Finalists

Team: CARREZCAN142
from: Mexico
Project by: Oscar Ramirez

The design of those big floating prism, reference a dream of union between human cultures and race. The pavilion is a receptive structure that seek to connect guests with both natural and nonnatural resources with a close interaction with the environment. Guest are encourage to inhabit the four pyramid prism where every volume offer different spatial experience provoking the sense of contemplation in every guest. Through the interaction of sounds, smells, light and shadow, temperature, textures and colors a new way of perceiving the space is provide. The interior of every prims creates a connection to the sky provoking meditation and reflection. The sloping roof works with a collection of water system that send the water to a container for use of the community. The visitor will experience in the center of the pavilion an open air surrounded by four floating pyramid prism that evokes the big natural structures of trees. The idea was to create a space where people can enter from different paths and allow many different gathering, the open areas of the pavilion creates a welcoming sense and a strong connection with the natural environments. All the materials comes from the site like wood, bamboo, palm, laterite and pure clay. This pavilion pretends to be used as a community hub build with natural materials. All the materials comes from the site well known by the local people and easy to use for the construction. The pavilion is compose by mangrove wood what is an importable plant of the landscape of the zone. Baobab wood which is trade and process to obtain high strength wood. Palm leaf which is a key resource of the local economy. Laterite which is a very important component of the territory and very common for flooring domestic use. Clay which is very often use for construction and craft applications. CONSTRUCTION PROCESS The pavilion structure will be displaced from laterite platform. The pavilion is supported by a very simple baobab wood structure. The outer bracing skeleton is integrated by a simple wood frames with posts and beams. The pyramid prisms structure are integrated by mangrove wood and bamboo, tie with rope at every intersection. After the wood skeleton structure is ready, on the slope roofs will be install a simple layer of palm leaf tie with rope to the wood structure. The final layer will be pure clay mix with natural colorants, for the final appearance of the patios. The pavilion is a receptive structure composed by several pieces with a very simple process of construction. All the volunteers we have can collaborate in the construction without special skills. The pavilion detonate a collaborative construction process.

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Team: IPPNERANY474
from: Germany
Project by: Philipp Zenner, Michael Knöller, Daniel Scholl

Our project for the Peace Pavilion in Sédhiou consists of the division of the uses of exhibition, contemplation, spreading awareness and a study room into four individual cubes. The separated cubes are connected by pushing them into a roof and lifting the whole structure on a base. In addition, the cubes stand out from each other by visible height and facade patterns differences and thus react to the different uses. Symbolically the roof is expanded at the same height in form of a strip around the cubes. In the center, the roof opens to a sheltered courtyard, which represents the center of the Peace Pavilion through a fountain, a seating area and a tree. It is surrounded by a pool of water where rainwater is collected through the various roofs, through natural filter layers in a tank, and to provide the population with access to clean drinking water. The first of the four cubes contains the art exhibition and is the most open one to the courtyard. This creates an insight that is reinforced by the open facade structure with views into the street and the city. In the field of spreading awareness, the facade openings are deliberately placed between exhibition objects in order to create a focused and calm atmosphere. The closed facade in contemplation cube directs the focus on the space, oneself and the praying’s for the victims. In contrast, the neighboring room opens onto a pedestal from the dark room to an infinitely wide view into the distance of the Casamance River. The fourth cube contains the study area, which creates a visual link between the atrium and the exterior through the most open facade structure. The design creates a strong but calm appearance and offers different spatial effects with light and shadow. Through this central meeting point and the possibility to strengthen values such as memory and solidarity, we create a clear added value for the population of Sédhiou and beyond. The focus in the selection of materials was on a few, regional and recycled building materials. For example, our facades of the cubes consist predominantly of the standard stone format of laterite, with which various facade pictures and openings are produced by different arrangements. The reddish laterite soil inside the cubes forms a unit with the reddish facade. In contrast to that a sand-coloured clay soil is used in the outdoor area. The roofs are made of local baobab wood and metal sheets, through which recycled plastic bottles are plugged with water to additionally illuminate the interior of the roof. The bleached water breaks sunlight in all directions and ensures even exposure. Regionally produced textiles on the ceiling improve the acoustics inside the individual cubes and at the same time it provides a colourful design. With these measures, we are pursuing the region‘s approach of using the resources available to create something extraordinary and put the typical materials together in a more modern design while including the traditions. At the beginning, the water tank with the overlying filter layers is created. In the following step, the strip foundations of the cubes are produced, on which the base zone is bricked up and filled with the excavated soil arise. This is followed by the rest of the construction of the buildings, consisting of laterite stones of the facade and the roof with wooden beams in the longitudinal and transverse direction, as well as the metal roofs. Now the columns and beams with the roof lying in the courtyard and around the cubes are completed. The last step is followed by the flooring and the work of the inner courtyard.

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Team: UANALSICO593
from: Mexico
Project by: Juan Carlos Vidals, Miguel Ángel Jiménez, Tania Pilon, Romain Roy-Pinot, Daniel Juárez

When facing violence, we must support each other. Although often informal, the public spaces seem essential to Sedhiou’s social structure. Analyzing meeting points in the town of Sedhiou, one notes the need for shade from natural and artificial places prone for relaxation and sharing: in sum, celebrating the state of peace. The Kapok tree manifests itself as a place of exchange creating public as well as intimate spaces. The Kapoks around the site are natural landmarks in this city still very horizontal. The tree becomes the metaphor for collection: the play of the Kapok’s roots act as a spatial embrace. Its high and thin roots offer natural partitions, alcoves in which to find refuge, as well meeting places. The roots also represent the deep culture and strength of a place. Even if a place went through war, the roots survive as a witness and nourishes what will grow back. The pavilion has the vocation of offering a space of comfort similar to that generated by the Kapok. The formal synthesis of the Kapok resides in the erection of tall thin walls curving in the manner of roots entering the earth. This image is the result of bricks subtracted from the walls, offering inside a unique pattern of natural light, an optimal natural ventilation as well as a link to its evolving context. The past is at times a painful heritage. Anchoring it in the present is a way to come to peace with it. Therefore, the fluid articulation of the spaces – exhibition, spreading awareness, contemplation – is essential in this pavilion. The different visitors – regular as well as punctual – should meet and the past should mix with the everyday life. It is key to rally rather than divide. No door divides this project which still offers various atmospheres in terms of light, acoustics and connection with the outside. The natural entrance of the pavilion, aligned to the main street, leads to the exhibition space hosting various artists and animating Sedhiou’s daily life. Connected to the outdoor public spaces, this exhibition space is a form of invitation. Thereafter, the classical circulation leads one to the space that raises awareness, which is more introverted and solemn, dedicated to the history of the conflicts in Africa. Slightly narrower and more isolated, it offers a more intimate relation to the space. Further into the pavilion is the auditorium for seminars and punctual classes. Otherwise, the platforms can become a space to study and the highest level transforms into an observatory viewing the Casamance River, offering space to breathe in this path retracing the wars and its victims. The path ends with the discovery of the place of contemplation. This space slightly raised, distinguishing it from the rest of the pavilion, is accessible by ramp or stairs from three different entrances. In its center, the walls are no longer perforated, turning all the attention towards the sky. The decision to orient the gaze towards the sky is to offer an experience of reflection, a moment of universal meditation where each may pay their respects to the victims of the conflicts previously explained. The pavilion is thought of as a natural extension of the public space. Various possible paths and different temporalities allow the pavilion to anchor itself in Sedhiou’s everyday life. The site is naturally divided in three zones. To the West, a public place echoes the Kapok tree across the road and creates an angle favorable to public appropriation, and potentially to the extension of temporary exhibitions. It is viewed as a place of exchange and meetings, linked to the city’s dynamics. The Northern area faces a rice field, creating a more tranquil atmosphere turned towards agriculture and nature. It has the wonderful potential to be turned into a community vegetable garden using the compost generated by the odorless compost toilet proposed bellow the auditorium’s platforms, and exploiting the pavilion’s rainwater collection on the East side, inclined towards its Northern end for easier access. The harvest from the vegetable garden could favor social interactions and suggest public events. The Eastern side is linked to the river while nonetheless maintaining a strong connection to the city’s dynamics. Requalifying the sand from the beach of a cultural space promoting traditional dance and music shows as well as the practice of fighting, a discipline strongly embedded in the Senegalese culture. In times of war, violence is exploited for destructive purposes. Reflection upon it, the discipline of fighting is only possible in a country at peace. The philosophy of fighting harbors values of respect, essential to the notion of fraternity and peace, which is why it seems appropriate and important to leave space for this practice. USE OF MATERIALS To read the project with more clarity, each architectural element is determined by its own material language: - The floors are the conjunction of concrete slabs and the original land, - The walls are made of laterite brick, - The roofs are an assembly of red wood and undulated iron sheets. Product of the local craftsmanship and of an in situ material, the laterite brick is a simple, playful and vernacular element. Brick often being used to build typical architecture, the local labor would have no problem erecting such walls. The perforations only take place in the linear parts of the walls, simplifying its construction, while the curved walls are a tribute to organic shapes often used in Sedhiou’s traditional architecture. The roofs follow a method already well-established in the city, using a wood structure supporting iron sheets. The structure is made of 5cm x 7cm x 4m red wood members fixed in between bricks, following a regular rhythm, offering clarity in the project execution. CONSTRUCTION PROCESS The first step of construction is to build the concrete foundation in order to erect the brick walls. The concrete pour includes the Eastern basin and requires building formworks. Afterwards, the laterite brick are installed using mortar, following the perforated pattern. The wall are two brick thick totaling about 31cm including mortar, using the 20cm side as their height. Once at the roof level, the wood members are installed at the same time as the bricks which are rotated 90° to create a 15cm space in between each wood member. The two last brick layers follow the same placement as the rest of the wall, but contain no perforations. The undulations of the iron sheets are oriented perpendicular to the walls and angled with an additional wood member to ensure the rainwater trickles down into the basin. The iron sheets are cut to fit in between the walls and fixed to the wood structure while extending in between the Eastern brick wall above the wood members to reach the basin.

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Team: RDOSSIALY161
from: Italy
Project by: Leonardo Rossi, Paola Chiriatti, Cristina Raffi

The African path towards harmonious peace has been and still is an ongoing process, navigating through conflicts, colonialism, war and death. The history of this country seems to tell us that peace is far from being a foregone idea and that it needs to be pursued through knowledge and consciousness. The will to translate this tragic narration and its main characters, the victims, into Architecture gives birth to a pavilion composed of a long closed and dark ramp, that surrounds and delineates a bright, central open-air meditation space. The ramp is conceived as a path that hosts the exhibition and aims to sensitize the visitors before bringing them to the central clay building. The open-air meditation space is located in the central pavilion and it is lifted from the ground. Being located at the edge of the urban area, where the city meets large natural spaces near the Casamance River, the pavilion develops itself according to the urban geometries and the natural context. The north wing of the path extends towards the street is aligned with the road and the present buildings’ facades, shaping a new common space for the Sédhiou people, while the openings on the eastern wing allow the visitors to admire the landscape of the riverbank. The boardwalk of the path is built with wooden planks and is covered by a sheet metal roof supported by a thin wooden structure. The lateral walls are made of woven bamboo, that resembles the typical shade system of rural houses in Sédhiou. Photographs and documents can be hung on the bamboo diaphragm and artworks can be placed all along the path. The roof system allows the ventilation of the corridor and, at the same time, shields from the sun and helps to gather rainwater: the pitched roof is sloped towards the center of the pavilion, in which there is a water filtering and collecting system. The walls of the central pavilion are made of clay by using the rammed earth technique, to make a contrast with the thinness of the wooden structure around it and emphasizing the central building of the complex. Small and narrow openings on the walls allow cross ventilation inside the court, while the projection of the roof of the path shades the perimeter of the space. Ropes are stretched over the court to secure textiles that can be used to shade the central part of the space during the hot season, and that can be removed during the rainy season to collect as much water as possible. At the center of the pavilion is located a well surrounded by a drainage layer of gravel. Rainy water, filtering through the layer of gravel and the underneath sand and clay layer, is purified and collected in the well.
USE OF MATERIALS The choice of materials is dictated by the intention of establishing a relation with the local tradition while aiming to keep low construction costs. The path is realized with baobab wood: the wood color is warm brown and is in contrast with the light bamboo reeds that create the shading system all along the path. Each corridor wooden pillar is made of four square-planned elements, in order to create a structure fast and easy to realize. The floor of the path is made of wooden planks. The covering of the system is realized with inclined sheet metal and lays on a wooden beams. Under the beams is located a bracing system. The court floor and walls are made of clay, using the rammed earth technique. The taut ropes above the cloister area are made from recycled waste materials like fabrics. The textiles used to shadow the space come from the local markets. CONSTRUCTION PROCESS The construction process is organized with logic and clarity. It is a centrifugal process that starts from the excavation of the well, passes through the realization of the central pavilion and then extends up to the covered wooden corridor. After this, it is possible to proceed with building the covered corridor: four squared, plan little pillars are planted and fixed to the ground together in double series to realize the main structure of the path. Then, the boardwalk is realized and the bamboo reeds are inserted and fixed in the space between the pillars. Following with the construction of the covering structure, the ropes of the shading system of the cloister are hooked to the corridor from one part of the pavilion to another. The fabrics are hung to the ropes by hooking rings on them, to make sliding possible.

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Team: ARALLAALY149
from: Italy
Project by: Sara Tacchella, Kostadin Prodanov.

The Casamance is the southern limb of Senegal, largely separated from the rest of the country by Gambia. The deep feeling of separation is marked not only by climatic and environmental conditions but also by cultural differences. The area of Sedhiou has been involved in the disastrous Casamance conflicts, leaving a scar on this fragile territory, forcing many families to move to other countries or cities in search of safety. The forced migrations have been the focus and starting point of our research and project development. The Italian writer Cesare Pavese wrote “Traveling is a brutality. It forces you to trust strangers and to lose sight of all that familiar comfort of home and friends. You are constantly off balance. Nothing is yours except the essential things: air, sleep, dreams, sea, the sky - all things tending towards the eternal or what we imagine of it.” The development of the building follows this tension according to the narration of the three designed spaces: awareness, exhibition and contemplation. The area dedicated to spreading awareness is articulated tangentially to the border of the building. A corridor of 1.30 meters surrounds a 20 cm deep pond, hosting a mangrove nursery. The movement of people fleeing from Casamance is reinterpreted by the slow movement of visitors who will walk across this border element. A second basic concept at the base of the design development is the interpretation of the African concept of beauty. In the context of African cultures beauty has a social character. Rather than being individualistic, beauty is communal, it must serve to communicate values, norms, morals and purpose, achieving or enhancing harmony and order of which are a part. In Sub-Saharan regions is widely spread the Ubuntu philosophy. The Ubuntu dictum states: “Umuntu ngumuntu ngabantu”, “I am because we are”. This means that persons, objects, phenomena and concepts don’t exist alone but in relation with the others”. An Igbo proverb says “Ife kwulu, ife akwudebeya”, “if one stands, another thing stands by it”. To be is to be in mutual complementary relationship (Ka so mu adina) and its negation to be alone (Ka so mu di), therefore things do not only exist as cluster, but they equally exist to complement each other. Hence, they are fragments of the whole. The most important concept in Ibuanyidanda philosophy’s literature is “missing links”, hence “anything that exist serves a missing links of reality”. “No existent can uphold its being solely on its own but can do this only with reference to the whole and in complementary harmony with other missing links”. Resuming these concepts, the experience of beauty is the representation of wholeness and interdependence in communal/communitarian sense, the feeling of complexity of relations and complementarity, developing moral awareness, rather than a feeling of opposites and isolation. This mutual relationship between wholeness and interconnections of elements brought us to imagine the pavilion as a tray, an element defined by a rectangular plan holding different individual elements connected by a single path: the sacred space, the awareness path, the exhibition room and the mangrove nursery pond. Tracing the main axis from the city center a more secluded area for the contemplation space has been defined: a cubic volume has been extruded from the plan, producing an introvert and intimate room, illuminated only by the punctual light of the rammed earth wall holes, reminding the holes left by the bullets during the armed conflicts. A second rammed earth volume is then extruded in the wider area, dedicate to the exhibition, characterized by two short closed walls, a fully opened side facing the river and a semi-open side providing integrated benches to observe and contemplate the pavilion itself. The slight inclination of the roof, designed as a compluvium, provides the gathering of the water that will be utilized in the mangrove pond (impluvium) and collected in the well located below the pavilion itself. The mangrove nursery pond realizes a binding element of the community within the pavilion, as a communitarian act of sharing and taking care of a fundamental resource of the territory that has recently been affected by the drought. The pavilion is bordered by a wooden façade of slim vertical pillars which support the structure. The result is a permeable element of connection between the city and the river, lying on the river waterfront, perceived as a one of the docks which characterize the surrounding landscape. The structure of the pavilion consists two main materials – local earth and baobab wood. The two materials were selected because of their availability in the area. Rammed earth is a technique which allows the use of the locally available soil because of its high content of clay. The clay works as a natural binder for the aggregates inside the mixture. This method is durable if executed well and properly protected from rainwater streaming on its surface by overhangs. Baobab wooden rafters of the same section are used uniformly throughout the pavilion both for vertical and horizontal support. In order to magnify the idea of interconnections and the beauty of the in-between spaces there are many slim (80x80 mm) instead of few bulky elements. The roof is covered by bamboo because of its high resistance to different weather conditions. The water pond inside the pavilion is filled with gravel (in order to allow the penetration of water down to the bottom of the well) and canals made of clay where the mangrove nursery will take place. The material produced by the excavation for the foundations and the well inside the building will be utilized in the construction of the rammed earth walls confining the main spaces and for small remodeling of the terrain. After the excavation is done the foundations will be laid down. The vertical wooden elements will be partially inserted in the foundation in order to provide good lateral stability. The space confined by the foundation walls will be then covered with generous layer of clay (as a natural water barrier) and then will be filled with gravel, like a venetian well. On top of the foundation walls a grid of wooden elements will provide base for the wooden flooring. After all vertical rafters and rammed earth walls are completed the assembly of the roof will begin. The roof has two main layers of rafters connected in the middle of the roof. After the roof is completed it will collect the rain water which will be stored in the well below. The canal system in the pond is developed to give some level of adaptability to the weather conditions through the year. During the rainy season the canals will prevent flooding the pavilion by releasing the water through floodgates on the east wall where the terrain naturally will take the water to the river when during the dry season the water will be stored in the well under the surface reducing the evaporation rate. During the latter period the water becomes a limited resource. By using a mechanical pump without electricity people will be able to bring water from the well up to the canals controlling the amount of water necessary.

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Team: TORRUZICO914
from: Mexico
Project by: Victor Cruz Lopez, Daniel Florez Corona

The Peace Pavilion proposal is designed under a sensitive historical context of the African continent, seeks to strengthen dialogue, identity and unity among people, peoples and nations. Reflecting on how words and actions can leave a permanent mark in time that can well draw a smile on a child's face. It is these small actions in the form of bricks that build our pavilion. In the distance, on the border of the river, one can look and remember that peace is built day by day through dialogue, negotiation and tolerance. A reminder to learn to value our differences to generate prosperity. The project is divided into two zones, the first delimited by a circular wall has the objective of protecting the symbolic union between the African peoples represented by five truncated cones which make the function of the pavilion. Three of them for the purpose of Sensitizing, Meditating and Learning about the conflict that crosses the continent, the other two are designed to be appropriate by the community where meetings, workshops or even medical campaigns can be generated inside. The second zone extends to the limits of the site, taking advantage of Sedhiou's farming vocation. In essence, cultivation is a symbol of effort and prosperity that brings about dialogue and tolerance. It is here where roads and paths are generated on the reflection of our daily acts accompanied by two channels directly connected to the river, river that feeds the crop and three sources of naturally purified water.
We use adobe brick as the main construction material since the place where the land is located has all the conditions to do it. When excavating the channels, wells and foundations, we produce the earth, clay and sand that we would need for the fabrication of partitions without mentioning that the vegetal fibers to stabilize the mixture can be obtained in the surroundings of the site. All this, in a process where all the inhabitants, from children to cornflowers can participate, building and participating in the main reflection of the pavilion. In peace, it is built together, day by day with small actions the size of a brick.
The conical shape of the pavilion facilitates the construction due to its stability and geometric design. Thanks to this the placement of the adobe partitions can be guided by a stake and a thread. It is designed to be placed in two different ways, tangential and perpendicular to the center, creating compression rings in each course improving the natural characteristics of the truncated cone.

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Team: ONGYUINA365
from: China
Project by: Tong Yu, Wuyang Jiang

Transcendence
Being thrown into the world without their consent, humans have to transcend their nature by destroying or creating people or things. Humans can destroy through malignant aggression, or killing for reasons other than survival, but they can also create and care about their creations. Rootedness
Rootedness is the need to establish roots and to feel at home again in the world. Productively, rootedness enables us to grow beyond the security of our mother and establish ties with the outside world. We advocate that love and fighting against nature is eternal, when war is a kind of confusion. · Materials
-Laterite Brick Wall -‘Wood+Bamboo’Roof - Ditch＆Sink for Drainage - Gauze＆Shells for Decoration
· Construction Process
- Survey and lay line - Dig the ditch and sink - Set up the wall according to the plan -Bundle up the roof -Set the roof onto the wall - Add bamboo, gauze and shells for decoration (local children can join) -Look forward to planting local plants on the roof if possible

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Team: NCERETNCE279
from: France
Project by: Maxence Noiret, Élie Marcel

Peace is a thing we build. So does architecture. Architecture and peace are putting spaces of potentials in between humans that allow them to meet and grow. Our design is based on this idea that peace needs to be built by and in between people. The pavilion will allow people to exchange and understand each other. But in order to do that, they first must remember. Peace lays on remembrance of tragic events, acknowledgement of mistakes, and is carried by a good understanding of others. The pavilion, like peace, lays on solid walls, strong alcoves, permanent shapes that host documents, photographs about the conflicts and contemplation spaces. Now in order to grow upon this solid base, peace needs people acting together, opening their minds, meeting, greeting, having a common goal. Those actions are sheltered by a thick wooden roof, which lays on those solid walls, representing the effort of the community to build and maintain a sustainable peace. This welcoming roof generously hosts exchange, transmission of knowledge, art, seminars, and any kind of collective activities. Facing the wide Casamance, the pavilion for peace offers some framed views to contemplate the water and let the mind go. But its main facades are open towards the city, the market, the rice fields and the old kapok tree. It is addressed to the inhabitants. The spaces are built along a path that goes around the tallest wall of the pavilion. This path is instinctively guiding the visitor through the different steps of its commemoration: We first arrive in front of the monolithic bloc. The courtyard is bright, lively, the wind makes the fabric dancing. We can catch a glance at people moving around, behind the volumes, the flying cotton veils. A black stone exposes information about conflicts, and we can guess a bigger one through the window. We naturally go on the right side, the other one is hidden by the storage alcove. Here starts the permanent exhibition. We walk from an alcove to another, along the wall made of suspended fabric, protecting us from the sun, the wind, yet opening this space to everyone. Then, after a view on the river, we turn left, we enter a tall fault, and are now into a darker space. We're facing a tall wall, light is coming down from top. On the left, the stone we guessed from the courtyard. It expresses the weight of the losses. On the right, light is coming through spaced wood. A tree, which can represent hope, life or remembrance, is growing into the sun, in a space enclosed by walls, the river and the sky. Here a bench offers a place to meditate, pray, contemplate. When it rains, the water is falling into a little pound, surrounding the stone and sliding toward the tree. We go out through another fault, crossing the pound. We have done a meaningful step now. The courtyard we are into can accommodate art pieces of any size, shows, we can enjoy based on what we know now. Part of this area is protected under the wooden roof for fragile pieces. We are now back into the courtyard. The meetings and seminars take place in front of the tall wall of the study alcove. It can act as a classroom, a stage, a banquet room, open on the rice fields on one side and the courtyard on the other. Now we can look at the monolithic wall and the stone through the window in a different way, and enjoy an afternoon with the others around the courtyard and the river. Materials and construction The materials can be easily found in the area. The walls are covered by a mixture made of red clay and laterite earth, placing them into the landscape, stating they are made from this orange soil on the site. It also refers to the traditional architecture of Mandinka's and other culture's villages around. This means the core of the wall can be made of scrap material, depending on the high and loadbearing role of it. Any kind of material available will be welcome. The floor under the roofs is maintained on its contours by a cement collar protecting the wood and lifting the level 10cm higher It is made of compacted earth from the site, to which we can add some clay. The grater work to be done is on the roofs. The wooden framed structure was designed for two reasons. First a symbolic one. The roof needs to represent a human made but strong built environment, the framework being a symbol of human thinking, instead of the plain walls symbolizing something which is already there. The second reason is that a framework with triangles allows smaller length to be used, which means any kind of scrap material can be refreshed and reemployed.* The veils are here to express movement, to contrast with the very stable walls and braced framework. They also permit visitors to see around them. By this permanent link with the courtyard, the community is always present along the path. The simplicity of the design allows anyone with any kind of experience to help building the pavilion. Its shape is understandable by everyone, in order build it, but also to visit it and consider it as your own. We listen only to what we understand.

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Team: LAHAWIYPT111
from: Egypt
Project by: Abdallah Kamhawi, Ali Hazem.

Our goal was to use the light as a language to tell the history of the war and the journey to peace, and make the visitors not only see it but feel it. From darkness to light, from disruption to tranquility. TOWARD THE LIGHT pavilion features a long path that starts with an uncomfortable dim, tall and thin entrance to emulate the effect of war and gradually widen and shorten in height to eventually become a serene comfortable contemplation space that emulates peace and calmness. This feeling is also strengthened by the layering system of the wall and the roof, we used a denser multi layers of bamboo at the entrance that allow very little light to pass inside and fades away to a completely lit space at the end. The pavilion is divided into three spaces sequentially, the SPREADING AWARENES is the first space starting right after the entrance a dark geometrically uncomfortable space where the visitor will feel a sense of uneasiness and anxiousness, he will see pictures of the old war of Casamance and get a sense of the feelings that the people felt during the war. the spreading awareness space is a space where a seminar can be given, people will sit on the steps where they learn about the deadly history of the war and its wounds not only by their ears but rather by all their senses. Then the darkness starts unfolding a little leading to the EXHIBITION space where the artworks are framed inside the gaps created by the bamboo wall grid. Under the shower of light from the ceiling pictures and artworks can be hanged on special occasions. Then all of the darkness unfolds leading to a spacious space calm and full of sun light. The CONTEMPLATION space where people will commemorate the victims of the war and pray for them, the visitors at the end return from either side of the Pavilion with the semi-open bamboo wall, the return path is outside and inside at the same time, it makes the pavilion transparent to the people outside. This experience is achieved by the different density and different number of layers of the wall and the roof throughout the pavilion. On each side the wall consists of 6 layers of horizontal quadruple bamboo beams and 5 layers of vertical quadruple bamboo posts in-between, the first three layers from the outside have the thickest bamboo rods which run from the entrance till the end of the pavilion, the consecutive layers decrease in length and thickness of bamboo, and increasing in density consecutively. This creates the gradient between darkness and light which is crucial to the experience of the visitors. This effect is also amplified by the different number of layers and thicknesses of the roof which each layer is made from woven bamboo with different spacing between the threads of each layer. The different levels, heights and widths between the entrance and the end strengthened the experience of the pavilion. Combined with the position of the pavilion, with the city behind it and the river and the sunrise ahead of the pavilion, from outside it looks as the whole form is reaching to the sky thus creating a stronger connection with the locals and becomes a symbol for prayer in itself. The raised floor of the contemplation space allowed us to create an open space between the columns where people can pray directly in it in isolation from the activities inside the pavilion itself this space is connected to the upper floor at the contemplation zone through the rain collection system. The raised floor also allowed us to house the storage/study room under it, to create a seamless uninterrupted experience for the visitors. The pavilion is positioned so that the sun rises right in the view of the contemplation space symbolizing a new chapter of life beginning in peace, visitors can also show their commitment to peace and commemorate the dead by hanging a piece of cloth or something they brings on the bamboo rods of the rain collection system as tribute to the victims of the war.. The pavilion also features a rain collection system, in the raining season the roof will be covered with a thin layer of clear flexible PVC plastic sheets that allow the passage of light but redirects the water to the tank underground. USE OF MATERIALS The pavilion is almost made from bamboo entirely. Bamboo is one of the most sustainable materials and found locally in the project area and it is actually used in the local houses. It is also a great construction material, it has twice the compressive strength of concrete, and roughly the same strength to weight ratio of steel in tension and with proper treatment it can last decades. And beside all of that it is aesthetically one of the most beautiful materials naturally, with its golden color with the natural sun light it is the most suitable color for this pavilion. To make the roof as light as possible, it is made from woven split bamboo mat. The floor is made also from herringbone weave pattern from bamboo strips on top of the bamboo beams. All the joints are made from wooden dowels and wedges and ropes from natural materials like palm fibers, bamboo strips or rattan, which all can be sourced locally. To store water and redirect it to the water storage and make the pavilion operational during the rainy season and yet allow the light to enter, a thin transparent plastic sheet will cover the roof in the rainy seasons which is easy to store, incredibly lightweight and very cheap. CONSTRUCTION PROCESS All bamboo should be chemically treated with non-toxic salts to remove starch and protect it from insect and fungi and make it fire retardant. First the concrete foundations for bamboo posts are built, the water tank is placed underground, and the top of foundations is buried with sand to hide it. All bamboo posts and beams are quadruple, or triple tied together with shear lashing and wedges, the top 2 are separated from the bottom with wooden slat that they don’t slide over each other. The posts are fixed into the foundations, and then the beams are joined with the columns and tied together, the beams with large spans are supported with bamboo columns in the middle. The floor is woven tightly in herringbone weave pattern from bamboo strips, and fixed on top of the floor beams. Then the remaining non-structural bamboo elements in the wall is completed and fixed with ropes and dowels. The roof is made from bamboo beams and layers of woven bamboo coverage. To create spacing between the roof layers, the woven roof layers and the bamboo beams are placed in alternating order, the first row of bamboo beams is placed, then the first layer of woven roof then the second row of beams and so on…

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Team: LAHAWIYPT123
from: Egypt
Project by: Abdallah Mekkawi, Abdelrahman Adel

Our idea for the Peace Pavilion believes that humans born pure-hearted and peace-loving that is why we must remember to get back to our real roots. These ideas are translated through creating a contemporary iconic architectural structure provides a spatial experience for the user based on filtration of the user through a spiritual, and awareness-raising experience to return to the way of Salvation. The idea of the building is abstracted by using rammed earth tombstones remembering the victims lost in Africa’s wars and conflicts in order to learn from the mistakes of the past and gives hope for a more peaceful future. The structure creates a mini-environment to simulate the road map for the dream of peace the way to as it is a journey within the building passing through three main zones: 1. Exhibition: the first zone which is a space with a specific semi-shaded path force the user to pass surrounded by rammed earth columns from all sides that depict the graves of victims of wars and conflicts in Africa which will be dedicated to host permanent or temporary artistic works that share the pavilion's values and objectives. 2. Spreading Awareness: Then comes the second zone that leads the user to deep dive into the true human roots and take a lesson from the mistakes of the past and, helping the user to understand the causes of wars and conflicts through creating a free space in a lower level contain a place for lectures, seminars , and also a place for the storyteller "Griot" to transfer the history of the conflicts in Africa also pass on, and preserve the local cultures. 3. Contemplation: The journey of the building ends with a rise to the highest level from the rest of the other areas, which is a semi enclosed space with upper openings to create a spiritual atmosphere. It is a suitable place for people of all genders, cultures, and religions to remember and pay respect to the victims. Use of materials: The peace pavilion structure tries to fill the gap between Senegalese vernacular architecture and replacing the traditional systems resulting from the colonial era with locally made rammed earth walls and columns, roof covered with wide overhanging thatched roof over wooden cantilever frames fixed in the rammed earth walls. The roof is designed to be capable of collecting domestic water usage in fresh rainfall and storage them in the dry seasons. The structure contains courtyard subtracted from the thatched roof to allow passive air circulation to cool the building and provides daylight to pass through the space and interactive patterns on the floor. Construction process: The construction process based on a participatory construction approach by retrieving an old building system (rammed earth) and modernizing it to suit the modern age, and give the chance to the people of Sedhiou to participate in the construction activities by building their architectural iconic with their hands, and give the next generations also the opportunity to learn a sustainable construction technique. The building will leave a wide social, cultural, and environmental impact, hoping for a revival for Sedhiou’s vernacular architecture techniques.

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Team: IERIROAIN784
from: Spain
Project by: Xavier Loureiro

The pavilion wants to be a building which will be a mix between inner space and exterior space, a blurred boundary where the exterior and the interior connect. To get this goal and to respect the plot location, really close to the river, we create several earth walls perpendicular to the riverside trying not to hide the views. These walls allow us to create different rooms; some of them will open directly to the river and another with a blurred connection through a brick lattice. The pavilion wants to be a sensorial experience where the visitors are going to arrive and feel the light as a path to understand their past. They are going to reach the building, and they are going to see the landscape through the pavilion, limited by its earth walls. The light is going to draw shadows on the floor and the walls, which are going to change with the past of the day. These areas are a mix between an exterior and an interior room. They were created to be a meeting place for the community. For this goal, there are several canopies (made with pieces of wood found in the area) with the only function to create comfortable shadows where the community can have meetings, or spending time enjoying the landscape under a beautiful shadow, becoming gathering places for the locals. After enjoying the exteriors the visitors are going to continue their trip. When they go inside they are going to feel a softer light which involves them. This light comes through the brick lattice and it creates a calmer atmosphere to prepare the visitor´s mood. In these rooms, the visitors are going to find the exposition boards which are going to explain their past. For this reason, we are going to perforate the roof to placed some PET botels ( took in the surrounding areas) that with water and bleach create something similar to a light bulb which is going to help us to have natural light in the inside ( without power) but not the direct sun radiation. When they finish their visit to the exhibition area they will arrive at another gathering space where they can have a nice chat or have time to think about what they saw. But as this pavilion wants to make aware about how important the peace is for a community there is the last space, the contemplation area, where each one can take the time that they need to think about the exposition. Trying to minimise the financial impact, because to build this building is a significant effort for the community, the project has been thinking to make it in several stages. Firstly, we create the first earth walls. And with these first ones, we can have the exhibition space. Secondly, we can build the chapel, because it has importance the spiritual meaning of the project and each function can use individually. Thirdly, we create new earth walls to have a Spreading awareness area. At last, we build the staff area and the warehouse. At the meantime, we can place the wooden canopies creating the community spaces under the canopy shadows open to the landscape. The walls are built on earth because it is a cheap material and easy to find. Even more, the earth walls are going to help to integrate more the building in the landscape. These walls define the different spaces, which are divided by clay brick lattice. These lattice walls allow us to have a soft light in the inside and at the same time leaves the air flows in all the space reducing the interior temperature. At the same time, the brick lattice creates a beautiful and spiritual atmosphere in a continuous mix between light and shadow.

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Team: AROCISBIA468
from: Colombia
Project by: Álvaro Villacís

The pavilion has the purpose to rescue the memory of victims of Africa’s conflicts from oblivion. It also seeks to promote a culture of PEACE and respect for human rights by means of actions of cohabitation and social pedagogy. The proposal consists of a symbolic act. A meaningful and subtle intervention on the site. It generates void on the ground, by lifting some monolithic volumes of soil. The void on the ground represents the absence on earth of the innocent victims of Africa´s many conflicts. But they aren't gone yet, they won´t ever be. Victims are represented by the lifted volumes. They are above now, generating spaces for memory, meditation and thoughts. The volumes provide shelter and shadow for those on earth. As the victims aren´t gone yet, they can communicate with those still alive through vertical sliding panels. Each volume is capable of deploy up to four sliding panels, these panels would host exhibitions, photography or art. If they slide down simultaneously, multiple spaces could co-exist within the pavilion, or just generate a single large space with privacy. There are many possible arrangements. If some private spaces are strictly necessary all the time, the panels could be fixed down permanently. The mentioned monolithic volumes are supported by a timber framed structure, the structure and the volumes are modular so the pavilion shape could change due to variations of site. It is adaptive because the possible variations of its shape would not affect the concept of its design significantly. The proposal is positioned responding to the approach axes (defined by the L-shaped road) of the site and their relationship with the river. The intention is to preserve those relationships and foster them by landscaping and vegetation. The vegetation proposed has another purpose at the same time: Provide a barrier against any disturbing agent of the surrounding, so the solemnity of the pavilion activities remains intact. The pavilion aims to become a landmark in the minds of its visitors, a whole experience that remains, a peaceful place where people would want to stay and spend some time interacting with victims and their legacy through this “dispositif” USE OF MATERIALS Pavilion’s materiality is defined by 3 main items: The Intervention on ground floor that consists mainly of a cast-in-place concrete structure; superficial foundations, the main slab (finished with laterite bricks on its surface) and the staircases of the perimeter are in this chapter, whose purpose is to define the space for the pavilion by placing its base plan 0.72m below. Concrete, reinforcement steel and laterite bricks are used as main materials. Wood for formworks and plastic bags to protect concrete structures from soil are also used. A Timber-Framed Structure is used to support the monolithic volumes representing victims, the structure consist of a 4.42m grid conforming 9 squares that work as modules. The Monolithic Volumes are made of pre-cast reinforced red clay. Bamboo reinforcement is proposed aiming to reduce the weight of the cubes. These cubes are hollow so they could be used for storage. The system for the sliding panels (which consist mainly of L-Shaped Steel profiles) is fixed to the inner faces of the cubes. In addition, the sliding panels are conformed by a wooden frame and iron sheets, finished with white anti-corrosive paint. CONSTRUCTUON PROCESS 01. Intervention on ground floor: Excavate 0.82m, then dig down as necessary to reach the level of the foundation (no more than 0.50m should be necessary). The excavation could be made manually. Then, Plastic bags should be placed where concrete is going to be poured. The conformation of the rebar for the concrete should be very simple as the structure is not complex at all. After that, the necessary formworks must be built in place and pour the concrete. (The timber Columns for the structure could be fixed to foundations before concrete pouring). Laterite bricks finishing should be installed at the very end of the construction. 02. Timber-Framed Structure: All the pieces needed for the structure must be pre-fab, necessary cuts for the joints should be made before placing the pieces on site. Additional fixing such as screws must be avoided and not be visible if their used. 03. Monolithic Volumes: The cubes must be made before placing them on site, wooden moulds could be used to shape the red clay considering the holes needed to fix them on the timber-frame precisely. The sliding panels and their systems should be pre-fab as well, and then be fixed them to the cubes.

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Team: LASELOZIL222
from: Brazil
Project by: Nicolas Melo Goncalves Pedroso da Silva,Caio Peres Lima, Cassio Peres Lima

The design was planned around remembrance, reflection and discovery concepts. The bamboo sticks materialize the memory of those who passed away in the name of Peace and freedom, but once spiked on the floor bring the sense of keepsake and rebirth. The pavilion organic shape determines the conjunction that transcends the physical nature into feelings, where bamboos define the space and shape different layout on its interior. The human being energy operates a permanent metaphysic connection among the spaces formed by the bamboos, telling the local history where paths lead you to, going through open and winding places, bringing you into spreading awareness, penetrating your body and soul and emerging yourself into inner Peace. The central courtyard builds a freedom identification, where cultural manifestations and human exchange takes place, with dance, music, and integrates the contemplative area to a local important symbol, the Casamance River. Natural light breaks through the roof gap, ascending to Peace and hope in humanity, thus creating a poetic and divine awareness, connecting bodies to inner and outer nature. USE OF MATERIALS The chosen materials to build the pavilion were, - Bamboo Vulgaris (for external and internal seal, and roof structure with purling and rafters) - Cement bricks (for foundation) - Local wood cylinder (for pillars and beams that holds the roof) - Dry Straw (for covering the roof) CONSTRUCTION PROCESS The pavilion rises from two main elements, structure and sculpture. In other to hold the pavilion, a foundation beam made of concrete brick will be used, on which nine wood cylinders will be supported. Upon these pillars, the roof will be structured with bamboo purlins and rafters and straw bundles to seal it. The roof soft inclination to the courtyard will allow water collection for reuse. Apart from the structure, bamboo sticks will define both internal and external areas, such as define the layout with its organic distribution pattern. The construction process aims the less possible impact on nature, giving protagonism to local and vernacular materials, making simple the pavilion construction with light and easy materials to assemble.

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Team: ROLISZAND000
from: Poland
Project by: Karol Bronisz, Olga Antoniewicz

Creating the architecture was our main idea. The Karnak Temple was among many inspirations subconciously driven by ancient Egypt’s sacred architecture. In reference to our vision a building was constructed with three rooms of varying sizes and functions. As the significance and intimacy of a room grows, its size decreases. The first and the largest room – the forum – is meant for teaching and ministration. For teaching people about things that happened in the past and how they can be avoided in the future. The forum can be also utilized as a place of gathering for the locals. The middle room is an exhibition hall. This is where artists can display their creativity related to the pavilions values and objectives. The side segments of the hall have been adapted as a storage room and classroom. The final room, which most directly faces the river, is also the most serene as it constitutes a chamber for contemplation and catharsis. There is a mirror of water at the end of the room, which reflects the windstruck curtains symbolizing innocent victims of wars in Africa hovering above it and creates a sense of infinitum as it bleeds into the river and the surrounding landscape of Africa. All of the rooms are axial and symmetrical. This plan is clean, clear as well as understandable in blured form of pavilion. As previously mentioned - suspend texties from the ceiling structure are the commemoration of war victims. Weaved through by a light breeze they resemble dancing souls who finally found peace. Thanks to this the architecture has a light, poetic and very symbolic appearance. The application of fabrics also allows for separating the space around the rooms, giving off a feeling of contemplation and serenity. Use of materials We can observe materials such as water, wood and soil in the project. They are meant to underscore and elicit a pensive and peaceful atmosphere. . The walls were plastered with laterite earth.. The roof structure was made out of bamboo. The curtains that separate us gradually from the outside world Their white color represents the innocent beings taken by the war, their souls lifted by the wind. The infinite mirror of water in the contemplation room reflects the windstruck curtains allowing us to reach a deeper state of pensiveness and to interfuse the form of pavilion with surrounding landscape. Construction process The walls are three layered of a 60cm thickness. The movable part of the wall is composed of two 20cm cement brick sections. . It was very important for us to keep our project ecologically friendly, thus we decided to use ecobrick for the 20cm interior part of the wall. We also decided to use waste from our immediate surroundings for the construction of the wall – on the beach, along the banks of the river as well as the market.. By doing this we were able to clean out the beach and surrounding areas from harmful waste. The foundations are made of armor iron INFUSED concrete. The walls are four meters high, leaving 30cm of space below the ceiling. Doing this allows for increased air flow. . There is an air conditioning system installed in the form of underground tubes running to the floor of each room, which allows for cool air circulationAs a result, the hot air is pushed up and out through the wall-gaps by the ceiling. The main structure of the roof was built out of bamboo.. By achieving the proper geometrical dimensions and slant of the roof, we will cover it with sheet metal, which will serve as protection from the rain. The water from the roof will run off through an iron pipe while being filtered to two tanks located symmetrically at the sides of the sacrum. 20cm construction poles were used for supporting the roof. A portion of them has been placed in the center part of the bearing wall.

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Team: LOSARAZIL793
from: Brazil
Project by: CARLOS ALBERTO BRUNHARA,PEDRO SEIJI TOKIKAWA, GUSTAVO HENRIQUE BLANCO DE MOURA, FREDERICO HUCKEMBECK NETO

“Utopia lies at the horizon. When I draw nearer by two steps, it retreats two steps. If I proceed ten steps forward, it swiftly slips ten steps ahead. No matter how far I go, I can never reach it. What, then, is the purpose of utopia? It is to cause us to advance.” Fernando Birri quoted by Eduardo Galeano DESIGN CONCEPT This project do not defines peace as absence of conflict. It is a movement, a constant flow towards harmony. Everyone can be responsible and part of the construction of peace. We imagined the pavilion as a pathway, allowing the discovery of each area in a sequence as the visitor walks in. The focal and middle point of the pavilion is the spreading awareness sector, a space designed to catch the eye from outside while promoting an intimate atmosphere inside. The establishment of the other two sectors is arranged according to the best use of the site location´s qualities. The exhibition space faces the corner of the street with a wide-open entrance, which along with the artworks invites the community to enter. Facing the river, a light and synesthetic shelter makes use of the landscape for a contemplative moment. The visitor experience begins by entering an exhibition hall designed to be a light, uncommitted space that can easily accommodate different types of expositions and performances. A spatial trussing made of bamboos supports the roof and can be used as a support for installations. A rammed earth wall serves as another platform for exhibitions, while its horizontal layers make a subtle suggestion of the path. On the other side of the wall are located the storage, office and restrooms. A massive cylindrical volume made out of laterite bricks holds the awareness section. Through an oblique entrance, a low-light interior promotes an intimate atmosphere to allow the visitor to recognize and understand the history and causes of the conflicts. A round step on the center of the room serves as a stage for lectures and small light openings are a poetic gesture to remember the victims of the wars. Exiting the awareness sector, the visitor finds a bright and inspiring place facing the river landscape. Colorful textiles promotes shadow for the visitor and hanged bamboos within the side structure are played by the wind. Appreciating the landscape, the visitor is invited to reflect about the concept of peace. The roofs of the exhibition and awareness areas collect the rainwater and displace it in a pond located around the awareness area. This water layer also creates an effect of detaching the volume from the ground. Finally, the enclosure of the pavilion is made of thin strips of white fabric, filtering the light and moving as the wind blows. Inspired by the spiritual syncretism of the “Bonfim” church in Salvador, Brazil, our proposal is that each visitor tie a white stripe around the building as a symbolic gesture for the construction of peace. USE OF MATERIALS A platform made of local soil combined with laterite. Bamboo truss for the ceiling structure make use of the resistance of this material. The connection of the bamboo pieces is done with tied strings. Wooden pillars are composed by pieces of smaller square sections. They are joined together with other wooden pieces and then connected to the foundations through a delicate metal piece. The covering is done through metal sheets. Fabrics that shade the sheets help diminishing the gain of heat. A metal gutter collects the rainwater. The main wall is made of rammed earth. The secondary walls of the service areas are done through wattle and daub technique. The pond is done with concrete. The cylindrical volume is made of laterite bricks. The roofing is made of metal sheets with a straw lining below it. A gutter directs the water to the pond below it. Coloured local fabrics provide shades and beautiful drawings to be seen. Wind bells made of bamboos make a relaxing sound when the wind blows. Modular wooden benches can be rearranged according to the situation. The sides of the pavilion are filled by white cloth stripes that filter the light and moves. CONSTRUCTION PROCESS First prepare the ground, making the platform and the pond. Then, the wooden columns and the laterite blocks can be prepared and assembled at the same time, depending on the size of the construction team. Then make the bamboo truss over the exhibition area and around the pavilion. Make the wooden structure over the awareness area. Put the metal sheets over these structures for roofing. Make the rammed earth and the other walls. Finally, assembly the fabrics and other finishing.

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Team: RDORLAALY458
from: Italy
Project by: Edoardo Pusterla, Stefano Pirazzi

Our proposal for the peace pavillion has a provocatory aim. In the society we are living in, people are getting more and more separated everyday, and build a lot of barriers both physical and mental. In last decades many walls have been built dominating the international scene. The wall is a dividing tool, it marks a limit, is the fence for the comunities, it separates people for the stranger, the enemy. We propose a linear and geometric wall, that fits strongly in the landscape. At first sight it look like a barrier, but when you get closer you can notice something behind. Actually it is a diaphragm wall through which you can see a multitude of colors. The viewer is so encouraged to get in the pavillion where he finds very different spaces, but all characterized by the massive presence of colors. In this way the hard and cold geometry of the wall is being dealt with the harmony and the warmness of the coloured fabrics. This pavillion wants make people reflect, to see beyond the walls and the barriers, to discover new worlds made by different people from different countries, of different religions, of different ethnicities. The architecture itself wants to communicate the people the importance to share, to meet, to gather and not being stopped or conditioned by barriers. It has to be discovered gradually and aims to give people a pause for thought. Interior spaces The pavillion is divided in two main areas by the framework composed by timber frame and african fabrics. The first one is a path located between the diaphragm wall and the framework and is the exposition area. It's a space in which artists can exhibit their works, even using the framework as holder. On the other side, the form of the framework defines a series of room characterized by different degree of openess on the landscape. Here are set meeting, spreading awareness and contemplation areas. The last one, in particular, is closed in itself and present a double framework: both for guarantee more privacy and more silence from the exposition area, and to allow the installation of white curtains, to ensure a neutral character for a meditation space. The role of light All the interior spaces are characterized by a different type of illumination in relation to the function they host. Three different degrees of lighting defines and shapes the spaces, in order to let the visitor have a unique experience by walking through the pavillion. The first one is the expostion area, where the sunlight is filtered by the diaphgram wall, and in particular hours of the day it hit directly the colourful fabrics, creating a very warm atmosphere. The second one are the sensibilization and meeting areas: the coloured fabrics are hit by the sun's rays from the rear, creating a very special atmosphere. The last one is the contemplation area. Here a second framework with white curtains ensures a very intimate space and, at the same time, it creates a suffused atmosphere in order to offer the best conditions for people to pray or having a moment of meditation. b. Use of materials The project wants to enhance the resources and local trade using traditional materials and objects, easily finding in the sourrounding areas. The basement is 17 cm high and is made by clay and cement. The diaphragm wall is made by laterite bricks (20x40x15 cm) and ensure two advanges: the first, combinated with the orientation of the building, allow to taking monsoons into the building, taking advange of passive ventilation. The second one is to protect the visitors from the direct sunlight, inside the building the light is infact very diffused and soft. The bearing structure is made by the brick diaphgram wall and wooden pillars and beams, which are divided in a main and secondary framework. The horizontal partition are made with a smaller wooden frame on which typical african fabrics are fixed. The whole roof is covered by metal sheets in order to ensure protection fot visitors and fabrics and at the same time collects rainwater in a tank. c. Construction process The pavilion is built through a simplified construction process and uses a low-tech building methods. The construction begins with the digging and the realization of the foundation with a slab of cement and clay. Then the bearing structure is fixed to the foundation and the roof structure, made by main and secondary wooden framework, is set up. The roof finally is completed with the metal sheet that are fixed to the wooden structure. Once the roof is completed, the horizontal partition composed by wooden frame with the african fabrics will be set. We have predicted a very simple tecnology, in order to involve local people in the construction process.

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Team: IKASKAAND135
from: Poland
Project by: Weronika Jadwiga Zdziarska, Izabel Todorova, Clara Lindorfer Tognonato

The life in Senegal is changing swiftly but the revered presence of the ancient baobabs stands firm and robust. These trees see several generations and witness their stories. The distinctive look of their silhouettes emanates a mystical aura. For years they served as burial places of the Griots, who nurtured the memory of ancestors. The power of their words is said to stay in the baobab’s trunk for eternity. There is a profound respect towards these gigantic trees. For the African continent, lacerated by past conflicts, the baobab can serve as an icon of unity and cohesion. It can become the universal symbol of peace. We believe that architecture with its means is able to convey values of peace and solidarity. Thus, we decided to translate the symbolism of a baobab into the architectural language. Our proposal for the pavilion is composed of three major parts, reflecting the composition of a tree – its roots, trunk and branches. Each of these spaces has its own meaning, a different atmosphere and evokes diverse feelings, from respect and compassion to contemplation and hope. The ‘roots’ zone is devoted to memory and knowledge. It hosts a permanent exhibition, helping the visitors to trace the history of African conflicts. Its composition with multiple suspended vertical elements that support the exposition, together with the use of light and materials evoke the feeling of being close to the ground. There is no single direction that people should follow in this space, everyone is free to choose their own path through history. The trunk zone is dedicated to spreading awareness. Visitors can experience the culture of peace on the temporary exhibitions, seminars or in the study room. The focal point of this zone is the central, cylindrical void space surrounded with bamboo poles. This element is the most characteristic for the whole building, both from the inside and the outside. Its high and narrowing form, open to the sky and natural light, encourages people to enter it, meet and share their experiences and knowledge. The branches zone is devoted to contemplation, reflection and prayer for the victims. It brings people together, enhancing the feeling of being part of the community. It is slightly elevated above the ground level, fully illuminated and open to the view of the river and rice fields, which visitors can reach through the staircase at the end of the main axis of the building. The semi-circular shape of this space underlines the connection between all people and nature. This building is meant to serve as a landmark in the landscape, at the same time being coherent with the context. By reusing in the modern way the locally recognizable symbol, the pavilion can become the icon for the region. It will be capable of providing the society with identity through the values of peace and solidarity. Our main goal was to realise the idea within the building that responds to climatic needs, respects the environment and tradition and provides a healthy and comfortable internal space. We decided to use only local materials and simple yet innovative technologies, not only to greatly reduce construction costs but also to sensitize the communities in the respect to the usefulness, beauty and richness of the natural resources of the area. The design was appropriately planned from a structural and environmental point of view. The form of the building is chosen to optimize thermal conditions, provide fresh air and protect internal spaces from dust ingress. It is also adapted to the sudden flows of rainwater or strong winds. The large, overhanging roof isolates the volumes from direct irradiation and permits air masses flows beneath it to cool the internal space. The protrusion of the roof is more radical on the shorter sides of the building facing North and South, while longer sides are additionally protected from the solar rays with a low angle of incidence with a vertical shading system. On the western side there is an external corridor with a series of wooden planks. On the side facing East the system is more enclosed to avoid exposition to the harmattan wind, most often coming from this direction. The external walls are realized with compressed earth blocks that perform great efficiency in terms of insulation, water-resistance and durability. The large central vacuum in the volume also has a fundamental role in ventilation as it allows the escape of hot air flows. The water management system is realised with the use of bamboo water pipes. We decided to introduce this material with unique potential of combating natural resource challenges to the project to promote its more extensive use in Senegal. The rainwater flows through bamboo poles hidden in the funnel-shaped roof covered with palm leaves, to the vertical ones creating the ‘trunk’ around the central courtyard that convey it through the underground canal – the presence of which is also beneficial for lowering floor temperature - to the cistern.

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Team: INIRSTECE538
from: Greece
Project by: Ismini Linthorst, Anna Koka, Frini Mastrogiannopoulou

The Peace Pavilion aims to be a landmark that will raise awareness from local and international communities alike, offer the area a sense of identity and a point of reference for the victims of the African Wars. The general and compositional nature of history and the internal experience of remembrance will be the two axes of our design. The pavilion’s spaces of history and remembrance will interact both with the city and with nature, creating and inspiring narratives, images, experiences, values, intentions and mentalities. Cleanly separated by a big wall made of mud, the west side of the building will house the history space. With the term history we plan to evoke the meaning of a series of mankind’s actions across a specific place and time, and the creation of a narrative out of that. The history space is separated in two sections. The act of spreading awareness takes place in the amphitheater: a half-circle wall with stands that form a small stage. It is a semi- outdoor space, open to the community that can host seminars and meetings. This design is a reference to the local tradition that requires that all teachings are done outside. Examples that inspired the design were the Griot musicians who come together in groups and transfer their stories, as well as the families that sit circling a tree and listen to the eldest pass down the family’s history to the younger generations. On both sides of the stands will be the two entrances to the main gallery, allowing for a circular movement. This space is protected from the weather, versatile, and able to host all kinds of exhibits. Depending on the needs of the exhibition, the gallery offers a lot of features to be used. These are the room’s big empty space, the clean walls, and the rafters of the ceiling from which can be hanged various panels. In the back of the gallery there is a storage room. On the other side of the mud wall, protected from the sounds and sight of the city, is the section dedicated to remembrance and contemplation. In order to reach the center, you have to cross a labyrinth made of fabric. The labyrinth is a chthonic archetype, a symbol of the soul’s journey through death and rebirth. The fabrics that make up the labyrinth will be slightly transparent, creating shadows out of the other people walking the labyrinth which will act as reflections of all the victims of the wars. The size of the space and the path each visitor chooses to follow will be a personal choice, creating a unique experience for each visitor, as they wonder through all the possible paths. The center of the labyrinth is open to the sky, letting in either the sun, or the rain. It is a symbolic place of self-reflection and balance. The labyrinth stands away from the city but looks out towards the river, creating a visual escape to the natural elements (sun, water, earth). The idea is finalized on a pedestal under a sloping canopy, that unify and delimit the pavilion. The large sloped canopy protects the structure during the rainy season. It is designed is a strict grid component, made out of lightweight materials and standing elevated above our facilities. With the use of wooden sunbreaks, the canopy allows ventilation and creates pleasant conditions in the facilities. Helped by the slope of the canopy, water will be collected in a trough that stretches through the length of the back wall. There, the water will be going through a simple filtration system and moved to the deposits on the west of the building, ready to be put to good use by the local community. All of the materials we use are local to the area and respect its architectural tradition, but they are used following the modern architectural processes and designs and are meant to look like they belong within their environment. In order to find a solution to the problem of waste and littering we have decided to use the ecobricks method to create the walls and floor, recycling plastic bottles and using them with mud. One of our main goals is to create an easy to build construction that will be accessible by an untrained personnel. By reading history as critical knowledge and remembrance as experienced conscience, we turn a sequence of human decisions into a narrative, and a meaningless space into a place of life. The pavilion is nothing but the container in which this transformation will take place. One of our main goals was to develop an architectural language that derives from the local construction systems, with the use of local and natural materials. Moreover, our design integrates the reuse of a great amount of plastic waste, with the use of ecobricks (plastic bottles filled with compressed plastic to create a reusable building block). The pavilion is standing on a 232m2 concrete base, with a trough that stretches through its length, filtering the water with a natural system of stones and sand. All solid walls and benches are constructed from ecobricks covered in mud and painted in white. The screens, that permit air flow in the pavilion, are made from a thin wooden frame covered with an ornamental bamboo mesh. The fabric labyrinth is made from a thin bamboo frame covered in white gauze fabric. The canopy covering the pavilion is made from bamboo structure with traditional rope joints. This structure is covered with a layer of reeds and iron sheets on top. Base: The base will be constructed with armored concrete 0.20m above ground level. Canopy: The bamboo columns (0.10m section/each) holding the canopy will be embedded on the base, in groups of five, forming a grid of 3.0m x 6.0m. These columns will hold a simple space-grid structure, with bamboo beams forming pairs in each direction, joined with rope. This construction will be covered with reeds and iron sheets. Walls/benches: The ecobric walls will hold on a concrete base of 0.20 m and concrete posts of 0.20m x 0.40m x 2.50m every 3.20m. On top of this base, the plastic filled bottles will be stacked in the vertical direction, mounted inside a mesh wire together with thin straws. This structure will be covered in cement and mud. For the construction of the benches and stands, ecobrics can be used as conventional bricks in horizontal direction. Labyrinth: The labyrinth is a self-supporting, lightweight bamboo structure from bended semi-circle bamboo beams and bamboo columns joined with ropes. Each labyrinth panel is made from 3 parallel semi-circles, holding tight a gauge fabric. Screens: The screen walls are divided in individual panels of ornamental bamboo mesh of 1.40m x 2.5m size, installed on a thin wooden frame. Water trough: The water trough will be made from concrete, and will have a slope of 0.20m in order to lead the water to its west end where it can be filtered. The filter will be a series of layers of stones and sand. After filtering the water is stored in water tanks with the use of a simple pump.

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Team: UANLUOINA666
from: China
Project by: Jingyuan Luo, Chenyu Zhang

Project Home heals. People gather to remember as the river flows. We approach “Home” from a framed pathway into an expansive space of renewal. The past, present and future meet as art and prayer remind survivors of lost tales. The project is a central place for people to gather and spread awareness of the war. The project uses local materials, has natural ventilation and rainwater collecting system. You enter the space by walking through the long entry path, once inside the expansive area is the exhibition area. The East side is softly blocking the view by the louver screen. The supporting west side wall is where the contemplative artwork hangs. The vertical open space between supporting wall and roof create a perfect circulation system and also brings in light. The contemplation room on the north side is enclosed by solid dirt walls except for the sliver like side roof opening. The solid dirt walls have good acoustic control. The rainwater channel resist on the top of the soil slope is parallel to the roof‘s edge sending the rainwater into the water tank. The project is environmentally friendly and zero energy cost. Use of materials: The whole project will use palm wood and pure clay. Palm wood has good flexibility and high resistance. It’s also a traditional construction material. Palm wood is used on column, louver and roof. Solid wall will use pure clay which is mixed from sand and laterite. This clay is water resistance, high acidity, so it’s also a traditional construction material. Construction process: All riverside waste is buried under 2 meters slope. The 500mm thick, 2m tall supporting wall is made from mixing the river sand and laterite. While making the back wall, lower side of wood column needs to be equally inserted into the wall. Contemplation room and storage room use 200mm thick and 4.3m tall wall on the east side. The top edge of the wall will be 15 degree tilted and the roof is following 15 degree slanted down to west side. Offset wood columns 5.3m to have all roof supporting ready, wood roof has two way structure, and wood panel tiled on the frame structure, and place on the columns. Wood lover will be the last adding on the column system.

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Team: TEOANIALY675
from: Italy
Project by: Matteo Germani, Alfonso Longo

The project team was immediately faced with some key issues: the reduced budget and the need to design a building with low operating costs; designing a structure that is easy to build, with the possibility of being replicated elsewhere, modified or expanded with the same ease. The starting point for the project was the study of climatic conditions. Senegal is, in fact, a country with an arid-dry climate, which reaches temperatures of 48 ° C in the hot season while in winter the humidity reaches 81%, with heavy rains that cause flooding of entire districts. In addition, during the dry season are frequent sandstorms due to Harmattan, a dry and dusty wind that blows from the Sahara to the Gulf of Guinea. Precisely to cope with these conditions it was decided to create the building on a reinforced concrete platform raised from the ground. This elevation guarantees better hygienic-climatic conditions, with additional protection from dust, humidity but also from possible floods, introducing a new model to follow in the culture and local settlement practice. We have oriented ourselves for the construction, on the brick in compressed raw earth. The bricks mixed with earth, cement and water, produced in situ by local workers, dried in the sun and mounted dry, are ecological, have a life cycle energetically advantageous and are able to ensure, thanks to the considerable thermal inertia, better microclimate control, with an internal temperature 4-5 degrees lower than the outside. Above the structure stands a roof that protects the building from rain and, above all, from direct solar radiation, with a lightweight waterproof sheet in high-strength PVC, totally recyclable, that requires no maintenance and guarantees ease of processing and installation. The covering is supported by an articulated structure of bamboo pillars, supported by beams, also in bamboo, passing through the walls. The layer of hot air that remains in the cavity between the two layers of roofing, in synergy with the fresh air that stands below the raised platform, generates convective movements that help to improve the natural ventilation inside. The perimeter walls, which are more exposed to the elements and the sun, have no openings. The plan is defined as a sequence of modular spaces, organized around a main axis. The three internal areas are articulated according to a sequence of arches, which, through their forms, separate the various spaces and close acoustically from the others, to avoid noise problems, linked to the overlapping of simultaneous activities. In the area destined for contemplation, on the other hand, the arches tend to close, creating in section the shape of a cavern, for years a place of protection for many populations. Niches were also created between the various arches, which were useful for the exhibition function. During thunderstorms, the water drains immediately into a reservoir, located on the downward side of the slope of the roof, and crosses a horizontal pipe that rests on the arches, as in Roman aqueducts, and ends in a system of underground pipes, reaches the fountains and the cistern. The tanks are connected to a UV purification system that makes the water drinkable. The main materials used for the building are: compressed earth bricks, bamboo, wood, reinforced concrete and PVC. The bricks mixed with earth, cement and water are ecological, have an energetically advantageous life cycle and are able to guarantee, thanks to the considerable thermal inertia, a better microclimatic control, with an internal temperature 4-5 degrees lower than the external one. The bricks of the arches are protected by a layer of plaster, finished with ecological paint and water, red in color, which echoes the color of the earth. For the roofing, the use of bamboo was preferred, for its considerable hardness and flexibility, for its size, such as to allow the construction of this type of roofing. Above it, with a lightweight waterproof high-strength PVC liner. The platform is made of reinforced concrete, raised from the ground, and wooden flooring. This elevation guarantees better hygienic and climatic conditions, with additional protection against dust, humidity and also against possible flooding. The initial phase is the construction of the platform and the positioning of the systems for the distribution of rainwater to the collection tank. The platform is made of reinforced concrete, raised from the ground. Following, the brick arches are built with the mix of earth, cement and water, product in situ by local workers, dried in the sun and mounted dry. The arches are protected by a layer of plaster, finished with ecological paint and water, red in color. On these septa, rest the beams composed of 3 elements of bamboo, tied together with ropes. On top of these beams are the pillars, also in bamboo, which support the roof made up of primary and secondary beams in bamboo. Finally, a light waterproof PVC sheet is laid, which does not require maintenance and guarantees ease of processing and installation. The spaces between the various arches are closed by means of perimeter walls, made of compressed raw earth brick, left exposed.

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