Conservation of Wooden Mills in Kvačianska Valley.

A Question of Authenticity.

Agnė Rymkevičiūtė, Michal Škrovina Academia Istropolitana Nova, 2008, January-April, Svätý Jur

CONTENT Introduction...............................................................................................................................

1. Authenticity: Conception of the Term in Regard of Cultural Heritage................................

1.1. Authenticity: Etymology of the Term................................................................................

1.2. Authenticity of Substance and Traditions: the Case of Timber Architecture……………

1.3. Authenticity and Identity: Declaration of San Antonio………………………………….

2. Conservation History and Development of the Mills in Kvačianska Valley………………

2.1. State of the Upper Mill at the Beginning of Conservation Intervention (1980)…………

2.2. Conservation Process of the Upper Mill…………………………………………………

2.3. State of the Lower Mill before Conservation Intervention (1981)………………………

2.4. Conservation Process of the Lower Mill…………………………………………………

2.5. Reconstruction of the Weirs (1985-1986)………………………………………………..

3. Understanding Authenticity of the Mills in Kvačianska valley……………………………

Conclusions……………………………………………………………………………………

Literature………………………………………………………………………………………

Illustrations……………………………………………………………………………………

INTRODUCTION

Authenticity is a crucial aspect in the assessment of heritage resources. The English Oxford

Dictionary (1998) defines authenticity as the quality of being authentic. Authenticity enables a

particular object to be cultural heritage. Cultural heritage lives always in two realities: the present

and the past. It is always present but at the same time it has the link with the past, with its original

and ideal state. Nevertheless the present and the past is separated by the distance of the time,

therefore the object which is here and now is different from that one from the past. David

Lowenthal, famous on his writtings about the past which is described as „a foreign country“ or

heritage which is always reinterpreted or fabricated, says that preservation itself reveals that

permanence is an illusion. The more we save, the more aware we become that such remains are

continually altered and reinterpreted. Moreover, states D. Lowenthal – a fixed past is not what we

really need, or at any rate not all we need. We require a heritage with which we continually

interact, one which fuses past with present1. Only by altering and adding to what we save does our

heritage remain real, alive, and comprehensible2.

It is evident that authenticity of cultural heritage is a very relevant topic in the contemporary

field of conservation. One could say that the cult of monuments raised by famous Austrian

conservator Alois Riegl was replaced by the new cult – the cult of authenticity of cultural heritage.

Object of the research

The title of the presentation refers to the two objects of this research: the phenomenon of

authenticity and wooden mills in Kvačianska valley (Oblazy) which is at the border of Liptov and

Orava regions. The wooden mills were highly damaged mainly due to their abandonment in the

second half of the 20th century. Conservation works of listed monuments started at the beginning of

the eighties. These two objects are closely related in the research: the revelation of the conception

of authenticity is necessary in understanding and revealing the qualities, i.e. the authenticity, of the

Oblazy mills after their conservation works.

1 D. Lowenthal, The Past is a Foreign Country. Cambridge University Press, 1997, p. 410 2 Ibid, p. 411

Aims of the research

The term of authenticity is a very wide and complex one which gains different contents in

particular societies. One of the aims is to reveal different conceptions of authenticity in regard of

cultural heritage and to analyze them. Three main understandings of the concept will be analyzed

and compared in the work: the European conception, the Eastern conception, mainly based on

Japanese experience, and the American (U.S.A. and Canadian) conception.

The analysis of these theoretical insights will serve for the evaluation and analysis of

authenticity of the Kvačianska wooden mills. A detailed description of the state of the mills before

and after the conservation works together with the process of conservation works will be discussed

in the work. This empirical information is significant in revelation of authenticity of the object.

Problem of the research

We may talk about „authenticities“ of cultural heritage rather than „a one authenticity“. How

they differ and how they share similarities? Authenticity of physical features of cultural objects

plays a main role in the European understanding of the phenomenon. However, when we talk about

wooden heritage the concept of authenticity gets broader frames nevertheless that authenticity of a

process and authenticity of significance is rather neglected in this part of the world. How does the

conception of authenticity broaden out and what is a role of wooden heritage in the development of

the conception of authenticity? How the authenticity of wooden heritage is conceived?

Wooden mills of Kvačianska valley – one of the objects of the research – is attributed to the

European space. It is important to notice that reconstruction of the monuments was pursued before

the meetings of Nara and San Antonio. How the mills were preserved? How could we evaluate

preservation of the wooden mills of Kvačianska valley in the light of different conceptions of

authenticity which are based mainly on these international documents: Venice chater, Nara

document on authenticity, San Antonio declaration. How authenticity of these monuments were

considered by the executors of the conservation works?

Methods

The research is divided into three parts. The first theoretical part analyses different

conceptions of the phenomenon of authenticity. The internatinal documents of conservation is a

main source for the research. The comparative method serves for the analysis.

The second par of the research is presenting and discussing the conservation process of the

wooden mills. Analysis of articles and informal interviews is relevant for this part. The thirds part

of the research reveals authenticity of this monuments with the help of the above mentioned

theoretical analysisas well as the presentation of the conservation works.

The structure of the work

The research is divided into three main parts:

1. Analysis of different conceptions of authenticity;

2. Presentation of conservation works of the wooden mills in Kvačianska valley; the

presentation of mill‘s state before the repair;

3. The evaluation and analysis of conservation works of wooden mills in the light of various

„authenticities.“

Literature

The documents of international conservation serves for the theoretical analysis: Venice

charter, Nara document on authenticity, San Antonio declarations. The set of the texts presented in

the Nara conference on Authenticity by various participants is one more important source for the

research.

Various articles written by the conservation executors and other authors served for the writting

of the second part of the research. Informal interviews with people closely related to the

conservation works of the mills were especially valuable for interpretation on mills‘ authenticity in

the third part of the research.

1. Authenticity: Conception of the Term in Regard of Cultural Heritage

The discussion about the meanings of authenticity reaches even the Antiquity times when the

authenticity was identified with the originality. The debates were aroused by Plutarch‘s description

about the Theseus‘ ship in the book Bioi paralleloi. The Athenians preserved the ship by removing

the old planks as they decayed, replacing them with new and stronger timber. Gradually all the parts

were replaced and then the question arised: was it still the original ship? Can identity of form

triumph over material authenticity?3 Contemporary conservation solved this problem by modifying

the conception of authenticity. The concept was broaden. We could state that the introduction of

wooden heritage into the sphere of conservation has influenced the development of the conception

of authenticity.

The Venice charter (1964) is still the basic document of modern conservation which is stating

the common responsibility to hand the ancient monuments on in the full richness of their

authenticity4. It is obvious that in the process of the preparation of the Venice charter the

differences between timber and stone architecture were not taken into consideration. For example, it

is stated in the article 11, that the valid contributions of all periods to the building of a monument

must be respected5. In the course of time wooden building shifts differently from the stone one. It is

common that decayed wooden parts in timber building are changed by the new ones whereas the

stone building can be supplemented by new decor or new parts.

The authenticity of cultural heritage became a crucial category for discussions in the 6-8 dec.

of XX th century. The relativity of the conception of authenticity was conceived taking into

consideration different meanings of the term accordingly to the different continents of the world.

Several international meetings were intended in the last decades of 20th century to debate the

authenticity of heritage where these documents were formulated: Nara Document on Authenticity

(1994), San Antonio declaration (1996). The Riga charter on Authenticity and Historical

reconstruction in Relationship to Cultural Heritage (2000) could be mentioned as well.

Further on we will present the etymology of the concept of the authenticity, the different

conceptions of the term, quoting and comparing the main conservation documents intended to the

authenticity.

3 K. E. Larsen. The Authenticity of Historic Tomber Buildings. With Particular Reference to Japan. // ICOMOS International Wood Committee (IIWC). 8th International Symposium in Nepal. Ed. by K. E. Larsen, N. Marstein, 1992. Norway, 1994, p. 156 4 Venice Charter. International Charter for the Conservation and Restoration of Monuments and Sites // http://www.icomos.org/venice_charter.html [2005 10 30], Preamble. 5 Ibid, art. 11

1.1. Authenticity: Etymology of the Term

Authenticity is a concept of ancient vintage whose meanings and functions have unceasingly

changed6. Authenticity is a word originating in ancient Greek and Latin. Autenticus (Latin) or

autentikos (Greek) means „of first hand authority, original“; „original authority and one who does a

thing himself, a principal, a master, an autocrat.“

The development of the meaning of the word is involved and influenced by medieval Latin

and Old French. If we look at the Oxford English Dictionary (1998), the word „authentic“, which is

the adjective form of „authenticity“, has the following meanings:

1. of authority, authoritative (properly as possessing original or inherent authority, but also as

duly authorized); entitled to obedience or respect.

2. legally valid, having legal force.

3. entitled to acceptance or belief, as being in accordance with fact, or as stating fact; reliable,

trustworthy, of established credit. (The prevailing sense; often used in contradistinction to genuine,

especially by writers on Christian Evidences, while others identify “authentic” and “genuine”. )

4. Original, first-hand, prototypical; as oposed to copied.

5. Real, actual, genuine. (Opposed to imaginary, pretended).

6. Really proceeding from its reputed source or author; of undisputed origin, genuine.

(Opposed to counterfeit, forged, apocryphal).

7. Belonging to himself, own, proper.

8. Acting of itself, self-originated, automatic7.

Hence we see that the word authentic conflate Greek and Latin terms that combine ideas of

“authoritative”, something dictated from on high, and of “original”, something primordial and

innate. Through the late Middle Ages, established principals were unquestioned guide; authority

and originality were supreme virtues in sacred and secular affairs alike8. The criteria of authenticity

now most cited – materials, form, process, provenance, intentionality – scarcely mattered. For

example the holy relics during Middle Ages were authenticated not by proving their origins but by

begetting miracles. It is important to mention that authenticity also required continuance – a relic

6 D. Lowenthal. Changing Criteria of Authenticity // Nara Conference on Authenticity. Proceedings. Ed. by K.E.Larsen. Japan, 1994. Uesco WH Center, 1995, p. 125 7 The Oxford English Dictionary. Sec. edition. Vol 1. Clarendon Press Ofxord,1998, p. 795-796 8 D. Lowenthal. Changing Criteria of Authenticity // Nara Conference on Authenticity. Proceedings. Ed. by K.E.Larsen. Japan, 1994. Uesco WH Center, 1995, p. 125

that remained dormant ceased to inspire the awe requisite to its credibility9. Here we see that

authentic object is not frozen in a particular historic period, not stangnated in the past, but shifting

and it is in a continual process.

It is interesting to notice that the concept of authenticity is unknown to many cultures and

some, such as the Arabic or Japanese, not even have a word for authenticity in their language.

Japanese, for example, has only new equivalent words. There are two main Japanese words

equivalent to authenticity, namely genuineness and reliability. Although there is a Japanese

equivalent for authority, it is not used in this case, because this Japanese word means something like

authoritarianism10. Consequently, according to Nobuo Ito, Japanese an not understand the true

meaning of authenticitybeithout the help of dictionary11.

If we take a glance to Arabic language, we will see that the closest Arabic word to the term is

asala meaning originality, from the word asl, origin. In a cultural sense, asil has a meaning of

ideal12.

9 Ibid, p. 127-126 10 N. Ito. „Authenticity“ Inherent in Cultural Heritage in Asia and Japan // Nara Conference on Authenticity. Proceedings. Ed. by K.E.Larsen. Japan, 1994. Unesco WH Center, 1995, p. 36 11 Ibid, p. 35 12 Ibid, p. 36

1.2. Authenticity of Substance and Traditions: the Case of Timber Architecture

The phrase from the preamble of the old good Venice charter – “it is our duty to hand ancient

monuments on in the full richness of authenticity” – is not elaborated although the following text

proves more than material authenticity but also the authenticity of design and setting13. The test of

authenticity, introduced by the Operational Guidelines of the World Heritage Convention states four

aspects of authenticity:

- authenticity in design,

- authenticity in materials,

- authenticity in workmanship and

- authenticity in setting.

Hence it is noticable that authenticity in materials is a primary criterion for authenticity in

design and workmanship, which, together with authenticity in setting, define the cultural heritage

resource14. Operational Guidelines makes no attepmt to define these aspects of authenticity further

or to indicate permissible levels of restoration or reconstruction. It also does not mention the

authenticity of function which is rather important and is often emphasized by conservation

specialists.s

It is noticeable that authenticity of workmanship does not deserve much attention in the

Venice charter. The article 10 is rather weak in propagating traditional techniques in preservation

works and moreover it talks more about modern conservation techniques: where traditional

techniques prove inadequate, the consolidation of a monument can be achieved by the use of any

modern technique for conservation and construction, the efficacy of which has been shown by

scientific data and proved experience15. Here it is necessary in so far as interesting to mention the

context of this article which is revealed by one of co-signers of the Venice charter: “<…> in cases

where traditional materials and techniques had proved to be unserviceable, one should not be

13 Venice Charter. International Charter for the Conservation and Restoration of Monuments and Sites // http://www.icomos.org/venice_charter.html [ 2005 10 30], Preamble. Read the parts – Conservation, Restoration, Historic Sites. 14 B. M. Feilden. J. Jokilehto. Management Guidelines for World Cultural Heritage Sites. Rome, 1993, p. 17 15 Venice Charter. International Charter for the Conservation and Restoration of Monuments and Sites // http://www.icomos.org/venice_charter.html [ 2005 10 30], art. 10

committed to repeat the mistakes of the past16.” However today the majority of the specialists

concerned with timber buildings states that wherever possible traditional methods and techniques of

repair should be used17.

When we talk about the methods of timber buildings preservation the conception of

authenticity widens and gains new meanings. Decayed wooden parts of timber buildings are usually

changed by the new ones. This practice is common in Japan, other Asian countries, in Scandinavia,

etc. Such timber buildings do not cease to be cultural heritage and still can be conceived as

authentic.

Under favourable circumstances, wood with a medium rating will last over a thousand years.

In Norway, for example, climate is relatively dry and cold and this contributes to the long life of

Norvegian timber buildings. Dismantling and reasembling of the building is unknown here. Just the

practice of changing of some decayed parts is present here. However, in tropical countries, where

the climate is characterized by continuous high temperatures and high humidity, the working life of

wood can be short. For example Buddhist temple buildings has been used to be completely

dismantled and repaired every 300 to 400 years. The complete dismantling is necessary at regular

intervals because the timber structure itself is failing due to loosening joints, decay and warping of

members. These temples survives also “half desmantling” every 150 to 200 years and is partially

repaired in the period between two major dismantlings18. All these techniques of repair are

traditional and belongs to the field of conservation and is considered as intangible heritage. It is

necessary and esseintial to mention that old and not decayd wood is respected and valued, and just

decayed parts are changed by new ones. Traditional techniques of preservation of timber

architecture were spreaded also in the West but they were suppressed by the processes of

modernization. Nevertheless, specialists from the West propagate these Asian practices as suitable

way in preservation of timber architecture.

The second thread in preservation of timber architecture in Japan as well as in some other

Asian countries – is traditionalism. Experience of the past here is considered as ideal, as a measure

of identity, value and origin of authentic creation: inspiration is drawn from tradition and canons.

The sensitive touching to the tradition gives birth to a new and authentic creation. Japanese

conservation is developing through the interaction of the principles of tradition and conservation.

We must recall that this is incompatible in European consciousness – conservation as museification

16 K. E. Larsen. The Authenticity of Historic Tomber Buildings. With Particular Reference to Japan. // ICOMOS International Wood Committee (IIWC). 8th International Symposium in Nepal. Ed. by K. E. Larsen, N. Marstein, 1992. Norway, 1994, p. 165 17 Ibid, p. 165 18 Ibid, p. 168

of tradition is what changes the living tradition. While the principles of living tradition in Japan

coexist with the conservation19. The most imprtant unit of conservation - is knowledge. Authenticity

of knowledge enabling an authentic processes in conservation field is a basement of Japanese

conservation20.

It is necessary to mention the case of Ise Shrine in Japan and its unique reconstruction system.

In Ise Shrine all buildings, beginning with the main shrine building, are totally reconstructed every

twenty years. Twenty years here means the life cycle of deities and also indicates the time limit by

which the bottom of columns, will decay. When deities die, the buildings dedicated to deities must

be renewed, because they become unclean by death. In the reconstruction work, all previous styles

and forms are strictly followed, and, thus, the eternal life of architecture has been maintained21. In

this case the material authenticity is not important but the authenticity of craftsmanship plays the

main role.

The shifting and development of culture is one more important issue in Japanese world-view.

This principle is absorbed from Buddhism philosophy. The process never ends, it has no end and

has no state of quietness. The world is eternal changeability and any completeness means the

stagnation and death. Therefore the tradition must be a continuous mutation and a living process22.

Heritage is conceived as present here and now, it is a current phenomenon, not the relic of the past.

It is evident that the specifics of timber building preservation broadens the conception of

authenticity: it cannot be understood just like primordial material or form but it overwhelms also the

tradition and techniques and even more aspects. The criterions of authenticity were supplemented

by Nara document on Authenticity. According to this document authenticity judgements may be

linked to these sources of information:

- form and design,

- materials and substance,

- use and function,

- traditions and techniques,

- location and setting,

- spirit and feeling.

19 S. Kulevičius. Kultūros paveldo autentiškumas: reliatyvistinė perspektyva // Lietuvos Didžiosios Kunigaikštystės Valdovų Rūmų atkūrimo byla. Vieno požiūrio likimas. Vilnius, 2006, p. 170 20 Ibid, p. 170 21 N. Ito. „Authenticity“ Inherent in Cultural Heritage in Asia and Japan // Nara Conference on Authenticity. Proceedings. Ed. by K.E.Larsen. Japan, 1994. Uesco WH Center, 1995, p. 40 22 S. Kulevičius. Kultūros paveldo autentiškumas: reliatyvistinė perspektyva // Lietuvos Didžiosios Kunigaikštystės Valdovų Rūmų atkūrimo byla. Vieno požiūrio likimas. Vilnius, 2006, p. 173

One more important aspect raised by Nara document – the statement of cultural diversity

which demands respect and which should actively promoted as an essential aspect of human

development. By Nara document the authenticity conception broadens in the international arena of

conservation. What is essential is that authenticity of the process and the importance of intangible

heritage was acknowledged in the international level.

Nara Document on Authenticity is significant in defining the authenticity as the essential

qualifying factor concerning values. The article 9 states that conservation of cultural heritage is

rooted in the values attributed to the heritage23. Therefore it is important to recognize these values

which are present in particular sources of information. Knowledge and understanding of these

sources of information (id est – six sources, mentioned above ) is a requisite basis for assessing all

aspects of authenticity24. However we should notice that information sources may differ from

culture to culture25.

It is imoportant to mention the “Principles for the Preservation of Historic Timber Buildings”

(1999) where the importance of workmanship is emphasized: New members or parts of members

should be made of the same species of wood with the same, or, if appropriate, with better, grading

as in the members being replaced. Craftsmanship and construction technology, including the use of

dressing tools and machinery, should, where possible, correspond with those used originaly26.

The peculiar Japanese view to tradition and conservation brings new winds also into the

international arena of conservation. Some principles, which were also alive in the Western world,

can be revived by still living example (hopefully – alive also in the future) of the East experience.

The aim of conservation of cultural heritage should not freeze the past as well as not change it

without any respect of tradition, but let it live in a dynamic and living process, getting the

inspiration from the tradition thus not only preserving but also creating the heritage. Therefore it is

essential to continue or revive tradition, revive and upkeep crafts and skills for maintaining and

rehabilitating valuable buildings as well as creating the new ones of high quality and value.

23 Nara Document on Authenticity. Nara, 1994 // Nara Conference on Authenticity. Proceedings. Ed. by K.E.Larsen. Japan, 1994. Uesco WH Center, 1995, art. 9 24 Ibid, art. 9 25 Ibid, art 11 26 Principles for the Preservation of Historic Timber Buildings. Mexico, 1999 // Ochrana kultúrneho dedičstva v medzinárodných dokumentoch. ICOMOS, Brtatislava, 2003, art. 9

1.3. Authenticity and Identity: Declaration of San Antonio

American (id est U.S.A. and Canada) conservation and conception of authenticity is unique in

regard to European or Eastern conception. The development of this category was significantly

influenced by the conception of landscape heritage and specificity of identity in Americas society.

In U.S., for example, the term “integrity” is used in place of authenticity and is defined as “the

ability of a property to convey its significance27.” The authenticity of significance is important here.

In the U.S. seven qualities define integrity28:

- design,

- materials,

- workmanship,

- setting,

- location,

- feeling,

- association29.

Social identity is also conceived a basic principal of Canadian conservation of cultural

heritage. The concept of integrity is also present here, and the main unit of originality of cultural

heritage is its significance to the society.

The discussions on authenticity and aspirations towards the understanding of the diversity of

the concept caused the formulation of Nara Document on Authenticity in 1994. The Declaration of

San Antonio was one more issue and result of those discussions which hightlighted a unique and

specific conception of authenticity in Americas. This document states common principles of U.S.

and Canada towards the conception of authenticity.

The emphasize on identity is stated in the document: “the authenticity of our cultural heritage

is directly related to our cultural identity30.” The values of heritage objects appears here

overwhelming the diverse community of both America’s countries: “The authenticity of our cultural

27 N. J. Mitchell. Evaluating Authenticity of Cultural Landscapes: a Perspective from the U.S. // Nara Conference on Authenticity. Proceedings. Ed. by K.E.Larsen. Japan, 1994. Uesco WH Center, 1995, p. 376 28 Compare with the aspects of authenticity in Operational Guidelines of WHC and sources of information in judgement of authenticity in Nara document – the text above. 29 N. J. Mitchell. Evaluating Authenticity of Cultural Landscapes: a Perspective from the U.S. // Nara Conference on Authenticity. Proceedings. Ed. by K.E.Larsen. Japan, 1994. Uesco WH Center, 1995, p. 376 30 The Declaration of San Antonio. The Authenticity in the Conservation and Management of the Cultural Heritage. San Antonio, 1996 // Ochrana kultúrneho dedičstva v medzinárodných dokumentoch. ICOMOS, Brtatislava, 2004, p. 102

resources lies in the identification, evaluation and interpretation of their true values as perceived by

our ancestors in the past and by ourselves nowas an evolving and diverse community. As such,

Americas must recognize the values of the majorites and the minorites without imposing a

hierarchical predominance of any one culture and its values over those of others31.”

The judgement of authenticity of heritage object depends not only on its ability to convey the

message but also by the subject’s ability to understand this message. It is important that the

significance of the site would be assessed by those who associate with the place and who claim it as

a part of their history32.

Understanding of authenticity of material aspects of cultural heritage is interesting and far-

reaching. Physical features of the site do not take precedence over other qualities of integrity such

like spiritual values or traditions, etc. Authenticity is a concept much larger than material

integrity33. This statement shows a deep and wide approach towards the conception of authenticity.

The document states that material fabric can be a principal component of site’s authenticity.

Here is emphasized that only a historic fabric is authentic and interpretations achieved through

restoration are not. There is a reference towards the preservation of wooden heritage in the

documents: “there are important sectors of our patrimony that are built of perishable materials that

require periodic replacement in accordance with traditional crafts to ensure continued use34.” Here

we can envisage paralels with the Japanese conception where the importance of the authenticity of

the process is emphasized.

Authenticity of dynamic and static cultural sites is one more important aspect on the

conception. Dynamic sites continue to be used by society while static sites such as archeological

ones are in no use. The evolution of dynamic sites is normal and forms an intrinsic part of

Amreica’s heritage. Even the changes of material aspects are acceptable: “Some physical changes

associated with maintaining the traditional patterns of cummunal use of the heritage site do not

necessarily diminish its significance and may actually enhance it. Therefore, such material changes

may be acceptable as part of on-going evolution35.” Again, the analogies with the Japanese

conception can be found here: the tradition must be a continous mutation and a living process - any

completeness would mean stagnation and death.

31 Ibid, p. 102 32 Ibid, p. 103 33 Ibid, p. 104 34 Ibid, p. 104 35 Ibid, p. 105

2. Conservation History and Development of the Mills in Kvačianska Valley

1975

The mills of Kvačianska valley were inscribed into the Monuments list. Formally mills were

protected like monuments but in reality they stayed without any care, maintenance or conservation.

Ultimately they gained the status of “monuments without maintenance”. The decay progress of the

mills was fast during this period.

The problem of this status consisted not in formal procedure but in conservation execution.

The Country Monument Board in Banská Bystrica did all what was formally necessary. The upper

mill was bought and listed and the commission for preparing conservation documentation was

assigned. Nevertheless the contractor of the conservation works waited till the object collapse

totally. The reason of such behaviour lies in the fact that general reconstruction is more expensive

than a partial conservation and maintenance works. General reconstruction would have brought

more financial profit to the contractor.

1977

The Section for folk architecture (further on - Organization) and its hinterland protection was

created as a branch of The Slovak Union of Nature and Countryside Protectors. This voluntary

protection Organization considered folk architecture as a very valuable element which forms

historic landscape.

1978

Certain cooperation at the mills conservation was offered to The Country Monument and

Natural Protection Board in Banská Bystrica by The Slovak Union of Nature and Countryside

Protectors. The official problem of the beginning of the conservation works was unfinished project

documentation.

2.1. State of the Upper Mill at the Beginning of Conservation Intervention (1980)

It is important to mention that the inhabitants of Huty and Veľké Borové started to build a

road at Kvačianska Valley bed in 1947-48. The works were stopped since they were not permitted.

The lack of knowledge about the geological structure of the valley slopes caused the Oblazy site

damage in the following periods. Brush sliding opposite to the lower mill on the other side of

Kvačianka brook changed the steam which moved closer to the mill. Both of the mills suffered due

to this intervention as well.

The upper mill was caved in by gravel and ground from the sliding slope up to the first

shingles rows on the roof at the longitude site which was facing the slope. The landslide was caused

by the road construction introduced in the end of forties. This action disrupted the slope stability

and caused its slow collapse in the 1980. The material from the sliding slope was stopped by the

longitude side wall of the mill thus creating pressure to this side. The pressure pushed a bit all the

building away from foundations.

The secondary damage was caused by the ground humidity thus the rotting process of the wall

started. Four log beams at the bottom of the longitudinal side wall rotted totally as a result of

mentioned consequences.

The back part of the mill in which the technical part was situated had a serious static problem.

The stone walls of the basement of the back part of the mill collapsed, the log beams at the bottom

rotted and all construction was under the pressure of the landslide. The move of the wooden log

construction slid 60 cm back and 80 cm down.

The other serious damage was caused by the leaking roof. The roof of wooden shingles was

left without maintenance. In the outcome the covering disappeared at several places. The rain water

penetrated into the roof space and caused destruction of the ceiling. Therefore the round timber

ceiling covered by the loam as a thermal insulation were penetrated by the water which caused high

humidity of this layer. The humid loam caused the decay process of the ceiling timbers. The

majority of beams which were supporting the ceiling were seriously damaged as well. The

penetration of rain water had a destructive effect also to the log wall construction. Majority of the

top plate beams and the tie beams were in a bad condition as well.

Building details such like window frames and doors were destructed and disappeared as a result of

vandalism.

The farm building next to the mill had also partial damages. They were caused by ground

humidity.

2.2. Conservation Process of the Upper Mill

The first rescue works and upper mill’s stabilization began in 1980, in the beginning of autumn

(from September 22nd till the 5th October). 34 members made basic and most necessary repairs

during two weeks of voluntary works. A very bad condition of the monument, forthcoming winter

and a fear that the mill will loose still existing authentic material, hurried the repair works.

Therefore any project documentation was done in the beginning of the works

The work started by removing landslide’s material from the longitude side wall of the mill

which faced the slope. The slide land was a main destructive element at the site. Then the roof

frame was dismantled and its rotted parts were replaced by the new ones. The old and sound parts

were reused. The ceiling which was hardly damaged from wet loam covering was also dismantled.

All ceiling timber and also majority of the ceiling beams (except two) were replaced. Timber of the

vertical construction which was in connection with the ceiling was also harmed by rot. Major parts

of joist and wall tie beams had to be replaced.

The repair process at the roof and at the top of vertical constructions was easier than at the

lower parts. The intention of the repair was to prevent the whole building from the overall

dismantling as this would have harmed authenticity of the original construction. Traditional

techniques were applied for the replacement of rotted parts of the mill. The log construction enables

manipulation with hand operated jack and therefore it is possible to lift part of a building or a wall

and replace destructed beams at the bottom of the construction. The sloped back and hanged down

back space of the mill was lifted to the original position by simultaneous use of three jacks. Four

bottom beam layers were replaced and then this part was underpinned and stabilized.

Smaller repairs were necessary also at the entrance part where plank siding was partly

replaced and foundation stone walls repaired. The new columns were inserted to the windows

openings. Finally the roof was covered with new shingles thus creating the most important

protection against winter weather. The available shingles were small format ones (so called “lord

shingles” which were used mainly for roof coverings of manor houses and chapels). The use of the

“lord shingles” harmed the authentic view whereas the large shingles were traditionally used to this

site.

The successful rescue and repair works were possible also due to the help of carpentry master

Mr. Jozef Smutniak from Ráztoka at Veľké Borové and masters from Pamiatkostav in Zuberec. Mr.

Jozef Smutniak helped with his rich experience and quick solutions in difficult construction details.

The masters from state company Pamiatkostav in Zuberec also provided shingles for roof covering.

Only destructed and rotted parts of the mill were replaced and repaired with the aim to keep

authenticity. The research and documentation ran simultaneously during the work process.

All repaired elements were painted in grey by film producers with the aim to make them

looking old.

1982-85

The works on upper mill continued in a smaller scale alongside the major works on the lower mill.

The harmed bottom beams at the farm house next to the mill were replaced in 1982. The rest of the

landslide above the mill was removed up to the level of original road which was beside the mill.

Small trees were planted to stabilize the slope and to prevent it against the other slope sliding. The

works on this mill continued till 1985 when reconstructed windows were positioned. Front façade

received a traditional two part windows which replaced three part windows made during interwar

period. Finally the wooden stick fence was constructed around small garden and flowers were

planted. After the building was stabilized and repaired the conservation works were focused on the

mill’s technology.

2.3. State of the Lower Mill before Conservation Intervention (1981)

The lower mill so called “Brunčiak mill” was in a very poor condition, already in a shape of ruin.

The monument board did not care about the conservation of the mill. It was ready to vanish. The

main reason of this state was that the mill didn’t function since 1952. The consequence of non-

functioning was the absence of maintenance. The interiors were not accessible and it was not

possible to measure and document the object.

The road construction which ended at the level of the lower mill on the other side of

Kvačianka brook had a negative influence also to the lower mill. Landslide changed the brook

stream. The brook bed moved towards the mill and water undermine one of two stone pillars which

supported one part of the mill construction where the saw machine was situated.

Wooden round timbers which were prepared for cutting and were stored alongside back wall

started to rot after the abandonment of the mill. Documentary photos from sixties show small trees

growing on this rotted wood. The back wall was in a direct connection to this humid mass and

rotted as well the back wall disappeared totally at the beginning of eighties and rafter tie beam felt

down. The roof collapsed and buried the mill machine’s room with the all machines inside. The

building was still standing only due to the reason that all three stories were heaped by remains,

machines parts, garbage and humus.

The authentic construction was still readable in 1980. But the film producers came with the

permit to use the object as a film coulisse. A permit was given under the requirements fulfilling the

principles of monument and nature care. But the film producers removed and destroyed all what

was against their plan. Additional roof construction was covering the object and mill race was

buried. The film roof collapsed during following winter under the load of snow thus finishing the

work of destruction.

2.4. Conservation Process of the Lower Mill

The rescue and conservation works started in 1981 and proceeded from June till the end of

September. The work was mainly focused on the middle part of the mill where the milling

technology was situated. The middle part was also in the worst shape. The cleaning of three floors

which were full of collapsed remains was more like archeological survey. The enormous quantity

(270 m3 of material) of rotted wood, garbage and machine parts were removed and sorted. The

items which looked like machine parts were documented and kept apart. The cleaning work was

connected with measurements and documentation which was elaborated during the evenings. The

research synthesized new information about the development of machines of the mill.

During the works other reasons of gradual decay were found in the basement. Stone walls on

which wooden log walls were placed were built without use of mortar and therefore they did not

have enough strength. Then strong spring was placed on the bottom of the cellar close to the back

wall. Construction disproportions were already made during the last reconstruction in thirties

especially at the connection of a new saw part to the old mill part.

The stone walls were totally dismantled and reconstructed from the basement. Each stone

needed to be washed from rotted rests and the walls were constructed with mortar addition. Mortar

was wiped off from the surface “to keep authentic image in surrounding environment”36. The

reconstruction of 2 m high and 1 m wide wall was necessary.

Cleaning and walls’ reconstruction works was the first part of the conservation work which

lasted three and half month of everyday work. The wooden log construction and the construction of

the roof frame was the second part of the works and lasted one week. The wall timbers of the

middle part had to fit into the walls of both side parts (living part and saw part) with the respect of

shift caused by saw space addition.

The wooden log construction of the mill space and front living space was possible due to the

help of the Slovak State Forests Board which supplied wood in the last moment. The 2/3 of the roof

construction was covered with the shingles by masters from Pamiatkostav in Zuberec in the

beginning of winter .The remained part of the roof was still covered by the rest of the film roof.

1982

The conservation works continued only during weekends and were focused on saw part of the

mill. The film producers’ roof addition on the saw part was removed and destructed parts of the

frame construction were replaced. The new roof frame was made and roof was covered by shingles.

A destroyed pillar which supported the end of the saw part was reconstructed. The foundation of the

pillar was under the water of the brook. The summer storm high water destroyed wooden bridge

made by film producers but the pillar stayed untouched.

The building was stabilized after this work and it was possible to start work with mill’s

technology. Mr. Ján Hanušin, the expert in mills and mill technology, helped a lot with this

problematic.

36 Kresánek, Peter: Perspektíva alebo iba epizóda? O tom, čo sa deje v Kvačianskej doline? In Krásy Slovenska, no. 10, 1986, p. 33

1983-84

The works started to be less intensive also for the reason of other interesting actions on the other

sites of the country. The mill race reconstruction started. At the beginning it was necessary to dig

out a channel which was canceled by film producers. The reconstruction was done according the old

photos and the prints in the ground. The work on documentation and plans continued and whole site

was measured. The maintenance started to be most common occupation and it was always

necessary to clean and repair the site after visitors, films producers and vandals which sometimes

destroyed already the repaired details. The question of permanent guarding started to be more

important for the site’s functioning and preservation.

2.5. Reconstruction of the Weirs (1985-1986)

The weir is an important and typical element of water mill which is driven by “upper” water like

those in Kvačianska valley. Water threshold which is more correct name for weir was constructed

above each mill on the brook and raised water level to the necessary high. The log construction of

the water threshold was made from the large round timbers and it was around 2 m high. Then the

water was taken away into the mill race and guided to water wheel where the water gravitation

power turned the wheel.

The water thresholds were situated naturally on the most effective sites in the brook. The

wooden constructions were partly preserved and stabilized on the site and the decision to extend

them by new construction to necessary high was taken. The original design of wooden log

construction was made from long tree trunks set like a wall across the brook bed. Traverse

stabilization was made from the tree trunks with the branches which were buried by stones inside

the water threshold. The front side has a typical form of wooden log wall with longitudinal round

beams with protruding heads of traverse bounding beams.

The water threshold at the lower mill was reconstructed on preserved and stabilized rests of

the original one. The weight of stopped and raised water caused a sudden destruction of the whole

water threshold and the brook bed returned to its natural position. The damage was caused mainly

by misunderstood of a static principle and constructing process. The water threshold must be

constructed in that way that water flows over the construction without creating pressure on a

vertical construction. The construction had to be made step by step and continually filled up with a

stone material thus creating a new brook bed.

The construction had to be done once again from beginning. After the consultation with

specialist Mr. Grandtner it was decided to build a new construction with a different design. Instead

of the original broad anchored design made by whole tree trunks it was decided to construct double

wall log construction. The new construction was based on a principal of two longitude walls

connected with the traverse walls creating the chambers. The chambers were filled with stones and

gravel which created necessary stabilization and rose up water level. The geotextile as a new

additional material was selected to improve construction quality. The geotextile was applied to

inside of the construction and created filter layer which stopped small clay segments. The small

segments filled holes and supported an impermeability of whole construction.

The second unfinished construction was destroyed by the flood after the storm. The whole

water threshold was moved and partly dismantled by the water pressure. The rest was reassembled

and the the repair of the construction started again supported by hardly gained experience. The log

construction was done step by step and each layer of timber frame was laid out by geotextile and

filled with stones. Then each layer was left for some time till holes and empty space was filled by

clay and small stones. This slow and precise advancement was successful and the 24m long and

2,4m high water threshold was finished at that year.

Using the same construction techniques and gained experience the water threshold at the

upper mill was constructed the next year (1986). The difference between the lower and the upper

water threshold is in their proportions. The mill race entrance is incorporated into the body of the

upper water threshold.

The both water thresholds demand a periodical maintenance which is consisting in repair of

rock infill which creates a brook bed. Stones must be added each spring as a result of changes

caused by constant hydrodynamic influence. After two years of functioning weirs became more

impermeable than after finishing and the water flow was stabilized.

3. Understanding Authenticity of the Mills in Kvačianska valley

It is important and interesting to “fall” briefly into the context in which the actions towards the

saving of the mills began. The seventies of the last century appeared a boundary when traditional

architecture started to disappear very rapidly. People started to be wealthy at that time therefore able

to replace their small houses with the new and much larger ones. Traditional architecture was not

considered as valuable but rather inconvenient, having not enough and too small spaces, etc. Some

actions towards saving of traditional folk architecture were undertaken by ardent enthusiasts at the

time who mainly originated from bigger towns of the country. They considered traditional

appearance of the country - folk architecture was an important element of it - as a main source of

tradition. To keep so called “truthfulness” (this term could be understood like an analogue to

authenticity) of the tradition - folk architecture was one of its visible and material reflection – was

one of the main goals. Comparing the similar “saving” actions of countryside’s traditions at the end

of the 19th century with the recent period we can distinguish one important fact – the 20th century

enthusiasts were interested to save and keep a true past while those of the 19th century were creating

a better past inspite of revealing the authentic one.

Authenticity of Kvačianska valley mills is rather a negotiable question than a strict statement

or indisputable truth. Therefore understanding of authenticity of the monuments is an open and

widely discussed question overwhelming different attitudes.

What were the main aims in preservation of the wooden mills in Kvačianska valley? This is an

important question towards the discussion of authenticity of Oblazy mills, i.e. in understanding the

philosohpy and objectives of those who were saving almost vanished monuments.

Preservation works of the mills, due to a very bad state, had to be urgent and immediate, first -

with the initial goal to save what still was possible to save. Authenticity as it is understood now in

the international conservation law was not present at that time - we have already mentioned that

reconstruction of the monuments was executed before the issue of the international documents

(Nara and San Antonio) on authenticity. Nevertheless the truthfulness of the process and

truthfulness of the result of the work was a significant issue for the executors. To preserve a place

meant to save it from the decay, to remain truthfull as much as it is possible keeping its beauty and

qualities and to partly revive the function of the mills as well as to think about some new functions.

We will see that the main information sources or aspects of authenticity stated in Nara document on

Authenticity or Operational Guidelines and partly in San Antonio Declaration were present in the

conservation works of the Kvačianska mills. These are the aspects of: - form and design; materials

and substance; use and function; traditions and techniques; location and setting; spirit and feeling.

Understanding of truthfulness was very much focused on design and form of the mills.

Therefore the conservators were aiming for to keep the original form of the mills during the repair

works. This aim was successfully fullfilled.

One more important matter in the discussion and revealing of authenticity was taken into

consideration during the conservation process of the mills. This is a process of traditional

craftsmanship, techniques and technologies and consultations as well as a work together with

craftsmen who still maintained the knowledge about rather complicated and specific techniques and

were able to transmit it. We could mention a carpentry master Mr. Smutniak. He was a member and

consultant of the conservation team. Masters from the state conservation company “Pamiatkostav”

in Zuberec were also members of the conservation process. It is relevant to notice that the

organization which executed the conservation had a rich practical experience in the repair works of

wooden folk architecture Therefore we may discuss about authenticity of the process or authenticity

of the tradition.

A question of authenticity of material of the mills can be raised and discussed here. We have

already presented a specific preservation of wooden architecture where authenticity of material is

considered in rather different way than of the stone architecture. Decayed parts of wooden building

can be easily replaced by the new ones which are requested to be of the same timber. Just the

decayed parts of the Oblazy mills were replaced by the new one. The sound and old members of the

buildings were left in their original position. New elements for the replacement were done from the

same wood as the old elements used to be. One of the goals of conservation was to preserve as

much as possible of authentic material. Full reassembling was purposefully avoided. Contrary to the

Japanese conception it was believed that full reassembling would have harmed an authentic

construction of the mills.

Preservation in situ is one more significant aspect of authenticity of cultural heritage. At the

time it was rather usual to move the objects of abandoned folk architecture to open air museums as

it often was the only possibility to save them. The location of Oblazy mills is a specific and unique

one. Kvačianska valley –the setting of the mills - is a picturesque and scenic rocky valley hidden in Chočské

vrchy massive Steep slopes are inaccessible and covered by forest therefore little disturbed by man and

inhabited by wild animals: bears, wolves and lynxes. The Kvačianska valley belongs to the valleys of West

Carpathians which has a high geomorphologic value. The value is represented by canyons, ravines,

thresholds, cascades, waterfalls, lost rivers and rises. A unique and distinctive fauna and flora is present in

the valley and its surroundings. This valley is a highly visited tourist destination. The loss of the original

setting of the monuments would have meant the loss of large part of mill’s authenticity as well as a

natural setting of itself would have lost its cultural landscape features developed already at the end

of the 19th century when the first mills were situated there. Perhaps one could add that spirit and

feeling of the setting raises from this natural place itself as well as it is very much related with the

wooden mills. Although some part of the spirit has perhaps already irreversibly vanished with the

last inhabitants of the mills.

Functioning of cultural heritage objects very often means their secure preservation and

continuous living. Preservation of mills’ function was an important task for the executors of the

works therefore complex and specific works of repair of the milling and sawing technology were

undertaken and completed. The lower mill is functioning time by time although it is impossible to

dwell permanent inhabitants. Therefore new functions37 must be developed as a guarantee of

continuous existence of the place.

Faithfulness to all these aspects – preservation of the form and design of the mills, use of

traditional techniques which enabled a process of conservation to be truthful, the replacement of

decayed members, preservation in situ and original or new functions’ development – were

considered as the only way to keep truthfulness in the process of conservation and to get a true, i.e.

authentic, result. It is true to say that authenticity of the mills was conceived in this very simple way

– to return them to the state and appearance they were before that severe decadence and

abandonment.

37 Currently a small museum with the technological exposition is present in the lower mill.

CONCLUSIONS

1. Concept of authenticity is a crucial category in the conservation field. It is a necessary

feature of cultural heritage which enables to qualify it. Authenticity enables a particular object to be

cultural heritage.

2. A word authentic combines ideas of “authoritative”, something dictated from on high, and

of “original”, something primordial and innate opposite to counterfiet and fake. However, that

“something” what is original or opposite to fake gains different contents according to different

societies. We could rather talk about “authenticities” instead of one authenticity. Historical

materialistic conception of authenticity dominates in Europe; Japanese emphasizes the authenticity

of tradition, i.e. knowledge, while Americans and Canadians distinguish significance and values of

cultural heritage - that is a crucial element to be authentic. Nevertheless the diverse meanings of the

conception are not isolated or shouldn’t be isolated from each other. All raised aspects of

authenticity could live in concord in different cultures of the world – for example, authenticity of

workmanship is present not only in Japan but in Europe as well although it is not that visible and

developed or it would be more fair to say – not revived.

3. It is evident that the specifics of timber building preservation broadens the conception of

authenticity: it cannot be understood just like a primordial material or form but it overwhelms also

the tradition and techniques. The criterions of authenticity were supplemented by Nara Document

on Authenticity and Declaration of San Antonio thus the concept was broaden in the international

level of conservation.

4. Authenticity of Kvačianska valley mills is rather a negotiable question than a strict

statement or indisputable truth. To preserve a place meant to keep so called “truthfulness” of the

tradition. Faithfulness to these aspects – preservation of the form and design of the mills, use of

traditional techniques which enabled a process of conservation to be truthful, the replacement of

decayed members, preservation in situ and original or new functions’ development – were

considered as the only way to keep truthfulness in the process of conservation and to get a true, i.e.

authentic, result. It is true to say that authenticity of the mills was conceived in this very simple way

– to return them to the state and appearance they were before that severe decadence and

abandonment.

Literature (Used for the second chapter and its sections of the research – 2. Conservation History and Development

of the Mills in Kvačianska Valley)

1. Huba, Mikuláš: Sen premenený na skutočnosť – Spomienka na začiatky obnovy. In Kvačianka,

SZOPK, ZO 6 internal document, 2005

2. Kresánek, Peter: Vývoj stavieb a technológiestrojov v mlynoch a pile v Kvačianskej doline. In

Výrobné a technické objekty v ľudovom staviteľstve, Štátny ústav pamiatkovej starostlivosti,

Bratislava 1988.

3. Kresánek, Peter: Obdivom alebo prácou. O záchrannej etape obnovy mlyna v Kvačianskej doline.

In Krásy Slovenska, no. 2, p. 22-23. 1982

4. Kresánek, Peter: Perspektíva alebo iba epizóda? O tom, čo sa deje v Kvačianskej doline? In

Krásy Slovenska, no. 10, p. 32-34. 1986

5. Kresánek, Peter: Obnova areálu ľudových technických pamiatok v Kvačianskej doline. In

Pamiatky – Príroda, p. 218-220, 1987

6. Mokráň, Vlado: História mlynov na Oblazoch v Kvačianskej doline (The History of the Mills at

Oblazy in Kvačianska Valley). SZOPK, ZO 6 internal document, 1996

7. Petráš, Martin: The Water Mill and Saw Reconstruction in Kvačianska valley – Oblazy

Experiences (Skúsenosti z rekonštrukcie vodných mlynov a píly v Kvačianskej doline – Oblazoch).

SZOPK, ZO 6 internal document, 2007

8. Petráš, Martin: Sen premenený na skutočnosť – Spomienka na nedávnu minulosť, súčasnosť a

možné budúcnosti. SZOPK, ZO 6 internal document, 2005

9. Tulis, Ján and Novotný, Ján: About the Nomination Project of the West Carpathian mezozoik

valleys (O nominačnom projekte Doliny mozozoika Západných Karpát). In Enviromagazín, p. 16-

17. 5/2007;

Literature (Used for the rest parts of the research)

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Cultural Heritage. San Antonio, 1996 // Ochrana kultúrneho dedičstva v medzinárodných

dokumentoch. ICOMOS, Brtatislava, 2004

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Kunigaikštystės Valdovų Rūmų atkūrimo byla. Vieno požiūrio likimas. Vilnius, 2006

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Proceedings. Ed. by K.E.Larsen. Japan, 1994. Unesco WH Center, 1995

5. D. Lowenthal, The Past is a Foreign Country. Cambridge University Press, 1997

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// ICOMOS International Wood Committee (IIWC). 8th International Symposium in Nepal. Ed. by

K. E. Larsen, N. Marstein, 1992. Norway, 1994

7. N. J. Mitchell. Evaluating Authenticity of Cultural Landscapes: a Perspective from the U.S. //

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kultúrneho dedičstva v medzinárodných dokumentoch. ICOMOS, Brtatislava, 2003

Illustrations

The photograph on the front page and all the drawing are done by Michal Škrovina.