Laskasas proudly presents THE 360 VIRTUAL TOUR
Youtube Video – the 360 tour presentation: https://youtu.be/m2R6EWxVCIM
Welcome to our worldwide digital experience. The Laskasas new space showcases a selection of the newest pieces and interiors from the 2021 Collection.
Explore every room carefully designed to create a sense of welcoming warmth where furniture changes everything. All relevant product information will be provided during the journey. Our customer care team will be live to support you during the five days of the event.
- Dates: 25th January to 29 January (Monday to Friday) = 5 days
- Opening hours: working hours – 9am to 6pm (WET — Western European Time)
- Landing page for pre-registration: https://laskasas.com/360-virtual-tour/
With 1 lobby and 5 spaces, each one defined as an act with a specific philosophy, the stand presents:
- Act 1: The Entrance Hall
- Act 2 – The Living Room
- Act 3 – The Dining Room
- Act 4 – The Bedroom
- Act 5 – The Home Office
THE SECRET ROOM
In one of the acts, you will have the opportunity to explore one secret room: a Walk-in closet designed to be a glamorous space for unforgettable bedroom.
The concept of the stand is based on the concept of the new catalogue for 2021. And what is the concept we are talking about? The right question is: What do you stand for?
- 5 rooms claim 5 different missions or answers. Each one is a specific act. The act of:
- Entrance hall – The Act of Standing for a fabulous first impression.
- Living Room – The Act of standing for perfect cosy days.
- Dining Room – The Act of standing for truly multi-functional spaces.
- Bedroom – The Acts of standing for a good night’s sleep.
- Home Office – The act of standing for greater motivation and creativity.
- To achieve what each room claims, our range of furniture is designed in order to provide comfort, quality, and experiences.
THE 360 VIRTUAL TOUR IS THE GENERAL ACT OF STANDING FOR SOMETHING THAT HELPS INTERIORS DESIGNERS, ARCHITECTS, SHOWROOMS AND DEALERS WORLDWIDE TO EXPERIENCE LASKASAS IMMERSIVE EXPERIENCES ABOUT FURNITURE, DESIGN AND TRADITION.
- The list icon allows to go to the catalogues page to download the new one – 2021. Here is the new catalogue with exclusive access for you: https://laskasas.com/2021-catalogue/
- 360 experience: Click and drag to look around.
- Chat: click on the chat icon to speak live with our sales team.
- Logo icon: to discover more about each product.
+ Click on VIEW MORE to know more about the product.
- Click on the heart icon to add your favourite products to your personal wish list.
- Click on the circles to change the point of view.
THE HIGHLIGHTED PRODUCTS
- Act 1: The Entrance Hall
- Jill Console
- Rod Mirror
- Sharon Table Lamp
- Act 2 – The Living Room
- Wellington Sofa
- Brown TV Cabinet
- Lyssa Coffee Table
- Act 3 – The Dining Room
- Eda Dining Table – NEW
- Ambrose Chair – NEW
- Rick Sideboard
- Act 4 – The Bedroom
- Anny Bed
- Lady Bedsite Table
- Hilary Chest of Drawers
- Act 5 – The Home Office
- Dara Desk – NEW
- Robson Chair
- Praga Bookshelf
- The Secret Room
- Rosie Dressing Table
- René Pouf
- Custom-made Cabinet
Live the experience. January 25th to January 29th worldwide
General Information about Laskasas
Established in the city of Porto (Portugal) in 2003, Laskasas is a furniture design brand renowned for creating handmade furniture, upholstery and metalwork pieces, for residential and commercial projects.
Laskasas furniture and upholstery collections strive to honour and elevate Portuguese heritage of craftsmanship.
Each piece is a new perspective of traditional design, defying laws of silhouettes, materials and textures combinations.
With long-lasting expertise, Laskasas pieces are available worldwide.
The contemporary reinterpretation has influences of the Scandinavian functionality, the Italian luxury and the French glamour. Comfort is so important that it hasn’t a nationality or particular roots.
Laskasas offers tailor-made options, handmade upholstery and unmatched combinations of non-conventional materials with long-lasting pieces.
Laskasas escapes from furniture conventions to embrace a different kind of silhouettes and materials combinations. In our warehouse and headquarter, we seek to redefine what it means to be a Portuguese furniture brand.
Far from being static, we believe in functionality, forms, comfort and balance. That is what we stand for:
Long-lasting furniture products and high-end finishes
Items 100% designed and produced in-house. By Portugal for the World
Wide range of furniture, upholstery, lighting and home accessories
Over 50 materials, fabrics and finishes for custom-made options
Made in Portugal
Created in Portugal, by Portugal
Laskasas furniture and upholstery collections strive to honour and elevate Portuguese heritage of craftsmanship. Made in Portugal represents our stringent quality control process, covering all production stages, from the selection of materials through to the final packaging.
It all starts with the creative team, influenced by the unique heritage of Portuguese decades of furniture expertise. The contemporary reinterpretation has influences of the Scandinavian functionality, the Italian luxury and the French glamour. Comfort is so important that it hasn’t a nationality or particular roots.
Our artisans create different designs for different styles. Classic or modern. Mid-century or minimalist. Chic or cosmopolitan. You name it. We will have it for you.
Our crafts & arts?
Our commitment to happy places is the core of Laskasas. Decorating lives is the art behind our luxury furniture.
For Press enquiries:
(+351) 937 505 535
Press Manager Ricardo Grilo
LASKASAS HEAD OFFICE
Rua Alto do Facho, n.º 576 Apartado 49
4585-831 Rebordosa Portugal
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© 2021 LASKASAS. ALL RIGHTS RESERVED
Images or texts may be used for press activity. The reproduction of images and texts are permitted in press publications if shall expressly, and in a clear manner, mention and credit Laskasas.
“International Facade Design Competition-IT/ITeS” organized by Mango Architecture
The competition was based on the philosophy that the 21st century facade needs to be adaptive and responsive to human needs, and climatic conditions along with minimizing energy consumption during operation phase especially in the workplace. With researchers probing beyond workplace aesthetics to examine holistic factors, we are learning that air and water quality, thermal control, and especially visual access to outdoor environments can directly improve Occupant’s well-being. Considering Covid-19 in mind to minimize the use of touch and maximize the use of a shield.
The above first prize-winning entry was proposed by the students of D.Y.Patil College, Kolhapur, Maharashtra, India
Team: Siddharth S. Waze, Abhishek Naik, Saqib Mulla.
The Static Skin – “With the use of material and technology in a given set of boundaries and conditions, the contemporary architecture surfaces are classified into “dynamic” and “static”. The building envelope acts like a skin, an intermediate between the interior and the exterior. This skin has evolved over time, with the help of the engineered solutions, the purpose of dynamic facades is to assist in the progress of Sustainable and Responsive Architecture. The dynamic facades act as filters between the indoors and the outdoors, facilitating the users providing appropriate shade, sunlight, ventilation and a visual union with the world in motion outside.”
Second Prize Submission:
The above Second prize-winning entry was proposed by the students of School of Planning and Architecture, Vijayawada, Andhra Pradesh, India.
Team: Jatin Kumar and Mayuri Palkar.
SCREEN- “A Screen is an active habitable facade. Broad functions are adaptive, protective and responsive with respect to the environment. The facade design is interlinked with various factors like colours which provides liveliness, greenery which allows the building to breathe, terracotta for sustainable approach. It’s a combination of contrasting materials- modern tinted glass and old aesthetic terracotta material. The modular facade creates a visual play of colours. So, the screen is a mere form of aesthetic that is habitable and engages the community. With this facade, the building easily blends into the environment as well as stands out from the crowd. Creating such a connection between the surrounding and the building helps for a new approach.”
Third Prize Submission:
Stretch Met Facade – “Building facade is essential component as it assures aesthetic well-being as well as plays a crucial role in linking interior space with exterior environment. Thoughtful analysis and use of a skin can make the space utilize its optimum potential for occupants and environment.
1 Basic need to pull a skin to a space.
2 Responsive towards climatic conditions and sustainability.
3 To an aesthetic value and design sense.
Gurugram being the most polluted city, stretch met facade sums up all the aspects and works beyond being aesthetic or a solely an envelope. Creates an impact of visual elements like proportion and lines, auditory, tactility, olfactory, thermal comfort. The building skin has a potential to redirect and filter daylight, provide natural ventilation and manage heat transfer. This aspect when achieved can affect occupants comfort, productivity and energy.”
Winners Announced For The Architectural Essay Writing Competition 2020 Conducted By IDHA Labs
“The Architecture Essay Writing Competition 2020” (TAEC) conducted by IDHA Labs was concluded with official result announcements made by an esteemed Jury panel, along with an opportunity for the winners to read out their essays. IDHA Labs also formally launched their blog of essays with the shortlisted entries. The result announcement session was a conclusion of the two-month-long evaluation period by the jury.
The jury panel was a team of eminent architects and writers in India- Apurva Bose Dutta, Gita Balakrishnan, Mrinalini Ghadiok, Madhavi Desai and Yatin Pandya. The panel was assisted by a team of Shortlisting Committee (SC) members to present the best scoring essays from which winners were picked.
The essay competition was announced on 1 September 2020 with briefs for Student and Professional categories. The participants had time until October 11, 2020, to submit, post which the SC was assigned with evaluations. The SC worked under the aegis of IDHA Labs to submit a shortlisted lot of essays to the Jury panel. The Panel worked then until last week of November and disclosed their decisions to IDHA Labs, which were published officially on November 29 2020.
The briefs of the competition
The competition was themed as “Space, Time and Architecture” applying to both professionals and students. It expects a discourse on the trends seen in spatial evolution across times. The student brief was titled “Approach to Architecture of India: Traditionalizing Modernity or Modernizing Traditionality”. The student’s brief asks the question of which would make a better choice between updating our traditions and recreating modernity with old wisdom. The first choice is expressed as Modernizing Traditionality while the second as Traditionalizing Modernity. Furthermore, the student’s brief is to discuss the challenges that our traditions have faced, while to also check if our traditions have given way to the modern. Besides, the student’s brief asks how/if we can embrace traditions and modernity, without comprising one for the other.
The professional’s brief titled “Cities Matter: Rethinking the Modern Urbanscapes of India” is to explore reimagination of modern urbanscapes in India, in alignment with what the 21st century expects. The brief prompts the professional entrants to think beyond the common talking points of planning, construction, aesthetics and material usage. While the student’s brief is bigger, it helps understand the framework within which he could work his essay. The professional’s brief is open to exploration thereby expecting more awareness with the participant.
The result announcement
The session was an hour-and-a-half program. The agenda began with introducing the competition’s goals to the different participants who tuned in to view the results and ask their questions to the jury. As a follow up the Jury panel shared their appreciation and views about the effort to promote the niche area of architectural writing.
The session’s principal moderator from IDHA Labs said that the competition successfully garnered the support of several participants with their entry submissions across the various Indian states. The aims of the competition were also to encourage and bring to light the creative and research possibilities of writing in architecture. Moreover, IDHA Labs also strove to establish a platform for students and professionals alike to test their capabilities and learn from a Pan-Indian competition. This is a checkpoint in their passion to teach and share with the younger lot in architecture in India. The principal moderator also expressed his gratitude to the Jury members who have extended their moral support to the IDHA Labs team. Besides, the volunteers were also appreciated for devoting their time and effort to assist.
As a follow-up, the Jury members shared their views and appreciation of IDHA Labs’ effort at this competition. Each of the jury members mentioned their thoughts on how important the activity of writing is within architecture. Particularly, Architect Yatin Pandya had put forth an analogy that architects functioning as writers have the space to act as advisors to different areas of professional practice, while also aiding with self-introspection. Architect Apurva Dutta had highlighted how there are growing visibility and advocacy for architectural writing and spoke her thoughts briefly on her experience as a writer herself. Architect Mrinalini Ghadiok expressed the importance that writing carries in terms of intellectual activity associated with it. Architects Madhavi Desai and Gita Balakrishnan had specified how delightful they felt reviewing the many participants that possessed a clarity of thought and writing skills in their essays.
The moderator of the question-and-answer period, from the Shortlisting Committee, had curated a few questions sent in from the participants to put forth to the Jury members in this session. The questions were about developing writing skills such as title framing, structuring of essays, research methodologies and more. The Jury members also provided insightful responses which made the session a good takeaway for the participants tuning in.
Following the question-and-answer period, the Jury was requested to announce the winners in both the student and professional categories, the participants of which read out their essays upon result declaration. Each of the Jury members also shared the qualities which helped these essays bag the prizes and also pointed at the few areas where the winners can improve their skills.
The Professional Category winners are Architects Shivani Pinapotu and Mihir Sriram, whose essay is titled “Are We Designing Smart Cities or Smart Looking Cities?”. The Jury members had mentioned that this essay had a well-built narrative around the arguments which the entrants expressed and that the same was structured very neatly. These features of this essay made it a very enjoyable and insightful read. Furthermore, this essay was said to have been a thought-provoking read too. Amongst the student entries, the winning essay was “Modernity: The Latest layer of Tradition”, written by student architect Yakin Kinger. The jury commended Yakin’s precise comprehension of the brief and his pragmatic response to it, which is exemplary at the student level.
The Professional Category winners are Architects Shivani Pinapotu and Mihir Sriram, whose essay is titled “Are We Designing Smart Cities or Smart Looking Cities?”
the student entries, the winning essay was “Modernity: The Latest layer of Tradition”, written by student architect Yakin Kinger.
The student category’s trophy was a tied victory. The prize was also won by the essay titled “Traditional and Modern: A Social Construct”, written by student architects Kayva P Krishnan and Malavika S Nair. The jury appreciated this essay for the intriguing reflections that were portrayed by the writers about the concepts mentioned in the brief, in addition to the way forward suggested in architectural design for the Indian context.
“Traditional and Modern: A Social Construct”, written by student architects Kayva P Krishnan and Malavika S Nair.
Jury Reviews on the Competition
As mentioned earlier, this competition was an effort to bring to light the creative allied field of writing within architecture. IDHA Labs has also taken similar initiatives before by organising competitions for Photography, sketching, illustrations and Product Design and more. Along these lines, an upcoming competition by IDHA Labs is the “NODE: Pavilion Design Challenge”.
Architect Yatin Pandya shared his testimonial that the competition was organised very meticulously with transparency for the more than 320 entries received. He also stated that such competitions with entries that display maturity and clarity can stimulate meaningful dialogues and exchanges within the fraternity. Architect Madhavi Desai had mentioned that the competition was very well curated and the entries displayed technically and conceptually sound knowledge and thought. Architect Apurva highlighted how the competition acknowledged the area of writing and that displayed the roles and responsibilities of design-planning-architecture by this skill.
Follow IDHA Labs to read all the shortlisted entries and for more details on their competitions.
All images © of IDHA Labs.
> via IDHA Labs.
FOAID returns in its full glory for the 11th edition!
India’s most celebrated architecture and design festival, Festival of Architecture and Interior Design (FOAID), in 2020, will be showcasing its finest in a week-long virtual event – FOAID Virtual Week – which will commence from 26th October to 1st November 2020.
This year’s theme would revolve around the concept – ‘LIVE THE CHANGE.’
Here’s why – From the onset of 2020, we have seen so many changes in the world which drove us to adopt newer ways of living. With the 180-degree shift in norms and regulations, it has become vital to rethink and make wiser choices to survive in this new world. That’s exactly why FOAID urges designers to join this change.
The week-long event will witness some of the most renowned speakers from across the world including Soo K Chan (SCDA, Singapore), Alexis Dornier (Bali), Bill Bensley (Bali & Bangkok), Hartmut Wurster (Blocher Partners, Germany) and Sourabh Gupta, (Archohm, India).
One of the most awaited and unique sessions would be a discussion with The Bandra Collective, a collaboration between six talented and quirky architect-design firms working pro bono to manifest their love for the street of Bandra, a suburb in Mumbai, India.
Esteemed architect Tony Joseph of Stapati would be delving into the architecturally stunning houses in Kerala. While Sourabh Gupta from Archohm will be exploring the relay between architecture and experience design in the topic, ‘Rejuvenating Agra: From the City to the Cobble’, along with Siddharth Bathla and Jeroen van Erp. Additionally, a ‘Debate on Public Spaces’ will be chaired by Architect Vivek Gupta.
To take things up a notch, six designers from different genres will be discussing their unconditional love for design, a session moderated by Ekta Parekh from reD – Research and Enquiry into Design. Lastly, five stalwarts of workspace design in India will get together to engage in a powerful and robust discussion on the ‘Emerging Trend of Mobility – The Future of Workspaces’.
Live competitions for aspiring gen-next architects, design discussions that’ll tickle your grey cells, art and architecture tours that’ll leave you inspired and lastly, an array of project displays are some of the other highlights of the upcoming FOAID Virtual Week.
Register now to be a part of the virtual conference at FOAID Virtual Week kick starting from 26th October to 1st November.
Visit www. https://www.foaidindia.in/fvw/
Book your seat now to be a part of FOAID Virtual Week Commencing from 26 October to 1 November. Visit https://www.foaidindia.in/fvw/for registrations.
Join FOAID Virtual Week and be a part of Design Discussions, Art tours, Lighting conference, Documentaries and Live jury for gen next architecture competition and fun workshop. Visit https://www.foaidindia.in/fvw/. for registrations.
Iconic Mosque In Dubai – Reinventing Elements Of Islamic Architecture | Design Plus Architects & rat[LAB] Studio
Blending Mathematics, Religious Principles, and Technology to create a new interpretation of an Iconic Mosque in Dubai, reinventing elements of Islamic architecture – A collaborative proposition by Design Plus Architects & rat[LAB] Studio.
The Crescent is a symbol of humility; it’s an acknowledgment of religion; a celebration of culture; a re-discovery of ancient knowledge. The mosque borrows its design from clues that are hidden at various scales. At the largest scale, the inclination towards Mecca is the obvious driver for internal circulation & orientations. This is complemented by an extremely strong Urban context, at the helm of which is the iconic tower designed by Santiago Calatrava. The next set of clues are borrowed from the religious belief system, which operates closely with design intentions and metaphors. The Grand Roof, for example, indexes towards the infinite and hence the
heavens. These are essential to bind the past, present, and eternity.
The structure system is developed based on the numerically dominant number 19. There are 114 columns [19×6], equivalent to as many Surahs within the holy Quran. At the Architectural Scale, we admire and critique components of Islamic Architecture like the Dome, Arch, Column and present our interpretations for the same. The tranquillity of the ambient environment is enhanced by the geometric Jaali patterns, filtering diffused light within the indoors. The principles of mathematics bind the design together, calculating patterns, proportions, geometry, and even experience.
ELEMENTS OF MOSQUE – RE-INTERPRETED
The prominent urban axis originating from Dubai Creek Tower has a visual strength that is retained within The Iconic Mosque by creating a physical and visual articulation by aligning of Main Entrance into the Front Courtyard and puncturing of the roof through a thin screen made of geometric Islamic pattern. A thoroughfare pedestrian access through the Mosque is provided to retain pedestrian circulation on the Urban Axis and also to accentuate views within the mosque towards Dubai Creek Tower.
The minaret rises up from the roof structure pattern made by cross-beams creating triangular cells, two of which rise up to form vertical circulation elements. One triangular profile rises up to form a minaret that shares the highest point in Crescent with the Zenith towards Mecca. The Minaret rises to a height of 57m., which is a factor of 19 (19X3=57), which is considered to be a magical number in Quran.
The zenith of the roof indicates a visual orientation for the thousands of worshipers to look towards Mecca as a heavenly direction towards infinity. The roof rises as peeled off surface geometry to have the highest point in the direction of Mecca at 57m., which is a factor of 19 (19X3=57), which has a strong mathematical significance in The Holy Book of Quran.
Three water-bodies are strategically placed in the Open Courtyard oriented in the column-grid that is aligned towards Mecca direction. The water body is enclosed by a seating on three sides which merge into the ground as a gesture of bowing down towards Mecca direction. Each water body has 5 column-elements that form sets of semi-circular arches with their reflections in perspective, and also control the micro-climate in the open courtyard.
The typical column profile that binds the Iconic Mosque has articulations at various scales. The semi-arch profile is anthropometrically used as a sectional profile of a seating element that encloses a water body within. This forms a key element in the Open Courtyard for worshipper to utilize.
White marble flooring with an inlay of Gold forms the ground texture of the entire Iconic Mosque as a continuous pattern to keep a monotone spiritual quality. The gold inlay represents the richness of material and is articulated as an intricate geometric pattern that is a derivative of a typical Islamic pattern controlled by a mathematical scaling down towards the column-elements.
The main entry of Crescent – The Iconic Mosque is through a 5-arch gateway that acts as a visual funnel oriented along the Urban Axis and acts as a zone where outside blends with inside where visitors will be visually re-oriented towards Mecca by finding the arch-way formed by columns placed in an alternative grid. The courtyard is embraced with a gold-inlay geometric pattern throughout with 3 water-bodies enclosed by seating elements.
114 Semi-Arch columns are strategically placed in an alternate grid that is aligned towards Mecca. There are 114 Suras in Quran (19 X 6 = 114), which are articulated as 114 column elements that are aligned to form arch-ways in an infinity perspective. A grid of 19 X 6 is designed to form structural and visual components arrayed throughout the mosque and parametrically differentiated in scale and proportions to shape the grand roof towards Zenith, located at 57m. height towards Mecca. The profile of semi-arch columns consists of a Semi-Circular Arch and an inverted Parabolic Arch that form a variation of Round and Pointed Arches.
A large roof of approximately 120 m on each side, is geometrically developed as a peeled off surface from the bounding box of build space of the mosque. While three vertices are lifted up to 10m height, the fourth vertex is lifted up to a height of 57 m., which is a factor of 19 (19X3=57), which has a strong mathematical significance in The Holy Book of Quran. This vertex is the highest point in Crescent and signifies the orientation towards infinity as a gesture from any point in the mosque.
The structural pattern is a reflection of segmented Qubba (Dome) that is formed on the zenith that intersects with a large circular Boolean originating from the Plaza of Dubai Creek Tower. The Qubba is radially sub-divided into triangular facets that are projected onto the stretched roof surface and structural cross-beams emerge to form walk-able pathways. The roof rises up with a logarithmic raise to ensure a walk-able gentle slope on 50% of a roof surface, while the other 50% steeply rises to give a drastic effect of a Crescent.
A large peripheral screen bounds The Iconic Mosque on all four sides with an intricate Islamic pattern Jaali that changes in porosity to control the visual connect and light filtering. The 10 m. high boundary wall comprises of 7 m. high metal Jaali that visually blocks any views at human eye level by concentration of geometry vertically. The pattern is mathematically configured to allow visibility and porosity with 30% open and 70% closed to give a visually free boundary around The Iconic Mosque.
A lower-most yet prominent point in site which is directly below zenith acts as a focal point of Crescent – The Iconic Mosque when seen from West direction – Creek. Peripheral Jaali of South and West boundary walls meet at this point at Ground Zero to accentuate the peeled off roof surface that rises up till 57m.
A set of 5 semi-arch columns with differentiated proportions form the Grand Archway Entrance to Crescent – The Iconic Mosque. The Arch-way is aligned perpendicular to the Urban Axis that originates from Dubai Creek Tower and acts as natural extension of its plaza. Another Urban Arch-way is positioned at the West end of Mosque as a visual and physical continuation of Urban Axis through the Mosque. This point acts as funneling point where perception of scale and space changes from outside to inside as it gives an inviting entrance to the Mosque.
Minbar of The Qibla Wall set as a platform for the preacher of the Mosque for proceedings, is located in the central colonnade axis for a maximized visibility for workshipers.
The Mihrab of Crescent is designed as an element of grandeur in the interior space made by joining of two semi-arch columns to form a set of pointed arches that repeat as linear forces to demonstrate grandeur and a symbol of heavenly abode. A niche is created within Mihrab that is clad with a rich Gold finish to symbolize prosperity.
Mecca Axis is the strongest axis for a mosque and is clearly formed in Crescent by aligning towards the perspective of semi-arch columns that combine visually to form a colonnade of arches. The Mecca axis is observed in prayer hall interior space as everything is aligned towards Mecca through visual arches and from outside by looking at the Zenith of the Grand Roof.
Project Name: Crescent – The Iconic Mosque, Dubai
Location: Dubai Creek Harbour, Dubai, United Arab Emirates
Design Plus Architects – Abhishek Bij, Arun Kumar Bij, Anil Malik, Deepankar Sharma
rat[LAB] Studio – Sushant Verma, Shivam Anand
Clients: Emaar Dubai
Project Type: Religious Space (Mosque) [International Competition]
Architecture Thesis of the Year | ATY 2020 – COMPETITION RESULTS ANNOUNCED
COMPETITION RESULTS ANNOUNCED
Architecture Thesis of the Year | ATY 2020
theCharette encourages free flow of unfettered ideas that seek to develop ingenious solutions for complex problems of the future.
The ‘Architecture Thesis of the Year | ATY 2020’ is an international architecture thesis competition organized by theCharette. The aim of the competition is to extend appreciation to the tireless effort and exceptional creativity of student thesis in the fields of Architecture, Urban Design, Landscape and Restoration. We seek to encourage young talent in bringing their path breaking ideas to the forefront on a global scale. The competition received over 1000 entries from 104 nations across the world. See the crème de la crème of thesis projects from students all over the world for the 2020 edition of the competition.
For the purpose of publishing online, the winning entries for the ‘Architecture Thesis of the Year | ATY 2020’ can be downloaded at: https://drive.google.com/drive/folders/1-QjGQJ1SLH11NT6tS-p6o0vzy6JYvQ7?usp=sharing.
The full results, including the winners, the honourable mentions, and the top 30 shortlisted entries can be viewed at: https://thecharette.org/architecture-thesis-of-the-year-2020/results/
· MARCIO KOGAN (Studio MK27, Brazil)
· BRUNO ROLLET (Bruno Rollet Architecte, Paris)
· DANIELA DEUTSCH (Associate Prof., NewSchool of Architecture & Design, California)
· DR. CAROLINE HACHEM-VERMETTE (Assistant Prof, University of Calgary, Canada)
· STEFAN KRISTOFFERSON (Stratic, Germany, Sweden & India)
TOP 3 WINNERS :
1 st Prize Winner
ISTHME // L e CHAOS SENSIBLE by Dafni Filippa and Meriam Sehimi from Germany took home the top prize with their people oriented project. The students from the Technical University of Munich designed a scheme that the jury described as “poetic, based on real-life observations, lightweight and extraordinarily beautiful.” Jurors loved the simplicity and fluidity of the masterplan and how another culture is interpreted. They felt that drawings are adequate, sensitive and stunning.
2 nd Prize Winner
Fabiola del Carmen Cruz Ballardo, from Peru, won second place for her project, AMAZONIA TRANS _ TRI _ FRONTERIZA. Three countries: Peru, Brazil, Bolivia; and two communities: Mancheron, Yamaha. All separated by artificial borders. Nevertheless, they share a common Amazonian culture. There is a will to unite people in this project, to respect different traditions, to propose different places, uniting past present and future with traditional languages, medical plants and culture. A « bridge » is created to consolidate this place and to respect it through the world: it can be seen like an SOS. Because this project is also implicitly about the amazon forest: calling to save its richness, be it natural or cultural.
3 rd Prize Winner
Third place in the competition went to Philip Springall from United Kingdom. His project is a multidisciplinary exploration of Alzheimer’s disease, architecture and neuroscience. Alzheimer’s is a progressive disease that slowly strips away the notions of place, memory, identity and the self. The project investigates the role that architecture and the built environment can play in improving the lives of those with Alzheimer’s disease. The jury felt that the project “…contemplates a powerful concept which might have great applications in the real world.”
ARCHITECTURE THESIS OF THE YEAR | ATY 2020 The ATY Competition is an annual competition and will be released again in Summer of 2021.
CONTACT Please contact [email protected] with any questions or comments.
Alternate Realities 2020 | Architectural Competition
This competition exists in an Alternate Reality. You make the rules in this realm. Does gravity exist? Do humans live on Earth? How far has technology advanced? You decide!
The aim of this competition is to explore wild design ideas – what architecture truly means and what it can achieve without any constraints. Let your imagination run wild and create spectacular designs that grab the world’s attention. The intention is to spark a conversation regarding issues plaguing the world, through design dialogue.
Architecture is a unique amalgamation of the nuances of the art world and the pragmatism of the real world; therefore, it has the power to not only capture people’s imaginations, but also to strongly influence their lives.
For the Alternate Realities competition, participants are required to design an architectural response to an issue that the world is facing – climate change, pandemics, biological warfare, nuclear proliferation, social inequality, etc. Your design doesn’t necessarily have to be a solution. It can also be a visual commentary. Your Architectural Response may fall anywhere on the Utopia – Dystopia spectrum. Remember, reality can be anything you want it to be in this realm.
- Unleash your creativity – Surprise us!
- Be critical – Say something about the world.
- Striking visuals – Capture the imagination of architects and non-architects alike.
- No design is too wild!
Mark Foster Gage, Michael Hansmeyer, Mond Qu, Adrian Welch, Kevin Veenhuizen
3 winning entries and 10 honorable mentions will be selected. theCharette will award a total of $2,000 (USD) in prize money to competition winners as follows:
- First Prize: $ 1,000 (USD)
- Second Prize: $ 600 (USD)
- Third Prize: $ 400 (USD)
- Honorable Mentions: The jury will choose up to 10 honorable mentions.
Type – Competition Announcement (Ideas)
Organizers – the Charette
Eligibility – Open to all
Registration Deadline – Nov 25, 2020
Submission Deadline – Nov 30, 2020
Fee – $45 (USD)
Visit theCharette.org/alternate-realities-2020 for more information.
The Plated Project is using art to provide 100,000 meals for migrant workers!
20 global artists create limited edition art-plates.
Over 140 million people* have lost their jobs in India due to the COVID-19 pandemic, most of these being daily wage labourers and migrant workers. Addressing this issue, The Plated Project, a unique social impact initiative that uses art to end hunger has launched a new series called ‘A Plate Full of Hope’ with the aim of providing 100,000 meals to migrant workers.
To bring this initiative to life, chlorophyll innovation lab which is the team behind The Plated Project collaborated with 20 acclaimed global artists from 10 countries to create 20 limited edition art plates. Each plate depicts one emotion or experience that people have felt during the lockdown across the world.
VISIT STORE > The Plated Project
The project has collaborated with leading artists such as Pavan Rajurkar, India who was featured in Lürzer’s Archive’s 200 Best Illustrators worldwide, Hana Augustine from Indonesia who’s an AGDA (Australian Graphic Design Association) Award of Excellence awardee and Sandhya Prabhat, California who’s a illustrator and past speaker at NYU.
100% of the sale proceeds are being donated to Goonj’s Rahat initiative. Each plate’s sale sponsors 250 meals for a migrant worker’s family. In one week alone,The Plated Project has already sponsored over 70,000 meals. In a bid to further the cause, brands such as Bajaj Electricals, IMI Mobile, The Baya Company and other generous industrialists have sponsored the project’s production costs, which allows The Plated Project to donate 100% of the proceeds to charity. Celebrity chefs and influencers are lending their support to the initiative by raising awareness.
VISIT STORE > The Plated Project
ARTIST PROFILES :
Ayirani Balachanthiran, New York
Ayirani Balachanthiran is an illustrator from New York whose work primarily focuses on the experience of the South Asian Queer-identified community. Her work has been featured on various platforms including but not limited to; Indian Women’s Blog, Vatan Magazine, The Leslie Lohman Gay and Lesbian Museum, and The People’s forum.
Mayur Mengle, Mumbai
Artwork- All tangled up
A visual artist, Graphic Designer, Illustrator.
Co-founder of BUNxPAV STUDIO.Loves kick-boxing, drawing people around him in a few lines, on his cell phone, during the long train travels in Mumbai. Everything from old houses to historic monuments inspires him to create his work as a designer.
Zeynep Özatalay, Istanbul
Artwork- Furry friends
Zeynep Özatalay is an Istanbul-based illustrator. She has a BA in graphic design. She uses illustration as a way of expressing ideas and feelings, and is inspired very much by nature. Enjoys creating both editorial illustrations and children’s books, and tries to further develop her style with every new artboard.. Recently, she’s been living on an island in İstanbul with cats, horses and seagulls.
She has been contributing to various publications as BirGün Gazetesi, Cumhuriyet Dergi, Marie Claire, Tudem, İş Kültür Yayınları with her illustrations ever since.
Snehal Kadu, Mumbai
Artwork- A shared bond
L.S Raheja School of Art graduate. Currently working in the advertising industry. Designing is her passion and loves to spend her time in drawing, illustration and putting her thoughts in creating new designs.
Hana Augusitne, Indonesia
Artwork- A vivid dream
Hana Augustine is a self taught artist from Indonesia, specialising in childrens book drawings. AGDA Design Awardee. Drawing has always been a channel for her to express and communicate her heart. She hopes the people around the world would be able to relate to one another through the stories of pain, loss, faith, hope, and love that we all share as human beings through art.
She has worked for brands like Pearson, Dancow, PlayShifu and many more.
Featured in Storytime magazine, Tzivos Hashem Magazine, ArtUpon Girls Club Asia, BallPit Magazine and many more.
Mohit Adlakha, Gurgaon
Artwork- King of Ludo
Mohit is a Gurgaon based self-taught illustrator.
Currently studying fashion design from Indian Institute of Crafts And Design, Jaipur.
He draws things observed around with emotions that he is unable to put into words.
Muhammed Sajid, Bangalore
Artwork- Turning the tide
AN artist rom Calicut, currently residing in Bangalore.
Graduated fine art from the College of Fine Arts, Trivandrum.
Worked with different clients like Google, Procreate, Culture Trip, etc.
Featured on Adobe, Elle India, Homegrown, Indianama, Abduzeedo, etc.
Pavan Rajurkar, Mumbai
NID graduate. Lürzer’s Archive’s 200 Best Illustrators Worldwide. Imbiber of styles. Worked for Radio Mirchi, Interface, DDB Mudra, and many more.
Kosha Shah, Mumbai
Artwork- The flower seller
I am a multidisciplinary artist residing in Bombay, practicing Illustration, Graphic Design and Photography. She has worked with brands like TBZ the original, Ditta Artigianale (Italy), Speanta Multimedia, Dandelion Dreams, Wacom to name a few.
She has studied Graphic design from Italy and has won awards such as Artisan Awards and ABN Amro Solitaire awards and has been featured in the prestigious Adorn Magazine.
Fundraiser Design Competition: Post Pandemic Performances-Gatherings in the times of Social Distancing
Humankind has witnessed several historic, life-changing episodes such as industrialisation, colonisation and wars, and society has always adapted to such significant milestones fruitfully. Over the years architecture too, has been a witness the very same happenings, and has shaped itself accordingly to suit the times.
While most such events are read and studied about, the ongoing pandemic is a rather unprecedented one.
The future of architecture and the notion of a city too are standing at crossroads. The notion of the city and ‘city-life’ revolves closely around the act of gathering, and the possibilities that come with meeting, living and sharing lives with ‘strangers’. How will the city function if this very function was to change completely? This pandemic though alarming, brings with itself an aperture to redefine architecture and the very experience of cities and its spaces.
We at Project Platypus introduce a spatial design competition, which will touch upon our experiences, cravings and learnings from a times when the world has come to a standstill.
Since ideas are not bound by professions, we invite ‘creatives’ across all fields to collaborate and come up with design and space making solutions that affect us all. We encourage a fresh perspective, and a direct engagement with an exercise as the designer, architect and as someone who experiences their spatial environment on an everyday basis.
We are now looking at a world where social distancing is the norm. And like we always have, it is time to assess, evolve and adapt. Through this competition we want to imagine and design the future of performing arts’ experience.
Participants of the competition are invited to design a physical space which respects safety guidelines for a social gathering of not less than 10 (could be in 100s or 1000s!) For us to understand your response to the context and program, the choice of environment for the intervention must be made from the below options. The categories of environments that participants can choose from are as follows (scales within these categories can be chosen by the participants) :
Categories of Spaces
1. Intimate Gathering,
Indoor/Outdoor spaces catering to a dedicated crowd, curated for a specific performance
eg. Cafés, Backyards, Bars, Rooftops, Basements, Galleries
2. Dynamic Gathering
Spaces within the public domain with free access to common public
eg. Market, Streets, Alleys, Parks, Amphitheatres, public plazas
3. Festive Gathering
Large spaces for prolonged festivities involving a larger, dedicated audience and a number of different performances
eg. Open grounds, fields, parade grounds, Stadiums
If the participants’ ideas do not fit in any of the above categories, they are free to work on their ideas under this category.
While the choice of scale of the audience and environment can be decided by the participants, all members in the audience need to have a visual, auricular (audio) access to the performer. The proposed designs must allow for an immersive spatial and sensorial experience for both the audience and the performer (present in the same physical space). This could be achieved by architectural resolution, conceptual design, through secondary function in an existing space–or a combination of all these, and the participants have full liberty in the approach they would like to take in order to reach the goal.Social distancing guidelines with respect to this competition have been mentioned towards the end of this brief.
+ Gustavo Carmona – Architect, Mexico
+ Kai Piippo – Lighting Designer, Sweden
+ Lisa Findley – Architect, Academic & Architectural Journalist, USA
+ Mare Trevathan – Creator of Site Specific Theatre, USA
+ Pratyush Shankar – Academic, Architect, India
+ Rupali Gupte – Academic, Architect & Urbanist, India
+ Sajid Wajid Shaikh – Visual Artist, Designer, India
+ Shubhra Raje – Architect, Educator, USA/India
+ Vanessa Vielma – Editor, ArchDaily, Americas
+ Virkein Dhar – Architect, Performer, India
This competition is open to people from all backgrounds.
This competition is not for profit. Registrations can be made through donations to any one of the listed NGOs or organisations working towards providing relief to the people in need during the pandemic.
Donations for registration:
Minimum amount: $15 (₹1000)
Suggested amount: $25 (₹2000)
1. One Conceptual Graphic: to explain the idea and concept of the proposal (including, but not limited to collages, drawings, photographs, graphical representations, diagrams, illustrations. References attached in this link)
2. One 3D Graphic ( 3D view / isometric / axonometric drawing, references attached in this link )
3. Title of proposal (up to 3 words), Subtitle (up to 10 words) Textual description about design proposal (up to 300 words)
Participants are required to mention the following at the time of submission (through an online form):
+ Category of space designed
+ Number of people designed for (audience)
+ Description the performance envisioned (up to 30 words)
+ Team member details: (Name, professional background)
Submission Formats :
+ Graphics’ Size : A3 (29.7 x 42.0 cm) Resolution : 300 dpi
+ Format : pdf
+ Title & Write Up : A4 plain text pdf
PRIZES & WINNERS:
+ 5 Winning entries: Prizes to be decided
+ 15 honourable mentions: Feature in a dedicated online and printed book published by Altrim Publishers, curated and designed by Sortedpandit Studio, Bangalore. These entires will also be featured in online platforms of our media partners: KooZA/rch, Architecture Live! and The Architects’ Diary.
+ Winning and shortlisted entries would also be featured in a virtual exhibition on Project Platypus’ website and in a physical exhibition (when the world allows for it!)
Download the information related to this competition here.
- TitleFundraiser Design Competition: Post Pandemic Performances-Gatherings in the times of Social Distancing
- TypeCompetition Announcement (Ideas)
- OrganizersProject Platypus
- Registration DeadlineJune 26, 2020 12:00 AM
- Submission DeadlineJune 28, 2020 12:00 AM
- PriceMininum donation: $15
The Kaira Looro Competition’s winning projects for an EOC in Sub- Saharan Africa
Emergencies strike suddenly and without warning. They level cities to the ground and tear down buildings as though they were made of sand. In almost no time at all everything is destroyed and all that remains is the realisation that you have to get up and start all over again from scratch. In recent years the occurrence of deluges and flooding have increased dramatically. Analogously, conflicts and financial crises persist and lead to serious humanitarian emergencies which put the lives of millions of people at risk. Resolving an emergency of any kind means re-establishing peace and security.
The ”Emergency Operations Centre” is the 4th of the Kaira Looro international architecture competition. This is a Non Profit competition with the aim of raising awareness among the international community about emergencies in developing countries, and support humanitarian
projects in Africa.
The past editions were dedicated to the design of a Sacred Architecture (2017), a Cultural Centre (2018) and a Peace Pavilion (2019). This year the competition aims to develop a theme of global interest: emergency, such as Tsunami, Wars, Flooding etcetera. The theme of the 2020’s competition was to design an Operational Centre for the management of humanitarian emergencies in Sub-Saharan Africa, an EOC. The architecture is intended to house and facilitate the mainly activities which international organisations and local authorities must implement in order to solve emergencies and provide aid to affected communities. The spaces should be versatile
and multifunctional, capable of adapting to specific needs and to the type and context of the emergency.
The competition has been organized by the Balouo Salo No Profit Organization, engaged in Africa to develops humanitarian projects, with the collaboration of structures of international importance and relevant collaborations such us Kengo Kuma & Associates, SBGA | Blengini Ghirardelli, MMA Design Studio, international NGOs, medias and institutions.
The winners were chosen by an international jury made up of: Kengo Kuma (Kengo Kuma & Associates, Japan), Agostino Ghirardelli (SBGA | Blengini Ghirardelli, Italy), Lígia Nunes (Architecture Sans Frontières International, Spain), Mphethi Morojele (MMA Design Studio, South Africa), Walter Baricchi (CNAPPC), Philippa Nyakato Tumubweinee (University of Cape Town, South Africa), Mantey Jectey-Nyarko (Kwame Nkrumah University, Ghana), and a scientific committee made up of Raoul Vecchio (Balouo Salo), Sebastiano D’Urso (University of Catania) and Moussa Soaune (Senegalese institution).