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WA Awards Submissions

WA Awards Submissions / 24th Cycle

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National Science and Innovation Centre of Lithuania
SalonLithuania (2016-)

October 11, 2016

Science Island must be an icon of the paradigm between the natural landscape, mankind’s intrinsic curiosity of the complexity of our universe, and the responsibility we have within it. Its ultimate aim is to achieve a high quality physical and intellectual access, establishing itself as a landmark institution in the dissemination of knowledge about our world, and have its architectural syntax play an active role in the interpretation of that knowledge The design of the Science center follows an emphatic approach unique to the ecology of the island, specifically investigating the arrangement of flora scattered across the island. This results in a design that does not merely regard the island as a site to build on, but rather a set of spatial conditions with which to derive a new spatial paradigm extrapolated from within its system. A promenade through the Center itself follows a route along the inner face of its bioclimatic skin, formally generated by architecturally modelling Alan Turing’s equation on Morphogenesis; its Stratiform curating a kaleidoscopic visual journey of the the Island and the urban silhouette beyond. The clustering of its volumes utilizes these visual corridors and maximizes daylight and ventilation potentials within its internal arrangement; a configuration of temporary and permanent exhibition galleries offering immense adaptability. The specific material technology of the Stratiform itself will invite local cement industries to utilize Lithuania’s abundance of raw materials and will challenge evolutionary practices of high-quality cement construction, specifically techniques of Cloth-Form work. The use of fiber-cement formed in cloth formwork minimizes waste products by eliminating the formwork structures and energy. Beyond its Stratiform, a multitude of other sustainable material technologies and systems are employed within our design to ensure the sustainable lifespan of the building. Integral systems of river-heat exchangers and geothermal integrated pile foundations, ensure a symbiotic coexistence of the proposal with the island. Generating new possibilities for the city to engage with the island, the design challenges visitors to discover more courageous paths at every visit. Drawing a contrast between the island and its surrounding urban fabric, the design prioritizes the preservation of earth, the foundation of the rich floral biodiversity of the island whilst maintaining a playful association with it. This soft design approach establishes the paths of the Center within a framework of possibilities and nodal connections which, with the natural thresholds of the island generates a field of curiosity; spaces which can host exhibitions, gardens, events, or even individual moments of scientific adventure. Solar shaded and wind protected courtyards will provide comfort up to 50% of the time. In turn, this strategical organization generates new interactions beyond the island, dialogues between the old city center and the new city; Nemunos Street turns into a bridge to connect the old city center, Daukanto Bridge engages Laisves Street, the Concert and Congress centers and Aleksotas is linked with two other bridge connections, Zalgiris Arena is engaged by mutual outdoor uses. This field of interactions and curiosities within Kaunas will become both a natural refuge from it, as well as an agglomeration of its historical and cultural legacy.

Project Area: 9000 sqm
Design: Alper Derinbogaz Team: Sevki Topcu, Selcuk Kismir, Thibault Jalby, Ecem Çınar, Cansu Altıntaş, Seda Duran, Ayşe Tuğçe Pınar, Aygül Çınar, Deniz Karadere, Ali Asad, Mazvydas Samuolis
Obama Presidential Center
sarath ranaweeraUnited States (2016-)

November 27, 2016

Obama Presidential Center (OPC or OPL) should cater and express its character in three aspects; Obama Foundation obligations to towards society (Global as wider perspective), Functionality of Center towards people & President Obama era in America and its message to the world, all these in equal manner. OPC, a place to be people friendly , Building volume to be shaded and protective for the usage. Shelter structure depicted from State representation, National flag of United States of America with 50 states and 13 British colonies and the unity under ONE. Our OPC Sheltering structure consists of 50 Outer columns and Horizontal long span roof structure with Diagonal stripes patterns indicating 13 no’s Colonies . Obama Era of USA Represent SIMPLICITY, GOAL ORIENTED, INVITING FRIENDLYNESS ,FAMILY BOND and its message to the world as “GLOBE as a FAMILY”, and within all strong rooted solidarity in Leadership. OPC to express this INNOVATIVE LEADERSHIP to the WORLD inspiring to millions of Future Leaders.

How can we gain this Conceptual message in architectural terms? OPC sheltering under the structure consists two main context oriented (more or less Landscaped) Building Blocks in balanced but raising up towards Main center. It further divided in to four main zones, PUBLIC, OPERATIONAL, MUSEUM AND LIBRARY (Learning). Inner Building façade (skin) design represent Obama (family) origin African American Architecture and Earth, Nature related architecture. Inner Building representing “Fin” filtered wall layer throughout, giving enough lighting to inner body through another layer of Glass wall (Energy efficient). Central Core Courtyard having ONE Single Tree open to sky, further enhance African American related nature, surrounded by Fin skin faced buildings. Fifty Columns ( Fifty States)supported long span Metal roof (almost a slab) giving sheltered, but wherever proving natural lighting. OPC designed with context related approach. Main functional spaces zoned considering, Public & Private, Openness towards nature green, visual continuity. Building complex to utilize sustainable architecture, Reusable materials Passive solar and heat gain systems, PV paneled roof and natural ventilation wherever possible.
Sarach Ranaweera
Open Gate - Suncheon Art Platform
Matteo CainerUnited Kingdom (2016-)

November 28, 2016

The proposal for the new Suncheon Art Platform is strategically placed amidst historical and cultural trails of the old Suncheon Wall, acting thus as a new cultural hub and gateway for the Old City. Dynamic and diverse, it will revitalize Suncheon’s cultural and social life for its citizens and future visitors. As a new art center, visitor center and outdoor transformative garden and event space, it will connect to and engage with the city. Multiple cultural, educational and community events, will strengthen the city’s identity and establish it as the most important cultural destination in the region. We propose a symbolic building that makes a clear reference to the history of Suncheon. Both simple and functional, the concept derives from the circular city wall with four entrance gates that enclosed and protected the Old City. The new building inverts this idea, to protect the natural habitat from the ever expanding city. Designed as a circular form raised on one side, it opens its interior space to welcome the city as an ‘open gate’. Unlike the original wall with its four restrictive access points, the multiple openings and its lifted form provide permeable urban spaces that link the interior to the external public spaces and the wider city context. The external façade of white concrete with floor to ceiling glass provides clear open views of the city. The inner glass façade with its strategically positioned brise soleil, will frame and define the interior garden and community space. Interior spaces are linked through gently ramping surfaces under a complex curving roof above. The building’s circular form allows for a flexible arrangement of spaces of varying sizes, creating a unique framework for the museum’s art and the visitor center. Visitors are free to navigate these composite and seamless spaces that house a network of services that include digital exhibitions, multi-purpose and professional facilities, information gathering, social and study spaces and outdoor garden/event space. The loading and parking areas are to the north west of the site with ground floor loading bays and basement car parking connecting vertically to the new building above and horizontally to the underground shopping area. The landscape design is based on two principal ideas, a global intention applied over the entire site, with a garden at its centre that makes reference to Suncheon. Inspiration for the overall landscape proposal is the seminal work Several Circles by the Russian painter and art theorist Wassily Kandinsky. The interior garden is conceived as a public, egalitarian ‘living room’ for all, and features a conceptual urban map of Suncheon, scaled and oriented to the site in accordance with Korean geomancy. Specific areas are designated for rocks and water, areas of vegetation and spaces for cultural events and festivals. The central green oasis is seen as flexible dynamic and open space, fostering a new biodiversity that will link the mountains to the wetlands. To protect this public space from the trafficked street, the landscape is raised to provide a natural barrier as a new public and urban amphitheatre with the cantilevered building above adding an element of tension. The new Yeonja-Ru has been designed as a thought provoking lightweight circular footbridge, reflecting the original gate that elevated the spirit through an elevated view. It maintains its spiritual and architectural function overlooking the Ok-Cheon Stream and the Old City, with a delicacy that contrasts with the massive gate that once stood here, conveying a delicate memory of the past and providing a vision for the future. The sustainability of the project has been considered in the development of the design. The partially exposed concrete envelope introduces the required thermal mass, and the natural/displacement ventilation and highly efficient lighting systems reduce the overall energy consumption to provide a passive internal environment. Digitally controlled external sunshades respond to and protect the interiors from the intense heat/solar gain and the resulting energy savings provide the required cooling. The design of the roof is inspired by the Korean traditional Hanok. This makes efficient use of the rainfall through rainwater harvesting and the reuse of grey water. The soft landscaping acts as a filter to collect and store rainwater for irrigation. Allocated areas for water storage and technical plant have been included in the design. The new Art platform will inspire residents through research, preservation, exhibits and education. It will provide a welcoming and accessible place for all, regardless of age or disability. Open Gate will be an attractive and serene venue for individual retreats and community gathering, a place to connect or disconnect, a place to learn, a place to dream, a place to engage and be engaged, a place for art and all manner of imagination. Within the city it will be a new symbol to represent the unity of Suncheon citizens. As Kandinsky noted, “the circle is the synthesis of the greatest oppositions. It combines the concentric and the eccentric in a single form and in equilibrium. Of the three primary forms, it points most clearly to the fourth dimension.”

Location: City of Suncheon, South Korea. Program: Art centre, visitor centre and outdoor transformative garden and event space Site Area: 10,514sqm, project: 2,500sqm
Design Principal : Matteo Cainer Team: Daniella Persson, Vasiliky Mavrikaki, Caterina Cicognani, Francesco Messina, Barbara Stefán, Daana Bolot
Reflecting The Past
Studio SymbiosisIndia (2016-)

November 30, 2016

The Design brief is for a National memorial for Soldiers to be built in hear of Lutyens Delhi, adjacent to the India Gate and Amar Jawan Jyoti, which is a centrally situated ceremonial space built in memory of Indian soldiers. It is proposed that lawns within the Hexagon, without disturbing Lawns V, VI, Chhatri (Canopy) and Children’s’ Park be utilized as the site for the memorial. The built component of the memorial should be below human eye level with a maximum height of 1.5m above road level and focuses on landscape based intervention. Pride, elegance, history and context are the main design drivers for the proposal “Reflecting the Past”. With minimum intervention the design looks at reflecting the past. It strengthens the existing axial urban alignment and with a symmetrical positioning within lawn II and III. It locates itself in harmony and strengthens the position of the monument Chhatri, India Gate and Lutyens Delhi urban planning. A thin sheet of water located symmetrically in the heart of the proposal reflects India Gate and the Chhatri. It reflects the history and amalgamates the past and present. The present being the design proposal of the commemorative wall which is flanked around this water surface. The emotion of pride is enhanced for a person visiting the commemorative wall with the grand reflection of a very symbolic Indian monument. Proposed design looks at creating a thin sheet of water body between Park no II and park no III on the axis that can be driven over in case of emergency ensuring that emergency movement route is not blocked. The shallow water body and the sub base will ensure fire tender movement and also heavy military movement (if required). For pedestrians, steps in the water are provided for direct access or passing over the plaza or the commemorative wall. The commemorative wall is designed as a place of serenity and peace remembering the brave soldiers of the Indian Defence forces. Located with a back drop of water reflecting monuments and the sky, each soldier has an individual plank on the wall. Visitors can sit in peace next to the water surface on an integrated bench in the space. This space is covered and is nested one and half meter below ground. The opposite wall shows art murals and provides the possibility of an extension of the commemorative wall if required in the future. From there you can enter the hall of remembrance which has crystals suspended in air on different heights and names of the soldiers are echoed in this space. When one name is called out one crystal will glow in red colour. As a moment of reminding the presence an existing tree is highlighted and a view to the sky is giving light and hope. The central zone is segregated in three different zones: Air (representing Air Force), Water (representing Navy) and Earth (representing Army). As a homage to the three gallant forces, these three zones attempt to capture the experience for the visitor in a very subtle way. These three zones have distinct characteristics and all are enhancing the feeling and connecting with the ground where sacrifices were made. In the Earth zone an uneven terrain is provided to relate to the experience of the soldiers. Light pillars are provided, that act as a space of interaction and enhance the feeling for the visitors of walking through the forest. In the night creates an animated garden of light which represents life. Soil is form different states where soldiers fought to defend the country. In the flower garden the flowers are from different states of India, this echoes the charm of a Mughal Garden. In the water zone, animated water spouts going up and down are provided that represent life and also acts as a point of interest for visitors and helps in cooling the air. Trees proposed to shade the plaza and create a comfortable climate with evaporative cooling and shading. In the Air zone a cloud is proposed that would be artificially suspended over the sheet of water. This is proposed to be done on special occasions and celebrations. On a normal day, during the day it reflects India Gate and during the night animated LED lights embedded below the sheet of water are lit up. These individual lights create a synchronized amalgamation represents the contribution of Individuals acting as a unit in the defence forces. It was critical for the design proposal to retain the existing trees on the site. The design adapts and integrates the existing trees in the various zones. A small portion of the Air zone within the water sheet is the only place 7 trees are being taken off, the new trees in place of these will be redistributed on the site to provide ample shading. The earth zone extends into Lawn I and IV to connect to the existing and invite people to the new monument. Behind Lawn I we added a “breathe in” zone where elevated fresh air is provided within dense trees. High pressure misting systems invites visitors to relax and breathe in good quality air in a comfortable climate. Next to this we kept the existing lawn I for people to use it like they use the lawns right now for sport actives such as cricket.

The Design proposal consists of a memorial wall along with three zones of air, water and earth paying homage to the three armed forces of India. Spread over the central hexagon in Lutyens Delhi, adjacent to India gate the design focuses on minimal intervention in terms of built structure and to respect the central axis. The proposal is located with lawn II and III of the central hexagon with an underground tunnel connectivity to the proposed Indian National War Memorial.
Architects: Studio Symbiosis, Stuttgart | New Delhi Website: www.studio-symbiosis.com Design: Britta Knobel Gupta, Amit Gupta Project Team: Akshay Kodoori, Kartik Misra, Pranav Semwal, Manu Sharma, Sri Hari Kanth Venna, Sara Ather, M. Azhar, Nitish Talmale. Lighting Consultant: Office for Visual Interaction Inc, New York. Human Comfort Engineers: Transsolar Energietechnik GmbH, New York. Structural Consultant: Schlaich Bergermann Partner, Stuttgart.
Selçuk Youth and Cultural Center
Kemal Serkan DemirTurkey (2016-)

December 1, 2016

"Change life! Change Society (H. Lefebvre)! Well-designed public space is the most important articulater to form the public culture and contribute the sustainibility. The experiences that have perceived from the spaces increase the social group feeling and establish cultural norms of economical and social unity. In this context ; the scope of the cultural center is to reinterpret the relations between public life and individuals and multiple but identified act without ignoring vernacular pattern and to ‘’belong to the context’’ , to create gathering and meeting spaces by protecting and enchancing the natural, historical and social data. Main Design Intentions: To interpret the design principals over the awareness of the context values of the town and architectural, cultural and archeological heritage aggregation. To catch simplex architectural sermocination that is sensitive to the geographical properties, climatical effects,ecology and social life. The use of open-air spaces is very important in the culture of public life. To evaluate open air space uses and the positive effect of climatical conditions in maximum level. To combine the pieces of programme in the condition of classified tenancy and create open- semiopen-closed spaces . To build a spatial grammer that associates the location, function, density differences on a common ground (0.00 level) To edit the articulation of mass and climatic inner street by taking into consideration of the wind direction. To experience the local use of the water as an microclimatic element in articulation of landscape. To identified spaces that gives the feeling of user friendly , confident, relax and humanscale. To organize the use of propasal flexible composition in horizontal and vertical axis in different period of time. To provide the strong and direct accesibility of pedestrians by preserving the urban texture. To design the tenancy with the ability that has visual and sensual connection on different levels. To be harmonious; local metarials are selected as color, texture, size, match with sensitivity. To have the sustainibility issue interms of using local materials , designing optimum humanscale spaces, having shades and using the advantages of environment instead of having technological aspects of sustainibility.

Site area : 7.263 sq.m, , Building area : 5.382 sq.m, Total floor area : 1.917 sq.m, 2-stories building, Structure : Concrete, Material: Exposed concrete, natural stone, wood.
Kemal Serkan Demir, Ece Türkel Demir, M.Zafer Akdemir