROCESS OF STONE PRESERVATION is as follows:

1. Clean the material with soft brushes to remove ingrained dirt.
Do not use dust cloths. If dirt is extensive, use a paste jelly
formula such as EDTA ammonium carbonate.
2. Wash with distilled water by brushing, spraying or by immersion
or paper pulp method on stones showing symptoms of salting.
3. Sterilize by brushing or spraying with a minimum 25% to 36%
hydrogen peroxide stones affected by presence of organic
growths such as mosses and lichens.

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4. Consolidate by brushing, spraying or injecting (or by
impregnating, filling, grouting, jointing or pin dowel adhesive)
on very dry stone using a consolidant such as Rinforzante H or
ethyl silicate for siliceous stone (granite, sandstone).
Consolidation is recommended when the cohesive strength of
stone has weakened and there is a need to consolidate or bind
together the disintegrated material.
5. Gap filling, replacement and/or retouching of missing parts.
6. In appropriate circumstances, water repellents may be applied.
Spray or brush protective films or water repellents on stone
affected by chemical integration and biological attack. Common
protectants are waxes, acrylic and silicon resins.

3. PUBLIC AWARENESS AND OUTREACH TO PROMOTE

ARCHITECTURAL CONSERVATION
There are many organizations that work to raise public awareness of the
necessity to preserve ancient and historic buildings and areas, across
communities, users and government. In addition to promoting the cultural
value of these buildings, and encouraging appropriate polices and
strategies for conservation, the organizations can help in raising the
required funding to implement conservation initiatives and plans, and
often serve as a link between the community and local/federal
governments to advance conservation projects.

F. LAWS ON HISTORIC PRESERVATION IN THE PHILIPPINES

In the Philippines, the protection of historic sites and structures through

legislations as first undertaken through individual legislation.

The first piece of legislation was issued in the Philippines in 1901 when
the Philippine Commission, the colonial government body created by the
Americans, declared an area in the Luneta, now Rizal Park, a reservation to
erect a statue of Jose Rizal, the country's national hero.

Another act was passed in 1908 authorizing the construction of a Pantheon

of Illustrious Filipinos in Manila at a site designated as the final resting
place of selected Filipino heroes.

Public Act No. 2760 (1918) - preserving monuments to the country's

historical past, the erection, maintenance and improvement of national
monuments.

Executive Order No. 451 (1933) - Historical Research and Markers

Committee, the preservation of specific monuments or sites, the

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identification and permanent marking of historic antiquities, first in Manila,
then throughout the Philippines.

Commonwealth Act No. 169 (1936) an act to preserve historic sites

and antiquities.

Executive Order No. 91- Philippines Historical Committee, to acquire,

purchase and repair the antiquities stated above, it has identified 444
historical sites and structures and encouraged and supported their
preservation. It has also acquired five major historical sites honoring Filipino
heroes.

Republic Act No.4368 was issued in 1965 creating the National

Historical Commission, historic preservation mandated to undertake the
maintenance, construction or reconstruction of these sites or structures.

Presidential Decree No. 1, September 24, 1972-National Historical

Institute was created and given the task of construction, reconstruction and
maintenance of national shrines and monuments. The legislation abolished
ten ceremonial and memorial offices and transferred all their functions,
particularly those related to preservation and restoration of historic sites and
structures, to the Institute.

Presidential Decree No. 260 issued in 1973 could be considered the

countrys national historic act for the main reason that it recognized the
broad and complex requirements of historic preservation programs. The
decree, which was later amended, declared eight historic sites and structures
as of national importance and their preservation, restoration or
reconstruction were placed under the supervision and control of the Institute.
The same decree gave the Institute the power to declare other historic sites,
buildings and monuments for preservation purposes.

Presidential Decree No. 374 in 1975, when was issued amending

Republic Act No. 4866, the country's Cultural Properties Act. The National
Museum was designated to take care of the supervision, preservation,
conservation and restoration of outstanding structures, buildings,
monuments, towns and sites declared as national cultural treasures and
properties.

The existence of Presidential Decree Nos. 260 and 374 brought the
classification of historic sites and structures into;

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Five (5) Categories of Historic Sites and Structures as
follows:

a) National Cultural Treasures - are unique sites or

objects found locally possessing outstanding cultural,
artistic and/or scientific value which is highly significant
and important to the Philippines;

b) Important Cultural Properties - are cultural

properties which have been singled out from among the
innumerable cultural properties as having exceptional
cultural and scientific significance to the Philippines;

c) National Shrines - are historic sites or objects

hallowed or honoured for their history or associations like
the Rizal Shrines in Manila, Laguna and in Dapitan
City and the General Emilio Aguinaldo Shrine in Kawit,
Cavite;

d) National Monuments - are objects, natural features

or areas of special historic interest that are set aside by
local or national government as public property. The Walls
of Intramuros and the Rizal Monument in Manila and
the Bonifacio Monument in Caloocan City are examples of
national monuments; and

e) National Landmark - are places or objects that are

associated with an event,acheivement, characteristic or
modification that marks a turning point or stage in
Philippine history like the Barasoain Church of Malolos,
Bulacan; the San Sebastian Church in Quiapo, Manila; and
the Underground Cemetery of Nagcarlan, Laguna.
Practically, all historic churches built by the Spaniards are
classified under this category.

REPUBLIC ACT 7356 in 1992, National Commission of Culture & Arts

(NCCA)

An Act Creating the National Commission for Culture and the Arts,
Establishing a National Endowment Fund for Culture and the Arts, and for
other Purposes.

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Sub-commission on the Arts

1. Architecture and Allied Arts

2. Cinema

3. Dance

4. Dramatic Arts

5. Literary Arts

6. Music

7. Visual Arts

Sub-commission on Cultural Heritage

1. Archives

2. Art Galleries

3. Historical Research

4. Libraries and Information Services

5. Monuments and Sites

6. Museums

Sub-commission on Cultural Dissemination

1. Communication
2. Cultural Education
3. Language and Translation

Sub-commission on Cultural Communities and Traditional Arts

1. Central Cultural Communities

2. Northern Cultural Communities

3. Southern Cultural Communities

Republic Act No. 10066: National Cultural Heritage Act of 2009

An Act Providing for the Protection and Conservation of the National Cultural
Heritage, Strengthening the National Commission for Culture and the Arts
(NCCA), and its Affiliated Cultural Agencies, and for Other Purposes

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G. List of UNESCO World Heritage Sites in the Philippines

The UNESCO (United Nations Educational, Scientific and Cultural Organization) has designated five World
Heritage Sites in the Philippines.

The UNESCO World Heritage Sites are places of importance to cultural or natural heritage as described in
the UNESCO World Heritage Convention.

The Philippines, following its ratification of the convention on Thursday, September 19, 1985, made its
historical and natural sites eligible for inclusion on the list.

The Philippines had its first sites included in 1993, and since 1999, has five sites on the list. Of those five
sites, three are cultural and two natural. Twenty-nine other properties have also been submitted to
the Tentative List for possible nomination in the future.

World Heritage List:

Type(criteri Ye Re
Image Site Location Description
a) ar f

Historic Ilocos Sur Cultural:(ii) Established in the 199 50

Town of (iv) 16th century, Vigan 9 2
Vigan is the best-
preserved example
of a plannedSpanish
colonial town in
Asia. Its
architecture reflects
the coming together
of cultural elements
from elsewhere in
the Philippines,
from China and
from Europe,

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resulting in a
culture and
townscape that
have no parallel
anywhere
in East and South-
East Asia.

This park features a

spectacular
limestone karst land
scape with
an underground
river. One of the
river's
distinguishing
features is that it
Puerto emerges directly
Princesa into the sea, and its
Subterran Natural:(vii) lower portion is 199 65
Palawan
ean River (x) subject to tidal 9 2
National influences. The area
Park also represents a
significant habitat
for biodiversity
conservation. The
site contains a full
'mountain-to-sea'
ecosystem and has
some of the most
important forests in
Asia.

Rice Ifugao Cultural:(iii) For 2,000 years, the 199 72

Terraces (iv)(v) high rice fields of 5 2
of the the Ifugao have
Philippine followed the
Cordilleras contours of the
mountains. The fruit
of knowledge
handed down from
one generation to
the next, and the
expression of
sacred traditions
and a delicate social
balance, they have
helped to create a
landscape of great

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beauty that
expresses the
harmony between
humankind and the
environment.

San
Intramuros,Ma
Agustin
nila
Church

Baroque Churches
of the Philippines
These four
Miag-ao churches, the first
Iloilo
Church of which was built
by the Spanish in
the late 16th
century, are located
Cultural:(ii) in Manila, Santa 199 67
(iv) Maria, Paoay and 3 7
Miag-ao. Their
unique architectural
Paoay style is a
Ilocos Norte
Church reinterpretation of
European Baroque b
y Chinese and
Philippine
craftsmen.

Santa
Maria Ilocos Sur
Church

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The Tubbataha Reef

Marine Park covers
130,028 ha,
including the North
and South Reefs. It
is a unique example
of an atoll reef with
a very high density
of marine species;
Tubbataha the North Islet
Reefs Natural:(vii) serving as a nesting 199 65
Sulu Sea
Natural (ix)(x) site for birds and 3 3
Park marine turtles. The
site is an excellent
example of a
pristine coral
reef with a
spectacular 100-m
perpendicular wall,
extensive lagoons
and two coral
islands.

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