Architecture Competitions Yearbook 2020 - N°02 [2]

Citation preview

Architecture is a Competition

Editorial

L

ast year, as we were beginning our journey with Architecture Competitions Yearbook, we posed a simple question: “Can such a publication exist?”. The success of that issue clearly showed that not only it can exist, but it should! Our second edition brings up a much more complex debate and although we do not expect to rectify it within a single issue, it is our hope that we never stop trying to figure it out, for as long as this project lasts. We will keep asking what this publication can become. The second issue of ACY showcases 10 of the most inspiring and interesting architectural competitions that took part in 2020, alongside 3 interviews, where our guests highlight the importance and meaning of participating in architectural competition and its influence on the development of architecture. They speak about the influence of those competitions in their own growth, building their career and learning by working with and against international competitors. The main focus of this edition is to understand the design process behind all winning submissions. That’s why we have asked all 10 winners presented in this book a simple question: “What made you win?”. We’re curious about their path, from the first draft, first blueprint to the full-scale plan. We’re also interested to see which solutions had been dropped on the way, what kind of choices had to be made, and most importantly, what was the grand idea behind the project. That is why we asked for sketches, drafts and detailed description, so that we can fully understand their technique and the process that resulted in the awarded works. The feedback that we had received greatly exceeded our expectations and so we added a new ‘formula’ to this issue. In addition to an overview of works from 2020, you will find here a great deal of advice and suggestions on how to run a good project. I am certain that this book will be of great value to you, that can be reflected in your future projects. With this issue we would also like to sum up a very unusual year, that will certainly be remembered due to the lasting pandemic. We hope that the second edition of ACY that you’re now holding will inspire you to face the emerging challenges and result in many interesting projects. Marcin Husarz Architect & Founder of Competitions.archi

Contents

08 — 12

Interview: Can unbuilt projects change architecture?

130 — 147

eVolo: Skyscraper Competition 2021

14 — 23

Interview: Starting with a pencil and a blank page

1st prize – Epidemic Babel: Healthcare Emergency Skyscraper | 131

24 — 32

Interview: Redesigning ourselves with every project

2nd prize – Egalitarian Nature: Vertical Green Park For Urban Areas | 134

34 — 53

Archstorming: African House Design Competition

3rd prize – Coast Breakwater: Vertical Community In Senegal For Rising Sea Levels | 136

1st prize – Jorejick Family House | 35

Honorable Mentions | 138

2nd prize – African House | 40

How we won that competition? | 142

3rd prize – Generational House | 44 Special, Honorable Mentions | 48 How we won that competition? | 50 54 — 73

148 — 165

1st prize – Priscina Mirabilis | 149 2nd prize – Priscina Mirabilis | 152

Blank Space: Fairy Tales 2020

3rd prize – Priscina Mirabilis | 156

1st prize – The Year Without a Winter | 55

Honorable Mentions | 160

2nd prize – Symbiosis | 60

How we won that competition? | 162

3rd prize – Lloronas of Juárez | 64 Honorable Mentions | 68 How we won that competition? | 70 74 — 95

Reuse Italy: Re-use The Roman Ruin – Piscina Mirabilis

166 — 181

Arch-Sharing: Happy Homes France Competition 1st prize – Botte de Paile | 167 2nd prize – Can Silo | 170

The Kaira Looro Competition: Emergency Operations Center

3rd prize – Agora | 174

1st prize – Foldable Emeregency Shelter | 75

Honorable Mentions | 178

2nd prize – SAFE House | 80

How we won that competition? | 180

3rd prize – Kaira Loro | 84 Special, Honorable Mentions | 88

— Founder & Publisher & editor-in-chief Marcin Husarz [email protected] — Contributors Marta Szmidt Kamil Grajda Ania Rola Izabela Kurgan

How we won that competition? | 90

OpenGap.net: Innatur 9 Competition 1st prize – Buque de La Artes | 183 2nd prize – Artifacts of Entropy | 188

96 — 113

Young Architects Competitions: Xi’An Train Station

3rd prize – Returning | 192

1st prize – Xi’An Train Station | 97

Honorable Mentions | 196

2nd prize – Xi’An Train Station | 102

How we won that competition? | 198

3rd prize – Xi’An Train Station | 104

— For advertising on ACY [email protected]

Dow Gold, Renolit, Honorable Mentions | 106 How we won that competition? | 108

— graphic design & dtp Wojtek Świerdzewski — print Printing House KiD s.c.

182 — 199

200 — 210

Arkxsite: Site Mirador 1st prize – Site Mirador | 201 2nd prize – In Situ | 204

114 — 129

Bee Breeders: Iceland Volcano Museum Competition

3rd prize – Site Mirador | 206

1st prize – The Windows of Hverfjall | 115

Honorable Mentions | 208

— cover Zean Macfarlane

2nd prize – Crater II | 118

How we won that competition? | 210

— www.yearbook.archi

BB Green Award – Promenade | 122

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.

How we won that competition? | 126

3rd prize – Hverfjall Volcano Museum | 120 Honorable Mentions | 124

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Competitions

Competitions

African House Design Competition

Skyscraper Competition 2021

Fairy Tales 2020

Re-use The Roman Ruin – Piscina Mirabilis

130 Happy Homes France Competition

34

a filter between the earth and the ocean

54

concrete + red earth “sculptures”

carved wooden formworks - prototype in clay

Innatur 9 Competition

entrance detail - 1:33 model

Xi’An Train Station Competition

The Kaira Looro Competition

148

surface test - 1:33 model

west facade - 1:33 model

Site Mirador Competition

96 Iceland Volcano Museum Competition

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114

166

182

200 ACY ∙ 2020

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Interview

Interview

Can unbuilt projects change architecture?

Is there any specific design process you follow when starting a new project? I wish there would be a magic formula on how to participate in a competition, so you always win. I think the best ones are when you are able to actually go to the site. Or when it’s hypothetical, that it sort of continues themes that you are already working on. I would say participating in a competition makes it possible to explore ideas and to really make a statement. So it is important when you work on a competition, we think, is that we make up design that really communicates an idea. It’s always a lot of pleasure to see the finished project, to have these panels or boards or just this sort of one project in an overview. So that’s the fun part I would say - because if you win and it will be built, many hard years will follow. Competition has something artificial about it as well - it’s like it pretends that you can have a perfect idea in a couple of weeks or months. So that’s also something about a competition - you can try something, but you know reality will come as well. When you build - a lot of the projects we make are also a long dialog with the site, with the money, with the budget, with structural issues. It’s a hyperdense format. Like a pressure cooker way of thinking about architecture.

Nathalie de Vries’s take on competitions, utopian futures they represent and why they remind her of a pressure cooker.

Perspective depuis la rue d’Orléans

Marcin Husarz: Natalie, please tell me a few words about yourself. Nathalie de Vries: I’m an architect and an urbanist from the Netherlands, educated in Delft. Soon after I graduated, I started my own office by winning a competition. With my, still, partners we won a European Competition in Berlin so we were quite young. We didn’t have an office at that time, but people thought we were an office, so from that moment alone we started to look at ourselves also as an office.

Are there any differences between the regular projects you work on and the projects you prepare for architecture competitions? I’d say in competitions the projects are often a bit more sharp and extreme, and outspoken, because there’s less dialog watering down things. On the other hand if you have a direct under commission - after the conversation with the client unexpected things can happen…. I’ve never thought about it, if you’re just working in isolation.

Is winning a competition a good time to start your own office? After our graduation we started working for other offices, but of course we soon discovered we also wanted to do something that really came from ourselves and not for the employers we were working for. And we thought competitions are a wonderful way to explore our own ideas further and have a little freedom in what to do.

Perspective depuis l’angle Zola-Joffre

What was the first competition you took part in? I think I took part in competitions as a student. One of the first was with my now husband, but it didn’t work out that well [laugh]. We were also quarrelling a lot. So you could say that the European Competition was the first serious competition we did with a third partner, and that proved to be the magic formula. Why were we so interested in that competition? Because we had to figure out new ways of living in the city. The European [Competition] is dedicated to housing and the development of the cities and we really saw it as a nice platform to investigate and show our ideas. What are the benefits of taking part in architecture competitions? In a good competition everybody has the same chances, the same opportunities. And if a lot is asked for, we also think it should be fair that the competitions are paid for, especially invited competitions. Also the uninvited ones are an excellent possibility for young architects, who are not that well known, to gain a platform. Looking at the results you can also always learn about yourself and about others. I would also say it gives a sort of indication of what’s going on in contemporary architecture, when you look at the results of a competition.

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Competitions are a wonderful way to explore our own ideas further and have a little freedom in what to do.

Rennes Palais du Commerce by MVRDV, France

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Interview

Interview

Can unbuilt projects change architecture? I mean I’m looking here at this magazine and seeing something like this I’m thinking that I don’t know what client would answer this, if only they would… So I think competitions can bring us to dreams, futures, show something like a utopian vision of the future as well. A good competition, I think... I remember competition designs for Park La Villette, that was during my study years. We all just looked at different solutions that the architects had made for that competition and they informed us in so many different ways, also the ones that were not built. Because they can be so strong and powerful, they can still have an influence. I mean, our first competition design together for Berlin Voids Project was never built, but it still plays an important role in our own architectural language. It was the kickoff point, that assembled many of the ideas we had together. So also unbuilt projects can change architecture that is built. If you had the chance to start your architecture career again, is there anything you would change?

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What’s the role of an architect in contemporary society?

Competitions can bring us to dreams, futures, show something like a utopian vision of the future.

Architecture has always been an integrative profession. We include many aspects of design. You know: cultural, technical, societal. I think in an era, where more and more things get specialized, it’s very interesting as an architect to remain this generalist person, who actually thinks about how things could come together. Because if you want to do good quality architecture, good quality environments, cities, if you want to change the way we build, that’s something we have to do in the future. A lot of aspects of design have to be coordinated and brought into, and translated into buildings. So I think our general outlook and our genericness in what we can do is a very important quality to use these days. So we don’t go in one or in another direction. How does the internet/social media impact architecture?

I think I wouldn’t change a thing, because I think when you’re young you just go for it and think ‘this is it, this has to be done’. Now, I’m thinking maybe twice or three times. I’m thinking a lot about things and at that time we just went for it. I think that’s good as well. I mean competitions are also out there to explore possibilities.

I think information about architecture is going around the world like that [snaps her fingers] right now. Because in the past we had a publication, and one year from the first publication in the Netherlands it would probably be somewhere in Korea. Now everything is online and everything is available for everyone instantly. I think there’s much more dialogue in general about architecture. The community therefore almost gets smaller and bigger at the same time, news spread fast. I hope it helps everybody to learn from the best examples.

Young City Gdańsk by MVRDV, Poland

Holland Village by MVRDV, Singapore

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Our general outlook and our genericness in what we can do is a very important quality.

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Interview

Is the design process different now, as opposed to 20-30 years ago? I do notice that certain styles and fashions are spreading fast. I see it sometimes in the office: things popping up and at the same time with students as well. And then you know that everybody saw the same thing. But I guess at the same time the amount of influences grew so much, I’m not sure if it’s any different from 20 years ago, when the international magazine got to everybody’s doormat or whether you see things online. In the end, architecture is a slow profession. In the end I always say it has to get built and someday you will be confronted with the real thing. So, whatever means you use to get there; I like that digitalization helps to integrate much more teamwork – that is also part of the architect’s building information management. Scripting all these tools enriches our lives so much.

In the end, architecture is a slow profession. Someday you will be confronted with the real thing.

WE OPEN THE SPACE

Nathalie de Vries A co-founder and principal architect and urban designer of MVRDV, an interdisciplinary studio that works at the intersection of architecture and urbanism. Together with co-founder, Jacob van Rijs she has published MVRDV Buildings (2013), about the post-occupancy and the making of the built work of MVRDV.

45°

De Vries has created a diverse body of work in a variety of scales and typologies that are grounded in connecting individuals, communities and environments. Her approach has resulted in much acclaimed projects that activate their contexts, public spaces and communities. Over the past 25 years she has designed and realised Dutch projects such as Villa VPRO, Silodam Housing, and the Spijkenisse Library as well and the masterplans for Nieuw Leyden and Westerpark West in Amsterdam, the Netherlands. Recent projects include the award winning Baltyk office tower in Poland, as well as office projects in Łódź, Shanghai, and Colombo, housing projects in Rennes, France, San Francisco, USA and Amsterdam, the Netherlands.

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In addition to her work for MVRDV, De Vries engages as Professor of Architectural Design at Delft University of Technology. Between 2015–2019 she was president of the Royal Institute of Dutch Architects BNA. She regularly lectures at renowned universities and engages in international juries.

photo: Erik Smits

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Interview

Interview

Starting with a pencil and a blank page An interview with Robert Konieczny on the importance of designing from scratch, avoiding Pinterest and failing.

Marcin Husarz: Let’s start at the beginning. Where did you first get the idea to become an architect? Robert Konieczny: It was actually my dad’s idea, which my mom later joined, and it was my parents who were trying to convince me, at the time, to try architecture studies. I was a lost youngster who didn’t know what he wanted and didn’t believe in himself. Back in the days it was believed that only the best and children of prominent people were being accepted in the school of architecture and I was neither. I was smart but lazy and I certainly wasn’t a child of someone important so I was convinced that I don’t stand a chance. My parents talked me into meeting a famous architect, my aunt’s neighbor, so that he could check if I was a suitable candidate. It turned out he was sure that I was seriously training and drawing to get the spot, whereas my last drawing experience happened in kindergarten. He asked to see some of my works, which I didn’t have. All I took with me was a crumpled drawing pad and a pencil. I could tell he felt snubbed so he put me down in front of a staircase at his office and told me to draw it. Back then I had no idea how perspective worked and how to do an architectural drawing, so I sat down and was given an hour to finish. He was feeling very disrespected and showed it in the way he was treating us. I remember my mom telling me that I no longer had to apply for the mentioned studies as long as I didn’t embarrass them at that time. He took off for that hour and when he came back he said that I was a diamond in the rough. It was then when I started believing in myself and started attending drawing classes, a year before my exam. Things just took off from that moment. Our magazine is directed to students and young architects so I’d like to ask about your college experience. You mentioned in one of the interviews that you tailored your programme to your needs and didn’t attend all classes although you passed all of them. Apparently, all you cared about during that time was designing. Do you think studies should be treated as a whole or there are some benefits to the selective approach that you had? I didn’t have any grand plan back then and I am far from convincing anyone to follow my path - meaning focusing on selected subjects and only ignoring the rest.

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Governors Island, NY

Unfortunately, this is what I did. Obviously, I’m smarter nowadays so I’d probably do it a bit differently and I would encourage everyone to focus on the most important things and swiftly pass the complementing subjects. Knowledge of various subjects is required to create and I admit that I’m sometimes missing this complementing context.

Design is the essence of our job.

Let’s just start with the fact that it took me a bit more time to complete my studies as I was already devoted to designing back then. My university time stretched like spaghetti because I was working, actively participating in competitions and lived and breathed my projects. The remaining subjects were done in my last - fifth or tenth year of my studies, call it whatever you like (laugh). It was then when I got very motivated and started to attend all the lectures and even passed the exams very well. And I have to admit that the knowledge I gained during my last year is very useful to this day. Bear in mind that what we learn during our studies is often a mystery to us. We start taking our baby steps in designing and we already approach constructions and installations, which truly become fascinating only later, when we know more and can shape the space in an interesting way and because we see the point in learning the technical side. These details become crucial as we see that no further step can be taken without them. And this is how, accidentally, I learned, because most of the technical subjects were completed by me towards the end. But I’d also like to highlight that you don’t have to be the top of the class in every subject. There are things that are more important and you need to find some middle ground and not waste time on less important things. Design is the essence of our job and the other subjects are supposed to complement it. Even now, when someone comes to my studio with excellent grades across all subjects and all designs handed in on time, I cannot help but look at this person suspiciously. I want you to understand me well here, but I believe that a good architect is someone who devotes every moment to refine and enhance the project till the very last minute. Uses every possible

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Interview

Interview

chance to polish it even more. So to me, someone who has everything ready two days before the deadline seems a bit unreliable, is not fit for the job and cannot call himself a creator. I believe there are exceptions to this rule, such as Norman Foster, who is totally organized, but unfortunately I’m not that way and there are not a lot of people like him.

when I started getting to know my now-ex wife Marlena. And I remember that we were all supposed to take part in another competition and I really wanted Marlena to join our team, but a voting took place and she was banned from the group. So I figured out that I will ditch the group, as I believed her to be quite talented, and from now on we took part in competitions together.

Again, I’m not trying to convince anyone to follow this path but there is a certain amount of wisdom in this approach. And, above all, design is the most important.

The first competition that we attempted with one more person was a cultural center on some Japanese Island. We didn’t win but our idea was truly genius. It was supposed to be a place where all cultures and religions come together so our idea was related to the prism of white light and the rainbow that it forms. Each color reflected a different religion and contained a unit of truth and, when joined together, it represented the truth about God. The issue was that we couldn’t really translate it into the project. The idea was one thing but the design was a bit on the side of it. We could have executed it so much smarter. Obviously, we lost but back then we couldn’t understand why. Only with time we could figure out that we were too immature from the project point of view at the time - this failure came at the right time and allowed us to reach certain conclusions. Failures teach us much more than victories.

Given your experience – what the studies do not teach that is later crucial in the work of every architect? Studies definitely don’t teach the practical aspects, that’s first. And second, if they were organized a bit better, they would have been a foretaste of the actual work. For instance, when you start in a studio and you participate in a project, you work with a constructor and other experts in their fields, encounter building regulations and area development plans. During the studies, our design is completely detached from our construction and installation classes. It would simply be enough to continue the task that we start in design classes in other subjects. Let’s say we’re designing a simple house, because you usually approach simple designs first. It would be great to design the installation and construction for this house in parallel. You don’t have to start with grand halls and count god knows what. It’s really worth learning on a smaller scale how all those aspects should interact with each other. If this worked like that we wouldn’t all graduate being such rookies. I really recommend to use your free time, if you have any, to supplement your school-based knowledge with on-the-job experience and participate in architecture competitions. This is essential if you want to become good at what you do. Do you remember the first architecture competition? The first one? Forgive my lapse of memory but probably it was a competition I took part in around the third or fourth year of my studies and I’m almost sure I didn’t manage to hand the work in on time. And this started a series of competitions. Aside from the smart approach to design and the ability to lead the project from the beginning to the end in a cohesive and coherent manner, I learned to self-organize. You really need to learn how to manage yourself in order to lead the project - set up the task, come up with the solution, draw it out and submit. I really couldn’t handle all that at the beginning. I was a person that likes to polish things till the last minute and give everything enough thought. So I always had the issue with being on time and my first few competitions were a failure due to late submissions.

You really need to learn how to manage yourself in order to lead the project.

Then, as just the two of us, we participated in the competition for the bridge in Verona, which Marlena had spotted on the noticeboard in our faculty. Obviously, Verona is a beautiful city but the river is a bit detached from it due to a great flood that happened there in, I guess, the XIXth century. So they were looking for an idea to bring life back to the riverside. We were fiddling with the concept, looking for inspiration and two things came together here. Firstly, I watched an episode of Sonda, a popular science programme, where they mentioned the concept of VR glasses. Now it’s nothing new but bear in mind it was 1994 and the concept of virtual reality was something groundbreaking. I was so amazed with the idea that I started to look for ways in which I could use it in the project. So, unlike everyone else, we stretched the bridge into a kind of glass piazza, so that it didn’t obscure the view as there were some cafes there. What we wanted was to create a virtual museum where people experience the past and can compare the

You often mention two competitions – the bridge in Verona and Governor’s Island. Why are they so important to you? I need to go back in time a bit to explain this in detail. Before those competitions I won one competition and received an honorable mention in another. First, along with a few students I was invited to re-design a palace in Górzno, and it was the first competition that I won all by myself. For the second one, I joined forces with a few of my friends and we designed the expansion of Bauhaus in Weimar. It was also a time

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Governors Island, NY ACY ∙ 2020

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Interview

Interview

reality to how it used to look in different times. The whole city planning reflected the times before the flood, where the river ran through the city. What was amazing, back then we had no computers, which is very shocking to modern students who keep asking me, how was it possible to design back then. Well, we did it all by hand. And I remember, which is maybe hard to explain without seeing this project, that the look of this design seems a bit archaic. But the overall idea is really nice. There is a photo where you can see the past and the virtual reality, so suddenly people go through broken frames and symbolically enter the old world through architectural perspectives. What’s interesting, the project was almost finished and this motif with broken frames was added during the last night of drawing completely unconsciously. I was staying up late drawing and only in the morning I realized how freaking genius this idea is. Marlena thought that I came up with that but, and I am aware this will sound like I’m crazy, I felt like I was just a medium and I could understand what I drew only in the morning. We sent everything a week after the deadline, as it was still the time where my planning was a bit off. I begged the lady at the post office to back-date the parcel so it seemed that we mailed it a week before. Something completely impossible to do today, but Poland was in a completely different era back then. I’m still thankful for that. Later, for a very long time we didn’t know that we had been awarded with the third place because the letter with that announcement got lost. We only found out right before New Year, by accident. And that is when we did the second competition, the Governor’s Island. A fantastic space - a former military base between Manhattan and Brooklyn. Americans were looking for an idea for that place. The Cold War was over so stationing of troops was no longer needed there. What is interesting about this island, is that part of it is formed naturally and the other part is manmade from the ground dug out from the subway that was built between Manhattan and Brooklyn. Americans are obsessed with monuments, mainly because they have so few of them, so this island is extremely protected, which was a crucial issue in this project. But we were still looking for an idea, and the bar code concept came to our mind. Each product is marked with barcode, storing the information about the product’s and the producer’s history, in a sense. So we marked this island with the barcode in order to attach the history to it. But how to read this barcode now? It’s not a shop where you scan that code. But this beam of light inspired us to rework the idea that Jean Michelle Jarre uses in his concerts where lasers cross, forming three-dimensional images. In order to achieve that you need artificial fog, so we covered the entire island with it - from Manhattan or Brooklyn it would have looked like a mysterious land. Additionally, we designed a forest of poles with movable mirrors and in the middle we placed a lighthouse emitting laser beams, so that it seemed that when you enter the island, you enter a virtual museum where you can see the building of the Statue of Liberty on a large scale. The poles did not impact the development of the island - they looked just like street lights because we put all of the infrastructure underground. We got an award for this project, but only when the attack on the World Trade Center happened, we truly realized how amazing and important this project was. If this project came to life, the two towers could still be present there as two luminous ghosts.

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Failures teach us much more than victories.

By the Way House, Central Poland This project was done in 1996, and a few years later we saw an installation of New York based architects called Blur. We felt very sorry that they got to realize the project that we mothballed. But all we could do is to move on. Those two projects are examples where the historical context plays an important role, but they also show how immateriality can complement architecture. What did the competitions teach you? First of all, each competition is a new project. And only the best and the most competitive people participate in them. Those who are average just complete their everyday projects and go on with their lives. But the architects who live and breathe this business, and who are later heard off, participate in the competitions so you’re racing with the best. If you lose, you have the chance to notice which project won and learn from just that. So if you make relatively more projects than you would have done just due to studies, it helps you grow. Competitions bring new topics into the picture, each one tackles new issue and this is what our job is about. I am not one of those architects that would constantly want to design schools, hospitals or apartment buildings. I want to do everything and each theme is fascinating. There is always a first time for everything and those competition challenges teach you that. You get a task to design a theatre, so the first thing you do is to learn what theatre design is all about, research interesting existing designs here and there. Only once you acquire this knowledge you can move forward and suggest something new. This is the way both we and the architecture can grow. It does also happen that those competitions shape our future. I’m thinking here about the Snøhetta case where ten young people did a competition on designing a big office and got to realize this idea. Sometimes your design remains on paper and sometimes

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Interview

Interview

you have the chance to bring it to life. So I really encourage everyone to do as many architecture competition projects as possible, doing them with due diligence and preparation, because it brings amazing growth. A few years into doing competitions my skills as a young architect were incomparably higher than people who would do four or five projects during a year or a semester. Let’s face it, I didn’t study at Columbia University but in Gliwice. The faculty was cool but it’s a whole other level and I wasn’t exposed to the best architects and didn’t have classes with them. However, through the competitions I was in touch with their apprentices and judges who knew the top people in the industry. And it is like that until today.

The beauty of the creation process is that the beginnings are always the same - you sit down with a blank page and a pencil.

Not everyone needs to own their own studio.

In my studio, through the years of laborious design, we learned discipline: there is a discussion, then drawing, ideas, concept and then we move forward in a logical way. When a person joins the KWK team and I already can see them peeking, looking for existing examples and I always tell them to leave it alone as it is only an obstacle. The only thing you need to focus at the moment, is what we are doing. Don’t look too far and don’t look at the architecture, but look at the things that surround you. Think about what we have to do. This is the only way to achieve something new and fresh, and you will be followed and mimicked by a mass of students and architects. This is our goal – to create things that are coherent and logical and sometimes can turn out to be innovative. We are not pushing for things to be new but this approach to design allows you to find a completely fresh trace every now and again and this is fantastic.

We were always in awe of what is happening abroad - we never had the same opportunities, didn’t receive the same training and even later we couldn’t bring to life similar ideas. When I was starting school it was the last year of the People’s Republic of Poland. But the beauty of the creation process is that the beginnings are always the same - you sit down with a blank page and a pencil, just as the people you are in awe of. So the race takes place only in terms of ideas and this makes it the most beautiful and pure battle. I always liked and had that competitive spirit as I believe I have an inner sportsperson. And this thought came to me towards the end of my education, when we started receiving all of the awards and I noticed that not only we are not inferior to others, we are often better. And I decided that I will not settle for comparing myself to only what is around me, because it was all mediocre. Just because we had some limits in Poland doesn’t excuse my actions as they are the only thing that counts. That’s why I came up with that motto. I thought to myself “Screw what’s around me, I’m lifting my bar as high as possible” and I wanted to race with the best. Sometimes lifting the bar this high doesn’t mean you will be able to make that jump. But at least you will jump as high as you physically can.

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In one of your last interviews you mentioned that design really starts on paper. Why do you believe everyone should begin with a blank page and a pencil instead of browsing through Pinterest for inspiration and how does the beginning of the creative process look for you?

In Poland we have many cases of such inspirations and it also irritated me a lot that even the school teaches you this spin-off approach to design. Seriously, our professors used to show us magazines and even convince us to copy in order to not reinvent the wheel. But it’s bad! We are also often presetned with photos of design showing just the outer layers of it, without trying to understand where it came from. There is no attempt to learn design from scratch. And I see a lot of potential wasted this way - young, talented people don’t understand certain processes so they don’t believe in themselves and this is how they later design, by mimicking others.

A few years ago you said “I want to race with the entire world even if the world is not aware of that”. To what extent did this sentence help you in your career and how did the competitions facilitate this?

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The race takes place only in terms of ideas.

Well, coming back to this concept of racing with the entire world - if you want to do that, you have to do things that are your own fresh ideas that you can later develop and transform into a project. You cannot make copies. I am hypersensitive when it comes to that and it’s very easy to spot. When you hear people describing their projects you can often tell it’s all very shallow and no grand thought was behind it. You can clearly see the inspiration from something we already know.

Also, what I said at the beginning - the competitions teach self-discipline, organizational skills, resistance and obstinacy. They teach you the reality of this job, meaning that sometimes you need to stay up late at night, for multiple nights in a row in order to be on time. It’s a hard job, let’s be honest about it. On the one hand you need to be very sensitive, creative but you also need to be tough and possess mental strength. The competitions, if you manage to finish them, teach just that. These are the things that are not often being mentioned but an architect has to possess those qualities, so that he or she can motivate oneself and drive things till the end. Other than that you just learn and you temper yourself.

Those architecture competitions and meeting people from all around the world really gave me the sense that we are ok. After coming back from the States we decided to set up our own studio because we felt strong. Of course I had no idea back then what kind of responsibility this entails and what kind of problems this can cause, but I still had

this young naivete. Now that I know all this I probably wouldn’t be as eager to repeat that, but back then, for the first time, we believed we could rock the world. Then came moments of doubts, and consecutive moments of strength and confidence. It’s a long and never ending process.

Verona Competition

The only way to achieve something new and fresh is to focus at the moment. This is how the best studios work – they do their own thing and don’t look around too much. If you follow their work you will see that they have revolutionary ideas but then they often develop them, they are polished and refined, almost like an evolution of the idea. And the architects that look to the left a bit and then look to the right have no identity and their designs have nothing in common. My professor, Andrzej Duda, once said that a good painter paints the same image for the entire life. I didn’t understand it back then and thought it must be completely boring (laugh). But if you don’t take it literally, it is exactly about the evolution of your ideas further and further and forming your own path.

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Interview

Interview

It doesn’t mean, and I’d like to highlight that, that you need to completely detach yourself from what is happening in the world. You need to watch, follow and compare yourself to others, but not in the moment of coming up with ideas for design. And what I love most about architecture is that aside from creating a project, you create a certain solution that can be universal and that other people can derive and benefit from and interpret in their own way. A symbolic building block that appears in architecture, a new opportunity. This is why I’m so tough on people who try to copy – we need to draw and talk, draw and talk, and even if we look at other ideas and want to use one element, this needs to be discussed in detail and I can do it only with very aware architects. What equals a good project for you? It’s a hard question. We’re not talking about math that gives us a clear-cut answer, we’re talking about something unmeasurable. But, and this is very cool about conceptualism, when you get a good idea, you suddenly get an answer to a row of uncertainties, questions and problems. It’s truly amazing, but this is the way it works. Of course it is preceded by hard, wearisome work or followed by endless polishing of the initial idea, removing redundant elements, focusing on the most important things. I know it sounds a bit like magic, but somehow the idea comes to one person and not to the other. And, even if it sounds brutal, I need to mention that only 50 readers of this article will know what I mean and will be able to bring this to life, even if 100 thousand people read it, as they will do nothing about it. It’s quite brutal, but that’s how it works in the world of architecture. Because you need to be very talented, diligent, persistent and hard-working. I’m not trying to play the wise guy here, I’m saying this so people avoid disappointments. Some students think that all it takes to become great is to attend a lecture of a brilliant architect and finish a good school. It doesn’t. It is given to very few people. But it is true not only about our job – look at football players. I could have believed I can be the next Lewandowski but we both know how possible this is, because I simply lack his talent.(laugh) But coming back to the good project - it obviously needs to be functional, related to the context even if it escapes the frames a bit, but it must be settled in. We need to understand where we are, what we are designing, what kind of local context is to be used, what the local craftsmen can do and what is the history of the place – this is smart design. Also, it should attract attention, trigger discussions and age well – it should stand the test of time. It’s the same with music - there are a lot of songs that seem great now but after 10-15 years only evergreens remain. It’s the same with our projects. If you had to start all over again, what would you change? I get this question quite a lot and my answers so far could be quite misleading so I will try to get it right this time. Of course, I would fix a lot of things on my path, I’d probably even graduate sooner and pay more attention to a few things, but I believe I mentioned that already. I certainly had a lot of luck and exhibited a great deal of persistence, and, except for the God given things, I tried really hard. But I’d like to target my advice to particular groups without assigning people to them.

Not everyone needs to start their own studio.

To the small group of very talented students I’d like to say that just because you are talented doesn’t mean everything will sort itself out. Talent is not enough and you have to back it up with amazing, extra hard work. Take risks, sometimes you will need to put all eggs in one basket - without that, success is hard to achieve. It is worth to study and practice in good studios but focus on one or two so that you have enough time to learn. It will help to shape you and increase the chance of your success. But sometimes this still might not be enough, as our industry can be brutal at times. But I truly believe things are achievable if we really really want them. A few words to those who are not extremely talented, but really want it - there might be situations on your path that might lead to great frustration and a perception that others have it easier. Please understand that not everyone can become the Lewandowski of architecture, our Foster, Koolhaas or Sejima. But you can still do great things with your team, in a great studio and feel fulfilled. The greatest people are talented in many spectrums but if you have special skill in one field, i.e. you have a great eye for detail, you can really be a great player in your team and contribute a lot. Not everyone needs to their own studio. But it’s never worth letting go, taking shortcuts and doing things we don’t feel, because they will come back to haunt us, sooner than later. I had many great colleagues that I competed with during studies who, due to many circumstances that I really don’t want to judge, did one or two bad projects that the clients kept coming back for and they became slaves of their own designs. I don’t wish this on anyone and this is why our choices are important especially at the beginning.

Robert Konieczny Polish architect, member of the French Academy of Architecture since 2019. In 1999, he founded the KWK Promes studio, known for its conceptual approach to design that leads to frequent experiments and searches to improve the functionality of buildings and spaces. Konieczny gained international recognition in 2007, when Dom Aatrialny by KWK Promes won an award in the World Architecture News competition for the best residential house in the world. Since then, he has regularly won awards in international architectural competitions, including the European Prize for Urban Public Space 2016 for The Przełomy Dialogue Center (Best Public Space in Europe) and the Wallpaper Design Award 2017 for the architect’s own house, Arka Konieczny (Best House in the World). KWK Promes projects have also been nominated for the Mies van der Rohe award. At the moment, the activities of the studio are more and more focused on searching for solutions adapting architecture to the inevitable climate changes and the related challenges.

photo: Marcin Gola

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Interview

Interview

Redesigning ourselves with every project Piotr Kalinowski, the owner of a young and fresh studio MIXD, shares with us his 5 ingredients of success and discusses the significance of following your own path without taking shortcuts.

Marcin Husarz: Piotr, please tell me a few words about yourself and your company, MIXD. Intive office Wrocław, by MIXD, photo: Studio Pion, Mariola Żołądź Photography

Piotr Kalinowski: My name is Piotr Kalinowski. I am the CEO and co-founder of the company MIXD from Wrocław, Poland. We design interior experiences in hospitality, workplace, offices and retail. We are a company that understands that interior design and experience design should work together.

When we started the MIXD Studio we wanted to create something different. That’s why we have created Five Pillars of design. The first one is disruption. We were inspired by TBWA marketing company – they have developed a strategy called disruption and it starts with questioning everything you know. What it does, is leading you to a valuable uniqueness and unique product. Disruption breaks things into parts and you can actually see them very clearly and you can make decisions based on that.

Why is that different from the competition? Because we think that interior design is not enough for today’s world. That’s why we started to rethink the strategy behind the design and came up with an idea that, since the design itself has been copied over and over and designs are made similar to each other, MIXD doesn’t want to follow this path. So we have developed a process and also an idea that we actually need to focus on experience first, which means we need to put some questions first before we do the actual interior design. That’s why we say we design interior experiences because we want to focus on what people feel, on what people recognize, how they share interior spaces, and how they actually use the space - this is our driver for interior design. So first of all, we start with very heavy research work and after that we do it through design. We do not confuse those things. Experience is the most important thing about our work. What MIXD design strategy is all about? In MIXD we are bored with interior design that is repetitive so we want to make every project different. We want to redesign ourselves with every project. We want to discover the unique style and unique story behind a specific location, a specific client. So that’s why we research and that’s why we try to break the status quo of design and interior design. That’s why we want to inspire others to choose us for their project. And that’s why we hire people to work with us not for us.

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We want to redesign ourselves with every project.

The second one, connected to disruption, is the process. Our process is called Design Cycles, and it’s based on agile methodology. Before I started the company, everyone was saying that agile doesn’t work in interior design. I was travelling to New York, and I visited the company called Kickstarter - they showed me around their office and they told me that I was the first person that asked how agile could work with interior design. They advised me just to try it and I was really taken by a methodology based on the idea that you can work in a flexible way, you can put your clients and their goals first, and also that you should be creating effective documentation. The documentation is not a work of art and it doesn’t need to be spread in endless fields of work - you need to effectively cut what is not important. So the effectiveness creates more space and more time for you. You won’t be able to design different things if you base your work on a visionary approach. If you’re a visionary - all right, you can be a visionary! But you need to let people in on your vision and that’s what the process is for - it’s a tool to let people in on the vision so they can work with you.

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Interview

Interview

And also the story is very important to make good projects. Everything today is a story – if you create a unique story, if you discover the story from the client perspective, for example in hospitality, in their work, in their location or in your idea or your vision of the location, something very engaging, then you can create a Netflix story for your own project. Basically, if you can do a series of videos about your project and tell interesting things about it, the project will be good. It will be because you put life into it and created something that is timeless. If you do something that is just a copy of the pictures from Pinterest and because you wanted to make it quickly, the project won’t last long. It won’t be valuable. But if it has the layering inside: you have the second meaning and the third meaning and all the details also contain the meaning, the project will be timeless. It’s so simple and so difficult. The fourth element, authenticity, is quite crucial, because when it lies within yourself, it brings a unique value. If you want to be yourself and find your own path and your own vision for a project, and even your entire company, and if you want to win the competition, you want to ask yourself important questions. You need to be authentic. If you are authentic people will discover you and it’s very important and quite hard to maintain. It is a lot of work behind that is not connected to your design. You need to be very self-aware and open and have the guts to say it out loud to your client or maybe to yourself even, and then follow it. But if you are an authentic person, if you live your life the way you want to live, things will happen and you will discover a lot of things.

If the project has the layering inside: you have the second meaning and the third meaning and all the details also contain the meaning, the project will be timeless.

Resort Hotel, concept by MIXD The second phase is the concept project but we build it connected to the experience design. And we also do it in cycles. And that’s why we have called the process design cycles. Why cycles? Because agile methodology says that you need to improve the documentation, the design and the concept with every cycle, and you go from general schemes into the details. Then you consult it after each sprint, which is every two or three weeks. So after two or three weeks we show the work to our client. Maybe it’s not the finished project. Maybe it’s some kind of movie or a bunch of images. Sometimes it’s just a conversation, but the client always gives his feedback and we make sure that we listen and learn a lot from it – the client needs to have this feeling that he’s the coauthor of this project.

The final significant element is nostalgia, a process which creates good memories from the past so that you can use it in your projects as well. Nowadays the 90’s & 80’s are a great source of inspiration, containing things that aren’t online yet - people scan images from old newspapers and put it online on Instagram because they seem fresh. People remember things, and through that process they transform them at the same time, which makes it a creative activity. People like to discover those nostalgic things, so using those elements in projects is very engaging. That’s why people smile when they see cassettes or old iMacs and PCs, or some kind of old music from the 80’s – people discover this right now, but in time they will discover things that were super important for them in 2000-2010 and maybe even three weeks ago. Those are the five ingredients. If you combine them, you have MIXD.

Again, you need to be authentic to handle the feedback of the client. It’s not that you cannot argue with him or say that your opinion is different, but if you let him, he can give you valuable feedback and he can tell you so many important things that you won’t discover by yourself. And this is very important to know, especially for young designers, that the client is not your enemy and agile is saying that. As I mentioned, the methodology originates from the IT world, where you do software work, so it needs to work but it needs to work fast. So if you let your client in, he will give you great value and if you can discover it, if you can listen to it, you can bring it to the project and transform it into the design because you are a design specialist, you know how to design things. That’s your profession, not his. He wants to have the work done.

You mentioned that your design process differs from the standard one. Could you describe it? In MIXD we have developed our own design process, which is based on an agile methodology of being flexible, putting your client first and preparing effective design documentation. What makes it different from the other practices? We usually build experience design first. So that’s the first phase of the design. It’s not the concept work. It’s an experience work. So we build a foundation for every other design decision and that’s different. We want to paint the big picture first and we have time for that and we must reserve time for that. Nowadays design needs to be quick and needs to be effective. We no longer have three years for design. We need to be flexible as the clients have their own goals, so we need to go along with them. Ibis Styles, Sarajevo by MIXD, photo: Studio Pion 26

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If you let your client in, he will give you great value... He wants to have the work done.

And then, after every sprint, we do even more detailed work. This approach results in the fact that when we finish the design, it is almost always accepted by the client. Interior designers usually work according to certain schemes where they work by themselves on everything and then show the final product to the client. And the clients often say that that’s not what they wanted. Nowadays clients are very creative, for instance baristas. Everyone has instagram, pictures and so they often have their own visions of their own homes, their own hotels, workplaces. So in the process you want to take into consideration, and you need to bring that it to life using your own

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Interview

Interview

craft experience. That’s your job. They are not people without any vision. Sometimes it happens, but usually it’s like - I have this idea how to make it happen? What’s yours? And you need a process to be clashed with that. And this is a concept work and after that there’s a design documentation, but also you have the cycles and you act in some kind of phases. You don’t deliver everything, you don’t throw everything at the client and expect that he will be okay with it. You need to deliver some parts and get feedback, and then some more parts and feedback. You also need to be transparent with the client, tell him what you do, when will you deliver the next step. What studies didn’t teach you? I finished five years of studies of architecture - mostly building, not interior design. My studies weren’t that good - I mentioned that a lot in my other interviews. What I did not learn in college and my studies? I did not learn how to work in groups. They also didn’t teach me how to start my own company as an architect, which is very important. Usually architects are also project managers. They need to have the business skills but there’s no topic about business in our studies. So I needed to figure out those things by myself, but the most important thing was the curiosity for design, curiosity for work. The studies and the teachers weren’t passionate enough to show me that architecture is a cool thing to do. How to become a good architect, how to be yourself, how to believe in your projects, what’s the process - nobody teaches you that. Usually, when you start to design things in the first or second year your designs are very bad. Really bad! That is because you cannot design everything well in the first year. And if they are bad, those teachers should show that actually it’s a process of learning and they need to be bad, because you learn from your mistakes. That’s the usual process. But during the studies you just receive this opinion that it’s bad and it’s over - nobody discusses it with you and even if it’s good there’s still no discussion. There’s a lack of discussion of projects and problems of young architects. It’s not preparing for future work or for future doubts. So studies only teach certain craft aspects which nowadays can be found on the internet because they do not teach you the process, they do not teach you the business skills, presentation skills. What was the biggest lesson that you got from the cooperation with Marlena Wolnik? During my studies I travelled to Ireland. I went to Dublin to work as an architect and I was hired by a company and put into the team of Marlena Wolnik. She is a famous Polish architect who co-founded KWK Promes with Robert Konieczny - a very heavily awarded studio. I was hired as her intern, her assistant in the Dublin studio. And this was the first time after three years of college that I discovered that architecture can be fun! She showed me that you can work because you like to. I was observing her while working and she was having fun. There was something very special in her craft - she was doing contextual architecture. Nowadays it’s quite usual - young practices always throw those small sketches showing where the sun goes, and how you could cut this element of the building, and you can rotate it. And this is genius. But the process of looking for a right solution, for the context of architecture - she had this included in every project. I haven’t heard about it before so she told me that actually looking for the right solution in the project is a matter of process. I have translated all that into the process of agile approach, the 28

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How to become a good architect, how to be yourself, how to believe in your projects, what’s the process – nobody teaches you that.

Foodstacja, Wrocław by MIXD, photo: Studio Pion, Mariola Żołądź Photography story, the authenticity, disruption and everything else, but the fact that architecture is looking for the concepts of sun location, situation, slope, everything – that was so important. For me there’s something behind it and she was having fun with it. Later, I came back to study in the fourth year. And since then I had only good grades in the design courses because I was using this process. My teachers were very impressed but they didn’t know that actually I was learning something outside of the studies. Are architecture competitions a good way to start your career? They are a good idea as a learning process for doing our designs right after the studies, or during the studies. First of all you do interesting designs. Second thing, you can fail miserably in the process and learn. You need constructive feedback, whether it comes from the judges or your friend. Ask them, what would they do differently. Verify what projects have won and why, so you can compare your work to the competition and you can see different approaches. Competitions are also a fun thing to do in a team, so you can learn teamwork. Do you remember your first competition? Oh, I remember very well. My first official competition was during the first year of MA studies and I failed miserably. My father was a certified architect at the time so he invited me to do concept design for the Modern Art Museum. I did a lot of concepts, but he told me that they were too experimental so we did something very safe. The safe project wasn’t very bad but it wasn’t good either. Still, we submitted it for the competition and didn’t win anything. However, I remember the stress, the heavy hours that we put into it. I remember the questions that I needed to answer. I had to handle my stress, my work and had to ask myself questions and make decisions on time so I got the sense of the process that you do every day at the work. What benefits do the competitions bring? You can win money (laugh). It sounds silly but for the first time you can make some ACY ∙ 2020

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Interview

Interview

money off architecture, which is not as easy as it seems. Secondly, you can win something much more valuable - you can win recognition. You can win an internship in a practice to work with someone else. You may gain a good project for your portfolio, which can come handy when you will be applying for jobs. In the interview your future supervisor will ask you questions about it, and that gives you a chance to say something interesting about your work, your process, your vision, your authenticity. You can build on that if you have nothing else. Also, competition is usually more interesting than your classes. Is it worth opening your own studio right after the studies or should you first try to work for someone else? When I finished the studies I asked myself a question: should I start my own company or should I work for someone else? And I asked my mentor at the time, Marlena Wolnik, this question because she was a successful architect. She told me something that I will remember my whole life: “You will be making mistakes because you’re not experienced. If you can handle the responsibility that comes with them and take account for them, go with your own company. If you want to make mistakes on someone else’s credit, i.e. your boss, someone’s company, just go and learn under someone.”

running the company. However, I didn’t expect that to be so effective. They say that social media accelerates your message. It’s not changing the world. It’s not changing anything. It’s just an empty pipe that is filled with people’s opinions and people’s stories but I put a little ingredient in it and it had a huge impact on our work and in our growth. And I think it was a great decision to have the social media presence from the very beginning and to use it very very often. People usually are shy or are not ready to use social media right. They just share pictures from their private life or pictures of their friends. And that’s fine. That’s okay. But if you run a business you can say things that are actually important to you, you can document your work, you can put out a lot of content and it will make people follow you and follow your passion. That is if you have it of course! They see what you do and they want to be involved in it somehow. So social media is a major element of MIXD - we are a company that uses and will develop its social media further. We want to use it to share our ideas, our projects and our designs. We want to connect with new clients and friends.

Social media accelerates your message.

In what way should the young architects use social media? How did the social media change the role of modern-world architects? Young architects should jump on social media as soon as possible and use it as heavily as possible, in my opinion. They should showcase their work. They should showcase their approach, their story, their background or even their travel pics and their

How do you get new clients? As a quite new company on the market, you already work internationally. How to attract your first client? MIXD is a young studio. This is our third year of work. We have already hired around 15 architects. And we run approximately 10 or dozen projects at the same time. How to get your first client is a very important question because it’s the toughest part. Yet, it’s a crucial part in starting your own company. I could go on and on about it! First of all, you need to know what you want to do. You need to narrow down your clients. You cannot see yourself as an architect of everything. For example, for me it’s hotels - this is my priority. I also like to do offices and retail. So I focused on three elements. Of course, I was working before that in these fields. It wasn’t like I came straight from studies, although I believe it is possible. Secondly - you need to work your ass off. You need to research: where your clients are located, who are the decision makers. You need to go into social media, you need to discover those guys. You need to know everything about the companies you want to work with. You need to do all the research about certain markets and then you will discover the people that are responsible for choosing the designers. It takes two weeks of work, maybe one month of research. You need to call, you need to get in touch, go to conferences, you need to approach them. You need to create some value behind yourself. You need to create your brand as well. How does the presence of social media impact architecture and the way we design? Social media’s impact on our lives and design is huge and, as I said already, when I started the company, I had this idea that I should use it somehow to help me with

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Foodstacja, Wrocław by MIXD, photo: Studio Pion, Mariola Żołądź Photography

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Interview

inspiration. They should show a narrative, a kind of story, not just a picture under a nice building they’ve just seen. It should be clear why you chose those pictures, what’s behind it. You want to show people what’s behind it! Why is it interesting for you? People want to know if they will see you and this professional perspective. They will want to follow you and want to engage with you if you’re good and if you will bring value to their lives. And it should be professional. I don’t share so much about my private life unless the private life connects with the professional bit. But I don’t show my every private moment. Young architects should decide what’s their strategy for social media but they definitely should use it.

When the outlook

and possibilities are endless. More than a view. Sliding systems from Schüco.

Piotr Kalinowski CEO and creative director of the MIXD studio from Wrocław. Interior designer, known for his work on hospitality spaces, offices and retail facilities. For many years, he has been designing interiors for brands such as Novotel, Mercure, Hilton, MGallery or ibis Styles, but also for boutique hotels and restaurants, and dynamic startups such as intive or Codelab. Together with his design team he has won the International Property Award 2016/2017, International Property Award 2019/2020, Silver Medal A’Design Award, Honorable Mention IDA Award, BIG SEE 2020 Award and other awards, honorable mentions and nominations; a finalist of the Hospitality Design Award 2020 competition. A speaker at many conferences related to the industry, interior and furnishing design, including Warsaw Home, Łódź Design Festival, 4 Design Days, Hotel Trends Poland & CEE, Hotel Meeting. An active Instagram user, where he reports on his travels, designer inspirations, shows interesting public interiors and the daily work of MIXD.

More light, more transparency, more room for your ideas. Schüco sliding systems create open living spaces and new perspectives. And completely new design options with their slimline profiles and generous glass areas. Find out more here: www.schueco.com/view

Windows. Doors. Façades.

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1st prize

project name

Jorejick Family House authors

African House Design Competition

Marianna Castellari Giovanni Checchia de Ambrosio Italy

A home for the Jorejick Family Tanzania suffers from a terrible shortage of good quality and affordable housing. So dire is this shortage that the nation currently carries a 3 million housing deficit coupled with a 200.000 unit annual demand. Over seventy percent of its urban residents live in unplanned and unserviced informal settlements. With that in mind, Archstorming looked for a housing design to be implemented not only in Tanzania, but also in other African countries where housing is an increasing problem. In order to do so, the current competition explored efficient and economic ways to build houses in Africa. The Jorejick family, located near Karatu, Tanzania, were the firsts we have help. They are a Tanzanian family from the tribe of the Iraqw. They live in Getamock, a small town in the north of the country. The family includes 19 people, of which 15 currently live in the house. They live in huts and lack potable water and electricity. They have a precarious infrastructure, humid and poorly hygienic environments and a shortage of nutritious food. Diseases, especially in children, are constant. The winning designs proposed a house for 15 people that included 6 bedrooms, a living room, an outdoor and an indoor kitchen, showers and latrines, a corral and the cattle area. The winner proposal was designed by Marianna Castellari and Giovanni Checchia de Ambrosio, from Bologna, Italy. They’ve come up with a solution that uses local materials, implementing simple construction techniques, cross ventilation, thermal control, shading and water collection. Once the fundraising process is completed (more info at www.unhogarentanzania.com) the construction of their proposal will start. The second prize was given to Gerardo Peregrín Arcas, Marc Amigó Cañas and Miguel De Rojas Dierssen from Barcelona, Spain; and the third prize corresponded to the team formed by Luis Gil and Evan Farley from Los Angeles, USA. Visit our web page (www.archstorming.com) to find out about more humanitarian competitions.

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he project aims at designing a suitable living space for the Jorejick Family, using local materials, implementing the construction process with self-construction techniques and integrating the beauty of a simple design with solutions for improving the crossing ventilation, thermal control, shading and water collection.The house is located at the entrance of the plot, leaving a large central space for cattle, neighbors passage, day-activities and the possible future enlargement of Nico’s House.The house is designed around a courtyard, an open and protected space, that can be shaded thanks to a wood pergola; it becomes an enlargement of the indoor common area in according to weather changing and the movement of the sun, improving ventilation across the house. ACY ∙ 2020

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The house is designed on a bricks raised podium, that protects the inside floor from rain, dust and animals. The kitchen area, the storage and the water supply tank are facing north and they are contained by thick walls for better preserving food and water. They are provided with roofed outdoor space, as the sheltered outdoor kitchen, to let the family carry household activities around the house. The house walls facing south are shaded by a structure made by wood and local hand-made carpets, that becomes a geometrical and colorful decoration. The main construction system is made by thick bricks walls; the brick becomes a decorative motif and it gives movement to the façades.

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The secondary walls are made by wood structure with mud and straw filling, covered with natural mud plaster. They are easy to be built and they help the thermal control. The roof is a metal sheet supported by wood structure, in between the wood beams there is a straw layer, as a sound and heat insulation. The roof overhangs is 60-70 cm and it is important for shading and rain protection. The slope of the roof is studied to collect much water as possible. The water tank is connected to a double sink, one inside and one outside, that facilitate the cleaning of kitchen utensils, clothes, and they improve hygiene. In the outside area around the house there are the Porch for corral and crop storage and some simple wood-colored structures for playing or making exercises. The project wants to improve the toilet system, suggesting the permanent construction of a bio-compost toilet, that controls odors and produces fertilizer.

water collection

scheme

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2nd prize

2nd prize

project name

African House authors

Gerardo Peregrín Arcas Marc Amigó Cañas Miguel De Rojas Dierssen Spain

A project for people... a Home for Africa

S

ince the beginning, we focused on versatility for this project since we aspire not only to satisfy the Jorejick family but many more throughout the continent.

To achieve that the Life and Form of this land have been our guide

plot

Life In a continent still liking the industrialization of the west, the earth is still the primary way families put a plate on the table, so we decided to make that same earth the central spine of our building which holds the whole structure together. Form The second element is found in tradition. The Iraqw huts are rooted in their history and with a game of symmetry and turns, we generate a skin with the same lines as their original structure. This skin collects water and guides the flow of air. After studying the habits of the Jorejick family we realized that this home could not be just a house, closed off from the outside. It needs to be an element that bridged the gap between the outside and inside giving them a gradient of closeness to enjoy the outside while also being protected from it.

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If the man is ignored, architecture is unnecessary Alvaro Siza, Lisbon Expo 98

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The layout of the house is centered around the marvelous acacia that inhabits their plot creating a patio that functions as the heart of the project’s life, and serves as a hinge between the day area (kitchen, living room, etc.) and the night area (bedrooms). The courtyard functions as a point of attachment to the site and can be used to embrace landmarks when used in other locations. The separation in sections (services, communal areas, and private areas) makes the wind (predominantly SE) prevent the air from the services from reaching any other part of the house. Also, the patio separates two sectors of the roof that divide the water and its uses between the sections. The outer skin is independent of the house interior elements making it perfect to tackle the local weather conditions. Not only is the ventilation useful to dissipate the heat from the structure but also to keep a healthy environment. All of this is achieved with a design that is not only simple and cheap to build but also adaptable to different family needs and even scalable after its constructions in case those needs were to change. It is not a house for the Jorejick family, it is a Home for Africa.

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3rd prize

project name

Generational House authors

Luis Gil Evan Farley USA

B

ringing together four generations under one roof, the Generational House is designed to create meaningful spaces for both gathering and respite. Its location and orientation on the site has been carefully chosen in response to circulation patterns and climate conditions in order to provide a comfortable home that is connected to its context while providing privacy for its residents.

floor plan

axonometry

Articulated into a public and private bar, the Generational House seamlessly bisects the paths of the passerby to the front and works with the adjacent tree line to create a semiprivate perimeter of outdoor living space to the back. The corner front entrance of the house is situated to the south, through the main entrance of the property, providing a designated entry point for family and a privacy screen to neighbors accessing their homes to the east and west. The chosen shape of the house accentuates the priority to preserve the existing herbaceous shade cover while allowing visibility from the house to the cattle pen, yard and most of the existing buildings on the property. At every unit of the house’s structure, windows allow for visibility to the front of property as well as increased lighting and additional airflow during certain times of the day, as needed.

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Additionally, the two-bar scheme is oriented to maximize comfort. The bedrooms are lifted and oriented to receive optimal ventilation based on the prevailing winds on the site from the south east. The public bar is constructed with a heavier, well shaded thermal mass intended to counteract the hot western sun. As the Jorejick family continues to grow, the house can adapt to accommodate shifting needs. The private bedrooms can fit various configurations of desks, beds, and closet storage. The open living room and kitchen layouts provide flexibility and mobility between interior, covered exterior, and open yard spaces. This is in part because of the house’s structural grid, with each bay on a regular 2500 mm module bay, making it compatible with standard off-the-shelf building components. The corrugated metal roofline gutter throughout allows maximum rainwater collection that feeds into two water tanks, one ateither end of the house for convenience. This further protects the house during the rainy season and provides water for all drinking, cooking and hygienic needs.

south elevation

west elevation

detail wall sections

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Special Honorable Mentions

Honorable Mentions project name

project name

project name

A House for the Jorejick family

Ukuaji

Jorejicks House

authors

authors

Aleksandar Stojakovic, Alexander Frehse, Lloyd Martin

Argentina

authors

Manuela Garcia, Olivia Gorodisch, Juliana Knopoff, Kayen Montes

Isaias Basso, Augusto Figlioli, Victoria Camiolo, Matias Guerra

UK project name

The Jorejick House

USA

authors

laudio Costantino, Antonio Michele Demaio, Giulia Prosperi Italy

Honorable Mentions project name

project name

Around The Tree

Embracing Life

authors

authors

Azarai Hernandez, Luis Matos, Maria Gabriela Suarez, Jesus Goncalves

Spain

Marta Parra Vazquez, Senesios Frangos

Venezuela

project name

project name

Zero KM House

Appease

authors

authors

Anna Lanzinger, Ilaria De Noia, Chiara Meriano, Christian Salvadori

César Barbarán Venezuela

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Italy

project name

project name

project name

project name

Crossing Stories

Ukuta Wa Maisha

Jorejicks House

A Home For Tanzania

authors

authors

authors

authors

Diego Ibáñez Lahoz, Alejandro Díaz Pérez, José Lafuente Adiego

José Xavier Fuentes Coyula, Luis Enrique Aparicio, Manuel Aranzola

Kai Sun, Yao Zuo

Marcos Bresser, Henrique Dias, Daniel Zahoul, Petro Petry

Spain

USA

China

Brazil

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How we won that competition

How we won that competition

How we won that competition authors

Marianna Castellari Giovanni Checchia de Ambrosio Italy

Living room Sleeping area

Living room

Kitchen area

concept evolution

Sleeping area Kitchen area

The competition launched by Archstorming wanted to find the most suitable project for the construction of a family house in the Karatu District, a rural area located in the north of Tanzania. Knowing that the first project would have been built, we started focusing on the technological aspects. We spent long time just researching; trying to study all the most suitable and efficient constructing local techniques, natural and local materials. Looking for architectural examples already built in Tanzania and rural houses of the area, trying to figure out how to improve the building process and the use of local materials, also thanks to our little experience. We investigated solutions for improving the crossing ventilation, thermal control, shading and water collection.

Similar approach was used in the next phase, when we started converting those diagrams into volumetric spaces and closed volumes, that actually was the hardest part. We had to balance between architectural shapes and technological choices in order to respect some starting rules we gave ourselves, such as bioclimatic aspects, local materials based technology and money constraints. So, the first diagrammatic idea became a shape to satisfy our programmatic requirements, then it has been refined to meet the architectural language we choose in a continuous feedback loop between the structural and technological aspects. We spent time figuring out how to balance those aspects, especially how to find the best technical solution for our idea of space and finally we realized that the best solution was the simplest one in terms of forms and shapes! Simplicity is not a way to find a short and trivial solution but it can be the elegant synthetic outcome for a complex problem.

We wanted our project to be noticed not only for the final architectural result but especially for the building approach we chose, the wise use of resources and materials. We catalogued all the elements we researched, making simple schemes of the solutions and details we wanted to use and improve in the project. We tried to observe and learn from the architectural and natural context to better find a design solution that was integrated with the landscape, upgrading the local way of building. The project for an architectural competition aimed to be built, takes into account several and different questions in the making of the design. The functional program provided us was a starting point to better understand the needs of a large family living the home space. We have studied the relations among spaces and how these could have been lived in an ideal family daily routine. The separation between the sleeping and the living area to ensure quiet, the idea of shielding the windows of the bedrooms to increase privacy, the openings of the living room to the courtyard to keep continuity, they are all kind of choices made by following these principles.

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How we won that competition

How we won that competition

The design process followed a set of rules based on the functional program and the constructive technologies we wanted to develop. These rules were not conceived to be strictly applied but they change locally in according to the different problems and issues we faced. Each new differentiation became a new opportunity to be explored as a design solution. This process developed in a flexible way and these adjustments produced a new interesting language, giving us new challenges. This approach added to the project a distinctive character to the building although based on a simple constructive and technologic system.

Before starting to produce the final technical drawings and schemes we figured out what kind of information or step of the building process we wanted to underline, as it was a story we wanted to tell to the jury. We had the same approach with the production of the 3d images, it took time to choose the elements we wanted to show, framed from the right point of view. For the graphical output of the project we first chose two main colors that guided the final panels, we studied a suitable layout considering what we wanted to present and we made different trials in order to decide the graphic for the designs. The panels don’t have to show everything but they have to present clearly all the design process. The panels speak for yourself and the jury is listening to you through your drawings!

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project name

The Year Without a Winter authors

Tamás Fischer Carlotta Cominetti

Fairy Tales 2020

Top entries offer tales of warning and hope during uncertain times The winners were chosen by a jury of more than 20 leading architects, designers and storytellers, including Alison Brooks, Marc Tsurumaki, Dwayne Oyler, Jenny Wu, Gail Carson Levine, and Arthur Mamou-Mani, among many other distinguished judges. “As our actual lives have become increasingly surreal,” says Jury Member Marc Tsurumaki, Principal at LTL Architects, “these stories’ engagement of both the inherent darkness and optimism of the Fairy Tale became particularly resonant.” 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. Blank Space is an online platform for architecture, founded in 2013 by Matthew Hoffman and Francesca Giuliani. Matthew is an architect who believes architecture can be more interesting, more fun and more social. Francesca is a journalist who believes that communication is omnipresent, and that good communication helps great ideas change the world. Through competitions, publications, and projects, we uncover the true power of architecture by creating new opportunities for design to engage the public. We like to think of Blank Space as an office for thought provocation, challenging architecture to rethink its role in society by speaking about things everybody can relate to, in a language understandable to all.

Hungary, Italy

I

had decided to leave alone for the summer holidays that year, it would have been the last journey of my old orange Pripyat, a Soviet-style three-door car, produced until 1972 at the Kommunor plant, today in Ukraine. It was not a family inheritance but rather a typical nostalgic caprice, something that frequently happens to people in their thirties, a smart investment that after ten years would have yielded up to four hundred percent of profits, much more than any bank deposit or pension fund. I always think about my future. A month later, my town was exactly as I had left it. At 9pm on September 14th, the sun was setting on the horizon and I checked, as scheduled, the last point of my summer program: “remember to take the East road with the sun behind you”. It could be dangerous, my glasses weren’t polarized. Thinking about my journey, it was a special one, maybe even a little nostalgic, but beautiful and international. I had pushed myself (in fact I literally pushed my car) to reach the ocean. Wonderful! Colourful! Powerful! I was camping in the wild, right behind the official surf camp where people were young and beautiful, blond, tonic, smiling and tanned. Never had the chance to approach them. Every night around midnight I zipped the tent. Silence. From time to time just the breaths of a couple making love in the dark, on the sand. In November the temperatures were still 10 degrees above the seasonal averages. I started thinking differently about those nights, with a sense of regret. Sometimes almost with anger. Like many others, I was spending my days wondering why I’d come back to the city.

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People were lazy and sweaty. At work, production fell by 45 percent and every provision was postponed to a date to be defined. On December 8th the state of national emergency had been declared. Christmas was the longest day ever recorded. Since Natural Christmas trees and light decorations had been banned, my mother just put a beautiful red tablecloth on the table. I drank two or three liters of vodka and lemon sorbet, I tasted just a bite of turkey. I spent almost an hour at the window picturing the building in front of mine : #Sergio Leone #Civil War #Christmas In The Far West #Clint #A Fistful of Dollars #family time #no filter #like for like, then I fell asleep, exhausted, before sunset. On hotter days my headache exploded, I stayed lying on my back for hours looking at the ceiling. There were no other smells but those of moist and ionized air. There was no noise other than the fans, uncoordinated and persistent. Sometimes I thought about the south of France and cicadas. Everything became slow, temporary and postponed. Maintenance works ceased. On cooler days I took advantage of the more human decibels to read the last chapters of all those books I had never finished. February gave us a break, the wait was replaced by organisation and mobilisation. slowly, and with unexpected, grace people returned communication. Phones started ringing again. The press went back to work. Everyone went back to work but me. I didn’t return to the office even when my case on biodegradable chips was reopened. Then on March 20th, a bolt from the blue. Wind and fresh air. As soon as the temperature had returned to the seasonal average, suddenly the buzz stopped. I thought about the cicadas again. It was Spring. It caught us unprepared. The immediate damage was considerable, flooding, loss of electricity, structural failures. They called it “the year without a winter”. I wondered if there had ever been a year without a summer. I found out it was in 1816. Clouds from a huge volcano plunged the world into endless winter. Crops failed, famine and disease spread – and great poets and composers of the day responded with works of gloomy genius. Fragmental volcanic materials in the atmosphere led to spectacular, mesmerizing sunsets, colors never seen before appeared in the sky, and painters like William Turner were unconsciously influenced in the choice of

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tints and shades. The terrible lack of oats to feed animals and especially horses inspired Karl Drais, a German inventor, to research a new way of transportation : the velocipede ( the first bicycle). That missing summer, Mary Shelley, Lord Byron and Jhon Polidori, met each other in Switzerland, beside lake Geneva where, confined indoors by the bad weather, they passed their time playing games and writing scary stories by the fireside. Their contributions were to create the uncontrollable monster of Frankenstein; or the modern Prometheus, and The Vampire, precursor of Dracula. It took me almost two weeks to pack all my books and stuff. I left the city on a sunny windy day. Once back to colours and silence I traded my Pripyat for a surfboard.

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The co-existence between the fungi and people has been noticed. It seems that the former landfill in the periphery of Amazon-5 has been transforming itself into the thriving gardens and fields, most likely to this mysterious fungi-people symbiosis that has emerged just recently. “People are feeding Mycelius Salvator with an organic waste, and by that it grows into these fantastic structures that actually provide home for them, leaving compost to fertilize the grounds... It‘s all about exchanging. It seems like a perfect ecological cycle to me,” mycologist explains.” (locks the phone)

2nd prize

2nd prize

A sudden glimpse of a strangely shaped wood-like object he might have seen in his trashbin today pops out in his mind. He meets an old friend. He is confused and curious at the same time. Apparently, his mind has been busy all this time, as the thing he saw in his trashbin a few weeks ago has been reminding about itself by constantly reappearing in his thoughts. It seemed similar to the one he has read about – the Mycelius Salvator. What a strange name, he thinks. “And what about that fungi you mentioned me last week, Gregor?” he asks his friend.

“”The cities have lost their smells,” says a resident of Amazon-3. “We are living in a constant bubble of smog where it doesn’t matter anymore what you drink or eat, whether it stinks or not. It’s like everything has drown into this grey nothingness. Practically we don’t need to use our senses anymore…”” (scrolls)

“Oh, it‘s already up until my ceiling! We live great together, I couldn‘t imagine myself without it now. You know, like how could we, people, live without,” thinks for a few seconds, “...without tree leaves shimmering in the wind or,” breaths heavily, “...or birds singing? Though, sadly, it seems that we have adapted ourselves to live without that... It feels like the fungi kind of brings these forgotten feelings to me. It‘s just so calm and atmospheric living with Mycelium,”

(blink) (blink) (blink) project name

“Clean home – clear mind.

Symbiosis

SPRAY! RESIST THE PATHOGENIC FUNGUS.”

authors

(blink) (blink) (blink)

Aleksandr Čebotariov Laura Kuršvietytė Lithuania

(scrolls) “More and more people claim to be indifferent to society, to their country‘s well-being or economic state. The recent study revealed that people have lost their belief in capitalistic system. It has proven to be unhumane, destructive and possesive. It has taken all of the planet‘s resources and, knowing the capitalistic values, it can be stated that it is not capable of giving them back. “The world is in stagnation,” the study states, “but there might be a hope for change. The chance of the new possible system is not excluded.” “ (swipes to another website) “The new species of fungi has been found. It has proved to be giving shelter to homeless people in the suburbs of Amazon-5.

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Mycologists claim that the risen temperatures are the major factor due to which this new species emerged. Climate crisis has appeared to be not critical at all to the new fungi, on the contrary – it, the fungi – the so called Mycelius Salvator has been flourishing in warm and humid climatic conditions. ACY ∙ 2020

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2nd prize

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he finishes his thought and keeps silent for a minute. “Though, it‘s still difficult for people to get used to it. It‘s alienized. I remember when I was visiting my grandmother – it was before I entrusted in Mycelium. I was afraid at first. It was growing everywhere, even the floor was covered by a thick layer of fungi... It felt like I was walking on something that is alive. I think it‘s equivalent to how people have been demonizing swamps for centuries. Like, somehow that part of nature is too deep, too unknown, too dark for us,” takes a breath. “Anyway, so I felt like it was alive. And I was afraid of it. Strange, isn‘t it? Are we afraid of our dogs...?” (pause) “My grandmother sat there in a complete peace. Like in a sanctuary or something. I couldn‘t understand it with my mind, though I know I felt it. I don‘t know how much time I‘ve spent there. But I woke up, like from a good dream. And I immediately knew what to do,” Gregor summarizes. Symbiosis like...a fungi and a tree? he remembers some old sheets of the biology book, depicting carefully drawn botanical drawings of a mushroom and a tree connected by thousands of silk threads underground. He used to immerse himself in them and stare at the miraculous creation of nature, as it was the only way to see it.

Monday 18th July, 2069 I had a strange feeling today. Felt like I was reborn for a second, as it seemed like all of my sensual abilities intensified tripe or quadriple. Though, it was just much more silent. I remember when I was a child, my city would organize car-free Sundays twice a year. Then, you would walk in the street and you‘d hear people muttering behind the corner. You would hear some family having lunch in the 5th floor, dishes rattling, dog barking. Someone in her high-heels walking somewhere behind the building block. It‘s more or less like that now everyday. 6th August, 2069 What is better than to wake up with the smell of a bread being baked somewhere in the street? Or better than the smell of the humid ground after the rain? The smell of fungi itself. Warm hands. I‘m just recording all the smells I felt throughout the week. After all, it‘s mesmerizing – people can smell again...

Thursday 25th August, 2068 I took a walk down the swamp alley today. It seems to be the hotspot for scientists. It‘s crazy what they‘re doing with all those crazy tubes and wires – the electricity is extracted directly from the swamp! 15th October, 2068 I was so proud I‘ve made this chair on my own. I‘m sitting on it right now. Comfy. I imagine, it could have felt like that sitting on a chunk of moss somewhere in the forest. Though, it gets a little bit funny when I look outside – people are actually carving their houses from Mycelium. And I‘m bragging about my chair...

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Water is life The waves of the ocean A sonic potion that calms souls Flows of river currents so powerful Carve paths through stones 3:33 am

project name

Lloronas of Juárez authors

Albert Orozco Edward Rivero Mexico

Ma, Ma, Mama! Where are you mom? Juanito woke up from a nightmare on the cold ground floor covered in sweat. His thin space blanket laid a few inches from his grasp and his dilapidated sleeping pad had slipped underneath his feet. Auntie Margarita, who slept next to him, woke up to his screams and began to caress his shoulder. “shh...shh...shh, everything is going to be okay,” Auntie Margarita whispered.

La Llorona emerges from the lake Tears drip like rain drops Her wails thunder throughout the darkness We feel La Llorona’s pain Margarita continues “we are all connected by the cycle of water. In fact, you and I, and everyone around us is made up of mostly water. Without water there is no life. Throughout history, empires have built structures to control water systems and carved the land to establish their borders. The Rio Grande, which once ran majestically across what we call the borderlands, now sputters polluted waste water on the Juárez side of the border. Dams and canals have dismembered

“I saw La Llorona, the wailing woman, in my dream Auntie” cried Juanito. She was wearing a white dress, trailing me through the Rio Grande in our old city of Juárez, screaming “oh my children, where are my children.” She caught up to me, grabbed me, and then I woke up. Ay! Auntie, I am so scared!” “My dear boy, there is nothing to be afraid of,” Auntie Margarita assured him. “You know that the story of La Llorona is nothing but a tale adults tell their children to keep them out of the streets at night. I am here with you. Do not be afraid.” Margarita gazed out into the dark space of the detention center, lost in thought, and focused on the countless children sleeping next to her. As the moonlight danced around the holes of the wired fences that caged them in, Margarita thought about La Llorona’s pain; the pain of losing her children and wandering for an eternity in search for them. “Auntie?” Juanito asked perplexed by Margarita’s daydreaming. “Isn’t La Llorona an evil witch that kidnaps children?” “No Juanito. Women are always villainized in these myths created by men. Let me tell you a different story of La Llorona. Remember the maquiladoras, the factories in Juárez, where your mom used to work before we journeyed to the United States? Well, your mother and other maquiladora workers are gathering to come up with a plan to rescue you and all their children. They call themselves “Lloronas of Juárez.” They are a collective of mothers who have been separated from their children by the border patrol. When their bosses go home, they gather in these factories to work on projects that call for the abolition of detention centers and that reimagine the infrastructure along the border.” Juanito confused, “But aren’t maquiladoras just places to make clothes?”

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Yes, but they are more than that now. At night, the Lloronas of Juárez transform the maquiladoras into an after-dark studio. They create art and models that seek to heal the land and restore the natural flows of life. Remember when your mother used to say “water is life?” ACY ∙ 2020

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the natural flow of the river and Man has named it a border between the U.S. and Mexico. Juanito, this sacred river which provided life and nourishment for thousands of years is now used to divide people from their families.” “But what does this have to do with my mother and the Lloronas of Juárez?” Juanito wonders. “Well, as I was saying, the mothers congregate to develop plans that seek to restore the damage done to the Rio Grande and the environment around it since the creation of the U.S./Mexico border. They demand justice for the land, the river, and for migrants like us. I heard from the other women in the detention centers that they have come up with an alternative vision for the borderlands. The lines that divide will be woven into the cities’ landscape to bring water back to the people. The various tiers that it creates from the center of the river to the other edge will host layers of parks, agriculture, plant reserves, and animal habitats where different life-forms can merge upon a central point: reimagining the current intersection where the border wall, el Rio Grande, and the river border collide. Over the centuries, the borderlands have been dismembered into many pieces by nations created by men. The women believe it is time to restore the land by dismantling the border that scars the earth and restoring the natural order of life. They are meeting with immigrant rights community organizations and there is even a congresswoman from New York that met with some of the women to talk about their vision. The goal is to rejuvenate the landscape along the Rio Grande and reclaim the borderlands as a place of reunification. They plan to create places of mutual exchange alongside the river where families can gather for celebrations and for special ceremonies like Day of the Dead. Rather than serving as a border, the Rio Grande will once again come to life and become a place of unity.

Worst of all, ICE was not preoccupied with keeping families together and had not given her any means of contacting them. In spite of this, Margarita knew she had to remain hopeful and strong for her nephew Juanito. As she closed her eyes, she held Juanito even tighter and wept: “Oh my children, where are my children?” The wailing women Plant marigolds for fallen souls The Rio Grande now reconnects Families separated by border patrols What happens when mothers’ pain Interweaves with grassroots work? A dream blossoms From collective hope

“Juanito, do you remember the pollution and trash all along the Rio Grande?” “Oh yes auntie I remember. And that awful smell” says Juanito while pinching his nose. Yes Juanito. The smell of pollution and death lingers all along the rivers’ banks. Buried underneath the soil of the Rio Grande are the memories of all those that lost their lives to the might of the river. We must respect the river and honor all the souls that are now a part of it. The Lloronas of Juárez imagine a landscape along the Rio Grande full of life and flowers. They dream of a reunited river just as they dream of reunited families. “Juanito, Juanito, Juan.” Margarita whispered to him as she quietly shook him. Juanito had fallen into a deep slumber. Margarita relieved tugged him close to her and held him in her arms. As she positioned herself to sleep, she smiled and stared at the corner of the cell. For a second, she began to believe her own story. In the three months of being in the detention centers, she heard stories of families on the outside plotting to help them escape from these concentration camps. Day after day, she held onto the hope that her sister Maria was doing all she could to get them out. As she held Juanito closer, she could only wonder where her own children were. Were they okay? Margarita wondered if she would ever see her children again. The two were only five and six years old. They did not know her phone number or have an address to locate her. 66

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Honorable Mentions project name

project name

project name

project name

project name

project name

7121 Lonzo

Active Ornaments

Back to Eden

Mickey’s Mechanical House

Post-reality framework

Rothiemurchus 2098

authors

author

Marie Walker-Smith

Ioanna Sotiriou Maria Tsilogianni

Stefano Stecchelli, Carlo Occhipinti, Ilaria Caraffi, Francesco Bacci, and Carlo Canepa

authors

Eric & Eva de Broche des Combes

Lindsay Harkema

authors

project name

project name

project name

project name

breath

Ghostly Presence

Hand I Do

Purgatory

authors

author

Diego Grisaleña Albéniz James Mitchell

Suada Dema

USO-03 unit A_ Upstream Strategic Outposts

Therese Leick Wilhelm Scheruebl

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Amit Avni

project name

authors

68

author

author

authors

Jiawei Liang Wei Wu

author

Anton Markus

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How we won that competition

How we won that competition

How we won that competition authors

Tamás Fischer Carlotta Cominetti Hungary, Italy

Working on the atmosphere it’s always the most important part, is the quality of the setting around us which evokes emotions, and as 3D artists, emotions are what we are always seeking to tap into. By using atmosphere in our images, we are more likely to create something that truly speaks to the viewer. We didn’t want to set our story in a dreamy desert of dunes and blue sky, we wanted to reach the feeling of solitude and hot temperature; the scope was to bring the readers in a lost place where the brain can’t get its bearings. We focused our work on colors, light and sun reflections. Like a cinematographer we chose a color scheme which is one of the first elements to communicate the message behind the design on both visual and psychological levels.

The Fairy Tales competition was the best opportunity for us to create powerful architectural images following the complexity of a real story. As 3D architectural visualizers our goal is to represent a building that doesn’t exist yet and create a life-full rendering, working on lights, materials and animations. Capturing a moment to engage the public and drive people through a story to better understand the design and architectural choices. The first step we should take was to outline the main topics and matters of our story. “The year without a winter” is a story about isolation, about a humanity that has lost hope and motivation, we wanted to talk about the near future and the extreme moment when you think there’s nothing left to do. The choice of the narrator is the most important feature in designing a novel, because it defines the readers perspective and subsequently, their experience whilst reading the work. In our story the narrator is anonymous, but he plays part in the story, he’s not just an observer telling the tale. We see through his eyes and he is the main character, we don’t know much about him/her, could be anyone of us anywhere in the world.

Also lighting is a key factor in creating a successful image. Lighting determines not only brightness and darkness, but also tone, mood and atmosphere. It’s necessary to control, test and manipulate light correctly in order to get the best textures, vibrancy of colour and luminosity especially in a situation where you need to capture and manage a huge amount of light reflected from the various parts of the scene. We decided to always have the sun in front of the camera , contrasts and backlit to recreate disturbing sensations of a burning, strong sunlight, a feeling of dread, anxiety and anguish. Once the work on setting and global scenery was done, we started working on architecture, elements, symbols and metaphors (the old car, the towers, the street, the water...) The goal was a pure and simple composition, where each and every element could pop out with strength and meaning. The car, the old orange Pripyat, is an old symbol of freedom for a generation that looks at the past with a nostalgic feeling. The architecture represented consists in tall, unrealistic towers, giving a sensation of alienation and lack of balance. The towers are suffocating, repetitive and visibly incapable to offer what people really need, visibly incapable to face the fast changes of a delicate environment. It’s a picture of a community living in an old and extremely unmindful society, people are forced to adapt themselves and architecture to their needs.

We developed the narrative and illustration simultaneously, trying to balance words and images, and leaving the readers enough freedom to wonder about causes and consequences, space and time. We try to describe the facts, raise doubts and questions without really giving any answers. To represent the site and landscape we took our time to find references and pictures, mostly photos we took during a californian trip in the desert.

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How we won that competition

How we won that competition

What architecture and design should offer is a response to people’s need for a safe shelter. In the utopian scenario of our story people are seeking for shadow and fresh air, the result is an impossible and out of control addition of obsolete solutions on an no less obsolete architecture. Polluting air conditioning systems, completely cover the façades of the buildings; people’s activities and connections are reduced to the minimum and wobbly unsafe bridges are built to help keep the communication alive. Technically we built the towers out of 3 very basic elements 1. An unstable geometrical corps built of some tilted boxes 2. We covered up it’s vertical surfaces randomly with a dozen of different air conditioner outside units and some structure elements popping out 3. Then we filled the horizontal surfaces and added water tanks and other obsolete roof assets on the top of the towers to make them look more like towers grabbed out from a very dense city.

The fairy tales competition, hosted by Blank Space, offered us a chance to gain experience, showcase our skills and encouraged us to adopt innovative techniques and develop our idea and skills in a more concrete way. It was an opportunity to work at our best and finally face the blank paper. About illustration techniques All the five illustrations were made in full 3D using basic modeling techniques. The terrain model was referred from real google earth information using a height map from a californian desert area, then we added some details and textures in Gaea terrain modeler. The tower and the asset models, texturing and UVWs were made in 3D Studio Max as well as the final composition of the illustrations. For the environment lighting we were using a simple HDR image without any other lightsource.The rendering was made in Corona render engine and except for the environment fog and the dust patch in front of the car on the first illustration, nothing else was postproduct in Photoshop.

The composition in the five images was another important aspect of our work. The composition is the frame of the image and how the elements of the mise-en-scene appear in it, is a guideline that must be observed when telling stories visually. The first images are structured on symmetry and rigid scheme, for the final one we broke the symmetry and went for a free thoughtless composition, to let the viewer to really feel the breeze.

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1st prize

The Kaira Looro Competition’s winning projects for an EOC in SubSaharan Africa

The Kaira Looro Competition

Emergencies strike suddenly and without warning. They level cities to the ground and tear down buildings as though they were made of sand. In almost no time at all everything is destroyed and all that remains is the realisation that you have to get up and start all over again from scratch. In recent years the occurrence of deluges and flooding have increased dramatically. Analogously, conflicts and financial crises persist and lead to serious humanitarian emergencies which put the lives of millions of people at risk. Resolving an emergency of any kind means re-establishing peace and security.

The ”Emergency Operations Centre” is the 4th of the Kaira Looro international architecture competition. This is a Non Profit competition with the aim of raising awareness among the international community about emergencies in developing countries, and support humanitarian projects in Africa.

Emergency Operations Center

The past editions were dedicated to the design of a Sacred Architecture (2017), a Cultural Centre (2018) and a Peace Pavilion (2019). This year the competition aims to develop a theme of global interest: emergency, such as Tsunami, Wars, Flooding etcetera. The theme of the 2020’s competition was to design an Operational Centre for the management of humanitarian emergencies in Sub-Saharan Africa, an EOC. The architecture is intended to house and facilitate the mainly activities which international organisations and local authorities must implement in order to solve emergencies and provide aid to affected communities. The spaces should be versatile and multifunctional, capable of adapting to specific needs and to the type and context of the emergency.

Emergencies strike suddenly and without warning. They level cities to the ground and tear down buildings as though they were made of sand. In almost no time at all everything is destroyed and allthat remains is the realisation that you have to get up and start all over again from scratch. In recent years the occurrence of deluges and flooding have increased dramatically. Analogously, conflicts and financial crises persist and lead to serious humanitarian emergencies which put the lives of millions of people at risk. Resolving an emergency of any kind means re-establishing peace and security.

The competition has been organized by the Balouo Salo No Profit Organization, engaged in Africa to develops humanitarian projects, with the collaboration of structures of international importance and relevant collaborations such us Kengo Kuma & Associates, SBGA | Blengini Ghirardelli, MMA Design Studio, international NGOs, medias and institutions. . Archilovers e Archiportale were official media partners. The winners were chosen by an international jury made up of: Kengo Kuma (Kengo Kuma & Associates, Japan), Agostino Ghirardelli (SBGA | Blengini Ghirardelli, Italy), Lígia Nunes (Architecture Sans Frontières International, Spain), Mphethi Morojele (MMA Design Studio, South Africa), Walter Baricchi (CNAPPC), Philippa Nyakato Tumubweinee (University of Cape Town, South Africa), Mantey Jectey-Nyarko (Kwame Nkrumah University, Ghana), and a scientific committee made up of Raoul Vecchio (Balouo Salo), Sebastiano D’Urso (University of Catania) and Moussa Soaune (Senegalese institution).

KAIRA LOORO ARCHITECTURE COMPETITION Architecture Competition to support humanitarian projects www.kairalooro.com – [email protected]

The ”Emergency Operations Centre” is the 4th of the Kaira Looro international architecture competition. This is a Non Profit competition with the aim of raising awareness among the international community about emergencies in developing countries, and support humanitarian projects in Africa. The past editions were dedicated to the design of a Sacred Architecture (2017), a Cultural Centre (2018) and a Peace Pavilion (2019). This year the competition aims to develop a theme of global interest: emergency, such as Tsunami, Wars, Flooding etcetera. The theme of the 2020’s competition was to design an Operational Centre for the management of humanitarian emergencies in Sub-Saharan Africa, an EOC. The architecture is intended to house and facilitate the mainly activities which international organisations and local authorities must implement in order to solve emergencies and provide aid to affected communities. The spaces should be versatile and multifunctional, capable of adapting to specific needs and to the type and context of the emergency. The competition has been organized by the Balouo Salo No Profit Organization, engaged in Africa to develops humanitarian projects, with the collaboration of structures of international importance and relevant collaborations such us Kengo Kuma & Associates, SBGA | Blengini Ghirardelli, MMA Design Studio, international NGOs, medias and institutions. . Archilovers e Archiportale were official media partners.

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project name

Foldable Emergency Shelter authors

Aleksandra Wróbel Agnieszka Witaszek Kamil Owczarek Poland

G

iven the unpredictable conditions of emergencies that may threaten the Sub-Saharan region, the Foldable Emergency Shelter is conceived to embrace those challenges being a simple yet functional framework in which architectural identity brings humane values to affected communities. Aiming at providing an immediate relief after the disaster, the key characteristics of the shelter are those of an easy assemble and disassemble process, a compact and flexible structure, and adaptability to rapidly changing conditions. Such peculiarities have been achieved by introducing a construction system based on a single, prefabricated element – a rectangular plywood board with indentations which by an easy process of assembling – sliding one board into the other – creates a waffle-like construction that might be quickly put together and demountable even by an unqualified person in a very short time.

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1st prize

1st prize

Such system provides a wide range of flexibility – each wall might be easily adapted to current needs by adding or removing horizontal and vertical boards wherever and whenever needed. Building the shelter from identical units is also crucial for its functional responsiveness: ergonomic dimensions of each board make it possible to pack all elements on one truck and transport them to the desirable site immediately, and such a process might be repeated multiple of times. This is one of the most important reasons why the shelter is not built from materials that are available on-site – such a solution will be heavily dependent on available resources which scarcity imposes alterations on the design that are both labour and time-consuming. A lack of pre-defined design that is prone to changes does not allow for an easy disassemble of elements and therefore makes the solution very low sustainable. Moreover, using the sources that in many occasions come from the emergency itself, creates a certain danger of introducing harmful particles to the construction, which may have a severe effect on people’s health. Thus, the shelter’s floor is elevated on plastic crates to keep it in hygiene condition, stabilize on uneven ground, and prevent from eventual flooding. The architectural articulation of the shelter is defined by the structure of outer walls that expresses transparency of provided assistance and gives specific identity translated into a feeling of safety. It also has a purely practical function: it is a space to store packages that arrive to the shelter and which might be arranged freely – according to the needs, they may open up or close down the visual connection between the inside and outside.

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Remained openings of the walls allow for natural ventilation with inlet air cooled by the vast overhang of the roof that provides shade and protects from the low sun rays in the east and west side. The simplicity of the design and transparency of its functionality is yet equipped with multiplicity of layers that provide sufficient privacy for diverse users and enfolds around the shelter in form of a spiral. Ascending ramp that leads to the spatial waiting area designates the first space in front of the assistance entrance and is accessible for everyone seeking help. The path that goes further alongside the outer walls up to the management entrance defines another, more private space for people who work there: in the shaded outdoor corridor, they may regenerate during breaks. The third one – the delivery point is located right next to the management entrance to quickly repack all goods from the truck directly to the storage room. The layout of the outer space also corresponds with the inner space. In essence, the waiting area gives immediate access to the space devoted to assistance, reception, and monitoring (that comprises 50% of the floorplan area) and the logistics entrance to the management and organization of the emergency one. Both spaces are presented in the form of an open plan, but according to specific needs, they might be divided with partition walls to create dedicated rooms. They are connected by a functional core where there is a storage and a compostable restroom that uses wood shavings. Storage is not a room

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1st prize

1st prize

in its physical sense – it functions like a cupboard accessible from sides only that allow to store packages along its entire length (2.4 meters). Moreover, storage’s construction – unlike the construction system of outer walls – makes it possible to change the position of horizontal elements to customize the space to store packages of various sizes. Adjacent to the restroom, there is a water tank for collecting rainwater that, thanks to the filtration process, might be distributed for people. Use of materials Foundations: standard plastic crates (that can be reused), dimensions of 35x45x55cm. Floor: wooden frame (rough teak wood) elements of 3 x 8 x 100cm + plywood sheets of 2x100x100cm nailed with steel sinker nails 50mm. Walls: A prefabricated plywood board – dimensions of 3x60x120 cm with 3x3x30 cm indentations each 60 cm. Boards are identical; therefore, they may function as either horizontal or vertical elements that slide one into the other and create a wall. The corners are stabilized with doubled,

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slip-in L-shape plywood elements (70x160x160x70x90x90 cm) with a 10cm distance in axes, thickness 3cm. Roof: truss (wall construction) + sub-construction: wooden anchors (3x3cm profile) placed every 60 cm on top of the truss elements that provide 1% inner slope + longitudinal plywood elements on the perimeter (3x20 cm profile) + white waterproof PVC membrane, 10x100cm sheets, 2mm thickness mounted with screws 35mm with rubber gasket to ensure water resistance. Mounting, construction process Construction starts with assembling the foundation from reusable plastic boxes on which a wooden frame is installed. It serves as a base for the floor which plywood sheets are mounted to the frame with 8cm steel nails. The walls are constructed from prefabricated plywood boards so that horizontal and vertical elements slide one into the other and consequently form a waffle-like structure. First, the corners are assembled by sliding-in L-shape profiles at the top and at the bottom of vertical elements that are laid-down on the floor. The rest of the walls are assembled in fragments and then all elements are turned 90o to the vertical position to be joined together. The roof structure is a cross-truss constructed in the same way as walls. In its final position the truss’s vertical elements are aligned in axes with vertical elements of the walls. On top of that there is a sub-construction of wooden anchors placed on a grid 60x60cm which provide a 1% inner slope of the roof. The anchors have a clamp at the bottom, which connects them with the truss and on the other end the waterproof fabric is screwed to them.

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2nd prize

2nd prize

F project name

SAFE House authors

Clarisse Gono Tsunxian Lee Nathan Mehl Katherine Huang Philippines

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ollowing an emergency situation such as a natural disaster or an epidemic in Africa, architecture plays a crucial role i n facilitating humanitarian operations to reconstruct the community as well as respond to the needs of those affected.Therefore our aspiration for this project i s to create an affordable and sustainable architectural solution for an Emergency Operation Centre (EOC). Systematised and Adaptable Fabrication for Emergency House (SAFE House) endeavours to address these solutions by having the ability to adapt, both i n terms of function and material, to various situations, climates and topography within Africa. We cannot foresee every calamity but we certainly can always be prepared. Emergencies can strike without warning and i n a matter of a split second people’s lives can be at deep risk. Hence, solutions need to be provided beforehand i n preparation for such emergencies. By designing and creating a ‘ blueprint’ for a safe, flexible and adaptable structure that reflects the l ocal site and conditions, our design acutely responds to the pressing need for a fast and reliable EOC to be built i n no time. SAFE House blueprint ought to be an open-source i nformation available i n the entire Sub-Saharan Africa region. Furthermore, from one universal module design several house variations with differing functions can arise without compromising i ts spatial quality, comfort and efficiency. The flexible configurations of the multiple modules connecting together also answer different needs i n different situations. The gentle slope of the modular roofs unifies the i nterior spaces and provides a sequence to the design while also prioritizing victims’ physical and psychological needs, by generating a tranquil space from a turbulent situation.

Bamboo as an abundant resource with huge potential i s selected as the primary material of the blueprint, collected and processed according to the design requirement. The processed bamboo with other essential components would then be packaged and stored i n warehouses and stand by. Once an emergency emerges, the packages of SAFE House will be deployed i n trucks to the scene i mmediately. The package i s flat-packed to reduce l ogistical processes and two complete sets of modules (without the plastic pallets) can fit i nto a common pick-up truck for deployment to the site. Another additional pickup truck i s required to transport the plastic pallets. The modules that are transported follow the regulation and standards for a pick up truck with the l oad evenly distributed and extending no l onger than 800mm from the truck. Thus, only a few trucks are required to transport adequate modules for an emergency. Encompassing a simple assembly of materials and construction techniques on site, a series of bamboo poles i s transformed i nto a shelter that can house a highly versatile and multi-functional EOC. However due to the extremely broad context, i t i s i rrational to have one fixed material, therefore one of our philosophies for the design blueprint i s to have the ability to be adaptable not j ust i n i ts spaces, but also i ts materiality. To reduce the construction time and time required for l ogistics, the SAFE House will be a systematic blueprint that has the ability to quickly adapt to other materials available in respective cities i f bamboo i s unavailable. We ventured i n creating this SAFE House to efficiently support the countless humanitarian i nitiatives which help people all over Africa in the long run.

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2nd prize

2nd prize

Material The SAFE House successfully meets both short term and l ong term needs for a structure to be easily assembled and dismantled. The design explores and takes i nto consideration widely found l ocal material. Bamboo being an abundant natural resource i n Africa, i s a versatile plant with untapped potential. With greater tensile strength than steel and the ability to withstand compression better than concrete, i ts natural strength and flexibility i n being able to strive i n any condition i s suitable for Africa’s diverse geo-climate. Furthermore, bamboo i s i nexpensive and can reduce the cost compared to other materials. It also has the potential to enhance and expand Africa’s future green economy with bamboo plantations to help reduce poverty and restore degraded l ands and forests to i ts former glory. The design embraces bamboo’s raw materiality, affordable elements and expresses the values of i ts characteristics, drawing attention to the beauty i t can unleash within a space. Thereby creating an utterly unique architectural safe space from a standard structure manual. Construction Process The design of SAFE House i s a system that can be easily i mplemented and constructed to be adaptable to any site condition and topography. The structural system can be easily assembled, as i nstructed i n assembly i nstruction, through a simple sequence of repetitive bamboo frames, secured by timber j oints and bamboo lashing to construct the building frame and roof, finished with tarpaulin sheets.

While in post-emergency reconstruction, with an addition of a few materials, the temporary structure of EOC can be transformed i nto a l ong l asting sustainable, resilient safe haven. The first phase of the construction begins with the use of recycled plastic pallets to act as the footing whilst the bamboo frames and roof truss are assembled and built upon the foundation. It allows the quick assembly of the SAFE House in order to help the community as swiftly as possible, whilst i n the following phases, the design undergoes morphosis. The SAFE house i s skilfully transformed i nto a communal space/school for the l ocals, i mplanting the sense of resourcefulness with the combination of local adaptation.

function variation

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floor plan

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3rd prize

3rd prize

project name

Kaira Loro authors

Michele Baldini Marco Barzanti Italy

In fact, we believe that architecture must go beyond the simple concept of “shelter” and must be closely linked to the creation of identity and hope, especially in emergencies. The center for emergencies itself is therefore developed under the same coverage but in three different volumes for a total of 320 sqm. These spaces, diversified in size and height, are designed according to the concept that space starts from the “empty” to create the “full”. Building one of three, is used for management and handling of emergency (84 sqm): offices, meeting room and service room for the staff. The second, closes the opposite side of the court to accommodates the spaces dedicated to storage and logistics (60 sqm). This space is divided in two different environments to allow separation between materials/equipment and supplies useful for the operation of the center and activities in the field. The third is dedicated to the health and psychological care of the community (176 sqm), has two clinics for the medical and psychological assistance of users and a large flexible space dedicated to medical care and short-term medical monitoring of patients. This space can be easily reconfigured according to the requests and the type of emergency by accommodating beds for the support and medical care. There are also other spaces like toilets, a small depot and

N

ature and its elements may sometimes represent a danger, much more often they turn out to be in fact a source of salvation and reassurance, a clear example of this are the large trees that with their characteristic umbrella cover offer shelter and protection to those who take refuge under it. The evocative meaning of these concepts are the guide and the cornerstone of our design proposal, the intention is to create individuality of all these factors that is able to dialogue at the same time with the requirements of the project and with the habits of the population. The project provides for the definition of a spatial configuration that is as versatile and free as possible, a large dynamic space able to respond to the multiple requests that involves a building of this type. The supporting structure of the roof is formed by a forest of twin pillars of bamboo with a diameter of about 6 cm each arranged on a regular grid of 2x2 m. This system allows to create a totally independent structure, light and dynamic, whose modularity guarantees extreme versatility to the space. Similar to what happens in a beams-pillars structure, the roof is articulated and supported by a very regular bamboo texture arranged perpendicularly to each other in order to tighten up and connect the entire structure to the pillars. The roof is finally realized by using waterproof sheets disposed in a light downward direction, able to filter the solar radiation and spread the light evenly in the space below. The center is raised from the ground on a large common base, a platform of 780 sqm, elevated from the ground for about 50 cm. This allows circulation of the air below the floor, helping the cooling of it-self and of the ground during the hottest days. The elevation protects as well the building from the humidity, flooding and animals. The main area of this large covered porch is represented by the central impluvium, an open space where you can sit and rest. In case of rain, water is conveyed by the cover and through a process of purification and natural filtration stored in an underground tank. The gathering of water is also entrusted to the central structure that, thanks to its shape, wants to inspire the structure of large trees. The aim of this innovative tower is to capture the humidity by cross-ventilation and the temperature variation between day and night that condensate and collected in the central tank. Different structures build around the central patio which are covered by the same roof. The external space can provide double effects: connecting the internal center to the outside, which creates a first filter for the victim, but at the same time can be a social place that can rebuild the community.

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3rd prize

3rd prize

a waiting area. Given the temporary aspect of the structure and its services, toilets for the sanitary facilities has been designed of the type “composting toilets”, ideal for places with lacking water and without sewage system. The special structure of the roof, made of a single protective umbrella, allows us to play with volumes of the emergency center in a free and independent way. The building is in fact very dynamic with its visual permeability and continuous dialogue with surrounded nature. Façade vertical cuts scatter the volume, ensure the entry of diffused and filter light and grant an efficient ventilation able to maintain an adequate internal temperature. Use of materials The emergency center is designed to be entirely built with natural materials easy to find on site in order to minimize the environment impact. The bamboo, a construction material strongly present in sub-Saharan Africa, is used for vertical structures and for horizontal elements of the roof, fixed with dowels and jute rope. For the three volumes we foresee the use of the torchis technique. A duly woven grid is assembled and fixed to the supporting structure and a mixture made of raw earth, vegetable fibres and water is laid on it. These materials allow the development of assisted self-construction processes measured by the capacity and resources of a place. Mangrove branches or more simply waste and recovery materials found directly on the site like small diameter timbers can be used for the wooden trellis of the walls. Baobab wood slats are used for the floors and as jambs of the openings for its high resistance. Shading and waterproof cloth is used for the roof. The final demolition of the building does not cause any problems; the material can be quickly returned to nature and does not represent waste but can be a source of sustainability for the population.

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Construction process The structure and its flexible construction system allow a variety of spatial configurations and activities. The construction process of the building starts right from the structure. As a first action, in fact, it is necessary to prepare the area on which to build the building with the necessary preventive actions and then start with the construction and laying of the bamboo pillars in the ground with the proper fixing system. The extremely regular and clear mesh of the pillars allows a subsequent and easy arrangement of the three rows of bamboo beams, fixing and framing them with dowels and jute rope at the appropriate height in the pillars. To complete the structure, we continue with the arrangement of the covering beams with the relative fixings and the final laying of the covering curtain. It is necessary to continue with the installation of wooden trellis useful for creating the walls of the building and the subsequent closure with the torchis technique. To complete the building, the flooring made of baobab wood slats is laid on the first order of beams. It is then necessary to finish with the installation of other wooden slats to mark the openings.

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Special Mentions

Honorable Mentions

authors

author

authors

author

Alessandro Ferrazzano Paola Elena Gambero Alberto Mazzotti

Khaled Abu Almajd

Giacomo Rio, Maria Lucia Villalba, Julieta Molina, Michele Musiari, Miriam Quassolo

Ana Carolina Vargas González, Alexis Salinas Arriagada, Gilberto Valverde Arias, David Cubero Fernández

Egypt

Italy

Costa Rica and Chile

Italy

authors

authors

authors

Andrew Kurniawan Leonardo Vincent Ariel Bintang

David Natanael Robu Eduardo Cavalcanti Schifferle

Manuela Molina, María Camila Joaqui, María Camila Martínez, Silvia Valentina Ruiz

Romania

Colombia

Indonesia

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How we won that competition

How we won that competition

How we won that competition authors

Aleksandra Wróbel Agnieszka Witaszek Kamil Owczarek Poland

Our acquaintance began at the Delft University of Technology in the Netherlands. All three of us started there Master of Architecture and chose Extreme Studio wherein we were designing the Chamber of Commerce on the Caribbean island Sint Maarten. Even though we were in different groups, we met in one of the first classes. Probably it wouldn’t have happened if not the international environment that surrounded us and the great desire to talk to someone in a native language, that is Polish. In such circumstances, people from one country try to establish a thread of understanding. Maybe it results from a longing for a just abandoned homeland, customs that are close to us, behaviours and things that we know. However, we are connected by something more. Sometimes it is so that you just have to exchange a few words with someone and you already know that you have found your soul mate. We felt like we had known each other for a long time. It was natural for us to meet up again and again, to study together at the library at the university, to travel and also to take part in various events. The experience we gained while designing the Chamber of Commerce turned out to be helpful for the competition. It was based on similar design assumptions because it was in a tropical climate zone, was associated with natural disasters such as earthquakes, floods and hurricanes, for its construction most of us used wood as an ecological and durable but flexible material and its construction had to be financially accessible to the Caribbean community. Two of us also went on a trip to Sint Maarten, where we met the natives and listened to their touching stories about how their entire life’s assets were destroyed in a moment. All the experience gained during the design of the Chamber of Commerce later helped us with the Emergency Operation Centre. We not only wondered what construction of the facility would be the most appropriate but also tried to imagine what people affected by the disaster felt and what they needed. We knew that good architecture can give them a sense of care.

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First advice – a clear presentation To win an architectural competition you need to be able to show your idea. Jury usually has only a few seconds to look at the charts and will not read the descriptions or look at the details. Only works that seem interesting are later analysed. The rest is discarded. Of course, everyone wants to be in the first group and thus beat part of the competition already at the start. It is the best if the project has such a clear and simple idea that one scheme is enough to explain it. It should be, in our opinion, the best possible solution to the problem that the competition is asking for. In our case, it was a possibility to transport the object with one truck, its easy assembly and disassembly. All these 3 elements are shown in a simple and a clear diagram. After establishing the idea, preliminary sketches of the form and plans, we can move on to another important tool in our hands - visualisations, thanks to which we can not only present the project but also create the atmosphere of the place and thus influence the emotions of the recipients. Renders take up most of the space on the board and will probably be the most noticeable ones by the jury. It is not about being photorealistic. Often, for example, the form of a college is enough, but it should meet certain composition and aesthetics requirements. Here we would like to describe our main render and indicate its strengths. Render - eye-catching element Before starting to visualise the building we were looking for pictures of places where it would stand. We wanted to get to know the landscapes of Sub-Saharan Africa, its vegetation, terrain and a colour palette. Then, from the collected materials, we used the elements that we thought would work best - a rocky slope, cracked earth, dry vegetation and a range of mountain peaks in the distance. In this way, we reduced the number of dominant colours in the picture to two main ones: beige and azure (sky). If you look at most of the highly acclaimed films, their pictures are also shown in 2 dominant colours (e.g. Ad Astra, shot by Hoyte van Hoytem). It is important what colours are used because there are certain stories and emotions hidden behind them. On the main render - a view when approaching the building, we decided to place the view of the building in a single-sided perspective, perpendicular to the elevation. Actually, we did not even consider other options in this matter. We knew that such a frame arrangement works well with simple objects which geometry can be visually simplified to one mass, e.g. a rectangle, a square or a triangle. A human eye is sensitive to such forms and unintentionally simplifies a geometry to them. Moreover, our brain considers them harmonious and thoughtful. In our case, it was also extremely important that in this perspective, a distant landscape will be visible between

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the structure and thus the whole object will appear to be a part of its surroundings. In this way, the building blends in with the environment. Other aspects that guided us in the creation of the main visualisation were the hidden lines of sight and the story written by them. Here we mean the path leading to the EOC, a clump of grasses on the right and left, the shape of the gradient of the sky and people heading towards the building. Looking at such an arrangement of elements we have no doubt which part of the visualisation is the most important and thus our eyesight does not get lost in the picture. All the elements form a single, coherent story. The human eye is used to seeing more of the sky than the earth, so it is also important to show such proportions in the render. The horizon should not be higher than halfway through the picture. The position of the sun is also important because from its side we should leave more space on the visualisation. Following this advice, our visualisation can breathe and the frame is not crowded. The element that adds lightness are the birds flying towards the sun, which provide a rest. Planning and management. Teamwork requires excellent communication - effective contact with each other to achieve the best possible final design while having a pleasant time. We must admit that we created this team, knowing our characters and abilities. We knew that it would allow us to work dynamically, that we can rely on each other and complement each other’s skills. The three-person team consisting of friends with a similar view of architecture seemed to us to be ideal for achieving the desired goal. Plan your work and plan your collaboration Even if you know the rest of the group well, what you can do before the start of the collaboration is to write an agreement. It could include the requirements and expectations for all the team members, how people want to contribute, and how much time they can devote to working both together and individually. A good plan is a feasible one, one that motivates, but is not excessively demanding. After two meetings, which were supposed to be a loose start to work sessions, we have arranged a meeting plan together. Each meeting was tailored to a specific topic - we knew how much time we wanted to spend on what. We also set up a time reserve knowing that in the design process not always everything can be predicted. The points we distinguished in the calendar: • Developing a composition of plans and ideas for the technique in which it is solved; • Designing the roof and foundations. • The final floor plan and a cross-section • Diagrams explaining the idea of the project • Description All the materials needed as a base to create a 3D model Further meetings were about presenting what we had designed. We planned the work in such a way, as to know when we want to have a finished element of the project. However, this did not mean that we would not allow ourselves to go back in the process and rethink decisions made in previous stages. At first, we met for longer sessions. During the lockdown, the meetings were online, and we usually met twice a

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week for 2 hours. We wanted to keep the balance between individual work and meeting together where we were discussing the progress. That’s why we gave ourselves time and didn’t meet every day. This had a good impact on our creativity and productivity. We gave ourselves time to think and approach with a fresh mind. We believe that the more time we spend doing competitions, the better the chances for good and fruitful cooperation. An effective plan is one in which we know how to proceed to the next stage. For example, it wouldn’t have been possible to start developing a floor plan if it hadn’t been for the research and sketches made during the first meetings. We didn’t create a plan to get stressed or frustrated; it was just for our motivation and smooth thinking in the process. Honesty in communication and Courage. We were open for a change, even if the time was shrinking. We think it came out naturally, so it was not like we forced ourselves to be honest and direct in the communication. It was an obvious fact that we always shared with other team members what was on our mind. It helped us develop the design at every stage and kept in the position that every voice matter and when you sometimes think your thoughts would not contribute to the work you might be wrong! Attitude We tried to keep the neutral attitude to what we were doing - being ready for change and not emotionally attached to what we do. The attitude to cooperation and design determines not only how you spend your time working together, but also what the outcome of design will be. Sometimes it happened that one of us was in a bad mood or wasn’t able to handle a task. It is essential that the submitting the project for a competition is not a goal in itself. It is also about being positive about the time you spend designing; to give your best, but to take care of your psyche - for the sake of yours, the project and the people you work with. Before jumping to work we usually talked about the things other than architecture and we recommend small talks to every architecture student! Manual:Thinking through sketching 1. Think what is needed One of the very first remarks that we would like to address to anyone who sets about an architectural competition is that you should not focus on designing each element separately nor that you should design an overall appearance first to give it a certain impression. Instead, it is needed to focus on essentials that are required for the competition as they will be a departure point for your design. Therefore, it is crucial to carefully read the competition brief to get an idea what are the most important parts of your future design- which aspects are obligatory, which might be freely explored and which are just optional. Moreover, it is helpful to look at the other projects from previous editions to get an idea about the scope of the design that you need to produce: should it be a conceptual project? Or maybe a more detailed one, with technical drawings and diagrams? This will definitely direct your thinking into the right track. 2. Look at what do you have The second step is to critically access your findings. In our case, we analysed the competition brief a multiple of times and later we wrote down the aspects that can be categorised as ‘crucial’ for our future design. We divided

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them into four groups: 1. adaptability/flexibility of use 2. easy assembly/disassembly process 3. structure that is easy to transport 4. sustainability, usage of leftover materials Then we looked at the brief again in search of aspects that could give us certain freedom of choice. It was stated clearly that participants were given two options- to either design a temporary structure (one that is easy to build and transport) or a permanent one that later might be adapted to the different uses of the community. Also, the strong emphasis was placed on a sustainability aspect and a usage of leftover materials, those available on the site or even those coming from the emergency itself. Here we had to make the first important decision - in which direction do we want our project to go? We were tasting and discussing different material and construction options, e.g. thinking about materials available on-site that can function as a building material (like bags filled with sand) but above all aspects like flexibility and sustainability were the key ones to push our ideas further. Taking into account the unpredictable conditions of emergencies that may threaten the Sub-Saharan region we concluded that building from materials available on-site may significantly limit our design as the project will have to vary from site to site and such alterations will be labour and time-consuming. Moreover, using materials that come from emergencies may create a certain danger of introducing harmful particles to the construction and consequently, have severe consequences on people’s health. Therefore, we decided to design a temporary structure that will be easily transportable and quickly assembled on any site. Such a decision implied that the subject of sustainability will be satisfied by durable materials that can be used a multiple of times and which will not leave any traces on the site. This decision has immediately brought us to the next subject, namely that of ease of transportation- how to transport all the elements quickly, preferable by one truck? And also how to design them so that a repetitive assembly and disassembly will not cause any damage? Having all of these questions in mind we realized that construction was the most important aspect of our design. So we sat down together and through sketching, we started to discuss and express ideas that we had in our minds. Sketches took the form of loose thoughts, diagrams or even more technical drawings. We were trying to test different options, then comment on it together, draw it, again and again, to understand what is the most accurate answer to a particular problem. We were not in a rush. We gave ourselves enough time as we knew that the decisions we will take now will significantly define our project - the rest will be just ‘an outcome’ of it. Also, it is important to say that we were not thinking about the final form yet nor that we were very attached to our own ideas. We were bringing them only as a trigger for a bigger discussion. One of such discussions brought our attention to a simple box that in fact is both an inseparable element from humanitarian actions (transporting goods) and a basic unit to store things. We realized that theses two aspects explain the essence of our shelterwe only had to translate it into an architectural language.

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The main challenge was to think about the structure that will make use of a rigid box but at the same time, its elements will not occupy a lot of space during transportation. We started to look at the essential characteristics of a box- it is composed of four planes that define a space in the inside. We realized that the same happens in the bookshelf, only in a reversed condition- a box is defined by a void. Having that we looked at ways to construct a simple shelf that later can be flattened down and easily transported. We came up with the idea of single boards with cuts that can slide one into the other and create a waffle-like structure. This solution allowed us to get rid of any screws or glueing adhesives and therefore the structure might be assembled/ disassembled a multiple of times without any damage to the construction.

Make it work Answers to all of the aspects mentioned in the brief do not necessarily mean a successful project yet. The last step you have to take is to think about your project through the associations it should evoke: an emergency shelter by its nature should be quite simple and modest while the conference centre for example- more elegant and complex. It is important that these keys values are visible in all of the elements of your project like the floor plan, a section, details and the overview of the building to create a coherent whole. Additionally, think about people who will use the space - what are their needs? How would they feel there? Which emotions will the space trigger in them? In the example of an emergency shelter, it is clear that a building should also find a right balance between openness and privacy - people should not be afraid of seeking help there but on the other hand, they should also feel safe and protected inside. Moreover, its structure should be quite simple and should clearly define spaces with a different function but also must be very flexible and adaptable to changing needs of emergencies. Also, a tight budget does not necessarily mean a poor quality design. A floor plan which we designed after a hundred of sketches tries to capture these essentials in a simple square-form plan. It clearly defines two spaces by having two different entrances on each side but also connects them by means of a storage room located in the middle. Also, the exterior space shows a palette of different niches that give different levels of privacy, adequate for different users of the space- wider waiting area for people visiting and a narrower corridor at the back for volunteers taking a rest. This simplicity was also expressed in the construction principle as we were aware that our building might be constructed by unqualified workers so it should have an intuitive method of assembly and a clear function. At the very end, after combining all of these elements together we took a more distant look to see if the overall design satisfy our aesthetic needs and in case it does not- go through the whole process again and think what can be adjusted. We believe that the above mentioned way of working is not the only way to achieve a successful project. However, it worked very well for us when at the very beginning we detached ourselves from the final image and instead engaged in the process of discussions, sketches and tests to get to the essential elements of the project. No matter which way you follow, make sure that all decisions you take make up a coherent final image.

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1st prize

Rockwoll Gold Mention

Young architects competitions

Xi’An Train Station Competition

project name

Xi’An Train Station authors

Giovanna de Simone Matteo Amicarella Italy

Xi’An Train Station competition was launched by YAC – Young Architects Competitions – and the Manni Group last September as a call for ideas to design a multifunctional area in the Chinese city of Xi’An. For centuries, the city of Xi’An has been the heart of the East and the residence of thirteen emperors’ dynasties. It has been a firm and stark heart pulsating with ruins and restorations, splendors and following declines. For 3,500 years, this heart has been expanding and contract¬ing according to the rhythm of the events of the Middle Kingdom. To this date, it is a wealth of treasures and sublime contradictions. Here, ancient and contemporary elements seem to compete for the soul of the city. In Xi’An stone dragons provide counterpoint to neon signs and paper lanterns guard the thresholds of glass skyscrapers.

X

I’An, as the ending of the ancient Silk Road, is gaining a new centrality in the future China: connections are not only physical: the new train station can be the link between the East and the West, future development and historical background. A ring is the symbolic shape to link the several system involved in the project. It’s a symbol of union, connection, as well as an opening at 360° to the world, to the ancient city and to the future one. In a culture like the Chinese one, where is particularly evident the dualism between the earth and the sky, as well as light and dark, mortal and immortal, yin and yang, this had to be the key of our project. The unbreakable bond between these two elements has been our inspiration: why can’t we make this meeting more palpable, with a building designed to link?

By 2030, this city will experience an expansion of more than 17km2. This is the outcome of a measure that has been implemented by the central government of Beijing. It aims at maintaining the city as the hub of the relation¬ships between China and the Western world. In this regard, in September 2019 YAC – Young Architects Competitions – and the Manni Group launched an international call for ideas to design a new rail terminal to further define the historical meeting point be¬tween East and West. This new rail terminal will be at the crossroads of the old and the new, the Yin and the Yang of the opposite poles that generate the future of human society on a daily basis. Here, millions of roads will intersect. Millions of jour¬neys will start and end. Millions of lives, expectations and hopes will meet in the frantic and unaware atmos¬phere of travel-related places. This is because a station is more than a simple railroad platform, travelling is more than an experience. After all, the journey is the most real and genuine metaphor for the human condi¬tion. The competition of ideas reached hundreds of designers, both professional and students, from 75 countries.

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ACY ∙ 2020

ACY ∙ 2020

97

1st prize

1st prize

We wanted to make this ongoing dialogue more physical, materiai. So the earth level under the ground, showing its hidden parts and to dialogue to the sky. At the same time, the sky bend over to the earth, and the man in the middle allows the meeting. As the sky is attraeteci by theearth and generates soil inflection, so a part of the earth deta¬ches from the ground trying to reach the sky. This powerful meeting generates a green roof that refers to the mountain skyline of the Sichuan area, creating a beautiful succes¬sion of peaks and valleys that allows the visitors to approach the building on different levels and to walk through ali the perimeter in a high park that walks aver the railways, relinking the two half of the area. When the earth rises, it shows the ancient china’s roots: here, in the passing of time, between past and future, the man has his piace. At the e enter of the ring a huge round garden: this garden opens to the sky and aim to create a new biodiversity, une baule de nature, a green beating hearth. Each passenger, approaching to the new xi an train station, will be pushed into a big forest so that trees, plants, water, will be the first elements that the visitors will see from the train. The garden gives the opportunity to experiment a modem Chinese garden, circled by the sinuous path of the roof. A mountain, a tangible element that rises from the earth to reach the sky, allowing men to do the same. From the triad Earth-Man-Sky comes an open building where millions of roads will in¬tersect, trillions of journeys will start and end.

interior

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ACY ∙ 2020

ground floor plan

ACY ∙ 2020

99

1st prize

100

ACY ∙ 2020

1st prize

ACY ∙ 2020

101

2nd prize

2nd prize

project name

Xi’An Train Station authors

Spain

past

structure

SOUL SOUL plan

shape

plan

shape

skin

skin

future

past

structure

future

Luis Ruiz Andres Juan Pérez García Rodrigo Martínez García

Two simple curved lines, like the ceilings of ancient Chinese palaces, define a silhouette that will make the new train station a reference for the city of Xi'An and for the whole world. Beneath this unique roof, which breathes tradition and future, simple curved lines, likecompetition. the ceilings of ancient Chinese palaces, define a developsTwo the program required for the silhouette that will make the new train station a reference for the city of Xi'An and for the of whole world. Beneath this arrival unique and roof, which breathes future, The centre the programme, the train departure platforms,tradition lies justand below develops the program for the competition. the fictitious intersection of required the two forms, thus generating a dramatic space that will generate a sensory experience for the spectator. The centre of the programme, the train arrival and departure platforms, lies just below the fictitious the two thus generating a dramatic spacefeels that will At all times, the aim intersection has been to of ensure thatforms, each scene experienced by the visitor a sensory experience for theas spectator. the echogenerate of the past that marked a society unique as China. For this reason, in spite

of seeking an image in keeping with the aesthetics of the new millennium, its bases At all times, the aim has been to ensure that each scene experienced by the visitor feels and foundations respond to the most traditional architecture of the place. the echo of the past that marked a society as unique as China. For this reason, in spite of seeking an image in keeping with the aesthetics of the new millennium, its bases In this and context, it would be ato sin to ignore this architecture tradition. Tradition that can be foundations respond the most traditional of the place. appreciated in the proposed planimetry. It is clearly appreciated, the structuring of the space and was done palaces.this A privatization of public space In the thisprogram context,asitit would be in a the sin old to ignore tradition. Tradition that can be through appreciated a succession of proposed delimitedplanimetry. squares, functional thatthe respond to the in the It is clearlyvolumes appreciated, structuring of the proposed demands. theashotel, well as the offices, Ashops and theofhall, arespace space and the Both program it wasas done in the old palaces. privatization public distributed around singular squares. A scenographic promenade in which through a succession of delimited squares, functional volumes that tradition respond is to the felt. proposed demands. Both the hotel, as well as the offices, shops and the hall, are distributed around singular squares. A scenographic promenade in which tradition is And what felt.would Xi'An be without the discovery of the terracotta warriors? The same as our architectural ensemble without the singular plot of pillars that represent the what warriors. would Xi'An be been without the discovery the terracotta warriors? Theinsame presenceAnd of these It has sought that in theofdistribution of the plant and ensemble plot ofcan pillars that represent the each oneasofour thearchitectural elevations and sectionswithout the soulthe of singular these warriors be felt. presence of these warriors. It has been sought that in the distribution of the plant and in each one of the elevations and sections the soul of these warriors can be felt. on the The premise of this proposal is based on seeking, with a starting point focused tradition and history of the place, a building that responds to all the needs of this new premise of this proposal is based on seeking, with a starting point focused on the society The but without leaving in oblivion at any time that past that marked each and tradition and history of thewill place, a building responds to all the needs of this new every one of the inhabitants who experience thethat place. society but without leaving in oblivion at any time that past that marked each and every one of the inhabitants who will experience the place.

Offices Offices

Hotel Hotel

Offices Offices

Hotel Hotel

Platforms Canal Park

Platforms

Canal Park

In this context, it would be a sin to ignore this tradition. Tradition that can be appreciated in the proposed planimetry. It is clearly appreciated, the structuring of the space and the program as it was done in the old palaces. A privatization of public space through a succession of delimited squares, functional volumes that respond to the proposed demands. Both the hotel, as well as the offices, shops and the hall, are distributed around singular squares. A scenographic promenade in which tradition is felt.

Hall Hall Offices Offices Square Square

Ground floor plan Ground floor plan

T

wo simple curved lines, like the ceilings of ancient Chinese palaces, define a silhouette that will make the new train station a reference for the city of Xi’an and for the whole world. Beneath this unique roof, which breathes tradition and future, develops the program required for the competition. The center of the programme, the train arrival and departure platforms, lies just below the fictitious intersection of the two forms, thus generating a dramatic space that will generate a sensory experience for the spectator. At all times, the aim has been to ensure that each scene experienced by the visitor feels the echo of the past that marked a society as unique as China. For this reason, in spite of seeking an image in keeping with the aesthetics of the new millennium, its bases and foundations respond to the most traditional architecture of the place.

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ACY ∙ 2020

Shops Shops

HotelHotel

Main Main section section

Axonometry Axonometry

And what would Xi’An be without the discovery of the terracotta warriors? The same as our architectural ensemble without the singular plot of pillars that represent the presence of these warriors. It has been sought that the distribution of the plant and in each one of the elevations and sections the soul of these warriors can be felt. The premise of this proposal is based on seeking, with a starting point focused on the tradition and history of the place, a building that responds to all the needs of this new society, but without leaving in oblivion at any time that past that marked each and every one of the inhabitants who will experience the place.

ACY ∙ 2020

103

3rd prize

3nd prize

project name

Xi’An Train Station authors

Daniel Szalapski Antonino Scaglione Switzerland

T

he Dome concept for the train station derived from Emperor Quin Shi Huang’s bronze chariot and in particular the circular bronze parasol that protected the driver from the elements. We believe our concept for the Xi’an Train station respects Xi’an’s rich history and will serve as a contemporary architectural representation of the past. Our Submission externally comprises three main elements: the main train station terminal inspired by the chariots parasol. Secondly, the satellite buildings inspired by the emperor’s white horses pulling the chariot. Lastly, the large square leading to the station, which will be a large multi-use area with the possibility of having markets, parades and displays. The color for the building is also derived from the three main colors used to paint the original chariot predominantly white, blue and green. The buildings exterior surfaces are painted white reduce solar heat gain and ais in the amount of light reflected into the building’s interior. Highly selective glass is used for high light transmission and low solar factor. The deployable sunshades also aid in stopping direct sunlight producing a more sustainable building.

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ACY ∙ 2020

ACY ∙ 2020

105

On the one hand Xi’An is called “the Eastern End of the Silk Road”, but on the other hand it is actually a gateway to a whole new world and a place where cultures meet. A place where tradition, nature and growth have thrived for centuries.

Since China, is on the frontier of the global problem - balance between sustainability and fast growth. The structure of the new train station addresses these issues by providing full flexibility in both full steel construction techniques and possibility for future expansion. As the whole plan is based on grid system, the implementation of For that reason the design concept behind the new train station prefabricated elements and additions can be easily applied and inis inspired by the beauty and lightness of the silk fabric. The gen- stalled. tle contours of the traditional Chinese roof architype, are covered by layers that filter direct sunlight and at the same time provide However, one of the main priorities of the design concept is to enough transparency to the surrounding. And under the canopy of actually bring nature inside the station and peoples experience the “silk cover” lies a structure of floating floors supported by vol- inside it. Multiple gardens on different floors and platforms, proumes. Offices, shops, meeting rooms and hotel under one roof pro- vide both visitors and employees with the opportunity to wonder vide the passengers with the full range of activities that the modern around and spend a moment of peace in an otherwise busy place. fast passed lifestyle requires. Arranged as rational grid organization Meeting rooms in elevated gardens, all year round functionality and and inspired by the ancient Xi’An urban development, they take improved air quality is just a fraction of what Gateway Station of shape around the great hall of the station. Xi’An can offer to its guests.

Dow Gold Mention

SILK EFFECT

CHINESE ARCHITYPE

FORM BREAKDOWN

IRREGULARITY

upper floor hotel

authors

authors

Shi Pan Yingna Sun Jiaao Wang Tingyi Wang Xiaohan Mei Wenjing Li

Wesley Liew, Jessica Baczkowski Edo Adrianus Kartono Yvonne Lee Ukrit Thongthammachat

upper floor office

level 1 platform

basement 1 arrival hall

authors

authors

authors

Jorge Cobo Susperregui Álvaro Martín González

Andras Dobos, Linda Erdelyi, Anna Virag Gaspar, Balazs Korenyi, Urnukh Darizav, David Szekely

Mehmet Altunbay Marco Hadijyski

GREEN TERRACES FLOORS

DEPARTURE PASS.

VOLUMES

ARRIVAL PASS.

H

O

S

VERTICAL PASS

L

Spain

basement 2 departure hall

COVERING LAYERS

Singapore

0

20

40

0

10

20

PERSPECTIVE SECTIO

Italy

0

5

10

0

2

4

0

1

2

Hungary

Australia MENHIR STEEL ROOF STRUCTURE

In an age of rapid consumption, where yearning for technological growth and efficiency have become dogmatic, we fall easily to the distraction of internalizing a perceptive societal progress. The now, is rather a time to reflect upon the past, the surroundings in history and the elements of a previous age. We are but primitive beings accustomed to seemingly advanced methods of building. The complexity of the human should be separated by their technological counterpart, for history holds the complexity of the behavioral fingerprint of the human. We must resort to the timeless elements; earth and stone for they were once the symbols of travel. Humans once used large stones as marks of traveled areas, Xi’an train station can now become a place to arrive as part of a discourse with the symbols of our ancestors. A train station for Xi’an can be piece of stone, like a brick pulled from out of the city walls. A building of no time period may converse with the dynasties of the past and the citizens of the present. A place where time will reverberate consistent echoes, one that can be understood by our ancestors; a monument for the landscape, a destination for the departed, and a dialogue with the past.

GREEN TERRACES YOU ARE HERE

Renolit Mention

ENTRANCE / HALL VI

TRAIN TRACKS VI

weaving

east

&

we s t

XI ’ AN TRAIN STATION VOLUMES

Xi'an, the birthplace of Silk Road in 3rd century BC where cultures, ideas and goods connected vibrantly across India, through Persia and Africa, and finally Rome

author

Alistay Lillystone UK

Today, we celebrate the Silk Road and the production of Silk to rekindle the strong ties that once weaved the east and west

GRIDS AND MOVEMENT

The railway track creates an axis on site unified by a vertical landmark a majestic portal to welcome the new arrivals and to leave an impression

The intersection of grids become an extension from the agricultural context currently surrounding the site meeting against the grid of the directional tracks. The building finds multiple grids in different axes as it tilts the natural act of stone meeting earth.

Our approach to travelling on the planet has changed radically during the last decade. Not only that any point on the map can be reached easily and fast, but we expect that the understanding the physical location would be more important than ever - in a world that is getting so virtual. The key idea of this building is the adaptation to today’s multilayered transportation systems, and to reflect the area’s natural wonders. Among those the pikes of Mt. Huashan was a main inspiration. From high above the most characteristic elements of a landscape are roads, paths, raillines. As a connection point of these elements, the fifth facade became critical. The symbolic cirle shaped structure reflects the idea of the connecting lines and people. Therefore, the underground level with roads and the train line is separated from the waving rooftop level. All above is focusing on people - on pedestrians, on bicycles and on the alternative personal transportation methods of the future. The top level is a mountain landscape design, with only slight entrance parts that fill the voids of the interfering waves of the shell. 0

AXONOMETRIC PERSPECTIVE

0

1 0 0

2

0

5

2

10

4

20

10 20

40

5m

1/1000

1/500

100m

50m

25m

authors

Iulian Tatarciuc Victor Martiniuc Emilian Gavrila

0

1/200

Xu Zhang Qionglin Si China

China

Germany

China

authors

authors

Michał Ruman Kacper Gulanowski

Claudio C. Araya Yahya Abdullah, Chenhao Ma, Yutan Sun

Poland

authors 1/200

PROGRAM AND STRUCTURE The main building offers an interlaced office, cowork spaces and hotel programs blend into one another like a vertical landscape. The structural system lends itself to a large truss network, which allows for the building to bridge from either side of the train tracks. This creates a unison throughout the site as the office, hotel float above the locomotives, while shops are lowered in the void boulevard courtyard. The characteristic programs exist above and below the tracks simultaneously.

Xingqiao Li Fang Yu Heng Yu

10m

Honorable Mentions

authors

Mingxia Wei Zigeng Wang Siying Ma Zetian Huang

1/100

SITE PLAN

authors

The proposal aims to connec and the urban fabric as a w and functional arrangemen of the pedestrian circulatio distinction between the pu The volume arrangement f connecting the old and the the modern, weaving the pa and becoming a symbol of th

Netherlands

GENERAL SECTION

The design seeks to pr comfortable environment surroundings and the loca By making the entrance o the track level, the visual c The proposal to c and exterior spaces aims is main the urban fabric platform and distribution area ea and functional arrang provides ofanthe extensive publi pedestrian cir or local distinction residents,between filled w t connecting hotel and th The the volume arrangem social activities andthe interact connecting old a

the modern, weaving and becoming a symb

VIEW FROM THE PLAZA

The design seeks comfortable environm surroundingsHotel and the By making the entra the track level, the v and exterior spaces i platform distribution a provides an extensive or local residents, fi connecting the hotel social activities and in

TIMELESS EAVES TIMELESS EAVES

UNDER ONE ROOF XI’AN TRAIN STATION

GATEWAY TO XI’AN In contemporary China, as trains become increasingly popular as the preferred way of travel; railway terminals are rapidly taking on an elevated role as the new gateway to Chinese cities. This proposal aims to reinforce this sentiment by expressing itself as the new front door to the city of XiAn and emphasize it’s importance as a major hub along the Silk Road.

OFFICES

PROGRAM DISTRIBUTION The program arrangement is directly driven by the 200m coverage requirement of the rail platforms. Instead of introducing an independent canopy we propose to stack retail, office and hotel directly over the platforms. This creates a 100m high atrium space shared by all the functions under one roof. This atrium experience is a key design feature intended to provide visitors a heightened sense of welcome as they arrive Xi’An. Stacking all the functions above the platform also frees up the site for a square that functions as a tranportation sorting hub on the west side and a naturalistic public park on the east side.

01. PROGRAM MASSING

02. STACK OVER PLATFORM Stacking all required program over the platforms to provide coverage, at the same time freeing up the site for a public park and a public square.

HOTEL: 21,000m2 OFFICE: 21,000m2 RETAIL: 14,000m2 HALL/PLATFORM 200m long

Concept Starting from the historical perspective of the ancient capital of Xi’an, our design extracted the form of aves from ancient Chinese architecture as the main image of the railway station hall. With the eternal eaves as the theme, this design will become a major gate building combining ancient and modern Xi’an. No matter if the passenger leaves or arrives, he will have the experience of traveling through time and space. At the same time, with a circular radial layout, the ancient Chinese philosophy of the rounded sky and squared ground is combined with modern architecture, and the functions are perfectly combined. At the same time provide passengers with a fast and clear traffic flow. Traffic The second floor is used as the main departure floor. Private cars and taxis can reach the station hall on the side square on the second floor via elevated roads in the north-south direction of the site, or enter the underground parking garage via a ramp, and then reach the second floor departure floor via an escalator. Walking passengers can also enter the departure hall via the main square on the east side. Passengers arriving on the first floor can reach the main square or taxi station on both sides through the transfer passage on the ground floor. Function The commercial functions are arranged on the F2,F1 and B1 around the passenger flow, and the F1 and the B1are convenient for passengers on the same floor. The hotel and office are arranged outedge the F2 plaza, which is convenient for passengers in the station and can provide services for the surrounding area. Structure The roof structure of the station is a steel structure, and the umbrella structure is used as the module expansion. Each module consists of four groups of corner sections and a central circular steel column. The central steel column is stretched at different heights to achieve a large span. The eaves effect is achieved by appropriately lifting the four corners of each module.

XI’AN TRAIN STATION

GATEWAY TO XI’AN In contemporary China, as trains become increasingly popular as the preferred way of travel; railway terminals are rapidly taking on an elevated role as the new gateway to Chinese cities. This proposal aims to reinforce this sentiment by expressing itself as the new front door to the city of XiAn and emphasize it’s importance as a major hub along the Silk Road. PROGRAM DISTRIBUTION The program arrangement is directly driven by the 200m coverage requirement of the rail platforms. Instead of introducing an independent canopy we propose to stack retail, office and hotel directly over the platforms. This creates a 100m high atrium space shared by all the functions under one roof. This atrium experience is a key design feature intended to provide visitors a heightened sense of welcome as they arrive Xi’An. Stacking all the functions above the platform also frees up the site for a square that functions as a tranportation sorting hub on the west side and a naturalistic public park on the east side.

Terracotta as a material has a deep bond with the cultural and historical identity of Xi’An dating back to Emperor Qin. Besides it’s symbolic significance, Terracotta is also widely used today in the construction industry most notably as a roof tiling system. This project expands its quality by applying it as a double facade system over the entire building. 02. STACKThis OVERprovides PLATFORMsun shading and as a material will also age gracefully over time. The terracotta screen contextualize unifies a complex andtomulti-functional layered building as one entity. Stackingand all required program over the platforms

01. PROGRAM MASSING HOTEL: 21,000m2 OFFICE: 21,000m2 RETAIL: 14,000m2 HALL/PLATFORM 200m long

provide coverage, at the same time freeing up the site for a public park and a public square.

Office Hotel Platform Parking Supporting

PARK HOTEL OFFICE RETAIL

200m

SQUARE

200m

Side square

GARDEN

OFFICE GA R D E N RETAIL

04. GATEWAY

Cutting through the center creates a spetacular atrium above the platforms, giving a heightened sense of welcome for the visitors to Xi’An. It also provides a courtyard condition for all retail/office/hotel floors, which strengthens the multi-use nature of the building.

Openings on the envelope were precisely cut at a scale that is appropriate for trains and visitors alike. The overall geometry of the building vaguely alludes to the other monumental gates that are found along the Silk Road.

Front square

04. GATEWAY

Cutting through the center creates a spetacular atrium above the platforms, giving a heightened sense of welcome for the visitors to Xi’An. It also provides a courtyard condition for all retail/office/hotel floors, which strengthens the multi-use nature of the building.

Openings on the envelope were precisely cut at a scale that is appropriate for trains and visitors alike. The overall geometry of the building vaguely alludes to the other monumental gates that are found along the Silk Road.

Side square

GA R D E N RETAIL

VISUAL CONNECTIONS

Hotel Platform

Green roof

B1 Parking

Green Promenade

A series of green voids and enhance the interior quality a healthy ambience.

PLATFORMS The platforms are accessible from the distribution zone underneath.

Hotel

VOIDS AND TERRACES

A series of green void enhance the interior q a healthy ambience.

Lobby Side square

Green Promenade

RETAIL

CROSS SECTION 1:1000

OFFICE

Office

Central Hall

Lobby

VEIL Station hall

Central Hall

TRAIN Front square

SITE PLAN 1:3000

Side square

RETAIL

The outer skin of the facade piece of fabric, blending the natural environment. VEIL

Plaza -5,00m Commercial

The outer skin of the fa piece of fabric, blend natural environment.

Plaza -5,00m Commercial

VISITOR

GA R D E N

Establishing clear visua the mountain.

Office

VISITOR

GA R D E N

Establishing clear visual con the mountain.

Green Promenade

Shop

Office

GARDEN

PLATFORM

COURTYARD The green courtyard of the hotel F1 is also visible from the station Arrive floorhall, making it a common element which enhances the visual qualities of both spaces.

Station hall

VOIDS AND TERRACES

Green Promenade

OFFICE

VOLUME COMPOSITIO

The separation of the as a catalyst for socia

VISUAL CONNECTIONS

Green roof

GARDEN

PLATFORM

COURTYARD STRUCTURE The green courtyard of theThe multi-core configuration Above F2 hotel is also visible from allows for anfloor open plan layout. Departure the station hall, making it a common element which enhances the visual qualities of both spaces.

Supporting

PLATFORMS The platforms are accessible from the distribution zone underneath.

VOLUME COMPOSITION

The separation of the main Ho as a catalyst for social intera

Roof structure

Office

Hotel

HOTEL

GARDEN

OFFICE

CROSS SECTION 1:1000

Station hall

Hotel

03. COURTYARD + ATRIUM

HOTEL

SQUARE

03. COURTYARD + ATRIUM

STRUCTURE The multi-core configuration allows for an open plan layout.

Parking

GARDEN

CONCEPT DIAGRAM

FACADE

Office

GARDEN

CONCEPT DIAGRAM

VEGETATION Various green spaces are scattered around the building, animating the environment.

Hotel

PARK HOTEL OFFICE RETAIL

FACADE AND STRUCTURE The structural expression of this project is simultaneously East and West. The forest of slender steel columns evokes train stations of the past like the Old Penn and Liverpool station built during the advent of steel construction. It also forms a dialogue with traditional Chinese architecture where elaborate timber posts and brackets were implemented to support the roof. Its structure expression becomes an integral part of the spatial experience. Terracotta as a material has a deep bond with the cultural and historical identity of Xi’An dating back to Emperor Qin. Besides it’s symbolic significance, Terracotta is also widely used today in the construction industry most notably as a roof tiling system. This project expands its quality by applying it as a double facade system over the entire building. This provides sun shading and as a material will also age gracefully over time. The terracotta screen contextualize and unifies a complex and multi-functional layered building as one entity.

Station hall Shop

FACADE AND STRUCTURE The structural expression of this project is simultaneously East and West. The forest of slender steel columns evokes train stations of the past like the Old Penn and Liverpool station built during the advent of steel construction. It also forms a dialogue with traditional Chinese architecture where elaborate timber posts and brackets were implemented to support the roof. Its structure expression becomes an integral part of the spatial experience.

UNDER ONE ROOF

Concept Starting from the historical perspective of the ancient capital of Xi’an, our design extracted the form of aves from ancient Chinese architecture as the main image of the railway station hall. With the eternal eaves as the theme, this design VIEW FROM THE PLAZA will become a major gate building combining ancient and modern Xi’an. No matter if the passenger leaves or arrives, he will have the experience of traveling through time and space. At the same time, with a circular radial layout, the ancient Chinese philosophy of the rounded sky and squared ground is combined with modern architecture, and the functions are perfectly combined. At the same time provide passengers with a fast and clear traffic flow. OFFICE Traffic Thesecond depth floor of the building The is used as the main departure floor. Private Above F2 Departure floor allows the organization of station hall on the side square cars and taxis can reach the multiple officefloor typologies. on the second via elevated roads in the north-south direction of the site, or enter the underground parking garage via a ramp, and then reach the second floor departure floor via an escalator. Walking passengers can also enter the departure hall via the main square on the east side. Passengers arriving on the first floor can reach the main F1 square or taxi station on both sides through the transfer pasArrive floor sage on the ground floor. Function The commercial functions are arranged on the F2,F1 and B1 around the passenger flow, and the F1 and the B1are con-OFFICE theofbuilding venient for passengers on the same floor.The Thedepth hotel of and allowsisthe organization of fice are arranged outedge the F2 plaza, which convenient B1 multiple office Parking for passengers in the station and can provide services fortypologies. the VEGETATION surrounding area. Various green spaces are Structure scattered around the building, The roof structure of the station is a steel structure, and the animating the environment. umbrella structure is used as the module expansion. Each module consists of four groups of corner sections and a central circular steel column. The central steel column is stretched at different heights to achieve a large span. The eaves effect is achieved by appropriately lifting the four corners of each module. Roof structure

TRAIN

SITE PLAN 1:3000

MICROCLIMATE

The external envelope of the protecting the interior from MICROCLIMATE creating a microclimate, an

AERIAL VIEW

The façade remains a humble reminiscence of the stones of the past, like a symbol notating a mark of destination.

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The external envelope protecting the interio creating a microclima

AERIAL VIEW

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Train Station Central Hall Train/Station / Central

Platform view / Framin

Platform view / Framing the

How we won that competition

How we won that competition

How we won that competition authors

Giovanna de Simone Matteo Amicarella Italy

Team training: Discussing with the others and sharing our knowledge it’s fundamental to obtain a good result, and it represents a precious learning moment. Working with different professionals such as architects, engineers, landscape architects, designers, artists, as well as psychologists, art historians, can lead to interesting design visions with unexpected implications.

Over the last few years we have collaborated with some Italian studios that have important partnerships in China, which is why we were particularly interested in the theme of the XI’An Train Station Competition proposed by YAC and Manni Group: by 2030, this city of Xi’An will experience an expansion of more than 17km^2 and it will aim at maintaining the city as the hub of the relationships between China and the Western World. A new rail terminal will define the meeting point between East and West, between Ancient and New. We tried to represent that vision and to come up with a proposal that could be convincing and have the change to win this challenge. Pre-design phase: By “pre-design phase” we mean the entire preliminary research stage that helps us better understand which kind of competition we are coping with, with the aim to better schedule and structure our work and train the most suitable team for the goal. We can identify 3 main steps: Recognize the type of competition we are planning to participate in: sometimes it’s all about a great concept, in other cases you need to copy with specific requests or technical details. This involves a never univocal approach, which leads, for example, to variations in the schedule, in the design scale and, of course, in the team formation. Pay particular attention to the brief: we usually read it several times, summarizing it by points or keywords in order to have clear not only its requisites but above all its purposes. What are the client’s intentions? What ideas do they suggest us with their place’s narration? We often forget that behind a brief there’s a hard, long and complex work, in which the clients have tried to synthesize and express all their needs, objectives and future visions. Surely it will be the brief itself to offer the first key to our project: it’s important to read between the lines!

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Pre-design phase: research, ideas, suggestions Having clarified “what” we have to design, it is essential to understand “where” and “when”. Which existing realities we’ll face up to? In what context are we fitting in, and what are its characteristics? What is the culture of this place? Has our project a future vision to fit into? These are just some of the many questions that we must answer with an attentive preliminary research. We really think this is one of the most important stages of the entire process so we really dedicate a lot of the available time to it: by skipping this step we really risk creating something that may result abstracted from the site, not suitable for the cultural and social context. So we deepen the local history, its present identity and its future prefiguration: images, colors, sensations, symbology, travel reports, books, movies, documentaries, and everything that can help us deepen ourselves in that precise reality. After that, everything is carefully cataloged and shared (sharing information and ideas in a team is essential!) As for Xi’An, this approach led us to the well-known Chinese myth of Pangu, a deity considered to be the first living being and creator of the world. Before the universe was born, there was absolutely nothing but chaotic darkness. Over the course of 18,000 years, the Chaos gathered into the shape of an egg with the entire Universe confined into a single space. The opposing forces of Yin and Yang constantly battled and fought one another until they finally achieved balance: Pangu was formed from this first union. When he eventually broke free, he cracked the egg releasing the Universe: the Earth (Yin) and the Sky above it (Yang). Pangu found himself trapped between these two forces and raised the sky using only his arms. Over the course of 18,000 years, the earth and the sky ended up where they are today. Pangu died and his body started to change: his spine became a great mountain range, his flesh became arable soil, his blood the rivers, his hair the stars. ACY ∙ 2020

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As soon as we read it, we found it truly interesting, enchanting and evocative of a millenarian culture, and, along with the landscape, it has represented a real source of inspiration for us. Only thereafter, in a second stage, we understood how to translate all this into architecture. Concept-phase: The “concept phase” may partly overlap the previous one, in which it’s good to write down every suggestion with sketches or notes. A real brainstorming, in which every idea is valid and you can put off your ideas on paper, through small study models or 3d models (each one can choose its favorite method, the one that he/she finds more immediate: as for Xi’An, we just bent a little paper string and This stage it’s usually really long (it can take up the 50% of the entire time we dedicate to the competition) because it allows us to get in touch with the context: we often have everything clear in our mind and then go straight to the last phase, which will be really fast. For the Train Station competition, we started working on images and panels only in the last 2 weeks. But how do we select the “most correct” idea? Of course, there’s no single way to come up with an idea for a building: each case is different, and sometimes the best concept comes from the most unexpected place. Working in a site without construction restrictions, which often help an architect to orient the design, and being in a not yet urbanized context, could suggest that there’s so much freedom of expression and therefore it will be easier to design. “A place where everything is possible”. The truth is that it’s not so simple: the risk is to come across a purely formal compositional exercise. That’s when the previous phase becomes really helpful! Research, culture, sensations, trying to link architecture and a personal experience closer to the site: trying to create a bond between the project and a meaning that goes beyond. Trying to give arbitrariness a rule, we impose rules when there is none. All this led to the concept of the new train station: The great potential of Xi’An, as ending of the ancient Silk Road but also by gaining a new centrality in the future China, allowed us to design a building that would represent not only the city itself, but also the recent opening of the whole China to the Western Countries. But how could we enhance this opening? A ring seemed to us like the ideal symbolic shape to link the several systems involved in the project. It’s a symbol of union, connection, as well as a full open approach to the world, towards the ancient city and the future one. Do you remember the Pangu myth we talked about earlier? The unbreakable bond between those elements (Earth and Sky) it’s been our inspiration: why can’t we make this meeting more palpable, tangible with a building designed to link? We wanted to make this ongoing dialogue more physical, material. So the earth level shows its hidden parts to dialogue with the sky. At the same time, the sky bends over to the earth, and the man in the middle allows the meeting be-

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How we won that competition

tween them to occur. As the sky is attracted by the earth and generates an inflection in the soil, so a part of the earth is detached from the ground trying to reach the sky. This powerful meeting generates continuous tension states between the two forces. [IMG04_”Chaos, Order, Attraction”_Mograph studio.jpg] A building, as a mountain, a tangible element that rises from the earth to reach the sky, allowing men to do the same. At this point, we had pretty much clear many of our entry’s key-points. The next step was therefore to select the most representative ideas, the proposals in which the concept came out in a stronger way, and to materially fix it to the wall so that we could always see it and always have clear in our minds the final goal: always visible, always with an eye on it. [IMG13_”Earth-Man-Sky, the attraction between these three elements”_Mograph studio.jpg] Design phase: The sketches, the models and the ideas are at this point reworked with a correct sizing of all the functions required by the program, always having in mind a structural basis of the building. We often use 3d softwares or more detailed cardboard models and we find useful to move inside them to better understand what environment people will experience inside our architecture. Sometimes we also take some screenshots of the model, print them and sketch our ideas on them. With the ring shape already in our minds, we started to make several tests on it; we bent the coverage and moved the ground: the attraction between these two layers was beginning to define itself. The Man was finding his own place. Probably one of the strengths of our project is the green roof that refers to the mountain skyline that goes from the city of Xi’An to the nearby province of Sichuan, creating a beautiful succession of peaks and valleys that allows the visitors to approach the building on different levels and to walk through the entire perimeter in a high park that walks over the railways, relinking the two halves of the area. This roof has allowed us to design both independent and linked spaces at the same time, meeting point for diametrically opposite activities such as travel and rest, work and have fun. In a project like this one, a green roof can make a strong and essential contribution to several aspects: there are many advantages, both from an economic, environmental and social point of view. A green roof can visibly contribute to air purification, filtering fine particles and transforming carbon dioxide into oxygen; it helps reduce the external temperature and regulate the internal one, lowering consumption for heating and cooling. The climate in the immediate vicinity of the building and the outdoor temperature are also affected by this beneficial effect; it reduces noice pollution inside and outside the building, constituting a real acoustic barrier; it saves energy and encourages biodiversity, creating the ideal habitat for birds and insects, especially in urban contexts, thus helping to combat the disappearance of animals form inhabited areas; it allows to absorb and drain rainwater by lowering the load of the sewer system. Green roofs are also a key element of a new architecture ready to face climate change: cities produce the biggest part of the CO2 present in the atmosphere. Woods and forests are able to absorb the carbon dioxide produced by our urban centers, reducing

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pollutants and absorbing fine dust. A green environment has also a massive positive effect on human mood, favoring social activities: living and working in a green environment has a relaxing effect, reduces stress, and helps aggregating individuals. At the center of the ring another important element, a huge round garden: this garden opens to the sky and aims to create a new biodiversity, “une boule de nature”, a green beating heart. Each passenger, approaching to the new Xi’An Train Station, will be pushed into a big forest so that trees, plants, water, will be the first elements that the visitors will see from the train. The garden also gives the opportunity to experiment a modern Chinese garden, circled by the sinuous path of the roof.

How we won that competition

that specific context? You won’t always find a clear or certain answer, but this is just a little part of the normal evolutionary process of architecture, which is often made of several mistakes. We need to understand them, develop them, so they will bring us to new ideas. We are really happy that our proposal had the honor to win this competition, and we truly hope that our little experience might help other students or designers that are planning to participate in a challenge as we did almost one year ago.

Execution phase: It is undeniable that over the past years, competitions entries and results are closely linked to graphics. The jury has a very short time to judge countless submissions: we need a clear, strong, direct image, which not only represents our idea but also says all the sensations that as architects we want to provoke in the future visitors of our building. Often there is a very plenty of space in the final panels so we can’t really show all the several parts that compose our project, and it’s also rare that we can go into detail of all those different aspects: we must choose what to show, on which points we want to focus the jury’s attention. This is why we pay attention to the composition of the final boards, which must have balance and hierarchy between the drawings: a main image has the aim to gain people’s attention, then a secondary group of drawings to tell the idea, and finally some smaller diagrams to help the general reading of the project. This attention to the arrangement must also apply to the colors: we think it’s better to avoid a chromatically unbalanced panel. In the end, what really matters it’s to always ask ourselves questions, and, obviously, try to give a plausible answer. There’s not a right or wrong way to do it, as well as there’s not a right or wrong architecture. It acquires a sense only if we have asked the right questions. Everyone is therefore free to reinterpret all of this in a different way; sometimes these issues might be confounding, you will not always find the answer to everything. However, as designers, we have the duty to make important questions: Where are we designing? For who are we designing? What value has our project in

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1st prize

Iceland Volcano Museum Competition

project name

The Windows of Hverfjall authors

Balint Iszak Csenge Gyorgyi New Zealand

Bee Breeders is wrapping up its first country-based architecture competition series, with its third prospective site located in northern Iceland. This international call for ideas tasked participants with proposing a design solution for a Volcano Museum near Hverfjall volcano in Iceland’s Dimmuborgir region. The famed Hverfjall Volcano has a large, circular crater measuring roughly 140 meters deep and 1,000 meters wide, estimated to have been created 2500 years ago by a volcanic explosion. The craters dimensions make it one of the largest on land in the world. Today, two walking paths permit visitor and trekker access to the rim of the crater - one from the northwest, and one from the south. For the Iceland Volcano Museum competition, Bee Breeders sought submissions for a multi-purpose exhibition hall with café and informational space, as a landing point for visitors to the Hverfjall. The intent for this building is to be flexible, the capacity to host 3 to 4 temporary installations simultaneously. The program brief also called for an office complex, with 15 to 20 workspaces, meeting rooms, private offices, and open-plan office spaces for employees. The proposed site, located between Myvatn Lake and the Hverfjall, is stark, yet stunning. A goal for this potential new landmark is to create a place for visitors which enhances the experience of this beautiful natural site.

I

t is cold, windy, and grey outside. After leaving the parking lot behind, you walk your way up to the entrance of the museum. At the top of the ramp, you stop for a moment. The breathtaking view of the Hverfjall Volcano is hovering above the building in the background. As you are descending towards the main entry, you leave the vast scenery behind you for a while. Entering the museum, you feel protected and grounded. You start to wander around, in and out of the exhibition spaces, filled with excitement and anticipation. The building invites you to forget the outside world for just a few spare moments. The subtle semblance of natural light peering from up above and the purposefully directed windows are the only reminders of the surrounding nature. Then the time arrives for your hike to explore the volcanic area. Before you depart, you take a moment to enjoy a perfectly brewed coffee, absorbing the beautiful sights embracing all around.

The submissions took full advantage of this environment not only to locate an exhibition space, but also to design a building integrated with its surroundings. Many sought to re-create the volcano in form, with large circular or conical volumes and crater-like inner courts. Others used volcanic rock or local stone to clad or serve as the structure for the building. The jury, above all, sought clear and sensitive design ideas for buildings that materially and visually connected with the landscape, without artificially attempting to mimic it. Bee Breeders applauds the winning and shortlisted entries below, and to all of the participants that offered design ideas for this Volcano Museum. We look forward to hosting other future country-based competition series, which focus Bee Breeders’ global audience of architects on a specific and unique region, through a selection of local sites that might benefit from new buildings, installations, or design ideas.

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jury statement “The Windows of Hverfjall” describes in its text proposition the experiential entry sequence of the visitor. While the building is an exhibition space, it also serves as a landing point for the region’s many trekkers. It is square in plan and divided into three parts: for reception, exhibition, and offices. The building is low and horizontal in profile with a planted roof and accentuated with a fine steel edge profile. This horizontality is well-balanced by a series of vertical light wells clad in weathered steel. The finish floor of the entire structure is cleverly sunken four feet below the exterior ground plane; this serves the dual function of allowing the sightline of the arriving visitor to be set above the roof plane for direct views of the volcano beyond, as well as endowing inhabitants with the sense of being partially submerged within the ground. The drawings and imagery of this proposition are advanced and beautiful, with a great sense of balance.

The air has a tang of sulphur in it, as if this lovely, pastoral place were about to explode, showering hot lava and ash. And I suppose it might. Then the black desert, vegetation thinned to lichens and little moss, then nothing, save conical mounds of gravel punctuated by boulders, traversed by a road lined with yellow posts for snowplow drivers and to guide cars caught in the frequent dank fogs and sandstorms. Bill Holm: The windows of Brimnes

Myvatn Lake and the Hverfjall volcanic area has an incredible and unique scenery. The intention of the proposed building is not only to house the museum, but to function as the heart of the entire destination. It would become the centre where all the hiking trails begin and end. Additionally, similar architectural elements and landmarks have been arranged throughout the area in order to provide shelter and respite facilities during the hikes, as well as to create a sophisticated and unified built environment. The structure of the building consists of two main parts: a concrete base partially embedded into the ground and a steel roof structure cladded with weathered steel elements. The purity and simplicity of these materials emphasizes the raw beauty of the rough and variable terrain that changes with time. The layering of steel fins enclosing the facade reflects the surrounding rugged volcanic landscape. Reflecting the traditional icelandic building methods, the turf roof not only allows the building to blend naturally into the landscape but also provides thermal advantages in paralell with the sunken footprint.

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2nd prize

2nd prize

project name

authors

Crater II

Christian Kamp Adrian Hildrum Denmark

I

n a fragile landscape formed by fire and frost, just outside Reykjahlio, a new crater appears from the ground. Subtly placed in the Northern Lights Capital. Surrounded by distant horizons, in a humble balance between the harsh geology and Nordic light, we dive below, engaging a new journey in a familiar environment. A circular void is subtracted from the terrain and a new museum emerges. Natural light will paint the tall dark walls and reveal the tactile rammed earth of a looped tunnel. A mysterious space, filled with curiosity, envolving from the ground, surrounding the inner void. Placed as sculptural artefacts, local rock formasions create a constellation inspired from the Dimmiborgir. Visitors are hereby brought closer to the elements around the building. A minimal pollution of light is emitted into the land, leaving northern lights dominating the sky. It is underneath the Icelandic nature it is here one will imagine oneself.

jury statement “Crater II” is a building that takes on the rock formations of its site. The subterranean structure consists of a casted vault set around an organically-shaped, open-air space. The series of images expressing the interior experience are impressive, with elements that are simultaneously gothic, modern, and steeped in antiquity. The project seeks to be encapsulated by the landscape, hidden from view, while paying homage to the nearby Hverfjall. The details of construction are not clear (is it intended to be natural rock, concrete, or both?). Yet the concept is striking and strong. One could only hope that such a project might achieve this level of integration.

In exhibition The circural hall directs onces movements through a series of light and shade, providing a diverse, yet whole experience of moving in a volcanic environment. The evolving void is naturally lit, creating an orientation of glow and darkness for visitors. The genuine materiality forms an atmospheric homogeneity, evoking the feeling that the space never ends. A trigger of ones imagination. Wandering around in the tunnelscape, the walls of rammed earth give the illusion of the room carving itself out of the dark rock. Towards light Laying on a table, hanging om a wall, placed on the ground – installations differ in size and matter, so does the context of its presentation. Differing sequences of dimension and mood, and contrasting feeling of inwards and outwards, form a changeable experience that directs one through the caves to the light. In a constant relation to the surroundings, the building holds versatile functions, as a modern cultural facilitator in the barren landscape, where the sky is not the limit, ot is the beginning.

The aubterranian structure, consists of a casted vault, curving it’s a king an organic ring, resting on dense walls of rammed earth. Openings in the walls are framed in wood, holding structural concrete beams. The glass of the windows rests in thin sills, making a sharp and clean contrast between the smooth reflective surface and the rough absorbing walls. The dimensions of the spaces differ depending the internal programs. The exhibition holds a tall, almost gothical, vault, while workspaces and amenities have more intimate atmospheres. Everyday Behind the tall walls of the cave, one finds the backbone of the museum. The facilities of the people working in the new crater, are organized on the outer ring, opening up to the surrounding landscape. While still in relation to the exhibition, workspaces for employees form a hall, divided into somple private sections, creating operational light solutions. On the edge of the cave, where exhibition and workspace meet, one finds oneself in the restaurant – here visitors and employees can experience the view to the far horizon a well earned break from the underworld.

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3rd prize

3nd prize

project name

Hverfjall Volcano Museum authors

Artur Chyra Malwina Wojcik Poland

H

verfjall Volcano Museum sets out to be an integral element of the beautiful natural setting of the Myvatn region of Iceland. With respect and connection to nature deeply embedded in Icelandic architecture, Hverfjall museum endevoures to embrace the form of architecture as a manipulation of landscape. We use a local material to create form, we raise it to create shelter, we break the form to let the sun in, we create opening to invite the outdoor beauty in.

The concept The main idea of the project is to create a permeable form, which through introduced ‘ breaks ’, shapes meaningful visual connections with surrounding nature and enable the user to admire the stunning volcanic landscape from outsidein as well as inside-out. Resultant building consist of solid, defined elements contrasted with lighter, glazed surfaces. This allows quality sun access to spaces inside whilist maintaining retaining a defined, solid structure of the building, capable of providing thermal comfort during cold weather. The main entrance has been aligned with the location of an existing on site path on site and emphesised as the central ‘break’ and a main viewpoint capturing the Hverfjall Volcano. Spatialy, it provides a clear distinction between public space, comprising the entrance foyer, multifunctional hall and the café, and private space comprising the office component and building services and facilities. Structure & materials The buildings materiality is influenced by rock formations of the local nature as Icelands volcanic landscapes and glaciers. The main structure is made from of off form concrete which is proven to respond to Iceland’s cold climate and Locally sourced lava stone is used as external cladding materials. The proposal exposes the textures and visual qualities of materials which resonates with the surrounding volcanic rocks and integrates the architecture with natural context.

jury statement This project is defined by seven linear, opaque masses oriented towards the Hverfjall, and linked by transparent glass elements. The result is a porous building that is visually reduced in scale. Each of these transparent links provides views to the surrounding site. Its main entry is aligned to the existing site path for accessing the volcano by foot, and this central axis divides the ‘private’ office program from the public exhibition hall. The exhibition spaces are intelligently planned according to the building’s linear strips, but with partial divisions that allow easy and flexible visitor flows among them. A ‘foyer’ space buffers the exhibition hall from the south facade, and so allowing a separate space for viewing the volcano while providing perimeter circulation. The building is topped by a series of beams that form a top-lit grid. This designer has proposed a project that functions well while using local materials in its construction.

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BB Green Award

BB Green Award

BB Green Award

project name

Promenade authors

Sergi Pérez Muñoz Belén Rodríguez Vázquez Spain

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he project aims at highlighting its environment, creating a route that emphasizes the landscape and seeking a smooth fusion with its context. Also, it is intended to be a meeting point for the interest places close to it. The museum form is dictated by the location, its regular shape contrast with the expansiveness of the surrounding, setting an icon in the location. The volumes, which evoke the contours of the volcanoes, invite the visitant to reflect upon the landscape. In order to achieve a blend of the building with the environment, the materials are chosen accordingly, giving to the building a heavy and monolithic aspect. In addition, part of the programme is undergrounded to minimize the visual impact while providing privacy to exhibition halls. The proposal attempt to create a promenade that offers the visitor a unique experience. That path starts from the outside of the building and is extended towards the interior. In this way, the parking is located at a relative distance from the museum, allowing the visitant to appreciate the impressive views of the landscape. Once inside of the building the path continues around the courtyard, which is the central element of the projects. This void, fills with light the building, becoming another part of the programme and hosting a temporary exhibition hall, which can both be viewed from the inside or to enjoy during the summer. The circulations are made allowing flexibility and distinction of uses. The museum, café and offices can operate independently and have their own accesses.

The project materiality, not only seek to mimic with the surrounding but also, so have the minimum environmental impact. Sustainable materials are the main preference, which reduces CO2 emissions and can be reused after the end of the buildings life. We proposed the wood as the main element, using it for the cladding façade and for the main structure. It is combined with concrete floors and plaster coating for interior walls, with the aim to offer durabilitu but also light and soft atmosphere.

Doubles spaces adhere to the courtyard, giving the feeling of breadth. Beginning with a sculptural solid mass, we carved selected incisions and voided, creating interstitial spaces that connect the building vertically through the light. The stairs are placed in these spaces, midway between interior and exterior. Thanks to that, the vosuals they generate allow the visitor to easly understand the building. While reaching these interstotoal spaces, the promenade provides a variety of spatial experiences through scale, light and shadow.

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Honorable Mentions

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project name

project name

Iceland Volcano Museum

Hverfjall Volcano Museum

author

authors

Craig Nener

Tony Jemmott, Ruairi Roberts, James Cameron, Chris Wardle

Australia

Australia

project name

project name

project name

project name

Iceland Volcano Museum

A House For The Mind

The Core

Tektonik

authors

authors

authors

authors

Michał Gawron Łukasz Gąska Marta Sowińska-Gąska

Ignacio Perez Pablo Menéndez Héctor Termenón

Natalia Kędziorek Bartosz Karasiński Dawid Krzeszowiec

Agnieszka Baszak Paweł Danielak Bartłomiej Bruzda

Poland

Spain

Poland

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How we won that competition

How we won that competition

How we won that competition authors

Balint Iszak Csenge Gyorgyi New Zealand

Iceland Volcano Museum is the first international competition we have entered. Before this, we only participated in national competitions, as competing against the whole world felt intimidating. We couldn’t believe it when the results were announced, and we realized our proposal won the first prize. Here is a little about us and a brief summary of our design process. Team We both studied architecture and met at the Budapest University of Technology and Economics in Hungary. A couple of years after graduation we decided to move to New Zealand so that we could experience different architectural approaches and explore the abundant beauty of this country. Choosing a competition We have always been fascinated and inspired by architecture, and from time to time we like to challenge our ideas through competitions. Both of us work full-time for different architectural practices, where our ideas and the design process are guided by our mentors. We find these competitions are an excellent opportunity for us to see what we can do on our own, without any guidance or influence. We believe it is important to select a competition that excites you and which you can relate to in some way. In this instance, it was the pure power of nature that we could easily relate to from living in New Zealand. The question we tried to answer was how can we harmoniously place a building into such a beautiful and vast area, and how can this add something extra to the visitors’ experience. This was the core idea that we always returned to during our design process.

landscapes. There are seven different volcanoes just within this area so the presence of these ancient natural elements was a key reference for us from the beginning. What we were missing was a central element that could connect and organise all of these activities. This was not part of the brief, but we found it important to imagine this building not only as a museum but as the heart of the area, and where all the walking tracks and tourist activities could start from. Our idea was expanded to create a sophisticated and unified built environment so the visitor would have the feeling the different buildings architecturally belonged together. At the beginning of our design process, we always do a lot of research on the site, its history, local architecture, and the climate etc. These early studies help us to make sure we are heading in the right direction with our design. Once we familiarized ourselves with the site and Iceland`s natural beauty, we started to put our first ideas on paper. First sketches, initial ideas Sketch is one of the first sketches we made. We were trying to find a connection between our proposal and the environment. As the site is situated in a beautiful natural environment it was clear from the very beginning that the main feature was nature. Our aim was to place the building with as little impact on the environment as possible. Instead of one big mass, we liked the idea of breaking down the building into several smaller scattered elements. This reminded us of the surrounding landscape and the formation of the volcanoes.In order to reduce its visual impact on the landscape, and also to provide protection from the extremely harsh Icelandic climate, we were excited about the idea of having the building sunk into the ground. The intention was to achieve a feeling where the visitor would feel grounded and astonished by the forces of nature. The following sketches show some scenarios for the sectional sequencing we played with. They explore slightly different approaches in terms of massing, but all of them show the building only partially buried into the ground as we found it important to maintain some visual presence for the museum. Returning to our core idea: we wanted to offer the visitor a new, special relationship with the surroundings as well as showing them the landscape from a unique perspective.

Site and surrounding area The site is situated towards the north of Iceland. The main feature of this area is its volcanic and geothermal activity. The area is full of opportunities and activities for visitors. Natural baths, caves, walking tracks around volcanos, lakes and vast, endless

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Instead of completely opening up the building towards the scenery, our aim was to frame certain cutout views in order to help the visitor to focus on the most astonishing parts of the volcanic area. The following reference images illustrate a similar effect we wanted to achieve. Arrival experience As shown on sketch, to make the arrival experience more dramatic we not only buried the building into the ground but also rotated the axis of the entry towards the volcano. This provides undisturbed panoramic views of the volcano right before the visitor descends towards the museum entry, while the exterior world slowly disappears. Our intention was to offer the visitor a visual connection with the surroundings before entering the museum. Rotating the axis was beneficial for the design in another way as well. As we started to sketch ideas how to position the building on the site, we found it challenging to accommodate 100 carparks and 10 bus parks. Rotating the axis helped us to create a buffer zone between the main road and the building in order to separate them visually. We designed part-height retaining walls, functioning as ribbons, along this zone. Their purpose was to collect visitors from the carpark and lead them towards the entry. Plan From the beginning, we tried to create a clear separation between the different functions. The entrance hall and the café are situated in the middle, separating the office space from the exhibition space. This separation is further emphasized by locating all the service areas on each side along the middle axis. We experimented the most during this part of the design. While keeping the idea of dividing the plan into three main parts, we explored several different options during the design process. In one option we imagined the three main functions as the continuation of the ribbons from the carpark, resulting in a more dynamic layout. In another version only the middle element is fluid and the other functions on the sides are just simple rectangles. Sketch shows a completely different arrangement of several boxes connected with a perpendicular corridor. In the end, we moved away from the angled forms to a simple rectangle with a grid overlaid on top. The skylights were placed on top, based on the same grid pattern. Due to the angled form of the skylights, snow won’t be able to sit for long, so they will always reveal the building below no matter what time of year it is.

How we won that competition

Drawings Before beginning to refine our drawings, we roughly started to populate our sheets to decide what we would like to present and what were the key elements of our design. We usually progress the visuals from the beginning, as it takes quite a lot of time to achieve the right mood. We believe it is important to have a clear idea of what to show to the jury, as this is the only way you can communicate with them. This is why we like to keep our sheets simple and not overwhelmed with a lot of information. Materiality The structure of the building was separated into two different parts. A concrete base partially embedded into the ground and a steel roof structure clad with weathered steel elements. We focused on materials which could be used in their raw state. The purity and simplicity of these materials emphasizes the beauty of the rough and variable terrain that changes with time. We found it fascinating to consider not just how the building can affect its surroundings but also how its environment can change the look of the building. Concrete and weathered steel are not only robust enough to withstand wear from everyday use, they are also effective against the harsh Icelandic weather conditions. By adding an extra layer of steel fins to the façade we wanted to reflect the surrounding rugged volcanic landscape, as well as making the elevations homogenous. The building’s texture, the form of the skylights and the detailing of the weathered steel elements give a unified look to the small scattered elements along the walking tracks. Finally, here is a brief summary of what we found to be important while doing a competition: 1. Choose a competition you can easily relate to. 2. Start thinking about the visuals and the presentation boards from the beginning. 3. Try out as many different options as you can. If you work in a group, question others and also your solution. Sometimes even after months of design, you might have to start all over again. 4. Do not be afraid to use reference images, as long as you can integrate them nicely into your design. 5. Be brave and experimental.

Section Concurrently with the plan studies, we were exploring different sectional options. What if the skylights and the boxes were the same material as the roof and the roof was floating above the concrete volume buried in the ground? Should the roof be curved? Should we completely submerge the building so that people could go on top of it? We were seeking answers to questions like these. In order to make rooms viable and functional it was vital to solve how to provide natural light. The following sketches show our early thoughts on what options the submerged floor offered us. However, in the museum, where direct light is not necessary, skylights would provide sufficient light.

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1st prize

project name

Skyscraper Competition 2021 eVolo Magazine is pleased to announce the winners of the 2020 Skyscraper Competition. The Jury selected 3 winners and 22 honorable mentions from 473 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.

Epidemic Babel: Healthcare Emergency Skyscraper

authors

D Lee, Gavin Shen Weiyuan Xu Xinhao Yuan China

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he Epidemic Babel is a rapid-deployment health care skyscraper designed as a response to the current Coronavirus pandemic that originated in Wuhan, China. The project takes into consideration that an epidemic outbreak is usually fast, leaving no time for governments and policymakers to react. Under these harsh circumstances, a weak healthcare infrastructure will soon be torn apart turning the epidemic into a deadly catastrophe. The Epidemic Babel features two very important advantages: simple construction and rapid response. The entire building consists of a steel frame with several functional boxes with a very small footprint. The building pattern is simple enough that

The FIRST PLACE was awarded to EPIDEMIC BABEL designed by D Lee, Gavin Shen, Weiyuan Xu, and Xinhao Yuan from China. The project envisions a rapid-deployment healthcare skyscraper for epidemic outbreaks. The building consists of a steel frame in which pre-fabricated programmatic boxes would plug-in according to specific demands. The recipients of the SECOND PLACE are Yutian Tang and Yuntao Xu from The United States for the project EGALITARIAN NATURE. The proposal imagines a man-made vertical park for recreational activities within high-density urban areas accessible to all its inhabitants. COASTAL BREAKWATER COMMUNITY designed by Charles Tzu Wei Chiang and Alejandro Moreno Guerrero from Taiwan received the THIRD PLACE. The project envisions a vertical housing community for fishermen in St. Louis, Senegal where rising sea levels have forced the inhabitants to move inland. The proposal is inspired by the traditional wooden architecture- a system of pillars, arches, and tensile structures. The Honorable Mentions include a skyscraper for terraforming the permafrost, a proposal for repurposing decommissioned airplanes, a vertical cyber-mall, a waterscraper, and a reforestation skyscraper among other innovative projects. The Jury was formed by Berrin Chatzi Chousein [Editor-in-Chief, World Architecture Community], Alper Derinboğaz [Founder, Salon Architects], Jürgen H. Mayer [Founder, J. MAYER H. and Partner, Architekten mbB], Manuel Navarro Zornoza [Principal, Latitude Architectural Group], Michael Neumann [Principal, Synn Architects], Ryuichi Sasaki [Founder, Sasaki Architecture], and Lu Yun [Founder, MUDA Architects].

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1st prize

1st prize

any qualified construction team can have it ready in five days. Once the steel frame is erected, the healthcare team will choose the appropriate functional boxes to be attached to the steel frame. This building pattern allows the skyscraper to respond to the outbreak in a very short time and relieve the burden of the existing health care infrastructure. All the programmatic boxes are pre-manufactured in factories and need no extra time for construction. The lightness of the frame and boxes also makes it easy to transport to remote locations. Compared to the temporal hospitals currently built in China, the Epidemic Babel is faster to construct and potentially less expensive.

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2nd prize

2nd prize

T project name

Egalitarian Nature: Vertical Green Park For Urban Areas authors

Yutian Tang Yuntao Xu US

he Egalitarian Nature skyscraper imagines a new building typology driven by the human urge for nature instead of capital. It is a new kind of infrastructure conceived to serve the whole society. The traditional skyscraper is reimagined as a mountain range that provides a new way to experience nature within an urban environment. A zigzag-climbing path is developed along with abstract spaces that encourage an unexpected engagement between people and nature. Accessing the tower is not decided by capital but individual physical strength.

Freedom of space “The distance between man and man which generate the way in which people gather and therefore ‘the place’: if a person is alone the place is a small room; if they are two together it is a larger room; if they are ten it is a school; if a hundred, a theater; if a thousand, an assembly hall; if ten thousand, a city; if a million, a metropolis…” –Superstudio.

Another nature This design proposal explores a new possibility of tower typology and lifestyle in a high-density urban environment by rethinking the relationship between humans and nature. In future city planning, the existing free land may not be sufficient for building parks or gardens. However, the need for these areas is imperative and this skyscraper provides the opportunity for large green spaces within a small footprint. The tower is a combination of nature and a man-made environment. It is conceived as a vertical mountain in the center of a city: a mountain for all the people to hike or climb.

Spaces within the skyscraper are in total freedom and flexibility. From one space to another space, from one surface to another surface, there is no difference. Places are only dependent on the distance between humans and their relationship with spatial volumes. The continual human movements and interactions give each space a programmatic meaning.

An egalitarian object Since the skyscraper was born it has always been an instrument for the privileged. It is an object of power and a symbol of wealth. Air rights have become the new scoring point in the game of capital. The chase of height never stops and this unfair situation will never change until a new type of skyscraper shows up, not driven by capital but driven by nature. This skyscraper offers the entire society a fair opportunity to engage with a new vertical green space. The accessibility will not be granted by financial status but by the physical strength of the individual since there will be no elevators.

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3rd prize

3rd prize

project name

Coast Breakwater: Vertical Community In Senegal For Rising Sea Levels authors

Charles Tzu Wei Chiang Alejandro Moreno Guerrero Taiwan

S

t. Louis, Senegal, located in the northwest part of the country, near the mouth of The Senegal River, has been home to fishermen for generations. It is a hostile territory where there are constant confrontations with the neighboring countries regarding the established fishing boundaries and territories. In addition to the political and social problems, the region is affected by the rising sea level. Such natural phenomenon has forced the community to move inland, away from the shore. This proposal is based on traditional pillar structures, which are used to prevent erosion. These structures will serve as a foundation for the new vertical housing units. The project is also inspired by Senegal’s traditional wooden architecture that uses a complex arch system with tensile structures. The system allows a high degree of adaptability and extendibility to create a new community by the sea challenging the rising sea level.

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Honorable Mentions project name

project name

project name

project name

project name

Drilling Water-Scraper

Pandemic Emergency Skyscraper

Tesseract Skyscraper

AlgaeComb Skyscraper

RootScraper

authors

author

authors

Ngo Thanh Ha Tien, Dao Duy Tung

Bryant Lau Liang Cheng

South Korea

France

Singapore

Ju Hwan Lee, Jin Ah Kim, Jong Min Choi

authors

Xuejun Bai, Chucheng Pang, Lei Zhai, Yuyang Sun, Dianao Liu China

authors

Beomsu Kim, Sanghun Kim

South Korea

project name

project name

project name

project name

project name

project name

Floating City

Reforestation Skyscraper

The Boeing 737 Max Tower

Blooming Tulou Skyscraper

Tree Of Life Skyscraper

McFashion Skyscraper

author

authors

authors

author

authors

Thomas Gössler

Victor Hugo Azevedo, Cheryl Lu Xu

Jiang Donglin, Yue Kaiyun, Tian Shaohong, Dai Mingqi, Ma Xinyue, Zhu Yilong

Finbar Charleson

Jingxuan Yang, Jingwen Na, Tianhao Wu, Hangyi Guo

authors

Zijie Nie, Chen Shen, Jian Zheng US

Austria

USA

UK

China

China

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Honorable Mentions project name

project name

project name

project name

project name

project name

New York Customized Edition Skyscraper

Regenera Skyscraper

CarbonFloss

Fill The Gap Skyscrapers

Mudtrapper Skyscraper

Vertical Tidal Settlement

authors

authors

authors

Zhong Chen, Wenheng Wang, Gengshen Zhai, Naiqiang Yu, Peng Zeng

Surush Ameli, Sharareh Faryadi, Laya Rafianezhad, Soroush Attarzade

China

Iran

Xiangyu Zhang, Jingwei Tang, Qiuyuan Yang, Linxiao Li, Pengfei Li

authors

Alberto Roncelli Italy

author

Adham Sinan Abdallah Hameedat Palestinian Territories-Bethlehem

authors

Taiming Chen, Zhendong Long

China

USA

project name

project name

project name

project name

Stockholm Mill Skyscraper

Magnetic Space-Scraper

Tubular Bioreactor Algae Skyscraper

Breed: Forestation Skyscraper

authors

author

Yiran Fu, Zhen Meng

Adam Fernandez

authors

author

Johannes Schlusche, Paul Böhm, Raffael Grimm

Yahia Ahmed Yahia Kheder

China

France

Austria, Germany

Egypt

project name

Taobao Tower authors

Gu Jiaxi, Zuo Minghao, Mu Rongxuan. Feng Gang (Tutor) USA

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How we won that competition

How we won that competition

How we won that competition authors

D Lee, Gavin Shen Weiyuan Xu Xinhao Yuan China

Questions Despite the simple idea which came out of a group of students’ passion for solving social problems, we still needed to consider the design practically. According to the conclusions drawn from the charts mentioned before, we can easily tell that on the way to a mature design lied some key problems listed as below: 1) How to construct a building featuring medical functions in a short time after a abrupt outbreak of epidemic? 2) How to satisfy the diverse requirements under different circumstances. 3) As a skyscraper, how to take advantage of as less land resources as possible while serve a wide range of citizens? 4) How to quickly dismantle the building once the issue is tackled? Or even how to reassemble the building if there was another epidemic burst? All of those questions will be answered in the section of designing process. Designing Process (1) Inspiration To answer the problems mentioned before, we needed to come up with an appropriate construction form, which laid the foundation of all the designing process. Dramatically, we got our inspiration from a video game: Hideo Kojima’s Death Stranding. To be specific, the communication tower inspired us.

Backgrounds As juniors, it is actually a challenge for us to participate in competitions like eVolo. After a few discussions, we came to an idea that organized the floors of skyscrapers in the form of traditional Beijing Hutong courtyards, which tried to explore the possibilities of old Chinese buildings in a vertical dimension. After one-month hard work, the delicate and complex construction details really frustrated us. At the same time, the COVID-19 burst in Wuhan and quickly spread to the whole China. All of us were quarantined. Trapped in such a harsh situation, the idea were naturally put forward: why not design a skyscraper solving the problems of epidemic? And that is the very beginning of our project.

The communication tower, which is used to connect different regions in the game, features characteristics that can answer our questions very well. First, the tower is simple in terms of structure, which allows for the possibility of quick construction. Second, the tower is often dismantled into a pack. Then we can carry it to another region and reassemble it. Third, the form of tower requires a little land resources and fully stretched in the vertical dimension. However, such high-tech towers are something beyond current construction skills. But we could find similar constructions in real life. The signal tower for mobile communication came into our minds.

Analysis Based on the idea, we certainly needed to get the knowledge of COVID-19 and information of epidemic in China. What needed to be stressed is that the information itself is not the core of our analysis. We focused mainly on the damage COVID-19 dealt to the country and people, its spread pattern and time of its development. After sorting out statistics generating by the official, we got some charts listed as below: Those charts showed different aspects of the harsh situation back at that time: timeline of its development, daily added infectors, infected areas and trend of virus spreading. We drew several key conclusions from those charts. First, within a few days the number of infectors grow exponentially, bringing much burden to the domestic medical system. Second, the virus is highly infectious. It was spread to the whole China through Spring Festival travel rush. Third, such burst of epidemic did do much damage to the economic of a country, which certainly needed to be addressed as soon as possible.

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How we won that competition

How we won that competition

The signal towers, which are mainly supported by steel frames, features all the advantages mentioned before. Besides, the signal towers can carry different units according to certain requirements, which is a perfect prototype for our project. Therefore, we came to a basic construction model inspired by communication towers and signal towers: a tower supported by steel frame with functional boxes attached to it. As to the tower, there is still a question to be answered: in which form should the tower be presented? We considered it as a double helix. Double helix, the form of DNA, represents the mystery of life. Besides, it is a relatively stable construction if applied to a tower. We hoped this tower will clarify how the viruses work and cure the pain of patients. A double-helix tower supported by steel frame with functional boxes attached to it, that was the achievements of the second stage in our design. (2) Deeper Considerations Since we had got the construction form, what we needed to consider was how the tower worked. First of all, the steel frame structure should be reasonable. It was nothing but difficult, since the double helix was really beyond normal recognition. Relying on basic structure knowledge and a little imagination, we came up with something like this: The core of the steel frame is the truss structure. Extended from the main truss are cable poles and X-shaped steel frames that support attached functional boxes. Such structure, which is light and easy to assemble and dismantle, is something imaginary. But it did fit the theme of eVolo skyscrapers competition; explore new possibilities of skyscrapers. Function came after structure. On the basis of the designed structure, we arranged the functional boxes. Naturally, traffic goes to the core and functions follow the inside-out arrangement according to the openness and importance. But what is different is that all the functional boxes can be torn down and replaced by another one with a different function, which

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satisfy the different requirements under the specific circumstance. We also needed to provide a suitable environment for the patients and doctors, so we took the air circulation systems and energy transmission of the building into consideration. Generally, the principle of green design was established on recycling environmental resources. Above all that has been mentioned, the most important part of the tower is the quick construction process and convenient dismantle-reassemble cycle. Within five days, a tower with modern medical facilities can be built in response to the outbreak of epidemic. Once the problems are solved, all parts of the tower can be dismantled into different units. And with drones or planes transporting them to another city, the tower can be recycled. (3) Answers to the questions After those steps, we gave answers to the questions we raised before: 1) How to construct a building featuring medical functions in a short time after a abrupt outbreak of epidemic? By using light steel frames and pre-manufactured functional boxes, a quick construction is easy to achieve. 2) How to satisfy the diverse requirements under different circumstances. By choosing appropriate functional boxes according to the specific situation and replace them with another one, the tower can adapt to all situations. 3) As a skyscraper, how to take advantage of as less land resources as possible while serve a wide range of citizens? By choosing the form of tower with a small land print. 4) How to quickly dismantle the building once the issue is tackled? Or even how to reassemble the building if there was another epidemic burst? The units of the tower are all integrated units, which allows for a quick demolition. The units are all light and easy to transport by drones or planes.

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How we won that competition

How we won that competition

(3) Design results Here are the results of this whole design process. Reflections In fact, we could easily admit that time for this design is quite short, about twenty days. And it never occurred to us that we would achieve something great in such a short period. After several months, when we reflect on those days, what lessons could we get? 1) Connect the design with the urgent social needs. We will never claim our work itself is the best. But it does put forward a new proposal of solving the urgent social problem: the outbreak of COVID-19. Architects and designers are meant to use their design to solve real-life problems, instead of purely showing off. 2) Think practically. While consider solving problems, we should never forget thinking practically. A utopian scheme is attractive, but it will never work. Designs that go through practical consideration are keys to solving problems. 3) Green design is always needed. Despite all other aspects, green design is always important nowadays. No one want something that consume too much energy. That is our story of winning eVolo. we hope it will inspire passionate youngsters aiming to solve problems with their design.

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project name

Priscina Mirabilis authors

Simone Baccaglini Marco Agosti

Re-use The Roman Ruin – Piscina Mirabilis Piscina Mirabilis is a Roman reservoir built by Emperor Augustus in the 1st century AD, in order to feed with drinking water the headquarter of his western Mediterranean war fleet. It was dug out a tuff hill, and it is based on a regular grid of pillars and arcs.The vaulted reservoir is 15 metres high, 72 metres long, 25 metres wide and features 48 brick pillars. The large stone cistern stored water from nearby Lake Miseno and fed it to a naval basewhere the emperor’s armada were stationed. The site is on the eastern edge of the crater lake which sits on top of a natural rock formation and was formed by an ancient volcano that is no longer active. Pliny the Elder and Younger were both stationed here during the Mount Vesuvius eruption of AD 79 and it was used as a plot location in the film Ben Hur. Participants of this competition were asked to reuse this space as a Contemporary Art Museum. When we followed the locals’ help-request to organize this context, we immediately realized that this magnificent reservoir is a unique space in the world. It is a kind of underground cathedral and it has been forgotten as a ruin for so many centuries that it would be absolutely unexpected for local people to see it finally alive again. The idea of holding an international contest had the goal to shake architects’ and designers’ collective imagination. Observing the submitted projects, we noticed some very interesting common ideas between the winning projects. Everybody understood that this underground space has the same spiritual power of a Cathedral, and its appeal is instantaneous. The mysterious interior atmosphere combined with the physical simplicity of the grid are two elements that the selected participants captured and synthesized in a very creative way. This is why we appreciated that a lot of teams looked beyond the melancholy and evocative nostalgia of the ruins, and they bravely proposed fresh visions for an actual contemporary reuse. The jury has chosen, as winning projects, proposals who showed a deep knowledge of the artefact, who demonstrated to be aware of its complexity, and felt respect for it. The winners showed how a new intervention, operating with an approach of distinguishable layering, must belong to the contemporary realm of architectural language, responding to present day necessities, but it should also be felt in continuity with the historical narrative of the building.

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Italy

P

iscina Mirabilis is a wonderful space, an immense hypostyle hall punctuated by imposing columns; these support vaults which bring light in. It is a beautiful container not designed to be inhabited, but to be filled with water. Impressed by the great fascination of the reflections generated by the light that hits the water from above, we tried to find a contemporary strategy to place at the centre the role played by water in this building. Thus, the secondary functions are collocated in the two-storey metallic structure, which inserts itself in four perimetral aisles, leaving the main central space to the full-height exhibition room. In the central part, a transparent fabric covers the cistern and shapes its space: light effects are countless and the presence of tie-rods, which sustain the fabric and adjust on the metallic structure, ensure the utmost flexibility. Artworks settle to the bottom, like debris on the seabed, and visitors can “float” at various heights and deeply experience the works and the cistern itself. In this way, visitors come to know the cistern from different heights and the individual spaces can even be opened for night events. The roof is the most “informal” part, where the museum faces the context, arousing amazement and making the museum visible from afar. On the Roman ruin there are two super modern largescreen displays which indicate the current exhibition, the weather forecast and at night it can become an open-air cinema; the antenna is a meteorological station which shows the turnout (so that those who are in Bacoli can get organized in order to avoid queues and gatherings). The square can be used for conferences, cinema projection and parties, thanks to the semicircular pavilion in which bars and restrooms are located. The design strategy is totally reversible without in any way affecting the Roman Ruins. Territorial Strategy Piscina Mirabilis is a new cultural engine for the activation of a new archaeological path in the footsteps of the Augusteo del Serino Roman Aqueduct. The antenna becomes a reference point and a strong attraction for everyone. The Cistern is no longer a hidden place destined to be forgotten, instead it returns to be the landmark of the city.

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1st prize

1st prize

pavilion

pavilion A

auditorium configurations

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section B

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2nd prize

2nd prize

project name

Priscina Mirabilis authors

Alessandro de Cadilhac Lorenzo Gaveglio Italy

I

sotropy and flexibility. The exhibition itinerary of the new museum Piscina Mirabilis develops without providing a monodirectional path, preferring instead a visual, spatial and movement experience in every direction. This project has been developed with the intent to preserve the original spaces and proportions of the ancient Roman cistern. The sole internal volume is a large wooden staircase, which allows the viewer to observe the cistern and the exhibition from multiple viewpoints. The light-coloured stone interior flooring is designed to include a modular system that can accommodate the various devices used for the exhibition. The rest of the project is developed outdoor, and it is based on four main items: a tower-mirador, a large public square, a bar-restaurant, and a bookshop. The tower demarcates the intersection where the entrance to the museum is located and acts as a visual and signalling landmark. On the inside-at the street level-the tower encapsulates the reception and a small office. The summit of the tower can be comfortably accessed from the entrance situated at the terrace level and allows the visitor to take advantage of the breath-taking panoramic view of Golfo di Pozzuoli and Vesuvius. The large public square is placed above the cistern’s roof. The pavement is partially lifted to ensure that the Roman remains underneath be fully preserved. The square grid flooring is developed to perfectly match the modules of the pillars and the skylights beneath. This warp creates a chessboard of glass panels, placed over the skylights, and wooden panels, placed over the structural part of the cistern. This ensures visual continuity between the square and the museum below and proper natural lighting for the exhibition.

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staircase

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2nd prize

2nd prize

plan

section

entrance 154

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3rd prize

3rd prize PP0418

P I S C I NA M I R A B I L I S

project name

Priscina Mirabilis

Miseno Lake

0.15 km Pennata Island

0.30 km Tyrrhenian Sea

When a new exhibition is set up the Piscina gets emptied all the way and gets filled up again with the water before it opens its doors to the visitors. In this way, we ensure constant maintenance of the space. In order to reply to the necessity of displaying  different typologies of contemporary art pieces, the Piscina includes four kinds of scenarios :

1. The Room

authors

Maura Pinto Piervito Pirulli Italy

T

he approach to an architecture like this one must be based on respectingits memory as a ‘laica basilica’. Piscina Mirabilis is a monumental romanproject that doesn’t need any superfetation. The functionalization of thisspace starts with the recovery of the element that represents its root, thewater. The aim is to quietly insert the project, restoring and respecting theoriginal beauty and function of Piscina Mirabilis, both inside and outsidethe cistern area. Suddenly, the sensory aspect takes place instead of theform, through the installation of full-height mirrors, between the 10th arches row from the main entry, which splits the exposition area from thesupporting space and gives the visitors the impression of witnessing an‘untouched basilica’, reflecting the space in front of it. Besides, the conquer of its height to appreciate the importance of the structure at differentlevels becomes the second main protagonist.

A.

B.

C.

A. Upper Level - Panoramic view B. Middle Level - View Point C. Lower Level - Washing Basin

Exhibition Exit Tower Entry / Exit Panoramic Point Garden Exhibition Entry

UPPER LEVEL

Entry 2.

Reception

2.

Host

Audience

4.

A

There are some operas that need an enclosed space and balanced use of light and shade. The room is a gloomy box with a low ceiling, dominated by a sense of enclosure, where glowing artifacts, such as Dan Flavin’s masterpieces, can bright this dark space and be reflected in the surrounding water. 

and on the central exedra. Just before the passage through the mirrored surface, the paths are re-connected by a transversal one which leads to the longitudinal walls, where delicate supports find their place between the columns, to locate the operas. Beyond the mirror,  an additional core element of the project takes place, the spiral stair. This one, built into the biggest existing hole, links the 3 levels ( lower, middle, upper/outdoor) and turn  into a ‘shy tower’ when it pops out from the  indoor  area. A panoramic terrace sits on top of the staircase, becoming an observatory point to admire the surrounding . In this second area, the bathrooms and the storage area take place, as well as the conference space, interpreted as an ancient theatre where people can sit on the ‘klimakes’. The core of this second part of the building is the ‘fonte’, a double-height space, used as a bookshop, where also the people on the first floor can look at. The first-floor hosts the administration office and the bar / restaurant, whose accessibility is independent of the exposition area and guaranteed by the spriral stair at the garden level.  The external surface retains the existing central holes to bright the corresponding path at the museum level. These ones are collected into a pool and are often provided with protections that prevent the water to fall into them and, in some strategical points, left protection-free to create an atmospherical waterfall into the space below.  The upper level is mostly used as space open to the public and represents that element that completes a green belt made of the wood area at South- East and the ‘Villa Comunale’ at North-West. The light metal structure with a growing-vegetation on it, that follows the location of the existing coloums underneath, is used to create a natural corridor to provide shades to the visitors and a clear path to entry into the restaurant, theatre and the spaces below. A project created to preserve, not to change or astound.

The approach to an architecture like this one must be based on respecting its memory as a ‘laica basilica’. Piscina Mirabilis is a monumental roman project that doesn’t need any superfetation. The functionalization of this space starts with the recovery of the element that represents its root, the water. The aim is to quietly insert the project, restoring and respecting the original beauty and function of Piscina Mirabilis, both inside and outside the cistern area. Suddenly,  the sensory aspect takes place instead of the form, through the installation of full-height mirrors, between the 10th arches row from the main entry, which splits the exposition area from the supporting space and gives the visitors the impression of witnessing an ‘untouched basilica’, reflecting the space in front of it. Besides, the conquer of its height to appreciate the importance of the structure at different levels becomes the second main protagonist.  The contemporary art exhibition is entirely visitable by a pattern of paths surrounded by the water, that recover and point out the directional development of the space. The operas are always set in different ways using the natural peculiarity that the several conditions this place offers. The echo, the falling drops sound onto the water, the strips of natural light are used as an element in support of the artifacts and method to lead the visitor through the exhibition. The central path represents the pivot of this organism. At its left end, the visitor is attracted by the glow that comes from a mirror-cladding box ( with a terrace on top) where the low light level creates an emotional environment for the glowing masterpieces of artists such as Dan Flavin. Continuing along the leading path, approximately at the middle point of the system, where the change of the water depth takes place ( know as ‘Piscina Limaria’ ) the visitor is invited by this alteration to stop and follow the transversal direction ( the Basilica’s ‘transetto’ ) to observe free-standing operas, like the Edoardo Tresoldi’s statues, placed on four islands

Villa comunale

3.

3.

3.

3.

2.

2.

Storage area

A

1. Fonte Bookshop

M

Kitchen - 20 sqm Bar - 22 sqm

F

Restaurant - 53 sqm Administration Office - 37 sqm

2. The Arcades

2.

The two sidewalls of Piscina Mirabilis are governed by the monotonous repetition of the arches which  is used to host delicate and punctual metal structure to fix portraits with different dimensions, that need a frontal view and can be observed in sequence, such as, for instance, Ford Beckman’s masterpieces.

2.

Exhibition Terrace

Exit Plan - scale 1:250

Exposition Path

Bookshop Path

Conference area Path

Storage Path

View Point

Node

MIDDLE LEVEL

3. The Island This platform is surrounded by water and it represents the ideal location to place art pieces  that need to be observed from different angles.  In particular, for instance, the Italian artist Edoardo Tresoldi has been chosen to fill this location with his see-through metal net statues that portray men their suggestional movements. 

Exhibition Exit Restrooms Bookshop - 70 sqm

4. The Exedra

Storage space - 30 sqm

That space is in correspondence of the left arm of the ‘Piscina Limaria’ . This space composed by a curved wall was born to emphasize a particular opera with the atmosphere of the ancient roman kind of ‘Aedicula’. This space has been thought to host the main opera of the exhibition because of its iconic location.

The ‘Fonte’

Conference area + foyers - 121 sqm Reception area Exhibition Entry

Section A-A

LOWER LEVEL

The Restaurant

The Conference Space

The contemporary art exhibition is entirely visitable by a pattern of paths surrounded by the water,that recover and point out the directional development of the space. Theoperas are always set in different ways using the natural peculiarity thatthe several conditions this place offers. The echo, the falling drops soundonto the water, the strips of natural light are used as an element in support of the artifacts and method to lead the visitor through the exhibition.The central path represents the pivot of this organism. At its left end, thevisitor is attracted by the glow that comes from a mirror-cladding box (with a terrace on top) where the low light level creates an emotional environment for the glowing masterpieces of artists such as Dan Flavin. Continuing along the leading path, approximately at the middle point ofthe system, where the change of the water depth takes place ( know as ‘Piscina Limaria’ ) the visitor is invited by this alteration to stop and followthe transversal direction ( the Basilica’s ‘transetto’ ) to observe free-standing operas, like the Edoardo Tresoldi’s statues, placed on four islandsand on the central exedra. Just before the passage through the mirroredsurface, the paths are re-connected by a transversal one

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3rd prize

3rd prize

which leads tothe longitudinal walls, where delicate supports find their place betweenthe columns, to locate the operas. Beyond the mirror, an additional coreelement of the project takes place, the spiral stair. This one, built into thebiggest existing hole, links the 3 levels (lower, middle, upper/outdoor)and turn into a ‘shy tower’ when it pops out from the indoor area. Apanoramic terrace sits on top of the staircase, becoming an observatorypoint to admire the surrounding. In this second area, the bathrooms andthe storage area take place, as well as the conference space, interpretedas an ancient theatre where people can sit on the ‘klimakes’. The core ofthis second part of the building is the ‘fonte’, a double-height space, usedas a bookshop, where also the people on the first floor can look at. Thefirst-floor hosts the administration office and the bar / restaurant, whoseaccessibility is independent of the exposition area and guaranteed by thespiral stair at the garden level. The external surface retains the existingcentral holes to bright the corresponding path at the museum level. These ones are collected into a pool and are often provided with protectionsthat prevent the water to fall into them and, in some strategical points,left protectionfree to create an atmospherical waterfall into the spacebelow. The upper level is mostly used as space open to the public and represents that element that completes a green belt made of the wood areaat South- East and the ‘Villa Comunale’ at North-West. The light metalstructure with a growing-vegetation on it, that follows the location of theexisting columns underneath, is used to create a natural corridor to provide shades to the visitors and a clear path to entry into the restaurant,theatre and the spaces below. A project created to preserve, not to changeor astound.

plan 158

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section

site plan

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159

Honorable Mentions authors

authors

authors

Claudio Pantano Sara Girina

Rodrigo Martinez Juan Pérez Arturo Menduiña Luis Ruiz

Alessandra Erriquez Mariella Tieri Giuseppe D’Abbraccio

authors

Maximiliano Lombardo Roxanne van Kregten Paul Raab

authors

author

Vittorio Falaschi Emmanuele Bortone

Matteo Tempestini

authors

Livia Grigori Daniele Ricciardi

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How we won that competition

How we won that competition

How we won that competition authors

Simone Baccaglini Marco Agosti Italy

We met during the fourth year of University at the Politecnico di Milano. More precisely thanks to the Interior Design Studio, being also the only Design Studio we had in common. This gave rise to a strong mutual interest in the projects we were developing. Another theme that certainly gave us the opportunity to deepen our knowledge was the fact that we both participated in architecture competitions in parallel to the university. We then decided to take part in a competition and after achieving good results and being very satisfied with the work done, we promised ourselves that we would try again. Between thesis and Work finding the time is not easy but the opportunity was given to us by the Lockdown period due to the COVID-19 health emergency. We decided to take part in the competition Piscina Mirabilis - Reuse the Roman Ruins organized by Reuse Italy as we are willing to immerse ourselves into Italian built heritage. For several reasons, the site of the project caught our eye immediately. Paradoxically, from the outside Piscina Mirabilis is so discreet its presence goes almost unnoticed, from the inside, though, it hosts an enormous hypostyle hall and has an architectural scale which is uncommon nowadays. Right from the start, we got impressed by the plan - which stimulated us into wondering how to intervene in such a site. The particular times we were living in - being on lockdown due to Coronavirus outbreak - drove us to make the most of all the time we had, delving into the project. Clearly, we worked remotely, for the very first time for both of us: we were skeptical about the outcomes of such a working method, but we proceeded first exchanging lots of messages about inspirations and ideas; then, when it came to advanced planning stage, we used screen sharing, so we found ourselves projecting completely differently from what we were used to.

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Project Description: And thus, the project came into being: its first aim is to reinterpret the original condition of the Piscina, which was built in the Augustan age as one of the main terminations of the Aqua Augusta, a roman aqueduct system built by the Emperor Augustus. We wanted to intervene in a reversible way, without treating the ruin as an untouchable relic, which is a widely common modus operandi in Italy. The project includes the construction of two separate areas: a spacious central hall and a perimeter structure. Thus, the secondary functions are collocated in the two-storey metallic structure, which inserts itself in four perimetral aisles, leaving the main central space to the full-height exhibition room. In the central part, a transparent fabric covers the cistern and shapes its space: light effects are countless and the presence of tie-rods, which sustain the fabric and adjust on the metallic structure, ensure the utmost flexibility. Artworks settle to the bottom, like debris on the seabed, and visitors can “float” at various heights and deeply experience the works and the cistern itself. In this way, visitors come to know the cistern from different heights and the individual spaces can be opened for night events. The roof is the most “informal” part, where the museum faces the context, arousing amazement and making the museum visible from afar. On the Roman ruin there are two super modern large-screen displays which indicate the current exhibition, the weather forecast and at night it can become an open-air cinema; the antenna is a meteorological station which shows the turnout (so that those who are in Bacoli can get organized in order to avoid queues and gatherings). The square can be used for conferences, cinema projection and parties, thanks to the semicircular pavilion in which bars and restrooms are located. As far as the formal definition of the project is concerned, references have been essential tools. Just to name a few: – As for the metallic perimeter of the service areas, we wanted to get four walls in continuous motion, simulating a “living” backdrop to the central hall; therefore, the “Prometeo” by Renzo Piano and the architecture library of Ghent University designed by Office KGDVS, however different, were sources of inspiration. – Originally, the central hall faced a pneumatic architecture (in this case, we found inspiration in Radic’s installation for Cèline and the project Suitaloon by Archigram), then it became more similar to an art installation. – As for the roof covering, an important reference is the antenna (removed years ago), which was placed on the top of Palazzo di Fuoco (Milan) by Giulio Minoletti in 1962.

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How we won that competition

In conclusion, in Italy contemporary renovation of historical sites is really rare: in the best-case scenario, adjustments are made and walkways or acrylic sheets are built, aiming at the mere preservation of the site. Actually, our history shows loads of buildings which have completely changed their overall look and use throughout centuries – while preserving their intrinsic essence. In the future, in countries like ours, knowing how to re-use what has already been built will be crucial. In a perspective of architectural conservation, we expect increasing sensitivity to abandoned architectural sites, which nowadays are neglected or even demolished in order to make space for impersonal buildings, yet in energy class A. General Advice: The first thing we would recommend is certainly to carry out extra-university projects. In our opinion, this is fundamental from several points of view. First of all, certainly the possibility of being able to deal with young people, studies, professionals from all over the world, generating in this way an awareness of what will be our profession. The comparison with the international panorama is fundamental to be able to grow both from a professional and human point of view. Moreover, taking part in competitions during the university period is useful because you are confronted with a project without the suggestions/reviews of the professors, who often unconsciously become a refuge from the first indecision or design problems. Another fundamental aspect of taking part in competitions and making projects that do not concern the university is certainly the Curriculum Vitae and the Portfolio from a working point of view. The fact of having dedicated oneself to personal projects is certainly a plus that can make a difference. Project Process: The best advice we can give on the design process is certainly to start from a strong idea. We do not pretend to say that this is the best method or the only one that works, but it is certainly something that belongs to us deep down. We are both really believe that finding a strong idea behind the project is really fundamental in order to make a good project. For this reason the advice is to think a lot about the message you want to convey with the project and to move on to the design phase only once it has been really well defined. Generally speaking, we tend to spend the same amount of time elaborating the concept and subsequently designing the spaces; both phases have the same importance in our opinion. Once we have defined a strong idea that traces the line of the project, the second step is undoubtedly to look for design references. As mentioned above, we are convinced that references are a fundamental tool. Obviously it is not a question of copying existing projects, but of reinterpreting their fundamental themes in order to activate a creative process that leads to a new formal result. You should not be afraid to take inspiration from other projects, nor to mention other architects in your work. It will never mean copying, because each project has different basic conditions that will make it unique. At this point we usually move on to the use of tools that we consider essential in order to make a good project. These are: Pencil/Pencil, various sheets and the tracing paper. The four-handed drawing (in the case of a group of two people) is a fundamental moment. Hand sketching, trying to share ideas and creating new solutions, is an indispensable tool, so much so that it was certainly the most complex part to deal with in a historical moment like this, when we were prevented from being physically present. 164

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Graphic Advices: From a graphic point of view, as far as we are concerned, the line we choose to take must be consistent with the project. Personally we don’t think there is an absolute graphic style to refer to in every project. It varies and adapts to the project itself. Certainly there is a cultural and experiential background that influences and generates a personal “style” that one day will hopefully be recognizable. This, however, must be able, as we said, to apply to the individual project, with its peculiarities. For example, we think that a very complex project can be better explained with cleaner and more intuitive graphics. In the same way a simpler project can gain thickness by using more sophisticated or complex graphics. In this case, specifically, the project idea seemed very strong to us, which is why we chose to use the cleanest and simplest possible graphics, so as not to risk the basic concept going unnoticed or in the background. For this reason we believe that there should always be a hierarchy between what we want to transmit and how we intend to do it. The presentation of the project takes on almost the same importance as the project itself, especially when it comes to competitions. An excellent project presented in the wrong way certainly precludes the commission from grasping its depth and beauty. Another fundamental aspect as far as the graphic aspect is concerned is undoubtedly the layout of the works. One piece of advice we feel we can give from this point of view is to decide on the number of papers first, thus optimizing time and avoiding papers that will not be presented on the board. Obviously this decision is closely linked to the presentation of the table itself, which is why we feel we advise you to decide as soon as possible. As far as the layout of a table it is always good to take into account that you are telling a project. For this reason the order in which the board is read (top-down or right-left) is fundamental, and the information we decide to insert must follow a precise hierarchy for a correct understanding of the project. Visualization Advice: Again, we are strongly convinced that there is no absolute rule to follow, but, as for the graphic choice, it is a matter strictly related to the type of project you are doing. Obviously in this case personal taste really influences a lot. There are those who are more oriented towards a “photo-realism” given by renders and those who instead try to recreate post produced images that are equally suggestive. The fundamental thing from our point of view is that whatever the choice is, it is consistent with the design and the graphics of the drawings. The advice is to learn and manage more software and experiment a lot, until you reach a style in which you recognize yourself and can adapt to different projects. Conclusion: We know perfectly well that all the above advice does not necessarily represent a model to follow, but we have tried to give the best advice with respect to our experience and a ‘modus operandi’ we used during the design phase. We really hope it will be useful to someone. In conclusion what we feel we must reiterate are two fundamental concepts, on the one hand that of spending a lot of time in the elaboration of a key concept, of a strong idea that represents the project line to follow. On the other hand, it is necessary to experiment, from a graphic and communicative point of view, in order to obtain a recognisable style that can be adapted to different types of projects.

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project name

Botte de Paile authors

Happy Homes France Competition Arch-Sharing has announced winners for ‘Happy Homes France‘. Competition challenged participants to design sustainable and replicable housing that allows hosting 6 people and sheltering up to 8 animals. The proposals were supposed to enable many activities to encourage social interactions between the residents of the city or the village that will welcome this community. The contestants were free to choose those activities, depending on the scenario they were proposing. The program contained two phases, the first one for the construction of the housing, the shelter and the activity spaces. After that, the exterior design was to be developed in cooperation with the residents. Both phases were to be submitted simultaneously for the competition. What solutions can help recreate the desire to be socially active and tear down the walls set up to hinder human contact? That is the question that the French non for profit association Happy Homes is asking. The association believes that companion animals are an incredible aid, when fighting against isolation, especially bearing in mind the fact that our furry friends need us just as much. Although it may be difficult to obtain reliable numbers from the different associations helping animals, the compilation of the different data is alarming. More than 100,000 companion animals were abandoned in 2019 in France alone. The SPA relates that more than half of the animals are being abandoned just before the summer holidays. As Gandhi said: “The greatness of a nation and its moral progress can be judged by the way its animals are treated”. So it is time to act!

Emmanuel Melin Pauline Dupart Nolwenn keromnes France

P

icture a vast field of wheat with long straight furrows leading to a stand alone shed filled with last summer’s harvest. The straw is plentiful and well secured... It is around this collective imagined scene that our project began. A light wooden structure supports a sheet metal roof. This structure recaptures the general design of the agricultural shed, while projecting the rural environment where it graciously resides. The bale of straw, by itself, is integral to the space, building and furniture. It is a locally abundant as a waste product of the agricultural harvest, providing insulation, carbon absorption and is very affordable. Acting as a protective cocoon for humans, straw also makes a bed for animals. By its simple shape, the straw bale contributes to the modularity of the living space with it’s different uses. It serves as a bench for humans, as an obstacle for the training of animals, and as a basis for planting fruits and vegetables necessary for an autonomous habitat. The building is dressed in polycarbonate. In the south, it creates a buffer space that generates heat, while in the north, it protects the straw by transparently reflecting an eco-pedagogical will. Finally, a unique roof shelters all the occupants of this community and punctuates the landscape with a frank and silent gesture.

Happy Homes’ goal was to respond to these two different problems with one solution. It is known for some time now that companion animals are capable of breaking down the barriers of isolation and of giving people a purpose again. The association’s purpose is to build homes called “Happy Homes” that will house people living in social isolation alongside adopted dogs. The principle is that humans and dogs mutually help each other. The community created around these homes can integrate them into local communities/villages by means of different activities that encourage social bonds such as the making and selling different baked goods, exhibits, selling various merchandise as well as many other diverse activities. The goal of Happy Homes is to test this concept by building a test home, the design of which has been selected by means of competition. If the project works, the design/home will be replicated in other locations.

166

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ACY ∙ 2020

167

1st prize

1st prize

eco-pedagogic classroom

living room

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169

2nd prize

2nd prize

project name

Can Silo authors

Lucía Torre Arce Rocío Siesto Garabana Clara Asperilla Arias Spain

C

an Silo is not only a landmark in the flat landscape of Fay-les-étangs, but also a reference to the collective imaginary of the agricultural world: the silo. In order to do so, we chose a cylindrical shape and industrial material for the skin of the project. This shell snaps in half and opens to accommodate the program. The project is a new Community Centre, a hot spot for locals of all ages in a locality lacking communal activities. The intention behind the program is to allow elderly people interact with the youngest. In this way, the community takes care of each other and builds resilience. This caretaker philosophy extends not only to people, but also to animals who need shelter, circular economies and environmental and sustainable approaches to architecture. We propose a series of overlapped programmes, mixing residential, animal care and public uses : a playroom for both children and elders, reading room, sports facilities, fruit and vegetable plantations and cafeteria. And together with them all, human and dog inhabitants. The residential program is located on the second floor of the silos, above the animal care spaces. This way, dog rooms are the intersection between public and private.

The layout of the silos configurate four different exterior spaces: the public Main Square, where inhabitants and locals come together; a Dog Garden, a private space where dogs wander blissfully next to residents; the Orchard that supplies the community; and the Apple Grove, a shaded area where you can meet your neighbours and have a picnic. The construction is simple and standardised for every silo: a “U” shaped structure made with cross laminated timber walls and restrained with radial pieces. The decision of choosing CLT walls follows the intention of minimizing the environmental footprint of the project. This skeleton holds the exterior semi-transparent skin that shapes the silos. Can Silo is a meeting point for Fay-les-étangs where everyone, animal or human, is welcome.

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171

2nd prize

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2nd prize

ACY ∙ 2020

173

3rd prize

3rd prize

project name

Agora authors

Seshna Gungah Simon Panhaleux Ronan Corcuff France

T

he project aims to build relations between human beings, animals and the environment, thus creating a synergized societal model with its local inhabitants. Over this large site, a biodiversified environment is created, formerly present in the countryside where the fauna have massively decreased. This landscape promotes the wellbeing of the residents and the dogs and invites the local inhabitants to discover several activities. It comprises successive layers: from trees spaces to protect the site from road nuisance, to a low-cut green play area for dogs, the vegetable garden and the ‘Happy Homes’. A walkway at the north of the site leads to the project, keeping the south for the privacy of the residents. The project is centered around three main activities shared with the local inhabitants, as visits, exhibitions and sales of products. Firstly, sheltering the dogs with a pedagogic approach on a large playing field. Secondly, giving the residents food autonomy with a permaculture vegetable garden, an ecological food counter-model to spread. Thirdly, promoting the inhabitants talents by making their own creations, in the indoor workshops and the outdoor spaces, which can be either lucrative or of diverse uses for the community. The project highlight the horizontality of the landscape with its panoramic shape. The designs of the different areas surrounding the agora are translucent, embossed and openable depending on the usage and the environment. The project combines bioclimatism and economies by a reduced use of construction resources (wood, biosourced insulation, raw earth, light foundations, etc.) as well as energy consumption, such as solar thermal panels and biomass. The hot summer temperature is mitigated by the extended roof and BSO, as well as adequate space for natural ventilation. The choice of a lightweight constructive mode with prefabricated elements facilitates replicability. Thus the final layering made of terracotta reflects the local signature.

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175

3rd prize

176

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3rd prize

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177

Honorable Mentions authors

author

authors

author

Eva Nogier Solène Duplessis Ancel

Clémence Fougère

Jiaying Xu Mengqing Zheng

Anne-Clarisse Leffin

France

France

author

author

authors

authors

authors

author

Romain Bonino

Sébastien Bonnerot

France

France

Daniel García Miguel Luis Miguel Trujillo Agramonte Beatriz García Bustamante

Hugues Hernandez Morgan Baufils Ariane Marty

Offret Camille Chapon Marion Pillaud Vivien Gala Babled Thaïs

Hild Yoann Lecarpentier Nina

Spain

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France

China

France

France

France

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179

How we won that competition

How we won that competition

How we won that competition authors

Emmanuel Melin Pauline Dupart Nolwenn Keromnes France

façade. This bias allowed us to add an eco-pedagogic dimension to the project. To best explain the concept and technicity of our project, we began to work on the layout of the planchet A1 way before the final “rendu”. This preparation allowed us to save time and to preserve quality in the production of our documents for a better understanding of our ideas by the jury. We made a conscious choice for the explanation text to insist on the imaginary concept of the project rather than the technical aspect of the building: “Picture a vast field of wheat with long straight furrows leading to a stand alone shed filled with last summer’s harvest. The straw is plentiful and well secured. It is around this collective imagined scene that our project began.” “In any competition there are about 200 to 300 participants, and everyone are trying to win. Naturally, your project will not be the only one well thought. But the way you presented it can tip the scales. Graphic design is very important to win a competition, the graphism allows you to best communicate your ideas. What we have learned is that the board must be a clever mix of graphic, technical, schematic, explanatory documents... from the broadest to the most detailed.

At the beginning of any competition, there is always a phase of discovery for the site and of the program. In this case, the site was very vast, and we needed to keep a tight thought process and organize the structure of our project, to keep a clear goal. Our leitmotif was to follow the context and extract a strong concept which would be familiar to most people. This project takes place in a rural environment and the first task was to list all our references to the countryside and agricultural activities by using visual support: To do this, we gathered all the images of our memory and imagination which were linked to this type of landscaping. The Specification requires a replicable building everywhere in France in a rural setting. Our images of reference quickly brought us to the archetype of an agricultural shed. The general design of the agricultural shed is modern and efficient in its shape and its construction, so it was perfect for replication and the budget constraints. In addition, the bioclimatic construction was a requirement of the specification and important to our personal convictions, so the materiality took an important part in the project. It was again the collective imaginary picture of an agricultural setting that brought us to our concept: The agricultural shed protects the harvest and particularly the bales of hay which appear like the ideal building block for the construction. Not expensive, the bales of hay will be used in the project as part of the wall, as an insulation element within the wood structure. To go further along the same idea, we raised the question of the use of the bale of hay: How much could it be an integral part of the project? The bale of hay could be a desk, a chair, a podium, litter for the animals, a base for gardening…it has numerous functions and is present on several different scales in our project. From the field to the insulation to the furniture, the bale of hay is the common thread . We also wanted a readable architecture, understandable from the outside, therefore we made the choice to integrate the bales of hay as a visible element through the polycarbonate

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Time management is essential for the success of a project. Don’t hesitate to make a schedule at the beginning of the competition in order to set goals and stay motivated! Finally, we spent time asking ourselves questions of materiality according to the budget. Because finally, to built the project, you have to get into the budget. Take the time to find the materials that will be in harmony with your concept, your personal convictions, and the finances. »

Grooming Retreat / Gartnerfuglen + Mariana de Delás

Dobrava Floating Roof by Oton Jugovec

Kozolec, Gozd Martuljek (Slovenia)

Yoruba traditional architecture

ACY ∙ 2020

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project name

Buque de La Artes authors

Fernando Iniguez Cristobal Contreras Chile

Innatur 9 Competition The purpose of the call was to encourage innovative proposals, committed to a strategy of implementing cutting-edge, contemporary architecture in a natural environment, with approaches that lead to synergies between the context and the building itself. As each year, the competition was open to all architects, designers, architecture students and to people around the world interested in the topic. Competitors could subscribe individually or as a team of maximum of 5 people. This year, the competition received 102 proposals from more than 20 different countries.

I

n the south of America, where the land is engulfed by the sea, the continent fragments, becoming a hundred spots of different sizes and shapes. The biggest of the lot bears the name of Chiloé, an isle at the end of the world, which has a unique landscape, just as the culture that inhabits it. During thousands of years, the population of this place have adapted to the conditions of the archipelago, understanding it, interpreting it and living on it. The word “territory” is not understood not as something that is inhabited by a culture, but “culture” and “territory” make up one single scenery. In regarding of the comprehension of this Chilote territory, one takes as the main translator of the place the mythological legend of the Caleuche, which reveals unique characteristics of its cultural landscape.

We received a lot of interesting ideas of spaces that promote a deep understanding and assimilation of nature. The jury focused in selecting projects that lead through their architecture to sensitivity, awareness, understanding, enthusiasm and commitment to the natural environment around them. OPENGAP organized the ninth edition of INNATUR open online ideas competition.

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1st prize

This legend uncovers two hidden landscapes, locations through which this ghost ship roams freely. The first, an ephemeral place, which emerges and disappears, like the Caleuche, built by means of the fog, a typical geographical phenomenon of the area. The second, the interior of the sea. The sea of the Patagonia is its land, the unifying element and the only access to the archipelago; by inhabiting these new marine soils, there are more unseen sceneries being unveiled. Thisproject is understood as a support in which these hidden territories can be inhabited, roaming by the interior Chilote sea, while at the same time it serves as a base for a research center that seeks to mend the damage caused by the salmon industry, oxygenating the sea floor, by means of algae native to the areas, which saturate the water with oxygen, creating a marine forest when it’s being cultivated, and a dry algae forest hanging on the deck when it is being harvested, which will later end up on the menu of the project’s cafeteria, due to its nutritional qualities. We seek to put into value the unique traditions to this place Using its craftsmen’s centennial technique of boat-building as a constructive method. To mobilize the project by sea, we look to link the community by means of a boat that functions as a tugboat, a technique used in the “mingas”, a Chilote tradition.

interior 184

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1st prize

Through a curtain, water from the recurrent mist is trapped, to then use it within the center; this element creates diffuse limits between interior and exterior, at the same time that it dialogues with the mist. The fog catcher hangs from a large habitable beam that functions as a viewpoint as well, which is structured by means of two tripods. This contrast between a light element and a heavy element causes the beam to levitate over the curtain. The culmination of the route is this inhabitable vantage point-beam: as the viewer enters the project, he becomes hidden to the outside, to then come out and appear, recognizing the exterior territory from the inside, hiding to re-appear afterwards. “In the South of Chile, where the map paints Chiloe and its entourage of islands with rounded splotches, and lower, until where the firm ground of Patagonia jumps, the waters are almost everything and the land is such a little thing. Run not far away big rivers called Bueno and Maullín, and the sea makes appetite shredding the mountain range, delivering uncounted archipelagos and slicing peninsulas and fjords. The spirits of water are more than the terrestrial and put in check the chilote and patagonian people”. When the night closes completely as an arc, and becomes so long that itseems that it never wants to end; the Chilote elders and children, or both, around, tell as good as old folks and kids know to tell the “real” story of the Caleuche, Ship of Arts.” (*)

The Caleuche is a pirate ship, that is to say, an outlaw of the noble waters, which to better fulfill its adventures runs miles below it, so hidden that in weeks and months loses its tracks and it seems as it has already died or has left for another the sea of the chilote people. The sea has a pact with it since all of time and it complies with the agreement of hiding it as well as its stony corals and its last nightmare fishes.” Extract of the poem “An American myth, The Caleuche” by Gabriela Mistral.

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2nd prize

2nd prize

project name

Artifacts of Entropy authors

Gabriel Hildebrand Tomich Daniela Moro Brazil

R

iver floodplains are naturally changing landscapes. A meandering riverbed is constantly accommodating to its surroundings, often creating new water bodies and influencing a territory much larger than its mere course.

The upstream portion of the Iguaçu River in southern Brazil, one of its most important rivers, stretches its floodplains across a large metropolitan region. Contrary to its potential for preservation and use, this territory has become the site for major infrastructure and resource extraction. Half a century of sand mining and other interventions has devastated the substrate of the floodplains and extinguished its meanders, leaving behind the footprint of a singularly hybrid landscape, consisting of exposed groundwater in the form of wetlands and small lakes confined by now straight-flowing rivers. The fast pace of devastation exposes the entropic character of this type of extraction. By removing earth at a rate of roughly 90.000m³ a year, this landscape was quickly turned into an irreversible terrain vague by the end of the century. Its current condition is of a static landscape - a mile-wide strip of land, spared from metropolitan expansion - an oasis amid the metropolis, dominated by a combination of artificial and natural features. Unable to restore this territory to its original conditions, we can only accept those hybrid features as preexistence. However, a contemporary response to this territorial condition requires understanding it as a changing landscape, as an alternative to both its static character and its entropic decay.

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2nd prize

2nd prize

We propose a strategy that addresses two goals: 1. The minimal necessary built structure to enable a distant sight of the surrounding territory - which in the context of a horizontal wetland landscape, can be achieved by elevating a viewpoint by just a few meters. 2. An intervention that - such as the meandering original landscape - incorporates change, but - unlike its mid-century exploitation - does not consume its resources. The proposal consists of horizontal embankments to be built slowly over time from earth available on the site. In a ritualistic manner, every year, small chunks of earth that are now partitions between small lakes would be removed and piled in the form of long, sloping surfaces distributed along the landscape. At the end of each cycle, that changes the landscape at a rate of merely 9.000m³ a year, the strips would become 100 m longer and 1m taller, venturing further into the landscape. As a result of this process, the hydric system would also change in a slow form, following the meandering logic of the landscape. As the earth is removed, smaller lakes would merge into larger bodies of water, and other connections might cease to exist as the earth banks stretch into the water. Accommodation and cultural programs use the resulting structure as a support, either in the form of annexes to the structure or embedded in its form. The proposal transforms a neglected territory once sentenced to entropic decay, by generating a new ecology that confronts visitors with their surroundings in a new way.

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3rd prize

3rd prize

project name

Returning authors

Chuhong Yin Xiaodan Zhou Hong Kong, China

T

he site is located on a small island called Klobben in Aland archipelago in Finland. The red reef on the island is a famous local attraction. Due to the rising sea level, Klobben will be completely submerged by sea water in the foreseeable future. In order to commemorate this disappearing landscape, we designed a “floating island”: in the near future, when the sea floods the island, we will use a series of I-shape columns and beams as the main structure to support the red reef cut from the island so that the red reef can be raised above the sea. In the “The Castle of the Pyrenees” by Rene Magritte. It embodies the artist’s typical disturbing juxtaposition of familiar objects, combined with captivating poetry and mystery. This drawing can be seen as the starting point of our design. A stone on the ground may not be noticeable. But when it is suspended in the air, the ordinary thing is endowed with surreality, forcing viewers to abandon the inherent impression of it. They have to understand nature from another angle.

In the design, we weakened the artificiality of the building as much as possible, but made the natural elements (reef, sea surface) part of the building structure. The weather-beaten reefs become the ceiling of the building, the flowing sea becomes the floor of the building, and a certain ambiguous space is formed between the sea and the rock. The “architectural space” here is dynamic and natural, and cannot be defined indoors or outdoors. The whole scheme can be simplified into two sets of systems: 1. The Ishape columns fixed to the underwater island at the bottom support the red reef collected from the island as the ceiling. 2. Boarding floating on the sea. It needs to be emphasized that I-shape columns and boarding are separated from each other, which creates a juxtaposition of dynamic and static status in the architectural space. The boarding, which swayed slightly with the flowing sea water, made visitors feel a kind of physical instability, while the reef pressing on the top of the head remained absolutely still. Since each reef is supported by three to four I-shape columns from the edge, visitors standing directly under the reef will not perceive the stress state of the reef. The swaying space will bring a perceptual illusion: psychologically, people will be accustomed to believing that the body is in a static state, and the rock above the head is swayed. In addition, the guest room, café are designed as several upside-down houses above the sea, of which the reflection is just like the island of the past laying in the water.

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3rd prize

3rd prize

In this scheme, gravity plays an important role. It is invisible but it is expressing itself in the space all the time. It gives the static building a sense of continuous strength, and makes the entire space have a tendency to fall down (return to the ocean). The gradual rise of sea level brings tension to the space from another direction (upward). In this way, the space between the reef and the sea is constantly squeezed year by year, and the distance between the visitors and the reefs above their heads is constantly decreasing, and the sense of tension gradually increases.

lar window at the end of the room frames the red reef outside and the island further away in a vertical composition relationship. The physical model of the scheme exhibited in the center of the screen forms a threepoint one-line relationship with the reef and the island. When standing in such a space, everyone will have different feelings. We try to express an open and vague atmosphere in each rendering.

The interpretation of this spatial change can be ambiguous: On the one hand, nature intervenes and reshapes this artificially created space in its own way, reminding people to be alert to the crisis of rising sea levels. On the other hand, putting the reef overhead has changed the way people watch-the sea level rises slowly, or it can be seen as the reef is slowly falling, and the floating island is returning to the ocean at a speed of 0.0000006 m/s. Hundreds of years later, all the artificial structures in the building will be submerged by sea water-part of the building has disappeared-only the huge reefs on the roof will be out of the sea. It becomes a ‘new’ island in the vast ocean, as the final status of the building in the design: it is like a lonely monument dedicated to the lost islands. Architecture may change or reshape the state of nature within a period of time, but nature is still nature, and architecture will eventually return to nature. Representation: In order to better express the elapse of time in the building, we choose to express it in the form of comics. Taking the visit of a father and a son to the building as the main line of the story, it shows how our scheme has gone from confrontation to reconciliation with nature in 500 years, and finally returns to nature. There is no dialogue in the comics, and we don’t want the feelings of the characters in the picture to be expressed in plain language. This feeling can be ambiguous, misunderstood, or even unspeakable. Traditional plan drawings allow us to examine the building from the perspective of God, but this way of viewing the building destroys the mystery of the architectural space, allowing the interpretation of the building to exist in only one dimension. The real architectural experience is exploratory and fragmentary. This also includes indefinable factors such as temperature, sound, smell, and mood in the space. Therefore, we abandon the full plan, but use 21 renderings to mobilize the viewer’s multiple perceptions of the space. For example, we introduce the sounds of nature into the comics in the form of words to create the presence and atmosphere of the image as much as possible. The size of the sound is reflected by the size and depth of the text. In the main exhibition hall, a circle of slit openings along the wall introduces the sound of sea waves into the room from far to near. The dark indoor environment weakens people’s visual perception, and people will pay more attention to hearing rather than seeing. The circu-

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Honorable Mentions project name

project name

author

Centinella

Monastery of Preservation

Mahmoud Amgad

authors

Juan Sebastian Cardona Maldonado Gabriel Sebastian Troncoso Aldas David Alejandro Rodriguez Sarzosa

Egypt

Ecuador

project name

authors

Salinarium

Olga Gumienna Alekander Blicharski Marcin Osak Poland

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How we won that competition

How we won that competition

How we won that competition authors

Fernando Iniguez Cristobal Contreras Chile

We are very interested in the topic regarding architecture contests, as we believe it’s a platform in which architects can originate changes in our society: that is why, in an independent way from our educational establishment, we decided to participate in INNATUR 9. We understood there existed 3 possible ways of approaching a contest: answer the questions proposed by a competition, propose our own questions and answers (in the case of cultural and artistic funds) and, lastly, to search a contest that is making the question to which you already have some possible answers for. This last option was our way of operating for INNATUR 9, in a certain way is facing the contest backwards.

Oliva, where we worked with the salmon industry of the south of Chile. We believe the most interesting part of the Project is how you can understand a place trough fiction, how it reveals certain cultural, geographic and social characteristics of a territory, which makes us wonder: are the tales of a place a part of its territory? Is the Caleuche part of the chilote territory? These questions are what we are looking to put into value with our project.

When addressing the subject of the territory by the means of fiction, in this case the legend of the Caleuche, it was something that we had been thinking about for a while, and INNATUR was the perfect platform to put into a test this way of interpreting the cultural territory. The design process started grounding the idea to interpret Chiloé’s archipelago through the legend of the Caleuche, and adapting the work to the program requirements set by the contest’s terms. After that comes a process of a lot of hand-drawn sketches and conceptual models, to then translate those ideas into a computer through 3D models and plan blueprints, which required to elaborate more the project through the design. Another important aspect is to decide how you are going to show your idea, and what tools will you choose to do it; in our case it was via images of the project, photographs of the landscape and an extract of a poem by Gabriela Mistral. It was also about responding the question of “how can one build and manage the project?” through local processes pertinent to the territory. The Project represent a certain way to do things in our School of Architecture, which puts emphasis on the study and comprehension of the territory. One can also see reflected various topics that have been addressed in previous contests, as is the case of “Industrial landscapes in the Patagonia”, workshop class by Olivia Coutand and Camilo

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1st prize

project name

Site Mirador author

SMR64465

Sofia Nembrini Italy

concrete + red earth “sculptures”

carved wooden formworks - prototype in clay

entrance detail - 1:33 model

surface test - 1:33 model

T

Site Mirador

he Site Mirador has been a an opportunity for reflection, for a personal challenge. “Reinterpreting geology” was certainly a starting point: to take a mental image of nature as a magnificent sculpture, to consider the coasts of the Algarve as a masterpiece that water, over time, has sculpted. A defining element of the project was then the reflection on the gesture of “digging”, as an action that gives shape to matter, as the ocean waves are continuously shaping the cliffs.

International Architecture Ideas Competition This international one-stage architecture ideas competition invited all architecture and landscape architecture students, young architects and landscape architects, young professionals with a degree in architecture studies or landscape architecture studies (≤ 40 years old) to develop and submit compelling a filter between the earth and the ocean concrete + red earth “sculptures” ideas for the design of a Site Mirador located at the Zavial Battery, Algarve, Portugal.

a filter between the earth and the ocean

west facade - 1:33 model

SMR64465

Water that digs, water that gives shape. The Mirador arises from the reflection of digging as a gesture, an action that gives shape to matter, as the ocean waves are continuously giving shape to the cliffs. Elements obtained from the casting of concrete and red earth in sculpted wooden formworks are the carriers of the mirador. A presence as primitive element connected to the ancient preexistences, which aims to be a crossing between land and sea, a point that leads to the discovery of the horizon, to meditation, a filter of natural lights before the complete openess to the landscape.

The key concept of the competition came from this: to re-propose a materiality that was born from this attitude, and from here to create an architectural atmosphere. Literally starting “digging” was fundamental to get in contact with the material. carved wooden formworks - prototype in clay

entrance detail - 1:33 model

surface test - 1:33 model

west facade - 1:33 model

The Zavial Battery remains are a significant landmark of great cultural heritage and historical significance with characteristics that must be fully preserved. When generating a vision for an intervention located within such a remarkable place, it was essential that each design proposal emphasises, respects and celebrates the site and existing ruins, while providing a unique and memorable experience.

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1st prize

1st prize a filter between the earth and the ocean

concrete + red earth “sculptures”

carved wooden formworks - prototype in clay

entrance detail - 1:33 model

surface test - 1:33 model

west facade - 1:33 model

Producing clay prototypes, feeling this gesture directly with the hands has been the tool that guided the design process. Certainly sculpting in a different way from what water does, but the results were surprising, “natural”, exciting. An approach to the project starting from the raw material, which the lead to the physical model of the project. The plans of the Mirador are an attempt to represent the relationship of this new materiality with the context in which the project is inserted. The intention is to maintain contact and balance with the pre-existing ruins but at the same time looking for a new identity for this project. A presence as primitive element connected to the ancient preexistences, the Mirador aims to be a crossing between land and sea, a point that leads to the discovery of the horizon, to meditation, a filter of natural lights before the complete openess to the landscape of the ocean.

a filter between the earth and the ocean

concrete + red earth “sculptures”

carved wooden formworks - prototype in clay

carved wooden formworks

entrance detail - 1:33 model

entrance detail

surface test - 1:33 model

surface test SMR64465

a filter between the earth and the ocean

concrete + red earth “sculptures”

carved wooden formworks - prototype in clay

entrance detail - 1:33 model

west facade surface test - 1:33 model

SMR64465

west facade - 1:33 model

a filter between earth and the ocean a filter between the earth and the ocean

concrete + red earth “sculptures”

carved wooden formworks - prototype in clay

entrance detail - 1:33 model

surface test - 1:33 model

west facade - 1:33 model

Water that digs, water that gives shape. The Mirador arises from the reflection of digging as a gesture, an action that gives shape to matter, as the ocean waves are continuously giving shape to the cliffs. Elements obtained from the casting of concrete and red earth in sculpted wooden formworks are the carriers of the mirador. A presence as primitive element connected to the ancient preexistences, which aims to be a crossing between land and sea, a point that leads to the discovery of the horizon, to meditation, a filter of natural lights before the complete openess to the landscape.

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ACY ∙ 2020

ACY ∙ 2020

203

2nd prize

2nd prize

project name

In Situ authors

Pauline Arnaud Hugo Chartier France

F

ar away, I see ruins on the edge of the cliff. To reach them, I have no other choice but to sink into a fault that plunges into the rock. Gradually, the sound of the waves fades, the horizon disappears which let place to a rocky athmosphere which reveals the colors and the roughness of the bowels of the site. Only the wind accompanies me when I reach a platform that seems to be at the heart of the cliff. Slowly, I am losing my landmarks. The sky clears above my head. I can now choose which path I want to explore. After having descended a few more meters, I am now walking in a narrow fault, when, oppressed in the half-light, I see further, the tumult of the waves bathed in the natural light. Suddenly, the path that has guided me so far stops, opening onto a cove. I am left alone in the midst of the waves hitting the rocks around me. It is a completely different feeling that emerges when I engage in one of the other directions. I arrive on a small platform that overlooks the sea for several meters and offers me a point of view on another larger cove. The third direction, as for it seems to go up towards the surface. Going up the stairs, new sensations invade me. The light guides me to the top of the steps from where I discover the ruins of the Zavial battery which dominate a magnificent landscape toward the infinite ocean.

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205

3rd prize

3rd prize

project name

Site Mirador authors

Marzena Radkiewicz-Metko Przemo Metko Poland

Place of conteplation Paths in the natural, empty landscape and communing with it calms down and creates conditions for thinking and reflection. The path leads to the architectural object - a place of silence and contemplation. Entering it, we move from the open area to the walls and roof of the building with only one view inside. Separation from three sides from the outside gives a sense of cut-off and focus on what we feel, see and hear in front of us - the ocean and waves. This is the reverse of the open horizon, which we experience throughout the park - here we have a cropped view of the ocean and its infinity. The simple form of the building, slightly underhung on the cliff, deliberately does not dominate the landscape, but is even associated with it. Inside the building there is only a bench and nature.

S

ite Mirador is nature - stony trail, cliffs, space and ocean strength.The designed network of paths in the area creates an open ‘park’ and gives the opportunity to commune with nature and disconnect from the external stimuli of the present. The main path leads along the cliffs between the ruins of Zavial Battery Garrison and Zavial Battery, a place of contemplation, a parking lot with an information place, as well as the beaches: Zavial and Ingrina. During the walking route, paths of the second category were designated, as well as additional viewpoints on the cliffs and the hill in the north, which gives the opportunity to view from different, further perspectives. Rest areas and information points are also planned throughout the whole area. The designed paths are closely connected with the landscape, natural materials such as stone, local soil - terra rosa, as well as steel elements in places with more difficult access were used. The added structure and architectural interference is only to complement nature and give the impression of always existing in this place.

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207

Honorable Mentions project name

project name

project name

Janelas

Timeframe

Site Mirador

authors

authors

authors

Alberto Ibáñez Puértolas, María Eugenia Bahón Fauro

Anastasia Sharapova, Daria Naumochkina, Anastasia Metelskaia

Matteo Foresti Arianna Boccalatte

Spain

Russia

Sweden

project name

Bateria do Zavial authors

Sarah Droste Guillermo Martinez Dominican Republic

project name

project name

The Way

Os Caminos da Agua

author

authors

Luiz Eduardo Lupatini

Maria Rivas, Edurne Oyanguren, Gabriela Marco, Eugenio Rivas

Brazil

Spain

project name

Site Mirador authors

Zuzanna Sprogis Marta Kowlska-Puk Aleksandra Antkowiak Katarzyna Królak Poland

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209

How we won that competition

How we won that competition author

Sofia Nembrini Italy

Experimentation The Site Mirador competition has been a great chance to experiment and to put thoughts and gestures into architectural spaces. Since it is an open ideas competition, it’s a great occasion to express yourself and to deep reflect on the choices and feelings that guide the design process. Taking it as a useful time to learn and to grow. This project has been a an opportunity for reflection, for a personal challenge. The fact of not considering the competition, but living it as a good moment of experimentation, was certainly a stimulus to design something not for those who would judge the project, but for the pleasure of doing it and to learn, and taking the time to do it, seeing how thoughts change, evolve from day to day. Reinterpreting geology It was certainly a starting point: to take a mental image of nature as a magnificent sculpture, to consider the coasts of the Algarve as a masterpiece that water, over time, has sculpted. A defining element of the project was then the reflection on the gesture of “digging”, as an action that gives shape to matter, as the ocean waves are continuously shaping the cliffs. The key concept of the competition came from this: to re-propose a materiality that was born from this attitude, and from here to create an architectural atmosphere. Shaping matter Literally starting “digging” was fundamental to get in contact with the material. Producing clay prototypes, feeling this gesture directly with the hands has been the tool that guided the design process. Certainly sculpting in a different way from what water does, but the results were surprising, “natural”, exciting. An approach to the project starting from the raw material, which the lead to the physical model of the project. Betweenn Land and Sea The plans of the Mirador are an attempt to represent the relationship of this new materiality with the context in which the project is inserted. The intention is to maintain contact and balance with the pre-existing ruins but at the same time looking for a new identity for this project. A presence as primitive element connected to the ancient preexistences, the Mirador aims to be a crossing between land and sea, a point that leads to the discovery of the horizon, to meditation, a filter of natural lights before the complete openess to the landscape of the ocean.

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ACY ∙ 2020

prom is to i a e s o h ion w amongst associat etitions p m o c YAC is a l a rovoke hitectur nts to p a w huC A mote arc Y ners. aces for g l i p s e l d a c g i ming ys youn are beco about ph y s a n d o y i r t e c v mic. t e refle and dyna ties tha i e v l i b t a c t a c will di man re unpre esigners o d m t d n n e a r e more diff many and llenge. We wish c this ha n i s u n joi

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

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