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Architecture Asia, Tongji University, 1239 Siping Road, Shanghai (2026)

11/09/2026

WINNERS LIST | ARCASIA Awards for Architecture 2026 (AAA)

On 11 September 2026, the ARCASIA Awards for Architecture 2026 were announced at the Awards Ceremony of the 23rd ARCASIA Forum in Jaipur, India.

30/08/2026

PROJECT | STARSCAPE

[Project Information]

Architect Firm: ZITTA Architects
Principal Architect: Younkyoung Cho, Donghyun Kim
Design Team: Hyeran Jeong
Location: Pohang-si, Republic of Korea
Area: 845.96 / 1,801.24 square meters
Completion Date: July 2021
Photography: Joonhawn Yoon

[Project Brief]

The Site: A Coastal Hill Where the Sea and Fields Converge

Situated on a gentle slope adjacent to a coastal road that traces the deep blue shoreline, the site possesses a unique geographical identity. To the north and east, the vast sea unfolds, while to the south and west, open felds extend toward distant, low-lying mountain ridges. Thanks to its protruding topography, the land offers a panoramic three-sided view of the ocean, while the pastoral landscape on the opposite side provides a contrasting, evocative experience.

Elevated approximately five meters above the road, the architecture was conceived to appear as if delicately perched upon the hill. The structures are oriented outward toward the sea, yet at their heart lies a "Madang" (central courtyard), reached via an upward architectural promenade. This courtyard serves as a pivotal node connecting multiple volumes, inviting the sea, mountains, and felds into the interstices between the buildings.

The Courtyard: A Three-Dimensional Sequence of Voids and Solids

Retail units and parking are positioned at the street level, with a grand staircase designed to overcome the site's elevation. Ascending this staircase and passing through the void beneath the building leads one into the central courtyard.

Within the courtyard, a communal swimming pool and a cafe instill a sense of vitality into the static architectural form. The interplay of white geometric masses, vertical louvers, bridges, and the pool creates a rich spatial density. The buildings surrounding the courtyard are fragmented into individual units separated by terraces and private pools.

Openness and reflection: An Architectural Landscape Blurring Boundaries

The essence of this project lies in the "openness" that draws nature inward—facilitated by the voids on the ground floor and the interstitial spaces between the segmented masses on the second floor. By hollowing out parts of the structure, the design pulls the surrounding natural elements into the heart of the courtyard. As the building rises, the reduction of mass toward the courtyard and the integration of bridges ensure the space remains porous.

Notably, the communal pool serves as a reflective plane. From any angle within the courtyard, the architecture is mirrored on the water's surface. While the reflection of the azure sky evokes a crisp, ethereal clarity during the day, the transition to dusk invites a warmer, more emotive atmosphere as the interior glow and the hues of the sunset dance upon the water. It is hoped that travelers seeking refuge from the mundane will find this encounter with nature's charm a profound catalyst for rejuvenation.

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30/08/2026

PROJECT | TIDEAWAY

[Project Information]

Architect Firm: ZITTA Architects
Principal Architect: Younkyoung Cho, Donghyun Kim
Design Team: Hyeran Jeong
Location: Busan, Republic of Korea
Area: 1,887.84 square meters
Completion Date: May 2020
Photography: Joonhawn Yoon

[Project Brief]

The border of Earth and Ocean

Stepping away from the urban clamor, one arrives at a site situated on the exquisite threshold where the land meets the sea. Even in a coastal city like Busan, such a location—directly abutting the shoreline-is rare. The project began with a profound respect for this border condition, adopting a posture of coexistence to ensure the architecture does not sever the long-standing visual connection between the community and the sea.

To honor the visual rights of passersby, the ground floor is elevated via a pilotis structure, creating a transparent void that preserves the coastal vista. By intentionally displacing the guest units to the subterranean level and upper floors, the design secures a high degree of vertical privacy, shielding inhabitants from the gaze of the street while maintaining an architectural dialogue with the surroundings.

Massing Strategy: A Dialogue Between Two Axes

The border where the site meets the sea deviates slightly from the linear flow of the adjacent road. Rather than conforming to the street grid, the building is oriented along the coastal axis. This strategic alignment directs the interior gaze toward the dense pine groves of Gongsu Village and the "Julbawi" rock formations emerging from the water, rather than a monotonous horizon of the open sea.

The composition is defined by the fragmentation of three distinct masses. A horizontal volume on the second floor, cantilevering along the road axis, intersects with the vertical core, creating a rhythmic tension in the building's silhouette. This horizontal element acts as a visual conduit, "opening up" the space to link the mountains and the sea, while defining the building's architectural identity.

Overlapping Proximal and Distant Views

The ridgeline of Mangdeokbong Peak flows across the road, traversing the building's volumes before descending into the sea. The articulation of these three staggered masses creates a variety of interstitial outdoor spaces, fostering a symbiotic relationship with the surrounding context. As guests ascend the stairs, glimpses of sunlight, mountain, and sea flicker through the voids, evoking a sense of anticipation inherent to travel.

The exterior corridors leading to the guest rooms offer a curated visual experience: the proximal view of the bamboo forest juxtaposed with the distant view extending toward Songjeong Beach. On the third floor, the lounge—born from the shifting of masses-provides a panoramic sweep from Mangdeokbong and Songjeong Harbor to the pine forests of Jukdosan.

The ambiguous boundary between outside and inside

By exposing circulation spaces such as corridors and staircases to the exterior, natural elements from the surroundings were guided to permeate the building interior. The sea breeze, the movement of the forest, and the rhythmic sound of waves converge with the picturesque scenery of the village harbor and its lighthouses. This culminates in the rooftop infinity pool, where architectural barriers vanish, leaving only the user in an immersive encounter with the vast, boundless ocean.

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29/08/2026

PROJECT | Design Proposal: Gangwon State Government Office

[Project Information]

Architect Firm: Shin Design Lab
Principal Architect: Shin Jeongyeap
Design Team: Shin Jeongyeap, Chung Dukyoung, Lee Mingyu, Kim Gwangho, Min Kyeongmin
Location: Chuncheon-si, South Korea
Area: 114,647 square meters
Completion Date: September 2024
Photography: Shin Design Lab

[Project Brief]

Who is the Building For?

As a metropolitan government building, this project inevitably accommodates diverse administrative programs. However, planning a public facility with a construction cost of approximately USD 250 million and a total floor area of 110,000 square meters implies significance beyond its physical scale. It signifies not just an administrative space for governance, but a place expected to embody broader public values and social roles.

For Chuncheon, it offers the first large-scale urban park since the cancellation of the Civic Park plan at the former Camp Page. For Gangwon Province, it provides a long-missing venue for conventions and exhibitions that were previously difficult to host due to spatial limitations. Nationally, as a government of a divided region, this site holds symbolic potential as a place representing a future vision of peace. Thus, this building is designed not only for public officials, but for Chuncheon citizens, Gangwon residents, and Korean people as a whole.

Voyage, Borderless, Formless

At its core, this is a workplace. Plans and sections are designed to strengthen communication and support recovery from everyday stress. Beyond the Office, open spaces and public amenities extend the complex into a community destination. Major shared programs—auditorium, reception, and large conference rooms-are clustered around a central park (the Lake Garden), so the complex can operate as a platform for the local economy as well as governance. Rather than emphasizing aerial views, the massing and facade are designed to express symbolism at eye level, enabling the architecture to represent the future peace of the Republic of Korea on the international stage.

Urban Proximity and 365-Day Public Life

The site plan prioritizes proximity to the public. Rather than retreating from pedestrian streets, the buildings remain close to everyday movement. Public programs and convenience facilities are placed at lower levels adjacent to the central open space, ensuring the site remains active beyond Office hours—designed to be filled 365 days a year, not emptied after work.

A Commons-Based Workplace: Floors, Sections, Facades

Work floors share common spaces on each level to improve efficiency, increase chance encounters, and encourage collaboration. Two stacked floors meet near the core at an open shared common. These linked shared zones reconnect separated levels into one continuous "commons." In section, varied heights and circulation enrich the public interior and intensify social interaction. A two-floor open shared space links to a southeast atrium, supporting natural ventilation while serving as a key workplace element for communication and relaxation.

Facades respond to four criteria—symbolism, solar control, insulation performance, and views. Stone composite panels address high-insulation areas; aluminum louvers manage solar gain; large louvers form symbolic elevations on key public views; and BIPV is applied where views are limited but insolation is strong, allowing the envelope to produce energy.

Landscape System: Gangwon's Eighteen Cities in One Park

Open spaces translate the diverse landscapes of Gangwon Province's eighteen cities into a connected park system. The central Lake Garden (up to 40 meters wide) draws from lake-culture cities and integrates water management: runoff collected along site steps is purified through natural filtration and hydroponic planting, while a portion is stored and reused for irrigation. The rooftop Taebaek Garden echoes dynamic mountain topography, carrying a hope for renewal in former coal-mining regions. Roadside public open space references border-area field landscapes, providing rest and everyday permeability. Signature places include the Square of Peace, Water Square, a 2,000 square meters lawn for major public events, Terrace Garden, Outdoor Theater, a pollinator production garden, and a protected children's landscape called the Dream & Future Garden.

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29/08/2026

PROJECT | Shin Design Lab Campus

[Project Information]

Architect Firm: Shin Design Lab
Principal Architect: Shin Jeongyeap
Design Team: Shin Jeongyeap, Chung Dukyoung, Kwon Jaeseong
Location: Chuncheon-si, South Korea
Area: 974 square meters
Completion Date: May 2023
Photography: YOON Joonhwan

[Project Brief]

A Voyage Toward the Lake

After many years of design practice in Seoul, the capital of South Korea, Shin Design Lab decided to embark on a new challenge. We sought a place that could embrace creative people and inspire diverse forms of work—one that would go beyond a conventional workplace and actively realize our core values of community activation and sustainable development.

Rather than setting out on a larger voyage across the sea, Shin Design Lab chose to change course toward Chuncheon, a lakeside city in Gangwon Province where regional decline is rapidly accelerating. This decision was an intentional commitment to engage with the challenges of our time, shaped by a sense of moral debt for having benefited from Korea's major historical achievements (independence, industrialization, and democratization) and by gratitude toward previous generations.

After five years of site selection, land acquisition, design, and construction, the place was completed. A mixed-use cultural complex comprising design studios, a cafe, a gallery, an art library, an auditorium, and multiple gardens now stands at the western edge beyond Lake Uiam in Chuncheon.

A Dialogue Between Tradition and the Future

The Shin Design Lab Campus accommodates a wide range of programs to support community activation, with its spatial organization inspired by traditional Korean architecture. The main design studios are oriented due south, while the width of the courtyard and the floor-to-ceiling heights were carefully calibrated in response to neighboring buildings, enabling the complex to adapt wisely to Gangwon's cold winter climate.

The auditorium, a space for education and performance, is located on the eastern side, where the rising sun symbolizes inspiration and creativity directed toward a new future. The gallery, drawing inspiration from the placement of Jibokjae, the royal archive of Gyeongbokgung Palace, is positioned to the west. This minimizes direct sunlight during peak viewing hours, while allowing the warm glow of the setting sun to render the artworks inside more atmospheric at dusk.

On the northern side, the cafe and art library function like a traditional front courtyard or gate, becoming a space of encounter and communication for those who visit the campus.

The Courtyard and the Bird Garden (Rooftop) That Holds Time

The inner courtyard between the two buildings was designed not merely as a landscape space but as a place for diverse cultural and artistic activities. Its proportions and scale were inspired by the courtyards of hyanggyo, Confucian academies from the Joseon Dynasty found throughout Gangwon Province. Ten katsura trees planted there release a sweet, sugarcane-like fragrance in summer, while their leaves change color with the seasons, allowing the courtyard to hold a sense of time and seasonal rhythm.

The Bird Garden on the cafe rooftop takes an alternative approach to conventional rooftop landscaping, which is difficult to maintain during harsh winters. Instead of artificial management, it prioritizes natural pollination by birds and insects, allowing native plants from the surrounding area to take root, fade, and regenerate year after year in repeating cycles of life.

Here, bricks absorb the passage of years.

Seasons express change through color and scent.

And the rooftop landscape, transformed annually, becomes a quiet record of time like tree rings that do not accumulate.

Beyond Architecture

Beyond serving as a place for designing architecture and outdoor spaces, this site has become a platform for cultural and social life in a small city facing the risk of decline. It hosts a successful art fair (Chuncheon Art Road), welcomes world-renowned scholars through public lecture programs (The Grand Lecture), brings young people together through group social events (Hamkke Seomyeon—a community matchmaking program), and provides a stage for a wide range of performances.

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28/08/2026

PROJECT | Art Archives, Seoul Museum of Art

[Project Information]

Architect Firm: ODETO.A + University of Seoul
Principal Architect: Eunju Jeong (ODE-TO.A), Heewon Lee (University of Seoul)
Design Team: Taewoo Kim, Dahye An, Hyunjin Choi
Location: Pyeongchang-dong, Jongno-gu, Seoul, Republic of Korea
Area: 5,590.05 square meters
Completion Date: March 2023
Photography: Texture on Texture(fg-ure2,3,5,9,11,12,13,14,15), studio_kdkkdk(-figure1,4,6,7,8,10)

[Project Brief]

To become a civic place, Art Archives, Seoul Museum of Art (SeMA AA) has been shaped through a long chain of collaboration: two public clients (the City Infrastructure Headquarters and the Museum Division), the competition-winning architect, and—during construction-the team responsible for space planning and interior architecture (ODETO.A). Furniture and signage designers joined the process, as did the contractor and construction management team working on an active site, alongside local residents who will ultimately use and reshape the Archive. Within the inevitable frictions of public architecture—multiple decision-makers, shifting requirements, and finite resources-space planning had to move forward without diluting the project's public promise.

The central challenge was that constraints did not simply accumulate; they contradicted one another. The footprint was compact, yet it had to feel generous. It was small, yet it had to host a wide range of functions. The aspiration for an open, freely accessible plan—available to anyone, anywhere, at any time-collided with operational realities: security, stafng, preservation, and maintenance. Beyond the familiar functions of a museum—exhibitions, education, and the management and conservation of collections-an art archive demands another layer. It must hold the traces of making: records, drafts, documents, and other materials through which works come into being, and it must allow those materials to be stored, accessed, read, and interpreted.

Our response was to divide and connect at once. Within a compact interior, we organized a library, exhibition rooms, collection storage, education spaces, and areas for rest so that each remained legible while enabling smooth transitions and multiple scenarios. The aim was not a fixed, single-purpose layout, but a framework capable of absorbing different sequences—public events, study, viewing, workshops-without collapsing into disorder.

Instead of a single, totalizing order that claims to resolve every conflict, we pursued possibility through looser relations: overlapping partial orders—small rules for small parts-layered through careful coordination. In this sense, the work of sharing judgment and reaching agreements—among stakeholders, and with the citizens the Archive serves-became an architectural task in itself, as important as the built outcome.

We also asked what kind of ground is needed for a place where plural values overlap and fuse. The Archive must endure far into the future, able to accommodate unknown situations and users without becoming brittle. Architecture is not completed at a single moment; it continues to be built through those who inhabit it, and its time moves more slowly than we assume. For an institution that must continually update programs and reinstall exhibitions, interior flexibility is not optional; it is foundational.

For that reason, we aimed for a deliberately neutral space. If visitors are to encounter art and archival material with all their senses, the architecture surrounding them may need to step back—less a figure, more a ground. We sought a durable framework that can present what will be filled without distortion, and that can be filled by almost anything. Preserving the original scheme's structural character—its interpenetrating volumes and horizontal connections-we worked with basic architectural elements (floor, wall, ceiling, column, stair) to tune openness and enclosure, light and shadow, separation and connection, expansion and division. The result is a spatial rhythm that feels continuous and dynamic, yet can be read as distinct rooms when required.

Although our formal scope was limited to the interior, we treated it as an interface rather than a finish, allowing the building's overlapping volumes and exterior scenes to extend into the interior experience of the Archive.

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28/08/2026

PROJECT | PKM+

[Project Information]

Architect Firm: ODETO.A + University of Seoul
Principal Architect: Eunju Jeong (ODE-TO.A), Heewon Lee (University of Seoul)
Design Team: Eunju Jeong, Heewon Lee
Location: Samcheong-dong, Jongno-gu, Seoul, Republic of Korea
Area: 484.93 square meters
Completion Date: May 2017
Photography: Kyungsub Shin

[Project Brief]

Just beyond the main street of Samcheong-dong, where cafés and galleries begin to thin out, a quieter Seoul takes over. Following the walls of Gyeongbokgung Palace and the former presidential compound, the city slips into an alley that feels improbably still.

The guarded boundary lends a faint tension to the air; together with the low-rise fabric, the neighborhood seems slightly out of time. Several large houses have lingered here unoccupied for years, and this building was one of them.

Completed in 1968, the house is an uncommon reinforced-concrete residence for its era: one basement level and three stories above grade. The frame remained structurally dependable, but the building had lost much of its usefulness. Renovation, rather than replacement, became the clearest response—regulatory limits on coverage, height, and development volume left little room for expansion, while the existing structure offered a solid base for a new spatial and environmental strategy.

The client envisioned a hybrid program—gallery and home-requiring both clarity and intimacy. Yet the inherited interior resisted both. Thick floor build-ups, redundant service shafts, and mechanical ducts that no longer functioned had accumulated over decades. These layers compressed ceiling heights, deepened soffits, and turned circulation into a sequence of detours. Thermal performance was weak, and worn finishes blurred the character of rooms that could otherwise have supported new uses.

The strategy began with subtraction and reorganization. The structure and select portions of the exterior wall were retained; interior and exterior finishes were reset, and the electrical and MEP systems were redesigned. The most consequential move was to externalize the building's service infrastructure. Except for electrical wiring, ducts and pipes were rerouted along the outside of the existing walls—moving drainage, exhaust, and gas lines outward-then covered by a new facade. Freed from redundant ducts, floor and ceiling build-ups were thinned to recover volume and height. Exterior insulation was reinforced to improve comfort and reduce heat loss around exposed lines. The new envelope also edited the building's previously irregular exterior into a calmer, more legible presence suited to its gallery-residence identity.

Approach matters here. Walking down the narrow, deep alley, the west elevation appears beyond a low, open wall—an unforced threshold rather than a dramatic reveal. The façade is deliberately restrained: openings are minimized, and material choices are reduced to a small set. Brick tile forms the primary cladding, its tone selected to sit quietly with the terrazzo base. The client was drawn to the intimacy of small-module masonry, but the added build-up required by exterior services and insulation made full brick impractical; brick tile delivered the desired grain without excessive thickness.

Light completes the architecture. The surface registers weather and time with subtle shifts as fine shadows gather at joints and edges. In late afternoon, when the façade holds the warmth of the setting sun, the building remains simple—yet leaves an unfamiliar afterimage.

Renovation, especially of a house long unoccupied, demands careful calibration rather than heroic transformation. Unlike new construction, it asks what the existing frame can still offer—its proportions, its constraints, its quiet potential-and how those qualities can support new meaning. This project did not erase the traces of time; it reorganized them, returning a once-silent structure to the city as a place for both viewing and living.

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27/08/2026

PROJECT | Rhythm

[Project Information]

Architect Firm: Kim-O Architects Co., Ltd.
Principal Architect: KIM Jihee
Design Team: KIM Jihee
Location: Jeju City, Republic of Korea
Area: 188.12 square meters
Completion Date: April 2024
Photography: HWANG Hyo-chel

[Project Brief]

Rhythm is a house in Eoeum Village, a mid-mountain village in Jeju, designed to enter an established settlement quietly. Three volumes-a guest stay, a workspace, and a dwelling-are arranged to form loose boundaries and layered thresholds.

Rather than separating functions, these thresholds register different rhythms of life. Some flter external impressions to allow privacy to deepen, while others respond to the village's everyday sounds, placing quieter rooms further inward. In this way, the house participates in village life not by asserting itself, but by listening before it speaks.

The site lies at the edge of Eoeum Village in Jeju, where houses are scattered rather than gathered. Paths are marked by single stone walls, and the atmosphere remains dry, restrained, and quiet.

Here, the way architecture enters the village matters. The building lowers itself and moves in without emphasis. Long and low, it avoids frontality and aligns itself through placement rather than form. What matters here is not standing out, but staying within the village's existing rhythm-while allowing a slightly lighter tone to settle into the landscape.

In Eoeum Village, eum (音) means sound. The project begins from the idea that rhythm does not come from form, but from spacing. Rhythm is composed of three buildings: a stay for visitors, a studio for work, and a dwelling. Each serves a different function, yet none is treated as primary. Depending on where one stands, boundaries shift. A facade becomes background, a structure enters the view, and distance is neither fixed nor absolute. The buildings do not divide the site; they hold one another within view.

The project unfolds through two sequences shaped by thresholds. The first belongs to the resident. A long approach extends arrival, and small changes in level are felt through the body before they are understood. Crossing a threshold, passing a narrow corridor, moving through the central space, and arriving at a private room-these ordinary actions accumulate, and enclosure forms gradually. The central space opens outward, yet the sense of being inside remains. Beyond it, the deepest exterior space is connected only to the private room; it is not meant to be seen and belongs to the resident alone. The outermost enclosure, walled on three sides and open only to the sky, remains as a condition rather than a visible space.

The second sequence is for visitors. Scenes are divided carefully, and each entry compresses movement through a different threshold. In the late afternoon, light flters through windbreak trees and glass blocks. The body turns to open a door, and space unfolds sideways. A few steps lead upward, like entering a loft, and beneath the deep eaves settles the body. The level changes are small but familiar, allowing the body to rely on habit. Where light passes through glass blocks and meets water, contact between body and architecture becomes direct. A few steps lower, where only the sound of water remains, the space shifts-unfamiliar at first, then comfortable. The spaces remain fragmented; what lingers is not the sequence, but the bodily memory of moving through them.Across the spaces, each is tuned to a slightly different register—some closer to the ground and the sound of water, others rising toward the eave and fltered sky. The glass blocks hold light without fully releasing it, allowing the interior to remain in a state of quiet suspension. In this way, the project operates as a tempo—one that slows the body and allows perception to reorganize through movement.

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27/08/2026

PROJECT | Dwelling in Gotjawal

[Project Information]

Architect Firm: Kim-O Architects Co., Ltd.
Principal Architect: KIM Jihee
Design Team: KIM Jihee
Location: Jeju City, Republic of Korea
Area: 195.21 square meters
Completion Date: May 2025
Photography: HWANG Hyo-chel

[Project Brief]

The Gotjawal House articulates the Korean notion of byeolseo-dwelling as reflective distance, where withdrawal from routine becomes engagement with presence. As a second residence for an elderly couple, the project reinterprets the traditional form of byeolseo (Byeolseo (別墅) refers to a secondary dwelling maintained apart from one's primary residence, historically associated with scholarly retreat and reflective distance from daily routine.) incorporating nugak (Nugak (樓閣) denotes an elevated, open-sided structure, frequently employed within byeolseo compounds to frame the landscape through raised sitting and unobstructed views.), structures open on all sides yet maintaining enclosure, where one sits elevated, looking down upon the landscape.

Anchored in Jeju's volcanic forest terrain, it mediates between body and landscape through awareness rather than form. The Gotjawal—dense lava rock, fractured topography, uneven ground-was physically present yet perceptually severed from dwelling. Instead of reproducing separation as distance, the architecture internalizes that distance as perception, transforming dwelling into an act of mindful coexistence with nature.

In phenomenological terms, seeing and being are inseparable. As Merleau-Ponty observed, "We see the things themselves; the world is what we see." This reciprocity between perception and existence forms the foundation of architectural thought. Seeing is not passive observation but an existential relationship between self and the world. To see the Gotjawal is not to register its form, but to sense its density—the air, humidity, and silence that shape one's being within it. The way of seeing determines the way of dwelling.

The Gotjawal House perceives the forest not as scenery, but as a subjective field that defines dwelling itself. Here, the inhabitant's life is shaped through coexistence with the forest, as nature becomes a partner in forming the inner structure of dwelling rather than its external backdrop.

The architecture translates this reciprocal relationship through three spatial strategies. First, a subtly raised concrete plinth negotiates fractured topography while preserving rock outcrops and drainage, lifting dwelling above the forest floor. This measured elevation creates a threshold where perception begins—a quiet separation that transforms distance into awareness. Rough concrete surfaces echo the volcanic stone, grounding architecture in landscape.

Second, internal passages allow air to move slowly through the house, drawing the forest breeze inside. Wind and humidity are not excluded but become part of the lived atmosphere of dwelling. The forest's atmosphere becomes the medium through which daily life unfolds.

Third, the curved northern eave extends outward to receive light and shadow as fluid boundaries of space. It does not frame a view but orchestrates an atmospheric encounter, creating enclosure without closure, transforming the Gotjawal's density into a living membrane where interior and landscape engage in quiet exchange.

Together they structure perception as a slow sequence: stepping stones extend arrival, turning entry into ritual. Movements—stepping onto the plinth, sitting and gazing down at the forest, looking up at the sky beneath the eave-become moments of awareness.

The project demonstrates, through spatial restraint, that the mode of seeing does become the mode of dwelling. The forest becomes not scenery but what structures daily life. The Gotjawal ceases to be a passive backdrop and becomes an active condition of dwelling itself, reorganizing the way life is perceived and practiced.

Here, seeing is not an act within dwelling but dwelling itself. Seeing as dwelling. Dwelling as seeing.

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