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Exploring Seeded Concrete Voids Within a Multifunctional Urban Hall

Authors:
Azadeh Samiei, Michael De Luca
Exploring Seeded Concrete Voids Within a Multifunctional Urban Hall
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Rooted in the interplay of seeded concrete and negative space, the design fosters community interaction through a multifunctional hall that transcends conventional urban architecture.
5 key facts about this project
01
Utilizes seeded concrete to enhance sustainability and integrate with the environment.
02
Features a central atrium that encourages social interaction and community events.
03
Emphasizes negative space as a vital element in urban design, promoting exploration.
04
Incorporates multifunctional spaces adaptable for various cultural activities.
05
Design encourages fluid circulation, facilitating engagement among users.

### Project Overview
The Concrete Poetry Hall, titled "The Inherent Negative," is located in the urban area surrounding Piazza Galeno in Rome. Its design explores the interplay of negative space and concrete as both a structural and aesthetic component, establishing a dialogue with the surrounding urban fabric. The intent is to create a void within the dense architectural landscape to enhance community interaction and engagement.

### Spatial Strategy and Community Integration
The spatial configuration emphasizes a large central public space that serves as a venue for community activities, artistic performances, and gatherings. This open area is designed for an intimate yet accessible experience, encouraging fluid movement through the hall and providing connections to the surrounding environment. The circulation design prioritizes accessibility, with clear pathways leading to the public zone while ensuring visibility into adjacent spaces, stimulating curiosity and fostering interaction among users.

### Materiality and Innovative Features
Concrete serves as the primary material, reflecting a contemporary understanding of its versatility in architecture. This project employs seeded concrete, integrating organic materials that allow degradation and a return to the ecosystem, thus blurring the boundaries between constructed and natural spaces. The minimalist design language is accentuated by clean lines and simple forms, creating an atmosphere of robustness and refinement. In addition, the incorporation of green elements, such as urban nature installations and outdoor seating, reinforces the balance between built structures and living flora, promoting a harmonious relationship with the urban ecosystem.

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The Buildner’s Unbuilt Award 2025: Celebrating Architectural Creativity and Visionary Unbuilt Designs with a Total Prize Fund of €100,000

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The Buildner’s Unbuilt Award 2025 is an international architecture competition dedicated to recognizing and celebrating the value of unrealized architectural designs. It invites architects, designers, and students worldwide to submit visionary projects that have not yet been constructed, highlighting the power of ideas and the creativity behind the design process. By focusing on unbuilt work, the competition aims to bring forward concepts that shape the future of architecture and push the boundaries of the profession. 

Participants can compete in three categories based on project scale: Small Wonders (up to 100 m²), Medium Marvels (101–999 m²), and Large Visions (over 1,000 m²). Each category winner will receive €20,000, and additional prizes include honorable mentions, student awards, and a special Best Presentation Award. Winning projects will gain significant international exposure through Buildner’s publicity campaign and a feature article on ArchDaily, providing a unique opportunity to showcase creative ideas to a global audience. 

The Buildner’s Unbuilt Award 2025 encourages entrants to submit any type of unbuilt project, from conceptual visions to detailed designs, celebrating bold innovation without the constraints of realization. Important deadlines: registration closes on October 30, 2025; submissions are due by November 20, 2025; winners will be announced on December 17, 2025.

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