World Architecture Awards 10+5+X Submissions

Beach house, located among the pine forests and rice fields of Comporta, set in sand dunes, in a place of great natural beauty and strength of fauna and flora.
The center of inspiration was the deserted and wild beaches of the region and the reproduction of this environment, with dunes and vegetation.

The project is composed of 2 pure volumes with great transparency, around which you can appreciate the complexity of the nature that surrounds them.
A wooden volume on the ground floor and on top of it a concrete volume on the first floor.
Patios were created on the ground floor, allowing the sand and dune vegetation to also inhabit the social area, creating the feeling of the outside inside, which can be completely enclosed.

To emphasize transparency and taking the purity of this intention to an extreme, the concrete volume of the first floor is supported only on two points on the volume limits, with no central support, leaving the entire living room and kitchen without interference from structural vertical elements, being able to open totality for both the outdoor space that communicates with the pool and the interior patios, making the boundary that defines interior and exterior almost imperceptible.

The extensive use of vegetation outside is a biophilic approach bringing nature indoors in all areas, bedrooms and social areas, providing an important contact with nature, with a careful choice of several local species that merge with the architecture.
The exterior spaces of terraces, balconies and gardens were designed to emphasize the natural beauty, for permanence and as a complement to the interior, with continuity between materials and design from the interior to the exterior, which gives a sensation of depth to the pine forest that extends along the dune vegetation that was carefully designed to embrace the pool.

The oversized interior height of the spaces, and the full-height windows with full opening, provide harmonious entrances of light and a perfect visual relationship between the interior and exterior, bringing all the natural surroundings of the place to the home.

As for the materials, exposed concrete was chosen because it is a material that allowed us to create weight and visual lightness where and when desired, in addition to the uniquely textured wood designed for this project that was applied to the exterior and interior, corten steel, and large sand- colored natural stones with pieces of incrusted fossils that resemble the beach.

Project Type: Residential | Single Family
Built Area: 400 sqm
Architects: Paulo Fernandes Silva | Diana Fernandes Silva

Every neighbourhood is a sum of its cultures. Some are mono-cultural, with one dominating heritage providing the character of a place. Others are multicultural, with different backgrounds of people throughout the area. Berlin’s neighbourhood Kreuzberg is a clear example of a multicultural neighbourhood containing cultures from across the globe. This multiculturalism is typically known as a “melting-pot” where a bunch of different cultures melt into one shared visual and communal identity. This doesn't quite apply to Kreuzberg though, as each culture is so heterarchically distinct within the architecture. Kreuzberg is instead a kaleidoscope. In Lawrence Fuchs book ”The American Kaleidoscope”, he uses a “kaleidoscope of cultures” as a metaphor for the voluntary multicultural pluralism within American history. This more accurately describes the distinct nature of these ethnicities within the architecture of Kreuzberg.

The building takes the German, and Turkish cultures (the two most prevalent in the area) and expresses them as two distinct strata: the convention, and the abstraction. The convention houses the solid elements stemming from the urban block: the recording studios, multi-function rooms, and back of house spaces. The abstraction houses the interstitial foyer space, sloping above the private plinth and into the kaleidoscope, the intersection of the two forms, housing the kaleidoscopic auditorium. The architecture reflects the two dominant cultures in Kreuzberg: German, and Turkish, with contrasting forms interweaving together like a symphony.

This theatre is for everyone, no matter the ethnicity, background, or taste in music. It will all be accommodated within the intersecting confines of the building, creating a kaleidoscopic symphony of culture and music.

Technical Section

01. Kaleidoscopic (Auditorium) Roof Buildup
a. Glass Fibre Reinforced Concrete panels
b. Panel attachment frame
c. Waterproof membrane
d. Plywood
e. Thermal Insulation
f. Acoustic Insulation
g. Vapour Control Barrier
h. Mass timber truss system
i. Reverberation chamber ceiling

02. Abstraction (Interstitial) Glazing Buildup
a. Triple glazing
b. Intermittently accentuated mullions and transoms
c. Secondary structure steel connections
d. Glulam building support beams/columns

03. Kaleidoscopic (Auditorium) Wall Buildup
a. Perforated timber panels
b. Servicing void
c. Glulam building support beams/columns
d. Dynamic lighting
e. Plywood
f. Acoustic insulation
g. Timber frame auditorium support
h. Acoustic panelling
i. Interior plywood cladding

04. Abstraction (Indeterminate) Flooring buildup
a. Mesh Flooring: The mesh flooring doesn’t interfere with the concept as it doesn’t exist in the planar dimension.
b. Glulam timber frame
c. Steel connection plates

05. Convention (Plinth) Flooring Buildup
a. Screed
b. UFH pipes
c. Ashcrete structure

06. Convention (Plinth) Wall Buildup
a. Glass Fibre Reinforced Concrete panels
b. Waterproof membrane
c. Rigid thermal insulation
d. Ashcrete structure

07. Foundation Buildup
a. Subsoil
b. Waterproof membrane
c. Foundation thermal insulation
d. Ashcrete foundation structure
e. UFH Insulation
f. UFH Pipes
g. Screed

08. Water runoff


Facade

The urban blocks’ morphing towards the public foyer allows a clear view and vision towards what is public. The perforated GFRC panels play a key role in uniting the architecture within the urban block, signifying a presence of publicity. The perforated GFRC panels are parametrically modelled with a custom grasshopper script calculating the alpha values of the graffiti on the site which translates into different sized perforations. These panels as well as the rest of the building facade will change over time based on the street art continuously being erected on the site. The site elevation will clearly express the distortion of the original urban block, connected by the abstraction. The diagonal journey upwards is reflected in the arrangement of the abstraction, promoting movement throughout the public circulation. The facades four distinct elements represent fragments of a bitter memory to many in the past; correlating to the location of the previous tenements, but a view to a new future of Kreuzberg in the present; correlating to the studios, auditorium, back of house, and residential spaces.
Designer: Dylan Baliski
Supervisor: Douglas McCorkell

The site is located in Indonesia, Ketapang Regency, Labai Hilir, that dominated with plantation, forest, and mining. Climate destruction causing wildfire often occur caused by peat, global warming, and human intention for personal benefit such as plantation, mining, and site clearance. The large amount of ex-ilegal mining site in Ketapang, with no one taking the responsibility because complex bureaucracy, law, and regulation making ex-mining site can’t be recovered or taking reclamation back into forest. The existing condition is just a dryland with heavy metal pollution that make plant and vegetation really tough to grow with excruciating condition. The ex-ilegal mining site also near protected Mount Palung National Park conservation forest. A cluster of neo-vernacular tourism, forest conservation, plant soil conservation industry, can be a new magnet to socio economic and environmental conservation for the past and the future. It will affect other vilage economy circulation such as Kuala Labai, Sekucing Kualan, and optimizing the government plan to create a train rail and station in Borneo. The site seems quite a far from city, it acts as the new magnet or hub for city development (on par with airport and harbor) architectural implementation must be able to create a new hub for society. The neo-vernacular implementation is the acculturation of Dayak (Radakng and Baluk), and Melayu. The tourism theme is well-ness, cultural, and forest. The can be adventure tourism if the tourist taking harder route to reach the tourism destination. Every component of forest restoration, animal and plant conservation, fire forest mitigation, ex-mining site (inside and outside site), and tourism have integrated each other and support each other. The cluster can work seamlessly in parallel way and also can support as facility each other even though the location is quite far from city. It requires more than 20 years and some stages to create the cluster into final form.

Site size: 50 hectares


Labai Hilir
Simpang Hulu, Ketapang Regency, West Kalimantan
-0.538627, 110.016853
David Chow, Adrian Hudoyo Putra, Dearren Alvado Glendyap, Nicholas Septian Anelka hutapea, Alden Xavier Iddo Frandhansen

Mentor/ Supervisor: Ar. Nicolaus Nino Ardhiansyah, S.T., M.Sc.
instance: Universitas Atma Jaya Yogyakarta

Design Brief: An urban market is designed next to the Castlefield Viaduct to celebrate local food, the Roman fort, and to attract visitors from the station to the heritage park. This area provides a complete cooking food cycle, including a preparation area with cold storage, a cooking school, a packaging and washing area with a recycling wall, and a food hall. Each function is separated within its own boundaries but under the same roof.

Design Concept & Manifesto:
for the past...1. Create a playful and relaxing space for people to celebrate the history of the Roman Fort and other heritage symbols. 2. Connect the relationship between the visitors with the past.
for environment...1. Leave the site a better, sustainable condition 2. Re-use the site with green programme- urban farming.

Design Strategies:
I. Connection with historical symbols around the site: the site sits between two heritage areas, which is a spot to gather visitors to celebrate the history.
II. Community Connection: The market also acts as a connection to draw people from the viaduct with the city center through the steel- frame staircase.
III. Program: Four different function of cooking cycle and urban farming are separated to display for the consumers, even open for visitors to experience.
IV. Urban Living Room: A communal seating area is designed in the middle of the market to gather the crowd entering from the four entrances.

Clients:
- Visitors from Castlefield Viaduct and Deansgate Railway Station
- People from Manchester city center
- Local residents from the housing around the site
- Students taking kitchen studio lessons




Location: a green plot bounded by Duke St., Beaufort St. and the Castlefield railway viaduct, Manchester
Category: Urban Market Architecture, Cultural Architecture
Designer: Yu, Chih-Chieh
Instructor: Ashley Hunt, Colin Harwood
Manchester School of Architecture Bachelor of Architecture
Year 2 Studio 2.1 Individual Work

The project titled “Jammu Habitat Centre” is an attempt to create a multi functional facility in the heart of Jammu. It aims to address the increasing need of a place that combines culture and community. The term ‘Habitat’ refers to a space where people live and interact.
Culture: The Habitat center will celebrate Jammu’s culture and diversity by hosting exhibitions, performances, musical evenings, workshops and trade fairs.
Community: The projects realizes the importance of public spaces and aims to provide the inhabitants of Jammu to have a place for recreation and social interaction. It will offer venues for meetings, seminars, office space and educational activities.
Architecture: The design of the Habitat Centre will be functional and aesthetically appealing, reflecting the city’s identity. It will stand as a landmark in the heart of the city.
The proposed Habitat Centre aims to encapsulate the essence of Jammu, celebrating its varied heritage, the convergence of cultures, and its stunning natural surroundings. The symbol of Jammu's unique identity and the harmonious coexistence of diverse influences in the region's heritage.
"Bridging Jammu's Old and New Through Architecture" The Tawi River, with its meandering course, has historically divided Jammu into the Old City and the New City. This natural division is not merely geographical but symbolic, representing the transition from tradition to modernity. The proposed Habitat Centre draws inspiration from this division and the unity it fosters, aiming to serve as a bridge between these two faces of Jammu's identity.
The overall relationship is established in such a manner that the public spaces are placed in and around the central open spaces and have visual connect with all the other functions. Function that are more public will be placed near the vehicular entry, while the private function spaces will have a separate entry. Public and private will be segregated visually and physically. The habitat centre will observe primary footfall during conferences, events and exhibitions and secondary footfall from the neighbouring residential areas and other public buildings nearby such as Kala Kendra. The traffic to and from the site must be directed into the major roads via smaller arterial roads to avoid openings onto the busy road. Dedicated entries for services, public and private zones can be situated from the secondary access. The building mass should be aesthetically pleasing from the highway end to grab attention of the passersby. The arc towards the highway end can provide a panaromic view of the habitat centre.
A Habitat Centre is a versatile cultural and community space designed to foster various activities, events, and interactions. To create a well-rounded habitat centre, consider including the following typology of spaces:
Exhibition Spaces:
Art galleries, museum halls, and exhibition areas for showcasing art, culture, history, and local heritage.
Performance Spaces:
Open-air theaters, auditoriums, and stages for live performances, including music, dance, theater, and cultural events.
Meeting and Conference Spaces:
Conference halls, meeting rooms, and seminar spaces for educational events, conferences, and workshops.
Dining and Refreshment Spaces:
Restaurants, cafes, food courts, and dining areas for visitors to enjoy local cuisine and refreshments.
Library and Research Spaces:
Libraries with collections related to culture, heritage, and local history, along with research rooms and resources.
Craft and Artisan Spaces:
Workshops and studios for local artisans to demonstrate and teach traditional crafts.
Multi-Purpose Spaces:
Flexible spaces that can be adapted for various activities, including exhibitions, performances, lectures, and community events.
Outdoor Spaces:
Open courtyards, gardens, and outdoor areas for cultural events, festivals, and relaxation.
Administrative and Support Spaces:
Administrative offices, storage rooms, security rooms, and maintenance facilities.
Audio-Visual Rooms:
Rooms equipped for screening documentaries, cultural films, and multimedia presentations.
Visitor Information and Reception:
Information desks, visitor centers, and reception areas to assist visitors and provide information about the center's offerings.
Accessibility Features:
Ensure barrier-free access, including ramps and elevators, to make the center accessible to individuals with disabilities.
Parking and Toilets:
Adequate parking facilities and restroom facilities for visitors.

RCC Construction with brick cladding


Designer: Avantika Verma
Supervisor: Sonal Atreya