A pesquisa busca avaliar possíveis relações entre o projeto arquitetônico e o restauro de bens culturais. Tendo em vista que esse leque de relações é bastante amplo, procurou-se delimitar o estudo à atuação de dois arquitetos contemporâneos que tenham optado pela aproximação dos critérios de projeto com a análise das preexistências e a observação da cidade histórica. Dentro desse universo foram escolhidos Aldo Rossi (1931-97) e Lina Bo Bardi (1915-92). Rossi, com sua obra A arquitetura da cidade (1966), desperta interesse pelo questionamento aos preceitos do movimento moderno e pela busca de estruturas essenciais permanentes presentes nas cidades em seu devir histórico. Lina Bardi chama atenção pela tentativa de superação da fratura histórica entre o antigo e o moderno e pela ativação de um pertinente exercício crítico aplicado na intervenção relacionada a preexistências de valor documental. O estudo procura explorar os vínculos que os dois arquitetos estabelecem com os respectivos contextos de formação e com a tradição crítica italiana de modo mais amplo. A investigação adota uma abordagem histórica a partir de um recorte temporal que privilegia três momentos específicos: traça inicialmente um panorama do século XIX e da origem das teorias e práticas de conservação dos bens culturais; analisa, a seguir, a década de 1930 como momento de tensão entre duas posturas antagônicas a conservação e a inovação mediante a análise dos seguintes documentos: Carta de Restauro de Atenas (1931) e Carta de Atenas CIAM (1933); por fim, enfoca o período do pós-guerra com ênfase nos anos 1960 como época de reconciliação entre memória e invenção, tendo como pano de fundo o ambiente cultural italiano, com atenção especial à revisão do movimento moderno no que se refere à relação com a história, bem como às discussões ligadas aos temas da conservação dos bens culturais e os desdobramentos desse debate na obra de Aldo Rossi e de Lina Bardi. Entre os objetos de estudo do campo do patrimônio arquitetônico, relacionados à produção de Lina Bardi, destacam-se: a Carta de Veneza (1964), as noções do restauro científico e restauro crítico, além da Teoria del Restauro de Cesare Brandi (1963). O enfoque dos debate recentes sobre a ampliação da noção de patrimônio e suas implicações na cidade contemporânea suscita questionamentos quanto às abordagens centradas em aspectos econômicos e turísticos que relegam a segundo plano as ações de cunho cultural.

This study aims to evaluate possible relations between architectonic design and cultural heritage restoration. In the light of the wide range of relations, this study has been limited to the work of two contemporary architects who opted for approaching design criteria to both pre-existence analysis and historical city observation. Within such universe, Aldo Rossi (1931-97) and Lina Bo Bardi (1915-92) are the object of this study. Rossi, with his work The Architecture of the City (1966), (L'architettura della Citta) shows interest in both questioning the principles of modern movement and searching for permanent essential structures in the cities related to their historical future. Lina Bo Bardi stands out for her attempt to overcome the historical fracture between the old and the modern as well as, the activation of a pertinent critical exercise applied to the intervention related to the preexisting documental values. This study tries to explore the bounds that both architects establish with their respective upbringing contexts and with the Italian critical traditions in a broader manner. The investigation adopts a historical approach from a time period which privileges three specific moments: first delineates a panorama of 19th century and the origin of theories and practices of cultural heritage preservation; then, it examines the 1930s as a moment of tension between the two opposite approaches preservation and innovation upon the following documents analysis: Athens Charter (1931) and Charter of Athens CIAM (1933); and finally, it focuses the post-war period with emphasis on the 1960s as a reconciliation time between memory and invention, having as background the Italian cultural environment, with special attention to the modern movement reviewing in addressing History as well as to the discussions related to cultural heritage preservation and the unfolding of such debate in the work of Aldo Rossi and Lina Bardi. Among the studied objects in the field of architectonic heritage, related to the production of Lina Bardi, stands out: the Venice Charter (1964), the notions in the scientific restoration and critical restoration, in addition to the Teoria del Restauro by Cesare Brandi (1963). The recent debates focus on the expansion in heritage notions and its implications in the contemporaneous city trigger questionings on the approaches focused on economical and tourism aspects which relegate to second plan the cultural character efforts.This study aims to evaluate possible relations between architectonic design and cultural heritage restoration. In the light of the wide range of relations, this study has been limited to the work of two contemporary architects who opted for approaching design criteria to both pre-existence analysis and historical city observation. Within such universe, Aldo Rossi (1931-97) and Lina Bo Bardi (1915-92) are the object of this study. Rossi, with his work The Architecture of the City (1966), (L'architettura della Citta) shows interest in both questioning the principles of modern movement and searching for permanent essential structures in the cities related to their historical future. Lina Bo Bardi stands out for her attempt to overcome the historical fracture between the old and the modern as well as, the activation of a pertinent critical exercise applied to the intervention related to the preexisting documental values. This study tries to explore the bounds that both architects establish with their respective upbringing contexts and with the Italian critical traditions in a broader manner. The investigation adopts a historical approach from a time period which privileges three specific moments: first delineates a panorama of 19th century and the origin of theories and practices of cultural heritage preservation; then, it examines the 1930s as a moment of tension between the two opposite approaches preservation and innovation upon the following documents analysis: Athens Charter (1931) and Charter of Athens CIAM (1933); and finally, it focuses the post-war period with emphasis on the 1960s as a reconciliation time between memory and invention, having as background the Italian cultural environment, with special attention to the modern movement reviewing in addressing History as well as to the discussions related to cultural heritage preservation and the unfolding of such debate in the work of Aldo Rossi and Lina Bardi. Among the studied objects in the field of architectonic heritage, related to the production of Lina Bardi, stands out: the Venice Charter (1964), the notions in the scientific restoration and critical restoration, in addition to the Teoria del Restauro by Cesare Brandi (1963). The recent debates focus on the expansion in heritage notions and its implications in the contemporaneous city trigger questionings on the approaches focused on economical and tourism aspects which relegate to second plan the cultural character efforts.