Multiple architectural identities in contemporary Albania

Multiple architectural identities in contemporary Albania Kejsi Rama 201012342 Bsc (Hons) Architectural Studies University of Strathclyde Department of Architecture

19 March 2015 ii

Declaration

AB 420Dissertation 2014/15 BSc Honours Architectural Studies BSc Honours Architectural Studies with International Study MArch/Pg Dip Advanced Architectural Design MArch Architectural Design International

Declaration “I hereby declare that this dissertation submission is my own work and has been composed by myself. It contains no unacknowledged text and has not been submitted in any previous context. All quotations have been distinguished by quotation marks and all sources of information, text, illustration, tables, images etc. have been specifically acknowledged. I accept that if having signed this Declaration my work should be found at Examination to show evidence of academic dishonesty the work will fail and I will be liable to face the University Senate Discipline Committee.”

Name:

Kejsi Rama

Signed:

_______________________________

Date:

18.03.2015

Department of Architecture Acknowledgement

t:+ 44 (0) 141 548 3023/3097/4219

Head of Department:

I would like toWeir express my deepest gratitude to my supervisor, Mr.Professor Salama, Ashraf for hisSalama input Level 3, James Building 75 andMontrose supportStreet throughout this project. His work has been an inspiration and a major Glasgow G1in1XJ e: [email protected] influence the inception and completion of this dissertation. The place of useful learning

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Acknowledgement I would like to express my deepest gratitude to my supervisor Mr. Salama for his input and support throughout this project. His work has been an inspiration and a major influence in the inception and completion of this dissertation

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Abstract The issue of identity in architecture is debated throughout the world. In countries with a diverse cultural background and history rich in invasions however, the pursue of identity becomes a necessity rather than a debate. As one of those countries, Albania is experiencing its own quest for identity, the results of which can be interpreted through its architecture. What flourished in Albania after the 90’ is an architecture of controversy and multi imagery. It can be articulated into different trends such as: the post communist architecture, the high rise buildings and suburban gated communities as well as the cloned facades. These new trends are pieces of an architectural collage composed by both the latter and the existing building typologies that display the identities of three influential countries in the history of Albania: Turkey, Italy and the Soviet Union. This dissertation offers a reading of the image of multiple identities in contemporary Albanian architecture through the observation of set trends that have emerged recently. Emanating from the conceptual nature of the notion of identity, the first part of the study takes on a theoretical approach to explore people’s perception of identity as well as the role of architecture in constructing one. In the second part, an analytical and comparative perspective is taken to understand the visual messages of past architectural changes followed by the third part that analyses tradition/modernity and recent developments by simultaneously examining the factors that influence identity. The developed framework offers an insight into Albanian architecture while predicting a future approach that could resolve the image of multiple identities into a comprehensive visual response.

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Contents INTRODUCTION.......................................................................................................1 The multiple faces of Albanian architecture ................................................................... 1 Structure and methodology ...................................................................................... 2 CHAPTER I - THE IDENTITY DISCOURSE ......................................................................... 5 The theories of identity .................................................................................... 5 Manifesting a cultural identity............................................................................ 6 Architecture and architectural identity

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CHAPTER II - CROSS CULTURAL INFLUENCES .................................................................. 8 The Turkish influence ...................................................................................... 8 The Italian influence

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The Soviet influence...................................................................................... 14 Comparing influences .................................................................................... 16 The fragmentation of national identity................................................................ 19 CHAPTER III - THE RISE OF MULTIPLE IDENTITIES ........................................................... 20 Post-communist architecture ........................................................................... 20 Architecture of high rise and gated communities ................................................... 22 The cloning approach and cut and paste architecture .............................................. 24 The paradigm of multiple identities.................................................................... 26 CONCLUSION ..................................................................................................... 28 Bibliography

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Image bibliography

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List of Illustrations Figure 1The centre of Tirana. Example of tThe multiple faces of identity in Tirana: The high rise building on the left, the Ottoman mosque adjacent to it, the Italian architecture of the ministries at the front and the post-communist architecture at the back ................................................................. 1 Figure 3 Residence in Gjirokastra. Example of the new housing typology ............................................ 9 Figure 2 Berat. Example of Turkish influenced houses .......................................................................... 9 Figure 4 Mosque and Minaret in Gjirokastra ....................................................................................... 10 Figure 5Church-Mosque in Ulcinj......................................................................................................... 10 Figure 6 Remain of an old Han in Durres ............................................................................................. 10 Figure 7 Shop in the bazar of Kruja ...................................................................................................... 10 Figure 8 A contemporary image of the centre of Tirana showing the Italian influenced facades adjacent to the mosque ....................................................................................................................... 12 Figure 9 Former Casa del Fascio, now main university building in Tirana ........................................... 13 Figure 10 Communist residential building in Tirana ............................................................................ 14 Figure 12 The Congress building in Tirana. Example of modern architecture ..................................... 15 Figure 11 The dictator's residence in Tirana ........................................................................................ 15 Figure 13 The national museum of Albania and the International Hotel in Tirana exposing their monumental character ........................................................................................................................ 16 Figure 14 The exhibition building of communism, generally known as "the pyramid" in Tirana reflecting the hermetic character of communist architecture ............................................................ 16 Figure 15 The centre of Tirana exposing the multiple architectural identities of contemporary Albania ............................................................................................................................................................. 20 Figure 16 Post-communist residence 10 storeys high ......................................................................... 21 Figure 17 Post- communist architecture displaying bright colours...................................................... 22 Figure 20 The Economic Trade Centre in Tirana exposing horizontal lines.......................................... 23 Figure 19 The Twin Towers in Tirana exposing glazed facades ............................................................ 23 Figure 18 The Coin Centre in Tirana integrating elements of colour ................................................... 23 Figure 22 Gated community in Saranda............................................................................................... 24

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Figure 21 Gated community in Tirana still under construction ........................................................... 24 Figure 23 Hotel Amadeus in Tirana still under construction ................................................................ 25

Table 1 Methodology diagram...............................................................................................................4 Table 2 Influence comparison ............................................................................................................. 17 Table 3 Architectural elements of three influences ............................................................................. 18

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Multiple architectural identities in contemporary Albania

INTRODUCTION THE MULTIPLE FACES OF ALBANIAN ARCHITECTURE "I arrived (in Tirana) by bus on a hot afternoon and was instantly struck by the amazing graphical flatness of the Italian colonial architecture, the epic ugliness of the Soviet-style architecture and the naïve aspirations of the new glass-and-steel towers. They all had an energy I couldn't dismiss." (Gross, 2006) In a couple of sentences, Matt Gross managed to encapsulate the reality of contemporary Albanian architecture which is displaying extremely diverse forms of visual responses through a variety of styles, scales and building typologies, located within meters from one another. His article, published in the New York Times in 2006, exposes the controversial multiple faces of identity that still characterise Albania 9 years after its publication. While 9 years is a relatively sufficient period for improvement, today's reality finds Albania still hosting the Italian and Soviet architecture adjacent to recent developments that are contributing in expanding this image of multiple identities. These recent developments can be articulated into defined trends exposing influences of both tradition and modernity.

Figure 1The centre of Tirana. Example of tThe multiple faces of identity in Tirana: The high rise building on the left, the Ottoman mosque adjacent to it, the Italian architecture of the ministries at the front and the post-communist architecture at the back

This collage of visual expressions of architecture is being controversially perceived by people as a result of multiple identity displays. Since visual perception is based on principles of recognition, distinction and acknowledgement of the solid environment (Vernon, 2013), a clear

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Multiple architectural identities in contemporary Albania

perception of architecture leads to a significant understanding and evaluation of its image-making performance, thus generating a sustainable and consequently acceptable picture. Clarity can be achieved through a detailed articulation of both the existing architecture and recent development. This task demands for the identity of Albania to be examined over the years. To do so, three questions must be answered: How do people perceive identity? How is identity reflected in architecture? Why does architecture change over the years? In addition, an analysis of architectural developments through selected historic periods as well as the contemporary context through the defined trends is required. The analysis is conducted on the external representation of architecture through facades based on the theory that "since architecture is created for the public then examining its public face is essential to the understanding of the juxtaposition of those expressions and images and what they convey and represent" (Salama, 2012: 175). The research study aims to predict the continuation of Albanian architecture in terms of identity and its influences. It does not present solutions to the current implications that Albanian architecture is experiencing, instead it provides a set of recommendations for future Albanian architects on how to observe, understand and approach identity. In addition, it creates a framework that explores the manifestation of identity through different architectural trends. This framework aims to deliver a clear understanding on the application of the architectural vocabulary in a multiidentity context.

STRUCTURE AND METHODOLOGY A theoretical approach is considered in order to understand the physical reality of architecture and its principles of visual perception related to the theories of cultural identity, national identity and architectural identity. A comparative perspective is than adopted to analyse the different manifestations of identity and their respective influences. The research is built on both the emancipatory system of inquiry emphasising the role of social and political factors in shaping actuality, and a mythic paradigm (Groat & Wang, 2002) in understanding the definition of identity and its application to architecture. The structural framework is created upon qualitative research, analysis of information gathered and comparative assessment in context. The research is based on a literary review of sociology, psychology, philosophy and history books, journals, online publications and newspaper articles in order to define the meaning of identity on different levels and the development of Albanian architecture through the years. The theory of identity by Stuart Hall, the theory of an analogy between language and architecture by Chris Abel as well as interpretations of Albanian architecture in the aftermath of cross-cultural influences by Albanian architects are assessed to provide an insight on the topic of identity within the Albanian context. In addition, observations through site visits and visual representations such as pictures and sketches are used to understand the articulation of an architectural vocabulary in constructing an identity as well as the relation between humans and the build environment. History books have than been consulted with the purpose of determining the likability and acceptance of different forms of architectural representations, and the reasons behind architectural manifestations and respective developments.

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Multiple architectural identities in contemporary Albania

The dissertation is divided into three parts.

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The first part explores the notion of identity on a philosophical, sociological, national, cultural and ultimately architectural level. Secondary analysis is used for this purpose through a study of sociological, psychological and philosophical literature as well as classical writings in architecture on the topic of identity.

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The second part of the dissertation includes a visual study on Albanian architecture. It comprises a systematic analysis and comparative observation of architecture through established periods based on three external influences. Next, it follows a typological analysis of building facades and an analytical comparison of respective representational aspects of exemplar buildings for each historical period, through pictures, sketches and matrixes. In addition, it articulates the impact of cultural impositions, political regimes as well as socio-economic circumstances on identity and their outcome.

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Findings from previous chapters are than applied to the third part in order to analyse the multiple faces of contemporary Albanian architecture. Again, secondary analysis is consulted and a visual analysis is conducted in order to define the visual responses that have emerged lately and their respective features. The theory of globalisation and cloning are considered through a comparison of buildings that have embraced these methods in order to construct identity. A synthesis of the analytical findings is applied to this current architectural response in evaluating the application of building principles and the role of cultural inheritance, modernity and tradition in this image of multiple identities.

Multiple architectural identities in contemporary Albania

Table 1 Methodology diagram Approach

Theoretical

Analytical-comparative perspective

System of enquiry

Mythic paradigm

Emancipatory

Research design

Define the notion of identity

Investigate Albanian architecture over years through a visual study, systematic analysis and comparative observations

through secondary analysis + classical writings in this topic

Examine the philosophical +sociological levels of identity

Examine the evolution of identity under 3 influences through a typological analysis and analytical comparison

Explore the meaning of cultural identity

Compare influences in terms of identity through a synthesis of previous analysis

Analyse the role of architectural identity

Define the impact of culture, politics, socioeconomic state on identity

Analyse the multiple faces of contemporary Albanian architecture through secondary and visual

Analyse the methods used to construct identity by recent emerging through a synthesis of all analytical

Evaluate the application of building principles and the role of cultural inheritance, modernity and tradition in the image of multiple Tactic

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literary review of sociology, psychology, philosophy, history books, journals, online publications and newspaper articles + review of graphic material: pictures and sketches + design of matrixes

Multiple architectural identities in contemporary Albania

CHAPTER I THE IDENTITY DISCOURSE Identity is a complex term that refers not only to architecture but various areas of life and existence. Its definition is inevitably rooted into a philosophical and sociological context due to its application to living and non-living subjects. As a result, both sociological and philosophical theories have been researched to assess identity in the architectural context. Emanating from these theories, the idea of a cultural identity is considered while revealing the meaning and role of an architectural identity.

The theories of identity Identity is a notion of a conceptual nature and as such, there are many definitions addressed to this term in relation to people and societies, objects and group of things, places, countries or continents. Identity can be defined by three sociological theories that shift between each other, such as “the (a) Enlightenment subject, (b) sociological subject, and (c) post-modern subject” (Hall, et al., 1995: 597). The first definition derives from the concept of having a set identity from birth that preserves the same characteristics during one’s life. The second definition generates a broader meaning of identity as it relates the human being to the social context. It emphasises that identity is formed as a result of interactions and awareness within the surrounding thus placing subjects into structures through a projection of feelings . This bond between people and their surroundings, results in predictability. While the first and second definitions of identity describe it as being a strong notion influenced by actual surrounding forces, the third theory defines having no fixed identity as a result of the sociological changes that come with post-modernism as an international movement. The implications of globalisation are considered in this case as a driving force in the shaping of modern societies and their identities through discontinuity and fragmentation (Hall, et al., 1995). Hirsch considers identity as a representation of the career of a subject through its existence (Hirsch, 1992). Both this and the third theory of identity demonstrate that identity can be evaluated through several established periods with regards to the career referred. Salama defines two form of identity "visual identity, and activity-based identity" (Salama, 2007: 101). Since a visual perception is related to the solid nature of a subject, identity can be also interpreted within a philosophical level. Three theories are used to define it. The first is based on the unchangeable state and character of a subject over the years, the second theory emphasises the uniqueness of a subject that differentiates it from others while the third displays the paradox of the notion of identity by stating that identity is what relates subjects to one another through their same characteristics (Salama, 2007).

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Multiple architectural identities in contemporary Albania

Both levels are relevant to architecture. Steven Holl defines architecture as a blur of buildings that grasp qualities from the abstract world through conceptual ideas of form and function, the dynamism and volumetric play of spaces and the touching but yet responsible poetics of designs which are then synthesized into a physical reality, resulting in art. He encapsulates the notion of architecture into four words: abstract, use, space, idea (Holl, 2013). This definition of architecture displays the philosophical character of a buildings which in its core is an object composed by several particles that generate a response towards the environment and its habitants. It draws on the idea that architecture is rooted in the principals of reality, continuity and sustainability, and consequently, it is influenced by sociological factors. Thus the philosophical and sociological perspectives become inevitable in interpreting identity in architecture and the way it is constructed.

Manifesting a cultural identity Based on the theories of identity, the identity of a person and that or a piece of architecture are closely related to the social realm. These elements come together in the notion of national identity, where culture is what creates the bond between society and its national component. Culture is another controversial notion. While some people see culture as a synthesis of historical tradition and national socio-economic factors, others perceive it as an artificially generated conception (Lomholt, et al., 2012). In both cases however, based on the theories of identity, a cultural identity still holds its uniqueness while involving national components that share the same characteristics and can be identified with one another. Architecture is one of these components. Architecture and culture have a symbiotic relationship with one another. One the one hand architecture is defined as being “inevitably rooted in the principals of cultural and historical continuity” (Lomholt, et al., 2012: 21). On the other hand it is interpreted as "subject to its own rules and criteria, but also to influence from external sources" (Abel and Foster, 2012: 87). Considering culture as the ‘abstract’ in Holl’s equation mentioned earlier and buildings as the ‘real’, architecture can be seen as a response towards cultural tradition as well as the vessel that conveys cultural identity. In other words, architecture can reflect cultural identity or express one. Based on the ‘sociological subject’ theory of identity (Hall, et al., 1995), cultural identity appears to be a non-static concept. Following the transitive law: if architecture expresses cultural identity and cultural identity changes, so does architecture. The continuative or disruptive nature of the developments of cultural identity can lead to the creation of multiple new identities. In addition to the historic course of events, globalisation is reinventing culture and shaping it into different directions (Lomholt, Emmons and Hendrix, 2012). The ‘post-modern subject’ theory of identity is a testimony of that. Therefore the identity of the modern world seems to be in jeopardy. All these changes of identity within a society and its respective culture are being reflected and expressed through architecture.

Architecture and architectural identity Architecture expresses identity on a spatial and visual level, where the first one addresses the layout of the spaces and the functionality of architecture, while the second one addresses its image-making role (Salama, 2007). The first representation of identity thus comes from the visual role of architecture as the first encounter of a building with a person.

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Multiple architectural identities in contemporary Albania

Architecture can be seen as a composition of buildings, where each building has its identity. The identity of a subject can be considered as deriving from the response of the brain towards what it sees. The brain is not only able to recognise an object by its external appearance but also through its components. It is able to detect connections, relations, similarities and differences through a visual perception (Biederman, 1987). As a result, the display of an architectural identity is based on principles of legibility of the architectural vocabulary as integral part of building facades (Salama, 2007). Therefore it can be argued that architecture conveys identity through symbolism, volumetric plays, solid and voids (entrances and windows), façade projections and materiality selection. The general character of this list is attributed to the theory that each element is to be analysed within a cultural context, thus making it irrelevant to specify them without the respective application into an exemplar building. Chris Abel introduces an analogy between language and architecture to interpret it as not only architecture but something else as well (Abel and Foster, 2012). The sole act of introducing a new form of understanding architecture emphasises that architecture plays different roles in society that despite being unnoticeably percept, they also need to be acknowledged. The analogy with a language proves that architecture has similar attributes to languages. This particular analogy used by Abel emphasizes that architecture has a "function as a system of social communication" (Abel and Foster, 2012: 83). In a way, it can be argued that architecture speaks through its buildings. It uses certain means of representation to convey culture, inheritance, tradition, personal perception of the architect towards the brief or even contemporary issues of a society. Although this analogy system has been used to simplify criticism in architecture, it can also be applied to interpret visual messages in terms of identity by following the same rules of language interpretation as a mean of social communication. As Abel explains, the same word can be used to express one thing coming from a scientist and another from a drug dealer (Abel and Foster, 2012: 85). Following his theory of a language analogy, architecture is closely related to its social context, thus a certain element that expresses identity should be interpreted within this context. Communication however is a very resourceful tool. It can deliver a message or transmit one. Architecture therefore acts as both a conveyor of cultural traditions as well as an activist in new cultural developments (Lomholt, et al., 2012). Its articulation within a build environment is able to affect the way people perceive identity through meanings attached to it (Salama, 2007). Since visual perception is based on the solidity of objects and the projection of its composing elements, the manipulation of these elements can manipulate perception as well, resulting in different messages being delivered to the public. Therefore, the relationship between architecture and the human realm is very responsive and even symbiotic. It can be argued that architecture is a practice of expression through identity and this identity is as meaningful and animated as the identity of a person. As a result, an architecture identity can be intepreted as reflecting culture, expressing culture but also generating it.

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Multiple architectural identities in contemporary Albania

CHAPTER II CROSS CULTURAL INFLUENCES Architectural identities are shaped by cultural influences, whether these influences are national or international. Being a small country in the centre of the Balkan Peninsula and an interconnecting route between Western Europe, Eastern Europe and Asia, Albania has always been targeted through the years by different countries and regimes. Whether the reason was to make use of the coast for trading, expand the amount of land conquered within the heart of Europe or expand ideologies through the Balkan, various countries have made their way through Albania sharing and enforcing their own culture in the process. As a result, a proper look onto the history of Albania and the implications of invasions, colonisations and regime idealisations on architecture are necessary in understanding the development of its architectural identity into these multiple visual expressions. The history of Albania can be divided into three main influences. The first influence is that of the former Ottoman Empire that lasted for over half a millennium. The second influence is that of Italy which lasted for a period of almost 20 year. The third country to influence Albanian architecture is the Soviet Union. Its influence lasted for almost 45 years during the communist regime in Albania.

The Turkish influence The most relevant cultural influence on Albania can be considered that of the Ottoman Empire during 1400-1900 . While the Ottoman Empire was a composition of many countries, it was the Turkish identity, as the core of the empire, that came to surface in Albania. Architecture before the XV century is considered as medieval. There is very little evidence of it today on both publications as well as solid manifestations. This can be attributed to the Ottoman Empire’s invasion strategy which used the cultural role of architecture to assimilate the country by demolishing existing buildings, eliminating both written and graphic evidence and displaying a new cultural identity through new constructions. The new culture however was accepted by Albanians in an organic rather than mechanic manner (Riza, 2009). Since architecture is closely related to the socio-economic and political state of a country, its distribution into specific sectors used to be different during the XV-XIX centuries than what they are today. The main activities of this period included: living, religious activities, trading and strategic/ administrative activities (Riza, 2009). Each activity was conducted in specific building typologies and each typology constructed their own identity under the influence of another country. 1.

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The housing architecture started as a sheltering process and then evolved into an architecture displaying the social hierarchy through identity (Bace et al., 1979). Initially houses were placed within the walls of a castle to protect people from wars and allow them to conduct a normal daily life despite the invasion. This practice became later on obsolete

Multiple architectural identities in contemporary Albania

after the increase of security. The residential architecture has therefore a house as its nucleus. The external image projected by the facades had a clear Turkish character through the grouping of narrow tall windows, the visible timber framing of windows and projections, the usage of shades, the small cantilevering of the upper floors as well as the low pitch of the roof. The facade also showed a clear distinction between the ground level build in stone, which was used as a utility area and the upper floors neatly rendered in white, used for living (Bace et al., 1979). This distinction based on the social activities of the people using the house is what gives the house an Albanian character. In addition to this, the Albanian character is seen again in a new house typology at the end of the XIX century (Bace et al., 1979). After the enforcement of the economic system, people started to feel the need for bigger and more sustainable houses, thus developing the existing Turkish influenced typologies into new designs that would support their lifestyle. This typology had a higher roof to allow space for an attic, stone framing on the sides instead of timber or was all in build in stone, thus going back to local materials to construct identity and external staircases that lead to the second level where the entrance was. All these alterations were made to acknowledge the identity of the locals that after years of being invaded had managed not only to survive but also to increase their wealth. Other elements to emphasise that, were the big arched opening before the entrance mostly seen in Gjirokastra and the use of decorated columns (Bace et al., 1979), again at the entrance for everyone to notice and the different design of doors' and windows' frames in stone.

Figure 3 Berat. Example of Turkish influenced houses

Figure 2 Residence in Gjirokastra. Example of the new housing typology

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Religion became quite a strong influence in Albania during this period. The Ottoman Empire used religion as a way to impose its culture. For both survival and economic reasons, Albanian changed their religion from Christianity to Islamism. Islamism spread its identity not only through mosques but also schools known as ‘madrasah’ which expressed their overwhelming force through their huge scale. Verticality became part of architecture due to minarets. Religious symbolism was also used, however in a much condensed manner. A new identity was created by turning the existing churches into mosques, thus combining the vernacular and existing forms of architecture with Islamic symbolism, generating what in Albania is referred to as the 'church-mosque' phenomenon (Endresen, 2012) seen in Shkodra and Ulcinj, a former Albanian city now part of Montenegro.

Multiple architectural identities in contemporary Albania

Figure 4 Mosque and Minaret in Gjirokastra 3.

T Trading changed considerably due to the ‘esnaf’ system introduced by the Ottoman Empire. All the craftsmanship, handicraft activities and trading itself were conducted in specific places called ‘bazars’ (Riza, 2009). The term as well as the identity of these new places was Ottoman, emphasising their influence on Albanian trading system among others. Bazars included narrow streets with low buildings on both sides. The overhanging roofs, the shutter system, the frontal big openings (Riza, 2009) as well as the introduction of nearby hotels knows as han which again were ottoman in terms of symbolism, courtyard and balcony design, all depicted the activities of the empire. The proportions and form of the bazars and hans however, were in fact Albanian in character due to economic, cultural and contextual restrictions.

Figure 7 Shop in the bazar of Kruja

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Figure 5Church-Mosque in Ulcinj

Figure 6 Remain of an old Han in Durres

Multiple architectural identities in contemporary Albania

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The strategic and administrative activities were mostly related to the war and governing of the new invaded areas. They were protected places were meeting would take place, soldier would rest and leaders would conduct their day-to-day life. In terms of facades, the same elements as houses and hans were used, but in bigger scale buildings to determine authority. Again, it was the Turkish identity that was coming across as an invasion strategy.

The activities that formed social life during this period, together with their respective building typologies put a clear emphasis on the colonial character of the architecture. This period marks the rupture of Albanian cultural continuity, and the integration of the Turkish culture, all displayed in the architecture. The economic and cultural state of Albania, being considerably different from that of the Ottoman Empire, provides restrictions in the development of architecture thus not allowing it to fall pray of a copy-paste movement. So the identity of this period in Albania cannot be described as Turkish rather than Turkish influenced. It is a display of the political and cultural context of a 500 year co-existence of the two communities (Riza, 2009). This new identity was neither opposed by the locals nor imposed by the colonisers, rather than embraced by both for over 500 years. While the locals saw these architectural developments as their only way of survival and assurance of life normality, the colonisers considered the development of architecture as a base for an economic growth (Riza, 2009). Therefore, the implementation of the Albanian social life with the Turkish culture created an architectural identity that was accepted as the national identity of Albania. It beholds a unique character that identifies this architecture with the nation and identifies it from other countries colonised by the Ottoman Empire, preventing Albania from being assimilated and allowing the continuity of its existence.

The Italian influence In 1912 Albania gained its independence. It did not take long to realise that despite the developments under the invasion of the Ottoman Empire, the country had not yet reached European standards. As a result, Albania found itself revaluating its successes while comparing them to Western European countries within its historic and cultural context (Riza, 2009). So a new era began, marking a new influence in architecture, that of Italy. Italian influence started as a political alliance for economic issues and lasted from 1925-1943 (Prifti, 2013). As a clearly established country in Europe, Italy made sure to protect the new vulnerable Republic of Albania from other invaders, also providing economic fund for the development of the country. In 1926, Ahmet Zogu the soon to be king of Albania (self proclaimed in 1928) signed a pact with Italy which named Albania an Italian protectorate. In 1939, the king tried to end the agreements between the two countries, which lead to an invasion of Albania by the fascist Italy (Prifti, 2013). As historic data shows, the influence of Italy in Albania is of three different characters based on both Italian and Albanian political changes. The first is that of Italy in Albania as a republic, the second is that of Italy in Albania as a kingdom while the third is that of Fascist Italy in Albania as a colony. Each political state asked for a different architectural vocabulary that shaped its identity within the Italian architectural language. What should be noted however is the approach towards the Italian influence. While the ottoman identity was imposed as a colonisation strategy, Italian identity was both requested and imposed.

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Multiple architectural identities in contemporary Albania

The term requested is used to refer to the strategy followed by Albania to meet European standards, by changing its identity through Italian elements and establishing itself as a country within Europe.. Italy had already establishing its own architectural language which was being spread into its colonies not only in Europe but also in North Africa and island the Aegean sea and a Colonial Institute and ideology with the aim of putting emphasis on its power (Fuller, 1988) through colonial architecture. Colonial architecture therefore was mainly concerned with the design of public buildings (Fuller, 1988) and urban design, displaying clear signs of monumentalism. This architecture was introduced in Albania by Armando Brasini and Florestano di Fausta per request of Ahmet Zog, (Capolino, 2011). Their work started by designing the urban form of the capital of Albania, Tirana which up to that point was a village with a few houses, a bazaar and a mosque. Both architects had become confident in integrating the Italian identity in an architecture that addressed local and contextual issues , this proved by the diversity of architectural representations through the colonies as a result of geo-contextual factors (Prifti, 2013). Therefore, based on the historical background, Brasini started to design a capital that would be divided into the old and new city (Prifti, 2013), trying to address both the previous local identity and achieve a new European one. Thus, Brasini and later on Di Fausto, both ignored every Ottoman element in the design of the buildings introducing Baroque architecture as a European identity (Capolino, 2011) as Ahmet Zog was expecting. Di Fausto, addressed the Italian tradition from the Roman architecture to the Renaissance (Vokshi and Nepravishta, 2013) to manifest Italian identity into his designs. He used pilasters, bandages, architrave bands, tympanum, symmetry, porticoes to comply with the colonial "purpose of selfrepresentation" (Capolino, 2011: 591). He did however address the Islamic culture by acknowledging the old mosque and the bazaar in his urban plans, and making the mosque a focal point (Capolino, 2011), creating a dual identity that manifests the past as well as the present. In addition, he tried to adapt his designs to the local context, by introducing a new style stripped of decorations and based on simplified eclecticism using the existing round arches, the three window lintels and small balconies (Vokshi and Nepravishta, 2013) to address the geographical coastal context. His style however, remained deeply Italian in character.

Figure 8 A contemporary image of the centre of Tirana showing the Italian influenced facades adjacent to the mosque

The next display of Italian identity is more based on principles of self-representation rather than geo-cultural context, due to the extremist character of the political regime in Italy after the proclamation of the Italian Fascist Empire in 1936 (Fuller, 1988). As referred previously as an imposed identity, this phenomenon began after the invasion of Albania by Italy in 1939. The fascist identity

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Multiple architectural identities in contemporary Albania

comes across through symmetry and bigger scale, as expressions of grandeur, by both architecture and town planning, as a means of expressing hierarchy and control over people (Capolino, 2011). The Italian architecture discourse had taken another route, leading to Rationalism as Italy's expression of modernism, through the rational usage of materials and new features such as corner windows, slabs and balconies as part of every design (Fuller, 1988). Although rationalism was not the fascist preferred style, it was accepted by them as no other style seemed to fit their requirements (Fuller, 1988). As a result of the invasion, this new expression of architecture was introduced in Albania to emphasise Italy's colonial power. Again it was Italian architects, mainly Gherardo Bosio, that designed the main buildings of this period such as Hotel Dajti, the National Bank of Albania, the Stadium, Casa del Fascio (now main university quarter), and a few residential quarters. The new building were exhibiting natural forms, no symbolism or decorations, designs based on function and usage of stone in the facades (Capolino, 2011). Due to its characteristics, rationalism became part of a discourse between mediterraneanism and modernity (Prifti, 2013). Despite not being the requested image of identity that king Zog had expected, this imposed visual expression was the one to identify Albania with other countries in Europe through regionalism.

Figure 9 Former Casa del Fascio, now main university building in Tirana

The Italian influence had a very strong impact on Albanian architecture by giving it a European character and integrating it in international architectural discourses. However, all developments were conducted by Italian architects only. Their tactic of constructing identity by ignoring previous cultural developments as well as the monumental and public character of Italian colonial architecture resulted in an architecture that ignored people's identity too. Therefore, despite the effort to acknowledge the context, the Italian identity was never integrated with the national one, marking the first display of multiple identities in Albanian architecture.

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Multiple architectural identities in contemporary Albania

The Soviet influence The next historically important period for Albanian architecture occurred from 1940-1990. After the war with Italy, Albania was left again devastated as a country. Its political inexperience and vulnerability allowed it to fall pray of a totalitarian regime, such as communism that promised security, prosperity and development. Communism is inevitably influenced by the Soviet Union, and as a result so is the country hosting this regime. Therefore, Albania's architecture and identity started to experience an influence from the Stalinist architecture of the Soviet Union due to political alliances and borrowed ideologies. The Soviet Influence however was mostly a starter of this architecture which later on developed into its own forms. It did not impose a Soviet identity rather than suggest an architectural approach for communism. As a result, the phrase "Soviet Influence" in this case is used as the influence to an ideology that affected architecture than a direct influence of the Soviet Union in architecture. After WWII Albania experienced tremendous changes in it politics and ideology as well as architectural theory and practices (Faja, 2010). Despite the regimes advertisement of socialist architecture in form, but a national architecture in context (Hoxha, 2014), which they imported from the Soviet Union, its role was very straightforward: unify people and glorify the country (which meant the government). As a result of the totalitarian character of the regime, the housing architecture for the people was identical everywhere. The technological advancements allowed for buildings to be constructed using prefabricated elements, which was very convenient in maintaining the idea of sameness amongst the people. All residential buildings used the same floor plans, thus generating the same facades: plain rendering (or exposed brick depending on the budget), no symbolism, same fenestration throughout the country, no more than 5 storeys of height, minimalism, repetition and standardisation that resulted in monotony. The aim to keep construction cheap, fast and good (Mico, 2013) did not result in successful visual responses due to the economic state. The absence of criticism in the architecture debates (Mico, 2013), allowed this architecture to continue to emerge. The regime's strategy to equalise people dissolved any trace of cultural identity into notorious facades.

Figure 10 Communist residential building in Tirana

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Multiple architectural identities in contemporary Albania

The governmental buildings and leader's residences however referred to current international styles such as modernism to construct their identity, however denied by the government. As a linear transition, this architecture started following the previous rationalist movement set by the Italians. The ground for international styles and discourses was already established and was very hard to ignore by architects. Governmental buildings allowed for more creativity than residential ones due to less budget restrictions thanks to their monumental character. As a result, architects referred to modernism as an expression of coherence as well as to introduce Albanian architecture to international discourses. For the first time, an effort was made in Albania to acknowledge architecture as a practice rather than a tool in the hands of governments. Therefore, architects such as Q.Butka, S.Luarasi, .A.Lufi (Faja, 2010) used glazing to respond to the sun, bigger volumes to emphasise the idea of space and freedom as well as similar elements used during the Italian rationalism influence to highlight the functional character of architecture. The communist ideology however could not accept this new style, as its aim was to suppress any western capitalist influences (Faja, 2010) and liberal attitudes. The government therefore started to ignore architects, criticise their decision and ultimately persecute them for their anti-formalist (Mico, 2013) designs. Architecture became symmetrical and gained a vertical stretching combined with horizontal elements to emphasise the nation's proclaimed power and glory (Hoxha, 2014). In addition, its scale and proportions became dominative, while its form was solid and enclosed, similar to a dungeon through the use of stone and the narrowing of windows such as the National Museum in Tirana, which was trying to convey the idea of a hermetic and un-conquerable (Hoxha, 2014) country. Architecture became again a tool for the government to advertise its socialist ideology and change the behaviour of people, and its identity, a symbol of Albania's isolation, dogmatism and totalitarism.

Figure 12 The dictator's residence in Tirana

Figure 11 The Congress building in Tirana. Example of modern architecture

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Multiple architectural identities in contemporary Albania

Figure 13 The national museum of Albania and the International Hotel in Tirana exposing their monumental character

Figure 14 The exhibition building of communism, generally known as "the pyramid" in Tirana reflecting the hermetic character of communist architecture

Comparing influences Abel and Foster mention the position of "critical relativism" in their writings. According to it, in order to understand what a certain criteria means there needs to be a base for comparison (Abel and Foster, 2012). Using this as an analogy to the identity discourse, it can be argued that without a display of identity from one cultural influence, it would be hard to outline the uniqueness of another one, and be able to interpret it as a result. Since one of the definitions of identity is actually based on the theory of sameness and differentness, the comparison of different identities is clearly possible. This comparison is critical in underlining the different ways a building can express identity through the articulation of components in the facades, that according to Holl should result in an artistic display. The matrix below is used to compare influences in terms of constructing identity in Albania.

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Multiple architectural identities in contemporary Albania

Table 2 Influence comparison

Soviet

Italian

Turkish

Exemplar facade

Elements used to construct identity

Small scale Symmetry present but not crucial Projection and cantilevering of sections Distinct frames around projections and openings White and grey coloured facades as a result of lime rendering and stone materials Windows grouped in three Gable roof in brown ceramic tiles Distinction between ground floor and upper floor

Bigger scale Pure symmetry Small projection through pilasters, single or grouped Decoration and pediments over windows Material selection determines hierarchy between levels Arched openings, celebrated door and usage of shutters Flat roof Horizontal projections to determine levels Big scale building Symmetry very clear Big mural displayed at the front Absence of ornaments Stone used for cladding, Colours used for different levels Narrow tall windows Flat roof Ground floor level raised

The matrix proves that the development of Albanian architecture has been of different characters as a result of different influences. Each cultural influence constructed their identity through the manipulation of the elements of the facades in order to apply meaning to architecture. The Turkish influence imposed its own identity mainly through the grouping of windows and the framing in dark colours of the projections. However, it also involved elements of vernacular architecture such as the usage of stone and ceramic tiles, the small scale of the buildings and the gable roof. This approach can be read through regionalism as an expression of geographical awareness. The Italian influence displayed its own identity through the usage of pilasters, flat roof, pure symmetry and neo-classical elements as a colonial policy. The Soviet influence displayed the identity of communism as a totalitarian regime mainly through the clear symmetry, the display of a big image and the raised ground level. Although it can be read through a modernist position, the reason behind the construction of this identity is mainly political. As it can be seen, architecture can construct identity and therefore become meaningful through a range of elements and various methods of articulation of an architectural vocabulary. By doing so it is able to affects people's perception of a visual display.

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Multiple architectural identities in contemporary Albania

Another matrix has been added to identify some of the architectural elements of the three cultures that have influences Albanian architecture. The purpose of this matrix is to highlight (through the cells presented in blue) the elements that are recognised in Albanian architecture, shaping its identity.

Facade materiality

Form and architectural elements

Facade treatment and symbolism

Table 3 Architectural elements of three influences

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Turkey

Italy

Soviet Union

Circular lines (Behrens-Abouseif, 1989)

Rusticated ground floor (West, 1968)

No ornaments (Zinovieva, 2004-2012)

Wavy and curled lines (Behrens-Abouseif, 1989)

Round headed windows (West, 1968)

Murals (Zinovieva, 2004-2012)

Big light fenestrations (Pancaroglu, 2007)

Shutters in windows (West, 1968)

Sculptures (Zinovieva, 2004-2012)

Big portals (Pancaroglu, 2007)

Big entrances (Briggs, 1961)

Emblems (Zinovieva, 2004-2012)

Visible framing (Freely, 2011)

carvings (West, 1968)

Overwhelming entrances

Grouped windows

Grouped windows (West, 1968)

Grey colours

Mixed colours

Stripped colours (Briggs, 1961)

Repetition of windows

Heavy symbolism (Blair and Bloom, 1995)

Long rhythmical facades (West, 1968)

No shutters

Shutters used in ground levels (Riza, 2009)

Triangular pediment (West, 1968)

Spaces between windows

Columns around doors (Behrens-Abouseif, 1989)

Arabesque bands (West, 1968)

Penthouse distinctions

Columns along windows (Behrens-Abouseif, 1989)

Cornices, Crowning cornices (Briggs, 1961)

Heavy cornices (Zinovieva, 2004-2012)

Barrel vaults

Colonnades (Briggs, 1961)

Columns (Zinovieva, 2004-2012)

Cubic mosques (Pancaroglu, 2007)

Circular temples (Briggs, 1961)

Towers

Geometrical projections (Freely, 2011)

Columns (West, 1968)

Slim arches (Zinovieva, 2004-2012)

Semi domes (Behrens-Abouseif, 1989)

Campanile churches (Briggs, 1961)

Classical elements (Zinovieva, 2004-2012)

Domes (Behrens-Abouseif, 1989)

Domes (West, 1968)

Clear geometric forms

Small cantilevering (Pancaroglu, 2007)

Pilasters (West, 1968)

Plain bitumen roofs (Obrazgova, 2013)

The vertical aspect: minarets (Behrens-Abouseif, 1989)

Tall towers (Briggs, 1961)

Large apartment blocks (Obrazgova, 2013)

Overhangs

Projecting eaves (West, 1968)

Bay windows

Brick (Pancaroglu, 2007)

Brick (Briggs, 1961)

Brick (Obrazgova, 2013)

Wood (Freely, 2011)

Stone (Briggs, 1961)

Stucco (Zinovieva, 2004-2012)

mixed marble (Pancaroglu, 2007)

Marble (Briggs, 1961)

concrete

Powder, lime and plaster (Pancaroglu, 2007)

Granite (Briggs, 1961)

stone

Clear hierarchy between buildings (Riza, 2009)

Monumental architecture

Monumental architecture

Multiple architectural identities in contemporary Albania

This matrix reflects the fact that the identity of the three influential countries has captured elements that the country’s social, cultural, political, geographical and economic state allowed. Therefore an architectural identity cannot be immune to its surroundings, past and present state and as a result, future aspirations.

The fragmentation of national identity The various displays of identity in Albania through the years are proof of the activist role of architecture in cultural renewal. Since these identities were not born as a response to the dialogue between people and the build environment, but rather influenced by governmental policies, their impacts on society were great. Each identity display targeted one group of people more than the other. The identification of social groups with respective forms of identity caused national identity to be fragmented (Hall, et al., 1995). While the Muslim community became acceptant towards the new ottoman-influenced identity as a solution to non-assimilation, other religious groups perceive this identity as a disgraceful solid reminder of the invasion. The same controversy can be argued for the Italian influence as well. While those who benefitted power consider it an era or development towards a European standard, others relate this identity to the failures of fascism despite its appreciation of existing context. The Soviet influence divided society too where the former persecuted despised the totalitarian character of communism, while other groups appreciated the safety and developments brought by communism. This fragmentation has surpassed social plurality. Each social group has embraced the new identities while still coexisting within one national identity. These preferences are projected into architecture as well, dividing peoples support and acceptability towards new forms of architecture. As a result, if society is fragmented so is architecture as a representative agent of its. By acknowledging the fact that a national identity can be a collage of different identities, it becomes obvious that multiple identities in architecture can coexist within a country the same way as its social groups are. In addition, the phenomenon of multiple identities, creates ground for the formation of further identities.

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Multiple architectural identities in contemporary Albania

CHAPTER III THE RISE OF MULTIPLE IDENTITIES In 1990 Albania became a democratic country. Similarly to the period following the independence, Albania was left again aiming at European standards after years of isolation. The rapid political, economic and technological developments as well as the fragmentation of national identity, increased its vulnerability. Edi Rama, the elected mayor of Tirana in 2000, refers to this current state as a transition between a contoured and collective society to a free space where everyone tries to establish their own identity (CNN, 2013). As a result, architecture became ground for experimentation and different visual representations emerged, displaying distinct characteristics that allow them to be outlined into three new trends. The first trend, referred to as 'The post-communist architecture', can be seen as a development and improvement of the communist architecture into two defined directions in terms of architectural vocabulary. The second trend includes the new high rise buildings and suburban gated communities and is inevitably influenced by globalisation. The last trend, referred to as 'The cloning approach', has emerged as a rather controversial revitalisation of the past challenging both tradition and cultural inheritance.

Figure 15 The centre of Tirana exposing the multiple architectural identities of contemporary Albania

Post-communist architecture The first trend to emerge was a result of the liner continuity of architecture based on previous examples, thus the name "post-communist". As a very new democratic country, Albania's architecture was no longer used as a tool in the hand of the government but as a response towards the people. Therefore this architecture did not place its focus on governmental buildings but mainly

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Multiple architectural identities in contemporary Albania

residential one. As a result, post-communist architecture used notorious residential buildings as a precedents, pushing them a step further to accommodate people's needs as far as economy and technology would allow it. As a result, buildings became higher, fenestration moved past repetition, balconies gained a decorative character apart from their functional one, facades gained colours as an expression of freedom and life and architecture showed a contextual and cultural awareness. Repetition is still noticeable due to the same precedent, however this new trend reflected both the identity of the people and its historic continuity.

Figure 16 Post-communist residence 10 storeys high

In addition to the new building typologies, the existing ones changed too. After the election of Edi Rama, a former art student, as mayor of Tirana, the capital experienced a change of identity through a practice that was later adopted by other cities too. The notorious earth-coloured facades of the residential buildings displaying the extremist identity of communism were refurbished and painted. Their imposed unified and suppressed identity was challenged when bright colours were added across the capital. Painting was used to construct identity as the only solution to a very small budget provided for the refurbishment of the country. The painting of the facades was very distinct and even random. Some were painted in bright block colours, others were drawn on as palettes while many facades were turned into writing pads exposing pieces of drawings and texts. All designs were done by international artists to achieve diversity and break repetition and monotony. Despite the obvious aim to break free from the totalitarian regime and the unification framework, another reason to add so much colour to the city was to increase the spirit and vitality of society (May, 2013). This manifestation seems to revolve around the ideas of expressionism. This practice came across strong criticism from European politicians that were funding the development of Albania for not being "European" in character and not conforming to EU standards. The mayor however, as the initiator of this practice argued that nothing in the current surroundings is evoking a European identity(citation needed) . Therefore this manifestation of colours is placed within social and cultural boundaries. This identity of change and

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Multiple architectural identities in contemporary Albania

freedom of expression is a first step to achieve a European identity by enhancing the communities life and their chances of progress.

Figure 17 Post- communist architecture displaying bright colours

This trend is quite modest in its ways of representation as a result of the low economy that characterised Albania after becoming a democratic country. The new identity manifestation did indeed derive from the personal identity of the politician in charge, however it was meant to help the people progress rather than manipulate them as it was done before. Therefore, referring back to the first chapter, the identity of this trend was born by merging architecture's role as a display of cultural and historical continuity (through the preservation of forms, volumes and features of the buildings) with its role as an activist in cultural revival rather than renewal (through the implementation of colours and contextual acknowledgement). As a result, it is identifiable with Albania.

Architecture of high rise and gated communities With the establishment of democracy in Albania in the XXI century politics changed. Changes in architecture needed to be made to meet the requirements for Albania to become a EU country and identify with it. Therefore, the aim of a visual expression was not to achieve something but to become something. In order to become something however you would first need to be an identifiable unit. While the multi-identity issues was still present in Albania due to the fragmentation of society, a search for national identity began as a way to achieve cultural identification (Hall et al., 1995) . The multi-layered background of Albania however prevented the identities of Albania to be merged into one. Therefore, the paradox of a global identity occurred as a way to homogenise the fragmented society, in order to develop into one direction that would later lead to the identification of Albania with the rest of Europe.

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Multiple architectural identities in contemporary Albania

Architecture had already gained freedom of expression which allowed it to use global trends such as high rise buildings exposing glazed facades as precedents. Therefore, structures reached 20 floors which had not been seen in Albania before. The facades of these buildings aimed to evoke an identity of capitalism and coherency, or in other words modernity.

Figure 20 The Coin Centre in Tirana Figure 18 The Twin Towers in Tirana

Figure 19 The Economic Trade

integrating elements of colour

Centre in Tirana exposing horizontal lines

exposing glazed facades

Their high amount of glazing, projections and number of floors aimed to impress the general public. Since these buildings were part of private investments, they expressed the idea that Albania was becoming economically stable, businesses were rising and architecture was able to follow coherent trends. Horizontal elements and colours can be found present in a few, as an acknowledgement to previous trends such as the International Hotel build during communism and the coloured facade their identified Albania right after it. In addition to the high rise buildings, mainly part of the business sector, emphasis was put to the residential sector too. The concept of gated communities was borrowed to address the issues of security and comfort of the everyday life (Salama, 2007). The housing sector moved from the communist and post-communist residences to family 2-3 storey houses placed inside gated walls. While the identity of this architecture related to that of developed countries, its main achievement was the acknowledgement of the public requirements for sustainable homes, something that had not been present in Albania since the Turkish influence. This development however is part of a paradox reflected in the general community. From the name itself, this architectural typology involves the usage of gates and walls which result in a unification of the community inside the walls but a separation from the external community (Salama, 2007). While this effects interactions and the structure of society, it also reflects an emphasis on the wellbeing of communities, a very modern practice.

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Multiple architectural identities in contemporary Albania

This trend has emerged as a result of architecture being in the hands of private entities with regards to the current economic state, rather than the government. It flourished during the economic development of Albania that resulted in architecture being influenced by capitalism, businesses and social needs, all modern requirements. It uses the interpretive role of architecture to construct a national identity through globalisation as a homogenisation mechanism. The global identity is what allows this architecture to be identifiable with Albania as a reflection of modernity.

Figure 21 Gated community in Tirana still under construction

Figure 22 Gated community in Saranda

The cloning approach and cut and paste architecture The main concern in Albania in this century is to establish itself as a European country. The reality of the current state however still remains that of a fragmented society, so this aim was approached differently by different groups. The idea of becoming something through an architectural identity was already touched upon with the previous trend. Another trend arose not more than 5 years ago, exposing the idea of having been in order to become. Therefore, while the previous trends looks towards the future through a global identity and development modernity and as a method of homogenisation with Europe, this new trend cherishes the past as a salvation for the future. As a result, this architecture emerged reflects issues of tradition, however not Albanian but European, in order to establish the same identity. Since Albania does not have any experience in designing traditional European buildings, as it has been immune to international movements, a cloning approach arose. Buildings constructed their identity through a copy-paste method of European neo-classical buildings. The cloning approach is of three different characters: copying villages, typologies or full architecture (Quirc, 2013). The definition of its characters leads to the belief that this practice is in fact present throughout the world. One manifestation of this trend is the famous Las Vegas (Quirc, 2013) where proper buildings are copied, retaining every characteristic that identifies them with the original, in order to appeal to tourist thus generating income and be entertaining. Another different display of this trend can be

24

Multiple architectural identities in contemporary Albania

seen in China. One of the residents of an English copied village called Thames Town in Shanghai, refers to this practice as a way to establish an idiom in the modern surroundings (Spencer, 2006). This idiom however is identifiable with the British identity. The ideology behind the new trend emerging in Albania is completely different from that of Las Vegas as this architecture is not intended to appeal to tourists as a copy rather than deceive the public as an original. With regards to the Chinese practice, it is fairly similar, however the manifestation itself is not a "copy-cat" as referred to in another article that evaluates the Chinese practice. What happened in Albania is a form of eclecticism, a practice that allows the borrowing of selected elements from the past (Salama, 2007). Therefore Albanian designers did not copy architecture but typologies and selected elements and components of a design. They adopted the principles and elements of classicism were adopted any regards to the social, cultural, political state or surrounding context. Their identity shows monumentality, grandeur and wealth through orders of columns, pilasters and other elements that modern buildings do not incorporate.

Figure 233 Hotel Amadeus in Tirana still under construction

This third trend has emerged as a desperate call for a strong European identity. Despite the cloning and copying strategy followed, this trend also relies on the Albanian tradition of selecting elements in order to construct identity. Differently from the past however, the selective method completely disregards the context in both social and geographical levels. This disregard of the context as well as the inexperience with this style resulted in this buildings being completely displaced in both time and space. The identity displayed by those buildings is not Albanian neither influenced by current events. It does not reflect Albanian tradition or cultural inheritance, rather than expose the faults of generating culture by ignoring tradition.

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Multiple architectural identities in contemporary Albania

The paradigm of multiple identities The multiple identities reflected through the three latest trends are quite different in character and meaning. While the aim of each identity manifestation is intended to be interpreted as European in order to establish a common identity between the two, the approach towards this aim has been different. Since the first trends aims to influence people into believing an identity can be achieved, in a state of political, social and economic chaos, its architectural vocabulary is modest compared to both past and present identity manifestations. The second trend is more established and accomplished as a result of being supported internationally. Its architectural vocabulary reflects a global identity, by ignoring past influences. In addition, it displays individualism as an expression of the capitalist system that characterises the developing economy of Albania. This individualism demonstrates that architecture is no longer in the hands of the governments and as such the identity of this trend is constructed as a projection of one-self in the modern society. This practice displays the symbiotic relationship between architecture and society and the simultaneous development of the two in one direction aided by globalisation. The third trend is controversial due to the displacement in time and context. This controversy is reflected through the style, form, scale, proportion and ultimately meaning of architecture therefore resulting in a mare attempt to construct an identity that addresses people. However by failing to evoke Albanian traditional qualities, address current conditions and acknowledge the context, this identity manifestation fails to achieve its aim of identifying Albania as European since it does not identify Albania at all. In addition to the current trends, the image of multiplicity is constructed from the past influences as well, again very different in character from one another. Their diversity is attributed to the external cultures that affected architecture. The Turkish influence aimed to impose its identity through architecture resulting in the creation of a new identity reflecting both Albanian and Turkish culture. The Italian influence again used architecture as a tool to introduce and induce its own identity as a practice of colonisation, putting emphasis of on the reflection of Italy's power. As a result the Italian identity could not be merged with Albanian elements as much as the Turkish one, however it did acknowledge the context. The Soviet influence came as a result of a totalitarian regime, therefore its identity ignores the Turkish one, ignores the western identity displayed by the Italian influence, grabs part of the fascist identity but mostly isolates Albanian architecture and its possibilities to be part of international discourses. If these three influences are identified together as the architectural identity of the past, this unified identity is a reflection of history, non-assimilation as well as the will to survive, develop and continue to exist as a country. By accepting the fact that identity shows the career of an object, it can be argued that the image of multiple identities from the past display the career of Albania's architecture over the years thus reflecting its tradition through the articulation of elements that form identity. The discourse between the dual identity display is a visual proof of the discontinuation of social identities that result in modernity (Hall et al., 1995). As a result, the image of multiple architectural identities in Albania is a combination of an identity of the past and one of the present, both being fragmentised. This image of multiplicity was constructed based on the role of architectural identity as a reflection, expression and generation of culture. As such, architecture in Albania was not seen as a practice of expression and part of life, rather than a tool to achieve something in the hands of the governmental elite and an instrument to become something in the hands of the people themselves. Therefore the past and present image

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Multiple architectural identities in contemporary Albania

show both the multi-layered history of Albania and the complex articulation of the current state. This attachment to the country itself, despite each manifestation being influenced by other cultures and movements seen separately, makes it possible for this collage to be identified as national. Hall considers national culture as presenting difference as unity of identities. Therefore, by applying this theory to the previous findings it can be argued that this architecture of multiple identities is in fact national and identifiable with Albania.

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Multiple architectural identities in contemporary Albania

CONCLUSION Halls theory of a set identity shifting to a decentralised one influenced by surroundings (Hall et al., 1995) and the animated character of an architectural identity are proof that the multiple architectural identities of Albania are a result of the social, cultural and historical implications. In addition, the character of modernity proves that multiple identities can coexist within one society. The multiple identities of Albania are created as a result of a game of power between decision makers through the years, using architecture to fulfil their demands and aspirations. Its different characters are a display of the cultural identities of the decision makers and the characters of their aims. Therefore, the architectural manifestations that are present nowadays are not results of a dialogue between the people and the cultural context. Architecture in Albania has always been considered a practice with a scope rather than a practice of expression. By doing so, the artistic side of architecture, mentioned by Holl in the first chapter as the outcome of the design strategy, becomes overshadowed and overlooked. As a result, the issue on how well multiple identities can be harmonised with one another in order to construct a comprehensible image arises. The quality of a visual display is based on both the articulation of elements that construct identity as well as the way people perceive identity. Since it was agreed that these multiple images are in fact identifiable with Albania, people do perceive them as familiar. They are able to identify themselves with this build environment, despite the fragmentation of society and the different approaches towards certain manifestations. There is always a sense of positivity and acceptance towards anything that feels familiar. People's perception of identity is subjective with regards to cultural continuity. The way identity is constructed however is part of an architectural discourse. Therefore the construction of a comprehensible picture in Albania, remains the responsibility of architects, however with regards to the cultural and social context. Salama argues that designers should develop their skills to communicate messages to the public through their architectural vocabulary in order to achieve an enjoyable visual display (Salama, 2007). The development of these skills is possible by acknowledging the different positions that can interpret Albania's architectural identities through history. The framework developed marks the Turkish influence as the start of an architectural identity in Albania and can be interpreted as a form of non-assimilation through merger. The Italian influence can be interpreted as both a colonial and rationalist movement. The Soviet influence can be interpreted as a totalitarian but also modernist perspective. The post-communist architecture can be interpreted as a form of modest expressionism. The architecture of the high rise and gated communities can be interpreted through a modern perspective. The architecture of cut and paste facades can be interpreted through a perspective of eclecticism. All positions, define identity as a continuous and changing force as a result of external influences towards architecture. As a result, the future of Albanian architecture is still predicted to be constructing an image of multiple identities. However, by encapsulating the notion of modernity into architecture and acknowledging previous perspectives, the future image of multiple architectural identities in Albania is going to express a more harmonious visual display.

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Multiple architectural identities in contemporary Albania

To conclude, by accepting the fact that an architectural identity is shaped by cultural influences and has a symbiotic relationship with cultural identity, it becomes possible to predict its direction. Prediction can therefore help in the development of an architectural vocabulary that is considered visually pleasant, through the consideration of past and present manifestations. The dissociative character of the modern society allows for creativity to flourish on new grounds of possibilities. Therefore, through a practice of eclecticism and selectivity with regards to the context, an architecture of multiple identities can develop into a harmonious image of modernity while informing creativity.

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Multiple architectural identities in contemporary Albania

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Holl, S. (2013) The Brooklyn Rail Critical Perspectives on Art, Politics and Culture, [Online], Available: http://www.brooklynrail.org/2013/09/criticspage/what-is-architecture-art [17 November 2014]. Hoxha, E. (2014) 'Great Constructions in Albania during the Period ‘70-‘80', Academic Journal of Interdisciplinary Studies, vol. 3, no. 1, pp. 379-384. Lomholt, J., Emmons , P. and Hendrix, J. (2012) The Cultural Role of Architecture, illustrated edition, London: Routledge. May, K.T. (2013) TEDblog, 8 February, [Online], Available: http://blog.ted.com/9-views-of-tiranaalbania-with-its-bright-multicolored-building/ [12 March 2015]. Mico, D. (2013) 'When “Words Fall on Deaf Ears” An Outline of Albania’s Socialist Architecture', sITA, vol. 1, pp. 45-60. Obrazgova, M. (2013) The telegraph, 05 December, [Online], Available: http://www.telegraph.co.uk/sponsored/rbth/culture/10496934/soviet-architecture.html [12 March 2015]. Pancaroglu, O. (2007) 'Formalism and the academic foundation of the Turkish art in the early twentieth centiry', MUQARNAS An anual on the visual culture of the islamic world , vol. 24, no. 1, pp. 67-78. Prifti, A. (2013) 'The Realization of the “New Architecture".The Italian Colonial Experience in Albania During the Years 1925-1943. ', Academic Journal of Interdisciplinary Studies, vol. 2, no. 9, pp. 648-654. Quirc, V. (2013) archdaily, 09 April, [Online], Available: http://www.archdaily.com/357293/whychina-s-copy-cats-are-good-for-architecture/ [12 March 2015]. nd

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Vernon, M.D. (2013) A Further Study of Visual Perception, First Paperback edition, Cambridge, UK: Cambridge University Press. Vokshi, A. and Nepravishta, F. (2013) 'FAUSTO DI FLORESTANO-THE GENESIS OF NEW ARCHITECTURAL FORMS IN ALBANIA', International Conference for Business, Technology and Innovation 2014, http://conferences.ubt-uni.net/papers, Durres. West, T.W. (1968) A history of architecture in Italy, London: University of London Press Ltd. Zinovieva, D.O. (2004-2012) Passport Moscow, [Online], Available: http://www.passportmagazine.ru/article/1506/ [12 March 2015].

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Image bibliography Figure 1The centre of Tirana. Example of The multiple faces of identity in Tirana: The high rise building on the left, the Ottoman mosque adjacent to it, the Italian architecture of the ministries at the front and the post-communist architecture at the back. Available at http://www.fansshare.com/gallery/photos/13866991/skanderbeg-square-tirana-albaniatourism/?displaying.Assessed 11.01.2015 Figure 2 Berat. Example of Turkish influenced houses. Available at http://worldalldetails.com/Sightview/Berat_Albany_Europe_City_Architecture_29-1653.html. Assesed 10.02.2015 Figure 3Residence in Gjirokastra. Example of the new housing typology (Author’s photograph digital) Figure 4 Mosque and Minaret in Gjirokastra (Author’s photograph digital) Figure 5Church-Mosque in Ulcinj. Available at http://www.visit-ulcinj.com/ulcinj-travel-guide/ulcinjmontenegro-is-a-popular-tourist-destination/. Assessed 07.03.2015 Figure 6 Remain of an old Han in Durres(Author’s photograph digital) Figure 7 Shop in the bazar of Kruja (Author’s photograph digital) Figure 8 A contemporary image of the centre of Tirana showing the Italian influenced facades adjacent to the mosque. Available at http://www.skyscrapercity.com/showthread.php?t=499765&page=54 Assessed 27.11.2014 Figure 9 Former Casa del Fascio, now main university building in Tirana. Available at http://commons.wikimedia.org/wiki/File:University_in_Tirana.JPG. Assesed 20.02.2015 Figure 10 Communist residential building in Tirana. Available at http://www.panoramio.com/photo/108233497. Assessed 20.01.2015 Figure 11 The dictator's residence in Tirana. Available at http://www.panoramio.com/photo/328300. Assessed 15.01.2015 Figure 13 The national museum of Albania and the International Hotel in Tirana exposing their monumental character. Available at http://tiranainternational.com/portal/index.php/en/2014-04-2209-03-54/35-years-history. Assessed 17.02.1015 Figure 12 The Congress building in Tirana. Example of modern architecture. Available at http://wikimapia.org/1972009/Palace-of-Congresses#/photo/513819. Assessed 03.03.2015 Figure 14 The exhibition building of communism, generally known as "the pyramid" in Tirana reflecting the hermetic character of communist architecture.Available at http://www.skyscrapercity.com/showthread.php?p=16344815.Assessed 12.03.2015

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Figure 15 The centre of Tirana exposing the multiple architectural identities of contemporary Albania. Available at http://wikimapia.org/11319776/Skanderbeg-Square#/photo/937591. Assessed 12.03.2015 Figure 16 Post-communist residence 10 storeys high(Author’s photograph digital) Figure 17 Post- communist architecture displaying bright colours. Available at http://saltcompanyglobal.com/summer/albania/#jp-carousel-285. Assessed 10.02.2015 Figure 18 The Coin Centre in Tirana integrating elements of colour. Available at http://www.skyscrapercity.com/showthread.php?t=499765&page=54. Assessed 10.12.2014 Figure 19 The Twin Towers in Tirana exposing glazed facades. Available at http://commons.wikimedia.org/wiki/File:Tirana-Twin_Towers.JPG. Assessed 10.03.2015 Figure 20 The Economic Trade Centre in Tirana exposing horizontal lines (Author’s photograph digital) Figure 21 Gated community in Tirana still under construction. Available at http://www.greenalliance.eu/index.php?page=projects&id=12&category_id=4. Assessed 07.11.2014 Figure 22 Gated community in Saranda. Available at https://www.airbnb.co.uk/rooms/4001400. Assessed 10.10.2014 Figure 23 Hotel Amadeus in Tirana still under construction. Available at http://www.panoramio.com/photo/75859436. Assessed 30.09.2014 Table 1 Methodology diagram.(Author's design) Table 2 Influence comparison (Author's sketches and design) Table 3 Architectural elements of three influences. (Author's design)

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Preview of the poster integrated with the hard copy

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