UNIT 1

INTRODUCTION TO
CONSERVATION
SCHOOL OF ARCHITECTURE
A r. R o s h i n i M u r a l i d h a r a
INTRODUCTION TO
CONSERVATION

DEFINITIONS AND TERMINOLOGIES

HERITAGE AND CULTURE
INTRODUCTION

Heritage is our legacy from the past, what we live with today, and what we pass on to future generations.
Our cultural and natural heritage are both irreplaceable sources of life and inspiration.
- UNESCO World Heritage

Heritage is referred to as those buildings, artefacts, structures, areas and precincts that are of historic,
aesthetic, architectural or cultural significance and should include natural features within such areas or
precincts of environmental significance or scenic beauty such as sacred grooves, hills, hillocks,
waterbodies (and the areas adjoining the same),open areas, wooded areas, etc.

‘Culture, or civilization, taken in its broad, ethnographic sense, is that complex whole which includes
knowledge, belief, art, morals, law, custom, and any other capabilities and habits acquired by man as a
member of society’
- Edward Burnett Tylor
CULTURAL HERITAGE
NATURAL HERITAGE
 CONSERVATION
• All the actions/ methods/processes aimed at safeguarding of
cultural property for the future to study, record, retain and
restore the culturally significant qualities of the cultural
property as embodied in its physical and chemical nature
(Canadian Conservation Code of Ethics).

• The process of managing change to a significant place in its

setting in ways that will best sustain its heritage values, while
recognizing opportunities to reveal or reinforce those values
for present and future generations (Conservation Principles,
English Heritage).

• Conserving and preserving the heritage of our historical The RajBari Bawali | Kolkata
possession in its pristine and original form, so that it continues
to portray its original beauty, distinctive character and unique
style or use or association with a distinctive historical
personality or event.

Painting and artefacts conservation

 PRESERVATION

• Preservation involves keeping an object from

destruction and seeing to it that the object is not
irredeemably 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 Machu Picchu | Peru
building fabric. 

Preservation of artefacts in museums

 RESTORATION AND RENOVATION

• Restoration can be defined 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 object’s life; and the restorer does
whatever is necessary to return the object’s
appearance to that period.
Octroi Post Bengaluru before and after restoration
• Renovation simply means to make an object look
like new. The object to be renovated is just a base or
starting point for the client/designer’s 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.

Boston City Hall renovation project

 RESTORATION AND RENOVATION

• Restoration can be defined 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 object’s life; and the restorer does
whatever is necessary to return the object’s
appearance to that period.
Octroi Post Bengaluru before and after restoration
• Renovation simply means to make an object look
like new. The object to be renovated is just a base or
starting point for the client/designer’s 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.

Boston City Hall renovation project

 CONSERVATION
WHY AND WHAT TO CONSERVER

NEED TO CONSERVE

• To protect the cultural property/resource from further damage and preserve it for the future generations.
• To ensure the cultural legacy of a particular place or precinct is not lost.
• An opportunity not only to conserve the past, but also to define the future. It provides alternate avenues for employment and a parallel
market for local building materials and technologies, which needs to be taken into account when resources for development are severely
constrained.
• ‘Living’ heritage also has symbiotic relationships with the natural environments within which it originally evolved. Understanding this
interdependent ecological network and conserving it can make a significant contribution to improving the quality of the environment.
• According to the United Nations Sustainable Development Goals, specifically Goal 11 – Sustainable Cities and Communities, ‘heritage’ is a
driver and an enabler of sustainability and there is a need to strengthen the efforts to protect and safeguard the world’s natural and cultural
heritage.

WHAT TO CONSERVE
• Sites, precincts, neighborhoods, monuments, buildings of archaeological, architectural, associational, social and communal importance.
• Artefacts, statues, manuscripts, paintings, drawings, inscriptions, clothing, jewellery.
• Unique and contextual dance, music, drama and art forms, culinary traditions etc.
INTRODUCTION TO
CONSERVATION

ETHICS AND VALUES

 CONSERVATION
ETHICS

AUTHENTICITY

• The traditional knowledge systems and the cultural landscape in which the heritage exists, particularly if these are ‘living’, should define
the authenticity of the heritage value to be conserved.
• The ability to understand the value attributed to the heritage depends on the degree to which information sources about this value may be
understood as credible or truthful. Knowledge and understanding of these sources of information, in relation to original and subsequent
characteristics of the cultural heritage, and their meaning as accumulated over time, are the requisite bases for assessing all aspects of
authenticity.
• Depending on the type of cultural heritage, and its cultural context, properties may be understood to meet the conditions of authenticity if
their cultural values are truthfully and credibly expressed through a variety of attributes including:
 form and design;
 materials and substance;
 use and function;
 traditions, techniques and management systems;
 location and setting;
 language, and other forms of intangible heritage;
 spirit and feeling; and
 other internal and external factors.
 CONSERVATION
ETHICS

INTEGRITY

• The integrity of any cultural property is to be defined and interpreted not only in terms of the physical fabric of the building, but also with
respect to the collective knowledge systems and cultural landscape it represents. This knowledge system, where it exists, must mediate the
process of conservation/ restoration/ rebuilding of the unprotected architectural heritage in order to reinforce an appreciation of the cultural
landscape.

• Integrity is a measure of the wholeness and intactness of the natural and/or cultural heritage and its attributes.

• The physical fabric of the property and/or its significant features should be in good condition, and the impact of deterioration processes
controlled.
 CONSERVATION
ETHICS

CONJECTURE

• Local master builders build, rebuild, restore, renew and make

additions/alterations to historic buildings in response to contemporary
exigencies or evolving local needs of the community; they must be
encouraged to follow their traditions even when there is no available
evidence in the form of documentation, oral histories or physical remains of
previous structures.

• An exact replacement, restoration or rebuilding must be valued when it

ensures continuity of traditional building practices.

• Conjectural restoration or rebuilding must nevertheless respect the overall

spatial and volumetric composition of historic settings. The parameters of the
historical setting should be defined through comprehensive urban design
studies. These parameters should also guide new urban development in the
vicinity of heritage buildings and sites.
 CONSERVATION
ETHICS

INSEPARABLE BOND WITH SETTING

AND CONTEXT

• Any heritage building or site is

inseparable from its physical and
cultural context, and belongs to the local
society as long as its members continue
to value and nurture it. The conservation
process must be sensitive to this
relationship, and reinforce it.

MINIMAL INTERVENTION AND LOSS OF FABRIC

• Conservation may include additions and alterations of the physical fabric, in part or whole, in order to
reinstate the meaning and coherence of the architectural heritage and site.
• The nature and degree of intervention for conservation, should be determined on the basis of the
intervention’s contribution to the continuity of cultural practices, including traditional building skills and
knowledge, and the extent to which the changes envisaged meet the needs of the community.
 CONSERVATION
ETHICS

RIGHTS OF THE INDIGENOUS COMMUNITY

• Each community has its own distinctive culture constituted by its

traditions, beliefs, rituals and practices - all intrinsic to defining the
significance of the unprotected architectural heritage and site.
• The conservation strategy must respect the fact that local cultures are not
static and, therefore, encourage active community involvement in the
process of decision-making. This will ensure that the symbiotic relation
between the indigenous community and its own heritage is strengthened
through conservation.

PATINA

• The patination of historic fabric due to age or natural decay should not
compel the preservation of a ruin as it exists, frozen in time and space. In
conformity with local aesthetic traditions, and for the well being of the
heritage building or site, renewal, restoration, repair or rebuilding is
acceptable. Patina may, where necessary, be considered as a sacrificial
layer.
 CONSERVATION
ETHICS

RESPECT FOR THE CONTRIBUTIONS OF ALL PERIODS

• The contributions of earlier periods which produced the historic

fabric and consequent interventions, including contemporary
interventions, based on either traditional systems of building
knowledge or modern practices, must be respected as constituting
the integrity of the heritage sought to be conserved. The objective of
conserving the unprotected architectural heritage and site is not so
much to reveal the authentic quality of the past or preserve its
original integrity, but rather to mediate its evolving cultural
significance to achieve beneficial results.

• The holistic coherence of the heritage in terms of its urban design,

architectural composition and the meaning it holds for the local
community should determine any intervention in the process of
conservation.
 CONSERVATION
ETHICS

REVERSIBILITY
• The principle of reversibility of interventions needs not dictate conservation
strategy. In order to use the unprotected heritage for the socio-economic
regeneration of the local communities, the historic building and site can be
suitably adapted and modified for an appropriate reuse. For this it is only
essential that the process of intervention contributes to conserving the
traditional context as far as possible in the modified form.

LEGIBILITY
• The legibility of any intervention must be viewed in its own context. If
traditional craftspeople are employed then it must be accepted that their pride
derives from the fact that the new work is in complete harmony with the old
and is not distinguishable from it. Thus, historic ways of building must be
valued more than the imperative to put a contemporary stamp on any
intervention in a historic building.
• Where modern material or technology is used, it could be used to replicate the
old or be distinguished from it, depending on the artistic intent governing the
strategy of conservation.
 CONSERVATION
VALUES

• Valuation plays a crucial role in recognition, strategic decision-making, and in complex negotiations devoted to the care of cultural heritage,
which can often be very difficult in theory and also in conservation practice.  

• We now understand that the protection and management of cultural heritage resources are a way of ensuring their maximum possible vitality,
values and functions to the benefit of current and future generations, attributing them an important role in a sustainable social system.

• Valuation is predominantly carried out through:

- Preliminary desk based data collection and assessment.
- Listing/Mapping
- Grading

• “Individual buildings or entire areas are surveyed to uncover components of special interest which depict a time period or particular historical
event and reflect the influence of history on a place. Listing is also an attempt to produce a comprehensive inventory of the heritage assets of
states and cities whilst also bringing assets into consideration of the planning system in order for some thought to be taken about its future.”
(Conservation Briefs: Identification and Documentation of Built Heritage In India – Divay Gupta).

• The process helps provide access to clear, current information whilst also allowing people to understand their shared history.
 CONSERVATION
VALUES

• However, a listed building or site essentially means inventoried buildings/site with statutory designations. When the inventory of heritage building
is designated under the relevant legislation (Heritage Regulations, Municipal Acts, Heritage Bill, Town and Country Act, Ancient Monuments act
etc.) it acquires the status of a Listing.

• Listing does not prevent change of ownership or usage. However, change of use of such Listed Heritage Building / Listed Precincts is not
permitted without the prior approval of the Heritage Conservation Committee. Use should be in harmony with the said listed heritage site.
CONSERVATION
VALUES
INTRODUCTION TO
CONSERVATION
INTERNATIONAL AND NATIONAL
ORGANISATIONS
CONSERVATION
INTERNATIONAL ORGANISATIONS
 CONSERVATION
INTERNATIONAL ORGANISATIONS

UN-WORLD HERITAGE
• Heritage is our legacy from the past, what we
live with today, and what we pass on to future
generations. Our cultural and natural heritage
are both irreplaceable sources of life and
inspiration.

• The United Nations Educational, Scientific and

Cultural Organization (UNESCO) seeks to
encourage the identification, protection and
preservation of cultural and natural heritage around
the world considered to be of outstanding value to
humanity. This is embodied in an international treaty
called the 
Convention concerning the Protection of the World
Cultural and Natural Heritage
, adopted by UNESCO in 1972.

Source: UN World Heritage

 CONSERVATION
INTERNATIONAL ORGANISATIONS

UN – WORLD HERITAGE

Source: UN World Heritage

 CONSERVATION
INTERNATIONAL ORGANISATIONS

WORLD HERITAGE CONVENTION

• The idea of creating an international movement for
protecting heritage emerged after World War I. The
1972 
Convention concerning the Protection of the World
Cultural and Natural Heritage 
developed from the merging of two separate
movements: the first focusing on the preservation
of cultural sites, and the other dealing with the
conservation of nature.

• The most significant feature of the 1972 World

Heritage Convention is that it links together in a
single document the concepts of nature
conservation and the preservation of cultural
properties. The Convention recognizes the way in
which people interact with nature, and the
fundamental need to preserve the balance between
the two.

Source: UN World Heritage

 CONSERVATION
INTERNATIONAL ORGANISATIONS

WORLD HERITAGE CONVENTION - TIMELINE

Source: UN World Heritage

 CONSERVATION
INTERNATIONAL ORGANISATIONS

WORLD HERITAGE CONVENTION - TIMELINE

Source: UN World Heritage

 CONSERVATION
INTERNATIONAL ORGANISATIONS

WORLD HERITAGE CONVENTION - TIMELINE

Source: UN World Heritage

 CONSERVATION
INTERNATIONAL ORGANISATIONS

ICOMOS
• ICOMOS works for the conservation and protection of cultural heritage places. It is
the only global non-government organization of this kind, which is dedicated to
promoting the application of theory, methodology, and scientific techniques to the
conservation of the architectural and archaeological heritage. 

• ICOMOS is a network of experts that benefits from the interdisciplinary exchange of

its members, among which are architects, historians, archaeologists, art historians,
geographers, anthropologists, engineers and town planners.

• The members of ICOMOS contribute to improving the preservation of heritage, the

standards and the techniques for each type of cultural heritage property: buildings,
historic cities, cultural landscapes and archaeological sites.

Source: ICOMOS International

 CONSERVATION
INTERNATIONAL ORGANISATIONS

ICOMOS – HISTORY AND VALUES

• Until the end of the 19th century, architectural heritage had been a matter of solely national concern, and most of the laws regarding the
protection of historic buildings in Europe date back to that period. Countless associations existed in each country, but their scope never went
beyond national borders. Cultural internationalism, as we know it today, was an outcome of the First World War, with the creation of the
League of Nations, and most of all of the Second World War, with the creation of the United Nations and the establishment of UNESCO.
• The Athens Conference (1931) on the restoration of historic buildings, organised by the International Museums Office, and the Athens
Charter, drafted by Le Corbusier at the fourth Assembly of the International Congresses on Modern Architecture (1933) and published
anonymously in Paris in 1941, both represent a major step in the evolution of ideas because they reflected a growing consciousness among
specialists all over the world and introduced the concept of international heritage for the first time in history.

• Cultural and social diversity, collegiality

• Impartiality
• Exchanges between countries, North-South dialogue, solidarity
• Transmission and youth involvement
• Free Access to Information

Source: ICOMOS International

 CONSERVATION
INTERNATIONAL ORGANISATIONS

ICOMOS – NATIONAL SCIENTIFIC COMMITTES

Source: ICOMOS International

 CONSERVATION
INTERNATIONAL ORGANISATIONS

ICOMOS – NATIONAL SCIENTIFIC COMMITTES

Source: ICOMOS International

 CONSERVATION
INTERNATIONAL ORGANISATIONS

ICOMOS – INTERNATIONAL/NATIONAL SCIENTIFIC COMMITTES

Source: ICOMOS International

 CONSERVATION
INTERNATIONAL ORGANISATIONS

ICOMOS – INTERNATIONAL/NATIONAL WORKING GROUPS

Source: ICOMOS International

 CONSERVATION
INTERNATIONAL ORGANISATIONS

ICOMOS – INTERNATIONAL CHARTERS

•International Charter for the Conservation and Restoration of Monuments and Sites (The Venice Charter): [PDF]
•Historic Gardens (The Florence Charter): [PDF]
•Charter for the Conservation of Historic Towns and Urban Areas (The Washington Charter): [PDF]
•Charter for the Protection and Management of the Archaeological Heritage: [PDF]
•Charter on the Built Vernacular Heritage: [PDF]
•ICOMOS Charter – Principles for the Analysis, Conservation and Structural Restoration of Architectural Heritage: [PDF]
•ICOMOS Charter on Cultural Routes: [PDF]
•The Nara Document on Authenticity: [PDF]
•Principles for the Recording of Monuments, Groups of Buildings and Sites: [PDF]
•Joint ICOMOS – TICCIH Principles for the Conservation of Industrial Heritage Sites, Structures, Areas and Landscapes: [PDF]
•The ICOMOS Charter for the Interpretation and Presentation of Cultural Heritage Sites: [PDF]
•The Valletta Principles for the Safeguarding and Management of Historic Cities, Towns and Urban Areas : [PDF]
•ICOMOS International Cultural Tourism Charter: Principles and Guidelines for Managing Tourism At Places of Cultural and Heritage : [
PDF]
•Principles for the Preservation of Historic Timber Structures: [PDF]
•European Convention on the Protection of the Archaeological Heritage: [PDF]

Source: ICOMOS International

 CONSERVATION
INTERNATIONAL ORGANISATIONS

ICOMOS – INTERNATIONAL CHARTERS

•Convention for the Protection of the World Cultural and Natural Heritage: : [PDF]
•European Charter of the Architectural Heritage: [PDF]
•Charter for Sustainable Tourism:: [PDF]
•The Nizhny Tagil Charter for the Industrial Heritage: [PDF]
•The Paris Declaration On Heritage as Driver of Development: [PDF]
•The Charter of Krakow 2000: Principles for Conservation and Restoration of Built Heritage: [PDF] ICOMOS Charter – Principles for
the Analysis, Conservation and Structural Restoration of Architectural Heritage 2003
•ICOMOS Principles for the Preservation and Conservation-Restoration of Wall Paintings 2003
•ICOMOS Charter on Cultural Routes 2008
•ICOMOS Charter for the Interpretation and Presentation of Cultural Heritage Sites (also known as the 'Ename Charter') 2008
•Joint ICOMOS – TICCIH Principles for the Conservation of Industrial Heritage Sites, Structures, Areas and Landscapes 2011
•The Valletta Principles for the Safeguarding and Management of Historic Cities, Towns and Urban Areas 2011 (Supersedes the Washington
Charter)
•ICOMOS-IFLA principles concerning rural landscapes as heritage – 2017
•Document on historic urban public parks – 2017
•Salalah guidelines for the management of public archaeological sites – 2017
•Principles for the conservation of wooden built heritage – 2017

Source: ICOMOS International

CONSERVATION
NATIONAL ORGANISATIONS
CONSERVATION
NATIONAL LEVEL CONSERVATION FIRMS
 CONSERVATION
NATIONAL ORGANISATIONS

• The Archaeological Survey of India (ASI), under the Ministry of Culture, is

the premier organization for the archaeological researches and protection of
the cultural heritage of the nation.
• Maintenance of ancient monuments and archaeological sites and remains of
national importance is the prime concern of the ASI. Besides it regulate all
archaeological activities in the country as per the provisions of the Ancient
Monuments and Archaeological Sites and Remains Act, 1958. It also
regulates Antiquities and Art Treasure Act, 1972.
• For the maintenance of ancient monuments and archaeological sites and
remains of national importance the entire country is divided into 24 Circles.
• The organization has a large work force of trained archaeologists,
conservators, epigraphist, architects and scientists for conducting
archaeological research projects through its Circles, Museums, Excavation
Branches, Prehistory Branch, Epigraphy Branches, Science Branch,
Horticulture Branch, Building Survey Project, Temple Survey Projects and
Underwater Archaeology Wing.
 CONSERVATION
NATIONAL ORGANISATIONS

• The Indian National Trust for Art and Cultural Heritage (INTACH)
was founded in 1984 in New Delhi with the vision to spearhead
heritage awareness and conservation in India.
• Today INTACH is recognized as one of the world’s largest heritage
organizations, with over 190 Chapters across the Country. In the past
31 years INTACH has pioneered the conservation and preservation of
not just our natural and built heritage but intangible heritage as well.
• Headquartered in New Delhi, it operates through various divisions
such as Architectural Heritage, Natural Heritage, Material Heritage,
Intangible Cultural Heritage, Heritage Education and Communication
Services (HECS), Crafts and Community Cell, Chapters, INTACH
Heritage Academy, Heritage Tourism, Listing Cell and Library,
Archives and Documentation Centre
INTRODUCTION TO
CONSERVATION
WORLD HERITAGE NOMINATION
CONSERVATION
PROCESS OF NOMINATION TO WHS

The first and foremost step is that the state The timeline of the nomination dossier usually ranges from 1.5-2
party, needs to identify and prepare a years, where a lot of desk based research, data collection, analysis,
nomination for the property to be included discussions with experts, site visits, reports, presentations will be
in the World Heritage (WH) tentative list. done by the organisation.

After this, the state party needs to wait for Team – Conservation Architects,
In a calendar year, the final nomination
at least 3 years for the property to be Architects, Urban planners, Urban
dossier should reach the central body by
chosen for preparing the nomination designers, Historians (art, architecture
February.
dossier. etc.), GIS experts, etc.

The state party then identifies a specific Regular meetings and discussions with the The decision regarding the nomination
organisation to prepare the nomination apex body of the government that looks dossier will be taken in the annual general
dossier for the identified property. into world heritage nominations. body meeting held in July every year.
 CONSERVATION
CRITERIA FOR NOMINATION

• CRITERIA 1

To represent a masterpiece of human creative genius

RANI KA VAV
• Rani-ki-Vav, on the banks of the Saraswati River, was initially built as a
memorial to a king in the 11th century AD.
• Step wells are a distinctive form of subterranean water resource and
storage systems on the Indian subcontinent, and have been constructed
since the 3rd millennium BC.
• They evolved over time from what was basically a pit in sandy soil
towards elaborate multi-storey works of art and architecture.
• Rani-ki-Vav was built at the height of craftsmens’ ability in stepwell
construction and the Maru-Gurjara architectural style, reflecting mastery
of this complex technique and great beauty of detail and proportions.
• Designed as an inverted temple highlighting the sanctity of water, it is
divided into seven levels of stairs with sculptural panels of high artistic
quality; more than 500 principle sculptures and over a thousand minor
ones combine religious, mythological and secular imagery, often
referencing literary works.
 CONSERVATION
CRITERIA FOR NOMINATION

• CRITERIA 2

To exhibit an important interchange of human

values, over a span of time or within a cultural area
of the world, on developments in architecture or
technology, monumental arts, town-planning or
landscape design.

SUN TEMPLE KONARK

• On the shores of the Bay of Bengal, bathed in
the rays of the rising sun, the temple at Konarak
is a monumental representation of the sun god
Surya's chariot; its 24 wheels are decorated with
symbolic designs and it is led by a team of six
horses.
• Built in the 13th century, it is one of India's
most famous Brahman sanctuaries.
 CONSERVATION
CRITERIA FOR NOMINATION

• CRITERIA 3

To bear a unique or at least exceptional testimony to

a cultural tradition or to a civilization which is
living or which has disappeared;

AGRA FORT
• Near the gardens of the Taj Mahal stands the
important 16th-century Mughal monument known as
the Red Fort of Agra.
• This powerful fortress of red sandstone
encompasses, within its 2.5-km-long enclosure
walls, the imperial city of the Mughal rulers.
• It comprises many fairy-tale palaces, such as the
Jahangir Palace and the Khas Mahal, built by Shah
Jahan; audience halls, such as the Diwan-i-Khas; and
two very beautiful mosques.
 CONSERVATION
CRITERIA FOR NOMINATION

• CRITERIA 4

To be an outstanding example of a type of building,

architectural or technological ensemble or landscape
which illustrates (a) significant stage(s) in human history;

• VICTORIAN GOTHIC AND ART DECO ENSEMBLES OF

MUMBAI

• Having become a global trading centre, the city of Mumbai implemented an

ambitious urban planning project in the second half of the 19th century. It led to
the construction of ensembles of public buildings bordering the Oval Maidan
open space, first in the Victorian Neo-Gothic style and then, in the early
20th century, in the Art Deco idiom.
• The Victorian ensemble includes Indian elements suited to the climate, including
balconies and verandas.
• The Art Deco edifices, with their cinemas and residential buildings, blend Indian
design with Art Deco imagery, creating a unique style that has been described
as Indo-Deco.
• These two ensembles bear testimony to the phases of modernization that
Mumbai has undergone in the course of the 19th and 20th centuries.
 CONSERVATION
CRITERIA FOR NOMINATION

• CRITERIA 5

to be an outstanding example of a traditional human settlement,

land-use, or sea-use which is representative of a culture (or
cultures), or human interaction with the environment especially
when it has become vulnerable under the impact of irreversible
change;

HISTORIC CITY OF AHMEDABAD

• The walled city of Ahmadabad, founded by Sultan Ahmad Shah in the
15th century, on the eastern bank of the Sabarmati river, presents a rich
architectural heritage from the sultanate period, notably the Bhadra
citadel, the walls and gates of the Fort city and numerous mosques and
tombs as well as important Hindu and Jain temples of later periods.
• The urban fabric is made up of densely-packed traditional houses (pols)
in gated traditional streets (puras) with characteristic features such as
bird feeders, public wells and religious institutions. The city continued
to flourish as the capital of the State of Gujarat for six centuries, up to
the present.
 CONSERVATION
CRITERIA FOR NOMINATION

• CRITERIA 6

To be directly or tangibly associated with events or living

traditions, with ideas, or with beliefs, with artistic and literary
works of outstanding universal significance. (The Committee
considers that this criterion should preferably be used in
conjunction with other criteria);

AJANTA CAVES

• The first Buddhist cave monuments at Ajanta date from the

2nd and 1st centuries B.C. During the Gupta period (5th and
6th centuries A.D.), many more richly decorated caves were
added to the original group.
• The paintings and sculptures of Ajanta, considered
masterpieces of Buddhist religious art, have had a
considerable artistic influence.
 CONSERVATION
CRITERIA FOR NOMINATION

• CRITERIA 7

To contain superlative natural phenomena or areas of

exceptional natural beauty and aesthetic importance;

UJUNG KULON NATIONAL PARK, INDONESIA

• This national park, located in the extreme south-western

tip of Java on the Sunda shelf, includes the Ujung Kulon
peninsula and several offshore islands and encompasses
the natural reserve of Krakatoa.
• In addition to its natural beauty and geological interest –
particularly for the study of inland volcanoes – it contains
the largest remaining area of lowland rainforests in the
Java plain.
• Several species of endangered plants and animals can be
found there, the Javan rhinoceros being the most seriously
under threat.
 CONSERVATION
CRITERIA FOR NOMINATION

• CRITERIA 8

To be outstanding examples representing major stages of

earth's history, including the record of life, significant on-
going geological processes in the development of landforms,
or significant geomorphic or physiographic features;

HAWAII VOLCANOES NATIONAL PARK, USA

• This site contains two of the most active volcanoes in the world,
Mauna Loa (4,170 m high) and Kilauea (1,250 m high), both of
which tower over the Pacific Ocean.
• Volcanic eruptions have created a constantly changing
landscape, and the lava flows reveal surprising geological
formations.
• Rare birds and endemic species can be found there, as well as
forests of giant ferns.
 CONSERVATION
CRITERIA FOR NOMINATION

• CRITERIA 10

To contain the most important and significant natural

habitats for in-situ conservation of biological diversity,
including those containing threatened species of
outstanding universal value from the point of view of
science or conservation.
GREAT HIMALAYAN NATIONAL PARK CONSERVATION AREA
• This National Park in the western part of the Himalayan Mountains in
the northern Indian state of Himachal Pradesh is characterized by high
alpine peaks, alpine meadows and riverine forests.
• The 90,540 ha property includes the upper mountain glacial and snow
meltwater sources of several rivers, and the catchments of water supplies
that are vital to millions of downstream users.
• The GHNPCA protects the monsoon-affected forests and alpine
meadows of the Himalayan front ranges.
• It is part of the Himalaya biodiversity hotspot and includes twenty-five
forest types along with a rich assemblage of fauna species, several of
which are threatened.
 CONSERVATION
CRITERIA FOR NOMINATION

• CRITERIA 9

To be outstanding examples representing significant on-going

ecological and biological processes in the evolution and
development of terrestrial, fresh water, coastal and marine
ecosystems and communities of plants and animals;

MANAS WILDLIFE SANCTUARY

• On a gentle slope in the foothills of the Himalayas, where
wooded hills give way to alluvial grasslands and tropical
forests, the Manas sanctuary is home to a great variety of
wildlife, including many endangered species, such as the
tiger, pygmy hog, Indian rhinoceros and Indian elephant.
REFERENCES
 Ching, DK, Jarzombek, M and Prakash, V. 2011. A Global History of Architecture. John Wiley & Sons, Inc., Hoboken,
New Jersey.
 Fletcher, B, 1996. A History of Architecture. Bloomsbury and University of London.
 Boston City Hall renovation preserves "honesty" of brutalist building (dezeen.com)
 Renovation, Restoration, Preservation
, Conservation — Conservation & Design International (conservation-design.com)
 UNESCO World Heritage Centre
THANK YOU