Precedents in Biomimicry

ICDBiological structure-imitate sea urchin’s plate skeleton morphology

Biological structures are applied in the computational design process

New construction design-study geometric diff erentiation about urchin’s shell plate

Test resulting spatial and structural material-systems in full scale

Investigate methods of modular bionic construction using free form surfaces representing diff erent geometric characteristics

http://www.dezeen.com/2011/10/31/icditke-research-pa-vilion-at-the-university-of-stuttgart/

ZA11 pavilion

Attracting passers-by to the event

Ontology: present participle of the verb ’be’ is the phil-osophical study of the nature of being, becoming, exis-tence or reality, as well as the basic categories of being and their relations. Ontology deals with questions con-cerning about entities.

Th e object tries to make legible the new ontology which is slowly defi ned by computational architecture and is a showcase for the processes empowered by it.

Th e fi nal design consists of 746 unique pieces create a free-form ring which is subdivided into deep hexagons. http://designplaygrounds.com/deviants/clj02-za11-pavil-ion/

Canopy Th e experience of walking through the dappled light of a forest

It is a 90-metre long light sculpture spanning the front facade of the building, using mass production and precise fabrication to evoke and refl ect nature

Form abstracted from the geometry of leaves, are or-ganized in a non-repeating growth pattern

Th e result simultaneously recalls the activity of cells within a leaf, leaves in a forest canopy, or a city seen from the air.

http://designplaygrounds.com/deviants/cano-py-by-by-united-visual-artists/

Fallen StarInstallation set between biomimetic, interaction, and perception.

Explore the concepts of regeneration, emergence, and growth through their broad existence in natural and biological structures of diff ering scales, followed by their abstraction and interpretation into elaborated design proposals.

Exploring the formation rules found in nature in order to devise an architectural installation.

Th eir digital natural growth algorithms into specifi c parameters which can be manipulated with an iPad interface

Th e dimension of interaction animates the architectural piece simply according to user feedback and the potential of creating dy-namic spatial experiences challenging perception and temporarily.

http://www.suckerpunchdaily.com/2012/08/16/fallen-star-aa-dlab/

Centre for IdeasTh e form and spatial qualities were derived from genera-tive processes resulting in a project that stimulates debate regarding architectural design process, materialization, and the perception of the abstract as reality.

Centre for Ideas is an expansion from an algorithm for establishing the voronoi tessellation of a plane.

A voronoi diagram locates domains closest to particular structures relative to those adjacent. Such diagrams pro-vide a model for a model for considering spatial arrange-ments diff erent from

http://www.mvsarchitects.com.au/doku.php?id=home:projects:victorian_college_of_the_arts

Th e morning line

Th e Morning Line is built of 17 tons of coated aluminum is an intersection for information from vari-ous fi elds, such as art, music, architecture, engineering, mathematics, physics, cosmology and technolo-gy.

Th e Morning Line is both ruin and monument, the blackened frame of a cathedral-like structure; a drawing in and of space; an ‘anti-pavilion’. Unlike traditional architectural pavilions, it takes the form of an open cellular structure rather than an enclosure, basing its eloquent visual language on a radical cosmological theory

Th e Morning Line uses fractal cycles to build a model of the universe that scales up and down.

Th ere is no single way in or out, no fi nal form.

it is not only designed for the future, it creates it.

http://www.tba21.org/pavilions/49/page_2?category=pavilions

Spanish pavilion - Ceramica Cumella

Fabrication processes in use at Ceramica Cumella – extruding, casting, pressing and revolving

Give expression to the hybridization of Jewish- Christian cultures and the Islamic infl uence on the Iberian Peninsula both so evident in the history of Spanish architecture

Identifi ed characteristic architectural elements of this culture of synthesis and played in the pavilion design

MATERIALS AND BUILDING CONSTRUCTIONA lattice has been designed consisting of six diff erent pieces, based on an orthogonal grid, and encoded with a color. Th e idea of creating a ceramic facade symbolizes the Spanish approach to Japan. Recovery of the traditional ceramic lattice from Mediterranean architecture in order to achieve traditional spaces and shadow in the building

Lattice a traditional architectural element in Spain that refl ect the fusion btw Christian and Islamic architecture

Creation of lattice for culturally appropriate cladding solution for the existing pavilion box

New lattice consisted of 6 diff erent tiles, based in a hexagonal grid coded with color

Produce a continuously varying pattern of geometry and color.

6colours of tiles are the variation of the red and yellow of the national fl ag, refl ecting the colors of wine, roses, and the blood of the bull-fi ghts, sun and sand. Colors universally associated with Spain http://digiitalarchfab.com/portal/wp-content/uploads/2012/01/Span-ish-Pavilion.pdfhttp://www.archdaily.com/279576/ceramica-cumella-shaping-ideas/

Volta Domhttp://www.sjet.us/MIT_VOLTADOM.html Volta Dom attempts to expand the notion of the architectural “surface panel,” by intensifying the depth of a doubly-curved vaulted surface, while maintaining relative ease in assembly and fabrication. Th is is made possible by transforming complex curved vaults to developable strips, one that likens the assembly to that of simply rolling a strip of material.