STUDIO TERRAGNI DIA

DIA series © 2016 After Geometry III- creative mapping technique - Studio Terragni

DIA series © 2016 Anhalt University Department 3

AFTERGEOMETRY III

Dessau International Architecture School

Anhalt University of Applied Sciences Department of Architecture Bauhaus strasse 5 06846 DESSAU Phone +49(0) 34051971531 dia-architecture.de afg-hs.anhalt.de Special Thanks to Attilio Stocchi for the critic inspiration

Special Thanks to Alfred Jacoby for the critic inspiration Editing and layout Attilio Terragni info@studioterragni.com www. studioterragni.com Copyright DIA Graduate school of arcrchitecture Anhalt University of Applied Sciences The author Prof. Arch. Attilio Terragni DAAD Guestprofessor DIA Master studio Second semester 2015-2016 ISBN-..........

AFTER GEOMETRY II STUDIO TERRAGNI SELECTED STUDENT WORKS

“WORK WITH BRAIN AND HEART......AND THE SILENCE FOR SOUL”

Dear Attilio!

Responding to your request, first, I have to say, how honored I am by the opportunities to participate on your juries! -- may I share one of my favorite quotes from Lawrence Durrell’s Justine : “the solace of such work as I do with brain and heart lies in this, that only there, in the silence of the painter or the writer can reality be reordered and made to show its significant side.” – the varied, but homogeneously excellent work of your students show, that not only you, but all of them work with ‘brain and heart’, and that you also provide them the ‘silence’ of their soul, so they can evoke all that beauties, what they were producing In your studio! I am consistently awed during the years with the different, but the similarly high quality of art, which at the same time fits the highest standards of architecture!

To channel the drawings as a first-degree differentiation of spirit to matter is a frightening but exhilarating experience. We begin with the blessed ignorance of a child and the unwavering conviction of the initiated. Our dreams repeatedly elude us, allowing but glimpses of veiled images of our willed reality. If we struggle faithfully, as a miracle, some unremembered imprints occur. We carry not even conceived questions in us for days, then, as sudden relieve, the shape is formed from cloudy thoughts. I was delighted, to see both the ‘clouds’, as well as the outcome of final ‘shapes’, and both phases provided a great spiritual experience, for which I am equally grateful for both to you and to them!

Prof. Peter Magyar

“Constellations, fragmmens of light, sideral spaces”

I Terragni vengono dall’Acqua, dal lago.

The Terragni are from the Water, from the lake .

Ma non vi e’ niente di trasparente, liquido e scorrevole nell’opera di Attilio.

But there is nothing transparent, liquid and flowing in the work of Attilio.

I Terragni vengono dalla Terra - evidente origine del loro cognome .

The Terragni are from Earth - an evident origin of their name.

Ma, salvo il fisico massivo e la sua arte culinaria, non vi e´ niente di terreno e corporeo nell’opera di Attilio.

But , except for the massive physical aspect and his culinary art, there is nothing ground and body in Attilio works.

Anche se per me lui e’ Terra, ed e’ cosi’ che lo chiamo.

Although for me he is Earth, and so is how I call him.

Nell’opera architettonica, pittorica e nell’insegnamento di Terra vi e’ solo Cielo.

In the architectural pictorial and teaching work of Earth, there is just Heaven.

Costellazioni, frammmenti di luce, spazi siderali.

Constellations , fragments of light, sidereal spaces.

Arch. Attilio Stocchi

“Art and architecture here is not a matter of style or ideas, is the experience of our meeting and clash with the Riverrun flow.”

Welcome to After geometry III where you can see an incredible talent of students at DIA. The university here is like a Riverrrun of people, cultures, imaginations, languages, religions, abilities, colors, lights and shadows, hearts of different cities, visions........

Riverrun is the first and last word of Finnegans Wake by James Joyce. It ‘a new word. Everyone knows that River is the river and Run is run.

character, a suggestion of the sound texture, and introduces us to the experience of bringing things together and see the flow.

RIVERRUN has three times the letter R that makes the rhythm of passing the internal structure of the word.

Art and architecture here are not a matter of style or ideas, is the experience of our meeting and clash with the Riverrun flow.

As a day of endless years, sharing every morning...... where the truth is relative to matters.

The compound word, however, becomes a new Attilio Terragni DAAD Guestprofessor DIA

STUDIO TERRAGNI What time is it? At Studio Terragni it’s 4 a.m.

The number FOUR is the number of Architecture; it is the representation of the practical sense, the concrete, and construction. FOUR(4) is the number of the physical world, the number of our Planet. The (4)F is a practical number that educates us to realize and express what is in us with more manifest and solid structures. If you are under the influence of the F you are driven to act in the awareness of belonging and operate in a material world. A world characterized by number 4(FOUR) or its combinations, has respect for Traditions because 4F is the number of cycles: the 4 seasons, the 4 corners, the 4 elements, the 4 cardinal points. It also represents the Four doors that a young man has to pass, before entering the Haunted House of Life, which once was a Temple. These FOUR doors are connected to the experience of 4 elements: Fire, Earth, Air, and Water.

And It is always necessary to take a 4 to “return home”…. and to get passionate to yourselves and to your divine power.

The F team: Leon Battista Alberti 1404, Luciano Laurana 1420, Francesco di Giorgio 1439, Leonardo da Vinci 1452, Vinci, Michelangelo Buonarotti 1475, Antonio da Sangallo il Giovane 1484, Guarino Guarini 1624, Giuseppe Terragni 1904, Tadao 1941, Toyo Ito 1941……….

In the studio After Geometry students will be asked to work around the number FOUR(4), and to build a project as a Memory Machine. Their work will reflect the Infinity Memory Jest, IMJ, of Architecture through its story as a historical mode of critical thinking.

For each student, this practical exploration will be not a catalog of form or abstract pattern, but a practical and pragmatic manual for their work as designers. By defining the architectural fundamental starting point, based on geometry, measures and mathematics, the extra architectural life, the different cultural traditions and the personal experience, architecture could emerge only at the end of a construction period, as a personal interpretation of the work done together.

The number 4 is about practical and physical spaces. So we will work on physical models.

With these projects we would try to avoid what has happened in the last decade were students has been taught to analyze transportation, social data, financial market, statistic, smart cities and turn this analysis into a form than then they have to interpret as a form of architecture.

ARCHITECTURE IS A JOUNERY....

INTO A JOUNERY INTO A JOUNERY.........

A journey today is increasingly organized, there is no room for improvisation.

We are too many and manage these flows of people from one point of the planet to another one is a very serious business, it needs a military organization and it is not just the idea to check minute by minute everything people do, what they eat, what they want and what they spend, is rather than every member of every nation has the need to make its appearance somewhere else because stay home, stay near is considered as a bad sign of poverty, a chronic depression admission, in a time where is said that spending without major trauma can project everyone in the luxurious free land of international tourism and job.

In the past, and I’m not thinking of Goethe’s coach from Bolzano to Sicily, but in more recent times journey was more a game, a familiar entertainment on motorways, in rugged cockpits latest car, which hurtle towards our horizon and then finally sleep in the silence place of our spiritual dreams, that is the one chosen by us, not a painting or an imagine on coated paper brochure that people see in cold and rainy winter. Every journey, in summer or winter, should be near the weight of the air, the anti-stress fragrance of our lives without any objection.

But the lane of our trips is surrounded by an impressive number of heads and bodies that will never leave us for a second from start to the end.

New ingredients need new recipes. Once I replace glass and concrete with digital STRUCTURES I can not use the rules of the old way of cooking, a bit like happens with the passage FROM Italian FOOD ingredients to those of Japanese cuisine , or, with a bit more sophisticated EXAMPLE FROM mathematics with geometric proof to mathematics itself.

We need different journey. Journey tie with the fortunes of getting to a real door, insert the key and make a comeback in the world of things that cooperate with us, handles, chairs, beds, tables, rain noises, things that are telling us where we are when we have lost the guidance in also small and familiar gestures, that kind of journey that I touch and I recognize it, that I’m also sure to have seen it, that I’m also sure to remembered it.

INTO A JOUNERY INTO A JOUNERY.........

Architecture is discovered only by traveling : to visit architecture is then a “ journey within a journey . “ By which I mean a trip into a space constructed with a structural knowledge ambitions, because without this ambitions our experience ends only at the surface of things assumes the value of excellence becoming for all the real star of the trip into architecture.

The journey into architecture then leads to another trip, the “ journey into the journey within a journey “, that is, to our journey after the architecture, the journey we take AFTER the journey in the world and the journey into architecture .

NTO A JOU The problem is the eyes: The problem is the eyes: we are not used to an active participation of view, to the phenomenon of doubling, to the difficulty of remembering different sides linked together by architecture, to the difficult of rebuilding a place through our visual memory complexity.

We are accustomed to looking as if there was only one building, while in architecture every building contains other, some that you can find out soon, others that require more time and research than expected. The splitting of the phenomenon needs an active participation, needs to be aware of the movement and change needs to turn off the autopilot of passive perception.

Only with concentration and attention you can enter consciously the body experiences, that is, seeing the basic architecture framework, which is not reasoning or pure calculation, that it can not be known in advance, that will remain there unknown, like a daydream, because the casing has melted inside....... as the beginning of a speech that attracts all our attention and then, at the end of the conversation, we will not remember where it started, we will not remember as we got up to there, but not for that we are in disarray or lost, indeed.

ARCHINERY....

INTO A JOUNERY INTO A JOUNERY.........

Galileo did not invent the telescope he just pointed at the top in the right direction to discover the immensity of the sky.

The same thing SHOULD happen in architecture.

The new technical instruments should be aimed in the right direction, should be seen as tools of knowledge to be used to find all the space that the earth contains UNDER THE GALILEO SKY, SPACE THAT WE still can not see .

By defining the architectural fundamental starting point, based on geometry, measures and mathematics, the extra architectural life, the different cultural traditions and the personal experience, ARCHITECTURE could emerge only at the end of a construction period, as a personal interpretation of the work done.

It ‘S always necessary to see out of the window of the train on which we travel.

Paraphrasing a letter on humanism of 1946 written by Martin Heidegger : If you pay attention to its essence architecture does not progress .

It marks the site with and always think the same thing .

Alltheprojectshastheambitionsofaprocesswhereeveryevolutionisalsoaco-evolution,sotosaystillopenforsomebodyelsetowork.

Now what is the architecture in this Studio ............

Is a memory machine of the future built by us.

We are traveling on this machine built by us, assembled with recycled parts from other cars, with which we have slowed down the most dangerous intersections, with which we continued even AFTER the little not encouraging data that we receive from the noise of the engine, even in the face of sudden turns in narrow streets that do not reveal the magnitude of the expanse of the landscape, and while we jerk on the road that becomes increasingly a larger rock fragments, we must slow down a little because the oil warning light on the dashboard continues to blink and this story of the oil lamp starts to get quite disturbing because it starts to indicate that the journey will not come to the goal, to the great Circle Meeting.

The matter of the stones is only for newcomers that if you ask a veteran of life not even notice and you go to break, literally shatter like a crystal of Bohemia, on their total hardness, and the crashing is more than a conditional surrender, is disintegrating like a plane in flight with a bomb on board, is not to know even more than there was on that plane, where all tracks are destroyed in an explosion microsecond outside of the terrestrial world, without being able to being noticed by anyone, outside, right outside without any inside, with no story to tell, pulverized by the gravity of Earth, she also made of stones, huge and gigantic stones that bind, to addiction to this our unlikely union with the heaviness a bit ‘of the deformed sphere on which we are turning absurd speeds for our little universe, and somehow, in the perfectly polished crystal plate and transparent screen, we realize the stone prison, his unreasonableness, his absurd claim to be inside of us, you are dust and you’ll be dust, to put in plain sight as she was the principle of this life, she along with water, air and fire would build all this, put the breath within us, turned his life and his adventure now begins to escape his control, not an abstract theory, but for her, the pure glass plate that invades the prism of being, as stated in the recorded value in his birth, in that car for leaks from the extraordinarily inconceivable mechanisms for a lifetime by precise contours as that of stone.

The measure of freedom lies in the complexity of the breath of our brain. “The fault dear Brutus is not in our star but in ourselves, that we allow ourselves to subdue.

(Shakespeare)

Anyway, you finally get to the checkout line’s front, and pay for your food, and wait to get your check or card authenticated by a machine, and then get told to “Have a nice day” in a voice that is the absolute voice of death, and then you have to take your creepy flimsy plastic bags of groceries in your cart through the crowded, bumpy, littery parking lot, and try to load the bags in your car in such a way that everything doesn’t fall out of the bags and roll around in the trunk on the way home, and then you have to drive all the way home through slow, heavy, SUV- intensive rushhour traffic, et cetera, et cetera.

Look, the insidious thing about these forms of worship is not that they’re evil or sinful; it is that they are unconscious.

AFTER In human experience, all happen After (and late), After something that exists before us , which has happened before us. After is the expressed of our astonishment and our wonder with signs that , since ancient times , they say and not say , reveal and hold at the same time this experience of After . Signs that are transmitted from man to man passing as energy quanta that are displayed and exist only in this move , in this passage from one man to another man.

The signs bring into the form of being problematic , each with its own conception of truth and rich contrasts . Each sign comes from a battlefield where men have tried to “ become what they are “ ( the subtitle of Ecce Homo Nietzsche ).

In short , our great adventure of living beings . We are a form of life that takes different things together and using the After acts and we can embrace them all in our minds , combining opposites , like a layered thinking of the day or night , the blossoming, and withering , always separated in nature , where one does not know the other . We are like a presence of cio’che e’staccato and the opposite , such as peace and war, the spring and fall, waking and sleeping. In guarding the theme being the architecture should not eliminate these differences in his pretend stability , not be involved in the death of differences , but rather remain a form of negotiation that contains in this unavoidable tension of difference and after , that always having to be involved in an existing game before our appearance on Earth , and one of the unveiling of the coating of the signs , as is watching our ID card where we perceive something inside us a covering of sizes and meanings .

The signs that say “being” are signs of the difference between the irreducible contrary, and they preserve this difference and do exist together: they are what is distance and opposite as the fundamental lines of our buildings.

In guarding the theme being the architecture should not eliminate these differences in his pretend stability , not be involved in the death of differences , but rather remain a form of negotiation that contains in this unavoidable tension of difference and after , that always having to be involved in an existing game before our appearance on Earth , and one of the unveiling of the coating of the signs , as is watching our ID card where we perceive something inside us a covering of sizes and meanings.

This tells us about the great architecture and allows us to get into space and being sein . After staying in that otherwise we can never experience , stay inside the space in which being is revealed out of his concealment and yet remains even after the experience of architecture : it’s just a pigs relating, get involved , a participate in being svelatezza , a look as light and space we can free from the darkness of our not knowing each other.

Making signs is to make signals to the distant companion of the game , is to hit the mark, is to give or not give signs of life, is to pass over the sign.

LEARNING FROM ARCHITETURE A JOUNERY INTO A JOUNERY INTO A JOUNERY............

HEART CITY If one thing goes for long, it is not for me.

Cities have become invisible, completely

invisible to our daily routine.

Then one day we fall in love with someone or we get sick and suddenly we see emerging in the same city, other cities

that were not seen before.

Suddenly we see that our external and internal morphology is more like an atmosphere, an island of a thousand plans, more then a well-defined physical object.

We see that we are not what we had in mind, it was not what we thought, walking in that one city that looked so familiar and measurable.

For this, I need to know exactly which the door I’m opening, in which building or city I’m entering.

Getting in is easy, it is hard to quit, even from the wrong building.

In addition, it takes a lot of patience to understand it because the pleasure of being joined provides an automatic love and a self-control already starts to rebuild itself from the click of the front door closing behind us.

The

door of a city is perhaps the greatest enemy of life?

Cities have become invisible, completely invisible, to our daily routine.

the city is what is built (structure) around what is invisible (imaginary).

the city is not a theory is a practice

Making signs is scratch on a surface.

DESIGN STUDIO

space I want space , lots of space

Spazio spazio io voglio, tanto spazio

for sweet moved wound;

per dolcissima muovermi ferita;

I want space to sing to grow

voglio spazio per cantare crescere

to err and take the plunge

errare e saltare il fosso

of the divine wisdom .

della divina sapienza.

Space , give me space

Spazio, datemi spazio

that I can Launch an inhuman scream

ch’io lanci un urlo inumano

that scream of silence in the years

quell’urlo di silenzio negli anni

I had touched with my hand .

che ho toccato con mano.

ada merini

ada merini

DISAPPIERING WORDS, HAN YU-WEI, 2016 Disappearing Words Continuous culture and spatial implication of Chinese characters Chinese characters, as we know as Hanzi, are the only pictographs, a picture that represents a word, which is still widely used in the world. Over 1.3 billion people, like seventh of the world’s population, still use Chinese characters today. As an art form, Chinese calligraphy remains an integral aspect of Chinese culture.

There are 47,035 Chinese characters in the Kangxi Dictionary, the standard national dictionary developed during the 18th and 19th centuries. However, the precise quantity of Chinese characters is a mystery; numerous variants and archaic characters have accumulated throughout the history. Chinese characters have evolved over 3000 years to include many different styles or scripts. The main forms in order are: Oracle Bone Inscriptions (Jia Gu Wen), Bronze Inscriptions, (Jin Wen), Small Seal Characters (Xiao Zhuan), Official Script (Li Shu), Cursive Writing or Grass Stroke Characters (Cao Shu), Regular Script (Kai Shu), Freehand Cursive (Xing Shu) , and Simplified Chinese characters (Jianti Zi). During this process, Chinese characters from very specific drawings of objects to abstracts symbols.

The formation of Chinese characters is not only writing in the pictographic but also the pictophonetic ways; not only drew an object in the environment but also drew a sound which was created in the human mind. That is why we can say Chinese characters have their own spatial content and cultural background.

For example, space (kong jia) is composed of two Chinese characters. The first word (kong) which is a pictophonetic character drew the echo in a cave. The second word (jia) which is a pictographic character was illustrated by light passing through a gap in the doorway. That is really how we think in architecture to create a space full of light and sound. All these words are very meaningful and can be used as architectural tools, having their own logic, image and story behind.

Therefore, I will use the spatial construction and meaning of words to design my project.

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i universe: MOUSTAFA HAMDI, 2016 My project is an MUSEUM+OPEN LAB for the relation between the HUMAN and the UNIVERSE In term of GEOMETRY and ART. I would like to go deep to see if we live in a universe or the universe lives in us and how is the relation between everything around us from MICRO scale to MACRO scale and reverse, how does it feel when we turn this relation to a real architecture were we can experience this feeling from an inside out our body, soul, and imagination during the time we will spend inside the spaces of this architectural building.

Human since ages was fascinating about the universe and science and how we are all connected to this massive system that works amazingly together as one big factory.

If you look deep in details around you in nature and even inside your own body system you will be amazed by the beauty of geometry and how it works in terms of function and relations.

My site will be (at THE ROCK OF GIBRALTAR south Spain)/ Andalusia in old days, and the reason why I choose this location to be for my project is that Andalusia was for 800 years the light house of science and research for all humanity and was the center of the world welcoming researchers from all over the world In all fields specially ARCHITECTURE, GEOMETRY ART and SCIENCE.

EYE AND UNIVERSE

EYE AND UNIVERSE

EYE AND UNIVERSE

E Y E A N D U N I V E R

EXTENDED THREADS, RAMY MAHER, 2016 “Extended Threads” is an elaborate exposure to my understanding of architecture.

Nietzsche said: “It is just as absurd to ask strength not to express itself as strength, not to be a desire to overthrow, crush, become master, to be a thirst for enemies, resistance and triumphs as it is to ask weakness to express itself as strength”.

I perceive an architect as a person with a set of skills that qualify them to produce designs for functional and nonfunctional needs.

Architecture is always slow in perceiving the needs of people because it is on the top of the list of applied arts. It has to have a function. The architecture uses technology narrowly.

At first, Le Corbusier started by admiring airplanes, but he never got to more than writing about them. Architecture then took from natural forms (formalistic approach), then evolved to simulating the natural and biological processes as a stepping stone to creating them with all their complexity and compound combinations.

“A great era has just begun. There exists a new spirit.

There exists a host of works in this new spirit.

They are encountered in all the industrial production. Architecture suffocates in routine” – Le Corbusier Architecture passes- as all history- with stages that witness redefining standards and aesthetics.

This project experiments in the field of gaming-architecture.

The project aims at providing a bridge between game engines and real architecture.

People use games to build in real life.

KONG REVO, AFTER MODERN, THE INHERITANCE OF CHINESE ARCHITECTURE, 2016 After modern is my motivation to study architecture.

I grew up in Mainland China, because of the political demands and modernization requirement our education is not sufficient to base on our traditional culture and until now it seems we have a serious fraction in culture.

We are lost in the voice about modern development and advanced science and technology, most of people only focus on study modern but just few of them will care how to inherit our traditional into this modern society and show our own spirit. Chinese culture is not only abstract or official version, it is the common people indifferent locations in conjunction with the conversion of local culture. The We have new material, reinforced concrete, steel, glass, and new construction techniques; we have a new social structure and problems, a large number of rural population to move to the city, a new rise of the urban middle class, need a lot of housing and public buildings. So, how can we architects use a rationalism approach to solve these social problems?

So, not only in China, probably all cultures must face at different stages of the process of modernization and how to deal with the integration of inherited forms of long tradition and modern function and aesthetics.

How should we build our house? Why suddenly the house looks so different between the former? On the one hand you want to participate in modernity and accept modem building; on the other hand is how to understand modem architecture, to understand why we are building completely without original culture. This is a large cosmopolitan cultural background of modem Chinese architecture problems.

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E astern S iberia is rich in timber , diamonds , gold , coal , fur , copper , and tin and has deposits of pe tr oleum , natur al gas , and ur anium .

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URBAN LATTICE , KAMILA KHALITOVA, 2016

Nowadays European cities have a problem with integration and adaptation to changes.

On one hand, it is due to the immutability of the urban structure (all new buildings, functions, events are squeezed out of the city, on the periphery); On the other hand, it is connected with social aspects (a recent example is migration of refugees and their difficulties to build a dialogue with the city and its residents); The aim of the project is programming acupuncture effects on the city and its â&#x20AC;&#x153;rejuvenationâ&#x20AC;? through the introduction of an the unimaginable combination of features, spaces, opportunities, and experiences.

SENSES, ALEXANDRA TESLENKO, 2016

The subject for current work was born from everyday observations. Every day we pass same streets and same houses going to work. Every day we notice same details of buildings because this is our surrounding. But are we happy inside it? Are we generally satisfied with our spaces and architecture?

It is so important for people to feel contented in their environment, to feel safe, but surprisingly, this same environment is more and more often failing to positively influence people‘s feelings. Simply, it is ignoring them.

Architecture is considered as a set of plans and sections, but there is no message for us, nothing can nurture our mind and soul. This Thesis work is aimed at exploring the interrelation of architecture and human, of the ways by which architecture can embrace all our being in order for us to feel comfortable and happy. There are different means of this influence, as architecture has become our artificial habitat and is the mise en scene for all our activities.

That is to say that we almost never loose contact with it. This already gives a great power to our buildings. In addition to that, the human is gifted with a diversity of senses he can experience.

So why can not architecture be richer? Why can not architects remember who they are building and designing for? It is interesting that the subject of architecture and its impact on our internal sensation has been discussed within various topics. For example, it was noticed within the design of hospitals, where windows, colors, pictures, etc. were causing different effects on patients‘ feelings. Another example of such observation brings us to a science of phenomenology, in which architecture, like art, is studied from the existential point of view. This proves that the impact of architecture on us certainly exists and is very strong. However, architects rarely demonstrate awareness of it. As a consequence, we live in a meaningless and „flat„ surrounding. That is why it is important to start exploring what is not yet explored, pushing the boundaries of conventional view on architecture to bring meaning and matter to our lives. For exercising the ability to create an environment for people there was needed a site where the environment is in decay, so as the society. Like that Kanonerskiy island was picked. A place with a big potential, that was never realized. And the main question is how to understand what is needed here, how to respond to people‘s needs and how to let the light flow inside people‘s souls?

If these questions would be asked more often, we would be living in a totally different world.

WATH WE HAVE FORGOTTEN?

THE OPEN ORCHESTRA

THE OPEN ORCHESTRA

THE OPEN ORCHESTRA

THE OPEN LIBRARY

THE OPEN CHAPELS

dear churches, temples and chapels. symbols for creation you are a way to look again at the world with different eyes,

with the eyes of our soul.

MOHAMMAD ASHHAB ZAMAN, STIRAX, 2016 Do we as architects have a social responsibility beyond our practice?

Traditionally architects have a social responsibility towards human habitats as well as the environment.

The modern world is seeing drastic climatic changes taking place due to pollution being created by humans and their habitats. In this present situation, the social responsibility for architects is defined, mainly by two things.

1. To eliminate negative environmental impact.

2. To connect or provide people and societies with natural habitats.

The word widely being used in todayâ&#x20AC;&#x2122;s terminologies is sustainability.

Buildings are being constructed at an alarming rate without considering their effects on the environment, especially in developing countries where the public awareness towards this issue is almost negligible. The balance between built spaces has been disturbed and ignored over the years leading to these drastic climatic changes. This, therefore, leaves a question mark on how we live and function as humans.

At present ideas and solutions are being put to test in urban centers around the world to tackle this issue of over built. From green spaces to renewable energy, from roof gardens to sustainable materials all are being tested and still explored. Places like public parks, solar and green roofs, and urban farming ideas are all being designed for people with minimum interest for nature itself.

The ignorance of naturally forming habitats within urban centers has forced us in designing pockets of artificial green-lands within extremely saturated urban dwellings.

This thesis will be constructed to provide a solution to the shortage of natural habitation within urban centers. This natural habitation is an area of uniform environmental conditions providing a living place for a specific assemblage of plants and animals.

The idea will explore how to use sustainable techniques and materials to design nature to grow undisturbed in urban centers. This means to have the minimum or no human interference.

Not only would it help solve the problem of pollution and imbalance but will also help change city skylines.

The design would also be modular and will be able to be used all over the world and in diverse climate conditions.

Ksenia Kalacheva

Kong Xiang Tian

Han Yu Wei

Moustafa Hamdi

Ashhab Zaman Rami Maher

Alexandra Teslenko

Kamila Khalitova

I N T H I S W O R L D TOGHETHER

THE BEST HAS STILL TO COME