World Architecture Awards 10+5+X Submissions

In the vibrant pulse of urban hubs, where progress resonates ceaselessly and industries venture into new territories, a global challenge emerges, enveloping abandoned industrial sites. Within the streets of Bello, a municipality on the outskirts of Medellín, time reveals itself as a relentless architect, erasing its remnants with every crumbling structure, turning the city into a transient landscape full of ruins and shadows of the past, where stories are etched and inevitably fade away.

The passage of time has seen Medellín, the capital of Antioquia, evolve into a symbol of progress in Colombia since the late 19th century, with significant advancements in services and infrastructure. However, much of this progress has come at the cost of demolishing heritage sites in the name of modernization. In Antioquia, this erroneous concept of progress has devastated the cultural and heritage wealth of Medellín's downtown, resulting in the loss of its iconic status as a historic center and transforming it into an eclectic city. The city's limited land for construction and expansion has led to a cycle of building, demolition, and reconstruction, prioritizing short-term changes. It is crucial to reassess the approach to preserving the remaining heritage in the complex context of a modern Latin American city in constant evolution. Balancing progress with the protection of the city's cultural identity becomes imperative to ensure that future development respects and values Medellín's inherited legacy.

The Antioquia Railway and its stations represent one of the most significant heritage ensembles in the state. Although its construction faced significant challenges due to the region's difficult geography and the adaptation of its inhabitants, its impact on the region's development was notable. However, despite its historical importance, many railway stations have been abandoned due to the arrival of new technologies such as the metro, allowing nature and humanity to find an unexpected way of renewal: where once shadows loomed, now flourish vibrant flora, new ecosystems take root, and both human and non-human life reclaim the space.

Preserving and repurposing the Bello Workshops reflect the acknowledgment of their historical and educational value. These spaces, once vocational training centers, still hold potential as environments for modern learning and education in an area where existing facilities struggle to cope with the high growth of the informal population. Keeping these workshops alive aims not only to continue the educational tradition but also to revive collective memory, integrating it into the urban landscape. By incorporating this industrial heritage, a dynamic link between the past and present enriches the local community's identity and experience.

"Building the Void" conceptually underscores the importance of empty space in architectural design, considering negative space as integral to the composition. This approach aims to create a balance between structure and void, enhancing spatial experience. The project features different types of voids, within the workshops and intermediate spaces, integrated to create a richer and more meaningful environment.

The complex, situated above the Antioquia railway, is flanked by two significant streams, each preserving its space alongside the railway. However, there is a risk of water stagnation due to the gentle slope towards the river. To manage rainwater in urban areas sustainably, a rain garden is proposed as part of the project. This green infrastructure captures and filters rainwater, reducing floods and recharging groundwater aquifers. By mimicking natural water cycles, rain gardens contrast with the impermeable surfaces typical of Bello municipality, reducing strain on conventional sewer systems and minimizing flooding risks.

The project emerges as a series of elements that link the present to the past both spatially and materially. The creation of a centralized hub for various types of interactions at the municipality's entrance allows for a range of dynamics and activities, where the landscape serves as the main stage, constantly evolving over time. Additionally, the construction's resilience against nature and its evolution ensures a new perspective on the role of heritage and its potential resilience to change.


The project proposes the first stage of a long-term system that may be expanden. Nave 1, dedicated to the contemplation of industrial ruins. Nave 2 consists of a gallery and an open-air theater, and finally, the main SUD serves as the unifying element of the two naves, receiving water from the entire project. A series of structural steel additions have been incorporated into the existing walls, carefully designed to preserve the historical legacy of the complex. This ensures that the walls remain the focal point of the landscape, enduring the passage of time.

Nave 1 focuses on creating a new type of intermediate landscape between the existing industrial ruin, which transforms into a floodable and permeable artificial ruin, and the permanent view of Medellín as a context. The pathways allow for passive and reflective immersion in the landscape, facilitating the contemplation of time passing in this renewed environment.

Nave 2 focuses on more traditional cultural uses. A double open-space theater is proposed, designed to be versatile for various activities of different scales. This is complemented by a gallery that, in its initial conception, consists of an adaptable open space for different types of exhibitions and a closed section mainly intended for digital and immersive art projects.

The Sustainable Urban Drainage System (SUDS) emerges as the unifying element between the two naves, functioning as an immersive public space landscape, which can be used as nature grows and time takes hold of it. It is distinguished by its complete permeability, seamlessly integrating with the abandoned rails present in the area. The space offers areas for passive enjoyment as well as a series of predetermined routes that encourage people to explore the area and interact gradually with the emerging green landscape.

Design: Sofia Prado
Tutors: Daniela Atencio, Claudio Rossi, Daniel Bonilla

The project area is located in the most noisy and crowded area of Izmir. Access to this area, which is adjacent to the Bornova Bolge Metro Station and the upper bridge, is also very easy. The objective was to seamlessly integrate work, living, and public areas, focusing on the specific needs of the user group. The main theme of the project was vertical farming, prompting research into this advanced technology. The goal was to minimize urban noise and overcrowding by establishing vertical farming areas, where products are grown on vertically stacked shelves or layers using soilless farming techniques such as hydroponics, aquaponics, and aeroponics. I took references from neighboring buildings and identified the entrances to the area.
The design concept arose with the question of how to reduce noise pollution caused by the adjacent highway and subway line. For this, I paid attention to the short width of my buildings and rotating the building masses according to sunlight in order to have the most sunlight in the vertical gardening spaces.
In this project, I aimed to use innovative hydroponic systems alongside traditional methods like greenhouse gardening, rooftop gardens, and community gardens for vertical farming. The title of my project, ElevaGreen, which means Rising Green, is actually derived from a green that rises in vertical farming.
Additionally, I considered providing farmers with affordable and sustainable housing options, believing it would be more suitable for their living needs while engaged in production. The modular living units offered in three different types; It offers versatile and functional spaces, including dedicated laboratory units for advanced innovation.The public spaces I envisioned included a bazaar for farmers to sell their products, a daycare, a library, and culinary workshops, all designed to meet the needs of the farming community.

Modular living units; the first unit is 36 m², the second unit is 54 m², and the third unit is 72 m² in area. The vertical farming area covers approximately 7,400 m², with greenhouses occupying 1,400 m² and underground parking covering 2,000 m². The Dynamic Bazaar area includes 4 culinary workshops of 70 m² each, 6 cafes of 50 m² each, a nursery of 200 m², and administrative and staff areas totaling 2,000 m².
The building elements used are steel construction and concrete cladding. Steel crossbars were preferred to increase the horizontal load-bearing capacity and reduce lateral displacement. The building elements of the modular housing are also steel construction, ensuring a stronger and more dynamic transition with the vertical farming buildings.
Architect: Ceyda Cosar
Supervisor: Isik Ulkun Neusser
Metin Sahin

The concept contrasts the chaotic way of life in the United Arab Emirates. The site is located in a heavily populated area filled with tourists and residents. The approach of the design is to create an atmosphere that becomes calm in the middle of that chaos. A food market city within the city of Dubai.
 
As you arrive towards the market from the spice souq on the east side, you experience the forest around you with the tree trunks (columns) and canopies (volumes) surrounding you.
 
The forest of columns is organized by a grid system that allows the canopies (volumes) to be orderly placed, which allows the design to elevate the volumes and allow for a naturally ventilated market on the ground floor. In addition, pause points are carved out and spaced within the ground, allowing people to rest and gather.
 
The volumes are surrounded by terracotta louvers that allow for the control of visuals and light. In addition, openings within the volumes act as a camera shutter that allows you different viewpoints as you go through the upper levels. As a result, as you travel through the upper levels, you maintain a connection with the market.
 
With the market on the ground floor, the volumes house other programs such as retail stores, bakeries, and management offices. In addition, there are cafes and restaurants on the south side with views towards Dubai Creek.
 
The pedestrian paths connect the volumes and allow guests to go to different spaces to allow easy circulation throughout the canopies.
 
Finally, with all the orderly chaos happening in the market, the design of the roof acts as a tie that holds everything together and keeps it within the site.

2D drawings | AutoCAD, Illustrator, and Indesign
3D modeling and rendering | Rhino 8, D5, Vray, and Photoshop
Physical Model | Chipboard, Basswood, Museum Board, and MDF Board
American University of Sharjah
Designer | Rawan Khedr
Instructor | Professor Tania Ursomarzo

Frequency Forum is a building consisting of social areas with terraces on the sloping land overlooking the sea, located at the Izmir Institute of Technology

In Frequency Forum, residential recording studios offer musicians a place to retreat from their daily lives and focus on composing music. The location of Izmir Institute of Technology is ideal for such a studio. Musicians can work in an isolated setting but can also reach both the city and vacation spots such as Alaçatı and Çeşme easily when they wish. Students and campus life will also benefit from interaction with professional musicians. The center will house spaces for recording music – separately for students and professionals. It will include a large auditorium mainly for musical performances and will provide accommodation for professionals.

The project's ground floor works in common with terraces and is located close to the university gate and is open to social use. The cafeteria, open and closed amplifier and office units are here. On the first floor, we are greeted by a second entrance due to the slope and a common area overlooking the sea. The exhibition hall, recording studios and the first entrance of the conference hall are located on this floor. There are places where guests can wander around the exhibition area and on the terraces outside before using the conference hall. Using the main core, the sea view and social areas are observed, and there is a foyer and conference hall on the second floor. At the same time, the backstage of the conference hall is connected to the accommodation areas for the upcoming artists. The accommodation units and recording studios reserved for the artists are separated by landscaping, and attention has been paid to the circulation of private areas. The accommodation has its terraces, and parking areas, and is not accessible to guests arriving in the building.

The structure, located on the sloping land at the Izmir Institute of Technology, was provided with a reinforced concrete system. Insulation materials are available for conference rooms and recording studios.
Location: Urla, İzmir, Turkey
Project Area: 5405m2
Status: Designed for AR301 Project
Designers:
Özgür Fırat Koç

Supervisors:
Onurcan Çakır, Dr.
Mustafa Emre İLAL, Dr.
Özüm DÜLGEROĞLU, M.Sc.

Frequency Forum is a building consisting of social areas with terraces on the sloping land overlooking the sea, located at the Izmir Institute of Technology

In Frequency Forum, residential recording studios offer musicians a place to retreat from their daily lives and focus on composing music. The location of Izmir Institute of Technology is ideal for such a studio. Musicians can work in an isolated setting but can also reach both the city and vacation spots such as Alaçatı and Çeşme easily when they wish. Students and campus life will also benefit from interaction with professional musicians. The center will house spaces for recording music – separately for students and professionals. It will include a large auditorium mainly for musical performances and provide professional accommodation.

The project's ground floor works in common with terraces and is located close to the university gate and is open to social use. The cafeteria, open and closed amplifier and office units are here. On the first floor, we are greeted by a second entrance due to the slope and a common area overlooking the sea. The exhibition hall, recording studios and the first entrance of the conference hall are located on this floor. There are places where guests can wander around the exhibition area and on the terraces outside before using the conference hall. The sea view and the social regions are observed using the main core, and there is a foyer and conference hall on the second floor. At the same time, the backstage of the conference hall is connected to the accommodation areas for the upcoming artists. The accommodation units and recording studios reserved for the artists are separated by landscaping, and attention has been paid to the circulation of private areas. The accommodation has its terraces, and parking areas, and is not accessible to guests arriving in the building.



The structure, located on the sloping land at the Izmir Institute of Technology, was provided with a reinforced concrete system. Insulation materials are available for conference rooms and recording studios.
Location: Urla, İzmir, Turkey
Project Area: 5405m2
Status: Designed for AR301 Project

Designers:
Özgür Fırat Koç

Supervisors:
Onurcan Çakır, Dr.
Mustafa Emre İLAL, Dr.
Özüm DÜLGEROĞLU, M.Sc.