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Embassy of the Netherlands


This renovation project of the Embassy of the Netherlands in Tirana focuses on its former consular section – a one floor building that connects to the main building of the Embassy. The function of this building will be to host visitors, engage in lectures, seminars, trainings, and be a working space for Embassy staff. It has two main meeting rooms, and three offices. One of the main characteristics of this renovation is the redesign of the corridor that connects the main building with this section, and does the distribution of the spaces within the building. For the renovation, all interiors walls are to be demolished, for a new design of the interior spaces to take place. All the areas are semi-transparent because at least one of the separating walls of the spaces is made of double glazed glass. The remaining new partitions, beside from the glass, are insulated gypsum walls. The proposal includes the distribution of the new offices, the capacity estimation, the new furnishing and materializing, and the electrical and heating systems.


Ky projekt rinovimi në Ambasadën Hollandeze në Tiranë do t’i nënshtrohet një rinovimi duke u përqëndruar në ish-seksionin konsullor, një ndërtesë një katëshe që lidhet me ndërtesën kryesore të Ambasadës. Funksioni i kësaj ndërtese do të jetë të presë vizitorë, të mbahen leksione, seminare, trajnime, si dhe të ketë hapësira pune për stafin e Ambasadës. Ajo ka dy salla takimesh kryesore dhe tre zyra për stafin. Një nga karakteristikat kryesore të këtij rinovimi është ridizajni i korridorit që lidh ndërtesën kryesore me këtë seksion, dhe bën shpërndarjen e hapësirave brenda ndërtesës. Për rinovimin do të prishen të gjitha muret e brendshme, për të bërë një dizajn të ri të hapësirave. Të gjitha zonat janë gjysmë transparente sepse të paktën një nga muret ndarëse të hapësirave është prej xhami, me xham të dyfishtë. Ndarjet e tjera, përveç xhamit, janë muret e izoluara të gipsit. Propozimi përfshin shpërndarjen e zyrave të reja, vlerësimin e kapacitetit, arredimin dhe materializimin e ri, dhe propozimet për sistemet e reja elektrike.




Villa 31 is an unassuming, if somewhat large modern residence built in the late seventies with an ample garden in a quiet but dense residential district in Tirana. The interiors of the house are well equipped and extensively furnished. The interior is filled with hand-crafted built-in clos­ets, imported Austrian furniture, Italian designed bathrooms and kitchens, an elevator, a decora­tive spiral staircase, a small swimming pool, and large picture windows throughout. Villa 31 was also provided with ac­cess to hardened underground bunkers from the basement.

Construction documents prepared by the architects for this new resi­dence drawn up in the early sev­enties refer to the original project with the single alphabetical letter “x.” This structure was specifi­cally designed for Enver Hoxha and his family. “x” also represents the mark of censorship, a fitting symbol for what would be­come Hoxha’s difficult historical legacy: Hoxha’s sweeping political and ideological reforms were largely responsible for pushing the nation into deep economic and cultural isolation. Hoxha’s private family home reflected his public char­ismatic posing a difficult challenge for those concerned with opening the dictator’s residen­tial quarters to the public today. How—after de­cades during which Villa 31 has been closed to the public—does one interpret and put on dis­play the intimate interiors deeply imprinted by Hoxha’s domestic body politic?

Left as is, or with little modification, Hoxha’s house would certainly risk becom­ing a sort of latter day mausoleum to the man and his dictatorship. Nor would the sensitive preservation of the house in the name of Hoxha’s victims contribute much to the edu­cation of today’s Albanians and their children. After all, there are many sites across the nation where curi­ous nationals, foreign tourists and concerned educators can see first-hand the traumatic environments where generations of Albanians were locked up, tortured and dispensed in whatever manner Hox­ha, as supreme leader, saw fit. There is also the great risk the house would appear as if its origi­nal inhabitant lived inured to the outside world in an island of tranquility, untouched by world around him.

Ai Weiwei, the Chinese artist who is no stranger to his own government’s repressive politics, chal­lenges through his art the highly undemocratic practices of a state with little concern for hu­man rights. Ai Weiwei’s frequent confrontations with Chinese authority has led the artist to find alternative forms of protest through the use of veiled metaphors, expressing political dissent through physical action, critically reevaluating historical artifacts, and questioning the re­ception of contemporary material culture in Chinese society. “Artists are not in a position to decide the conditions imposed upon them,” noted Ai Weiwei, “…but they can make statements about those con­ditions.” Ai Weiwei understands clearly the necessity to confront the demons of the past and pres­ent by working on the metamorphosis of objects and their potential for political reification.

Earlier examples of works by artist activists like Hans Haacke’s “Germania,” made specifically in consideration of the German Pavilion at the 1993 Art Biennale in Venice have set strong prece­dents for physically intervening on architecture where historical events have left troubling traces of the past. Haacke’s calculated destruction of the Nazi led renovation of the pavilion, by tak­ing a jackhammer to the floor and leaving bro­ken stones paving blocks scattered across the floor in chaotic disarray, revealed longstanding layers of buried and ignored history.

Villa 31 has been a residential mi­crocosm frozen in time. Inaccessible then, and still inaccessible now, the house and its troubled history should find renewed purpose, by confront­ing past and present, former regime and nascent democracy. Hoxha’s house cannot be simply preserved, opened and displayed without ac­tively engaging each and every room, one by one. From the gardens to the bunkers, from the living rooms to the swimming pool, the house’s many spaces should be documented, questioned and debat­ed. Citizens and visitors alike should have the chance to be part of and witness to how symbols of power can be engaged, challenged, and re-imagined.

A forbidden zone and a villa for Mr. X

Brasini set a strict South-North axis, which seem to put forth the difference between the eastern part of the city, where the location is spontane­ous and more folk like, to the other part of the city in its South-West side. The influence that Ital­ian architecture had on the Albanian landscape will be enhanced in the period between the two world wars, especially with the projects realized by G. Bossios. The rational application of Italian architecture, with perpendicular axes and well defined plots, was easy accommodate in the ur­ban plan of Tirana in this part of the city. The values of this zone are formed through the needs for housing for the members of Italian military as well as civil servants.

During the dictatorship, this area was inhabited by the elite political leading class as well as their fami­lies. For the above reason it was called “ Bllok” (The Block). Resi­dential villas are characteristic to this part of town that was inhabited by political leader, such as the late dictator Enver Hoxha.

Due to the importance of its inhab­itants the block of villas was iso­lated from the rest of the city, where simple peo­ple leaved and the isolation can be seen in the physical distance as well as in the economical one. In the heart of The Block, there is Villa 31, the house of Mr.X. The axes to the Block area was restricted in three different levels of acces­sibility.

Several pathways were not open to the general public. Common people could get in and out of the restricted zone with an invitation from some­one living in The Block, while would be all the time under constant surveillance and would have to hand in their ID as well. These itineraries are divided in two accessibility levels. The one that used the family members of the political bureau and the other one was utilized only by the politi­cal leader. In Mr.X villa’s Enver Hoxha would use the front entrance while his family would use the other entrance, because the street in front of the villa was reserved only for the political leaders.

The villa in itself is divided in the three different stages. The first stage is the Eastern part and was built before World War II and it is not included in this study. The vil­la belonged to an Italian engineer, Berlotti and it is one of the few villas that has preserved the architecton­ic elements. It is a three store villa with basement as well. The entrance to the villa is preceded by a white marble staircase a white marble staircase and a portico that serves as a porch. The portico is formed by columns, formed with stone tiles, that go up until the roof. In the 1970s was build the new villa with a roof. Enver Hoxha decide to have his family in the villa as well. Thus, the villa was expanded with various apartments dedicat­ed to its family and children, that is why the villa has multiple bedrooms or kitchens.

The Villa as an open project

Our proposal is to transform Villa 31 during one year. The time that is necessary to physically transform the Villa will coincide with the time of the symbolical transforma­tion. At the end of this process the Villa will not be the same as before.

The program of the cultural activities consist of the trans­formations that will allow Villa 31 to become a public space for Tirana.

The intentions of this project is to test the possibilities of such a new and extraordinary cultural device, despite the difficulty in giving to the house of the ex-dictator an exact function and definition. For those reasons we did not want to set boundaries for the possible activities that the Villa could host. That is why Villa 31 will be a project rather than an institution.

Villa 31 will be a place where different humanistic disci­plines can find expression: literature, philosophy, history, religion, philology, visual arts and performative arts.

All those cultural activities that have been censored dur­ing the dictatorship will become the engine of the physi­cal transformation. Those transformations will represent an occasion for art expression. The sum of events will slowly lead to a new condition of the building.

The first action consist of showing to the Albanians the interior and its mystery. Nowadays Villa 31 is an inacces­sible place, with no links to the city of Tirana and its citi­zens. The idea is to organize a big opening where artists are invited to celebrate this first collective occurrence.

The artists are invited to realize some interventions that will represent on one way the solutions for the house ac­cessibility, on the another way the aim of this event to be visible.

– a “derive urbaine” that will lead the citizens trough the streets of the district in the garden that hosts Villa 31;

– a ramp that will allow the accessibility to the house;

– a neon sign;

– an opening party;

OnceVilla31isdefinitelyopenandaccessible, it is neces­sary to activate functions that are capable to constantly attract the citizens inside the Villa. The idea is to trans­form all those activities that represented the private do­main of the dictator into public activities.

It will be possible to understand the private universe of the dictator by analyzing the program of the Villa. This universe will become a diversified system of activities for the citizens.

– a pool;

– a club;

– a cinema;

– a public library;

– an exhibition hall;

After this “wake-up moment” it will be possible to start a process of memories reactivation. Exhibitions and con­ferences on history of communism, about the dictator’s life and about the history of Villa 31 will be held.

– communism symposium;

– dictator’s life exhibition;

– Villa 31 exhibition;

– The dictatorial regime style in furniture and design;

The last phase of the project consist of the realization of those services that allows the permanent transformation of the Villa into a suitable space for art.

– coffee shop;

– bookshop;

Finally the garden will become part of the city to close the transformation process. The hypothesis is to open the garden permanently and to transform it into an equipped public space.

– fences transformation;

Additionally, our proposal consist of a small housing unit located in the garden, that can allow the artist to spend a period of time in the Villa. Through this intervention we transmit the idea of showing constantly what is happen­ing inside the Villa by showing the life of who is working there: the artist.

– artist’s housing unit;


Before and After

The project in 10 points

  1. Villa 31 opens its doors. It opens immediately. It is time to let its interiors become public, it is time to reveal its mystery.
  2. The first event that will be organized in Villa 31 is the opening itself. It will be a public event which will envolve the entire district as first manifestation of this “new presence” in the town.
  3. Every change or transformation realized in Villa 31 will be an art intervention. Those interventions are tem­porary or permanent: exhibitions, installations, book­shops, coffeeshops, performances and concerts.
  4. The program of the transformations Villa 31 will co­incide with the artistic activities.All the funds that are dedicated to cultural activities are the engine of the physical transformations of Villa 31 themselves.
  5. Villa 31 will not become a gallery, neither a museum or a foundation. It will not become a residence for art­ists, a cultural center or an history archive. Villa 31 will transform into a public space for Tirana.
  6. Villa 31 will become accessible, an open and demo­cratic space.New ramps will connect the levels, the ele­vators will follow legal standards to guarantee the mo­bility throughout the entire building. Some of the walls will be demolished to erase separations.
  7. Villa 31 will be preserved. Its presence and its mean­ing will not be erased. The spaces, the rooms, the furni­ture, the materials and colors will be the fundamental elements of the new reflexion.
  8. There will be a clandestine club in the ex-cinema at the underground level. Aquagym classes in the pool, chamber music in the dictator’s sleeping room, an el­egant bar in one of the living rooms.
  9. Every private space of the dictator’s house will be transformed by an artist into a public space for the visi­tors. Every transformation will be a public event.
  10. The garden of Villa 31 will become another place for activities. There will be events organized all summer long: concerts, picnics and installations. A small housing unit, a capsule, will be built to host the artists that are invited. Nobody will live in the dictator’s house. Villa 31 will never be a house anymore.

The Villa: structural features and new accessibilities

The Villa 31 consists of two building units that are built in two different time periods. The first part was built in the 1930s and the second part during 1970s, which later on during 1974 it was extended to fit the family of the late dictator. The villa is well maintained and the construction with all the elements is maintained. It can be clearly that the villa represents a building in a good condition.

The construction of the villa is mostly based on col­umns, bearing walls are placed were statically needed like stair halls etc. In this way the building has large openings, which were appropriate for modern archi­tecture at that time. Some traditional architectural ele­ments and local materials complete the concept of this part of the building.

Our team’s research of the building is based on an on-location visit as well as using existing plans and other data and a lot of other information, which were pro­vided by the local team. Reinforced concrete is the basic material of which the main construction of the building consists. In the basement the weight bearing walls are numerous and strongly visible, which explains the small openings and thickness of the walls. There were gath­ered a lot of material from different sights before plan­ning and proposing the intervention in the villa. From the on-location visit there were a lot to be learned, especially since the villa was “taboo” for the eye of the common people for a very long time.

Various approaches were considered, in order to pre­serve the heritage and the collective memory that this villa represents. The basement of the villa will not ex­perience any drastic remodeling. After consulting our construction engineers and experts for reinforcement systems we decided to not touch anything in the base­ment because it is clear that these walls are weight bearing walls. The different functions of the rooms will be chosen and decided between the spaces that al­ready exist. Hence the basement needs a renovation touch. From the investigation of the basement and how better to intervene, it is proposed the renovation of the floor and the renovation of the interior.

The ground floor of the villa is very different from the basement in how it is constructed. In the first floor there are no weight bearing walls. The weights is distributed though the columns. Thus the space is clear and open to make interventions.

The first and the second floor, which are the extended part of the villa, are much like the ground floor. The con­struction is the same, with large open space, and it is reinforced with concrete columns. The changes that are proposed in this floors are minimal. For instance, to de­molish separating walls in order to create a space that can be tailored according to the event. The changes in this space can be part of an event, rather than be the common working site where no one is present. Chang­ing the villa of the late dictator is more than a dull or routine implementation of an architecture project. The public will be as much involved in this change, for the symbolic value that this villa has.



Team Composition

Peter T. Lang

2A+P/A Associates
Gianfranco Bombaci
Matteo Costanzo
Alessandro Acciarino
Gaia Ascone
Eleonora Ghezzi
Silvia Sanchietti
Teresa Scheibova’
Nicola Secchi

Markus Neuber
Paul Rapp
Katharina Riedl
Valentina Damian
Klaus Köstler
Peter Naumburg
Petrit Pasha
Stefano Baldon
Stefania Di Pisa

Gjergji Dushniku
Lorin Cekrezi
Klaudjo Cari
Rezart Struga
Gledis Misja
Gerti Struga

365 Studio Apartments

The ‘Studio Apartments 365’ project consists of 10 mini-spaces which are functional for both a one-day stay as well as a longer duration. Functionally wise this project is a hotel. The rooms are divided into two floors. The first floor consists of a living room, kitchen and toilet, while on the second floor is the sleeping area. The connection of the floors is made through the stairs. In this space there is an atrium which gives the feeling of a larger room. The access to the room is provided by a corridor that receives light from both sides. The rooms are also distinguished by their colors. All the units have similar designs, but different colors that differentiate them from each other.
Projekti ‘Studio Apartments 365’ përbehet nga 10 mini hapësira të cilat janë funksionale si për qëndrim një ditor ashtu dhe për nje kohëzgjatje më të madhe. Funksioni i tyre është hoteleri. Dhomat janë të ndara në dy kate. Kati i parë përbëhet nga hapësira e ndenjes, gatimit dhe e tualetit, ndërsa në katin e dytë ndodhet hapësira e fjetjes. Lidhja e kateve kryhet me anë të shkallëve. Në këtë hapësirë gjendet dhe një atrium i cili jep ndjesinë e një dhome më të madhe. Aksesi ne dhoma kryhet nga një korridor që merr dritë nga të dyja krahët. Njësitë dallohen edhe nëpërmjet ngjyrave të cilat janë përdorur. Dhomat dhe hapësirat e ndenjes kanë design të ngjashëm, por ngjyra të ndryshme që i dallojnë nga njëra tjetra.


This interior is dedicated to the second shop of Haburger, hamburger brand based in Tirana. The plan layout is particular because of the narrow shape. This characteristic is rather seen as a strong point when combined with the geometry of the arches. The usage of the oak wood, combined with the red ceiling and visible ducts and lighting fixtures, gives a retro atmosphere to the place. Each arch stands like a stage, dedicated to seating and enjoying the food. Light and shadows emphasize beautifully each stage.The kitchen is placed at the end of the plan, partially visible as a glass box at the end of the vision trajectory. The whole interior manifests as a temple of the product served at the shop.
Ky interier i dedikohet dyqanit të dytë të Haburger, brand hamburgeri në Tiranë. Shtrirja e planit është e veçantë për shkak të formës së ngushtë dhe gjatësore. Kjo karakteristikë shihet si një pikë e fortë kur kombinohet me gjeometrinë e harqeve. Përdorimi i drurit të lisit, i kombinuar me tavanin e kuq, tubat e dukshme të ventilimit dhe pajisjet e ndriçimit, i japin vendit një atmosferë retro. Çdo hark qëndron si një skenë, kushtuar uljes dhe shijimit të ushqimit. Drita dhe hijet theksojnë bukur secilin spot qëndrimi. Kuzhina është vendosur në fund të planit, pjesërisht e dukshme si kuti qelqi në fund të trajektores së shikimit. E gjithë brendësia manifestohet si tempull i produktit që shërbehet në dyqan.

Le Bazal


The project of this bar & restaurant consists in creating some special facilities that are easily connected to each other. The primary spaces are: the main courtyard, bar, restaurant and backyard.
The main outer courtyard has direct contact from the street, it also offers partial coverage with the metal structure covered with transparent glass, which is open at certain times of the year. The main function is the bar, but the space can be adapted to different activities.
The bar is the focal point that links the outside courtyard with the restaurant. The connection is made stronger by means of decorative elements such as lighting, textures, materials and colors used.
The restaurant has suitable spaces such as booths and the outer backyard which is a more secluded area, where the greenery is intertwined with the design.
The backyard offers a more intimate dining space, away from the noise and in the uncovered natural environment.
The restaurant is connected to the backyard by an arcade. This arcade creates a game of different shadows depending on the natural lighting while adding a different experience to the users of the space.


Projekti i këtij bar-restoranti konsiston në krijimin e disa ambienteve të vecanta që lidhen lehtësisht me njëri-tjetrin. Hapësirat kryesore janë: oborri i jashtëm, bari, restoranti dhe oborri i pasëm.
Oborri i jashtëm kryesor ka kontaktin direkt nga rruga, ofron mbulim të pjesshëm me strukturën metalike të veshur me xham transparent, e cila në periudha të caktuara të vitit është e hapur. Funksioni kryesor është bari, por që mund të përshtatet me aktivitete të ndryshme.
Bari është pika fokale që lidh oborrin e jashtëm me pjesën e restorantit. Lidhja bëhet më e fortë me anë të elemetëve dekorativë siç janë ndriçuesit, teksturat, materialet dhe ngjyrat e përdorura.
Restoranti ka hapësira të përshtatshme siç janë booth-et dhe oborri i jashtëm i pasëm i cili është një zonë më e veçuar, ku është ndërthurur gjelbërimi me pjesën e dizajnit.
Oborri i pasëm, ofron një hapësirë më intime për ngrënie, larg nga zhurmat dhe në ambient natyral të pambuluar.
Nga restoranti te ky oborr kalohet përmes një harkade të çrregullt. Kjo harkadë krijon një lojë hijesh të ndryshme në varësi të ndriçimit natyral duke ofruar një eksperiencë të shtuar për përdoruesin.



Papa’s is a bakery chain in Tirana, Albania. This one in particular is located in a very busy street of the capital, right in front of the pedestrian and vehicular road. The interior of the bakery has been designed keeping in mind industrial features and elements such as low handing metallic lights, concrete ceilings, exposed concrete columns and other metallic elements in teal copper color.
The whole interior is spacious and full of light. The façade features a lot of glazing in order to attract customers and provide an enjoyable space where to have food alone or with friends! A specific outdoors space is also dedicated to customers wanting to eat in the open air.

Papa’s eshte nje pasticeri dhe furre buke ne Tirane, Shqiperi. Ky objekt ne vecanti eshte i pozicionuar ne nje rruge kryesore me shume qarkullim. Interieri i kesaj furre dhe pasticerie eshte dizenjuar sipas parimeve te stilit industrial, ne te cilin jane perdorur ndricuesa te varur metalik, beton ne dukje, mikrocement dhe elemente ne ngjyre jeshile bakri.
Brendesia e ambientit eshte shume e ndricuar nga vetrata kryesore dhe dritare ne tavan. Fasada ka nje siperfaqe te madhe xhami qe terheq klientet ne saje te produkteve te ekspozuara. Gjithashtu, eshte dizenjuar dhe nje hapesire e jashtme me tavolina dhe karrige per klientet qe preferojne te ulen jashte.

Fish Restaurant


This project consists of the transformation of an old villa into a restaurant located in the New Bazaar. The design approach is to preserve the feeling of “home”, emphasizing it with natural materials such as terracotta, marble, stone, and wood. The interweaving of materials restores the intimacy of the villa and the history that they convey through the walls, floors, and ceilings with different colors and materials. The structural limitations of the existing building create the need for a new building to achieve the desired capacity. An inner courtyard is created between the buildings, recalling the “backyard”. The functions are a restaurant, bar, kitchen, and service facilities. The existing basement is expanded and used as technical space for the kitchen. Taking advantage of the connection with the road, the bar is on the ground floor of the new building and the inner courtyard. The ground floor of the villa contains the kitchen and a dining room. The first floor of the villa has two dining rooms. One offers a more intimate space for large groups, while the other has more tables. In the latter, the existing chimney is restored to function. From this room, you can access the terrace of the new building, which is covered with a shading system. This system stays open on sunny days for shade and closes on rainy days. The view from the terrace of the New Bazaar, the villa, and the inner courtyard adds value and engages the clients.


Ky projekt konsiston në transformimin e një vile të vjetër në një restorant tek Pazari i Ri. Qasja e dizajnit është të ruhet ndjenja e “shtëpisë”, duke e theksuar atë me materiale natyrore të tilla si terrakota, mermeri, guri dhe druri. Gërshetimi i materialeve rikthen intimitetin e vilës dhe historinë përmes mureve, dyshemeve dhe tavaneve me ngjyra dhe materiale të ndryshme. Kufizimet strukturore të ndërtesës ekzistuese krijojnë nevojën për një ndërtesë të re për të arritur kapacitetin e dëshiruar. Një oborr i brendshëm krijohet midis ndërtesave, duke kujtuar “oborrin e shtëpisë”. Funksionet janë restoranti, bar, kuzhinë dhe shërbime. Bodrumi ekzistues është zgjeruar dhe përdoret si hapësirë ​​teknike për kuzhinë. Duke përfituar nga lidhja me rrugën, lokali është në katin përdhe të ndërtesës së re dhe oborrin e brendshëm. Kati përdhe i vilës përmban kuzhinën dhe një dhomë ngrënie. Kati i parë i vilës ka dy dhoma ngrënie. Njëra ofron një hapësirë ​​më intime për grupe të mëdha, ndërsa tjetra ka më shumë tavolina. Në këtë të fundit, oxhaku ekzistues rikthehet në funksion. Nga kjo dhomë, mund të lëvizet për në tarracën e ndërtesës së re, e cila është gjysmë e mbuluar me një sistem hijezimi. Ky sistem qëndron i hapur në ditë me diell për hije dhe mbyllet në ditë me shi. Pamja nga tarraca e Pazarit të Ri, vilës dhe oborrit të brendshëm shton vlerë dhe angazhon klientët.


Harli Coffee is a brand in Albania. The allocated space is divided into an indoor and outdoor area. Both areas flow into each other physically and visually while displaying the same material palette. The outdoor space is physically separated from the sidewalk through glass panels that also serve as wind shields.
The indoor area has a more limited number of tables, as a result of the small space and the provision of access for fast service from the outside. The furniture is conceived in such a way as to create a relaxation environment for the coffee service part and also to display the basic products of the bar.


Harli Kafe është interier i cili është ideuar dhe përshtatur për t’u bërë një brand. Ambienti është i ndarë në dy zona, ajo e jashtme dhe e brendshme. Të dyja zonat lidhen me njëra tjetren jo vetëm fizikisht me rrugë kalimi por edhe në sajë të materialeve të përdorura. Zona e jashtme është e ndarë me një barrierë xhami nga trotuari, për t’i dhënë më shumë privatësi klientëve të barit.
Zona e brendshme ka një numër më të kufizuar tavolinash, si rezultat i hapësirës së vogël dhe sigurimit të rrugëve të kalimit për shërbimin e shpejtë nga jashtë. Mobiljet janë konceptuar në mënyrë të tillë që të krijojnë një ambient relaksi për pjesën e shërbimit të kafes dhe të ekspozojnë gjithashtu produktet bazë të barit.

Harli Coffee


Harli Coffee is a soon to be brand in Albania. The allocated space is divided into an indoor and outdoor area.
Both areas fl ow into each other physically and visually while displaying the same material palette. The outdoor
space is physically separated from the sidewalk through glass panels that also serve as wind shields.
The indoor space is a coffee shop by day and a bar by night. The furnishing has been allocated in a way to
accommodate both functions. The fl oor plan layout creates an interesting route within the indoor space which
reveals private spots and social tables for all groups of clients.

Harli kafe eshte interier i cili eshte ideuar dhe i pershtatur per tu bere nje brand. Ambienti eshte i ndare ne dy
zona, ajo e jashtme dhe e brendshme. Te dyja zonat lidhen me njera tjetren jo vetem fi zikisht me rruge kalimi
por edhe ne saje te materialeve te perdorura. Zona e jashtme eshte e ndare me nje barriere xhami nga trotuari
per ti dhene me shume privatesi klienteve te barit. Zona e brendshme merr funksionin e nje kafeneje gjate dites
dhe nje bari gjate pasdites. Per kete arsye mobiljet jane konceptuar ne menyre te tille qe te krijojne nje ambient
relaksi per pjesen e sherbimit te kafes dhe te ekspozojne gjithashtu produktet baze te barit.
Brendesia e hapesires ofron xhepa intime dhe tavolina sociale per te gjitha grupet shoqerore.



The clinic has an area of about 52 m². In this space are organized 2 rooms each with a work station, a sterilization
room, which is accessible from each of the working spaces, a service room, a toilet, and a reception with the waiting
The work rooms are positioned in the brightest parts of the space, near the large windows, while the other rooms are
organized in the other parts of the space. The lighting is abundant in all the rooms, thanks to the large windows on
the facade and due to the use of barrisol lighting on the entire surface of the ceiling, as a form of artificial lighting.
The spaces are separated from each other by frosted glass, which allows light to enter, but in the meantime prevents
full visual contact.
The dominant color in the interior is white, in accordance with the typology. The wood texture is used to create contrast with the white background, giving character to the space


Klinika ka një sipërfaqe rreth 52 m². Në këtë hapësirë janë organizuar 2 ambjente me nga një post pune, një dhomë sterilizimi që aksesohet nga secila prej hapësirave të punës, një hapësirë ndihmëse, tualeti si dhe recepsioni me zonën e pritjes.
Dhomat e punës janë pozicionuar në pjesët më të ndriçuara të hapësirës, pranë dritareve të mëdha, ndërkohë që ambjentet e tjera janë organizuar më në thellësi të planimetrisë. Ndriçimi është i bollshëm në të gjitha ambjentet, falë dritareve të mëdha në fasadë si dhe për shkak të përdorimit të barisolit në gjithë sipërfaqen e tavanit, si formë e ndriçimit artificial. Ambjentet ndahen nga njëri tjetri nëpërmjet xhamit të bombarduar, që lejon futjen e dritës, por ndërkohë pengon një kontakt të plotë vizual.
Ngjyra dominuese në interier është e bardha, në përshtatje dhe me tipologjinë e hapësirës.  Tekstura e drurit, është përdorur për të krijuar kontrast me sfondin e bardhë, duke i dhënë karakter hapësirës.