{"id":28884,"date":"2024-07-31T15:05:32","date_gmt":"2024-07-31T13:05:32","guid":{"rendered":"https:\/\/uacs.edu.mk\/home\/?p=28884"},"modified":"2024-07-31T15:07:27","modified_gmt":"2024-07-31T13:07:27","slug":"insights-from-the-11th-ohrid-summer-school-of-architecture-and-design-regarding-the-future-of-the-modernist-palas-hotel-kuba-snopek","status":"publish","type":"post","link":"https:\/\/payment.uacs.edu.mk\/home\/insights-from-the-11th-ohrid-summer-school-of-architecture-and-design-regarding-the-future-of-the-modernist-palas-hotel-kuba-snopek\/","title":{"rendered":"Insights from the 11th Ohrid Summer School of Architecture and Design – Kuba Snopek"},"content":{"rendered":"
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The 11th edition of the Ohrid International Summer school for Architecture and Design<\/span><\/a><\/span>, hosted by the UACS School of Architecture and Design, seamlessly integrated inspiration, research, site visits, and creative expression over three days of activities.<\/div>\n<\/div>\n
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We’re excited to share the final insights from this year’s Summer School of Architecture and Design, captured in an article by our lead tutor, Kuba Snopek!<\/div>\n<\/div>\n
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For a deeper dive into these important discussions, read the full article! \u00a0https:\/\/shorturl.at\/SEfTq<\/a><\/span><\/strong><\/div>\n<\/div>\n

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The 11th Ohrid Summer School of Architecture and Design focused on saving Hotel Palas, a modernist landmark in Macedonia that has been closed for years. As an admirer of modernist heritage, I led the Summer School to find new ways to revive the hotel and tackle broader issues of preserving modernist buildings. The following text explores these challenges and the insights gained from our work at the Summer School.<\/strong><\/p>\n

The\u00a0Ohrid Summer School of Architecture and Design<\/a>\u00a0is an annual event held in Ohrid, Macedonia since 2006. Students and foreign professors gather in an ancient city by a magnificent lake to explore architectural challenges. This year’s 11th Summer School focused on Hotel Palas\u2014a modernist masterpiece closed for a decade. The goal was to reevaluate Palas and conceptualize ways to revive it.<\/p>\n

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Students of the Ohrid Summer School at Hotel Palas. Photo: Stefan Zupan<\/figcaption><\/figure>\n<\/div>\n

I was invited to lead the Summer School due to my long-standing interest in modernist heritage. Over a decade ago, I wrote a book about preserving modernist heritage. Since then, I have repeatedly encountered the same unresolved challenges in my professional practice. How do we convince the public that modernism\u00a0is<\/em>\u00a0heritage? How do we base preservation on authenticity when the original materials don’t last? How do we preserve the social agenda of modernism in a world that no longer shares progressive values?<\/p>\n

Modern hotels are especially vulnerable. Being half a century old, they fall into a conceptual blind spot: too old to meet modern hotel standards, yet not old enough to be perceived as heritage worth large restoration investments. Additionally, their simple ownership structure makes them easy to replace. For every modern hotel that was saved, a dozen others have been lost.<\/p>\n

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How do we base preservation on authenticity when the original materials don’t last?<\/p>\n<\/div>\n

Those that remain are hanging by a thread of nostalgia. For example, Hotel Uzbekistan in Tashkent. Its elegant concrete brise-soleil facade is now the most recognizable image of the Uzbek capital. However, with the advent of air conditioning, it has lost its function, becoming merely a costly decoration. With substandard hotel rooms, low-quality building materials, and a structure not flexible enough for global reconstruction, what justification is there to save the hotel except for its iconic facade?<\/p>\n

Another example is Hotel Cracovia in Krakow. Closed around a decade ago, it cannot reopen as a hotel without major reconstruction to fix the structure. However, this cannot happen because the structure lacks flexibility. The results of last year’s competition to turn Cracovia into a Museum of Design and Architecture clearly showed that such a drastic change of function would inevitably lead to demolishing the building and constructing a replica.<\/p>\n

Hotel Palas exemplifies all these challenges. Finding a solution for this building could inspire similar discussions for other similar ones. To tackle this, we assembled an interdisciplinary Polish-Macedonian team. Paulina Paga, an anthropologist, is known for conceptualizing preservation strategies for late-modernist heritage as the director of Lublin’s Museum of Housing Estates (MOM). Pavel Veljanoski and Maksim Naumovski, partners at the Macedonian architectural office k87a and teaching assistants at University American College Skopje, provided profound insights into Ohrid’s legacy and Macedonian culture.<\/p>\n

Context<\/h2>\n
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Hotel Palas was built by Edo Mihevc in the 1950s, during the height of modern architecture. Situated between the Ohrid Lake shore and the Old Town, it represented a leap into modernity. Its main five-story section covered by a simple white marble facade housed hotel rooms. Surrounding it were lower sections with lobbies, ballrooms, and other amenities. Palas extended toward the lake with gardens and a public pier.<\/p>\n

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The view of Ohrid in the mid-XX century with Hotel Palas in the foreground.<\/figcaption><\/figure>\n<\/div>\n

Over the years, Palas underwent several transformations. A glass-aluminum restaurant was added. The original rooftop terrace was replaced with more rooms. In the 1980s, the lobby interiors got a funky makeover. The pier periodically changed its form and function. The biggest change was not architectural. Originally state-operated and maintained, in 1999 Palas was privatized. By the 2010s, the hotel closed and is now in limbo.<\/p>\n

The new owner views Hotel Palas as morally outdated. The rooms are too small, the hotel lacks modern amenities, the ceiling heights prevent air conditioning installation, and the facades do not provide adequate insulation. Fixing these issues requires deep structural changes. And this would be tricky. Palas is non-compliant with contemporary earthquake norms. Built just before the devastating 1963 Skopje earthquake, the hotel’s structure doesn’t meet the updated safety regulations that followed. Improving it to meet these norms would be very costly.<\/p>\n

Preservation authorities, however, consider Hotel Palas heritage. One key argument for its preservation is the authenticity of its structure and facade, with a remarkably high percentage of the original 1950s material still intact \u2013 unlike many other buildings from the era. Ironically, this same structure does not comply with earthquake norms and makes it impossible to meet modern hotel standards.<\/p>\n

This contradiction is at the core of Palas\u2019 problem: morally and structurally outdated, Hotel Palas cannot operate; listed as heritage due to its authenticity, it cannot be rebuilt as the owner wishes. The Summer School aimed to find a conceptual way out of this impasse by challenging either the five-star standard, the preservation norms, or both.<\/p>\n

Insights from the Summer School<\/h2>\n
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The core part of the Summer School focused on reassessing the value of Hotel Palas. The students visited the hotel, analyzing its architecture, urban setting, landscaping, and interior design. They reviewed original projects and the changes the hotel underwent, conducted interviews with people who visited during its golden era, and examined newspapers and movies from that time.<\/p>\n

The second part involved developing new tools and approaches to redesign, beyond what was previously available. Some students explored existing preservation strategies and the five-star standard, while others investigated the architectural language of Hotel Palas and the possibilities for updating its gardens, interiors, and pier.<\/p>\n

Creating a complete preservation strategy was obviously beyond the scope of the Summer School. Such work would take a team of professionals months or years. However, the research produced three major insights. They offer a fresh view of familiar problems and have the power to inspire further discussion.<\/p>\n

I. The Palas Universe<\/h4>\n
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The first major insight challenges our approach to valuing and preserving Hotel Palas. It isn’t just another historic building to be preserved for its volumes and facades. Instead, it is a unique and complete design universe in itself \u2013 a total work of art blending architecture, artistic elements, interior decoration, graphic design, and landscaping. This rich complexity is exactly what is unique about the architecture of Palas. It is also what creates a palace-like experience that generates the memories driving nostalgia and support for preserving the Hotel.<\/p>\n

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The majestic interiors of Hotel Palas. Photos: Stefan Zupan<\/figcaption><\/figure>\n

Preserving this Palas Universe is of national importance. The students discovered that Palas is connected to a broader context. Materials used in its construction came from all over Macedonia. The colors and textures were inspired by local nature, particularly the fauna. Features like the interplay of light, double-height spaces, and\u00a0chardak<\/em>-formed terraces reflect local building traditions. Hotel Palas encapsulates the essence of Ohrid City, Ohrid Lake, and Macedonia.<\/p>\n

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Hotel Palas encapsulates the essence of Ohrid City, Ohrid Lake, and Macedonia.<\/p>\n<\/div>\n

This finding has several implications for the preservation strategy:<\/p>\n

First<\/strong>, the Palas Universe is most vividly expressed in its interiors and gardens, rather than its facades. Authentic interiors on the ground floor should be preserved, including as many original decorative elements as possible. Similarly, the gardens’ aging stone features and the seamless connection between indoor and outdoor spaces \u2013 like large windows, terraces, and pergolas \u2013 should be protected.<\/p>\n

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The interiors of Hotel Palas. Photos: Kuba Snopek<\/figcaption><\/figure>\n

Second<\/strong>, preservation should focus on the current state of Hotel Palas, not just the original design elements. The interior now features at least two architectural styles: the restrained 1950s modernism and the funky 1980s postmodernism. Both styles contribute to a rich palette of colors, textures, and materials. Both are equally important for maintaining the Palas Universe and both should be protected.<\/p>\n

Third<\/strong>, this approach does not mean the building should remain static. Instead, it encourages adding new layers in the future that fit within the existing gesamtkunstwerk. This requires codifying the Palas Universe into palettes, catalogs, and guidelines but allows Hotel Palas to evolve and grow more complex and sophisticated over time.<\/p>\n

Finally<\/strong>, the student research found fewer traces of the Palas Universe above the ground floor. Compared to the distinctive ground floor, the upper sections of the hotel appear generic and predictable. Unique features such as the Corbusian rooftop terrace and large windows have been lost through various reconstructions. This raises a crucial question: should the focus be on preserving the\u00a0authentic<\/em>\u00a0concrete and steel of the upper floors, or the\u00a0original<\/em>\u00a0intellectual legacy of the ground floor?<\/p>\n

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Studies of colors, textures, and materials of Hotel Palas. Photos: Stefan Zupan<\/figcaption><\/figure>\n

II. The Ohrid Pier<\/strong><\/h4>\n
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The second insight reveals that preserving some of Palas’ public character is crucial; otherwise, its value \u2013 both to the community and the current owner \u2013 will be lost. Like most modernist buildings from its era, Hotel Palas was created by a state with a socialist agenda. As a result, the building\u2019s progressive ideas are ingrained in its architecture and cannot be separated from it.<\/p>\n

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Hotel Palas\u2019 public pier in the mid-XX century.<\/figcaption><\/figure>\n<\/div>\n

From its inception, Hotel Palas was a hub of public life in Ohrid. The hotel was intentionally set back from Lake Ohrid, creating a complex open space that connected the hotel\u2019s terraces and gardens with the embankment and Ohrid city park. This connection was further enhanced by a large public pier extending into the lake.<\/p>\n

This urban project, consisting of gardens, an embankment, and a pier, was carefully divided into more public and more private zones, allowing for both integration and separation of people. According to collected memories and historical materials, this thoughtful integration of the hotel with the urban environment served both guests and residents. It created a unique blend of urban and vacation experiences that contemporary hotels cannot replicate.<\/p>\n

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The hotel\u2019s integration with the city created a unique blend of urban and vacation experiences that contemporary hotels can\u2019t replicate.<\/p>\n<\/div>\n

The way this space functioned evolved over time. Both the pier, the hotel-to-lake axis, and the boundaries between public and private areas were continually adjusted. What remains clear is that the public spaces surrounding the hotel are essential to its value. The original design cleverly balanced integration and separation. Well-planned open spaces made the hotel an urban destination, while still offering guests the privacy they needed. The pier was the centerpiece of this design, giving guests direct access to Lake Ohrid \u2013 the main reason they visited in the first place.<\/p>\n

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The remains of the pier.<\/figcaption><\/figure>\n<\/div>\n

If this nuanced transition from public to semi-public to private spaces is replaced by a simple fence, both the new owner and Ohrid residents will lose something significant. This leads to a crucial insight: any preservation strategy for Hotel Palas must include a shared vision for revitalizing the surrounding open spaces, both public and private. Achieving this would require an active role from the municipality in the reconstruction process.<\/p>\n

III. Better to own a Palace than a 5-star-hotel<\/strong><\/h4>\n
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The third insight focuses on what truly drives value in five-star hotels. While essentials like spacious rooms, high-end furnishings, a wide range of amenities, and top-notch services are necessary for comfort and to stay competitive, the real value driver is a\u00a0unique experience.<\/em>\u00a0This is what will attract high-paying visitors and set a hotel apart from competitors in places like Italy, Croatia, or Turkey.<\/p>\n

Interestingly, Hotel Palas already has such a unique feature. Its name is not just a metaphor\u2014the building is literally a palace, though a modernist one. From the high-quality materials and grand ballrooms to the gardens and chandeliers, the architectural style clearly conveys its palatial character.<\/p>\n

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Palatial interiors of the hotel. Photos: Kuba Snopek<\/figcaption><\/figure>\n

This design was intentional. The building was created to reflect a social contract where Hotel Palas would ennoble its guests, even if just for a short vacation. As part of their holiday package, guests would enjoy dressing up, mingling in marble interiors, listening to refined music, and sipping elegant cocktails.<\/p>\n

This palace-like quality, reflected in the building\u2019s lobby, terraces, and gardens, is what has created lasting memories. There\u2019s no reason why these elements won\u2019t have the same impact today. Therefore, the owner should view creating a precise and nuanced preservation strategy as an opportunity to maximize the building\u2019s value.<\/p>\n

Updating the hotel with larger rooms and more amenities is important to meet current standards. However, making the public see the building as a true modernist palace\u2014not just a hotel\u2014is even more crucial. This unique positioning will make the building stand out as a one-of-a-kind experience, regardless of amenities or room sizes.<\/p>\n

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Owning a true palace\u2014even a modernist one\u2014is more valuable than owning merely a hotel.<\/p>\n<\/div>\n

Architecturally, this means highlighting elements that suggest prestige and status. This could involve preserving majestic old trees, exposing authentic aged stones, and preserving old pergolas that are gradually overgrown with greenery, turning into a semblance of ancient ruins. Paying attention to these details during redevelopment will be in the owner’s best interest.<\/p>\n

A modernist palace is an intriguing paradox. Modern architecture emerged around the same time as European monarchies began to wane. That’s why public perception still ties palaces to historical styles. However, this isn\u2019t entirely accurate. Some socialist countries built palaces for the people: open to the public from day one, designed in a modern style, yet rooted in the long tradition of European palaces. This fact is not widely recognized and limits the perceived value of Hotel Palas.<\/p>\n

Changing the mistaken belief that a modernist building cannot be a palace, or that a palace cannot be modernist, can significantly boost the value of Hotel Palas. After all, owning a true palace\u2014even a modernist one\u2014is obviously more valuable than merely owning a hotel.<\/p>\n

Conclusion<\/h2>\n
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The goal of the Summer School was to question the key assumptions that have stalled the redevelopment of Hotel Palas. By examining it with fresh eyes, free from commercial interests or Yugo-nostalgia, the students uncovered potential avenues to resolve the impasse.<\/p>\n

First,<\/strong>\u00a0their work suggests shifting the preservation focus from the exteriors to the interiors, and from a literal understanding of authenticity to valuing the uniqueness that comes from the originality of the design.<\/p>\n

Second,<\/strong>\u00a0it challenges the common belief that what happens on private land is none of the municipality’s concern. Ohrid would lose significantly if Palas’s territory were fenced off from public spaces. Interestingly, due to its design, the hotel would lose even more from such a separation.<\/p>\n

Third,<\/strong>\u00a0the building has always been and continues to be much more than just a hotel. Shifting its public perception to make it a source of pride and prestige for both the owner and the citizens of Ohrid is a crucial part of any strategy.<\/p>\n

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