Book Presentation and Personal Exhibition “In GJIROKASTRA, climbing and sketching”
On June 23, 2025, at the premises of Tati Space Photography Center, the personal exhibition of architect Andi Papastefani entitled “In GJIROKASTËR by climbing and sketching” was opened. The exhibition is part of the promotion of the author’s book with the same title, which is the third in his series of books with urban sketches, the first for the city of Tirana, continuing with the historical city of Berat. In this exhibition, Andi Papastefani presents 64 drawings from the city of Gjirokastra, which are part of his collection of 123 drawings presented in the Book. A 3-year work to identify 90 traditional buildings and 10 urban ensembles, part of the construction and cultural heritage of the city of Gjirokastra, Albania and architecture in general. This book coincides with the 20th anniversary of the City of Gjirokastra's admission to UNESCO and, according to Papastefan, is a homage to the city of silhouettes carved in stone.
On June 23, 2025, at the premises of Tati Space Photography Center, the personal exhibition of architect Andi Papastefani entitled “In GJIROKASTËR by climbing and sketching” was opened. The exhibition is part of the promotion of the author’s book with the same title, which is the third in his series of books with urban sketches, the first for the city of Tirana, continuing with the historical city of Berat. In this exhibition, Andi Papastefani presents 64 drawings from the city of Gjirokastra, which are part of his collection of 123 drawings presented in the Book. A 3-year work to identify 90 traditional buildings and 10 urban ensembles, part of the construction and cultural heritage of the city of Gjirokastra, Albania and architecture in general. This book coincides with the 20th anniversary of the City of Gjirokastra's admission to UNESCO and, according to Papastefan, is a homage to the city of silhouettes carved in stone.
By means of architectural sketches, with pencil, pastel, marker, Andi Papastefani manages to scrupulously build a voluminous collection of drawings, scanning 90 traditional buildings of Gjirokastria and 10 ensembles, part of the architrecture heritage. He systematizes the buildings, categorizes them, grouping them into neighborhoods, and like an urban planner describes the features of each of them. He does this in a laconic and concise manner, because he wants the emphasis and attention to remain on the drawings. An important element is the inclusion in the Book of early modernist buildings in Gjirokastra from the 20s-30s, inviting us to open a discussion on the inclusion of this important category in the fund of protected architectural heritage in Albania.
For the Exhibition “In GJIROKASTRA, climbing and sketching” Prof. Pirro Thomo says: “I browse the new album of architect Andi Papastefani on Gjirokastra with interest, but also with curiosity. This stems from the intriguing title itself, “Climbing and sketching”, i.e. wandering through the neighborhoods and alleys of Gjirokastra. What attracted the architect to this city with such a name and fame? How will he convey to the public the urban and architectural values of the city? How will his choices from this city match the prevailing scientific opinion? And at the end of browsing the album, this curiosity completely disappeared. Because, from the Castle, he chose the impressive play of arches and vaults (sketch 7). From the sketches of the inhabited ensembles, the coherence of the urban composition with the dynamism of the terrain clearly emerges (sketch 1, 23, 25, 31, 43). The protective character of the Gjirokastra dwelling has emerged through the monumentality of the Zekat family's dwelling (sketch 46). Not remaining at this stage, the architect has also assessed the evolution of the dwelling towards acquiring new architectural features (sketches 17, 34, etc.). The professional and artistic skills of the anonymous craftsmen occupy a considerable place in the album, such as: the dynamic volumetric composition of the Skendula family's house (sketch 49); the large gates artistically decorated as a symbol of the family's power but also as an invitation to hospitality (sketches 12, 16, 42); the rich interiors and the craftsmanship of wood carving, ceilings, cupboards and doors (sketches 22, 40, etc.). The rafters have not been neglected either, although their function is constructive to support the protruding and heavy roof canopy, they have not lacked elegance and decorative processing (sketches 57, 58, 70, 94). Thanking Andi for this important contribution to the attractive presentation of the architectural heritage, we wish the further continuation of this initiative that has been started.”
In the preface to the book “In Gjirokastra, climbing and sketching”, Ben Andoni writes “Flipping through the book, one becomes curious about a fact: How did its builders managed to avoid the ugly? Surprisingly, unlike us, our ancestors have managed to escape the ugly thanks to some innate and inherited concepts about the beneficial functions of aesthetics.”
While Skënder Luarasi writes “…Andi Papastefani's book on Gjirokastër is itself a drawing in its entirety, in the specific sense mentioned above, as a sequence of wanderings in the Stone City. In this way, the book becomes a psychogeographical map offering starting points for various itineraries, which are nonetheless left to us, the readers, to undertake, complete, retrace, and redraw
About the Author
Andi Papastefani (albanian, 1962) is an architect graduated from the Faculty of Architecture at the Polytechnic University of Tirana. After a period of architectural designing in Albania, he continued his studies in America for Historic Preservation in Boston Architectural College, and then for Landscape Architecture from Landscape Institute Arnold Arboretum of Harvard University. He is an urban sketcher and instructor. For almost four decades, Andi Papastefani is using sketches as a medium of communication, exploration and documentation.
All photos, Copyright Alketa Misja
The project "In GJIROKASTRA, climbing and sketching" is supported by the Ministry of Economy, Culture and Innovation MEKI
Books by the Author
Andrea Martino
Andrea Martino is a young Italian photographer with a background in architecture. Born in Naples in 1996, his hometown shaped his worldview, teaching him to observe space and understand the intricate relationships that are created with it. Each shot represents an attempt to absorb the atmosphere of the place, allowing the context to suggest its stories. Photography thus becomes a form of visual narration that seeks to capture the essence of places and human connections in a delicate balance between art and documentation.
Caveat
Andrea Martino is a young Italian photographer with a background in architecture. Born in Naples in 1996, his hometown shaped his worldview, teaching him to observe space and understand the intricate relationships that are created with it. During his university studies in architecture, he developed a parallel interest in photography, using it as a tool for research and documentation. The photographic language became his main means to explore and narrate what he sees through the lens, investigating the physical environment that surrounds, scrutinizing not only the architectural elements, but also the human relationships that interact with space. Each shot represents an attempt to absorb the atmosphere of the place, allowing the context to suggest its stories. Photography thus becomes a form of visual narration that seeks to capture the essence of places and human connections in a delicate balance between art and documentation.
In his photography project Caveat, the eye of the photographer and the sensibility of the architect are visible. We are pleased that Andrea accepted to be interviewed by Tati Space in order to learn more about the context of the project, his photography process and approaches.
Andrea Martino, Caveat 1
Summary of the Project:
Caveat: a Latin word that sounds like a warning, “beware”. It is the title of a photographic series that explores the caves of Vallone di San Rocco in Naples, a hidden and endangered treasure, a challenge for the eye and the memory. The caves are ancient cavities dug in the yellow tuff, the volcanic material that formed after an eruption of the Campi Flegrei about 12,000 years ago. From these caves Naples grew, which used the tuff for its constructions, but which also gave the caves other uses: shelter, workplace, storage, landfill. Today these caves are covered by an urban jungle that hosts an extraordinary biodiversity, but that leaves an open wound in the rock and in history. The photographic series tries to return a historical and formal “portrait” of these caves, showing their architectural, landscape, environmental, social value. The Caves of Vallone present themselves as urban rooms, where space is a void, where air is closed by matter that traces its boundary. A system that has its own logic, its own geometry, its own aesthetics, but that has remained invisible and inaccessible for a long time, and that now proposes itself to discovery and enhancement. This investigation aims to demonstrate that these quarries are an integral part of Naples’ history and culture, but they are also at risk of degradation and oblivion. The quarries are a dormant giant waiting to be awakened with care and respect, not only as geological heritage but also as a custodian of Neapolitan cultural memory.
Andrea Martino, Caveat 2
Tati Space: How came your interest in photographing the Caves of Vallone di San Rocco in Naples? What was the moment of inspiration?
Andrea: In reality, the project came about somewhat by chance. I learned about this place through some friends, and after an initial walk, it was love at first sight. The awareness of the project I was undertaking didn’t come immediately; rather, it emerged towards the end, following a wealth of stimuli that guided my final work.
The photography process was accompanied by an extended period of information gathering and, most importantly, extensive reconnaissance. Navigating within the valley was not easy, especially considering its current state (with paths that are difficult to traverse and hidden by dense vegetation). Initially, when I visited the first quarries, I didn’t have this project in mind. Everything changed when a friend and university colleague, who was working on a design thesis related to the valley, provided additional details and insights for me to continue my research.
Andrea Martino, Caveat 3
Tati Space: Are the Caves you describe a natural monument, or a historical monument, protected by any law, Italian or international? What is their use for the moment? Are they in public or private ownership. Can you give more information to create an idea bout the context?
Andrea: The photography project focuses solely on abandoned quarries. By examining the Urban Implementarion Plan, it’s possible to determine that the quarries are subject to the constraints of Law 1497 of June 29, 1939, which pertains to the protection of natural beauty. Regarding ownership, some quarries are definitely privately owned and fenced (for example, the quarries where buses are located, such as Cava Aloschi, which is also used as a bus depot). Others, however, are difficult to attribute ownership to, as the area underwent chaotic development in the 1960s, making it challenging to identify the owners.
Vallone San Rocco received an interesting recovery project in 2012, following the initial park redevelopment project that began in 2003 and concluded in 2011. Some of the quarries in the San Rocco valley are privately owned and are currently being used as workshops by local artisans.
Andrea Martino, Caveat 4
Tati Space: What was your approach in photographing the Caves, for example the camera that you used, or any other curiosity from the process of photographing them?
Andrea: Regarding my approach to photography, I adopted pure contemplation—a method that characterizes my way of working. Despite using digital technology, I deliberately slowed down, favoring observation. I take only a few photos because I already know what I’m looking for when I shoot. I like to describe my process using the words of Gabriele Basilico: “I arrive at a place and move around like a dowser searching for the right viewpoint. I walk back and forth; the important thing is to find the right balance between myself, the eye, and the space.”
Andrea Martino, Caveat 5
From a technical perspective, I chose to use the square format and black and white to create timeless images. These cavities are portrayed in their entirety, anthropomorphized as an almost maternal figure that, throughout history, provided material and shelter for the growth and survival of the city and its citizens in Naples.
Post-production was equally important, allowing me to organize the narrative and rediscover and appreciate the locations, uncovering elements that had eluded me during the photographic campaign. In my personal projects, I intentionally slow down in all image processing stages, from pre-production to post-production, almost as if I were working in analog. This approach allows me to appreciate what I am representing and avoid a gluttonous collection of images that I would struggle to synthesize and relate to my thoughts.
Tati Space: Thank you Andrea for sharing your work with us.
Andrea Martino, Caveat 6
Andrea Martino, Caveat 7
Andrea Martino, Caveat 8
Andrea Martino, Caveat 9
Andrea Martino, Caveat 10
The Readers can see more of Andrea’s work at his website
Interview by Alketa Misja, for Tatì Space
Julius Shulman, the Photographer of Modernism
Julius Shulman is one of the most famous photographers of mid-20th century architecture in America. He has defined the way we look at Modernism. Shulman photographed the new architecture that was emerging after World War II in South California, especially the metropolitan area of Los Angeles.
Julius Shulman Portrait, by Ebby Hawerlander, 1950
Julius Shulman
(USA 1910-2009)
Julius Shulman is one of the most famous photographers of mid-20th century architecture in America. He has defined the way we look at Modernism. Shulman photographed the new architecture that was emerging after World War II in South California, especially the metropolitan area of Los Angeles. He began his journey as an architectural photographer after meeting Richard Neutra in 1936, to whom he donated some prints from the house the architect had designed for Josef Kuhn in the Hollywood Hills. This meeting signs the beginning of a long collaboration with Richard Neutra, who recommended Shulman to other architects who were developing the International Style of Modernism in America, such as; Rudolph Schindler, Gregory Ain, John Lautner, Pierre Koenig, Raphael Soriano, and others.
Shulman is known for his strong graphic style, which highlights the features of the building, strong perspectives and light-shadow contrasts. He believed in the idealization and glorification of architecture; he often shot in infrared film to increase the drama of the scene, used artificial lighting to better illuminate the interiors, placed furniture and objects in such positions as to create pleasing compositions, and used models to make the house livable. In an interview Julius Shulman states "the photographer's responsibility is to identify the design components of the structure, to identify with the architect the purpose of the structure and of its design".
Shulman not only photographed architecture, he synthesized the essence of an era. His photographs were published in all architecture magazines and influenced the way modern architecture was perceived. His photography promoted the work of architects and made it visible to people who could not physically see it. As Richard Neutra, who had a 34-year collaboration with the photographer, said: “Film is stronger, and good glossy prints are easier to ship than brute concrete, stainless steel or even ideas”.
Some of Shulman's most important photographs are those of ‘Case Study Houses’; an initiative of Art and Architecture Magazine in 1945, initiated by John Entenza with the aim of creating a modernist, low-cost housing model for the construction industry. During its 25 years of existence, the Case Study Houses Program included the contributions of several renowned architects, including Eero Saarinen, Craig Ellwood, Charles and Ray Eames. 36 prototypes of apartments were designed, of which 24 were realized. Among them Shulman photographed 18 homes. One of his most famous photographs is the Case Study House # 22, known as Stahl Residence of architect Pierre Koenig, in which two women talk to each other in the cantilevered space of the villa, in the illuminated background of Los Angeles. The photo is one of the most published photographs of architecture, “one of those singular images that sum up an entire city at a moment in time” as architecture critic Paul Goldberger wrote in the New York Times.
Julius Shulman continued to photograph until the last years of his life, such as Frank Gehri's Disney Concert Hall in Los Angeles, and the Guggenheim Museum in Bilbao. In 2004 the Getty Research Institute bought the archive of 260,000 negatives, prints and transparencies, becoming the main owner of his photographs.
© Julius Shulman, Kuhn House, Richard Neutra architecture, 1936
© Julius Shulman, Miller House, Richard Neutra architecture, 1937
© Julius Shulman, Loewy House, Clark and Frey architecture, 1937
© Julius Shulman, Kaufmann House, Richard Neutra architecture, 1947
© Julius Shulman, Kaufmann House Palm Springs, Richard Neutra architecture, 1947
© Julius Shulman, Wurdeman and Becket, Pan Pacific Theatre LosAngeles California, 1942
© Julius Shulman, Mobile Gas Station
© Julius Shulman, Lovell Health House, Richard Neutra architecture, 1950
© Julius Shulman, Congress Building and Ministries, Oscar Neimeyer architecture, Brasilia, 1958
© Julius Shulman, Convair Astronautics, Pereira and Luckman, 1958
© Julius Shulman, University of California Irvine
© Julius Shulman, Fire Station, LosAngeles
© Julius Shulman, Theme Building LAX int
© Julius Shulman, Lovell Chuey House, Richard Neutra architecture, 1958
© Julius Shulman, Stahl House, Case Study House 22, Pierre Koenig architecture, 1960
© Julius Shulman, Stahl House, California, Pierre Koenig architecture, 1960
© Julius Shulman, Bass House, 1960
© Julius Shulman, Eames House Case Study House 8, Ray and Charles Eames architecture, 1958
© Julius Shulman, Alexander House, Palmer and Krisel, 1957
© Julius Shulman, Frey House, Albert Frey architect, 1954
© Julius Shulman, Dome House, Bernard Judge, 1962
© Julius Shulman, Coachella Valley Savings, Williams and Williams architects, 1963
© Julius Shulman, State Capitol Bank Oklahoma.
© Julius Shulman, Guggenheim Museum, Frank Lloyd Wright architecture.
© Julius Shulman, Salk Institute for Biologocal Studies, Luis Kahn architect, 1966
© Julius Shulman, Seagram Building, Mies Van Der Rohe and Philip Johnson architect, 1959
© Julius Shulman, Children’s Museum, Abraham Zabludovsky architecture, 2005
© Julius Shulman, La Estadia Development, Ricardo Legorreta architect, 1981
© Julius Shulman, Glass House, Philip-Johnson, 2006
© Julius Shulman, Walt Disney Concert Hall.
Shulman was the subject of a 2008 documentary film, ‘Visual Acoustics: The Modernism of Julius Shulman’. The film, directed by Eric Bricker and narrated by Dustin Hoffman, explores Shulman's life and work. It discusses how Shulman's images helped to shape the careers of influential 20th-century architects, including Frank Lloyd Wright, Richard Neutra and John Lautner.The film and the related materials ate found in the website:
Selected books by Julius Shulman
