The permanent installation Terminal for Tirana is an immersive light sculpture by contemporary artist Karolina Halatek in the public space of Tirana. Karolina Halatek’s project Terminal for Tirana curated by Adela Demetja and implemented by Tirana Art Lab – Center for Contemporary Art has been selected as one of the eight winning artworks by the international jury for the competition “Art in Public Spaces 2022” launched and financed by the Ministry of Economy, Culture and Innovation of Albania. This site-specific installation draws inspiration from the profound recollections of patients experiencing near-death experiences (NDEs), creating thus a space where art, spirituality, and science intersect. Terminal for Tirana offers a contemplative space where visitors can experience a sense of euphoria, peace, and the feeling of transcending physical boundaries.
© Ilir Tsouko
Halatek’s brilliant sculpture is composed primarily of a single polyethylene cylinder of 6m by 3m diameter, illuminated from within by solar-powered LED neons. This tunnel of light invites visitors to step into an otherworldly experience, reminiscent of those reported in NDEs – a journey through a dark tunnel towards an enveloping, radiant light. The artwork finds its roots in echoing common experiences recorded in the databases of the Near-Death Research Foundation (NDRF), adding a profound exploration of human consciousness and mortality to the stunning visual spectacle.
© Ilir Tsouko
Terminal for Tirana reaches further than an art installation; it is a meditation on life, death, and the persistence of consciousness. Situated at the entrance of the University Hospital Center Mother Teresa, Tirana, the work gains an added layer of significance, resonating with those contemplating life’s fragility and the mysteries beyond. This approach is also reflected in the site’s transformation which has been designed by Elian Stefa and Dea Buza to create a variety of moments of intimacy and pause. Accessible from both sides the installation, placed as a crown jewel, invites viewers to immerse themselves in the transformative power of light, offering a glimpse into what might lie at the threshold of life. It is a reminder of the eternal continuity in the world of light, urging the audience to reflect on our existence and the universe’s boundless mysteries.
© Ilir Tsouko
Architectural concept. While analyzing the location, the presence of three relevant elements for the site were identified: The trees and vegetation already present, the curved wall/door to the north of the site and the pedestrian sidewalk
© Ilir Tsouko
The landscape on which the artwork is placed presents itself as a playful group of circular shapes of varying sizes, spanning from the curved wall element, until the parking of the hospital to the south, like an archipelago in between a surface of natural grass. Through this strategy, the principal aim is to minimize the impact on the surrounding presence of nature, by not only preserving all of the trees, plants, and vegetation already present in the site; but also by adding to the surface of grass-covered space in this small urban environment.
© Ilir Tsouko
The sidewalk is split into two paths: one remaining straightforward and functionally quick through the space, while the other takes a more indirect flow towards encountering the artwork which lies at the center of the site.
© Ilir Tsouko
Ultimately, a minimal artificial geological transformation also presents the possibility of more intimate spaces of pause and intimacy in an urban setting characterized by troublesome moments and difficult emotions. By moderately shaping the topography while keeping in mind the ergonomics of the human body, this small space previously used exclusively for transit becomes a possible location for a moment of peace.
© Ilir Tsouko
Another goal of the landscape intervention is to symbolically separate the artwork and the audience from the acoustic and visual noise of the pedestrian level. By removing surrounding clutter and lightly elevating the artwork from the ground, it gains a more dominant role in the nearby visual landscape. The light of the artwork then takes the essence of a lighthouse, guiding wandering souls toward a moment of presence and inner peace.
© Ilir Tsouko
Furthermore, the axis on which the Terminal for Tirana is positioned is independent from the axis of the urban fabric; separating the object from the infrastructure of the city and raising its sculptural presence.
Project Info
Architects: Apparat Studio
Area: 1000 m²
Year: 2024
Country: Tiranë, Albania
Photographs: Ilir Tsouko, Karolina Halatek
Artist: Karolina Halatek
Curator: Adela Demetja
Architecture Team: Apparat Studio
Landscape Architect: Elian Stefa
Organizing Institution: Tirana Art Lab – Center for Contemporary Art
Commission: Ministry of Economy, Culture and Innovation of Albania
Madeline Brooks is a Projects Editor at Arch2O, where she has been shaping and refining architectural content since March 2024. With over a decade of experience in editorial work, she has curated, revised, and published an array of projects covering architecture, urbanism, and public space design. A graduate of the Harvard University Graduate School of Design, Madeline brings a strong academic foundation and a discerning editorial eye to each piece she oversees. Since joining Arch2O, she has played a pivotal role in shaping the platform’s editorial direction, with a focus on sustainability, social relevance, and cutting-edge design. Madeline excels at translating complex architectural ideas into clear, engaging stories that resonate with both industry professionals and general readers. She works closely with architects, designers, and global contributors to ensure every project is presented with clarity, depth, and compelling visual narrative. Her editorial leadership continues to elevate Arch2O’s role in global architectural dialogue.