organization of patterned skins and structures in nature, their behavior is also investigated for possible new ideas about performance of building skins and structures. The impulse is to harness the generative potential of nature. Evolution has forced organisms to be highly efficient.
Form follows performance Patterning is a technique used to achieve two things. First is performance , aligned with the idea of biomimicry, such as structure, thermal and acoustics. The design of Aqua Tower was inspired by the striated limestone outcroppings common in the Great Lakes area. But this sinuous shape is not just a mere formal gesture, but it is also a strategy to extend the views and maximize solar shading. And by looking at the plans we see a rational structure, true to the Mies legacy in the city. 2 We can see how the building mimics natural form of limestone to achieve building performance.
Design implications Fig 1: Aqua Tower, Chicago, USA, Studio Gang Architects, 2009
Patterning as a technique to mimic nature allows maximized floor space and easy to construct to achieve the effect. If we look at the typical floor plan, only where the peripheral of the building is occurring change. Basically, all floors are identical. Not only does this means the use of space is maximized, the construction of the pattern is also made easier, as only the balconies are changed.
Opportunities
Fig 2: Typical floor plan of Aqua Tower
Biomimicry Biomimicry is the driving force behind generative architectural design in the contemporary architecture. 1 Building design look for inspiration in nature to respond dynamically to changing environmental conditions, just like organisms do. In addition to mimicking complex appearance,
Patterning gives freedom to building design in the way that an inspiration is drawn from a particular form in nature but how the design achieves performance is flexible to executed. In Aqua Tower, although it mimics limestone in nature, the performance is not restricted to how the structure of limestone does the job. The architect is free to design how the pattern of limestone achieves performance. In this case, it is extending the views and sun shading.
Fabrication concerns
The sinuously curved concrete decks on each floor assume different configurations where balconies extend anywhere from 2 to 12 feet. Although the architects used computer modeling to create the rippling contours, the fact that each floor slab is unique in shape meant calculations had to be done separately for each floor. An edge-form steel plate was reused to guide the concrete pour: The steel form would bend for a pour and then spring back into a straight line, ready to be bent again for another curve. 3
Fig 3: P-wall, Columbus, Ohio, Andrew Kudless, 2006
Aligning different floor slabs to be precise to follow the curved form can be difficult due to the number of slabs in this scale, but not impossible.
Ornament inspired by nature to create affect The second function of patterning ornaments is to create sensate affect to the building. It is through ornament that material transmits affects. Ornament is therefore necessary and inseparable from the architecture. It is capable of generating an unlimited number of resonances. Ornament is necessary and produces affects and resonance. 4 In the p-wall project, Andrew Kudless used elastic fabric to cast a series of plaster panels, arranged in a large field. This project is based on a cloud points generated from the grayscale values of pixels in a digital image. The points are used to constrain the elastic fabric in the formwork, as it expands under the weight of poured plaster. It tries to resonate with the human body as it sags, expands and stretches in its own relationship with gravity and structure. The resulting supple surface invites visitors to touch it, to sense its smooth undulations. 5 The sensate affect it creates also attracts audience and they relate themselves to the p-wall project. Patterning ornaments are not just superficial but carries a sensual meaning. It mimics the natural human body in the way the body ages and lose elasticity and forms this pattern. The fabrication involves fabric mould penetrated by rods and then liquid plaster is poured into the mould and left to set. Then, the tiles are assembled to form a wall according to a predetermined order and pattern. Thus, the fabrication process is simple.
Fig 4: Algorithmic patterning
However, since it is assembled by hands, and it is not done by machines, such as a CNC machine, the accuracy of the location of the points may not be accurate . The process of letting the plaster set also incurs time. It can be a problem to mass produce the tiles to apply to a bigger scale for larger effect. Patterning opens up opportunities for designers to create interesting, efficient structures that achieve both environmental and societal goals.
However, it also presents some problems in the realm of
1 Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 10 2 See http://www.archdaily.com/42694/aqua-tower-studio-gang-architects/
fabrication and construction. As the building is big in scale, how the building is assembled can be an issue.
3 See http://greensource.construction.com/green_building_projects/2010/1001_Aqua-Tower.asp 4 Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 8 5 Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 18
Triangle grids
Square grids
Hexagons
Voronoi
B2 Case Study 1.0 Spanish Pavilion
Species
Internal Points
Expressions