15th Mar 2021 - 09th Jun 2021

15.000€
> INTRODUCTION
Architecture is the branch of knowledge that shapes
and structures places for human activities. It gives an
answer to several and various issues, where solutions
embody designer’s creativity and intellect. Architectural
quest doesn’t simply resolve itself nor in a stylish, nor a
functional, nor an economic, nor a technological answer.
A genuine architectural answer comes through making
a patchwork of all those issues, where designer man-
ages to blend and structure them together with sensi-
bility and control. YAC aims to promote contemporary
projects that embody a temporal and personal approach
to architectural space. Idea is the keyword, Architecture
is the answer and project is the medium through which
intuition transforms into concrete reality.
2
> BRIEF
Soil consumption, deforestation, poaching. If the nu-
merous species living on Earth had a voice, there would
be a deafening cry of pain rising from deserts, moun-
tains, burning forests and polluted skies.
In the fight for the protection of ecosystems there are
no winners or losers. Yet, human beings seem to linger.
While the delicate balances supporting this planet are
eroding, anachronistic economic systems linger over
reversing course of a race for a progress with no future
and a wealth with no tomorrow.
This is the awareness at the base of WWF’s initiatives.
For sixty years, WWF has been giving voice to the silent
cry of those who have none to ask for help. WWF’s oa-
ses were created to achieve this goal. They aim at pro-
tecting the abundance of this planet and the right to ex-
ist of every living creature.
However, there is no protection without knowledge.
There is no conservation without access. Protecting
means giving access to the wonders of Mother Nature.
This is because only by enjoying the existing beauty one
can fall in love with it and only by falling in love with it
one can become an active player in defending our pla-
net.
This is the goal of WWF Observation Cabins. This is YAC’s
and WWF’s competition to support one of the most an-
cient WWF’s oases. Such competition aims at creating a
place where to raise awareness, where visitors can rec-
oncile with nature by enjoying and acknowledging the
beauty that lies where human beings manage to remain
silent and listen.
Thanks to this competition architects will have the op-
portunity to play a crucial role in defending the planet
designing observation points and a visitors’ center.
Such elements will stand for a perfect combination of
species, training place and beauty. This place will be a
space to protect and safeguard nature.
This competition aims to rediscover the main identity of
architecture, namely being a “tamed” nature where hu-
man beings can be moved by bright sunsets, be amazed
by flying pink flamingos or tremble at the freezing touch
of west breezes.
YAC thanks all the architects who will take part in this
challenge.
3
 42°29’06.9”N
11°12’10.3”E
> SITE
The site of the competition is the Lagoon of Orbetello in
Tuscany. More precisely, one should call it a “wetland”:
an archetype that the modern era has rejected. This
term has been associated with something insecure and
unhealthy because wetlands have always been the place
of bandits, fugitives, deadly fevers and necromancers.
These are places that modernity tried to remove or lim-
it by coining words as “reclamation” or “draining”. Yet,
these are places that play a crucial role in protecting
biodiversity.
Maybe due to an increased eco-friendly awareness or an
excess of healthiness and security, the contemporary
era has rediscovered the importance of wetlands. Now
their remnants are being protected and their redevel-
opment and consolidation guaranteed. As a result, new
words as “renaturation” or “environmental protection”
have been created. Such terms are the expression of a
new awareness of what today is referred to as “humid
zones”, which we could bravely call “wetlands” again.
In the wetland of Orbetello new hospitable places are
blooming to host hundreds of species with no home
or fleeing from human activities that left little room for
more timid and fragile species.
Here, in the silence brushed by the wind, with their spo-
radic beat of wings birds rise up from bushes and rush-
es interrupting the calm. Even laymen can perfectly
understand the value of a diversified community with
different shapes, colors and sizes yet peacefully reunit-
ed in the fragments of a common home, which human
beings managed to protect.
Far from being a detailed picture of the complexity of a
unique area with an inestimable natural, historical and
landscape value, hereby follow some useful information
in order to better describe the area and the players in-
volved in the competition.
1. Lagoon of Orbetello: in order to trace the origin of
the Lagoon of Orbetello one must go back to 5,000 years
ago. At that time, the Argentario Promontory was an is-
land separated from the dry land by a 12-km sea corri-
dor. With time, the land moved by tides started to create
the East ayre also known in Italian as the Tombolo del-
la Feniglia (Tombolo is the Italian term to refer to the
sandy stretches of land connecting the islands with the
4
mainland). Then, tides also created the small peninsula
on which Orbetello stands. The movement of the pen-
insula towards the sea was stopped by the sudden and
faster formation of the West ayre called Tombolo della
Giannella, which corresponds to the current area of the
wetland. To date, this system (Monte Argentario, lagoon
and the 2 tomboli) is a geological unique gem together
with a similar scenario of minor importance in the Med-
iterranean area, specifically in France. In the sixties, the
enthusiastic hunter Fulco Pratesi was pervaded with
a new feeling that was becoming increasingly popular
mostly in northern Europe among numerous sport hunt-
ers. During hunts an increasing number of men started
to realize that the most fascinating part of that age-old
practice was not the capture of animals. The thrilling el-
ement of hunts was the time spent in touch with nature
being surprised by the sudden encounter with wild spe-
cies. It was becoming increasingly clear that enjoying
nature with its vistas, silence and calm interrupted by
the company of animals was far more fascinating than
taking from it. It was thus that the hunter who founded
WWF Italia started a battle to protect what then became
the symbol of the natural reserve of Orbetello: the ex-
tremely elegant black-winged stilt, which had returned
to Italy after more than 40 years. This was the beginning
of a long and slow protection project that led to the cre-
ation of the oasis in 1971. Thanks to the effort of the pub-
lic administration and WWF, an 870-hectares oasis was
created. After a subsequent expansion, a 1,550-hectares
Regional Natural Reserve was established. Today the
oasis comprises three parts. Firstly, the historical part
located in the forest of Patanella boasts a 1-km path,
numerous vistas and a botanical route. Secondly, the
Ceriolo area is a paradise for birdwatching enthusiasts
including some of the first routes equipped for visitors
with reduced mobility (this is one of the numerous in-
novative elements of the oasis). Thirdly, the Giannella
farmhouse hosts a visitors’ center, a butterfly garden
and a guest house where visitors can try the intense fla-
vors of the lagoon of the Maremma region.
2. Natural system; in a thin veil of water getting
rough by the wind elegant pink flamingos bow when
meeting their counterparts. Vivacious sparrowhawks
scare small groups of ducks, which are too fearful and
naïve to realize that they are too oversized to be the prey
of such small birds of prey. One can think that visiting the
oasis of Orbetello is mainly a visual experience. Yet, with
a more thorough analysis, it is undeniable that a stay in
such an oasis offers an all-encompassing experience.
It is not just about the bright light-blue color of king-
5
fishers, the metal green color of mallards or the pastel
shades of flamingos. This experience also encompasses
the softness of cork barks, the impertinent singing of
redshanks and the sea perfume rising from the lagoon.
Here, in winter more than 300 species of birds dance be-
tween waters and skies. Moreover, it is not uncommon to
spot boars, wolves, hedgehogs, badgers and foxes. This
is an abundance of international importance (this is the
technical classification of the area) boasting exceptional
singularities like shelducks, numerous other rare ducks
and ospreys. Here, 2 out of the 12 examples of ospreys
living in Italy built their nest. This is what the oasis of
Orbetello is: a home for all. This is clear to visitors able
to spot shelters for bats hanging from battered build-
ings, beehives for wild bees (not the common honeybees
but still essential bees for the pollination of rare flowers
as wild orchids or ordinary cornflowers) or all the nests
masterfully provided to a wide range of birds. In the oa-
sis one can also admire rust-colored glassworts, bright
lentisk leaves (a historical remedy for an impeccable
oral hygiene), poplars, pines, elms and numerous varie-
ties of recent plants that have been grown by exclusively
using seeds, which were born in the oasis. Only by un-
derstanding the extraordinary abundance of the wetland
of Orbetello architects will be able to successfully deal
with a unique place in the world. Due to its value, the oa-
sis deserves the most refined and respectful expression
of architecture, which shall be both contemporary and
integrated in the ancient and prominent nature.
3. Brief history; without any doubt, natural aspects
play the main role to the end of the competition. Howev-
er, the area of Orbetello and Maremma of Siena is also
a highly interesting historical stratification. As in most
parts of Italy, such history comprises renowned domi-
nations and personalities. Specifically, the area of Orbe-
tello was an important Etruscan center. Orbetello used
to be its main seaport to reach northern colonies. The
splendid pediment of the temple of Talamone is what re-
mains of such period. This is one of the most important
artifacts of that time and the biggest representation of
“Seven against Thebes” coming from the ancient world.
Differently, the ruins of the huge walls of Cosa attest
the domination of the Roman empire. After that, for long
centuries, the area was controlled by the Papacy which
annexed it to the Abbey Abbazia delle Tre Fontane and
entrusted it as a feud to the Aldobrandeschi family. From
1414 to 1557, the domination of Siena dominated Orbetel-
lo and the surrounding area. Then, the area came under
the control of the Spanish Presidi that significantly in-
fluenced the current look of the area with their civil and
6
military architectures. Their remains create landscapes
and views that are now renowned all over the world. The
Spanish mill- surviving its nine twins- rises in a surreal
scenario as if it was the ruin of an ancient submerged
city. The Spanish fortress boasts tilted walls and mighty
crenellations. Then, the armory attests the famous Gi-
useppe Garibaldi’s Expedition. Knowing the history and
beauty of the place is essential to fully understand the
meaning of the competition. Furthermore, it perfectly
shows that the new architectural intervention will have
to deal with an area, which is extremely valuable and
connoted. Consequently, the contemporary features of
the project shall guarantee a worthy prosecution and
completion of the current scenario.
4. Area system; there is a different Tuscany. There
is a Tuscany that lies far away from the mild hills of Val
d’Orcia, ordered rows of cypresses and the masterpieces
by Botticelli or Brunelleschi. There is a rough, introvert-
ed Tuscany that local colorful imprecations and expres-
sions still despise. This is the Tuscany of Maremma and
the area of Orbetello is the most telling expression of it.
These places were disputed areas between lands and
seas. They were the pasture of the domination of Sie-
na. They were feared scourges for poor and fragile pop-
ulations. These places still evoke a wild fascination, a
pristine and inhospitable nature that was lethal to those
who tried to tame it throughout history. (The deed of Fer-
dinand III and his descendants is nearly legendary: the
lethal- yet eventually successful- reclamation mission
of the Maremma area). In the Orbetello area there is still
the atavistic expression of a land taken from the water.
It is indeed a muddy, inhospitable land. Yet, it is studded
with gems like Porto Ercole, Talamone and man-made
natural masterpieces as the Spacco della Regina (a
1-km deep natural gully), Ansedonia, Argentario or the
magnificent Island of Giglio (sadly internationally noto-
rious for the recent disastrous shipwreck of the Costa
Concordia). The area of the competition is situated at
the heart of a rich system of natural and architectural
wonders. Therefore, the new facilities will have to meet
the needs of a tourist purpose. They shall be a cultur-
al/faunal center for the oasis but also an architecture
enabling visitors to extensively explore and discover the
area.
5. WWF; in 1961 world organizations committed in
consolidating the post war world were thriving. In that
year, Julian Huxley- first Director-General of UNESCO-
established the World Wildlife Fund (WWF). The asso-
ciation was formed as a charity and soon became in-
creasingly successful also thanks to the collaboration
of personalities as John D. Rockefeller and Prince Phil-
ip (the first president of WWF’s English section). Right
7
from the beginning, the association chose a logo that
became one of the most iconic and recognizable logos in
the world: the black and white giant panda according to
the original drawing by sir. Peter Scott. WWF was first-
ly established to protect biodiversity and ecosystems
supporting it. Over the years, it evolved and changed ac-
cording to new awareness of environmental issues. As a
result, it managed to both maintain its original mission
and adopt a more holistic approach to environmental
sustainability and an aware use of natural resources.
WWF has carried out thousands of projects aiming to
protect nature and the animal world. Now WWF is one
of the most experienced and renowned environmentalist
associations worldwide. It goes without saying that it is
one of the most interesting clients architects can work
with.
> PROGRAM
The wait, the quest, the surprise. In the wonder of flee-
tingly and suddenly see wildlife one always finds one-
self to be a child. This is maybe because the animal
world is the most suggestive materialization of nature. It
is sufficiently close to human beings to generate empa-
thy but at the same time different enough to arouse as-
tonishment. There is no child that did not love and fear
animals. Likewise, there is no primitive civilization that
did not deify them and made them the expression of hu-
man faults and virtues: the bad wolf, the smart fox, the
gentle dove. Designing an architecture to deal with the
animal world means taking inspiration from the most
intimate and archetypical image. It means rediscover
activities and emotions that the urban life has obfuscat-
ed and somehow made even more sublime and engag-
ing. Climbing trees, scanning the horizon, enjoying the
illusion of living in a primitive world or the adventure of a
castaway will be some of the emotions that observation
points will have to arouse. The design of highly evocative
architectures is not the only aim of the competition. The
project is also an opportunity to develop and under-
stand the relationship between contemporary archi-
tecture and landscape. Designing architectures to live
up to one of the most important natural oases world-
wide does not necessarily mean giving up the visibility
of one’s project. It means recognizing the significant
expressiveness of architecture when it is perfectly in-
tegrated in its context. New interventions shall enhance
the beauty and fascination of the landscape of the oasis.
Here, the relationship between architecture and nature
8

shall generate even more suggestive and picturesque
views.
Hereby follow the functions that architects shall include
in the project of the competition:
1. Observation points; architects shall design 3 dif-
ferent types of observation points dedicated to the ob-
servation of the lagoon fauna by professionals and visi-
tors. Such points shall be designed to be duplicated and
situated in different areas of the oasis:
i. On-the-ground observation point; this is the
traditional “watch hut”. The structure shall be
located at ground level, it has to be a one floor
element and host maximum 10 people at a time
to rest and observe. Moreover, it shall include
one or more sighting windows at visitors’ eye lev-
el (1.6 meters height from the ground).
ii. Raised observation point; this is the tradi-
tional “watchtower”. There can be maximum 2
AREA A AREA C
aboveground floors (7 meters maximum overall
height). The structure shall enable the obser-
vation of maximum 5 people at a time on each
floor. Moreover, such observation point shall in-
clude one or more sighting windows at visitors’
eye level (1.6 meters height from the ground).
iii. Observation point at water level; such structure
can either be floating (therefore moving) or fixed.
It shall ensure the observation of the lagoon
from the level of the water. This is the least tra-
ditional typology since the height of the observa-
tion window shall be maximum 30 cm above the
ground. Consequently, the structure can either
be situated at ground level (so that visitors can
lie) or below ground level (so that visitors can en-
joy the view from the window by sitting or even
standing). The structure shall be properly water-
proofed and enable the observation of maximum
5 people at a time.
AREA B
With regard to observation points:
• There is no need to camouflage them in nature: fau-
na is not scared by still objects;
• Differently, they have to ensure the camouflage of
observers since fauna can be intimidated by seeing
people moving;
• The observation windows must be equipped with
shutters or systems to close them;
• All three typologies must be equipped with roof
structures;
• There are no limitations regarding typology, shape,
style or materials to design the observation point as
long as an easy maintenance and a positive relation-
ship (harmonious or disharmonic) with the lagoon
are ensured;
• They can be situated anywhere along the coast of
the lagoon (area A).
9
2. Visitors’ center: it will be positioned backward
from the observation points. It shall provide a series of
services for the oasis’ visitors. It will not be as immersed
in wildlife as the observation points. However, the visi-
tors’ center shall be closely connected with landscape
in order to seize the rarer- yet possible- observation
opportunities provided by the surrounding nature. The
center shall include:
i. Reception/ticket office: this will be the access
place to the oasis;
ii. Training center: this space will host meetings
and training sessions;
iii. Bookshop: it will sell the typical products of the
oasis together with naturalist publications and/
or WWF’s merchandising;
iv. Exhibition space: this place will host temporary
exhibitions and describe the story and/or fea-
tures of the oasis;
v. Guest house + restaurant: here visitors will have admitted;
the opportunity to experience the hospitality of • Any arrangement/furniture/equipment of external
Maremma surrounded by the beauty of one the areas will be admitted;
first WWF’s oases. • Facilities shall be accessible to visitors with reduced
mobility and ensure environmental compatibility;
In relation to the visitors’ center, architects shall take • All functions shall be efficient but also opened to the
the following constraints into account: outside in order to offer visitors views and sightings
• Dimensions of previous functions will not be provid- including from the visitors’ center.
ed. Architects can choose how much space to dedi-
cate to each element of the program.
• The new architectures hosting functions i, ii, iii, iv
can take up the site of area B maximum;
• The new architectures hosting functions iv and v can
take up the site of area C maximum;
• Existing architectures will be demolished. There-
fore, architects shall not take them into account for
the design;
• New architectures shall be 6 meters tall maximum;
• Excavations or underground interventions are not
10
> CALENDAR > PRIZES
15/03/2021 “early bird” registration – start 1° PRIZE
8.000 €
11/04/2021 (h 11.59 pm GMT) “early bird” registration – end
2° PRIZE
4.000 €
12/04/2021 “standard” registration – start
3° PRIZE
09/05/2021 (h 11.59 pm GMT) “standard” registration – end 2.000 €

GOLD MENTION
10/05/2021 “late” registration – start 500 €

06/06/2021 (h 11.59 pm GMT) “late” registration – end GOLD MENTION

500 €

09/06/2021 (h 12.00 pm – midday - GMT) material submission deadline 10 HONORABLE MENTIONS

30 FINALISTS
14/06/2021 jury summoning
All the awarded proposals will be transmitted to architectural magazines and websites
19/07/2021 results announcement and will be hosted in international exhibitions. All the finalist proposals will be published
on www.youngarchitectscompetitions.com

Fulfilling an “early bird”, “standard” or “late” registration does not affect the submission
deadline, which is uniquely set on 09/06/2021.

REFERENCES

> FAQ
During the whole contest, until 09/06/2021- submission deadline - competitors can ad-
dress any question to yac@yac-ltd.com. YAC staff will individually answer the compet-
itors by e-mail and will weekly publish updates in the FAQ section of the competition
website. Answers will be published in English and updated on Facebook and Twitter.
Surely, YAC staff will be providing technical support in case of technical and functional
problems during the upload procedure.
Cover - Urbach Tower by ICD Institute for Computational Design and Construction and
ITKE Institute of Building Structures and Structural Design
pg. 3 - Lykta Fireplace by Workshop NTNU + Sami Rintala + Pasi Aalto
pg. 5 - Tree House Module - YAC competitions, project by studio/C
pg. 6 - Viewing Tower Lommel by Ateliereen Architecten
pg. 7 - Woodnest Cabin by Helen & Hard
pg. 8 - Urbach Tower by ICD Institute for Computational Design and Construction and
ITKE Institute of Building Structures and Structural Design
pg. 10 - Majamaja Wuorio Eco-Cabin by Littow Architectes

11
> HOW TO REGISTER
1. The registration procedure must be carried out according to the online process describe
as follows.
2. The registration steps are one consequent to the other one: it is not possible to
complete any of the steps described below without having completied the previous ones.
a. registration of a team:
• access: https://www.youngarchitectscompetitions.com/login/index/signup
• fill in all required fields with complete and truthful information;
• at the end of the process, you will receive an e-mail to activate your team account,
this email contains the Team number (“Team ID” automatically and randomly as-
signed by the web system) and the password; in the event you do not receive this
e-mail, check the “spam” folder”;
• click on the activation link included in the email mentioned above to confirm the
registration of the team;
b. registration of the team members:
• once the registration of the Team has been confirmed, you should login into your
team account on YAC’s website;
• select the competition you would like to join;
• add the members of the team by filling in all required fields with complete and
truthful information; please note: it is required to select a “Team Leader” among
the team members as the responsible person towards the Organizer and the Part-
ner for the information provided within the competition, including the information
about the other members; the invoice for the payment of the registration fee will
be issued in the name of the Team Leader;
c. payment:
• login to YAC’s website;
• select the competition you would like to join; at least the Team Leader will have to
have already been included as a Team Member;
• pay the registration fee following by clicking on “Pay Now” and by following the in-
structions;
• once the payment is done, the Team Leader will receive the related invoice by email.
d. Materials’ upload:
• login to YAC’s website;
• select the competition for which you paid the registration fee;
• upload the materials following the indications;
• the Team Leader will receive a confirmation email for each material uploaded;
should you not receive them, please, check the “spam” folder;
• repeat the abovementioned steps for each material required by the brief.
3. It is highly recommended to complete the registration, payment and upload procedures
in advance in regards to the given deadlines.
> MATERIALS
Participants must upload the following materials in order to correctly take part in the
competition:
• n. 1 A1 board (841 x 594mm) in .pdf format, maximum size 10 mb, horizontal or verti-
cal layout, to be uploaded on the personal login area. This layout must contain:
i. design concept / conceptual idea;
ii. graphic framework aimed to illustrate the project (e.g. plans, facades, cross-sec-
tions) – the choice of what to display and at which scale is up to the competitor’s
choice;
iii. 3D views (e.g. renderings, model pictures, hand sketches);
File name: A1_TeamID_WOC.pdf (i.e. if “TeamID” is 123, file must be named A1_123_
WOC.pdf)
• n. 1 A3 album (420mm x 297mm), .pdf format (maximum size 10 MB), horizontal lay-
out, maximum 7 pages (boards) long, to be uploaded on the personal login area. The
A3 album must contain:
iv. one general plan on a 1:500 scale;
v. significative plans on 1:200 scale;
vi. at least one significative cross-section on 1:200 scale;
File name: A3_TeamID_WOC.pdf (i.e. if “TeamID” is 123, file must be named A3_123_
WOC.pdf
• n. 1 cover .jpeg or .png format 1920x1080 pixel size. It should be a relevant image
showing the project that will become its avatar icon:
File name: Cover_TeamID_WOC.jpg (i.e. if “TeamID” is 123, file must be named Co-
ver_123_WOC.jpg)
Texts must be brief and written in English. The materials cannot contain any name or
reference to designers. The materials cannot report the Team ID number on them. This
number is only meant to appear on the file name, since the jury will not be enabled to
seeing it during the voting procedure.
12
> RULES
1. PREMISES
1.1. This Regulation includes the rules that regulate the Competition, as defined below, from
the registration to the website of YAC srl, to the definition and announcement of the
Winners and subsequent adjudication of the Prizes to the Winners.
1.2. The Competition is not, in any way, an event in accordance with Article 6 of the Italian
D.P.R. 430/2001 and the publication of the Rules is not an offer to the public. When
registering to the website of YAC srl, each user declares to fully know and accept
the Rules of the Competition.
1.3. This Regulation applies the following Definitions:
• “Organizer of the Competition” or “Organizer”: YAC Srl, with its headquarters in
Bologna, Via Borgonuovo n. 5, VAT code 02509200412;
• “Partner”: WWF based in Rome, Via Po 25/c Italy
2. GENERAL RULES
2.1. Participants must respect calendar, registration and fees deadlines and rules;
2.2. Participants must respect all the instructions regarding the required materials;
2.3. Participants can join the competition either individually or with a team;
2.4. Participants can be students, graduates, freelance architects even when they belong to
a team. It is not mandatory to be experts of architectural disciplines or members of
architectural associations;
2.5. Each Teams must include at least one team member aged from 18 to 35;
2.6. There are no restrictions on the maximum number of team members that a Team can
have;
2.7. Teams can include members coming from different countries, cities or universities;
2.8. By paying one registration fee, participants are allowed to upload one project;
2.9. By paying additional registration fees, participants will be allowed to upload more than
one project; the amount of the fees depends on the competition’s calendar;
2.10. Prizes are fixed and established (and include bank commissions and taxes) regardless
of the number of members of the Team;
2.11. A technical staff appointed by the Organizer and the Partner of the competition will eval-
uate the eligibility of the projects: this is not binding for the purpose of the jury’s
work;
2.12. The jury’s verdict is incontestable;
2.13. It is forbidden for participants to contact jurors for matters related to the competition;
2.14. It is forbidden for participants to disclose the material regarding their projects before
the winners are officially announced;
2.15. It is forbidden for participants to join the competition in case they have business
collaboration or blood-relations with jurors of the competition;
2.16. By violating the participation rules, the participant and their teams will be disqual-
ified from the competition without any getting a refund of their registration fee,
which will be definitely acquired by the Organizer;
2.17. The authorship of each project is equally attributed to each member of the Team;
2.18. By registering and participating in the competition, participants fully accept all the rules,
terms and conditions of the competition. Any exception will be excluded;
2.19. The Organizer has the right to change dates or other details in order to improve or fix
aspects of the competition. In this case, the contestants will be noticed within a
reasonable time frame through all the Organizer’s media channels;
2.20.The Organizer is not responsible for web malfunctioning, technical difficulties or failure
to receive or upload materials; it is highly recommended to complete the registra-
tion, payment and upload procedures in advance in regards to the given deadlines;
participants are invited to notify the Organizer via e-email in case of technical prob-
lems;
2.21. All the material that is available and useful for the competition’s purposes is available
in the download section of the competition website www.youngarchitectscompeti-
tions.com regardless of registration in the competition; it is allowed to use addi-
tional material collected by participants.
3. INELIGIBILITY
3.1. Any participant - either participating individually or in a team - can be excluded from the
competition. Participants can be disqualified when:
a. the submitted material is not written in English;
b. the materials show names or references to the designers. The Team ID is consid-
ered a reference to the designers. Therefore, it can only appear in the file name,
since jurors will not see it;
c. the uploaded materials are incomplete or inconsistent to the criteria included in
the chapter “MATERIALS”;
d. the materials are not submitted according to deadlines or to the procedures of the
competition;
e. Teams do not include a participant younger than 35 (if the Team only has one mem-
ber, the member is not younger than 35);
f. team members try to contact a juror for matters relating to the competition. In this
case, the participant and their team will be automatically disqualified;
g. participants have work or family relationships with one or more members of the
jury of the competition;
h. participants disclose their competition’s materials before the winner of the compe-
tition is announced; they will be disqualified together with their team;
i. participants are not the owner or authors of the submitted project or parts of such
project; they will be excluded together with their team.
13
4. NOTES CONCERNING THE MATERIALS
4.1. By taking part in this Competition and accepting the Rules, Participants recognize, from
now on, to the Organizer and to the Partner the non-exclusive right to: i) publish the
Materials or part of the Materials in any way or form and with any means of com-
munication and/or support, including online platforms, social media channels and
printed publications; ii) distribute the Materials or part of the Materials in any way
or form and with any means of communication and/or support, including online
platforms, social media channels and printed publications.
4.2. All the projects that will win a money prize and any (available) intellectual property right
and/or industrial right on the projects are definitively acquired by the Organizer and
by the Partner. The organizer acquires the exclusive right of economic exploitation
of the project and the permanent, illimited, irrevocable, exclusive, international-
ly-acknowledged right to use, realize, adapt, modify, publish in every media, display,
reproduce and distribute the project also for marketing and advertising purposes,
review the editorial, create works based on the project or giving the project or parts
of it to third parties in any means, way or through any technology also including the
freedom of panorama without any limitation in time or place.
4.3. By taking part in this Competition and accepting the Rules, the Participants awarded
with a prize money or with a mention (projects receiving a honorable/finalist men-
tion) undertake, from now on, to provide, if needed, any further digital materials
(i.e. 3D models) regarding the project to help the Organizer and the Partner better
report the results of the competition.
4.4. The Materials must be new and original and the outcome of the intellectual activity of
Participants: works and/or materials that do not comply with these features must
not be submitted. Therefore, Participants agree to indemnify and hold the Organ-
izer harmless from any cost or damage connected with the infringement of any
third-party intellectual property right. By taking part in this Competition and ac-
cepting the Rules, Participants declare to be authors (and/or co-author in the event
the Team is made of more members) of the uploaded Materials.
4.5. The Participants of the Competition guarantees that the submitted Materials do not
infringe, in any way, the industrial and intellectual property right of third parties
and commit to hold the Organizer and the Partner harmless from any connected
request that might arise from third parties.
5. PRIVACY AND TREATMENT OF PERSONAL DATA
5.1. The processing of Participants’ personal will be carried out by the Organizer for the sole
purpose of the participation in the Competition and distribution of the Prizes in
compliance with the applicable regulation ex art.13 UR Reg. 2016/679. We invite all
competitors to read it carefully.
5.2. Participants will be held accountable for the data - including personal data - they pro-
vide. The Organizer does not assume any responsibility for wrong data provided. In
any case, according to privacy policies, the Organizer has the right to verify partic-
ipants’ personal data by requesting a copy of an identity document that reports the
same data entered for the registration;
5.3. The Organizer will share the personal data provided by Participants to the Partner.
5.4. The Organizer is not responsible for participants’ false data provision.
6. NOTES REGARDING PRIZES ADJUDICATION
6.1. The publication of the results according to the calendar of the competition has to be
considered a provisional publication. It shall be bound by the verification of the req-
uisites defined by the Competition;
6.2. Once the results will be published, the Organizer reserves the right to collect and
verify a copy of the identity cards of the Winners and the papers signed by the Win-
ners as requested by the Organizer.
6.3. Prizes will be awarded after verifying the identity of the Winners and after they sign a
self-declaration certifying that they fully accept the terms of the Competition and
the declarations of the transfer of rights regarding the Materials and the indemni-
fication required by the Organizer for the use of the Materials.
7. COMPETENT COURT AND APPLICABLE LAW
7.1. the Italian law regulates the rules of this competitions. Any controversy that might
arise shall be of exclusive competence of the Court of Bologna.
14
 > JURY
Simon Frommenwiler
HHF
Simon was born in 1972 in London. In 1994–
2000 he studies at ETH Zurich and until 2003
he cooperates with Bearth & Deplazes and
Skidmore Owings & Merrill. Member of the
BSA since 2010, he has been Guest Pro-
fessor at the Joint Master of Architecture
in Fribourg, Associate Professor at ENSA
Strasbourg and Lecturer of Architecture at
Massachusetts Institute of Technology in
2014. He is currently a leading architect at
HHF Architects he founded in 2003.
Patrick Lüth
Snøhetta
Graduated at the University of Innsbruck
where he later taught architecture, he is
today the director of the Austrian branch
of Snohetta, one of the most renowned ar-
chitecture studios in Europe. He started
working for Snohetta in Oslo, contributing
to many international projects strengthen-
ing Snohetta’s philosophy focusing on the
deep connection between architecture and
landscape. In collaboration with the French
studio Cao Perrot, he worked at the innova-
tive project for Swarovski Crystal World in
Wattens and in 2014 he cooperated with the
planning of the National September 11 Me-
morial & Museum at Ground Zero in New
York.
Giulio Rigoni
BIG Bjarke Ingels Group
In 2004 Giulio Rigoni graduated at the IUAV
University of Venice with A. Cornoldi and a
dissertation concerning the Ground Zero
reconstruction in NYC. He worked in Swit-
zerland in numerous architectural practices
as Livio Vacchini (Locarno) and Herzog&de
Meuron (Basel). In 2017, he started working
at BIG – Bjarke Ingels Group (NYC). In the
academic years 2015-2016 and 2016-2017, he
was the Assistant of professor Muck Pet-
zet in the Sustainable Design courses of
the Academy of Architecture of Mendrisio –
AAM. In 2017, he became the Italian Project
Architect/Project Manager of the BIG’s pro-
ject SPFF S. Pellegrino Flagship Factory.
Kazuyo Sejima
SANAA
Kazuyo Sejima (b. 1956, Ibaraki, Japan) stud-
ied architecture at the Japan Women’s Uni-
versity. In 1987 she opened her own studio Ka-
zuyo Sejima & Associates, and then in 1995,
together with Ryue Nishizawa, she founded
SANAA. SANAA’s main works include the
21st Century Museum of Contemporary Art in
Kanazawa, the Rolex Learning Center (Ecole
Polytechnique Federale de Lausanne), and
the Louvre-Lens. In 2010 Kazuyo Sejima was
appointed director of the Venice Biennale.
In the same year, Kazuyo Sejima and Ryue
Nishizawa of SANAA were the recipients of
the Pritzker Architecture Prize. She is cur-
rently a professor at the Polytechnic Univer-
sity of Milan, Yokohama Graduate School of
Architecture (Y-GSA), and teaching at Japan
Women’s University and Osaka University of
Arts as a visiting professor.
15
> JURY
Mariana de Delás
Mariana de Delás
Mariana de Delás is the founder of a multi-
disciplinary studio that focuses on the re-
alisation of projects that have an idealistic,
fun and artistic approach to architecture.
We focus on sustainability in urban and ru-
ral environments and our prime objective is
to link nature and ecology by experiment-
ing with new tools and technologies follow-
ing a hands-on methodology. In addition to
architectural projects, we also develop in-
stallations, exhibitions and small projects
exploring the crossings between art and ar-
chitecture.
Fulco Pratesi
WWF Italia
Born in 1934, he graduated in Architecture at the Uni-
versity La Sapienza in 1960. In 1966, together with some
friends he founded WWF Italia. In 1970, he became its
deputy chairman and then its chairman from 1979 to
1992. When he was 19, he travelled to Kenya and Tanga-
nyika on a cargo ship. Since then, he has been travel-
ling all around the world to discover the most interest-
ing areas of the planet from a naturalist point of view.
He has been to Kamchatka, Patagonia, Labrador, Am-
azon, Brazil, Galapagos, the Bengali Sunderbans, the
Kurili islands, the jungles in Congo and the savannahs
in Angola. He described all these places in dozens of
naturalist notebooks, which he illustrated himself with
watercolors. He is a journalist specialized in green and
naturalist issues. For years, he has been collaborating
with the Italian newspapers Corriere della sera, l’Epres-
so and numerous specialized magazines. Moreover, he
has designed numerous national parks, natural reserves
and landscape plans both in Italy and abroad. He is the
author of numerous publications as le Guide alla Natura
d’Italia (Mondadori), Clandestini in Città (Mondadori), Es-
clusi dall’Arca (Mondadori), il Mondo della Palude (Riz-
zoli), i Cavalieri della Grande Laguna (Rizzoli), Natura in
Città (Rizzoli), Taccuini Naturalistici (Giorgio Mondadori),
Dalle caverne ai grattacieli (Laterza). Since 2007, he is
Honorary President of WWF Italia.
Renato Grimaldi
Ministero dell’Ambiente
Born in 1959, Renato Grimaldi obtains a law
degree and starts a career as a university
professor. He also holds numerous institu-
tional posts concerning the protection and
defense of the environment mainly about
marine biodiversity and strategy. In 2017, he
was appointed Extraordinary Administrator
of the National Park of Pantelleria. He also
managed the Italian Struttura del Commis-
sario del Governo for the reconstruction of
the areas of Central Italy hit by the earth-
quake in 2016. Since 2 June 2013, he is Uffi-
ciale dell’Ordine al Merito della Repubblica
Italiana and currently General Director of
the Italian Ministry of Environment and the
Protection of Land and Sea. There, he is also
the Head of Department of employees, na-
ture, land and the Mediterranean (DIPENT).
16
> JURY
Gilda Ruberti
Regione Toscana
In 1988 Gilda Ruberti obtained a degree in
construction and civil engineering at the
University of Pisa. She mostly deals with
environmental issues focusing on the pro-
tection and enhancement of waterways. She
both works as a professional and a profes-
sor at the university of Florence. Since May
2011, she is the representative of the Region
Tuscany in the Technical Committee estab-
lished by the Italian Ministry of Environment
for the implementation of the Marine Strat-
egy Directive. Currently, she is also the per-
son in charge of the protection of nature and
the sea mainly focusing on parks, protected
areas, the protection of biodiversity and the
quality of marine waters.
Marco Cattaneo Nicola Scaranaro
National Geographic Italia FOSTER + PARTNERS
He was born in Milan in 1963. He graduated Nicola is a registered architect in the UK
in Physics and in 1991 became part of the ed- and Italy and a RIBA chartered member. His
itorial staff of “Le Scienze”, which is the Ital- experience includes buildings that have pi-
ian edition of Scientific American. In 2006, oneered a sustainable approach to archi-
he became editor-in-chief of Le Scienze and
Mind. Since December 2010, he is the direc- tecture and include a strikingly wide range
tor of National Geographic Italia and since of work, from urban masterplans, airports,
2018 of National Geographic Traveler. Over civic and cultural buildings, hospitality and
the last years, he has been collaborating as residential, workplaces, R&D and high-rise
journalist and photographer with national buildings. He is a Partner at Foster + Part-
and international newspapers and period- ners, one of the most innovative architecture
icals. He is the author of “Heisenberg and and integrated design practices in the world.
the quantum revolution” (Le Scienze, 2000)
and co-author of the three-volumes work
“The Unesco’s world heritage” (White Star,
2002-2004, reprinted in 2012) and of “The cit-
ies of the world” (White Star, 2005). He was
awarded the Voltolino award for scientific
dissemination (2001), the Grand Prix by the
French Association travelling writers (2008),
the Ippocrate award by the Italian Unione na-
zionale scientifica di informazione (2010) and
the Capo d’Orlando award (2014). In 2016, the
asteroid 239105 was named after him.
17
> JURY
Carlo Alessandro Puri Negri
BLUE SGR
Carlo Alessandro Puri Negri is the Chairman
of BLUE SGR and its partner through Fratelli
Puri Negri Sapa. Since 1989, he is the CEO
and Deputy Chairman of Milano Centrale
(then «Pirelli Re»). In 1996, he was appointed
Senior Deputy Chairman of Camfin S.p.A and
became part of the Administration Board of
Pirelli S.p.A. In 1999, he became managing
partner of Pirelli & C. Sapa. From 2003 to
2009 (after the merger of the two compa-
nies) he became Deputy Chairman of Pirelli
& C. S.p.A. From 2002 to 2010 he held posts in
Group S.p.A (C), Aon Italia S.p.A. (C) Capita-
lia S.p.A. (C), Olivetti S.p.A (C) Permasteelisa
S.p.A. (C) and Telecom S.p.A. (C). Moreover,
he is a member of the Real Estate Interna-
tional Advisory Board of Harvard University.
Raulino Silva
Raulino Silva Arquitectos
Raulino Silva founded his studio in Vila do Conde (Por-
tugal), his homeplace, where with his team of architects
he has developed several housing projects. He has regu-
larly participated in publications, exhibitions, workshops
and conferences. Most notable are the participation in
the Architecture Workshop of Bergamo in Italy, organ-
ized by the Faculty of Architecture of Milan and the par-
ticipation as a speaker in the Perspective Europe Forum
in Venice, of The Plan Magazine. In 2019 he received the
medal of merit for the city of Vila do Conde, delivered by
the City Council and, in the same year, was considered
as one of the best young European architects by winning
the Europe 40 Under 40 Awards of The European Centre
for Architecture Art Design and Urban Studies. In 2020
he was invited by the Board of ESAP to an Open Class of
the Integrated Master of Architecture Seminar in Porto.
The work built has received several international awards,
most notably the 2A Continental Architectural Awards,
organized by 2A Magazine, the International Architecture
Awards, promoted by The Chicago Athenaeum Museum
of Architecture and Design, the IF Design Awards, or-
ganized by the IF International Forum Design GMBH, the
Iconic Awards, organized by the German Design Council
and the Baku International Architecture Award, promot-
ed by the Order of Architects with the support of the In-
ternational Union of Architects.
Sou Fujimoto
Sou Fujimoto Architects
Sou Fujimoto was born in Hokkaido in 1971. He
graduated from the Department of Architec-
ture, Faculty Engineering at Tokyo Universi-
ty and established Sou Fujimoto Architects in
2000. In 2018, he won two International Compe-
titions for the Village Vertical in site of Rosny-
sous-Bois and for the HSG Learning Center in
Saint Gallen. In 2017, he was the winner of two
International Competitions, for the Nice Merid-
ia and the Floating Gardens in Brussel. In 2016,
he has won the 1st prize for “Pershing”, one of
the sites in the French competition called ‘Réin-
venter Paris’, following the victories in Invited
International Competition for the New Learn-
ing Center at Paris - Saclay’s Ecole Polytech-
nique and the International Competition for the
Second Folly of Montpellier in 2014. In 2013 he
became the youngest architect to design the
Serpentine Gallery Pavilion in London. His no-
table works include; “Serpentine Gallery Pavil-
ion 2013” (2013), “ House NA” (2011), “Musashino
Art University Museum & Library” (2010), “Final
Wooden House” (2008) and many more.
Photo: David Vintiner
18
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