Linking Architecture to Nature through Biological System - Research Proposal Example

Linking Architecture to nature through biological system Number Table of Contents Introduction 3 Kinetic Art 3 Kinetic architectural 6 Materiality and a natural revolution from mechanical to biological system 7 Examples 9 My project: proposal 18 Conclusion and Recommendations 22 References 23 Table of figures Figure 1 8 Figure 2 9 Figure 3 Esplanade Theatre 9 Figure 4 Eastgate Centre 10 Figure 5 12 Figure 6 13 Figure 7 Orgone Reef 14 Figure 8 Aurora 16 Figure 9: Showing movement of water spectrum caused by wind. 18 Figure 10 19 Figure 11 19 Figure 12 The arrangement of corks creates the radial movements. 19 Figure 13 20 Figure 14 21 Figure 15 Experiment 2: how different parts behave and move together. 22 Introduction Designing kinetic systems involves mechanical and technological principles while, Kinetic architecture weaves the electronic into architectural design, which will transform and respond to the users needs. Integrating different materials helps in redefining our physical environment that is reshaping our world. Consequently, the most stimulating fronts originate from the consensus of biology and architecture. Comprehensive knowledge of biological concepts coupled with structural behaviours has remained imperative in designing complex contemporary structures possessing architectural proposals and concepts. Essentially, several elementary ideologies relating to innate load-bearing structures that robustly fluctuate from those of the typical architectural customs. For example, natural constructions have characteristics relating to material continuity, attaining an ideal amalgamation of functionality, and materiality and geometry. However, current structures conventionally comprises of an amount of discrete elements having varied functionalities that leads to material discontinuity that have parts’ assembly becoming specifically challenging. Such challenges emanated from mechanical stress peaks, difficult joints and related issues. Answer to this question is by linking Architecture to nature through introducing the concept of waves, water and movement. When the Wind is blowing into the lake surface it will produce changing and movement in the surface of the water. Spectra project that derives awareness to the inherent responsibility of art in society raises awareness for environmental problems and highlights alternative production methods. Kinetic Art Kinetic art results from whatever medium, which contains movement that results from perception by an observer or is dependent on movement for its effect. Kinetic art earliest examples include the canvas paintings, which extent the artwork perspective of the viewer as well as incorporating multidimensional movement. Relevantly speaking, today kinetic art defines the three dimensional sculptures as well as figures like mobiles, which make movements naturally or through the operation of a machine (Tovey 1971). A motor, wind or even the viewer powers the parts that move generally. Kinetic art comprises of several overlapping techniques as well as styles. This day understood as a fragment of historical Lexicon art, few groups that were concerned with creation of art that incorporated movement (Christies, 2014) explored kinetic art simultaneously across the world. Part of kinetic art involves virtual movement, which is the motion perceived from certain angles only or even sections of the artwork. Virtual movement is a term that in most times clashes with ‘apparent movement’. Apparent movement relates to a term that most individuals will use when they refer to movement of artwork that generates from systems powered by electricity, machine or wind. Both virtual and apparent movements remain as part of kinetic art styles that have recently become arguably OP art styles (Loser 2005). Op art and kinetic art have overlapped; however, the overlap amount is insignificant in terms used by art historians as well as artists in consideration to merge both art styles under a single umbrella term, nevertheless, some distinctions needs design yet. Kinetic art originates from late 1800s impersonator artists like Edgar Degas, Eduard Monet as well as Edgar Monet who experimented originally with emphasizing the movement of canvas and human figures. The threesome impressionist artists all looked forward to creation of more lifelike art compared to their contemporaries. Though each of them did a unique approach for incorporation of movement into the works of art, each did so with the intension that it was the earliest. The racehorse portraits as well as the dancer of Degas are instances of what Degas believed as ‘photographic realism’ (Tehe Art History Org, 2014). The likes of Degas and other artists felt the necessity to test the motion on the way to photography with rich, musical landscapes and portraits. Auguste Rodin was an artist in the same period whose artwork supported the development of kinetic within art. His later movement criticisms indirectly the capabilities of Degas, Monet and Manet with the argument that it is not possible to sculpture a moment exactly in time as well as give it energy as seen in real life. In early 1900s, some artists grew much closer to assigning their artwork to dynamic motion. One of artists who participated in the naming of this art style, Naum Gabo, wrote regularly about his artwork as instances of ‘kinetic rhythm’ (Ghirado, 2009). Gabo felt that the motion sculpture construction was the 1st one of its kind within the 20th century. Since the 1920s to the 1960s, kinetic art underwent reshaping. Several other artists tried experiments with new sculpture forms and mobiles. Sculptures by Max Bill were the beginning movement style that was explored by kinetic art. Calder, Rodchenko and Tatlin particularly took the sculptures of stationery made in the early 20th century then gave them a slight motion freedom. The three started by testing movement that is unpredictable, then attempted to regulate their figures’ motion by use of technological improvements. ‘Mobile’ comes from ability for modification of how gravity as well as other atmospheric conditions affects the work of an artist. Despite the fact that there is a minor difference between kinetic art mobile styles, there lacks a difference that can be created. Mobiles will no longer be considered as so if their mobility is supported by an observer. This is one among the characteristics of virtual movement. Where a piece will move only under certain unnatural circumstances or where the observer controls movement even if how slightly, this figure will be operating under virtual movement. As at 1940s, new mobile styles and many paintings and sculptures incorporated the spectator’s control. When artists like Victor Vasarely developed several characteristics of virtual movement within their art, heavy criticism was faced by kinetic art. The criticism lasted for years until 1960s, the period when kinetic art went into a dormant period. The term apparent movement attribute to kinetic art, which grew in the period 1950s. Historians of art do believe that whatever kinetic art type with ability to move without the observers help has apparent movement. The style involves works ranging from the drip technique of Pollock all the way to the first mobile of Tatlin. As at the 1960s, the time when other historians of art had established ‘OP art,’ to mean optical illusions as well as art that was optically stimulating, that was on stationary and canvas. OP art frequently does clash with certain kinetic art aspects, which include generally stationery mobiles. In the year 1955, for movements of exhibition at the gallery of Denise Rene, which is in Paris, Pontus Hultet and Victor Vasarely used their yellow manifesto to promote new expressions of the kinetic art style based on luminous and optical phenomenon as well as illusionism of painting. The ‘kinetic art’ expression in the modern form at Museum fur Gestaltung in Zurich for the first time in the year 1960, then found its major growth I 1960s. Within most countries in Europe, it included generally the optical art form that uses optical illusions mainly like the OP art represented by Briget Reley, and the art based on motion represented by Cruz Diez, Nicholas Scoffer, Yacov Agam, Jesus Rafael Soto or Gregorio Vardanega. Since the year 1961 to 1968, an Opto-kinetic group of artists founded GRAV. In accordance with the 1963 manifesto, the group GRAV attracted the public’s direct participation through its behavioural influence, notably by using interactive labyrinths. In 2013 November 5000 moving parts opened by the MIT Museum. This was a kinetic art exhibition, which featured the works of Artha Gason, John Douglas and other artist. This exhibition installs ‘The Year of Kinetic Art’ featuring a special programming that relates to the form of the art, at the Museum. Kinetic architectural Kinetic architectural relates to either modifiable objects, which enthusiastically inhabits predefined physical space, or moving object that can share a common physical space to create adaptable special configuration.”( Fox &Kemp 2009) P26. “Robert Kronnenberg defines such a system of buildings or building components with a variable mobility, location, and/or geometry.” Kinetic function is described the main technological design strategies with respect to different contexts and variety of purposes such as human interaction in the built environment as developing their own patterns by physically controlling the environment (Fox 2009). Kinetic architecture classifies as pragmatic or humanistic. Pragmatic uses are dealing with reality and sensibility in a practical concerned in solving needs and optimizing solutions, within the efficiency of space. There is a thought analysing a motion in the interpretation of complexity originated from simplicity. Therefore, understanding the space as there is a person experiencing in motion, which will help imagine kinetic architecture as a real person who convert this space into place converting them as a meaningful space considered as a humanistic pressure (Fox 2009)? “Kotas describes that the architect of the past as a virtuoso performer, whereas “ the future architect develop into the creator of symphonies in space, colour, and form, space.” Chunck Hobert believes there is a psychological connection between transformation and life in term of emotional degrees: “When one sees this special behaviour of transformation, one feels it in one’s body-perhaps a physiological connection, because there is a sensation, physical sensation and mental perceptual sensation”. Creating a new ways of interacting users with the space is the architect ambitions by producing different ways of programing activities in such away. Willium zuk states in his classic literature that the contemporary assignment relates to unfreezing architecture in making a more vibrating and fluid structures that would alter living standards. An increasing, constricting, vivacious, modifying architecture would imitate life the way it is currently and remains integrated in design of buildings. Kinetic drifts in architecture surroundings could address practical and human needs. Materiality and a natural revolution from mechanical to biological system Humans have normally depended on nature concepts and occurrences for inspiration in solving complications. Leonardo da Vinci employed bio-mimicry to research on birds within the anticipation of facilitating human flight. He performed experiments of the structure and birds’ flight in making various notes and sketching of observations and countless drawings of anticipated "flying machines". While he was not triumphant with the flying machine, his facts existed as a source of motivation as applied by the Wright Brothers, who remained enthused by observing flying pigeons. They ultimately thrived in establishing and flying the historic airplane in 1903. Figure 1 Figure 1: Inspirational drawings designed after observing flight of birds especially pegion Left side shows design of a flying machine made by Leonardo in 1488. The plight of flying birds inspired him. Within the right and middle section designs of the first aeroplane made by Wright’s brothers exists after inspiration from observing pigeons. Current accomplishments exist in relation to the manner in which bio-mimicry remains applicable in designing building. Although buildings provide protection to individuals from extremeness of nature, it does not guarantee that they have nothing to discover from the biological field. Actually, natures repeatedly construct structures having functionality, which remains worth emulating by human-built structures. Biomimetic studies, scientific concepts, and applications constantly improve due to discoveries. Currently, such research and discoveries have affected the third generational building systems, designs, and products. For example, photovoltaic systems that yields solar energy, remains as an initial step at mimicking the way leaf harvests energy. Research is ongoing to generate solar cells that more intimately bear a resemblance to nature. These cells have the basis of water gel and fundamentally artificial leaves that links plant chlorophyll with carbon materials, eventually consequential in a more supple and inexpensive solar cell. Figure 2 Figure 2: Shows how energy system within plant leaf inspired design of photovoltaic cells Photovoltaic system gathers sun’s energy that gets motivated by the manner in which leaves gather sunlight as component of photosynthesis. Moreover, it is possible to create buildings, products, or processes that are intrinsically extra sustainable with better performance and principally uses minimal amount of energy. Furthermore, the creations can eliminate or generate fewer wastes, lessen material costs, and avail opportunities to establish current products and markets by initiating innovation. Examples Figure 3 Esplanade Theatre Michael Wilford and DP Architects designed Esplanade Theatre and commercial district situated in Singapore. The structures contain a detailed building skin that affected the appearance and role of the interiors under inspiration by the multifaceted Durian plant with its dreadful husk covered by thorns. The Durian plant employs us of its partially rigid under pressure skin to guard the seeds in the interior, similar to the manner a building exterior remains section of an highly structured shading system that alters during the day to permit sunlight in but defends the interiors not to overheat. Figure 4 Eastgate Centre A termite mound on the left side inspires design of the Zimbabwean Eastgate Centre situated on the right side. Termites contain astonishing capability to sustain practically steady humidity and temperatures within their termite mounds in parts of Africa notwithstanding exterior temperatures that varies between 35-104°F (3-42°C). Researchers previously scrutinized a termite hillock and produced 3-D images of the structure. The 3-D images showed construction that can directly affects design of human buildings. The Zimbabwean Eastgate Centre found in office complex within Harare employs a type of inactive cooling system analogous to the manner termite mound operates and remains cool devoid of air conditioning system. The termite mound applies only 10 percent of the energy relating to conventional building comparably to its size. The biological structure chosen as a functional model within this inherent research exists as exoskeleton of the American Lobster (homarus americanus). It acts as a normal lightweight fiber compound recognized for its exceptional functional flexibility and mechanical strength. On occasion of identification of the inherent morphological doctrines of the structure, there can exist transfer into a technological application. The technological transfer remains possible through computational design practice using robotic fabrication, architectural design, structural engineering, and material science that operates collectively to achieve a complete structure. Figure 5 Figure 5: Prototype pavilion obtained through filament winding of long unremitting composite fibers in control by computers (Reichert et al, 2014). The foundations of the American Lobster provide all the brilliant descriptions to play the role relating to sculpts of current architectural concepts. Beginning from the monosaccharide units, this kowtows to the consequent chitin polymer. A chitin-protein nanofiber-like system results from organization of sheets that rotates about a standard axis attaining a helical formation that continuously vary in composition, fiber orientation, and height according to its concluding purpose. Figure 6 The exoskeleton of arthropods relates to a fiber amalgamated hierarchically organized on multiple layers that provide excellent mechanical properties (Reichert et al, 2014). Beesley constructs exquisite thresholds that intercede between craft and manufacture. In addition, the buildings mediate between physicality and psychology or meaning and behaviour. His resourceful work has purposeful focused on the field of familiarized sculpture and landscape installations within the past two decades. Beesly upholds a rehearsal that entails sculpture with public buildings, exhibitory and stage design. Beesley established spaces that dissolve into forest-like perched fields, relations to primordial life outlines within ocean reefs and dense jungles. His receptive environments provide physical fascination and wide-flung discernment. Figure 7 Orgone Reef Orgone Reef defines an assumption relating to future appearance of a building’s skin. The project entails an interlinking matrix produced by a laser cutter controlled by a computer. The project investigates the potentiality of combining natural and artificial processes in creating hybrid ecology (Beesley, 2003, p. 1). Since its commencement, Orgone Reef has constantly remained remounted and reinterpreted. The remounting and reinterpretation consisted of modular component, acrylic, laser-cut polycarbonate, milled aluminium plate having attachments made of carbon-fibre tube attachments. Other components included Arduino microcontrollers, infrared proximity sensors, and mylar sheet containing nickel-titanium shape-memory alloy actuators. Orgone Reef contributes to a technical exercise in relation to construction and fabrication. The project relates to geotextiles that defines a contemporary category of materials employed for strengthen buildings and landscapes. A minimum quantity of raw material remains extended to establish a network creating a porous volume. During creation of the hybrid fabric, the design employs uses a non-repeating geometrical system and Penrose tessellation. The consequent structure operates reminiscent of an artificial reef that can sustain a living skin. Simultaneously, the inherent project introduces inquiry of our own rapport with the globe. The structure within the gallery consists of reflexive virtues that react to the observer, when pushing back. The extensive field structures provide bodily immersion and generate a wide-flung dispersion of discernment. The facts of the inherent structure remains intended to grasp and seize the things that remain in contact and consequently collect and digests buildings and its materials. The consequence relates to a distorted psychology that adjusts our affiliation with the structures that we construct. Informational sources for the aforementioned work comprises of twentieth and nineteenth century spiritualist texts that resides on creepy mixtures of apprehension and trust. It is imperative that the mentioned tradition concepts derives Orgone reef as title of the project. Wilhelm Reich, Freud student, proposes a restrained life force encompassing the globe, originating from the word ‘Orgone’. Reich, hinted by fascination, saw the earth as an intellectual, developing unit. His visions provide an emotional option to contemporary progress. Figure 8 Aurora Simons, West Edmonton Mall Edmonton, Alberta established in 2013 exists as an opening of Simons within the West Edmonton Mall and remains as the revered retailers initial locality exterior to the Quebec province. Having approximately 7 distinctive localities and a 170-year times past to its name. Simons remains known for his comprehensive supporter and vendor to Canadian art, architecture, and fashion. He decided to commission Philip Beesley to establish a foremost enduring installation within the interior of their contemporary West Edmonton Mall location that has about 115,000 square foot. Aurora derives its motivation inherently from the aurora borealis. The dance of elements and natural plays of light depends on probability interactions in addition to energetic confrontations. Beesley has visualized an extensive installation, which rejuvenates the human understanding within the midst of such exchanges, and provides the community with its own relations within an always-adapting sculptural architecture (Beesley, 2003, p. 1). The aforementioned sculpture consists of majority of individual mechanisms inclusive of acrylic, mylar, laser-cut stainless steel, custom computer-controlled circuitry, and, densely massed glass vessels. Aurora would establish a ghostly overhead canopy premeditated to soothingly bulge and ripple in an ocean of intellectual LED lights that reacts to viewers’ congregation below. My project: proposal The main significant concept the project entails linking architecture to nature issues while introducing other perceptions of water, waves and movement. When the Wind blows, on the lake’s surface, it causes inherent changes and movements within the water surface forming an adorable spectrum on water. Figure 9: Showing movement of water spectrum caused by wind. The design resulted from inspiration of Poppy Flower that remained floating on Water. Movement of the flower alongside water waves produces an inspirational design that directly affects architecture. Figure 10 Experiment 01: Views of radial movements Figure 11 Figure 12 The arrangement of corks creates the radial movements. Model making Figure 13 Proposed Design grid Figure 14 Figure 15 Experiment 2: how different parts behave and move together. Conclusion and Recommendations Because environment operates, using miniature feedback loops that continuously educating, adapting, and developing their surrounding and practice. Professionals within building design career can benefit directly from the inherent perspective. Such would facilitate designs to advance in recurring steps of study and development, finding and establishing current lessons. Moreover, it would apply the concepts persistently throughout the examination of a design. References Beesley, Philip. 2003. Orgone Reef. Web. January 2, 2015. Retrieved from http://www.philipbeesleyarchitect.com/sculptures/0126manitoba_orgone/orgoneinfo.html Beesley, Philip. 2014. Philip Beesley: Architect Incorporation. Web. January 2, 2015. Retrieved from http://www.philipbeesleyarchitect.com Ghirado, D., 2009. The Kinetic Years. Fletcher Benton: Hudson Hills Press. Kinetic architectures & geotextile installations: Philip Beesley, orgone reef project Leak, Darren and Uecker, Jacob. April 7, 2014. Turn Me On: European and Latin American Kinetic Art 1948-1979. Christies. Web. January 2, 2015. Retrieved from http://www.christies.com/privatesales/turn-me-on/ Loser, F., 2005. The Kinetic Works. Los Angeles: Louis Stern Fine Arts, p. 56. Román, Silvia. October 1, 2014. Biological solutions for architectural problems. Web. January 2, 2015. Retrieved from http://mappingignorance.org/2014/10/01/biological-solutions-architectural-problems/ Stecker, Tiffany and ClimateWire. 2014. "Artificial Leaf" Might Provide Easy, Mobile Energy. Scientific American. Web. January 2, 2015. Retrieved from. http://www.scientificamerican.com/article/artificial-leaf-might-provide-mobile-energy/ Tehe Art History Org, 2014. Kinetic Art. Web. January 2, 2015. Retrieved from http://www.theartstory.org/movement-kinetic-art.htm Tovey, J., (1971). The Technique of Kinetic Art. London: B T Batsford. Unterberger, Carola. 2014. Portfolio: The Curators Research. Web. January 2, 2015. Retrieved from http://unterberger.servus.at/research/beesley Vierra, Stephanie. October 23, 2014. Biomimicry: Designing to Model Nature. WBDG. January 2, 2015. Retrieved from http://www.wbdg.org/resources/biomimicry.php Read More