Before the shortlisting and final jury presentation, every juror is kindly requested to read and digest the criteria below and study all the submitted materials. Every juror will be asked to consider each of the following points in relation to every scheme.

They will then be asked to make a shortlist in four categories as shall be seen later. They will look in detail at all its aspects, interior and exterior, etc…, listen to the narrative of the students, interrogate them about the process and its results. After discussion with fellow judges, they will arrive at their provisional judgments. Once all presentations have concluded, the jury will meet for a final time, take those provisional judgments, apply the criteria once again and decide their awards. The judges’ decision is final and awards will be made at their discretion (the organizers reserve the right not to make awards if there are no eligible candidates of the required standard.)

The judges are looking for schemes that fulfill as many of the criteria featured as possible; they will use their local knowledge and professional experience for evaluation regardless of the number of designers in each group; each submission is evaluated and ranked according to the following criteria:

General Framework for Evaluation:

In competing architectural designs, the assessment of entries in an architectural competition can be seen as a search for answers to the following fundamental queries:
  • What does the competitor mean? The jury has to relate to the competitor’s vision of the project as architecture.
  • How do the competitors communicate their visions? The representations give notions about the competing architect’s ability to communicate.
  • How will the result become? The jury must visualize the entries as built architecture.

Selection and Evaluation Criteria

While addressing the above mentioned questions, fivefold rhetoric is considered: this rhetoric is based on the concept of quality, through a legacy from Vitruvius, that stems from the indivisible unity of form (venustas), function (utilitas), and construction (firmitas). Nevertheless, this rhetoric further models the triad into four interrelated constituents: a program, a formal design language, technology both in drawing conventions and actual construction that allow the realization of the design, and most importantly a theory that links all of the above together in the form of an architectural concept. These parts operate within the realm of a context with its physical, socioeconomic, and technological spheres. This rhetoric forms the base of the selection criteria for the entries of the competition.

1-Relationship to Context (Urbanity):

this is related to two main issues
  • Coherence and surroundings:

    How well does the proposal fit the site? Is the scale appropriate? How does the design blend in with the neighboring buildings and the surrounding landscape? What is the positioning of the volumes? Issues of harmony and contrast with the surroundings…
  • Entrance position:

    How has the competitor solved the entry into the area, site, and buildings? What is the relationship between the outside traffic and the inner movement pattern in the area and building both for pedestrians and vehicles?
  • Access and Urban Context:

    This criterion addresses issues that deal with circulation of both pedestrians and vehicles in terms of clarity, safety, and design of entry points, paths, and orientation.
  • Views:

    This criterion focuses on the issue of creating “pleasing vistas” and visual access opportunities from and to buildings and spaces on and off the site.

2-Concept and Theory:

  • Wholeness and fundamental idea:

    How has the competitor solved the competition goal on the whole? Is there a powerful design idea? To what extent has a strong fundamental idea and an appealing design been combined with functional demands, durability and economy.
  • Process and resource goals

    of the theory and logic of the design thinking and methodology.
  • Design precepts, research and theory.

    This criterion addresses issues that deal with circulation of both pedestrians and vehicles in terms of clarity, safety, and design of entry points, paths, and orientation.
  • Originality and challenge of the design concept.

    This criterion focuses on the issue of creating “pleasing vistas” and visual access opportunities from and to buildings and spaces on and off the site.
  • Concept interpretation.

3-Architectural expression, language and form:

: this category deals with the image of the project and it relates to issues of quality, context, aesthetic impressions, psychological impact, and symbolic meaning. This category includes issues of: Composition: this category indicates that the architect made his decision based on aesthetics and the manipulation of form and space for compositional purposes; design elements, design principles and their manipulation.

  • Symbolism:

    i.e. the design decision was based on a certain idea or concept related to ideology or belief.
  • Spatial qualities

    qualities both indoor and outdoor.
  • Movement and experience.

    This criterion addresses issues that deal with circulation of both pedestrians and vehicles in terms of clarity, safety, and design of entry points, paths, and orientation.
  • Identity:

    this criterion deals with providing a distinctive character and identity to the provided project. .
  • Sense:

    this criterion addresses issues of spatial form and quality of the built project in a sense that creates excitement and visual interest.

4-Suitability and functional set up:

: this category deals with the functional implications of the client’s organizational goals-the major activities to be included and their relation, the number of people to be housed, etc… It addresses the questions of how has the competitor solved the spatial organization? How does the proposal work in regard to the end users’ planned activities? How have the end user’s functional requirements been met? These include issues of :

  • Requirement fulfillment:

    areas, zoning, functional relationships.
  • Circulation

    configuration of horizontal and vertical circulation.
  • Potential and flexibility

    for future development and change.
  • Human Behavior:

    functional and zoning took into account human behavior.
  • Livability:

    this criterion deals with issues of not only vitality or the degree to which the design supports the vital functions of human beings but also issues of leisure and comfort in terms of providing amenities and lively spaces.

5-Economical and technical solutions:

How is the contribution technically produced? Are the system solutions, constructions and materials safe, buildable, and economical?

  • The use of unique methods of construction.
  • Materials and technology.
  • A symbiotic relationship between the structure and the materials needed to build it and the reuse or return to the earth of the materials after their use.
  • Economy goals involve money related issues such as construction and energy costs.

6-Sustainability and green architecture:

  • Use of passive design concepts such as natural ventilation, passive solar heating, solar chimney double sided facades.
  • Orientation and spatial configuration planning and form according to prevailing wind sun path, local climatic condition and surrounding urban context.
  • Life- cycle of buildings.
  • Use of sustainable materials (local, recycled, reused).
  • Community and connection.
  • Active Systems.

7-Development possibilities:

To what extent can the proposal be further developed? Can some of the shortcomings be corrected and other solutions improved without losing the fundamental idea and without compromising the architectural quality?

8-Graphics and Visual Presentation:

visual renderings of conceptual diagrams as well as exterior and interior drawings should allow the viewers to clearly visualize the building exterior and interior as well we communicating design ideas and content. The generated 3D exterior and interior renderings should provide complete idea of color combination, landscape details, shadows, interior and exterior element placements.


Submissions shall be excluded from consideration:
  • If received after the latest time stated under the Submission Method.
  • If, in the opinion of the judging panel, it does not fulfill the requirements of the brief.
  • If an applicant shall disclose his or her identity, or improperly attempt to influence the decision.
  • If any of the mandatory requirements of the design brief and conditions are disregarded.


Designs and accompanying material shall be submitted without name, motto or distinguishing marks of any kind. A successful applicant must be able to satisfy the judges that he/she is the genuine author of the design he/she has submitted. The use of any precedents or ideas that might have influenced the design must be referred to clearly.
© 2015 | by Arabtech Jardaneh - IT