Restoring and Reinventing Albanian Identity: A New Mosque and Museum of Tirana & Religious Harmony

 

by Dan Madryga

 


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Winning entry by Bjarke Ingels Group

 

Tirana, Albania might be the last place that many would associate with cutting edge architecture. The capital of a poor country still struggling to sweep away the lingering vestiges of the communist era, it is understandable that architecture and design have not always been a top priority. Yet in the face of the city’s struggles, Tirana is striving to reclaim and reshape its image and identity, and international design competitions are playing no small role in this movement. And while Tirana has yet to be associated with contemporary architecture, the implementation of these design competitions has introduced a handful of renowned architecture firms to the city with high hopes of bolstering the international image of Albania. In 2008, MVRDV won commission for a community master plan on Tirana Lake that will herald forward thinking, ecologically minded urban development. Earlier this year, Coop Himmelb(l)au won a competition for the new Albanian Parliament Building with a design intended to symbolize the transparency and openness of democracy. Most recently, Tirana can now add BIG (Bjarke Ingels Group) of Denmark to these ranks as the winner of the New Mosque and Museum of Tirana & Religious Harmony Competition, an ambitious project aimed to further rekindle a tattered Albanian cultural identity.
The recent efforts to renew and improve the physical image of Tirana can be attributed in large part to the city’s three-term mayor, Edi Rama. With his background as an artist, Rama has launched a number of initiatives over his decade in office, intent on improving the aesthetic image of Tirana. The design competition for the mosque and cultural complex can be viewed as the latest component of his “Return to Identity” project, which has gone to great lengths to remove the many unsightly and illegally constructed buildings that plague the city and help provide a clean slate for more progressive architecture and urban design.

The Mosque and Museum competition focuses on reclaiming a key religious and cultural identity that was long suppressed by communism. While Albania claims three chief religions—a Muslim majority alongside significant Orthodox Christian and Catholic communities—a strict communist regime ruthlessly banned religion. For over four decades, Albanians were under the thumb of an atheist regime where religious practitioners could face humiliation, imprisonment, and even torture and execution. The anti-religious campaign reached its zenith in the 1960s, when most Mosques and churches were demolished, and a select few with architectural significance were converted into warehouses, gymnasiums, and youth centers.

The revival of religious institutions began with the 1990 collapse of the communist regime. Yet decades of suppression took their toll, with the vestiges of Albania’s religious heritage essentially reduced to rubble. While the two Christian religions have since regained centers of worship, after twenty-one years of restored religious freedom, Tirana still lacks a mosque suitable for serving the sizable Muslim population. Only one mosque still stands in the central city—the historic Et’hem Bey Mosque—certainly a potent symbol of Tirana’s Islamic heritage, but particularly inadequate in size to accommodate the large numbers who would want to worship there on special occasions.
Hence emphasis in the brief concerning the size of the building: a grand mosque that can adequately serve 1000 prayers on normal days, 5000 on Fridays, and up to 10,000 during holy feasts. Supporting this mosque, the program also specifies the design of a Center of Islamic Culture that will house teaching, learning, and research facilities including a library, multipurpose hall, and seminar classrooms.

Another component of the competition program, the Museum of Tirana and Religious Harmony, moves beyond the realm of the Muslim community in an explicit gesture to bring together citizens from all faiths and backgrounds. Aside from presenting the general history of Tirana, the museum will focus on the city’s religious heritage, highlighting both the turbulent moment of suppression under communism as well as the religious harmony that has since been reinstated. Educating the public about Islamic culture and promoting religious tolerance at a time when relations between religious communities are strained throughout the world is certainly a noble objective.
Underlining the importance of this project is its prominent site on Scanderbeg Square, the administrative and cultural center of Tirana where major government buildings share an expansive public space with museums and theaters. The square itself was the subject of a 2003 design competition that will eventually reclaim the urban center—at present a rather chaotic vehicular hub—as a pedestrian zone with a more human scale. Situated on triangular site adjacent to the Opera and Hotel Tirana, the Mosque and Cultural Center will be a highly visible component of Tirana’s urban landscape.

 

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left: BIG site plan; right: rendering of Scanderbeg Square to appear after redesign (image by seARCH Architects)

 

The two-stage, international competition was organized by the City of Tirana and the Albanian Muslim community and advised by Nevat Sayin and Artan Hysa.
Over one hundred teams—the vast majority European­—submitted qualifications for the first stage. In early March, the short-listing committee selected five teams to receive an honorarium of 45,000 Euros each to develop designs:
Bjarke Ingels Group – Copenhagen, Denmark
seARCH – Amsterdam, Holland
Zaha Hadid Architects – London, UK
Andreas Perea Ortega with NEXO – Madrid, Spain
Architecture Studio – Paris, France
The designs were judged by a diverse European panel:
Edi Rama – Mayor of Tirana, Albania
Paul Boehm – architect, Cologne, Germany
Vedran Mimica – Croatian architect; current director of the Berlage Institute
Peter Swinnen – Partner and architect at 51N4E, Brussels
Prof. Enzo Siviero – engineer; Professor at University IUAV, Venice
Artan Shkreli – architect, Tirana, Albania
Shyqyri Rreli – Muslim community representative

On 1 May 2011, the panel announced Bjarke Ingels Group (BIG) as the winner.

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Finalists’ UK Holocaust Memorial Design Proposals

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© Anish Kapoor and Zaha Hadid Architects & Malcolm Reading Consultants

 

After issuing a call for Expressions of Interest (EOI) in September, the United Kingdom Holocaust Memorial Foundation, together with competition adviser, Malcolm Reading Consultants, reduced a list of 97 applicants to ten finalists, all of which have submitted proposals for the design of the UK Holocaust Memorial.

The ten shortlisted firms are:
• Adjaye Associates and Ron Arad Architects (UK) with Gustafson Porter + Bowman, Plan A and DHA Designs
• Allied Works (US) with Robert Montgomery, The Olin Studio, Ralph Appelbaum Associates, Allied Info Works, Arup, Curl la Tourelle Head Architecture, PFB Construction ManagementServices Ltd, BuroHappold and Nathaniel Lichfield & Partners
• Anish Kapoor and Zaha Hadid Architects (UK) with Sophie Walker Studio, Arup Lighting, Event London, Lord Cultural Resources, Max Fordham, Michael Hadi Associates, Gardiner & Theobald, Whybrow, Access=Design and Goddard Consulting
• Caruso St John Architects (UK), Marcus Taylor and Rachel Whiteread with Vogt Landscape Architects, Arup Lighting and David Bonnett Associates
• Diamond Schmitt Architects (CA) with Ralph Appelbaum Associates, Martha Schwartz Partners and Arup
• Foster + Partners (UK) and Michal Rovner with Simon Schama, Avner Shalev, Local Projects, Samantha Heywood, David Bonnett Associates, Tillotson Design Associates and Whybrow
• heneghan peng architects (IE) with Gustafson Porter + Bowman, Event, Sven Anderson, Bartenbach, Arup, Bruce Mau Design, BuroHappold, Mamou-Mani, Turner & Townsend, PFB, Andrew Ingham & Associates and LMNB
• John McAslan+Partners (UK) and MASS Design Group with Lily Jencks Studio, Local Projects and Arup
• Lahdelma & Mahlamäki Architects (FI) and David Morley Architects with Ralph Appelbaum Associates, Hemgård Landscape Design, Barbara Kirshenblatt-Gimblett, Dani Karavan and
• Studio Libeskind (US) and Haptic Architects with Martha Schwartz Partners, BuroHappold, Lord Cultural Resources, Alan Baxter, Garbers & James and James E. Young

Although the Jury will make a final decision in the selection process, the public is invited to offer their feedback and specify which design team they are referring to: ukhmf@cabinetoffice.gov.uk.

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