The Green River Project Valencia, Spain

8/7/2019 The Green River Project Valencia, Spain

http://slidepdf.com/reader/full/the-green-river-project-valencia-spain 1/137



THE GREEN RIVER PROJECT

VALENCIA SPAIN

Dutch student-projects, Delft, University of Technology, Faculty of



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 .



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



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

./



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



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.



-

ILLUSTRATION 1

. t

...

. :'

I

• " ",

'. --+- ...

I

. ' ,

.

.\ I - I \ ,. +

.. .. ;1,\ , -" " . .. ;;.+-, ....

'" --.,. --+ I ,.-

I

• I .

. , - - -+ I

\I

\ -



1VIEW OF A SPONTANEOUS ACTIVITY INSIDE THE RIVER



3:VIEW OF APARK INSIDE THE RIVERBED and of "PUENTE DE SAN JOSE"





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.



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 activities 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



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



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---- -

r-.=--

•

I---- , - --- -_ .

I II

i

1 ! ! ~ i 3 E 1 ~ i l f f i i ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ; : ~ ~ 1 1 ~ 1 ; = f . ~ \ ..I . "

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

iI

! - -

---1

/

i

. /

.



GROUNDFLOOR PLAN WITH A VIEW ON THE

ADULT LlBRARY. INFORMAT ON PLATFORM

AND SPIRAL BOOKCASE

" , .J

- " : · · : ' " - ~ ~ · · ' ~ , ~ : : , : . ~ . ~ : : ~ ~ : ; . : : ; . t E : ; : ~ : ~ 1 r B ~ ~ ~ ; ; / g f ~ ;

,r,- ,

. c---f ' ,. .J' ( _ . ~ ; ~ ~ '(

<



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



+" -

"

ROOF PlAN, READING AREA J

, , ~ ~ ..

...r=LL-LLLL LL-tl.-...

t-Lt L --"LiL-.:..L1-



BB

\ I\

\r-e.,. ' \ \

' : > ~ , i -, ,, .

I,/

- - , -- , . . . --_ .. . ....... L. .__ ....J

/ ,/

/

/

/

CROSS-SECTION THROUGH THE LIBRARY AND PEDESTRAlN'S BRIDGE

r •

I i

.-4- 1

"

•. I_ __

I.-- I

1" : 1

,,-I'"" Tl-'-- I

._- -- 1

"

-+-, - ~ ' l ;



---.,' " y- - - - /

-): - _ _ _ _-' -==-__ __ _ __ _ ______ _ _ _ _ __ _ _ = - = - = - = = - - : - c _ - - : ~ ~ o : : - = - - = : - = - - . : : . . -

AA

CROSS-SECTION THROUGH THE LlBRARY AND PEDESTRAIN'S BRIDGE



PERSPECTIVE DRAWNING LlBRARYIPEDESTRAlN'S BRIDGE

.-r---r 1---_I I--I r - -

I

.......... :......



JACOB VAN RIJS



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.





- - '. -- - \I -. - \ \

: --,--',-\ -

,\ .

, \

, '







:-'



II lP'

' 1 . / . / ./ / ' ./ / ' ./ / ' / ' ./ 7' '" '" I7 . / . / . / / . / / ' . / / ' . /

11'1 = --- - / T 'o

J

./ . / . / . / ././

" 7 ' /

F··- .

T

- ------ - -----:---

e . po

J/////



.







/j

/

/

/

//

/

"

J-:;:"-'

/ ,, ,

/ /

,'" ,/

, ' , I ', ,

" /

/ '/ '/

////

",/

, /

/

/

/

/

/

/

""

~ ~ ; . "

"

.,,;-

/

/

/

/



I . . . . . . . . .

j_L .. .

.............. "o

I

r:.-_- _- -: -:. =-:---- -= ----=- =- o r'

o





MATHIJS MEIJER

Th. parkWhile visiting the city of Valencia and the

Th. op.rahou••

The operahouse and its direct surroundings



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.





\" -------:;;---- - --

bird's eye view Urban design tor a park in the Turia riverbed, Valencia,Spain Mathijs Meijer



south elevation

east elevation

section AA

r=-,

îTI~ r b

IL.11114, L m L L ~ ~ ~ l I D tm; tTLc. --".i...-h.H- ------ ] lij ,

J II II I [ lI

L .1 .I . ...



- - - - - -

plan of first floor/street le ve l

Design for an Operahouse in Valenc la, Spain

Mathijs Meijer W



I

___ 1.. _

I

I I

- I

I I

I

I

I

I

\

\

\\

00 0

\

\

plan of gro und floor/p ark level



~ I . . - . - ~ ___ J __________ 1

I

I

I

4 III

__ _ - - - J ~ ~ : - . k - ~ - -,,-- -- I ~ _ ~ I

J\ \ \ ,I .\ ' I \.,... \.-r-- - -:;--

\ I,

, '. It

' ........ .,.... ....- \,,-:.LLLIJY1L----l I

I

I

j+

plan of basement/corridor under streetlevel

section AA

detail of concrete shell



detail 2

detail 1

2

1

elevation fragment section CC

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



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.



o



· ..



/

r-/



I I

I I

/

."-.--.







.

-:''. ... ' .....

- '. " "';;<:'" •• '. ,

" -

".. -- - '-,> .

-



.

.,,-------_.-

- -

x/ /y. '

/ . • 0

/ '

/ / ./

) i

/

-I



:1 1

lil ., .

!

I,i

"

I!i,

r -?r' h

-! II! ,i j :

, iII,

'I!1

"

!.

i·

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.



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.



, , , \r 1·lOOM I

\ /I

I

\). ' ~ - - - - - - - - - - - - - - - - - - - - - -\

\ ,



. ()(X)M

\'

\

; : ; - : , , " ~ . - . \.. -' :::.-- , r ~ - '

-OOi""

- o f ~ M / /

/

. I' 'ti. t,)' t ,

/

/

"

...- -0 , , " ,

-----

I

<--

, I •. *

-1-

I

t

t

I

I

,lid f.OO5I 1 le t

.l.o&'.



!I

I

I,

"\,

\ \\

- I

L ~ -==----- ......:...:::.:..=

- = = - -=----- :::==:=:-:::=::::--====:.._-

./

/

/

, , /

/ '

//

/ '

/ '

---

- I

I- .-

-- -----



o

o

oT

o

-- -----.;::-.....---- - .. -



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



.

I

!

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.



! '•• 'e. eU ~ , , , , , . e' UIOO •• ct 'U •• ,o"., " ~ " " I ••e. !o•• """'.,•• a I.,." •• • " , ~ " l ~ ~ ~ ~ " . ; ; : f ; ' ~ ' " "'''',,, ,1.a •• • ~ : ~ ; ~ ~ ~ ~ : : a.1 • •• " .ra • ."a ,,, •• .-a.j ro .... uu. _. r • con" e,'." .."" ' ." -<;1rO,,"<I'

1

"i![.

!l I

1 I1I

,II!

!![, I: il Ii. I' ! I, I1 I

I!I ' I

!l [ I, I li I' 11I: I I; i 1 :l" l

I:t l I .

I :1 ' l

it It

I

,I rIlIj I 11

I

j

11 r:iI, \ !I ' ijl i IUi li1 lil"" lE. lt

lCate 1 10000



•

---_ ._

---_._--\ I



\

" f h e.1fr e c!r .1m.1 "

groundpl ."••

dI I t l

lon .

0' ,,,. tr",'r.

rob . r ' w ifl lo. L. ' ' ' 'St. r dlm

b. " b.rll.L . p • tlJlloo" lhtv d. l n

lu L 1 ,""00 I-

, :" .,: :, ,

: ", ,, ,

" ,

, ,, ,, ,

,

, ,, ,, .

:, ,, ,' ..." :,, ,

:",, ,, ,

, ,, ,, ,

, ",, ,

", ,

...... ..,. '":!.



'oDert ... " .. • ",.,.,I;l ...b .. b.r"'!.' Hip .... ,.I . . . . . 11

1 . "(10

64

' - . - •• -- •• - - . - - •••• •••• -- •• - • • •• • • • ••••••••••• _ •••• • • _· ·. · •••••••••



"t/1,.tre o l dr .m."

! ~ O ~ : : P , I ~ ; : r : : d II(t'O"1

'.blr, ..;"Io.I.'''''''lrd ..:,.. ....~ ; ; ~ . I . p • 'iJko,,;"

1C.1 . ' . 4 0 0 ~



•• b•• .. . . . . .• ' ••• . :. '"

~ : : . . . . D_ l i l JlU l , : 100

. n ,.,,",., --.""hI rad a. ,, , . ao.'0' Ina r,,,.r ··' ..r .. .

5



oc"r. ("'"u'ad or,clU]

\-- - - \

"fhealre ol ' drama"

d at . 'h ol Iha •• • I,on

-,.'h p . r . p . ~ I o •• .......





- - - ; : - : ; : ; ; - : - = - - - . . : ; ; - - = - , - 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



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.





cross-seetion--perspt"cliVt



!icrosssect!óns 1.200 /

I









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 ....... ......... . · ········ ...... . .. ···· . · ..... ·· .... .



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



~ " " "

,

1 - -- -

The line, which has been created, passes through different zones, Similar activities were as far as possible grouped together in zones.

79



- - ---_------ ------

FloorpIan; 14 meters below street-level.



.. .. / ..- ._-------'--_._ --- ' -

Floorplan; 5 meters below street-Ievel: riverbed-Ievel. Situation of the theatre in the river.

\.\\ \\ \

/ !

//

" L - - ~ _ __ .__ ______ L . __ ________ _

" --------------



Axonometry.82

I



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



Viewofthe . ross-sections.ntrance into the foyer C



--1 : ;

_. ..I ::

Coming !rom Ihe line: a view of !he thealre and lhe boulevard.

~ . / /



Without realizing it one moves downwards and passes the picture-gallery,which is part of the riverwall.



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



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.











•• . • 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,



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.

/"

,

-',



),

.. .

I',I

\

Cl









>





QV j f f 67& '7 - Ê .EidfT /a) ' 2. CD

~ -

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,



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



, 'I • '_

t ';;:. ..I r- i P : ~ I

CLOSED SPECTATOR-ROOM

BOXES

GALLERY

RESTAURANT/CAFE/BAR



. ~ . I

, ..

r.

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;. ;.;.

• "# '. 1-,.; " .

1 SUBWAY , rntrance l exit

2 upper l evel (t c th e harbour)



. " I ti ! i I,

I. _ frn TIJiIIi!!iC

11'1'

. .... ~ - - - - - - - - - - -

• ·.1

ground fLoor pLan

3 lower level (t c 'M is t ata ' )

1 i I1" ,

"" " '1

CLOSED SPECTATOR-ROOM

, 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

3 BOXES r-;:;-, , , ' .n

""' , ,

n , ' "", r r

1 corridor

2 boxes ." , ,

00 n, : -,

,r I ! I

-, .-, cO, ,"

, ; 11

olco --;; .-,,

""

, , ,n IC' ,n - '''' ol, " , 11 "

I

nlll1,('

-:"" . . . . . . , .. 'O C

-".:''';'.'.: ." '-.'" " - - ' . ~ ..

north east eLevation

4 GALLERY

, seats

- - -

5 RESTAURANT/CAFÉ/BAR

1 ~ l t ! ' I I a t o r to th t

rutaurant I C l f ~ / b a r 2 ..,ardrobe

3 ",.c. 's

4 ruUurant

5 kitel'lt!n

+U 1 ,



6 bar/clf,t

7 sterage

8 roof terrace

south west elevation

ground floor plan ti rs t floor plan

.\ ............. .

... \ ...Jill . . 7 .1\ - ' /

6 \

- 1 > ' : / ~ \ " ~ x ; ' ; = = ./ : ; . .'

\Qi2jjy'

....... : . - .

=

setond floor pian third Hoor plan

STAGE(cLosed part ) /

PRACTICE-ROOM1 I

i 1



" , ' . ' , I :,~ " . ' " " ' , 1

1

"

I, I2

i 1 13

1

I It:.::.::A

I..,-,--,--,-

1

rml i 1-

11 I- Mil

' I

.

1 1I 1 ~ . ~ mM""\Al'

i,-!-

i ! 86

I

I f t:.1[ ::;""'" Uh j ~

ound f loor plan

f i r s t f loor plan

"

,;" , ", " ' ...... :'

.- ..... .' -

', ' .. . " , . ~ • -.- ':, ','UH I I 1 I I I I I I

/ , , ""H I I I i I I I I' : I I I I I IN I.,>' 1'+,, 1 1 1 i

I I I I I1== 1=

I I I 1

1 1 1 1 I I I 1 I I 1 1 I, lma, IIIT I I. 1 I -

-"'" " L I. L

7

11 1 ! 1 ,!! i l ti l ["l lr Jf -

r

1 stage ( l i f t eLements )

2 backstage area

(s torage I rest room)

3 technicaL room for

l ighting & Lift e Lements

t. decor waggons

5 wardrobes

6 practic:e room

7 storage rooms

8 spectator seats

9 wardrobe / counter

10 terraC8

7 STAGE/MAKE-UP- & SERVICE-ROOMS

, s t a g ~ (consisting 01a lIult ifunction.l grid)

2 d ~ c o r rai ls

3 movuble decor elements

4 wardrobe wIggons

5 rest room wlggon

6 make-up areas

7 w.rdrobes belong;"g to

dressing ster'ge .bove

8 ea U

9 w. c . IS

10 d r ~ s s i n g stor.ge

! I I I



r--...

1 1 I j ! !

I I

I

f irst fLoor pLan

I

I

•• •.N

I 2 I

I

5

1 !I I I

~ n n T T l I 5 I . •.. I1 f ~ l I I l l l

ground fLoor pLan

. . . .w

8 THEATRE-SCHOOL

, practice room

:: storage/classroom

3 10'. C. I S

I.. a d m i n ~ s t r . t i o n

.. . .tI

,

•

i DECOR-WORKSHOP 10 STORAGE-ROOM

ADMINISTRATION/LIBRARY/CANTEEN



1 del il.'er lone

2 decor ra.i ls

3 studios

4 dif. working areas 9round fl 00 r

1

1 APARTMENT-CONTAI NERS

/ : / / ~ ~ / / ~

L . ~ I ..c:.. .J

F 7 lI ( ·'1Ld

1 storage far stage - elements

and decorat ion

2 shunting- switch

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



//

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



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



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".



boulevard Paseo Alemeda



I

Pasarela Exposicion

r - 'I

lHEATER VAL EN(I.A

=



"I I

I I

II

I;

I I I

"

I

._._ ._ ._ ._ _ _ ._ .--1

=





DOORSNEDE-AA t /2 00





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.



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

\'.

\



\

\\

. - '.

SlnJAil(-PIlCf€L-(Kt.PT

1 I.! I

/'

.1 Li__

/



~ l l l l l " I I ~ I I ~ J J ~ I J I ~ I J ~ E , , [ l = l L l J ~ l I ~ [ l J h' - - ~ ~ r w - - l l I _ " I I _ I I I I _ I ! I I - - ~ ~ ïlll · · · · · j(II 11 11 11 Ih 11 ] 111111111111111111

OOSi MIl/t(t1i



\l t Si MIl!ltlli

~ - - - - - . ~

luxm MIWlll1

1 1 1 1 1 , ! I ! , I I I , ! " " I I " I , ! " ~ I ' , ~ ~ ' l . I

- ---- ...- --\

\ ' " 0 \

\ \

\ \



\ 0 \

\ 0

\ \

\ \

\

0 \

o \

\ \

\ \

\ 0 \ /

\ .

\ -%i;dI- - ' · · ·

\ . . - - - . \

\ \

\ \

\\ 0 \

o \

\ \

\ \

\ 0 \

\ \

\ \

\ 0 0 \

\ \

\ \

\ 0 \

\ 0 - -- '---

BFG"'f. (jRa.o

11 00

I .]

fOYfll

o



-



U UGif OOOOSWlDf.

'''' "In l ll,Ai A,o)

- - _ .._ - - - ------ --,, - - . . _-_ .. . . . -



- ' - ~ .......- - -0 (W(fW()OEiAU

- -0 1""(-t,W' AANSWTttl

o .

~ _ o Q)SPAHT-tun MI4SI.1..ITllti

--- ,

IW<RAI'()- GlAS ·$A'oHf OE iAIl UDfOOlG

--- l1

I

I

o YlO(nIMNl ·!JI.A$ - SlWI'i OE ïhk. lOOPOOL6

- ~ - - - - / - - ; -I I / / /

I 1 ///

"

1 1 1 / / /

I / / /

I I 1 / / / ~ / ' l i l ; ' ; ;

~ Z ? Z ~...J _____________ _O\.I\RSUOOflSIKO[ VlOCR lOOlllf1l.1fi

I\A"SlU'i'UC, LOOIH"lLl.JVlClfl - vt:ROf:rlV-lGSIo'tOlR





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.



ANNEX : Publications

LevanteJueves, 10 de noviembre de 1988

VALENCIA

«EI plan de Ricardo Bofill es demasiado megalomaniaco»

Estudiantes holandeses elaboran un

9



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



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



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.



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



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-



Documents

The Green River Project Valencia, Spain