In the Ruins of the Cold War Bunker
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Pusca, Anca, 155, 162
quarries, 15, 34–35, 106, 107, 116, 120
Quemoy Island. See Kinmen Island
Qendra Zjarri bunkers (Albania), 146
Quisling, Vidkun, 104
radiation, 35, 43, 77, 123, 124, 202, 212, 234
Radovic, Filip & Susannah, 48, 49, 55
RAF Boulmer, 4
RAF Fylingdales, (UK), 72n2
RAF Neatishead (Norfolk, UK), 187, 199n4
RAF Upper Heyford, 196
Ray, Andrew, 82, 93
Ray, Gene, 60–61, 72, 82, 93
reanimation, 16, 41–54, 58, 62–63, 68–69, 76–77, 116, 139, 154–157, 159, 161, 173, 193–194, 208–209, 220, 227, 233, 235, 237, 241–247, 249, 235;
presencing the bunker, 16, 41–54, 62, 241–247;
reinterpretation, 116, 139, 227, 233;
re-painting, 154–156;
using sound, 62–63, 68–69, 76–77, 237.
See also heritage
Reckwitz, Andreas, 173, 183
redevelopment, 18, 220–228, 245
Redhead, Steve, 28–29, 30, 38
redundancy, 6, 8, 100
representational practices, 10, 12, 14, 16, 55, 61, 64, 78–92, 133–134, 168, 171, 175, 178, 183, 190
re-use, 18–19, 61–63, 78, 131–132, 140, 142, 144, 154, 176, 192, 196, 202, 205, 208–209, 213–215, 217, 220, 227–228, 233, 235, 238, 243–245, 253
rhomb porphyry, 97–99
Richardson, Emily, 85–88, 86, 91, 93, 206, 214
Richardson, Emma, 206, 214
Rings (Mitchell), 88
Rings of Saturn (Sebald), 81
The Roadside Picnic (Strugatsky & Strugatsky), 88
Rose, Emma, 133–134, 138, 140, 142, 144
Rose, Gillian, 242, 249
Ross, Richard, 34, 36, 38
Rowlands, Michael, 157, 161–163
Royal Aircraft Establishment (RAE) Bedford, 72n2
Royal Commission for Historic Monuments in England (RCHME), 207, 214n1
Royal Observer Corps (ROC), 201–214;
ROC post, 3, 4, 41–54;
ROC’s objects, 44–45, 52, 205–206
ROC 20 Group Headquarters. See York Cold War Bunker
Rugg, Dean R., 147, 162
ruins, 8–11, 19, 34, 41, 53, 65, 71, 241;
defined, 8;
ruination (as process), 9, 11, 31, 76, 78–79, 83, 89, 116, 121, 198, 243, 245;
ruin lust (Ruinenlust), 8, 196, 200;
ruinphobia, 248;
ruin value (Ruinenwerttheorie), 58–59, 61, 65, 72n2.
See also bunker; bunker in landscape; contamination; palliative curation; symbolism
Sainte-Bernadette du Banlay (Nevers, France), 28, 29
Saint-Guénolé (Brittany, France), 26, 244
saltpetre, 121–123, 127
Samuel, Raphael, 194, 200
Sandys, Kathrine, 16, 35, 57, 63, 68, 69, 72, 234, 238, 243, 244, 253;
Hush House, 62, 63;
Magazine no.7, 62;
Radioflash, 62, 67, 68, 69–71
Saunders, Nicholas, 133, 144, 147, 162
scenography, 63–64, 67–71
Schachtel, Ernest, 69, 72
schadenfreude, 35, 239, 242
Schatzki, Theodore, R., 17, 168, 173, 175–176, 178, 180, 183
Schelling, Friedrich, 43
Schlosser, Eric, 235, 249
Schmidt, Robert, 175, 183
Schmitt, Carl, 106, 111
Schofield, John, 6, 21, 82, 93, 147, 157, 162, 178, 182, 196, 200, 236, 240, 241, 248, 249
Schön, Donald A., 192, 200
Schönle, Andreas, 8, 20
Schreiber, Verena, 176, 183
Scotland’s Secret Bunker, (Fife, UK), 187, 199n5
Scripps Institution of Oceanography, 86
Searle, John, 48, 56
Sebald, W. G., 11, 16, 21, 75, 79, 81–85, 87–89, 91–92, 93, 246, 249
Second World War, 9, 13, 34, 69, 98, 220,
Seigfried Line, 24
Serres, Michel, 53, 55
Shove, Elizabeth, 173, 183
Sinclair, Ian, 13, 21, 90–91
Smith, Laurajane, 21, 25–26, 38, 186, 189, 192, 195–196, 200
Smith, Phil, 84, 93
SNAP (Aldeburgh Festival), 86–87, 93, 127
Sofaer, Joanna, 140, 144
Sørensen, Tim, 118, 128
Sørlie, Rune, 104, 111
Soviet Union, 148–149, 198
Speer, Albert, 24, 38, 58, 65, 71n2, 72
speleology, 117, 119,124, 128, 129, 253
Sperrmittelhäuser, 18, 168–169, 170, 175, 178
Sputnik, 29
Stalker, 72n5, 88, 89
Standish, M.J. Alex, 153, 162
Stefa, Elian, 146, 163
Stevens, Paul, 121, 129
Stevenson, Angus, 6, 21
Strange, Ian, 240, 249
Strömberg, Per, 238, 239, 249
sublime, 11, 16, 33, 35, 37, 41–45, 47–48, 53–54, 58–60, 66, 71–72, 84, 234, 239;
Ereignis (Heidegger), 53;
in terror and war (Ray), 59–60;
military-industrial-sublime (Dillon), 16, 44–45, 239;
nuclear sublime, 11, 37, 234;
post-modern sublime (Lyotard), 42;
safe distance, 60, 71;
scintillation (Lyotard), 53–54;
transcendental sublime (Burke), 42, 59–60.
See also affect; uncanny
Subterranea Britannica (Sub Brit), 196–199
Sweden, 237–239
symbolism, 6–9, 17, 28, 30, 32, 42, 44–46, 61, 65, 67, 70–71, 78, 105, 116, 128, 143, 145, 152, 155, 157, 167, 171, 178, 186, 193, 240, 241, 244–245
Taiwan, 7, 131–132, 135, 136, 139, 142, 144
Tarkovsky, Andrei, 59, 72n5, 88–90
taxonomic, 12, 78, 171–175, 195, 197–199, 240–244;
as communal activity, 174;
experts, 197–199;
as masculine geography (Rose), 242;
in Monuments Protection Programme (UK), 195;
recording, 171–173;
specialisation, 175.
See also heritage
Thickett, David, 206, 214
Thomas, Roger J. C., 6, 13, 19, 157, 181, 194–195, 200, 203, 207, 214
Threads, 77
Thrift, Nigel, 10, 21, 53, 55, 173, 183
Thunderball, 72n4
Till, Karen E., 171, 183
Tilly, Christopher, 134, 141
The Tin Drum (Grass), 25
Tjøme island (Vestfold, Norway), 98
Tolia-Kelly, Divya, 132, 142
Torås Fort, 16, 97, 98, 99–100, 101, 102–110
Torås Kommandoplasse. See Torås Fort
tourism, 12, 14, 17–18, 33, 35, 37, 45, 59, 62, 71–72, 79, 129, 132–133, 135, 140–144, 155, 157, 160, 185–200, 220, 239, 244;
battlefield tourism, 135, 220;
dark tourism, 33, 37, 239;
disaster tourism, 45;
distinct from non-tourists, 157, 160;
heritage tourism, 12, 59, 62;
rapproachment tourism (Zhang), 17, 132, 140–142;
tourist gaze (Urry), 71;
visiting bunker museums, 18, 185–199
Townley, Anna, 91, 93
trauma, 15–16, 23, 25, 30–37, 42, 45–49, 51, 55, 77–78, 86, 109–110, 131, 145–146, 153–154, 158–161, 240–244, 248;
childhood trauma, 16, 31, 34, 36, 154;
collective memory (Badiou), 49;
collective psychosis (Felmingham), 77;
collective trauma, 153, 158;
residue left at site (Wilson), 78, 159;
site of trauma (Carruth), 45;
sympathy (Lafleur), 240;
therapeutic landscape (Gesler), 142n1;
war psychosis (Prifti), 146
working through trauma, 30–31, 109–110, 240–244;
Trigg, Dylan, 46–47, 53, 56
Trip Adviser, 211–214
Tufnel, Ben, 83, 89
, 93
tunnels. See bunker forms
Tzalmona, Rose, 24, 38, 235–236, 249
uncanny, 16, 32, 35, 41, 42, 44–49, 52–54, 56, 58, 59, 64–66, 83, 89, 234, 243;
in the everyday (Trigg), 53;
unbound affects (Pollock), 49;
uncanny field of affect, 42, 49, 53;
uncanny modernity (Masco), 234
Unheimlichkeit, 46–47;
Unidentified Flying Object (UFO), 234, 247n1
United States, 5, 7, 17;
Civil War, 121
urban exploration (urbex), 12–13, 19, 33, 174, 177–178, 181, 182, 197, 215–217, 220, 248;
28dayslater.co.uk, 197;
by Arno Geesink, 215–217, 220;
UK Urbex, 197;
TalkUrbex, 197;
Urbewußtsein (Zahavi), 66.
See also embodied experience
Urry, John, 71, 72
Uzzell, David, 145, 154, 163
valorization, 8, 10, 14, 23, 58–59, 65, 80, 178, 194–195, 238, 240;
cultural alchemy (Strömberg), 238;
discord value (Schofield), 240;
ruin value - Ruinenwerttheorie (Speer), 58–59, 65;
symbolic value (Leader), 45, 105, 157
vandalism, 81, 174, 177
Vanderbilt, Tom, 6, 21, 60, 72, 126, 129
Van Dyke, Chris, 247, 249
Van Wyck, Peter, 246, 249
Vatican, 29
Veitch, Jonathan, 239, 249
Venezuela, 114, 129, 253
vertical geography, 120
Vickers, Miranda, 153, 163
Vietnam, 5
Virilio, Paul, 15, 23, 25–38, 43, 56, 61, 66, 72, 108–109, 111, 159, 163, 210, 214, 233, 237, 240–241, 244–245, 247–249;
acceleration, 29;
aesthetics of disappearance, 30, 43;
architecture of disequilibrium, 29;
Bunker Archeology, 25–27, 29, 30–31, 38, 72, 108, 111, 214, 240, 245, 249;
cryptic architecture, 28;
cryptic energy, 28;
habitable circulation, 28;
influence of Catholic faith, 27;
Parent, Claude, 27–29, 31, 38;
polar inertia, 30–31, 38;
Pure War, 30–32, 237, 241, 249;
Total War, 26, 30–31;
trauma of war, 30–31
Wahrheitsgesellschaft (The Society of Truth/Vril Society), 107
war room. See command centre
Warsaw Pact, 5, 227
Walley, Ed, 240, 249
Wallmeister, 169, 174, 181
Watson, Chris, 83, 86, 93
Wegener, Wolfgang, 171, 182
Weinberger, Sharon, 126, 129
Weiner, Jon, 6, 21
Wenger, Etienne, 10, 14, 21
weird realism, 16
Westwall. See Seigfried Line
Wetherell, Margaret, 10, 21
White Sulphur Springs (West Virginia, US), 121
Wilson, Jane & Louise, 64–66, 73, 77, 82;
Blind Landing, 65;
Gamma, 77;
Sealander, 65;
Stasi City, 77;
The Toxic Camera, 77;
Urville, 65
Wilson, Louise K., 16, 35, 64, 75, 92–93, 237, 242–244, 253;
A Record of Fear, 76
Wilson, Marc, 9, 21
Woodward, Christopher, 80, 81, 83, 93
Woodward, Rachel, 105–106, 111
Woodyer, Tara, 116, 127, 129
Wright, Patrick, 193, 200
Ying-jeou, Ma, 132
York Cold War Bunker (UK), 199n3, 201, 202, 203–206, 207, 208–214
Young, James E., 67–68, 73
Young, Terence, 72n4
Yugoslavia, 146, 148, 152
Zahavi, Dan, 66, 73
Zalasiewicz, Jan, 103, 111
Zedong, Mao, 149
Zeitlin, Steven, 31, 37
Zhaishan Tunnel, 17, 132, 135–137, 139–142
Zhang, J. J., 17, 131–133, 136, 144, 238, 243, 244, 253
Zocher, Jan David, 221
Contributors
Luke Bennett is a Reader in the Department of the Natural & Built Environment at Sheffield Hallam University, UK. His research interest in the modes and motivations of multivalent engagement with modern ruins derives from his experience of working upon the decommissioning of industrial and military sites as an environmental lawyer prior to moving into academia in 2007.
Kevin Booth is a Senior Curator for English Heritage with responsibility for over 250,000 artefacts ranging from Neolithic flints to the telephone switchboards of the ROC Group Control. His background in the archaeology of buildings helped inform the understanding and presentation of the York bunker.
Rachael Bowers studied Modern History and Social Anthropology at the University of St. Andrews before completing a master’s in Heritage Education and Interpretation at Newcastle University. After joining English Heritage, Rachael worked at York Cold War Bunker as its Site Manager for four years, overseeing its care, coordinating exhibitions and events, and being responsible for the promotion of the site and its interpretation to the public. She currently works at Brodsworth Hall, caring for and managing its extensive collections.
Stephen Felmingham is artist and educator at Plymouth College of Art, with a drawing practice that engages with place, perception and memory. His drawings work as sensitive detectors that witness and register the culturally transmitted trauma that is the legacy of the Cold War, through research and fieldwork in the ruins of military installations, Royal Observer Corps posts and bunkers that were a feature of his early life in East Anglia.
Matthew Flintham is an artist and Early Career Research Fellow in the Faculty of Art, Design and Architecture at Kingston University, specializing in the hidden geographies of militarization, security and surveillance, and the analysis of location in cinematic representation. His work intersects academic and arts practices, exploring speculative relationships between architecture, power and place, and the possibilities for arts methods to reveal hidden or immaterial relations in the landscape.
Arno Geesink is the founding partner of a Netherlands-based architects practice (www.kraftarchitecten.nl) and also teaches at Design Academy, Eindhoven. He aims for a research-driven interdisciplinary design approach, where the combination of initiating theoretical research and architectural practice hopefully culminates in improved architectural craftsmanship. Arno’s personal interest in history and conflict studies has led to him devising several self-initiated redevelopment studies for newly accessible conflict heritage sites as well as commissioned strategic studies for a range of clients with an emphasis on the architectural redevelopment of existing structures.
Emily Glass is an archaeologist working towards completion of a PhD at the University of Bristol. Her research uses a modern conflict archaeological and anthropological approach to examine the production, use and legacy of Albania’s Cold War bunkers. Her thesis examines how local and national materialities of mushroom-shaped bunkers (MSBs) can be utilized in the formation of object biographies. To demonstrate this, she has explored transformative relations between people and objects alongside enduring MSB properties of cross-cultural agency. Emily has worked as a professional archaeologist since 1998 on commercial and research projects in the UK, Italy, Turkey, Slovenia, Belgium and Albania, where she worked from 2001 to 2012 on excavations with the Butrint Foundation. It was during this time that Albania’s communist past inspired her to undertake an MA in Historical Archaeology at the University of Bristol and develop ideas for her doctoral thesis.
Inge Hermann is Associate Professor at the Hospitality Business School, Saxion University of Applied Sciences, the Netherlands, where she has been a faculty member since 2012. Inge is actively involved in the Research Centre of Hospitality, and specifically within the Research Group on Ethics & Global Citizenship. Her research interests are in the field of heritage, ethics and tourism, in particular concentrating on analysing the role of dominant disc
ourses. Currently, her research agenda focuses on proclaimed ‘moral’ forms of tourism, especially aiming at young people, such as voluntourism and gap year programmes.
Gunnar Maus completed his doctoral dissertation ‘Militarized landscapes – landscapes of memory: Practices of localized remembrance of the Cold War’ in 2015. His project was funded by the German Research Foundation (DFG). Gunnar’s research interests are in the field of heritage, geography of memory and practice theory, and he works in the Department of Geography at Kiel University, Germany.
María Alejandra Pérez is Assistant Professor in the Geography Program at West Virginia University, USA. A cultural anthropologist by training, she, in her research, examines the historical and present role of field science activity, such as speleology (cave science), in the shaping of regional and national geographies and identities in the Americas (with a focus on Venezuela, the United States and Cuba). This exploration contributes to understandings of human incursions in and modifications of the underground.
Kathrine Sandys is a scenographer and Interdisciplinary Curriculum Leader in the School of Design, Management and Technical Arts at Rose Bruford College. Her research explores the notion of expanded scenographic media and devices applied beyond the theatre and performance space. Her practice and research have primarily focused on military/industrial/marine sites and the museum environment. In 2011 she received the International Jury Special Prize for Excellence in Sound Design, for Hush House, at the 12th edition of the Prague Quadrennial of Performance Design and Space.
Louise K. Wilson is a visual artist and Lecturer in Art and Design at the University of Leeds. Her current research uses sound and aurality to ask philosophical and material questions about the spatio-temporal physicality of certain sites and, accordingly, she has made recordings inside numerous (military and scientific) sites including nuclear submarines, listening stations, university halls, marine research environments, rocket launch sites and disused RAF bases.
J. J. Zhang is Assistant Professor in the Department of Geography at the University of Hong Kong. His research interests lie in the intersection of material culture, tourism and post-conflict geopolitics. J.J.’s ancestry has drawn him back to Kinmen several times. This former Cold War frontier’s rich battlefield heritage has enspired his continual enquiry into the material cultures of memory and identity associated with the reincarnation of defunct military fortresses, bunkers and underground tunnels.