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Just as natural adaptation comes from evolutionary processes that lead to 'fit' of an organism to its environment, adaptive buildings come from design processes that lead to the 'fit' of a building to its environment. A building which 'fits' its environment is considered to be sustainable. The environment is defined to encompass economic, social and ecological context. Buildings are artifacts chosen by a designer from among possible designs based on human value judgements about internal and external constraints. It is hypothesized that a project design process will result in more adaptive buildings when: first, the project team has sufficient relevant information related to the environment; second, the project team is sufficiently motivated to 'fit' the project to its environment; and third, the project team develops specific targets for resource consumption. Design process occurs at both the team level (project design process) and the individual level (design process). A model of design as a complex adaptive system is developed. The model shows creativity as a phenomenon arising from the interplay of two forces: pattern and constraint. In design, a designer transforms the 'chaos' of new and unintegrated input (change agents) into emergent pattern by integrating the input so as to be consistent with existing patterns and responsive to constraints (conservation agents). This integration results in the 'click' which designers experience during design activity. The 'click' signals boundary-breaking between the designer's internal and external (content and context) constraints and patterns. Dynamic equilibrium arises from balancing between change and conservation of input and between integration and differentiation of that input. Total equilibrium arises from combined conservation and differentiation. Further it is suggested that oscillation between integration and differentiation will result in creative breakthroughs. The model is researched in a case study of a built project, tested in a design exercise in a seminar setting with students and professionals, and discussed in an interview with a noted designer. Indicators for sustainable buildings are developed. The model provides a new description of design process and the findings indicate that its use is likely to result in more adaptive buildings as measured by indicators for sustainability.

Just as natural adaptation comes from evolutionary processes that lead to 'fit' of an organism to its environment, adaptive buildings come from design processes that lead to the 'fit' of a building to its environment. A building which 'fits' its environment is considered to be sustainable. The environment is defined to encompass economic, social and ecological context. Buildings are artifacts chosen by a designer from among possible designs based on human value judgements about internal and external constraints. It is hypothesized that a project design process will result in more adaptive buildings when: first, the project team has sufficient relevant information related to the environment; second, the project team is sufficiently motivated to 'fit' the project to its environment; and third, the project team develops specific targets for resource consumption. Design process occurs at both the team level (project design process) and the individual level (design process). A model of design as a complex adaptive system is developed. The model shows creativity as a phenomenon arising from the interplay of two forces: pattern and constraint. In design, a designer transforms the 'chaos' of new and unintegrated input (change agents) into emergent pattern by integrating the input so as to be consistent with existing patterns and responsive to constraints (conservation agents). This integration results in the 'click' which designers experience during design activity. The 'click' signals boundary-breaking between the designer's internal and external (content and context) constraints and patterns. Dynamic equilibrium arises from balancing between change and conservation of input and between integration and differentiation of that input. Total equilibrium arises from combined conservation and differentiation. Further it is suggested that oscillation between integration and differentiation will result in creative breakthroughs. The model is researched in a case study of a built project, tested in a design exercise in a seminar setting with students and professionals, and discussed in an interview with a noted designer. Indicators for sustainable buildings are developed. The model provides a new description of design process and the findings indicate that its use is likely to result in more adaptive buildings as measured by indicators for sustainability. / Science, Faculty of / Resources, Environment and Sustainability (IRES), Institute for / Graduate

Biophilia, the human-nature connection, stems from the evolution of humans and our affiliation with natural environments. This need for nature has been proven essential to our health and wellness. Younger generations, especially, have distanced themselves from the natural environment, as they are subjected to conventional forms of architecture. Saint Mary’s University in Halifax, Nova Scotia, Canada provides the opportunity to inhabit nature through a 2.7 hectare lawn and forest. By working with the environment and weaving activity through nature, this thesis strives to facilitate interaction in a positive way, through principles of Restorative Environmental Design. As a gateway to the forest, this thesis proposes a learning centre, connected by a network of study pods within the forest canopy. These insertions of activity wind themselves through the forest, creating a series of events to experience nature.

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Thesis (M. S.)--Architecture, Georgia Institute of Technology, 2007. / Committee Chair: Spuybroek, Lars; Committee Member: Economou, Athanassios; Committee Member: Gentry, T. Russell.

The pandemic has taught us several valuable lessons. It led to a new interest in redesigning-built environments that promote healthy indoor atmospheres and provide a space for reflection along with social distancing. The architecture of a space affects how people move within a space and live their lives. By using organic design principles and sustainable systems, we can transform and renew our built environment. A holistic approach that combines natural and built elements can create a sense of harmony and health, which is in line with the essence of organic architecture. Organic architecture can provide a sustainable solution to the persistent conflict between humans and nature due to urbanization, resource scarcity, and deforestation. By incorporating organic design principles, we can reconcile expanding urban environments and mass constructions with the natural world and biosphere. This approach can establish a harmonious relationship between human-made environments and nature, creating a more sustainable future. Despite their benefits, earthen materials are not widely used in new construction in North America. (Jenkins Swan, Rteil, and Lovegrove 2011) Some people even might believe that earthen materials are indicators of poverty, creating a social stigma that limits their use. Labor standards and knowledge sharing in the building industries may preference other ways of building. For others, the technical data available may be insufficient to quantify an understanding of building performance in various climates. Importantly, earthen materials are not fully represented in building codes and standards, particularly in North America.(Jenkins Swan, Rteil, and Lovegrove 2011) According to recent research, earthen building materials are capable of regulating indoor temperatures and humidity to attain optimal levels for occupant health (Alassaad et al. 2021). Low toxicity along with recyclability at the end of its life cycle which in turn allows for a cradle-to-cradle supply chain are also some of the other advantages of earthen materials. By being sustainable from the start of its life cycle, this thesis explores the use of earthen materials in construction by not just promoting the environmental benefits but also demonstrating how it could possibly add life to new organic forms.

Nature, as the major consideration of the Organic Architecture of Frank Lloyd Wright, has constantly been favored as a path for a pure soul to communicate with the spiritual. Inspired by Wright's Organic Architecture and Traditional Chinese Garden, this thesis celebrates the beauty of Nature in Pandapas Pond, Giles County, VA, where a "Water Garden" is created on the open space defined by its water. Formally, the whole garden complex takes the inspiration from lotus flowers floating on the water, which could be thought of as an "organic system of architecture." / Master of Architecture

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