Established in 2017, the Architecture Drawing Prize celebrates the significance of architectural drawing as a tool for capturing and communicating design ideas. Now a leading international competition, the Prize attracts entries from architects, designers and students across the world. Winning entries are exhibited at Sir John Soane's Museum in London, with selected works also displayed at the World Architecture Festival.

In the Eye of the Storm 
by Javier García Goicoechea of Morph Estudio Madrid/ Oxford Brookes School of Architecture

In the Eye of the Storm makes a comment on addiction and the manipulative nature of propaganda by proposing a casino as a journey toward enlightenment. Bringing together six floor plans, the drawing reveals the gradual transformation of the architecture as it unfolds through the stages of addiction. Read as a sequence, the plans move from clarity and order towards increasingly fragmented and organic forms. Rooms multiply, circulation becomes less legible, and orientation slowly fades, mirroring the user's growing dependency. Seen together, the plans reveal a slow loss of control, as what first appears as a coherent architectural language gradually unravels into repetition, distortion, and uncertainty. In doing so, the floor plan becomes a record of behaviour rather than a record of space, allowing the narrative to emerge through the evolution of the plan itself.

Floating Feast
by Alexandra Kazandzhyan of London Metropolitan University, BA Architecture and urbanism

This drawing is an architectural fantasy based on the idea of a great feast transformed into an architectural form. A feast is a celebration where a long table becomes the central place of the story and the main stage for events. It is a closed and isolated phenomenon, in the positive meaning of these words. These ideas became the basis for “Drifting Feast.” It is a ziggurat-shaped structure on a floating raft, formed by one continuous table. At its head is a whole orchestra, whose music can be heard all around. The feast drifts from city to city. It has no captain, and anyone can join or leave. Fishing nets collect treasures, forming the “facade” and a museum of the journey.The wooden structure is made from identical modules: tables, steps, and supporting columns.

Post-Tropical Landscapes: Myths, Monsters and Monuments
by Annabelle Tan of Studio Mess

In a city with no mountains, we make our own. Using a triad of myths, monsters and monuments, this triptych pushes Singapore’s hyper-artificiality to its limits by radically reimagining our culturally constructed landscapes in the face of socio-ecological crisis. Blending critique with storytelling, the drawings present alternate futures as historical facts, speculations as monuments. Architectural ‘monsters’ act as protagonists, questioning the myths embedded in our built environment that perhaps no longer serve us. Concrete shells from modernist yesteryears are enshrouded by veils of vines, creepers and roots that protect inhabitants from the unpredictable climate shocks of global weirding. These hybrid monsters blend high-tech intervention with the prosaic “lo-tek” wisdom of grafting and gardening; located at the edge of normality, they offer us an escape to explore new ways of being. Through incoherent assemblages and vertiginous spirals of myth-making, we may begin to prefigure the monuments of tomorrow.

Cambridge Business Park Illustrative Masterplan
by Jarrell Goh of Studio Egret West

Studio Egret West’s vision for Cambridge Business Park condenses a sprawling, imaginative masterplan into a single, captivating drawing. Designed to weave a new science-led development into the existing business park, the illustration highlights vital community connections, high-tech campuses, and integrated transit networks. By playfully manipulating scale and injecting a layer of whimsical animation, the drawing invites viewers to lean in and explore every design detail. Serving as a centrepiece for public consultation exhibitions, the drawing translates the complex urban design into an inviting, accessible vision for the local community.

Urban Scenography
by Bojana Sićović of Academy of Arts, University of Novi Sad

The drawing emerged from research into social housing transformations in New Belgrade (with Vanja Spasenović), focusing on Block 23, whose selected original drawings are held at MoMA, New York. The work explores the façade as a permeable membrane where private and public, dwelling and city intertwine. Within this in-between space, an urban scenography emerges, with inhabitants as its actors, unfolding across three interconnected planes: the interior, where individuality manifests through everyday life; the façade, where windows, balconies, and residents’ interventions become its visible traces; and the city as a changing setting, shaped by vegetation, light, time, and atmospheric conditions. Across these overlapping planes, the original anthropocentric idea of equality encounters individuality—a related human-centred idea, now focused on the individual. Architecture remains a shared framework, continuously reinterpreted through time, use, and everyday life, transforming the uniform façade into a dynamic image of collective housing shaped by individual lives.

Gilgamesh
by Gary Polk of Bjarke Ingels Group

Gilgamesh culminates several years of speculative drawing practice exploring a Hejduk-esque world of obscure, nonhuman architectural beings. The drawing combines conventions of architectural projection, annotation, and diagrammatic scaffolding with techniques drawn from pre-modern depictions of mythical creatures. Constructed entirely through linework, hatching, and stippling, Gilgamesh appears as a kinetic architectural compound kaiju, an assemblage of architectural fragments, infrastructural organs, and mechanical armatures. Ribbed frames, conduits, turbines, and scaffold-like structures form a dense architectural anatomy within a latent orthogonal field. The work asks how drawing conventions might be challenged and hybridized by mining techniques and modes of representation from disparate drawing traditions.

Glasgow School of Art 2026
by Ross Cameron

Damaged by the first fire in 2014, and decimated by the second fire in 2018, Glasgow School of Art is now a charred shell of stone and brick. 2026 marks the 8th year of Glasgow School of Art in this state of limbo. Now scaffolding, so often a symbol of progress and renewal, has become an almost permanent feature of how we perceive ‘The Mac’. ‘Glasgow School of Art - 2026’ explores these ideas through the medium of pencil drawing, capturing the permenant/temporary nature of the scaffolding, surrounding the Glasgow School of Art. Hand drawn by Glasgow based architect Ross Cameron, it’s the latest in a growing collection of drawings that capture and reflect the current state of much of Glasgow’s historic Architecture. 

Fox River
by Michael Chapman of Western Sydney University

This drawing was produced as an abstract mapping of the fictional prison from the 2006 Television Series Prison Break and the journey of its main character, Michael Scofield. The drawing is an accompaniment and research map to my PHD thesis on the subject of fictional architects whose first name is Michael. The drawing is comprised of 49 A3 panels, assembled in a grid of 7 x 7. Each panel comprises an individual island or chapter of the thesis, as well as a mapping of creative and scholarly influences and outputs at any given point. The research explores allegorical models of representation, where multiple layers of interpretation are located and fixed through elements within the drawing. Organised through layers of geological, mechanical, conceptual and institutional knowledge systems, the drawing emulates the complex tattoo of Scofield which not only records the plan of the prison, but the hidden pathway to escape it.

Reflections on a Journey II
by Ben Johnson of Ben Johnson Artist

My intention was the exploration of a space both real and ultimately imagined within an existing building. A single image became a starting point. in reality this photograph showed a skyward view, however, I wanted to explore its potential to be a journey along a corridor without any gravity. The solid walls over a number of months became transparent and reflective revealing alternative spaces. The starting point were several drawings followed by a transfer to canvas with paint applied and over a prolonged period redrawing was made on top of the paint and then further layers of paint were applied to define the space. My intention was to disorientate. To turn solid material and fact into transparent and fluid fantasy. The realisation was a constant process of investigation through line.

The People's Palace
by Ioana Enache of rg+p / The Bartlett School of Architecture

This drawing is an archive of spoken memory, situated within the foundations of the unfinished Romanian Opera. Following the Revolution, much of the written record of the preceding decades had been shaped by propaganda, leaving gaps and distortions in the historical narrative. The project attempts to fill these gaps through the testimonies of architects who practised under the regime, recording what they built and tried to protect. Drawing on the tradition of Romanian theatre, where set designers embedded hidden messages critical of the regime within their stages, each testimony is translated into a set within the foundations. Memory becomes architecture: individual accounts are given physical form and placed within the remains of an unrealised cultural institution. Together, these sets form an alternative archive.

Re-enchanted City
by Laurie Chetwood of Chetwoods

Re-enchanted City. Re-enchanted City imagines how an abandoned metropolis, rendered obsolete by the relentless pursuit of technological efficiency, might be rediscovered, inhabited and transformed. Much as London was repurposed after the collapse of Roman rule, a new community emerges within the remains of the abandoned city-not erasing the old, but adapting its structures, materials and infrastructure to support a sustainable settlement. The city begins with a hydrogen fuel cell at its core, surrounded by the first living quarters. From this nucleus, a spiral geometry expands outwards, providing movement and connectivity while generating increasingly larger spaces - from dwellings to civic spaces for administration and governance and ultimately landscapes for rainwater harvesting, food production and recreation. The drawing presents architecture as an evolving process of occupation and adaptation - a new urban order taking root within the shell of a city designed for another age. 

Hand-drawing Prize Winner
Dockyard X by Jason Wang

Architecture in Translation by Oscar Ssu Kuo Lo

The Lost Boys: It's OK to Cry - Composite Drawing (Plan, Section, Perspective, and Axonometric) by Erhang Wang

This project reimagines decommissioned naval components into an experimental hydrofoil hub that fuses maritime heritage with innovation, exploring how humans can reclaim presence and purpose amid machine-dominated environments.

This project examines the tension between top-down and bottom-up design by using typological and diagrammatic reasoning to explore how adaptive architectural systems can quietly yet dynamically shape and respond to evolving urban conditions.

This project proposes an architectural response to the 2004 Morecambe Bay tragedy—a memorial, RNLI station, and survival training pool in Blackpool—that educates coastal communities, commemorates lost lives, and explores resilience through emotionally and temporally driven design.

Almost Forgotten by Yixuan Liu

Spatialization and Memory Mapping: an Urban Redesign through the Lens of Savannah Train Station by Xinyi Liu

The Tales of Liminality by Anna Pang

Almost Forgotten is an architectural exploration that transforms fragmented materials and intuitive making into a suspended, fractured structure, using space, light, and material to evoke memory, loss, and belonging.

This drawing presents the Savannah Train Station as a spatial narrative that decodes ecological, historical, and infrastructural systems, using design to reveal the city’s evolving social, environmental, and economic dynamics while proposing adaptive, resilient urban infrastructure.

The Tales of Liminality reinterprets Venice through a 12-panel screen that weaves the city’s silk heritage with transnational histories, challenging Eurocentric urban narratives and highlighting the fluid, intersecting cultural influences along the Silk Roads.

Gossips: Phantoms of Deconstructivism and Postmodernism by CJ Lim

Living Soil by Inside Outside

A Working Monument by Tom Wood

This diptych critiques architecture’s entanglement with social media, AI, and ideological posturing, using contrasting methods to expose how critical theories and stylistic rivalries can become self-serving myths rather than rigorous discourse.

Living Soil is a design research project that creates a visually engaging representation of soil biodiversity, capturing the complex interactions of an ecosystem to inspire awareness, imagination, and appreciation for an often-invisible and endangered environment.

The reimagined Swan Hunter fabrication shed transforms a historic dry dock into a collaborative, educational space that fosters innovation in manufacturing, builds on the region’s industrial heritage, and promotes community engagement through hands-on learning and systemic problem-solving.

Hackney Power Plant Sectional Isometric by Holly McLean

Two views by Marie-Louise Raue

São Paulo State Art Gallery by Danilo Zamboni

Hackney Power Plant repurposes a former coal-fired power station into an educational and research hub for sustainable, carbon-sequestering materials and products, embodying a circular economy to address past environmental damage and the climate emergency.

This axonometric diptych of Mary Miss's 'Perimeters/Pavilions/Decoys' shows the project from two vantage points, the centre of the sun and the centre of the earth, serving as an analytical tool, a means to survey and test what it means to perceive diametrically opposing positions simultaneously.

The exploded perspective of the São Paulo State Art Gallery illustrates both the historic and modern interventions, highlighting the museum’s spatial relationships, public activities, and interactions with art and the city, using a playful approach to engage viewers of all ages.

Super-Mega-Ruralistic by Mark Smout

Himalayas Frontline: A Waterscape against Climate Change by Yichen Li

Shilpogram: A Crafter's Village by Sanjidah Chowdhury

Super-Mega-Ruralistic is a speculative design project that transforms industrial landscapes into elevated, adaptive agricultural systems integrating ecological restoration, climate resilience, and energy-responsive crop modulation, visualized through a hybrid triptych that conveys both structure and atmospheric light.

This project envisions a resilient, inhabitable landscape in Bhutan that addresses climate-induced water crises by securing water, food, energy, and cultural resources while protecting downstream ecosystems, depicted through floating villages and a weaving promenade.

The Shilpogram Village proposal reimagines a flood-prone Bangladeshi community through socially informed, culturally sensitive, and environmentally sustainable interventions that elevate traditional livelihoods, craftsmanship, and everyday practices to foster resilience, equity, and adaptive living.

Overall and Hybrid Category winner
‘(Re)membering the See Monster’ by Eldry John Infante
This drawing renders the transformation of a defunct oil platform and welcomes discussions that go beyond a structure’s physicality.

Hand-drawing winner
‘Grundtvig’ by Ben Johnson
The ink drawing is inspired by the 1920s Grundtvig Church in Copenhagen made using six million bricks.

Digital Category Winner
'The Archatographic Map of the Incomplete Landscape on Pedra Branca' by Eugene Tan
The Archatographic Map of the Incomplete Landscape on Pedra Branca’ explores the vulnerability of our planet, more specifically in Singapore.

Overall and Hybrid Category Winner
Fitzroy Food Institute
Samuel Wen and Michael Ren
'Fitzroy Food Institute stands out for its well-considered and subtle use of colour. It’s a very accessible drawing looking over a shared meal at a table; yet it is full of architectural interest featuring not only a plan, but sections and elevations as well as detail. A conceptually original and genuinely delightful entry.'Ken Shuttleworth, founder, Make Architects

Hand-Drawing Category Winner

The Spirit of Mountain
Weicheng Ye

‘This is a drawing of great delicacy which highlights the difference between a tall-building aesthetic, and the possibility of disrupting it in a creative way via the insertion of nature as artistic intervention. A very worthy winner.’Paul Finch, Director, WAF

Digital Category Winner

The Wall
Anton Markus Pasing

'The Wall fills the view with a golden elevation: expansive and richly complex, it appears both vertical and horizontal, before us and below us, a terrain of construction and sedimented accumulation. It is not a border or a barrier, it is a space itself, a place of habitation, a record of social interaction. The wall is like time, it is history in the making.'
Artists Ben Langlands and Nikki Bell