Aga Khan Award for Architecture 2025: Beyond Buildings

On September 2nd, the prestigious Aga Khan Award for Architecture celebrated its sixteenth edition with a ceremony at the Toktogul Satylganov Kyrgyz National Philharmonic in Bishkek, Kyrgyzstan. With a prize fund of $1 million, the award recognized seven projects from Iran, Bangladesh, China, Egypt, Pakistan, and Palestine, selected for their remarkable social, cultural, and environmental impact. Let’s take a closer look at two of the winning projects and the powerful lessons they offer.

Khudi Bari (Bangladesh). “Khudi Bari” — which means “small house” in Bengali — carries a big message. Designed by Marina Tabassum Architects, this lightweight, movable structure is more than just a shelter; it’s a practical and poetic response to climate change. Built from local bamboo and steel joints, the Khudi Bari can be easily assembled and disassembled by residents themselves, without electricity or complex tools. It’s affordable, replicable, and adaptable — it can be raised on stilts or moved to a new location when floodwaters threaten. What makes this project truly special, however, is its collaborative spirit. Tabassum involved local communities in the design and construction, transforming architecture into an act of co-creation and empowerment. Each Khudi Bari is a symbol of dignity, resilience, and self-sufficiency, recognized for its ability to “transform vulnerability into strength.” In a world facing environmental and social crises, Khudi Bari stands as a sustainable and ethical model to be studied, replicated, and celebrated: an architecture that not only protects but inspires.

© Marina Tabassum Architects I Khudi Bari. Concept diagram.

© Aga Khan Trust for Culture I Khudi Bari.

West Wusutu Village Community Centre (China). In the village of West Wusutu, on the outskirts of Hohhot in Inner Mongolia, architect Zhang Pengju transformed a problem into an opportunity. The discarded bricks from a rural revitalization project became the primary material for a new multifunctional community center. This project is a virtuous example of sustainability and inclusion. The center was created to address the lack of public spaces and to foster connections among the local multi-ethnic community, particularly the Hui Muslims, elders, children, and local artists. The structure hosts events, exhibitions, and recreational activities, serving as a true social catalyst. The use of recycled bricks is not just an ecological choice but a symbolic one, with each element telling a story of rebirth. The design utilizes natural ventilation and passive lighting to reduce energy consumption. An accessible rooftop and a central courtyard encourage community gatherings, while the aesthetic reflects the surrounding landscape. This small complex proves how architecture can be a tool for dialogue, memory, and future, creating a place where diversity is not just welcomed but celebrated.

© Aga Khan Trust for Culture I West Wusutu Village Community Centre.

Revitalisation of Historic Esna (Egypt). In the heart of Upper Egypt, the city of Esna has found its voice again thanks to an urban regeneration project. After decades of neglect, limited to the famous Temple of Khnum, Esna has been brought back to life through an intervention that has interwoven heritage, community, and sustainable development. Led by the Takween Foundation in collaboration with the Ministry of Tourism and Antiquities and the Governorate of Luxor, the project actively involved the inhabitants, transforming them into protagonists of the urban revival. It wasn’t just about restoring monuments, but about reactivating the entire social and economic fabric: the Qaisariya market was revitalized with local merchants, the historic Al-Jadawi agency was reopened after 70 years, and numerous historic buildings were restored. The jury praised the integrated approach, which was able to “transform residents into architects of their own future.” Esna is no longer just a tourist destination, but a replicable model of participatory urban regeneration, where memory becomes a driver of change. A powerful example of how architecture can heal the wounds of time and restore dignity to places and people.

© Aga Khan Trust for Culture I Revitalisation of Historic Esna.

Majara Residence (Iran). In the surreal landscape of Hormuz Island, Iran, the Majara Residence project by ZAV Architects stands as a bold experiment in participatory architecture and social regeneration. This intervention is not just a tourist complex but a living laboratory of inclusion, color, and community. Composed of a series of colorful domes made with local construction techniques and simple materials, Majara Residence blends art, landscape, and culture. Each structure is designed to host tourists, artists, and residents, creating a human ecosystem where hospitality becomes an opportunity for exchange and growth. The project directly involved the island’s inhabitants, offering training and employment and promoting a circular economy based on creativity and autonomy. The vibrant color choice is not only aesthetic but an act of celebration of the territory and its identity. This intervention demonstrates how architecture can be a tool for empowerment, beauty, and sustainability. A place where tourism doesn’t consume but builds. Where form is not just function but a collective narrative. A replicable model for fragile territories in search of redemption.

© Aga Khan Trust for Culture I Majara Residence.

Jahad Metro Plaza (Iran). Nestled in the vibrant heart of Tehran, Jahad Metro Plaza stands as an emblematic example of intelligent and context-sensitive urban regeneration. Designed by KA Architecture Studio and promoted by the Urban Development Organization of the Municipality of Tehran, the project excels at transforming a transit space into a place of gathering, identity, and beauty. Situated above a metro station, the plaza was reimagined as a multi-functional public space, expertly connecting pedestrian flows, commercial activities, and social life. The use of local artisanal bricks not only honors Iranian building traditions but also creates a visual dialogue with the surrounding urban environment. The design prioritizes natural ventilation, sunlight, and visual permeability, making the area welcoming and safe. Jahad Metro Plaza is more than just an architectural project — it’s a civic gesture that gives back a shared, accessible, and inclusive space to the city. In an era where metropolises risk becoming isolated fragments, this project demonstrates how architecture can mend the urban and social fabric, offering a replicable model for cities in transformation. It is a place where the everyday becomes extraordinary.

© Aga Khan Trust for Culture I Jahad Metro Plaza.

Vision Pakistan (Pakistan). In the bustling heart of Islamabad, the building designed by DB Studios stands as a powerful example of social architecture. This bright and welcoming multi-story structure houses a school run by a non-profit organization that offers a second chance to young people between the ages of 16 and 25, who are often marked by poverty, addiction, or experiences of violence. Designed to nourish the mind and spirit, the building distinguishes itself with vibrant facades inspired by Pakistani and Arabic craftsmanship, as well as interior spaces created to foster learning, community, and spirituality. At its center, an atrium with a symbolic tree provides natural light and ventilation, becoming the visual and metaphorical heart of the project. The perforated metal screens (jaali) offer shade and privacy, recalling Islamabad’s historical architecture. The spaces are flexible and inclusive, featuring modular classrooms, recreational areas, exhibition spaces, staff accommodations, educational shops, and even a rooftop garden tended by the students themselves. Vision Pakistan takes an integrated approach, offering professional training, literacy, the development of relational skills, and peaceful interpretations of Islam. Every element is designed to restore dignity, autonomy, and concrete prospects to those who have lived on the margins. This project is not just a building; it is a generative place capable of planting seeds of hope for the future—a virtuous example of how architecture can become a tool for social improvement, one to be studied, replicated, and celebrated.

© Aga Khan Trust for Culture I Vision Pakistan.

Wonder Cabinet (Palestine). In the fragmented landscape of the West Bank, the Wonder Cabinet, designed by AAU Anastas, stands out as a radical and generative architectural gesture. Situated on a slope overlooking the Al-Karkafeh valley, this multi-disciplinary space is not just meant to be observed but to produce culture, knowledge, and community. Spread across three levels and totaling 950 m², the complex houses creative studios, artisan workshops, a multi-purpose hall, a cafe, and a design shop. Expansive windows and transparent walls create visual and functional continuity, while the steel and glass doors open completely onto the outdoor plaza, establishing a direct and permeable dialogue with the city. The project involves artisans, designers, visual and sound artists, chefs, and researchers, promoting manual skills and collaborative learning as tools for empowerment. In a context marked by occupation and marginalization, the Wonder Cabinet serves as a hub for local production and training, restoring visibility and value to often-ignored skills. This space doesn’t just host cultural activities—it generates, nurtures, and disseminates them. It is a model of inclusive, flexible architecture, deeply rooted in its territory and capable of transforming the urban and social landscape into a laboratory of possibilities.

© Aga Khan Trust for Culture I Wonder Cabinet.

Each winning project represents a unique and significant response to local and global challenges, evaluated according to three critical parameters: design pluralism —  the ability to offer targeted and contextual solutions; transformative impact —  the capacity to activate cultural dialogue and promote environmental sustainability; global representation —  architecture that can generate hope in profoundly diverse contexts. The awards are not given to a fixed number of winners but are based on criteria of quality, impact, and representativeness. This year’s Master Jury — comprised of Azra Akšamija, Noura Al-Sayeh Holtrop, Lucia Allais, David Basulto, Yvonne Farrell, Kabage Karanja, Yacouba Konaté, Hassan Radoine, and Mun Summ Wong — recognized a transformative power in these seven projects that made them fully deserving of celebration.

In the international architectural landscape, the Aga Khan Award for Architecture doesn’t just celebrate architects; it also recognizes the fundamental contributions of artisans, engineers, clients, and local administrations who make works possible that can transform the territory and society. In a world marked by instability and environmental challenges, this year’s award once again affirmed how architecture can represent “a message of hope” — a powerful tool for building stronger, more identity-driven communities. The recognition also demonstrates that even in often-forgotten contexts—marked by conflict, cultural marginalization, or economic depression — architecture can act as a matrix for change, strengthening the communities in which it takes shape. The publication Optimism and Architecture, curated by Lesley Lokko and published by ArchiTangle, compiles the winning and shortlisted projects, offering a deep and articulated reflection on the role of architecture in times of global crisis. It is an invitation to look to the future with confidence, through the transformative power of design.