Form Follows Nature

AN EXPLORATION OF BIOMIMETIC ARCHITECTURE IN HOT AND HUMID CLIMATE THROUGH PERFORMATIVITY

FORM FOLLOWS NATURE

FORM FOLLOWS NATURE AN EXPLORATION OF BIOMIMETIC ARCHITECTURE IN HOT AND HUMID CLIMATE THROUGH PERFORMATIVITY

A STUDY PRESENTED TO THE FACULTY OF NEWSCHOOL OF ARCHITECTURE & DESIGN IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARCHITECTURE

BY LAYLA SEYADI SAN DIEGO, 2019

ABSTRACT

Nature has been its own student ever since the big bang and throughout evolution, then man suddenly became interested in the works of nature.

Biomimicry plays a major role in architecture because of the recent damages that architecture has impacted on global warming, and today humans are trying to reverse that effect through studying how nature work. In particular, regions with hot and humid climates that majority of the earth’s landmass lies under.

In order to maximize the earth’s main source of energy efficiently, by looking through a review of several publications and case studies on the regions local species and extracting their process of survival can provide us with an awareness as to how nature works its magic in its natural existence. And how a concept from nature can be introduced at an urban scale affects the context by stating the evident in an architectural manner. Several organisms are explored to understand how they interact with nature and how that can be decoded into performative architecture. The common factor is how both natural organisms and man-made object reacts to its context through adaptation using local energy resources.

The research topic investigates the works of the selected environmental species such as Camel, Cacti, Namibian Beetle and Shy Plant to dig deeper into their natural habitat and the way they interact with their surroundings, then convert that analysis into architectural forms and criticize their position in an urban context. The location of the building in the site should diminish how biomimetic architecture can be a solution to a sustainable environment.

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FORM FOLLOWS NATURE AN EXPLORATION OF BIOMIMETIC ARCHITECTURE IN HOT AND HUMID CLIMATE THROUGH PERFORMATIVITY

A STUDY PRESENTED TO THE FACULTY OF NEWSCHOOL OF ARCHITECTURE & DESIGN IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARCHITECTURE

BY LAYLA SEYADI SAN DIEGO, 2019

COPYRIGHT © 2019 BY LAYLA SEYADI AND NEWSCHOOL OF ARCHITECTURE & DESIGN

FORM FOLLOWS NATURE AN EXPLORATION OF BIOMIMETIC ARCHITECTURE IN HOT AND HUMID CLIMATE THROUGH PERFORMATIVITY

NEWSCHOOL OF ARCHITECTURE & DESIGN LAYLA SEYADI

APPROVED BY: ____________________________________________________________________________ LEONARD ZEGARSKI DATE HEAD OF ARCHITECTURE PROGRAMS

____________________________________________________________________________ VUSLAT DEMIRCAY PhD DATE RESEARCH ADVISOR

____________________________________________________________________________ MITRA KANAANI FAIA, D.ARCH, MCP, AIA, ICC DATE STUDIO ADVISOR

DEDICATION

I would like to dedicate this degree book to; My father, who gave me the key to open up doors that led me to where I am today, his words of wisdom will always continue to inspire and guide me throughout my life.

My mother, who has always been my guiding angel and always pushed me to do greater things and believed in my dreams.

My siblings, who have always been my backbone throughout my entire life.

And lastly, my relatives and friends, for their words of encouragement and patience, and for always being there for me.

ACKNOWLEDGEMENT I would like to express my sincere gratitude to; Mitra Kanaani, who has mentored me throughout this entire journey and always encouraged me to innovate while pushing my imagination out of my comfort zone and taught me to make the impossible possible.

Vuslat Demircay, who’s constant guildance in putting this research together would not have been possible without her patience to continue paving the path towards a deeper exploration.

Last of all, I would like to thank those who played a major role in contributing to my academic accomplishments; Firas AlRakhayes David Pierre Stephanie Gussman Sovanarry Phy

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TABLE OF CONTENTS

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INTRODUCTION

Thesis Statement Critical Position Defining Biomimicry History Of Biomimicry In Architecture And Vernacular Architecture Method Of Investigation

BIOMIMICRY AND ARCHITECTURE

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Biomimicry And Architectural Elements Conclusion Closed Loop System Solution Concluding Statement

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Hot And Humid Regions Species Native To Hot And Humid Regions

Camel Namibian Fog-Basking Beetle Shy Plant

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Site Plan Floor Plan Sections Elevations Performative Analysis

BIOMIMETIC APPROACH TO A CITY Building Within Nature (Natural Environment) Building From Nature (Man-made Environment)

MEANING OF SPACE IN BIOMIMETIC ARCHITECTURE Phenomenology Of Space

DESIGN STUDIO

Design Research & Analysis Precedent Studies Design Process Massing Studies Site Analysis Concept

Schematization of Architectural (Architectural-ization)

Cactus

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REFLECTION OF BIOMIMICRY IN PERFORMATIVE ARCHITECTURE

Design Development

129 130 132

DEFINITIONS REFERENCES LIST OF FIGURES

WHAT IF, EVERY TIME I STARTED TO INVENT SOMETHING, I ASKED, “ HOW WOULD NATURE SOLVE THIS? ”

- JANINE BENYUS -

Figure 1 Macro Leaf (Anonymous, 2018)

PART

RESEARCH

1

Introduction Biomimicry and Architecture Biomimetic Approach to a City Meaning of Space in Biomimetic Architecture Reflection of Biomimicry in Performative Architecture

INTRODUCTION

Buildings should work within their context just as they did ever since mankind. Dwellings in the past were built into nature and were designed using traditional local materials and were extremely successful in functioning well for those who lived in them. They consist of man’s basic necessities and materials that are eco-friendly to its environment. Over the years, building typologies have dramatically changed especially since the industrial revolution where taking care of the environment has become the least of designer’s priorities when designing a building as it became man’s goal to stretch out the limit as to how far can they expand the power of their limit (Benyus, 1997).

Today, the world is running out of time! Because of the damages it went through over several decades of human destruction in the earth’s natural habitat and designers are taking a stand in repairing as much of the damage as they can through biomimicry and vernacular architecture typologies and taking a step back from the cities and taking a stroll across the park will help inspire designing a biomimetic future that will work in parallel with nature for well-being of people and the planet itself.

Exploring what is biomimicry and how can it solve the issue of architecture in hot and humid regions. Through investigating the life cycle of desert species, and how it can inspire new technology in the architecture of renewable energy using closed loop system for performative design.

While also taking into consideration how the design of biomimicry can influence the phenomenology of space in the urban environment.

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INTRODUCTION

Thesis Statement

Critical Position

There are a number of organisms that are native to the hot and humid regions such as the blood shooting eye lizard, palm tree, fennec foxes, pupfish and dung beetles, Bactrian camels, Mexican coyotes, sidewinder snakes and thorny devil lizards (Cook, 2018).

However, the exploration of the selected native organisms such as the Camel, Cacti, Namibian Beetle and Shy Plant will help determine if biomimicry is genuinely the solution for a healthier environment, and a sustainable future through analyzing their survival process using the sun as the earth’s main source of energy in hot and humid regions.

The rapid growth of our cities has impacted the pace of global warming in our planet and concerned professionals are studying ways to slow down and reduce the damage that our buildings create against our environment besides all the important factors that it has served the people such as shelter and protection. The materials and methods of design has alternatively destroyed other features of our environment that are not obvious to most of us and that has had a chain reaction over the years. This is where Biomimicry plays the main character as the lead in the design field where nature’s inspiration is the key to conserve what is left of our ecosystem by designing in parallel to nature rather than against it.

Defining Biomimicry

Bīōˈmiməkrē

(From the Ancient Greek word: BIOS, life and mimesis, imitation) Biomimicry is the latest technique in the study of nature that aids in solving human problem’s inspired by nature. Nature is the standard ecological mentor in guiding the path to a successful quality in innovation by extracting methods through studies and observation (Benyus, 1997). Biomimetic, biophilic and biosphere are other biomimicry terms that are related to architecture. In order to further understand the works of biomimicry, people have to be aware that everything in nature such as plants, animals and human beings are all part of a life-cycle that rely on each other for survival.

There are three levels of biomimicry; the Organism level where the structure and form of the architecture looks exactly like the organism that is was inspired from in a blow up scale. Behavior level; where the building interacts with its surrounding environment without damaging it, and Ecosystem level; where the building works in parallel to its environment to work together as a single entity. (“Biomimetic Architecture”, n.d.)

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INTRODUCTION

History of Biomimicry in Architecture and Vernacular Architecture Biomimicry dates back to the ancient Greeks and Romans that were inspired by the form of the tree (Organism level) where they later incorporated it into columns in their structures (Reigl, 1992). Understanding nature means knowing the difference between biological and technical systems. Biological systems have been developing for decades whereas technical systems are a more recent system that has been developed by humans and is prone to improvement through looking back and forth at mimicking nature (Al. Obaidi, 2017).

The first ever architecture typology is vernacular architecture, it is a design based on basic needs using local materials that reflects the regions tradition. During previous era’s, there was no formal training or education in architecture but a skill that was passed on to future generations of builders. The Latin word vernaculus means “domestic, native, and indigenous” that explains the meaning of the term itself. This type of architecture was commonly used in residential buildings but is not being more diverse in other commercial buildings as well.

Vernacular architecture does not only mean a style in architectural form or materiality but it can also mean architectural elements such as the courtyard, wind tower, and orientation of the building. It is the basic design of architecture before active systems are added into the design to enhance building energy, the design of the building always relies on its regional location,

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availability of materials and the needs of those who the building is designed for. Culture plays a major role in designing vernacular buildings as it is not just shelter but a way of life for its occupants. (“Vernacular Architecture”, n.d.)

The pattern of the investigated systems will be combined together to find a theoretical solution that will prove why biomimicry is a successful solution to a sustainable architecture. The goal of this research is to understand how various methods of natural life-cycle can be merged

together to create a futuristic innovation that will solve architectural problems that hot and humid regions face when designing a sustainable building and its impact on the surrounding context.

Method of Investigation The research method will be backed up using existing case studies that are related to the topic of biomimetic architecture including research on published articles, websites and books. The goal of this research paper is to develop an understanding for performative building techniques with the use of technology to use heat and humidity as a source of recyclable energy with less active power as possible to maintain a building’s overall energy performance. Regions with hot and humid climates can take advantage of their climate to generate building efficiency and reduce building performance cost.

The process will cover three parts where the first goal will focus on using the sun as the main source of energy through looking into the process of photosynthesis and the camel’s nasal structure. Secondly, taking advantage of the humidity and fog using technology to recycle water for storing and using in the functioning of the building (Behavior level).

And thirdly, analyzing adaptive sensory based design techniques inspired by nature to apply to performative architecture through evidence based design, this method will prove whether architects should be inspired by nature’s design or design according to human essentials.

Namibian Fog-Basking Beetle Cactus

BIOMIMICRY

Camel

Phenomenology of Space

Shy Plant

HOT & HUMID CLIMATE

Species

Biomimetic Architecture

Adaptive Sensory Facade

Ventilation

Performative Architecture

ARCHITECTURE

Fog Collector

Waste Water Treatment Solar Panel

Figure 2 Project Breakdown by Author

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“ THERE IS NO BETTER DESIGNER THAN NATURE ”

- ALEXANDER MCQUEEN -

Figure 3 Macro Petal (Ali, 2015)

BIOMIMICRY AND ARCHITECTURE Though human bodies may not be comfortable being exposed to extreme cold or hot temperatures, their bodies attempt to search for the balance in between those conditions to function at ease with the help of active building system. However, species such as plants, animals and insects do not have such luxuries of being able to control the temperature of their surroundings but they rather function according to their environment with the help of how their bodies are built. In this research paper, some native species to the hot and humid region will be further explored to have a deeper understanding on how these species survive in hot and humid climates with the exception of an additional plant species that is native to tropical humid region where its performance is used as a biomimicry concept.

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BIOMIMICRY AND ARCHITECTURE

Hot and Humid Regions Hot and humid regions of the world are commonly found around the areas of the Middle East, northern part of the African continent and Australia (Figure 2.1.). Those countries are the ones that experience the most heat during summer season that lies between June to August and have Mediterranean weather all year round. They also experience cold winters from October to March as well but it only gets extremely cold for a couple of weeks throughout the year. The average temperature during summer months usually lie between 29 – 46 degrees Celsius and decreases up to 10 degrees Celsius during winter season. Regions such as the Death Valley in California and Libya in the African continent are recorded to have experienced the hottest summer in history with a temperature of 58 degrees Celsius. Desert regions also experience a few rainy days during winter season with up to 5mm-200mm of rainfall annually (“Desert Climate”, n.d.).

Species Native to Hot and Humid Regions The major experience that species living in hot and humid regions suffer from is water loss.

Due to the temperature of their environment that forces their bodies to perspire for evaporation and strive to manage staying hydrated in the hot climate. Normally, those species would find a way to stay away from the heat and search for shade to reduce water loss and be able to manage what little water they have stored from the air’s humidity to help them survive. Some plant species such as the Cacti contain white filaments under the thin layer of their skin that allows the sun’s heat to reflect back and at the same time trap the humidity that is used for the photosynthesis process in exchange of gas while decreasing the amount of water lost during the entire process. (Pawlyn, 2016).

Figure 4 World Map of Koppen-Geiger Climate Classification (Peel, Finlayson, McMahon, 2016)

1st

A (Tropical)

B (Arid)

C (Temperate)

D (Cold (continental))

E (polar)

2nd

f (Rainforest)

W (Desert)

s (Dry summer)

s (Dry summer)

T (Tundra)

m (Monsoon)

S (Steppe)

w (Dry winter)

w (Dry winter)

F (Eternal winter (ice cap))

f (Without dry season)

f (Without dry season)

w (Savanna, Wet) S (Savanna, Dry) 3rd

h (Hot)

a (Hot summer)

a (Hot summer)

k (Cold)

b (Warm summer)

b (Warm summer)

c (Cold summer)

c (Cold Summer) d (Very cold winter)

Figure 5 World Map of Koppen-Geiger Climate Classification (Peel, Finlayson, McMahon, 2016, /modified by

Author, 2019)

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BIOMIMICRY AND ARCHITECTURE

Figure 6 Camel’s Nasal Section (Pawlyn, 2016)

Camel Camels are native to desert regions whose bodies adapt well to the humidity and heat of their environment. The reason for that is that their nasal structure also known as turbinates contains a vascular tissue that lets the camel breathe in dry air that is cooled by the tissue through evaporation. The condensation of this process allows for re-absorption of the humidity during exhalation. The narrow passage or the camel’s nasal structure decreases the amount of water lost during the cooling process to maintain the cool temperature of the camel’s body during intense heat temperatures. Their humps also play a major role in storing much of their body fat to use whenever they need it for the metabolizing process (Pawlyn, 2016).

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Figure 7 Cactus Spines (Susumu Nishinaga, n.d.)

The concept of wind tower is a vernacular architecture design element that was inspired by this method of respiratory system in animals that is then interpreted into buildings.

Cactus According to a cactus specialist, cactus does not stay cool in desert weathers but instead learn to function according to their environment by harvesting water using their feet and thorns on their skin through capillary action where the water flows through to reach its surface. At night when the weather is less hot and more humid, the cacti opens its pores to absorb the humidity in the air that allows them to stay cool during the morning heat and reduce water

Figure 8 Namibian Fog-Basking Beetle (Pawlyn, 2016)

loss. The green color of their skin also helps them reflect heat off them though they do not necessarily stay cool on the outside but are often moist on the inside that keep them alive.

Architecture has imitated this process through automated ventilation windows using sensors to detect the temperature in the building to send the message to the roof vents to open up so that the hot air can rise and exit the building.

This way, the building can maintain its cool temperature and act according to the internal environment of the building.

Namibian Fog-Basking Beetle The Namibian Beetle is the most common insect used in hot and humid biomimicry case

studies for its successful desert life-cycle. This organisms’ way of harvesting water in a humid temperature is a phenomenon that is currently being implemented in architecture. Besides its matte black shell that is known to absorb heat rather than reflect heat, the beetle stays in hiding during the day and emerges from the ground at night to radiate heat into the night sky that helps cool its body’s inner temperature while at the same time the tiny bumps on its outer shell collects the humidity in the moist air, the beetle tilts its back forward for the water droplets to slide right down onto its head for it to drink just before sunrise and then goes back into hiding until sunset again. The hard back shell of the beetle has a deeper meaning to it that is more effective than we think it is. The bumps on its back has a waxy finish to it that

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BIOMIMICRY AND ARCHITECTURE

Figure 9 Mimosa Pudica (Ashish, 2015)

is hydrophobic. This process allows the water droplets to maintain their spherical form to stay mobile and to collect even the tiniest amount of water in the air especially during less humid nights to make use of what little resource is available to the beetle (Pawlyn, 2016). This is where the fog catcher system comes in place in architecture where the system collects the fog or humidity water in the air and transmits it into a system that later on converts it into energy or uses the collected water around the building.

Shy Plant The Shy Plant also known as Mimosa Pudica is a plant local to the tropical region commonly known as weed more than a plant. The leaflets

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is this plant folds upward upon contact through seismonastic movements such as touching, warming, blowing or shaking to protect itself from predators such as herbivores.

The plants sensitivity costs the plant a lot of energy because of its constant movement and interferes with the process of photosynthesis.

This sensitive system can be referred back to the most recent adaptive sensory design in performative architecture where an additional architectural element such as a second skin in a building faรงade can react according to the external or internal weather of the building.

“ WE SHAPE OUR BUILDINGS AND AFTERWARDS OUR BUILDINGS SHAPE US ”

- WINSTON CHURCHILL -

Figure 10 Gherkin Building, London, Norman Foster (Fosterandpartners)

BIOMIMETIC APPROACH TO A CITY

Figure 11 Ibuku Bamboo Buildings (Ibuku, 2011)

Have we ever wondered how a city came to be? In the past, people were nomadic hunters and gatherers who were always on the search for food, water and shelter (“How are cities founded?”, n.d.). And after they find a location that serves them all their basic necessities, they stay there and abuse the earth’s resources to its maximum limit without giving back (Benyus,1997). After draining the land out of its local resources, they move onto another location and continue their cycle of consuming and moving forward without realizing the damages that they create to the existing natural habitat that are homes to thousands of species. Since 1960’s, designers from different fields of profession have been looking into biomimicry for inspiration to repair the damages done ever since the industrial revolution by applying nature’s design into subjects such as engineering, medicine and architecture (Poon, 2016).

Ever since, architects have been trying to learn nature’s way of healing the environment through self-preservation. According to an article on “Biomimetic Architecture” there are two ways to introduce biomimicry in a context; the Behavior level where the building interacts with the surrounding, and Ecosystem level where the building works in parallel to its surrounding (“Biomimetic Architecture, n.d. ). By building into nature using the typology of vernacular architecture or creating a new ecosystem in the already existing damaged ecosystem and regenerating it using landscape as natural elements.

The Gherkin Building (Figure 7) designed by Norman Foster was inspired by the Venus’ Flower Basket also known as sea sponge, is made up of lightweight materials that support the building’s weight through a lattice-like exoskeleton that wraps around a cylindrical shape.

It is a successful biomimetic design because it helps direct the wind pressure in that area to move smoothly around the building and up instead of creating a wind tunnel for the people walking on the street.

The design is not only built to accommodate the strong wind pressures but also allow natural daylight to illuminate the interior of the building while the central atrium that also helps stabilize the structure but also reduces the consumption of air conditioning due to its design (Davidson, 2009). This approach to biomimicry acts under the Behavior level of biomimetic architecture because the building is designed according to its environment by studying the way buildings interact with the climate of

Figure 12 Eden Project, Cornwall, Arup (Edenproject, 2001)

the location in and its effect on the people walking in that environment.

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Figure 13 Esplanade - Theaters on the Bay,Singapore (Atelier One, 2002)

Figure 14 Gardens by the Bay, Singapore (Jenty, 2016)

Building within Nature (Natural Environment)

Building from Nature (Manmade Environment)

To quote Janine Benyus, “There is not very much to learn in the city. It is time to walk in the forest again”. She mentions in her book that nature itself is our mentor and that we should build a relationship with it because the earth’s inhabitants are the sole survivors that have lived for many years without overly consuming the natural resources given to them. Building within nature does affect the environment as designers are introducing a new alien object into the land while using its surrounding footprint as a foundation to enhancing the environment for human comfort while also trying to maintain the existing inhabitants of that area. An example of an Ecosystem level of biomimetic architecture is the design of the Eden Project (Figure 8), accommodated its form from the existing site that creates a harmonious relationship between the people and nature (Pawlyn, 2016). This biomimetic architecture gives designers a new way of looking into how to build into nature instead of completely taking over nature (Benyus, 1997). However, the Ibuku Project in Bali by Elora Hardy (Figure 9) is another project built into nature using “natural” materials local to the site, Bamboo, it was the inspiration to the project and is artificially engineered upon harvesting it to create the organic forms that will be used for construction. The trunk is easy to plant and doesn’t take much time to mature and grow as tall as it commonly does and it is extremely sturdy as well. The bamboo’s strength and flexibility allows for the materials to be environmentally sustainable an also sequesters carbon dioxide (Hardy, 2015).

The Esplanade Theaters designed by a firm called Atelier One (Figure 10) is constructed on a man-made island simply dedicated to a community for tourism that accommodates several other projects such Gardens by the Bay (Figure 11) and more. The form of the buildings was designed in consideration of the orientation of the sun and the climate of the site where the triangulated glass elements would allow sunlight to illuminate the interior while giving the building solar shading with views to the outside. Although the form was not meant to replicate the “Durian” fruit according to the New York Times Travel Guide: Singapore. This is a great example of biomimetic architecture in an Organism level. Whereas the neighboring project Gardens by the Bay, was designed as indoor botanical gardens. Since Singapore is located near the equator, the structures contain systems such as rainwater collection to cool the buildings and serve as an artificial waterfall to the indoor atmosphere (Frearson, 2012).

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“ THE MORE OUR WORLD FUNCTIONS LIKE THE NATURAL WORLD, THE MORE LIKELY WE ARE TO ENDURE ON THIS HOME THAT IS OURS, BUT NOT OURS ALONE ”

- JANINE BENYUS -

Figure 15 Growing Plant

MEANING OF SPACE IN BIOMIMETIC ARCHITECTURE There are several published books and articles about the study of space in architecture and the neuroscience in architecture field has donated a lot of their research in studying how a space affects the neurological aspect of a person. In an urban context, biomimetic architecture should not only benefit the surrounding environment through generating energy from sunlight or recycling water in a building for landscape irrigation.

Perhaps it should also heal the surrounding environment through healing people’s mental and physical health by being a part of the community.

A case study on evidence based design will help back up the subject in order to further understand the given perspective on how designer not only have an impact in the environment but also in people’s social and mental life. In the 1950’s Minoru Yamasaki, designers of the Pruitt-Igoe housing complex in St Louis, Missouri increased the crime rate of the area because of the featureless spaces between the apartment buildings that caused residents to feel unsafe living in their own homes. The apartment buildings were later destroyed because of lack of interest in residents wanting to stay in those apartment units. What the designer didn’t take into consideration was how the buildings would affect the community once it was built and how to encourage “a sense of community” within that area. Consulting with psychologists and neuroscience specialists enhances the design of a building within the community as it should be able to solve issues that the locals face instead.

Figure 16 Sagrada Familia, Barcelona, Antoni Gaudi (SBA73, 2011)

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Phenomenology of Space “People want to experience the sensory, emotional, and spiritual satisfactions that can be obtained only from an intimate interplay, indeed from an identification with the places in which [they] live” ~René Dubos (1980, 110) Biophilic design is a place-based or vernacular dimension in biomimetic architecture. It is defined as the connection between how landscape and building connect to culture and ecology of the location in the world. This dimension refers to what is known as a “spirit of place” highlighting the meaning of the building and landscape to the user and how it becomes part of their identity in transforming their way of life. Peoples common motivational factor to preserving the built environment is when they are mentally or physically attached to it. No one understands the value of a place unless they care for it enough to want to maintain it. Despite the modern trend of nomad’s, there are several people who still have a strong attachment to a place they know as home. This is one of the reasons people become responsible to sustaining buildings and landscapes for expected long-term use.

This human psychology proves the longing of human needs to behave differently towards the built environment. People feel more secure in a certain place that they physically become attached to due to stability and security. It is important to them to be able to maintain significant places that give them meaning and a sense of place where they can heal and be a part of (Kellert, Mador, 2008).

In an article on Social Behavior and Sciences, El-Zeiny quoted that Dr Julian once said “biomimetics had to have some biology in it”.

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Figure 17 Khoo Tech Puat Hospital, Singapore (RMJM, 2010)

Not necessarily in its form, but in the way it works, its mechanism, its tectonics and its effect on mental health. Designers should understand the deeper meaning behind mimicking the natural form to have a more responsive understanding of the works of nature (El-Zeiny, 2012). For example, the Sagrada Familia

by Antoni Gaudi, the colonnades mimic the branching of trees and stabilizes the structure of the building (Figure 12). Biomimicry does not only lie in the aesthetics of the building’s interior and exterior but also in the spiritual experience of being surrounded by the architectural elements, people are naturally drawn to such beauty because of the energy of the space itself as if they are being engulfed in an artificial natural atmosphere.

A hospital in Singapore designed for sustainability by using the water in the nearby lake for irrigation of the landscaping in the interior and exterior of the building, the building is also oriented facing north east to accept the cold breeze to flow directly into the interior space of the hospital. The architect designed the building to heal patients quickly and also encourage for a healthier working environment for the hospital staff. This method of design efficiency is a Behavior level of biomimetic architecture where people can have a place based relationship with nature (KTPH, n.d.)

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“BIOMIMICRY IS BASICALLY TAKING A DESIGN CHALLENGE AND THEN FINDING AN ECOSYSTEM THAT’S ALREADY SOLVE THAT CHALLENGE, AND LITERALLY TRYING TO EMULATE WHAT YOU LEARN”

- JANINE BENYUS -

Figure 18 Macro Cactus (Sinclair, C. 2019)

REFLECTION OF BIOMIMICRY IN PERFORMATIVE ARCHITECTURE

With the advancement in technology through curious minds to stretch materials to its extreme limit, designers pushed architecture to a new method of thinking where the building is responsive to its surroundings and reacts accordingly. Al Bahar Towers in Abu Dhabi (Figure 14) is a recent example of a new translation of Behavior level of biomimetic architecture known as performative architecture where the towers second skin acts as a protective layer to protect the building from the intense heat of the sun. The skin rotates around the building’s enclosure according to the direction of the sun’s movement while its pattern panels open and close to give shade to the building (Cilento, 2012).

Biomimicry and Architectural Elements Some common biomimetic elements that are used today in architecture are: Adaptive Sensory System; as found in Al Bahar Towers (Figure 14) with a close up view of how the panels work in daylight and in shade was inspired by the mashrabeya that is a native architectural element to the region (Cilento, 2012).

Ventilation, to allow circulation of air into the building while releasing hot air into the atmosphere to control the temperature of the building’s indoor air quality and thermal comfort. It can either be mechanical or natural depending on the system used and the mechanics installed such as fan. HVAC is a mechanically ventilated system most commonly used in the present days in comparison to natural ventilation system, for example wind towers used in the hot climate areas do not require mechanics to bring in the flow of air into the building as it is oriented to where the system can by itself capture the wind to pull into the building and is unpredictable due to the weather (“Ventilation”, n.d.).

Figure 19 Al Bahar Towers, Abu Dhabi (Living Spaces,2017)

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REFLECTION OF BIOMIMICRY IN PERFORMATIVE ARCHITECTURE

Fog Catcher is a method of collecting water using a canvas also known as a fog fence.

Water vapor in the air condenses on the canvas and turns into droplets of liquid water also called “dew” (Fog Collection, n.d.)

Prevailing Wind

36.5C 20%RH

29.9C 20%RH

Figure 20 Wind Tower Basics (iaacblog, 2013),

Modified by Author, 2019)

Fog Particle Characteristics mass size = drop (gravity)

what is the particulate? sand? pollution is it safe?

Fog Particle Strategy wind goes through to carry fog

need to minimize “fog waste”

net captures most

fog particles

Fog Particle Paths hydrophyllic (attracts water)

hydrophyllic (sheds water) collector needs to be super efficient in BOTH hydrophyllic + hydrophobic

if net is too impermeable, wind (containing fog) will just go around net

Figure 21 Fog Collection Basics (UICI, 2017), Modified

by Author, 2019)

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Solar Panels also known as Photo-voltaic Panels(PV) are designed to work as photosynthesis mechanism in plants where the panels absorb sunlight and convert that into a source of energy. They are usually placed on top of building roofs, or an open field to store sunlight’s energy to transmit to communities to generate electricity. Though solar panels were designed to generate electricity in and the design of the panels did not take into consideration of its architectural aspects and impact on communities. Designers and scientists have been collaborating for a while now to design solar panels that are suitable to be integrated within buildings such as solar glass. However, the increased maintenance issue of this reduces the energy capability in taking advantage of the amount of sunlight that hits the panels and instead only store a smaller percentage due to dust particles. In addition to that, solar panel equipment’s are said to be recyclable although they currently require a special recycling system but at least they reduce the amount of materials that go to waste after it’s consumption cycle (“Solar Panels”, n.d.)

Treating waste water may lead to a significant change in the way we treat grey water. Berlin Water Competence center came up with a scheme to filter the grey water to separate solids and liquid wastes. They redesigned offices and residential buildings to use a multi-loop process

that uses grey water as fertilizer and biogas in the buildings and the excess water were purified at a wetland off site (Pawlyn, 2016).

1 2

3

Conclusion

4 5

Biomimetic design means designing an ecosystem that removes toxins and recycles waste to convert it into something that our ecosystem can benefit from. It is a significant contribution to the human health and our environment.

Biomimicry identifies the functional challenges and biological organisms and combine both of them to create a solution that works for our environment with the materials we already have. It not only designs according to what works in our world, but also for the human needs and their health, it is a synthesis between the different fields of biology.

Looking into biomimicry gives us an insight on what works in the natural world and comparing it to the human world and create an ideal artificial formation within the constraints of nature’s boundaries with the help of machine

Primary Coarse Debris Screen

Primary Clarification

Sand & Grit Removal

6

1

Light The sun gives off light, even on cloudy days

2

The Panels PV cells on the panels turn the light into DC electricity

3

The Inverter The current flows into an inverter, which converts it to AC electricity ready to use

5

Powering the home Plug in and switch on. You system will automatically use the free electricity you’ve generated, then switch back to the grid as needed

6

The National Grid Any electricity you don’t use is exported to the grid for others to use.

PVworks, 2012), Modified by Author, 2019)

Figure 23 Solar Panels on Atrium

Secondary

Tertiary

Clarification Aeration Cl-Cl Liquid

Liquid Solids Sludge

The electricity The current is fed through a meter and then into your home’s consumer unit

Figure 22 Solar Power Collection Basics (How-

Disinfection

Wastewater

4

Nutrient Removal

Effluent

Sludge Activated Sludge

Chlorine (Cl2) or Ultraviolet Light (UV)

Figure 24 Wastewater Treatment Process (AWAG, 2018), Modified by Author, 2019)

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technology as well. Design has a high level of improvement when it comes to materiality and technology where the design can vary from being extremely high tech in terms of form and materiality to being vernacular and local. Nature is not designed using physically and chemically altered materials but human exploration can understand how they work using the same concept and translating that into the human language of building an ecosystem. (Pawlyn, 2016).

Biomimicry does not technically mean imitating from nature 100% through the form work of the design nor scaling up the obvious from nature. Biomimicry means the study of biology and implementing it in the function of design because that it how nature works and interpreting it in architecture language means being inspired by nature and mimicking nature’s way of living. What designers misunderstand is that copying the form from nature will not solve the sustainability or any architectural problems but will only beautify the world with obvious designs and attract more tourists to the location.

Biomimetic architecture is learning from biology and using it to solve sustainability and design problems in architecture through how the building functions and the mental stability that the building projects towards the user.

The confusion in the meaning of biomimicry overthrows designers to create what is already existing instead of solving the existing problems through learning from existing buildings and creating solutions inspired by nature to improve the way a building performs. Solving architectural problems will automatically lead the form to result in a unique way that works both inside and outside of the building system.

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Figure 25 Cardboard - to - Caviar Project (Pawlyn, 2016)

Closed Loop System Solution The Cardboard to Caviar Project is a model of a low-tech network that can be regenerative to the people and the ecosystem designed by Graham Wiles where he came up with the concept of a reproducing system where restaurant wastes are sold until they come back again to the restaurant as caviar where the process to and from the restaurant are all reliant on each other and nothing goes to waste (Figure 15).

In nature the waste of one organism becomes the nutrient for another body in that ecosystem (Pawlyn, 2016).

Concluding Statement It is clear that biomimicry may be the most reasonable path towards attempting to take over nature or working in parallel to nature, but the intention may not always be clear as to what the building is trying to portray because of the misinterpretation of the designer. The effort to strive into working towards that path is improvement enough to show that designers are determined to work towards sustainably repairing our environment through the lessons learned from nature and the creative minds of humans.

“ I THINK THE BIGGEST INNOVATIONS OF THE 21ST CENTURY WILL BE AT THE INTERSECTION OF BIOLOGY AND TECHNOLOGY. A NEW ERA IS BEGINNING ”

- STEVE JOBS (1955 - 2011) -

Figure 26 The Lotus Building and People’s Park (John Gollings, 2014)

2

PART

DESIGN STUDIO

Design Research & Analysis Design Process Performative Analysis Digital Execution

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PRECEDENT STUDIES

1

KING ABDULLAH PETROLEUM STUDIES AND RESEARCH CENTRE (KAPSARC)

UNIVERSITY ROAD, RIYADH, SAUDI ARABIA ZAHA HADID ARCHITECTS RESEARCH CENTER

2

SHEIKH JABER AL-AHMED CULTURAL DISTRICT

KUWAIT CITY, KUWAIT SSH ARCHITECTS CULTURAL DISTRICT

3

BISHAN CULTURAL AND ART CENTER

CHONGQING SHI, CHINA TANGHUA ARCHITECT & ASSOCIATES CULTURAL CENTER

4

THE CHURCH OF ST.ALOYSIUS

JACKSON, NEW JERSEY, UNITED STATES ERDY MCHENRY ARCHITECTURE CHURCHES

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Figure 27 King Abdullah Petroleum Studies and Research Centre (Hufton + Crow, 2017)

DESIGN RESEARCH & ANALYSIS

KING ABDULLAH PETROLEUM STUDIES AND RESEARCH CENTRE (KAPSARC)

UNIVERSITY ROAD, RIYADH, SAUDI ARABIA ARCHITECTS: ZAHA HADID ARCHITECTS TYPOLOGY: RESEARCH CENTER AREA: 70,000 m² COMPLETION: 2017 PROJECT DESCRIPTION KAPSARC is a 70,000 m2 project that contains five crystalline buildings aligned in a honeycomb grid to allow for future expansion. The Centre designed by Zaha Hadid Architects is designed for programs such as Knowledge Centre, Energy Computer Centre, Conference Centre, 300-seat Auditorium, Research Library carrying 100,000 volumes and a Prayer Room. The roof designed is integrated with “wind catchers” to provide cooling for the courtyard and the underground pathway for when the building gets too hot. The building is designed to bring in

Figure 28 Exterior Perspective (Hufton + Crow, 2017)

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direct sunlight and heat “porous within” to light up interior spaces. The massing and orientation including the façade design and solar photovoltaic array contribute to 45% reduction in energy performance of the building. Other sustainable features of the building are that 40% of the building construction are sourced within a 500-mile radius and 30% consists of recycled content. All water used on site is potable water and is constantly recycled where 100% of irrigation water is from non-potable sources (Hernandez, 2017).

Figure 29 Exterior Courtyard (Hufton + Crow, 2017)

PROJECT RELEVANCE Due to the location of the context, the architect used a method used over the years and is commonly found in residential projects known as the cooling towers. Although not physically found in the design, a more modernized version of the same system was integrated into the building in parallel to converting private courtyards into a public space. The project uses the same module form for the entire building design through creating various internal spaces and changing the performance of each module to act as its own.

In addition to that, the building has minimal openings that create a unique pattern on the building facade while allowing sunlight to enter and block heat at the same time.

Figure 30 Shaded Entryway (Hufton + Crow, 2017)

Figure 31 Project Drawing (Zaha Hadid Architects, 2017)

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Figure 32 Sheikh Jaber Al-Ahmed Cultural District (SSH, 2017)

DESIGN RESEARCH & ANALYSIS

SHEIKH JABER AL-AHMED CULTURAL DISTRICT

KUWAIT CITY, KUWAIT ARCHITECT: SSH ARCHITECTS TYPOLOGY: CULTURAL DISTRICT AREA: 214,000 m² COMPLETION: 2017 PROJECT DESCRIPTION

PROJECT RELEVANCE

The Geometric Islamic Architecture inspired building massing that lies in the heart of Kuwait City is a 214,000 m2 cultural district that houses a 2,000-seat Opera House, Performing Arts Center, Concert Hall, Cinema, Conference Rooms, Exhibition Halls and Library. The building is designed using titanium composite panels enveloped in pure concrete structures that act as jewels in a larger public park that is interrupted by light and shadow (Aras Burak, n.d. ).

The clustering of building programs to segraggate the main programs of the building functions create an entire district of building gems placed within walking distance off each other to allow the interaction between indoor and outdoor spaces to flow freely within the site itself. This clustering also allows public social spaces for people to interact with one another especially during a large event. Narrow open spaces encourage a shaded outdoor space that is more walkable for people to easily walk

Figure 33 Passageway Rendered Perspective (SSH, 2017)

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between building to building especially since the weather in Kuwait is usually too harsh to be able to stay outdoors for a long period of time.

In addition to that, the solid building has geometric openings that create decorative light and shade texture on the interior during the day with the play of light and shadow. These openings create a more natural lighting in the interior spaces that require lighting and is also an efficient way to illuminate those spaces during the day, and during the night, the illumination process is reversed where the building is illuminated from the inside and creates an artistic touch to the passerbys .The buildings literally scream out gems of Kuwait vibe.

Figure 34 Interior Render (SSH, 2017)

Figure 35 Interior Rendered Perspective (SSH, 2017)

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Figure 36 Bishan Cultural and Art Center (ARCH-EXIST, 2017)

DESIGN RESEARCH & ANALYSIS

BISHAN CULTURAL AND ART CENTER

DAI SHAN DA DAO, BISHAN QU, CHONGQING SHI, CHINA ARCHITECT: TANGHUA ARCHITECT & ASSOCIATES TYPOLOGY: CULTURAL CENTER AREA: 37,736.51 m² COMPLETION: 2016 PROJECT DESCRIPTION

PROJECT RELEVANCE

The cultural center is an abstract recreation of the ancient description of “Bishan” meaning “mountains of jade”. The architects designed the buildings to represent a “place” that reflects the enivronment. The relationship of the building placements acts as the relationship between mountains and valleys which was also an inspiration for the project with a platform that connects all 3 masses together into a public space (Tanghua Architect & Associates, 2017).

The facade has a continuous pattern between solid and transparent areas that allow a certain amount of light into the building casting playful shadows in the interior space giving the environment an abstract atmosphere that changes throughout the day and varies according to the season. In addition to the way the building touches the ground harmoniously and intertwines with the platform in a subtle way.

Figure 38 Interior Shadow Pattern (ARCH-EXIST, 2017)

Figure 37 Elevation of one of the Buildings (ARCH-EXIST, 2017)

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Figure 39 Geometric Pattern on Facade (ARCH-EXIST, 2017)

Figure 40 Courtyard (ARCH-EXIST, 2017)

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Figure 41 The Church of St. Aloysius (ALAN SCHINDLER, 2012)

DESIGN RESEARCH & ANALYSIS

THE CHURCH OF ST. ALOYSIUS

JACKSON, NEW JERSEY, UNITED STATES ARCHITECT: ERDY MCHENRY ARCHITECTURE TYPOLOGY: CHURCHES AREA: 17,800 ft² COMPLETION: 2009 PROJECT DESCRIPTION

PROJECT RELEVANCE

The concept of this project is “re-pitching the tent” and is expressed through the roof lines projecting up at the four corners telling the story of its purpose through architectural expression.

The Four Devotions of Saint Aloysius: Blessed Sacrament, Passion of Our Lord, Love of Our Lady, and Choir of Angels all anchored at Concrete points butressing the roof. The hyperbolic paraboloid roof is a solution to its long-span requirements of keeping an open floor plan (Erdy McHenry Architects, 2012).

The saddleback roof structure leans against each other to find stability and rely on one another to hold each other up and create a shell-like structure for the building enclosure.

The folded plates are stretched in tension and bent in compression in a way that is structurally stable and contains major structural points that connect the highest point of the building to the foundation.

Figure 43 Central Roof Structure (ARCH-EXIST, 2017)

Figure 42 The Church of St. Aloysius (ALAN SCHINDLER, 2012)

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Figure 44 Saddleback Roof Structure (ALAN SCHINDLER, 2012)

Figure 45 Interior of Church showing the Saddleback Roof Structure (ARCH-EXIST, 2017)

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SITE ANALYSIS

Site analysis is a preliminary phase of architectural and urban design processes dedicated to the study of the climatic, geographical, historical, legal, and infrastructural context of a specific site (olgyay. V, 1963).

SITE ANALYSIS

KINGDOM OF BAHRAIN

Region: Middle East, GCC Site Location: Bahrain Bay, Kingdom of Bahrain Location Brief Manama 1.65M (2019)

Figure 46 World Map Outline (Top Left)

(Opposite Page) Figure 47 Bahrain Bay Aerial View (Top Left) Figure 48 Developer’s Vision (Center Left) Figure 49 Proposal Rendering (Bottom Left) Figure 50 Reclamation Progress (Top Right) Figure 51 Development Progress (Center Right) Figure 52 Real-Time Execution (Bottom Right)

568K Bahraini 666K Non-Bahraini (2010) Summer, Spring, Winter Hot, Dry Summer (~ 48°C) Cold, Mild Winter (~ 9 °) 350 Hours of Sunshine 80% Relative Humidity 5 m/s Wind Speed Damp SE prevailing winds Cold NNW prevailing winds Date Palm, Citrus Tree, Mangrove Tree, etc.

Sooty Falcon, Sea Turtles, Sand Gazelle, etc.

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Figure 53 Middle East Outline Map (Same Page, Top Left) Figure 54 Bahrain Outline Map (Same Page, Right) Figure 55 Satelite Map of Bahrain Bay (Same Page, Bottom Left)

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SITE ANALYSIS

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Figure 56 2018 Wind Distribution Analysis Figure 57 Site Analysis

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CONCEPTUALIZATION

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Figure 58 Summer Solstice Sun Analysis

Figure 60 Spring Solstice Sun Analysis

Figure 59 Winter Solstice Sun Analysis

Figure 61 Autumn Solstice Sun Analysis

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CONCEPT

An abstract idea; a general notion

Figure 63 Bahrain in the Past

Figure 65 Bab Al-Bahrain

The concept is to design architecture that represents the country’s cultural history in accordance to modernizing certain architectural elements such as the wind tower and mashrabeya and transform them into

Figure 64 Old Bahraini Streets

Figure 66 Pearling Path

performative systems that comply with the modern world of desgning efficient buildings that can stand the environmental changes our world is going through through the study of biomimetic architecture.

Figure 62 Tying back to Bahrain’s Roots

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MASSING STUDIES

Massing study is the study of the general shape, form, and size of the project. It is often the starting point of architectural design. Massing study helps the architect see the project in terms of masses or blocks. Massing refers to the structure in a three-dimensional form. It also helps in determining the functionality of the structure (cumminshomedesign, 2018).

CONCEPTUALIZATION

Project Brief

10,051m²

The goal of this Degree Project is to design a Multi-Cultural Center to promote, educate and modernize Bahrain’s Cultural Art and History for the local community and millenials. Since Bahrain’s rapid boost in tourism over the recent years, the community tries to maitain their local culture through seasonal events all year round. The aim of the building is to also attract architectural tourists from all over the world to experience both architecture and Bahraini culture under one roof. While the building creates a social space for the community, it also gives back to the environment by accomodating to it’s surrounding context through the adaptation of sustainable features such as daylighting, solar panels, fog catcher/ humidity collector and adaptable facade for ventilation.

In addition to that, the landscape around the building also serves as social spaces for outdoor events during cooler months.

The location on the site was selected due to its accessibility. Since the capital of the country is best experienced through walking in between it’s historic streets and SOM proposed an investment landfill area that is currently being developed for commercial and residential spaces right within a 140km radius of the city. It is also close to many landmarks in the country which makes it easier for architectureenthusiasts to drive by all the spots since they are mostly close to each other.

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Figure 67 Defined Program (Author)

Figure 68 Form Process Diagram (Winter Quarter) (Author)

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CONCEPTUALIZATION

Figure 69 2D Programmatic Diagram (Winter Quarter)

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Figure 70 3D Programmatic Diagram (Winter Quarter) (Author)

Figure 71 Form Exploration Process (Winter Quarter) (Author)

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CONCEPTUALIZATION

This massing exploration failed because it did not go well with the context and the canopy and buildings had two different typologies and were read as two separate objects in the site. The

goal of this research is to state the factors that become a chain reaction that once a building form is designed according to its environment then all other factors of sustainabilty falls in

Figure 72 Final Form Experimentation (Winter Quarter) (Author)

place. The site does not need a building in order to survive but instead the building needs the context to actively function in parallel to its site. The method used in designing this

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project did not successfully accomodate to the project requirements and was thus scraped and redesigned again to fulfill the research exploration.

Figure 73 Floor Plans (Winter Quarter) (Author)

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A

98 12

Figure 74 First Floor Plan (Author) LEGEND 1 EXHIBITION SPACE 2 FEMALE PRAYER ROOM 3 SERVICE ELEVATOR 4 STORAGE 5 AUDITORIUM

LEGEND 1 ENTRANCE 2 LOBBY B 3 EXHIBITION SPACE 4 AUDITORIUM 5 STAGE 6 DRESSING ROOM 7 RECORDING, AV, LIGHTING & EQUIPMENT ROOM 8 BACKSTAGE 9 LOADING DOCK 10 SERVICE ELEVATOR

12

12

13

1

2

UP

10

11

12

3

13

8

9

UP

3 2

4

1

11 STORAGE 12 LANDSCAPE 13 PARKING 14 ENTRANCE TO UNDERGROUND PARKING 15 EXIT FROM UNDERGROUND PARKING

B

5

4

6

5

0

0

6

UP

14

10

10

DOWN

7

12

12

50

50

12

15

100M

100M

A

SCHEMATIZATION OF ARCHITECTURE/ARCHITECTURALIZATION

Figure 75 Second Floor Plan (Author)

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100 Figure 76 Third Floor Plan (Author) LEGEND 1 EXHIBITION SPACE 2 FEMALE PRAYER ROOM 3 SERVICE ELEVATOR 4 STORAGE 5 AUDITORIUM

LEGEND 1 EXHIBITION SPACE 2 MALE PRAYER ROOM 3 SERVICE ELEVATOR 4 STORAGE 5 AUDITORIUM

DOWN

UP

3 2

4

2

4 3

1

1

5

5

0

0

10

10

50

50

100M

100M

SCHEMATIZATION OF ARCHITECTURE/ARCHITECTURALIZATION

Figure 77 Fourth Floor Plan (Author)

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Figure 78 Section AA (Author)

102

103

Figure 79 Section BB (Author)

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105

106

Figure 80 Location Plan Perspective (Author)

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108

Figure 81 Site Plan Perspective (Author)

Figure 83 Aerial View of Proposed Project Within its Context (Author)

Figure 82 Front Elevation from Four Season’s Island (Author)

Figure 84 East View Perspective (Author)

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110

Figure 85 Project Overview (Author)

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112

Figure 86 Exterior Atrium Close Up (Author)

Figure 88 East Entrance Overlooking the Promenade (Author)

Figure 87 Street View of Entrance from Promenade (Author)

Figure 89 Street View from Promenade approaching the building from the West (Author)

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114

Figure 90 Entrance (Author)

Figure 92 Fourth Floor Exhibition Space (Author)

Figure 91 Lobby (Author)

Figure 93 Auditorium/Theatre (Author)

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116

Figure 94 Project Overview in Context (Author)

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CONCEPTUALIZATION

I.

GE.OM.E.TRY

RO.TATE

Variety of Solar Panel and Glass Exterior Shell

II.

LOFT

STRETCH

Hyperbolic Paraboloid Steel Panel

Steel Framing III.

SCALE DOWN + RAISE + ADD

DRAPE

Floor Plan + Interior Wall Landscape

On-Site Parking

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Figure 95 Form Diagram (Author)

Figure 96 Exploded Axonometric (Author)

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CONCEPTUALIZATION

JUNE 21 84.55°C 12:00 PM

STORAGE EXIT STAIR

JUNE 21 40.53°C 8:00 AM

EXHIBITION AREA AUDITORIUM ELEVATOR SERVICE ELEVATOR BATHROOM PRAYER ROOM

MARCH 21 29.64°C 8:00 AM DEC 21 17.00°C 8:00 AM

MARCH 21 63.27°C 12:00 PM

DEC 21 39.99°C 12:00 PM

JUNE 21 24.96°C 4:30 PM MARCH 21 16.88°C 4:30 PM

DEC 21 13.51°C 4:30 PM

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Figure 97 Program Breakdown (Author)

Figure 98 Solar Analysis (Author)

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CONCEPTUALIZATION

Light The sun gives off light, even on cloudy days The Panels PV cells on the panels turn the light into DC electricity

The Inverter The current flows into an inverter, which converts it to AC electricity ready to use

The electricity The current is fed through a meter and then into your home’s consumer unit Battery to store electricity

Powering the home Plug in and switch on. You system will automatically use the free electricity you’ve generated, then switch back to the grid as needed

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Figure 99 Architecturally Manipulated Solar Panel Diagram (Author)

Figure 100 Atrium Operable Windows for Ventilation (Author)

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CONCEPTUALIZATION

2D Goals & Objectives Views By orienting the building towards the bay and creating opening facing the views.

Privacy By encouraging private social spaces through clustering of the buildings.

Figure 101 Views (By Author)

Human Comfort Creating walkable outdoor spaces by orienting the buildings towards the wind path to act as a giuding path for the wind flow into those spaces.

Social Interaction Creating social pockets by installing several conversation pits for comfortable social gatherings.

Figure 102 Openings (By Author)

Figure 103 Social Spaces (Anonymous)

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Figure 104 Parasitic Shading Device (KUNA, 2018)

Figure 105 Shaded Walkways (SSH, 2018)

Figure 106 Clustering of Buildings (SSH, 2017)

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CONCEPTUALIZATION

3D Goals & Objectives

Block Heat Avoiding openings that are facing the sun directly or creating smaller openings.

Light Through creating translucent openings to allow sunlight and moonlight in by orienting the openings towards the sun path or introducing reflective surfaces to reflect light into areas where the sun cannot directly reach.

Natural Ventilation Orienting the openings towards the wind direction by designing a modern wind catcher technique to guide the wind flor into the building.

Low-Tech Recycling water throughout the building by collecting humidity using a fog catcher.

Figure 107 Mashrabiya Roof Concept (Ateliers Jean

Figure 111 Social Pockets (ISA, 2013)

Nouvel, 2017)

Clean Air and Shade Bringing in landscape into the site by using local plants and trees that are native to the region to avoid high mainetance.

Figure 112 Greenery (SSH, 2017)

Social Interaction Creating social spaces for people to gather by designing comfortable sitting areas.

Lower Ground Temperature By creating shaded spaces and also installing PV panels energy for the building while cooling the exterior space

Figure 108 Reflecting Sun Light Diagram (Halbe,R., 2014)

Clean Environment Bringing in more clean air into the site by planting more trees that are helpful for the site.

Figure 110 Green Spaces (Gillespies, 2018)

Figure 113 Indoor - Outdoor Transition (Brown, M., n.a.)

Utilizing the Maximum Site Merging indoor and outdoor spaces through underground parking so that the ground floor is walkable to pedestrians Figure 109 Operable Reflective Surfaces (Halbe,R., 2014)

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Figure 114 Natural Ventilation (Foster+Partners, 2010)

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“ IT IS NOT THE STRONGEST OF THE SPECIES THAT SURVIVES, NOR THE MOST INTELLIGENT THAT SURVIVES. IT IS THE ONE THAT IS MOST ADAPTABLE TO CHANGE ”

- CHARLES DARWIN -

Figure 115 Water Particles Collected by Spider Web

DEFINITIONS

Biomimicry The design and production of materials, structures, and systems that are modeled on biological entities and processes.

Biophilic Suggests that humans possess an innate tendency to seek connections with nature and other forms of life.

Biomimetic Architecture It is a contemporary philosophy of architecture that seeks solutions for sustainability in nature, not by replicating the natural forms, but by understanding the rules governing those forms.

Biosphere The ecosystem comprising the entire earth and the living organisms that inhabit it.

Architecture example - the two signatures of biosphere in architecture is Buckminister Fuller’s outer shell and Amazon’s headquarters in Seattle.

Vernacular Architecture An architectural style that is designed based on local needs, availability of construction materials and reflecting local traditions.

Seismonastic Movements This type of movement is brought about in response to external stimulus of shock or touch.

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REFERENCES

Al-Obaidi, Karam M.; Azzam Ismail, Muhammad; Hussein, Hazreena; Abdul Rahman, Abdul Malik (13 June 2017). “Biomimetic building skins: An adaptive approach”. Renewable and Sustainable Energy Reviews. 79: 1472–1491. doi:10.1016/j.rser.2017.05.028. ISSN 1364-0321 – via Elsevier Science Direct.

Gans, D., & Kuz, Z. (2003). The organic approach to architecture. Chichester: Wiley.

Al Bahar Towers Responsive Facade / Aedas. (2012, September 05). Retrieved from https://www. archdaily.com/270592/al-bahar-towers-responsive-facade-aedas

How Are Cities Founded? (n.d.). Retrieved from https://wonderopolis.org/wonder/how-are-citiesfounded

Alois Riegl, “The Arabesque” from Problems of style: foundatiwons for a history of ornament, translated by Evelyn Kain, (Princeton, NJ: Princeton University, 1992), 266-305.

Kellert, S. R., Heerwagen, J., & Mador, M. (2008). Biophilic design: The theory, science, and practice of bringing buildings to life. Hoboken, NJ: Wiley.

Benyus, J. (n.d.). Retrieved October 11, 2018, from https://www.ted.com/talks/janine_benyus_ biomimicry_in_action?language=en

Khoo Teck Puat Hospital. (2018, October 18). Retrieved from https://living-future.org/biophilic/casestudies/award-winner-khoo-teck-puat-hospital/

Benyus, J. M. (1997). Biomimicry innovation inspired by nature. New York: Harper Perennial.

Mimosa pudica. (2018, October 11). Retrieved from https://en.wikipedia.org/wiki/Mimosa_pudica

Biomimetic architecture. (2018, October 11). Retrieved from https://en.wikipedia.org/wiki/Biomimetic_ architecture

Pawlyn, M. (2016). Biomimicry in architecture. Newcastle upon Tyne: RIBA Publishing.

Bishan Cultural And Art Center (2017, September 05). Bishan Cultural And Art Center / Tanghua Architect & Associates. Retrieved From Https://Www.archdaily.com/878885/Bishan-Cultural-AndArt-Center-Tanghua-Architect-And-Associates Cook, M. (2018, December 06). Animals That Live in the Hot & Dry Desert. Retrieved from https:// sciencing.com/animals-live-hot-dry-desert-6813301.html Davidson, E. A. (2009, November 24). Biomimetic Architecture: The Gherkin and The Swiss Re Tower in London. Retrieved from https://www.trendhunter.com/trends/gherkin-like-sea-sponge El-Zeiny, R. M. (2018, October 14). Biomimicry as a problem solving methodology in interior architecture. Lecture presented at ASEAN Conference on Environment-Behaviour Studies, Bangkok.

Fog Collection. (2018, October 29). Retrieved From Https://En.wikipedia.org/Wiki/Fog_collection fracalossi, i. (2012, november 21). the church of st. aloysius / erdy mchenry architecture. retrieved from https://www.archdaily.com/296093/the-church-of-st-aloysius-erdy-mchenry-architecture Frearson, A. (2012, November 02). Gardens by the Bay by Grant Associates and Wilkinson Eyre Architects. Retrieved from https://www.dezeen.com/2012/06/19/gardens-by-the-bay-by-grantassociates-and-wilkinson-eyre-architects/

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Hardy, E. (2015, May 12). Retrieved October 11, 2018, from https://www.youtube.com/watch?v=kK_ UjBmHqQw&frags=pl,wn

Pawlyn, M. (n.d.). Retrieved October 11, 2018, from https://www.ted.com/talks/michael_pawlyn_ using_nature_s_genius_in_architecture Poon, L., & CityLab. (2016, September 06). A Skyscraper Made of Bones: How Biomimicry Could Shape the Cities of the Future. Retrieved from https://www.citylab.com/life/2016/09/a-skyscrapermade-of-bones-how-biomimicry-could-shape-the-cities-of-the-future/497969/ Solar Panel. (2018, November 25). Retrieved From Https://En.wikipedia.org/Wiki/Solar_panel Team, Z. (2018, November 10). A complete guide to biophilia and to how nature impacts our wellbeing. RetrieveD from http://zen-living.org/2018/08/25/a-complete-guide-to-biophilia-and-hownature-impacts-our-wellbeing/ Ventilation (Architecture). (2018, September 08). Retrieved From Https://En.wikipedia.org/Wiki/ Ventilation_(Architecture) Vincent, J. F. V., Bogatyrev, O., Pahl, A.-K., Bogatyrev, N. R. & Bowyer, A. (2005). Putting Biology into TRIZ: A Database of Biological Effects. Creativity and Innovation Management. 14, 66-72

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LIST OF FIGURES

Figure 1 Macro Leaf

14

Figure 14 Gardens by the Bay, Singapore (Grant Associates, 2012)

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Figure 2 Project Breakdown by Author

23

Figure 15 Growing Plant

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Figure 3 Macro Petal (Ali, 2015)

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Figure 16 Sagrada Familia, Barcelona, Antoni Gaudi (SBA73, 2011)

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Figure 17 Khoo Tech Puat Hospital, Singapore (RMJM, 2010)

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Figure 18 Macro Cactus

46

http://www.wallpapermaiden.com/wallpaper/20110/leaves-macro/download/3840x2160

http://www.naturesta.comwp-contentuploads201509the-18-most-craziest-nature-micro-photos-9.jpg

Figure 4 World Map of Koppen-Geiger Climate Classification (Peel, Finlayson, McMahon, 2016)

https://en.wikipedia.org/wiki/K%C3%B6ppen_climate_classification#/media/File:K%C3%B6ppen-

29

Geiger_Climate_Classification_Map.png

Figure 5 World Map of Koppen-Geiger Climate Classification (Peel, Finlayson, McMahon, 2016, /modified by Author, 2019)

https://en.wikipedia.org/wiki/K%C3%B6ppen_climate_classification#/media/File:K%C3%B6ppen-

https://www.goodfon.com/wallpaper/singapore-parks-marina-bay.html

http://www.growing-little-green-plant-tieuhocnguyenthiminhkhai

https://www.wallpaperpimper.com/wallpaper/1ol4on-barcelona/imac-27

https://living-future.org/biophilic/case-studies/award-winner-khoo-teck-puat-hospital/

29

Geiger_Climate_Classification_Map.png

https://www.britishphotographyawards.org/2019-Shortlist/Macro/The-Cactus/c27d55bf-16bd-4c0a9428-b858cfee2a64#

Figure 19 Al Bahar Towers, Abu Dhabi (Living Spaces,2017))

30

Figure 7 Cactus Spines (Susumu Nishinaga, n.d.)

30

Figure 20 Wind Tower Basics (iaacblog, 2013), Modified by Author, 2019)

50

Figure 8 Namibian Fog-Basking Beetle (Pawlyn, 2016)

31

Figure 21 Fog Collection Basics (UICI, 2017), Modified by Author, 2019)

50

Figure 9 Mimosa Pudica (Ashish, 2015)

32

Figure 22 Solar Power Collection Basics (HowPVworks, 2012), Modified by Author, 2019)

51

Figure 23 Solar Panels on Atrium

51

Figure 24 Wastewater Treatment Process (AWAG, 2018), Modified by Author, 2019)

51

Figure 25 Cardboard - to - Caviar Project (Pawlyn, 2016)

52

Figure 26 The Lotus Building and People’s Park (John Gollings, 2014)

54

Figure 27 King Abdullah Petroleum Studies and Research Centre (Hufton + Crow, 2017)

61

Scanned from Michael Pawlyn’s Book, Biomimicry in Architecture

https://www.sciencesource.com/archive/-SS2212860.html

Scanned from Michael Pawlyn’s Book, Biomimicry in Architecture

https://www.scienceabc.com/nature/how-mimosa-pudica-plant-leaves-work-sleep-touch-shaketurgor-pressure.html

Figure 10 Gherkin Building, London, Norman Foster (Fosterandpartners)

34

Figure 11 Ibuku Bamboo Buildings (Ibuku, 2011)

36

Figure 12 Eden Project, Cornwall, Arup (Edenproject, 2001)

36

Figure 13 Esplanade - Theaters on the Bay,Singapore (Atelier One, 2002)

38

https://steemit.com/architecture/@snaves/biomimetic-architecture-the-gherkin

http://www.deedemmers.com/wp-content/uploads/2017/12/bali3.jpg

https://www.edenproject.com/eden-story/about-us

https://upload.wikimedia.org/wikipedia/commons/b/be/The_Esplanade_4%2C_Singapore%2C_Dec_ 05.JPG

134

https://livinspaces.net/ls-tv/discussing-the-design-an-indepth-look-at-the-design-of-the-al-bahar-

48

Figure 6 Camel’s Nasal Section (Pawlyn, 2016)

towers-in-abu-dhabi-by-aedas-architects/

http://www.iaacblog.com/programs/form-function-climate/

http://sqwater.be.washington.edu/wp/fog-collection/fog-collection/

https://www.evoenergy.co.uk/wp-content/uploads/2015/04/How-PV-Works_June2012-v2.jpg

https://www.FKI-Tower_rooftop-atrium_UrbanNext2016

http://css.umich.edu/factsheets/us-wastewater-treatment-factsheet

https://www.pinterest.com/pin/124552745920078618/?lp=true

https://www.archdaily.com/521699/the-lotus-building-and-people-s-park-studio505

https://www.archdaily.com/882341/king-abdullah-petroleum-studies-and-research-centre-zaha-

135

LIST OF FIGURES

hadid-architects Figure 28 Exterior Perspective (Hufton + Crow, 2017)

https://www.archdaily.com/882341/king-abdullah-petroleum-studies-and-research-centre-zaha-

Figure 39 Geometric Pattern on Facade (ARCH-EXIST, 2017) 62

hadid-architects

Figure 29 Exterior Courtyard (Hufton + Crow, 2017)

https://www.archdaily.com/882341/king-abdullah-petroleum-studies-and-research-centre-zaha-

62

hadid-architects

Figure 30 Shaded Entryway (Hufton + Crow, 2017)

https://www.archdaily.com/882341/king-abdullah-petroleum-studies-and-research-centre-zaha-

https://www.archdaily.com/882341/king-abdullah-petroleum-studies-and-research-centre-zaha-

63

63

65

Figure 33 Passageway Rendered Perspective (SSH, 2017)

66

Figure 34 Interior Render (SSH, 2017)

67

Figure 35 Interior Rendered Perspective (SSH, 2017)

67

Figure 36 Bishan Cultural and Art Center (ARCH-EXIST, 2017)

69

https://www.sshic.com/projects/sheikh-jaber-al-ahmad-cultural-centre

https://www.sshic.com/projects/sheikh-jaber-al-ahmad-cultural-centre

https://www.archdaily.com/878885/bishan-cultural-and-art-center-tanghua-architect-and-

associates/59a91226b22e38287b00052d-bishan-cultural-and-art-center-tanghua-architect-andassociates-photo

Figure 37 Elevation of one of the Buildings (ARCH-EXIST, 2017)

https://www.archdaily.com/878885/bishan-cultural-and-art-center-tanghua-architect-and-

70

associates/59a91226b22e38287b00052d-bishan-cultural-and-art-center-tanghua-architectand-associates-photo

Figure 38 Interior Shadow Pattern (ARCH-EXIST, 2017)

https://www.archdaily.com/878885/bishan-cultural-and-art-center-tanghua-architect-and-

associates/59a91226b22e38287b00052d-bishan-cultural-and-art-center-tanghua-architect136

and-associates-photo

and-associates-photo

Figure 40 Courtyard (ARCH-EXIST, 2017)

https://www.archdaily.com/878885/bishan-cultural-and-art-center-tanghua-architect-and-

71

associates/59a91226b22e38287b00052d-bishan-cultural-and-art-center-tanghua-architect-

Figure 41 The Church of St. Aloysius (ALAN SCHINDLER, 2012)

https://www.archdaily.com/296093/the-church-of-st-aloysius-erdy-mchenry-architecture/

73

Figure 42 The Church of St. Aloysius (ALAN SCHINDLER, 2012)

https://www.archdaily.com/296093/the-church-of-st-aloysius-erdy-mchenry-architecture/

74

571db62ae58ecec942000013-the-church-of-st-aloysius-erdy-mchenry-architecture-photo

Figure 32 Sheikh Jaber Al-Ahmed Cultural District (SSH, 2017)

https://www.sshic.com/projects/sheikh-jaber-al-ahmad-cultural-centre

associates/59a91226b22e38287b00052d-bishan-cultural-and-art-center-tanghua-architect-

571db62ae58ecec942000013-the-church-of-st-aloysius-erdy-mchenry-architecture-photo

hadid-architects

https://www.sshic.com/projects/sheikh-jaber-al-ahmad-cultural-centre

71

and-associates-photo

hadid-architects

Figure 31 Project Drawing (Zaha Hadid Architects, 2017)

https://www.archdaily.com/878885/bishan-cultural-and-art-center-tanghua-architect-and-

Figure 45 Central Roof Structure (ARCH-EXIST, 2017)

https://www.archdaily.com/296093/the-church-of-st-aloysius-erdy-mchenry-architecture/

571db62ae58ecec942000013-the-church-of-st-aloysius-erdy-mchenry-architecture-photo Figure 44 Interior of Church showing the Saddleback Roof Structure (ARCH-EXIST, 2017)

https://www.archdaily.com/296093/the-church-of-st-aloysius-erdy-mchenry-architecture/

75

571db62ae58ecec942000013-the-church-of-st-aloysius-erdy-mchenry-architecture-photo Figure 43 Saddleback Roof Structure (ALAN SCHINDLER, 2012)

https://www.archdaily.com/296093/the-church-of-st-aloysius-erdy-mchenry-architecture/

75

571db62ae58ecec942000013-the-church-of-st-aloysius-erdy-mchenry-architecture-photo Figure 46 World Map Outline (Top Left)

78

Figure 47 Bahrain Bay Aerial View (Top Left)

79

Figure 48 Developer’s Vision (Center Left)

79

http://www.outline-world-map.com/outline-transparent-world-map-b1b

https://bahrainrowing.org/contact-us

http://batelco.com/news-media/batelco-to-offer-fixed-services-at-bahrain-bay-development/

71

75

Figure 49 Proposal Rendering (Bottom Left)

https://m.propertyfinder.bh/en/commercial-buy/retail-for-sale-capital-governorate-

79

bahrain-bay-148137.htmlh

137

LIST OF FIGURES

Figure 50 Reclamation Progress (Top Right)

https://en.wikipedia.org/wiki/Bahrain_Bay#/media/File:Bahrain_Bay_Progress_Sep%2711.jpg

Figure 51 Development Progress (Center Right)

http://meconstructionnews.com/9940/bahrain-bay-set-for-busy-2016-as-construction-

79

Figure 65 Bab Al-Bahrain

79

Figure 64 Old Bahraini Streets

work-steps-up

Figure 52 Real-Time Execution (Bottom Right)

https://www.bizbahrain.com/category/others/page/17/

https://www.google.com/maps/search/bahrain+bay/@26.2487506,50.5777614,807m/

Figure 54 Bahrain Outline Map (Same Page, Right)

https://www.mapsofworld.com/bahrain/bahrain-outline-map.html

Figure 55 Satelite Map of Bahrain Bay (Same Page, Bottom Left)

Figure 57 Site Analysis

79

Figure 67 Defined Program (Author)

90

Figure 68 Form Process Diagram (Winter Quarter) (Author)

91

Figure 70 3D Programmatic Diagram (Winter Quarter) (Author)

92

Figure 69 2D Programmatic Diagram (Winter Quarter)

92

Figure 71 Form Exploration Process (Winter Quarter) (Author)

93

81

Figure 72 Final Form Experimentation (Winter Quarter) (Author)

94

81

Figure 73 Floor Plans (Winter Quarter) (Author)

95

Figure 74 First Floor Plan (Author)

96

Figure 75 Second Floor Plan (Author)

97

Figure 76 Third Floor Plan (Author)

98

Figure 77 Fourth Floor Plan (Author)

99

79

Figure 58 Summer Solstice Sun Analysis

82

Figure 59 Winter Solstice Sun Analysis

82

http://www.andrewmarsh.com/apps/staging/sunpath3d.html

http://www.andrewmarsh.com/apps/staging/sunpath3d.html

Figure 60 Spring Solstice Sun Analysis

http://www.andrewmarsh.com/apps/staging/sunpath3d.html

Figure 62 Tying back to Bahrain’s Roots

https://thenounproject.com/term/bahrain-map/1133068/

83

83

86

https://thenounproject.com/term/roots/737498/ Figure 63 Bahrain in the Past

https://upload.wikimedia.org/wikipedia/commons/9/91/Manama_Souq_1965.JPG

138

87

Figure 66 Pearling Path

79

https://www.google.com/maps/search/bahrain+bay/@26.1961103,50.5546506,13z/data=!3m1!4b1

http://www.andrewmarsh.com/apps/staging/sunpath3d.html

79

data=!3m1!1e3

Figure 61 Autumn Solstice Sun Analysis

https://lh3.googleusercontent.com/ucFFXkEIyzXS-V-g-ENaKbPPvrQ58Dhd6MjxW6bD

87

JMY0YO_fV5Nt4M1Yb0sftZ-hELjs=s128

Figure 53 Middle East Outline Map (Same Page, Top Left)

Figure 56 2018 Wind Distribution Analysis

https://upload.wikimedia.org/wikipedia/commons/f/fc/Bab_al_Bahrain_alley.jpg

87

http://goldenskytourism.com/hotelscategory/tourist-spots/

87

Figure 78 Section AA (Author)

101

Figure 79 Section BB (Author)

103

Figure 80 Location Plan Perspective (Author)

105

Figure 82 Front Elevation from Four Season’s Island (Author)

106

Figure 81 Site Plan Perspective (Author)

106 139

LIST OF FIGURES

Figure 83 Aerial View of Proposed Project Within its Context (Author)

107

Figure 84 East View Perspective (Author)

107

Figure 85 Project Overview (Author)

109

Figure 87 Street View of Entrance from Promenade (Author)

110

Figure 86 Exterior Atrium Close Up (Author)

110

Figure 89 Street View from Promenade approaching the building from the West (Author)

111

Figure 88 East Entrance Overlooking the Promenade (Author)

111

Figure 90 Entrance (Author)

112

Figure 91 Lobby (Author)

112

Figure 92 Fourth Floor Exhibition Space (Author)

113

Figure 93 Auditorium/Theatre (Author)

113

Figure 94 Project Overview in Context (Author)

115

Figure 95 Form Diagram (Author)

116

Figure 96 Exploded Axonometric (Author)

117

Figure 97 Program Breakdown (Author)

118

Figure 98 Solar Analysis (Author)

119

Figure 99 Architecturally Manipulated Solar Panel Diagram (Author)

120

Figure 100 Atrium Operable Windows for Ventilation (Author)

121

Figure 101 Views (By Author)

122

Figure 102 Openings (By Author) 122 Figure 103 Social Spaces

http://thegolfclub.info/related/public-park-near-my-location.html

140

Figure 104 Parasitic Shading Device (SSH, 2018) 123 https://www.sshic.com/projects/sheikh-jaber-al-ahmad-cultural-centre

Figure 105 Shaded Walkways (SSH, 2018) 123 https://www.middleeastarchitect.com/40471-ssh-designed-cultural-centre-in-kuwait-wins-architecture-award

Figure 106 Clustering of Buildings (SSH, 2017)

https://www.kuna.net.kw/ArticleDetails.aspx?id=2702993&Language=en

123

Figure 107 Mashrabiya Roof Concept (Ateliers Jean Nouvel, 2017) 124 https://www.archdaily.com/883157/louvre-abu-dhabi-atelier-jean-nouvel/5a01c1a2b22e38b 1dc0004ec-louvre-abu-dhabi-atelier-jean-nouvel-c-ateliers-jean-nouvel-render

Figure 108 Reflecting Sun Light Diagram (Halbe,R., 2014) 124 http://www.jeannouvel.com/en/projects/one-central-park/

Figure 109 Operable Reflective Surfaces (Halbe,R., 2014) 124 http://www.jeannouvel.com/en/projects/one-central-park/

Figure 110 Green Spaces (Gillespies, 2018) 125 https://worldlandscapearchitect.com/riverlight-london-uk-gillespies/#.XPdIRi_Mz-Y

Figure 111 Social Pockets (ISA, 2013)

125

Figure 112 Greenery (SSH, 2017)

125

Figure 113 Indoor - Outdoor Transition (Brown, M., n.a.)

125

Figure 114 Natural Ventilation

125

Figure 115 Water Particles Collected by Spider Web

126

http://www.is-architects.com/looped-in

https://www.kuna.net.kw/ArticleDetails.aspx?id=2702993&Language=en

https://www.micholynbrowndesign.com/montecito-interior-design/6yhba7od2t1o6ualjbexgmwvfr56hm

https://www.fosterandpartners.com/projects/zayed-national-museum/#drawings

https://inhabitat.com/tag/biomimicry/

122

141