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Home , Asmara, Asmara Theatre, Cinema Impero, Great Mosque of Asmara

Asmara Architecture A World Heritage

1 Architecture A World Heritage

2 3 n February 1, 2016, the Erit- DAM); Kassel / Germany - (Kassel The exhibition is based on the book rean Government applied to Centre of Architecture - KAZimKU- Asmara – ’s Secret Modernist the UNESCO World Heritage BA ); Stuttgart / Germany - (Gallery City by Edward Denison, Guang Yu OCommittee to have the city centre of the German Association of Ar- Ren & Naigzy Gebremedhin (Merrell of Asmara, capital of , listed chitects - “Wechselraum”); London Publishers, London/New York, 2003). as a UNESCO World Heritage. This / Great Britain – (Royal lnstitute of It consists of four thematic units exa- marks the peak of endeavours many British Architects - RIBA); Tel Aviv mining not just the architecture, but people in Eritrea and the world at / Israel – (Bauhaus Center); Cai- also its current as well as its histori- large have been and are making to ro / – (Goethe-Institute and cal social context. Initiator and ow- preserve this jewel of architecture. DAAD); Lagos / – (Goethe- ner of the exhibition is the Eritrean- The UNESCO Committee will make Institute); Lomé / – (Goethe- German initiative “4Asmara – Arbate the decision in July 2017. Institute); World Congresses of the Asmera”. The Bauhaus Foundation International Union of Architects Dessau is responsible for the exhi- In October 2006 the Asmara Ar- (UIA) in Torino, 2008, and bition design, produced by the late chitecture Exhibition was shown for Durban, 2014; Tübingen Rainer Weisbach. Photographs by the the first time in Berlin/ Germany / Germany – (Shedhall); Bologna / British photographer Edward Deni- – (Architecture Centre of Germa- Italy - Fondazione Cassa di Rispar- son visualize the architectural culture ny – DAZ). From there it took off mio in the Museo della Città; Graz of Asmara. Michael Tesfai, chairper- for a long journey to 15 venues in 9 / Austria – (House of Architects son of “4Asmara – Arbate Asmera”, countries, seen by more than 50 000 - HDA); Munich / Germany – (Pasin- has created and manages the website visitors: Frankfurt a.M. / Germany ger Factory). www.asmara-architecture.com. (German Museum of Architecture – Part of the exhibition is the film City

4 5 of Dreams (Eye Level LLC, Washing- before it makes its decision on the support these cities. Tourism scientist The next venues of the exhibition in Foundation and former Africa Repre- ruction), the German Africa Busi- ton, 2005) by Ruby Ofori and Edward application. Prof. Reiner Hartmann, University of 2017/18 will be / South sentative of the German Chancellor, ness Association (Afrikaverein der Scott. It introduces the city and its Bremen, introduces in this book his Africa (Hertex Company Showroom); HE Petros Tseggai Asghedom, former Deutschen Wirtschaft), the Goethe- architecture in the form of a docu- Second goal is to form a global city- plan for a study, which will help tour / (UN-HABITAT Ambassador of Eritrea in Germany Institute and over 30 private enter- mentary with numerous interviews network of classical modernist ar- operators to develop global tours of campus and at Embassy of the Order (now Russia), UNESCO, the Inter- prises and persons. Hertex Fabrics testifying to the love of the people of chitecture. To this effect the organi- classical modernist architecture. of Malta to Kenya in April); Berlin national Union of Architects (UIA) Company is supporting the Asmara Asmara, the Asmarinos, for their city zers of the exhibition appeal to cities / Germany (on the World Heritage and the BDA (Federation of German Exhibition in South Africa. It first and their commitment to preserve it with similar treasures of classical mo- Third goal is to contribute to the Day, June 4); Miami Beach / Florida Architects); the curators Naigzy helped presenting the exhibition at as a cultural heritage. dernist architecture, among them in postcolonial discourse about colonial – USA ( Museum in Sep- Gebremedhin and Prof. Omar Akbar, the World Congress of Architects particular Miami Beach in the USA, legacies in the field of culture. This tember 6 – December 31); Havana / former President of the Bauhaus UIA2014 in Durban and has offered a The Asmara Architecture Exhibition Tel Aviv in Israel, Napier in New is particularly relevant in the con- Cuba (Art Museum in Old Havana); Foundation, Dessau, and the Bauhaus showroom as the venue in Cape Town pursues the following goals. First Zealand, Bolzano-Gries in Italy, Sau- text of Africa, which has inherited Stuttgart / Germany (Weissenhof staff, in particular, the late Rainer in March 2017. For more information goal is to support the application at badia and other cities in the Italian architecture from the time of coloni- Settlement); Dessau / Germany and Weisbach. In Eritrea we received about the exhibition refer to our web- the UNESCO World Heritage Com- Latium region, Gdynia and Wrocław alism with racist segregation in urban probably in other venues in Poland, wide support from government de- site: www.asmara-architecture.com. mittee. This exhibition wants to draw in Poland, Lakki on the Greek island development. In this context we Lithuania and Italy. partments, in particular the Cultural international attention to this cultu- Leros, Dessau, Weimar, Stuttgart document excerpts of a debate that Asset Rehabilitation Project (CARP) For “4Asmara – Arbate Asmera”: ral heritage. Visitors of the exhibiti- (Weissenhof Settlement), Darmstadt evolved from the presentations of the Many people and institutions have followed by the Asmara Heritage Bisrat Kiefle, Carolyn Murphey Mel- on may sign the appeal in this book and Berlin in Germany. Such a net- exhibition. supported the Asmara Architecture Project (AHP). The main sponsors chers, Christoph Melchers, Konrad that Asmara’s architecture becomes work will help the participating cities Exhibition, to whom we extend our are the German Ministry of Foreign Melchers and Nina Melchers, Mekon- a UNESCO World Heritage. The list to preserve their architecture jewels. Eventually, when these goals have gratitude. Only a few can be men- Affairs, GIZ (Deutsche Gesellschaft nen Mesghena, Nina Nedelykov and of signers will be submitted to the It will attract culture minded people been reached the exhibition may find tioned here: the patrons Dr. Uschi für Internationale Zusammenarbeit), Michael Tesfai. UNESCO from all over the world to visit and its permanent site in Asmara. Eid, President of the German Africa KfW (German Bank for Reconst-

6 7 Vittorio Cafiero‘s 1938 plan for the development of Asmara Contents

Introduction 5

A World Heritage – Asmara Africa’s Modernist City Omar Akbar and Naigzy Gebremedhin 11

One of Africa’s most beautiful Cities Uschi Eid 17

UIA strongly supports initiatives for Asmara Ar Esa Mohamed 18

Asmara – a History of Courageous Women Yisehak Yosief 39

Asmara Architecture and the Postocolonialism Debate Raimund Rütten, Naigzy Gebremedhin, Edward Denison, Gaetan Siew and Charles Majoroh 40

Asmara World Heritage Appeal 44

The Potential of City-Tourism Rainer Hartmann 46

Imprint 48 8 9 he city of Asmara as we know Italian architects designed and built it today developed from a for the needs of the growing city. conglomeration of villages. A spectrum of modernist buildings TWith Italy’s occupation of Eritrea in came into being, which on an area of 1889, it grew to become the country’s about four square kilometres in the . The design principles town centre, unites the most diverse and architectural styles were wholly architectonic movements and charac- indebted to European tendencies at teristics of the period. Most of these the turn of the century. Around the use the architectural language of the still modest city centre, from 1935, a Architettura Razionale, the Italian A World Heritage phenomenal expansion took place, of the 1920s and 1930s. initiated by Mussolini’s imperialist Asmara engagement in . Asmara In 2001 the Eritrean government, was to become the new of the on the initiative of CARP (Cultural Africa’s Modernist City „Africa Orientale Italiana“. Assets Rehabilitation Project), put a preservation order on this special Omar Akbar and Naigzy Gebremedhin Between 1935 and 1941, Asmara part of Asmara’s historic heritage. In developed rapidly, and transformed 2016 the Eritrean government has itself from a relatively provincial city filed its application to the UNESCO of the European style into a highly World Heritage Committee to have sophisticated metropolis, one of the Asmara listed as World Heritage. The most modern cities in the whole of application was carefully prepared by Africa. The character of its appea- the Asmara Heritage Project (AHP). rance today derives from this period.

10 © Edward Denison 11 International Architecture at the became a canon of Classical Moder- At the time of Asmara’s period of legendary 4th International Congress the indigenous quarter in the north, philosophy of racial segregation, a beginning of the 20th century nism recognised worldwide. growth from the mid 1930s, the of (CIAM) densely populated and with irregular native quarter away from the Italian young Italian architects faced a meeting on board the passenger structures, the diagonal blocks of town, separated by a mixed commer- At the beginning of the 20th century, Up to the middle of the 1920s Italian wealth of new, large-scale building steamship Patris during a Mediterra- the industrial zone, the villa quar- cial and industrial zone where the young advocates, in particular, of the architecture remained largely un- projects. By means of Razionalismo, nean cruise, the „Athens Charter“ for ter of the Europeans and the mixed more „enlightened“ natives could European school of architecture de- influenced by the European avant- the New Architecture, they made a the „functional city“ was formulated. area around the marketplace. In this interact with the . The native clared war on historicism in order to garde modernist trend, which had its conscious attempt to distance them- At the core of the declaration was the mixed zone administrative and tra- quarter was further separated by a develop a new form of architecture, centres particularly in the Nether- selves from the traditions of classical zoning and reorganisation of the city ding facilities equally important for „green belt“. which was to express the nature of lands (De Stijl),Germany (Bauhaus) Italian architecture, and from the according to the four key functions both population groups were located. the worldwide progression of the in- and (Le Corbusier). local African architecture. of living, working, recreation and Moreover, this zone also housed dustrial age. The proposed solutions transport, whereby the transport net- the central cultural institutions, and There was hardly time to fully were highly heterogeneous, moving In 1927, young Milanese architects, City Planning and Urban Design work was to provide the connection, included a number of apartments. implement the Cafiero plan as the from the radical revolutionary known as the Gruppo7, came up and the fluent exchange, between the Italians were defeated in 1941, but break with the past to moderate with the Italian variant of the avant- In the early 1930s, the issue of urban zones and the surrounding region. By 1937, the purpose and objective on the whole the current urban face reforms. garde modern architecture, which design had grown to become the of urban planning changed when of Asmara still retains the plan of was known in Italy as Razionalismo. focus of modern architecture and Under Italian rule a number of town Fascist Italy began to adopt strict and Cafiero. The crowded native quarter From the mid-1920s, the different Initially the group came up with planning. In the view of the interna- plans were prepared between 1913 doctrinaire racist policies. One key still exists, although not known as tendencies in the New Architecture manifestos that were oriented at the tional advocates of the New Architec- and 1938. The key planners of Asma- objective became the restriction of a native quarter nowadays, but still progressively began to converge and theories of architecture expanded by ture, cities had yet to put into effect ra were Odoardo Cavangiari (1916), residence and work places of Eritre- there is a complete absence of open find unifying criteria in the design of Le Corbusier (Vers une Architecture, the adjustments deemed essential for Vittorio Cafiero (1938) and Guido ans to designated areas. Already esta- and public space, or green space. buildings. 1922) and Walter Gropius (Inter- the requirements of the machine age. Ferraza. The early plans, such as blished Eritrean middle class neigh- national Architecture, 1925) and in They detected a lack of order in cities those of Cavagniari had little ideolo- bourhoods were dismantled and the Continued page 20 In 1932, these tendencies were sum- 1927 they presented their designs at worldwide, and saw the fundamental gical bias, even when zoning accor- people had to move to the smaller marised by Henry-Russell Hitchcock the third International Exposition of biological, psychological and hygi- ding to racial categories was alluded area north-west of the present central and Philip Johnson in their legendary Modern Decorative Art in Monza. enic needs of the residents endan- to and feebly implemented. In 1930 business district. Cafiero’s plan of book „The International Style“, and gered. Consequently, in 1933, at the the city was divided into four zones: 1938, the most elaborate, outlines the

12 13 Ministry of Tourism (ca. 1938) © Edward Denison Asmara World Bank Office © Edward Denison

14 15 One of Africa’s Most Beautiful Cities

Dr. Uschi Eid President German Africa Foundation “Asmara has an excellent chance of and Patron of the Exhibition becoming listed as a World Heritage” Asmara is for me one of Africa’s most and economic circumstances of the “Asmara – Africa’s Secret Moder- beautiful cities. Strolling along the last 100 years suggest. nist City” by Naigzy Gebremedhin, main street with small detours into Edward Denison and Guang Yu Ren. side streets is an excursion into Clas- This colonial-historic complex form However, the city’s preservation sical Modernist Architecture with - in which the architectural langua- and renovation are in great need of breathtakingly beautiful buildings, ges come together and a completely support. One important step to gain A number of important persons have welcomed the exhibition about the rich architectural heritage of Asma- for example, the service station Tag- preserved ensemble of buildings in the needed support is the application exhibition and support the preservation of Asmara’s ra provides a unique opportunity to acquaint the wider liero, connecting harmoniously the the city centre tells a story of not for acceptance of the city centre of architecture. Koichiro Matsuura, UNESCO Director-Ge- public in Germany with the little known cultural heritage daily bustle at the East African fruit, only suffering, but of aesthetic bonds Asmara in the UNESCO World Heri- neral from 1999 – 2009, took up UNESCO’s patronage of Eritrea. We hope that the exhibition may help Eritrea vegetable and spices market and a rich in tension - is unique in Africa. tage List. We have come closer to this of the Asmara Exhibition. He underscored the „outstan- to overcome its isolation. This exhibition also helps to pause on the sidewalk in front of the This is something that can goal, thanks to the engagement of ding ensemble of modern architecture in the capital of view a country like Eritrea from an angle that goes bey- Café of the “Art deco” for a “ rightly be proud of and that should the Association “4 Asmara – Arbate Eritrea, which fully warrants the positive multiplier effect ond that of the political conflicts presented by the media, Macchiato.” be preserved. The significance of Asmera” and its excellent exhibition released by the impressive presentation of the exhibition. and acknowledges the broader perspectives and facets of Asmara’s architecture extends far “Asmara – Africa’s Secret Modernist Asmara has an excellent chance of becoming listed as a Eritrea.“ Grolig welcomed the intention of UNESCO to It is to the credit of the architectural beyond Africa’s borders. City”. World Heritage.“ incorporate Asmara into the list of World Heritages. exhibition “Asmara – Africa’s Secret Modernist City” that we are given Making this architectural heritage Wilfried Grolig, Director General for Culture of the Below we document the messages of greeting of another view of the country on the in Asmara known - in Africa and German Foreign Office from 2002 - 2007, stated: „This Dr. Uschi Eid and Ar Esa Mohamed. Red Sea, other than what the political beyond - is largely thanks to the book

16 17 Ministry of Lands, Water and Environment © Edward Denison UIA strongly supports initiatives for Asmara

Ar Esa Mohamed President International Union of Architects (UIA) and Patron of the Exhibition

Human civilization went through adapt and which would then serve as historical museum of futurist and many historical stages, which in- a benchmark and platform for future modernist architecture despite the cluded interventions from external developments. They also form the ravages of conflict that the country forces in the form of conquests, wars historical heritage of the country, endured. UIA strongly supports the and colonization of the captured ter- which deserves preservation. initiatives for Asmara Heritage Pro- ritories. These historical legacies were ject and its application for the status assimilated into the local lifestyle and The New Urban Agenda of the UN of the UNESCO . cultures, which then developed into Habitat recognizes that the diversity It would be a sacrilege to mankind if distinct local identities. During the of cultures enriches the development these architectural monuments were period that territories were subjuga- of humankind, which also contribu- destroyed through neglect or redeve- ted by imported systems of adminis- tes to the sustainability of cities. lopment. tration, new forms of urbanization and building developments were Asmara is the perfect example of how necessary. classical modernist imported ar- chitecture has impacted on the local These are typical legacies of the cultures and landscape. They are the colonial era to which, upon indepen- architectural expression of an era that dence, the local populace would is frozen in time to be a life sized

18 19 Palazzo Gheresadik © Edward Denison Continued from page 13 Most of the representative buildings ra and, above all, that of its sacred built in Asmara before 1935 show buildings. this historicism clearly. The Bank Architecture of Eritrea, for example, was const- A specific example of the fusion of ructed in the neo-Gothic style, the styles and techniques was the ortho- The expansion of the new capital city Governor’s Palace and the post office dox cathedral Enda Mariam built in as an administrative and represen- in the style of neo-Classicism, the 1938/39. Elements of the local Afri- tative centre for the Italian Colony in the neo- can building tradition were absorbed since 1900 meant the architects in Baroque style, and the into the design of the tower roofs, the Asmara were confronted by a huge in the Renaissance style. portal, and the main building. number of building projects. Admi- nistrative centres and banks, schools For centuries, Eritrea was influenced Styles and churches, the post office, theatre by the cultures and religions of diffe- and judiciary all required representa- rent rulers, from the Egyptians and the The exhibition „Exposition Internatio- tive buildings. Ottomans to the Europeans. Over the nale des Arts Décoratifs“ held in Paris course of history, these left their traces in 1925 brought Art Deco to a wider A form of architecture came into on the culture and architecture of the audience. Art Deco embraces the crea- being, which drew on the proven for- country. Today, this coexistence of tive alliance of elegant, often geometric mal elements of past stylistic epochs different cultures and religions still has forms, new materials, bright colours and such as the Italian Gothic, the Re- an impact on the vitality of the city. sensuous themes. Following the ornate naissance, Baroque, Romanesque and From 1900, the intermixture and Art Nouveau, Art Deco, with its clear, li- Classicism. Initially, the architecture neighbourhood of diverse formal near and functional lines, was in keeping remained largely historicised, and languages and styles (Syncretism) with the spirit of Modernism. stayed close, in doing so, to the role in combination with local building model of the Italian mother country. techniques influenced the architec- The Cinema Impero is one of the ture of the new capital city of Asma- most elegant buildings in Asmara in

20 21 Shell Service Station © Edward Denison Palazzo Mutton © Edward Denison

22 23 Selam Hotel © Edward Denison the Art Deco style and, at the same Neo Classicism and used simplified and arched windows of the market- time, a remarkable example of the classical forms and ornamentation, place and were all adapted. cinema architecture of the 1930s. modulated surface decoration and In 1927, young Milanese architects The tiered interior has an organically raised or sunken panelling to imitate came up with the Italian variant of curved form. Rows of pillars crowned traditional Italian Architecture. the avant-garde modern architecture, by lions’ heads separate the auditori- which was known in Italy as Razi- um from the screen. Stucco motifs of Asymmetrical construction and a onalismo. This movement began to African scenes, dancers, palms and consciously fragmentary composition rival the Novecento and the traditio- antelopes, which distantly recollect distinguish the Novecento from the to nalists of the Scuola Romana. Art Deco, adorn the walls. The décor date familiar Eclecticism. Windows, of the external façade, on the other niches, panels and other incisions Razionalismo combined an artistic hand, incorporates elements of tech- in the façade appear as exact forms concept, which, first and foremost, nical aesthetics. in sharp relief. Although the façades incorporated a new understanding feature familiar classical decorations, of spatial concepts, with the appli- By 1921, a truly Italian modern style these are nevertheless strongly abstrac- cation of contemporary scientific had emerged in the guise of Nove- ted. insights into, among other things, cento of which the leading exponent technology and hygiene. Architecture was Giovanni Muzio. His ‘Ca Bruta’, In the late 1930s, during Asmara’s was to evolve from the analysis of (ugly house), built in 1922 in Milan period of growth, a number of the its functions and its everyday usage. became the centre for Novecento ar- buildings constructed bore the typi- The formal language thereby referred chitecture, indisputably the first sign cal stylistic trademarks of the Nove- to basic geometric elements such as of modern architectural taste. cento. The form of the medieval forti- spheres, cuboids, cylinders, cubes As a commitment to an Italian fication, for example, the classical and pyramids. identity, Novecento invoked a more arrangement of façades or, as in the recent reference to the formal vo- case of the Palazzo Gheresadik, the cabulary of Italian Classicism and surrounding buildings, the arcades

24 25 Tagliero Service Station (1938) Architect: Guiseppe Pettazzi © Edward Denison

26 27 Cinema Odeon © Edward Denison A large number of buildings in As- of, most notably, Antonio Sant’Elia Nevertheless, to varying degrees each mara follow this architectonic tenor: came to be influential in and bey- group in its own way invariably clai- The Palazzo Mutton – originally ond Italy. These focused on factories med, with reference to ancient Rome, designed as a six-storey building – is, and multi-storey apartment blocks, to create a new national style. With with its interlocking of cylindrical whose formal language was directly Mussolini’s takeover in 1922, the and cubic forms, almost bizarrely derived from the world of machines. state’s desire for a significant image to modernistic. Equally noteworthy is represent a glorious Italy received a the City Sanitation Office, the admi- In Asmara, the Fiat Tagliero ser- new dimension. This issue was resol- nistrative building of the municipal vice station, designed by Giuseppe ved in the second half of the 1930s. utility and waste disposal provider. In Pettazzi and built in 1938, is the most Under the aegis of the traditionalist the entry area, vertical and horizon- impressive example of the influences Scuola Romana, aspects of each in- tal lines combine to form a striking of this movement. With its 30 metre- dividual movement came together in alliance with the circular awning. long freestanding concrete cantilever the socalled Monumentalismo. With its clear structure, plasticity roof, it not only echoes the design and colouring Selam Hotel is the of an aircraft – the machine most In Asmara, the Casa del Fascio most brilliant example of rationalist admired by the Futurists – but also building is the clearest example of architecture in Asmara. symbolises the innovative confidence this transition in Italian architecture. of Italian technologies and businesses The frontage was erected in 1940 as Futurism, with its vigorous references in the international context. an amendment to the rather modest to the changes wrought by modern headquarters of the fascist party industry and technology, held one In the 1920s, the Italian architectural lying behind it, which was built in of the most radical artistic positions. scene was deeply divided. The most 1928 – a strategy, which testifies to a The speed of machine-powered significant movements of Futurismo, politically demonstrative motivation vehicles and violence, destruction Razionalismo, the Novecento and rather than to practical necessity. and war were glorified as breaks with the Scuola Romana were characte- tradition. In architecture, the designs rised by divergent formal languages.

28 29 Palazzo Falletta © Edward Denison Casa del Fascio © Edward Denison

30 31 Zilli © Edward Denison Critical Issues for Asmara’s Architecture

The end of Italian rule brought rationalism that had characterised Since independence Asmara has Asmara’s rapid growth to a stand- the late 1930’s. grown rapidly extending its coverage still. With the invasion of the uni- over a wide area of the hinterland. ted British and Ethiopian forces in Eritrea was federated with Ethio- Migration, the new functions as a April 1941, the Italian engineers and pia in 1952 under a United Nations capital city and investment changed architects withdrew. They left behind, agreement and annexed by the city. as the British Ministry for Informa- in 1962. Its status as a federated state tion reported in 1941, „a European was suspended, and Eritrea was Fortunately Asmara’s expansion has city with wide boulevards, fantastic assimilated as one of the 14 provinces not followed the pattern of other Af- cinemas, imposing fascistic buil- of Ethiopia. Asmara lost its role as a rican cities where slums and squatter dings, cafés, stores, two-lane streets capital city – a role regained on 24th settlements prevail. Asmara’s growth and a first class hotel“. May 1991 with the liberation of Erit- has been relatively controlled. How- rea from the Ethiopian annexation. ever, major challenges remain, most When the British military admi- important is the provision of adequa- nistration took control in 1941, The intervening period was marked te water and sewage for all. their preoccupation was the war by a 30 yearlong liberation war. This in Europe. Architecture and urban war caused extensive devastation in The issue of rebuilding after inde- planning issues in Eritrea were not as both Eritrea and Ethiopia. Asma- pendence and decades of foreign critical as fighting the Nazis. From an ra, however, survived this period rule when nothing happened, has architectural perspective, the period relatively unscathed. The beauty of infused all Eritreans with the hope of of the British Administration was Asmara’s buildings convey the image future development. While facing the marked primarily by the reversion to of modernity despite peeling paint, problems of urban planning there is styles more traditional than the bold falling plaster or unhinged shutters. growing concern that this world-

32 33 Spires © Edward Denison

the problems of urban planning there building was to be the tallest in the nue, dwarfing that icon of Asmara’s is growing concern that this world- city, towering over the campanile of modernist architecture – Fiat Tag- renowned centre of early twentieth- the Cathedral. liero – the people of Asmara, began century architecture should be to feel the horror of something that preserved by all means. Before the bank could be construc- was going terribly wrong. The Nakfa ted the building occupying the site, House did not only desecrate Fiat An incident of 1996 illustrates the notorious former Italian prison Tagliero, that fine example of moder- perfectly the determined and liberal „Caserna Mussolini“, would have to nist architecture; it reduced the area attitude of Eritreans: The German be demolished. When the plans for around it to a mean and disorienting architectural firm commissioned to this move were made public, a group small space. design the new headquarters of the of Eritreans, mainly former inmates, National Bank of Eritrea suggested protested vehemently and success- There were other buildings (Nyala that the most prestigious location for fully against the destruction of the Hotel, The Red Sea Corporation the building was the site in front of prison building. Building, etc.) that upset the delicate the Catholic Cathedral. A grotesque qualities of Asmara’s Modernist Ar- fourteen-storey glass building with However another construction pro- chitecture, but the building of Nakfa numerous smaller structures around ject was put into pratice: When the house provided the wake-up call. it occupying four blocks of historic colossus called Nakfa House rose at Asmara was proposed. The central the Southern end of Sematat Ave-

34 35 Silocon Factory © Edward Denison

Preservation

The government and people of Erit- In this context the cultural assets from unwarranted modification. rea have realised the special character rehabilitation program (CARP) was The government promulgated a of Asmara and are determined to established to coordinate preserva- moratorium on new buildings or mo- preserve this exceptional heritage for tion and rehabilitation of cultural difications of old buildings in the his- the benefit of its own population and assets, especially architectural assets. toric perimeter until new guidelines for present and future visitors. Furthermore the process to register and regulations have been finalised. Asmara as a modern heritage site The guidelines and regulations will At the same time there is an increa- under the rules of UNESCO was establish stringent criteria that aim sed awareness of the need to ensure initiated. to ensure that the integrity, harmony further development. Thus in 1997, and scale of Asmara’s unique urban the State of Eritrea invited The World In 2001 a historic perimeter in Asma- environment are preserved. Bank to collaborate with it in for- ra was established, encircling an area mulating a strategy for preservation of about four square kilometres of 4% On February 1, 2016 the Eritrean of Asmara’s architectural heritage. of the total area of the city. This area government presented its application In the sequel an extensive inventory contains the city’s historic centre and to the UNESCO World Heritage of the architecture of Asmara was the majority of its historically signifi- Committee to have Asmara put on undertaken. cant buildings that need protection the World Heritage List.

36 37 Asmara – A history of courageous women

Yisehak Yosief

At the place, where Asmara was ously we refuse to serve them dinner. Th e conference lasted for a whole founded, there used to be four If they beat us because they don’t get day. villages. It is said, that these villages dinner we scream loudly. When we were founded around 982 BC. Pas- hear one of us screaming, we shall all Finally all men agreed upon accep- Naigzy Gebremedhin „Asmara – Africa’s Secret Dr. Omar Akbar, sing the time of the Old Testament go to her and help her screaming. If ting the women’s demands with one Eritrean, born in ; Modernist City“ born in Kabul, Afghanistan; (tigrinya:zämänä orit) they embraced they still don’t accept our demand, voice and decided upon a name for (authors: Naigzy Gebremedhin, founder and fi rst director (1998-2004) of Edward Denison and Guang professor (since 1993) for theory of ar- the time of Christ (zämänä krßstos). we shall continue refusing to serve the newly united town: „Since our the Cultural Assets Rehabilitation Project Yu Ren; Merrell Publishers, chitecture and townplanning, University them lunch the next day!“ women have succeeded in uniting of Eritrea (CARP); London & New York, 2003, Anhalt, Dessau; At the time of the foundation of our four villages the name shall be 240 p.). founder and fi rst director (1994-1998) director and president (1998 – 2008) Asmara plunderers that came from Aft er all, on December the 28th or a memorandum of their success.We of the Eritrean Environment Agency; of the Bauhaus Dessau Foundation, the other side of the Red Sea were 29th in 1508 the men held a con- therefore have decided to name our Germany; director (1976-1994) of the division for the built environment, United Nations En- kidnapping children and stealing ference to discuss the demands of new village Arbatä Asmära.“ Which vironment Programme (UNEP), Nairobi; Professor (1957-1965) of architecture and project-consultant (1987-1993) of the building science, I University, Addis Ababa, Ethiopia; dean (1957-1965) German Technical Co-operation Agency cattle. the women. Th e women said: „Th e means: they (the women) united the of the faculty of building, Haile Selassie I University, Addis Ababa, Ethiopia; cofound- (GTZ/GIZ) in , Sanaa and Kabul; reason why our children are being four. er and member (2006-2013) of the “4 Asmara - Arbate Asmera”; honorary curator of curator of the exhibition “Asmara – Th erefore the women of the four kidnapped, our men being killed by the exhibition “Asmara – Africa’s Secret Modernist City” Africa’s Secret Modernist City” villages gathered together to discuss robbers and our cattle is being stolen, Source: Yisehak Yosiefs „Th e Story of their diffi cult situation. Th us they is because we live dispersed in several Asmära“, Asmara 1993. Translated spoke:„To be able to protect ourselves places. In order to be able to defend from Tigrinya by Freweyni Habtema- we have to ask our men to make us ourselves from our enemy we need to riam, Dipl. Germanist and Anglicist, live together on one and the same build one big village and live closer lecturer for Tigrinya at the Free Uni- spot. To make our men take us seri- together“. versity Berlin.

38 39 Asmara Architecture and the Postcolonialism Debate center of Asmara be denied; but, this never forget the humiliation or the Consequently, this renders what fascination cannot lead to a blending excesses of racial discrimination. could have been a valuable critique out of the mass murder, racism, and But they no longer harbour any a tirade blinded by personal dis- In the course of the presentations of the Asmara Exhibition a controversy evolved civilian population in Abessinia; etc. torture of those who had to heave quarrel with the buildings that have dain for past atrocities which are whether the exhibition is adequately addressing the colonial and fascist historical How does it come to pass that fruits the material for art buildings for the survived. They refuse to be drowned not condoned by anyone, least of all context of the Asmara architecture. The debate has become an example of the post- are only harvested as an expression apartheid regime at a height of more into self pity and endless recriminati- those that have expended so much colonialism discourse, which will be dealt with extensively in a forthcoming antho- of presumed civilization and culture, than 2000 meters. on as regards the past history of these time, energy and effort to realise this logy by Peter Volgger (ed.): Asmara: Colonial City and Postcolonial Experiences, when in reality these fruits arise from buildings. Wisely, they are determi- exhibition. Berlin: DOM Publishers 2017. The most outspoken criticism against the exhibition a superficially futuristic blood-so- Eritreans don’t harbour quarrel ned to put them to good use. was expressed by Raimund Rütten, Emeritus Professor for Romance Languages at the Goethe University Frankfurt/Main. Naigzy Gebremedhin and Edward Denison, aked ground, products of the barba- with the inherited buildings It is vital that while we must never co-authors of the book Asmara – Africa’s secret modernist city, replied.The following rism of civilization, of the horror and The exhibition simply contributes to forget the depths to which mankind texts are shortened versions of the originals. Gaetan Siew, , UIA President unease within the culture? Naigzy Gebremedhin: this wise decision. It does not ex- can plunge, this exhibition is evi- (2005 – 08) and Charles Majoroh, Nigeria, former president of the Africa Union of tol racism. It is an exhibition about dence of a deeper consideration of Architects (AUA) refer to the issue as well. Ed. Asmara is the result of the fascist po- Why preserve the architecture of architecture that survived against all this subject in the context of Eritrea litics of colonization, designed only Asmara? It certainly is not to extol odds. The mature stance of Eritreans than Prof. Ruetten has given to it, Futurism on blood-soaked ground for the Italian colonists. The ideas of the virtues of Italian colonialism. should not be insulted. and, as such,while I share his patent megalomania, war enthusiasm and of The architecture of Asmara is being disgust for , I also see the Prof. Raimund Rütten: the omnipotence of a technological preserved because it celebrates the Edward Denison: need to examine such histories ob- power, as distinguishable within the labour of thousands of Eritreans. jectively so that we might learn from I was quite upset and shocked about what was presented about Asmara: how futurist movement and avantgarde Prof. Ruetten’s critique raises many them and progress, personally and could it come to such thoughtlessness and such unprecedented absence of were useful to fascism and its impe- Eritreans have appropriated, comple- valuable issues, most of which cannot collectively, rather than be so blin- historical awareness? I think about the imperial megalomania of fascist Italy rial claim of rule over the Horn of tely and unequivocally the colonial be denied by any civilized person, ded by hatred that we cause history’s and its forced colony Eritrea, at least since the thirties gateway for the war of Africa. architecture in their capital city. This but the premise of this commentary pendulum to swing in the other di- aggression and conquest of the fascists against Abessinia, being subjugated to appropriation has never implied mi- seems to have misunderstood, or rection. If Eritreans, as I would argue, its overseas territory; about the bombardments from the air, about the techno- In no way should the fascination at- nimization of the evils committed by rather misinterpreted, the subject of have successfully adopted Asmara logically superior air force, about the large-scale use of poisonous gas against the tributed to the architecture of the city Fascist Italy in Eritrea. Eritreans will the exhibition entirely. and reinvented this ‘life space’ in

40 41 their own manner, then who are we, can see the worst or the best in our Charles Majoroh: as foreigners, to argue against such a past. We – today – are not responsib- bold and mature stance because of a le for our past but for its memory and The theme of the exhibition is guilt complex brought on ourselves we are certainly responsible for our emblematic of an urban collage of by the inexcusable behaviour of our future and the future of our children. old and new; poor and wealthy; war forefathers? For some people architectural heri- and peace. It is a joy in our time to tage is represented in monuments celebrate any city that has endured Prof. Ruetten’s remarks ignore the or objects glorifying certain political the ravages of war and man made de- overriding premise of this exhibiti- systems or – in this case colonial- struction to come out unscathed like on: architectural heritage. If we are periods. That applies to Asmara as Asmara. Asmara´s outing therefore – to support the argument that the it does to any colonial heritage for should be quite revealing! tangible legacies of past regimes are instance in India or Latin America. to be reviled, the natural conclusion It was conceived by others. But for For me as an African this effort is leads to the erasure of such legacies. us who live there, it is also part of also a bright moment in the ten- Asmara is revered by Eritreans. our history and it is a testimony that dency of global negative portrayals one should not forget, for good or for of the heritage and creativity of our In my opinion, Eritrea’s love for its bad. It now belongs to us more than continent. One hopes that this is capital is unrivalled in Africa, and to its initiators. only the beginning,when it is Asma- this is evidenced in the beauty of the ra today that , , city’s character. Italian Futurism does As architects, we have a duty to show , and others will not equal Fascism. to the authorities and to society the follow tomorrow – in a procession value of heritage, its contribution to of studies of African cities. A huge Gaetan Siew: our future. Let us see in it an object chest of architectural treasures awaits of cultural reconciliation. Reconcilia- those,who strive – as you are doing, Past is past and whether it reminds tion between past and future, recon- for Asmara. Staircase in the shop and appartement us of painful memories or not. One ciliation between people. building in 176-9 Street/176-2 Street 42 © Edward Denison 43 Asmara World Heritage Appeal We appeal to cities with similar First Signers Asmara is the world’s outstanding against all odds and despite some The application for candidature was treasures of classical modernist Ar Esa Mohamed, President, International living museum of classical modernist extreme adversity. filed February 1, 2016, at UNESCO architecture, among them in parti- „4Asmara – Arbate Asmera“ (Bisrat Kiefle, Christoph Melchers, Carolyn Melchers, Union of Architects (UIA), Petaling Jaya, architecture comprising a whole city Headquarters in Paris to be decided cular Napier in New Zealand, Miami Dr. Konrad Melchers, Nina Melchers, Me- Malaysia; with all its urban functions: housing, We therefore welcome and endorse by the UNESCO World Heritage in the USA, and Tel Aviv in Israel, to konnen Mesghena, Michael Tesfai); Nina Nedelykov & Pedro Moreira, industries, services and administra- the candidature of the city of Asmara Committee in 2017. form a global city-network of classi- Edward Denison, Photographer and Lectu- Architects, Berlin; tion, shopping, leisure, culture and to the UNESCO World Heritage List. cal modernist architecture under the rer in Architecture, The Bartlett School of Dr. Helmut Orbon, Harare; Prof. Dr. Richard Pankhurst, Addis Ababa; recreation. auspices of UNESCO. Architecture, University College, London; Dr. Uschi Eid, President, German Africa Dr. Claudia Perren, Director, Bauhaus Foundation; Foundation, Dessau; Most of the architectural language Such a network will help the par- Naigzy Gebremedhin, Director (ret.), for- Wolfgang Riehle, Honorary President, is architettura razionale, the Italian ticipating cities to preserve their mer Cultural Asset Rehabilitation Project Association of Architects, Baden-Würt- modernism of the 1920s and 30s. architectural jewels. It will attract (CARP), Asmara; temberg; Manuel Schupp, ORANGE BLU building solutions, Stuttgart; However, there are also numerous culturally minded people from all Dr. Micha Gross, Director, Bauhaus Center, Tel Aviv; Prof. Arno Sighart Schmid, President (ret.), examples of novecento, futurismo, over the world to visit these cities Professor Dr. Klaus Hüfner, Honorary Pre- Federal Association of Architects, Berlin; neoclassicism, neo-baroque, monu- and thereby help them preserve their sident, World Federation of United Nations Dr. Norbert Spitz, Regional Director, mentalism, as well as buildings with heritage. To this effect, tour operators Associations (WFUNA), Berlin; Goethe-Institut South Africa and Subsahara links to local Eritrean architecture. may develop global tours of classical Professor Dr. Dr. h.c. mult. Ephraim Isaac, Africa; Dr. Thomas Welter, CEO, German Associati- modernist architecture. Princeton, NJ; Prof. Pier Giorgio Massaretti, Università di on of Architects, Berlin; No other city in the world can be Bologna; Stefano Zagnoni, Dipartimento di Studi proud of such a comprehensive Florian Mausbach, President (ret.), Federal Umanistici e del Patrimonio Culturale - ensemble of classical modernist Office for Building and Regional Planning, DIUM Università degli Studi di Udine; architecture. We see the people of Berlin; Dr. Peter Volgger, Lecturer, University of Innsbruck; Asmara and of all Eritrea united in Eritrean Ambassador Hanna Simon (at the very right) presenting the application Hugh Merrell, Merrell Publishers Limited, London; Dr. Andreas Zimmer, German Ambassador, admiring and preserving their jewel to the Director of the UNESCO World Heritag Centre Dr. Mechtild Rössler Asmara

44 45 Preserving Asmara - the Role of City Tourism

Th e preservation of Asmara’s architecture heritage must be economically viable. Th e oft en constructed as tourist magnets. Th e market of city tourism with a fo- owners of the buildings and the community of Asmara should have more economic And the target groups for these attrac- cus on Classical Modernist Architec- benefi ts than costs. Developing and tapping the tourism industry may be the best tions are not only architects but in ture has to be analysed from both method to achieve this aim, if the gains from tourism can be widely spread among many cases also the public at large. sides, demand (potential tourists) the aff ected people. Cultural tourists who focus their travels on architecture heritage and supply (destinations and tour may prefer to visit several cities, settlements and sites in diff erent countries during Th ese architectures mostly have operators). one journey. Th erefore such cities should join forces to develop this cultural tourism together. Such a network will not only boost this special cultural tourism but may something special - a Unique Selling also be used for mutual advice and technical assistance to the preservation of the Proposition. Th ey off er the possibility Th e results of the study will show, heritage. Professor Rainer Hartmann, a specialist not only of Eritrea Tourism, is to transform former unknown places whether architecture-tourism in ge- launching a research project, which he describes shortly below. Ed. to veritable tourism destinations. neral and city tourism with the focus Like the Classical Modernist Ar- on early modernist architecture en- chitecture in Asmara! sembles in paricular have a realistic Th e Potential of Architecture-Tourism with special Reference to Asmara chance to become established in the So far the tourism science has not re- tourism market. Research Project at the City University searched this topic profoundly. Th at’s of Applied Sciences in Bremen why the goal of the research project is Furthermore, the results of the to analyse and unearth the potential study may be applied to the example Prof. Dr. Rainer Hartmann of early modernist architecture als of Asmara. If Asmara becomes a a unique selling proposition in the UNESCO World Heritage Site this strategies of city tourism. will be a signal for the reanimation Architecture-Tourism is a special form of Cultural Tourism that concentrates on of the city tourism. the viewing and visitation of well worth seeing buildings or ensembles. Presti- gious architecture is not a new phenomenon and today new buildings are

46 47 Sponsors

Auswärtiges Amt Deutsche Gesellschaft für KFW Bankgruppe internationale Zusammenarbeit Publishers Editor

„4Asmara – Arbate Asmera“ Dr. Konrad Melchers of Association to Promote Education Manteuff elstrasse 57 and Journalism on Environment and 10999 Berlin, Germany Development Tel.: +49-30-61073877 Bauhaus Dessau Goethe-Institut UNESCO Christoph Melchers [email protected] Coordinator Art director Doblerstrasse 13 72074 Tuebingen Juergen Jerome Kirschkowski Germany [email protected]

Tel.: +49-7071-610221 Copyrights Bund Deutscher Architekten Hertex International Union of Architects Region 1 [email protected] All photographs of Asmara by Eduard www.asmara-architecture.com Denison; all rights reserved. Webmaster: Michael Tesfai [email protected]

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