Article


 

  AL-QADISIYAH JOURNAL FOR ENGINEERING SCIENCES   14 (2022) 197–000 
 

   

       Contents lists available at http://qu.edu.iq 

 

Al-Qadisiyah Journal for Engineering Sciences 

    
Journal homepage: http://qu.edu.iq/journaleng/index.php/JQES  

  

 

* Corresponding author.  

E-mail address: hibarf86@gmail.com (Hiba Arif Jasim) 

 

https://doi.org/10.30772/qjes.v14i3.790  

2411-7773/© 2022 University of Al-Qadisiyah. All rights reserved.                                This work is licensed under a Creative Commons Attribution 4.0 International License. 

    

The formation of invisible architecture according to environmental 

tendencies techniques  

Hiba Arif Jasi*, Anwar Subhi Ramadan, Aseel Ibrahem Mahmood 

University of Technology, Department of Architecture, Baghdad, Iraq 

 

A R T I C L E  I N F O 

Article history:  

Received 00 December 2020 

Received in revised form 00 January 2021 

Accepted 00 February 2021 

 

Keywords: 

Invisible 

Unseen architecture 

Unobserved architecture 

Immaterial architecture 

Invisible sustainability  

 

A B S T R A C T  

Increasing awareness of the need to take care of the planet and reduce the negative effects of human impact 

on the environment at the level of all aspects of life, including architecture has become essential. The 

invisible architecture and in accordance with the environmental tendencies appeared as one of the 

contemporary trends to be that formation that achieves blend with the environmental surrounding and based 

on techniques that reduce its appearance to emphasize the importance of the external environment and trying 

to return to nature and increase green spaces in a manner that reduces pollution to minimum level. Therefore, 

this architecture is part of the site and not just an added part to it, as well as its quest to increase operational 

efficiency and to reduce its negative impact on the environment in addition to improving the built 

environment that enhances health and well-being of the user. Many previous international studies 

highlighted various aspects of invisible architecture and the techniques and technologies for achieving them, 

noticing the limitation of Arabic and local studies that dealt with this topic. This research aims to provide 

clear and comprehensive knowledge of the techniques of achieving invisible architecture in its 

environmental perspective with its multiple formations, which can be adopted effectively by the designer in 

general, and in a manner, that serves the reality of the Arab and local experience. And in line with the local 

natural and urban environment to keep pace with contemporary global trends. 

 

© 2022 University of Al-Qadisiyah. All rights reserved. 

    

 

1. Introduction 

The signs of invisible architecture appeared in the various eras of 

history and since ancient times, despite not referring to them conceptually. 

Where man adopted the first structural patterns, such as the cave, which 

was masked by mountains or hills and even within the ground, aiming to 

achieve shelter [1], and the Holy Qur’an mentioned the wonderful models 

of the buildings of the ancient nations and the various geometric shapes, 

such as the houses of Thamud and the palace of the prophet Suleiman. In 

the text of the noble verse: (you take for yourselves palaces from its plains 

and carve from the mountains, homes) (Surat Al-A’raf, verse 74), it was 

also stated in the text of the verse:(It was said to her: Enter the palace, but 

when she saw it she deemed it to be a great expanse of water, and bared her 

legs. He said: Surely it is a palace made smooth with glass. She said: My 

Lord! surely, I have been unjust to myself, and I submit with Sulaiman to  

Allah, the Lord of the worlds) (Surat An-Naml, verse 44). The edifice was 

made of transparent and reflective glass that freshwater was running under. 

In other words, it did not rely on the visual aspect only; but the sense of 

touch to perceive it, [2]. The interest also appeared during the ancient and 

medieval historical times using optical illusion to manipulate the 

dimensions of spaces, to pay attention to light and sound design, and 

influencing the perception of the recipient by finding the boundaries of 

space without the need for architectural elements such as walls, ceilings, 

and doors, as in Roman temples, [3]. In addition to the use of mosaics and 

drawings, the spaces seem different from their true identities and the art of 

decoration (arabesque) that gives the impression of movement to a fixed 

body [4], [5]. In both Western and Islamic architecture, up to the 

architecture of the twentieth century, which was concerned with relying on 

the characteristics of the building material to communicate between

http://qu.edu.iq/
https://doi.org/10.30772/qjes.v14i3.790
https://doi.org/10.30772/qjes.v14i3.790
http://creativecommons.org/licenses/by/4.0/


198 AUTHOR, AUTHOR /AL-QADISIYAH JOURNAL FOR ENGINEERING SCIENCES   14 (2022) 197–000  

 

 

For the time being, invisible architecture is emerging as one of the 

contemporary global trends towards harmony with the surrounding 

environment, whether natural or artificial and achieving environmental 

sustainability in particular, in terms of the fact that architecture is much 

more than its physical construction, as it has another invisible aspect that is 

more vital and makes it Associated with its surroundings as a part of it and 

not added to it, [8] so was the protected underground architecture that 

excavated the components of the earth from soil, rocks or caves to be part 

of the building elements and merge with it, to achieve protection and 

maintain energy efficiency Increasing the green spaces [9] and controlling 

the relationship with the ground levels, which may be in direct contact with 

the outside or indirect contact, to mask the building and achieve security 

and safety and arousing the feelings of the recipient. [10]. 

On the other hand, the invisible architecture was found by adopting the 

method of camouflage and with the intention of disguise through the use of 

elements similar to the elements of the surroundings and the use of 

transparent materials, to achieve communication between the interior and 

the exterior, and blending with the surroundings [11] besides the use of each 

of the elements of the environment such as air and sound to create non-

physical boundaries that separate the interior from the exterior and 

characterized by being unstable, ephemeral, dependent on the senses of the 

recipient to perceive it [12], the adoption of media facades and Atmosphere 

facades to mask architectural solidity transforming architecture from 

stability to movement, interactive dynamism with a view to the interaction 

between the recipient, interface and the environment, making it 

characterized by vitality and ambiguity [13], [14]. 

Accordingly, it is clear that there is a multiplicity and diversity in terms of 

invisible architecture formations, techniques and technologies adopted in 

general, according to the environmental trend in particular in terms of 

striving to reduce the negative environmental impact and achieve both 

harmony and sustainability to create an architecture with distinctive 

aesthetic values and economical benefits that meets multiple functional 

needs, which formed an incentive for this research in order to clarify the 

techniques adopted in the formations of invisible architecture from the 

environmental perspective, which can be effectively adopted by the 

designer, and in order to serve the Arab and local experience to catch up 

with contemporary global trends, so the research relied on the descriptive 

approach in analyzing Prior knowledge and applied experience, by a 

sequential steps that begins with building a conceptual framework for each 

of the concepts of the invisible in general and in architecture in particular, 

in a way that determines its most important forms, and then forming a 

cognitive framework for the techniques adopted in the formation of the 

invisible architecture according to the environmental trend, secondly, to 

apply that framework on Selected models from Arab projects, third, to 

determine a set of conclusions and recommendations regarding the reality 

of the Arab experience, and fourth, the possibility of adopting the 

knowledge presented in future local projects. 

2. Architecture and Invisibility concept 

2.1. Define the concept of the invisible in general 

The invisible concept can be defined in the Arabic language, by what 

contradicts it from the visible concept. Considering that (In) received 

linguistically as being a noun meaning neither nor not, as in not clear, and 

the Almighty’s saying: (But whoever is forced, neither desiring nor 

transgressing), meaning he who is forced is hungry, neither oppressive nor 

normal [15]. Thus, the invisible refers to what is not under consideration, 

for it is what is neither observed, nor material, nor tangible, nor seen, nor 

perceptible [16]. 

In the English language, the concept is given as (invisible), and it indicates, 

according to Merriam-Webster’s dictionary, that it is by nature incapable 

of seeing, difficult to perceive by sight [17], While the Oxford Dictionary 

defines it through a set of synonymous meanings, it includes all of the 

following: (Unseen, Conceal, Hidden, out of sight, Undetectable and 

Unnoticeable or Unobserved) [18].     

Thus, it is clear that the concept is associated linguistically with two main 

aspects: the first, the act of intentional concealment, mask, disguise, or 

hiding, and the second, the product of the intended action, which is 

incapable of detected as shown in (Fig. 1). 

 

Figure 1 - a model showing the visible and the invisible linguistically 

(source: researchers) 

Idiomatically, the definitions of the invisible have varied with the 

multiplicity of opinions and trends of researchers in various fields of 

knowledge, as it refers in philosophy to everyone who is essentially hidden 

(what is essential) and it did not have an intentional act of concealment, 

except that it is felt internally or perceived and felt, or what is covered, 

masked, concealed, or hidden by an intentional act to be invisible, which is 

difficult to distinguish and perceive, but it can be perceived later after 

scrutiny [19], [20]. 

In physics, the invisible refers to the intangible elements that are not 

considered concealed, because they can be perceptually perceptible and are 

known as the elements of the atmosphere (light, air, sound, and 

temperature), and they can be controlled and manipulated to affect the 

recipient’s sense [21] by adopting advanced technology, it is possible to 

find intangible components that cannot be perceived or detected, by an 

intentional act of perceptual concealment, for each of the visual and sensory 

terms, for example, what has been focused on in strategic aviation 

techniques and increasingly within defense networks, to penetrate the 

enemy airspace by stealth aircraft [22]. 

On the contrary, the invisible in physics also refers to the unseen and 

unobserved bodies that are difficult to distinguish and perceive, but they are 

realized later after scrutiny, and are achieved by an intentional act of 

masking, hide, or disguise, and this is by relying on other bodies (such as 

forts and shelters) so the bodies are unseen, or through camouflage, so the 



AUTHOR, AUTHOR /AL-QADISIYAH JOURNAL FOR ENGINEERING SCIENCES   14 (2022) 197–210                                                                                      199 

 

bodies are unobserved for the purpose of shelter, depending on the shape of 

the body and its background, so they are blended with the surrounding 

environment, which was invested militarily for the first time in the mid-

nineteenth century, such as coloring clothes, or using river mud to dye 

themselves, so they become unnoticed or unobserved [23], or masking 

based on the physical properties of objects that allow light to pass through 

them and become transparent objects, or by manipulating the light path 

through the use of reflective mirrors [24], [25]. (Fig. 2). 

using mirrors to make an object 

invisible [107]  

using camouflage in military 

operations [108]  

Figure 2 – invisibility in physics  

The invisible in biology refers to the organisms that are difficult to 

distinguish and perceive, but are realized later after scrutiny, and are 

achieved by an intentional act of mask or hide. This is done by relying on 

objects and elements found in nature (such as plant leaves, rocks, etc.), so 

that the organisms are unseen for shelter and hunting, or the adoption of 

camouflage so that the bodies are unobserved in blend with the surrounding 

environment for protection by relying on the shape of the body and its 

background, and coloring and reincarnation, such as what merges the owl 

with the background and takes on the shape of the tree trunk, as well as for 

the frog and the caterpillar with the leave [26]. Octopus species can become 

translucent or manipulate the light path through the reflective outer layer 

into unobserved bodies as in a sea worm that produces a dazzling display 

of light in a process known as bioluminescence, confusing predators and 

those who think they are looking at sunlight The spotted striking the surface 

of the water [27].  (Fig. 3). 

owel camouflaged with tree [109]  the ability of a glass octopus to 
turn transparent [110]  

Figure 3 – invisibility in biology 

The invisible in the arts refers to the objects that are difficult to distinguish 

and perceive, but they are realized later after scrutiny, relying on optical 

illusion, which is one of the techniques of creativity, as it deliberately 

manipulates the awareness and mind of the recipient, so the objects appear 

in a way other than what they appear as in visual art (Op-Optical Art) [28]. 

As the invisible concept appeared in the performing arts and the cinematic 

field, visual effects had a significant impact on the development of the 

concept, which refers to techniques used by filmmakers to show what is not 

real, as something real and existing [29]. In the past, these effects relied on 

simple and traditional techniques, including masking the features of the 

actor’s character by disguise, especially in the field of fashion and make-

up. Sometimes the character needs to blend with the design of the scenes or 

the directing choices, so attention is given to highlighting the elements that 

make the character in its unseen form [30], Then there were many devices 

and programs in this field, and among the visual effects that make the body 

look unobserved by disguise is the Motion Capture, which allows the actor 

to be unobserved by disguising any character, and this is by wearing special 

clothes, linked to a group of devices wired when the actor moves, these 

devices capture the movement and convert it into keyframes on the graphics 

programs [31]. As for the visual effects that make the body in its intangible 

form, it is the green or blue screen, or what is known as chroma, which is 

It is the construction and design of the surrounding environment on the 

graphics programs and then merging it with the scene depicted on a green 

or blue background [29]. 

It is clear from all linguistic and idiomatic definitions that the invisible has 

many forms that depend on several techniques to achieve it. Including the 

concealed forms associated with the human feeling, which are essentially 

concealed, meaning that no intentional act of concealment, mask, disguise, 

or hide occurred on them, and the unseen form of the body that depends on 

other bodies to masked it without any changes to it. As for the unobserved 

form, it depends on a change in the characteristics of the body or external 

influences that lead to a change in the body itself. As for the intangible 

form, it is real and existing, but it does not have a physical presence, but it 

can be perceived. 

2.2. Invisible Architecture Definition 

Studies have put forward several definitions of invisible architecture, as 

they defined it as the architecture of the cover, which depends on the use of 

the nature of the land to build a shelter for the human being, to protect 

against climatic conditions [10]. It is also known as the architecture that 

intends to mask the building by relying on other structural elements [5], 

[12]. While other studies defined invisible architecture as those whose 

buildings try to be hidden from the view of everyone and reduce the 

appearance of what is being built, through the development of a series of 

operations such as camouflage and the use of optical illusion so that it is 

difficult to distinguish them despite their physical presence, or blending the 

edges of the building With the elements of the external spaces, making the 

shape of the building difficult to distinguish, when the architect wants to 

highlight the features of something else, such as the surrounding natural 

features and blend with them [6] [32]. It can also resort to mimicry along 

with optical illusion, and uses various technologies such as screens, mirrors 

(including water mirrors and reflective surfaces in general), video cameras, 

etc., to make its buildings difficult to distinguish, even if they are huge. 

Which tends to be in blend with its surroundings in which it is located. [33], 

an architecture that can depend on the nature and characteristics of 

materials and the interaction of possible boundaries between man and 

technology, such as floating or cloud architecture, which is transparent, 

light, and melting with the site, to adapt to the environment [34]. The 

Inclusive Intelligence Research Institute (CIRI) defined invisible 

architecture as those that can be perceptually perceptible with the help of 

technology, and take light, color, sound, and smell as elements to define 

space and create sensory spaces, like its tectonic counterpart represented by 

walls, ceilings, and doors. Where the location, shape, and boundaries to 

create, whether they are public buildings or homes, or even at the level of 

designing outdoor spaces. It operates in a way that the biological senses are 

not directly aware of and affects the minds and behaviors of the viewer 

more than visual buildings [35], [3]. Where its definition is related to the 

so-called immaterial materiality, which is the possibility of building 

material things so that solid bodies are formed in a stationary state. 



200 AUTHOR, AUTHOR /AL-QADISIYAH JOURNAL FOR ENGINEERING SCIENCES   14 (2022) 197–210 

 

However, it gives the impression of a state of movement, and thus generates 

many perceptions throughout the duration of its movement and defines 

media buildings [36]. Thus, the immaterial form of architecture depends on 

sensory influences to be perceptible, using elements of the atmosphere such 

as air, light, and sound to complement the material experience of 

architecture, to create walls, ceilings, and furniture instead of traditional 

building materials, and the requirements to achieve them include the use of 

techniques and technology of materials and tools [37], [38]. It is considered 

one of the contemporary trends towards the future of sustainable design, to 

design buildings that reduce energy use and greenhouse gas emissions, to 

improve the sustainability of the built environment while supporting the 

architectural aesthetic of efficient, beautiful, and integrated buildings [39].  

It is clear from the foregoing that the invisible architecture is the 

architecture of sensory perception based on the intentional action of the 

designer in terms of hiding, mask, and disguise, and it included the 

following forms, see (Fig. 5). 

• Unseen form: It is the form of invisible architecture that relies on other 

elements to mask it, which may be structural elements or those 

elements from the environmental surrounding for the purpose of 

protection, and it cannot be perceptually perceptible only after scrutiny 

and focus later. 

• Unobserved form: It is the form of invisible architecture that depends 

on the physical properties of its components and according to 

camouflage and optical illusion to blend with the environmental 

surrounding, and it is difficult to perceptible it only after scrutiny and 

focus later. 

• Immaterial form: It is the intangible form in invisible architecture that 

depends on the material and kinetic energy to create the boundaries of 

the building like its tectonic counterpart, to transform architecture from 

fixed and stable material existence to a moving immaterial existence 

that requires sensory perception. 

 

 

 

Figure 5 - a model showing the forms of the invisible in architecture 

(source: researchers) 

 

3. The invisible architecture in its environmental 

perspective 

The invisible architecture in its environmental perspective is based mainly 

on trying to blend with its environmental surroundings, which includes: 

• The ecological environment: It is all the living and non-living elements 

in which man has not had any interference. It is known as pure nature, 

which affects the lives of living organisms directly or indirectly, such 

as (seas, deserts, terrain, climate, plants, and animals). 

• Built environment: It is the physical and urban structure built by man 

and includes all facilities, whether residential, industrial, or service, 

and even the natural man-made ones, which work to organize societies 

and serve human needs, through systems Integrated social, political, 

economic, cultural, educational, moral, technological, and urban [40] 

[41]. 

Accordingly, it’s defined as it is the architecture that compositionally 

depends on the unseen, unobserved, and immaterial architecture in order to 

reduce its appearance to a minimum, which is difficult to perceive and aims 

to blend with its environmental surroundings by relying on several 

techniques and what it contains technology and materials included within 

it with contemporary trends of sustainability, conservation of energies and 

resources, as well as enhancing aesthetic, functional and sensory qualities. 

This research has invested many previous studies and international and 

Arab applied projects, for determining the techniques adopted in the 

formation of invisible architecture in its environmental perspective, in a 

manner that is consistent with the goal of the research, and these techniques 

were classified according to each of the following: 

3.1. Techniques of the unseen formation of invisible architecture in 

the environmental perspective 

They are those techniques that are adopted to reduce the appearance of the 

building with the intention of mask and hiding and by relying on other 

elements, which may be natural or artificial (structural or non-structural), 

while preserving the original formal characteristics of the building 

unchanged to achieve protection from environmental conditions in the 

main, so that it is difficult to perceptible except After scrutiny and focus 

later, to include all the following: 

3.1.1. Merging with Landscape technique 

This technique refers to the merging of elements of the building with the 

elements of its surroundings so that the building appears as part of or as an 

extension of the landscape or the surrounding outdoor spaces, and the effect 

of this method is very strong for architects who want their buildings to 

appear as a result of their surroundings [42], integration with the site is also 

associated with criteria such as biophilic design, green architecture or eco-

design to achieve sustainable design, as well as the integration of historic 

urban sites with contemporary built areas [43]. This technique relies on a 

set of technologies as follows: 

Landscape Intersection Technology: This is based on the melting and 

fading of the building lines with the site topographic lines [44], as in the 

Sancaklar Mosque in Istanbul. 

Underground Architecture Technology: This technology depends on the 

containment and mask of the building through burial and the construction 

of the entire building under the surface of the ground, or the Pit by 

constructing the building close to the surface of the ground or sculpting in 

the mountains in a similar way to caves [45] [46] [47], as in the cave-like 

house in Greece. 

Submerged under Water Architecture Technology: where the whole or part 

of the building is submerged below the water level with the intention of 

masking [48], as in the underwater discovery center in Australia (Fig. 6). 



AUTHOR, AUTHOR /AL-QADISIYAH JOURNAL FOR ENGINEERING SCIENCES   14 (2022) 197–210                                                                                      201 

 

sancaklar mosque in 

Istanbul [93] 

cave-like house in 

Greece [81] 
underwater discovery 

center in Australia 

[93] 

Figure 6 - a model showing merging with landscape technique 

3.1.2. Wrapping Technique 

The technique of wrapping in buildings depends on what is known as the 

language of Layering, where the building consists of the main layer 

represented by the original building mass that is intended to be made 

invisible, and the secondary layer, which is a material layer that works to 

wrap the building either by coating it or surrounding it, which makes the 

building mass invisible without affecting the shape of the original mass of 

the building, and helps to protect from the surrounding environmental 

conditions in addition to enriching the building and creativity [5]. This 

technique relies on a set of technologies as follows: 

Coating Technology: It is based on coating the surfaces of building units 

either with membrane components coating such as cloth or plastic or 

coating with green walls one of the patterns of biophilic design, which are 

basically vertical walls covered with plants and natural elements as well as 

some water delivery systems, or By adopting screen coating, which uses a 

curtain layer that is wrapped on the building envelope, this technology 

works to control solar energy by reducing glare and heat gain, and is also 

used to achieve privacy, insulation and visual comfort. [12] [49], [50] [51], 

as in the Ahn Jung-Geun Memorial Hall in South Korea and Citicape House 

in London.  

Façadism Technology: It is considered one of the controversial technology 

to preserve the context of the urban environment, which means demolishing 

the old building historically and creating a new building for new purposes 

or function, while keeping the old facade around it to mask the modern 

building [52] and benefiting from the facade by controlling shade and light 

And providing natural ventilation due to the distance between the facade 

and the modern building, which reduces heat gain and achieves visual and 

thermal comfort [53], as in the National Provincial bank in London. 

Surrounding Technology: It is based on surrounding the original building 

with a secondary mass, where this construction technology is simulated to 

Russian dolls, by designing one building inside the other, for 

environmental, privacy, security, or service reasons [12] and this 

technology can be achieved through the building in the building. In this 

technology, the original building is inside a secondary building or structure, 

where the original building maintains its characteristics, while the 

secondary building works to control solar energy and keep the building cool 

as well as providing the new shape and additional space [54], as in the shed 

center in Chicago, or the adoption of an exterior structure that allows 

shading and self-ventilation of the building [55], as in the Broad museum 

in Los Angeles, and kinetic facades can be adopted with the intention of 

completely or partially masking the building to be adapted to the 

environmental surroundings. It aims to respond to changing environmental 

conditions and enhance the aesthetic qualities [56][57], whether those 

facades are sliding, folding or tracking, as in the SDU Kolding in Denmark 

(Fig. 7). 

Ahn Jung-Geun 

memorial hall in 

South Korea  [98] 

citicape house in 

London [93]  
caledonian road in 

London [53]  

the shed center in 

Chicago [54]    
broad museum in 

Los Angeles [98]  

SDU Kolding in 

Denmark [98]  

Figure 7 - a model showing wrapping technique 

From all above, it is possible to summarize the unseen formation techniques 

for the invisible architecture in the environmental perspective and the 

technologies included in (Table 1). 

Table 1 - The unseen formation techniques and technologies for the 

invisible architecture in the environmental perspective (source: 

researchers). 

Formation techniques Formation technologies 

Merging with Landscape Landscape 

Intersection 

Technology 

melting and fading 

the building lines 

with the site 

topographic lines 

 Underground 

Architecture 

Technology 

Burial, Pit, Sculpting 

 Submerged 

Architecture Under 

Water Technology 

whole or part of the 

building submerged 

below the water level 

Wrapping Coating Technology coating with 

membrane 

components such as 

cloth or plastic, green 

walls, screen coating 

 Façadism 

Technology 

Architectural 

preservation of old 

facades in buildings 

with new buildings 

built behind them 

 Surrounding 

Technology 

Building in building, 

Exterior structure, 

Kinetic Facades 

3.2. Techniques of the unobserved formation of invisible 

architecture in the environmental perspective 

Techniques that are adopted to reduce or delay the process of detecting the 

building with the intention of mask and disguise by relying on the physical 

characteristics of the components of the architectural form essentially to 

achieve blending with its environmental surroundings in the basic degree, 



202 AUTHOR, AUTHOR /AL-QADISIYAH JOURNAL FOR ENGINEERING SCIENCES   14 (2022) 197–210 

 

so that it is difficult to realize it only after scrutiny and focus later, to include 

all the following: 

3.2.1. Camouflage Technique 

Camouflage is defined as a tactical concept as one of the techniques of 

formal adaptation of the body to reduce visual detection or recognition of 

the object by the observer and to play with its perceptions [58]. By studying 

the technologies of the camouflage technique, the architects were able to 

take advantage of the concept of interdependence between the shape of the 

building and its surroundings, which works to reduce what appears from 

the building and which delays detection or recognition of the shape of the 

building, making it blend with its surroundings, focusing on the importance 

of the environmental surroundings, whether natural or an urban landscape 

[59]. This technique relies on a set of techniques as follows: 

Dazzling Camouflage Technology: This technology depends on the factors 

of dazzling and dispersion with the intent of masking, where complex 

patterns of geometric shapes or others are used in contrasting colors, and 

intersecting with each other, thus giving greater confusion and difficult to 

distinguish the shape of the building, and this technology can be achieved 

through drawing directly on the surface of the building envelope, either by 

coloring the building in a color similar to its surroundings or by drawing 

shapes similar to its surroundings, so it is difficult to distinguish the shape 

of the building in order to focus on the importance of that surroundings 

[60], as in drawing the sky on the building by the artist Benjamin 

Lozninger, or by adopting digital camouflage patterns in pixels in a way 

similar to the speckled textures and rough borders found in nature that are 

used in military equipment and clothing, in order to distort the shape of the 

building [61], as in Digital Camouflage Pattern (CADPAT). 

Mimicry Technology: The camouflaged building in this technology looks 

like something else, and it depends on the nature of the surrounding site, 

and this is called what is known as Stealth, and this is not intended to escape 

from the area, place and site, but to involve a relational mechanism with the 

environment that surrounds the architecture at different levels [11], and this 

technology can be achieved through either disguise, where the building uses 

the properties of the surroundings such as shape and material [58] to 

influence the perception of the recipient [62], as in the Stone house in 
Portugal, or  the building copying the shape of the surroundings, which 

leads to a change in the shape of the building according to the change of the 

surroundings around it, and based on each of the photographic prints [63], 

as in the public toilet in Amsterdam And the reflective surface [3], as in 

Cira Center tower in Philadelphia and the Mirror Garden in China, and the 
transparent surface as in Apple store in New York as well as the Light 

Reflecting (LED) technology[64], as in the Infinity tower in South Korea 

(Fig. 8). 

benjamin lozninger 

drawing [106]  

digital camouflage 

pattern (CADPAT) 

[63] 

stone house in 

Portugal [98]  

public toilet in 

Amsterdam [93]  

cira center tower in 

Philadelphia [98]  

mirror garden in 

China [98]  

apple store in New 

York [93]  
infinity tower in South Korea [105]  

 

Figure 8 - a model showing the camouflage technique 

3.2.2. Optical illusion Technique 

It is a technique used for deception and entertainment to manipulate the 

recipient's perception of reality, and impressions of space and structure can 

be controlled by changing the proportions and appearance of building 

elements [65]. It is also considered one of the dynamic arts, as it transmits 

kinetic energy in the form, through the participatory relationship between 

the eye and the mind, which modifies the image of the figure in a way that 

is different from its real form [66] and this helped improve the quality of 

the internal environment by controlling access to Sunlight and reduce heat 

gain, and this technique depends on a group of technologies as follows: 

Color Illusion Technology: It depends on the factors of optical tricks and 

confusion, and both color and light are among the main effects and 

technologies on which the optical illusion technique depends to disguise 

itself in another form to improve the shape or image of old buildings or 

those that contain some defects so as not to affect the scene of the 

environmental surroundings [3], this technology also uses dichroitic and 

holographic materials can change color when viewed from different angles 

[67] [68]. 

Kinetic Illusion Technology: It relies on visual tricks that suggest a sense 

of movement, and this is produced using wavy and intersecting lines and 

overlapping circles [4], which makes it difficult to perceive the true shape 

of the building. It aims to control the penetration of daylight into the interior 

spaces as well as to achieve pleasure with the intention of disguising itself 

in a changing form [69], as in Galleria Center city in South Korea (Fig. 9). 

color illusion 

technology [104]  

holographic 

materials  [67] 
galleria center city 

in South Korea [98]  

Figure 9 - a model showing optical illusion technique 

From all above, it is possible to summarize the unobserved formation 

techniques for the invisible architecture in the environmental perspective 

and the technologies included in (Table 2). 



AUTHOR, AUTHOR /AL-QADISIYAH JOURNAL FOR ENGINEERING SCIENCES   14 (2022) 197–210                                                                                      203 

 

Table 2 - The unobserved formation techniques and technologies for 

the invisible architecture in the environmental perspective (source: 

researchers). 

Formation techniques Formation technologies 

Camouflage Dazzling 

Camouflage 

Based on the 

melting and 

fading of the 

building lines 

with the site 

topographic lines 

 Mimicry Disguise by 

Adoption of the 

properties of the 

perimeter (shape 

and material) 

  Copy by 

Photographic 

prints, reflective 

surface, 

translucent 

surface, Light 

Reflecting (LED) 

Optical illusion Color Illusion, 

kinetic Illusion 

 

3.3. Techniques of the immaterial formation of invisible 

architecture in the environmental perspective 

Techniques that transform architecture from its material existence to 

immaterial moving existence by relying on intangible (atmospheric and 

kinetic) elements to create the boundaries of the building essentially to 

achieve both interaction with the environmental surroundings and sensory 

comfort, which thus requires a sensual perception of it, to include as follow: 

3.3.1. Inversion of Atmosphere Technique 

It is a technique based on decreasing the solidity and stability of the 

architectural form, as it creates boundaries for the architectural building that 

are like its tectonic counterpart, and it also shows the vital relationship 

between the interior and the exterior, through what it contains of elements 

such as air, water, light, heat, and sound [70]. This technique relies on a set 

of technologies as follows: 

light Architecture Technology: Light is invested as a building material in 

architecture by framing the surface that defines the shape of the building or 

finding boundaries that are immaterial nature and separate the interior from 

the exterior while providing a sense of openness to the outside [3], as in the 

memorial tribute light in New York. 

Blur or Cloud Architecture Technology: It is based on the use of thin or 

thick mist mass (which is a kind of cloud resulting from the condensation 

of water vapor and its flow through the air), as structural boundaries (walls) 

by installing a computer-guided water pumping system that sprays small 

water particles in the air, which may lead to difficulty in seeing and thus 

reduces the solidity and stability of the architectural form [12], as in the 

blur building in expo 2002 in Switzerland. 

Water Walls or Curtain Technology: It is based on the use of water 

according to the usual or digital methods to make a wall or a curtain to find 

boundaries for the internal or external spaces and in a way like the work of 

the traditional wall, which contributes to softening the surroundings and 

influencing the feeling of the recipient to interact with it [71], as in  

Ambient Sound Technology: It is based on the design of walls or 

boundaries that enable listening and feeling the sound vibrations, which 

leads to the reduction of sound pollutants in the environment and brings the 

recipient into an active relationship with his environmental surroundings 

[3], as in Time Square in New York by Max Neuhaus (Fig. 10). 

memorial tribute light 

in New York [103] 

blur building in expo 

2002 in Switzerland 

[12] 

digital water 

curtain [71] 

Figure 10- a model showing inversion of atmosphere technique 

3.3.2. Media Architecture Technique 

Media architecture is defined as-built structures in which materials with 

dynamic properties are mixed, that allow dynamic or interactive behavior 

to facilitate communication with the audience. and in media architecture, in 

media architecture, the relationship between architecture, media, external 

spaces and the idea of visual interaction and audience involvement is 

emphasized, as it is sometimes accompanied by environmental, artistic, or 

social content through which visual, audio, and dynamic messages are 

conveyed to the viewer and creating interaction between the building and 

its surroundings [72]. This technique relies on a set of technologies as 

follows: 

Media Facades Technology: In it, layers of individually controlled lights 

are adopted, and woven with the building structure to act as a dynamic panel 

for texts, graphics, video animations and large screens associated with 

production and computer technologies [73], so the virtual representation of 

the architecture, by removing its material property,  so dynamic images 

replace static structures and create the interaction between architecture, and 

its surroundings and the viewer [74], and the various forms of technologies 

used in contemporary media facades that are concerned with the 

environment and energy conservation depend on the way in which they are 

these technologies are integrated with the facade, either as a subsequent 

addition to it, or to be integrated with the components of the facade, which 

achieves visual comfort, as it allows penetration of daylight and visual 

openness from the inside to the outside, to include display facades that 

communicate with the environment [75], as in the DEXIA Climate tower 

in Brussels, sustainable media facades whether integrated with LED 

technology and photovoltaics, ETFE-enabled, responsive, or transparent 

displays e. [76] [77] [78] [79]. 

Media Interiors Technology: Mainly based on Interiors that rely on the 

effectiveness of the cinematic experience, with the ability to expand 

themselves beyond their surface appearance. Where a material structure 

confronts an immaterial structure using media such as video, film, display 

screens and LED technologies to create forms aimed at solving the concept 

of a world of static materials that expands the user's perception of reality, 

transcends, and presents an entirely new dimension of creative architectural 

expression [65], this technology can be achieved using interactive surfaces, 

digital interior and virtual reality [80] [81] [82]. (Fig. 11). 



204 AUTHOR, AUTHOR /AL-QADISIYAH JOURNAL FOR ENGINEERING SCIENCES   14 (2022) 197–210 

 

DEXIA climate tower in Brussels  
[78] 

using digital interior [81] 

Figure 11- a model showing media architecture technique 

From all above, it is possible to summarize the immaterial formation 

techniques for the invisible architecture in the environmental perspective 

and the technologies included in (Table 3). 

Table 3 - The immaterial formation techniques and technologies for 

the invisible architecture in the environmental perspective (source: 

researchers). 

Formation techniques Formation technologies 

Inversion of Atmosphere light Architecture, 

Blur or Cloud 

Architecture, 

Water Walls or 

Curtain, Ambient 

Sound 

 

Media Architecture Media Facades display facades 

that communicate 

with the 

environment, 

sustainable media 

facades, 

transparent 

displays 

 Media Interiors interactive 

surfaces, digital 

interior, virtual 

reality 

3.4. Techniques of the Invisible Sustainability Architecture 

formation 

Techniques that are based on achieving sustainability through their 

integration with the techniques of architecture formations that are not 

visible in their environmental perspective (unseen, unobserved, 

immaterial), one or more, to achieve environmental goals in the first place, 

as well as goals related to creating healthier urban environments, luxury 

and comfort for its occupants in both internal and external configurations, 

so that the architecture is characterized by invisible sustainability, as 

energy-efficient buildings [83]. These techniques and the technologies they 

include can be identified in the following: 

3.4.1. Passive Design Technique 

The concept of passive design revolves around taking advantage of natural 

energy flows to maintain thermal comfort, and the choice of passive design 

techniques depends mainly on the local climate where the project is located, 

as the integration of these techniques contributes to transforming the 

building envelopes into a barrier between the natural climate and the virtual 

climate to meet the required level of comfort Humanity [84]. This technique 

relies on a set of design considerations, such as building orientation [85]. 

Building Shape and Mass [86] and choosing materials (Choice of Materials) 

[84]. In addition to considering, the design of outdoor spaces (Landscaping) 

[87]. 

3.4.2. Off-Grid Design Technique 

An off-grid technique has emerged as one of the solutions that allow living 

to be self-sufficient in terms of energy and water as well as - for many 

people - in terms of food, where off-grid traditionally refers to not being 

connected to the electrical grid and the building being able to produce 

electricity and/or heating itself in order to meet its own needs, but can also 

include other utilities such as water, gas and sewage systems, and can range 

from residential homes to small communities [88] [89], and Off-grid 

technique include main components: Generation of electricity, Energy 

Storage, Back up units, Devices in a house that consume electricity, and a 

connection to an electric grid line when present, and simulation package 

(DEMkit) [90]. This technique relies on a set of technologies by which 

invisible sustainability can be achieved, including: 

Renewable Energies: A natural sources of energy that are constantly 

renewed, represented by the sun, wind, geothermal heat, water, biomass, 

and oceans [91], and this can be achieved through either a single off-grid 

system, where it involves the use of a single source of renewable energy, or 

multiple off-grid system, in which more than one source of renewable 

energy is combined. 

Intelligent Building Management System Technology: Where the entire 

building structure is managed through an intelligent building management 

system using modern techniques and technology to balance the work of the 

building at all times and thanks to the external and internal sensors, the 

system responds automatically to external conditions, and will ensure 

safety, energy efficiency and maximum comfort while managing resources 

such as water in a smart way, as well as On the possibility of producing 

vegetables and herbs at a time when the concept of vertical and horizontal 

farms is increasing outside and inside [92], as in Disappear Retreat in USA  

(Fig. 12) 

 

  

disappear retreat in USA [83]  

Figure 12- a model showing off grid design technique 

From all above, the techniques of the invisible sustainability architecture 

formation and the technologies included in it can be summarized in (Table 

4). 



AUTHOR, AUTHOR /AL-QADISIYAH JOURNAL FOR ENGINEERING SCIENCES   14 (2022) 197–210                                                                                      205 

 

Table 4 - The invisible sustainability formation techniques and 

technologies for the invisible architecture in the environmental 

perspective (source: researchers). 

Formation techniques Formation technologies 

Passive design Building 

orientation 

Orientation of the 

building 

appropriate to 

solar radiation 

and wind 

movement 

 Building shape 

and mass 

Minimizing 

outdoor surfaces 

exposed to 

climatic 

conditions 

  Fixed or moving 

shading tools 

 Choosing 

materials that are 

resistant to 

different climatic 

conditions 

 

 Landscaping  

Off grid design Adopted 

Renewable 

Energy 

Singular Off grid 

System 

  Multiple Off grid 

System 

 Intelligent 

Building 

Management 

System 

Water efficiency 

  Provide food 

 

4. The superimposed formation for environmental 

invisible architecture 

In the previous paragraphs, the multiple techniques that are adopted in the 

formations of environmentally invisible architecture, which are achieved at 

internal and external levels in architecture and with various materials, and 

according to the objectives to be achieved in each of them, were identified. 

The presence of these formations in their multiple techniques separately 

does not necessarily negate the possibility of adopting more than one 

formation in a single architectural project, which contributes to creating an 

invisible architecture on the environmental level, as it is possible to 

combine more than one formation within an integrated unit, and perhaps 

the project to expand the Louvre Museum in Paris is a good example As the 

part of the museum under the surface of the earth refers to the unseen 

formation, while the transparent pyramid part refers to the unobserved 

formation of the environmentally invisible architecture. The same method 

was adopted in the Apple Fifth Avenue building in New York (Fig. 13), 

which combines several formations of environmentally invisible 

architecture, as the building was designed underground, which indicates the 

unseen formation of environmental invisible architecture, while The above-

ground part of the building is designed in the form of a transparent glass 

cube, and the floor surrounding the cube includes circular elements that 

transmit natural light to an underground level and are coated with a 

reflective material to reflect the perimeter of the building, and glass walls 

were used inside to give more space to space The interior, which achieves 

the unobserved formation of environmental invisible architecture. The 

interior ceiling is designed to change to match the color temperature outside 

as thousands of LEDs and sensors make the store glow, from bluish white 

in the morning to golden later in the day, and fruit trees are planted inside 

to achieve harmony with nature, which indicates the use of the intelligent 

supervision system for the building, thus achieving the formation of the 

invisible sustainability architecture [93]. This superposition can be 

represented in (Fig. 14). 

  

apple fifth avenue in New York [93]  

Figure 13- a model showing the superimposed formation for 

environmental invisible architecture 

 

Figure 14 - representation of the theoretical framework for the 

formations of environmentally invisible architecture, source 

(researcher) 

5. Practical study 

The presentation of the previous propositions emerged from the global 

interest in designing the invisible architecture according to the 

environmental perspective as one of the contemporary trends, and in line 



206 AUTHOR, AUTHOR /AL-QADISIYAH JOURNAL FOR ENGINEERING SCIENCES   14 (2022) 197–210 

 

with the increasing interest in trying to blend with the environmental 

surrounding (natural and urban), but Arab knowledge and experiences in 

general and local experiences in particular, did not pay attention to that 

aspect as it should be parallel to the global interest, so it will be possible to 

determine the level of application with Arab models, as there are no local 

models so far, with a focus on models from the Arab Gulf countries, due to 

the interest of these countries in adopting the latest trends as well as taking 

into account the advanced environmental solutions, in a way that enables 

investment These experiences are to create distinctive local experiences, in 

addition to clarifying the multiple ranges within which it is possible to 

develop the Arab experience and in line with the advanced global 

experiences in this regard. 

The research supposes the adoption of the Arab experience in the context 

of its realization of the environmentally invisible architecture, multiple 

techniques in its formations, with a focus on the techniques of the unseen 

formation and invisible sustainability architecture formation. Various 

sources with photos and illustrations. 

5.1. Project selection 

After representing the level of application by contemporary Arab projects 

(in the Gulf countries in particular) was determined, and to achieve the 

purpose of the research is investigating the specificity of Arab 

architecture’s dealing with the environmentally invisible architecture, 

projects will be selected to direct the application process, as this choice was 

based on each of the following: 

• The diversity of structural patterns in the projects, as the previous 

propositions showed the interest in designing the environmentally 

invisible architecture without being restricted to a specific structural 

pattern and to serve multiple goals. 

• These projects are distinguished by their great interest in the adoption 

of invisible architecture formations, and their consideration of the 

important attempts in dealing with the environment. 

• Availability of sufficient information and plans for the selected 

projects. 

5.2. Project description and analysis 

According to the above paragraph, five Arab projects were selected, 

represented by: 

5.2.1. O-14 Tower in Dubai - United Arab Emirates 
The project is a commercial tower designed by (Reiser + Umemoto, USA) 

and completed in 2010, consisting of (22) floors, characterized by (1326) 

slots distributed randomly and varying in size throughout the entire external 

structure, and the tower includes more than (27,900) square meters of office 

space is located along the Dubai Creek in the Business Bay district of 

Dubai, occupying a prominent waterfront location. (O-14) was named after 

the plot, and it is considered one of the first towers to appear on the skyline 

of Business Bay. The project generated exceptional international interest in 

the architectural press, as it is among the first innovative designs to be built 

among a sea of public office towers that have become the standard in 

Dubai's current building boom [94]. The tower was designed using 

Exoskeleton technology, which is based on surrounding the main glass part 

of the building with an external structure, perforated from the abstraction 

of the shape of the Arabic Lattice to work as a contemporary Mashrabiya, 

so that the passive design is essential in it, through the adoption of elements 

The perforated shell in shading the building, as well as achieving natural 

ventilation according to the chimney effect as a result of the space between 

the external structure and the main part [95], (Fig. 15). 

 
  

Figure 15 – O-14 tower in Dubai - United Arab Emirates [95] 

Thus, the wrapping technique was adopted to find the unseen formation of 

the environmentally invisible architecture, by using the technology of 

surrounding the main mass of the tower with an external structure. The 

passive design technique was also adopted as one of the Techniques of the 

invisible sustainability architecture formation by considering the external 

structure as fixed shading tools, the chimney improves the quality of the 

internal environment, and takes advantage of the longitudinal mass shape 

of the building to reduce the surfaces exposed to the sun as well as to face 

the movement of the wind. 

5.2.2. The Doha Tower in Qatar 
Doha Tower is the fifth largest tower in Doha with an area of (110,000) 

square meters. It was awarded the Best Tall Building in the Middle East 

and Africa by the Council of Tall Buildings and Urban Accommodation in 

2012. It was designed by architect Jean Nofal and completed in 2012, as it 

reflected the language of Islamic architecture design through the 

Mashrabiya, given that Qatar has a hot desert climate and in summer the 

average temperature can exceed (38) degrees, and there is almost no 

rainfall, the kinetic façade of Doha Tower, with its complex geometric 

pattern of four layers, was designed to function as the Mashrabiya [96]. The 

plan of the tower is circular in diameter (45 meters) with a perimeter 

structural system that allows better controlling the lighting of the interior 

spaces, it is crowned with a dome that ends with a light tower at a height of 

(231.50) meters, and a huge lobby rises from the ground floor with a height 

of (112) meters to level (27) [97], (Fig. 16). 

   

Figure 16 – Doha Tower in Qatar [97] 

Concluding, the adoption of wrapping technique to find the unseen 

formation of the environmentally invisible architecture, through the use of 

both the surrounding technology and the responsive sliding kinetic facades 

that follow the path of the sun, and the passive design technique was 

adopted as one of the techniques of the invisible sustainability architecture 

formation by considering the facade Kinetic as mobile shading tools with a 

smart system (technological Mashrabiya), and taking advantage of the 



AUTHOR, AUTHOR /AL-QADISIYAH JOURNAL FOR ENGINEERING SCIENCES   14 (2022) 197–210                                                                                      207 

 

longitudinal mass shape of the building to reduce the surfaces exposed to 

the sun as well as facing the movement of the wind. 

5.2.3. Wasit Wetland Center in Sharjah, United Arab 

Emirates 

The Environment and Protected Areas Authority in Sharjah, in the United 

Arab Emirates, referred the project to the architectural studio (X-

Architects) in Dubai, where Wasit Reserve was originally a sewage and 

waste dump, and the rehabilitation process for the damaged ecosystem 

began in 2005, where  40,000 square meters of rubbish were removed, 

35,000 trees replanted, land healing from toxic chemicals, unique salt flats 

and coastal sand dunes preserved, home to 350 bird species, a landing area 

for 33,000 migratory birds and a breathing lung for the city of Sharjah. The 

site center was set up to continue protecting the natural environment, 

educating people about the richness of the wetland ecosystem, and 

providing information about birds that frequent the area and other wetland 

areas in the emirate [98]. The architecture of the center merges with its 

surroundings and uses the existing topography to reduce the visual impact 

on the landscape. When visitors arrive, an underground path leads them to 

a linear gallery, and a fully transparent wall allows visitors to experience 

and become a part of the natural environment of the birds. Rainwater that 

collects on the ceiling has also been tapped into spigots that have been 

carefully integrated to blend in with the surrounding elements [99] (Fig. 

17). 

  

Figure 17 – 5.2.3. Wasit Wetland Center in Sharjah, United Arab 

Emirates [98] 

Thus, the merging with the landscape technique was adopted to find the 

unseen formation of the environmentally invisible architecture, through the 

use of underground architecture technology based on pit the construction at 

a level close to the surface of the earth and in closer contact with external 

spaces and focusing on them, and passive design was also adopted as one 

of the techniques of the invisible sustainability architecture formation 

through the form of mass and the reduction of surfaces exposed to the 

external environment. 

5.2.4. Maraya Center in AlUla, Saudi Arabia Kingdom 
The Maraya building is in the northwestern desert of the Kingdom of Saudi 

Arabia, designed by (Giò Forma Studio Associato S.r.l.), setting a record 

for the largest reflective building on earth, and a record for construction 

time, which was completed in just two and a half months (2019). It is a 

multi-purpose hall for concerts and entertainment and is a destination of 

global importance with (200,000) years of human history and culture at the 

crossroads of ancient civilizations. The project was designed based on the 

translation of the Arabic word “Maraya” in the form of a mirror or 

reflection, where the past and the future meet together at the same moment 

to add another level of awareness, pointing to the presence of amazing 

ancient tombs only 22 km from the new building, and the mirror is A way 

to create a dialogue between nature, history and the future, where visitors 

are truly amazed by the mirrored effect and the way it perfectly blends and 

reflects its surroundings. The building consists of a giant cube of mirrors 

adapted to withstand harsh environmental conditions, with a subtle 

curvature of the facade so that from a distance the building appears as a 

shimmering mirage of the surrounding panorama as it aims to focus on it, 

but as visitors approach, they see A perfect reflection of themselves [100] 

[101] (Fig. 18). 

  

Figure 18 – Maraya Center in AlUla, Saudi Arabia [100] 

Thus, the camouflage technique was adopted as one of the unobserved 

formations of the environmentally invisible architecture techniques, using 

copy technology with the reflective surface to focus on the importance of 

the surrounding environment, and passive design was adopted as one of the 

techniques of the invisible sustainability architecture formation using 

materials resistant to harsh climatic conditions. 

5.2.5. ToDA in Dubai, United Arab Emirates 
It is considered the first unique theater for digital art in the United Arab 

Emirates designed by (European Digital House), which opened in 2020, 

which offers its visitors to experience art differently when visiting the 

exhibition, and its uniqueness lies in the modern and immersive way to 

discover the masterpieces of the most famous artists world as well as 

contemporary digital artists by strolling through an art space, where 

unforgettable photos can be taken during the show. Stunning digital shows 

combine cutting-edge technology and art, accompanied by stunning music, 

visual effects, and surround sound. Covering more than 1,000 square 

meters, viewers can also explore inspiring and entertaining activities such 

as live concerts, master painting classes, virtual reality technology, and 

immersive shows. The project relied on media architecture, which included 

the use of virtual reality displays and the use of large high-definition screens 

with (LED) technology on the walls, ceiling, and floors with high-quality 

surround sound. Projecting 360-degree images on all surfaces creates a 

unique viewing space that makes viewers feel like they are part of an 

immersive artwork [102] (Fig. 19). 

 

  

Figure 19 – ToDA in Dubai, United Arab Emirates [102] 



208 AUTHOR, AUTHOR /AL-QADISIYAH JOURNAL FOR ENGINEERING SCIENCES   14 (2022) 197–210 

 

Thus, the media architecture technique has been adopted to find the 

immaterial formation of the environmentally invisible architecture, through 

the use of virtual reality technology in designing virtual environments for 

the environmental surroundings such as forests and living organisms, and 

digital interiors technology based on the integration of digital technology 

with (LED) screens in the roof’s interior display spaces. 

6. Results 

The results of the application revealed in general according to (Table 5), 

the adoption of the unseen formation of the invisible architecture from the 

environmental perspective by (60%), and the unobserved formation of the 

invisible architecture from the environmental perspective by (20%), And 

the immaterial formation of the invisible architecture from the 

environmental perspective by (20%), while the formation of the invisible 

sustainability architecture was approved by (80%). as in (Fig. 20).  

The results of the application also revealed a discrepancy in the adoption of 

the techniques of each of the unseen, unobserved, immaterial, and invisible 

sustainability architecture formations of invisible architecture in the 

environmental perspective. Where the results of the application showed the 

adoption of the elected Arab projects by the unseen formation of the 

environmentally invisible architecture techniques represented by merging 

with the landscape by (33.33%) and the wrapping by (66.66%), while the 

unobserved formation of the environmentally invisible architecture 

techniques represented by camouflage at a percentage of (100%), and on 

the adoption, the immaterial formation of the environmentally invisible 

architecture techniques represented by media architecture at a percentage 

of (100%), and the results showed the adoption of the invisible 

sustainability architecture formation techniques represented by passive 

design (100%) and off-grid design (25%), as shown in (Fig. 21). 

 

Table 5 - Application of the invisible architecture formations 

techniques from its environmental perspective in the selected 

projects, (source: researchers). 

Formations Techniques 

Projects Elected for 

Application 

A B C D E 

Unseen formation of 

environmentally invisible 

architecture 

Merging with 

landscape 
0 0 1 0 0 

Wrapping 1 1 0 0 0 

Unobserved formation of 

environmentally invisible 

architecture 

Camouflage 0 0 0 1 0 

Optical illusion 0 0 0 0 0 

Immaterial formation of 

environmentally invisible 

architecture 

Inversion of 

atmosphere 
0 0 0 0 0 

Media 

architecture 
0 0 0 0 1 

Architecture of invisible 

sustainability formation 

Passive design 1 1 1 1 0 

Off grid design 0 0 1 0 0 

 

 

 

Figure 20 - application of the approved formations of the invisible 

architecture in the environmental perspective, (source: the 

researcher). 

 

Figure 21 - application of invisible architecture techniques in the 

environmental perspective, (source: the researcher). 

Thus, the results are consistent with what the research assumed about 

the specificity of the Arab experience in its application of environmentally 

invisible architecture. 

7. Conclusions 

• Diversity has emerged regarding techniques that can be adopted in 

finding invisible architecture formations for their environmental 

perspective, in terms of the techniques of each unseen, unobserved, 

immaterial, and even invisible sustainability architecture formations. 

• It is possible to adopt more than one technique and for more than one 

formation of environmentally invisible architecture within the same 

project within an integration that serves several environmental goals 

and according to functional and contextual requirements. 

• The practical study, in general, showed the adoption of the Arab 

experience, an integration between the techniques of each of the 

formations (unseen, unobserved, immaterial, and invisible 

sustainability architecture) of environmentally invisible architecture. 

• The Arab experience focused on adopting the techniques of the 

unseen formation of invisible architecture in the environmental 

perspective, especially wrapping and merging with the landscape 

through the pit technology under the surface of the earth, and in 

accordance with the local specificity of the building techniques 

adopted in its traditional architecture, which was based on the 

adoption of Mashrabiyas and even Underground construction. 

• The Arab experience relied on the technique of passive design to 

achieve the invisible sustainability architecture formation through 

the adoption of fixed and mobile shading tools with a smart system, 

choosing the shape of the building mass and reducing surfaces 

exposed to different environmental conditions, with the limited 



AUTHOR, AUTHOR /AL-QADISIYAH JOURNAL FOR ENGINEERING SCIENCES   14 (2022) 197–210                                                                                      209 

 

adoption of the off-grid design technique, which was limited to the 

intelligent management system of the building represented in 

managing and collecting rainwater, given the interest of these 

countries in adopting the latest trends, as well as taking into account 

advanced environmental solutions. 

• The limited adoption of the Arab experience for both the unobserved 

and immaterial formation techniques of environmentally invisible 

architecture, so it was limited to the adoption of the camouflage 

technique through the technology of copying the surroundings with 

the reflective surface and the media architecture technique through 

digital and virtual technologies. 

• The knowledge provided in this research can be invested by both the 

Arab and the local designer in enhancing their professional practices 

and taking advantage of the multiple techniques and technologies to 

find various formations of invisible architecture from its 

environmental perspective and in line with the local natural and 

urban environment and with the presence of contemporary 

architecture that keeps pace with global trends. 

REFERENCES 

 

[1] H.A. Al-Moussawi, “Architecture and its evolution throughout history”, 

first edition, Dijla House, Amman, 2011 

[2] F.K. Al-Rikabi, “Architecture and Environment in the Noble Qur’an”, Al-

Adab Journal, No. 94, pages 1-14, 2010, University of Baghdad. 

[3] B. Erwine, “Creating Sensory Spaces, the Architecture of the Invisible”, 
published by Routledge and Taylor & Francis, New York, 2017 

[4] A. Saudi, “The Art of Optical Illusion and its Impact on the Development 
of Creative Design Processes in Interior Architecture”, Journal of 

Architecture, Arts and Humanities, Volume 8, Issue 8, 2017 

[5] B. Moore, “Invisible Architecture: Ideologies of Space in the Nineteenth-
Century City”, PHD in Philosophy, University of Manchester, 2014. 

[6] V. Meyers, 2015, Victoria Meyers: Invisible Buildings, 
https://www.victoriameyers.com 

[7] L.M. Roth, A.C.R. Clark, Understanding Architecture - Its Elements, 
History, and Meaning, Third Edition, Routledge, 2018 

[8] Layout magazine, “The Thousand Miles Step - Pedestrian Problems in 
Existing Cities”, No. 3, Volume 4, 2018 

[9] I.M. Moldovan, S.V. Moldovan, N.M. Ilieş, “Invisible Architecture-
Sustainable Underground Architecture”, 16th International 

Multidisciplinary Scientific GeoConference: SGEM, 2016 

[10] M. Barbat, “Sense of Place in Belowground Levels”, Master of Science in 
Architecture, Eastern Mediterranean University, Gazimağusa, North 

Cyprus, 2009 

[11] B. Guillaume, “le camouflage par l'architecture en movement”, ecole 
nationale supérieure d'architecture de Grenoble, France, 2014 

[12] J. Hill, “Immaterial Architecture”, Taylor & Francis e-Library, 2006. 
[13] W.S. Mahmoud, S.E. Hussein, A.S. Ramadan, “The Impact of 

Contemporary Media on Urban Facades”, First International Conference of 

the Department of Architecture, Misr University for Science and 

Technology, 2010 

[14] D. Offenhuber, “The Invisible Display – Design Strategies for Ambient 
Media in the Urban Context”, Conference: International Workshop on 

Ambient Information Systems, Colocated with UbicompAt: Seoul, Korea, 

2008 

[15] Arabic Language Academy, General Administration of Lexicons and 
Heritage Revival, “Al-Mu’jam Al-Wasit”, fourth edition, Al Sharq 

International Library, Egypt, 2004 

[16] https://www.almaany.com/ 
[17] https://www.merriam-webster.com/ 
[18] https://www.lexico.com/en/definition/   
[19] M. Ponty, “The Visible and the Invisible”, translated by: Abdelaziz Al-

Ayadi, The Arab Organization for Translation, Center for Arab Oasis 

Studies, Beirut, 2008. 

[20] M. Nitsche, “The Invisible and the Hidden within the Phenomenological 
Situation of Appearing”, De Gruyter, 2020 

[21] C.S. Baird, 2014, Science questions with surprising answers, 
https://wtamu.edu/~cbaird/sq/2014/02/11/why-are-sound-waves-invisible/   

[22] B. Tingley, 2019, The drive, https://www.thedrive.com/the-war-
zone/29543/the-visible-history-of-the-militarys-hunt-to-realize-an-

invisible-aircraft 

[23] S. Sultana, H. Nasu, “Invisible Soldiers: The Perfidy Implications of 
Invisibility Technology in Battlefields of the Future”, ECIL Working Paper, 

published in Eric Talbot Jensen and Ronald T P Alcala (eds), 2018 

[24] F. Hapgood, A. Grant, “Metamaterial Revolution: The New Science of 
Making Anything Disappear”, Discover Magazine, 2009 

[25] V.M. Shalaev, “PHYSICS: Transforming Light”, Science, Vol. 322, Issue 
5900, 2008  

[26] D. Osorio, I.C. Cuthill, “Camouflage and preceptual organization in the 
animal kingdom”, Oxford University Press, 2015. 

[27] M. STRAUSS, 2016, This Ocean Creature Makes Its Own Invisibility 
Cloak, https://www.nationalgeographic.com/science/article/oceans-

animals-invisible-physics  

[28] A.A. Karagoli, D.H. Al-Araji, “Aesthetics of color and movement in visual 
art”, Babel Journal, Humanities, Volume 20, Issue 3: 2012 

[29] N.M. Salah Eldin, “Visual Effects Cinematography, The 
Cinematographer’s Filmic Technique from Traditional to Digital Era”, The 

Turkish Online Journal of Design, Art and Communication – TOJDAC, 

Volume 2 Issue 2, 2012 

[30] A.H. Al-Ta’i, “Make-up and its effect on theatrical formation”, University 
of Babylon, College of Fine Arts, Department of Dramatic Arts, 2019 

[31] J. Gress, “Digital Visual Effects and Compositing”, First edition, New 
Riders, 2015 

[32] Rooroofing, 2015, https://blog.rooroofing.com.au/invisible-architecture  
[33] D. Perrault, “La pirámide invisible”, ArquitecturaViva 190, Paris, 2016 
[34] J.J. Baraba, 2013, https://www.metalocus.es/en/news/junya-ishigami-how-

small-how-vast-how-architecture-grows 

[35] Jf, 2015, Collective Intelligence, https://cir.institute/invisible-architectures/  
[36] S.K. Löschke, “Immaterial materialities: Aspects of materiality and 

interactivity in art and architecture”, Journal of Architecture and Related 

Arts, 2014 

[37] P. Ball, “Invisible: the dangerous allure of the unseen”, The University of 
Chicago Press, Chicago, 2015 

[38] E. Burden, “Illustrated dictionary of architecture”, McGraw-Hill education, 
2012 

[39] P. Bellew et al, “Invisible Architecture, Atelier Ten: 25 Years of Atelier 
Ten”, Laurence King Publishing, 2015 

[40] R. Al-Hamad, M. Sabarini, “The Environment and its Problems”, The 
World of Knowledge, Kuwait, 1979 

[41] A.A. Raafat, “The Trilogy of Architectural Creativity - The First 
Component: Material Creativity in Architecture”, Book One: The 

Environment and Space System, InterConsult Research Center, Giza, Arab 

Republic of Egypt, 1996 

[42] T. Jashari-Kajtazi, “An insight into Green/ Ecological Architecture and 
Natural Building”, vol.1, 149-159, AAB-Riinvest University, 2009  

[43] W. Bal, M. Czalczynska-Podolska, “The Role of Integration of Architecture 
and Landscape in Shaping Contemporary Urban Spaces”, IOP Conf. Ser.: 

Mater. Sci. Eng., 2019 

[44] W. Browning, C. Ryan, J. Clancy, “14 Patterns of Biophilic Design: 
Improving Health & Well-Being in the Built Environment”, Terrapin Bright 

Green,LLC, 2014 

[45] A.M. Al-Zafarani, A.M. Fikri, H.A. Nabil, “Classification of Mountain 
Buildings”, Al-Azhar University Journal, Engineering Department, 

Volume 14, Issue 50, 2019 

[46] R.M. Mahdi, A.H. Aboud, “Underground housing formation strategies”, 
Journal of Physics: Conference Series, Volume 1773, The 5th International 

Scientific Conference on Advanced Engineering Technologies (ISC-AET) 

2020 (Virtual Conference) 18-19 August 2020, Basrah, Iraq. 

[47] https://www.architecturendesign.net  
[48] S. Manali, “Architecture in Water”, International Journal of Advance 

Research, Ideas and Innovations in Technology, Volume3, Issue2, 2017 

[49] T. Beatley, “Biophilic Urbanism: Inviting Nature Back to Our Communities 
and Into our Lives”, William Mary Environ. Law Policy Rev., 2009. 

[50] Y. Li, S. Ren (Eds.), “Building Decorative Materials”, Woodhead 
Publishing in Materials, 2011  

[51] K. Zelenay, M. Perepelitza, D. Lehrer, “High-Performance Facades”, 
California Energy Commission, 2011 

[52] P.S. Byard, “The Architecture of Additions: Design and Regulation”, W.W. 
Norton & Company, 1998 

[53] R. Richards, “Facadism”, Routledge, 2012 
[54] D. Scofidio, “ARQ (Santiago)”, scielo.conicyt.cl, 2017 
[55] N. Almerbati, P. Ford, A. Taki, L. Dean, “From Vernacular To Personalised 

and Sustainable”, 48th International Conference of the Architectural 

Science Association, 2014 

https://www.victoriameyers.com/
https://www.merriam-webster.com/dictionary/off-grid
https://www.lexico.com/en/definition/off-grid
https://wtamu.edu/~cbaird/sq/2014/02/11/why-are-sound-waves-invisible/
https://www.thedrive.com/the-war-zone/29543/the-visible-history-of-the-militarys-hunt-to-realize-an-invisible-aircraft
https://www.thedrive.com/the-war-zone/29543/the-visible-history-of-the-militarys-hunt-to-realize-an-invisible-aircraft
https://www.thedrive.com/the-war-zone/29543/the-visible-history-of-the-militarys-hunt-to-realize-an-invisible-aircraft
https://www.nationalgeographic.com/science/article/oceans-animals-invisible-physics
https://www.nationalgeographic.com/science/article/oceans-animals-invisible-physics
https://blog.rooroofing.com.au/invisible-architecture
https://www.metalocus.es/en/news/junya-ishigami-how-small-how-vast-how-architecture-grows
https://www.metalocus.es/en/news/junya-ishigami-how-small-how-vast-how-architecture-grows
https://cir.institute/invisible-architectures/
https://www.architecturendesign.net/
https://books.google.com/books?id=LjnqyGeW_74C&pg=PA105
https://books.google.com/books?id=hLf5erNaEEsC&pg=PR7-IA17


210 AUTHOR, AUTHOR /AL-QADISIYAH JOURNAL FOR ENGINEERING SCIENCES   14 (2022) 197–210 

 

[56] Y. El Semary, H. Attalla, I. Gawad, “Modern Mashrabiyas with High-tech 
Daylight Responsive Systems”, The International Conference : Cities’ 

Identity Through Architecture and Arts (CITAA), Vol 1, issue 1, 2017 

[57] A.O. Bakr, “Kinetic Facades the new Paradigm Shift in Architecture toward 
an Environmental Design Performance”, Journal of arts, literature, 

humanities and social science, No.43, 2019  

[58] Smith, M. and Ruxton, G., “Camouflage in predators”, Biol. Rev., 2020 

[59] Deriu, D., “Between Veiling and Unveiling: Modern Camouflage and the 

City as a Theater of War, in Endangered Cities: Military Power and Urban 

Societies in the Era of the World Wars”, ed. Marcus Funck and Roger 

Chickering (Boston: Brill Academic Publishers), 2004 

[60] Murphy, H. and Bellamy, M., “The dazzling zoologist: John Graham Kerr 

and the early development of ship camouflage”, North. Mar. 2009. 

[61] Baušys, R. and Danaitis, K. S., “Camouflage painting of buildings”, The 

10th International Conference, Vilnius, Lithuania, 2010. 

[62] Abushaikha, M., “The Camouflage Of Architecture In Archaeological 

Sites”, International conference City and Territory: Archaeology and 

Architecture, Castel Madama (RM), Sala Baronale, Castello Orsini, 2016 

[63] Mohamed, R., “The challenge of camouflage in architecture as means of 

efficiency”, Int. Conf. Civ. Archit. Eng., 2014 

[64] Balik, D., “Ephemeral Transparency: Glass as a Reflective Screen and 

Opaque Veil in the New National Gallery”, Dearq, 2017 

[65] K. Klesseck, “Architecture of Illusion: an Investigation into Cinematic 
Deception in Camden Town”, London, Architecture Theses in Roger 

Williams University, 2014 

[66] S. Abdel Hamid, “Visual Arts and the Genius of Perception”, The Egyptian 
General Book Organization, 2008, p. 373 

[67] A. Ritter, “Smart materials, in architecture, interior architecture and 
design”, Birkhäuser publisher for Architecture, Germany, 2007 

[68] S.N. Weber, “Sunlight and the Use of Holographic Diffraction Grating: An 
Environmental Perspective”, Master Of Science in Visual Studies at the 

Massachusetts Institute of Technology, 1983 

[69] J. Guinto, “Illusory Motion and Design”, master's thesis, University of 
Calgary's Digital Repository, 2013 

 

[70] A. Barbara, A. Perliss, “Invisible Architecture: Experiencing Places 
through the Sense of Smell”, (1st Edition ed.). Milano: Skira Editore S.p.A., 

2006 

[71] http://www.michaelhasey.com 
[72] K. Gasparini, “Media Façades and the Immersive Environments”, 

Wölkenkuckucksheim, Internationale Zeitschrift zur Theorie der 

Architekturl Vol.19, 2014 

[73] M. Haeusler, “Spatial Dynamic Media System”, Ph.D. Thesis, RMIT 
University, Melbourne, Australia, 2007 

[74] T. Ebsen, “TOWARDS A MEDIA ARCHITECTURE”, Master Thesis, 
2010 

[75] I.O. Gawad, H. Bahgat, R. Osman, “Sustainable potentials and limitations 
of using Media Facade in Egypt”, IEREK press, 2019 

[76] Y.S. ElGhazi, “Building Skins In the Age of Information Technology”, 
Master of science in architectural engineering, Cairo University, Egypt, 

2009   

[77] J. Tovarović, N. Šekularac, J. Ivanović-Šekularac, “Specific problems of 
media facade design”, Facta Universitatis, Architecture and Civil 

Engineering Vol. 9, No 1, 2011  

[78] A.A. Bdou, I. Gawad, Y. El-Touny, “The Environmental and Economical 
Impacts of Using Media”, IEREK press, 2018 

[79] https://www.unilumin.com 
[80] A.M. Al-Anbari, “Live Ecological Interior Architecture”, Master's Thesis 

in Architectural Engineering, University of Technology, 2018 

[81] www.designboom.com 
[82] https://www.unep.org 
[83] C. Coulson, “Invisible Sustainability, Disappear Retreat: dissolving our 

living footprint to zero energy, zero waste, zero water”, COULSON, 2017 

[84] H. Altan, M. Hajibandeh, K.A. Aoul, A. Deep, “Passive Design”, Springer 
International Publishing Switzerland, 2016 

[85] S.Y. Jabbar, M. R. Majeed, “Strategies for Solar Architecture”, Engineering 
Journal, No. 2, Volume 14, 2008. 

[86] W.A. Al-Aqili, I.J. Al-Yousef, “Reducing the cooling load by applying the 
smart building envelope system”, Iraqi Journal of Architecture, Volume 4, 

Issue 14-15 (October 31, 2008). 

[87] BC hydro power, “smart Passive Design Toolkit”, Vancouver City 
[88] V. Phillip, J. Jonathan, “Off the Grid: Re-Assembling Domestic Life”, 

Routledge, 2014 

[89] D. Black, “Living off the Grid”, skyhorsepuplishing, New York, 2008 
[90] D.F. Pulido, “Energy Storage Technologies for Off-grid Houses”, the 

Netherlands, 2019 

[91] National Renewable Energy Laboratory (NREL), “Renewable Energy: An 
Overview, U.S. Department of Energy (DOE)”, United States, March 2001 

[92] Infuture hatalska foresight institute and Skanska, “Living buildings-The 
future of office buildings until 2050”, infuture hatalska foresight institute 

al. Grunwaldzka 27b, 80-309 Gdańsk, 2017 

[93] https://www.dezeen.com 
[94] J.M. Ocampo, “O-14 Elegant Rhythms in Concrete”, STRUCTURE 

magazine, January 2010 

[95] J. Reiser , N. Umemoto , J.Ocampo , “Case Study: O-14 Folded 
Exoskeleton”, CTBUH Journal paper, Issue 3, 2010 

[96] A. Knol, S. Kneepkens, K. Zvironaite, “Kinetica: A playful way through 
the world of moving facades”, TIDO-course AR0531 Innovation and 

Sustainability, 2014 

[97] http://www.jeannouvel.com/en/projects/doha-9-high-rise-office-tower/ 
[98] https://www.archdaily.com/ 
[99] https://www.akdn.org/architecture/project/wasit-wetland-centre 
[100] https://emag.archiexpo.com 
[101] https://www.greenprophet.com 
[102] https://toda.ae/en/our-history 
[103] https://www.911memorial.org/visit/memorial/tribute-light 
[104] https://pl.pinterest.com/ 
[105] https://www.e-architect.com/korea/tower-infinity 
[106] https://www.trendhunter.com/trends/cloudy-skies 
[107] https://commons.wikimedia.org/ 
[108] http://en.people.cn/102774/8120355.html 
[109] https://www.boredpanda.com/ 
[110] https://www.nationalgeographic.com/ 

http://www.michaelhasey.com/
https://www.unilumin.com/
http://www.designboom.com/
https://www.unep.org/
https://www.dezeen.com/
https://repository.tudelft.nl/islandora/search/author%3A%22Knol%2C%20A.%22
https://repository.tudelft.nl/islandora/search/author%3A%22Kneepkens%2C%20S.%22
https://repository.tudelft.nl/islandora/search/author%3A%22Zvironaite%2C%20K.%22
http://www.jeannouvel.com/en/projects/doha-9-high-rise-office-tower/
https://www.archdaily.com/
https://www.akdn.org/architecture/project/wasit-wetland-centre
https://www.greenprophet.com/
https://toda.ae/en/our-history
https://www.911memorial.org/visit/memorial/tribute-light
https://pl.pinterest.com/
https://www.e-architect.com/korea/tower-infinity
https://www.trendhunter.com/trends/cloudy-skies
http://en.people.cn/102774/8120355.html
https://www.nationalgeographic.com/