B1.BIOMIMICRY

While there is no proof, it is quite likely that the forms of eggs inspired the first human-made domes, and in this sense biomimicry is far from being a recent idea. Pioneers such as Leonardo da vinci and Antonio Gaudi had their visions of biomimicry hundreds of years ahead of their contemporaries.More recently there are some well-documented examples such as the invention of Velcro around 1948, and in the last decade there has been a phenomenal flourishing of biomimicry as more and more designers respond to the demand for sustainable products.

The inspiration from nature is driving force in architecture, resulting in majestic works of architecture. Biomimicry is about solution refined and developed by nature. For any sustainable building design, need to consider structural efficiency, water efficiency, zero-waste systems, thermal environment, and energy supply. Biomimicry is about solutions. Biological organisms refined and developed by natural selection over a billion year research and development period can be seen as embodying technologies, functions, and systems that are solutions to the problem of surviving in nature.

Modern architects have frequently used nature as a souce for uconventional forms and for symbolic association. There are some examples of how th has produced majestic works of architecture, such as Eero Saarinen's TWA terminal and Frank Lloyd Wright's Johnson Wax Building. In the esoteric realm, Le Corbusier used allusions to natural forms extensively for their associated symbolism.

Figure 1. Burdock Burr

Burdock burr were the source of inspiration for the invention of Velcro. After some recent frustration with zips, he noticed the way that burdock burrs clung to his dog's coat and, after studying them with a magnifying glass, designed the first version of the now ubiquitous fastening

The TWA terminal at JFK Airport, New York, in which Eero Saarinen used biomorphic forms to capture the poetry of flight.

Figure 1. TWA Terminal

Figure 2. Johnson Wax Building

Frank Lloyd Wright likened the columns in the Johnson Wax building to water lilies and, while they create a spectacular space, they have nothing functionally in common with lily leaves.

Figure 3. TWA Terminal

Le Corbusier appears to have made delibrate reference to the cleansing function of kidneys in the design of the washrooms for the unbuilt Olivetti Headquarters project.

PRECEDENTS

Some interpreted biological motifs aesthetically, as ornaments and decorations. Others utilized its symbolic interpretations asphilosophical, metaphorical or spiritual foundations of their practice. Pragmatically, many attempted to inform their designs by learning from the organization of natural structures and more recently, an increasingly growing number of practitioners and researchers aim to understand and reinterpret naturally occurring functionalities, behaviors or processes of growth and natural selection.

B1.DIGITAL MORPHOGENESIS

Morphogenesis is a concept used in a number of disciplines including biology,geology, crystallography, engineering, urban studies, art and architecture.

In architecture, morphogenesis is understood as a group of methods thatemploy digital media not as representational tools for visualization but asgenerative tools for the derivation of form and its transformation often in an aspiration to express contextual processes in built form. In this inclusive understanding, digital morphogenesis in architecture bears a largely analogous or metaphoric relationship to the processes of morphogenesis in nature, sharing with it the reliance on gradual development but not necessarily adopting or referring to the actual mechanisms of growth or adaptation.

Recent discourse on digital morphogenesis in architecture links it to anumber of concepts including emergence, self-organization and form-finding[9].Among the benefits of biologically inspired forms, their advocates list thepotential for structural benefits derived from redundancy and differentiationand the capability to sustain multiple simultaneous functions.

Figure 4. Water Cube

Figure 5. Melbourne Recital Centre

Figure 6. ANAN Japanese Noodle Bar

Figure 4. Water Cube

Figure 5. Melbourne Recital Centre

Figure 6. ANAN Japanese Noodle Bar

MORPHOGENESIS EXAMPLES

B2.CASE STUDY 1.0

SEROUSSI PAVILLION

Seroussi Pavilion was “grown” out of self-modifying patterns of vectors based on electro-magnetic fields (EMF). Through logics of attraction/repulsion trajectories were computed in plan and than lifted via series of structural microarching sections through different frequencies of sine function. The plan of the pavilion differs greatly from a classical notion of architectural plan drawing _ it is a dynamic blueprint closer to musical notation _ deep ecology of imbedded algorithmic and parametric relationships are the seed for possible materialization procedures and adaptation to the site conditions. I

Figure 7. SEROUSSI PAVILION

EXPERIMENTAL ITERATION

REFERENCES

7. Kolarevic, B., Digital Morphogenesis and Computational Architectures, Proceedignsof the 4th Confernece of Congreso Iberoamericano de Grafica Digital, SIGRADI 2000 –Construindo (n)o Espaço Digital (Constructing the Digital Space) [ISBN 85-88027-02-X], Rio de Janeiro (Brazil) 25-28 September 2000, 2000, 98-1038. Kolarevic, B. and Malkawi,A., Performative Architecture: Beyond Instrumentality, SponPress, New York; London, 2005.9. Hensel, M., Menges,A. and Weinstock, M., Emergence: Morphogenetic DesignStrategies,Wiley, London, 2004.

http://johnmaddenphoto.com/portfolio/melbourne-recital-centre-mtc/http://burodestruct.net/work/anan-japanese-noodle-barhttp://www.biothing.org/?cat=5 (seroussi pavilion)