Arkivi Qendror Shteteror i Filmit: The Albanian Film Archive
11/26/2012
Current conditions at the AQSHF and evaluating Hoxha era tunnels for archival storage
The Albanian Film Archive building in Tirana has inconsistent environmental control
resulting in potentially poor storage conditions due to unreliable equipment and
building maintenance issues. Communist era bunkers may be suitable as an
alternative storage location for film elements at a relatively low cost.
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Table of Contents
EXECUTIVE SUMMARY ........................................................................................................ 2
INTRODUCTION ................................................................................................................... 4
Building construction ............................................................................................................................. 5
OBSERVED CONDITIONS ..................................................................................................... 5
Vault chilling equipment ...................................................................................................................... 7
Roof observations ................................................................................................................................. 8
Vault observations ............................................................................................................................. 10
HOXHA ERA TUNNELS ...................................................................................................... 12
Bunker complex #1: Surreli tunnels ................................................................................................ 12
Bunker complex #2: Mëlçiza tunnel................................................................................................ 15
Bunker complex #3: Ndroqi tunnel ................................................................................................. 16
MEETING WITH MINISTER BUMCI ...................................................................................... 18
CONCLUSIONS AND RECOMMENDATIONS ...................................................................... 18
SPECIAL THANKS............................................................................................................... 20
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Arkivi Qendror Shteteror i Filmit: The Albanian Film Archive C U R R E N T C O N D I T I O N S A T T H E A Q S H F A N D E VA L U A T I N G H O X H A
E R A T U N N E L S F O R A R C H I VA L S T O R A G E
EXECUTIVE SUMMARY
Earlier this year, the Albanian Film Archive - Arkivi Qendror Shteteror i Filmit –
celebrated its 65th anniversary. A FIAF member archive since 1970, the collections at
the AQSHF consist of virtually all Albanian cinema produced beginning in 1947
through the present day. Additional collections (per the AQSHF website) held by the
archive include:
Archive materials collected through the privatization process of the feature
length films, documentary films and chronicles produces by foreign studios, from the beginning to the end of the Second World War, considered as spoils of war.
Filmed materials deposited according to the legal provisions that started to apply since 1945, which include the materials produced by foreign film
directors based on the new state-run agreements.
Copies of filmed materials of foreign productions bought by the state.
Materials received through exchange with other archives.
Archival footage
According to the website, as of December 2010, the archive contained over
6400 titles consisting of almost 44,000 reels, and 8.5 million linear meters of film. Of
these, over 4300 titles are counted as Albanian productions, with another 2100 being
classified as foreign titles. In addition to film the archive stores and maintains virtually
all of the other material and ephemera that were created as part of the film
production process including scripts, director’s notes, photographs, promotional
materials, and posters. Virtually all the creative material of Albanian cinema is stored
at the archive.
The 22 year old headquarters building of the AQSHF suffers from poor
construction materials, poor construction techniques, and a lack of proper maintenance.
This coupled with unreliable electric service in the area mean that it is very difficult for
the Archive to maintain a consistently proper environment for their film and other
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collections. Archive staff consistently find mold on their film, and at least two staff
members spend the majority of their time hand cleaning collections.
The US Mission in Tirana working in conjunction with the Albanian Cinema Project
and the staff of the AQSHF invited a group of international film archive experts to visit
the AQSHF, not only evaluate the situation at the archive but also to examine
alternative solutions for the safe storage of the film collection. The group found the
conditions at the archive similar to those documented by film archivist Dr. Regina Longo
during her visit in July. As part of the experts group, Ken Weissman (film
preservationist from the Library of Congress) was asked to evaluate the possibility of
using military tunnels built during the communist era of Enver Hoxha as an alternate
storage facility for the AQSHF film collections. Weissman was intimately involved in
many of the details and planning involved in the move of the Library’s nitrate film
collection from a WWII era film vault structure into the new state of the art Packard
Campus for Audio Visual Conservation.
Tours of three different bunker/tunnel complexes were investigated for possible
reuse as film storage locations. The three complexes were located near Súrrel, Mëlçizë,
and Ndroq. Of the three complexes, the Ndroqi tunnels seemed to have the most
potential and were deemed most promising. However substantial work remains before
the potential can be realized.
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INTRODUCTION
The Albanian Film Archive recently celebrated its 65th anniversary. The official
name of the archive is the Arkivi Qendror Shteteror i Filmit, which provides the initials
by which it is commonly known - the AQSHF. Per the archive website, it was founded in
1947 when the Council of Minister's issued “Decision No.160, Decree 314 and Law
422” which transferred the cinemas into state property and established a “national film
enterprise”. The Archive was from the outset the designated repository for the storage
of the films that were taken from the cinema companies and were transformed into
state property.
Once again per their website, in 1963 the International Federation of Film
Archives (FIAF) approached the AQSHF about becoming a member of the federation. It
wasn’t until 1970 however that the AQSHF was admitted as a full member into FIAF.
The collections at the AQSHF consist of virtually all Albanian cinema produced
beginning in 1947 through the present day. Much of this consists of the production of
the “New Albania” studio (a state owned and operated entity) which was founded in
1952 and operated until 1992. Additional collections (per the website) held by the
archive include:
Archive materials collected through the privatization process of the feature length films, documentary films and chronicles produces by foreign studios, from the beginning to the end of the Second World War, considered as spoils of
war.
Filmed materials deposited according to the legal provisions that started to
apply since 1945, which include the materials produced by foreign film directors based on the new state-run agreements.
Copies of filmed materials of foreign productions bought by the state.
Materials received through exchange with other archives.
Archival footage
New Albanian productions continue to be acquired as well as joint productions
between Albanian and international studios. Albanian productions that are funded by
the new National Film Studio are required by law to deposit with the archive the
original negative, a positive, and the “phonogram” (sound track, sound master).
According to the website, as of December 2010, the archive contained over 6400
titles consisting of almost 44,000 reels, and 8.5 million linear meters of film. Of these,
over 4300 titles are counted as Albanian productions, with another 2100 being
classified as foreign titles. In addition to film the archive stores and maintains virtually
all of the other material and ephemera that were created as part of the film
production process including scripts, director’s notes, photographs, promotional
materials, and posters. Virtually all the creative material of Albanian cinema is stored
at the archive.
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Building construction
The AQSHF website indicates that construction on the main part of the building
that the archive currently inhabits was begun in 1989, and that the archive was
relocated to it in 1990. The cinema hall or theater was added to the facility in 2000.
With a capacity of 80 seats it began operations with equipment donated by Albanian
television, but was renovated and equipped with new equipment in 2010 and began a
regular program of events.
The film storage vaults within the archive facility have been plagued by uneven
environmental conditions mainly attributable to the poor state of the chilling equipment
that provides cold air to the vaults, as well as unreliable electric service. These
conditions were documented in 2009 when a group from the French National
Audiovisual Institute (INA) inspected the AQSHF facility.
Last year a couple of Albanian film makers, Thomas Logoreci and Iris Elezi
visited the facility and noticed the pungent smell of vinegar upon entering the facility, a
tell-tale sign of safety film deterioration. When shown the negative vault, they also
noticed that the walls were damp with humidity and noticed what appeared to be
fungus growing within the vault. On a return visit during the summer, the vaults cooling
system had apparently failed for several days and the temperatures within the vaults
reportedly approached the outside temperature of nearly 100 degrees.
Thomas and Iris made contact through a mutual acquaintance with film archivist
Dr. Regina Longo earlier this year, and explained the situation at the archive. Dr.
Longo arranged to visit the archive this July, taking advantage of another planned trip
to Europe for a conference. She was able to visit the facility and issued a
comprehensive report on the conditions at the archive. As a result of this visit she
founded the Albanian Cinema Project, an international consortium of film archivists, film
makers, film laboratory preservationists, and others dedicated to helping preserve the
Albanian Cinema heritage and to provide assistance to the archive.
Earlier this year Dr. Longo contacted Mike Mashon and me at the Library of
Congress to see if we would be able to help provide some assistance and advice to the
Albanian archives. Working with the US State Department mission in Tirana, Dr. Longo
was able to arrange funding for a visit to Albania. The Library then agreed to the
travel authorization for my trip to Tirana. Our group consisting of myself, Dr. Longo,
and Jean-Philippe Voiron departed the U.S. on November 2 and arrived in Tirana,
Albania the morning of November 3, 2012.
OBSERVED CONDITIONS
On Monday November 5, our group gathered at the AQSHF Archive building
for a meeting with members of the AQSHF staff. In addition to myself and AQSHF
staff, those present at the meeting included Regina Longo (Director of the Albanian
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Cinema Project), Jean-Philippe Voiron (photographer & videographer), Roxanne
Suratgar (USAid from Kosovo), and ACP Board member Elian Stefa (an Albanian born
architect, now living in Istanbul). After meeting for some introductory remarks by
AQSHF Director Elvira Diamanti, we began the tour/inspection of the facility.
The tour of the approximately 22 year old facility began on the outside. As we
walked around the building perimeter to the back, water damage to the building was
plainly evident. There are watermarks on several levels marking water
seepage/wicking up along the outside walls, especially those areas with a stucco finish.
The building has a flat roof and the scuppers and pipes that drain the water from the
roof dump the water at the base of the building right where the walls meet the
foundation. It seems clear that water is getting into the foundation and then traveling
up the walls of the structure. There were many areas where the surface stucco finish has
crumbled away from the underlying concrete and showed evidence of moss and
possibly mold. This includes areas where new stucco had been applied for repairs to
the finish. There is no evidence of any sort of flashing at these junctions, making it very
easy for the water to seep into the walls at the seams where the walls meet the
foundation. Looking up towards the roof, water damage to the overhangs of the
building and the eaves underneath was also readily apparent.
Water wicking marks on side of archive building Water stains under roof overhang
Roof drains cause water to collect in common area Moss growth and crumbling stucco
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In addition there are places where the foliage has grown in an uncontrolled
fashion right up to the building foundation. There are large sycamores, mulberry, and
other trees just a few feet from the building, and it seems likely that the roots are also
going to grow towards the building, perhaps even into the foundation, having the
potential to further undermine the structure.
Plant growth and debris outside of vaults Trees close to building provide shade keeping soil moist
Around the back of the facility located in a small courtyard area is a chilled
water circulating system that is designed to provide cooling for the air conditioning
compressors that supply cooling for the film vaults. The main water storage tank for
these swamp coolers is leaking like a sieve, and as it is virtually right up against the
outside of the film vaults storage unit, the water is seeping down into the soil and
keeping that area soaked all the time.
Leaky chilled water tank, area is shaded and water is collecting near foundation: Photo’s courtesy of Jean-Phillipe Voiron
Vault chilling equipment
The vault A/C compressors are in a machine room that is near the back of the
archive cinema building. There are two Carrier compressors in the room, however only
one of them is currently in working condition. On the day we visited neither unit was
functioning, as there was a problem with the internal electric power distribution supply
system, and an electrician was attempting to fix the problem. There is also a
mechanical maintenance staff person on site; however he is not a Carrier
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trained/certified technician. The ID tags on the compressors also indicate that the units
were manufactured in 1986, a full three years before building construction. The INA
report indicated that these were a gift of the former East German Archives in 1987.
This could mean that the units were previously in service and relocated to the new
building.
Only one of the two Carrier chillers is working Carrier France manufactured the unit 3 years before
AQSHF facility construction began
The A/C compressors use R-22, an HCFC based “Freon” type of refrigerant that
is now being phased out in developed countries as part of the international treaty
called the Montreal Protocol. This is due to its classification as an ozone depleting
substance. For example since the start of 2010, the Montreal Protocol specifies that
new equipment manufactured within the U.S cannot use R-22 (chlorodifluoromethane),
while existing equipment can only use recycled R-22 gas
(http://en.wikipedia.org/wiki/Chlorodifluoromethane). As time goes on it will likely
become more difficult (and more expensive) to acquire replacement R-22 gas (either
new or recycled) because of this circumstance. It is not immediately known if Albania is
a signatory of the treaty, but this seems unlikely.
Roof observations
Upon inspection of the roof of the archive building facility, a number of problems
became immediately apparent. Leaves from the nearly eucalyptus trees had fallen
onto the roof, blocking several of the drains. It was apparent that water had pooled
recently near these drains and may have contributed to some of the leaks seen inside
the archive building. The archive staff pointed out new (since Regina Longo’s July visit)
roof patches that had been applied over the main portion of the archive office
building. They reported that this had solved the water leakage problems in that area
of the structure. However it appeared that the patches had not been properly sealed
with tar along the edges, so it is unclear how long they will be effective. Per the staff,
temperatures in the summer typically reach around 100 degrees, and other areas of
the roof (especially those covered with black roofing material) had begun to show signs
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of bubbling and cracking, so it would not be surprising if new leaks appear when the
spring rainy season arrives.
Leaves moved away from roof drain, evidence of water pooling. Black roof patches are newly applied
It was also noted that the front façade of the building (above the main entrance
and elsewhere) had cracked on the roof side, an area that is not visible from the front
of the building. The cracks had a significant gap which could indicate a danger of the
façade partially collapsing, possibly endangering anyone entering the building or
vehicles parked in the entrance driveway below. This needs to be checked for structural
integrity and possibly reinforced before possible freezing during the coldest part of
the winter negatively impacts the already weakened structure.
Also noted on the roof was the open access to the freight elevator shaft.
Apparently this was used to load the films into the archives, but it does not appear to
be still in use on a regular basis. As the shaft is positioned very close to the main doors
that lead into each of the storage vault units on the first and second floors, this provides
a way for outside air to enter the main part of the archive building. Sealing it could
help the archive maintain their internal environments to set point levels, as outside air
won’t always be so readily able to enter the building. This is especially important for
the film storage vaults, as their doors are opened and closed on a regular basis.
Additionally they appear to be missing the original door operating handles and
locking hardware, which have been replaced with ill-fitting locking mechanisms. As a
result, unconditioned outside air can easily get into the vaults through these open
spaces.
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Vault entrance door, note door hardware Close up of door opening hardware
Vault observations
Inside the vaults it is apparent that there are problems with water leakage, and
possible mold issues. The walls had multiple stains in the areas where the walls met the
floor as well as the ceiling, and some areas in between. There were areas where white
“deposits” were either leaching from the walls and ceiling (calcium?) or were growing
(mold?) from the floor/wall junctions. A faint chemical odor was also noticeable, which
the staff indicated was from an attempt to seal the walls of the vaults. During our visit
as previously mentioned, the cooling system for the film storage vaults was out of
service due to an electrical issue.
Fungus(?) growing in film storage vault Chemical deposits and applied sealent
The first floor vault for original negatives (vault #1) had an electronic
temperature and relative humidity sensor. The sensor indicated that the temperature in
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the vault was 15 C with a relative humidity of 79%. According to the Rochester Institute
of Technology’s Image Permanence Institute’s Dew Point Calculator
(http://www.dpcalc.org/default.asp) this puts the collection at risk for growing mold in
as little as 18 days. In fact all four of the metrics (natural aging, mechanical damage,
mold risk, and metal errosion) that IPI deems important for managing the risk of a
collection are in the “risk” category under those environmental conditions.
All six vaults that were visited exhibited similar defects in the walls relative to
staining, possible water encroachment, leaching of calcium, and possible mold growth.
The second floor vaults had a considerably higher chemical odor (an odor that I can
best describe as a wet latex paint smell) than the first floor vaults. Staff indicated that
these vaults had been sealed twice. The left most second floor vault (vault 4) also had
an electronic temperature and relative humidity sensor. It read 12 C with a relative
humidity of 72%. Per IPI, this vault was not at risk for mold growth and the natural
aging metric was listed as “OK”, however both the mechanical damage and metal
corrosion metrics showed a risk.
One of the features of the electronic sensors is a limited ability to track the high
and low temperatures recorded during a period of time. I checked the second floor
sensor and discovered that the current, low, and high temperatures were all 12 C,
which leads me to believe that the sensor is not tracking properly. This can usually be
corrected by either resetting the sensor, or replacing the batteries. Staff also indicated
the sensors are about 13 years old and have never been calibrated since they were
put into service. It is probably best to replace these limited sensors with more
sophisticated data loggers, which have the ability to track both the temperature and
relative humidity at regular intervals over extended periods of time. This will enable
the archive to better monitor the vault conditions which can then be used to assist design
engineers and architects in the design of possible improvements.
Other areas of the archive building were also toured. Notable issues include
evidence of water leaks in many rooms. There is a likely case of black mold in the
ceiling and wall of the archives reference library as a result of continuing leaks in that
area. Most disturbing and potentially the most dangerous finding was evidence of
foundation settling in the front center of the building. The rooms where the films are
inspected and the adjacent room with spare equipment and supplies had a horrific
crack running from the bottom back corner up to the opposite upper corner of the wall.
This crack had completely separated, and seems indicative of a severely undermined
foundation in that particular area. The archive has had a solution designed that is
intended to stabilize the foundation all along the front of the archive building, and it is
hoped that this work will be undertaken as soon as practical.
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Black mold on research library ceiling Wall crack in film inspection room
There are other issues at the Archive unrelated to the facility itself. These include
the need for additional digital storage, equipment repair/upgrades, etc. These are not
addressed in this report specifically as they are not within the scope of what I was
asked to review.
HOXHA ERA TUNNELS
On Tuesday morning we departed the hotel to go on the tour of the cold war
bunkers arranged by the Department of State and the AQSHF. The bunker complexes
are currently under the control of the Defense Ministry, so we were escorted by an
officer of the Albanian military, and all of the complexes we visited were actively
guarded by the military. We visited a total of three complexes, all of which were 45
minutes or more from the archives location, and either up in the mountains or in the
foothills surrounding Tirana. Special thanks to Eriona Vyshka for providing the names of
the complexes as well as the directions relative to Tirana and the AQSHF archives.
Bunker complex #1: Surreli tunnels
The first complex was outside of the little town of Surrel, just on the other side of
Dajti Mountain northeast of the archive location. It was located in a hollow a short
distance below the highest elevation that the access road across the mountain achieved.
Access to the bunkers was by a gravel road extending several hundred meters from the
main road. It was not possible for the van that we traveled in to traverse the road so
we hiked back to the bunker complex. As we arrived at the complex we were met by
an armed soldier who guards the complex for the Albanian military. There is a large
support building outside the bunker that even though it was in disrepair, does provide
some shelter and office space for the soldier(s) that guard the location.
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Gravel road leading to Surreli tunnels Awaiting opening of tunnel, support bldg. in background
After we arrived we had to wait approximately a half hour or so because the
bunker was locked and the soldier did not have the key. While we were waiting, one of
the archive staff learned from the soldier that someone from the “Albanian Library”
had come to investigate the bunker for possible use for the storage of books but had
decided that it was not suitable due to high humidity. Once the key arrived it was
quickly discovered that the lock was rusted shut. The soldiers retrieved some liquid
(penetrating oil?) in an effort to remove the corrosion from the lock. This was not
immediately successful, but the lock finally opened after the soldier pounded it with a
rock, hit it with a shovel, and then finally pried it loose with a pick axe. Opening the
door required the clearing of several inches of soil and plant matter from the front of
the door before it could be successfully pried open. It seemed obvious that the
“Albanian Library” folks had not been in the bunker for several years, or that they had
not actually entered it at all.
Entrance to Surreli tunnel Opening of tunnel by Albanian military
As we were entering we learned that this particular bunker had been designed
as a hospital for treating wounded soldiers (in the event of a foreign invasion). There
was a series of small entrance rooms each with a door that could be closed to provide
additional protection, that finally opened up to several large rooms perhaps 50 sq.
meters in size or so. The floors were finished with polished stone tiles in quarter meter
squares, and there were several piles of debris scattered throughout the rooms. Several
of us used our cell phones to light the way as there was no power in the tunnels and no
one thought to bring lanterns or flashlights. The walls had a smooth concrete finish
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appearance and curved gracefully up to the ceilings. There was some sort of central
round duct (likely fresh air) that ran the length of the rooms just above head level.
Views inside Surreli tunnels
Surprisingly there was little evidence of water encroachment or moisture of any
type, as the dirt on the floor was quite loose and there was little to no staining on the
walls or ceiling that could be identified as likely water incursions. Other than a slightly
“musty” odor upon entering the tunnel, the air seemed fresh and dry. Even though there
was no electric service in the tunnel, there were light fixtures, switches, electrical junction
boxes, conduits, and wiring. There was also piping which appeared to be for fresh
water.
As we neared the far end of the second large room, it was open on the left side
and as we made our way into that space the wall finish changed into some sort of
white finished plastic or fiberglass panels. We had apparently entered the “hospital
ward” space. Once again there were two larger rooms, on par with the two on the
other side of the complex. There were some old gauges on the walls, fluorescent light
fixtures overhead, and a long ceramic sink in one of the rooms. This might have been
intended as an operating room. The exit from this room led to two narrow corridors with
doors and eventually led to another outside exit door.
“Hospital ward” within Surreli tunnel complex
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More “Hospital ward” within Surreli tunnel complex
Once we were outside the bunker complex the guard was asked where the fresh
air supply was located and he indicated that the duct work ran eventually underground
and came up just to the right of the opening of the bunker, perhaps 10 meters away.
He also said that infrastructure had all been destroyed. All that was visible was a bent
pipe with a flange at the end of it that might have been coupled to some sort of air
pump at one time.
All in all there was maybe 300 sq. meters (by our rough calculations) of usable
space inside this bunker complex. A considerable amount of cleaning and retrofitting
would obviously need to be done before it could be used, and the gravel roadway
would need to be improved in order to permit a truck or other vehicles to make their
way up the hollow from the main road.
Bunker complex #2: Mëlçiza tunnel
The second bunker complex was in the foothills north of Tirana, in a region known
as Zallherr, near the town of Mëlçizë. It took us around 45-50 minutes to arrive there
after leaving the first complex. Once we pulled off the main road, it was surprising to
see that the group needed to cross an absolute wreck of a bridge in order to get
across the river to visit the bunker complex. I managed to walk 20 or 30 feet onto the
bridge before deciding not to risk crossing, as it was swaying both up and down as well
as side to side, with nothing to hang on to. The bridge decking was made up of
splintered boards, scrap wood, tree branches for cross members in some areas, and
was mostly wide open to the river some 20 feet below. In the distance automated
weapons fire could be heard, apparently a training exercise at a nearby military base.
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Access bridge to Mëlçiza tunnel
While applauding the intestinal fortitude of the other members of our visiting
party, it was quite frankly surprising that the Albanian’s felt this was a reasonable
alternative for relocating the archive’s collection. After speaking with those that did
cross the bridge, the bunker complex consisted of 10 tunnels. Eight of them were filled
with scrap metal and thus were unavailable. Of the remaining two, one was filled with
water and was deemed not suitable, and the other was quite dirty. The total available
space in this complex was not nearly what would be required for use by the archive.
Bunker complex #3: Ndroqi tunnel
The third bunker complex was located within some picturesque foothills, southwest
of Tirana just outside of the small town of Ndroq. The complex is located
approximately ½ hour from Skenderbeg square in the center of Tirana, based upon
the amount of time it took us to return there from the complex in the afternoon traffic.
Once we arrived at the turn off of the main road, we were able to only drive a few
hundred meters before the van could not negotiate itself up the remaining gravel road
to the complex. We walked the remaining way up hill past many picturesque olive
trees, and a number of familiar farm smells. It was not an unpleasant experience.
We were again met be a member of the Albanian military, but unlike our
previous two stops, this soldier was not armed. This particular bunker complex consisted
of tunnels which interconnected in groupings of 4 each for the first 8. We walked
through the first 4, and were very pleasantly surprised by their excellent condition.
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There appeared to be very little humidity in the tunnels even though all of the doors
were open and the temperature inside was pleasantly cool.
The floors were very dirty, in fact they may have been dirt floors, and there was
a slight incline in some of them. Elian Stefa (an architect by training) estimated that is
was no more than one degree of inclination. Once again there did not appear to be
any encroachment by water into the tunnels. The walls were of a smooth
plaster/concrete finish, the ceilings were also curved, but the first bay had a peaked
steel skeleton for a roof. There were light fixtures, wiring, and switches, but once again
no power. Each of the 4 interconnected bays had its own entranceway. The group
seemed united in agreeing that these tunnels had the potential for being made into a
storage complex for the archives films, as well as possible research/museum/teaching
center.
Views of Ndroqi tunnel complex
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MEETING WITH MINISTER BUMCI
Regina Longo, Thomas Logoreci, Iris Elezi, Elvira Diamanti, Eriona Vyshka, and
myself met with Minister of Culture Aldo Bumci on November 9. When discussions
turned to our visit and our first impressions of the tunnels, I indicated that the third set
of tunnels in Ndroq were the most promising of the complexes that we had visited. I
also added that a certain amount of investment would need to be made in order to
both confirm that they were suitable as well as make them operational. Minister Bumci
was gratified to hear that we had located a potential site for the film collection, and
then suggested that the US Embassy could perhaps provide funding to help. Dr. Longo
cautioned that while the Embassy can write grants in aid, their budget is very small. The
Embassy staff had indicated in our briefing with them the day before that Minister
Bumci might imply that the Embassy would/could fund the retrofit of the tunnels, and
should be cautioned against expecting that as a viable option.
Minister Bumci also mentioned the new state archive for the Marubi collection,
Albania’s oldest and most precious photo negatives dating from the 1860’s. This
archive located in Shkodra, was recently completed and Minister Bumci wondered if it
could also potentially be a place of residence for the motion picture collection. Bumci
also indicated that there was a lack of expertise at the new facility (I took this to mean
technical expertise in conservation) and wondered if we could be of service there as
well as in Tirana.
CONCLUSIONS AND RECOMMENDATIONS
The AQSHF building as currently constructed, configured, and maintained is
placing the national film collection of Albania at risk. Remediation efforts to stabilize
the front of the archive facility have been designed and planned, and will certainly
help to insure worker safety. However this construction when it takes place will not
solve the problem of stabilizing the environment within the film storage vaults nor
the problem with water encroachment. It would be helpful to characterize the extent
of the problem environment within the film vaults. While there are several electronic
thermometer/relative humidity devices in the vaults, they are not capable of providing
tracking information because they don’t have that feature. Electronic data loggers that
measure the temperature and relative humidity at regular intervals are needed. This
information can then be downloaded and entered into a specialized program such as
the service provided by the Image Permanence Institute, which then analyzes the data
at no cost.
A number of things need to happen before the Ndroqi tunnels can be considered
suitable for the storage of motion picture film. Just as it is with the film vaults it is
important that the environment within the tunnels be characterized for an extended
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period of time. This can easily be done by also placing electronic data loggers inside
the tunnels to monitor the temperature and relative humidity for a period of time. The
period of time should cover the most extreme weather typically experienced in the
area, including both high and low temperatures as well as the relative humidity
extremes.
Once the environments in both the vaults and the Ndroqi tunnels are
characterized, decisions on the next steps can be made. It would not be surprising to
find that the tunnels up in the mountains are more stable naturally than the vaults
building in the middle of Tirana, due to the frequent problems with electrical supply
and equipment breakdowns. The key to success will be to determine the quickest and
least expensive way to place the film in a stable environment.
Under the assumption that the Ndroqi tunnels are a viable alternative, planning
can begin immediately for an eventual move of the film collections to them. Current
understanding is that responsibility for the tunnels must be transferred from the military
to the Minister of Culture. This should take place as soon as practical. Any plans or
drawings of the Ndroqi tunnels that exist should also be transferred or made available
so that they can be studied. In addition to placing data loggers in the tunnels, it is also
important to measure the tunnels in order to verify that there will be enough suitable
space. Preplanning for improvements to the road as well as for providing electricity
and running water to the tunnels can also take place as soon as practical. Once the
dimensions of the tunnels are known, then preplanning for the installation of flooring
and shelving can also begin.
Short term improvements in work flow might reap benefits for the collection at
the current location in Tirana. Staff should as a matter of policy enter the film vaults as
few times during the day as possible, ideally just once in the morning to get the day’s
work and once in the evening to return the films to their storage locations. It is also
recommended that whenever the vaults are not being cooled properly no matter what
the specific reason (a result of equipment failure, electric power interruption, etc.) that
staff should not enter the vaults at all. If the cooling goes down during the middle of a
work shift after film has already been removed for the day, then staff can continue to
work on the films already removed, and then place them back at the end of the work
shift. Further entrance into the vaults should not be made until such time as proper
cooling is restored.
An effort should be made to seal the freight elevator both on the roof as well as
the first and second floors. This can be done simply and inexpensively with painted
plywood or fiberboard, some caulking and screws or nails. This should help to prevent
the incursion of unconditioned air into the film vaults whenever the doors are opened. In
addition it is recommended that the doors themselves not be propped open any longer
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than necessary to move film into or out of the vaults. Finally, the openings for the door
hardware should be sealed (duct tape?) on the inside of the doors to prevent leakage.
An effort to keep water from pooling around various areas of the foundation of
the building might bear substantial fruit in minimizing the water incursion, especially in
the vaults. The leaking water tank that supplies the water for the swamp cooler should
be replaced and relocated away from the vaults building. If replacement is not an
option, then perhaps fabricating a drain pan to fit underneath the tank would be an
alternative. The drain must be run substantially away from the building, perhaps to the
nearby sewer.
Grounds keeping maintenance around the outside of the film vaults should be
done in order to trim the bushes and remove the vast amounts of weeds and other plant
growth. This should allow the sun to help to dry out the soil in contact with the
foundation. There are a number of areas where the down spout pipes from the roof
drains all deposit water in the same area. Extending the piping to areas further away
from the foundation near the perimeter of the property could help significantly.
It is important that the Archive staff understand that the collection that is so near
and dear to their hearts is under daily stress and that small, cost efficient or no-cost
changes can sometimes reap large benefits. Many of the above recommendations and
types of solutions should be relatively inexpensive and could probably be
accomplished by the maintenance staff already at the archive or with temporary
contract workers. Planning and discussions amongst senior staff should begin
immediately to determine what is possible and how soon it can be accomplished.
Finally with regards to Minister Bumci’s musing regarding the possibility of
relocating the film archive to Shkodra, this should be followed up in some way, but with
caution. His comment about a “lack of expertise” should be clarified as to what the still
archives are lacking in this manner. Also, if the vaults in Shkodra are not substantially
better than what are currently in Tirana, the move would not benefit the archives
collections. Relocating would also likely mean that the staff of the archive would move
on to other jobs rather than relocate and the resultant loss of expertise would be
extremely difficult to replace. Finally, the Archive provides an access service to
students, film makers, and the public in Tirana, home to roughly a third of the
population of the entire country. This program allows them to view, study, and enjoy
their Albanian cinema heritage. Relocating the archive to Shkodra would have a
devastating effect on this program.
SPECIAL THANKS
Credit should be given to all of the staff of the Albanian Film Archive for being
proactive and willing to invite outsiders into their facility. It is not easy to allow others to
come in for the purposes of evaluating operations and facilities that they know to be
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substandard. Their openness and forthright willingness to discuss their circumstances was
as refreshing as it was sobering.
My personal thanks go to Director Elvira Diamanti, Eriona Vyshka, and Andi
Lubonja for their very personal attention during the visit. While the Archive and its staff
have some potentially tough times ahead, I have no doubt of their deep love of their
country’s film heritage and look forward to much better times ahead.
I would also like to thank my fellow ACP comrades during this visit. Without the
help of Dr. Regina Longo, Jean-Phillipe Voiron, Elian Stefa, Roxanne Suratgar, Thomas
Logoreci, and Iris Elezi neither my visit nor this report would have been possible.
Finally to Niles Cole, Elizabeth (Betsy) Lewis, Mirela Cupi and the rest of the US
Mission in Tirana my sincerest thanks and appreciation for their support of this initiative,
assistance with the travel arrangements, and in general a job well done. Falaminderit!