Surabhi Gokhale- Masters Final Project

GEOFUTURES Architecture and the Anthropocene

VARIABLE BEACHSCAPES Surabhi Gokhale Final Project 2017 Rensselaer Polytechnic Institute School of Architecture Studio critics : Chris Perry, Ted Ngai

1

TABLE OF CONTENTS THESIS STATEMENT......................................................................................... 5

TOPIC RESEARCH WASTE : PERCEPTION SHIFT IN THE POST-NATURAL.............................7 POSTNATURALISM ...........................................................................................8

WASTE : PROGRESSION FROM OPEN SYSTEM TO CLOSED SYSTEM.....11 MEDIA....................................................................................................................12 CHAIN OF CONSUMPTION.............................................................................13 WASTE: FRUSTRATING CONVENTIONAL DEFINITIONS.........................14

WASTE LANDSCAPES...................................................................................16 DISFIGURED LANDSCAPES DUE TO MINING...........................................18 OILL SPILLS..........................................................................................................20 EFFECTS OF WASTE ON MARINE LIFE.........................................................22

FORMAL RESEARCH COLOR BLENDING EXPERIMENTS...............................................................25 COLOR BLENDING EXPERIMENT 1..............................................................26 COLOR BLENDING EXPERIEMENT 2............................................................28 BOUNDARY CONDITIONS STUDY................................................................30 TEXTURE STUDY................................................................................................32 COLOR BLENDING EXPERIMENT 3..............................................................34 COLOR BLENDING STUDY..............................................................................36 FORM STUDY......................................................................................................38

DIGITAL FORM DEVELOPMENT....................................................................40 FORM STUDY IN DIGITAL................................................................................40 FORM ANALYSIS................................................................................................48

2

DESIGN PROPOSAL SITE RESEARCH ................................................................................................................................50 BEACH...................................................................................................................51 AREA OF INTEREST...........................................................................................52 PROPOSED SITE : KAHUKU COASTAL STRIP...........................................54 SITE PROBLEMS.................................................................................................56 HOW GARBAGE REACHES KAHUKU SHORELINE.................................58 DIRTY BEACHES AS A GENERAL CONDITION........................................60

PRECEDENT RESEARCH..............................................................................62 TECHNOLOGY PRECEDENTS........................................................................62 DESIGN PRECEDENTS.....................................................................................64

DESIGN PROPOSAL : VARIABLE BEACHSCAPES......................................66 DESIGN SCHEME...............................................................................................67 FORM DEVELOPMENT.....................................................................................68 SITE PLAN.............................................................................................................72 SITE SECTION......................................................................................................74 STRUCTURAL SECTION...................................................................................76 CONCEPTUAL SECTION : VARIABLE OPENINGS....................................78 VISUALISATIONS................................................................................................80 PHYSICAL MODELS..........................................................................................84

BIBLIOGRAPHY IMAGE SOURCES................................................................................................86 REFERENCES........................................................................................................90

3

4

Thesis Statement

THESIS STATEMENT Our existence in this world is governed by an anthropocentric ideology where man considers himself topmost in the hierarchy of things, all resources justifiably at his disposal. In the post-industrial age, this format of existence has deleteriously altered the characteristics of our planet, leaving a mutated version. Post-naturalism proposes a shift from rigid boundaries to flexible thresholds between human and non-human, culture and nature, adopting a more ambiguous approach. The project takes this opportunity to reperceive waste in the context of post naturalism. Oceans full of garbage patches, lands full of landfills are examples of the colossal scale at which waste is created in this post-industrial age of production and consumption. “But there is no “away” after the end of the world. It would make more sense to design in a dark ecological way, admitting our co-existence with toxic substances we have created and exploited” (Morton,2014).

‘Variable Beachscapes’, a post-natural answer to mitigating beach conditions of garbage and erosion, in the process facilitating beach habitat and human non-human co-existence. The project attempts to embody qualities of variability, temporality and ambiguity, through its structure, program and site, beach being an interesting condition of a transitional landscape. The project works on an intermediary level, trying to engage with discursive concepts and at the same time finding engineering solutions.

5

WASTE perception shift in the post-natural

6

Topic Research

In the post-industrial age, there are breakneck levels of production and consumption. The consumeristic attitude of use and throw away gives rise to the question of whether there is an ‘away’ to which mankind can send away its waste and forget about it. There is not. The implications of waste at a such a colossal scale are overwhelming. Furthermore, as waste becomes increasingly a part of the fabric of this planet, we are left with a human-altered, mutated planet, with very different characteristics. As the impure gets increasingly mixed into the pure, it gives rise to hybrid, uncanny waste landscapes. This project aims at reperceiving the concept of waste and waste landscapes through a more inclusionary lens,searching for beauty and value in the dark and the deserted.

7

POST-NATURALISM

INTRODUCTION

With the industrial age and the human-centered style of living in this industrial age, human beings have dramatically damaged and altered the earth. The deleterious effects are so rapid and massive in scale, that they are too conspicuous to be ignored. This point blank confrontation with reality calls for an urgent radical attitude shift, if human beings even hope to survive as a species. We need to rethink our position of hierarchy on this planet, shifting from an anthropocentric standpoint to a post-naturalistic standpoint.

ANTHROPOCENTRISM Anthropocentrism is an epoch which began with the industrial revolution. Anthropocentrism regards humans as separate from and superior to nature and holds that human life has intrinsic value while other entities (including animals, plants, mineral resources, and so on) are resources that may justifiably be exploited for the benefit of humankind. human as the center of the world

A culture human foreground inside

A

vs

B nature non-human background outside

B

RIGID BARRIER, EITHER/OR 8

Topic Research

POST- NATURALISM Post-naturalism aims at blurring the rigid boundaries of perception between human and non-human, culture and nature, facilitating a two-way interaction between them through a flexible threhold. It puts human at the same status as the other entities in nature, just another cog in the wheel and aims at rethinking the future of the world for the common good of eveybody on the planet.

“The ambitions of postnaturalism are to present a true crisis of nature not by using cultural practices to reconnect buildings into new ecologies or to remake nature in some pure form, but by lifting the veil on our understanding of nature as a category outside social determination.”

-David Gissen Nature’s Historical Crises human as just another cog in the wheel

A culture human foreground inside

A

+

B nature non-human background outside

B

FLEXIBLE THRESHOLD, AND/BOTH 9

WASTE progression from open system to closed system

'But there is no "away"after the end of the world. It would make more sense to design in a dark ecological way, admitting our coexistence with toxic substances we have created and exploited.'

Timothy Morton Hyperobjects: Philosophy and Ecology after the End of the World (2014)

10

Design Proposal

With the advent of the space age in the 1960s, for the first time ever, Earth could be observed as a satellite image. In this new perspective, with the boundaries of the Earth now fathomable, came the discourse of Earth as a finite object, with finite resources. The Earth is a closed world.

1.01. cover page of the inaugural issue of the Whole Earth Catalog (founded by Stewart Brand in 1968)

pollutants released in water

fish ingest pollutants

human ingests fish

1.02

There is no way of escape from the waste created by us. Sooner or later it finds its way back to us. Pollutants released in water get ingested by fish, we eat fish and the pollutants coming with them.

11

MEDIA Media acts as a link between porduction and consumption. It stimulates desire and hence accelerates consumption.

“Advertising design, in persuading people to buy things they don’t need, with money they don’t have, in order to impress others who don’t care, is probably the phoniest field in existence today. “ Victor Papanek Design for the Real World:Human Ecology and Social Change

1.03. Illustration from Victor Papanek’s book ‘Design for the Real World: Human Ecology and Social Change This illustration shows how media engages with factors of human psychology, to stimulate desire in people to discard their old stuff and buy new at a faster pace 12

Design Proposal

CHAIN OF CONSUMPTION

1.04

1.05

1.06

1.07

1.08

1.09

1.10

1.11

1.12

1.13

1.14

1.15

chain of consumption (open system)

“The "territory of emptiness" of the big city is also a territory of consumption. The contrasts that structure this territory are incarnated, consequently, in the face-off between two places invested with a strong emotional force: the shopping center and the garbage dump.�

-Antoine Picon Anxious Landscapes: From the Ruin to Rust 13

WASTE- FRUSTRATING CONVENTIONAL DEFINITIONS can we think of waste as a resource?

WASTE ("USELESS") FUL ?

RESOURCE ("USEFUL")

WASTE ("USELESS")

FLEXIBLE THRESHOLD

With the consciousness that we have to live with the waste that we have created, we need to blur the boundaries between the pure and the impure, reperceive waste in the context of the 'useful' and try to shift from a chain of consumption to a cycle of consumption, i.e., from an open system to a closed system.

14

Design Proposal

1.16

RESOURCE EXTRACTION

1.16

MANUFACTURE

1.17

HUMAN USE

1.16

WASTE

chain of consumption (open system)

RESOURCE REUSE

MANUFACTURE

HUMAN USE

WASTE

HUMAN INTERVENTION cycle of consumption (closed system)

15

WASTE LANDSCAPES As waste integrates itself into the fabric of the planet, it alters and mutates its landscapes, giving rise to new kind of landscapes - waste landscapes. The term ‘landscape’ is justified, because of the shear magnitude in which waste is generated in the post-industrial world.

Waste landscapes are created at every stage of the consumption chain. But their character differs. In the third stage of ‘discarded waste’, deserted landscapes are created like landfills the size of mountains. These are formed essentially by the process of addition. The first stage of ‘resource extraction’, like mining and deforestation, is essentially seizing from the land all the characteristics that make it valuable and leaving behind a useless entity which will take hundreds of years to revive its value, if at all. Here too, waste landscapes are created, but by the process of subtraction.

16

Design Proposal

2 MANUFACTURE

1 EXTRACTION WASTE

WASTE

2.01

barren deforested lands

oill spills EXTRACTION WASTE LANDSCAPES

2.02

HUMAN CONSUMPTION

polluted skies

contaminated rivers

2.03

2.04

MANUFACTURE WASTE LANDSCAPES

3 DISCARDED WASTE

landfill mountains

2.05

2.06

plastic polluted oceans DISCARDED WASTE LANDSCAPES

17

DISFIGURED LANDSCAPES DUE TO MINING

Mining metal and oil extraction leave arbitrary negative spaces and forms in the land, radically and irretrievably transforming the landscape.The processes employed lead to chemical leaching, contaminating the surrounding groundwater.

"The mines and their surrounding expanse of tailings ponds and cyanide leaching fields are byproducts of the developed nations' culture of consumption."

-David Maisel, The Mining Project 18

Design Proposal

2.07

2.08

2.09

from left to right - Bingham Canyon Mine, Utah; aerial photography from the Mining project by David Maisel; Slate Quarry, Slatedale, PA, 2000. photo by Joseph Elliott

2.10

19

OILL SPILLS

20

An aerial view of the oil leaked from the Deepwater Horizon wellhead, May 6, 2010

Design Proposal

'...how to find the syntax of this thing that rides the tides and moves with the tides and under the tides and through the tides and has an underbelly so deep and wide even our most powerful lights cannot illuminate its full body this is our soul shadow, the darkness we cannot own the form we cannot name'

Sheryl St.Germain’s poem “Midnight Oil” written in response to the BP Deepwater Horizon oil spill of 2010.

2.11

21

EFFECTS OF WASTE ON MARINE LIFE

1. ENTANGLEMENT Entanglement in plastic debris has been responsible for the deaths of many marine organisms, such as fish, seals, turtles, and birds. These animals get caught in the debris and end up suffocating or drowning.

Because they are unable to untangle themselves, they also die from starvation or from their inability to escape predators.

2. INGESTION Animals and birds often consume plastics and they get stuck in their bodies, obstructing natural functions.

Plastics also release harmful chemicals which create developmental defects.

22

2.1

18

Design Proposal

2.12

2.13

2.14

2.15

2.16

2.17

2.19

23 2.20

24

Design Proposal

FORMAL RESEARCH color blending experiments As the impure increasingly integrates itself into the pure, it forms landscapes with hybrid,uncanny,mutated characteristics; outside of the settings of familiarity and comfort.

The formal research aims at trying to understand these characteristics, through experiments with color blending and form development.

25

COLOUR BLENDING EXPERIMENT 1 The aim of the experiment is to study changes in the dispersing quality of fluid colour depending on the base material.

CONDITIONS TO EXPERIMENT : Base Materials: 1. felt 2. cartridge paper 3. tissue paper Colours: Alcohol inks: dark green, dark pink, occur yellow Colour application by dropping

Process Stills

Process Stills

Process Stills

26

Design Proposal

1. Base Material - Felt The color cannot spread much, remains gathered in the shape of points formed by the natural action of the dropping mechanism. The base material’s property prevents color blending.

1 2. Base Material - Cartridge paper The colors start blending with each other the moment they hit the paper, and continue for next 2 seconds. The focal points where color hits the paper, remain strongly apparent.Study of the boundary condition between the colors shows less interpersonal interaction. There are clearly definable boundaries with minimum striations at the boundary, small in length and very slightly blurred in nature.

Colors retain their separate identities, but at places with higher overlapping, there is blending and new colour formation.

2 3. Base Material - Tissue paper The porous tissue paper material gives colors a larger diameter of spread. Visible dispersing happens for upto 5 seconds. At the boundary of two colors, the colour striations developed are longer in length and more accomodating of the other color into its negative spaces. At places with higher overlap, there is complete blending giving rise to a new color.

3

27

COLOUR BLENDING EXPERIMENT 2 The aim of the experiment is to study the interaction of colors under different levels of control.

CONDITIONS TO EXPERIMENT : Colours: Acrylic : blue, red, white Colour application: 1. stick 2. finger 3. dropping

Process Stills

Process Stills

Process Stills

28

Design Proposal

1. Control - Blending with stick A complex web of intricate color interation is formed, with the colours retaining their original identities. The striations are thin and precise, leaving clear boundaries. In the area with heavier blending, a new color purple is formed, but it has a rough texture still consisting of tiny striations of its formatory components red, blue and white.

1

2. Control - Blending with finger Since a finger has a bigger, softer blending surface area as compared to a stick, the color interation is blurrier. In areas where colors retain their individual identities, the striations are thick. In areas of complete mixing, purple is formed, but the organic mixing with finger produces different tints of purple merging seamlessly into each other.

2

3. Control - Dropping mechanism The colors are made a liquid consistency.

White and red are poured into a pool of blue. Gravity and fluid dynamics have full control over the color interaction. As white enters blue, it pushes away blue, to carve its own territory. The form keeps changing for a while after the dropping process is over, until it hardens slightly.

This process gives rise to a more organic color interaction, with the tiny striations and dots forming a beautiful texture.

3 29

BOUNDARY CONDITIONS STUDY blurred boundary condition between pink and yellow patches

experiment 1 conditon 3

30

Morton talks about the term BOUNDARY that we consider rigid between humankind and the rest of Nature.

The aim is to blur this boundary, widen the scope of this hybrid intermediate element formed between the two extreme conditions, and also to make the two extreme conditions more accomodating of each other.

In experiment 1 (condition 3), the fluid mixing of color on an accomodating base material like tissue paper displays all these qualities.

Design Proposal

blurred boundary condition between blue and white

experiment 2 conditon 3

In experiment 2 (condition3), the original colours retain their own identities, but an interesting boundary condition can be seen with tiny color striations merging into each other locally resulting in interesting organic formations. Another boundary condition can be observed where the colours are into each other but still separate hence forming a rough texture of tiny dots.

31

TEXTURE STUDY

experiment 1 condition 3

32

Design Proposal

experiment 2 condition 3

This experiment helps study TEXTURE and its properties.

In experiment 1 (condition 3), there is a transfer of the rough visual quality of the tissue paper onto the projected colors, thus creating a hybrid texture aggregate.

In experiment 2 (condition 3), while the two original colours have a smooth uniform texture, the pouring action of colors into one another creates this unison which, while still retaining the original colors completely changes the texture of the final output, which is now rough and uneven.

33

COLOUR BLENDING EXPERIMENT 3 HOT WATER food dyes: red,yellow,blue Process Stills

The color blends in hot water fast. The pattern of blending is circular with a uniform spreading. The process of formation of a third homogenous colours by the mixing of the three color is fast.

34

Design Proposal

COLD WATER food dyes: red,yellow,blue Process Stills

The color blends in cold water slowly. The pattern of blending, and hence the form is affected by a downward pull of colour in the water. The large volumes of the original colors breakdown into smaller volumes, but the temperature of water retards the blending, not forming a third homogenous color.

35

COLOUR BLENDING STUDY

experiment 3 hot water

36

Design Proposal

experiment 3 cold water

In the photgraphs we can see the formation of green and orange in the hot and cold water, but the blending pattern observed differs completely. In cold water, the newly formed green and orange can be seen in small compact volumes that lie in the pool of the still existing original colors. In hot water, the newly formed green and orange cover the whole area, quickly extinguishing the presence of the original colors.

37

FORM STUDY

experiment 3 hot water

38

Design Proposal

experiment 3 cold water

3.01 jelly fish

The phenomenon of colours blending into water is a liquid phenomenon. However, the visual properties displayed by the form lean more towards a solid, akin to a jellyfish floating underwater. The downward pulling action of the cold water influences the fluid form forming downward extensions. The hot water influences a form emerging from centre to out. Thus, a HYBRID condition is seen here where the material state of the form cannot be clearly defined.

39

FORM STUDY IN DIGITAL

INK STUDY

water influences ink formations

DIGITAL STUDY

curves influence point cloud/ line formations

As the impure increasingly entangles with the pure, a hybrid aggregate is formed which is characteristic of the waste landscapes. This experiment aims to study these qualities of knotting and entanglement through form.

STUDY 1

curves in 3-dimensional point cloud 40

nurbs form

Design Proposal

TOP VIEW

ELEVATION

41

FORM STUDY IN DIGITAL STUDY 2

formation A

curves in 3-dimensional point cloud

nurbs form

STUDY 3

formation D

formation C

formation B

curves in 3-dimensional point cloud 42

nurbs form

Design Proposal

formation A

TOP VIEW

ELEVATION 43

formation B

TOP VIEW

44

ELEVATION

Design Proposal

formation C

TOP VIEW

ELEVATION

45

formation D

knot a TOP VIEW

46

ELEVATION

Design Proposal

1

2

3

4

stages of surface development knot a

SECTION

47

FORM ANALYSIS The knotted formations display characteristics of a hybrid between surface and linework, surface and enclosure. A landscape is associated with surface. A building is associated with enclosure. Under these definitions, these formations fall under neither category exclusively, but somewhere between.

linework surface linework surface linework surface

form B top view

form D top view

LINEWORK

48

SURFACE

Design Proposal

volume mass volume mass

form D section

MASS/SURFACE

form B section

VOLUME/ENCLOSURE

49

RESEARCH site/precedent research The proposed site is Kahuku, a beach strip situated along the north-east coast of O’ahu island of Hawaii. It lies directly behind the James Campbell National Wildlife refuge, and hence is more of a non-human domain, unlike other beaches. Humans are allowed controlled entry via tours and hikes, under the management of the refuge.

The currents of the ocean pull garbage from the Great Pacific Garbage Patch to this shore. Moreover, the powerful Pacific waves hitting the shore leave a severely eroding site.

Variable Beachscapes is a post-natural answer to mitigating beach conditions of garbage and erosion, in the process facilitating beach habitat and human non-human co-existence.

Garbage and erosion are common issues for beaches all over the world. The mitigation proposal in this regard, can thus be adaptable for different situations.

50

Site Research

water

land

BEACH A beach is a site which is inherently temporal in nature, the movement of the tides continually shift the sand, creating a transitional landscape. As the sand and water interact, the boundary between land and water gets blurred, creating an ambiguous flexible threhold.

51

AREA OF INTEREST

O’AHU ISLAND OF HAWAII

Kauai

Kahuku coastline

Niihau

Molokai

O’ahu

Maui

Lanai Kahoolawe

Hawaii 0

25

50

100 Miles

Hawaiin Islands

The north shore of O’ahu island of Hawaii is famous as the surfer’s paradise because of the massive waves it gets.

However, this coastline receives garbage from the Great Pacific Garbage Patch, and constant efforts are taken to clean it for purpose of recreation. However, some intermittent patches go ignored and hence remain deserted.

52

Site Research

STATISTICS : O’AHU COASTLINE GARBAGE AND EROSION 0

GARBAGE

25

50

100 Miles

COASTLINE EROSION Kahuku coastline

Kahuku coastline

0 0

25 25

50 50

100 Miles Miles 100

0

25

50

100 Miles

Number of items found per 1-mile segment of coastline no debris found 1 - 15 16 - 25 26 - 50 75+ no data

Relative density of marine and debris identified around the island of O’ahu

0

25

50

100 Miles

Annual shoreline change moderately eroding relatively stable

O’ahu shoreline erosion map

(Source: Hawaii Coastal Erosion website)

(Source: Hawaii Department of Land and Natural Resources) 0

25

50

100 Miles

53 0 0

25 25

50 50

100 Miles Miles 100

PROPOSED SITE : KAHUKU COASTAL STRIP

Kahuku point

Kahuku coastline James Campbell National Wildlife Refuge

0 100 M

500 M

1 KM

Kahuku Golf Course

The north-west coastline of Oahu belongs to the James Campbell National Wildlife Refuge.

The shoreline is composed mostly of exposed limestone shelf with perched calcareous sand beach above the high water line.

This is a unique beach condition with a non-human dominance and occasional human interaction mainly with visitors to the refuge and hikers.

4.02

54

Kahuku beach photo

Site Research

SWASH ZONE

INTERTIDAL ZONE

KAHUKU BEACH FOOD CHAIN

4.03

4.04

4.08

4.09

DRY BEACH ZONE

sand crab

4.13

4.06

Hawaiian stilt

4.10

4.11

4.15

beach hopper

4.07

4.12

worm

4.15a

Hawaiian sea turtle

ray fish

surf perch

algae

clam

4.14

plover

PREY

4.05

sand eel

plankton

PREDATOR

beach plant

Hawaiian Monk Seal

4.16

marram grass

JAMES CAMPBELL NATIONAL WILDLIFE REFUGE

4.17

4.18

4.19

James Campbell National Wildlife Refuge consists of over 160 acres of wetland habitat. The refuge is primarily dedicated to the recovery of Hawaii’s four endemic water birds – Hawaiian stilt, Hawaiian moorhen, Hawaiian coot, Hawaiiaan duck, there are also many migratory waterfowl and shore birds. Public entry is restricted only for guided tours. to the left : Hawaiian duck, moorhen, coot, stilt

4.20

4.05

55

SITE PROBLEMS GARBAGE

4.22

4.23

International Coastal Cleanup at James Campbell National Wildlife Refuge for the Ocean Conservancy on September 15th, 2012 56

4.24

SIte Research

COASTAL EROSION

ge

han

ec

n reli

Sho e( f rat r)

t/y

HISTORICAL SHORELINES 1928 May 1949

ge

han t e( f rat

1995

ec

Sep

n reli

Nov 1990

Sho

May 1967 Feb 1971 June 1975

) /yr

EROSION RATE Shoreline change rate( ft/yr) (each cell represents 0.5 feet) 4.25

Kahuku Coastal erosion map ( data from soest.hawaii.edu)

57

HOW GARBAGE REACHES KAHUKU SHORELINE

ALASKA WEST COAST U.S.

North Pacific current

NORTH PACIFIC GYRE Kuroshio current

WEST PACIFIC GARBAGE PATCH

EAST PACIFIC GARBAGE PATCH HAWAIIAN ISLANDS North Equatorial current

Route of garbage from Great Pacific Garbage patch to Hawaii islands 58

Cali curr fornia ent

Site Research

The Great Pacific Garbage Patch is a collection of marine debris in the North Pacific Ocean.

The Great Pacific Garbage Patch is divided into East and West patches. The North Pacific Gyre formed with the North pacific current, North equatorial current, Kuroshio current and California current, is what transports the garbage from the East Pacific patch to the Hawaiian islands.

SIZE

The approx. total area of Great Pacific Garbage Patch is 1760000 sq. km, almost 3 times more than Spain and Portugal combined.

4.26

GARBAGE TYPE The Great Pacific Garbage Patch consists of 70% microscopic plastic debris

4.27

garbage from Great Pacific Garbage patch washed ashore Kahuku beach

4.28

plastic breaks down into minute pieces becoming part of the sand 59

DIRTY BEACHES AS A GENERAL CONDITION

Humans throw waste into the oceans to get rid of it, and the sea inevitably delivers it back to the shore. To the right are images of some of the dirtiest beaches around the world, but which are still used as recreation spaces because of their proximity to the populated zones.

Garbage and erosion are common issues for beaches all over the world. The mitigation proposal in this regard, can thus be adaptable for different situations.

Ma

Dam

60

Ropes Park, Texas

4.36

Site Research

East River, NYC

arundi Beach, Jakarta

4.29

4.30

Fundao beach, Rio de Janeiro

Manila

4.32

4.34

Accra, Ghana

4.33

4.35

meisha beach, Shenzhen

Juhu Beach, Mumbai

4.31

San Pedro’s Cabrillo beach, CA

4.37

Port Phillip Bay, Australia

4.38

61

TECHNOLOGY PRECEDENTS CONVENTIONAL RESPONSES FOR BEACH EROSION 1. BEACH DREDGING

3. GEOTUBES transfer of sand

geotube sand deposited on beach face

5.01

Beach dredging manipulates beach profile by removing sand from the lower part of the beach and transferring it to the upper part, thus widening the beach.

5.02

Sand filed geotextile tubes are used to break the speed of waves at the shore, thus depositing sand on the beach face.

4. BEACHFACE DEWATERING

2. GYRONES

sand deposited on beach face sand prevented from being swept away

5.03

Gyrones typically made of timber are cross shore structures designed to protect beach material from being swept away.

62

discharge into sea

water well and pump

drain

5.04

The process of beach dewatering drains water from the upper beach face, thus making the sand in it get deposited on the beach face.

Precedent Research

FOOTING FOR STRUCUTRES IN SAND : HELICAL

Sand can generally bear load upto 1500 to 3000 pounds per sq. ft. Helical piles are the most commonly used type of footing for beachfront structures. Helical piles are factory-manufactured steel deep foundation elements used to penetrate weaker or otherwise unsuitable near-surface material for end-bearing within deep competent soils. The most common solid square and hollow round shaft sizes have outer dimensions generally less than five inches. The steel is galvanised for salt-water resistance. structures on beach

5.05

steel O-section column welded to baseplate steel baseplate steel construction bracket

G.L.

reinforced concrete beam

pile shaft helix

helical pile penetration into surface

5.06

pile toe detail

63

DESIGN PRECEDENTS

5.07

5.08

T+E+A+M’s Detroit Reassembly Plant

Greg Lynn’s Embryological house

T+E+A+M’s Detroit Reassembly Plant revisualises the industrial ruins of Detroit , with focus on the Packard Plant, as a mine for new building materials.

This is done by “selectively demolishing the debilitated portions of the plant, and combining the rubble with plastics and other post-consumer materials recovered from Detroit’s waste streams”. The new cast forms display unusual material aesthetics, suggestive of the building’s history, qualities like “milky translucency, bright plastic hues, and reflective metallic sheen.”

In 1995, Greg Lynn invented the term blobitecture to give definition to his experiments in digital design.

Digital design enabled the modelling of organic shaped n-dimentional objects, n being the number of dimensions measured, and enabled him to explore the iterative potential of the geometry, which was impossible to do on paper. Lynn established the parameters for the Embryological House geometry (the primitive curves) using Microstation software. By experimenting with a series of twelve control points attached to this basic geometry he established prescribed limits, beyond which impractical designs would result. Like the store-bought variety, no two Lynn eggs are alike yet all bear a family resemblance to each other and to the “primitive” from which they derive. Producing his egg models in multiples also enabled Lynn to suggest the iterative and virtually unlimited potential underlying his approach to the Embryological House.

64

Precedent Research

5.09

Amid Cero9 - installation ‘the golden dome’

amid.cero9 architects had an instalation at an exhibition named ‘Architectural environments for tomorrow – new spatial practices in architecture and art’, held in 2011 at the MOT (Museum of Contemporary Art, Tokyo). amid.cero9 is a collaboration between Cristina Díaz moreno and Efrén García Grinda. This installation ‘the golden dome’ is focusing on the formal characteristics of inflatble, flexible organic forms, its patterns governed by the ancoring points, weding joints, seams and holes on the structure.

waste remanufacture cladding

scaffold

5.10

Rapid Re(f)use project by Terraform The Rapid Re(f)use project by Terraform proposes a concept of remaking New York city by reutilising the landfill trash at Fresh kills.

With the use of automated robot 3d printers, the garbage will be processed to form new building materials. The image on left shows the idea of using remanufactured waste as a facade cladding.

scaffold cladding

65

VARIABLE BEACHSCAPES design proposal Variable Beachscapes is a post-natural answer to mitigating beach conditions of garbage and erosion, in the process facilitating beach habitat and human non-human co-existence. Variable Beachscapes is named so, because every aspect of the proposal embodies qualities of variability, ambiguity and temporality.

66

Design Proposal

DESIGN SCHEME The proposal is a three part solution. The first part is preventing beach erosion by reinforcing the sand. The second part is cleaning of the beach and remanufacturing the garbage to form new materials for cladding/ building blocks. The third part is providing beach pavillions as community recreation spaces for beach activities. The pavillions will have a designed scaffold and the skin will gradually start to form as more and more garbage is remanufactured and used for cladding it.

A. BEACH EROSION MITIGATION

B. WASTE REUSE

C. HABITAT FACILITATION

Process: 1.Design scaffold structure with have multiple limbs.

2. The footings of each limb will penetrate deep into the sand and act as a reinforcement for the sand (following same principle as reinforced concrete)

Process: 1. Design and construct scaffold structures on beach edge.

2. Garbage collection strategy.

3. Provision of a garbage remanufacture factory in the inland.

4. Cladding incrementally applied to the scaffold, gradually forming an enclosure.

Provisions : While in the absence of the engineering solutions provided by the structure, the beach would increasingly become dirty and eroded, which would degrade the non-human coastal habitat. the strcutre is facilitating conservation and growth of habitat, as well as human non-human coexistence.

ENGAGING CONCEPTS With the two extreme view points towards architecture in the environmental age, one being the discursive practice oriented towards exploring meaning through aesthetics, form and space, and the other being an instrumental practice engaging with the real world problems; this project works on an intermediary level trying to engage with both.

DISCOURSE art culture aesthetics

DISCIPLINE intermediate

PROBLEM SOLVING engineering science technology

67

FORM DEVELOPMENT STEP 1: DESIGN PARAMETER

central point arches arising out of central point

The form is developed from one parameter : multiple arches arising out of a single point. No two geometries are alike, but have similar qualities since they are derived from one design parameter, which is, multiple arches arising out of a single point. Different permutations of the parameter lead to unique bulbous forms. This structure is a scaffold made out of steel.

STEP 2: LIMB EXTENSION The end part of each arch goes deep down into the sand, acting as a reinforcement for the sand.

This is achieved by using helical pile footings for each limb that also work as reinforcement members. sand held together by limbs extension of limbs to act as reinforcement for sand 68

Design Proposal

STEP 3: VARIABLE ENCLOSURES

slit opening opening

rigid opening

sand berming up against strucutre

ambiguous opening

Two arch curves can potentially form a surface or an opening. While a conventional enclosure has fixed openings called ‘doorways’, here is an enclosure formed out of the surfaces between arches, having variable openings. This is achieved by cladding the steel scaffold with waste remanufacture tiles.

formal iterations 69

FORM DEVELOPMENT STEP 4: AGGREGATION As the geometries start aggregating on the beach, they form a configuration of reinforcement footings underground, and a configuration of variable enclosures above ground. The intersections of the geometries with each other also form interesting boundary conditions.

C

B’ A C’ A’

structures sharing common faces

top view

section A

section B

70

section C

B

plan

Design Proposal

STEP 5: EVOLVING SKIN The skin of the structure keeps evolving as more and more scaffold gets cladded with waste remanufactured tiles.

1

2

3

4

The following is the process diagram of cladding :

3 1

process diagram

2

Process description: 1. Tidal system delivers garbage/waste to the beach zone on an ongoing basis (beach/ waste zone) 2. Garbage/waste is collected and transported for remanufacture into new lightweight building materials 3. New building materials transported to construction zone.

71

SITE PLAN UNIT TYPOLOGIES LINEAR : erosion prevention: infrastructure

CLUSTER : erosion prevention + habitat : infrastructure + program

beach reinforcing grass

bird ne

sand dunes

picnicking

hiking

This structure will reinforce the swash zone of beach, which consists of loose wet sand. The structural morphology will consist of sparse limbs as this is a high impact zone of wave activity.

This structure will reinforce the dune zone of beach, which consists of loose dry sand.

The structural morphology will consist of medium dense limbs with variable enclosures. This zone is subjected to erosion by wind, the enclosures will restrict sand movement and facilitate higher volume of sand collection.

This structure will reinforce the fore shore and back shore of beach, which consists of tight semi- dry sand. The structural morphology will consist of dense limbs with variable enclosures only at lower level to restrict sand movement. This zone is subjected to erosion by wave action during high storm activity, the enclosures will restrict sand movement and cause berm formation. The volume of berms developed over time will act as an indicator of past storm activities. The linear structure will have the same density of limbs but no enclosures.

MASSING CONFIGURATIONS The main idea is to have a linear configuration spanning the beach which will act as a fence to prevent sand erosion, and the structures will aggregate forming clusters at some places, giving opportunity for program.

1. Clusters strung together by linear configurations joining the centers of clusters.

LINEAR : erosion prevention: infrastructure CLUSTER : erosion prevention + habitat : infrastructure + program

2. Staggered linear configuration directed by the peripherals of the clusters.

BACK DUNE

BEACH FORMATION

3. Different sizes and locations of clusters in different sections of beach, strung together by linear structures.

72

5. Linear configuration with intermediate clusters providing triple layer reinforcement.

EROSION SYSTEM

GARBAGE SYSTEM

FORE DUNE DUNE ZONE

• This part of beach gets eroded by wind. The loose sand of the dunes is blown away.

• The structure will create many enclosures to contain the sand, increasing the volume of the dunes.

• Dune grasses act as a natural reinforcement for the dunes, propagating dune growth.

Structure has higher density of remanufactured cladding for creating enclosures

• •

Design Proposal

esting

sea-turtle hatching

biking

Hawaiian Monk seal

crustacian burrows

swimming

sunrise

sand castles

longshore troughs

longshore bars

wrack : tangle of seaweed, dead or dying animals

first berm : step up into dry sand beach

berms created by past storm activity

dune scarp : step up into dune zone

MEAN LOW TIDE LEVEL

MEAN HIGH TIDE LEVEL

LAST HIGH TIDE MARK

dune reinforcing grass: vegetative zone

beach strip : 300 x 200 ft.

SWASH ZONE BACK SHORE

This is the first part of the beach that get encroached and eroded when the waves start pushing beyond the average swash zone. Hence, this section of soil will require the infrastructure for reinforcement during high storm activity.

The structure is a scaffold with cladding only at the bottom, which will act as a fence preventing soil from getting washed away, and in the process form larger berm geometry.

Garbage manually collected, remanufactured inland and brought to site for cladding

FORE SHORE

SURF ZONE

OFFSHORE

• The swash zone is has high impact from wave activity. this part of sand gets eroded on a daily basis. • The structure will be a less density scaffold to reinforce the sand.

Garbage is washed ashore

73

SITE SECTION beach reinforcing grass

bird nesting

sand dunes

picnicking

hiking

biking

• This part of beach gets eroded by wind. The loose sand of the dunes is blown away.

• The structure will create many enclosures to contain the sand, increasing the volume of the dunes.

• Dune grasses act as a natural reinforcement for the dunes, propagating dune growth.

EROSION SYSTEM

BACK DUNE

BEACH FORMATION

FORE DUNE

dune scarp : step up into dune zone

• This is the first p waves start push will require the i • The structure is a fence preventi larger berm geo

DUNE ZONE

Strcuture has higher density of remanufactured cladding for creating enclosures

GARBAGE SYSTEM

POTENTIAL USE space dividing panels opening enclosure

childrens’ play area

sea habitat information booth

changing rooms

These structures aggregate on the beach with a fence-like quality preventing sand from being eroded away. They cluster in some places, creating potential for nodes of activity. The structures have a gradation in their morphology depending on their locations on the beach. For example, the dune area in the rear of the beach has loose dry sand which has a threat of erosion due to wind, so the structures have more enclosures to contain the blowing sand. The ones in the swash zone ( near the water) have sparse limbs since they face high impact from waves.

74

crustacian bu

BEACH EROSION MITIGATION sea-turtle hatching

crustacian burrows

berm formation

sunrise

sand castles

swimming

less dense structure in high impact zone structure reinforcing sand

tight backshore sand

enclosures restrict sand movement due to wind forces

loose dune sand eroded by wind

structure facilitates higher volume of sand collection

normal wave action

storm activity

MEAN HIGH TIDE LEVEL

MEAN LOW TIDE LEVEL

part of the beach that get encroached and eroded when the hing beyond the average swash zone. Hence, this section of soil infrastructure for reinforcement during high storm activity. a scaffold with cladding only at the bottom, which will act as ing soil from getting washed away, and in the process form ometry.

urrow habitat

enclosures at lower level restrict sand movement, causing berm formation over time

wind force Hawaiian Monk seal

berms created by past storm activity

LAST HIGH TIDE MARK

g

Design Proposal

BACK SHORE

• The swash zone is has high impact from wave activity. this part of sand gets eroded on a daily basis. • The structure will be a less density scaffold to reinforce the sand. first berm : step up into dry sand beach

wrack : tangle of seaweed, dead or dying animals

longshore bars

SWASH ZONE FORE SHORE

Garbage manually collected, remanufactured inland and brought to site for cladding

longshore troughs

SURF ZONE

OFFSHORE

Garbage is washed ashore

the structure dampens the sea waves and provides calm enclosure for sea turtle hatching

CLADDING SUCCESSION DIAGRAM hanging nest

resting nest 1.sea turtle burrows into sand

sea turtle egg laying

2. lays eggs and returns to sea

3. eggs hatch and hatchlings return to sea

climber vegetation

scaffold - canopy with vegeta-

bird nesting

The backshore is affected when there is storm activity. The structures here are dealing with tight sand eroded in times of storm activity. So they have enclosures only at the bottom which will help form berms over time. So eventually, the berms will become an indicator of past storm activity, with the berm height and volume acting as the parameters.

scaffold

cladding

vegetation growth

bird nesting

The structure provides engineering solutions, thus creating healthy conditions for remediating beach habitat. Dunes landscape will eventually form in the dry beach zone, manipulated by the beach reinforcements. As vegetation grows on cladding, the skin evolves further, attracting migratory birds for nesting. The structure provides safe enclosure for sea turtle egg laying. The non-human habitat sustains co-existence with the human activities like hiking, biking, swimming and other recreation.

STRUCTURAL SECTION scaffold made out of steel O-sections welded together

cladding made ou material

structural diagram 76

Design Proposal 6.15

WASTE REMANUFACTURE MATERIAL waterproofing membrane made out of waste remanufacture material sepa-

6.14 6.13

MOSS SUBSTRATE sandwiched layer within the tile, provides hold and moisture for plant to grow

ut of waste remanufacture

WASTE REMANUFACTURE MATERIAL waste remufacture material displaying aesthetic qualities of waste drawn BEACH NAPUKA PLANT native species of Hawaii beaches, provides protection from sun and attracts birds

structure of cladding

beach surface

helical piles for subodinate columns penetrate deep into sand, reinforce sand, but flexible to the wind and sand conditions unstable ground helical pile for central column penetrates into stable ground because it is the load carrying member

stable ground

77

VARIABLE OPENINGS

openings for various user needs 78

Design Proposal

slit openings for sunlight, birds

common faces share openings large openings for humans

79

80

Design Proposal

realistic exterior visualisation

81

interior visualisation

82

Design Proposal

The project wants to create a post-natural environment bringing in co-existence two conflicting concepts- recreation and garbage, making the conscious choice of bringing the remanufactured garbage back into vision, where it was first found, retaining a waste aesthetic.

It is like a shell provided without any pre-conceived program. The authorship remains completely with the users.

83

PHYSICAL MODELS

84

Design Proposal

Site model: Scale 1/8 inch

Form model: Scale 1/2 inch

85

BIBLIOGRAPHY IMAGE SOURCES 1.01. http://www.spatialagency.net/2010/02/03/wholeearthcatalog-960x1236.jpg 1.02. http://www.youthxchange.net/main/b224_harmful-eating-f.asp 1.03. http://www.shirari.com/blog/img/needs-wants-papanek.jpg 1.04. http://www.herald.ng/wp-content/uploads/2016/06/bill_gordon_shares_his_spraying_tips800x600.jpg 1.05. http://blog.wlingua.com/learn-english/wp-content/uploads/sites/11/2016/05/clothes_charity-shop.jpg 1.06. http://www.nikdaum.com/news/jod39.jpg 1.07. http://www.emcodisplays.com/wp-content/uploads/acrylic-sheet-250x250.jpg 1.08. http://www.recycleforscotland.com/sites/files/recyclenow/styles/custom_main/public/images/main/Plastic-bottles.jpg?itok=_Q7vVsN0 1.09. http://www.unmultimedia.org/radio/english/wp-content/uploads/2016/06/233648Plastic_ Waste-625-415.jpg 1.10. http://images.wisegeek.com/rare-metal.jpg 1.11. http://jbsaundersco.com/wp-content/uploads/2016/10/90edc498bbcb4a413238f8fad7c9bfc0.jpg 1.12. http://www.fastweb.it/var/storage_feeds/CMS/articoli/144/14485370f8abf13e2faa19b80700e459/raee43.jpg 1.13. https://upload.wikimedia.org/wikipedia/en/7/76/Green_wood_visual_comparison.jpg 1.14. http://palletfurnitureplans.com/wp-content/uploads/2013/09/pallet-wood-projects-8.jpg 1.15. http://www.buzz-bee.net/images/wa_photos/des_moines/construction-debris-and-demolition-waste.jpg 1.16. https://sites.google.com/a/mtholyoke.edu/waste/zero-waste 1.17. http://www.askstorygroup.com/images/why-1.png 2.01. http://www.regrow-trees.com/image/deforestation.png 2.02. http://i.telegraph.co.uk/multimedia/archive/01631/oil-spill-ship_1631749i.jpg 2.03. https://dmarkcabz.files.wordpress.com/2014/06/ss-industry-2-524.jpg 2.04. https://upload.wikimedia.org/wikipedia/commons/b/b0/Rio_tinto_river_CarolStoker_NASA_ Ames_Research_Center.jpg 2.05. http://i.huffpost.com/gadgets/slideshows/410868/slide_410868_5171972_free.jpg 2.06. https://www.nrdc.org/sites/default/files/styles/full_content/public/media-uploads/ OCNs3_287424425_2400.jpg?itok=roM0iDiU 2.07. https://www.wired.com/images_blogs/wiredscience/2009/08/mines_toquepala1b.jpg 2.08. http://davidmaisel.com/works/the-mining-project/#3 2.09. http://davidmaisel.com/works/the-mining-project/#1 2.10. http://scenariojournal.com/wp-content/uploads/2015/10/01_Slate-Quarry_J-Elliott.jpg 86

Bibliography

2.11. http://i.telegraph.co.uk/multimedia/archive/01631/oil-spill-ship_1631749i.jpg 2.12. http://saveourshores.org/what-we-do/pollution-prevention/ 2.13. http://i.dailymail.co.uk/i/pix/2015/02/20/25D8600400000578-2960481-image-a-4_1424394164137.jpg 2.14. http://www.petfinder.my/wagazine/201510/68449-stunning-images-expose-the-horrific-impact-of-plastic-trash-on-marine-animals.htm 2.15. https://s-media-cache-ak0.pinimg.com/736x/3e/1c/52/3e1c527295c2a8679b438ce3e6a5e1b8. jpg 2.16. https://s-media-cache-ak0.pinimg.com/originals/e7/16/3b/e7163b1a17c6be77af142b5a697aa7d4.jpg 2.17. https://s-media-cache-ak0.pinimg.com/originals/11/21/d8/1121d8892cc3e79e18db6d6fee2a3df5.jpg 2.18. http://www.onegreenplanet.org/environment/marine-species-extinction-and-plastic-pollution/ 2.19. http://www.andlil.com/forum/ressources/image/21927 2.20. https://i.ytimg.com/vi/m1w4QPUKwyg/maxresdefault.jpg 3.01. http://blog.oxforddictionaries.com/wp-content/uploads/jellyfish-2.jpg 4.01. http://www.stokedforsaturday.com/stoked-content/uploads/2016/04/Untitled-670x447.jpg 4.02.http://elysebutler.blogspot.com/2012/10/kahuku-coastal-cleanup-ocean-conservancy.html 4.03. https://aos.iacpublishinglabs.com/question/aq/700px-394px/roles-plankton-play-ecosystem_27e923e9d942c4ac.jpg?domain=cx.aos.ask.com 4.04. https://upload.wikimedia.org/wikipedia/commons/thumb/8/83/A_sand_eel_at_Belhaven_Bay_%28geograph_2326012%29.jpg/250px-A_sand_eel_at_Belhaven_Bay_%28geograph_2326012%29.jpg 4.05. http://2.bp.blogspot.com/_6SBrhs5J-EA/TOTOG9SEn1I/AAAAAAAAOLw/xHRBVb9X9QU/ s1600/Stilt%252C%2BHawaiian.jpg 4.06. http://oceanspaces.org/sites/default/files/IMG_0248.JPG 4.08. http://www.sciencebuzz.org/sites/default/files/images/sand_crab.jpg 4.09. https://slowmuse.files.wordpress.com/2008/10/clams3.jpg 4.13. http://www.slate.com/content/dam/slate/articles/health_and_science/science/2013/08/130812_SCI_piping-plover-closeup.jpg.CROP.article568-large.jpg 4.14. http://islandnature.ca/wp-content/uploads/2013/07/california-beach-hopper.jpg 4.15. http://www.powerfloe.com/media/HB-1-%20WEBSHOTS-30%20PICS-BIG/Hawaii%20Beaches-26.jpg 4.17. https://strandedbychoice.files.wordpress.com/2014/11/042-21.jpg 4.18. https://www.fws.gov/uploadedImages/Region_1/NWRS/Zone_1/Kauai_Complex/Hanalei/Images/koloa%20520x289.jpg 4.19. https://s-media-cache-ak0.pinimg.com/originals/7b/52/2c/7b522c1a0535f00474cc705c9e200ea0.jpg

87 6.16

BIBLIOGRAPHY IMAGE SOURCES continued 4.22. http://elysebutler.blogspot.com/2012/10/kahuku-coastal-cleanup-ocean-conservancy.html 4.23. http://elysebutler.blogspot.com/2012/10/kahuku-coastal-cleanup-ocean-conservancy.html 4.24. http://elysebutler.blogspot.com/2012/10/kahuku-coastal-cleanup-ocean-conservancy.html 4.25. ftp://soest.hawaii.edu/coastal/webftp/Oahu/posters/KahukuSTsmoothTMKPosterRGB72.jpg 4.26. http://i5.asn.im/ocean-garbage-_tajn.jpg 4.27. http://thegreenleaf.staradvertiserblogs.com/files/2011/11/kahukugarbagepatch.jpg 4.29. http://cdn.phys.org/newman/gfx/news/hires/2012/amanrelaxeso.jpg 4.30. http://www.destinationtips.com/wp-content/uploads/2015/03/Marundi-Beach-Jakarta.jpg 4.31. https://totallycoolpix.com/magazine/2014/03/brazils-dirty-beaches 4.32.https://wordfrombrian.wordpress.com/author/wordfrombrian/ 4.33. http://www.dw.com/en/ghanas-dirty-capital/a-17772075 4.34. http://www.oddman.ca/wp-content/uploads/2014/07/02290714A.jpg 4.35. https://static01.nyt.com/images/2013/04/08/us/RUNOFF-1/RUNOFF-1-jumbo.jpg 4.36. http://cbsnews1.cbsistatic.com/hub/i/r/2011/06/29/441f021d-a643-11e2a3f0-029118418759/ resize/620x465/0b816ab3c9be2b355271ae8a71161aa5/dirtybeach.jpg 4.37. http://1.bp.blogspot.com/juwyexFyT3Y/TdvP7cBMvEI/AAAAAAAAAhM/UZxvTcBT3TU/s1600/ Mumbai+beach+2011.jpg 4.38. http://resources1.news.com.au/images/2012/01/08/1226239/360605-rubbish.jpg 5.01. http://media.al.com/live/photo/beach-restorationjpg-d8fb769a97651c61.jpg 5.02. http://www.best-of-st-pete-beach.com/upham8528.jpg 5.03. http://www.coastalmonitoring.org/southeast/programme_design/defence_type/images/image057.jpg 5.05. https://s-media-cache-ak0.pinimg.com/236x/55/53/f4/5553f415d8746cb3682f5358a766ad33. jpg 5.07. http://tpluseplusaplusm.us/reassembly.html 5.08. http://ivc.lib.rochester.edu/wp-content/uploads/2013/03/Klein52.jpg 5.09. https://s-media-cache-ak0.pinimg.com/originals/08/11/dd/0811dd38ad40bb09b6b2417c397fe079.jpg 5.10. http://www.terreform.org/refuse_tower_7ft_terreform1.jpg 6.01. http://www.sussex.ac.uk/geography/researchprojects/BAR/Biodiversity/images/marram.jpg 6.04. http://brettonstuff.s3.amazonaws.com/images/wct/day2.brett.beach.8x6.jpg

88

Bibliography

6.08. https://img.clipartfest.com/9370c0171c57271f91a1a79526322e3d_sunrise-beach-clipart-sunrise-beach-clipart_1920-1080.jpeg 6.09. http://i.dailymail.co.uk/i/pix/2012/02/07/article-2097818-119F4BE0000005DC-804_634x421. jpg 6.11. https://upload.wikimedia.org/wikipedia/commons/thumb/0/06/Hawaiian_monk_seal_at_ French_Frigate_Shoals_07.jpg/1200px-Hawaiian_monk_seal_at_French_Frigate_Shoals_07.jpg 6.12. https://vietnamculturaltours.com/wp-content/uploads/2016/01/kids_beach.jpg

89

BIBLIOGRAPHY REFERENCES David Gissen, “Nature’s Historical Crises” in Journal of Architectural Education, Vol. 69, Issue 1 (Taylor & Francis, March 2015) Victor Papanek, Design for the Real World: Human Ecology and Social Change (Academy Chicago Publishers, 1992) “Rapid Refuse by Terraform”, Terraform, accessed May 5, 2017 http://www.terreform.org/projects_urbanity_rapid_refuse.html “Detroit reassembly plant”, T+E+A+M, accessed 5 May, 2017, http://tpluseplusaplusm.us/ “Greg Lynn’s Embryological House”, Greg Lynn, accessed May 5, 2017, http://www.glform.com/embryonic/embryonic.htm Amid Cero9, ‘the golden dome’ installation, exhibition at the MOT museum of contemporary art Tokyo, designboom, accessed 5 May, 2017, http://www.designboom.com/architecture/amidcero9-the-golden-dome/ David Gissen, “A More Monumental, Non-Naturalistic Environment” in Tarp Architecture Manual: Not Nature, Sarah Ruel-Bergerton, Hannibal Newsom, eds. (Pratt Institute School of Architecture, 2012) Timothy Morton, “Architecture without Nature”, in Tarp Architecture Manual: Not Nature, Sarah Ruel-Bergerton, Hannibal Newsom, eds. (Pratt Institute School of Architecture, 2012) Graham Harman, “On the Mesh, the Strange Stranger, and Hyperobjects: Morton’s Ecological Ontology”, in Tarp Architecture Manual: Not Nature, Sarah Ruel-Bergerton, Hannibal Newsom, eds. (Pratt Institute School of Architecture, 2012) Chris Perry, “A Folly for the Anthropocene: Not for ‘Us’ Alone”, in ARPA Journal, Janette Kim, ed. (Columbia University, 2015). http://www.arpajournal.net/a-folly-for-the-anthropocene David Gissen, “Introduction: Architecture Beyond Environment”, in Architectural Design (AD), Territory: Architecture Beyond Environment, David Gissen, ed. (Wiley-Academy, 2010) Christopher Hight, “Designing Ecologies”, in Projective Ecologies, Chris Reed and Nina-Marie Lister (Harvard GSD / Actar, 2013) Lydia Kallipoliti, “Introduction: No More Schisms”, in Architectural Design (AD), EcoRedux: Design Remedies for an Ailing Planet, Lydia Kallipoliti, ed. (Wiley Academy, 2011

90

Bibliography

David Salomon, “Towards a New Infrastructure: Aesthetic Thinking, Synthetic Sensibilities”, in Journal of Landscape Architecture, 11:2 (Routledge, Spring 2016) Elizabeth K. Meyer, “Sustaining Beauty: The Performance of Appearance, A Manifesto in Three Parts,” in Journal of Landscape Architecture (Routledge, Spring 2008) Timothy Morton, “Hypocrisies,” in Hyperobjects: Philosophy and Ecology after the End of the World, Timothy Morton (University of Minnesota Press, 2013): David Maisel, “The Mining Porject’”, accessed, May 10, 2017 http://davidmaisel.com/works/the-mining-project/#1

91