Anigmatic Buildings by Hannah Pells

iGMatic

buildings:

The Shake.

The Talk,

The Walk,

A dissertation presented to the Department of Architecture, Oxford Brookes University in part fulfilment of the regulations for BA (Hons) in Architecture Statement of Originality This dissertation is an original piece of work which is made available for copying with permission of the Head of the Department of Architecture This dissertation involved human participants. Form E1BE, showing ethics review approval, has been included in this dissertation as an appendices+.

Signed .........................................................................

CONTENTS PAGE ACKNOWLEGEMENTS. PREFACE INTRODUCTION LAYER 1. SELF SUSTAINING PROCESSES/ORGANS AND FUNCTION Water Light Temperature Ventilation

LAYER 2. ANIMATE PROCESSES/BONES AND STRUCTURE Movement in Biomorphic Form Kinetic Structure Animated Sculpture

LAYER 3. RESPONSIVE PROCESSES/FORM AND SKIN. Shape in Nature Responsive Facade Surface as Structure

ANIGMATIC BUILDINGS Physical Investigations Possibilities

CONCLUSION BIBLIOGRAPHY APPENDIX

ACKNOWLEDGEMENTS Special thanks to Michael Pawlyn at Exploration Architecture who aided me in the research of this dissertation, and Charles Parrack my dissertation supervisor who helped and encouraged me along the way.

PREFACE This body of research examines the possibilities and visions of buildings considered as living responsive organisms. Can architecture be more self-sustaining through kinetic, responsive and continuous changes to have more of a holistic relationship in building form, elevation, plan and function, informed by natureâ&#x20AC;&#x2122;s processes?

INTRODUCTION Buildings tend to be perceived and designed as static, inanimate objects. This normally results in an architecture of fixed objects that are limited to change, due to their inability to adapt and respond to their environmental conditions. Based on empirical and scientific research, it can be argued that the current architectural model results in buildings that are unresponsive to their immediate surroundings, wasteful of building resources and materials, and structurally inefficient (Tsui, 1999). In an uncertain environmental future it is now necessary to look beyond the conventional models of sustainability to create new innovations (Mcdonough & Braungart, 2002). A new model for architecture is crucial if we are to adapt to future climate change, and significantly reduce our impact on the planet by using less resource-depleting energies and materials. We must therefore look to other ways in which architecture can be more self-sustaining. This paper investigates a possible solution of having holistic response processes to air flows, temperature changes, light variation and water collection through building form and function. This new approach to architecture will replace those buildings with closed, fixed systems that have little or no response processes to their form or structure, with a new dynamic, independent, responsive, selfsustaining architecture. In order to create this new type of architecture we must begin to move away from an out-dated model of design, instead finding sustainable solutions to move towards zero carbon buildingâ&#x20AC;&#x2122;s of the future (Mcdonough & Braungart, 2002). I will discuss Biomimicry, Biomorphism, Responsive and Living buildings, each of which are types of architecture based upon natural forms, systems or processes. By looking at each of these categories, I will show how a holistic process can be introduced into buildings, integrating structure with both form and function to create a uniquely responsive building system. By studying these examples I hope to discover a form and structure that can work together symbiotically. Taking aspects from the above four types of architecture; I propose a new model for architecture named â&#x20AC;&#x2DC;Anigmatic Buildingsâ&#x20AC;&#x2122;. This name suggests buildings that are animate, enigmatic, and reminiscent of animals. Anigmatic buildings will explore how a building can be greater than the sum of its parts. It is now possible for buildings to twist in the wind, bend under snow loads and to automatically and intelligently orient themselves according to solar incidence. Architecture no longer needs to be static, it is possible to design an intelligent structure which, like a sunflower responding to its environment, automatically and continually reconfigures its internal floor plan, windows, openings, and solid structure to achieve maximum natural day lighting and optimum comfort.

Anigmatic Buildings will have a series of ephemeral events and physical episodes that respond to their immediate environmental conditions. Kinetic responses will be employed in its building components to respond to environmental stimuli. The technology used to create Anigmatic Buildings will be innovative and not traditional. Anigmatic Buildings will be animate, kinetic and responsive, not for occupant entertainment but as an ingenious way of using less building materials. Through investigating and selecting the best aspects of Biomorphism and Biomimetics together with Responsive and Living structures, Anigmatic Buildings could potentially create a new aesthetic that symbolically represents the technological capacity and social values of our time. This paper will investigate whether we can generate a new type of architectural language for this contemporary paradigm. The focus of this study will lie in the relationships between form, skin, structure and internal processes, to see how we can achieve a unified response mechanism in Anigmatic Buildings. By looking at natural processes in this context, I will discover how architecture can have a relationship with its immediate environment and how its own internal structure can vary from region to region, as nature does from biome to biome (Benyus, 1997). Each individual structure adapted internally, mapping function to form. I have endeavoured to use secondary literature sources including books, journals, videos and articles, in addition to first hand sources including an interview with Michael Pawlyn, the director of ‘Exploration Architecture’, as well as constructing my own physical investigations to inform the background of this paper. These sources have provided me with background, theoretical and up-to-date knowledge within the subject area as well as informing new thoughts and ideas for the architecture of an Anigmatic Building. My approach to the dissertation is in three main parts, beginning with ‘Organs and Function’ followed by ‘Bones and Structure’ and ‘Form and Skin’, working from the inside out like through the layers of an organism. These three main parts will focus on the most important responsive processes to Anigmatic Buildings; a structure which is geometric, possibly tensile, made of light but strong materials, self-sustaining, responsive to the elements and is moving or has moveable parts. In these three sections named above I attempt to discover whether the criteria of an Anigmatic Building are achievable.

1. Human heart.

LAYER 1. SELF SUSTAINING PROCESSES/ORGANS AND FUNCTION This chapter looks at the self-sustaining processes which currently exist in nature, Biomimetic, Responsive and Living Buildings focusing on water, light, temperature and ventilation. These processes are important aspects in creating self-sustaining buildings, which by the nature of their closed loops systems, create a renewable energy resource for buildings to tap into. This reduces, and in some cases eliminates a building’s dependence on conventional unsustainable energy sources. By studying already existing self-sustaining processes in nature and built forms we can discover how they function, how efficient they are, and crucially, how they are incorporated in to a building’s structure and form. I then go on to explore whether these response processes can be combined into a single structure, and whether a building’s structure and form can better respond to these environmental conditions to create a more unified response process in Anigmatic Buildings.

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“Now more than ever, is the time when our population needs to conserve water, whether by saving water at home or on a larger scale developing city infrastructure that responds to this crisis and uses sensible building practices to reduce its overall footprint” (Grimshaw, 1999, p.54)

Water has a major impact on our planet, and is essential to life, yet we frequently forget its importance on Earth (Clarke, R. 1991). Due to both climate change and the rate at which we currently consume it, water is becoming an increasingly scarce resource. The combination of both a lack of and an increased demand of water means forests will begin to die out, reducing the absorption of atmospheric carbon, in turn intensifying and quickening the rate of climate change threatening this planet (Pandey et al., 2003). â&#x20AC;&#x153;Now more than ever our population needs to conserve water.â&#x20AC;? (Grimshaw, 2009 p.55). For a long time man has strived to manage water, and many different techniques have been created to enable water to assist humanity (Clarke, 1991). Many current conventional methods of water supply and treatment are unsustainable as abstraction from aquifers is excessive, water is transported long distances, and desalination rely on fossil fuels. As our environmentâ&#x20AC;&#x2122;s temperature increases due to climate change, we will increasingly rely on water, yet our water levels are falling.This unbalanced distribution of water supply will potentially cause conflict, poverty, and the collapse of communities large and small (Pandey, Gupta, & Anderson, 2003). This section will look at ways buildings can collect and integrate sustainable water systems into their structure to enable them to be more self-sustaining and responsive to water, and examine how effectively they incorporate these systems into their structure and form.

RAINWATER COLLECTION BedZed is a housing scheme in the South of London designed by architect Bill Dunster. It consists of 2,500m₂ of space for homes and offices, and was completed in 2002. BedZed was designed to encourage people to live more sustainably (Lazarus, n.d.). According to Boers and Asher harvesting rainwater is “a method to induce, collect, store, and conserve local surface run-off”, this depends on “the quantity of water that can be harvested from an area under given climatic conditions.” Therefore buildings that collect rainwater should have both the means and capacity to store it (Boers & Asher, 1982, p.2). At Beddington Zero rainwater is collected on the roofs of the development, reducing the dependence on conventional systems (Chance, 2009). The green roofs that form part of the building, providing gardens for users, are designed to collect, absorb and filter water into the building. Excess water from each roof garden is channelled inside the building to its own storage tank located underground beneath each block. Each tank is able to contain 35,000 litres of grey water, providing enough to flush the toilets and water the roof gardens (Shirley-Smith & Butler, 2008). This technique together with other resourceful applications used inside the building, significantly reduces water consumption, with inhabitants using 58% less than the typical person in London (Chance, 2009). “Rainwater harvesting can be promoted as a core adaptation strategy for achieving the global security and sustainability of water resources in an era of anthropogenic climate change.” (Pandey et al., 2003 p.10) The green roofs are designed so that they are slightly sloped, and are comprised of a concrete structure underneath a layer for drainage. A special kind of peat is placed on top of allowing plants to grow. One of the main reasons for the roof gardens was to control any surface rainwater run-off, which was problematic in the area and therefore reduced the effect this would otherwise have on the immediate environment (Shirley-Smith & Butler, 2008). BedZed is an example of how rainwater can be collected, stored and used as grey-water within a building for amenities such as flushing toilets. Its construction of filtering rainwater through the roof garden is essential to the water system design, which not only collects water but creates a garden space for users.

3. Roof gardens 2.showing water system at BedZed

The form and the slope of the gardens make it possible for water to be collected, and channel sufficient water inside the building. This is well integrated with the designâ&#x20AC;&#x2122;s function for the building. However the amount of water that could be collected on site was over anticipated, which meant users relied on conventional means of water for regular topping up (Shirley-Smith & Butler, 2008). The development of Beddington Zero could have allowed for more absorption and collection of rainwater, through better design of the roof and the buildingâ&#x20AC;&#x2122;s form.

SEAWATER COLLECTION/DISTILLATION The Seawater Greenhouse is a structure designed by Charlie Paton to grow vegetables, intended for dry, arid coastal areas such as Tenerife where it is situated. The Greenhouse distils seawater, as well as employing only wind for ventilation and cooling. The amount of water produced by the greenhouse is above that which the building requires, so there is an excess, creating a not only a sustainable water process, but a restorative piece of architecture (Grimshaw, 2009). The idea was inspired by the Fog Beetle “Onymacris Unguicularis” found in the Namibian desert, which are able to capture water from the morning fog moved by the wind despite having a yearly rainfall as low as 5mm (Grimshaw, 2009). They do this by placing themselves with their backs orientated towards the wind (Bhushan, 2009), the droplets of water collect on the bumpy surface of the beetles back and roll down into its mouth (Parker & Lawrence, 2001). The geometry of the beetles body facilitates this process enabling it to survive in a very dry climate (Grimshaw, 2009). The Seawater Greenhouse uses a Biomimetic technique to capture water, similar to that of the beetle. The exterior of the building’s surface allows seawater to drip into an evaporator in the wall. Fans powered by the wind draw the water into the greenhouse leaving dust and salt spray behind. The pure air allows the greenhouse to be humidified and cooled inside, with the addition of radiation that is filtered from the roof. Both of these allow the greenhouse to stay cool whilst in hot temperatures. The air is then taken through another evaporator where the air becomes humidified further, and taken through a condenser where the seawater cools it. In this way pure water can be pumped to a tank where it can be stored for future use (Charlie Paton, 2001).

4. Desert Fog Beetle

5. Desert Beetle orientating its back towards the morning fog

6. Seawater Greenhouse, Tenerife

The building is oriented so that it will capture a large amount of sea breezes, and like the beetleâ&#x20AC;&#x2122;s back to the early morning wind, this enables the production of distilled water from seawater. This makes the Seawater Greenhouse a site specific and responsive example of Biomimetic architecture. Like the Darkling Beetle, it will vary in situ from biome to biome, creating a site responsive piece of architecture. The Seawater Greenhouse is a purely functional building (Pawlyn, 2010) which effectively provides a temperate environment for plants to grow efficiently all year round (Paton, 2001). By distilling water in a Biomimetic way, it cuts down the level of dependency on unsustainable sources (Davies, et.al., 2004) and even produces an abundant excess of fresh water. Excess water is used to restore the surrounding area, which has become contaminated with salinity (Paton, 2001). BedZed and the Seawater Greenhouse demonstrate that water can be a self-sustaining process that can be implemented into a building. In the following chapters I hope to discover how self-sustaining process such as these, can be better integrated with a buildings form and skin to create more of a effective response process.

LIGHT The majority of todayâ&#x20AC;&#x2122;s heating and lighting methods rely heavily upon fossil fuels and consequently release huge amounts of carbon dioxide gas into the atmosphere. This is no longer sustainable, as it contributes to numerous environmental problems on a small and large scale and creates unresponsive buildings. These detrimental effects include destruction of habitats, air pollution and acid rain. A rapidly growing population exacerbates this (Chiras, 2002), meaning now more than ever, architects need to rethink the way they design and achieve lighting and heating within our buildings.

â&#x20AC;&#x153;We humans often pursue comfort in a moral or ethical vacuum, unaware of the dangerous backlashes we createâ&#x20AC;? (Chiras, 2002, p.4)

By turning to natural processes using a technique called natural conditioning, we can create sustainable ways of generating energy for use within our buildings. This can be achieved by exploiting nature to deliver the facilities we require in a renewable way that does not damage the environment. This technique takes advantage of climate and site specific design to utilise the elements. It also places emphasis on designing buildings as whole systems, creating integrated designs that rely on relationships between the different components of a building. For instance designing the shape of a building and orientating it so that it utilises the sun for maximum efficiency (Chiras, 2002). “Natural conditioning relies on centuries-old techniques that can produce comfortable homes in virtually every climate where humans dwell.” (Chiras, 2002, p.5) Passive solar is one way of heating a building in a natural renewable way. This works by using “passive solar systems” that can capture energy from the sun, radiating heat into the building during the day and night (Bonta & Snyder, 2009). The Solar Umbrella House in Venice, California is one example that uses a passive solar system in its architecture. This innovative re-adapted house consists of a vast array of solar panels, which almost wraps around the house and onto the roof, creating a reliable energy supply. This solar screen also acts as a barrier, deflecting large amounts of sunlight from the south facing façade that could potentially overheat the building in summer months (Ryker, 2005). The panels are able to provide almost 100 percent of the energy required for the residence as well as surplus energy, which is fed into a grid network providing power for residents in the neighbourhood. Should the house require more energy than is provided, it will draw from the systems batteries, which the solar system charges for future use. This technique means a reduced reliance on conventionally unsustainable energy sources from the grid (Ryker, 2005). All electrical appliances and systems are supplied by the solar panels, including a radiant floor system and a water heater (Ryker, 2005). The main structure is made out of concrete, which due to being a natural heat sink releases heat energy into the building slowly (Bonta & Snyder, 2009). This passive solar process creates a closed loop system, which similarly exist in nature. This means that a building is reliant upon a renewable source of energy for it to draw upon and has the ability to simultaneously feed energy back into the cycle.

7. Solar Umbrella House

This process demonstrates the importance of using solar panels for heating buildings, water and supplying electricity. Critically, however, it explains that the orientation and construction as well as the materials used are essential to the effectiveness of a solar system, affecting the extent to which light reaches and how the building distributes heat. These aspects of orientation, materiality and solar gain will be considered together with form and structure in the following chapters to see if light and heat processes can work together within an Anigmatic Building.

TEMPERATURE This section focuses on Interseasonal Heat Storage as a self-sustaining process. Current heating methods are at present unsustainable and are becoming increasingly expensive and wasteful. By tapping into groundwater reserves we can harness energy from underground to heat buildings.

Rocks have the remarkable ability to hold heat. They are able to retain heat for long periods of time, allowing it to be slowly released. During the summer months when the earth starts to warm up as a result of the increased exposure to sunlight and the consequential rise in atmospheric temperature, heat begins to pass down through the ground, deep into the earth where the subsurface is found. This means that in wintertime, the subsurface is found to be warmer than the temperatures in the air outside. This creates a reliable supply of heat and coolness in both winter and summer months respectively (Banks, 2008). The reconstruction of the Reichstag in Berlin by Fosters and Partners is a good example of a building that uses inter-seasonal heat exchange in its structure, as opposed to relying on the conventional, unsustainable methods of heating currently available. The building is designed so that excess heat travels 300 meters down into subterranean water reserves located in aquifers (Sculze, 2000). Although this sounds like a considerable distance for heat to travel, in comparison to pumping oil out of the ground some 3,000 meters in the North Sea it is in fact very efficient (Foster, 2000). During the winter months water travels through boreholes in the ground, to provide heat in the building. This heat then travels through pipes located in the floors of the building to heat the rooms. In the same way cold water can also be obtained from shallower reserves in warmer months. Inside, the building makes use of an “absorption cooling plant” which uses any extra heat produced from the “co-generator” to retain heat and cool water inside the ceilings (Sculze, 2000). The amount of people inside the building is in constant flux, creating a base indoor temperature. The inter-seasonal heat storage system means that heat can be added when and where it is needed as opposed to having an ongoing heating system. Use of this technique over conventional systems delivers significant energy savings by reducing heat load peaks by around 30% (Foster, 2000). The Reichstag is a fine example of a building that responds to its immediate environment. Rather than employing outdated, unsustainable models resulting in unnecessary heat and air-conditioning, the Reichstag’s temperature fluctuates according to its immediate needs and to the temperature outside, using a self-sustaining system (Foster, 2000).

8. Inter-seasonal Heat Storage in the Reichstag

AIR Following the oil catastrophe in 1973 the Western world began to realise its dependence on unsustainable energy resources, and therefore needed to reduce its dependence on mechanical systems (Allard, 1998). This reliance on unsustainable energy resources brought to an end the advancement of natural methods which could be created and utilised in buildings. In recent years due to increasing climate change and targets for reduction in global emissions there has been a renewal of interest in using air and wind as a way to power ventilation. Many designs however still rely on mixed methods of heating and cooling using both mechanical and natural ventilation systems. These types of buildings have only narrowly explored the possibilities and potential that wind can have (Storey & Baird, 2001). In order to find new sustainable methods, we can look at the processes of living organisms, such as termite mounds. This Biomimetic approach does not necessarily result in buildings that are similar in appearance to the mounds of termites, but instead replicate their functional process (Zari, 2010) in order to achieve ventilation strategies, such as in the Eastgate Centre, Harare. This section will discover how these organisms are able to adopt natural processes in their structures in response to their environment, and seek to determine how efficient they are. The Eastgate Centre in Harare will also be explored to see how studies of termite mounds are manifested into a ventilation system and how effective it is.

9. Termite mound

10. Ventilation Holes in a termite mound

11. Section of mound showing ventilation

Termites are a type of ant that usually live in tropical zones. Although they live in hot areas, their skins do not shield them from sunlight. Termites build mounds and require consistent “levels of humidity and temperature” (Senosiain, 2003) in which to cultivate a special type of fungus (Ball, 2010). “Termites adopt an infinite number of nest forms but they all use similar materials and ways of controlling temperature.” (Senosiain, 2003, p.21) Termite mounds consist of a complex and sophisticated arrangement of tunnels. These create routes to allow termites to travel through, and also act as channels for gas exchange. Carbon dioxide produced by the termites and rotting fungus is replaced with fresh air that would otherwise accumulate and become toxic inside the mound. Climate control inside the mound is not only critical to the termite’s survival, but the growth of the fungus that they cultivate, which is particularly susceptible to different levels of carbon dioxide (Ball, 2010). The mounds are usually orientated lengthways away from the earth and width ways across the ground. This provides protection from the sun, which prevents the mound getting too hot. The ventilation system inside the knoll works by allowing hot air to rise through channels and disperse at the top. Fresh air flows through small perforations towards the bottom of the knoll. This means that stale air inside escapes, drawing in fresh air, in a similar fashion to a convection heater. The knoll is constructed so that it has a gutter for the rain, which is able to drain away excess water that comes into contact with the mound. The thinly constructed walls facilitate gaseous dispersion between inside and outside, maintaining a temperature of around 29 Celsius, which compared to the external temperature outside the mound is considerably cooler. The termite mound demonstrates an effective, responsive, self-sustaining ventilation system (Senosiain, 2003).

BIOMIMETIC VENTILATION The Eastgate Centre is a building situated in Harare, South Africa, designed by Mick Pearce. It is the first building of its kind in Africa that adopted a passive approach to ventilation (Chown, 2003). The majority of office buildings in South Africa are air conditioned for most of the year. However, a solution to this was realised, harnessing Harare’s cycle of hot days following cold nights by capturing cool night air and releasing it slowly throughout the day. This was partially achieved by studying the mounds of ‘Macrotermes Michaelseni’; a termite found in South Africa. By studying the air flow and self-regulating temperatures of these mounds to observe how they maintain temperature in such hot climates, Pearce employed a way to integrate a similar system into the Eastgate building in Harare (Zari, 2010). The building was designed so that like a termite mound it would draw in cool night air through the base, while warm air rose and became expelled. The airflow is assisted by electrically powered fans that move the air to the offices through open grilles located underneath the windows. The building’s concrete structure enables it to remain at a consistent temperature of 20 Celsius. This also allows the exchange of air to cool the building down in warmer months and heat it up again during winter. Air from the offices flows to dividing walls which continue to open shafts and voids within the roof structure (Chown, 2003). The Eastgate building has been designed to create an environment with a constantly controlled temperature for occupants, whilst using the least possible mechanical assistance (Zari, 2010). The Biomimetic approach of passive ventilation based on local termite mounds proved an effective, more sustainable process than many other current conventional methods, and demonstrates it is possible to integrate a natural ventilation process within a building system. Although not completely self-sustaining, data shows that the building uses approximately 50% less energy than similar types of office buildings within the area (Chown, 2003). This is partially due to the reliance of electrically controlled fans to assist in the movement of air. In taking this responsive process further we can begin to look at the possibilities and potential of wind and air (Allard, 1998) further investigating the ways of using and powering ventilation so that it is more holistically sustainable and integrated with a building’s form and structure.

12. Ventilation System, based on termite mounds.

13. Eastgate Centre, Harare

Layer 1. shows that effective natural self-sustaining processes exist in nature, and can be manifested into building systems. They significantly reduce and in some cases eliminate dependence on unsustainable energy resoures instead drawing upon their local environment for energy. These processes are closed loop systems which inherently create a renewable system for buildings to utilise and respond to, varying from place to place as nature does from biome to biome. In optimum conditions buildings can utilise more than one process at a time, and there is potential for Anigmatic Buildings to combine these processes so that they can work symbiotically and more effectively together. Not only can processes be combined, I go on to explain in Part 2. and 3. whether it is possible for selfsustaining processes to become integral within a buildingâ&#x20AC;&#x2122;s structure and form to create a uniquely holistic response process to the elements of water, light, air and temperature.

14. X-Ray of a Human Leg Bone

LAYER 2. ANIMATE PROCESSES/BONES AND STRUCTURE

â&#x20AC;&#x153;What makes animation so problematic for architects is that they have maintained an ethics of statics in their discipline. Because of its dedication to perminance, architecture is one of the last modes of thought based on the inert. Challenging these assumptions by introducing architecture to models of organization that are not inert will not threaten the essence of the discipline, but will advance it.â&#x20AC;? (Lynn, 1999, p.9.)

This chapter focuses on animation and kinetics in architecture. Animation is typically thought of as being something in 3D video games, film, or response mechanisms such as lights that switch on and off in buildings. In this chapter I will explore instead how animate processes can be kinetic, responsive structures in buildings. “Design is animate, when movement and force are co-present in the beginning rather than being added in order to simulate movement.” (Lynn, 1999, p.1) Architecture needs to become more self-sustaining. In order to achieve this we need to move away from the traditional “static” approach to design, where buildings have little or no response mechanisms (Lynn, 1999) and develop new ways of creating kinetic ability in buildings. By incorporating movement into architecture, buildings can be created to be more energy efficient, responding to and drawing upon their local environment for their needs as opposed to relying on conventional unsustainable energy sources. Animation is a fundamental aspect of Anigmatic Buildings. This is the key concept, lying at the very core of creating a living structure that is responsive to the elements. In this section I explain animate forms further, focusing on movement and kinetics as well as discussing a variety of Biomorphic and Biomimetic kinetic examples employed in buildings, structures and sculptures. I examine how movement is achieved to see how responsive these structures are and whether the elements of wind, light, temperature and water can be used to animate the structure of an Anigmatic Building.

â&#x20AC;&#x153;Advancement will only be accomplished when kinetic structures are addressed not primarily or singularly, but as an integral component of a larger system.â&#x20AC;? (Fox, 2003, p.113)

15. Milwaukee Museum, Calatrava

MOVEMENT IN BIOMORPHIC ARCHITECTURE

Santiago Calatrava is one of very few architects who have adopted movement in building structures. His interests in kinetics stems back to his youth when he wrote about the foldability of space frames (Goldhagen, 2006). Many of his structures have not only incorporated movement but have adopted an organic or animalistic quality to them, making them appear like living organisms. By examining Calatrava’s addition to the Milwaukee Museum I hope to discover how movement is achieved, how form is determined, and whether these moving parts facilitate any of the buildings functions. Calatrava’s addition to the Milwaukee Museum is a pavilion that resembles a bird in flight. This large Biomorphic form has a central ”spine” that reaches about 50 metres high with “wings” that span out either side. These “wings” made of louvered surfaces, can rise and fall to create different shading and lighting conditions inside the building, and symbolically arouse interest (Tzonis, 1999). “Calatrava is not concerned only with the human body, but with creatures and their qualities: movement, seeing, change. Thus it is also understandable when he often comes back to animals when making comparisons with his constructions” (Feuerstein, 2002, p.107). By drawing inspiration from many of nature’s acrobatic actions, Calatrava is able to transfer the shapes of movement into a physical structure (Tzonis, 1999). The “wings “of the building are powered by mechanical motors that force them to move into different positions. This movement allows light and temperature inside the building to be controlled (Schulze, 2001). In this way the roof is able to facilitate and respond to changes inside the building (Tzonis,1999). These kinetic changes are not selfsustaining or powered by environmental stimuli, but are in fact reliant on fossil fuels, making it an unresponsive and unsustainable structure.

16. & 17. Sketches by Calatrava

17.

Calatrava’s use of kinetics in the design of the Milwaukee Museum Pavilion however, offers a visually interesting way of animating and creating an animalistic like structure, while demonstrating how much can be learnt from studying movement in nature, skeletons, circulatory systems and skins of organisms. Calatrava’s approach to the design is not a mimetic one (Tzonis, 1999). Nor is it responsive to the elements. In fact the total energy it would take to power the “wings” of the structure would most likely outweigh the benefits of creating shading inside the building (Goldhagen, 2006). The structure facilitates the building, by controlling light and temperature, but in an unsustainable way. Calatrava demonstrates that movement can facilitate the elements, for instance light and temperature, but there is more to be explored in creating forms that are selfsustaining and responsive to the elements.

KINETIC STRUCTURES Buckminster Fuller recognised, before Biomimetics was conceived, that humanity had developed a very static approach to building design and that nature creates structures that use less materials to achieve their purpose. “Nature’s structuring occurs according to the requirements of minimum energy, itself a function of the interplay between physical forces and spatial constraints” (Edmondson, 1987, p.9). For example, the eyeballs of some animals, as well as radiolarian which is able to endure extremely high pressures in the sea. These natural formations in living organism create the maximum strength and help to protect the organism (Baldwin, 1996). Fuller utilised this concept by creating large-scale structures such as domes and kinetic tensile structures which are extremely strong and durable.

18. A variety of different Radiolarian

Fuller proposed that we begin to look at nature for other structural solutions. He saw the universe as a holistic system with invisible energy forces in all directions, creating self-stabilising patterns. Fuller sought to emulate nature’s principles in his designs to create transformable, lightweight structures that were far stronger than each of their individual parts, and used less materials (Edmondson, 1987).

Fuller believed that the wheel was humans first advancement towards a new kind of structural thinking. He recognised that the way wheels created tension in motion allowed them not only to be incredibly material efficient but also very light in structure. Due to this, structures in tension can be much smaller and lighter than ones carrying compression loads. However, the forces of tension are invisible in nature and therefore architects have not studied it enough, instead choosing to build mainly using compression rather than tension (Marks, 1960). Yet, Fuller saw that there were already existing structures, such as boats and suspension bridges, which rely on tension for their integrity. By studying the principles behind tension and compression in nature, he designed many tensile structures. After finding compression was inefficient, Buckminster Fuller chose to emulate the way nature widely employs tension, utilising it as much as possible throughout his structure (Baldwin, 1996). These tensile structures he named Tensegrities.

19. The various Energetic-Synergetic Compositions

Fuller categorised these geometrical structures as “Synergetics”, meaning “working together”. He believed it was the only word in the dictionary that depicted a holistic system, in which the parts working together created something greater than the sum of them (Eastham, 2007). Synergetics is established on shapes of triangles and tetrahedrons as found in living organisms, as opposed to square and cuboid shapes we are most familiar with in conventional architecture (Eastham, 2007). Synergetics requires 60 degree coordinates (Balwin, 1996) Architects have subsequently gone on to use these principles to create structures.

20. Geodesic Patterns

Buckminster Fuller believed going against the grain set out by nature is an uphill battle, normally ending in failure after exerting a great deal of effort. By following the examples laid out by the environment, he felt it was beneficial to work with the principles of nature as opposed to against it. Due to “the inherent light weight and flexibility of these structures” there are numerous ways in which they can be used and manifested into a building. These include “variable geometry, convertible roofs, adaptability to changes in the weather and use, demountability, portability, re-use, transcience (when desired), empathy with landforms, and unification of interior and exterior spaces” (Drew, 1979, p.176). This demonstrates that there is good reason for geometric, tensile structures to be animated, transforming in response to environmental stimuli, and that structure and skin can be combined. Buckminster Fuller’s works demonstrate that the most effective structures are based on natural systems. The structures that he creates are based on tension instead of compression. Together with geometry found in nature such as triangles and hexagons, he is able to produce incredibly lightweight yet robust structures. The deceptive lightness of these structures allows them to become kinetic and transformable, collapsing and folding. This suggests that it is possible for structures like these to become animated and powered by external environmental conditions. By utilising the elements within a self-sustaining process discussed in Layer 1. - the possibility of animating the structure of an Anigmatic Building seems plausible.

ANIMATED SCULPTURES

“Art is not architecture – but in certain cases and situations art and architecture have similar goals and similar effects.” (Kronenburg, 2008, p.128)

21. Theo Jansen Sculpture

22. Jansen Sculpture

Theo Jansen’s environmental sculptures have many aspects in common with the art of building. Both Jansens sculptures and buildings are site specific, and both integrate appropriate technological components (Kronenburg, 2008). Jansen’s curiosity lies at the heart of creating an evolutionary series of moving, animated mobile forms. In doing so he invents an intrinsic, lifelike way of making sculptures that have the ability to move, powered solely by wind (Kronenburg, 2008). I feel this is achieved in both a Biomorphic and Biomimetic way. Jansen recognised some animals are able to survive on wind alone and endeavoured to emulate this in his approach to animalistic sculptures. By taking the fundamental elements of nature, he found solutions for constructing the sculptures i.e. the “legs” and was able to demonstrate how they responded to their immediate environmental conditions (Jansen, 2009). “I could find no better, energy-efficient device for perambulating across sandy surfaces than the one already existing in old nature. I don’t think there is anything that can beat good old legs. Now I’m working on muscles, nerves, brains.” (Jansen, 2009, p.37). Jansen’s sculpture “Animaris Ventosa”, meaning “walks on winds” was named due to its ability to be moved by the wind. The design was constructed using short tubes to prevent them being easily disfigured or weakened in the wind (Jansen, 2009). “I want to make everything out of plastic tubing. Just as nature as we know it consists largely of protein, I want to make my own life-forms from a single material. You can use protein to make skin, eyes, lungs. Protein is multi-purpose stuff. So is tubing. It’s flexible, but exceedingly rigid when used in a triangular construction. You can run pistons through it, store air in it, all sorts.” (Jansen, 2009, p.35) The basic principle behind the movement of Jansen’s Strandbeests is not of a machine powered wheel but similar to a foot that moves up and down into changing positions. Each sculpture is powered by a rotating crankshaft representing the spine of an animal. At the end of each leg is a pencil, representing a toe, which uses 11 small rods to convert the rotation into the movement of walking (Jansen, 2009). Plastic bottles attached as part of the sculpture act as reservoirs that need to be filled with air from the wind to create pressure before the creature can move. This is achieved using airtight pistons and a pump powerful enough to move the large sculptures (Kronenburg, 2008). Over page: 23. Various Tubing for Strandbeests

24. Triangular structural frame

25. Animaris Rhinoceros

The largest of Jansen’s sculptures is the “Animaris Rhinoceros Transport”. This pneumatic Beest is 4.7 metres tall, weighing 3.2 tonnes. Regardless of its weight and apparent bulkiness it has the ability to be easily moved by the wind, and by using a rope, is able to carry three children’s weight. The sculpture is constructed of a steel skeleton, covered with a polyester skin painted with a muddy texture, to emphasise its animalistic quality (Kronenburg, 2008). “Tubes enclose the air; the air sends the animals on their way; muscles and nerves draw in the air and blow it out. Air is the principle ingredient of the beach animals. They are in fact assembled from solid shafts of air protected by a layer of plastic. I have made many animals from shafts of air without the protective coating. It makes a world of difference weightwise but they do tend to blow away easily.” (Jansen, 2009, p.234) Jansen demonstrates how his sculptures, the size of small buildings, can be animated and respond to local environmental conditions using only wind power. He creates holistically self-sustaining kinetic structures, which respond like organisms to their surroundings. Movement as a response to the environment for example wind, is demonstrated here by the mobility of the kinetic beach sculptures. This is enabled by the simple geometry he employs in the structures, based on repeated triangles which, made out of plastic piping, are lightweight enough to allows the sculptures to move. Could this approach be adapted so that building structures can be manipulated using the element of wind?

The examples employed in this chapter demonstrate how structures and parts of buildings can move. The examples discussed show how movement can facilitate responsive components within a building’s structure, such as the wind. This demonstrates there is potential for other elements, such as water and heat discussed in self-sustaining processes in Part 1 to animate the structure of an Anigmatic Building. In order for movement to be achieved it is important that Anigmatic Buildings are made of a light but strong material, examples of material, such as bamboo, plastic, or metal piping, could be employed so that structural parts can be easily moved. Simple geometric patterns found in nature, employed in structures, are found to be incredibly light and create robust frameworks. These geometric patterns can be made into a variety of different forms and are able to support an array of varying surfaces. Biomorphic forms also aid kinetic structures by mimicking movement found in living creatures. Imitating nature in this way does not necessarily mean using the same materials, or structural parts as in living organisms, what is important is taking inspiration from the way in which movement is achieved. This is demonstrated in the “feet” of Theo Jansen’s Strandbeests. By studying moving parts in this way it is clear that kinetic translations can be made into physical structures. In the next chapter I will explain how animated structures can be integrated further with form and “skin” to create an Anigmatic Building.

26. Dragonfly Wing

LAYER 3. RESPONSIVE PROCESSES/FORM AND SKIN In this chapter I will look at natural forms and skins, architectural surfaces and materials, paying particular attention towards examining patterns, shapes and materials used in Biomorphic and Biomimetic buildings. Examples of responsive design are included to discover how they are responsive to the elements, whether shape or structure can aid movement, and whether surfaces and skins can facilitate self-sustaining processes. Finally, I suggest connections that can be made between a buildingâ&#x20AC;&#x2122;s form and skin, learning how surfaces can work synergistically with form and structure, to create a unified response mechanism that can facilitate self-sustaining processes in an Anigmatic Buildings.

SHAPE IN NATURE The Eden Project in Cornwall designed by Grimshaw Architects, is an example of an incredibly large structure that minimises the amount of materials its construction to create an exceptionally lightweight structure (Grimshaw, 2009). The designed was achieved by looking at nature in a Biomimetic way, to find solutions that would enable the “high performance” of the structure they wanted to achieve. They found that nature had many solutions to the structural problems they faced, including the using the least amount of energy and materials. Grimshaw realised “what often appears to be fragile in nature is actually robust and has an inherent ability to adapt” (Grimshaw, 2009, p.15). Grimshaw’s team of architects created a series of domes, similar to a line of bubbles. Through imitating the form of bubbles the domes could be varied in height, arranged in a manner that fitted best with the site and take the greatest advantage of solar radiation. The structural connections were subsequently resolved by examining the wings of dragonfly’s in a Biomimetic way (http://www. exploration-architecture.com/section.php?xSec=21, 2010). 27. Eden Project

Buckminster Fuller has shown that geodesic patterns such as pentagons and hexagons are the most effective for use on spherical structures. These patterns are frequently found in nature, and are the most effective at â&#x20AC;&#x153;absorbing and transferring stressâ&#x20AC;? (Grimshaw, 2009, p.15). This was achieved by removing sections of the bubbles and combining them together to create sub-divisions of each domes, allowing the cladding panels on the surfaces to be adjusted to optimise light and form (Barnes, Dickson & Happold, 2000). Finally geodesic surfaces were applied to the structure. These domes mimic the exact geometry of a pollen seed, (Grimshaw, 2009) and the hexagonal pattern employed is often found in nature. From this warm humid biomes were constructed, large enough to be able to house the growth of an entire rainforest (Pearman, 2000). The Eden project is a great example of how a structure and surface can be combined, the surface working synergistically with the structure to create a uniform piece of architecture. The hexagonal shapes that are utilised in the design are found in nature, and create structural surfaces that are very efficient at absorbing and transferring stress loads to other parts of the structure. The shapes are flexible, allowing for adjustment to optimise the amount of light reaching the structure as well as responding to the site. The connections found in dragonfly wings were mimetically produced, creating a surface area with very little structure and reducing the amount of material required. This makes it very advantageous for surfaces to combine with structure, making it possible for hexagonal surfaces to become animated, so that they can respond to environmental stimuli.

RESPONSIVE FACADES Chuck Hoberman has designed and created a vast range of products including toys, art, and architectural faรงades. Hoberman believes that it is necessary for new designs to be adaptable if humanity is to sustain itself in the future (Otani, 2009). Although this concept is still relatively new in the world of design, it has always been present in nature. Adaptability and transformation are present in all kinds of organisms that exist on the planet, through physical changes throughout their lifetimes and evolution on a smaller scale. Transformations also exist within our society, which questions the idea of buildings being static structures, when everything around them is in constant flux. Hoberman believes that transformable, responsive architecture is the solution to future sustainable buildings (Otani, 2009) and demonstrates these concepts in his adaptable, kinetic faรงades.

“Architecture has a great influence on the sustainability of society. Both the materials and the operation are important. For example, why should blinds and shades be made the same way they were hundreds of years ago? They are parts that affect energy savings related to air conditioning and heating.” Chuck Hoberman “Transformable Design to Adaptive Design” (Otani, 2009, p.5)

28. City of Justice, Madrid, Spain

Hoberman’s designs create solutions to light, shade and ventilation, by creating façades that respond to these environmental stimuli. This is achieved in a Biomimetic way, by studying how organisms adapt to different environmental conditions. These observations are imitated and translated into a new kind of technological and mathematical system which can be transformed into responsive façades (Otani, 2010). The different grid systems that are utilised in these designs are created using panels that open and close in various ways. These panels can be constructed in a variety of different shapes and angles, to allow regulation of sunlight, shade or ventilation within a building. They are usually made with perforations, so that when they move they fold flat along a plane. This allows the panels to be responsive but also flush with a building’s exterior. The design allows for greater user control (Architecture & Urbanism, 2010), creating an integrated response mechanism to a building’s form.

‘Emergent Surface’ is a wall executed for the MoMA by Hoberman, that employs the ‘Strata’ system principle he developed. The ‘Strata’ system is designed to be able to constantly rearrange/reorganise itself (Peters, 2010). This is achieved by rotating parts of the wall shaped like diamonds (Otani, 2009), that first appear solid, begin to change into a three dimensional shape, disappear and re-emerge. In other designs the panels can reduce themselves to single poles running vertically. These two examples exhibit numerous formations that can be made (Peters, 2010) using this technique.

29. Showing change through movement ‘Emergent Surface’

The City of Justice in Madrid, Spain was designed by Foster and Partners in partnership with Chuck Hoberman. One of the key concepts of this design was to create offices beside a 20,000 square foot atrium space, speckled with natural daylight. This was achieved by incorporating Chuck Hoberman’s aforementioned ‘Strata’ system, which has the ability to control the amount of light entering a building by opening and closing panels. The design team sought for the Strata system to be hidden within the structure. This proved successful in the final design (Mazzocco, 2010), and effectively controlled the amount of sunlight, preventing overheating (Otani, 2009). Chuck Hoberman’s facades, demonstrate that skin and surfaces can not only be animate, but responsive. The variety of different geometric patterns used enable different movements to take place, including, sliding, rotating, twisting and so forth. These movements, responsive to environmental stimuli, could be powered with self-sustaining processes referred to in Part 1. and animate structures in Part 3. to make a wholly integrated response process in Anigmatic Buildings.

SURFACES AS STRUCTURE

â&#x20AC;&#x153;As in biological systems, I think architectural systems should never operate alone in an optimal state, rather in a messily interwoven, excessive, redundant, and non-optimal way.â&#x20AC;? (Wiscombe, 2010, p.1) Creative Warrior Magazine Interview

‘Emergent’ is an architectural practice which looks at how surfaces and building envelopes can become integrated with structure and building’s functions, similar to natural organisms. Tom Wiscombe believes that architects need to rethink the way we currently design surfaces and infrastructure so that they aren’t segregated parts, but one system that operates wholly, facilitating building services. By looking at new ways of creating surfaces such as walls and floors, Wiscombe demonstrates that surfaces can become structural elements as well as incorporating building services, for instance water and heating. This disposes of any unnecessary divisions between current standardised surfaces, services and infrastructure, instead endeavouring to create more intelligent, energy efficient buildings (Wiscombe, 2010a). “Emergence is not a theory or a style; it is the natural phenomena where parts become wholes, where synaptic connections become consciousness” (Wiscombe, 2010b, p.1). Emergent’s technique is to build surfaces in three-dimensional pieces rather than layers, which means that the envelope, structure and systems of a building are all embedded together. In order to imagine these new types of surfaces Wiscombe describes them as a series of networks, integrated and woven into each other like micro-capillary systems in a living organism. In order to achieve these building “skins” Wiscombe looks to biology in a mimetic way. For instance he noticed that the Austrailian Agamid lizard exhibits grooves in its skin to enable water to channel from its back to the mouth so it can drink. Wiscombe demonstrated a similar creation in his surface design ‘Lizard Panel Facade’ which allows fluid inside a surface to travel through a series of channels, this facilitates both a grey-water and algae system, as well as producing structure within the surface. Most of Emergent’s designs for surfaces display pleats, reliefs, and hollow areas enabling them to contain fluids, airflow, as well as add structural stability. The prototypes shown (below) are not made to any particular scale so that they are easily incorporated into new building projects. These kinds of surfaces are able to carry water, and air, radiate light and heat, which Wiscombe refers to as ‘airflow’, ‘fluid flow’ and ‘glow’, meaning surfaces that can carry air, light, or fluids. Wiscombe demonstrates that these services have the ability to incorporate emerging systems such as hydroponics, production of biofuel, and treatment of grey-water within buildings. Not only can these surfaces contain these processes but can also produce structure inside a building. Wiscombe explains that this is possible through surfaces containing water for example, act like water in a plant stalk to help keep its structure (Wiscombe, 2010a). This creates new possibilities for architecture to incorporate self-sustaining processes mentioned in Part 1.

30. Emergent Surface Designs

31. Emergent’s ‘Lizard Panel’

One of Emergent’s designs ‘Batwing’ was created as a prototype in 2008. This structural surface contains an active chilled beam, double-pleats and hollow spaces allowing for air cooling and heating, air flow and rigidity within the overall surface. This works by moving air over micro-capillaries within a latticework inside the surface cooling or heating the air through a type of heat exchange (Wiscombe, 2010a). This method exchanges conventional air diffusers with a more effective system, which connects surfaces and infrastructure in a more integral way. Emergent’s work demonstrates that surfaces can become structural elements, and contain services within them. By looking to nature in a mimetic way, Emergent has used patterns that already exist in living skins in nature to help utilise the functions behind his designs. These patterns allow services to flow within them in a multidimensional and integral way to the building, whilst also contributing to the structure of a building. The efficiency of using services within these surfaces is unknown, but given that water is superior to air at conducting and retaining heat for example, the possibility of such a design is very appealing. By utilising the elements within these surfaces, it is possible that building envelopes can contain self-sustaining processes within them. This for instance could be inter-seasonal heat exchange, or rainwater collection/treatment. Combining functional skins with animate processes in (Layer 2.) it is now possible to create a structure that works with surfaces and self-sustaining processes in (Layer 1.) to create a unified response mechanism.

This chapter demonstrates that geometric shapes can create lightweight surfaces and facilitate movement. This is due to the shapeâ&#x20AC;&#x2122;s ability to move in different varying ways such as tessellate, rotate, twist and bend. Geometric surfaces can also be lighter and stronger, if the right material is applied. Lighter surfaces mean that movement is possible, and that skins can be responsive to the elements. Surfaces can also be structural by containing pleats, or hollow spaces within them. These pleats or holes can also facilitate services within them, producing doubly robust, sturdy surfaces. The ability to incorporate services within surfaces allows the inclusion of self-sustaining processes within them, such as inter-seasonal heat exchange, as introduced in Layer 1. Due to the fact that a buildingâ&#x20AC;&#x2122;s envelope can contain services within its structure, there is a possibility that self-sustaining processes can be contained within and power an Anigmatic Building.

ANIGMATIC BUILDINGS This Section looks at connections made between Layers 1, 2, and 3. to suggest possible ways in which Anigmatic Buildings could transpire. I have also constructed some simple investigations to propose models to test wind and water in an Anigmatic Building.

32. External view

33. Internal View

Physical Investigation 1

The aim of this test was to investigate whether rainwater can be collected, electricity can be generated by wind and rain, and ventilation can be achieved. This model works by wind and rain causing the flaps of the wheel to move, thus generating electricity and/or collection of water, as well as creating air flow for ventilation. This structure is made of a spinning central rod which lies horizontally within the surface. The flaps attached to the rotating rods project outward at 90 degree angles. The amount of flaps can be increased or reduced to catch the wind, and the whole model can be repeated as often as required over surfaces of the building. depending on the climate - how you orient them, how many you need.. In order for it to work, the rotating flaps need to be set back slightly from the framework, so that water collected on the flaps can be filtered into the building. These spinning wheels must also be orientated towards prevailing winds so that they can be the most responsive to air movement, and therefore turn more frequently to produce more electricity. Air propelled by the flaps can be brought into the building to ventilate the spaces inside. If they are made of a transparent material, light can also be brought inside the building. The rotating wheel can be part of the surface of an Anigmatic Building

Physical Investigation 2. The aim of this test was to investigate whether rainwater can be collected and electricty can be generated by the wind. This structure is made up of a series of triangles which connect at each end. Some triangle edges are held, but not fixed in place so that they can spin. If a surface is applied to the triangular structure /spinning rods, it means that these flaps will sway with air movement. These triangular flaps can be placed vertically or horizontally, on edges, vertices or corners, and placed on any surface or slope. They should be orientated toward prevailing wind direction or in a variety of different directions to catch the wind. They work by wind hitting the flaps, causing them to swing back and forth, with the potential to rotate 360o on windy days. This can generate electricity and bring air flow inside the building. Rainwater can also be collected on the flaps and brought inside the building if the flaps are set back slightly from the structure. Rainwater will not cause the flaps to turn to produce electricity however. Sockets connecting the rods must allow them to spin where needed in order for flaps to swing. This structure combines together with surface to become a responsive whole. The triangles can be orientated in a variety of different angles to maximise movement of flaps, as well as creating rigidity within the overall structure. The flaps are not only functional but are the surface of the building, and sit flush to the buildingâ&#x20AC;&#x2122;s exterior when still. These investigations clearly need more research and refining in order for them to work effectively, but they do demonstrate the possibility of building structure and surface becoming one functional, integrated, dynamic and responsive structure to the elements. In reality different materials should be employed, such as a metal framework to create a sturdy structure and flaps that collect the most water. These limitations as well as being aesthically different can be overcome with further refinement - but their benefits of creating a self-sustaining structure, that responds and creates energy by drawing upon its local environmental I think, far outweighs this. The benefits of this model for the surface of an Anigmatic Building being a self-sustainable building, responding and drawing energy from the environment outweighs its inherently unusual aesthetics, which can be overcome with further refining in the design stages.

34. Test 2. Variations of Movement by Air.

Possibilities

Described here are a series of different combinations for the creation of an Animatic Building. They demonsratate the different ways and possibilities in which an Anigmatic Building could materialise; based upon creating a structure that responds holistically, to environmental stimuli. - Water collected on the surface of a building, or extracted from underground could power movement in the structure of an Anigmatic Building. As water runs through surfaces of the building it could generate power to animate the structure. Water can consquently be returned to the aquifers after use. - Movement on building surfaces could be powered by wind or rain, this wind generated could be collected and filtered inside the building through itâ&#x20AC;&#x2122;s structure, which in turn could ventilate the building. - Collecting rainwater could move building surfaces through rotations or tessalations, these movements could generate electricity to heat the water inside the building spaces inside.. - When light reaches the structure of an Anigmatic Building it could heat up solar panels to power movement within the structure, this movement could be used to open and close surfaces to let in light or air to ventilate the building. These are some of the many basic possible combinations that I envisage for Anigmatic Buildings. I have no doubt with creative thought and imagination there are many more ideas to be discovered in this field. When the elements of light, air, water or temperature are combined with a buildings structure and envelope, responsively and holistically, an Anigmatic Building is created.

CONCLUSION The research undertaken in this paper demonstrates that it is possible to combine the three layers of a building - function, structure and form - to create a uniquely holistic response process in Anigmatic Buildings. The paper has investigated in three layers the various ways in which buildings can act like living organisms, mapping function to form. Exploring these layers of function, structure and form has indicated that Anigmatic Buildings need to be animate, responsive, and self-sustaining in a holistic, integral way. The process of studying each of the layers within a building - function, structure, and form - in a similar way to a living organism that has organs, bones and skin made it possible to make clear comparisons between nature and architecture. Discoveries made in layer one, two and three, have displayed that for Anigmatic Buildings to function they need to have a geometrical based structure, be made of light but strong materials and move or at least have moveable parts. These three elements are crucial to creating a structure that is both responsive to the elements and self-sustaining. The research undertaken highlights that is possible for Anigmatic Buildings to contain multiple selfsustaining processes, working independently or symbiotically. Through investigating the three layers, two ways of creating a holistic response process within Anigmatic Buildings were identified. In one, the environment powers or induces movement in the structure, which in turn manipulates the surfaces connected to it. In the other the opposite occurs, and instead it is surfaces that respond to external stimuli such as the elements, thus animating the structure. Anigmatic Buildings aspire to be completely self sustaining, producing all the energy that they need to function themselves. Their structure will respond differently depending on where they are placed, making them site specific architecture. Although this allows for a high degree of geographic adaptability, it also causes limitations, as a location may not be able to fully exploit every selfsustaining process available. Examples include positions where access to groundwater is not accessible, or the amount of rainfall is not sufficient. In these cases an Anigmatic Building is not always entirely self-sustainable. This research has revealed however, that combining self-sustaining processes with form and structure can be achieved in an integral way. This paper highlights the importance of and relationships between natural processes, structure and form, as well as revealing that structures and skins can move in response to environmental stimuli. More research can be carried out in the future to investigate the various ways in which geometrical shapes and animate forms can be manipulated, to maximise and increase their level of responsiveness.

The concept of flat surfaces and buildings as static structures are questioned and challenged, as it is possible to produce three-dimensional surfaces that can facilitate self-sustaining processes and move in response to environmental stimuli. Further research is necessary in order to develop these methods. There is still a great deal to learn with reference to movement in nature, both mimetically and Biomorphically, to discover new ways of transforming acrobatic movements in to physical animate structures. I envisage that new, unknown possibilities of Anigmatic Buildingâ&#x20AC;&#x2122;s will arise, as technology becomes more evolved and we learn more about the principles that govern. I hope that the in the future we will see Anigmatic Buildings transpire physically, in to self-sustaining structures that contain multiple holistic response processes, reacting, breathing and drawing energy from the local environment, like a living organism.

“One of my beliefs is that building’s should be seen as living organisms, if they are to last at all or be of any use at all in the future. Then they must be able to grow and change, and they have got to be able to adapt to the forces that are on them, both inside the building and all the forces on the outside” - Nicholas Grimshaw, Video ‘Buildings as Living Organisms’.

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17. http://www.google.co.uk/imgres?imgurl=http://www.arcspace.com/books/Calatrava/images/Calatrava-photo-2. jpg&imgrefurl=http://www.arcspace.com/books/Calatrava/calatrava_book.html&usg=__DOPlOY0yrGxAKFcxGKrOMUYxZN8=&h=2 88&w=380&sz=12&hl=en&start=0&zoom=1&tbnid=UsRBd2oC2z6jjM:&tbnh=127&tbnw=168&ei=XTBATY7nCdO3hAe2kPGoAw&prev=/ images%3Fq%3Dsantiago%2Bcalatrava%2Bsketches%2Bbird%26um%3D1%26hl%3Den%26biw%3D1371%26bih%3D879%26tbs%3Dis ch:1&um=1&itbs=1&iact=rc&dur=83&oei=XTBATY7nCdO3hAe2kPGoAw&esq=1&page=1&ndsp=34&ved=1t:429,r:24,s:0&tx=83&ty=42 18. http://3.bp.blogspot.com/_cPVnHDNyPeo/S8YsE1KHu3I/AAAAAAAABpQ/ajFTC47NRbQ/s1600/Radiolarians-10-species-2.jpg 19. Gorman, M. (2005) Buckminster Fuller Designing for Mobility. Published by Skira, p.180 20. Gorman, M. (2005) Buckminster Fuller Designing for Mobility. Published by Skira, p.180 21. Jansen, T. (2009). The Great Pretender, Rotterdam: Uitgeverij 010 Publishers p.174 22. Jansen, T. (2009). The Great Pretender, Rotterdam: Uitgeverij 010 Publishers, p.175 23. Jansen, T. (2009). The Great Pretender, Rotterdam: Uitgeverij 010 Publishers, p.18 24. Jansen, T. (2009). The Great Pretender, Rotterdam: Uitgeverij 010 Publishers, p.206 25. Jansen, T. (2009). The Great Pretender, Rotterdam: Uitgeverij 010 Publishers, p.146 26. www.gettyimages.com 27. http://www.google.co.uk/imgres?imgurl=http://0095b6.com/lostritto/arch470fa08/wp-content/uploads/2008/10/eden-project-2.jpg&imgrefurl=http://0095b6.com/lostritto/arch470fa08/%3Fp%3D753&usg=__jk_b5LLCTT_TTNSPUKzdWf0PHiA=&h=603 &w=900&sz=497&hl=en&start=0&zoom=1&tbnid=JsGQ0YPLPFIIiM:&tbnh=128&tbnw=183&ei=ES9ATdv7B8qahQefsM2lAw&prev=/imag es%3Fq%3Deden%2Bproject%26um%3D1%26hl%3Den%26sa%3DN%26biw%3D1388%26bih%3D879%26tbs%3Disch:1&um=1&itbs=1&ia ct=rc&dur=289&oei=ES9ATdv7B8qahQefsM2lAw&esq=1&page=1&ndsp=34&ved=1t:429,r:5,s:0&tx=90&ty=103 28. http://www.google.co.uk/imgres?imgurl=http://www.archicentral.com/wp-content/images/unbenannt-51.jpg&imgrefurl=http:// www.archicentral.com/city-of-justice-madrid-spain-foster-partners-5180/&usg=__8ssEZnMN8KU83ViOFUJpBDxQJi4=&h=578 &w=508&sz=196&hl=en&start=0&zoom=1&tbnid=oo-R0TbQPUQ5yM:&tbnh=140&tbnw=135&ei=-x9ATbBGk4qFB5jp7JYD&prev=/ images%3Fq%3Dcity%2Bof%2Bjustice%2Bmadrid%26um%3D1%26hl%3Den%26sa%3DN%26biw%3D1371%26bih%3D879%26tbs%3Dis ch:1&um=1&itbs=1&iact=rc&dur=112&oei=-x9ATbBGk4qFB5jp7JYD&esq=1&page=1&ndsp=31&ved=1t:429,r:4,s:0&tx=85&ty=81 29. http://www.adaptivebuildings.com/strata-surface.html 30. Wiscombe, T. (2010a) Extreme Integration, Architectural Design, Volume 80, Issue 2, United Kingdom: John Wiley & Sons Ltd, p.6 31. Wiscombe, T. (2010a) Extreme Integration, Architectural Design, Volume 80, Issue 2 pp.78-87, United Kingdom: John Wiley

32. Taken by Hannah Pells 33.Taken by Hannah Pells 34.Taken by Hannah Pells 35.Taken by Hannah Pells [All Pictures Accessed 25 January 2011]

APPENDIX Questions for Interview 1.Could you explain how you work with clients to create designs based on nature? 2. Why do you feel it is important that architects look to nature to create new designs? 3. How can buildings be more responsive by looking at nature and using Biomimicry as an approach to achieve this? 4. Where should architects begin when trying to apply biomimetic approaches to designing new buildings? 5.In what ways do you feel that buildings need to be more responsive to their immediate environments? (So that in the future they are more self-sustaining) 6.As in nature, form follows function, how do you think we can apply that biomimetic approach to architecture? 7. How important do you think it is that like nature “the sum of the whole, is greater than all the parts” when it comes to design? 8. How do you think we can achieve this holistic response process in our buildings of the future? 9.How, and how much do you think “responsiveness” needs to be integrated with a buildings structure and form? 10. How was the form and structure for the Seawater Greenhouse/Las Palmas theatre determined? 11.How effective is it at generating distilled water from seawater? 12.In what way do you think it is important that form and structure aid and are integrated with a buildings responsiveness?