LITERATURE REVIEW

CHAPTER 2

LITERATURE REVIEW

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Introduction:
world facing limited resources, nuclear proliferation, and a climate out of synchronization. In such a
situation, letting nature take a role as teacher has a logic that crosses academic barriers and suggests that
the study of natural processes is a valuable component and potentially an equal partner with traditional
biological disciplines researching nature. By automating parts of the design process, computers make it
easier to develop designs through versioning and gradual adjustment. New design software enables the
writing of scripts and codes, that when coupled to simulations of dynamic structural and environmental
loads have the potential to extend design processes from the development and fabrication of a singular
static artifact or building to families of variant forms that can respond to varying conditions.
Current development in computer software and technology represents an opportunity to fully explore the
potential and benefits of biological principles found in nature, and their application in the process of
architectural design, in an attempt to produce a more sustainable or regenerative built environment.

Why Choose A Biological Theme?

There are characteristics of designed objects such as buildings, and characteristics of the ways designs are
produced, viewed both at an individual and at a cultural level, which lend themselves peculiarly well to
description and communication via biological metaphor. The ideas of ‗wholeness‘, ‗coherence‘,
‗correlation‘and ‗integration‘, used to express the organized relationship between the parts of the
biological organism, can be applied to describe similar qualities in the well-designed artifact. The adaptation
of the organism to its environment, its fitness, can be compared to the harmonious relation of a building to
its surroundings, and, more abstractly, to the appropriateness of any designed object for the various
purposes for which it is intended. Perhaps most significantly it is biology, of all sciences, which first
confronted the central problem of teleology, of design in nature; and it is very natural that of all sciences it
should for this reason attract the special interest of designers. (Steadman P. 2008)
A second point is that as a matter of historical fact, it has been biology out of all the sciences to which
architectural and design theorists have most frequently turned. Indeed it is surprising, in view of the ubiquity
of biological references and ideas in the writings of the architectural theorists of the last hundred years, that
no work of book length has so far been devoted to the history and theory of biological analogy. The history
is certainly a fragmented one, leading into many remote corners and backwaters of the architectural
literature. Nevertheless analogy with biology is a constant and recurring theme. (Steadman P. 2008
2.1 Definition and Description of Main and Secondary Issues:
2.1.1 Introduction:
Biomimicry, where flora, fauna or entire ecosystems are emulated as a basis for design, is a growing area
of research in the fields of architecture and engineering. This is due to both the fact that it is an inspirational
source of possible new innovation and because of the potential it offers as a way to create a more
sustainable and even regenerative built environment. The widespread and practical application of
biomimicry as a design method remains however largely unrealized. A growing body of international
research identifies various obstacles to the employment of biomimicry as an architectural design method.
One barrier of particular note is the lack of a clear definition of the various approaches to biomimicry that
designers can initially employ. (Pedersen Zari, M. 2007)

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2.1.2 Importance:

2.
1.3 Design approaches: Approaches to biomimicry as a design process typically fall into two
categories: Problem-Based Approach and Solution-Based Approach explained in the following paragraphs.

SOLUTION-BASED APPROACH

2.1.3.1 problem-based approach:

• Design looking to biology((Pedersen Zari, M. 2007)

• Problem-Based Approach.

• Top-down Approach‖ (Jean Knippers 2009)

• problem-driven biologically inspired design‖ (michael helms, swaroop s. vattam and ashok k. goel,
2 009)

In this approach, designers look to the living world for solutions and are required to identify
problems and biologists then need to match these to organisms that have solved similar issues.
This approach is effectively led by designers identifying initial goals and parameters for the design

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An example of such an approach is DaimlerChrysler‘s prototype Bionic Car (fig.1). In order to

create a large volume, small wheel base car, the design for the car was based on the boxfish
(ostracion meleagris), a surprisingly aerodynamic fish given its box like shape. The chassis and
structure of the car are also biomimetic, having been designed using a computer modelling method
based upon how trees are able to grow in a way that minimises stress concentrations. The
resulting structure looks almost skeletal, as material is allocated only to the places where it is most
needed. (Vincent et al., 2006).

FIG. 1.DAIMLERCRYSLER BIONIC CAR INSPIRED BY THE BOX FISH AND TREE GROWTH
PATTERNS.

FIG.2 TOP DOWN APPROCH.

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Steps for top down approch:

• Step 1: problem definition

• Step 2: reframe the problem

• Step 3: biological solution search

• Step 4: define the biological solution

• Step 5: principle extraction

• Step 6: principle application

(Michael Helms, Swaroop S. Vattam and Ashok K. Goel, 2009)

2.1.3.2 Biology influencing design:

• Solution-Based Approach

• Bottom-Up Approach.

• Solution-Driven Biologically Inspired Design.

When biological knowledge influences human design, the collaborative design process is initially
dependant on people having knowledge of relevant biological or ecological research rather than on
determined human design problems. A popular example is the scientific analysis of the lotus flower
emerging clean from swampy waters, which led to many design innovations as detailed by
Baumeister (2007a), including Sto‘s Lotusan paint which enables buildings to be self cleaning.

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Advantage and disadvantage:

• An advantage of this approach therefore is that biology may influence humans in ways that might
be outside a predetermined design problem, resulting in previously unthought-of technologies or
systems or even approaches to design solutions. The potential for true shifts in the way humans
design and what is focused on as a solution to a problem, exists with such an approach to
biomimetic design. (Vincent et al., 2005)

• A disadvantage from a design point of view with this approach is that biological research must be
conducted and then identified as relevant to a design context. Biologists and ecologists must
therefore be able to recognise the potential of their research in the creation of novel applications.

2.1.4 Levels of biomimicry:

• Within the two approaches discussed, three levels of biomimicry that may be applied to a design
problem are typically given as form, process and ecosystem (Biomimicry Guild, 2007). In studying
an organism or ecosystem, form and process are aspects of an organism or ecosystem that could
be mimicked.
• A framework for understanding the application of biomimicry is proposed that redefines these
different levels and also attempts to clarify the potential of biomimicry as a tool to increase

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regenerative capacity of the built environment. By defining the kinds of biomimicry that have
evolved, this framework may allow designers who wish to employ biomimicry as a methodology for
improving the sustainability of the built environment to identify an effective approach to take. The
framework that will be described here is applicable to both approaches (design looking to biology,
and biology influencing design). The first part of the framework determines which aspect of ‗bio‘
has been ‗mimicked‘. This is referred to here as a level. (Pedersen Zari, M. 2007)

• The organism level refers to a specific organism like a plant or animal and may involve mimicking
part of or the whole organism. The second level refers to mimicking behaviour, and may include
translating an aspect of how an organism behaves, or relates to a larger context. The third level is
the mimicking of whole ecosystems and the common principles that allow them to successfully
function.

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FIGURE 8: LEVELS OF BIOMIMICRY

2.1.4.1 Organism level:

An example is the mimicking of the Namibian desert beetle, stenocara (Garrod et al., 2007). The beetle
lives in a desert with negligible rainfall. It is able to capture moisture however from the swift moving fog that
moves over the desert by tilting its body into the wind. Droplets form on the alternating hydrophilic –
hydrophobic rough surface of the beetle‘s back and wings and roll down into its mouth (Parker and
Lawrence, 2001). Matthew Parkes of KSS Architects demonstrates process biomimicry at the organism
level inspired by the beetle, with his proposed fog-catcher design for the Hydrological Center for the
University of Namibia .where the surface of the beetle has been studied and mimicked to be used for other
potential applications such as to clear fog from airport runways and improve dehumidification equipment.

Nicholas Grimshaw & Partners' design for the Waterloo

International Terminal demonstrates an example of form what it looks like (form)
and process biomimicry at the organism level (fig. 10). The
terminal needed to be able to respond to changes in air
what it is made out of
pressure as trains enter and depart the terminal. The (material)
glass panel fixings that make up the structure mimic the how it is made
flexible scale arrangement of the Pangolin so they are (construction)
able to move in response to the imposed air pressure
forces. (Aldersey-Williams, 2003)
how it works (process)
what it is able to do
2.1.4.2 Behavior level (function).
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A great number of organisms encounter the same environmental conditions that humans do and need to
solve similar issues that humans face. As discussed, these organisms tend to operate within environmental
carrying capacity of a specific place and within limits of energy and material availability. These limits as well
as pressures that create ecological niche adaptations in ecosystems mean not only well-adapted
organisms continue to evolve, but also well-adapted organism behaviors and relationship patterns between
organisms or species.

(Reap et al., 2005)

2.1.4.3 Ecosystem level:

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2.2 presentations of argument- debates:

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2.2.1 michael sorkin has done numerous studies on how the shape of an animal’s exterior could be
translated into a building’s form. Sorkin is primarily interested in the experience of the form from the outer
side. He understands that most humans very rarely get to appreciate the internal structure of a body .
This does have its limitations. Since Sorkin is only interested in the outside appearance, the interior
becomes ambiguous in its form. The interior spaces are derived based on their functional responsibilities
and not based upon the ideals of zoomorphism.

The structure also has limited reference back to its zoomorphic roots. Sorkin incorporates whatever
methods needed to achieve the outside appearance and shape. There is no consideration given to the
structural form of the study animal in the translation to a building form.

2.2.2 nicholas grimshaw’s addition to waterloo station is based on the idea of a human hand. The
cupped “hand” reaches across the track to make an enclosure of the space.
Grimshaw’s design is more true to literal forms ideals but in the translation loses much of the principles of
the human hand. Looking at the conceptual sketch of the hand reaching across the track, one can see the
correlation of the skeletal structure to the structure of the building. However, much of this idea is lost in the
final structural configuration

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In the human hand the larger bones are found near the wrist; as the bones extend to the fingers, they
become thinner and lighter. Looking at the section of the station, Grimshaw puts the bulk of the structural
support towards the “finger” area and makes the “wrist” area thinner.
From the conception of the hand idea to the finished product, many of the rules of the structure of the
human body are broken. Grimshaw more than likely had to break these rules in order to be able to provide
the large span across the tracks and have a sound structural system that could be manufactured and
installed at reasonable cost.

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2.2.3 the ibm traveling pavilion by renzo piano is based upon the skeletal structure of winged
animal. Piano looked specifically at the wings of ducks, pterosaurs, and bats.

Since the pavilion was to be moved, it needed to be designed for easy disassembly and transport. To allow
for movement, piano used pin connections came from the joints in wings..

Metaphoric architecture:
To allow for movement, wings have a condition much like a pin connection. Ligaments and tendons encase
the bones and prevent bone on bone contact which could erode the surfaces of the bones and lead to
premature damage. In the pavilion, piano understood that the repetitive assembly and disassembly of the
structure could also lead to the surfaces becoming damaged. To solve the problem a membrane was used

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between the pieces to prevent any contact.

The wings use varying sizes of structural members and connections. This is because the wing becomes
thinner as it protrudes from the body. In the pavilion one size of connector was used. This lowers
production costs joints interchangeable which allows for a smaller number of replacement parts to be
carried along with the pavilion

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2.2.4 santiago calatrava: has

used features of an animal’s shape
and skeletal structure in many of
his bridge and buildings projects.
Calatrava understands the
opportunities that zoomorphism
can present and also its limitations.
In nature, the structure of a body
becomes smaller as less force is
applied upon the member. As we
build, the repetition of parts
becomes more practical. Identical
pieces are less expensive to
produce and can carry uniform
loads throughout the structure.

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Calatrava understands how a body varies in order to accommodate its various parts and forces. He also
understands that in order for construction to be economical and finished in a timely manner that exceptions
must be made to the rules of nature.
Understanding the harmony between nature and man’s creations are what make calatrava’s works
successful. He has successfully applied his ideas to numerous projects throughout his career. Calatrava
could possibly be considered the master of today’s zoomorphic architecture.

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2.3 research questions:

What is architecture?
- This question is not as easy to answer as; Architecture is building - is it not? And architecture is an art - is
it not? However, not all buildings are works of architecture. But why, even before we begin to reflect upon
the theory of architecture, do we assume that not all buildings are works of architecture? What makes the
difference? Is architecture the art of building? If so, then we should need to see how works of architecture
are to be circumscribed within the domain of building. What feature makes some, but not all, buildings
works of art? What is it that provides the status of 'work of art' that some buildings enjoy while others do
not? (Edward winters)
- Architecture must contain firmitas, utilitas et venustas (firmness, utility and
delight) Vitruvius.

Conclusion:
In architecture the main concern is what use is to be made of the artistic object, and this use is a condition
to which the aesthetic ideas are confined. In zoomorphic architecture or literal forms the main aim is the
mere expression of aesthetic ideas. Thus forms of, animals, and so on belong to biomorphic.

WHAT IS THE POTENTIAL OF SUCH A DESIGN

APPROACH?
HOW COULD BIOLOGICAL PRINCIPLES BE APPLIED IN
ARCHITECTURAL DESIGN ?
EXPLORING THE IMPORTANCE OF NATURAL FORMS ,
WHICH ARTIFICIALLY MADE BY HUMAN BEINGS.
WHAT ARE THE IMPORTANCE AND BENEFITS OF
NATURAL FORMS?
WHY DOES ONE FEEL TO INCORPORATE NATURAL
FORMS WITH OTHER FORMS?
WHAT IS AESTHETIC FORM IN ARCHITECTURE?
WHY ARCHITECTS AND DEVELOPERS ARE FOCUSING
THEIR DESIGNS ON NATURAL FORMS, IN FOREIGN
COUNTRY.
BUT NOT PRESENT IN OUR COUNTRY IN THAT SCALE.
HOW THEY CAN ADAPT THE DESIGN OF THEIR
BUILDINGS TO FUNCTION AS EFFECTIVELY?
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How artistic expressions can be incorporated in a build form to make it architecture?

Conclusion:
“If I can come to regard architectural features as framing the activities with which others pursue
their lives, then I can come to see those frames as regulatory over my own activities as I press
ahead with my ambitions. Lives, constituted by projects of one sort or another, are accommodated
in the environment we construct around those projects.

What is the importance of form in making architecture?

Consider two questions. What is the nature of tradition in architecture; and what part does architecture, as
a visual art, play in the lived world? (Edward winters)
• For it is in the everyday world of architecture that we can come to see that art is connected with our
way of living.

• When we considered architecture as a . Public art, we put a distance between the pursuit of
building and the Romantic idea of the artist as genius.

• Furthermore, from the spectator's point of view, we might think that the reception of architecture, its
appreciation, is a matter for everyone to celebrate.

• In considering works of architecture - works specifically brought into being to serve our purposes -
we do not merely inhabit buildings in order to proceed with the commerce of daily life. We prefer
some buildings to others just as we find we have preferences in the other arts,

Conclusion:
From my research I can see that since the beginning of time people are very fascinated about animal’s
ability such as the ability to survive in the extreme weather or an ability to move in such way that human
can not overcome. The true abilities of animals are still in a blur. People were hoping that using some of the
animal characteristic will help them to understand nature in the way that they never do before. I am still
finding the building which is totally zoomorphic from head to toe (roof to foundation) as animal adapt the
building should adapt, too.

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