When architectural monuments are used as event venues and become a tourist attraction, the voices of monument conservators and restorers are raised, questioning the necessity of such marketing. So does graduate restorer Boris Frohberg in his commentary. Advertorial Article Parallax Article The conflict originally began with the conversion of the monuments. New requirements had to be met, solutions sought […]
When architectural monuments are used as event venues and become a tourist attraction, the voices of monument conservators and restorers are raised, questioning the necessity of such marketing. This is also the case for graduate restorer Boris Frohberg in his commentary.
The conflict originally began with the conversion of the monuments. New requirements had to be met, solutions sought and found – sometimes to the detriment of the monument. Various old town, castle or palace festivals, including palace park festivals such as those in Potsdam-Sanssouci, Dresden-Pillnitz or Ludwigsburg, invite thousands, if not tens of thousands – thanks to commerce – to trample over everything that is protected.
Does the use of architectural monuments appeal to a media-interested public that has its problems with classic presentations, or are we paying homage here to a limitless marketing strategy? Without the use of events, the financial requirements of politics and administration cannot be met. In one of the richest countries in the world, everyone is suffering from the cuts in subsidies. The question remains as to the necessity of such marketing of the sights. This leads to wear and tear, overuse, loss of substance, vandalism and even to conversions and renovations. The architectural monuments can be made accessible to a wider range of visitors and also open up unexpected perspectives.
The compatibility of festival use and monument preservation has its limits. Every extensive use poses problems for the restorers. We know that there are limits and stress to which the originals are exposed, not to mention fire damage caused by open flames (for example in the historic Stallhof at the Residenzschloss in Dresden), and we call for additional restrictions on visitor numbers. At the World Music Festival in the former Thuringian residence of Rudolstadt, on the other hand, the museums remain empty; the festival visitor cannot be equated with the classic museum visitor. This pleases the restorers, but cannot be in the interests of the organizers. Visitors must be interested in cultural heritage and sensitized to its protection.
The price of profiting from architectural monuments
However, it is not only the festival as such that takes its toll, but also the technical preparations such as setting up the stage and producing technical equipment for organizers and visitors. Trucks roll across castle courtyards and through castle gardens, cables and water pipes are laid, sales and snack stalls and toilet facilities are set up in the historic areas. Every monument could be suitable for a performance, but was not built for this purpose. The listed buildings are usually reinforced with steel and concrete to meet the demands of the 21st century (Dresden Residential Palace, Schwerin State Parliament Palace), while important archaeological features are mercilessly sacrificed, not to mention underground car parks under central historical squares (Opernplatz in Berlin, Neumarkt in Dresden, Augustusplatz in Leipzig). In addition, the noise pollution and resulting damage to historic surfaces caused by open-air concerts in front of historic backdrops, such as on a floating stage in front of the Doge’s Palace in Venice, between the Residence and the Cathedral in Bamberg, at the castle in Ludwigslust, directly behind the Brandenburg Gate in Berlin or the Heidecksburg in Rudolstadt, should not be underestimated. Concerts on a small scale have proven their worth, but are rarely profitable. These topics will continue to generate discussion in the future, as the range of possibilities is wide enough.
