In the vast tapestry of architecture, volumes become silent narrators, sharing stories of form, function and the evolving needs of society. The art of shaping spaces, not just as enclosures but as living, breathing entities, places a profound responsibility on architects to orchestrate volumes with precision. As we navigate the concrete jungles of bustling metropolises, the resonance of each architectural note becomes ever more critical. Space, once a fundamental need, has metamorphosed into a coveted luxury, particularly in the heart of urban chaos where every square metre is a precious commodity. How architects grapple with this spatial paradox becomes a defining question in an era where the urban landscape is reshaped by a demand for both functionality and aesthetic innovation.

Amidst the towering structures of our modern cities, a wave of transformative projects are reshaping the way we perceive and utilise space. In 2023, the urban landscape was enriched with creative projects that go beyond the conventional, optimising every nook and cranny. Take, for instance, the rise of trends such as skinny buildings that tread through the cityscapes like needles. Projects around the globe are pushing boundaries, from floating cities to subterranean dwellings, each a reflection of a collective effort to make space not just a necessity but a canvas for ingenuity. Yet, amidst this diversity, one cannot help but cast a curious glance at the recently opened Pyramid of Tirana , transformed by Dutch architectural firm MVRDV, a practice known for its daring, and sometimes contentious, design choices.

Originally conceived as a museum dedicated to the communist dictator Enver Hoxha, this concrete monolith has undergone a profound transformation. The practice reimagined the pyramid as an open sculpture in a new park. The once-oppressive structure now hosts a vibrant array of cafes, studios, workshops, start-up offices, incubators, festivals and classrooms offering free technology education to the Albanian youth. Steps adorn the sloping façades, inviting people to climb and traverse the once daunting edifice. The transformation of the Pyramid of Tirana is a testament to the resilience of the Albanian people, turning a symbol of dictatorship into a cultural hub that symbolises victory over oppression.

The Pyramid's journey is layered with history and controversy. From its original role as a museum in 1988, it witnessed numerous lives, serving as a radio station, nightclub, conference venue, broadcast centre, and even as a NATO base during the 1999 Kosovo War. The building's cluttered and dark interior, marked by incomplete renovation plans, fueled debates on its fate. A 2015 study revealed that the majority of Albanians opposed demolishing the structure, leading to the 2017 decision to transform it with the assistance of the Albanian American Development Foundation (AADF) and the Municipality of Tirana. For many Albanians, the Pyramid stands as a symbol of victory, and MVRDV's design pays homage to the spirit of reclamation by Tirana's youth.

In the firm's bold reimagining of the Pyramid, their decision to commandeer substantial space in a residential area invites contemplation on the practical implications. While the move challenges norms, one might ponder whether such boldness risks overshadowing the intended dialogue on architectural identity. The commitment to reshaping urban landscapes, though admirable, could be critiqued for potentially neglecting the day-to-day needs of the local community. This prompts reflection on whether the pursuit of innovation and symbolic significance inadvertently sidelines the practical considerations integral to harmonious city living.

Amidst MVRDV’s voluminous projects, the willingness to transcend traditional constraints for the sake of architectural discourse is evident. However, one could argue that this pursuit of unconventional forms and spaces might, at times, sacrifice functionality for the sake of artistic expression. The question arises, does the practice’s inclination towards being labelled as impractical stem from a genuine desire to challenge societal perceptions, or does it risk becoming an exercise in architectural provocation at the expense of real-world usability? This dichotomy invites nuanced consideration of the delicate balance between pushing boundaries and ensuring the lived experience is both meaningful and sustainable.

Does the practice’s inclination towards being labelled as impractical stem from a genuine desire to challenge societal perceptions, or does it risk becoming an exercise in architectural provocation at the expense of real-world usability?

With people actively participating in the reopening festivities of the Pyramid, it becomes imperative to examine a persistent paradox observed across the firm’s extensive project portfolio—the apparent waste of open spaces and volumes in their projects. The typology they strive to achieve prompts critical questions about their conceptualisation of architectural volumes. The balance between innovation and perceived wastefulness raises a crucial dialogue about the narrative choices driving MVRDV's designs. What purpose does this seemingly profligate use of valuable space serve, and what are the long-term implications of such choices?

Extending this critical inquiry into the firm’s design choices, their Marble Arch Mound project in London adds a layer to this discourse. Despite being envisioned as a COVID-19 realisation, the project aimed to lure visitors back to Oxford Street. However, the design, conceived as both fun and environmentally conscious, faced disastrous outcomes. The watering-down of the original vision and the subsequent disassembly of the scaffolding structure exemplifies the challenges in translating bold concepts into community-centric spaces. Similarly, the Serpentine Pavilion, a project that remained unrealised, posed questions about connection and independence in design. MVRDV's attempt to absorb the Serpentine Gallery into the pavilion design challenged norms but left us pondering the fine line between avant-garde innovation and practicality.

Another layer in The Netherlands-based practice's narrative is the persistent integration of staircases as design statements, epitomised by projects like The Stairs to Kriterion and The Podium for the Het Nieuwe Instituut in Rotterdam. While these structures offer unique vantage points and landmarks, they also raise questions about redundancy and monotony in design. The Stairs to Kriterion, a temporary installation celebrating 75 years of reconstruction in Rotterdam, stands tall and invites numerous comparisons. This takes us back to our pondering, are these volumetric stairs symbolic of ascension, or a pattern of creative evolution?

The essential dialogue surrounding MVRDV's seemingly paradoxical projects is not a culmination but an open door. It urges us to delve deeper into the psyche of a practice that continues to shape the narrative of contemporary architecture. Their projects, while pushing the boundaries of conventional design, also elicit criticism and questioning. As volumes and space continue to shape the urban landscape, MVRDV's enigmatic approach beckons us to ponder the delicate balance between creativity and functionality. Are we witnessing groundbreaking innovation or a pattern of impractical designs? The Pyramid of Tirana stands as a symbol of transformation, yet the broader question lingers: How can architects navigate the complexities of volumes and space without succumbing to the pitfalls of predictability?

(Disclaimer: The views and opinions expressed here are those of the author(s) and do not necessarily reflect the official position of STIR or its Editors.)