Jurtin Hajro
Biography
ABOUT
For more than 17 years, Jurtin has been teaching and practicing architectural design with a holistic approach towards life, space and building. He spent four years working for prestigious architecture firms in Ankara and Istanbul after graduating from the Middle East Technical University (METU) in Ankara.
While in Istanbul he designed Epoka School of Architecture in Tirana, a building that has received international recognition. He returned to Albania to teach at Epoka University for the next 10 years. He soon established the Epoka Center for Research and Design in Architecture (CoRDA) and over the course of three years oversaw the design of several projects that went on to win awards for their innovative approach to combining design and research. In 2018, he jointly curated the Albanian Pavilion at the Venice Biennale “”Hapësira Zero Space””.
He established Commonsense Studio to put his architectural approach into action, building a strong experience of multidisciplinary processes and international collaborations.
AWARDS
- Ballie Mosque First Prize Building of the Year 2025 Archdaily, BOTY, Religious Architecture;
- Hapesira ZERO Space First Prize International Competition for Albanian Pavilion Venice Biennale of Architecture 2018;
- Tirana Park of Faith First Prize International Landscape Design Competition 2015;
- Osumi Island First Prize International Urban Design Competition 2015
PROJECTS TO BE PRESENTED DURING THE EVENT
Project #1: Epoka School of Architecture, Tirana, Albania
Start year: 09.10.2012
Epoka School of Architecture is part of the Epoka University Campus in Tirana, capital of Albania. Its design process, led by Jurtin Hajro, began in 2012, at Zambak Architects (TR), and was completed at CoRDA (Epoka University). The new facility, which is located on a campus with preexisting structures, was asked to accommodate a wide range of activities that call for a complex network of spatial relationships. In addition to housing the university’s fastest-growing department, this building also serves social purposes by providing a conference centre, a cafeteria, a canteen, a library, and a meeting place for various student clubs. The design relied on the transparent fabrication of the architectural idea to successfully incorporate the reformulated programme and its more intricate functional relationships. The School of Architecture was made with the intent of serving as an educational tool for students in the architectural department by providing them with a space to practise spatial composition and interior design principles. Each volume and space was given significant weight in order to fully express its nature. Students are better able to understand the construction process with this method’s incorporation into their architectural education. Both the architectural features that define the space and the supporting infrastructure system are revealed, creating a seamless whole. Each of a structure’s parts has been thoughtfully crafted with education in mind. The columns, walls, windows, floors, and ceilings all define a unique space and convey the building’s composition through the materials they are made of and the way in which they are used. The essence of each material and, by extension, its effects on the space it defines, is articulated in this structure. The purpose of introducing students to various architectural devices is to expand their perceptual horizons. Brick was used for the exhibiting/exhibited walls, marble for the illusion of depth, glass for the permeable depth of space, steel for the framed linearity of the railings, and metal sheeting, gypsum, and wood for the semi-present mechanical and electrical infrastructure, all in an effort to achieve harmony between the materialisation of construction elements and their meaning in application. All students can benefit from the building’s openness regarding its structural, mechanical, and electrical engineering systems. As a result, the building serves as a perpetual open lecture hall, allowing the entire ensemble to simultaneously manifest and produce details through the coordinated execution of numerous projects and the use of a wide variety of materials. Architecture, by virtue of its capacity to impart form, can be harnessed as a pedagogical agent for our built environment. The building is indebted to the expert advice of José Ramon Fermin, Emre Can Ylmaz, Kamil Gürbüz, Artan Hysa, Valbona Koçi, and Sokol Dervishi, who all contributed to the design process.
Project #2: Ballie Mosque, Elbasan, Albania
Start year: 17.03.2012
In the heart of Elbasan, Albania, the completion of the Ballie Mosque in 2023 marks a pivotal moment in the city’s architectural narrative. Facing the central boulevard parallel to the famous Via Egnatia, it stands opposite the city’s 2000-year-old remains, inhabited medieval castle and next to the communist-period theatre. In this tight 200x200m piece of the city, one can find the whole architectural history of Albania. The original Balizade Mosque, a relic of Ottoman influence, once graced the cityscape, standing opposite the ancient Clock Tower and within the bustling Uzun Bazaar. Its construction in the 17th century positioned it as one of Albania’s most notable mosques, a testament to the region’s rich architectural heritage. However, the advent of communism in the mid-20th century precipitated a period of cultural upheaval, leading to the mosque’s tragic demise. In 1967, infamously known as the “dark year” for Albanian religious identity, the mosque, along with many other religious buildings, was ordered for demolition. The obliteration of the Balizade Mosque stands as a stark reminder of Albania’s complex relationship with its heritage and religious identity, perceived by many as one of the worst crimes against Islamic architecture and national heritage in the country. Five decades after the destruction of the original mosque, the Elbasan Muftiate commissioned the design of the new Ballie Mosque, to be the largest and most important one in the city. The initial requests were to either make a replica of the old Balizade mosque or a classical ottoman mosque. After long debates to reject mere imitation but focus more on the mosque’s role within contemporary society, the muftiate was convinced to welcome a new mosque that would resonate and engage with the evolving spatial and socio-cultural landscape – a catalyst for its community’s creative and cultural growth. At the core of the mosque’s design philosophy lies a nuanced understanding of spatial experience and human- Creator connection. Using geometry, an inexhaustible tool in Islamic art and architecture, the mosque’s most distinctive features – its facades, domes, and minarets – authentically come to life while responding to the strong context. Through careful manipulation of light and geometry, the interior unfolds as a journey of introspection, offering respite from the urban cacophony. The space is filled with light, coming from discreetly placed openings that are never revealed at once to the visitor. Throughout the day, the mosque never looks the same, as the beams of light travel through the interior evoking the passage of time, a fundamental aspect of Islamic consciousness. The chosen materials have distinct characters and behaviours in relation to time, to move viewers to contemplate on permanence and transience. While the marble exterior won’t wear out, the copper dome will testify to the passing years growing more dignified with age. The wooden interior combined with ample natural light, continually changes its tone, and creates a warm atmosphere to inspire spiritual awakening. Functionally, the mosque accommodates a sizable congregation of worshippers, approximately 1700 visitors can occupy all the mosque’s prayer areas at once. Together with the square in front of the mosque, this number reaches up to 4600 people. In essence, the Ballie Mosque stands as a testament to the enduring relevance of architectural heritage in shaping collective identity. Through its synthesis of tradition and innovation, it invites contemplation on the evolving nature of religious spaces in contemporary society, challenging conventions and fostering dialogue across temporal and cultural boundaries.
Project #3: ZDRALE / Shkoder Bazaar Urban Revitalization, Shkodra, Albania
Start year: 20.10.2023
At the heart of Shkodër lies the bustling market area of “Zdrale” – a dynamic hub adjacent to the city center. This unique site and case study, characterized by its rich tapestry of beauty and complexity, will undergo a process of general urban revitalization. Stretching from Parruca Square along Hamz Kazazi, Evlija Celebiu, and Oso Kuka Streets, the current daily shopping street and markets within the “Zdrale” area converge in squares of varying dimensions and characteristics, contributing to a diverse urban milieu. With decades of commercial activity, this site has become the go-to destination for everyday shopping among the locals. Offering a comprehensive range of goods—from groceries, fish, and meat to clothing, cosmetics, and household items—individual vendors operate without large-scale supermarkets. Each day, vendors from across the region bring fresh produce to market, trading from early morning until early afternoon. While bustling with activity during the day, the area experiences a lull after shops close, primarily frequented by residents. Despite informal service arrangements and modest hygiene standards, the distinct local shopping culture and community spirit persist, fostering close bonds among residents, vendors, and shoppers. In developing the proposal, due consideration will be given to all stakeholders, including municipal and public authorities, private owners, vendors, buyers, local residents, and tourists. Their harmonious coexistence is essential for the area’s sustainability across social, economic, and physical dimensions. The strategic vision for this proposal is to cultivate a neighborhood that seamlessly integrates heritage, commerce, gastronomy, and education, fostering a vibrant and cohesive community hub. Zdrale: the place where the spirit of the market and authentic flavors of the North blend with the values of heritage, in the incubator of creativity and development of Shkodra’s youth. The project is a contribution of Commonsense Studio to the city of Shkodër, with the support of CoRDA (Center of Research and Design in Applied Sciences), the participation of architecture graduate students of Epoka University, and the counsel of GO2 Albania.