Dossier:development politics
information north-south

AsmaraAfrica’s Secret Capital of Modern Architecture

Photo: Edward Denison

Association to Promote
Education and Journalism
on Environment andDevelopment

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Can the superlative „Asmara – Africa’s secret capital of modern architecture“ still be topped? There
are other well-known sites of early modernist architecture, such as Tel Aviv, Israel, Miami South Beach, Florida, or Napier in New Zealand. However, the rich collection of early modernist architecturein the city of Asmara, the blending of a variety of modernist styles, the urban comprehensiveness ofthe historic perimeter, and the almost untouched, yet deteriorated, condition of the buildings is unique. Until Naigzy Gebremedhin, Edward Denison and Guang Yu Ren published their standard work
„Asmara – Africa’s Secret Modernist City“ in 2003, this architectural world heritage was unknown or
unrecognised by most historians of architecture. The goal of the Asmara Architecture Exhibition is topreserve this great architectural treasure. Once stable peace and the respect of human rights areachieved at the Horn of Africa, Eritrea’s development may benefit from a flourishing tourism.

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Dossier Editorial
Dear visitors of the Asmara Architecture Exhibition,
On October 2, 2006 the Asmara Architecture Exhibition in Berlin
took off for a long journey. The exhibit consists of five elements:– 24 panels elaborated by the Bauhaus Dessau Foundation, Germany, based on the book Asmara – Africa’s Secret Modernist City
(Merrell, London and New York, 2003, 240 p.) by Edward Denison,
Guang Yu Ren and Naigzy Gebremedhin– reconstruction models by Prof. Wolfgang Knoll, Stuttgart,
Germany– the film „City of Dreams“ by Ruby Ofori and Edward Scott,
Eye Level, Washington, D.C., USA and– a collection of pictures by Edward Denison– copies of children’s submissions to a competition held in Asmara
in 2004. The competition entries include paintings, poems andshort stories celebrating the built heritage of Asmara and createdby schoolchildren all over Eritrea.
The exhibition has met with a large response. It has received wide andoften enthusiastic media coverage beyond Germany, praising the „unknown treasure in Africa“. Tens of thousands of visitors have seen it at
the German Architecture Centre in Berlin (DAZ), the German Museumof Architecture in Frankfurt and the „KAZimKuba“ in Kassel. Further
confirmed exhibition places will be the Bauhaus Center, Tel Aviv , theRoyal Institute of British Architects (RIBA), London, the Goethe-Institut(German Cultural Institute) in Cairo, Lagos and Lomé, the Wechselraum
BDA in Stuttgart and the 2008 UIA-World-Congress in Turin. Additional
inquiries have come from Bruxelles, Paris, Rome, Verona, New York, Sao
Paulo and Tokyo.

rare species, the historical landmarks of antique cultures of the Axumite
Empire,Christian churches and monasteries,the Ottoman urban culture
with the port of Massawa, the renovated railway from Massawa to
Asmara, and the architecture of Asmara.
The exhibition also contributes to the ongoing international debate about modernism and the problem of how to deal with the colonial andfascist heritage, with which the peoples of Africa and the world haveto live. Scientific meetings dealing with these issues were held in thecourse of the exhibitions in Berlin and Frankfurt. These meetings anddiscussions will continue.
Many people and institutions have supported the Asmara Architecture
Exhibition, to whom we extend our gratitude. Only a few can be mentioned here: the patrons Dr Uschi Eid (MP), HE Petros Tseggai Asghedom,
Ambassador of Eritrea, UNESCO, the International Union of Architects(UIA) and the BDA (Federation of German Architects); the curators Naigzy Gebremedhin and Prof Omar Akbar with his Bauhaus staff, in particular, Rainer Weisbach, and Prof Wolfgang Knoll, our model constructor.
In Eritrea we received wide support from government departments, inparticular the Cultural Asset Rehabilitation Project (CARP) which became our partner. The main sponsors are the German Ministry of Foreign
Affairs, GTZ (German agency for technical co-operation), KfW (German
Bank for Reconstruction), Africa Verein (German Africa Business Association), the Goethe-Institut and over 30 private enterprises and persons.
Finally, we would like to mention that Listros e.V., an Ethiopian-German
cultural organisation, supported us in the initiation and implementation of our exhibition. For more information about the exhibition refer
to our website: www.asmara-architecture.com
Mekonnen Mesghena

The main aim of the exhibition is to support the Eritrean people and its
Diaspora all over the world in their endeavours to preserve the Asmaraarchitecture as a unique world heritage. This will be a long and costly undertaking. Many buildings are in run-down condition requiring an overhaul and modernisation of facilities including sanitation and electricity.
An important step in this process will be the recognition of the Asmaraarchitecture as a World Heritage by the UNESCO. The huge costs of renovation and preservation can only be met if Asmara architecture can become the cornerstone of gainful tourism in Eritrea. The potential is there. Eritrea offers many attractions, such as the Red Sea, the scenic mountain region with its year-round pleasant climate, a fauna and flora with

Chairperson
Association to Promote Education and Journalism on Environmentand Development („Verein zur Förderung von Bildung und Publizistik zu Umwelt und Entwicklung e.V.“)
Christoph Melchers

Coordinator
Asmara Architecture Exhibition Projectgroup
Konrad Melchers

Editor-in-chief
eins Entwicklungspolitik„Eritreans can be proud of Asmara“ – Welcome messages(mel) A number of important persons have welcomed the exhibition at the vernissage in Berlin and Frankfurt, among them former German federal minister of the environment Juergen Trittin,
minister of culture and science of the federal state Hessen, Udo
Corts, the president of the International Union of Architects (UIA),
Gaetan Siew, and the CEO of GTZ, Wolfgang Schmitt. In Berlin, theGerman ambassador to the UNESCO, Hans-Heinrich Wrede, presented the greetings of the UNESCO secretary general, Koichiro
Matsuura. The UNESCO chief’s words underscored the „outstanding ensemble of modern architecture in the capital of Eritrea,
which fully warrants the positive multiplier effect released by theimpressive presentation of the exhibition. Asmara has an excellent chance of becoming listed as a World Heritage.“
The director general for culture of the German Foreign Office, Wilfried Grolig, stated: „This exhibition about the rich architectural
heritage of Asmara provides a unique opportunity to acquaint thewider public in Germany with the little known cultural heritage of
Eritrea. We hope that the exhibition may help Eritrea to overcome

its isolation. This exhibition also helps to view a country like Eritrea from an angle that goes beyond that of the political conflicts
presented by the media, and acknowledges the broader perspectives and facets of Eritrea.“ Grolig welcomed the intention of UNESCO to incorporate Asmara into the list of World Heritages.
The former German deputy minister of economic co-operation anddevelopment and G-8-Sherpa to the chancellor, Dr Uschi Eid, describes Asmara as „one of the most beautiful cities of Africa“. In herview „Asmara is the secret capital of modernity“ and for her „theexhibition has gained the merit of allowing us to view this country on the Red Sea differently than what the political and economic conditions of the last century have suggested to us.“ Eid underlines: „The complex colonial-historical form, in which architectural languages combine in Asmara and tell a history full ofgrief as well as of aesthetic tensions, is unique in Africa. Eritreanscan be proud of it. This architecture, which is important far beyond
Africa, should be preserved.“

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A World Heritage

Omar Akbar
und Naigzy
Gebremedhin

Photo: Edward Denison

Asmara – Africa’s Secret Modernist City

Asmara, the capital city of Eritrea, has one of the largest collections of modernist architecture in theworld. Within the context of the urban expansion programmes of the 1930s, a unique ensemble ofbuildings came into being, which, as the Italian interpretation of the International Style, approaches
the significance of cities such as Tel Aviv, South Beach (an area of Miami Beach), or New Zealand’s
Napier. This African treasure was hidden from public and even from expert view by a variety of historical and political reasons. The liberation of Eritrea in 1991 initiated the rediscovery of the spatial andarchitectural qualities of the capital city of Asmara, which exemplifies the European town planning of
the 20th century. This rediscovery of Modernism in Asmara offers not only the opportunity to observe the urban and architectonic qualities and potentials of the modern European city in an international context. Its distinctiveness rightfully prompts a more thorough exploration of the international
reception of Modernism characterised by European influences, and its development across the world.

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Dossier Asmara Architecture

T

Photo: Edward Denison

he city of Asmara as we know it today developed from a conglomeration of villages.
With Italy’s occupation of Eritrea in 1889, it
grew to become the country’s capital city. The design principles and architectural styles were wholly indebted to European tendencies at the turn ofthe century. Around the still modest city centre,
from 1935, a phenomenal expansion took place, initiated by Mussolini’s imperialist engagement inEast Africa. Asmara was to become the new Romeof the „Africa Orientale Italiana“.

develop a new form of architecture, which was toexpress the nature of the worldwide progression of
the industrial age. The proposed solutions werehighly heterogeneous, moving from the radical revolutionary break with the past to moderate reforms.
From the mid-1920s, the different tendencies in
the New Architecture progressively began to converge and find unifying criteria in the design ofbuildings. In 1932, these tendencies were summarised by Henry-Russell Hitchcock and Philip Johnson in their legendary book „The International
Style“, and became a canon of Classical Modernism recognised worldwide.
Up to the middle of the 1920s Italian architecture
remained largely uninfluenced by the European
avant-garde modernist trend, which had its centres
particularly in the Netherlands (De Stijl), Germany(Bauhaus) and France (Le Corbusier). In 1927, young
Milanese architects, known as the Gruppo7, cameup with the Italian variant of the avant-garde modern architecture, which was known in Italy as Razionalismo. Initially the group came up with manifestos that were oriented at the theories of architecture expanded by Le Corbusier (Vers une Architecture, 1922) and Walter Gropius (International
Architecture, 1925) and in 1927 they presented theirdesigns at the third International Exposition of Modern Decorative Art in Monza.

Cinema Impero – Art Déco style
Current address in Asmara:
Harnet Avenue 176-21 Street
Architect: Mario Messina
Date: 1937

Between 1935 and 1941, Asmara developed rapidly,
and transformed itself from a relatively provincial
city of the European style into a highly sophisticated metropolis, one of the most modern cities in thewhole of Africa. The character of its appearance today derives from this period. Italian architects designed and built for the needs of the growing city.
A spectrum of Modernist buildings came into being
which, on an area of about four square kilometresin the town centre, unites the most diverse architectonic movements and characteristics of the period. Most of these use the architectural languageof the Architettura Razionale, the Italian Modernism of the 1920s and 1930s.
In 2001 the Eritrean government, on the initiativeof CARP (Cultural Assets Rehabilitation Project), put
a preservation order on this special part of Asmara’s historic heritage. Efforts are currently being
made to have the centre of Asmara included on the
UNESCO list of World Heritage Sites.

International Architecture at the beginningof the 20th century
At the beginning of the 20th century, young advocates, in particular, of the European school of architecture declared war on historicism in order toAt the time of Asmara’s period of growth from themid 1930s, the young Italian architects faced a wealth of new, large-scale building projects. By meansof Razionalismo, the New Architecture, they madea conscious attempt to distance themselves fromthe traditions of classical Italian architecture, andfrom the local African architecture.

City Planning and Urban Design
In the early 1930s, the issue of urban design had
grown to become the focus of modern architecture and planning. In the view of the international
advocates of the New Architecture, cities had yet toput into effect the adjustments deemed essential
for the requirements of the machine age. They detected a lack of order in cities worldwide, and saw
the fundamental biological, psychological and hygienic needs of the residents endangered. Consequently, in 1933, at the legendary 4th International
Congress of Modern Architecture (CIAM) meetingon board the passenger steamship Patris during a
Mediterranean cruise, the „Athens Charter“ for the„functional city“ was formulated. At the core of thedeclaration was the zoning and reorganisation of
the city according to the four key functions of living, working, recreation and transport, whereby
the transport network was to provide the connection, and the fluent exchange, between the zones
and the surrounding region.
Under Italian rule a number of town plans wereprepared between 1913 and 1938. The key plan-2007 I eins

Dossier Asmara Architecture

A chest of architectural treasuresand an object of cultural reconciliation
Welcome message of Gaetan Siew, Mauritius, President of theInternational Union of Architects (UIA) on the occasion of the
opening of the exhibition on Asmara’s Architecture in Berlin, Germany in October 2006, delivered by the German UIA-delegate
Nina Nedeylkov: „Past is past and whether it reminds us of painful
memories or not. One can see the worst or the best in our past. We– today – are not responsible for our past but for its memory and
we are certainly responsible for our future and the future of ourchildren. For some people architectural heritage is represented inmonuments or objects glorifying certain political systems or – inthis case colonial-periods. That applies to Asmara as it does to anycolonial heritage for instance in India or Latin America. It was conceived by others. But for us who live there, it is also part of our history and it is a testimony that one should not forget, for good or forbad. It now belongs to us more than to its initiators. As architects,
we have a duty to show to the authorities and to society the valueof heritage, its contribution to our future. Let us see in it an objectof cultural reconciliation. Reconciliation between past and future,reconciliation between people.

Welcome message of Charles Majoroh, Nigeria, former presidentof the African union of Architects (AUA): Owing to the construction methods in many parts of pre-colonial Africa, cities were builtwith bio-degradable materials and as a result, several have disappeared or vanished under the impact of time, rain, sun and wind.
Many of such cities historically dotted the camel routes of the Sahara, across the Nile, all the way to the confluence of the Niger andBenue rivers at the Atlantic. Other periods followed: The theme ofthe exhibition is emblematic of an urban collage of old and new;poor and wealthy; war and peace. It is a joy in our time to celebrate
any city that has endured the ravages of war and man made destruction to come out unscathed like Asmara. Asmara´s outing therefore – should be quite revealing! For me as an African this effort
is also a bright moment in the tendency of global negative portrayals of the heritage and creativity of our continent. One hopes that
this is only the beginning, when it is Asmara today that Kinshasa,
Brazzaville, Harare, Mogadishu and others will follow tomorrow –in a procession of studies of African cities. A huge chest of architectural treasures awaits those, who strive – as you are doing, for Asmara.

Imprint
eins Entwicklungspolitik
POB 50 05 50
D 60394 Frankfurt/M
Germany
phone: ++49(0)69-58098-138, fax: ++49(0)69-58098-162
e-mail: eins@entwicklungspolitik.org, www.entwicklungspolitik.org
Publisher
Verein zur Förderung der entwicklungspolitischen Publizistik e.V.
Editors: Dr. Konrad Melchers (editor-in-chief), Dr. Charlotte Schmitz, Dr. Klaus Seitz
Assistant: Judith Melzer
Art directors: Angelika Fritsch, Silke Jarick
This dossier is published in co-operation with the „Verein zur Förderung von Bildung und
Publizistik zu Umwelt und Entwicklung e.V“, Frankfurt/M (owner of the Asmara Architecture
Exhibition) and supported by the German Foreign Office, Berlin and the Goethe-Institut,
Munich.

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ners of Asmara were Odoardo Cavangiari (1916),
Vittorio Cafiero (1938) and Guido Ferraza. The early plans, such as those of Cavagniari had little
ideological bias, even when zoning according to
racial categories was alluded to and feebly implemented. In 1930 the city was divided into fourzones: the indigenous quarter in the north, densely populated and with irregular structures, thediagonal blocks of the industrial zone, the villaquarter of the Europeans and the mixed areaaround the marketplace. In this mixed zone administrative and trading facilities equally important for both population groups were located.
Moreover, this zone also housed the central cultural institutions, and included a number ofapartments.
By 1937, the purpose and objective of urban planning changed when Fascit Italy began to adopt
strict and doctrinaire racist policies. One key objective became the restriction of residence and work
places of Eritreans to designated areas. Already established Eritrean middle class neighbourhoods
were dismantled and the people had to move to thesmaller area north-west of the present central business district. Cafiero’s plan of 1938, the most elaborate, outlines the philosophy of racial segregation, a native quarter away from the Italian town, separated by a mixed commercial and industrial zone where the more „enlightened“ natives could
interact with the Italians. The native quarter was
further separated by a „green belt.
There was hardly time to fully implement the Cafiero plan as the Italians were defeated in 1941,
but on the whole the current urban face of Asmara still retains the plan of Cafiero. The crowded native quarter still exists, although not known as anative quarter nowadays, but still there is a complete absence of open and public space, or green
space.

Architecture
The expansion of the new capital city as an administrative and representative centre for the Italian
Colony since 1900 meant the architects in Asmara
were confronted by a huge number of building projects. Administrative centres and banks, schools
and churches, the post office, theatre and judiciary
all required representative buildings.
A form of architecture came into being, whichdrew on the proven formal elements of past stylistic epochs such as the Italian Gothic, the Renaissance, Baroque, Romanesque and Classicism.
Initially, the architecture remained largely historicised, and stayed close, in doing so, to the role model of the Italian mother country.
Most of the representative buildings built in Asmara before 1935 show this historicism clearly. The
Bank of Eritrea, for example, was constructed in the
neo-Gothic style, the Governor’s Palace and the post
office in the style of neo-Classicism, the University

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Asmara – A history of courageous womenof Asmara in the neo-Baroque style, and the Asmara Theatre in the Renaissance style.

Photo: Edward Denison

For centuries, Eritrea was influenced by the cultures and religions of different rulers, from the Egyptians and the Ottomans to the Europeans. Over thecourse of history, these left their traces on the culture and architecture of the country. Today, this coexistence of different cultures and religions still has
an impact on the vitality of the city.

At the place, where Asmara was founded, there used to be four
villages. It is said, that these villages were founded around982 BC.
Passing the time of the Old Testament (tigrinya: zämänä orit) theyembraced the time of Christ (zämänä krßstos). At the time of thefoundation of Asmara plunderers that came from the other side of
the Red Sea were kidnapping children and stealing cattle. Therefore the women of the four villages gathered together to discuss
their difficult situation. Thus they spoke:„To be able to protect ourselves we have to ask our men to make us live together on one andthe same spot. To make our men take us seriously we refuse to serve them dinner. If they beat us because they don’t get dinner wescream loudly. When we hear one of us screaming, we shall all go
to her and help her screaming. If they still don’t accept our demand, we shall continue refusing to serve them lunch the nextday!“
After all, on December the 28th or 29th in 1508 the men held a conference to discuss the demands of the women. The women said:„The reason why our children are being kidnapped, our men being
killed by robbers and our cattle is being stolen, is because we live
dispersed in several places. In order to be able to defend ourselvesfrom our enemy we need to build one big village and live closer together“. The conference lasted for a whole day. Finally all men
agreed upon accepting the women’s demands with one voice anddecided upon a name for the newly united town: „Since our women have succeeded in uniting our four villages the name shall bea memorandum of their success. We therefore have decided to name our new village Arbatä Asmära.“ Which means: they (the women) united the four.
Yisehak Yosief
Source: Yisehak Yosiefs „The Story of Asmära“, Asmara 1993. Translated from
Tigrinya by Freweyni Habtemariam, Dipl. Germanist and Anglicist, lecturer for
Tigrinya at the Free University Berlin, freelance interpreter and translater.
(c) freweynih@hotmail.com

From 1900, the intermixture and neighbourhood ofdiverse formal languages and styles (Syncretism) in
combination with local building techniques influenced the architecture of the new capital city of
Asmara and, above all, that of its sacred buildings. A
specific example of the fusion of styles and techniques was the orthodox cathedral Enda Mariam built in 1938/39. Elements of the local African building
tradition were absorbed into the design of the tower roofs, the portal, and the main building.

Styles
The exhibition „Exposition Internationale des Arts
Décoratifs“ held in Paris in 1925 brought Art Deco toa wider audience. Art Deco embraces the creative
alliance of elegant, often geometric forms, new materials, bright colours and sensuous themes. Following the ornate Art Nouveau, Art Deco, with its clear, linear and functional lines, was in keeping withthe spirit of Modernism.
The Cinema Impero is one of the most elegant buildings in Asmara in the Art Deco style and, at the same time, a remarkable example of the cinema architecture of the 1930s. The tiered interior has an organically curved form. Rows of pillars crowned bylions’ heads separate the auditorium from thescreen. Stucco motifs of African scenes, dancers,
palms and antelopes, which distantly recollect Art
Deco, adorn the walls. The décor of the external façade, on the other hand, incorporates elements oftechnical aesthetics.
By 1921, a truly Italian modern style had emergedin the guise of Novecento of which the leading exponent was Giovanni Muzio. His ‘Ca Bruta’, (uglyhouse), built in 1922 in Milan became the centre
for Novecento architecture, indisputably the firstsign of modern architectural taste. As a commitment to an Italian identity, Novecento invoked amore recent reference to the formal vocabulary of
Italian Classicism and Neo Classicism and used
simplified classical forms and ornamentation, modulated surface decoration and raised or sunken
panelling to imitate traditional Italian Architecture.
Asymmetrical construction and a consciously fragmentary composition distinguish the Novecentofrom the to date familiar Eclecticism. Windows, niches, panels and other incisions in the façade appear as exact forms in sharp relief. Although the fa-

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Dossier Asmara Architectureçades feature familiar classical decorations, these
are nevertheless strongly abstracted.
In the late 1930s, during Asmara’s period of growth,a number of the buildings constructed bore the typical stylistic trademarks of the Novecento. The
form of the medieval fortification, for example, theclassical arrangement of façades or, as in the caseof the Palazzo Gheresadik, the surrounding buildings, the arcades and arched windows of the marketplace and mosque were all adapted.

ola Romana were characterised by divergent formal
languages. Nevertheless, to varying degrees eachgroup in its own way invariably claimed, with reference to ancient Rome, to create a new national
style. With Mussolini’s takeover in 1922, the state’s
desire for a significant image to represent a glorious
Italy received a new dimension. This issue was resolved in the second half of the 1930s. Under the aegis of the traditionalist Scuola Romana, aspects ofeach individual movement came together in the socalled Monumentalismo.

Photo: Edward Denison

In 1927, young Milanese architects came up with
the Italian variant of the avant-garde modern architecture, which was known in Italy as Razionalismo. This movement began to rival the Novecento and the traditionalists of the Scuola Romana. Razionalismo combined an artistic concept, which,first and foremost, incorporated a new understanding of spatial concepts, with the application ofcontemporary scientific insights into, among otherthings, technology and hygiene. Architecture wasto evolve from the analysis of its functions and its
everyday usage. The formal language thereby referred to basic geometric elements such as spheres,cuboids, cylinders, cubes and pyramids.

Photo: Edward Denison

A large number of buildings in Asmara follow thisarchitectonic tenor: The Palazzo Mutton – originally designed as a six-storey building – is, with its
interlocking of cylindrical and cubic forms, almost
bizarrely modernistic. Equally noteworthy is the City Sanitation Office, the administrative building of
the municipal utility and waste disposal provider.
In the entry area, vertical and horizontal lines combine to form a striking alliance with the circularawning. With its clear structure, plasticity and colouring Selam Hotel is the most brilliant exampleof rationalist architecture in Asmara.
Futurism, with its vigorous references to the changes wrought by modern industry and technology,
held one of the most radical artistic positions. The
speed of machine-powered vehicles and violence,
destruction and war were glorified as breaks withtradition. In architecture, the designs of, most notably, Antonio Sant’Elia came to be influential in
and beyond Italy. These focused on factories andmulti-storey apartment blocks, whose formal language was directly derived from the world of machines.
In Asmara, the Fiat Tagliero service station, designed by Giuseppe Pettazzi and built in 1938, is themost impressive example of the influences of thismovement. With its 30 metre-long freestanding
concrete cantilever roof, it not only echoes the design of an aircraft – the machine most admired by
the Futurists – but also symbolises the innovative
confidence of Italian technologies and businesses
in the international context.
In the 1920s, the Italian architectural scene was deeply divided. The most significant movements of Futurismo, Razionalismo, the Novecento and the Scu-

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Enda Mariam Orthodox Cathedral – eclectic style
Original Name: Biet Christian, Current address: Arbate Asmara Street
Architect: E. Gallo, Date: 1920
State Palace – neo-classical style
Current address: Denden Street
Architect: unknown,
Date: 1889-1921

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Photo: Edward Denison

Dossier Asmara Architecture

Fiat Tagliero Service Station –Futurist style. The construction of
the Nakfa House (small picture
above) in 1995 caused a wake up
call for the concerned
public to protect the cultural
heritage of Asmara.
Current address: Mereb Street/
Sematat Avenue
Architect: Guiseppe Pettazzi
Date: 1938

Critical Issues for Asmaras Architecture
The end of Italian rule brought Asmara’s rapid
growth to a standstill. With the invasion of the united British and Ethiopian forces in April 1941, the Italian engineers and architects withdrew. They left behind, as the British Ministry for Information reported in 1941, „a European city with wide boulevards,
fantastic cinemas, imposing fascistic buildings,
cafés, stores, two-lane streets and a first class hotel“.

When the British military administration took
control in 1941, their preoccupation was the war in
Europe. Architecture and urban planning issues in
Eritrea were not as critical as fighting the Nazis.
From an architectural perspective, the period of
the British Administration was marked primarily
by the reversion to styles more traditional thanthe bold rationalism that had characterised thelate 1930’s.
Eritrea was federated with Ethiopia in 1952 undera United Nations agreement and annexed by
Ethiopia in 1962. Its status as a federated state wassuspended, and Eritrea was assimilated as one of
the 14 provinces of Ethiopia. Asmara lost its role asa capital city – a role regained on 24th May 1991
with the liberation of Eritrea from the Ethiopian
annexation.

Fotos: Edward Denison

In Asmara, the Casa del Fascio building is the clearest example of this transition in Italian architecture. The frontage was erected in 1940 as anamendment to the rather modest headquarters of
the fascist party lying behind it, which was built in
1928 – a strategy, which testifies to a politically demonstrative motivation rather than to practicalnecessity.

left: modernist villaCurrent use: World Bank officeArchitect: unknown,
Date: unknown
right: Selam Hotel – Rationalist style
Original name: Albergo CIAAO(Compagnia Immobiliare Alberghi
Africa Orientale), Current address:
Mariam Gimbi Street
Architect: Rinaldo BorgninoDate: 1937

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Photo: Edward Denison

Dossier Asmara Architecture
The intervening period was marked by a 30 yearlong liberation war. This war caused extensive devastation in both Eritrea and Ethiopia. Asmara, however, survived this period relatively unscathed.
The beauty of Asmara’s buildings convey the image of modernity despite peeling paint, falling plaster or unhinged shutters.
Since independence Asmara has grown rapidly extending its coverage over a wide area of the hinterland. Migration, the new functions as a capital cityand investment changed the city. Fortunately Asmara’s expansion has not followed the pattern ofother African cities where slums and squatter settlements prevail. Asmara’s growth has been relatively controlled. However, major challenges remain,
most important is the provision of adequate waterand sewage for all.
The issue of rebuilding after independence and decades of foreign rule when nothing happened, has
infused all Eritreans with the hope of future development. While facing the problems of urban planning there is growing concern that this world-renowned centre of early twentieth-century architecture should be preserved by all means.
An incident of 1996 illustrates perfectly the determined and liberal attitude of Eritreans: The Germanarchitectural firm commissioned to design the newheadquarters of the National Bank of Eritrea suggested that the most prestigious location for the building was the site in front of the Catholic Cathedral. A grotesque fourteen-storey glass building
with numerous smaller structures around it occupying four blocks of historic Asmara was proposed.
The central building was to be the tallest in the city, towering over the campanile of the Cathedral.
Before the bank could be constructed the building
occupying the site, the notorious former Italian prison „Caserna Mussolini“, would have to be demolished. When the plans for this move were madepublic, a group of Eritreans, mainly former inmates,
protested vehemently and successfully against thedestruction of the prison building.
However another construction project was put into pratice: When the colossus called Nakfa Houserose at the Southern end of Sematat Avenue, dwarfing that icon of Asmara’s modernist architecture –Fiat Tagliero – the people of Asmara, began to feelthe horror of something that was going terribly
wrong. The Nakfa House did not only desecrate Fiat Tagliero, that fine example of modernist architecture; it reduced the area around it to a mean anddisorienting small space. There were several otherbuildings (Nyala Hotel, The Red Sea Corporation Building, etc) that upset the delicate qualities of Asmara’s Modernist Architecture, but the building of
Nakfa house provided the wake-up call.

Preservation
The government and people of Eritrea have realised
the special character of Asmara and are determined

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Palazzo Gheresadik – Novecento style
Original name: Palazzo Gheresadik,
Current address: Nakfa Avenue/Ad Ebrihim
Architect: Carlo Marchi
Date: 1938

to preserve this exceptional heritage for the benefit of its own population and for present and future visitors. At the same time there is an increased
awareness of the need to ensure further development. Thus in 1997, the State of Eritrea invited The
World Bank to collaborate with it in formulating astrategy for preservation of Asmara’s architectural
heritage. In the sequel an extensive inventory of thearchitecture of Asmara was undertaken. In this context the cultural assets rehabilitation program(CARP) was established to coordinate preservation
and rehabilitation of cultural assets, especially architectural assets. Furthermore the process to register Asmara as a modern heritage site under therules of UNESCO was initiated.
In 2001 a historic perimeter in Asmara was established, encircling an area of about four square kilometres of 4% of the total area of the city. This area
contains the city’s historic centre and the majorityof its historically significant buildings that need
protection from unwarranted modification. The government promulgated a moratorium on new buildings or modifications of old buildings in the historic perimeter until new guidelines and regulations have been finalised. The guidelines and regulations will establish stringent criteria that aim toensure that the integrity, harmony and scale of Asmara’s unique urban environment are.

Dr. Omar Akbar,
born in Kabul, Afghanistan, director andpresident of the Bauhaus Dessau Foundation, Germany, professor for theory ofarchitecture and townplanning,
University Anhalt, Dessau.

Naigzy Gebremedhinborn in Addis Ababa, founder and first
director (1998-2004) of the Cultural
Assets Rehabilitation Project of Eritrea(CARP), founder and first director of theEritrean Environment Agency(1994-1998) , 1976-1994 director of thedivision for the built environment,
United Nations Environment
Programme (UNEP), Nairobi,
1957-65 professor of architecture
and building science, dean of the facultyof building, Haile Selassie I University,
Addis Ababa, Ethiopia.

X

Dossier Asmara Architecture

In the modern context
The adaptation of the colonial architecture in Asmara
Omar Akbar
In Asmara, Classical European
Modernism is re-contextualized
and grounded in the postcolonial
culture of independent Eritrea.
Many of the artists and architects of Classical Modernism were convinced that culture could
only be something international- something global. One central
ambition and motivation of theavant-garde in modern art andarchitecture was the conquest of,and the imposition of disciplineon, chaotic conditions. The end
goal was a universal reorganisation of all forms and structures.
It was to comply with the industrial society’s principles of rationality and efficiency, and claimed international, global validity. At the same time, the newworld, characterised by modernity, was to also advance social
equality and, by means of industrial mass production, provide ahigher standard of living.

Fit for the whole world
At the same time, allied with thisimagined, universal new world
was the negation of local contexts in favour of timeless and„placeness“ principles. The decline of national formal traditions
was therefore to be offset by anew, timeless, universalism. The
new, radical modern design, in
its aspirations to global validity,
had neither regard for national,
regional or local contexts, nor did
it allow itself to be influenced bythese.
This stance was above all particularly characteristic of European avant-garde art. Many artists
such as, for example, Wassily
Kandinsky or Paul Klee, who also taught at the Bauhaus in the
1920s, laboured in their paintings to surmount the naturaland individual reality in order
to identify universally valid,fundamental, formal laws. The
vision was of an art that, as „total design“, would pass over into all aspects of the lives of thepeople.

This quest for a universalism invisual media, and for an art anddesign that was to be „fit for thewhole world“ (Piet Mondrian)
eventually also affected the architects. In the terms of a radicalarchitectonic Modernism, notonly buildings, their rooms andinterior design, but also ultimately whole cities, were to be developed according to a single
principle of design. The distantgoal was nothing less than anewly configured world. Even if
this utopia incorporated hopes of
emancipation, this vision also
has, without a doubt, tyrannicaland imperial features.
Classical Modernism in architecture and urban development ignored, where the building owners provided it with the opportunity - that means where thebalance of power permitted it the existing urban context. It ignored the fact that each city,
firstly by means of its geographical location and climatic conditions, and above all by meansof its particular cultural and social structures, generates a specific context for its spatial organisation.
This framework determines urban development and the local
and regional identity, albeit without being static. Cities per seare places for interexchange, andact as intersections for a variety
of affiliations and networks. Theinterplay of local and remote influences, the capacity to absorb
outsiders, the openness to new
ideas and to new concepts ofimages and form, are essential
constituents of the urban character. In an ideal case, the city itself would press ahead with, guide and promote the integrationand transformation of foreign influences. That this, however, isthe exception to the rule isshown, for example, by the centuries-old history of colonisation.
Colonial heritage
The colonisers paid little attention to the urban context theyconquered, focusing rather on
how they could implement andmanifest their rule. They built
themselves their own world inaccordance with their notions oflife, their aspirations and theirvalues. This applies also to the city centre of Asmara - built in the
1930s, as is generally known, under Italian colonial rule. This city
centre is particular. Here, a fascist society, which also introduced a policy of racial segregation,
emerged to contribute to the architectural language of Classicaland European Modernism.
While architectonic Modernism
in Europe is generally viewed as
an emancipatory movement,
and as a move towards social
equality in an industrial society,in Asmara, the modern architecture stood as a model, and as an
instrument, of a modernisationof the colony in terms of subjugation.
The ensemble of modern buildings erected in Asmara during
the colonial expansion of the city
therefore presented a huge challenge for the existing urban context. These public and private buildings utilising the different styles of architectonic Modernism
were, in essence, an antithesis tothe settlement structures in existence up to that point. This formof Modernism was an attack on
the urban context, which had developed over centuries. This was
not only to manifest the colonial
power’s aspirations for order inspatial terms, but also, at the same time, to represent their dominance over the local culture.
That this massive colonial reconstruction of the city centre
did not lead, at the end of theperiod of colonisation, to thedestruction of its modern architecture is another peculiarity, orcharacteristic, of Asmara’s. As
the Eritrean population came toadopt these buildings over time,and accept them as part of theirarchitectonic inheritance, a unique „City of Modernism“ could
develop where today different

cultures, religions, populationgroups and ethnic groups liveside by side.

Post-colonial
re-contextualization
By means of the residents’ confident appropriation and autonomous re-interpretation, the Modernist buildings have been integrated into the context of the city. This implied emancipationfrom the manifestations of theformer colonial rule in favour of
an independent way of thinking
focused on both progress and development. Without this post-colonial re-contextualisation, thecurrent debate on the preservation and maintenance of thesebuildings would be inconceivable.
In that Asmara „assimilated“ thisModernism, the buildings were
given a context, which was foreign to the canon of ClassicalModernism. In this, they offer
the opportunity for a discourse
on Modernism, which establishes a counterpoint to the Eurocentric reading, which still dominates today.
These Modernist buildings are
no longer mere testimonials tothe ambivalence inherent to European Modernism, but, equally,
testimonials to an intercultural
history of transformation, which
has much to do with the criticaland productive negotiation ofdifferences. Not least because ofthis, the specific configuration ofModernism in Asmara - as an invaluable Potenzial for urban progress - is open to development.
In Asmara, Classical European
Modernism was - beyond its original programmes and systemsof representation - ultimately
contextualised, made relativeand in the end grounded locallyin a very pragmatic way. In thissense, Classical Modernism is nolonger out of the modern context.

2007 I e1ns

Dossier Asmara Architecture

The historical context
of the Asmara Architectureeins Entwicklungspolitik 2-3-2007 published a controversy on thehistorical reference presented in the Asmara architecture exhibition. Raimund Rütten, Emeritus Professor for Romance Languages at the Goethe University
Frankfurt/Main, strongly criticizes the exhibit,

Naigzy Gebremedhin and his co-author of the book Asmara –Africa’s secret modernist city, Edward Denison, as well as the
Italian architect Anna Godino defend the approach of the exhibition. The following texts areshortened versions of the originals.
Editors–> <–DebateFuturism onblood-soaked groundProf. Raimund Rütten: I was quite upset and shocked about what
was presented about Asmara in
the Architecture Museum: how
could it come to such thoughtlessness and such unprecedented absence of historical awareness? I think about the imperial
megalomania of fascist Italy andits forced colony Eritrea, at least
since the thirties gateway for the
war of aggression and conquestof the fascists against Abessinia,
being subjugated to its overseas
territory; about the bombardments from the air, about thetechnologically superior air force, about the large-scale use of
poisonous gas against the civilian population in Abessinia; etc.
How does it come to pass that fruits are only harvested as an expression of presumed civilizationand culture, when in reality thesefruits arise from a superficially futuristic blood-soaked ground, products of the barbarism of civilization, of the horror and unease within the culture? Asmara is the result of the fascist politics of colonization, designed only for the Italian colonists. The ideas of megalomania, war enthusiasm and of
the omnipotence of a technological power, as distinguishable within the futurist movement andavant-garde were useful to fascism and its imperial claim ofrule over the Horn of Africa.
In no way should the fascination
attributed to the architecture of
the city center of Asmara be denied; but, this fascination cannot
lead to a blending out of themass murder, racism, and torture of those who had to heave thee1ns I 2007

material for art buildings for theapartheid regime at a height of
more than 2000 meters.

Eritreans don’t harbour
quarrel with the inherited
buildings
Naigzy Gebremedhin: Why preserve the architecture of Asmara? It certainly is not to extol thevirtues of Italian colonialism.
The architecture of Asmara isbeing preserved because it celebrates the labour of thousands ofEritreans. Eritreans have appropriated, completely and unequivocally the colonial architecturein their capital city. This appropriation has never implied minimization of the evils committed
by Fascist Italy in Eritrea. Eritreans will never forget the humiliation or the excesses of racial discrimination. But they no longer
harbour any quarrel with the buildings that have survived. They
refuse to be drowned into self pity and endless recrimination as
regards the past history of thesebuildings. Wisely, they are determined to put them to good use.
The exhibition simply contributes to this wise decision. It does
not extol racism. It is an exhibition about architecture that survived against all odds.

The mature stance ofEritreans should
not be insulted
Edward Denison: Prof. Ruetten’s
critique raises many valuable issues, most of which cannot bedenied by any civilized person,
the premise of this commentary seems to have misunderstood, or rather misinterpreted,the subject of the exhibition

entirely. Consequently, this renders what could have been a valuable critique a tirade blindedby personal disdain for past
atrocities which are not condoned by anyone, least of all thosethat have expended so much time, energy and effort to realise
this exhibition.
It is vital that while we must never forget the depths to whichmankind can plunge, this exhibition is evidence of a deeper
consideration of this subject in
the context of Eritrea than Prof.
Ruetten has given to it, and, assuch, while I share his patent disgust for fascism, I also see theneed to examine such histories
objectively so that we might learn from them and progress, personally and collectively, rather
than be so blinded by hatred that
we cause history’s pendulum toswing in the other direction.
If Eritreans, as I would argue, have successfully adopted Asmara
and reinvented this ‘life space’ intheir own manner, then who are
we, as foreigners, to argue
against such a bold and mature
stance because of a guilt complex brought on ourselves by the
inexcusable behaviour of our forefathers?
Prof. Ruetten’s remarks ignore
the over-riding premise of thisexhibition: architectural heritage.
If we are to support the argument that the tangible legaciesof past regimes are to be reviled,the natural conclusion leads tothe erasure of such legacies. Asmara is revered by Eritreans. In
my opinion, Eritrea’s love for its
capital is unrivalled in Africa,
and this is evidenced in the beauty of the city’s character.

Italian Futurism does notequal Fascism
Anna Godio: It is not possible tominimize the contributions of futurism to the modern culture. Futurism arose as part of the general artistic ferment that characterized the intellectual life of Europe, and particularly France, in the
period before 1914. The connection
between Italian futurism and fascism is well known, but we cannot say that the two things are
the same, or that the relation between them is direct and automatic. On the contrary, the development of art, literature and music
follows its own immanent andspecific laws. The development ofart and politics forms two entirely separate lines, with their own
determining features, turning points, complex relations and revolutions.
Futurism and fascism had somecommon aspects: the blind activism, the irrationalism, but also
remarkable differences: the state-worship and the fascist hierarchy against the general anarchy of futurism. The rapid rise ofindustry and the widespread application of new technology captured the imagination of the
new generation of artists who rejected the conventionalism of
the Academy. The cult of the machine was central to futurism.
Cubism had already started to represent reality as a series of geometrical forms. Futurism took
this one step further, elevating
the straight lines and streamlined forms of industry to a newform of art

XI

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