ENTREVISTA
EDICIÓN 25 · 2018
El Casco conserva poco de su
arquitectura colonial española,
ya que, producto de los diferen-
tes fuegos ocurridos en la ciudad,
se perdieron algunos edificios y
otros quedaron en estado ruinoso,
reutilizándose sus restos con la su-
perposición de un nuevo estilo ar-
quitectónico, motivo por el cual no
se tiene la prevalencia de la arqui-
tectura colonial española, pero lo
realizado conjugó diferentes estilos
arquitectónicos que conforman un
conjunto diferente, aunado a su de-
sarrollo histórico, y lo hicieron me-
recedor de incluirlo dentro de la lis-
ta de patrimonio de la humanidad.
¿Qué modelo de desarrollo se
debe poner en práctica para lo-
grar la sostenibilidad del país en
el tema patrimonial?
Una explotación turística con-
trolada que respete sus valores y
características, como lo realizado
por otros países.
O n C asco ’ s H istoric H eritage
The restoration of the historic heritage of Casco
Antiguo continues to be one of the main concerns
in this sector of the capital city. The cultural aspect
plays an important role in the recovery of the country’s
identity to be passed on future generations.
S
ebastián Paniza Paredes
is an architecture profes-
sional who knows about
conservation and restoration of
historical heritage. He doesn’t for-
get a single detail; he makes clear
his position and concern about the
various changes that the heritage
has been suffering over the years,
which has generated debates and
differences between the government
sector and members of private sec-
tor guilds.
For Paniza Paredes, technical
aspects and experience must be
combined with greater economic
support and, in this way, be more
focused in order to achieve the re-
covery of buildings and places that
keep in their interior all Panama’s
cultural heritage.
What is the current reality of
historical heritage?
In our Magna Carta, that is, the
Political Constitution of the Repub-
lic of Panama, our historical patri-
mony is said to form a constituent
part of the cultural patrimony of the
nation. As we can understand, it is
up to the State to provide the neces-
sary means for its protection, both
legal and economic. That is how the
corresponding laws have been pro-
moted for its protection. However,
the economic support needed for
its rescue and maintenance is al-
most inexistent, thus propitiating its
is no prevalence of Spanish colonial
architecture.
However, what was done com-
bined different architectural styles
that made up a different set, coupled
with its historical development, and
made it worthy of including it in the
list of World Heritage Site.
What
development
mod-
el should be put into practice to
achieve the country’s sustainability
in the heritage issue?
A controlled tourist exploitation
that respects its values and charac-
teristics, as what has been done by
other countries.
abandonment and destruction.
Safeguarding those elements re-
quires specialized technical prepara-
tion and acquired experience in order
to have a correct criterion in the appli-
cation of the corresponding measures.
What are your expectations con-
sidering the opportunities and chal-
lenges regarding the conservation of
monuments?
If we really care about these tes-
timonies of our history and identity,
we as a community must be vigilant
so that the corresponding laws are ap-
plied and the values of the same are
maintained, without political aspects
being interposed. For example, a pub-
lic or private work cannot be made
by destroying part of the heritage,
nor can a monument be adapted with
sound systems that are detrimental
to it and can cause its destruction. I
insist, we must all respect the corre-
sponding norms and laws: communi-
ty, investors, and government.
Casco Antiguo is a landmark for
colonial architecture. What do you
think should be done to preserve it
and take advantage of its potential?
Casco Antiguo conserves little
of its Spanish colonial architecture,
since, as a result of the different fires
that occurred in the city, some build-
ings were ravaged and others were left
in a dilapidated state, reusing their re-
mains with the superposition of a new
architectural style, which is why there
7