Journal

Part B Studio Air ABPL30048_2016_SM2

Manuel Muehlbauer

Elisabeth van Roosendael 297498

B.01 Research Field: Biomimicry

Figure 1: The Eden Project1

Biomimicry is stated by Janine Benyus to be the act of

“taking the design principles, the genius of the natural world, and learning something from it�2 1http://www.e-architect.co.uk/images/jpgs/england/eden_project_g240209_sealand.jpg 2

Janine Benyus, Biomimicry's surprising lessons from nature's engineers, https://www.ted.com/talks/janine_benyus_shares_nature_s_designs#t-180680, 2005

Through such a process of looking into nature, innovation in architectural design can arise from the conception of design right through to how design materials are produced and the structure is assembled. Furthermore, as biological processes have values that are conditional to environmental variables and morph state accordingly, biomimetic design can create architecture that can respond to their environment3. Additionally, as architecture is space designed for the human organism, in order to make sure the abstracted natural ideas are supportive of human well being biomimetic design should also be negated by Biophilic principles.

The theory of Biophilia outlines the “instinctive preference we have for certain natural geometries, forms, and characteristics within our environment”4. Thus, Biophilia implies the inescapable impact architectural design can have on human well being5. So it would follow, that in abstracting the natural aesthetics preferred by people in biomimetic designs that human well being would be supported. However, it has been found that the success of biophilic design relies in it’s ability to generate a sense of “intimacy and communion”6.

Hence, as biomimicry does not denote such parameters in it’s application, it would seem that such variables in the form of biophilic principles should be incorporated into biomimetic architecture if it’s to support human well being.

Interestingly, before natural patterns desired in Biophlic design could be employed in digital designs the “programming and geometry - the practical manifestations of algorithms and mathematics”7 must be considered to help generate biomimicry forms that express Biophilic compositions.

Through programming and generating dynamic interactive models for biomimetic architecture the design can respond and adapt to changing conditions such as site. An example of such an occurrence in the design process is evident in the Eden Project by Nicholas Grimshaw & Partners. For in the final stages of the biomimetic design the site was not finalised, however when such variables of the design were known the parametric model was able to adapt to the known conditions8. This is because the design was based on soap bubbles and their structurally adaptive behaviour9. Furthermore the use of sustainable materials and systems were used to help generate and run the building10.

However, the impact on the well being the design creates is not apart of the architectural formulation.

The absence of understanding how well the design will affect people is perhaps indicative of the limitations of how biomimetic design is practiced to just achieve structural building performance. However, as the blueprint for biomimetic designs are in line with biophilic preferences for natural patterns and shapes the implications for architecture is that architectural language can generate adaptive structures that encompass building performance, ecological sustainability, and human well being.

3

Marc Weissburg, The Bio-Inspired Design Landscape, http://bioinspired.sinet.ca/content/bio-inspired-design-landscape, 2010

4Michael

Mehaffy and Nikos A. Salingaros, Frontiers of Design Science: Biophilia http://www.metropolismag.com/Point-of-View/November-2011/Frontiers-of-Design-Science-Biophilia/ 5

Ibid

6

Ibid

7

Robert F Woodbury,’How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014, p.170

8

Robert F Woodbury p. 168

9

http://www.edenproject.com/eden-story/behind-the-scenes/architecture-at-eden

10

https://www.edenproject.com/eden-story/behind-the-scenes/sustainable-construction-at-eden

B.02 Aranda Lasch - The Morning Line

Figure 2: The Morning Line by Matthew Ritchie with Aranda\Lasch and Arup AGU11 The Morning Line project emulates the biomimetic inspiration of how biological systems create a “variety of possibilities to create abstract forms�12. The project demonstrates how a simplistic finite form can mutate into a seemingly infinite metamorphosis that generates structural forms.

11http://thecreatorsproject.vice.com/blog/making-the-mundane-cosmic-meet-modular-designers-arandalasch 12

Kevin Holmes, Making The Mundane Cosmic: Meet Modular Designers Aranda\Lasch, http://thecreatorsproject.vice.com/blog/making-the-mundanecosmic-meet-modular-designers-arandalasch, 2013

Mass

Dynamic Planes

Rigid Planes

Frame

Membranes

Meshes

Dynamic Meshes

The iterations of Arand Lasch - The Morning Line generated forms that were simplistic mass like structures, to folded planes, morphing into static frames, and then evolving into dynamic membranes and meshes.

The recurring theme is in line with the interest in the infinite that Arand Lasch is focussed on in their designs.

However, the infinite does not necessarily have to be a value that is unbounded. The iterations express the reality that there are infinite variations within finite forms.

In terms of biomimicry, in nature through a finite series of biological processes infinite organism and ecologies can evolve as a result of infinite environmental variables. Thus, considering the nature of architecture and it’s restrictions to bounded sites this would appear to be a relief for those like Arand Lasch who seek the experiential qualities of the infinite in architectural expressions.

B.03 Reverse Engineering: Times Eureka Pavilion - NEX

Figure 3: Times Eureka Pavilion - NEX Architecture13 The Pavilion derives it’s design from looking into the concept of the garden through the micro lens of the cellular structure of plants14. The design was furthered through incorporating the biomimicry of leaf capillaries into the wall and roof structures so they 13

http://www.nex-architecture.com/projects/times-eureka-pavilion/

14

http://www.archdaily.com/142509/times-eureka-pavilion-nex-architecture

could divert the course of water into the garden and realised through computer algorithms, that enabled digital fabrication, that grow like a natural system15. The computer algorithms used, as seen in figure four, are voronoi patterns. Points have to be made in a bounded rectangular space to connect and bound the voronoi pattern. The main structure is formulated with a primary voronoi pattern. Then those cells within that primary pattern are populated with a seperate set of points to generate a secondary structure with a voronoi pattern. It is crucial that the structures are similar and connect not overlap in order for forces to be distributed appropriately and water directed accordingly to the structures design. Furthermore, the complex yet coherent aesthetics in the design that create a sense of mystery and prospect in the environment can be interpreted as contributing to the well being of people who experience the Eureka Pavilion according to biophilic design parameters16.

Figure 4: Times Eureka Pavilion Biomimetic Pattern Design Process17 15

http://www.archdaily.com/142509/times-eureka-pavilion-nex-architecture

16C.O.

Ryan, W.D. Browning, J.O. Clancy, S.L. Andrews, N.B. Kallianpurkar, Biophilic Design Patterns: Emerging Nature-Based Parameters for Health and Well-Being in the Built Environment, International Journal of Architectural Research Vol. 8 Issue 2, 2014, http://archnet.org/system/publications/contents/9767/original/DTP102153.pdf?1405433094 17http://www.nex-architecture.com/wp-content/uploads/2011/12/process-1-1024x851.jpg

Eureka Pavilion reverse engineering in Grasshopper

1.) Rectangle to bound space

6.) Pattern Cells isolated as breps

2.) Pop 2D to populate space with points

7.) Cell brep outlines into points

3.) Voroni 2D to join points

8.) Points inside brep

4.) Offset Voroni pattern

9.) Points joined into Voroni 2D pattern

11.) Offset secondary Voroni pattern in cells is extruded to the same degree as the primary fractal pattern so the biomimetic design can be fabricated as a 3D structure

5.) Offset pattern extruded

10.) Cell Voroni pattern Offset

Figure 5: The leaf fractal cellular configuration is the biomimetic inspiration for the Times Eureka Pavilion structure18 The Times Eureka Pavilion is generated through modular panels. Therefore, only one panel was required to reverse engineer the project. The Voroni component in Grasshopper was integral to mimicking the fractal leaf structure the Pavilion derived it’s design DNA from. Extruding the primary and secondary fractal patterns in the reverse engineering was crucial to generating a parametric model that could digitally fabricate a structurally appropriate form for the Pavilion. Furthermore, the individual patterns and extrusions, of the primary and secondary fractals, enable the parametric model to adapt to information derived from engineering values based on material performance for the structure after the design template is created.

18

http://www.evolo.us/wp-content/uploads/2011/05/Eureka-Pavilion-6.jpg

B.04 Times Eureka Pavilion Iterations Dynamic Patterned Surface

Rigid Patterned Surface

Extruded Pattern

Extended Extruded Pattern

The patterned surfaces and their extrusions outline the possibilities for the biomimetic blueprint of the leaf to generate complex yet coherent surfaces and spaces. The iterations demonstrate the possibility for the biomimetic approach to be incorporated into small to large scale architectural structures. Furthermore, the iterations of single cell structures that generate static solid spaces and dynamic open frames also express the ability for the biomimetic blueprint to create various spatial experiences. However, through the lens of biophilic design and it’s parameters it appears that not all design iterations based on the natural leaf form express the aesthetics from nature that human beings generally prefer.

Henceforth, in order to develop biomimetic designs for architectural space, the parameters of Biophilic design should be incorporated into the parametric generation of biomimetic designs if the architecture is to support human well being.

Extruded Cell Static Solid

Extruded Cell Dynamic Frame

B.04 Technique: Prototypes In order to develop an inviting space through biomimetic design, the choice of materials is crucial to welcoming the haptic senses into the architectural composition. For even if the parameters of complexity and coherence of biophilic design are met in a design, the inability to generate a comforting atmosphere could see the design fail to support human well being. Thus the initial trials of material for the design technique was cork. For cork is a soft mouldable texture that is also durable to the outdoor elements.

The cork is good in compression and was thus laminated together with glue. It was too brittle to shape into the internal fractal patterns of a cell. However, the material can be manufactured into a specific mould.

In order to generate a structure that could be both complex and coherent, offer mystery and surprise as well as comfort and access to greenery and air flow an extruded cell prototype was made out of looped laminated paper. The internal fractal pattern when extruded creates a dynamic structure that is reasonable in compression and tension forces. The relaxed dynamic nature of the prototype is welcoming in its organic form and generates a possible lounge type experience through resting on its lower branches. Also the sense of mystery and prospect generated through shadows and obscured vistas promotes engagement with site. The site being a natural setting, like along the Merri Creek area where greenery and water with their refreshing qualities are abundant. However, the use of paper on a large scale is not a long term design proposal due to the inability to hold structure when exposed to all of natures elements. Interestingly though, a mesh like membrane or a rubber plane could be looped and folded into a form like the laminated paper model.

B.06 Technique: Proposal In order to welcome those that dwell in the nature deprived environments of the urban fabric that surrounds the Merri Creek area in the inner Melbourne suburbs an outdoor lounge type area will be created. It will be generated through the biomimetic blueprint of fractals from a leaf form, and an understanding of passive design and environmental systems and processes of self-assembly, in order to physically optimise the buildings structure in it’s immediate ecology. Most dramatically the design will be determined by the parameters of biophilic design in order to facilitate a comfortably tactile environment that brings the relaxation and security of an indoor lounge room environment into the refreshing and revitalising outdoor space along the inner Melbourne banks of the Merri Creek. The Biophlic design parameters, which help support human biological health and well being, to be employed are19: Nature in the Space Patterns 1. Visual Connection with nature 2. Non-visual Connection with nature 3. Non-Rhythmic Sensory Stimuli 4. Thermal & Airflow variability 5. Presence of Water 6. Dynamic & Diffuse Light 7. Connection with natural Systems Natural Analogues Patterns 8. Biomorphic Forms & Patterns 9. Material Connection with nature 10. Complexity & Order Nature of the Space Patterns 11. Prospect 12. Refuge 13. Mystery 14. Risk/Peril Most parameters can be easily satisfied in the context of a setting nearby to the creek with views of the water. The concept of risk/peril means that if something feels threatening in the environment the biophilic design has to offer security. Considering that being caught in the rain or burnt by the sun the design intent of shade would counter the fear of natural elements. Furthmore, in the context of contemporary technologically fuelled life the idea of being without access to power for charging of devices could also prove a risk that urban dwellers are unable to handle. Thus a solar powered power point in the design can help create the lounger room type comfort experienced indoors into the outdoors. Additionally, the tactile experience of the design has to create a sense of place that inspires restorative experiences for site visitors.

19

Browning, W.D., Ryan, C.O., Clancy, J.O. (2014). 14 Patterns of Biophilic Design. new York: Terrapin Bright Green, LLC, http:// www.architectureanddesign.com.au/getmedia/2d832853-778b-41dd-af42-f93f7488e21b/14-Patterns-of-Biophilic-Design-Terrapin-2014e_1.aspx

Figure 6: The Merri Creek water frontage satisfies many biophilic design parameters20 20

http://nixpages.blogspot.com.au/2011/07/merri-creek-coburg-lake.html

B.07 Learning Objectives and Outcomes At the beginning of this course I had no experience with Rhino and no understanding of the implications on the architectural design process that Grasshopper generates. Now, after a couple of months being exposed to the theoretical and practical implications of parametric design through grasshopper on architecture I have a reasonable understanding of this shift in the design paradigm.

I have also gained the foundational tools for being able to partake in this new design community. The ability to engage in such a dynamic design process is opening up new opportunities for design ideas and expressions. The exploration into a single design definition and discovering how many iterations and dramatically different species can be generated from one definition is an inspiring design exploration. The experience also generates knowledge of how parametric models can be configured to suit different conditions, of which is invaluable in terms of the ability to generate dynamic architectural models it helps create.

However, my ability to digitally fabricate parametric models is yet to be reasonably well developed. Additionally, the ability to work fabricated materials into dynamic and detailed models that express connections that would form a functional design is something that is gained through research, computational testing, and trial and error model making experience - all areas I believe I need to keep on working on.

B.08 Appendix - Algorithmic Sketches