THE GREEN RIVER PROJECT

VALENCIA SPAIN
Dutch student-projects, Delft, University of Technology, Faculty of
Arch itecture , Housing, Urban Design and Planning, The Netherlands
Uitgave, distributie en produktie
Publikatieburo
Faculteit der Bouwkunde
Technische Universiteit Delft
Berlageweg 1 2628 CR Delft
Telefoon (015) 784737
In opdracht van
European Architecture Students Assembly (EASA)
Druk
Universiteits Drukkerij
CIP-gegevens
Koninklijke Bibliotheek
Green
Den Haag
The green river: Dutch students-projects forthe dry Tu-
ria riverbed in Valencia, Spain, '89 / ed. by Irma van
Dort, Robert Winkel, Paul de Ruiter. - Delft: University of
Technology, Faculty of Architecture, Housing, Urban
Design 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 or by 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 raad
Jan van Cort
Robert Winkel
ranja Vitkova
Irma van Cort
Jochen Plette
Marleen Vink
Allard van der Hoek
Henrike Böhm
Richt je Alting
./
INDEX
PROLOGUE bytheorganlzal'1l
page: . 6
INTRODUCTION by Ben van Berkel
page: 11
WITH CONTRIBUTIONS FR OM 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: 94
ALLARD VAN DER HOEK
page: 102
HENRIKE BÖHM
page: 112
RICHT JE AL TING
page: 120
ACKNOWLEDGEMENT
page: 129
ANNEX : Publlcatlone
page: 131
• the participants are responsible tor their contributions
6
PROLOGUE
Valencia, as many other European cities,
was born and bred on a river bank. 'For
centuries the water was used for irragation
of the great area of fields that surround the
city, and the river flowed quietly through it
to its delta in the Mediterranean. But in
1957 as it had already happened
previously, the river nooded both its banks
and more than 3/4 of the city was
submerged, causing great 1055 of life and
goods. To prevent new floods the city
council decided to create a new river bed
wider than the former, south of the city
(see iII. 1, page ), of course the problem
arose: wh at to do wjth thjs old rjverbed?
This riverbed measures 9 kilometers by
120 to 180 meters with a gross surface of
approximatelly 1.515.000 square meters.
In the middle of the 60'5, it was decided to
build a motorway network in the riverbad
to solve the traffic problems in the city. But
finally after many demonstrations. In 1976
it was decided to make a green zone of the
old river "Turia" riverbed. In 1981, af ter
having abandonned a competition, the town
council decided to put Ricardo Bofill in
charge of editing a special inner reform
plan, which was shown to the citizens of
Valencia a year and a half later. The plan
included the Idea of how to work on the old
river bed (zoning norms, economic planning,
etc). This plan was afterwards used ' as
guide line for various urban designs. There
are two areas of the park already built, and
there's another one on paper, but because of
financial and political reasons, it is unlikely
that it is going to be built.
The riverbed has been the political and
architectural battle field for more then 30
years. The result of this discussion was a
meagre attempt of Ricardo Bofill to fill the
entire space with trees and classical
reminices.
The architect students of Valencia,
concerned about their future city, decided in
cooperatlon with EASA (European
Architecture Student Assembly) to organize
a positive counter-attack, by organizing an
exhibition which will contain studenl's
projects from all ov,er Europe, about
Valencia and other similar problems. Hoping
to Inject new ideas and to create a basis for
discussion about the river" Turia" in
Valencia.
Thirteen students from Delft University of
Technology, Faculty of Architecture,
Housing, Urban design and Planning, The
Netherlands, studied the city in its urban
context and its infrastructural problems.
From this investigation we formulated an
assignment along the lines of the
requirements for a design-project of the
Faculty of Architecture, Housing, Urban
Design and Planning, Delft University of
Technology, 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 relatively
large building in an urban context on the
basis of a precisely defined program me of
requirements for complex and varying
utilities. The Building has to contain
repetition and a variety of small and large
rooms. Studies of architectural concepts
and their suitability for elaboration and
implementation are involved in the project.
The architectonic designs are approached on
an integrated basis.
We interpretated this into the following
requlrements: an urban concept had to be
developed in order to project, on a
motivated basis, a limited number of
utilitarian buildings being a library, a
theatre or opera in combination with places
of amusement. From this urban concept
either a library or a theatre had to be
designed in such a way that the building
concept fitted in with the urban concept and
th at it fulfills the A3-requirments of our
schooi. 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 de
Valencia" a proposal was made to designate
the 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, plan
South
lliL The solution "plan South" was
approved: a by-pass canel should ba built
along the south side of the city Valencia, as
weil as a proposal for train- ,and car
traffic (sae ill: 1, page 7 ).
.1.S.ll "Plan South" is incorparated
Into "Plan Generai": to finance this ,the
riverbed would be sold in parts to private
companies.
1966-72 The city council porposed again
a highway in the old riverbed.
1972-76 The inhabitants of Valencia
demonstrated agalnst th is highway, and
they want to make a green zone and a
recreational area out of the river.
1976-79 Local political involvement into
the problems of the Valencian river.
1.ill The city council voted for a
public space and greenzone, projected into
the riverbed. Out of th is council meeting a
bill 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 the
riverbed should increase the activities in
the city.
-to enhance the relation between the city
and the sea by means of the riverbed
development.
lill The city-council asked Ricardo
Bofill to make a propasal for the riverbed
according to 1979 legislation.
~ EXhlIition of Ricardo 8oflli's plans
in Valencia.
1985-86 Re lisation of a part of "Plan
Bofill", 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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7
1 :VIEW OF A SPONTANEOUS ACTIVITY INSIDE THE RIVER
8 2:VIEW FROM THE RIVERBED TOWARDS THE WEST
3:VIEW OF A PARK INSIDE THE RIVERBED and of "PUENTE DE SAN JOSE"
4:vlEW FROM THE RIVERBED TOWARDS "PUENTE DE SERRANOS" AND "TORRES DE SERRANOS" 9
10
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 natural
way; 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 the
outsider. the first is that the new
river surrounding Vale nc ia 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 bridges 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.
11
12
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. Subconsiously
the old riverwalls indicate that - there used
to be a river. These wa lis are like
archeological remains ol what used to beo
Looking at it Irom this point ol view you can
say: the old walls and the space between
them is a surrealistic object, dividing the
city in two separate parts. The bridges
remained, still linking the two parts but
only to cross the empty space ol no-mans
land as quick as possible. On both sides ol
the river-wall there is a second problem
called car-traffic. This traffic and the room
it's needing, makes the gap in the city even
bigger, noisier and unpleasant to be in. This
problem 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 areas
are underdeveloped and are decaying. The
only thing ttley have in common is, that they
are 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 urban
concept.
Urban concept, Valencla
Looking at the river as a long rectanoular
cjtv centra, which can provide the separate
cityareas a coherensy ol activities like;
leisure,cultural,educational, sports, parks,
squares,shopping,etc. Creating a new city
centre in and around the river. From every
direction axes ol the separate cityareas
can now be connected with this rectangular
city centre, so the "Turia" with its axes,
becomes the spine ol the city. This nerve-
system 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 a
purified artilicial water stream. The water
can be used lor different kind ol activities
(swimming, lountains, etc.) to bring
pleasure and coolness in summertime. This
water gets purilied and controled at the
junction ol the old river and the new
by-pass. The artificial water stream is a
linear element that emphasizes the
structure ol the dried-out river and
conneets all the different areas.
Ol course drastical changes are needed,
especially in the inlrastructure. The
massive 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 and
stimulating the slow-traffic (pedestrains
and bicycles).
Urban concept, IIbrary
The urban design ol the part between the
two bridges, "Puente de las Glorias
Valencianas"and the "Puente de San Jose",
were inspired on the plan by the russian
constructuvist Leonidov had made lor the
Palace ol Culture, in Moscow, 1930. In this
plan several different cultural buildings,
have been inlormally arranged onto a
geometrical zoned area, with different
cultural activities. These activi- ties are
connected through an enclosed wall.
Thjs wall can be compared wjth the old
rjver wall Linking all the separate areas
and buildings into one concept that can
support 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 urban
structure ol Valencia. The lormat ol the
botanical garden and new museum lor
Modern Art has also been extended into the
river. Leaving geometrical areas in which
cultural activities will be projekted. In one
ol the triangular shapes the library is
projected.
Bridge tor pedestrains
A new bridge lor pedestrains has been
added, as an extention ol the "CaIIe la
Jordana", 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. This
bridge lorms a shortcut and a new link with
the old centre and the busstation area, with
the river as its medium th at will contain
new public activities.
Llbrary
The triang ular area is nSlng out ol the
river-bed. The base is implanted in the
river-bed while the point ol the
structure is rising up into the air. This
triangular raised area is just a lituè bigger
than the width between the two river-
walls, therelore the point is crossing the
river-wall and is suspended apprqximately
10 meters above boulevard level.
On top ol this sloping area a park is
situated. The point ol the triangular shape,
after the meandering artilicial water
stream, contains the library, it is there
where the park becomes the rooi ol the
library. Because ol th is sloping area the
new bridge lor pedestrains is going through
the 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 the
library. The remaining part of th is triangle
can be used lor future extensions or extra
depot ol the library.
In trastructuu r.
The car traffic parallel with the riller is in
this plan no longer existing. This car traffic
has to use the detour-ringways around the
city or park their cars in carparkings and
use public transport on the boulevards to
get to their destination. The roads
perpendicular to the river are still open for
car-traffic. Underneath the "CaIIe de
Guillem" before the new modern arts
museum a tunnel for car-traffic is made.
Which starts at the "Plaza Torres de Quart"
and ends in the "Avenuda de Burjasbt". This
tunnel crosses the river and on that point a
carparking is situated, dug 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 lIBRARY AREA BETWEEN PUENTE DE LAS GLORIAS VALENCIANAS AND PUENTE DE SAN JOSE
13
Llbrary concept
The earth with its vegetation is lilted out
into the air to emphasize the surrealistic
substance ol the river. The space that this
phenomenon creates contains a literary
load, called library.
Underneath this earth an other world is
appearing. 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, created
through:
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 iIIusion
that these rooI strips have no dimension
and are floating in the air.
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GROUNDFLOOR PLAN WITH A VIEW ON THE
READING AREAS, WATERFALL BAR, DEPOT AND
SERVICE ROOMS
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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.
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reflecting the rationality ol the science park -_ .. --------.;...,\----.......
next to the library. The other laçade has a
more dramatical composition with the
concave windows. They relleet the
activities 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 the
bridge, going downstairs through the
ril/er-wall, entering the world ol the
translormed water, underneath the
hypothetical watersurface. The floor ol the
library is built up out ol triangular
14
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GROUNDFLOOR PLAN WITH A VIEW ON THE
ADULT LlBRARY. IN FORMAT ION PLATFORM
AND SPIRAL BOOKCASE
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15
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 general
lunctions 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 down
the stairs to the next platform is like
starting in a new chapter. The bottom
platform leads to study and reading areas.
Also at th is level a bar/restaurant is
situated. It is there where you can drink,
eat or smoke while reading a book. In this
bar, the artificial waterstream turns into a
waterlaII, providing a pleasant atmosphere
in summertime.
The children's library consists out of three
meandering 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 l ines of bookshelves
represents the waving of the watersurlace.
Like the waving edge of the bridge
underneath the library's rooI, which is used
as a bench lor resting and socializing.
<
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GROUNDFLOOR PLAN WITH A VIEW ON THE
CHILDREN'S LlBRARY AND PEDESTRAIN'S
EHJGE
-- --- .
______

All the platforms are connected with each
other and with the roof of the library
through a spiral walk-way. This spi ral
walk-way contains bookcases, bringing the
books up on the rooI but also bringing down 5
the green nature into the library. This I- «
whirlpool is also a symbol which connects i
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ROOF PlAN, READING AREA J
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CROSS-SECTION THROUGH THE LIBRARY AND PEDESTRAlN'S BRIDGE
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CROSS-SECTION THROUGH THE LlBRARY AND PEDESTRAIN'S BRIDGE
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PERSPECTIVE DRAWNING LlBRARYIPEDESTRAlN'S BRIDGE
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JACOB VAN RIJS
A park in a dry riverbed must keep the
memory of a river alive ; instead of
dissolution in the city , its scar should ba
exploited.
The geological line of the river is a
meandering one, the perception of th is
movement is weakened by the fact that
most bridges are placed at curves or
turningpoints in the river. While walking
through it, the river will be experienced as
a 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 a
new arrangement. By extending the rhythm
and the direction of the pilars up to the
walls, as series of lines, the geology of the
river will bacome visible. These lines serve
as a planting-scheme for trees, which will
be reduced by programmatic infillings
arising from the activities that are- or will
ba existing at the sides of the river. This
arragement-pri nciple is applicable in
combination with the actual situation ( the
existing parks & plants and the plan of
Bofill) because of its non-compulsory
character and its principle of composition
through reduction.
Each segment has a promenade, which lies
exactly horizontal, and makes visible what
is now unvisible: the sloping of the river
towards the sea. The worked out segment,
batween Puente San Jose and the "Nuevo
Centro", is the segment which shows the
problem 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 coming from the
cjty and the sjte jtself js set up
1. planting lines (a magnetic field) ;
2. connections batween different functions
in the city through the river;
3. promenades;
Thjs network of !ines creates a surface of
~
4. plan es covered with acertain material
(stone, gravel, grass, soil) ;
on whjch objects are placed
22 5. programmatic infillings (sporting
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 trees
correspondjng 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 city
the "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 a
layered facade consisting of metal screens
and 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 of
the building, a sunken garden for reading
offers 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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36
MATHIJS MEIJER
Th. park
While visiting the city of Valencia and the
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 characteristic
features 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 new
part 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 linear
element dividing'l 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 park
is 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's
flowing 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 show
thepadestrian the way ( S88 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 into
the river and they are shaped like dy nam ic
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 now
is like the water was in early times:
flowing freely through the riverbed and on
its way passing by the "pi aces of
amusement".
Th. op.rahou ••
The operahouse and its direct surroundings
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 the
entrance of the operahouse, th is 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 elements
there 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 route
through 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 entrance to a
parking-lot (which is situated under the
square) will be designed with a direct
connection to the park.
37
\" -------:;;----- --
bird's eye view
Urban design tor a park in the Turia riverbed, Valencia,
Spain Mathijs Meijer
38
south elevation
east elevation
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40
Design for an Operahouse in Valencla, Spain ~
Mathijs Meijer
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43
44
JAN WILLE" WALRAAD
About the rlver
About a century ago, the river "Turia"
flooded. This had happend before, and it was
clear this had to stop for once and forever.
The flow of the river waS changed and the
old riverbed remained unused. At first plans
were 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 ths
riverbed. 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 lic.
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 traffic of
the 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 is is
a 3-d workout of an EI lissisky
painting (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. Ths
problem 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 .the
building and pedestrian route. This
intervention is very important;
At one point the traffic can overlook the
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 have
their own volumes. They are divided by an
orchestra 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
Park
Acces 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 the
artist (highest) level. It connects the
dressing rooms! fitnessrooms with the
stage and the artist' residences inside
the old town.
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53
JAN VAN OORT
A. Through history the urban development
of the city has always been related to the
presence of the river. Also from an
emotional point of view, the river has been
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 need
the provision of several utility-buildings
such as theatre, library, places of
amusement and par\(s.
Takjng jnto account above pojnts A aod B jl
js Ihe presence of the Green Rjver whjch
leads me to Ihe fol!owjng solytjon'
In the river, there Is a waterstrip on whlch
there are buildings of amusement (bars,
restaurants etc.). The waterstrip is placed
In linearlty and in the middle of the river.
Two landstrips of 60 meters each, at both
sides of the waterstrip, where the required
buildings and parks are situated, and
obviously Interrelated with the exclstlng
city. The waterstrip with its IInearity wlll
answer 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 places of
amusement; the city takes possession of the
landstrips, sometimes buildings (parks)
placed on the landstrip will answer to the
city. Agaln there Is water, linearity and
also there are new buildings and parlts needs
by the city council.
Th. th •• tr. 1t •• 1t
The design of the theatre is In such a way
that the exclsting enyjrons wUi Increase In
value; for example the foyer Is deslgned In
such a manner that It becomes transparant
which enables 'peopje to look In, out and
through it. ·
Furtheron, there Is a special entrance
for ar!ists in the Immediate
neighberhood of the strip with the
places of amusement. AI! spaces behind
the stage are connected wlth a
dancenoor (a kind of disco, bar, only
for artists).
The auditorium accents the pedestrian
path. Under the auditorium, the main
terrace Is forseen.
There is a spec;ial terrace (with a bar)
at a level of three meters high with a
special view.
Water plays an Important role In the
54 total design:
·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.
The rainwater also disappears along the
wall;
·Within 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
the river. Ancient show-battles show us,
that the river was used for entertainment.
They collected the water, that was
n&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 past
paaple tried to salve that problem by making
bridges. It was necessary to suspand those
in the air, supported by canti levers, 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 no
reference to the city, the ·Turia· wil! ba
isolatad trom the city and wil! bacome more
and more a barrier blocking the integration
of the !wo city-parts. By projecting the
city into the rlverbed by means of historical
buildings, parks, walls, bridges, axes and
vectors, the river can make a connection
batween the !wo city- sides.
How to enter the pre.ent rlverbed?
Today there are some entrances to the
riverbed, 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 the
river we can make an entranee to the new
river-actlvities. On several other specific
points of the city there will ba more
carefully balanced entrances, so that the
bed of the ·Turia· won't ba a place of
isolation. The present road along the river
has 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 ter
projectlng the city in the park, we can cut it
into pleces, with IInes emphasizing the
connection ba!ween the park and the !wo
city-sldes.
-------------- --
By pulling up and down the pleces, we can
make en trances from the sides into the
riverbed. In th is scene of moving pieces of
land, the theatre rises up from the
riverbed. The fannad plantation of the trees
refer to the square, which conneets the
existlng promenade with the new park. The
strip of land in the park with sculptures of
art, 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 movable
auditoria can turn around their axis. They
can go up and down, even under the
groundIevei, so that the audienC8-hali can ba
completely empty. (Usefull for a
popconcert.) When the auditoria are movad
up untill the level of the foyer, and are
turnad 45 degrees around their axis, then
the auditoria are connectad with each other
and 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 45
degrees and audience can watch the play in
the opan air. The natural scene will ba the
façade of the ·Iglesia del Tempie·. From the
padestrian bridge going through the theatre-
construction paople can also watch the play.
The flnal IntegratIon.
The composition of the theatre consists of
!wo boxes. One of them is the audienC8-hall
and is also the highest one. The other box is
situated around the audience-hall and gives
its impact to the interior of the hall. The
box around the hall has all the
theatre-facilities; foyer, dressing-rooms
and storage.
The storage- and dressing-room parts seem
to rise up from the ground. Their façades
are made of bricks, which sizes are the
same as used in the old riverbed-wall. The
foyer is mainly made of glass and steel. The
audience-hall façade consists of metal
sandwich-panels, coloured beige, as many
buildings in Valeneia are coloured.The roofs,
on which people can walk, are covered with
light-red coloured concrete, as the soil of
the rlver ·Turia·, so th at they become a
part of the riverbed.
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69 ______________ ----,-____ . . - .....
70
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 new
dimensions. .
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 sensitive
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-forming
functions 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 by
architectural means as by general layout
and organisation of the spaces in the
building.
THEATRE "I N THE 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
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 building
suggesting a shady, airy, and open
structure in the style of the Mediterranean
market halls.
Urban concept
The Valencia Leasure Time Centre
(furder=L TC) 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 the
university complexes and main industrial
areas of the town. Near presence of the
popular "Parc Del Real" and the beg inning of
the pedestrian promenade to the music·hall
play also an important role. Accessibility ,
ex cept of the direct access from the river
banks with ramps, also underground
connections from "Parc del Real" and "The
Tempie" and "Tetuan" are squares
suggested.
Archltectural concept
Architecturally L TC 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
its 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
leasure and cultural character, library and
amphitheatre, included.
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
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 Ie
lifts. The theatre is designed in a form of
amphiteatre with a floating pon toon 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
units 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
"i nterior" contrasted with the fine steel
work for fences, gates, grids and the
build-in furniture.
I
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cross-seetion--perspt"cliVt
72
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crosssect!óns 1.200/
I
73
74
75
76
77
78
IRMA VAN OORT
A theatre arl.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
In the sixtles. Consequently the city
expanded. First to the other side of the
river 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 the
bridges 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 to
intergrate 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, linear
continuity. 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, mainly
between 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
sea. The line, which has been created,
passes through different zones.
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. This
line, especially made for slow traffic,
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 attractive by
constructing a new municipal library, a new
theatre along the line, and by increasing lts
attent ion to sprucing up its squares, parks,
and streets. The cuitural area intends to be
an area for tourism, as weil as for the local
paople, with maritime activities, hotels,
restaurants, cafes, and bars (as weil as
attractive housing). This area has a large
park nearby and on the northbank a
boulevard 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 water
flowing through the river.
A more accessible and qualitatively better
designed padestrian route along the river is
optimalised by the line and the boulevard.
From the line, as weil as from the
boulevard, 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, like
a 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
hiding place, behind the riverwall, and get
into contact with the audience.
Once one has left the theatre one can go
back to the line to continue one's way to the
sea ........ ......... . ·· ········ ...... · .. .. ···· .. · ...... ··· .... ..
' ~ " " "
"
,
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.
80
I .. .. /
.. - ._-------'--_ .. _ ---'-
Floorplan; 5 meters below street-Ievel: riverbed-Ievel. Situation of the theatre in the river.
\.
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81
Axonometry.
82
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. iew of the entrance.
PerspectlVe v
/
. I details of the stairs. TechnICa
Viewofthe . ross-sections. entrance into the foyer C
84
--1:;
_ .. .. I::
Coming !rom Ihe line: a view of !he thealre and lhe boulevard.
~ . /
/
85
Without realizing it one moves downwards and passes the picture-gallery,which is part of the riverwall.
86
When walking in Ihe piclure-gallery on Ihe boulevard, one can have a look inlo Ihe foyer below.
Once one has left Ihe theatre one can go back 10 Ihe line 10 continue one's way to the sea.
87
88
MARL EEN 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 has
a 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
element in what you make in the river. I
tried 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 the
open-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.
89
90
91
. ~

•• . • t .'
93
94
JOCH EN PLETIE
The de ad riverbed of Valencia provides
plenty of space ne ar the centre of the city.
So it is there that one can add the public and
cultural facilities still needed in the city 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 old
town. 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 form
of the building 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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101
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.
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 centre
somewhere 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 be
substituted 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 more
able 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
fast and slow movements are a typical
phenomenon 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).
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 pi aces
and already existing trafic facilities in the
direct surrounding of the riverbed. The idea
of a subway-line in the riverbed, connecting
an existing subway-line with alocal
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, is
the 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 theatre
The 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-like
border of the south-west side.
In contrast to a conventional theatre, where
all activities and areas are usually taken
together in one complex, the open-theatre
planned 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,
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.

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103
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CLOSED SPECTATOR-ROOM
BOXES
GALLERY
RESTAURANT/CAFE/BAR
STAGE(closed partl/PRACTICE-ROOM
STAGE/MAKE-UP & SERVICE-ROOMS
THEATRE-SCHOOL
DECOR-VIORKSHOP
STORAGE ROOM
ADMINISTRATION/LIBRARY/CANTEEN
11 APARTMENT-CONTAINERS

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2 w. c.' s
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3 ".rdrobe
4 eont,..aneelexit balcony
I 5 specUtor rOOIn
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Isecond fLoor plan
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105
second floor plan
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1 to tht
rutaurant
2 ..,ardrobe
3 ",.c. 's
4 ruUurant
5 kitel'lt!n
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7 sterage
8 roof terrace
south west elevation
106
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ground floor plan ti rst floor plan

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6 practic:e room
7 storage rooms
8 spectator seats
9 wardrobe / counter
10 terraC8
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107
7 STAGE/MAKE-UP- & SERVICE-ROOMS
, (consisting 01
a lIultifunction.l grid)
2 rai ls
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4 wardrobe wIggons
5 rest room wlggon
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108
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2 decor ra.i ls
3 studios
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ADMINISTRATION/LIBRARY/CANTEEN
1 storage far stage- elements
and decorat ion
2 shunting- switch
3 administration floor (lobby)
4 office rooms
5 ra mp to th e aoartment-c ontainers
gr ound fLoor plan
second fLoor rLan
109
110
//
view down the ramp Leading under the
cLosed spectator room to the gaLLery
and the subway.
view from the '(aLLe de La Justicia'
on the 'PasareLa Exposicion'
with on the Lefi the theatre-schooL
and on the right the administrationl
Library/canteen-buiLding.
J'
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view on the restaurantCcafé/bar-tower
standing over the bridge.On the right
is the frame for the spectator-boxes.
111
112
HENRIKE BÖHM
The urban concept shows a connection
between 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 the
open-air-theatre. The bridge, which leads to
the building. is cut into two parts. so that
there 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 different levels. in th is 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".
C\\
t.:.. 113
boulevard Paseo Alemeda
I
Pasarela Exposicion
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lHEATER VAL EN(I.A
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._._._ ._ . __ ._._.--1
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115
116
DOORSNEDE-AA t /200
118
119
RICHTJE ALTING
Concept on the scale of the city
1 Ihe 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 !wo grjds
In 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 new
grid. Ihe building I designed assimilates both
grids and thus forms a link between both
parts of the city.
LocatIon In the rlver
Ihe 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.
Ihe building is placed against the wa!! of the
northern bank. Ihe wa!! is an essential
element of the composition. !t gives the
theatre its background.
The archltectural concept.
Ihe whole building consists of 4 parts,
Llhe part wich houses al! technical
facilities and room for the artists. Ihe lay
out is very functiona!.
2 Ihe theatre I chose for the classical form
of the amphitheatre.
3 Ihe entrance area Ihis area gives direct
acces to the auditorium and foyer. lts
direction is fixed just as the foyer, and as
apposed to the auditorium, by the grid of the
northern bank.
4 Ihe foyer Ihis is the most crucial link
with the city. It is a part of the theatre as
wel! as of the city. !t forms a prolongation
of 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 of
Valencia.
The theatre, sublImatIon of 3
different worlds.
1 Ihe streaming river or the continuing
movement.
Ihis is linked with the theatre by the piazza
in front of the building and the transparent
120 entrance area.
2 Ihe 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 Ihe scene of iIIusions, inside the theatre.
Ihis world has no real connection with the
city. It's only linked by i!!usions on the
stage and in the foyer.
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127
128
Acknowledgement
First ol all we like to thank our prolessors
ir. P. Stipkovits and Ben van Berkel lor
their guidance, moral support and critical
remarks, 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.
129
130
ANNEX : Publications
Levante
Jueves, 10 de noviembre de 1988
VALENCIA
«EI plan de Ricardo Bofill es demasiado megalomaniaco»
Estudiantes holandeses elaboran un
nuevo' proyecto del iardin del Turia
JUANLAGARDERA ______ __
bai6 un ano en Zurieh cr., el
conocido arauitecto valenclllno.
«EI rio Turla e. ea.i raligio.o
para la eiudad -dice el profesor
hOlandés-; a. al eorazón de
9
Trece alumnos de arQuitectura
de la escuela holandesa de O.1ft
y su profesor Ben van Berkel se
encuentran en Valencia, obte-
niendo abundante documenta-
ci6n para realizar como proyecto
fin de carrera un "uevo plan del
vieio cauce del Turia. Van Berkel
califica el primitivo proyecto de
Bofill como «d.ma.iado m.galo-
manlaeo», al tiempo Que critica
también las posiciones de Quie-
nes s610 plantarlan árboles en el
rio ó de los Que. como Santiallo
Calatrava. proponen recuperar la
imallen fluvial del Turia.
además de colaborar ahora con el
proyecto Que lIevan a cabo los
holandeses. han prollramado
para el pr6ximo mes de abril un
Ilran de bate publico en torno al
Turia. del Que esperan Que saillan
.eompromi.o. y .olueion ....
.n .1 eentro de la eiudad, porque
alll es dond. h.y que preguntarse
qué el el rio y eómo Ie r.l.eiona
con la eiudad, y alll .s donde hay
qua •• tudiar 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 holandeses
por el problema del vieio cauce
nace como consecuencia de la
serie de contaçtos Que lIevan a
cabo durante las reuniones anua-
les Que celebran con otros estu-
diantes europeos. En dichos
encuentros. las EASA. los estu-
diantes valencianos han plantea-
do en reiteradas ocasiones la
cuesti6n del Turia. consilluiendo
despertar el interés de sus com-
palleros continentales. Los pro-
pios estudiantes valencianoa.
Para Van Berkel. 10 importante
ahora •••• mpezar d •• d •• 1 prin-
eipio, 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 trabaio
Que Ie ha lIevado incluso a visitar
la antillua fábrica de Murs y Valls
para eonoeer c6mo se eonstrulan
los pretiles 0 muros del rio. Tanta
documentaci6n. en opini6n del
holandés. se ha hecho necesaria
eomo .r.aeeión al proyacto d.
8ofill», Quien. en opini6n de Van
Berkel. «no intagró lUI di •• ilo.
con la eiudad, aunque, a 10 m.jor,
cuando no.otro. t.rrnin.mo. d.
inv •• tigar la. po.ibilidad.. qua
ofr.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 estudiantes
holandeses incluir;! además un
edificio sinIluiar. Que se ha bauti-
lado como la «bibliotee. y .1 gran
t.atro de la óp.ra», cuya funei6n
dentro del proyecto Illobal será la
de actuar a modo de referencia
metaf6riea. Tratarlln. de ailluna
manera. de dar la réplica al edifi-
cio del Palau de la Musiea. Que a
su iuicio es «d.ma.iado monu-
mental visto de.d. al rio».
Toda la prop"esta holandesa.
sellun Van Berkel. intentarll «in-
tegrar .1 eauee con la eiudad, pro-
poniendo cia ra. raferencia. al
agua, al movimiento del agua»,
aunque sin lIellar. en este ultimo
caso. a las ideas de Santiallo
Calatrava . quien apoya la pervi-
vencia 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 todo
ca.o, 16 de situ.cion.. inv ...... ,
eomo Ie de 10. "doeklend." del
pu.rto d. Londr •• , donda d. 10
qua •• trataba .ra d. lI.var
agua.»
«La id.e d. Bollil -allrella Van
Berkel- •• 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. y
jardin •• , ta da. eu.nta da qua
.xi.t.n po.ibilidada. para er.ar
relacion ... »
Van Berkel considera que en el
cauce .no ••• ólo un jardln, plan-
tar 'rbole. .in m'., 10 qua hey
qua haeen •. Califiea de «po.itivaD
la propuesta de Bofill para «a par-
tir d. una id.a g.n.ral, .. an di.-
tintol arquiteeto. 10. qua r.alie.n
otros proyectol».
Van Berkel. profesor holandés.
131
132
M 21 de junio de 1989 Levante - EL MERCANTIL VALENCIANO - 43
SEMANAl DE y ORDENACION TERRIT ORlAL INGEN'E"A TRANSPO'TES GEOG'ArlA E "'D' OlOGI A
YICENTE GUALLART
Ealudlanle de Arqulteclur •. Mlembro da EASA en V.lanel.
EI plan da las aulopislas, la asociaci6n Pro Cauca y .al riu és nosIra i al volam
vard.; la Iransiei6n poliliea y la declaracvi6n dal cauce como zona varda; al ooncurso
daclarado 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 invar-
nadaro, los lardinas naoclésicos y su aslanqua, al Iramo da Valgas Tu, la casa dal
agua y su inauguraci6n sin aslar larminada, la paralizaci6n da las obras dal puanla da
Calatrava; mb alaccionas y crisis: 191 plan da Bofill no es rsalizablel. Paro se sigua
planlando érbolas, paro no sa ampl a al bolAnico; sa inaugura .1 IVAM, y un Gullivar
serA 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-
ca se reflexiooo suficientemenle sabre 10 qua podia para Valencia la mu.rt.
d. su rio; quizAs por la rapidez oon la que s. quiso resolver .'Iema por parte de aque-
llos que dieen rapresenlar a los valenelanos; quizAs porque 'se es el destino de nues-
tra ciudad, que, tras haber sido una de las mb importantes en .1 en el si-
glo XV, eslé deslinada a caer en el oivido, a no ser una ciudad relevanle a nlvel nacio-
nal y auropeo. Hoy no parace .xislir 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 pro-
blema dal cauc. d.1 Turia en las asambleas da verano da Helsinki 87 y Berlln 88, y
debalir sobra y/o oon .studiantes da auropeos, quier. promovar, an oola-
boraci6n oon olras enlidades valenelanas, una exposiei6n y debata cultora! sabra al
cauce dal Turia y la ciudad de Valeneia, su pr.senle y su fufuro, a celabrar al proxirno
mes de noviembre, bajo el nombre de
En aslas péginas qu.remos presanlar aIgunos de los trabajos reaHzados hasts al
momenlo, qua van desde un anélisis fotogr'fioo dal rio y susl mérgenas la rasHzaci6n
da un video, a una invesligaci6n hisl6ric. dell.ma; s. han promovido proyactos para
el cauc. r.alizados por esludianles exlranjeros, y se hs proyectado una inslslaci6n
provisional para el cauce, en las inm.adi8ClOnes del IVAM; hemos antr.vistado a los
aulores da los proyectos para al cauce y a parsonas cuhuralm.nle relevanles en
nueslra ciudad. La oonclusi6n de lodo ello es qu . ...
Valeneis nacesita un nueva plan para el cauce d91 Turia.
ALENCIA
.....
. . . .
....... --:::::::.
necesita
UN NU EVD PLAN PARA
EL CAUCE DEL RIO TURIA
44 . Levante • EL MERCANTIL VALENCIANO
Mibc:oles, 21 de junio de 1989
CUADERNO DE AROUITECTURA CONSTRUCC'ON y OROENAC,ON TERRITOR'AL INGEN ER ' A TRANS'ORTES GEOGRA'IA E " DOC ,DG A
P royectos de estudiantes
holandeses · para el cauce del Turia
Ordenación y edificio publico
LOS ORGANIZADORES
lAMA VAN ooRT
MARLEEN VINK
MUL DE RUITER
los .studlantes d. arquhectura
d. Valende, pr8OCUpados por .1
desanollo d. su eludad .n .1 fu-
turo 'f .n etpeClal del eau<» d.1
rio Turla, decldleron, .n colabora-
cl6n con EASA (Asamblea Euro-
F
paa d. Estudiantes de Arquitec-
tura), hacar un conlraalaque, or-
ganlzando una .xposlcl6n que
mostrara la hlstorla d. Ia cludad
d. Valenela 'f los distIntos proyec-
tos reallzados para et eau<» has-
ta et momento, adem's de Inves-
tlgar casos simllares al de Valen-
cia en cludacjes europaas. Esta
.xposlcl6n s. lIev6 a cabo .n
Berlln .n agosto de 1988, duran-
UH TEATRO ENTRE LA ALAMEDA Y EL CAUCE
IRMA VAN OORT
EI rio divld. Ia eludÎld en dos
partes 'f ba puantas divIden al rio
an sacclonas. Dado qua cada
una tien. su parsonalldad, las dl-
larantes actividadas s. repartan
an lunel6n da la aeccl6n 'f da la
parta da la ciudad de qua sa tra-
te. la zona da la Alamada as
adecuada para construir un taa-
tro qua ocupa parclalmant •• 1
cauca 'f parelalmante la Alama-
da.
t. Ia VIII EASA. D •• sta man.ra
.speraban Introducir nuevas Id.-
as 'f estabfecer un nuevo aspecto
de las dlscuslones sobr •• 1 rio
Turla en Valenela. A part Ir da esta
Inlelativa, trace estudlant.s d. Ia
Unlversldad Polhécnlca d. Delft
(Facultad de Arquitectura) estu-
diaron la ciudad da Valeneia con
su entorno urbano 'f sus proble-
mas de Inlraestructura. Da .sta
Investigecl6n necl6 un proyecto
bajo la supervisl6n de la Facuftad
da Arquitectura da Dalft para los
trabajos a r.allzar. La I.re •• ra
disellar un edillclo relativamente
granda an el entorno urbano del
eau<» dal Turia sabra la bas. de
un programa precisamenta dallnl-
do con axlgenelas de lunclona-
mianto complejas. EI concepto
urbanlstico tanla qua sar dasarro-
UllUZAR LOS PUENTES ANT1GUOS Y LOS PRETILES DEL TU-
RIA PARA EDlFlClOS CULTURALES
MARLEEN VINK
S. puede dar una nuava raz6n
da axlstlr a ba puantas 'f al das-
nivel antra al cauca y al resto da
la cludad, utillz'ndolos como
mantos de proyecto. los pretiles
hlst6ricos'f el puante da la expo-
slcl6n san partes a"neialas del
taatro dIselIado bajo esta puanta.
ftado de manara qua la proyacta-
r. un elarto numaro d. edillelo.
como bIblIotaca, t.atro u 6para,
an combinac/6n con lug.res d.
.ntrvtenlmlanto. De tal concapIO
urbanlstlco I.l1O t.nla qua dlsa/l.r
la biblIotaca 0 .1 taatro, da tal
modo qua la Idaa del ediflcio for-
mara un conjunto l6gico con al
contaxto urbano y qua contentara
ba raqu.rlmlentos de nuastra es-
cual • • Un. brave a.leccl6n d.
nuestros proyectOll ••• xpu ....
en estas pllglnas.
ELPROFESOR
BEN 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 .. y
amoclonantes da Europa. Su !na-
qulvoca cartd .. sa slanta por to-
das partes. La ciudad ha acumu-
fado hlstorla da una manera natu-
ral. Su catedral, comanzada .n la
6poca roménlca, fu. construy6n-
dosa con dlstlntos astIba, eoexls-
tIendo armonlolament. los UfIOI
Junto con los oIros.
la hlstorla de la .rqultectur.
en Valencla ma raci.nt. ti.,. 111
propIo ancanto. Dornlnad. por ba
acontecimlantos qua roda.n al
rio Turl8, dos hechol Ir6nlcos
. 80rprandan al qua Ia vleit • • En
prlmar fugar, .1 nuavo· rio qua ro-
daa la eludad est' normalmant.
m's S&CO qua al rio IffIrrHI, Y . 1
agua aparace solament •• n raras
OC8ll1onll. En sagundo' lugar y
mäs Importante, as qua es praci-
.amant. al rio VfHTI" al qua .s .1
rio para ba valencIanos. qua to-
davla astä cumpHando al mlsmo
papallocal qua el Sana an Paris,
P .... Ia p6g1 ... "guI.nt.
133
134
" ......
21 de junio de 1989
Levante - EL MERCANTIL VALENCIANO - 45
CUADERNO SWANAl DE APQU'TECTUPA CONSTPUCCION 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 coraz6n
da I. cludad. La manera en I.
cu.ll. ciudad ha crecldo a 10 lar-
go da los alias ha sldo la res-
pu ..... 1 S81p8nte.nta rio, 10 que
e. vIIibIe en la farm. da cal"s Y
puenles.
Muchos de eslos estudlantes
cuyos proyectos presenlamas
aqul han tenldo esto en cuenta.
Aunque tuvleron que proyectar
una biblioteca 0 una 6pera, mu-
chos de ellos desarrollaron pla-
nes urbanlsticos InspIrados por el
rio. Inevilablemente, e.lo. pro-
yeetos contIenen una clerta dosis
de critica aobre los plane. axls-
tentes para esa zona.
Se sanUa, por ejemplo, que los
J, r'
....... . .... . ' ,
" . : I .- I--


,
jardines proyeetados para el cau-
ce fueron disallados con un 'nfa-
.is demaslado horizonlal. Las po-
slbilldades de los puentes que
cruzan el rio WNd. lueron Insufl-
clenlemente exploladas. Tampo-
co los magnlficos vlejos prelIIes
fuaron consIderados con culdado
suflclente. Sin ambargo, tanto los
pretlles coma los mArgenes tie-
nen una gran ImportancIa, tanto
Inlegraliva coma hiat6rica. OIro
punto de critica se centm e.n el
Paleclo de la MusIca, que pareca
colosal visto desda el rio, porque
fue dlsallado exclualvamenle
para la perspedlva del buievar.
SI eatas crItIcaa parecan pre-
suntuosas, uno lIen. qua d.,..
cuenta, se dabarla recordar qua
los crlt.rlos crllicos .on una d.
la. obIlgaciona. de 10 ••• tudlan-
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,
nadle d. los qua .sti traba-
lando en la eetualldad .n el tema
habl. soIIcItado con anttrlorldad.
.•..
EN LUOAR DE DlLUlÁ EL CAUCE EN LA ClUDAD, SU HUELLA
DEBERIA EXPLOfARSE
JACOB VAN RUS .
UnI rad d. IIn.as qu. part.n
d. Ia cludad cr.. una superflc:l.
d. planos en la qua obJetos y as-
tructuras Irragulares quad.n dl ...
mInados. EI espaclo r .... nt. sa
llenari eon distlntos 6rbo1es. To-
dos 10. adlflclos astin proyeet.-
dos CIrca de 0 Junto • los prelnes
para no romper la vista.
CENTRO DE OCIO BAJO EL PUENTE DEL REAL
TANJA BUUS-VITKOVA
EI canlro d. tl.mpo Ilbr ...
ublca en un lug.r urbano relevan-
te, donda al casco antigua sa .n-
cu.ntr. con I. cludad contempo-
rin ... carca da los popular .. jar-
din.. d.1 RaaI 'f dal Inlclo de la
AI.mad. h.ci •• 1 P.lau. P.sos
.ubt.rrinaos d.sd. VIv.ro., .1
templo y I. plaz. d. Tetuin m.jo-
ran .1 acoslO.
EL CAUCE, COMO NUEVO CENTRO URBANO aUE CONECTA
LAS DOS PARTES DE LA ClUDAD
PAUL DE RUITER
En este nuevo centro, la bibliote-
ca, de forma triangular, se alza
sobre el cauC9. Esta érea trian-
gular es un poco més ancha <\ue
el cauce, de ahf que el vértlC9
sobrepase el muro del cauce y
se eleve aproximadamente diez
metros por !lncima del nivel del
bulevar.
UH ACCESO AL CAUCE
ROBERT WINKEL
Extendiendo los jardines del
Real al rfo creamos un 8CCeso a
las nuevas activldades del cauce.
Si proyectamos la ciudad en el
nuellO parque, tomando coma re-
ferenda las Ifneas especfficas de
10. hist6ricos, parquea,
muroe, puent.s, e;" y vectof.s,
el C8uce puede lIegar a conectar
las doe partft de la ciudad.
ARBOLES Y VlAS PEATONA-
LES IMITAN LA CORRIENTE
DEL TURIA
UNI. UNEA DE METRO RESOLVERA LOS PROBlEMAS DE
TRAFICO
JOCHEM PLETTE
MATHLJS MELJER
Recorriendo las trayectorias de
las vfas peatonales, uno se pue-
de Imaginar que forma parte de
la corriente del rfo sustitutiva del
agua.
A 10 largo del buievar de la Ala-
meda se crea un eje cultural, em-
pezando por el del Palau.
Las ofertas culturales
an prolongaciones de las estacio-
nes de metro, para hacer los ac-
cesos 10 més fécil posible. Las bi-
bliotecas publicas serfan lugares
de comunicaci6n en una situa-
ci6n atractiva, alladiendo un res-
taurante.
UN MURO aUE ACENTUA LA UNEAUDAD DEL RIO FORMA
PARTE DE UN TEATRO
INTRODUCIR UNI. VIA DE
AGUA EH EL CAUCE CON UNA
ZONA DE ESPARCIMIENTO
JAN VAN OORT
HENRIKE BOHM
Un eje cubural part. del Musea
de 8ellas Artes, pasa por un tea-
tro al air. libr. situado junto a la
pasareia de la .xposici6n y
termina en el Palau de la Musica.
Una gran plaza, nu.ve metros
por dabajo del nivel del rio, forma
al teatro al air. libre. S. divld. el
puente .n dos part .. , d. forma
que hay dos entradas distintas.
La vfa de agua fluye d. forma
parafela al cauce, en medio de
6st., y conecta los adiflCios situa-
dos .n el espacio lat.ral. Uno de
los edHicios es un teatro qua utili-
za el agua para guiar a la audien-
cia por su intenor.
135

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