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THE GREEN RIVER PROJECT
VALENCIA SPAIN
Dutch student-projects, Delft, University of Technology, Faculty of
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Uitgave, distributie en produktiePublikatieburo
Faculteit der Bouwkunde
Technische Universiteit DelftBerlageweg 1 2628 CR Delft
Telefoon (015) 784737
In opdracht van
European Architecture Students Assembly (EASA)
Druk
Universiteits Drukkerij
CIP-gegevensKoninklijke Bibliotheek
Green
Den Haag
The green river: Dutch students-projects forthe dry Tu
ria riverbed in Valencia, Spain, '89 / ed. by Irma vanDort, Robert Winkel, Paul de Ruiter. - Delft: University of
Technology, Faculty of Architecture, Housing, UrbanDesign and Planning. - 111.Met lit.opg.
ISBN 90-5269-030-8
UDC 711.4(460)
SISO eu-span 719.23
NUGI923
Tref.w.: stadsplanologie; Valencia
Copyright© 1989 Irma van Dort
Robert Winkel
Paul de Ruiter
All rights reserved . No part of the material protected by this copy-right notice may be reproduced orutilized in any form orby any me-
ans, electronic or mechanical, including photocopying, recording
or by any information storage and retrieval system, without wriUen
permission from the Faculty of Architecture, Housing, Urban De-
sign and Planning .
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THE GREEN RIVER
DUTCH STUDENT-PROJECTS
FOR THE DRY TURIA RIVER
BED IN VALENCIA,SPAIN,'S9
THIS BOOK HAS BEEN EDITED BY:
IRMA VAN OORT
ROBERT WINKEL
PAUL ,DE RUITER
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LOCATION STUDENT-PROJECTS
Paul de Ruiter
Jacob van Rijs
athijs Meijer
an Willem Wal raadJan van Cort
Robert Winkel
ranja Vitkova
Irma van Cort
Jochen Plette
Marleen Vink
Allard van der Hoek
Henrike Böhm
Richt e Alting
./
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INDEX
PROLOGUE bytheorganlzal'1l page: . 6
INTRODUCTION by Ben van Berkel page: 11
WITH CONTRIBUTIONS FROM THE FOLLOWING PARTICIPANTS:by the participante •
PAUL DE RUITER page: 12
JACOB VAN RIJS page: 22
MATHIJS MEIJER page: 36
JAN WILLEM WALRAAD page: 44
JAN VAN OORT page: 54
ROBERT WINKEL page: 60
TANJA BUIJ5-VITKOVA page: 70
IRMA VAN OORT page: 78
MARLEEN VINK page: 88
JOCHEN PLETTE page: 94ALLARD VAN DER HOEK page: 102
HENRIKE BÖHM page: 112
RICHT JE ALTING page: 120
ACKNOWLEDGEMENT page: 129
ANNEX : Publlcatlone page: 131
• the participants are responsible tor the ir contributions
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PROLOGUE
Valencia, as many other European cities,was born and bred on a river bank. 'Forcenturies the water was used for irragationof the great area of fields that surround thecity, and the river flowed quietly through it
to its delta in the Mediterranean. But in
1957 as it had already happenedpreviously, the river nooded both its banks
and more than 3/4 of the city wassubmerged, causing great 1055 of life andgoods. To prevent new floods the city
council decided to create a new river bedwider than the former, south of the city(see iII. 1, page ), of course the problemarose: wh at to do wjth thjs old rjverbed?
This riverbed measures 9 kilometers by120 to 180 meters with a gross surface ofapproximatelly 1.515.000 square meters.
In the middle of the 60'5, it was decided to
build a motorway network in the riverbadto solve the traffic problems in the city. Butfinally after many demonstrations. In 1976
it was decided to make a green zone of theold river "Turia" riverbed. In 1981, af er
having abandonned a competition, the towncouncil decided to put Ricardo Bofill incharge of editing a special inner reformplan, which was shown to the citizens of
Valencia a year and a half later. The planincluded the Idea of how to work on the old
river bed (zoning norms, economic planning,etc). This plan was afterwards used ' asguide line for various urban designs. There
are two areas of the park already built, and
there's another one on paper, but because offinancial and political reasons, it is unlikelythat it is going to be built.
The riverbed has been the political and
architectural battle ield for more then 30years. The result of this discussion was ameagre attempt of Ricardo Bofill to fill theentire space with trees and classicalreminices .
The architect students of Valencia,concerned about their future city , decided in
cooperatlon with EASA (European
Architecture Student Assembly) to organizea positive counter-attack, by organizing an
exhibition wh ich will contain studenl'sprojects from all ov,er Europe, aboutValencia and other similar problems. Hop ing
to Inject new ideas and to create a basis fordiscussion about the river" Turia" inValencia.
Th irteen students from Delft Un iversity ofTechnology, Faculty of Arch itecture,Housing, Urban design and Planning , TheNetherlands, studied the city in its urbancontext and its infrastructural problems.
From this investigation we formulated an
assignment along the lines of therequirements for a design-project of the
Faculty of Architecture, Housing, UrbanDesign and Planning, Delft University ofTechnology, The Netherlands. We invited
Ben van Berkel and ir. Pal Stipkovits as our
professors.
These requirements for the so called
A3-project are : designing of a relativelylarge building in an urban context on thebasis of a precisely defined programme ofrequirements for complex and varyingutilities. The Building has to containrepetition and a variety of small and largerooms. Studies of architectural conceptsand their suitability for elaboration andimplementation are involved in the project.The architectonic designs are approached on
an integrated basis.
We interpretated this into the followingrequlrements: an urban concept had to be
developed in order to project, on amotivated basis, a limited number ofutilitarian buildings being a library, atheatre or opera in combination with placesof amusement. From this urban concepteither a library or a theatre had to be
designed in such a way that the buildingconcept fitted in with the urban concept and
th at it fulfills the A3-requirments of ourschooi. The result of our design activities
are being displayed in the following pages of
this book.
HIstoricai aummary of the city
Valencla
In the "Plan General deValencia" a proposal was made to designatethe old riverbed as a highway system with
trains included
.1.lI.ll The river "Turia" fiooded th ree
quarters of the city Valencia.1957 -"58 Three solutions where made for
th.e riverbed: plan North, plan Middle, planSouthl l iL The solution "plan South" wasapproved : a by-pass canel should ba builtalong the south side of the city Valencia, as
weil as a proposal for train- ,and cartraffic (sae ill: 1, page 7 ).
.1.S.ll "Plan South" is incorparatedInto "Plan Generai": to finance this ,theriverbed would be so ld in parts to private
companies.1966-72 The city council porposed again
a highway in the old riverbed.
1972-76 The inhabitants of Valenciademonstrated agalnst th is highway, andthey want to make a green zone and a
recreational area out of the river.1976-79 Local political involvement into
the problems of the Valenc ian river.1.i l l The city council voted for a
public space and greenzone, projected intothe riverbed. Out of th s council meeting abill was passed that contained the following
items;-The park has to be open to the public:-The river destination should be according
to the problems in that specific zone.
(traffic problem) :-design with respect to the tradition of
valencia:-Redestination of the usa" of water in the
riverbed.-the functions and buildings planned in theriverbed should increase the activities inthe city.-to enhance the relation between the city
and the sea by means of the riverbeddevelopment.l i l l The city-council asked RicardoBofill to make a propasal for the riverbedaccording to 1979 legislation .
EXhlIition of Ricardo 8oflli's plansin Valencia.1985-86 Re lisation of a part of "PlanBofill", which pontains a park.Realisation "Plan Vetges Tu", which
contains sportsfacilities .
.1.i1lZ Twln bridge of Santiago
Calatrava is built .
The organizers, Irma van Oort,
Marleen Vink and Paul de Ruiter.
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-
ILLUSTRATION 1
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1VIEW OF A SPONTANEOUS ACTIVITY INSIDE THE RIVER
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3:VIEW OF APARK INSIDE THE RIVERBED and of "PUENTE DE SAN JOSE"
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INTRODUCTION
For a student of architecture Valencia
must be one of the most fascinating
and exciting towns in Europe. lts
compelling quality makes itself feit
everywhere. The town has
accumulated history in a naturalway; a church which was begun in
byzantine times now has traces in it
of renaissance, baroque and neo-
classical times all existing
harmoniously next to each other.
The most recent arch itectu ral
history of Valencia holds a
fascination of its own. Dominated by
the events around the river Turia,
two ironie discrepancies strike theoutsider. the first is that the new
river surrounding Valenc a is usually
just as dry as the Green River. On Iy
in extreme circumstances does it
appear to contain any water.
Secondly, and more importantly, it is
Ihe Green River which is considered
to ba river by the inhabilans of
Valencia. This is how Ihey indicale it
and seemingly Iheir daily experience
of il is unchanged. The river still
fulfills the same focal function as Ihe
Seine has in Paris, the Tames in
London and Ihe Amstel in Amslerdam.
It is Ihe heart of the city. The way in
which Valencia has grown over Ihe
years is a response 10 Ihe
meanderings of Ihe river, as is
witnessed by ils patterns of sIreeIs
and bridges.
Many of the sludents, whose plans
are presenled here, look Ihis into
account. Allhough asked 10 design
either a library or an Opera building,
many of Ihem also developed urban
plans which were inspired by the
river. Inevilably Ihese contained
some form of crilicism on Ihe
existing plans for this area.
It was feil, for instanee, that the
planned gardens in Ihe river, are
layed oul wilh 100 much horizontal
emphasis. The possibililies
of Ihe br idges crossing "The Green
River" were insufficiently exploited.
Nor did the wonderful old quays seem
to have been given much thought. Vet
the quays, which conneet Ihe river
with the town, are of tremendous
importance as an intergrative factor,
as weil as being of historical
interest. Another point of criticism
centered around the concert hall,which seems colossal when viewed
from Ihe river because il was
designed purely for Ihe perspective
view from the boulevard.
If these criticisms seem
presumptuous , it should be
remembered that a critical viewpoint
is the student's duty, as weil as his
or her preogative. It should perhaps
also be remarked that the"Estudiantes Holandeses" caused a
great deal ol surprise at the
topographical department of the
municipality ol Valencia, when they
required to study topographical
material of the river area, which
nobody who is actually working in the
area had asked to see belore.
BEN VAN BERKEL, AA Dlpl.
(Hans.) RIBA 11, Guest-
professor at TU-DELFT,
Faculty of Architecture.
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PAUL DE RUITER
Analyses
People call it; "The River" when they are
looking at the long empty space which runs
through the city. Not realizing there is no
water f10wing in it anymore. Subconsiouslythe old riverwalls indicate that - there used
to be a river. These wa is are likearcheological remains ol what used to beo
Looking at it Irom this point ol view you can
say: the old walls and the space betweenthem is a surrealistic object, dividing the
city in two separate parts. The bridgesremained, still linking the two parts butonly to cross the empty space ol no-mansland as quick as possible. On both sides ol
the river-wall there is a second problemcalled car-traffic. This traffic and the room
it's needing, makes the gap in the city even
bigger, noisier and unpleasant to be in. Thisproblem is emphasizing the big distance
between the two parts even more.
All the new cityareas have litUe or no
relationship with each other and with the old
areas or with the sea. A lot ol these areasare underdeveloped and are decaying. The
only thing ttley have in common is, that theyare situated next to each other, built ad
hoc, without any urban concept lor the
whole city ol Valencia. The dried out river"Tu ria" could llill. provide this urbanconcept.
Urban concept, Valencla
Looking at the river as a long rectanoular
cjtv centra, which can provide the separatecityareas a coherensy ol activities like;
leisure,cultural,educational, sports, parks,squares,shopping,etc. Creating a new citycentre in and around the river. From every
direction axes ol the separate cityareas
can now be connected with this rectangularcity centre, so the "Turia" with its axes,becomes the spine ol the city. This nervesystem could controle the city Valencia as
one lunctioning organism, which is rooted in
the sea.
Fresh water should be reintroduced, not like
the open sewer which excists today but apurified artilicial water stream. The water
can be used lor different kind ol activities(swimming, lountains , etc.) to bringpleasure and coolness in summertime. Thiswater gets purilied and controled at the
junction ol the old river and the newby-pass. The artificial water stream is alinear element that emphasizes the
structure ol the dried-out river andconneets all the different areas.Ol
course drastical changes are needed,especially in the inlrastructure. Themassive car-traffic in Valencia creates a
lot ol problems like; congestion, noise, loss
ol space lor parking and roads, danger,
pollution, etc. This way ol transportation
should be reconsidered and action should be
undertaken. For example; detouring car
traffic, improving public-transport andstimulating the slow-traffic (pedestrainsand bicycles).
Urban concept, IIbrary
The urban design ol the part between the
two bridges, "Puente de las GloriasValencianas"and the "Puente de San Jose",
were inspired on the plan by the russianconstructuvist Leonidov had made lo r the
Palace ol Culture, in Moscow, 1930. In thisplan several different cultural buildings,have been inlormally arranged onto ageometrical zoned area, with different
cultural activities. These activi- ties areconnected through an enclosed wall.
Thjs wall can be compared wjth the oldrjver wall Linking all the separate areasand buildings into one concept that cansupport the whole river.
Zonlng
The different cultural areas have been
projected into the river, adding the
morphological urban context to this layout,
gives an extra level that lits the urbanstructure ol Valencia. The lormat ol thebotanical garden and new museum lo r
Modern Art has also been extended into theriver. Leaving geometrical areas in whichcultural activities will be projekted. In one
ol the triangular shapes the library isprojected.
Bridge to r pedestrains
A new bridge lor pedestrains has been
added, as an extention ol the "CaIIe laJordana", with the same direction,
diagonally across the river, making one
straight line perpendicular to the axis th at
runs through the old city which connects the
busstation with the old city centre. This old
city axis conneets the railwaystations and
important squares ol the old city. Thisbridge lorms a shortcut and a new link with
the old centre and the busstation area, withthe river as its medium th at will containnew public activities.
Llbrary
The triang ular area is nSlng out ol theriver-bed. The base is implanted in the
river-bed while the point ol the t ~ i a n g u l a r structure is rising up into the air. Thistriangular raised area is just a lituè biggerthan the width between the two river
walls, therelore the point is crossing theriver-wall and is suspended apprqximately10 meters above boulevard level.
On top ol this sloping area a park is
situated. The point ol the triangular shape,after the meandering artilicial waterstream, contains the library, it is therewhere the park becomes the rooi ol thelibrary. Because ol th is sloping area the
new bridge lor pedestrains is going throughthe raised park, just where the library
begins. The last part ol the bridge is
underneath the park-covered roof of the
library and the bridge becomes part of thelibrary. The remaining part of th s trianglecan be used lor future extensions or extradepot ol the library.
In trastructuu r.
The car traffic parallel with the riller is in
this plan no longer existing. This car traffichas to use the detour-ringways around the
city or park their cars in carparkings anduse public transport on the boulevards to
get to their destination. The roadsperpendicular to the river are still open forcar-traffic. Underneath the "CaIIe deGuillem" before the new modern artsmuseum a tunnel for car-traffic is made.
Wh ich starts at the "Plaza Torres de Quart"and ends in the "Avenuda de Burjasbt". Thistunnel crosses the river and on that point acarparking is situated, dug i ~ t o the
riverbed.
l
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SPORTSAREA
SCIENCE &NATURE PARK
lIBRARY
THEATRE
5 MUSEUM & ARTS STRIP
6 UNDERGROUND CARPARKIN<:
7 TUNNEL
8 LABYRINTH PARK
9 EXISTING PARK
10 ARTIFICIAL WATERSTREAM
URBAN CONCEPT lIBRARYAREA BETWEEN PUENTE DE LAS GLORIAS VALENCIANAS AND PUENTE DE SAN JOSE
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Llbrary concept
The earth with its vegetation is lilted out
into the air to emphasize the surrealistic
substance ol the river. The space that thisphenomenon creates contains a literaryload, called library.
Underneath this earth an other world isappearing. The world ol knowiedge,
translormation ol inlormation, centre ol
sell-education, the world ol enlightement,
the world ol many books. The book with its
chapters, pages, letters. The Ilowol water
is been transformed into the flow ol books.
The earth covered rooI ol the library
implies a dark, damp and heavy domed
grotto but the opposite is true. The library
has an atmosphere ol transparency, createdthrough:
one triangular space where in all the
lunetions become objects, lorming a
three-dimensional composition ;
the artilicial stream which runs through
the library, behind a glasswall,
creating an illuminated screen
ol water at the lower edge ol the
triangular space;
slender constructions;
linear cracks ol sunlight that is shinig
through the stepwise designed rool
construction. The illuminated pointy
edges ol the rooI strips give the iIIusionthat these rooI strips have no dimensionand are floating in the air.
li Ili I
GROUNDFLOOR PLAN WITH A VIEW ON THEREADING AREAS, WATERFALL BAR , DEPOT ANDSERVICE ROOMS
.. . . . - -L----'-- "r---- -
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The south laçade has a rational grid ol ----l!.J . ' U·\-++ ..window-Irames (with sun-protection), 11 ... _.__ _ ..J ~ ~ _
This earth covered rooI has a double
lunetion. First ol all it is a very good
insulation agains the heat in summertime
and second it is a park lor the library lor
reading books in the open air.
-I
1 !
reflecting the rationality ol the science park -_ . -------.;...,\----....... ' 1 ~ next to the library. The other laçade has a
more dramatical composition with the
concave windows. They relleet theactivities in the theatre area. The sloping
window-Irames next to the bridge give an
expression ol the dynamic character ol this
bridge.The main entrance ol the library is Irom thebridge, going downstairs through the
ril/er-wall, entering the world ol thetranslormed water, underneath the
hypothetical watersurface. The floor ol the
library is built up out ol triangular
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GROUNDFLOOR PLAN WITH A VIEW ON THE
ADULT LlBRARY. INFORMAT ON PLATFORM
AND SPIRAL BOOKCASE
" , .J
- " : · · : ' " - ~ ~ · · ' ~ , ~ : : , : . ~ . ~ : : ~ ~ : ; . : : ; . t E : ; : ~ : ~ 1 r B ~ ~ ~ ; ; / g f ~ ;
,r,- ,
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platforms , sinking stepwise into the
river-bed, in such a way that the bottom
platform is situated partly underneath the
lirst platform. These platform are like
undercurrents in the river or like the
chapters ol a book.
The lirst platform is the level lor generallunctions and is also the starting point to all
the different other lunctions in the library.
the adult library starts on the second
platform. The bookcases ol the library are
lined-up in a parallel order. Going down into
this section is like reading a book. Captured
between the parallel organised bookshelves,one only perceives a street of books. At the
point ol turning the page to the next
chapter, the bookcases stop, providing an
overview through the library. Going downthe stairs to the next platform is like
starting in a new chapter. The bottom
platform leads to study and reading areas.
Also at th s level a bar/restaurant is
situated. It is there where you can drink ,
eat or smoke while reading a book. In thisbar, the artificial waterstream turns into a
waterlaII, providing a pleasant atmospherein summertime.
The children's library consists out of threemeandering lines ol bookshelves. These lines
or rather paths, start from the first
general platlorm and meander around the
columns through the library, suspended in
the air, above the adult library. The level ol
the children's library is the same as the
hypotetical watersurface. Therefore the
the meandering lines of bookshelves
represents the waving of the watersurlace.Like the waving edge of the bridge
underneath the library's rooI, which is usedas a bench lor resting and socializing.
., .. .
GROUNDFLOOR PLAN WITH A VIEW ON THE
CHILDREN'S LlBRARY AND PEDESTRAIN'SEHJGE
--- - - . - -
- ' ' L ! ; i . ~ ______ . . . : . . . . ~ : . .
All the platforms are connected with each : I : ~ other and with the roof of the library
through a sp iral walk-way. This spi ralwalk-way contains bookcases, bringing the
books up on the rooI but also bringing down 5the green nature into the library. This I - «whirlpool is also a symbol which connects i >
; a ~ I I ~ t ~ h e ~ i n ~ t ; e ~ I I e ; c ; t u ; a : I , ~ p ~ o e ; ; t ; c ~ l : e v ~ e : l s ; ______-------------------------------------------------------------------------------. l
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+" -
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ROOF PlAN, READING AREA J
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BB
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CROSS-SECTION THROUGH THE LIBRARY AND PEDESTRAlN'S BRIDGE
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---.,' " y- - - - /
-): - _ _ _ _-' -==-__ __ _ __ _ ______ _ _ _ _ __ _ _ = - = - = - = = - - : - c _ - - : ~ ~ o : : - = - - = : - = - - . : : . . -
AA
CROSS-SECTION THROUGH THE LlBRARY AND PEDESTRAIN'S BRIDGE
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PERSPECTIVE DRAWNING LlBRARYIPEDESTRAlN'S BRIDGE
.-r---r 1---_I I--I r - -
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JACOB VAN RIJS
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A park in a dry riverbed must keep the
memory of a river alive ; instead ofdissolution in the city , its scar should ba
exploited.
The geological line of the river is ameandering one, the perception of th is
movement is weakened by the fact that
most bridges are placed at curves orturningpoints in the river. While walkingthrough it, the river will be experienced asa chain of straight segments visually ended
by the pilars of the bridges. The bridges
which remained as silent witnesses to what
once was, will serve as startingpoint for anew arrangement. By extending the rhythm
and the direction of the pilars up to the
walls, as series of lines, the geology of theriver will bacome visible. These lines serve
as a planting-scheme for trees, which willbe reduced by programmatic infillings
arising from the activities that are- or willba existing at the sides of the river. This
arragement-principle is applicable incombination with the actual situation ( the
existing parks & plants and the plan of
Bofill) because of its non-compulsory
character and its princ iple of composition
through reduction.
Each segment has a promenade, which lies
exactly horizontal, and makes visible whatis now unvisible: the sloping of the rivertowards the sea. The worked out segment,batween Puente San Jose and the "NuevoCentro", is the segment which shows theproblem of the river in its most dramatical
way. With no connection batween bath sides
it is a blind spot, an emty void within the
city .
The plan for a new topography of the river
consists of several layers.
Ejrst a composjtjon of Iines com ing from thecjty and the sjte jtself js set up
1. planting lines (a magnetic field) ;
2. connections batween different functionsin the city through the river;
3. promenades;
Thjs network of !ines creates a surface of
4. planes covered with acertain material
(stone, gravel, grass, soil);
on whjch objects are placed
facilities, open air theatre, ponds)objects (places of amusement, kiosks,
etc .) ;
and jrregular structures are draped
6. stains of random planting (spinneys)
a meandering path;
The remajnjng open space will be Wied jn
wjth djfferent treescorrespondjng to the planting-scheme Cl}
7. trees.
All the bujldjngs are planned ne ar or on the
wal!s to preserve an open yjew
Llbrary
The worked out building, a library with an
arthoteque, is attached to the wal!, near the
new Museum of Modern Art. Erom the citythe "ealle la Jordana" is extended as a
bridge across the river, starting on a deck
on which an entrance-pavilion and a
tapas-bar are placed. Erom the riverbed alayered facade consisting of metal screensand different types of glass attracts
attenttion . The plan of the building consists
of several breadths deriving from the
existing- and the new situation. In front ofthe building, a sunken garden for readingoffers shadow and rest and connects the
inside with the outside. Because of the
museum there is also a sculpture-garden as
weil as an exhibition of text. Loose phrases,incidental passages and random pages are
placed on metal standards and offer food for
thought.
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MATHIJS MEIJER
Th. parkWhile visiting the city of Valencia and the
Th. op.rahou••
The operahouse and its direct surroundings
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dry bed of the Turia river, it was obvious
to me that this situation (a river without
any water in it, flowing through the city),is absolutely unique. To design In this
enviroment is to transform one of the
elementary forms of the city: the river. I
tried to do this by using the characteristicfeatures of a river in general and of the
"Turia" river in special, like the sightlines,
the linear move ment of the river and the
water finding its own way through the
riverbed. The facades of the old and newpart of the city facing the Turia river and
the main car and padestrian routes crossing
this river, are also very important for the
design of a park i,n it.
First of aU the Turia river Is a very linearelement dividing' the city in !Wo separate
parts which are connected by sightlines and
bridges. Instead of the water flowing under
the bridges, I used trees, streched out in
rows, crossing the bridges and which come
to an end by sightlines from the main car
and padestrian routes (see diagram 1 page ).
The second approach to a design for a parkis to lay down a stream of a padestrian path
through the park. Walking over this path,
you can imagine that you're the one who'sflowing in the riverbed instead of the water.
Along this route ~ p l a c e s of amusement" are
situated, and they will be a guide to showthepadestrian the way ( S8 8 diagram 2 ).
The third element I used in my design are
the squares which are situated aside from
the river liké the square in front of the
station and the one around "Torres de
Seranos", one of the main entrance gates of
the old town. I gave them an extension intothe river and they are shaped like dy nam c
levels penetrating ihe park. The water,
shaped as a canal in a straight line, is also a
dynamic move ment to the design and the
flow of the water.
When somebody is crossing the river now,
he will cross the linear lines of the trees in
a straight line, exactly like the water does
in the riverbed and he will experience the
river in different perspectives and views.
The one who's walking through the park nowis like the water was in early times:
flowing freely through the riverbed and on
its way passing by the "pi aces of
amusement".
are a creation of curve-shaped concrete
elements which enclose people and
activities, together with different levels
which will give a dynamic idea to the plan .
Two of the enclosing elements are in fact
closed: the cloackroom and the
servicerooms for the opera. The other three
elements are facing three different theatres
and enclose the spectators at their back
aide. The firat element is facing the park
and In thia way this will be the stage. The
second element lies at the square at theentrance of the operahouse, th s one's
faclng a stage which can be used by anyone:
aa an outdoor theatre. The last enclosing
element is the auditorium itself, facing the
professional stage.
In contradiction with the enclosing elementsthere are the dynamic elements. On
different levels people will ba able to "flow·
to the station, to the bridge for pedestrains
towards the city centre or through the
entrance to the auditorium. These levels,
alopes and staircases will be made of
marble in different colours.
The foyer/restaurant can be seen as one of
the "places of amusement" at the routethrough the park and this place wiU be
deslgned, just as the other, in a very
elementary shape.
The facades of the auditorium are compared
to side-scenes of a stage and in this way it
will point out the mystic world of a theatre
towards the park.
Across the street, on the square in front of
the railroad-station, an entranceto
aparking-lot (which is situated under the
square) will be designed with a direct
connection to the park.
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south elevation
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Design for an Operahouse in Valenc la, Spain
Mathijs Meijer W
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JAN WILLE" WALRAAD
About the rlverAbout a century ago, the river "Turia"
flooded. This had happend before, and it was
clear this had to stop for once and forever.
building and pedestrian route . This
intervention is very important;At one point the traffic can overlook the
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The flow of the river waS changed and the
old riverbed remained unused. At first planswere made to 'use the riverbed for
highways. Later in the 70's the idea came up
to make a big park flowing through the city.
For me, the vision that the river wil! flow
again (as asphalt, as grass, even as water)has to be thought over again .
In times when the water did flow, the
bridges always connected the parts of the
city with each other. When the river dried,
a problem occured: the bridges divided ths
riverbed in parts. This division became
stronger because of the unofficial use of thsriverbed. The activities took place
the bridges, instead of flowing under them.Nowadays we see a variety of activities in
the riverbed, with shimmering qualities.
It is clear that those qualities ought to be
discovered, maintained and made accessible
for pub ic.
From east to west, those qualities are :
Emptiness. The part in front of
the"Court Ingles" is a perfect empty
space. very close to the heavy traff ic ofthe modern city.Jungle. Next to the emptines a feeling of
outdoor life.
The main axis. A crossing of traffic
systems and the river. On this place
the city could focus on this place.
Educational park. The municipal tree
growing park already exists. It
could be made accessible for public
without losing its mathematical and
efficient lay out.Library. Now an open space; very much
suited for a library. My idea for th s is
a 3-d workout of an EI lissiskypainting (proun) This conflicts a great
deal with:
The Bofill park and concerto hall. Lets
hope this is the last part to be made by
Bofill in Valencia. This part nicely
conflicts with the parts stated before.
About the project
Nowadays the point is the crossing ofthe
old axis through the city and the river. Thsproblem is that they are divided by an
intensely crouded road. One side the city,the other side the river and a small park. In
my design, the traffic runs underneath .he
riverbed and is concerned with the
building.The pedestrians are confronted with the
dynamic metropolitan atmosphere
without being hit by it.
The axis is completed, the spatial elements
of the city come back in the building. What
was once ths end of the city, has become a
vivid place in the city from station to
station.
The building contains 3 parts:
1. The block
The block runs from ths old city into the
river. It contains several activities;Bars. The atmosphere of the bars meet
the atmosphere of the river (themes:emptines, jungle, city life, etc.)
Foyer for the theatre.
Food! drinks preparation.Dressingroomst fitnes place for the
artists.The block is a sort of matrix of activities.The front is a curtain wall, overlooking the
river and the traffic. The other side is
closed.
2. The theatre.The high stage tower and audience hall havetheir own volumes. They are divided by anorchestra pit and an artists foyer,
overlooking the river on the other side of
the river. (in comparision to the public
foyer)
3. The jetty.
The jetty takes over the direction of the
new city, and is the outside environment of
the theatre! bars. 3 parts:Looking to the playgrounds
ParkAcces to bars! foyers.
Specific function: external place at night
time. There is all so an external place for a
theatre.
Inside the block there are several
connections:The barst foyer! theatre are connected
behind the curtain wall
Another inside connection runs on theartist (highest) level. It connects the
dressing rooms! fitnessrooms with thestage and the artist' residences inside
the old town.
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JAN VAN OORT
A. Through history the urban developmentof the city has always been related to thepresence of the river . Also from anemotional point of view, the river has been
·Several fontains are placed on the
pedestrian path to guide people;·Water is floating over a mirror wal!situated at the 40 meter waters trip.
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significant to the people of Valencla. An
obvious conclusion is: one can nol neglect
the pceHnce of Ihe Green Rjyer
B. The future-city development would needthe provision of several utility-buildingssuch as theatre, library , places of
amusement and par\(s.
Takjng jnto account above pojnts A aod B jljs Ihe presence of the Green Rjver whjchleads me to Ihe fol!owjng solytjon'
In the river, there Is a waterstrip on whlchthere are buildings of amusement (bars,
restaurants etc.). The waterstrip is placedIn linearlty and in the middle of the river.Two landstrips of 60 meters each, at bothsides of the waterstrip, where the required
buildings and parks are situated, andobviously Interrelated with the exclstlngcity. The waterstrip with its IInearity wlllanswer again to the structure of the city.The waterstrip wUi connect the buildlngs on
the landstroke in the river. The landstrips
are the Intermediar between the city and
the waterstrip with the placesof
amusement; the city takes possession of thelandstrips, sometimes buildings (parks)placed on the landstrip will answer to thecity. Agaln there Is water, linearity andalso there are new buildings and parlts needsby the city council.
Th. th• • r. 1t•• t
The design of the theatre is In such a waythat the exclsting enyjrons wUi Increase In
value; for example the foyer Is deslgned In
such a manner that It becomes transparantwhich enables 'peopje to look In, out andthrough it. ·
Furtheron, there Is a special entrancefor ar!ists in the Immediate
neighberhood of the strip with theplaces of amusement. AI! spaces behindthe stage are connected wlth adancenoor (a kind of disco, bar, onlyfor artists).The auditorium accents the pedestrianpath. Under the auditorium, the ma interrace Is forseen.There is a spec;ial terrace (with a bar)at a level of three meters high with aspecial view.
The ra inwater also disappears along thewall;
·W ithin the theatre, a wilterwall is
created to guide people to the
auditorium.
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ROBERT WINKEL
The movement. of the rlver.In the history of the riverbed ·Turia· there
always was a scene of movement. When the
water didn'l move, the people moved into
By pulling up and down the pleces, we can
make en trances from the sides into theriverbed. In th s scene of moving pieces ofland, the theatre rises up from the
I
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the river. Ancient show-battles show us,
that the river was used for entertainment.
They collected the water, that wasn&CesSary for the battle, by building a dam .Vou could always S88 washing-women aleng
the river. In earlier days there always was
many action In the rlverbed.
How to Involve the rlverbed wlth
her two clty-.lde.?
Nowadays the riverbed Is a barrier, that
divIdes the city in !wo parts. In the pastpaaple tried to salve that problem by making
bridges. It was necessary to suspand thosein the air, supported by canti evers, so the
water could flow underneath these bridges.In those days there could ba a lot of water
in the river.
Giving the rlver a structure with noreference to the city, the ·Turia· wil! baisolatad trom the city and wil! bacome more
and more a barrier blocking the integrationof the !wo city-parts. By projecting thecity into the rlverbed by means of historicalbuildings, parks, walls, bridges, axes and
vectors, the river can make a connectionbatween the !wo city- sides.
How to enter the pre.ent rlverbed?Today there are some entrances to theriverbed, but they are few and arbitrary
plaeed ( ofcourse for historical reasons.) If
we want to restore some activity to the"Turia·, we must make more entrances.
Pulling the ·Jardines del Real· into theriver we can make an entranee to the new
river-actlvities. On several other specificpoints of the city there will ba morecarefully balanced entrances, so that the
bed of the ·Turia· won't ba a place of
isolation. The present road along the riverhas to ba lowered, so that it wil! ba possible
to cross It without any troubIe.
"Theatre of Drama", .ynthe. l . of
land_pa and building.The park around the theatre Is arelentless
extension of the ·Jardines del Reai·. Af erprojectlng the city in the park, we can cut itinto pleces, with IInes emphasizing the
connection ba!ween the park and the !wo
city-sldes.
riverbed. The fannad plantation of the treesrefer to the square, which conneets theexistlng promenade with the new park. The
strip of land in the park with sculptures ofart, refer to the façade of the ·Iglesia del
Tempie·
The "Theatre of Drama"; a theatre
that move. the paop'e.The theatre has a horizontal storage for the
scenes, because a stage-tower is a to large
obstacle in the riverbed. The movableauditoria can turn around their axis. Theycan go up and down, even under thegroundIevei, so that the audienC8-hali can ba
completely empty . (Usefull for apopconcert.) When the auditoria are movad
up untill the level of the foyer, and areturnad 45 degrees around their axis, then
the auditoria are connectad with each otherand the audience can walk across the
·square in the air· to the foyer.
When a play inside the theatre is parformed
and the next act should ba played in the
open-air, the hydrolic wall can be moved
down, the auditoria will be turned 45degrees and audience can watch the play in
the opan air. The natural scene will ba thefaçade of the ·Iglesia del Tempie·. From the
padestrian bridge going through the theatreconstruction paople can also watch the play.
The flnal IntegratIon.The composition of the theatre consists of
!wo boxes. One of them is the audienC8-halland is also the highest one . The other box is
situated around the audience-hall and gives
its impact to the interior of the hall. Thebox around the hall has all thetheatre-facilities; foyer, dressing-rooms
and storage.
The storage- and dressing-room parts seemto rise up from the ground. Their façadesare made of bricks, which sizes are thesame as used in the old riverbed-wall. Thefoyer is mainly made of glass and steel. The
audience-hall façade consists of metal
sandwich-panels, coloured beige, as manybuildings in Valeneia are coloured.The roofs,
on which people can walk, are covered withlight-red coloured concrete, as the soil ofthe rlver ·Turia·, so that they become apart of the riverbed.
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oc"r. ("'"u'ad or,clU]
\-- - - \
"fhealre ol ' drama"
d at . 'h ol Iha •• • I,on
-,.'h p . r . p . ~ I o •• .......
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- - - ; : - : ; : ; ; - : - = - - - . . : ; ; - - = - , - c - - - ~ ~
TANJA BUIJS-VITKOVA
Ge.neral oplnlon.
Valencia as a town deals with a very special
phenomenon. An empty river-bed crossing it
in its heart and connecting it with the
nearby sea as a huge promenade, offers
unique possibilities, giving the town its newdimensions. .
THEATRE "I N TH E RIVER "
lil!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!lil!!!!!!
» » » » » » » » » » » » » » » » » » » »response > the form of the theatre justyfies
the former fact while using the water as a
transport medium for stage manipulation
instead of the usual heavy stage machinery
The project doesn' t solve explicitly all kinds
of possible activities which could fill the
main structure, the design only offers an
interesting potential, which should attract
people to the river . U's a complex where
the main functions with the biggest specific
demands (theatre, library, kitchen with
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Possibilities are many, consequences as
weil as responsibilities are big . This all,
understandably, creates big respect by
those who are supposed to take decisions
and create sollutions. But, why not just to
combine the most characteristic
phenomenons of the city and the river?
Stones, heat and noise of the city and
shade, greenery and quitness of the river.
There exist an ultimate complementary
relation between them!
If the valencian's jet not fully appreciate
the challenges of the river, finding it
difficult to overcome that huge noisy and
dirty barrier of the traffic framing the
river all along, first this problem must be
solved and not underestimated . Fly·overs
and underground connections on the urban
important pi aces seem to be an agreeable
sollution,as the real limitation of the
traffic is in the short terms probably
impossible.
Secondly, the river must be made more
attractive for people. Considering the empty
river bed as a very valuable and sensit ive
site in the centre of the town, it's
attractivity can rise enormously, if the
correct choice of the activities is done. The
principal harmony with the river and it's
green, quiet longitudial character must be
maintained. In this aspect there can be of
interest especially leasure and cultural
activities combined with some city-formingfunctions of a related character Igoing out
facillities, amusement, sportive routes,
swimming, restaurants, agencies, etc.
Idea. and paradoxe.
BRIDGE OVER ............. ...? INO WATER!
?????????????????????????????????
» » » » » » » » » » » » » » » » » » » »response > building situated under the bridge
and an attempt to "imitate" the water and
its dynamical character both byarchitectural means as by general layout
and organisation of the spaces in the
building.
and creates a kind of floating mobile and
flexible stage. This can happen in an
enclosed water basin with a limited size or
as the project proposes or in a form of a
narrow regulated stream, in which the
small part of the water is brought back to
the riverbed. This offers possibility of the
floating theatre or more theatres all along
the river
HOT SUN·········· ··· ·**·······NO WATER, NO SHADES, lTS HOT HOT HOT
» » » » » » » » » » » » » » » » » » » »
response > in the form of the buildingsuggesting a shady, airy , and open
structure in the style of the Mediterranean
market halls.
Urban concept
The Valencia Leasure Time Centre
(furder=LTC) is situated on an urban
important place where the town meats the
real contemporary city, under the bridge
"Del Reai", the biggest bridge and an
important communication axis leading to theuniversity complexes and main industrial
areas of the town. Near presence of the
popular "Parc Del Real" and the beg nning of
the pedestrian promenade to the music·hall
play also an important role. Accessibility ,
ex cept o f the direct access from the rive r
banks with ramps, also underground
connections from "Parc del Real" and "The
Tempie" and "Tetuan" are squares
suggested .
Archltectural concept
Architecturally LTC is an airy structure of
five parallel roof systems with the
narrower pedestrian promenades in
between. Play of lights and shades is of high
importance in the whole building
emphasizing its plasticity. The changed
direction of the waving roof-pattern in the
fourth strip above the water, where not
only the composition of the building but also
it s disposition culminates , brings
interesting lig hts and visual effects . The
composition is organical, free without
precise boundaries. It is an open system
which should offer shade and shelter to a
wide range of free chosen activities of
restaurants and delivery system) are layed
firm, while others (Iike clubs, small cafes,
shops, galleries, etc.) are completely
flexible with the only limitation that it
needs to be placed along the service-supply
corridor, with its stores situated partly in
an underground level. Those are then
connected to the stores with small tab e
lifts. The theatre is designed in a form of
amphiteatre with a floating pon oon stage.
Dressing rooms for actors and the technical
staff are situated under the public seating,
with good accessibility to the stage. Wing
stores and theatre workshops are connected
on the main supply corridor and the
waterstage.
The library is designed as a system of small
un its for children, adults, reference library
and catalogues with their own controle
points and reading terraces . Units are
connected with a small pedestrian bridge
over the water.
Con.tructlon and materlal.The construction is basicly prefab precasted
concrete with washed out surfaces, using
the variety of original gravels and grind
marbels for different colour impressions.
The facing and the pavement applies
colourfull natural stones and marbels.
Heavy stone construction is in the
"interior" contrasted with the fine steel
work for fences, gates, grids and the
build-in furniture.
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cross-seetion--perspt"cliVt
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!icrosssect!óns 1.200 /
I
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IRMA VAN OORT
A theatre ar l . lng trom the
boulevard
Valencia was a configuration of separate
residential and industrial areas with a single
city centre, reserved as far as possible,
for facilities appropriate to the urban core .
The exodus of citizens to the suburbs began
each zone of the riverbed is allocated a
function similar to that of the citypart
adjacent to il. In fàct it depends on the zone
as weil as on the part of the city connected
where these activities take place. (a theatre
or a library for example) . The line changes
its function into: a sporting area, a shopping
area, a cultural area, ending at the sea. Thisline, especially made for slow traffic,
Once one has left the theatre one can go
back to the line to continue one's way to the
sea ....... ......... . · ········ ...... . .. ···· . · ..... ·· .... .
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In the sixtles. Consequently the city
expanded. First to the other side of theriver and later to the east of the old city
centre. Housing in the inner city was
reduced; particulary in the east new
resldential dlstricts were built to
accomodate housing needs. The industrial
area was moved to the port of the river,
easily accessible by rail and water and
through a system of thoroughfares.
The river divides the city into two parts.
The parts are connected by bridges and thebridges divide the river in sections. Each
section deals with a part of the city.
The present dav traffic move ment on the
banks of the river should be optimalised in
favour of a more accessible and
qualitatively better designed pedestrian
route along the river.
The importance of the projects, which will
be carried out, makes it possible tointergrate the old city centre with the city
as a who Ie. In this respect, the river
provides a unique oportunity to weave a
new structure through the different parts
and to define new contents for the
components of the city.
One of the requirements of the project was
to present a scheme for the entire length of
the rlver that reflects the sites' urban
concept and serves as a jumping-board for
elaboration of the area chosen.
The spatial characteristic of the river
through Valencia is its flowing, linearcontinuity. Modifications of building lines,
displacements and addition of functions in
the area and adaptation of existing buildings
might be taken into consideration. The city
boulevards are bearers of various images of
urban activity. Similar activities were, as
far as possibIe, groupad together in zones:
sporting and shopping facilities, mainlybetween the high density housing zone and
the old city centre, and cultural facilities
around the old centre, and the new
residential zone going eastwards up to the
connects the bridges, which connect the city
parts, and reaches four levels:1. The level of the city;
2. The level on the boulevard;
3. The level of the river;
4. The level of the riverbed.
The city wilt become more attract ive by
constructing a new municipal library, a new
theatre along the line, and by increasing lts
attent on to sprucing up its squares, parks,
and streets. The cuitural area intends to be
an area for tourism, as weil as for the localpaople, with maritime activities, hotels,restaurants, cafes, and bars (as weil as
attractive housing). This area has a large
park nearby and on the northbank aboulevard of 100 meters width. It is
interesting that the theater is not only built
in the river, but also partly built underneath
the boulevard. The historical image of the
river and its city should not be touched. The
river and its environment keep their
identity even when there is no waterflowing through the river.
A more accessible and qualitatively better
designed padestrian route along the river isoptimalised by the line and the boulevard.
From the line, as weil as from theboulevard, the theater can be reached. When
walking in the picture-gallery on the
boulevard, one can have a look into the
foyer of the theater below. Without
realizing it one moves downwards and
passes the picture-gallery, which is part of
the riverwall.
The riverwall is the theme of the theater:
every part of it interferes with the wall.
The riverwall is in a way the dividing line
between the audience and the actors. The
audience is only allowed to move around in
front of the riverwall. In the auditorium,
the stage is situated in a big hole in the
riverwall. In fact the stage goes through the
wall. The wall becomes part of the play, likea decor, creating an imaginary screen over
the stage into two parts, one part in front
and one part behind the screen (the wall). In
this way the actors can get out of their
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~ " " "
,
1 - -- -
The line, which has been created, passes through different zones, Similar activities were as far as possible grouped together in zones.
79
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- - ---_------ ------
FloorpIan; 14 meters below street-level.
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.. .. / ..- ._-------'--_._ --- ' -
Floorplan; 5 meters below street-Ievel: riverbed-Ievel. Situation of the theatre in the river.
\.\\ \\ \
/ !
//
" L - - ~ _ __ .__ ______ L . __ ________ _
" --------------
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Axonometry.82
I
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c -: = = = ~ = r = 1 ===r;=____ ----======I
I ! l ~ - - _ ; _ i !
----1 .I ;I l
i!_ _ =-
o 1-\ i
. iew of the entrance.erspectlVe v
/
. Idetails of the stairs.echnICa
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Viewofthe . ross-sections.ntrance into the foyer C
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--1 : ;
_. ..I ::
Coming !rom Ihe line: a view of !he thealre and lhe boulevard.
~ . / /
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Without realizing it one moves downwards and passes the picture-gallery,which is part of the riverwall.
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When walking in Ihe piclure-gallery on Ihe boulevard, one can have a look inlo Ihe foyer below.
MARLEEN VINK
The theatre In the rlver,
An empty river through a city that was
build around th is river, a very strange but
existing problem, in Valencia. How to make
this dead element alive again, and how can
you make a building in a place like this,
without destroying the idea of a river?
I think that one of the problems of the way,
the city is dealing with its river right
nowadays, is that the river is cut into
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pieces. Every part between two bridges hasa different function. This is going against
the idea of a river as a streaming element,
with an own character, recognizable in
every part of the city. Therefore the
bridges become boarders.
I think it ispossible to give the bridges and
the difference in height between the
riverbed and the rest of the city, a new
reason to excist, by using them as an
elementin
what you make in the river. Itried to work th is out for the theatre. The
theatre is situated partly under the "Puente
Exposition", near the cuitural centre of
Valencia, and along the big boulevard. The
bridge and the wall along the riverbed
become recognizable elements in the
theatre; the bridge is "packed-in" with
glass, on one side you can look over the
riverbed, and on the other side in the
theatre. The space under the bridge is used
as the foyer. The wall can be seen in the
artists-area (studio's,dressing-rooms,ect).
To enter the building, the peoble have to
make a zigzag movement passing the
screens, that can be seen as a kind of
stage-screens. These "screens" flow under
the bridge like the water used to do. Walking
over the bridge it is possible to enter the
river with the stairs that are part of the
building but can be used without entering the
building. It is also possible to walk from the
bridge on the roof of the theatre; this is theopen-air-theatre.
think it is possible to use the
"screen-theme" and the idea of using the
bridges and the wall, also for other
functions in the river.
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•• . • t . '
JOCHEN PLETIE
The dead riverbed of Valencia provides
plenty of space near the centre of the city.
So it is there that one can add the public and
cultural facilities still needed in the c ity of
Valencia.
The terrible traffic-problems of the city
was the reason for me to propose a new
Metropolitan line, following the old riverbed
linking the busstation, the railwaystation
and the old town with the industrial area,
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the harbour and the beach. It will be
relatively cheap and easy, to build th is
public trafficline, because all the bridges
over the Metro already exist.
Along the boulevard Almaneda I want to
create a cultural axis already begun by
building the music-hall. The cultural
facilities will ba extended Metrostations, to
make excess as easy as possible. I decided
to develop a public library near the oldtown. In my view public libraries should ba
points of communication in an attractive
situation. So I added a restaurant at the
linking bridge between Almaneda and the
Metrostation.
The library consists of a big entrance-hall
also usabie as a public hall, the book-Iending
and a mediatek. Delivery to the library and
the restaurant takes place on the level of
the old riverbed. Leading idea for the formof the build ing was astreaming roofline
providing shadow for the levels below.
Glazing should ba protected from the sun.
Each floor is directly connected with a
balcony providing afternoon sun . The vast
surface of the roof should be used to gain
solar-energy.
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QV j f f 67& '7 - Ê .EidfT /a) ' 2. CD
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ALLARD VAN DER HOEK
How to deal wlth the rlver?
In the more recent history of the city
Valencia, two essential changes have taken
or are taking place, which have a big impact
on the further development of the city.
First there was the cannal, the "Cauce
Nuevo", which has been built after the
flood of 1957 to replace the "Turia"
river. As a result of this, the "Turia'
being a long and dominating line now
leading through the middle of the city,
became dry and lost its original
meaning.
fast and slow movements are a typicalphenomenon of a dynamic city.
To make an urban concept, I reduced my
research to the minimum of three seperate
studies :Study of the direct surrounding of the
riverbed (existing structures in the
river, the borders, the building standing
on both sides, the skyline, axes,
... etc.)Study of the infrastructure of Valencia
(stations, local trains, subway, bus
stations, important roads, harbour, etc).
together in one complex, the open-theatreplanned for the 'Tu ria' has a more
village-like character, existing of many
litlle independent elements. The heart of the
theatre is a long stage out of flexible
stage-elements with three railtracks for
moving decors. To the promenade side are
different spectator areas such as a gallery,
boxes, a restaurantlcafe/bar and a closed
spectator room. Also on this side are the
public route and the subway-station, being
integrated in the theatre. Directly out of the
subway people can reaeh, by lifts, every
area. A decor-workshop, a practice-room,
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Secondly the city Valencia, having grown
to all sides of the ancient centre,
before the second world war, is now
mainly extending to the east, moving
towards the harbour.This phenomen
which has the consequence that after a
period of time the ancient part of the
city will no more be in the middle of the
town, certainly leads to the arise of a
new, surely more commercial centresomewhere more in the east of Valencia.
West-east orientated connections and
traffic-lines al ready are, and in future
even wil I get more important.
Putting together these two aspects, I can
only find one clear solution to deal with the
problem of the riverbed, taking account of
the future development of the city. The
movement of the water, which has once
created the shape of the "Turia", must besubstituted by a new kind of movement; a
movement of people. The riverbed, has
allways been a barrier between north and
south cityareas, should be transformed into
a public route leading from the ancient city
via the new part of the town to the harbour.
The "movement-Hne" as structure of the
river can only be maintained when the
"Turia" will be treated as a whoie, making a
total architectural concept. Every attempt
to make plans for separate parts of the
riverbed without having th is total concept in
mind, would have as result a silent death of
the city's most important "fountain of life"
How to work wlth movement?
Moving through a town, there are two
different ways of how to experience the
surroundings. Moving slowly, your eyes can
follow the movement and everything you
see is part of a continious strip, where
everything can clearly be situated and
ordered. Moving fast, people are no moreable to see things in relation to each-other;
as in sequences of films, people only piek up
'happening-spots', without having any local
102 relation to each-other . Quickly alternating
Study of the different activities in
Valencia and their location (parks,
hospitais, museums, sporting-
activities, libraries, .. .etc.).
As a result of these studies, I discovered a
very high density of important public piaces
and already existing trafic facilities in the
direct surrounding of the riverbed . The idea
of a subway-line in the riverbed, connectingan existing subway-line with a loca l
trainstation (F.E.V.E.) and a possible future
station near the harbour, seems very
usefull. Based on the research of existing
activities, a rough programmatic plan has
been worked out, allways combining
subway-stations with special fascilities.
The infrastructure, consisting of a public
route (slow movement), and the subway
(fast move ment), going together with the
filled-in structure of different activities, isthe basic concept, which on one hand joins
everything to a whole and on the other hand
makes a free planning of the activities
possible. The integration of subway-stations
in different buildings or fascilities should
lead to a new way of dealing with move ment
in realation with special activities . This
idea is an important aspect in the further
worked-out planning of an open-theatre at
the "Pasarela Exposicion".
Worklng out the theatreThe area around the "Pasarel Exposicion"
Iying between the "Jardines del Real" and
the "Bofill"-garden, seems to be an
excellent area to build an open theatre. The
bridge, which is not so often used by cars,
can be turned into a pedestrian bridge and
therefore be integrated in the theatre. The
two sides of the riverbed have a completely
different character; the "Pasao Alameda"
on the nort -east-side of the area is very
low in comparison to the more wall-likeborder of the south-west side.
In contrast to a conventional theatre, where
all activities and areas are usually taken
make-up & service-rooms, a theatre
school, an administration/ library/
canteen-tower and some apartment
containers for traveling actor-groups,
create a vivid sky-Iine in front of the
houses standing on the south-west border of
the riverbed.
The main quality of the theatre is its
flexibility and its openness. All activities,also those which normally take place in
secret of the backstage area, can be seen
from the outside. Simular to the visitors of
the theatre, coming out of ihe subway
wagons, also the actors make use of
movable wagons on rails carrying wardrobe
cabins and service room containers.
: , : , . ~ - - < ' : ~ - ' , ; : -- . . . . --eo;--- '- ; . . ' ~ ! _ .
pLanned subway.... . ."-:-/ _..._ . '"--.-- I
~ '
-: "
URBAN
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CLOSED SPECTATOR-ROOM
BOXES
GALLERY
RESTAURANT/CAFE/BAR
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STAGE(closed partl/PRACTICE-ROOM
STAGE/MAKE-UP &SERVICE-ROOMS
THEATRE-SCHOOL
DECOR-VIORKSHOP
STORAGE ROOM
ADMINISTRATION/LIBRARY/CANTEEN
11 APARTMENT-CONTAINERS
~ m ~ ~ ~ ~ ~ ~ ~ l l r , : - ~ ~ ~ ' ... . :' ; . ; i;. ;.;.
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1 SUBWAY , rntrance l exit
2 upper l evel (t c th e harbour)
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, lobby2 w. c. ' s
3 ".rdrobe
4 eont,..aneelexit balcony
5 specUtor rOOIn
6 orchutr . -pi t
I I ,. I: ,I 11 1 L I j , 11 II I , I I I . I i I . .. .• . _L I
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, seats
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rutaurant I C l f ~ / b a r 2 ..,ardrobe
3 ",.c. 's
4 ruUurant
5 kitel'lt!n
+U 1 ,
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6 bar/clf,t
7 sterage
8 roof terrace
south west elevation
ground floor plan ti rs t floor plan
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PRACTICE-ROOM1 I
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ADMINISTRATION/LIBRARY/CANTEEN
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1 del il.'er lone
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and decorat ion
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3 administration floor (lobby)
4 offic e rooms
5 ra mp to th e aoartment- c ontainer s
grou nd fLo or plan
second fLo or rLan
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//
view down the ramp Leading under th e
cLosed spectator room to th e gaLLery
and th e subway.
view from th e '(aLLe de La Just ic ia 'on the 'PasareLa Exposicion'
with on the Lefi the theatre-schooL
and on the right th e administrationl
Library/canteen-buiLding.J '
J
view on the restaurantCcafé/bar-tower
standing over the bridge.On th e right
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HENRIKE BÖHM
The urban concept shows a connectionbetween the old part and the new part of
Valencia by a "cultural axis" in the riverbed
"Turia". It starts at the museum "de Belles
Artes". leading to a library next to the park
"del Reai". an open-air-theatre at the
bridge "Pasarela Exposicion" and ends at the
palace "de la Musica & Congresos" Between
these buildings are locations for exibitions
situated . A big place beneath the present
bridge "Puente Exposicion" • which lies 9
meters deep in the ground. forms theopen-air-theatre . The bridge, which leads to
the building. is cut into two parts. so thatthere are two seperate entrances - a public
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entrance from the 'green' boulevard "Paseo
Alameda" and a staff entrance from the
other side.
A wall (240 meters long. 11 meters
high).situated on the "cultural axe".
Consisting out of two "slices" of concrete.
emphasizing the linearity of this part of the
riverbed and showing its direction . It is
possible to walk between these "slices". on
two diffe rent levels. in th s direction a
bridge leads through the building. In the
other direction the wall separates the public
entrance part (foyer.cloakrooms .. . from
the 'interior' part.
The only closed element of this building is a
tower. where staff-rooms (exercise -.
requisita-rooms • ... are. The limitation of
only some elements on the 'theatre-place'and the using of materiais. such as
concrete. stone and pebble give the theatre
a sober and cold character (emptyness.
strictness). The surrounding of the theatre
is only a grasslawn • the theatre becomes a
"stone desert" in an "artificial landscape".
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boulevard Paseo Alemeda
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I
Pasarela Exposicion
r - 'I
lHEATER VAL EN(I.A
=
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DOORSNEDE-AA t /2 00
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RICHTJE ALTING
Concept on the scale of the city
1 Ih e bouleyard
10 restore the spatial continuaty of the
river I created a ten meters wide boulevard
on the place of the old riverbed.People can
go for a stro!!, where once a river f!owed.
2 !w o grjdsIn Valencia there are two grids on both sides
of the river. On the northern bank there is a
historical grid of the old city . On the
southern bank the city is planned with a newgrid. Ih e building I designed assimilates bothgrids and thus forms a link between both
parts of the city.
2 Ih e schizofrenic city, or the north and
south bank.
By giving part of itself to the city, the
foyer, and uniting the two different grids,
the building forms a link between the two
parts of the city.
3 Ih e scene of iIIusions, inside the theatre.
Ihis world has no real connection with the
city. It's only linked by i!!usions on thestage and in the foyer.
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LocatIon In the rlver
Ih e plan is situated next to the scheme of
Bofi!!. In the surroundings of the building I
constructed a slope (as is shown in the
section scale ). Ihis slope emphazises the
boulevard and the assimilation of both grids.
Ih e building is placed against the wa!! of thenorthern bank. Ih e wa!! is an essential
element of the composition . !t gives the
theatre its background.
The archltectural concept.
Ih e whole building consists of 4 parts,
L l he part wich houses al! technicalfacilities and room for the artists. Ih e layout is very functiona!.
2 Ih e theatre I chose for the classical form
of the amphitheatre.
3 Ih e entrance area Ihis area gives direct
acces to the auditor ium and foyer. lts
direction is fixed just as the foyer, and as
apposed to the auditorium, by the grid of the
northern bank.
4 Ih e foyer Ihis is the most crucial link
with the city. It is a part of the theatre aswel! as of the city. !t forms a prolongationof one of the streets of the historical grid,
and thus a visual bridge between the two
parts of the city. In this way Valencia is
part of the theatre and the theatre is part ofValencia.
The theatre, sublImatIon of 3different worlds.
1 Ih e streaming river or the continuingmovement.
Ihis is linked with the theatre by the piazza
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Acknowledgement
First ol all we like to thank our prolessors
ir. P. Stipkovits and Ben van Berkel lor
their guidance, moral support and criticalremarks, in this way we would also like to
thank the visting artists/archilects, Ron
Steiner, Joost Meuwissen, Wim van de
Bergh, Rudy Luylens and Oek de Jong.
Ol course we would like to thank the
architecture students Irom Valencia,
espacially the EASA national-contacts :
Vincente Guallart Furio, Esther Gonzales and
Jaime Salazar, who gave us a warm
welcome and organized accomodation,
excursions, parties, etc. These were just
the right ingredients to motivate and inspire
us to work on the Green River project.
Furthermore thanks 10 Edward Jenner,
Gerard Cos & Henk Berkman lor hel ping us
10 create this book.
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ANNEX : Publications
LevanteJueves, 10 de noviembre de 1988
VALENCIA
«EI plan de Ricardo Bofill es demasiado megalomaniaco»
Estudiantes holandeses elaboran un
9
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nuevo' proyecto del iardin del TuriaJUANLAGARDERA ________
bai6 un ano en Zurieh cr., el
conocido arauitecto valenclllno.«EI rio Turla e. ea.i raligio.o
para la eiudad -dice el profesorhOlandés-; a. al eorazón de
Trece alumnos de arQuitectura
de la escuela holandesa de O.1fty su profesor Ben van Berkel se
encuentran en Valencia, obte-
niendo abundante documentaci6n para realizar como proyectofin de carrera un "uevo plan delvieio cauce del Turia. Van Berkelcalifica el primitivo proyecto de
Bofill como «d.ma.iado m.galo
manlaeo», al tiempo Que criticatambién las posiciones de Quienes s610 plantarlan árboles en elrio ó de los Que. como SantialloCalatrava. proponen recuperar la
imallen fluvial del Turia.
además de colaborar ahora con el
proyecto Que lIevan a cabo losholandeses. han prollramado
para el pr6ximo mes de abril un
Ilran de bate publico en torno alTuria. del Que esperan Que saillan.eompromi.o. y .olueion.. ..
.n .1 eentro de la eiudad, porque
alll es dond. h. y que preguntarsequé el el rio y eómo Ie r.l.eiona
con la eiudad, y alll .s donde hayqua •• udiar las r.f.renei..ob.er ob.ervar la . plazal, la .
tcrr•• 10. muro. d.1 rio, .u .
pu.nt ....».
Valencia, un gran problema .1:.__ ......===-_ .... .;
EI interés de los holandesespor el problema del vieio caucenace como consecuencia de laserie de contaçtos Que lIevan acabo durante las reuniones anuales Que celebran con otros estu
diantes europeos. En dichos
encuentros. las EASA . los estudiantes valencianos han planteado en reiteradas ocasiones lacuesti6n del Turia. consilluiendodespertar el interés de sus compalleros continentales. Los pro
pios estudiantes valencianoa.
Para Van Berkel. 10 importanteahora • • • •mpezar d••d•• prineipio, hae.r una ••peei. da r..trao arqueológico por tod.. I .r.f.renèia. hi.tórica8 y a.t 'tiea.d. Ia eludad y al rio», un trabaioQue Ie ha lIevado incluso a visitarla antillua fábrica de Murs y Valls
para eonoeer c6mo se eonstrulanlos pretiles 0 muros del rio . Tantadocumentaci6n. en opini6n delholandés. se ha hecho necesariaeomo .r.aeeión al proyacto d.8ofill», Quien. en opini6n de VanBerkel. «no intagró lUI di•• lo .
con la eiudad, aunque, a 10 m.jor,cuando no.otro. t.rrnin.mo. d.inv•• igar la . po.ibilidad.. quaofr.ea .1 Turia, eoneluyamo.
r.eonoei.ndo qua no eabe otra.olueión qua Ia d. Bofill».
EI profesor holandés diee Que
.. al principal probl.ma d.1 rio.It'
EI proyeeto de los estudiantesholandeses incluir;! además unedificio sinIluiar. Que se ha bautilado como la «bibliotee. y .1 grant.atro de la óp.ra», cuya funei6ndentro del proyecto Illobal será la
de actuar a modo de referencia
metaf6riea. Tratarlln. de aillunamanera. de dar la réplica al edificio del Palau de la Musiea. Que asu iuicio es «d.ma.iado monumental visto de.d. al rio».
Toda la prop"esta holandesa.sellun Van Berkel. intentarll «integrar .1 eauee con la eiudad, proponiendo ciara . raferencia. alagua, al movimiento del agua»,aunque sin lIellar. en este ultimocaso. a las ideas de SantialloCalatrava. quien apoya la pervivencia de la idea de rio para el
Tu,ia. EI propio Van Berkel tra-
urbeni.tieo del que no eonozeo
.preeed.nt.s .imiler • en todoca.o, 16 de situ.cion.. inv. . . . . .
eomo Ie de 10. "doeklend." delpu.rto d . Londr•• donda d. 10
qua •• trataba .r a d. lI.varagua.»
«La id.e d. Bollil -allrella VanBerkel- • • d.ma.iado megalo
maniaea; no ti.na an euanta la.u.taneia, .1 ••ntido d . Ie eiudad,los trozos d. Ia mi.ma y .u . r.f.r.neia•. Cuando .mpi.za. a r.la
elonar la eiudad con .u . muro. yjardin•• ta da . eu.nta da qua
.xi.t.n po.ibilidada. para er.ar
relacion . .»
Van Berkel considera que en elcauce .n o • • •ólo un jardln, plantar 'rbole. .in m'. , 10 qua heyqua haeen . Califiea de «po.itivaDla propuesta de Bofill para «a partir d. una id.a g.n.ral, .. n di.
tintol arquiteeto. 10. qua r.alie.notros proyectol».
Van Berkel. profesor holandés.
Mi E ~ o l e 5 , 21 de junio de 1989 Levante - EL MERCANTIL VALENCIANO -43
C U A D E R ~ O SEMANAl DE A ~ O U T E C T U R A C O ~ S T R U C C I O N U R B A N I S ~ O y ORDENACION TERRIT ORAL INGEN'E"A TRANSPO'TES GEOG'ArlA E " 'D'OlOGI A
YICENTE GUALLARTEaludlanle de Arqulteclur•. Mlembro da EASA en V.lanel.
EI plan da las aulopislas, la asociaci6n Pro Cauca y .al riu és nosIra i al volamvard.; la Iransiei6n poliliea y la declaracvi6n dal cauce como zona varda; al ooncursodaclarado dasiarto, las plantacionas provisionales dal dia dal érbol, las alaccionas, al
plan Bolill y la axposiei6n da la Lonja; més aleccionas, y Iras alias, al Palau y su invarnadaro, los lardinas naoclésicos y su aslanqua, al Iramo da Valgas Tu, la casa dalagua y su inauguraci6n sin aslar larminada, la paralizaci6n da las obras dal puanla daCalatrava; mb alaccionas y crisis: 191 plan da Bofill no es rsalizablel. Paro se siguaplanlando érbolas, paro no sa ampl a al bolAnico; sa inaugura .1 IVAM, y un GullivarserA la falla més grande de la historia de Valencia.
En doca allos, que son muy pooos para la historia de una ciudad, han pasado mu chas oous en al cauce, casi lodas dasafortunadas e irreversibles; quizés porqu. nun
glo XV, eslé deslinada a caer en el oivido, a no ser una ciudad relevanle a nlvel nacional y auropeo. Hoy no parace .xisli r la ilusi6n d. vIYir en Va!encia, d. qua s.a una be-lIa ciudad, una gran ciudad. Oa que lenga un futuro ..
La Asociaci6n Europaa de Esludiantes da Arquitactura en Va!eneia, EASA-Va!encia,oompuesta por esludianles d. Arquitactura y di!ciplinas allnas, Iras presentar al problema dal cauc. d.1 Turia en las asambleas da verano da Helsinki 87 y Berlln 88, y
debalir sobra y/o oon .studiantes daA r q u ~ a c t u r a
auropeos, quier. promovar, an oolaboraci6n oon olras enlidades valenelanas, una exposiei6n y debata cultora! sabra alcauce dal Turia y la ciudad de Valeneia, su pr.senle y su fufuro, a celabrar al proxirnomes de noviembre, bajo el nombre de T u r i a ~ u d a d
En aslas péginas qu.remos presanlar aIgunos de los trabajos reaHzados hasts almomenlo, qua van desde un anélisis fotogr'fioo dal rio y suslmérgenas la rasHzaci6nda un video, a una invesligaci6n hisl6ric . dell.ma; s. han promovido proyactos parael cauc. r.alizados por esludianles exlranjeros, y se hs proyectado una inslslaci6n
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ca se reflexiooo suficientemenle sabre 10 qua podia s i g n ~ i c a r para Valencia la mu.rt.
d. su rio; quizAs por la rapidez oon la que s. quiso resolver .'Iema por parte de aquellos que dieen rapresenlar a los valenelanos; quizAs porque 's e es el destino de nuestra ciudad, que, tras haber sido una de las mb importantes en .1 M a d ~ e r ' n e o en el si-
provisional para el cauce, en las inm.adi8ClOnes del IVAM; hemos antr.vistado a losaulores da los proyectos para al cauce y a parsonas cuhuralm.nle relevanles ennueslra ciudad. La oonclusi6n de lodo ello es qu ...
Valeneis nacesita un nueva plan para el cauce d91 Turia .
ALENCIA
...... . . .
.......--:::::::.
necesita
UN NUEVD PLAN PARAEL CAUCE DEL RIO TURIA
44 . Levante • EL MERCANTIL VALENCIANO Mibc:oles, 21 de junio de 1989
CUADERNO S W A ~ A l DE AROUITECTURA CONSTRUCC'ON U R B A ~ ' S ' . ' O y OROENAC,ON TERRITOR'AL INGEN ER 'A TRANS'ORTES GEOGRA'IA E " DOC ,DG A
P oyectos de estudiantesholandeses ·para el cauce del Turia
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Ordenación y edificio publicoLOS ORGANIZADORESlAMA VAN ooRTMARLEEN VINK
MU L DE RUITERlos .studlantes d. arquhectura
d . Valende, pr8OCUpados por .1desanollo d. su eludad .n .1 fu-turo 'f .n etpeClal del eau<» d.1rio Turla, decldleron, .n colaboracl6n con EASA (Asamblea Euro-
F
paa d . Estudiantes de Arquitectura), hacar un conlraalaque, organlzando una .xposlcl6n quemostrara la hlstorla d. Ia cludadd. Valenela 'f los distIntos proyec-tos reallzados para et eau<» hasta et momento, adem's de Investlgar casos simllares al de Valencia en cludacjes europaas. Esta.xposlcl6n s . lIev6 a cabo .n
Berlln .n agosto de 1988, duran-
UH TEATRO ENTRE LA ALAMEDA Y EL CAUCEIRMA VAN OORT
EI rio divld. Ia eludÎld en dospartes 'f ba puantas divIden al rioan sacclonas. Dado qua cadauna tien. su parsonalldad, las dllarantes actividadas s. repartanan lunel6n da la aeccl6n 'f da laparta da la ciudad de qua sa trate. la zona da la Alamada asadecuada para construir un taatro qua ocupa parclalmant••cauca 'f parelalmante la Alama
t. Ia VIII EASA. D•• ta man.ra.speraban Introducir nuevas Id.-as 'f estabfecer un nuevo aspectode las dlscuslones sobr•• rioTurla en Valenela. A part r da estaInlelativa, trace estudlant.s d . IaUnlversldad Polhécnlca d. Delft(Facultad de Arquitectura) estudiaron la ciudad da Valeneia consu entorno urbano 'f sus problemas de Inlraestructura. Da .sta
Investigecl6n necl6 un proyectobajo la supervisl6n de la Facuftadda Arquitectura da Dalft para lostrabajos a r.allzar. La I.re•• adisellar un edillclo relativamentegranda an el entorno urbano deleau<» dal Turia sabra la bas. deun programa precisamenta dallnl do con axlgenelas de lunclonamianto complejas. EI conceptourbanlstico tanla qua sar dasarro-
UllUZAR LOS PUENTES ANT1GUOS Y LOS PRETILES DEL TURIA PARA EDlFlClOS CULTURALESMARLEEN VINK
S. puede dar una nuava raz6nda axlstlr a ba puantas 'f al dasnivel antra al cauca y al resto dala cludad, utillz'ndolos comomantos de proyecto. lo s pretileshlst6ricos'f el puante da la exposlcl6n san partes a"neialas deltaatro dIselIado bajo esta puanta.
ftado de manara qua la proyactar . un elarto numaro d . edillelo.como bIblIotaca, t.atro u 6para,an combinac/6n con lug.res d .
.ntrvtenlmlanto. De tal concapIOurbanlstlco I.l1O t.nla qua dlsa/l.rla biblIotaca 0 .1 taatro, da tal
modo qua la Idaa del ediflcio formara un conjunto l6gico con al
contaxto urbano y qua contentaraba raqu.rlmlentos de nuastra escual • Un . brave a.leccl6n d .
nuestros proyectOll ••• pu . . .
en estas pllglnas.
ELPROFESORBEN VAN BERKEL
Pro"., Invltado en la Ftlcul-tact de Arqultectunl de la TU- .DELFT.
P.r. un estudlanta d. arquilec-tura, Valaneia daba sar una d .
laa ciudadaa mb lasclnant.. yamoclonantes da Europa. Su !naqulvoca cartd.. sa slanta por to-das partes. La ciudad ha acumufado hlstorla da una manera natural. Su catedral, comanzada .n a6poca roménlca, fu. construy6ndosa con dlstlntos astIba, eoexls-
tIendo armonlolament. los UfIOIJunto con los oIros.la hlstorla de la .rqultectur.
en Valencla ma raci.nt. ti.,. 111
propIo ancanto. Dornlnad. por baacontecimlantos qua roda.n alrio Turl8, dos hechol Ir6nlcos
. 80rprandan al qua Ia vleit • • Enprlmar fugar, .1 nuavo·rio qua rodaa la eludad est' normalmant.m's S&CO qua al rio IffIrrHI, Y . 1agua aparace solament•• rarasOC8ll1onll. En sagundo' lugar ymäs Importante, as qua es praci
.amant. alrio
VfHTI" al qua.s
.1rio para ba valencIanos. qua to-davla astä cumpHando al mlsmopapallocal qua el Sana an Paris,
......
M ~ r c : o l e s . 21 de junio de 1989 Levante - EL MERCANTIL VALENCIANO -45
CUADERNO SWANAl DE APQU'TECTUPA CONSTPUCCION U R B A N I S ~ O Y OPDENACION TEPp'TQP,Al INGfNIEPIA TPAN,POOTES Groe,p" A [ " oPO.03 I.
Viene de .. p6gina antarior
al nmesis en Londres y el Ame-lel en Amslerdam: es el coraz6nda I . cludad. La manera en I.
cu. l l . ciudad ha crecldo a 10 largo da los alias ha sldo la respu..... S81p8nte.nta rio, 10 quee. vIIibIe en la farm. da cal"s Ypuenles.
Muchos de eslos estudlantes
cuyos proyectos presenlamasaqul han tenldo esto en cuenta.Aunque tuvleron que proyectaruna biblioteca 0 una 6pera, muchos de ellos desarrollaron planes urbanlsticos InspIrados por elrio. Inevilablemente, e.lo. proyeetos contIenen una clerta dosisde critica aobre los plane. axlstentes para esa zona.
Se sanUa, por ejemplo, que los
jardines proyeetados para el cau ce fueron disallados con un 'nfa-.i s demaslado horizonlal. Las poslbilldades de los puentes quecruzan el rio WNd. lueron Insuflclenlemente exploladas. Tampo-co los magnlficos vlejos prelIIesfuaron consIderados con culdadosuflclente. Sin ambargo, tanto lospretlles coma los mArgenes tienen una gran ImportancIa, tanto
Inlegraliva coma hiat6rica. OIropunto de critica se centm e.n elPaleclo de la MusIca, que parecacolosal visto desda el rio, porquefue dlsallado exclualvamenlepara la perspedlva del buievar.
SI eatas crItIcaa parecan presuntuosas, uno lIen. qua d. , . .
cuenta, se dabarla recordar qualos crlt.rlos crllicos .on una d.
la. obIlgaciona. de 10• • • udlan-
I• • a'l coma su pr.rrogallva.Oulzb dabarla s.II.I.r • I.m-bl6n qu . los .studlanl•• haland.sas eausaron una gran IOrprlsa.n .1 d.partam.nlo 10pogr6f1co
dal Ayunt.mlanto d . V.I.nel.cullndo IOllcft.ron esludiar .1 ma-t.rial topogr6flco d.1 ir.a dol rio,~ u . nadle d. los qua .st i trabalando en la eetualldad .n el temahabl. soIIcItado con anttrlorldad.
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J, r'....... . ... . ," . : I .- I--
- ~ - - - , ...
EN LUOAR DE DlLUlÁ EL CAUCE EN LA ClUDAD, SU HUELLADEBERIA EXPLOfARSEJACOB VAN RUS .
Un I rad d . IIn.as qu . part.nd . Ia cludad cr.. una superflc:l.d . planos en la qua obJetos y astructuras Irragulares quad.n dl . .mInados. EI espaclo r . . .nt . sallenari eon distlntos 6rbo1es. To-
dos 10. adlflclos astin proyeet.dos CIrca de 0 Junto • los prelnespara no romper la vista.
CENTRO DE OCIO BAJO EL PUENTE DEL REALTANJA BUUS-VITKOVA
EI canlro d. tl.mpo Ilbr. ..ublca en un lug.r urbano relevante, donda al casco antigua sa .n -cu.ntr. con I. cludad contemporin . . carca da los popular.. ardin.. d.1 RaaI 'f dal Inlclo de laAI.mad. h.ci•• P.lau. P.sos
.ubt.rrinaos d.sd. VIv.ro., .1templo y I . plaz. d. Tetuin m.joran .1 acoslO.
EL CAUCE, COMO NUEVO CENTRO URBANO aUE CONECTA ARBOLES Y VlAS PEATONA- UNI. UNEA DE METRO RESOLVERA LOS PROBlEMAS DE
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LAS DOS PARTES DE LA ClUDADPAUL DE RUITER
En este nuevo centro, la bibliote-ca, de forma triangular, se alzasobre el cauC9. Esta érea trian-
gular es un poco més ancha <\ueel cauce, de ahf que el vértlC9sobrepase el muro del cauce yse eleve aproximadamente diezmetros por !lncima del nivel delbulevar.
UH ACCESO AL CAUCEROBERT WINKEL
Extendiendo los jardines delReal al rfo creamos un 8CCeso alas nuevas activldades del cauce.Si proyectamos la ciudad en el
nuellO parque, tomando coma re-ferenda las Ifneas especfficas de10. e d ~ i c i o s hist6ricos, parquea,muroe, puent.s, e;" y vectof.s,
LES IMITAN LA CORRIENTEDEL TURIA
TRAFICOJOCHEM PLETTE
MATHLJS MELJER
Recorriendo las trayectorias delas vfas peatonales, uno se pue-
de Imaginar que forma parte dela corriente del rfo sustitutiva delagua.
A 10 largo del buievar de la Ala-meda se crea un eje cultural, em-pezando por el e d ~ i c i o del Palau.Las ofertas culturales c o n s t ~ u r f an prolongaciones de las estacio-nes de metro, para hacer los ac-cesos 10 més fécil posible. Las bi-bliotecas publicas serfan lugaresde comunicaci6n en una situa-ci6n atractiva, alladiendo un res -taurante.
UN MURO aUE ACENTUA LA UNEAUDAD DEL RIO FORMAPARTE DE UN TEATRO
INTRODUCIR UNI. VIA DEAGUA EH EL CAUCE CON UNAZONA DE ESPARCIMIENTOJAN VAN OORT
HENRIKE BOHMUn eje cubural part. del Musea
de 8ellas Artes, pasa por un tea-tro al air. libr. situado junto a lapasareia de la .xposici6n y
termina en el Palau de la Musica.Una gran plaza, nu.ve metrospor dabajo del nivel del rio, formaal teatro al air. libre. S. divld. el
La vfa de agua fluye d . formaparafela al cauce, en medio de
6st., y conecta los adiflCios situa-dos .n el espacio lat.ral. Uno delos edHicios es un teatro qua utili-za el agua para guiar a la audien-
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