Dmytro Shakal

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.