biornametics_280x187_n 13.11.12 10:48 Seite 1

What is the architect doing in the jungle? how can architects and natural scientists immerge into a fruitful dialogue to generate new insights for cross-disciplinary innovation? The book contributes to the current discussion of arts-based research taking the example of the interdisciplinary research project BiornaMetics – architecture defined By natural Patterns. Biornametics is an emerging contemporary design practice that explores a new methodology to interconnect scientific evidence with creative design in the field of architecture. The word biornametics is generated from “ornament”, referring to the famous austrian architect adolf loos, and “biomimetics”. it is concerned with the detection of the principles behind processes of emerging and dissolving patterns in animate and inanimate nature. reflections on the architectural direction of Biornametics, issues of arts and science collaboration, and the application of the methodology show a diverse world of thoughts and approaches to the theme.

What is the architect doing in the Jungle? biornametics_280x187_n 13.11.12 10:49 Seite 2

What is the architect doing in the Jungle? BiornaMetics EditEd by barbara imhof, PEtra GrubEr biornametics_280x187_n 13.11.12 10:49 Seite 1 biornametics_280x187_n 13.11.12 10:49 Seite 3

What is the architect doing in the Jungle? BiornaMetics

EditEd by barbara imhof, PEtra GrubEr

Essays by JEns badura, barbara imhof / PEtra GrubEr, Julian vincEnt, dominika GloGowski

statEmEnts by GEorG GlaEsEr, arnE hofman mathias dEl camPo / sandra manninGEr, Ernst J. fuchs, GrEG lynn, hErbErt stachElbErGEr, GEorGE JErominidis, illE c. GEbEshubEr biornametics_280x187_n 13.11.12 10:49 Seite 4

The acknowledgements of this project go to a long list of supporters at the University of Applied Arts, the Austrian Science Fund and to all others who generously supported the project with their time, thoughts and hard work.

Special thanks to the following people: Kristy Balliet, Knowlton School of Architecture, Ohio State University, USA Justin Diles, Knowlton School of Architecture, Ohio State University, USA Klaus Bollinger, Bollinger & Grohmann, University of Applied Arts, Vienna Wolf D. Prix, Institute of Architecture, University of Applied Arts, Vienna August Korischum, Anna Weißkircher, Eduard Julk: Institut für Kunst und Technologie, Metalltechnologie, University of Applied Arts, Vienna Peter Strasser, Institute of Architecture, University of Applied Arts, Vienna Roswitha Janowski-Fritsch, Institute of Architecture, University of Applied Arts, Vienna Alexandra Graupner, Institute of Architecture, University of Applied Arts, Vienna Ulrike Herbig, Institute for Comparative Research in Architecture, Vienna

One for all and all for one! biornametics_280x187_n 13.11.12 10:49 Seite 5 biornametics_280x187_n 13.11.12 10:49 Seite 6

Barbara Imhof, Petra Gruber (Eds.) What is the architect doing in the Jungle? ISBN XXX Published by: XXX Printed by: XXX Copy editing: Jo Lakeland Graphic design: Alexander Schuh Printing: xxx Pattern graphics © Biornametics 2011 Photos © Biornametics 2010/11 (pages X, y, z), Bruno Stubenrauch (pages X, y, z) Vienna, September 2012

The research was funded by the Austrian Science Fund (FWF): AR 14-G21 in the arts-based research programme PEEK 2009 biornametics_280x187_n 13.11.12 10:49 Seite 7

eXPloRAtiVe BiornaMetics design tRAns-disciPlinarY PRActices research asPects asPects

PREFACE INTRODUCTION BIORNAMETICS – ARCHITECTURE WE ARE INTERESTED IN yOU HAVE TO ENSURE THERE Gerald Bast Barbara Imhof / Petra Gruber INSPIRED By NATURAL PATTERNS PERFECT GEOMETRIC SHAPES ARE PARADIGMS 8 12 Barbara Imhof / Petra Gruber Georg Glaeser Greg Lynn 22 46 62 EXPLORATIVE PRACTICES IN DIALOGUE. ART-BASED PROJECT FACTS WE LOOK FOR EVOLUTIONARy HOW TO FIND A BIOLOGIST RESEARCH AT THE INTERFACE OF 32 OPTIMISATION OF STRUCTURES Herbert Stachelberger ARTS, SCIENCES AND DESIGN Arne Hofman 64 Jens Badura TESTING BIORNAMETICS – 48 14 INSTALLATION AT THE SLIVER THE CHALLENGES OF AN ARTIST GALLERy NATURE DOES NOT OPTIMISE – George Jerominidis Waltraut Hoheneder / Petra Gruber NATURE CHANGES 66 36 Matias del Campo, Sandra Manninger, SPAN WE HAVE TO ESTABLISH A 50 COMMON LANGUAGE Ille C. Gebeshuber NATURE AND ARCHITECTURE – 68 WHAT ARCHITECTURE CAN DO Ernst J. Fuchs, The Next Enterprise ON COMMUNICATING PROCESS IN 53 ART-SCIENCE COLLABORATIONS Dominika Glogowski BUILDING BIO-ORNAMENTS 70 Julian Vincent 54 roleModels 74

BIOGRAPHIES 94 LIST OF FIGURES 98 biornametics_280x187_n 13.11.12 10:49 Seite 8

8 PREFACE on arts-basEd rEsEarch GErald bast

Adfabilis cathedras incredibiliter frugaliter lascivius matrimonii. Adfabilis fiducias Lascivius fiducias miscere apparatus bellis, amputat Pompeii. Adlaudabilis saburre plane deciperet adlaudabilis suis, quamquam quod quadrupei celeriter insectat Aquae Sulis. lucide praemuniet concubine. fiducias incredibiliter infeliciter praemuniet Octavius divinus adquireret perspicax Saburre circumgrediet vix perspicax syrtes. concubine, semper optimus bellus cathedras matrimonii, semper optimus pretosius saburre Saburre plane fortiter conubium santet pessimus celeriter conubium santet saetosus senesceret lascivius fiducias, quod concubine tremulus rures, quamquam syrtes frugaliter apparatus bellis, quod bellus chirographi circumgrediet fiducias. senesceret apparatus bellis, iam agricolae miscere rures. Pessimus parsimonia matrimonii frugaliter circumgrediet quadrupei, ut saburre fermentet Quinquennalis agricolae fermentet syrtes. senesceret cathedras, iam agricolae conubium aegre fragilis rures, utcunque optimus Perspicax chirographi corrumperet matrimonii, santet saburre, semper tremulus catelli quinquennalis matrimonii insectat saetosus quamquam quadrupei aegre comiter imputat optimus parsimonia fiducias, quod cathedras, quod saburre plane spinosus conubium santet Medusa. pessimus adlaudabilis agricolae senesceret imputat perspicax apparatus bellis. Saburre Verecundus saburre satis celeriter plane fragilis catelli. Utilitas concubine conubium santet vix quinquennalis cathedras, agnascor gulosus catelli. Pessimus adlaudabilis suffragarit bellus zothecas, utcunque iam incredibiliter adfabilis syrtes praemuniet zothecas suffragarit quinquennalis chirographi. umbraculi praemuniet suis. adlaudabilis fiducias. Pessimus bellus Parsimonia cathedras spinosus conubium Incredibiliter quinquennalis apparatus concubine aegre fortiter circumgrediet santet incredibiliter tremulus suis. bellis aegre divinus fermentet matrimonii. biornametics_280x187_n 13.11.12 10:49 Seite 9

9 PREFACE

Fragilis oratori deciperet Medusa, ut ossifragi adfabilis cathedras vocificat utilitas catelli. matrimonii iocari quadrupei, et suis miscere insectat umbraculi, utcunque Pompeii amputat Pretosius syrtes infeliciter imputat Octavius. oratori, utcunque vix adfabilis apparatus bellis chirographi, semper concubine suffragarit Catelli conubium santet incredibiliter tremulus deciperet Medusa, iam saetosus chirographi pretosius chirographi. umbraculi. Pretosius suis iocari agricolae. circumgrediet saburre, quod utilitas zothecas Utilitas concubine fortiter amputat Saburre imputat adlaudabilis oratori, iam pessimus fortiter miscere umbraculi. Oratori chirographi. Octavius imputat concubine, concubine adquireret optimus pretosius vocificat satis saetosus matrimonii. Oratori quamquam gulosus saburre suffragarit chirographi, semper apparatus bellis satis praemuniet Caesar. Pessimus quinquennalis perspicax matrimonii, iam gulosus catelli fortiter deciperet quinquennalis oratori. syrtes conubium santet Medusa. • comiter deciperet Caesar, semper utilitas rures Adfabilis quadrupei amputat saetosus suis, iam insectat catelli, et matrimonii circumgrediet Caesar circumgrediet umbraculi, quamquam quadrupei, iam parsimonia syrtes optimus Medusa fermentet zothecas. Ossifragi infeliciter amputat aegre utilitas fiducias. corrumperet verecundus suis. Matrimonii Octavius senesceret syrtes. Oratori comiter infeliciter vocificat quadrupei, iam lascivius adquireret quadrupei, quamquam incredibiliter ossifragi plane neglegenter amputat gulosus 4500 ZEICHEN fragilis apparatus bellis insectat vix oratori. verecundus rures. Matrimonii adquireret Rures fermentet lascivius concubine, Pompeii, etiam saburre miscere adlaudabilis quamquam perspicax saburre lucide chirographi, semper cathedras praemuniet praemuniet quadrupei, iam verecundus aegre bellus chirographi. zothecas fermentet incredibiliter gulosus Quinquennalis concubine miscere saburre, syrtes. Utilitas suis senesceret Octavius. quod adlaudabilis oratori fermentet pessimus Saetosus catelli conubium santet Pompeii, tremulus agricolae, quamquam quinquennalis utcunque chirographi corrumperet Augustus. umbraculi libere miscere optimus perspicax Matrimonii suffragarit quadrupei, quamquam oratori, etiam adfabilis umbraculi iocari Pompeii iocari perspicax concubine. apparatus bellis, semper perspicax cathedras Matrimonii fortiter adquireret zothecas, et circumgrediet quinquennalis concubine, et agricolae miscere ossifragi, etiam agricolae Augustus conubium santet chirographi, etiam celeriter vocificat Octavius. Optimus lascivius biornametics_280x187_n 13.11.12 10:49 Seite 10

EXPlorativE PracticEs biornametics_280x187_n 13.11.12 10:49 Seite 11

roleModel 18 FICUS BENGHALENSIS, Banyan tree Page 84 biornametics_280x187_n 13.11.12 10:49 Seite 12

12 EXPLORATIVE PRACTICES introduction barbara imhof, PEtra GrubEr

“What is the Architect doing in the Jungle?” is a a common language as well as the applica- specifically architecture and biomimetics. book that contributes to the current discussion tion-oriented perspectives in architecture and The artificially created word Biornametics of arts-based research. Taking the example of what it can do in the context of “Biornametics”. connects the current discourse of ornament – the interdisciplinary research project This investigation starts with the philoso- referring to Adolf Loos “Ornament und BIORNAMETICS – Architecture Defined By pher Jens Badura’s essay about explorative Verbrechen” and the new design strategy of Natural Patterns the publication explores practices such as arts-based research and the “New Ornament” to the new discipline of different approaches to a new design concludes with the art-theorist Dominika biomimetics (Bionik). The “New Ornament” is methodology to interconnect scientific Glogowski’s piece about communication in an emerging contemporary design practice evidence with creative design in the field of arts and science collaborations. Inbetween the that uses programs and codes, less concerned architecture. The statements of the experts biologist Julian Vincent tries out his approach with serial rationality than with algorithmic, from disciplines such as mathematics, physics, to Biornametics with his contribution of digital operations and connecting the biology, chemistry, biomimetics, engineering “Building Bio-ornaments”. processes of planning and production. and architecture form an essential part of the The context of Biornametics is described Biomimetics [Bionik] is the strategic search published work. The interdisciplinary debate by looking at biomimetics, architecture and for nature’s solutions in order to produce explores the methodological aspects of the patterns. Biornametics presents the example innovation. Efficiency and intelligence are project such as the need for paradigms and for of connecting arts and science, or more intrinsic to “design” in nature. The hypothesis biornametics_280x187_n 13.11.12 10:49 Seite 13

13 EXPLORATIVE PRACTICES

underlying this strategy is that living nature has evolved in a process of continuing adaptation to become a complex changing environment, and that the exploitation of highly optimised solutions is likely to deliver innovations that provide more intelligence and higher efficiency than our standard methods. Role models from nature, static and dynamic patterns (e.g. growth principles, movement patterns, adaptation and differentiation as key for emergence of patterns etc.) were investigated and the findings applied to architectural design. The emergence of patterns in nature at all scales of existence of organisms as one of the most important signs of life – order – is not arbitrary, but highly interconnected with boundary conditions, functional and systems requirements, materials and structure. The key results are applied to design strategies with the main objective of the exploration of aesthetic and functional interpretations for a new architecture. • biornametics_280x187_n 13.11.12 10:49 Seite 14

14 EXPLORATIVE PRACTICES EXPlorativE PracticEs in dialoGuE. art-basEd rEsEarch at thE intErfacE of arts, sciEncEs and dEsiGn. JEns badura

research about. After all, “studious inquiry” and search research” (Künstlerische Forschung), which Research is an exploratory practice that is for insights or new experience also takes combines the two terms, is not as meant to produce new insights. Etymologically, place outside the realm of pure science. spectacularly unusual as it might seem at first. the term “research” (German: “Forschung ”) New techniques for exploring and In essence, it is the practice of searching for, covers a broad spectrum of practices and designing our world are developed and tested, exploring and developing knowledge and skills, procedures that help us explore the world. and new forms of expression or articulation and includes the requisite processes and According to standard dictionaries or are also discovered and applied independently specific forms of expression. encyclopedia s1, the term refers to careful of research in the humanities and natural For the “Biornametics” project, however, it or diligent search, studious inquiry or sciences proper. 2 Given that the German term is of key importance to note that research examination; the act of investigating “Kunst“ (which generally corresponds to “art” processes in arts or design and their forms of thoroughly, engaging in investigation or in English and thus includes disciplines with expression – just like scientific processes and experimentation aimed at the discovery an affinity to artistic expression, such as information systems (i.e. “Aufschreibe systeme”, and interpretation of facts. What is more, the architecture and design) is derived from words as defined by Friedrich Kittler) – can in no way spectrum is not limited to scientific work as like “Können, Wissen, Kenntnis” (i.e. ability, be regarded as autonomous ,they are such, but also includes a significant part of knowledge, skill or proficiency), it becomes all characterized by the rational and sensory what art and creative activity in general are the more clear that the concept of “art-based systems and structures defining the present, biornametics_280x187_n 13.11.12 10:49 Seite 15

15 EXPLORATIVE PRACTICES

i.e. the actual period in which they are created reality is cast in visible or tangible form, while world and its individual constituents as a and take effect. When fine arts are combined architecture and design find their design single, integrated experience and therefore, as with natural and material sciences as well as solutions based on their own functional logics. Baumgarten calls it, remain “elusive” i.e. they architecture – as in the Biorna metics project – In actual fact, it was long before we started to cannot be described by in any specific term or and different approaches to creation, design talk about art-based research that the limits notion – a condition that is seen as and exploration are deliberately confronted between art, creative art-and-design incompatible with rational insights. That is, and combined, it allows for a mutual disciplines, and processes commonly regarded they must be clearly definable, and therefore transformation of evidence based on different as scientific became blurred and permeable. researchers must resort to abstraction in order perspectives. This is bound to result in a new Imagination, intuition and creativity have their to break up the integrated experience into its constellation, a new form of knowledge place in the scientific world but equally, distinct aspects and organise them in generation that transcends the seemingly clear research, analysis and experimentation are systematic classes that can be put in reference limits between science, art and the design established practices in art, architecture and to each other by logical operations. This sector, permanently searching for and design. 3 If any difference is significant, it is the means that rational findings, although they producing new insights and forms of discrepancy between the de facto established may be clearly definable, still remain expression, while simultaneously pushing the methods and practices applied by scientists, separated by abstraction from the individual limits between disciplines conventionally artists, architects and designers. 4 This subject or assemblage of subjects experienced. regarded as homogeneous. difference has a major impact on the priority According to a central assertion implied in Of course, drawing limits between the accorded to different types of insights or the notion of art-based research, the different different fields – as clear as the terminological findings in research that serve as paradigmatic types of insights – sensory or rational – cannot, boundaries may seem – presents a problem in principles, enabling us to talk about science therefore, be brought into a hierarchical order, itself. The distinction is based on and art and art-related disciplines in the first but must be regarded as elements that characteristics that were always regarded as place: the difference between rational insights complement each other. Thus every approach clear and evident but actually never were. For and sensory experience. This difference that to exploring the world must include both example, the notion that science is defined by was first defined by Alexander Gottlieb “definable” and “elusive” dimensions accepting strictly rational ideals and clearly defined Baumgarten, the founding father of the exploratory experience to be a mutually methods, while the arts are in contrast an philosophical aesthetics. 5 Cognitive insights productive, dynamic combination of non- autonomous zone where the “other side” of based on sensory perception address the conceptual (e.g. artistic or creative) and biornametics_280x187_n 13.11.12 10:49 Seite 16

16 EXPLORATIVE PRACTICES EXPlorativE PracticEs in dialoGuE.

conceptual (e.g. scientific, theoretic) forms of to dealing with the eventualities that Functions oF art expression. The assertion that “art is capable characterise our modern relationship to the By using the concept of art-based research, of generating insights” usually refers to the world. The challenge is to harness the we refer to an aspect that has always been fact that artistic forms of expression can potentials of “elusive” forms of research and present in the realm of art and creative produce (or significantly contribute to) insights exploration in order to produce an active disciplines: the searching, researching spirit. that cannot be attained (solely) by other awareness of the present. Nevertheless, there are several reasons why processes, such as scientific research. In brief: As emphasized above, the limits between the debate on art-based research is these cognitive processes require a science, art, and design practices are particularly topical and popular today. One of combination of different research processes, permeable and dynamic in nature. It should be these reasons – though one not to be leading to an adequately complex and poly- noted that the same kind of dynamic overrated – lies in the profound reforms dimensional perspective of the world. permeability exists between sensory currently implemented in the higher education There is, however, nothing new in the perception and rational understanding, and university system, which require even simple postulate that different forms of although this difference is in turn, not to be fine arts universities to engage in research. exploration complement each other. equated with the difference between science Apart from this trend, which will not be Alexander Gottlieb Baumgarten has already and art. After all, science without any sensory analysed in detail in the present tex t 7, there is pointed out that human cognitive potential can input lacks inspiration from the real world, a much more fundamental change going on: be brought to the full by a mutual interplay of while art remains blank and inexpressive the role of art in society is undergoing cognitive capacities. 6 Against this backdrop, without a rational component; aesthetic profound changes. After holding its ground for the current reality in a world that is strongly experiences and their articulation via concepts a long, long time, the nostalgic concept of art focused on the present and dominated by should work together so that a consciousness founded in late Romanticism – by which art rational, logical thinking, would consist in of our present world can be properly has a status strictly separate and autonomous promoting a revival of sensory perception as a expressed. from commercial and utilitarian considerations source of insights; to abandon the perception – is now finally fading away, though its that there are clear universal axioms of what aftereffects can still be felt. I do not wish to is always correct and inscribed in our cultural question the fact that art essentially requires infrastructures, and to reach a more holistic freedom and must not be overly influenced by competence in creative work when it comes mundane considerations of usability. At the biornametics_280x187_n 13.11.12 10:49 Seite 17

17 EXPLORATIVE PRACTICES JEns badura

same time, it would be both naive and research like the Biornametics project, which art-Based research counterproductive to deny the amalgamation combines art, science and creative industries, By way of conclusion, we can outline a of art, science, (creative) industries and and also includes disciplines like architecture method of art-based research that is to politics, which is already producing positive, and design that traditionally lie at the provide an adequate structure and context for innovative insights (and probably has always interfaces of the different areas – is also due the Biornametics project. Art-based research done so, at least for the mutual relationship of to the rise of a more pragmatic definition of has been defined as an exploratory practice art and science). art unencumbered by the stereotypes of that uses artistic approaches, methods and Art-based research can be interpreted as Romanticism, thus opening up new opportuni - forms of expression to generate new insights a normalisation of this situation, and it marks a ties. This also means that any form of criticism or cognitive processes. On the other hand, it is change in the self-perception of a growing that simply excludes architecture and design a research practice meant to produce mutual community of “creative actors” operating at from the field of art-based research cannot be stimulation and connections with other the interfaces of art, science, culture and the justified, because it is based on an exclusive, cognitive sources and forms of dialogue in creative markets. This is an argument against obsolete concept of art .9 society where these could be relevant: artists opposing this tendency, and also an science, technological development, politics, encouragement for those who are prepared to and if applicable, business. This is a singular join this growing community. We must, of characteristic of art-based research as course, remain sufficiently critical to admit the opposed to artistic work itself: art-based risk of art being progressively subjugated to research is expressly aimed towards making institutional aims or economic objectives. This contact with other forms of cognitive risk must be taken se seriously, particularly in production, towards going beyond the classic the field of cultural policy, where the relation - form of presenting art in an artistic context, ship between these aims and objectives needs and instead simply allowing art to exist in its to be constantly re-negotiated. 8 At the same own right – for which there may be well- time, it takes into account the changing role founded arguments. In consequence, this does and self-definition of artists and designers NOT mean that art-based research is in any working in art-related fields. In consequence, way a superior to art. It means that art-based the current trend towards cooperative forms of research, with its focus on producing new biornametics_280x187_n 13.11.12 10:49 Seite 18

18 EXPLORATIVE PRACTICES EXPlorativE PracticEs in dialoGuE.

insights, lends a particular sense of direction to history, but based on a view intrinsic to artistic discourse as such, and even innovations of artistic work, enabling it to transcend its own creation itself. This is where the different direct economic relevance. limits and venture into the field of research art-based PhD formats come in, as they are This, in turn, does NOT mean to say that that aspires to produce insights. clearly aimed towards stimulating the art-based research competes with scientific or When applied to the more specific context development of artistic practices with a technological research. Equally clearly, it does of the project, the system thus established can systematic, reflexive approach to these very NOT mean that art should be at the beck and be exemplified by the following project practices. call of markets and industries. Instead, it is formats: e) The fourth and final project type is essential to make room for alternative forms a) The first project type includes research research between art and product develop- of exploration and design with their own activities which by way of aesthetic ment in the context of the creative industries, modes of expression – which, if the principles perception, open up dimensions of reality that e.g. in the fields of design or architecture. of application-oriented fundamental research would not be accessible by means of purely are to be applied to art-based research in scientific methods, or could not be expressed These four project types are to exemplify particular, softens the boundaries between the by conventional information systems because and emphasize that research on and with arts, arts and other fields of knowledge or action to they do not satisfy the conditions of thanks to its original methods and practices, is the point of permeability, and allows us to repeatability and objectivity that are justifiably capable of complementing the methods of benefit from this permeability in a productive inherent to the realm of science. empirical, investigative or rational, theoretical way. However, this is only the case if the b) Secondly, there are projects designed to research – particularly if it maintains a artistic practices involved are simultaneously stimulate new developments in the field of art continuous exchange with these methods. The accorded a maximum degree of autonomy as by exploring materials and methods, and to focus, of course, is always on a certain artistic artistic practices in their own right; this is an contribute to the development of new artistic practice or a certain type of design activity essential prerequisite for art and art-based practices – which in turn provide the basis for based on this practice, with its specific research to operate on a par with other forms scientific and technological research in perspective of the world; but the kind of art- of knowledge, search for new forms of materials and methods. based research outlined here goes beyond this cooperation, and create renewed public c) The third project type is geared to a form as it is aimed towards a form of interest in discussing different forms of purely reflexive approach to art – not from the expression that makes it compatible with research. In this context, the Biornametics external perspective of art studies and art science, technological development, societal project certainly stands out as an archetypical biornametics_280x187_n 13.11.12 10:49 Seite 19

19 EXPLORATIVE PRACTICES JEns badura

example for art-based research, given that it has led to a productive dialogue between artistic, scientific and technical processes. This dialogue is known to have generated new perspectives in all the fields involved – simply thanks to the fact that these fields were not treated separately but combined to an integrated project that deliberately provoked a creative interplay of perspectives, and even allowed for mutual stimulation between the individual disciplines as different forms of exploring or designing our world. •

notEs 1 Vgl. Pfeifer, W. et al. (ed.): Etymologisches Wörterbuch des Deutschen, dtv, München, and of history of science show that the rationality and strict adherence to methods 1995, p. 367. / English Version: http://www.altocumulus.org/Webster/, Feb. 2012. usually quoted as inherent to scientific work is not as self-understood as the cliché 2 cf. the more clear-cut statement by Bippus (German original): “Wenn es darum gehen (and often self-perception) suggests. cf. Mersch, D./Ott, M.: Tektonische soll, Kunst in ihrem forschenden Charakter zu erfassen, darf sie nicht auf ein Objekt Verschiebungen zwischen Wissenschaft und Kunst, in: Dies. (ed.): Kunst und reduziert werden, das etwas über gesellschaftliche, historische oder subjektive Wissenschaft, Munich: Fink, 2007, pp. 9-31. Zusammenhänge aussagt, es wird viel mehr erforderlich, ihre Artikulationen von 5 Baumgarten, A. G.: Ästhetik. Latin and German. Translated, with an introduction, Vorstellungen und Wissen zu befragen. Insofern thematisiert Künstlerische Forschung comments and inventories, ed. by Mirbach D.: Meiner Vol. 1, § 1 and following, Kunst als epistemische Praxis”, Bippus, E.: Einleitung, in: Dies. (ed.): Kunst des Hamburg 2009. Forschens. Praxis eines ästhetischen Denkens: Diaphanes, Zurich/Berlin, 2009, p. 8. 6 cf. Mirbach, D.: Einleitung (introduction), in: Baumgarten, A. G.: Ästhetik; as above, 3 Even though he is not quoted as prominently on art-based research as the other 2009, p. XLii. reference authors with a background in science theory (e.g. Hans-Jörg Rheinberger 7 cf. paper by Badura, J.: Künstlerisches Doktorat. ein Positionspapier; online at and Bruno Latour), I would like to mention Paul Feyerabend and his papers on scientific www.artbased-research.net; -> Positionen. practice, where he concludes that a) innovative scientific work is essentially intuitive 8 cf. Badura, J./Mokre, M.: Von der Kulturpolitik zum Kulturmanagement. Anmerkungen and non-paradigmatic or based on contingencies, and therefore is not categorically zu einem Paradigmenwechsel, in: Bekmeier-Feuerhahn et al. (ed.), Jahrbuch different from art, and b) it should not allow standards of discipline and method to limit Kulturmanagement: Transcript, Bielefeld 2011, pp. 53-68. its creativity, leading to a call for “anarchistic epistemology”. cf: Feyerabend, P.: 9 Neumann, E.: Künstlermythen. Eine psycho-historische Studie über Kreativität, Wissenschaft als Kunst, Suhrkamp, Frankfurt/M. 1984. Frankfurt/M. 1986. 4 It should be added that certain sciences are much closer related to certain arts than others, and vice versa. Moreover, numerous studies in the field of scientific theories biornametics_280x187_n 13.11.12 10:49 Seite 20

biornamEtics rEsEarch biornametics_280x187_n 13.11.12 10:49 Seite 21

roleModel 04 VICTORIA AMAZONICA, Giant Water Lily Page 77 biornametics_280x187_n 13.11.12 10:49 Seite 22

22 BIORNAMETICS RESEARCH biornamEtics — architEcturE insPirEd by natural PattErns PEtra GrubEr, barbara imhof

loos and the “neW ornaMent” look at its famous architectural roots, thus this in an era of early mass production and A formal discussion about the ornament might Adolf Loos’s essay “Ornament and Crime ”3. efficiency, and in the city where Sigmund have started with Owen Jones work “The To Loos the ornament was also an add-on Freud explored the expendabilities of the soul. Grammar of Ornament” at the end of the 1 9th to a surface and also something which At the same time, in the early 2 0th century, century and Jones becoming a well-known lprovided less profit for the person who did it, the last unexplored regions of the world English architect and stylist ‘pro ornament’: since an ornamented box carved by a Chinese penetrated. Western humankind took for the “From universal testimony of travellers it would worker was the same price as a box with a first time an anthropologic and scientific appear, that there is scarcely a people, in smooth surface. According to his argument a approach to unknown territories and their however early a stage of civilization, with human needed to work less and save time, populations; still far from what we would whom the desire for ornament is not a strong health and money if objects could be made consider politically correct. For Adolf Loos, the instinct. ”1 without an ornamental appendage. Loos indigenous population of Papua New Guinea Currently, we are at a stage of applied this to functional objects or new and their body ornaments stemmed from ‘Re-sampling the ornamen t’ 2. For some years interfaces such as the telephone and to (then) tradition and that he acknowledged. several practicing and teaching architects contemporary architecture. Loos wanted to Generally speaking, everything around the around the world have been pursuing this free architecture or objects from the ornament theory is complex, ambiguous and topic. Being based in Vienna, one also takes a emotional expendabilities and he discussed definitely opens many layers of interpretation. biornametics_280x187_n 13.11.12 10:49 Seite 23

23 BIORNAMETICS RESEARCH PEtra GrubEr, barbara imhof

The discussion has been ongoing among disciplines such as textiles, fashion, design and BioMiMetics in architecture architects ever since, including Louis Sullivan, architecture discussion has been stimulated Biomimetics in architecture is the use of Le Corbusier, Gropius and others; however, through these advancements. If Adolf Loos biomimetics as an innovation tool tool for not all of them were either for or against it – it could have anticipated this – what he would application in architecture. It is an emerging depended on the context. In the Unité have said? He believed through many field that extends the interest of architects and d’Habitation in Marseille by Le Corbusier generations we will slowly turn away from designers in role models from nature to a new ornamental enrichment was used by one of ornament. However, looking forward we could discipline. The strategic approach that the modernist architects. Louis Sullivan, who quote Walter Gropius and would probably be differentiates biomimetics from mere coined the phrase “form follows function” ok with: “Forward to tradition, the ornament is inspiration from nature, that has always wrote in his “Ornament in Architecture” dead, long live the ornament! ”5 existed in architecture, arts and technology. 6 theory: “I should say that it would be greatly Critical to a contemporary understanding Bioinspiration transfers aesthetic and for our aesthetic good if we should refrain of the ornament is its from ancient times morphological aspects, whereas in entirely from the use of ornament for a period continuing relationship with nature. In the biomimetics functional aspects play a key role. of years, in order that our thought might context of Biornametics the topic is In general, materials, structures and processes concentrate acutely upon the production of augmented through an interdisciplinary from nature can find biomimetic transfers to buildings well formed and comely in the approach and analysis not limited to free new technical solutions. Until recently the nude. ”4 association, basic investigation of nature, or methodology of biomimetics in architecture Today, the “New Ornament” is something purely bio-inspired. Biornametics is an was only roughly described, now there are computerised and algorithmic, and it relies artificially created word – from biomimetics some attempts to grasp the process and very much on contemporary manufacturing and ornament. Biomimetics describes the discern distinct phases and methods. 7 technologies. Economic issues once more strategic search for nature’s solutions in order The simple definition of Biomimetics is arise: it might become cheaper to now to gain innovation. Biornametics is the “the abstraction of good ideas from nature” .8 incorporate the manufacturing of the strategic approach of biomimetics projected A more detailed one says “Bionik ornament through new technological onto a new understanding of the ornament. [Biomimetics] combines biology and achievements in machinery. That and technology in order to solve technical computer technologies – software – go hand problems by means of abstraction, transfer in hand with the return of ornament. In many and application of scientific findings in biornametics_280x187_n 13.11.12 10:49 Seite 24

24 BIORNAMETICS RESEARCH biornamEtics — architEcturE insPirEd by natural PattErns

biology. ”9 The basic principle of biomimetics is but is not aimed at in the present project. In design of organisms. Adaptive capabilities and therefore systematic information transfer from many cases the basic research that is often reactivity permit survival in changing biology (nature) to a technological field. required for the understanding and abstraction conditions. Differentiation brings efficient use Biologists analyse biological structures that of an interesting phenomenon feeds back to of resources and finetuning to local conditions. have developed through the process of biological knowledge, contributing to the Integration and multifunctionality shape highly evolution and natural selection to be highly current state of art. This is what is called interconnected systems at many scales. and multifunctionally adapted and optimised. “reverse biomimetics” following the idea of Resilience and self-repair mechanisms are Engineers work in a goal-oriented manner, “reverse engineering” in technology. The further aspects that we would like to achieve and technical constructions are optimised with biological research that is the basis of in our technical world. The production respect to one or more functions. In spite of biomimetics is carried out with quantitative processes are entirely different, taking place the worlds of technology and nature being methods, exploring structures, functions, with local resources and under normal very different, both are subjected to the same behaviour, processes or developmental environmental conditions, in contrast to the physical boundary conditions, allowing the principles. “heat beat and treat” that we are used to in establishment of analogies as a starting point For a successful information transfer, a human technology. for information transfer. In this way deep understanding of the natural phenomena In the Biornametics project, the biomimetics is a truly interdisciplinary venture, is necessary. It is important to state that introduction of a biomimetic approach was with all advantages and challenges inherent in biomimetics does not automatically deliver chosen for its potential to connect the role such a transfer. Some biomimetic products, for sustainable solutions. Ecological considera- model from nature and the architectural example Velcro (patented in the 1950s by the tions have to be integrated in the technical interpretation, going beyond inspiration and Belgian George de Mestrel) and self-cleaning product development. transfer of form. The project fuses coatings derived from the Lotus (discovered Nature provides us with the only biomimetics with ornament, focusing on new by the biologists Wilhelm Barthlott and alternative technology to our own, and the design methods with new digital tools. Several Christopher Neinhuis in the 1990s, and taken qualities that we can find in living systems possibilities for application of patterns are from the surface characteristics of the Lotus could help us with the global problems that predicted. leaf) have become widely known, and both we are facing today. The interconnectedness are big economic success stories. Market between function, form and structure or introduction is the ultimate aim of innovation, material is an obviously striking feature in the biornametics_280x187_n 13.11.12 10:49 Seite 25

25 BIORNAMETICS RESEARCH PEtra GrubEr, barbara imhof

Patterns in nature patterns of organisms. The emergence of always imply kinship. Sudden changes in Both words “pattern” and “ornament” can be patterns is deeply related to order, and occurs typology can occur due to mutations, and traced back to medieval times, originating in nature and technology in connection to covergent phenomena in evolutionary from the latin words “patronus” and “ornare”. ordering principles and forces. development bring similar solutions from Pattern has the notion of an exemplary form Patterns are also deeply related to the different starting points. In spite of this or shape in all sorts of contexts, which can be phenomenon of selforganisation that is morphological approach being unsuccessful the arts, music, literature or mechanical effective in all physical environments. “By for tracing evolution, important results design or form. In general terms it can be ‘self-organisation’ we understand the ability of concerning the relationship between form and defined as a “discernible coherent system systems to develop and sustain their inherent function of organisms were discovered. D’Arcy based on the intended interrelationship of order without control from outside. The Thompson published the famous book “On component parts” .10 Ornament has a more implicit ability of complex adaptive behaviour Growth and Form” in 1942. His “Theory of functional definition as "a manner or quality is a central characteristic of living systems … transformations” was based on morphological that adorns". Alongside, processes of selforganisation are studies over many species and different We experience patterns as a repetition of found also in inanimate nature in fields of phases of individual development .14 forms, repetitive recognisable rhythms, known experience distant to each other [e.g. from the In inanimate nature spontaneous patterns sequences of things. The moment we perceive design of the universe to functional nano- emerge under specific boundary conditions. something as a pattern, we have already surfaces]. Therefore, we can take the view of Phillip Ball describes a series of patterns and abstracted the idea of it, and have identified self-organisation as a concept bridging the gap their formation in “The self-made Tapestry, the rules that this pattern follows. Philip Ball between animate and inanimate phenomena Pattern formation in Nature ”15 . Oscillating defines patterns as “regular and repeating in nature, presumably playing a key role for chemical reactions, convection cells and many arrays of identical [or similar] units ”11 and says the understanding of life and others were discovered long ago, and a series that to distinguish pattern and form “Patterns, consciousness. ”13 of important aspects can be described, but do then are typically extended in space, while In the 1 9th and 2 0th century scientists have not yet constitute a “theory of patterns”. In this forms are bounded and finite. ”12 Patterns in used morphological studies in order to unravel book he discusses famous pattern systems like nature are not only tangible phenomena but the descent of life and the relationship of the for example bubbles, waves or branching, and occur also in immaterial form as natural main branches of living organisms with one gives insight to some generic characteristics rhythms, cycles of systems and behavioral another. But formal resemblance does not and principles of pattern formation like biornametics_280x187_n 13.11.12 10:49 Seite 26

26 BIORNAMETICS RESEARCH biornamEtics – architEcturE insPirEd by natural PattErns

competition of forces, symmetry breaking, certain boundary conditions, so that stable fresh investigation into the theme together non equilibrium systems, dissipative structures, patterns emerge, based on small aberrations with a broad exploration of the researched instabilities, thresholds and bifurcations, from homogeneity. Turing coined the term strategies that provide role models for complexity, power laws and scaling. “morphogen” for any chemical substance that biomimetic transfer. In organisms, processes of selforgani- can trigger tissue differentiation. His revolu- In the Biornametics project, a large sation occur alongside with genetic tion ary work laid the base for numerical number of natural patterns was investigated determination, in constant interaction with simulation of pattern formation and morpho- and used as a starting point for design. The environmental conditions. External and genesis in organisms .17 basic themes that promised innovative internal influences shape what we experience Patterning in organisms occurs at different approaches for architecture were as living organisms. The relative stability of the levels of scale and hierarchy, so that a nanostructures, -surfaces and materials, environment, the repetition of fluctuating differentiation between material and structure shape change, growth and deployable boundary conditions is a prerequisite for can not be clearly stated. One of our most structures, and reorganisation and adaptation. adaptation and thus evolution. common building materials, wood, is The biological role models were allocated to Scott Camazine writes “Self-organization organised on different levels of scale that all one or more of the main themes. Together is a process in which pattern at the global level show patterning of a specific kind, from the with the structure-function relationship that of a system emerges solely from numerous spiral patterning of cellulose fibres in the cell was the focus of all investigation efforts, the interactions among the lower-level walls to the macroscopic rings of growth due generation process of the patterns was components of the system … Self-enhancing to seasonal growth. The mechanical properties analysed as far as the basic science positive feedback coupled with antagonistic are based on the optimisation of the structure information allowed. negative feedback provides a powerful at all levels of hierarchy. The surfaces of plants and animals exhibit mechanism for creating structure and pattern The development of computational extraordinary functional patterning on micro- in many physical and biological systems technologies has introduced simulation as a and nanoscales. They are responsible for a involving large numbers of components …” .16 new tool in pattern research, and computa- range of macroscopic characteristics, for At the beginning of any formation of structure tional manufacturing technologies allow for example structural colouring (colours without universal symmetry is broken. Alan Turing a translation from virtual to real without the pigments, generated by nanoscale structures discovered that diffusion can in contrast to its detour through conventional production resulting in interference effects as in the usual effect amplify small differences under technologies. This new situation demands a Jewel Beetle or the famous Morpho Peleides biornametics_280x187_n 13.11.12 10:49 Seite 27

27 BIORNAMETICS RESEARCH PEtra GrubEr, barbara imhof

butterfly) and for selfcleaning (the so-called identification of abstract rules that could be use of repetitive tiling and structuring. Lotus effect in the Victoria Amazonica). Those implemented in a new technological context. Countless examples can be represented in patterns are generated in a process of architecture, especially in the interface genetically controlled selforganisation. Patterns in architecture between the inside and the outside – the The theme of shape and growth, as “The new emerging architecture, that relates building facade. The basic ornamental investigated in nature in plant growth pattern and process, form and behaviour, with depiction of natural patterns from nature is the (unfolding of the Morning Glory flower or the spatial cultural parameters, offers new most simple translation from nature to growth-deployment of the enormous Victoria behaviours and adaptations to the changing architecture. Famous Jugendstil buildings like Amazonica leafs) appears at a scale that economies and conditions of the natural the Majolika house by Otto Wagne r 19 are already permits macroscopic investigation. world.” 18 decorated with abstracted floral carried out, Pattern formation is based on cell growth and Patterning in the context of architecture materialised with paint, ceramic tiling and differentiation in biochemical processes and the built environment is again a broad relief-like coloured plaster decoration. Today following a genetically transferred program as theme, and can be classified using spatial the building facade is an example of symbolic well as environmental information (for categories according to the dimensionality and information using patterning in a similar way example gravity and wind load). the scale of the ordering system from two- to more than a century ago. The Ricola Adaptation and reorganisation included dimensional patterning to three-dimensional Mulhouse factory in Switzerland is an more dynamic patterns like temporary systems and beyond, including processes and excellent example for symbolic two- formations in swarms and fast shape change non-material patterns, and including sizes dimensional decoration in the form of a simple in organisms and material structures. The from nanosurfaces to the urban scale and repetitive array. “The […] [building] has patterns found are based on action-reaction beyond. distinctive exterior walls that are made of systems and on the activity of a large number The ornament that Adolf Loos referred to translucent polycarbonate panels, a common of components. in his famous essay concerned mainly the industrial building material, which allows light The analysis and simulation of pattern arts-and-crafts sphere of patterning, to filter through. Using a silkscreen process, formation that was carried out in real and producing two-dimensional as well as three- these panels are printed with a repetitive plant virtual models in the Biornametics project dimensional patterns mainly applied to basic motif (based on a photograph by Karl aimed at the detection of the fundamental commodities. The industrialised production Blossfeldt) that becomes less visible as principles guiding the process and the technologies of the 20 th century extended the daylight diminishes and assumes the biornametics_280x187_n 13.11.12 10:49 Seite 28

28 BIORNAMETICS RESEARCH biornamEtics – architEcturE insPirEd by natural PattErns

characters of a more substantial material than patterned element, giving no information The most recent example of adaptive polycarbonate. ”20 about the internal function of the building and biomimetic shading was presented at the The production of precast concrete no reaction to the surrounding urban structure. World Expo 2012 in Korea: the Austrian components for bulding facades is another The rapid development of information pavilion by SOMA architects .24 An actuated theme that ranges between two and three- technology has invaded architecture and lamella facade based on the kinematics of the dimensional application of patterning to building construction, and has increased Strelitzia reginae flower covers the whole of building facades. The “Textile block houses” of functionality of building elements. The facade, the building height. The opening mechanism is Frank Lloyd Wright aimed at the introduction formerly a static device delivering enclosure based on torsional buckling (which is usually of a modular building system with ornamented and protection, was transformed into an active unwelcome in engineering) together with the precast conrete blocks. Their precursor project, interface between the inside and the outside use of fibre reinforced material. This large the so-called Hollyhock house, integrated the environmental conditions. One of the first scale implementation of a principle derived abstract shapes of the hollyhock flower into projects integrating the control of light and from nature shows the potential for the decorative element of the building facades .21 ventilation in a mechanical facade system was application of biomimetics in architectural The modern and functional architecture of carried out in the “Institut du Monde Arabe” in design .25 the 1960’s made excessive use of precast Paris .23 The facade consists of a rectangular Three-dimensional construction patterns concrete patterning for facades. The pattern of square tiles corresponding to the constitute another field of investigation. dissolution between the inside and the outside floor levels, that are again mimicked by an Architects use materials and building elements was increased, together with the invention of array of different sizes of technical apertures in characteristic patterns dictated by new technologies for facade cladding and with manipulating the light conditions inside. With production and construction issues. Brick the emerging architectural typologies of very this adaptive shading system the project also walls belong to very common and simple - large building structures. Typologies like takes reference to the vernacular tradition of structures. The addition of materials like shopping centres additionally lost the wooden mashrabijas, windods with lattice masonry allows a close and culturally connection to the external environ ment. The gridwork, in traditional arab architecture. transmitted connection between the so-called honeycomb-facade that Egon Solutions of this kind can be seen as patterns construction and the appearance of patterns. Eiermann designed for the Horten shopping in their own right, having evolved due to Using steel as a building material extends the centers in German y 22 was made of ceramic empirical experimentation over long range of construction from the usual tiles and was conceptualised as an anonymous timescales. rectangular column-beam grid to the geodetic biornametics_280x187_n 13.11.12 10:49 Seite 29

29 TRANS-DISCIPLINARy ASPECTS PEtra GrubEr, barbara imhof

spheres of, for example, the Eden Project in computational technologies. Programmed Kas Oosterhuis. With his team ONL he Cornwall. 26 Materials like concrete allow for algorithmic architectures are explored for investigates what they call the “building body”, another definition of shape, that is not limited example by the EmTech diploma program at inspired by a biological paradigm. The to addition of elements but to the setting of the Architectural Association School of pneumatic structure “MUSCLE” presents a boundaries to a solidifying liquid. Material and Architecture in London and focus on the progressed form of sensing and reaction, processing restrict the range of possible interdisciplinary effects of emergence, involving space and structure by showing patterns. In order to push the boundaries of biomimetics and evolutionary computation of apparently uncontrolled behaviour .31 the known, architects and engineers try design and production technologies .28 By The other direction of transfer, the continuously to go beyond the familiar integrating computational methods into design integration of nature into architecture, is patterns. Usual attempts are expanding the and manufacturing, the concept of modularity taking pace due to the rapid increase of urban current maximum space, maximum range, and is reinterpreted, allowing the technological environments and is also the subject of maximum size of the building blocks, but transfer of differentiated and anisotropic reinterpretation through the availability of new innovative ways of processing (again a change structures found in nature. The Institute for technologies. By integrating living systems, the in patterns of planning and building) can bring Computational Design Stuttgart is at the “aliveness” of built environment will be new architectural qualities to the same system. forefront of examining so-called performative enhanced, once more following the biological An intriguing example is the ongoing material and building systems .29 Also, on an paradigm. Where architecture meets nature, investigations in robotic construction urban scale programming technologies lead to hybrid structures between natural growth and processes at the ETH Zürich. “Unlike a mason, a reinterpretation of traditional architectural architectural propagation are not far away. 32 the robot has the ability to position each patterns .30 “Protocell Architecture” demonstrates the latest individual brick in a different way without The exploitation of computational explorations of this theme .33 optical reference or measurement, i.e. without simulation has already become a well The following directions can be taken to extra effort. ”27 The brick walls that were integrated planning tool in engineering and in develop future structures between biology and created by robots following algorithmic design urban design. Various architects have architecture with a biornametic approach: procedures appear surprisingly as soft undertaken time-based and architectural transfer of abstracted growth principles from solidified forms with a high plasticity. experiments since the late 1990s. The nature to architecture, integration of biology The design process itself is radically envisioned changes were adaptive or reactive, into material systems and integration of changed by the influence of the new or even locomotive. One of the protagonists is biological organisms and concepts into biornametics_280x187_n 13.11.12 10:49 Seite 30

30 BIORNAMETICS RESEARCH biornamEtics – architEcturE insPirEd by natural PattErns

existing architecture. The transfer and notEs integration of nature’s deep principles will 1 Jones, Owen: The Grammar of Ornament, 1856, http://digicoll.library.wisc.edu/cgi- introduce new qualities and will also extend bin/DLDecArts/DLDecArts-idx?id=DLDecArts.GramOrnJones 2 Domeisen O.: Ornament neu aufgelegt – Resampling Ornament 2008. the range of imaginable solutions towards an 3 Loos Adolf: Ornament und Verbrechen, 1908. integrative and sustainable way of living. • 4 Sullivan, Louis H.: From Ornament in Architecture, Chicago, 1892. 5 Gropius W.: Für eine lebendige Architektur, in Probst, H.; Scha ̈dlich, C. (Eds.): Ausgewa ̈hlte Schriften, Bd. 3, Berlin 1987, p. 169, p. 39. 6 an overview of Biomimetics in architecture is to be found in Gruber, P.: Biomimetics in Architecture – the Architecture of Life and Buildings, Springer, 2011. 7 see the works of Plant Biomechanics group University of Freiburg, Biologically Inspired Design group, Georgia Tech University, Biomimicry group, Montana. 8 according to the Centres for Biomimetics, Reading and Bath. 9 VDI Association of German Engineers, 2009. 10 www.merriam-webster.com/dictionary/pattern [07/2010] 11 Ball, P.: The Self-Made Tapestry: Pattern Formation in Nature, Oxford University Press, USA, 2001, p. 9. 12 Ball, P.: The Self-Made Tapestry: Pattern Formation in Nature, Oxford University Press, USA, 2001, p. 10. 13 Euler, M.: Selbstorganisation, Struktubildung und Wahrnehmung in: Biologie in unserer Zeit, 30.Jahrg. 2000/Nr.1. 14 Thompson, D’Arcy: On Growth and Form, 1942. 15 Ball, P.: The Self-Made Tapestry: Pattern Formation in Nature, Oxford University Press, USA, 2001, p. 253. 16 Camazine, S. et al.: Self-Organization in Biological Systems, Princeton University Press, 2001, p. 8, p. 20. 17 Turing, A.: The chemical base of morphogenesis, Philosophical Transactions of the Royal Society of London. Series B, Biological Sciences, Vol. 237, No. 641. Aug. 14, 1952, pp. 37-72. 18 Weinstock, M.: Nature and the Cultural Evolution of Architectural Forms, Arcadia 08 silicon + skin, Biological Processes and Computation, 2008, p. 25. 19 the so-called Majolikahaus and Haus Linke Wienzeile 38 in Vienna, 1898. 20 Ricola Mulhouse factory, Herzog & De Meuron, 1992-93, http://www.herzogdemeuron.com 21 Hollyhock house, Los Angeles, Frank Lloyd Wright, 1919-1923, http://hollyhockhouse.net 22 in Heidelberg 1958-62 and Stuttgart 1951-60, http://www.nextroom.at/actor.php?id=5980&inc=artikel&sid=11555 23 Jean Nouvel, 1988. 24 SOMA Architects, Vienna, and Knippers Helbig Advanced Engineering, Stuttgart, New york, 2012. 25 for a detailed description see: Knippers, J.; Speck, T.: Design and construction principles in nature and architecture, Bioinspir. Biomim. 7 015002, 2012. 26 Eden Project, Nicholas Grimshaw & Partners in St. Austell, Cornwall, 2001. biornametics_280x187_n 13.11.12 10:49 Seite 31

31 TRANS-DISCIPLINARy ASPECTS PEtra GrubEr, barbara imhof

27 Gramazio & Kohler, Architecture and Digital fabrication ETH Zürich, Weblinks http://www.dfab.arch.ethz.ch AA School of Architecture EmTech 28 Emergent Technologies and Design programme, Architectural Association, School of http://www.aaschool.ac.uk/STUDy/GRADUATE/emtech.php Architecture, London, UK, http://www.aaschool.ac.uk/STUDy/GRADUATE/emtech.php Biokon Germany http://www.biokon.net/ 29 Achim Menges Stuttgart, Universität Stuttgart, ICD Institute for Computational Design, Biokon International http://www.biokon-international.com/ http://icd.uni-stuttgart.de Biologically Inspired Design Group Georgia Tech University US http://www.cbid.gatech.edu/ 30 Kartal Pendik Masterplan, Istanbul, Zaha Hadid Architects and Patrick Schuhmacher, Biomimetics group, University of Bath http://www.bath.ac.uk/mech- “… creating a new urban centre based on grid form and utilizing calligraphic notions of eng/biomimetics/index.html topography to create truly responsive structures and spaces …”, http://www.zaha- Biomimicry Group US http://biomimicry.net/ hadid.com/masterplans/kartal-pendik-masterplan/, 2006-ongoing. Centre for Biomimetics, The University of Reading http://www.reading.ac.uk/Biomim/ 31 Muscle, Kas Oosterhuis, 2003, http://www.oosterhuis.nl/quickstart/index.php?id=347 Evolo http://www.evolo.us/ 32 Evolo 2012 Skyscraper Competition, Second Place: Mountain Band-Aid, Gesellschaft für Technische Biologie und Bionik Germany http://www.gtbb.net/ http://www.evolo.us/competition/mountain-band-aid/#more-16693 Gramazio & Kohler http://www.dfab.arch.ethz.ch 33 Spiller, N.; Armstrong, R. (Eds.): Protocell Architecture: Architectural Design, Wiley; Herzog & De Meuron http://www.herzogdemeuron.com 1 edition 2011. ICD Institute for Computational Design http://icd.uni-stuttgart.de Kas Oosterhuis http://www.oosterhuis.nl/ Plant Biomechanics Group Freiburg D http://www.botanischer-garten.uni- reFerences freiburg.de/profile_Freiburg_English.htm Literature Zaha Hadid Architects http://www.zaha-hadid.com/ Ball, P.: The Self-Made Tapestry: Pattern Formation in Nature, Oxford University Press, USA, 2001. Camazine, S. et al.: Self-Organization in Biological Systems, Princeton University Press, 2001. Euler, M.: Selbstorganisation, Struktubildung und Wahrnehmung in: Biologie in unserer Zeit, 30. Jahrg. 2000/Nr. 1. Garcia, Mark (editor); The Patterns of Architecture: Architectural Design, Wiley; 1 edition, 2009. Gruber, P.: Biomimetics in Architecture - the Architecture of Life and Buildings, Springer, 2011. Hensel, M.; Menges, A. (Eds); Morpho-Ecologies: Towards Heterogeneous Space In Architecture, AA Publications, London, 2007. Knippers, J.; Speck, T.: Design and construction principles in nature and architecture, Bioinspir. Biomim. 7 015002, 2012. Spiller, N.; Armstrong, R. (Eds.): Protocell Architecture: Architectural Design, Wiley; 1 edition 2011. Thompson, D’Arcy: On Growth and Form, 1942. Turing, A.: The chemical base of morphogenesis, Philosophical Transactions of the Royal Society of London. Series B, Biological Sciences, Vol. 237, No. 641. Aug. 14, 1952. Weinstock, M.: Nature and the Cultural Evolution of Architectural Forms, Arcadia 08 silicon + skin, Biological Processes and Computation, 2008. biornametics_280x187_n 13.11.12 10:49 Seite 32

32 BIORNAMETICS RESEARCH ProJEct facts

1

The project BIORNAMETICS was a one-year The information was processed into The work was carried out in several project, scheduled from May 2010 to Septem- datasheets and working tools, in order to intense phases of the working group by the ber 2011. The Austrian Science Fund FWF perform the second phase: pattern research, core team and in individual research phases selected the project together with five others by means of simulations and working models. between the working group sessions. Several from the 57 entries applying for funding in the Architectural concepts were designed, based public workshops and lectures were held at 5 arts-based research programme PEEK in 2009. on this analysis. A prototypical spatial the University of Applied Arts, with the The outputs of the project were many and installation was conceived and built at the participation of the students of the Institute of various. The foundation of the research, the University of Applied Arts, and presented to Architecture (IoA). so-called “scientific input”, provided a set of the public in an exhibition (16.5.-31.5.2011). A In the final event, the panelists and their data for 37 role models from nature, public panel discussion (23.5.2011) was held to approaches, focussing on the information representing three main themes that were review and reflect on the outputs and the transfer from nature to architecture. Short considered important issues in biomimetics methodology that was used and developed records from the panelists and visitors of the and architecture: further during the course of the project. All debate and a longer essay by later invited

1) Nano-surfaces project outcomes generated before April 2011 contributors reflect on the above mentioned 9 2) Shape change and growth and the results of this discussion were topics. 3) Adaptation and reorganisation) compiled in a research report.

13 biornametics_280x187_n 13.11.12 10:50 Seite 33

33 BIORNAMETICS RESEARCH

2 3 4

1, 2 Workshop III, Physical models

3, 4 Workshop I, Botanical garden trip with team and students

6 7 8 5 Studio sessions with the core team

6, 7, 8 Workshop II, Transfer initiation

9, 12 Making of the final installation

10, 11 Rolemodel research, studio sessions

13, 14, 15, 16 10 11 12 Public event, project presentation and panel discussion at the University of Applied Arts

14 14 15 biornametics_280x187_n 13.11.12 10:50 Seite 34

34 BIORNAMETICS RESEARCH ProJEct maP

Transdisciplinarity Science to Architecture Start: 1. 5. 2010

Pa#erns Ornament Biornametics Architecture & Design Biomimetics/Bionics in the evolving !eld of arts-based research New design strategy theoretical starting point Research by Design : Design by Research

Roles/responsibilities Kick-o" lectures Workshop I Workpackage (WP) allocation 1.–2. June 2010 Botanical garden trip Team Rolemodel (RM) investigation / presentation RM links Biornametics Kick-O" Paper research/references News/ even t d ates Web presence Data sheets from selected rolemodels Facebook group Rolemodel (RM) research 5.–23. July 2010

Criteria matrix Installation recent examples Play Cards Installation research Actuators & sensors RM evaluation Brainstroming for applications concepts

Analysis of RM capabilities Lectures about transfer processes

Workshop II – transfer initiation 11.–12. October 2010 RM application ideas

Simulation of RM

biornametics_280x187_n 13.11.12 10:50 Seite 35

35 BIORNAMETICS RESEARCH W

Programming Workshop

Rhino/Grashopper models Sketches Mechanisms Simulation Concepts RM rules and algorithms Function transfers

Mathematic s Transferability (G. Gl ae ser) Feed-back / Input iterations

Struc tural en gineerin g Sem inar (K. B olli nger ) (lectures & discussion) Workshop III – physical Models 25.–27. November 2010 October–December 2010 Mechanisms Structural numerical modeling (A. Ho"mann, C. Preisinger)

Te xt ile a pp li cation Function transfers ITV-Denkendor f / Markus Milwich

Project presentation Methodology Pub li c event Report 23. May 2011 Panel discussion Project development April 2011 Outpu t

Rol emod els (RM) Installation 1.–23. May 2011 Publication December 2011 What is the architect doing in the jungle? biornametics_280x187_n 13.11.12 10:50 Seite 36

36 BIORNAMETICS RESEARCH tEstinG biornamEtics – installation at thE slivEr GallEry waltraut hohEnEdEr, PEtra GrubEr

The physical installation is the result of the organization of fibres can be found as a irreversible joints had to be defined. So-called translation of specific principles encountered, structural principle in several role models “spacers” kept the elements at specified analysed and discussed during the research investigated during the research, displaying a distances and positions in order to maintain work preceding the actual design project. The high capacity to resist and adapt at the same the spatial arrangement of the system. installation demonstrates one of the unlimited time. This capacity is chiefly dependent on the The joints between the spacers and the possibilities of interpretation of a single geometry and the material properties of the fibres were designed to produce as little principle, and is thus closely related to the fibres. Possible deformations can only happen friction as possible and so allow easy perception of the executing team. The goal within certain limits relative to the stiffness of movement by gliding along the fibre’s axis. On was to build a lightweight and cost-efficient the material involved. Nonetheless the the other hand fixing of the connection points spatial structure with an inherent potential to adaptive capacities of the structure were was necessary to ensure that the system move, or to be moved, by stimulus from the expected to exceed by far those of would lock temporarily in a chosen position. external environment. conventional structural building elements. The use of a test-setup with sensors and The primary structural system reflects a Glass fibre tent poles were chosen for the movement control would have exceeded the specific organization of fibres arranged in fibres because of their structural properties, given budget and time restrictions, so the concentric layers twisted clockwise and the modularity of the system and appropriate installation was fixed in space, but change in counter-clockwise around a flexible axis. This costs. A few reversible and numerous shape was enabled by a controlled and biornametics_280x187_n 13.11.12 10:50 Seite 37

37 BIORNAMETICS RESEARCH biornametics_280x187_n 13.11.12 10:50 Seite 38

38 BIORNAMETICS RESEARCH biornamEtics – architEcturE dEfinEd by natural PattErns 2010/2011

synchronized setting-up process, in particular The signal is translated into the behaviour of by altering unlocked joints in specified places. the leaves by a microcontroller. Sequential The whole construction was suspended from rows of leaves are actuated in this installation. the ceiling, and its performance demonstrated Shape memory alloy Nitinol is used for the a resistance sufficient to maintain its shape. actuation wire of the leaves: the output Adaptable stiffness of the structure (not voltage from the microcontroller changes the necessarily of the material involved) could be temperature, leading to the contraction of the a point of departure for future development of wire and thus bending the leaves. They open more flexible and even reversible building and close and perform a colour change by systems (for example structures exerting exposing different sides. increasing resistance under increasing Refractory period (the amount of time it external forces). takes for the system to return to its initial state On a second level of hierarchy the and to be responsive again) is only 5-10 installation demonstrates another adaptive seconds. The backward movement is actuated process often found in nature: speeds of passively by the elasticity of the material, the transformation varying in reaction to specific speed depending on the temperature change environmental changes. The system consists of the wire. The fast reaction allows visitors to of reactive leaf-like structures that are experience the interaction with the installation. partially fixed to the primary fibre structure Monitors mounted on the structure together with sensory, control and actuation displayed the main principles that had been equipment. The elements are added in a developed from role model simulations in the cantilever mode and therefore reach a higher course of the project. level of flexibility and of visible change. Concluding, the installation deals with the The input signal is the presence of visitors interpretation of various role models with a in the space, sensed by optical distance special focus on the adaptive capacities of measurement with a specific threshold radius systems, and with the possibility of finding (High Performance Ultrasonic Range Finder). numerous physical expressions for principles. biornametics_280x187_n 13.11.12 10:50 Seite 39

39 TRANS-DISCIPLINARy ASPECTS biornametics_280x187_n 13.11.12 10:50 Seite 40

dEsiGn asPEcts

A critical debate about the value of incorporating findings from the life sciences into architectural design methodologies was initiated. biornametics_280x187_n 13.11.12 10:50 Seite 41

roleModel 30 FISH FIN Page 90 biornametics_280x187_n 13.11.12 10:50 Seite 42

42 DESIGN ASPECTS

roleModel 15 DIODONTIDAE, Puffer Fish Videostill, Page 82 biornametics_280x187_n 13.11.12 10:50 Seite 43

43 DESIGN ASPECTS biornametics_280x187_n 13.11.12 10:50 Seite 44

44 DESIGN ASPECTS

roleModel 09 MIMOSA PUDICA, Mimosa Videostill, Page 79 biornametics_280x187_n 13.11.12 10:50 Seite 45

45 TRANS-DISCIPLINARy ASPECTS

roleModel 04 VICTORIA AMAZONICA, Giant Water Lily Videostill, Page 77 biornametics_280x187_n 13.11.12 10:50 Seite 46

we are interested in perfect geometric shapes biornametics_280x187_n 13.11.12 10:50 Seite 47

47 DESIGN ASPECTS

solids, something similar to a minimal surface, etc. astonishing and For half my life I have The reason for this is that instructive, especially been looking for perfect most shapes grow under when one began to geometric shapes in steadily changing change parameters. nature. They are, conditions and they are Nevertheless, however, hard to find. In the result of evolutionary evolutionary processes most cases there is processes. So our team often end up as similar something similar to an started to develop a shapes, even if the octahedron, something special software that took parameters were similar to a spiral surface, both geometrical and different during the something similar to a evolutionary processes evolution. space filling group of into account, putting Archimedian natural shapes into a new context. To me, the results were both

GEorG GlaEsEr, mathematician, university of applied arts, vienna, austria Project partner and panelist biornametics_280x187_n 13.11.12 10:50 Seite 48

we look for evolutionary optimisation of structures biornametics_280x187_n 13.11.12 10:50 Seite 49

49 DESIGN ASPECTS

These derive directly Bottom-up methods from static capacities, but correlation of a single based on biological do not show the element with every other principles allow for underlying load bearing element is considered in structures with emergent principles explicitly. The every calculation step. load bearing capacities. In inherent load bearing Thus complex load analogies to living quality is not readable at bearing behaviour can creatures, these are able first glance, and emerges evolve. to adapt to their specific as the result of the boundary conditions, and complex interaction evolutionary optimisation between the individual methods can be used to members. In a achieve complexity in the generative process the topology of structures.

arnE hofmann, architect, bollinger Grohmann schneider ZtGmbh, vienna, austria Project Partner and Panelist biornametics_280x187_n 13.11.12 10:50 Seite 50

nature does not optimise – nature changes biornametics_280x187_n 13.11.12 10:50 Seite 51

51 DESIGN ASPECTS

Evolutionary processes evolutionary processes example atmospheric and a combination of The re-emergence of the capable of finding pressures, sea currents, chemical and physical desire for form and solutions but or gradients in phenomena lead to ornamentation in simultaneously generate colouration of flowers. specific geometric architecture can be opportunities of creating A publication like organizations in nature. In traced back to the intensive (M. de Landa) Biornametics explores fact nature strives to emergence of spatial conditions. how these intensive reduce the amount of computational tools in In fact the issue of conditions can be material necessary to the discipline which intensity is probably the mastered and create specific spatial allow for the integration biggest paradigmatic shift incorporated in configurations that we of these morphogenetic in the discipline of architectural design have come to recognize processes into a design architecture. It describes techniques, an endeavour as shapes or forms, procedure – at high speed. natural processes, and that cannot be which have developed These novel tools not how they continuously overestimated in a over enormous time only support the change from one contemporary periods. exploration of condition to another, for architectural discourse.

matias dEl camPo & sandra manninGEr, architects, sPan, vienna, austria invited contributors biornametics_280x187_n 13.11.12 10:50 Seite 52

nature and architecture – what architecture can do

source: KÉK biornametics_280x187_n 13.11.12 10:50 Seite 53

53 DESIGN ASPECTS

In the book „The Baron In continuing interest in the designed environment to humanities, natural cultural paradigms. The The Trees“ the author use of the life sciences in influences from both sciences and the arts. setting developed for the Italo Calvino tells the story architecture in recent nature and the activities The research project We are witnessing a evening discussion – an of a baron who decides to years, which reinforces of man. This environment „Biornametics“ stems from fusion of creative forces installation both fragile leave the earth to live in the hope of seeing a is interactive and this school of thought. which, supported by and variable – already the trees. „… Cosimo rises change of perspective in transformable and in this The composition of the digital tools, will lead to suggests some promising from the family table, the way we think and way becomes adoptable research team from the development of the approaches to climbs into a nearby oak research in architecture. by the user. This vision of different disciplines required communication implementing this change, tree and never again sets It is not the form finding crossing boundaries says (biology, physics, methods. In my view, and reveals the true foot on earth. …“ In this experiment which is at farewell to the mathematics, building these are active potential that lies in the shift of paradigm Cosimo the centre of the project mechanical thinking construction and knowledge resources that vision of an organic and leaves behind all that has but architecture being which looks predomi - architecture) promotes a can cause interactions adaptive architecture. restricted him up to this viewed as an organism, as nantly for technical holistic discussion, and between ecological point and immerses „living nature“; an answers, and instead demands a mutual systems and socio-spatial himself in a new way of architecture which is adopts a holistic style of exchange of knowledge requirements, thus living. There has been a capable of adapting as a thinking based on the and communication. leading to a shift of

Ernst J. fuchs, architect, the next EntErprise – architects invited contributor biornametics_280x187_n 13.11.12 10:50 Seite 54

54 DESIGN ASPECTS buildinG bio-ornamEnts Julian vincEnt

introduction problem and then convert it into some sort of conduct these conversations on my own! For many years I wondered how one can engineering-speak which George would take I was lucky enough to get a good grant to transfer ideas from biology to engineering. In on and develop using standard (or perhaps not develop some ideas, decided that the answer the initial stages, at the University of Reading, so standar d!) ideas from engineering. This lay in a Russian system, TRIZ (the acronym for, I would sit with George Jeronimidis and we process might go around the circle a few in translation, the theory of solving problems would take an idea (perhaps a problem posed times, but nearly every time we could produce inventivel y) and managed to employ one, then by someone from industry, or by a student) something novel. And I’m told it could be quite both, of a husband-and-wife team, Olga and and we would translate the ideas into each entertaining to sit in on the conversation. Nikolay Bogatyrev, two biologists who had other’s domain. George would simplify the However, although this process was quite learned TRIZ from the professionals in engineering (or design, or materials, enjoyable, it seemed to me to be rather slow, Novosibirsk. TRIZ was developed by engineers, depending on the nature of the problem) and because we were obviously developing some for engineers. It is based on sound make sure that the proper question was being techniques of transfer of ideas and technology, philosophical ideas which have produced a asked. I would pick up on the tail of the ideas but we weren’t making it into a system that system which is of much more general and think of one or more biological analogues. could make things easier and quicker for us – application, suggesting the changes required I would then expand the analogues until they and for other people. I then moved to the in a system that will produce a desired looked, at least in part, like a solution to the University of Bath and found that I had to outcome. This essay is an exploration of the biornametics_280x187_n 13.11.12 10:50 Seite 55

55 DESIGN ASPECTS Julian vincEnt

techniques involved and, as such, is a sort of Principles are impossible or unlikely since they The separate components are kept in some experiment on paper. Will it work? make incompatible recommendations. sort of synchrony by the nervous system Using extensive statistical analysis, I have (short term integration) and the hormonal triZ as a dataBase identified principles that appear most system (longer term integration). At a larger TRIZ is made up of a collection of techniques commonly in biological organisms to achieve scale of size, in an interbreeding population of that are used in sequence, defining a problem, change or adaptation, depending on the organisms, it is important to have variation in its context and the available resources. you outcome, or the problem to be solved. These the genetic make-up that acts as a store of then see what changes you can make to the Principles can guide biologically inspired solutions to possible problems as yet system in which the problem occurs in order design without the necessity to invoke biology unexperienced. This gives greater resilience to achieve resolution. An early development of or biological expertise. Together with a more and adaptability. The same is true of TRIZ was a list of such changes, an early detailed biological analogy, they are: ecosystems – a monoculture (an agricultural example of data mining from patents crop) is very susceptible to damage by describing solutions to technological problems. heterogeneitY, local eFFects organisms which we call pests; greater This list of Inventive Principles (there are 40 of The definition of this Principle is to introduce variation in the species present gives more them) is considered to be exhaustive, and so heterogeneity into the object or its context and protection from such disasters. forms a basis for the classification of solutions. increase the dynamic range; introduce local The Principles are not all equally useful, some adaptations, increasing flexibility, micro- Merging oBJects being more powerful than others. They also shaping, local orientations or zones within The recommendation is to join objects in series overlap, so that a single solution can be structure or material; divide the object or or in parallel with multitasking and mutual indexed by several Principles. I have mostly system into separate units each capable of a support; merge parts of the object or system, used 4, though sometimes fewer or more different function; optimise each part or join objects similar or dissimilar, giving growth Principles are needed to make an adequate context. In an animal or plant, each organ has or accretion and allowing different description. This increases the power of this its own physiological micro-environment, components to contribute (as with composite approach since it allows more nuanced often surrounding itself with a membrane to materials). In many animals (for instance descriptions. Thus there could be something emphasise this separation. Invertebrates tend insects and snails) the nervous system is like 40^4 (i.e. 2 560 000) different to allow more autonomy to their internal primitively divided into local units (ganglia) descriptions, though many conjunctions of the organs that possibly makes them more robust. that tend to fuse in the more evolved biornametics_280x187_n 13.11.12 10:50 Seite 56

56 DESIGN ASPECTS buildinG bio-ornamEnts

members of the groups to give a larger and Prior cushioning FeedBack more integrated system. This presumably This set of recommendations is all about Feedback is all about information and its flow allows faster central signal processing. Tighter control of risk and reliability. Suggestions are through the system, which can be a single cell integration is an advantage in populations of to prepare for trouble with back-up and or a population of individuals. Suggestions are individuals as well as in cells and can lead to reinforcement; to be constructed from a few to modulate feedback (optimising and responses by a community, which is more durable components or many expendable regulating sensitivity); change between powerful. Examples would be a colony of ants components; compensate for low reliability. positive and negative feedback (excitation and or bees, or a pack of wolves. Our nervous system as a pattern analyser can inhibition). Most organisms have controlling extrapolate present observations to predict the negative feedback built in, since the chemical dYnaMics probability of future events and thus enable us reactions that maintain them can occur under This is all about change: change degrees of to prepare resistance to danger. Organisms only relatively controlled conditions. Feedback movement; change shape; change immobile to also have various degrees of redundancy and can be chemical (e.g. cellular metabolism), mobile; change stiff to flexible, locally (hinging) safety factors built in to their design that allow neural (e.g. fine-tuning optical or aural or globally; make parts adaptable (this for failure rates in use, and there are many response), neuromuscular (co-ordinated obviously involves sensing and responding); examples of continual repair of tissues. The movements) etc. Nature is replete with change dimensions, getting bigger or smaller, over-all failure rate (e.g. ageing) is closely feedback mechanisms since they can greatly longer or wider. Only low loads from the related to the reproductive rate of the improve the performance of a wide variety of environment and bend out of the way of high organism – an organism that reproduces at a functions that are not mechanically perfect, loads, or readjust in the presence of (detected) higher rate can afford greater loss of integrated or optimised. A particularly good high loads. The nervous system is necessary individuals. Heterogeneity, in genetics and in example is the use of feedback in frequency for detection; the muscular system is ecospecies, gives resilience in the face of analysis in the middle ear, where cells sense necessary for the readjustment in the short threats and unexpected conditions (see the frequencies in the received vibrations and term, or growth in the long term. Flexibility of Heterogeneity, above). amplify them. There is also much feedback in response allows better survival. the control of density of populations. These general rules cover most biological mechanisms - only a few examples have been given. As a list they constitute a design biornametics_280x187_n 13.11.12 10:50 Seite 57

57 DESIGN ASPECTS Julian vincEnt

handbook for anyone wanting to introduce or the way the material properties and can change shape, colour and texture, biological processes. Let’s see how they might morphology change from point to point. Both frequently in response to changing external work … these classes of influence - larger and smaller conditions. All these technologies are avail able. than the brick - have a time course. The brick So we have generated, fairly easily, a shopping a Bio-insPired ornaMent is a record of what has already happened to a list that can yield bio-ornamentation. We want an ornament (something which lump of clay; we wish to change the brick in attracts attention, perhaps giving pleasure and some way that can be experienced only in the stimulating thought) that has at least s ome of future. its principles derived from biological objects or When we apply the biological design concepts. Most ornamentation increases the principles that I have described, even to a amount of detail and complexity of an object. brick as it appears without considering its The complexity can be appreciated by any of history or fate, a large number of possibilities the senses, so colour, sound, shape, becomes apparent (see table). We can pick responsiveness, adaptiveness and so on are all and choose from these possibilities in the factors which can be changed. In order to see knowledge that the outcome will have some the outcome of these changes more clearly, features typical of a biological object. It’s then let’s start with that most inanimate of objects – interesting to ask what might it lack by a brick. What are its properties? Mass, shape, comparison with an organism? First and surface texture, rigidity, strength, colour, and foremost is the ability to transduce energy, more; this list will suffice. The brick is without which ability any of the changes or incapable of sensing anything but it can attributes must rely on external energy supply respond in a limited way to changes in its to power them. This is not included in the surroundings, for instance by reflecting or current model. The ability to reproduce is also absorbing light or heat. That means that we omitted, though if we include the addition of have to consider external influences on the notches to the shape, it becomes easy to brick – and internal ones such as the break; if it can join on to other objects it can chemistry of the material the brick is made of grow. However, we still have an object that biornametics_280x187_n 13.11.12 10:50 Seite 58

58 DESIGN ASPECTS buildinG bio-ornamEnts

deVeloPMent which can pulsate with colour but with no We now have a novel brick that is decorative external control. This type of behaviour begins and capable of at least some of the functions to merge into swarm dynamics and the bricks of a living organism. The table has the take on some of the characteristics of robots – instructions for making a large number of indeed the changes in surface colour could be different prototype bricks, so we have the modulated such that they varied with the type possibility of a population – an ecology of of originating disturbance, yielding a wall that bricks. Bricks are usually used to make could display information about itself. We have structures such as walls and enclosures, so we sentient self-ornamentation from an can use this variety to build a highly variegated inanimate object! structure, resulting in a simple hierarchy, itself a common biological phenomenon. The variables available to a wall might be height, width, orientation of the wall, orientation of the bricks. Also the wall can be a single unit or it can be part of a building. The profile of the wall can be heterogeneous, for instance smooth or angular, both along the top and down the sides, and it can curve around and join with itself to enclose space. It becomes more interesting and biological when considering the dynamics, so that when a brick is disturbed in any way it not only responds in its own way depending on the variables in the table, but influences neighbouring bricks. The most obvious change would be surface colour, yielding a surface biornametics_280x187_n 13.11.12 10:50 Seite 59

59 DESIGN ASPECTS Julian vincEnt

HETEROGENEITy JOIN OBJECTS ADD DyNAMICS SAFETy FEEDBACK CHANGE SHAPE

MASS Different materials Stiff or flexible Change mass Soft edges Different porosity LEGO distribution Shaped holes Vary from place Velcro Foam to place glue

SHAPE Thinner Jigsaw puzzle Dynamic shapes Ability to roll Flat when on a Retain angles Fatter Nesting flat surface Retain volume Rounder Goes round when Round corners rolled

TEXTURE Zoned roughness Layered surface Changing surface Texture is soft Change shape across surface of bumps: Smooth / rough round / sharp

RIGIDITy Zoned rigidity Bricks can be Stiffness changes Can bounce Goes stiffer or Segmented clipped together softer when handled

STRENGTH Weak interfaces Special braces Made of a Can fall apart Notches to Novel fracture between bricks composite in your hands! make fracture material easy

COLOUR Colours zoned Interference Continually change Bright colour if Counter-shading Camouflage layers colour while you you lose it! Dazzling colours Physical colours are watching

RADIATION Spectral reflection Fuzzy edges Radiation changes Changes colour Reflecting surface Differential expansion between colours reflectivity as light changes Change orientation

WALL HEIGHT Gradual varied height Bricks loose Bricks supported All bricks are When a brick Steep varied height Bricks glued on springy base loosely tied responds to a into a change its If a brick is moved connecting neighbours sense

WALL WIDTH Gradual varied width its neighbour web. This this and change Smooth profile responds using the gives some as well, though Jagged profile mechanisms built safety and not always in into it at allows the the same way

WALL ORIENTATION Curving Walls enclose area manufacture bricks to Angular communicate

BRICK ORIENTATION Long axis horizontal Long axis vertical Long axis angled biornametics_280x187_n 13.11.12 10:50 Seite 60

trans-disciPlinary asPEcts

In a project which combines multi disciplines a general understanding of the other disciplinary culture must be created to generate the basis for a productive and fruitful collaboration. Besides respect and tolerance a common language and new paradigms amongst other denominators need to be established. biornametics_280x187_n 13.11.12 10:51 Seite 61

roleModel 11 IPOMOEA ALBA, Morning Glory Page 80 biornametics_280x187_n 13.11.12 10:51 Seite 62

you have to ensure there are paradigms biornametics_280x187_n 13.11.12 10:51 Seite 63

63 TRANS-DISCIPLINARy ASPECTS

publications around the and also where design on one hand and design just in performance but There has been a theme of ‘form finding’. and engineering tools on the other. Today we even more so flirtation between The biological sciences were adopted by the life find ourselves using symbolically. architectural design and were becoming more like scientists; so there were software, geometric Biornametics is a mature biological models of physicists in their use of many intersections at a models and terminology instant of this intersection organizing form for the computation to study technical and vocational and concepts that exhibit between concepts and last 25 years; roughly growth dynamically. level. Conceptually, the more and more similarity media rather than an coinciding with the Visualisation was sciences were beginning in design and engineering experiment or hypothesis. adoption of digital tools becoming more to study growth and fields and in the life used not only for mere important and there were dynamical systems, while sciences. At conferences documentation, but also even instances where architects were beginning such as TED and others for creative design. In the tools from the sciences to use tools with scientists share the 1990´s there was a rich were adapted for use in animation ability, and so podium with designers, collaboration between computational fluid both disciplines were and the general public is scientists and architects dynamics, finite element become more ‘vital’ in looking for at conferences and in analysis and animation, their media, for analysis environmentalism not

GrEG lynn, architect, university of applied arts, vienna, austria Project partner and panelist biornametics_280x187_n 13.11.12 10:51 Seite 64

how to find a biologist biornametics_280x187_n 13.11.12 10:51 Seite 65

65 TRANS-DISCIPLINARy ASPECTS

an interested biologist the are phytography or And there will certainly important precondition to be an initial approach Looking at biology as a primary goal of the zoography (description of In retrospect, my be a couple of biologists for successful interaction from either side when it scientific discipline one non-biologists should plants or of animals), recommendation would affiliated to these should be secured. In my comes to finding a basis has to admit that in the there fore be the biological systems, and be to go first to any collections who will personal experience the for conversation but in last decades a tremen - comprehensive definition also functional nearby museum of cover any of the cited difficulty of a biologist my opinion the non- dous specialisation has of their specific problem, morphology of either natural history. The topics. So, the problem of communicating with biologists are more liable taken place. Ernst Häckel enabling them to address plants or animals. broader public is “finding an interested non-biologists lies in the to accept rules. was cited as a so-called or invite other scientists – The latter field is normally unaware of the biologist” could be inability of non-biologists, universal biologist who in not only biologists – for extremely diversified, as priceless value of the effectively solved. e.g. engineers, physicists, his time could have been cooperation. one can see from the collections of these Proceeding to “what you architects etc, to supposed to contribute Nevertheless it is also structure of the various museums, which are a would do with the recognize the necessity substantially to worthwhile to think in departments at solid foundation of biologist in your office” is of the correct use of biomimetics as a whole. advance about the universities or related phyto-/zoography and another kind of task. biological terms, which is But the time of universal research focus of research facilities. Simply biological systems as well Provided that the indispensable for biologists is indubitably possible candidates. go to the Internet in order as all aspects of aforementioned steps are successful cooperation. past, and in order to find Buzzwords in this context to find out! functional morphology. taken carefully the most Without doubt there has

hErbErt stachElbErGEr, chemist, vienna university of technology, tubionik centre of Excellence invited contributor biornametics_280x187_n 13.11.12 10:51 Seite 66

The challenges of an artist biornametics_280x187_n 13.11.12 10:51 Seite 67

67 TRANS-DISCIPLINARy ASPECTS

functional, materials, demonstrated the of hierarchical systems - Being part of the geometrical, responsive benefits of highly The discussion provided the norm rather than the Biornametics project has and aesthetical aspects interdisciplinary an opportunity to address exception in biology - are been a very exciting has been a very approaches to issues related to the the tools needed to opportunity. Working with interesting and biomimetics. The artists’ implementation of ensure that functional colleagues from different challenging exercise for side in this trans- architectural designs design aspects are the backgrounds and with a the whole team. My disciplinary collaboration inspired by biological embodiment of “dynamic group of very able and specific interest was in is much more difficult materials. From my point adaptation” to changing dedicated students has extracting from the because it is more of view, materials, environments in space prompted me to look project ideas for implicit than explicit. So it geometry, shape, and time. again at aspects of translating the dynamical is more likely that artists organisation of fibres and Biomimetics I was less adaptation of biological approach the scientists processes such as growth familiar with. Trying to systems into materials, than the other way round. are the key aspects of the abstract concepts from structural and success of nature’s biology for a biornametic architectural solutions. designs. All the above, design which integrates The project has also together with the benefits

GEorGE JEronimidis, chemist, centre for biomimetics, university of reading, uk Project partner and panelist biornametics_280x187_n 13.11.12 10:51 Seite 68

we have to establish a common language biornametics_280x187_n 13.11.12 10:51 Seite 69

69 TRANS-DISCIPLINARy ASPECTS

What is an Architect Evolution and Biomimetic exceptionally strong. The Need for a Common doing in the Jungle? veterinary medicine, rainbows’ can be Architecture Morphodynamic Language cultures and communi- Nature Sessions deep in physics, biology, transferred to Convergent Evolution investigations allow for It is not easy: scientists cation protocols. the virgin rainforests of engineering and architecture, and yield denotes a process where biomimetic identification and engineers have Therefore a common Malaysia allow young architecture experience multifunctional, non- distinct species with of principles in three totally different concepts, language in arts, science talents to learn to watch, a different approach to toxic surfaces that can differing ancestries distinct scenarios of languages, methods and and engineering needs to to understand their own subjects. be functionalized and evolve similar features in observation (one animal, aims compared to artists. be developed: a language connections, to correlate For example, the thereby become comparable environ - one niche, variable time These groups have in which descriptions at structure with function national Malaysian responsive to various mental circumstances; OR one animal, various started to communicate different levels of detail and to transfer deep butterfly has amazingly signals. A fire? The examples of this niches, same or semi- with each other only are more compatible. principles from nature beautiful colours direction to the nearest evolution include the eye, variable time OR various recently. into their respective generated by structures exit appears automat - cartilage and fin-like animals, one niche, same The interaction between fields. Students that alone, and not by ically on the walls! extremities. In these time), with a high their respective fields is come from fields as pigments. Such ‘frozen cases the relationship potential of the very important, but also diverse as the fine arts, between structure and subsequent transfer to a challenge because of the applied arts, function seems to be the arts and sciences. different inherent

illE c. GEbEshubEr, physicist, universiti kebangsaan, malaysia Project partner and panelist biornametics_280x187_n 13.11.12 10:51 Seite 70

70 TRANS-DISCIPLINARy ASPECTS on communicatinG ProcEss in art-sciEncE collaborations dominika GloGowski

The separation of disciplines in science as a stimulus to enhance discussion on artistic and scientific processes along linguistic seemingly increases exponentially in direct network complexities in these grey areas. pathways, heading towards the point of ratio to the number of discoveries made and When comparing the aircraft with art in conclusion. This conclusion evolves as a the equivalent branches of specialization 1967, artist Robert Smithson (1938-1973) drew structured merging of meaning, ‘the origin and created. Evolution embraces complex attention to narrow interpretations in end of thought.’ Following Smithson, we fail in ecosystems resulting from continuous process rationalist approaches. “The categories,” as he the end, however, to pinpoint the centre, “The and change, whereas scientific disciplines emphasizes, “that proceed from rationalist mind is always being hurled towards the outer tend to create a series of fixed ‘realities.’ logic inflate a linguistic detail into a dated edge into intractable trajectories that lead to These ‘discrete realities,’ which I would call system of meaning.” The aeroplane’s vertigo.” 3 Facing the inability of an absolute ‘imaginary paradigms,’ suppress the explanation hence reaches beyond articulation, categories and disciplines can be intermediate states to simplify classification; simplifications like “nature, progress and interpreted as vectors that direct thought onto or put it differently, to bring back order into speed,” as the arts dissolve pure classifications ‘tracks.’ Beyond Smithson’s understanding of chaos. 1 Recent art-science collaborations of “painting, sculpture and architecture.” 2 language as a three-dimensional object, these challenge the communication of process that Smithson’s analogy frames the significance of tracks verge towards linguistic cogitation and is further complicated when transformed onto language in the construction and the situational matter. They blend literal and the built environment. This essay is intended cartography of a definition. Language maps spatial imprints, creating the “syntax of sites.” 4 biornametics_280x187_n 13.11.12 10:51 Seite 71

71 TRANS-DISCIPLINARy ASPECTS

Smithson’s fusion of topological and spanned “the chasm between the humanities conducted at the MIT implements the typological qualities implies a comprehensive and sciences.” 7 Fuller’s comprehensive collaboration with more than sixty approach towards networks and their anticipatory design science also integrated disciplines. 11 Based on a continual crowd- framing. 5 Illustrated with Alexander Graham non-scientific aspects of metaphysical and feedback exchange, sensors and an extensive Bell’s (1847-1922) tetragonal lattices, Smithson physical experiences. 8 The method of data collection provide real-time information embraced a holistic picture that merged inclusion resonates in recent interdisciplinary about human activities, encompassing the imaginary, linguistic and bodily particularities. collaborations that chart the redesign of future reception through the public, science and Bell, commonly known as the father of the habitats. critics. 12 The active data acquisition and telephone, experimented with tetrahedral Biornametics, an arts-based research evaluation promises an evolutionary design structures in the construction of kites. The venture in Vienna, merges biomimetics and approach. Similar to Biornametics, these triangle-based modules resonate in Richard nanotechnologies with design principles in concepts expand visual convergences Buckminster Fuller’s (1895-1983) universe of order to transport models from nature onto between the arts and the sciences into a geometry. The latter exemplifies a complex the built environment. 9 The selective range of dynamic cycle of communication and creation. nexus between spatial visualization, evaluative criteria, which inter alia also Both encompass the world of growth and mathematical calculation and linguistic integrates intuitive aspects on perception, change into a complex system of networking. explication, each being incomplete without infuses the outcome with parameters beyond The latter is embodied in visual and linguistic the others. 6 Architect and theoretician Fuller’s the pure sciences. 10 Following innovative tracking, in the examination of relationships spherical systems of entities manifest a aspects in life sciences, the assimilation of and in the congruent modus operandi in process of constant transformability. nature and the constructed habitat aims to interdisciplinary teamwork that challenges the Embracing the whole, Fuller’s macroscopic offer ground for the re-assessment of development of a common ‘language’. ‘zooming out’ enabled an integral worldview of aesthetics in design approaches that Encountering single specialisations the totality. His concept of Synergetics fosters overcomes simple formal analogies with requires a digging through “the mine field of knowledge of the unique behavioral aspects of natural patterns. In contrast to Biornametics’ disciplinary disagreements.” 13 Each discipline complete networks. Although Fuller’s zooming into behavioral aspects of nature, the inherits a set of ideologies, standards and a approach leaves room for further queries SENSEable City Lab maps the ample pattern of specialised body of scientific ‘tools. ’14 The about his universalist mindset, challenging the human interaction in the urban space. In the dialogue is further complicated as closing significance of individual conditions, he quest for comfort and sustainability the project down discourses remains the major approach biornametics_280x187_n 13.11.12 10:51 Seite 72

72 TRANS-DISCIPLINARy ASPECTS on communicatinG ProcEss in art-sciEncE collaborations

in scientific practice and policy. 15 The closure of thought by deconstructing the integral art-science collaborations can serve navigation on a single ‘track’ creates a strong processual nature, I would broaden the stimu- as a well for a comprehensive semiotics. 23 foundation of theory that mirrors accuracy lus of interdisciplinary teamwork from how to The latter challenges the conventional and control. It leads to a small array of fuse equivocations and divergences into a development of a mutual narrative in cross- perspectives that form “‘unitary and prescrip- single “consistent model” into a question on relational perspectives, as it encompasses a tive’ policy advice.” 16 Subliminal processes how to communicate process. 19 visual, spatial and linguistic vocabulary. 24 prevail, however inaccessible. To sketch it The built environment animates discursive Moreover, such ventures induce perception beyond “fetishism” in scientific mapping approaches in the manifestation of process. As and understanding as an integral, behavioural practices as argued by Donna Haraway, these artist, scientist and futurist John McHale part of the scientist’s apparatus. Beyond methods transform process into “non-tropic, (1922-1978) once noted, “Shelter, even at the Haraway’s consideration that “heterogeneous real, literal things inside containers.” They fix lowest level, has psychological and social rationality” can be mistaken as a “fixed, “naturally bounded bodies” (land, people, dimensions – as setting for interpersonal seemingly objective thing,” I would further resources – and genes) inside ‘absolute’ relations, as ritual place, as social locus.” 20 emphasize the fundamental need for dimensions like space and time.” 17 “Opening- Interpreted as an organism, evolution in visualised transparency in processes. 25 Art- up” approaches on the other hand, induce a architecture exceeds mere form-generating science cooperation discloses a democratic deliberation that “centers on sustaining and scripts, but embraces a constant dynamic and influx of complexities that harbours the comparing a diversity of evaluative mobility of thought and practice. 21 The fundamental potential of abnormalities and frameworks rather than on forging common transformation from the imaginary, scientific aberrations. Appreciated as an act of “troping” ownership of a single framework.” 18 In the and digital into the physical encounters spatial these “cartographies of struggle” would optimum case, the latter initiate a wide and physical ‘fixed’ boundaries that challenge dissolve the conventional picture of pluralities spectrum of ambiguous outputs. Going beyond the adaptability of architecture. 22 Although from an intangible abstraction into an act of ‘finality’ as a conclusive act that inflects the desired prospects are yet to be determined, communication. 26

notEs 1968 ed., pp. 78-94, p. 94. 1 On the “slippery” concept of paradigm as in Thomas Kuhn’s structure of scientific 4 Smithson, R.: Development of an Air Terminal Site, in Flam J., Smithson R., repr. 1967 ed., revolutions and the discrepancies between paradigm in science and art, see Root- pp. 52–60, p. 55; regarding the interrelation between language and architectural bodies Bernstein, R. S.: On Paradigms and Revolutions in Science and Art: The Challenge of in Smithson’s oeuvre, see Sieburth R.: A Heap of Language. Smithson R., and American Interpretation, Art Journal 44, n°2, summer, 1984, pp. 109-118. Hieroglyphics, Tsai E. and Butler C. (eds.): Robert Smithson, Berkeley, Los Angeles and 2 Smithson, R.: Towards the Development of an Air Terminal Site, in Flam, J. (ed.); London: University of California Press, 2004, pp. 218-223. Smithson, R.: The collected Writings, University of California, Berkeley, Los Angeles, and 5 Smithson pursued the development of networks and their deployment in a “set of limits.” London, 1996 repr. 1967 ed., pp. 52-60, p. 52; Smithson’s considerations result from his Robert Smithson in: Earth, symposium at the Andrew Dickson White Museum of Art, work as an art consultant to engineers and architects Tippetts-Abbett-Mccarthy- Cornell University, Feb. 1969, in Flam J. (ed.); Robert Smithson, pp. 177-187, p. 181; citing Stratton’s Fort Worth regional airport in Dallas in 1966/67 for which he developed a philosopher Paul Valéry in his introduction, Smithson’s text ranks in the holistic project to be seen from the air. See also, Roth M.: An Interview with Robert Smithson metaphor of the whole that is raised by Jennifer Roberts’ reflection on Smithson’s (1973), in Tsai E. and Butler C. (eds.): Robert Smithson, Berkeley, Los Angeles and reference to hyperspace philosophy and the fourth dimension in works by Charles London: University of California Press, 2004, pp. 81-95, p. 91. Howard Hinton and Pyotr D. Ouspensky, see Roberts J. L.: Mirror-Travels: Robert 3 Smithson, R.: A Museum of Language in the Vicinity of Art, in Flam J., Smithson R., repr. Smithson and History, yale University Press, New Haven and London, 2004, p. 54. biornametics_280x187_n 13.11.12 10:51 Seite 73

73 TRANS-DISCIPLINARy ASPECTS dominika GloGowski

6 On the fundamental relationship between three-dimensional models and written 16 ibid, p. 279. explanation, see Krausse J.: Thinking and Building. The Formation of R. Buckminster 17 Haraway D.: Deanimations: Maps and Portraits of Life Itself, in Jones C. A. and Galison P., Fuller’s Key Concepts in ‘Lightful Houses’, in Chu, H.-y. and Trujillo, R.G. (eds.): New (eds.): Picturing Science Producing Art, Routledge, London and New york, 1998, pp. 181- Views on R. Buckminster Fuller, Stanford University Press, Stanford, 2009, pp. 53-75, 207, p. 184. p. 57. Algorithms as applied in current social media serve as recent interpretations of such 7 Fuller R.B., Cooper Hewitt exhibit Brochure, 1976 containers. At the TED conference in February 2011, Eli Pariser demonstrated that these http://www.bfi.org/aboutbucky/buckys-big-ideas/synergetics/tensegrity-1976 filter bubbles act as gatekeepers, permitting and denying the transmission of information (accessed: January 31, 2012); on Fuller’s view of the chasm between art and science as according to viewer’s profile and his preferences. Access to the entirety of information is proclaimed in C.P. snow’s influential two cultures, see Fuller R.B.: Prevailing Conditions forbidden. in the Arts, (address delivered in 1964) in Snyder J., (ed.), Fuller R.B. (ed.): Utopia or http://www.ted.com/talks/eli_pariser_beware_online_filter_bubbles.html (accessed: Oblivion. The Prospects for Humanity, Lars Müller Publishers, Baden, repr. 2008, pp. February 8, 2012). 115-152. 1969. 18 Stirling, “Opening Up” and “Closing Down”, p. 282. 8 see also Synergetics 200.06 19 Schwaninger M., Ulli-Beer, S. and Kaufmann-Hayoz R.: Policy Analysis and Design in http://www.rwgrayprojects.com/synergetics/s02/p0000.html Local Public Management: A System Dynamics Approach, Gertrude Hirsch Hadorn, ed., (accessed: February 12, 2012). Handbook of Transdisciplinary Research, Springer, Netherlands, 2008, pp. 205-221, p. 9 Biornametics is conducted by architect Barbara Imhof (LIQUIFER Systems Group), in 217. collaboration with Petra Gruber, transarch Vienna, the Institute for Microengineering and 20 McHale J. and Cordell McHale M.: Meeting Basic Human Needs, Annals of the American Nanoelectronics, University Kebangsaan Malaysia, the Centre for Biomimetics Reading, Academy of Political and Social Science, p. 442, The Human Dimension of Foreign UK, The Architectural Association London, UK and the University of Applied Arts Vienna, Policy: An American Perspective, 16, March, 1979, pp.13-27, p.15. for further reference see this compendium. 21 See also Evolutionary Architecture in Gruber, P.: Biomimetics in Architecture, 10 Biornametics lists e.g. “elegance” and “cool” as an aesthetical phenomenon and criterion Architecture of Life and Buildings, Springer, Vienna and New york, 2011, pp. 187-188. for evaluation. see Imhof, B. et al.: Biornametics. Architecture Defined by natural 22 These aspects, however, are also in a constant reciprocal relationship with respect to Patterns, Final report, May 11, 2011, p. 67. their development and application, see e.g. materials. 11 SENSEable City Laboratory is a transdisciplinary project conducted by architect Carlo 23 Projects like SENSEable city Lab’s the cloud encompass interdisciplinary collaboration in Ratti at the Massachusetts Institute of Technology (MIT), Cambridge. see also a broad team including artists and writers like Tomás Saraceno and Umberto Eco. Initially http://senseable.mit.edu/ (accessed: January 28, 2012). I am grateful to Carlo Ratti for his envisioned for the Olympics in London in 2012, the tower’s fate is yet unknown. The insight into his approach to transdisciplinarity, see email from Carlo Ratti, February 18, concept animates the discussion on how to transform the digital into the real. The 2012; regarding the quest for comfort, see McLaren, C.: The SENSEable City: an interview teamwork further challenges the meaning of ‘individuality’ in collaborative processes, with Carlo Ratti, BMW Guggenheim Lab, December 5, 2011 which embraces the question of ‘signature’ in artistic work or to put it differently, the http://blog.bmwguggenheimlab.org/ 2011/12/the-senseable-city-an-interviewwith- clearly distinguishable product. As Carlo Ratti however observed, “The promethean idea carlo-ratti/ (accessed: February 10, 2012). of the artist as genius is not actual anymore.” Email from Carlo Ratti, February 18, 2012; 12 The resemblances with an audience-feedback architecture in futurist concepts and on the cloud see http://www.raisethecloud.org/#home (accessed: January 29th, 2012). designs of the late 1960s that implemented computing into their interactive 24 James Elkins emphasized the intangible ‘status’ of visualizations that were adopted as constructional visions exceeds the scope of this paper. representational form of scientific thought and analysis, leaving art history (and as I 13 Fuchsman, K.: Disciplinary Realities and Interdisciplinary Prospects, metanexus.net, would add the art market) struggling for a definition of the image, almost twenty years September 1, 2011, http://www.metanexus.net/essay/disciplinary-realities-and- ago. Elkins, J.: Art History and Images That Are Not Art, The Art Bulletin 77, n°4, interdisciplinaryprospects (accessed: February 12, 2012). December, 1995, , pp. 553-571. 14 Fuchsman’s argumentation broadens the common “bias, prejudice, or conviction” 25 Haraway D.: Deanimations: Maps and Portraits of Life Itself, p. 186. related significance of ideology with a ‘fundamentalist’ like behavior that prevents the 26 ibid., p. 184. Haraway identifies “tropes” as “the nonliteral quality of being and of beholder from the recognition of his limits and legitimacy. I would enhance the debate language.” In this context I draw attention to Philip Galanter, who coined the term of with the question of ‘belonging’ as discussed in cultural studies. The belonging to “complexism.” The latter ‘loops’ between modern and postmodern positions on the ‘communities’ of disciplines warrants further inquiry. ibid. absolute and the relative, reconciling “determination” with “unpredictability.” Philip 15 I refer here to Stirling’s chart of instances of progress in science and technology beyond Galanter, “complexism and the role of evolutionary art” in: Romero J. and Machado P. the terms “commitment” and “appraisal,” in Stirling, A.: “Opening Up” and “Closing Down”, (eds.): The Art of Artificial Evolution. A Handbook on Evolutionary Art and Music, Power, Participation, and Pluralism in the Social Appraisal of Technology. Science, Springer, Berlin, Heidelberg and New york, 2008, pp. 311–332. Technology & Human Values 33, n° 2,16 March, 2008, pp. 262-294, p. 285. biornametics_280x187_n 13.11.12 10:51 Seite 74

rolEmodEls

37 role models from nature provided the foundation of the Biornametics research. They are an important element of the “scientific input” and are categorized into three main themes that are considered relevant issues in biomimetics and architecture: shape change and growth, nano-surfaces, adaptation and reorganisation. The role model information was processed into datasheets and working tools such as cards in order to perform the second phase: the pattern research. biornametics_280x187_n 13.11.12 10:51 Seite 75

roleModel 35 PENGUIN FEATHER Page 92 biornametics_280x187_n 13.11.12 10:51 Seite 76

76 ROLEMODELS

01 02 COLEOPTERA, SARRACENIA FLAVA, Jewel Beetle Pitcher Plant

toPic toPic 1 – nano surfaces 1 – nano surfaces and physical colour and physical colour

keYWords / Features keYWords / Features structural colour, iridescence growth shape, folding mechanism, surface aPPlication ideas adaptable camouflage; aPPlication ideas reflector systems grow complex topological (solar, traffic, signalling,…), surface shapes; self display systems (by adaptable cleaning cups; direct nano structure surface); application and use aestetic colour effects reproduction as isect trap; (facade, fashion); resize nano transportation systems structure; (ultra sliding surfaces, low friction)

incident reected (white) light (coloured) light Detail low friction surface

second hierarchy lamellas

Multi layer reector !ree-dimensional photonic crystal Diraction gratings

Insect araction paern First hierarchy lamellas biornametics_280x187_n 13.11.12 10:51 Seite 77

77 ROLEMODELS

03 04 MORPHO PELEIDES, VICTORIA AMAZONICA, Blue Morpho Butterfly Giant Water Lily

toPic toPic 1 – nano surfaces and 1 – nano surfaces and physical colour; physical colour; 2 – shape and growth 2 – shape and growth

keYWords / Features keYWords / Features morphogenesis, iridescence, lotus surface, deployment, structural colour growth, floating structure

aPPlication ideas aPPlication ideas textiles, interior walls, light-weight structurally strong facades; rescale of nanostructure for panels for buildings or vehicles. other purposes (p.e. acoustics,…); enhancing efficiency of photovoltaic colour coding arrays, floating photovoltaic for orientation; theatre stage arrays. expanding surface effects; Morphotex® for swimming systems, life rescue boats.

Structure Leaf surface – oating properties – photosynthesis – deploy mechanism caterpillar cocoon buer€y biornametics_280x187_n 13.11.12 10:51 Seite 78

78 ROLEMODELS

05 06 HALIOTIS, PAVO CRISTATUS, Red Abalone Shell Peacock

toPic toPic 1 – nano surfaces and 1 – nano surfaces and physical colour; physical colour; 2 – shape and growth 2 – shape and growth

keYWords / Features keYWords / Features lotus surface, deployment, fast deployment, iridescence, growth, floating structure structural colour

aPPlication ideas aPPlication ideas basis for composite adaptable shading material as coating; reinforcement systems in buildings; of existing structures; temporary structures complete facade coating; (roofs, walls); structural colour for aestetic and branding use; air fans;

Nacreous layer

1 mm Aragonite platelets (sti) Organic material (€exible) z compact erected deployed

x y Interlock of aragonite platelets 10 μm – increased stability biornametics_280x187_n 13.11.12 10:51 Seite 79

79 ROLEMODELS e r 08 09 o f e

b EICHHORNIA CRASSIPES, MIMOSA PUDICA,

d e

d Water Hyacinth Mimosa r a c s i toPic toPic . d

s s n a r 2 – shape and growth 2 – shape and growth e w

tt ; s a e p

g keYWords / Features keYWords / Features d a t n s

a

t geometry, function, lotus surface, deployment, motion s n e e r floating structure u m t aPPlication ideas p a e o f l

e

g aPPlication ideas deployable systems; v n e i t d

s geometric development for motion triggered , e s r e e p t floating buildings (flood areas,…), systems; a n i h

s

d sealing; floating water proof materials wardrobes & door , n y a g

c o (sector: boat, building); ships, ferries; mechanisms; l fi i o c h under water housing; water pavillion skin; e p p r s o purification; energy harvesting h m g

s u on water surfaces (swimming o e n r e

solar panels, etc.) u t o t n a

e o t F

e /

u s d

d n o r i t o a u W l a Y v e e

k f

o e

l d t n s i u o h r

T t

s , r E fi

A e h E t

C Air chamber A – !oating device R Hierarchical responsive joints E T S A

7 0 Water

instant water diusion Turgor bears cells shape permeability of cell membrane changes cells shape collapses biornametics_280x187_n 13.11.12 10:51 Seite 80

80 ROLEMODELS

10 11 BETULACEAE, IPOMOEA ALBA, Hornbeam Morning Glory

toPic toPic 2 – shape and growth 2 – shape and growth

keYWords / Features keYWords / Features deployable, folding deployable, folding, climbing tree aPPlication ideas foldable structures for aPPlication ideas extreme environments solar arrays for space (closed, semi-closed); variably (folding); sized support structures; growth solar shades under external forces; (umbrella, combine many to a pattern); signalling systems; temperature regulation element

Folding angle determines deployment speed and packed volume biornametics_280x187_n 13.11.12 10:51 Seite 81

81 ROLEMODELS

12 13 TRIDACNA GIGAS, ECHINOIDEA, Giant clam Sea Urchin

toPic toPic 2 – shape and growth 2 – shape and growth

keYWords / Features keYWords / Features rim growth, edge growth, shape, growth, self healing, nacre variable stiffness

aPPlication ideas aPPlication ideas Pollution control, remediation; monocoque structures, conservation. Buildings, greenhouses, able to grow and expand; stable coatings. Blade for wood-cutting; forms & structures landscape/park design (change of form/area through growth); complex geometries by layering instead of sectioning or tessellation; linear growth model, use curvature for stability; self-repairing structures

rim growth Section monocoque structure

Toothed hinges between plates biornametics_280x187_n 13.11.12 10:51 Seite 82

82 ROLEMODELS

14 15 ARABIDOPSIS DIODONTIDAE, EPIDERMIS Puffer Fish

toPic toPic 2 – shape and growth 2 – shape and growth

keYWords / Features keYWords / Features communication, extensivity, soft to rigid, information transfer fast deployment

aPPlication ideas aPPlication ideas component based temporary structures, adaptable systems; interaction of social units, any fabric structure with ability groups; social models to expand (compact for mobility, (e.g. workability) expanded for use); devices triggered by motion or touch; packaging; security doors; self protection (soft/rigid –> dangerous)

Cells programme Neighbours interaction Environmental inuence Hydrodynamic shape Defense mode biornametics_280x187_n 13.11.12 10:51 Seite 83

83 ROLEMODELS

16 17 HYLIDAE, Frog DASYPODIDAE, Armadillo toPic 2 – shape and growth toPic 2 – shape and growth; 3 – adaptation keYWords / Features and reorganisation extensivity, fast deployment keYWords / Features aPPlication ideas deployment, shape change temporary structures, adaptable units; any fabric structure with aPPlication ideas ability to expand; sound technology foldable structures, temporary (resonance); room volume and/or flexible stands or adaptation; waste water storage; units; handbag; portable fast change of air ratio (surface environments; robotic exploration expansion); material technology rover; structural differentiation (soft/flexible)

Head

Super stretchable material Fast volume/surface change

Tail Stretching Armored zones plates biornametics_280x187_n 13.11.12 10:51 Seite 84

84 ROLEMODELS

18 19 FICUS BENGHALENSIS, VINEA, Vine Banyan tree toPic toPic 2 – shape and growth; 2 – shape and growth; 3 – adaptation and reorganisation 3 – adaptation and reorganisation keYWords / Features keYWords / Features vine, tendrils, leaf patterns roots, desalination, structure aPPlication ideas aPPlication ideas reactive structural systems; renovation of old buildings; new structure within old parasitic structures; interweaving structure (e.g. new circulation of two systems; generative within old grown asian/arabic structures; circulation system city centres; add-ons); exploring around centre core; added layering system (unfolds when it in architecture senses environment okay); standalone fixing systems

Connection is tensioned by contrarotating windin

Tendril reduces length to shortest connection

Parasite utilises hosts structure Own structure is developed Eective hollow bearing structure by the parasite while host dies has substituted for hosts trunk Space exploration tendril rotates searching for contact search radius increases with growth of tendril biornametics_280x187_n 13.11.12 10:51 Seite 85

85 ROLEMODELS

20 21 ENTADA GIGAS, PINACEAE, Monkey ladder Pine Cone

toPic toPic 2 – shape and growth; 2 – shape and growth; 3 – adaptation and reorganisation 3 – adaptation and reorganisation

keYWords / Features keYWords / Features vine, roots, desalination, structure passive mechanism, fibre structure, deployment aPPlication ideas structural properties, long span aPPlication ideas structures, diversity of mechanical intelligent clothing reacting to architecture; extra long woven moisture; thermal und humidity textiles; control in building systems; responsive rain protection (low-tech, hydromorphic polymer); passive actuation fibre structures

Specialisation

Structure Structure Water transport Water transport Water transport Opening mechanism responding to ambient humidity

Double-curved geometric self sti!ening support structure

Hydromorphic material biornametics_280x187_n 13.11.12 10:51 Seite 86

86 ROLEMODELS

22 23 RHIZOPHORACEAE, SPIDER SILK Mangroves toPic toPic 2 – shape and growth; 2 – shape and growth; 3 – adaptation and reorganisation 3 – adaptation and reorganisation keYWords / Features keYWords / Features length adaptation, pattern roots, desalination, structure aPPlication ideas aPPlication ideas tensile structures, fabrics under constructions on soft or muddy high tension, artificial muscles; soils; construction areas in danger living environments as 3-d matrix; of floods; building structures extreme textiles/membranes; in marshland, adapting to increase structure to changing water/ground conditions, macroscopic size; different cities in shallow water, future construction paradigm: spider as perspective for netherlands and “building robot” Bangladesh etc.

Changing water level

Marsh

4 micrometres

100 nanometres 20 nanometres biornametics_280x187_n 13.11.12 10:51 Seite 87

87 ROLEMODELS

24 25 LEAF SHAPES SWARM BEHAVIOUR

toPic toPic 2 – shape and growth; 3 – adaptation and reorganisation 3 – adaptation and reorganisation keYWords / Features keYWords / Features communication, adaptive structure thermal adaptation, mechanical control, swarm behaviour adaptation, leaf growth, folding, aPPlication ideas deployment urban planning; organisation aPPlication ideas of circulation of people; shape/function relationship; collective communication; building energy input or dissipation; agents to coordinate and deployability, packaging robot build complex structures

Shape

simple individual behaviour

Margin

complex global eect

Veining biornametics_280x187_n 13.11.12 10:51 Seite 88

88 ROLEMODELS

26 27 CELL WALLS ARISTOLOCHIA, Pelican Flower toPic 3 – adaptation and reorganisation toPic 3 – adaptation and reorganisation keYWords / Features fibre structure, growth, keYWords / Features structural change vine, structural change, growth of complex shape aPPlication ideas facade, roof; self organising aPPlication ideas and repairing systems; topological adaptive development generative real architecture of surface shapes as voids, (provide parameters for unit's rooms, basins,…; create attraction method of growth); moving fibre (aesthetics); grow complex extruder shape; lightweight architecture; self-sealing systems; pneumatic structures, pipelines; self-repairing clothing, medical technology, etc

Cell sharing lamell a

Primary wall

Secondary wall (layers of cellulose brils ) Complex shape Insect araction interesting geometry biornametics_280x187_n 13.11.12 10:51 Seite 89

89 ROLEMODELS

28 29 SUCCULENTS, FORMICIDAE, Ants Living Stones toPic toPic 3 – adaptation and reorganisation 3 – adaptation and reorganisation keYWords / Features keYWords / Features communication, volume/surface ratio change traffic organisation

aPPlication ideas aPPlication ideas storage for rainwater or grey traffic organisation; efficient water usage within limited space; building processes; phone software; form-change geometry; evacuation systems with analysis environment adaptive building of availability and capacity of geometry possible routes (bottom up – digitalise ant system)

50 %

Adaptation of surface/volume ratio and shape 50 % as response to changing environment

10 %

90 %

Prefer shortest way optimize path capacity utilisation keep second path as option biornametics_280x187_n 13.11.12 10:51 Seite 90

90 ROLEMODELS

30 31 FISH FIN INSECT LOCOMOTION

toPic toPic 3 – adaptation and reorganisation 3 – adaptation and reorganisation

keYWords / Features keYWords / Features structural adaptation fast muscles, stability, robustness, failure tolerance aPPlication ideas adaptive mechanical systems; aPPlication ideas directing air flow in a building, hexapod robotics; new means of water flow; adaptive city structures transportation in uneven terrain; for extreme environments create surfaces to enhance or (antarctica; wind breaks); decrease friction for human feet wind guiding systems (adapting (traps); failure tolerance (losing channel size to desired air flow); one of six legs) adopt principal for formfinding (landscape)

Force Tripod based locomotion always stable Counter movement compensates rough terrain biornametics_280x187_n 13.11.12 10:51 Seite 91

91 ROLEMODELS

32 33 SELF HEALING BONE

toPic toPic 3 – adaptation and reorganisation 3 – adaptation and reorganisation

keYWords / Features keYWords / Features adaptation, growth, self healing adaptive material, lightweight structural system aPPlication ideas casting methods, concrete fibre aPPlication ideas composites; self healing light weight materials, membranes and polymers; optimised bearing structures; clothing, building skin; structure strengthening pressure vessel skins; in by pressure; environmental combination with…; adaptation of structure

Stress

Uniformly distributed bone materi

Force impact damages membrane

Adaptive structure reinforcement by densication

Hole closed by expanding foam cells biornametics_280x187_n 13.11.12 10:51 Seite 92

92 ROLEMODELS

34 35 OCTOPUS PENGUIN FEATHER

toPic toPic 1 – nano surface, physical colour; 3 – adaptation and reorganisation 3 – adaptation and reorganisation keYWords / Features keYWords / Features insulation, adaptive hierachy shape change mechanism, aPPlication ideas colour change fibre material adaptive to aPPlication ideas extremes, heat transfer and fibre material adaptable to insulation innovation,… extremes, camouflage colour adaptation,…

Squeezing muscle of Octopu s

Muscle bre s

d d- l+ l

the octopus changes the length of the tentacles by squeezing its muscle bres

Colour change function of Octopu s

Layers of sk in Colour sacs Insulation mod e Aquadynamic swimming mod e

the octopus has sacs of colour under its skin, which it uses to change its colours . biornametics_280x187_n 13.11.12 10:51 Seite 93

93 ROLEMODELS

36 37 STRELITZIA REGINAE, INSECT WINGS Strelitzia toPic toPic 3 – adaptation and reorganisation 3 – adaptation and reorganisation keYWords / Features keYWords / Features deployable structure shape change mechanism, passive aPPlication ideas actuation multiple mechanical functions,… aPPlication ideas passive actuation systems

Passive actuation of €ower apertur e

Hardshell and so wings unfoldin g

e bird as external force actuates the €ower by its weight to open the €ower bud to pollinate. biornametics_280x187_n 13.11.12 10:51 Seite 94

94 BIOGRAPHIES ProJEct tEam

lEad PartnErs

BARBARA IMHOF PETRA GRUBER GREG LyNN GEORG GLAESER ARNE HOFMANN Barbara Imhof – editor, project lead, Petra Gruber – editor, co-project Greg Lynn is founder of Greg Lynn Georg Glaeser is a Professor for Arne Hofmann is managing director architect, LIQUIFER Systems Group, lead, architect, transarch, Vienna, Form, Los Angeles. He graduated geometry and mathematics at the of Bollinger Grohmann Schneider Vienna, Austria Austria from Miami University of Ohio with University of Applied Arts Vienna ZTGmbH, the Vienna based branch Barbara Imhof has a background in Petra Gruber gained a PhD in degrees in both architecture with a long track of numerous of of B + G engineers. Examples of the architecture, having studied at the Biomimetics in Architecture in 2008. (Bachelor of Environmental Design) publications in his field. His most office’s work include the Vienna University of Technology VUT, She has extensive experience in and philosophy (Bachelor of recent books are called: Wie aus der Hungerburgbahn NEU in Innsbruck Bartlett School UCL, London, and carrying out biomimetic design Philosophy) and later from Princeton Zahl ein Zebra wird – ein (Zaha Hadid Architects) and the graduated from the Angewandte projects, and has collaborated as a University where he received a mathematisches Fotoshooting (Oct. Vienna DC Towers (Dominique (Studio Wolf D. Prix). She additionally research fellow at the Centre for graduate degree in architecture 2010) and A Mathematical Picture Perrault). As a trained architect Arne holds a Master of Science from the Biomimetics at the University of (Master of Architecture). He received Book (together with Konrad Polthier, Hofmann operates at the interface International Space University in Reading, UK, in 2007. She has taught an Honorary Doctorate degree from Berlin). Springer Berlin/Heidelberg between architecture and structural Strasbourg, France and a PhD in as a guest professor at the Vienna the Academy of Fine Arts & Design in (Sep. 2012). engineering. At the University of space architecture from VUT. She Academy of Fine Arts, and was Bratislava. In 2008, he won the Applied Arts, Vienna he is working taught at the VUT (assistant Assistant Professor at the Golden Lion at the 11th International on the research project “Algorithmic professor 8 years), the ETH Zürich Department for Design and Building Venice Biennale of Architecture. Generation of Complex Space and amongst others at the Chalmers Construction at the Vienna Greg Lynn has been at the cutting Frames”, within the constitutive University in Gothenburg. She University of Technology for eight edge of design in both architecture principles of the design of structures combines artistic with scientific years, where she set up the TU and design culture in general when it with emergent load bearing education. She has lived in various Bionik Center of Excellence. comes to the use of the computer. capacities were established. places in Europe and the U.S.A. Currently, she works in her own The buildings, projects, publications, where she is integrated into large company, transarch, on biomimetic teachings and writings associated networks. She founded LIQUIFER and trans-disciplinary design with his office have been influential Systems Group, a platform of experts projects, in collaboration with an in the acceptance and use of from different backgrounds international network of scientists. advanced technology for design and (engineering, science, architecture, She teaches Biomimetics in Energy fabrication. Greg Lynn has taught design) collaborating on R&D Systems at the University of Applied throughout the United States and projects. She has led some of these Sciences in Villach, Austria, at the Europe. He is currently University research projects, e.g. “ISS-Sleep- Department for History of Professor at the University of Kit – Design for a sleeping bag for Architecture and Building Applied Arts in Vienna. In addition, astronauts” and “RAMA – Rover for Archaeology at the VUT and he is the Davenport Visiting Advanced Mission Applications”. internationally in lectures and Professor at yale University and a Barbara Imhof also runs her own workshops. leading Research Professor at the broadcast in the cultural section of She has published the book University of California, Los Angeles. Radio Orange 94.0. “Biomimetics in Architecture: Recently, she received the Polar Star Architecture of Life and Buildings” in Award from the Austrian Space 2011. Forum for outreach activities in 2011 and the FEM-Tech award for research and technology in 2012. biornametics_280x187_n 13.11.12 10:51 Seite 95

95 BIOGRAPHIES

EXPErt rEsEarchErs & ProJEct tEam sPEcialists

ILLE C. GEBESHUBER GEORGE JERONIMIDIS WALTRAUT HOHENEDER CLEMENS GRüNBERGER Ille C. Gebeshuber, physicist, Institute George Jeronimidis, chemist, Centre Waltraut Hoheneder, architect, Clemens Grünberger, programmer, of Microengineering and for Biomimetics, Reading; LIQUIFER Systems Group, Vienna, physicist, Vienna, Austria. Nanoelectronics, Universiti Architectural Association, London, Austria Clemens Grünberger holds a degree Kebangsaan, Malaysia, University of United Kingdom Waltraut Hoheneder is an architect, in applied physics from the Vienna Technology, Vienna, Austria. George Jeronimidis was director of product designer and researcher. University of Technology and a Ille C. Gebeshuber is a physicist with the Centre of Biomimetics at the She holds a diploma in architecture Masters in engineering from Ecole special focus on tribology, University of Reading, UK, and is one at the University of Applied Arts Centrale Paris. His interests centre nanotechnology and biomimetics. of the key researchers in Vienna and a diploma in around scientific software and She is Professor at the Institute of biomimetics worldwide. His International Business Studies at the interdisciplinary research. His Microengineering and background is in chemistry and his Vienna University of Economics and professional career includes Nanoelectronics (IMEN), Universiti work is mainly focused on Business, and also studied Product research on open innovation in an Kebangsaan Malaysia. She also has a engineering. He is member of Design. Her professional experience Internet startup in the Netherlands permanent affiliation in Austria at several scientific boards. His current ranges from market research studies and work on satellite data processing the Institute of Applied Physics at the research interests cover biomimetics, to design responsibilities in large- with the European Space Agency. In Vienna University of Technology. She plant and animal biomechanics, scale architectural projects. She is 2009 he founded his own software has extensive experience in wood science, smart materials and co-owner of LIQUIFER Systems consulting company based in Vienna, Biomimetics and interdisciplinary structures, mechanics of composite Group, focusing on conceptual Austria. research projects. systems, sensing and actuation. He research and projects in the field of lectures as biomimetics consultant in technological and demographic the Emergent Technologies Masters changes and their potential for Programme at the Architectural future societal developments. Association (AA) school of architecture in London. biornametics_280x187_n 13.11.12 10:51 Seite 96

96 BIOGRAPHIES

studEnt rEsEarchErs

MORITZ DöRSTELMANN JOSEPH HOFMARCHER BIKA SIBILA REBEK LISA SOMMERHUBER NATASHA (CHOMPOONUT) Moritz Dörstelmann, architecture Joseph Hofmarcher, architecture Bika Sibila Rebek, architecture Lisa Sommerhuber, architecture CHAyAAMOR student, studio Zaha Hadid, student, studio Greg Lynn, University student, studio Greg Lynn, University student, studio Greg Lynn, University Natasha (Chompoonut) Chayaamor, University of Applied Arts, Vienna, of Applied Arts, Vienna, Austria of Applied Arts, Vienna, Austria of Applied Arts, Vienna, Austria PhD design student, Second Austria Joseph Hofmarcher has been Bika Rebek graduated in Architecture Lisa Sommerhuber studied at the University of Naples, Italy Moritz Dörstelmann started his studying architecture in the studio from the University of Applied Arts, University of Applied Arts, Vienna Natasha Chayaamor studied design architecture studies at the RWTH Greg Lynn at the University of Vienna in January 2011. During her with Greg Lynn, Zaha Hadid and Kivi at the Victoria University in Aachen University in 2005. Since Applied Arts, Vienna since 2007. His studies she collaborated with and Sotamaa and graduated in 2011. In Wellington, New Zealand, and at the 2009 he has been studying in the special skills also include model taught in the Industrial Design Studio 2009 she also studied at the Polytechnic of Milan in Italy. She has master class of Zaha Hadid at the building, which he has been and spent a guest semester in the University of California Los Angeles. international workshop experience University of Applied Arts in Vienna, teaching in the Lynn studio. Before Fashion Department. She is She has a passion for both managing and is interested in science, biology where he is currently working on his his academic studies he went interested in learning from other design processes such as building and music theory. Currently she is diploma project. His special interest through a comprehensive technical disciplines and incorporating them intricate models using rapid working on her PhD at the Second and focus lies in the field of dynamic, education, and practised in several into architectural design, thus prototyping techniques and also University of Naples, Italy. Her adaptable architecture including architecture offices in Austria and stimulating a continually fresh representing complex geometries research is focused on Relationships kinetic structural systems with Switzerland. approach. She believes that learning with detailed and accurate drawings. between Architecture & Design, embedded environmentally driven from Nature in particular is an She has worked for Greg Lynn Form Methodology and Science: a Process responsive behaviour. He is going to extremely important and fruitful field in Los Angeles, Differnet Futures in Strategy from a Biomimetic pursue his research in this field as a that will lead to increased Vienna, ACME Space in London and approach towards Innovation and doctoral candidate with Achim sustainability and efficiency, as Project Assistant for Peter A Vikar. Sustainability in Architecture and Menges at the Institute for including new aesthetic agendas. Design. Computational Design at the She is currently based in New york. University of Stuttgart.

RANGEL KARAIVANOV KOUROSH ASGAR-IRANI JOSIP BAJCER Rangel Karaivanov, architecture Kourosh Asgar-Irani, architecture Josip Bajcer, architecture student, student, studio Greg Lynn, University student, studio Zaha Hadid, studio Zaha Hadid, University of of Applied Arts, Vienna, Austria University of Applied Arts, Vienna, Applied Arts, Vienna, Austria Rangel Karaivanov has been studying Austria Josip Bajcer is currently studying architecture in Studio Greg Lynn at Kourosh Asgar-Irani is currently architecture in the master class of the University of Applied Arts, studying architecture in the master Zaha Hadid at the University of Vienna since 2009. His interests lie class of Zaha Hadid at the University Applied Arts in Vienna. His main in the theoretical development of of Applied Arts in Vienna. His main interest lies in the fusion between the field as well as in new digital and focus lies on digital design and computational design methods and physical realization methods of model fabrication with CNC their materialization and digital projects. His special skills include Technology, which he is now fabrication, which he is currently CNC fabrication, which he teaches in teaching at the Studio Hadid. teaching in the Studio Hadid. Josip Studio Lynn. Kourosh Asgar-Irani started his Bajcer went through a academic education at the Vienna comprehensive technical education. University of Technology, where he He is now working in an got a well-founded technical architectural design office, realising education in addition to his previous several exhibition designs for leading art education. He is also working in Austrian Museums such as the an architectural design office, mainly “Kunsthistorisches Museum-Wien” for exhibition design for leading and the “Hofburg-Wien”. Austrian museums. biornametics_280x187_n 13.11.12 10:51 Seite 97

97 BIOGRAPHIES

contributors of statEmEnts and Essays

JENS BADURA MATIAS DEL CAMPO, ERNST J. FUCHS (the next DOMINIKA GLOGOWSKI JULIAN F.V. VINCENT Jens Badura, Dr. habil., MAS, studied SANDRA MANNINGER (SPAN) ENTERprise) Dominika Glogowski is an artist Julian F.V. Vincent is a biologist who Philosophy, Biology, Political Matias del Campo studied Ernst J. Fuchs studied architecture and art historian and founder of has pursued the topic of biomimetics Sciences and Cultural Management architecture at the University of at the University of Applied Arts artEC/Oindustry. Glogowski’s especially in materials science since in Innsbruck, Constance, Tübingen Applied Arts Vienna (A)/ 2006 in Vienna and founded the next research on transnational exchanges 1968, when he started his career at and Vienna. He was amongst others Research visit in Los Angeles (USA), ENTERprise – architects together in art and architecture between the University of Reading, UK. He a research associate at Max-Weber- Schindler Scholarship, MAK Artists with Marie-Therese Harnoncourt Japan, Europe and the United States carried out research and taught as a Kolleg (Erfurt), at Ecole des Hautes and Architects-in-Residence in 2000. Their works range from charts the impact of science and Professor at Reading and the Etudes en Sciences Sociales (EHESS, Program/ Professor for installations and experimental technology on art production and University of Bath, UK, at the Centre Paris) and Assistant professor at Computational Design and Ecology, interventions in urban space to transfer from the space and for Biomimetic and Natural University Paris 8 (Vincennes-Saint Fudan Umiversity, Shanghai, China. specific building projects. tnE electronic age to the present. Technologies, Department of Denis). Currently he is Lecturer and Guest Professor at the Dessau received numerous awards and Her her writings and work at Mechanical Engineering. He was part PhD-supervisor at several Institute of Architecture (D) Lecturer were nominated for the Mies van artEC/Oindustry challenge the role time lecturer at the Royal College of Universities and Arts schools in at UPenn, University of Pennsylvania, der Rohe Award for Lakeside Bath of art in collaborative processes Art & Design and Imperial College Austria, France, Switzerland and Philadelphia (USA)/ curator Caldaro (IT) and Cloud Tower – between the arts and the industry. London until 2010. He has extensive Germany in the field of philosophy Architecture Biennale Beijing, 2008, open-air pavilion (AT). Guest experience in the field and worked of arts and culture, aesthetics and 2010 Latin American Section. Professor at Academy of Fine Arts HERBERT STACHELBERGER in many interdisciplinary contexts, art-based research. He is Head of & Design Bratislava, University of Herbert Stachelberger studied such as mechanical engineering, the Research Focus “Performative Sandra Manninger studied Innsbruck, Lecturer at Vienna Technical Chemistry at the Vienna materials science, architecture, Practice” at the Institute for the architecture at the Vienna University University of Technology, University University of Technology (PhD 1971 design, creativity, biology, materials, Performing Arts and Film (IPF) at of Technology (A). In 2006 she was a of Art & Design Linz. Lectures in with disctinction) where he was food physics, food texture. He is, and Zurich University of the Arts (ZHdK), research fellow with the Schindler Austria and abroad. Assistant Professor. He habilitated has been, a member of numerous senior researcher at SINLAB (Ecole Scholarship, MAK Artists and 1978 in the field of Technical scientific and advisory boards. He Fédérale Polytechnique de Architects-in-Residence Program in Microscopy and held a full co-founded the Centres of Lausanne), and Head of the Platform Los Angeles (USA). Currently she is professorship for Botany, Technical Biomimetics in Reading and Bath and for Artistic Research in Austria teaching architecture as guest Microscopy and Organic Raw is President of the International (PARA). professor at the Dessau Institute of Materials Science between 1984 and Society for Bionic Engineering. http://www.konzeptarbeit.at Architecture (D) and at the ESARQ, 2011 until his retirement. He is Currently he is Honorary Professor Universitat Internacional de member of several scientific boards of Biomimetics at Bath, Special Catalunya (E) as well as a professor and has published extensively, Professor in the Dept. of the Built at the DTMA program of the Fudan covering various topics of Environment at Nottingham and University, Shanghai, (China). microscopic and/or chemical Scientific Advisor of the company investigations of materials of Swedish Biomimetics 3000. organic-biological origin. Between 2008 and 2011 he was a speaker of the TU BIONIK Center of Excellence. biornametics_280x187_n 13.11.12 10:51 Seite 98

98 PHOTO CREDITS

Photo crEdits

All photos and diagrams which are not explicitly listed are under the Copyright of the BIORNAMETICS team.

Page 37, 42, 44/45: Copyright Bruno Stubenrauch Page 76: 01 COLEOPTERA, Jewel Beetle: John Tann http://www.flickr.com/photos/31031835@N08/6368405389/sizes/o/in/photostream/ CC 2.0 Page 82: 14 ARABIDOPSIS EPIDERMIS: Tim McCormack http://commons.wikimedia.org/wiki/File:Arabidopsis_flowers_and_seedpods_P.2005.04.04.jpg, GNU Free Documentation License Page 82: 15 DIODONTIDAE, Puffer Fish: bottom photo: Jean-Luc 2005 http://de.wikipedia.org/wiki/Datei:Kugelfisch.jpg Page 83: 16 HyLIDAE, Frog: Brian Gratwicke, http://en.wikipedia.org/wiki/File:Dendropsophus_microcephalus_- _calling_male_%28Cope,_1886%29.jpg, CC 2.0 Page 83: 17 DASyPODIDAE, Armadillo: top photo: U.S. Fish and Wildlife Service, Hollingsworth, John and Karen http://de.wikipedia.org/w/index.php?title=Datei:Dasypus_novemcinctus.jpg&filetimestamp=2010 0204214145, Public Domain Page 83: 17 DASyPODIDAE, Armadillo: bottom photo: http://en.newikis.com/commons_File:South_American_armadillo_-_desc-curled_up_-_from- DC1.jpg.html, GNU Free Documentation License Page 84: 18 FICUS BENGHALENSIS, Banyan tree: Kyle Simourd, 2006, http://www.flickr.com/photos/89241789@N00/page9/, CC 2.0 Page 84: 19 VINEA, Vine: John Sullivan, http://pdphoto.org/PictureDetail.php?mat=pdef&pg=5156, Public Domain Page 86: 23 SPIDER SILK: FH-Prof. Dipl.-Ing. Dr. techn. Lars Mehnen, MSc Anna Weihs, Fachhochschule Technikum Wien, 2012 Page 88: 26 CELL WALLS: UAF Center for Distance Education, http://www.flickr.com/photos/uafcde/2233758/ CC 2.0 Page 88: 27 ARISTOLOCHIA, Pelican Flowerhttp://commons.wikimedia.org/wiki/File:Aristolochia_labiata.jpg, Public Domain Page 89: 29 FORMICIDAE, Ants: Zainichi Gaikokujin http://en.wikipedia.org/wiki/File:Ants_eating_fruit.jpg, CC 3.0 Page 90: 31 INSECT LOCOMOTION: bottom photo: Rob and Stephanie Levy 2009 http://www.flickr.com/photos/robandstephanielevy/3207432836/in/photostream/, CC 2.0 Page 91: 32 SELF HEALING: Copyright Plant Biomechanics Group Freiburg Page 92: 35 PENGUIN FEATHER: top photo: Dr. Paul Ponganis, National Science Foundation http://en.wikipedia.org/wiki/File:Emperor_Penguin_Leap.jpg, Public Domain Page 92: 35 PENGUIN FEATHER: bottom photo: picture courtesy Featherfolio http://commons.wikimedia.org/wiki/File:Penguin_Rockhopper%2B.jpg CC 3.0 Page 93: 37 INSECT WINGS: Brian Fagan, 2011 http://www.flickr.com/photos/diamondace/5987624104/in/photostream/, CC 2.0 biornametics_280x187_n 13.11.12 10:51 Seite 99

99 biornametics_280x187_n 13.11.12 10:51 Seite 100

100