Interviews with Dmytro Shakal

Africa is an amazing continent. Whenever I go there, I never cease to be amazed by its authenticity. In total, I have lived there for almost a year. Searching for and revealing its identity is a fascinating and exciting exploration for me, and a core part of the philosophy of the architectural studio I founded, TVORZI. We try to make every project we work on an integral part of the environment and culture in which it is located. This philosophy was also applied to the JUMBA NUNGWI project, where the main source of inspiration was the nature of Zanzibar itself and the desire to create architecture that does not mask Africa as Europe, but reveals its own character. The idea was for the buildings to seemingly grow out of the earth, like coral reefs, with waterfalls and grottoes, secluded terraces and pools, and facades with terracotta and sepia hues continuing the colors of the local soil. We sought to blur the boundary between the buildings, the interiors, and the environment, so that the terraces dissolve into the landscape, and the architecture speaks the same language as nature.

We aimed to create a unified recreational ecosystem. The core idea was to make architecture, economics, engineering, and the spirit of the place work as a single whole — a project that is impossible to relocate to another country without losing its meaning. The main question we asked ourselves while working on the project was: "Would we want to spend our own vacation here?"

The JUMBA NUNGWI project was developed with a flexible business model in mind. We understood that the investor is not always ready to build the entire complex at once, so we incorporated a phased implementation model. Construction begins with the villas, which allows for initial sales and cash flow generation, and only then can it proceed to subsequent phases. Our goal is to shape the project so that it remains viable at every stage, setting new standards for tourism, living, and eco-luxury in the region. Work on this project is ongoing.

Developing the first version took several months: we created visualizations, floor plans, and an economic model. But then we realized we were building "the wrong thing," and we discarded all that work, starting from a blank slate. I believe that honest architecture is not born with the first sketch, but at the moment you find the courage to throw away months of labor for the sake of a better solution. In total, the process required a significant amount of time, as we were searching not just for a form, but for the right story, economics, and image, a scenario for living, while carefully planning the engineering infrastructure and future operation.

Our design brief was unique. The client simply said: "Propose what you think is right." There were no restrictions on typology, deadlines, or budget. Such absolute freedom is, in fact, the most difficult brief of all. We developed this concept to answer the investor's trust with real action and to create the most successful and authentic product possible.

6. Is your design being realized or used by another company? Do you plan to sell or transfer the rights to its realization, or do you intend to realize the project yourself?

The project was created specifically to be realized by our studio and our clients. We at TVORZI act as the authors of the architectural concept, the master plan, and the marketing strategy (including a large-scale pre-sales campaign). It will be realized by the investor's team with our direct conceptual and architectural supervision.

The project was created specifically to be realized by our studio and our clients. We at TVORZI act as the authors of the architectural concept, the master plan, and the marketing strategy (including a large-scale pre-sales campaign). It will be realized by the investor's team with our direct conceptual and architectural supervision.

The challenge. We are interested in tasks that are simultaneously daunting in their scale and in their lack of rigid boundaries. The opportunity to create a premium-class resort from scratch, to think through not only the architecture but also the economics, logistics, branding, and atmosphere — this is the ideal environment for our approach. True development does not begin with pictures, but with the logic of land utilization and the creation of value that changes everything around it.

Our vision was shaped exclusively by the local context: African nature and traditional spatial solutions where life is built around open squares. Our main "co-authors" were the ocean itself, the wind, the sun, the corals, and Africa itself.

These are people looking for a new level of quality of life and recreation, where luxury lies not in gilding or decor, but in naturalness, privacy, and harmony with nature. Our audience consists of those who appreciate honesty in architecture and materials, and who also love Africa as much as we do.

Its absolute belonging to the place. Most modern resorts can be relocated to another continent without any changes. JUMBA NUNGWI would lose its meaning if removed from Zanzibar. It is also distinguished by the fact that the beautiful master plan here is a working financial instrument, where the sequence of construction and operation of the buildings is thought out primarily to reduce investment risks.

The name JUMBA NUNGWI is closely tied to the location and the essence of the project. "Nungwi" reflects its location on the picturesque northern coast of Zanzibar, and the word "Jumba" (meaning a palace or a large building in Swahili) emphasizes the scale and significance of this complex, which creates new architectural standards for the entire region.

We use a comprehensive digital approach in our work. The foundation is BIM modeling in Autodesk Revit for the precision of all architectural solutions, and for photorealistic visualizations — 3ds Max and D5 Render. An extremely important tool for client presentations and pre-sales campaigns was the use of WebGL modules and the Kuula platform to create interactive 360-degree virtual tours, which help us promote our solutions and create presentations.

The most unique aspect is the seamless connection between the exterior and interior spaces. Vertical landscaping, water integrating into the architecture, and volumes following the terrain make the buildings a living ecosystem. The engineering infrastructure we have created also commands attention: the systems for air conditioning, energy saving and generation, water harvesting and purification, and wastewater filtration. Furthermore, the very typology of the buildings and recreation, tailored to different client profiles, is interesting in itself.

Architecture cannot exist separately from other disciplines. The project was the result of a powerful synergy within the TVORZI group, as well as close collaboration with engineers, economists, and marketers. Together, we developed the financial models, CAPEX, OPEX, logistics, and sales strategy. A good project is always a union of a strong idea, a verified financial model, and implementation discipline.

Technology is present on two levels. In the building itself, it means eco-friendly engineering systems, the use of rainwater and water generated from the air, wastewater purification, energy storage, and passive cooling through deep terraces dictated by the African climate. In the development process, it means BIM coordination and interactive 360-tours, allowing future residents to "take a walk" through their villas long before the concrete work begins.

We always begin our work by researching the site, the soils, analytics, and economics. For several weeks, the team developed various scenarios for developing the site: a hotel, a villa complex, an apart-hotel, or mixed formats. For each option, we created financial models, construction scenarios, and ROI forecasts. Only after determining the optimal business model did the architecture emerge.

The hardest part was discarding our own large body of work completed during the first stage. We had prepared a beautiful, rational project, but at some point, we honestly admitted to ourselves that it did not convey the emotions of Zanzibar; we weren't drawn to it, we wouldn't want to vacation that way. The client didn't even know this, but their trust obliged us to seek the best. We threw away months of labor and started all over again. It was a tough decision, but it became the crucial one for the entire complex.

For us, a competition is a way to keep moving forward. It's an opportunity to step outside the familiar, rethink our own approaches, and become a different team. Recognition at the A' Design Award level and the exhibition in Italy is confirmation that when you work honestly with the local culture and economy, without imposing foreign styles, it resonates with the entire global professional community.

A strong concept is only the beginning of the journey. True value is born when architecture, economics, and marketing work as a single whole. But the most important thing I realized personally is that you must always be honest with yourself; you shouldn't be afraid to discard your own idea, even if a lot of time has been spent on it, if it no longer serves the main goal.

I would add that the foundation of all my work and the work of the TVORZI studio is the "Everything is Possible" principle. We ourselves are the creators, the makers of our reality (which also somewhat echoes the name of our studio, TVORZI = creators). Do not stop at what you have achieved and explore this beautiful world, discover new things and be honest with yourself, and honest design will follow.

I wasn't able to get into an architecture school right away, but I did enroll in the graphic arts department of a pedagogical university and began studying to become an artist. But I really wanted to become an architect. The director of the architecture institute was accommodating, allowing me to attend first-year classes and lectures and complete assignments, but in return, I had to help the department with renovations. So I ended up studying at two institutes, and on weekends and vacations, I worked on renovations at the architecture institute. Over time, I was able to enroll legally and ultimately earned two degrees: one in architecture and one in art education, and I realized my dream.

Early in my career, I worked for large design firms, creating hospitals, schools, hotels, and residential complexes. This experience gave me an understanding of architecture as a complex system that unites engineering, economics, construction, and management. Later, I opened my own practice, working with a wide variety of typologies, tasks, and locations. I feel like I'm doing what I enjoy; I love dreaming and then watching my dreams come true.

For me, TVORZI is more than a studio—it's a reflection of ourselves, our ideas, our philosophy, and our desire to create, build, and deliver more to our clients. More emotion, more results, more product. We formed our company from several teams of passionate professionals and, over time, have become an international design bureau. Our head office is located in Varna, Bulgaria. We work at the intersection of architecture, development, engineering, marketing, and sales.

Our geography includes Bulgaria, Ukraine, Slovakia, Tanzania (Zanzibar), Croatia, Indonesia, and other countries. We can start with a concept and master plan, and then go all the way to working documentation, BIM coordination, the creation of interactive website modules with 3D tours, marketing, and sales team setup. Our goal is to create architecture that sells—that is economically feasible, functions as a unified system, and will serve the client, the city, and society for a long time. Our team's guiding principle is: "Everything is Possible." This means that we don’t stop at the first explanation or the first concept; we are constantly moving towards the result.

I love the quote: "Good design is immediately obvious; excellent design is invisible." For me, this means thinking about the little things, the details; it's a way to turn problems and shortcomings into opportunities. A good designer doesn't start with the question, "What form do we want to create?" They start with the question, "What really needs to be solved here?" Form is merely a consequence of decisions and ideas.

I'm fascinated by complex projects where architecture doesn't exist separately from other processes. These include large-scale master plans, residential complexes, resorts, and public and sports facilities. I love projects that combine interests: where the architect considers the quality of space, the economy, and engineering systems to create a cohesive environment. I constantly seek the identity of a place and a culture, and I love exploring societies.

It's hard to choose just one. Probably the most recent one. With each new project, we change, looking at the next and the previous one differently. I would highlight the concept for the new stadium in Zagreb ("Zagrebački greben" - Maksimir), which we created for an international competition, and the JUMBA NUNGWI resort in Zanzibar.

In Zagreb, on a site of over 23 hectares, we needed to create not just a stadium for 35,000 spectators, but also a unified sports complex, a transportation hub, a park, and a connection to the city. The idea was born from the history of the two halves of Zagreb, located on hills once connected by a bridge, and was inspired by the mountain silhouettes. JUMBA NUNGWI is an eco-luxury resort, the idea for which was born from the image of coral reefs surrounded by waterfalls, recreation areas, and a special atmosphere. We were involved in everything there: from research and architecture to marketing and the business model. In 2026, this project won us the prestigious A' Design Award.

My first truly important project after establishing my own practice was a low-rise residential complex. We created a wonderful concept and winning architecture, and the project proved commercially successful. But years later, I saw how the residents of those small apartments had changed it. It was then that I realized an architect designs not just buildings, but also a model for a future community. A mistake or oversight at the outset can last for decades and transform an entire neighborhood.

When it comes to materials, I'm not tied to just one, but I really enjoy working with natural materials. Our studio prefers a clean, natural palette. As for technology, the foundation of our work is BIM modeling in Autodesk Revit and photorealistic visualizations in D5 Render and 3ds Max. We also actively build and deploy interactive modules on websites where our clients can view objects and use them for sales and presentations.

When I'm faced with a task for which there's no answer yet. Sometimes the best moment is when the team realizes, "We're building the wrong thing; we need to start over." That's what happened with one of the resorts in Tanzania, BAO KIJANI. We threw away months of work because we honestly decided we wouldn't want to vacation there ourselves. Only then did a truly powerful project emerge.

Everything begins with research into the site, location, city, and community. Only then can a good concept emerge. During our work, we focus on how the building will function in 10 or 20 years, what the economics and payback period will be, how the building will integrate into the city and surrounding environment, how much impact it will have, and how we can minimize that impact. We think about how people will feel when using the building—how comfortable, safe, and convenient it will be for them. In fact, we constantly keep a huge number of questions in our minds, and our architecture is born only after we have honestly answered them all.

At first, I feel immense curiosity and a thirst for exploration. Then doubt. Perhaps excitement. And sometimes fear. In large projects, where engineers create systems, architects build podiums, and economists create estimates, it can be scary to lose sight of the big picture. Maintaining this integrity is the most difficult part of a leader's job.

When a project reaches construction, the architect loses some control. I'm often dissatisfied and demand more, but this usually helps achieve better results. In general, the outcome always depends on who you're working with, who's on your team, and who's on the construction team—the results depend entirely on the people. The ability to achieve greatness depends on effective communication.

The ability to create value. A good project is one where architecture, utilities, marketing, and operations work together as one.

First, I look at how well the idea fits the location. Then, I check whether it works functionally. One experienced developer taught me to use the terms “delicious/not delicious” rather than “beautiful/ugly.”

He said: “Imagine an expensive restaurant. Sea view. The best place. The most expensive dish on the menu. It’s brought to you. You try it. And you realize it’s inedible. But the price has already been paid. Everyone around you admires it. You begin to convince yourself that it really is delicious. At that moment, you betray yourself. Now, imagine another picture. Your parents’ house. A summer veranda. Simple cutlets. Homemade wine. Sunlight filters through the grapevines. And it seems like the best dinner of your life. Because taste is never measured by price.”

Good architecture should leave a strong, cohesive feeling.

An architect must always think beyond their contract. When you design small studios, you influence the demographic makeup of the community. When you create a resort, you change the local economy, landscape, and nature. Architecture always leaves its mark, and we bear responsibility for it.

We've entered the era of artificial intelligence. AI, parametric design, and BIM are changing our tools. But the easier it is to generate hundreds of images, the more valuable the human ability to think and ask the right questions becomes. The future belongs to those who see architecture as a system and ask the right questions—or, more accurately, who are constantly searching for answers.

Our projects regularly participate in international events. In 2026, we received the A' Design Award for the JUMBA NUNGWI resort, and the project was exhibited in Italy, in Como (Sala Bianca del Teatro Sociale). This year, we also attended Milan Design Week and the Architect@Work exhibition in Prague. In the future, I want to reveal the actual process of creating architecture—with all our mistakes, doubts, and discarded sketches.

Observing life. I don't look to magazines for inspiration. Before designing VAH Riverside in Slovakia, we didn't open Revit; we went for walks around the city, sat in pubs, watched how people used their balconies, drank local craft beer, and explored both new and old neighborhoods. Observation and firsthand experience help me better understand what needs to be done. I prefer to study life, not pictures.

I would call it an approach rather than a style. We don't import a ready-made aesthetic to a new country. Architecture in Zagreb should reflect Zagreb; in Ukraine, Ukraine; in Zanzibar, Africa; in Bulgaria, Bulgaria. We seek a contemporary language for a specific place.

I live in Varna, Bulgaria, although my thinking was shaped by several countries. Ukraine taught me to struggle and work in conditions of complete uncertainty. Bulgaria taught me to understand human scale and the environment. Africa taught me respect for a place, and Turkey taught me to understand the speed of development. International experience is invaluable; it frees me from the illusion that my own culture is the only possible one.

We strive to be partners, not just contractors. We want to be our clients' "left hand." If we see a client—even a very large one—making a mistake in their business model or layout, we speak up. An architect's independent judgment is the foundation of a high-quality result. For the Emerald Residence project in Varna, we handled the entire commercial cycle—from the building concept, facades, interiors, and interactive 3D apartment selection modules all the way to marketing and sales team training.

A comprehensive approach is important, the studio's philosophy and principles are important, and examples of work are important. But most importantly: can this architect tell you, "No, this is a bad decision"? A contractor who is afraid of losing a contract will never create a breakthrough product.

Our process begins with research. We consider the history, climate, competitors, market, and project economics. Architecture begins with a walk around the site and the city. Only after understanding all the limitations and possibilities do we begin our design work. Then come questions, doubts, research, solutions, and so on until we reach a final result.

I appreciate things with thought or practicality; they don't have to be expensive. A nice chair. A comfortable bed. An old piano. A candlestick. A chess set.

Architecture leaves no room for "ordinary" days. In the morning, I work with the team—we hold Zoom meetings and briefings. During the day, I spend time in meetings discussing engineering (sometimes even arguing with contractors about piping in Revit models) and financial matters. In the evening, I try to find time for the kids.

Explore. Become a true professional. Learn to understand construction, structural design, and developer finances. Participate in competitions—they're a great learning experience. We ourselves once came up with the AURORA VANGUARD mobile Antarctic station project with hydraulic supports simply to learn how to work in conditions where there are no ready-made solutions.

The main advantage is that you're creating something that hasn't existed before. The disadvantage is that it's difficult to separate yourself from the result. Architecture has a very long memory. The mistakes you make today will hinder people decades from now.

Protect the project's concept, not your own idea just because it's yours. If someone offers a better solution, accept it. But if the entire core concept is being destroyed for the sake of short-term savings, say "no."

Curiosity, the ability to listen to people, and the ability to ask questions. The capacity to admit mistakes. And, just as importantly, the resilience to keep searching for a solution even when the fifth option in a row has been thrown out.

In terms of software, I use Autodesk Revit, D5 Render, 3ds Max, and AI assistants. But my real toolbox is travel, experience, observing people, learning about different cultures, making mistakes, and making decisions on the construction site.

I manage priorities, not time. An architectural firm's greatest asset is the team, not just me. TVORZI has strong specialists, and the system is designed so the project can move forward even if I'm busy with other construction sites or meetings.

Anywhere from a few weeks for small concepts to several years for resorts or large-scale residential complexes. But time can't be measured purely by hours spent in front of a computer. A few days of research and city walks can yield more for a project than weeks of blind 3D modeling.

"Where do you get your ideas?" I always answer, "From questions and answers." Ideas don't just appear out of nowhere. They're born when you spend time and effort trying to truly understand the essence of a problem and find a solution.

Perhaps our international experience, and in particular our projects in Zanzibar (BAO KIJANI, Jumba Nungwi). This taught me that architecture can be designed in a couple of months, but building logistics, marketing, and a local team takes a lot of more time.

We work with developers, investors, and landowners. But we're most interested in clients who want to create more than just square meters for sale—we want partners looking to create a quality product, a great environment, and a business that will last.

The very beginning. When you have a blank slate in front of you, a multitude of conflicting input data, problems, and investor demands, and you—together with your team—step by step transform this chaos into a coherent, functioning system.

We plan to develop TVORZI as an international, multidisciplinary practice. We're not chasing quantity, but rather increasing the complexity of our tasks. We want to integrate architecture with the latest IT tools (such as our online sales modules) and create projects at the intersection of engineering, real estate development, and sustainable development.

Only as a team. I can come up with a sketch or set a vector, but designing a modern, complex project is impossible alone. I'm proud of the TVORZI team—from the architects and BIM coordinators to the marketers.

There are several. One of our flagship projects is Emerald Residence in Varna, Bulgaria, near the Golden Sands Nature Park, where we designed the project and are managing the entire sales cycle ourselves. We are also actively working on VAH Riverside in Slovakia, where we are using interesting façade solutions with timber panels and panoramic glazing along the river.

The best way is through our website (tvorzi.com) or by email at tvorzi.com@gmail.com. For questions regarding exhibitions (e.g., A' Design Award), you can use my direct contact at Arch.dmitriy.shakal@gmail.com. We are always open to new partnerships and good ideas.

The key takeaway is this: architecture and really good design begins with trust. With questions and answers. With the willingness to abandon your own brilliant idea if it doesn't serve the project's primary purpose. Don't accept "impossible" as a definitive answer. First, ask why, change the rules, and then create architecture that people actually want to live in.