World Architecture Awards 10+5+X Submissions

Long Plaza is a mixed-use commercial complex designed to provide a vibrant hub for retail, services, banking, and leisure activities. The building is located in Kigali and is envisioned as a contemporary architectural landmark that combines modern retail typologies with open-air terraces and social spaces.


The project’s architectural approach emphasizes transparency, accessibility, and spatial layering, while creating a strong street presence that invites both pedestrians and vehicles.



1. Functional Program & Spatial Distribution
The building is organized into a clear vertical hierarchy across multiple levels:


Ground Floor (G):


Main entrance lobby and direct street access.
Retail units including pharmacy, convenience shops, and brand showrooms.
Multiple entrances for pedestrian flow and customer accessibility.
First Floor (1):


Retail and commercial services, including fitness/wellness functions.
Direct connection with restaurants and informal dining areas.
Open floor plan allows flexible tenant subdivision.
Second Floor (2):


Professional services such as dental clinic and additional food outlets.
Balanced integration of healthcare and leisure to maximize public attraction.
Third Floor (3):


Dedicated to restaurants and dining facilities.
Large terraces extending outward to create semi-open dining experiences.
Strategic use of double-height spaces to maximize daylight and outdoor views.

2. Circulation and Accessibility
Vertical circulation is achieved through strategically placed staircases and service cores, highlighted in the exploded axonometric diagram.
The building’s circulation emphasizes direct flow from ground entrances upward to terraces, encouraging a natural transition from commercial to social spaces.
Multiple entrance points at ground level ensure permeability from different directions, enhancing urban integration.

3. Architectural Language & Materiality
Façade Strategy:


Extensive use of glass curtain walls provides natural light penetration and visual transparency, strengthening the building’s retail character.
Projecting terraces with wooden soffits create a warm, tactile contrast to the glass façade, offering both shading and human scale.
Structural Expression:


Exposed inclined steel columns emphasize dynamism and architectural identity while structurally supporting cantilevered terraces.
Material Palette:


Combination of glass, steel, and wood finishes ensures a balance between modernity and natural warmth.
The linear wooden cladding under the terraces adds rhythm and depth to the elevation.

4. User Experience & Public Realm
Outdoor dining terraces establish a vibrant social character, maximizing Kigali’s favorable climate.
Retail variety (banks, branded shops, barbers, pharmacy) creates an everyday-use hub for the community.
The plaza frontage is activated with signage, landscaping, and parking spaces, enhancing accessibility for customers arriving by car.

5. Sustainability Considerations
Deep cantilevered terraces provide passive shading, reducing solar gain on glazed façades.
Natural cross-ventilation opportunities are integrated through terrace openings and façade modulation.
Efficient floorplates allow adaptive re-use of commercial spaces in response to changing tenant needs.

6. Conclusion
Long Plaza is designed as a modern commercial plaza that blends retail, healthcare, banking, and dining into a coherent architectural statement. Its layered terraces, transparent façades, and warm materiality establish it as a recognizable landmark. Beyond its commercial function, the project offers a lifestyle destination, fostering social interaction, leisure, and economic activity in Kigali.

Basement G 3 floors
Selim Senin
Isinsu Sopaoglu

The architectural design of the Chuanjiang Shipping Cultural Park is closely aligned with the core theme of "Chuanjiang Shipping", using spatial narrative and formal language to recreate its historical heritage and spiritual essence. The project is located on an L-shaped sloped green space at the north end of Chaotianmen Yangtze River Bridge in Jiangbei District, Chongqing (formerly the site of Minsheng Company Machinery Factory), covering a total area of approximately 38,000 square meters (with the overall design taking a 100,000-square-meter site as the overall carrier). The exhibition hall has a construction area of 3,132 square meters and is scheduled to be completed and put into use in 2025.​
Guided by the core concept of "Boats Cutting Through Torrential Rivers", the design deeply responds to the site's historical context and mountainous topographical characteristics: The architectural form draws inspiration from the landscape of the Chuanjiang River, the texture of rocks, and the image of Minsheng steamships. When viewed from south to north, it presents an open posture of "emerging from canyons and facing the broad river". The building extends outward layer by layer along the mountain slope, with exterior stone panels stacked in three layers from rough to fine textures, eventually transitioning to a smooth "ship bow" shape at the end of the building. Simultaneously, taking "a giant ship breaking through waves" as the core visual image, the facade outlines its contour through a combination of curves and fold lines. This not only enhances the dynamic visual tension of "navigation" but also efficiently introduces natural light, balancing aesthetic and practical functions.​
In terms of space, relying on Chongqing's "mountain city" terrain, a "Three-Dimensional Chuanjiang" system is constructed, with the Chinese cursive form of the character "江 (river)" as the prototype. Mountain trails connect mountain paths, bridge elevators, indoor exhibition areas, outdoor landscape parks, and civil air defense caves (former underground workshops) to be renovated in the future, forming a vertical spatial sequence of "above-grade, on-grade, and below-grade". A vortex-themed sunken square is set at the main entrance, reserving the entrance to the air defense cave exhibition hall. The main building is equipped with a double-layer viewing platform, enabling a dialogue between historical scenes and modern landscapes. From a technical perspective, in response to constraints such as the Yangtze River channel protection line and underground sewage pipes, a lightweight design strategy is adopted. The curtain wall integrates weathering steel, quarried stone, and glass materials, which not only simulates the texture related to shipping but also ensures ecological protection and structural safety. A complete "Chuanjiang Shipping" design language is formed from macro layout to micro details, making it a typical practical case of "cultural heritage inheritance technological innovation" in urban renewal.​


Total Area: Approximately 38,000 square meters (or 38,000 ㎡)
Building Area of the Exhibition Hall: 3,132 square meters (or 3,132 ㎡)
Architectural Concept Design: Chu Dongzhu, Yang Yang, Guan Shihan, Yang Jiyi, Chang Yuan, Tan Zhou.

Nestled in the heart of Seoul's historic Jongno-gu District, the Relics Exhibition Museum is a testament to the city's rich cultural heritage. Located within a historical preservation area that was once part of the esteemed Gyeonghui Palace during the Chosun Dynasty, this unique site holds fragments of the past waiting to be unearthed. With a vision to preserve the historical context while meeting the owner's requirements, the building seeks to provide a space for culture and education, weaving the threads of history into the fabric of modern Seoul.

The development of the Gyeonghui-Dang was not without its challenges. The site's sloped terrain presented an obstacle, compounded by a strict aboveground-level development guideline capped at a FAR (Floor Area Ratio) of 200 percent. To maximize rentable areas while maintaining the site's historical integrity, the design devised an innovative solution. By setting the average ground-level elevation at the middle of the slope and establishing the abutting road level as B2, that managed to increase the FAR by over 80 percent. This approach not only optimized space utilization but also allowed for the creation of an inviting retail shopping environment, as the lower two floors were carved out.

Connecting four levels of retail spaces above the street level required a careful and efficient design. The outdoor stairs link the road to the top retail space adjacent to the Seonggok Art Museum. The long and narrow shape of the site posed another challenge, but it led to the ingenious vertical stacking of four floors of retail spaces along with a public staircase that penetrated the building. This design strategy, reminiscent of Rome's open-air Spanish Steps, provided visitors with a captivating three-dimensional linear pathway. Street experiences and events effortlessly flow into the building, facilitated by connecting gardens and retail areas.

The design concept revolves around creating a journey of street experiences, guiding visitors from street level to the rooftop. As they ascend the building, they are treated to breathtaking views of the nearby Gyeonghui Palace, enhancing their connection with the historical context. The newly established step, serving as a designated rest area for the neighborhood, is envisioned to attract numerous visitors to the site. Upon reaching the rooftop, visitors encounter a pocket garden and a plaza-like space, offering a serene and refreshing environment.

The building doesn't solely cater to visitors but also provides functional spaces for office users. Five floors of office space are seamlessly juxtaposed, featuring a separate circulation system to ensure a smooth flow of occupants. Roof gardens and terrace spaces were incorporated, offering office users a place to unwind and appreciate the surrounding views.
To honor the site's historical significance and blend harmoniously with the surroundings, reused bricks imported from China was chosen to clad the building exterior. This design choice pays homage to traditional building materials and enhances the building's timeless appeal, seamlessly integrating it into the historical city center.

Gyeonghui-Dang stands as a beacon of historical preservation and cultural enrichment in Seoul's bustling Jongno-gu District. With its innovative design, the building preserves the remnants of the past while providing a dynamic space for culture, education, and commerce. By seamlessly integrating history and modernity, the building serves as a testament to the enduring significance of Seoul's cultural heritage. As visitors and tenants are journey through its three-dimensional linear pathway, they embark on a captivating exploration of history, art, and architecture, connecting the past with the present in a harmonious dance of design and culture.

Client: Sungmoon Lee, Sungil Co.
Construction: Tracon E&C
Site area: 20,763.58 ft2 (1,929 m2)
Building footprint area: 12,094.33 ft2 (1,123.60 m2)
Total floor area: 93,678.31 ft2 (8,703 m2)
Design Architect: YKH Associates
Executive Architect: Ghowoo Architectural Design Group
Lead architect: Taesun Hong
Design team: Seungkwan Yang, Daejung Sang, Heewon Kim, Dongjae Kim, Jongwoon Kim, Chang Geun Jeong, Songhyun Cho, Yeongmuk Bak, Jaemin Kim, Motbi Choi, Chaewan Kim

House of Raaz, located in Niavaran, Tehran, was conceived as a dialogue between generations, traditions, and contemporary aspirations. The project was commissioned by a five-member family: parents with a deep attachment to classical Iranian architecture, and children who desired a modern lifestyle and expression. This duality became the core design challenge: how to create a residence that both respects the memory of tradition and accommodates the clarity and openness of modern design, without fragmenting the overall identity of the house. The design approach was defined as a “contemporary reading of Iranian architecture.” Instead of replicating traditional forms or adopting modern ones in isolation, the project sought to merge the two into a shared architectural language.
Materiality plays a key role in reinforcing this dialogue. The parents’ domain is defined by warm stone, plaster, and handcrafted tiles, creating a nostalgic yet refined atmosphere. In contrast, the children’s levels employ darker stone, steel, and minimalist detailing, reflecting a contemporary sensibility. Linking these two worlds, brick arches reinterpret a historic element of Iranian architecture, reimagined with modern construction methods.
Light and spatial continuity further strengthen unity. A deep central lightwell carries daylight from the main courtyard to three basement levels, ensuring vitality even below ground. Meanwhile, a smaller courtyard illuminates the first-floor communal areas, symbolically connecting sky, ground, and shared life. These elements transform light into a medium of connection between generations, tradition and modernity, privacy and interaction.
House of Raaz thus becomes more than a residence; it is a living canvas where contrasts coexist, a built manifesto of unity through difference. By weaving vernacular memory into contemporary form, the project demonstrates how Iranian architecture can evolve without losing its essence, offering a model for housing that is both contextual and forward-looking.


Total Built Area: 3,300 m²
Site Area: 535 m²
Location: No. 6, Raaz Alley, before Yaser Three-Way, Ammar Street, Tajrish, Tehran, Iran

Spatial Organization: Six above-ground levels and three basement levels. The layout reflects the family structure: a ground-floor lobby, two duplex floors dedicated to the parents, and three identical upper floors for the children. The basements include two levels for parking and one level for gym and pool. This vertical distribution ensures independence for each generation while keeping them connected under one roof.

Key Features: Deep lightwell from main courtyard to basements; secondary courtyard for communal areas; reinterpretation of arches with modern construction techniques; material dialogue between warm-toned stone, plaster, and handcrafted tiles in parent levels and darker stone, steel, and minimalist detailing in upper floors

Structure & Materials: Reinforced concrete frame with masonry infill, clad in brick and ceramic tile; traditional elements reinterpreted through modern construction methods to ensure precision and durability

Design team: Pasha Nobahar, Hamidreza Nouri Motlagh, Masoud Babaie
Construction: Farbod Behnoud, Farid Rahbari, Ali Sedgh
Supervision: Seyed Amirhossein Sahiholnasab
Structure: Mohammad Ebrahimi
Electrical: Mahyar Sadeghian
Mechanical: Amirhossein Saheb Zamani, Mohammad Baharestan
Graphic: Mahdi Ghafouri

The project aims to create a spatial response to the rising addiction rates among adolescents in Alsancak, a district increasingly associated with entertainment, substance use, and social detachment. Once a vibrant residential and cultural hub, Alsancak has gradually lost its historical identity due to rapid urban transformation, commercial overdevelopment, and gentrification.
This design reclaims the site as a place of healing, awareness, and reintegration by proposing a restorative architectural language. The spatial strategy is centered on controlled socialization, achieved through layered courtyards, interactive awareness zones, and transparent yet defined borders. A gradual spatial progression—from solitude to connection—is emphasized through a therapeutic sequence including private counseling rooms, sensory meditation areas, art therapy studios, and shared green gardens.
Nature becomes an integral element of the healing process. Green corridors, edible gardens, and a tree-lined walking ramp promote both physical activity and mental recovery. The ramps are interspersed with semi-open terraces, allowing users to pause, reflect, and engage with nature. Sloped roof forms symbolize elevation and renewal, while permeable facades allow users to define their boundaries and rhythm of interaction.
The center serves not only as a haven for individual recovery but also as a public interface for awareness campaigns, social dialogue, and inclusive education. Ultimately, the project reflects the belief that architecture can shape behavior, foster resilience, and offer spatial justice in a rapidly transforming urban landscape.

The Project is organized around a central courtyard that functions as a transitional and communal space, connecting private therapy zones with public awareness areas. A continuous ramp gently weaves through the site, offering not only physical movement but also a therapeutic journey that mirrors the user’s mental progression. Along the ramp, resting terraces are integrated to create moments of pause, reflection, and interaction with nature.
The building is distributed across multiple levels. Private counseling and meditation rooms are placed on the upper floors to ensure seclusion and serenity, while public functions, such as exhibitions, seminars and a café are located at ground level to encourage accessibility and community engagement.
Roof forms slope upward toward the outer edges, symbolizing hope and psychological uplift, while permeable glass facades facing the courtyard open up fully to allow natural ventilation and spatial fluidity.
Natural materials such as timber, stone, and vegetated surfaces enhance the sensory experience and promote emotional grounding. Green pockets, planting areas, and a tree-lined path strengthen the bond between users and the environment.
The center is designed to be inclusive, barrier-free, and flexible. Workshops and display zones support user participation and economic sustainability through self-expression and production. The spatial layers reflect a gradual transition from isolation to social reintegration, both architecturally and emotionally.
Doğa BOZDOĞAN (Designer)
Prof. Dr. Rengin ZENGEL (Instructor)