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From Postwar to Postmodern - 20Th Century Built Cultural Hen ! * CONFERENCE PROCEEDINGS 0 L! _ C n ! _ f From Postwar to Postmodern - 20th Century Built Cultural Hen RIKSANTIKVARIEAMBETET The 6th Baltic Sea Region Cultural Heritage Forum From Postwar to Postmodern The 611 Baltic Sea Region Cultural Heritage Forum The conference logotype shows a variety of different coloured triangles. This pattern is taken from the windows of the University Church of Kiel, part of the University Campus where the conference took place. The church was built in 1965 and is an appropriate as well as a very beautiful symbol for this conference. Please read more about the architecture of the 1960s and 1970s on Kiel University Campus in the article of Dr Nils Meyers in this publication. Swedish National Heritage Board (Riksantikvarieambetet) P.O. Box 5405 SE-114 84 Stockholm Tel.+4685191 8000 www.raa.se [email protected] Riksantikvarieambetet 2017 The 6th Baltic Sea Region Cultural Heritage Forum: From Postwar to Postmodern Editor Maria Rossipal Cover illustration: Konrad Rappaport.The Science Communication Lab, Kiel. Photo (back cover): Matgorzata Rozbicka; KRIPOS/Scanpix; Karin Hermeren;Torben Kiepke; von Bonin, National Board of Antiguities, Finland. Copyright according to Creative Commons license CC BY-NC-ND, unless otherwise stated. Terms on https://creativecommons.org/licenses/by-nc-nd/2.5 ISBN 978-91-7209-800-8 (PDF) ISBN 978-91-7209-801-5 (Tryck) Content 5 Foreword 6 Introduction 8 Joint Statement Session I: History and Heritage - Postwar 20th Century Built Cultural Heritage in the Baltic Sea Region 11 MART KALM | Whose Happiness is Better? The Architecture of the Industrial Societies around the Baltic Sea 21 DAVID CHIPPERFIELD | Restorations and Reconstructions: Reflections on Berlin 28 PETER ARONSSON | The Role of Cultural Heritage and the Use of History in the 20th-century Baltic Sea Region 34 MARIJA DREMAITE | Long Life of the Socialist Modernism in the Baltic States 40 MAtGORZATA ROZBICKA| Poland's Postwar Architectural Heritage: A Record of Political, Social, and Economic Change 51 SIRI SKJOLD LEXAU | Lost Cultural Heritage: The Aftermath of the Bombing of the Government Quarter in Oslo and the Need for Collective Memory 58 JANIS LEJNIEKS I Rebranding the Soviet Regime's Built Cultural Heritage 64 HAKAN HOKERBERG | Difficult Heritage: Various Approaches to Twentieth-Century Totalitarian Architecture Session II: Demolition, preservation or adaptive re-use? Contemporary challenges for Postwar 20th Century Built Cultural Heritage 73 WESSEL DE JONGE | Heritage for the Masses. About Modern Icons & Everyday Modernism, Historic Value & a Sustainable Future 86 PANU LEHTOVUORI & GEORGIANA VARNA | Urbanism at a turning point - Modern, Postmodern, Now 99 DENNIS RODWELL | The Values of Heritage: A New Paradigm for the 21st Century 106 PER STROMBERG | Creative Destruction or Destructive Creativity? Negotiating the Heritage of the Cold War in the Experience Economy 113 ANDRZEJ SIWEK | Protection of the Architectural Heritage of the Post-war Poland - Current Status and Future Prospects Session III: Management of the Postwar and Postmodern Built Cultural Heritage 123 SUSAN MACDONALD | Moving on: approaches and frameworks for conserving the heritage of the postwar era and beyond 134 TORBEN KIEPKE & KATJA HASCHE | Between Rejection and Adaption. Listing buildings of the period 1950-1990 141 KARIN HERMEREN | What about the art? Challenges of Authenticity and Preservation of Art Related to Buildings and Architecture 149 CISSELA GENETAY&ULF LINDBERG | A contemporary approach to assessment and prioritisation of cultural heritage 155 RIITTA SALASTIE | Policy making - Preservation Methodologies for the Modern Built Cultural Heritage in Helsinki Outside the conference programme 163 NILS MEYER I Architecture of the 1960s and 1970s on Kiel University Campus - Heritage Value and Assessment 169 HANNU MATIKKA I Working Group Coastal Heritage 170 SALLAMARIATIKKANEN | Working Group Underwater Cultural Heritage 171 List of contributors 175 The Baltic Region Heritage Committee 34 MARIJA DREMAITE Long Life of the Socialist Modernism in the Baltic States In 2016 UNESCO World Heritage Committee gium Hungarium in Berlin (24—26 April, 2016), Session inscribed the works of Le Corbusier on an issue of general refusal of postwar modernism the World Heritage List.1 It must have been the was raised focusing on an alarming example from moment of triumph for many lovers of the Modern Skopje. Macedonia's capital was rebuilt after the Movement and people who initiated preservation 1963 earthquake with a modernist city center plan programs for modern architecture. With key works by Japanese architect Kenzo Tange (1965). Now, of Mies van der Rohe, Walter Gropius and other the hollow Doric columns and "antiquitisation" are masters on the World heritage list we can be sure transforming the city. Asked why, Prime Minister that Modern Movement became an established Nikola Gruevski told, that national feelings were cultural heritage. suppressed in Tito's Yugoslavia and "there were no 2 What about the socialist modernism? It already monuments or statues to express our nationhood." had its momentum few years ago with lectures, Doesn't it suggest a thought that socialist modern- books, conferences and exhibitions. These events ism is not worth preserving at all? testify to the need to understand and consider It is quite paradoxical, but for the time being it Socialist pasts not as a "lost", which is better was easier to find society's support for the preserva- ignored, but rather as a distinctive phenomenon tion of buildings from the Stalinist period, because that is still affecting us, exploring which can at of their elaborate Neo-Classical facades, perceived least in part explain our present. And many of my as architectural beauty. So architectural historians colleagues ask why socialist modernism did not really have to struggle explaining architectural val- make it to the world heritage list. ues of the modernist glass boxes, seen on almost We can speculate that it might be because of the every corner. Several years ago people thought that poor value of the socialist modernism, or, to put it communism was already history. However, after in other words, because socialist modernism did the 2014 Russian invasion in Ukraine, there began not produce any World class architectural icons? a second wave of revisionism, when Soviet period Or maybe the reason is a less influential commu- monuments that remained after the first wave in nity, which did not make enough effort to prepare 1990—1992 as rather neutral, were questioned again. an outstanding nomination? As a good provocation The real communist legacy that bothered the soci- I would like to mention a book Belyaevo Forever ety was actually sculptural monuments that liter- (Strelka, 2014) by Polish researcher Kuba Snopek, ally symbolized the Soviet. Some were even taken who tried to put a Moscow mass housing area Bely- off in July 2015 in Vilnius, a well-known case of the aevo on the UNESCO world heritage list and dis- Green Bridge. cussed the values of generic architecture. However, What about the socialist modernism, which does it is so far a research project. not speak ideology so explicitly? Wherever I go, Or maybe the post socialist world simply does my fellow modernists are complaining that social- not love socialist modernism at all and is not inter- ist modernism is left abandoned and not preserved ested in preserving it? At a recent conference in their countries. Is it also the case in the Baltic on Socialist Modernism, hosted by the Colle- Countries? Is it perceived as an ideological "other"? 35 It is important to notice, that buildings of socialist modernism has reached the moment, where they lived approx. 25 years in socialism and equally 25 years in democratic societies. When I look around, I see that most of the functional buildings are reno- vated and used for the purposes they were designed for (schools, shops, offices, hospitals) and even edi- fices built for communist regimes seem to be adapt- able for the representational needs without moral problems — Ministries and Parliaments operate there. In recent years there have been significant public campaigns to save socialist-era buildings MODERNIST PALACE OF ART EXHIBITIONS in the Old Town of under threat. This rather pragmatic approach was Vilnius (Vytautas Cekanauskas, 1965-1967). Photo: Personal archive of well put by the 2013 Tallinn Architectural Bien- Vytautas Cekanauskas. nale's topic "Recycling socialism": "With Biennale we wanted to take the discussion further by gath- ering architects-visionaries from all around Europe to find ideas for the future".3 Baltic Modernism as "an inner abroad" within the Soviet Union within, and relating themselves and their spaces to Why modernist architecture from the 1960s to the others. ... What makes these socially and histor- 1980s is important in the Baltic Countries? Being ically situated processes really important is their the latest to be incorporated into the Soviet Union intimate relationship to the formation of identities in 1940, with the still present national schools and, indeed, to identity politics."5 of modern architecture, in the late 1950s Baltic We can trace that temporal geography, or the Republics generated a form of critical modernism modernism from the pre-war independent states, towards Stalinist architecture and became media- as an important source of inspiration. Another, tors of the Western modernism in the USSR, fur- spatial symbolical geography can be perceived as ther gaining the title of the inner abroad or the an interpretation of the Western modernism or Soviet West. That is a very short summary of the the imagined West. The possibility to visit capital- popular mythology. ist countries, and especially Finland, made impor- For the generation of young Baltic architects tant influence. In the Nordic regional modernism (born in the 1930s, graduated in the 1950s) the Baltic architects saw the features they were aspiring Khrushchev's Thaw in 1955 encouraged the process to - an acceptable combination of the international of cultural liberation that could be characterized modernism and regional identity.
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