The Winners!
SENSORY MUSEUM 2024
First Prize Winners
Bruno Krehula, Mehdi Nejati Karimabad, Kiana Zarrabi, Noémie Sebban
Italy
Bruno Krehula holds a Bachelor’s degree in Landscape Architecture from the University of Zagreb, Croatia. His strong connection with the landscape and its built environment, along with a passion for design and sustainability, drives his exploration of the coexistence of architecture and nature.
Kiana Zarrabi, 25, from Tehran, Iran, earned her bachelor's degree in architectural engineering from the University of Tehran in 2022 and is now pursuing a master's in Landscape Architecture at Sapienza University of Rome.
Mehdi Nejati graduated with a bachelor's degree in Architecture and is currently enrolled in the Master's program in Landscape Architecture at the University of Sapienza. He has gained practical experience through employment in architectural and government institutions, specializing in 3D modeling and rendering.
Noémie Sebban, a 22-year-old French architecture student, completed three years of studies in Brussels, interning at two architectural firms. This experience introduced her to various practices and perspectives in architecture.
Introduction
Bruno Krehula
My name is Bruno Krehula, and I hold a Bachelor’s degree in Landscape Architecture from the University of Zagreb, Croatia. Growing up in Zagreb, I developed a strong connection with the landscape and its intersection with the built environment. My passion for design and sustainability has driven me to explore how architecture and nature can coexist harmoniously. Throughout my academic journey, I have had the privilege of participating in student exchanges, professional practices, and various webinars. These experiences not only honed my technical skills but also allowed me to collaborate with experienced professionals across landscape architecture, architecture, urban planning, and interventions. Currently, I am furthering my studies at the Landscape Architecture department at Sapienza University of Rome.
The Sensory Museum Design Competition 2024 piqued my interest because it posed a fundamental question: "How can we materialize a space that activates all our senses?" The challenge of creating a multi-sensory environment that communicates through more than just visuals was deeply compelling, as it offered an opportunity to push the boundaries of conventional design thinking.
Kiana Zarrabi
I am Kiana Zarrabi. I’m 25 years old, from Tehran, Iran. I completed my bachelor’s degree in architectural engineering at the University of Tehran in 2022. Currently, I’m pursuing a master’s degree in Landscape Architecture at Sapienza University of Rome. My studies and my work experience as an interior architect have sparked a deep curiosity about how human perception works in space and time as an experiential and bodily sequence, especially in relation to sensory experience. Harry Francis Mallgrave’s “Architecture and Embodiment” deeply influenced my understanding of these concepts, and the Sensory Museum competition became an outlet for me to put my theoretical studies into practice, and an opportunity to work and share thoughts with my brilliant team mates/friends.
Mehdi Nejati Karimabad
My name is Mehdi Nejati graduated of Architecture for my bachelors. Presently I am enrolled in Landscape Architecture programme and Master’s course at the University of Sapienza. I have earned practical knowledge while employed in architectural and government institutions as well. My niche is 3D modeling and rendering.
It would be such a great honor to join the Sensory Museum Design Competition 2024 to explore the skills I have got and interact with the team to accomplish a project touching upon such disciplines as architecture, landscape, and restoration. I am full of energy to create space that operates the senses and relationship of people.
Noémie Sebban
I’m Noémie Sebban, a 22 year old French student in architecture. I did 3 years of my studies in Brussels and worked in two offices through internships. It allows me to experience different practice of architecture and work with people with different visions over the process of building. But it was always the Belgian way of thinking. So, I decided that I needed to see a bit more of the world. I spent a year travelling across Europe and Australia, which offers me the chance to see different ways of building and living. It built up and nourished my critical sense of sight over architecture. I also did a year of Erasmus in Rome and got to follow classes on landscape architecture to complete my education on that topic.
Design Concept
Bruno Krehula
The concept of our design focuses on re-orienting visitors’ sensory experiences as they journey from the historical mining site to the Spiaggia di Piscinas dunes. This design merges natural, historical, and sensory elements into a cohesive experience. Visitors traverse diverse spaces, including a panoramic tower, indoor sensory rooms, tunnels, and open outdoor environments, each offering unique interactions with light, sound, touch, texture and taste.
Our design addresses the challenges of sensory architecture by creating distinct environments that engage multiple senses at different stages of the journey. Each sensory zone offers a curated experience, from the industrial mining heritage to the natural beauty of the dunes. The varying textures, sounds, and materials used throughout the museum create immersive transitions that connect visitors to both the historical significance of the site and its natural environment. By encouraging visitors to engage their senses—sight, sound, touch, taste and even smell—we crafted a deeply immersive experience that is both educational and transformative.
Kiana Zarrabi
Our design for the Sensory Museum, focuses on reorienting visitors’ sensory experiences as they move from the former mining site to the stunning Spiaggia di Piscinas dunes. Key features include a Viewpoint Tower at the hilltop, which serves as a striking architectural element and a starting point for the sensory journey, offering panoramic views of the site.
Mehdi Nejati Karimabad
We aimed to create one which does not limit or disconnect any of the bodily functions while many of the galleries and museums in the new arts area does, but rather works to satisfy all five(imagination, emotion, verbal, physical act and understanding). The sensory modality is a means of capturing the five senses. The aim of such an environment is not just to attract but also provoke to have an integrated sensitive-oriented relationship with the museum which goes beyond the emotional with the fine artworks. For example, the narrow underground path provides direct access to nature while guiding you seamlessly into the next space.
Noémie Sebban
This project can be seen as a sensory journey through the history of the former mining site. The walk in the museum, starts with the tower on top of the hill. The architectural feature offers an observatory point and serves as a marker in the landscape.
Continuing the walk by going down the hill - representing metaphorically the descent in the mine for the workers – you will walk through the different rooms, reactivated ruins, recessed path, tunnel, recalling history while stimulating senses by, sometimes, limiting one of them.
By taking the first train you will have the opportunity to appreciate the landscape, reflected on mirrors on some portion of the way, then finally reach the seaside. Around the dunes, you will encounter art pieces exhibited, pushing for interaction and reflection. The end point of the journey is established in a structure underwater, accessible with the second train, reconnecting the historical trading area with the mine.
The project is developed to emphasize senses while walking through the museum’s rooms. The specificity here is the connection made between the site history and the sensory experiences implemented in the museum. Through the system of contrasted rooms, the project tried to offer strong senses activation.
Sensory Architecture Significance
Bruno Krehula
The chosen site for the Sensory Museum serves as a natural unifier of sensory elements. Our design embraces this by focusing on three key areas: the old mine, the train rails, and the beach—each offering its own sensory interactions. We worked with existing materials on-site, enhancing them to engage all senses.
Visitors experience the rough textures of the industrial past as they begin their journey through the mining site. The sensory shift continues as they travel along the train rails, with the rhythmic sounds and views of the changing landscape. Finally, the journey ends at the beach, where natural light, the sensation of wind, and the smell of the sea take over. This gradual transition from industrial to natural settings engages human psychology by encouraging mindfulness and sensory awareness.
Kiana Zarrabi
Our design emphasizes multi-sensory engagement through the Sensory Walk, where visitors journey through diverse environments, each crafted to stimulate different senses. The transition from Indoor Spaces with controlled lighting and sound to Underground Spaces that heighten touch and sound illustrates how sensory experiences can be amplified. As visitors progress, they encounter a transition in materials and textures from the rough, industrial materials reflective of mining heritage to the softer, organic materials that represent a return to nature. This tactile experience reinforces the historical context while enhancing sensory interaction.
Mehdi Nejati Karimabad
Our plans for the Sensory Museum underscores the importance of combing over all our senses focused mainly to the visual system alone. It goes beyond the visual and the aural to give an emotional engagement and an interaction with physical environment through this differentiation. One of the prime examples here is the sensory walk that very cleverly and slowly eases you from dark, claustrophobic, subterranean passages where you can only hear and touch things to large open areas in full sunshine, where you can see and even smell things, appealing to many different psychological states.
Noémie Sebban
In the design we tried to multiply the senses that were stimulated. Different atmospheres are created, each one of them focusing on specific kind of stimulation: the observatory tower enhancing the sight and allowing the visitor to have an overview on what the museum path will be like, the ruins and the open-air rooms allowing the visitor to reconnect with the site, and the recessed walk and the tunnel engaging touch and sound sensors. By building up contrasted atmospheres it challenges human’s behaviour and adaptability to sudden changes.
The whole system was important to make the project coherent and rich in sensory experiences. But I’d say that the difference in the levels gave more power to the sensory design of the museum. By multiplying the contrasted experiences between high perspective, underground tunnel, half in half out path, the project provided a stronger impact on the visitor’s sensory experience.
Sustainability Integration
Bruno Krehula
Sustainability played a critical role in the design of the Sensory Museum. We integrated sustainable principles by using eco-friendly, locally-sourced materials to reduce the environmental impact. Moreover, the design carefully considers its minimal environmental footprint by blending harmoniously with the natural landscape, contributing to the conservation of the site’s historical and ecological heritage. The railway system, an homage to the site’s industrial past, also serves as an eco-friendly transportation method, allowing for accessible movement across the site without harming the environment.
Kiana Zarrabi
We incorporate sustainable principles by utilizing eco-friendly materials like locally sourced wood and stone, minimizing environmental impact. Additionally, our design integrates renewable energy sources, such as solar panels, to ensure sustainable operation.
Mehdi Nejati Karimabad
When we were designing the Sensory Museum, we formulated the competitive principle the sustainability of which we took very seriously. In designing an eco-sustainability trained building, some things we did which helped in creating lesser environmental harmful aspects included the use of green materials minimising the need for high carbon materials, such as locally sourced wood and stone, incorporating the natural environment into the building as much as possible. There was also a design target on the amount of energy used in the building and the use of recyclable materials like using solar PV panels for energy.
Noémie Sebban
Sustainability was a key factor for the design of the project. The museum is constructed with locally-sourced and sustainable materials like stones and wood. By reusing old ruins building, acknowledging and enhancing the impact of the human activity on the mining site through the storytelling of the history and the senses activation, the design aim to minimize its impact on the landscape.
Design Evolution
Bruno Krehula
The design process began with a broader reflection on society's impact on the world and how we could contribute through storytelling and architectural preservation. From the outset, we sought a location that not only had historical significance but also provided a rich narrative from the past. Once the mining site at Naracauli was chosen, we delved into detailed site analysis and initial sketches, developing a vision that combined history with sensory architecture. Through this iterative process, we refined our approach, balancing form and function with sensory engagement.
Kiana Zarrabi
We began our design journey by reflecting on our previous sensory experiences and exploring how these experiences shape our memories. We considered how sensory stimulation can trigger recollections of the past and influence our present and future experiences. This inquiry led us to choose a site with a rich history, as we believed it would provide us with abundant sensory memories to draw upon. Once we selected the site, we immersed ourselves in understanding its unique characteristics and historical significance. This thorough exploration allowed us to identify the site’s potential for providing immersive sensory experiences in the form of a museum or installation. Ultimately, this understanding shaped our vision and informed our design decisions as we worked to create a meaningful sensory journey for visitors.
Mehdi Nejati Karimabad
We opted to start the project with in-depth learning of the history of the place and the climate, aiming as much as possible to assimilate those dissolved chemical elements, which are typical for the mine and sand surrounds. As a result, we suggested a few tentative ideas with the emphasis on the use of varied range of senses. That soon brought us to the conclusion that the overall concept of the exhibition shall be a gradual change from the ‘dark’ of the industrial to the present enriched with numerous ‘past-sutured’ and ecologically different environments. The structure’s key features, such as the orientation observation platform, are thoughtfully included in the arrangement owing to factors such as the improvement of the existing state of affairs and the development of the proposed routing through imitative experiences in the form of indoor, subterranean, external, and aerial destinations.
The sensory-walk aims to introduce all of these contexts by forming a pathway that the visitor is virtually coaxed onto. Rust felt appropriate to start the design with because even the substantially backward design - such as with cladding - accentuated the industrial nature of it. The mat took on a two-dimensional brutality that was directly related to the inner environmental agenda.
On the project agenda was awareness of the deleterious impact of construction so all the materials chosen were responsible, being mostly recyclable and capable of being reused. Such awareness is underpinned by active measures, which are aimed at protection of natural resources, waste recycling and reduction of energy consumption, as well as containment of greenhouse gas emissions.
At the end of the day, we advanced a larger project – one equipped with playful pieces of art, some interesting attractions, and lessons, all to match the clients’ fun and educational purposes.
Noémie Sebban
The first step was to build up the team, composed by 4 students from 3 different countries, background and specificity in their studies. The global idea of reusing an abandoned land used and transformed by the human hand came early in the process of searching for concept. Once we found a site to implement the project in, we did several meetings during which we were talking and sketching ideas of what the global design could be like and what could it activate. Through the whole process we kept in mind the fact that the design must reconnect our senses and the history of the site through the architectural path. The design research was enriched by many references of land art and sensory architecture. Once the draft of the design was set, we worked actively to draw scaled 2D and 3D to verify our intuitions.
Community and Environmental Impact
Bruno Krehula
The Sensory Museum is designed to foster a deep connection between visitors and the environment. By guiding visitors through a sensory journey that highlights the site’s historical and natural significance, the museum promotes awareness and appreciation for both local heritage and the surrounding ecosystem. Additionally, the museum serves as a cultural and educational hub for the community, hosting site-specific art installations, performances, and interactive spaces. This fosters a sense of pride and belonging, offering opportunities for both education and community engagement, and ultimately contributing to the cultural preservation of the region.
Kiana Zarrabi
We envision the museum as a community hub that fosters connection through features like Art Platforms at the dunes, showcasing local and international artists while hosting community events. The Interactive Spaces encourage deeper engagement, allowing visitors to touch, smell, and reflect on their surroundings. The museum also plays a role in educating visitors about local marine ecosystems through the Underwater Experience, showcasing the impact of past mining activities.
Mehdi Nejati Karimabad
How do you envision your Sensory Museum design positively affecting individuals and the community?
In our ideal sensory museum concept, we would like to exposure individuals by enhancing the welfare and bearing in them the emotional ties with society. Immersive, multi-sensory experiences are at the core of our designs, where our goal is to urge the audience to ground themselves in the present moment, be more mindful and refill their minds. The determination and focus coins relaxation.The organization also aims to become a base of cultural works exhibiting contemporary and traditional pieces as well as holding local and international art shows as well as using the museum space to host cultural and artistic events. Various environmental and sustainability-related courses will also help participants get an insight into the importance of nature and promote its care. Overall the mission of the Virtual Diet Anything Sensorial Museum is to mend social bonds, strengthen cultural self-identity and push towards the shared goal of the environmental conservation.
Noémie Sebban
This sensory museum is located in an abandoned place fulfilled with a rich past important for the island (Sardinia). Its presence could help the community and outsiders to learn about the history of the site through a sensory experience, and reactivated this site that is not visited so much.
Guidance for Aspiring Designers
Bruno Krehula
My advice to aspiring designers is to immerse yourself fully in the process and always be open to learning. Each competition offers new perspectives, and the more you participate, the more you grow as a designer. Embrace each project as an opportunity to think outside conventional boundaries and create spaces that you are passionate about. Focus on the sensory and emotional experience your design can offer, and remember that great architecture is not just about visuals—it’s about creating spaces that resonate with people on a deeper level. Above all, put your heart into your work and strive to make a positive impact.
Kiana Zarrabi
We advise aspiring designers to focus on integrating sensory experiences with historical and environmental contexts. Consider how materials, textures, and spaces can evoke emotions and deepen connections to the site. Collaboration with the community can also enrich your design approach.
Mehdi Nejati Karimabad
For those passionate about creating sensory-rich architectural spaces, I recommend immersing yourself in the site’s history and environment to inform your design. Experiment with materials and consider how light, sound, and space interact to enhance sensory experiences.
Collaboration with diverse teams can bring new perspectives, and focusing on sustainability will ensure your designs have a positive community impact. Ultimately, aim to create spaces that enrich visitor experiences while respecting the environment and fostering community connections.
Noémie Sebban
I think we need to build stimulating spaces while trying to stay as close as possible to the human needs sensory wise.
Reflections on Winning
Bruno Krehula
Winning the Sensory Museum Design Competition has left me speechless. I am truly overwhelmed by this recognition and am deeply grateful that the community appreciated the efforts of both my team and me. It’s an honor to share this achievement with my colleagues and all the other finalists who presented incredible work. This experience has been an unforgettable milestone in my career.
Kiana Zarrabi
Winning the Sensory Museum Design Competition feels incredibly rewarding, as it highlights the importance of creating spaces that resonate with visitors on multiple levels. This recognition reinforces our commitment to innovative design that intertwines history, environment, and sensory engagement.
Mehdi Nejati Karimabad
We are very pleased to have won the award for the best concept in museum design, it makes us feel that our labor was not in vain and once again we have proved that everything is possible if one is given the time and effort to do so and at the same time it is always pleasant to hear others appreciate the hard work put into the creative element by especially judging the sensory part of the architectural construction which we have designed knowing well that it will leave a lasting impact to anyone and the whole community. Support of this nature allows us to move beyond the status quo and to aim for new horizons showing how contemporary buildings and structures can bend or even defy expectations, and still fit in with the surroundings and fulfill the requirements of the functionality objectives. It enhances our faith in the power of creating architectural spaces that include references to the past, the nature and the culture as design solutions that communicate with the people being part of the space created.
Noémie Sebban
It was surprising, I’m not going to lie, but it feels good to create a project that gain credits, especially on that topic.
Second Prize Winners
Maria Milanowska
Poland
Maria Milanowska has studied Architecture and Interior Design at the Poznan University of Technology in Poland. She also expanded her knowledge through six months of study at Sapienza University in Rome. Known for her restless energy, Maria is driven by curiosity and a desire for constant growth, which leads her to explore not only design but also photography, painting, and music. In her work, she focuses on blending beauty with functionality and well-being. Maria is particularly fascinated by the role of light in shaping spaces, and how a thoughtful approach to lighting can produce extraordinary architectural effects.
Introduction
In recent years I have studied Architecture and Interior Design at the Poznan University of Technology in Poland. I have also developed through six months of study at Sapienza University in Rome. I am a person who finds it difficult to sit still. Curiosity and the desire to act keep pushing me to develop my skills, my fields of interest, my passions and myself. That is why, in addition to designing, I also photograph, paint and develop musically. In design, I am interested in combining beauty with what is functional and good for people. I am fascinated by the importance of the factor of light in the process of shaping space, and how wonderful spatial effects can be created through a suitably sensitive approach to the action of light in architectural space.
I took up the competition because I was looking for a topic for my Master's thesis that would be in line with my sensibility and what interests me. I believe that the topic of sensory stimulation, its understanding and conscious perception is very relevant and should be given attention in architectural design.
Design Concept
My project is located in Ciechocinek, a well-known Polish health resort town. Diverse sensory stimulation is something that definitely supports human well-being, so the location of the museum is a place that, as a complex of different objects, has a similar purpose. I designed the museum in a historic, little-forgotten park, which is why I decided to design an underground building - so as not to disturb the valuable, forest-like existing aura of the place, but to blend in. In addition, the location of the museum in the underground interacted with the concept of the exhibition narrative I had planned. The exhibition relates to the process when a person's senses are created during pregnancy. The different zones of the exhibition focus on specific senses giving a variety of sensory stimuli. The exhibition mainly encourages interaction with the space, the exhibits and the exploration of oneself in contact with a variety of stimuli.
I wanted, while trying to create an interactive space, not to rely heavily on multimedia technology, but on natural materials, lighting, to be in line with the idea of going back to the beginning, of becoming anew, surrounded by earth, shadow, the smell of bread in the taste zone. I wanted to offer the visitor a variety of stimuli and show that their primary source to be perceived is the tangible, real world, not the virtual one.
Sensory Architecture Significance
The psychological impact on people is to occur precisely through the individual experience of this space that I have designed. Going underground into the museum reinforces the impression of passing into ‘another world’, an unusual space whose subterranean character is emphasised by the rammed earth walls. The exhibition's intentional chronology and narrative are intended to provoke specific insights, to break down the everyday perception of the world mainly through sight and to open up to experiencing the environment more fully with the other senses as well, in a holistic way. The exhibition purposefully begins with a dark, almost empty room, so that the visitor can first calm down and focus on what the various zones of the exhibition are about to offer.
The sensory objectives of the project were to be helped by the layout of the exhibition, guiding the visitor from the dark space towards the light, through rooms dedicated to specific senses. The use of rammed earth and wood in the interior is meant to reinforce the feeling and awareness of being underground, while an important place and highlight of the exhibition is the courtyard in the middle of the museum's floor plan, with a ramp leading to the park area, which is a reference to the moment of birth, a way out into the world after experiencing the exhibition in the interior.
Sustainability Integration
The building's programme is geared towards subordination to nature. Its hiding in the ground, its compositional connection to the park, the use of natural materials in the interior and the stimulation of the senses are intended to have a positive effect on the contact of people using the museum's services with nature and to redirect their attention to tangible contact with the natural surroundings. In this way, the museum supports the development of environmentally friendly attitudes in society. Among other things, the walls inside the building would be made from rammed earth that would had previously been extracted during excavation for the museum building. This would reduce the carbon footprint of transporting building materials. The introduction of earth as a wall building material has a positive effect on the thermal performance of the building. In order to protect the existing trees on the building plan from being cut down, I designed an architectural detail that shields their root system. The entire building is covered by a green roof.
Design Evolution
The design process, due to the characteristic location, had to take place on many levels. One of them was to create an exhibition that would sensitise people to the wealth of stimuli that surround us in the natural world. I knew that Ciechocinek is currently visited mainly by older people, but I wanted to offer solutions in the museum that would encourage a wider audience to come, younger and older, everyone. Therefore, the narrative of the exhibition is analogous to the development of the senses in the prenatal period, a process in which everyone, without exception, once participated. I thought that such a theme for the exhibition was an opportunity to broaden the audience. The design evolved as I thought about the appropriate location of it in the park - where the entrance should be, how to provide a descent into the ground so that it is accessible to the disabled, where the building should be located for the sake of its technical services, such as the delivery of products and display. In the design, I also took into account the location of the building so as to minimise the cutting down of existing trees. Everything was done in parallel with a proposal for a new layout of the walking paths in one of the two parts of the park, as the park currently only has half of its compositionally and historically valuable layout. My project interferes with the part of Pine Park that needs some changes. So the whole design process was an attempt to combine different factors, ideas and solutions concerning the museum building itself, but also its surroundings.
Community and Environmental Impact
I would certainly expect that a sensory museum in a place like Ciechocinek would gain supporters, because in the project I proposed, in addition to a permanent exhibition, space for temporary exhibitions, so the museum could make changes to its offer and be attractive to people so that they would visit it repeatedly. Ciechocinek is a city that is attractive especially in summer, when everything is alive and flourishing in Poland, and the museum could operate all year round and always serve as an entertainment, meeting place, workshop. Such a facility fits the needs of this city.
What is more, I believe that taking the viewer through the exhibition, which begins with a dark area for calming down, through darkened rooms focusing attention on the individual senses to the patio, where there is an exit to the outdoors, to the natural surroundings of the park and the stimuli naturally occurring in the environment would at least sensitise them to what the world offers sensorially on a daily basis. Experiencing this museum could bring with it a more conscious use of the world of the senses and a knowledge of the inner self - when something is pleasing to me, what sounds bring me relief and what sounds overwhelm me, when I maintain and lose my balance, what smells are pleasing to me, which of them convince me the most. I think this kind of knowledge and self-awareness is what is needed to live a healthier and more peaceful and attentive life, especially in times of high time pressure, when it is difficult to stop and simply pay attention to the beauty and richness of the world on a daily basis.
Guidance for Aspiring Designers
Based on the experience of the Arise Anew project, I can say that it is worth having courage in your design decisions. The museum in the underground and its appearance in the location I chose was an idea that raised some doubts and went hand in hand with some risks, not least in relation to Polish law and the protection of the listed monument that is Pine Park. However, with retrospect, I can see that following a bold idea and intuition has achieved a good result, which in addition is gaining favour and recognition from other designers. I think it is also valuable to look for inspiration in the world around us. Sometimes in architectural design, inspiration can come from something completely different in art, science or simply from observing the environment. I believe that it is worth being attentive to what surrounds us, to nature, to details. And, above all, also using my project as an example, I think that the key in design is to pay great attention to the human being, to his or her needs, to the particular community for which we are designing. It takes empathy and sensitivity to people to give design the right direction.
Reflections on Winning
It is certainly a huge joy. Especially since the Arise Anew project is also the subject of my master's thesis, which crowns my six years of study at the university. For me, this sums up a lot of effort put into it, but also gives me wings for the future career path. I have tried to make sure that the project responds to many different issues: the competition requirements, human needs and those arising from the location of the project. I am pleased with the outcome of the competition, because it means that all of this has been read into the concept I presented and that being true to my intuition, sensitivity and ideas is resulting in a good outcome.
Third Prize Winners
Luo Tian Yang
China
Special mention
Honorable mention
Hyunju Kim
Fang Ruiyao, Wen Shanshan
Zofia Zielinska, Kacper Klaus
Patricia Ester Martina, Cyrilla Ajeng Prasanti
Barbara Pater
Hyunju Kim
South Korea
Fang Ruiyao, Wen Shanshan
China
Fang Ruiyao is an architect from Hong Kong who completed his master’s degree in architecture at the University of Hong Kong. He is passionate about architecture, emphasizing the balance between people and space, as well as between buildings and their sites. Ruiyao strives to incorporate unique and imaginative designs into each of his projects, aiming to achieve depth and meaning in the buildings he creates, ultimately enriching the city with fascinating memories.
Wen Shanshan is a designer from Shenzhen with a background in architecture and interior design. She firmly believes that all great designs stem from enthusiasm and enjoys the process of creating new things. Shanshan hopes to provide people with unique experiences through diverse and interesting architectural spaces. Currently, she works as an interior designer in Shenzhen while continuously exploring new possibilities in design.
Zofia Zielinska, Kacper Klaus
Poland
Zofia Zielinska
Zofia Zielinska, a student of Wrocław University of science and technology, faculty of architecture. All throughout her education, she strives to know and achieve more. During her degree she studied passive and sustainable design through lectures, competitions and various conferences. Simultaneously she works in an architectural studio to gain work experience and knowledge about the industry. She hopes to help forge a safe, more sustainable future.
Kacper Klaus
An architecture student from Wroclaw, whose greatest passion is architecture. However, he doesn't have a favourite style – he believes that a project should always be shaped by the context of its location. He is particularly interested in passive building design and how architecture can adapt to climate change. International architecture competitions help him gain experience. Additionally, he develops practical skills by working at an architectural office.
Patricia Ester Martina, Cyrilla Ajeng Prasanti
Indonesia
Patricia Ester Martina and Cyrilla Ajeng Prasanti are graduates of the Architecture program at Bandung Institute of Technology (ITB), class of 2024. Hailing from a developing country rich in cultural heritage, their academic experience focused on social and cultural projects, deepening their understanding of architecture's role in community development. Eager to broaden their creative horizons, they sought opportunities beyond traditional studies. Through this competition, Patricia and Cyrilla aim to expand their architectural exploration, demonstrating their commitment to examining how architectural forms and spaces evoke human emotions while resonating with local contexts.
Barbara Pater
Poland
