Tirana National Theatre was built in 1939 to host social, cultural and recreational activities. It was formerly called Circolo Italo-Albanese, named after the national hero George Castriota Skanderbeg. Located in the heart of the Albanian capital, close to Skanderbeg Square, it constituted a link between the Ottoman city and the new Tirana. The building was part of the great plan conceived with monumental axis – drawn by Italians, during the second half of the 1920s and at the end of the 1930s – intended to create a grandiose image of the new capital, which gradually increased through the projects by Di Fausto, Bosio, Bertè and Ballio Morpurgo. The Circolo Italo-Albanese was commissioned by Galeazzo Ciano, Minister of Foreign Affairs, to the company Pater-Costruzioni Edili Speciali of Milan; it was built in a few months, based on a experimental construction system, by a mixed structure made of cement and wood, in reply to the autarkic policy developed in the ’30s. This technique was in use in Italy for the construction of holiday homes, pavilions, sanatoria and nursing homes, climatic colonies, chalets, stands and prefabricated structures. The Theatre building consisted of two longitudinal wings, arranged symmetrically, defining an elongated courtyard, open on the short sides: the plan can still be recognized, although several changes have been made over time. Despite its initial utilitarian and temporary task, the building was assuming over time a crucial urban role and evocative character, including an historical-documentary value, embodying a complex and contradictory past. The building presence is particularly significant in contemporary Tirana, as the city it is increasingly committed in acquiring an international and globalized image. The paper suggests different interpretations of the Theatre intended as “futuristic machine”, and highlights its ability to create a metaphysical space in metropolitan chaos, denouncing the danger of its demolition foreseen in 2002 Master Plan and currently being debated in Albania.
L’ex Circolo Italo-Albanese intitolato all’eroe nazionale Giorgio Castriota Skanderbeg, oggi Teatro Nazionale, è un edificio costruito a Tirana del 1939 per ospitare attività sociali, culturali e ricreative. Collocato nel cuore della capitale albanese, alle spalle di Piazza Skanderbeg, esso costituiva una cerniera tra la città ottomana e la nuova Tirana. L’edificio si inseriva nel grande piano di costruzione dell’immagine rappresentativa della giovane Capitale, ideato dagli Italiani dalla seconda metà degli anni Venti e la fine degli anni Trenta con l’asse monumentale, cresciuto gradualmente attraverso i progetti di Di Fausto, Bosio, Bertè, Ballio Morpurgo. L’edificio fu commissionato da Galeazzo Ciano, allora Ministro degli Esteri, alla ditta Pater-Costruzioni Edili Speciali di Milano, e fu realizzato in pochi mesi con un sistema costruttivo sperimentale, in struttura mista di cemento e legno, in risposta alla politica autarchica sviluppata negli anni Trenta. Questa tecnica era in uso anche in Italia in quegli anni, per la costruzione di case di villeggiatura, padiglioni, sanatori e case di cura, colonie climatiche, chalet, chioschi e strutture prefabbricate. L’edificio si componeva di due strette ali longitudinali disposte simmetricamente, che definivano una corte allungata aperta sui lati corti; una configurazione che ancora si legge, benché siano state effettuate diverse modifiche nel tempo. Pur nel suo carattere funzionale e provvisorio, l’edificio ha assunto nel tempo, oltre che un valore storico-documentario, un forte carattere urbano ed un ruolo evocativo di un passato complesso e contraddittorio. La presenza di questo edificio è particolarmente significativa nella Tirana contemporanea, sempre più impegnata ad acquisire una immagine internazionale e globalizzata. Lo scritto suggerisce diverse interpretazioni di questa “macchina futurista”, ed evidenzia la sua capacità di creare uno spazio metafisico nel caos metropolitano contemporaneo, denunciando il pericolo della sua demolizione, prevista nel Piano Regolatore del 2002 e su cui sta dibattendo attualmente in Albania.
Architetture italiane del Novecento a Tirana. L’ex Circolo Italo-Albanese Skanderbeg / Menghini, ANNA BRUNA. - In: BOLLETTINO DEL CENTRO DI STUDI PER LA STORIA DELL'ARCHITETTURA. - ISSN 2531-7903. - 3(2019), pp. 65-78.
Architetture italiane del Novecento a Tirana. L’ex Circolo Italo-Albanese Skanderbeg
Anna Bruna Menghini
2019
Abstract
Tirana National Theatre was built in 1939 to host social, cultural and recreational activities. It was formerly called Circolo Italo-Albanese, named after the national hero George Castriota Skanderbeg. Located in the heart of the Albanian capital, close to Skanderbeg Square, it constituted a link between the Ottoman city and the new Tirana. The building was part of the great plan conceived with monumental axis – drawn by Italians, during the second half of the 1920s and at the end of the 1930s – intended to create a grandiose image of the new capital, which gradually increased through the projects by Di Fausto, Bosio, Bertè and Ballio Morpurgo. The Circolo Italo-Albanese was commissioned by Galeazzo Ciano, Minister of Foreign Affairs, to the company Pater-Costruzioni Edili Speciali of Milan; it was built in a few months, based on a experimental construction system, by a mixed structure made of cement and wood, in reply to the autarkic policy developed in the ’30s. This technique was in use in Italy for the construction of holiday homes, pavilions, sanatoria and nursing homes, climatic colonies, chalets, stands and prefabricated structures. The Theatre building consisted of two longitudinal wings, arranged symmetrically, defining an elongated courtyard, open on the short sides: the plan can still be recognized, although several changes have been made over time. Despite its initial utilitarian and temporary task, the building was assuming over time a crucial urban role and evocative character, including an historical-documentary value, embodying a complex and contradictory past. The building presence is particularly significant in contemporary Tirana, as the city it is increasingly committed in acquiring an international and globalized image. The paper suggests different interpretations of the Theatre intended as “futuristic machine”, and highlights its ability to create a metaphysical space in metropolitan chaos, denouncing the danger of its demolition foreseen in 2002 Master Plan and currently being debated in Albania.File | Dimensione | Formato | |
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