ABSTRACT

Tirana National Theatre was demolished on 17 May 2020. For the previous eighty years and up to that moment, it had maintained its public and societal function, documenting the changes of twentieth-century Albanian history. The Theatre was inaugurated in 1938, during the Italian Protectorate, as part of the Italian-Albanian Circolo Scanderbeg, a multifunctional complex conceived for entertainment as well as for Fascist propaganda. The construction, by the Italian company PATER, used a prefabricated system that well-exemplified the new building technologies and material research developed under the Fascist autarchy restrictions. This paper deals with the construction history of this building approaching questions around fabrics which significance is neglected in favour of new developments. Even if time-specific, architecture is often characterized by a lifespan that is longer if compared to its original construction purpose. Hence, despite the denial of any possible conservation or reuse, the Theatre’s cultural resilience and architectural, historic, and societal significance will continue to reverberate in the void created by its demolition. Unpretentiously, this paper honours the memory of a disappeared twentieth-century architecture, which ambiguous protection history was overcome by a much more sincere guardianship by the civil society and conservation community.

摘要

地拉那国家剧院于 2020 年 5 月 17 日被拆除。在过去的 80 年里，直到那一刻，它一直保持着其公共和社会功能，记录了 20 世纪阿尔巴尼亚历史的变迁。该剧院于 1938 年落成，在意大利保护国期间，作为意大利-阿尔巴尼亚Circolo Scanderbeg的一部分，一个为娱乐和法西斯宣传而设计的多功能综合体。由意大利公司 PATER 建造的建筑使用了预制系统，很好地体现了在法西斯独裁统治下开发的新建筑技术和材料研究。本文探讨了这座建筑的建造历史，探讨了围绕织物的问题，这些织物的重要性被忽视，有利于新的发展。即使是时间特定的，建筑的特点通常是比其最初的建造目的更长的寿命。因此，尽管拒绝任何可能的保护或再利用，剧院的文化复原力以及建筑、历史和社会意义将继续在其拆除所造成的空白中回荡。朴实无华，