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World Architecture Awards Submissions / 48th Cycle
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Dehkadeh Iwan
An IWAN is a sitting place that is higher than its surroundings, which is usually built in the outer part of a building. The IWAN has been used in Iranian architecture since the Parthian period and Parthian style. An IWAN usually consists of a single arch, enclosed on three sides, and open to the nave. The most famous example of an IWAN in Iran's past architecture is Taq Kasra.
This project is an exercise and experience that serves as a connection to a period of Iran's glorious history! What we call | The architectural wealth of the past |.
It's an attempt to connect one of the most prominent architectural archetypes of the past, the IWAN, to a dilapidated villa, which itself belongs to the period of the introduction of modernism before the Islamic revolution; 50 years have passed since the construction of this villa, and although it has no special architectural value except for its simplicity, it is located in a genuine urban context, a DEHKADEH village.
In order to be able to provide an interpretation of our era in the continuous flow of Iranian architecture, we have tried to move in the boundary between historical references, and belonging to the post-modern era.
The archetype of | IWAN | regardless of its charismatic and impressive form, has created a unique space for the prevailing climate of this land, which is unparalleled in the delectation of space.
Our first visit to this old one-storey building reminded us of an extremely depressing shelter, with a roof that was so short that even the pleasant trees in the yard could hardly be seen, in combination with the thick walls and small windows. This made us fully committed to try to use the architectural patterns of the past to revive that space for a weekend villa belonging to the present era.
The roof of the entire building could not be raised, but if we could raise the living room facing the courtyard, it would be a great gain. Because in this small building, it was the living room that made the heart of the space and into a place for events.
Firstly, after checking the position of the walls, we removed the roof of a section of the hall, and because the new roof had to sit on the side walls, the | Arch | was the most appropriate answer. It was here that the idea of reviving the | IWAN | crossed our minds. Therefore we built a big arch with a span of 7 meters. The arch that extends from the south side and our | IWAN | and faces the main courtyard, creating a new sitting room on the roof level from the north side. Now, the old enclosed building has wide connections and openings, with both the surrounding environment and with the roof.
After the development of the large arch towards the courtyard and the appearance of the main IWAN, we decided to build a similar alternative in the heart of the courtyard and establish a strong connection with the surrounding nature with the path we created between these two arches.
It is here that the IWAN, which has always been open from one side to the outside, opens on both sides and stands on the border between the modern pergola and the old kooshk.
Between that big arch, | IWAN |, and the small arch, | KOOSHK |, we also put a pool that is attached to their conjunction that spreads its freshness and cool between them.
With this approach, a dialectical relationship between the inside and outside of the building has emerged; the building is now surrounded by tall trees and greenery, and with its new architecture, enables for the user a constant enjoyment of nature.
The walls that were located on the north-south axis could not be removed, but we removed or moved the rest of the walls in such a way as to both increase the quality of the interior space and to remove the protrusions from the exterior form of the building, and convert it to a simple cube combined with a large arch.
Another thing we considered was to somehow add a | game | element to the space. The | swing | is one of the most ancient and ritualistic games of the people of IRAN. An uplifting game that has been mentioned in the poetry of many Persian poets to date.
A swing is a rope that is tied to a tree or another place on both sides, on which one can sit and move forward and backward in the air.
Here these ropes are hanging from the top of the IWAN and placed on the border between the IWAN and the pool. Swinging in this IWAN is a unique experience of oscillation, suspension, and and leap between the border of the IWAN and the pool, which playfully mixes these borders.
The presence of bricks and dealing with the details and symbols of past architecture is such that it is not an exact recreation of the past, but it shows off its original roots.
The gray cement of the facade, in addition to reminding of belonging to the present time, seems to protect the brick gem inside. An inside in which bricks cover most of the floor, ceiling and walls, to increase the warmth of the space and strengthen the connection with the past.
The presence of bricks and dealing with the details and symbols of past architecture is such that it is not an exact recreation of the past, but it shows off its original roots.
The gray cement of the facade, in addition to reminding of belonging to the present time, seems to protect the brick gem inside. An inside in which bricks cover most of the floor, ceiling and walls, to increase the warmth of the space and strengthen the connection with the past.
Architect: NIMA MIRZAMOHAMMADI
Design team: Rana Siaghi , Shamim Parvaneh
Executive manager: NIMA MIRZAMOHAMMADI
Site supervision: Reza Sahavan
This project is an exercise and experience that serves as a connection to a period of Iran's glorious history! What we call | The architectural wealth of the past |.
It's an attempt to connect one of the most prominent architectural archetypes of the past, the IWAN, to a dilapidated villa, which itself belongs to the period of the introduction of modernism before the Islamic revolution; 50 years have passed since the construction of this villa, and although it has no special architectural value except for its simplicity, it is located in a genuine urban context, a DEHKADEH village.
In order to be able to provide an interpretation of our era in the continuous flow of Iranian architecture, we have tried to move in the boundary between historical references, and belonging to the post-modern era.
The archetype of | IWAN | regardless of its charismatic and impressive form, has created a unique space for the prevailing climate of this land, which is unparalleled in the delectation of space.
Our first visit to this old one-storey building reminded us of an extremely depressing shelter, with a roof that was so short that even the pleasant trees in the yard could hardly be seen, in combination with the thick walls and small windows. This made us fully committed to try to use the architectural patterns of the past to revive that space for a weekend villa belonging to the present era.
The roof of the entire building could not be raised, but if we could raise the living room facing the courtyard, it would be a great gain. Because in this small building, it was the living room that made the heart of the space and into a place for events.
Firstly, after checking the position of the walls, we removed the roof of a section of the hall, and because the new roof had to sit on the side walls, the | Arch | was the most appropriate answer. It was here that the idea of reviving the | IWAN | crossed our minds. Therefore we built a big arch with a span of 7 meters. The arch that extends from the south side and our | IWAN | and faces the main courtyard, creating a new sitting room on the roof level from the north side. Now, the old enclosed building has wide connections and openings, with both the surrounding environment and with the roof.
After the development of the large arch towards the courtyard and the appearance of the main IWAN, we decided to build a similar alternative in the heart of the courtyard and establish a strong connection with the surrounding nature with the path we created between these two arches.
It is here that the IWAN, which has always been open from one side to the outside, opens on both sides and stands on the border between the modern pergola and the old kooshk.
Between that big arch, | IWAN |, and the small arch, | KOOSHK |, we also put a pool that is attached to their conjunction that spreads its freshness and cool between them.
With this approach, a dialectical relationship between the inside and outside of the building has emerged; the building is now surrounded by tall trees and greenery, and with its new architecture, enables for the user a constant enjoyment of nature.
The walls that were located on the north-south axis could not be removed, but we removed or moved the rest of the walls in such a way as to both increase the quality of the interior space and to remove the protrusions from the exterior form of the building, and convert it to a simple cube combined with a large arch.
Another thing we considered was to somehow add a | game | element to the space. The | swing | is one of the most ancient and ritualistic games of the people of IRAN. An uplifting game that has been mentioned in the poetry of many Persian poets to date.
A swing is a rope that is tied to a tree or another place on both sides, on which one can sit and move forward and backward in the air.
Here these ropes are hanging from the top of the IWAN and placed on the border between the IWAN and the pool. Swinging in this IWAN is a unique experience of oscillation, suspension, and and leap between the border of the IWAN and the pool, which playfully mixes these borders.
The presence of bricks and dealing with the details and symbols of past architecture is such that it is not an exact recreation of the past, but it shows off its original roots.
The gray cement of the facade, in addition to reminding of belonging to the present time, seems to protect the brick gem inside. An inside in which bricks cover most of the floor, ceiling and walls, to increase the warmth of the space and strengthen the connection with the past.
The presence of bricks and dealing with the details and symbols of past architecture is such that it is not an exact recreation of the past, but it shows off its original roots.
The gray cement of the facade, in addition to reminding of belonging to the present time, seems to protect the brick gem inside. An inside in which bricks cover most of the floor, ceiling and walls, to increase the warmth of the space and strengthen the connection with the past.
Architect: NIMA MIRZAMOHAMMADI
Design team: Rana Siaghi , Shamim Parvaneh
Executive manager: NIMA MIRZAMOHAMMADI
Site supervision: Reza Sahavan
Gyeonghui-dang
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
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
Jiangxi River Bridge
The first in a series of bridges on Chengdu’s West Line Road, the new 295-metre Chengdu West First Bridge crosses the Jiangxi River, a tributary of the Tuojiang River in China’s Sichuan province.
With its 185-metre central span and 55-metre secondary spans reaching to the riverbanks, the Chengdu West First Bridge is a road, cycle and pedestrian bridge over the meandering Jiangxi River; enabling the West Line Road to become the western section of the Airport New Town ring-road and cycle route.
As arches provide the most efficient bridge structure for spans between 120-250 metres, this symmetrical bridge is composed of two primary steel arches that rise from either side of the road deck. As they rise, the arches lean together to touch tangentially at their crown, stabilising the structure from lateral wind forces.
The dynamic curvature of the bridge’s supporting piers and abutments taper into its primary arches and road deck, defining a sculptural landmark within Chengdu’s transport infrastructure.
Commissioned to build the bridge following the 2019 design competition, Zaha Hadid Architects (ZHA) used structural analysis software on the design’s digital model. Examining all material self-weight, superimposed dead load and traffic live loading, as well as environmental considerations of wind and temperature, this analysis ensured the structure and foundations have been designed to exceed the standards required for once-in-200-year weather events.
With a height to span ratio of approximately 1:6, the bridge’s arches rise to 30 metres and are tied together at their base by longitudinal box girders that run along the edge of the road deck. These ties resist the outward horizontal thrust of each arch and significantly reduce the horizontal loads on the bridge’s foundations.
Concrete abutments at either end of the bridge incorporate connectors linking the road deck to the West Line Road’s surface. With no foundations positioned in the Jiangxi River, intermediate piers are located beneath the springing points of the arches on each riverbank.
The bridge’s bored piles and abutments were constructed using conventional in-situ reinforced concrete techniques. The steel box sections of each arch were prefabricated in optimal dimensions for transportation and assembly on site. The edge box girder sections within the road deck include the cable anchorages. These sections were also prefabricated and delivered in sections to be spliced together with on-site welding.
The bridge’s prefabricated plate cross girders were delivered to the site and connected to the edge girders by a bolted cover plate splice connection. The concrete road deck has been constructed from precast panels fixed to the cross girders by in-situ concrete stich pours.
Mobile cranes lifted all prefabricated steelwork and precast concrete elements within the bridge’s short assembly schedule.
Site Area: 13,860 sqm
Gross Floor Area (GFA): 13,860 sqm
Net Floor Area (NFA): 13,860 sqm
Building Footprint: 13,860 sqm
Gross Internal Area (GIA): 0 sqm
Ground Floor Area: 13,860 sqm
Number of Floors: 1
Number of Elevators: 0
Height: Height of architectural top: 31 meters
(including spires, but not including antennae, signage, flagpoles, or other functional-technical equipment.)
Height to highest occupied floor: 31 meters
(the finished floor level of the highest occupiable floor within the building.)
Height to top: 40.3 meters
(to the highest point of the building, irrespective of material or function of the highest element.)
Parking Spaces: 0
Bicycle parking spaces: 0
Architect Zaha Hadid Architects (ZHA)
Design Patrik Schumacher
ZHA Project Directors Charles Walker, Lei Zheng, Ed Gaskin
ZHA Project Architect Han-Hsun Hsieh
ZHA Site Team Lei Zheng, Han-Hsun Hsieh
ZHA Project Team Jan Klaska, Lei Zheng, Marina Dimopoulou, Stratis Georgiou, Hung- Da Chien, Han-Hsun Hsieh, Martha Masli, Stella Dourtmes, Charles Walker, Ed Gaskin
Executive Architect China Southwest Architectural Design & Research Institute
Local Architect China Southwest Architectural Design & Research Institute
Structural Engineers Buro Happold, China Southwest Architectural Design & Research Institute
Quantity Surveyor China Southwest Architectural Design & Research Institute
General Contractor Sinohydro Bureau 7 China Huaxi Engineering Design and Construction
Environmental Consultant Shenzhen Pengdaxin Energy Environmental Protection Technology
M&E Engineering China Southwest Architectural Design & Research Institute
MEP China Southwest Architectural Design & Research Institute
Transport Consultant China Southwest Architectural Design & Research Institute
Fire Engineer China Southwest Architectural Design & Research Institute
Landscape Consultant Zaha Hadid Architects
Lighting Design Zaha Hadid Architects
Site Supervision China Huaxi Engineering Design and Construction
With its 185-metre central span and 55-metre secondary spans reaching to the riverbanks, the Chengdu West First Bridge is a road, cycle and pedestrian bridge over the meandering Jiangxi River; enabling the West Line Road to become the western section of the Airport New Town ring-road and cycle route.
As arches provide the most efficient bridge structure for spans between 120-250 metres, this symmetrical bridge is composed of two primary steel arches that rise from either side of the road deck. As they rise, the arches lean together to touch tangentially at their crown, stabilising the structure from lateral wind forces.
The dynamic curvature of the bridge’s supporting piers and abutments taper into its primary arches and road deck, defining a sculptural landmark within Chengdu’s transport infrastructure.
Commissioned to build the bridge following the 2019 design competition, Zaha Hadid Architects (ZHA) used structural analysis software on the design’s digital model. Examining all material self-weight, superimposed dead load and traffic live loading, as well as environmental considerations of wind and temperature, this analysis ensured the structure and foundations have been designed to exceed the standards required for once-in-200-year weather events.
With a height to span ratio of approximately 1:6, the bridge’s arches rise to 30 metres and are tied together at their base by longitudinal box girders that run along the edge of the road deck. These ties resist the outward horizontal thrust of each arch and significantly reduce the horizontal loads on the bridge’s foundations.
Concrete abutments at either end of the bridge incorporate connectors linking the road deck to the West Line Road’s surface. With no foundations positioned in the Jiangxi River, intermediate piers are located beneath the springing points of the arches on each riverbank.
The bridge’s bored piles and abutments were constructed using conventional in-situ reinforced concrete techniques. The steel box sections of each arch were prefabricated in optimal dimensions for transportation and assembly on site. The edge box girder sections within the road deck include the cable anchorages. These sections were also prefabricated and delivered in sections to be spliced together with on-site welding.
The bridge’s prefabricated plate cross girders were delivered to the site and connected to the edge girders by a bolted cover plate splice connection. The concrete road deck has been constructed from precast panels fixed to the cross girders by in-situ concrete stich pours.
Mobile cranes lifted all prefabricated steelwork and precast concrete elements within the bridge’s short assembly schedule.
Site Area: 13,860 sqm
Gross Floor Area (GFA): 13,860 sqm
Net Floor Area (NFA): 13,860 sqm
Building Footprint: 13,860 sqm
Gross Internal Area (GIA): 0 sqm
Ground Floor Area: 13,860 sqm
Number of Floors: 1
Number of Elevators: 0
Height: Height of architectural top: 31 meters
(including spires, but not including antennae, signage, flagpoles, or other functional-technical equipment.)
Height to highest occupied floor: 31 meters
(the finished floor level of the highest occupiable floor within the building.)
Height to top: 40.3 meters
(to the highest point of the building, irrespective of material or function of the highest element.)
Parking Spaces: 0
Bicycle parking spaces: 0
Architect Zaha Hadid Architects (ZHA)
Design Patrik Schumacher
ZHA Project Directors Charles Walker, Lei Zheng, Ed Gaskin
ZHA Project Architect Han-Hsun Hsieh
ZHA Site Team Lei Zheng, Han-Hsun Hsieh
ZHA Project Team Jan Klaska, Lei Zheng, Marina Dimopoulou, Stratis Georgiou, Hung- Da Chien, Han-Hsun Hsieh, Martha Masli, Stella Dourtmes, Charles Walker, Ed Gaskin
Executive Architect China Southwest Architectural Design & Research Institute
Local Architect China Southwest Architectural Design & Research Institute
Structural Engineers Buro Happold, China Southwest Architectural Design & Research Institute
Quantity Surveyor China Southwest Architectural Design & Research Institute
General Contractor Sinohydro Bureau 7 China Huaxi Engineering Design and Construction
Environmental Consultant Shenzhen Pengdaxin Energy Environmental Protection Technology
M&E Engineering China Southwest Architectural Design & Research Institute
MEP China Southwest Architectural Design & Research Institute
Transport Consultant China Southwest Architectural Design & Research Institute
Fire Engineer China Southwest Architectural Design & Research Institute
Landscape Consultant Zaha Hadid Architects
Lighting Design Zaha Hadid Architects
Site Supervision China Huaxi Engineering Design and Construction
K - House
An existing family home set in a tropical village on outskirts of Bombay, India is given a new modern avatar and annexure befitting the tropical context. Its contemporary lines and new façade seamlessly transform the old structure into the new composition.
The Project when it entered the studio engaged a challenge of retaining the original structural beam-column-slab. While the original spaces had potential in terms of its scale and proportion, they lacked the inclusivity of a tropical design. The structure sat on the site ignoring its landscape creating no engagement in terms of visual delight or making the inside outside space more interactive.
The studio took upon itself this interesting challenge by opening the plan as much as possible as the structure would permit. Also, the attempt was to bring natural light, ventilation and nature into the footprint and not treat the environment or the landscape as a visual to be only observed from indoors.
The new design envelopes the old structure making the two seamlessly integrate with one another so that the inhabitant cannot realise the old from the new.
The existing family farmhouse was a very traditional design done in the early 90’s. With Windows much smaller in scale to walls and with parapet heights, the indoor spaces had very little to no connectivity with he landscape outside. Being in the tropics, design is about enjoying the outdoors in shade. The idea of inclusivity lacking, we at the studio began to explore the shell structure first. Wanting to retain the beam-column-slab structure we opened the walls of the entire premise. Next challenge was to ensure that the new programme that needed to be adjusted with the old program would be seamlessly stitched in design so that the final output would look well integrated.
The mass at the lower level was treated in contour stone slabs with the upper structure enveloped in a wooden brise soleil. The lower mass in stone, was conceived a structure planted in mother nature and earth with its heaviness. The light fluted screen volume sitting on top complimented the lower mass in its lightness and reflecting the tropical architecture required for the region.
The large open double veranda opens to the landscape and pool and allows smooth integration and transition of indoor to semi-outdoor to outdoor spaces. This becomes the nucleus of the house as it shades from the tropical sun but captures the natural breeze from the landscape while allowing vistas into the nature. The drop-off Porte cochere is perched on a large rock installation. The walls leading to the main entrance also guide the to the annexure of clubhouse.
As designers when a project is introduced to us our first instinct is to evaluate the existing topography with the existing structures on it along with the vegetation. When we visited the site for the first time, we realised that thought the existing structure left much to be desired in terms of design and inclusivity, it was not a bad siting on the overall land parcel. We, as designers took a more sensitive approach to retain the existing structure in its shell state and decided that the new design must sensitively navigate the existing shell structure and juxtapose the new design not and over it such that overall, the design felt integrated and seamless.
With an approach of sustainability and inclusivity we addressed the clients brief and created a design which begins a dialogue with the surrounding landscape and makes the indoor-outdoor transitions and spaces well integrated.
The design respected its original structure and instead of adopting a carte blanche approach to design, the studio sought to take a more inclusive approach of retaining the original structure and building over and around and into it.
More importantly the design shows the sensitivity towards the materials used. Natural stones, wooden fins, lime wash paint/plaster are all approached of sustainable practices from with a 5km radius that allowed the structure to have a more sustainable sensitive approach.
Ar. Partners – Shobhan Kothari, Ananad Menon, (Project Head)
Project Team – Laxman Mandan, Prajakta More, Priynka Rahate, Simran Agarwal, Abhishek Patel, Akshith Shetty
Photographer – PHXIndia.
The Project when it entered the studio engaged a challenge of retaining the original structural beam-column-slab. While the original spaces had potential in terms of its scale and proportion, they lacked the inclusivity of a tropical design. The structure sat on the site ignoring its landscape creating no engagement in terms of visual delight or making the inside outside space more interactive.
The studio took upon itself this interesting challenge by opening the plan as much as possible as the structure would permit. Also, the attempt was to bring natural light, ventilation and nature into the footprint and not treat the environment or the landscape as a visual to be only observed from indoors.
The new design envelopes the old structure making the two seamlessly integrate with one another so that the inhabitant cannot realise the old from the new.
The existing family farmhouse was a very traditional design done in the early 90’s. With Windows much smaller in scale to walls and with parapet heights, the indoor spaces had very little to no connectivity with he landscape outside. Being in the tropics, design is about enjoying the outdoors in shade. The idea of inclusivity lacking, we at the studio began to explore the shell structure first. Wanting to retain the beam-column-slab structure we opened the walls of the entire premise. Next challenge was to ensure that the new programme that needed to be adjusted with the old program would be seamlessly stitched in design so that the final output would look well integrated.
The mass at the lower level was treated in contour stone slabs with the upper structure enveloped in a wooden brise soleil. The lower mass in stone, was conceived a structure planted in mother nature and earth with its heaviness. The light fluted screen volume sitting on top complimented the lower mass in its lightness and reflecting the tropical architecture required for the region.
The large open double veranda opens to the landscape and pool and allows smooth integration and transition of indoor to semi-outdoor to outdoor spaces. This becomes the nucleus of the house as it shades from the tropical sun but captures the natural breeze from the landscape while allowing vistas into the nature. The drop-off Porte cochere is perched on a large rock installation. The walls leading to the main entrance also guide the to the annexure of clubhouse.
As designers when a project is introduced to us our first instinct is to evaluate the existing topography with the existing structures on it along with the vegetation. When we visited the site for the first time, we realised that thought the existing structure left much to be desired in terms of design and inclusivity, it was not a bad siting on the overall land parcel. We, as designers took a more sensitive approach to retain the existing structure in its shell state and decided that the new design must sensitively navigate the existing shell structure and juxtapose the new design not and over it such that overall, the design felt integrated and seamless.
With an approach of sustainability and inclusivity we addressed the clients brief and created a design which begins a dialogue with the surrounding landscape and makes the indoor-outdoor transitions and spaces well integrated.
The design respected its original structure and instead of adopting a carte blanche approach to design, the studio sought to take a more inclusive approach of retaining the original structure and building over and around and into it.
More importantly the design shows the sensitivity towards the materials used. Natural stones, wooden fins, lime wash paint/plaster are all approached of sustainable practices from with a 5km radius that allowed the structure to have a more sustainable sensitive approach.
Ar. Partners – Shobhan Kothari, Ananad Menon, (Project Head)
Project Team – Laxman Mandan, Prajakta More, Priynka Rahate, Simran Agarwal, Abhishek Patel, Akshith Shetty
Photographer – PHXIndia.
Masarycka
The Masaryčka building in #Prague incorporates 7 storeys in its eastern section with 9 storeys at its western end and is defined by circulation routes which will provide access to new civic spaces for the city.
Integrating with Czech Railways’ modernisation of the historic Masaryk Railway Station that is creating a new public plaza partially over the rail tracks, Masaryčka will enhance accessibility to the railway platforms below and provide new pedestrian routes between Florenc and Hybernská on either side of the station.
Bordered by the railway platforms to the south, Na Florenci street to the north, and the Wilsonova elevated freeway to the east, Masaryčka has been constructed on a derelict site that has stood abandoned for several decades. To the west, Masaryčka replaces the existing car park on Havlíčkova Boulevard with a new public square with interchanges between city’s rail, tram and bus networks; defining a welcoming gateway to the city for suburban rail passengers as well as those using the express rail link that is currently under-construction to Prague’s international airport.
Located 1km east of the city centre’s Staroměstské Square, the design establishes a dialogue with the architecture and urbanism of Prague’s Old Town – known as ‘the golden city of 100 spires’. External fins within Masaryčka’s façade contribute to solar shading and transform the project’s horizontal composition to the verticality of its western façade that faces the spires of the Old Town.
A cascade of terraces divides the two buildings with similar terracing on the eastern façade giving every office floor direct access to generous outdoor spaces. Communal roof gardens offer views across the city while Na Florenci street is transformed into a tree-lined avenue.
Targeting LEED Platinum certification, Masaryčka’s design, procurement and construction and has prioritised local suppliers and materials with a high recycled content to meet 2025 targets for embodied & operational carbon established by the RIBA 2030 Climate Challenge.
Size : 28, 000m2
Architect: Zaha Hadid Architects
Design: Zaha Hadid, Patrik Schumacher
Competition
Directing Associate: DaeWha Kang
Project Architect: Jakub Klaska
Project Team: Michal Wojtkiewicz, Malgorzata Kowalczyk, Fernanda Mugnaini, Matthew Carapiet, Bogdan Zaha, Chenxi Gong, Maya Boustany, Jan Klaska, Brian Dale
Concept Refinement - Schematic Design
Project Director: Jim Heverin
Directing Associate: Craig Kiner
Project Architects: Jakub Klaska, Sara Sheikh Akbari
Project Team: Javier Rueda, Jan Klaska, Saman Dadgostar, Yifan Zhang, Moa Carlson, Juan Montiel, Carlos Parrada-Botero, Monika Bilska, Harry Spraiter, Ovidiu Mihutescu, Niran Buyukkoz, Nan Jiang, Horatiu Valcu
Detailed Design
Project Director: Jim Heverin
Project Architect: Jakub Klaska, Victor Orive
Project Team: Harry Spraiter, Javier Rueda, Aiste Dzikaraite, Sven Torres, Muriel Boselli, Maria Touloupou, Thomas Bagnoli
Construction design
Project Director: Jim Heverin
Project Architect: Jakub Klaska
Project Team: Harry Spraiter, Aleksandra Mnich- Spraiter, Devansh Daisaria
Executive Architect: Jakub Cigler Architekti
Integrating with Czech Railways’ modernisation of the historic Masaryk Railway Station that is creating a new public plaza partially over the rail tracks, Masaryčka will enhance accessibility to the railway platforms below and provide new pedestrian routes between Florenc and Hybernská on either side of the station.
Bordered by the railway platforms to the south, Na Florenci street to the north, and the Wilsonova elevated freeway to the east, Masaryčka has been constructed on a derelict site that has stood abandoned for several decades. To the west, Masaryčka replaces the existing car park on Havlíčkova Boulevard with a new public square with interchanges between city’s rail, tram and bus networks; defining a welcoming gateway to the city for suburban rail passengers as well as those using the express rail link that is currently under-construction to Prague’s international airport.
Located 1km east of the city centre’s Staroměstské Square, the design establishes a dialogue with the architecture and urbanism of Prague’s Old Town – known as ‘the golden city of 100 spires’. External fins within Masaryčka’s façade contribute to solar shading and transform the project’s horizontal composition to the verticality of its western façade that faces the spires of the Old Town.
A cascade of terraces divides the two buildings with similar terracing on the eastern façade giving every office floor direct access to generous outdoor spaces. Communal roof gardens offer views across the city while Na Florenci street is transformed into a tree-lined avenue.
Targeting LEED Platinum certification, Masaryčka’s design, procurement and construction and has prioritised local suppliers and materials with a high recycled content to meet 2025 targets for embodied & operational carbon established by the RIBA 2030 Climate Challenge.
Size : 28, 000m2
Architect: Zaha Hadid Architects
Design: Zaha Hadid, Patrik Schumacher
Competition
Directing Associate: DaeWha Kang
Project Architect: Jakub Klaska
Project Team: Michal Wojtkiewicz, Malgorzata Kowalczyk, Fernanda Mugnaini, Matthew Carapiet, Bogdan Zaha, Chenxi Gong, Maya Boustany, Jan Klaska, Brian Dale
Concept Refinement - Schematic Design
Project Director: Jim Heverin
Directing Associate: Craig Kiner
Project Architects: Jakub Klaska, Sara Sheikh Akbari
Project Team: Javier Rueda, Jan Klaska, Saman Dadgostar, Yifan Zhang, Moa Carlson, Juan Montiel, Carlos Parrada-Botero, Monika Bilska, Harry Spraiter, Ovidiu Mihutescu, Niran Buyukkoz, Nan Jiang, Horatiu Valcu
Detailed Design
Project Director: Jim Heverin
Project Architect: Jakub Klaska, Victor Orive
Project Team: Harry Spraiter, Javier Rueda, Aiste Dzikaraite, Sven Torres, Muriel Boselli, Maria Touloupou, Thomas Bagnoli
Construction design
Project Director: Jim Heverin
Project Architect: Jakub Klaska
Project Team: Harry Spraiter, Aleksandra Mnich- Spraiter, Devansh Daisaria
Executive Architect: Jakub Cigler Architekti