Buna River Revitalization - Museums as Urban Catalysts in Shkodra

studio sequel

research and design arch IV | fall ‘13

BUNA RIVER REVITALIZATION MUSEUMS as URBAN CATALYSTS in SHKODRA

Architecture Department

CENTER of RESEARCH and DESIGN in ARCHITECTURE

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studio sequel

research and design

2

Architecture Department

CENTER of RESEARCH and DESIGN in ARCHITECTURE

CENTER of RESEARCH and DESIGN in ARCHITECTURE

RESEARCH AND DESIGN Department of Architecture Arch401 _Advanced Design Studio I_Fall 2013 Studio instructors: Kamela Guza, Valbona Koçi Students: Arbër Cungu ∙ Bardhyl Kasami ∙ Besjon Beqaj ∙ Bledi Trashani ∙ Denis Kalaja ∙ Dorela Sina ∙ Edison Dervishi Edlira Ismailanji ∙ Emine Ulu ∙ Ergin Miftari ∙ Erlis Mosha ∙ Fiona Mali ∙ Jonida Bojaxhiu ∙ Kaltrinë Kabashi ∙ Luljeta Spahiu Migena Pacuku ∙ Mirela Hasanbashaj ∙ Najada Abedini ∙ Orjeta Salihaj ∙ Regina Vathi ∙ Seda Albayrak ∙ Shukran Qazimi Stela Qosja ∙ Tuba Rumeysa Nas ∙ Valdet Xhaferaj ∙ Yahya Kanibol ∙ Ylber Hasalliu Publication Center of Research and Design in Architecture_CoRDA Epoka Research Unit_ERU Supervisor: Valbona Koçi Editorial Coordinator: Fiona Mali Visual Editors: Denis Kalaja, Fiona Mali, Luljeta Spahiu, Regina Vathi ISBN: 978-9928-4231-9-1 © 2015 Epoka University Printed by Green Advertising Tirana, Albania

BUNA RIVER REVITALIZATION MUSEUMS as URBAN CATALYSTS in SHKODRA

studio sequel

research and design

2

foreword

Rector’s Word Epoka University’s research aims to impact the Albanian society, businesses, community as well as individuals. All our development strategies are built on ‘education-research – contribution to society’ triangle. Innovation based research is meant to create ground to policies and solutions for tomorrow.

Epoka University has three research centers aimed at European studies, continuous education and finally Corda (Center for Research and Design in Architecture). It is always exciting that first, almost imaginary moment when colleagues from research centers come in with an idea.

I was particularly pleased with this one though. It was meant to explore Shkodra, the cultural centre of North Albania, rich in heritage and tradition while unfortunately flood extensively in these last years. Intriguing is the dual landscape: water and land, not always in peace with each other.

The project objectives are stretching: create urban synergy and enhance economic and cultural exchange. Corda (Center for Research and Design in Architecture) committed to this project and it is with great pleasure that now we are able to present the past, the present and the future. Evidence based urban patterns, demographic data, and historical timelines; put together with many other factors have inspired Corda to come up with this project on Buna River Revitalization: Museums as Urban catalysts in Shkodra.

I believe that cities like Shkodra should be preserved while enriched with great care. In fact we are proud to carry legacy forward and enthusiastic to assume the promoter’s role and work at a dynamic moment in Albania’s urban uplift.

Through our research, we share our knowledge, expertise and skills by engaging and committing to environmental sustainability.

Our researches constitute an important source of knowledge, expertise and to enhance debate providing thus usable information relevant to urban policy-makers. We help to bridge the gap between academic research, practice and policy making Engaging in similar projects is vital for our University, in order to drive social, environmental and economic benefits, job creation while improving access, mobility and exchange for the areas impacted from our work Besides being a young institution we are firmly committed, through research to help expand opportunities for all, reduce hardship for community members and create environmentally friendly solutions across a rapidly urbanizing world. We remain dedicated to engaging in the debate on social and economic policy.

Prof. Dr. Remzi Altin Rector Epoka University 5

Epoka University Architecture Department The department of Architecture at Epoka University is dedicated to providing an excellent educational experience for students intending to enter the profession of architecture.

One of the primary missions is to provide an advanced curriculum that can offer to the students the possibility by which they can be responsive and active to human needs in creating the sustainable built environment, thinking on the needs, demands and problems of the society. The department program seeks to multiply insights and abilities of students, including sensitivity to the aesthetic and social responsibilities of environmental design, the cultivation of a broad, humanistic, world view, commitment to research, respect of innovation, an advanced understanding of the culture of practice, and sophisticated graphic skills and technical vocabulary. The education of students in sustainability is a major focus of the curriculum.

Our priority is to make the students explore new territories and break their own limitation, gathering new knowledge and training them to master new skills. As such they can act, make, construct and create via discussing possibilities, criticizing and shaping questions. Communication and dialogue is vital for them. The department of Architecture prepares students to be perceptive, skilled, creative and capable of

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acting in a responsible manner in their future profession.

One of our missions is to install in our students a strong social consciousness so they can be active in improving the quality of their communities. Its vision is to offer a leafing Architecture program in Albania and Balkan region. It teaches sustained evaluation of principles, traditions and requirements of building in all its aspects. Its goal is to advance the profession of architecture by combining artistic talent, technical proficiency and social engagement in pursuit of excellence. In our department research and critical thinking is crucial so the students can be engaged to advance further their disciplines in different field of architecture. This is realized with an ultimate aim of making possible for each student to make a real contribution to the improvement of the built environment, to develop his or her intellectual growth.

Assoc. Prof. Dr. Sokol Dervishi Head of the Architecture Department Epoka University

CoRDA - Center of Research and Design in Architecture The Center of Research and Design in Architecture – CoRDA - in Epoka University, is a project and research unit. Being related to the Department of Architecture, it aims to build a bridge between Industry and Academia, contributing to the built environment with expertise and academic research.

CoRDA intends to implement design strategies based on interdisciplinary principles, generating integrative design between the user and the designer; and develop projects in different scales and fields – Architecture, Urbanism, Landscape Design and Planning, as well as in Restoration and Conservation. Functioning as a research entity it aims offer to the academy an environment for developing research projects and publishing the result of the related subjects in experimental researches. One of the main objectives of the office is to facilitate the engagement of architecture students and graduates in the professional practice as well as to act as a platform for the engagement of recent researchers.

Founded as a means of questioning and studying influential and contextual contemporary projects as well as academic subjects that reveal up-to-date urban and architectural qualities, CoRDA is sensitive in the identification and development of advanced themes that emerge in the dynamics of the architecture department curriculum. On the other hand

architectural education intends to cope with inexplicable urban/architectural/environmental conditions via experimental and alternative processes in studio project interpretations. The Research in/by Design as a present-day methodology in CoRDA, particularly plays a central role in the constant attempt to exercise innovative approaches.

CoRDA tries to act as an identifying and evolving apparatus that collects, inquires and publishes these academic interpretations, which in time retain a conflictual nature of modern conditions in the region. In an attempt to make conscious contributions in the fields of architecture and urban planning, the initiative to collect and publish the results of the department’s most relevant studios, can turn into a facility for many researchers and become a tradition that promotes student work simultaneously motivating interested parties to consider such studies in the endeavor of sustainable progress and development.

Jurtin Hajro Director of CoRDA Lecturer - Architecture Department Epoka University

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index

BUNA RIVER REVITALIZATION MUSEUMS as URBAN CATALYSTS in SHKODRA

00. the project

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01. macrozone

20

02. land cover

32

03. hydrology

38

04. urbanization

54

05. the museums

76

the end

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bibliography

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00. the project

Š Kamela Guza 2013

The Dual Landscape: WATER / LAND (and Shkodra… the Water Beauty) Water-Land, as an archaic universal symbol, represented in most ancient cultures. In this symbol, the border between two worlds (black and white, dry and wet, hard and soft) is a symbolic dorsal spine, which unites as it divides. This tangible, “threshold” transferred to real life, represents a real process of respiration through which, like on own skin, the sea (sea: movement flux, infinite scope, free of references, abstract…) acts between the “exterior” of the dynamic, universal environment and the “interior” of the land (land: rootedness, solidity, memory, a landscape, codified, figurative…), a static and “localized’ environment. We are used to cities being the “respiratory pores” of this epidermis, but so too are the bays and natural phenomena (valleys, river deltas, cliffs…). Both symbolize the seed of the opposite, the complementary principle. The different aspects of the other are silently present in each of the dominant principles, material reality or movement. These points, elements or sparks, in the constant, osmotic, dorsal flux between two ambits, make the change from one energy field to the other possible.

(Sasa Ostan, A., 1996, “Dual Landscape”, in Water-Land / Tierra-Agua, Quaderns D’Arqitectura I Urbanisme, Nr. 212, p. 45, (extracted from “Telling ofthe Ancient Commitment to the Earth’s Consciousness”, in AB, issue 126-127)

A City and a Museum about it…

The future lies in collaboration across borders, cultures, [city museums], and disciplines.

Museum making in the twenty-first century is challenging, creative, complex and, ultimately, collaborative. Operating across different scales of activity from the level of the object to the level of the building, city or landscape, museum making also cuts across a range of professional practices from curation to design and from architecture to theatre and film. In the twenty-first century, the reality of museum design is multidisciplinary, multifaceted and as complex as the variety of exhibitions and interpretive approaches we see across the contemporary museum landscape.

The museum as a space with so much narrative potential is, so to speak, inherently full of voids: temporal gaps between some other past and our own present; geographical gaps between remote locations; cultural gaps between opposing world-views; societal gaps between different groups of visitors; professional gaps between the various occupations involved in museum fabrication; and physical gaps between the diverse media employed in the museum. Narrative is so pervasive and promising as a mediating strategy precisely because it allows us to bridge these gaps – persuasively and with immediacy in the embodied medium of museum space. Narrative as real value.

(Hourston Hank L.,Hale J. and MacLeod S., (eds), 2012, “Museum Making: The Place of Narrative” in MUSEUM MAKING: Narratives, Architectures, Exhibitions, Routledge, Taylor & Francis Group, p.XIX & p. XXIII)

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Project Objectives Shkodra has always had a strong relation to the Water, not only as an available natural resource but also as a factor of economical and cultural exchange. Yet, the relation the city has today with the rivers (both Buna and Kiri), is rather peripheral, distant and not synergic. In addition, the travelers crossing by Shkodra to go to the border hardly get a grip of the city, but Rozafa Castle, which is obviously the most important artifact.

Thus the project for the “Revitalization of Buna Riverfront” in Shkodra, aims the following: 1. Create a Riverfront for all The riverfront should engage the entire city. It should be a place for locals and visitors alike – a place where everything comes together and co-mingles effortlessly. Promote aesthetically pleasing and quality design that respects public view corridors.

2. Promote and develop the Buna Riverfront as the focal point for Shkodra throughout all seasons of the year Provide an “iconic” multi-use facility for the arts, culture, recreation and leisure activities. This facility could include the Museum, Library, Market and Boat anchoring Terminal. This will symbolically be the Heart of Shkodra.

3. Put the shoreline and innovative, sustainable design at the forefront The riverfront will bring people to the water’s edge to experience the water and ecology of Buna, Drini rivers, and Shkodra Lake. It will improve shoreline ecology.

4. Reconnect the city to its Riverfront The riverfront should provide and build a network of public spaces that connect the waterfront to important destinations, nearby neighborhoods, the city and region.

5. Embrace and celebrate Shkodra`s past, present and future Buna River and riverfront is a lens through which to understand Shkodra – from its natural history and early settlements dating back 2500 years ago, to the variety of industrial, commercial, recreational and other activities relate to water today. The Waterfront should tell these stories in ways that are authentic and bring them to life. The Museum can play this act!

6. Improve access and mobility The waterfront and riverfront are and will remain crossroads. The future riverfront should accommodate safe, comfortable and efficient travel by pedestrians, bicyclists, vehicles. Future parking needs should be anticipated. Most importantly it should improve the level of public access to the riverfront both from land, Shkodra lake and river. Thus, re-consider viable road and water transportation links!

7. Create a bold vision that is adaptable over time The vision for the waterfront should clearly define how the waterfront will take shape and the essential character of key elements. At the same time, the vision must be flexible to adapt over time.

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Phases of the Study There were two phases in this term study: 1) Urban Regeneration of Buna and Drini confluence area and Riverfront Revitalization project, in Shkodra 2) New Museum for the City of Shkodra (within the area of study) The first phase undertook, in groups of 3-4 students, the development of 1/5000 scale urban design analysis, diagrams, and proposals for the specified site.

It was the task of this phase to explore (I) the transformation of site through time, looking closely into the relation of water-land; infrastructure – connections; landmarks and their relation to the rest of the place; settlement patterns and buildings land-use; landscape, greenery and ecology, etc.; (II) to make swot analysis (III) to design new buildings and public open spaces, including pedestrian, bicycle, vehicular and water access, paying particular attention of the shoreline and water-land relation in terms of program, making people `touch` the water.

The second phase, which was to be developed individually, concerns the design of a Museum for the city of Shkodra. The museum had to be designed within the area of study, which establishes a strong relationship with the element of water. The exact location (context), as well as the theme and program (content) of the museum had to be decided by the students during and at the final stage of the Urban Renewal project phase.

Kamela Guza, Valbona Koçi Studio Instructors

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Water-Land: the Impact of Water in Shaping the City, and the Emergence of the Waterfront

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The water was one of the most important natural assets that influenced the very first settlements of the ancient cultures. Throughout history, man living on land profited from the various features of the “water unit” being a river, lake, sea or an ocean. Water was the vital element, generator of life, a tool used for defense, a resource to agricultural production, a milieu –“smooth space”1 - that permitted easy transportation and thus commercial uses and industrial developments.

In addition, according to Detwylen and Marcus, ‘Historically, man has sought city locations that provide: access to good water transportation, security from the enemies, water supply, building materials, fuel, and other usable resources; and a stable base for construction’2. Furthermore, in the past and even more so today, water tends to be an important recreational element.

form,…, is the effect of the limit: or the limit in-forms a substance in a metastable state, which subsequently assumes a stable form’4, as differently put forward by Nijenhuis. Further on, he elaborates on the idea that “The city does not radiate from the city, but is formed from the boundary. The same applies to the cities founded on the water-edges, on natural but defined boundaries, and their relation with the water.

Obviously, the city form is an unstable effect, a temporal end-product.

The city, its urban form, its ground plans take shape and meaning from the distinctive opposition between water and land, land and city, city and countryside, centre and periphery. The confrontations and inter dependence between these dualities are persistent and the influencing factors are heterogeneous. As long as there are exterior pressures, social actors and movements the city changes, transforms.

The unity of advantageous characteristics of water and the strong dependence of human activities on it, made the water-edges the most favorite terrains to live in. Regarding the establishment of the cities and the selection of the site, Nijenhuis declares that: ‘At the strategic knots, in the endless flow of traffic, at mountain pass, at the opening up of valleys, alongside-rivers or estuaries, the important cities are found’3. Therefore, some of the ancient established cities, being dependant on water, chose to locate on the water-edges in order to provide their continuation, growth and development. Once settled, the city continues to grow and develop, demonstrating its own structure and form.

The (macro) form of the city was controlled by its own limits. Indeed, the relation between the ‘plane’ (the city) and the ‘line’ (the border) is quite intriguing, each inter-dependant and influencing the other, ‘the

Topography is also a determinant of urban form, similar to the presence of water as a significant natural factor in the selection of site, foundation of settlements and the shaping of urban macro-form.

Lynch defines topography as “an important element in reinforcing the strength of urban elements: sharp hills can define regions, rivers and strands make strong edges…”5. Kostof also elaborates on the strong relation between topography - landform or landscape - (mountains, hills, valleys, etc) and the urban form. He states that ‘The particularity of the site and the way the settlement meets the water, give characteristic to the city form”6. In this perspective, the River towns might acknowledge the flow of the course with responsive streets along one or two banks7.

The water affects the city form and its urban pattern, thus the environment that the people live in. The particular aspect of the water-city relationship, the integration of one into the other, the co-existence of the city or any urban context with the water, this bond in-between these two entities, though problematic and influential to the urbanity and life of cities, represents the most essential characteristic feature of their existence and development. This particular space of confrontation is defined as the waterfront.

Water and City are two different milieus that continuously exchange their assets, and in this confrontation water becomes the dominant element that affects the physical form of the city. On the other hand, the “non-water entity”, the city with its physical structure and the social actors, continuously effect the shaping of the “water unit”. Breen and Rigby define the urban waterfront as “the dynamic area of the cities and towns where land and water meet”8, whereas from the physical point of view Bruttomesso describes the urban waterfronts as “areas sandwiched between the water and the urban fabric”9. Based on these statements we derive the idea that the “waterfront” is an “edge”, an element of the urban form that Lynch would define as “the boundary between two phases, linear breaks in continuity: shores, railroad cuts, walls”10. Not only in the notion of boundary or edge wide enough to define specific physical elements in the urban context, but it evolves and undergoes transformation in time also.

Within the space of confrontation between two media that act differently, emerges a continuous exchange allowed by their possible boundary, which is the urban frontier11. In the urban context, the frontier is not simply the city edge, its ritual foundations, natural limit (hills and mountains) or boundary between land and water (rivers, lakes or seas);

its defensive wall or custom’s border; its periphery or suburbs. As an interface between two different media, the urban frontier emerges, gets shaped and transforms in time, through incessant confrontations and pressures, flows of goods and information, or “fusion of reality and non-reality”12, as stated by Nijenhuis. The relationship settled among the two opposing entities (water and land/city) and the interface in-between them, as well as the impact they have on each other is quite intriguing. Besides, the relation between the city and its urban frontier is also fascinating, taking under consideration the influence one has on the appearance, transformation and continuance of the other. The Urban (City) Frontier is the result of continuous social, economic and political processes, the entity of which Lefebvre entitles as “spatial practice”. He argues that “(social) space is a (social) product”, as well as a milieu of production13. It is the external forces, the systems; the actors involved in transformation processes those that give to the border the quality of a social, cultural and linguistic frontier, to thus make the city edge a boundary of signification, sense and identity14. The waterfront as an urban frontier having an identity of its own emerges as a space that displays the culture and identity of a society.

Having quoted literature concerning the impact of water in shaping the city, the reading of the developed analytical maps in the chapter of Hydrology, which in a historical timeline tend to show the mutual transformation of water bodies and land in Shkodra Region, becomes very indicative, illustrative and understandable. Space and time are involved. In the last century, and especially during the last decades, the climate change, the floods, the low and high tides, erosion and sedimentation, etc, are among the terms mostly used when talking about and dealing with the challenges of urban design in contexts of water.

Shkodra, in that perspective, is one of the cases.

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Urban Catalyst: a Tool for Urban Transformation, Regeneration and Riverfront Revitalization Shkodra has always had a strong relation to the Water, not only as an available natural resource but also as a factor of economical and cultural exchange. Yet, the relation the city has today with the rivers (both Buna and Kiri), is rather peripheral, distant and not synergic. In addition, the travelers crossing by Shkodra to go to the border hardly get a grip of the city, but Rozafa Castle, which is obviously the most important artifact. The scope of the research project developed during fall 2013, was to present projects that could assure the Urban Transformation, Regeneration and Revitalization of Buna Riverfront in Shkodra. The aim was to create a Riverfront for all, and promote Buna Riverfront as the focal point for Shkodra throughout all seasons of the year. This would ultimately manage to reconnect the city to its Riverfront. Another target aim was to embrace and celebrate Shkodra`s past, present and future, as well as introduce catalytic projects that could create a bold vision that is adaptable over time. Last, but not least, improve accessibility and mobility was among the most intended goals. In this framework, the recommendation and introduction of Urban Catalysts would suits urban redevelopment, regeneration and Riverfront Revitalization purposes. According to Kongsombat, the

Urban Catalyst is a tool for urban design that can act from moderate to smaller element with incremental purpose and support continuous regeneration of urban fabric as well as increases users.15 Urban catalyst offers modest vision, but the impact it has is substantial and integrates existing urban fabric. Referring to Wayne and Logan16, the Principles of catalyst urban design or the urban catalyst concept could be defined making use of the following eight characteristics: 1New element modifies the element around it. 2 –Existing elements are enhanced or transformed in positive ways. 3- The catalytic reaction does not damage its context. 4- A positive catalytic reaction requires an understanding of the context. 5- Not all catalytic reactions are the same. 6- Catalytic design is strategic. 7- A product better than the sum of the ingredients. 8- The catalyst can remain identifiable.

In Shkodra, and more specifically in the confluence area of Buna and Drini Rivers, the research group was envisioning Urban Catalysts that could facilitate the urban regeneration of the Riverfront. The feeling of sensing the place that Shkodra site trip offered, and later on the feeling of knowing the place that the extensive research facilitated, alluding for projects as Urban Catalyst.

Museums as Urban Catalysts The insertion of buildings/programs, which generate activity and eventually revitalize certain areas in cities, has been one approach towards questions of urban regeneration in many cities. In this logic, the Guggenheim Museum in Bilbao was intended to be a catalyst to developing tourism in the region, and a way to demonstrate the city’s efforts to cul16

tivate a new, culturally independent identity.17 The city of Shkodra cannot be directly comparable to a city like Bilbao, neither does the city call for a project like Guggenheim Museum or an architect like Frenk Gehry, yet Museums as Urban Catalysts, seemed to be the right theme to properly approach the question of Shkodra City & Buna River revitalization,

because the investment in flagship cultural projects—large-scale, iconic museums and arts centers that are intended to enhance the city image while catalyzing private sector investment and attracting tourists to the surrounding area, has been a long-held urban redevelopment strategy.18 In this perspective, Arch 401-Fall 2013 studio research process generated projects for Museums as Urban Catalysts in different locations along Buna River banks. A few projects, which coped better with the challenges of Bura Riverfront revitalization and urban transformation through the program of a museum, are displayed in the book. Among the proposals, the Ethnographic Museum and the Industrial Museum in the former Cement Factory, make use of and revitalize the existing contexts. The Ethnographic Museum (F.Mali), located in one of the most forsaken and critical areas of the city, establishes itself with a threefold impact in the context: firstly, as an urban catalyst - using the power of function and program it radically transforms the site fully unlocking its potentials by returning it to the city as an important landmark and node; as an architectural catalyst- underlining the ability of any built object to become useful; and finally as a as a socio-cultural catalyst - a longed-for ethnographic museum placed at the once true beating heart of Shkodra refocuses the attention of all to what are the city’s real treasure: the Water – the Land - the Culture. While, the Industrial Museum (D. Sina), a good example of Industrial Archeology, emphasizes the need to refurbish abandoned structures as opposed to adding new construction to the city through the revitalization of the former cement factory building in Shkodra, by Buna River. Its main challenge of the project is the implementation of new strategies and design solutions within the historical frame of the edifice- an artifact.

Other two projects, the Archaeological Museum and the Botanical Gardens- Museum, tend to deal with the challenges of the fluid land, pro-

posing even the alternation of the territory. The In-Between Topos – Archeological Museum (R.Vathi), related to the concept of place, invokes to citizens the discovery of their own cultural roots. The museum is located in a strategic juxtaposition of the city, on the ‘roots’ of Rozafa Castle. It is assumed that Roman remains (168 BC- 395 AD) are present in the site, almost 3m below ground level. The design of the museum, elevated from the excavated ground, is conceived as a path through space and time. This path is turned into a strong movement axis that shifts the visitors from period to period, from space to space, from image to image. While, the Botanical Gardens-Museum (L.Spahiu), extruded over an artificial lake created in between Buna River Banks, celebrated nature and the water/landscape. The building is raised on pilotis, as a gesture of respecting the landscape. The building hosts galleries, greenhouses, a lecture hall, an open amphitheater, laboratories, study areas, library, offices, flower shop, cafeteria, restaurant etc. It is more than a museum, it is an educative, scientific and entertainment place; it is a museum of all.

Finally, the other projects, the Museum of Nature and the Memorial Museum of the Kanun, commemorate Architecture as an Urban Catalyst. Shkodra’s Museum of Nature (E.Dervishi) aims to invite and bring nature into the urban environment through the construction of a museum. The concept is the creation of a space to influence human awareness by bringing society back to nature, provoking them, making them curious and passionate about the nature and the city. While, the Memorial Museum of the Kanun (D.Kalaja) is the architectural typology where one finds the remembrance and the memory of a culture and its history; in this case the impact of the Kanun materialized in architecture. The building itself, having little but the history and facts of Kanun to exhibit, becomes itself a piece of architecture to be exhibited, presenting a pure architectural-urban catalyst.

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Acknowledgements The whole process of working in and making research on Shkodra, was extremely fascinating! I express my gratitude to my friend/colleague Kamela Guza, for her insights and support throughout the process. Special thanks go to all students of Arch 401/2013 class, and especially to the ones who took the research to an upper level; and all other collaborators who indirectly have contributed to this project.

Valbona Koçi Studio Instructor

Deleuze, G., and Guattari, F., 1987, A Thousand Plateaus: Capitalism and Schizophrenia, Minneapolis: University of Minnesota Press. According to Deleuze and Guattari, smooth space is characteristic of sea, steppe, ice and desert, it is not homogeneous, but rather amorphous or non-formal. Furthermore, their statement “The primary determination of nomads is to occupy and hold a smooth space” (p.410), strongly relates to the emergence of the settlements.

2 Detwylen, R., and Marcus, M.G., 1972, Urbanisation and Environment: the Physical Geography of the City, Duxbury Press, California 3 Nijenhuis, W., 1994, “City Frontiers and their Disappearance”, AD, vol. 64, no. 3/4, p.15 4 Nijenhuis, W., 1994, “City Frontiers and their Disappearance”, AD, vol. 64, no. 3/4, pp.13-14 5 Lynch, K., 2000, The Image of the City, MIT Press, USA, p.110 6 Kostof. S., 1992, The City Assembled: the elements of the urban form through history, Boston: Little, Brown ,p.39 7 Kostof, S., 1991, The City shaped: Urban Patterns and Meanings through History, Bulfinch Press, Canada,p.54 8 Breen, A and Rigby, D, 1994, Urban Waterfronts: Cities Reclaim Their Edge, New York: McGraw Hill.p. 2 9 Bruttomesso, R., 1997, The Oriental Dimension of the Waterfront, Editorial, Aquapolis, vol.1 http://brezza.iuav.it/citiesonwater/inglese/aquapolising.html 10 Lynch, K., 2000, The Image of the City, MIT Press, USA,p. 47 11 Erkal, N., 2001, Haliç Extra-mural Zone: a Spatio-temporal Framework for Understanding the Architecture of the Istanbul City Frontier, the Doctoral Thesis, METU, Ankara , p.4 12 Nijenhuis, W., 1994, “City Frontiers and their Disappearance”, AD, vol. 64, no. 3/4, p.12-14 13 Lefevre, H., 1991, Production of Space, Translated by D.N.Smith, Oxford, OX, UK; Cambridge, Mass., USA: Blackwell, p. 120 14 Nijenhuis, W., 1994, “City Frontiers and their Disappearance”, AD, vol. 64, no. 3/4, p.15 15 Kongsombat, Prin, 2012, Study on Urban Catalyst for Sustainable Urban Development: Case study of IMS/Solaria Plaza and Hotel II Palazzo, p. 1. Accessed online on The Graduate School of Human-Environment Studies website, in December 2014, on: http://www.hues.kyushuu.ac.jp/education/student/pdf/2012/2HE11024R. pdf 16 Wayne A., and Logan D., 1992, American Urban Architecture: Catalysts in the Design of Cities. Berkeley: University of California Press.

17 Guggenheim Museum Bilbao accessed in http://www.coop-himmelblau.at/architecture/projects/guggenheim-museum-bilbao 18 Grodach, Carl, 2008, Museums as urban catalysts: the role of urban design in flagship cultural development. Journal of Urban Design, 13(2), pp. 195-212. This file was downloaded from: http://eprints.qut.edu.au/74523/ (accessed in December 2014) 1

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01. macrozone

HYDROLOGICAL MAP OF ALBANIA

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AERIAL IMAGES BOJANA/BUNA DELTA

1900

1972

2002 24

RIVER COURSES EVOLUTION SHKODER

4

7

5

BOJANA/BUNA & DRIN

6

ULCINJ

3 1900 2000

1 Borders Delta development since 1900 Former river courses of Buna river over 300-500 years Water bodies Wetlands 500 - 1000 m 300 - 500 100 - 300 50 - 100 10 - 50 < 10 * MAP CREDITS: Ulrich Shwarz, FLUVIUS 2004

1970

Flow direction of the main channels Litoral erosion since late 1980s 1. Recent Bojana-Buna delta 2. Drin delta 3. Fluvial and coastal accumulation plain with lagoon formations 4. Bojana-Buna (transition from braided to meandering river type) 5. Drinasa (typically braided gravel river type) 6. Bifurcation of the Drin (today reservoir and water abstraction) 7. Drin reservoir (hydro power generation and irrigation) 8. Scutari lake (shallow floodplain lake)

2

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FLOOD RISK DIAGRAMS

water extent _ 2010

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potential flood risk zones

FLOOD EXTENTS

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MACROZONE

main roads

proposed roads

villages

tourist attractions

proposed customs

agricultural lands [high]

industry-oriented areas

water bodies

irrigation channels

proposed water channels

Analyzing the geographical features of this area while having in mind the studies done on the problematic floods during the years, a few options to be considered on improving the current situation might be: creating an artificial branch/channel of the Drini River flowing to the swampy land close to Baks and then end in the lagoon of Vilun, thus the Adriatic; deviating part of the Buna River into a channel that follows its natural course avoiding the upward meanders, from Obot i Ri to Pentar in order to save the Obot and Dajç villages from the cyclic floods.

national roads

The urban strategy aims to solve problems related to the general infrastructure, tourism and water bodies’ condition by suggesting various minor acupunctural interventions in hot spots that have the potential to make a difference. These include the creation of new customs, new roads and new waterways to relieve the river from excessive waterflow during the wet months.

agricultural lands [low]

REGIONAL SCALE URBAN STRATEGY

The disconnected network of roads calls for a number of major interventions consisting in new bridges along the Buna River: in Muriqan - to give the right bank population the possibility to cross and go directly to their closest customs point; in the middle of the river length to connect the Svac(Shas) Lake to the national road to Velipoja; on the edge of the Ada Bojana Island - to connect the seaside roads of Ulcinj and Velipoja.

With the scope of reconnecting the touristic networks of Montenegro and Albania, are created 3 new customs’ points: in Zogaj - to connect the lakeshore and help touristic development in the natural park of Shkodra’s lake and collaborate with the neighbor country in its maintenance; close to the Svac(Shas) Lake - to bring new focus to this underrated touristic attraction, and connect it to the larger touring network; on the Ada Bojana Island - to connect the long beach of Ulcinj with that of Velipoja.

28

0

1000

2000

ADRIATIC SEA

SHTOJ

Ulcinj Saline

SHAS

VLADIMIR

OSTROS

Shas Lake

5000m

RASHTISH

a

na

Bu jan

ADA BOJANA

Bo

SUKOBIN

PULAJ

Buna Delta

REÇ

LUARZE

PENTAR

MURIQAN

GOMSIQE

SAMRISHT I RI

DAJÇ

SAMRISHT SAMRISHT I POSHTEM

DODAJ

ZOGAJ

BAKS

VELIPOJE

MUSHAN

na Bu

SHIRQ

OBLIKE

MALKOLAJ

Fshati i Paqes

BELTOJE

BERDICE E SIPERME

PLEPAN

BERDICE

TRUSH

/’5 Buna

‘30 RRJOLL

ZUES

DARRAGJAT

SHIROKE

’10 Viluni Lagoon

OBOT

’13 OBOT I VJETER

SHULLAN

Tarabosh

BUSHAT

MELGUSHE

Drinas a

KUÇ

SHKODER

i

MO NT E NE A L GR BA O NI A

Lake of Shkodra

Kir

MACROZONE

national roads

main roads

proposed roads

villages

tourist attractions

proposed customs

agricultural lands [high]

industry-oriented areas

water bodies

irrigation channels

proposed water channels

The surroundings of the city undergo a slightly different plan of action. This strategy revolves around the “loops” theory: based on accessibility and distance was established a hierarchy of bands each featuring different characteristics.

Within the yellow loop, one can access all points from the center after no more than 30 minutes by walking/ 5 minutes by driving. It refers to the castle, the old Buna bridge and Fshati i Paqes.

Within the light orange loop, the shortest way from the center takes 10 minutes by driving. It includes the village centers of Berdicë, Zus and Shirokë.

Within the orange loop, it takes a minimum of 13 minutes by driving. It comprises the village of Beltojë and the top of the Tarabosh Hill.

agricultural lands [low]

CITY-SCALE URBAN STRATEGY

To control the flood extents of the Buna and Drin, the strategy suggests the rearrangement of the so-far flooded lands, into forming seasonal islands that in the wet seasons would serve as buffers and get flooded. In this way, the extent of the water does not surpass the defined riverbanks, and permits the stabilization of the existing swampy lands.

Based on the land characteristics is developed a framework of agricultural activities: the southern slope of the Tarabosh Hill can be a terrain that favors the growth of mountainous plants and trees; the lowlands next to the riverbanks are appropriate for wheat or other low plantations; while on the hills of Berdicë can be cultivated olive trees and grapevines.

The banks of Drini are currently exploited to supply the construction sector with raw inert material brought by the river itself.

A network of villages is formed and well-connected by new roads that culminate with two additional bridges on the Buna River. These have all different characters: Berdica has the potential to become the new centre of the agricultural market in the periphery of Shkodra; Zus can be the example of the perfect eco-village that lives on traditional gastronomy; Fshati i Paqes (the Peace Village) is the closest retreat to the city center, immersed in a forest environment; Shiroka is the oldest fishermen village promising also history and culture.

Fiona Mali; Regina Vathi 30

inland marshes natural grassland

rice fields pastures

coniferous forest

herbaceous crops

thicket

small islands

sparsely vegetated area sclerophyllous vegetation

olive groves

urban fabric

agriculture-natural vegetation

transitional woodland-shrub

complex cultivation pattern

non-irrigated arable area

discontinuous urban fabric

02. land cover

VEGETATION DENSITY

GEOLOGICAL COMPOSITION

very low

medium

dolomitic limestone with brindstone

silt, clay and sandstone

low

high

aluvional deposits, sand, gravel and clay

lacustrine deposits, sand clay and peat dolomitic limestone with radiolarite, tufits, limestone with flint

flysch limestones, sandstones and conglomerates 34

35

topography & water bodies

geological composition

vegetation density

land cover

urban fabric

LAYERS

VEGETATION

seasonal streams irrigation system

spring/autumn winter

summer

03. hydrology

HISTORICAL TIMELINE transformation of water bodies 150000 BC When the Western Albanian lowlands were underwater, the modern lake region was in fact a marine bay that served also as a delta to River Moraรงa.

Two prehistoric settlements were found in the proximities of the bay.

40

XIX BC The Labeates named the bay - now dried into a lagoon - for the first time: Palus Labeatis. The city - Scodrinon - was positioned at the end of the lake, between the rivers Clausula (Kiri) and Barbana (Buna), which by that time flowed into Oriundus (Drini), and through him were released in the Adriatic sea.

41

V BC While the lagoon kept drying up, several transformations concerning the fluvial morphology brought about times of both prosperity and disaster, the latter related to a new branch of the Drini River (Drinasa) that had opened its way to meet with Barbana and Clausula at the foot of the Castle Hill.

42

II BC Byzantine authors donâ&#x20AC;&#x2122;t mention the existence of the lagoon since the late Illyrian period. A strong hypothesis states that probably during the Roman Rule, the dessication of the lagoon created an enormous field that wasnâ&#x20AC;&#x2122;t covered for centuries to come. The waters of Barbana were the only ones to flow in this field and collect in the node next to the city also the waters of Kiri and Drinasa.

43

XII In the XIII century, it is believed that with the help of continuous floods from Drini and Moraรงa, the basin was filled with water again. Marin Barleti claims that the recently formed lake was covering an immense area and had enriched the lives of the citizens. It was a natural regulator of the water flow, balancing the inflow of Moraรงa with the outflow of Buna, feeding also on many small rivers and streams, mostly coming from the Northwest.

44

XIX BC At this time, the city apart from the big harbor next to the castle had other small natural harbors that donâ&#x20AC;&#x2122;t exist anymore.

Boiana (Buna) was already only navigable up to a point, by big ships (galleons), so the other above-mentioned harbors were used for them.

Drinasa disappears and will not flow towards the castle until 4 centuries after, during which the city cherished times of prosperity.

45

1850 Due to many seismic activities during the 1800â&#x20AC;&#x2122;s, Drini recreated for the last time its way back to Shkodra: Drinasa emerged in 1846. Floods were becoming frequent and lasted for 2-3 months accompanied by sediments which started to pile up in the area around the riverbed raising the ground level.

The overflow of the Drinasa caused a blocking in the confluence with Buna, forcing it to flow back to the lake, causing, inn a time-span of 30 years, 6 major floods.

46

1970 Gigantic infrastructural interventions were concentrated in the flow of the Drini River, resulting in 3 big dam constructions that after the ‘70-’80’s cause the water level of Shkodra to drop by 1,5m.

Controlling the flow rates of the Drin meant also controlling the floods. However recent events prove that new repercussions are necessary.

47

buna river _ november 2013

buna + drin confluence _ november 2013

48

CLIMATE and PRECIPITATIONS

Average monthly precipitation in the study area (mm)

300 250 200 150 100 50 0

1200

Jan

Feb

Mar

Apr

May

Jun

Jul

Aug

Sep

Oct

Average monthly flow rates of the rivers (m³/s) Buna Bridge Drin-Bahçallek

Nov

Dec

Joint Buna-Drin

1000 800 600 400 200 0

Jan

Feb

Mar

Apr

May

Jun

Jul

7.00

Aug

Sep

Oct

Nov

Dec

Buna - Dajç

6.00 5.00

∙ the climate in Shkodra is Mediterranean [hot, dry Summers; cool, wet Winters] but with higher rainfall amounts influenced by the proximity to the Albanian Alps ∙ rainfall on the lake is between 2,000-2,800 mm per year, but within the basin some areas receive over 3,000 mm annually ∙ humidity levels in general are low, sunshine hours and temperature in the Summer are high, meaning high evaporating activity and lowering of the hydrometric level overall ∙ temperatures in Winter are low, due to the high ground elevations and predominant easterly and northerly winds ∙ all water inflow is precipitation-dependent, reaching maximums in November, December and January ∙ evaporation reaches maximum values in August and lowest in February

HYDROMETRIC LEVELS

4.00 3.00 2.00 1.00 0.00

JFMAMJJASONDJFMAMJJASOND JFMAMJJASOND 1965/2002

1966/2003

1967/2004

Water levels (m) 1965-1967 (before dam construction in the Drin in 1973) and 2002-2004 1965-1967 2002-2004 9.00 Drini - Bahçallek 8.00 7.00 6.00 5.00 4.00

JFMAMJJASONDJFMAMJJASOND JFMAMJJASOND 1965/2002

1966/2003

1967/2004

∙ the water levels are measured in 5 hydrometric stations [Shiroka-Lake of Shkodra; Buna Bridge; Drin-Bahçallek; Joint Buna-Drin and Buna-Dajç] ∙ they vary seasonally: an average taken according to the above-given data measures: 4.70m - Winter; 3.20m - Spring; 1.15m - Summer; 3.80 - Autumn ∙ in 2010 occurred two major floods [January and December] resulting in water reaching a critical level of 9.84m ∙ the floods were the result of an excessive increase in atmospheric precipitations, that brought a rapid rise in the hydrometric level of the Drin and releasing the waters of the Vau i Dejës dam ∙ the Drin flow rate reached 2,450m³/s, compared to a maximum capacity of 1800 m3/s of the Buna river downstream from the confluence with the Drin, not being able to release the water amount in the Adriatic 49

THE LAKE

∙ subtropical body of water extended parallely with the Adriatic, at the end of the alpine system of the Dinaric Alps ∙ naturally fills a graben and regulates waters from a catchment area of 5,200 km [20% in Albania/ 80% in Montenegro] ∙ most important tributary is River Moraça (113km), while the only emissary is the Buna River (44km) ∙ area varies throughout the year from 353 to 500 km , depending on seasonal changes ∙ hydrometric level has changed between 4.97 and 9.84m above sea level, while its annual average height of 6.60m

2010 FLOOD EXTENT MAP

Yearly average precipitation values on the lake (mm) 3500 3000 2500 2000 1500 1000

1950 1952 1954 1956 1958 1960 1962 1964 1966 1968 1970 1972 1974 1976 1978 1980 1982 1984 1986 1988 1990 1992 1994 1996 1998 2000 2002 2004

500

Hydrometric level of the lake (m) 10.00

Max

Avg

Min

9.00 8.00 7.00 6.00 5.00

december 2010

1950 1952 1954 1956 1958 1960 1962 1964 1966 1968 1970 1972 1974 1976 1978 1980 1982 1984 1986 1988 1990 1992 1994 1996 1998 2000 2002 2004

4.00

50

Yearly average temperature values of the lake (degrees Celsius) 25

buna river _ march 2013

buna river _ november 2013

51

BUNA

∙ 44 km long: it starts flowing from the lake at the Island of Shaqari, 3.0-3.5 m above the sea level ∙ average flow rate of 320 m/s ∙ flows on its own for only 1.5 km ∙ collects waters from a draining basin of 5200 km ∙ the only navigable river of Albania by sizeable boats until 1846 when Drini also started its sedimentation activity and decreased the overall depth of both the lake and Buna ∙ riverbed predominantly made of sand and gravel

KIRI

∙ alpine river with a mean annual flow of 18.4 m/s max. in December; min. in August] ∙ approximately 30m wide riverbed (in the city), serving as a buffer zone in cases of excessive waterflow ∙ total draining area ofapproximately 230 km ∙ known for its changes of flowing directions: previously used to have a delta in the lake, then kept moving towards the south of the city, until settling in the current position since the 1800’s 52

DRINI ∙ 285km, the longest river in the Western Balkans ∙ largest catchment area of 14,173 km ∙ 350 m/s average flow rate, maximum registered is of 5100 m/s; [max. in December; min. in August] ∙ is the product of the merging of the White and the Black Drin in the city of Kukës and flows towards the Adriatic along the crossing of the Dinaric Alps ∙ is transversally cut off in various sections with dams/hydroelectric plants [the most important of Fierzë, Koman and Vau i Dejës] ∙ in Vau i Dejës, it is divided into two branches: Drinasa, flowing towards Shkodra; and Drini towards Lezha ∙ Drinasa reappeared for the last time in 1846, influencing the existing water system in both water volume and sedimentation ∙ yearlong average flow of suspension alluviums in the Drini River is 438 kg/sec ∙ gravel-loaded river, low in mineralization [approximately 257 mg/l]

BUNA + DRINI

∙ the confluence of Buna and Drin results in an average flow rate of 680 m/s ∙ Drini adds its waters to Buna’s and is responsible for the change of its natural regime - at times of floods it blocks Buna’s release making it flow back to the lake ∙ converging point located 43 km from the rivermouth, in an average height of approximately 6m above sea level, meaning that the runoff capacity towards the delta reaches 1800 m3/s 53

tertiary roads pedestrian roads

main roads secondary roads

buildings

04. urbanization

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LAKE of SHKODRA

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A N U B

100

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2000m

50

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100

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50

BUNA

50

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D

IN

50

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R

100

I

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IR

I

50

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DR INI

K

100

100

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50

HISTORICAL TIMELINE transformation of the city IV BC The urban history of Shkodra starts with the building of the Castle, dating back to the IV century BC. The character of the city corresponded to a fortified nucleus that sheltered all the inhabitants, and with eld also all the other administrative functions of the Illyrian State of the time.

56

II BC The presence of the fluvial harbor on the right Buna riverbank meant thatparts of the city, especially during the Roman invasion must have been positioned also south of the Castle hill. This extension did not last for long due to the devastating action of the adjacent rivers, however it is believed that the ruins of the periods are buried underneath this strip of land.

57

XIV The Medieval city under the Balshaj Princedom was a center of crafts and trade, developing and expanding also outside the castle walls. This phenomenon - the creation of the “open city”; the emergence of the “varoshe” - marks the first phase of the urban development of the city, the establishment of new neighborhoods along the banks of the rivers, called “subscutari”, still protected by a new set of fortified walls.

58

XV The Ottoman Sieges of 1474 and 1478 devastated the city, reducing it back inside the castle walls.

In 1485 the city had only 80 houses left and the citizens had no intention to reconstruct the houses outside of the walls.

However, the Ottoman Empire was convinced of making Shkodra a big political and commercial node of importance, so they proclaimed it the center of the big Northern Vilayet.

59

XVI In the beginning of the century, the city had 6 neighborhoods: Alibej, Qafë, Bahçallëk, Otojakë, Tepe and Ajasëm. In 1503 appeared the first true traces of the old bazaar, while the population had doubled. Until this period, the compositional center for all urban developments had been the political-administrative unit - the castle. Since the bazaar construction, the center was shifted to the socio-economical nucleus.

60

XVII The XVII century was a period of economic empowerment. In 1662-â&#x20AC;&#x2122;63 the city had a total of 1800 houses making up 15 neighborhoods while in the castle remained only a few buildings. Shkodra had now taken the appearance of a typical Ottoman city and was expanding towards new and more comfortable areas North of the castle, following the three main Caravan Roads emerging for the Bazaar.

61

XIX The neighborhoods started to grow into a complete form since the beginning of the XVIII century. The city was shifting further up, and especially the Muslim population was moving towards new and improved neighborhoods while the Christian citizens were replacing them meaning that the city was becoming more compact and concentrating now in a totally new position.

1865 marks the final detachment of the new urban developments from the old settlements, when the only function remaining inside the castle - administrative- military unit - was transferred to the new center of Shkodra: the neighborhood of ParrucĂŤ.

62

XXI After the total destruction of the Old Bazaar in the XX century, the old ShkodĂŤr was soon abandoned and forgotten. The modern city spread safely into new territories that do not evoke the glory of 2400 years of history.

63

Shkodra as the center of Northern Albania, has a population of approximately 110.000 inhabitants, constituting 45% of the total regional one.

The positive natural increase of population (no. of births/no. of deaths), aided by high inter-country migration levels, has caused a growth of 30% during the last 15 years.

Statistics show that the general mortality coefficient has been constant during the last two decades - 6 deaths/1000 inhabitants, while the migration figures dropped considerably to become negative in 2003-2004, from being positive in the 1990â&#x20AC;&#x2122;s.

The population is categorized as young, since the average age is 27 years old with an ageing coefficient of 8%, and a male/female ratio varying between 103 and 118 to 100.

DEMOGRAPHIC DATA Population Growth

100,000 80,000 60,000 40,000

2004

2003

2002

1999

1998

1997

1996

1995

1994

1993

1992

1991

0

2001

20,000 2000

No. of inhabitants

120,000

Year

Age Distribution

Percentage (%)

30 25 20 15 10 5 0

<1

1-4

5-9

10-14 15-19 20-34 35-54 55-64

Age (Group Years) 64

>64

1918

The center of ParrucĂŤ

URBANIZATION PATTERNS

65

1930

[D. Jakova]

2009

[M. Cungu] 66

frame n. 1 The first neighborhood to announce the birth of a new city, first emerging in the XVIII century with a totally different identity. Firstly a suburban area made of two-story houses, later the center of the XIX century ShkodĂŤr, in the second half of the XX century it was completely transformed following the principles of totalitarian architecture, resulting in districts of five-story apartment blocks. These line the three caravan roads that guided most of the urban developments of the city. Inside the districts dominates an irregular fabric created by older constructions of lowrise, private residential units.

67

1910

[K. Marubi]

2009

[M. Cungu] 68

frame n. 2 The old beating heart of Shkodra has undergone the most drastic changes in the past two centuries.

From 1503, when the old Bazaar was first established, until the 1850â&#x20AC;&#x2122;s it was the center of all civic activities, including the customs/fluvial harbor of the city and the most important surviving urban archetype of the city - the Buna Bridge. During the communist rule, the bazaar was finally destroyed and this area officially became an abandoned suburb. Today its a hot bed for informal settlements, mostly consisting in residential units built by the roma community, and commercial/ recreational buildings that take advantage of the strategic position on the riverfront.

69

1915

[K. Marubi]

2009

[M. Cungu] 70

frame n. 3 The castle today stands out in an area with no urban identity, where the majority of buildings serve commercial purposes, helping the undefined and unplanned character of the land use.

Strong axes of circulation meet in this crossroad of important connections, emphasized also by the meeting of the Buna and Drin rivers. The latter ones lack a stable and useful waterfront, resulting in mismanaged areas that have the potential to become sources of development.

71

1930

[D. Jakova]

2009

[M. Cungu] 72

frame n. 4 Todayâ&#x20AC;&#x2122;s administrative boundaries define the southernmost edge of the city with the neighborhood of BahçallĂŤk, considered where the dominating land uses are residential and commercial. A delicate area to be inhabitated due to the proximity with the Drin River, it is redeveloping as an important commercial district for the city.

Low-rise detached private buildings dating back to the communist regime merge with new informal/ unplanned additions lining the main axis - the entrance gate to the city.

73

frame n. 5 The small village of Zus is longitudinally developed following the west Buna riverbank, the slope of the Tarabosh accentuated by the state route that brings to Montenegro. This latter one has encouraged developments of a commercial/ touristic character in the riverfront making the area highly frequented by visitors.

74

frame n. 6 On the eastern bank of Buna persists a dual character of low-land agricultural activity and rural development on the hillside along the axis connecting Shkodra to Velipoja and the Adriatic Sea. A regular grid of water channels and secondary roads defines the agricultural terrain, often flooded by the river while the constructions on the hillside are rather arbitrarily erected making use of a disconnected irregular street network.

50

75

05. the museums

MUSEUM SITE LOCATIONS

Ethnographic Museum

Archaeological Museum

Museum of Nature

Industrial Museum

Memorial Museum of the Kanun

Botanical Gardens

77

URBAN STRATEGY fiona mali, regina vathi

The large-scale strategy aims to reconnect the city to its peripheries and exploit their natural resources and potentials.

The infrastructure network should be integrated and consolidated by connecting the riverbanks of Buna with 3 more bridges that serve also a social and recreational purpose.

According to the soil and topography properties, the peripheries are dedicated to different types of agriculture, while the banks of Drini are dedicated to industrial developments.

A chain of eco-tourist villages, each one different from the other, bring focus into these areas, located in the perfect distance from the city center.

urbanized area

national roads

industryl area

secondary roads

lowland agriculture

pedestrian roads

hillside agriculture

swamps

eco-tourist villages

water bodies

hilltop agriculture

CITY IMAGE

nodes landmarks districts main roads secondary roads tertiary roads pedestrian roads 79

URBAN INTERVENTIONS In the urban scale, the project envisions the restructuring of the former neighborhoods whose tissue has been compromised with informal additions by: - Repositioning the Roma population of the west bank across the river therefore consolidating the east bank neighborhood and turning it into the main traditional manufacturing and craftsmanship district for production, commerce and educational activities related to the field - Reconfiguring the street frontage and enhancing the rate of activities in the area by giving it commercial functions - Activating the areas by positioning the museums in strategic spots - Creating a new refuge for citizens and tourists in front of the lake immersed in a forest environment; offering small bed and breakfasts that utilize the existing structures, a community center and a recreational park

main roads

areas to restructure

secondary roads

commercial

tertiary roads

educational

pedestrian/cycling/hiking

museums

pedestrian 80

PARKS & INFRASTRUCTURE The whole riverfront is conceived as network of thematic parks which will improve community engagement and revitalize the area.

The proposed infrastracture works in layers that favor firstly pedestrians, cyclists and sailors.

- The urban park serves as an urban artifact and a testimony to its previous occupancy - the old Bazaar of Shkodra; it will emphasize its absence and recall its presence in the collective memory of the city.

- The wetland park features different seasonal landscapes that become directly accessible by using its floating path which takes different looks monthly.

- The recreational park offers activities like: kayaking, sailing, fishing, resting, climbing, hiking, jogging, cycling, etc. in order to reconnect the land to the water also in a practical level.

- The forest park is the gate to further explore the Tarabosh Hill, while being a different type of escape so close to the city.

- The archaeological park joins the castle and completes the journey into Shkodraâ&#x20AC;&#x2122;s past with the archaeological museum proposed in it.

main roads secondary roads tertiary roads

archaeological park

pedestrian/cycling/hiking

urban park

pedestrian

wetland park

fishing nets

recreational park

docks

forest park 81

ETHNOGRAPHIC MUSEUM fiona mali

Located in one of the most forsaken and critical areas of the city, the ethnographic museum establishes itself with a threefold impact in the context: Firstly, as an urban catalyst: using the power of function and program it radically transforms the site fully unlocking its potentials by returning it to the city as an important landmark and node. 50 housing units of the Roma community settled in the left bank of the Buna River and a 1900 sq.m. abandoned slaughterhouse are refurbished to exhibit all that is a witness to Shkodraâ&#x20AC;&#x2122;s cultural heritage. On one hand, the museum balances the land-use of the Buna riverbanks while renewing and fulfilling the character of the bridge itself, introducing a new specific destination at its end that results in an unclogged node from which develops the connection to the lake.

On the other hand it creates a public-oriented environment freed from the barriers created by informal land appropriation. After a relocating urban strategy for the existing inhabitants into a better structured district across the river, the residential land use of the moment is substituted with a cultural and educational one.

Secondly, as an architectural catalyst: underlining the ability of any built object to become useful again. Two types of environments, simultaneously oppositional and complementary, accomplish the needs of the museum in terms of spatial quality after undergoing only minimal necessary changes to perform the corresponding functions. The first hosts the permanent collection of artifacts related to all cultural dimensions of development, while the second hosts temporary and educational activities related to them.

Thirdly, as a socio-cultural catalyst: a longed-for ethnographic museum placed at the once true beating heart of Shkodra refocuses the attention of all to what are the cityâ&#x20AC;&#x2122;s real treasure: the Water - the Land - the Culture.

program 83

ground floor plan

section A-A

section B-B

section C-C

section D-D

84

85

section F-F

section E-E

matching functions as spaces appropriately while lining them in a continuous visitor path

_utility and connectivity:

thus creating a useful public environment by changing the site as little as possible

revealing the capacities of the site considering the existing urban and architectural potentials

design principles _respecting the existing:

top view

program

ground floor

Permanent Exhibitions

Workshops & Temporary Exhibitions

Storage Cafeteria

Removable Ceiling/Floor Units Toilets Entrances

Offices Exhibition

first floor

0.00

0.00

0.00

Textile Workshop

Woodcraft Workshop

Metal Workshop

cross section

the bridge is located at the finish of the museum itinerary and connects the two sections without needing to cross the unavoidable vehicular street.

86

Scenario A

longitudinal section Scenario A

Scenario B

Scenario B

the old slaughterhouse _flexibility & transparency: turning the existing void into the true potential of the building and creating the possibilities to modify it as needed.

_working & exhibiting: the building is the most active part of the museum being the stage of new and temporary events.

ground floor plan

longitudinal section

cross section

east elevation

west elevation

north elevation

south elevation 87

IN - BETWEEN TOPOS regina vathi

Topos (ancient greek) - a tangible place that brings to mind a variety of associations.

Related to the concept of place, the project invokes images to citizens, to discover their own cultural roots. The museum is located in a strategic juxtaposition of the city. It is believed it contains Roman remains (168 BC- 395 AD) up to 3m below ground. Through the use of various mediums is discovered the past and the origin of different civilizations and their lifestyle.

The design of the museum is conceived as a path through space and time. This path is turned into a strong movement axis that shifts the visitors from period to period, from space to space, from image to image.

The museum sets up a strong dialogue with architecture and landscape and creates relationships of the visual axes between the rivers, castle, mountains, islands, natural panorama and other proposed museums. Opening up to the surrounding image turns it into a space of various interactions between: ground-underground; public-private; open/ semi-open/ closed spaces; land-water; light-shadow; inside - out/ outside - in; space - light.

The combination of all these elements enriches the archeological ruins. The design is developed as a ribbed trunk composed of several pavilions that create generous covered spaces as well as public plazas. The museum is turned into a reading of strata, vertical and horizontal spaces.

The project is dynamic and not bordered within space and time frames. The creation of multiple relationships between human, nature and history, grounds a cultural path that continuously dig into Albanian past and memories.

In order to support and not to damage the continuous excavations, the museum is elevated on pilotis, supported at the points of intersection with the ruins. The main materials used are steel and wood, which contribute to design light coverings and structures.

Main arterial road

visual axes diagram

Secondary road Pedestrian + Bicycle road Hiking path Path Pedestrian path

+6.00

Visual axes +11.50

Main visual spots

+9.50

+7.50

+12.10 +10.10

+12.10

Main focal points of the site

+14.10

+10.70

+12.70

+10.70

+8.70

+10.70

+13.30

+11.30 +13.30

+9.30

+13.90

+9.90

+12.50

+10.50

+8.50

top view 89

program

flood risk prevention

urban path

Main circulation path Conference hall Excavations River flood Drainage channel

Drainage channel Proposed drainage channel

Exhibitions_organized in periods Services_offices+toilets_info point Temporary exhibitons Commercial + Bar

90

F

F

E

E Gift shop

+6.00

0.00 Information point

+0.90

+6.00

A

A

Ilyrian kingdoms

+9.50

Roman Rule Exhibition

+5.10

Prehistory Exhibtion

Ilyrian tribes

B

A

+9.50

B

A

Excavation

+7.50

-3.50 Exhibtion

+1.50

B

B

+5.70 Venetian Republic Rule

+2.10 Albanian Medieval Princedoms

+10.10 + 6.70

Byzantine Empire

Map room

Barbaric invasion

Map room

+12.10 +2.10 +2.10

-5.60

C

C

Conference Hall

Temporary Exhibition

3D Murale

Conference Hall

+4.00 -5.60

+10.70

C

C

Albanian Pashallek

+2.70

Photo Library

Photo Library

Ottoman Rule

+2.70 Dark room photo

Dark room photo

Library

+12.70

Offices

Excavation

+7.20

Services+technical rooms

+10.70

Offices

+6.00 +3.30

+8.70

+10.70

Independence

3.30

Excavation

Water Artifacts

+1

+13.30

Albanian Renaissance

Water Artifacts

+11.30 +13.30

D

D Communist Rule

+3.90

+9.30 Communist Rule

D

D

+13.90

+4.50

+9.90 Laboratory

+12.50 Excavation

Excavation

+10.50

Bar

E F

+8.50

E F

ground floor plan

first floor plan 91

section A-A

section B-B

section C-C

section D-D

section E-E

section F-F

92

+3.50

east elevation -5.60

+6.10

Technical room Area:150m2

Conference Hall Area: 1200 m2 Capacity:900

+2.10

+2.10

+4.70

Map Room Area: 50 m2

+3.50

Albanian Medieval Princedoms Area: 500 m2

Artifacts Exhibiton Area: 300 m2

+1.50

Excavation Area: 600 m2

Artifacts Exhibiton Area: 300 m2

-3.50

Roman Rule Exhibition Area: 450 m2

Prehistory exhibtion Area: 300 m2

section A-A

+4.70

E

west elevation Plaza/ Temporary Exhibition Area: 800 m2

A

A

+0.90

Depo

Toilet

Gift Shop Area: 150 m2

0.00

Info Point Area: 75 m2

E

section E-E

93

INDUSTRIAL MUSEUM in the CEMENT FACTORY dorela sina

Placing a strong emphasis on the need to refurbish abandoned constructions as opposed to adding a new construction to the city, this project aims to revitalize the former cement factory building of Shkodra. Its main challenge is the implementation of new developing strategies and design solutions within the historical frame of the edifice.

The project grounds new programs for an Industrial Museum and preserves the main elements of the existing factory. The interventions in the faรงade combine the original brickworks with contemporary and modern elements like glass framing.

Its revitalization creates a new spot in the city where educational activities and workshops take place. In the building is present an exhibition of the existing industrial tools and machines of the factory.

It creates a visual journey in the interior of the abandoned factory.

north elevation

south elevation

west elevation

95

section A-A

ground floor plan

section B-B

first floor plan

program Educational Foyer

Cafeteria

Exhibition

Restaurant

Conference Hall

Shops

Offices

Services, Storage

Toilets

Sightseeing Tower

Existing Volumes

New Volumes

second floor plan

96

ground floor plan

first floor plan

97

second floor plan

98

section B-B

section A-A

west elevation

south elevation

north elevation

99

MEMORIAL MUSEUM of the KANUN denis kalaja

“It is difficult to comprehend the character, mentality and pattern of behaviour of Albanians without taking into account the Kanun. […] down to the present day, its norms continue to regulate many of the Albanians’ daily life matters.” (Mangalakova, 2004:2) The Kanun of Lekë Dukagjini is the most famous and comprehensive compilation of Albanian customary law. For centuries it strictly governed social behavior and everyday life among Albanians in different historical periods. Even if the Kanun is not legal today, it is widely respected and still practiced in parts of Albania and Kosova. (Krasniqi, Njomza; Boman, Sofia, 2012) A memorial is the architectural typology in which we can find the remembrance and the memory of a culture and its history; in this case of the impact of the Kanun, by materializing in terms of architecture, one of the most important and current issues of Albanian society: violence caused by the misinterpretation of the Kanun.

The scope of this project is to create a place which testifies for this issue, and invites the visitor to a spiritual path through salvation (forgiveness) and the recognition and awareness of its cultural values.

The site of the project is in Shkodra, in an area with flooding problems which is why the museum is lifted by pillars letting the water below to flow freely: water means life; water cleans, water heals. The inner spaces are divided into different levels of meaning. It initiates with the commitment of the crime and continues with the purification of the spirit: CRIME - PRISON FORGIVENESS - PEACE.

Concept Development concept development ďŹ&#x201A;ooding problem

solid and void

problematic entrance

shifting the 2 squares creates a natural entrance

lifting the building, letting the water go freely

shifting the 2 squares creates a space for the tower

the tower at the center of museum

the tower independent from the museum

columns as part of the memorial

CRIME : The pillars, the dramatic light and the tower create anxiety and confusion. The pillars create the illusion of both tombs and humans.

PRISON : The tower symbolizes prisons in Kanun. It stands free in the center of the museum. In the first floor it is connected with a dark space: hate only leads you to darkness.

FORGIVENESS : the only escape from this is to forgive.

The openings in the ceiling frame the sky.

PEACE - only after you forgive you are spiritually in peace with everyone (pillars).

101

golden section application

site plan

ground floor plan

first floor plan second floor plan

section C-C

section D-D 102

section A-A

section B-B

memorial tower victims of the kanun forgiveness peace

103

section A-A

section B-B

ground floor plan

first floor plan section C-C

second floor plan 104

top view

section D-D

west elevation

east elevation

north elevation

south elevation 105

BOTANICAL GARDENS luljeta spahiu

Located in the two sides of the reservoir, nature surrounds the projectâ&#x20AC;&#x2122;s exterior and interior.

The location of the museum gives the opportunity to have different views: the Tarabosh mountain, the Shkodra Castle, the agricultural plantations etc.

The building is raised on pilotis as a gesture of respecting the landscape. The choice of elevating the building from the ground permits to create a green public space or courtyard which can be used as a fresh container. The presence of the forest-like pilotis makes the building a landmark for the city.

The building hosts galleries, greenhouses, a lecture hall, an open amphitheater, laboratories, study areas, a library, offices, a flower shop, a cafeteria, a restaurant etc.

The navigation inside the building envisioned in a continuous movement. Each space offers different atmospheres according to the exhibition and program. It is an open structure capable of communicating with the surrounding environment. The use of big windows allows natural light to penetrate inside the building and enables full transparency.

It is more than a museum, it is an educative, scientific and entertainment place; it is a museum of all. It exhibits the soul of the Shkodraâ&#x20AC;&#x2122;s nature.

urban strategy

1. Old industrial site, revitalization 2. Development of tourism, helping economic development 3. Archeological area, revitalization 4. Botanical gardens 5. Water sports grounds 6. Swimming and recreational areas 7. Fishing ponds

The strategy gives priority to the landscape, geomorphology and water. It is a sustainable green city, a new type of territory where the city, lake and river interact in a dynamic and balanced relationship, an urban estuary.

It aims to transform the river into public green space. The river has the potential to integrate a divided city. The scope is to change the river into a new amenity, a source of socio-economic revitalization of the zone. Another strategy is to restore the riparian habitat and reconnect park-poor neighborhoods to green spaces. The regional open space network will provide parks, infrastructure connections between the river beds, a pedestrian walkway and bikeway along the length of the river. Making the river green and accessible is expected to transform an unevaluated asset into a valued amenity.

Creating new canals near the river, reduces the water velocity, which will help the riparian vegetation become reestablished.

Near the riverbeds can be introduced vegetation: trees with a more than 50-year life span will minimize maintenance and washouts.

107

ground floor plan

108

first floor plan

109

ground floor

section A-A

section B-B

section C-C

section D-D

first floor

program

110

Under Roof Seating Area

Exhibition

Under Roof Green Area

Restaurant

Playground Area

Lecture Hall

Under Roof Open Amphitheater

Greenhouse

Mechanical Room

Bridge

Foyer

Office

Cafeteria

Library

Toilet

Study Area

Outdoor Pedestrian Circulation

Laboratory

Vehicular Circulation

Flower Shop

north-east elevation

south-east elevation

south-west elevation

north-west elevation

111

MUSEUM of NATURE edison dervishi

Shkodraâ&#x20AC;&#x2122;s Museum of Nature aims to present not only the construction of a museum itself but also to bring lump of nature into the urban environment.

The main concept is to create a space to influence human awareness by bringing society back to nature, provoking them, making them curious and passionate about something new in town.

The project focuses in visual and spiritual harmony making people feel pleasant and proud of the place they belong to.

It intents to become not just the next culturally attractive place in Shkodra, but to be perceived as an oasis in the physical and spiritual sense of the word. The museum plot has an excellent location and transport connections. The project provides a building with no defined walls and a rooftop in which visitors and Shkodra citizens can walk on a peaceful and comfortable place by discovering various types of leisure activities, by relaxing, networking, practicing sports or simply enjoying the location.

top view

ground floor

concept development +

=

program Foyer Exhibition Cafeteria Toilet Conference Hall Storage

Offices Library Study Area Laboratory Mechanical Room

Exhibition 1 Exhibition 2 Exhibition 3 Exhibition 4 Restaurant

first floor

section A-A section B-B second floor 113

ground floor plan

114

first floor plan

115

site elevation

site section

section A-A

section B-B

116

east elevation

north elevation

south elevation

west elevation

117

the end

120

121

Drin River Day Exhibition

122

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Departmental series on the results of didactics in Architectural Design Studios Number 2 BUNA RIVER REVITALIZATION - MUSEUMS AS URBAN CATALYSTS Advanced Architectural Design Studio Fall 2014 Š 2015 Epoka University ISBN: 978-9928-4231-9-1 Printed by Green Advertising Tirana, March 2015

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