World Architecture Awards Submissions / 43rd Cycle
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The project is located in Kampala, the capital of Uganda, located in East Africa. The project land, located in Ntinda, the newly developing region of Kampala, has an area of 777 square meters. When the ramp was built, it was aimed to dissolve the car parking area on the ground floor instead of building a basement, since the loss of space was too much and the land was very limited.The ground floor of the building, which touches the ground only with the entrance lobby and an elevator area that will allow vertical circulation, is used as a car parking lot. A staircase is designed open from the side of the building. This staircase leads to the cafe*&restaurant area designed on the 1st floor. The cafe restaurant area has direct access with this staircase designed outside, without entering the building. The 2nd and 3rd floors and the 4th and 5th floors are defined as a single office space. The gallery space, which is two stories high on both floors, allows both floors to work as a single floor. This gallery space is located at different locations on the 2nd and 3rd floors, and on a different floor on the 4th and 5th floors.The relocation of the gallery also allows for a more dynamic setup on the façade of the building. Instead of repeating floor plans over 4 floors, a more dynamic office setup has been achieved. High ceilings, that is, 2 floors high, are a sign of prestige. Instead of the classical office space, this 2-floor office design has been considered so that boutique brands can better express themselves to their customers.
Plot area: 777 sqm
Structure: Reinforced Structure
Car parking: 20 cars
Workspace Capacity: 106 person
The modern architecture of the facades of the building is based on modernist principles, corresponding to current global trends. Due to the dismantling of the attic floor, the building becomes two-storeyed, visually stretching in width, thereby harmoniously fits into the surrounding landscape. The shaping of facades is dynamic – the main volume of the building is clad in a shell of exposed beams and other structural elements, due to which expression and complex dramaturgy arise in the appearance of the building.
Contrasting colors and materials are used in the facade decoration, which emphasizes the complex and unusual shape of the building, more clearly revealing its features. Window openings are mainly made from floor to ceiling, revealing the interiors of the house on the site and providing the best view characteristics; in addition, this technique allows you to visually dissolve the building in the surrounding landscape by looking through the house and glare on a large number of panoramic glazing.
The main view point from the interiors of the building is a view of Lake Baltezers, while the northern facade faces the lake. The location of the windows is chosen in such a way that natural light and direct sunlight penetrate into each living room of the building.
The main entrance to the house is located on the side of the forest and Krastmalas Street and is decorated in a grand manner. To the right of the porch, a courtyard is projected, opening towards the forest, in the center of which, in the middle of a small decorative pond, there is a decorative abstract sculpture, while the floor of the pond is made of impact-resistant glass and is a simultaneous window for the penetration of natural light into the basement of the building. The visual effect is enhanced by a waterfall flowing down the wall to the right of the sculpture. The northern wall of the courtyard is translucent and opens into the two-light volume of the living room, through a panoramic window measuring 2 floors on the lake.
In the left wing of the house there is a garage for 2 cars. On the right side of the house there is a terrace, inside of which there is a decorative garden, which can be accessed both from the side of the plot and from the adjacent premises of the house. The core of the garden is a tree with a sprawling and artistically trimmed crown, around which there is a decorative pond bordered by bamboo shoots and flower beds with perennial groundcover and other plants. At the bottom of the garden there is a recreation area, deepened in the floor with built-in furniture; a complex network of paths and paths made of various materials is laid through the garden. Behind the garden there is a SPA area with panoramic windows on the north and south facades, thanks to which a view of the lake is provided from the garden.
From the lake side, the building is visually raised due to an artificial embankment from the level of the natural relief of the site to the terrace of the first floor. The center of the composition is a panoramic window of the living room with a grand staircase under it, to the left and right of which are other rooms of the house. In the basement, the embankment is interrupted to organize the arrival to the underground parking and the garage for the boat. Also in the basement there are other auxiliary and technical rooms, including a gas boiler room.
In front of the entire northern facade there is a terrace for relaxation, access to which is provided from the adjacent premises of the house. On the right side of the building adjacent to the kitchen, the terrace is sunk to organize outdoor space for recreation and summer dinners; in this area of the terrace there is also a decorative pond with a small tree and built-in benches, and outdoor furniture.
The windows on the western and eastern facades of the building are designed in such a way as to exclude the visibility of the interiors of the house from the surrounding buildings; decorative slats framing the garden and the terrace at the kitchen serve the same purpose.
The rooms on the second floor are adjacent to terraces and balconies of various sizes, from which the best viewpoints on the surrounding landscape and plot are revealed.
The roof of the building is flat and unused.
The building of the residential building is designed for year-round residence of the customer and his family members, as well as the stay of a small number of guests.
3. Applied finishing materials
The facades are decorated with large-format porcelain stoneware of white and light gray colors, panels of black stemalite, clinker bricks of elongated dark gray format and wooden slats tinted in the color of bitter chocolate with complex relief treatment.
Double-glazed windows made of dark gray aluminum profile (SKY-FRAME and SCHUECO).
The fencing of terraces and balconies is transparent glass (triplex) in a supporting invisible profile.
Decorative accents are elements of black metal, natural stone of various breeds and shades.
The total area of the building is 1404.7 sq. m.
Vadim Martynov, Ekaterina Gatilova, Artem Slastnikov, Stanislav Serafimov
MarPunta is a summerhouse located in the highest level of the Cesme/Pasalimani province, which was designed to diffuse in the sloping land and to celebrate the beauty of the Aegean Sea.
Throughout the design process of MarPunta primary focus was benefitting the advantages of the plot(view and landscape) and comfort at the maximum level.
The villa, designed on a 520 m2 plot with 403 m2 construction area, has two floors and a basement, three of which are facing a great sea view with terrace/balcony areas, and a garden with infinity pool. Apart from the glazing, which covers most of the facade, a special plaster was used for the facade which was detailed with the use of iroko wood and aluminum on the eaves.
One of the outstanding features of the entrance/east façade, the stairwell, connects floors with a gallery opening that invites natural light and the fascinating view in.
A secondary terrace is designed on the entrance/east facade of the villa to avoid wind as well as west sun when necessary.
On the entrance/middle floor there is a living area with a dining area and a service kitchen connected to the kitchen downstairs with a dumbwaiter.
On the basement floor, there is a living area, the main kitchen, which is connected to the service kitchen on the ground floor, service areas and the guest room with direct access to the pool. The access to the terrace/garden and pool at the basement level is also provided by an outdoor guest's staircase, which follows the slope of the land and integrates with the landscape, from the south side of the building. There is also a service stair from the north of the building, which leads to a direct entrance to the service area on the basement floor.
On the first floor, there are three rooms, each with a view. In particular, the en-suite bathroom was designed with a transparent wall on the room side in order to keep the connection with both the bedroom and the outside. A jacuzzi is placed in this bathroom to help houseowners enjoy the moment.
In order to benefit from the stunning view from three sides of the villa, maximum opening / joinery is used on the façades.
The living area on the ground floor has a glass flooring in the corner to emphasize the relationship between the entrance floor, pool and the basement living area in a fluent way and to keep the view at the highest level.
Again, in order to prioritize the access to the view, the console balcony located in front of the ground floor’s living area was planned to be accessed with a stair, lower level than the ground floor so that the furniture used in the balcony would not block the view inside.
Plot Area: 520 m2
Built Area: 403 m2
Architectural Design: BAD-Basak Akkoyunlu Design
Lead Architect: Basak Akkoyunlu
Project Team: Pelin Köroğlu
The memorial pays tribute to the victims of the August 4 explosion in Beirut.
It is the identity of each person. It reflects the hope that resides in every body shell saddened by the attack. A hope of smiling, a hope of moving forward, a hope of peaceful rest for departed souls. Like rain, the light travels from the top of the memorial to pour over the meditation space giving hope to the populations. This memorial is a building whose exterior facades are dark black expressing the pain, the sadness felt by the relatives of the victims, the populations affected from near and far, the whole world, because of the explosion. The interior walls are a dazzling white, expressing the hope for an imminent healing of the hearts of all those affected. It can be compared to a black paving stone engraved with broken openings reflecting the wounds inflicted by the explosion on the victims. The roof is a slab pierced in the center by a large glazed half-sphere giving access to a dazzling light, which are arranged around 200 half-spheres (of a truly smaller radius) like the victims of the attack. The first level, ground floor, is an area for visitors to pay homage to the victims of the attack; area with a stele above and around where it is possible to place wreaths of flowers for the victims. The stele in its center receives daylight from above, this overhead lighting instantly immerses visitors in a world whose choice of a new start for a better future is at hand. All of the levels R 1 to R 5 are exhibition spaces, contemplating photographs of victims and damage related to the exhibition. Level R 6 is the area devoted to meditation, to the recollection of visitors who need inner healing, the hope of a peaceful life, the hope of rest for the souls of the victims.
the project is designed in concrete and is laid on reinforced concrete piles.
AKAMBA BENGONO Ariel
Skyscrapers today find themselves as a typology of faceless archetypes. High-rise construction is a reproduction of itself without incorporating idividuality into its DNA, which in turn provokes the creation of generic skyscrapers. This phenomenon is clearly expressed in countries with both well-established and modern urban fabric. Thus, the question emerges: what strategies should be employed to solve the problem?
Non-generic skyscraper is the new stage in high rise architecture which rethinks conventional attitudes towards skyscraper development and offers a new approach in building design. Context and identity are two components of non-generic skyscrapers. The premise of the strategy implies critical approach where a new building does not intervene but enhances the existing context. Whereas, identity is a quality created by architects themselves, contributing to the uniqueness of the project and the culture in which it will be inscribed. However, these two aspects are usually presented in cities separately.
In order to bring the issue to a climax, the location of the proposed building was chosen in Taipei, Taiwan. The site is charged with both tradition and innovation where the concept of non-generic skyscraper can be represented in the best possible way.
The 11500 sq.m. site is located right in front of the iconic Taipei 101 building. First, the site's contour is pushed. Then, the public space at the entrance is created. The form is shaped by the surrounding context: the side oriented to the city is emphasized by four stretched points, addressing rectangular cityscape, while the south elevation facing suburbs complements the mountains and picturesque scenery. The iconic structure's silhouette is surreally reflected on the south elevation. Lateral sides are media screens, announcing events, news, and interacting with the city.
The map of Taipei is divided into six parts, which are juxtaposed and comprise collaged scheme. Then, at their intersection points, four non-generic programs are embedded in created outlines. As a result, a rigid hierarchy of a conventional tower is reconfigured into the non-generic building.
The tower is made of reinforced concrete, metal structural elements and glass. An efficient vertical transport scheme is the dual core design which provides high-efficiency vertical transportation.
Designers: Vladislav Dudyrev, Gamid Isaev, Artem Bashkirov
Supervisor or Instructor: Elena Ermolenko