Thesis Book - Samsung E4 Arena

THE SAMSUNG E4 ARENA A PROTO-TYPOLOGY FOR HOLOGRAPHIC PRESENTATION AND KINETICS

Copyright Š 2015 by Bradley Pendleton and Newschool of Architecture + Design

THE SAMSUNG E4 ARENA A PROTO-TYPOLOGY FOR HOLOGRAPHIC PRESENTATION AND KINETICS

A study presented to the Faculty of Newschool of Architecture + Design

4+3 Masters of Architecture: In partial fulfillment of the Requirements for the Degree of Master of Architecture By: Bradley Pendleton San Diego, 2015

SPECIAL THANKS TO: Jorge Ozorno - Instructor / Advisor / Mentor Riot Games, Activision, Blizzard North - Inspiration Long Nguyen, Brian Nguyen, Carolina Bonfada, Boyd Wheeler: Conceptual, Holographic, and Physical Design Assistance

DEDICATION: This thesis project is dedicated to my parents, Wes & Cathy Starnes, to my friends and family, as well as all who contributed to my journey in pursuing my career in architecture.

FIGURE 01: INTEL Extreme Masters Invitational Tournament - Katowice, Poland 2015

ABSTRACT THE GROWTH OF ELECTRONIC SPORTS IN THE UNITED STATES By Brad Pendleton

NewSchool of Architecture & Design Committee Chairperson : Kurt C. Hunker

Problem

The purpose of this study is to understand the growing culture of electronic gaming, develop an innovative building typology that will promote the spread of electronic sports in the United States, and to start a trend of smaller, regionalized gaming arenas for the future growth and evolution of gaming as a spectator sport.

Method

A site visit to Riot Studios in Los Angeles, California revealed not only a need for a multiple venues, but an advanced iteration of the building typology. Studies were made through personal experience, interviews and questions of facility personel and spectators, and through the research of new design technologies which can be manipulated to fit within the parameters of the electronic gaming realm. By understanding the limits of current technologies and recognizing innovative procedures, a “next-generation” prototype arena is proposed to accomodate the growing technologically driven culture of electronic gaming.

Results

To address the needs of the gaming culture, a proto-typical 3d projection arena will be proposed in the Urban Mixed Use District of Charlotte, North Carolina. The structure will implement multiple innovative and advanced iterations of both current and futuristic mechanical technologies. The building will focus the attention on the interior projection space not only as a setting for spectator viewing, but as a gateway to the future of spectating.

With parameters that can be applicable to any type of digital presentation, the “E4 Arena” will become the first fully adaptable three dimensional presentation space. By implementing a fully operable and programmable stage, the platform of the arena will be capable of adapting and representing every imaginable type of terrain or floor space. Finally, a controllable roof structure allows the manipulation of light throughout the presentation space, while still serving the conventional purposes of an operable roof design.

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CONTENTS 01 INTRODUCTION THESIS STATEMENT.........................................................................................12-13 INTRO TO PROJECT..........................................................................................14-15 RATIONALE........................................................................................................16-17 GOALS................................................................................................................18-19

02 RESEARCH AND ANALYSIS MARKET RESEARCH........................................................................................22-29 QUESTIONAIRE.................................................................................................30-31 CASE STUDIES..................................................................................................32-33 LEGAL ISSUES...................................................................................................34-37

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03 DESIGN PROCESS CONCEPT DESIGN............................................................................................40-49 SITE ANALYSIS..................................................................................................50-51 SCHEMATIC DESIGN........................................................................................ 52-59 PHOTOS.............................................................................................................60-61

04 CONCLUSIONS CONCLUSION....................................................................................................64-65 REFERENCES....................................................................................................66-67 LIST OF FIGURES..............................................................................................68-71

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FIGURE 02: Season 4 League of Legends All Star Tournament - Paris, France

THESIS STATEMENT Since the year 2000, competitive video gaming, now known as E-Sports (Electronic Sports), has become one of the most rapid growing industries in the world. This influx of global popularity has sparked an interest in spectator viewing either live or via live broadcasting. While some companies such as Twitchtv and Youtube benefit from the internet traffic and monetary earnings from subscriptions and microtransactions, companies that work for free with optional pay options, such as Riot Games (Developer of League of Legends) and Steam (Dota 2) do not have specator venues designated for live action viewing. By designing a building with the programmatic and typological specificity directed toward an overall competitive gaming environment, as well as an innovative approach to the specator nature, the E4 Arena will serve the gaming community as the first interactive and adaptable three dimensional digital presentation space.

FIGURE 03: Thesis Concept Diagram 13

FIGURE 04: Season 3 League of Legends World Championships - Staples Center, Los Angeles

INTRODUCTION

Not Your Average Arena The E4 Arena, a multi-functional competitive gaming complex, aims to provide an innovative approach to the increasingly growing culture of competitive gaming as a live spectator sport, while still addressing the abilities to have live feed broadcasting and online viewing. The venue will utilize cutting edge 3D projection technology, with the assistance of a kinetic floor to superimpose a virtual realm that is created by game designers into the physical arena. In doing so, the next evolution of gaming will be realized by giving the viewers the ability to become a part of the virtual worlds they know and love via game consoles, computers or mobile technologies. While the video game industry is becoming one of, if not, the fastest growing industry in the world, there are only two spectator venues in the United States that have all the components required to produce a live spectator event. The E4 Arena will be the third of this typology, yet the first to implement holographic technologies and kinetics. The advanced nature of the building, however, makes it capable of producing much more then an E-Sports event, but a completely interchangable and adaptable presentation space for three dimensional viewing and display. With the coordination of the “THINK-Space�, the E4 Arena can be utilized as a spectator venue of any kind, ranging

from educational and entertainment to performing arts, opera, dance, theatre, etc. By understanding the limitless imagination that the building creates, it can be used to re-enact past events, future ideas, or something in the present. By removing the actors, singers, dancers, gamers, or other non-spectators from the equation, the THINK-Space can turn any virtual environment or object into an interactive and visual replica that can be manipulated and controlled via computers.

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RATIONALE

Why An E-Sports Venue When first looking into E-Sports as a topic for study, I didn’t realize the complexity of what electronic gaming truly is. By doing research and discovering the essence of what makes E-Sports comparable to all other sports, it became simple that it was a path I wanted to take.

E-Sports is a culture that is relatively unknown to those not involved directly within it. When asking non-gamers about their feelings towards E-sports or even video games in general, the responses are generally negative. Being a gamer myself, I found this to be intriguing, yet also disturbing. Once researching what had been done architecturally and what had yet to be done, I decided to take a technological approach to fuel the project.

I first began by looking at recent advances in technology and one of the most interesting concepts, was the ideas behind the Imax theater. Imax was designed with the idea of stimulating the senses of the viewers by making them feel as if they are inside the movie or game that was being displayed. This compelled me to surpass this concept with an idea of reversing the situation, and instead, putting the movie or game into reality. By looking into holographic projection technologies and a discovery of the “InForm” project that had recently been developed by MIT, the 16

fog had dispersed and the path became clear.

By partaking in multiple conceptual and entry level schematic design approaches, I became enthralled with the idea of making the building mixed use by implementing every current aspect of E-Sports, plus a little more. With the continuation of growth in the E-Sports community by my side, every design decision become more plausible. When looking into the design features that could be incorporated into the building, I began with the most familiar, being the stream. With a space designated for the factor that is leading the way for E-Sports, the “StreamSpace” became an immediate positive conceptual addition.

Later in the design process however, came the discovery of the E-Sports bar, started in Canada and followed up in Europe, yet to be designed anywhere in the United States but New York and Chicago.

Further research showed a requirement for future success of the building as well.

Finally came the “THINK-SPACE”, a prototype interior space development for which the thesis project would be focused around, and the next technological advance for the future of three dimensional presentation.

FIGURE 05: Season 2 League of Legends World Championships - LA Live

GOALS 2015 Currently in the United States, there are two E-Sports venues located in Los Angeles and Columbus. Each of these venues are used only for live spectator events on the weekends, and are not used for most of the week.

With the implementation of a new type of building, the building would be capable of operating 7 days a week if needed, and used for other types of presentation. By revealing the technological advances to the public and sparking the interest in three dimensional presentation, the desire for the spread of the building typology should propel the E4 Arena into a replicable object, rather than just an iconic building.

2025 By the year 2025, it is projected that the gaming industry will be utilized by 72% of the United States population. With this in mind, multiple new regionalized venues will be required in order to fulfill this need from the consumers. With the re-facing of movie theaters into E-Sports viewing centers and the creation of E-Sports bars, there will be an abundance of small gathering spaces throughout the country.

However, the larger venues will be limited, and designed to be places for the stimulation of the senses via technology and cultural phenomena.

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FIGURE 06: Current US Arena Status vs Projected Future Arena Status for 2025

FIGURE 07: Conventional Arena Replaced by THINKSPACE

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MARKET RESEARCH Behind the Scenes of the Gaming Industry

Computer Gaming and Software make up 44% of the global market for electronic games

32% of the global market of online gaming are made up of games or apps on mobile devices. (Ipad, Cellular devices, etc.)

The smallest portion (8%) of the global gaming market comes from the original console games designed for the purpose of online gaming.

FIGURE 08: Total games market - 2014 22

Social networking games from sites like Facebook collect 16% of the global market of electronic gaming

Sales in Billions

Since the 1980’s, competitive gaming has evolved from the simplicity of one friend playing against another, to one of the largest industries in the world.

The former micro-culture of competitive gaming has increased to a global scale, with technological and innovative advances leading the way.

Gaming has changed in many aspects, with the most obvious being the ability to communicate online with millions of others around the world in real time.

The processing abilities and strength of consoles and computers have changed over the years, resulting in computers being the leading market in competitive gaming, as well as for leisure.

Computer Games

Console Games

FIGURE 09: Increase of sales in computer games vs Console Games 23

Behind the Scenes of the Gaming Industry 2015

BY 2020 4.5% Increase

8% Increase

3.5% Increase

7% Increase

FIGURE 10: Electronics user-base in the United States 24

With the rise of the famale gaming culture as well as the increase in satisfaction to those not in the 5-18 Age Group, the gaming industry has been able to focus on game design for everyone. While less often then perceived, gaming can be used as a family or friend get-together.

Whether tearing up the streets in Mariokart, or competing with your friends on Dance Dance Revolution, the gaming industry has become total user friendly, rather than designing games for a targeted group of individuals whom they would assume bring the most profit. With the fluctuation of clients changing daily, the developers have found that designing games for all to enjoy have become the most successful.

Age 5-18

Age 18-35

31%

33%

36%

FIGURE 11: Increase of Female Gamers

Age 35+

FIGURE 12: Gamers by age group 25

Behind the Scenes of the Gaming Industry 67 Million monthly subscribers to League of Legends 17 Million monthly subscribers to World of Warcraft 40 Million Monthly players of Call of Duty

Approximately 24 Million People play basketball in the US. 100 Million less then the top 3 online games

Approximately 8 Million people in the US play football 1/8 the amount of people who play League of Legends alone

FIGURE 13: Sports vs E-Sports 26

124 Million Active Users (3 Popular Games)

With the number of gamers in the US and the world growing rapidly, both as a hobby and a spectator sport, the numbers indicate a need for more arena space, spectator space as well as publicity. By understanding the amount of people partaking in video game play, building needs and typological programming can be calibrated to the new standards that will be tested in the E4 Arena. With the growing population looking for places to participate in E-Sports events, multiple new venues will be required for the accelerated popularity of the E-sports culture, and for the increase in fan participation in the gaming community.

1.2 BILLION GAMERS WORLDWIDE

320 MILLION PEOPLE IN THE US

FIGURE 14: Global Gaming network 27

Streams Turned to Rivers

CHARITY

LEARNING

ENTERTAINMENT

ADVERTISING MUSIC

DISCUSSION

Twitch.tv is a live streaming platform that was started as Twitch Interactive in 2011.

It originally focused on walkthroughs and assistance for video gaming difficulties, but has rapidly become the 4th largest internet trafficked website behind Apple, Netflix and Google. The site has further branced into a multi-faceted platform for streaming music, games and people simply trying to entertain others. In 2014, Twitch was aquired by Amazon.com for 970 Million Dollars. Recently, Twitch.tv has expanded its horizons to the mobile services in cooperation with IOS for Apple, Android, Electronic Arts, Ubisoft, and Nvidia.

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FIGURE 16: Behkuh@twitch.tv stream live feed screenshot

The rise of Twitch.tv has been one of the most crucial suppliers of publicity in the E-sports community. While not only being free to use and subscribe, Twitch makes it possible for anyone to feel as if they are part of whatever activities are taking place on stream. Because of the platform’s ability to allow communication between the streamers and the viewers, this gives the people who are viewing the oppurtunity to influence what is actually occuring in the stream.

While originally starting with mostly male streamers, female streaming has becoming almost equally as popular since 2013. Further, with the exponential growth of female streaming, comes the growth of the female viewing population. This not only brings oppurtunities for female streamers to pursue a career in online video entertainment, but to increase the overall female user-base in the gaming community.

FIGURE 15: Average number of hours spent by users per week on twitch.tv

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What Drives Gamers?

If unfamiliar with the 3D spectator topic, would you still participate in the event solely for the technology?

Are you familiar with streams, and if so, do you watch streams not related to the LCS (League Championship Series)?

How many hours a week do you typically play video games?

To participate in the events at the E4 Arena, how much would you be willing to pay in comparison to other professional sporting events (NBA, NFL, etc.)?

FIGURE 17: Questionaire precentages 30

FIGURE 18: Gaming Time

FIGURE 19: Ticket Cost Estimations 31

CASE STUDIES

Riot Studios, Los Angeles

FIGURE 20: Gift Shop Interior - Riot Studios

After visiting the Riot Studios venue for an E-Sports event in February of 2015, my views towards the overall environment of the interior spaces of the gaming facility was changed.

After seeing the size of the venue and the amount of crowd enthusiasm for every heart-stopping instance during the event, I understood the parameters for which I wanted to design the E4 Arena. After seeing the flaws with the seating arrangements, gift shop, concession stand, and the limited adaptability and innovative nature of the spectator space, I was compelled to design a space that spoke louder volumes and increased enthusiasm by design alone. With the implementation of holograms, the E4 Arena propel the design of arenas everywhere.

FIGURE 21: Auditorium Space : Removable Seating - Riot Studios

FIGURE 22: Auditorium Space : Stage - Riot Studios

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MLG Arena, Columbus

FIGURE 23: Commentator and Player Space : Stage - MLG Arena

FIGURE 24: Spectator Space - MLG Arena

When doing studies of the MLG Arena in Columbus, I found the predominant factor setting it apart from other arenas to be its seating capacity and size. This arena can hold up to 1,500 people for an event, nearly three times the size of Riot Studios. The stage, broadcast, and presentation space were all much larger, however the view for the spectators is somewhat lackluster.

With very low rise on the seating, it is difficult for the fans to have an overall perspective of what is happening psychologically and emotionally with the players. While the viewing screens are much larger, the spectators have no additional connections to the players then they would have on a live stream at their homes.

To most spectators, the overall experience is not complete without understanding what is happening inside the heads of the players. Their drive, desire, motivation and emotions cannot be seen when streaming, much like the MLG Arena, because of the layout and the configuration of seating, stage layout and overall viewing platform. After noticing these features, and attending E-Sports events, it is clear what fans are getting, and what they are attending for.

With the E4 Arena focused on the overall environment of the interior viewing space, the spectators will have a new status quo for what the true meaning of the overall gaming experience can be.

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LEGAL ISSUES

FIGURE 25: Floor Area Ratio Analysis 34

FIGURE 26: Required Handicapped Parking

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36

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FIGURE 27: Timeline of technological breakthroughs that propelled the gaming industry 40

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CONCEPTUAL DESIGN Starting from Scratch

FIGURE 28: Original Programmatic Space Planning 42

1

4

2

5

3

6

During the design process, the building went through multiple phases. Originally, the building was designed into two components, the competition space and the residual space.

After some consideration however, I decided to remove the hotel and residual spaces to focus the building into a prototype gaming arena with the ability to morph the interior space into a platform that can accomodate any type of three dimensional presentation.

Once identifying the core of the building, I adapted the exterior to be reflexive of the interior space by giving it a more dynamic rounded arena, with two mirroring front and back of house spaces on the North and South facades.

FIGURE 29.1 : 29.2 : 29.3 : 29.4 : 29.5 : 29.6 :: See List of Figures 43

Moving Forward

During the initial stages of the project, ideas and technological concepts were developed on a basic level, with the purpose of being refined and developed as the project pushed forward, as well as adapting to real time changes in the E-Sports Culture.

FIGURE 30: Original Technological Exploded Axon with Space Programming 44

Recognizing Change 1

4

2

3

5

45

Once developing the structure, I began working on the mechanics of the building to utilize the idea of the building as a machine. Implementing the operable roof as well as the kinetic floors were first. Originally, the operable roof was going to be retractable, then further studies of lighting and ventilation showed a need for the roof to be operable on multiple surfaces.

By using sixteen single axis panels, one is able to control the ventilation of the building similar to the way a fan works in a room. By being able to control each individual panel at a 22.5 degree angle, the building becomes capable of controlling the natural ventilation from the exterior to the interior in 16 different directions.

The kinetic floor then comes in to play, using the same idea of space as the Greek Ampitheater from 432 BC. By utilizing a circular pattern for the presentation space, one creates a space capable of presenting in a full 360 degree rotation, rather than having multiple sides with different understandings of the presentation based on seating arrangement within the space.

FIGURE 31: Operable Roof Panels Closed / Open 46

The kinetic floor is controlled from below with 900 pnuematic linear actuators that would be controlled using the “InFORM� software developed by MIT in 2013. With this program, the floor becomes completely parametric and is capable of manipulating itself into a full array of possible shapes that are formed on a single axis.

2020 AD

REAL vs VIRTUAL

Spacial Viewing Concepts

~432 BC FIGURE 32: Greek Amphitheatre Layout Adaptation 47

The “THINK-SPACE”

FIGURE 33: “THINK-Space” Render Interior 48

FIGURE 34: “THINK-Space” Diagrammatic Design 49

SITE ANALYSIS

Spreading the Word The Samsung E4 Arena will be located in Charlotte, North Carolina, due to the diversity, common age group, and geographic location of the city. Currently, there is an E-Sports Venue in Columbus, Ohio and Los Angeles, California. These will serve the west coast and midwest regions temporarily, with the E4 Arena serving the southeast region. Charlotte’s Urban Mixed Use District is an ideal location because of the vast array of nightlife and social entertainment venues located on every corner. With the combination of large school systems due to population and the college campuses in the vicinity, the arena will have a large user-base naturally, without calculating the influx of visitors, tourists, and traveling gaming enthusiasts. Additionally, the cost of living is much less than other cities of the same size, causing building costs and labor costs to be much less, helping to pay for the high technological construction costs of the arena.

FIGURE 35: US Gaming Population and North Carolina Gaming Analysis 50

FIGURE 36: Uptown Charlotte Site Map and Public Transit 51

SCHEMATIC DESIGN

Bringing E-Sports to Life

FIGURE 37: Samsung E4 Arena Street View

FIGURE 38: Site Map and Parking Plans 53

FIGURE 39: Overall Diagrammatic Building Section with Functions 54

FIGURE 40: Automated Radial Parking Garage Interior Render

Spacial Planning Parking Level : Automated Radial Parking Structure : Turntable : Actuator Control Room : Emergency Exit Access Entry Level : Holographic Presentation Space : Front to Back of House Circulation : Player/Fan Interactions

FIGURE 41: Ground and Entry Level Plans 56

Level 2 : Rentable Stream Space : New Riot Offices : E-Sports Bar : Holographic Window Viewing Spaces Level 3 : Upper Level Presentation Seating : Consumer Options : Intermission Spaces

FIGURE 42: Second and Third Level Plans 57

Main Structural Supports and Roof Structure

Steel Non-Structural Components

Upper Level Fixed Seating and Removable Lower Level Seating for Open Floor

Double Sided LCD Panel Wall for Light Control and Exterior Viewing

FIGURE 43: 6 Major Structural and Conceptual Components 58

Operable Micro Panels for Light Control and Ventilation

Kinetic Floor Space - 900 Linear Pneumatic Actuators Controlled from Below FIGURE 44: Exploded Structural and Mechanical Components 59

MODEL PHOTOS

FIGURE 44: Non-Active Model Photos 60

FIGURE 45: Active Holographic Model and Prototype Glass Projection Space 61

CONCLUSIONS The E4 Arena is designed to be a next generation viewing platform, utilizing multiple innovative technologies to achieve a higher level of speculation for the in-house viewers. While the main focus is the re-definement of E-Sports as a 3D spectator sport, the arena’s open floor spaces in the towers and adaptable seating in the main presentation room excel the building to becoming a digital 3D presentation space for every type of media.

The concept began as a broad idea of taking what is normally seen on television or on a computer screen and projecting it into an interactive space using holograms, however once researching the available presentation design technologies, the building rapidly began to mold into much more.

After investigations of a new technology called “InFORM”, developed by MIT, I begin to think of different ways that an idea could be projected. By completing further research the kinetic floor manifested itself as a fully plausible and sensible addition. This idea was then injected into the design process and conceptual drawing board alongside the holograms to create a prototype 3d holographic projection space. This “Holo-Space” then becomes a new typology of space, with the idea of converting the void space of the arena into

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a multi-faceted virtual mass, through the implementation of technology.

This “Holo-Space”, even though designed for competitive video game spectators, will be able to appeal to the many with no such interest. With the abilities to program the 3d massing within the space, come the abilities to morph the space into anything that the mind can envision. Whether using the space as an architectural presentation space for an upcoming project, or to show a point blank pyrotechnics in a physics class, the options are unlimited. Education and entertainment are the starting point, yet as technology grows, so shall the presentation space.

During the course of this study, one of the primary focal points for success was the growing nature of the gaming culture. While my studies had shown vast increases in player base, expansion of gender and age groups, and monetary value, nothing could have predicted the surge of reverence for gaming in the past 6 months. ESPN has been broadcasting occasional E-sports events and large companies such as Coca-Cola have been promoting and sponsoring the sport. From these observations, the next logical direction to go would be the implementation of more gaming venues, aside from

the only two in the United States, in Columbus, Ohio and Los Angeles, California. With this direction in mind, ideas will be drawn for what drives gaming, entertainment, or spectacle, all of which benefit from technological advances. The downside to innovative technologies and new structures for viewing are the costs. Technology is very pricey, and convincing someone to buy in to a new, unproven technology is equally as problematic.

Of all the innovation that comes into the building, one of which is simply its type. There are less than a dozen of the specified building in the world, making it complicated for the analyzation of the motives, desires and concepts behind the building’s predecessors. Of these however, I used Riot Studios, in Los Angeles as a case study. I visited the site to attend an E-Sports event just to see the environment inside the space and I was astonished at how ecstatic the spectators were. By seeing this first hand, it led me in the direction of understanding how similar E-sports are to a conventional arena based sport. Once doing surveys and meeting with the people at the events, it was clear what the people wanted, which was something “new.” In order to understand whether the prototypical space would be

successful, it would need to be built. Research can be done, and information can be found regarding what the spectacle can become, yet for the true sense of place to be realized within this prototype negative space, it must be through experience.

Future research will involve a better understanding of the environmental aspects that affect the spectators while in these spaces. Whether they be seating arrangements, arena size, location or even what event is being presented, all bring a unique feel to what pleases a person inside the space. If one can find the formula linking all the factors into one equation and implementing it, the outcomes could be extensive. Further, I would like to research more technological advancement that could relate to the spectacle of viewing and the psychological changes I could have on what is true perception in terms of viewing an event. At this point in time, spectating of every sport is from a third person’s perspective, with the exception of cameras that mimic what a player would see from their perspective. By implementing the “Holo-Space” the third person’s perspective would be eliminated, making everyone in the space a true first person, not by putting them inside the game, but by putting the game in real life.

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REFERENCES RESEARCH Wingfield, Nick. “In E-Sports Video Games Draw Real Crowds and Big Money”. NewYorkTimes.com. 30 Aug, 2014 http://www.nytimes.com/2014/08/31/technology/esports-explosion-brings-opportunity-riches-for-video-gamers. html?_r=0 Maennig, W., & du Plessis, S. (2009). Sport Stadia, Sporting Events and Urban Development:

International Experience and the Ambitions of Durban. Urban Forum, 20(1), 61-76.

Kimbell, R. (2014). Inside or outside?. Design & Technology Education, 19(3), 6-8.

Lee, H. (2013). 3D Holographic Technology and Its Educational Potential. Techtrends: Linking Research & Practice To

Improve Learning

Gaudiosi, John “Major League Gaming looks to ESPN model to expand eSports Coverage” (July 9 2013). Retrieved

from Forbes.com; http://www.forbes.com/sites/insertcoin/2013/07/09/major-league-gaming-looks-to-espn-model- to-expand-esports-coverage/ Blum, Bryce C. Fisher, Stephen D. “The Rise of ESports League of Legends” January/February(2014). Retrieved from

Foster.com. http://www.foster.com/documents/riseofesportswhitepaper-fosterpepper.aspx Jackson, Leah. “The Rise of ESports in America” March 8 (2014). Retrieved from IGN.com. http://www.ign.com/articles/2013/07/25/the-rise-of-esports-in-america Breslau, Rod S. “70 Million and Counting” April 2 (2014). Retrieved from ongamers.com. http://www.ongamers.com/articles/report-more-than-70-million-people-watch-esports-worldwide/1100-1157/ Costolo, Dick. “The Promises of E-Sports Bars: With your beer, a shot at fame.” Retrieved from recode.net. http://recode.net/2015/05/02/the-promise-of-esports-bars-with-your-beer-a-shot-at-fame/ Lingle, Samuel. “Europe’s Esports Bar Chain Just Keeps Getting Bigger”. June 6 (2014). Retrieved from dailydot.com. http://www.dailydot.com/esports/esports-bar-meltdown/

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Gaudiosi, John. “League of Legends CEO and Developer, Brandon Beck talks Rise of Gaming Houses and Future of

ESports”. August 8 (2014). Retrieved from Forbes.com. http://www.forbes.com/sites/johngaudiosi/2012/08/08/league-of-legends-developer-brandon-beck-talks-rise-of- gaming-houses-and-future-of-esports/

DESIGN GLANCEY, J. (2014). SPORTING CHANCE. Architectural Review, 236(1410), 60-71.

Gonchar, J., & Reina, P. (2006). Stadium Roofs Offer Much More Than Shelter. Architectural Record, 194(6), 257-264.

Post, N. (2014). MORE THAN JUST a Box with A Lid. (Cover story). ENR: Engineering News-Record, 273(2), 42.

Mourão, M. A., Srividhya, J., McSharry, P. E., Crampin, E. J., & Schnell, S. (2011). A Graphical User Interface for a

Method to Infer Kinetics and Network Architecture (MIKANA).

Davidson, J. (2012). Csapo, E. 2010. Actors and Icons of the Ancient Theater. Oxford, Wiley-Blackwell.

Utz, Urin. “The Future at your feet”. Retrieved from Kinetic Architecture.net. http://blog.kineticarchitecture.net/2011/05/zukunft_unter_uns/ “Retractable Roofs and Skylights for Commercial, Aquatic and Residential Spaces.” Retrieved from OpenAire.com. http://openaire.com/ Neoteric Media. “Holographic Technology.” Retrieved by Musion.com Leithenger, Daniel. Follmer, Sean. Olwal, Alex. “InFORM” Development by MIT. Retrieved by Tangible Media Group,

MIT media Lab.

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LIST OF FIGURES CHAPTER 1 FIGURE:01.....................................................................................INTEL Extreme Masters Invitational Tournament - Katowice, Poland - 2013

FIGURE:02.....................................................................................Season 4 League of Legends All Star Tournament - Paris, France FIGURE:03......................................................................................Thesis Concept Diagram FIGURE:04......................................................................................Season 3 League of Legends World Championships - Staples Center, Los Angeles, California - 2013

FIGURE:05......................................................................................Season 2 League of Legends World Championships - LA Live

FIGURE:06......................................................................................Current US Arena Status vs Projected Future Arena Status for 2025 FIGURE:07......................................................................................Conventional Arena Replaced by THINKSPACE CHAPTER 2 FIGURE:08......................................................................................Total games market - 2014 FIGURE:09......................................................................................Increase of sales in computer games vs Console Games FIGURE:10......................................................................................Electronics user-base in the United States FIGURE:11......................................................................................Increase of Female Gamers

FIGURE:12......................................................................................Gamers by age group FIGURE:13......................................................................................Sports vs E-Sports FIGURE:14......................................................................................Global Gaming network FIGURE:15......................................................................................Average number of hours spent by users per week on twitch.tv 68

CHAPTER 2 FIGURE:16.....................................................................................Behkuh@twitch.tv stream live feed screenshot FIGURE:17.....................................................................................Questionaire precentages FIGURE:18......................................................................................Gaming Time FIGURE:19......................................................................................Ticket Pricing Estimations

FIGURE:20......................................................................................Gift Shop Interior - Riot Studios FIGURE:21......................................................................................Auditorium Space : Removable Seating - Riot Studios FIGURE:22......................................................................................Auditorium Space : Stage - Riot Studios FIGURE:23......................................................................................Commentator and Player Space : Stage - MLG Arena FIGURE:24......................................................................................Spectator Space - MLG Arena FIGURE:25......................................................................................Floor Area Ratio Analysis

FIGURE:26......................................................................................Required Handicapped Parking CHAPTER 3 FIGURE:27......................................................................................Timeline of technological breakthroughs propelling the gaming industry FIGURE:28......................................................................................Original Programmatic Space Planning FIGURE:29.1...................................................................................Original Conceptual Design Phase 1 FIGURE:29.2...................................................................................Conceptual Design Phase 2 Front FIGURE:29.3..................................................................................Conceptual Design Phase 2 Interior 69

LIST OF FIGURES CHAPTER 3 FIGURE:29.4...................................................................................Conceptual Design Phase 3 Circulation FIGURE:29.5...................................................................................Conceptual Design Phase 3 Skin FIGURE:29.6..................................................................................Conceptual Design Phase 4 Dynamic Front FIGURE:30.....................................................................................Original Technological Exploded Axon with Space Programming

FIGURE:31.....................................................................................Operable Roof Panels Closed / Open

FIGURE:32.....................................................................................Greek Amphitheatre Layout Adaptation

FIGURE:33.....................................................................................“THINK-Space” Render Interior

FIGURE:34.....................................................................................“THINK-Space” Diagrammatic Design

FIGURE:35.....................................................................................US Gaming Population and North Carolina Gaming Analysis

FIGURE:36.....................................................................................Uptown Charlotte Site Map and Public Transit

FIGURE:37.....................................................................................Samsung E4 Arena Street View

FIGURE:38.....................................................................................Site Map and Parking Plans

FIGURE:39.....................................................................................Overall Diagrammatic Building Section with Functions

FIGURE:40.....................................................................................Automated Radial Parking Garage Interior Render

FIGURE:41.....................................................................................Ground and Entry Level Plans

FIGURE:42.....................................................................................Second and Third Level Plans

FIGURE:43.....................................................................................6 Major Structural and Conceptual Components

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CHAPTER 3 FIGURE:44.....................................................................................Exploded Structural and Mechanical Components FIGURE:45.....................................................................................Non-Active Model Photos FIGURE:46.................................................................................... Active Holographic Model and Prototype Glass Projection Space

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