competition brief_new mosque & museum of tirana and religious harmony_march '11

8/3/2019 Competition Brief_New Mosque & Museum of Tirana and Religious Harmony_march '11

1/40

1

MUNICIPALITY OF TIRANA

NEW MOSQUE & MUSEUM OF

TIRANA & RELIGIOUS HARMONY

DESIGN COMPETITION

Competition Brief

City of Tirana

March, 2011


2/40

2

ORGANIZING INSTITUTIONS:

ALBANIAN MUSLIM COMMUNITY

Xhorxh W. Bush Street, Tirana, Albania

MUNICIPALITY OF TIRANA

Scanderbeg Square, Building 2, P.O.B. 1001,

Municipality Unit 2, Tirana, Albania

COMPETITION SITE

http://www.tirana.gov.al

(To download the tender documents and all related material)

COMPETITION SECRETARIAT

The secretariat of the competition is based at:

Mosque + Museum of Tirana & Religious Harmony Design

Competition Attention:

[KONKURSI NDERKOMBETAR PER XHAMINE + MUZEUN E

TIRANES & BASHKEJETESES FETARE]

Urban Planning Department

Municipality of Tirana [BASHKIA E TIRANES]

Bulevardi Deshmoret e Kombit, P.O.B. 1001,

Municipality Unit 2, Tirana, Albania

Tirana, ALBANIA

E-mail:[email protected]

T: +355. 4.253053/169

F: +355. 4. 228430

For phone contact information:

Working Hours:

Monday to Friday,

From 10.00 15.30


3/40

3

Table of ContentsACKNOWLEDGEMENTS

MAYORS LETTER OF INVITATION

1. INTRODUCTION2. SITE DESCRIPTION AND CONTEXT

2.1.Area History Brief of Old Bazaar Area2.2.Development of Tirana Center Master Plan

2.2.1. Details about P1 zone Scanderbeg Square2.3.Scanderbeg Square Detailed Design Project

3. THE DESIGN OPPORTUNITY FOR THE NEW MOSQUE ANDMUSEUM OF TIRANA AND RELIGIOUS HARMONY

3.1.Guiding Principles3.2.Vision as Mission

4. PROGRAM DESCRIPTION AND SITE ANALYSIS4.1.The Competition Area

4.1.1. Assignment4.2.Program Description for all components of the Complex

4.2.1. Mosque and Center of Islamic Culture4.2.1.1. The Mosque4.2.1.2. The Center of Islamic Culture

4.2.2. Museum of Tirana and Religious Harmony

4.3.General Items4.3.1. Sustainability4.3.2. Public Art

5. BUDGET FRAMEWORK6. COMPETITION PROCESS

6.1.Competition Organizers6.2.Professional Advisor/s6.3.Technical Consultants6.4.Summary of Second Stage of Competition Process6.5.Competition Schedule

7. STAGE I: DESIGN SUBMISSIONS7.1.Purpose7.2.Communication7.3.Stage I: Submission Requirements7.4.Stage I: Competition Submission7.5.Identification of Submissions7.6.Additional Conditions Pertaining to Stage I

8. COMPETITION JURY AND EVALUATION PROCEDURE8.1.Jury Composition8.2.Jury Responsibilities8.3.Jury Adjudication8.4.Evaluation Criteria8.5.Announcement of Winner


4/40

4

8.6.Prizes8.7.Copyright

9. CONTRACT ADMINISTRATION9.1.Award of Contract9.2.Contract9.3.Value of the Contract

10.COMPETITION CALENDAR11.FIGURES AND DRAWINGS

NOTE: The Competition Brief contains all needed information

competitors require for preparing the submission.

Additional related reports and technical information have been

prepared by consultants and City Staff for this competition and

are available for review by competitors on the competitions

website.


For access to Tirana GIS, please click: http://77.242.19.18/gis


5/40

5

Acknowledgements

A great number of institutions, authorities and individuals helped

preparation of this international competition, the collection of

information and materials for making this competition brief possible. We

would like to express our special thanks to all and each of them for their

co-operation and willingness to help.

Hearty thanks go to His Highness Sheikh Sabah Al-Ahmed Al-Jaber Al-

Sabah, the Amir of the State of Kuwait, for the initiative to offer His

contribution to the Albanian Muslim Community through the City of

Tirana, for organizing this international competition, taking into

consideration the importance of a new contemporary complex of religion

and culture in the main square of our Capital, Scanderbeg Square.


6/40


7/40


8/40

8

1.0 Introduction

Figure 1: Muslim religious men praying the holy Friday on the sidewalk

1.0

Introduction

Albanian Muslim Community is in despair need of a new Mosque that will

embrace all the religious men of the city and the surrounding areas.

There are several mosques in the city but all of them function as local

religious centers of limited space and capacity. In the city center is found

only one mosque, Ethem Bey Mosque, which is a historical building and a

cultural and architectural heritage at the same time.

Due to lack of a larger and more appropriate praying center, the Muslim

community uses Ethem Bey Mosque, especially during Friday ceremonies

and days of religious festivities. The sidewalks of Scanderbeg square are

used by men to pursue their praying procession.

Ethem Bey Mosque is a cultural monument that should be preserved and

used only symbolically, while the city and the Muslim Community needs anew and spacey spiritual place to be used both in normal and special days.

This new center will not only be a spiritual space of prayers but also a

place of learning and sharing knowledge.

The religious practices of the people living within the borders of Albania

are heterogeneous. There are Muslims and Christians, each with their

diverse communities of distinguished religious practices like: Bektashi,

Halevy, Catholics, Orthodox, etc. it is very particular of Albania that

these diverse religious communities have lived harmoniously and very

close to each-other in years.

From 1967 till 1990 Albanian religious institutions were closed down by

the regime of the time and the clerks were persecuted or eliminated. In


9/40

9

the schools it was propagated the absence of God and the theory of

Darwin was to compensate any theory of creation and existence.

Religious men and women were not permitted to practice religious rites

and during that period the Workers (later Socialist) Party was the only

god allowed to believe in, at least in public. Most of the religious

institutions were demolished or transformed into storage spaces for

military purposes, or either in centers of socialist culture propaganda.

Only few were kept untouched those buildings that had architectural

and historical significance surprisingly enough the regime was sensitive

towards their beauty and values. After 1990, when the socialist regime

collapsed, the religious institutions re-opened their doors again, at least

those that were not demolished.

Till now, there is not a permanent museum like space to exhibit this

particular aspect of the Albanian modern history. Nevertheless is a

museum or space to show the history of Tirana in general and this special

harmonious relationship among different religions in specific.

The city would like to extend the program for the Contemporary

Mosque design further into a complex composition by including also the

design of a religious cultural center and museum.


10/40

10

2.0 Site Description and Context

Figure 2: Scanderbeg Square and Surrounding Area

2.0 Site Description and Context

This section provides a description of the Competition Site and the

immediate surrounding downtown area. The section also contains a brief

history of the development of the Scanderbeg Square (where the

competition site lies) and a short description of its future growth and

renewal, as determined by the master plan of Tirana City Center.

2.1 Area Brief History of the Old Bazaar Area

Brief review of the birth of Tirana Settlement:

The new settlement has started to grow on an empty site. Its founding

should be seen as part of the overall economic and social developmentsthat Albania was undergoing, especially around Tirana region.

The name of Tirana, the way we pronounce it today, has been

documented several times in official sources of Venice Republic. For the

first time it is written as the origin place of two Albanian emigrants

settled in Venice, registered in the notary acts of attorney Vasallo in year

1372; one of them named Villino (from) Tirana, the other named Leo

(from) Tirana, both sailors by profession, citizens in Saint Marcscommunity in the city of Laguna1.

1 Extracted from Historia e Tiranes, deri me 1920, author Kristo Frasheri,chapter III, page 60


11/40


12/40

12

Further away, at a distance of 50-60 meters west of the mosque, a bakery

shop was built, a public toilet and a ham am, three important servicebuildings that affected the enlargement of the bazaar area.

The other urban nucleuses are related to the building of other new

mosques. The mosques are shown in the following graphics:

1. Old Mosque2. Mosque of Fire3. Mosque of Zajmi4. Haxhi Etehem Bey Mosque5. Mosque of Stremas6. Mosque of Karapic7. Mosque of Brxoll8. Mosque of Mujo9. Mosque of Reci

The ongoing economic development of the territory and the continuousgrowing of the trading exchange between cities and villages of the area

made Tirana a center of local and regional significance.

At the heart of the city was the Old Mosque with its own square at the

front and sides. It can be said that Barrikadat Street, once called Market

Street, was the main axis of the urban structure of Tirana. On its sides

there were placed six places of worship apart from the Old Mosque.

At the western side of the main axis was placed the market area, later

called Old Market. It had a structure of craftsmen shops and trader

shops, storage areas and two inns. These were queued in row along

several streets within the area. The side shops had turned their back to

the city streets in order to form a surrounding wall for the market area.

This wall was interrupted at four points, which served as entrance points

to the market area. Later, after the step away from the feudal anarchy

and the presence of a public order, the market area was enlarged and thenew shops were built back to back to the outer wall facing so the streets

of the city. At some section there were built even houses.

Figure 4: Mosques of Tirana3

The market place was next to the Old Mosque, Ethem Bey Maosque,

Mosque of Karapici and the Masjid of Sheh Bazaar. Later, around 1840,

within the market area, the Mosque of Stermas was built.

3 TIRANA, sfida e zhvillimit urban. Autoret. B.Aliaj, K.Lulo, G.Myftiu. pg.17


13/40

13

Next to the market, on its western side, on an open field in the shape of

a horse-shoe (today Scanderbeg Square), there used to be the openpeasant market of the Thursdays.

Figure 5: Tirana by the end of XVIII Century 4

Figure 6: Weekly Open Market Area (today Scanderbeg Square). On the left:

Karapici Mosque. On the front: western part of the Carshi (closed market). On

the right: Ethem Bey Mosque and Clock Tower. 1920 1940 5

4 Historia e Tiranes, deri me 1920. Autor: K.Frasheri. pg 171

Figure 7: Closed Market Area and Open air Market Area, 1920-1940 6

Tirana Regulatory Plans (Old Bazaar Area)

Austrian Plan

During year 1923, the first regulatory plan of Tirana was prepared by

Austrian architects and engineers. This regulatory plan was aiming abalanced solution between building a new grid of road network and

rehabilitation of the existing one.

5Historia e Tiranes, deri me 1920. Autor: K.Frasheri. pg.168

6 Historia e Tiranes, deri me 1920. Autor: K.Frasheri. pg.173


14/40

14

Figure 8: Tirana Map worked by Austrian Officers in 1918 7

So, it planned to introduce a new grid in the southern and western part

of the bazaar area, which was almost free of buildings, and an adjustment

of the main existing streets in the rest of the city, by straightening and

widening them up.

The center of the city used to be still the bazaar area. Even though it was

not a successful study from the point of view of its implementation, this

7 Historia e Tiranes, deri me 1920. Author: K.Frasheri. pg. 383

plan guided the opening or the widening of the main streets of the city of

Tirana, like: Durres Street, Kavaja Street, Barrikadat Street, etc.

The Italian Plan

The regulatory plan of Tirana of year 19390-1940, prepared by Italian

architects and planners, was conceived based on the idea of garden city,

beauty, decoration and hygienic.

It is exactly the hygienic concept that guides the Italian specialists in their

intervention in the city center. They defined as monuments of significant

historical value to be preserved and respected only a few buildings: the

old Mosque and the Ethem Bey.

At the same time, the rest of the center, (especially the old bazaar area)

was considered chaotic; a mass disorder and non-hygienic. Based on

these principles, the baseline of the plan was to build a monumentalbuilding which would house the headquarters of Bank of Napoli. This

building would close the head of the administrative square, named today

as Scanderbeg Square.

This design couldnt be developed and realized in the end.

Plan of year 1957

A new regulatory plan for Tirana was developed in 1957. It was conceived

as a tool for the continuation of the development in the existing areas of

the city, as well as a tool for opening up new areas of development.


15/40


16/40

16

that from one side it has special political, administrative, cultural and

economic functions of a capital, and on the other side differentdevelopment characteristics because of the high rate of population

growth and greater potential for investments, both, from local and

foreign subjects. Given the importance of this process, and after long

negotiations from Tirana Municipality, the German Government offered

financial support to develop the City Center Master Plan, through an

international competition, and awarded to Architecture Studio. In order

to ensure the implementation of this project, it is formulated the

regulation clearly stipulating principles and rules that pave the road

toward its implementation. This process will continue in the first phase

with the international competitions for the most important public

buildings of the center. The Competition for Urban Planning of

Skanderbeg Square is part of this process.

One of the objectives of the centers master plan is to give to the center

a shape and view, which would transform it in an area for pedestrians,

giving it human dimensions, and harmonized with historical buildings. Inother words, it aims to give to the square the original character designed

at the beginning, in order to create sun-safe places, and where public

services could be offered. It proposes removing the road traffic form the

square, channeling it in the ring road next to the square. The ring road

would function by collecting the traffic coming from radial avenues and

distributing it to other streets, without entering central square. Except

from the tram crossing the square from north to south direction, other

public transportation means and private cars will not enter in the area,

but will be stopped at the ring road. The smaller streets would allow

limited traffic related functioning of the buildings in the area.

2.2.1 Details of P1 Zone Scanderbeg Plaza

Reference to the Master Plan 1

The participants in the second stage of this competition should study in

particular the site where the following buildings are placed:

Building 12, Building 6 and Building 7a.

Building 12: PROGRAM Center of Islamic Culture and Mosque

Height: 18.8 m (same to the palace of culture).

Footprint Area: 890 m2


17/40

17

Building 7a: PROGRAM Center of Islamic Culture and Mosque8

Height: 9m & 18.8 mFootprint Area: 1,280 m2

Building 6: PROGRAM Museum of Tradition, Religion, Harmony and

Hope

Height: 18.8 m + 3.5 m

Footprint Area: 1,640 m2

The competitors are responsible for studying and keeping

reference with the broader context of the project area, which

includes Scanderbeg Square and its surroundings.

8The height of the minaret might exceed 18.8m

2.3 Scanderbeg Square Detailed Design Project

51N4E bvba and ANRI SALA

Figure 10: Scanderbeg Square Implementation Design for Revitalization

The question of the revitalization of the square deals with issues

concerning both the monumental and the everyday. A square only dealing

with representing monumental ideologies is something of a past which we

do not long to revitalize. On the other hand, we are convinced that a


18/40


19/40


20/40


21/40


22/40

22

Figure 12: View from the Ministerial Garden towards the Square

Figure 13: View of Proposed Green Belt & New Multi-purpose Elevated Building

Figure 14: View of Proposed Green Belt & Proposed Municipal Annex Building


23/40


24/40

24

means that our new complex should be the symbol but also the nest of

religious harmony in the city and country, as well as it should make use ofcontemporary architectural vocabulary and building technology that

science based on faith has made available to our era.

This will be a legacy of the present that will tell and therefore inspire

future generations to prosper together in faith, regardless the names they

use for it.


25/40

25

4.0 Program Description and SiteAnalysis

The following section provides a detailed description of the site

boundaries to be considered by the competitors, the basic program

opportunities and features for designing.

4.1 The Competition Area

4.1.1 Assignment

For the purpose of the competition, the site area to be developed shall

be defined as follows:

a) Blue BoundaryConcept design area, which is the area within the blue colored

boundary (refer to Fig. 16). This is the area for which the five short-

listed competitors will be required to develop a design submission.

b) Red BoundaryDetailed Design Area, which is the area within the red colored

boundary (refer to Fig. 16). This is the area for which the winning

team will develop the detailed design project.

This is the area for which the competition winner will be contracted

out to develop the detailed implementation project.

4.1.2 Explanations

The international competition aims toward a design submission for theNew Mosque and Museum of Tirana and Religious Harmony next to

Opera House, and urban design guidelines for the broader area, which

would guide the Municipality of Tirana in realizing the vision build upon

the Master Plan of the City Center the base line for all competitors.

Figure 15: Competition Area Concept and Detailed Design Boundary


26/40


27/40


28/40

28

the exhibition of Tirana, the exhibition of religious harmony and, the exhibition of anti-religion violence.This museum will house and exhibit many values such as: values of the

history of Tirana, values of religion and education. It will showcase the

cultural heritage of Tirana, like ethnography, musicology, gastronomy, art,

photography, and cinematography, urban and architectural development.

It is estimated that the museum might have a total built surface of 13,200

m2 (6,600 m2 above ground and the same amount underground), that

will be occupying a site of 1,650 m2. The total built area of the museum

should be considered as a guideline while the footprint area should not be

exceeded.

The major programmatic elements of the museum consist of four

blocks: the block of exhibitions, the block of academics and research, the block of administrative services and, the block of supporting services.The block of exhibitions will have three permanent exhibition spaces,

which will contain and showcase the three collections: exhibition of

Tirana, exhibition of religious harmony and the exhibition of anti-religion

harmony.

This block will contain a relatively big temporary exhibition space and

two smaller temporary exhibition spaces.

It should contain also outdoor space for a sculpture garden and outdoor

temporary exhibitions.

The block of academics and research will have spaces for educational and

research purposes, like: library and research center; mediatheque of

Tirana bibliography, online library, photo and video archive; auditorium;

audio-visual room and seminar classes.

The block of administrative services will have offices of administration and

security as well as a meeting room.

The block of supporting services will contain storage space, tourist and

visitor service spaces like reception, cafeteria, souvenir shop, and

outdoor seating and waiting areas.

It will have technical facilities to support restoration services, and also

enough parking places for visitors and employees.

4.3 General Items

4.3.1 Sustainability

All design proposals must address issues of sustainability. An integrated

design process, including planning, architectural and technical

considerations is expected to be at the center of this project.

4.3.2 Public Art

The integration of artwork into design is considered a significant element

of this important public program and the public spaces that surround it.


29/40

29

5.0 Budget Framework

The project costs for building the New Mosque and Museum of Tirana

and religious harmony should not exceed the product of the

multiplication that comes from total built surface x 1,000 Euro/m2.

The costs of the outdoor space design and public art should be calculatedseparately.


30/40


31/40

31

6.5 Competition Schedule

The following schedule sets out the dates for all major Stage I and IIcompetition activities.

Stage I

January 28, 2011 Announcement of Competition, Call for Participation

February 21, 2011 Deadline of Request of Participation

February 26, 2011 Announcement of Short-Listed Teams

Stage II - Design Stage

March 7, 2011 Invitation of Short-listed Teams to Design Stage

April 11, 2011 Question Period Deadline

April 15, 2011 Deadline for Answers

April 29, 2011 Design Submission Deadline

April 30, 2011 Public Exhibition and Presentation of Submissions

April 30 01 May, 2011 Competition Jury Deliberations

May 01, 2011 Announcement of Winner/ Event Reception


32/40

32

7.0 Design Submission

7.1 Purpose

Design submission has been structured for the purpose of selecting, from

among the invited competitors, a winning design team and design concept

for the New Mosque and Museum of Tirana and Religious Harmony.

Design stage submissions will be evaluated and judged by the Competition

Jury.

7.2 Communication

All communications, including questions, must be made by e-mail directly

to the competition e-mail address. A copy of all questions and responses

will be e-mailed to all competitors.

The e-mail address is [email protected]

7.3 Design Stage Submission Requirements

A. Panels

Design Stage competitors will be required to submit a maximum of eight

(8) panels, each of which should be mounted on a rigid board, ISO AO -

841 x 1189 mm, which must contain the following:

1 a Site Plan at 1:500 scale;2 at least three (3) sectional drawings of the Complex;3 plan(s) of available levels;

4 a design plan or plans illustrating details and key features atappropriate scales;

5 at least two (2) perspectives or axonometric drawings showing thecomplex in urban context;

6 at least four (4) drawings showing eye-level perspective views of keydesign areas.

B. Report

In addition, each submission must also be accompanied by an A4 bound

report containing the following:

a. a description of the design concept (supporting diagrams and imagesare permitted), on a maximum of twenty-five (25) pages, single-

sided;

b. an outline specification covering building statistics, materials andmethods of construction;

c. a list of all members of the design team and their roles [stage IIcompetitors are required to include a museum curator as a

consultant to the team] ; and

d. reduced scale A4 copies of the panels.C. Model

Competitors must submit a three dimensional model of the proposed

complex design at (minimum) 1:500 scale.

7.4 Design Stage Competition Submission

All competition submissions must include one (1) copy of each panel

requested and ten (10) copies of the report. All submissions must be


33/40

33

securely wrapped. Design stage submission will be delivered by each team

on the day of the public presentation. But the organizers will have to beinformed two days prior to the exhibition day on the availability of all

required materials.

7.5 Identification of Submissions

Design submissions will not be anonymous. Competitors are required to

identify the name of the Project Team on all materials that are submitted.

7.6 Additional Conditions Pertaining to Design Stage

a. All materials provided to competitors in Design Stage will only beavailable in English.

b. All submissions must be submitted in English.c. All material submitted in Design Stage will become a common

property of the Albanian Muslim Community and the City of Tirana

and will not be returned. However the copyright of each design

submission remains with the competitors.

d. All submissions are subject to the Municipal Freedom of Informationand Protection of Privacy Act and may be subject to release pursuantto that Act.


34/40


35/40

35

8.4 Evaluation Criteria

The Competition Jury will be instructed to look for design excellence andto evaluate the design submissions having regard to the following criteria.

These criteria are not listed in any order of priority.

8.4.1 Design and Context

The design should reflect both the importance and significance of the

Sites location and relate appropriately to the immediate context of the

site and the larger downtown context as set out in this Competition

Brief.

8.4.2 Program Needs

The design should accommodate the program needs as set out in Section

4.0 of this Competition Brief.

8.4.3 Technical Issues

The design should be technically feasible, responding to the opportunities,conditions and requirements as set out in this Competition Brief.

8.4.4 Response to Budgetary Concerns

The design should be able to be implemented within the budget

framework established in Section 5.0 of this Competition Brief.

8.5 Evaluation Guides

The judgment given by the jury will verify conformity to the program and

its functional requests, respect of the competition objects, technical

practicability and innovatory concerns.

In particular, the jury will examine submissions considering the following

criteria, which are fundamental for the promoting Institutions:

Overall architectural quality of the project considering, at the sametime, both functionality of space and organizational distribution,

aesthetic quality and symbolic value into relationship with program

and vision of the promoting institutions; [35 points]

Architectural design quality; [35 points] Innovative use of building practices and innovative utilization of local

materials; [15 points]

Quality of open spaces for public events in relationship with thecontext and Scanderbeg Square; [10 points]

Quality of Integration and relation between art and architecture;[5 points]

8.6 Announcement of Winner

The winning finalist and the runners-up will be announced on the date

declared on the Competition Calendar. All Design Stage competitors will

be notified of the Competition Jurys results at the time of the publicannouncement.


36/40

36

8.7 Prizes

The invited competitors will receive an award of 45,000, and they willbe made available at the end of the Competition Process.

8.8 Copyright

All competitors drawings and submissions become the common property

of the Albanian Muslim Committee and the City of Tirana. They gain the

right of publishing, multiplying and using them for different institutional

purposes. The copyright of each design submission remains with the

author.


37/40

37

9.0 Contract Administration

Figure 16: Clock Tower

9.0 Contract Administration

9.1 Award of Contract

The Territory Adjustment Council of Tirana Municipality will approve:

a) the winning project before any agreement is negotiated andconsulting services are rendered;

b) the final implementation project.Confirmation of the Competition results will be reported to Albanian

Muslim Community and City authorities subsequent to the conclusion of

the competition.

The award of any agreement will be at the sole discretion of Special

Competition Committee (SCC) representing the Albanian Muslim

Community and the City of Tirana. Depending to Territory Adjustment

Councils approval and prior to the contracting of any professional

consulting services with the SCC for the final design of the

Contemporary Complex of Religion and Culture, the winning finalist must

enter into a negotiation period with the SCC.

Any agreement must contain terms and conditions in the interest of theOrganizing Institutions, including any terms and conditions set out in the

TAC decision authorizing the technical part of the agreement.


38/40

38

9.2 Contract

The approval procedures by the TAC will be organized within the firsttwo months after the announcement of the winner, and the contract

negotiations will proceed immediately after that. It is estimated that the

negotiations should not exceed a period longer than one month (thirty

days).

The time available for the preparation of the Execution Project for the

New Mosque and Museum of Tirana and Religious Harmony is 12

months.

The winner of the competition that will proceed further with the

execution detailed project will be required to include:

Team Leader/ senior architect, senior urbanist, visual art consultant, local

architect, local materials engineer, local structural engineer, local quantity

surveyor, international and local CAD operators.


39/40

39

10.0 Competition Calendar

Stage I

January 28, 2011 Announcement of Competition, Call for Participation

February 21, 2011 Deadline of Request of Participation

February 26, 2011 Announcement of Short-Listed Teams

Stage II - Design Stage

March 7, 2011 Invitation of Short-listed Teams to Design Stage

April 11, 2011 Question Period Deadline

April 15, 2011 Deadline for Answers

April 30, 2011 Design Submission Deadline

April 30, 2011 Public Exhibition and Presentation of Submissions

April 30 May 01, 2011 Competition Jury Deliberations

May 01, 2011 Announcement of Winner/ Event Reception


40/40

40

11.0 Figures and Drawings

All the necessary graphic documentation needed by the competitors to

work on the project, will be sent via e-mail to the five short-listed teams

and will also be available for download at the competitions site:


competition brief_new mosque & museum of tirana and religious harmony_march '11

Documents