World Architecture Awards Submissions / 43rd Cycle
Vote button will be active when the World Architecture Community officially announces the Voting period on the website and emails. Please use this and the following pages to Vote if you are a signed-in registered member of the World Architecture Community and feel free to Vote for as many projects as you wish.
The modern architecture of the facades of the building is based on modernist principles, corresponding to current global trends. Due to the dismantling of the attic floor, the building becomes two-storeyed, visually stretching in width, thereby harmoniously fits into the surrounding landscape. The shaping of facades is dynamic – the main volume of the building is clad in a shell of exposed beams and other structural elements, due to which expression and complex dramaturgy arise in the appearance of the building.
Contrasting colors and materials are used in the facade decoration, which emphasizes the complex and unusual shape of the building, more clearly revealing its features. Window openings are mainly made from floor to ceiling, revealing the interiors of the house on the site and providing the best view characteristics; in addition, this technique allows you to visually dissolve the building in the surrounding landscape by looking through the house and glare on a large number of panoramic glazing.
The main view point from the interiors of the building is a view of Lake Baltezers, while the northern facade faces the lake. The location of the windows is chosen in such a way that natural light and direct sunlight penetrate into each living room of the building.
The main entrance to the house is located on the side of the forest and Krastmalas Street and is decorated in a grand manner. To the right of the porch, a courtyard is projected, opening towards the forest, in the center of which, in the middle of a small decorative pond, there is a decorative abstract sculpture, while the floor of the pond is made of impact-resistant glass and is a simultaneous window for the penetration of natural light into the basement of the building. The visual effect is enhanced by a waterfall flowing down the wall to the right of the sculpture. The northern wall of the courtyard is translucent and opens into the two-light volume of the living room, through a panoramic window measuring 2 floors on the lake.
In the left wing of the house there is a garage for 2 cars. On the right side of the house there is a terrace, inside of which there is a decorative garden, which can be accessed both from the side of the plot and from the adjacent premises of the house. The core of the garden is a tree with a sprawling and artistically trimmed crown, around which there is a decorative pond bordered by bamboo shoots and flower beds with perennial groundcover and other plants. At the bottom of the garden there is a recreation area, deepened in the floor with built-in furniture; a complex network of paths and paths made of various materials is laid through the garden. Behind the garden there is a SPA area with panoramic windows on the north and south facades, thanks to which a view of the lake is provided from the garden.
From the lake side, the building is visually raised due to an artificial embankment from the level of the natural relief of the site to the terrace of the first floor. The center of the composition is a panoramic window of the living room with a grand staircase under it, to the left and right of which are other rooms of the house. In the basement, the embankment is interrupted to organize the arrival to the underground parking and the garage for the boat. Also in the basement there are other auxiliary and technical rooms, including a gas boiler room.
In front of the entire northern facade there is a terrace for relaxation, access to which is provided from the adjacent premises of the house. On the right side of the building adjacent to the kitchen, the terrace is sunk to organize outdoor space for recreation and summer dinners; in this area of the terrace there is also a decorative pond with a small tree and built-in benches, and outdoor furniture.
The windows on the western and eastern facades of the building are designed in such a way as to exclude the visibility of the interiors of the house from the surrounding buildings; decorative slats framing the garden and the terrace at the kitchen serve the same purpose.
The rooms on the second floor are adjacent to terraces and balconies of various sizes, from which the best viewpoints on the surrounding landscape and plot are revealed.
The roof of the building is flat and unused.
The building of the residential building is designed for year-round residence of the customer and his family members, as well as the stay of a small number of guests.
3. Applied finishing materials
The facades are decorated with large-format porcelain stoneware of white and light gray colors, panels of black stemalite, clinker bricks of elongated dark gray format and wooden slats tinted in the color of bitter chocolate with complex relief treatment.
Double-glazed windows made of dark gray aluminum profile (SKY-FRAME and SCHUECO).
The fencing of terraces and balconies is transparent glass (triplex) in a supporting invisible profile.
Decorative accents are elements of black metal, natural stone of various breeds and shades.
The total area of the building is 1404.7 sq. m.
Vadim Martynov, Ekaterina Gatilova, Artem Slastnikov, Stanislav Serafimov
Curvilinear volumes punctuated by open landscaped courtyards create this two level school at a road junction opening up towards a large playground , in Kodla, India.
The facilities include classrooms from primary to secondary , administration spaces , laboratories ,an auditorium , a library and a cafeteria . The school is designed within a small housing community created for people working in a nearby cement producing facility .
A large open courtyard becomes a focal space within the school with a serpentine pedestrian ramp connecting the two floors.
Between each pair of classrooms, landscaped courtyards create sheltered spaces facilitating indirect sunlight to each room.
This is in response to the hot summer climate prevalent in the location .
Temperatures in this location are in excess of 30 degrees for eight months of the year .
The design thus facilitates natural sunlight & ventilation to each part of the school whilst mitigating the heat gain , creating cool indoor spaces. The internal volumes open up towards a playground with both levels of the school directly linked to the play spaces.
At the upper level open terraces visually connect to the playground with a sweeping stairway leading directly to the gardens.
The courtyards school is designed in response to an irregular shaped site , the climate of its location & the site surroundings creating a series of fluid spaces to facilitate social interaction, natural light & natural ventilation.
The design imbibes traditional Indian architecture planning principles by the extensive use of courtyards for passive cooling . The children would have a large number of sheltered play spaces within the school allowing them to interact in a variety of ways .
A building that floats a few centimeters above our daily lives
On a small narrow plot (4.9 m wide, 14.7 m deep) in metropolitan Tokyo sits a wooden house. The clients are an up-and-coming manga artist, her partner, and two owls who are the new additions to the family. The manga artist made three requests: First, the house should accommodate the entire process of the artist’s work, from creative concept to completion, meetings, and giving media interviews. Second, the house should be compact and should not open to the outdoors too much. Lastly and most importantly, the house should spark inspiration for creativity. Envisioned as “a building that floats a few centimeters above our daily lives,” we strived to ensure that the dwelling is still tied to our tangible daily life but evokes a sense of fictional narrative.
The project began by selecting a plot closely linked to manga artists. The west facade facing the front road is designed as a warped seismic wooden wall evoking earth rising dynamically from the ground, with a tunnel penetrating the wall leading to the entrance. The opening in the solid wall invites visitors to step out from their ordinary and into the extraordinary, evoking a scene in a film. The overall plan is designed to maximize the narrow and long plot of land, comprising the east area with three floor levels at the rear of the site and the west area with two floor levels to create a split-level floor plan. We rearranged the sequence of alternating split levels and created substantial differences in elevation. A light court (1.2 m wide, 5.5 m maximum height) is provided on the north side of the house, and the number of other openings were limited as much as possible to create a contrast between light and dark in a “void” spreading throughout the house like an amoeba. A stairway runs up through the void space filled with contrasts of high/low and light/dark, making a three-dimensional composition that evokes a narrative experienced through the body.
The lifestyles of manga artists have changed dramatically during the COVID-19 pandemic. We no longer see assistants gathering at an artist’s atelier since online production has become the mainstream of manga creation. Alternatively, their private houses have become a place for meetings and serve as studios for interviews and accommodating the press. The work of a contemporary manga artist could be divided into three stages: 1. Creation (enclosed and secluded), 2. Meetings (partially opened to others), and 3. Giving interviews (opening to the public), and the shades of public/private required in each stage varies. We designed a void with contrasts of high/low and light/dark to provide unenclosed yet defined areas, or what the architect calls “ponds and banks,” that would allow for subtle and flexible use of space in a very compact dwelling. We strive to continue creating architecture that embraces open narratives connected with the locality while pursuing logical solutions.
text by Tan Yamanouchi, principal architect
A Japanese Manga Artist’ s House
Location ／ Tokyo, Japan
Building type ／ Housing
Tan Yamanouchi & AWGL
／ Tan Yamanouchi (Pricipal architect)
Structural engineer :
／ Yuko Mihara
／ Yasuhiro Ikebe, Keisuke Nishide
Wooden framework method (Japanese traditional construction module)
Concrete mat foundation
2 floors above ground and 1 basement floor
Maximum height 8,020mm
Site area 74.0 ㎡
Building area 44.16 ㎡
Total floor area 86.45 ㎡
B1F 19.31 ㎡ 1F 35.04 ㎡ 2F 32.10 ㎡
Design May 2020 ~ Sep 2021
Construction Oct 2021 ~ Sep 2022
Tan Yamanouchi & AWGL
／ Tan Yamanouchi
Chongqing 1949 Grand Theatre is the first phase of Chongqing Ciqikou. It is a special theater for the performance of the large-scale red historical stage drama "Chongqing 1949". Ciqikou. The project integrates the culture of trade and commerce of Ciqikou, the culture of Bayu poetry, the culture of sand and magnetism and the culture of red rocks, and serves as the ultimate display of the natural and humanistic space of Chongqing. The entrance square area with Chongqing 1949 Grand Theatre as the core becomes one of the most important landscape nodes of the project - " infinity shines in the Red Rock".
Environment and Conception
Chongqing 1949 Grand Theatre is located in the Ciqikou area of Shapingba, Chongqing, with a complex surrounding environment: the west is adjacent to the national highway and subway, the north is the cultural and creative area of the Special Steel Factory, and the east is adjacent to the Phoenix Creek and across the water from the historic and cultural district of Ciqikou. The environment includes Gele Mountain, Jialing River, and the ancient town of Ciqikou, which are the original scenes of the story in the plot. How to integrate such a huge volume into the complex surrounding environment? How to connect it as a place element to the original life scenes of the venue? How can the narrative space inside and outside the theater be used to complete the performance experience? These are questions that need to be considered and answered in the design.
When thinking about the relationship between the project and the environment, the designer seized two aspects: first, dissolution and communion; second, control and sorting. The design needs to weaken the huge volume of the building through spatial means, so that the building can be better integrated with the complex environmental elements around it in terms of space, function and flow; at the same time, it also makes full use of the special characteristics and influence of the theme theater in space and form to control and sort out and external environmental elements, forming mutual constraints and integration of individuals and groups, truly realizing the dissolution of site boundaries, mutual adaptation of scene behavior and the spirit of place common.
Space and Technology
Chongqing.1949 Grand Theatre is a custom-made Class A indoor theme theater with a capacity of 1,500 people. The plot tells the various touching stories of patriots and party lovers from all walks of life on the eve of Chongqing's liberation in 1949 to welcome the advent of a new era. The main body of the theater is a large space for viewing and performing, and other functions are arranged around the large space. All spaces and equipment related to the viewing and performance in the theater are closely related to the development of the play.
The design adopts a centripetal spiral slope division for the huge volume of the project, with the curved combination curtain wall showing the red culture theme as the core, forming the form relationship of the building spiraling up from the square. The roof of the building is treated in a site-specific manner, and a large number of steps and ramps are used to respond to the native site of the Ciqikou, so as to minimize the pressure of the huge volume of the building on the surrounding environment. At the same time, the concept of space sharing and the setting of auxiliary functions of the building are combined to create a café with a distant view of the Jialing River and a cultural theme gallery, which are additional to the function of viewing and performance, thus highlighting the vitality of the space.
Construction and Details
The floor elevation of the building is located above the 100-year flood level, and the underground portion has structural requirements for flood protection and flotation resistance. The building structure is made of reinforced concrete below the ±00 elevation, while the main structure above ground is made of all steel. The designer and builder overcame many difficulties to ensure the successful completion of the project in less than a year.
The presentation of the building space and mood cannot be achieved without the support of structure and details, such as the curved main part in the center of the building is formed by a transparent glass curtain wall wrapped with a red relief theme wall. The relief wall is made up of 1949 characters in different fonts, the height of a single number is 750mm, and the outside is a transparent glass curtain wall, which not only protects the relief wall, but also enhances the integrity of the building with its luster.
The main wall of the building is made of GRC artificial stone with texture. After a lot of pre-proof and post-sample selection, the final product size 2500x1000mm, stone thickness of 60mm, each GRC plate is slotted and cut by machine to form the primary texture, texture width of 50-80mm, and then chisel the plate, so that each piece of stone presents a different texture.
Other materials used include natural stone for the steps and base of the plaza, a titanium-zinc panel folding roof that echoes traditional forms, and a large circular roof made of perforated aluminum panels in various shades of gray to form the annual cycle of the clock.
Ultimately, the open scene composed of many interrelated spatial details makes the theater's surroundings continuously gather popularity, truly fulfilling the function of urban cultural life that "Chongqing 1949" Grand Theater should carry as a public cultural building.
The completed building is as natural and unpretentious as growing out of its native environment. The design team interpreted Chongqing with its own deep excavation and unique understanding of the red theme and regional culture. 1949 Grand Theatre has well accomplished the continuation of red culture and the export of regional culture. In the process of project construction, the team was actively rooted in the project construction site, from August 2020 to August 2021, the project was completed in one year, the team truly participated in the whole process of "local construction" of the project. In the 100th anniversary of the founding of the party as scheduled for the successful opening of the show has also quickly become a new business card of Chongqing city cultural tourism project.
Site area: 13,900 square meters
Building area: 25,200 square meters
Architectural design: Chongqing Yueji Architectural Design Office
Lead architect: Li Jun, He Biao, Tian Qi
Design Team: Li Tao, Li Jingyu, Tan Meng, Lv Yi, Xu Jingfeng, Wu Jing, Xu Xiangdong, Guo Jian, Wan Liangqing, Huang Ying, Wang Yansheng, Liu Peng, Wu Meng, Wang Yuedong, Zhao Shudong, Xie Chengping, Dan Chenghu
Design consultants: He Zhiqiang (planning), Xiong Gang (steel structure), Gan Min (structure), Yu Qunli (architecture), Chen Jinhua (HVAC), Zhao Ying (water supply and drainage), Li Jun (electrical, renamed with the lead architect)
The project is located in Tuanshi Village, Xiaonanhai Town, which belongs to Longyou County, the city of Quzhou. It faces Qujiang River on the south, with G60 Shanghai-Kunming Expressway on the north side, and the Xihuxian Road passing nearby. Across the road from the site is the Qujiang River, providing a wide view of scenery. The project's site was originally an elementary school, and later located the factory of an enterprise, with buildings in poor condition. The surrounding area is mainly occupied by waterfront residences of the villagers, and in the front of the site, a memorial archway of chastity and filial piety, built in Qing Dynasty in year 1790, has been preserved.
The project is designed to be a public space serving the local villagers. The owner and the operator expected that the design of the space would integrate diverse themes, including industry, culture and humanism. The original site was enclosed, with a large courtyard in the middle. According to the site's conditions, the architects combined renovation and new additions, to rearrange different building blocks for various functions.
Originally used as a factory, Building 1 provides relatively large and wide-open space for industrial purposes. It accommodates various functions, including property management services for the villagers, agricultural products exhibition, technology-assisted agriculture live-streaming, as well as a co-working office, a banquet hall, and a multi-functional conference room.
Building 2 has a linear plane and used to be a primary school's teaching building. Inheriting the previous spatial attribute, the redesigned building is still culture-related, by setting up Nankong Bookstore and Children's Center, side by side with the Wellness Cabin for elderly care.
Looking out from Building 3, both the scenery of the river and the inner courtyard come into sight. With such a nice view, a cafe and a restaurant are placed in this building.
The more private Building 4 and Building 5 are used as a guesthouse and a youth hostel, since they are less disturbed by the outside. The architects also proposed to open the enclosed inner courtyard to the surrounding villagers as an activity square and marketplace.
The original enclosed space had already formed large and small gaps in between the buildings. After analyzing the site's existing conditions, the architects decided to insert fragmented spaces, such as "corridor box", "roof platform" and "inner courtyard" with different sizes, into the building cluster, to strengthen a sense of enclosure. A more organic combination of spaces can also be created. At the same time, the variety of spatial planning and scales as well as the diversity of architectural forms lead to the dynamic changes of the building cluster while maintaining a sense of integrity.
Since the site's surrounding buildings and environment are complicated, the architects coordinated the new construction with other buildings of different eras in visual effect, materials and colors, by taking advantage of the existing site conditions. As to the relationship between old and new buildings, the design focuses on the integration of tradition and modernity, as well as the coordination between newly built architecture and the surrounding natural and cultural environment. Through creating an organic contrast, the design realizes the symbiosis among all elements on and near the site.
At the very beginning of the conception stage, the consideration of construction efficiency, feasibility and aesthetics were prioritized, in order to achieve the best results through the most effective way. During the demolition on site, it was found that the original building walls were too fragile to provide support, therefore most of the roof and walls were demolished or reinforced. When adding new structural system, the construction also tried to avoid contact with the existing old walls, so as to avoid the extension of construction time due to foundation reinforcement.
The newly built structural system presents a sense of rhythm through similar and repeated patterns. The form of each single building and the organization of buildings are based on the consideration of the surrounding environment, functions and interior space. While creating various architectural forms and complex spatial morphology, the design endows the spaces with a sense of integrity and order as well. At the same time, the spatial form is simplified, to guide visitors to experience the purity of space and perceive the diversity of environment.
4,850 square meters
Chief architect: Yan Yang
Design team: Shen Chuan, Wu Kejia, Zhao Siyuan, Yan Yu