Part b journal harrietcraig 639056 by Harriet Craig

DESIGN STUDIO AIR SEMESTER ONE HARRIET CRAIG 639056

Table of Contents 1 Cover Page 4 B.1 Research Field - Biomimcry 8 Neri Oxman - an overview 20 B.2 Case Study 1.0 32 B.3 Case Study 2.0 44 B.4 Technique: Development 52 B.5 Techniques: Prototypes 54 B.6 Technique: Proposal 60 B.7 Learning Objectives and Outcomes 62 B.8 Appendix - Algorithmic Sketches 64 B.9 References

B.1 Research Field - Biomimcry

What is biomimicry? When choosing a research field to begin experimenting with and studying, I decided to look at what I could imagine would have the most opportunities on the site. After all, Merri Creek was a ‘biological’ area, it was a creek. I looked into biomimicry into more detail and found out that it wasn’t simply just mirroring nature’s patterns, instead it involved using nature’s tried and tested methods to solve man-made issues.1 Students around the world engage with biomimicry, they explore how different fauna solve solutions and strive to emulate this. One example was a studentlead project to create a new method of transportation, emulating the buoyancy of fish (seen in Figure 1). 2

1 Biomimicry Institute, ‘What Is Biomimicry? – Biomimicry Institute’, 2014 <http://biomimicry.org/what-is-biomimicry/> [accessed 28 April 2015]. 2 Sherry Ritter, ‘Four Student-Designed, NatureInspired Transportation Solutions’, http://makezine.com/2014/06/10/ four-student-designed-nature-inspired-transporationsolutions/, 2014 <http://> [accessed 28 April 2015].

CRITERIA DESIGN

FIG 1: BIOMIMETIC CARGO SHIP

CRITERIA DESIGN

Carpal Skin by Neri Oxman Neri Oxman’s Carpal Skin explores the benefits of biomimic design at a deeper level than I have already explored. Neri Oxman is a professor at the MIT Media Lab and is influential in the intellectual discourse of architecture. 3 Oxman’s design aims to help those suffering with the agonising pain as a result of being diagonsed with Carpal Tunnel Syndrome. The pain originates from nerves being compressed in your wrist. Therefore, at night, it is recommended that those affected restrain or ‘splint’ their wrist at night before entering into carpal tunnel release surgery.4 Carpal Skin maps the pain of the patient, it shows its intensity and records its time whilst also using hard and soft materials to fit the specific requirements of a patient. 5

3 Hunter, ‘Carpal Skin - Neri Oxman - Biomimetic Architecture’, Biomimetic Architecture, 2013 <http://www.biomimetic-architecture. com/2013/carpal-skin-neri-oxman/> [accessed 28 March 2015]. 4 Hunter, ‘Carpal Skin - Neri Oxman - Biomimetic Architecture’, Biomimetic Architecture, 2013 <http://www.biomimetic-architecture. com/2013/carpal-skin-neri-oxman/> [accessed 28 March 2015]. 5 Hunter, ‘Carpal Skin - Neri Oxman - Biomimetic Architecture’, Biomimetic Architecture, 2013 <http://www.biomimetic-architecture. com/2013/carpal-skin-neri-oxman/> [accessed 28 March 2015].

Inspired by animal skin but not based on any particular pattern, Carp Skin effectively demonstrates the intellectual theory that biomimicry is a resource to help the human race. In what ways can I use grasshopper to effectively mimic nature and then link humans to nature? I feel that Oxman has utilised digital tools to map and then isolate problems, perhaps this is something that I can explore in my own design.

FIG. 2: CARPAL SKIN

Neri Oxman - an overview

FIG. 3: PNEUMA

CRITERIA DESIGN

FIG. 3: REMORA

FIG. 5: ANTHOZOA

FIG. 6: WANDERES

CRITERIA DESIGN

Biomimicry in architecture I believe that embracing nature is an important part of design. In order to fully explore your brief in any project you must firstly look at your site and any constraints that you may have. We can firstly look at nature in this way, something that has to be worked around but nature and ecology can also be looked at somethign to integrate with. Biomimic architecture is inspired by biology and grows just as biology may. Biomimicry isnâ&#x20AC;&#x2122;t just interested in re-creating form but also complex processes and systems in place.

CRITERIA DESIGN

Pop Music Centre by Alisa Andrasek + Jose Sanchez The Pop Music centre explores magnetic fields and the physical representation of brain neurons. To reprsent the iconic Taiwanese street markets, the designer of this centre used biomimic techniques to capture its electric atmosphere.6 Inspired by the scientific technique of marking brain neurons with a phosphorescent glow, the designers mirrored this concept (but didn’t mirror the actual phyiscal image) in order to create their concept.7 There are great opportunities in this type of idea formulation. Simply by researching contemporary scientific techniques (or did the designers stumble upon this approach?) you can be inspired and can recognise and harness the benefits of mimicing nature.

This project also explores complexity of human systems, another form of biomimicry. Human activites range in tectonic levels, creating the complexity of natural ecologies also. 8 The conceptual design breaks down into smaller, more complex parts like any natural system, however the overall design idea of brain neurons, magnetic fields and different levels of complexity. Using techniques such as the forementioned tectonic levels and lighting, the design is cohesive and engaging. The modelling techniques used here are similar to fields and magnetic attraction tools I have explored in grasshopper already. The possibilities to explore form (such as neurons) seem ednless, you can change the points to attract to, your forms or even your data.

One benefit is creating a cohesive physical system that aesthetically fits together as it has been tested in the real world (nature.

I am interested in exploring fields further than what I have done already in my Algorithmic Sketchbook, in order to not just fit curves to an already made shape in Rhino but instead fit curves with magnetic fields to my own shapes that I have developed.

6 Biothing.org, ‘//Phosphorescence _ Pop Music Centre _ Kaohsiung Taiwan « Biothing’, 2010 <http://www. biothing.org/?p=421> [accessed 29 March 2015]. 7 Biothing.org, ‘//Phosphorescence _ Pop Music Centre _ Kaohsiung Taiwan « Biothing’, 2010 <http://www. biothing.org/?p=421> [accessed 29 March 2015].

8 Biothing.org, ‘//Phosphorescence _ Pop Music Centre _ Kaohsiung Taiwan « Biothing’, 2010 <http://www. biothing.org/?p=421> [accessed 29 March 2015].

CRITERIA DESIGN

FIG. 7: POP MUSIC CENTRE

CRITERIA DESIGN

Fibonacci’s Mashrabiya by Neri Oxman Neri Oxman’s project Fibonacci’s Mashrabiya is a prototype for an environmental screen created in collaboration with Professor W. Craig Carter from MIT.9 The screen was inspired by naturally occuring patterns, specificallythe Fibonacci series seen throughout biology. It plays with and creates intersections between light and air, exploring how a naturally occuring pattern can change these factors.10 The design process explores the opportunities of creating a textural form out of a prescribed theory or pattern. This pattern can change the microclimate depending on the design generation.11 The screen was fabricated from CNC milled acrylic, utilising the efficiency of computer cut pieces. Acrylic is composed of synethic fibres made from a polymer. Despite the man-made nature of the material, the screen still interacts with its original biomimic form.

9 Neri Oxman, ‘Fibonacci’S Mashrabiya| By Neri Oxman’, Materialecology.com, 2009 <http://www.materialecology.com/projects/ details/Fibonaccis-Mashrabiya#prettyPhoto> [accessed 28 March 2015]. 10 Neri Oxman, ‘Fibonacci’S Mashrabiya| By Neri Oxman’, Materialecology.com, 2009 <http://www.materialecology.com/projects/ details/Fibonaccis-Mashrabiya#prettyPhoto> [accessed 28 March 2015]. 11 Neri Oxman, ‘Fibonacci’S Mashrabiya| By Neri Oxman’, Materialecology.com, 2009 <http://www.materialecology.com/projects/ details/Fibonaccis-Mashrabiya#prettyPhoto> [accessed 28 March 2015].

CRITERIA DESIGN

FIG. 8: FIBONACCIS MASHRABLYA

CRITERIA DESIGN

Fissures Port Terminal by Alisa Andrasek + Jose Sanchez The Fissures Port Terminal resembles cliff faces along the coastline where the terminal sits. Fractals are used as a design tool to calculate and mimic the coastline along with the roughness seen on the cliff faces.12 The building elements change as the passengers move into the building, materiality serving as the main facilitator for this. The material chages from opaque (like metal mesh) to less opaque (glazing and metal mess) to a very clear glazing.13 Lighting is also used to reflect environmental conditions such as lightning storms. This creates artifical weather conditions within the fabric of the buidling, essentially creating a new eco-system within the natural one. This form of building is monumental in scale but connects with simple elements prevailent in biomimicry such as light, weather and patterns. The designers from Biothing explore biomimicry by replicating the expression of water, not directly 12 Alisa Andrasek, ‘||Fissureport _ Port Terminal _ Kaohsiung Taiwan « Biothing’, Biothing.org, 2010 <http:// www.biothing.org/?p=276> [accessed 15 April 2015]. 13 Alisa Andrasek, ‘||Fissureport _ Port Terminal _ Kaohsiung Taiwan « Biothing’, Biothing.org, 2010 <http:// www.biothing.org/?p=276> [accessed 15 April 2015].

CRITERIA DESIGN

correlating all elements of water with a building. The site for this Design Studio is situated along Merri Creek so this abstract thinking related to water will become helpful in my own design exploration. The idea that I can evoke emotions by focusing on some very distinct elements of the environment and mimic these is an exciting one. There are many opportunities that can be explored if you don’t just copy a structure but instead look at its theories and how to apply these to different situations.

FIG. 9: FISSURES PORT TERMINAL

CRITERIA DESIGN

Verterbrae Staircase by Andrew Lee McConnell This staircase created by Andrew Lee McConnell further explores the theory that biomimicry is not simply a copy of a natural system but uses it for human benefit and uses nautral forms for their strength (literally in this case). Inspired by the spine of a whale, this staircase explores further geometrical composition rather than a geometric copy.14 The staircase is fabricated out of reinforced steel modular parts created from a regular, repetitive pattern. The formwork can be reused therefore there is an efficient use of materiality in this project, leading to a descalation in cost.15 The vertebrae modular units interlock with eachother, much like its sister naturally occuring system. Also, the structural performance of these units are key to the overall design, meaning that absolute precision is necessary. 14 Hunter, ‘Vertebrae Staircase - Andrew Lee Mcconnell - Biomimetic Architecture’, Biomimetic Architecture, 2013 <http:// www.biomimetic-architecture.com/2013/vertebrae-staircaseandrew-lee-mcconnell/> [accessed 29 April 2015]. 15 Hunter, ‘Vertebrae Staircase - Andrew Lee Mcconnell - Biomimetic Architecture’, Biomimetic Architecture, 2013 <http:// www.biomimetic-architecture.com/2013/vertebrae-staircaseandrew-lee-mcconnell/> [accessed 29 April 2015].

CRITERIA DESIGN

Even though I believe that McConnell has intended to explore the system of a spine, perhaps in my opinion the translation can be seen as too literal in some instances. The form of the staircase (spiralling) is unlike a spine however the smaller elements remind me of bones due to the interlocking that is so integral to the structure of this project. Perhaps not a bad thing but I would wish to explore a more abstract version of biomimicry in my own design. This would enable me to create a form that would reflect site and my own design style whilst also connecting to nature and only using elements that relate to my site and area. For example, I don’t want to create a design that has no relation to site but instead mimics something that is irrelevant as there would be no point of using grasshopper as a tool to create a design that mimicss nature if the parameters aren’t informed properly.

FIG. 10: VERTERBRAE STAIRCASE

CRITERIA DESIGN

B.2 Case Study 1.0

The Morning Line Designed as a modern collaboration between music, art, architecture, music and cosmology, this sculpture is imagined as a ruin of the future.16 There is no beginning or end to the lines that intertwine together to form fractals. This creates a ‘dense web’ of ideas that connect the viewer with ideas of history and the universe as well as their place within these.17 The heart of the structure is the main building block or what is referred to as the ‘heart’.18 This is a block that grows in three directions according to a set ratio to create the final structure. Each of these blocks are interchangeable, recyclable, portable and demountable ensuring that the project can be easily moved but also reacts to its environment. The fractal blocks are able to react to their phyiscal environment and how this changes over time, an important aspect of nature and therefore biomimicry. 16 Aranda\Lasch, ‘Work - The Morning Line’ <http://arandalasch. com/works/the-morning-line/> [accessed 30 April 2015]. 17 Aranda\Lasch, ‘Work - The Morning Line’ <http://arandalasch. com/works/the-morning-line/> [accessed 30 April 2015].

18 Aranda\Lasch, ‘Work - The Morning Line’ <http://arandalasch.com/works/themorning-line/> [accessed 30 April 2015].

CRITERIA DESIGN

This can be a significant aspect that I can explore in my own design, after all the site on Merri Creek is exposed to varying phyiscal climates and conditions. The structure of the Morning Line is also important to note as grasshopper allows for great flexibility in the structure. Being able to identify each element helps and speeds up the fabrication process, leading to the portable nature of the work. As well, grasshopper as a tool helps the designer to create these fractal forms and then orient them to their structure but then go back and change the original ‘building block’. An important part of nature also is the ability for organisims to develop and grow as a whole and morph into the best possible structure.

FIG. 11: THE MORNING LINE

CRITERIA DESIGN

I began my exploration of the Morning Line case study by exploring the input geometries and factors that related to scale, shape and patterning. The outcomes were what I anticipated would happen for the first two attempts however changing the scale of the tetrahedons at one verticie produced an unexpected form. The forms became more deconstructed and moved further away from the original project as I increased the scale of the tetrahedons at the verticies, implying that there would be less phyiscal space represented as a result of taking more volume away. By just focusing on the patterning on the sides of the tetrahedons (only previewing this) I was able to explore the shapes that could be created at the different points on the tetrahedons.

CRITERIA DESIGN

Changing size/ scale of polygon.

Changing number of sides on the polygon.

Changing scale of tetrahedons at one verticie.

Changing factors of the patterning on the sides.

CRITERIA DESIGN

This is one of the outcomes of changing the scale factor of the tetrahedons at the verticies of the main â&#x20AC;&#x2DC;block.â&#x20AC;&#x2122; The final form is very abstract and would not be structurally possibly unless the triangles were joint together by another surface or joints. I like the repetitive pattern shown on all sides but am interested in the layering and different scales of the traingles more. The entire space is covered in triangles and when applying a glass material, the layering becomes more obvious.

CRITERIA DESIGN

I began exploring the array tool in grasshopper to further expreiment with the definition I had began to play with. The reason I used this tool was that I was interested in transforming and moving around the forms that I had created by altering the tetrahedons at different verticies. Once I began to array the brep I altered the number of times it was arrayed, creating different forms and more or less complex elements. These elemenst were a representation of the original structure as they followed the structure set out in the original definition. and cut away at certain points.

CRITERIA DESIGN

Returning back to the original, un-arrayed form or ‘central block’ and then began experimenting with the bull-ant plugin. This plugin allowed me to quickly tesselate forms (the forms I had created). However, these tesellations didn’t mirror the original project well, instead forming tesellations in the shape of a desired brep.

CRITERIA DESIGN

So, instead, I baked off the simple geometries that I had created at the start of my exploration and oriented and mirrored them. This ensured that all elements were the same and fitted together perfectly like fractals in nature. To create this however I had to truant the edges of my tetrahedon, to do so I trimed the capped brep. After I created this final form, I experimented with unrolling my finished brep. The final outcome was a shape that had tabs to enable quick fabrication. Grasshopper enabled me to create a perfectly matching pattern. In this way, grasshopper is an essential tool in biomimicry as it allows us as digital designers to create precise digital models that can mimic eachother and repeat, much like DNA in nature. I think in my own project, I will take away the tools of capping, orienting and creating shapes at different points (that are at scale of eachother). The scale tool was an integral part of this project and I found it extremley helpful, especially in the study of biomimicry which involves patterns and scale (growth of smaller organisims into larger ones).

CRITERIA DESIGN

B.3 Case Study 2.0

ZA11 Pavilion by CLJ02 The main design intent of the pavilion was to attract passers by and interact with the historical surroundings in the imediate environment. The pavilions pattern on the surface was informed from a hexagonal pattern occuring in nature. Using grasshopper tools, this pattern was morphed and manipulated to create the final structure.19 Due to environmental and external factors, the design team was limited in budget and a timeline. To combat these disadvantages, the form was created in order to be easily scaled and fabricated. 20

The pavilion was successful in attracting visitors to its surroudning environment and furthermore people engaged with the pavilion itself - it was used as an open air cinema, bookshop and an area for concerts or even tea. 21 Fabricated modules allow for this type of flexibility in structures - they can be transported, rebuilt easily and repurposed. Repurposing is one of the possible requirements for the design brief and I can now see how this may be achieved through modular shapes and joints that can be labelled and fitted together by almost anyone.

CNC fabrication enabled precise fabrication, the inclusion of exact and correct joints and clips as well as labelling every piece as did the parametric modelling.

19 Megan Jett, ‘ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan’, ArchDaily, 2011 <http://www. archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrickbedarf-bogdan-hambasan/> [accessed 1 May 2015]. 20 Megan Jett, ‘ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan’, ArchDaily, 2011 <http://www. archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrickbedarf-bogdan-hambasan/> [accessed 1 May 2015].

CRITERIA DESIGN

21 Megan Jett, ‘ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan’, ArchDaily, 2011 <http://www. archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrickbedarf-bogdan-hambasan/> [accessed 1 May 2015].

FIG. 12: ZA11 PAVILION

CRITERIA DESIGN

I began exploring this project and attempting to reverse engineer it by creating polygons. I altered the size and form of these polygons and oriented them around a singular line, hoping to be able to then offset these shapes. Thefinal results however meant that these polygons overlapped and intersected eachother, not creating the refined and simple shape of the ZA11 pavilion.

CRITERIA DESIGN

I then attempted to morph the polygon onto a surface I had created in Rhino. The end result however wasnâ&#x20AC;&#x2122;t defined and the boxmorphing meant that the shape didnâ&#x20AC;&#x2122;t have any negative space. Using the bull-ant plugin that I had experimented with already in Case Study 1.0 I attempted to tessellate the polygon shape. The end result however just meant that the polygon itself became a tesellated surface - thus not producing my desired effect.

CRITERIA DESIGN

After these failed attempts, I began looking at form-finding using the Kangaroo plugin. By firstly creating a hexagonal gril I was then able to project this onto a desired shape (or between two bounding lines) and then alter the shape of this. I baked off this new form and divided the hexagonals, offsetting these points and then creating a loft. However, the final effect was not a hexagonal surface, instead the points joint together created circular lofts.

CRITERIA DESIGN

Hexagonal grid

My final attempt involved seperating the hexagons so they became individual so I could offset each hexagon and then loft. To do so, I weaved a larger surface and a smaller offset surface together and lofted between the two surfaces to create the hexagonal volumes.

Pattern

Hexagonal grid on surface (Kangaroo plugin)

The end result was a simplified version of the ZA11 pavilion and explored how grasshopper can enable you to fabricate digitally designed projects using a step by step process and analysing your own work as you move onto a new idea.

Offset surface

Scale surface

Move surface

Loft

CRITERIA DESIGN

B.4 Technique: Development

Developing iterations revolved around changing the scale of certain parameters. These included; changing number of hexagons in the grid (both in the x and y direction), changing depth of the loft by changing where the smaller surface was moved (in the positive and in the negative) as well as generally changing scale and thus the boundary lines would change also. I noticed that it didnâ&#x20AC;&#x2122;t matter whether I changed the number of hexagons to be an even or an odd number in the grid, the resulting pattern appeared to be the same. Another interesting element that I noticed was that depnding on the sacle of the smaller surface, the hexagonal lofted brep became to look more and more like a shell and resembled nature. The opportunities to stumble upon a recognisable naturally occuring structure, I have realised, are great.

CRITERIA DESIGN

The selection criteria in this study was much the same as I had already explored. Scale was a big issue for me, I wanted to see how nature altered and how the modules in my design would change along with the scale. One of the main talking points of the ZA11 pavilionâ&#x20AC;&#x2122;s design is the ability to scale down the modular pieces and thus the fabrication of the structure. Would this harm the modules themsleves? It appears not.

CRITERIA DESIGN

B.5 Techniques: Prototypes

The ZA11 pavilion was fabricated using plywood sheets and various sized clips that clipped together the planar sides of each hexagonal extrusion. I began exploring these cips as well as different material types. I had explored the versatality and opportunity for layering with glass in my renders so attempted to apply this in real life. The outcome was not so beautiful. The material warped and the clips offered little to no stability - possibly if they were computerised and laser cut the accuracy would be better and the material would become more sitll. Also, with more clips, the material appeared to become more stiff as it became more rigid. I started with just one clip and the form did not hold well. I then created the extruded hexagonal shape by unrolling the geometry in Rhino and creating a tab using grasshopper. This enabled me to quickly do this. I then cut out the resulting shapes and glued them together - simply looking at form and not the clips themselves.

CRITERIA DESIGN

FIG. 13: ZA11 PAVILION

CRITERIA DESIGN

B.6 Technique: Proposal

I have refined my technique to involve offsetting curves and shapes to create identifiable volumes. This enables me to create naturally occuring shapes and then mould and develop them to suit my brief. I have decided to create a pavilion or gateway at the Merri Creek enterance near the bike shed at CERES. This new enterance will excite the visitors to the site as well as conncting the river or nature to CERES. During my own site investigation, I found that CERES was almost unidentifiable and was easy to miss. A clear indicator that represents nature will tie together all of the ideas that I wish to explore in grasshopper and digitial fabrication.

CRITERIA DESIGN

B.7 Learning Objectives and Outcomes

This section has accelerated by grasshopper skills and I am beginning to see how to use them for physical models. I have began to interrogate the brief set out in this studio and examine how it relates to my technqiues of offsetting and form finding. I also have created multiple design possibilities by interrogating grasshopper definitions and creating my own. I have connected architecture with the â&#x20AC;&#x2DC;airâ&#x20AC;&#x2122; of the site or the unseen. I used phyiscal prototypes to explore materiality and interrogate them in the atmosphere. I have analysed contemporary architetural projects and discussed their limitations along with their form finding techniques. This enabled me to understand computational technology and develop my own understanding of these tools. Part A set me up for being able to consider and evaluate projects whereas Part B has helped me to explore these in a way that I can understand and hopefully replicate.

CRITERIA DESIGN

B.8 Appendix - Algorithmic Sketches

CRITERIA DESIGN

B.9 References Andrasek, Alisa, ‘||Fissureport _ Port Terminal _ Kaohsiung Taiwan « Biothing’, Biothing. org, 2010 <http://www.biothing.org/?p=276> [accessed 15 April 2015] Aranda\Lasch, ‘Work - The Morning Line’ <http://arandalasch.com/works/the-morning-line/> [accessed 30 April 2015] Biomimicry Institute, ‘What Is Biomimicry? – Biomimicry Institute’, 2014 <http:// biomimicry.org/what-is-biomimicry/> [accessed 28 April 2015] Biothing.org, ‘//Phosphorescence _ Pop Music Centre _ Kaohsiung Taiwan « Biothing’, 2010 <http://www.biothing.org/?p=421> [accessed 29 March 2015] Hunter, ‘Carpal Skin - Neri Oxman - Biomimetic Architecture’, Biomimetic Architecture, 2013 <http:// www.biomimetic-architecture.com/2013/carpal-skin-neri-oxman/> [accessed 28 March 2015] Hunter, ‘Vertebrae Staircase - Andrew Lee Mcconnell - Biomimetic Architecture’, Biomimetic Architecture, 2013 <http://www.biomimetic-architecture.com/2013/vertebrae-staircase-andrew-lee-mcconnell/> [accessed 29 April 2015] Jett, Megan, ‘ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan’, ArchDaily, 2011 <http://www. archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan/> [accessed 1 May 2015] Oxman, Neri, ‘Fibonacci’S Mashrabiya| By Neri Oxman’, Materialecology.com, 2009 <http://www. materialecology.com/projects/details/Fibonaccis-Mashrabiya#prettyPhoto> [accessed 28 March 2015] Ritter, Sherry, ‘Four Student-Designed, Nature-Inspired Transportation Solutions’, http://makezine.com/2014/06/10/ four-student-designed-nature-inspired-transporation-solutions/, 2014 <http://> [accessed 28 March 2015]

Images Figure 1: Team Dédale’S Air Ballast Biomimetic Cargo Ship And Its Inspiring Organisms, 2014 <http://makezine. com/2014/06/10/four-student-designed-nature-inspired-transporation-solutions/> [accessed 28 March 2015] Figure 2: Siegel, Mikey, Carpal Skin, 2013 <http://www.biomimetic-architecture. com/2013/carpal-skin-neri-oxman/> [accessed 28 April 2015] Figure 3: Reshef, Yoram, Pneuma 3, 2012 <http://www.materialecology.com/ projects/details/pneuma-3> [accessed 28 March 2015] Figure 4: Reshef, Yoram, Remora, 2012 <http://www.materialecology. com/projects/details/remora> [accessed 28 March 2015]

CRITERIA DESIGN

Figure 5: Ricardez Luna, Eloy, Anthozoa: Cape & Skirt, 2012 <http://www.materialecology. com/projects/details/anthozoa> [accessed 28 March 2015] Figure 6: Reshef, Yoram, Qamar, 2014 <http://www.materialecology.com/projects/ details/al-qamar#prettyPhoto> [accessed 28 March 2015] Figure 7: Pop Music Centre, 2010 <http://www.biothing.org/?p=421> [accessed 28 March 2015] Figure 8: Fibonacciâ&#x20AC;&#x2122;S Mashrabiya, 2009 <http://www.materialecology.com/ projects/details/Fibonaccis-Mashrabiya> [accessed 28 March 2015] FIgure 9: Andrasek, Alisa, Fissure Port Terminal, 2010 <http://www.biothing.org/?p=276> [accessed 17 April 2015] Figure 10: Vertebrae Staircase, 2013 <http://www.biomimetic-architecture.com/2013/ vertebrae-staircase-andrew-lee-mcconnell/> [accessed 20 April 2015] Figure 11: Polacsek, Jakob, The Morning Line, 2011 <https://www.flickr.com/ photos/arandalasch/5882758562/> [accessed 1 April 2015] Figure 12: Bondas, Daniel, ZA11 Pavilion <http://www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescupatrick-bedarf-bogdan-hambasan/01-110508-day _img-danielbondas/> [accessed 30 April 2015] Figure 13: Stefanescu, Dimitrie, Patrick Bedarf, and Bogdan Hambasan atrick Bedarf, ZA11 Pavilion Fabrication, 2011 <http://www.archdaily.com/147948/za11-pavilion-dimitriestefanescu-patrick-bedarf-bogdan-hambasan/> [accessed 30 April 2015]

CRITERIA DESIGN