TIRANA. ARCHITECTURE AS ARCHITECTURE TIRANA. POLITICALACTOR

I. Hotel Dajti 1 TIRANA. ARCHITECTURE AS POLITICAL ACTOR

TOBIAS ADAM & ULRIKE KUCH (EDS.) TABLE OF CONTENT

Bibliografische Information der Deutschen Bibliothek: Gefördert aus Mitteln des Open-Access-Publikations- Die Deutsche Bibliothek verzeichnet diese Publikation in fonds‘ der Bauhaus-Universität Weimar und vom der Deutschen Nationalbibliografie; detaillierte biblio- Thüringer Ministerium für Wirtschaft, Wissenschaft grafische Daten sind im Internet über http://dnb.ddb.de und Digitale Gesellschaft (TMWWDG). abrufbar. Diese Publikation ist im Rahmen eines Seminars an der Herausgabe: Tobias Adam und Ulrike Kuch Bauhaus-Universität Weimar entstanden. Der gesamte Texte und Fotografien: die Autor*innen Prozess und wurde durch folgende Partner*innen und Gestaltung und Satz: Copa-Ipa, Weimar Förderprogramme gefördert:

Ein Kooperationsprojekt der Professur Theorie und Geschichte der modernen Architektur und der Experimentellen Fotowerkstatt der Fakultät Architektur und Urbanistik der Bauhaus-Universität Weimar.

Das Werk einschließlich aller seiner Teile ist urheber- rechtlich geschützt. Das Werk steht unter der Creative- Commons-Lizenz Namensnennung-Weitergabe unter ...... gleichen Bedingungen (Share Alike) 4.0 International A Introduction 05 (CC BY-SA 4.0,https://creativecommons.org/licenses/ by-sa/4.0/legalcode.de). th Bauhaus-Universität Weimar B A Short Introduction to Tirana's Urban Planning in the 20 century ...... 11

Die Online-Ausgabe dieses Werkes ist eine Open- Professur Theorie und Geschichte Access-Publikation und auf der Website der Bauhaus- der modernen Architektur ...... Universität Weimar (https://e-pub.uni-weimar.de/ I. Hotel Dajti 14 opus4/home) frei verfügbar. II. Skanderbeg Square ...... 23 ...... Die Deutsche Nationalbibliothek hat die Online-Ausgabe III. Puppet Theatre 33 archiviert. Diese ist dauerhaft auf dem Archivserver VI. The Pyramid ...... 41 der Deutschen Nationalbibliothek (https://portal.dnb.de/) ...... hinterlegt: V. Polytechnic University 52 https://doi.org/10.25643/bauhaus-universitaet.3995 VI. Studio House Kadare ...... 63

Eine Druckversion des Buches ist in limitierter Auflage erscheinen. Wenden Sie sich bei Interesse an C Thoughts on Architecture and ANT. The Kadaré Example ...... 72 [email protected]

Weimar, Oktober 2019 D Bibliography ...... 79 A Introduction 4 Tirana is a city of contradictions. I think this definition definition this think I contradictions. of city a is Tirana We are trying to get rid of the past and are working hard hard working are and past the of rid get to trying are We What is the use of a theory of architecture? It is of to think of architecture? of a is What use the theory vard and was of course influenced by the politics of the the of politics the by influenced course of was and vard to catch up with the future, but we are still remaining in in remaining still are we but the middle of both. […] Tirana is a city that started to be future, the with up catch to doesn’t stop with merely thinking about design, but also also but design, about thinking merely with stop doesn’t chitecture might interact with. interact might chitecture what it is when a surrealistic boulevard was built in the the in built was boulevard surrealistic a when is it what It is to develop a curiosity for the built environment that that environment built the for curiosity a develop to is It architecture from another point of view, to learn to see, to to see, view, of to learn point another from architecture extension of the ambition that gave birth to this boule this to birth gave that ambition the of extension different eras. Looking at Tirana’s centre is like looking looking like is centre Tirana’s at Looking eras. different of our time. This is an important moment in our history: history: our in moment important an is This time. our of at a collection or a historical diary of political affairs and and affairs political of diary historical a or collection a at reflecting on philosophy, on whatever reflecting or sociology, ar media, political lovestories.[!EdiRama,2010 ! largely mirrors our society and the inherent antagonism antagonism inherent the and society our mirrors largely understand, to think of and relationships. situations understand, space, an as grew city The city. a without history in boulevard middle of this Ottoman village. It may have been the only only the been have may It village. Ottoman this of middle INTRODUCTION ULRIKE KUCH 1 !] - -

A 5 A Introduction 6 – explicit aim of a MA seminar to become acquainted with with acquainted become to seminar MA a of aim explicit – The aim of the seminar “TIRANA. Architecture as Political Political as Architecture “TIRANA. seminar the of aim The Andin allof these thetasks, students were instructed to Actor” which laid the foundation for this book was to explore 1991), Alfred Gell (Gell 1998) and Albena Yaneva (Yaneva (Yaneva Yaneva Albena and 1998) (Gell Gell Alfred 1991), 2017) were the keys to the ANT thinking. The purpose was was purpose The thinking. ANT the to keys the 2017)were function, people and materiality and for the about thinking and materiality people function, tact with Tirana’s architecture, for learning about its history, started We writing. and researching discussing, thinking, text. a scholarly composing and research conducting tions, focused on working with texts, formulating research ques the is definitions, and terms about learning tools, these with ourselves Familiarising contexts. to other transferred tools, and theories the methodologies, and methods the even the first – It is or the perhaps second that is available. country. tle-known We, both were students and instructors, thinking. It is also worth noting that we consulted texts by texts that we noting consulted worth It is also thinking. work independently. work with which to think about architecture.think Toolstowhichabout with be thatcan with the key concepts and understand this specific way of specific this understand and key the concepts with (ANT), (ANT), the lens theoretical which would serve as the of basis er stands alone; it is always accompanied by the it knowledge alone; is always er accompanied stands of Albania and individual research on built structures, the the structures, built on research individual and Albania of “things”. these of relationships communicative influ- our enced 2002), work (Gieryn and – Ignacio Gieryn e.g. Thomas Moodle on available were which authors other by texts Those (Latour Latour Bruno in Tirana. our research possess largely are who of architecture students for cially espe – job hard a sometimes and work scholarly of core Fallan (Fallan 2008). ANT was our tool for establishing con establishing for tool our was ANT 2008). (Fallan Kjetil Fallan and 2010) (Farias/Bender Bender Thomas & Farias asked to look at Tirana with the curiosity of the unknowing. and discover a relatively little-known city in a relatively lit artistic, technical and practical training. Thus, the seminar the seminar Thus, training. practical and technical artistic, and – most importantly – received support from Albanian Albanian from support received – importantly most – and with presentations 16 and in June 2019. advance Prepared students who voluntarily spent two days working with us. to pedestrians talked architecture, the observed students held in Weimar on the history, nature, culture and politics politics and culture nature, history, the on Weimar in held not to become experts of ANT, but to become acquainted acquainted become to but ANT, of experts become to not medium was introduced: photography. While still in Wei in still While photography. introduced: was medium manities. Such a seminar on the theory of architecture nev in April reading three texts on the Actor Network Theory Theory Network Actor the on texts three reading April in To with ourselves the another familiarise built structures, This book is of the of reading, result process an intensive We scheduled our research expedition for two days – 15 two for expedition research our We scheduled Of course, we were not alone. We were joined by the hu ------“things” and showed the student’s artistic approach to the approach and showed artistic the student’s “things” Tobias Adam on the idea of working with photography and and photography with working of idea the on Tobias Adam As a hot spot of international tourism and secret service service secret and tourism international of spot hot a As ANT and together. architecture This publication is the result findings of the observation, sometimes they of findings sometimes another added the observation, 2019. Just like other guidebooks, it might serve to get an an get to serve might it guidebooks, other like Just 2019. Blasius, Isabella Pullmann to show the character of the buildings, its “programmes” “programmes” its buildings, the of character the show to the communist regime. communist the tecture, mediaarchitecture, urbanism students and students worked urbanism tecture, mediaarchitecture, thus images and texts Using work. academic is an still the book research, of subject the into deeply delves it those and texts with working holidays their of weeks last the was quite a difficult semester; not only did they apply an an apply they did only not semester; difficult a quite was group mastered the task to find a specific way of bringing bringing way of specific a find to task the mastered group even the Germans, and in the second half of the century, century, the of half second the in and Germans, the even in city Italians, the – Austrians, 20th century the Ottomans, cle highlights the wide of variety that influences the shaped have us of all suppose I well. quite out worked things er our working as – we but English used photography and ory to contrast In visiting. worth be might what of overview work. hard their of Each whole. coherent a in writing and watching cussing, ods of research, led to alternative ways of looking at the the at looking of ways alternative to led research, of ods an experiment. Some things can certainly be improved, oth the supported images the Sometimes relationships. and pictures took Students awareness. of medium artistic an in Photography this should not case regarded architecture. student’s personal encounter with student’s on personal Tirana 15 and 16 June short short introduction to the urban planning of Tirana by buildings. but record should also be as used merely a as documentary by workshop a and input an both attended students mar, it creates itself a virtual network of relations. relations. of network virtual a itself creates it interdisciplinary approach – sociologist architecture the architecture sociologist – approach interdisciplinary thinking and and dis practice, theory transferring images, ing each. Following this structure, the book opens with a with opens book the structure, this Following each. ing under time pressure. From the beginning, this seminar was From this seminar the time under beginning, pressure. language, students language, formed a heterogenous group of archi learned a lot in different ways. different in lot a learned the reflects It Tirana. in structures architectural lected they meththe enriched layeranycase, In toresearch. the Thisbook guidebookisa to the political networks ofse The The next piece by the same authors focuses on Hotel Dajti. Six groups of two to three students worked on one build- Instead of enjoying their semester break, students spent of Instead students enjoying break, their semester I am very proud of what the students accomplished. It It accomplished. students the what of proud very am I

and

. The Katharina arti Thurow. The Clara Clara ------

A Introduction 7 A Introduction 8 – in public perception none almost at all. focuses on the most important structure in Tirana: Tirana: in structure important most the on focuses Weski 1940s), this inconspicuous building is home to a puppet puppet a to home is building inconspicuous this 1940s), Paul Beenen, Fabian Ellguth Fabian Beenen, Paul On one hand protected by Enver Hoxha, on the other a other the on Hoxha, Enver by protected hand one On vin Brandt and KatharinaWittke and Brandt vin Skanderbeg Square. The history of the square and the po the and square the of history The Square. Skanderbeg the pyramid lost its primary function after his death. In In death. his after article, their function primary its lost pyramid the the of case plays the history Theatre, Puppet a role strange the building mentioned every in Whereas today. theatre to systemic witness the As theatre. country’s an important the is traces” leaving and “erasing that conclusion the to tween literature – a Nobel Prize candidate – and politics. the intensive and changing activities between human between activities changing and intensive the actors their of traces the follow and University technic gard to how the building is the currently perceived. The The perceived. currently the is building the how to gard dominated by a “Casa del Fascio”-inspired building which which building Fascio”-inspired del by a “Casa dominated dense map of communicative relationships, underlining underlining relationships, communicative of map dense of this building and its importance for today’s discussions discussions today’s for importance its and building this of encapsulated construction site. eration after reading this text. reusing the current propose plans and ignoring space the re with past communist the of importance the examine the in parliament of seat the as served even (it changes ends at today’s Mother Teresa Square. This square is square This Square. TeresaMother today’s at ends over the course of a whole day and night. The result is a is result The night. and day whole a of course the over Ismail Kadare is a controversiala character,is oscillatingKadare Ismail be May 2019, only a few weeks before we arrived. The author and private “thing” in our project. The museum opened in opened museum The project. our in “thing” private and about the political heritage in Tirana. and non-human actors. and illustrate their observations of Casa del Fascio/Poly surveillance facility in its early years, Hotel Dajti is now Dajti an Hotel years, in early its facility surveillance dina, Louis Oehler Louis dina, building’s past – a thesis that may require further consid- further require may that thesis a – past building’s programme of thisof “thing”. programme pyramid. Built as a museum for the dictator Enver Hoxha, Hoxha, Enver dictator the for museum a as Built pyramid. houses houses the Polytechnic University. importance of history needs to needs of history be taken into importance consideration, mann litical litical and interpretations of functional its design lead them The boulevard mentioned in Edi Rama’s quote above above quote Rama’s Edi in mentioned boulevard The Thearticle by One of the most iconic buildings in Tirana is certainly the is certainly in Tirana buildings iconic of One the most One of is Square the the on buildings puppet Skanderbeg In their piece on the apartment of Ismail Kadare, Kadare, Ismail of apartment the on piece their In

and

Katharina Thurow the describe character present Selma Bulic, Leon Claus Leon Bulic, Selma

Jakob Hainich, Marco Reusch Marco Hainich, Jakob

and

carefully describe describe carefully Ratz Rosalie

and Clara Blasius, Isabella Pull

discuss the most recent recent most the discuss note that in in that note Kolbe Simon Andoni Regueiro Can

and

Diellza Elshani Diellza

and

Lennart Lennart Mar ------

This book and all the research that went into it wouldn’t wouldn’t it into went that research the all and book This Albania, the fantastic Weimar in general and- Ur theand Architecture of Faculty , Dr. Kristina Schönherr – for believing in in believing for – Schönherr Operations Dr.Office, Kristina did an excellent job proof-reading the texts in a in texts the proof-reading job excellent an did Brambeer Dr Arba and Baxhaku its on urban Tirana knowledge whose Open-Access-Fonds of the to Weimar of the Albanian supporters was very unbureau very was supporters Albanian the of Weimar to expenses travel The project. the in support personal their thanks especially to Professor Eva von Engelberg-Do von Eva Professor to especially thanks tät Weimar, specifically Susann Hippler and Noelle Kuhley, Noelle and Hippler Susann specifically Weimar, tät the and its process the research demonstrate vividly thoughts janiformhis of understanding deeper a offer furnishings the the which I want to thank Director Alketa Kuka for her support. whose whose knowledge about photography made the whole thing which is why I am very thankful to the commission – repre which I want to thank him. The chair of These such. as apartment Kadare’s and theory, the with its and apartment Kadare’s literature, banned of writer whom I want to thank for their qualitative evaluation. The The evaluation. qualitative their for thank to want I whom granted granted us a tutor under the umbrella of the BeSt-Fonds, for cratically taken care of by the the by of care taken cratically our idea. The publication of the book was supported by of the The the publication book was supported our idea. corresponding questions, terms irregularities. and of confusion ANT, the and Studio Kadare, Kadare his person existence. Last but not least, I am grateful to the Professor Winfried Speitkamp, and the head of the as a perfect place to conduct such experiments. and take part in the field trip to Tirana – therefore, many many therefore, – Tirana to trip field the in part take and sion and namely Dr Frank Simon-Ritz and Dana Horch for for Horch Dana and Simon-Ritz Frank Dr namely and sion sented by the president of the of Modern Architecture allowed me to the seminar organise state of Thuringia, which is why I’m grateful to the commis history history helped us the understand city and its actors. possible, the tutor co-instructor my thank to want I process. by book and the were exhibition financed the Kreativfonds, of number a of support the without possible been have institutions and persons. At the beginning of the process, process, the of beginning the At persons. and institutions banism literature. The article follows Marvin’s thinking, his work work his thinking, Marvin’s follows article The literature. There are many more people who helped us through this this through us helped who people more many are There In the last text, text, last the In and its head Dr Christian Kästner Kästner Christian Dr head its and Office International Institutional Development ofInstitutional the Bauhaus-Universi

– headed by Professor Bernd Rudolf – in particular particular in – Rudolf Bernd by Professor headed – Melisa Shoti for helping us to understand attempts to unravel the the unravel to attempts Brandt Marvin Albanian students and my colleague University Library by funded the Bauhaus-Universität Weimar, , for for Tirana , Zentrum Goethe Bauhaus-Universität Bauhaus-Universität Theory and History History and Theory Tobias Adam, Tobias Research Research Robert č kal; kal; - - - -

A Introduction 9 A Introduction 10 1 1

Ratz, Andoni Regueiro Candina, Marco Reusch, Emre Sari, Sari, Emre Reusch, Katharina Thurow,LennartWeski,Wittke Marco Candina, Regueiro Andoni Ratz, Yasa Kolbe, Simon Hainich, Jakob Geressu, Abel Fiedler, Elena Elshani, Diellza Ellguth, Fabian Claus, Leon Chen, Mu Considering the current disruptions taking place in Tirana, Tirana, in place taking disruptions current the Considering the contact to Arba and the Kadare-staff, whose emails in emails whose Kadare-staff, the and to Arba contact the then learning about one’s about then It learning own the was about perception. insistent whose Velo Maks architect the of harshness the with clashed Kadare Ismail of work and life the when tion, and architecture Tiranese on research doing of idea the experiment. this dare to whose confidence and open-mindedness encouraged me me encouraged open-mindedness and confidence whose derbeg Square made our research almost impossible, the the impossible, almost research our made Square derbeg over in Tirana when my flight became a 20 hour-disaster hour-disaster 20 a became flight my when Tirana in over of architecture might possess an of might even possess architecture significance broader also wish to thank my colleaguemythank to wish also and always offered a I whenever of and always good piece need offered advice actors. When the working groups discussed the fences fences the around the formerdiscussed Hotel groups Dajti, allegedly working a symbolthe of When corrup actors. and angerabouttoday’sand crisis,whentheheatorSkan on splendid language on Albanian literature inspired me, and and me, inspired literature Albanian on language splendid short term,short book a unique appearance – many thanks to those two. I two. those to thanks many – appearance unique a book became reality. In the end, we discovered that the theory theory the that discovered we end, the In reality. became era communist the of memories the both evoked philippic research, we felt that “politics” was something that hap that something was “politics” that felt we research, power of architecture. non-human and human between “things”, between pens idea of “getting in touch” with Tirana and its architecture architecture its and Tirana with touch” in “getting of idea its role as a political actor seemed highly relevant. In our our In relevant. highly seemed actor political a as role its to thank-you big a And it. us every step every us of the way long road: onthis very man Mobasser, Louis Oehler, Isabella Pullmann, Rosalie Pullmann, Isabella Oehler, Louis Mobasser, man Über die Zukunft hinaus/Beyond the future. Moritz Haller im Gespräch mit/Interview with Edi Stiller 2010, p. 75 In: von/Mayor of Bürgermeister Tirana. Rama, Paul Beenen, Clara Blasius, Marvin Brandt, Selma Bulic, Bulic, Selma Brandt, Marvin Blasius, Clara Beenen, Paul Finally, I want to thank the students who accompanied accompanied who students the thank to want I Finally, and Christian Rothe gave the Markus Postrach and

Kurt W. Forster W. Kurt

who took took who Schüler Ronny who established established who - - - - After the revolution of June 1924, a two-part agreement was reached with Italy for Italy with reached was agreement a 1924, of two-part June revolution the After 2). Tirana became the permanent capital of the country, and the challenge was to was challenge the and country, of the capital permanent the became 2). Tirana the economic development and reconstruction of Albania in 1925 (von Erich 2016, 2016, (von Erich in 1925 of Albania reconstruction and development economic the Presidency Square (Vokshi 2012, 24). The Italian Armando Brasini was commissioned to design a new to design commissioned was Brasini Armando Italian 24). The 2012, (Vokshi of happened in sleepy Tirana: in only 15 years (1926 in 15 years only Tirana: in sleepy of happened by Brasini we note the Bernini sculpture of the squares, from the urban doors that that doors urban the from squares, of the sculpture Bernini the we note by Brasini plan the city from scratch, as Tirana had only been a small, typical Ottoman city city Ottoman typical small, a been only had Tirana as scratch, from city the plan boulevard for the citizens. The axis was based on the Roman principle of “cardo con “cardo the from derivesof space public splendid ahaving of ideaprinciple the and maximus”, Roman the on based was axis The citizens. the for boulevard cept of the Roman “forum” (Vokshi 2012, 28/29). “From the perspectives drawn drawn perspectives the “From 28/29). 2012, (Vokshi “forum” Roman the of cept urban development (Shkreli 2010, 24.) Brasini’s idea was to have two separate separate two have to was idea Brasini’s 24.) 2010, (Shkreli development urban on Tirana’s impact a had huge d’Albania” Capitale della “Sistemazione plan urban and administrative power” (Riza 2012, 51). administrative centre. None of his architectural projects were realised, but his his but realised, were projects architectural his of None centre. administrative like Cinderella, from an unknown modest girl into a beautiful princess. The city city The princess. beautiful a into girl modest unknown an from Cinderella, like shield the closed space, deputed to the monumental key celebration of political political of celebration key monumental the to deputed space, closed the shield squares for administration, namely administration,for squares URBAN PLANNING IN THE A SHORT INTRODUCTION “The results were soon quite remarkable because something heretofore unheard unheard heretofore something because remarkable quite soon were results “The CLARA BLASIUS, ISABELLA PULLMANN, KATHARINA PULLMANN, THUROW ISABELLA BLASIUS, CLARA (Mother Teresa Square), which were to be connected by a great great a by connected be to were which Square), Teresa (Mother 20 TO TIRANA TO TH CENTURY Ministries Square Ministries - 1941) Tirana was transformed, transformed, was Tirana 1941) (Skanderbeg Square) and and Square) (Skanderbeg ’ S

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B 11 B Tirana’s Urban Planning in the 20th century 12 Albania, Bosio met with Mussolini who who Mussolini with met Bosio Albania, 2010, 32). that year same the was It 102). 2012, velopment plan. In 1929 the General General the 1929 In plan. velopment the tional monarchy, the city was growing growing was city the monarchy, tional the barracks of the grenadiers on the the on grenadiers the of barracks the existing the from the in decumanus, and cardo like tersect, ( centre historical the around tem and square public the (Shkreli to were be settled” families tler Planning Urban Offiof ce “Central the Italian-Alba- the of union the formed with a radial and concentric road sys- road concentric and radial a with of the independent be completely would za del Littorio del za Octoberof the same year. The develop- (Shkreli 2010, 26) 2010, (Shkreli other. The separation between the created was orientation of north-south pattern grid linear a with one existing Ti- upscale to him instructed explicitly Florentine architect Gherardo Bosio was was Bosio Gherardo architect Florentine proposal a on based Plan, Regulation ment of the city, as Bosio was proposing, to slated Plan, Regulation General new kingdominwhich soonalsoItalian set- the of “worthy structure urban rana’s in arrival his before Just charge. in put cru- aplay to came Italy kingdom. nian Italy and Albania thereafter, mediately Im- Italy. Fascist by occupied was nia road ring a foresaw already and north Köhler, was re- by architect the Austrian made which expected than faster much richest array of architectural styles.” styles.” architectural of array richest in the fi eld of urban planning (Vokshi (Vokshi planning urban fi of the eld in de- urban the redesign to necessary it commence in April 1942, was initiated in cial role in the making of Albania, also also Albania, of making the in role cial and the civic square, semicircle and hills the of foot the at the and established was Building” and around the city (Shkreli 2010, 30). the in axis Brasini’s of continuation a uele III uele leased. With this plan, Köhler proposed proposed Köhler plan, this With leased. suddenly became a showcase of the the of showcase a became suddenly shi 2012, 106/107). The city roads in- roads city The106/107). 2012, shi the while 1939, September in started Ten years later on 7 April 1939, Alba- 1939, April 7 on later years Ten The planning and construction of of construction and planning The hl Abna eae constitu- a became Albania While Skanderbeg Square Skanderbeg Littorio and the -complex on one side and and side one on -complex with its fascist elements elements fascist its with Viale dell’Impero Viale Avenue Vittorio Eman- Vittorio Avenue Piazza Skanderbeg Viale dell’Impero Viale . The main axis axis main The . , with with , Piaz- Vok- , Archaeology 2012, 111/112). 2012, tion tion of several administrative buildings which Gherardvesigned together with with together Gherardvesigned which 34 Hotel Dajti Hotel Bosio was also in Tirana: the Tirana: in of the Empire Ivo Lambertini and Ferdinando Poggio, Ferdinando and Lambertini Ivo cial residence of the Prime Minister, the Minister, of Prime the residence cial (Vokshi centre representative cultural and political new the from centre city connected with the monumental and theand - Besides the General Regulation Plan, Plan, Regulation General the Besides 36). Academy of Arts of Academy , the stadium, the the stadium, the , , the the , , distinguishes the existing existing the , distinguishes involved in the construc- the in involved Imperial Palace Imperial Polytechnic University Polytechnic ( Shkreli 2010, 2010, Shkreli Institute of of Institute , the offi the , - Avenue Avenue Skanderbeg square Puppet Theatre Studio House Kadare Hotel Dajti The Pyramid Polytechnic University Polytechnic

B Sites of Research in Tirana 13 I. 14 parking and a comfortable pedestrian stroll, as well as privacy and isolation of of to isolation boulevard the and along planted were privacy Tall trees as traffic. main the well from as buildings the stroll, pedestrian comfortable a and parking rana in the 1940s included five roadways and wide sidewalks, allowing for lateral struction of a representative hotel in Tirana’s city centre which Gherardo Bosio, Bosio, Gherardo which centre city Tirana’s in hotel representative a of con struction the proposed 1929 of Plan Regulation General The 43). 2010, (Accossato intertwined” closely remain still they although to dominate, seems planning times at other while to win, seems building at times discourse: in endless an hand upper of each building (Vokshi 2012, 112/114). value of relative the independent material, covering and height of volume, in terms buildings various the for to guidelines set necessary it was a as whole, avenue the for Toharmony ensure in the summertime. shade provide and the facades embellish of ahead little a him to available time. [IsmailKadare,TheSuccessor,p.3] become case, particular this it in had, experience die, usually they they as as only insofar it appreciating really without grave,” the “the of call peace humans that freedom of kind The being. his through spreading slowly was that previously serenity higher the of enter to a foretaste just be – would dared have circumstances would exceptional he quite in only place a – nomenklatura the of foreigners of use members and exclusive the effect. for good aside to set hotel a in remaining enjoy to time going the was he use to coffee The try to had he and execution, of stay a was He under question. other any or that answer to try not should he henceforth But prestigious this autopsy? perform to chosen been Gjadri, Petit he, had Why mind. his in gradually andunobtrusively form to began question a Dajti, Hotel the inside stepping was he As In the case of Tirana “...planning and building seem to alternately have the the have alternately to seem building and “...planning Tirana of case the In splendidavenuenewThethedesignof that GherardoBosio proposedTi for CLARA BLASIUS, ISABELLA PULLMANN, KATHARINA PULLMANN, THUROW ISABELLA BLASIUS, CLARA HOTEL DAJTI HOTEL - - rior. The main entrance is off-centred off-centred is entrance main The rior. intetheaccentuateheightof full the and importance its highlight windows High travertine. with covered and high metres eight is accommodated are es spaces. The one where the public spac (Nepravishta nian 2017,history” 51). Alba the of chapters thehavemarked that events important and personalities cultural political, decades “for hosted has It services. luxury diverse and bars restaurants, contains it rooms, hotel the from Apart 145). 2012, Stigliano & Pashako (Menghini, avant-garde” the of “jewel a as seen modern, and tional func very was it construction, of time At the n.d.). Biannual Art Contemporary International (Tirana an exception quite is hotel representative large, this riod, simple, small inns from the Ottoman pe predominantly were era that of hotels that Considering 140). 2012, (Vokshi tal modates 91 rooms with 125 beds in to on a 10,240-sqm plot, the hotel - accom situated and sqm 8,760 of area an ning Span 145). 2012, Stigliano & Pashako (Menghini, road the from retreat does it Although, Boulevard). Nation the of (Martyrs Kombit e Deshmoret levardi Bu the today Empire), the of (Avenue dell’Impero Viale called then of was what scheme design the to conforms ly general building the Plan, Regulation project (Vokshi rationalist 2012, 140). real first Bosio’s became design cubic reduced its with fascist 2017, Dajti (Kodra Hotel The 204). style” rational and clear a for thing every “purifies He entirely. influences and efforts those rejected Bosio – ings one recognises in the ministerial build as in facades their elements visual some – often works their in identity Albanian of elements some to integrate tried time the at architects foreign other While Contemporary Art Biannual n.d.) International (Tirana opened was Dajti Hotel 1942 In April of designing. charge in placed was invasion, Italian the after STRUCTURE AND ARCHITECTURE Developed as part of the General General the of part as Developed The building consists of two interior interior of two consists building The ------International Contemporary Art Bian Art Contemporary International Tirana 4th the of venue exhibition main dilapidated. becomevandalizedandbeen already had it landmark, historical a as tected However,notaltered.be proalthough could building the of appearance terior ishta 2017, 51). This meant that the ex (Neprav category second the of ment 180, designating it as a cultural monu no. decree with of Ministers Council the by protected was building the century, of 21st the At 2010). beginning the (Birn abandoned and down it closed was until despair into fell Dajti Hotel collapsed, Hoxha Enver dictator former of regime the In 18). when 2016, 1991 (Yamey VIPs foreign for reserved was it 1980s In the in Dajti. the stayed Hotel visitors foreign most in 1970s, the International, Tirana n.d.) Biannual Art Contemporary tional changed and reduced.” (Tirana Interna to be had project initial the restrictions of financial because War and World ond Sec the entered just simpler. had Italy Fascist much and poorer the are where rooms part, upper the and walls marble its with floor ground majestic the between discrepancy a notice can “one Ponti, by Gio designed were which spaces, interior the in Even language. reduced otherwise the by accentuated roof. tion of the overhanging its counterpart in the conventional solu finds floor ground traditional rather the Above, 145). 2012, Stigliano & Pashako (Menghini, slabs horizontal and vertical of grid a into dissolves thus part upper The concrete. reinforced in structure frame visible a through facade the on repeated is regulations, boulevard the by prescribed metres, four of module The located. are rooms guest the where is floors, three with space vertical the one, other The floor. mezzanine the in located are offices and rooms, service are there basement the In 140). 2012, (Vokshi canopy a by emphasised and Until the opening of Hotel Tirana, now now Tirana, Hotel of opening the Until In 2009 the building served as the as served building the 2009 In is areas those between contrast The TEMPORARY USES AND RE - USE ------

I. Hotel Dajti 15 I. Hotel Dajti 16 cal areas (Nepravishta 2017, 51). hanging garden and a block for techni a with a garage facility, bills a treasury areas: additional three of construction built.” The need for a change of use of change a for need The built.” were they which for functions the for and community the of needs the for suitable not buildings public and cial so industrial, of retail, number a large the market economy found Albania with to systems “Switching impact: an had have changes building economic Even existing stock.” of or reconstruction abandonment of phenomena the by accompanied “was transition each and periods, few a quite through gone has country The treated. is Albania in heritage architectural of how examples n.d.).These Albania of (Bank surroundings” green the with together century, new the of standards the to adjusted but Bosio, Gherardo architect of design original the on based is project “restoration the bank, the to According Petreschi. Marco architect Roman the by headed was redesign The building. the of work projects” (Birn 2010). building road massive finance to 2009 in took it that loans commercial terest high-in the to due crisis liquidity term short- a avoid to way “a was sale the that speculations were also 2010). There (Birn funds” public of mismanagement the government’s in hiding of complicity Fullani Ardian Governor accused sition oppo the by Socialist bank, the central of the hotel to the acquisition Reacting government. the to bank the from loan a than less nothing to amounts sition some local observers say that its acqui renovations, extensive need also tel will ho “However,the space. because fice they headquarters, were using it as of their of renovation the during Even ros. eu million 30 for Albania, of Bank the bank, central country’s by the acquired was building The hands. changed ing build the of ownership 2010 In (Birn 2010). authorities municipal the by ed contest move a ministry, foreign the for offices into hotel the turn to plans were there Previously (T.I.C.A.B). nual Thisconversion isjust one of many restoration began bank the Soon adjustments comprised the the comprised ------other artefacts – like human beings. beings. human like – artefacts other building itself but on its on the not only focusing closely, serving to its witness ob and actions reactions, mission: another is there means object passive a merely of instead actor an as it Regarding mindset. (ANT) Theory work proaching a building with an Actor Net ap of aspect one is history its and ing Examining how the hotel came into be now. is definitely – struction has being–inandbeenthe middle ofcon always another, or way one in it, as exclusive and isolated as be to tinue con might building the use, future its dia” (Bank of n.d.).Albania me the and students academics, ers, research particularly public, the with contact direct be ensuring a will window building “this promising and library,” rich “very the espousing commonweal, to the contributing itself imagines bank The 53). 2017, (Nepravishta historical memory” and laws protection mark land byprotected values theviolates building the of function the of The change offices. bank into Dajti Hotel ing transform of idea the opposed have associations professional and society “Civil unanswered. remain likely will that questions are this like building a for repurposing of kind right the was this not or whether and step right the such. as building the to protect – order in functions to new building the to adapt necessary deemed was vention the hotel is an example where an inter approaches, different show that cases other are there While subject. teresting in an butisolated, an not therefore is Dajti Hotel The discussion. this of ject sub paradigmatic a also is nowadays and discourse broader a of 1943, part was and 1925 between completed engineers, and architects Italian from inherited works those of rehabilitation 2017,and vishtare-use Adaptive50). was “a result of significant political political (Nepra-socio-culturalchanges” and significant of result “a was Nevertheless, given the character of character the given Nevertheless, was hotel the selling or not Whether THE HOTEL AS AN ACTOR interactions with with ------

The building is inaccessible, security security inaccessible, is building The from external eyes peering curiously from the other side of curiously the fencing. peering eyes external from it hiding and inside the shielding shell second a scaffolding, with covered is itself building The entering. gitimately the interior prevent outsiders from ille of renderings with covered fences and cameras surveillance several guards, we check. time every tain future. uncerlooksalterationsittoanent as pres the in and times) the up with keeping transformations many experience not did building the (as form tangible in past the between balance unstable in the performed is but also period, time observing is not only possible in a short has an impact onThis its examination, since transformation. of state tinuous con a in is artefact studied The one. special a situation the making factor, us. with sympathises guard security responsible the whether and week the of day the on depending vary can a building to accessibility example for coincidence), of one the (and pact rameter. To illustrate the observer’s im the people we talk to, in every fact pa environment, the agents, of choice the affect We role. observer’s the mind in keeping and dialogue more even means the of day contribute, weather the day, simply or week of time like factors which in period, defined and short a in observe to possible only accessibility, terpretation. conditionalterationofoneisrein and building’s the case, this in as when, ly vital role the spectator plays, especial to the us leads This a perspective. such for vision of field observer’s the opens rather but forming, are actors various the relations for understanding a toolkit as not serves Theory Network Actor The time, with the subject transforming transforming subject of the with period time, short this in observer himself the finds situation the scribing The ‘here-and-now’ situation: situation: ‘here-and-now’ The de in resultsapproach this Thus another is condition building’s The restricted with artefact an Studying APPROACHING THE BUILDING ------and coverings are visually concealing concealing visually are coverings and barriers hand, one the On intertwined. but artefacts separated as not derings, ture, the the scaffolding, fence and ren to see the these struc actants, original crucial is it surroundings, and ronment describe the interactions with the envi to order In vision. precise very vestor’s its future prospects, formulating the in showing by hotel the for communicate which actants other are it on depicted renderings and fence the like Just tion. takes over and manages its communica hiding the structure, and – by doing so – ofbiggest partthe does it as roleant folding, a second skin, plays an import rigid and yet strong The artefact. scaf passive, a of impression the gains One area. the encapsulated outside emerges or interaction no communication nearly However, workers. the with together noise tremendous making thereby and appearance its changing transforming, park, the gallery and the streets. the like artefacts ‘neighbouring’ other with generated environment rounding derings shown on the fences, to the sur ren the and barriers the scaffolding, the over structure, original the ‘inside’, the from going actors, other with lations need to consider its communicative re we operates, it which in network the and actions building’s the witness To Catholic cathedralthe Shen Pali. and Lana canal the walkway, end with parking spots and a sloping dead- e Arteve Kombetare by Galeria the sides park. the towards obstructions the above peeks canopy original entrance’s main The structure. theobscure trees and scaffolding es, fenc where streetsix-lane the of gap large the across vis-à-vis a confronting or generates fences) and of screens the (due to height the observer and of hotel juxtaposition very disconnected a but close either allows Kombit e moret the front, the along main road Bulevardi Desh Dajti; Hotel the surround Trees The remaining original structure is is structure original remaining The on three is enclosed hotel former The NETWORK: AGENTSNETWORK: AND ROLES ------

I. Hotel Dajti 17 I. Hotel Dajti 18 casted for. Back then, everyone wanted wanted everyone then, Back for. casted I’m play the of perception different a have for those I’m still a point of reference, they past, my remember ones older the of Some peak. my at me times, even golden the or past, the instead, reality the show would pictures those wish I think. to they what canvas say blank a as it use They visions. shown the dislike to seem and opinion an have do Some am. really I who understand don’t and me notice hardly they ture-me, passing by, dazzled by renderings of a fu- are People move. to ponderous the time same at fight, to Ready armour. in knight a like feel I and scaffolding in wrapped got I secrets. my out tease to clothes, my off rip to while, a for me undress to now tried and they’ve me forgot they later like majesty, me a treated they First through. seen be or through and see can I only few that slits, layers more many so there’s them. Today, behind what’s discover to exciting been have would it only, trees the with be, expression. What does it matter now? May organic than rather organised, an have still would They hiding. of instead me, orating not grown this tall, they would still be dec they had quickly, this passed time not Had aligned. are trees front, my to Parallel ture. little green pocket and a big entrance ges a for allowing edge, road’s the from drawn the boulevard. My facade is set back, with- of line stringent the along park opening an the form and position my Here, sunlight. of rays – midsummer midday, – strong the under up heating is surface road The nale. without the axial views and their grand fi- obvious isn’t magnitude Its cityscape. the through cutting lanes, many its with space up taking just highway, regular a like most day. From here, from the side, it seems al the city centre is that of a common Satur- of out and in stream The lights. traffic the of flicking the by conducted rhythmic cars, of a swell by flooded is boulevard The Tirana, 15June2019 rounding actors. comprises the interactions with the sur that is this And the substance pearance. them, that is, the hotel behind structure the of because forms certain their in exist they but hotel, the affects their ap their ------but myoldgrandeurisfadingaway. growing, still and old than growing I’m thought. differently out turn always will and come will future a pass, will time more But formed. being expectations and pressed There’s many different opinions being ex- corruption... power, them politics, hear about talking can I spread. being rumours hear I whispering, the hear can I quiet, are streets the When left? be will me How of much again. whole me make to much remove this to have they why wonder I times Some disease. serious a with patient a like me treat they But workers. the are with contact actual physical, in I’m people only The when. and follow to rules and which decide sympathise to able are they human, are guards also – still but scenes, the hind soon. Of course, it is not easy to peek be down walk to going I’m went path the or I through history the about questions nient keep to away anyone who is asking inconve- guards, and cameras by over watched being am I care. to seems nobody tening, lis is nobody but understand, someone make this, stop to trying and loud out ing shout- I’m Now, enter. to dared everyone not although done, and said was what hear to wanted inside, happened what know to - - -

I. Hotel Dajti 19 I. Hotel Dajti 20

I. Hotel Dajti 21 I. Hotel Dajti 22 the 1960s the old bazaar quarter with its orthodox cathedral and town hall hall town and cathedral orthodox its with During quarter redesigns. bazaar old several the underwent 1960s the Square Skanderbeg II War World After the Albania; of Party Democraticthe of office head the 1939; Energy port and Communication the them of period. All communist the during down torn were Square. Skanderbeg around built were 1923 from buildings of monarchy couple a 1939, Albanian to the During Square. Skanderbeg around buildings administrative monumental the and centre city the with in style Tirana for plan neo-renaissance a city new a designed Fausto Di Florestano architect the pation, occu Italian the of time the In history. subjected Albanian was throughout it changes several to forward, time this From 1920. in Albania of capital the became plaza as well. Many hero of the main roads in Tirana lead towards thenational square. of the is part statue, Albanian an equestrian the monument, after whose Skenderbeu named Kastrioti is Gjergj It plaza. main its as serves thus and Skanderbeg Square and the clocktower; clocktower; the city council of Tirana ( The following buildings now surround the square, clockwise from the north: north: the from clockwise square, the surround now buildings following The Tirana after popularity in 1917 gained and by built the Austrians was square The Tirana International Hotel International Tirana ; the current SKANDERBEG SQUARE SKANDERBEG National MuseumofHistory JAKOB HAINICH, MARCO REUSCH, LENNART WESKI is located in the exact centre of the Albanian capital of Tirana Tirana of capital Albanian the of centre exact the in located is Puppet Theatre DEVELOPMENT WORLDAFTER WAR II ; the Ministry of Agriculture ; the the ; INTRODUCTION Palace of Culture of Palace which housed the parliament between 1924 and and 1924 between parliament the housed which . Bashkia ); the ; the ; the the ; Ministry of Public Works, Trans- Ministry of Economy, Trade and Et’hem Bey Mosque Bey Et’hem Banka e Shqiperise e Banka with its its with -

II. 23 II. Skanderbeg Square 24 ma’s city makeover programme gained gained programme makeover city ma’s buildings revitaliseandexistingRa Ediparks. illegal remove city, the up to clean programmes several tablished es He design. urban on 2003 focus a with in city the redesigning started Tirana, of mayor former the Rama, Edi which time. at that common were kiosks small and rides funfair by populated was space The traffic. tic middle of the square surrounded by hec in the space inaccessible relatively and remote a massive, created which lished Later on, a large roundabout was of the city. parts all estab connecting junction main the as served and traffic by heavy characterised was Square Skanderbeg 1991. in protests student during down torn was but honour his in statue a to way give to had History of Museum National the of front in green the republic, Albanian socialist the of dictator the Hoxha, Enver of After death the day. this to square the still shapes and history Albanian modern to ancient from figures various depicting Albanians” “The entitled mosaic ral entrance ofthe the museum Above is a large mu westwards. extended was square the reason, that For opened. was History of Museum National 1981, the in later years Two 1990s. late the until Tirana in building was tallest it the floors fifteen its With the of square. side north the at opened rana of his death in In1968. 1979 Hotel - Ti anniversary 500th the on honour in his erected was Skenderbeu Kastrioti Gjergj of statue The of columns. eighteen made portico high a Square features and Skanderbeg of side the eastern along building new first the was 1966, and 1960 between built of Culture, Palace The architecture. socialist modern of style the in designed were square the surrounded that buildings new The events. parade political for large grounds and buildings mental monu new, the to way give to had After the end of communism in 1990 in 1990 of communism end the After DEVELOPMENT IN THE 21 ST CENTURY

------their monumental feeling. As you walk walk you As feeling. monumental their lose to start buildings surrounding the square, the of centre the at pyramid the of top on stand you When the country. of unity the symbolising Albania, covered in stones quarried from all over and pyramid flattened a like shaped is itself square The trees. and plants tive immovable seating and a variety of na and movable shade, offers which belt” “green a by surrounded is plaza 38,000 sqm roughly The the by Kuwait. of covered state was which of share lion’s the euros, million 13.5 imately approx cost to amounted construction of total The 2017. June in opened form current its in Square Skanderbeg days, for the public and young people. like in the space, olden a lish public large to was intention estab of his redesign main The Rama. Edi predecessor his of plans the continued largely Veliaj Erion was built under the garage west side of the square. parking underground an and zone, pedestrian a into turned was square The form. current its to altered and more the once redesigned Veliaj, was square Erion mayor recent most nance the project. fi- to euros million 10 around provided Kuwait of state the 2010 In altogether. square the from cars banned and space green more for It called square. the sign rede to plan new a for pushed Basha Lulzim major current the 2011 in fice er realised. transport zone, but the public plans were a nev and pedestrian a into turned been have should square The reasons. to political due back held was but 2010 in started restructuring and struction architects’51n4eReconwon.office Belgian the which staged, was tition internationalcompe An Square. beg Skander Europeanise and modernise to plans pursued he 2008 In Tirana. in buildings of selected facades the paint to artists renowned internationally invited he when attention worldwide In 2016 under the aegis of Tirana’s Tirana’s of aegis the under 2016 In of of out voted was Rama Edi After STATUS QUO ------“drowning”. “drowning”. are they like looks it and buildings, the covers pyramid the plaza, the towards ‘catwalk’. ‘catwalk’. a into turns square whole the and ers, talent, scoot and bikes their their ride teenagers demonstrate formers per and musicians street square, the around and on gather People changes. atmosphere whole the cooler, bit little a gets it when night At buildings. ious var theof front inor belt” “green the in shade seek and heat the avoid cals be seen in the middle of the square. Lo can tourists only and crossing for used it. to entry old Thisfeeling. makes it easy informal to gain avery low a thresh emits whole square The screen. big the on or football movies open-air watch can people where place a gathering as serves ment monu The Skanderbeg the behind green city. the of middle the in of bit privacy little a provides and shade fers of belt” “green The sun. midday ing blaz the under Museum National the of front in or Culture of Palace the of columns the between shade the in ting sit people, of groups see you and ly, feeling of “knowing” the place. been here before, you somehow get the never have you fact the Despite square. whole the of design European very the ing objects and youto start appreciate metal chairs and the large plastic seat the recognise you wells, the of one into toes your dip square, the across walk Youit. a surrounding park designed and nicely square the of edge the ulating pop buildingscommunist-era mental monu with plaza large very a covered on the square for the first time, we dis foot set and Tirana in arrived we When degrees. two about by summertime the in ture tempera ambient the lower and water with of square the parts different cover which wells Square in Skanderbeg embedded hundred one around are There During the day the square is mostly mostly is square the day the During The metal chairs can be moved free FIRST FIRST IMPRESSIONS ------Boulevard of Martyrs of Boulevard the down just Hoxha, Enver of pyramid the mirrors square the on pyramid low are square shal TuscanTheof cities.reminiscent the surround to planned are which towers the Also shown. were ideas and cities renaissance European of paintings and images locals, the with held processes Even in participative the city. renaissance European a of image the project to Tirana wants and Paris in art studied Rama past. its communist of itself rid and capital their anise Europe to are efforts first its and EU the to join wants Albania unintentional: not was time first the for square the on foot set we when perceived we feeling European The predecessors. his with ranks joins Rama Edi locals, the of eyes or In power. the in politics a change ised symbol also square the of change ery changes to Skanderbeg Square and ev made Albania of leader every torically, His sight. first at grasp not does one that a and story meaning a has symbolic place the (or because arise They decision mistake). planning a of result the is never right. past its forget and erase to trying and identity and history Albanian of part large a represents still it one, lematic prob a be might square the of history the Although many. of eyes the in lost are square the of qualities tity-giving iden The feeling. isolated more even an square main the giving buildings, ing tively cover large ofparts the surround does not translate to daytime use. hours in the evening liveliness and tality a pan with no frying at shade all. The vi on walking you’re like feel you makes It much. so up heats it because midday, during wasteland dusty white, a into turns surface stone colourful The able. evenbear or usable notjust is square day the the one – during agree all they thing on However, opinion. different a have to seems everybody Square, beg When you ask the locals about Skander But the mixed feelings are not just just not are feelings mixed the But The varioustreeseffec Theandplants RESIDENTS’ PERCEPTION PERCEPTION RESIDENTS’ AND CONSEQUENCES . The main idea of idea main The . ------

II. Skanderbeg Square 25 II. Skanderbeg Square 26 traces on this hard-fought square. Some Some square. on hard-fought this traces own their by leaving memory former the erase to try always who rulers current the to sorrow or joy for memory, lective and “erasing leaving traces” programme the called we country, whole the for their and importance time over changes various the to respect With it. for programme a define to tried we on, so and tators) dic mayors,(e.g. individuals wishes, political residents, history, of network vast the in actor an of role the on taken has itself place the Assuming Knot. ian Gord the unravel to difficult is it that layers many so are there and plicated, com seems nowadaysago. situation The time long a so doing of thought the exactly more or itself square the of creationthe was it Presumably sible. itself becomeanactor? confusion. and conflict underlying with story whole the inject circumstances political the and history The hidden. be now should and fascism/communism of power the symbolised buildings of network The abide. and interact to have they how and is to what right them tell tries which power higher a with deal to has ways country. The citizen-based network al whole the and square the of history ed load the and circumstances political the square, the surrounding important buildings culturally and the historically Tirana, of citizens connected: is everything but networks, several in up itself splits network The decades. over the square changing and destroying ing, tors were involved in develop building, seems obvious it that mostly political Square, ac Skanderbeg the at Looking to fails do it eyes so. of greatly the locals the in However, it. surrounding itages her the together” various architectural “tie to and Tirana of centre historical the of symmetry the with square the of asymmetry the balance to is plaza the The whole square serves as a col a as serves squarewhole The impos is point exact the define To place the did point what at and how But ERASING ERASING AND LEAVING TRACES .

------leaving traces”. and “erasing of programme the fulfils and history square’s the in chapter ed need urgently an was design current the least at because to have doesn’t it opinion, our In individuals. some of will or the of power change next the outlast will situation that the current guarantee no is There done. have could actor man hu no thatway a inAlbania’s future and history heritage, about discussion wide a started that itself square eted multifac the is It them. obliterate to trying nor parts individual heroising neither by history loaded with deal to how teaches itself place The hours. few a after out dry will in that steps water the the only is it if and – traces their leave to network this in actor ery traces. erasing without – view of points new to imagine start and future the for work intended change to prepare the a broad is net it coincidence, no is variety this But the place. to try understand one can which from of view angles broad the are complex so it makes What time. same at the out it by pointing history ancient drown subtlely to able is square a that paradox a it’s – Hoxha Envher dictator brutal the of time same the at us minds re that pyramid a through drowning Buildings slowly. adapt to chance the him/her gives at least and account into view of point his/her and actor every It it is that totally. takes the first erasing without completely square the change to first the is solution current the eyes, our In others. than brutally more acted h lts cags modn ev embolden changes latest The ------

II. Skanderbeg Square 27 II. Skanderbeg Square 28

II. Skanderbeg Square 29 II. Hotel Dajti 30

II. Hotel Dajti 31 II. Hotel Dajti 32 – and yet it its historical and social importance for Albania is indisputable. is Albania for importance social and historical its it yet – and bypeople most overlooked city, easily of a in flourishing the middle building A small tion of many representative buildings. The architectural ideology of the communist of the communist ideology architectural The buildings. of representative tion many founded. today, was building the in housed still is which theatre, puppet the seat in of was used 1950. as Atgovernment starting a palace the cultural same time, power. political of acentre as function its fulfil to continued thus and parliament, of house lower today’s to compared be can which mess, officers’ the in power of the foreign government by and Italian dominance fascism. the The emphasised construction architectural and planning urban The monuments. and banks a boulevard, as well as erected, were buildings government At that time, architecture. new rational its a through fascist, as city large expressed into transformed was Tirana Verlaci, Shefqet landowner the of government puppet the Under 1939. in regime Fascist Italian by the Tirana of occupation the until 1924 in completion its from function this fulfilled building The necessity. of out liament the new par designated was construction, under still was which mess, 1920, the officers’ in independence its regained Albania When city. the of outskirts the on hall of history the theatre. examine puppet today’s of that and must Tirana one network, this in actor an as role its understand to order In present. and past the of society Albanian for also but significance immense has dimensions, historical and visual urban on takes only not which network at second glance, the viewer becomes aware of its significance in a wide-ranging wide-ranging a in significance its of aware becomes viewer the glance, second at But at its size glance. that first byand charisma surpass buildings other surrounded The period of communism in Tirana was generally characterised by the construc in The was planned building 1913 by as mess an the occupation officers’ Austrian The building, now used as a puppet theatre on the edge of of edge the on theatre puppet a as used now building, The In the following phase of communism, led In by of phase the communism, the Enver its following dictator former Hoxha, PUPPET THEATRE PAUL BEENEN, FABIAN ELLGUTH, SIMON KOLBE SIMON ELLGUTH, FABIAN BEENEN, PAUL ACTOR AND SETTING AND ACTOR Camera dei Fasci Skanderbeg Square Skanderbeg was installed installed was , is is , - -

III. 33 III. Puppet Theatre 34 dral Bank the immediate vicinity of the of vicinity immediate the in Square Skanderbeg of edge western south the on located is building The all the important premises depart. The The depart. premises important the all which from hall, distribution central a as acts foyer,which small a by enclosed is and nave, main the on centrally lying opens. It entrance leads into the building, main the also which to Square, derbeg Industry and Energy anymore. ment parliatheor mess officers’the about atre talks in Nobody its function. current the puppet the know only they today, locals the If asks one oblivion. into it fell due to – its surroundings so much so that and public perception significance litical became increasingly restrained in its po Over ant. the of course time, the building import more and bigger grew it around Everything city. the of centre social and and rose to cultural the become political, town saw several of stages development small a of end far the at located square theatre. apuppet to government of seat the and parliament from – degradation political increasing of impression the elicits it functions, its and building the of development the on back Looking buildings. surrounding the to stage big the leaves and conspicuous in- and small rather is it neighbours, its to Compared development. chitectural ar this to contrast in stands building theatre puppet The city. the of growth and developments current the mark es high-ris new it, Around square. the at end city the through axes major All city. the of centre cultural and social spatial, mess. officers’ in the former function the only remained theatre puppet the vicinity, immediate the in Culture of Palace the of pletion new the of design the in especially Square, Skanderbeg at particularly itself manifested regime During the same period of time, the the time, of period same the During is TodaySquare both the Skanderbeg . Its main facade clearly faces Skan- faces clearly facade main Its . and the the and aae f Culture of Palace Orthodox Resurrection Cathe- STRUCTURE National Museum National , the the , Wt te com the With . Albanian National Albanian Ministry of of Ministry and the the and ------ful and diverse environment. Its inner inner Its environment. diverse and ful colour large, a in world small own its creates It room. small a in people small for – culture and peace security, vides building. the in facilities different the from result which functions, included these from termined de- be can programme The Tirana. town down of pace hectic the contrasts that relaxation of place a offers it functions, its Through Tirana. of population urban the for importance certain of is theatre puppet the inconspicuousness, outward its Despite angle. at every measurable is facilities, whose representative character institutional its and Square Skanderbeg centre, of the city vicinity the immediate in located is it time, same the At café. and shop ice-cream theatre, puppet the of functions the to respect with ation relax- and culture of place a as pressed ex- is it all, of First network. (historical) the in observation its through apparent becomes which programme own its sues pur building the actor, an as role its In impression. overall aconsistent in resulting shingles, roofing with covered have tures but are own these their roofs, in green and white. All the building cuba held alternately is grid, column and dow win its from derived building, main the while white, in kept simply is paint wall and the eliminated, tures are completely fea- design similar and pilasters duced; re- significantly is facade the of design The outside. from identifiable clearly is but within from noticeable is barely This equipment. technical necessary its all andannexstagethatcontained thean with extended was building the 1950, in rooms. technical and rooms changing toilets, have wings and the the foyer,houses auditorium the hall main the While functions. their by reflected also is This wing. main central to the subordinate are clearly dimension and height formulation, design their in side which wings, adjoining two laterally and wing main a into divided is building With With the of arrival the theatre puppet As a children’s puppet theatre, it pro PROGRAMME ------the others in its immediate vicinity in in vicinity immediate its in others to the compared out” one “odd the is ing hustle and bustle. On the other hand, it it hand, other the On bustle. and hustle the escape to apossibility find ger, they lin to place a for Looking pedestrians. on influence direct a exerts shop, cream relaxation, conveyed by the café and ice- and of rest function the described hand, one the On people. different at aimed is programme building’s The network. its in seen be can surroundings population urban the and its building, the tween be relationship communicative The convenient. more be couldn’t together come dimensions spatial and uses their way The function. to system But that is exactly what is needed for this banks. national or parliaments houses, opera museums, as use their in fulfil to much more representative external tasks have also which in network the er actors way giving a to takes seat, the back oth It dimensions. and use its both of terms political regimes and social plans. past It role. about tell can the population this building now play an identity-forming inside housed oncegovernment of seat In this way, the former officers’ mess and representativea thusas andAlbania. of developments political Tirana’s of sest as a contemporary witness in the palimp to its former it public significance, serves mented from a historical Due perspective. supple be can programme The Square. Skanderbeg and neighbours its to trast con in especially space, urban the from understood as a place of rest and a refuge be can programme building’s the Thus, to seek the attention of the general public. its purpose by allowing the other buildings place. first the in withdraw to it allow which neighbours its needs it hand, er oth- the on And network. its from sion invalidated and would lead to its expul be thus would purpose inner its because character, representative a given be er architecturalshouldnevlanguage.It its in externally interpreted be also can that tranquillity of sense a emits use One quickly notices that the build the thatnotices quickly One finds theatre puppet the part, its For NETWORK ------of identity. identity. of place a as role its of awareness public more generate help could contribution small this Maybe identity. of programme place a as its establish further and potential its of most the make could ing build way,the this In exhibitions. like something through for instance, its role, of awareness if public were there greater this to contribute could history its with theatre puppet The use. its of terms in purely population of the Albanian history identity-creating the about more tells which environment, its and staging of is which likely due tapped to both its lack of its role in is the not network fully being the Thus potential – full if not in Albania. Tirana in institution political important that it let atre, to alone used be the most the puppet the contained always not has building the that aware are people few Very population. today’s of mass in exist the broad not really does theatre puppet of background historical the of population. its and Albania of ing reveals its for significance the history build- the of examination active an Only history. its to clues no are There ation. situ- current the in effectively less tion func- to appears communication the ty, square. the of rest the from use its in differs that zone pre- child-friendly of kind a describing another, one to attention draw thus and other each influence they connected, as described be necessarily cannot they if Even theatre. puppet the to centre city the from bridge natural a forms it ing, position and use its In Square. derbeg on Skan- vicinity in cated the immediate lo carousel the by all above but signs, advertising like things, small by cially Espe- network. its by promoted further is This use. traditional its by achieved adequately than more is relaxation and centre. the visiting for a over reason the and represents city all from people attracts that radiance a as well as proximity spatial by ditioned con is that communication of in a mode results This theatre. puppet the visit to want who people attracts consciously It is noticeable that the awareness awareness the that noticeable is It culture of place a as role second Its In its programme as a In of its place programme identi ------

III. Puppet Theatre 35 III. Puppet Theatre 36

III. Puppet Theatre 37 III. Puppet Theatre 38

III. Hotel Dajti 39 III. Puppet Theatre 40 comes as a result of the related actors and the network of actors it belongs too. too. belongs it actors of network the and actors related the of result a significance as Its comes Albania. in buildings significant most the of one be to continues time,atitundoubtedly the same strange andugly magnificent, as perceivedis Even it future. though and uncertain past the troubled city’s represents The pyramid Tirana. of pyramid the was city the of symbolic the became and Tirana of throughout role history important an played that buildings the of One time 2009). same the at (Frank rebirth and force represented centre city The buildings. trative a into turning was Tirana monumental city, 1994). especially the (Rugg centre life of Tirana whichpublic hosted theurban of main adminis attempts aspects its all with along control to communism Albanian-styled principles characterised equity socialism The of 2009). (Frank politics and planning urban between entiate in 1960s. At attention of the time, focus the urban planning was became centralised which city made it hard to a socialist differ into Tirana transform to aim the after, right and war the before influence Italian strong the After condition. ent-day essentialan role informing Tirana from thepre-communist regime toits pres the in actor an as pyramid the the of enable ofcity importance Tirana. will the investigation understand and better to history regime its reader the of as review usage Albania outer of following its The for dictator node changed. social former the strong a for became it mausoleum Hoxha, a Enver as built was it though Even Albania’s history. and Tirana’s during networks different and setups different in position the ofrole the debate on a opento try willchapterThis The pyramid with its own history has existed in Tirana for over twenty years. years. twenty over for Tirana in existed has history own its with pyramid The The state of Albania and its political situation throughout history has played played has history throughout situation political its and Albania of state The SELMA BULI THE PYRAMID THE Ć , LEON CLAUS, DIELLZA ELSHANI Pyramid of Tirana, its its Tirana, of - - -

IV. 41 IV. The Pyramid 42 the pyramid is part of an assortment assortment an of part is pyramid the expensive building ever built in Albania. in Albania. built ever building expensive most the of being 4) distinction the and 2014, (Manahasa/Manahasa in Albania space interior the mono-volumetric largest with structure its pervades even glorification This Hoxha. Enver leader of the communist – tion the glorification an important feature, its original func possesses still it Moreover, unnoticed. go cannot that shape characteristic a has and city the in location expansive and a significant occupies controversy, entied/ Janku 2018, 15). It is a subject of bania’s most distinctive landmarks (Ni memory of the city and its identity. collective the on mark a deep leave and still attract the attention of passers-by position and form its today, programme same the have doesn’t it Although rial. out it because was built to be a memo stands Tirana in pyramid the museum), a is it today while communism, during information collecting of function the the example, (for at time the programme of their because memorials communist being for known today still are buildings some While buildings. of form the in memorials of set another and Hoxha, Enver of work the with associated those especially origins, communist with memorials of divided opinions. to rise gives often existence their and duration longer of are buildings done, of a street, or removing a statue is name easily a changing While evident. still is period that from of memorials presence the democracy, preceded that regime last the was communism Since squares. and parks of streets, the and names ings build statues, comprise memorials of majority the and Tirana, In cost, magnificence. size, in ones previous the surpass would that memorials create and one best the as itself portray to ed them. Each succeeding regime attempt glorify to built been have memorials of number a large changed, often have ers lead and regimes where country a In TIRANA’S PYRAMID AS A MEMORIAL The pyramid stands out as one of Al network, memorial Tirana the In House of Leaves of House had had ------Kolaneci, Pirro Vaso and Vladimir Bregu. Bregu. Vladimir and Vaso Pirro Kolaneci, Klement his son-in-law Hoxha, Pranvera Enver including tects, Hoxha’s daughter archi Albanian four of group aby time its of ahead was that style a in signed de was pyramid The significance. tial andthe building by carrying its network essen this of host a been had itself Tirana of communism. the network plete was built in as a to Tirana “thing” com pyramid the communism, of era the in still later, years Three Albania. for prise sur no was Hoxha Enver for museum a build to decision the Therefore, 1970s. and 1960s the during built were them of Many 2009). (Frank institutions tural museums, theatres and other public cul operas, towards oriented were cialists 2014). hasa/Manahasa him but not enhance his memory (Mana to remember in order in honour his seum directions were given to construct a mu 2014). (Manahasa/Manahasa museum Hoxha’s Enver build to decision tee’s Commit Central the after evacuated be to had which buildings two-storey by occupied was located is – pyramid – the “thing” this where space The ant. import very are building the of istics character the and location The other. all of which were closely related to each of communism, the years during Albania in actors of arrangement strong a was There past. the with breaking by ciety history started to reshape Albanian so The 2009). (Frank democracy much not and authoritarianism faced country the Albania, embraced regime Hoxha’s ver communist period in Albania. When En the during constructed was itself amid pyrincludingtheTiranasocialist The izens. communism in the minds of Tirana’s cit still of Enver and Hoxha evokes the memory pyramid the years, 25 over after today even and ones, future all over ow over functions time, its original function casts a shad changed it Although It’s worth mentioning that the so the that mentioning worth It’s 1958, in death Hoxha’s Enver After THE PYRAMID IN THE NETWORK OF COMMUNISM

------over time due to political changes in over so time changes due to political changed has which network specific a form they Together actors. both are na The pyramid and the fixed. population or of Tira complete never is which work net certain a within act them of both actor; and another an actor tion between gramme is best understood as a correla mid’s functions as programmes. The pro Theory (ANT), one can think of the pyra Network Actor on the 1991) (Latour ble” text Made Dura “Technology is Society functions. changing the at look a closer take we will paragraphs In following the history. throughout users and functions analysis has not our focused now, on itsUntil different history. Albanian of riod still isand connected to the communist pe was pyramid the that discovered also We capital. Albania’s of residents the of perception the to and Tirana in presence its to crucial is fabric urban of Tirana. Its special location within the the city within points other ed to several As we have seen, the pyramid is connect 2011). (Shkreli Albania in span largest the of space interior mono-volumetric a with surface inclined massive a such created builders time first the was time. It that at Albania in construction in the used technology cutting-edge most features building The Albania. in built ever facility expensive most the is it that wonder no is it so and munism, the of character Enver Hoxha and com Hoxha. Enver Albania of leader communist the of museum the – it is affiliated to which function original its of because network communist the of part become has it 1988, in pletion com its Since one. long-lasting most and is strongest the to ship communism relation However,its times. different at programmes different inherited and network wider the of actor an of role the assumed it way, this In built. was it bolof the andcityof the time in which As soon as it was built, it became a sym By referring back to Bruno Latour’s Latour’s Bruno to back referring By to was glorify purpose building’s The WORK OF ITS PROGRAMMES PROGRAMMES ITS OF WORK THE PYRAMID IN THE NET ------function of the pyramid over time. the on influence most the had actor an as government The camp. charity a for simultaneously and centre command a NATO as used was pyramid the 1990s, 7). 2014, Manahasa (Manahasa/ or not” past the remember to whether is sion discus of subject only The Hoxha. ver function, all of society connects it to En building’s the remember few a “Though past: Albania’s reflecting for crucial is which actor an as but function, its for actor of national memory. an It isbecomes not knownpyramid the therefore and Albania over all acts which network a to is connected programme The further. broadened programme the and actor an as building the of network the Thus 1). 2014, Manahasa (Manahasa/ memory” of Albanians’ part culturally and socially architecturally, is “[i]t because history Albanian on reflection of object an and memory of political an actor mid became pyra the period, communist the after Especially dimension. political its is – one crucial most the – perhaps but amid building as public space, e.g. for skating. the of top on and around space the also but offer, to has Tirana what scribing de for reference a as building the use people do young only Not actor. portant see that the pyramid today is still can an one im programme, central a as youth on focus the With centre. cultural a as then and club night a and centre youth an international as used was monument time. After the period of communism, the over change also which programmes ent differ are there pyramid: the of tions 1). 2014, Manahasa hasa/ (Mana future”the for memories some have will it […] and present the to ence experi collective some and past the to respect in memories some has it fabric; urban on memories some has pyramid] “[The precisely: thought this summarize Manahasa Edmond and Manahasa shi Durmi Odeta authors the pyramid, the about essay an In Tirana. in buildings other with and city the within actions wider network, for example, in its inter ciety. The pyramid can also beof part a Later on during the Kosovo War in the pyr the of quality different A rather Onecanapply this idea to the func ------

IV. The Pyramid 43 IV. The Pyramid 44 Albania copes with its communist histo- ways reflthe use ects current and past its hand, one On period. communist the to especially – history Albanian to tied been have always and were function and uses Its Hoxha. Enver to memorial a as to function its is connected pyramid the that summarise can one conclusion In demolished? be should building the think you Do D: communism?with building the associate you Do C: the building? of interior the visited ever you Have B: the pyramid? of purpose original the know you Do A: in percentages. answers “yes” shows or graph “no”. The “yes” to asked answer were respondents the which to asked, were questions ing follow- were The results. the in included not answers their tourists; were 30 under persons two while questions, our answer to declined persons Nine years. 30 (13) than (10) older and younger sons were classifi ed into per- two categories: responses their and interviewed, were graphically.Twenty-sevened citizens present- were results the and used, was method an interview of passers-by, opinions the learn To it. past walk ally unintention-orit bypass it, ofpictures take it, on climb playground, a as it use by People daily. pass people where point the at located is It anymore. public functions have doesn’t it if even lives, ly The pyramid is an actor in people’s dai- 80 % THE PYRAMID IN THE NETWORK A 100 % OF TIRANA’S CITIZENS 50 % CONCLUSION B 85 % <30 >30 60 % C 70 % 30 % D 23 % and public space. a as landmark serves thus and pearance its ap- through its quality gains pyramid the time, same the At history. Albanian preserveswhichactor an become can Tirana of pyramid the aspects, crucial as function and form the combining and understanding By future. the for hint a be also might This function. (former) its by not form, its by building the nise is true. youngEspecially people recog- contrary the pyramid, the of case the tooffer.building has In certain whata know They function. their by remember buildings people Many building. of the form the is agency purely a pro-communist against and conclusion this for argument Another thinking. of way their shapes and Tirana of population the infl uences pyramid the regard, this In tion in to the order past. think about popula- Albanian the activate to is tor ac- obvious an as programme precise its that becomes it look, closer a At communism. of network still-existent the in actant an as serve therefore history and Albanian reveal to is the of building programme the that conclude demolished? be building history.WhyAlbanian of part a nevertheless remains it past”, “bad Albania’s of shadow a like is amid history. Although some say that the pyr- actor to of a as Albanian symbol referred symbolic when a also is pyramid the However, city. the within actor teractive in- an is building the space, mensional three-di- a As building. the of gramme 1991) function. signifi public a cant for the potential bears thus and entation that the building remains a point of ori- tion at the role in the city of Tirana. Its central loca- ambivalent very a on takes pyramid the hand, On the or other not. be demolished were the asked whether should building people when apparent especially comes be- This 1990. invanished communism although together, tied still are Hoxha Enver of name the and pyramid The ry. According to our research, one could could one research, to our According Byreferring to Bruno Latour (Latour , n ms rflet n h pro- the refl on must ect one Bulevardi Bajram Curri then should the the should then ensures ensures

IV. The Pyramid 45 IV. The Pyramid 46

IV. The Pyramid 47 IV. The Pyramid 48

IV. The Pyramid 49 IV. The Pyramid 50

IV. 51 V. 52 Tirana’s year old Florentine was appointed to design Italy’s architectural centrepiece in Tira centrepiece architectural to Italy’s design was appointed year old Florentine the contemporary centre the with contemporary the historic downtown, creating a core. monumental five-storey chimney-like structure. Everything was built in travertine, giving the the giving travertine, in built was Everything structure. chimney-like five-storey of public buildings for Albania’s Bosio capital, was mainly tasked with the develop Based on ancient Roman city planning, he laid two main roads – one running from from running one – roads main two laid he planning, city Roman ancient on Based placed a cluster of representative buildings at the end of it, creating a dialogue dialogue a creating it, of end the at between Skanderbeg Square and the reformative buildings and axis representative south of the cluster along a placed infrastructure administrative the expanding proposed na. Gherardo Bosio (1903 a thirty-six thereafter, Soon “glory”. Roman to long-gone its Italy of returning hopes north to south, the other from east to west – which intersected at the square. He He square. the at intersected which – west to east from other the south, to north ment of a masterplan for Tirana’s administrative centre. His proposal consolidated consolidated proposal His centre. administrative Tirana’s for a of masterplan ment building a reflective white tone on sunny summer days. According to the author, author, the to According days. summer sunny on tone white reflective a building ings of Italian-occupied Tirana: Tirana: Italian-occupied of ings del Fascio In April 1939 Albania had already been formally occupied by Italian military forces in forces military by Italian occupied formally been already had Albania 1939 In April seat of Piazza del Littorio Bosio envisioned Tirana’s historic downtown ( Gioventù Littorio Albanese Littorio Gioventù Casa del Fascio 1

ANDONI REGUEIRO CANDINA, LOUIS OEHLER, ROSALIE RATZ prevailed as the ensemble’s centrepiece (middle). POLYTECHNIC (now Mother Teresa Square) presented three main public build public main three presented Square) Teresa Mother (now UNIVERSITY was a three-storey building, divided into two wings by a by wings two into divided building, three-storey a was STRUCTURE AND ARCHITECTURE - 1941) was his name and although he had designed an array HISTORY AND CONTEXT la casa dell’Opera Dopolavoro Albanese Dopolavoro dell’Opera casa la (left), and behind it an it an behind and (left), Skanderbeg Square piazza Olympic stadium Olympic .

) as a vital hub. hub. vital a as ) while while (right), the the (right), Casa Casa - - - The following map shows the results of of results the shows map following The together. The aim is to define the so- the define to is aim The together. the between relationships the show to and equally matters “thing” every that pro (ANT) Theory Network Actor the We worked Tirana. of University technic weekend, which presumably differs from from differs presumably which weekend, (fig. 1). Furthermore, the structure was was structure the Furthermore, 1). (fig. objects, materials, buildings, light and and light buildings, materials, objects, ogies has been expanded and current and expanded been has ogies of Tirana. ences the connected actants within the the within actants connected the ences - con by formed is that – actant an of Poly the at observation two-day our ensuring its visibility from the historic historic the from visibility its ensuring posed by Michel Callon, Bruno Latour Bruno Callon, Michel by posed programme. own its possesses actant Each network. influ consequently and actants nected in a map them put and things those ment topic, overall our with keeping In place. the observing and pictures taking by University Polytechnic the of seat main once that the shell and Albania, have left neighbouring buildings and the square, square, the and buildings neighbouring houseAlbanian north called type classical a from inspiration drew he ing not why but rather how things come come things how rather but why not ing important to keepin important mind.this aspect it’s think We programme. weekday its different actants. It different actants. is a way of describ day, 15 and 16 June 2019, visiting the the visiting 2019, June 16 and 15 day, defined the university’s programme at a programme university’s the defined contributes to a certain environment or or environment certain a to contributes called “programme” – the use or wish wish or use the – “programme” called downtown. downtown. used to house and impose both ideol both impose and house to used and around noon. This is relevant as we we as relevant is This noon. around and morning early in the at night, afternoon, anactor, also called “actant” – regard become can “thing” every Law, John and location at various times of day – in the the in – day of times various at location It means or not. it is alive of whether less the building: academic an as serves ly shade, and we took pictures to docu to pictures took we and shade, animals, people, – across came we sion impres every collected We situation. set on a pedestal, towering above itsabovetowering pedestal, a on set We went there on Saturday and Sun and Saturday on there went We Nowadays fascism and communism and fascism Nowadays THEORETICAL BACKGROUND 2 OF THE RESEARCH 3 kulla kulla ------The connections between the actantstheconnections between The We came as observers, and it turned turned it and observers, as came We versity (as we were not allowed inside), allowed not we were (as versity fig. 1: Sketch of Kulla the building in its current situation, con of programme the to is determine things these mapping of aim The network. the more the others, to has actor an tions the communicative shows map following we mean that we did not enter the uni the enter not did we that mean we observed. extent and thus to its importance within within importance to its thus and extent and in position its which concerned obviously surroundings building’s the of out to be an outside observation trying trying observation outside an be to out Polytechnic University building that we we that building University Polytechnic ric. The size of the letters refers to its its to refers letters the of size The ric. eainhp o te aa e Fascio/ del Casa the of relationships situation spatial a less or more present major actants are. the as object research the to nected not to interrupt the goings-on. By this this By goings-on. the interrupt to not important it becomes in the whole fab whole the in becomes it important The of Tirana. to city the relationship its cided to embed ourselves as outside as ourselves embed to cided as explained before. connecmoreThe lines. byshown are and we tried to have as little influence influence little as have to tried we and actants, as we are not as closely concloselyas notare we as actants, possibleas onthewhole setting. Con sidering all factors neutrally and equally, equally, and neutrally factors all sidering sidering our research output, we de we output, research our sidering THE POLYTECHNIC UNIVERSITY AND Thus, our observation turned out to to out turned observation our Thus, ITS COMMUNICATIVE NETWORK MAP (fig. 2) (fig. ------

V. Polytechnic University 53 V. Polytechnic University 54 Therefore,we shall concentrate onthe in whole the role any play not does Time g. 2: Map of the Polytechnic University t i s r e v i n U c i n h c e t y l o P e h t f o p a M : 2 . g fi the axis that goes from Mother Teresa Teresa Mother from goes that axis the larg- the as position its – university the of programme one us shows clearly that to this later. later. this to we obtain a closer look at the smaller smaller the at look closer a obtain we which thereby comprises the frame of of frame the comprises thereby which Square to Skanderbeg Square. Square in Tirana. Our primary focus is is focus primary Our Tirana. in Square early morning hours until midnight, midnight, until hours morning early est building on the square at the end of of end the at square the on building est our network. We photographed and and photographed We network. our Fascio del Casa former the on actants as shade and sun climate, ered Mother Teresa Square. All other actants actants other All Square. Teresa Mother branches that revealbranches complexmore pro- happenings at the weekend from the the from weekend the at happenings Teresa Mother the of atmosphere plex other on infl have uence they because in the network: the university itself and and itself university the network: the in grammes. describing its network, we aim to get get to aim we network, its describing return will we But fi the trip. eld during nesadn te tag ad com- and strange the understanding are related to at least one of them. So So them. of one least at to related are a closer look of the actors and their re- their and actors the of look closer a observed we as behaviours actants’ assemblage – but as we said, we consid- limited to a certain time and space. space. and time certain a to limited was setting research Our lationships. see that there are two main actors with- Our discussion so far has dealt with with dealt has far so discussion Our Looking at the map as a whole, we we whole, a as map the at Looking But delving deeper into the network, network, the into deeper delving But , and by by and These materials maintain links that are are that links maintain materials These While drawing links between these ac- these between links drawing While ture every all single actant, the relation- terial connections formulate an terial connections anti-pro- own network, their – tions formulate they mate- “building – actors important the points two found increasingly we tors, travertine and embossed natural stone stone natural embossed and travertine was not possible to comprehend all the the all comprehend to possible not was watched the scene throughout the day the throughout scene the watched on their actors’ programmes. Often ma- Often programmes. actors’ their on organise our map, we decided to add a add to decided we map, our organise network became much too dense to cap- ple, we observed lots of people in their their in people of lots observed we ple, have connections these effects of kind reac- chemical and physical on based human of material the is body human The actor: each to dimension material it – example for body”, “human or rial” is about how materials connect and what and connect how materials is about gramme to this programme. For exam- For programme. this to gramme dimension this Consequently, Fascio. del mapped the one, For diffihandle. to cult communicative relationships to every every to relationships communicative a second skin to complex actors like Casa like Casa actors to skin a complex second asphalt. of made is square the and actors, shifted. as relationships especially actor, and recorded every actor we spotted. ships and the overall idea. Concerning Concerning idea. overall the and ships MATERIAL, HUMAN BODY AND TIME To solve this fi rst problem and better fibetter this Toand solve problem rst Casa del Fascio del Casa is dominated by As mentioned earlier, the constellation constellation the earlier, mentioned As ih h ost f wlgt te rela- the twilight, of onset the With the programme of public life beats the the beats life public of programme the time time (evening). method our exemplify To walls? these dimension material This direct. most the The Square. Teresa Mother crossed they tion of time in the network; they only they network; the in time of tion in the car the maniacs – evening they just morning early the in birds The together. tors to reconquer the square. Natural Natural square. the reconquer to tors inhp eess Te ust s ac- is sunset The reverses. tionship which which kind of are linked actors eventually overheated asphalt and the glaring light light glaring the and asphalt overheated of time. occur together during a specific period or anti-programmes in the network. network. the in anti-programmes or the and buildings its Square, Teresa er Finally, we scrutinised the overall pro- overall the scrutinised we Finally, of actors actively linked together. This This together. linked actively actors of present at the same time (and yet, they they yet, (and time same the at present roundings. What is the agency behind behind agency the is What roundings. alwaysmust keptbe inminddeal- when than path another take to body human the force travertine the on reflections night-time events, no birds in the morn- never meet each other at the same time. relationship underlies all programmes programmes all underlies relationship hours are part of the network as well as as well as network the of part are hours ing with architecture. ing hours.) If we are looking at Ifspe- oneweinghours.) looking are intensifi es the effects of the sun. This This sun. the of effects the intensifies gramme of Casa del Fascio and its sur- its and Fascio del Casa of gramme when shade the seeking routine daily darkness is pushed away by artifi cial artificial by away pushed is darkness n u ivsiain dyie a a had daytime investigation, our In constellation of actors is the formula- the is actors ofconstellation the during no garbage e.g. be linked, can chain of actors in a specifi c period of of period specifi c a in actors of chain climate work against the human actors. actors. human the against work climate cifi c moment, we only observe a group group a observe only we cifimoment, c companied by a slow cooling of the the of cooling slow a by companied sion anti-programme of nature. nature. of anti-programme actors. Not every actor in our map was was map our in actor every Not actors. and research idea, we described one one described we idea, research and air and stone that allows human ac- humanallows that stone and air lighting in blue, white and yellow, and and yellow, and white blue, in lighting strong infl uence on the constellation of infl constellation the strong on uence Secondly, time has a deep impact on impact a deep has time Secondly, First, there was the was there First, of the scenery. During the day, Moth- day, the During scenery. the of FOLLOWING FOLLOWING THE CHAIN material dimen- material This might be the overallprogrammethe be might This constellation the and scenery The The centred stairway of Casa del Fascio Fascio del Casa of stairway centred The To describe the programme of public public of programme the describe To These are frequently used by young and and young by used frequently are These fi cers who enforce the speed limits and and limits speed the fienforce who cers virtual representation of the happening happening the of representation virtual tribunes around the square also offer offer also square the around tribunes merchants. informal and kiosks two the gatherings mass in seating offer that time, the traffi the time, signific increases cantly for showing off one’s driving skills in ac- that Mother Teresa Square sets the the sets Square Teresa Mother that with reality etc. when the whole family dresses up to up dresses family whole the when the down straight look can one which one of the Albanian tradition of “giro” “giro” of tradition Albanian the of one ous roles. Drunkards are in every group, case. our in evident is as life, daily in or of actors creates the impression impression the creates actors of bottles, more spectators swap their their swap spectators more and bottles, trash discarded collect who men to changes merely costume the – ning eve- the in walk representative a have niacs”. The four-lane road of the axis be- fi can one There middle. “ma- car thend strongly it as too, mentioned be must middle-aged people who assume numer- stairways stone and tribunes stone by into parallel chains of actors: police of- police actors: of chains parallel into is topographically the highest point from goods attract human actors, so one one so actors, human attract goods in the evening. The car maniacs remind maniacs car The evening.the in In general, the kiosks and their offered offered their and kiosks the general, In actors care for the safety of the public, dust-public,the ofsafety the for care flit as broader theeven into come ows actors. human of behaviour the controls cars (Tokyo Drift). Compared parking to the and day- around moving celerating, can observe more clusters of people people of clusters more observe can a metal case. a metal the in happenings the of view great a stone The Square. Skanderbeg to axis public virtual invisible, The them. around to connected strongly are that actors life, welife,looked at square; the asphalt offers ample space space ample offers asphalt the square; smartphones by represented as sphere tg ad uine automatically. audience and stage This alternative “giro” leads straight straight leads “giro” alternative This . The whole square is enveloped enveloped is square whole The . CONCLUSION human and non-humanand human

V. Polytechnic University 55 V. Polytechnic University 56 vations at the location might have been swept under the table by dealing too too dealing by table the under swept been have might location the at vations 1 1

touchable dignity that lies heavily on the three buildings; during the night night the during buildings; three the on heavily lies that dignity touchable

Strong, historical backgrounds, as one can see in our case, always distracted distracted always case, our in see can one as backgrounds, historical Strong, existing information. information. existing - hu the to strongly speaks it dimension, material the to Due place. the of more human actors get involved and turn the square into a vibrant place. vibrant a into square the turn and involved get actors human more much with the past. ANT turned out to be a helpful lens to focus on what was was what on focus to lens helpful a be to out turned ANT past. the with much really there and provided a balance between fresh observations and already already and observations fresh between balance a provided and there really a cniin. uig h dy hs s rhtcual itrrtd s un as interpreted architecturally is this day natu the countering During in conditions. position ral extraordinary its highlights and body man us from a clear vision of the present. Small, but nonetheless important obser important nonetheless but Small, present. the of vision clear a from us 2 2 3 3 All the information presented in this text is taken Mussolini’s fascist regime. The title Casa del Fascio was given to a building 2007ANTandMaterialSemiotics.pdf (27 July 2019). (27 July 2007ANTandMaterialSemiotics.pdf http://www. heterogeneities. net/publications/Law from the book by Ezio Godoli and Ulisse Tramonti (ed.) that housed the local branch of the National Fascist Party in Italy and its colonies during Benito during and inits colonies Italy Party Fascist (2012): Architetti e Ingegneri Italiani in Albania. in Italiani Ingegneri e Architetti (2012): Material Semiotics’ (25 April 2007), available at: Cp. Law, John (2007): ‘Actor and Network Theory Firenze [Edir Edizioni].

- - -

V. Hotel Dajti 57 V. Polytechnic University 58

V. Polytechnic University 59 V. Polytechnic University 60

V. Hotel Dajti 61 V. Polytechnic University 62 realm – we shall discuss the enhancement and transformation of the network network the of transformation and public new constituting to a this place. in enhancement the accessible discuss made shall site we – the of realm phase the and phase three living phase, purpose, this For reality. as act rewriting or were time-cuts made. On themselves the basis of these three defined phases – construction reproducing artefacts constructing, architectural this of actors, how detailing approximation first examples a is such with below explain place text the superficially Accordingly, to able system. only was complex a Baxhaku, site on (Arba Selaj) experts Erilda with and Velo discussion Maks in days three over conditions stricted things. and figures coded) (and However, our multi-layered two-person team of that carried out system the investigation under self-resoon extensive would we an the location, on discover reveals research and our place During this there. to emphasises inscribed connected agency site complex efforts exhibition new publicity this develop cultural-political to the endeavours municipality the and their in Veliaj Tirana highlighting of tweet The furnishings Terragni. interior Elisabetta its chitect with along flat the ar exhibitionthesupervisionintoantransformedoftheunder spaceitand purchased had Tirana of city the function and purpose as a museum. In order to set up the “ Elisabetta Terragniinfrontofawhitebookshelf. architect Italian the and Kadare Helena wife his Kadare, Ismail author with Twitter on himself of picture an posted Veliaj Erion Tirana of mayor current the 2019 May 26 On his living and working space in Tirana, and present the results of its converted converted its of results the present and Tirana, in space working and living his This scene served as an occasion to publicly reveal the author’s former flat, flat, former author’s the reveal publicly to occasion an as served scene This KADARE HOUSE MARVIN BRANDT, KATHARINA WITTKE STUDIO

Studio House Kadare

”, - -

VI. 63 VI. Kadare House Studio 64 with people in power at the time was in in was time the at power in people with close relations Maintaining banned. cally sporadi and censored massively were work of his parts simultaneously yet ha, member of parliament under Enver Hox Since 1970 criticism. he expressing was a to and the loyalty regime demonstrating between a to walk had tightrope stantly con He scale. larger aon abroad lished at the time, and his works had been pub author a successful already was Kadare Dritëro Agolli lived on the floor above him. The poet of block. tion cores the housing ing in full width between the two circula lived on the second floor in a flat extend Hence and his from 1973 Kadare family onward, comfort. maximum with four walls own their in areas reception and work up set to writers two these lowed al This total. in four-by-oneapartment one into units residential two forming - trans premises, spacious particularly in here accommodated were Agolli and Kadare figures that the literary apparent it does become at the blueprints looking when Only house. the of structure ner in- the in harboured is building this of 30). 2014, & Nepravishta (Ndreçka realism social a of dogmas the tradicts con and cityscape the in out stands “ (so-called facade a and dynamic conies protrusions and recesses, spacious with bal building six-storey compact lo’s predefined frame of social building.the Vein only expression architectural of idea an allowing view, of point cratic the housing industry from a purely techno functionalise and standardise to soughtwhich Construction of Ministry an created Velo power, of centre political Albania’s of of formerly east Ottoman-precinct a environment, two-storey to one- otherwise a the in embed body to foreign came it completed, was it time the By 1971. in beginning Velo Maks architect young the by designed the in edifice The beg Square beg Dice Residential Building Residential Dice BETWEEN POLITICAL ANDBETWEEN SPATIAL Yet the really controversial aspect aspect controversial really the Yet ESTABLISHMENT . In the immediate vicinity vicinity immediate the In . enfant terrible enfant Rruga e Dibrës e Rruga ”) prominently prominently ”) Skander for the the for was was

------opein f h ciny ws en was chimney, the of completion (Kadare, H. 2011, 329) 2011, H. (Kadare, true.” completely be to out turned this shown, has time As work. creative to his linked be would vitally of the apartment, part other any than more fireplace, the the he ground, kept that littering arguing mortar and wood and marble of pieces the around created mess whole the by that I he noticed was annoyed Whenever studio. his in fireplace the to portance processes: work his and character Kadare’s the of part became and life everyday of sation to the rationali tidote/anti-programme an an was fireplace The own walls. four one’s within spirituality and ritual tity, as a placeholder for served history, it hand, other origin, the on but iden object, luxury a modest was fireplace the hand, one the On surroundings. professional and private his as well as output, and conduct author’s the on impact its and artefact architectural idiosyncratic this about speculations diverse venture can we perspective, today’s From country. the of parts other from them procure to helped friends and acquaintances but market, on the available not were bricks fireclay and Marble “project”. Kadare’s was installation its and apartment, within the place special a as it described Kadare Helene workspace. his in place man ner by Kadare’s decision to install anachronistic a fire an in design Velo’s Maks in echoed was culture building or construction regional-traditional the of element an as fireplace the of motif The in the in of south Gjirokastër the country. published which deals with his childhood in 1971, the novel Thus threats. and questions existential about write could he subjects, torical his on focusing By system. totalitarian a within writing days his spent Kadare in those years. enterprise cultural banian writer enjoyed as a figurehead of the Al the freedoms special what demonstrate clearly conditions residential local The dictatorship. the alongside and under fitted” and in “settled literally he that say can We system. totalitarian the to relationship of his part ambivalent itself The interior fittings, including the the including fittings, interior The im great attached ed.] “Is[mail, Chronicle in Stone in Chronicle was was ------he was sentenced to ten years in prison prison in years ten to sentenced was he In 1978 a nightmare. become meanwhile had control state for need universal the attitude, international contemporary a with buildings geometric expressive, of series whole a designed had who Velo, Maks architect the For Politburo. the of observation constant under Building tial lived with his family in the Dice Residen he decade, a almost For banned. diately imme was and publishedgot Dreams” of Palace “The parable Kadare’s 1981 In elite and influential figures. political for the country’s reserved were Mame Misto by made designs Custom dictatorship. communist the under life everyday Albanian of uniformity the on impact major a had shelves, and sofas chairs, tables, beds, for designs of ful hand a only containing portfolio ture use. The combine’s standardised furni domestic for furniture for facility tion combine was the only remaining produc the on, the 1970s From combine. Mame” “Misto the by produced were ponents com individual These mantelshelf. ing received an appropriately curbed, fram also studio the in fireplace The frames. doors were also lined with solid wooden balcony and windows the of soffits the furniture, customised built-in and doors interior the of ductwork the In graphs. photo- numerous of background became the later and which library a as fronts served veneered elaborately with wall wardrobe built-in a also was salon the of Part writing. of business the and visitors of reception the writer, the of life social the hosted and sorbed ab that attributes bourgeois with lon sa of kind a was result The space. dio tothreshold Kadare’s oramplified - stu entrance inviting an expressively viding while pro a room flexible configuration for allowed that door folding glass panelled large four-winged, wide, a was there studio, the and room area, living the living family shared the tween Be villas. and buildings government for furnishings the designed also who trusted to the architect Koço Çomi, Çomi, Koço architect the to trusted TRAPPED BEHIND BOOKS ------regime, Ismail and Helena Kadare de Kadare Helena and Ismail regime, communist the of implosion the before and only few Building months Residence Dice the in years 17 after 1990 In away. crumbled author the towards regime the of goodwill the and flair, to tempers caused Dreams” of “Palace workspace. of detail Kadare’s and contrasting rather curious was another the bookshelf white to Next of the pipes. fireplace, collection a like items personal and rows double in of of with dozens the shelf packed books in and Kadare Helena front Ismail depicts Kumi Petrit photographer-friend his by One of photos the area. archive rounding was more flexible and sober than its sur drawers coloured few a with system lar modu The Italy. from it brought trips, was allowed to travel for abroad business who Kadare, details. interior Çomi’s Koço of surfaces wooden the among object design exotic an was studio his in brary li a as thatserved shelf white The him. of front in right books his on eye an had always Kadare apartment, his in desk the From scene. literature international key to Kadare’s the became translations Russian 1960, to 1958 from Moscow in studying After 2011). I. (Kadare, books” behind disappeared reality The much. Too lot. a read we result, a As language. but nothing is homeland poet’s a ship, country. dictator Under inabnormal an writer a “I normal was of literature: field into the intellectually withdrawing while Hoxha, Enver to relationship his tained main Kadare surface, the On map. the from erased been presumably had that one existence, nation’s a of proofs few the of one were books his of editions ed oppressivetranslathissystemanand regarding his behaviour, his insights into I. 2017). (Kadare, Beyond all ambivalence am your never which enemy... happened” I but you, please may I bourgeoisie: ern West the tosay to expected was I that At silence. a much later time I understood only was there person, my Around cess. was for unprepared completely this suc state in The paranoid the world. Western famous became suddenly I French, into translation the after 1970, “In penalty: saved him of kind this from his literature in to dencies his Kadare, According work. and forced labour for the modernist ten ------

VI. Kadare House Studio 65 VI. Kadare House Studio 66 sister, sister, the government Tirana’s municipal the birthday. Following death of Kadare’s in 2016 when the his city 80th celebrated to opened the in house public Gjirokastër birth author’s the of reconstruction The n.d.). (Röhm patriotic and cosmopolitan pro-European, attributes: contemporary with replete culture, popular local of ure 83-year-old Kadare has become a key fig Kadare” that was opened in May 2019. The tion House to “Studio the newly installed callingstaircase,attentheappliedto been had “K” huge a style, street-art In facade. a front become involuntarily has house the of back The estate. real cial commer post-communist and streets main by surrounded – again once edifice as a now and solitary stands roundabout large a of favour in Square Skanderbeg around buildings of breakdown radical the has survived Building Dice Residence The buildings. his of values urban and ic aesthet- the emphasising by conversion adequate an for fighting stage, public the to returned has Velo Maks architect the And manner. differentiated a in era of heritage communism the architectural ing is one of many examples that highlight Build- Residence Dice The emerging. are appraisal of methods and perspectives new decades, three of distance a With landscape. cultural this of part become of has heritage communist omnipresence ter to the tourism burgeoning market. The but to also abroad, moving ca- massively is which youth well-educated its to tive attrac- more in Albania life to make calls to response in only not consolidation, cultural of venues creating constantly are and government and the municipality tremen economy, and in population seeing growth dous is Tirana of city the Today there again. lived never Kadare 1999, in Albania to Even time returning after indoor capsule. an became space studio and room living the large and kitchen, bedrooms smaller the inhabited only she As sister. his to apartment his left writer the process, transformation political the in faith out cided to forask inasylum France. With KADARE AS A PUBLIC TOPIC - - - - - construction. re and construction story, and history fiction, and reality local, and global the between links omnipresent the tiplying mul- and agency-wise, spatially expands network The 2019). (Veliaj Velo Maks of ing to complex according the instructions hous- the of restoration the and Kadare Agolli Dritëro who lived on the floor above with a similar space dedicated to the poet of conversion the Dice Building Residence of ed the both the further announcement day includ opening the on tweet Veliaj’s culture. of “eventisation” the and tation represen medial via communicates that setting global a in policy heritage active mayor a Veliaj Erion who is pro- fostering its and Tirana of agenda socio-cultural the of symbolappreciative an it makes That biographies. and classes political and social different addressing inclusion, civic of place “Studio a becomes Kadare” the House surfaces, projection and layers multiple its to Thanks itarianism. total- under life complex author’s the of a offer rich exploration for source further objects gible ambiguous and occasionally tan the Especially works. Kadare’s with blur and overlap traces preserved where situation spatial dense in a very ography bi- and novels like intangible something of part a that tries scenography to embed now are order, of out is which chimney, and furniture The here. readings hold to plan organisers the and purposes study for now library private this use can One book but collection objects. also personal and furbished filled not only with Kadare’s re were bookshelves Both infographics. and quotes Tirana, about chive materials family life, stills of movie adaptations, ar writer’s the of pictures private including ed to the windows and walls, furnishings, thenticity and Items nostalgia. were add au between somewhere operates that his work. As visitors, we arrived in a space into place a for showroom the and author the turned Tirana, in Leaves” of “House signed the Museum of Secret Surveillance de- previously had who Terragni, abetta Elis architect Italian The 2019). Kadare the work (Studio House of Kadare” Ismail promote further and preserve “to place a into residence private once this vert con- and 2018 in flat the buy to decided ------

VI. Kadare House Studio 67 VI. Hotel Dajti 68

VI. Kadare House Studio 69 VI. Kadare House Studio 70

VI. Kadare House Studio 71 C 72 “We shape our buildings and afterward our buildings shape us.““The city (Winstoncoins us; as Churchill)we coin the city” (Jan Gehl) run threads of sort what and lives our define that relationships invisible the are “What Aim is to go into a form of interface-research, trying to unfold speculations on on speculations unfold to trying interface-research, of form a into go to is Aim Concept Letter on how to trace invisible relatabilities between matters (ANT) and and (ANT) matters between relatabilities invisible on to how trace Letter Concept to interrelate and interact as actors and agents – forming endless networks (of (of networks endless forming – agents and actors as interact and interrelate to those those somehow present ( sets of realities (bound culturally &/or virtually). virtually). &/or culturally (bound realities of sets through through them?” – W.G. (quotedSebald in the studio’s exhibition) reflection: reflection: and in counter probably indissoluble and therefore perhaps maybe reasonably unnoticed – coin beings/bodies/things (+ maybe those spaces in-between) and the way they seem seem way they the and in-between) spaces those (+ maybe beings/bodies/things bringing them to expression (structure|figure|diagram) information a.k.a semiotic verification around another) and creating constellating constellating creating and another) around verification semiotic a.k.a information ing and co-adaptive relations that can be attributed to ( to attributed be can that relations co-adaptive and ing lations in the way they ARCHITECTURE AND ANT. In other words we want to try to study how things, through (miniscule) interre THE KADARE EXAMPLE KADARE THE THOUGHTS ON ON THOUGHTS »become« affectively transcription MARVIN BRANDT or adapt (in steps of: of: steps (in adapt or apprehendable) but intangible – also because because also – intangible but apprehendable) OVERVIEW / / translation + + transformation transmission human and ) in a constant constant a in ) + reception + reception + non-human

) - -

“bring into existence” into “bring – – so how this sentiency is at the same time immanently influencing further actions actions further influencing immanently time is at same the – sentiency so this how / territories / milieus / settings / places / spaces of circumstances; semiotic-/ circumstances; of spaces / places / settings / milieus / territories / The The metaphor/model bears a The Network here used as topo- & morpho-logical model. of alltheintertwinedinterrelationsinvolved. defining those environments to start with; Altogether we can call that process to process that call we can Altogether with; start to environments those defining open sense, from biological to technological, from physical to immaterial, from from immaterial, to physical from technological, to biological from sense, open construction in itself. That can be applied to support (structure) an ordering of of ordering an (structure) support to applied be can That itself. in construction co-adaptive process of outer surrounding as well as our states/ and alternations to deal with those pre-experienced dispositions (in things just just things (in dispositions pre-experienced those with deal to alternations and behavioursandin and aspirations which lead on considerations possibilities/opportunitiespersonal casing as much as thoughts to increase decision-making well-being) further and archetypical constellations: actions (i.e. thereby developed behavioural structures + restructured and simultaneous exchanging process of and with another, define each-other or or each-other define another, with and of process exchanging simultaneous and thought, on environments, built environments, things, actions and events. actions things, built onenvironments, thought, environments, the way that for instance facets from the from facets instance for that way the nature theyas transitional are). turn to our that specificallyobserved settings and finding new adaptive (expressive or audaciously evasive) alterations alterations evasive) experienced and or audaciously (expressive adaptive new finding and acknowledged settings former those reproaching of innovation in say in role it’s and to surroundings, connected coding) mediated sociological/political (human and non-human) non-human) and (human flections tions micro-to macro, from the very small to a very whole. whole. very a to small very the from macro, micro-to notion of structure, despite of things being in an ever loosely or fluidly ex-changing ex-changing or fluidly in an ever loosely being of things despite of structure, notion (in change state force/movement)(byand dynamic their in processes naturally indecipherably taking course, along with that added human neously periodically/repetitively co-adapting and expanding those layers of information information of layers those expanding and co-adapting periodically/repetitively more specific detail then, we can perhaps be attempting to with the sensory detection (by empirical convergence or immanence) on (thereby (thereby on immanence) or convergence empirical (by detection sensory the with For instance, a penetration between venue and contact zone and technological technological and zone contact and venue between penetration a instance, For between be analysed, a systematic adaptive process of things and environments simulta knots or patternswebbingorweavingknotsofmeshing,/ braidingholding /concen /or in seek of more); opening a social-spatial/political discourse immanent in all things in things all immanent discourse a social-spatial/political in of opening more); seek infrastructure, which allow a freedom of cross-referenced connectivity in a very very a in connectivity cross-referenced of freedom a allow which infrastructure, like components or constituents that then also determine our recognition of this this of recognition our determine also then that constituents or components like re-defining The metaphor allows you for a moment to In so doing, to put it into even more concrete expression, we will be dealing dealing be will we expression, concrete more even into it put to doing, so In In that sense it is to be explored, how there is a constantly active adaptive and and adaptive active is a constantly there how it is to be explored, sense In that Herein we want to be getting closer on how such networks get established in in established get networks such how on closer getting be to want we Herein Network transmitted “affective” of those), and therefore its imbedding conjunction (i.e. of a psychological/ acting acting defining INTRODUCING INTRODUCING THE AND NETWORK NETWORK ingressing translation as metaphor. metaphor. as and within and and re-designing expression and and , with that also (their) surroundings (as (as surroundings (their) also that with , designing the closest personal surrounding of yourself (on well-being well-being (on yourself of surrounding personal closest the (i.e. thereby thereby (i.e. “subjective” coining egressing »being« inputs have (as (as have inputs or socio-spatial creational or or or and re-fashioning negotiation as they are, as within that , between an an , between fashioning ) relations between things and us: this relation relation this us: and things between relations ) signified roles signified re-coining (creative) (creative) status and and significant/signal , and furthermore – in manner of then then of manner in – furthermore and , outside taken to the each other. other. each between matters and layers, and in in and layers, and matters between grasp political structures in this surrounding, by inherent inherent by surrounding, this in inner and and imaginational , have an an have , a structure, single strings and and strings single a structure, and an an and programs - RELATED THEORY outside ) to our outer relative inner graph ramification (network) (network) ramification (strategic/poetic?) (strategic/poetic?) ), and in turn to our our to turn in and ), ). (in a a (in again, we could could we again, influence on us, us, on influence reception these inherent inherent these environments environments diagrammed interference transforma- »being« and in and re- ), ), - -

C Thoughts on Architecture and ANT. The Kadare Example 73 C Thoughts on Architecture and ANT. The Kadare Example 74 - - - - If we look at it with a focus on politics; a focus on power and authority perhaps. perhaps. authority and power on focus a politics; on focus a with it at look we If - - - Looking at it in closer detail / perimeter as we are doing-Is it instead maybe to be maybe it instead we as doing-Is are / perimeter detail at it in closer Looking - - aren’t the processes behind the whole construction of it the defining acting, acting, defining the it of construction whole the behind processes the aren’t - - - - - / through the tracing of an already established network – that of a capitalist, capitalist, a of that – network established already an of tracing the through / first of all bringing it back to something organic, a constantly adapting botanic botanic adapting constantly a organic, something to back it bringing all of first Guattari 1980) through a more pictorial example, by use of their geographically fromgeographically the sea to the shop in his work oration on matters in the endeavors of their book-projettheirendeavorsof the in matters orationon content it is fundamentally a product of and thus leads back to material, natural or cultural origin. natural material, to back leads thus and of product a fundamentally is it content and (imaginary) tool with visionary/rhetoric an or ontological in ceptual philosophy expertise, expression and tracing other disciplines and personal fates to evoke evoke to fates personal and disciplines other tracing and expression expertise, and possibly an attempt of storing (controlling). I want to pose the link to control control to link the pose to want I (controlling). storing of attempt an possibly and an idea of a network both through his own productive (creative/poetic) creation creation (creative/poetic) productive own his through both network a of idea an archival(memory) the personal encounters and stories experienced on the way tracing the produce produce the tracing way the on experienced stories and encounters personal the Deleuze tent. tent. As in the of case the artist con political discursive express to discipline of fields mixing or disciplines their by theory the of metaphor this of manifestations (holistic) comprehensible tially semantic related its of development in Yet conjuncture. evokes metaphor the floating otherwise (information/data/ideologies), and connections content trating supporting in theory one of the most significant mentally and physically / spa / physically and mentally significant most the of one theory in supporting not just dualistic phenomena, establishing connection or a point of cross-section cross-section of a or point connection establishing phenomena, dualistic just not pluralistic of heterogeneous, or with the conjures deals transcendence productively neo-liberal realism – all to be uncovered in him narrating and photo-documenting photo-documenting and in narrating him – to be all uncovered realism neo-liberal root-organism. freely and invisibly in-between things. Hence it’s in principle a systematic / con systematic/ a principle init’s Hence things. in-between invisibly and freely with an inflationary adaptation in our day-to-day contemporary use of language – use of it language in our contemporary day-to-day adaptation with an inflationary his experience following the economic steps in the chain of the fish-market and and fish-market the of chain the in steps economic the following experience his here on in direct link to our focus on politics. Our intelligence to control or make make or control to intelligence Our politics. on focus our to link direct in on here in depiction of a network while at the same time it being formed in feedback of of feedback in formed being it time same the at while network a of depiction in links to control in this sense, establishes an already political linksaction. political to an already control in this establishes sense, ...part of a bigger chain instead instead chain bigger a of ...part Or in which context can we define it as an What is architecture in this context? What kind of promise (aim of uncovering) does this model incorporate for us? Does it have a role? Does it define settings in form of a program? If we to are trying discuss the definition (or the On to our real further questioning... defined as a mere constitutingits entity in the whole chain but rather more passively, to this? on grabbing research own Where is the analysis of authority-responsibility and accountability and how how and accountability and authority-responsibility of analysis the is Where text. they are dispersed in these interactions incorporated in theory of the introduced mediating and expressive elements in this chain in chain this elements expressive and mediating our now as well as before of researchers the conductions the and research-field Specifically in its description between immaterial and human interrelationshuman and immaterial between description its in Specifically Similar strategies can be analyzed in other fields of discipline, in actors using using actors in discipline, of fields other in analyzed be can strategies Similar In post-structuralist (post-modernist, post-liberal/capitalist) philosophy philosophy post-liberal/capitalist) (post-modernist, post-structuralist In and and Guattari power intermediary refer to or establish a network-model-principle in their elab in their a network-model-principle to or refer establish NETWORK . And thus we find the the find we thus And . or or Allan Sekula intermediant -RELATED QUESTIONS mixing fields of disciplines of his own of his of disciplines fields mixing actor thing? (which is an overall definition definition is (which an overall thing? “network” ? → role constituting matters in to link matters constituting ‘Fish Story’ ) of architecture in this con this in ) architecture of -definition or -reference -reference or -definition Mille Plateaux Mille . Rhizome undefined (Deleuze/ (Deleuze/ -analogy, -analogy, ) ------inner to outer from – outer to inner from - another the to one from - each-other between - - - things, of embeddings/dis-embeddings – inclusions/exclusions are: there so - & Actors (as decipher) to ephemeral/temporal (too Spheres | Layers | Affects - - - on? going more much behind conception intermediary an Architecture of layer - surface very the just “architecture” definition the making therefore ------ACTORS (Actants)&AGENTS(Inter-/Mediators) Just by example of looking at this in terms of definitions, which can be attributed attributed be can which definitions, of terms in this at looking of example by Just chain-network). Specifically looking at this element of circumstance – such chains – chains such of circumstance at element this looking Specifically chain-network). others. others. Exchanges: Exchanges: to things – human and non human; as actors or agents – sharing an exchange of of exchange an sharing – agents or actors as human; non and human – things to to be, so this brings in my personal (possibly neutral, possibly additional or possi additional possibly neutral, (possibly in my personal brings tothis so be, such circumstances of the state of things and how they stand in relation to another. to another. in relation stand they how and of things of state the circumstances such some sort, So just as I am building / constructing these sentences, there is a convolution of of convolution a is there sentences, these constructing / building am I as just So (in mediation) of such thoughts conducted by other actors / mediators on constel (explained or narrated -in that sense structured) definitions on how things stand stand things how on definitions structured) sense that -in narrated or (explained Interrelations in-between: different forms of “acting” or “(inter-)mediating” Forms of exchange / transition taking place... Forms of exchange taking / transition bly adjacent) understanding (+mediation) to such readings of formerly expressed expressed formerly of readings such to (+mediation) understanding adjacent) bly information (knowledge / contents) structured around another, aiming to define define to aiming another, around structured contents) / (knowledge information in relation to another, in thoughts made (or knowledge expressed-structured) by by expressed-structured) knowledge (or made thoughts in another, to relation in lations / relations between things (as actors and agents and thus establishing a Agents) there is: movement/mobilization of things, between things, inherent tothings inherent things, between things, movement/mobilizationofis: there and intermingling we can say and jot-down: Things | Surfaces | Structures | Matter (as Actors & Agents) Bodies (as Actors & Agents) there there are: placements/displacements of things, between things, inherent to things so there can be a structuring assigned to (in form of constructing / de-construct so there are: conjunctions/disjunctions of things, between things, inherent... o hr ae AD ad R ad oehr hy a cntut his … chains, construct can they together and ORs and ANDs are: there so defining circumstances of those things, this introduces an intellect- political power political an intellect- this introduces of things, those circumstances defining constructed content / content in a constantly constructive process? (defining states…) in examples: in states…) (defining (building or dissecting further definitions, i.e. of defining circumstances) of defining i.e. definitions, further or dissecting (building forces, power – the control of things, before architecture, or with architecture? architecture? or with architecture, before of things, – control the power forces, Rather than that active front/upper surface game-changer? surface front/upper that active than Rather ing) these chains, defining interrelations between things, inherent to things, and and to things, inherent things, between interrelations defining chains, these ing) inherent... So all this current expression puts me in an acting position but mainly in agency in agency mainly but position me in puts an acting expression current So this all But this is based on how I have read and acknowledged that entire circumstance But this on is that circumstance how based entire I have and read acknowledged MATRICES OF CONSTITUENTS & CONTRIBUTORS / CONDUCTORS | COM SIDENOTE - BUNDLING A NETWORK agency - - - .

C Thoughts on Architecture and ANT. The Kadare Example 75 C Thoughts on Architecture and ANT. The Kadare Example 76 –subjectively– structured definition composed somewhere/by someone of its own). An Apartment Building, marking Tirana’s Socialist-Era The building highlights both an impression (we could say an intersection) of new new of intersection) an say could (we impression an both highlights building The circumstances constellating these all defining people those instance for are There Who orwhatisactiveinmakingthatcomposingchoiceoffocus/definitioncoding? Skanderbeq Square Skanderbeq of analysis and thereby in form of expression (because that defines or reflects a reflects or defines that (because expression of form in form thereby in and out, picked analysis of or chosen is circumstances of constellation or circumstance what to relative (re-)define, constantly to possibility of circle endless an up open of being oractors agents) in terms of We are actors and agents in sharing our experiences from from experiences our sharing in agents and actors are We anticipation of prominent residents, situated within short walking distance from from distance walking short within situated residents, prominent of anticipation con in Perhaps to this. forms new finding of case specific a very and time at that oftypologythe termsof architectural1970s inthe in approacheswind taking with negotiation in expression) outer an to inside an from taken recollection and ary active (as observant/reflectant) entity or a state a in put be can they way the in as (just things to inherent attributions and the same the time... same taken up in this constellation in order of coming to (defining) the expression of of expression the (defining) to coming of order in constellation this in up taken standardized / pre-fabricated residential complexes being built around the city city the around built being complexes residential pre-fabricated / standardized share with each other in focus of one particular building within Tirana’s topography. such constellations in the first place (and in course there is a mediation of this this of mediation a is there course in (and place first the in constellations such (structuring; constructing or de-constructing) realities that individuals, furniture, furniture, individuals, that realities or de-constructing) constructing (structuring; ronment (open to all things; acknowledged to our recollected memory + narration – equally active and in exchange of each other at other each of exchange in and active – equally + narration memory recollected rooms, rooms, books, windows, doors, floors, fireplaces, facades, city, culture and politics further) analyzed thus and of heard (seen/observed, things all through nections / roles individual networks). / possibly programs underlying agents, and actors through us to narrated nection to a new form of urban imbedding, in light of it’s prominent setting / in in / setting prominent it’s of light in imbedding, urban of form new a to nection from a distanced external point of view – i.e. a secondary knowledge; experience experience knowledge; a secondary – i.e. view of point external a distanced from works accordingly works we are/were active, involved and distanced observers and listeners in that envi that in listeners and observers distanced and involved active, are/were we internal point of view – i.e. a primary knowledge; (sensory) experience – and and – experience (sensory) knowledge; primary a i.e. – view of point internal constellations. individual of and relations these in ization of people (in personal and on counter openly shared experience, in memory in memory experience, shared openly on counter and (in personal of people ization in one chosen environment. environment. chosen one in information further on).information further ly reflecting and probably further interplaying / scripting / inscribing / setting setting / inscribing / scripting / interplaying further probably and reflecting ly simultaneous structures, and programs in values; roles, orders, frames, logical → Then there is us discussing all this matter, selecting and picking our own strings our own strings picking and selecting matter, this all is us there discussing Then We will further conduct in action or speculative attempt of piecing out net out piecing of attempt speculative or action in conduct further will We fundamentally thereby and / reflecting observing is equal an We there say can We will conduct in agency of actively sharing these inputs and grasped con grasped and inputs these sharing actively of agency in conduct will We Both from an inside of things and an outside of things, from an immanent an from things, of outside an and things of inside an from Both affects through those inputs collected and narrated around both primary and second and primary both around narrated and collected inputs those through , having gone through processes of both internalization and external and internalization both of processes through gone having , , erected along a newly implanted strip in a formerly formerly a in strip implanted newly a along erected , ADDRESSING TIRANA THE BUILDING programs

role and/or and/or – in being the observer/reflector, observer/reflector, the being in – “affection” roles (1945-1991) Tirana and by the knowledge by and knowledge the . . Just as much as as much as . Just Ottoman ------

“Broadway”(Studio Terragni Architetti “Kadare Shtëpia Studio” – exhibition guide 2019). 2019). guide exhibition – Studio” Shtëpia “Kadare Architetti Terragni “Broadway”(Studio The building is typical of communist architecture and was designed and built by architect 2 or3roomedproperties.(TheBalkanista2019) After the apartment has been abandoned by abandoned been has apartment the After Time of construction: 1971 The Architect: Maks Velo The Appartment in focus: a flat or double-flat inhabited by of old Tirana. But this building was home to not just Kadare but other prominent writer writer prominent other but Kadare just not to home was building this But Tirana. old of disclosure disclosure in curation of explore and see. see. and explore our imbued impressions from this very interior position of the architecture, par architecture, the of positioninterior very this from impressions imbued our after the year 1990, a very recent project has been called into existence in sup in existence into called been has project recent very a 1990, year the after and found there still) to be reconfigured / exhibited for anyone to openly come come openly to anyone for exhibited / reconfigured be to still) there found and Dritero Agolli who lived on the floor above. Both men enjoyed the privilege of having a having of privilege the enjoyed men Both above. floor the on lived who Agolli Dritero Maks Velo in 1972. Known also as “the palace of cubes” due to its protruding rectangu- Ismail Kadare the architect and the exhibition team, we would like to commence in connecting connecting in commence to like would we team, exhibition the and architect the in meeting connections further and insides of it’s impression a strong such to get opportunity the had we where research, of / objects – study case our throughout ticularly it’s furnishings and their tracing both an inner and an outer ramification ramification outer an and inner an both tracing their and furnishings it’s ticularly porting it’s heritage as a place of cultural exchange, administrating its public public its administrating exchange, cultural of place a as heritage it’s porting Tirana’s as definition such attained then intervention this through which precinct, large spacious apartment with many rooms, whilst the general population lived in small, lar design, it is situated on Rruga Dibra – what was once a bohemian and vibrant part part vibrant and bohemian a once was what – Dibra Rruga on situated is it design, lar in ofspheres mediation and activity. We went and had a look – and since it marks the very special circumstance circumstance special very the marks it since and – look a had and went We : a leadinng literary figure in in figure literary : aleadinng former belongings - 1972 and and Albania Kadare’s décor since the the since (evidently having been stored stored been having (evidently family and left empty since since empty left and family Ismail Kadare 1960s and his family his and - -

C Thoughts on Architecture and ANT. The Kadare Example 77 Albania Central Bank(2010): Buys Landmark Tirana Network) Hotel. Reporting Investigative (Balkan Birn (2019/08/14) Building/ Bank_of_Albania_s_buildings/Former_Dajti_Hotel_ https://www.bankofalbania.org/About_the_Bank/ Building. Dajti Hotel Former (n.d.): Albania of Bank (2019/09/09)tirana-shtepia-studio-kadare/ Kadare. http://thebalkanista.com/2019/07/17/visit- Studio Shtepia Tirana: Visit (2019): Balkanista The Haller, Moritz; Rama, Edi (2010): „Über die Zukunft Mayor of Tirana“, in: Stiller 2010, pp. 75 with mit/Interview Edi Rama, Bürgermeister von/ Gespräch im Haller Moritz future. the hinaus/Beyond Gesell Geographischen der Mitteilungen in: stadt“, wicklung und aktuelle Probleme der albanischen Haupt- research”, in: Review,Architectural Theory vol. 13, no. 1, architectural of land the in theory actor-network with Traveling Action: in “Architecture (2008): Kjetil Fallan, die Medien, no. 2 und ANT Kulturforschung, und Medien für Zeitschrift (eds.) Bernhard (2013): Siegert, Lorenz; Engell, Berlin, BWV City. the and Culture (2009): (ed.) Frank Eckhardt, (2019/09/09) public1.linz.at/FU/ARCH_Deleuze_Foucault.pdf bei Foucault und Deleuze“. http://gerhard_dirmoser. Dirmoser, Gerhard (2010): „Diagramm-Begriffe Paris, Éditions de Minuit plateaux. Mille (1980): Félix Guattari, Gilles; Deleuze, (2019/08/14) albania-central-bank-buys-landmark-tirana-hotel/ Balkan Insight. https://balkaninsight.com/2010/05/13/ 2010, pp. 43 Nicht-Form/ Tirana: from Form to Non-form”, in: Stillerzur Form der Von “Tirana: (2010): Katia Accossato, 27/2004 files/B Structural Models for Art. Talk at KW at Talk Art. for Models Structural Gelshorn, Julia; Magauer, Hanna (2019): Networks as Theory. Oxford, Oxford University Press,Anthropological An pp. 1 Agency. and Art (1998): Alfred Gell, mit-peter-payer-1-h-25-min (2019/09/09) https://www.technischesmuseum.at/stadtforschen- 12.03.2017, published Payer”, Peter mit Stadtforschen Nr.2: “Stadtgespräch in: quoted (2012), Jan Gehl, urban studies. London, Routledge changes theory actor-network How assemblages: Urban (2010): Thomas Bender, Ignacio; Farías, 80 pp. Göler, Daniel (2007): „Die Stadtregion Tirana. Ent- Ingegneri Italiani in Firenze,Albania. Edir Edizioni Godoli, Ezio; Tramonti, Ulisse (eds.) (2012): Architetti e 1023/A:1014404201290 Theory, vol. 31, no. 1, pp. 35 In: and RenewalTheory Society: and Critique in Social Gieryn, Thomas F. (2002): “What buildings do”. Contemporary Art, Berlin, 27.08.2019 schaft für das Ruhrgebiet (MGGR), vol. – - 39 96 96 - 2007. - %2055%20 - 57 http://eggg.de/sites/default/ - Göler.pdf (2019/09/01) - 74, https://doi.org/10. - Institute for for Institute

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