Burakevic Dmitrij

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DMITRIJ BURAKEVIC 1 1 0 8 2 5 8 3 M A r c h D P 3 0 0 3 2 3 0 / 0 4 / 2 0 1 2

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Contents:

_ Preface_the setting p.7 - aim - key literature - writing style - characters

_Chapter_01_biomimicry / morphogenetics / nature link exploration p.9 - precedents - natural structural systems - structural flex - protective layer - deployable structure - journey - revelation

_Chapter_02_nature inspired techniques in the built environment p.41 - existing influence - manmade / natural structural systems - tension / compression / suspension / cantilevers - co-ordinates

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_Chapter_03_conceptual exploration of folding p.59 - multiplex - manmade / natural structural systems - transformation - metaphysical - physical - paradigm

_Chapter_04_praxis (methodology and design) p.79 - manmade / natural structural systems - function - phytotomy / morphology - methodology - folding as paradigm for architecture - prototype

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_ Preface_the setting The aim of this research project is to develop a theory and application techniques for the built environment which minimises use of resources and energy. The area of investigation is within the concept of ‘multifunction’, which means structural folding.

The resources investigated are manmade and non-manmade constructions and mechanisms. The discoveries will allow the attempt to conceive a design method which generates elegantly efficient architecture.

The first step was to identify a global problem, which is climate instability. This means that the research project becomes environmental. One of the main factors that impacts the atmosphere is that humans use too much resource (material) and energy to construct. Both inherently linked and are each others by-product.

The idea is to record a series of intricate architectural interpretations of nature inspired design innovations. Sensitive to context; locality, culture, sociology, technology and environment.

The expressions take shape dictated by the nature of the site. So the mechanism are translated to the human built environment.

Minimising that use is to address the issue. The most efficient approach is multifunction. Therefore research is setup to explore the idea of folding, transforming, kinetic, fragmenting and living organisms. The theory is designed to be applied to the built environment.

Due to the area of my research, the methodologies selected are of qualitative nature. All the available precedent thinking on the subject was reviewed, then edited down to key texts, in order to define the topic and develop an individual stand point. That is to identify a new design approach with a different objective using a relative idea; in attempt to reconstruct architectural theory and application. Testing how we can exist in perfect harmony with earth.

For background awareness and to avoid superficial representation, human concepts were to be tested, experimented on own terms and compared to the compositions that nature conducts. This was also to help set specific tasks and design projects, also derived from read texts.

Man made and the natural world precedents were investigated throughout research. However, Nature is the main source of wisdom behind the discovered methods and techniques which generate structures following the idea of multifunction.

The literature reviewed is from secondary sources.

The material is from published books, journals, filmed interviews, documentaries and official websites. Some sources are directly architectural, others are relative from outside fields. The sources are focused on folding, structures and mechanisms exemplified in nature and built environment.

The result of learning from examples of structurally folding mechanisms, compared and integrated, is to then allow the discoveries to inform the design of; temporary structures, construction principals, architectural interventions, structural composites which capture multifunctional properties thus generate more efficient use of resource and energy. Illustrated through specific building types.

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Key literature review revelations;

Writing style:

J. M. Benyus describes nature and shows how biomimicry can inform design.

The predominantly written piece of work will be shaped in a form of two professionals having a natural debate in a public space. In order to reflect the concept behind the research; the story is unfolded in parallel with information. Which forms and ultimately explores my hypothesis. Using design projects I extracted from the investigation as examples within the story and follow to reveal true identities.

The conversation indicates that standards were once visions and there is opportunity for new approach. Through investigation of science, called ‘biomimicry’ we can explore new opportunities.

M. Pawlyn practices architecture with a biomimicry approach.

D. Thompson highlights that design and engineering in the built environment inspired by nature already exists.

G. Lynn illustrates varied existing approaches to the concept of folding architecture, static and variable.

S. Vyzoviti reveals folding as a method of architectural investigation of space.

The characters (spoiler alert);

I. Siliakus explores the aesthetic properties of folding paper.

Female - architect - visionary, with assumed ironic name; Faith, which could be seen as controversial in the science filed. Talks like a biologist, or so it seems.

All identified thinking around the concept of the ‘fold’ has been about spatial exploration, testing and questioning. A design technique which explores its context with a different sensitivity. Revealing layers of space which otherwise may not exist and attempt to define a logic in its method. My position differs; the interest lies in the potential of multifunction. The ever evolving architecture which generates multiple uses of space, thus becoming naturally efficient. Furthermore, the inspiration for my approach is nature; its structural folding methods and techniques. This process is known as Biomimicry.

Male - biologist - nostalgic, with assumed ironic name; Azarius, whci sways towards a creative background.

Talks like an architect, or so it seems.

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Folding Design: Nature inspired praxis.

Chapter_01_biomimicry / morphogenetics / nature link exploration.

The natures categories “Structural Flex, Protective Layer, Deployable Structure� begin to reveal different types of folding systems in nature which inform my investigation into all available structural mechanisms that transform.

Folding in Nature appears everywhere and if the same function is required, the fold is repeated. The purpose or reasons for folds, differ. Structural folds serve different purpose which is evident in the fold pattern. So in nature, it is also a multifunctional idea. Therefore it is important to identify what is appropriate and specifically works towards resolving a design problem rather than following human nature, in that making a jumble out of all the ideas will work. However, through testing it may also be identified that a combination of ideas work best as a solution, which is what the project testing is striving for.

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Beech Leaves The main use of flat surfaces in nature consists of photosynthetic structures such as leaves. Leaves of many plants are flat yet flexible surfaces that resist bending due to structural features and bracing from below. Most leaves seem to bypass problems of loads perpendicular to their surfaces simply by flexing or reorienting in winds. Quite a few leaves use a slight longitudinal “V-fold” to get adequate bending stiffness, which must also give them low twisting stiffness. Other leaves use another deviation from flatness, “crosswise fan folding”. Thin leaf surfaces avoid bending in various ways. Veins provide supporting trusses, the whole leaf may be arching lengthwise, or pleats can make a ridge-andvalley self-trussing system. Following these principles we can design frames or roofs with some ability to flex, thereby requiring fewer support joists or trusses. We can also apply the method to products; photovoltaic panels which could flex with environmental conditions. (http://biomimicry.net/, 2012).

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Licuala Ramsayi The leaf of the Australian fan palm tree gathers light, optimizes on cooling and wind resistance thus avoids damage by subdivision into tilted segments.

In nature the green leaves of plants are the equivalent to photovoltaic panels. They absorb solar light, converting its energy into electricity (electrochemical energy) for water splitting and the generation of chemical energy carriers. Excessive heating of leaves to temperatures above 40 – 45ºC can seriously damage the chemical structure and the function of biomolecules and, therefore, such high temperatures should be avoided, for example, the potato leaf does not tolerate temperatures above 40ºC. Nature has consequently developed a series of adaptations, which help leaves control the temperature.

One is, of course, water evaporation, which, however, is restricted to areas with sufficient water supply. Another strategy is to keep the heat capacity low by means of building very light leaf structures so that the accumulated heat can easily be transferred to the atmospheric environment. It is also known that the leaf size decreases geographically with increasing solar energy input.

A suitable model plant was found in the fan palm Licuala ramsayi from northeastern Australia. Its leaf fan provides a large solar absorber area. However, the leaf is cut into segments, which are tilted in such a way that the air can pass freely through the fan transporting off heat. In addition, during a heavy storm, the fan follows the wind and the segments reorganize to a streamlined pattern from which they recover unharmed.

We can learn to design roofs to shunt away heat in hot climates, temporary structures (tent) and awning designs to withstand wind and fold efficiently. Photovoltaic panels optimized to keep cooler than conventional panels and withstand strong winds. (http://biomimicry.net/, 2012).

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Abaca Sachsenleinen Flexibility encourages twisting, not bending. The stems of banana leaves twist rather than bend when pushed sideways because of their torsional flexibility. A banana leaf, pushed sideways, twists rather than bends, again using a structure, its petiole (or leaf stem) of very torsional stiffness. Bananas are among the largest herbs in the world and their lightweight petioles hold up huge leaves. So how do the petioles manage to achieve adequate rigidity to do this, while allowing extensive and reversible reconfiguration in high winds. Morphological and anatomical examination of the petioles and leaves of Musa textilis suggested how these two apparently incompatible abilities are achieved. The hollow U-shaped section of the petiole and the longitudinal strengthening elements in its outer skin give it adequate rigidity, while its ventral curvature help support the leaf without the need for thick lateral veins. These features, however, also allow the petiole to reconfigure by twisting away from the wind, while the leaf can fold away. In addition, two sets of internal structures, longitudinal partitions and transverse stellate parenchyma plates, help prevent dorsoventral flattening, allowing the petiole to flex further away from the wind without buckling. These ideas were tested and verified by a range of mechanical tests. Simple four-point-bending and torsion tests showed that the petioles are indeed far more compliant in torsion than in bending. Axial bending tests and crushing tests showed that petioles could be flexed twice as far and were four times as resistant to dorsoventral flattening when intact than when the internal tissue is removed. The banana petiole, therefore, seems to be an excellent example of natural integrated mechanical design.

We can learn to incorporate materials with torsional flexibility into building designs and structures, particularly in coastal cities prone to wind storms and hurricanes; microstructures on wind turbine blades that allow them to continue functioning in high winds; wind turbine towers that flex with the wind; more aerodynamic cars, semi trailers, with structures that ‘twist’ to reduce drag. (http://biomimicry.net/, 2012).

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Mimosa Pudica Leaves of the sensitive plant protect themselves from predators and environmental conditions by folding in response to touch (a force). When the leaf is touched, it quickly folds its leaflets and pinnae and droops downward at the petiole attachment‌The leaves also droop at night, and when exposed to rain or excessive heat.

This response may be defences against herbivorous insects, leaching loss of nutrients, or desiccation. The folds of different leaves are interconnected and compatible with each other, and the whole structure can be folded and unfolded from a single or multiple driving points.

This principle can inform the design of roof structures, folding tents/temporary interventions - emergency shelters, collapsible structures. Other ideas; deployable surfaces such as solar panels, antennas, solar sails or mechanisms to distil energy from wind. Energy efficient and automated industrial manufacturing equipment. (http://biomimicry.net/, 2012).

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Polyommatus Icarus Insects with two pairs of wings have them work in unison by attaching the wings in various ways, with hooks, folds, or catches. In those insects with two pairs of fully operative wings, both are commonly linked together so that they work in unison. Linking devices vary widely. In butterflies and some moths, the upper and lower wings perform as one because of an overlapping fold on the hind edge of the forewing, which thus pushes the hindwing with it on the down stroke. In others there is a more elaborate coupling device consisting of a spine, or frenulum, on one wing which is held by a catch or a group of bristles (retinaculum) on the other. Bees and wasps have an even more elaborate series of hooks and catches on their wing margins.

We can learn how to design awnings and attachment mechanisms of multiple folding parts. (http://biomimicry.net/, 2012).

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Longhorned Beetle Biologists have discovered that in Longhorned beetles wings, there is occurrence of “resilin“, which is a rubber–like protein, in some mobile joints together with data on wing unfolding and flight kinematics suggest that resilin in the beetle wing has multiple functions. First, the distribution pattern of resilin in the wing correlates with the particular folding pattern of the wing. Second, data show that resilin occurs at the places where extra elasticity is needed, for example in wing folds, to prevent material damage during repeated folding and unfolding. Third, resilin provides the wing with elasticity in order to be deformable by aerodynamic forces. This may result in elastic energy storage in the wing. So, an architectural interpretation would be to create any material that needs to be repeatedly folded and unfolded with minimal wear. It can act as a protective skin from the elements for structure and occupiers. (http://biomimicry. net/, 2012).

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Grebes Feet of rails and grebes move efficiently through water thanks to toes with lobes that fold back on the forward stroke. American coots and other rails, and species of grebes are able to swim without webbed feet because their toes have lobes that open on the down stroke but fold flat on the recovery stroke. These lobes also help the birds walk on wetland vegetation and mud.

Possible utilisation; adopt the folding principle to generate structures which utilise wind or water flow for energy. (http:// biomimicry.net/, 2012).

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Silver Fern Silver fern unfurling.

Leaves of plants maximize time exposed for photosynthesis by using various packaging schemes to fold the large leaves within the buds so they can begin photosynthesizing upon deployment. Leaves emerge from their buds in many different ways. Those of the cheese plant emerge tightly rolled, like perfectly furled umbrellas. Palms produce theirs neatly packed in pleats. The big fat buds of rhubarb push up through the ground and burst to reveal their young leaves squashed and crumpled. Ferns send up their shoots curled in the shape of crosiers with each of the side fronds curled in its own crosier-in-miniature.

Informs design of deployable buildings, awnings, solar sails, textiles, packaging. (http://biomimicry.net/, 2012).

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Western Diamondback Rattlesnake The curving fangs of a western diamondback rattlesnake are stored when not in use by folding against the roof of the mouth via hinges. A western diamondback rattlesnake strikes at an intruder. The snake’s jaws are specially hinged to allow it to open them extremely wide. This is necessary because the fangs curve inwards and need to be plunged vertically into the prey. When not in use they are folded back against the roof of the mouth (see diagram). The snake’s windpipe is protruding at the bottom of its mouth -- this is so that the snake can still breathe after it has a mouthful of prey.

We can use this folding principle for architectural structures that are transformable (multi functional) thus require integration of segments during the process of folding of form.

This can apply for packaging designs for sharp or curved objects that reduce material use, multi-functional designs for cutting machinery. (http://biomimicry.net/, 2012).

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The Journey Thus far, the research foundations have been laid through biomimicry. Now that we have direction, we will venture into the investigation. Exploring through a dialogue prose format, while discovering information and the natural progression of the project.

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revelation Just before attending their lectures as part of extending their architecture and biology specialisations, Azarius and Faith met as always to conform to their daily ritual. They enjoyed the norm of getting lost in a cup of dark coffee and a few peaceful moments of silence before their hectic day began.

On this day there was a shift in their matrix of time when they spent not one breath on a single whisper. With built up tension and no longer being able to stop swaying from side to side, words burst out from Azarius’s lips, in aim of investigating how to apply nature’s wisdom to the built environment in order to minimise use of resources and energy. “So, the future of the built environment?! Where is humanity headed…”

“Are you referring to the climate?” Faith briefly paused and revealed a slight warming smile.

“Yes. I wonder if humanity can minimise material waste and pollution within the atmosphere.” Azarius’s eyes shift from one side to the other. “We have already been designing in harmony with the natural world but not on a global scale”.

“You’re right Azarius, I watched a lecture by a biologist, who stated that if she could reveal anything that is hidden from us at least in modern cultures, it would be to reveal something that we have forgotten, that we used to know… That is that we live in a competent universe, that we are part of a brilliant planet and we are surrounded by genius.

Imagine designing spring. Imagine that orchestration and imagine the timing, the coordination, all without top-down laws, policies or climate change protocols. (Janine M. Benyus, 2009).

We are not the first ones to build. People are beginning to recognise that organisms and the rest of the natural world are doing things very similar to what we need to do. In fact they are doing them in a way that has allowed them to live gracefully on this planet.

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Fig 1. At initial glance the crane appears to be an over engineered structure due to its vast scale, yet the truth is far from it. The form is derived from natures composition of bone in birds. The design follows the pure principal of function.

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Nature strengthens with minimal material. For example trees and bones are constantly reforming themselves along lines of stress as a algorithm. Following this principle would make bridges and building beams lightweight and generate maximum amount of strength.

One of the major tasks that we need to be able to do to come even close to what these organisms can do is to find a way to minimise the amount of material, the kind of material we use and to add design to it.

Five polymers are used in the natural world to do everything. In our world we use about 350 polymers. (Benyus, 2009).

Biomimicry is an incredibly powerful way to innovate.

The question is, what is worth solving?”.

“Ah yes, polymers; any of various chemical compounds made of smaller, identical molecules (called monomers) linked together. Some polymers, like cellulose, occur naturally, while others, like nylon, are artificial. Polymers have extremely high molecular weights. They make up many of the tissues of organisms and have extremely varied and versatile uses in industry such as in making plastics, concrete, glass, and rubber. As I think you’ll find any dictionary would define. So I comprehend that, Faith, but what do you mean by what is worth solving?”

She draws a breath. “Well, we spend our lifetime trying to invent methods which are more efficient and cause less damage to the planet. If you read Benyus, in her book, Biomimicry: Innovation Inspired by Nature, she states that we can put our time to better use by unifying methods and ideas.”

If we look at Nature as a model. Then Biomimicry is a new science that studies nature’s models and then imitates or takes inspiration from the designs and processes to solve human problems, a solar cell is inspired by a leaf. If you look at nature as a measure, then biomimicry uses an ecological standard to judge the ‘rightness’ of our innovations. After 3.8 billion years of evolution nature has learned a new way of viewing and valuing what works, is appropriate and what lasts. If you look at nature as a mentor. It introduces a perspective based not on what we can extract from the natural world, but on what we can learn from it, providing an opportunity for us to leap to a new phase of coping, in which we adapt to the earth rather than the other way round. (Benyus, 1998)

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“But people who design our world never have to take a biology course, Faith…”

“True, but we are aware that there are more than 30 million well adapted solutions in nature. Life creates conditions conducive to life and builds soil. It cleans air and water and mixes the cocktail of gases that you and I need to live. It is not mutually exclusive. We have to find a way to meet our needs while making our Eden. So it is not for lack of information, it is a lack of integration.

The important thing is that these are solutions solved in context and the context is the Earth; the same context in which we are trying to solve our problems. So it is the conscious emulation of nature’s genius. It is taking the design principles of the natural world and learning something from them.”

Learning about the natural world is one thing. Learning from the natural world is altogether something else. (Benyus, 2005).

“It is beyond the aesthetic; the organic shape making exercise” Azarius perks up in his seat. “It is not about artificial ideas… are you suggesting it is about understanding the mechanics and intricate methods derived from nature running in parallel with human intelligence as an approach to design?”

“That is the idea” Faith says as sips her coffee. Allowing a brief moment to admire the natural setting around them.

If we could learn to make things and do things the way nature does, we could achieve factor 10, factor 100, maybe even factor 1,000 savings in resource and energy use. So the focus of this theory is not superficial. If we are to make progress with the sustainability revolution, there are three extremely big changes we need to bring about: radical increases in resource efficiency. Shifting from linear wasteful polluting ways of using resources to a closed loop model and changing from fossil fuel economy to a solar economy.

In nature symbiotic relationships find ways of bringing technologies together in clusters.

We can produce concentrated solar power which uses solar-tracking mirrors to focus the sun’s heat to create electricity. The idea is derived from nature.

Consider that we receive 10,000 times as much energy from the sun every year as we use in energy from all forms. Our energy problems are not intractable. It is a challenge to our ingenuity. (Michael Pawlyn, 2010).

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“Ah but is it enough? Biologist Robert Full, argues that to simply learn from nature directly is not sufficient. We know from working on animals that the truth is that is exactly what you do not want to do. Instead, be inspired by biology because evolution works on the ‘just good enough’ principle and not on a perfecting principle.”

The constraints in building any organism when you look at it are really severe. Natural technologies have incredible constraints. Even the simplest animals we think of, such as an insect, have more neurons and connections than you can imagine. How can you make sense of this? He believed and hypothesised that one way animals could work simply, is if control of their movements tended to be built into their bodies themselves. So integrating a principal into the core conception of an idea. (Full, 2002).

This struck Faith as food for thought.

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Chapter_02_nature inspired techniques in the built environment.

Existing influence After a brief spell, Faith grabs her bag and pulls out all her notes and books. “Humans have been designing while being informed by nature for a long time, with thriving results, beautiful structures and forms”.

Inspired, Azarius remains silent, holding his breath in search for more details, as if a child, mesmerized by a story.

While flicking through pages of a book titled On Growth and Form. Sir D’Arcy Thompson writes about the human built environment and reveals that it is already informed by nature. As a process of biomimicry, we learn from bone about construction of efficient structures by preserving material and locating it where it is needed. tension / compression / suspension / cantilevers Tension and compression in bone. (Fig2) The mechanical properties of the material of which it is built, in relation to the strength it has to manifest or the forces it has to resist. We mean thereby the properties of fresh or living bone, with all its organic as well as inorganic constituents, for dead, dry bone is a very different thing. In all the structures raised by the engineer, in beams, pillars and girders of every kind, provision has to be made, somehow or other, for strength of two kinds, strength to resist compression or crushing, and strength to resist tension or pulling apart. The evenly loaded column is designed with a view to supporting a downward pressure, the wire rope, like the tendon of a muscle, is adapted only to resist a tensile stress; but in many or most cases the two functions are very closely inter-related and combined. The case of a loaded beam is a familiar one. It is by no means as simple as it looks. ‘The stresses and strains in this log of timber are so complex that the problem has not yet been solved in a manner that reasonably accords with the known strength of the beam, as found by actual experiment’. However, be that as it may, we roughly know that when the beam is loaded in the middle and supported at both ends, it tends to bend into an arc. In which condition its lower fibres are being stretched or are undergoing a tensile stress, while its upper fibres are undergoing compression. It follows that in some intermediate layer there is a ‘neutral zone’ where the fibres of the wood are subject to no stress of either kind. (Sir D’Arcy Thompson, 1961, pp.223-273).

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Fig 2. Diagram showing lines of stress passing through a bone.

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In like manner a vertical pillar, if unevenly loaded (as for instance the shaft of our thighbone), will tend to bend and so to endure compression on its concave and tensile stress upon its convex side. In many cases, it is the business of the engineer to separate out as far as possible the pressure-lines from the tension lines, in order to use separate modes of construction, or even different materials for each. In a suspension-bridge for instance, a great part of the fabric is subject to tensile strain only and is built throughout of ropes or wires; but the massive piers at either end of the bridge carry the weight of the whole structure and of its load and endure all the ‘compression-strains’ which are inherent in the system. (Fig3/ Fig4) The same is the case in that wonderful arrangement of struts and ties which constitute or complete the skeleton of an animal. The ‘skeleton’, as we see it in a museum, is a poor and even a misleading picture of mechanical efficiency. From the engineers point of view, it is a diagram showing all the compression lines, but by no means all the tension-lines of the construction. It shows all the struts, but few of ties, and perhaps we might even say none of the principal ones. It falls all to pieces unless we clamp it together, as best we can, in a more or less clumsy and immobilised way. (Thompson, 1961, pp.224-225).

But in life, that fabric of struts is surrounded and interwoven with a complicated system of ties, “its living mantles joined strong, with glistering band and silvery thong”, (Thompson, 1961, p.224): ligament and membrane, muscle and tendon, run between bone and bone; and the beauty and strength of the mechanical construction lie not in one part or in another, but in the harmonious concatenation which all the parts, soft and hard, rigid and flexible, tension-bearing and pressure-bearing, make up together. (Thompson, 1961, pp.224-225).

Faith continues; “…we are learning about the principle of multifunction from nature .”

Engineers seek material which shall, as nearly as possible, offer equal resistance to both kinds of strain.

From an engineer’s point of view, bone may seem weak indeed; but it has the great advantage that it is very nearly as good for use as a tie as for a strut, nearly as strong to withstand rupture or tearing apart, as to resist crushing. The strength of timber varies with the kind of timber but it always stands up better to tension than to compression. Wrought iron with its greater strength, does much the same. But in cast-iron there is still greater discrepancy the other way, for it makes a good strut but a very bad tie indeed. Mild steel, which has displaced the old-fashioned wrought iron in all engineering constructions, is not only a much stronger material, but it also possesses, like bone, the two kinds of strength in no very great relative disproportions. Therefore, in terms of form and strength, when the engineer constructs an iron or steel girder, to take the place of the primitive wooden beam, we know that he takes advantage of the elementary principle we have spoken of,

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Fig 3.

Fig 4. A two-armed cantilever of the Forth Bridge.

Thick lines, compression-members (bones); thin lines, tension-members (ligaments).

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and saves weight and economises material by leaving out as far as possible all the middle portion. All the parts in the neighbourhood of the ‘neutral zone’; in doing so, he reduces his girder to an upper and lower ‘flange’, connected together by a ‘web’, the whole resembling, in cross-section, an I. (Thompson, 1961, p.225).

The I or H-girder or rail is designed to resist bending in one particular direction. But if, as in a tall pillar, it is necessary to resist bending in all directions alike, it is obvious that the tubular or cylindrical construction best meets the case; for it is plain that this hollow tubular pillar is but the I-girder turned round every way, in a ‘solid of revolution’, so that on any two opposite sides compression and tension are equally met and resisted. There is now no need for any substance at all in the way of the web or ‘filling’ within the hollow core of the tube… (Fig5) it is appropriate in every case where stiffness is required, where bending has to be resisted. A sheet of paper becomes a stiff rod when you roll it up, and hollow tubes of thin bent wood withstood powerful thrusts in aeroplane construction. (Thompson, 1961, p.226).

The long bone of a bird’s wing has little or no weight to carry, but it has to withstand powerful bending-moments; and in the arm-bone of a long-winged bird, such as an albatross, we see the tubular construction manifested in its perfection, the bony substance being reduced to a thin, perfectly cylindrical, and almost empty shell. The quill of the bird’s feather, the hollow shaft of a reed, the thin tube of the wheat-straw bearing its heavy burden in the ear, are all illustrations which Galileo used in his account of this mechanical principle.

The same principal is beautifully shown in the hollow body and tubular limbs of an insect or a crustacean; and these complicated and elaborately jointed structures have doubtless many constructional lessons to teach us. We know, for instance, that a thin cylindrical tube, under bending stress, tends to flatten before it buckles, and also to become ‘lobed’ on the compression side of the bend; and we often recognise both of these phenomena in the joints of a crab’s leg.

When bending the beam, the stress is greatest at its middle; if we press our walking-stick hard against the ground, it will tend to snap midway. Hence, if our cylindrical column be exposed to strong bending stresses, it will be prudent and economical to make its walls thickest in the middle and thinning off gradually towards the ends; and if we look at a longitudinal section of a thigh-bone, we shall see that this is just what Nature has done. The presence of a ‘danger-point’ has been avoided, and the thickness of the walls becomes nothing less than a diagram, or ‘graph’, of the bending-moments from one point to another along the length of the bone. (Thompson, 1961, p.227).

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Fig 5. Tubular structure section.

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Imagine our loaded beam to be supported one end only (for instance, by being built into a wall), so as to form what is called a ‘bracket’ or ‘cantilever’… (Fig6) Immediately under the load, the ‘compression-lines’ tend to run vertically downward, but where the bracket is fastened to the wall there is pressure directed horizontally against the wall in the lower part of the surface of attachment; and the vertical beginning and the horizontal end of these pressure-lines must be continued into one another in the form of some even mathematical curve-which, as it happens, is part of a parabola. The tension-lines are identical in form with the compression-lines, of which they constitute the ‘mirror-image’; and where the two systems inter cross they do so at right angles, or ‘orthogonally’ to one another.

While in the beam they both unite to carry the load, yet it is often possible to weaken one set of lines at the expense of the other, and in some cases to do away altogether with one set or the other.

For example, when we replace our end-supported beam by a curved bracket, bent upwards or downwards as the case may be, we have evidently cut away in the one case the greater part of the tension-lines, and in the other the greater part of the compression-lines.

And if instead of bridging a stream with our beam of wood we bridge it with a rope, it is evident that this new construction contains all the tension-lines, but none of the compression-lines of the old. The biological interest connected with this principle lies chiefly in the mechanical construction of the rush or the straw, or any other typically cylindrical stem.

The material of which the stalk is constructed is very weak to withstand compression, but parts of it have a very great tensile strength. Schwendener, who was both botanist and engineer, has elaborately investigated the factor of strength in the cylindrical stem, which Galileo was the first to call attention to. Schwendener showed that its strength was concentrated in the little bundles of ‘bast-tissue’, but that these bast-fibres had a tensile strength per square millimetre of section not less, up to the limit of elasticity, than that of steel wire of such quality as was in use in his day. (Thompson, 1961, pp.227-228).

The plant-fibres were inferior to the wires; for the former broke apart very soon after the limit of elasticity was passed, while the iron wire could stand, before snapping, about twice the load which was measured by its limit of elasticity: in the language of a modern engineer, the bast-fibres had a low ‘yield-point’, little above the elastic limit. Nature seems content, as Schwendener puts it as cited by Thompson (1961), if the strength of the fibre be ensured up to the elastic limit; for the equilibrium of the structure is lost as soon as the limit is passed and it then matters little how far off the actual breaking-point may be within certain limits, plant-fibre and wire were just as good and strong one as the other.

When Schwendener proceeds to show in many beautiful diagrams, the various ways in which these strands of strong tensile tissue are arranged in various stems: sometimes in the simpler cases, forming numerous small bundles arrange in a peripheral ring, not quite at the periphery, for a certain amount of space has to be left for living and active tissue.

(Thompson, 1961, pp.229-230).

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Fig 6.

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Sometimes with these bundles further strengthened by radial balks or ridges, with all the fibres set close together in a continuous hollow cylinder. In one case Schwendener, as cited by Thompson (1961), calculates that the resistance to bending was at least twentyfive times as great as it would have been had the six main bundles been brought close together in a solid core. In many cases the centre of the stem is altogether empty. In all other cases it is filled with soft tissue suitable for various functions, but never such as to confer mechanical rigidity. In a tall conical stem such as that of a palm-tree, we can see not only these principles in the construction of the cylindrical trunk, but we can observe towards the apex, the bundles of fibre curving over and inter crossing orthogonally with one another, exactly after the fashion of our stress-lines. But of course in this case, we are still dealing with tensile members, the opposite bundles taking on in turn as the tree sways and the alternate function of resisting tensile strain. (Thompson, 1961, pp.229-230).

Faith stops and takes a sip of her coffee. “The Forth Bridge, from which the anatomist may learn many a lesson is built of tubes, which correspond even in detail to the structure of a cylindrical branch or stem.” Continues to turn pages.

The main diagonal struts are tubes 12ft/3.6m in diameter and within the wall of each of these lie six T-shaped ‘stiffeners’ corresponding precisely to the fibro-vascular bundles.

In the same great tubular struts the tendency to ‘buckle’ is resisted, just as in the jointed stem of a bamboo, by ‘stiffening rings’ or perforated diaphragms set 20ft/6m apart within the tube.

The mechanical structure of bone of the human leg. In the case of the tibia, the bone is widened out above and its hollow shaft is capped by an almost flattened roof, on which the weight of the body directly rests. It is obvious under these circumstances, the engineer would find it necessary to devise means for supporting this flat roof and for distributing the vertical pressures which impinge upon it to the cylindrical walls of the shaft.

In the long wing-bones of a bird the hollow of the bone is empty except for a thin layer of living tissue lining the cylinder of bone. In our own bones and all weight-carrying bones in general, the hollow space is filled with marrow, blood-vessels and other tissues. Amidst these living tissues lies a fine lattice-work of interlaced ‘trabeculae’ of bone, forming the so-called ‘cancellous tissue’.

The older anatomists were content to describe this cancellous tissue as a ‘sort of spongy network’ or ‘irregular honeycomb‘. But at length its orderly construction began to be perceived and attempts were made to find a meaning or ‘purpose’ in the arrangement. Sir Charles Bell as cited by Thompson (1961), had a glimpse of the truth when he asserted that ‘this minute lattice-work, or the cancelli which constitute the interior structure of bone, have still reference to the forces acting on the bone’ but he did not succeed in showing what these forces are, nor how the arrangement of the cancelli is related to them.

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Jeffries Wyman of Boston came much nearer to the truth in a paper, long neglected and forgotten. He gives the gist of the whole matter in two short paragraphs: ‘1. The cancelli of such bones as assist in supporting the weight of the body are arranged either in the direction of that weight, or in such a manner as to support and brace those cancelli which are in that direction. In a mechanical point of view they may be regarded in nearly all these bones as a series of “studs” and “braces”.

2. The direction of these fibres in some of the bones of the human skeleton is characteristic and it is believed, has a definite relation to the erect position which is naturally assumed by man alone.’ (Thompson, 1961, pp.230-232).

A few years afterwards the story was told again, and this time with convincing accuracy. It was shown by Hermann Meyer (and afterwards in greater detail by Julius Wolff and others) that the trabeculae, as seen in a longitudinal section of the femur, spread in beautiful curving lines from the head to the hollow shaft of the bone; and that these linear bundles are crossed by others, with such a nice regularity of arrangement that each intercrossing is as nearly as possible an orthogonal one: that is to say, the one set of fibres or cancelli cross the other everywhere at right angles – Sir John Herschel described a bone as a ‘framework of the most curious carpentry: in which occurs not a single straight line nor any known geometrical curve, yet all evidently systematic, and constructed by rules which defy our research’. (On the Study of Natural Philosophy, 1830, p.203).

“Thompson also gives example. The engineer, who had been busy designing a new and powerful crane, saw in a moment that the arrangement of the bony trabeculae was nothing more nor less than a diagram of the lines of stress, or directions of tension and compression, in the loaded structure: in short, that Nature was strengthening the bone in precisely the manner and direction in which strength was required; and he is said to have cried out, ‘That’s my crane!’… due entirely to the curved shape of the structure! Isn‘t that delightful Azarius?!”

(Fig2) (Thompson, 1961, pp.232-233).

“Please, go on.” said Azarius, anticipating more.

In the shaft of the crane the concave or inner side, overhung by the loaded head, is the ‘compression-member’; the outer side is the ‘tension-member’; the pressure-lines, starting from the loaded surface, gather themselves together, always in the direction of the resultant pressure, until they form a close bundle running down the compressed side of the shaft: while the tension-lines running upwards along the opposite side of the shaft, spread out through the head, orthogonally to and linking together the system of compression-lines.

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The head of the femur is a little more complicated in form and a little less symmetrical than Culmann’s diagrammatic crane, from which it chiefly differs in the fact that its load is divided into two parts. That namely which is borne by the head of the bone, and that smaller portion which rests upon the great trochanter; but this merely amounts to saying that a notch has been cut out of the curved upper surface of the structure and we have no difficulty in seeing that the anatomical arrangement of the trabeculae follows precisely the mechanical distribution of compressive and tensile stress or in other words, accords perfectly with the theoretical stress-diagram of the crane. The lines of stress are bundled close together along the sides of the shaft and lost or concealed there in the substance of the solid wall of bone; but in and near the head of the bone, a peripheral shell of bone does not suffice to contain them and they spread out through the central mass in the actual concrete form of bony trabeculae. (Thompson, 1961, pp.233-236).

Mutatis mutandis (Latin; the necessary changes having been made), the same phenomenon may be traced in any other bone which carries weight and is liable to flexure; and in the os calcis and the tibia, and more or less in all the bones of the lower limb. The arrangement is found to be very simple and clear.

In the os calcis, the weight resting on the head of the bone has to be transmitted partly through the backward-projecting heel to the ground and partly forwards through its articulation with the cuboid bone to the arch of the foot. (Fig7) We thus have, very much as in a triangular roof-tree, two compression-members sloping apart from one another; and these have to be bound together by a ‘tie’ or tension-member, corresponding to the third horizontal member of the truss. It is a simple corollary, confirmed by observation, that the trabeculae have a very different distribution in animals whose actions and attitudes are materially different. As in the aquatic mammals such as the beaver and the seal. In much less extreme cases there are lessons to be learned from a study of the same bone in different animals, as the loads alter in direction and magnitude.

The gorilla’s heel bone resembles man’s, but the load on the heel is much less, for the erect posture is Imperfectly achieved: in a common monkey the heel is carried high and consequently the direction of the trabeculae is still more changed. The bear walks on the sole of his foot, though less perfectly than man and the lie of the trabeculae is plainly analogous in the two; but in the bear more powerful stands than in the os calcis of man transmit the load forward to the toes and less of it through the heel to the ground. In the leopard we see the full effect of tip-toe, or digitigrade, progression. The long hind part (or tuberosity) of the heel is now more a lever than a pillar of support; it is little more than a stiffened rod with compression-members and tension-members in opposite bundles, inosculating orthogonally at the two ends.

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Fig 7.

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In the bird the small bones of the hand, dwarfed as they are in size, have still a deal to do in carrying the long primary flight-feathers, and in forming a rigid axis for the terminal part of the wing. The simple tubular construction, which answers well for the long, slender arm-bones, does not suffice where a still more efficient stiffening is required. In all the mechanical side of anatomy nothing can be more beautiful than the construction of a vulture’s metacarpal bone (Fig8). The engineer sees in it a perfect Warren’s truss, just such a one as is often used for a main rib in an aeroplane. Not only so, but the bone is better than the truss; for the engineer has to be content to set his V-shaped struts all in one plane, while in the bone they are put, with obvious but inimitable advantage, in a three-dimensional configuration.

The third very important factor in the engineer’s calculations (Thompson, 1961, p.236), is namely what is known as ‘shearing stress’. A shearing force is one which produces ‘angular distortion’ in a figure, or (what comes to the same thing) which tends to cause its particles to slide over one another. Following, shearing stresses can by no means be got rid of, the danger of rupture or breaking-down under shearing stress is lessened the more we arrange the material of our construction along the pressure-lines and tension-lines of the system; for along these lines there is no shear – It is also obvious that a free surface is always a region of zero-shear. (Thompson, 1961, p.237).

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Fig 8. Vulture’s metacarpal. Efficient structural form resulting from intense selective pressure for lightness.

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For example, if we have a simple span (a), with its stress diagram (b); and in (c) we have the corresponding parabolic girder, (Fig9) whose stresses are now uniform throughout. In fact we see that, by process of conversion, the stress diagram in each case becomes the structural diagram in the other. Now all this is but a modern rendering of one of Galileo’s most famous propositions. Sagredo says ‘It would be a fine thing if one could discover the proper shape to give a solid in order to make it equally resistant at every point, in which case a load placed at the middle would not produce fracture more easily than if placed at any other point’. And Galileo (in the person of Salviati) first puts the problem into its more general form; and then shows us how, by giving us a parabolic outline to our beam, we have its simple and comprehensive solution. (Thompson, 1961, pp.249-250).

In construction, we see the same general principles at work in the skeleton as a whole as we recognised in the plan and construction of an individual bone. That is to say, we see a tendency for material to be laid down just in the lines of stress and so to evade thereby the distortions and disruptions due to shear. (Thompson, 1961, p.262).

The biologist and the philosopher, learn to recognise that the whole is not merely the sum of its parts. It is this, and much more. It is not a bundle of parts but an organisation of parts in their mutual arrangement, fitting one with another, in what Aristotle (Oxford Translation, 1984) calls ‘a single and invisible principle of unity’; and this is not merely metaphysical conception, but is in biology, the fundamental truth which lies at the basis of Geoffroy’s (or Goethe’s) as cited by Thompson (1961), law of ‘compensation’ or ‘balancement of growth’. Nevertheless, Darwin (Carroll, 2003) found no difficulty in believing that ‘natural selection will tend in the long run to reduce any part of the organisation, as soon as, through changed habits, it becomes superfluous: without by any means causing some other part to be largely developed in a corresponding degree and conversely, that natural selection may perfectly well succeed in largely developing an organ without requiring as a necessary compensation the reduction of some adjoining part’. (Thompson, 1961, p.264).

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Fig 9.

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Co-ordinates In conclusion, co-ordinates, on which is based the Theory of Transformations – The mathematical Theory of Transformations is part of the Theory of Groups, of great importance in modern mathematics. A distinction is drawn between Substitutiongroups and Transformation-groups. The former being discontinuous, the latter continuous-in such a way that within one and the same group each transformation is infinitely little different from another. The distinction among biologists between a mutation and a variation is curiously analogous – imagine that when Descartes conceived the method of coordinates, as a generalisation from the proportional diagrams of the artist and the architect, and long before the immense possibilities of this analysis could be foreseen, he had in mind a very simple purpose; it was perhaps no more than to find a way of translating the form of a curve (as well as the position of a point) into numbers and into words.

Employment of co-ordinates which is of special interest and use to the morphologist; and this step consists in the alteration or deformation of our system of co-ordinates, and in the study of the corresponding transformation of the curve or figure inscribed in the coordinate network. (Thompson, 1961, pp.271-272).

To close, Faith says; “ We might suppose that by the combined action of appropriate forces any material form could be transformed into any other: just as out of a ‘shapeless’ mass of clay the potter or the sculptor models his artistic product; or just as we attribute to Nature herself the power to affect the gradual and successive transformation of the simple germ into the complex organism.” (Thompson, 1961, p.273).

Azarius rests back on his seat and ponders. “You are illustrating that we have already been learning from the natural environment, applying it through varied scales from structure to form. So the principal ideas in nature are inherited into construction of human built environment. But this poses a question; how can this (biomimicry) approach be original and propose a new method of minimising use of resource and energy?”

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Chapter_03_conceptual exploration of folding.

multiplex Faith reflects, then leans in and grabs Azarius’ smart phone. “Look around you and focus… the ‘theory’ is everywhere and simple. The landscape, the trees, your body… there are many layers that are folded and they serve multiple purpose. Forever morphing and transforming at various speeds in time; kinetic and frozen in space. Just look at dancers.”

In their presentation, a dancer, J Smooth (2010) said it is all about details, everything he moves has purpose. When he is ‘in the zone‘, dancing, he freestyles. Visually pictures lines and moves them. Panels open and then they fold and close. Then another thing opens. Close that. Kid David (2010) said he does not really know what is going on when he is dancing. It is his body and the music, it is not really a conscious decision. Some other level where he cannot make choices anymore and it is just the body reacting to certain sounds in the music. Lil ‘C’ (2010) said he attempts to reflect the balance between weight, energy, space and time. Consequently, they are moving and folding their bodies in reaction to their context; land form and sound (Fig10). (The LXD: In the Internet age, dance evolves, 2010).

Azarius cuts in; “so the theory is ‘Folding’ as a concept which minimises use of resource and energy through its inherent ability to constantly adapt and change in its surroundings. Only using the material needed to create the structural geometry, the structure, which can be manipulated in scale and form to suit.”

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Fig 10. Dance, the rhythmic patters.

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“That is the idea. Kenneth Powell claims in an article that architects, confident in their role as social artists… will increasingly reject the old constraints in favour of an inclusive and organic way of designing which is in tune with the man-made and natural world. These projects are far from being a re-run of history.” (Powell, 2004, p.23). transformation Greg Lynn (2004, p.28) emphasises two radically different conceptions of continuity. Rowe’s is fixed, exact, striated, identical and static, where Thompson’s is dynamic, inexact, smooth, differentiated and stable. It deflects to the contours and context of the site. Thompson‘s curvilinear logic suggests deformation in response to unpredictable events outside of the object. Forms of bending, twisting, or folding are not superfluous but result from an intensive curvilinear logic which seeks to internalise cultural and contextual forces within form. In this manner events become intimately involved with particular rather than ideal forms. These flexible forms are not mere representations of differential forces but are deformed by their environment.

Like any simple graph, Thom’s diagrams deploy X and Y forces across two axes of a grid plane. A uniform plane would provide the potential for only a single point of intersection between any two X and Y co-ordinates. The supple topological surface of Thom’s diagrams is capable of enfolding in multiple dimensions. Within these folds or cusps, zones of proximity are contained. As the topological surface folds over and into itself multiple possible points of intersection are possible at any moment in the Z dimension. These co-present Z-dimensional zones which are possible because the topological geometry captures space within its surface. Through proximity and adjacency various vectors of force begin to imply these intensive event zones - With structure itself, Chuck Hoberman is capable of transforming the size of domes and roofs through a folding structural mechanism. Hoberman develops adjustable structures whose differential movements occurs through the dynamic transformation of flexible continuous systems (Fig10a). (Greg Lynn, 2004, p.29)

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Fig 10a. Folding mechanism.

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The movements of these mechanisms are determined both by use and structure. Hoberman’s structural mechanisms develop a system of smooth transformation in two ways.

The Iris dome and sphere projects transform their size while maintaining their shape. This flexibility of size within the static shape of the stadium is capable of supporting new kinds of events.

The patented tiling patterns transform both the size and the shape of surfaces, developing local secondary pockets of space and enveloping larger primary volumes.

Hoberman (2004, pp.73) expands; a technology for objects and structures that change their size and shape is being developed. Its potential lies in making new products, new spectacles and experiences; a new kinetic architecture. Transformation is the heart of this technology: a metamorphosis akin to natural processes of growth and change. It is complete. It is fully three dimensional, fluid and continuous. Emphasis is placed directly on the transformation process itself, a new type of object is created. By the application of force alone or more points, it transforms in a fluid and controlled manner. Despite such ease of transformation, these structures are stable, strong and durable. Unfolding architecture exhibits the seemingly contradictory qualities of strength and fluidity.

The first and basic category of unfolding architecture is formed by those structures comprised of a single surface or sheet. This surface may be as simple as a sheet of paper.

Pleats are inscribed along unique tiling patterns-space-filling patterns that can fold or develop. When folded along these pleat lines, such surface structures can transform smoothly between an extended structural configuration and a compact bundle. The sheets third dimension - its thickness - is incorporated into surface structure design. By adjusting geometric parameters, thick structural materials may be used. Thus, unfolding surface structures behave as rigid plates connected by hinges rather than as simple coverings.

The structures kinetic and fluid action arises because of the surface function as a mechanism - a matrix of interconnected linkages. When surface structures are supported consistently around the perimeter they gain a structural integrity similar to unitary shell structures. This stability is enhanced by an effective surface thickness that is related to the depth of the folds as well as the material thickness. A structure made from a single sheet has inherent economies. Living hinge technology, where a single sheet of material is treated to form durable folding units is well established. Stamping cardboard and melting hinges into plastics are simple and effective techniques. For larger structures, a fabric and frame construction may be used. In general, materials, tooling and manufacturing processes are well suited to low production costs.

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Unfolding architecture’s second basic category is that of the structural linkage or truss.

These structures function as complete and integrated shapes. They are examples of form - resistant structures, where strength derives from shape. Unfolding truss structures are made up of rigid links connected by simple pivots. Expanding structures of any form may be built. Such structures will fluidly transform in size, while their overall shape remains constant. An example of an unfolding structure is a geodesic dome spanning six metres when open. It expands from a compact duster that is 1.5metres in diameter. In all positions, the structure is stable and rigid, maintaining its shape and geodesic configuration.

The dome rests on five roller supports. By simply pulling outwards on these points the dome fluidly expands. The client is the Liberty Science Centre. A second type of unfolding truss structure is a dome with a centre that retracts even while the perimeter remains stable and fixed. In this way, the smooth motion of this structure is like the iris of an eye.

It has been developed into a retractable roof for covering an arena or stadium. A working scale model of this Iris dome has been built. In configuration it is a lamella dome with a geometry of interlocking spirals. When released, it retracts. The Iris dome appears a dynamic form. When the structure starts to retract a circular opening appears at the apex of the dome. As the roof opens, the oculus expands, transforming the space from indoors to outdoors.

John Rajchman (2004, p.77) states; the concept is a very old one, yet one cannot say that it is a concept traditional to philosophy, even though as an etymological matter it is parent in European languages of many concepts that are: ‘explication’ and ‘implication’, ‘perplexity’ and ‘complexity’, for example, derive from it. As such it has a long history. The Greek root to do with weaving recurs in the symploke or weaving - together of discourse that Plato describes in the Sophist; but it is through Latin that words like ‘implicate’, ‘explicate’ and ‘replicate’ enter French, and in a slightly different way, English. Already we find Plotinus speaking of a Great ’Complicatio’ of the One in all that is. Much later, rather independently, we find references to the fold in Heidegger and of course, in Mallarme.

Perhaps the most intricate and extensive contemporary treatment of the concept is to be found in Gilles Deleuze’s book Le Pli (The Fold) that advances a new perspective on Leibniz and the Baroque.

Azarius perks up and as if telepathically connecting, says, “Ah yes, I recall this text. Rajchman also states that conceptual space is neither timeless nor time-bound…

Architecture must deal at once with social, economic, and formal complexities. But how?” (Rajchman, 2004, pp.77-79).

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metaphysical “Exactly!” Faith collects herself. “It is through Multiplicity… The pli-word of which Deleuze (1993) is fond of above all others, and through whose eyes he sees all others is the word ‘multiple’. On the first page of his book, The Fold - Leibniz and the Baroque, Deleuze (1993, p.3) declares: ‘The multiple is not only what has many parts, but what is folded in many ways’.”

(Rajchman, 2004, p.77).

Gilles Deleuze, a 20th century philosopher, is referenced due to his influential writings on philosophy, literature, film, fine art but more specificly, his abstract concept of the fold.

He sees the fold, not as a technical device, but an ontology of becoming, of multiplicity, of a differentiation while maintaining a continuity. The fold is never to be accepted as a singular event but rather it is to be seen as a population of many folds. Even its reverse ‘unfolding’ is not to be understood as the opposite of the fold as the language may suggest but rather it follows the fold up to the following fold. It is itself a multiple of the fold.

Deleuze further defines the fold not as one of a metric or dimensional change but one that can operate as adegree of development and differences. (Deleuze, 1993).

In Deleuze’s (1993) philosophy, the multiple comes first before the One. States of affairs are never unities or totalities but are rather, ‘multiplicities’ in which there have arisen foci of unification or centres of totalisation. In such ‘multiplicities’ what counts is not the elements or the terms but what is in between them, their intervals or ‘disparities’.

Following Rajchman (2004, pp.77-79) states it is not a matter of finding the unity of a manifold, on the contrary, of seeing unity as a holding-together of a prior virtual dispersion.

A ‘multiple’ fabric is therefore one that can never be completely unfolded or definitively explicated, since to unfold or explicated it anew. Thus the multiple is not fragments or ruins of a lost or absent Whole, but the potentiality for divergence within any given unity. Logic of intervals: it becomes a matter of a ‘free’ differentiation (not subordinated to fixed analogies or categorical identities) and a ‘complex’ repetition (not restricted to the imitation of a pre-given model, origin or end). Deleuze (1993) suggests another kind of vision: i.e. one that tries to find the ‘signs’ of an imperceptible ‘disparation’ in what presents itself as a perceptual totality - the vision of an intensive ‘multiplexity’ in the midst of things.

For Deleuze, there is a folding of things that is prior to design or principle and that subsists as a potential complication in them. As such, the fold is connected to a notion of chance and necessity, which Deleuze (1993) formulates in his study of Nietzsche by saying: ‘Nietzsche identifies chance with multiplicity… What Nietzsche calls necessity (destiny) is thus never the abolition but rather the combination of chance.’

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Such views belong to a more general ‘erosion of determinism’ in which a Laplacian image of the universe as a sort of clock wound up by God opens onto a stochastic, unpredictable universe, where the laws of complex forms are created in the history of the universe: the universe as a great casting of the dice, the patterns of which, upon falling would assume a kind of necessity. For Peirce, as for Nietzsche, this new territory of chance opens up new sorts of philosophical questions.

As Ian Hacking argues, these two philosophers help to distinguish a ‘bifurcation’ in the new territory, dividing the lines of two concepts of chance; one ‘tamed’, the other ‘untamed’. In this way, we see how statisticians and Dadaists came to populate the same conceptual and social world.

For Deleuze, events never happen out of a tabula rasa but come out of complications, out of the fold; and time occupies a ‘complicated’ rather than linear or circular space. It lies at the intersection of multiple lines that can never be disentangled in a single transparent plane given to a fixed external eye.

We ourselves are folded beings, for there is a sense in which we never stop folding, unfolding, refolding our lives; and we are ‘complicated’ beings before we are logical ones, following out our ‘life plans’ within the spaces in which they can be expected to occur.

When Deleuze says we are each of us plural or multiple, he does not mean that we are many things or have many egos, but that we are ‘folded’ in many entangled irregular ways, none the same and that this ‘multiplicity’ goes beyond what we can predict or be aware of: We are ‘folded’ in body and soul in many ways and many times over, prior to our being as ‘subjects’, as masters and possessors of what happens to us in our lives.

Each of us is ‘multiplicitous’, but not because we divide into distinct persons or personalities looking for unity, lost or supposed and not because our brains are programmed by several helpfully interacting cognitive ‘modules’. It is rather that our modes of being are ‘complicated’ and ‘unfold’ in such a way that we can never be sure just what manners our being will yet assume.

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physical Deleuze’s abstract view of the fold can be interpreted into material form by looking at seaweed (a continually folding entity), an existing, physical example. Applying the lessons of turbulent dance of seaweed to architecture, one is faced with that existing outside the idea of the ‘flat’, outside of the impetus of perfect horizontal and perfect vertical. (Claire Robinson, 2004, pp.80-81).

Locally, seaweed’s ease of movement is rendered possible by a crucial absence of material, a series of perforations along crease lines. The holes throughout the seaweed are not faults but necessary interruptions. They are perpetual thresholds for water’s passage.

A chora work, seaweed’s global structure allows it to be malleable and permeable to its surroundings. Unharmed by ‘maritime turbulence, turbantibus aequora ventis… in th(is) theoretical text the reference to individual bodies is again only related to fluids: imbris utiguttae… certainly a question of weight, of gravity, but never of solids.’ (Claire Robinson, 2004, pp.80-81).

Rene Thom, speaking of the constructive and the deconstructive aspects of the catastrophe, names the following archetypal morphologies: to finish, to begin, to unify, to separate, to become, to capture, to emit, to fault, to suicide, to agitate, to cross, to give, to take, to send, to link, to cut. With respect to the fold’s topological properties, the act of architecture is one of embodying the rupture which is also the link between physically discontinuous realms of space.

The fold - this is catastrophe V = x3, the border, the end, the beginning, is not static geometry but one of spatial, temporal, material flux.

From fluid to solid, an architectural interest in ‘the fold’ is commensurate with an obsession for cyclical processes. One may embrace the fold as a design choreography of discontinuity, a design process in which the ‘architecture’ is not primarily upheld as an immutable object. One in which the building is not thought of as autonomous, as hermetically sealed without interstices or breaks; not idealised as a perfect uninterrupted connection of parts.

For some architects, the earth’s crust may be understood as placental; for others, the strata of the ‘site’ are seen as bulk. The architectural intervention as penetration (without possible unfolding): violation, transgression. ‘The three membranes of the uterus tie themselves together by means of the cotyledons. Just as fingers of the hand are interwoven, one in the interval of the other.

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So these fleshly rosettes interlock and are attached as burrs do among each other. The cotyledons have male and female parts. (Refer to description in Leonardo da Vinci’s Notebooks).

Robinson poses an interesting question; If the hermaphrodite architect made a perfect, platonic solid and threw it into a bog where the ground is unstable, wet, porous, topological in nature how would these two entities fold together? With respect to the Blue Sea or the Mer Bleue Bog, if there is an architecture nascent here it does not emerge from solid ground. It is not necessarily hard and dry. This fold of architecture may not be limited to orthogonal projective geometries and building systems.

In essence, the idea is all around us. You hold the book, the room you read in holds you.

It is one pocket of thick contracting wall. The hermaphrodite architect: on one side (s) he is the worker of a single space, the space of measure and transport, the (Euclidean) geometrical space of every possible displacement without changes of state. On the other side, (s)he is the worker of proliferating multiplicities, of unlinked morphologies.’ The material fold.

Azarius looks around then meets Faith’s eyes and says “Following the folding principal, the architecture around us can be forever manipulated, re-cycled, re-used and change with time. It can reflect seasons as if almost capturing the idea of life, like a living organism. What does this mean in practice?”

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paradigm The homo sapiens precedents begin to illustrate the intricacies and detail involved in the subject of fold. While capturing some of the key thinkers who are influencing the subjects investigated within this research.

A simple quote from Janine Benyus to help the reader ground themselves on what is going on in terms of setting.

Progressing to Michael Pawlyn, showing how natural architecture works.

Following onto Gary Chang who explores the idea of transforming internal space and how that works.

Going further down the scale to a flexible chair product which transforms its shape.

Next is the illustration from the film Avatar, showing a collapsible flower.

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The Paper Architect book explores the idea of collapsible architecture by replicating existing buildings as a pattern, working out which lines need cutting and what segments need folding in specific directions to make the fold out work. A very intricate process is described of setting out, the tools required and process instructions. Time scale depends on complexity and scale of the building or object used as a template, it can vary from a couple of hours to a days work, it also depends on mastery of the technique. Setup an elevation drawing, work out which sections need expanding, cut, score and fold.

The results of this are intriguing, in terms what could be taken from this technique as the intention is aesthetic.

It may inform visually stimulating segments. However, if the principle of the this technique is taken and then applied to larger scale, possibilities arise for design of collapsible/deployable constructs which shelter people or generate segment which in multiple combination may generate a shelter. This method will be applied along with other knowledge gathered to date - in combination or single form.

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Chapter_04_praxis (methodology and design).

function “What does this mean in practice?” repeats Faith. “It is an example of an architectural design process with a circular nature. In contrast to a linear process, it allows one to encircle a problem and understand and confront it in all its relationships. In other words, it is a kind of exploration. Among other things, it results in an expansion from logical to associative coherence. The effect is investigative design and formation. In this context, the fold is more important for the development of methods to arrive at a new architecture than it is for the development of an individual architectural form.” (Hans Cornelissen, 2003, p.6).

Folding is a challenge with great individual possibilities. Opening a fold in a surface creates spaces, which in our mind is filled with volumes. The technique of folding makes it possible to re-appraise every step. Each step is laden with potential. Folding and the associated development of hand-eye co-ordination liberates the design thought-process from preconceptions and removes any existing architectonic images. The limitation that the technique of folding brings with it sharpens the mind and stimulates creativity. Folding also implicitly allows accidental and unknown end results for a relatively long period of the design process. The enormous number of possibilities makes a choice necessary.

Lines must be drawn in sometimes chaotic, yet remarkable, folding models. The scope, suitability and significance of these will be a subject for discussion. There are two observations to be made here. Firstly, Folding is not concerned with creating a new style but rather with searching for links. Forms bring up the problem of human scale, as they can unconsciously display monumental characteristics. Working on a larger scale makes this problem visible. This way of folding is more radical than origami because it includes no narrative element. The fold is a sort of affectionate space. (Hans Cornelissen, 2003, p.6).

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More than just reason, meaning and function are involved here. The fold alters the traditional viewpoint. The incisions are no longer concerned with aesthetics or meaning but with a different type of order; Folding is more important for the development of techniques to derive new architecture than for the development of an individual architectonic form. It is therefore, as Deleuze (1993) claims, an absolute internalization. The ambiguity which characterises the folding project is unmistakable in the end result. These possibilities can be differently interpreted, accentuated and combined by each individual. That is to say a great difference between equally valid designs is noticeable because everyone is different. Folding produces a language of architecture. It is the strength of the architectonic language that speaks out and determines the quality. The first folds must thus be viewed as sounds that only much later become words. (Hans Cornelissen, 2003, p.6).

Folding as a generative process in architectural design is essentially experimental, agnostic, non-linear and bottom up. Interest lies on the morphogenetic process, the sequence of transformations that affect the design object. Considering this as an open and dynamic development where the design evolves with alternate periods of disequilibrium, we can appreciate the function of folding as a design generator by phase transitions, that are, critical thresholds where qualitative transformations occur. The papers transformative origins are simple actions, intuitive responses, which can be delivered as a list of verbs; fold, press, crease, pleat, score, cut, pull up, rotate, twist, revolve, wrap, pierce, hinge, knot, weave, compress, unfold. (Sophia Vyzoviti, 2003, pp.8-9).

“Faith, you are discussing a man made interpretation, what is the biomimicry link?” Raising one eyebrow, but never looking up from his smart phone. “Make the inspiration clear...”

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phytotomy / morphology “If we reflect, there are many examples in nature. Let us focus on leaves.”

(Benyus, 1998). Once again a subtle smile appears on her face. “Leaves of many plants are flat yet flexible surfaces that resist bending due to structural features and bracing from below. Most leaves seem to bypass problems of loads perpendicular to their surfaces simply by flexing or reorienting in winds. (Fig12) Quite a few leaves use a slight longitudinal ‘V-fold’ to get adequate bending stiffness, which must also give them low twisting stiffness. Other leaves use another deviation from flatness, ‘crosswise fan folding‘. Thin leaf surfaces avoid bending in various ways. Veins provide supporting trusses, the whole leaf may be arching lengthwise, or pleats can make a ridge-and-valley self-trussing system.

Leaves of the sensitive plant protect themselves from predators and environmental conditions by folding in response to touch (a force). When the leaf is touched, it quickly folds (Fig13) its leaflets and pinnae and droops downward at the petiole attachment… the leaves also droop at night, and when exposed to rain or excessive heat. This response may be defences against herbivorous insects, leaching loss of nutrients, or desiccation.

The folds of different leaves are interconnected and compatible with each other, and the whole structure can be folded and unfolded from a single or multiple driving points.” (http://www.biomimicry.net/, 2012).

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Fig 13. Mimosa Pudica.

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methodology Following is the exploration of material. In model scale, paper was used due to its structural properties and the relationship to folding in terms of structural capacity, in reference to leaves.

The initial idea of folding was experimented through manipulation of paper; fold, press, crease, pleat, score, cut, pull, rotate, twist, revolve, wrap, pierce, hinge, knot, weave, compress, unfold, are some of the basic sets of actions which allow you to affect the material properties of paper.

While specifically looking into collapsible structures, one (small) model scale technique discovered was to setup a template, a corner elevation of any object or area, in this case a building. Then establish the point where the page can fold back on itself, in a half. And that will create a three dimensional projection of the building.

The basic set of tools is a cutting matt, metal rule and a scalpel. Then all that is required is a print of a template on paper no less than 150gsm as structural stiffness gets lost with less thickness.

This technique allows you to understand the importance of angles of folds, which segments to fold which way and how much they project out. This technique may be used to generate folding frames which is focused on function or for the functional aesthetic of a wrapping mechanism over complex segments.

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In relation to collapsible structures further research was carried out by identifying collapsible structures in nature, one of which is a leaf. In principle, it folds away if a force is applied to it for purposes of self preservation. The leaf folds in on itself in segments. This mechanism is explored with paper folding using a combination of previous technique and what this plant has to offer. The movement is observed and an attempt is made to replicate it. On a large scale this process can provide a fold-away canopy.

Fold a piece of paper in a half. This will be the fold-out, collapsible initiating factor. Establish a curving spinal frame from the folded edge, then cut along the outline of each segment. Open the sheet to reveal a flat pattern of the structure. Fold each segment back on it self, starting from the lowest segment. To reveal the fold-out structure open the fold like turning a page of a book.

Learning from practice, to explore a different scale, which can provide shelter for humans, digital interpretations have been generated. Design of frame which can multiply in dimension and attach segments to generate larger covered areas thus changing function of the structure and its internal space. The structure to be collapsible and manipulated by anyone, therefore the composition of the construct is in the eye of the beholder, so the form and function is forever changing. Principles transferred were the mechanics of segments folding back on it self through flexible joints and location of structure only where required for support, this generates a lightweight intervention. All parts are structural, down to the occupier and his or hers weight when using the hammock which ties and grounds the construct.

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Tapping on the touch screen phone becomes apparent, the rhythm helps Azarius think. “So, an architectural interpretation in form of a design project could be...” folding as paradigm for architecture Deployable constructs, moulded from the natural inspiration and the read text. Which is explored through the literature review.

The proposal is to demonstrate application of all current research through one scheme consisting of multiple segments and mechanisms.

Project direction is derived from Michael Pawlyn’s (2011) texts. His works focus around solar power, the conversion of sunlight into electricity. Sunlight can be converted directly into electricity using photovoltaics (PV), or indirectly with concentrated solar power (CSP), which normally focuses the sun’s energy to boil water which is then used to provide power. Other technologies also exist, such as Stirling engine dishes which use a Stirling cycle engine to power a generator. A significant problem with solar power is construction and installation cost. For example, developing countries in particular may not have the funds to build mass solar power plants.

The proposed multifunctional approach to generating power minimises resource and energy use. What this means is this; the structure would be designed to follow the sun path to focus radiation for ultimate power generation while utilising open area for its winds for cooling and energy generation, in parallel with sea water (electricity travels faster in cool temperatures). The transforming composition will minimise over-engineering by locating material only where it is required in order to ensure efficient structural mechanism function. Because the architecture becomes flexible and adaptable, the need for one purpose construction is no longer required thus minimising material use, cost and energy for generation, transportation and construction.

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F o ld i n g T ransforming K i n e t i c M orphing F ragmenting L iving - O rganism = M u l t i f u n c t i o n

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Nature has been designing architectural solutions for over 3.8 billion years. It has been perfecting the solutions to the same environmental questions we are faced with today.

How to minimise use of resource and energy and regenerate in an infinite loop?

As a simple and efficient solution, nature has manipulated structures. Pushing the laws of physics and assumed limitations with transforming structural compositions; (Fig14) Folding is an evident practice in nature and its structures.

As a ever evolving architectural design method it poses informative questions and opportunity of resolve in the built environment - and an invitation of creative exploration. Thus, biomimetics, is the examination of nature, its models, systems, processes and elements which emulates or takes inspiration from nature, in order to solve human design problems or questions.

The project is designed inspired by nature - through experimentation of structure and gravity as a building component (Fig14); suspension, tension, compression, cantilevers, self support and balance (the processes of minimising use of resource & energy). This method allows the development of structural compositions which only locate material at precise points of stress. Thus maximising structural strength and covering maximum amount of usable area for the occupant. Resulting in a lightweight structure which reflects efficiency. Consequently using minimum amounts of energy for production of materials and construction.

Additionally, local materials will be used as much as possible and/or within close range, recycled - compressed wood and paper waste.

Natural lighting, ventilation, heating and cooling achieved due to the natural setting of the site (level changes, sea coast).

The fabric of the building must be insulated within structural material but sustain full mechanical operation.

Earth itself, at specific locations of the build, will act as a natural insulation.

The whole concept behind this project is for an ever changing, adapting, reusable, lightweight series of structures. Meaning that useful area/space may be generated through manipulation of the structures geometry with simple frame add-ons. This means, that the structure can transform in scale to adapt for multi-function/use thus construction is minimised, therefore less resource and energy is used.

Evolution, which is evident in nature, will act as a metaphor and be literally interpreted as transformation; the principle of transforming or folding will be applied to architectural interventions - structure/form/construction - interior; furniture and layout design. Which generate multifunctional space, therefore become more efficient with floor area as well as material use. Thus reflects change, adaptation and intelligent development as evolution in nature and addressing the regulations from a new perspective.

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Fig 14. Principle diagrams.

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The key factor of this project is that it is self sustaining in terms of energy. It generates electricity for local beach hut owners, encapsulates energy for transfer and sends electricity back to the grid.

By tapping into natures wisdom will potentially spark the ideas or principles which will develop and possibly change architectural thinking thus solving the requirements of the built environment.

Constructs; KineticPlant / Site (area); 13,750m2 / Cost; ÂŁ3,000,000.oo The project is quintessentially a park (paths, some of which are unorthodox), with power station and canopy segments (not fully enclosed spaces).

Concept: An educational natural power centre inspired by biomimicry. Illustrating a closed loop system (minimising use of resource and energy), through its conceptual theory to practical realisation. Process experienced through physical participation. Embark on a journey through the folding architecture while witnessing the conception of natural energy.

The research focus: Nature inspired praxis; folding / transforming / kinetic / morphing / fragmenting / livingorganism structures found in the natural world, for example leaves. The geometries and mechanisms of such constructs are examined in order to inform efficient design of the built environment, striving for pure simplicity. Folding is employed as a primary architectural design method.

The production of key resources, such as clean energy, clean water and vegetation. Is achieved by combining already existing and proven environmental technologies, such as evaporation of seawater to create cooling and distilled fresh water (i.e. in a saltwater based greenhouse) and solar thermal technologies. Further development would illustrate utilisation of wind and wave energy to distil electricity.

The project context is thriving with tourists and locals, specifically during summer months.

Therefore the design is a new approach to defining a park, following the natural contours of the site, paths are created for alternate travel through space.

Key parts to address for this project are; conservation of fuel and power, energy performance.

The drive behind the project is the idea of minimising the use of (material) resources and energy.

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“That is one probable result. This method is not about becoming or generating a style, a form or shape. Nor is it accidental. It is about elegantly simple function and ergonomics of space. Efficient through a light physical touch yet mesmerizing in composition and geometry”. Says Faith, glancing at the time. “Oh wow… I have to run or I‘ll miss my critique”. While scrambling all the notes and books from the table.

“Oh is that one of your presentations where the panel rips you apart then sprinkles a bit of direction? I suppose I better go finish off my tests.” Mumbles Azarius.

Folding as a method is not a process that gives pre-conceived definitive answers. Each time, a new resolution will occur with the same set of ideas and principles applied. The intervention itself can be ever changing through structure and ultimately form, with reflection of seasons for example. The sites themselves offer the constraints.

There is no definitive path or set of directions to take. Folding does not give a distinctive set of answers which can be measured against each other as the path taken to generate them differs each time due to combinations of actions. Whether at conceptual stage of generating use for and types of space, organisation and layout or design of actual structure detail and construction of form.

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prototype - Site Analysis First step was to discover a site which could accommodate for testing of found research; folding structures and natural energy generation, this illustrates research led design decisions. Bournemouth beach was selected due to varied ground levels which provoke foldable constructs and due to local elements which allow for multiple exploration of natural energy generation; utilising ground form to harvest rainwater for cooling and heating. The strong winds to drive turbines (the constructs must deflect wind like leaves, following kinetic principle). Seawater to be filtered and stored for generation of steam to drive the main turbine. The exposure to direct light to be utilised by solar panels as well as focusing the radiation to heat collected water to generate steam, allowing the excess to escape. The atmosphere near the sea boosts corrosion, therefore careful composition of construction detail is to be designed, exposing least amount of joints and junctions to the elements. Also, durable materials are to be specified where possible. Furthermore, the site is in need of additional access as the existing ramps do not comply with building regulations or standards.

Historically Bournemouth has been a favourite place for political conference and for retirement. The sandy beach (site) spanning seven miles, is voted best in Britain and fourth in Europe (http://www.dailymail.co.uk/travel/article-2111592/Best-beach-UK-Bournemouthvoted-coastal-spot-travellers--fourth-best-beach-Europe.html, 2012) by the visiting public. Once the sun sets, the night life thrives due to the variety of entertainment venues.

Furthermore, the university grows rapidly and the arts sector enjoys worldwide credibility.

These attractions are political, academic and cultural which entice large audience. This allows for opportunity to raise great interest and support for the scheme.

Due to the unique nature of the project, the intent is to attract a client such as YARA International ASA (Registered Company Number: 03818176. VAT Number: 368 372 619). Due to experience of sponsoring a precedent project Sahara Forest, which embodies relative principal ideas.

Following, feasibility study indicates that the local council would not permit or sell the selected land for development.

However, considerations will be made if we give an incentive; approach with a proposition in form of an experiment. Which, on micro scale, benefits the local community and on a macro scale aids the global target of minimising use of resource and energy thus granting political favour. The construction and structure is lightweight, with retaining walls/paths becoming permanent. Which means the project can be reversed, thus rendered temporary, if predictions of performance are not met. The navigation paths may remain for the disabled, elderly and child access to each level.

The project will also provide electricity for the grid of Bournemouth and the on site beach hut owners, who can tap into the natural energy generated.

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However, we reach a dilemma; the English government indicates that temporary buildings with a planned time of use of two years or less are exempt from the energy efficiency requirements. The project will be initially presented as a temporary scheme (experimental phase), however this is in order to get the project permitted and if it proves to operate as predicted, it will remain as a permanent construction while still capturing the “lightweight” principles. Therefore, to ensure desired performance and to avoid dispute or future discrepancies, the project is designed to comply with requirements and regulations from inception.

Local Planning Policies; (http://www.bournemouth.gov.uk/PlanningBuildings/Planning/Policy/Policy.aspx, 2012) Policy; Bournemouth District Wide Local Plan Adopted 2002 (http://www.bournemouth.gov.uk/PlanningBuildings/Planning/Policy/Local/LocalPlanFiles/DATA/mainpages.pdf, 2012) is reviewed and particular attention is drawn to the Natural Environment section. Stated objective is to maintain the Borough’s Green Belt and protect its rural character. Protect the best and most versatile agricultural land. Protect and enhance statutory designated wildlife and geological sites, and sites of local interest. Protect and enhance the Borough’s waterways for their own sakes, for their contribution to nature conservation and the landscape, and for their contribution to water supply. And ensure that the development does not create or increase the risk of flooding in the borough.

Therefore, due to the sensitive context, the scheme is designed to integrate into the natural setting of the site. Following the existing contours, preserving the vegetation through materiality. The constructs are morphed into the ground and reflect the aesthetic in order to preserve biodiversity.

Policy; Dorset Minerals & Waste Local Plan (http://www.dorsetforyou.com/media.jsp?mediaid=84721&filetype=pdf, 2012) states it is Government policy that, so far as practicable, society’s unavoidable need for minerals should be met. Minerals can only be worked where they are found and each area should make an appropriate contribution to meeting this need in accordance with its resources.

The policy also encourages the most appropriate use of all resources, waste minimisation, re-use, recycling and, where practicable, the use of alternative less damaging materials or technologies, in order to reduce the requirement for new resources to an unavoidable minimum. Furthermore, where appropriate and practicable, a positive contribution in terms of landscape enhancement, habitat creation, public access or recreational uses to be provided on the site. With emphasis on material waste management.

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Previously stated approach addresses this issue and further improves by proposing to distil elements from sea water to generate materials and extract minerals from the ground within the area of the site.

Furthermore, all policy parameters were, in fact, part of the initial ideas behind the scheme which drove the conception of the proposal. Therefore, it is natural and fundamental for this scheme to comply.

There are public toilets next to the site therefore additional are not to be provided until human traffic rises considerably (referring to summer months which are busiest on site).

However, space is available for future consideration.

Additionally, there are two lifts and within the site there is a zigzag path which is too steep to comply with the regulatory angle. To which new paths will be connected.

Existing car parking runs along the street and through the site, providing disabled parking at level ground. Existing setting already caters for emergency access, which is to be provided at lower and upper level of the site.

The paths are beneficial for wheelchair users, people pushing prams and bicycles. Path gradients are designed to be as shallow as possible, including steps at sections and many landing areas for rest. Built with durable, non-slip materials which are distinctly different from ramp material in colour or texture, so as to be distinctly identifiable however the frictional characteristics of the ramped paths and landings surfaces will remain identical or similar.

All flights will be designed to have a going no greater than 10m or a rise of more than 500mm.

The surface width is over 1.5m at all points. Landings are level, over 2m long and 2m wide. Handrails are an integral part of the design to serve as supports and fall barriers constructed of folds. Entrances vary starting from 1m width depending on use and scale of canopy.

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TASK Land surveys have been produced defining levels, contours and parameters allowing for a more intimate understanding of the site. This data aids the accuracy of the plans and expresses real constraints of the setting, ensuring risks are designed out.

Using the data, further investigation materialised through a paper model. Produced to explore the physicality of the site. 1:500 scale layers of earth are folded individually to highlight each contour and reveal the nature of its composition which sets the design parameters.

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TASK Materiality; the natural and manmade materials are to be used for construction of the scheme to break up the mass which will minimise the visual impact. The manmade materials that have been touched by nature illustrate living properties; weathering and maturing, becoming as one with its setting. Ultimately, the desired outcome of the scheme is to compliment the surroundings and not exist as a contrast.

Slow site recording of material detail;

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The material specification and detail design is dictated by discoveries on site as well as the fold theory. The local environment increases the rate of decay therefore the constructs are designed to be as simple as possible in construction, exposing minimal joints and junctions to the elements. This also allows for easy assembly which minimises time and energy spent for construction, this means the architecture is user friendly. The requirements of the site indicate the principles behind material selection and are highlighted in the concept sketches.

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There are existing uniform beach huts on site which are to be replaced by the designed (deployable/collapsible) shelters. Allowing manipulation of the composition and plug into the natural power source on site.

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Homo sapiens are wasting and using too much resources and energy which impacts climate in a negative and unbalanced way. The discovered research indicates that nature also deals with this issue with a more efficient method, which is the principle of “multifunction�. Regenerating and placing material only in lines of stress, through reforming structures.

TASK Leaves unfold when require energy from the sun and withstand damaging forces because of flexible structure. This idea relates to the human built environment but simply on a different scale. Applying this method, derived from nature, is defined as biomimetics.

Meaning research is informing and leading the design of the human built environment.

For example; if we contemplate upon a plant and how it deals with same issues. We begin to see it as a mini power station, deforming and reforming to serve multiple purpose. This drives the idea of the KineticPlant project, through varied scales.

The diagram illustrates how rain and seawater can be harvested on site, filtered and used to pass through the system to cool the mechanisms before reaching the heat tank(s).

Where water is then heated through concentrated solar radiation system, which develops electricity. Any excess steam is allowed to rise and escape into the atmosphere. Electricity can then be sent to the grid, power local units and encapsulated for transfer.

AC Power (Alternating Current) voltage can be changed through a transformer to suit variety of transmission needs. Most common use of this type of electricity is in homes and offices.

DC Power (Direct Current) type of electrical power produced by fuel cells, batteries and generators. It is commercial transmitted however it has now been widely replaced by AC. Focus panels are planted on folding constructs with built in radiation tracking system (structures derived from research and developed theory).

Sketch section indicating learning through interaction about natural energy generation; water harvesting, wind, solar and wave energy located at specific points on site for optimum performance.

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Method of exploring the concept of fold was to define what a fold is and what to fold means (folding matter and material thus folding space)?

TASK Exploration of the concept began through research revealing identities of varied folds. Captured by a word, indicating a specific type of or a set of folds, illustrated through principle sketches which lead onto manipulation of paper to capture the concept. Testing their function and practicality through a range of scales.

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Design tasks conceived from research, testing discovered ideas; Collapsible Emergency Shelter.

The brief was set up stating that the shelter has to be accessible and lightweight. Scale, structure and foldable construction are the dictators. The adaptability enables the shelter to function in extreme contexts.

The basic definition of emergency shelter is a place for people to live temporarily after fleeing from a specific type of situation away from their homes, such as natural or manmade disasters, domestic violence, or victims of sexual abuse. Emergency shelters are to provide a private, secure and accessible space all day and night. Also, facilitate other uses and occupation, dependant on scale of shelter. For example, gatherings or meetings and/or provide a place to eat.

Post-disaster emergency shelter is the focus. However, not in just a sense of a response to natural disasters, such as a flood or earthquake, to accommodate an individual or family. The aim is to devise a construct for anyone and everyone. Ranging from an individual who has hit rock bottom in life, losing their home, to someone who wants to go and explore the world with a fun, functional and interactive mechanism which transforms into a construct that provides shelter. Re-using existing buildings resonates the idea of multi-function but is not directly linked to the concept as they are not designed for such events.

The design must be ergonomic and able to cope with inhabitation for long period of time.

The template must be simple and easy to reproduce.

Easy to transport and deploy, the shelter must protect the occupier(s) from the elements through a mini internal environment (floating - suspended pod).

It should appeal to a broad set of people due to interactive factor and the individual manipulation of the product it self.

TASK Tetrahedral Deployable Shelter.

Tetrahedral form - Three point support. Selected because of structural properties and stability due to composition derived from Natures structures.

Structural hammock - Ties the frame together and the weight of the occupant grounds the shelter (human is a part of the construction and a building component). As well as lifts away the occupation area from the elements.

Protective skin - Kinetic wrapping material; waterproof, reflective of context, insulated, secure and interchangeable in order to adapt in accordance to local climates.

Sliding Mechanism adjustable to generate varied sleeping area according to height of occupant.

Material(s); Bamboo - Flexible to deal with loads (occupant, wind). Compressed wood waste and paper tubes. Folding principle informed and inspired by the Mimosa Pudica plant.

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BIBLIOGRAPHY: Key Text; Benyus, J. M. (1998). Biomimicry: Innovation Inspired by Nature. New York: HarperCollins Publishers Inc. Deleuze, G. (2011). The Fold - Leibniz and the BaroqueI. New York: Continuum International Publishing Group.

Jackson, P. (2011). Folding Techniques for Designers from Sheet to Form. London: Laurence King Publishing Ltd. Lynn, G. (2004). Folding In Architecture. Great Britain: John Wiley & Sons Ltd. Pawlyn, M. (2011). Biomimicry in Architecture. London: RIBA Publishing.

Siliakus, I. and Bianchini, M. V. G. and Aysta, J. (2009). The Paper Architect: Fold It Yourself Buildings and Structures. United States: Crown Publishing Group.

Thompson, D. and Bonner, J. T. (1961). On Growth and Form. London: Cambridge University Press.

Vyzoviti, S. (2010). Folding Architecture: Spatial, Structural and Organizational Diagrams.

Amsterdam: BIS Publishers.

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Further Reading; Allen, R. (2010). Bulletproof Feathers: How Science Uses Nature’s Secretes to Design Cutting-Edge Technology. Chicago and London: University of Chicago Press.

Anderson, R. (2009). Confessions of a radical industrialist. London: Random House Business Books.

Ashby, M. F. (2009). Materials and the Environment: Eco-Informed Material Choice. Oxford: Butterworth - Heinemann.

Barnes, J. (1984). The Complete Works of Aristotle. Oxford: Princeton University Press.

Barnes, J. (1984). The Complete Works of Aristotle, Part 2. Oxford: Princeton University Press.

Beukers, A. and Hinte, E. (1999). Lightness: The inevitable renaissance of minimum energy structures. Rotterdam: 010 Publishers.

Cezzar, J. (2002). Blurred Zones: Investigations Of The Interstitial. New York: The Monacelli Press, Inc. Cottingham, J., Stoothoff, R. and Murdoch, D. (1984). The Philosophical Writings of Descartes. 2nd ed. Cambridge: Cambridge University Press.

Coyne, J. A. (2009). Why Evolution Is True. Chippenham. Wiltshire: SPI Publisher Services.

Darwin, C. and Carroll, J. (2003). On the Origin of Species. Plymouth: Plymbridge Distributors Ltd. Davidson, C. (2006). Tracing Eisenman. London: Thames & Hudson Ltd. Dawkins, R. (2004). The Ancestor’s Tale. London: Widened & Nicolson.

Frisch, K. V. (1975). Animal Architecture. London: Hutchinson.

Gardner, A. N. (2003). Biocosm - The New Scientific Theory of Evolution: Intelligent Life is the Architect of the Universe. Makawao, Maui: Inner Ocean Publishing, Inc.

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Gordon, J. E. (1976). The New Science of Strong Materials. 2nd ed. London: Penguin Books Ltd. Gould, J.R. and Gould, C. G. (2007). Animal Architects: Building and the evolution of intelligence. New York: Basic Books.

Hamilton, E. and Cairns, H. (1989). Plato - The Collected Dialogues including the Letters.

New Jersey: Princeton University Press.

Hansell, M. (2005). Animal Architecture (Oxford Animal Biology Series). Oxford: Oxford University Press.

Hawking, S. (2007). The Essential Einstein - His Greatest Works. London: Penguin Group.

Hensel, M., Menges, A. and Weinstock, M. (2010). Emergent technologies and design: Towards a biological paradigm for architecture. New York: Routledge.

Jones, D. L. (1998). Architecture and the Environment: Bioclimatic Building Design. London: Laurence King Publishing Ltd. Kipnis, J (2007). Written Into The Void: Selected Writings 1990 - 2004. China: World Print.

McCarthy, C. W (2011). M. C. Escher Pop - Ups. London: Thames & Hudson Ltd. Scheer, H. (2002). The Solar Economy: Renewable Energy for a Sustainable Global Future. London: Earthscan.

Somol, R.E. (1999). Peter Eisenman: Diagram Diaries. London: Thames & Hudson Ltd. Stern, N. (2009). A Blueprint for a Safer Planet: How to manage climate change and create a new era of progress and prosperity. London: Bodley Head.

Williams, H. A. (2003). Zoomorphic: New Animal Architecture. London: Laurence King Publishing Ltd.

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Web Lectures; Key; A Tiny Apartment Transforms into 24 Rooms. (2010). From YOUTUBE. Available at: http://www.youtube.com/watch?v=Lg9qnWg9kak (Accessed: 20 October 2011) Janine Benyus: Biomimicry in action. (2009). From TED; Ideas worth spreading. Available at: http://www.ted.com/talks/janine_benyus_biomimicry_in_action.html (Accessed: 11 October 2011) Janine Benyus shares nature’s designs. (2005). From TED; Ideas worth spreading.

Available at: http://www.ted.com/talks/janine_benyus_shares_nature_s_designs.html (Accessed: 11 October 2011) Michael Pawlyn: Using nature’s genius in architecture. (2010). From TED; Ideas worth spreading. Available at: http://www.ted.com/talks/michael_pawlyn_using_nature_s_genius_in_architecture.html (Accessed: 11 October 2011) Robert Full on engineering and evolution. (2002). From TED; Ideas worth spreading.

Available at: http://www.ted.com/talks/robert_full_on_engineering_and_evolution.html (Accessed: 11 October 2011) Further viewing; Sex, Velcro & Biomimicry with Janine Benyus. From ScribeMedia. Available at: http:// www.scribemedia.org/2008/10/22/float-like-a-butterfly-with-janine-benyus/ (Accessed: 11 October 2011) The Fast Draw: Biomimicry. From CBS News. Available at: http://www.cbsnews.com/8301-502623_162-5577007-502623.html (Accessed: 11 October 2011) The LXD: In the Internet age, dance evolves… (2010). From TED; Ideas worth spreading. Available at: http://www.ted.com/talks/lang/eng/the_lxd_in_the_internet_age_ dance_evolves.html (Accessed: 20 October 2011)

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Websites: Key; Biomimicry 3.8 Billion Years Experience (2011). Ask Nature. Available at: http://biomimicry.net/ (Accessed: 11 October 2011) Further viewing; Eco Chair. Available at: http://www.ecochair.dk/index%20ENG.html (Accessed: 24 October 2011) Edge Design Institute Ltd (2011). Gary Chang. Available at: http://www.edge.hk.com (Accessed: 11 October 2011) Exploration-architecture (2011). Michael Pawlyn. Available at: http://www.explorationarchitecture.com (Accessed: 11 October 2011) Ingrid Siliacus. Paper folding architecture. Available at: http://ingrid-siliakus.exto.org/ (Accessed: 24 October 2011) Love Chair. Available at: http://www.flexiblelove.com/global/ (Accessed: 24 October 2011) RSA Animate. Available at: http://comment.rsablogs.org.uk/videos/ (Accessed: 24 October 2011)

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Online Videos: Key; Avatar Science. Available at: http://www.youtube.com/watch?v=onLajIT5k6c (Accessed: 31 October 2011) Eco Chair. Available at: http://www.youtube.com/watch?v=EKN7J3hLp7I (Accessed: 24 October 2011) Love Chair. Available at: http://www.youtube.com/watch?v=rr9oOOd4PFo&feature=related (Accessed: 24 October 2011) Parkour Paper Folding Animation. watch?v=TK8N06F02wE (Accessed: 24 October 2011)

Available

at:

http://www.youtube.com/

Further Viewing; Philips Design Probes - Metamorphosis. Available at: http://www.youtube.com/ watch?v=ePeor5334sQ (Accessed: 24 October 2011) RSA Animate. Changing Education Paradigms. Available at: http://www.youtube.com/ watch?v=zDZFcDGpL4U (Accessed: 24 October 2011)

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