between 1939 and 1943. However, many historical buildings were destroyed during the Vietnam War. The temples were part of a People's Army of Vietnam and Viet Cong base area and consequently United States aircraft bombed the region in August 1969. The surrounding area is still rendered dangerous through the presence of unexploded land mines. The majority of the temple sites in the centre of the complex have survived to this day. However, worries persist regarding the structural soundness of the remaining temples, some of which are vulnerable to collapse. Although many statues have been removed to France or to historical museums in Vietnam, such as the Museum of Cham Sculpture in Da Nang, others can be viewed in an in-situ museum that has been set up with the funding of benefactors from Germany and Poland. In 1981, the restoration works were carried out by a team of Polish conservators from Lublin, headed by Kazimierz Kwiatkowski Kazik. From 2002 to 2004, the Ministry of Culture of Vietnam allotted around US$440,000 to maintain the site. A draft plan of UNESCO was funded by the Government of Italy and sponsors from Japan to prevent further degradation. These efforts are also funded by the World Monuments Fund. Archeology and architecture Types of buildings All of the remaining buildings at Mỹ Sơn are believed to be religious buildings. They are of the following types: A kalan is a brick sanctuary, typically in the form of a tower, used to house a deity. A mandapa is an entry hallway contiguous with a sanctuary. A kosagrha or "fire-house" is a construction, typically with a saddle-shaped roof, used to house the valuables belonging to the deity or to cook for the deity. A gopura is a gate-tower leading into a walled temple complex. System for the identification of buildings When he began his studies of Mỹ Sơn in 1899, Henri Parmentier found the remnants of 71 temples. He classified them into 14 groups, including 10 principal groups each consisting of multiple temples. For purposes of identification, he assigned a letter to each of these principal groups: A, A', B, C, D, E, F, G, H, K. Within each group, he assigned numbers to the edifices comprising it. Thus "My Son E1" refers to the edifice at My Son belonging to group "E" that has been assigned the number "1." Architectural styles Art historians have classified the architectural and