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September 9, 2020 In

‘Bernardina Qerraxhi’ School

EN

‘Bernardina Qerraxhi’ school, the professional sports national school, is located in Durrës. As a result of the earthquake on November 26, 2019, the building suffered major damage and needed to be reconstructed, following the new design standards and the provision of specific spaces for its sports character. The project includes the school building, a new gym and the dormitory space. The area offers the possibility of distributing these functions in different buildings giving the opportunity to design outdoor spaces which will serve and connect them. An important point in the design process is the combination of several spaces that can serve also the community, not just the students.

AL

Shkolla ‘Bernardina Qerraxhi’, shkolla kombëtare profesionale e sporteve, ndodhet në Durrës. Si pasojë e tërmetit të 26 Nëntor 2019, ndërtesa pësoi dëme të mëdha dhe duhet rikonstruktuar, duke ndjekur edhe standarte të reja të projektimit dhe ofrimin e hapësirave specifike për karakterin sportiv. Projekti përfshin godinën e shkollës, një palestër të re, dhe hapësira për konvikte. Zona ofron mundësinë e shpërndarjes së këtyre funksioneve në godina të ndryshme duke dhënë mundësinë për të projektuar edhe hapësira të jashtme të cilat do i shërbejnë dhe do lidhin objektet e ndara. Pikë e rëndësishme në projektim është ndërthurja e disa hapësirave që mund ti shërbejnë edhe komunitetit, jo vetëm studentëve.

February 12, 2021 In

SHKOLLA DRITAS

EN

The project that will be developed for the Dritas school is a construction from scratch. The new building is 2 floors above ground and takes a regular rectangular geometric shape. Orientation follows the orientation of the land to be built, ie Southeast – Northwest. The new school building will also include pre-school classes for children of different levels.
The building is 3773 m2. Outdoor courtyards and recreational spaces are of particular importance in this project where 460 m2 is the schoolyard, 360 m2 is the garden and 377 m2 is the accessible porch from the school. The school is transformed into an object of particular importance to the area because of the outdoor accommodation that can be accessed by residents. It includes a large public staircase that is interpreted as a public space. This staircase is located in the northern part of the building opposite the main entrance. In the following, a colonnade was created as a continuation of the sidewalk that can be used by community residents. In the south side of the building there is a green space.

AL

Projekti që do të zhvillohet për shkollën Dritas është ndërtim nga e para. Objekti i ri është 2 kate mbi tokë dhe merr një formë gjeometrike të rregullt drejtkëndore. Orientimi ndjek orientimin e tokës ku do të ndërtohet, dmth Juglindje – Veriperëndim. Ndërtimi i ri i shkollës do të përfshijë gjithashtu klasa për fëmijë parashkollor të niveleve të ndryshme.
Objekti në tërësi është 3773 m2. Oborret e jashtme dhe hapësirat rekreative kanë rëndësi të veçantë në këtë projekt ku 460 m2 është oborri i shkollës, 360 m2 është oborri i kopshtit dhe 377 m2 është veranda e aksesueshme nga shkolla. Shkolla kthehet në një objekt me rëndësi të veçantë për zonën në sajë të sistemimeve të jashtme që krijohen mund të aksesohen nga banorët e lagjes. Në to përfshihet një shkallë e madhe publike që interpretohet si hapësire publike. Kjo shkallë gjendet në pjesën veriore të objektit përballë me hyrjen kryesore. Në vazhdim është krijuar një kolonadë si vazhdimësi e trotuarit që mund të përdoret nga banorët e komunitetit. Në jug të objektit është lejuar hapesirë e gjelbër.

December 14, 2018 In

FUSHAS School

“Fushas” School is a primary and secondary school located in the village of the same name in Tirana. The school covers a ground area of 2100 m2. The project consists of the reconstruction of the existing building dating back to the 90’, which amounts to 409 m2. It also includes an addition of 419 m2 in order to meet all the requirements of a contemporary and sustainable school. Therefore the new addition consists of a laboratory, a library, sport grounds, staff room and recreational spaces for students.

One of the main objectives for this project was to create a protected internal courtyard for the students that would also serve the general public as a social gathering space. The existing building has been reconstructed preserving its existing typology while the new building is raised over round columns which allow people to penetrate and access the internal courtyard. The old building remains white while the new additions display joyous colours. The division between the public space and the internal courtyard is made of movable panels. When the panels are open the internal courtyard flows into the public space and becomes more of a social gathering space for the village. While when the panels are closed more space is given to the school and its students. The empty space around the old and new buildings is therefore used both as a public space for the community as well as an internal courtyard for the school.

March 26, 2020 In

THE VILLA OF MR. X

BEFORE AND AFTER

THE VILLA OF MR. X

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

ALN | ARCHITEKTURBÜRO LEINHÄUPL + NEUBER
Markus Neuber
Paul Rapp
Katharina Riedl
Valentina Damian
Klaus Köstler
Peter Naumburg
Petrit Pasha
Stefano Baldon
Stefania Di Pisa

STUDIOARCH4
Gjergji Dushniku
Lorin Cekrezi
Klaudjo Cari
Rezart Struga
Gledis Misja
Gerti Struga

July 30, 2020 In

‘BABË DUDË KARBUNARA’ SCHOOL

EN

‘Babë Dudë Karbunara’ is a school located in Berat, next to Boulevard ‘Republika’. The orientation of the main facade is towards the boulevard.

The conceptual and functional essence of this building lies in the integration of outdoor urban spaces with the school. Thus, the layout allows indipendent entrances to the gym, auditorium and library for the community to use in the afternoons. Between the boulevard and the school entrance is the inner courtyard, which is accessed from the street.

On the ground floor, are located the administrative premises of the school such as the offices of the directorate, the secretariat, a teachers’ lab and a meeting room, the health offices, as well as secondary facilities such as archives. Classes and laboratories have been distributed on the upper floors, so that they are less affected by street noise. On the classroom floors it is possible to create small semi-open spaces using the terraces of the following floors. These spaces serve as buffer zones where students can spend their free time between lessons.

AL

Gjimanzi Babë Dudë Karbunara ndodhet në Berat, në krah të Bulevardit ‘Republika’. Orientimi i fasadës kryesore është drejt bulevardit.

Thelbi konceptual dhe funksional i kësaj shkollë qëndron në integrimin e hapësirave të jashtme urbane me ato shkollore. Për këtë arsye, planimetria është zhvilluar e tillë që të lejojë hyrje të veçantë për hapësirat e palestrës, auditorit dhe bibliotekës për komunitetin që të mund t’i përdorë gjatë pasditeve. Midis bulevardit dhe hyrjes së shkollës ndodhet oborri i brendshëm, i cili akesohet nga rruga.

Në katin përdhe, janë pozicionuar hapësirat administrative të shkollës si zyrat e drejtorisë, sekretarisë, një sallë mësuesish dhe një sallë mbledhjeje, zyrat e shëndetit, si edhe ambjente dytësore si arkiva. Në katet e mësiperme është bërë shpërndarja e klasave dhe laboratorëve, që të jenë më pak të ndikuara nga zhurmat e rrugës. Në katet e klasave është krijuar mundësia për të krijuar hapësira të vogla gjysëm të hapura duke shfrytëzuar tarracat e kateve të mëposhtëm. Këto hapësira shërbejnë si zona buffer ku nxënësit mund të kalojnë kohën e lirë ndërmjet orëve të mësimit.

March 23, 2020 In

Patos Cultural Center and Public Spaces

En

The regeneration of the spaces of the Patos Cultural Center involves a project extending beyond the walls of the building. The project has studied the Cultural Center itself and the public spaces surrounding it, including the park behind it.
During the preliminary urban analysis carried out in the city of Patos, a longitudinal extension and a lack of public spaces are noted. The landmarks of the city of interest in Patos highlight the potential to create public space in the area where the cultural center and the old circus are located. This area extends along the main promenade and carries historical, social, cultural and architectural value to the city of Patos.
In the solution of the project of the area is proposed a public space divided into three areas, the semi-urban one closely connected with the cultural center and the main promenade. Beyond it is a quiet enclosure where a dense green public park is cured and then, in a more secluded area, a playground.
The space is divided by walkways of various hierarchies that allow for flexibility in routes and create urban pockets, small squares and green spots in the area under consideration.
Special attention has been paid to the building and the functions that make it a social center. A strong part of the concept is the interconnection with the surrounding public space, which is also shown in the many cracks and penetrations that occur to the building.
The descending terrain is visible in the distribution of the building’s functions. The front porch along the promenade includes the library which descends one level internally and connects to the urban pocket created behind the building. The other side of the front includes multifunctional halls, while the oil museum restores the character and history of the oil city of Patos. On the upper floors there are two auditoriums where one is large and can function as a theater or cinema. Downstairs are the existing functions, the children’s garden and the retirees’ club that benefit from individual access to the urban pockets being created. The building connects with the itineraries and squares to the old circus turned into an open green auditorium.
The concept of regeneration of this space intertwines harmoniously and inseparably with the social functions of the Cultural Center.

AL

Rigjenerimi i hapesirave te Qendres Kulturore ne Patos perfshin nje projekt te shtrire pertej mureve te godines. Ne kete projekt eshte studiuar QENDRA KULTURORE ne vetvete dhe HAPESIRAT PUBLIKE perreth saj, duke perfshire dhe parkun qe ndodhet pas.

Gjate analizes urbane preliminare te kryer ne qytetin e Patosit vihet re nje shtrirje gjatesore dhe nje mungese e hapesirave publike. Piketimi i poleve te interesit te qytetit te Patosit nxjerr ne pah nje potencial per te krijuar nje hapesire publike ne zonen ku ndodhet qendra kuturore dhe cirku i vjeter i qytetit. Kjo zone shtrihet pergjate shetitores kryesore dhe mbart vlera historike, sociale, kulturore dhe arkitektonike per qytetin e Patosit.

Ne zgjidhjen e projektit te zones eshte propozuar nje hapesire publike e ndare ne tre fasha, ajo semi urbane e lidhur ngushte me qendren kulturore dhe shetitoren kryesore. Pertej saj ndodhet fasha e qete ku eshte kuruar nje park publik me gjelberim te dendur dhe me pas, ne nje zone me te izoluar ndodhet terreni sportiv.

Hapesira eshte ndare me shetitore te hierarkive te ndryshme qe lejojne fleksibiletet ne itinerare dhe krijojne xhepa urbane, sheshe te vegjel dhe kende te gjelberta ne zonen e shqyrtuar.

Nje vemendje e vecante i eshte kushtuar godines dhe funksioneve qe e kthejne ate ne nje qender sociale. Pjese e forte e konceptit eshte nderlidhja me hapesiren publike perreth, gje qe tregohet dhe ne carjet dhe penetrimet e shumta qe i behen nderteses.

Terreni ne zbritje eshte i dukshem ne shperndarjen e funksioneve te godines. Pjesa ballore pergjate shetitores perfshin biblioteken e cila zbret me shkalle te brendshme nje nivel dhe lidhet me xhepin urban te krijuar prapa godines. Krahu tjeter i pjeses ballore perfshin salla multifunksionale ndersa prapa eshte pozicionuar muzeu i naftes qe risjell karakterin dhe historine e naftes ne qytetin e Patosit. Ne katet e mesiperme ndodhen dy auditore ku njeri eshte i madh dhe mund te funksionoje si teater ose kinema. Ndersa ne katet e poshtme jane pozicionuar funksionet ekzistuese, kopeshti i femijeve dhe klubi i pensionisteve qe perfitojne nga aksese individuale ne xhepat urbane qe krijohen. Godina lidhet me ane te itinerareve dhe shesheve me cirkun e vjeter te kthyer ne nje auditor te hapur te gjelberuar.

Koncepti i rigjenerimit te kesaj hapesire nderlidh ne menyre harmonike dhe te pandashme hapesirat urbane me funksionet sociale te Qendres Kulturore.

March 27, 2020 In

THE HUB OF MEDITERRANEAN TASTE

CULTURE QUARTET COMPETITION

LEAGUE OF WRITERS

THE HUB OF MEDITERRANEAN TASTE.

Made in Albania

The idea of the project is to use the League of writers as a center for the promotion of the Albanian and Mediterranean wine & food culture inside the city of Tirana. The aim is to realize a structure capable to be an international point of reference about feeding culture, agriculture and sustainable development.

What happens inside the League?

The building will host different functions inside, some of these will be temporary,

others permanent:

– A bookshop on wine and food culture, both Albanian and Mediterranean, selling of professional and traditional tools for cooking, selling of biological and local products;

– A multifunctional hall capable to host meetings and debates about food and wine culture, about food production and sustainable agriculture;

– A school oriented on traditional food and cooking, with classrooms equipped to host courses and workshops;

– A cafè, which can work as a meeting space independent from the opening hours of the other activities;

– An administrative area to manage and organize all the different activities.

How it relates to the city of Tirana?

The new “Hub” is a public building that will offer services to the city. It will be accessible and open for daily activities, weekly meetings, or monthly events. Thanks to the presence of the courtyard, cafe on the ground floor, in the space of the portico, will also be a place of exchange and a daily meeting point. The new “Hub” will be for the city of Tirana a benchmark for the gastronomic culture, to promote it and for its spread.

Who use this building?

This space is open to all the citizens of Tirana interested to learn and develop a culture related to the world of taste and flavor. The Hub is open to professionals in this field who wants to participate to an extended net related to the excellence of food tradition in Albania and in the Mediterranean countries; to tourists who are curious to know and taste the local food culture and its specialties; to producers who want to spread their products and show their specific qualities; to people who want to learn cooking following local traditions or experimenting other kind of cuisine; to chefs who want to share their experiences and knowledge.

 

Prof. Arch. Peter T. Lang, Curator

2A+P/A Associates

Gianfranco Bombaci

Matteo Costanzo

Consuelo Nunez Ciuffa

Alessandro Acciarino

Gaia Ascone

Eleonora Ghezzi

Silvia Sanchietti

Teresa Scheibova’

Nicola Secchi

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