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"Our understanding of modernism is very much framed by a Western-centric, Euro-centric perspective. Looking to the Florentine Renaissance, the building has a portico recalling the Ospedale degli Innocenti, which is approached by a pair of sweeping stairs leading up from the street through a terraced garden.When younger architects began to aggrandise Asmara in the name of Mussolini from the late 1920s onwards, they were urged to change direction and look purposefully forward. Until 1897, Asmara was a village; its fortunes were transformed when the Italian colonists decided to move their administrative capital inland from the Red Sea port of Massawa.
We still don't know enough about that, but I suspect it's the latter. The following year Eritrea and Ethiopia, its much larger neighbour (from whom it had gained independence in 1993) signed a declaration ending a state of war that had existed since 1998; this was followed in the autumn by the opening of the mutual border and the lifting of UN sanctions against Eritrea.The remarkable architectural heritage that earned Asmara this listing was largely the product of Italian imperialism. Eritrea’s terrain is dominated by extension of Ethiopian north-south trending highlands, descending on the east to a coastal desert plain, on the northwest to hilly terrain and on the southwest to flat-to-rolling plains. When the Fascist Regime took over, Mussolini set out to build an overseas empire with Asmara as the model city of his colonial expansion.Many recognize the effects of colonization on the architectural quality of the city. The World Bank underwrote an important programme, the Cultural Assets Rehabilitation Programme (CARP), which ran from then until 2007; in those years, a wide programme of repair and upgrading of key buildings took place, as well as the intensive research that eventually led to UNESCO recognition. The Asmara Theatre (later a cinema), was designed in around 1919 by the engineer Odoardo Cavagnari, the leading planner of the new capital. This didn’t come until 1993, after a gruesome war with Ethiopia. Asmara’s Catholic Cathedral, an example of the city’s Italian heritage Photograph: Ed Harris/Reuters Standing as a startling collection of futuristic Italian architecture from the 1930s, perched … Since then, the Eritrean capital has been in the process of reclamation and reappropriation of its colonial past and architectural legacy. Containing one of the highest concentrations of intact Modernist architecture across the globe, it remains largely unchanged since its Italian colonisers left in 1941. "It was the inmates who really started focusing Eritrean minds, and started them thinking 'What do these buildings actually mean to us?
Asmara's bid is just one of many that will increasingly try to redress this imbalance. Futurist architecture — inspired by speed, the violence of the modern age and new technologies — swept through the Eritrean capital. What forms does classical revivalism take today?Het Schip and other buildings of this early 20th-century movement are both hyper-modern and curiously medievalThe ancient mosque of Ahmad ibn Tulun deserves to be much better knownArt museums that consider themselves places of reflection should be thinking harder about what they are for and what needs to changeAs museums around the world prepare to reopen, many do so with a renewed sense of purposeThe Syrian-born, US-based artist talks to Gabrielle Schwarz about his sculptural dioramas of cities ravaged by war – and offers a message of hope for the futurePlus: houses in Old City of Sanaa collapse after heavy rains, and current and former MMFA staff support sacking of Nathalie BondilPlus: Southbank Centre staff castigate management, major US museums make more staff redundant and artefacts privately restituted to EcuadorPlus: the House of Representatives has approved the National Museum for the American Latino, murals by Picasso have been removed from a building in Oslo, and more art newsPosters are a powerful tool in clear and consistent public health-messaging – so why aren’t we seeing more of them?George Mayer-Marton was an accomplished, influential émigré artist – and his Crucifixion for the Church of the Holy Rosary in Oldham must be protectedVolunteer-run museums play a vital role in the UK’s cultural landscape – and, as they cautiously reopen, may mean more to their visitors than ever Ninety years later, the effects of this lack of planning are still visible today.
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