Heritage includes cultural movable or immovable tangible or intangible and documentary presences pass from the past and transfer to the future descents with compulsory values. the term heritage has improved noticeably over time. at first, referring only to the culture’s monumental remains the notion of heritage was progressively has broadened to comprehend the culture of life and modern expressions. buildings that belong to cultural heritage and have lost their function over time need to be protected in order to continue to be used.
on the other hand in order to fulfill the requirements of contemporary life cultural heritage buildings that are still in existence today need to implement new interventions along with new functions. the aim of this paper is to analyze the installations as a temporary intervention method for the conservation of tangible and intangible values of cultural heritage buildings. for this purpose, the iconic buildings which have value as cultural heritage from different architectural movements in the history of architecture in the world have been selected and the light art installation examples.
Which are the most minimal type of temporary interventions that have been examined. the contributions of the installations to the conversation of these spaces and the benefits through temporary interventions were analyzed. Throughout its emergence and evolution in time humanity presented works and advances depending on the level of cultural development. culture has followed a continuous path because of its strong will to preserve develop and maintain cultural possessions offered to them by ancestors of later generations.
cultural heritage is described as an inheritance of cultural features throughout generations to preserve and use it and to transfer it to future generations. cultural heritage has been remained their asset for diverse causes Papaioannou 2017 an organized and structured attempt to the importance of cultural heritage in terms of the developments of cultural heritages of the past dates back to the period of the renaissance 15th and 16th centuries.
Rapid improvement and more structured methods to elements choosing cultural heritage as well as protection of cultural possessions and the creation of international rules occurred the end of the 19th century and maintained during the 20th century particularly in the light of important damages of the two world wars. after the 19th century in collaboration with many endeavors it improves within scientific researches. many alternative preservation guidelines are determined for diversified types of heritage with scientific improvement. at the same time art improved with the theory of preservation since the 19th century. art installations such as light art installations have the notable potential for re-functionalization of cultural heritage buildings. in the progress of time installations in cultural heritage buildings have created links with society and the adaptive reuse buildings. as a result installation in cultural heritage buildings is the minimal intervention method to gain these buildings to the society.
The aim of this research is to define the potential of installations that are also a part of the art as a minimal intervention method for conserving cultural heritage buildings that lose their original functions. any buildings that lose its original functions and need to be re-functionalized create a potential for installation as a minimal intervention without distinction of culture country period architectural feature or movement to which they belong. the purpose of this paper is to understand how this temporary intervention contributed to the social and cultural values of these places. the main focus of this paper is the light installations as a minimal and temporary intervention method. literature review and sampling are adopted as a research method and the study was divided into four parts in this paper. the first section introduction part includes the aim of the paper and the method and scope of paper.
In the second section conservation concept and as a method of temporary intervention; light installations are defined. in the third part light installation examples within the ten cultural heritage buildings which are belonged to different architectural periods, cultures and countries are examined. in the fourth and the conclusion part, the contribution of light installation as a temporary and minimal intervention method to cultural heritage buildings was analyzed. Concept changing existing buildings for new functions is not a new fact. in the past buildings which were safe structurally were adjusted to suit changing demands or new functions without theoretical considerations. for instance, during the period of the renaissance ancient monuments were changed for new uses. throughout the french revolution, religious buildings were re-functionalized for industrial or military uses after they had been impounded and sold. however, these interventions were made in a utilitarian way and in most of the cases without heritage conservation as a purpose.
Alternatively, the propulsive force behind these reuse examples was essentially financial and functional. in the conservation field, the post-war period not only discussed the methods and basis of modern conservation but also the definition and extent of cultural heritage. until the nineteenth century, the concept of heritage was restricted to medieval and ancient buildings but owing to the devastation of the two world wars awareness of the worth of buildings of other eras and typologies such as local architecture industrial buildings, and even whole historical cities increased. as the practice of conservation had to cope with these new heritage types attention in adaptive reuse as a methodology for conservation increased. in 1964 the Venice charter emphasizes to the significance of adaptive reuse within the conservation method saying that the conservation of monuments is always facilitated by making use of them for some socially useful purpose.
It is now understood that the conservation of these buildings is feasible only by preserving tangible and intangible values that create them. historical buildings are an indispensable part of our heritage. when these buildings left empty the risk of decay and damage is greatly raised and they can easily create a bad impression on the appearance of their location. the best way to preserve a building is to occupy it even is used is a partial or temporary basis. according to the principles of preservation, it is suitable that these buildings which have lost their functions should be gained a similar function if their original functions are not possible to preserve. however, it is not always possible to give a function like an original or similar function. in this case, it becomes necessary to give new functions to the cultural assets for new cultural events that need to be protected in accordance with the requirements of contemporary life.
In 1976 Unesco published a paper recommendation concerning the safeguarding and contemporary role of historic areas that underlined the requirement to preserve the tangible and intangible values of cultural heritage buildings. the paper states the historic spaces is hosted cultural activities throughout centuries. in other words, the cultural event is received by the cultural heritage building is described as a notion that should be preserved as far as the organization of space. also in 1985, the core published a convention for the protection of the architectural heritage of Europe. it states that the new function to be recommended for the heritage building must fulfill contemporary demands and maintain the significance of public visitations thus the society may reach the heritage easily.
Therefore new intervention methods and functions should not damage the original character of the buildings is essential to examine. The intervention is indispensable for the preservation of cultural heritage buildings. Also, it should conserve the traces of the building and fulfill the demands of modern life. For this reason, installation as a minimal intervention method is suitable for the conservation of cultural heritage buildings. At the same time, installations, which are a kind of contemporary art, are a temporary intervention as they crate relation with space and do not damage the structure in which they are located. Hence, the installations inside of the cultural heritage buildings create a significant method in the usage of the space for conservation.
A temporary intervention of cultural heritage buildings can provide particular advantages, with the inclusion of a developed prospect of attracting users. Keeping the building engaged through temporary usage reduces the risk of architectural decay and diminishment of public attention. The intervention should intervene at a minimum level in the historic buildings, not stand out from the original building, should be easily subtracted from the building if it is necessary, and it must be clearly realized that it is different from the original features. Installations are the temporary intervention method of re-functionalization. An installation is a site-specific three-dimensional work of art. In this context, it is art that desires to be architecture. An installation distinguishes from another intervention method in several ways; it is temporary, and its demise is arranged from the beginning. Also, it emphasizes the characteristic features of the original building. Installations attain various audiences and often create relationships with the built environment. There is generally a mutual relationship between the audience and the installation work, the work and the building, and the building and the audience.