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Cinemas represent a unique and inimitable heritage that is often left abandoned or subjected to continuous, incompatible changes in use, mostly driven by economic and speculative needs that risk erasing these architectural testimonies. This is a situation in which architectural heritage is suffering from relentless disputes; these are spaces that are being sold off, demolished and, in the best-case scenario, altered, as they are now considered to be mere consumer products linked to the needs of a market in constant evolution and experimentation. These issues fall squarely within the discipline of Modern Restoration: first and foremost, the issue of ‘compatibility’ of use between new destinations and the specific functions of the building, which often cannot ‘tolerate’ the functional, plant and structural modifications required for new activities. This contribution aims to provide an opportunity to open a discussion on a highly topical issue today, at the center of a broad debate involving history, criticism, cultural theory, and restoration.

Cinemas represent a unique and inimitable heritage that is often left abandoned or subjected to continuous, incompatible changes in use, mostly driven by economic and speculative needs that risk erasing these architectural testimonies. This is a situation in which architectural heritage is suffering from relentless disputes; these are spaces that are being sold off, demolished and, in the best-case scenario, altered, as they are now considered to be mere consumer products linked to the needs of a market in constant evolution and experimentation. These issues fall squarely within the discipline of Modern Restoration: first and foremost, the issue of ‘compatibility’ of use between new destinations and the specific functions of the building, which often cannot ‘tolerate’ the functional, plant and structural modifications required for new activities. This contribution aims to provide an opportunity to open a discussion on a highly topical issue today, at the center of a broad debate involving history, criticism, cultural theory, and restoration.

The 1931 the Carta di Atene played a fundamental role in global protection issues, associating the value and respect of monuments with the concept of community. After the Second World War, these concepts were taken up by the Carta di Venezia of 1964. The document reiterates the urgency of finding shared principles based on the awareness that any cultural asset is world heritage and must be preserved. The contribution delves into the national and international impact of the Carta. The objective is to recognize a common theoretical-operational methodology among nations for the conservation of architectural works, urban tissues, landscape and territory. Over time, the Carta di Venezia has directed other programmatic instruments on restoration, with specific applications and contents: the Commissione Franceschini (1967), the Carta Italiana del Restauro (1972); the Carta di Firenze (1981) and the Carta italiana di Firenze (1981), the Carta di Washington (1987), the Documento di Nara sull'Autenticita (1994), the Convenzione europea del paesaggio (2000) and the Codice dei beni culturali e del paesaggio (2004). Keywords Italian cultural heritage, World heritage, Landscape.

The essay is part of the studies regarding Ostia Antica, focused on its relations with African provinces – today in Tunisia – characterized by diversified influences, legacies, and cultural bonds. In Ostia, the intertwining of interests and cultures is also testified by various cults and religions coming from all over the Mediterranean Sea. The present study is aimed at highlighting Piazzale delle Corporazioni (Guild square) urban role: it is a structure built behind the theater scene, representing in ancient times a venue for a community including many different civilizations of foreign merchants, associated on the base of common ethnic or birthplace roots, to find their community trade. It was a meeting place where some North African and Tunisian communities established depots and warehouses to represent main shipping and trading companies from all over the Mediterranean Sea and African provinces: among these, the African naviculari, as Alexandria, Sabratha, and Carthage associations.

The essay is part of the studies regarding Ostia Antica, focused on its relations with African provinces--today in Tunisia--characterized by diversified influences, legacies, and cultural bonds. In Ostia, the intertwining of interests and cultures is also testified by various cults and religions coming from all over the Mediterranean Sea. The present study is aimed at highlighting Piazzale delle Corporazioni (Guild square) urban role: it is a structure built behind the theater scene, representing in ancient times a venue for a community including many different civilizations of foreign merchants, associated on the base of common ethnic or birthplace roots, to find their community trade. It was a meeting place where some North African and Tunisian communities established depots and warehouses to represent main shipping and trading companies from all over the Mediterranean Sea and African provinces: among these, the African naviculari, as Alexandria, Sabratha, and Carthage associations. Parole chiave Ostia Antica, Tunisia, enhancement, Mediterranean networks, urban landscapes.

The essay is part of the studies regarding Ostia Antica, focused on its relations with African provinces – today in Tunisia – characterized by diversified influences, legacies, and cultural bonds. In Ostia, the intertwining of interests and cultures is also testified by various cults and religions coming from all over the Mediterranean Sea. The present study is aimed at highlighting Piazzale delle Corporazioni (Guild square) urban role: it is a structure built behind the theater scene, representing in ancient times a venue for a community including many different civilizations of foreign merchants, associated on the base of common ethnic or birthplace roots, to find their community trade. It was a meeting place where some North African and Tunisian communities established depots and warehouses to represent main shipping and trading companies from all over the Mediterranean Sea and African provinces: among these, the African naviculari, as Alexandria, Sabratha, and Carthage associations.