* bun

kers

la ri

cerc

a è

part

e di

THE

ATLA

NTI

C W

ALL

LIN

EAR

MU

SEU

MG

rant

ed b

y EU

pro

gram

me

“Cul

ture

200

0”

è pr

omos

sa d

aO

rient

amen

to In

tern

i/Lau

rea

Spec

ialis

tica

in A

rchi

tett

ura

Faco

ltà d

i Arc

hite

ttur

a e

Soci

età/

Polit

ecni

co d

i Mila

no

a cu

ra d

iG

enna

ro P

ostig

lione

colla

bora

zion

i

alle

stim

ento

Vale

ria B

orm

olin

i, Cl

audi

a Br

unel

li, M

argh

erita

Par

ati

cons

ulen

za e

mon

tagg

ioCh

iara

Gal

eazz

i e L

ivio

Ric

eput

i del

Lab

orat

orio

di A

llest

imen

toD

ipar

timen

to IN

DAC

O

casi

stu

dio

Am

elia

Val

lett

a co

n gl

i stu

dent

i del

Lab

Inte

rni p

rof.

Post

iglio

ne

rilie

vo e

rapp

rese

ntaz

ione

Bat

teria

Sou

lac-

sur-

mer

stud

enti

del L

ab In

tern

i pro

f. Po

stig

lione

cont

ribut

iEu

ropa

Nos

tra

Faco

ltà d

i Arc

hite

ttur

a e

Soci

età

DPA

-Pol

itecn

ico

di M

ilano

bunk

ers

*int

rodu

ctio

nTw

o ye

ars

ago

whe

n, to

geth

er w

ith G

RAI a

nd R

LICC

, w

e su

bmitt

ed o

ur p

ropo

sal t

o th

e Eu

rope

an U

nion

to

obta

in c

o-fu

ndin

g fo

r th

e pr

ojec

t “Th

e A

tlant

ic W

all

Line

ar M

useu

m”,

the

stat

e of

the

art

see

med

pre

tty

chao

tic a

nd c

onfu

sing

: an

arch

ipel

ago

of in

stitu

tions

, as

soci

atio

ns, w

orki

ng t

eam

s an

d so

on,

eac

h ac

ting

at a

nat

iona

l lev

el, i

f not

loca

lly. S

o if,

on

one

hand

, th

e re

ason

s fo

r su

ch a

wid

e in

tere

st in

The

Atla

ntic

W

all s

eem

ed e

vide

nt, o

n th

e ot

her,

the

reas

ons

of it

s fr

agm

enta

rines

s w

ere

obsc

ure.

As

such

fra

gmen

ta-

tion

seem

ed p

arad

oxic

al in

asm

uch

as w

ere

evid

ent

the

valu

e an

d th

e un

ity o

f th

e im

men

se in

fras

truc

-tu

re, w

e de

vote

d m

ost o

f our

ene

rgie

s to

atte

mpt

ing

to s

yste

mat

ise

the

mul

tiplic

ity w

e w

ere

conf

ront

ed

with

. The

com

pila

tion

of a

cat

alog

ue-a

rchi

ve, r

eal-

ised

sta

rtin

g fr

om a

sta

ndar

d te

mpl

ate

(obt

aine

d by

sim

plify

ing

the

inte

rnat

iona

lly r

ecog

nise

d on

e),

has

been

the

fi rst

con

cret

e re

sear

ch to

war

d th

e co

n-st

ruct

ion

of t

he f

utur

e Li

near

Mus

eum

whi

ch t

akes

in

to a

ccou

nt t

he b

ellic

ose

infr

astr

uctu

re in

its

tran

-sn

atio

nal d

imen

sion

. The

rea

sone

d an

d cr

itica

l cat

-al

ogui

ng o

f a d

efi n

ed n

umbe

r of

cas

es, n

inet

yeig

ht

site

s in

all,

has b

een

carr

ied

out t

hank

s to

the

part

ici-

patio

n an

d re

spon

sibi

lity

of lo

cal e

xper

ts a

nd in

stitu

-tio

ns a

lread

y op

erat

ive

in t

he fi

eld,

sca

tter

ed a

cros

s th

e di

ff ere

nt co

untr

ies t

rave

rsed

by

the

Wal

l: fro

m th

e

fart

hest

, Nor

way

, to

near

er F

ranc

e, p

assi

ng t

hrou

gh

Den

mar

k, th

e N

ethe

rland

s, Be

lgiu

m a

nd th

e Ch

anne

l Is

land

s. Th

e se

lect

ion

of si

tes w

as fo

llow

ed b

y de

taile

d re

sear

ch a

nd t

he c

olle

ctio

n of

his

toric

al d

ocum

ents

, m

aps

and

phot

ogra

phs,

whi

ch c

ontr

ibut

ed t

o re

in-

forc

ing

the

idea

of u

nity

con

ceal

ed b

ehin

d th

e re

ali-

satio

n of

the

Atla

ntik

wal

l. Th

e m

ater

ials

are

pre

sent

-ed

in d

iff er

ent w

ays:

on

the

web

site

ded

icat

ed to

the

proj

ect

(ww

w.a

tlant

icw

all.p

olim

i.it)

, in

the

trav

ellin

g ex

hibi

tion

(“Th

e A

tlant

ic W

all L

inea

r Mus

eum

: cul

tur-

al h

erita

ge, c

olle

ctiv

e m

emor

y an

d co

mm

on ro

ots f

or

the

fort

hcom

ing

Euro

pe”)

, ope

ned

for

the

fi rst

tim

e at

the

Pol

itecn

ico

of M

ilan

on 2

7 O

ctob

er 2

005,

and

in

thi

s ca

talo

gue.

Con

cern

ing

the

cart

ogra

phy,

the

re

sear

ch w

ork

cond

ucte

d in

the

arc

hive

s ha

s, ab

ove

all,

brou

ght a

bout

the

real

isat

ion

of th

e fi r

st E

urop

ean

map

ping

of t

he A

tlant

ikw

all:

a m

ap o

btai

ned

by c

om-

pilin

g th

ose

belo

ngin

g to

div

erse

arc

hive

s, an

d as

-se

mbl

ed h

ere

for t

he fi

rst t

ime.

Not

with

stan

ding

the

geog

raph

ical

and

chr

onol

ogic

al d

iff er

ence

s, an

d th

e di

vers

ity o

f inf

orm

atio

n co

ntai

ned

in e

ach

shee

t, th

is

map

is a

t th

e sa

me

time

the

sign

and

the

sym

bol o

f ou

r wor

k: re

sear

ch a

imed

at s

ewin

g to

geth

er h

eter

o-ge

neou

s, au

tono

mou

s an

d se

para

ted

elem

ents

. The

w

ork

did

not

lack

diffi

cul

ties.

For

inst

ance

, whi

le e

d-iti

ng t

he c

arto

grap

hic

atla

s, to

geth

er w

ith t

he c

om-

plim

enta

ry c

oope

ratio

n of

sev

eral

peo

ple

and

inst

i-tu

tions

- al

l of t

hem

pre

sent

at

the

fi nal

con

fere

nce

at t

he P

olite

cnic

o of

Mila

n (8

Nov

embe

r 20

05) -

we

enco

unte

red

man

y ob

stac

les

deal

ing

with

mili

tary

ar

chiv

es. P

erha

ps it

is a

sig

nal t

hat

indi

cate

s on

e of

th

e th

emes

that

the

rese

arch

see

ks to

touc

h: M

emo-

ry. B

eyon

d its

doc

umen

tary

and

arc

hivi

st s

pirit

, thi

s w

ork

is a

lso

not u

naw

are

of th

e em

barr

assi

ng m

em-

ory

whi

ch li

es in

thes

e bu

ildin

gs: a

col

lect

ive,

sha

red

mem

ory,

unr

esol

ved

on a

Eur

opea

n le

vel,

and

rath

er

in so

me

resp

ects

repr

esse

d. It

is al

mos

t as i

f a g

aze

may

re

st o

n th

ese

obje

cts

only

on

the

cond

ition

that

the

role

of m

emor

y is

alie

nate

d: m

emor

ies

and

reco

rds

whi

ch a

re n

ever

thel

ess i

mpr

inte

d in

thei

r ow

n ph

ysi-

cal

stru

ctur

es a

nd i

n th

eir

geog

raph

ical

loc

atio

ns.

Slits

that

per

haps

ope

n th

roug

h th

e cr

ysta

llise

d ga

ze

of G

uido

Gui

di’s,

the

pho

togr

aphe

r w

ho, t

rave

lling

al

ong

“the

wal

l”, h

as a

rres

ted

in s

ome

unfo

rget

ta-

ble

snap

shot

s th

e fr

agm

ents

of h

isto

ry im

prin

ted

in

each

of

the

build

ings

. Ent

rust

ing

a ph

otog

raph

er’s

sens

itivi

ty w

ith t

he t

ask

of re

adin

g an

d co

nden

sing

th

e co

mpl

exity

and

vas

tnes

s of t

he d

efen

sive

syst

em

into

a li

mite

d nu

mbe

r of i

mag

es h

as b

een

one

of th

e m

ain

acts

of i

nter

pret

atio

n of

the

Vallo

Atla

ntic

o (a

s w

e ca

ll it

in It

aly)

.In

fact

, the

sna

psho

ts re

stor

e th

e re

ality

of t

he in

fra-

that

to tr

ansf

orm

the

long

Atla

ntic

Wal

l int

o a

shar

ed

mon

umen

t is

a re

al a

ctio

n, c

reat

ive

and

posi

tive,

an

exte

nsio

n of

the

mou

rnin

g th

at a

lso

keep

s al

ive

the

shar

ed m

emor

ies

stor

ed in

it. W

hat i

n fa

ct a

re m

onu-

men

ts, i

f not

mea

ns to

pre

vent

men

from

forg

ettin

g,

as w

ell a

s art

efac

ts fr

om w

hich

to d

eman

d th

e ta

sk o

f pr

eser

ving

and

pas

sing

on

colle

ctiv

e va

lues

? Th

is is

, in

fact

, the

prim

ary

purp

ose

of t

he m

onum

ent.

This

is

the

unde

rtak

ing

for t

hose

of u

s in

volv

ed in

the

At-

lant

ic W

all L

inea

r Mus

eum

: A “w

all”

that

exp

loits

the

arch

itect

onic

and

land

scap

e va

lue

of th

e m

assi

ve in

-fr

astr

uctu

re in

ord

er t

o se

w t

oget

her

publ

ic h

isto

ry

and

indi

vidu

al s

torie

s. Th

eref

ore,

it is

the

orga

nize

rs’

inte

ntio

n to

sub

mit

this

wor

k to

UN

ESCO

, in

orde

r to

over

com

e th

e fr

agm

ente

d ap

proa

ch to

the

Atla

ntik

-w

all a

nd th

e in

tere

st in

its

arte

fact

s, an

att

itude

that

ha

s of

ten

been

use

ful

only

to

furt

her

vest

ed,

and

som

etim

es u

ncle

ar, i

nter

ests

. Onl

y by

col

lect

ing

and

taki

ng b

ack

wha

t be

long

s to

us,

can

we

batt

le t

he

man

y at

tem

pts

at in

stru

men

talis

atio

n, b

ringi

ng n

ew

life

to a

pie

ce o

f our

his

tory

, whi

ch is

als

o, in

diss

olu-

bly,

a p

iece

of o

ur b

ody.

gen

naro

pos

tiglio

ne

stru

ctur

e, fi

ltere

d th

roug

h th

e ga

ze o

f the

pho

togr

a-ph

er, p

erfo

rmin

g a

redu

ctio

n an

d a

synt

hesi

s ab

le to

off

er

the

visi

tor

a pr

ivile

ged

way

to

unde

rsta

nd t

he

com

plex

ity b

eyon

d an

d w

ithin

the

intr

icat

e de

fen-

sive

net

. Not

unl

ike

so m

any

war

like

vest

iges

whi

ch

inva

de m

any

of o

ur m

etro

polis

es, e

mer

ging

in t

he

urba

n gr

id a

s uni

nvite

d gu

ests

, the

Atla

ntic

Wal

l bun

-ke

rs sh

ow th

eir i

ncap

acity

, or u

nwill

ingn

ess,

to b

e ab

-so

rbed

or

eras

ed. T

hey

are

frag

men

ts w

hich

esc

ape

any

act

of n

orm

alis

atio

n or

pla

nnin

g, t

he r

eign

of

chao

s and

unh

eim

elic

h, th

at d

istu

rbin

g m

emor

y, th

e Fr

eudi

an “u

ncan

ny”;

they

are

shr

eds

of a

pas

t w

hich

ca

nnot

fi nd

its o

wn

emot

iona

l, fu

nctio

nal,

and

spat

ial

loca

tion,

a re

sult

of a

mem

ory

neve

r ela

bora

ted

and

too

sim

ply

rem

oved

. It

is w

orth

und

erlin

ing

and

re-

info

rcin

g w

ith d

eter

min

atio

n an

abs

olut

ely

nega

tive

judg

men

t on

war

, on

that

war

, and

on

who

pro

mot

ed

that

war

and

was

its

prin

cipl

e ac

tor:

Adol

f Hitl

er a

nd

the

Third

Rei

ch, w

hose

act

ions

sta

ined

with

blo

od,

suff e

ring

and

horr

or,

the

sam

e la

nd w

here

tod

ay

man

y of

us

are

tryi

ng to

con

stru

ct a

sha

red

futu

re o

f pe

ace.

The

refo

re, i

t is

also

nec

essa

ry to

rein

forc

e th

at

invo

lvem

ent

in t

hese

“em

barr

assi

ng”

war

like

arte

-fa

cts h

as n

othi

ng w

hats

oeve

r to

do w

ith a

ny a

ttem

pt

to re

habi

litat

e th

ose

who

cre

ated

that

war

and

thos

e w

ho b

elie

ved

in it

. On

the

cont

rary

, we

emph

asiz

e

*des

crip

tion

Infr

astr

uctu

re

The

Atla

ntic

Wal

l is o

ne o

f the

last

maj

or d

efen

ce li

nes

of th

is c

entu

ry. I

t was

bui

ld b

y th

e G

erm

an o

ccup

a-tio

n fo

rces

in th

e pe

riod

1941

-194

4 al

ong

the

coas

t of

Fra

nce,

Bel

gium

, Net

herla

nds,

Ger

man

y, N

orw

ay

and

Den

mar

k. T

he m

ain

goal

was

to

prev

ent

allie

d la

ndin

gs o

n th

e sh

ores

of t

hese

cou

ntrie

s.D

urin

g th

is p

erio

d m

ore

than

150

00 h

eavy

, con

cret

e bu

nker

s w

ere

built

. An

amou

nt t

hat

is i

mpr

essi

ve

by t

he q

uant

ity, t

he c

ost

and

the

invo

lved

labo

ur.

Mor

eove

r m

any

pris

oner

s w

ere

forc

ed t

o w

ork

on

the

cons

truc

tion

and

lost

thei

r liv

es th

ere

inte

rsec

t-in

g pr

ivat

e st

orie

s w

ith s

ocia

l his

tory

.Th

e in

fras

truc

ture

, whi

ch is

a u

niqu

e ex

ampl

e of

its

kind

, is

of g

reat

val

ue fo

r m

any

reas

ons.

The

arc

hi-

tect

ural

qua

lity

of it

s vas

t bui

ldin

g sy

stem

, the

abi

lity

of th

ese

obje

cts

to d

efi n

e a

new

aes

thet

ic c

anon

for

mod

erni

ty, t

he r

elat

ions

hip

they

hav

e es

tabl

ishe

d w

ith th

eir n

atur

al a

nd o

r urb

an c

onte

xts ¬

bec

omin

g es

sent

ial e

lem

ents

for i

nter

pret

ing

the

cultu

ral l

and-

scap

e . T

he g

reat

est v

alue

of t

his

syst

em o

f mili

tary

fo

rtifi

catio

ns h

owev

er r

esid

es in

its

bein

g th

e m

ost

wid

espr

ead

herit

age

of E

urop

ean

cultu

re p

rese

rvin

g a

colle

ctiv

e m

emor

y of

WW

II.

wou

ld b

e th

e fi r

st co

ncre

te st

ep to

war

ds re

cogn

izin

g th

e in

fras

truc

ture

’s va

lue,

and

indi

spen

sabl

e fo

r the

cr

eatio

n of

a L

inea

r M

useu

m.

The

atla

s w

ould

als

o co

mpr

ise

a se

ries

of p

hoto

grap

hs p

ropo

sing

a c

riti-

cal a

naly

sis o

f the

infr

astr

uctu

re a

nd th

e re

latio

nshi

p it

has

form

ed w

ith i

ts s

urro

undi

ngs.

Thi

s sp

ecifi

c ph

otog

raph

ic c

ampa

ign

wou

ld s

erve

bot

h as

a te

s-tim

ony

and

an in

terp

reta

tion

of t

he s

truc

ture

s an

d th

eir v

alue

.

Trav

ellin

g Ex

hibi

tion

“The

Atla

ntic

Wal

l tra

ces:

“Cul

tura

l Her

itage

, Col

lec-

tive

Mem

ory

and

Com

mon

Roo

ts fo

r the

For

thco

m-

ing

Euro

pe”.

The

exhi

bitio

n w

ould

pre

sent

in a

con

-ci

se a

nd e

voca

tive

way

, a se

lect

ion

of m

ater

ials

(map

s an

d ph

otog

raph

s) p

ropo

sing

crit

ical

inte

rpre

tatio

ns

whi

ch w

ould

stim

ulat

e th

e de

velo

pmen

t of a

col

lec-

tive,

sha

red

cons

ciou

snes

s of

the

arch

itect

ural

, aes

-th

etic

and

land

scap

e va

lue

of th

is im

men

se c

ultu

ral

herit

age

avai

labl

e to

the

gene

ral p

ublic

. A p

rese

nta-

tion

of s

torie

s an

d co

mpo

rtm

ents

bot

h ar

isin

g fr

om

and

occu

ring

on th

e te

rrito

ry: a

pla

ce w

here

col

lec-

tive

and

indi

vidu

al m

emor

ies

over

lap

(nat

iona

l and

Eu

rope

an).

The

stat

e of

aba

ndon

men

t of

muc

h of

the

Atla

ntic

W

all j

eopa

rdiz

es b

oth

its e

xist

ence

and

the

val

ues,

whi

ch it

repr

esen

ts. P

rese

rvin

g th

is m

emor

y an

d hi

s-to

ry is

ess

entia

l for

a E

urop

e in

tent

on

build

ing

its

own

futu

re .

At t

he s

ame

time,

it’s

also

impo

rtan

t to

form

and

sen

sitiz

e pu

blic

opi

nion

con

cern

ing

the

valu

e of

suc

h an

ext

raor

dina

ry tr

ansn

atio

nal t

errit

o-ria

l inf

rast

ruct

ure.

To u

nder

line

the

Atla

ntic

Wal

l’s a

rchi

tect

ural

, ae

s-th

etic

and

cul

tura

l lan

dsca

pe v

alue

as a

tran

snat

ion-

al c

ultu

ral h

erita

ge, p

rese

rvin

g a

shar

ed c

olle

ctiv

e m

emor

y ¬

on E

urop

ean

soil.

Thi

s he

ritag

e w

ould

be

salv

aged

and

pro

tect

ed th

roug

h th

e cr

eatio

n of

The

A

tlant

ic W

all

Line

ar M

useu

m,

cont

extu

aliz

ing

the

fort

ifi ed

land

scap

e in

to a

ser

ies

of ‘m

useu

m s

pace

s’ sp

anni

ng t

he W

all,

whi

ch w

ould

pro

vide

the

inhe

r-en

t in

fras

truc

tura

l in

form

atio

n ne

eded

to

inst

ill i

n in

divi

dual

s an

d co

mm

uniti

es a

pro

cess

for r

eapp

ro-

pria

ting

the

land

scap

e an

d th

eir c

olle

ctiv

e m

emor

y.

acti

ons

The

Atla

ntic

Wal

l Atla

sTh

e pu

blic

atio

n of

an

atla

s, pr

esen

ting

an h

isto

ri-ca

l doc

umen

tatio

n of

map

s of

the

area

s co

ncer

ned

tity

with

in th

e co

ntex

t of t

he E

urop

ean

Uni

on, i

s one

of

the

mai

n ob

ject

ives

of t

his

conv

entio

n.

The

Web

-Gat

eway

“The

Atla

ntic

Wal

l Lin

ear M

useu

m”

As

the

only

pla

ce w

here

obj

ects

, la

ndsc

ape

and

mem

ory

can

eff e

ctiv

ely

mee

t an

d re

latio

nshi

ps b

e dr

awn

betw

een

a m

ultit

ude

of e

lem

ents

, em

phas

iz-

ing

cert

ain

char

acte

ristic

s an

d va

lues

, the

web

site

w

ill b

e a

real

“Web

-Mus

eum

” .

As

a di

dact

ic in

stru

men

t cap

able

of r

each

ing

a la

rge

audi

ence

, ov

er a

vas

t te

rrito

ry,

the

Web

-Mus

eum

re

pres

ents

a s

hare

d ar

chiv

e fo

r con

serv

ing

and

dis-

play

ing

-follo

win

g th

e st

ricte

st m

useu

m t

radi

tions

-

a he

ritag

e w

hose

val

ue a

nd v

astn

ess

cont

ribut

e to

legi

timiz

ing

the

exis

tenc

e of

a E

urop

e bo

th g

eo-

grap

hica

l and

soc

io-p

oliti

cal.

The

web

site

, bes

ides

ser

ving

as

an e

ffi ci

ent

way

to

com

mun

icat

e an

d pr

esen

t map

s, ph

otog

raph

ic a

nd

text

ual m

ater

ial r

esul

ting

from

rese

arch

of t

he A

tlan-

tic W

all w

ill a

lso

serv

e as

an

cent

re w

ith h

yper

text

ual

links

to p

ut th

ose

inte

rest

ed, i

n co

ntac

t with

an

en-

tire

netw

ork

of o

ther

site

s an

d a

sele

ctio

n of

crit

ical

w

orks

abo

ut th

e A

tlant

ic W

all,

avai

labl

e on

the

web

The

mai

n ob

ject

ive

of t

he e

xhib

ition

is t

o op

pose

th

e pr

oces

s of

dis

inte

grat

ion

of th

e A

tlant

ic W

all r

e-su

lting

from

pub

lic n

egle

ct a

nd re

appr

opria

te o

n a

Euro

pean

sca

le,

its s

peci

fi c p

ositi

ve v

alue

a a

s a

tes-

timon

y of

“res

ista

nce”

and

the

crea

tion

of p

eace

.

Inte

rnat

iona

l Con

vent

ion

“The

Atla

ntic

Wal

l tra

ces:

“Cul

tura

l Her

itage

, Col

lec-

tive

Mem

ory

and

Com

mon

Roo

ts fo

r the

For

thco

m-

ing

Euro

pe”

The

Conv

entio

n sh

ould

pro

mot

e a

criti

cal d

iscu

ssio

n of

the

wor

k, re

sear

ch a

nd o

bjec

tives

und

erta

ken

and

serv

e as

a fo

rum

for e

xcha

ngin

g id

eas

and

inte

rpre

-ta

tions

of t

he A

tlant

ic W

all i

nfra

stru

ctur

e. T

he d

iver

se

anal

ytic

al a

ppro

ache

s an

d pr

opos

ed th

emes

will

be

pres

ente

d as

pap

ers

and

or le

ctur

es.

Repr

esen

tativ

es a

nd P

artn

ers

or P

artic

ipan

ts a

s w

ell

as o

ther

out

side

par

ties i

nvol

ved,

will

als

o off

er t

heir

own

cont

ribut

ion

conc

erni

ng th

e gr

eat v

alue

of t

he

Atla

ntic

Wal

l as

a tr

ansn

atio

nal c

ultu

ral h

erita

ge u

n-de

rlini

ng a

sha

red

colle

ctiv

e m

emor

y. ¬

on

Euro

pe-

an s

oil.

The

prom

otio

n of

an

Atla

ntic

Wal

l Lin

ear

Mus

eum

, un

derli

ning

a c

omm

on s

ocio

-pol

itico

-cul

tura

l ide

n-

http

://w

ww

.atla

ntic

wal

l.pol

imi.i

t

gen

naro

pos

tiglio

ne

elab

orat

o gr

afi c

o es

trat

ti da

lla te

si d

i lau

rea

di D

anie

la

Canz

i ed

Este

r Gol

ia, 2

006

*cro

nolo

gia

elab

orat

o gr

afi c

o es

trat

ti da

lla te

si d

i lau

rea

di D

anie

la

Canz

i ed

Este

r Gol

ia, 2

006

*avv

icin

amen

to

*atla

ntik

wal

lm

appe

trat

te d

a A

tlant

ikw

all L

inea

r Mus

eum

exh

ibiti

on,

2005

-200

6

Re-a

ssem

bled

map

of A

tlant

ikw

all b

atte

ries

and

fort

ress

en

gine

ers,

1944

-45

(Map

s of

Fra

nce,

Bel

gium

and

The

N

ethe

rland

s ©

SH

M; m

aps

of D

enm

ark,

Ger

man

y an

d N

orw

ay ©

BM

A/F

R; m

ap o

f Cha

nnel

Isla

nd P

L)

Exce

rpt f

rom

:“C

arte

de

l’éca

t des

trav

aux

défe

nsifs

de

la IV

e ré

gion

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tzpu

nkt

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r, or

ig. 1

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opy

© M

CH)

estr

att

i o

rig

ina

li d

el “T

yp

en

he

ft”,

il ca

talo

go

co

mp

leto

di tu

tte

le

tip

olo

gie

di b

un

ke

r*t

ipol

ogia

ma

pp

e o

rig

ina

li d

ella

tip

olo

gia

66

7 e

str

att

e d

al Typ

en

he

ft

E. D

iller

, R. S

cofi d

io, B

ack

to th

e fro

nt: T

ouris

m o

f W

ar, 1

994

*str

ateg

ie

elab

orat

o gr

afi c

o es

trat

ti da

lla te

si d

i lau

rea

di D

anie

la

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i ed

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r Gol

ia, 2

006

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. 1:2

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. 1:2

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MA

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5)

Orig

. 1:1

0000

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MA

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19

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10 K

1)

“Wirk

ungs

bere

iche

d.H

.K.,

Art

.u.F

lak,

Cha

nnel

Isla

nds”,

orig

. 1:5

00.0

00 (©

PL)

elab

orat

o gr

afi c

o es

trat

ti da

lla te

si d

i lau

rea

di D

anie

la

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i ed

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r Gol

ia, 2

006

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afi c

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i ed

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r Gol

ia, 2

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*per

cors

i

*ess

enza

*The

Atla

ntic

Wal

l: bu

nker

and

/as

mod

ern

arch

itect

ure

“L’a

rchi

tect

ure,

c’e

st, a

vec

des

mat

ière

s br

uts,

étab

lir d

es r

appo

rts

émou

-va

nts”.

Intr

oduc

tion

On

the1

4th

of M

arch

194

1 Ad

olf H

itler

for t

he fi

rst

time

talk

ed a

bout

the

“Atla

ntik

wal

l” w

hich

was

sup-

pose

d to

def

end

the

Fort

ress

Eur

ope

from

the

inva

-si

on c

omin

g fr

om t

he W

est.

On

the

23rd

Mar

ch o

f th

e ne

xt y

ear i

n th

e D

irect

ive

on W

ar n

o. 4

0, th

e A

t-la

ntik

Wal

l was

offi

cial

ly e

stab

lishe

d. H

ardl

y a

mon

th

afte

r, A

lber

t Spe

er su

ccee

ded

Fritz

Todt

, who

die

d in

a

mys

terio

us a

ir cr

ash,

as

head

of t

he o

rgan

izat

ion,

th

at r

etai

ned

its fo

rmer

nam

e, a

nd s

uper

vise

d th

e co

nstr

uctio

n of

fort

ifi ca

tions

, mob

ilizi

ng th

ousa

nds

and

thou

sand

s of p

eopl

e, am

ong

them

pris

oner

s and

de

port

ed. H

itler

’s pr

ojec

t w

as a

imed

st

cons

truc

t-in

g a

line

of fo

xhol

es, a

sor

t of b

ackb

one

to E

urop

e fa

cing

the

ocea

n (R

olf,

1998

). Vi

rilio

, who

took

pho

-to

grap

hs o

f the

se c

oncr

ete

cons

truc

tions

bet

wee

n 19

58 a

nd 1

965,

tal

ks o

f mod

ern

mon

olith

s, “s

mal

l-si

zed

tem

ples

with

out

relig

ion”

, cry

pts

that

pre

fi g-

ure

the

Resu

rrec

tion.

“A

fox

hole

” (s

tuzp

unkt

), he

w

rites

, lite

rally

mea

ns “s

tron

g ho

use”

and

not

“fal

se

hous

e” a

s st

ated

in d

ictio

narie

s; a

rein

forc

ed h

ouse

, an

arm

our t

hat s

urro

unds

a s

oldi

er, b

ut a

lso

a fo

rm

of “d

isap

pear

ance

” (Vi

rilio

, 196

8). O

ur re

sear

ch-w

ork

high

light

ed a

n is

sue

alre

ady

rais

ed b

y th

e Fr

ench

ar

chite

ct a

nd a

fter

war

ds b

y (D

iller

& S

cofi d

io, 1

995)

:

* la

cos

truz

ione

del

l’Atla

ntik

wal

l sfr

utta

e a

ccel

lera

i pr

oces

si d

i ind

ustr

ializ

zazi

one

dell’

edili

zia.

Son

o le

indu

strie

di F

rits T

odt,

a cu

i era

no a

ffi da

ti tu

tti i

lavo

ri de

l gen

io

mili

tare

del

III°

Reia

ch ,a

real

izza

re l’

inte

ra in

fras

trut

tura

.

* il

nuov

o m

ater

iale

app

are

capa

ce d

i dar

e es

pres

sion

e “p

ura”

al p

rogr

amm

a fu

nzio

n-al

e, d

i seg

uire

e a

datt

arsi

alle

esi

genz

e de

ll’us

o e

della

pro

duzi

one.

the

clos

e co

nnec

tion

that

exi

sts

betw

een

thes

e ar

-ch

itect

ures

of w

ar a

nd m

any

build

ings

pla

nned

by

the

Mod

ern

Mov

emen

t, bu

t als

o bu

nker

as

a po

int

of re

fere

nce

to a

gre

at p

art o

f mod

ern

& c

onte

mpo

-ra

ry a

rchi

tect

ure.

Bun

kers

as

an ic

on o

f m

oder

nity

(P

ostig

lione

, 200

5).

The

rese

arch

ent

itled

“Th

e A

tlant

ic W

all

Line

ar

Mus

eum

”[1]

pro

mot

ed a

nd

deve

lope

d a

valo

risa-

tion

proj

ect w

ith th

e ai

m o

f brin

ging

the

vast

her

it-ag

e of

WW

II bu

ilt a

long

the

Atla

ntic

coa

st b

ack

into

th

e w

orld

of

cultu

ral h

erita

ge b

ut a

lso

in t

he o

ne

of a

rchi

tect

ure.

The

pro

ject

was

act

ually

inte

nded

to

dra

w a

tten

tion

to th

e ar

chite

ctur

al, a

esth

etic

and

la

ndsc

ape

valu

e of

the

Atla

ntik

wal

l, un

ders

tood

as

a tr

ans-

natio

nal c

ultu

ral h

erita

ge.

Hor

izon

tal v

isio

n, a

esth

etic

fasc

inat

ion

and

terr

ito-

rial d

imen

sion

Bun

kers

are

bas

ed o

n th

e pr

ivile

ge o

f a

horiz

onta

l rat

her t

han

a ve

rtic

al v

isio

n; w

indo

ws,

as L

e Co

rbus

ier

wro

te (L

e Co

rbus

ier,

1923

), w

ill n

o m

ore

be v

ertic

al, b

ut h

oriz

onta

l. Th

ey fo

llow

a n

ew

view

of t

he w

orld

impo

sed

by th

e ci

nem

a, a

n as

pect

w

hich

app

ears

to b

e di

ctat

ed m

ore

by a

cul

tura

l fac

-to

r th

an b

y a

true

tec

hnic

al n

eed;

and

in b

unke

rs

this

hor

izon

tal c

ut p

erfe

ctly

cor

resp

onds

to th

e ob

-se

rver

’s ey

e m

ovem

ent t

hrou

gh th

e si

ghts

of a

n au

-

tom

atic

wea

pon

whi

le o

bser

ving

the

hor

izon

(Bel

-po

liti,

2006

). Fr

uit o

f des

ire a

nd n

eces

sity

to c

ontr

ol,

“to

surv

ey,”

bunk

ers

depr

ive

a pl

ace

of it

s ge

nesi

s:

abso

lute

ly a

topi

cal,

thes

e co

nstr

uctio

ns r

espo

nd

to c

omm

unal

prin

cipl

es m

ergi

ng t

he n

eces

sity

to

cont

rol t

he h

oriz

on w

ith th

e ne

cess

ity to

gen

erat

e ne

twor

ks, t

o bu

ilt-u

p a

syst

em. A

sys

tem

of p

oint

s, is

olat

ed b

ut a

t th

e sa

me

time

kept

tog

ethe

r by

a

dens

e ne

twor

k of

com

mun

icat

ions

and

infr

astr

uc-

ture

s; o

ften

inca

pabl

e of

look

ing

at e

ach

othe

r, th

ey

are

plac

ed in

a m

utua

l rel

atio

nshi

p on

ly a

ccor

ding

to

the

Com

man

d Po

st’s

posi

tion

(Rol

f, 19

80).

This

is

the

esta

blis

hmen

t of

typ

olog

ical

sup

erio

r-ity

as

oppo

sed

to th

e to

polo

gica

l one

, so

dear

to a

gr

eat

part

of t

he r

ecen

t an

d m

ore

dist

ant

clas

sica

l ar

chite

ctur

e: t

he o

rgan

izat

ion

of fo

rm is

in n

o w

ay

rela

ted

to th

e co

ntex

t if n

ot fu

nctio

nally

, whi

ch e

n-ab

les

an in

terp

reta

tion

of th

e bu

nker

as

the

arch

e-ty

pe o

f tum

ulus

in it

s do

uble

ack

now

ledg

emen

t of

a m

onum

ent a

nd a

tom

b. M

onum

enta

l is i

ts d

esire

/ne

cess

ity fo

r ete

rnity

(of b

eing

inde

stru

ctib

le);

it is

to

mb-

like

beca

use

of it

s re

ject

ion

of t

he e

xter

nal

wor

ld in

ter

ms

of t

opos

and

inst

alla

tion

(in o

rder

to

be

invi

sibl

e). I

t is

an

arch

itect

ure

that

bec

omes

* To

dt

red

ige

il “T

yp

en

he

ft”,

il ca

talo

go

co

mp

leto

di tu

tte

le

tip

olo

gie

di b

un

ke

r

ne

ce

ssa

rie

a p

rote

gg

ere

il fr

on

te o

ccid

en

tale

.

Ne

l R

eg

elb

au

co

mp

ito

ed

ilizio

, m

ate

ria

le e

co

str

uzio

ne

co

nve

rgo

no

* Le

Cor

busi

er, m

aiso

n D

om-In

o, 1

915,

e l’

idea

di i

ndus

tria

lizza

re la

cos

truz

ione

del

la

casa

: aff r

onta

la q

uest

ione

in m

odo

stru

ttur

ale

e no

n lin

guis

tico

com

e in

vece

fa n

egli

stes

si a

nni P

erre

t che

cer

ca u

n ca

none

per

il n

uovo

mat

eria

le/t

ecni

ca.

subt

erra

nean

and

exc

avat

ed, v

anis

hing

in th

e sa

me

land

scap

e it

is in

sert

ed in

, out

of t

he n

eed

for m

ime-

sis

and

out

of in

diff e

renc

e to

the

con

text

. Bun

kers

, pu

rely

abs

trac

t in

cha

ract

er a

nd v

alue

(ab

stra

ctio

n of

pla

ce m

ore

than

abs

trac

tion

of u

se),

seem

als

o to

su

gges

t the

ir po

ssib

le fu

ture

: una

ble

to re

turn

to th

eir

orig

inal

func

tion,

they

app

ear t

o be

mer

e si

gnifi

cant

ob

ject

s w

hich

can

not f

ulfi l

a p

urpo

se th

at d

oes

not

impl

y an

abs

olut

e el

imin

atio

n of

any

func

tion.

The

aest

hetic

dim

ensi

on o

f bun

kers

can

be

cons

id-

ered

a n

ew in

terp

reta

tive

para

met

er, n

ot o

nly

in re

-la

tion

to m

oder

nity

. The

exc

avat

ed c

ompa

ct s

tere

o-m

etric

mon

omat

eria

l for

m in

terp

rets

and

infl u

ence

s in

an

embl

emat

ic m

anne

r th

e ca

non

and

man

y of

th

e cu

rren

t ar

chite

ctur

al t

rend

s: fr

om m

onom

ater

i-al

ist m

inim

alis

m to

the

inst

alla

tioni

sm o

f the

land

art

m

atrix

, fro

m t

he a

esth

etic

s of

mac

hine

to

conc

ep-

tual

abs

trac

tion

that

tra

nsfo

rms

mat

eria

l int

o pu

re

mat

ter.

The

rela

tions

hip

betw

een

cons

truc

tion

and

deco

ratio

n is

defi

nite

ly b

roke

n in

a m

anne

r tha

t the

la

tter

no

long

er e

xpre

sses

the

reas

ons

of th

e fo

rmer

. Th

e ex

pres

sive

aes

thet

ic fi

gura

tive

valu

e of

the

ma-

teria

l tak

es t

he e

dge

off

tect

onic

s, be

com

ing

pure

la

ngua

ge a

nd p

ropo

sing

a p

ath

to a

rchi

tect

ure

that

, in

fac

t, ha

s be

com

e ou

r pr

esen

t. W

hat

else

sho

uld

a co

nstr

uctio

n sh

ow o

r sa

y to

be

reco

gniz

ed a

s ar

-ch

itect

ure

both

of i

ts o

wn

time

and

over

com

ing

it?

Ther

efor

e, c

ompa

ring,

for e

xam

ple,

the

tow

ers e

rect

-ed

by

Ger

man

s on

the

Chan

nel I

slan

ds a

nd th

e pr

o-fi l

e of

Wrig

ht’s

Gug

genh

eim

Mus

eum

in

New

Yor

k (1

956)

, we

agai

n di

scov

er a

dis

turb

ing

form

al p

aral

-le

l: a

narr

ow v

ertic

al c

revi

ce a

s th

e ch

arac

teris

ing

ar-

chite

ctur

al m

otif.

But

ther

e ar

e al

so o

ther

sim

ilarit

ies

to b

e no

ticed

, for

inst

ance

, with

a la

rge

part

of a

rchi

-te

ctur

e bu

ilt b

efor

e th

e w

ar, f

rom

Men

dels

ohn’

s Ei

n-st

ein

Tow

er in

Pot

sdam

(191

9-20

) to

Stei

ner’s

Goe

th-

enau

m in

Don

arch

(192

4-28

), or

som

e ty

polo

gies

of

grea

t civ

ilian

arc

hite

ctur

e, li

ke A

mer

ican

bar

ns c

ele-

brat

ed b

y Le

Cor

busi

er h

imse

lf (L

e Co

rbus

ier,

1923

), au

thor

, am

ong

othe

rs, o

f the

Mon

aste

ry S

ante

-Mar

ie

de L

a To

uret

te.

Built

in

1959

, its

nor

ther

n fa

çade

pr

esen

ts it

self

like

a pr

ofi le

of

a bu

nker

. The

late

ral

wal

ls o

f the

cha

pel,

with

thre

e op

enin

gs th

at le

t lig

ht

into

the

und

ergr

ound

roo

m (c

alle

d by

Le

Corb

usie

r “c

anno

n lig

hts”

!), a

ccor

ding

to

Colin

Row

e, c

reat

e a

serie

s of

whi

rling

forc

es, j

ust

as it

is t

he c

ase

with

bu

nker

s’ fo

rms/

forc

es. B

runo

Zev

i spe

aks i

n hi

s his

to-

ry o

f arc

hite

ctur

e ab

out t

he a

band

onm

ent o

f cla

ssi-

cism

, abo

ut th

e en

d of

the

clas

sic

and

ratio

nalis

t era

(Z

evi,

1975

). Th

eref

ore

bunk

ers

can

be s

een

as a

link

* il

man

ufat

to in

teso

com

e “p

rodo

tto”

com

port

a la

tipi

zzaz

ione

di t

utti

gli i

mpi

anti:

da

lla c

onfo

rmaz

ione

spa

zial

e ai

sis

tem

i di a

reaz

ione

.*

la v

ersa

lità

del C

A c

onse

nte

di d

are

form

a co

mpi

uta

ed e

satt

a al

pro

gram

ma

funz

ion-

ale:

un

prog

ram

ma

di u

si, d

i tem

pi d

i rea

lizza

zion

e, d

i tem

po d

i ese

rciz

io, d

i sic

urez

za

betw

een

pre-

war

and

pos

t-w

ar a

rchi

tect

ure:

a s

ort

of b

ridge

con

nect

ing

diff e

rent

per

iods

of

Mod

ern

Mov

emen

t. Th

is e

nabl

es th

e in

trod

uctio

n of

ano

ther

as

pect

that

the

Atla

ntic

Wal

l bui

ldin

gs h

ave

in c

om-

mon

with

mod

ern

arch

itect

ure:

the

use

of re

info

rced

co

ncre

te im

plie

s in

deed

not

onl

y an

aes

thet

ic, b

ut

also

the

indu

stria

l pro

cess

of a

con

stru

ctio

n sy

stem

.

Cem

ent,

mon

olith

ic a

rchi

tect

ure

and

indu

stria

l pro

-du

ctio

n Re

info

rced

con

cret

e is

the

mat

eria

l cho

ose

by m

oder

nist

arc

hite

ctur

e. A

liqu

id s

ubst

ance

tha

t, w

hen

pour

ed in

to a

mou

ld, c

an s

erve

to m

odel

any

ty

pe o

f arc

hite

ctur

e an

d, o

nce

cons

olid

ated

, is l

eft t

o be

vie

wed

. Alre

ady

from

the

seco

nd h

alf o

f the

19t

h ce

ntur

y, th

e ne

w m

ater

ial s

eem

ed c

apab

le o

f giv

ing

a cl

ean

expr

essi

on t

o th

e fu

nctio

nal p

rogr

amm

e, o

f fo

llow

ing

and

adap

ting

itsel

f to

the

dem

ands

of u

se,

of b

eing

a v

alid

alte

rnat

ive

to ir

on, t

houg

ht a

s th

e co

nstr

uctio

n m

ater

ial

for

exce

llenc

e («

Rass

egna

»,

42/1

992)

. M

ore

than

oth

er m

ater

ials

con

cret

e po

sses

sed

all

char

acte

ristic

s ne

cess

ary

to tr

ansf

orm

the

cons

truc

-tio

n pr

oces

s fro

m h

andc

raft

into

indu

stry

. Le

Corb

us-

ier,

with

his

sear

ch o

f the

indu

stria

lisat

ion

of d

omes

tic

arch

itect

ure,

app

eare

d as

a p

ione

er: f

rom

191

5, w

ith

the

proj

ect o

f Mai

son

Dom

-Ino,

to th

e re

alis

atio

n of

U

nité

d’H

abita

tion

in M

arse

ille

(194

7-52

). E

ven

Au-

gust

e Pe

rret

, lik

e m

any

of h

is c

onte

mpo

rarie

s cl

ose-

ly r

elat

ed t

o th

e cl

assi

cal a

rchi

tect

ural

tra

ditio

n, a

t th

e be

ginn

ing

of t

he 2

0th

cent

ury

cond

ucte

d ce

r-ta

in a

rchi

tect

ural

exp

erim

ents

usi

ng re

info

rced

con

-cr

ete,

but

his

rese

arch

– li

ke th

e on

es o

f man

y ot

hers

- d

id n

ot e

ntai

l str

uctu

ral i

ssue

s as m

uch

as li

ngui

stic

on

es: h

e w

as o

nly

look

ing

for

a ca

non

for

the

new

m

ater

ial (

Sing

elen

berg

, 197

2). S

o w

hen

plan

ning

the

Atla

ntik

Wal

l beg

an in

194

3, c

oncr

ete

repr

esen

ted

a be

tter

sol

utio

n fo

r th

e ac

hiev

emen

t of

its

goal

s, in

te

rms

of ti

me

need

ed fo

r the

real

isat

ion,

in te

rms

of

effi c

ienc

y of

the

form

, and

in te

rms

of e

cono

mis

ing

the

proc

ess

of p

roje

ct-m

akin

g. B

unke

rs w

ere

seen

as

the

perf

ect

typo

logy

for i

nter

pret

ing

the

pote

n-tia

lity

of c

oncr

ete

as r

ecog

nize

d by

man

y m

oder

n-is

t mas

ters

. Tod

t ind

ustr

ies

com

pile

d th

e Ty

penh

eft,

a ca

talo

gue

of a

ll th

e bu

nker

typ

es n

eede

d to

pro

-te

ct t

he W

este

rn F

ront

, whi

ch i

nclu

ded

stru

ctur

es

for v

ery

dive

rse

goal

s, fr

om “C

omm

and

Post

” to

“Am

-m

uniti

on b

unke

r”, fr

om “A

nti-a

ircra

ft fo

xhol

e” to

“To-

bruk

”, an

d so

fort

h w

ith h

undr

eds

and

hund

reds

of

diff e

rent

type

s, ea

ch o

f th

em m

etic

ulou

sly

plan

ned

into

utm

ost

deta

il, li

ke a

n in

dust

rial p

rodu

ct (

Rolf,

* da

una

par

te l’

impi

ego

del C

A c

ome

sist

ema

trili

tico

che

sost

ituis

ce il

ferr

o da

ll’al

tra

l’im

pieg

o de

l CA

com

e m

ater

iale

fl ui

do, m

agm

atic

o ch

e co

nsen

te d

i rea

lizza

re s

trut

-tu

re m

onol

itich

e co

n rif

erim

enti

alla

lont

ana

arch

itett

ura

delle

orig

ini m

a co

n in

fl uen

ze

form

ali d

el v

icin

o es

pres

sion

ism

o te

desc

o: (v

edi E

rich

Men

dels

ohn,

Torr

e Ei

nste

in,

Pots

dam

, 191

9-20

)

* in

appr

opria

tezz

a te

cnic

a (in

arc

hite

ttur

a) d

i una

sim

ile m

igra

zion

e st

rutt

ural

e: in

con-

grue

nza

tra

cara

tter

istic

he d

el m

ater

iale

e s

iste

ma

cost

rutt

ivo

(Rud

olf S

tein

er, G

oeth

-en

aum

, Don

arch

, 192

4-28

, Han

s Sc

haro

un, a

cque

rello

arc

hite

ttur

a ut

opic

a, 1

939-

45)

1980

). Si

mila

rly, i

n fa

ct, t

o in

dust

rial w

orld

, the

ma-

jor c

ontr

ol p

roce

ss s

hift

ed fr

om th

e re

alis

atio

n st

age

to th

e pr

ojec

t mak

ing:

all

prob

lem

s wer

e re

cogn

ised

an

d so

lved

rig

ht t

here

in o

rder

to

avoi

d di

ffi cu

lties

at

the

cons

truc

tion

(De

Fusc

o, 1

996,

Piro

vano

, 199

1).

Ano

ther

indu

stria

lisat

ion

linke

d to

the

fi rst

one

is th

e co

nstr

uctio

n its

elf,

rela

ted

to th

e id

entifi

cat

ion

of a

n in

divi

dual

war

fare

pro

duct

as i

ndus

tria

l arc

hite

ctur

e:

beca

use

of th

e ab

solu

te c

orre

spon

denc

e of

form

to

use,

bec

ause

of t

he e

limin

atio

n of

all

activ

ities

rela

t-ed

to h

ousi

ng, a

nd b

ecau

se o

f the

rigo

rous

pro

duc-

tivity

of t

he c

onst

ruct

ion

(the

pro

duct

ivity

rela

ted

to

its p

rimar

y fu

nctio

n of

sur

veill

ance

and

pro

tect

ion)

.Co

nclu

sion

The

valu

e of

the

imm

ense

infr

astr

uctu

re, r

ecog

nize

d as

“ind

ustr

ial h

erita

ge”

and

as “a

rchi

tect

ural

man

u-fa

ct”,

allo

ws

the

risin

g of

new

mea

ning

s th

at c

on-

trib

ute

to p

rom

otin

g its

val

oris

atio

n an

d re

-cal

l in

lif

e. A

nd, a

bove

all,

the

high

light

ing

of A

tlant

ic W

all

rem

ains

as

part

of m

oder

n ar

chite

ctur

e hi

stor

y an

d he

ritag

e.Th

e sy

stem

of m

ilita

ry fo

rtifi

catio

ns c

onst

itute

s on

e of

the

gre

ates

t Eu

rope

an c

ultu

ral a

rchi

tect

onic

her

-ita

ges,

shar

ed g

eogr

aphi

cally

, whi

ch p

rese

rve

frag

-m

ents

of

the

colle

ctiv

e m

emor

y, fo

rmin

g th

e ba

sis

for t

he c

onst

ruct

ion

of c

onte

mpo

rary

Eur

ope.

Furt

herm

ore,

we

are

not u

naw

are

of th

e em

barr

ass-

ing

mem

ory

that

lies

in th

ese

build

ings

- a

colle

ctiv

e an

d m

utua

l mem

ory,

on

a Eu

rope

an b

asis

, not

yet

re

solv

ed a

nd in

cer

tain

way

s po

stpo

ned.

It s

eem

s as

th

ough

a lo

ok c

ould

rest

on

thes

e ob

ject

s, bu

t on

ly

unde

r the

not

ion

of a

liena

ted

mne

mon

ic d

rive:

mem

-or

ies

whi

ch re

mai

n fi r

mly

impr

inte

d in

thei

r phy

sica

l st

ruct

ure

and

geog

raph

ic p

lace

. For

that

reas

on it

is

also

nec

essa

ry to

confi

rm th

at d

ealin

g w

ith th

ese

em-

barr

assi

ng w

arfa

re p

rodu

cts

does

not

hav

e an

ythi

ng

to d

o w

ith a

ny s

ort

of a

ttem

pt t

o re

habi

litat

e th

ose

resp

onsi

ble

for t

he w

ar o

r tho

se b

elie

ving

in it

. In

fact

, w

e w

ould

like

to co

rrob

orat

e th

e id

ea o

f tra

nsfo

rmin

g th

e gr

eat A

tlant

ic W

all i

nto

a m

onum

ent b

ringi

ng to

-ge

ther

true

, pos

itive

and

cre

ativ

e ac

tions

, whi

ch w

ill

enab

le u

s onc

e an

d fo

r all

to tr

ansf

orm

the

mou

rnin

g an

d ke

ep th

e co

llect

ive

mem

ory

pres

erve

d in

it a

live.

W

hat a

re m

onum

ents

if n

ot in

stru

men

ts th

at p

reve

nt

peop

le fr

om fo

rget

ting

and,

at t

he s

ame

time,

pro

d-uc

ts w

ith t

he t

ask

of p

rese

rvin

g an

d ha

ndin

g do

wn

mut

ual c

olle

ctiv

e va

lues

? Thi

s, in

fact

, is

the

task

of a

m

onum

ent.

This

is w

hat T

he A

tlant

ic W

all s

houl

d be

.

gen

naro

pos

tiglio

ne

* la

dim

ensi

one

cicl

opic

a e

cent

ripet

a de

i bun

ker,

vere

con

cent

razi

oni d

i mas

sa, s

tabi

-lis

ce u

n le

gam

e di

rett

o co

n ce

rte

form

e ar

caic

he e

arc

hetip

e, tr

asfo

rman

do la

per

cezi

-on

e de

lle te

stim

onia

nze

in “r

ovin

e” e

pro

muo

vend

o un

a in

aspe

ttat

a “a

rche

olog

ia” d

i qu

este

arc

hite

ttur

e m

ilita

ri, è

la c

apac

ità d

elle

“cos

e in

sé”

, del

la lo

ro fi

sici

tà, a

pre

nder

e il

sopr

avve

nto

aggi

rand

o il

peso

del

la m

emor

ia

end-

note

s1]

pap

er fo

r con

vent

ion

DO

COM

OM

O Ib

eric

o, C

adiz

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res

earc

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as d

evel

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in c

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ith T

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hite

ctur

al

Des

ign

at th

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lyte

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olite

cnic

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Mila

no),

The

Arc

hite

ctur

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d In

-fr

astr

uctu

re G

roup

at t

he U

nive

rsity

of V

ersa

illes

(GRA

I)and

The

Ray

mon

d In

tern

atio

nal

Cent

re fo

r Con

serv

atio

n at

the

Uni

vers

ity o

f Leu

ven.

Mor

vere

the

wor

k w

as c

o-fi n

ance

d by

the

Euro

pean

Com

mis

sion

, with

in th

e pr

ogra

mm

e “C

ultu

re 2

000”

.

Gen

naro

Pos

tiglio

ne w

as th

e pr

ojec

t lea

der.

* la

form

a pl

astic

a de

i bun

ker a

ntic

ipa

la q

uest

ione

del

val

ore

este

tico

conn

esso

alle

fo

rme

tecn

iche

: il C

A d

a “m

ater

iale

cos

trut

tivo”

div

iene

“mat

eria

pur

a” (v

edi L

e Co

rbus

i-er

, Ron

cham

p 19

50-5

4, A

ndré

Blo

c, C

entr

o Cu

ltura

le in

Iran

, 196

5)

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mat

eria

si r

iduc

e a

form

a pu

ra: p

ieni

/vuo

ti; lu

ce/o

mbr

a; m

asse

e v

olum

i; te

xure

* il “

mat

eria

le c

ostr

uttiv

o” d

ivie

ne “m

ater

ia p

ura”

: col

ore

text

ure

gran

a fo

rza

o se

mpl

ice

supe

rfi c

ie (

vedi

Lui

s Ka

hn, P

alaz

zo d

el G

over

no, D

haka

196

2-83

)*

impi

anti

e sp

azia

lità

arca

iche

che

ripr

endo

no il

tem

a de

ll’et

erni

tà a

ffi da

ta a

l mon

u-m

ento

(ved

i Tem

pli d

i Ram

esse

s II,

Abu

Sim

bel T

empi

o di

Anu

e A

dad,

Ass

ur)

* m

ette

in e

vide

nza

il ca

ratt

ere

di “i

nter

no a

ssol

uto”

dei

bun

ker:

l’est

erno

esi

ste

solo

co

me

“intr

oiez

ione

” del

la li

nea

d’or

izzo

nte.

è la

vis

ione

/con

trol

lo d

ell’o

rizzo

nte

che

ne g

iust

ifi ca

e n

e go

vern

a la

pos

izio

ne

* l’a

stra

zion

e da

l con

test

o tr

asfo

rma

i bun

ker i

n og

gett

i de-

cont

estu

aliz

zati

capa

ci, p

er

cont

rapp

unto

, di m

ette

re in

mot

o un

a di

vers

a co

mpr

ensi

one

dei l

uogh

i*

la d

ecor

azio

ne d

iven

ta l’e

lem

ento

di m

edia

zion

e tr

a m

anuf

atto

e s

toria

, ren

dend

olo

cont

empo

rane

o (v

edi C

arlo

Sca

rpa,

Tom

ba B

rion,

San

vito

(Tre

viso

), 19

70-7

3)*

la d

imen

sion

e pa

esag

gist

ica

dei b

unke

r ne

esal

ta i

valo

ri pl

astic

i, tr

asfo

rman

doli

in

vere

e p

ropr

ie s

culp

ture

hab

itacl

es -a

ndre

blo

c- (l

a lu

ce p

enet

ra n

ella

mat

eria

den

sa

della

cos

truz

ione

): si

sup

era

la c

orbu

seria

na d

efi n

izio

ne d

i “vo

lum

i sot

to la

luce

” per

gi

unge

re a

d un

a pi

ù co

mpl

essa

; la

luce

è d

entr

o lo

spa

zio

della

str

uttu

ra

* la

dim

ensi

one

este

tica

del b

unke

r div

iene

nuo

vo p

aram

etro

est

etic

o pe

r la

mod

er-

nità

: mon

omat

eric

o co

mpa

tto

ster

eom

etric

o sc

avat

o in

terp

reta

in m

anie

ra e

mbl

em-

atic

a i d

etta

mi d

i cer

to m

inim

alis

mo

arch

itett

onic

o

LIN

EAR

MU

SEU

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