Architecture Competition Winners | Hall of Fame

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CLOSED COMPETITION

WINNERS

This page is a celebration of the best architectural designs from our past architecture competitions. These designs represent the best in creativity, innovation, and sustainability.

This page is a valuable resource for architects and designers from all over the world to find inspiration and insights into the latest trends in architecture. It also serves as a testament to the power of design to improve our lives. We hope that you will be inspired by them as much as we are.

To get started, select a site using the drop-down below.

According to Icelandic legend, three trolls lived on Reynisfjara beach, which only came out of their caves at night. One time, they came out at dawn, and the sunlight turned them into rocks - today called Reynisdrangar.
I came up with a continuation of the legend. Excluding the above-mentioned trolls, there was also a troll that was different from them. Each day, under the cover of night he was going out to the black beach to admire the nature. One night elves needed his help with moving the rocks. Working for so long made him forget time, thus sunlight turned him into a rock spire.
This whole story and the special place of the beach became a contribution to my project. The troll's admiration of the Icelandic nature, as well as the form of volcanic rock spires, prompted me to give the designed object the shape of an ascending spiral. Thanks to the the external ramp, both sighted and visually-impaired people will be able to experience the surroundings with all their senses. Walking on the ramp, will allow for the opportunity of landscape admiration with a 360-degree view, while smelling the Ocean and feeling the power of the wind, hearing the sound of waves or singing puffins. A spiral ramp, tapering upward, leads to the top, where there is not only a recess sheltered from the wind and noise but also a skylight. Standing there, a blind person can listen to the sounds of Iceland, while sighted people can focus on the sky.
In the aforementioned recess, a skylight was designed through which light reaches the lowest floor. Such a shaft of light is a landmark in the facility for people with a sense of light. A tube under the skylight was designed as the core-construction of the entire facility.
A reception area, exhibition space and seating areas were designed on the ground floor level.
An interior ramp from the ground floor level can be used to access the mezzanine level, where the café and dining areas are located, from where an unobstructed Ocean view can be seen.
The internal ramp also provides access to the SPA area. In the central place, an internal pool was designed, located just below the skylight. Stepping on the floor with bare feet, guests will feel the cold pebbles - as if they were walking on a black beach.
The leisure area has been illuminated with daylight through a designed depression in the ground. Thanks to this, people with a sense of light are guided through the facility thanks to the interaction of light and architecture. Next to the relaxation area, taps with glacier drinking water were designed. SPA level is connected with the geothermal outdoor pools and the stone garden – a reference to the legend.
In conclusion, the entire facility was designed on the basis of external and internal ramps, to eliminate potential accidents. Additionally, the external spiral path to the facility will provide a sensory experience for hearing, smell and touch.

Honourable Mention

Volcanic Visitor Centre Iceland Competition

In order to present different guiding effects in different node, the main body of the building should be sunk and attached to the same soil layer, which could reduce the interference to the environment at a long distance and preserve the integrity of the volcanic landscape.
Besides, the height of the different building block is adjusted according to their function and scale, so that they are visible enough to be guided for visitors when they approaching. The interior of the building offers a continuous view of the sea and a unique view of the volcanic landscape.
It's a quiet trip

Honourable Mention

Volcanic Visitor Centre Iceland Competition

F L O E T O N I Đ U R

Reynisfjara Beach delights us with raw and natural beauty. The project aimed to fit into the landscape by adjusting to the contour lines of Reynisfjara’s map. To accomplish this idea, we got the building close to the rock. The path becomes the main way of the project's expression. It starts with the car park, then splits in three directions. The first one leads through the building's interior. Then it allows going outside again. The second one bypasses the interior and leads us in front of the facade. The third is a smooth passage above the building because the building’s roof transforms into a viewpoint. All three paths cross behind the building, and because of that, we can continue our journey to the highlight, which is Reynisfjara Beach.
The building smoothly comes out of the basalt path. It is a stopover along the road. The building was designed to be a continuation of the path, to go along the horizon. Glass facade provides constant contact with nature. The material, which dominates the project, is local basalt. The shape of the building refers to Reynisfjara’s landscape. The building is based on rock, which parts are also inside. Layer benches were carved in rock to create space for tourists to sit and enjoy the ocean view with a cup of coffee. The rock is a quote of the natural landscape inside the building.
The idea of partially digging the building into the ground refers to traditional Icelandic architecture. Houses in Iceland were dug into the ground for ages. It ensured better thermal insulation and less building materials.
The network of paths in front of the building creates the impression of drifting floes on the ocean. Because of that, the word floe was used in the title. The Icelandic word NIĐUR means noise or sound. It leads us to the ocean. We can hear the ocean subtly at the beginning of the path, but the sound gradually increases while walking. Finally, it becomes very loud. Our senses are more and more stimulated while wandering along the path. While approaching the ocean, we can feel the growing strength of the wind and salty drops of water.
There are grooves on the surface of the path and the floor inside. They go along with the project. It is a system that helps blind people to move around. A blind person can put the end of a white cane in the groove to be subtly led through the building. Inside the groove, some hallows inform about forthcoming zones. The floor is subtly angled, so the visitor gradually goes up along the building. The swimming pool area is placed on flattening to ensure safety.
„Floe in NIĐUR” is strongly related to nature. Reynisfjara Beach became the main inspiration and the source of the idea. The building provides shelter and fulfils necessary functions, but does not compete with the uniqueness of this place.

Honourable Mention

Volcanic Visitor Centre Iceland Competition

The Volcanic Visitor Centre is an innovative architectural project that aims to provide a unique and immersive experience for visitors with visual impairments. The building is designed to integrate seamlessly with the surrounding landscape while also offering a range of sensory experiences for visitors.

The building's design is characterised by a series of tactile and auditory elements that enable visitors with visual impairments to explore and engage with the space. The exterior of the building features a textured facade made of black rock, providing visitors with a tactile experience as they approach the building. Roads in the site have an additional navigation path for the visually impaired that continues inside the building.

The Visitor Centre includes a seated reception area with information desk, a cafe, an exhibition area, a viewing area and a small geothermal heated plunge pool.

To provide an immersive experience and fully engage visually impaired people, Visitor Centre uses a range of technological solutions. With the help of a special ring equipped with the RFID tag, haptic feedback and connection to an audio headset, people could receive guidance through the building rooms and exhibition area.

The exhibition features three-dimensional layouts of the area around the Visitor Centre so that visually impaired people can feel the stunning landscapes of Reynisfjara Beach through sensory perception. The ring recognises the location of a person’s hand and gives audio information about the touching object. The ring uses commonly spread technologies, easy for disinfection and overall is economically viable.

The building’s interior is also equipped with a range of inclusive design solutions such as smell guidance, floor navigation, touch gallery and light ways. The building's design is intended to create a welcoming and inclusive environment for visitors, ensuring efficient circulation and minimising a labyrinthine effect.

The Volcanic Visitor Center for visually impaired people in Iceland is an architectural project that demonstrates the potential of design to create inclusive and accessible spaces that engage the senses and inspire visitors.

Volcanic Visitor Centre Iceland Competition

The Black Sand Beach has a very unusual atmosphere. Sharp rocks, black sand, large waves and basalt columns give the place a primitive, ascetic and mysterious spirit. Such a cold atmosphere scares and attracts tourists at the same time. Only in such places can a person feel like a primitive man who was left alone with nature. This is the main feeling that the project wants to convey to tourists.
The rocky walls and warm light in the interior create the atmosphere of a cave house, and the black polished metal embodies the future evolution of mankind. Panoramic glazing and transparent pylons erase the boundary between the indoor and outdoor environment. This allows you to combine the interior with nature, to give visitors a complete immersion in the environment. Smooth metal and embossed walls give a tactile connection to the visually impaired, which helps them feel the space. There are also ledges on the floor for them, which facilitate orientation and movement in the center. Tactile plaques with relief drawings are located around the pavilion. This makes it possible for the blind to imagine the surrounding natural landscapes and the image of the pavilion. Therefore, the image of the center has a simple form.
Iceland is known not only for its unique nature, but also for amazing animals. Some such animals are an integral part of Icelandic culture. One of these animals is a whale, the image of which is used in architecture.
The basis of the building layout is a ramp. This creates more convenient movement not only for the blind, but also for people with limited mobility. Also, the ramp facilitates orientation in the building, since all the premises of the center are visible from it. There is a cafe at the head of the building. Since there are strong tides on the beach, it is impossible to place the building close to the water. Therefore, the floor of the cafe is sunk into the ground to visually bring the cafe closer to the water. The remaining rooms are located in the underground floor. There is a museum under the cafe, which continues in a two-light space. The exhibits can also be viewed from above by walking along the ramp. The dining room is located in a separate part. In the dining room there are places for small groups of tourists and for large ones.

Volcanic Visitor Centre Iceland Competition

BRAILLE LIGHTHOUSE is a resort space for people with visual impairments. The spectrum of the visually impaired can be subdivided, and this space is for people of all spectrums. They perceive and experience buildings, starting with their tactile senses, and the accumulated experiences are expressed on the walls and facades of buildings, and the units on the walls are displayed all over the world to form a worldwide community.

The journey of the visitors begins when they arrive at the site, black sand beach reynisfjara, and are overwhelmed by the natural scenery, the sound of the waves, and the various smells of the sea. The vertical Retreat tower facing the Black sand beach shines as a lighthouse, constantly changing as users accumulate experiences. The light of Facade changes its shape through a mechanism in which users' experiences and traces are converted into data. Starting partly underground, the spa redefines the relationship of visitors to the site's nature by bringing in panoramic views of the Icelandic wilderness as a backdrop. While constantly communing with nature, Iceland's great nature is felt by some with their eyes and ears, and others with their nose and fingers. Climbing the tower, users read and experience the braille boxes with their fingers, and climb the tower leaving their traces. When they arrive at their respective rooms, they enjoy the panoramic view of Mother Nature and reach complete tranquility within it.

Braille boxes gather to form a module, and the modules gather to form a wall. The data accumulated on the wall reaches the lights of the façade through circuits, and the façade constantly changes as the number of users accumulates. Assorted modules are exhibited at different retreats around the world and form a community across the globe. The community formed in this way enhances the social awareness of visually impaired people.

Honourable Mention

Retreat for the Blind Iceland Competition

Lighthouse is not just a centre for the blind, but also a kind of navigator for tourists who find themselves on this beautiful island.

Our project is based on 6 main pillars, shedding light on each of them.
1. Light, where the rhythm of natural light and built-in light sources creates a friendly navigation for people with disabilities. 2.Tactile - it includes both Braille, where the whole building is readable from the masterplan, and by using the texture of Iceland's natural materials to convey information to the visually impaired. 3. Smell - will be a guide in each of the functional areas and create the right atmosphere. 4. Sound. The use of natural, non-intrusive sounds, such as falling drops and the babble of a creek, for the effect of interacting with nature. 5. Culture - using elements of traditional architecture inspired by the natural landscape and local materials. Also, the lobby of the Visitor Center has a prominent image of the rune "don't be afraid of the dark" that immediately immerses the visitor into the local flavor. 6. Feeling. It's something we can't smell, taste or see, but we can sense it. The 6th sense combines all the above principles and is responsible for making the visitor feel comfortable in any area of the building.

Honourable Mention

Retreat for the Blind Iceland Competition

The design challenge was to create both an adaptable space for the blind and visually impaired, as well as tourists visiting Iceland's Reynisfjara black beach. It is a place where people flock to admire the unique landscape, but beyond the incredible views, Iceland has much more to offer. The idea of a tower used by blind people is a manifesto to draw attention to the aspect of their exclusion - in this and similar places. The space is designed in such a way that it is experienced with all the senses and everyone can use it equally.
In the concept we adopted, the harsh landscape of the black beach was enriched with a dominant feature pointing the way for travelers. This is a reference to the archetype of the sea lighthouse, but designed in the opposite way - the bright spot is located at ground level in the form of a glazed, illuminated first floor. The black tower fades during the day, drowning in the haze and clouds. At night, the effect is the opposite. The upper part of the building is lost in the black sky, while the lower floors glow brightly from the light emitted and reflected from the water surface. The building has two functions and is similarly divided into two parts. One is a tourist Visit Centre located below ground level, the other is a Retreat for the blind in the form of a tower. Above the first floor, a hotel section was designed to house workshops, a spa, massage and aromatherapy rooms, and rooms accessible only to hotel guests and properly adapted for the blind. The visitor center building, hidden below ground level, is a shelter from harsh weather conditions and strong winds blowing near the ocean. The outdoor path is heated so that snow does not pile up on it, properly drained and illuminated. Although the lower part of the building is not visible at first glance, it is accessible to all users. This treatment was applied to emphasize the vertical form of the upper part of the hotel building and to introduce a unique atmosphere of the place. In the center there is a large entrance area, a reception area, a small art gallery displaying works made by workshop participants, a cafeteria, changing rooms and a restaurant with kitchen facilities available only to hotel guests.
An important aspect of the design, making it easier for people with vision problems to use the building, is the use of contrast. The facades of the above-ground part were made of black-tinted glass and the facades of the Tourist Centre used white glass with a texture of freezing water fading at the top edge of the ceiling. Throughout the building and its surroundings, a simple and clear plan solution was followed to facilitate movement and orientation. Blind paths were used in the floors, materials of varying textures, surfaces and furnishings that suppress reverberation, circulation and contrast of colors and light entering the building.

Public Favourite

Retreat for the Blind Iceland Competition

The main tasks during the creation of the retreat were to introduce inclusive design at all levels of use and to create a space that connects with the surrounding environment through the choice of design and materials. The project mythology partly stems from the medieval building culture of Scandinavia. The medieval Vikings' longhouses used to have an elongated form and columns on the outside of the building, often with a curved roof. This etymology turned out to be suitable for our concept because the whole building's structure is interpreted as a linear journey of the guests, with an opportunity to stop at certain open-space stations to experience something unique. In practice, it looks like a corridor mainly made of glass that envelops wooden buildings, each of which represents a separate building standing on wooden columns-piles that may protect the complex from flooding. The hotel-style accommodation buildings differ in their visual appearance, and a courtyard with special tactile activities appears here, such as hot sand therapy and an opportunity to walk on the grating over the sea, providing a way to feel and understand the surrounding nature for the visually impaired.

Throughout their stay in the retreat, guests use a special bracelet with a voice assistant and a system for executing various 'smart home' commands. For example, the bracelet vibrates when approaching the target, and a pair of soft-soled shoes is issued with it upon registration. Visually impaired people can feel the changing of the floor surface through these shoes as the surface changes depending on the function located nearby. Metal strips with heating extend along the entire trajectory of the corridor, and rougher coating replaces them near the entrance of the hotel rooms. Special elbow door handles are installed on the door. Some buildings are equipped with odor enhancers and thermal and sound portals. Stained-glass windows dominate the retreat, letting in a large amount of natural light that is comfortable for visually impaired people. The spa complex is aimed at developing tactile senses in a peaceful atmosphere. The underground part of the complex is carved from natural stone, and the pool uses water from the ocean.

The whole retreat operates with the help of geothermal energy in conjunction with a wave generator. We have developed a local geothermal energy supply system for the retreat. Thanks to this, floor heating and the operation of thermal portals are easily provided. The wave generator also lowers the power and height of sea waves, and compressed air from wave generators is used to heat water. Also, with the help of geothermal energy, we were able to establish a seaweed farm that produces a zero-carbon footprint and makes the retreat economically sustainable. The farm complements the main workshops and serves as an alternative to classic gardening therapy.

The whole design of the project is aimed at building an island of safety in the harsh nature of Iceland, a place where every person, regardless of special needs, feels peaceful, free, and comfortable. By creating a barrier-free environment, different people will be able to share the experience of perception at different levels of sensory use. Such an atmosphere forms a fertile ground for self-development and a rethinking of life.

Honourable Mention

Retreat for the Blind Iceland Competition

Listen to the water, touch the water, feel the water, and heal the void world of the blind.

Retreat for the Blind Iceland Competition

Blind people frequently regret about the lack of independence. Simple things such as for example going from one room to another is difficult for them. My basic concern as a future architect is to solve this problem and simplify spatial orientation for the blind. In order for people with this feature to be able to carry out orientation in the designed environment, the architect should fill the premises with information that can be considered by the remaining 4 channels of perception: auditory, olfactory, taste, tactile. This project main theme is its own system of orientation. The number of rooms can be separate to four logical blocks such as management, hotel, gastro, therapy and spa. You can go from management block to others. There are different kinds of floor materials, smells of plants and bas-relief on the wall for different blocks. Inside the block blind people can go circularly hold on to the wall and read Braille script tablets with descriptions of room function. The shape of room amplify sounds so they will know I advance if someone opens the door.

Reynisfjara is a very beautiful place but it also can be interesting sensory experience. My other concern was to amplify feelings that people can experience here. For outside therapy in warm weather there is a form of room that naturally amplifies sounds. People can spend their evenings listening ocean waves, each other, guitar and warm by fire. It is made with larix tree. This plant grows in Iceland and has good physical characteristics that can also amplify sounds.

The architect should create such an artificial environment that is accurately functional and understandable by people to orientate, but also can increase the efficiency of process that happens in it.

Retreat for the Blind Iceland Competition

Just as native species like owls and foxes come to rest in the cliffs of Tavertet, Spain, we endeavoured to create a similar experience in Casita en las Estrellas. Though suspended hundreds of meters in the air, we intend that the casita would still feel intimate and cozy as if the human was inhabiting a burrow or nest. Native species are also invited to come and rest in alcoves carved into the forms. Rather than something light and thin, the casita is heavy, an extension of the rock face that the native species calls home.

The casita is sculpted with systems in mind. Solar panels are arrayed and connected with a battery generator to keep the dwelling off the grid, producing more than enough energy for two humans to use generously, and grey water recycling collects rainwater for reuse in the bathroom facilities. Passively, beyond acting as a home and source of food for native animal species, all windows are south facing for passive heating in winter and are operable to take advantage of cool mountain breezes in the summer.

Casita is organized as a bridge between the earth and sky. On approach, the green roof, populated with native plant species, sheilds the dwelling from view. The occupants follow a linear path through and around the main burrow volume that has been sculpted to frame the panoramic views of the tavertet mountainside. The burrow interior is encapsulated by panel contours that are embedded with program, reminiscent of the wrapping nature of tree roots or the rippling sand in a riverbed. Large window walls open the interior to the sky, further framing picturesque views – even in the shower, to create a “shower in the sky” experience.

Resting in casita en las estrellas is a built connection to the natural: to be embedded in the sky, to be suspended on the cliff face, to connect with the earth and the sky.

Suspended Sleeping Pod Competition

An architectural site, depending on the expressiveness of one's, becomes whether a dominant of an environment or obeys it, emphasizing its strengths.

While making the project, what was relevant for us is analysis of the place's landform where the Tavertet village is located.
When landscape plays an essential role, it is necessarily to underline it but also not to ruine the balance between habitat and constructions.

Suspended Sleeping Pod Competition

The project aims to create a closer and stronger relationship with the surrounding nature, where the harmony of all the parts in its context makes it unique among the Spanish mountains. The concept is centered around a suspended pod, which has been positioned to optimize solar energy usage and create an intimate connection with the Tavertet cliff.

The orientation of the project is carefully considered to maximize energy efficiency. The utilization of amorphous solar panels on the roof and the integration of passive ventilation into the design, allows for the pod to operate with minimal environmental impact. The strategic placement of the pod also provides stunning views towards the landscape of Guilleries and Tavertet, further enriching the connection with the surrounding nature.

The objective of the project is to recreate the forms that are inherent to the identity of the location, placing nature before human intervention. This will initiate a rediscovery process of the natural environment, which will result in not only benefiting nature but also enhancing the economic sustainability of Tavertet and its surrounding cities, with more responsible tourism.

The unique shape of the pod is inspired by the barrel vaults of ancient structures, while its catenary form not only nods to the Catalan modernist architecture of Gaudí, but also serves a functional purpose. The shape facilitates the management of rainwater, collecting it in a collector beneath the floor, ensuring a constant availability of water.

The project prioritizes sustainability, using locally sourced materials and incorporating a prefabrication and standardization approach. The construction process is efficient, requiring a single day to complete it, making the most of the materials present in the surrounding nature such as earth, stones, dry straw, and wood. The project presents a load-bearing structure made up of two main materials: wood and rammed earth. The two materials work together and at the same time have been contrasted to help balance the overhang and to create a philosophical contrast between ground connection and lightweight in the cantilever part. The design also emphasizes eco-sustainability, utilizing recycled polycarbonate materials.

The project is grounded in a deep respect for nature, supported by six steel pillars that minimally impact the surrounding environment. The design aims to create a stronger bond between the pod and nature, providing a space for reflection and connection with the unspoiled beauty of the surrounding landscape.

In addition to its environmental sustainability and its harmonious relationship with the surrounding environment, the design of the pod also prioritizes the comfort and well-being of its occupants. The orientation of the pod has been carefully considered to make the best use of solar energy, and the design incorporates passive ventilation, allowing for a comfortable and healthy living environment.

In conclusion, the project is providing a sustainable, comfortable, and harmonious living environment that is intimately connected to the surrounding landscape and rich cultural heritage. It offers a space for reflection, connection with nature, and a sense of place, providing an unparalleled experience in one of the most beautiful regions of Spain.

Suspended Sleeping Pod Competition

The IN:OUT hotel concept focuses on the environment. The main idea is based on the following principles: "LOOK OUTSIDE" - the hotel offers ways to explore and observe the environment (there are several observation decks and walking areas on the roofs), and "LOOK INSIDE", which provides more privacy for relaxation, as observing nature opens the way for people to know themselves.

Honourable Mention

Tavertet Cliff-Edge Hotel Competition

The idea of designing an architecture is to look for the main points to be designed. From the requirements of the proposition, the main issue that was designed was an innovative and inspiring theme for future design, an immersive experience that can be linked to a positive environmental background. Which is studied by looking at the area about animals as the main issue including terrain village architecture style and figure out what to link each element together.

Honourable Mention

Tavertet Cliff-Edge Hotel Competition

The designed hotel building is an example of contemporary architecture, which derives its natural character from local building traditions. It is located on the outskirts of a small mountain village, which population is slightly over 100. The building is situated at the edge of a rock ledge of the Pre-Pyrenees massif.

The cliff-edge hotel project is a response to the problem of overstimulation, which is present in many people’s everyday life in big cities. It is a place of rest, a break from everyday duties, and a dialog between people and nature.

The construction material of the building is limestone, which naturally occurs in the site and its region. As a result, the roofs have a form of multiple barrel vaults. The building is longitudinal and fan-shaped, expanding towards the south. It is based on the idea of opening it to the beautiful mountain panorama with the Panta de Sau and the Ter River in the background and providing guests with the stunning view from each room of the hotel. The assumptions of the project involve sustainability and minimal interference with the natural environment, especially the local ecosystem, which is a part of the Les Guilleries national park. It was implemented by limited interference with the rocky native land and adjusting the building to the shape of the cliff. The use of limestone makes the building look harmonized with the rocks of the massif.

The idea of the project assumes stressing the natural values of the region by using the potential of the local herbs – lavender and thyme. As a result, there is a small herbs manufacture placed in the hotel, where they are distilled to obtain the essential oil. There may be also workshops organized in the manufacture, during which guests of the hotel can broaden their knowledge about the herbs and produce their own essential oil.

Honourable Mention

Tavertet Cliff-Edge Hotel Competition

Nature is the defining concept of the hotel, which is named "Circa Naturam," meaning being around nature. The site is covered with extensive natural elements such as ancient oaks, firs, eucalyptus trees, and lavender and thyme flowers. The original uniqueness and charm of the site area must be preserved for centuries. Therefore, the main idea is how to preserve the state of nature and create a comfortable space for a deep understanding of beauty. The eco-hotel should fulfill the main function of a shelter and demonstrate a model that combines life, history, and a place where people can have flashes of revelation. This is the place where you can learn about our impact on nature and vice versa.

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Tavertet Cliff-Edge Hotel Competition

Tarvertet is a picturesque location that provides an ideal place for a relaxing weekend. The landscape pathway that lead to the top of the mountain and Tarvertet Village offers an open view to the natural beauty of the nature. To preserve the open view while enhancing the passenger experience, the entire structure is designed to fit the local landscape by adding local elements from the surroundings. The key aim of the design is to create a stop that appears like a playground, bringing about a sense of gathering and communication with not only other people but also nature. It also aims to create a significant space for guests coming to the hotel, which is private and offers a sense of meditation. By designing cozy and intimate spaces that allow people to connect with their inner selves, the design aims to create an unforgettable experience for guests. The ground garden is designed to blend in with the natural landscape by using local elements. Simple shapes create variations of height, which provide an interesting landscape. The landscape is further enhanced with the use of native trees and flowers like Lavender, Fir, Berries, etc. The underground hotel is designed to incorporate numerous rock structures like granite for the floor finishing and sandstone and limestone for the walls, which have different patterns to add some unique character to the facades. Using rock material for the building makes it appear like it is merged with the mountainous landscape, which is a key feature of the design. Architectural details like splitted steps or perforated roof that allow natural light go inside underground spaces. These structures also serve as artificial objects that serving activities that take place on the ground level. The design also towards comfort and relaxation of guests by creating a space that is conducive to meditation and a true connection with nature. Our design for Tarvertet hotel represents the spirit of blending in with the local natural landscape while providing a unique experience for guests that using the service.

Tavertet Cliff-Edge Hotel Competition

Design Process
Using the natural environment, we have kept the topography in mind in order to create an urban scape which gels in with the cliff. As to the design schemes light was kept as a crucial factor in deciding shapes and natural light slits all over the design scheme.
• An architectural statement was considered for the current times allowing people to view the meditation space, A stone monolith with peeking light voids stands as a giant reflection plane bringing in a stark presence yet camouflaged with the environment.
• A ramp leads users on a journey from the entrance wing, which hosts a restaurant serving users with local cuisine and the option to cater locally picked fruits and mushrooms by the guest. Underneath that built surface is a cantilevered pool jutting out of the cliff overlooking the valley.
• The ramp envelopes an open landscape region which serves as an auditorium for communal events and produces internal pockets with BBQ spaces for the guests. Guest suites are placed on increasing levels with the cliff topography with half units on the cliff and half of them built into the mountain, accessible via the landscape area and ramp.
• A voyage on its own at the end the cantilevered Rupu, serves as the climax of the site, where users can ascend their view and take in the grandeur of the valley, the environment before them.

Materials
Beams and posts using a hybrid of reclaimed wood and locally enabled steel structures are used in the hotel promoting the reuse of material and generation of raw materials from nearby surroundings rather than sourcing them from outside.
Sub Mediterranean Oak & Pine will be the primary source of reclaiming materials. In humid scenarios local mushroom population will be primed to be used for Mycellium cladding on the surfaces allowing guests to add to the identity of the hotel on their trail pickings.

Summary
The environment on site asked for a hybrid-built intervention that respects both mother nature and the user coming into the site. The Setsuzoku enables us to create that connection between what was and what would be. A sustainable approach to a simple concept of Connection.

Tavertet Cliff-Edge Hotel Competition

Introduction

It is remarkable that the Chester Meadows are as we find them today. All spaces decline with imbalance, an imbalance that is usually created by humans.
We tend to consume and destroy our surroundings. The Meadows are now in a precarious dynamic balance thanks to forceful action by a small group, an association formed by a few residents in the 1980s - Friends of the Meadows. However, now it is time to build on past gains and create more permanent ways of holding that balance.

Design Strategy

The brief was clear, a shared space for birds and humans. However, those two user types don't always mix, especially if you're a bird, hyper-alert to danger when foraging for food on the ground.
Therefore, the aim was to create a space, shared, but at a distance, where humans could observe and take time out from the city, and birds would be at ease getting what they need.
The elevated water baths are set at a distance from the main structure, allowing for the observers on the first level to look down from their contemplative spots and see the birds in action. The water baths could be filled manually, or rainwater from a downpipe running off the lower roof.
The same strategy is employed for the bird feeders, which are strung at angles from the lower roof. The argument is that the birds will become familiar with the structure and associate it with food, water, and shelter.
There are various vantage points for the human user who may be taking shelter from rainy weather in the inner part of the tower or standing from the first floor viewing the surroundings. They could also be on the ground level catching glimpses of birds scavenging in the grass.
The form of the tower has been exaggerated to allow nature to reclaim it, encouraging vegetation to grow around the posts and other areas. The eaves are deep with ledges on the underside so that birds can find
suitable places to nest.

Structure and Materials

Post and beam construction is a fitting option when considering the history of Chester, evident in the existing buildings built throughout the 1600s and in subsequent imitations. Structurally, it is load bearing and additional interventions will not be required. This is in keeping with the 100% sustainable approach required by the brief.
Reclaimed wood will be used for the beams and sheathing. Oak could also be a sustainable choice. Natural slate tiles are to cover the roof and the base is optional but might be useful during floods.

To Summarise

The brief for this challenge asked how humans can occupy spaces that inspire harmony with the natural environment. The work of the Friends of the Meadows restored the precarious balance between natural and human occupation of the space. This design makes manifest an enduring structure that embodies that
balance, one designed to support the growth of the natural environment around it – and perhaps eventually to disappear into it.

Birdwatch Tower Mini Challenge

The viewing nest depicts the idea of a habitat. Apart from being a mere shelter the nest gives enclosure and platform to witness the ultimate phenomenon of nature in Chester meadows. The vision was to create a shelter that merges with the surrounding environment and can be easily assemble and would decay with time only leaving the substructure that can be used to regenerate. This way the building itself act as a part of nature and may go along with the natural cycle of the meadows with time.
The establishment or the foundation is made with reused old scaffoldings, touching a minimum number of square meters on the sensitive flora and fauna. The building footprint is less, and the substructure is transparent, not highly obstructing the ground pathways of the wildlife. Main material is bamboo used on the super structure forming an organic shape twisted in the top level. This may create a stack ventilation device while also accommodating for new bird habitats. This way the building caters for people and for birds as well. It may create an interactive zone for both parties.
The tree branches are collected and used to create wall coverings in the nest and clay were used to cover the roof and to create inbuilt seating for the interiors. A tree branch layer is also can be seen in the bamboo twisted area providing platform for birds to make nests and breeding grounds. The whole deck level is elevated from the scaffolding providing ample height to face flood hazards during the season and to withstand in the natural context.
Viewing nest provides with wider views with its shape for bird watching and site seeing. Also acting as a contemplative pavilion, the sense of place and identity is uplifted by the fusion it holds with the nature. At the end note the inspirational poem ‘Birds’ Nests’ that reminisced the essence of such a place is beautifully expressed by Edward Thomas as follows,
The summer nests uncovered by autumn wind, Some torn, others dislodged, all dark,
Everyone sees them: low or high in tree,
Or hedge, or single bush, they hang like a mark.
Since there's no need of eyes to see them with
I cannot help a little shame
That I missed most, even at eye's level, till
The leaves blew off and made the seeing no game.
Tis a light pang. I like to see the nests
Still in their places, now first known,
At home and by far roads. Boys knew them not, Whatever jays and squirrels may have done.
And most I like the winter nests deep-hid
That leaves and berries fell into:
Once a dormouse dined there on hazel-nuts,
And grass and goose-grass seeds found soil and grew.

Honourable Mention

Birdwatching in the Chester Meadows Competition

What would the bird watching shelter on Earl's eye meadows on the banks of the Dee River look like?
Is it a tower? Is it just a bird watching shelter? Is it just the backdrop of the picturesque Dee River?
No! It should be changeable! It does not have to be towering, as there are beautiful birds flying by at any heights. It is not necessarily only available to humans, it can also be used by birds, providing a foothold, etc. On low-lying land, it can also cope with floods, floating with the current, becoming a "Noah's Ark" built by people for birds, as warm and bright as a lamp.

Honourable Mention

Birdwatching in the Chester Meadows Competition

Earl’s Eye Meadows are situated by the River Dee in the city of Chester in the North West region of England. The area offers excellent conditions for sport activities, dog walking, fishing or just simply en- joying the natural environment. Despite being so close to the city centre, the meadows are a perfect place to discover wildlife. Its mix of grasslands and wetlands is home to a wide range of bird species including the common kingfisher, the grey heron, and the Eurasian kestrel. Overall, the area not only serves outdoor recreation purposes, but it also has a significant nature conservation value.
The main objective of the intervention is to minimise the impact on the natural scene and disturbance to the ecosystem. A number of units with relatively small footprint are placed on the land: an obser- vation tower, two bird hides and artificial nests for different species.
The structures are elevated above the ground supported on stilts as the area is exposed to floods and may become submerged. By using the existing track, the trail leads the visitors to the observation tower.
The setting was carefully chosen along a tree-lined path close to the river. The design was inspired by the local traditional architecture. The placement of the timber beams and columns resemble the facade of the Tudor-style houses in Chester’s historic downtown. The tower rises 7.5 meters above its site with several observation windows that give great views of out across the landscape. The timber screen blends in the natural surroundings and allows visitors to stay unnoticed. The ivy-covered inner structure makes the tower attractive to birds. From the top the foliage can be monitored, while from the ground floor birds nesting in the undergrowth can be noticed.
The design of the bird hides aims to evoke the hedgerows of the English countryside. This woven surface also appears to mimic the construction of a bird’s nest. The hides are camouflaged to avoid disturbance to birds and to reduce the visual impact on the landscape.
To boost wild bird populations artificial nests are installed. Nesting boxes are placed on the obser- vation tower to encourage breeding of cavity nesters and nest tubes are placed on the ground to provide nesting sites to ducks, swan, and geese.
All units serve as resting-places as well. All structure is made of prefabricated elements which can be easily transported and assembled on site without doing any harm to the environment.
The design seeks to contribute to the conservation of the natural habitat yet offers an attractive place for nature-lovers. Our goal is to create a space that is equally beneficial for birds and human and supports the coexistence of different species.

Honourable Mention

Birdwatching in the Chester Meadows Competition

Chester’s position on the mild and diverse coast of England makes it home to hundreds of birds. 18 are key species, classified as Critically Endangered, Vulnerable, and Near-Threatened. This project analyses the feeding, nesting, and migration habits of these groups, revealing a wide range lifestyles that although come together in Chester, are not supported by the same habitats.
Therefore the project proposes three smaller habitats and watching places, each tailored to the behavioural patterns of grouped species. This allows it to sit quietly in the landscape, allowing passers-by to be drawn into a journey across the meadows. The habitats are catered to specific birds to encourage use, and different observation methods naturally follow, creating the particular co-inhabitations between man and bird.
The pavilions use the same construction, focusing around sustainable building, local construction, and the material’s slow corrosion as nature takes over. The basic circular form provides a sense of shelter for birds and people alike. Each pavilion has a main wall of compressed earth, the height, thickness and openings depending on the human and bird use. These walls sit on removable timber pole foundations, and boarded floors that allow vegetation and water, when at high levels, to penetrate. Thus the pavilions are controlled by nature over humans, dictating when, for how long, and in what manner they should be used. Above each wall, protecting it, is a straw roof resting on light timber frames that can easily be brought to the site, lifted above to allow light to come down into the resting place.
The first pavilion provides a habitat for birds that nest in marshes on the water. The circle is broken to open up to the river, welcoming the birds in whilst turning its back to the path. A lowered platform allows, on normal days, people to sit almost at water level, and the dense reeds in this area provide the required nesting shelter both inside and surrounding the pavilion. This is the largest pavilion due to the number, group habits and size of birds visiting.
The second is placed on the worn paths, in the middle of two different grassy fields. This pavilion is for ground nesting and burrowing birds. Smaller to provide intimate shelter, on one side, the wall goes underground to provide a place for birds to burrow into. Above, steps allow people to sit in the wall, looking out to the marshes and providing space for the birds below. On the other side a low seat completes the circle. Being further away, the seat is at ground level, to be able to observe the birds at their height.
The final pavilion is focused on birds that nest in vegetation and high up. This wall therefore is thicker, to provide nooks for high nesting birds, and a seat below for humans to sit in. This wall faces the thick vegetation, providing the birds with the option of man made or natural shelter, and is taller to balance the bushes and provide high nesting places.

Honourable Mention

Birdwatching in the Chester Meadows Competition

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