tools for archit ecture · then constructing architecture to deliver it. // architectural context...

TOOLS FOR

A R C H I TE C T U R EH U M A N B E H A V I O U R

A A I N T E R M E D I A T E O N E

L A R A L E S M E S + F R E D R I K H E L L B E R G POWERED BY SPACE POPULAR

ARCHITECTURAL ASSOCIATION SCHOOL OF ARCHITECTURE

INT

ER

ME

DIA

TE

O

NE

04 \ / 05

H u m a nB e h a v i o u r

T O O L S F O R A R C H I T E C T U R E2

01

7

|

20

18

What we design ends

up designing us back.

Intermediate 1 –

Tools for Architecture – designs

from the inside–out, beginning

with the psychological effects of

architecture, working our way

towards the immediate space

around the body, then towards

elements of a building system

that can generate experience

across multiple places and for

different purposes.

This year we will look at the

relationship between space and

behaviour, focusing in ontological

terms on the feedback loop that

exists between us and what we

design. From the first primitive

hut to the ISS, it is increasingly

difficult to draw the line between

us and architecture. The

boundaries get blurred. Maybe

we are the architecture we

design. With this in mind – and

with a firm belief that to design

for humans we must understand

ourselves – our investigations will

emphasise how humans inhabit

space and speculate on its many

possible alterations.

Simulating the spatial

experience in real-time using

virtual digital models will give us

insight into our mental and bodily

understanding of architecture.

Building a vocabulary that

can objectively describe

architectural experiences

will enable us to accurately

design them. Designing and

resolving building systems to

deliver such experiences will

give us the chance to learn

from the past and imagine the

future of construction. And our

collaborations with professionals

in the fields of psychology,

neurology, VR and sense-analysis

technologies will give us insight

into the worlds to come.

A A I N T E R M E D I A T E O N E

T O O L S F O R

A R C H I T E C T U R E

H U M A N

B E H A V I O U R

Cover Image: The Invisible City of Overlapping Realities. Max Celar.

INT

ER

ME

DIA

TE

O

NE

06 \ / 07



01

7

|

20

18

TFA believes that

ideas are formed in

words and will work

towards a new and

more accurate linguistic

system to describe and

create space

TFA recognizes

that architecture as a

discipline is a collective

continuum and believes

that our visions of the

future are deeply rooted

in our knowledge from

the past

TFA supports

architectural ideas to

exist in their own right

and without restriction

by focussing on tools

(building systems) rather

than ends (buildings)

TFA understands that

the most fundamental

purpose of architecture

is to protect and comfort

the human body but

believes that its driving

force is to serve the

human mind

TFA believes that

the mastering of

geometry is imperative

for the making of

meaningful and efficient

architecture

TFA considers

virtual inhabitation as

relevant as its physical

counterpart, and the

psychology of spatial

perception our final

frontier as architects

TFA believes that

the perception of

architecture will always

be stronger than its

reality and will explore

the power of ideology in

architecture

TFA believes that

what lies within the

thickening section of

modern buildings is

a fascinating world of

increasing complexity

ultimately responsible

for the qualities of space

TFA embraces and

celebrates the potential

in the new nearly urban-

sized megastructures

as the contemporary

pioneers of immersive

experiences

Isotropic Space of Freedom. Yana Kushpitovska.

INT

ER

ME

DIA

TE

O

NE

08 \ / 09



01

7

|

20

18

// HUMAN BEHAVIOUR //

Behaviour is a part of

architecture, just as much as

architecture plays a role in how we

behave. Often architecture finds its

limit to evolve where the limit of

acceptable behaviour is.

In renaissance Italy, homes

with numerous connections

between rooms

were the ideal; with

bedrooms having as

many as four doors

connecting to other

parts of the house1.

Until the early middle ages

in northern Europe entire tribes

slept in the same room with a tall

pitched roof above to collect the

smoke from the fire. The way we

live and the way we build are both in

constant parallel change. In order

for architecture to evolve, human

behaviour has to evolve.

// MIND AS SITE //

As perceived through the

senses, architecture is ultimately

an experience. Beyond plans and

sections, narratives, construction

details and beyond materials;

architecture is an accumulation

of perceived sensations brought

together in each of our minds.

Thus, if we focus on designing

the experience of architecture,

the human mind is the site, and

designing for human experience

means designing architecture

according to cognitive principles.

// ONTOLOGY //

Furthermore, the built

environment is central to the

formation of our identities2. Our

memories are attached to spaces

and our minds change as we learn

and respond to the places we

occupy.

This creates a

loop, particularly

interesting in those

who both design

and inhabit spaces,

that is referred to as

ontological design. What

ontological design defines is the

idea that what we create has an

effect on us and on what we would

consequently create, how we would

behave or how we feel and develop.

The way we live and the way we build are both in constant parallel change.

If we focus on designing the experience of architecture, the human mind is the site.

Blur. Taek Gyun Won

INT

ER

ME

DIA

TE

O

NE

10 \ / 11



01

7

|

20

18

// INSIDE OUT //

Such claims have been

considered too subjective,

oversimplifications and

overgeneralisations of the complex

individuals we are. This often leaves

the issue of how architecture is

experienced out of the discussion

and prioritises arguments for how

architecture is designed following

other narratives. Yet, advances in

environmental neuroscience and

psychology are proving that at a

basic level as humans we share

our cognitive capacities. Therefore

a design criteria for experience-

based design can be developed,

leading to the inside out approach:

designing an experience first and

then constructing architecture to

deliver it.

// ARCHITECTURAL CONTEXT //

We are inhabiting and creating

architecture simultaneously, this

is an unbroken process several

thousand years old. Every new

building is a child of its elders no

matter how radical. Our past is

constantly present in the buildings

and cities we live in, reminding us

of who we are and who we were but

seldom who we could be.

We will study existing and past

architectural styles and typologies

to understand its implications on

the present and the future. An

architectural proposition always has

ancestors, the more we know about

them the better we will understand

our visions.

// UNKNOWN MIND UNKNOWN

HUMAN //

In order to design for humans

we need to understand humans.

This means not only learning from

existing studies but also developing

our own. As humans ourselves

there is a great deal to be learnt

just from reflecting upon our own

experience of spaces and from

observing others. Most of our

experience of the built environment

is nonconscious. Nonconscious

refers to cognitions that we could

access consciously, but mostly

don’t. Stopping to observe spaces

and how they affect how we feel and

behave means developing enhanced

spatial awareness applicable to later

designs.

// LINGUISTIC RELATIVITY //

Such observations can be

enhanced further by being

articulated. Our world of cognition

is affected by language, therefore

if we can name it we can better

perceive it. A good example of this is

the experience of colour. Numerous

studies show that lacking the words

for describing shades would prevent

us from being able to perceive them

at all. In the same way, having a

vocabulary for spatial experience

would enhance our awareness and

allow us to develop criteria for

designing them.

// BUILDING SYSTEMS //

We propose to develop building

systems rather than particular

instances (buildings). In doing

so, the usual factors that drive

architectural discourse such

as program or context become

less relevant and we can refocus

attention towards the architectural

experience achieved through

tectonic means as the main purpose

of architecture. If the architect was

responsible for bringing in content

not in the form of programs but as

experiential intent, spaces would

then be filled with architecture first,

to then accommodate programs,

respond to context and so on.

// SIMULATION //

Architects do not build, they

communicate. Drawings, models

and views are our main tools when

transmitting designs from our

minds to the physical world -where

“I thought we were actually misplaced to deal with the present, but what we offer the present is memory.” 3

In order to design for humans we need to understand humans.

INT

ER

ME

DIA

TE

O

NE

12 \ / 13



01

7

|

20

18

it manifests in structures by the

hand of humans and machines. Over

centuries, strong conventions have

been established as the introduction

of orthographic projections

(plans, sections, elevations) and

the development of perspective

projection (rendering) during

the renaissance gave architects

powerful tools to communicate

across the canyon between virtual

and physical. Today we are on

the verge of a new technological

revolution in the representation of

architecture as digital real-time

rendering and immersive VR devices

are improving. We can now inhabit a

virtual simulation of a space before

it is constructed, we can be inside

the space as we are designing

it. We propose a new creative

process where the design of

space and its experience

are not separated by

mystical alchemical

techniques with

unpredictable

outcomes, but

inseparably and

simultaneously

one and the same.

// CONCLUSION //

The aim of the studio is to design

experiences delivered through

adaptive building systems, in which

all structural and infrastructural

details are purpose-designed to

trigger the human mind; and to

develop design criteria and methods

that taking

the

human mind as site are tailored

to and trigger specific human

behaviour. There will be absolute

freedom with regards to the type

of architecture that the system

creates and there is no site or

program restrictions since the aim

is not to design a singular product

but a versatile system: a Tool for

Architecture.

FOOTNOTES

1. Robin Evans. Translation from Drawing to Building.

1997. Architectural Association

2. Sarah Williams Goldhagen. Welcome to Your World:

How the Built Environment Shapes Our Lives. 2017.

Harper Collins.

3. Rem Koolhaas interviewed by Dianna Budds

Architecture has a serious problem today. 2016.

FastCoDesign

4. Sarah Williams Goldhagen interviewed by Martin

Pedersen How Architecture Affects Your Brain: the Link

Between Neuriscience and the Built Environment. 2017.

ArchDaily

“There’s no such thing as a neutral environment: your built environment is either helping you, or it’s hurting you.” 4

Yewen Jin.

INT

ER

ME

DIA

TE

O

NE

14 \ / 15



01

7

|

20

18

TThe first term will be

dedicated to constructing

architectural agendas

through the study, design and

visualization of spaces.

We will begin the project from

the inside, designing the experiential

qualities of the spaces that the building

system will generate. This will be

done through a series of scenes that

communicate the atmosphere that the

space will evoke. Such experiences will

also be described in words, developing a

vocabulary specific to each project.

The scenes will serve as models for

a project to take shape as we work our

way from viscera to skin, and be the

means for analysing the psychological

response in the user and speculate on

their behaviour. From the scenes we will

develop behavioural patterns in space,

defined first through plans, indicating

circulation and movement, use,

arrangements, densities, subdivision

and interconnectedness.

During term one we will also journey

to Bavaria were we will see a wide range

of canonical buildings from present and

past.

Establishing a research framework

is key for the project to develop.

Possible categories to indicate what

defines your research field are:

Architectural Style, Spatial Typology,

Architectural Element. The spaces

researched will serve as reference for

spatial composition, surface treatment,

material strategy, structural type,

behavioural precedent and other

qualities of each project, as well as

place it within the larger architectural

context. The final weeks of term 1

will be dedicated to constructing

an experiential simulation. The

atmospheric qualities of architecture

are commonly represented in frozen

frames representing a moment in time.

We use fully immersive design and

representation techniques were both

time and space are present throughout.

T E R M 1

SCENES

SPACES

TRIP

CASE STUDIES

SIMULATION

INT

ER

ME

DIA

TE

O

NE

16 \ / 17



01

7

|

20

18

During the second term the

building system proposal

will be fully resolved. By

focussing on the fragment, the larger

spatial goal can be subdivided into

smaller pieces each of them taking care

of different effects and contributing to a

collective end. The fragment approach

also opens to a wider scope of

references since each

element or part can

be informed by

completely

different sets of precedents.

We will begin by developing

spatial and structural prototypes that

demonstrate volume, organisation,

structural principles and detailing,

whilst retaining the experiential

qualities of the project. This will be

followed by the design of building

elements, parts or details that are

capable of delivering the experience

in physical reality. Elements might be

structural, spatial or infrastructural.

Each project might transform, evolve

or hybridize existing elements, rescue

obsolete ones or invent completely new

ones. Understanding architecture as

parts that perform together towards

a whole -rather than a whole

that needs to be resolved in

parts- will bring issues

pertaining to fabrication

and assembly into the

core design process,

thus loading them

with architectural

and

experiential

value. A

variety of

users must be able to

benefit from the building

system. This implies that the user group

is defined not only as those who will

experience the architecture but also

those who will design it or build it.

T E R M 2

PROTOTYPES

BUILDING ELEMENTS

FABRICATION & ASSEMBLY

Hyunjun Kim.

INT

ER

ME

DIA

TE

O

NE

18 \ / 19



01

7

|

20

18

The third term will be

occupied by concluding

speculation on the

applications of the building system and

project-specific representations.

In order to demonstrate versatility, a

series of speculative scenarios will be

presented as examples peculiar enough

to portray the maximum potential of

the system in how it can be used and

assembled in a confined variety of ways.

Considering not only the end product

that can be achieved but also the means

to construct it will serve as vehicle for

reflection upon what the system is good

for, where it belongs, how can it make

a difference or better fit in. Different

situations will lead to different results

yet the core spatial values must be

constant, thus retaining the intended

experiential properties even when

implemented for different situations.

Finding the most suitable

representation formats for the project

will ensure better communication

and help others and yourself reflect

upon the proposal, its meaning and

consequences.

T E R M 3

SCENARIOS

REPRESENTATION

The Mechanisms of Spatial Awe

INT

ER

ME

DIA

TE

O

NE

20 \ / 21



01

7

|

20

18

TECHNICAL STUDIES

The technical studies will be an

inherent part of the project from the

very early stages of design. Already in

term 1 the projects will benefit from the

advice of technical studies tutors and

consultants to find relevant precedents

to study and inquire into material

and structural principles. During the

second term we will work together to

design Building Systems that provide

architectural solutions coherent with

the Visceral Scenes and Vocabulary.

Through physical prototypes and virtual

simulations we will test the atmospheric

capacity of each project and refine them

until they align with the intended spatial

qualities, and perhaps implement them

in unanticipated ways.

The technical studies submission

will consist of: large scale prototypes

and drawings of different elements of

the building system; documentation

of the testing that led to their design;

parameter charts that define the

versatility of the system; and images

and diagrams linking the technical

resolution of the elements to the

psychological effects they generate.

A summary document will be crucial

for concluding your technical studies

submission: a manual illustrating

the building system fabrication and

assembly procedures through drawings,

diagrams and animations.

U N I T P R O G R A M M E

TECHINICAL STUDIESLECTURESWORKSHOPS & COLLABS.TOOLSPORTFOLIOWEBSITESUBMISSIONSBIBLIOGRAPHY



INT

ER

ME

DIA

TE

O

NE

22 \ / 23



01

7

|

20

18

LECTURES

Term 1:

L.1 - The Capriccio and the Veduta: A brief history of Architectural Representation

L.2 - Architecture from Above: Plans through the ages

L.3- Humans in Architecture: Human Perception and Behaviour

L.4 - Architectural Communication: Canonical Graphics in Books and Plates

Term 2:

L.5 - A brief history of Building Systems

L.6 - Dictionaries of Architecture

Term 3:

L.7 - Portfolio Structure

WORKSHOPS & COLLABORATIONS

Term 1:

W.1 - Order in the Drive: File structure and file security using Google Drive

W.2 - Digital Real-Time: Unreal Engine 4 introductions

W.3 - Designing in Plan: Constructing space in 2D digitally and by hand.

W.4 - Digital Real-Time: Unreal Engine 4 with Sergio Irigoyen

W.5 - Digital Humans: Animating human figures in Adobe Fuse with Mixamo

W.6 - Scanning the World: Photogrammetric Scanning with AutoDesk Remake

W.7 - Virtual Reality: HTC Vive and Unreal Engine 4

W.8 - Constructing a Book: Layout in Adobe Indesign

TOOLS

TFA embraces experimental tools

to both represent and construct

architecture. You will be encouraged to

find the tools to best fit the project and

throughout the three terms you will be

introduced to a wide range of digital

tools, which you will be expected to use.

No prior knowledge is required as unit-

specific tutorials will be available.

The unit will provide tutorials on the

following software:

Animations / Simulations

Unreal Engine 4

Adobe Fuse / Mixamo

C4D / Cineware

Generative

Grasshopper

Autodesk Remake

Modelling

Rhinoceros 3D

Diagrams

Adobe Illustrator

Adobe After Effects

Portfolio/Books

Adobe Indesign

BLOG & WEBSITE

TFA believes in sharing. Our site

www.toolsforarchitecture.org will

function both as a communication

tool to the world outside as well as an

internal platform where everyone’s

work is regularly updated. You will all

be uploading work in tandem with our

pinups and juries.

PORTFOLIO

TFA supports varied and innovative

representation methods that express

each project uniquely and does

therefore not have any technical or

stylistic restrictions. Your final project

will be represented with a wide range of

media ranging from text to immersive

digital simulations. You will therefore

be expected to consider your project

portfolio from the very beginning of

the year. Each phase of the project will

be presented in sub-briefs outlining

specific deliverables and in some cases

limitations regarding format and size

might apply in order to help you form a

structured set of presentation material.

These sub-briefs will be handed out at

the start of each new phase.

SUBMISSIONS

TFA values punctuality and

professionalism. You will be asked

to submit both digital and physical

presentation material on the day before

pinups and juries. This will encourage

you to reflect upon your work and rest

before important events where you

are not only expected to present your

arguments with focus but also listen

and participate in the presentations of

your fellow unit members.

Xuecheng Wang

INT

ER

ME

DIA

TE

O

NE

24 \ / 25



01

7

|

20

18

BIBLIOGRAPHY

Hogarth, William. The Analysis of Beauty. 1753

Wölfflin, Heinrich. Prolegomena to a Psychology of Architecture. 1886

Gombrich, Ernst. Art and Illusion. 1960

Vernon, Magdalen Dorothea. Psychology of perception. 1965

Gregory, Richard. Eye and the brain: the psychology of seeing. 1966

Hall, Edward T. The Hidden Dimension. 1966

Bloomer, Kent & Moore, Charles. Body, Memory and Architecture. 1977

Gombrich, Ernst. The Sense of Order: A Study in the Psychology of Decorative Art.

1979

Pallasmaa, Juhani. The Eyes of the Skin: Architecture and the Senses. 1996

Evans, Robin. Translations from drawing to building. 1997

Batchelor, David. Chromophobia. 2000

Frank, Isabelle. The Theory of Decorative Art, 1750-1940. 2000

Grosz, Elizabeth. Architecture from the Outside, Essays on Virtual and Real

Space. 2001

Solso, Robert L.. Psychology of art and the evolution of the conscious brain. 2003

Deplazes, Andrea. Constructing Architecture. 2008

Latour, Bruno. A Cautious Prometheus? A Few Steps Toward a Philosophy of

Design. 2008

Koolhaas, Rem. Elements. 2014

Sussman, Ann. Cognitive Architecture: Designing for How We Respond to the

Built Environment. 2014

Robinson, Sarah. Mind in Architecture: Neuroscience, Embodiment, and the

Future of Design. 2015

Ellard, Colin. Places of the Heart: The Psychogeography of Everyday Life. 2015

Urist, Jacoba. The Psychological Cost of Boring Buildings. 2016

Colomina, Beatriz & Wigley, Mark. Are We Human?: The Archeology of Design.

2016

Williams Goldhagen, Sarah. Welcome to Your World: How the Built Environment

Shapes Our Lives. 2017

INT

ER

ME

DIA

TE

O

NE

26 \ / 27



01

7

|

20

18

U N I T S C H E D U L E

TERM ONE

SCENES

SPACES

CASE STUDIES

SIMMULATION

THU

TUE

FRI

TUE

THU

FRI

TUE

FRI

TUE

THU

WED

FRI

TUE

FRI

MON

TUE

FRI

TUE

FRI

TUE

FRI

TUE

FRI

MON

TUE

FRI

WEEK 1

WEEK 2

WEEK 3

WEEK 4

WEEK 5

WEEK 6

WEEK 7

WEEK 8

WEEK 9

WEEK 10

WEEK 11

WEEK 12

SEP 28

OCT 03

OCT 06

OCT 10

OCT 12

OCT 13

OCT 17

OCT 20

OCT 24

OCT 26

NOV 01

NOV 03

NOV 07

NOV 10

NOV 13

NOV 14

NOV 17

NOV 21

NOV 24

NOV 28

DEC 01

DEC 05

DEC 08

DEC 11

DEC 12

DEC 15

1.1 UNIT INTRO + W.1

1.1 PIN UP + L.1

1.1 TUTORIAL

1.1 W.2 UE4 + TUTORIALS

1.1 EARLY SUBMISSION

1.1 JURY

1.2 INTRODUCTION - L.2, L.4, W.3 & W.8

1.2 TUTORIALS

1.2 PINUP + UNIT TRIP INTRO + L.3, W.6

1.3 UNIT TRIP DEPARTURE (EVENING)

1.3 UNIT TRIP RETURN

UNDERGRADUATE OPEN JURY

1.3 TURORIAL

1.3 W.4 UE4 TRANING. SERGIO IRIGOYEN

EARLY SUBMISSION

1.3 JURY

1.4 W.4 UE4 TRANING. SERGIO IRIGOYEN + FUSE MIXAMO W.5

1.4 TUTORIALS

1.4 TUTORIALS + W.7

1.4 TUTORIALS

1.4 TUTORIALS

1.4 TUTORIALS

1.4 TUTORIALS

EARLY SUBMISSION

END OF TERM JURY

DEBRIEFING

INT

ER

ME

DIA

TE

O

NE

28 \ / 29



01

7

|

20

18


TERM TWO

PROTOTYPES

BUILDING ELEMENTS

FABRICATION & ASSEMBLY

MON

TUE

TUE

FRI

SAT

THU

FRI

MON

TUE

FRI

MON

TUE

MON

TUE

FRI

MON

TUE

FRI

MON

TUE

FRI

MON

TUE

MON

TUE

MON

TUE

FRI

WEEK 1

WEEK 2

WEEK 3

WEEK 4

WEEK 5

WEEK 6

WEEK 7

WEEK 8

WEEK 9

WEEK 10

WEEK 11

JAN 08

JAN 09

JAN 16

JAN 19

JAN 20

JAN 25

JAN 26

JAN 29

JAN 30

FEB 02

FEB 05

FEB 06

FEB 12

FEB 13

FEB 16

FEB 19

FEB 20

FEB 23

FEB 26

FEB 27

MAR 02

MAR 05

MAR 06

MAR 12

MAR 13

MAR 19

MAR 20

MAR 23

2.1 BRIEF INTRO + L.5 + TUTORIALS

2.1 TUTORIALS

2.1 PINUP (PROTOTYPES) + L.6

2.1 TUTORIALS (TS Y3)

2.1 TUTORIALS (Y2)

EARLY SUBMISSION

2.1 JURY

2.2 TUTORIALS

2.2 TUTORIALS

2.2 GROUP SESSION

2.2 TUTORIALS

2.2 TUTORIALS

2.2 TUTORIALS

2.2 TUTORIALS

TS INTERIM JURY Y3 + PINUP Y2

2.2 TUTORIALS

2.2 TUTORIALS

2.2 GROUP SESSION

2.2 TUTORIALS

2.2 TUTORIALS

2.2 PINUP

2.3 TUTORIALS

2.3 TUTORIALS

Y2 PREVIEWS

Y2 PREVIEWS

Y3 PREVIEWS

Y3 PREVIEWS

DEBRIEFING

INT

ER

ME

DIA

TE

O

NE

30 \ / 31



01

7

|

20

18


TERM THREE

SCENARIOS

REPRESENTATION

MON

TUE

FRI

MON

TUE

MON

TUE

MON

TUE

FRI

TUE

WED

THU

TUE

MON

TUE

WED

MON

TUE

TUE

WEEK 1

WEEK 2

WEEK 3

WEEK 4

WEEK 5

WEEK 6

WEEK 7

WEEK 8

WEEK 9

APR 23

APR 24

APR 27

APR 30

MAY 01

MAY 07

MAY 08

MAY 14

MAY 15

MAY 18

MAY 22

MAY 23

MAY 24

MAY 29

JUN 04

JUN 05

JUN 06

JUN 11

JUN 12

JUN 19

3.1 BRIEF INTRO + L.7 + TUTORIALS

3.1 TUTORIALS

3.1 GROUP SESSION

3.1 VR PINUP - GROUP ONE

3.1 VR PINUP - GROUP TWO

3.1 TUTORIALS (SCENARIO WRAP UP)

3.1 TUTORIALS (SCENARIO WRAP UP)

3.2 TUTORIALS

3.2 TUTORIALS

3.2 TUTORIALS (OPTIONAL)

EARLY SUBMISSION

FINAL JURY

TUTORIALS - JURY DEBRIEF

Y2 FINAL TABLE REHEARSAL

Y2 END OF YEAR REVIEWS

Y2 END OF YEAR REVIEWS

Y3 FINAL TABLE REHEARSAL

INTERMEDIATE PART 1 FINAL CHECK

INTERMEDIATE PART 1 FINAL CHECK

ARB/RIBA PART 1

INT

ER

ME

DIA

TE

O

NE

32 \ / 33



01

7

|

20

18

Tools for Architecture investigates the psychological and environmental effects of architecture via large scale prototyping and advanced virtual simulations. With an agenda focussed on experience, atmosphere and aesthetics, our projects are as concerned with theory as they are with practice and we are as fascinated by the teachings from the past as by the visions of the future.

www.TOOLS FOR ARCHITECTURE.org Ezgi Terzioglu

tools for archit ecture · then constructing architecture to deliver it. // architectural context...

Documents