Architecture Competitions Yearbook 2019 - N°01 [1]

Citation preview

ac y architecture competitions yearbook 2019

Editorial

T

his year, as we celebrate our 5th anniversary, we reflect on the impact that Competitions.archi have had on global architecture community. Over the past 5 years our website has grown to become the most popular spot for both students and architects interested in architecture competitions worldwide. Now, as Competitions.archi has reached nearly one million annual visitors, the time has come to provide our community with the Architecture Competitions Yearbook.

AYC2019 is an international showcase for architecture competitions of 2019. The editors have made a selection of 12 of the most interesting competitions featuring over 40 of the most outstanding projects in the passing year. The book contains an overview of the main prizes, competitions, and jury statements. On top of that we present an inspiring interview with eVolo 2018 winners. Exclusively for you. With this book we not only want to promote the idea of taking part in architectural competitions but also help you enhancing your creativity and encourage you to become a better architect. We hope to bring true value of great inspiration that will last in your portfolio. Marcin Husarz

Contents

06 — 11 | Between collages and renders: images 12 — 17 | Anatomy Of A Winning Competition Entry 18 — 37 | The Silent Meditation Forest Cabins competition 1st prize – Solo Cabin | 19 2nd prize – Nest | 24 3rd prize – Aesthesia | 28 BB Green Award – Enveloping | 32 Honorable Mentions | 36 38 — 49 | Sevilla Call: El PArque de la Musica 1st prize | 39 2nd prize | 42 3rd prize | 46 Honorable Mentions | 48 50 — 59 | Tokyo Parking Tower 1st prize – Another Torii | 51 2nd prize – TA-KA-TA! | 54 3rd prize – Parking foREST | 56 — Founder & Publisher & editor-in-chief Marcin Husarz [email protected] — Contributors Marta Szmidt Kamil Grajda Paolo Catrambone Piotr Pańczyk — For advertising on ACY [email protected]

Honorable Mentions | 58 60 — 71 | African School Project. Education for the future 1st prize | 61 2nd prize – The Circle(s) of Life | 66 3rd prize – Agricourtyards | 68 4th, 5th place & Honorable Mentions | 70 72 — 81 | Tulum Plastic School. Art, Wellnes, Environment

— graphic design & dtp Wojtek Świerdzewski

1st prize | 73

— print Printing House KiD s.c.

3rd prize | 78

— circulation 10000 copies — cover The Great Island Of Replicas Constantinos Marcou — www.yearbook.archi We do NOT own any rights to the projects shown in the book. All projects were sent to us by the competition organizers giving “Competitions.archi” permission to distribute the content online or on print.

2nd prize | 76 Honorable Mentions | 80 82 — 91 | Hypermega 24h competition. 29th edition 1st prize – United Tower | 83 2nd prize – Protocell City | 86 3rd prize – Self-Print Tower | 88 Honorable Mentions | 90

92 — 101 | Bubble Design Competitions 1st prize – Tokyo Loneliness Tree Hole Plan | 93 2nd prize – When It Rains | 96 3rd prize – MindCraft | 98 Honorable Mentions | 100 102 — 117 | Fairy Tales 2019 1st prize – The Fall | 103 2nd prize – Monuments of the past | 108 3rd prize – Kraken in an 80 Million Gallon Tank | 112 Honorable Mentions | 116 118 — 127 | Projects for a Peace Pavilion in Sedhiou, Senegal 1st prize | 119 2nd prize – The Lost Horizon | 122 3rd prize | 124 Honorable Mentions | 126 Special Mentions | 127 128 — 137 | Rwanda Chapel 1st prize – Light Chapel | 129 2nd prize – Platform | 132 3rd prize – A Path to Monastic Life | 134 Honorable Mentions | 136 138 — 147 | Nature Interpretation Centre 1st prize – Telurica Human Geography | 139 2nd prize – Karugua | 142 3rd prize – Landscape In The Mist | 144 Honorable Mentions | 146 148 — 159 | Skyscraper Competition 1st prize – Methanescraper | 149 2nd prize – Airscraper | 152 3rd prize – Creature Ark: Biosphere Skyscraper | 154 Honorable Mentions | 156

ACY ∙ 2019

3

4

The Silent Meditation. Forest Cabins competition

Sevilla Call: El PArque de la Musica

Tokyo Parking Tower

18

38

50

African School Project. Education for the future

Tulum Plastic School. Art, Wellnes, Environment

Hypermega. 24h competition 29th edition

60

72

82

ACY ∙ 2019

Bubble Design Competitions

Fairy Tales 2019

The Kaira Looro Competition

92

102

118

Rwanda Chapel

Nature Interpretation Centre

Skyscraper Competition

128

138

148

ACY ∙ 2019

5

Between collages and renders: images Our approach to images in Architecture first started from a lack we had on 3D and Rendering Technologies.From this point we began a process that brought us to a specific and personal language in representing Architecture. During the following years we obviously improved our digital skills but we like to remember that our workflow started from a lack of knowledge.

Castle resort renovation, Roccamandolfi, Italy, 2017. Paolo Catrambone + Maria Ave Romani

6

ACY ∙ 2019

We titled this text Images because we consider this word a specific definition in between the world of collages/drawings and the one of iper-realistic renders. One of our personal cultural main references is the Italian writer Italo Calvino who often wrote about images. In his lesson about the topic of Visibility he described every creative process as a continuos approximation to the first image we have in mind since the beginning. We like this definition and we want to use the word images as the description of an approximation to a specific atmosphere we want to get in our projects.

Landscape fortress, Sagres, Portugal, 2016. Paolo Catrambone + Maria Ave Romani

These views are not just a visualization of a project but they are a way of reaching the perfect balance for the perception we want to provoque into people. There’s a very used word in Swiss German which is “Stimmung” and it describes the process of getting the perfect tone to make a space or an image, perfectly balanced. This is the way we like to think about our views and the fil rouge connecting all of them. We’re offcourse aware of the big amount of beautiful renders that we can see every day through websites and social medias but we keep trying to make something very specific and very personal which come from the references and experiences we collected in our young career.

ACY ∙ 2019

7

Talking more about the working process we can say that we always start by modeling a basic white 3D of the project which is gonna be the base for the composition. Back in the days, we were used to approach the image making directly on photoshop, composing a collage that we always tried to keep as realistic as possible. When we complete the basic white 3D with good lights and shadows we start the major part of the process which we like to do through photoshop. We can divide our personal way of producing images by three topics.

Water courtyard roof, Asti, Italy, 2017. Paolo Catrambone + Maria Ave Romani

8

ACY ∙ 2019

A Winery in Sulcis, Sardinia, Italy, 2018. Paolo Catrambone

Atmoshpere, Materials and References Atmosphere is the first and main topic of our process. We don’t consider this word just as a theorical overused definition, but we relate it to the theme of perception which is peculiar and specific in our way of thinking Architecture. We want to compose an image communicating the feeling of a space as much as possible. Doing so means testing in the first steps a lot of different lights conditions. We do it by testing skies, shadows, sun positions etc.. The way the light touches a building is one of the keypoints of a nice image. Atmosphere refers a lot to the theme of colors and tones. A big part of our research in Architecture is about this topic and about the different perception that a specific color, texture or material could provoke to our bodies. By using photoshop, or basic material rendering techniques we first test this world with a lot of options, to understand the right way to get what we want. For orto, an image is a design tool and not only a final presentation product.

ACY ∙ 2019

9

The topic of materials is probably the one we’re more jealous of and the one we studied the most since we started. Looking at so many images about Architecture we neither like the glossy perfect finishing of renderized materials nor the out of scale condition of many collages we’re used to see. These images are all very beautiful and interesting but we just didn’t feel it the right way to show our personal way of doing architecture. We decided to start testing used materials trying to imagine how that material will react to light, rains and sun during the passing of time. No one of our images has a perfect new material on it because we have always been more interested in testing how time will get an impact on our buildings. Materials are the physical expression of a space and we want to research the most precise and unperfect texture to get our communication goal. We apply these textures using very simple psd techniques as masks overlay or simple cut out. The part of research and testing is always the most important one.

Luigi Ghirri

10

ACY ∙ 2019

Edward Hopper

Francesco Guardi

Thomas Ruff

References is a last personal topic a bit out of the technical process and more related to the meaning of images in architecture. We like to collect images we like from very different fields trying to build a personal background in order to keep being specific. Copying is a big topic in the instagram era and something that everybody assumes when decide to put his personal images online. The only way we found interesting to keep a sort of specificity is trying collect this background of references absolutely related to our path. The amazing photos by Luigi Ghirri, the work of Thomas Ruff, the “Vedutisti” paintings of Venice and realism of American painters such as Edward Hopper are the cultural base and the constant reference of our images production. We never refer to these masters litteraly, but we like studying their attitude about representation. These names are related to the places where we come from, where we studied and worked and to all those steps we defined our personal career. I personally think that in a world where we are everyday bombed by images, having a personal and specific background could be a way to keep being specific without just copying something we like on instagram. We like to think that images are a way of telling the story of an office and this is the aim we like to keep all along the process.

Paolo Catrambone Founder of o r t o Basel 20/07/2019

ACY ∙ 2019

11

Anatomy Of A Winning Competition Entry About one year ago we were hard at work, doing our best to come up with a proposal that could have a shot at winning the next edition of the world-famous eVolo Skyscraper Competition. Here’s our account of how we were able to achieve that and some tips and insights we were asked to share that you might hopefully find useful if you plan on following in our footsteps.

Skyshelter.zip took the first place in eVolo Skyscraper Competition 2018

12

ACY ∙ 2019

Goal Yearly Skyscraper Competition ran by eVolo Magazine is probably the biggest and best known architectural ideas competition out there. It’s a great fun to participate in it, since not even the sky is the limit of your imagination in this one. It’s important to recognize the type of competition you are planning to participate in – sometimes, like in our case, you’ll need to paint with broad strokes to sell the concept, other times to focus on meeting budget requirements and fine-tuning the details and these scenarios will require different approach each time. Working on a new project is always a valuable exercise for your mind that will surely contribute to improving your skills and future creations but perhaps the greatest value of participating in competitions is the possibility to learn a tremendous amount of new things by simply checking out the projects you were competing against and the variety of different ideas other people had while solving the very same problem. Seeing what ended up beating you and won can be, at times, a truly eye-opening moment. That being said, to get in the right mindset – your goal should always be to win. If you are not confident enough that your idea is the best candidate to win in the first place, why should you believe that the jury might think so?

Team Some people might prefer working alone but there’s no doubt that architecture is a team sport. We strongly feel that being able to bounce ideas off of someone else is truly essential part of the process needed to produce best possible results. In our case, the fact that the three of us clicked so well was truly amazing, considering we were just a bunch of Polish guys from different cities who randomly met some 700 miles away from home in Milan, Italy and never worked together before.

Idea The single toughest and most important stage of the entire process is hands down finding the right concept. There’s obviously no single good way to go about coming up with ideas for your projects; each case is different and sometimes the best concepts come from the most unexpected places.

An early sketch of proposed structural solutions and their influence on the building’s shape

ACY ∙ 2019

13

Teamwork was a huge part of how we came to ours. We must have shared dozens of sketches until one finally struck us as promising. A simple idea of a skyscraper using load-bearing helium balloon quickly evolved way past the original vision of its author, who seemingly discarded it at first and wanted to pursue another direction altogether. The balloon direction was enough to spark some interesting questions that ultimately led to the final design. What if the balloon wasn’t used as a static device but rather allowed the structure to be collapsible so that one could dynamically adjust it to current needs? What if this mechanism were to be used to easily transport it from one place to another?

Set of photos featuring a popular consumer product used to jokingly demonstrate the idea of a folding skyscraper to other team members. “Imagine that my hand is a giant helium balloon”.

What problem would that solve? Who could use this sort of thing? And finally an important question related to personal experience: would this work as a response mechanism to natural disasters that are currently on the rise?

14

ACY ∙ 2019

Photo taken during visit to post-earthquake Amatrice, central Italy, that one of the teammates attended. Besides having tremendous emotional impact, it ended up playing important role as an inspiration for the competition entry.

With all these questions answered, other parts of the design fell into place. The final shape of the building is a direct product of the underlying idea – for example, since the structure had to be foldable we looked into origami designs capable of doing just that for inspiration, the bulge on top is there to maximize balloon’s volume and so on. The same goes for utilizing cutting edge technologies like flexible perovskite solar cells. Some of the things described above may sound outright outrageous, even on paper, but it all goes back to recognizing the type of competition you participate in – this one in particular asks for futuristic skyscrapers of tomorrow so by definition you mustn’t be afraid to think outside the box and dream big. What we did was in a way a thought experiment but we believe that even designs so strongly conceptual are capable of conveying a lot of meaning and relating to real-world experiences even if their only impact is raising awareness about an issue.

ACY ∙ 2019

15

A geometry study.

This text is more a case study than a proper guide but there are couple of things we think are worth considering when you set out to develop your own competition entry. While it’s usually not a bad thing to ask more experienced colleagues, mentors or even friends for advice when you are stuck and need one – keep in mind that the project should remain true to its original outline. If you started with a strong concept, it’s best to keep it simple, so it comes through as clearly as possible. If you throw too much out there, you risk weakening the impact of what you worked on and ultimately diluting it. If you incorporate too many ideas of other people, the project might end up being a patchwork, attempting to marry vastly different concepts or a collage of different outlooks on the main theme. Most architects you ask will be happy to provide you with solutions to your problems. But suggestions are just that and at the end of the day you have to be in charge of your own design.

Exexution Even the best idea can go unnoticed if nobody can understand your drawings. Jury of any major competition will likely need to review hundreds of proposals so you only have a split second to attract their attention. That’s why making our basic premise easily identifiable and clear was (and in our opinion should be for any project) the main goal while working on final presentation panels and each individual image. Certainly, the renderings, diagrams and plans need to look neat and showcase a certain level of skills and visual sensibility, but most importantly they need to tell the story of the design. You all know this basic principle and it might seem simple but can get really tricky. After all, the people who work on producing those images have been discussing and drafting the project for days on end and already know it inside and out. This can lead to either considering some things obvious and not putting enough emphasis on them or on the other hand showcasing too many unnecessary details that can ultimately confuse your audience and distract from the main point you are trying to make. In the end you only have a certain amount of fixed-size panels to work with and in order to avoid cluttering them to the point where they get hard to read, you will need to prioritize. This is the part of the process where bringing someone from outside can help tremendously and that’s exactly what we did ourselves. We knew that we were on the right track (at least in terms of the presentation) when someone who had no previous knowledge of our work immediately understood it upon seeing early draft of the panels. For reference, full project description and final presentation materials are available at www. evolo.us/skyshelter-zip-foldable-skyscraper-for-disaster-zones/.

16

ACY ∙ 2019

One final thought – when it comes to presentation methods it’s probably best to not get too obsessed with the tools you use. It really makes no difference as long as they don’t limit you in some way – it’s entirely possible to convey design ideas using almost anything (and this obviously includes hand drawing) in a successful and time-efficient manner.

Interior rendering of final design.

Authors Designers behind the project: Damian Granosik, Jakub Kulisa, Piotr Pańczyk are young architects from Poland. All of them are currently employed at various major architectural offices in Europe and United States while continuously pursuing their passion for high-rise architecture and sustainable design. Text by Piotr Pańczyk.

From left: Jakub Kulisa, Piotr Pańczyk, and Damian Granosik.

ACY ∙ 2019

17

Bee Breeders

The Silent Meditation Forest Cabins competition The Silent Meditation Forest Cabins competition called for designs for off-the-grid meditation cabins to be located in rural Latvia within the grounds of traditional teamakers, Ozolini. Designs were judged for their integration within the forest and their sensitivity to the environment. As winning designs were put forward for consideration for construction, the jury selected those projects that introduced innovative architecture, made use of the site, and proposed a peaceful space to observe the forest while being protected by the elements. The winning project, Solo Cabin, was submitted by David Florez and Stefani Zlateva from Austria. Their design involved an arrangement of 3 stacked spaces sized 2 x 2 meters and placed at various angles, a design decision which highlights the various layers of nature, allowing visitors to experience it from the forest floor to the branches of the tree canopy. Both second prize and the Student Award went to a student entry from University Of Oulu, Finland. The project - Nest - by Marko Simsiö was a meditative treehouse that used native trees to support a meditative cabin that was isolated in a quiet space above the ground. Third prize also went to a student entry, this time from Karolina Kielpinska, Marta Lisiakiewicz, Emilia Oworuszko, and Aleksandra Białkowska from Wrocław University of Science and Technology in Poland. Their Aesthesia project involved rectilinear constructions comprised of rooms organized linearly according to the senses of touch, sight, and hearing.

18

ACY ∙ 2019

1st prize

1

st prize

project name

Solo Cabin authors

David Florez Stefani Zlateva Austria

‘Solo Cabin’ is an arrangement of 3 stacked spaces sized 2x2 meters and placed at various angles, a design decision which highlights the various layers of nature, allowing visitors to experience it from the forest floor to the branches of the tree canopy. The submission includes a collection of drawings and renderings that are provocative, unique, and highly developed with advanced construction details. The structure is clad in wood planks juxtaposed perpendicularly, recalling techniques found in examples of traditional Latvian architecture; it is topped by a roof of polycarbonate sheets that bring in natural daylight from above. The opaque wood shell highlights the transparent stacked windows that protrude from it and provide focus points to various surrounding forest elements. The jury questions the sole use of a hammock for sleeping, but otherwise finds the project and its graphic methods refreshing. It is a design that could be readily built.

ACY ∙ 2019

19

1st prize

concept, sketch

plans

interior

20

ACY ∙ 2019

1st prize

ACY ∙ 2019

21

1st prize

axonometry

elevation

22

ACY ∙ 2019

1st prize

space configuration

ACY ∙ 2019

23

2nd prize

2

nd prize

BB STUDENT AWARD

project name

Nest author

Marko Simsiö Finland University of Oulu

The ‘Nest’ is a meditative treehouse. The jury was pleased with this submission’s use of the trees to provide a home to a meditative cabin isolated in a quiet space above the ground. The project includes a detailed and captivating description of a visitor’s arrival to the forest, and his or her experience traveling to and entering the cabin. The design employs a charred-wood cladding that blends the cabin with the bark of the forest trees; this material also increases the cabin’s resistance to inclement weather and decay. On the interior, a light spruce finish gives way to a warm space that is strikingly different from the exterior shell. The project is decidedly spartan, providing little else than a protective enclosure to sleep within the forest, and it offers a single vertical window for observing the surroundings. The drawings reflect the project’s simplicity. To consider construction, the details would need to be further advanced to include insulation and waterproofing. Nevertheless, the project is feasible and provides minimal disturbance to the forest. 24

ACY ∙ 2019

2nd prize

interior axonometric

ACY ∙ 2019

25

2nd prize

axonometry

elevation

26

ACY ∙ 2019

2nd prize

interior ACY ∙ 2019

27

3rd prize

3

rd prize

project name

Aesthesia authors

Karolina Kiełpińska Marta Lisiakiewicz Emilia Oworuszko Aleksandra Białkowska Poland Wrocław University of Science and Technology

The project is entitled Aesthesia, a term representing the ability to experience sensation. The proposed rectilinear constructions in this submission are comprised of rooms organized linearly according to the senses of touch, sight, and hearing; the designer describes this arrangement as ‘a guiding path to mindfulness’. The typical blockform is divided into halves, one a zone of meditation, and the other a zone for the basic human needs of sleeping, eating, and using the toilet. In each of the sensory spaces, an architectural element - a thin window, perforated metal pipes, textured floors - is employed to isolate and place focus on a particular sensation. Through these means complexity is derived from an otherwise spatially simple design. The project is a clever and thoughtful response to the call for a meditative space within the forest.

28

ACY ∙ 2019

section and elevation

3rd prize

ACY ∙ 2019

29

3rd prize

scheme

plan

30

ACY ∙ 2019

3rd prize

axonometry

ACY ∙ 2019

31

BB Green Award

BB

1 First floor 8.6 m2

0

0.5

1

2

0

0.5

1

2

1

1

Green Award

project name

Enveloping 1

1

authors

First floor 8.6 m2

Andrii Koval Olha Laktionova

0

0.5

1

0

0.5

1

Second floor 22 7m

1

plan

Ukraine

This location is an ideal place to replenish the spirytual resource. Here we can find a mixed forest, wetlands and lake Bezdibene. Medium temperature in this region is 5,1 degrees and the average annual rainfall is 643 mm. Our proposal was created on the basis of traditional clay Latvian houses, modern technologies and the science of energy information exchange in nature and society. From materials we use wood, clay with additives and straw the enviromental impact of which are virtually nil. All materials are enviromentally friendly, economicaly profitable and have a higt service life. For construction will be used clay 3D printer. This technology is easy to use, does not require the presence of autos, in order to avoid forest destruction, involves the involvement of only two people and is friendly to nature.

GSPublisherVersion 0.86.100.100

1 Second floor 7 m2

GSPublisherVersion 0.86.100.100

inspiration 32

ACY ∙ 2019

2

BB Green Award

ACY ∙ 2019

33

BB Green Award

6,500

3,800

2,200

0,000

6,000

2,850

0,000

masterplan

sections 34

ACY ∙ 2019 GSPublisherVersion 0.86.100.100

BB Green Award

ACY ∙ 2019

35

Bee Breeders

Honorable Mentions project name

Echo Cabin authors

Nós Architectes Canada

project name

Homo Rodans authors

Zachary Bundy Nicholas Shekerjian Elena Rocchi USA

project name

Rooted Cabin authors

Panos Tharouniatis Panagiotis Lampronikos Min Duan USA

36

ACY ∙ 2019

Bee Breeders

project name

Frame author

Nicholas Horvath USA

project name

Hermitage I author

Mandira Sareen USA

project name

CabIN/OUT author

Joseph Watkins UK

ACY ∙ 2019

37

Archicontest

Sevilla Call: El PArque de la Musica Sevilla the capital of Andalusia, best interprets the life style in continuous development of the entire region. The Semana Santa and the Feria de Abril that animate the streets and squares of the city are the most representative monasteries of the year. La Giralda, Placa de Espania, the Casas de Pilatos give value to the popular neighborhoods and are recognized as valuable architectures of the world’s artistic heritage. The Metrosol Parasol, which dominates the old town, offers a privileged point of view from which to admire the city from above while remaining one of the few examples of modernity. El Parque de la Musica will have to be a new urban catalyst, a reference for the whole community. Exhibitions, workshops and shows will become areas of debate aimed at building synergies necessary for strengthening and spreading the culture of the territory. A building that can become an attractor of new influences while enhancing the ancient identity of southern Spain. Jury team 3ndy Studio, Am3 Architetti Associati, Bianchivenetoarchitetti, Demogo Studio, Didonè Comacchio Architetti, Ècru Studio, Inout Architettura, Km429 Architettura, Laprimastanza, Morana Rao Architettura, Opps Architettura, Pardini Hall Architecture, Rrs Studio, Walter Leone. Number of participant 90 Projects (12 China, 9 Germany 4 Greece, 5 Iran, 8 Italy, 15 Poland, 6 Portugal, 18 Russia, 11 Spain, 1 Turkey, 1 USA).

38

ACY ∙ 2019

1st prize

1

st prize

authors

Duilio Laquidara Alessandro Massaro Carlo D’Alberti Italy The main element of the project is the central space that regulates the entire composition. Shape inspired by the old plaza de toros, revisited and enclosed within a rigid parallelepiped. Coming from the street front one perceives the volume that is open only on the ground floor with arches typical of the Arab tradition. The large arch that opens onto the outdoor garden invites you to enter the large public space covered on the ground floor, where you can find the bookshop, the restaurant, and the open air theater.

The theater is the beating heart of the project from which the circulation systems are grafted and the various environments are related. The circular space is embellished by a ramp that, surrounding the theater, leads visitors to the upper floors accompanied by a light coming from above. This pervades the building for all its floors. The Parque de la Musica wants to be able to restore the sound of dance to all those who want to enjoy an element of new identity.

ACY ∙ 2019

39

1st prize

masterplan

perspective

sections 40

ACY ∙ 2019

interior

1st prize

sections ACY ∙ 2019

41

2nd prize

2

nd prize

authors

Konrad Brzykcy Jiali Xuan USA

The idea proposes a place that is in harmony with the historical context chasing the ambition to bring people to the best knowledge of the local tradition. Inspired by Placa de Espania and local Moorish architecture, the project develops around the intention of creating an open room, a public place with free access even to those who do not use the building’s interior rooms. At the street level, the cage of arches can be seen, which protect the glass volumes behind it, where the vertical connection systems are located. A system of trees and green areas allows to distinguish the different functions and to establish dynamic routes between the different rooms. Theaters, laboratories and refreshment areas are located below street level, connected by a central square that becomes a microcosm protected from the noise of the city. A Park of Music in which different elements, built or not, come together to be part of a single system.

axonometry 42

ACY ∙ 2019

2nd prize

axonometry

ACY ∙ 2019

43

2nd prize

plan

elevation, section 44

ACY ∙ 2019

2nd prize

interior ACY ∙ 2019

45

3rd prize

3

rd prize

author

Adrianna Manista Poland

section

The project El Parque de La musique, is to redefine the square as well as the whole area, giving it a new value - a square of meetings, music, dance and entertainment - open for everyone. The most important goal of the whole assumption is to abolish the border between what is private and public. The square was designed for the free passage through it from every side. The whole assumption consists of two parts building and the square. On the right, the square was defined by a minimalist building, housing the main functions of the entire foundation, referring to a dense frontage of the street, then transforming into an open space of various heights, which will thus offer many possibilities. On the part of the square there are two covered vegetation ramps which were created to mark the presence of a beautiful gothic church located on the west side of the square. They become a symbol of a nod to what is historical and traditional. They also serve as the minimum separation of the external theater, as well as watching performances from different perspectives. They are also a place to simply spread a blanket on the grass and rest among the greenery on a daily basis. Inside the ramps there are two functions, easily accessible to every passer - restaurants and book store. Between the spaces of the ramps and the building there is a circle of open space, which through its openness gives many possibilities of temporary change of the character of the place, for example: local market. This place becomes a heart of whole assumption as well as the all area. The solid of the building located on the east side of the square was also designed for the idea of this place - open from every side. Level zero functions as the main vertical communication space filled with a city garden, limited by glass walls. This space also plays a foyer function for the theater. From there it is possible to go to level -1, where the theater is located and its additional functions, such as a cafe and cloakroom. At the higher levels of the building there are such functions as offices, a laboratory of flamenco and an auditorium. Each of these functions operating independently on another floor is connected with the common space, which also provides the exhibition space if necessary. The spaces placed one above the other are connected by a sculptural staircase, which is such a “light chimney” providing light of the entire cube by the skylight, placed in the roof. It works also as a wind catcher which helps keep good air temperature inside the building.

46

ACY ∙ 2019

interior

3rd prize

axonometry

elevation ACY ∙ 2019

47

Archicontest

Honorable Mentions authors

Bengisu Sen Tutku Didem Altun Inci Uzun Can Hazalar Turkey Seville is similar to a mobile organism, so the main approach of the project focuses on the urban movements in it. The city can never be perceived from a single point of view, it is necessary to go deep and trigger connections between different socian and urban livels. It was necessary to configure an urban space capable of insisting on more than one levels that was able to relate public and private space. Auditoriums and laboratories are located below street level in search of greater privacy; the roof, with different inclinations and pierced by skylights useful to illuminate the hypogeum levels, becomes a square to use the entire local community. Intertwining different functions allows the new architecture to integrate perfectly with the site.

authors

Hani Mansurnejad Hadis Dadmarzi Mojgan Fateh Iran The project takes up the rhythm of the music through the design of the frequencies. It was intended to respect both the urban and the church spaces by transforming parts of the roof into privileged points of view on the site; the staging plans become terraces with a square function where people can stop and interact with each other. This allowed the use of the area throughout the day giving the community a place that was previously undefined. The functions are contained below the roof-square; large windows allow the most exposed environments to enjoy an excellent level of brightness while those in the shade, covered auditorium, are protected from the outside. The intervention proposes a system in which a building for culture becomes a regeneration suit on an urban scale.

48

ACY ∙ 2019

Archicontest

author

Michele Maritano Italy

The image par excellence of Spain is the southern region of Andalusia, home to bullfights, flamenco and hill towns. The region is recognizable by recurrent architectural themes: bell towers, defensive towers and facades that are characterized by the use of warm colors and typically Mediterranean sun protection systems. The Parque della Musica take up the typical themes of tradition giving them a contemporary image. In the middle, a square and glazed volume invites visitors inwards; on both sides, the built blocks gather the necessary functions for this center for culture. The shielding systems on the façade, designed with traditional motifs, guarantee excellent protection from light and become a reference point, thanks to the artificial light inside, during the less sunny hours. The building does not want to impose its own design but wants to repeat the traditions giving value to the elements that make up the history of Andalusia.

authors

Nefeli Samioti Marian Ionut Drogotel Greece

The concept of the proposal is to imagine a park where people are able to interact at any time of the day. A park where you can have the opportunity to bring your own instruments and play, a fluid space where tatral rooms interact with the external environment. The flows are channeled through the foyer, a welcome tape that leads visitors inward; all the routes maintain a constant relationship with the outside where the public park at the service of street musicians can become the stage for spontaneous events. The central auditorium is a large auditorium scopero, in the manner of the ancient Greek-Roman theaters, to be used for night shows with a large audience. The shelter that overlooks the foyer becomes a large area of shade where people can go to observe the city from a raised point.

ACY ∙ 2019

49

reth!nking

               

SLOGAN and TEAM // LEMA y EQUIPO

LEMA:

Another Torii

Tokyo parking tower contact name:

Francesco D’Antuono

address:

via Cialdini 65, Milano 20821

country:

ITALY

telephone:

3483477370

email

[email protected]

Autor 1 (name and surname, profession or studies):

Francesco D’Antuono, arch. jr.

Autor 2 (name and surname, profession or studies):

Giulio Delle Sedie, architecture student

Autor 3 (name and surname, profession or studies): Autor 4 (name and surname, profession or studies): Autor 5 (name and surname, profession or studies): Autor 6 (name and surname, profession or studies): Autor 7 (name and surname, profession or studies): Autor 8 (name and surname, profession or studies): Collaborators: (names and surnames):

reTHINKing competitions

LEMA and TEAM // LEMA y EQUIPO

Japan. Land of the rising sun. It is undoubtedly a great star in all Asian countries. The jewel in the crown of Asia. Japan is much more than an enumeration of topics related to their type of life or cultural and religious aspects. The peculiarities of its culture and its people are the result of its geography and demographic aspects, without forgetting the two predominant religions: Shintoism and Buddhism. Apart from those topics that surely we have all heard once, what most attracts the attention of Japan for many of its visitors is clearly the city of Tokyo and its inhabitants. Tokyo, capital of Japan for more than a century, was founded in 1457, although prior to that date there were already small towns and temples in the hills near its bay. Currently, from the waters that bathe it - Pacific Ocean - the image of high skyscrapers that symbolize what it has become is contemplated: one of the main world economic powers.  

Daily and simple aspects of your day to day. Tokyo is the most populated city in the world, however, in the streets there are no bins and they are completely clean and organized. The subways are silent most of the time and cars circulate without making any noise. It seems complicated, but the millions of inhabitants coexist in peace and harmony in the streets of the Japanese capital. Bicycles and pedestrians share a sidewalk, you can even go down the road without putting your life in danger. A fact that is especially remarkable because that citizen civism is complicated to see even in the supposedly more developed countries. Japan is an example of social, economic and ethical development. It is true that it is a gridded and hermetic society, but the proper functioning of your city is also due to its concept of the person and respect for others. The pace of life is different and therefore the way of consuming changes a lot. Apparently everything happens in silence and orderly, although there are places where the street disappears among the crowd. In all this orderly chaos, TRANSPORTATION is one of the most important subjects of the city. There is a large mass of traffic that raises a big question, how can you manage a large mass of car parks when there are not enough square meters of land? Is it possible to manage a tower that meets these needs?

50

ACY ∙ 2019

1st prize

project name

Another Torii

authors

Francesco D’Antuono Giulio Delle Sedie Italy In a near future, urban mobility is not going to be only ground-based. Humans always dreamt to fly and thanks to eVTOL vehicles we will be able to do it normally and daily using them for urban transportation. Aim of “Another Torii” is to create a relationship between cars mobility and its parkings with the eVTOL vehicles mobility proposing a building that combine a carpark with an urban airport for eVTOL vehicles, following the idea of companies like Uber and others to use this kind of vehicles as flying taxi.

ACY ∙ 2019

51

1st prize

strategy

52

ACY ∙ 2019

1st prize

loungeroom

automatic carpark

groundfloor and playground

ACY ∙ 2019

53

2nd prize

2

nd prize

project name

TA-KA-TA! authors

Pablo Delgado Marquez Carlos Cruzado Mora Carlos Andres Gonzales Quinonez Spain

Se plantea una torre para la evasión, no sólo de la máquina, sino también para el hombre. Un lugar donde abstraerse del día a día, de cobijo ante la hermética realidad. El proyecto se concibe desde el elemento más básico del habitar, el tatami japonés, en su disposición más básica, el “shuugijiki”, formando una espiral de contenido de expansión infinita, alrededor de un potente núcleo de conectividad. La torre puede ser individual o multiplicarse a lo largo de la ciudad, pero cada una de ellas será única e irrepetible.

54

ACY ∙ 2019

2nd prize

ACY ∙ 2019

55

3rd prize

3

rd prize

project name

Parking foREST authors

Shchurov+Nikolskaya Russia If we assume that a person will soon begin to abandon the car, we can also imagine that the Parking function will cease to be relevant. We were wondering how to keep this place relevant. We decided to come up with a system where Parking could easily be transformed into something constantly relevant, such as housing. Abandoning the car, a person leaves behind a Parking space, while acquiring an area where it can transform into a space for yourself. Parking forest is place were you’ll want to rest.

56

ACY ∙ 2019

3rd prize

ACY ∙ 2019

57

reth!nking

Honorable Mentions project name

project name

Park[ing]

Transition

author

authors

Luis Miguel Cortez Sanchez

Sei Hwa Li Yu We Leen Jia Tong Yvonne Jie Hao Wei Theng Shafiqah Salim NurzhanatKenenov

Spain

Singapore

project name

project name

project name

CarMina Tower

InsideInside

Koi Tower

authors

authors

authors

Nicolò Calandrini Marco Garofalo Francesco Rambelli

Andoni Arrasate García Pablo Valero Escolano

Marcello Zapador Mariapia Ruggerini Daniele Morelli Chiara Ganzerla Margherita Bulgalerii

Italy

Spain

Italy

58

ACY ∙ 2019

reth!nking

project name

project name

project name

Peace and Quiet

Rainy Tower

Yearning

author

author

authors

Pavel Zotov

Anna Norina

Russia

China

Lorenzo Bacci Enrico Casini Marco Cipriani Mattia Locci Italy

project name

project name

Transition.In Tower

A Big Tree

authors

Japan

Juliana Kazue Sumita Marco Antonio Zoch Sylvia Yeung

author

Tetsuya Fujioka

Brazil

ACY ∙ 2019

59

Archstorming

African School Project Education for the future

Archstorming (www.archstorming.com) has just presented the winning projects of the contest “African School Project: education for the future” that challenged participants to design a secondary school for a Missionary Parish located in Benga, Malawi. Universal education, gender equality and empowering women are vital components of the mission in developing countries. Educating children helps reduce poverty and will give the next generation the tools to fight poverty and conquer disease. School also offers children a safe environment, with support, supervision and socialization. Here they learn life skills that can help them prevent diseases, including how to avoid HIV/AIDS and malaria. Children may receive life-saving vaccines, fresh water and nutrient supplementation at school. Archstorming is calling for proposals to design a secondary school in Benga (Malawi). The winning proposal will be built. Benga is located in the Nkhotakota District, situated 10 km east of Lake Malawi and 30 km west of the Ntchisi Forest Reserve. It is 60 km south of Nkhotakota Township and 50 km north of Salima Township. Benga is located halfway of these towns, in a tar road. The finalist teams have proposed imaginative alternatives such as circular or spiraled buildings, new ways of recollecting the rain water or the use of local materials combined with new ones in order to be respectful with the environment while providing innovation. The result of this contest shows that there are new very attractive ways of designing a school for people with few resources in continents like Africa in a more ecological, friendly and sustainable manner. The first prize has corresponded to the project of the US team formed by Ben McMillan and DeQuales Thompson from the Houston based architecture firm IDG Architects.

60

ACY ∙ 2019

1st prize

1

st prize

authors

Ben McMillan DeQuales Thompson

The path from dreams to success does exist. May you have the vision to find it, the courage to get on to it, and the perseverance to follow it. Kalpana Chawla (Astronaut)

USA

The Benga Parish Secondary School is a communityoriented space designed to educate Malawian youth. The concept of this campus finds its origin in the representation of life as a journey along a path. The work seeks to symbolize education as a catalyst for success along this path. The theoretical intention of this concept is to materialize the path to success. Students experiencing the space will physically and symbolically walk this path instinctively taking in the significance and purpose of the path’s design. In theory, the environment will be an ever-present gesture toward conscious action and life-long learning. The architectural intention of the concept is to create a singular boulevard, accessed by one controlled entry point. The teacher’s village is placed near this entry point to act as a protective element to the dormitories. Roofed in thatch, these homes are postured to mimic the surrounding area. The angular geometry of the homes creates an observable contrast to

the curved surfaces of the student-oriented program. The dormitories have controlled entrance points and flank the boulevard. The boys are placed near the road to act as a protective element to the girl’s dormitories. The path intended for light circulation to the inner ring will, to a point, also accommodate most vehicles. The library, embodiment of knowledge, is represented as the ultimate destination. The organization strategy orbiting the library aligns itself to maintain the views from its center to nearby trees. The remaining segments within the radial boundary are used to organize the functions of the school campus, for instance the classrooms arranged in clusters by educational stage. Our research, through interviews and regional precedence revealed the need for additional program. This includes designs such as an experimental garden (located near the kitchen), a clinic and a four-a-side football pitch. Through an environmental coordination approach, we conserve and manage the environment using architectural devices to our advantage. Passive cooling, solar energy, onsite water incubation and selective irrigation helps achieve these objectives. Materials, systems and assemblies were designed to be constructed within local availability and resources. The new secondary school in Benga, Malawi is a step forward on the path of success for humankind.

ACY ∙ 2019

61

1st prize

phase one masterplan

62

ACY ∙ 2019

1st prize

phase two masterplan

ACY ∙ 2019

63

1st prize

exterior library

dining hall interior

64

ACY ∙ 2019

1st prize

dormitory interior

library interior

ACY ∙ 2019

65

2nd prize

project name

authors

The Circle(s) of Life

Chang Yuan Max Hsu Hadeel Ayed Mohammad Veronika Volkova USA

Inspiration for the project is drawn from the iconic tree of knowledge and traditional African village typologies. Much like the gathering spaces underneath trees, a series of ringed canopies are formed to provide shade and shelter. At their centers are the courtyards for sustainable farming and social gatherings. The students learn about the necessary skills involved in maintaining a community, where practical knowledge serves in conjunction with the theoretical. One of the school’s most highlighted goals is to educate the students about sustainable farming methods. False agricultural practices, such as the burning of farmland and selecting the wrong choice of crops are at the root of Malawi’s environmental and agricultural problems. They weaken the soil structure, making the land vulnerable to deforestation and flooding. Education is key to saving the country’s ability to sustain itself. The cultivated courtyards throughout the school are intended to serve as an educational simulation of conservation farming methods that the students can directly interact with. Students will engage in cultivating the farms with alternating crops such as maize, legumes and sweet potatoes to preserve soil nutrients. Waste collected will be converted to compost used to fertilize the crops and seedlings alike. The farming products are used as food, and any excess can be sold or donated to the local communities. The circular resource management minimises both the footprint (existing trees are preserved!) and institutional expenses while providing an incentive for the high school student to continue their education. The design utilizes local craftsmanship and vernacular sensibility with the sustainable building systems and technologies. All materials are locally sourced. Clay bricks walls are built upon a concrete/stone foundation. They are laid out in an alternating perforation pattern to allow ample amounts of light to penetrate through. At the same time, these openings help to mitigate temperature and air flow. A thatched roof system comprised of straws on wood/steel columns sit on top of the wall foundations. Their direct rainfall into the gutters for collection, protect the bricks below from disintegration, and provide cover for the users. Atop of thatch a layer of solar panels is fixed, serving as a source of energy for the school equipment and the water pumps. The efficiency of these systems’ utilization will ultimately assist in the creation of a sustainable community prototype.

66

ACY ∙ 2019

2nd prize

exploded axon

ACY ∙ 2019

67

3rd prize

axonometry

project name

Agricourtyards authors

Alberto Pottenghi Luca Astorri Italy

Courtyard building as a community building. Inspired by the traditional compound, where rural communities’ lives sharing resources, knowledge and simply daily life, courtyards are the key to create different “micro cosmos” with different functions and atmospheres. The courtyards, composed by different classes and students of different ages, are thought to recreate the social dynamics of a rural community where young children spend time with older children have delegated responsibility to care for and supervise younger children. This will generate a participative spirit and child to child sociability. The entire project is planned to be built by local builders using local materials. This choice answer to the scarcity of resources and it should encourage the community to take part in maintaining the building. Buildings are placed on a basement, against humidity and flooding, and walls are made out of stabilized soil bricks. These bricks beside from being cheap and easy to produce, it will also provide thermal protection. Perforated ceiling allows maximum ventilation, pulling cool air in from the windows and releasing hot air out through the holes. Shading for the buildings comes from metal shutters, and screens made out of eucalyptus sticks, which are placed on the sides most exposed to the sun. This will create an area where temperatures are lower than outside, and it will cool down the air flow into the classrooms. The entire project is based on a module that meets the dimension of a well-defined standard classroom, which has been used to respond to the entire program, with the exception of the multipurpose building. The multipurpose building, as well as the main courtyards, will be used by the students but, potentially, also from the local community for important events.

68

ACY ∙ 2019

construction

3rd prize

interior

ACY ∙ 2019

69

Archstorming

4th, 5th place & Honorable Mentions project name

Benga Secondary School

4th

project name

5th

project name

Circular School of Benga

The Learning Circle

authors

authors

Maxime Potiron Félicie Botton

Nicolai Mina Lady Roxanne Mina

France

Singapore

project name

project name

project name

Convergent School

Life Village

African School Project

authors

Victor Matheus Correa Guilherme Xavier Guilherme Dacas Lucas Trentin Brazil

authors

Pia Marziano Rene Montaño Juan Pablo Uribe Chile

70

ACY ∙ 2019

authors

Elmira Jafari Erfan Farahmand The Netherlands

author

BIHE Architectural Department USA

Archstorming

project name

project name

project name

African School Project

Benga Parish Secondary School

A Multi-Spiral School

author

Francisco Tobarra Spain

authors

Andrew Duffin Carmit Saar Gaurav Bhatewara Australia

authors

Donghua Chen Shaoyi Liang Huiting Huang Huabao Lu China

project name

project name

project name

African School Project

Foundations for Benga

This is not a School

authors

author

authors

Raissa Gattera Letícia Sitta Thais de Freitas

Omar Vergara

Joshua MacDonald Jonas Swienty

Mexico

Canada

Brazil

ACY ∙ 2019

71

Archstorming

Tulum Plastic School Art, Wellnes, Environment

Archstorming (www.archstorming.com) has just presented the winning projects of the contest “Tulum Plastic School” that challenged participants to design a school for the NGO Los Amigos de la Esquina in Tulum, Mexico. An international jury took on the difficult task of choosing the winning projects among 230 proposals of contestants from more than 50 nationalities. Education, art, cooperation, sustainability, recycling... the current competition will give you a chance to work on several subjects. This time, Archstorming is partnering up with the NGOs MOM I’M FINE Project with the help of Los Amigos de la Esquina. They both had a dream, they wanted to help other people creating something for those who need it the most. While trying to accomplish that, they met each other. Jonathan Kubben, creator of MOM I’M FINE, was looking for a place to build a school. On the other hand, the NGO Los Amigos de la Esquina, had the place, but needed the building. In this competition, Archstorming and the participants have been able to discuss about the current problem of the plastic pollution in Mexico. The main material of the designs have been precisely that one: recycled plastic. They have had a chance to show the world what design and architecture is capable of, to create something that can be a world landmark for its uniqueness. The finalist teams have proposed imaginative alternatives such as reusing plastic bottles, fruit boxes or plastic pallets. The result of this contest shows that there are new very attractive ways of designing a school using recycled plastic, and that it is possible to introduce this material into architecture. The first prize has corresponded to the project of the US team formed by Daniel Garcia and William Smith from Harvard University.

72

ACY ∙ 2019

1st prize

authors

Daniel Garcia William Smith USA

Of the 6.3 billion metric tons of plastic waste created historically as of 2015, only 9% has been successfully recycled. Of what remains, 12% has been incinerated into the air, and 79% has accumulated as landfill or spread as trash across oceans and landscapes. Compounding this problem, international manufacturing and low transportation prices have grown a massive global waste trade industry. Plastic waste is dispatched from the world’s largest economies and makes its way to countries with lax regulations where it has devastating effects on public health and the environment. Despite local attempts at recycling, the problem of plastic waste is global in scale. How can the Tulum Plastic School address the international state of plastic in a single locale? Using LADLE’s educational goals as a motivation for design, how can the school communicate about this global problem through its materiality in a way that is understandable to both children and the world at large? With these questions in mind, this proposal invokes an easily recognizable symbol of our global exchanges: the international plastic pallet. Its life cycle spent in transit, the pallet is put to use shipping other plastics around the globe. As a structural object and as a literal representation of waste trade, the project’s use of the pallet avoids common tendencies to aestheticize plastic waste itself. Rather than producing an amalgamated form made from waste or a highly refined construction product made from recycled content, we choose to approximate between these two

extremes. Set as the underlying structural order of the building, the quotidian pallet is elevated to an architectonic level, its engineered porosity filtering light into the school’s lofted interior. The pallet is threaded through its forklift channels onto a repeating bay system and grouped to form two gabled structures that pivot around a pair of courtyards: one can be seen as an extension of the classroom, the other is offered to the community. Encased in clear, recyclable corrugated plastic, the building is protected from the elements while allowing daylight to filter in. Conversely, the structure becomes a beacon for the community at night. The form seeks to promote an architecture of multiplicities: domestic, industrial, traditional, and contemporary.

ACY ∙ 2019

73

1st prize

recyclable corrugated plastic rain sheel

recycled HDPE plastic pallet wall as shear structure

tube steel structure inside of pallet walls

painted mural wall or corrugated plastic

74

ACY ∙ 2019

1st prize

ACY ∙ 2019

75

2nd prize

author

David Nee Zhi Kang Malaysia

The concept of the Tulum Plastic School focuses on the children-centred design and the wellness of the community. When we see the architecture from the context of children’s school, often we will find the scale and proportion of the spaces or rooms do not respond to the characteristic of the primary user which is the children. Unlike furniture, it needs to be small enough to comfortably fit the children as they need to use it routinely. So imagine if children can use the space like how the use the mini furniture which they are able to reach the wall, the ceiling or even the roof instead of just stepping on the slab? Therefore, the idea is to redefine the architecture of the learning environment for children through the ergonomic volume of space wherefore the children could feel their sense of presence in sync with the learning environment. The design emphasizes on building volume that can fit both adult and children through the inclination of the roof height. Providing an intimate space for the children and sufficient room for the adults to carry out activities with children. Lower ceiling involves adults to bend and crouch their body when approaching children, gives a sense of 76

ACY ∙ 2019

equality, comfort and secure to the children. The proposal involves ground and a mezzanine floor connects to the rooftop of the existing building. Lifted classroom and office to the mezzanine to maintain ground floor as the public space/multipurpose space for social and gathering like what it used to be to enrich the social sustainability of the neighbourhood. Double volume ground floor at the corner of the secondary road can be modified into a proper stage whenever there is an occasion. Utilizing the flat rooftop of the existing building beside the proposed site by linking it to the mezzanine/classroom. Rooftop is an exciting space by default which can be celebrated by children’s activities such as yoga or kite flying. Access point/staircase to the mezzanine floor is gated from the extended existing security grill so the classroom and office space are fully secured. The construction will not use any processed recycled plastic material but focusing on the simple solutions using common plastic waste such as bottle without the need of heavy machine or professional. So that it can be practised easily and widely by people of Tulum in the interest of reducing plastic wastage.

2nd prize

ACY ∙ 2019

77

3rd prize

authors

Iván Elías Barczuk Matías Raúl Falero Agustín Flamig Adrián Eduardo Mendez Argentina

78

ACY ∙ 2019

The designed project and its implementation are born from the recognition of the existing situation and analyzes as a starting point the ways of living in the region, trying through its construction to complete volumetrically the existing corner and liberate the general floor of the same, providing almost total continuity of public space within the intervention. The project is divided into three parts or functional blocks: (recreational, educational and service or support spaces), which are the ones that model the shape of the same and allow from its conception the rationalization of the material. At the same time, the whole generation of the work is born from four factors of primordial importance: the generation of a basic module of design, the flexibility of space and uses, the social and cultural integration of the community during the construction process of the building and the material recycling,

3rd prize

MODULATION The school is modulated according to the dimensions of the materials selected for its construction, with the objective of optimizing their use to the maximum, avoiding waste and reducing execution and transportation costs. The construction system seeks the fastest assembly, capable of being carried out by non-specialized labor. For this reason, the previous construction of structural porticos and standardized panels is proposed. FLEXIBILITY Understanding the large number of activities carried out by “Friends of the Corner” and in order to allow an endless number of uses, complemented by multiple spatial sensations, the construction system and the typology adopted offer the possibility of making their environments more flexible, through the movement or opening of their modular panels. SOCIAL CONSTRUCTION In order to integrate the community and society with the foundation, a construction system is designed in which the population close to the project is part of the creation and generation of each of the panels projected, thanks to its simplicity of assembly and manufacture. RECYCLING Recycling being the main generation factor of all the work is sought from the beginning, integrate the largest amount of plastic bottles within each modular panel built but at the same time, are used recycled shredded plastic liners and chips plates of reconstituted wood. The use of vertical and horizontal orchards, rainwater collection systems, panels and solar collectors complete the combo of sustainability that make the work a project with an almost zero ecological footprint.

ACY ∙ 2019

79

Archstorming

Honorable Mentions project name

project name

project name

Hot Wire House

NaturFicial

Tulum

authors

author

authors

Rufus Edmondson Alexandria Anderson Fabio Hendry

Matan Gal

Alexander Salov Tatiana Osetskaya Yulia Seyfetdinova

Israel

UK

project name

project name

project name

Las Olas (The Waves)

Re-Use-Re-Grow

Tulum Plastic School

author

Ulf Mejergren Sweden

80

ACY ∙ 2019

Russia

authors

Gerardo Ramírez Fernando Velasco Nuria Ramírez Mexico

authors

María Eugenia Chinchilla Nancy Nayeli Moreno Mexico

Archstorming

project name

project name

Tulum Plastic School

Hi, my name is Gemma!

authors

author

Huang Xiang Liu Cong Yan Hong Bing

Stefano Barile Italy

China

project name

project name

The Moving Image

Tulum Plastic School

authors

authors

Ted Porter Gong Chen Noelia Linares Jorg Thoene

Pablo García Ricardo Arámbula Macarena Rossetti Mexico

USA

ACY ∙ 2019

81

24h Competition

Hypermega

24h competition 29th edition Ideasforward wants to give young creative people from around the world the opportunity to express their views of the future of societies through their innovative and visionary proposals. We are an experimental platform seeking progressive ideas that reflect on emerging themes. The eco design, sustainable architecture, new materials, concepts and technologies are compelling issues in the societies of the future and the involvement of the whole community is imperative. In an era of globalization where communication was dominated by the technological revolution, there is the need to rethink the cities and how Man can relate in a global World as well as rethink the economic, social and cultural patterns of contemporary societies. The young creatives and thinkers are a precious commodity that we value a lot. We want to give them a voice. A space where the time limit is used to stimulate your creativity. The aim of this competition is to present answers in 24h to social problems, visionary ideas, humanitarian causes and sociologic problems of the contemporary societies. Commitment, perseverance, inspiration and hard work are all the necessary bases to develop a proposal that meets the premises that will be released regularly in the brief of the competition. We challenge you to prove your talent in 24 hours! There is a period of registration on the competition, when it ends, starts the 24H competition! You have 24H to develop a proposal that responds to the program contained on the brief that will only be available on the same day the competition starts. Take the risk!

82

ACY ∙ 2019

24h Competition

authors

Hao Zhong Shuge Du Tingyu Duan China project name

United Tower

Jury Statement: United Tower applies ideological concepts and ideas from several utopias combined with architectural examples of the XX century in a contemporary way under a programaticscheme that tries to respond to the future demands of the city building. Susana Ventura, arch Departing from the problematic of the increase in population, the design offers a neighborhood in the form of a series of towers which accommodate housing units and share common activities in between them. Duygu Tuntas, arch

ACY ∙ 2019

83

24h Competition

84

ACY ∙ 2019

24h Competition

Very interesting proposal, in terms of idealfuture city, and global architecture possibilities, in differentprogramaticdemands, and typologicalrelations. Alexandre Marques Pereira, arch Versatility is one of the strengths, where the implantation of one of these structures can arise in the most diverse places. Adaptability with existing buildings makes the solution suitable for any existing city. Rui Oliveira, arch A wonderful blend of innovation and solutions to addressing alternative possibilities for growing urban areas. United Towers, provides the opportunity to explore how rapidly developing areas can thrive with the changing environment. Their Growth Mode concept provides an interesting approach to creating a sustainable energy system that allows foreveryone to thrive from. The team has succsessfullyaddressed areas of sustainabilityand how they can be integrated into the structural design of the tower. Katherine Guimapang, arch

ACY ∙ 2019

85

2nd prize

project name

authors

Protocell City

Monika Kalinowska Denys Karandiuk Austria

Jury Statement: Protocell city tries to incorporate in its design and development some of the possible solutions to deal with the problems that are caused in great part by the building industry. It is at the same time a critique and a solution supported by the advanced studies from MIT. Susana Ventura, arch The project proposes a vertical dwelling model in an urban context. It responds to the design problem by employing an adaptive-system approach that is open for alterations based on the change in the number of inhabitants and future needs of the society. The visualization of the design idea is very successful with its vibrant graphics. Duygu Tuntas, arch Intelligent proposal with a very high degree of flexibility that takes advantage of energy efficiency research. Interesting modular system. Rui Oliveira, arch The team of Protocell City designan visuallyintriguing project that appropriately addressthe current CO2 pollution issue the world faces today with material exploration. By combining science, technology anddesign, Protocell City beautifully uses pollution as the material. Transforming the problem into the solution, the designers of Protocell City think beyond regular design approaches to create a proposal that emphasizes ondesign and construction. Katherine Guimapang, arch

86

ACY ∙ 2019

2nd prize

ACY ∙ 2019

87

3rd prize

project name

Self-Print Tower authors

Yi Yang Chai Hui Yi Cho Sharon Malaysia

Jury Statement: The proposal envisions an application for a technology that will have a strong impact in the future of buildingas it establishes an entire system from “self-print depot” to “a future ecosystem” as well. Susana Ventura, arch The project utilizes advances in digital fabrication technologies. It proposes vertical communities within 3D printed towers. Although the design idea is promising with its basic and minimal respond to the question of the competition, the proposal lacks programmatic and spatial diversity and differentiation. Duygu Tuntas, arch A futuristic but simultaneously realistic idea where constructive techniques are within our reach. Coexistence goes back to science fiction scenarios where the hope of returning to origins is present. Rui Oliveira, arch Self - Print Tower creates an interestedapproach to urban design and communities with their “Phygital” growth systems for the future. Using and exploring 3D print technology, the Self Print Tower provides a glimpse as to how the possibilities of 3D print technology can be pushed. The team werenot afraid to challenge the concept of materiality and the opportunities of a large scale digital fabricated tower. Katherine Guimapang, arch

88

ACY ∙ 2019

3rd prize

ACY ∙ 2019

89

24h Competition

Honorable Mentions project name

The Hive authors

Vamsi Krishna Vemuri Madhumathi Shankar Uttam Solanki Kalai Vanan Germany

project name

Ring authors

Wanjiao Chen Lin Li USA

authors

Yuan Zhou Yifeng Guo Jiaqi Ji China

project name

Fractal City author

Ondrej Slunecko Denmark

90

ACY ∙ 2019

24h Competition

project name

Kosmogramm author

Ferdinand Klopfer Austria

project name

Live on Energy authors

Gong Zhichen Wu Tianrong He Congying He Yingzhi China

project name

Architecture – The Third Dimentional Residential Traffic authors

Wanjing Peng Qikai Li Zhengyou Chen Yuhang Tao Yulin Zhang China

ACY ∙ 2019

91

Bubble

Bubble Design Competitions Like the air we breathe, friendship and interaction are needed to survive and thrive. In the most interconnected, interdependent era of human history, one could be forgiven for thinking that the lives we lead are almost void of loneliness. It is ironic therefore, that the Facebook feeds and Instagram stories which define the phenomenon of “social networking” are awash with people either striving for unending praise, cliques, and admiration, or people pretending to already have “it”. We are experiencing a pandemic of loneliness, an infection that continues to dissolve our meaningful social networks with devastating effect. We see a rise of depression, anxiety, suicide, and a feeling of hopelessness that dominates so many people’s lives around the world. In the United Kingdom alone, 75% of doctors say they are seeing between one and five people per day suffering with loneliness, with up to 20% of UK adults feeling lonely either most, or all the time. Founded on the belief that design can be a vehicle for positive change, Bubble asked what designers can do to eliminate loneliness in society. We therefore launched our inaugural international competition, challenging teams to “Eliminate Loneliness Through Design.” Organized in response to the global crisis of loneliness and isolation in the modern age, the competition aimed to demonstrate the power of architecture and design to tackle society’s pressing issues. Entrants were not constrained by any scale, location, or program. The possibilities for exploration ranged from tactile furniture to entire cityscapes. Through this, we hoped to distill the idea of architecture and design as global occupations, with actors across the world cooperating in an exchange of ideas and responses to the issues of the day, year, or century.

92

ACY ∙ 2019

1

st prize

project name

From Eliminating to Elevating: Tokyo Loneliness Tree Hole Plan authors

Gandong Cai Mingjie Cai USA Tokyo: the City of Loneliness Loneliness is not Tokyo’s illness; it’s the status quo of the city. Given that loneliness is a comprehensive urban structural issue, the operative action should be in the scale of the whole city by applying a systematic approach – a new layer of spiritual infrastructure in the city that serves to everyone. Urban Tree Hole People who feel lonely may not necessarily reach out to a friend for help. They might prefer a “tree hole”: a target that can be easily found around you, will not response or react to what you say, only provides a hollow space/enclosed shelter for anyone who want to spend a couple minutes with themselves. We propose a plan of constructing Urban Tree Hole around Tokyo that provide small spaces in the city that those lonely individuals can enjoy being with themselves, with the space, and with loneliness. Celebrate Loneliness with Tree, Sky, and Water In our proposal there are three typologies of Urban Tree Hole being inserted into Shibuya, the downtown of Tokyo, by either reinvigorating redundant store on the street side, creating corridor between buildings, or excavating underground space. In the space of Urban Tree Hole_01 visitor can enter a pop-up store where he can sit down and look at a street tree through the store window, and start a silent conversation with it. In Urban Tree Hole_02, visitor will walk through the corridor between two skyscrapers in which the city view is blocked, but the sky is reflected by tilted mirrors on both sides of the corridor. Urban Tree Hole_03 is an underground space beneath the Shibuya Crossing which collects “invisible” Tokyo water through run- off, and utilize the water to form a water feature for visitor to immerse.

ACY ∙ 2019

93

Bubble

94

ACY ∙ 2019

Bubble

ACY ∙ 2019

95

2nd prize

project name

author

When It Rains

Dominique Cheng

When it rains, we intuitively look for some form of protection. Moments as such are often fleeting in nature and rarely opportunities for connection. However, what if we allow the fundamental laws of attraction and some degree of chance to dictate the boundaries of social interaction. Umbrellas are conventionally used singly in isolation but is there an opportunity to reimagine this everyday apparatus as a catalyst for connection with a simple modification that would allow them to attach to each other ad infinitum? Makeshift gathering spaces could form freely simply by result of our proximity to one another.

96

ACY ∙ 2019

Canada

2nd prize

ACY ∙ 2019

97

3rd prize

Creativity is always linked with the happy moment when all conscious control can be forgotten. Anton Ehrenzweig project name

MindCraft authors

Jan Sikora Ewa Siostrzonek Katarzyna Maliszewska Poland

Feeling of loneliness can be amplified by overthinking, when judgments get cloudy and stress gets elevated. When creative, people can forget about producing and controlling negative thoughts and bond truthfully and directly. MindCraft is a way to let people design their own environment manually from scratch. You can choose shapes, colours assigned to specific features and build together for yourselves and for others. The blocks are made from recycled plastic and are free to take in places located around the cities, next to public spaces. Some of them are so big, that building a structure is possible only with help of others. Cooperation, which is the main pillar of the game, arises naturally but bonds the most. The spaces which are being created are fluent, always changing. What happens later inside made objects is up to the people. Our predictions include workshops, exhibitions, exercising, meditating and entertainment like concerts or public events. Building, having in mind the colours’ assigned features, increases awareness and makes it easier to understand others, connect and empathise. MindCraft is a continuous, endless process which leads to healing our society. 98

ACY ∙ 2019

rd 3Bubble prize

ACY ∙ 2019

99

Bubble

Honorable Mentions project name

project name

Moving to Barrow

Pneumatic Archives of Subjectivities and Imaginaries

author

Tien Chen USA

authors

Kane Hassebrock Nicholas Raap Jake Spangler Megan Zeien USA

project name

The Paradox of our Existence author

Michelle Antonorsi USA

100

ACY ∙ 2019

Bubble

project name

project name

Mori

The Maze

authors

author

Amanda Gunawan Joel Wong

Zichun Huang USA

USA

project name

project name

Synthesia

Are You…?

author

authors

James Killeavy

Vlad Olaru Andra Ioana Dragan

USA

Romania

ACY ∙ 2019

101

Blank Space

Fairy Tales 2019 Blank Space has announced the winners of the sixth annual fairy tales competition. With submissions from over 65 countries, the award-winning entries explore current events and the creative process through wonderfully crafted short stories and artwork. The winners were chosen by a jury of more than 20 leading architects, designers and storytellers, including Moshe Safdie, Tatiana Bilbao, Jurgen Mayer, Julia Koerner, Mark Foster Gage and Jane Yolen, among many other distinguished judges. Francesca Giuliani, a co-founder of Blank Space, said: “This year’s winners utilize the power of narrative to explore complex issues like immigration, pollution, climate change, sea level rise, and the longevity of human impact. Time and time again, the Fairy Tales competition attracts creatives with a desire to inspire meaningful change in the world, through thought provoking and artistic submissions that wrestle with the most urgent, real issues of our time.” Since its inception in 2013, the annual Fairy Tales challenge has attracted thousands of participants, and winners have gone on to develop their stories into successful Kickstarter campaigns, short films, comic books, and exhibitions.

102

ACY ∙ 2019

1st prize

project name

The Fall authors

Lorena Cano Acosta Nicolás Mendoza Ramos Colombia

“I almost died for a plastic bottle,” she says, putting a cigarette to her lips. I’ve got to ask. “A plastic bottle?” “You heard me.” I strike a match for her as she talks, “it sounds strange because you can find plastic bottles anywhere, but it happened.” “Was it a special bottle?” “No, just a regular one. Like the one you are drinking water from right now.” She answers vaguely. I could hardly picture it. Why would anyone face death for something as cheap as plastic? Is she making this up? This is not the first time I’ve shared a cigarette with her and she sounds sincere, even lucid. But how would I know? I don’t really know her. Even though I have seen her so many times walking down this street, we have never exchanged more than a couple of words. She looks up at the wall for a while. I do the same. There’s a lot of waste built into it. Bottles, jars, cans, bags, tires… all turned into a massive structure: The Ecowall. “Do you know why that keeps getting higher every year?” She says, still looking at it. “Maybe it’s the quickest way to process all the rubbish we produce into something useful?” She looks hard at me and for the first time I notice she is quite beautiful. Her hair is messy, her clothes are dirty, her shoes are ragged, and she looks pale and tired, but there is still something mesmerizing about her. The wind is salty and freezing at this hour and I wonder if she has a home, but don’t dare to ask. I offer her another cigarette and light one for myself.

ACY ∙ 2019

103

1st prize

“That’s one way to see it, I guess…” She says, after a long pause. “But let me show you a wider picture. You know how people are always talking about global warming, right?” I nod. “Well, we can’t leave that aside, but it isn’t the core of this story.” I smile, so she continues. “Many years ago sea ice was melting and sea levels were rising very rapidly. Nobody really cared until life became unbearable with so many floods. Some rich governments started to come up with all kinds of solutions to deal with it, but nothing really worked. Eventually, they decided to literally wall-off the problem. They hired architects and construction firms to build barriers and walls, protecting people from the sea. “With these solutions some countries achieved to separate earth from water. So it became easier to keep throwing out trash in the sea. For them, the once feared ‘Garbage Patch’ was not a problem anymore, in fact it was the best way to get rid of waste and keep clean cities.” She flicks her cigarette to remove the ash and keeps talking. “Shockingly these measures became obsolete promptly. As sea levels continued to rise, so did the wasteful water. Entire countries perished, after a thick layer of our bluish planet covered them completely. And the most vulnerable populations suffered the greatest losses. Countless souls were lost and some more became a weird, annoying and different human species: immigrants.” She looks up one more time and releases a deep sigh. I look at her astonished. How does she know all this? Why would she bring this up now? Is this really all about that plastic bottle? “Back then the wall was not fulfilling its purpose.” She continues. “High tides were bringing back into the city the rubbish that was previously discarded, and with it, hundreds of homeless people from the outside. Exorbitant amounts of waste were piling up in the edge of the insufficiently tall wall, and more tons were being produced daily. One day a ‘clever idea’ emerged from that chaos. We could keep building a barrier against all these problems, by turning garbage into compact blocks for construction. That’s why The Ecowall was created. It was like putting a small Band-Aid on a big wound. The planet will keep rotting, but no one inside will have to see it, even better nobody will have to fix it.” So there I am, leaning on the wall with a stranger and facing a hidden truth. She has a point. When the project of The Ecowall began, everyone was relieved because the streets were cleaner and the immigrants were relocated. Big companies promoted their products as a future contribution to the ‘eco-friendly’ project and consumers blindly believed it. As sales increased, production also picked up and no one seemed to care. Worst of all, I didn’t either. I stamp out my cigarette and ask her if she has had breakfast yet. She says no, so I buy two cups of coffee and some bread. I keep just my cup and give the rest to her. “Are you an immigrant?” I ask. Her mouth is full of bread as she replies, almost dismissively. “Yes, but I wasn’t here when the wall was lifted up.” I almost choke on my coffee. An immigrant? Where did she come from? How did she get in? I look up at the junk structure looming over us and try to figure out its height. It’s as tall as… taller than… no, it’s by far over it…? The damn wall ascends to an unimaginable height. It towers over the city, hiding many

104

ACY ∙ 2019

1st prize

ACY ∙ 2019

105

1st prize

neighborhoods from the sun. Did she climb over? Impossible… and nothing can get through it. She was clearly delusional. “How did you get here?” I ask playing along. “I came by boat, along with many others.” She whispers. “We sailed for days across polluted waters filled with dead fish, desperately searching for land to live in. You can’t imagine the impotence I felt when we reached the border and found a ridiculously huge wall of more waste. Without knowing what else to do, we had to climb it to get out of the sea. Then we waited… we waited in vain for humanitarian aid.” Tears fill her eyes. She sits down on a discolored trash can and keeps silent. Her story is outrageous, but I find it hard not to believe it after seeing her eyes in despair. “We had to live upon it. No one dared to climb down.” She picks up where she left off. “We made the best of what we found. You have no idea of how much fresh food is discarded daily. It all ends up there.” I take a few steps away and look up one more time. No matter how hard I try, I can’t picture anyone living on that monstrous wall. “Did you sleep on the eco-blocks?” I ask. “At first we had to. Fortunately, it didn’t last long. People with all sort of skills are trapped there. We were saved by an architect and surprisingly for me, by an ornithologist.” “A what?” “An ornithologist. Bird expert.” “How?” “Well, she was obsessed with the structures that weaver birds make to nest by tying leaf fibers. So, she suggested we could do the same and the architect came up with debris netting as a building material. We started upcycling and gradually accepted that human beings could easily live in the void, in empty shelters, made of empty materials, facing the emptiness of the world. And after all, we found our place.” What on earth was she talking about? I mean, really, who could enjoy life in the void? “How did you get into the city then?” I spit out. “I was drunk and fell,” she replies calmly. “I was trying to reach a plastic bottle and slipped on the wrong side. I passed out while falling, so I’m not sure how I survived.” I stare blankly at her. She’s been messing with me this whole time. “Why are you telling me this?” “That’s what I like about you,” she says with a soft voice: “You keep asking questions, even when the answers don’t satisfy you.” She got me there. “We have blinded ourselves enough to unsee what is right in front of our eyes. Some of us have shut down our own consciousness and now we are trapped in our own crap, thinking of it as our salvation.” After some time I take out a pair of cigarettes and I give one to her. She smiles and we smoke in silence with the Wall behind our backs.

106

ACY ∙ 2019

1st prize

ACY ∙ 2019

107

2nd prize

108

project name

author

Monuments of the past

Nick Stath Australia

January 17th, 2119 Sunrise. 6.03 am

the Martian landscape. Early morning. 7.15 am

I tell my son stories of what it was like to climb the mountains on Earth whilst we watched the sunrise over Monument 37. Forests have vanished. Mountains are covered in dust. The colour of nature a century ago, now non-existent. Reaching 100 years since the rapid decline of forests & all natural elements, Governments across the world came together to create an array of architectural megastructures to hoist man made landscapes into the sky. Thousands of people now flock from all over to experience what nature on earth was once like. Our children of this generation can only imagine what living earth was once like. For hundreds of years the human race took Mother Nature and her resources for granted. She was diminishing in front of our eyes. Hectares of forests gone, land cleared for cattle grazing, cities expanded and urbanization consumed the natural landscape. We ignored the initial signs of climate change and when we took it seriously it was already too late. The green began to diminish and the dust started to flow as earth slowly began to resemble

We depart and descend down the cliff face. Suddenly, our feet begin to tremble and the red dust around us starts to move. A giant gust of wind hits us as courier V34 passes overhead, delivering what appears to be part of a manufactured forest, to a nearby Monument. These man made trees above us appear to tower into the sky, they remind me of the last few remaining redwoods that I was lucky enough to visit as a child. The nostalgia kicks in as we watch it pass by. The powerful, bunkeresque vessels are designed to carry hectares of landscapes at a time, whilst providing people with scenic flights to the artificial landscapes. The trees are delivered to specific monuments where the tradition of forest bathing or shinrin-yoku continues. Being in the presence of the trees back when Earth was flourishing and in particular, its forests, was said to impose an array of health benefits and overall well-being. As the inhabitants of earth, we can only dream of experiencing what the Japanese once spoke of as bridging the gap between us and the natural world. We are now

ACY ∙ 2019

2nd prize

confined to our oxygen supply and can only try and reclaim the memories of what it was like to breathe in the fresh air of the trees. Midday. We approach one Monument dedicated to the green mountains of the past Icelandic landscape. My son has never been here before. He will witness being among the vibrant valleys and ranges that I frequently speak of. For the first time together we embark on an adventure inside this museum of natural landscapes. We must stay on the path because the soil adjacent to us is contaminated. We look up and see a fleet of couriers and scenic flight vessels heading to the artificial mountain tops. This Monument was said to be one of the first ever built. Its external walls clearly show its age and wear. Millions have stayed and inhabited its interior over the past few decades. Although it is said the buildings rooms are small and uncomfortable, people will happily endure their stay

in order to wake up with what appears to be living landscapes. My son turns to me and says “dad, can we stay here tonight?” I hesitate to respond as I don’t want to disappoint him. These monuments are at full capacity for years in advance. So I tell my son “Maybe not today, but one day I promise”. He puts his head down, let’s go of my hand and continues to walk towards the over scaled architecture that awaits us. Afternoon. 2pm As we ascend up the monument, we can already hear distant voices of excitement. As we step out of the lift shaft, the landscape stares us in the face and diminishes into the horizon. My son is silent. His eyes wide open. A museum of mountains, hills and farm land is grouped together into a visual and spatial experience recapturing Mother Nature. My son walks forward in awe. I have to hold him back. We embark on our journey through the landscape, strictly on the platform as we were told we can look, but not touch.

ACY ∙ 2019

109

2nd prize

We don’t know what materials these landscapes have been built from. We have so many paths ahead we can choose from. My son heads towards the path on the right. I can see why, the platform there appears to be the most populated as it is positioned across from the base of the largest mountain top that reaches into the clouds. Dusk. After an exhausting but thrilling day for both my son and I, we follow our path home over the dunes. He is running with joy, excited from experiencing what natural earth once was like. Suddenly, my son diverts from the path and runs. I rush towards him as he has stepped foot onto the contaminated and toxic soil. Despite being told that walking off the path could be fatal, I chase after him. I see his silhouette crouching in the distance. I turn on my flashlight only to see what I thought couldn’t be true. What looks like a plant reaches out from the dust. Could this be real?

110

ACY ∙ 2019

2nd prize

ACY ∙ 2019

111

3rd prize

project name

Kraken in an 80 Million Gallon Tank author

Anthony D’Auria USA

It doesn’t really get that cold anymore, but back then, in the long dark of the North Sea winters, you could hear the older bladders--where the insulation had worn down or been scraped out by the bears--stretch and creak as the seawater inside them began to freeze. It’s been decades now since you’ve heard the keen that came with the retreat of the clouds and a stilling of the waves, but it still lingers fresh in your memory. Tonight though, the clouds are thick and the air sweats with a saline humidity as you climb the tensile mast above South Settlement to see if you can make out the distant, blinking red light from Northport. The swirling brume, viscous and slow like white tar, obscures John’s signal but you linger for a moment to catch your breath and clean the condensation from your goggles. You glance a last time across the peculiar, bulbous landscape and take in the hulking mass of the bladders that hunch down towards the sea where the thick smell of salt is mixed with a tincture of methane seeping from the red algal blooms that have emerged this year with a startling fecundity. You yawn, knead the crick in your neck and make towards the ladder cage to head back down. As you touch the first rung, you hear it. Muffled by the fog but distinct nonetheless, a ragged alien shriek saws

112

ACY ∙ 2019

3rd prize

across the night and sends a primal adrenal current lilting through your veins. The pitch, the timbre, you know it. You’ve heard it before but tonight, it is far too warm for the bladders to freeze. You were born here on the platform and you left only twice. First, for two years to complete your studies at an dreary vocational college in Middlesbrough-On-The-Bay, where some days the tepid mist would roll in so thick off the North Sea that even the most experienced boatmen refused to plot a course through the low-lying cranes and smokestacks long rusted by the waves. The second time you left was for just three weeks to undergo a pulmonary procedure at a Newcastle clinic for an ailment that you still don’t entirely understand. It was in your two years at Middlesbrough that you learned to steward the platform. They taught you how to patch the woven alumoskein textile by cutting away the sodden insulation around a leak and installing an isolation valve so that you could weld adjoining links together and seal the whole thing with a slurry of acrid bitumen. The sophisticated central control system had burnt out years ago, so you were taught to read the pressure on the bladders with a triangulating radio and how to manually adjust the draw of the pumps to raise and lower the

ACY ∙ 2019

113

3rd prize

water pressure. It’s demanding and meticulous work but there is a peculiar tidal cadence to it that keeps the tedium at bay. You’ve become so attuned to the rhythmic equilibrium of the platform that any imbalances leave you feeling dissonant and ill at ease. You climb swiftly down the ladder, scanning the soft breeze for another shriek. Your boots touch the sandy scree that clings in the valleys between the bladders and your rapid steps part the wispy blonde combover of shoregrass that made its way here in the bellies of passing geese. Hastening through South Settlement, past the orange sprayfoam moundhouses, you grab your flashlight and throw your rifle over your shoulder. Your wife stirs in the other room, perplexed at your intentions. You quickly explain that you need to check the pressure on a few tanks about a mile northeast of here, as you head back into the dark. When they first built your platform (and the three-score others like it), to protect coastal settlements from the 2 million square miles of rapidly melting sea ice, they gave it a 250 year lifespan. It would take a quarter of a millennium, they said, for the chloropanel arrays in the American Rust Belt to absorb enough carbon to re-calibrate temperatures and that, combined with an ambitious iceberg seeding program, would permit the strange island you call home to quietly sink away into the familiar seas long held within it. It’s been nearly a century and a half though and targets have been left unmet as these programs, once a cause celebre, now languished -adrift and dreary- amidst the geopolitical spectacles of the terrestrial realm. You move carefully across the crest of a bladder. For you, walking across these undulating hills of alumoskein is second nature. You intuit the shifts and redistributions that occur as your weight moves along the membrane, your presence marked by slow, almost glacial, concentric ripples radiating along its surface. What is natural and intuitive for you however, is a treacherous novelty for the ever rarer adventurer who would arrive from the mainland to marvel at your bulbous, alien island. It’s a dangerous trek. Even experienced walkers can get caught in an active pressure shift and get buried in the cold, heavy folds of the alumoskein. You’ve certainly come across the huddled bodies of those who weren’t lucky enough to be quickly crushed as they starved slowly in their alumoskein pocket only to be exposed weeks later for the gulls to pick apart once the distribution changed.

114

ACY ∙ 2019

3rd prize

When you were younger, some of the older folks -those among the first generation to be born on-platformused to tell you this story. A kind of confused mash of North Sea mythology and shanty sailor lore, where one night, an unnamed engineer, drunk and restless off mainland brennevin lurched up to a control pod and jammed the intake pumps full throttle. The draw was so great, they said, that a young kraken, all tentacles and hooks and wild rolling eyes, was pulled loose from its submarine trench and swept straight into one of the 80 million gallon bladders. Curled around itself with hardly room to move in its new tank, the colossal creature slept and floated and fed on the brine shrimp that the pumps brought in. You could hear it, they’d say, when the nights got cold, you could hear it thrash and push against the walls, testing its strength, trying to claw its way back into the sea. When you were young, you’d hike with John among the rolling vessels and try to guess at which one it was trapped in. The fog has thickened into a pale cataract across the night sky and the round summits of adjacent bladders hunch up to you as their more distant neighbors recede into the mist. You are getting closer to the sound and it is getting more frequent. Suddenly, it’s deafening. It’s no longer the subdued baritone of a distant fog horn but the atonal shriek of metal wringing itself into perverse contortions. You rush down through a valley between two bladders but, as you round the bend, a bear -a wiry thing, its once white fur stained an orange-brown from its tank insulation den- bolts at you. Agitated by the din, she barrels forward, teeth bared and growling. You fumble the rifle to your shoulder and frantically discharge a round towards her. It is only then that you notice the bloated bladder lurking behind the bear. It dwarves the others and for the barest fraction of a second, you wish desperately that you could take back that bullet that grazes the bear’s shoulder and careens into the distended and howling 80 million gallon vessel. As the bullet hits, the sounds envelopes you. Alumoskein splits like a punctured balloon and the tank water, pressurized by expanding gases and blood red with the brine shrimp and algae that produced them, smashes into you and the bear as your limbs, gun and claws entwine and tangle, and you are scraped through the valleys in a scarlet cascade that turns to pink then grey as it fades into the muted North Sea.

ACY ∙ 2019

115

Archstorming

Honorable Mentions

| Read stories on www.blankspaceproject.com

project name

project name

project name

A Kitchen Drama

Capital for the Collective: The Labour Miracle

Crude World

author

Claudia Wainer

author

authors

Michael Leckie Ryan Nelson Jason Hall

Erik Bean

project name

project name

project name

For Mortals

Lavender Lungs

authors

author

Sungmin Kim Junghun Park Hoyoung Roh

Ahad Almeida Shekh

Political Climates

project name

pop + circumstance author

Xiaoyin Xie

116

ACY ∙ 2019

authors

Haley Koesters Natalia O’Neill Vega Daria Piekos

Archstorming

project name

project name

project name

Road Home

The Age Of Opportunity

The Divided Americas: Ollin’s Curse

author

Jono Bentley Sturt

author

Anna Kuchera

author

Albert Orozco

project name

project name

project name

The Great Island Of Replicas

This Used To Be Our Home

Troll

author

authors

Constantinos Marcou

Bojana Papic Yann Junod

author

Carl Ydergård

ACY ∙ 2019

117

Kaira Looro

The Kaira Looro Competition

Projects for a Peace Pavilion in Sedhiou, Senegal Peace Pavilion is the third edition of the Kaira Looro international architecture competition, the theme of which is architecture in developing and emerging countries. After the first editions, dedicated to the design of a sacred structure (2017) and a cultural centre (2018), this year the competition announces the winners in a theme that is of global interest: peace. Participants were asked to design a Peace Pavilion to be built in the city of Sedhiou in southern Senegal, Africa. The objective of the competition was to come up with a symbolic structure that would serve as a memorial to the victims of the African wars and that would sensitize the local and international community, creating a commemorative and educational space that respects both the environment and local traditions. The ultimate goal of the structure is to promote the culture of peace. The competition was organised by the Balouo Salo Non Profit Organisation, which has been active in Africa for decades, with the collaboration of the University of Tokyo, Kengo Kuma & Associates, important international associations, and local partners including the Municipality of Sedhiou and its Department of Culture. Its official media partners were Archilovers and Archiportale. The winners were chosen by an international jury made up of: Kengo Kuma, Toshiki Hirano (University of Tokyo), Agostino Ghirardelli (Blengini Ghirardelli Associati), Urko Sanchez (Urko Sanchez Architects), Jean Paul Sebuhayi Uwase & Noella Nibakuze (Mass Design Group), Diana Lopez Caramazana (UN Habitat Nairobi), and a scientific committee composed of Raoul Vecchio (Balouo Salo), Sebastiano D’Urso (University of Catania), and Moussa Soaune (Senegalese institution).

118

ACY ∙ 2019

1st prize

author

Changze Cai China

Peace pavilion Gently float on the ground and blend into the base landscape in a humble posture. Stepping onto the suspended pedestal and entering through a narrow doorway, it is a courtyard enclosed by a wooden structure colonnade. The sun shines in from the top of courtyard and shines on the wooden box in the middle. The simple sequence expresses the tranquility of the space. People can walk, communicate and sit quietly in the courtyard to feel the stability and tranquility of their homes in the peaceful times. On the one hand, the courtyard provides a space for people to communicate with each other. On the other hand, it also improves the microclimate of the building and increases the indoor ventilation effect. Work into the corridor from the courtyard, the long corridor sensitively accommodates the rhythm of the footsteps, and the sound of the courtyard. the light coming in from the hole in the clay wall, sprinkled in the hallway, leading people to the area of prayer and contemplation,Along the steps,you come to the contemplative space, Mood slowly settled and brew a mood that is in harmony with the contemplative atmosphere. Along the wooden pillars arranged longitudinally on both sides, the line of sight extends forward. The narrow and long gap between the two exhibition halls allows you to see the outside world. But as you pass by, the scenery outside the building will fade slowly and eventually fade away as the angle changes. It encourages visitors to reflect on and remember the relentlessness of the turmoil and its depression, as well as the fresh life that has fallen from the war, but most importantly, to look forward to a peaceful and beautiful world and the future. Light shines through the

ACY ∙ 2019

119

1st prize

gap between the eaves and the rammed earth wall, hits the wall, increases the quietness of space, and the space in this area materializes the meaning of peace. The prediction of local technology and the understanding of the spatial characteristics of the “Peace Pavilion” make us finally choose the construction method of using rammed earth wall and wood frame. Consider using local rammed earth and local wood to create a space that fits the theme. The spatial interface is defined by the inner timber structure and the outer rammed earth.Light fuses the two materials together. The Peace Pavilion is a system which combines rammed earth wall and timber structure system. The internal and external space interface is defined by external rammed earth wall and inner timber. The structure system is clear and simple, and the construction difficulty is low. You can build it as follows Firstly, the foundation is poured on the foundation, rammed earth wall and wooden structure pillars are built on the foundation, then wooden roof truss

elevation, section

120

ACY ∙ 2019

1st prize

is built on wooden structure pillars, wooden roof truss is exposed, wooden beams and wooden pillars are bolted to form a directional wooden structure, finally purlin, Watchboard and roof iron sheet are erected on the wooden structure, and finally the construction of “Peace Pavilion” is completed.

ACY ∙ 2019

121

2nd prize

project name

The Lost Horizon authors

Dongming He Yi Xie Zeyi Yuan China Africa has a complex and diverse geo.dimate, natural environment and regional culture. Whether it is a restricted economic constraints or a disorderly social order, the internal contradiction of the beginning of its war is the conflict of human-Iand relations. If faith, culture and other conscious conflicts are abandoned, peace is a reflection of the symbiotic order between people and nature. On the contrary, people’s friendly handling of the relationship with the environment will inevitably lead to a good economic system and social contract The boundary is a manifestation of a spiritual or material dispute, and it is also an expression of the order of humarland relations, and the essence of peace is the self-digestion of the boundary. Therefore, we hope to create a place in the field where borders disappear, to direct the sight of people as they meditate to the disappealce of the sky, in order to form an eternal and silent horizon, and thus to mourn the deep memory of the dead life, and the desire and value of peace. The design takes the local material as the main construction material, we select the shape, texture, adhesion and abstraction of different material properties as a mixed experiment to transform the physical state of different materials into emotional elements, revealing the spiritual connotation of the place. Among them, the mixture of materials

122

ACY ∙ 2019

2nd prize

extracts the form of rammed earth compaction, and then extracts the shell as a filler texture, and a small amount of cement as a bonding substrate, brushing white slurry on the surface, and finally formed the material on the “peace” of the abstract expression. The project construction takes the earthwork in the site as the original material, forms the slope and sinking site through the excavation balance, then uses the remaining earthwork to consolidate into the wall and synthesize the outer corridor. In the construction, the design process of the rammed earth wall is designed, that is, the plank as a template, with rammed earth as the base material, shells as fillers, part of the cement as a cemented material to form a special concrete. In terms of structure, the structure of the main body is supported bya wooden beam frame, and the rammed earth wall is used as a maintenance system. At the same time, the rainwater of the site is collected by using the caisson. By the above means, we can use the strategy of local material to complete the project as much as possible and ensure the water storage function of the site.

ACY ∙ 2019

123

3rd prize

authors

Jurij Bardelli Federico Testa Italy

“Peace revolves around dialogue and understanding between peoples”. So the spaces rotate around the patio of light and water. The strength of the earthen wall contrasts with the fragility of the bamboo cane wall creating a path of light and shadow. The water make a vibrant light into the spaces transmitting a sense of vitality. A fabric upholsterers the ceiling giving a sense of lightness. The pavilion is a small introvert volume with a simple shape that defines a clear relationship with existing buildings and the river in terms of proportions and position. The concrete base becomes an external seat shaded by a row of trees on the south side, where there is the entrance: a vertical portal. The external wall is pierced allowing a good ventilation of the internal environments. Design and materials permit a simple realization using clay bricks covered with raw earth and bamboo canes for the internal façade and the roof structure.

section

124

ACY ∙ 2019

3rd prize

interior ACY ∙ 2019

125

Archstorming

Honorable Mentions authors

Alejandro Saldarriaga Bachir Benkirane Colombia

authors

Federica Linguanti Matteo Mazzoni Italy

126

ACY ∙ 2019

Special Mentions

Archstorming

authors

authors

authors

Georgia Katsi Anatoli Geordiadou

Anna Bukowska Aleksandra Kurkierewicz Maria Napieralska

Min Cui Nan Lei Teng Xing

Poland

China

Greece

authors

authors

Nicolas Piazza Nicola Romagnoli

Aleksandra Kubiak Marta Mojsik

Italy

Poland

ACY ∙ 2019

127

Rwanda Chapel

Rwanda Chapel Human beings cherish questions that are greater than their mind. They keep wishes that are fonder than their heart. Some of the greatest masterpieces of ancient architecture have not been built to meet immanent needs. Temples, pyramids and cathedrals are built as the expression of the faith of a community. They are the symbol of a persistent longing for transcendence. They stand for an innate and insatiable yearning for the divinity. Wherever there is a community, there is a sacred space. Rukomo is a remote village situated in the upland of Rwanda. Rukomo is the inaccessible heart of an inaccessible continent. Here lives a community that has overcome moments of deep and great sorrow. The scars of such history still remind people of the indifference and apathy affecting the “First World”. Despite having little, here people smile often. These people live faraway from the hectic lifestyle of large areas of the world. These people look for spaces for their interiority and experience an intense return to spirituality. Rwanda Chapel is for each one of them. Rwanda Chapel is YAC’s competition dedicated to the community of Rukomo. It aims at donating a church to believers and to the local religious community. It will be a place of peace and conciliation where to celebrate or meditate regardless of disagreements and differences. It will be a place where to be united in the longing for eternity. One of the most exciting themes for generations of architects has always been the sacred space. With the competition Rwanda Chapel the design of such space will offer an additional opportunity. Through contemporary architecture, architects will have the chance to support one of the poorest areas of the planet. Rwanda Chapel is the outcome of international collaboration. It aims at donating a real monument to Rukomo. It will be a symbol of global solidarity and cooperation. It will also be an architectural masterpiece dedicated to one of the most elusive and recurring mysteries of history: the divine.

128

ACY ∙ 2019

1st prize

project name

authors

Light Chapel

Lisa Huang Tian Li China

The project is not just a chapel, it is a monument for the community; a place for people to bond and unite, regardless of race and history, through gathering, prayers, and contemplation. The chapel is composed of three layers of enclosures. The outermost layer provides an exterior community gathering space; the second layer creates a semienclosed area which serves as a space for informal gathering and evokes a spiritual journey to calm the minds of visitors before entering the innermost layer, the chapel. Given by its rounded shape and the multitude of entrances, the building has no distinct front or back.

Situated at the top of the hill, it welcomes visitors approaching from all different directions and invites them to follow the contour of the building on a spiritual journey to find the chapel on the innermost layer. Entrances are purposely misaligned, symbolizing that from whichever direction, background, and history the visitors come, at the end of the journey, they will all converge harmoniously in the chapel. The project reflects the Clarian focus on simplicity and contemplation through its simple geometry, the use of brick, a basic construction unit, and the play of

light, which evokes the divine presence. Brick is still commonly used as a primary construction material in Rwandan today, and can manipulated by local labour through the involvement of people in the local community. The participation of the local community in building the chapel will also strengthen their personal connection to this local monument. The brick is a fundamental material of the architectural canon and deeply rooted in the cultural consciousness of human beings. It is both generic and unique; each is individually crafted and exists one of an assembly of similar objects. In a way, it is analogous to the Rwandan community, where individuals work together to achieve a cohesive society. The brick pattern alludes to the traditional Rwandan art of Imigongo. Motifs are created through protrusions and voids in the bricks. A transition of dark to light is created through varying porosity, letting in more light in areas of gathering and entrance. Regardless from which point the visitors enter, they will be drawn by the light to the entrance of the chapel.

ACY ∙ 2019

129

1st prize

130

ACY ∙ 2019

1st prize

interior

section ACY ∙ 2019

131

2nd prize

section project name

Platform author

Yihang Zhang China

The challenge of this project is to provide a beacon for the community while remaining humble and rooted in it’s context. PLATFORM refrains from over abstraction, choosing instead to take you on a spiritual journey through materials and the landscape. The chapel itself trades formal complexity for an honest expression of structure and material. The use of wood conveys a sense of light and openness while immediately elevating it from the current brick

132

ACY ∙ 2019

vernacular. A modern thatched roof connects it to the grand tradition of buildings in Rwanda’s past. The elegant public plaza/atrium extends from the chapel, flanked by protective aisles that expands the presence of the chapel and provides a defined area for the congregation to grow. All this contributes to making this project a PLATFORM for the community to gather and grow, not an insular building that divides those inside from the world outside.

2nd prize

elevation

ACY ∙ 2019

133

3rd prize

project name

A Path to Monastic Life author

Myat Htoo Aung USA

A summer dusk, forest of conifers standing still. A puff of wind swept across the landscape of mud and grass. A raised path meanders through the wooded landscape. A shallow red chapel with a small tower appears between the tall green trees. Thin corrugated roof supported by wooden structure hovers above the mud brick walls. The path finally comes to an end where it opens toward the nave framed between the wooden columnade. The seating areas are divided into two volumes to reduce the scale of the building while retaining its presence in the wooded landscape. The space between two masses and the positioning naturally provide a strong axis toward the nave and ultimately to the altar beyond.

interior 134

ACY ∙ 2019

corrugated metal roof

3rd prize

wooden columns & trusses

mud brick wall

ACY ∙ 2019

135

Rwanda

Gold & Honorable Mentions project name

Gold

project name

Gold

The Structure

Rwanda Chapel

In Between

author

authors

authors

Djordje Petkovic

Besim Krosa Qedrim Vogliqi Kujtim Elezi

Marcin Gierbienis Damian Poklewski-Koziełł Katarzyna Gierbienis

Kosovo

Poland

New Zeland

project name

project name

Borderless Church

Rwanda Chapel

authors

Anton Igumnov Aleksei Sofinskii Leonid Batalov

authors

Joseph Lee Francisco Cunha Portugal

Russia

project name

Rwanda Chapel author

Eugeni Bru Golobart Spain

136

ACY ∙ 2019

project name

Archstorming

project name

project name

project name

Everyone’s space

Chapel of Reconciliation

Seed

authors

authors

Leart Miftari Blerim Bajraliu Adonis Rexhepi Arber Sadiki

Xinyang Huang Lingkun Su

authors

Jonna Heikkinen Tapio Kangasaho Finland

China

Kosovo

project name

project name

Rokumo Community Chapel

The Square

authors

authors

Pablo Muñoz Montaner Andrés Bartelsman Vega Spain

GE DONG LICHONG TONG WEI AO CHENDI LI DALONG LI China

project name

Sacred Space author

Luka Peklaj Slovenia

ACY ∙ 2019

137

InNatur 8

COMPETITION INNATUR 8

Nature Interpretation Centre OPENGAP was organizing the eighth edition of the open ideas competition – INNATURE, seeking for innovative, cutting-edge, contemporary, proposals, committed to a strategy of implementing architecture in a natural environment. Designers were asked to find synergies between nature and the building itself. Each participant or team were allowed to propose the location of their project. Both english and spanish-language submissions we approved.

138

ACY ∙ 2019

1st prize

SUDAMERICA Eje vertical de interacción: Cordillera de los Andes. Sistema vial andino ancestral. MENDOZA Pie de los picos rocosos más elevados, donde el cielo y la tierra se aproximan. project name

Telurica Human Geography authors

Florencia Rossi Nadezhda Dell Argentina

POTRERILLOS Reserva de agua que permite la habitabilidad humana. Conciencia de la importancia de los bienes naturales. TERRITORIO Cuando la idea humana empieza materializarse y transformar la propia tierra, en ese instante, la arquitectura se vuelve territorio. Un pensamiento puede volverse piedra, cielo, aire, luz y también horizonte. El dialogo formal, entre la materia natural y el pensamiento humano construido, da validez a muchas maneras de aproximarse a entender el paisaje. Distintas operaciones espaciales nos dan la posibilidad de interactuar con él, vistas largas, recintos estrechos, y sitios estancos para el pensamiento.

ACY ∙ 2019

139

1st prize

140

ACY ∙ 2019

1st prize

RELIEVE Este es un edificio que permite la unión de dos promontorios, envolviéndolos, dejando libertad al desarrollo del relieve ya existente, generando así la posibilidad de un recorrido de compresión del terreno en heterogeneidad al paisaje que se desarrolla a su alrededor materializándose como una gran galería de piedra en forma de anillo. NATURALEZA La condición primaria y preexistente de la morfología geográfica, habilita la utilización de la misma para el desarrollo del programa, interactuando constantemente, en todas las instancias espaciales, el suelo y el desarrollo de la función para la acción y practica humana. Siendo de este modo, el edificio, un instrumento que favorece la relación de habitabilidad y naturaleza, desarrollando el entendimiento humano como parte de ella. SILENCIO El límite difuso entre la piedra de la razón y la piedra de la naturaleza, es una condición que nos permite el silencio de la arquitectura, respetando y cediéndole la palabra al paisaje. LIBERTAD La síntesis de la horizontalidad lineal le deja el protagonismo escénico al paisaje mismo, este recorrido que recompone la situación existente de mirador en el sitio, permite al visitante liberarse y completarse con el inconmensurable paisaje que lo rodea.

ACY ∙ 2019

141

2nd prize

project name

Karugua authors

Melanie Dehner Rocío Balsamello Natalia Lissa





Argentina La naturaleza no es estática, está en constante cambio y crecimiento, y un claro ejemplo de ello es el Bañado de la estrella, situado en la provincia de Formosa, en Argentina. KARUGUA significa ciénaga en guaraní, idioma de los pueblos originarios de allí. Una ciénaga es un depósito de aguas no corrientes, con algún grado de conexión con el río, del cual depende la renovación de sus aguas e intercambio de sedimentos y organismos. Constituyen sitios de amortiguación de las crecientes, ya que almacenan agua de desborde y de lluvias durante la época de niveles máximos. Son fundamentales como sitios de alimentación, refugio y crecimiento de poblaciones de fauna, especialmente, peces. El Bañado de la estrella es uno de los más grandes humedales de Sudamérica, siendo la antesala al conocido Amazonas. Su existencia y caudal actúa como protector de lo que luego se transforma en selva. La evaporación del mismo ayuda a condensar en diferentes lluvias y mantener el clima templado que representa a la Argentina en su máxima extensión. Tiene una elevada riqueza de flora y fauna, casi extinta en el resto del país, lo que hace de vital importancia su conservación como reserva natural. Es un Doble cielo, un doble horizonte. Su geomorfología denota ciertas situaciones hidráulicas de retención en los diferentes ciclos estacionales que transcurren. Hay estados permanentes, de ríos ya consolidados como el Pilcomayo y situaciones no permanentes, de cauces que surgen a través de los diferentes períodos pluviales. Esto genera que ciertos territorios desaparezcan o resurjan en el tiempo. El agua tapa, pero también abre lugar a nuevos ecosistemas que surgen con su crecida. El bosque inundado es un claro ejemplo. Si bien es una zona baja que concentra agua en toda estación, en la temporada seca denota cierto aspecto grisáceo y austero, mientras que en las épocas húmedas, afloran diferentes ecosistemas alrededor de ellos, generando un paisaje totalmente diferente, y atrayendo nuevas especies de animales y anfibios a vivir por un tiempo breve de sus atributos.

142

ACY ∙ 2019

2nd prize

ACY ∙ 2019

143

3rd prize

project name

Landscape In The Mist author

Quang Le Switzerland

The Scaffolding Tower is a part of the existing Natural Interpretation Center at Kemeri National Park. The project shows the potential to bring all program requirement into the existing natural landscape instead of gathering them in one location. That’s why we consider this observation tower is an important element to complete a network of programming mentioned in the brief. Through this network, people have the motivation to go deeply into nature, curious, learn and study them. The project examines the role of Kemeri National Park as a complete Natural center and then functional elements are scattered in different locations. The construction is also considered to use recyclable materials, easily transported into the forest and minimize their impact for the landscape. Finally, by proposing a unique observation tower, we show our vision of a truly natural learning center and that people and their programming needs are only a part of it. To discover nature, in fact, we just need to create a path and an observatory. The Scaffolding Observation Tower wants to give a message throughout the connection as a value for the contemporary society against the idea of a division between human world and nature world. It expressed this idea by a “transparency structure” in term of physical structure and the boundaries between human and nature. The main structure is made out of recycled scaffolding to emphasize the idea of a transparent space between people and nature as the fog that blended into the landscape. The porosity of the structure itself made the strong meaning of the limitation between inside and outside. The Project works on the boundary line between “Landscape and the Mist” as linking space where the scaffolding structure is conceived as space of community become a social space. It is not just an Observation Tower for looking to the Park, on the other hand, it sends a message to people and the landscape about a free world, not divided by human knowledge and their curiosity. With the understanding about the site plan and its humidity, the beauty of the architecture structure could be integrated into the mist here in the morning and it emphasizes the poetic image of Kemeri park in different senses.

144

ACY ∙ 2019

3rd prize

“Landscape in the Mist” is a 1988 Greek film directed by Theo Angelopoulos. The film was selected as the Greek entry for the Best Foreign Language Film at the 62nd Academy Awards. The film is the third installment in Angelopoulos’ Trilogy of Silence, following Voyage to Cythera (1984) and The Beekeeper (1986).

observation platform

100 m ramps

scaffolding structure

ACY ∙ 2019

145

InNatur 8

Honorable Mentions project name

Interpretation Center author

Katarzyna Nocoń Poland

project name

Rwanda Chapel author

Eugeni Bru Golobart Spain

146

ACY ∙ 2019

InNatur 8

project name

Fill The Crack authors

Carlos Raúl Díaz Granados Maria Alejandra Cañas Villanueva Peru

ACY ∙ 2019

147

eVolo

eVOLO Magazine

Skyscraper Competition eVolo Magazine is pleased to announce the winners of the 2019 Skyscraper Competition. The Jury selected 3 winners and 27 honorable mentions from 478 projects received. The annual award established in 2006 recognizes visionary ideas that through the novel use of technology, materials, programs, aesthetics, and spatial organizations, challenge the way we understand vertical architecture and its relationship with the natural and built environments. The Honorable Mentions include an ice dam skyscraper that prevents further melting of the ice caps, a wooden skyscraper that pushes the boundary of the use of timber in vertical structures, and a horizontal skyscraper for the US-Mexico border among other innovative projects. The Jury was formed by Melike Altınısık [Founder and design principal Melike Altınısık Architects], Vincent Callebaut [Founder and design principal Vincent Callebaut Architectures], Marc Fornes [Founder and design principal THEVERYMANY], and Mitchell Joachim [Co-Founder and design principal of Terreform ONE].

148

ACY ∙ 2019

1st prize

project name

Methanescraper author

Marko Dragicevic Serbia

Abstract Basing its foundations on the outlines of the Belgrade city, the new infrastructure generated on the left bank of the Danube river aims to establish a balance in hypothetical context of environmental and social imbalances by forming a new socio-industrial element in the form of a new city district. This new urban structure, District 3, can be defined as an anticipated context of overpopulation and mass urbanization, where the complex of vertical landfill systems serves as a response to the ever-growing amounts of disposable waste, shortage of natural resources and usable space, transforming informal Belgrade structures into the mechanism of material, economic and societal recycling.

cal development and industrial expansion, and analyzing these changes, we can think about what kind of cities we can expect to develop in the future and what their characteristics are.

Statement For the first time in human history, we can say that more than half of the world’s population lives in cities and urban areas, caused by the process of urbanization and the rise in global population growth. This continuous increase has had a great impact on urban habitats, natural environments, technologi-

What makes the future city different from the present one? What kind of new components would be needed for a city decades from now? Many are studying this subject, especially sociologists, architects and engineers, almost always unanimously concluding that free space is becoming more valuable, our impact on the environment is getting more severe and the available resources are getting smaller. Therefore, we can say that human civilization is currently in a specific position, and that cities, as the epicenters of civilization, play a very important role in preserving it.

ACY ∙ 2019

149

1st prize

As the city population grows, so does our need for more resources. It has been proven that a person living in the city can produce up to four times more waste than a person living in the countryside. This city waste is usually taken to the nearest landfill and buried there. However, by doing this we are not only polluting the ground, air and underground waters (which can be very dangerous to health), we are potentially wasting a great amount of usable matter. Apart from recyclable material that would otherwise be simply buried, methane gas, which can be collected during organic waste decomposition, can be extremely valuable because it can be turned into electrical energy. Giving the example of the Belgrade city, this project changes the model of a typical landfill into a raw vertical infrastructure. The towers are module-based, and every tower is consisted of waste capsules that are attached to the concrete core. Firstly, city waste is being delivered to sorting facility, where it is categorized by type (glass, plastic, organic matter, paper, wood, metal), after which it is sent to temporary landfill. The recyclable waste is taken to recycling facility, and organic matter, parts of wood and paper materials are gathered and disposed into modular waste capsules. These capsules are attached to the tower core by cranes. Every capsule is equipped with inhaler and pipeline that connects to the methane tank, and when organic matter rots, methane produced by the process is drawn from each capsule and later transformed into energy. When the matter in a capsule decomposes completely, the capsule can be taken out, cleaned and refilled. This type of landfill not only greatly reduces the negative impact on the air and ground (since it emits zero toxic gases and prevents any contact of waste with air and ground), it also massively reduces the amount of space needed to store waste.

150

ACY ∙ 2019

1st prize

ACY ∙ 2019

151

2nd prize

project name

Airscraper authors

Klaudia Gołaszewska Marek Grodzicki Poland The task of adapting cities to the impacts of air pollution is of great importance – megacities with their dense population, high traffic congestion and increasing CO2 emissions face major air pollution problems. Beijing is an alarming example of this problem. On certain days the city becomes nearly ‘uninhabitable’ due to dangerous levels of pollution. Around 1 million premature deaths per year, is a clear manifestation of this. Can architecture solve or help to alleviate the problem? Can we take one step further from Le Corbusier’s house as a machine for living, towards the skyscrapers as a machine for survival? Air pollution Airscraper is a skyscraper that is sleeved around a chimney structure that has the potential to tackle the air pollution problem. The inner round, empty, tall and smooth tube utilizes the stack effect and sucks the polluted air from the surrounding and cleans it through a complex filtration system inside the chimney. The resulting air circulation also helps to reduce the urban heat island effect. The envisioned tower is 800 m tall and is 60 m in diameter. It combines three types of modules stacked around the 30 m wide inner chimney: Air-Intake module, Solar-Gain module & Green-Garden module. Each performing their specific task to achieve the overall task of cleaning the air. AIR-INTAKE MODULES are located at the very bottom of the tower and is collecting polluted air from the street level. It incorporates a modular kinetic façade that helps to optimize the air intake and responds to prevailing wind directions, a filtration system that collects TSP and PM10 particles and an ionization system that collects PM2.5 par-

152

ACY ∙ 2019

2nd prize

ticles. According to existing research such a system can clean the air with up to 80 % effectivity. SOLAR-GAIN MODULES are positioned in the middle part of the tower, where they receive maximum exposure to sun rays. These modules are equipped with kinetic reflective mirrors, also known as heliostats, which reflect sun rays onto the black stone surface of the chimney. The solar gain inside the chimney creates the necessary stack effect and results in the desired upward air circulation. Devoid of expensive and complex mechanical ventilation equipment, this system relies on natural phenomenon to drive air circulation, and therefore is more sustainable and has the potential to reduce the CO2 footprint associated with ventilation. GREEN-GARDEN MODULES are incorporated in the residential section of the tower, located at 400m and above, where the layer of smog doesn’t reach. The Green-Gardens include dense vegetation of various kinds, which not only help to adjust air oxygen levels and balance the micro-climate of the tower, but also provide attractive and healthy public areas to serve the wellbeing of the tower occupants and improve the daylighting of the inner chimney atrium. Urban sprawl Many megacities have emerged across China in the recent decades. Beijing’s population will increase by 30% in the next 15 years. This means that some of Beijing’s densest districts such as Chaoyang will reach a population of 2250 inhabitants per km2. In order to create compact cities, reduce car emissions and improve health conditions, Mega cities will have to build higher towers. Our idea is to facilitate this forecasted trend by introducing a new super structure that fits the needs of a megacity by providing healthy living quarters, while helping to alleviate the air pollution. The Airscraper can house 7500 people, which is equivalent to 3 km2 of residential urban Sprawl. It also includes recreational, educational, commercial, and cultural facilities. The tower stands as a healthy vertical city. Future skyscrapers In our opinion, the 21st century skyscraper is an urban super structure that not only serves the local needs of occupants and fulfils the economic expectations of investors, but also bears a global responsibility towards the city below and the planet around.

ACY ∙ 2019

153

3rd prize

project name

Creature Ark: Biosphere Skyscraper authors

Zijian Wan Xiaozhi Qi Yueya Liu UK At multiple times in history and over different periods, the blue planet successfully breeds diversity of species at every inch on land and has experienced a level of natural climate change variability. The complex components of the ecosystem are undergoing constant changes, while a dynamic balance is getting harder to maintain. Seeing the latest period of rising global surface temperatures is without precedent indecent years, as well as the conflictive relationship between human activity and habitat degradation, the conservation of wildlife should not be ignored. In general, the entire ecosystem on earth is experiencing a hard time. If society continues the current trend of apathy, we are doomed towards a very bleak future. Our concept of this vertical nature reserve equipped with a central research station is inspired by the classification of climate groups on earth. Referring to the relationship between latitude and climate zones, the skyscraper divides and simulates each climate group at a different height, while the monitor system locates at the heart of the structure. The residents in the building are endangered animals living within the simulation environment, while the research team and public tourist should be only considered as temporary visitors. Motivated by the trends of contemporary biomimetic architecture, some case studies on nature are analyzed and applied to the spatial organization and interface design in our building. Moreover, the environment of the chosen site is carefully considered since sustainable architecture is required to take advantages from local resources as much as possible.

154

ACY ∙ 2019

3rd prize

The proposed skyscraper is willing to recall the close relationship between human beings and their mother nature by the form of architecture. Every component in the ecosystem could hardly behave or survive as an individual literally, hence all living creature should appropriate the gifts from nature and they should be treated and valued equally. In modern society, the form of a skyscraper, carrying multiple functions, is expected to be one of the carries that making a better future.

ACY ∙ 2019

155

eVolo

Honorable Mentions project name

project name

Vertical Sustainable City

Horizontal City Of No Nation

author

authors

BKV Group

Zhichen Gong, Yong Chen, Tianrong Wu, Yingzhi He, Congying He

USA

China

project name

Trekking Landmark Skyscraper author

Fábio Ferreira Neves Switzerland

project name

project name

project name

Ice Dam Skyscraper

Jack And The Woodstock Skyscraper

Badgir Skyscraper

authors

France

authors

Jae Min Jo, Geonuk Yun, Kyungjun Park, Hobin Bae, Jiyeon Kim, Weonkyung Cho, Ganghui Lee South Korea

156

ACY ∙ 2019

Amanda Gunawan Joel Wong USA

author

Adam Fernandez

eVolo

project name

project name

project name

Arbor Tower

Level 5 Autonomous Green Dock Skyscraper

Borderland Skyscraper

authors

Bilal Torğul Mücahit Bilal Goker Turkey

authors

Tony Leung Miranda Chan

authors

Muhammed Aydem Burak Arifoglu Omer Faruk Demir Turkey

Hong Kong

project name

project name

project name

Gene Storage Skyscraper

Vertical City in Kaesong

The Floating Tower

authors

authors

authors

Tsung-Ying,Hsieh Hsuan-Ting Huang

You Gundon Lee Minwi Kang Ryunhong Moon Junho

Piotr Yurchanka Alexey Kunko Vladislav Sidorenko Dmitry Tkachuk

South Korea

Belarus

Taiwan

ACY ∙ 2019

157

eVolo

Honorable Mentions project name

project name

project name

Filtration Skyscraper

Ocean Cleaning Skyscraper

Library Of Caste Skyscraper

author

authors

authors

Honglin Li

Karol Łącki Dominik Pierzchlewicz Szymon Ciupiński

Zheng Tianshu Sun Xingcan Li Zhipeng Ma Xinya

USA

Poland

China

project name

project name

Ice Dam Skyscraper

Memory Cube Skyscraper

authors

authors

Jae Min Jo, Geonuk Yun, Kyungjun Park, Hobin Bae, Jiyeon Kim, Weonkyung Cho, Ganghui Lee

Keyi Shen, Zichao Zhong, Dingyu Li, Jian Yan, Yuan Zhang

South Korea

China

project name

Carbon Copy Skyscraper author

Dattner Architects USA

project name

Skyscrapers Network author

Thomas Gössler Austria

158

ACY ∙ 2019

eVolo

project name

project name

project name

The Sky Hub

Recombinant Skyscraper

Bi-National Community Skyscraper

authors

Paula Domka Oliver Siekierka Poland

authors

PIN Architects + Kalebodur Team Turkey

authors

Charles Tzu Wei Chiang Alejandro Moreno Guerrero Taiwan

project name

Tower Of Life author

Turan Akman

project name

USA

Frozen Activity authors

Romain Josue, Corentin Fraisse France

project name

project name

A Topophilic Tower authors

Weber Thompson Architects USA

Ka’ poy yepü Skyscraper author

Zöe Russián Moreno Venezuela project name

Floating Egyptian City authors

Tao Qiyang, Wang Kun, Chen Ruihua, Sun Yunjuan China

ACY ∙ 2019

159

ARCHSTORMING HUMANITARIAN ARCHITECTURE COMPETITIONS ECONOMIC PRIZES + CONSTRUCTION for winning proposals Visit our web site to get more information @archstorming

www.archstorming.com

@architecture_competitions

西 XI’AN TRAINSTATION 23/09 - 19/12 安 25.000€

www.competitions.archi