Biomimicry in Architecture Dissertation Report

DISSERTATION Year: 2019-20 Batch No. 17

BIOMIMICRY IN ARCHITECTURE

Undertaken by: Vinay Kumar Shrestha Enrolment No.: 15E1AAARM45P137 V Year B.Arch(C)

Prof.Parul

Prof. ARCHANA SINGH

GUIDE

COORDINATOR

Aayojan School of Architecture ISI-4, RIICO Institutional Block, Sitapura, Jaipur-302022

BIOMIMICRY IN ARCHITECTURE 2019

APPROVAL The study titled ―Biomimicry in architecture” is hereby approved as an original work of Vinay Kumar Shrestha, enrolment no. 15E1AAARM45P137 on the approved subject carried out and presented in a manner satisfactory to warrant its acceptance as per the standard laid down by the university. This report has been submitted in partial fulfilment for the award of Bachelor of Architecture degree from Rajasthan Technical University, Kota.

It is to be understood that the undersigned does not necessarily endorse or approve any statement made, any opinion expressed or conclusion drawn therein, but approves the study only for the purpose it has been submitted.

6th December 2019 Jaipur

Prof. K.S. MAHAJANI

EXTERNAL EXAMINER 1

PRINCIPAL

Prof. ARCHANA SINGH

EXTERNAL EXAMINER 2

COORDINATOR

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DECLARATION I, Vinay Kumar Shrestha, hereby solemnly declare that the research work undertaken by me, titled ‘Biomimicry In architecture.’ Is my original work and wherever I have incorporated any information in the form of photographs, text, data, maps, drawings, etc. from different sources, has been duly acknowledged in my report.

This dissertation has been completed under the supervision of the guide allotted to me by the school. Further, whenever and wherever my work shall be presented or published it will be jointly authored with my guide.

Vinay Kumar Shrestha V Year B.Arch (C) Aayojan School of Architecture, Jaipur

CERTIFICATE This is to certify that the research titled, 'Biomimicry in architecture' is a bonafide work by Vinay Kumar Shrestha of Aayojan School of Architecture, Jaipur. This research work has been completed under my guidance and supervision in a satisfactory manner. This report has been submitted in partial fulfillment of the award of BACHELOR OF ARCHITECTURE degree from Rajasthan Technical University, Kota.

This research work fulfills the requirements relating to nature and standard laid down by the Rajasthan Technical University.

Prof.Parul Guide Aayojan School of Architecture, Jaipur

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ACKNOWLEDGMENT On the onset of this report, I would like to express my sincere and heartfelt gratitude to all those who have helped me in this endeavour, knowingly or unknowingly. Without their active guidance, help, cooperation and encouragement, I would not have made headway in the project.

The success and outcome of this project required a lot of guidance and assistance from many people and I am extremely privileged to express my sincere thanks and gratitude towards the school, Prof. KIRAN S. MAHAJANI, Principal, Aayojan School of Architecture, Jaipur, Prof.

N.S.RATHORE, Dean, Aayojan School of Architecture, Jaipur and Prof.

ARCHANA SINGH, Coordinator. I would like to thank Prof. PARUL for her patient advice and guidance throughout the research process.

Last but not least, I would like to express my deepest gratitude to my family and friends for their warm love, continued patience, and endless support.

Enrolment No: 15E1AAARM45P137

VINAY KUMAR SHRESTHA V Year B.Arch. (C) Aayojan School of Architecture, Jaipur

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ABSTRACT BIOMIMICRY IN ARCHITECTURE Vinay Kumar Shrestha Biomimicry, where the design is inspired by flora, fauna or entire ecosystems, has attracted considerable interest in the fields of architectural design and engineering as an innovative new design approach and also as a potential way to shift the built environment to a more sustainable paradigm. It aims at studying the natural processes found in nature and uses it for the welfare of mankind.

This study seeks to contextualize the various approaches to biomimicry and form the basis for an ecosystem-based design. With consideration to all the levels of biomimicry and their approaches, via case studies, the research provides a critical analysis of both the positive and negative aspects and how the zero waste models can be achieved to attain a regenerative built environment. This would enable us to reach beyond sustainability to a regenerative design practice where the built environment becomes a vital component in the integration with and regeneration of natural ecosystems as the wider human habitat.

The study concludes that while this technique could be applied at the organism level, significant challenges remain at the process and ecosystem levels that would be required to overcome if this approach were to influence the development of future cities. It is posited that a biomimetic approach to architectural design that incorporates an understanding of ecosystems could become a vehicle for creating a built environment that goes beyond simply sustaining current conditions to a restorative practice where the built environment becomes a vital component in the integration with and regeneration of natural ecosystems.

Key Words: Biomimicry, regenerative built environment, zero waste model, ecological solutions, sustainable architecture.

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TABLE OF CONTENTS APPROVAL .................................................................................................................. i DECLARATION ........................................................................................................... ii CERTIFICATE .............................................................................................................. ii ACKNOWLEDGMENT ................................................................................................iii ABSTRACT ................................................................................................................. iv LIST OF ILLUSTERATIONS .......................................................................................... vii LIST OF TABLES ........................................................................................................... x CHAPTER 1: OVERVIEW ............................................................................................. 1 Dissertation:................................................................................................................ 1 Research questions: ................................................................................................. 1 Aim: ............................................................................................................................. 1 Objectives: ................................................................................................................. 1 Scope: ........................................................................................................................ 1 Limitations: ................................................................................................................. 1 Methodology:............................................................................................................ 2 CHAPTER 2: INTRODUCTION ..................................................................................... 3 Approaches............................................................................................................... 5 The Three levels of Biomimicry ................................................................................ 5 CHAPTER 3: CASE STUDIES ........................................................................................ 6 3.1 Lavasa City .......................................................................................................... 6 3.2: The Eden Project .............................................................................................. 10 3.2.1 The Core building .......................................................................................... 16 3.3 30 St. Mary Axe ................................................................................................. 18 3.4 Council House 2, Melbourne .......................................................................... 21 3.5 The Milwaukee Art Museum ............................................................................ 27 3.6 One Ocean, Thematic Pavilion...................................................................... 32

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BIOMIMICRY IN ARCHITECTURE 2019 CHAPTER 4: ANALYSIS ............................................................................................ 34 Parameters: ............................................................................................................. 34 CHAPTER 5: CONCLUSIONS AND RECOMENDATIONS .......................................... xi CONCLUSIONS ......................................................................................................... xi RECOMMENDATIONS ..............................................................................................xii BIBLIOGRAPHY ......................................................................................................xviii

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LIST OF ILLUSTERATIONS Figure 1 Diagram showing design cycle .................................................................. 3 Figure 2 Biomimicry design spiral ............................................................................... 4 Figure 3 Panoramic view of Lavasa City .................................................................. 6 Figure 4 Panitings depecting the idea for the Environment of the city .............. 6 Figure 5 Biomimitic sources : (left) ant hill, (centre) roof tiles functional diagram and (right) roof tile at site ........................................................................... 7 Figure 6 Painting dipicting the Lava City and all the surrounding idea for development ................................................................................................................ 8 Figure 7 Master plan of Lavasa City .......................................................................... 8 Figure 8 Water ways of the city and it's seanic beauty ......................................... 9 Figure 9 The Eden Project after construction pictures ......................................... 10 Figure 10 Existing Site ................................................................................................. 10 Figure 11 Biomitic sources: (left) Soap Bubbles, (centre) Honeycomb and (right) microscopic view of a pollen grain ............................................................. 11 Figure 12 Models depicting the form of the superstructure resting on the site taking it's form ............................................................................................................. 12 Figure 13 The formation of the Hex-Tri-Hex structure applied ............................. 12 Figure 14 On site image of the structural framework ........................................... 13 Figure 15 ETFE sheets (top-left) Testing, (top-right) Installation on site, (bottomleft) Ariel view after installation and (bottom-right) Maintainence ................... 13 Figure 16 Elevation and Plan of structure for the 3 Biomes ................................. 14 Figure 17 Internal View of the Biomes ..................................................................... 15 Figure 18 Panaromic internal View of the Biome .................................................. 15 Figure 19 Views of the Core BUilding ...................................................................... 16 Figure 20 (top-left) biomimitic source: Sunflower, (top-right) construction of the Core Building, (bottom) 3D formation of the roof design ............................ 16 vii

BIOMIMICRY IN ARCHITECTURE 2019 Figure 21 (left) Physical Model, (right) Interior of the building ............................ 17 Figure 22 Night View of the Gherkin........................................................................ 18 Figure 23 Drawings of the building with floor plans and elevation .................... 18 Figure 24 (left) Biomimitic source: The exoskeleton of Venus flower basket, (right) Sketch by Norman Foster .............................................................................. 19 Figure 25 Diagrammatic depiction of the wind flow around the 30 St. Mary Axe and a normal and a building without aerodynamics.................................. 20 Figure 26 Front facade of the CH2 Building ........................................................... 21 Figure 27 (left) Biomimitic source: Termite mound and (right) physiology working process.......................................................................................................... 22 Figure 28 Translation of termite mound concept into CH2 building (Daytime) ...................................................................................................................................... 23 Figure 29 Translation of termite mound concept into CH2 building (Night Time) ...................................................................................................................................... 24 Figure 30 Section Detail CH2 Shower Tower .......................................................... 25 Figure 31 Wavy concrete ceilings help keep the building cool by slowly ........ 26 Figure 32 Movable steel louvers in action .............................................................. 27 Figure 33 Sketch depicting the biomimitic source (Bird) and the buildings resemblance............................................................................................................... 28 Figure 34 (top left) Internal view of the long span structure, (top right) external view of the building with louvers closed, (bottom) concrete structural system ...................................................................................................................................... 29 Figure 35 Diagram representing all the parts of the building.............................. 30 Figure 36 Connection of the wing louvers and the building ............................... 30 Figure 37 Dimensions for the mast supporting the structure ............................... 31 Figure 38 kinetic lamellas of the One Ocean, Thematic Pavilion ...................... 32 Figure 39 Model depicting the functioning of the kinetic lamellas ................... 32 Figure 40 Drivers and Results of change................................................................ xiv

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BIOMIMICRY IN ARCHITECTURE 2019 Figure 41 Regenerative Design Impacts ............................................................... xiv Figure 42 Terms to describe design approaches that mimic aspects of nature .....................................................................................................................................xvii

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LIST OF TABLES Table 1 Methodology

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Table 2 Analysis of The Eden Project

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Table 3 Analysis of Lavasa City

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Table 4 Analysis of The Council House 2

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Table 5 Analysis of 30 St. Mary Axe

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Table 6 Analysis of The Milwaukee Art Museum

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CHAPTER 1: OVERVIEW Dissertation: Biomimicry in architecture

Research questions:    

What is biomimicry and what it's not?

Why do we need to study biomimicry and how can it help attain a more environmentally conscious architecture.

How does biomimicry spur Creative innovation?

What new direction will biomimicry take in the coming years?

Hypothesis: Biomimicry as an approach to regenerative built environment

Aim: The research aims at identifying the possibilities of linking and applying biological principles to explore the potential of emerging sciences for developing design solutions.

Objectives:   



To study the need of biomimicry in architecture To observe the relation of waste and nature with respect to biomimicry To analyze architecture w.r.t. biomimicry practices, from protecting humans from the environment to protecting the environment from humans.

To come up with possible design recommendations for the project: Ocean Conservation Centre

Scope: The study will cover the interrelation of biomimicry and architecture

Limitations:  

Restricting the research to architecture The overlap between ecologically sustainable design and biomimicry was both a limitation and an advantage in the present study 1

BIOMIMICRY IN ARCHITECTURE 2019

Methodology: Table 1 Methodology

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CHAPTER 2: INTRODUCTION ―Biomimicry as an approach to innovation that seeks sustainable solutions to human challenges by emulating nature‘s time-tested patterns and strategies.‖ -Biomimicry Institute Life on earth presents elegant solutions to many of the challenges that designers and innovators face every day.

Humans are clever, but without intending to, we have created massive sustainability problems for future generations. Fortunately, solutions to these global challenges are all around us.

The goal is to create products, processes, and policies new ways of living that are well-adapted to life on earth over the long haul.

Biomimicry is an ideology that combines biology with architecture to completely unite building and nature. It is an approach to innovation that seeks sustainable solutions to human challenges by emulating nature‘s timetested patterns and strategies. It aims at studying the natural processes found in nature and uses it for the welfare of mankind.

Design biomimetic can emphasize ways of thinking and designing that bring architecture and industrial design into a process of environmental and biological focus on more responsive, safer buildings.

While biomimicry at the organism level may be inspirational for its potential to produce novel architectural designs, the possibility exists that a building as part of a larger system, that is able to mimic natural processes and can function as an ecosystem in its creation, use and eventual end of life, has the potential to contribute to a built environment that goes beyond sustainability and starts to become regenerative

Figure 1 Diagram showing design cycle

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The Biomimicry Guild, in collaboration with other organizations, developed a practical design tool called the Biomimicry Design Spiral that uses nature as a model. This tool outlines guidance using the following steps to apply the tool effectively and systematically to the creative process. Below are listed the basic steps in that process.

Figure 2 Biomimicry design spiral

Identify—Develop a Design Brief of the human need.

Translate—Biologize the question; ask the design brief from Nature's perspective.

Ask "How does Nature do this function?" "How does Nature NOT do this function?"

Discover—Look for the champions in nature who answer/resolve your challenges.

Abstract—Find the repeating patterns and processes within nature that achieve success.

Emulate—Develop ideas and solutions based on the natural models.

(Nature as measure is embedded in the evaluate step of the Biomimicry Design Spiral.)

Evaluate—How does your design align against your design brief and Life's Principles, the successful principles of nature?

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Approaches There are two approaches for using biomimicry as a design guild, design looking to biology and biology influencing design:  

Defining a human design problem and looking to the ways other organisms or ecosystems solve this (design looking to biology), Identifying a particular characteristic in an organism or ecosystem and using it to provide a solution to a human problem (biology influencing design) (Biomimicry Guild, 2007).

Furthermore, within these two approaches, there are three levels of mimicry: Organism level, behavior and ecosystem levels as detailed by Pedersen Zari (2007).

The Three levels of Biomimicry 





The first level of biomimicry is the mimicking of natural form. For instance, you may mimic the hooks and barbules of an owl‘s feather to create a fabric that opens anywhere along its surface. Or you can imitate the frayed edges that grant the owl its silent flight. copying feather design is just the beginning because it may or may not yield something sustainable.

Deeper biomimicry adds a second level, which is the mimicking of a natural process, or how a thing is made. The owl feather self-assembles at body temperature without toxins or high pressures, by way of nature‘s chemistry. The unfurling field of green chemistry attempts to mimic these benign recipes.

At the third level is the mimicking of natural ecosystems. The owl feather is gracefully nested its part of an owl that is part of a forest that is part of a biome that is part of a sustaining biosphere. In the same way, our owl-inspired fabric must be part of a larger economy that works to restore rather than deplete the Earth and its people. If you make a bio-inspired fabric using green chemistry, but you have workers weaving it in a sweatshop, loading it onto pollution-spewing trucks, and shipping it long distances, you‘ve missed the point.

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CHAPTER 3: CASE STUDIES 3.1 Lavasa City

Figure 3 Panoramic view of Lavasa City

Project info: The Lavasa, Hill Station Project Location: Maharashtra, India Developer: Ajit Gulabchand, Hindustan Construction Company Architect: HOK HOK Team Leader: Dhaval Barbhaya Biological Consultant: Biomimicry Guild Time Frame: 2001-2008 What began as a strand of small villages along the water‘s edge turned into a project lasting more than 7 years. During this time HOK developed an 8,000acre master plan for a population base of 200,000, which it is hoped will attract 2 million visitors annually

Figure 4 Panitings depecting the idea for the Environment of the city

In India, a new hill resort and a bio-mimetic city named Lavasa has been constructed by HCC Group with the help of an architectural firm, HOK. Spread across 12,000 acres in a Western Ghats valley located outside Pune, the new city has been designed using Bio-mimetic technology.

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BIOMIMICRY IN ARCHITECTURE 2019 The idea was to restore 70% of the deforested land through detailed landscaping, reforestation, and slope greening, reduce 30% of carbon emissions, 65% of potable water consumption, and 95% of waste sent to landfills. The site‘s original ecosystem was a moist deciduous forest, which was converted into an arid landscape in recent times.

Design problem: Lavasa is a unique mountainside site that was deforested as a result of slash and burn practices. For three months each year monsoon driven rains cause severe soil erosion. Most of the year this area is arid, as the next nine months bring on drought-like conditions that rapidly evaporate huge volumes of water. Consequently, the water levels in the valley lake basin fluctuate wildly by as much as 9 meters per season

Biomimetic solution: The original ecosystem at Lavasa was a moist, deciduous forest prior to deforestation. HOK used the deciduous forest system as a building model because intact forest environments retain soil, store water and minimize erosion and evaporation with leafy canopies and complex root systems.

Engineers, for later use during the dry season, designed buildings to collect rainwater in underground reservoirs that mimic a tree‘s taproot and circulation system.

To solve rooftop water run-off problems, HOK used the unique shaped leaf of the indigenous banyan fig tree as a model to create the roof tiles. These tiles mimic the long narrow ―drip-tip‖ leaf shape, which increases water flow and creates friction that self-cleans the surface.

Figure 5 Biomimitic sources : (left) ant hill, (centre) roof tiles functional diagram and (right) roof tile at site

To control water over-flow from run-off during the rainy season, HOK mimicked native harvester ant nests. The ants construct radiating grooved earth dams around the central nest hole to redirect water away in multiple

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BIOMIMICRY IN ARCHITECTURE 2019 directions. This successful ant engineering was mimicked in the design of Lavasa‘s drainage system for the master site plan.

Figure 6 Painting dipicting the Lava City and all the surrounding idea for development

Figure 7 Master plan of Lavasa City

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Figure 8 Water ways of the city and it's seanic beauty

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3.2: The Eden Project

Figure 9 The Eden Project after construction pictures

Project Info: Location: St. Austell, Cornwall, England Architect: Grimshaw Project Type: Culture and Exhibition Halls Client: Eden Project Limited Area: 23,000 sq. m Date of construction: 1998-2001 Site: The Bodelva pit The first step for finding the form was analyzing the site. The site in was a china clay pit nearing the end of its working life – the Bodelva pit close to St Austell in Cornwall. The pit covered an area of about 22 hectares and varied in depth from 30 to 70 meters

Figure 10 Existing Site

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Site advantages:   

It receives plenty of sunlight Has a south-facing slope and It‘s relatively accessible

Disadvantages: Ground material, the pit was composed mostly of clay, which does not have the necessary nutrients to support extensive plant life. Before the crew could begin constructing the greenhouses, they had to build up a level of nutrientrich soil.

Key Design Strategies The Eden Project uses a variety of design strategies to help it complete its goal of sustainability. 

  

The structure was to be the world‘s largest plant enclosure. This involved in the making of a design scheme that could span for great distances without the use of single internal support.

The structure must be as light as possible. a lighter structure would put less stress on the soil and allow for smaller footings and less site impact.

The enclosure must be ecologically friendly helping it to be used as an educational demonstration of sustainability.

The multiple greenhouse complex in Cornwall is a series of artificial biomes with domes modelled after soap bubbles, honeycomb and pollen grains.

Figure 11 Biomitic sources: (left) Soap Bubbles, (centre) Honeycomb and (right) microscopic view of a pollen grain

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Figure 12 Models depicting the form of the superstructure resting on the site taking it's form

The design team proposed a radical change to the basic form of the biomes, the form of intersecting domes. One benefit would be easier access for the application and maintenance of a corrosion protection system. This approach also allowed the possibility of placing the structure within the envelope. A twin-layer system with sealed skin above and below the structural zone could also provide a controlled environment. This solution also offered the possibility of having a fully braced geodesic geometry all in one plane.

To build an effective spherical shape.

The solution to this challenge was to look at nature. He got his inspiration from looking at the honeycomb of bees and even the multifaceted eyes of a fly. These creatures used their surroundings most effectively to create a very strong, yet light-weight, solution. In addition, a geodesic dome-like structure would be able to conform to the expanding and contracting contours of the clayey soil. The total Eden structure uses 625 hexagons, 16 pentagons, and 190 triangles.

This weight (667 tons) is dispersed evenly throughout the entire structure so that the dome only needs support Figure 13 The formation of the Hex-Tri-Hex structure applied

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BIOMIMICRY IN ARCHITECTURE 2019 around its base, leaving lots of room for the plants inside.

The edges of the dome rest on a sturdy foundation necklace, an underground concrete wall around the perimeter of the structure.

Figure 14 On site image of the structural framework

The geodesic hexagonal bubbles inflated with air were constructed of Ethylene Tetrafluoroethylene (ETFE), a material that is both light and strong. The final superstructure weighs less than the air it contains.

ETFE foil is a perfect covering for a greenhouse because it is strong, transparent and lightweight. A piece of ETFE weighs less than 1% of a piece of glass with the same volume. It is also a better insulator than glass, and it is much more resistant to the weathering effects of sunlight.

Figure 15 ETFE sheets (top-left) Testing, (top-right) Installation on site, (bottom-left) Ariel view after installation and (bottom-right) Maintainence

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BIOMIMICRY IN ARCHITECTURE 2019 The Eden Project is a sprawling structure built along the side of a deep pit. The structure comprises three biomes, areas designed to represent three distinct climates found around the world.

Figure 16 Elevation and Plan of structure for the 3 Biomes

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Figure 17 Internal View of the Biomes

The Humid Tropics Biome 240 m long, 55 m high and 110 m wide, it‘s a multi-domed greenhouse that recreates the natural environment of a tropical rainforest. The warm, humid enclosure houses hundreds of trees and other plants from rainforests in South America, Africa, Asia and Australia.

The Warm Temperate Biome Houses plants from temperate rainforests around the world. Like tropical rainforests, temperate rainforests receive a high volume of rain every year, making them an ideal environment for varied plant life from temperate rainforests in Southern Africa, the Mediterranean and California. But since they are farther away from the equator than tropical rainforests, they do experience distinct seasons.

Figure 18 Panaromic internal View of the Biome

The Roofless Biome An open area with varied plant life from the temperate Cornwall area, as well as similar climates in Chile, the Himalayas, Asia and Australia. Visitors can learn about plants by following nature trails that wind over 30 acres of land.

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3.2.1 The Core building The education centre, known as The Core, is the fourth phase of the Eden Project It will be used for exhibitions, films and children's workshops

Figure 19 Views of the Core BUilding

The design concept was developed from naturally occurring geometries. The roof is the focal point of the design with pinecone ‗scales‘ formed by a grid of timber panels, insulated with recycled newspaper. These are clad with a standing-seam system of copper panelling.

Figure 20 (top-left) biomimitic source: Sunflower, (top-right) construction of the Core Building, (bottom) 3D formation of the roof design

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BIOMIMICRY IN ARCHITECTURE 2019 The ceiling as a structural entity comprises of 330 beams. The Fibonacci sequence acts as the sunflower pattern which connects across the roof space, although every few feet a pyramid sky-light points upward, breaking up the smooth skin of the roof in spiky fashion.

Figure 21 (left) Physical Model, (right) Interior of the building

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3.3 30 St. Mary Axe Project info: Location: London, United Kingdom Completed construction in 2003, opened in 2004 Client: Swiss Re-Insurance Co. Architect: Foster and Partners

Figure 22 Night View of the Gherkin

Fondly nicknamed The Gherkin and The Swiss Re Tower, the one-like shape of 30 St. Mary Axe stretches 180 meters tall, holds 40 floors, and its steel exoskeleton don‘s stripes of navy colour, diamond-shaped pre-fabricated glass panels. The panels wrap the building in a swirl of windows. 30 St. Mary Axe offers a fascinating example of biomimetic architecture borrowing designs from biological organisms.

Figure 23 Drawings of the building with floor plans and elevation

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Design Concept Norman Foster designed an aerodynamic shape to allow wind flow around the building and its facade, rather than redirecting the wind to the ground 

   

The enhancement of the public environment at street level, opening up new views across the site to the frontages of the adjacent buildings and allowing good access to and around the new development.

Maximum use of public transport for the occupants of the building.

Flexible serviced, high specification ‗user-friendly‘ column-free office spaces with maximum primary space adjacent to natural light.

Good physical and visual interconnectivity between floors.

Reduced energy consumption by use of natural ventilation whenever suitable, low façade heat gain and smart building control systems.

Figure 24 (left) Biomimitic source: The exoskeleton of Venus flower basket, (right) Sketch by Norman Foster

This special sponge hosts a lattice-like exoskeleton that appears glassy and glowing in its underwater environment. The various levels of fibrous latticework help to disperse stresses on the organism in various directions and its round 19

BIOMIMICRY IN ARCHITECTURE 2019 shape reduce forces due to strong water currents, both of which were applied to Foster‘s design of the tower.

What the Venus Flower Basket does underwater, 30 St. Mary Axe mimics high in the air and showing how nature models efficient design

Figure 25 Diagrammatic depiction of the wind flow around the 30 St. Mary Axe and a normal and a building without aerodynamics

The steel exoskeleton of 30 St. Mary Axe mimics the hexactinellid lattice of the Euplectella. Opening windows allow natural light and fresh air to penetrate the structure. The building‘s curves allow wind to easily whip around its shape.

(Rectangular buildings deflect wind down, blasting anyone at street level on a windy day.) Also, vents at street level harvest wind by sucking it in and swirling air upwards. Beams radiate from the centre of the structure to support each floor. A hole in each floor called an atrium exposes the beams. This cuts the air conditioning bill by 50%.

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3.4 Council House 2, Melbourne Project info: Architects:DesignInc Location: Melbourne, Australia Category: Office building

Figure 26 Front facade of the CH2 Building

The project will focus on the unique design process the design team undertook for CH2 and some of the innovative solutions the process produced.

CH2 has been designed to not only conserve energy and water but improve the wellbeing of its occupants through the quality of the internal environment of the building The project‘s collaborative, eight-month design process resulted in many beneficial and unexpected design outcomes, such as: • A vaulted precast concrete floor structure that integrates structure, cooling, lighting and ventilation.

• Façade designs inspired by natural systems that work with external conditions rather than excluding them.

• A healthy work environment that provides physical access to nature and a quality indoor environment.

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BIOMIMICRY IN ARCHITECTURE 2019 The heating, ventilation, and cooling (hvac) system The Termite Mound The first application of biomimicry on the design came by examining how termite mounds function. In a termite mound, the cool wind is drawn into the base of the mound via channels and the ‗coolth‘ is stored using wet soil. As the air warms in the mound, it flows upwards and out of the mound via vents.

The termite mounds are able to keep a stable temperature within, allowing the termites an ideal temperature for living and laying eggs, despite the large variations in temperature outside. The termites reside within the air ducts, working within the natural convection currents. This ‗design solution‘ from the natural world has been transferred and applied to the air conditioning system of CH2.

Figure 27 (left) Biomimitic source: Termite mound and (right) physiology working process

100 000 litres of water is extracted and cleaned from the sewers beneath the building and used to condition the air. This is reminiscent of how certain termite species use the proximity of aquifer water as an evaporative cooling mechanism. African Barossa termites make tunnels tens of metres deep to reach the water table, so that its cooling effect can be used in extreme heat to keep the mound within a one degree temperature fluctuation range .

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Figure 28 Translation of termite mound concept into CH2 building (Daytime)

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Figure 29 Translation of termite mound concept into CH2 building (Night Time)

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BIOMIMICRY IN ARCHITECTURE 2019 Some of the cleaned water is passed through shower towers on the outside of the building. This cools the water, particularly at night. The water passing through the shower towers also cools surrounding air which is then used to ventilate the commercial premises on the ground floor. The water continues to the basement where it passes through a system that stores the ‗cooth‘ by using phase change materials. The water is then used in a closed loop in chilled beams that provide cooling to the building interior.

Figure 30 Section Detail CH2 Shower Tower

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Figure 31 Wavy concrete ceilings help keep the building cool by slowly

The design follows a model that promotes a more interactive role between the city and nature, in which all parties depend on each other.

The City of Melbourne aims to achieve zero emissions for the municipality by 2020. A major contribution to this strategy is the reduction in energy consumption of commercial buildings by 50%.

Equally important to its environmental features is that it provides 100% fresh air to all occupants with one complete air change every half hour.

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3.5 The Milwaukee Art Museum Project info: Designer: Santiago Calatrava Location: Milwaukee, Wisconsin Date: 1994-2001

Figure 32 Movable steel louvers in action

Calatrava‘s designs are often inspired by nature, featuring a combination of organic forms and technological innovation. The Milwaukee Art Museum expansion incorporates multiple elements inspired by the Museum‘s lakefront location. Among the many maritime elements in Calatrava‘s design are: • Movable steel louvers inspired by the wings of a bird; • A cabled pedestrian bridge with a soaring mast inspired by the form of a sailboat and a curving single-story galleria reminiscent of a wave.

Architect Santiago Calatrava is attracted to the beauty based on physical metaphors, animal skeletons, and human gesticulations. These natural references enhance the scale, shape, and dynamism of the designs.

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Figure 33 Sketch depicting the biomimitic source (Bird) and the buildings resemblance

He studied the complication of animal bones and the manner they link in order to express a lively active condition.

The Milwaukee Art Museum in Milwaukee was aimed to rise with the metaphor of a bird taking off for flight. This was attained through the kinetics of the roof construction, a sequence of steel fins that perform as a screen that opens and closes as an openhearted gesture to visitors. The fins pivot from a switch mast that can incline to 47 degrees, generating a complicated patterning of building components.

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Figure 34 (top left) Internal view of the long span structure, (top right) external view of the building with louvers closed, (bottom) concrete structural system

Santiago Calatrava wanted to incorporate both the urban and natural features of Lake Michigan, which the building overlooks, and took into account the ―culture‖ of the lakefront including boats and sails.

The cable-stayed bridge pylon and the Quadracci Pavilion‘s building spine are aligned on the same axis and are inclined 48.36 degrees toward the Pavilion11 pairs of actuators operate simultaneously to open or close the wings in unison by turning two rotating spines up to 90 degrees

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Figure 35 Diagram representing all the parts of the building

A cable-stayed pedestrian bridge featuring a steeply-raked pylon and ‗boomerang‘ abutment spans 230 feet across a major thoroughfare, connecting Milwaukee‘s downtown with the waterfront

Figure 36 Connection of the wing louvers and the building

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Figure 37 Dimensions for the mast supporting the structure

The 192-foot-long pylon supports the 10 major spans of the bridge through 9 locked-coil cables and 18 backstay cables

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3.6 One Ocean, Thematic Pavilion Project info: Architects: SOMA Lima Location: Yeosu-si, Jeollanam-do, South Korea Category: Pavilion

Figure 38 kinetic lamellas of the One Ocean, Thematic Pavilion

The main design intent was to embody the Expo‘s theme ―The Living Ocean and Coast‖ and transform it into a multi-layered architectural experience.

The Expo‘s agenda, the responsible use of natural resources, is not visually represented, but embedded into the building through the sustainable climate design or the biomimetic approach of the kinetic facade.

Figure 39 Model depicting the functioning of the kinetic lamellas

Length:140 m, Height: between 3 m and 13 m high,108 kinetic lamellas, which are supported at the top and the bottom edge.

Material: glass fibre reinforced polymers (FRP), which combine high tensile strength with low bending stiffness, allowing for large reversible elastic deformations. The lamellas are moved by actuators on both the upper and lower edge of the FRP blade, which induce compression forces to create the complex elastic deformation.

The material performance of the biomimetic lamellas produces an 32

BIOMIMICRY IN ARCHITECTURE 2019 interrelated effect of geometry, movement and light: The longer the single lamella – the wider the angle of opening – the bigger the area affected by light.

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CHAPTER 4: ANALYSIS Parameters: The criteria with which these case studies were analyzed were partially developed through Janine Benyus‘ Biomimicry Resource Handbook (Baumeister et al. 2014). The chapter ―Principles of Life‖ offers specific design standards for Benyus‘ definition of true biomimicry-inspired design. Her list is separated into 6 categories, each with three or more subcategories further defining the criteria‘s application to biomimicry in design. These six principles are defined as followed.

1. Evolve to Survive (Progressive) Continually incorporate and embody information to ensure enduring performance  •  • 

Replicate Strategies that Work Repeat Successful Approaches Integrate the Unexpected Incorporate mistakes in ways that can lead to new forms and functions Reshuffle Information

Exchange and alter information to create new options

2. Adapt to Changing Conditions (Entrepreneurial) Appropriately respond to dynamic contexts     

Incorporate Diversity Include multiple forms, processes, or systems to meet a functional need Maintain Integrity through Self-Renewal Persist by constantly adding energy and matter to heal and improve the system Embody Resilience through Variation, Redundancy, and Decentralization

Maintain function following disturbance by incorporating a variety of duplicate forms, processes, or systems that are not located exclusively together

3. Be Locally Attuned and Responsive (Native) Fit into and integrate within the surrounding environment 34

BIOMIMICRY IN ARCHITECTURE 2019       

Leverage Cyclic Processes Take advantage of phenomena that repeat themselves Use Readily Available Materials and Energy Build with abundant, accessible materials while harnessing freely available energy Use Feedback Loops Engage in cyclic information flows to modify a reaction appropriately Cultivate Cooperative Relationships

Find value through win-win interactions

4. Integrate Development with Growth (Holistic) Invest optimally in strategies that promote both development and growth     

Self-Organize Create conditions to allow components to interact in concert to move toward an enriched system Build from the Bottom-Up Assemble components one unit at a time Combine Modular and Nested Components

Fit multiple units within each other progressively from simple to complex

5. Be Resource Efficient: Material and Energy (Smart) Skilfully and conservatively take advantage of resources and opportunities       

Use Low Energy Processes Minimize energy consumption by reducing requisite temperatures, pressures, and/or time for reactions Use Multi-Functional Design Meet multiple needs with one elegant solution Recycle All Materials Keep all materials in a closed feedback loop Fit Form to Function

Select for shape or pattern based on need

6. Use Life-Friendly Chemistry (Clean) Use chemistry that supports life processes  

Break Down Products into Benign Constituents Use chemistry in which decomposition results in no harmful by-products 35

BIOMIMICRY IN ARCHITECTURE 2019   

Build Selectively with a Small Subset of Elements Assemble relatively few elements in elegant ways Do chemistry in water

Use water as a solvent

This criterion was organized through a checklist that analyzed each of the case studies, developed by the thesis author. The subsections of each category were evaluated on a four-point scale to qualitatively and quantitatively determine a site‘s degree of success through biomimicry applications.

• None (0): Category contained no biomimicry principles; did not provide linkages of biomimicry principles in other categories • Minimal (1): Category contained minimal biomimicry principles, but vague or incorrectly applied; provided partial or inaccurate linkages of biomimicry in other categories • Partial (2): Category contained biomimicry principles, but either not wholly evident or concretely applied; provided possible linkages of biomimicry in other categories • Extensive (3): Category contained evident biomimicry principles thoroughly; provided linkages of biomimicry principles for other categories These considerations were also applied to the design critique in Chapter Four and in overall recommendations in Chapter Five.

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BIOMIMICRY IN ARCHITECTURE 2019 Table 2 Analysis of The Eden Project

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BIOMIMICRY IN ARCHITECTURE 2019 Table 3 Analysis of Lavasa City

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BIOMIMICRY IN ARCHITECTURE 2019 Table 4 Analysis of The Council House 2

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BIOMIMICRY IN ARCHITECTURE 2019 Table 5 Analysis of 30 St. Mary Axe

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BIOMIMICRY IN ARCHITECTURE 2019 Table 6 Analysis of The Milwaukee Art Museum

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CHAPTER 5: CONCLUSIONS AND RECOMENDATIONS CONCLUSIONS The built environment accounts for a majority of the world's global environmental and social problems with vast proportions of waste, material, energy use, and greenhouse gas emissions (Mazria, 2003, Doughty and Hammond, 2004).

The society demands an ecologically safe design approach without compromising their own needs. Even though there are many approaches for the same, not many have proven effective on a larger scale. This is where Biomimicry steps in, and offers new solutions for our issues. It makes certain of the integration of different disciplines for a design approach that's not only more beneficial to its users but provides for nature in return. The implementation of biomimicry as a design approach could be advantageous for the society in the field of architecture as well as humans life as a whole.

The greatest limitation of this study is that although the inspiration taken up for design taken up by many architects is from nature, the impact of integration of biomimicry at a larger scale is still unrealized in theory and practice because this is still an emerging discipline. As there is a growing need for buildings that are connected to nature to create a regenerative built environment, the relevance of the biomimetic approach to design cannot be ignored. In this paper, the distinction between the different levels of biomimicry and their potentials has been made clearer.

The study concludes that while this technique could be applied at the organism level, significant challenges remain at the process and ecosystem levels that would be required to overcome if this approach were to influence the development of future cities. It is posited that a biomimetic approach to architectural design that incorporates an understanding of ecosystems could become a vehicle for creating a built environment that goes beyond simply sustaining current conditions to a restorative practice where the built environment becomes a vital component in the integration with and regeneration of natural ecosystems.

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RECOMMENDATIONS Biomimicry for energy efficiency Living organisms and systems are highly energy effective and yield an understanding of how humans could carry out their activities without a dependence on fossil fuels In the 2006 Council House 2 (CH2) in Melbourne with which Pearce was involved, 100 000 litres of water is extracted and cleaned from the sewers beneath the building and used to condition the air. This is reminiscent of how certain termite species use the proximity of aquifer water as an evaporative cooling mechanism. African Barossa termites make tunnels tens of metres deep to reach the water table, so that its cooling effect can be used in extreme heat to keep the mound within a one degree temperature fluctuation range .

Biomimetic energy generation for mitigating the causes of climate change Several biomimetic technologies or systems aim to replace the use of fossil fuels as the primary human energy source. Looking to the living world for inspiration is appropriate in this regard, because almost all organisms source energy from renewable sources, which predominantly is directly or indirectly from contemporary sunlight.

Examples of biomimetic systems for development of alternative energy sources include mimicking the process of artificial photosynthesis in solar energy cell technology microbial fuel cells generated from electron donors in waste water, biomass conversion systems, radio synthesis based systems, and the development of ocean energy technologies that mimic how sea kelp or certain fish move efficiently in water. The Australian company BioPower has, for example, developed under water power generators called BioWAVE that oscillate in ocean waves and currents rather than rotate like turbines.

Biomimetic sequestering and storing of carbon Organisms and processes in nature are able to store, sequester or recycle carbon which could be used in the development of technologies for industrial processes and the built environment.

Biomimetic strategies for adaptation to climate change in the built environment There are several examples of biomimicry being employed as a strategy that professionals of the built environment can harness to adapt buildings to climate change.

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BIOMIMICRY IN ARCHITECTURE 2019  

Respond to anticipated direct impacts of climate change on the builTt environment.

Altering the built environment so it becomes more adaptable and resilient as a whole system.

Mitigating greenhouse gas emissions from the built environment Several contemporary examples of biomimetic architecture can assist the built environment in climate change issues As discussed in this paper, common mitigation strategies in a built environment context include:     

Increasing the density and limiting sprawl of urban form to reduce building energy use and emissions from vehicles Creating or maintaining urban forest and green space Design for energy conservation Provision of renewable energy sources Carbon storage or sequestration.

The first two strategies relate to urban planning and represent long term climate change adaptation strategies. The latter three and most common categories:   

Mimic the energy efficiency or effectiveness of living organisms and systems, less fossil fuel is burnt and therefore fewer GHGs are emitted.

Devise new ways of producing energy to reduce human dependence on fossil fuels, and their associated GHGs. Mitigating GHG emissions is investigating organisms or ecosystems for examples of processes within them that can sequester and store carbon.

Ecosystem process strategies for the built environment to mimic Ecosystem biomimicry at the process level provides a clear and logical framework to apply existing technology or design strategies for a more thorough approach to increasing the sustainability of the built environment

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BIOMIMICRY IN ARCHITECTURE 2019 .

Figure 40 Drivers and Results of change

Figure 41 Regenerative Design Impacts

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BIOMIMICRY IN ARCHITECTURE 2019 Adapt and evolve within limits at different levels and at different rates. 

    

Re-define when developments are considered as finished and design them to be more dynamic over time. Plan for and allow constant change.

Design systems that incorporate a level of redundancy to allow for added complexity to evolve over time.

Increase the ability of the built environment to be able to respond to new conditions, preferably passively.

Plan for change over time.

Create performance goals related to different time scales.

Integrate built environments with ecosystems to sustain or increase resilience.

Enhance the capacity of the biosphere to support life and functioning and processes in ecosystems and within organisms tend to be benign.   

 

Production and functioning should be environmentally benign. Employ the precautionary principle when there is doubt.

The development should enhance the biosphere and community as it functions.

Consider the built environment as a producer of energy and resources, and adapt it over time to nurture increased biodiversity in the urban environment.

Integrate an understanding of ecosystems and systems in general into decision making processes.

Use only biodegradable or recyclable materials (be aware of composite materials that mix the two).

Ecosystems and organisms are dependent upon and responsive to local conditions.  

Source and use materials locally and use local abundances or unique features as design opportunities.

A thorough understanding of a particular place would be required and local characteristics of ecology and culture should be seen as drivers and opportunities in the creation of place.

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BIOMIMICRY IN ARCHITECTURE 2019 Cyclic processes in the utilisation of materials. 

   

  

Buildings should be constructed to allow for future reuse or recycling in separate nutrient streams (i.e.: decomposition in the biosphere and closed loop recycling in the ‗technosphere‘).

Design for deconstruction.

Buildings should utilise reused or recycled building materials.

Minimise the use of composite materials and the number of materials in buildings.

Records should be kept of which materials are used when buildings are constructed (so these can be identified later at the end of the building life).

Consider the entire life-cycle of a material when specifying it.

Consider ‗take back‘ schemes relevant for a built environment context.

Buildings should facilitate easy circulation of materials that people use within them.

Use and distribute and energy effectively. 



Attention should be given not just to energy efficiency and the generation of energy within urban environments but also to how energy is moved, shared and dissipated to ensure maximum effectiveness.

Consider using ‗free energy‘ or ‗waste‘ energy from one process to power another. Elaborations to harness this energy (preferably passively) may become structural or more physically apparent within or between buildings.

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Figure 42 Terms to describe design approaches that mimic aspects of nature

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