World Architecture Awards 10+5+X Submissions
World Architecture Awards Submissions / 50th Cycle
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Invocation Hall
In today’s secular world, the definition of a worship space transcends religious boundaries. Drawing inspiration from Iran’s historical worship spaces, the design revisits the foundational elements of Mithraic sanctuaries, fire temples, and Persian mosques. The comparison reveals shared spatial genes across these typologies, with variations in their relationships and hierarchies.
During the Islamic era, the spatial organization of mosques closely mirrored that of Mithraic sanctuaries, as if reinterpreted for a new cultural context. However, some spatial potentials, such as the dynamic relationship between interior and exterior in the Dome Hall, were lost in translation. Conversely, elements like the portico were introduced, enriching mosque architecture.
This project seeks to reinterpret these overlooked qualities and integrate them into a contemporary context. The result is a prayer hall that reflects the spiritual and social aspirations of its users while paying homage to the architectural lineage of Iranian worship spaces.
The Ideation Process
The interplay between the material world of the industrial town and the spiritual essence of the prayer hall, alongside the spatial constraints of placing a conventional prayer space amidst commercial blocks, informs the centralized underground design. This approach envisions a "spatial container" embedded within the industrial town, acting as a bridge between material and spiritual realms. Submerging the structure underground mitigates noise pollution and enhances climatic comfort, creating a serene space amidst the region's harsh environment without disrupting the flow of commercial activities above.
Recognizing the absence of a collective space for rest and interaction, the prayer hall is designed as a multipurpose environment. Beyond facilitating religious rituals, it offers a tranquil space for reflection and social connection. By relocating the portico from its conventional position within the mosque to the exterior, the design fosters an inviting environment that enhances spiritual and social experiences. This innovation improves the space’s functionality for extended stays and meaningful interactions.
The Dome Hall
In pre-Islamic places of worship, the dome chamber was a semi-enclosed space that allowed natural elements such as light, wind, and rain to enter, enriching the users' spiritual experience. This concept has often been overlooked in modern translations of worship spaces.
The design seeks to revive this quality by incorporating layered spatial envelopes that connect the inner and outer environments. This approach balances the spiritual openness of traditional sanctuaries with the introspective nature of contemporary mosque architecture, retaining the dome’s enclosed essence while embracing external elements.
The Minaret
Given the limited area of the industrial town, a towering minaret is unnecessary. Instead, the minaret is reimagined as a symbolic element integrated into the prayer hall’s structure. It channels daylight towards the Qiblah during the day and emits interior light outward at night, establishing a dialogue between the inner spiritual sanctum and the external environment.
Spatial Organization: The Relationship Between Parts and Whole
Throughout history, spatial organization has reflected prevailing ideologies and worldviews. For this project, instead of segmenting spaces, each area is nested within another. This creates an architecture of layered spaces rather than isolated enclosures, offering a multitude of possibilities for spatial interactions.
Lead Architect: Meysam Feizi
Design Team: Iman Panahi, Behrooz Nakhaei, Masoud Faraji
During the Islamic era, the spatial organization of mosques closely mirrored that of Mithraic sanctuaries, as if reinterpreted for a new cultural context. However, some spatial potentials, such as the dynamic relationship between interior and exterior in the Dome Hall, were lost in translation. Conversely, elements like the portico were introduced, enriching mosque architecture.
This project seeks to reinterpret these overlooked qualities and integrate them into a contemporary context. The result is a prayer hall that reflects the spiritual and social aspirations of its users while paying homage to the architectural lineage of Iranian worship spaces.
The Ideation Process
The interplay between the material world of the industrial town and the spiritual essence of the prayer hall, alongside the spatial constraints of placing a conventional prayer space amidst commercial blocks, informs the centralized underground design. This approach envisions a "spatial container" embedded within the industrial town, acting as a bridge between material and spiritual realms. Submerging the structure underground mitigates noise pollution and enhances climatic comfort, creating a serene space amidst the region's harsh environment without disrupting the flow of commercial activities above.
Recognizing the absence of a collective space for rest and interaction, the prayer hall is designed as a multipurpose environment. Beyond facilitating religious rituals, it offers a tranquil space for reflection and social connection. By relocating the portico from its conventional position within the mosque to the exterior, the design fosters an inviting environment that enhances spiritual and social experiences. This innovation improves the space’s functionality for extended stays and meaningful interactions.
The Dome Hall
In pre-Islamic places of worship, the dome chamber was a semi-enclosed space that allowed natural elements such as light, wind, and rain to enter, enriching the users' spiritual experience. This concept has often been overlooked in modern translations of worship spaces.
The design seeks to revive this quality by incorporating layered spatial envelopes that connect the inner and outer environments. This approach balances the spiritual openness of traditional sanctuaries with the introspective nature of contemporary mosque architecture, retaining the dome’s enclosed essence while embracing external elements.
The Minaret
Given the limited area of the industrial town, a towering minaret is unnecessary. Instead, the minaret is reimagined as a symbolic element integrated into the prayer hall’s structure. It channels daylight towards the Qiblah during the day and emits interior light outward at night, establishing a dialogue between the inner spiritual sanctum and the external environment.
Spatial Organization: The Relationship Between Parts and Whole
Throughout history, spatial organization has reflected prevailing ideologies and worldviews. For this project, instead of segmenting spaces, each area is nested within another. This creates an architecture of layered spaces rather than isolated enclosures, offering a multitude of possibilities for spatial interactions.
Lead Architect: Meysam Feizi
Design Team: Iman Panahi, Behrooz Nakhaei, Masoud Faraji
Izmir Presidency and City Council!
Izmir has been a cosmopolitan, important coastal and port city of Western Anatolia with its port and commercial identity that developed depending on its background area from the past to the present, and with its cultural identities it has lived on. In the 17th century, the city was dominated by the Ottomans. The city turned into an eastern Mediterranean port city in the 17th century and became a commercial center. The mouth of the estuary was completely closed, this area turned into a swamp formed by seafood and soon filled with warehouse type inns.
İzmir Konak Square, lesser known as Atatürk Square, is an area that has undergone a lot of changes in its history of more than 200 years.
Konak Square has been a square, far from being a fixable place in its active history, with its 'structure' according to the political identities of different periods. This transformation has become more evident with the growth of the spatial scale over time. Until recently, Konak Square has been an open space that does not offer an ideal public life and has low spatial use due to the nature of the structures and uses that define it. It can be attributed to the fact that it outweighs it, that it cannot go beyond a mere landscaping and that the scale of the area has been lost.
The project has been designed to reference the historical past of Izmir. While the assembly hall, which is the symbol of democracy, was handled gradually and designed in the order of the ancient amphitheater, the triple columns that will carry this structure refer to the columnar architecture of the Agora. The three-column, in which the assembly is carried, represents the people who shape democracy with the elections they have made, and explains that the assembly can survive with this popular election. Thanks to the gradual elevation of the assembly structure to occupy the least space on the square, the remaining area opens towards the mosque and monument with steps and continues the public space in the project area. Instead of a building that covers the whole area, the building is positioned in a way that touches the ground the least and increases the use of people.
The semi-open public space designed on the basement floor can be accessed from two points, and the exhibition area and cafe area below can be accessed.
Plot: 3332 sqm
Composite Structure
Selim Senin
Bilgehan Kucukkuzucu
Alev Doru
Mehmet Bikec
Dicle Yildirim
Beyza Kinsiz
İzmir Konak Square, lesser known as Atatürk Square, is an area that has undergone a lot of changes in its history of more than 200 years.
Konak Square has been a square, far from being a fixable place in its active history, with its 'structure' according to the political identities of different periods. This transformation has become more evident with the growth of the spatial scale over time. Until recently, Konak Square has been an open space that does not offer an ideal public life and has low spatial use due to the nature of the structures and uses that define it. It can be attributed to the fact that it outweighs it, that it cannot go beyond a mere landscaping and that the scale of the area has been lost.
The project has been designed to reference the historical past of Izmir. While the assembly hall, which is the symbol of democracy, was handled gradually and designed in the order of the ancient amphitheater, the triple columns that will carry this structure refer to the columnar architecture of the Agora. The three-column, in which the assembly is carried, represents the people who shape democracy with the elections they have made, and explains that the assembly can survive with this popular election. Thanks to the gradual elevation of the assembly structure to occupy the least space on the square, the remaining area opens towards the mosque and monument with steps and continues the public space in the project area. Instead of a building that covers the whole area, the building is positioned in a way that touches the ground the least and increases the use of people.
The semi-open public space designed on the basement floor can be accessed from two points, and the exhibition area and cafe area below can be accessed.
Plot: 3332 sqm
Composite Structure
Selim Senin
Bilgehan Kucukkuzucu
Alev Doru
Mehmet Bikec
Dicle Yildirim
Beyza Kinsiz
Layering Pocekts - Fish Dining Venue
This fish dining venue, located in New York’s bustling Lower East Side, is not just a restaurant—it’s a proposed local food bank designed to serve the community while challenging the conventions of contemporary urban architecture. The innovative design explores the metaphor of "pockets" typically found in tailored human attire—concealed spaces that hold utility beyond their immediate appearance. Translating this concept into an architectural language, the design aims to blur the lines between interior and exterior through a multi-layered, textured façade that defies the simplistic, single-layered approaches common in modern cityscapes.
The concept of architectural “pockets” is rooted in the idea of creating sheltered, semi-enclosed spaces that invite interaction while providing privacy. These pockets are strategically integrated along the massing, aligned carefully with the structural grid lines to maximize both utility and aesthetic impact. The façades of the building feature a combination of translucent and opaque materials, allowing for a dynamic interplay of light and shadow. The visual permeability created by the layered façades not only serves to enhance the aesthetic quality of the structure but also encourages a dialogue between the public and private realms.
The design process began with a meticulous structural analysis, aiming to balance aesthetic ambition with engineering feasibility. To achieve the intended cantilevered forms without compromising structural stability, a system of bracing was introduced for secondary support. This approach allowed the design to maintain a sense of lightness while adhering to the diagonal grid lines that form the underlying framework of the building. The choice to use vertical walls as a means of defining the position of the floor slab further emphasizes the relationship between structural integrity and architectural form.
Addressing the structural challenges posed by the project required innovative solutions. The concept of fragmented spaces emerged as a response to the need for functional versatility. By utilizing a reverse-stepping massing strategy, the building creates a series of layered, hanging panels that evoke a sense of suspended movement. These fragmented spaces provide various levels of intimacy, catering to different user experiences—from communal dining areas to more secluded, reflective corners. The varied textures of the panels—ranging from smooth, polished surfaces to rough, raw finishes—intensify the sensory experience, allowing the architecture to engage visitors on multiple levels.
The decision to employ a column and beam grid system as the primary structural strategy reinforces the thematic notion of “pockets.” This grid system not only supports the physical weight of the structure but also serves as a framework within which the fragmented spaces can nestle. By combining the stability of the grid with the fluidity of the fragmented spaces, the design achieves a balance between order and organic form. The columns act as anchors for the suspended layers, while the beams provide the necessary horizontal stability, creating a cohesive yet dynamic structural system.
In addition to its role as a dining venue, the project’s function as a local food bank amplifies its impact on the community. The fragmented pockets serve as gathering points where resources can be distributed, transforming the building into a space of support and nourishment beyond mere dining. The integration of public and private functions challenges traditional notions of exclusivity in urban dining, creating a space that is as inclusive as it is innovative. The seamless blending of these roles within a single architectural entity showcases the potential of design to foster social responsibility while maintaining aesthetic and functional integrity.
Ultimately, this project exemplifies a fusion of structural innovation, aesthetic exploration, and community-oriented design. By embracing the concept of “pockets,” the architecture transcends conventional boundaries, offering a space that is not only visually captivating but also functionally adaptable and socially impactful. It redefines the notion of a dining venue, transforming it into a multidimensional space that serves, connects, and inspires the community it inhabits.
The project began with prototyping the façade design using repurposed materials to explore "layering pockets." After three iterations of physical models at a 1:100 scale using timber, BIM analysis was conducted to optimize the load-bearing system. The design was then digitally modeled in Rhino, with Keyshot used for realistic rendering and AutoCAD for detailed technical drawings at a 1=1/2'' scale to achieve construction feasibility.
Ying Chen (Architectural Designer)
Shengnan Gao (Architectural Designer)
The concept of architectural “pockets” is rooted in the idea of creating sheltered, semi-enclosed spaces that invite interaction while providing privacy. These pockets are strategically integrated along the massing, aligned carefully with the structural grid lines to maximize both utility and aesthetic impact. The façades of the building feature a combination of translucent and opaque materials, allowing for a dynamic interplay of light and shadow. The visual permeability created by the layered façades not only serves to enhance the aesthetic quality of the structure but also encourages a dialogue between the public and private realms.
The design process began with a meticulous structural analysis, aiming to balance aesthetic ambition with engineering feasibility. To achieve the intended cantilevered forms without compromising structural stability, a system of bracing was introduced for secondary support. This approach allowed the design to maintain a sense of lightness while adhering to the diagonal grid lines that form the underlying framework of the building. The choice to use vertical walls as a means of defining the position of the floor slab further emphasizes the relationship between structural integrity and architectural form.
Addressing the structural challenges posed by the project required innovative solutions. The concept of fragmented spaces emerged as a response to the need for functional versatility. By utilizing a reverse-stepping massing strategy, the building creates a series of layered, hanging panels that evoke a sense of suspended movement. These fragmented spaces provide various levels of intimacy, catering to different user experiences—from communal dining areas to more secluded, reflective corners. The varied textures of the panels—ranging from smooth, polished surfaces to rough, raw finishes—intensify the sensory experience, allowing the architecture to engage visitors on multiple levels.
The decision to employ a column and beam grid system as the primary structural strategy reinforces the thematic notion of “pockets.” This grid system not only supports the physical weight of the structure but also serves as a framework within which the fragmented spaces can nestle. By combining the stability of the grid with the fluidity of the fragmented spaces, the design achieves a balance between order and organic form. The columns act as anchors for the suspended layers, while the beams provide the necessary horizontal stability, creating a cohesive yet dynamic structural system.
In addition to its role as a dining venue, the project’s function as a local food bank amplifies its impact on the community. The fragmented pockets serve as gathering points where resources can be distributed, transforming the building into a space of support and nourishment beyond mere dining. The integration of public and private functions challenges traditional notions of exclusivity in urban dining, creating a space that is as inclusive as it is innovative. The seamless blending of these roles within a single architectural entity showcases the potential of design to foster social responsibility while maintaining aesthetic and functional integrity.
Ultimately, this project exemplifies a fusion of structural innovation, aesthetic exploration, and community-oriented design. By embracing the concept of “pockets,” the architecture transcends conventional boundaries, offering a space that is not only visually captivating but also functionally adaptable and socially impactful. It redefines the notion of a dining venue, transforming it into a multidimensional space that serves, connects, and inspires the community it inhabits.
The project began with prototyping the façade design using repurposed materials to explore "layering pockets." After three iterations of physical models at a 1:100 scale using timber, BIM analysis was conducted to optimize the load-bearing system. The design was then digitally modeled in Rhino, with Keyshot used for realistic rendering and AutoCAD for detailed technical drawings at a 1=1/2'' scale to achieve construction feasibility.
Ying Chen (Architectural Designer)
Shengnan Gao (Architectural Designer)
Miraj Crafts Village
Rajasthan in India has nurtured multiple crafts since centuries including stone carving, textile printing, mirror work, wood carving and many more.
With unprecedented urbanization many of these crafts are being obliterated.
This crafts centre is an endeavor to revive these crafts & spread the awareness of the sustainable methods of these traditional creations.
The location of this site is on a steeply contoured land amidst a hilly region in Udaipur city in Rajasthan, India.
The levels vary by 16M from the highest to the lowest point in the site.
Resonating with the organic shape of the site and alluding to the organic nature of the old cities , a series of curvilinear volumes are created at various levels. Circulation spaces narrow & widen throughout to create intimate shadowed spaces & larger open spaces for congregation within the layout.
Spaces to showcase each craft with craftsmen , an open stepped auditorium along the contours, spaces for a café & restaurant are integrated within this hilly site.
All the construction will be done with locally available sandstone in the region. Multiple sheltered spaces are created throughout in response to the hot climate of the region with temperatures in excess of 35°C for 8 months annually.
Rain water harvesting tanks are created at the lowest level to harness water during the rainy season.
Integrating the built volumes within the existing contours, building in natural stone available in the vicinity , creating multiple sheltered volumes along with rain water harvesting & water recycling will reduce the carbon foot print whilst rendering the buildings energy efficient.
The Miraj Crafts Village will bring the communities of craftsmen together reviving centuries old crafts and create awareness of the beautiful traditional methods that this region used to be well known for.
--
Design Company: Sanjay Puri Architects
Lead Architect: Mr. Sanjay Puri
Design Team: Ruchika Gupta, Sonal Narkar
With unprecedented urbanization many of these crafts are being obliterated.
This crafts centre is an endeavor to revive these crafts & spread the awareness of the sustainable methods of these traditional creations.
The location of this site is on a steeply contoured land amidst a hilly region in Udaipur city in Rajasthan, India.
The levels vary by 16M from the highest to the lowest point in the site.
Resonating with the organic shape of the site and alluding to the organic nature of the old cities , a series of curvilinear volumes are created at various levels. Circulation spaces narrow & widen throughout to create intimate shadowed spaces & larger open spaces for congregation within the layout.
Spaces to showcase each craft with craftsmen , an open stepped auditorium along the contours, spaces for a café & restaurant are integrated within this hilly site.
All the construction will be done with locally available sandstone in the region. Multiple sheltered spaces are created throughout in response to the hot climate of the region with temperatures in excess of 35°C for 8 months annually.
Rain water harvesting tanks are created at the lowest level to harness water during the rainy season.
Integrating the built volumes within the existing contours, building in natural stone available in the vicinity , creating multiple sheltered volumes along with rain water harvesting & water recycling will reduce the carbon foot print whilst rendering the buildings energy efficient.
The Miraj Crafts Village will bring the communities of craftsmen together reviving centuries old crafts and create awareness of the beautiful traditional methods that this region used to be well known for.
--
Design Company: Sanjay Puri Architects
Lead Architect: Mr. Sanjay Puri
Design Team: Ruchika Gupta, Sonal Narkar
Planning and Architectural Design of Lu Feng China Resources Hope Town
Lufeng China Resources Hope Town is located in Qian'ao Village, Jieshi Town, Lufeng City, Shanwei City, Guangdong Province, China. This historic fishing village has preserved traditional production practices, including artisanal fishing methods to the present day. The region boasts abundant natural and cultural resources, with significant intangible cultural heritage such as shadow puppetry, Yingge dance (a Hakka ritual performance listed as China's National Intangible Cultural Heritage), and maritime work songs. Established during the Ming-Qing transition period (circa 1680 CE), Qian'ao Village contains historical relics including the Qian'ao Fortress Ruins and Tianhou Temple (dedicated to the Sea Goddess Mazu), along with numerous well-preserved traditional dwellings. The area features distinctive ecological formations such as sea stacks and is acclaimed as the premier sunset observation site within Jieshi Bay.
Lufeng China Resources Hope Town, as the eighteenth installment in China Resources Group's nationwide Hope Town philanthropic program, represents a coastal charitable development project with an integrated fisheries-based economic foundation. Not only will a large amount of infrastructure construction and environmental improvement be carried out at the material level, but also improvements will be made in culture, education, health and other aspects, directly benefiting more than 570 households (3,300 villagers), and striving to create a new rural community that is suitable for living, working and traveling.
The master plan adheres to the principles of cultural preservation, industrial development, and progressive renewal. Rooted in natural resources, regional culture, and contemporary needs, it seeks to uncover the millennia-old history of this coastal defense stronghold in eastern Guangdong. With the goals of fostering cultural prosperity, enhancing place memory, stimulating economic vitality, and improving quality of life, the plan employs a combination of preservation, renovation, and new construction to create a modern yet heritage-integrated coastal village in southern China.
The planning scheme divides the site into three zones and two nodal points based on the village's road network and resource distribution: the Pioneer Zone, Ancient Village Zone, and Exploration Zone, along with two focal points - the Coastal Defense Memory Node and Bay Vitality Node. The masterplan employs strategic spatial allocation of programmatic elements along the coastal vitality corridor, creating an integrated 'One Belt, Five Zones' structure that achieves seamless marine-terrestrial integration through organic spatial penetration.
The Ancient Village Cluster Zone serves as the core area of the master plan. The existing settlement features a typical fishbone-pattern settlement layout characteristic of rural Guangdong, with well-preserved ancestral halls and traditional houses that reflect strong clan culture. However, population decline has led to numerous vacant dwellings, while uncoordinated self-built structures have resulted in a fragmented mix of traditional and modern housing. This has compromised the connectivity of alleyway networks and disrupted the traditional urban fabric. The design scheme categorizes the residential units into three tiered sectors progressing inland from the coastline, based on their architectural characteristics and spatial positioning. It restructures the street system to reduce spatial density, establishing an oriented spatial framework of "5 main streets and 5 alleys." This network connects 11 key public space activity nodes and incorporates 16 strategically selected buildings for industrial activation. For existing dwellings, For existing vernacular dwellings, the intervention strategy emphasizes cautious renovation over demolition, achieving a dialectical synthesis between historic fabric and contemporary interventions. This approach incorporates localized cultural motifs while expressing modern aesthetic principles through thoughtful architectural gestures.
Additionally, to enhance the overall functional completeness of the town's supporting facilities and meet the production and living needs of both villagers and tourists, the planning scheme integrates and renovates existing idle public building resources while constructing new public buildings to supplement the missing functions. The 3 new public buildings include hotel，brewpub and a village history and culture museum. The 5 renovated public buildings contain a primary school, a cape library, a rural community service center, a health clinic, and a village food market integrated with dining and commercial functions.
The planning design proceeds in tandem with landscape enhancement, with key focus on the coastal road and several villager activity squares as priority landscape intervention areas. The improvements extend from the roadway into the village interior. Sort out the green plant landscape, add signage and nameplates, supplement local floodlighting, optimize the landscape environment, emphasize authenticity and light intervention, and improve the overall public space quality of the village.
Furthermore, the planning and design process is closely integrated with industrial strategy development, incorporating intangible cultural heritage to establish new cultural contexts for the township. Through industrial expansion and spatial value enhancement, the plan creates blended cultural scenarios that harmonize tradition with modernity, ultimately reconstructing the local cultural value system. Guided by China's 4A-level scenic area certification standards, market projections indicate the developed site will achieve a projected annual visitor capacity of 700,000 (pax), with a daily carrying capacity of around 1,700 visitors. With tourism development as the primary driver, complemented by long-term operational management, the initiative will continuously revitalize the town's spatial environment, attract increased social investment and tourism, and foster sustainable economic development for the community.
Site Area: 591,979m2 (59 hectares)
Construction Gross Area: 72,500m2
Chu Dongzhu,Yang Yang,Zou Jun,Zhang Zhi,Liu Yang,Yu Yan,Guan Shihan,Liu Xueyang,Deng Yuwen,Zhou Lingzhi,Yang Jiyi,Sun Shijiao,Chang Yuan,Zhang Ling,Yan He,Ding Yi,Fang Xiaotao,Wen Yuan,Zhou Tingjuan
Lufeng China Resources Hope Town, as the eighteenth installment in China Resources Group's nationwide Hope Town philanthropic program, represents a coastal charitable development project with an integrated fisheries-based economic foundation. Not only will a large amount of infrastructure construction and environmental improvement be carried out at the material level, but also improvements will be made in culture, education, health and other aspects, directly benefiting more than 570 households (3,300 villagers), and striving to create a new rural community that is suitable for living, working and traveling.
The master plan adheres to the principles of cultural preservation, industrial development, and progressive renewal. Rooted in natural resources, regional culture, and contemporary needs, it seeks to uncover the millennia-old history of this coastal defense stronghold in eastern Guangdong. With the goals of fostering cultural prosperity, enhancing place memory, stimulating economic vitality, and improving quality of life, the plan employs a combination of preservation, renovation, and new construction to create a modern yet heritage-integrated coastal village in southern China.
The planning scheme divides the site into three zones and two nodal points based on the village's road network and resource distribution: the Pioneer Zone, Ancient Village Zone, and Exploration Zone, along with two focal points - the Coastal Defense Memory Node and Bay Vitality Node. The masterplan employs strategic spatial allocation of programmatic elements along the coastal vitality corridor, creating an integrated 'One Belt, Five Zones' structure that achieves seamless marine-terrestrial integration through organic spatial penetration.
The Ancient Village Cluster Zone serves as the core area of the master plan. The existing settlement features a typical fishbone-pattern settlement layout characteristic of rural Guangdong, with well-preserved ancestral halls and traditional houses that reflect strong clan culture. However, population decline has led to numerous vacant dwellings, while uncoordinated self-built structures have resulted in a fragmented mix of traditional and modern housing. This has compromised the connectivity of alleyway networks and disrupted the traditional urban fabric. The design scheme categorizes the residential units into three tiered sectors progressing inland from the coastline, based on their architectural characteristics and spatial positioning. It restructures the street system to reduce spatial density, establishing an oriented spatial framework of "5 main streets and 5 alleys." This network connects 11 key public space activity nodes and incorporates 16 strategically selected buildings for industrial activation. For existing dwellings, For existing vernacular dwellings, the intervention strategy emphasizes cautious renovation over demolition, achieving a dialectical synthesis between historic fabric and contemporary interventions. This approach incorporates localized cultural motifs while expressing modern aesthetic principles through thoughtful architectural gestures.
Additionally, to enhance the overall functional completeness of the town's supporting facilities and meet the production and living needs of both villagers and tourists, the planning scheme integrates and renovates existing idle public building resources while constructing new public buildings to supplement the missing functions. The 3 new public buildings include hotel，brewpub and a village history and culture museum. The 5 renovated public buildings contain a primary school, a cape library, a rural community service center, a health clinic, and a village food market integrated with dining and commercial functions.
The planning design proceeds in tandem with landscape enhancement, with key focus on the coastal road and several villager activity squares as priority landscape intervention areas. The improvements extend from the roadway into the village interior. Sort out the green plant landscape, add signage and nameplates, supplement local floodlighting, optimize the landscape environment, emphasize authenticity and light intervention, and improve the overall public space quality of the village.
Furthermore, the planning and design process is closely integrated with industrial strategy development, incorporating intangible cultural heritage to establish new cultural contexts for the township. Through industrial expansion and spatial value enhancement, the plan creates blended cultural scenarios that harmonize tradition with modernity, ultimately reconstructing the local cultural value system. Guided by China's 4A-level scenic area certification standards, market projections indicate the developed site will achieve a projected annual visitor capacity of 700,000 (pax), with a daily carrying capacity of around 1,700 visitors. With tourism development as the primary driver, complemented by long-term operational management, the initiative will continuously revitalize the town's spatial environment, attract increased social investment and tourism, and foster sustainable economic development for the community.
Site Area: 591,979m2 (59 hectares)
Construction Gross Area: 72,500m2
Chu Dongzhu,Yang Yang,Zou Jun,Zhang Zhi,Liu Yang,Yu Yan,Guan Shihan,Liu Xueyang,Deng Yuwen,Zhou Lingzhi,Yang Jiyi,Sun Shijiao,Chang Yuan,Zhang Ling,Yan He,Ding Yi,Fang Xiaotao,Wen Yuan,Zhou Tingjuan
