An Architecture for Marubi’s People
Marson Korbi, Michelangelo Manzari, Raffaella Dicuonzo, Nicoletta Azzariti, Eliana Ferrara
Our work explores the city of Scutari in northern Albania.
Landscape, nature, hydrological system and historical architecture were the main areas of study our project developed.
The city is not directly related with the coast of the lake, a large extension of agricultural fields including a complex irrigation channel system and also swamp vegetation, separate the urban centre from the water. The landscape is disturbed and divided by 5km abandoned by-pass, interurban highway which had to function also as damn for water changing levels. Studies also focused on the old bazaar, which was destructed by the communist regime in the 60’s, a very important economical and cultural centre of Scutari.
The project proposes the reuse of the abandoned route as a park, a promenade.
Who influences you graphically?
Scutari represents an important cultural heritage in Albania, influenced by Ottoman and Venetian culture. Graphically our work is an attempt to give a representation influenced by the Bauhaus age. We were heavily influenced by Paul Klee’s paintings, his uses of colour and the way he represents landscape elements. At the same time we can say that Scutari was the cultural capital of Albania and influenced more writers and painters formed in Turkey or Venice. For example, Kol Idromeno was a famous artist and architect that has done many works at Scutari; his paintings represent the landscape of the city, the lake, and agricultural fields and his buildings.
Therefore, the target was to put together two different cultures and styles belonging to the same era through the use of similar patterns and textures embedded within the Scutari culture.
What is the effect and purpose of the juxtaposition of the monochromatic images of people within your project? What are the implications of time and space given by these silhouettes?
In 1856, the Italian photographer, Pietro Marubi, emigrated in Albania, Scutari. We can say he was the first photographer in Albania to first take pictures of the country and of Albanians.
Marubi shot pictures of landscapes, historical buildings, historical places and everyday life of the city and the old bazaar. So it was very important for us to use these images for the reconstruction of plans and old bazaar.
Monochromatic people are extracted from Marubi’s pictures; we tried to position each of them within the project. We can call it an attempt to join the two eras, old and economic developed city with its people and life, with new architectures and structures we propose that enhance the landscape of Scutari. We positioned Marubi’s people near the coastline, the swamp and upside the agricultural fields from wood walkways, from the top.
How does the use of texture and a very delicate palette help in establishing an explicit atmosphere?
Graphically the images present the tissue texture of silk, it is reminiscent of Venetian silk. It gives a nice effect when applied to images. It seems that everything has been sewn on tissue. It is reminiscent of Idromeno’s paintings and with the use of this soft palette, we wanted to create the same colors of the real landscape of the lake of Shkodra, the mountains, the castle and fields. The project had to put in relationship the architecture with this place, to generate such an atmosphere the texture of the old stone of Scutari’s streets and old bazaar above the soft palette gives the real sense of how our project became a part of nature element’s. We also think that the nature is something to be appreciating from a painting and our project could be considered like a part of a painting. In addition, the textures used represent the most significant materials present in the culture of Scutari.
How do you stage each image to tell an aspect of the proposal?
A functional diagram explains the different parts of the project, graphically influenced by Paul Klee and his paintings placed by project themes.
The Master plan drawing describes the entire proposal of the diploma thesis, from south to north, we have: A view of the river gate with the two buildings, one in a rock and the other in the lower field. A general view of the new bazaar, at the foot of the castle hill, inside a large park and in relationship with the river, connected by the old bridge with the social housing district.
On the new bazaar the view of the touristic port, it is a small port for tourism and fishing activities, like the old one it is situated on the south part of the bazaar and a view of the new shops in the revival of the “Bexhisten” building, a complex with handicrafts products.
The agricultural park square, represents a conceptual zoom of the agricultural fields of the city, whilst the isometric view shows the proposal. Wood walkways from the ex-highway, the new promenade, to the lake crossing the irrigation canals and fields. On the detail we have the view from the linear park that watches the castle hill, the image shows how the urban system passes through the linear park and ends with a stone building bastion and on the other way the wood light system crosses the linear park and ends with high wood towers. The other two images are located on the walkway. One of them shows one of the terminal structures, the end of the walkway on the swamp area, with a restaurant building and a swimming pool. The last view on the linear park shows the Northern Gate towers contextualized on the agricultural area.
In conclusion, a study of the aqueduct gardens on the northwest area of the city connected with the linear park and the towers’ area. These squares actually uncultivated are propriety of the municipality of Scutari and we propose their reuse with public gardens connected to each.