The spiral design recalled a nautilus shell, with continuous spaces flowing freely one into another.[25] Even as it embraced nature, Wright's design also expresses his take on modernist architecture's rigid geometry.[25] Wright ascribed a symbolic meaning to the building's shapes. He explained, "these geometric forms suggest certain human ideas, moods, sentiments – as for instance: the circle, infinity; the triangle, structural unity; the spiral, organic progress; the square, integrity."[26] Forms echo one another throughout: oval-shaped columns, for example, reiterate the geometry of the fountain. Circularity is the leitmotif, from the rotunda to the inlaid design of the terrazzo floors.[23] Several architecture professors have speculated that the double spiral staircase designed by Giuseppe Momo in 1932 at the Vatican Museums was an inspiration for 

Located in the juncture where the San Jacinto mountains open into the Coachella valley in California, artist Doug Aitken has realized a typical california ranch style house completely clad in reflective mirrored surfaces.

Titled Mirage, the house distills the repetitious suburban home into the essence of its lines, reflecting the surrounding mountainous desert. The structure was created as part of Desert X, an outdoor art exhibition comprised of over 16 artworks that have been installed across the arid landscape of the Coachella Valley. Combined with the traditional ranches in the American west, the style was developed in the region by a group of architects in the 1920s and 1930s. With every available surface clad in mirror, the exterior disappears just as the interior draws the viewer into a never-ending kaleidoscope of light and reflection. The doors, windows and openings have been removed to create a fluid relationship with the surrounding environment. Desert X opened 25 February 2017 and runs until 30 April 2017, although Aitken’s Mirage will remain in place until 31 October 2017.

The installation is partly influenced by 15th-16th century French monarch Louis XIV's landscape architect André Le Notre, who had planned an ambitious water feature for the garden that was never realised.

"This waterfall reinvigorates the engineering ingenuity of the past," said Eliasson. "It is as constructed as the court was, and I've left the construction open for all to see – a seemingly foreign element that expands the scope of human imagination."

WRAPPED REICHSTAG, BERLIN 1971–95 1971–95

For two weeks in the summer of 1995 Berlin’s Reichstag building – historically the seat of the German parliament and a famous site in Germany’s history – was covered with 100,000 square metres of billowing silver-grey fabric, tied by over fifteen kilometers of blue ropes.

Prompted by a suggestion by a Berlin-based journalist, the artists Christo and Jeanne-Claude first conceived the project in 1971. Situated during the Cold War in the heart of the divided city of Berlin, the Reichstag was then under the jurisdiction of both East and West Berlin authorities. It was scarcely used, but such was the tension between the two governments, and the political sensitivity of the site, that the project to wrap the building was rejected three times. It was only following the reunification of Germany and before the reinstatement of the Reichstag as the seat of the national parliament that the project was accepted, nearly a quarter of a century after it had been first proposed.

The Flextiles project focused on developing a design system using a composite of felt fibres and expandable foam for reinforcement.

Students Noura Mheid, Hameda Janahi, Minzi Jin, Zoukai Huo found inspiration in the traditional craft of felt-making as well as the differential growth patterns found in nature – which is what gives their finished structures their distinctive, seaweed-like curls.

After exploring the load-bearing potential of these structures by crafting them into chairs they could sit on, they finished the project by presenting a fabric wall unit. The unit forms one side of what they hope they can one day extend into a full pavilion.

Their process stands in contrast to most current fabric architecture, which usually features soft fabric attached to a support structure. The Flextiles structures can be soft in some places and hard in others, transitioning smoothly from one to the other.

"Unlike traditional uses of fabric in construction, this technology introduces a new perspective on how to integrate structure into a soft material such as fabric and go beyond the typical disintegration between the draping of fabric onto a completely segregated support," Mheid told Dezeen.

"By taking advantage of the hidden potentials of customising textiles to increase overall performance and structural ability, such a flexible material composite can create self-standing, lightweight structures that redefine the use of fabric in architecture as a whole," she continued.

The students fabric architecture as particularly useful for spaces where it might be desirable to block out light or sound. Felt's sound-absorbing properties are already widely recognised, and it is having a resurgence in office furniture as a way to dampen noise in open-plan offices.

"Functions such as museums, office spaces, theatres could all be redefined with more unique spatial and visual experiences," said Mheid.

"Eventually, the final designed pavilion explored these aspects into a leisure centre to create a relaxed environment for visitors to enjoy the sunlight and have a sense of scale and tranquility within the hustle and bustle of the London atmosphere."

A four-dimensional space or 4D space is a mathematical extension of the concept of three-dimensional or 3D space. Three-dimensional space is the simplest possible abstraction of the observation that one only needs three numbers, called dimensions, to describe the sizes or locations of objects in the everyday world. For example, the volume of a rectangular box is found by measuring its length, width, and height (often labeled x, y, and z).

The idea of adding a fourth dimension began with Jean le Rond d'Alembert with his "Dimensions" published in 1754^[1] followed by Joseph-Louis Lagrange in the mid-1700s and culminated in a precise formalization of the concept in 1854 by Bernhard Riemann. In 1880 Charles Howard Hintonpopularized these insights in an essay titled "What is the Fourth Dimension?", which explained the concept of a four-dimensional cube with a step-by-step generalization of the properties of lines, squares, and cubes. The simplest form of Hinton's method is to draw two ordinary cubes separated by an "unseen" distance, and then draw lines between their equivalent vertices. This can be seen in the accompanying animation, whenever it shows a smaller inner cube inside a larger outer cube. The eight lines connecting the vertices of the two cubes in that case represent a single direction in the "unseen" fourth dimension.

Higher dimensional spaces have since become one of the foundations for formally expressing modern mathematics and physics. Large parts of these topics could not exist in their current forms without the use of such spaces. Einstein's concept of spacetime uses such a 4D space, though it has a Minkowski structure that is a bit more complicated than Euclidean 4D space.

Single locations in 4D space can be given as vectors or n-tuples, i.e. as ordered lists of numbers such as (t,x,y,z). It is only when such locations are linked together into more complicated shapes that the full richness and geometric complexity of 4D and higher dimensional spaces emerge. A hint to that complexity can be seen in the accompanying animation of one of the simplest possible 4D objects, the 4D cube or tesseract.

Using science and art, Julian Voss-Andreae creates incredible sculptures that can vanish right in front of our very eyes. Made up of a series of layered steel sheets, the sculpture forms a human image at a certain angle but then disappears at others. He calls this particular 8-foot high work of art Quantum Man.

“When approached from the front or back, the sculpture seems to consist of solid steel, but when seen from
the side it visually disappears almost completely,” he says. “This fascinating effect offers a range of possible interpretations. In the context of quantum physics-inspired art it is natural to see Quantum Man as a metaphor for the wave-particle duality, the phenomenon that all matter exhibits wave-like or particle-like properties depending on the experimental question we ask.”

what I think is that to make a

• pavilion 
• architecture 
• interior space

 surround the human. However isn't a kinetic architecture,The architecture itself is immovable. It's human moving, and when they moving, the object itself changes, whether from outside or inside.

In Rhythmic Fragments is a biophilic spatial installation that translates mensurated motions into kinetic architectural boundaries. Inspired by the rhythmic flows of liveliness observed at varied scales in the natural environment, the installation aims to engage our mind as a physics engine with contemplative content to evoke lived experience and inspire the sense of being mesmerized and mindful.

In a hyper-constructed future where untouched nature is lost, In Rhythmic Fragments aims to evoke our perception of and connection to the natural world through interaction with kinetic behaviour in future architectural spaces. As systems theory and gestalt perception thread our observation of motion hand-in-hand, concepts of uniformity and randomness, unison and separation shape our own rhythmic movement from individuals to individuals as part of a broader social group. Interaction with In Rhythmic Fragments primes this awareness of our movement through synchrony and asynchrony in its kinetic flows.

Blending their disciplinary backgrounds, Dalia Todary-Michael and Saria Ghaziri explore responsive kinetic architecture and performative concepts of liveliness and spatial cognition in the built environment.

Similar to the behavior patterns of humans, which vary with surroundings, time and interaction with different subjects; the behavior patterns in machines and systems are also influenced or altered by external factors. The behavior generated could be predictable or non- predictable. It could be dynamic or transient.

The idea of soft architecture emerges from a  need to design intelligent and living environments. Structures that are autonomous  and exhibit properties of self preservation, regeneration  and adaptation to changing ecology. Brodey’s Soft Architecture talks about the design of intelligent environments in context of exhibiting self organizing and evolutionary properties.

Virtual reality and interactive architecture have visibly exhibited such properties in parts.  One of the common approaches to interaction design is to design for a perceived goal, usually a task at hand or a problem solver. Where the goal defines the methodology to achieve itself. The design is processed through input and output values, goes through various iterations to test  for failures. We process it for all possible situations, our minds are capable to think of.

The goal oriented design might create an unpredictable behavior where the morphology and choice of material play an important role, as studied by William Bondin. He argues that design should be behavior based rather than goal oriented. Behavior provides it the ability to take decisions and change the predictable course of action. Hence developing  into a much stable ecology and system link. What are the other parameters that influence this behavior?  How can we design to achieve a desired behavior?

A set of behavior influenced by the morphology is exhibited in Theo Jansen’s Strandbeests which show an uncontrolled movement and respond to the environment they are placed . The passive dynamic walker developed by Mc Geer also exhibits a human like walking performance due to the mechanism and the material it is built with.

It can control the viewer's needs and adjust the Angle of light,

the gwangju biennale foundation is proud to announce the collaborations with renown academics, writers, and artists grappling with both the history and contemporary relevance of the ‘folly’ that informs strategic interventions in public space.

gwangju folly II artistic director nikolaus hirsch and curators philipp misselwitz and eui young chun have developed a curatorial approach within the ambiguities of a ‘folly’ as a critical tool of inquiry to address the condition of public space. since the may 18, 1980 democratic uprising, the negotiation of public space in gwangju has played a crucial role in the transformation of south korea—it has even come to signify a model for effective political mobilization. contextualizing the potential of spatial interventions, the eight newly commissioned follies here seek to test the constitution of public space—in contemporary gwangju as well as in the global context.

the ‘follies’
eight follies have been realized and present a ‘detour into delirium’ throughout the city of gwangju, and at times they are even moving targets (on the metro or a mobile hotel), galvanizing the space between the everyday and the utopian, examining the present-day constitution of public space as a political arena:

“Seeing spheres is a public space that contains you and contains multitudes,” said Eliasson. “We often think of public space as empty, negative space in the city, viewed from a car or crossed on the way to somewhere else. Seeing spheres offers a place to pause, where you see yourself from the outside, as a participant in society.”