Part 4. Heritage and Future Challenges PDF

PART 4. HERITAGE AND FUTURE CHALLENGES UPDATED SKILLS AND COMPETENCES FOR CONTEMPORARY RESTORERS THE DEBATE BETWEEN 1970-1990 Brandi’s ideas, formalized in the 1972 restoration charter, highly influenced the debates and practices of restoration from the 70s to the 90s. Some of these principles wer...

PART 4. HERITAGE AND FUTURE CHALLENGES UPDATED SKILLS AND COMPETENCES FOR CONTEMPORARY RESTORERS THE DEBATE BETWEEN 1970-1990 Brandi’s ideas, formalized in the 1972 restoration charter, highly influenced the debates and practices of restoration from the 70s to the 90s. Some of these principles were: 1. Reversibility of Restoration Interventions This principle emphasizes that any restoration work should be undoable, allowing future restorers to modify or remove the intervention without damaging the original artifact. During the 1970s-1990s, this principle was widely debated, especially in the context of materials and methods. Scholars like Giovanni Carbonara emphasized reversibility as a safeguard for the historical and material integrity of monuments, aligning it with his critical- conservative approach. Marco Dezzi Bardeschi, on the other hand, questioned whether some irreversible "marks of time" should also be preserved, favoring minimal handling of historical stratifications. 2. Criterion of Minimum Intervention This criterion underlines the necessity of intervening only when absolutely essential and with the least amount of alteration to the artifact. During this period, Marco Dezzi Bardeschi strongly adhered to this principle, advocating for a "pure conservation" approach that avoided significant additions or reconstructions. In contrast, Paolo Marconi interpreted this principle with more flexibility, advocating for "restoration by analogy," which allowed stylistically coherent integrations if they contributed to the monument's functionality and readability. 3. Use of Compatible Materials Compatibility refers to ensuring that new materials used in restoration do not negatively interact with the original materials of the artifact. This principle gained traction with advancements in materials science, which offered new options for ensuring the durability and non-invasiveness of interventions. Carbonara, for example, insisted on using traditional materials where appropriate, combined with modern ones, but always guided by rigorous testing and documentation. 4. Distinguishability of Interventions Brandi's idea that restoration should remain clearly distinguishable from the original was another key point of contention in the debates of the era. Marco Dezzi Bardeschi took this to an extreme, arguing that additions should be visibly different to preserve historical authenticity. Paolo Marconi, however, argued for a subtler approach, where new interventions would harmonize with the historical context without overpowering it. Giovanni Carbonara advocated for a balanced stance, ensuring that new elements were distinct but not disruptive, in line with his critical judgment-based methodology. PAOLO MARCONI: RESTORATION BY ANALOGY AND CONTINUOUS MAINTENANCE Paolo Marconi was one of the leading proponents of restoration as a cultural act closely tied to the Italian tradition of critical restoration. His approach, based on restoration by analogy, sought to balance respect for the past with the need to keep monuments relevant in the present. The Theory of Restoration by Analogy According to Marconi, restoration should recover the aesthetic and cultural identity of a monument through interventions that are legible but not alien to its historical context. This translates into critical reconstruction, grounded in stylistic coherence and controlled integration of missing elements. His method rejects pure conservation, viewing it as a form of immobilism, and recognizes restoration as an interpretative act. In Art and Culture of Monument Maintenance, Marconi highlights the importance of maintenance as a preventive tool to avoid more drastic interventions. Continuous maintenance preserves the material and functional integrity of the monument, ensuring its usability without compromising its historical values. “What is restoration?” for Paolo Marconi “Restoration means working on an architecture or an urban context with the aim of preserving them for a long time, when they are worthy of being appreciated and enjoyed by our descendants. The practitioner must ensure that the object of their work is passed down in the best possible condition, also for the purpose of transmitting the meanings that the object holds.” - Paolo Marconi MARCO DEZZI BARDESCHI: THE PURE CONSERVATION Marco Dezzi Bardeschi represents a strongly conservative position (“pure conservation”) that values historical stratifications and material traces as irreplaceable testimonies of time. The Theory of Pure Conservation Dezzi Bardeschi references thermodynamics and studies the problems of deterioration by interpreting them as a loss of energy between the object-building and its environment. All bodies in nature are destined to lose energy—and thus matter—eventually reaching that final stage known as entropy. Therefore, restoration should not eliminate (overlays, plasters, masonry, flooring, materials of various types) but should instead add additional material to slow down the processes of dissolution. This was possible with the use of modern materials (like resins). Dezzi Bardeschi combines these conservative principles with a strong design-oriented approach. Drawing on certain ideas from modern architecture—such as those proposed by Zevi—he argues that restoration interventions should indeed add something, but in a modern key: a new project overlays the ancient, commenting on it, presenting it, and often, ironically engaging with it. The Intervention on the Palazzo della Regione in Milan A concrete example of Bardeschi’s vision is his intervention on the Palazzo della Regione in Milan. Here, he avoided any form of stylistic reconstruction, opting instead to preserve and consolidate the building in its current state, emphasizing the marks of time. This decision reflects a profound respect for the monument's authenticity, even if it means leaving it incomplete or "imperfect" to modern eyes. The addition of the external staircase was a deliberate decision to ensure the usability of the structure without compromising its historical layers. Bardeschi’s staircase was a modern, clearly distinguishable addition, in line with the principle of distinguishability outlined in Cesare Brandi's restoration theory. The staircase, designed in metal, introduced a sharp contrast to the historical materials of the building. This was intentional, as Bardeschi sought to make new additions legible, avoiding any attempt to mimic or blend seamlessly with the historical fabric. The use of metal underscored the modernity of the intervention, creating a dialogue between the old and the new. Beyond its aesthetic and symbolic significance, the staircase served a practical purpose, facilitating access and circulation within the building. For Bardeschi, maintaining the active use of a historical structure was integral to its conservation. The staircase thus embodied his view that restoration should guarantee the building's functionality for present and future needs, aligning with his broader emphasis on “transmitting efficiency to the future.” "What is Restoration?" for Marco Dezzi Bardeschi «Restoration is any intervention that proposes the objective of the permanence over time, however relative, of the physical consistency of the material asset inherited from history, of which it can be guaranteed the conservation of each of its endowments and components in an active use (better the latter if still original or at least of high compatibility and minimum consumption), to be pursued through opportune and calculated new project contributions (functional, plant-technological, furnishing), in view of its integral transmission in efficiency to the future.» – Marco Dezzi Bardeschi GIOVANNI CARBONARA: CRITICAL-CONSERVATIVE RESTORATION Giovanni Carbonara stands out for his development of critical-conservative restoration, a methodology that balances the preservation of a monument with its readability and usability in the present. His philosophy reflects a pragmatic and rational approach that combines historical analysis, contextual understanding, and critical judgment. The Philosophy of Critical Restoration Carbonara views restoration as a cultural act that requires deep historical understanding and interpretative skill. In Architecture Today and Restoration, he emphasizes that interventions must respect the monument's complexity, avoiding oversimplifications or arbitrary reinterpretations. Integrating new elements is permissible but must be justified by both historical and functional considerations. "Critical-conservation" approach: Conservation, because it requires, first and foremost, that the monument be transmitted to the future in the best possible condition, and secondly, because the current historical awareness demands preserving much more than in the past; Critical, due to the explicit reference to the theoretical formulations of the same name, with the conviction that each intervention represents a unique episode, not classifiable into predefined categories. "What is Restoration?" for Giovanni Carbonara «By “restoration” is meant any intervention aimed at preserving and transmitting to the future, facilitating their reading and without erasing the traces of the passage of time, the works of historical, artistic and environmental interest; it is based on the respect for the ancient substance and authentic documentation constituted by these works, proposing itself, moreover, as an act of critical interpretation that is not verbal but expressed in the concrete operation.» - Giovanni Carbonara EXAMPLE OF INTEVENTIONS FROM 1972 TO 2009 CASTLE OF KOLDING (1972-1992)- JOHANNES AND INGER EXNER The restoration of Koldinghus Castle, overseen by architects Inger and Johannes Exner from 1972 to 1991, represents a paradigm of contemporary restoration philosophy that values both historical continuity and innovative intervention. The castle, originally constructed in the 13th century and serving roles as a royal residence, military stronghold, and administrative hub, faced extensive damage over centuries, culminating in a fire in 1808 that left it in ruins. The Exners approached the restoration not as a process of recreating a bygone era but as a method to preserve the ruin's narrative while enabling modern utility. The architects rejected their initial proposal to rebuild the castle's 1808 appearance using steel and glass, as it failed to garner support. Instead, they implemented a strategy emphasizing minimal interference with the ruins, preserving their historical integrity and patina of decay. “Whether the castle should remain as a ruin or be rebuilt was the subject of great debate. To many people the romantic hilltop ruins had become part of the identity of themselves, the town or the area; while others regarded them as a public eyesore, something somehow degrading since they were a constant reminder of a lack of respect, will and ability to rebuild the old royal castle of North Schleswig. But for our part, as a result of our  preliminary investigations, we came to believe that the question in the report about whether to recommend ‘either ruins or rebuilding’ should be resolved as ‘both ruins and rebuilding’.” - Inger & Johannes Exner Key elements of the intervention include: 1. Preservation of the Ruins: The ruins themselves were deemed central to the restoration's conceptual framework. Rather than fully reconstructing or artificially enhancing the original structure, the Exners maintained much of the existing walls and their weathered state, emphasizing the castle's layered history and the marks of time. “We evolved a basic principle that the main periods of the castle’s history were to be respected in such a way that its long and eventful life was clearly illustrated. As it was to be a museum, it was obvious that the most important exhibit was Koldinghus itself, and the different historical periods and events would have to be emphasized architecturally in the various parts of the building.” 2. Introduction of Modern Structures: To adapt the ruins for contemporary use, the architects incorporated new, identifiable structures. Laminated wooden pillars, inspired by Gothic forms, were introduced in the south and east wings. These pillars rise from the foundations to support a new roof, creating a dramatic interplay of light and space that respects the original architecture while clearly differentiating new additions. 3. Use of Distinctive Materials: Modern materials, such as recycled oak wood for new walls and steel for walkways and staircases, were chosen for their clear distinction from the historic fabric. This approach adheres to principles of reversibility and legibility, ensuring that future generations can distinguish original elements from restoration additions. 4. Spatial Reconfiguration: New steel walkways and suspended staircases were strategically placed to guide visitors through the ruins. These elements not only enhance accessibility but also offer vantage points that highlight the contrast between the castle's preserved remnants and modern interventions. This allows the visitor to witness the physical scars of the 1808 fire and the subsequent natural and manmade degradations. 5. Integration of Functionality: The restoration transformed Koldinghus into a functional cultural venue. The southern wing, for instance, now accommodates large open spaces suitable for exhibitions and gatherings, merging the past's atmosphere with the present's needs. The overarching philosophy of the Exners' work at Koldinghus aligns with the principles of critical restoration, where the aim is not to erase history or impose an imagined past but to celebrate the architectural evolution of the structure. Their work garnered widespread acclaim, culminating in the Europa Nostra Award in 1994, and remains a touchstone for modern conservation practices. It exemplifies a nuanced understanding of the past, an appreciation for the present, and a thoughtful anticipation of the future in heritage preservation. ORATORY OF SAN FILIPPO NERI, BOLOGNA (1998 -1999) – PIER LUIGI CERVELLATI The restoration of the Oratorio di San Filippo Neri in Bologna, completed in 1999 under the direction of architect Pier Luigi Cervellati, built upon and extended the earlier efforts initiated by Alfredo Barbacci in the post-World War II era. Barbacci, serving as the Superintendent of Monuments, began the initial consolidation and reconstruction of the Oratory in 1953, focusing on stabilizing the war-damaged structure. His work included reconstructing columns using reinforced concrete and brick infill, as well as installing a new roof supported by wooden trusses. However, due to limited resources, Barbacci's intervention remained incomplete, leaving the Oratory without a finished interior and vulnerable to further deterioration. Decades later, Cervellati's restoration aimed to "storicizzare la ferita bellica" (historicize the war wound), acknowledging the building's traumatic past while restoring its architectural integrity. This approach involved preserving and integrating Barbacci's earlier work, thereby maintaining the historical continuity of the restoration efforts. One of the defining elements of Cervellati’s project was the introduction of a contemporary volume that replaced the collapsed part of the structure. This addition was designed not to replicate the original forms but to dialogue with them, creating a harmonious yet distinct integration. The materiality and geometry of the new intervention deliberately contrast with the existing building, adhering to the principle of distinguishability. This approach avoids creating a "false historicism" while respecting the memory of the place. ST. MARTA BARRACKS, VERONA (2005 -2014) – MASSIMO CARMASSI The restoration of the St. Marta Barracks aimed to transform a 19th-century military complex into a university campus. The intervention preserved the historical authenticity by maintaining the original brickwork and architectural proportions. The approach emphasized adaptive reuse, aligning with the principles of sustainable restoration. Structural integrity was reinforced subtly, and new functions were integrated without compromising the building's historical identity. The intervention demonstrated a balance between conservation and modern utilization. OBLATE CONVENT, FLORENCE (2002-2007) – MARCO BALDINI AND DANIELE GUALANDI This project involved the conversion of a historic convent into a public library and cultural center. The restoration strategy was rooted in minimalism, focusing on preserving the existing structure's character while introducing contemporary elements. New installations, such as staircases and lighting systems, were intentionally designed to contrast with the historical fabric, maintaining a dialogue between old and new. The intervention respected the building's history while adapting it to modern civic use. FIRMIANO CASTLE, BOLZANO (2001 -2006) – WERNER TSCHOLL The restoration of Firmiano Castle sought to highlight its medieval heritage while adapting it for use as a museum. Tscholl employed a lightweight steel and glass framework to provide functional spaces within the historical shell, emphasizing transparency and reversibility. This intervention ensured that the new additions were distinguishable from the original structure, adhering to contemporary restoration principles. The project was an exemplary model of integrating modern architecture within a historical context. REICHENBERG TOWER, TUBRE (2000) – WERNER TSCHOLL The restoration of this medieval defensive tower focused on conserving its exterior while adapting its interior for contemporary use. Minimal interventions were made to preserve the structure's original defensive character. Modern materials, such as steel and glass, were introduced to create internal pathways and observation points, ensuring that the additions were both functional and visually distinct from the historical fabric. COMPLEX OF SAN MICHELE IN BORGO, PISA (1979 -2000) – MASSIMO CARMASSI The intervention in the San Michele complex involved restoring the church and its adjacent structures for mixed cultural uses. Carmassi prioritized maintaining the site's historical layers, carefully repairing damaged elements, and avoiding over-restoration. New materials were used in a complementary fashion, ensuring that the modern insertions were legible and did not overshadow the historical narrative. The project is celebrated for its meticulous attention to detail and respect for the site's historical integrity. MANICA LUNGA OF RIVOLI CASTLE, TURIN (1979 -1999) – ANDREA BRUNO The Manica Lunga, a wing of the Rivoli Castle, was restored as a museum space. Bruno's intervention juxtaposed modern elements, such as sleek glass panels and metallic structures, with the baroque architecture of the castle. This contrast highlighted the historical building's grandeur while providing contemporary functionality. The project exemplified an innovative approach to restoration, emphasizing dialogue between old and new. LE MURATE, FLORENCE (2002-2004) – MARIO PITTALIS This restoration project transformed a former prison into a residential and cultural complex. The intervention preserved significant architectural features, such as the original masonry and cell structures, while introducing modern residential units and public spaces. New additions were designed to be reversible and clearly distinguishable from the historical fabric. The project was a successful example of adaptive reuse, maintaining the site's historical significance while giving it a new social function. Each of these interventions showcases a thoughtful balance between preserving historical authenticity and adapting buildings for contemporary needs. The approaches align with modern restoration principles, emphasizing reversibility, distinguishability, and minimal intervention. NEUES MUSEUM, BERLIN (1993-2009) – DAVID CHIPPERFIELD The Neues Museum in Berlin, originally designed by Friedrich August Stüler and completed between 1841 and 1859, suffered extensive damage during World War II, leaving it in ruins for over six decades. In 1997, David Chipperfield Architects, in collaboration with Julian Harrap, won an international competition to restore the museum. Their approach emphasized conservation over reconstruction, aiming to preserve the building's historical essence while integrating contemporary elements. A interesting thing of this intervention was the fact that what is normally recognized as a degradation, such as the carbon stains linked to the bombing of the second world war, in this case have been preserved. The restoration strategy involved stabilizing and repairing the surviving structures, carefully filling gaps without overshadowing the original fabric. New materials were chosen to harmonize with the existing ones, ensuring a seamless blend between old and new. For instance, new exhibition rooms were constructed using large-format prefabricated concrete elements made of white cement mixed with Saxonian marble chips, reflecting the lost structures without direct imitation. A notable feature is the reconstructed main staircase, which replicates the form of the original in a simplified architectural language. This staircase, made from the same white concrete, stands within a majestic hall preserved as a brick volume, devoid of its original ornamentation, highlighting the building's historical layers. The restoration also addressed missing sections, such as the Northwest wing and the South Dome, which were rebuilt using recycled handmade bricks to subtly distinguish them from the historic fabric. Two courtyards received new glazed roofs and were excavated to basement level, enhancing the museum's spatial experience. This meticulous restoration has been described as a "creative restoration," involving designers, curators, historians, restorers, and specialists to ensure each decision respected the building's historical significance. The result is a harmonious blend of preservation and modern intervention, allowing the Neues Museum to narrate its complex history through its architecture. ST. KOLUMBA CHIRCH, COLOGNE (1997-2007) – PETER ZUMTHOR The restoration and transformation of St. Kolumba Church in Cologne, undertaken by Swiss architect Peter Zumthor between 1997 and 2007, resulted in the creation of the Kolumba Museum. This project is a notable example of integrating contemporary architecture with historical remnants, reflecting Zumthor's minimalist and sensitive design philosophy. HISTORICAL CONTEXT: - St. Kolumba Church: Dating back to 980, St. Kolumba was one of Cologne's oldest parish churches. The original Romanesque structure was later replaced by a Gothic hall church. During World War II, the church suffered extensive damage, leaving only parts of the exterior walls and a Gothic statue of Mary intact. In 1950, architect Gottfried Böhm constructed a chapel, known as the "Madonna in the Ruins," within the church's remains. KOLUMBA MUSEUM PROJECT: - Commissioning: In 1997, following an architectural competition, Peter Zumthor was selected to design a new building for the Archdiocese of Cologne's art museum, aiming to integrate the existing ruins, the 1950s chapel, and a new exhibition space. - Design Approach: Zumthor's design incorporates the archaeological remains of the Gothic church and Böhm's chapel into a cohesive structure. The museum's façade, constructed with handmade grey bricks, envelops the historical elements, creating a dialogue between past and present. - Materiality and Light: The use of perforated brickwork allows natural light to permeate the interior, casting dynamic patterns that enhance the contemplative atmosphere. The interior spaces are characterized by minimalist materials, including brick, mortar, plaster, and terrazzo, providing a serene backdrop for the artworks. - Spatial Experience: The museum features sixteen exhibition rooms, each with unique qualities concerning size, proportion, and lighting. A tranquil courtyard replaces the former medieval cemetery, offering a reflective space within the urban environment. Significance: The Kolumba Museum exemplifies a harmonious integration of contemporary architecture with historical context, preserving the site's spiritual and cultural heritage while providing a modern space for art and reflection. Zumthor's sensitive approach has been acclaimed for creating a "shadow museum" that evolves with the changing light and seasons, offering visitors a unique and contemplative experience. COMPETENCE/SKILL/KNOWLEDGE Competences, Skills, and Knowledge in the Context of the European Qualifications Framework (EQF) To understand the distinctions between competences, skills, and knowledge, we can reference the Recommendations of the European Parliament and of the Council on the establishment of the European Qualifications Framework for lifelong learning (EQF), dated 23rd April 2008. This framework provides a structured way to describe qualifications in terms of what a learner knows, understands, and is able to do. Knowledge Definition: Knowledge refers to the body of facts, principles, theories, and practices that are related to a field of work or study. In the EQF, knowledge is described as either theoretical or factual. Application in Heritage Conservation:  o In the context of heritage conservation, this includes understanding historical construction techniques, architectural styles, and the chemical properties of materials used in restoration. o For example, a restorer must have theoretical knowledge of how lime reacts in mortar over time and factual knowledge of the specific materials present in a heritage site. Skills Definition: Skills denote the ability to apply knowledge and use know-how to complete tasks and solve problems. They can be categorized as cognitive (involving the use of logical, intuitive, and creative thinking) or practical (involving manual dexterity and the use of tools, methods, materials, and instruments). Application in Heritage Conservation: o Practical skills include the ability to clean delicate frescoes without damaging the pigments, or to use advanced digital tools like 3D scanners for documenting a site. o Cognitive skills involve problem-solving in conservation, such as determining the best intervention techniques for a structurally unstable historic building. Competences Definition: Competences are defined as the proven ability to use knowledge, skills, and personal, social, and/or methodological abilities in work or study situations. The EQF emphasizes autonomy and responsibility as key aspects of competence. Application in Heritage Conservation: o Competences reflect the capacity to manage an entire conservation project, from initial assessment to final implementation, while ensuring alignment with ethical guidelines and stakeholder expectations. o For instance, a restorer with strong competences can lead a multidisciplinary team, make informed decisions about intervention strategies, and take responsibility for the long-term sustainability of the project. The Key Differences Focus: o Knowledge is about what you know. o Skills are about what you can do with that knowledge.  o Competences are about how effectively you can apply both knowledge and skills in real-world situations, especially under conditions requiring responsibility and autonomy. Level of Autonomy: o Competences require a higher level of autonomy and integration of knowledge and skills compared to skills alone. Example in Context: o A heritage professional might know the historical significance of lime mortars (knowledge), demonstrate the technique of mixing and applying lime mortars (skills), and lead a team to apply this technique responsibly on a restoration site while considering environmental and cultural implications (competences). SOME USEFUL COMPETENCES FOR CONTEMPORARY RESTORERS Taking care of cultural Heritage materials Achievement of environmental challenges and objectives Sustainable management of Cultural Heritage Organization and logistic of complex situations Application of new technologies Digitalization Social media Developing knowledge banks on CH materials, techniques and know-how Encouraging and supporting the development of networks Training and educational activities Implementing measures to encourage people to practice heritage Encouraging creative industries’ involvement in CH domains Mapping and analysis of users’ needs and requirements DISSONANT HERITAGE Dissonant heritage refers to aspects of the past that "hurt" or evoke painful and controversial memories, challenging contemporary values and perspectives. This form of heritage often recalls events that are difficult to reconcile with current societal norms and experiences. Examples include sites like Auschwitz-Birkenau, the Nazi German extermination camp that stands as a chilling reminder of the Holocaust's atrocities, and Adolf Hitler's birthplace in Braunau am Inn, Austria, which is being transformed into a police station to deter its use as a pilgrimage site for neo-Nazis. Dissonant heritage is also known by alternate terms such as "difficult heritage" and "dark heritage." It is often linked to "dark tourism," where visitors explore locations associated with tragedy or death. In recent years, the notion of "cancel culture" has also entered the conversation, addressing the re-evaluation or erasure of contentious historical narratives. NUREMBERG One prominent example of dissonant heritage is the architecture of Nuremberg, particularly the Nazi Party Rally Grounds constructed between 1933 and 1938. These spaces, including the Ehrenhalle (Hall of Honor), were monumental propaganda tools during the Nazi era. Today, the Dokumentationszentrum Reichsparteitagsgelände (Documentation Center) critically addresses this past. Located within the unfinished Kongresshalle, the center was designed by Günther Domenig and Gerhard Wallner to reinterpret the site and encourage critical reflection on Nazi ideology. MUNICH In Munich, the Siegestor (Victory Gate) exemplifies the transformation of dissonant heritage. Originally commemorating Bavarian military victories, the gate was partially destroyed during World War II. Its restoration included a new inscription emphasizing peace: "Dedicated to war, destroyed by war, reminding of peace." This shift recontextualizes the monument as a symbol of reconciliation rather than military glory. PREDAPPIO Another case is Predappio in Forlì, Italy, the birthplace of Benito Mussolini and home to the Casa del Fascio e dell'Ospitalità. This fascist-era building, constructed to promote Mussolini's regime, has been the subject of debates over its preservation. In 2010, it was declared a "property of cultural interest," acknowledging its historical significance while encouraging critical engagement with its controversial past. A 2021 design competition by Studio Valle Architects proposed plans to adaptively reuse the building, balancing preservation with a modern interpretation that rejects antidemocratic ideologies. BERLIN In Potsdam, Berlin, the Garrison Church is another site steeped in historical contention. A symbol of Prussian militarism, it was destroyed during World War II. Current debates over its reconstruction highlight the tension between those who see it as a historical artifact and others who argue for its use as an educational space to address its militaristic legacy. CHERNOBYL Chernobyl offers a different perspective on dissonant heritage, representing the environmental and human costs of nuclear disaster. This site has become a focal point for dark tourism, drawing attention to the long-lasting consequences of human error and technological failure. MANAGING DISSONANT HERITAGE Managing dissonant heritage requires nuanced approaches. Initiatives like the ATRIUM Cultural Route, which examines 20th-century architecture associated with totalitarian regimes, emphasize the importance of critical reflection. Projects such as the reuse of Forlì's Ex-GIL building aim to preserve historical significance while fostering an understanding of Europe's painful histories. However, cultural heritage is increasingly weaponized in identity politics, sometimes serving as a divisive force. In this context, it is essential to balance historical remembrance with efforts to foster reconciliation and unity. Dissonant heritage, while challenging, provides an opportunity to confront uncomfortable truths and promote critical dialogue about the past. Whether through reinterpretation, adaptive reuse, or educational initiatives, these sites remind us of history's complexities and the importance of addressing them thoughtfully.