1 University of Oregon – College of Design – School of Architecture and Environment ‐ Department of Architecture ARCH 410/510 Winter 2019 CRN 27272 / 27273 Mon 8:00‐9:50am in 230LA, Wed 8:00‐9:50am in 383LA Professor Nancy Y Cheng, [email protected], 541‐346‐3674 o, 541‐556‐4590 c, Skype (ncheng1) Office hours in 477C Lawrence M 12noon‐12:50pm and Wed 10:00‐10:50am or by appointment http://blogs.uoregon.edu/bioform BIOMIMICRY & PARAMETRIC DESIGN: Form for environmental performance SYLLABUS Course Overview: This course examines how biomimicry and parametric design can address environmental challenges. Biomimicry Design Cycle by the Biomimicry Institute http://www.biomimicryinstitute.org/about‐us/biomimicry‐a‐ tool‐for‐innovation.html Plants and animals thrive in their habitats because they have structures, mechanisms and systems that work efficiently in specific environmental conditions. This class will examine how natural organisms can be models for architectural design using Biomimicry 3.8 principles and morphogenetic parametric design. Starting from the beauty of nature as inspiration, students will study ways that architects and designers are examining nature's forms, mechanisms and systems to discover principles for approaching design problems. Design approaches will include processes of observation, description, analysis, metaphor and abstraction. Biomimicry and systems thinking provide a framework for looking at skins, bones and growth as paradigms for designing static structures and dynamic systems. Students will study how designers have used natural models to generate building designs, architectural systems and kinetic constructions. Examples will span scales from landscapes, architecture and product design. The course develops understanding of concepts through readings, videos, lectures and discussions, then fosters applied skills through computational design assignments. Students will learn how to articulate geometric relationships and use algorithmic thinking with Rhinoceros‐Grasshopper (GH) parametric design software. They will be introduced to weather, solar and structural simulation software. Successful completion of this course will count towards the advanced technology requirement. Pre-requisites: ARCH 4/571 & 4/572, 384 or permission of the instructor Students do not need to bring a scientific knowledge, instead students are invited to investigate how organisms thrive in their environments, to grapple with understanding key biological, physical or chemical processes that underlie observed phenomena.
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University of Oregon – College of Design – School of Architecture and Environment ‐ Department of Architecture ARCH 410/510 Winter 2019 CRN 27272 / 27273 Mon 8:00‐9:50am in 230LA, Wed 8:00‐9:50am in 383LA Professor Nancy Y Cheng, [email protected], 541‐346‐3674 o, 541‐556‐4590 c, Skype (ncheng1) Office hours in 477C Lawrence M 12noon‐12:50pm and Wed 10:00‐10:50am or by appointment http://blogs.uoregon.edu/bioform
BIOMIMICRY & PARAMETRIC DESIGN: Form for environmental performance
SYLLABUS
Course Overview: This course examines how biomimicry and parametric design can address environmental challenges.
Biomimicry Design Cycle by the Biomimicry Institute
Plants and animals thrive in their habitats because they have structures, mechanisms and systems that work efficiently in specific environmental conditions. This class will examine how natural organisms can be models for architectural design using Biomimicry 3.8 principles and morphogenetic parametric design. Starting from the beauty of nature as inspiration, students will study ways that architects and designers are examining nature's forms, mechanisms and systems to discover principles for approaching design problems. Design approaches will include processes of observation, description, analysis, metaphor and abstraction. Biomimicry and systems thinking provide a framework for looking at skins, bones and growth as paradigms for designing static structures and dynamic systems. Students will study how designers have used natural models to generate building designs, architectural systems and kinetic constructions. Examples will span scales from landscapes, architecture and product design. The course develops understanding of concepts through readings, videos, lectures and discussions, then fosters applied skills through computational design assignments. Students will learn how to articulate geometric relationships and use algorithmic thinking with Rhinoceros‐Grasshopper (GH) parametric design software. They will be introduced to weather, solar and structural simulation software. Successful completion of this course will count towards the advanced technology requirement.
Pre-requisites: ARCH 4/571 & 4/572, 384 or permission of the instructor Students do not need to bring a scientific knowledge, instead students are invited to investigate how organisms thrive in their environments, to grapple with understanding key biological, physical or chemical processes that underlie observed phenomena.
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Student Learning Outcomes Successful completion of this course will yield
‐ Ability to address an environmental design problem by using a natural analogy, natural processes, or natural material properties.
‐ Understanding of bio‐inspired methods for sustainable design ‐ Ability to use parametric design software to generate form variants ‐ Understanding of emergent possibilities in digital design, analysis and fabrication
Course Requirements All students need have a Windows computer with Rhinoceros 6.0 software installed. Students should have some knowledge of some kind of 3D modeling, previous experience with Rhino and Grasshopper is helpful but not required.
ASSIGNMENTS: The course content and assignments may be tailored to student interests. Check with the instructor if you have questions or suggestions. Collaboration and peer coaching is encouraged.
Throughout the term, the students will keep a digital journal by submitting their assignments to Canvas in weekly working portfolios that document key ideas from readings, class sessions and digital experiments. At the end of the term, students will compile highlights of their work to share in a final pinup and summary portfolio. See portfolio examples at: http://blogs.uoregon.edu/bioform & http://timbertectonics.com Rhino and GH files will need to be compressed to ZIP format, Image and PDF files need to be optimized so that they are easily downloadable.
Section through a christmas rose leaf showing round chloroplasts from Michael Hensel's (Synthetic) Life Architectures: Ramifications and Potentials of a Literal Biological Paradigm for Architectural Design, Architectural Design journal, v.76 no.2, p. 20
DIGITAL EXERCISES: (Wednesday) In‐class digital exercises will build on documented tutorials. Students will be challenged to build on and modify parametric design definitions. In‐class work will not be graded but may be collected to document abilities.
Assignment Overview The course is based on the idea that a biological organism’s adaptation to its environment can be fruitful inspiration for design. The course assignments provide a guided format for developing parametric design skills through bio‐inspired projects: the first is very structured and the second is more open‐ended.
In the first half of the class, students start by considering the patterns and functions of animal skin and gradually work towards creating a modular building skin that is customized according to solar exposure. To support beginners, we start with simple geometric tiling patterns and then experiment with using parametric components and algorithms (formulas) that provide controls to emulate observed natural patterns. By using components that quickly generate visual feedback, such as Paneling Tools and the Graph Mapper, students can develop familiarity with controlling form with the Grasshopper interface.
Because the emphasis of the course is on form and performance, the class immediately moves into weather and solar simulation. Students will learn how to visualize sun path, solar radiation (heat) for different instances and durations. They will design a building skin module that has variations for sunny and shaded parts of a façade and learn how to use the solar data for custom static facades or adaptive kinetic facades.
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For the second half of the term, students can choose to focus on a bio‐inspired design project (i.e. Global Design Challenge http://challenge.biomimicry.org) OR simulate the form and motion of a natural organism. Each student will start by studying a relevant biomimetic design example, and explain it to the class in a precedent study. For the design project, students can either start with a problem or an organism. For either the design project or the simulation, students will study how to model the form and analyze its structural stability, and then simulate dynamics such as growth or movement.
0: Precedent Study (presented throughout the term)
To better comprehend how biomimicry can be used, students will research the process of how an architect, designer or engineer transferred ideas from organism to application. Students should select an example that could inform their major project. Graduate students will develop a written illustrated summary (~500 words). 1: Natural Patterns: 2D Observe and sketch interesting natural patterns in the field. Using one pattern as inspiration, digitally draw the basic element and tessellate it using arrays (linear, polar) and grids (rectangular, triangular, hexagonal, etc.), creating variations similar to those observed in nature. 2. SKIN: 3D Patterns Develop 3D modeling skills by sculpting surfaces and wrapping patterns that adjust to varying conditionsusing Paneling Tools and the Graph Mapper 3: SKIN: Solar Adjustable Module Model a panel with a variable aperture through using a sliding, stretching, folding or rotating element. Make the shape change according to the sun angle: scaling, aligning, rotating, etc. Create a catalog that shows how this Module could adapt to different sun angles for different orientations or times of day. 4 & 5: SKIN: Solar Responsive Surface Create a responsive wall, canopy or structure that demonstrates adaptation to different solar conditions or a static system with shading customized to typical summer solar radiation.
MAJOR PROJECT – Design Project Option (GROUPWORK) Apply biomimetic and parametric design to a site‐specific design problem such as the Biomimicry Design Challenge or an aspect of a past or current design studio problem. Each student needs to identify a relevant local organism, abstract its function, process or system and translate it into an architectural form or design element.
Homeostatic Wall: Yeagon‐Decker
Organism adaptation to environment Research (Mazzoleni model) Define an environmental problem and analyze how an organism has conquered it. 1. Biomimetic inspiration: hand‐sketches 2. Diagrams of physiological, behavioral or anatomical elements: How are the organism’s physical systems, behaviors and structures adapted to climate? How do they enable specific functions? 3. Climatic Interface: How does the organism’s structure, process or system mediate the external environment?
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Design phase Show how a designed building, structure, responsive surface or object addresses a specific challenge or deficiency. Develop their project through these stages:
i. Statement & Conceptual sketches
ii. Development Plan including team roles
iii. Model project form & structural analysis
iv. Illustrate construction phases or fabricate a component
v. Create Presentation (orthographic views, perspectives, optional physical fabrication))
MAJOR PROJECT – Organism Simulation option (GROUPWORK) Model an organism’s form and movement or growth in Grasshopper that could adapted for a kinetic mechanism. Students will start by examining a specific organism: drawing and modeling the forms at different stages of growth or movement. Modeling of components can initially be done in Rhino in order to develop skills in building complex form. To assist deeper understanding of the dynamic processes, students will diagram the underlying organizational framework. They will look at how stimuli are sensed and processed, using diagrams to explain how the organism changes over time in response to internal stimuli and external forces.
Organism growth or movement Research
‐ Naturalistic drawings of 3 stages (cross‐sections and plans at a consistent scale) + 2+ perspectives (image
from http://issuu.com/eggermont/docs/bio_drawing_sample)
‐ Motion diagrams or collages with forces indicated.
‐ Digital 3D diagram of the organism's basic geometric organization
Parametric Simulation
From the studying natural and the designed systems, students will choose an aspect of a dynamic process to model in Grasshopper. Create the forms, kinetic logic and mechanisms from the original and then show how they can be adapted for new situations by creating a catalog of forms.
10 FINAL PRESENTATION & SUMMARY PORTFOLIO Final illustrated report that that includes the Research and Project Development Student Engagement Inventory
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Simon Cygielski’s circlewall
Requirements and Evaluations Students are expected to take responsibility for their learning. They must come to class prepared and on‐time. As timeliness is critical to academic advancement and professional practice, students are encouraged to turn in something, even partial work‐in‐progress on time, with additions accepted later. Late initial submissions may be penalized up to 10% for every day late. In‐class time will include feedback on how to meet learning goals. Quantitative feedback will be given 3 times during the term. Successful completion means:
Engagement with content, instructor and peers through discussion and evidence of reading comprehension. Communication is essential: asks questions and support others.
Effort to grow beyond pre‐existing knowledge and skills
Completeness of assignments, with a high level of care and craft demonstrated (citations, layout, grammar and spelling)
Technical virtuosity and aesthetic quality of digital design efforts EVALUATION COMPONENTS
Undergrad Grad
Assignment 0: Precedent Study 8 10
Assignments 1‐9: (8 points ea) 72 72
Assignment 10: Final Portfolio 15 13
Class Participation 5 5
TOTAL points 100 100 Graduate/Undergraduate differentiation: Graduate students will be expected to take leadership and peer training roles, and pursue their studies with a greater degree of rigor and time‐investment. Grad students will write up the precedent study in to short paper. Grading standards will be higher for graduate students, particularly for written work and conceptual design development. Grading standards (see Rubrics for more assignment specific information) A 90‐100 – Outstanding: Not only fulfilling the requirements, but going far beyond the expectations of the project. The student has demonstrated a superior grasp of the subject matter coupled with a high degree of creative or logical expression, and a strong ability to present these ideas in an organized and analytical manner. B 80‐89 – Very Good: The student has demonstrated a solid grasp of the material with an ability to examine the material in an organized, critical, and constructive manner. The projects and in‐class performance reveal a solid understanding of the issues and related theories. C 70‐79 – Adequate – The student has attempted to complete all work, and shown a moderate ability to grasp concepts and theories for the class, producing work that has merit but some deficiencies. Through
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projects and class discussions, the student displays a basic familiarity with the assigned readings and techniques. D 60‐69 – Unacceptable – The student’s work is incomplete and/or demonstrates a minimal understanding of the fundamental nature of the material. F 0‐59 – Failure – The student has demonstrated a lack of understanding or familiarity with course concepts and materials. Failure is often the result of limited effort and poor attendance, that may indicate that the student is not in the proper field of study. Academic Misconduct The University Conduct Code (available at conduct.uoregon.edu) defines academic misconduct. Students are prohibited from committing or attempting to commit any act that constitutes academic misconduct. By way of example, students should not give or receive (or attempt to give or receive) unauthorized help on assignments or examinations without express permission from the instructor. Students should properly acknowledge and document all sources of information (e.g. quotations, paraphrases, ideas) and use only the sources and resources authorized by the instructor. If there is any question about whether an act constitutes academic misconduct, it is the students’ obligation to clarify the question with the instructor before committing or attempting to commit the act. Additional information about a common form of academic misconduct, plagiarism, is available at: https://researchguides.uoregon.edu/citing‐plagiarism Diversity and Inclusion It is the policy of the University of Oregon to support and value diversity. To do so requires that we: • Respect the dignity and essential worth of all individuals • Promote a culture of respect throughout the University community • Respect the privacy, property, and freedom of others • Reject bigotry, discrimination, violence, or intimidation of any kind • Practice personal and academic integrity and expect it from others • Promote the diversity of opinions, ideas, and backgrounds which is the lifeblood of the university The College of Design promotes the strengths of our multicultural community through the Equity & Inclusion Committee. For more information about the Equity & Inclusion Committee and other student resources, please see: https://blogs.uoregon.edu/design/deans‐ office/committees/equity‐inclusion‐committee/ Documented Disability: Appropriate accommodations will be provided for students with documented disabilities. If you have a documented disability and require accommodation, arrange to meet with the course instructor within the first week of the term. The documentation of your disability must come in writing from the Accessible Education Center in the Office of Academic Advising and Student Services. For more information on Accessible Education Center, please see http://aec.uoregon.edu Course Incomplete Policy: Students are expected to be familiar with University policy regarding grades of “incomplete” and the timeline for completion. In Case of Inclement Weather: In the event the University operates on a curtailed schedule or closes, UO media relations will notify the Eugene‐Springfield area radio and television stations as quickly as possible. In addition, a notice regarding the University’s schedule will be posted on the UO main home page (in the “News” section) at https://www.uoregon.edu/
PORTFOLIO instructions 1
University of Oregon - School of Architecture and Allied Arts - Department of Architecture ARCH 410/510 BIOMIMICRY & PARAMETRIC DESIGN – Nancy Cheng
PORTFOLIO INSTRUCTIONS Working Portfolio feeds the Showcase Portfolio
Welcome to the learning portfolio. This document gives general instructions on how to use and navigate the portfolio template which can be downloaded from Canvas.
It is composed of 2 sections:
1. WORKING PORTFOLIO – a "Reflective" or "Self-Assessment" portfolio
2. SHOWCASE PORTFOLIO – a summary of the term’s work for presentation
The portfolio is intended to supplement and enhance your development as you progress through the course in the following ways:
Throughout each unit, you will be invited to undertake various activities. The portfolio provides a template for you to record outcomes and reflections for each of these activities. You are encouraged to customize this portfolio for your own specific needs by adding pages in which you can record ideas and make notes as you work through the units.
Your portfolio should continue to be a tool once you have completed each unit, providing a useful reference for the development of your final booklet. You may like to return to these notes and extend or refine them as you progress through the course.
While the Working portfolio is intended as an evolving document prepared and submitted by each individual student in the course, the Showcase portfolio may include contributions from multiple individuals, working as a team. The Showcase portfolio will use ideas and images from the Working portfolio and present the work framed by themes and synthesized lessons learned.
How to use the portfolio
Save a new copy of the portfolio template document for each week on your computer. Keep the portfolio document open as you work through the corresponding unit. Each time you undertake an activity, create a corresponding page or pages in the portfolio document. Refer to, or complete, each portfolio document as instructed in the corresponding section on Canvas. Each week, submit all the week’s portfolio pages for the unit as an optimized PDF on Canvas at the assigned deadline. Select summary pages to share online and upload as a smaller PDF or JPG images to the Wordpress blog, choosing to share your ideas/models/projects either privately (with a password for the course participants) or publicly.
You’ll receive a grade for your portfolio every two weeks. Besides the grade, the Portfolio include an area for receiving feedback from your instructor/s, on a bi-weekly basis on strengths and areas of growth.
Towards the end of the term, you will select and edit pages for your Showcase Portfolio, which could be a team effort.
PORTFOLIO instructions 2
Parts of the working portfolio submission
Each week you will need to complete the following items:
Goals & Objectives: At the beginning set your personal learning goals for this course, then set specific objectives for each unit.
Capturing & storing evidence: Collect artifacts which you want to include in your weekly entry. (i.e. screenshots of the digital models, pictures of physical models, references, pictures of relevant case studies with sources cited, both discussed in class and analyzed through additional readings) Assign (classify) each artifact to the learning topic and objective identified during the lesson.
Reflection (~300 words) What I learned: provide the rationale for why these artifacts represent achievement of particular learning outcome, goal or standards.
Feedback (~200 words) Information to help your instructors tailor the class to your needs, such as: What I found interesting and want to know more about; What I found challenging and for what I’d need more support; How
the collaboration with my team partner/s has been this week.
Portfolio evaluation
Assessment will be based on the following factors.
Engagement (30%) Demonstrates motivation and depth of inquiry. That is, how much the student digs into given material, accesses class resources and researches areas of interest.
Technical expertise (25%) Able to use digital design and analysis tools to understand the relationship between form and natural forces.
Synthesis (25%) Able to digest multiple sources to develop ideas in words and images as appropriate to the task. Shows continuity of exploration and a clear train of thought that leads to lessons learned.
Communication (20%) Organizes and expresses ideas clearly through words and images. Reveals teamwork through incorporation of efforts and ideas from others.
Timeliness (multiplier) Submit by the deadline, barring unforeseen technical or personal difficulties. To encourage timely communication, late submissions may be marked 10% off for every day late, at the discretion of the instructor. So please submit something on time, even if it is a simple draft.
References updated winter 2019 Books are on Reserve at the Design Library
Author Title UO Library Call Number Date Publisher Keywords
