Introduction

Tirana needs a new mosque, not only for the Muslim community and not only to meet the needs of a growing number of Muslim citizens, who are served today by a modest network of mosques but also because our capital must meet a missing corner of the triangle that makes this city a special place. Religious harmony triangle between the three main religions, since times, has been a point of reference and is reflected not only in the local traditions of the citizens in Tirana, solidarity, and mutual respect. While the two other religious communities have already taken their places of contemplation, today, under such conditions, the Muslim community does not have its own religious space. Religious people living within the borders of Albania are heterogeneousAre the Muslims – who make up the majority – and the Christians, each with their own religious communities Muslim, Bektashi, Orthodox, and Catholic. 

From 1967 to 1990 religious institutions in Albanians were closed by the regime of the time and clerics were persecuted or eliminated. The nonexistence of God was propoganded in schools and Darwin's theory was introduced to offset the creation and existence. The believers, men and women were not allowed to practice their religious rites and during that period the Communist Party was the only one that allowed god to believe in, at least in public. Most religious institutions were destroyed or transformed into warehouses for military uses, or cultural centers of communist propaganda. Only a few buildings are kept intact that had architectural and historical significance, and surprisingly the regime was sensitive to beauty and its values. After 1990, when the communist regime fell, religious institutions reopened their doors. 

The citizens of Tirana require a new mosque to become not only a space for spiritual prayer in a city of the 21st century, but also a place for the expansion of knowledge of Islamic culture with dedicated space for information and education activities as well as for anyone interested in history or actuality of Islam. Tirana will have this new space, this new index, new pole, and so on to convey the full, for its citizens, for its visitors for the new generations as an expression of its own uniqueness, as an expression of a value, for which we all, regardless of belief, will be proud and aware, for the priceless value of this asset. Mosque is another reflection of a new century, and while it can make a complete cohesion between tradition regarding the preservation of spaces and reflection of origin while maintaining all the features needed for physiognomy most beautiful building of a new Islamic space of worship. 

The mosque should interact with the entire city, with the whole community, and should mean something even to those who do not belong to this religion and this "something" of course, more than the words, lies in the image of a building of the new mosque itself. We want not only to be a place of spiritual rituals in the service of Muslim believers but also a landmark of a magnetic force, to bring people closer to God, religion, and the universal values of humanity. We want the new mosque to be a building open inviting the entire community, not just a building with the door closed for service in the city. The new mosque will be a place of worship, knowledge, and culture; to become a center of Islamic culture. The New Mosque should be a place of peace and spiritual individual and social reflection.



From the above data and the real conditions, I wanted to treat the project as it is little known and rarely used in previous ones, but with a somewhat different and reforming approach, more aesthetically of the Mosque typology; somehow trying to bring conceptual innovation and to give a contribution, however modest, in trying to change the perception of broad measures for this typology. This perception has remained relatively rigid since early times until today. While the typologies for similar buildings of worship have made somewhat of an effort and achieved change the perception remained for them.

The main reasons for choosing this site are very controversial. But being aware of the real debate about the most appropriate place for the construction of the New Mosque of Tirana, in consultation with the leader of the diploma and the professors of the department, have chosen this site, “Namazgja”. The site itself is the most convenient option, as it offers the highest capacities available from all points of view, in terms of a space in the center of Tirana. Maybe a site in the suburbs of the city will provide more options to create a spacious environment for meeting the growing needs of this community, but this site is more concrete and offers more architectural and urban challenges. And indulge in some way, even as a result of the solution that I think about it, both sides of the debate about the location. 

It will be a hypocentral object and multi-functional and therefore require a more accessible location by satellite facilities and all the faithful of the city with greater ease than another in the suburbs. Even the history of the site is destined for this object. Urban and environmental conditions are almost optimal. This significantly favors the possibility of creating environments that comfort good and usable on time and at full capacity by all citizens of Tirana, by returning the lost value in use and adding one more attraction, in a city that does not have a big number, compared with other European capitals and global ones.

The Site is located almost in the center of the park before the Parliament of Tirana, the former “Namazgjaja”, and the "Fan Noli" square. Accessibility of the site is very good. The area is rich in relatively older buildings since it is very close to the "Tirana Castle". Is a high-density green area, as is currently a park. There is a very good orientation possibility from the south and east, and, since it is a busy area with no construction, the environmental and solar conditions are perfect on all sides of the site. The current Functionality of the site is minimal, relative to its real potential, therefore is an immediate need for intervention, whether in improving the current use, whether in giving a new function, or trying to preserve more green and free spaces for the citizens of Tirana. This space is turned into a real unused annex and expects its revitalization.



Infrastructure


Roads:

The site is boarded by two of the most important arteries of the city, such as the "Small Ring Road" near the "Lana" and "Workers of the Renaissance" which continues after "Elbasani Street". The site is linked by two lines of urban transport with the respective stations near the square.

Water systems:

Thanks to its location at a point near the cross of main roads and Lana, makes it easy, whether for potable water systems, drainage, and sewerage as well.

Other networks:

The gray water system, Electricity, Gas, and Telecommunications it seems clear their good accessibility to the site in study.






Environmental conditions


Climate:

Albania has a Mediterranean climate with dry-hot summers and mild-wet winters. The average annual temperature ranges from 15 to 20 degrees centigrade. While the climate in Tirana has all these characteristics, adding that is among the cities with more annual rainfall per year as well as a very high temperature during the summer, the wind blows mainly from the northern quadrant, but during the winter months, by the south. There are little foggy days in Tirana and the average annual relative humidity is 70% in the air. Due to its geographical position, Tirana is characterized by abundant sunshine hours but that like many other things has two sides of the coin; things to be considered. The positioning and orientation of the site are quite good regarding sunshine and winds.

Months - December, January, February:

Are entirely outside the comfort zone. Need for conventional heating and action of active and passive solar systems. There are humidity problems.

Months - November, March, April:

Kane thermal comfort in the area of only 30% thereof. These days lie outside the boundary of shadowing, therefore the problem must be solved through the bars of brisoleil. The rest of the days action is needed only for active and passive solar systems.

Months - May, September, October:

Kane thermal comfort in the area of about 40% thereof. This is the period where only shade. 40% of days outside of the comfort there is a need only to move the active and passive solar systems. For the remaining months outside of the thermal comfort zone, ventilation must be introduced.

Months - June, July, August:

Kane thermal comfort in the area of ​​40% thereof. This is the period where only shade. 20% of days outside of the inner comfort use of energy resources. The remaining months are placed outside of the comfort zone of ventilation and the high thermal mass of the ventilation during the night.

Air Quality

The existence of green space that surrounds the site, creates good opportunities for maintaining the air quality. This is very necessary and enables the creation of a livable environment, more especially necessary in the summer period when the climate in Tirana is very embarrassing. Another positive side is the presence of Lana River near the border of the square.

Drainage

Terrain presents the field of view of natural water currents. Proximity to two major arteries of the city especially the River of Lana creates an ideal opportunity for solving this problem. Also having a nice slope toward the river, makes it have no problems from this point of view to the site.

Conclusions of Environmental Analysis


  1. Tirana is characterized by a generally mild climate. Given that we study the site bounded by the southwest by an area of vegetation, it can cause the creation of a regional microclimate that can provide climate comfort, especially for the hot months of the year.
  2. Regardless of the wind, since the site under study has SE-NW orientation, in the hottest months and the coldest of the year the wind direction will be perpendicular to the longitudinal extent of the site. This gives rise to thermal comfort for the hot months of the year but could be a problem for the winter months if we do not properly take measures for functional separation and volumetric modeling for the northwest side of the building. A positive factor for protection from cold winter winds coming from the northwest is abundant green areas and the possibility of creating natural barriers with tense trees.
  3. Regardless of the solar light, the site we study has such an extension that allows full natural lightening almost throughout the year and at any time of the day. Must appoint that in these conditions, we must take care of design and development, to eliminate the overheating problems that could occur in the summer period.



The size of the territory:

Territory is an area suitable for construction somewhat social, and has an interesting stretch. But not enough to give the full solution, of the Muslim Community requirements, whether other citizens of Tirana for more free and recreational space in the city. The site has an area of ​​9500 square meters, but my work will pick up the entire area of the park approximately 20,000 square feet, to make a wider requalification.





Conclusions from the analysis


Positive sides:

  • Has a very favorable position, thanks to the proximity to the center and main institutions or services, the hedged with two important arteries, the River of Lana, and green spaces
  • The size of 9500 square meters is abundant, plus I will study and take in the rest of the park
  • Accessibility is very good
  • Sunlight and Natural lightening is optimal, given the geographical and climate conditions of the country
  • Has positive side-winds, given the orientation of the building for summer
  • History of the old and the new destination that will meet here


Negative sides:

  • May not be given a final solution to justify the use of this site due to insufficient size and inability to greater exploitation
  • Proximity to one of the noisy crossroads creates a small acoustic pollution for the site
  • Proximity to Catholic Cathedral 




Thematic criteria


Historical knowledge and its evolution are shown above, but I will go on a few key points to make it simple. The reason for the birth of the mosque typology, as any other typology is clearly functional. Its intention is for a common space for the community of respective religious rites of worship. Its dominant element is the prayer hall, which predominates in the plan as well as in altimetry. Another element of importance attached by function and location is the ritual cleaning area (ablution). 

The original term “mosque” is translated University, because of the function for which purpose is used most of the time, and that is to study, for those who attend. Given the first word that has gone down in the Quran-“ Read”. To give precedence thereby broadening the knowledge for the knowledge of God, ourselves, and those around us, whether people or everything else. Element 'minaret' was initially born as a need to have a high place to announce the time of prayer, and then has been adopted as a high element that was for the bells to Christians, with the difference that here would be the human live voice, for this is forbidden the use of other forms besides the voice of the caller (muezzin) and only live.

In the beginning, the teaching was made in the great hall, but later with the creation of big states began to take separated area functions halls in specific character versus ritual. So these buildings began to return to the complex including other functions, but already formalized. Mosques were back in the main centers of meetings and discussions, and not only that, for all the community was the epicenter of the activity of its main culture typologies. The development of mosques in the world was due to the influence of the respective cultures of the area, this doesn’t bring any functional problems. Many elements that we know today as the distinctive features of mosques were not part of this typology early and are not as necessary as the dome and the minaret, which nowadays have lost their function. 

In modern times of course human needs and requirements have evolved and this requires a better fit with them, not to take for granted canonical architectural styles and solutions, for which it must be admitted that the broad masses of the population have more difficulties to secede and to accept the innovative ones, regardless preserving basic principles of operation typology.

Religious architecture in general and the mosque which include architectural and functional turn requires efficient and appropriate use of the three main elements of nature as are:

Light Water Air

The world promotes and enhances these elements in the human brain with a mystic connection that they represent part of our subconscious, to create a comfortable and soothing environment where you can concentrate on meditation and somewhat disengage from stress, problems, and routines of terrestrial life to be closer to the divine to facilitate the spaces created.



Concept


Discussions:

In public opinion, interest groups, not only had extensive discussions but were interesting. Following these discussions, I managed to trace and insulate two dominant opinions:
  • First-opinion is seeking to avoid the situation of ruining another garden space for general public use and that can be used in special cases by the Muslim community for performing their ritual 2 times a year as required. Is not needed to increase further cemented areas in the city that do not have many green spaces already. They also rightly demand that the needs of the community of believers be met in another part of the periphery where more free space is still vacant with buildings, given the prospect of future development of the city.
  • The second opinion requires that the mosque should be built at this site, because the need is urgent for a large area, somewhat to meet the requirements of a rapidly growing community the current infrastructure dented by a communist system can’t cope with the present. They also say that in terms of the ownership history of the site, this is a win-win situation with the being that is majority owned by the Muslim Community, while other properties are not returned. The destination is preserved as the origin of land known as “Namazgja” (praying square) and is used for this purpose early on, Eids prayer, and for public gatherings.




Final Conclusion


To satisfy as best the two currents of thought, I decided that the project could be developed in this area, while also maintaining the actual function; park and “Namazgja”. This could be achieved by developing the main building, not in the main garden space; leaving it open as an open floor. Having established that the main function of prayer on this "floor" and by moving down complex functions ancillary to this public space, it also favored by a certain slope that has the square. Part of the open will continue to serve all citizens throughout the year, while believers will use it again as “Namazgja” twice a year to perform the ritual prayer of Eids. So increasing the effectiveness of the use of such a beautiful space allows this urban space to become a new point of attraction for the city.

I tried to involve some of the ideas and research studies Frontline made.
  • Division into three different levels in altimetry, to relieve Ground floor space for the public.
  • The division into three different levels of altimetry reflects the Islamic concept of stages of human life. Odd 0.00 quota which is open to all, is a reminder of this life that we live, actuality. Odd -1, where are located the auxiliary function areas of the mosque; representing the life in the grave. Odd +1, the prayer hall, representing the third phase of general human life in Islam, is permanent (paradise), and symbolically above is as close to God. When one climbs above is "disconnected from the concerns and worries of this material world to be closer to the spiritual world, towards the divine”.
  • Using as a geometric basis for the upper part of which is the prayer hall is the eight-pointed star, an identification of the elements of Islamic architecture.
  • Use in the shape of the petals stylization under the golden ratio or the sacred spiral that is derived from the Fibonacci sequence, also called "the fingerprint of God", given that all-natural elements are subject to this "law".
  • The use of the rose-stylization element of form and volume based on the natural character of the site creates a kind of fusion with nature. The white rose hasn’t any special signification in Islam, but it is widely recognized as a symbol of beauty and purity, which complies fully with this religion.
  • Also, the positioning of the grid square and the discrepancy construction zone with a constrained qibla direction asks for a non-regular form, this one also to enable visibility and a much better conception of the multiple angles of visual perception we have available. The indirect natural illumination is required for this typology to provide a quiet and mystique space for achieving better concentration in worship rituals. High environment care and simultaneously favoring more Sunning management and better circulation of air purification, which has been the concept of the main ideas. Special way in quote -1, through corridors

What we have in mind in Islamic religious monuments, is the creation of special functions for both sexes, they are separated. For this reason, all the facilities you have set are doubled. Given the direction of the qibla, is the well-adapted structure of the building, and its function respects those limits for some specific spaces such as bathrooms.















0.0 Floor


It is a space open and freely usable by everyone, to walk, stand for recreational value, picnic in parts steep grass, reading; located on this floor is a library where there are two scale-elevator groups. The floor is lined with concrete slabs-arms to maintain continuity with the sidewalks. This floor will serve as a great praying area in the case of two annual Eid ceremonies. With a capacity totaling 10 thousand people.




Floor -1



The main ancillary functions of the religious complex are as part of ritual cleaning with toilets and separate sinks and showers. Two small conferences that turn into a big one. Library with separate spaces and reading books with communicative space. Teaching classes for each gender on both sides of the facility. Guardians offices, dorm, dining, bathrooms with showers. Also offices in the part of boys for the imam, the sheikh, the muadhin. Offices and facilities for periodic publication of the needs of the mosque. Information office in each arm. Commercial premises in the ears of both sides to better satisfy a portion of which have specific requirements for particular product believers. These functions are separated by corridors and adapted tailored towards the specific requirements of each function. There are two ramps in the basement subtraction; parking.



Floors -2 and -3


There are 250 parking places and relevant technical facilities for water and pumps warehouse, cabin and generating electricity, the environment of the establishment of air cleaning equipment and its circulation in the building. Other facilities for various waste disposal and storage of materials for specific cases.






Floor +1


On this floor is a large hall with a capacity of 2,050 seats for prayer, facilities for shoes for those coming from the main stairs ramps, a block scale-elevator that has access to this floor, 3 lifts, and a scale. A smaller ablution area for internal needs. Mimbar, where board a Khateeb (lecturer) on Friday, the mihrab where stands the prayer leader (imam). Bookshelves, and two emergency stairs on this floor only.





















Construction



Construction of the building is solved in three separate constructive levels. The first level comprising two floors underground and a popular positions ancillary floor is a concrete-steel design, reinforced in separate parts of the structures that underlie above the metal elements. The second level is where the open portion of the level-set lift blocks, metal columns, ramp-stairs, and entry space trusses great as the structure of the upper reinforcement. The third level is the upper part, where the white rose with metallic construction and for increased stability with the support of scale-lift groups which connect large trusses space capriate, that serves mainly to support elements of the summit of the facility. 

The rose is not sin conceived structure that is consistent with itself and that supports the weight and provides increased stability from the bottom. Petals themselves are generally space trusses, and there are the major constraint is the metal beam that forms a network with triangles by the examples of buildings with similar construction around the world. Lighting is accomplished by space between two petals, which join with structural glass reinforced with a metal structure.













Facade materials


For wearing on the outside petals have chosen a new material, used in buildings of similar structure, Glass Reinforced fiber plastic (GRFP), it is very resistant to weather conditions and industrial, and also takes easy form in manufacturing necessary for the object and fitting, realizes greater aesthetic expectations.

Structural glass with three layers, keeping a good metal structure shaped Islamic motifs to enhance people's connection to the object.

Glass windows of complementary facilities such as classrooms, offices, and the library are on the same glass, but it has two levels of transparency.

Upholstery is a hooked gypsum material that bends in two directions, to add stability. There are placed two layers of 1 meter in height from the floor of white wood spins, for the support of the faithful people during rest or listening to the lecture.

Part of the podium is paved with concrete slabs. Spaces between floors are glazed with great resistant glass to scratches as well as shocks.



































Credits:

© Festim Toshi, ARCFLY - 2014
 Iconic works from artists including Piet Mondrian, Andy Warhol, Damien Hirst, Marcel Duchamp and more are reinterpreted as cross-sectional drawings of buildings in this series from Italian architect and illustrator Federico Babina (+ slideshow).



 The collection of 27 images, entitled Archist, playfully interprets the styles and themes of some of the world's greatest artists including Picasso, Salvador Dali and Joan Miro, and imagines them as architectural forms.



 Babina explores the symbiotic relationship between architecture and art, and how they would interact with each other.



 "Art and architecture are disciplines that speak and lightly touch each other,” explained Babina. "The definition and function of architecture is changing constantly with the development of contemporary art."



 The artist tried to imagine what a house designed by Dali or a museum designed by Miro might look like.



 "A sculpture is like a micro-architecture, a facade can become like a painted canvas and a building can be shaped as in the hands of a skilled sculptor," he said.



 Among some of the most recognisable works is Roy Lichtenstein's comic-book style and block colour schemes laid over a Modernist-style house on stilts.



Sliced images of Warhol's Marilyn Diptych are spread across rooms decorated in bright colours with two Campbell's tomato soup cans placed atop the rectangular building.


 Damien Hirst's 2005 piece Wrath of God featuring a shark set in formaldehyde and his colourful dot series Mickey are used to bring a modular building to life.



 An eclectic and almost random arrangement of shapes make up the Picasso building, echoing the artist's dabblings with Cubism.



 Marcel Duchamp's building, meanwhile, draws on the artist’s Roue de Bicyclette, reinterpreting it as a pulley system watched over by the Dadaist's Fountain urinal.



 Salvador Dali's distorted and surrealist shapes are propped up by wooden stilts and feature windows resembling an eye and nostril in Babina's interpretation.



Joan Miro's Dancer is used to liven up a square building with the addition of circular and square windows and a deep blue finish. 



 "Painting, sculpture and architecture have always been complementary disciplines that influence each other and grow and develop among common paths," Babina concluded.



 The artist is planning on turning this and some of his other work into a book.



 Previously, Babina created an illustrated series of film sets in self-contained cross sections called Archiset. He also designed an alphabet of illustrated letters that depict buildings by 26 famous architects.



 Here's some information from Federico Babina:

Can a work of art be a building ?
ARCHIST is a playful interpretation of the expressive language and aesthetic of some of the most popular artists. I enjoyed creating 27 "paintingsprojects" which represented 27 different artists.

 There is a Symbiotic Relationship an implicit partnership between Architecture and Art, different art branches meet in many fields.



 Art and architecture are disciplines that speak and lightly touch each other, the definition and function of the architecture are changing constantly with the development of contemporary art.



 In this exercise of style I took pleasure imagining architecture steeped of art, designed and constructed through the interpretation of an artist’s language.



 Art, architecture and sculpture are historically linked by an unbreakable thread, we find examples of paintings and sculptures having a direct influence on architectural design.



 It is easy to find the art hidden behind an architectural shape or see reflected a geometry of a building painted on a canvas. It is impossible to conceive of the history of art in exclusion from that of architecture.


 Painting sculpture and architecture have always been complementary disciplines that influence each other and feed to grow and develop along common paths.



 A sculpture is like a micro-architecture, a facade can become like a painted canvas and a building can be shaped as in the hands of a skilled sculptor.



 I like finding the hidden architecture in parallel universes, in this sense, the illustration helps me to explore alternative languages.



 I tried to imagine how it would have been a house designed by Dalí or a museum designed by Miró.



 These images represent an imaginary and imagined world of shapes that uses the brush to paint architecture.





China International Practical Exhibition of Architecture (CIPEA) began in 2003 to bring together twenty-four renowned international and domestic architects onto a single site situated in Laoshan Forest to the west of central Nanjing city. Within the site there are four public buildings and twenty small houses that have at least five bedrooms, public spaces, and hospitality accommodations within an area of 500 square meters. The Number Four “Blockhouse” by AZL architects constructed in 2008 is just one of many creative interpretations of the proposed brief set by CIPEA.


The house is inspired by the idea of a pagoda. By stacking four cubic floors vertically to define the building, the site is minimally excavated and less of the surrounding forest is disturbed. The building rises out of its valley site to overlook the adjacent stream and is enveloped by trees. The ground floor features living and dining spaces while a communal roof terrace rises just above the trees. The rood merges into the landscape as another living space, complete with pool and wooden deck within the panorama of the forest.


The geometric shape is sculpted from concrete and finished in a white protection surface. A minimal opening separates the white exterior, providing a small glimpse of the richness inside the house. Along with the horizontal breaks on each floor, in various locations there are larger unique curved apertures that allow the surrounding landscape to be framed and highlighted at certain locations. Prescribed views have a long tradition in Chinese art history and traditional Chinese gardens, designed to make the viewer reconsider and contemplate the landscape.


Although the building seems closed up with such limited and restricted views outward, the white interior spaces still feel warm and inhabitable. Not only can the residents travel vertically through the central core of the house, but they can also inhabit the outside without being exposed too much to the elements.



 





   


                                                                                                     
Courtesy of  AZL architects – Photographer Yao Li