A man-made cocoon woven from biodegradable rope material inspired by the weaving of silkworms. It can be constructed in any softwood tree that is strong enough and that has a convenient distribution of branches. The tree is scanned and converted into a 3D model where a custom cocoon design is created. The cocoon is both lightweight and strong as it is a tensile structure (secondary structure) wrapping around a tree (primary structure). It aims to bring people from the city closer to nature.
Trees & Humans
The following images will introduce my artefact into wider context. There are two possible scenarios, which could benefit from my artefact, one of which will be further developed in the upcoming term: 1) forest bathing as a way to for the human to reconnect with nature 2) rewilding as a way to both regenerate the land and human spirit
OBJECTIVE The aim of photogrammetry was to create the most realistic three-dimensional representation of a tree, which could then be incorporated into computational experiments making the design process much more efficient.
LIMITATIONS Photogrammetry generated about 60-70% of tree volume leaving out the detailed branches at the outer ends of the tree. 3D scanning would be a possible solution, however, unavailable at the moment.
Combining the Virtual and Real
REAL 3D-model of a real tree VIRTUAL wrapping/weaving around the 3D-model of a real tree virtually
Connecting points in space
OBJECTIVE This section of my portfolio focuses on exploring the ways in which points can be connected with strings – in both two and three dimensions. The gained knowledge from this section informed my virtual weaving experiments (previous section)
LIMITATIONS: When connecting regular geometries, it is much easier to find the differences between different connection techniques. The result looks also much more organised and neat. However, what I am aiming to do is apply these connection techniques to irregular geometries of trees, which is a big challenge.
Wrapping & weaving around real trees
This part tracks my learning of the weaving behaviour of silkworms. I have done my own weaving experiments, both physical and virtual to try and understand how weaved tensile structures work. Going forward, I would like to incorporate some of the observed physical principles into my design (into the Grasshopper script).
Azolla is a minuscule floating plant that forms part of a genus of species of aquatic ferns, also known as Mosquito Fern. It holds the world record in biomass producer – doubling in 2-3 days. The secret behind this plant is itssymbiotic relationship with nitrogen fixing cyanobacterium Anabaena making it a superorganism. The Azolla Provides a microclimate for the cyanobacteria in exchange for nitrate fertiliser. Azolla is the only known case where a symbiotic relationship endures during the fern’s reproductive cycle and is passed on to the next generation. They also have a complimentary photosynthesis, using light from most of the visible spectrum and their growth is accelerated with elevated CO2 and Nitrogen.
Azolla is capable of producingnatural biofertiliser, bioplastics because of its sugar contents and biofuel because of the large amount of lipids. Its growth requirements can accommodate many climates too, allowing it to be classified as a weed in many countries. I was able to study the necessary m2 of growing Azolla to sequester the same amount as my yearly CO2 emissions, resulting in 57% of a football field equivalent of growing Azolla to make me carbon neutral.
Why is this useful? Climate change will inevitably bring more adverse climate conditions that will put many world wide crops at risk and, as a consequence, will affect our lives. A crop that produces biomass at the speed of Azolla provides at advantage in flexibility: a soya bean can take months to grow until ready to be harvested, Azolla can be harvested twice a week. This plant has the potential to be used in the larger agricultural sector and diminish the Greenhouse Gas Emissions of one of the most pollutant sectors.
REAL LIFE ACTION
I contacted the Azolla Research Group at the University of Utrechtand they kindly accepted to give us a tour of their research facilities, providing us with an in-depth insight into the aquatic fern. I also decided to approach the Floating Farm with a proposal of using Azolla in their dairy process. They agreed to explore this and I put them in contact with the research team in the University of Utrecht, who are now cooperating with the dairy farm’s team in decreasing the carbon emissions of the cows on the farm.
The Floating Azolla District consists on a proposed community that emphasises a circular economy with a focus on sustainable agriculture in Rotterdam. It builds on to the existing Floating Farm found in the M4H area. It is formed of three areas:
1) Azolla – Dwellings combining a series of residential units for the increasing number of young entrepreneurs in the RID with three central cores growing stacked trays of Azolla as in vertical farming.
2) The Floating Farm which continues to produce dairy products and a Bamboo growing area to maintain the upkeep of floating platforms and construction of new dwellings. Floating rice paddies are grown in the warmer months in a closely monitored system of permaculture.
3) A production facility which concentrates on research and development into Azolla as well as retrieving the water fern’s byproducts such as bioplastics extracted from the sugars; biofuel, from the lipids; and bamboo plywood lumber for the construction of the expanding Floating District.
Floating Azolla District – Dwellings
This section concentrates on the detail construction of the Azolla-Dwellings. These floating units are designed to be used as a combination of co-housing for entrepreneurs working in the Rotterdam Innovation District, where the Floating Farm is located, and indoor Azolla growing facilities which is then used further along in the masterplan. The growing areas are built on a series of building components that provide support for trays of Azolla to be grown in a vertical farming manner and provide support for the floor plates as well as anchoring for the entire dwelling.
The materials are a combination of local bamboo grown on a series of floating platforms that prevent the cold winter winds from affecting the overall masterplan and pallets sourced from neighbouring industrial facilities. Using the reciprocal building system developed in Brief 1, a series of stacked components are linked to form the vertical farming support for the Azolla. This system is then extended to support the floors for the dwellings.
Similar to an aperture ring on a camera, this mechanism uses the varying tide to automatically collect the Azollafrom the vertical farming trays to then be used throughout the Masterplan. By displacing 2.5% of the area for each tray every tidal change, this mechanism collects 50% of the harvest every 10 days allowing for a continuous growth of Azolla.
The dwellings’ facade is a result of a careful analysis of harmful and beneficial solar radiation. By setting an initial average temperature to monitory, the facade will block sun that naturally would drive the temperature above the chosen one and the beneficial would bring the temperature up. This shading serves a buffer zone that surrounds the internal living spaces and is used to grow vegetables for the residents.
Semi-public spaces are located on the ground floor (open plan kitchen and living) and bedrooms are located on the first floor, surround a central spiral staircase for circulation.
The same building system based on reciprocal structures is coated in azolla bioplastic preventing the wood from rotting and making the form waterproof. These are used as underwater columns which allow the dwellings and platforms to float. Each ‘column’ can support a load of 2011Kg.
Based on relationship between the University of Utrecht and the Floating Farm taking place outside the initially academic intention of the visit, I decided to use the Floating Farm as a site and a starting point for my proposal. The floating farm is intended to stand out and create an awareness of the possibility or idea of living on water and taking ownership of one’s food production, which seems to match the potential uses and benefits of Azolla. The researchers at the University of Utrecht expressed their need of getting the advantages of this plant to a wider public and this remained in my mind, possibly being the main reason behind my approach to the Floating Farm.
The Floating Farm sits in the Merwehaven area or M4H in the Port of Rotterdam. Highlighted below are the natural site conditions that determined the placement of the masterplan parts according to their function. Bamboo growing pods are placed southwards of the port to block the winter wind while allowing the summer winds from the west to navigate through.
In 2007, Rotterdam announced its ambition to become 100% climate-proof by 2025 despite having 80% of its land underwater, therefore it was important to look at the flood risk and tidal change. The Merwehaven area in Rotterdam seems to have an average tidal change of 2 metres which I thought could be taken advantage of in a mechanical system mentioned previously.
BUILDING SYSTEM & MATERIAL RESEARCH
The reciprocal building system used in the construction of the dwellings began by looking into the Fern plant and its’ form. All ferns are Pinnate – central axis and smaller side branches – considered a primitive condition. The veins never coalesce and are known to be ‘free’. The leaves that are broadly ovate or triangular tend to be born at right angles to the sunlight.
I then decided to model a leaf digitally, attempting to simulate the fractal nature found in a fern frond and the leaves to 3 degrees of fractals. I then simplified the fern frond to 2 levels to allow for easier laser cutting and structural stability. The large perimeter meant, therefore, there was a large amount of surface area for friction so I explored different configurations and tested their intersections.
I then selected the fern frond intersection I found to show the best stability out of the tested ones shown previously. By arraying them further, they began to curve. When pressure is applied to the top of the arch, the intersections are strengthened and the piece appears to gain structural integrity.
When a full revolution is completed, the components appear to gain their maximum structural integrity. Since I had decided to digitally model the fern frond,I was able to decrease the distance between the individual leaves in the centre of each frond through grasshopper. By doing this, the intersections connecting a frond with another were less tight in the centre than on the extremities of each frond,allowing for double curvature.
I continued to iterate the leave by decreasing any arching on the leaf and finding the minimum component, the smallest possible component in the system. By arraying a component formed of 3 ‘leaves’ on one hand and 2 on the other, I would be able to grow the system in one direction as before due to the reciprocal organisation and in the other direction by staggering the adjacent component. The stress tests of this arrangement showed a phased failure of the ‘column’. Instead of breaking at once, row by row of components failed with time, outwards-inwards.
I extracted the minimum possible component from the previous iterations and attempted to merge the system with firstly, 3d printed PLA bioplastic components and then with an algae bioplastic produced at home. I became interested in the idea of being able to coat the wood in an algae bioplastic substituting the need for any epoxy for waterproofing. The stress tests for this component showed a surprising total of 956 kg-force for it to fail.
Here, I began combining different quantities of vegetable glycerine, agar agar(extracted from red algae and used for cooking) and water. By changing the ratios of agar and glycerine I was able to create 2 different bioplastics: one being brittle and the other flexible. See above for the flexible sample and below for the brittle sample. Both samples appeared to fail under the same 7 Kg-force.
Regarding my previous entries, it can be difficult to see how any of this has to do with architecture. In fact I know a few people who think studying fractals is pointless.
Admittedly I often struggle to explain to people what fractals are, let alone how they can influence the way buildings look. However, I believe that this post really sheds light on how these kinds of studies may directlyinfluence and enhance our understanding (and perhaps even the future) of our built environment.
On a separate note, I heard that a member of the architectural academia said “forget biomimicry, it doesn’t work.”
Firstly, I’m pretty sure Frei Otto would be rolling over in his grave.
Secondly, if someone thinks that biomimicry is useless, it’s because they don’t really understand what biomimicry is. And I think the same can be said regarding the study of fractals. They are closely related fields of study, and I wholeheartedly believe they are fertile grounds for architectural marvels to come.
7.0 Introduction to Shells
As far as classification goes, shells generally fall under the category of two-dimensional shapes. They are defined by a curved surface, where the material is thin in the direction perpendicular to the surface. However, assigning a dimension to certain shells can be tricky, since it kinda depends on how zoomed in you are.
A strainer is a good example of this – a two-dimensional gridshell. But if you zoom in, it is comprised of a series of woven, one-dimensional wires. And if you zoom in even further, you see that each wire is of course comprised of a certain volume of metal.
This is a property shared with many fractals, where their dimension can appear different depending on the level of magnification. And while there’s an infinite variety of possible shells, they are (for the most part) categorizable.
7.1 – Single Curved Surfaces
Analytic geometry is created in relation to Cartesian planes, using mathematical equations and a coordinate systems. Synthetic geometry is essentially free-form geometry (that isn’t defined by coordinates or equations), with the use of a variety of curves called splines. The following shapes were created via Synthetic geometry, where we’re calling our splines ‘u’ and ‘v.’
Uniclastic: Barrel Vault (Cylindrical paraboloid)
These curves highlight each dimension of the two-dimensional surface. In this case only one of the two ‘curves’ is actually curved, making this shape developable. This means that if, for example, it was made of paper, you could flatten it completely.
Uniclastic: Conoid (Conical paraboloid)
In this case, one of them grows in length, but the other still remains straight. Since one of the dimensions remains straight, it’s still a single curved surface – capable of being flattened without changing the area. Singly curved surfaced may also be referred to as uniclastic or monoclastic.
7.2 – Double Curved Surfaces
These can be classified as synclastic or anticlastic, and are non-developable surfaces. If made of paper, you could not flatten them without tearing, folding or crumpling them.
Synclastic: Dome (Elliptic paraboloid)
In this case, both curves happen to be identical, but what’s important is that both dimensions are curving in the same direction. In this orientation, the dome is also under compression everywhere.
The surface of the earth is double curved, synclastic – non-developable. “The surface of a sphere cannot be represented on a plane without distortion,” a topic explored by Michael Stevens: https://www.youtube.com/watch?v=2lR7s1Y6Zig
Anticlastic: Saddle (Hyperbolic paraboloid)
This one was formed by non-uniformly sweeping a convex parabola along a concave parabola. It’s internal structure will behave differently, depending on the curvature of the shell relative to the shape. Roof shells have compressive stresses along the convex curvature, and tensile stress along the concave curvature.
Kellogg’s potato and wheat-based stackable snack
Here is an example of a beautiful marriage of tensile and compressive potato and wheat-based anticlastic forces. Although I hear that Pringle cans are diabolically heinous to recycle, so they are the enemy.
Structural Behaviour of Basic Shells [Source: IL 10 – Institute for Lightweight Structures and Conceptual Design]
7.3 – Translation vs Revolution
In terms of synthetic geometry, there’s more than one approach to generating anticlastic curvature:
Hyperbolic Paraboloid: Straight line sweep variation
This shape was achieved by sweeping a straight line over a straight path at one end, and another straight path at the other. This will work as long as both rails are not parallel. Although I find this shape perplexing; it’s double curvature that you can create with straight lines, yet non-developable, and I can’t explain it..
Ruled Surface & Surface of Revolution (Circular Hyperboloid)
The ruled surface was created by sliding a plane curve (a straight line) along another plane curve (a circle), while keeping the angle between them constant. The surfaces of revolution was simply made by revolving a plane curve around an axis. (Surface of translation also exist, and are similar to ruled surfaces, only the orientation of the curves is kept constant instead of the angle.)
Hyperboloid Generation [Source:Wikipedia]
The hyperboloid has been a popular design choice for (especially nuclear cooling) towers. It has excellent tensile and compressive properties, and can be built with straight members. This makes it relatively cheap and easy to fabricate relative to it’s size and performance.
These are singly curved curves, although that does sound confusing. A simple way to understand what geodesic curves are, is to give them a width. As previously explored, we know that curves can inhabit, and fill, two-dimensional space. However, you can’t really observe the twists and turns of a shape that has no thickness.
Conic Plank Lines (Source: The Geometry of Bending)
A ribbon is essentially a straight line with thickness, and when used to follow the curvature of a surface (as seen above), the result is a plank line. The term ‘plank line’ can be defined as a line with an given width (like a plank of wood) that passes over a surface and does not curve in the tangential plane, and whose width is always tangential to the surface.
Since one-dimensional curves do have an orientation in digital modeling, geodesic curves can be described as the one-dimensional counterpart to plank lines, and can benefit from the same definition.
For simplicity, here’s a basic grid set up on a flat plane:
Basic geodesic curves on a plane
We start by defining two points anywhere along the edge of the surface. Then we find the geodesic curve that joins the pair. Of course it’s trivial in this case, since we’re dealing with a flat surface, but bear with me.
Initial set of curves
We can keep adding pairs of points along the edge. In this case they’re kept evenly spaced and uncrossing for the sake of a cleaner grid.
Addition of secondary set of curves
After that, it’s simply a matter of playing with density, as well as adding an additional set of antagonistic curves. For practicality, each set share the same set of base points.
Grid with independent sets
He’s an example of a grid where each set has their own set of anchors. While this does show the flexibility of a grid, I think it’s far more advantageous for them to share the same base points.
8.2 – Basic Gridshells
The same principle is then applied to a series of surfaces with varied types of curvature.
Uniclastic: Barrel Vault Geodesic Gridshell
First comes the shell (a barrel vault in this case), then comes the grid. The symmetrical nature of this surface translates to a pretty regular (and also symmetrical) gridshell. The use of geodesic curves means that these gridshells can be fabricated using completely straight material, that only necessitate single curvature.
Uniclastic: Conoid Geodesic Gridshell
The same grid used on a conical surface starts to reveal gradual shifts in the geometry’s spacing. The curves always search for the path of least resistance in terms of bending.
Synclastic: Dome Geodesic Gridshell
This case illustrates the nature of geodesic curves quite well. The dome was free-formed with a relatively high degree of curvature. A small change in the location of each anchor point translates to a large change in curvature between them. Each curve looks for the shortest path between each pair (without leaving the surface), but only has access to single curvature.
Anticlastic: Saddle Geodesic Gridshell
Structurally speaking, things get much more interesting with anticlastic curvature. As previously stated, each member will behave differently based on their relative curvature and orientation in relation to the surface. Depending on their location on a gridshell, plank lines can act partly in compression and partly in tension.
On another note:
While geodesic curves make it far more practical to fabricate shells, they are not a strict requirement. Using non-geodesic curves just means more time, money, and effort must go into the fabrication of each component. Furthermore, there’s no reason why you can’t use alternate grid patterns. In fact, you could use any pattern under the sun – any motif your heart desires (even tessellated puppies.)
Alternate Gridshell Patterns [Source: IL 10 – Institute for Lightweight Structures and Conceptual Design]
Here are just a few of the endless possible pattern. They all have their advantages and disadvantages in terms of fabrication, as well as structural potential.
Biosphere Environment Museum – Canada
Gridshells with large amounts of triangulation, such as Buckminster Fuller’s geodesic spheres, typically perform incredibly well structurally. These structure are also highly efficient to manufacture, as their geometry is extremely repetitive.
Centre Pompidou-Metz – France
Gridshells with highly irregular geometry are far more challenging to fabricate. In this case, each and every piece had to be custom made to shape; I imagine it must have costed a lot of money, and been a logistical nightmare. Although it is an exceptionally stunning piece of architecture (and a magnificent feat of engineering.)
8.3 – Gridshell Construction
In our case, building these shells is simply a matter of converting the geodesic curves into planks lines.
Hyperbolic Paraboloid: Straight Line Sweep Variation With Rotating Plank Line Grid
The whole point of using them in the first place is so that we can make them out of straight material that don’t necessitate double curvature. This example is rotating so the shape is easier to understand. It’s grid is also rotating to demonstrate the ease at which you can play with the geometry.
Hyperbolic Paraboloid: Flattened Plank Lines With Junctions
This is what you get by taking those plank lines and laying them flat. In this case both sets are the same because the shell happens to the identicall when flipped. Being able to use straight material means far less labour and waste, which translates to faster, and or cheaper, fabrication.
An especially crucial aspect of gridshells is the bracing. Without support in the form of tension ties, cable ties, ring beams, anchors etc., many of these shells can lay flat. This in and of itself is pretty interesting and does lends itself to unique construction challenges and opportunities. This isn’t always the case though, since sometimes it’s the geometry of the joints holding the shape together (like the geodesic spheres.) Sometimes the member are pre-bent (like Pompidou-Metz.) Although pre-bending the timber kinda strikes me as cheating thought.. As if it’s not a genuine, bona fide gridshell.
Toledo Gridshell 2.0. Construction Process [source: Timber gridshells – Numerical simulation, design and construction of a full scale structure]
This is one of the original build method, where the gridshell is assembled flat, lifted into shape, then locked into place.
9.0 Form Finding
Having studied the basics makes exploring increasingly elaborate geometry more intuitive. In principal, most of the shells we’ve looked are known to perform well structurally, but there are strategies we can use to focus specifically on performance optimization.
9.0 – Minimal Surfaces
These are surfaces that are locally area-minimizing – surfaces that have the smallest possible area for a defined boundary. They necessarily have zero mean curvature, i.e. the sum of the principal curvatures at each point is zero. Soap bubbles are a great example of this phenomenon.
Hyperbolic Paraboloid Soap Bubble [Source: Serfio Musmeci’s “Froms With No Name” and “Anti-Polyhedrons”]Soap film inherently forms shapes with the least amount of area needed to occupy space – that minimize the amount of material needed to create an enclosure. Surface tension has physical properties that naturally relax the surface’s curvature.
Kangaroo2 Physics: Surface Tension Simulation
We can simulate surface tension by using a network of curves derived from a given shape. Applying varies material properties to the mesh results in a shape that can behaves like stretchy fabric or soap. Reducing the rest length of each of these curves (while keeping the edges anchored) makes them pull on all of their neighbours, resulting in a locally minimal surface.
Here are a few more examples of minimal surfaces you can generate using different frames (although I’d like stress that the possibilities are extremely infinite.) The first and last iterations may or may not count, depending on which of the many definitions of minimal surfaces you use, since they deal with pressure. You can read about it in much greater detail here: https://tinyurl.com/ya4jfqb2
The Eden Project – United Kingdom
Here we have one of the most popular examples of minimal surface geometry in architecture. The shapes of these domes were derived from a series of studies using clustered soap bubbles. The result is a series of enormous shells built with an impressively small amount of material.
Triply periodic minimal surfaces are also a pretty cool thing (surfaces that have a crystalline structure – that tessellate in three dimensions):
Another powerful method of form finding has been to let gravity dictate the shapes of structures. In physics and geometry, catenary (derived from the Latin word for chain) curves are found by letting a chain, rope or cable, that has been anchored at both end, hang under its own weight. They look similar to parabolic curves, but perform differently.
Kangaroo2 Physics: Catenary Model Simulation
A net shown here in magenta has been anchored by the corners, then draped under simulated gravity. This creates a network of hanging curves that, when converted into a surface, and mirrored, ultimately forms a catenary shell. This geometry can be used to generate a gridshell that performs exceptionally well under compression, as long as the edges are reinforced and the corners are braced.
While I would be remiss to not mention Antoni Gaudí on the subject of catenary structure, his work doesn’t particularly fall under the category of gridshells. Instead I will proceed to gawk over some of the stunning work by Frei Otto.
Of course his work explored a great deal more than just catenary structures, but he is revered for his beautiful work on gridshells. He, along with the Institute for Lightweight Structures, have truly been pioneers on the front of theoretical structural engineering.
9.3 – Biomimicry in Architecture
There are a few different terms that refer to this practice, including biomimetics, bionomics or bionics. In principle they are all more or less the same thing; the practical application of discoveries derived from the study of the natural world (i.e. anything that was not caused or made by humans.) In a way, this is the fundamental essence of the scientific method: to learn by observation.
Example of Biomimicry
Frei Otto is a fine example of ecological literacy at its finest. A profound curiosity of the natural world greatly informed his understanding of structural technology. This was all nourished by countless inquisitive and playful investigations into the realm of physics and biology. He even wrote a series of books on the way that the morphology of bird skulls and spiderwebs could be applied to architecture called Biology and Building. His ‘IL‘ series also highlights a deep admiration of the natural world.
Of course he’s the not the only architect renown their fascination of the universe and its secrets; Buckminster Fuller and Antoni Gaudí were also strong proponents of biomimicry, although they probably didn’t use the term (nor is the term important.)
Gaudí’s studies of nature translated into his use of ruled geometrical forms such as hyperbolic paraboloids, hyperboloids, helicoids etc. He suggested that there is no better structure than the trunk of a tree, or a human skeleton. Forms in biology tend to be both exceedingly practical and exceptionally beautiful, and Gaudí spent much of his life discovering how to adapt the language of nature to the structural forms of architecture.
Fractals were also an undisputed recurring theme in his work. This is especially apparent in his most renown piece of work, the Sagrada Familia. The varying complexity of geometry, as well as the particular richness of detail, at different scales is a property uniquely shared with fractal nature.
Antoni Gaudí and his legacy are unquestionably one of a kind, but I don’t think this is a coincidence. I believe the reality is that it is exceptionally difficult to peruse biomimicry, and especially fractal geometry, in a meaningful way in relation to architecture. For this reason there is an abundance of superficial appropriation of organic, and mathematical, structures without a fundamental understanding of their function. At its very worst, an architect’s approach comes down to: ‘I’ll say I got the structure from an animal. Everyone will buy one because of the romance of it.”
That being said, modern day engineers and architects continue to push this envelope, granted with varying levels of success. Although I believe that there is a certain level of inevitability when it comes to how architecture is influenced by natural forms. It has been said that, the more efficient structures and systems become, the more they resemble ones found in nature.
Euclid, the father of geometry, believed that nature itself was the physical manifestation of mathematical law. While this may seems like quite a striking statement, what is significant about it is the relationship between mathematics and the natural world. I like to think that this statement speaks less about the nature of the world and more about the nature of mathematics – that math is our way of expressing how the universe operates, or at least our attempt to do so. After all, Carl Sagan famously suggested that, in the event of extra terrestrial contact, we might use various universal principles and facts of mathematics and science to communicate.
Geometry can be found on the smallest of scales, as is proven by the beautiful work of the butterfly in creating her eggs. The butterflies’ metamorphosis is a recognised story, but few know about the start of the journey. The egg from which the caterpillar emerges is in itself a magnificently beautiful object.
Geometry can be found on the smallest of scales, as is proven by the beautiful work of the butterfly in creating her eggs. The butterflies’ metamorphosis is a recognised story, but few know about the start of the journey. The egg from which the caterpillar emerges is in itself a magnificently beautiful object. The tiny eggs, barely visible to the naked eye, serve as home for the developing larva as well as their first meal.
Each kind of butterfly has its unique egg design, creating a myriad of beautiful variations.
These are some of the typical shapes that each family produce.
But it is the Lycaenidae family that have the most geometrical and intricate eggs.
Biomimetics, or biomimicry is an exciting concept that suggests that every field and industry has something to learn from the natural world. The story of evolution is full of problems that have been innovatively solved.
There are thousands of species of butterfly, each with their unique egg design. A truncated icosahedron for a frame, the opposite of a football. Instead of panels pushed out, they are pulled in.
Fractals are commonly occurring in nature, and can be described as a never-ending pattern on different scales. People are subconsciously familiar with fractals, so are inherently more relaxed when surrounded by them.
3D Printing is a relatively new technology that is set to change our world. Innovations in the uses of 3D printers, combined with falling costs, means that they could be a ubiquitous tool in every home and industry. 3D printers and scanners are already used a great deal in everything from the biomedical field to art studios, and experiments are currently being done to construct entire homes. This technology is in its infancy, and it is exactly for this reason that every effort should be taken to research its potential. It is common to use 3D printers in architecture to show small working models, I would like to now use it to make a large and complex structure at full scale.
This research will underpin the design of a sculptural installation in which people can interact with live butterflies. With the ever-declining numbers of butterflies worldwide and in the UK, conservation and education are paramount.
The link between butterflies and humans in our ecosystem is one that is vital and should be conserved and celebrated.
I can imagine an ethereal space filled with dappled light where people can come for contemplation and perhaps their own personal metamorphosis.
The Institute for Computational Design (ICD) at the University of Stuttgart are collaborating on a new temporary research pavilion. The focus is on biomimetic design strategies for performative morphology in architecture, which form the basis of an investigation into integral structural, spatial and material systems.
As a first step physical models have been used to develop and refined the filament wrapping logic / syntax. In a first wrap (white yarn representing glass-fiber) the spatial enclosure of the pavilion is defined; in the subsequent wraps (black yarn / carbon-fibre) the fibres are placed according to the trajectories of the forces in the system. Through continuous wrapping and accretion of fibers a self-supporting and external load-bearing structure is generated.
Then the frame has been set up in a temporary weather enclosure during the time of fabrication.
During fabrication, the frame rotates while the robotic arm distribute the fibre.
“Rather than seeing materials as a waste management problem, as in the cradle-to-grave system, cradle-to-cradle design is based on the closed-loop nutrient cycles of nature, in which there is no waste. Just like nature, the cradle-to-cradle design seeks, from the start, to create buildings, communities and systems that generate wholly positive effects on human and environmental health. Not less waste and fewer negative effects, but more positive effects of regeneration, seed, growth, plant, product, “upcycle” and/or seed, growth, plant, product etc etc. One organism’s waste is food for another, and nutrients and energy flow perpetually in closed-loop cycles of growth, decay and rebirth. Waste equals food.
This is not just wishful thinking or “concept” design. The cradle-to-cradle philosophy is driving a growing movement devoted to developing safe materials, products, supply chains and manufacturing processes throughout architecture and industry. It is being adopted by some of the world’s most influential corporations, including Ford Motor Group, Nike and Herman Miller Furniture. Even densely populated China is looking at development and the impact of the rapidly growing population on housing development.”