This paper aims to contribute to the debate on the "reading" of urban morphologies through quantitative means. The research objective is the establishment of a numeric method for comparing spatial characteristics of different families of urban morphologies, by considering the degree of fragmentation as a key contributor to their spatial identity. The hypothesis elaborated in this paper is that the fragmentation degree of urban textures can be adequately described through a set of fractal parameters. In addition to the fractal dimension, lacunarity is used in order to complete the analytic model. The intricate relations between morphologic characteristics of the built form and urban mobility are analyzed by referring to the network size and network density of the roads system. The experiment consists of two phases: phase one produces binary images of urban samples belonging to different families of urban morphologies. The focus of the experiment is placed on several informal and vernacular zones in Albania. Over the second phase, the values of fractal indexes, the network size and network density on the binary images of urban samples are measured. The outcome of the experiment purports to establish that the spatial characteristics of different urban morphologies can be adequately expressed in numeric terms. Informal urban patterns are characterized by higher values of lacunarity and lower values of roads network densities compared to vernacular ones, even though they appear to have similar values of fractal dimensions. The outcome of the experiment opens up new perspectives in relation to urban design practices and planning processes.

During the communist regime of Enver Hoxha, Albania built nearly 200 000 bunkers as a measure of protection towards an imaginary attack from (un)known enemies of the Popular Socialist Republic. Most of these structures built in concrete are still part of the landscapes almost in every part of the territory. While the most common type is small and identified from the semi spherical shape, particular bunkers have quite large dimensions and specific features related to their function and location. During the last five years, three of the most unique modern fortifications built during socialism for the displacement of the governmental authorities in case of war, were revealed and made accessible to the public. These structures, transformed today in museums, cultural spaces or simply visitable attractions, are the symbol of an auto-referenced reality within Europe, where the paranoia produced an unusual typology of modern age fortifications. These bunkers, planned to withstand twentieth century military attacks, are extraordinary structures in terms of engineering and building features, and at the same time they represent a very valuable heritage related to the history of communism in Albania. This article aims to offer a comprehensive analysis of the fortification of the Albanian territory during the twentieth century as an overall country defence plan, while focusing on the governmental bunkers in order to understand how the ideological differences with the rest of the world created the need for protection and produced an amazing military infrastructure. The discussion on the future of these structures seems to be strongly related to the ability of recognising these modern fortifications on the Mediterranean as cultural heritage.

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The last three decades show how is evolved a complicated relation between architecture and digital technologies, through an absolute skepticism to moments of enthusiasm. The new rhetoric of digital technologies tents to embrace fundamental concepts of architecture, by theorizing another time as in the modern tradition, correlations between form-space-structure. The objective of this paper is to verify the hypothesis which admits that digital culture is changing the relations between space-form and tectonics. In the ambiguous contemporaneity, on the symbioses between spirit and the digital, Toyo Ito's outcome seems to be the one of the most convincing. This paper tents to analyze the Ito's work in the perspective of the new poetics and metaphors deriving from a liberated architecture from materiality. This understanding is made through a comparison between authors as Greg Lynn or Patrik Schumacher that also have implemented in their work the digital technologies but in different dimensions.