Military Collections in Sweden – Third Chapter

The rich military tradition of Sweden can be retraced by means of many interesting dedicated collections. Many of them are scattered in the nice southernmost country regions of the Scandinavian peninsula, and make for an interesting detour from the most popular touristic destinations.

As reported in the previous two chapters on the topic (see here and here), the neutrality of Sweden in the major confrontations taking place during the 20th century allowed this northern Country to operate in a unique and original way, especially in terms of military procurement. Besides picking what was actually deemed suitable for their internal needs especially from the West, Sweden managed develop a strong domestic design and manufacturing capability, such to fulfill its own self-defense role in a cost-effective and credible way.

The defense of neutrality was carried out in the air by a strong Air Force, often updated over the years. With the end of communism in Eastern Europe and the collapse of the Soviet Union in the early 1990s, the major threat in the Baltic area came to an end as well, resulting in a major scale-down of this defense force and the disbandment of many military organizations. Correspondingly, memorial museums can be found often close to former airbases. One of them, dedicated to the ‘Scania’ wing F10, in operation since WWII to the early 2000s, is covered in this chapter.

A rather complete collection of aircraft from the entire span of the Cold War can be found in the unusual frame of a private museum, established in the 1960s from the will of the founder to display primarily his own collection of cars. The mix is particularly interesting, witnessing also the close link between Sweden and the vehicle industry of the US, possibly the tightest among all Countries in Europe.

Of course, in the theater of WWII Sweden was politically and geographically in an interesting position as well as later in the Cold War. Its relative proximity to the Third Reich meant it was often overflown by bombers on their way back from missions over mainland Germany. Dogfights and bomber chase missions reached the airspace of Sweden, sometimes ending with either German or Allied aircraft crashing on Swedish territory. An interesting museum covered in this chapter is fully dedicated to the topic.

Photographs in this chapter were taken in the summer of 2024.

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Sights

Ängelholms Flight Museum, Ängelholm

This nice collection of military aviation can be found on the former premises of the air base of Barkåkra (today Helsingborg airport), which has been the home of the 10th Wing ‘Scania’ (aka. F10 or ‘Ängelholm Wing’) between 1945 until the disbandment of the latter in 2002. Established during WWII, the illustrious history of the F10 wing spanned the entire Cold War, reaching into the 21st century. Correspondingly, the Scania Wing was supplied over the years with a rich inventory of aircraft models, ranging from classic fighters of WWII to the more recent SAAB Viggen and Gripen.

The structure of the exhibition, rather compact in size, is composed of two major areas.

In the first, the history of F10 is retraced especially by means of interesting photographs and memorabilia items. Among the pictures, some portray American bomber crews as well as German fighters landed on Swedish territory, which remained neutral during WWII.

In this area are also a few dioramas and reconstructions of typical military scenes, including a medical room, from the earlier days of operation of the Scania Wing. Everyday items, as well as military training and illustrative material, is presented in display cases.

The second major area is where most hardware of the collection can be found – aircraft, engines, vehicles, and much gear from the days of operation of the F10 wing. Among the earliest models acquired by F10 back in the WWII years was – rather interestingly – an Italian fighter, the Reggiane Re-2000 Falco, a batch of which was obtained from Italy in a supply shortage scenario, where especially the US had halted material export to non-allied countries. Pressed into service with the Air Force of Sweden (and specifically also with the F10 wing) as an interceptor with the locally attributed code of J20, this generally adequate machine was powered by a Piaggio P.XI 14-cylinders radial engine (which according to Roman numbering then often employed in Italy translates into P.11), a 1.040 hp model license-made in Italy, and originally a French design by Gnome-Rhone. A Re-2000 is not on display, but a Piaggio P.XI is! This engine has been quite popular in those years in Sweden, ending up also as an interim power plant for the Swedish own SAAB B17C single-engine light bomber/diver (not to be confounded with the homonym American Flying Fortress).

Close by the P.XI is the oldest aircraft on display belonging to the F10, in the form of a FFVS J22. The company FFVS was actually a Swedish state-managed entity, borne in the years of WWII to cope with the wartime supply requirements on one side and the overbooking of the SAAB plants on the other. Introduced during WWII, this rugged fighter was powered by a Pratt & Whitney R-1830, the ubiquitous Twin Wasp, license-built in Sweden by Svenska Flygmotor. The Scania Wing received the J22 model only in 1945, the last propeller-driven aircraft in its inventory. The exemplar on display looks under maintenance, and is possibly in airworthy conditions.

Next on display is a SAAB J29 Tunnan, with its distinctive barrel-shaped fuselage enshrouding the single, centrifugal flow jet engine. The F10 wing transitioned to jets in 1946 with the early SAAB J21R and the British-supplied DeHavilland DH100 Vampire (named J28R in Sweden). The Tunnan was provided to the F10 wing in 1953, and there it remained until 1963, while more advanced models were becoming available. The engine of the J29 was a DeHavilland Ghost, manufactured under licence in Sweden by Svenska Flygmotor under the name RM2B – an example is on display.

Close to the tail cone of the Tunnan is also a DeHavilland Goblin engine, originally employed on the Vampire.

The longest-lasting workhorse in F10 service has been the SAAB J35 Draken. An exemplar of the J version, the most updated and last (with the actual modification taking place in the late 1980s), is on display. The distinctive bulge for the IR seeker under the fuselage, appearing from the modern F version on, can be checked out from very close.

Interestingly, the Draken is presented with an exemplar of the Rb-28 missile hanging from an underwing pylon. This is a SAAB-modified version of the US-designed Hughes AIM-4D Falcon, an air-to-air missile conceived as an anti-bomber weapon, but hastily pressed into service against Vietnamese MiGs during the Vietnam war, under the wings of the Phantom, and proving very ineffective in the dogfighting role. For the Soviet bomber interdiction role of the Draken, this missile platform was deemed more effective, and it was retained for service for decades in Sweden.

Other missiles, rockets and guns (including a dismounted Aden 30 mm cannon) pertaining to the warload of the Draken are on display as well, together with an interesting console for missile signal testing.

Ahead of the Draken is a memorial wall, and ahead of it is a Rolls-Royce Avon jet engine, displayed as an instructional cutaway – including both the turbomachinery and the afterburning component. License-built in Sweden by Svenska Flygmotor as RM6C, this was the engine of the Draken.

The F10 wing received the SAAB J37 Viggen only after the collapse of the USSR in 1993, marking the beginning of the last, post-Cold War chapter in the history of the unit. Quite elusive due to its adoption only by Sweden, albeit rather successful in its intended roles, an exemplar of this machine can be found in this collection. Specifically, this is a photo reconnaissance version named SF37. Lacking a radar, this model typically operated on reconnaissance missions in a flight of two, together with a radar-supplied SH37 variant.

The Viggen can be neared and checked out entirely with ease, thanks to its positioning on a pedestal. The photo-reconnaissance payload is on display. Under the left wing is a SAAB Rb-04 anti-ship missile. This Swedish own design was conceived for countering invasion starting from the sea. With a radius of 25 km and active radar homing, its warhead was sufficient for knocking out an enemy cruiser with a single hit.

The collection of the Scania Wing also includes the SAAB SK60 trainer, a successful trainer employed for decades, and inducted into the F10 inventory during the 1990s, when the wing took over the basic training role from the F5 wing. Similarly, an ubiquitous Bell 204 (Hkp 3B according to Swedish naming) can be found on display, as it was employed within the F10 for rescue and logistics/transport duties.

Close to the Viggen are further interesting exhibits. One is on the wartime bases (krigsflygbaser, see this post), with models and original signs from one of them.

Another is about weather forecasting within F10. It includes electronic hardware, an entire room with original consoles, and weather balloons, still today employed to carry atmospheric sounds.

A display is dedicated to pilot’s protection helmets, survival kits and ejection seats. Not only in Sweden, the latter have been in the focus of a major technological development over the years of the Cold War. Ejecting from a fast jet in the 1950s was reportedly a highly-risky business, since even when the maneuver was technically successful – i.e. such to take the pilot out of the aircraft alive – the ejection-induced acceleration alone was more than enough to cause serious injury, usually to the spine. Over the years, multi-stage ejection was implemented, allowing for a more gradual maneuver, which albeit remaining lightning-fast, does not inflict so harsh a treatment to the pilot’s body as in the past.

A top exhibit on display is an original cockpit from a SAAB J35 Draken, employed for training purposes. The cockpit is very well preserved, thoroughly described by explanatory panels nearby, and it can be boarded to give you a feeling of the functionality of the onboard systems, as well as of the ergonomics of the cockpit.

Two more training aircraft are included in the exhibition, a SK61 and SK50, both single-propeller machines employed for basic training.

Additionally, the last type in service with the F10 has been the SAAB JAS39 Gripen (from 1999 until disbandment), which is here represented by means of the first serial production machine of the first version (‘A’). This exemplar was actually never pressed in air force service, but it was employed as a test bed for multiple operations, including test firing of missile ordnance in the early 2000s.

Additional dioramas in this compact but rich collection include op-rooms from various ages.

An interesting exhibit is a relatively well-preserved Rolls-Royce Merlin piston enigine, originally powering a British Avro Lancaster bomber which sank south of Trelleborg in the Baltic Sea, presumably early in 1945 after a bombing run over Germany.

Finally, on the outside it is possible to find a British Bristol Bloodhound Mk II missile. This SAM supplied a squadron of F10 wing, complementing the air defense role in proximity to the airbase.

Getting there and visiting

The name of the museum in the local language is Ängelholms Flygmuseum, which translates into Ängelholm Flight Museum. It is located on the southwestern border of the former airbase of Ängelholm, easily reachable at the address Drakenvägen 5, 26274 Ängelholm. This town is 15 mi north of Helsingborg along the E6 highway.

Large parking ahead of the entrance. Nice shop with books, toys and gadgets by the ticket office. The museum facility is rather compact, yet a visit may easily take 1.5 hours for an interested subject, when carefully checking out all items on display and taking pictures. Descriptions are in double language, Swedish/English, allowing for an informative visit even if you are from abroad.

Professional website with full information here.

Museum of Forced Landings, Morup

The Museum of Forced Landings (in Swedish language the museum is named in a rather different way, ‘Morups Samtidsmuseum’) is a one-of-a-kind collection of remains and traces from air crashes or forced landings taking place during WWII in Sweden. Run by a lively group of dedicated enthusiasts, the display is extremely well-crafted, offering not just an array of many and diverse relics from aircraft wrecks, but for each of them a complete synopsis of the story behind that specific flight – and the crewmen who were on board.

Furthermore, in my case I was accompanied by a very knowledgeable English-speaking gentleman for the entire duration of my visit, making the experience even more engaging.

The exhibition starts with a display of general maps of the crash or forced landing sites. A sharp increase towards the end of the war is evident, due to the increase in the number of bombing raids over the center of the Third Reich. The crashed aircraft are mostly from the US and Britain. When hit over Germany but still airworthy, Allied crews attempted an escape to neutral Sweden, to avoid capture by the Germans.

Of course, Sweden was a neutral country, hence all grounded crews, irrespective of their nationality, were interned, albeit in more than decent conditions, especially compared to German or Soviet prison camps.

A map of the internment location in Sweden is presented as well. Clearly, also German aircraft crash-landed in Sweden. Crews of opposing nationalities were interned in totally different locations. Rare photographs from these sites are on display.

Then, one by one, the display cases describe each a notable forced landing, retracing its timeline, and showing some relics from the wreckage, as well as personal items belonging to the crew. Nice detailed scaled models and dioramas of the accident complete the reconstruction.

Among them are a German Messerschmitt Bf110 attack aircraft, with a fragment of the canopy as well as other parts on display, Norwegian training aircraft, a German Junkers Ju-52 transport, with an entire control column put as an exhibit.

The bombsight, radio and other instrument goggles belong to a German Heinkel He-111 bomber landed on ice.

One of the plots documented in the deepest detail is that involving Lt Edward E. Phillips, of USAAF 354th fighter group, which flew escort missions over Germany from Baxton, England, with North American P-51 Mustang fighters. On the 15th of April 1944, on return from a mostly failed bombing mission over Germany in bad weather, Lt. Phillips aircraft was chased north by a Bf109. He was hit over southern Sweden, bailed out but the parachute failed to deploy. He was killed instantly, and his aircraft impacted soft terrain and sank so deeply due to its own energy that it almost disappeared into the ground – and there it remained for 40 years. In the 1990s an excavation attempt was carried out by the future crew of the museum, uncovering substantial remains of the aircraft, including many parts, cockpit gauges, machine guns, an entire landing gear leg, and more.

A link was established by the local crew with the former wife of the man in the US, and the story hit the news. A memorial was inaugurated on the location of the crash.

Another American aircraft with a story to tell is a Consolidated B-24 Liberator. This time the aircraft managed to crash land under control, and the entire crew of 10 was saved and interned. Sgt Robert C. Birmingham, part of the crew, visited the locations of his adventure in Sweden more than once with his family.

More accidents described in the display involve British and German aircraft.

In an adjoining room, an impressive collection of quality scale models reconstruct many of the aircraft in service within the Air Force in Sweden, including details such as different celebration markings and camo coats. Among the artifacts and memorabilia items on display in this part is an autographed photo of WWII German ace Günther Rall.

In another small hangar is an interesting addition to the collection, mostly centered on aircraft engines. Engines from crash-landed aircraft, significantly damaged but undergoing a display-oriented cleaning and refurbishment, make for an unusual and interesting sight.

Outside is also a small collection of classic cars in pristine conditions.

Getting there and visiting

The museum is called ‘Morups Samtidsmuseum’ in Swedish language. It can be found right along the road N.768 about 6 miles north of the coastal town of Falkenberg, 0.25 miles north of the small town of Morup. The exact address is X9MP+84 Morup.

A visit may take about 1 hour, more when stimulating further telling by the very enthusiastic crew of the association running the museum.

Please note that no credit cards are accepted, only cash is – unless you are entitled to employ electronic payment methods allowed for citizens or residents of Sweden.

The website, partially under construction as of spring 2025, can be found here.

Credit for directing me to this hidden gem goes to Martin Steffen, from Sweden.

Svedino’s Automobile and Aviation Museum, Ugglarp

This unusual exhibition originates from the own collection of Lennart Svedfelt, a prominent Swedish stage and TV entertainer borne in 1924 and known as ‘Svedino’. The man started purchasing cars and planes for the purpose of collecting them, in an era when a similar activity was hardly heard of. In 1961 he opened his collection as a permanent display, the first museum dedicated to cars in Sweden. Over the years, and even following his passing, the museum continued to grow, reaching more than 100 cars and 40 aircraft on display today!

Even though this is not an eminently military museum, despite the cars being beautiful civilian cars, most aircraft on display are military machines, including some remarkable items – therefore, Svedino’s perfectly fits within this chapter!

The cars on display make for a really unique collection, in and out of Sweden. A remarkable feature is especially the number and uniqueness of US-made cars from the inter-war period between WWI and WWII. In a first building, these include models by Chevrolet, Buick, Dodge, Nash, Oldsmobile, and more!

Also some classic models from European manufacturers, like Opel, are on display. A special rarity is an Adler Trumpf from 1934. Adler, a German company from the 19th century active in the manufacture of petrol engines, operated in the car market for a relatively short time, roughly coincident with the Third Reich period. They made cars in the intermediate price segment, with good success. The company changed business following WWII, making Adler cars interesting collectible items representing car-making from a specific era.

As expected from a Swedish museum, a full array of classic Volvo is on display! These include small trucks and saloons, and interesting models like the PV36 from the inter-war period. Similar to the PV830 and the iconic PV444 from the immediate post-WWII years, an influence of the contemporary American designs is undeniable in all these models.

Also on display are more modern vehicles employed as state cars. An interesting item is a very old Gräf & Stift, an Austrian luxury sedan from before WWI, salvaged from the bottom of a Swedish lake after spending there more than 40 years, and acquired by the museum.

Two interesting cars on display are personal designs from the early 1950s. In Sweden it was possible at that time to introduce privately-built cars, provided they could sustain a compliance check. An example of a fantasy car, with a rather aggressive design and physically assembled from parts of other cars, is on display. It was never completed nor allowed on the road. Another example, designed and made by the son of the industrialist Wennberg, reportedly roamed around all over the 1950s! This unique exemplar is on display with ‘factory markings’ HW.

In a second adjoining building, a really valuable collection of even older cars, dating from earlier than 1930, is on display. Also here most items in the collection are from the US, a really rare sight on this side of the ocean! Looking at the elaborated labels of these oldies, made by Ford, Anderson, Seneca, and thinking of the craftsmen who personally assembled them back in the America of the early 1900s is really thought-provoking!

Among the most unique cars on display is a Pierce-Arrow from 1918, sitting alongside a Haynes from the same year.

Moving on to another adjoining hall, here cars are on display alongside a few classic planes from the first half of the 20th century. A DeHavilland Moth, a Götaverken GV-38 seaplane (a licence-built Rearwin Sportster, a US design), as well as a German Klemm Kl-35 and a Focke-Wulf FW-44 designs, are on the list together with more light airplanes and a few engines.

The latter include an original Rolls-Royce Goblin and Avon, respectively from a DeHavilland Vampire and a SAAB Draken, both in service with the Air Force of Sweden during the Cold War.

A focus of the exhibition is on the memory of a pioneer of Swedish aviation industry, Enoch Tulin, who is the author of many ‘firsts’ in the aeronautical history of this Country – the largest aviation workshop to date before WWI (with 900 employees), the first air mail service, the first air rescue mission, and more. A graduated engineer, flight instructor and early aerobatic pilot, Tulin died in an airplane crash in 1919, after gaining unquestioned prominence in many fields of aeronautical industry and operation in his era.

A final adjoining hall concludes the oldest part of the exhibition premises. Here the spotlight is on a few fighters from the Cold War era, namely a SAAB J29 Tunnan, two DeHavilland Vampire, and even a SAAB J35 Draken.

The latter is really a unique exemplar. As can be guessed by the monstrous red and white spine on the nose cone, typical to experimental aircraft and not a feature of the production machine, the one on display is actually the first prototype!

Another curious item is a Soviet-made Kamov Ka-26 helicopter. Alongside the helicopter is a vintage advertisement from 1975, written in Swedish, and made by Aviaexport, a Soviet agency for the commercialization of Soviet aeronautical products abroad. Borne as an import-export, Aviaexport acted also as a recipient of foreign certification rules, spreading the growing body of western aeronautical regulation within the Soviet design bureaus, to the aim of keeping the quality standard to a level sufficient for commercialization in foreign countries. Actually, thanks to Aviaexport the Kamov Ka-26 received a type certification in Sweden, which allowed its commercialization and regular employment there. Aviaexport is still existent in today’s Russia.

Interspersed between closely-packed aircraft are more cars, including a beautiful Jaguar Mk V and an East-German Trabant, as well as aircraft engines.

A massive Wright Cyclone R-3350 is among them – the power plant of the Lockheed Constellation and Douglas DC-7, often considered the pinnacle and swansong of American piston power, this massive 1.2 tons, 18 cylinders engine produced 3.700 hp of shaft power!

Svedino’s aircraft collection is mostly hosted in a modern hall added more recently beside the original museum’s building. The first item on display is an original Junkers Ju-52! This aircraft is among those license-built in Spain. It operated for some time as far as in California in the 1970s, being later transferred to Ireland, and finally here. The camouflage and markings reenact those of a Third Reich’s Luftwaffe machine force-landed in Sweden during WWII. The cockpit of the Ju-52 has been reproduced separately, to allow checking it without boarding this precious aircraft.

As expected for a Swedish aircraft collection, the most prominent models which have served in the local Air Force are represented. These include a SAAB J32B Lansen, a Cold War attack aircraft from the 1950s, a SAAB SK60 trainer, and a SAAB J35 Draken – a production machine, not a prototype like in the previous hall.

These aircraft are presented alongside their engines. The Swedish licence-built version of the Rolls-Royce Avon, named RM6A, powered the Lansen and later the Draken.

The latest addition to the SAAB heritage on display is the J37 Viggen, here presented in the nice and distinctive camo coat of the Air Force of Sweden. This is presented alongside its mighty engine, the RM8A, a modified version of the Pratt & Whitney JT8D turbofan.

Additionally, a display of an open nose cone allows to see the arrangement of the radar antenna of the Viggen.

An interesting display case hosts the instrument panels, radar and reconnaissance gear of the Lansen, Draken and Viggen, as well as a collection of flight helmets and pilot’s gear, showing the evolution of this technical material over time.

But the collection of Svedino’s is not limited to aircraft in service in Sweden. A Lockheed F-104 Starfighter from the Air Force of Denmark is on display, next to a Gloster Meteor early twin jet. The blue exemplar on display is a former factory demonstrator originally employed by Gloster, and later sold to Sweden for target towing (in a batch of seven aircraft).

A rarity to be found close by is a Percival P.66 Pembroke, a twin-engined multi-purpose transport from the early 1950s, employed for training and passenger transport within the Air Force. Manufactured in Britain in just 128 exemplars, this type was mostly sold abroad to Western-European Countries and in Africa. Sweden originally got a batch of 16.

Another British type on display is a Hawker Hunter, which was actually employed by Sweden as a stop-gap model in the late 1950s, waiting for the completion of the design and the entrance into service of the J35 Draken.

Another Soviet addition to the collection is a MiG-21. A Cold War veteran, this exemplar is Soviet-built, and served in Hungary until 1982 and later in the Latvian SSR.

A recent addition to the exhibition is a Douglas Skyraider! Possibly overshadowed by the illustrious career the type enjoyed in the US Armed Forces, a part of the history of this massive attack aircraft is about Sweden. Some 13 exemplars were actually purchased by Sweden for target towing in the mid 1960 from Britain, which had got a larger batch from the US. The exemplar on display is an AD-4W, the early warning version of the Skyraider. It is currently (2024) being refurbished.

Among the biggest additions to the aircraft collection is actually an English Electric Canberra. As typical to this type, employed by the British for the first, high risk overflights of the Countries of the Soviet bloc before the high-performing Skunk Works aircraft became available, the Canberra (including its modified Martin version in the US) was employed for quintessentially Cold War signal intelligence missions opposite the Soviet Union. Two exemplars were employed also in Sweden from the early 1960s until the mid-1970s, and one of them is that on display.

A curious item also on display is a one-off design which won a competitive call of the Aviation Engineering Association in Stockholm in 1988, and which was later actually built by its designers. Unfortunately, it was eventually never tested due to one of the owners need to quit for health issues when the aircraft was undergoing a certification test for obtaining airworthiness. The name of the prototype is LLS-1.

Scattered among the aircraft are more engines, radars, consoles, simulators, and more aircraft than described, making for an overall very rich and interesting visit.

Getting there and visiting

Svedinos Bil & Flygmuseum – this is the name of the museum in the local language – can be found in a nice countryside 15 miles north of the port town of Halmstad. The exact address is SE-311 69 Ugglarp.

The premises are rather compact, with a large parking ahead of the entrance. Fresh cookies, homemade sandwiches and cakes are available for a light lunch in the exotic lobby, matching in style with this unusual collection.

A visit may take 2 hours for an interested subject. Most items are described with modern panels in double language Swedish/English, making the visit very informative. The website with logistical information is here.

Soviet Nuclear Bunkers in the Czech Republic

History – In brief

After the end of WWII and the collapse of the Third Reich, the territory now belonging to the Czech Republic fell on the Soviet side of the Iron Curtain. Together with today’s Slovakia, it formed the now disappeared unitary state of Czechoslovakia. Despite laying right on the border with the West – including Bavaria, which was part of West Germany and NATO – communist Czechoslovakia enjoyed a relative autonomy from the USSR, until the announced liberally-oriented reforms of the local communist leader Dubcek in the spring of 1968 triggered a violent reaction by the Soviet leader of the time, Leonid Brezhnev (see here). About 250’000 troops from the Warsaw Pact, including the USSR, landed in the Country. As a result, the Soviets established a more hardcore and USSR-compliant local communist regime, and largely increased their military presence.

Similar to the German Democratic Republic (see here for instance), Hungary (see here) or Poland (see here), since then also in Czechoslovakia the local national Army was flanked by a significant contingent of Soviet troops, who left only after the entire Soviet-fueled communist empire started to crumble, at the beginning of the 1990s.

Consequently, for the last two decades of the Cold War, Czechoslovakia was a highly militarized country similar to other ones in the Warsaw Pact (see here). Its geographical position on the border with the West meant it received supply for a high-technology anti-aircraft barrier (see here). Two major airbases in Czechoslovakia were taken over for use by the Soviets and strongly potentiated (see here).

Soviet Nuclear Depots in Czechoslovakia

Beside conventional forces, also nuclear warheads were part of the arsenal deployed in this Country. Where in the late 1960s Soviet strategic nuclear forces were already mostly based on submarine-launched missiles and ICBMs ground-launched from within the USSR’s borders, tactical forces were forward-deployed to satellite countries, to be readily operative in case of war in Europe. Missile systems like the SCUD, Luna (NATO: Frog) and Tochka (NATO: Scarab) were deployed to the Warsaw Pact, supplying either the local Armies or the Soviet forces on site. Typically armed with conventional warheads, these systems were compatible with nuclear warheads too, making them more versatile, and of great use in case of a war against NATO forces in central and western Europe (see here).

Irrespective of their employment by a local national Army or a Soviet missile force, nuclear warheads were kept separated from the rest of the missile system for security, and invariably under strict and exclusive Soviet control. Bunker sites were purpose built in all components of the Warsaw Pact for storing nuclear warheads – see page 46 of this CIA document, showing with some accuracy the location of the corresponding bases.

Granit– and Basalt-type bunkers were typically prepared on airfields or artillery bases, for short-term storage of soon-to-be-launched nuclear weapons. Instead, top-security Monolith-type bunkers (the triangles on the map in the CIA document) were intended for long-term storage of nuclear ordnance.

Monolith-type bunkers were built by local companies on a standard design in the Soviet military inventory, and were implemented in satellite Countries in the late 1960s. Czechoslovakia received three such sites, which took the names Javor 50, by the town of Bílina, Javor 51, close to Míšov, and Javor 52, close to the town of Bělá pod Bezdězem. All three locations are in the north-western regions of today’s Czech Republic.

The Soviet military started withdrawing the nuclear warheads from satellite Countries in 1989, months before the collapse of the wall in Berlin. As for Czechoslovakia, by 1990 all nuclear forces had been moved back to the USSR. Following the end of the Cold War, Monolith-bunkers – similar to most of the colossal inventory of forward-deployed military installations formerly set up by the Soviet Union – were declared surplus by the Countries where they had been implemented.

These primary relics of the Cold War have known since then different destinies. Some of them have been hastily demolished, and together with their associated fragments of recent history, they have almost completely disappeared into oblivion. Luckily, a few are currently still in private hands, and still in existence (see here and here) – specimens of recent military technology, and a vivid memento from recent history, when the map of Europe looked very different from now. Two can be visited, of which one is Javor 51, in the Czech Republic, the main topic of this post. This has been turned into the ‘Atom Museum’, which has the distinction of being the only Monolith-type site in the world offering visits on a regular schedule (the other open site is Podborsko, in Poland, covered here, which is open by appointment).

Also displayed in the following are some pictures of the now inaccessible site Javor 52 in former Czechoslovakia. Photographs were taken in 2020 (Javor 52) and 2022 (Javor 51).

Sights

Javor 51 – The Atom Museum, Míšov

An exceptionally well preserved and high-profile witness of the Cold War, the nuclear depot Javor 51 is a good example of a Monolith-type installation. These bases were centered around two identical semi-interred bunkers for nuclear warheads.

When starting a visit, you will soon make your way to the unloading platform of bunker Nr.1. The shape of the metal canopy, and the small control booth with glass windows overlooking the platform are pretty unique to this site. The metal wall fencing the unloading area is still in its camo coat outside, and greenish paint inside. Caution writings in Russian are still clearly visible. Concrete slabs clearly bear the date of manufacture – 1968. This site was reportedly activated on the 26th of December, 1968.

Even the lamps look original. Some of the – likely – tons of material left by the Soviets on the premises of this site has been put on display ahead of the massive bunker door.

The opening mechanism of the latter is a nice work of mechanics. Four plugs actually lock or unlock the door. They can be moved by means of a manual crank, or likely in the past via an electric mechanism (some wiring is still visible). The thickness of the doors is really impressive (look for the cap of my wide lens on the ground in a picture below for comparison!).

Each bunker had two ground-level entrances to the opposite ends, each with two blast-proof doors in a sequence. Warheads were transported by truck, unloaded beside the entrance of one of the two bunkers, and carried inside through the two doors, which constituted an air-tight airlock.

Today, you can see the inside main hall of the bunkers from the outside during a visit. This was likely not the case in the days of operation. The opening procedure required a request signal to travel all the way to Moscow, and a trigger signal traveling in the opposite direction. Once past the first (external) door with the warhead trolley, that door was shut, and the procedure was repeated for the second door, giving access to the inside of the bunker.

A security trigger told Moscow when the door was open. It can still be seen hanging from top of the door frame.

Once inside, you find yourself on a suspended concrete platform. The warhead trolley had to be lowered via a crane – still in place – to the bottom of the cellar ahead, i.e. to the underground level. The stairs now greatly facilitating visitor’s motion around the bunker were not in place back then, and descending to the underground level for the technicians was via a hatch in the floor of the suspended platform, and a ladder close to the side wall.

On the platform, an original Soviet-made air conditioning system can be seen – with original labeling – and signs in Russian are on display on the walls.

The platform is also a vantage point to see the extensive array of heat-exchangers put along a sidewall of the central hall – atmosphere control was of primary importance for the relatively delicate nuclear warheads. Each of them traveled and was kept in a pressurized canister. However, also the storage site was under careful atmospheric control.

To the opposite end of the bunker, the inner tight door of the second entrance can be clearly seen, ahead of another suspended platform. The warheads left the bunker for maintenance (they might have left also for use, but this never happened, except possibly on drills) from that entrance, which had a loading platform outside for putting the warheads on trucks (this can be better seen in other Monolith sites, like Urkut in Hungary, or Stolzenhain in Germany).

Down on the lower level, the main bunker hall gives access to one side to four big cellars, where the warheads spent their time in storage, and to the other sides to technical rooms. The pavement in the storage cellars features the original metal strongpoints, used to anchor the trolleys for the warheads to the ground. This was in case of a shockwave investing the site in an attack, to avoid the trolleys moving and crashing against one another. The original hooks with spherical joints to link the trolley to the strongpoints are also on display.

The storage cellars today have been used to display informative panels, with many interesting pictures and schemes. These include some from major sites connected with the history of nuclear weaponry in the Soviet Union (like from the test site of Semipalatinsk) and the US (like the Titan Museum near Tucson, AZ, covered in this post).

A few former technical rooms are used to store much original technical gear. This ranges from spare parts, tools and personal gear like working suits left by the Soviets (most with signs in Russian), to items ‘Made in Czechoslovakia’ or even radiation detectors from Britain and the West, gathered here for display and comparison.

Some of these spare parts are wrapped and sealed in Russian, looking like they were cataloged back in the time of operations.

In the main hall, many rare vintage pictures retrace the presence of Soviet military forces on this site as well as others in Czechoslovakia. Magnified copies of rare pictures portray the trucks, canisters and the very warheads likely involved in transport and storage in Javor 51. Actually, much mystery exists around the deployment of nuclear ordnance by the USSR outside its borders (not only to Czechoslovakia). Historical and technical information today made available, even to a dedicated public, is very limited, making this chapter of Cold War history even more intriguing.

Again in the central hall, cabinets for monitoring the nuclear warheads can be seen hanging from the walls, painted in blue. Each warhead used to be stored in a canister, which was periodically linked to these cabinets to check the inner atmosphere, temperature, etc., in order to monitor the health of its very sensitive content.

A large part of the technical/living rooms has been preserved in its original appearance. You can see parts of an air conditioning system, a big water tank, a toilet, a now empty bedroom for the troops. The bunker was constantly manned inside by typically six people, who operated in shifts. They did not sleep there, nor used the toilet much due to poor drainage. However, these facilities were used in drills, and were intended for the case of real war operations, when the bunker might have been sealed from the outside.

The electric cabinets take a dedicated room, like the huge air filters and pumps (Soviet made), installed to grant survival of the people inside the bunker in case of an attack with nuclear weapons or other special warfare. Clearly, the level of safety in the design of the bunker stemmed from the fact that it was considered by the Soviet as a a strategic target for NATO forces.

The last technical rooms host a big Diesel generator, supplied with air from the outside, and a big fuel tank in an adjoining room. Many labels bear writings in Russian, but the generator appears to be made in Czechoslovakia. The bunker was linked to the usual electric power grid of the region, and the generator was intended for emergency operations, in case the grid was lost or the bunker was isolated.

From the technical area, it was possible to access or exit the bunker, via a human-size airlock. The innermost tight door can be seen painted in yellow, with a locking mechanism resembling that of the major tight doors for the missile warheads. Outside the airlock, climbing three levels of ladders was required to get to the surface. This was the normal access to the bunker for the military technical staff, except when warheads arrived or left the storage (this was made via the major entrances, as explained).

Back outside, the second bunker, Nr.2, can be found at a short distance from the former. Nr.2 is being prepared for an exhibition on technology. At the time of writing, it can be toured except for the technical/living rooms. It is in a very good condition, and allows to get similar details as the previous Nr.1 on the construction of this type of facility – including the heating/air conditioning system.

The blue cabinets for plugging the canister for routine status checking and maintenance can be found also in Nr.2 in good shape.

Clearly visible here are the doors closing the technical areas and the warhead cellars. The latter were monitored for security just like the external airtight doors of the bunker, each with a sensor telling controllers whether the cellar was locked or not.

The airlock is covered in soot, possibly the result of a fire. Ahead of the entrance, the unloading platform is very interesting, having a unique set of light doors which had to be opened to allow trucks to come in. The concrete part of the platform appears slightly off-standard, with a short lateral concrete ramp, giving access to the main platform from one side. Parts of missiles – original – are being gathered in this area for display.

Monolith sites include two bunkers, which are the core of a strongly defended fenced area. In Javor 51, fences except the external one have been removed for the safety of visitors (rusty barbed wire can be very dangerous). These can still be found in other similar installations (see here). Similarly, the troops and technicians working on site lived in purpose-built housing, segregated from local communities. In Javor 51, this housing still exists, but cannot be visited.

Leaving the place, you can visit the nice visitor/gathering center, and even find some interesting souvenirs!

Getting there and visiting

All in all, the Atom Museum prepared at Javor 51 is a top destination for everybody interested in the history of the Cold War, nuclear warfare, Soviet history, military history, etc.

Credit goes to the owner of the place, Dr. Vaclav Vitovec, who is leading this remarkable preservation effort, and is a very knowledgeable and enthusiastic guide to the site for those visiting. Dr. Vitovec is also the owner of the border museum in Rozvadov, covered in this post.

The Javor 51 site is actually fairly well known at least to a dedicated public, having been visited by historians, scientists and notable figures – including Francis Gary Powers, Jr., who is very active in preserving the history of the Cold War.

The commitment of the museum’s managers is witnessed also by the nice website (also in English), where you can sign-up for a visit on pre-arranged days – as of 2022, all Saturdays in the warm season – or contact the staff for setting up a personalized visit. It is nice to see a good involvement by the local population (the great majority of visitors on regular visits are Czech), including many from younger generations. The exhibits tell much on the peaceful use of nuclear energy, and this is a major topic in the guided tour in Czech. Actually, the Czech Republic has a strong nuclear tradition, with many power plants in use, and a commitment for the development of nuclear energy in the future.

The location is around 25 miles southeast of Plzen, or 60 miles southwest of Prague. Easy to reach by car. The exact address is Míšov 51, 33563 Míšov, Czechia. Full info on their website. Visiting on a normal scheduled visit is on a partly-guided basis, meaning that you will get an intro (in Czech) of around 40 minutes, than you will be allowed to access the bunkers and visit on your own, for all the time you like. You might end up spending more than 2 hours checking out the site and everything is in it, if you have a special interest for the topic. Dr. Vitovec is fluent in English, and can provide much information upon request.

Javor 52 – Bělá pod Bezdězem

The Monolith-type site Javor 52 has been willingly demolished, likely by the Government of the Czech Republic, as it was the case for most other similar (or more in general, Soviet-related) sites in Poland and Germany.

However, it was hard to get completely rid of any trace of an installation so bulky and reinforced. Therefore, some remains can still be found and explored.

Some technical buildings still in use close to the bunkers may have been there from the days of operation.

Getting close to the bunker area, traces of the multiple fences originally around the site can be found, either in the trees or in the vicinity of unmaintained roads. Wooden or concrete posts with fragments of barbed wire are clearly visible. Also reinforced concrete shooting points can be spotted in the wild vegetation.

As typical, two bunkers were erected on site, and similarly to Javor 51 (see above), in Javor 52 they are aligned, with the entrances all along the same ideal orientation.

The bunkers in Javor 52 have been interred, so that they are now hardly noticeable from the outside, except to a careful eye. Looking inside the eastern one, it is possible to get a view of the open doors of the main airlock, providing a distant view of the inner main hall.

Descending through the lateral human-sized airlock is not possible except for a short length, from a concrete manhole on top of the bunker.

The western bunker is in a better general condition, and the main hall still retains a pretty unique writing in Russian. The ladder descending from the suspended platform has been substituted with a posthumous, regular ladder. Much metalwork has disappeared though, including the heat exchangers, the crane, and the tight doors.

Between the bunkers, a concrete pool can be found – still watertight! – with a function which is hard to guess. A pool for civil use was installed in Stolzenhain (and reportedly also in Javor 52, but I had not the time to watch out for it), but this was in the low-security of the site, far from the bunkers.

Getting there and moving around

Access to this place is possible without violating any property sign, but is clearly not encouraged. Going unnoticed is made tricky by the presence of a public facility nearby – a shelter for foreigners and some education activity. Parking out of sight is possible along the road 27235, north of the complex and to the west of the road – trailheads and corresponding parking areas can be found there. Check out some satellite map to find a way to the exact location of the bunkers – their respective entrances are approximately here (eastern bunker) and here (western bunker).

I visited the site in 2020, and the entrances appeared very dangerous and easy to seal in a permanent way. I do not have any further update, but would suggest to go prepared to find definitively interred and totally inaccessible bunkers.

Javor 50 – Bílina – Quick note

As of 2020, the site of Javor 50 is in a peculiar state of ‘conservation’. The place is closed to the public, but entering would be basically unimpeded, since the external fence to the former military base is mostly collapsed and interrupted. The Soviet quarters insider still have much to offer – including writing in Russian, a scheme of the base, and much more. Likely, the bunkers are also still in a relatively good shape.

Much surprisingly though, somebody is living there with watchdogs, in miserable conditions, keeping visitors out. It is likely that an official visit may be booked by getting in touch with the municipality, since it appears that the site is not used for anything. However I was not successful in connecting with anybody there, therefore I have no suggestion on this point. The of the main entrance is here.

Stalin in Georgia

The republic of Georgia, located on the Caucasian isthmus between the Black Sea and the Caspian Sea, was founded in the turmoil following the collapse of the Czarist Empire during WWI. Located on the border with Turkey, at that time this region tried to untie from neighbor Russia, and proclaimed a libertarian socialist state.

Following the seizure of power by Lenin and the Bolsheviks, producing a devastating civil war which would go on raging all over the former Russian-controlled territory well into the 1920s, Georgia lost its independence, being sucked into the Soviet Union, similar to many other nations sharing a border with Russia – like Armenia, Azerbaijan, Belarus, Latvia, etc.

A country with a remarkable wealth of history, inhabited since when traces of mankind started to appear on earth, with a deeply rooted Christian culture since centuries, a strong independence movement started to show in Georgia already in the 1980s, when the Soviet system was still destined to last for long in the eyes of many western observers. This independence feeling would culminate in the republic of Georgia leaving the USSR months before its actual end, already in early 1991. Since then, the country is openly hostile to Russia, and the formation in the early 2000s of two de facto Russian-backed independent states – South Ossetia and Abkhazia – over the sovereign territory of Georgia witnesses a mutual state of tension between Tbilisi and Moscow, still lasting today.

Despite this, and almost paradoxically, the Georgian individual possibly best known to the general public and to the world is an eminent communist character, a one-of-a-kind contributor to the history of the USSR and of the world – and someone would say, the most authentic incarnation of a communist leader – Stalin.

While Georgia, most comprehensibly, is striving to delete every tangible trace of the Soviet era – from statues to symbols and pieces of architecture – a few notable exceptions include some of Stalin-related relics in the country. In Gori, Stalin’s hometown, the house where Stalin was born is preserved under a bombastic Soviet-era canopy. Nearby, a unique museum dedicated to the Soviet leader, opened back in the late 1950s with a display of incredible memorabilia, is reportedly the most successful attraction in town, with crowds of visitors still today.

In an old district in Tbilisi you can find another unique point of interest – the so-called Stalin Printing House Museum. It was in this unapparent house that young Stalin operated as a pro-communist clandestine agitator in the early 20th century, well before the Bolshevik revolution in Russia.

This post covers these Stalin-related remains in the man’s home country, with photographs taken in summer 2019.

Sights

Joseph Stalin Museum – Gori

Stalin’s hometown, where he was born in 1878, is dominated by a scenic ancient fortress, sitting on top of an isolated mound. At the time of Stalin’s birth, that was also the geographic center of the town. When Stalin became… Stalin, his birthplace was turned into a place of pilgrimage, and a new purely-Soviet master plan was implemented in the city, creating a new gravitational center around the modest house of his parents.

The long axis which drives you from the major access road and the railway station south of the city to the house follows an almost north-south direction. A typically Soviet alley – straight, too wide and with mostly sad-looking buildings to the sides – links a bridge over the local river to to the house, going through a square with the town hall, built in a Soviet classicist style. A tall statue of Stalin used to stand on the side of the square, and it was torn down only in the 2000s.

Closer to the house, the alley bifurcates into a ‘Y’. Between the arms of the ‘Y’ you can find a garden with fountains and flowers.

To the far end of the garden, the small half-timbered house where Stalin’s parents used to live is preserved under a Soviet-style canopy.

Stalin’s parents were not well-to-do, and they actually rent the house, where they occupied only one room. Back in the 19th century, it was just one in a row of similar buildings. Following the radical reshaping of the area for celebrating the Soviet leader, the whole neighborhood was completely demolished, and only this block was left.

On the side and front facade of the house are marble signs in Russian and Georgian. The ceiling of the canopy features a stained glass light, with hammer and sickle signs by the corners.

To the back of the birthplace you can find a smaller statue of Stalin. Considering his generally acknowledged status as a bloody communist dictator, similar open air statues have been removed almost everywhere in the world – this is one of the few remaining exceptions (another being in Belarus, but most likely apocryphal – look for Stalin’s line museum here).

The most conspicuous building in this celebratory installation is the actual Joseph Stalin Museum, which occupies a pretty large palace in Stalinist style. The master plan dates back to the final years of Stalin, and its realization was carried out during the 1950s.

The building is interesting from an architectural viewpoint, and features a colonnaded porch giving access to a main entrance hall.

The latter is rather formal, with another colonnade and a perspective leading through a staircase to a mezzanine. In the focus of the perspective you can see another statue of Stalin. Every particular in the architecture here is extremely Soviet – grim, menacing, heavy.

The ticket and toilets can be accessed to the sides of the hall on the ground floor, which acts also as a meeting point for groups – but guided visits are not compulsory, you can tour the museum on your own.

Upon reaching the first floor, you meet two busts of Stalin, and a couple of interesting paintings, portraying the young Josip Vissarionovich Dzugansvili – Stalin’s its real name – as a student talking to his class mates at the seminary of Tbilisi, and later as grown-up, well-established Stalin talking to his collaborators.

The museum is composed of a few big halls. The first rooms retrace Stalin’s personal story, and are based on a mix of documents, original or reproduced, newspapers, paintings and photographs. The latter are often reproductions, often magnified – since when he was not yet famous he mostly appeared in group photographs.

Here you learn about his humble origins, and you can see the photographs of his parents, his early school reports and the first known photographs of Josip as a young boy.

A rather brilliant pupil, he was granted access to the Orthodox seminary in Tbilisi – which back then was called Tiflis – where he moved to attend lectures and to grow to become a priest. Some works of poetry from the time, published on local newspapers in Georgian, are part of the exhibition.

Something went wrong at that time, as he got excessively fascinated with the leftmost socialist theories, spread by several authors including Lenin. A rare naive portrait of his meeting with the principal of the seminary, when he was expelled for his unacceptable and dangerous views, is part of the collection.

This was the beginning of a militancy period, when he became known to the department of internal affairs of the Czar due to open subversive propaganda activities. He worked irregularly, publishing clandestine works in Tbilisi (see about his printing house below), holding open-air meetings in port town Batumi, and so on.

Finally, he was arrested and deported by the Czar to inland Russia. As his fame grew, he was tasked with some role in the apparatus of the clandestine political formations headed by Lenin – the factions against the Czar and even in the socialist area were many, and the intricate civil war that followed the 1917 revolution was also the result of the struggle for power of these opposing forces.

Between internment periods, he started traveling to the capital – St. Petersburg. He also met Lenin in Tampere, Finland, a country politically bound to the Russian empire until 1917. Photographs and documents from the time, a suitcase and models of the houses where Stalin resided can be found in this part. Busts including one of Stalin as a young agitator, pretty rare and likely taken from the few portraits from the time, are also parts of the collection.

Again following a historical timeline, you can find more documents and portraits of a grown-up yet young man of the apparatus. It is well known that Lenin, after the 1917 revolution, saw Stalin as a potential problem for the future of the Party. A copy of Lenin’s ‘testament’, telling his comrades to get rid of Stalin, is on display in the exhibition. As a matter of fact, Lenin’s illness and demise in 1924 started a period of transition.

Stalin, by 1922 general secretary of the communist party of the USSR, fought and won against all other members of the communist party, making his appointment in the government the most powerful. He managed to maintain his role until his death in 1953, reigning as an unopposed tyrant at least since the end of the 1920s, when he prevailed over his most strenuous opponent, Trotzkij.

As he started to gain power, official portraits started to appear, both paintings and photographs. These pieces of the collection are also interesting, for not many portraits of Stalin have survived in official displays, after he was condemned by his political heirs.

Also books from his speeches and prints from his personal history, to be distributed to the general public, are displayed here.

Prominence in the communist party of the USSR gained a special status also to Stalin’s family. His mother had a decent place to live, and his son payed a visit more than once – this is the subject of some portraits. A porcelain set from Stalin’s mother household is on display.

Curious artifacts in this part of the museum include a desk from some communist office of the time of Stalin’s purges.

As a marshal in WWII – the Great Patriotic War of 1941-1945 as it was known in the USSR – Stalin reached international recognition and world fame. His ability as a general is open to critics, for he managed to kill most of the most experienced staff in the purges of the 1930s, and appointed generals – mostly like Hitler – based on their political attitude. It is questionable whether without substantial help from the then-allies of the Soviet Union (Britain and the US) a victory against Germany could have been reached, despite a disproportionate number of casualties in the rows of the Red Army. However, the final march to Berlin, which gained him control over half of Europe, raised him to the level of a world leader. The exhibition reflects this recognition, with books by Stalin translated in several languages, gifts from generals of the Red Army – including an authentic monstrosity donated to the museum by WWII hero General Zhukov in the 1960s – and many pictures from the war years.

A showcase is dedicated to Stalin’s sons and heirs. He had five sons, from two wives and other women, and his descent is still existent today.

A corner hall hosts a kind of monumental installation, a small Soviet monument not among the best of the kind. Made of lighted reproductions of photographs, it is a kind of recap of Stalin’s triumphs and special moments.

The next hall concludes the climax, and is really unique. It is a circular room padded with black leather panels. At the center of a circular colonnade you can see at the level of the ground one of the few – apparently 12 – original reproductions of Stalin’s head from his death mask.

Thanks to the special installation featuring a strong symmetry and a special lighting, the head is really magnetic.

Stalin died at 75 in March 1953 in undisclosed circumstances, possibly to the hand of somebody in his entourage. Some paintings from his funeral can be seen around the room, together with a model of the mausoleum of Lenin on the Red Square in Moscow, where Stalin was interred for a few years, until removed when finally condemned by his party – note the writing in Cyrillic ‘Lenin – Stalin’ on the mausoleum, later reverted to ‘Lenin’ only.

The next hall is dedicated to international relationships, displayed through photographs, memorabilia and the plenty of gifts Stalin received in his years as a communist dictator.

There are presents from Georgia and other Soviet republics, and from international delegations. The latter were from both the eastern bloc – Eastern Germany, Poland, China – and most strikingly from the West, and even from NATO countries like France and Italy!

Back to the top of the staircase, you get access to one of the highlights of the exhibition. In a final room you find on display the original furniture of Stalin’s office at the Kremlin. There is a desk with an armchair, a sofa, and a set of smaller chairs. Stylistically not very appealing, this furniture is of course of great historical relevance.

Close by, more unique items are on display in two showcases – Stalin’s personal belongings. There are a few cigars – now decomposing to age – some cigarettes, a cigarette box, a ruler, two pipes, a pen, a chessboard, a hand-written message to a friend, and some other trinkets. Finally, there is a military uniform, with boots and coat.

When you have got intoxicated by the Soviet aura of this place, you can finally get out and visit the last item in the park, Stalin’s personal railway car. This was actually used by Stalin, who did not like flying, to travel around the Union and abroad. He went to Teheran and Jalta conferences during WWII in this car.

The car is special in having a bullet-proof armor all around – which produces a weight comparable to that of a Diesel railway engine… – and some special services, like a bathtub, a personal studio and a meeting room.

Stalin’s ‘memorial park’ in Gori is really a one-of-a-kind museum, of exceptional interest for people interested to his period and his historical figure. You may be surprised by the very existence of this place, primarily because of the well-known and heavy responsibility of this man in mass-murders and misconduct as a head of state, and also because it is located in Georgia, a country openly hostile to Russia and its hard political domination, implemented through the institution of the Soviet Union. It is one of the expressions of the contradictory attitude of most peoples touched by the USSR – including Russians – towards that era. It remains a thought-provoking collection of historical value though – gifts from international delegation from the West are a vivid memory of the recognition obtained by this mass-murderer during his lifetime. They are particularly instructive about how propaganda can draw international consensus to the most unthinkable subjects.

Getting there and moving around

Getting to Georgia from the West will be hardly for Gori alone. Despite the nice, well-kept town center, with the castle and several refurbished churches and alleys, and of course the Stalin-related part, there are far more significant places to visit in Georgia, at least if you are coming from far away to this relatively hard-to-reach angle of the world. Yet Gori is located in a convenient position along the major road and railway connecting Tbilisi to Kutaisi and the coast of the Black Sea, which makes for an ideal one-day or even half-day stop.

The town is a good place to sleep, for there are a number of guesthouses and restaurants, and it does not look derelict or unsafe, differently for instance from more prominent Kutaisi. The whole Stalin-themed park, with the birthplace, museum and railway car, is rather compact, and not big, so visiting may take from 1.5 to 3 hours, depending on your level of interest. This is the main attraction in town. Strangely, I could not find an official website – this is strange for most labels are translated also in English, and there is even some merchandise, so the place is run as a modern museum. However, Google or TripAdvisor timetables were correct at least when I visited.

Plenty of public parking space around the museum.

In town there is also a war museum dedicated to the Great Patriotic War (covered here), as well as other non-communist themed attractions.

Joseph Stalin’s Underground Printing House Museum – Tbilisi

This museum was opened in Soviet times in the place of a house where young Stalin spent some time as a political agitator. His main activity related to this place was printing clandestine material.

Access it through modern Soviet buildings, with a hall which unfortunately cannot be visited.

The house is presented inside a small garden. There are two light buildings, a half-timbered house and a smaller hut.

The two are connected by a deep underground passage. This double access to the underground was of great help to evade controls by Czarist authorities. The main underground hall is original.

Possibly intended as a food cellar, it was used to store a 19th century printing machine – made in Augsburg, Germany, as witnessed by the rusty but still readable factory label!

The half-timbered house is apparently a Soviet-era reproduction of the building originally in place. It is a two-rooms house, very similar to Stalin’s birth house in Gori (see above). The two rooms have been furnished with a few berths and tables, to provide an idea of the original look, and with tons of artifacts from Stalin’s and Soviet times.

These include portraits, photographs, books and emblems. There is also a model of a similar clandestine print house in Baku, Azerbaijan.

All in all, this place has a historical significance as Stalin’s early headquarter, and as a Soviet place of pilgrimage. Differently from Stalin-themed park in Gori, it has been basically forgotten – it is kept open by aged volunteers.

Getting there and moving around

The museum is located at the following GPS coordinates – 41.690454, 44.829999. It is located west of Tbilisi city center, at a walking distance from it, but the walk is not recommended for the neighborhood is nothing special. Going by car or taxi is more time-efficient. Public parking on the street available around the block.

There is no official website to my knowledge. Entrance is by cash only, free offer. See Google for opening times, which are mainly in the central hours of the day. You can visit on your own, but one of the local enthusiasts running the museum will likely provide some information, and there is also a basic leaflet in English. Visiting may take about .5 hours.

JFK’s Last Trip to Fort Worth and Dallas

The murder of President Kennedy in Dallas on November 22nd, 1963 is possibly one of the most well-known news stories from the 20th century. Since then, most theories put forward by both the official prosecutors and wannabe investigators after the crime never appeared completely acceptable.

The main defendant, Lee Harvey Oswald, was shot dead by likely-mafia-affiliated Jack Ruby, two days after Kennedy had been shot. This happened before any court hearing of Oswald, who always protested his complete innocence.

But Oswald was spotted on the crime scene, and his life before that fatal day had not been normal in any respect. Grown up a very poor man from the New Orleans, he enlisted in the USMC, spent years in Japan, changed home at a high pace in the continental US, between New York and Louisiana, learned Russian, applied for Soviet citizenship, established himself in an fantastic flat in Minsk, Belarus (see this account about Minsk), at the height of the Cold War, married a lady from the USSR, moved back to the US with his wife and their baby, collaborated with  communist movements in America while living of nothing in the south of the Nation, appeared in Cuba and Mexico in the years of the Kennedy administration, and finally decided it was time to kill President Kennedy, accused by a part of the military and political establishment of being excessively left-leaning during his years at the White House.

Maybe this man materially acted alone on the day of the shooting – something strongly adversed by many eyewitnesses and even scientists and analysts, based on ballistics – but with a curriculum so pointed of oddities, especially for the geopolitical situation of the 1950s and early 1960s, it is hard to imagine he was not part of something bigger.

An excessive number of pretended coincidences in the reconstruction by the investigators have largely discredited the official theories, in turn creating a mystery around the actual crime.

As time is passing and people involved are disappearing, chance to find the truth about the intricate plot behind the assassination are waning. Yet this unsolved crime has fueled decades of controversy, with tens if not hundreds of books written, as well as TV series and blockbuster movies produced – and it is still an intriguing topic for many, who come to see the famous Dealey Plaza in Dallas, where the shooting took place, making the local museum in the Texas School Book Repository one of Texas’ five all-time most visited attractions.

Being in the exact place where the famous Zapruder movie was recorded produces of course a strong impression. Yet there are more places in Dallas and Fort Worth related to the famous last visit of JFK to this major industrial focus of the nation, which albeit less impressive than the actual crime scene, may be interesting to find and visit for the most committed visitors.

This post portrays some of the most famous and of the least known places connected with Kennedy fateful 1963 trip to Texas. Photographs were taken in summer 2018.

Map

This map reports the focal points of President Kennedy’s visit to Texas on November 21st-22nd, 1963.

Kennedy flew in and out Fort Worth from Carswell AFB (now NAS Fort Worth reserve base), arriving on November 21st, and departing in the morning of November 22nd to Dallas Love Field – a very short hop for Air Force One.

You can see places in Fort Worth and Dallas connected with both the actual and scheduled route of Kennedy’s visit (blue placeholders), plus the route of the motorcade from Love Field to Dealey Plaza and back (blue line), with a stop at Parkland Memorial Hospital, where JFK was pronounced dead at 1:00 pm, November 22nd.

Orange placeholders are locations connected with the shooting – where JFK was (surely) hit, famous spots on the crime scene, etc.

The movements of L.H. Oswald have been partly reconstructed by the prosecutors, where some have been ascertained based on sightings by witnesses. These are shown in yellow and red respectively on the map. Red placeholders show the location of Oswald sightings or places connected with his story.

Green placeholders show the positions of notable monuments connected with the assassination of President Kennedy.

Navigate this post – click on links to scroll

Sights

Sights are listed going along the time-line of the days of JFK’s visit.

Hotel Texas (now Hilton) & JFK Tribute, Fort Worth

President Kennedy spent the night between November 21st and 22nd in the Texas Hotel, located on Main Street in central Fort Worth. Today this nice, early 1920s building is still there, listed among historic landmarks. It has changed hands more times in the last decades, and is now run by Hilton, with the name Hilton Fort Worth. Built on the opposite side of the square where the convention center is located, it is still today a primary business hotel in town.

In the square ahead of the hotel is a monument dedicated to JFK, with a statue and citations. This was the location of the last public speech the President gave, before breakfast on November 22nd.

Later on that day, he held a scheduled speech in a hall of Hotel Texas, before going to Carswell AFB (now NAS Fort Worth), west of downtown, to board Air Force One to Dallas Love Field. Air Force Two soon followed.

Dealey Plaza, Dallas

Monuments in Dealey Plaza

The curious composition of white colonnades and pergola-shaped monuments in Dealey Plaza is the result of an architectural master plan for the area, completed in 1940.

Despite the weird aura that will enshroud the square for many years to come, the composition is actually very nice, with two opposing fountains ahead of the colonnades welcoming you when entering the square from Main Street. This is exactly what the motorcade did, turning right on Houston Street and first left on Elm street, where JFK was hit (see map).

The pergola on the ‘grassy knoll’

The northernmost part of the composition in Dealey Plaza is a curved white pergola, placed on top of a knoll, at an elevation of roughly 10 ft above the road. This is a vantage point for watching Elm street, which starts descending gently from Houston Street towards the railway triple underpass. It was here that Zapruder was standing, together with many eyewitnesses, shooting his now super-famous video (see map).

You can get a 360° view from close where Zapruder was standing from this video.

Here you see an example photo sequence of a car passing by along Elm Street, following the same route of the presidential motorcade.

A crowd was standing also on the southern side of Elm Street, at the level of the road, from where the pergola and the wooden fence on top of the grassy knoll can be seen very clearly. Looking uphill towards Houston Street, you can see the Texas School Book Repository, and the half-open window from were somebody fired at the motorcade.

‘X-marks’ on Elm Street

Two white X-marks have been painted on the ground where, based on official investigation and findings, President Kennedy was hit, while his motorcade was driving along Elm Street.

The first is located immediately after the crossing with Houston Street, where the motorcade turned left. The pictures below shows the window on the sixth floor of the book repository from the spot of the hit (actually behind a tree), and the wooden fence under the trees on top of the grassy knoll. The wooden fence has been indicated by many as the position of a second shooter, and some have sustained they saw shots coming from there.

Taking into account the elevation from the ground of the window on the sixth floor of the book repository, the total distance to this first X-mark is similar to that from the fence. Yet the trajectory of a shot from the fence would have come dangerously close to Zapruder and all folks between the knoll and the sidewalk.

The second X-mark, that of the fatal shot to the President’s head, is located further west. Looking from here again to the window on the sixth floor and to the fence, it is apparent that the latter spot would be a far easier point for shooting – very close -, while on the other hand recording a hit from the former would be a real challenge.

Close by the X-mark corresponding to the fatal shot, the National Historic Landmark placard of Dealey Plaza has been placed on the sidewalk.

You can get a clear impression of how fast everything must have happened watching this video of my car running along the route of the motorcade, from Main Street down to under the triple underpass.

The wooden fence on top of the ‘grassy knoll’

The fence on top of the grassy knoll divides the grass on the northern end of Dealey Plaza from a parking area on the side of the book repository. The elevation over Elm Street and the little distance from it, makes this place a good spot for targeting a car passing on the position of the second X-mark – that corresponding to the fatal shot.

To the back of the fence, the old railway switching tower from the 1910s played a part in the mystery. On the morning of the assassination, Lee Bowers was on service in the tower. He reported to the prosecutors that about 15 minutes before the shooting he had noticed a car slowly circling in the parking. At the time of the shooting two figures were standing by the fence, and he saw fire and smoke coming from their position. He provided details about the cars and an these men.

Lee Bowers died in a car crash without witnesses in summer 1966, when he gently launched his car out of the road while driving alone in the countryside somewhere near Midlothian, south of Dallas.

The triple underpass

This Art Deco railway bridge, dating from older times than the monuments in Dealey Plaza, is another good vantage point for a comprehensive sight of the stage of the assassination.

It has been supported that a witness standing on the grass south of Elm Street and close to the underpass was wounded by a fragment of the curb, produced by a bullet hit. This might have been a missed shot.

Texas School Book Repository & Sixth Floor Museum, Dallas

The building of the book repository, located on the northern side of the crossing between Houston and Elm, has been taken over by the city government for administrative functions. A museum has been opened on the sixth floor, from where shots were allegedly fired against the motorcade.

The museum is very modern. After paying by the entrance, you are given an audio-guide and you are directed to an elevator going up to the sixth floor.

You can walk along a nice exhibition mostly based on tons of photographs and reproductions of original documents, papers, agencies, documents, dossiers, and so on. Before showing the chronicle of events during the last trip of JFK and the events of the assassination, you are told about the general political and social situation in the years of Kennedy administration, so as to reconstruct the big picture and the meaning of this trip. There was much criticism about it, and you can see some unwelcoming headlines from newspapers, telling about a tense political situation in Texas. There are several videos playing loop.

Of course, an accurate reconstruction of the shooting is the main topic of the exhibition. Frames from the many videos recorded by the witnesses allow to have an almost second-by-second account of the last minute in the life of JFK.

Far less known than others are some pictures of the motorcade taken seconds after the shooting, when the cars accelerated under the triple underpass, with men of the secret service bent over the wounded President. Witnesses on the opposite side of the underpass had not noticed the shooting, and they were probably stunned watching the motorcade rushing away.

There is a dinner set from the scheduled luncheon Kennedy was heading to, prepared in the Dallas Trade Mart. A picture of the announcement of the assassination to the attendees of the luncheon waiting for the President is particularly striking. Detailed maps are displayed of the motorcade route, of the movements of L.H. Oswald, and of the emergency rooms of the Parkland Memorial Hospital where JFK, Vice President Johnson and Governor Connelly were given medical assistance.

A highlight of the museum is the area around the corner window from where shots were fired. An accurate reconstruction of the exact position of the boxes around the shooter’s position has been set up, based on photographs from the time.

Access to the window is interdicted, but you can get an idea of the view enjoyed from there from the third window from the corner.

Further items of interest include cameras and video recorders used by the witnesses, and a detailed map of the standpoints of most witnesses who made a video recording, or did take pictures.

An area of the exhibition is dedicated to Oswald, his arrest and his murder in the Police headquarters, which took place on November 24th, 2 days after JFK was killed. You can see copies of official documents, a ring belonging to L.H.Oswald, and the suit worn by Detective Jim Leavelle – the man portrayed in the video of the assassination of L.H. Oswald by Jack Ruby, leading Oswald out. At the time of writing, Texas-borne Jim Leavelle, borne 1920, is one of the few living primary witnesses of that dramatic episode.

Finally, the place where the old rifle used to fire at the motorcade from the window was found soon after the shooting, with Oswald fingerprints, has been reconstructed with the same accuracy of the firing position.

Parkland Memorial Hospital, Dallas

After the shooting, the motorcade accelerated keeping on the scheduled route (see map). It is noteworthy that the Trade Mart, where JFK should have had lunch, is not far from the Parkland Memorial Hospital, which is between the Trade Mart building and Love Field (see map).

President Kennedy and Governor Connelly were quickly drawn into emergency rooms, whereas soon-to-be-president Lyndon B. Johnson received medical attention in another area.

Officer Tippit’s Murder Scene, Dallas

Soon after he was spotted in the Texas School Book Repository minutes after the shooting, L.H. Oswald left for home. Initially caught in the traffic after taking a bus, he moved around pointlessly not far from Dealey Plaza, finally taking a cab to go home. He got off some blocks past his house, where he returned by foot (see map). He soon left, and at about 1:15 pm, 45 minutes after the assassination of JFK, he reportedly killed police officer Tippit in a quiet residential area. The place is marked by a placard (see map).

Lee Harvey Oswald was arrested less than an hour later, on account of Tippit’s murder. Only hours after his arrest, during the night of November 22nd, he was accused of the assassination of President Kennedy.

Texas Theater, Dallas

After shooting officer Tippit, Oswald left along Jefferson Boulevard, presumably walking to the Texas Theater. This movie theater, with a flamboyant front facade, used to be owned by Howard Hughes, and it was the first in Texas with air conditioning.

L.H. Oswald was arrested at about 1:50 pm, about ten minutes after he had entered the theater, 1 hour and 20 minutes after the murder of JFK.

JFK Memorial Plaza, Dallas

A monument to President Kennedy, designed by Philip Johnson, was erected in 1970 one block east of Dealey Plaza (see map). The monument, made of concrete, resembles an empty tomb.

Getting There and Moving Around

The JFK monument in Fort Worth is in a public park, as well as the JFK memorial in Dallas. They can be neared at all times.

Dealey Plaza is regularly open to car traffic, as you can see from the videos above. Parking is possible in the many public parkings around the area. Once there, you can move around freely at all times.

I drove along all the route of Kennedy’s motorcade, which except for a few closed roads can be done still today. Very nice indeed, as you will cross beautiful downtown Dallas. Of course, you can follow the route of Kennedy’s car in Dealey Plaza, as shown in the videos above.

The Sixth Floor Museum at Dealey Plaza is a world-class, up-to-date museum, and one of the most visited attractions in Texas. Website here.

Spomenik – Iconic Modern Art from Tito’s Yugoslavia

Soon after the end of the war Tito and the Communist Party of Yugoslavia started a fight against the Soviet Union to escape Stalin’s direct control – a fight where they succeeded, creating in Yugoslavia a unique, truly communist dictatorship totally under Tito’s power, and not just another soviet satellite country.

To make differences from the USSR more apparent, artistic production, often representing an internationally recognized value for a country on the international stage, needed to part from the rhetoric of socialist realism of Stalin’s years. New, original aesthetics were sought, capable of expressing the modernity of Yugoslavia, while being not free from the control of the State, celebrating and promoting unity in a country which had never enjoyed national unity – something later reflected in the bloody split of the 1990s.

Tito’s aesthetic views for the new post-WWII Yugoslavia are greatly reflected in the project for the realization of an array of hundreds of monuments, to be designed and erected in locations scattered over the whole territory of the former Federal Socialist Republic of Yugoslavia. These monuments go under the name of ‘spomenik’ – an internationally known word in the local idiom, simply translating into ‘monument’.

Most of these spomeniks commemorate some bloody facts of the Second World War – most often a local battle between Yugoslav communist partisans and the German Wehrmacht, or the Italian Army of the ‘Duce’, but also clandestine congresses of local subversive communist groups, mass murders by the Axis invaders, and so on. The realization of the project, sometimes fueled by the local interest to keep the memory of a historical fact of regional relevance, but in any case coordinated by the Communist Party, took a long time span, with most of the monuments designed and built over the 1960s and 1970s, before Marshall Tito died (1980).

Besides the historical significance bound to the events they commemorate, two facts make spomeniks an interesting target for curious travelers. The aesthetics of these monuments is often non banal, showing an attention to details and an artistic sensibility which is not usual to communist-ruled countries. In this sense, spomeniks sometimes stand out as very original, interesting – and pretty massive… – works of art. Secondarily, as the events they commemorate often took place in remote areas, spomeniks can be found in incredible natural spots of the former territory of Yugoslavia, immersed in the wilderness or in the middle of a gorgeous natural scenery, not easy to reach and isolated from civilization.

After the end of communism and following the secession wars of the 1990s in the Balcans, many spomeniks fell into disrepair. Today, some of them have been refurbished, while others have been completely demolished, reflecting a mixed feeling of the local population towards this artistic heritage. A good share of them has been simply left behind, gaining the typical ‘ghost aura’ of the architectures of former communist countries.

For hunters of historical relics, spomeniks are double-attractive – not only are they tangible traces of a bygone communist dictatorship with unique traits, but they stand out for their often severe appearance, like traces of a mysterious alien civilization, now long gone.

This chapter presents a handful of these monuments, which you can find along an ideal itinerary connecting the capital cities of todays republics of Montenegro, Serbia, Bosnia & Hercegovina and North Macedonia. These are just a very small set out of the total, yet some of them are among the most famous and artistically valuable. Furthermore, except those in North Macedonia, they can be reached without any substantial detour from the major roads connecting Podgorica, Belgrade and Sarajevo, thus making for an interesting ‘side visit’ on your way from one of these nice cities to the next, on a cultural trip to the area. Similarly, many spomeniks in North Macedonia can be found close to touristic locations. Photographs were taken during two visits, a week-long tour in Spring 2019 (Montenegro, Serbia, Bosnia & Hercegovina) and a long week-end in late Summer 2019 (North Macedonia).

If you are interested in a deeper analysis on the history and art behind spomeniks, or you are looking for a more complete directory of these monuments, please refer to this great resource site.

Map

The following map shows the detailed location of all the spomeniks listed in this post. I personally checked all of them, so the location is very precise. As you will notice, most of them are fairly easily accessible from major or paved roads. Some of them will require a little bit of walking from a parking area to the monument itself.

Navigate this post – click on links to scroll

Sights

Kolašin, Montenegro

This spomenik is actually a one-of-a-kind example of ‘spomen-dom’, i.e. a monument not designed just to be admired from the outside, but conceived as a building, to host meetings and services inside. The site is right in the central square of the village of Kolašin, in the southeast of Montenegro not far from the Serbian border. This town has been a vital center of the anti-fascist resistance in WWII, when the territory was first subjugated by the Italians, and later by the Germans.

The spomenik was designed and built under the supervision of the renowned architect Marko Mušič in the early 1970s. Its age is especially reflected in the use of gray concrete for most of the visible structure. The triangular shape dominating the highest part of the building may recall the typical shape of the traditional houses built in the area – chalet-type, with a triangular roof – or even the tops of the Dinaric Alps all around.

Being a building more than a monument, this spomenik is rather big. Today, the village is an active skiing center, thanks to the great position in the mountains. The spomenik is being used for administrative functions, and blends effectively in the central square of the village. Yet its appearance is today so-so, and maintenance is clearly not enough to preserve it for long. As a matter of fact, inspite of the architectural value which gained it a place in books of architecture, a long future for this spomenik is reportedly not assured.

Getting there and moving around

The spomenik is easily reachable right in the city center of Kolasin, a small town with some up-to-date touristic structures for the winter season – the location is really gorgeous. Free parking all around the central square. You can walk around the spomenik without restriction, but stepping inside is possible only compatibly with the local administrative functions.

Berane, Montenegro

Possibly one of the most elaborated spomeniks, the monument in Berane was built on the spot of an ancient Turkish fortress, now totally gone, in a secluded location immersed in a forest close to this contended town. In the close vicinity of the spomenik, nine students suspected of being part of the resistance were executed by the Italians in 1941. The town of Berane changed hands several times during WWII, and it is estimated that about 6’000 people were killed in the area in the military and para-military actions over the war years.

The spomenik, designed by the Serbian designer Bogdan Bogdanović, was inaugurated in 1977 on a small grassy field, a really nice spot in the forest. It is mainly composed of a more than 50 ft tall conical dome, with a number of massive dark stone slabs delimiting a regular curved perimeter around it. These slabs are carved with interesting symbolic ideograms, telling – among other things the story – of a local clan.

Today, despite its relative remoteness with respect to the town center, the place is actively maintained, frequented by the locals, and in a definitely good shape. Thanks to the secluded position, as well as to the inscriptions in a fantastic archaic language, this spomenik is very mysterious and particularly fascinating – it resembles a megalithic alignment, or a setting from the Lord of the Rings!

Getting there and moving around

The spomenik in Berane cannot be approached by car directly. You will need to face a steep climb uphill on a well-prepared and maintained trail. A 10 minutes walk uphill is needed for a well-trained person. The location has been used for local concerts and commemorations, and is carefully maintained as a park area.

Ostra, Serbia

This spomenik was built on the site of a battle which took place between opposing factions of locals – some of them collaborating with the Axis forces – in 1943. This was just an episode in the larger confrontation between these groups, taking place in the area of the nearby center of Cacak. Notably, the soviet Red Army contributed to the struggle in the last stages of the Axis occupation period, obviously on the side of the local communist partisans.

The monument, designed by Miodrag Živković and Svetislav Licina, was inaugurated in 1969, and was composed of a concrete slab with an inscription in Cyrillic, and a perspective leading to the focal point of the spomenik – an abstract aluminum sculpture, with a sober appearance, pointing diagonally towards the sky. By looking closely to this monument, you can see stylized human faces in the side of it. The metal sculpture is located on top of a hill, with a very scenic view of the surrounding hills.

Despite the metal sculpture being today still in a fairly good condition, the original appearance of the site has been heavily altered by the building an Orthodox church between the concrete commemorative stone and the prominent sculpture. This happened around 2010. Strangely enough, at the time of my visit the church was not open, with parts of furniture provisionally stored ahead of the main door, giving a bad sense of neglect.

Clearly, a church built right in the middle of the spomenik area means that there is not a particular good feeling about this monument. Also the inscriptions by the entrance of the perspective are largely spoiled, with many letters now missing. Yet somebody put flowers by the metal sculpture, which is not heavily spoiled by writers.

All in all, despite the bad general shape and the strong alteration, the location dominating the area and the imposing, sober appearance of the aluminum part is particularly suggestive, and makes for good photo opportunities.

Getting there and moving around

Accessing this spomenik is rather easy. The road reaching the top of the hill is a local asphalt road, which does not pose any special difficulty. Close to the church there is a small parking area, and the metal monument can be reached from there walking on a flat, open grassy area.

Kragujevac, Serbia

What you can find in Kragujevac is not just one spomenik, but a huge and very nice city park with several monuments scattered around. Construction of this park was started by an official decree back in the early 1950s, on the site of the major massacre of Kragujevac. This bloody episode is one of the worst suffered by the civilian population in occupied Yugoslavia, when by the order of the Nazi governors, more than 2’300 from the local population – selected based on race, political views or religion – were systematically killed in a field. The general governor of Yugoslavia responsible for issuing the order – which can be traced back to the German OKW in Wünsdorf – was later trialled for this in Nürnberg after WWII.

The park is still today very well-kept, interdicted to road traffic and only open for walking. Several spomeniks can be found scattered over the park, together with a museum dedicated to the massacre close to the main road access. One of them, and likely the oldest, is the monument called ‘Pain and Defiance’, dating from 1959.

The most famous, and one of the most internationally well-known, is dedicated to pupils and teachers killed in the massacre. It was designed by architect Miodrag Živković in a distinctive ‘V’-shape, about 25 ft tall and 45 long. Despite looking granite, it is made of almost-white concrete. On the face of the monument, it is possible to spot the shapes of human faces and figures. This monument was inaugurated in late 1963.

Located on a gentle slope on the side of a grassy valley, this spomenik occupies a really nice and quiet spot. The nice and peaceful walk leading to it encourages remembrance.

Getting there and moving around

The park is a very well-kept city park, crossed by a few roads which are interdicted to general traffic – basically no cars can enter, I guess these roads can be accessed by car only on special commemorations or similar occasions. Parking is easy close to the museum – itself a rather distinctive construction. A big map of the site can be found on a post close to the parking area (see pics above), and several signs allow you to tour the park, meeting the many monuments according to your interests. Reaching the ‘V’-shaped monument from the main access involves a 10-15 minutes walk along a perfectly prepared road.

Kosmaj, Serbia

Possibly one of the most iconic of all spomeniks, the Kosmaj monument is located on top of a hill, and partly visible from quite a distance, emerging from the treetops. The location was chosen as the foundation site of the Kosmaj partisan detachment, who contributed substantially to the resistance efforts against German occupation forces, with thousands effectives killed or wounded.

The monument was designed by sculptor Vojin Stojić, and unveiled in 1971.

The sinister shape of this monument, looking like an alien creature landed on top of the hill, on an isolated spot far from civilization, may strongly appeal to hunters of weird places. What further adds to the ‘mystery aura’ of the place is the fact that, while generally not in a bad shape and far from rotting, the monument appears somewhat forgotten – far from everything, little maintained or looked after.

Another impressive feature which is rarely captured by photographs, is that this object is about 90 ft tall! Access is via a poorly maintained stair, or by a little longer access walkway. Getting closer, you have a clearer impression of its gigantic size. The five concrete pinnacles composing the monument and making for a spiky whole from the distance, are actually separated from each other. The monument appears to change shape continuously as you walk around and under it, making it very interesting to watch from different angles.

Considering the remote, silent location, the late evening time of my visit, and the wind blowing in the trees, this was possible the most mysterious and magnetic of the spomeniks I could see on this trip!

Getting there and moving around

Due to its size and prominence, the Kosmaj spomenik was conceived as the focal point of an area for war commemorations, as well as for more widely themed social events. The area on top of the hill comprises a football field, a playground and parking areas. All this today is far less used than in the communist era, and its ‘ghost appearance’ adds greatly to the mystery aura of the place. The spomenik can be accessed along a one-way loop road, going around the top of the hill. Today you can freely get access to this road and get very close to the spomenik with your car. The monument can be finally reached via a poorly maintained, short concrete staircase, or via a longer walkway. I would say access is of course very easy. The location is also reasonably close to Belgrade, with a modern highway connecting the area with the Serbian capital city.

Avala, Serbia

This monument stands out of the crowd of the Yugoslavian spomeniks for it is not built to commemorate an event of WWII, but instead it remembers the fatal crash of a passenger flight, which occurred in approach to Belgrade. The year was 1964, and the flight was carrying 22 Soviet war veterans, who had participated in the ‘Liberation war’ of Yugoslavia against the Germans, from Moscow to a commemoration ceremony to be held the following day. The cause of the accident was never clearly determined, but it was likely due to a technical mishap.

The bronze spomenik you can see today was designed by sculptor Jovan Kratohvil on the very location of the crash, and inaugurated in 1965 on the first anniversary of the fatal accident. The names of the war veterans who perished are recorded on a stone.

This monument is more modest in size than most famous spomeniks, and the good quality of materials, its proportion and the great view over the hills leading to Belgrade – the famous Avala tower, with its famous panoramic deck, is less than a mile from here – make for a very nice and scenic ensemble. Furthermore, the mint state of conservation is really noteworthy.

Getting there and moving around

This spomenik can be reached along the same loop road going to the Avala WWI memorial and to the Avala tower with its panoramic view. There is a small parking nearby, and access is via a short staircase which is already part of the monument. The monument is well cared for, and the area is rather busy with local and international tourists.

Kadinjača, Serbia

The scenic spot where this extensive monumental ensemble has been arranged was the setting of one of the first battles between the partisan army – a group called the ‘Workers’ Battalion’ – and the German Wehrmacht. The latter was trying to reach the town of Užice, giving shelter to the top ranking staff of the Liberation army, including Marshal Tito. The battle was finally lost by the partisans in 1941, but they allowed the local population and the partisan commanders to flee the area, before the Germans troops poured in.

The area of the final fight was selected for a national monument as soon as 1952. A plain obelisk was put in place. Years later, in 1979, a huge monument designed by Miodrag Živković was unveiled at the presence of Tito, with a huge crowd attending.

The plan of the monument has its focus in the old prismatic monument of 1952. Around it, an interesting ensemble was added in 1979, with an amphitheater on one side, and two sets of granite and concrete abstract sculptures on the other.

A first group of sculptures, with very stylized human faces emerging from the sides and on top of the stones, constitute a first circle.

A second group is made of massive white slabs, culminating in one loosely resembling an armor pierced by a bullet. The installation is about 300 ft long, and the ‘pierced armor’ piece is about 45 ft tall. Yet the group is well proportioned and blends perfectly in the panorama around it.

The great state of conservation is testified by a modern multi-language placard with explanations about the history of the place. The spomenik is complemented by a museum and by a few weapons permanently displayed outside – themselves a memorial of the battle fought in the area.

This is a popular tourist destination, on the road going to nearby Visegrad (in Bosnia & Hercegovina), with its famous ancient Ottoman bridge.

Getting there and moving around

This spomenik is difficult to miss, visible from quite afar and perfectly accessible from a major road. Extensive parking ahead of the museum. Walking around does not pose any particular difficulty.

Tjentište, Bosnia & Hercegovina

Really an iconic masterpiece in the panorama of Yugoslav spomeniks, the monument in Tjentište benefits also from the fantastic location in the mountain range marking the border between Bosnia & Hercegovina and the republic of Montenegro. The proportions of the scenic views of this mountainous area are really more typical to the Americas than Europe!

This famous ‘winged’ monument is located on the area of a bloody battle fought in spring 1943, when the Axis force attacked some partisan groups commanded directly by Marshal Tito, in a deliberate attempt to kill their commander, hoping that in so doing they would succeed in undermining the rebel force. In the ensuing battle of Sutjeska around 7’000 besieged partisans were killed, but Tito finally was able to escape the area.

This battle acquired a special, almost mythological meaning in the history of communist Yugoslavia. A first commemoration stone – actually a mass grave for some thousands partisans – was put in place already in 1958, whereas the huge spomenik you see today, designed by Miodrag Živković, was unveiled in 1971 at the presence of Tito, who reportedly put much personal attention on the realization of this very monument.

The two massive concrete wings are enriched by human faces, only sketched and arranged so to form the roots of the wings themselves. Looking closely, you realize that the two monoliths are different from one another. Furthermore, their irregular, strongly 3D shape makes them look different depending on the point of view.

The monument is located half way on an ascending slope. Going further uphill you meet a termination point of the perspective, where the names of several partisan brigades are recorded. Looking down to the wings, you see them taking yet another shape!

This monument blends really well with the majestic scenery around. While being a sober and proportioned work of art, it is at the same time massive and sinister. The ensemble is really an artistic masterpiece, yet it bears some authentic ‘Yugoslav-communist style’ marker, making it a somewhat paradoxical ‘official communist ghost’!

On the side of the perspective leading to the winged monument, there is another spomenik – actually a ‘spomen-dom’ – which is known for hosting commemoration inscriptions and rare war-themed artistic frescoes, which were unfortunately damaged in the 1990s wars.

While in the years of Tito this was one of the most visited national monuments in the Country, its fame went down dramatically with the end of communism and with the following wars of secession, which struck heavily in this uninhabited valley reaching to ill-fated Sarajevo. With this in mind, the main perspective and the winged monument are surprisingly well kept, and they are gaining further popularity among relic-hunters, thanks to the undeniable charm of this spomenik. There are reportedly several other less prominent spomeniks in the area of the 1943 battle, including the ‘spomen-dom’, but unfortunately I had not the chance to investigate further about their state of conservation.

Getting and there and moving around

Getting there is possible along a national road going from Sarajevo to central Montenegro. Free parking is available at the base of the perspective leading to the winged monument. Getting closer to the latter involves climbing a flight of stairs. To get to the far end of the perspective you will need to climb another conspicuous flight of stairs. The winged spomenik is very well kept, and the area is really scenic – today it is a national park -, really justifying a detour from Sarajevo, or choosing this road to go to Montenegro from the Bosnian capital city.

Obadov Brijeg, Montenegro

This spomenik is an example of smaller designs, which constitute the majority of these monuments around former Yugoslavia.

The ‘bird-like’ monument in Obadov Brijeg, not far from the famous Orthodox monastery of Ostrog – built in the side of a mountain ridge nearby -, commemorates the victorious fight against the retreating Germans in fall 1944 of a coordinated force of local partisans troops, British artillery and Allied aircraft.

The spomenik was designed by the renowned architect Slobodan Vukajlović, and unveiled in 1974.

Unfortunately, as of today, this small monument appears little respected – mostly used as a roadside dump by travelers.

Getting there and moving around

Totally easy to reach if you are traveling north on the M18 road. The site is immediately visible when passing by, it is easily accessible thanks to a small rest area nearby, but unfortunately not well maintained and even dangerous to come close to, due to the garbage around it.

Golubovci, Montenegro

This monument by the local architect Vukota Tupa Vukotic was erected in 1974 close to the airport of Podgorica, the capital city of Montenegro, which received the name of Titograd in the years of communist Yugoslavia. This happened in recognition of its sacrificial role in the years of WWII, when after the Germans took over control of the area conquered by Italians, following the end of fascism in Italy in 1943, the city was stricken by heavy Allied aerial bombing, causing its almost complete destruction.

Podgorica was strategically located along a communication route going to the occupied territories of Albania and Greece, and for this reason the German Army was particularly present in the area – thanks to the airbase already in place in WWII. As a result, attrition with local partisans caused further casualties.

The monument commemorates the action of the partisans in the area. The abstract sculpture is sober and well proportioned. Besides the focal point – the sickle-shaped object in the middle of the construction – there are metal panels with a more traditional iconography, portraying battle scenes, as well as writings and tombstone-like stone panels.

The ensemble is located in residential area very close to the airport, and is actively maintained, so it has a sober, not derelict aspect.

Getting there and moving around

Very easy to reach along a major local road on the western side of the airport. Parking nearby is easy, and there are no major obstacles impeding access. The monument is well-kept and cared after.

Barutana, Montenegro

This spomenik honors the many losses experienced by the population from the area west of Podgorica in the Balcan wars, WWI and WWII. Three distinct monuments based on the same design are located on the side of an ascending path, leading to a double terrace on top of the monument.

Half of the double terrace features a full-scale amphitheater, with small granite seats forming a nice ensemble. The focal point of the double terrace is a torch-like sculpture about 30 ft tall, made of several separated adjoining components.

Between the torch-shaped sculpture and the amphitheater there is a stage. The object was created for meeting purposes, especially for schools but more generally for social events. Traces of the lighting for night performance can be still be seen.

This nice ensemble was completed in 1980 after a five-years-long construction work. The design is due to the local architect Svetlana Kana Radević.

Unfortunately, the place is not maintained any more, and while still in a relatively good shape – sufficiently far from downtown Podgorica to be spared misuse and vandalism – it is apparently falling into oblivion. This adds to the ‘communist ghost’ aura of the place, which you can perceive also in plain sunlight!

Getting there and moving around

This spomenik can be spotted from the road going from Podgorica to the coast. It is located immediately on the side of the road, but the only feature you see when driving by is the torch-like monument – vegetation is hiding the base of the monument. There are three small access roads, and once there you find a large parking area. The monument is not degraded – no garbage around – but it is clearly in need of restoration works. The stairway gently ascending to the top terraces are consumed and will be soon unserviceable.

Botun, North Macedonia

The Botun monument commemorates the struggle of the local partisans from all over the area, known as Debarca. This is located northeast of Ohrid, a very nice touristic town on the coast of a beautiful lake, close to the border with the Republic of Albania. The combatants from this area managed to liberate the area from the Italian-backed occupying forces in Spring 1943, well before Italy surrendered to the Allies in 1943. The Wehrmacht then retook control of the region until 1944, when communist partisans finally repelled the Germans.

This rather unique episode is celebrated through a rather simple monument, apparently composed by two stone wings or flames, surrounding a central body bearing a commemorative inscription.

Unfortunately, the monument is in complete disrepair, the pavement basically disintegrating due to poor maintenance.

The overgrown vegetation hides luckily hides small deposits of garbage. Yet the location in the deep of a wild valley makes it potentially interesting as a stop along a major road.

Getting there and moving around

The Botun monument is easily reached along the E65, connecting Ohrid Airport to the north and Skopje. It is immediately on the side of the road, easier to access when driving south. There is small parking space at the level of the road where the small access roads depart to the monument apron. The site is not maintained, but not difficult to access or tour either.

Struga, North Macedonia

The spomenik in the town of Struga, on Ohrid Lake, designed by Vojislav Vasiljević, was delivered in 1974. It commemorates the more than 300 casualties in the Macedonian ranks from the Struga area during WWII. The area fell under control of the Italian-backed kingdom of Albania until mid-1943, when after a short independence it was occupied by the Germans.

The monument is rather simple, but differently from the majority of spomeniks it is located right in the city center. The composition, made of a small mound with access stairs and a white spike on top of it, is rather difficult to miss.

On one side of the monument, abstract in nature, a rather kitschy representation of an infantry charge has been added possibly in a later stage.

There is also a side commemoration panel with writings in Cyrillic. The monument has been reportedly refurbished in 2019, and its appearance is consequently good (apart from small vandal printing on the sides you can see in the pictures).

Getting there and moving around

Reaching the monument is possible by foot. It is located in the middle of the town, on Marshal Tito square. You may leave your car in one of the many parking areas around central Struga and walk along the river to get to the monument.

Oteševo, North Macedonia

Little is known of this monument, unveiled in 1973 on the side of a hill overlooking Prespansko Lake, on the border between North Macedonia, Albania and Greece. The architects are Jordan Grabul and Boro Josifovski.

The area appears to be a former touristic location for lakeshore activities. Today it is still very nice from a natural standpoint, yet the touristic centers – hotels, camping area, … – from the communist era are now closed, and make for a mysterious setting.

The spomenik resembles a flame, put on top of a stone stair. You can see an original inscription, as well as a star decoration in the base of the flame. On one side you can still find a flagpole.

The monument is in a so-so condition. It is sufficiently far from the road to having been spared major vandalism. The staircase is in a relatively good condition, and vegetation is not excessively overgrown. On the other hand, it is apparently not of great interest for the local population, which do not advertise it at all.

Getting there and moving around

The monument can be reached very easily from the road R1307 in Oteševo. The village is rather unapparent, and the monument is shrouded in the vegetation. You may notice the stair access from the road. Parking at the base of the stairs is difficult, but you may find a parking place ahead of the gate of the nearby camping site – as of 2019, apparently largely abandoned.

Kruševo, North Macedonia

This spomenik is possibly one of the best known in and outside of former Yugoslavia. This is somewhat paradoxical, as the monument came out with significant delay and after much controversy. On the other hand, maybe its fortune especially after the end of communism is partly due to its dedication – it was built to celebrate a huge uprising of the local population against the Turks in 1903, led by a local school teacher named Nikola Karev, settled in blood by an entire army of the Ottoman empire.

The lack of an immediate link to WWII events and communist-led struggles generated some criticism, but this actually came after some years were spent trying to find a compromise concerning the design itself. The architects, Jordan and Iskra Grabul, despite a proven communist faith, had a very hard time with the state commission who had issued the design.

The monument was finally unveiled in 1974, on a hill just out of the Krusevo village. It is composed of a gently ascending access road, with small monuments resembling broken chains. A first stop along the access road is a kind of open air crypt, with protruding cylinders bearing the names of places and people linked to resistance actions in the history of Macedonia. Apparently, no one from WWII years is included.

At the end of the road, on top of the hill, you can find a small open-air theater surrounded by curved walls decorated with colored tiles and sculptures.

The axis of the theater is aligned with the main body of the monument, a very peculiar construction, roughly spherical, with many tubular protrusions pointing radially from the surface. Whatever the intended meaning, it looks like a virus or something else from a biology book. Access to the sphere is through an inclined footbridge leading to a door.

During my visit, the door was unfortunately locked closed. Inside you can find the grave of Nikola Karev, as well as interesting wall reliefs.

Another interesting feature are the four stained glass windows. Colored with different palettes, the light produces nice reflections inside the spomenik. Luckily, something can be seen also from the outside in a sunny day.

One of the most celebrated spomeniks – even portrayed on local currency notes and recently photographed in international reviews – this item is maintained in perfect conditions as a national shrine, and social events like music festivals are held on its premises.

Getting there and moving around

Accessing this spomenik, aka ‘Macedonium’ is easy to the far end of the village of Krusevo. Thanks to its official role, it boasts a large parking ahead of the access road, with some explanations on dedicated panels. Beware of a big museum just on the other side of the parking – it is dedicated to a local music star prematurely died in an accident, it is not linked to the spomenik.

 

Aalto’s Highlights in Finland

Possibly one of the worlds best-known architects from the 20th century, Alvar Aalto – together with his wife Aino, also an architect – enjoyed a great popularity since the beginning of his working career. He began with experimental works mostly based on mixing and harmonizing many styles from different ages and countries – especially Italy, a Country the Aalto couple visited for the first time during their honeymoon, and which they fell in love. In the last 1920s with the birth of the functional style Aalto became a herald of this new architecture, which he mixed with an instinctive and very personal vein, resulting in something really original and easily identifiable. Aalto’s creations usually feature a great care for any detail, making any room in his buildings natural to use for its intended function.

Aalto’s work is of course well represented in his Finnish mother country, a nation which always acknowledged him as a great artistic personality and which he never left for long.

This short post presents some of the highlights of Aalto’s production in Finland. While far from complete, the sites listed here may offer already an idea of the diversity of the functions of Aalto’s buildings.

Photographs were collected on a visit to Finland in August 2017.

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Sights

Villa Mairea, Noormarkku

Surely one of the best known creations of Alvar Aalto, this beautiful mansion was built in 1938 for the Gullichsen family, owner of a successful wood pulp business and paper factory. This was not the only work commissioned to Alvar and Aino Aalto by this family.

This residential building was designed in Aalto’s typical interpretation of functional-organic architecture. The great variety of the materials and the attention to all details both inside and outside is also typical to this architect, which in this case could work without any relevant budget constraints.

The mansion is immersed in a young forest, in the hilly countryside north of Pori, close to the western coast of Finland.

The front façade features a small covered porch leading to the door.

Access to the slightly overhead garden is through a pergola on the northeastern corner of the house. The garden features a large swimming pool, a fireplace and a dinner table.

The large windows can be removed completely to transform the large ‘double living room’ occupying most of the ground floor into an open space communicating directly with the garden and nature around.

The windows are pretty heavy though, and this technological feature was used only rarely.

Visiting

The villa is still property of the Gullichsen family, and sometimes used for vacation or party time by the owners. Tours are arranged through a local guide by permission of the owners on a semi-regular schedule. You will need to make a reservation through their website for visiting, picking one out of the available dates. Payment is due on the day of visit, credit cards accepted. Parking is possible close to the villa. Unfortunately, on regular tours it is not possible to take pictures of the inside, and only the ground floor can be visited. Anyway getting a view from inside will add value to your visit, so it is highly recommended. The guided tour of the inside takes about 45 minutes.

Finnish Glass Museum, Riihimäki

This beautiful museum traces the history of Finnish glass design. While not an ancient tradition in this Country, Finland has reached in the 19th and 20th century a great fame in this field.

A first part of the museum is dedicated to the evolution of the techniques for glass manufacture.

Then follows a huge collection of glass artifacts produced in Finland in various ages and for different purpose. Among them, there are also some very famous designs by Alvar and Aino Aalto, as well as other Finnish designers.

Visiting

The museum is a famous attraction and can be reached quite easily. All information here. The visit may take 1 to 2.5 hours depending on your level of interest. The sight of all those glass artifacts is captivating even for those with little interest for design and art!

Säynätsalo Town Hall

Another well-known masterpiece, the complex in the small town of Säynätsalo was built in the years 1949-52 to host the local town hall, a public library as well as some private business. Red bricks cover the exterior, which is articulated in two main buildings designed around an inner courtyard for pedestrian access.

The inside of the city hall building presents a series of smaller rooms on the main level, aligned along a corridor opening on the courtyard. Anything from the chairs to the door handles and lamps was designed by Aalto, making the ensemble really harmonious.

The upper floor is present only in a square-based corner tower, and here you find the main hall. It is very tall, but lighting is through narrow windows and together with the colors of wood and brick, it induces a sense of calm, warmth and concentration.

Visiting

Today the town hall is not used for this function any more. Actually there are some small businesses like a bistro and a bed and breakfast in it. Yet the place is preserved mostly as it was, and a good part of the main level and the former town hall can be visited. Visits are offered on a regular basis at least in summer. Website here.

Muurame Church, Muurame

The church of Muurame is one of the last ‘eclectic’ works of Aalto (1929), in an age when modernism was already spreading among avantgarde architects. The inspiration from Italian architecture is pretty evident, testifying on the close bond between Aalto and the Italian architectural heritage.

The location on top of a small hill is pretty suggestive.

Visiting

Not well signaled unless you come very close, the exact address is 7 Kirkkotie, 40950 Muurame. The place is only open for ceremonies. I was very lucky as I happened to pass by when a marriage was just going to be celebrated, so I could get a quick view of the sober, elegant interior. The exterior can be neared without problems all the time. Official website in Finnish here.

Jyväskylä

The town where Alvar Aalto spent his youth did receive much in return from its illustrious citizen. Surely one of the most prominent examples of social architecture is the main campus of the local University – today one of the three top-ranking educational institutes in Finland.

Several buildings were designed as the backbone of this campus between 1951 and 1958. The inspiration came again from classical architecture, especially Greece, as Aalto’s view was that of reproducing the basic plant of an acropolis. Among the buildings in the campus probably the most notable are the library and the teacher’s training school nearby.

A very nice scenery is constituted by the sports ground, with a series of low-profile buildings around it forming a really proportionate ensemble, like the stage of a theater.

Another notable building by Aalto is the city theater, completed after the death of the architect based on his design, and the former building of the Police department nearby, conceived to somewhat deceive the role of the institution making it look somehow less ‘martial’ than its usual function may imply. An older design close to the city center is that of the building of the Trade Unions, closer to the eclectic period of the designer.

Finally, a unmissable highlight in town is the Alvar Aalto Museum. Designed by the architect, it hosts a nice collection of prints, drawings as well as pieces of furniture tracing the evolution of Aalto’s style with many interesting details.

Jyväskylä benefits from a generally fortunate setting – here are some photographs of the lake and some new buildings in town.

Visiting

A visit to Jyväskylä with the museum and a walk along a trail touching all Aalto’s works may take from a half to a full day. A website suggesting a trail with links to the pages of the corresponding attractions is here. The University campus is still in use, like the theater and the building of the Police – today an office building. As a result, visiting the interiors may be tricky. Despite that, a walk in the campus and in the city center together with a visit to the Alvar Aalto Museum may fully justify a detour to this lovely town.

Rovaniemi

The town of Rovaniemi was totally destroyed by the retreating German Army in the closing stages of WWII – the so called Lapland War. As a result, construction work could be carried out without the constraints typically bound to the presence of an older neighborhood. Alvar Aalto was tasked with the design of a new city center, featuring a city hall, a theater – ‘Lappia-talo’ – and a public library.

The buildings were erected in multiple stages between the Sixties and the Eighties, after the death of the architect. The ensemble is very harmonious and nice to walk, not intimidating as mostly usual for similar buildings especially in the US.

A possibly more famous building in Rovaniemi – not by Aalto – is the Arktikum, built in 1993 and hosting some local museums.

Visiting

The civic center is still used for its original function. At the time of my visit it was closed for Sunday. A website in Finnish with information on the history of Aalto’s building in the northernmost region of the Country, including his works in Rovaniemi, can be found here.

Helsinki

Aalto’s contribution to Finland’s capital city has its most visible example in the Finlandia House, or ‘Finlandia-talo’ in the local idiom. This long and flat building is located close to the parliament and was built in 1971, among the last works of the architect. It is a ‘social event’ building, hence it hosts a theater, conference rooms and areas for exhibitions.

The inside is on two main floors. As usual with Aalto’s buildings, despite the size, which for the case of the Finlandia house can be appreciated from outside looking at the length of the eastern façade, you don’t feel disoriented nor overwhelmed especially once inside.

All details of the furniture have been designed with the building. Unfortunately, I could not visit the upper floor thoroughly for a congress was taking place there.

The building has a historical significance, for it was here that the Helsinki Accords involving the US, USSR and most European Countries of the time – including those belonging to the Soviet sphere of influence – were elaborated and signed in 1976, forcing an evolution of espionage and repression systems in communist Countries.

Further buildings by Aalto include the House of Culture – or ‘Kulttuuritalo’ -, inaugurated in 1958. It is composed of two main blocks with a theater and offices. The blocks are fused together by a covered passage and a low building with a connecting corridor, so they appear as an ensemble.

Originally built for the questionable cultural and propaganda activities of the local Communist Party, the complex has been used for long now as a popular rock concert venue.

An example of business architecture is the Headquarter of the Social Insurance Institution – known with the abbreviation ‘Kela’ in Finnish. The effort of the designer to avoid creating an imposing, bulky and intimidating building inspite of the narrow streets around, and the need to host rooms and offices for about 1000 people, is evident. The façade is broken and made partly modular, the height of the building is reduced as much as possible, and the horizontal lines of the windows tend to evidence the horizontal dimension. The volume is made lighter by including an open porch at the level of the entrance. The warm tones of the materials produce a sense of calm, yet preserving the sobriety of the appearance, where there are no decorations nor any curved line.

Visiting

The Finlandia House is located in central Helsinki and used for congresses, concerts and exhibitions. Having a walk around and inside is possible without particular restrictions except during official events. It is also possible to take a guided tour of the venue, information here.

Similarly, part of the House of Culture can be accessed most of the time without prior notice, but full visits are offered at least in summer on a regular basis. Information here.

As far as I know, the ‘Kela’ building is not open to the public, but it is possible to have a look around and come close to it without restrictions. The location is nearby the northwestern corner of the Olympic Stadium.

Paimio Sanatorium

Probably the best-known work of Aalto’s production, the hospital in Paimio is unanimously regarded as a milestone in the history of modern architecture. The hospital was built in 1933, and used as a sanatorium for tuberculosis and later as a general hospital.

Today it is a rehab center owned by the University of Turku, which is not far away on the coast and where Aalto had his studio. Visiting the inside is usually not possible, but you can walk around the complex without being disturbed. The location deep in the countryside, far from any crowded town and away from traffic, is really suggestive and peaceful.

The central building for patients is the most distinctive – a tall, flat and narrow wing where the rooms are aligned along a long angled façade looking south. The main wing is connected to other blocks – for surgery, administration, etc. – through a central volume where the entrance to the building is also located.

The complex of the hospital is completed by a series of residential buildings for the staff. These are small examples of residential functional architecture, not designed to be luxurious, and still inhabited today.

Visiting

As far as I know, visiting is not possible inside. The outside can be toured de facto, even though I guess the land around the hospital belongs to the hospital, so you’d better avoid attracting too much attention. The hospital is a bit tricky to find, cause it is not advertised as an attraction and it is well out of the village of Paimio. The GPS coordinates to reach the entrance are 60°27’53.0″N 22°43’54.4″E.

The Estonian Aviation Museum

A nice and lively university town in the heart of the Estonian countryside, Tartu has really something for every kind of tourist – including those interested in aviation history. The Estonian Aviation Museum, or ‘Eeesti Lennundusmuuseum’ as they write it in the tricky local idiom, boasts a substantial and heterogenous collection of aircraft preserved in exceptionally good condition, which will not leave indifferent even the most knowledgeable aviation expert.

Having being for long a socialist republic in the realm of the Soviet Union – and today sharing a border with Russia – Estonia had access to massive surplus reserves after the end of the Cold War, so it is no surprise that Soviet aircraft are well represented in an Estonian museum. This already might appeal to western tourists, for the exotic, menacing silhouettes of MiGs and Sukhois are not often to be found except in less accessible spots in the former Eastern Bloc. Yet some more unexpected and rare models have been added over the years, including some SAAB aircraft from Sweden which are authentic collectibles.

The following photographs cover almost every plane that was there in summer 2017.

Sights

Most part of the collection has been preserved in a cleverly designed structure, made of small open-walled hangars with translucent canopies. The aircraft are illuminated by natural light, helping much when taking pictures, but they are not exposed to direct sunlight, rain or snow, which tend to damage both metal and plexiglas on the long run. Furthermore, the lack of doors and frames allows you to move around freely, and the place is not suffocating nor excessively warm.

The aircraft are basically all from the Cold War era, but some of them have outlived the end of the USSR and were retired more recently. The portraits are grouped here roughly based on the nationality of the manufacturers or aircraft mission.

Designs from the US

The American production is represented in this museum firstly by a McDonnell Douglas F-4 Phantom II, operated by the West-German Luftwaffe. The General Electric J79 turbojets have been taken out of the airframe, so you can see them separately.

A pretty unusual sight, also the antenna and electronic group in the nose cone have been taken out and are on display. This Phantom is a F-4F, a version specifically developed for West Germany from the basic F-4E. The former inventory number was 99+91.

Another iconic model on the menu is a Lockheed F-104 Starfighter, formerly from the Italian Air Force. This exemplar is actually an Italian-built ‘S’ version, and among the latest to be retired by the Aeronautica Militare. The engine, again a J79, is on display elsewhere in the museum. An unusual crowd of instruction and warning stencils populate the external surface of the aircraft.

Soviet Military Models

The majority of the aircraft on display were designed in the Soviet Union or other countries of the Warsaw Pact.

Two aggressive aircraft include a MiG-21 and a MiG-23. The first, present here in the colors of the Polish Air Force, is a MiG-21bis Fishbed, the latest development of this fast delta-wing fighter/light-interceptor.

Possibly one of the most ubiquitous fighters of the jet age, the MiG-23 Flogger is part also of this collection. The aircraft you see in the pictures is a MLD variant, representing the last upgrade of this iconic fighter, which was also the basis for the very successful MiG-27 design.

It bears the markings of the Ukrainian Air Force, therefore it is likely an ex-USSR aircraft. The engine is sitting besides the aircraft, and two rocket canisters are placed beneath the fuselage, close to the ventral GSh-23 twin-barreled cannon.

A less usual sight is a MiG-25 Foxbat, a super fast interceptor/recce aircraft. Conceived in the late Fifties when the race for speed was in full swing, it was developed into a high performance platform to counteract the threat of the SR-71 Blackbird. It was built around two massive Tumansky R-15 afterburning turbojets, rated at a pretty high wet thrust of 110 kN, resulting in an incredible top speed around Mach 3.2! The aircraft is pretty sizable, and you can appreciate that looking at the picture of the main landing gear – search for the cover of my Canon wide lens close to the ground and compare sizes!

The menacing silhouette of this huge bird, with red stars on the vertical fins and a bare metal fuselage, will likely make relive in you an ‘Iron Curtain feeling’!

One which will not go unnoticed is a Polish Air Force Sukhoi Su-22M4 Fitter in a flamboyant, very colored livery. This massive fighter-bomber represents the export version of the Su-17M4 built by the USSR for domestic orders.

Despite the shape, roughly similar to that of the MiG-21 also on display, the size of this aircraft is much bigger – you might think of Su-22 as a case for a MiG-21…

Soviet bombers are represented by a pretty rare Sukhoi Su-24 Fencer, which is today still in service in Russia. The example on display bears the markings of the Ukrainian Air Force, meaning it was once a Soviet aircraft.

This massive twin-engined beast outsizes all other military aircraft on display. The aircraft is on display with three support tanks under the fuselage and the inner wing pylons.

A less common sight is a Yakovlev Ya-28P Firebar, a long-range intercept version of this multi-role platform from the early Sixties. This design is very interesting, with a four-points undercarriage and a very long nose cone, where a radar system for a target-tracking and missile guidance system was located. The two turbojet engines are mounted in cigar-shaped underwing pods. The relevant sweep of the wing suggests a significant speed capability, yet many variants of this aircraft were developed to exploit also its good range performance. The antenna originally placed in the nose cone is on display besides the aircraft, which bears original Soviet markings.

Soviet Transport Aircraft

Two aircraft which could not find their way in covered shelters mainly due to their bigger size, are a Tupolev Tu-134A-3 and a Yakovlev Ya-40. Both can be accessed, so you can get a view of the inside, including the cockpits.

The Tu-134 twin jet, with its distinctive glass bulge in the nose ahead of the cockpit, has been for long a ubiquitous aircraft in the USSR and in many countries of the Eastern Bloc. The exemplar on display was taken over by the Estonian company Elk Airways, created after Estonia left the USSR.

Notwithstanding this, the aircraft betrays its Soviet ancestry and ownership in every particular, from the all-Cyrillic writings to the hammers and sickles here and there, from the design of interiors to the exotic cockpit, painted in a typical lurid Soviet green and with prominent unframed black rubber fans for ventilation.

The Yak-40 is an interesting three-jet executive/small transport aircraft. The one on display went on flying for at least some good 15 years after the collapse of the wall in Berlin.

The internal configuration features an executive room ahead of a more usual passenger section and tail galley. The style of the cabin and of the pure analog cockpit is really outdated for todays standards!

A rugged workhorse still flying today in many countries is the Antonov An-2, a single propeller, radial-engined, biplane tail-dragger transport. There are two of them in the collection. One is under a shelter and can be boarded. The interiors are very basic, but the visibility from the cockpit is very good especially for a tail-dragger with an engine on the nose.

Swedish Aircraft

An unusual chapter in air museums except in Sweden is that of SAAB aircraft, which are represented in this collection by two iconic models, a Draken and a Viggen, and an extremely rare, very elegant Lansen. All are in the colors of the Royal Swedish Air Force.

The Saab 35 Draken features a very distinctive double-delta wing, and was developed in the Fifties for reaching a high supersonic speed. The design turned out to be pretty successful, and was operationally adopted primarily as a fighter by Sweden and other European countries as well.

The one in the collection is painted in a bright yellow livery. The infra-red pod under the nose cone of this aggressive attack aircraft looks like the lidless eye of an alien!

The Viggen is a an attack aircraft from the late Sixties, developed for the domestic military needs into some sub-variants. With the JA 37 version displayed here, the Viggen went on to constitute the backbone of the intercept fleet of neutral Sweden, and was retired only in the early 2000s. The aerodynamic configuration features a prominent canard wing, and the Viggen was notably the first in such configuration produced in significant numbers.

The most unusual of all three SAAB designs on display is surely the SAAB 32 Lansen. A very neat design from the Fifties, loosely recalling the Lockheed P-80 and the Hawker Hunter, the Lansen was a jet fighter of the early Cold War developed specifically for Sweden and gaining a good success. The ‘E’ version on display was converted from the original fighter variant (‘B’) for the ECM role, and kept flying almost until the end of the 20th century. The green painting of the Royal Swedish Air Force is really stylish, definitely adding to an already elegant design.

Soviet Surface-to-Air Missiles (SAM)

Curiously enough, an extensive collection of SAMs is part of this rich collection. All major missiles from SA-2 to SA-6 are represented, some of them in multiple exemplars. The size of these missiles, especially the oldest, is really striking. They are stored outside, besides some cases for missile transportation, deployable radar antennas, and what appears to be a flak cannon from Hitler’s Germany – a bit of an outsider…