Jade tan 752875 air part b final

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Studio Air_Part B

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B.1: Biomimicry Biomimicry is about observing nature and using naturally occurring principles and systems to solve problems. It has been widely used as a design approach to seek out more sustainable solutions in architecture, such as in the Eden Project. The aims of biomimicry are simple, emulating nature’s own principles of self-generation and responsiveness to changes in the environment. Biomimetic design thus encompasses using technology to improve material performance and goes beyond just emulating the form of nature, incorporating natural mechanisms within itself.

Much of architecture today alludes to biomimicry, such as high performing buildings built with the same ventilation principles as termite mounds. Without a doubt using nature as inspiration has helped to generate a wide variety of interesting and unexpected forms, such as the Elytra Pavilion, but it is important to note that the aesthetic quality is simply an outcome and not the starting point for biomimetic design. However, it is more practical issues that often prevent a more in depth exploration of biomimetic principles, including time and money. Insufficient research tends to prevent biomimetic design from expanding to a larger scale1. As such, biomimicry tends not to be employed in design as a type of form generation, but rather merely as models for building efficiency and performance. This shows that there is still vast potential for architects to truly understand how biomimicry can be used as a design tool.

With the Elytra Pavilion by Achim Menges, we see how responsiveness and performance can be integrated alongside an inspiring and provocative design. The Elytra Pavilion consists of 40 unique hexagonal components, robotically fabricated from glass and carbon fibre--nature’s own composite materials The web-like design of each component is based on the fibrous structure of beetle’s forewings – named elytra.

In addition, the Pavilion will grow and change its configuration over time in response to how visitors inhabit the spaces. Tiny thermal imaging cameras and motion sensors are embedded into the optic fibres that are interwoven with the glass fibres, collecting data over a period of time. Over the course of one or two days, visitors can witness a robot on-site rebuilding the pavilion with new components algorithmatically generated by the new data. This case study thus mimics not just the form of beetlewings but mimics some form of natural responsiveness to changes in the microclimate.

1 Katie Scott, ‘Biomimicry in architecture and the start of the Ecological Age’, Wired Magazine (revised 2002) <http://www.wired.co.uk/article/biomimicry-in-architecture>[14 September 2017] 42

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B.2: Case Study 1 The first case study is the Spanish Pavilion by Foreign Office Architects. It uses a repeated irregular hexagonal cell pattern to create openings. This project is not as digitally fabricated as many other generative designs, but still requires the fabrication technology of custom pressed clay to form the screen tiles. Each hexagon is formed with a separate front and back piece which conceal and are supported by interior metal supports2.

The Spanish Pavilion is designed as a lattice envelope enclosing a series of interconnected vaulted chapels, each constructed as a vaulted bubble, reflecting soap bubbles which are also naturally occurring. The lattice on the outside using differently shaped and colour-coded tiles create variation on its façade.

The use of hexagonal cells is common in biomimicry, as it is present in many biological organisms. For example, it was common knowledge to ancient Greeks that modular hexagonal honeycombs make the most storage possible with least amount of material3. Architects are now using this for other applications, such as buildings with hexagonal shaped windows.that passively regulate light and heat. .

2 Manufacture Architecture NC, ‘World Exposition: Spanish Pavilion’, Manufacture Architecture NC (revised 2017) <https://design.ncsu.edu/manufacturearchitecturenc/case-studies/spanish-pavilion/> [13 September 2017] 3 Tamsin Woolley-Barker, ‘What can the honeybee teach a designer?’, Inhabitat (revised 2017) < http:// inhabitat.com/the-biomimicry-manual-what-can-the-honeybee-teach-designers-about-insulation-elasticity-andflight/> [14 September 2017]

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Iterations

as a surface

ATTRACTOR POINTS

points at different locations

input: offset curves

input: culled curves and geometry

input: offset and culled curves

EXTRUDE USING NORMALS

change input params

scale Brep vertices 0.4

solid trim scaled geometry

rotate 3D 60 deg., move and rotate 3D 240 deg.

rotate 3D 90deg , rotate 3D 144 deg without YZ plane

solid trim without scaling

scaling of scaled geometry

extruded

EXTRUDE AND ROTATE

rotate 3D 45 deg.

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rotate 3D 60 deg., roate 3D 240 deg., XZ plane

rotate YZ plane, rotate XZ plane

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superimposed with other geometry

MAP TO SURFACE + RANDOM SPLIT+ROTATE AXIS

angle of rotation 353 deg. + kaleidoscopic array

angle of rotation 310 degrees

changing input lists + angle of rotation 330 deg.

rotate 3D

REL-ITEM PATTERNING

{0;0;0;0} {1;1;2;0} {2;3;1;1} + image sampler LUNCHBOX MATH GEOMETRY

enneper surface + lofted lines roatetd at 270 deg.

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move target surface, no array

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{0;0;0;0} {1;1;2;0} {2;3;1;1} + image sampler +changing U, V of eval. curve U=7.480 V=-1.683

enneper surface + lofted lines at 60 deg.,

+ change offset from .32 to .5

klein surface, lofted lines rotated at 180 deg.

project culled pattern to srf overlap patterning using RelItem {0;0;0;0} {3;1;2;0} {1;0;2;0} {0;1;2;0}

klein surface, lofted lines rotated at 76 deg.

project culled pattern to srf overlap patterning using RelItem {0;0;0;0} {3;1;2;0} {1;0;2;1} {0;2;2;0}

moving target surface

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successful iterations DIMENSIONALITY AND CURVATURE This iteration was chosen because of its undulation. As a surface it could potentially be used acoustically and can be engineered to respond to its environment as it was designed with attractor points. The curves appear to consist of chain links suspended.

These catenary curves are also a form of biomimicry as they follow the natural law of gravity. Alternatively they could be used as a surface covering with each hexagonal cell at a different angle to deflect sound.

IRREGULARITY AND DISTORTION This iteration is a result of overlaying a klein surface with the original hexagonal cells and extruding some of the triangular holes. The intention behind its species is to distort the originally regular form of the Spanish Pavilion, and use the surface to wrap around a space. The enclosure appears to be semi-permeable, and highly irregular, but the underlying logic of the hexagonal cells is still evident, which could allow the structure to shrink or expand due to its flexible configuration. The subsequent potential for this iteration is to use the overall form as the enclosure for the acoustic pod and vary the size and angle of each cell, and the height of extrusions, which provide additional privacy.

SURFACE ROUGHNESS

Many naturally occuring organisms have a skin that has microscopic protrusions for a biological purpose/response. For example, the skin of sharks have tiny scales to allow water to flow over more quickly and also to prevent parasitic growth. In this context, I find that a surface that embodies a similar principle could perform similarly, perhaps allowing sound waves to travel in a particular way. The small extrusions can be designed with variation as a priority, such as with differing heights, which can be easily parametrized and fabricated.

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SELF SUPPORTING SKIN AND FRAME This iteration opens up the potential to use a material that can serve as both the frame and the skin. the extrusion resemble folds that add structural rigidity, so the form supports itself. furthermore, it doubles as an surface that can be acoustically optimised. this is a more efficient system, and is often found in nature as well, such as in insect exoskeletons. More array of each mapped and extruded surface creates a tighter enclosure of space, but remains semi permeable.

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B.3: Case Study 2 In the ZA 11 Pavilion, we see the same concept of hexagonal cells being used but in an extruded form. The aim of the pavilion is to activate the space for interaction, and attract people to the multitude of events unfolding within it. In effect, it informs the next part of the project where the design of an acoustic pod should also be aesthetically interesting, although its function is reversed, to keep out sound rather than amplify it.

It is an interesting precedent for its stretching of parametric design to work within the constraints of budget, limited material, a tight site, and few available tools. The approach was thus a modular one, so that it could be easily scalable in terms of fabrication. The final design consists of 746 unique pieces, that when assembled creates an organic, free from ring subdivided into deep hexagons. The configuration, computationally derived, allows for sheltering different events but through its undulation generates visual interest. The project heavily relies on assembly logic as well, through CNC milling and exact panel labelling4. Its intricate detailing, such as varied material thickness also incorporates an idea common in biomimicry, to adapt to certain structural needs. In reptilian skin for example, hexagonal cells have varying radii so as to allow ease of stretching and bending. In this project, the varied thickness reduces joint stiffness, allow the plywood to perform better acoustically in sound deflection and absorption, as well as gives the structure overall flexibility in loading. In a more general sense, this project reflects an experimental attitude towards biomimicry in architectural design, which is often lacking.

4 Megan Jett, ‘ZA 11 Pavilion’, Archdaily (revised 2011)http://www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan [13 September 2017]

honeycomb versus snake’s skin

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Reverse Engineering

1. LOFT CURVES

2. PROJECT HEXAGONAL CELLS

3. SCALE

4. LOFT SCALED GEOMETRY

5. PATTERNING USING LIST ITEM

FINAL OUTCOME

EXTRUDE SEGMENTS

LIST ITEM (1) MOVE

SCALE

HEX (INNER)

LIST ITEM (2) LOFT

LOFT CURVES

DECONSTRUCT

EXPLODE

JOIN

SCALE

EXTRUDE

CAP HOLES

SOLID DIFF

LIST ITEM (3) HEX (OUTER)

LIST ITEM (4)

VERTICES

LIST ITEM (1)

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B.4: Technique Development CHANGING PARAMS

u: 5, v: 15, t: 0.4

u: 3, v: 20, t: 0.2

scale triangle holes 0.3

scale inner curve. 0.8

thickness of panel-->0.8

REPLACING LUNCHBOX

triangle cells

diamond cells

outer staggered quad inner triangle (B)

list item and rotate

scale triangular holes 0.9

outer skewed quad inner triangle (C)

outer skewed quad inner diamond

SUBDIVISION AND ROTATION

subdivide triangle

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subdivide hex cells

scale triangular holes 0.8, list item, rotate

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61 EXTRUSIONS FROM NORMALS

u:5, v:3, t: 0.3 extrude hex cells

u:7, v: 3, t: 0.3, extrude hex

move scale 4, opening size 0.2

opening size 0.8

move scale 5, opening size 0.4

perlin, list 0,1,2,4

sinus cardinalis and parabolic

GRAPH MAPPER

bezier curves, list item 0,1,5

bezier, list item 1,2,3

perlin and conic, list 1,2 3,

CHANGING BASE GEOMETRY

scale and move 2 base curves 60

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scale and move 3 base curves

mobius strip base

torus base

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ROTATE AND SCALE

rotate 3D 154 deg scale of triangles 0.6

cull pattern, rotate 54 deg. scale triangles 0.3

scale 0.5, scale NU 1,5 rotate 3D triangles 157 deg.

rotate 3D 227 deg. rotate 3D triangles 230 deg.

smooth mesh I: 5

map to srf made of arcs

map to srf made of spiral 4.78 pi, rad. 80 deg.

rotate 3D 54 degs. rotate 3D triangles 230 deg

SMOOTH MESH + MAP TO SURFACE

mesh weld vertices 0.8 62

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map to srf made of spiral 5.76 pi, rad. 50 deg.

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LUNCHBOX STRUCTURAL GRID

grid structure u:5, v:2, t: 0.8

diagrid structure u:5, v:2, t: 0.8

braced frame structure u:4, v:3 t: 0.4

space frame grid structure u:5, v:2, t: 0.8

hexagonal grid structure u:5, v:2, t: 0.8

POINT ON CURVE

list item 0, 2 point on curve 0.25, 0.5 move factor 10

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list item 1, 3 point on curve 0.25, 0.5 move factor 10

list item 0, 3 point on curve 0.5, 0.5 move factor 10

list item 1, 2 point on curve 0.5, 0.75 move factor 5

list item 2,3 point on curve 0.25, 0.75 move factor 5

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successful iterations and criteria INHERENT BIOMIMETIC PRINCIPLE

RESPONSIVENESS

Continuing with the criteria set in case study 1, this iteration was selected due to its surface extrusion. Through rotation the form resembles a lotus flower. The lotus flower has leaves that have microscopic rough scales to provide self-cleaning.

In this iteration, he general look is biophilic and could potentially have acoustic properties as well. It is also easily scalable, and some of the smaller extrusions resemble joints that could give some idea of how to connect each panel.

This iteration could be useful for designing a structure that is inherently responsive to changes in the environment. The opening and closing of panels could allow for greater sound and light permeability, and also respond to the users through warmth or movement. This is related to criteria 1 on inherent biomimetic principle, as much of nature is programmed to do this without external mechanism.

Panelling is often done in many biomimetic pavilions, such as those by Achim Menges, so perhaps an improvement could be to go beyond just opening and closing the panels, but also rotating and bending them to create more dynamic form.

FLEXIBILITY OF STRUCTURE This iteration was chosen with the site in mind. Given that the floor area is quite small and the space might not be inhabited all the time, a flexible structure could potentially be more useful and space-efficient. Furthermore the numeours folds has potential in creating more dimensionality for sound deflection. A design in this direction would require the use of a lightweight and stretchable material, which could be a challenge for sound insulation, but through further material study, we might be able to optimise this.

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ORGANIC FORM This iteration reminds me of a skeleton, a structure that is strong and rigid, and continually growing. The use of weld vertices and smooth mesh creates the base geometry, which can be easily twisted and warped into other biophilic forms.

This design could likely require 3D printing as a fabrication tool. It is interesting as it completely distorts the original geometry, which is very regular, and it could potentially be used as a structural frame for the acoustic pod. Furthermore, the structure could be parametrically improved, through testing with forces, to find out how to compose the polymer fibres so that maximum strength is achieved.

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B.5 Prototyping

1. EXPANSION ON THE ICD/ITKE PAVILION

At the prototyping stage, the outcomes of the ZA 11 Pavilion iterations were combined with that of another, the ICD/ITKE Research Pavilion of 2011. The key takeaway from each is the commonality of hexagonal cells as a biomimetic motif, performing some sort of structural stability. Also, both use plywood as both frame and skin, thus we explored the acoustic possibilties of the material (See B.6).

Three prototypes were produced. The first was inspired by conch shells due to their inherent reverberation qualities, the second was inspired by minimal surfaces and the third was a material study.

Fabrication of the prototypes was possible through panelling and modularity. The panels were laid out for laser cutting in Grasshopper, and panel tabs and a curvilinear waffle grid were two ways we experimented with as joint connections.

2. EXPANSION OF THE ZA 11 PAVILION

patterning to be projected for perforations ICD/ITKE Pavilion 2011

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71 COMPARISON OF FABRICATION TECHNIQUES

3. MATERIAL STUDY

felt

The ZA 11 Pavilion originally uses a pentagonal shaped waffle joint, and the ICD/ITKE Pavilion uses finger joints fabricated by a robot. Due to the curvature of our structure, we needed more flexible joints. However, these inform our fabrication process and the resulting modularity of our prototypes.

aluminium mesh

wire

The first prototype is intended to be made of plywood, though at this scale and thickness, polypropolene was used as a substitute for ease of folding and assembly. The prototype is to be covered in the same felt as prototype 3 to absorb and diffuse sound waves. With this prototype the key takeaway was finding a suitable jointing system, such as riveting so that the overall structure would still be flexible, without each panel pulling away from each other during assembly.

The second prototype using a waffle grid as the base frame was successful, although the modular elements that would be covering the frame encounters the same problem of flexibility. Nonetheless, the grid itself already provides an undulating surface that could potentially be good enough for deflecting sound waves without the modular elements. A more flexible module could be used, such as prototype 3.

The third prototype as a material study is interesting because the way that the frames are positioned allows the otherwise rather soft material of felt to gain some structural rigidity and generate form.

The angles at which the modules turn create some form of enclosure independent of parametric design from the outset. This composite of aluminium frame and acoustic felt will be further explored to see how it can be applied parametrically.

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B.6 Proposal In addition to the design brief for an indoor acoustic pod, we intend to shape the spatial experience of a design office through defining space for private meeting, We conducted research on how materials should be arranged and designed to optimize sound, specifically by increasing the number of surfaces/ protrusions to deflect sound and using sound absorbent materials such as felt lining.

We choose to use plywood for its high stability and impact resistance and high strength to weight ratio.

Plywood thus provides an excellent structural frame on which we drape acoustic felt designed by breaking and distorting hexagonal cells.

Our design criteria are: acoustic performance, potential interaction between public and private and ease of assembly. We use modules throughout all our prototypes for ease of fabrication and through curving form, generate spatial separation. Lastly, we hope that the extruded spiked surfaces generate visual interest and through the felt lining also achieve comfort, inviting people to inhabit it and activate the space.

FURTHER PRECEDENT STUDY

other precedents: the Elbphilharmonie (Herzog and de Meuron), Clouds Divina (Studio Bouroullec) and XSSS (Hodgetts+ Fung) 72

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Our design seeks to be unlike other acoustic pods which tend to be regular in form and uninspired, only having acoustical properties. We aim to create a pod that has a character distinct from the external environment, whilst maintaining connection. However, the drawback is the lack of material tactility that would help us achieve this goal in our more parametrically designed prototypes whilst our material study, has great potential in creating an interesting surface, yet is not parametrically designed, hence not optimised. However, the softness of a handmade module is worth pursuing further, as long as the way that it performs in reality, in accordance to the bending angles of the structural frame, can be turned into inputs for us to test sound optimization in Grasshopper. The curvature of the overall form can then be generated from this data.

Lastly, we aim to achieve a stronger conceptual understanding to underpin the final project.

For instance, not just following the shape of conch shells but mimicking the way that it draws sound inwards and echoes it outwards. The departure away from form-finding towards material performativity could result in a more organic and asymmetrical appearance that is more biomimetic.

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B.7 Outcomes

Algorithmic Sketches

This part of the journal concludes precedent research into parametric design and the research field of biomimicry, and informs the subsequent stages of fabrication and further modelling. Through repeated iterations and matrice-making I have gained a great amount of knowledge about Grasshopper and its components, although there is still room for more progress, especially in learning how to use simulation plug-ins like Kangaroo. Ultimately, the aim of the studio is to stretch the limits of parametric design. Initially I had reservations that biomimetic design ultimately falls short of natureâ&#x20AC;&#x2122;s solutions, as one can never truly model the natural world. However, through the past few weeks of research I have found that the process of mimicry yields more unexpected solutions that go beyond just superficial form. The next part of the studio will be a challenge to bring out these principles of using nature as inspiration.

Conceptually, we have come up with 3-4 criteria to suit the brief of the final project. However, there is still more to be done in developing the idea, of the experience and the intention of the project, as well as combining that with our research fields. Material study evidently is a good place to start, and perhaps we would be able to revisit initial ideas of inventing our own acoustic material through experimentation, such as using organic fibre to replace felt.

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References Scott, Katie ‘Biomimicry in architecture and the start of the Ecological Age’, Wired Magazine (revised 2002) <http://www.wired.co.uk/article/biomimicry-in-architecture>[14 September 2017] Manufacture Architecture NC, ‘World Exposition: Spanish Pavilion’, Manufacture Architecture NC (revised 2017) <https://design.ncsu.edu/manufacturearchitecturenc/case-studies/spanish-pavilion/> [13 September 2017] Woolley-Barker, Tamsin ‘What can the honeybee teach a designer?’, Inhabitat (revised 2017) < http:// inhabitat.com/the-biomimicry-manual-what-can-the-honeybee-teach-designers-about-insulation-elasticity-and-flight/> [14 September 2017] Jett, Megan ‘ZA 11 Pavilion’, Archdaily (revised 2011)http://www.archdaily.com/147948/za11-paviliondimitrie-stefanescu-patrick-bedarf-bogdan-hambasan [13 September 2017]

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