Mohd Syazwan Bin Mohamad Anuar

ID NO: 26600765
MA Design Management
ARTD 6071 Responsible Design- Assignment 1
20 May 2014
4284 Words














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TABLE OF CONTENTS

Abstract.3
Ecological Design.......3
Biomimicry as Ecological Design Approach...7
Levels of Biomimicry..8
Case Study.....16
References.....22
List of Figures & Table.....23
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Abstract

In this essay we will look into theories of ecological design and its application
in various disciplines. A further discussion will be done on biomimicry and the
benefits of its application in the built environment. Case studies of Villa 003 by Rafi
Segal will be discussed as how biomimicry is applied in his design along with the
impacts and benefits mankind will obtain the concept of biomimicry.

Ecological Design

Humans have been trying to mould nature to conform to our needs for
centuries. This act of transformation has benefitted us but at the same has caused
multitude of problems. Consideration to the environments were not given when
buildings are being made, forest are cut to make way for more development. This in
a way has reduced our quality of life through inefficient energy use, water shortages
and even pollution. Ecological and green design are the two topics that has become
the talks of various fields especially in design. The utter importance of the subject
has become paramount with each and every day as the world is losing its natural
resources very rapidly.

The idea of ecological design is to create designs that conform to the
environment, hence significantly reducing energy use. By putting into consideration
of the impact towards the natural environment, utilisation of the environment to
improve the overall energy consumption and quality of life is possible. Ecological
design is a concept that is directly correlated to the concept of sustainability. Studies
published in Princeton Architectural Press (2003) estimates that the worlds
population will increase to almost double from 6.2 billion to 8-10 billion by the year
2025, consequencing in the increase of demand on natural resources and the
environmental impact we have on the environment from daily human activities.

Scott in 1999 defines ecological design specifically in the built environment as
the creation and responsible management of a healthy environment based on the
efficient use of resources and on ecological principles. Implementation of ecological
design in the built environment is a mean of improving the quality of life (Yang et. al.,
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2004). Yang suggests that basic principles of ecological and green design in building
industry are as follows:
1. Saving of existing material resources
2. Maintenance of a clean and healthy environment both in terms of topographic
changes and the level of air, water and soil pollution
3. Reduction of the embodied energy in buildings
4. Measures regarding the diminution of heat losses
5. Provides an optimal ratio between the surface of the envelope and the building
volume
6. Contributes the thermal insulation of the closing elements of a building
7. Ensuring of adequate thermal inertia
8. Contributes the creation of insulating spaces between environments with different
temperatures (buffer spaces in void areas)
9. Requires more efficient installations and equipment
10. Provides hierarchy of spaces requiring different temperatures and their
orientation in relation to the cardinal points
11. Requires use of renewable energy sources (solar, geothermal energy)
12. Provides optimization of natural ventilation
13. Encouragement of investments for the conservation of energy
14. Provides and increased awareness of users, adoption of more rational building
operation conditions

In short, ecological design is any form of design that reduces the negative
impact on the environment through adapting and integrating with the nature
(Ferreira, 2004). With that, ecological design lays an outline of design and
management that is suitable for the environment by blending ecological along with
anthropogenic values. Yang further highlights seven key aspects in regards to
ecological design:






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1. Meet the essential needs of humans:
Ensure the natural resources are not exhausted and the damage caused to
the environment does not exceed the tolerance level and capability of the
natural ecosystems. Eco-design is used to aid in finding alternative solutions
to manufacturing goods, constructions and planning more complex
enterprises while reducing the use of resources and avoiding damage to the
environment.

2. Move toward resource sustainability:
Eco-design attempts to attain an increasing reliance on renewable sources of
energy and materials, while standards of products and services quality are
maintained in unison to reducing overall use of resources, waste production,
and ecological damage through efficiencies of use, reuse, and recycling.

3. Preserve ecological integrity:
Ecosystems are environments that support biodiversity and natural
population, while also providing critical support for the human enterprise. It is
crucial to preserve the ecological integrity and must be measured as a key
element of economic sustainability. By itself, a purpose of eco-design is to
incorporate human activities with the structure and dynamics of natural flows
and cycles of resources, organisms, and energy.

4. Imitate natural ecosystems:
Natural ecosystems are categorised by complex patterns and dynamics of
biodiversity, resources, and energy, occurring at various spatial and temporal
levels. A vital objective of eco-design is to imitate the natural ecological merits
when planning for anthropogenic activities, so the resulting effects will be
relatively natural. Imitation of the structure and function of natural ecosystems
can be expressed in several ways, through:
design towards an unified web of economic and ecological activities
accommodate the natural system of ecological stressors and
disturbances

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5. Terminate natural debt:
Eco-design pursues to expansively account for all of the costs and
environmental implications of alternative choices of design. It involves a wide
range of environmental impacts in a whole, over the entire life-cycle of the
project. Designers should consider whether these comprehensive aspects of
project design contribute to meeting the needs of a proposed development, as
well as the possibility that there might be unfavourable environmental impacts.
Measure are to be taken to eliminate or reduce the negative environmental
impacts to avoid natural debt.

6. Protect natural habitat:
Some components of native biodiversity may be vulnerable to economic
activities, hence it is important to ensure that species and natural ecosystem
are not harm by development.

7. Boost environmental literacy:
Environmental protection is a broad social responsibility. As such, when eco-
designers begin to design a community, they must first understand the level of
environmental protection that is possible. There should then be agreement
among government, businesses, and the society on such key questions as
the degree of protection of natural habitat and the amount of investment in
pollution control. It must be known that environmental literacy is part of the
context of environmental protection because it influences how much people
are willing to spend for sustainable development.




















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Biomimicry as Ecological Design Approach

As the public becomes more aware to the concept of sustainability, people
starts to realize the massive impact our buildings have on our environments. More
and more new approaches of design, such as biomimicry, are progressively
undertaken to ensure a sustainable future (Benyus, 2008; Livingston, 2008). Many
growing numbers of critics suggest that the current sustainable practices such as
LEED, are insufficient despite the growing support for sustainable design (Keller and
Heerwagen, 2008).

Benyus, a figure in biomimicry and also a biologist, defines biomimicry as
imitating or taking inspiration from natures form and processes to solve the
problems faced by humans (Benyus, 1997). In her book, Biomimicry: Innovation
Inspired by Nature, works as the foundation for this discipline. Benyus argues the
need to mimic nature in able to achieve a sustainable future. Biomimicry will able us
to solve issues such as energy harvesting, medical, business, product design and
even how we will feed ourselves. Benyus puts more emphasis on product design in
her book rather than environmental design. Some examples include high strength
fabric inspired by spider silk, waterproof adhesive taking inspiration from mussels
ability to attach itself to the ocean floor and abalone shells for high strength
ceramics.

Ever since the publication of her book, more and more similar products are
being mentioned in various publications such as shoes soles inspired by the hoofs of
mountain goat by Katz in 2002, Velcro product taking inspiration from cocklebur seed
pods by Mueller in 2008 and paint colours inspired by the wings of a butterfly by
Smith in 2007. Even though these products have popularised the concept of
biomimicry, it still lacks of discussion and further enhancement for application of
biomimicry in our daily lives.

Environmental design is defined as design of the surroundings constructed by
humans. Environmental design could consist of a city, a building or even an interior.
Designers today are becoming more aware that they play a vital role in modelling the
built environment even though specialisation in the area is becoming more common.
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The Philosphy of Sustainable Design- the Future of Architecture (2004) managed to
draw attention of environmental designers after identifying biomimicry as an
important principle of sustainability. After the publication of this publication, Benyus
has acknowledge that the build environment is a great tool to expand the concept of
biomimicry (Livingston, 2008). Without a doubt, nature has been an inspiration to
designers for a long time but it has always been strictly limited to the form that nature
inspires us.

Levels of Biomimicry

Benyus highlights that by merely mimicking the natural form of nature misses
the point of sustainability despite knowing that form is a clear element of nature. She
further adds that in order to apply biomimicry holistically, it involves three levels of
mimicry which are the form, process and ecosystem (Benyus, 2008). Most designers
today only apply one aspect of the concept of biomimicry which is the form. This is
because the form is the most noticeable aspect of a design. A comparable literature
on the examination on the biomimicry that is more applicable to the built environment
was conducted Pedersen Zari in 2007.

The table that follows shows that biomimicry application can be divided into
three levels which are the organism, behaviour and ecosystem. With every of these
levels there are five further aspects of which the mimicry could exist. The biomimic
design may be from the aspect of form of which the shape is used, the material of
which the design is made of, how it is made or the construction, the process of how it
works and/or the function of the design.









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Level of Biomimicry Example- A building that mimics termites

Organism level
(Mimicry of a specific
organism)
Form The building looks like a termite.
Material The building is made from the same material as a termite; a
material that mimics termite exoskeleton / skin for example.
Construction The building is made in the same way as a termite; it goes through
various growth cycles for example.
Process The building works in the same way as an individual termite; it
produces hydrogen efficiently through meta-genomics for
example.
Function The building functions like a termite in a larger context; it recycles
cellulose waste and creates soil for example.
Behaviour level
(Mimicry of how an
organism behaves or
relates to its larger
context)
Form The building looks like it was made by a termite; a replica of a
termite mound for example.
Material The building is made from the same materials that a termite builds
with; using digested fine soil as the primary material for example.
Construction The building is made in the same way that a termite would build in;
piling earth in certain places at certain times for example.
Process The building works in the same way as a termite mound would; by
careful orientation, shape, materials selection and natural
ventilation for example, or it mimics how termites work together.
Function The building functions in the same way that it would if made by
termites; internal conditions are regulated to be optimal and
thermally stable for example. It may also function in the same way
that a termite mound does in a larger context.

Ecosystem level
(Mimicry of an
ecosystem)
Form The building looks like an ecosystem (a termite would live in).
Material The building is made from the same kind of materials that (a
termite) ecosystem is made of; it uses naturally occurring common
compounds, and
water as the primary chemical medium for example
Construction The building is assembled in the same way as a (termite)
ecosystem; principles of succession and increasing complexity
over time are used for example.
Process The building works in the same way as a (termite) ecosystem; it
captures and converts energy from the sun, and stores water for
example.
Function The building is able to function in the same way that a (termite)
ecosystem would and forms part of a complex system by utilising
the relationships between processes; it is able to participate in the
hydrological, carbon, nitrogen cycles etc in a similar way to an
ecosystem for example.
Table 1: Levels of Biomimicry (Zari, 2007)

The organism level denotes to a specific organism such as a plant or an
animal. It may involve imitation of a part of the organism or as a whole. One example
of this level is the Waterloo International Terminal which was designed by Nicholas
Grimshaw and Partners. The terminal was designed in such a way that it is able to
respond or react to the changes of air pressure as trains goes through the terminal.
The glass panels are designed to be flexible, mimicking the scales of a Pangolin,
also known as the scaly anteater, hence reducing the force imposed on the panels.
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Figure 1: Pangolin Inspires the Waterloo International Terminal

The second level of biomimicry according to Zari is the behaviour level which
refers to the imitation of natures behaviour. It may be an interpretation of an aspect
of how nature behaves or relates to a larger framework. An example to behavioural
mimicry is shown by the CH2 Building. Termite mounds are used as inspiration for
this building in the sense where passive ventilation is used to regulate temperature
and ensuring a thermally stable interior condition. Water is processed from the
sewers obtained from underneath the building is used in the same way to how some
termite species use the water vapour as a cooling element.



Figure 2: CH2 Building Draws Inspiration from Termite Mounds (Zari, 2007)
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The third and last level of biomimicry according to Zari is through mimicking the
entire ecosystem and the basic principles which allow the ecosystem to function
properly. By using this level of biomimicry, designers are also able to implement the
other two levels as one. Apart from that, designers could even integrate other
existing sustainable building approaches that are not biomimetic specific in their
design. John Todd had created a technology called the Eco-Machine, which mimics
the cleansing functions of wetlands from ecological wastewater. An ecosystem
consisting of plants, microbial species and different treatment zones are created with
the Eco-Machine. The technology offers a supreme various environmental,
technological and economic gains over the traditional wastewater treatment options
(John Todd Ecological Design, 2012).

Benyus had drawn us the general line of biomimicry which is applicable in every
discipline but it is apparent that there are different approaches when it comes to the
design industry of which all comes with its own advantages and disadvantages.
These differences in advantages and disadvantages leads to different outcomes in
the sense of overall sustainability of a project. The approach to biomimic design is
not limited to resulting sustainable product or material as compared to the
conventional equivalent. Biomimicry in design is applied in several ways, some are
used to increase the sustainability of already available creation while some in
innovative new ideas. Zari suggests that there are two approaches when it comes to
tackling the concept of biomimicry in design. Those two approaches are Problem-
Based Approach and Solution-Based Approach (Knippers and Speck, 2012) and are
further discussed in the following:

Problem-Based Approach
With this approach, designers will look into the problem and try to find the
solution from the natural environment with the help of biologists to match the
organisms with similar issues. This method is also known as the top down
method of approach and is considered the more generic approach in design.
It is conducted by designers by identifying the goals and parameters of the
design.

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Figure 3: Problem-Based Approach (Knippers and Speck, 2012)

Problem-based approach in applying biomimicry follows a dynamic,
non-linear steps which often influences the previous stages, allowing constant
evaluation improvement to be made (Helms et. al, 2009). Mercedes Benzs
Bionic Car is an example of this approach in practice. The design of the car
was inspired by the shape of boxfish or the Ostracion Meleagris, in order to
incorporate a large volume space while at the same time having a small wheel
base. By mimicking the shape of the boxfish, it also made the car
aerodynamic. Computer modelling method was used on the chassis and
structure of the car, which is also biomimetic, based on how trees are able to
grow in various ways with minimal stress. The result of the prototype makes
the whole structure looks skeletal with minimal use of material, emphasising
on areas where it is most necessary. (Vincent et. al., 2006).

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Figure 4: Bionic Car (Wroblewski, 2005).

The Bionic Car is also an excellent example of application of
sustainability. Due to its aerodynamic shape from mimicking a fish, the fuel
consumption becomes more efficient. Apart from that, the sustainability of the
car can be seen the minimal use of material. The approach taken on
designing the Bionic Car is not necessarily new but rather implementing
already existing approach using readily available technology, without
recreating the idea of car as personal transportation (Zari, 2007).
With the problem-based approach to design, designers are able to
incorporate the concept of biomimicry to their designs without having the need
to research too extensively or collaborate with biologist or ecologist in order to
understand it as it only require the designers to translate the functions of
nature. Designers simply need to observe and look into available biological
research. This however limits the potential design at the surface level of
biomimicry as it is easy to imitate the forms and mechanical functions of
nature (Zari, 2007). McDonough in 2002 suggest even with the advantages of
this approach to biomimicry, it is still a practical method in moving the built
environment towards a more sustainable future.




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Solution-Based Approach

As the name suggests, the solution-based approach begins with a
solution to a problem. One brilliant example of the solution-based approach is
what had been created by StoColors Lotusan paint using the technology of
which they call the Lotus-Effect. The Lotus Effects mimicks the self-cleaning
properties of a lotus which repels water. By enabling the paint to repel water,
dirt that sticks onto the paint will be washed away either by rain or by rinsing.



Figure 5: Solution-Based Approach (Knippers and Speck, 2012)

Figure 6: Lotus inspired Lotusan Paint (Open Industries, n.d.)

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One advantage of the bottom-up approach is that nature may have
solved the problems of design we may face today, despite the suggestion by
Hawken (2007) stating that humans have been around in this earth far longer
than the oldest living forest. The method of looking into biology as a method of
solution influences designers to think outside of the fixed design problems that
we are trying to solve causing new innovative technology, system and/or
approaches to be found of which previously we thought to be impossible. This
would lead to almost unlimited potential to solving problems faced by humans
(Vincent et. al., 2005). However, looking at design point of view, the method
poses an issue. As opposed to the problem-based approach, the solution-
based approach requires designers to collaborate and conduct biological
research in order to find the appropriate biological solution that is similar to
the design context (Zari, 2007).















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Case Study
Rafi Segal, an Israeli architect had been given an opportunity to rethink the
relationship between the natural and the built environment while blending the limits
between agricultural and domestic spaces. Located in the Inner Mongolia, China, the
project is called Villa 003 of the ORDOS100. ORDOS100 is the concept of a new
neighbourhood consisting of100 villas which are designed by a 100 different
architects from around the world (Kallipoliti, 2010).

Figure 6: Villa 003 (Rafi Segal, 2014)
The house and outdoor landscape are integrated through the main roof structure, a
furrowed surface that resembles a ploughed field with crops and local plants.

Figure 7: Model of Villa 003 (Rafi Segal, 2014)
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The house addresses both the ecology aspect of the Ordos plains of Inner
Mongolia and the mass-media and architectural tourism that are part of the projects
international character. The exhibitionist nature of ORDOS100 and the frontier
attitude of the city of Ordos within China present a stage for exploring a new type of
detached house that questions the traditional relationship between the natural and
the built and between privacy and publicity (Kallipoliti, 2010). The house considered
as of a landscape-like element that extends the surrounding grade and covers the
entire site. The tilted plane of the house becomes the roof of the villa where a series
of spaces are allocated, creating a sequence of courtyards that function as an
extension to the interior programs of the house such as the dining, living, sleeping,
working and cooking (Rafi Segal, 2014).


Figure 8: View of the roof field (Rafi Segal, 2014)

The courtyards provide light and air into the interior of the villa through a
series of carved spaces out of the platform structure over the building. The
courtyards also serve as exterior extensions to its programs as mentioned earlier. An
opening in the central space joins the courtyards together creating a diagonal
walkway through the entire site. The tilted roof mimics a ploughed field, becomes an
active space for both recreation and micro-farming; a plant laboratory to incorporate
a number of of the provinces plants. Located away from the unforgiving conditions of
the ground, the tilted roof faces southwards in order to increase sun exposure. The
corrugated sections create indents which serves as planters which could be filled
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with plants. Various plants from all over the region are planted and are affected by
different settings of temperature and humidity, based on either the presence of soil
or the controlled conditions of the interior spaces beneath it.


Figure 9: Site Perimeter (Kallipoliti, 2010).
The site perimeter surrounded by neighbouring buildings. The structure of the
project and the site are treated as one.


Figure 10a: Figure / Ground (Rafi Segal, 2014).

Open space are placed with the building itself, preserving footprint
restrictions.

Figure 10b: Sustainability (Rafi Segal, 2014).
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The site is tilted towards the south of the site in order to maximise exposure to
the sun.

Figure 10c: Flow (Rafi Segal, 2014).
A public path connects the museum with the rest of the neighbourhood
through the site



Figure 11: Roof Plan (Kallipoliti, 2010)

The figure above indicates several section types:
A- Skylights allowing in sun.
B- Planters.
C- Pergolas and an outdoor shading device allowing air circulation.
D- Areas containing soil.


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The villa creates a variable relationship between private and public spaces by
creating a vague boundary between the two. It displays a state of radical interiority
but at the same time providing a hidden retreat from general view and a condition of
total exhibitionism that exposes itself publicly (Kallipoliti, 2010). Two planes on the
building demonstrates the two changes of the conditions. One plane which is the
existing ground demonstrates a sequence of enclosed interior and exterior spaces of
the buildings such as the room and courtyards while the other plane is the tilted room
which is an exposed field in dialogue with the vast open spaces of the Ordos plains.


Figure 12: Cross-sections (Rafi Segal, 2014).

A domestic field of horticultural and recreational space is created with the
planted roof. Spatially it is expressed through the design of the section, which allows
for a variation of details that enable light, air and soil to permeate the surface. The
same section transforms, at times work as skylights and shading devices or in parts
containing earth dug out from the construction of the basement. The sunken
structure mainly is filled with soil becoming a field of planters while providing natural
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insulation, maximising the thermal performance of the house in the extreme weather
conditions of the Ordos plains. This furrowed section becomes an architectural tool
which reacts and engages with the environment. The overall notion of the house as a
non-object and the roof sectional detail scatters the distinction between landscape
and building.

There is no definitive boundary between the natural and artificial spaces. No
lines were drawn between the interior and exterior or the nature and the building.
The absence of the boundary creates an interchangeable zones or space where
things gradually transform from planted roof to the land (Kallipoliti, 2010). The villa
has a central passage going through the building for the public to use to get across
making this well-cultivated house a gateway of some sort yet similar to a field that
has been ploughed and a place for the public to interact as well.

Conclusion
Increasing number of waste, material and energy used and greenhouse gas
emissions have cause the built environment industry to be blamed for global
environment and social issues. It is becoming more apparent that a change must be
made in how buildings are built and maintained. Intricate interactions of living
organisms that make up ecosystems enables humans to learn from it. Nature solved
issues that humans may face today a very long time ago, hence biomimicry is an
excellent concept to adapt in designs.
The outline suggested in this writing lays down the foundation of biomimicry and the
endless potential of benefits to mankind. However, this essay is merely on the level
of theory. Further research and studies needs to be done on project to project basis
in order to obtain the full advantage of biomimicry especially in the built environment
industry. Albeit, it manages to demonstrate that by mimicking the environment we
are able to create a more sustainable designs.



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References

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Gissen, D. (2003) Big and Green Towards Sustainable Architecture in the 21st
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Hawken, P. (2007) Blessed Unrest, New York, Viking Press.

Helms, M., Swaroop, S. V., & Goel, A. K. (2009) Biologically Inspired Design:
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Architecture. Bioinspiration & biomimetics, 7(1), 5-8.
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Zari, M.P. (2007). Biomimetic Approaches to Architectural Design for Increased
Sustainability. The SB07 NZ Sustainable Building Conference. Auckland.
List of Figures and Table
Figure 1: Zari, M.P. (2007). Biomimetic Approaches to Architectural Design for
Increased Sustainability. The SB07 NZ Sustainable Building Conference. Auckland.
Figure 2: Zari, M.P. (2007). Biomimetic Approaches to Architectural Design for
Increased Sustainability. The SB07 NZ Sustainable Building Conference. Auckland.
Figure 3: Knippers, J. and Speck, T. (2012). Design and Construction Principles in
Nature and Architecture. Bioinspiration & biomimetics, 7(1), 6.
Figure 4: Wroblewski, L. (2005). LukeW | Designed by Nature. [online image]
Lukew.com. Available at: http://www.lukew.com/ff/entry.asp?191 [Accessed 15 May.
2014].
Figure 5: Knippers, J. and Speck, T. (2012). Design and Construction Principles in
Nature and Architecture. Bioinspiration & biomimetics, 7(1), 6.
Figure 6: Open Industries, (n.d.). Self cleaning coating. [online image] Available at:
http://www.openindustries.nl/ideas-new/asknature.aspx [Accessed 17 May. 2014].
Figure 7: Rafi Segal, (2014). Villa 003, ORDOS 100. [online image] Available at:
http://rafisegal.com/villa-003/ [Accessed 17 May. 2014].
Figure 8: Rafi Segal, (2014). Villa 003, ORDOS 100. [online image] Available at:
http://rafisegal.com/villa-003/ [Accessed 17 May. 2014].
Figure 9: Kallipoliti, L. (2010). Ecoredux. 1st ed. Chichester: John Wiley, 111-115.
Figure 10 (a,b,c): Rafi Segal, (2014). Villa 003, ORDOS 100. [online image]
Available at: http://rafisegal.com/villa-003/ [Accessed 17 May. 2014].
Figure 11: Kallipoliti, L. (2010). Ecoredux. 1st ed. Chichester: John Wiley, 114.
Figure 12: Rafi Segal, (2014). Villa 003, ORDOS 100. [online image] Available at:
http://rafisegal.com/villa-003/ [Accessed 17 May. 2014].
Table 1: Zari, M.P. (2007). Biomimetic Approaches to Architectural Design for
Increased Sustainability. The SB07 NZ Sustainable Building Conference. Auckland.