durana lot 3 - competitor

8/10/2019 DURANA Lot 3 - Competitor

1/39

DURANA STORIES

BAUKUHLISTSPACE CAVIARABKONS

architects/teamcoordinators:landscape architects:designer/artist:local architects:

DURANAINTERNATIONALURBAN DESIGNCOMPETITION

stage 2

REGION #2DURANAlot. 3


2/39


3/39

INTRO


4/39

hilip Guston, Red Box, 1977 Tower of Money, Living Theatre 1968 / Learning from Las Vegas, Flamingo Hotel, 1968

The highway is OK. It makes sense as it is, itshould not become a proper highway, neithershould it become an entirely urban road (thatwould require another highway). The complexlayering of different rhythms coexisting into thehighway is just a consequence of the differentspeeds and multiple populations inhabiting thecity. We need to understand this multiplicity ofspeeds as an asset. We propose not to destroythe promising hybrid nature of the highway, weimagine to protect its challenging ambiguity bysimply givingformto it. We propose to providebetter definition to the highway by recognizingthe figures that manifest their presence alongit. In fact, the highway operates as a stage of apossible metropolitan theatre. We simply needto attribute definition to the characters actingon this stage, to expose the rituals that enliventhe metropolitan theatre.

Durana is a complex metropolitan reality. It willneed an attentive and articulated masterplan.In order to start this planning process we pro-pose to identify a first series of relatively simpleand relatively inexpensive interventions thatcould operate as an activator for the entireprocess.

In order to understand and transform Durana,we propose to focus and to operate by means ofa single element, that we will use as a key to ac-tivate a transformation of the entire territory.By reducing our toolbox, we imagine to expandthe consequences of our work.Our proposal is simple and precise.

We propose to use the Tirana-Durrs highwayas the key to de-code and re-code the Duranametropolitan region. The highway is indeed not

only the main metropolitan element of this ter-ritory, but also the main instrument of its recenturban development. The highway, as public in-frastructure, is also the easiest element to workwith for a public subject such as the Ministryof Urban Development and Tourism. The high-way ends up being the most effective and at thesame time the easiest tool to work with in thecontext of Durana. We propose to maximize thepossibility for success in the short period andto take the easiest way. Further interventionsin the Durana area will follow the initial stepsdeveloped by acting on the highway. In particu-lar, the interventions on the highway need tobe compatible with the development of a metrotram/train serving the Durana region, an initia-tive that we consider crucial for the metropoli-tan region in the medium period.


5/39

DURANA STORIESPART #1


6/39

Overall territorial plan scheme

DURANA SEEN FROM THE HIGHWAYThe Tirana-Durrs highway crosses a complexterritory. The Durrs section is composed of 5major territorial systems : (1) the Erzen-River,(2) the agro-logistic plateau, (3) the Shnavlashhills, (4) Kneta grid and (5) the Durrs coast-line. These five systems present major differ-ences in terms of topography, territorial quali-ties but also in terms of spatial layout and logicsof urbanisation. We consider these 5 systemsand their significant differences as major as-sets to the future development of Durana. Thehighway, crossing these differences, should beable to have a dual approach towards them; thatmeans it should be able to maintain its relativeautonomy as an extraterritorial and efficientinfrastructure and at the same time create in-teresting and fertile interactions and relationswith these geographical and urban systems.


7/39

1. ERZEN RIVERThe Erzen river is an important amenity forDurana. In this semi-arid territory, the Erzen isnot only an important corridor of humid floraand biodiversity, but also a major vector in theDurana urbanisation. Several villages, more orless linear, have developed alongside it. Thesevillages, amongst which Shijak, Sallmone, Pjezand Sukth form today a quasi-city. This linearurban structure, which developed on both sidesof the river is cut by both the highway and theriver itself, hardly ever accessible or crossable.While the Erzen-River-City seems to posses theamenity and the urban potential to form an im-portant urban system, it still lacks qualitativeconnections and relations between its detachedparts and the river.

Erzen, scale 1:30.000


8/39

2. AGRO-LOGISTIC PLATEAUThe large plateau between the Erzen valley andthe Shnvlash hills is a productive and fer-tile land. This territorial entity presents morethan 100 sq. kilometres of arable land. Thepart crossed by the highway and concerned bythis study is a 15 sq kilometres squarish shapewhich is the most urbanised part of the pla-teau. Its layout is composed mainly of two ir-rigation grids: the first is originated by the oldDurrs road, the second, on the west side, is ahybrid mix of the first grid and the directionof the railway line. Nowadays, the agriculturalactivities are quite dispersed and have a hardtime resisting to the diverse economic and lo-gistic boxes that take hold of parcels along andaround the highway.

Agro-logistic plateau, scale 1:30.000


9/39

3. SHNAVLASH HILLSThe hilly landscape of the western side of theErzen valley slowly flattens and joins the pla-teau just north of Vrinas. The intersection pointbetween the hill and the highway is hardly per-ceptible today. Yet, the Shnavlash church andthe mosque, which are both situated on thecrest-line of the hill are approximatively 20mabove the level of the highway. This slightlydominant position produces beautiful territo-rial views from the crest-line towards the pla-teau on the east and the city of Durrs to thewest. The intersection point between the hillsand the highway is definitively a strategic spotto underline the switch between the plateauand the city, as well as a highly fragile and dan-gerous crossroad between the highway trafficand the adjacent villages.

Shnavlash hills, scale 1:30.000


10/39

4. KNETAThe Kneta grid is an impressive territorial fig-ure which stretches out from the centre of Du-rrs to Rinia Harbour.The future transfer of heavy port activities fromDurrs to Rinia, transforms this 6km long and80% empty grid into a potential infrastructurefor future economic, logistic and urban activi-ties.The irrigation canal system, which seems to bein pretty bad shape today, will probably becomea precious piece of land for the creation of anecological and energetic park, on the north,and for the redevelopment and improvementof the urban residential neighbourhood, on thesouth.The encounter between the curved highwayand the southern part of the grid, produces im-portant clumsy shaped voids, with apparently

Kneta, scale 1:30.000

low constructibility.The interchange between the highway and theRruga Martin Camaj seems to emphasise the in-frastructural and non-urban character of thisencounter zone.


11/39

5. DURRS COASTLINEThe highway ends its trajectory in front of theBay of Durrs in what seems to be an almostspectacular moment. The crossing of the rail-road, Rruga Adria and the slip road passingmeters from the sea, gives the drivers only aglimpse of the Adriatic without establishing astrong visual connection with it. The strengthof the geographical shape of the Bay is rein-forced by the presence of the Durrs hills. Thefuture departure of heavy port activities toRinia will give the opportunity to connect theDurrsi beach and the hills, by the means ofa continuous qualitative public space that willhave to negotiate a passage through the high-ways interchange.

Durrs coastline, scale 1:40.000


12/39

1

2

3

4

1 2 3 4

1 2 3 4

CURRENT ROAD STRUCTUREOn the highway portion of lot n3 we counted189 ways-out ; that is, in average, a way-out ev-ery 135 meters. This situation is of course in-effective and highly dangerous. These informal(or pirate) connections emphasise the ambigu-ous status of the highway today, being at thesame time an important intercity connectionand a local boulevard. This dual double condi-tion should not be ignored but, on the contrary,be radicalised as such, by finding solution tomaintain securely an effective two-speed sys-tem.

1: Petrol station (15 different stations along thehighway portion)2: Informal connection to housing units3: Access to warehouses (exists in multiple vari-ations)4: DIY slip-roads (4 different locations in thisportion)


13/39

an Graham, video projection outside home, 1978 Adrian Paci, temporary permanence centre, 2007

METROPOLITAN THEATREOur project aims at the reorganisation of thepre-existent forces at play along this stretchof road. The highway becomes a metropoli-tan theatre, where spectacles are staged onan everyday base. The architect operates asthe director of a theatre - a linear theatre, thelongest in the world, Lina Bos Teatro Oficinaexaggeratedly stretched to the horizon - at thesame time rigorously organized and entirelyunpredictable.The roads identity becomes a dramaturgicalquestion: the highway as a cultural institution,a space of intense and planned cultural activit y.Our objective is not to alter the basic organi-zation of the space along the highway, but toactivate it with intensely poetic moments thatreconnect the overlapping experiences of thespace.

By rethinking the hierarchy between the occu-pants of the stretch of road, we propose to en-gage with the activities along this path, offeringa window into the daily life of each.


14/39

CITY

ADS

LIST OF ACTORSNo boundary or line of demarcation separatesthe Theatre from the spaces of everyday activityalong the Durana highway. The two coincide.The Theatre is an opportunistic device that ab-sorbs its surroundings, recasting them as ac-tors, props or backdrops.Possible casts and role:Industry, habitation, stores, servicesCyclists, pedestrians, minibuses, automobilesArtists, architects, performers, spatial practi-tioners...Workers, tourists, inhabitants, commuters...


15/39

DURANA FUTURESPART #2


16/39

SUPERSTRUCTURE/ BASEDurana certainly needs infrastructural im-provements on many levels. Just to mention themain needs: water, electricity and energy sup-ply should be improved in the next years. Andyet, while recognizing the fundamental rele-vance of this infrastructure, we believe that thefirst interventions the ones that could addressthe entire planning process could be simplerand lighter. In fact, the definition of innovativeterritorial strategies cannot wait the long timesof hard-core infrastructural interventions. Therelative simplicity (and relatively limited cost)of architectural and artistic interventions al-lows to imagine the definition of the software ofa territorial scenario later to be implementedby means of more substantial infrastructuralhardware.In this respect, Durana could learn from Tirana,

from the positive relation that was establishedin the early 2000s among artistic interventions,urban transformations and overall infrastruc-tural upgrade. Tirana defined in this perioda model of urban strategy that operated as amodel at the scale of the entire Europe.


17/39

TOOLBOXThe metropolitan theatre is activated by intro-ducing a series of elements that define the exist-ing territorial sequences, improve the perfor-mance of the highway and produces the stageswhere the different actors of Durana could findtheir own representation.These devices are various in nature. Their com-plete list includes bridges, side roads, services,scenery tools and a big roundabout.

Cedric Price, Fun palace


18/39

BRIDGESTo rethink of the highway in terms of the the-atre, we must address it as a question of design,and equip this cultural institution with thenecessary performative elements.The bridges provide a much needed pedestrianconnection among neighbourhoods on the op-posite sides of the highway. As such, t he bridgesreconstruct a relationship among two separatedurban realms. The bridges combine their usualrole as connective infrastructure with differenttypes of public space and public facilities in-cluded in the bridge or distributed at its mar-gins. At the same time, the bridges operate as amemory-framing device.Bridges indeed are the interfaces of t he experi-ences of the driver and the pedestrian: the pe-destrian crosses the bridge on its longitudinalaxis, using the bridge as a belvedere opening

onto the landscape, while the driver crosses thebridge along its transversal axis, passing belowit and recognizing it as a sign framing the ex-perience of the drive. By reappearing one afterthe other, the bridges frame the experience ofthe Tirana-Durrs, defining a silent and precisemeasure of the different conversations in thecar, of the different memories associated withthe trips. The stability of the territorial framedefined by the bridges is challenged by the ar-tistic interventions that happen to take posses-sion of the bridges.

Canaletto, Capriccio con il ponte di Palladio


19/39

SERVICE ROADSThe current structure of the highway is highlychaotic, as way too many different entrancesand exits punctuate it. Un-systemic serviceroads, informal junctions, un-signalled U-turnpossibilities and dangerous crossing pointsonly add to the confusion. At the same time,this awkward accumulation of the most diversesystems allows the highway to interact withits surroundings, ultimately producing a flex-ible organism in which the needs of mobilityare intertwined with the events happening atthe margins, an organism not without fascina-tion. The project aims to upgrade the mobil-ity system through a minimum degree of sys-tematization, rationalizing the junctions usingvarious configurations of service roads, whileU-turns will be systematically allowed every 2kilometres. The system will retain a high degree

Glen Hodges, Tania billboard on the Strip, published in Learning from Las Vegas, 1972

of flexibility, ranging from pure highway, to ahighway with two ways service roads on bothsides at the opposite extreme of the range. Thebuffer zone will be implemented gradually andonly when necessary. The highway will be bothefficient as a mobility device, as well as richfor the events which will continue to happenat its extended margins, events which the proj-ects will boost further. The highway will slowlymutate into an extremely generous two-speedssuper-boulevard.


20/39

SERVICESEconomic activities, warehouses, small busi-nesses will be grouped in small clusters. Eachcluster will be equipped with small device ser-vices. The services are degree zero architecturethat help to sustain the autonomy of these clus-ters. They provide services but they also gener-ate informal spaces of sociability around them.

BUS STATION

EMERGENCY PHONE

DINER

FOUNTAIN

BILLBOARD &

VENDING MACHINES

BICYCLE STATION

WIFI SPOT

FOOD TRUCK

RUBBISH BIN

POST BOX


21/39

SCENERY TOOLSArt is an integral part of the strategy, somethingthat spills out into every part of the highwayecosystem, not confined to preordained ghet-tos. Some peripheral zones on both sides of theroad operate as sectors for artistic interven-tions working with the existing fabric and de-ploying, as found, the language of the high-way itself. A toolbox of infrastructural elementswill be assembled to facilitate the activation atthe lowest cost possible of the highway-theatrethrough the construction of scenarios.Together, these scenarios constitute an artisticmasterplan of temporary/permanent low-costinterventions, an ongoing cycle of activitiesthrough the seasons.


22/39

SITUATIONS

Ritual Group Drawing, Sea Ranch, CA. Experiments in Environment Workshop, by L. and A. Halprin, 1968


23/39

ROUNDABOUTIn order to operate, the system of stages needsits own infrastructure. Such machinery of themetropolitan theatre is stored in a deposit nextto the circle at the entrance of Durrs.The inside of the circle, marking the entry intothe city of Durrs, is a completely flat, colossalplatform, the last and biggest of the metropoli-tan stages. This unpredictable space, half moon,half desert, half parking lot is periodically oc-cupied by colossal art pieces, mass events, rockconcerts. The space normally unused pro-vides a platform at the metropolitan scale forthe entire Durana region. The circle normally isasleep; it works just as a large dot of emptinessmarking a change in speed that correspond tothe entry into Durrs. Sometime, once everycouple of months, the silent moon erupts andis activated by a new event.

1. art2. crane3. art/events storage4. gate5. parking6. lamp post

Burning Man, Black Rock Desert of Nevada

1

6

4

5

2

3


24/39

0

Pedestrian Crossing

e distance between two passages above or below the highway

ould not exceed 500m. In that way, from every single point on the

ghway, one is maximum 250 m away from a footbridge or a tunnel.

e minimum width of a bridge should be 3m and the minimum hight

5m. Bridges should be designed simply and be comfortable to use.

e big pedestrian bridge, at Shnavlash hills should be wider and

fitfor cattle crossing.

250m

Car Crossing

onomic zones, grouped into clusters, should be connected to the

ain highway only via side-roads. The side roads should give access

these clusters but also provide secure connections to all

rpendicular roads. Side roads should not be continuous in order to

oid a systematic widening of the highway, their maximum length

ould not exceed 1km.

Activity Clusters

onomic zones, should be grouped into compact and relatively

mall clusters. Each cluster should be equipped with small local

rvices. The amount of services will be determined according to the

e of each cluster. Window zones, clear of economic actives,

ould be placed in strategic spots along the highway in order to give

alitative perception of the different Durana landscapes.

Bus Stops

erage distance between bus stops should be of approximatively

0 m. Bus stops should be placed in secure places, if possible on

de-roads and not directly on the highway. They should also be

aced systematically next to footbridges and if they are separated

m clusters, they should be equipped with minimum services.

,m

l > 3m

l > 250m

,m

d =~750m

OOLS RULES


25/39

THE HIGHWAY SEEN FROM DURANA ANDDURANA SEEN FROM THE HIGHWAYFive territorial systems span the distance be-tween the Erzen river and the Adriatic sea, asrecognizable parallel strips, each one with itsown semi-independent identity. A sixth systemcrosses them all, i.e. the highway. As such, thehighway provides them with a possible narra-tive, as events of a bigger account. The highwaybecomes a machine of vision, a depositary ofmultiple memories. Along the highway, in eachsection, two complementary perceptions, twoco-existing realities intertwine their destinies.The highway seen from Durana and Duranaseen from the highway recompose their diversefragments into a shared, collective narrative.

Cedric Price, Potteries Thinkbelt / Cedric Price, Fun Palace Elicopter View


26/39

1. ERZEN RIVERA view of the Erzen river, with a bridge func-tioning as a small public space. The bridge isa part of a small pedestrian loop (1), punctu-ated by small open air installations. This sys-tem is doubled by a larger loop, accessible forsmall vehicles, allowing passage between thetwo banks of the river as well as between thetwo sides of the highway (2). This system mightbe repeated several times along the Erzen (3),and help to reorient the linear urbanisation to-wards the river. The small train station, situatedtoday 800m to the east, might be moved to thisdenser zone (4) and at the same time integratethe loop system.

2

1

4

3

3

3

Erzen, scale 1:30.000


27/39

1. pedestrian/bike bridge2. bus stop3. pedestrian/bike loop4. art stage

1

2

3

3

42

rzen river, project plan, scale 1:5000


28/39

2. AGRO-INDUSTRIAL PARKA view from inside the fruit and vegetables auc-tion building (1) towards the highway and theagro-industrial park. The auction building willconcentrate the production of the multitudeof small scale farmers of the agro-park. It canalso be connected to a small freight station (2).Along the highway, greenhouses, warehousesand other agriculture related spaces are rear-ranged in clusters along several side-roads (3).A new road traverses the plateau from south tonorth passing beneath and connecting to thehighway (4).

1

2

4

3

Agro-logistic plateau, scale 1:30.000


29/39

1

2

1. agromarket2. fruit and vegetable auction

gro-logistic plateau, project plan, scale 1:5000


30/39

3

4

2

1

3. SHNAVLASH HILLSA view from a small public space with a pan-oramic viewpoint (1). It is located just next tothe crest-line at Vrinas. This small space is apart of a constellation of small public spacesalong the crest-line and in connection to publicinstitutions like the cemetery, the Shnavlashchurch (2) and the Mosque (3). At the intersec-tion of the hill and the highway, an importantbridge-building (4) is connecting directly thetwo crest-lines. At the bottom of the bridge, asmall bus stop and service point are installed inthe newly arranged intersection.

Shnavlash hills, scale 1:30.000


31/39

1

5

4

5

2

3

2

3

1. ecological corridor/inhabited bridge2. bus stop3. parking4. footpath to Shenavlash Monastery5. art stage

henvalash hills, project plan, scale 1:5000


32/39

4. KNETAA view from one of the parks along the high-way. While the voids in between the grid andthe curved highway are used to create publicparks, the Rruga Drenica is densified and sup-ports more urban and commercial activities (3).An extra-large roundabout replaces the exist-ing interchange with a vast multipurpose space(4). Knetas 6 km long grid is connecting thenew industrial harbour and the city centre ofDurrs. Based upon its canal infrastructure, aseries of parks is installed from north to south: an environmental and energy park (5), an in-dustrial park (6), a large urban park (7) and anextension of the urban grid (8).

1

2

2

2

4

3

5

6

77

8

Kneta, scale 1:30.000


33/39

1

2

3

6

7

4

5

8

8

8

8

9

THE BIG ROUNDABOUT AS A SPECIAL TOOLIn order to operate, the system of stages needsits own infrastructure. Such machinery of themetropolitan theatre is stored in a deposit nextto the circle at the entrance of Durrs.The inside of the circle, marking the entry intothe city of Durrs, is a completely flat, colossalplatform the last and biggest of the metro-politan stages. This unpredictable space, halfmoon, half desert, half parking lot is peri-odically occupied by colossal art pieces, massevents, rock concerts. The space normally un-used provides a platform at the metropolitanscale foe the entire Durana region. The circlenormally is asleep; it works just as a large dotof emptiness marking a change in speed thatcorrespond to the entry into Durrs. Sometime,once every couple of months, the silent moonerupts and is activated by a new event.

1. big roundabout2. crane3. art/events storage4. gate5. parking6. lamp posts7. mall8. 10 levels mixed use buildings9. small roundabout

Keneta, project plan, scale 1:5000


34/39

5. DURRS COASTLINEA view of the new park installed thanks to theextension of the highway loop into the sea (1).The departure of heavy port activities to Riniagives the opportunity to connect the Dur-rsi beach and the hills (2), by the means of acontinuous qualitative public space (3). Thispromenade will interact with the transforma-tion of the harbour (4) that will be able to hostmixed-use activities.

1

4

3

2

Durrs coastline, scale 1:40.000


35/39

1

2

2

3

3

44

5

68

7

1. urban boulevard2. sidewalk with trees3. 7 levels mixed use building4. 12 levels mixed use building5. roundabout6. boulevard plaza7. road to the centre8. road to the stadium and city centre

BOULEVARDCombined with this gigantic void, a smaller ur-ban space (the everyday space associated to theexceptional gigantic circle) connects the circleto the new boulevard along Rruga Vellazerimi.The boulevard is already there, it only needsfew formal operations in order to fully reveal itsstatus. First, its borders need more definition:new trees will complement the existing ones,while specific rules will allow higher buildingson the two sides, all of them perfectly alignedtowards the street. As a final focus point and asan entry gate towards Drres proper, two iden-tical towers will be allowed where the grid ofKeneta ends.

rres, project plan, scale 1:5000


36/39

PROCESS AND PRIORITIESThe project is a systematic accumulation ofmany different actions, ranging from the smallscale to the very big one. Despite the goal be-ing one, multiple processes might lead there.By constitution, it can deal with the unpredict-ability of the available financial resources andorganically react to changing conditions andmutating desires.

Cedric Price, Diagram


37/39


38/39

S

M

L

L

TODAY t 1 t 2 t n

do

$

URGENCIES

PERCEPTION

t2014 2015 2016 2017 2018 2019 2020

priv

ateinve

stm

ent

(agriculture

,

tourism

e,...)

publicinvestm

ent

+

SERVICEPOINT

FOOT BRIDGE

x 8

S Accumulation

SLIPROADCLUSTER

SHENAVLASH BRIDGE ERZEN RIVER SPACE SCENE

KENETA ROUNDABOUT LOOP

. Urgencies and Perception

mall actions deal mainly with urgencies

hile large scale interventions operate

ainly as perception catalysts. Yet, the

ccumulation of small scale actions will

roduce a progressive shift in perception.

is crucial to act on both scales and

ternate small actions and big and

mbitious interventions.

mall scale actions

mall scale might be the installation of

ot-bridges, small services or

chnological devices ; they also concern

e reorganisation of small activity cluster

round short side-roads and the creation of

ecured slip roads and bus stops. T hese

ctions should cost less than 500 000

uros.

edium scale actions

hese actions, might be more ambitious

nd cost around 1-2 million euros. These

mportant investments should have a wider

mpact both in terms of pragmatic

esolutions and in terms of image

ansformation. The large pedestrian bridge

Shnavlash hills is considered as a

edium scale action.

arge scale actions

hese action concern more heavy

frastructural interventions. They should

e considered at a second phase of t he

roject along with an important urban

ansformation. These action concern the

ansformation of the interchange into a

oundabout and the end point of the

ghway in Durrs.

2. Equilibrium

The best scenario is the one in which we

build everything. Yet, in terms of efficient

action and sober investment it is important

to conceive a clear and efficient

constellation of small and large actions.

We consider that the scenario that we

developed on the right is one of t hese

tangible constellations. It is based upon

three important moments :

thefirstone consists of a continuous

investment in small scale actions that deal

with todays urgencies in anefficientway

and within a sober investment.

the second one, in a few years, demands

a larger investment in order to build the

Shnavlash hills bridge-building, which will

have a much more visible impact. After this

action, public investment should

progressively decrease.

the third one, should appear at thecrossroads of the decreasing public

investment and an increasingprivate

investment (related to agriculture, tourism,

urban developments), which should follow

the progressive changes. This moment

might be the opportunity for even bigger

interventions, based on more balanced

expenses.

1. Triple temporality

The project must be though in three parallel

temporalities : (t1)firstand localised

actions should be done immediately ;

(t2) next actions should befinancedand

programmed at the same time ; (tn) long

term vision must be maintained and

updated constantly.

x 4

x 4

x 2

ART DEVICE

$

CALE VS IMPACT PRIORITIES


39/39

BAUKUHLIST

SPACE CAVIARABKONS

durana lot 3 - competitor

Documents