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Fascist Architectural Remnants in Rome's Contemporary Cityscape

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Fascist Architectural Remnants in Rome's Contemporary Cityscape Fascist Architectural Remnants in Rome’s Contemporary Cityscape: Dissonant Heritage between Negligence and Re-use Keywords: Fascist architecture, Rome, Italy, Foro Italico, Piazza Augusto Imperatore, Palazzo della Civiltà Italiana, EUR, negligence, re-use, Italian cultural memory. Master’s Thesis Heritage and Memory Studies 2015-2016, University of Amsterdam Author: Sophie van Doornmalen Thesis Supervisor: Dr. Ihab Saloul Second Reader: Dr. Tamara van Kessel Date: 20 May 2016 Word amount: 23.072 Abstract The purpose of this master’s thesis is to examine how the architectural remnants of the fascist era (1922-1943) in Rome have been physically and ideologically neglected and reused in both their treatment and the way in which they are discussed in the public debate. Through the examination of three case-studies, namely the Foro Italico, the Piazza Augusto Imperatore and the Palazzo della Civiltà Italiana, it is made clear how changes in the treatment of fascist architectural heritage reflect the changes in the collective memory of and attitude towards the fascist past in general. After the Second World War, fascist architecture has simultaneously been reused out of practical reasons and neglected in order to not emphasize the divided memories that exist of the fascist era and the Second World War. Fascist heritage has been in a frozen state, being too dissonant and politically difficult to handle. However, since the 1990s, the Italian political life changed drastically, because of the collapse of the Soviet Union, the demise of communism in Italy and the re-emergence of far-right. These developments have opened up the debate on the meaning of the fascist past and have made way for revisionism. As a result, the fascist past is being normalized and the ideological connotation of fascist heritage is being downplayed and marginalized. Because of this, fascist architecture has gotten out of its isolation and is being reused and refurbished. This ideological neglect is not necessarily a negative development, as it has become a dynamic of preservation of the dissonant heritage of the fascist past. 2 Acknowledgements This thesis would not be possible without the much appreciated help, advice and support from several people. First, I would like to thank dr. Ihab Saloul for inspiring me to write about this subject, your always giving honest and direct critiques and supporting me throughout this thesis project. Also, I would like to express my gratitude to dr. Tamara van Kessel for the extra time and effort she put in discussing the subject with me and helping me contextualize the subject. I truly enjoyed working with both Ihab and Tamara, and without their help and encouragement, this thesis would not have been possible. I would especially like to thank my parents and family for the motivational speeches and discussions on the subject, as well as supporting me all throughout my studies. Also, a big thank you to my friends and my Hardcore Heritage classmates for listening, getting me through stressful times and making writing this thesis even more enjoyable with coffee breaks and laughter in the library. Further, I would like to express my gratitude to my roommate Jeroen Krul for the illustration on the cover. In addition, I would like the thank the Royal Dutch Institute in Rome (Koninklijk Nederlands Instituut Rome), and especially dr. Arthur Weststeijn, for introducing me to the subject of fascist heritage as well as offering the best courses in Rome, which always nourished my curiosity and passion for Rome’s cultural heritage and its many secrets and treasures. 3 Content Abstract ...................................................................................................................................... 2 Acknowledgements .................................................................................................................... 3 Content ....................................................................................................................................... 4 Introduction ................................................................................................................................ 6 Research question ................................................................................................................... 7 Methodology .......................................................................................................................... 9 Chapter 1: What is fascist architectural heritage? .................................................................... 14 How ‘fascist’ is ‘fascist architecture’? ................................................................................. 15 Divided Memory .................................................................................................................. 17 Dissonant Heritage ............................................................................................................... 19 Chapter 2 - Case 1: Foro Italico ............................................................................................... 24 Reuse without damnatio memoriae ...................................................................................... 25 The 1960 Olympics .............................................................................................................. 26 Physical neglect .................................................................................................................... 30 Removing fascist writings anno 2015 .................................................................................. 31 Chapter 3 - Case 2: Piazza Augusto Imperatore ...................................................................... 40 Erasure INI and fasces .......................................................................................................... 42 Manufacturing the new Ara Pacis Museum ......................................................................... 43 Remaking the piazza in 2015 ............................................................................................... 45 Chapter 4 - Case 3: EUR .......................................................................................................... 54 The revitalization and reuse of EUR .................................................................................... 56 Aestheticization of the Palazzo della Civiltà Italiana ........................................................... 58 Fendi Headquarters 2015 ..................................................................................................... 59 Chapter 5 – Comparison of the case-studies ............................................................................ 68 4 Conclusion ................................................................................................................................ 72 Bibliography ............................................................................................................................. 76 Literature .............................................................................................................................. 76 (Newspaper) Articles ............................................................................................................ 79 Additional sources ................................................................................................................ 82 Dictionaries ...................................................................................................................... 82 Video ................................................................................................................................ 82 Websites ........................................................................................................................... 82 Additional ......................................................................................................................... 83 List of Images ........................................................................................................................... 84 5 Introduction Scattered around Rome are the physical remains of the fascist era (1922 -1943), such as buildings, iconography, sculptures, mosaics, obelisks, inscriptions etc., which can still be seen in the contemporary cityscape. Rome’s cityscape, or urban environment, is the backdrop against which daily life takes place and where past events of fascism have taken place and left their traces.1 Rome has often been called an ‘urban palimpsest’, a city that reflects different histories as they have been ‘written on, partly erased, added to, and rewritten time and again.’2 Huyssen uses the term ‘palimpsest’ as the visible and invisible traces that fashion the city’s memorial landscape. A palimpsest simultaneously displays and hides memories and multiple layers of meaning. Over the years, the remains of fascist heritage have become part of Rome’s palimpsest, and linger both visibly and invisibly in the cityscape. The presence of fascist heritage in Rome has caused some dispute over the years, as there has never been a consensus on how the fascist past should be perceived and how the fascist remnants should be treated. The remains of fascism have been controversial over the years, and because of the dissonance they create, they have been dealt with in an often conflicting manner. In my thesis, I will look at look at two main ways of dealing with these fascist remnants in contemporary Rome, namely neglect and reuse. Neglect can be defined
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