The United Nations (UN) has declared 2017 as the International Year of Sustainable Tourism for Development.
HERITAGE ISTANBUL 2017
Restoration Archaeology Museum Technologies Fair & Conferences
In an act of preservation and transmission, the OWHC gives access to all its conferences proceeding to its members and the international community.
In order to achieve its desire to offer its members a wide range of activities and programs that reach all target audiences interested in World Heritage, the OWHC is pleased to officially announce the launch of two new programs.
The final call for papers for the international conference 'BRIDGE: The Heritage of Connecting Places and Cultures', closes on 27th February. We’d be very keen to receive papers that relate to bridges and world heritage sites.
ICCROM is pleased to inform that the International Course on Linking Nature and Culture in World Heritage Site will be held in Røros Mining Town and the Circumference, Norway from 6 - 16 June 2017. The course announcement is included below.
The Council of Europe just released its third newsletter of the COMUS project.
You can read it as well as the other issues on our website by clicking on COMUS latest news from the OWHC and the Council of Europe
The Pampulha Modern Ensemble was the centre of a visionary garden city project created in 1940 at Belo Horizonte, the capital of Minas Gerais State. Designed around an artificial lake, this cultural and leisure centre included a casino, a ballroom, the Golf Yacht Club and the São Francisco de Assis church. The buildings were designed by architect Oscar Niemeyer, in collaboration with innovative artists. The Ensemble comprises bold forms that exploit the plastic potential of concrete, while fusing architecture, landscape design, sculpture and painting into a harmonious whole. It reflects the influence of local traditions, the Brazilian climate and natural surroundings on the principles of modern architecture.
Designed in 1940 around an artificial lake, the Pampulha ensemble, of four buildings set within landscaped grounds, was a centre for leisure and culture in the ‘garden city’ neighbourhood of Belo Horizonte, built as the new capital of Minas Gérais State.
The Casino, Ballroom, Golf Yacht Club and São Francisco De Assis Church, were designed by architect Oscar Niemeyer who, working in collaboration with engineer Joaquim Cardozo, and artists including Cândido Portinari, created bold forms that exploited the plastic potential of concrete, and integrated the plastic arts such as ceramics and sculpture. Landscape designer Roberto Burle Marx reinforced the links between the buildings and their natural landscapes through designed gardens and a circuit of walkable spaces to reflect a dialogue with nature that emphasized the buildings as special pictures mirrored in the lake.
Criterion (i): Niemeyer, Burle Marx and Portinari collectively delivered a landscape ensemble that as a whole is outstanding for the way it manifests a new fluid modern architectural language fused with the plastic arts and design, and one that interacts with its landscape context.
Criterion (ii): The Pampulha Modern Ensemble was linked to reciprocal influences between European and North America and the Latin American periphery and particularly to a poetic reaction to the perceived austerity of modern European architecture.
In establishing a synthesis between local regional practices and universal trends, as well as fostering dynamic links between architecture, landscape design and the plastic arts, Pampulha inaugurated a new direction in modern architecture which subsequently was used to assert new national identities in recently independent Latin American countries.
Criterion (iv): The Pampulha ensemble and its innovative architectural and landscape concepts reflects a particular stage in architectural history in South America, which in turn reflects wider socio-economic changes in society beyond the region. The economic crises of 1929 prompted demands for people to have greater inclusion in nation building. These circumstances influenced the design of the new garden city neighbourhood of Belo Horizonte as a place that could reflect creative and cultural ‘autonomy’ through innovative architectural buildings designed for public use, set in a designed ‘natural’ landscape, well endowed with public spaces for leisure and exercise.
Located in Guadalajara in the central region of western Mexico, Hospicio Cabañas was founded at the beginning of the 19th century to provide care and shelter to the needy including orphans, elderly, handicapped and chronic invalids. Architect Manuel Tolsá, designed a predominantly Neoclassical complex on a monumental scale, covering 2.34 hectares. Despite its size, the hospice’s uniqueness relates primarily to the simplicity of its design, specifically its dimensions and the harmony achieved between the buildings and the outdoor spaces. The overall composition is formed by a rectangular plan measuring 164 metres by 145 metres and contains a complex of single-story buildings laid out around a series of twenty-three courtyards varying in size and characteristics.
The Hospicio Cabañas was built at the beginning of the 19th century to provide care and shelter for the disadvantaged – orphans, old people, the handicapped and chronic invalids. This remarkable complex, which incorporates several unusual features designed specifically to meet the needs of its occupants, was unique for its time. It is also notable for the harmonious relationship between the open and built spaces, the simplicity of its design, and its size. In the early 20th century, the chapel was decorated with a superb series of murals, now considered some of the masterpieces of Mexican art. They are the work of José Clemente Orozco, one of the greatest Mexican muralists of the period.
The hospice’s founder, Bishop Cabañas commissioned a design that responded to its social and economic requirements through an outstanding solution of great subtlety and humanity. The single-storey scale, covered passageways between buildings, and arcades traversing most courtyards focused on the comfort of its residents allowing them to move freely. The light and air provided by the open spaces were intended to promote healing. In addition, it was one of Bishop Cabañas’ objectives to educate residents through the learning of a trade. For example, the hospice’s corridors provided space for one of Guadalajara’s first printing press workshops and throughout the 19th century innumerable texts were published from this location.
The exception to the complex’s uniform height of 7.5 metres is found in along its central axis with the chapel and kitchen. The kitchen is topped by a saucer dome and small lantern. It is the chapel, however, that is the visually dominant feature of the hospice with its imposing dome rising 32.5 metres.
Criterion (i): The Hospicio Cabañas is a unique architectural complex designed to respond to social and economic requirements for housing the sick, the aged, orphans, and the needy with an outstanding solution of great subtlety and humanity. The murals painted in the chapel by José Clemente Orozco are considered great masterpieces of Mexican art.
Criterion (ii): The group of paintings in the chapel of the Hospicio, in particular the allegory El Hombre de Fuego (The Man of Fire) is considered to be one of the masterpieces of 20th century mural painting and had profound cultural influence beyond the American continent.
Criterion (iii): This is a unique building dedicated to public welfare assistance and speaks of the exceptional humanitarian spirit of its promoter and producer Bishop Juan Ruiz de Cabañas.
Criterion (iv): The Hospicio Cabañas is an outstanding work of renowned architect Manuel Tolsá, built predominantly in the Neoclassical style, that provided a completely different architectural solution to the conventional design of its time. The restriction of one level to facilitate movement of patients, large open spaces with natural lighting and ventilation to promote healing, and covered walkways between the different modules of the building, whose scale, covering 2.34 hectares, was at that time and still is today considered monumental.
Located in the mountainous mid-western region of the Republic of Korea, this property comprises eight archaeological sites dating from 475 to 660 CE, including the Gongsanseong fortress and royal tombs at Songsan-ri related to the capital, Ungjin (present day Gongju), the Busosanseong Fortress and Gwanbuk-ri administrative buildings, the Jeongnimsa Temple, the royal tombs in Neungsan-ri and the Naseong city wall related to the capital, Sabi (now Buyeo), the royal palace at Wanggung-ri and the Mireuksa Temple in Iksan related to the secondary Sabi capital. Together, these sites represent the later period of the Baekje Kingdom – one of the three earliest kingdoms on the Korean peninsula (18 BCE to 660 CE) - during which time they were at the crossroads of considerable technological, religious (Buddhist), cultural and artistic exchanges between the ancient East Asian kingdoms in Korea, China and Japan.
Located in the mountainous mid-western region of the Republic of Korea, the remains of three capital cities collectively represent the later period of the Baekje Kingdom as it reached its peak in terms of cultural development involving frequent communication with neighbouring regions. The Baekje lasted 700 years from 18 BCE to 660 CE and was one of the three earliest kingdoms on the Korean peninsula. The Baekje Historic Areas serial property comprises eight archaeological sites dating from 475-660 CE including the Gongsanseong fortress and royal tombs at Songsan-ri related to the Ungjin capital Gongju; the Archaeological Site in Gwanbuk-ri and Busosanseong Fortress, Jeongnimsa Temple Site, royal tombs in Neungsan-ri and Naseong city wall related to the Sabi capital Buyeo; the Archaeological Site in Wanggung-ri and the Mireuksa Temple Site in Iksan related to the secondary Sabi capital. Together these sites testify to the adoption by the Baekje of Chinese principles of city planning, construction technology, arts and religion; their refinement by the Baekje and subsequent distribution to Japan and East Asia.
Criterion (ii): The archaeological sites and architecture of the Baekje Historic Areas exhibit the interchange between the ancient East Asian kingdoms in Korea, China and Japan in the development of construction techniques and the spread of Buddhism.
Criterion (iii): The setting of the capital cities, Buddhist temples and tombs, architectural features and stone pagodas of the Baekje Historic Areas contribute in forming exceptional testimony to the unique culture, religion and artistry of the kingdom of Baekje.