Module 1

CALLUM MORRISON Student No: 590473

Semester 1/2012

Group 7

N ATURAL SELECTION “the gradual, non-random process by which biological traits become either more or less common in a population as a function of differential reproduction of their bearers. It is a key mechanism of evolution.”

- NATURAL SELECTION

Of all biological processes it is natures ability to adapt and change itself to better suit its environment which I find most fascinating.

This process of natural selection whilst visible everywhere in our daily lives is one no human will ever have the of observing. This is because natural selection occurs in increments over thousands of years producing gradual changes and adaption in species. So this raises the question, how does one go about representing such a vast timescale?

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A sketch representation of how natural selection causes changes in species. It shows how the weaker dots become extinct, leaving the stronger ones to reproduce in turn creating a even stronger dot.

“the gradual development of something from a simple to a more complex form” - EVOLUTION

If we consider the definition given above for natural selection the need to explore the concept of evolution becomes apparent. So, I began to consider the idea of evolution and the concept of natural selection, pondering how I could develop and abstract them. After this consideration I decided it was the following three characteristics of these processes which appealed to me: • The development of shapes from constituent parts into an optimised agglomerated shape • The gradual increases in the complexity of forms • The provision of the younger or earlier species as a building block or base which a species evolves through gaining complexity and becoming better adapted to their environment A pictorial showing the supposed evolution of the human form from monkeys to “homo erectus” (the upright man). This image effectively demonstrates the idea of a change in form, but more importantly gives me ideas for how to demonstrate natural selection over the timescale involved.

I DEA EXPLORATION `

Using the three characteristics I identified on the previous page I began to experiment with and explore how to visually represent natural selection.

The sketches above and to the left are representations of a population. They serve to show the changes it undergoes as natural selection occurs. Note how the numbers dwindle before they resurge. This idea of temporary weakness or the “darkness before the dawn� could be further explored. I also like how with the dots there is a loss of variation in the shading. This could be useful when considering how to light the lantern.

The image above explores how all the variations of a species come together to form the most the best variant. This could also be explored in reverse with the central point representing the origin of evolution which adaption spirals out from.

The sketches to the right explore the concept of previous variations providing a base for evolution, leading to a peak. This idea could be explored through the concept of layering.

However, it must be kept in mind that there is conflict between these layers which is what creates the need for adaption. So, this conflict between layers must be kept in mind, any appearance of a harmonious coexistence should be avoided.

The sketches above explore how a form might evolve over time. Concentrating on an increase in a) complexity and b) suitability to environment.

I think aspect b) is captured well by the triangles as you can see that they change from the original jumble to an almost tessellating form. This idea of adapting could be used if you considered the human to form to be the environment which the lantern occupies.

Aspect a) is far better captured by the bottom sketch. This sketch plays on the idea of vertices as the basis of an increase in complexity. Additionally, of all sketches this probably best demonstrates the evolution of form in relation to time.

A NTAGONISTIC MUSCLES

Shows the most common antagonistic muscle pair, the bicep and tricep. Notice how as the bicep contact the tricep relaxs, and vice versa.

It is this relationship which is of interest.

“Muscles having opposite functions, the contraction of one neutralizing the contraction of the other” - ANTAGONISTIC MUSCLES

In an attempt to draw more inspiration from biological processes and build on the concept of natural selection I began to look at the way antagonistic muscle pairs work.

Whilst at first it may appear that there is little relation to natural selection and the working relationship of the muscles. Yet whilst they may oppose one another they simultaneously allow a full range of movement to that body part, thus working together to increase the strength of the body part as a whole.

Here we begin to see the connection to natural selection if we consider the parallels between the previous decription and the process of weaker species dieing off, or being killed off, so the strong may survive; ultimately increasing the strength of the species.

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Just as with natural selection I began to experiment with the form and concept of antagonistic muscle pairs and how they could help progress my project. The specific characteristics of the muscles which appealed to me were: • The interaction of the muscles with each other over time • How the muscle attaches itself to the bone • How the opposition of the muscles ultimately results in the greater strength of the limb in question as a whole • The texture and interwoven appearance of the individual muscle fibres

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C ONCEPTS Using the three characteristics I identified on the previous page I began to experiment with and explore how to visually represent natural selection.

The sketches to the left and above explore the interaction and relationship between an antagonistic muscle pair. The sketches to the left show a more or less literal representation of the interaction of the bicep and tricep over time.

The sketch above shows this more abstractly. It is interesting to note in the above image the point in the middle where the muscles are equally contracted and the conflict between them takes on the form of an oscillation about this mid point.

The sketches above looks at the texture of muscle and how the random interwoven appearance of the individual muscle fibres. The texture of the fibres alone is worth further consideration, however, what I find of most interest is the interaction of the individual fibres to form the muscle as a whole.

The images on the right examine the attachment of the muscle to the bone. This is useful to consider for how the lantern interacts with my body. If the form is to adapt to its environment, my body, then the culmination of this adaptation could be a abstraction of the muscle/ bone attachment.

T HE CONCEPT

`` After experimenting with and considering the processes of natural selection and antagonistic muscle pairs separately it is now time to put what I have found together and start visualising some possible concepts for my lantern.

If we begin by examining both processes in parallel with one another we can begin to consider the central concepts that links the two.

I would consider this concept to be how opposite or individual constituent parts oppose each other but almost paradoxically end up working together to increase the strength or functionality of the thing in question as a whole.

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THE VISION If we consider the very start of natural selection we have a single organism or origin which then grows in complexity, developing and slowly becoming better adapted to its environment until it reaches a perfect form, if the environment was static and not dynamic (which in reality is not the case). However, in this case my body can be considered to be the environment to which the lantern must adapt.

Let us now put the idea of antagonistic muscle contraction into the mix. If we consider how one muscle neutralises the other before re emerging and the parallels with the process of adaptations in natural selection one can begin to imagine the use of two forms growing and shrinking out of phase with each other from the single origin point to a peak, slowly adapting to my body form as it goes.

N OX/ LARS SPUYBROEK `

Lars Spuybroek is a Dutch architecture whose work focuses on the distinction between the real and virtual or the material and immaterial. His building “Son-O-House” I believe serves as a great example of how a natural process has been taken and developed into a physical form.

Son-O-House was inspired by the form of water and how it flows over surfaces. His initial model (Fig. 1) demonstrates how Spuybroek dissected the flow of the collective body of water into individual currents which then collectively form the whole.

This is a great example of the effect I am trying to achieve in my design.

FIG. 1

If we consider the next stage of Spuybroek’s development it is this stage, which is probably of most use to me presently, as he attempts to turn his concept into an actually physically workable structure. With Son-O-House Spuybroek approximated his concept with the use of 14 elliptical sphere which had been shaped by fluid deformation (Fig. 2). Much like in his initial design the spheres are still distinct shapes in themselves which he has fused together to form the final form you see in Fig. 3. Whilst he does manage to maintain the essence of his original concept I think he loses the sense of connection the original model (Fig. 1) had and the ellipses appear isolated and almost disjointed.

FIG. 3

FIG. 2 `

Son-O-House perfectly demonstrates how the material and physical limitations may constrain a conceptual vision. However, Spuybroek appears to more or less overcome these limitations producing a form which is both aesthetically pleasing while still living up to his conceptual visualisation and it is this realisation of vision through compromise between form and structure which I must strive to achieve in my design.

FIG. 3

C OCOON HQ, ZURICH `

The Cocoon Headquarters in Zurich is a free standing building nestled in the Hills of Zurich (Fig. 1) designed by contemporary architecture firm Camenzind Evolution. The building is comprised of a number of elliptical floor segments arranged around a gently sloping stair case. What makes this building so unique is that the floors are not arranged into distinct horizontal levels but consists of one single floor winding around the central ramp (Fig. 2).

The unique floor plan allows a breakdown of barriers between sections of the building eliminating any usual communication barriers. This breakdown of barriers aims to create an interactive and communal vibe to the structure of the building. This perfectly demonstrates the concept I am trying to communicate in my design with the distinct floor segments and areas being connected as a collective whole by the central ramp.

If we take a moment to examine the ramp and how it could possibly influence my design we see the same idea that I am trying to create with the ramp starting from a central origin point (Fig. 3) and growing out and developing, simultaneously linking the whole building.

FIG. 1

FIG. 2

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C ONCEPT DEVELOPMENTS After considering the precedents examined in the preceding pages I began to attempt to apply them to my “vision� of the design concept. I decided to develop my design using a mannequin because I consider the interaction and relationship of my design to the form of body important in representing my concept.

I began with just considering the idea of two forms originating from the hand and winding their way up an arm meeting on the shoulder. Whilst I like the intertwined forms, the ideas of growth and adaption to the arm are not as prevalent as I would have liked. There is also no climax or peak to the evolution which I think there needs to be conceptually.

Using the interwoven forms on the previous concept I adapted the shoulder to incorporate the ideas of peaking evolution and adaption to the arm which I found lacking in the last design. I think this form captures my intention better than the previous one and I will continue to explore this idea further.

C ONCEPT DEVELOPMENTS Using my previous idea I began to consider refinements and try small modifications to the form. One of the forms which I thought worked quite well was rather than having the two shoots wind there way up the arm separately, have them wind there way up together but still as two distinct forms (shown on the right).

Whilst this design works well I still prefer my original idea of two forms winding there way up the arm (shown bottom left). I believe it better captures the opposition between the two forms, the one on the right appears too harmonious.

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If we examine my preferred development (left) I believe the design somewhat captures what I am trying to accomplish. However, much like with “Son-O-House” I don’t feel my final design truly captures the concepts I am trying to communicate and I am left feeling slightly dissatisfied.

The idea of opposition between forms yet the simultaneous paradoxical harmony between the two, I feel, gets lost in an overly literal representation of the two forms as antagonistic muscles.

Ultimately I think the concept behind the design is not taking centre stage but has been overshadowed by the literal representation of the idea.

C ONCEPT RE-EVALUATION

` On examining my final development was still not entirely happy with the design and I felt the concept I was trying to communicate was being overpowered by the literal representation of the two forms as muscles.

So, I set about rethinking the abstraction of my concept to communicate the central idea not the literal process itself. I found some assistance in overcoming this hurdle after reading an article by Ball (2011) entitled ‘The Man Who Loved Fluids’ which explores Leonardo Da Vinci’s attempt to visually communicate the mechanics and forms of water. What he discovered was that a literal representation of the water may have looked nice but it did not tell or communicate anything of how water actually acted. So, Da Vinci began to explore abstract representations of water to communicate the concepts behind its physical appearance. It is this communcaition through abstraction that I used to reconsider my concept.

An example of a sketch by Leonardo Da Vinci and how he interprets water.

The abstraction of form is apparent with the eddy currents and turbulence.

Whilst it is not a lifelike interpretation of the water these abstractions communicate more of the mechanics of fluids than if Da Vinci had just created a lifelike rendering.

Taking this into account I decided to reconsider how I was interpreting my concepts and how I could bring out the underlining concept more rather than just produce a physical representation of the process.

• An antagonistic relationship is one fraught with tension. This needs to be communicated in the design. So, perhaps rather than work in harmony with the body, as my designs have to this point, it actually attacks the body which in turn must fight back. This is important for natural selection as well as evolution given that they only occurs through the conflict between species and the environment.

• The environment which we inhabit is a dynamic and constantly changing environment. It is this change which natural selection allows species to adapt to and even we as humans are not immune to these changes. However, what makes humanity unique is its ability to fight these changes and try to adapt nature to better suit our needs. Thus, we see what could almost be described as a wrestle or conflict between humanity and the natural environment.

I think this abstraction of natural selection and also the antagonistic relationship between the two should definitely be incorporated into my design; replacing the seemingly placid and harmonious relationship now.

C ONCEPT RE-EVALUATION `

Taking the conceptual analysis on the previous page into account I began to contemplate alternative concepts thinking more of aggression and opposition between form rather than harmonious coexistence.

Let us visualise and consider the following: the environment we inhabit is dynamic and constantly changing. Man in his growing arrogance is attempting to rise above natural selection and force the environment to adapt to his whims and desires, placing his “footprint” on the environment. However, the environment, not to be out done, is fighting back with adaptions such as global warming. Thus, an antagonistic relationship could be said to exist between the two, both locked in conflict, yet part of the collective global system.

Let us think about how this could be represented visually. Consider our dynamic and changeable environment to be a ball of clay, maleable and . If we then interpret the idea of man’s footprint on the environment literally and apply this to the ball of clay we are presented with the analogy of man attempting to impose his dominance over nature and this idea represented in a foot print in the clay. Then, using my original idea, have two forms emerge from the trampled ball and wind there way up the ankle slowly engulfing the leg until they meet in a point.

The surrounding sketches and clay model are a visual representation of the above concept. It uses the analogy of man’s footprint on nature, whilst also incorporating the two forms meeting in a peak form my previous ideas. I far prefer this idea, as I think it more effectively communicates the antagonistic relationship between the environment and evolution. Simultaneously, it is also analogous with the global issue of finding a balance between man and nature.

F INAL MODEL

FRONT

SIDE

SIDE

TOP

REAR

C OLLAGE

R EFLECTION ` Reflecting on this module I found the greatest challenge I faced to be abstracting the natural processes to communicate their underlying more subtle concepts and mechanics, rather than just reproducing a literal representation. Whilst in theory this sounds simple, I have discovered it is anything but. In reality I found there are limits on the degree of abstraction which a concept can undergo before the essence of the original idea is lost. This was the exact same issue which Spuybroek faced when he had to turn his original conceptual model into a physically buildable form and was forced to approximate it into fourteen ellipses.

This example and my own experiences have lead me to the belief that finding a balance between the abstract and literal is the key to communicating an idea effectively in a design and is something which I must continue to strive for in my future work. However, finding this balance is not easy. On the contrary, it has proven to be the most challenging, yet paradoxically rewarding, aspect of the module.

REFERENCES Ball, 2011, â&#x20AC;&#x2DC;The Man Who Loved Fluids,â&#x20AC;&#x2122; In Flow: Natureâ&#x20AC;&#x2122;s Patterns, Oxford Univerity Press Spiller, 2006, Visionary Architecture, London World Architecture News, viewed 18 March 2012, <http://www. worldarchitecturenews.com/ index.php?fuseaction=wanappln. projectview&upload_id=12692>

` Moving forward with my design I believe I now have a strong concept and form on which to build. However, I think the use of lighting and panelling will be key in driving the implications and underlying messages in my concept home and should be carefully considered throughout the next stage of development. A stage in which I must remain wary of maintaining the fine balance, which I believe I finally achieved, between the abstract and literal.