Skanderbeg, Tirana A section full of nothing (static shot)

Grau, U; Deluchi, C; Fernández-Abascal, G

Skanderbeg, Tirana A section full of nothing (static shot)

Grau, U

Deluchi, C Fernández-Abascal, G

Permalink

Publisher:: Universidad de Navarra
Publication Type:: Journal Article
Citation:: RA. Revista de Arquitectura, 2023, (25), pp. 85-97
Issue Date:: 2023

Open Access

Copyright Clearance Process

Recently Added
In Progress
Open Access

This item is open access.

Adobe PDF

Download Published versionAdobe PDF (4.01 MB)

View statistics

Full metadata record

Field	Value	Language
dc.contributor.author	Grau, U https://orcid.org/0000-0003-1906-1615
dc.contributor.author	Deluchi, C
dc.contributor.author	Fernández-Abascal, G
dc.date.accessioned	2023-11-13T14:08:37Z
dc.date.available	2023-11-13T14:08:37Z
dc.date.issued	2023
dc.identifier.citation	RA. Revista de Arquitectura, 2023, (25), pp. 85-97
dc.identifier.issn	1138-5596
dc.identifier.uri	http://hdl.handle.net/10453/173383
dc.description.abstract	Belgian photographer Maxime Delvaux’s images of Skanderbeg Square, Tirana, completed in 2017 by Belgian architectural office 51N4E and Albanian artist Anri Sala, have at least three different readings. Their content allows us access to the complex history of the project by revealing the connections between design decisions, urban transformation policies, the city’s leaders, and, in some cases, the political imagination of Albania vis-à-vis the European Union. Their format, a combination of traditional photographs and still frame videos, helps us to understand not only how 51N4E explains their projects, but also the reorganisation of their office and their design processes. Lastly, examining the images as architectural photographs reveals the effects that the eruption of digital imaging processes has had on the documentation of architectural projects.
dc.language	en
dc.publisher	Universidad de Navarra
dc.relation.ispartof	RA. Revista de Arquitectura
dc.rights	info:eu-repo/semantics/openAccess
dc.title	Skanderbeg, Tirana A section full of nothing (static shot)
dc.type	Journal Article
utslib.location.activity	Spain
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Architecture
utslib.copyright.status	open_access	*
pubs.consider-herdc	true
dc.date.updated	2023-11-13T14:08:35Z
pubs.issue	25
pubs.publication-status	Published
utslib.citation.issue	25

Abstract:

Belgian photographer Maxime Delvaux’s images of Skanderbeg Square, Tirana, completed in 2017 by Belgian architectural office 51N4E and Albanian artist Anri Sala, have at least three different readings. Their content allows us access to the complex history of the project by revealing the connections between design decisions, urban transformation policies, the city’s leaders, and, in some cases, the political imagination of Albania vis-à-vis the European Union. Their format, a combination of traditional photographs and still frame videos, helps us to understand not only how 51N4E explains their projects, but also the reorganisation of their office and their design processes. Lastly, examining the images as architectural photographs reveals the effects that the eruption of digital imaging processes has had on the documentation of architectural projects.

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/173383