A documentary about the rationalist architecture of Asmara, the capital of Eritrea, by Edward Scott and Ruby Ofori (2005).
This documentary was shown at the Conference ‘Modern Architecture in East Africa around Independence’, held 27 – 29 July 2005 in Dar es Salaam, Tanzania, and jointly organised by the Architects Association of Tanzania and ArchiAfrika.
A documentary about the rationalist architecture of Asmara, the capital of Eritrea, by Edward Scott and Ruby Ofori (2005).
This documentary was shown at the Conference ‘Modern Architecture in East Africa around Independence’, held 27 – 29 July 2005 in Dar es Salaam, Tanzania, and jointly organised by the Architects Association of Tanzania and ArchiAfrika.
Review
by Berend van der Lans, ArchiAfrika
‘You need to preserve, otherwise you end up in a country which has no soul, no history’ says architect Weini Desalegn, who is involved in the restoration of several rationalist buildings in the centre of Asmara. This is an exceptional statement in Africa, where in most countries care for heritage – let alone modern heritage – is not one of the top priorities. At first glance that is understandable, but Desalegn is right; the importance of a country’s own icons of history as a point of reference during tumultuous developments – which applies to most African countries – is not to be underestimated.
The above quote from the film ‘City of Dreams’ by Edward Scott and Ruby Ofori is even more remarkable when you realise that the city plan, including its rationalist buildings of Asmara, were designed and planned by the Italians between 1936 and 1941. Before that period, the Italians were ‘no worse or better than any other coloniser’, but after 1936 – when the Fascists took control over Abyssinia - they were responsible for the introduction of a racial segregation which bears comparison with the Apartheid policy in South Africa. While in the film personal testimonies sketch bitter memories of this period, the Eritreans seem forgiving and embrace the rationalist heritage, which is often taken to have Fascist connotations. Naigzy Gebremedhin: ‘it is true that Asmara was created by an odious and racist regime, but sometimes something good comes out of something evil, so why destroy it?’
He knows what he is talking about; in the film, he takes us on a tour through Asmara along just a small selection from about 400 architecturally interesting sites. Gebremedhin was director of CARP (Cultural Assets Rehabilitation Project), which assessed and categorised the cultural heritage after the independence of Eritrea in 1993. CARP’s efforts led to the developments of guidelines for buildings in the historic centre, several carefully executed renovation works and attempts to list Asmara on the UNESCO World Heritage List.
Together with Gebremedhin we visit Palazzo Faletta, a modern castle containing apartments, organised in a block around a courtyard. It was designed by Guiseppe Cane, Carlo Marchi and Aldo Burzagli in 1937 - 1938. With its functional layout and modest elevations, it rises above the surroundings like a castle with a tower at each corner. The elevations at each side are executed in a similar style.
We also visit Selam Hotel, originally called Albergo CIAAO (Compagnia Immobiliare Alberghi Africa Orientale), where Eritrea’s Declaration of Independence was signed on 27 April 1993 following a referendum. However, this event is not the only reason for the building’s importance. The hotel, designed by Rinaldo Borgnino and realised in 1937, is an interesting mixture of rational architecture with classical and colonial elements. Decoration is kept to a minimum, while the layout is again functional.
Even today Fiat Taghiero, built in 1938, is an exceptional building with its cantilevered, 17-metre roofs without columns. The wings of the building – which resembles a fighter plane - protect the clients of the petrol station against sun and rain. Allegedly, Guiseppe Pettazzi, the architect, stood at the outer ridge of the wings with a revolver at his head when the supports were removed during construction works; he was ready to shoot himself should the wings have collapsed. Even today this remarkable structure is sound. The building has been renovated in recent years.
In the film, Asmara is shown as a relaxed and friendly city, with a true Mediterranean touch. The centre is characterised by large pedestrian zones, in a true Italian passagiero fashion. It is not mentioned how Asmara survived the long civil war without much damage. It is likely though, that the war stopped the process of modernisation – as we see in other ‘conservatories’ of modern heritage like Havana and Maputo - and therefore the precious remains of the Italian period remained untouched. The unlimited commercial developments in other African cities, which are not restricted by regulations or guidelines on urban development, did not touch Asmara. The civil war probably did soften the memories of the Italian yoke, allowing Eritreans to see the beauty of the Rationalist and Art Deco buildings in the centre of Asmara.
Only a glance of the African neighbourhoods, the former non-Italian zones, is shown in the film. There, Asmara is seen as a genuine African city, with high-density areas, shanty structures and hardly any privacy for the inhabitants. It is obvious that wealth is restricted there and that life in the city centre is developed to another level. It is only to be hoped that Weini Desalegn’s statement is also endorsed by the Asmarans living in the suburbs; only then can the modern heritage give a heart and soul to a nation. It is important that, in addition to the renovation effort, attention is given to poverty reduction. The city centre should not only become an area for the happy few but should serve all Asmarans.
The documentary does not reveal the immediate reason for making it. However it is likely that the makers were attracted by the beautiful book “Asmara: Africa’s Secret Modernist City” that Naigzy Gebremedhin wrote with Edward Denison and Guang Yu Ren. This book gives a colourful and complete insight into Asmara’s modern heritage and shows the exceptional circumstances of an African city with such a large number of interesting buildings.
The decay of the buildings, however, is alarming. In the film, a direct appeal for funds is made; by Gebremedhin to the Italians, since they should consider their colonial heritage as part of their history, and by the Italian Ambassador to the international community, as this heritage is important to maintain as part of world history. It is to be hoped that Asmara will soon be on the UNESCO World Heritage List and more funding possibilities will be created. The film can help to raise funds for the immense renovation works Asmara requires.
However, the film is also important because it shows how African architects are involved in the renovation of their own heritage and are doing this with care and a sense for the beauty of existing buildings. This is a very good example not only for other architects, but also for politicians and planners in Africa; such care for modern heritage is not often shown elsewhere. It is to be hoped that this film will be shown all around the continent, to show that this approach can lead to the development of a nation’s own culture and identity.
The film reveals a true secret Modernist city in Africa, a city that one would not expect in the middle of a rough mountainous area in the Horn of Africa; a city the Italians were dreaming of, but could never enjoy. It is heart-warming to be introduced to Naigzy Gebremedhin, Weini Desalegn and others, who are working hard to let the dreams come true, not only for Italians but for all Asmarans.
More information on the film and its makers can be found at www.eyelevelproductions.com.
Other sources:
Asmara: Africa’s Secret Modernist City, Naigzy Gebremedhin, Edward Denison and Guang Yu Ren; Merrell Publishers Ltd, 2003, ISBN 1 85894 209 8
Corinne Archer’s interview with Naigzy Gebremedhin for UN-HABITAT, www.unhabitat.org
