Botanical gardens 3 by Brad Sowter

Bradley Sowter

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Acknowledgements I would like to express my gratitude to Andrew Whalley , David Kirkland and Patrick Bellew for allowing interviews to be conducted in such a short notification period and busy time. My thanks to Sara Mikhaeil and Leanne Renn for organising the interviews. I would also like to thank my supervisor Henrik Schoenefeldt whose guidance pushed me to greater lengths of investigation.

Contents

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1.0 - Introduction

2.0 - The Eden Project

3.0 - Gardens by The Bay

4.0 - Conclusion

5.0 - Interview with David Kirkland

5.1 - Interview with Andrew Whalley

5.3 - Interview with Patrick Bellew

6.0 - Bibliography

1.0 - Introduction

Sustainability in architecture can be seen as an ambiguous term. It can be easily linked to many projects, without any in depth analysis and justification. It can be used to celebrate the low energy consumption of a building, the low embodied energy of the project and many other factors that can class the architecture as sustainable. The equivocal definition of sustainability means it is difficult to evaluate. By focusing on a specific type of architecture such as botanical gardens, it becomes easier to appraise the projects from the notion of achieving sustainability. One definition of a botanical garden, by Cornell University, states that it is: "A controlled and staffed institution for the maintenance of a living collection of plants under scientific management for purposes of education and research.1" This definition is exemplified in the 1759 Royal Botanic Gardens at Kew. However, it is only in the past few decades that botanical gardens have broadened their take on education and research. Not only relating the terms to plants but also encapsulating it in the notion of horticultural sustainability and sustainability as a whole. Two case studies that I will be appraising are The Eden Project (by Grimshaw Architects and Arup), dubbed by the BBC as the modern 'wonder of the world' and Gardens By The Bay(by Wilkinson Eyre Architects and Atelier Ten). I will focus specifically on the context in which these projects came about, in terms of their location/motives and how this informed the shape, function and materiality of the architecture .

Fig 1.0

Bailey & Bailey 1978, p. 173

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Fig 1.1

Fig 1.0 - Masterplan of The Eden Project Fig 1.1 - Masterplan of Gardens by the Bay

2.0 - The Eden Project Arguably the most iconic botanical garden of the 21st century and the pioneer of pushing the boundaries of sustainability, was the Eden Project. Spawned in the early hours of a May morning in 1994 - Tim Smit thought up a concept that focused on celebrating the florist riches and the productivity of the planet, with a nod towards conservation.2 Rising like soap bubbles from Bodelva's clay pit in Cornwall, the biomes have attracted millions of visitors in the past 15 years and more than 47,000 school children.3 It has consistently attracted tourists due to its continuing development in renewable energy and sustainability. The very name "Eden Project" was used as it evokes the sense of dynamism, direction and a sense of evolution.4 Similar to Cedric Price's unbuilt project The Fun Palace, Hugh Pearman describes Eden as "not a once-and-for all version. Eden is organic. It grows and changes."5 The term growth is three fold. firstly it relates to the growth of plants, but also the growth of the buildings (with the additional Green Build Hub and future plans for a New Rainforest canopy walkway and a 115-bed hotel) and the most important, the international growth of awareness of Eden as an enabling ecological device - an attitude.6 From the very start of the project the aim was to be as sustainable as possible, using little energy , both daily energy consumption and total embodied energy. It was fundamental that all parties involved in Eden had to buy into this attitude epitomized by Tim Smit.7 "The premise of the design was communicating mans relationship with plants. So in terms of sustainability it is about waking up to how we relate to plants and how important they are for humanity. The design team was made up of like minded people so that issues that arose could be dealt with effectively.8" - David Kirkland (Former Associate at Grimshaw) The very site, the clay pit in Cornwall, was specifically chosen for the function and ethos of Eden. "Cornwall is the warmest part of the British Isles, so basing the project in a protected valley in the region gives considerable energy savings over other parts of the British Isles. Also large number of people go to Cornwall for their holidays, so there is a substantial captive audience that welcomes an alternative attraction to the traditional day on the beach9" - Nicholas Grimshaw Fig 2.0 2

Smit,Tim 2001, p.33 Latest Annual Review (2014-2015) 4 Smit, Tim, 2001, P. 75 5 Pearman, Hugh , 2003 P.9 6 Pearman, Hugh , 2003 P.14 7 Pearman, Hugh , 2003 P.14 8 Kirkland, David, 2015 9 Grimshaw, Nicholas, 2003, P. 7 3

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Fig 2.0 - Met office's Mean Temperature Value of Great Britain - 2001

Fig 2.1

Fig 2.2

Fig 2.3

The Cornwall Tourist Board states that in 2003 up to 5 million people visited Cornwall from around the UK.10This makes up a quarter of the tourist economy in England. With the recent success of Tim Smit's lost gardens of heligan it was clear that Cornwall was an ideal location for Eden. As Grimshaw also states, Cornwall is the hottest location in the UK, which is perfect for a botanical garden that grows exotic plants. As shown on the Met office the mean temperature of 2001 for Cornwall was one of the hottest area, with isolated spots averaging annual (including overnight temperatures) in excess of 12째C. With many of the benefits of choosing the Bodelva's clay pit in Cornwall for the project it also had problems. The design team knew about the numerous issues that would arise and by taking these site contextual constraints on board they could use these to inform the design of their botanical garden. In a recent interview* with Andrew Whalley (chairman of Grimshaw Architects and team leader for the Eden Project) he stated that: "The biggest obstacle in regards to the site location was the roads."11 Being in a clay pit, which was not intended for public access, the roads leading up to site were narrow and dangerous. This posed problems with the transportation of the structure. "That was why one of the reasons when we developed a structure that was literally like a meccano set ... so that it could be transported by much smaller vehicles. We only had a few sectional trusses that joined the whole thing together12" - Andrew Whalley The second issue was the clay pit itself. Made from soft granular material the clay moved and shifted every time it rained. The build coincided with the wettest winter ever recorded. In January alone, 43 million gallons of water poured into the pit which meant work had to stop for ten weeks.13 Not only did the rain stop the work but it also meant the structure of the biomes needed to able to withstand the flooding whilst also being robust enough to be built on top of the soft clay. The problem was, that clay, when the load is lightened to excavation, had a tendency to expand and creates gaps that filled with water14. The solution came from the world-renowned structural engineer Anthony Hunt.

Cornwall Tourist Board, 2003. Tourism in Cornwall Whalley, Andrew, 2015 12 Whalley, Andrew, 2015 13 Smit, Tim , 2001 , pg 178 14 Smit, Tim , 2001 , pg 194 11

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Fig 2.1 - Bodelva Clay pit Fig 2.2 - Flooding during construction Fig 2.3 - Node details of the Geodesic biome

"The foundations [designed by Anthony Hunt] were very complex. There is an undulating changing foundation around the edge of all the biomes, a mixture of tense and compression with ground anchor. No one ever sees it because its underground15" - Andrew Whalley The foundations used were very expensive. They found that the cost of stabilising the ground cost a lot more than they anticipated and the budget for the build was disappearing before they built above ground.16 The financial aspect of the project coincides with one of the biggest problems that arose from the outset. As a contender for the millennium commission it had to prove to the board that it was a viable project. Andrew Whalley stated that: "one of the reasons why many of the projects failed was that the project has to be commercially viable in its own right. It needs to be a profitable business venture. It had to be self sustainable17" Andrew Whalley "The millennium fund only gave out money when they were presented with a water tight business plan. In order to get that you need to be at stage D (design development). For the design to be at this stage it needed to be collaborated with the entire design team with Tim Smit. The problem was is that the client had no money to pay the design teams until he received the millennium funding.18" - David Kirkland. In a recent conference by blueprint 20/20, Tim Smit praised the work of Grimshaw Architects in which he states that the team spent "at least ÂŁ5 million of their own collective labour ... it was a huge act of faith...19" This act of faith wasn't a naive approach by Grimshaw Architects but was a confident move due to the knowledge transfer that they and Tim Smit brought to the project. Grimshaw had previously been working on large spanning structures notably the Waterloo Terminal in London. The initial design for Eden, dubbed 'Mark 1' , used the same truss work and shape as Waterloo. It was to use the cliff, to lean the glasshouses up against a wall of greenery, to wrap the contours of the pit, and essentially to face southwest. Eden was to be the biggest lean-to greenhouse in the world.20[see fig 2.4 ] It was to consist of 4 internal biomes and a 4th running around the perimeter. The issue that arose was that the early scheme was twice the size of the Eden you see today and was twice the cost. I posed the question of "why the design changed?" to the lead associate architect of Grimshaw David Kirkland:

Fig 2.4

"The Client (Tim Smit) wanted something twice as big for half the price. (Employing the likes of Grimshaw ) he believed they could achieve this. This is how the biomes with the tri-hex-tri space

Whalley, Andrew, 2015 Whalley, Andrew, 2015 17 Whalley, Andrew, 2015 18 Kirkland, David, 2015 19 Blueprint 20/20, 2015, pg 208 20 Pearman, Hugh, 2003, pg19 16

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* Interview date December 2, 1015 Fig 2.4 - Mark 1 sketch

frame was brought about by using a shape that maximised volume with little materials and little transportation cost. We also had to reign back the design to a much smaller scheme. 21" - David Kirkland Another issue that arose with the 'Mark 1' scheme was that wind tunnel tests on the design demonstrated that the ribs of the structure would fail. Grimshaw architects had already had experience with large enclosures but they were also confident that the client Tim Smit could deliver his expertise. Coming into the project with previous experience from the Lost Gardens of Heligan, he had gained a lot of knowledge about how plants can be cultivated and grown, and how greenhouses can be used to enable the plants to flourish. "Through his work at the Lost Gardens of Heligan, he made connections with the Royal Horticultural Society and the experts there. They did a lot of research into plants. He already had a expert team that became the Green Team that advised us on the technical criteria we had to adhere to. The main issue that they were concerned with, was light - specially the levels of light. We live in the northern hemisphere where the light levels in winter is reduced to a few hours , so we were searching for a structure that had minimum structural members to maximise the structure openings for light."22- Andrew Whalley The final design for Eden was the result of these complex challenges that needed to be overcome. The use of few materials to create large spans, Nicholas Grimshaw, a live long admirer of Buck Minsters Fuller, believed that there could be advantages of using a structure similar to that of the geodesic dome. The Spherical form themselves were a solution for the constant changing of the site. As it was still an active mine pit during the design process, a fix design would not be able to work. Kirkland relates this to numerous spherical balls that are pushed into the ground. "They are stable regardless of the ground condition at the surface. The ground which is changing continuously can be subtracted at various areas around the balls but 80% of the balls are still constantly fixed and thus the design of the Eden project could be progressed23."-David Kirkland

Fig 2.5

Kirkland, David, 2015 Whalley, Andrew, 2015 23 Kirkland, David, 2015 22

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Fig 2.5 - Cross section through the Biomes showing the spherical form which was used to solve the constant changing of the ground condition

The result are biomes made from galvanized tubular steel hexagons and part hexagons of the domes. Beneath the hexagons, is a lightweight triangulated space – frame support structure, acting in composite in what is called a hex-tri-hex system which replicates the structure of a particular carbon molecule.24 The biomes still make use of the surrounding clay pit as originally advised on 'Mark 1'. Arup, the environmental Engineers on the project insisted that the design took advantage of the thermal mass of the clay pit and utilise the solar gain. The idea is that the radiant heat is captured during the day and is the released into the space at night. Additionally during the cold/night period warm air jets are located at the perimeter of each biome. CFD modelling was used to predict the mixing of the air and thus making the air jets as efficient as possible which in turn reduced the capital cost of the project.25 The ETFE inflatable pillows that you see at Eden is yet another conscious design decision as a result of the Green teams instruction for the green houses to be as transparent as possible. At this time ETFE being used as a building material was in its infancy only ever being used once in a project. This project fortuitously had the same function as that of Eden. The first application for ETFE were for plant houses at Burgers Zoo in Arnhem, Netherlands. The Three layer ETFE cushions provided a well insulated environment which flooded the area with daylight in which the mangroves thrived.26 Eden invested in ETFE and in the evolutionary way in which Tim Smit and Grimshaw architects approach design they pushed the boundaries in which this new material could be used. "I believe we still obtain the record for the largest single pillow size of 11m in diameter. The thing about ETFE foil is that you can’t just make it thicker to make it stronger, it becomes more brittle. So we did a lot of wind tunnel analysis. The main structural challenge is uplift not down lift. the wind blows across the top of the pit trying to suck the pillows out of the structural frame system. so there is a tension force being applied to the pillows. so you have three layer pillows. The single outer layer is not strong enough to maintain this extreme condition. so we had a look at different options on how to make it stronger such as using cable system for additional strength. In the end we added a double skin to the largest pillows. so these two skins work together to prevent the uplift. We also designed for snow load which we didn’t think we would ever get in Cornwall and there where we have additional cables that sit underneath the frame."27 - Andrew Whalley Post occupancy report for Eden shows that there were not many issues arising after the attraction was opened to the public. The ETFE ,like in Arnhem, attracts birds and is prone to being damaged. Due to the site location being near the coast, flocks of seagulls during mating season can attack the pillows. That was dealt with by using a falconer.28 Being that The Eden Project is a business venture, it can continuously grow year on year. The scaling back of the project brought on by the financial difficulties is slowly being rectified with the education building and other buildings being erected. Grimshaw Architects are now working on an international Project similar to the Eden Project which will help bring financial aid back to the existing botanical garden in Cornwall.

Pearman, Hugh , 2003 P.26 Arup, 2014 26 LeCuyer, Annette, 2008, P.35 27 Whalley, Andrew, 2015 28 Whalley, Andrew, 2015 25

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3.0 - Gardens By The Bay Unlike the Eden Project, Gardens By The Bay, did not have free reign over location of their build. Built on the developing Marina Bay in Singapore, the project is part of Singapore "Green Road Map," a 10-year development plan where the country's aim is to go from being "a garden city" to "a city in a garden."29 The project sits on the edge of Marina Bay which was until recently, a tidal estuary but has been turned into a fresh water marina and reservoir by the construction of a new barrage to the east of the site 30

Fig 3.0 The aim of the garden is to bring back national pride to Singapore. Dr Kiat W. Tan, the advisor to the National Parks Board of Singapore and can be seen as the counterpart of Tim Smit at Eden, wanted to give something back to the residents of Singapore. To Dr Tan it was important to develop a national garden that everybody can say that it is theirs, a national garden for the people, as there is less opportunity to own their own garden spaces. 31 The National Park Board appointed Wilkinson Eyre , Grant Associates and Atelier Ten (as environmental and building services engineers) to collaborate together on the ÂŁ350 million South Bay Project. The collaborative team of Wilkinson Eyre and Atelier Ten worked previously on horticultural green houses before such as the Alpine house at Kew Gardens. This knowledge transfer along with inspiration taken from the Eden Project* enabled the project to be designed as efficiently as possible. Unlike Eden whose premise was always rooted to sustainability, The opportunity to communicate to the local community of Singapore of the urgency and importance of environmental sustainability arose from the need to expand the footprint of the business and financial hub of the city.32

Kolesnikov, Sonia, 2011 Bellow, Patrick, 2012 31 Tan, Kiat, City in Bloom, 2014 32 Bellow, Patrick,2012, P.5 30

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* Patrick Bellew outlines using Eden Project as test bed in his book: Green:House, Green:Engineering Fig 3.0 - Gardens By The Bayaerial view

The team were faced with constraints from the outset. The flora that was to be exhibited, similar to the flora at the Eden project, needed to be in a cooler environment than that of Singapore. To achieve this air conditioning would be vital to the project. The Singapore government instructed the design team that the carbon emission from the project did not exceed that of a modern Singapore office building.33 With temperatures averaging 27째C degrees annually with very high humidity as opposed to the Eden project, with 8째C, it's clear that these two botanical garden projects would have to be designed very differently. Similar to Eden, the design team had to battle with natural forces. Tropical storms are common place in Singapore between December to March with typhoons between July to November. Annually in Singapore the rainfall can be as much as 1500 mm compared to that of the UK with 1091mm.34 Atelier Ten compiled a graph looking at the hourly weather data for Singapore in comparison to thermal comfort.

Fig 3.1

From the graph above it is evident that the typical Singapore weather is uncomfortable and the reason why most buildings in Singapore have introduced air conditioning units. Patrick Bellow explained in a recent interview that the optimal temperature for the plants to grow took priority over the thermal comfort of the visitors: 33 34

IGENIA, 2014 P.25-31 Metoffice, 2013

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Fig 3.1 - Chart showing climatic classifications and Singapore weather data compared to that of the comfort zone for humans

Fig 3.2

Fig 3.3

"When looking at the operative temperature of the building we were concerned of 80% for the plants 20% for the people. Typically you have 1100 watts worth of sunlight in Singapore. Inside you have around 330 watts of sunshine. If you are standing still in sunlight you feel uncomfortable.35"- Patrick Bellew One of Atelier Ten's main concern was not how to cool the surrounding air as it entered the biomes but how to reduce the humidity: "The entropy [humidity] in the air [of Singapore] is very high. From the outset the concern was finding a way of reducing the humidity in the air and the solution was to use liquid desiccant to dry the air. If we just cooled down the hot air at high humidity it would be very difficult to handle. So this is why we pass the air through the liquid desiccant [lithium chloride], a drying system.36" Patrick Bellew Singapore is equatorial so intense solar radiation from the sun is also an issue and is temperamental due to long periods of cloud cover. Patrick Bellew explained that it was due to the unknowing nature of the sun that it was hard to make use of solar energy "particularly when the smog from Indonesia obscures the sun for weeks at a time.37" The solution to the energy problem came from the waste produced by the biennial pruning of the Singaporean trees and the unused shipping crates from the harbouring boats. Before the Gardens By The Bay was constructed this waste was put into landfill. With the waste it could be used as a constant fuel to concentrate the desiccant and drive the chillers (11 articulated lorries worth of pruning wood). The boiler used for this project cost millions of dollars,38something that would have been unthinkable at the Eden project. This ongoing issue of heat and energy informed the shape and function of the architecture at Gardens By The Bay. The concentrating of the desiccant requires a lot of heat and once this is achieved the steam produced will need to be extracted. They wanted something that merged all the skill assets of the design team, something that was practical and had aesthetics that coincided with nature. The outcome was the super trees which are aptly named 'the heart of the gardens'. These mega structures have photovoltaic cells that capture solar energy which can be used for functions such as lighting and the collection of rainwater, used for irrigation and fountain displays. They also serve as air intake and exhaust functions, part of the conservatoriesâ&#x20AC;&#x2122; cooling systems with an

Bellew, Patrick , 2015 Bellew, Patrick, 2015 37 Bellew, Patrick, 2015 38 Bellew, Patrick, 2015 36

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Fig 3.2 - Chipped horticultural waste in biomass store. Fig 3.3 - Aerial view showing the shipping lanes beyond the Marina.

elevated walkway between two of the larger Super trees.39 The super trees provide an armature for ducts, flues, shafts and pipes to help remove all evidence of engineering services from the skyline.

Fig 3.4 The structural criteria of the biomes are similar to that of the Eden Project - to create a large unobstructed space. In the case of Gardens By The Bay the design team opted for a grid shell structure. For their design competition sketch they envisaged that the structure could shade the interior of the biomes from the suns extreme rays, however CFD modelling showed that this was too effective. "The competition design was a structure with big sets of fins with the glass hanging off. We imagined that the fins would offer the shading. In fact the shading would be too much. So we looked at hollowing out the structure with a truss arrangement with an open mesh, but that obscured to much light. So then we finally looked at a grid shell structure which is quite weak by lateral forces. So the primary arches are used to prop up the grid shell so it doesnâ&#x20AC;&#x2122;t fall over. It becomes a very skinny structure so that when you are inside there is not a lot of structure in the way of the glass."40- Patrick Bellew 39

Fig 3.5

IGENIA, 2014

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Fig 3.4 - Dessicant Cycle Fig 3.4 - Competition design

Fig 3.6

This structure liken to the geodesic domes in Cornwall maximise solar gain with minimum structure members. The problem that was observed by the design team is that it would need to be modified to cope with extremities of heat during the summer period. This was done in a number of ways. Comparable to the Alpine house at Kew, the parabolic shape of the biomes helps for the stratification of the different air temperatures. The biomes are also tilted so that they are naturally shaded on the north side, where in the south hemisphere, the suns radiation is the strongest. The specifically selected glass used for the biomes deflects infra red light at high angles. Also typically sun at a high angle of incident of glass a lot of the light is reflected including radiation.41

The client of Gardens By The Bay, NParks, undertook studies to observe what could be done to reduce the heat in the biomes without compensating on the internal lux levels which need to be around 45,000 compared to an ordinary office of 400 lux. What Nparks observed was that plants growth was mainly dependant on the light within the visible spectrum. By filtering UV and Infrared light as it enters the biome you are reducing the intensity of the sun but not restricting the lux levels. By comparison Eden promotes the inclusion of Infrared light to increase the heat of the biomes. The issue that arises is how to maintain the high internal luminance whilst not overheating in interior of the biome. What was observed was that infrared radiation was the main contributor to heat whilst visible light which the plants need does not hold much thermal energy.

Fig 3.7

Maintaining this lux level Atelier ten look at ETFE with a coating which restricted infrared radiation. "We wanted to let in as much light but restrict the amount of heat. The manufacturers of ETFE said they could coat the ETFE, but we were concerned that the coating could be scratched off with the movement of the wind etc. With the glass having the selective coating on the inside of the panes it was safer. Another reason was that aesthetically it didnâ&#x20AC;&#x2122;t look right with the form . Thirdly Singapore is known for heavy rain and the noise inside would be very worrying. With glass it's quite exciting but with ETFE it would be very loud. The final reason is the client wanted the project to feel like permanent piece of architecture and believed ETFE doesnâ&#x20AC;&#x2122;t look permanent." 40 41

Bellew, Patrick, 2015 Bellew, Patrick, 2015

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Fig 3.5 - Stratification of air in the biomes Fig 3.6 - Lux levels and spectral irradiance for the cooled conservatories

Fig 3.9

Fig 3.8

The design team opted for a specialised double glazed unit which allowed approximately 65% of the incident daylight frequencies to pass through with only 35% of the solar heat transferred, primarily by filtering the infra-red frequencies from passing into the space. 42 The final precaution in the event of extreme heat transfer is the deployment of solar shading system. They were designed only to deploy when the lux levels exceed 45,000 which occurs 8% of the annual hours. Concealed within the structural arches of the building, they are used to control light level and limit heat gain.43 Post occupancy reports for Gardens By The Bay show that the solar shades are rarely deployed. Patrick Bellew puts this down to the glazing system not being cleaned as often as it should be. Due to this the overall internal luminance never exceeds 45,000 lux. The consequence of lowered internal luminance could reduce the optimising of plant growth however what has been observed is that the plants in both biomes can cope with slightly cooler temperatures. "Our studies have shown that the plants in both of the biomes do not mind being a bit cooler. We had to move some diffusers away from some of the plants as they sometimes mistake it for winter and go into hibernation, but they have managed to keep both of the biomes flourishing and Fig 3.8 operative at 22C which is less that we want but it is much more comforting for the visitors. Obviously this additional cooling would be a problem if you had to pay for the electricity but when it comes from the waste that was going to be incinerated away, they donâ&#x20AC;&#x2122;t really mind44." - Patrick Bellew. Just as the Eden Project was a test bed for Gardens By The Bay, the design team at Grimshaw were paying close attention to the design by Wilkinson Eyre and Atelier ten. Whalley believed that the cooled conservatories had too much solar shading and because of this plants started to die. He also stated that "Right at the beginning [of the Eden Project] our green team said that you cannot have any mechanical solar shades as it cuts out too much light". Overall Gardens By the Bay's design team took the constraints on board and found solutions to their problems in the most unlikely of places. The main benefit of Gardens By The Bay, as opposed to the Eden project is that it was built over a decade later so technology has advanced and greater knowledge transfer is evident.

Bellew, Patrick , P.49

Bellew, Patrick , P.43 Bellew, Patrick, 2015

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Fig 3.7 - Comparison between normal ETFE used at Eden and specialised glass used in Gardens By The Bay Fig 3.8 - Solar shades being deployed at Gardens By The Bay

4.0 - Conclusion The programme and ethos of the two buildings are the same, an architecture that embraces nature and encourages humans to learn about plants. In both projects the priority was to create a microenvironment where the flora could flourish, opting to put the plants before humans. The vision by Tim Smit with Eden and Dr Kiat W. Tan with Gardens By The Bay was of having botanical gardens that inspire visitors and push the boundaries of technology has clearly been met, however it is the holistic approach by the clients and the design team, that spawned projects far beyond just meeting standards. What is evident is that the constraints surrounding both projects, fundamentally context , informed the approach to the design process and ultimately having two botanical gardens which function very differently. One to heat and one to cool. David Kirkland expressed his views on how sustainability drives itself through the constraints imposed on the project "If you want to work on holistic sustainable design you have to align yourself with how nature works. Nature works with an evolution process so instead of fighting change you adapt. where a lot of us architects have a vision of how we think something should be at the beginning and try to hold on to it as much as possible, however this is not a sustainable design. So when it came to the design process, we have a lot of problems with nature conflicting with what we wanted to do. So we use this to manipulate our project45" - David Kirkland Knowledge transfer was very successful in both projects. Using previous projects as a learning process: Gardens of Heligan, The Alpine House and in the case of Gardens By The Bay using successful projects such as Eden as a test bed - it enabled both design teams to focus on the holistic approach to the design rather than the technicalities of the gardens themselves. Other contributing factors such as financial difficulties pushed the design team at Eden to use knowledge transfer as a confidence to design a piece of architecture knowing it would be financially viable. The scaling back of the Eden project only enhances its ethos of growth and the ever-changing nature, reminiscence of the botanical garden itself. Gardens By The Bay was not constrained by lack of funding but by the government's restriction on the amount of carbon emissions. This restriction enforced Atelier Ten and Wilkinson Eyre to think outside the box. The solution from using pruning off cuts ensured free energy usage for the project. Through the investigation of these two case studies it has come apparent that the term sustainability has no perfect manifestation of architecture. Sustainability is rooted to the constraint of many contributing factors, in the case of the Eden Project and Gardens By The Bay, it was predominantly the context, specifically the climate. A project that is deemed 'sustainable' will have to be site specific. For example placing the Eden Project in Singapore will not be sustainable as the biomes will overheat - whilst having Gardens By The Bay in Cornwall will have the opposite effect. It is only when you understand the context constraints that you are working in can you design architecture that is sustainable.

Kirkland, David, 2015

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Appendix A: Interview Transcripts 5.0 - Interview with David Kirkland. (November 10, 2015)

Fig 4.0

David Kirkland was a former project leader and Associate at Grimshaw Architects and worked on a diverse range of projects in both Europe and the U.S. Projects including Waterloo International Terminal station roof and the Eden Project, a series of very large horticultural conservatories in Cornwall, England.46 (K=Kirkland, I=interviewer) I: According to articles everyone that was involved in the project had to buy into a holistic attitude focusing on sustainably set out by Tim Smit. How was this put across and what was it like collaborating with the contractors, quantity surveyors, acoustic and transport consultants etc in achieving this? There must of been some compromises? K: His remit was to be sustainable but the premise of the design was communicating man's relationship with plants. So in terms of sustainability; it is about waking up to how we relate to plants and how important they are for humanity. The design team was made up of like minded people so that issues that arose could be dealt effectively. I: The original design was to be similar to that of the Waterloo terminal, and the project initially was to be much larger. Was the change in design due to the restrictions in budget? K: Like all projects worldwide this was a commercial project. There were cost involved. The initial project design was for it to be twice the size of what Eden is now , consisting of 4 internal biomes and a 5th running across the perimeter, however this design got pulled back â&#x20AC;&#x201C; this was because the client (Tim Smit) wanted something twice as big for half the price, (employing the likes of Grimshaw ) he believed they could achieve this. This is how the Biomes with the tri-hex-tri space frame was brought about by using a shape that maximised volume with little materials and little transportation cost. I: How would you describe the notion of sustainability? K:If you want to work on holistic sustainable design you have to align yourself with how nature works. Nature works with an evolution process so instead of fighting change you adapt. where a lot of use architects have a vision of how we think something should be at the beginning and try to hold on to it as much as possible, however this is not a sustainable design. So when it came to the design process, we have a lot of problems with nature conflicting with what we wanted to do. So we use this to manipulate our project I: Could you elaborate on the funding that was available for the project and how this influenced the design?

David Kirkland Resume via linkedin - https://uk.linkedin.com/in/david-kirkland-97007510

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K:the Millennium Fund gave out money when they were presented with a water tight business plan. In order to get that you need to be at stage D (design development). For the design to be at this stage it needed collaboration with the entire design team. The problem was, is that the client had no money to pay the design team until the he received the millennium funding. The additional challenge was that when the designs were going ahead the client did not own the land. The way around this was to buy little chunks of the land off of the miners and start building on that, however ongoing works as the mine meant the pit continuously changed and thus the design changed. I: How was this resolved ? K:Due to the continuously changes it emerged that they need a flexible building that could be adjust on site to meet the ground. like pushing balls into the ground. Wherever they hit the ground that’s where they finish. If the ground changes you just subtract bits of the ball, but the ball doesn’t move. This way 80% of the building is always fixed. I: By 2012, The Eden Project had established itself as a major international destination; it is recognized as a major brand in the environmental or ‘‘green’’ sector, and it has a reputation as a national leader in the area of public education on environmental issues. The education centre is the first building that you arrive into. Was the design approach based on education or was this an outcome of the holistic approach to building? K:Legibility of a building is very important, there an advantage if a building can tell a story. Similar to medieval cathedrals where people were illiterate and could read bibles so the stories are in the building. For our age we should have building that are legible and in our case we wanted to convey how man relates the natural world. When you enter the visitors centre there is rammed earth. According to Mcalpine , we wouldn’t be able to used rammed earth because it was too complicated so standard building material should be used. But if we talk about regeneration and bring back the history of an industrial waste land and using clay from the site, we manage to convince mcalpine construction to do it. (End of Interview)

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5.1 - Interview with Andrew Whalley (December 2, 2015) Andrew Whalley is Grimshaw's Deputy Chairman and represents the Office of the Chairman for all international projects. Andrew works closely with Sir Nicholas Grimshaw to cultivate relationships with clients and other institutions worldwide while managing the partnership's design approach, public relations and external communications. He has been an instrumental part of Grimshaw since the earliest days of the practice and has been Partner-in-Charge of a diverse range of projects. His awardwinning architecture includes the International Terminal at Waterloo Station and the redevelopment of Paddington Station in London, the Experimental Media and Performing Arts and the 47 Eden Project in Cornwall.

Fig 4.1

(W=Whalley, I=interviewer) I: In your book 'The Architecture of Eden' , there is a foreword from Nicholas Grimshaw, that discusses the reasoning for the Eden project to be located in the clay pit, some of the reasons being that it's the hottest place in the U.K sheltered by the clay pit, many tourists visit Cornwall. Also it was close by to Tim Smit previous project of the Lost Gardens of Heligan. Were there any disadvantages of using this site for the project for example wasn't their initial concerns with vehicular access to the site? W: The biggest obstacle in regards to the site location was the roads. There is a dual carriage way but the roads access were not good. That was why one of the reasons when we developed the structure that was literally like a meccano set in crates was made the way it was so that it could be transported by much smaller vehicles. We only had a few sectional trusses that joined the whole thing together. The other issue is that the beauty of the site that for a hundred of years people have been digging a big hole in the ground creating this beautiful typography, but meant that in a year or so we had to stabilise it and make it sound. China clay is removed by high pressure water. It is made of very soft granular material. what that means is when it rains its gets soft and moves and shift. Where we proposed the visitors centre to be - over the course of a night it disappeared because we didnâ&#x20AC;&#x2122;t finish the stabilisation, so that was quite a challenge. We actually ended up doing the ground work in the wettest winter ever recorded. So not only was it difficult in the first place, but the climate that year did not help. A lot of water that we need to pump. The water table was the other issue there. So they were the 3 main issues of the site. I: Maximising solar gain and light levels into the Rainforest Biome Mediterranean Biome must of been important for the plants to flourish. Was there any analysis done on the thermal comfort of the visitors inside the project and how did the thermal comfort temperature relate to that of the plants? Which took priority plants or humans? W: The plants take priority in everything. We had something called the green team. Tim Smit ,through his work at the lost gardens of heligan, made connections with the Royal Horticultural Society and expert there. They did a lot of research into plants. He already had a expert team that became the green team that advised us on the technical criteria we had to. The main issue that they 47

Andrew Whalley Resume via linkedin - https://www.linkedin.com/in/andrew-whalley-7649116

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were concerned with was light specially the levels of light. We live in the northern hemisphere the light levels in winter is reduced to a few hours. So we were searching for a structure that had minimum structural members to maximise the structure openings for light. One of the reasons why we choose to go with ETFE foil is that it has a high level of transparency. That was the first criteria. The second criteria was probably thermal requirement, which is quite broad. The humid tropics of the rainforest biome which is a the most sensitive. The plants don’t like the temperature to fall to a certain point but saying that they can it’s just they go into hibernation. In their equator climate they grow all year round. What happens in Eden is that they become more dormant in the winter months. with Arup we did a lot of CFD analysis which is out lined in the Blueprint article. We deliberately used the typography of the site as the architecture which gave us drama. So that plants that weren’t mature we still had a sense of height. we also wanted to use it as part of the environmental system. The team was for the environmental was Arup and Anthony hunt was the structural. Our environmental system was done by Alistair Guthrie who just finished Renzo Pianos kansai airport. There, they managed to use the shape of the roof to circulate the air as opposed to ducts which is the design that we wanted to implement into Eden. This was the early days of the CFD analysis. We still managed to see how air moved I was quite keen on not have things on the roof. The CFD showed that during the summer and large heat gain that you have to have a major opening at the top. That is why we have a flower opening form on the top to create air movement though. The other thing we found over the past years is that the energy consumption is less that we found. We found that the solar gain, the thermal mass and thermal store was so much that we needed less energy than we thought. It’s all about the plants. People have the make do with what is there. There is concessions like there is cooled rooms for old people where they can go in to go in, but the whole project is geared to the plants. High humid, temperature and light which is critical etc. Agitation of the plants - there is a lot of air movement especially in the summer, the plants need to be exercised. If they don’t they grow to quickly and tangley [sik]. There has been a lot of trimming on the plants. The Mediterranean biome the light is more important as the tropics has more under story plants. Gardens By The Bay had a lot of solar shading, but it turned out that the plants died because of this so they just turned up the air conditioning. The truth of it is that the amount of the solar shading blocked to much light and killed the olive trees. Right at the beginning our green team said that you cannot have any mechanical solar shades as it cuts out too much light, so we had to have an environmental system that would allow so many air changes so that it the thermal comfort would be for the people as well as the plants. I: Wilkinson Eyre used the Eden Project as a test bed for their Cooled Conservatories in Singapore with regards to the Lux level and also looking into using ETFE as a material. Are there any other projects that you know of that use EDEN as a test bed and which strategies from Eden have they taken on board? W: Because we wanted a transparent structure I believe we still obtain record for the largest single pillow size of 11m in diameter. The thing about ETFE foil is that you can’t just make it thicker to make it stronger, it becomes more brittle. So we did a lot of wind tunnel analysis. The main structural challenge is uplift not down lift; the wind blow across the top of the pit it’s trying to suck the pillows out of the structural frame system. So there is a tension force being applied to the pillows. So you have three layer pillows. The single outer layer is not strong enough to maintain this extreme condition. We had a look at different options on how to make it stronger such as using cable system for additional strength. In the end we added double skin to the largest pillows. These 20 | P a g e

two skins work together to prevent the uplift. We also designed for snow load which we didn’t think we would ever get in Cornwall and there where we have additional cables that sit underneath the frame. And of course after 5 years Cornwall had a massive snow storm. Nero devised the structural system for the roof. The geometry there was very complex and marrying the dome and the edge details were quite complex. There was a mathematical doctor from German whose solved the final detailing of the geometry. the more complex part if you ask Anthony hunt was the edge condition, the foundations were very complex. You have an undulating changing foundation around the edge all the biomes, a mixture of tense and compression with ground anchor. No one ever sees it because its underground. I: Money was a big issue with the project with millennium fund hesitant to give money until they saw some results. I understand the initial design was a much larger scheme. Were there any other design decisions that were done in order to keep cost low? W: Tim Smit were applying for one of the 12 grants. The idea was that each of region would get a millennium funded major project of cost up to £100 million. It was a complex equation, and one of the reasons why many of the projects failed was that the project has to be commercially viable in its own right. It needs to be a profitable business venture. It had to be self sustainable. There is not many public attractions apart from theme parks that are entirely self sustainable. They need subsidies from the government. So that is why so many millennium project failed. Eden had to build a robust business case, that could work on predicted visitors number, ticketing sales etc. And I think that has always been the challenge for the project, having a scheme that buys it way with low ticket prices, due to its location Cornwall, and neighbouring attractions as opposed to that of the south east. If we take clients to the Eden Project they are always amazed at how low the ticket price is. We get money through things like the food and events that they do. With the music concerts and other things. They all help drive the revenue. We are now currently working on international Eden project. That would help the overall financial aspect of the project. So the fundraising meant we had to create a business model that worked and that meant scaled back the project from a £100 million project to £75 million. we had to work backwards from that figure and we found the cost of stabilising the ground cost a lot more than we anticipated. Money disappeared before we even started the building. Then we had to redesign some of the buildings. For example the visitors centre which is the first thing that you enter. we had to change the structure, but in many ways I really like it. one time there was talk about having 3 biomes. As we got further into the project with the wasted money on civil engineering we realised that this was not viable and so had to scale back the biomes. so rather than scaling back both of the biomes, we scaled back the human tropics (rainforest) a little bit but not too much and really scaled back the Mediterranean biome a lot. That is why the Mediterranean biome is so much smaller than the tropics. and the reason being , from Tim Smit, you needed something that lit the imagination, and having a huge rainforest biomes would do that, attracting people in and engaging them , and he was absolutely right. Having two medium size biomes wouldn’t do it, you need to have need a big anchor. there was a project running ahead of use in Doncaster called the earth centre and they original had a beautiful centre piece project designed Jan Kaplický future system called the ark. it was a beautiful butterfly and that’s what help them get their funding. They ended up cutting back and building smaller building instead and did not attract many visitors because of that. It needed to be entrepreneurial to attract more than a million people a year that you needed. we need to scale back , we cut down things like education building, we had to use porter cabins for a few years. 21 | P a g e

I: The air handling units are positioned on the outside of the biomes unlike projects like Gardens By The Bay in Singapore which hide their services. was this a conscious design decision to express the workings of the biomes of a consequence of comprising? W: The air handling units on the outside of the biomes were down to economics really. The air handling units were distributed around the bottom of the biomes effectively blowing in warm air in the winter. The shape of the roof means that you can blow in warm air at the bottom perimeter and it will flow to the top without any ducts. The initial design was for the air handling units to be enclosed and quite elegantly designed enclosures. We knew they were going to be at the front of the building. These enclosures were another items that was cut out due to the money problems. so they are actually quite industrial units. At the time I wasnâ&#x20AC;&#x2122;t very happy with that but now I think it is what it is, itâ&#x20AC;&#x2122;s very exposed and shows what it does. I: It has been nearly 15 years since the Eden Project officially opened. Has there been any issues that have arose with operational function of Eden that was not envisioned in the design ? W: Seagulls were an initial problem. it turns out that seagulls are particularly aggressive. We put bird wire up but did nothing to the seagulls. The males particularly in mating season see their reflection in the etfe and start attacking it. That was dealt with but using a falconer. We had to repair a pillow because of that. (End of Interview)

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5.3 - Interview with Patrick Bellew (November 20, 2015) Founding director of Atelier Ten, Patrick is one of the UK’s Royal Designers and is a Chartered Building Services Engineer with more than thirty years’ experience in the design of high performance buildings and systems. With extensive experience in the integration of environmental and building 48 systems with architecture. He worked closely alongside Wilkinson Eyre as a building and environment consultant for the highly acclaimed Gardens By The Bay project.

Fig 4.2 (B=Bellew, I=interviewer) I: The site for the Gardens By The Bay was in Singapore. Was there any initial concerns that came to mind in regards to the programme of the building and location. Temperature , humidity etc? B: The criteria was set out in Singapore that the energy that was used in Gardens By The Bay was not more than that of a conventional Singapore office block. We had to get precise humidity conditions and temperature variation differences. The entropy [Humidity] in the air [of Singapore] is very high. From the outset the concern was a way of reducing the humidity in the air and the solution was to use liquid desiccant to dry the air. If we just cooled down the hot air at high humidity it would be very difficult to handle. So this is why we pass the air through the liquid desiccant [lithium chloride], a drying system. Our issue is what do you do with this liquid again. When you have these pads with liquid desiccant running down them, the volume of air on these pads increase so you have a weaker solution of desiccant at the bottom which is ‘ Runny’ rather than concentrated desiccant. A solution to concentrate the desiccant once more is to boil it. Our initial design was to use solar energy so you would have a concentrated desiccant store and a weak desiccant store. So when Singapore is sunny the solar panels would heat up the weak desiccant and the steam would leave via the super trees. I: Was there any issues that arose from this? B: Solar energy in Singapore you get a long period of when its cloud , particularly when the smog from Indonesia obscures the sun for weeks at a time. When we worked out how much desiccant that we needed to filter the air, there was not enough constant solar energy to be had in order to re concentrate it. We also found out that when the sun eventually comes out you get a sudden surge in energy which could potentially boil the desiccant. The Solution to this was to make most of the 2 year pruning of Singapore and also wooden packing waste from the harbour nearby. With this waste it could be use a constant fuel to concentrate the desiccant and drive the chillers (11 articulated lorries worth of pruning wood). The boiler used for this project cost millions of dollars. I: In your book you mention the Eden Project a lot, in terms of lux levels etc. What did you take on board from Eden and what did you believe you could improve upon? B: The Eden Project was always cost conscious, that is why all their air handling units sit outside. It is not a sophisticated design in terms of environmentally engineered. Blow in air and see what happens. The difference in terms of plants rooms and services is that we very strategic when it came 48

Patrick Bellew resume via linkedin - https://www.linkedin.com/in/patrick-bellew-3b38b8b

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to the placement and concealment of the units, whereas on our visit to Eden it was evident that they placed the units wherever it fell. We had a big injection of money from the government which allowed us to concentrate on the best solutions such as these . B: Singapore regulations do allow you to have glass roofs. we had to have waivers for the project to be allowed to build it. We had to use our carbon energy from the waste system argument in order to obtain these waivers B: Our studies showed that there was only the need for the solar shading 8% of the annual hours of the year but in reality they are deployed very rarely due to the fact the glass is not cleaned as often as we had hoped. B: The competition design was a structure with big set of fins with the glass hanging off. We imagined that the fins would offer the shading. In fact the shading would be too much. So we looked at hollowing out the structure with a truss arrangement with an open mesh, but that obscured to much light. So then we finally looked at a grid shell structure which is quit week by lateral forces. So the primary arches are used to prop up the grid shell so it doesnâ&#x20AC;&#x2122;t fall over. It becomes a very skinny structure so that we you are inside there is not a lot of structure in the way of the glass. I: You describe that the flower dome is self shaded from the extreme sun angle. Could you explain this some more? B: Both Biomes are self shaded on the north side due to their form. It is down to where the sun sits in the sky. The specially selected glass that was used actually deflects light at certain angles. Also typically sun at a high angle of incident of glass a lot of the light is reflected including radiation. I: Was there any analysis done on the thermal comfort of the visitors inside the project and how did the thermal comfort temperature relate to that of the plants? Which took priority plants or humans? B: When looking at the operative temperature of the building we were concerned of 80% for the plants 20% for the people. Typically you have 1100 watts worth of sunlight in Singapore. Inside you have around 330 watts of sunshine. If you are standing still in sunlight you feel uncomfortable. The programme of the building makes you move through the space and so evaporative evaporation happens and keeps you cool. So there are no complaints in the building. Our studies have shown that the plants in both of the biomes do not mind being a bit cooler. We had to move some diffusers away from some of the plants as they sometimes mistake it for winter and go into hibernation, but they have managed to keep both of the biomes flourishing and operative at 22C which is less that we want but it is much more comforting for the visitors. Obviously this additional cooling would be a problem if you had to pay for the electricity but when it comes from the waste that was going to be incinerated away, they donâ&#x20AC;&#x2122;t really mind. I: You mention in your book that you considered using ETFE In the scheme. What kind of analysis was involved in the research of the material? B: We did quite a bit of research on ETFE. The main thing that we looked at was the ability to coat ETFE with a selective coating. We wanted to let in as much light in but restrict the amount of heat. The manufacturers of ETFE said they could coat the ETFE, but we were concerned that the coating 24 | P a g e

could be scratch of with the movement of the wind etc. With the glass having the selective coating on the inside of the panes it was safer. Another reason was that aesthetically it didnâ&#x20AC;&#x2122;t look right with the form . And thirdly Singapore is known for heavy rain and the noise inside would be very worrying. With glass its quite exciting but with ETFE it would be very loud. The final reason is the client wanted the project to feel like permanent piece of architecture and believed ETFE doesnâ&#x20AC;&#x2122;t look permanent. I: One of your previous collaboration with Wilkinson Eyre was on the Alpine house at Kew, which uses the idea of stack ventilation. You also mention that the form of the Eden project, the geodesic dome inspired Gardens By The Bay. How did these two project influence the form of the building? B: The Alpine house was designed to be natural ventilated however this building was not designed to be naturally ventilated. It is not stack ventilation as such. The height helps with the stratification of the air but the height overall comes through the height which is needed for the parabolic arches for the area and also is taken from the aesthetic design of Wilkinson Eyre. From the very start I wanted the building to use displacement ventilation. We were very Keen not to have ducts running up height. When we first ran the CFD models we found that the temperature we were getting high up at mountain level was uncomfortable. This was when we putting air in at lower and middle level. I: Were there any other issues that needed to be correct after a post occupancy report ? B: One issue we had with ventilation was to get air to the flower garden which sits in the Cool Flower Conservatories. There is limited amount of air cooling, just around the perimeters. So they added more diffusers so it keeps it cool. We also suggested they should buy fans on wheels to blow at trees during the night time. Trees are stressed in nature during the wind and spread roots to compensate. we had issues with Kew where trees just fell over because they didn't have many strong roots. (Interview End)

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6.0 - Bibliography Image Sources Front Cover - Extract from Green:House Green: Engineering P. 27 Fig 1.0 - Extract from The Architecture of Eden P.33 Fig 1.1 - Extract from Green:House Green: Engineering P. 15 Fig 2.0 - http://goo.gl/pWcU3j Fig 2.1 - https://goo.gl/EWQOlr Fig 2.2 - Extract from Eden by Tim Smit Fig 2.3 - Extract from The architecture of Eden P. 69 Fig 2.4 - Extract from The architecture of Eden P. 14 Fig 2.5- Extract from The architecture of Eden P. 32 Fig 3.0 - http://goo.gl/ZM677X Fig 3.1 - Extract from Green:House Green: Engineering P. 34 Fig 3.2 - Extract from Green:House Green: Engineering P. 86 Fig 3.3 - https://goo.gl/IRBvHz Fig 3.4 - Extract from Green:House Green: Engineering P. 77 Fig 3.5 - Extract from Green:House Green: Engineering P. 46 Fig 3.6 - Extract from Green:House Green: Engineering P.70 Fig 3.7 - Extract from Green:House Green: Engineering P. 36 Fig 3.7 - Extract from Green:House Green: Engineering + Author's drawing Fig 3.9 - https://goo.gl/A9xXGH Fig 4.0 - https://goo.gl/8vQcda Fig 4.1 - https://goo.gl/fpTQ0N Fig 4.2 - https://goo.gl/VNBses

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Literature ARUP. “Building Physics.” Sustainable and Energy-efficient (n.d.): n. pag. Arup. Web. Nov.-Dec. 2015. The Architecture of Eden. London: Eden Project in Association with Grimshaw, 2003. Print. Bailey, L. H., and Ethel Zoe. Bailey. Hortus Third: A Concise Dictionary of Plants Cultivated in the United States and Canada. New York: Macmillan, 1976. Print. Ballantyne, Roy, and Jan Packer. “Targeted Interpretation: Exploring Relationships among Visitors’ Motivations, Activities, Attitudes, Information Needs and Preferences.” (1998): n. pag. Web. Bellew, Patrick, and Meredith Davey. Green House, Green Engineering: Environmental Design at Gardens By The Bay. N.p.: n.p., n.d. Print. Chartered Institution of Water and Environmental Management. “Rainwater Harvesting – Eden Project.” Chartered Institution of Water and Environmental Management. Chartered Institution of Water and Environmental Management, 3 Oct. 2012. Web. 24 Oct. 2015. Claytrails. “Sustainable Construction at Eden.” Claytrails. Eden Project, 25 June 2011. Web. Oct.-Nov. 2015. Eden Project. “A Perfect Loop: How the Eden Project Does Waste.” YouTube. Eden Project TV, 4 Aug. 2014. Web. 24 Oct. 2015. Eden Project. “Annual and Sustainability Reports.” Sustainability Reports, Annual Review. Eden Project, n.d. Web. 03 Nov. 2015. “Eden Project – The Notion of Sustainability.” Telephone interview. 10 Nov. 2015. Glancey, Jonathan. Modern Architecture. London: Carlton, 2007. Print. INGENIA. “Super Trees.” INGENIA 58 (2014): 25-31. Web. Oct.-Nov. 2015. “Intl Jnl of Low-Carbon Technologies.” Eden Project Biomass Energy Crop Feasibility Study. N.p., n.d. Web. 24 Oct. 2015. Kirkland, David. “Principles of Business – What Is Sustainable Architecture? – David Kirkland.”YouTube. YouTube, 4 Apr. 2012. Web. 24 Oct. 2015. Kolesnikov-jessop, Sonia. “An Urban Jungle for the 21st Century.” The New York Times. The New York Times, 28 July 2011. Web. 24 Oct. 2015. LeCuyer, Annette, Stefan Lehnert, Ian Liddell, and Ben Morris. ETFE: Technology and Design. Basel: Birkh user, 2008. Print. Lim, Eng-Beng. “Future Island.” Third Text 28.4-5 (2014): 443-53. Web. MetOffice. “Annual 2013.” Met Office. N.p., n.d. Web. 17 Nov. 2015.

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Mintz, S., and S. Rode. “More Than a Walk in the Park?: Demonstration Carts Personalize Interpretation.” More Than a Walk in the Park?: Demonstration Carts Personalize Interpretation(1999): n. pag. Web. 24 Oct. 2015. Mysen, Tore. “Sustainability as Corporate Mission and Strategy.” (2012): 496-509.EmeraldInsight. Department of Marketing,Oslo School of Management. Web. 24 Oct. 2015. Risis. “City in Bloom Inspired by Dr Kiat W. Tan.” YouTube. Risis Official, Aug.-Sept. 2014. Web. 24 Oct. 2015. RSA. “WEEE Man : Home.” WEEE Man : Home. RSA, n.d. Web. 24 Oct. 2015. Smit, Tim. Eden. London: Bantam, 2001. Print. Smit, Tim. “Eden Project’s Tim Smit on the Low-carbon Economy.” YouTube. Eden Project TV, 16 Dec. 2010. Web. 24 Oct. 2015. Thompson, Caron. “Construction – Are We Closing the Loop?” Oct.-Nov. 2015. Speech.

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