AN ANALYSIS ON RESPONSIVE ARCHITECTURAL FACADES IN THE 21ST

CENTURY WITHIN THE CONTEXT OF BIOMIMICRY

by
Sibel Kolçak

Submitted to Graduate School of Natural and Applied Sciences

in Partial Fulfillment of the Requirements
for the Degree of Master of Science in
Architecture

Yeditepe University
2022
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AN ANALYSIS ON RESPONSIVE ARCHITECTURAL FACADES IN THE 21ST

CENTURY WITHIN THE CONTEXT OF BIOMIMICRY

APPROVED BY:

Prof. Dr. Ece Ceylan Baba .................................

(Thesis Supervisor)
(Yeditepe University)

Prof. Dr. Arzu Çahantimur .................................

(Uludag University)

Assist. Prof. Dr. Pınar Çalışır Adem .................................

(Yeditepe University)

DATE OF APPROVAL: . . . . /. . . . /2022

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I hereby declare that this thesis is my own work and that all information in this thesis has
been obtained and presented in accordance with academic rules and ethical conduct. I have
fully cited and referenced all material and results as required by these rules and conduct,
and this thesis study does not contain any plagiarism. If any material used in the thesis
requires copyright, the necessary permissions have been obtained. No material from this
thesis has been used for the award of another degree.

I accept all kinds of legal liability that may arise in case contrary to these situations.

Name, Last name ………………Sibel Kolçak……

Signature .…..……………….……………………..
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ACKNOWLEDGEMENTS

It is with immense gratitude that I acknowledge the support and help of my Professor Ece
Ceylan Baba. Pursuing my thesis under her supervision has been an experience which
broadens the mind and presents an unlimited source of learning. She made me look at my
thoughts from a different perspective and always motivated me.

Furthermore, I would like to thank my mother Nursel Kolçak, my father Zafer Kolçak, my
brothers Onur Kolçak and Osman Kolçak for their endless love and support, which makes
everything more beautiful. I would like to thank all my friends for their support during this
process.
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ABSTRACT

AN ANALYSIS ON RESPONSIVE ARCHITECTURAL FACADES IN THE 21ST

CENTURY WITHIN THE CONTEXT OF BIOMIMICRY

Throughout history, humankind has taken nature as an example in every field and has
observed nature to seek solutions to problems. In this context, the concept of biomimicry
came about and served as a bridge between nature and design. Biomimicry is a field that
allows for organisms in nature to be examined, as well as integrate strategies developed by
nature into design. Like the skins of organisms in nature, architectural facades create the
border between buildings and nature, and fulfill an important role in meeting comfort
needs of their users. Furthermore, building facades have a large impact on energy
consumption, thus, contribute a significant portion of damage done to nature. In regards to
that, it can be foreseen that facade designs that use biomimicry as a design method help
increase the relationship between architecture and the environment, as well as benefit
sustainability while meeting the comfort requirements of the users. With the help of 21st
century technological advancements, responsive facade designs that can react to changes in
environmental factors, and are sustainable, energy efficient, able to be adjusted based on
user needs and wishes and are designed with smart materials, have gained importance.

This thesis focuses on 21st century responsive facades that used biomimicry as their design
method. The following buildings fulfilling determined criteria have been analyzed within
the scope of the thesis; Council House 2, Q1 Building, One Ocean Thematic Pavilion, Al
Bahr Towers, Mokyeonri Wood Museum and Hive House. The facade design of these
buildings have been inspected based on the organism they took inspiration from, their
levels and approaches of biomimicry, their responsive facade systems and their impact on
sustainability. The results on their inspection put forth that responsive facade designs that
take advantage of biomimicry benefit nature and sustainability in thermal comfort, natural
lighting and natural ventilation. With the advancements in material technologies, it is
thought that the use of the organism and behavior levels of biomimicry will help transform
responsive facade designs into facades that behave like organisms.
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ÖZET

BİYOMİMİKRİ BAĞLAMINDA 21. YÜZYILDA DUYARLI MİMARİ CEPHELER

ÜZERİNE BİR ANALİZ

İnsanoğlu geçmişten bugüne her alanda doğayı örnek almış ve doğayı gözlemleyerek
problemlere çözüm bulmaya çalışmıştır. Bu bağlamda biyomimikri kavramı ortaya çıkmış
ve doğa ile tasarım arasındaki köprü görevini görmüştür. Biyomimikri, doğadaki
organizmaları inceleyerek, doğanın geliştirdiği stratejileri tasarımlara aktarılmasını
sağlayan bir alandır. Doğadaki organizmaların derileri gibi, mimari cepheler de binaların
doğa ile arasındaki sınırı oluşturmakta ve kullanıcıların konfor şartlarının sağlanmasında
önemli bir görev üstlenmektedir. Ayrıca bina cepheleri enerji tüketiminde büyük bir etkiye
sahip olması nedeniyle doğaya verilen zararın da önemli bir kısmını oluşturmaktadır. Bu
bağlamda bir tasarım yöntemi olarak biyomimikriyi kullanan cephe tasarımlarının
mimarinin çevre ile kurduğu ilişkinin arttırılması ve kullanıcıların için konfor şartlarının
sağlanması açısından sürdürülebilirliğe katkı sağlayacağı öngörülmektedir. 21. yy
teknolojik gelişmelerin sayesinde değişen çevresel faktörlere yanıt veren, sürdürülebilir,
enerji verimli, kullanıcıların ihtiyaç ve isteklerine göre uyarlanabilen, akıllı malzemeler ile
tasarlanan duyarlı cephe tasarımları önem kazanmaya başlamıştır.

Bu tez 21. yy 'da yapılmış, bir tasarım yöntemi olarak biyomimikriye başvuran duyarlı
cephelere odaklanmıştır. Tez kapsamında belirlenen kriterlere uyan; Council House 2, Q1
Building, One Ocean Thematic Pavilion, Al Bahr Towers, Mokyeonri Wood Museum ve
Hive House binalarının analizi yapılmıştır. Bu binaların cephe tasarımlarının; hangi
organizmadan ilham aldığı, biyomimikri seviye ve yaklaşımları, duyarlı cephe sistemleri
ve sürdürülebilirliğe etkileri değerlendirilmiştir. Değerlendirmelerin sonucu biyomimikriye
başvuran duyarlı cephe tasarımlarının, termal konfor, doğal aydınlatma, doğal
havalandırma konularında doğaya ve sürdürülebilirliğe katkı sağladığı ortaya koyulmuştur.
Malzeme alanındaki teknolojik yenilikler sayesinde biyomimikrinin organizma ve davranış
seviyelerini kullanarak duyarlı cephe tasarımlarının bir organizma gibi davranan cephelere
dönüşmesine katkı sağlanacağı düşünülmektedir.
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TABLE OF CONTENTS

ACKNOWLEDGEMENTS .................................................................................................. iv

ABSTRACT........................................................................................................................... v

ÖZET .................................................................................................................................... vi

LIST OF FIGURES .............................................................................................................. ix

LIST OF TABLES .............................................................................................................. xiv

LIST OF SYMBOLS/ABBREVIATIONS .......................................................................... xv

1. INTRODUCTION .......................................................................................................... 1

1.1. AIM OF THE THESIS............................................................................................ 2

1.2. SCOPE OF THE THESIS ....................................................................................... 3
1.3. METHOD OF THE THESIS .................................................................................. 5

2. THE RELATION BETWEEN BIOMIMICRY AND ARCHITECTURAL DESIGN .. 8

2.1. THE CONCEPT OF BIOMIMICRY ...................................................................... 9

2.1.1. Biomimicry Life's Principles ......................................................................... 17
2.1.2. Nature as a Model, Measure, and Mentor ...................................................... 18
2.1.3. Biomimicry Design Sprial ............................................................................. 19
2.2. BIOMIMICRY APPROACHES IN ARCHITECTURAL DESIGN .................... 23
2.2.1. Design Looking to Biology............................................................................ 23
2.2.2. Biology Influencing Design ........................................................................... 26
2.3. LEVELS OF BIOMIMICRY IN ARCHITECTURAL DESIGN ......................... 29
2.3.1. Organism Level.............................................................................................. 32
2.3.2. Behavior Level ............................................................................................... 35
2.3.3. Ecosystem Level ............................................................................................ 39
2.4. INTEGRATION OF BIOMIMICRY IN ARCHITECTURE ............................... 43

3. THE RELATION BETWEEN THE ARCHITECTURAL FACADE AND

BIOMIMICRY..................................................................................................................... 52

3.1. THE CONCEPT OF ARCHITECTURAL FACADE .......................................... 52

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3.2. ANALYSIS OF ARCHITECTURAL FACADES WITHIN THE CONTEXT OF

BIOMIMICRY ................................................................................................................. 69
3.3. RESPONSIVE FACADES AS A CONCEPT ...................................................... 76

4. AN ANALYSIS ON RESPONSIVE ARCHITECTURAL FACADES IN THE 21ST

CENTURY INSPIRED BY BIOMIMICRY ....................................................................... 90

4.1. COUNCIL HOUSE 2 ............................................................................................ 95

4.2. Q1 BUILDING, THYSSENKRUPP QUARTER ................................................. 99
4.3. ONE OCEAN THEMATIC PAVILION ............................................................ 103
4.4. AL BAHR TOWERS .......................................................................................... 106
4.5. MOKYEONRI WOOD MUSEUM .................................................................... 110
4.6. HIVE HOUSE ..................................................................................................... 113
4.7. AN EVALUATION OF THE ARCHITECTURAL FACADES ANALYSED IN
TERMS OF RESPONSIVE FACADE AND BIOMIMICRY....................................... 116

5. CONCLUSION .......................................................................................................... 122

REFERENCES .................................................................................................................. 127

APPENDIX A .................................................................................................................... 139

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LIST OF FIGURES

Figure 2.1. Leonardo da Vinci’s flying machine sketch [8]. ............................................... 11

Figure 2.2. Burdock seed and Velcro [9]. ............................................................................ 11

Figure 2.3. Staircase designed by Ross Lovegrove by using DNA as inspiration [11]. ...... 12

Figure 2.4. (a) Bone structure, (b) self-repairing polymer material, inspired by bone
structure [15]. ....................................................................................................................... 14

Figure 2.5. Fabric and robot designs inspired by the structure of Gecko [12]. ................... 14

Figure 2.6. bioWAVE [16]. ................................................................................................. 15

Figure 2.7. Biomimicry design spiral [20]. .......................................................................... 20

Figure 2.8. Top-dowmn approach (prepared by author). ..................................................... 24

Figure 2.9. Design of the bionic car by Daimler Chrysler [25]. .......................................... 25

Figure 2.10. Torre de Especialidades Hospital facade [28]. ................................................ 26

Figure 2.11. Bottom-up approach (prepared by author). ..................................................... 27

Figure 2.12. Lotusan paint, which was inspired by the lotus plant [25]. ............................. 27

Figure 2.13. (a) BIQ House, (b) microalgae on glass panels [30]. ...................................... 28

Figure 2.14. Levels of Biomimicry [31]. ............................................................................. 30

Figure 2.15. A framework for the application of biomimicry [25]...................................... 31

Figure 2.16. (a) The stenocara beetle [34]. (b) Matthew Parkes’ Hydrological Center for
the University of Namibia [35]. ........................................................................................... 33

Figure 2.17. (a) Pangolin, (b) Waterloo International Terminal, London, UK [37]. ........... 33

Figure 2.18. The Nautilus residence [39]. ........................................................................... 34

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Figure 2.19. (a) Weaire Phelan structure [41]. (b) Water Cube [40]. .................................. 34

Figure 2.20. (a) Termite nest [45]. (b) temperature regulation [46]. ................................... 36

Figure 2.21. (a) Eastgate Center in Zimbabwe [47]. (b) section showing how temperature is
regulated [48]. ...................................................................................................................... 37

Figure 2.22. (a) Termite nest, (b) La Sagrada Familia [50]. ................................................ 38

Figure 2.23. Lloyd Crossing Project, Portland, USA [51]. .................................................. 40

Figure 2.24. Overall concept of master plan [52]. ............................................................... 41

Figure 2.25. Section displaying sustainable technologies [52]. ........................................... 41

Figure 2.26. (a) Amazon lily [58], (b) Crystal Palace [59]. ................................................. 44

Figure 2.27. (a) Eiffel Tower, (b) bone [60]. ....................................................................... 45

Figure 2.28. A view of Antoni Gaudi's masterpiece, La Sagrada Familia [62]. .................. 46

Figure 2.29. Fallingwater designed by Frank Lloyd Wright [63]. ....................................... 47

Figure 2.30. The Johnson Wax offices designed by Frank Lloyd Wright [64]. .................. 47

Figure 2.31. Design sketches for Calatrava’s Milwaukee Museum [66]............................. 48

Figure 2.32. Milwaukee Art Museum dynamic roof system [66]. ...................................... 48

Figure 2.33. Eden Project [68]. ............................................................................................ 49

Figure 3.1. Parthenon, 5th century BC, Athens, Greece [77]. ............................................. 54

Figure 3.2. Roman Colosseum, 1st century AD, Rome, Italy [79]. ..................................... 55

Figure 3.3. Palazzo Rucellai, 1451, Florence, Italy [82]. .................................................... 56

Figure 3.4. British Museum, 1753, London, England [83]. ................................................. 57

Figure 3.5. Villa Savoye [86]............................................................................................... 58

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Figure 3.6. Bauhaus Dessau [87]. ........................................................................................ 58

Figure 3.7. TWA Terminal, John F. Kennedy Airport, New York, 1962 [88]. ................... 59

Figure 3.8. HSBC Building, Hong kong [89]. ..................................................................... 60

Figure 3.9. Bund Finance Center [91]. ................................................................................ 61

Figure 3.10. The relation of the facade with the other building systems (prepared by
author). ................................................................................................................................. 63

Figure 3.11. Factors that influence facade design (prepared by author).............................. 64

Figure 3.12. Design principles of a sustainable facade [97]. ............................................... 68

Figure 3.13. The facade system of The Porous Skin project (a) and (b) [100].................... 72

Figure 3.14. (a) Lizard [101]. (b) S.C.A.L.E.S. project [100]. ............................................ 73

Figure 3.15. (a) Open and (b) closed visual of the facade of Breathing Skins project [102].
............................................................................................................................................. 74

Figure 3.16. Habitat 2020 [104]........................................................................................... 75

Figure 3.17. Institute du Monde Arabe [110]. ..................................................................... 79

Figure 3.18. Esplanade Theater in Singapore [111]. ........................................................... 79

Figure 3.19. Sterk's hybridized control model and the architectural form [106]. ................ 80

Figure 3.20. The hand-operated facade of the Kaufman House [115]. ............................... 82

Figure 3.21. Pittsburgh Children’s Museum [117]. ............................................................. 84

Figure 3.22. The Media-TIC building facade design [119]. ................................................ 85

Figure 3.23. (a) Hygroskin-meteorosensetive pavilion, (b) open facade, (c) closed facade
[120]. .................................................................................................................................... 86

Figure 4.1. CH2 building, Melbourne, 2006 [123]. ............................................................. 95

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Figure 4.2. The emergent design concept and the natural analogy [124]. ........................... 96

Figure 4.3. (a) Open shutters of the west facade of CH2, (b) closed shutters [125]............ 97

Figure 4.4. (a) The north facade, (b) the south facades of CH2 building [125]. ................. 98

Figure 4.5. Facade Design Diagram of the CH2 Building (prepared by author). ................ 99

Figure 4.6. Q1 Building, 2010, Essen, Germany [128]. .................................................... 100

Figure 4.7. The Q1 building facade [128]. ........................................................................ 101

Figure 4.8. (a) Q1 building facade, (b) diagram of rotational movement of metal feathers
[128]. .................................................................................................................................. 102

Figure 4.9. View of the panorama window at Q1 building [128]. ..................................... 102

Figure 4.10. One Ocean Thematic Pavilion, Yeosu, 2012 [130]. ...................................... 103

Figure 4.11. (a) Bird of paradise flower [132]. (b) the lateral turning motion that was the
inspiration [133]. ................................................................................................................ 104

Figure 4.12. Responsive architectural facade with mobile lamellas [134]. ....................... 105

Figure 4.13. Interior ventilation and heat diagram [134]. .................................................. 105

Figure 4.14. Al Bahr Towers, Abu Dhabi, 2012 [135]. ..................................................... 106

Figure 4.15. Bio inspiration for the shading element and the principle of its opening motion
[135]. .................................................................................................................................. 107

Figure 4.16. Open and closed states of the shading elements [137]. ................................. 108

Figure 4.17. (a) Exterior and (b) interior detail of the facade [135]. ................................. 108

Figure 4.18. The motion of the shading elements on the facade based on sunlight [138]. 109

Figure 4.19. Mokyeonri Wood Museum, South Korea, 2017 [139]. ................................. 110

Figure 4.20. (a) Museum facade inspired by leaves, (b) movement of the panels [139]... 111
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Figure 4.21. Wooden panels on the facade (a) and (b) [139]. ........................................... 112

Figure 4.22. A look at the ambience wall from the interior of the museum (a) and (b) [139].
........................................................................................................................................... 112

Figure 4.23. Hive House, Surat, 2019 [142]. ..................................................................... 113

Figure 4.24. Repeating hexagonal modules in the facade (a) and (b) [143]. ..................... 114

Figure 4.25. (a) Entrance bridge, (b) the effect of sensor based triangles on the interior
[142]. .................................................................................................................................. 115
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LIST OF TABLES

Table 2.1. The evolution process of biomimicry in architecture (prepared by author) ....... 50

Table 3.1. A timeline of architectural facade (prepared by author) ..................................... 62

Table 3.2. Functions of the skins of organisms and analogies in architecture. [98] ............ 70

Table 4.1. Facade designs that used biomimicry as a design method in the 21st century
(prepared by author)............................................................................................................. 93

Table 4.2. Analysis of the chosen biomimicry based responsive architectural facades
(prepared by author)........................................................................................................... 118
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LIST OF SYMBOLS/ABBREVIATIONS

BMS Building management system

ETFE Ethylen TetraFluoroEthylen
GFRP Glass fibre reinforced polymer
LED Light emitting diode
PTFE Polytetrafluoroethylene
UAE United Arab Emirates
 1

1. INTRODUCTION

Nature has the perfect ideal order, which is self sufficient, and it allows for all living and
nonliving beings that exist within it to live among each other. Humankind is a part of this
order and has looked to nature as an example since the beginning in providing for needs
such as shelter and protection. Throughout history, a lot of issues were given solutions by
using nature as a guide to the design process. In this context, the field of biomimicry was
emerged, which reinforces the relationship between nature and design, and easily
integrates to design the strategies developed by nature with an innovative approach.
Biomimicry not only creates designs that is inspired by nature, but it also provides
solutions to protect nature and to minimize the damage done to it.

As a result of increased production and consumption in recent years, the risk of harming
nature and of breaking the ecological order has heightened. In conjunction with this,
harmful gases emitted by the built environment, unconscious industrialization,
uncontrolled rise of population and other manmade matters have been causing global
warming and climate change. These reasons show that today, there is a need for the natural
environment to be protected and for sustainable solutions to be made. The field of
architecture visually enhances the built environment, but it is also the field that interferes
most with nature and depletes most natural resources. In this context, the primary
responsibility of architecture toward nature is to design buildings that can adapt to changes
in climate in order to avoid greenhouse gas emissions that are a result of this consumption
of energy. Using nature as a guide and implementing knowledge gained by nature into the
lives of the people, designing buildings with this approach can all be seen as solutions to
the ecological issues mentioned above.

The reduction of the energy consumption of buildings greatly benefits creating a

sustainable built environment and helps to avoid damage done to nature. New design
strategies brought to the building facades, where the building first communicates with the
environment, are one of the most effective solutions for energy efficiency in buildings.
Building facades have an important role in temperature and light regulation and serve as an
interface between the interior space and the outside environment. The concept of
architectural facades have developed throughout history and it is no longer an element
independent from the interior, it now has a holistic relationship with the building.
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Technological advancements and the integration of the concept of sustainability to facade

design in the 21st century has brought with it facade designs with different goals and
construction techniques. Technological advancements of today facilitate the use of systems
in architecture that can react to changing environmental factors and can adapt to user
needs. This situation has created the responsive facade design, which is a representation of
current developments in architecture. Responsive facade designs are a sustainable, energy-
efficient, innovative design approach that provides users with a comfortable interior. It is
predicted that the combination of responsive facade design and the concept of biomimicry
can contribute to the creation of environmentally conscious and sustainable facade designs.

1.1. AIM OF THE THESIS

Today, one of the most effective approaches to increasing human awareness of protecting
nature has been the concept of sustainability. The concept of sustainability is a holistic
approach important to many areas, and it has increased awareness and consciousness
toward nature. With this change in architecture, the creation of sustainable buildings has
begun. The basic principle of sustainable architecture is to create buildings that use energy
resources at a minimum, are nature-friendly, and meet the indoor comfort requirements of
the users. Buildings designed with this approach are expected to maintain ecological
balance and reduce adverse effects that cause climate change. At this point, it is thought of
as beneficial to consider nature and to imitate the approach of nature that never completely
consumes resources. Biomimicry is a field that aims to guide designers and architects in
ensuring sustainability.

The opportunities of the 21st century allow every field to reach resources quicker, but that
also means that those resources are being depleted that much faster. Despite the negative
effects of humans, nature continues to meet the needs of living beings and ecosystems by
trying to preserve its own cycle. The question of whether using the strategies that nature
has developed in itself can contribute to sustainability in solving design problems has been
subject to a number of scientific research.

In this context, one of the most effective solutions for sustainability in architectural designs
today has been innovative, energy-efficient, responsive approaches introduced to facade
designs. While building facades are the first visual part of the structure to appear from the
 3

outside, they also serve as an interface indoors where users interact with environmental
factors such as air, light and sound. Facade design is an area where design problems arise
in matters of energy consumption, visual impact, thermal comfort and lighting. Therefore,
the thesis aims to provide predictions and findings on the contribution of facade designs
that use nature as a design method to the solution of design problems. In this context,
research has been conducted to understand the impact of biomimicry based facade designs
on sustainability. Just like organism skins or envelopes behave against any environmental
effects, responsive facade designs have also been seen to be adaptable and movable
facades that can react to environmental factors. Therefore, the base source of motivation of
this thesis is to analyze the concepts of responsive facade design and biomimicry together.
In this context, the research questions for the thesis are as follows:

• In 21st century responsive facade designs that use biomimicry as a design method,
how are the strategies of nature taken advantage of in the design process, what are
the effects of the levels of biomimicry on the design, and what solutions can be
applied to the facade in conjunction with this?

• Can energy-efficient solutions be created in responsive facade designs inspired by

organisms in nature?

According to the research questions mentioned above, 21st century responsive facade
designs that use biomimicry as a design method have been focused on. Attention has been
paid to the fact that the buildings examined in detail in the fourth chapter are facades that
use the latest technologies, exhibit most effectively the impact of the movement of
responsive facade designs, and are inspired by different organisms. In this context, it is
believed that selecting the most recent examples contributes new and unique benefits to the
work in this area.

1.2. SCOPE OF THE THESIS

In this thesis, the relationship between biomimicry and architectural design is primarily
being examined. It is emphasized that biomimicry is not only a design approach that
imitates the form of living and nonliving organisms in nature, but also a design approach
that takes inspiration from the cycle in nature, the behavior of organisms, the ideal forms in
 4

nature, and the ecosystems in nature. The books "Innovation Inspired by Nature" by Janine
Benyus and "Biomimicry in Architecture" by Michael Pawlyn have served as the primary
sources in the analysis of the concept of biomimicry. Research on the approaches and
levels of biomimicry were mainly done through the definitions and examples conducted by
Pedersen Zari and Michael J. Maglic.

Designs based on nature also existed before the concept of biomimicry emerged. Examples
throughout the historical process show that people instinctively tend to recognize and
imitate nature. When biomimicry became a field, this instinct was based on certain basic
principles, enabling a design method to be created. Pioneering designs from other fields
were also mentioned when analyzing the concept of biomimicry, rather than just giving
examples of architectural design. This was done because it shows that sustainable and
environmentally conscious designs can be created when biomimicry is used as a design
method in all fields.

Biomimicry covers the groundwork of looking for solutions to architectural design

problems and of creating innovative, sustainable and eco-friendly designs. The facade,
which the building uses to communicate with its environment, and organism skins in
nature have similarities. The strategies that nature has developed to create skin lead to
looking at nature to solve design problems for facades. In this context, the secondary focus
of the thesis was to look at the concept of architectural facades and building facades that
were designed based on biomimicry. The concept of sustainability, which is an important
criteria in architectural design, has been analyzed specifically for the architectural facades.
The works of Christian Schittich and John Yowell were used as a reference in researching
the sustainability of the architectural skin. In the analysis of biomimetic facade designs,
research of Petra Gruber on the comparison of architectural facades and functions of
organism skins, and designs are done on this subject by Ilaria Mazzoleni were used as
sources.

In the 21st century, sustainability and technological advancements are reflected greatly on
designs in the field of architecture. Research concluded that the two main subjects of the
thesis, biomimicry and architectural facades, have evolved in the 21st century and continue
to develop every day. As protecting nature gained importance, technological advancements
in these times ended conventional architectural approaches and replaced them with
innovative design. While architects created smarter and more well-equipped buildings with
 5

these technological improvements, they began to research the nature compatibility of

buildings and to design their buildings with this approach. This is why the thesis focuses
on the 21st century as the time period.

When the development of 21st century architectural facades is analyzed, it is concluded

that responsive facade designs interact the most with the environment and are the type of
facade designs that integrates recent developments in technology. In this context, the thesis
examines responsive facade designs. This research uses as a basis the work done by
Negroponte, who founded the concept of responsive architecture, and Sterk, who is a
pioneer in the development of responsive architecture. In addition, the thesis of Matin and
Eydgahi is referenced to analyze the technologies used in responsive facade designs.

The case study of this thesis consists of 21st century responsive facade designs that use
biomimicry as a design method. Buildings with biomimetic facades and responsive
facades, which were built in the 21st century, were searched by literature review. While
choosing these buildings, it has been important selection criteria that responsive facades
respond to environmental stimuli with a dynamic system and use biomimicry as a design
method. In this context, as a result of the research made, the buildings that do not meet the
selection criteria are eliminated, it is considered appropriate to analyze 6 buildings that
meet both criteria. The scope of this study chose the following buildings; the CH2
Building, the Q1 Building, the One Ocean Thematic Pavilion, the Al Bahr Towers, the
Mokyeonri Wood Museum, and the Hive House. Buildings that were designed in the 21st
century and use sustainable architecture approaches, but do not include responsive facades
based on biomimicry and do not react to environmental effects were left out of the scope of
the study. In addition, since the 21st century is still an ongoing process, newer examples
are still under construction, and these examples can be increased for future research.

1.3. METHOD OF THE THESIS

The main goal of the thesis is to conduct research on the creation of architectural facade
designs that use biomimicry as the design method. To do this, the main principles of the
concept of biomimicry in the architectural design process have been examined. A
conceptual introduction to biomimicry, its main ideology, its pioneering design examples
throughout history, its principles, its goals, and its scale have all been defined, as well as
 6

work done by scientists to serve as a guide to this design. The concept of biomimicry was
examined with the help of many resources such as local and foreign sourced theses,
articles, magazines, digital sources, speeches and many others. Through research,
approaches and levels of biomimicry that guide the use of biomimicry in the architectural
design process have been studied and these concepts are being analyzed through
pioneering examples.

The concept of the architectural facade has been defined and its evolution throughout
history has been analyzed chronologically with examples in order to study biomimicry
specifically in the field of architectural facade design. In Biomimetic facade designs,
examples of architectural facade design that use biomimicry to answer the questions of
how inspiration was taken from which structure or organism in nature, and how these
findings were integrated into the design. The concept of responsive facades, which, in
current times, enables buildings to be energy efficient, sustainable and eco-friendly, has
been examined and the technologies they use have been studied through examples.

Current examples of buildings were studied in order to hypostatize the data gathered from
the analysis of the concepts of biomimicry and responsive facades. Two main criteria were
used in choosing buildings. The first criteria is that the facade design must contain a
biomimetic and responsive facade system, while the second criteria is that the building
must be completed in the 21st century. As a result of a comprehensive scan of the literature
6 buildings were chosen for being current and for having sufficient data. The selected
buildings were then analyzed within three parameters. These parameters were examined in
regards to the following;

• The effect of the concept of biomimicry on the facade: What organism inspired
the facade design, the level of biomimicry, biomimicry approach,

• Responsive facade design: What environmental factor is responded to, which

technology is used, material used, technical solutions provided by the responsive
facade design,

• The effect of facade design on sustainability: What are the benefits to

sustainability of responsive facade design in the context of biomimicry.
 7

The findings of these determined parameters were used to create a table on which each of
the buildings were evaluated. This gathered data was used to provide results and
suggestions in the conclusion chapter of the thesis.

The thesis uses a hybrid study method where both qualitative and quantitative research
methods were used. While analyzing conceptual knowledge such as biomimicry and
responsive architectural facade, literature review, that is, examining the theses and articles
related to the subject, constitutes the quantitative method. The results, suggestions, and
predictions for the future as a result of the analyzes made constitute the qualitative method.
As a result, conceptual knowledge has been examined through buildings and supported by
some tangible inferences.

The thesis consists of five chapters, including the introduction and conclusion chapters.
The introduction chapter of the thesis has explained the aim, scope, and method of the
thesis. The second chapter focuses on the concept of biomimicry, which is one of the main
subjects of the thesis. Approaches and levels of biomimicry are examined through
examples and their use in architecture is studied. The third chapter of the thesis analyzes
the concept of facades, which is the other main subject of the thesis, through the frame of
sustainability. This chapter focuses on responsive facade designs. By using the information
gathered in the second and third chapters, the fourth chapter of the thesis chooses
pioneering 21st century responsive facade designs that use biomimicry as a design method
and evaluates them. The fifth chapter of the thesis is the conclusion chapter, sharing the
results of the rest of the chapters of the thesis.
 8

2. THE RELATION BETWEEN BIOMIMICRY AND

ARCHITECTURAL DESIGN

Nature has been the guide to the solutions of the problems faced by mankind from the past
to the present. Design solutions that can meet all of our daily needs, such as the need for
shelter, needs to live and the need for protection, are all hidden in nature itself. And this led
mankind to understanding, analyzing and researching nature. It is very important to
understand the concept of biomimicry and adopt its principles to create designs inspired by
nature. Therefore, in the second chapter of the thesis, a conceptual introduction to
biomimicry is conducted and certain biomimicry-based design methods are examined.

In chapter 2.1 of the thesis, a general definition of biomimicry is made and its origins are
mentioned. It aims to understand the main idea of biomimicry by taking a look at the views
of researchers and scientists who are pioneers in the field of biomimicry. In addition, some
examples of design inspired by nature throughout history are mentioned, which emphasizes
that biomimicry is an approach that has existed in our lives for a long time. After that, the
goals and basic dimensions of biomimicry are analyzed. Biomimicry life principles, the
measures of inspiration taken from nature and the detailed analysis of the biomimicry
design spiral are the necessary stages in accurately transferring the principles of
biomimicry to designs. These are the steps required to inspect nature in order to use
biomimicry in design, and to help identify the data to take inspiration from.

In the subtopics 2.2 and 2.3 of the thesis, the approaches and the levels of biomimicry are
defined. The fundamental approaches of biomimicry in architectural design, design
inspired by biology and design influenced by biology, and some design examples of these
approaches are analyzed. Analysis of approaches of biomimicry contributes to the study of
the organism level of biomimicry, behaviors and ecosystems. Analysing levels of
biomimicry can show how different natural organisms and ecosystems inspire designs, and
examples of this can be seen in the architecture industry, as well as other industries. Lastly,
chapter 2.4 examines the integration of biomimicry in the field of architecture. This
chapter analyzes some noteworthy examples of buildings throughout history that use
biomimicry as a design method in architecture. These examples help architects designing
in the field of architecture, explore how to simulate nature and provide solutions to
problems. Architects who use biomimicry in their architectural designs for materials,
 9

structures, facades, and aesthetic reasons contribute to the emergence of more sustainable
and eco-friendly designs. In this context, the topics analyzed in the second chapter of the
thesis are aimed at understanding biomimicry through its basic stages and help further the
research for analysis of areas biomimicry is used in architecture.

2.1. THE CONCEPT OF BIOMIMICRY

Nature inspires the design process with its own processes and its own solutions to its
problems. Observing living and nonliving things in nature and learning about the design
strategies of nature, mimicking nature or taking inspiration from nature, these all provide
designers new ways to design. The synthesis of the context of nature and design has
created the concept of biomimicry. Biomimicry is a concept that transfers the strategies
offered by nature to designs.

Biomimicry consists of the Greek words "bios", meaning life, and "mimesis", which means
to mimic. Biomimicry is a new science that aims to mimic, or take inspiration from, the
accumulated data of the models of nature, natural systems, the stages of formation in
nature and elements of nature in order to solve problems [1].

The term biomimicry began to take place in scientific literature in 1962, but it became
common in 1980 [2]. Biologist and founder of biomimicry Janine Benyus taught the public
about the concept of biomimicry with her 1997 book Innovation Inspired by Nature.
According Janine M. Benyus, biomimicry is "the conscious mimicking of nature's genius"
[1].

Design inspired by biology has been called different names throughout history such as
biodesign, bionics, biomimesis, bio-inspiration, biophilic, but all these names meant the
same. Academic studies done by scientists such as Biology Professor Steven Vogel,
Biomimetics Professor Julian Vincent and Biology Sciences Author Janine Benyus helped
research done in these fields to grow. Vincent defined biomimicry as "abstraction of a
good design in nature", while Pawlyn defined it as "the mimicking of the functional basis
of biological forms, systems and processes in order to produce sustainable solutions" [3].

When looking at the definitions of biomimicry made by researchers who study the concept
of biomimicry from a scientific perspective, it is found that most answers to design
 10

problems can be found in many living species in nature, and that by using biomimicry,
solutions to these problems can also be found.

There are also writers and scientists with some negative arguments for biomimicry. Steven
Vogels, an American academic, has shared such views in his book Cats' Paws and
Catapults. In his book, the author called this "Naïve Biomimicry". He described scientists
and inventors who took the same systems found in nature and turned them into human-
scale products, without making changes, as "naive" [4]. He argued that most of the designs
that used these criteria were unsuccessful. In his book, he not only discusses certain failed
biomimicry designs, but also some successful designs that were a result of the correct
application of biomimicry criteria.

Although the concept of biomimicry has gained scientific awareness just recently, its
foundations date back to much earlier. Leonardo da Vinci is viewed as the first artist and
scientist that integrated biomimicry in the design process. Leonardo da Vinci expressed his
admiration for nature as follows "Human craftsmanship will never devise an invention
more beautiful, more simple or more direct than does nature. Because the inventions of
nature are never lacking, and never superfluous" [5].

Leonardo da Vinci using his observations of nature as a model for most of his designs
proves how forward thinking he was. Davinci designed a machine in the 1500s called the
ornithopter that was a man powered flight machine inspired by how birds flap their wings
to fly. The machine had 10 meter wide wings made of a lightweight and durable pine
frame covered in pure silk. The pilot would turn the pedals with their hands and feet to
power the motion of the machine [6]. These drawings were not realized in the time they
were drawn. But later they inspired the first ever produced plane in 1903 by the Wright
Brothers, in their designs they combined observations of movements of pigeons and Da
Vinci’s drawings [7].
 11

Figure 2.1. Leonardo da Vinci’s flying machine sketch [8].

French entomologist Réne-Antoine Réamur provided a substitution for paper production

with his 1719 research in the paper pulp made by wild bees using wood. In 1809, Sir
George Cayley succeeded in reducing the friction coefficients of ships’ vessel bodies after
getting inspired by the aerodynamic forms of dolphins and trout [3].

A more recent biomimicry concept was the Velcro, designed by Swiss engineer George de
Mestral in 1948. As shown in the image below, the spiky seeds of the burdock stuck on the
dog’s collar were observed and Velcro was designed by using the curvy tips of the spikes
as inspiration [3].

Figure 2.2. Burdock seed and Velcro [9].

 12

As awareness of biomimicry increases, designers, especially those in the 21st century, have
not been shy with integrating biomimicry into their design processes. Industrial designer
Ross Lovegrove takes inspiration from nature when designing objects for day-to-day use.
Lovegrove argues that observing natural processes in nature helps with gaining new
perspectives on design. The image below showcases one of his designs that follow the
process, a staircase that he calls DNA, or design, nature and art. The design of the staircase
mimics the spiral form of DNA [10].

Figure 2.3. Staircase designed by Ross Lovegrove by using DNA as inspiration [11].

Before the concept of biomimicry was defined in science, many designs were made after
certain observations of organisms found in nature inspired them. After Janine M. Benyus
helped make biomimicry a field of science, it was embraced by designers and scientists
and consciously used by them in their design processes. Observing nature gave designers a
new perspective while also making their process faster and more efficient. Thus,
biomimicry has become a design method that is applied in many different areas of work
with positive results.

For nearly 3,8 billion years, the world has been improving the lives of living beings
through trial and error. Therefore, it is important to look to nature for inspiration when
designing. Biomimicry is not just an approach for complex designs, but a versatile concept
that addresses the problems faced in the daily lives of people. It is possible to find more
efficient solutions for problems using human inventions by looking at nature. The goal of
biomimicry is to establish products, processes and principles that provide innovative
 13

developments for human life. It aims to contribute to the design processes in the following
topics [12]:

• Sustainability,

• Increasing Performance,

• Reserving Energy,

• Reduce Cost,

• Eliminating the concept of waste, and redefining it.

The definition of sustainability is making a product from a source while benefiting from
and making use of the source and making sure not to deplete or damage the source [13].
The generally accepted meaning of the concept of sustainability is the definition made by
the Brundtland Commission in 1987 "Sustainability is to meet our needs today without
risking the ability of future generations to meet their own needs, and without damaging the
lives of future generations" [14]. Many institutions, councils and agencies have done
research on the concept of sustainability. The United States Environmental Protection
Agency has established the concept of sustainability on a simple basis and they argue that
the provision of conditions that can sustain human life depends on the nature that
surrounds us. They also believe that these conditions should be met alongside the social
and economic needs of present and future generations. In recent years, designers and
architects have responded to this by designing products based on the concept of
sustainability, in order to protect nature and the future generations.

The concept of biomimicry follows principles such as; simple to complex development,
efficient energy use, utilisation of eco-friendly materials, ensuring that the products and
design processes created are environmentally friendly. For example, an organism that has
been damaged by impact on its body begins to repair the damaged area by entering a self-
healing process. The structure of the bone also detects the damage and responds in order to
repair. This information, which was derived from research, has inspired the design of a
synthetic material, the development of self-healing polymers for use as building materials.
When the material is damaged, the tiny capsules are released containing the repair agents
that repair the cracks [15]. This helps reduce maintenance and renewal costs and it
 14

increases the durability of the material. Self-repairing materials inspired by organisms and
systems found in nature are an important example of sustainability in terms of biomimicry.

(a) (b)

Figure 2.4. (a) Bone structure, (b) self-repairing polymer material, inspired by bone
structure [15].

Nature continues to exist by testing design strategies in all conditions and eliminating those
that are not favorable. And biomimicry helps designers learn the strategies of nature and
use them to develop our designs. Some examples of performance improvement provided
by biomimicry are designs inspired by the foot shape of a gecko. As seen in the image
below, the hair under the gecko’s feet allows it to adhere to a surface when it applies
pressure with its feet, while allowing it to easily lift its feet at will. The properties of the
gecko feet were used in Nike’s mountain shoes, the fabric industry at large and it also
allows robots to move on smooth surfaces [12].

Figure 2.5. Fabric and robot designs inspired by the structure of Gecko [12].
 15

The use of energy in nature is much less costly than the world created by mankind. Plants
in nature provide their energy needs from sunlight, while animals eat plants or hunt other
animals for the energy that they need. Nature develops incredible strategies in order to
store and use this hard to get energy. The principle of reserving energy helps to optimize
energy use by mimicking the strategies found in nature and in developing technologies that
helps with using energy more efficiently.

One design that was inspired by how nature reserves energy was the bioWAVE, a wave
energy system that is a product placed on the seabed. This system was inspired by the
oscillation movements of seaweed, it transmits wave movements from the depths of the
ocean into hydraulic pressure, allowing the tribunes to rotate. This process transforms the
motion of the waves into electrical energy, thus providing energy efficiency [16].

Figure 2.6. bioWAVE [16].

The strategy that nature follows on material use is using what is available. This strategy
learned from nature allowed designers to use less raw materials, therefore reducing costs
[12]. An example of cost reduction, one of the principles of biomimicry, would be
photovoltaic systems created by simulating how a leaf uses energy. There is ongoing
research in this context for solar cells inspired by the methods of nature. These cells result
in a more flexible and cost-effective solar cell by adding chlorophyll to water gel-based
carbon materials [15].
 16

It is important to use the processes of nature for the transformation of substances and
nutrients in design in order to use resources more efficiently and avoid unnecessary waste.
For instance, spider webs in nature have a structure that requires ten times the energy to
destroy compared to any other weblike structures found in biodiversity. Another thing
about the webs made by spiders is that they're recyclable. They do this by eating the
damaged webs that they had made in order to create more webs. These systems found in
nature inspire the designs of many different textile machines.

All of these principles show that biomimicry is a useful way to translate the extraordinary
strategies of nature into design. Learning the goals of biomimicry and progressing design
processes in line with these concepts is one of the objectives of this thesis. This aims to
ensure that the new products are sustainable and energy-optimized, while minimizing
waste generation and reducing the cost.

Nature has all sorts of different information due to its biodiversity, therefore the problems
and solutions gathered from nature that are applied to design must be determined carefully.
Therefore, it's a very important step for designers to get to know the problem they have and
accurately identify where to look for a solution. Although designers who use biomimicry
as a design method might not know about biology, one of the objectives of this thesis is to
teach biomimicry principles in order to help solve problems with ideas from nature. This
chapter describes the systematic way to find solutions for problems with ideas from nature,
alongside some examples of these methods being implemented.

Biomicry has 3 basic dimensions in its general approach to nature [1]:

• The Nine Principles of Life

• Nature as a Model, Measure and Mentor

• Biomimicry Design Spiral

These approaches that biomimicry has towards nature must be analysed to determine what
design processes can be inspired by nature and to find the solutions to the problems that
surface. The three basic dimensions were determined by doing scientific research for this
research topic. Biomimicry Life’s Principles refers to the properties of nature that can
inspire design. These principles are an important guide to understanding how nature
 17

sustains its own creations. Nature as a model, measure and mentor also gives designers
certain criteria about which properties to take a look at when taking inspiration from
organisms and systems in nature. This is about finding which of the inspirations from the
properties of nature should be implemented into design, and about what nature teaches us.
The design spiral created by scientists who study and work in the field of biomimicry
determines the problems that are faced in the design process and this helps in finding out
what steps need to be taken in order to solve them. Examining these processes helps with
analyzing the criteria in the fourth chapter of this thesis, as well as it is aimed that the
output of this research would open a new window to the biomimicry-based designs of the
future.

2.1.1. Biomimicry Life's Principles

Benyus’ questions for determining if biomimicry is a good model for design are explained
as the nine principles of life. These principles reflect the properties an ecosystem has in its
nature and they underline the statement that by using these principles, ecologically
sustainable products can be made. According to Benyus, the nine principles of life are as
follows [1]:

• "Nature runs on sunlight."

• "Nature uses only the energy it needs."

• "Nature fits form to function."

• "Nature recycles everything."

• "Nature rewards cooperation."

• "Nature banks on diversity."

• "Nature demands local expertise."

• "Nature curbs excesses from within."

• "Nature taps the power of limits" [1].

 18

Yeang argues that for living beings to survive, the properties of their ecosystems must be
understood, he also makes a similar classification to the rules of nature from Benyus’ nine
principles of life. They are as follows:

• "Energy resources must be renewable,"

• "Resources must be recyclable,"

• "Form follows function,"

• "There must be systematic control,"

• "There must be an abundance of structural diversity,"

• "There must be an information network and communication between species" [17].

Nature is a manufacturer that runs a vast factory on a regular basis. It continues to produce
with minimum cost and maximum gain by avoiding energy waste and producing designs
that are suitable for their purposes. It recycles and reuses anything that remains unused. All
of these factors show that nature is a system that must be mimicked and taken inspiration
from. Designs made with these criteria in mind tend to easily integrate into nature and they
help create an environment that is sustainable.

2.1.2. Nature as a Model, Measure, and Mentor

In order for nature to be used as an example in the design process, rules found in nature
must be analyzed and its principles of operation must be understood. Benyus interprets the
relationship between nature and design in three different ways, model, measure and mentor
[1]:

• Nature as a Model:

This reinforces the idea that biomimicry is a field of science that aims to help people find
solutions to their own problems by taking how nature deals with its own problems as the
inspiration or muse for the design process. The goal here is to manufacture as the living
beings in nature do; using the sun and simple compounds to create fibers, ceramics,
plastics and chemicals that are biodegradable.
 19

• Nature as a Measure:

The measure in which biomimicry evaluates innovation is by its effectiveness of problem

solving and the feasibility of its ecological standard in regards with sustainability. Since its
conception nature has been everchanging, nature also knows how each of its systems work,
how strongly each of them operate and nature has done this up until this day. All reasons
show that nature is the most favorable measure when it comes to design.

• Nature as a Mentor:

Biomimicry is a new way to observe, interpret and get to know nature. It is a concept that
teaches to learn from nature, instead of trying to absorb from nature.

As a result of observations conducted to understand nature, Benyus and Dr. Maibritt

Pedersen Zari have done research to find out how applicable biomimicry is and they both
put out the same conclusions about levels of biomimicry. These levels determined by these
two researchers are separated into three levels; organism, behavior and ecosystem. Benyus’
organism level refers to the transferring of simple properties of the source that was taken
inspiration from, such as its form, into design. The behavior level refers to the transfer of
its behavioral qualities, instead of its appearance. While the ecosystem level is the transfer
of the source into design by taking into consideration all facets of the environment the
source is in [18]. Chapter 2.3 of this thesis goes into more detail on the charts that resulted
from Zari's research and Benyus’ levels of biomimicry.

This chapter classifies on what level the data taken as inspiration from nature is used when
integrating biomimicry into design. The use of nature as a model, measure or mentor in
design can be an example of what biomimicry has to offer to designers.

2.1.3. Biomimicry Design Sprial

The design spiral is a diagram created by Carl Hastrich, an industrial designer, in 2005 for
the Biomimicry institute in order to transform the strategies of nature into innovative and
sustainable design solutions. After adding the principles of biomimicry to a classic design
process, Hastrich mimicked one of the models of nature and then made this whole process
into a spiral structure. In the design spiral shown in the diagram below, designers are able
 20

to create their designs by passing their products through the following stages, distill,
translate, discover, emulate, and evaluate. If the results do not resolve the issue, the cycle is
restarted [19].

Figure 2.7. Biomimicry design spiral [20].

Carl Hasrtrich explained the design spiral with 5 main steps [21]. During the distill step,
design criteria are made that define human needs. One of the first steps of this spiral is the
conception of a model that defines the design problem. Later on, this model must be
separated into parts in order to determine the design criteria and the cause of the problem.
Instead of asking what to design in this step, the question why must be asked until the root
of the problem is found, in order to find the function that is the goal of the design process.
Lastly, in order to specify the properties of the problem, the target audience and location
must also be found, meaning where and to whom the solution is to be provided to [22].
This allows the design function to be determined.

In the Translation step of the design spiral, the problem is re-examined with biological
terms in mind and a nature-centric approach is taken towards the problem. The design
function is compared to its corresponding solution in nature. The question of what kind of
approach nature took to solve, or fail at solving the problem that is similar to the problem
in the design [21]. Then the problem is reimagined while using different terms in order to
 21

get a new perspective. The properties of the living space are analysed by determining
factors such as climate, food, as well as social factors and variable factors [22].

The Discovery step on the other hand analyzes natural models that have the same function
or context as the design problem [21]. The most effective solutions nature has to offer are
determined as a result of this analysis. Then, the biological strategies that support the
survivability and success of the organisms and ecosystems that found the best solution is
determined. Further detail is given about the different approaches taken by the organism
that inspiration was taken from. Biologists are consulted in order to ensure that this data is
implemented correctly into design, and the design problem is solved by observing the
furthest points of the habitat with their help.

Another step of the biomimicry design spiral is the emulating step [21]. Models and
processes of biostrategies that have been successful in nature are analyzed. Strategies and
classification are made as a result of the analysis. Organisms that use the most successful
method to solve the design problem are identified and the selected organisms' work
principles are abstracted. These studies help develop ideas and solutions based on nature
models; these ideas and solutions are then transferred to the design by using the methods of
mimicking form, mimicking function and mimicking the ecosystem [22].

The evaluation step compares the design to the successful principles found within nature.
This helps find new ways to improve the design while also asking questions about
manufacturing, additional products or materials to use [22].

The spiral shape of the biomimicry design diagram gives designers the ability to do a quick
round around the spiral in the beginning of the design process in order to inspire creative
ideas, while also allowing designers to identify certain outcomes before a solution can be
determined. This approach minimizes the time required to find a sustainable design.

The order of the steps on the spiral and the being able to retrace these steps during the
process allows for more innovative and effective design answers to be found. Based on the
necessities of the design, the process can be started on any of the steps on the spiral to
answer the questions that help with those necessities. If the concept of biomimicry is used
to find a solution to the design process’ problems, the process begins with the distill step.
In order to explore models of nature to find an organism to take inspiration from, the
process begins with the discovery step. To evaluate the sustainability of an existing design
 22

and to improve it, the process begins with the evaluate step and completes the design spiral
[19]. By doing so, designs can be constantly reviewed and observed in order to help them
evolve using the biomimicry design spiral.

Janine M. Benyus, who played a large role in raising awareness of biomimicry, founded
the Biomimicry Guild in 1998 to help inform innovative designers about models of nature.
Later on, alongside Bryony Schwan in 2006, Benyus founded the Biomimicry Institute to
research data found in nature and share it with designers. These institutions work alongside
biologists in exploring nature, and advising designers on how to use this information in
their design and manufacturing processes. And in 2015 Benyus, Schwan and Chris Allen
founded the first digital library of its kind, AskNature, which classifies solutions provided
to everyone by nature based on design and engineering in a place where anyone who
inquires can find [23].

Another platform that can be used to understand systems of nature and incorporate
biomimicry into design processes is Learn Biomimicry. Co-founded by BiomimicrySA
(South Africa) and the Biomimicry Institute in 2020, this online educational platform aims
to help find creative and innovative solutions to repair the damage done to the planet [24].
This online course system includes predetermined packages that teach basic concepts,
biomimicry principles and ways biomimicry can be applied in designs. This way,
researchers and designers from all corners of the world can share their knowledge and
experience.

It’s important to understand nature in order to integrate the concept of biomimicry into
designs. This chapter of the thesis analyses biomimicry, which serves as a guide to
designers in using nature as inspiration, on a conceptual level. Views of scientists who
studied the methods that helped form the principles of biomimicry and ways to implement
biomimicry into design throughout history are mentioned and the primary examples of
these are given. The biomimicry design spiral is the fundamental approach on these steps
and it serves as a guide to follow when applying biomimicry into design. Furthermore,
certain institutions and online platforms are mentioned, and they aim to research
biomimicry thoroughly while guiding designers in using biomimicry. The goal of this
chapter is to serve as a compilation of basic information for other thesis and research
papers to use, as well as a conceptual introduction to the biomimicry approaches and levels
that this thesis goes into more detail with in the chapters to come.
 23

2.2. BIOMIMICRY APPROACHES IN ARCHITECTURAL DESIGN

Throughout history, mankind has been interested in nature, inspired by nature and has
explored the strategies of nature. This information gathered from systems of nature has
been used as inspiration for designs in fields such as architecture, engineering, medicine,
transportation, textiles and communications. Biomimicry does not aim to copy the
solutions of nature directly, its main purpose is to inquire about the basic principles of
these solutions and identify the causes of the problems that may arise. Therefore, it is very
important to design with support from biomimicry, while always reviewing the principles
of biomimicry in every step of the design process.

Biomimicry can be used in one of two ways in design. Design looking to biology is the
design approach where a problem is identified in the design process and then a biological
source is found in order to solve the problem. Another approach is to examine a biological
source and implement the results into design, this is biology influencing design [25]. The
analysis of these approaches and their respective examples create a new understanding on
the ways how biomimicry can be used in design. These approaches serve as a guide in
determining when to use nature in the design process. When getting inspired by nature to
find the solution for a design problem, and when taking inspiration from researching the
strategies used by organisms and ecosystems in nature, these two different approaches are
used to help us understand biomimicry. The fourth chapter of this thesis takes a look at
buildings and analyzes which of these two methods were used in their design. In this
context, the research on this subject not only helps this thesis, but it also provides aid to
any future research.

2.2.1. Design Looking to Biology

Design looking to biology is also known as the problem focused approach or the top-down
approach [25]. In this approach the design problem is identified and then the ways in which
organisms and ecosystems in nature deal with the problem is observed.

Even when designers don’t work with biologists or environmental scientists, they can still
analyse organisms and ecosystems in detail to gather biological data and transfer them to
their designs. Although interdisciplinary work is important not only when taking
 24

inspiration from the data based on form or behavior of the sources, it is also important with
integrating more technical processes such as chemical processes into the design [25].

Michael Helms, Swaroop S. Vattam and Ashok K. Goel from the Georgia Technology
Institute explains the six steps of the biological approach to design in the Design
Intelligence Lab. This approach is called the top down approach [26]. These steps are
visualized based on the research of Helms et al. (Figure 2.8). These steps are as follows:

Figure 2.8. Top-dowmn approach (prepared by author).

The first step of the top-down approach steps is focusing on the design problem. A new
perspective is gained by utilizing the principles of biomimicry, in order to find a solution to
the design problem. After similar strategies in nature that could solve the problem are
researched, the findings are applied to the design. This means that the solution to the
design problem was inspired by the solutions that the science of biology shows humans in
nature.

The bionic car designed by Daimler Chrysler can be shown as an example of design
looking to biology. As seen in the steps of this approach, the problem of the design was
determined before anything else. Then, the solutions of nature to similar problems were
examined. For the bionic car a large but lightweight design was made that would be carried
by smaller wheels, and the form of the boxfish was the inspiration in solving the design
problems. And the surface tension was minimized by implementing the principle of tree
growth into the structure of the automobile. These solutions that were inspired by nature
helped make the bionic car lightweight and in turn reduce its fuel consumption when
 25

compared to other vehicles. Thus achieving energy efficiency and integrating sustainable
design principles into the design process [27].

Figure 2.9. Design of the bionic car by Daimler Chrysler [25].

An architectural example of design looking to biology could be the facade of the building
Torre De Especialidades. Mexico City, where this building is located, was declared as one
of the dirtiest mega cities in the world by the United Nations. The air pollution in this city
has negative effects on the lives of the people in the city. In recent years, new and exciting
designs have been produced to find a solution to this problem. Torre de Especialidades,
which is a new hospital building in Mexico City, was designed to help the city’s problem
by using the pollutants in the air to make harmless chemicals. The facade of the hospital
building is covered in a paint that was made from a titanium dioxide based pigment. When
the ultraviolet rays from the sun reach the material, it holds in the air pollution and a
chemical reaction is triggered which converts the pollution into harmless chemicals such as
smoke, water, carbon dioxide and calcium nitrate.

The facade was designed by the Berlin-based architectural firm, Elegant Embellishments,
and it consists of a new tile called "proSolve370e". The random and biomimetic pattern of
the tiles were inspired by the morphological structure of sea sponges and corals. The
properties that helped solve the design problem were the surface structures of sea sponges
and corals allow for a better surface suction power and allows them to capture harmful
substances from different angles. Every piece of the facade has many different parts that
bulge out, helping to capture the harmful gases found in the air. The architects suggest that
by using this design, fresher air can be provided for the surrounding area of the hospital
while also reducing the effects of air pollution [28].
 26

Figure 2.10. Torre de Especialidades Hospital facade [28].

Designers who use biomimicry as a design method, utilize the concept of biomimicry to
create innovative and sustainable products. The approach of design looking to biology can
be summarized as, finding the solution to a problem in a project or a design process by
looking to nature for an answer.

2.2.2. Biology Influencing Design

Biology influencing design is known as the solution focused or the bottom-up approach.
This is the approach where the properties, behaviors and functions of a living being or
system in nature, and then the design problem is determined based on the reference taken
from nature [25]. Instead of looking for a solution to a specific design problem, this
approach uses data collected from biological and ecological research as a guide to possible
design problems.

The advantage of this approach is that it provides a solution for a design problem that can
be found before it arises as a result of research conducted by biologists or environmental
scientists. The process of analysing nature must be led by an expert and then connected to
the context of design. Therefore, studies done by biologists and environmental scientists
are very important.

A disadvantage of this approach is that biologists and environmental scientists must notice
the potential the results of their research have in possibly being a solution in a new design
context [25].
 27

Michael Helms and his friends explain this approach with seven steps in the Design
Intelligence Lab [26]. These steps are visualized based on the research of Helms et al.
(Figure 2.11). These steps are as follows:

Figure 2.11. Bottom-up approach (prepared by author).

These steps are defined as the exact opposite of those in the design looking to nature
approach, or the top-down approach. In the bottom-up approach, the first step is to identify
the biological solutions. These results reveal the scientific rule implications of organisms
or systems found in nature. The result of the study of nature is then integrated into a design
to be a solution to a design problem. This way, biological research is able to be a solution
to future design problems.

An example of this approach is the Lotusan paint. The Lotus plant, even though it lives in a
dirty and dusty environment, such as a swamp, it always remains clean, its discovery lead
to the production of the self-cleaning Lotusan paint. Many innovations were inspired by
this property of the Lotus plant after its discovery following its research [25].

Figure 2.12. Lotusan paint, which was inspired by the lotus plant [25].
 28

An example of using the biology influencing design approach in architectural facades

would be the BIQ House. This structure is a pilot scheme that was designed to reduce
carbon dioxide and carbon sequestration. Scientific research revealed that algae have the
property of consuming carbon dioxide and producing biomass, and this led the designers of
BIQ House to use micro algae in the glass panels of the facade in order to avoid air
pollution. The algae that is produced by the facade, provides urban development with
renewable energy in the shape of biomass while also helping to keep air pollution down.
The facade system also provides the building with sound and heat insulation, as well as
shade. A sustainable design that was conceived using biomimicry is capable of producing
energy from its own shell, for storing or using it for its own needs [29].

(a) (b)

Figure 2.13. (a) BIQ House, (b) microalgae on glass panels [30].

Even though the biomimicry approach in the design process was the result of biological
research, it provides designers with a new perspective on the application of sustainable
design principles. Although the two approaches that are being examined are opposites of
each other, both use the strategies of nature and they both want to find a design solution.
This results in innovative design insights that are sustainable and natural compatible.

In this chapter of the study, the main principles of the two biomimicry approaches; biology
influencing design and design looking to biology, and the key stages of these two
approaches are being studied. Review of architectural examples and the examples from
other sectors that adopt these two approaches lays the basis of design for future designs to
use with biomimicry. The architectural facade designs that are mentioned above are
categorized by their biomimicry approaches, design looking to biology or biology
 29

influencing design, and this helps in further defining biomimicry examples in the fourth
chapter of this thesis. As a result of research it was concluded that the detailed review of
the two biomimicry design approaches creates a base for the research of biomimicry levels.

2.3. LEVELS OF BIOMIMICRY IN ARCHITECTURAL DESIGN

For all of history, taking inspiration from nature was strictly done through shape.
Organisms found in nature have been mimicked aesthetically and based on their forms, but
interpreting their function into design was left in the background. The founder of the
biomimicry movement, Janine Benyus, put out the data she found about the biomimicry
approaches and levels in order to bring design into a new dimension. Two approaches were
examined in chapter 2.2 of this thesis, and the three biomimicry levels to apply to a design
problem have been defined as form, process and ecosystem. When observing an organism
or ecosystem, form and process are inimitable properties of the organism or ecosystem.
Although an ecosystem is also something that can be reviewed to find inimitable properties
[25].

Maibritt Pedersen Zari, who watched developments in biomimicry and Benyus’ work
closely, has proposed a frame that redefines these levels, and aims to understand and
clarify the potential of biomimicry while contributing to innovative designs in the
structural environment. This frame shown below helps designers to determine the
necessary approach they should use biomimicry in order to increase the sustainability of
their designs. The frame that is explained here is applicable to both design looking to
biology and biology influencing design [25].
 30

Figure 2.14. Levels of Biomimicry [31].

When the three biomimetic technologies of today are examined the three levels of
mimicking can be seen clearly; organism, behavior and ecosystem. According to Pedersen
Zari, the organism level refers to design mimicking a specific part, or the entirety of an
organism found in nature. The behavior level is the mimicking of the strategies found by
observing organisms behaviors or the ways in which they survive. Lastly, the ecosystem
level is the mimicking of the whole environment the organism lives its life in [25].

5 more dimensions were also defined for each of Zari’s biomimicry levels, and they can all
be mimicked. Questions are asked regarding what the form of the design looks like, what
materials it is made from, how it is structurally constructed, how the design works
throughout the process and what functions it can achieve. The differences between each
type of biomimicry are described in "Figure 2.15" shows how to imitate different aspects
of a termite, or the ecosystem in which the termite lives [25].
 31

Figure 2.15. A framework for the application of biomimicry [25].

Just like how biomimicry levels can be applied independent from one another, it is also
expected for there to be some overlap among them. For instance, a system on the
ecosystem level is mimicking an ecosystem found within nature. Even though a biological
ecosystem is made up of a large number of organisms coming together, the details of the
ecosystem level in biomimicry show that it is only able to mimic one organism or one
behavior [25].

By using the methods on the table, different organisms can be observed and different
design methods of biomimicry can be used. This allows biomimicry focused designs to use
the design strategies of nature in their design for not only aesthetics, but also for
functionality and applicability.
 32

2.3.1. Organism Level

The organism level refers to the mimicking of a specific organism as a whole, or just a part
of it [32]. The species of living organisms in nature have typically been evolving for
around millions of years. These organisms that remain in the world survive the ever
changing nature of the world with resilience and by using adaptation. And humans use this
data from these surviving organisms in order to more efficiently use energy and materials,
while solving the problems of society. All of this helps in eliminating the damage to the
environment caused by human activity and the structural environment [33].

An example for the organism level is the Stenocara, a desert beetle from Namibia. The
beetle lives in an isolated desert that doesn’t get a lot of rainfall. The organisms that live
here beside the Stenocara beetle all have to find different methods to survive the longer dry
season in the region and to find the necessary water sources. Although rain is rare, there is
often fog in the mornings, the design of the beetle’s shell instinctually provides the beetle
with the food and water it needs to survive. It is able to turn its back against the wind to
capture the humidity in the air. Thanks to the hydrophilic and hydrophobic bumps on the
back of the beetle, water drops are captured and rolled to the beetle’s mouth [32].

Matthew Parkes from KSS Architects took inspiration for a fog separator he proposed to
Namibia University’s Hydrology Department from the beetle, thus showing the organism
level of biomimicry. The designer was impressed by how resilient the beetle was in harsh
conditions and used this property in his fog separator device by allowing it to gather water
particles from the fog and turning it into water, just like the shell of the beetle [32].
Research shows that the surface of the Namibian beetle’s shell was observed and the
findings were mimicked to be applied to equipment that aims to extract humidity from fog.
 33

(a) (b)

Figure 2.16. (a) The stenocara beetle [34]. (b) Matthew Parkes’ Hydrological Center for
the University of Namibia [35].

An example of the organism level of biomimicry for form and process would be Nicholas
Grimshaw and Partners’ Waterloo International Terminal. The train must react to changes
in air pressure as it enters and exits the terminal. The glass panel parts in the terminal
design were inspired by the layout of a pangolin's flexible scales and it can move according
to the forces of air pressure [36].

(a) (b)

Figure 2.17. (a) Pangolin, (b) Waterloo International Terminal, London, UK [37].

Another example of the organism level is Javier Senosian’s home design, the Nautilus,
inspired by the shape of a snail. This structure is also known as bio-architecture, inspired
by the work of Gaudi and Frank Lloyd Wright. The idea of bio-architecture refers to
designing the form of a building organically, according to strategies found in nature. This
approach aims to create eco-friendly designs while sticking true to the local history of the
structure’s environment, traditions and cultural roots [38].
 34

Figure 2.18. The Nautilus residence [39].

A recent example of the biomimicry organism level is the Water Cube, also known as the
Beijing National Aquatic centre, designed for the 2008 Olympics. The facade design of the
building, which was built in collaboration with PTW Architects and Arup, was inspired by
the form of soap bubbles. The Weaire Phelan structure, which was discovered in 1993 by
Denis Weaire and his assistant Robert Phelan, has been a guide in the design of the facade.
Based on this structure, the shape, transparency, and resistant structure of the soap bubble
were abstracted and transferred to the facade. After all, polyhedral cells are brought
together on the facade of the Water Cube, giving the structure a homogeneous appearance.
[40].

(a) (b)

Figure 2.19. (a) Weaire Phelan structure [41]. (b) Water Cube [40].
 35

Products or projects designed on the organism level are not designs that benefit the
ecosystem as a whole, meaning they are limited to only taking inspiration from the form of
an organism, and cannot affect sustainability. In accordance with this, the mimicking of an
organism only transfers one property to the design, instead of an entire system, therefore
the inspiration is a technological upgrade to the building rather than something integrated
into the building as a whole. So, in order to increase sustainability on this level, it is
important to carefully research the design strategies of nature and to use inter-disciplinary
knowledge in the process [25].

2.3.2. Behavior Level

Humans and organisms in nature experience the same environmental conditions and they
must solve some problems that these environmental conditions can bring. Organisms tend
to continue their lives in accordance to the carrying capacity and the availability of energy
and materials in their environments. The limits set by the duties and responsibilities that
organisms have in their ecosystems only allows organisms that can adapt to continue their
evolution, while also showing the well-adapted organism behaviors, the organisms and the
relationships between species [42].

Organisms that can control the relationship other species have with the sources they need,
and in turn change the ecosystem they are in with their own shapes, mechanical ways or by
any other means are called ecosystem engineers. Humans are most definitely ecosystem
engineers. These beings observe how their surrounding species live and fight in order to
survive, and in doing so learn very useful information. The way in which other species in
nature find shelter are called animal architecture and they provide ecosystem engineers
with examples [43]. For example the North American Beaver (Castor canadensis) has a
work principle; they transform the landscape into what they need while showing how
wetlands are formed and how storing food increases diversity in organisms. This behavior
of the beaver helps the ecosystem become more resilient against damage [44].

According to Zari, the behavior level of biomimicry mimics how the organism acts, instead
of mimicking the organism itself. It’s possible to take inspiration from the relationship
between organisms and species as well. Michael J. Maglic, who does research on
biomimicry, defines the behavior level in his thesis "Biomimicry: Using Nature as a Model
 36

for Design" as mimicking a specific behavior that an organism uses to continue its life, or
mimicking something the organism does on a daily basis [32].

The steps of defining, solving and eliminating design problems are examined in the
behavior level. Results are achieved by asking the question of what needs to change in
order to solve the problem in the design process.

An architectural example of this biomimicry level is the Eastgate Building in Harare,

Zimbabwe by architect Mick Pearce, and the CH2 Building in Melbourne, Australia. Both
buildings were designed with inspiration from the strategy termite nests use for
temperature regulation, and in doing so creating an interior with a stable heat and a semi-
passive ventilation system [25].

(a) (b)

Figure 2.20. (a) Termite nest [45]. (b) temperature regulation [46].

The inspiration for the design of the Eastgate Center was the instinctual behavior of
termites building their nests. The building was constructed from concrete in order to hold
the heat from the sun all the while being good at insulation. The air that enters the building
is either heated or cooled down, according to the temperature of the mass of the building. If
the building mass is colder than the air, the air itself is cooled down further. The cooled
down air rises towards the chimney and is taken to the different floors and offices in the
building on the way. The building consists of two exterior structures and a central glass
hub. The central glass structure also benefits from the heat transfer of the exterior
structures. This way, ventilation is achieved without using any mechanical heating or
cooling systems, thus reserving energy [32].
 37

(a) (b)

Figure 2.21. (a) Eastgate Center in Zimbabwe [47]. (b) section showing how temperature is
regulated [48].

The main principle of the behavior level of biomimicry is transferring the behavior of the
mimicked organism during its daily life into the design. The instinctual actions of every
living being in nature has valuable data that could solve the design process or the design
problem. In this context, architects and designers integrating the instinctual behavior
properties of organisms into an architectural structure are knowingly or unknowingly using
biomimicry. Although the mind and thinking are utilised in realizing architectural projects,
the feeling that appears in the conceptualisation phase of the architectural design is similar
to organisms unconsciously doing things that benefit themselves. Therefore, it’s possible to
say that biomimicry discovered the connection between the architectural process and
behavior of organisms.

When researching the behavior level of biomimicry, a lot of designs inspired by the nests
of termites can be found.American philosopher Daniel Dennett, known for his work in
philosophy, writing and cognitive science, has found architectural similarities between the
constructions of termite colonies and the La Sagrada Familia church in Barcelona, Spain.
Daniel Dennett, in his book "From Bacteria to Bach and Back: Evolution of Minds" talks
about his thoughts on this subject. Dennett argues that the termite colony does not have a
way to guide them or to engineer them, but instead, the nests that resemble castles are
made through their evolutionary instincts. La Sagrada Familia's architecture is impossibly
complicated, yet Gaudi’s plans have been utilised up until the present. Dennett questions
 38

how the termites can coordinate, just like he questions how millions of neurons in Gaudi’s
brain can coordinate to design the church. He answers this by looking at the evolution of
the mind. To him this is cultural evolution, which is affected by our ability to think and the
evolution of language [49].

One of the leading evolutionary biologists of the world, Professor Richard Dawkins, is also
studying the similarities between these two structures; he started a discussion by sharing
the image of the structure built by the termites that resembles a cathedral. He put these two
photos next to each other (just like Daniel Dennett argued) and asked if anyone knew what
this structure, without an architecture or a plan, was. Researchers that saw this photo made
comments about the striking similarities between the unique shape of the termite nest and
the shape of the cathedral [50]. When reviewing this discussion it can be seen that the
natural ventilation of the nature-dwelling termite nests was integrated into the behavior
level of design, and it was argued that the instinctual behavior the termites had when
building the nest should also be taken as an inspiration. Therefore, it can be concluded that
the design of La Sagrada Familia follows the organism level of biomimicry because it
could have been inspired by the shape of the termite nests, but it also follows the behavior
level of biomimicry by mimicking how the termites behave while instinctually trying to
find shelter.

(a) (b)

Figure 2.22. (a) Termite nest, (b) La Sagrada Familia [50].

When looking at the Eastgate Center and La Sagrada Familia, it can be seen that both of
them were influenced by the behavioral movements of termites when building their nests.
 39

In the Eastgate Center building, the behavior of the termites and the form of the nests are
both used in order to provide natural ventilation to the ventilation system of the building.
And in La Sagrada Familia, at first sight the similarity with the nests seems to be only in
appearance, but research shows that the design and construction process of the church was
influenced by the behaviors of the termites as well. Both of these buildings took advantage
of the behavior level of biomimicry and used nature as a source of inspiration.

The applications of mimicking on the behavioral level must comply with the ethical rules
in the context of humans. Not all organisms in nature behave in ways that would be
appropriately implemented into human design. This comes with the danger that the models
of consumption and exploitation of mankind might be applied in mimicking the behaviors
of other species. For instance, it may be ethically appropriate to use termite behavior in
supplying a building design with natural ventilation. However, it would not be appropriate
with universal human right to try to mimic the social structure of termite colonies with
humans. Mimicking in social and economical parts of society must not be done unless
sufficient research is made. It is instead more appropriate to integrate organism behaviors
into buildings in order to increase the sustainability and renewability environment [25].

2.3.3. Ecosystem Level

The ecosystem level refers to the mimicking of a specific ecosystem that exists in nature.
The way in which the ecosystem works successfully is explored and the necessary
elements and principles that it uses to achieve this are defined [32].

According to Benyus and Vincent, mimicking ecosystems is an important method of

biomimicry. The term ecomimicry refers to the mimicking of ecosystems in design; the
term is a combination of the words ecology and mimicry. Ecomimicry considers the
designs of nature and strategies as superior to any human design in every way, and in this
context, it is a method that contains the same principles with biomimicry. Ecomimicry
mimics the structural properties, functions and processes found in the ecosystems of nature
in order to create sustainable design [17].

An example of the ecosystem level is the Lloyd Crossing Project by a team that consists of
the Mithūn Architects and GreenWorks Landscape Architecture advisors. The project,
 40

which was designed in Portland, Oregon, aims to maintain the high ecological performance
rates by analysing the properties of the ecosystem that surrounds the project [25].

Figure 2.23. Lloyd Crossing Project, Portland, USA [51].

Another example of the ecosystem level is Zira Island Master Plan, designed by the
founder of BIG Architects, Bjarke Ingels. Zira Island is an island project in the crescent
bay that is located in the capital of Azerbaijan, Baku, and it aims to be a self-sustaining
island that is independent from imported resources. The shape of the project was designed
to symbolise the seven most important mountains in Azerbaijan. The architect defines this
island as a desert devoid of vegetation, water and resources. Several new sustainability
technologies were used to create an independent ecosystem on the island.

Zira Island benefits from the fact that Baku is a wind city by using the energy from wind
turbines to the desalination facilities. These facilities desalinate the sea water to supply the
necessary freshwater and the water is used to heat and cool down the building. And the
excess water is used to provide water to the vegetation on the island. The solid material left
behind in the desalination process of the water is used to fertilize the plants. The facade
and the roof also contain discharge pipes and photovoltaic panels to generate electricity for
the island. Thanks to these properties, the island became a self-sustaining and independent
ecological system. The strategies utilised in Zira Island inspire many large scale
sustainability awareness projects all across the world [32].
 41

Figure 2.24. Overall concept of master plan [52].

Figure 2.25. Section displaying sustainable technologies [52].

This research shows that designing at the ecosystem level includes both biomimicry levels
due to the fact that during the mimicking of an ecosystem, the shape and behavior of the
organisms within that ecosystem is useful to the design process. This is seen as an
advantage of the ecosystem level. Another advantage of the ecosystem based biomimetic
design is the fact that, as seen in the Lloyd Crossing project, it is applicable to a series of
time and location measures. This defines the baseline criteria of how sustainable and
innovative design must be formed.

Another advantage of this level of biomimicry, in addition to the previous ones, is the fact
that it has effects above the general environmental performance levels. Ecosystem based
biomimicry can be applied both metaphorically and in a practical and functional sense.
 42

Metaphorically, even when designers don’t have much in terms of ecological information,
they can use general ecosystem principles as inspiration for their design [1]. The principles
that were formed after the comparison of interdisciplinary knowledge were detailed by
Pedersan Zari and Strorey [53]. If the structural environment is designed with the idea that
it works as a system, or on a metaphorical level, it is expected to behave like an ecosystem,
it might increase the performance of the structural environment [54].

Mimicking the functions of an ecosystem allows for ecology to be understood on a deeper

level and it serves as a way for environmental design to not harm the cycle of
biogeochemical substances in the planet. Architects must increase the interdisciplinary
teamwork while creating structural environments with disciplines such as biology and
environmental science. An understanding of design such as this challenges the traditional
understanding of architecture, especially the typical limits and processes of a project.
Kibert, when mentioning many other researchers of this thought, criticized this approach
due to issues understanding ecosystems and the process of modelling, and he argues that
mimicking nature in human design is one-dimensional and not complex [55]. Benyus
defends that this thought could be right when it comes to structural environments, but the
mimicking of known facts about the ecosystem in design would not get in the way of
increasing sustainability [1].

Research shows that by looking at the approaches and levels of the biomimicry concept, it
is not a method that is limited to only mimicking form or shape. Biomimicry is a
multifaceted concept that integrates systems of nature and organisms’ behaviors and
processes into designs. It also works alongside fields of science such as biology and
environmental science, thus increasing interdisciplinary sharing of knowledge. The
harmony between human and nature in structural design allows for more innovative and
sustainable designs to be made.

The information shared and example projects given in this chapter that examines the levels
of biomimicry serves as a fundamental approach on which levels of biomimicry can be
used in design. Organisms and ecosystems found in nature inspiring designs on organism,
behavior and ecosystem levels helps the principles of biomimicry to be utilized and used as
a guide in designs. This chapter serves as a guide when determining which biomimicry
levels were used when analyzing architectural examples in this thesis that use biomimicry
in their facade systems.
 43

2.4. INTEGRATION OF BIOMIMICRY IN ARCHITECTURE

Making designs by being inspired by nature is as far in the past as human history. Mankind
survived in natural spaces such as caves, piles of boulders and tree barks, in order to be
protected from external forces and to satisfy their needs for shelter. And when they settled
down permanently, the first shelters were constructed. Natural formed shelters that look
like caves or tree barks were created after observing shapes found in nature and attempting
to mimic them. This shows designers that the technique of getting inspired by nature was
also used in architecture, as it is used in many other fields today. Architecture is a man-
made concept that creates the silhouette of the structural environment, it regulates the
relationship between humans and nature and it creates a functional space. Architecture also
harms nature during the action of construction, and today, repairs are attempted to the
damaged relationship between humans and their surroundings. Looking to nature for
solutions to these problems that are faced in our physical surroundings plays a role in
minimizing the damage done to the relationship with nature and in creating more livable
spaces for people.

Observing organisms and systems in nature and using them as inspiration for design serves
very effectively in solving the problems of the design process. The forms, colors, textures,
lives, behaviors and many other properties of living beings in nature are analyzed and used
in architectural design. In this context, biomimicry is a field of science that is not only used
by architecture to determine the shape of a design, but also as a design strategy and a
design method that can lead to sustainable designs being made. Adopting the principles of
biomimicry in design would foreseeably allow the architects of today and tomorrow to
innovate their designs’ forms and functions.

Architectural trends that were inspired by nature came about with the start of the
Renaissance, which put the use of natural forms in design to the forefront. In Baroque and
in Rococo design, decorative elements were copied from nature and formed in an organic
way. Mimicking nature in embellishment is defined as interpreting the colors, textures and
patterns in nature when designing facades or the skin of a building [56].

The first examples of biomimicry in architecture are the designs of the Eiffel Tower and
the Crystal Palace, which were designed by mimicking nature. The Crystal Palace was
 44

inspired by the amazon lily flower and it was designed by the greenhouse architect Joseph
Paxton in 1851. The large and strong leaf of the amazon lily flower, that can carry great
weights, was taken as inspiration when trying to make the building, which was made with
heavy iron and glass, look lightweight and elegant. The endurance provided by the forked
structure of the leaf proved efficient in placing glass on top of the steel structural system
[57]. The architect adopted the organism level of biomimicry when using nature in design
by mimicking the form of the leaf in this structure inspired by the amazon lily flower.

(a) (b)

Figure 2.26. (a) Amazon lily [58], (b) Crystal Palace [59].

And in the end of the 1880s, when designing the Eiffel Tower, Stephen Sauvestre and
Gustave Eiffel examined the femur bone and got inspired by the hollow shape of the bone
and came up with the structural skeleton that supports the tower’s eccentric loads [57]. It
can be concluded that the organism level of biomimicry was utilised because the design of
the Eiffel Tower took inspiration from the structural form of the femur. The shape of the
bone also helps the form and structural system of the tower.
 45

(a) (b)

Figure 2.27. (a) Eiffel Tower, (b) bone [60].

In the 19th century, architect Antoni Gaudi made his designs by taking inspiration from
nature, by using biomimicry. Gaudi sees the trees outside his workshop as his mentors and
he argues that nature should be the inspiration of architecture. He explains this thought as
follows; "If nature is God’s creation and if architectural forms take inspiration from nature,
then the best way to honor God is to look as his creation does" [61]. It can be seen that
Antoni Gaudi mimicked forms of nature in many of his works’ exterior and interior spaces.
In this context, research shows that most of Gaudi’s works were designed using the
organism level of biomimicry.
 46

Figure 2.28. A view of Antoni Gaudi's masterpiece, La Sagrada Familia [62].

After Gaudi’s approach, biomimicry entered the world of architecture, and many architects
used nature as the inspiration for their designs in simple and form-related ways. Frank
Lloyd Wright, who uses an architectural design trend called organic architecture in his
designs, formed the shapes of his designs in accordance to the nature of the materials used.
Fallingwater, designed by Frank Lloyd Wright, is seen as an eco-friendly structure with its
form and the materials it uses. Another work of the architect is the Johnson Wax building,
which looked at lily pads in the design process and used the shape of this leaf of a flower
in the column of the structure. Even though the structure is morphologically similar to the
flower, it has no similarities when it comes to function. Therefore, it can be seen that
Wright used biomimicry for interpreting appearance in this design [3]. Thus, the research
shows that Wright used the organism level of biomimicry when designing these buildings.
This means that the behavior of the organisms that inspired the buildings had no impact on
the design, and the inspiration only affected the form of the design.
 47

Figure 2.29. Fallingwater designed by Frank Lloyd Wright [63].

Figure 2.30. The Johnson Wax offices designed by Frank Lloyd Wright [64].

Due to the innovative methods and advanced technology in the 21st century, the use of
biomimicry in architecture has provided a transition from shape transfer to function
transfer. In accordance with this, the benefits of biomimicry in the field of architecture is
mostly seen in structural, facade, building envelope and plumbing systems. Spanish
architect and engineer Santiago Calatrava, known for his nature influenced designs, uses
the functional assets of the forms of nature in his designs. Calatrava's designs are
influenced by animal skeletons in aesthetic ways and in functional ways. Milwaukee Art
Museum, completed in the year 2001, mimics form in the structure while benefiting the
building with new functions, thus becoming an example of biomimicry based architectural
 48

design. Calatrava was influenced by the shape and behavioral principles of the wings of a
bird in this design. The structure is similar in form to the wing of a bird and the collapsible
roof system allows for controlled entry of sunlight into the interior [65]. Since Calatrava
took inspiration from both the form and function of the wings of a bird and it’s principles
of flight in this design, it is a design that integrates biomimicry on both the organism level
and the behavior level.

Figure 2.31. Design sketches for Calatrava’s Milwaukee Museum [66].

Figure 2.32. Milwaukee Art Museum dynamic roof system [66].

English architect who works in biomimetic architecture, Michael Pawlyn, observed the life
methods and systems of many living beings in nature in order to look for answers to
problems that people face in the world and he came up with design solutions. He made
some very sustainable and innovative designs that serve as examples of ecological
 49

architecture due to this understanding of design. One of them is the Eden Project, found in
England and designed by Pawlyn and his design team. The Eden Project is valuable in
showing what people can achieve when working together with nature. The structure is
made up of a connected series of geodesic domes and these units are connected with steel
pieces. The inspiration behind this system is the form of the wing of a dragonfly and its
working principles. The domes (biomes) serve as greenhouses; containing thousands of
species of plants living and being grown, protected in their natural environments. The Eden
Project is a nature education center that strengthens the relationship between people and
nature by offering the beauty found in nature while educating visitors about sustainable
design [67].

The Eden Project is a structure that aims to not only get inspired by an organism or a
system, but instead it aims to create an entire ecosystem. The domes were designed to
mimic the tropical rainforest climate and the Mediterranean climate. In this context, the
Eden Project designs on the ecosystem level of biomimicry.

Figure 2.33. Eden Project [68].

As seen in the "Table 2.1" below, examples of biomimicry in the field of architecture
examined in this section are visualized chronologically. In this context, when looking at
the building examples based on biomimicry throughout history, it is seen that designing
inspired by nature exists in every period and that architects integrate biomimicry into their
designs in many areas such as facade, structure, and interior design. Although the field of
biomimicry was a design method that only affects form in architecture in ancient times, it
has been used as a method that affects functionality with the development of technology.
 50

In addition, this situation can be seen as the transition from the organism level to the
behavior and ecosystem level of biomimicry in the 21st century. As a result, it is concluded
that the use of biomimicry in designs in the 21st century has evolved, thanks to the analysis
of examples of biomimicry in architecture throughout history.

Table 2.1. The evolution process of biomimicry in architecture (prepared by author)

The goal of this chapter, in the light of examples of biomimetic design that were influenced
by nature given in this chapter, is to learn what benefits using nature as a guide in the
architecture discipline has on the relationship between people and nature, and what
strategies guide these designs. Research shows that biomimicry as a method of
architectural design offers solutions to many of the problems of architecture with its
principle of mimicking nature in order to learn. Therefore, it is concluded that biomimicry
based design, thanks to the advancements in technology, can allow for sustainable
architecture in contexts such as material use, construction technologies and aesthetic
reasons.

In the second chapter of the thesis, biomimicry is examined in a conceptual way. It

contains the definition of biomimicry, it’s principles, it’s conception period, important
sources of it in literature and the views of its leading researchers. Then, biomimicry
approaches and levels used to integrate biomimicry into design are examined and defined
using some notable examples. These subtopics contain answers to questions such as which
criteria must be followed when designing using biomimicry, what parts of the inspirational
 51

organism or system needs to be examined, and what methods should be used in applying
the determined organism into the design. And in the last subtopic, the integration of
biomimicry in the architectural field is reviewed, laying a foundation for the architectural
facade chapter of this thesis. Furthermore, analysing each step of biomimicry with
examples helps to understand the effects of biomimicry on design. Therefore the goal is to
define the relationship between the concept of biomimicry and design, while introducing
biomimicry to designers.
 52

3. THE RELATION BETWEEN THE ARCHITECTURAL FACADE

AND BIOMIMICRY

When looking at a structure in architecture, the facade is the first part that is observed
aesthetically and formally. The building facade, when analysed along with the living
spaces and natural spaces that surround it, is a field of research that consists of many
design problems. This situation shows that facade design is an important field of design
that is open to innovation in the architectural sense. For this reason, the third chapter
conducts a conceptual analysis of the architectural facade. Chapter 3.1 of the thesis defines
the facade and shows its evolution throughout the historical process. Furthermore, effective
factors in facade design and criteria for sustainable facades are analysed. The field of
biomimicry that researches the relation between skins of organisms found in nature and
building envelope, aids facade design in sustainable architecture. This is why chapter 3.2
of this thesis analyses architectural facades that used biomimicry as a method of design.
Also, views of scientists that work in this field are shared and projects using skins of
organisms as inspiration are mentioned. This research creates a foundation for architectural
facade technologies that take advantage of sustainability and advancements in technology.
In this context, chapter 3.3 of the thesis researches responsive architectural facades that are
able to respond to environmental effects thanks to 21st century technologies that are
adaptable and are designed using smart materials. In this chapter, responsive facades which
are frequently used today are introduced and their design criteria are stated. Furthermore,
responsive architectural facade technologies are analysed using examples. In conclusion,
responsive facades that use biomimicry as a method of design are the topic of research in
this thesis and they are examined in detail.

3.1. THE CONCEPT OF ARCHITECTURAL FACADE

The architectural facade is the first element of structure that facilitates the relationship
between the building, its natural surroundings and its users. In the field of architecture, it is
very important to examine the concept of facades and to learn its design criteria. In this
context, the definitions of the concept of facades in literature are first to be examined. The
 53

architectural dictionary defines facade as any side of a building, but especially its front-
facing side. In other words, the facade is named by where its facing or what purpose it
serves, road facade, sea facade, view facade, south facade, entry facade, and so on. In
addition to these, it is also defined as the perpendicular view of a building from infinity
[69].

The envelope of structures, or the building facades are not just the exterior of the building,
it also serves a functional purpose that changes based on operational, structure, stylistic,
ecological and sociological factors [70]. The facade is also one of the most important
structural elements that contribute to the energy budget and comfort parameters of a
building. In accordance with this, these days designing facades has become one of the main
ways to use technologies and strategies that ensure the minimal consumption of other
resources, while satisfying the users of the building [71].

Looking at the definitions above, it can be seen that the architectural facade is very
important when it comes to the identity of the built environment. In this context, analysing
the evolution of the concept of facades throughout history conveys the concept of facades
while also explaining the beginning of the design criteria of today. This research does not
go into detail in the chronological advancements in every period, instead only focuses on
periods of time where most distinct changes have occurred. The use of materials, form,
function and techniques of these periods are mentioned.

The field of architecture progresses in parallel with human development. The concept of
facades, which has different importance in different periods of time, continues to develop
throughout the historical process according to the changes in techniques, materials and
styles of today. The architectural facade has gone through changes regarding its
transparency-opacity, meaning, definition, and design throughout history according to the
environment and culture that surrounds it. In this evolution, the outer layer of structures
was sometimes made up of thick, solid walls, and sometimes thin and transparent dividers.
Changes in the element of architectural facades may have been seen through different
methods and forms, but they all share similar qualities that changed the architectural
interface.

In prehistoric times, humans have lived their lives in cave-like dents and gaps. Due to the
use of lightweight and easily accessible materials found in nature, the facades in these
 54

times are made up of a thin layer [72]. These societies that are referred to as primal tended
to decorate these surfaces of these structures with painterly techniques. Therefore, the use
of design to create a certain impact on surfaces of structures has been seen since very early
times [73].

The concept of architecture was strengthened when humans settled down and it first
showed itself in the Ancient times. In the early civilizations, temples, graveyards and
palaces were built based on the beliefs and places of worship of the people. Structures in
the ancient times had a great impact on the enrichment of architectural facades and the
transference of the culture of that time to the future generations. One of the leading
examples of these structures are the pyramids that are the most important of Ancient
Egyptian mythology, and the ones that survived to this day [74]. Properties of Egyptian
architecture show that durable, gigantic and magnificent structures were made. Analysis of
these structures arrived at the conclusion that this architecture was made up of elements
that do not serve a function. The first examples of Greek architecture were ruled by
balance and symmetry. Structures were made close to human scale and with simplicity in
the forefront. Later, this simplicity was lost and visually striking temples were built.
Examining Greek temples show that interiors and aesthetics were less important than
making sculptural structures that are sharper, livelier and larger than any other [75]. The
facades of these times are made up of columns and thick confined masonry. Stone, which
was often used in building, is not only a symbol of past life, but a symbol of the activities
of mankind [76].

Figure 3.1. Parthenon, 5th century BC, Athens, Greece [77].

 55

Technical advancements seen in the Rome period are reflected in the facades of structures.
Roman architects used the previously known arches in a new method with the rounded
arches. Stone was in the forefront again as a structural material, and advanced information
of materials, load bearing systems had new forms appear such as buttresses, vaults and
domes. The facades were made up of load bearing elements, openings (doors-windows)
and the forms that were used [78].

Figure 3.2. Roman Colosseum, 1st century AD, Rome, Italy [79].

When looking at Gothic period architecture, the important structures of this time are
vertically tall cathedrals with monumental identities. Pointed arches, ribbed vaults, and
flying buttresses used in the facades are some of the structural elements of this time [80].
In Gothic architecture, walls ceased to just be load bearing elements and the use of tall
window openings lead to stained glass being used to cover them. Colorful glass used in
structures both provided an aesthetic appearance while also creating a spiritual and
mysterious environment. The stained glass found under the arches of medieval cathedrals
has existed in our lives namelessly for all of history, and they are seen as existing curtain
walls [81].

Italian architects, who named Gothic arts as Barbaric arts, started the Renaissance
movement in Florence. While the Gothic period represents the dark ages, the Renaissance
represents the mindful and logical cerebral age [80]. In structures found in Renaissance
architecture, the ratio-scale and balance-harmony are prevalent. Ornaments used in this
time separated the facade both vertically and horizontally [78]. The example found below
 56

shows the use of three different kinds of decorations with Doric in the ground floor, ionic
in the middle floor and Corinthian in the top floor.

Figure 3.3. Palazzo Rucellai, 1451, Florence, Italy [82].

As opposed to the Renaissance period, the Baroque period architecture showcases fluid,
dynamic and unusual forms being used. The innovation in the facade was achieved by
using concave and convex forms in the exterior. Architectural elements are systematically
broken and bent without thinking about their function [80]. This shows the decorations
used in the facade do not serve a purpose. There are no innovations in construction
methods or materials used in the Baroque period, rather it adds to architecture more variety
in form. The masonry system used in the construction of buildings found in this time
became a method of construction that was used for a long time, thanks to its material
performance and its artistic properties.

Until the age of enlightenment (18th Century) the adopted styles of architecture were used
for hundreds of years and new methods of construction were not needed. Research has
found that different facade designs that came about in architectural styles of different times
were not related to technology, and they were only changes in form, independent from
their function.
 57

Exterior walls being made of natural stone or brick masonry lead to the creation of a free
standing exterior envelope that is independent from the interior. When the historical
process is observed, the idea of creating spaces for function appears relatively recently, in
the 20th century. Facade designs that had no relation between exterior appearance and the
theme in the interiors later became facade designs that were an expression of the indoor
spaces. The historicist movement began in the beginning of the 18th and 19th century in
Europe and effectively led to Greek temples being rebuilt with new functions such as
municipal buildings, museums, and parliament buildings. And in the 19th century, new
blueprints were used and designs were made with functionality in the forefront. The exact
application of appearances of the past in the exterior facade designs of buildings does not
create a reference for the future, and it is a criticism of the historicist sensibility that states
designs must abide by the philosophy of design [76].

Figure 3.4. British Museum, 1753, London, England [83].

Use of new structural materials began with the mechanization that came with the industrial
revolution and in parallel with advancements in technology. Iron steel, glass, and near the
end of the 19th century, reinforced concrete entered constructions and brought along big
changes for architecture [80]. These changes in society and economics are therefore
represented in architectural facades. Crystal Palace, which was built in 1851, is a leading
transparent structure among the transparent buildings of the time with the effect of its
material use and its functionality. It was not just the fact that the materials used were new,
 58

but it also followed a pre-produced construction method and it is the building that was the
first construction that was done through assembly [84].

With the impact of the world wars, mass movements happened in the 20th century. This
has led to the idea that architecture and design should respond to the needs of society and
the idea that it can be enjoyed by anyone [75]. In conjunction with these ideas, new
construction materials and techniques were adopted, and thus the Modernism period began
where a plain architectural style was prevalent [85]. As seen in the figure below, one of the
examples of the modernism period, Villa Savoye, and in the Bauhaus building the form is
simple and plain; the same simplicity is also in the forefront in regards to window
arrangements and use of color. In this period where facades were rid of decorations, it can
be observed that functionality reigned supreme in architecture.

Figure 3.5. Villa Savoye [86].

Figure 3.6. Bauhaus Dessau [87].

 59

One of the icons of modern architecture is the TWA Terminal building, built by American
architect Eero Saarinen in 1962. The architect used biomorphic forms to capture the
concept of flight by using the form of the wings of a bird in his design [88]. In this context,
the conclusion has been reached that the facade and structural form of the TWA Terminal
Building was designed with inspiration from biomimicry. The idea of symmetry, which is
prevalent in modern architecture, and movement, which inspired the design process, can be
seen in even the smallest details of the structure. This structure was built during the
hardships of the aftermath of war, so it is no longer used as a terminal today, but it still
serves as a hotel [88]. The structure, which was built in the period of modern architecture,
shows that architectural structures made in the same period can portray different styles and
understandings.

Figure 3.7. TWA Terminal, John F. Kennedy Airport, New York, 1962 [88].

The uniformity and rules that were expected from design products in the modern period
ceased to meet the needs of the users. Near the end of the 20th century, with the effect of
the economy new architectural movements started to appear. Beginning in the 1970s, the
architects of the times started to construct structures that resembled the machines they took
inspiration from. And in the Postmodernism period that started in the 1980s and its ‘High
Tech’ movement showed in its details the advancements of technology, and followed an
expressive and sculptural ideology. Structures of this period were far from traditionalism
and they tended to use stairwells, elevators and plumbing tubes in the exterior facade of the
structures [80]. These structures, which resemble machinery when observed from afar, can
be determined as the foundation of the skyscrapers that are built today.
 60

Figure 3.8. HSBC Building, Hong kong [89].

Today, the concept of facades does not have a beginning or an end, and it is becoming a
surface that is in relation with the whole of the architectural product. Facades, which were
just the exterior wall of an architectural product in the past, now have evolved into a
permeable interface. The surface of the structure may also be designed apart from the load
bearing system, and it can cover the structure as a whole and create new compositions
anywhere from the ground to the roof [90]. In this new form, advancements in computer
technology and new ideologies found in design and construction are affecting the changes
seen in architectural surfaces. This allows for the architectural product to both be symbolic
and attainable, while also being renascible.

The transformation in the design process of the architectural facade is in direct relation to
the technology used in the design and manufacturing processes. In contemporary times, the
facade is not just an element of the structure, but an individual object within the structure
and a part of the architectural product as a whole. Alongside this, the emergence of new
materials and their effective use in construction, creates a holistic effect in architectural
products, from the ground up to the roof. In this context, the concept of facades has
transformed through time and ceased to just being a part of the appearance or a load
bearing element, and became one of the most important parts of the building as a whole.

One of the changes introduced in the modern period for the facade is the use of new
materials while creating surfaces. For example, certain heat sensitive layers of materials
were installed onto the facade surface, and systems were developed that could open and
 61

close with heat changes thanks to their mechanisms or the gaps on their surfaces. This way,
motion was achieved on the exterior while controlling the amount of light and heat that can
enter the interior. In this regard, the conclusion is made that responsive facade systems
have become a preferable facade design system as it creates comfort in the interior while
benefiting the relation it has with the environment. Responsive facades are analysed in
detail in chapter 3.3 of this thesis.

Advancements to design and construction methods of architectural facades continue today.

As a result of these advancements, digital technology, moving systems and different ratios
of floor-mass-roof in regards to the environment all prove useful when designing an
architecture product. This research shows that both static structural elements and moving
systems are used to achieve this. The fact that the speed and movement that the
technological period has added to the daily lives of people can also be observed in the
facades of the built environment, can be viewed as the architecture adapting to current
times.

Figure 3.9. Bund Finance Center [91].

With the innovations 21st century architecture brought along, the classical understanding
of a facade by the public has disappeared. Architects are creating structures with the
architectural styles they are influenced by and with their own free will. This diversity can
be seen in the facades of architectural products. Advancements in information technologies
are not only seen represented in the form of architectural facades. In this context, digital,
 62

responsive and sustainable innovations for future designs allow for the creation of
environmentally conscious and long lasting products.

Table 3.1. A timeline of architectural facade (prepared by author)

The understanding of the concept of the architectural facade's roots comes from how its
place was questioned and how it evolved throughout history. As seen in the "Table 3.1"
above, the analysis made in this section of the periods that caused significant changes in
the architectural facade is visualized. As a result of the analysis, it is seen that the
ornaments used on the facade in ancient times did not have a function, but when the facade
began to be purified from ornaments, it became functional. In the 21st century, the facade
evolves with technological developments and acts as an interface that establishes a holistic
relationship with the building, reacts to external conditions, and meets interior comfort
conditions. These formal and functional changes of the facade guide the determination of
the design criteria of the 21st century. In this context, one of the goals of this chapter is to
analyse the relationship between the facade and the architectural product as a whole, and
the leading parameters in its design.

Facades are an important part in structural element systems within the built environment
created by architects and engineers in order to meet the needs of the users and to provide
certain environmental performances. For this reason, the criteria for facade design must be
well determined. The facade of the structure is important aesthetically for the general
 63

appearance of the building, and functionally, to ensure the needs of comfort of the users
are met. The heat transfer, movement of air and moisture, blocking noise and pollution,
controlling intake of sunlight are some of the performances that are expected from the
facade. The most important factor that must be determined for these performances and to
meet user needs is energy use [92].

A building is a systematic whole that is made up of many parts including the facade. The
building envelope, which is one of the subsystems of the structure, is made up of the roof
and the facade. The roof and the facade that make up the envelope of the building creates a
balance between the interior and exterior, meets the user needs and keeps the
environmental effects under control. The effectiveness of the facade systems are dependent
on the cooperation of the ventilation, sunlight intake control, insulation and energy systems
of the building. This relation is seen in "Figure 3.10 " below, adapted from Schittich [84].

Figure 3.10. The relation of the facade with the other building systems (prepared by
author).

The relationship between the facade, which is a part of the building envelope, and the other
elements of the building must be determined from the beginning of the design process.
Even though the most apparent function of the facade is to protect the building from
external effects, other needs of the space must be taken into consideration during the
design process. Facade designs used today meet the technical requirements that are brought
with advancements in technology in an aesthetic way. Furthermore, energy efficiency,
sustainability, multi-functionality, cost, recyclability, and other matters are also important
 64

for the design process of the facade. In this context, the conclusion is made that in order for
the facade to meet the expected performance requirements, it must be designed while
taking into consideration the other subsystems of the building. The design approach makes
the facade an inseparable part of the building in direct relation with the structure, shape,
services and use of the building.

Research shows that when the element of facade is analysed, using it as a system, and
breaking it up into parts allows for the facade system to be controlled in the design process
and for it to be in harmony with the other elements of the building. The factors in which
this system is influenced by during its design are classified as follows in the "Figure 3.11"
adapted from Schittch [84]:

Figure 3.11. Factors that influence facade design (prepared by author).

Facade design requires technical equipment in order to meet user comfort needs and to
protect the building from external effects. Factors that provide user comfort are; thermal
comfort to regulate interior heat, interior air quality to ensure sufficient interior ventilation,
interior lighting quality in order to create shade and to avoid shininess, privacy in order to
create a safe space, and interior acoustics in order to ensure sound insulation. Aside from
these, determining factors such as sustainability and energy consumption affect facade
design in order to minimize energy use. Also, factors such as the use of recyclable
materials, avoiding excess material, use of materials with no negative effects on the
environment or the use of green materials are all important in facade design in regards to
 65

sustainability. Being modular to adapt to the location, the climate and the ever changing
user needs, allowing for restructuring, cost of production and lifespan costs are all factors
taken into consideration with the general cost among the rest of these factors.

The shared property of these effective factors of building facade design are the creation of
facades with multiple components and the energy requirement to apply these factors to the
facade. This portrays the importance of energy efficiency and sustainability in facade
design.

The facade is the communicator that achieves balance between the interior and outdoor
spaces in regards to the relationship between nature, humans and structures. In this context,
sustainability, which is intertwined with concepts such as ecology, environment and
energy, is one of the important parts of design today. In regards to sustainable buildings
there are many criteria that must be used in the literature. These criteria are inspected by
some certificate programs that are organized and they are applied beginning with the
design phase of the structure. The criteria for these certificates and applied to the buildings
as a whole are not mentioned in this work, instead the relationship between facades and the
concept of sustainability itself is examined. This chapter mentions some conceptual
definitions in order to determine the effect of sustainability on the architectural facade and
criteria that might influence its design process. Furthermore, the subject of sustainability is
examined in regards to the concept of facades, and baseline design steps that must be
followed in designing facades are mentioned.

Sustainability is defined as the continuous use of natural resources while ensuring that
these resources are inherited by future generations [93]. Sustainable architecture at its core
is to protect nature and to live harmoniously with nature. Work done by using this idea
started showing its effects in the 1970s. In 1972, "The Conference on the Environment"
took place in Stockholm, the capital of Sweden. This was the first large conference on
matters of international environment organized by the United Nations and a declaration
was released at the end of this conference that is seen as a pivotal point in the development
of international environment politics [94]. Even though the concept of sustainability wasn’t
directly mentioned in this conference, matters of protecting the natural environment were
mentioned. This conference serves as a guide to future works.
 66

As mentioned before in this thesis, the concept of "Sustainable Development" was first
defined in the Brundtland Report, prepared by the World Commission on Environment and
Development in 1987, as "Meeting the needs of the present without compromising the
ability of future generations to meet their own needs" [94]. With this report and with the
conferences and works done after it, there have been important steps taken in order to rid
the world of poverty and to meet the requirements of future generations.

The subject of sustainability must be taken into consideration from multiple angles for the
built environment. The main principle of the concept of sustainability is to find solutions
which provide the protection of the natural balance, keep the cost of construction and
maintenance affordable and create a comfortable indoor space. Therefore, building
facades, starting from their design phase, must exist as part of a whole with the
environment, materials, economics and their users. For this reason, the building facade
must be designed with a design method that works harmoniously with the building and the
environment in order to meet the needs of the users in the best way and to keep energy use
minimum, in both its construction and management processes. Schittich and his friends
(2006), states that the questions found below are helpful as a guide that provides a
sustainable path for questions of designers [95]:

• "Can the building facade be adapted to changing user needs?"

• "What is the profile of the total energy concept of the building? Can the storage
units respond to excess shifts in temperature?"

• "What are the options of using environmental energy? Are there specific ways for
direct or indirect use of solar energy? Is it possible to achieve sufficient ventilation
within the building envelope using natural ventilation? Is there an option to avoid
excess changes in facade temperature in the summer? Is there an option for an
integrated source of energy?"

• "Is the use of materials with low primary energy use possible? Do these materials
require special maintenance, or are they especially long lasting?"

These questions serve as a guide, and when they are taken into consideration and answered
while designing a building facade, a sustainable facade can be designed. This allows for
buildings to be designed that can transform energy, that can adapt to changing needs and
 67

environmental effects, that achieve comfortable ventilation and heat, and that have a good
relationship with its users and its environment.

According to John Yowell, who does research on the sustainability of the architectural
envelope, a sustainable facade is not just an exterior surface, but a filter, much like the skin
of a living being, that accepts or rejects the space with regards to the needs of its body.
Yowell developed certain strategies by questioning how a building envelope must function
in order to be more efficient. According to this the sustainable building envelope must
[96]:

• Protect from natural effects,

• Be manufactured in an environmentally friendly way,

• Not be detrimental to the natural environment after its use,

• Integrate multiple systems within a thin layer,

• Properly regulate heat, ventilation and water,

• Be adaptable to its local environment and be ready to respond to it, and

• Be beautiful.

A building envelope that is designed according to these criteria, determined by scientists

who are conducting research on building facades, can be sustainable. Architectural facade
designs have been used a lot as a research topic in recent years in order to improve the
performance of the energy used, improve interior comfort and be sustainable. Aside from
this, the main design criteria for a facade to be sustainable are shown in the Table as a
diagram. A sustainable building facade is determined to have to include properties such as
water storage, heat storage, frost resistance, controlled reflection, carbon regulation and
adaptability [97].
 68

Figure 3.12. Design principles of a sustainable facade [97].

Research shows that the sustainable design of architectural facades and, therefore, of
buildings is an important design method for both minimizing damage done to nature while
also ensuring that the comfort needs of the users are met. In this regard, an important
subject of the architectural design process is the integration of the concept of sustainability
and therefore using the optimal amount of resources, thus creating buildings with low
ecological footprints. When looking at nature with this in mind, it is seen that using these
strategies reuses resources without depleting them and no harmful substances are produced
as a byproduct of chemical reactions. Also, manmade spaces are, at large, dependent on
external energy resources, while the main energy resource of nature is the sun and gravity,
therefore nature must be taken inspiration from. In other words, nature holds several clues
for mankind to be able to lead more sustainable lives. In conjunction with this, using
strategies found in nature when designing buildings, or taking advantage of the principles
of biomimicry are both found to be methods that must be used in order to create a more
sustainable future.

One of the goals of this thesis is to approach architectural facade design using biomimicry
in order to facilitate all of these subjects and to aid the creation of sustainable facade
designs. For this reason, this chapter examines the concept of facades and sustainable
 69

architectural envelope design criteria. Furthermore, integrating biomimicry into facade

design has been used as a method in recent years in order to take advantage of systems and
solutions of nature in architectural design. This is why the goal is to analyse projects that
include the relationship between the element of facade and biomimicry in their designs and
the analysis of those buildings are both important in understanding biomimicry and to
facilitate the use of biomimicry as a design method in future facade designs.

3.2. ANALYSIS OF ARCHITECTURAL FACADES WITHIN THE CONTEXT OF

BIOMIMICRY

Today, the architectural facade is not only a protective surface on the outside, but a
functional part of the structure that aims to provide aesthetic appeal. Alongside this, facade
design aims to elongate the lifespan of a building by using more durable materials. These
are the reasons why the architectural facade must be viewed as an adaptable layer of the
building that ensures the energy efficiency and thermal comfort of the building. Working
together with other disciplines is helpful with designing buildings with facades that are
more durable, functional, resilient and ecologically efficient.

Research concludes that the field of biomimicry aids the architectural design process with
creating sustainable and eco-friendly designs, and it serves as an important guide in using
the strategies found in nature. In this context, embracing the approach of design looking
nature can affect building facades in several different ways. Biomimicry design criteria can
be used in designing a functional or aesthetic form, producing a functional material for the
construction of a facade, adding a new function, using new techniques in design [97].
Facades designed with these criteria in mind must follow the steps of biomimicry properly.
One of the main goals of biomimicry based design is to transfer clues found in nature into
the design every step of the way. With regards to that, it is possible to create a product that
uses an architectural facade with the design criteria of biomimicry and follows the design
techniques of the 21st century.

The architectural facade assumes the responsibility of transferring information and energy
with the natural environment. The function of exterior shells found in nature and the
exterior envelope found in architecture are similar in more ways than one. Facades, which
define the characteristics of a building, are similar in design to the skin of the organisms
 70

found in nature, and their exterior shells, this leads to innovative and smart facade systems
being produced. The application of strategies developed by organisms to fight off external
effects into the facades of buildings is seen as a benefit of the field of biomimicry to
architecture.

While comparing the functions of the skins of organisms with architectural similes during
designing biomimetic building envelopes, Gruber and Gosztonyi have prepared a chart
(Table 3.2.). Using this chart to compare skins of organisms with architectural elements
helps designers with creating biomimetic designs [98].

Table 3.2. Functions of the skins of organisms and analogies in architecture. [98]

The first similar property of both organism skins and building envelopes is creating a
boundary between the indoor space and outdoor space. When it comes to organisms the
required difference between the two spaces are on one side determined by environmental
effects, and on the other side determined by the balance of metabolism, energy and
 71

resources. In architecture, this is about the comfort the facade provides to the user.
Protection from mechanical effects, radiation, unwanted substances and other organisms
are some of the most important properties that unite skins and building facades. These two
boundaries between indoor and outdoor spaces must provide solutions to the acquisition of
substances required to live, such as air, water, and food [98].

One of the most attractive properties of organism skins that architects use when taking
inspiration for their designs from the forms and functions of biological beings is the fact
that it is flexible yet durable [98]. In buildings constructed today, the property of flexibility
is achieved by applying double-curved forms to the facade. Symbiosis in nature and ways
of communication between living beings can provide solutions required by architecture for
crowded and urban spaces.

The adaptation strategies of living beings in nature are determined by changing factors. For
example, organisms adapt based on the changes in temperature, air and water, and based
on their environment. When these variables are examined separately, a different strategy
can be seen used for each of them. The exterior facade walls of a building as an interface
consists of the first line of defense of the building; the roof and any external openings of
the building. The building envelope and the interior walls have a great effect on the
internal temperature and behavior of the building. For this reason, buildings with increased
energy requirements and a negative impact on climate change must use materials that
respond to variables such as heat, light or moisture [99]. In this context, thanks to
biomimicry, buildings should function as the human skin does and start interacting
naturally and automatically, without interference from people. This can be achieved by
using smart materials in architecture that have biomimetic design, in doing so greatly
aiding energy efficient design in architecture.

Organism skins found in nature vary diversely in their function based on the species, these
functions include; protection, detection, heat and water regulation. In architecture, facades
serve multiple roles as an interface between the user and environmental effects (water, air,
noise, light and heat) [100]. Architect Ilaria Mazzoleni, who studied the relationship
between organism skins found in nature and building envelopes, led a group of students to
take inspiration from animal skins to work on biomimetic building envelopes. By creating
these projects, they aim to create a more sustainable building and way of life. These
building envelopes that are morphologically and physiologically very similar to the animal
 72

skins they took inspiration from, and they were optimized for their environments. Each
project creates the most appropriate building envelope for the space by taking into
consideration the thermal, acoustic or visual properties of the space. Out of the eight proto-
architecture projects found within this project, the two that are applicable to this thesis are
examined, The Porous Skin and S.C.A.L.E.S. Strategies applied in these projects are
guiding biomimicry based architectural facade designs.

“The Porous Skin” project takes inspiration from the skin of a hippopotamus in order to
provide protection from the sun, permeability and thermal regulation. The goal of this is to
control the intake of sunlight and the temperature. The hippopotamus protects itself from
the rays of sun by releasing a liquid with sunscreen properties from glands under their skin
when they get out of the water. This system was the inspiration for the design of the
building envelope in this project. The thickness of the skin of a hippopotamus changes for
each part of its body. Similarly, the exterior facade coating in this project has a filtration
system for sunlight. The thicker parts serve as a sun curtain while the thinner parts allow
light into the interior in a controlled manner. The system, which is made up of moving
panels that were designed by combining ideas for regulating heat by using different
thicknesses, and regulating water use, was designed in order to achieve user comfort and to
regulate interior temperature [100].

(a) (b)

Figure 3.13. The facade system of The Porous Skin project (a) and (b) [100].

The S.C.A.L.E.S. (smart, consistent, active, layered, environmental, system) project is a

project that took inspiration from the properties of the side-blotched lizard. The team has
design a structure envelope that imitates the behavior and physiological properties of the
skin of the desert dwelling lizard. The scales of the body parts of the lizard can vary based
 73

on its ability for movement. The color of its scales is different in its back than its front in
order to absorb sunlight. Also, the behavior of the lizard regulates the temperature of its
body [100]. All these properties became the design criteria for this project. The
physiological form of the skin of the lizard helps with the design of the facade. The
behavioral properties of the lizard have been turned into the smart sun tracking system of
the building and are run by the hydraulic system. This allows for heat to be regulated based
on the comfort needs of the users.

(a) (b)

Figure 3.14. (a) Lizard [101]. (b) S.C.A.L.E.S. project [100].

Biomimetic architectural facade designs that are inspired by organism skins are
continuously developing in the 21st century. The conclusion can be made that this is a
result of advancements in technology and the accessibility of information, advancements in
construction methods and interdisciplinary work that comes with those advancements.
With the technological advancements that came with the 21st century, some biomimicry
based designs are still in their project phases and are continuing their development. One of
these projects is the Breathing Skins project, designed by architect Tobias Becker in 2015.
This project began as the graduation thesis of Becker in the University of Stuttgart. This
technology was later developed by academics and sponsors. The Breathing Skins Project is
being displayed now in the city of Mandelbachtal in Germany, in a completely private
showroom constructed with collaboration from Simon Huffer [102].

In the Breathing Skins project, organic skins with adjustable permeability have influenced
to provide regulation of light, substance and heat flow between the interior and outdoor
spaces. The facade of the project imitates the function of skin, especially its ability to
 74

contract and release its pigments and pores. There are 140 air tunnels on every meter
square of the facade, these are named "pneumatic muscles" by architect Tobias Becker.
These circular apparatus inflate and deflate in order to regulate the permeability of the
facade. The pneumatic muscles are placed between two glass surfaces in this system and
they only require low pressure to function. This way, the architect states that a minimal
amount of energy is required to create a functioning breathing facade [103]. In the project
which is a product of responsive architecture, the pneumatic muscles can provide an
adjustable amount of air, light and visibility. The facade changes as the parameters change
and this creates an enriched interaction between the external environment and indoor space
[102]. The facade technology tracks the direction of the sun in order to provide shade for
indoor spaces and public spaces and allows for new strategies of natural lighting to be
developed. This benefits sustainability while creating an artistic facade design with
minimum energy consumption.

(a) (b)

Figure 3.15. (a) Open and (b) closed visual of the facade of Breathing Skins project [102].

Another one of the architectural facade design examples designed in the 21st century with
inspiration from organism skins is the Habitat 2020 Project. The Habitat 2020 Project has a
biomimetic facade that integrates technology and biochemical functionality with its
materials, and in doing so changing the traditional approach to ideas of buildings and
habitats. The Habitat 2020 Project was designed for China and it has a form unlike the
usual silhouette of a city. The facade of the structure is not a static system, instead it was
designed as a living, breathing skin that can adapt to its surroundings. The skin functions
as a membrane that creates a connection between the interior and exterior of the habitat
 75

[104]. The building envelope has a porous form inspired by the stoma structure of a leaf.
Leaves photosynthesis thanks to their stoma and they cause perspiration. Likewise, this
was applied in the membrane envelope of the building. The building facade allows
controlled light, water and air into the interior. It positions itself according to the direction
of sunlight to provide natural lighting without the need for electricity. Air and wind is
directed towards the building and filtered to provide clean air and a natural climate. It also
includes a system that stores and utilizes rain water, and uses the waste produced by the
structure as biogas energy for use in other areas in the habitat [104]. This concludes that
the project benefits from natural ventilation, lighting and matters of user comfort and
energy efficiency. When all of these properties are evaluated, the Habitat 2020 Project
connects the interior and the outdoor spaces with an active, breathing, flexible and living
building facade. Habitat 2020 has not yet been realized and it guides innovative ideas in
new biomimicry based designs.

Figure 3.16. Habitat 2020 [104].

As seen in the projects examined above, the field of biomimicry supports architects
integrating the environmental conditions into their buildings and in doing so creating more
sustainable and eco-friendly building designs. The Porous Skin, S.C.A.L.E.S, Breathing
Skins and Habitat 2020 Projects examined in this chapter all follow a sustainable design
approach by taking their inspiration from the skins of organisms when designing their
biomimetic facades. Biomimetic solutions applied in these projects take advantage of the
technology of the 21st century in order to support architecture in matters such as user
comfort, temperature regulation and natural lighting. These projects used the design
 76

methods of biomimicry by getting inspired by the physical and behavioral properties of

organism skins, therefore they were designed by using the organism and behavior levels of
biomimicry. These projects were the source of inspiration for this thesis in bringing
together the concepts of architectural facades and biomimicry. Also, the analysed project
supports the fourth chapter of the thesis in the determination and the development of the
parameters of analysis. In conclusion, this research of biomimicry based designs of
architectural facade projects aims to guide and inspire future projects with their
sustainability and ecological adaptability.

This chapter of the thesis is examined examples of biomimetic facade designs as an answer
to the question why are biomimicry solutions needed to design architectural facades. Aside
from the increasing importance of sustainability and energy efficiency, scientists and
engineers who work with construction materials are also leaning toward biomimicry based
design. It is possible to analyse the effect of biomimicry on sustainable facade design by
observing available designs. This is why the research topic of this chapter is made up of
projects that took inspiration from the similar function of the external shells of organisms
found in nature and exterior surface facades found in architecture. The examination of
architectural facade examples that work similarly to skin arrives at the conclusion that
biomimicry can support the creation of a built environment that is sustainable and eco-
friendly. Furthermore, responsive facade designs that use the technology of today, that
affect sustainability and are designed in a way to be responsive to even the slightest
variation also support these subjects. In this context, the conceptual understanding of
responsive facades and the effect they have on the architectural facade on a technical level
has been determined as the research topic of chapter 3.3 of this thesis.

3.3. RESPONSIVE FACADES AS A CONCEPT

The field of architecture is a field that renews and improves itself every day with
advancements in technology and innovative approaches in design. Recent developments in
the field of architecture have come about with general acknowledgment of the concept of
sustainability and increase in technological development. In this context, the 21st century,
where the advancements of technology and sustainability have been reflected on the field
of architecture, is the period of time this thesis focuses on. Architects today, with the effect
 77

of changing environmental and climate factors, are focused on designing more conscious,
ecological and sustainable designs. When these parameters are taken into consideration,
the first place of interaction on a building, which is the facade, is important to have new
design strategies. Facade design not only regulates levels of comfort in the interior and
connects the building to the environment, but it is also important for energy saving and
efficiency. Architectural facade concepts being designed as interactive parts of a building
that reacts to variables and even changes in climate, helps with the building of a responsive
built environment. The facade must adapt to the changing factors in the environment and it
must be thought of as a living element of the structure. Thus, this chapter defines the
concept of a responsive facade, which is often heard in 21st century designs, and its place
in contemporary architecture is examined. Also, technological advancements used in
responsive facade designs and their benefits to sustainability are stated.

The rapid consumption of the energy and fossil fuels of the world and the climate changes
that bring are both influencing every industry to renew their ways of manufacturing and
consumption. Design approaches that are responsive to environmental issues are also being
developed in the architectural field, which has undeniable effects on the natural
environment. The goal of this approach is to design buildings that use recyclable materials
in their construction, that use environmentally friendly materials and are benefiting the
sustainability of the natural environment. The biggest benefit of these buildings to the
natural environment is the positive effect they have on energy saving. This ideology, which
has been embraced in contemporary times, has influenced all steps of the building design
process and is influencing architects to work more towards sustainability. In this context,
the concept of architecture that can respond to environmental factors has come about.

The term responsive architecture was first coined in a 1970 book by Nicholas Negroponte
"The Architecture Machine". The article "The Semantic of Architecture" written in the
same year and the 1975 book "The Soft Architecture Machine" both hold their place in the
literature as important sources in defining responsive architecture and manufacturing it.
Negroponte suggests that responsive architecture is the natural byproduct of the integration
of the power of information sciences to settled environments and as a result it created
better performing and more rational building [105].

Even though ideas of Negroponte still hold true in concept, not enough information and
suggestions were put towards to realize these ideas [106]. Most research and applications
 78

that came after the works of Negroponte were only interested in aesthetics rather than
functionality; therefore, no structures were made that truly utilized the concept of
responsive architecture. Although, with the advancements seen in computer technologies
since the second half of the 20th century (1980s) have made important developments in
responsive architecture possible. Thanks to the developing technologies, external factors
are easily track able and moving structures and materials that can respond to these factors
were produced. Later, the use of smart materials in architecture allowed for buildings in
which smart materials were used as sensors or actuators to do the same thing without the
need for computers. Today, advancements in robotics systems and artificial intelligence
have allowed the concept of responsive architecture to be more functionally applicable
[107].

One of the most well-known and important examples of responsive facade design is the
1988 building in Paris, Institute du Monde Arabe, by architect Jean Nouvel. The Institute,
which was a synthesis of the east and the west, works as a bridge between the two cultures
and two histories [108]. The architect designed the panels in the facade of the structure by
taking inspiration from Middle Eastern motifs and therefore the concepts of smart
materials and traditional architecture were brought together. The southern facade of the
structure is covered in 30.000 light sensitive moving metal diaphragms that protect from
the sun [109]. This system uses photovoltaic sensors and hydraulic actuators that allow
controlled sunlight into the building and reduce shine from the sun. This building therefore
uses smart materials and preferable properties of the environment to save energy. Institute
du Monde Arabe also has the properties of biomimicry based architectural facades, which
is the research topic of this thesis. The structure, which takes inspiration from the lens-like
form of an eye, has a retractable mechanism that, research has concluded, was designed
through the behavior level of biomimicry. In this context, the biomimicry based on design
of responsive facade systems are beneficial to being adaptive to nature and being
sustainable.
 79

Figure 3.17. Institute du Monde Arabe [110].

The facade of Esplanade Theater in Singapore, designed by DP architects in 2002, is

another example of biomimicry in responsive facade design. Biomimicry was used as a
design method in the new design added to the glass facade in order to eliminate the
negative effects of the first design of the building. The design was inspired from spikes on
the durian fruit from Singapore to protect the building from excessive sun exposure. The
facade of the building has sun shields created from aluminum and placed according to the
angle of sunlight. These can be adjusted in response to the movement of the sun. In this
way, energy use is reduced by providing natural lighting and protection against heat in the
interior [23]. Although the Esplanade Theater facade design is responsive to sunlight and
indicates biomimetic facade property, it was disagreed from the analysis criteria in the
fourth chapter of this thesis, due to the limited movement of the panels on the facade.

Figure 3.18. Esplanade Theater in Singapore [111].

 80

Important work in the 21st century, in the field of responsive architecture is being
conducted by the president of "Robotic Architectural Media & Bureau for Responsive
Architecture", Tristan Sterk [107]. Sterk, combined the ideas of Negroponte with the
advancements in the fields of artificial intelligence and robotics and proposes a current
architectural model that meets the needs and wants of users [106]. In the work of Sterk,
the building is separated into two main parts, spaces that provide services and the building
structure that include the protective building envelope. The effects of user needs and wants
can be seen on the design of the spaces and structures in this work. In conjunction with
this, and as seen in the "Figure 3.19", a hybridized control model is proposed that connects
user needs with the elements of the building and their responsive behaviors. This is how
user requirements arrive at the structures and spaces and they are either approved or denied
here after evaluation. This model has created an exemplar architectural building envelope
in how a responsive facade system can work. In this example, the building envelope is
designed with structural tensioner elements that are made up of sensors, actuators and
micro detectors, and is managed by hybrid control networks. As seen in the "Figure 3.19"
below, the internal partition system is a moving wall that has been installed onto a track.
The resulting architectural form is a response to user needs through the limitations of the
environment and the space [106]. The research done by Sterk shows that the user’s needs
and wants are very important in designing responsive facades and spaces. As a result,
architecture which utilizes responsive facade design benefits the design of building facades
that are reactive thanks to sensors, actuators and trackers, as a result of the analysis of user
input.

Figure 3.19. Sterk's hybridized control model and the architectural form [106].
 81

When looking at work done in the field of responsive architecture, it can be seen that a
building facade design that responds to the environment is effective. This is why designing
the building facade, which is the first part of the building that interacts with the
environment, with a responsive architecture approach can bring about new technologies
and strategies. In this context, it is important to examine responsive architecture facade
designs and any technological advancement in this field. Responsive facades take the most
advantage from energy sources such as the sun and the wind in order to find heating,
cooling, ventilation and lighting solutions. Protection from these energies is also required
in order to ensure the comfort of the interior. Facades designed in a way that is in
conjunction with this can adjust themselves and have a self-controlling system. This is how
they can adapt to changing external factors in order to create comfortable indoor spaces,
thus saving energy by using responsive facades in buildings.

It is important to know the technology used in order to have a deeper understanding of

responsive facades and guide designers. A scan of the literature on responsive facades
shows that there is no clear categorization on the technologies applied to facade systems.
Thus, this chapter analyses the technologies used in responsive facade systems categorized
with the findings of the research of Negar Heidari Matin and Ali Eydgahi [112]. Data is
given regarding how these technologies are used today, without giving technical details of
these technologies. The examination of these technologies is important in order to
understand how far responsive facade technologies have come and for future research to
take benefit from them.

Responsive facades are accepted as smart systems that have properties such as response
time to environmental effects, adaptation and learning ability. Generally, the performance
of a facade system is affected by the detection, control and interaction technologies of the
used smart material technologies and structural technologies. Several research papers on
this topic help the categorization of these technologies. Responsive facade system
technologies are categorized in literature as follows, mechanical technology, electro-
mechanical technology, passive technology, information technology, and material-based
technology [112].
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• Mechanical Technology:

When responsive facade systems were first used, mechanical technologies were utilized to
both provide user comfort and building efficiency. In those times, machines were seen as
tools of perfection and architectural components were designed as machines [113]. This
understanding led to buildings being seen as multi-functional mechanisms that worked
under the influence of mechanical principles. With the increase in mechanization seen in
the industrial revolution, the first steps towards creating responsive facades were taken by
using pulleys, hinges, reels, cables and gears in facades [112]. As seen in the figure below,
an example of mechanical technology in responsive facades would be the hand-operated
blinds system of Kaufmann House, which works without requiring energy resources and
according to the needs of users. Building users could operate these systems manually and
they had limited levels of adaptation, and had limited use by differently-abled people due
to it being dependent on human power. Also because of their lack of resilience to
environmental effects, the fact that they erode quickly and their maintenance being costly,
mechanical technologies left their place to system controlled technologies. [114].

Figure 3.20. The hand-operated facade of the Kaufman House [115].

• Electro-mechanical Technology :

In the end of the 20th century, the use of electrical components and control mechanisms
began in architecture and advancements were made in facade systems. These systems
allowed the use of electro-mechanical technologies in responsive facades. Detection,
 83

interaction and key control technologies in facades were first used in remote control doors
[116]. With advancements in electrical systems, blinds, which used to be hand operated,
lead to the design of algorithm based engine run mechanisms of facade components.

The Institut du Monde Arabe building by Jean Nouvel, which was mentioned in this
chapter, can be given as an example of electro-mechanical technologies used in responsive
facades. Sensors and actuators on the facade of the structure allow for the controlled entry
of sunlight into the indoor space. The Al-Bahr Towers in the United Arab Emirates is
another example of this technology being used in a responsive facade system. Al-Bahr
Towers uses the tallest computerized facade with its 150 m height. This responsive facade
is being controlled by a Building Management System (BMS) and it tracks wind speed,
light intensity and levels of rainfall and adjusts the placement of the panels found in the
facade as a result. Institute du Monde Arabe and Al-Bahar Towers, Arap were designed by
their countries according to the traditional motifs of Islamic-Geometric Patterns, and they
are important examples of high performance facade system designs. These buildings are
seen as the relation between culture and modern facade system technologies [112].
Additionally, both of these structures use biomimicry as their design method, therefore
they are included in this research topic. The building Al-Bahr Tower was designed in the
21st century with new technologies, therefore it is in the fourth chapter, being examined
for biomimicry design strategies and responsive facade technologies.

As a response to the advancements in technology in the 21st century, electro-mechanical

technologies have been used at large in facades. Contemporary period facade systems work
through central control systems that use local weather data and data from other types of
sensors in order to function. An example of such a system is the Council House 2 Building,
the Q1 Headquarters Buildings, and the Ocean Pavilion. These structures are related to
biomimicry and are therefore analysed in detail in the fourth chapter of the thesis.

The electro-mechanical technologies used in responsive facades are advanced and safe
technologies. These are technologies that have the advantage of modular design
components, affordable starting materials and central control systems. Some disadvantages
of these technologies are the complexity of the mechanical pieces, risk of failure due to
friction, difficulty of replacing parts, high maintenance and repair costs and high energy
consumption [112]. This is the reason designers have moved onto more affordable
 84

technologies. An alternative to electro-mechanical technologies used in responsive facades

is passive, information and material based technologies.

• Passive Technology:

Passive technologies, used in responsive facades, remove the need for electrical or manual
power and use natural sources such as wind, water or sunlight to operate. Passive
responsive facades have the advantage of not requiring mechanical or electrical power, and
are far from being drab in appearance due to them being connected to natural conditions.
On the other hand, these low cost and low maintenance technology passive facades are
dependent on weather conditions and are not controlled within their system, so they can
have unexpected reactions [112].

An example of passive technology used in responsive facades can be the facade design of
the Pittsburgh Children’s Museum, made by artist and sculptor Ned Kahn, with
collaboration from the KoningEizenberg firm in 2004. The facade of the building is made
up of thousands of semi-transparent plastic squares that move with the wind in order to
improve the optical quality in the interior. The facade design includes adjustable use,
recyclable materials and passive shading. The facade, which was designed with a passive
approach, is beneficial to the sustainable social change of the neighborhood around the
building [117].

Figure 3.21. Pittsburgh Children’s Museum [117].

 85

• Information Technology:

Information technology used in responsive facades uses the control system of

electromechanical systems. In responsive facades that use this technology, micro detectors
are used that control the interconnected panels. Local sensors found in the facade allow the
actuators to provide data to the micro-detectors for the functionality of the facade [118].
An example of information technology would be theMedia-TIC Building, which was built
in 2011 by Enric Ruiz Geli, and is the first facade system that has a control system without
a central unit. The facade, which was designed with the eco-efficient material ETFE, has
sensors spread across it that track heat and light from the sun. The coating that provides
heat efficiency is within a triangular frame, and has a pillow-like inflating and deflating
motion reactions [119]. When the facade is inflated, it provides heat insulation and helps
with saving energy. The motion of the facade also affects the appearance of the facade.

Figure 3.22. The Media-TIC building facade design [119].

• Material-Based Technology:

Advancements in material sciences have brought new techniques to the design of

responsive facades. The materials used in these facades serve as actuators or sensors,
therefore taking the place of mechanical or electro-mechanical components [112]. With the
advancements in technology today, new materials are produced that are responsive to
humidity and sunlight. An example of this is the responsive facade design of Hygroskin-
Meteorosensitive Pavilion built in 2013 by AchimMenges Architect, Oliver David Krieg
 86

and Steffen Reichert. The facade, which used biomimicry as a design method, took
inspiration from spruce cones' ability to open and close based on humidity to design
movement of the wooden components. The porous form of the facade is controlled by the
elastic bendability of the thin layers of plywood. The responsive facade design can respond
to changes in humidity on sunny or rainy days, equal to the humidity within a 30% to 90%
scale [120]. This way, a responsive facade design without the need for external power
source was achieved. Smart materials may increase facade performance on a micro scale,
but they have limited controllability due to their static and unprogrammable reactions to
environmental effects. This is why material-based technologies used in responsive facades
are used in limited prototypes. This is why they are seen as untested technologies [112].

(a)

(b) (c)

Figure 3.23. (a) Hygroskin-meteorosensetive pavilion, (b) open facade, (c) closed facade
[120].
 87

The analysis of technologies used in responsive facades show that these are facade designs
that are reactive to natural factors such as sunlight, humidity and wind and they can be
adjusted based on the movements of the users. The advancements of technologies used in
responsive facades began with hand operated systems, later used electrical components
such as sensors, actuators and detectors. Later, with the effects of sustainability, facade
designs were made that used natural resources as a source of power in order to reduce the
need for energy. Lastly, with the technological advancements of the 21st century, the use
of smart materials in architecture further improves the responsive facade technologies. In
this context, it is concluded that the analysis of current technologies used in responsive
facades benefits the creation of a new and integrated system. Therefore, it can be proposed
that new responsive facade systems, that have low energy consumption, are sustainable and
do minimal damage to the environment, can be developed.

In addition to the responsive architectural facades which are a result of the technological
advancements of today, different properties of facade designs are being developed and they
can transform energy and all benefit sustainable architecture. These architectural facade
systems are named differently based on the materials used, structural facade components,
their goals and their techniques. Some of these (apart from the responsive facades) are
categorized as; kinetic facade, smart facade, biomimetic facade, interactive facade,
adjustable facade, and so on [121]. These systems are usually designed by using smart
materials and they utilize energy efficiently. Buildings designed with smart materials can
be defined as buildings that provide the most efficient space for the user, that minimize
management costs and utilize the most advanced technology. The materials chosen in these
buildings are expected to improve the ecological performance of the building in regards to
the relationship between the environment and the user. This way, these facades minimize
energy and resource use, thus minimizing damage done to the environment and benefiting
sustainable architecture. The analysis of these architectural facade systems shows that the
most contemporary of these systems is the responsive facade. This is why this thesis
examines the responsive facade. In addition, a common language is aimed to be created for
this thesis by combining the research topics of this thesis that the responsive facades and
biomimetic facades.

Responsive architectural facades must be designed with interdisciplinary teamwork. Sterk,

who supports this idea, suggests that an architectural product is only possible by multiple
 88

disciplines working together, and that the leading disciplines of this idea are robotics,
artificial intelligence and structural engineering [106]. Frazer, who works on responsive
structure manufacturing by taking advantage of the biology discipline, states that
architectural design products have a lot to learn from nature. Frazer believes that natural
ecosystems are systems that have complicated biological structures and they can recycle
materials, adapt to changes and use environmental energy efficiently [122]. When these
ideas are taken into consideration, integration biology to the design process of responsive
facades is the primary solution nature has against the energy consumption of the built
environment. In conjunction with this, the use of biomimicry in responsive architectural
facades allows for new solutions being provided to any possible issues. The common trait
of responsive facade systems and designs looking to nature are creating buildings that are
more responsive, harmonious and sustainable towards their environments. Aside from
responsibility towards nature, these two fields have similarities in providing a comfortable
indoor space to their users. Architects have been designing biomimetic facades in recent
years in order to provide comfortable interior and outdoor spaces. As a result, using
biomimicry as a design method when designing responsive facade systems is beneficial to
sustainability and harmony between nature and the built environment.

The third chapter of the thesis is examined the concept of architectural facades which serve
as an interface in the relationship between the building and its environment. Furthermore,
design of facades is examined under the scope of sustainability. Later, biomimicry based
facade designs are analysed through examples. The research concludes that in sustainable
facade designs, transferring strategies found within nature into the design of facades is the
primary solution. One of the most prevalent properties of 21st century design is attempting
to create an eco friendly and sustainable built environment. This leads to the creation of
responsive architectural facade systems that react to environmental effects and are
beneficial to saving energy. The analysis of frequently used responsive facade designs of
today helps the understanding of the effect of technological advancements on
sustainability. Thanks to the research done in this chapter of the thesis, it can be seen that
products that are a result of working with biomimicry and using responsive facade systems
benefit architecture by giving it eco-friendly and sustainable properties. This is why the
analysis of biomimicry based designs of responsive facades is determined as the research
 89

topic of this thesis. In the fourth chapter of the thesis, 21st century responsive architectural
facades using biomimicry design strategies are determined and analysed in detail.
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4. AN ANALYSIS ON RESPONSIVE ARCHITECTURAL FACADES

IN THE 21ST CENTURY INSPIRED BY BIOMIMICRY

The 21st century, called the information age or the digital age, provides technological
advancements to the people while developing interdisciplinary methods. The field of
architecture, which shapes the built environment, has been affected by these advancements
and buildings, materials, products and construction methods are affected by these
technologies. Within the context of today, global warming and increase in energy use have
made sustainable and environmentally friendly designs more important. Designs that
integrate 21st century technologies have low carbon emissions, high quality of life
standards, use of environmentally conscious and recyclable materials, low fossil fuel use;
thus helping to create cities that apply these factors. Cities designed with this approach
allow for a built environment with low energy use and a positive impact on the
environment to be created.

Throughout the historical process, buildings and designs have been made to benefit human
life by observing how living beings in nature behave in many different conditions. In
accordance with this, when the concept of biomimicry is examined, it is concluded that
integrating the forms, behaviors and actions of organisms found in nature in order to solve
problems in the architectural design process and to reduce the energy use of the built
environment is one of the most effective solutions for sustainability. Aside from making
designs that are environmentally conscious and sustainable, the field of architecture also
assumes the responsibility for providing a comfortable interior space for the user. This is
why the principle of biomimicry that aims to use the principles of nature to provide interior
and exterior space comforts is seen as a benefit of biomimicry to the field of architecture.
Designs using biomimicry as a design approach as a method have developed over the
historical process. Biomimicry not only imitates the form and shape of organisms with the
technological advancements, but it also includes design strategies that integrate
environmental factors and their effects as well as the behaviors and processes of living
beings into design. An example of this can be the use of the form structure of a honeycomb
as one of the first instances of inspiration taken from nature being applied to design. In the
21st century, behavioral properties of the honeycomb like its textures and integration
 91

patterns were examined and the collected data lead to the creation of products with the
same durable structure. Thus, it is concluded in the 21st century that observing nature and
creating designs that take inspiration from or imitate nature, namely biomimicry, has
evolved. And the effects of this on architecture show themselves as designs that are
environmentally conscious, function similarly to living beings found in nature, are
recyclable, environmentally friendly, sustainable and ecologically beneficial.

Research shows that 21st century architectural design is influenced greatly by

sustainability and technological developments. This encourages architects and designers to
produce new systems and materials. These 21st century developments contribute to the
creation of designs of buildings that can react to environmental factors and are equipped
with intelligent materials. Facade design, which provides user comfort in buildings,
controls the balance of temperature between the interior and the exterior environments, and
has a visual impact on its connection to the environment, and it is a field that shows
improvement and needs to be investigated. Research has shown that one of the most
significant examples of these developments is responsive facade designs. Responsive
facades, which are a product of sustainable architecture and technological advancements, is
the research topic of the thesis and in chapter 3.3 of the thesis, it is analysed in detail.

In the second and third chapters of the thesis, the relationship between biomimicry and
architecture facade concepts is examined, which has greatly influenced designs of today by
way of sustainability and environmental consciousness. The concept of biomimicry, which
is inspired by organisms found in nature, is seen to be effective in the development of
systems in facade designs that can react to environmental impacts and change according to
user needs. In this context, the use of biomimicry as a design method for responsive
architectural facades can be predicted to contribute to the environment and the structure.
Therefore, the fourth chapter of the thesis is analysed 21st-century examples of biomimicry
inspired responsive architectural facades. It is possible to give numerous examples of
facade designs based on biomimicry. Some examples of biomimetic facades are analysed
in other chapters of the thesis without any time period restrictions. These buildings and
projects that are being examined are an inspiration for this chapter of the thesis. However,
some criteria have been set regarding the chosen examples to ensure the legitimacy of the
research and to ensure the effects of the technological effects of today are being taken into
consideration and are analysed correctly.
 92

There are two main criteria in determining the buildings that are seen in chapter 4 of the
thesis. The first criteria for the chosen buildings is having responsive architectural facade
systems that use biomimicry as a design method. Buildings with these criteria are carefully
selected for their facade designs that use technology of today, are involved with the
concept of sustainability and are designed to react to a specific stimulus. The second
criteria aims to better understand current and contemporary changes in the concept of
facades by choosing buildings that completed their construction in the 21st century. These
buildings were determined by doing a widespread scan of literature with these criteria in
mind. This research shows that some examples of 21st century biomimicry based facade
designs do not use a facade that is a dynamic system, meaning they do not react to an
environmental factor, thus being excluded from this chapter of the thesis. Furthermore, this
research concluded that sufficient information was not found for some examples of
biomimicry based facade designs and they were excluded from this research. However,
some 21st century biomimetic designs were kept in chronological order in the table in
order to serve as a guide to further research. With these criteria, the first research was into
the effects of developed technology on facade design, and additionally care was taken to
ensure the chosen buildings had different functions. The functions of these buildings have
been grouped by their architectural use in daily life as public buildings, office buildings,
exhibition spaces (cultural buildings), museums and residences. In this chapter of the
study, the goal is to analyse the design of responsive facades based on biomimicry for
different functions, to provide a wide arrange of data for future research and to produce
primary information for use in biomimetic facade designs of different functions. After all
this research, examples have been determined based on the determined criteria in order to
analyse them, these are as follows, CH2 Building, Q1 Building, One Ocean Thematic
Pavilion, Al Bahr Towers, Mokyeonri Wood Museum, and Hive House.
 93

Table 4.1. Facade designs that used biomimicry as a design method in the 21st century
(prepared by author).
 94

Buildings with these criteria, responsive facades in the 21st century that use biomimicry as
a design method, have been examined based on the three parameters defined by the
information gathered in chapters two and three of this thesis

• Effects of biomimicry on the facade:

First, the organism or function in nature that inspired the facade design is identified and its
similarity to the project has been examined. After that, according to the research of Zari
and Benyus in the second part of the thesis, it was determined which of the organism,
behavior, and ecosystem levels of biomimicry were used in facade designs. In the same
way, it has been determined in the facade designs which of the design looking to biology
and biology influencing design approaches of biomimicry. The table, which was created by
Zari, benefited the determination process of the levels and approaches of biomimicry.
Furthermore, the design strategies of the examples of facades inspired by organisms found
in nature in the other chapters (3.2) of the thesis have an effect on the determination of
analysis parameters.

• Responsive facade design:

In the second parameter, the technologies used in the responsive facade designs of the
selected buildings are specified. Which of the mechanical, electro-mechanical, passive,
information, material-based technologies are used in facade design has been analysed
based on the research done in chapter 3.3 of the thesis [112]. Furthermore, observations are
done to identify which environmental factors or stimuli the facade design responds to and
which technical solutions it brings.

• Effects of facade design on sustainability:

The energy efficiency, thermal comfort, natural lighting of the facade design is analysed
based on its benefit to the concept of sustainability and to nature.

As a result of all this research, chapter 4.7 of the thesis provides a table that contains the
architectural properties of the buildings (architect, year, location, function), a summary of
their analyses and analyses of their photographs.
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4.1. COUNCIL HOUSE 2

Council House 2 building in Melbourne, Australia is a 10 story administrative building that

completed construction in 2006 and was designed by Mick Pearce and Design Inc. The
design process of the building was done through new strategies based on the basic laws of
nature [123]. The building is defined in literature as the first building in Australia to use
biomimicry as a design method and bring sustainable design to new levels. The facade
design of the CH2 building uses the best possible way to provide technological solutions in
a limited space for the requirements of 21st century common use workspaces and their
functional needs. This building is researched in further detail in this chapter of the thesis
because the facade design is based on biomimicry, it is a frontier structure in terms of
sustainability in the region and it is a product of new developments in technology.

Figure 4.1. CH2 building, Melbourne, 2006 [123].

When the CH2 building has been analysed, it is seen that the concept of biomimicry affects
the entire building. The base design of the building imitates the bark of a tree, thus
stepping outside the box of traditional approaches to sustainable building design.
Furthermore, for the thermal comfort of the building, the passive ventilation and heat
regulation seen in termite mounds has been imitated. The sewage water from the CH2
building is cleaned and used as a evaporation based cooling mechanism inspired by the
principle termites use to carry water [25]. It is concluded that the building design used the
 96

organism and behavior levels of biomimicry due to the fact that it used the method in
which termite mounds use to solve heating and cooling issues and the structural form of
the tree. Furthermore, when the design process of the building is examined, it is
determined that the biomimicry approach used was design looking to biology.

Figure 4.2. The emergent design concept and the natural analogy [124].

The west facade of the building, overlooking the main street, is inspired by the epidermis
of the tree and recycled wooden shutters were used, controlled by photovoltaic cells. The
shutters placed on the facade open and closed based on the angle in which sunlight hits
them, thus creating thermal comfort. This movement is powered by photovoltaic roof
panels placed on the roof, absorbing solar energy and converting it to electrical energy.
Furthermore, the roof of the building also includes wind turbines to use the natural energy
resource of wind [107].
 97

(a) (b)

Figure 4.3. (a) Open shutters of the west facade of CH2, (b) closed shutters [125].

On the north and south facades of the building, the bronchus of the tree was taken
inspiration from and these were applied as wind pipes, allowing air ducts on the outside of
CH2 building [124]. The south side of the building has five shower towers where water
droplets evaporate slightly while consuming energy, thus cooling the air. For the thermal
comfort of the building, ventilation shafts have been placed on the north side, which is the
direction in which most direct sunlight reaches the building, due to the location of
Australia. Hot air from dark colored vents to absorb heat on the north side of the building
is replaced with cold air from light colored vents on the southern front [126]. This ensures
the thermal comfort of the building by positioning the ventilation pipes in the correct
position and color. In addition, the air circulation can be controlled and managed in
accordance to user needs and requests. The eastern facade of the building where services
and restrooms are located was designed with inspiration from the tree bark; it has a
protective envelope property of filtering light and air [124].
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(a) (b)

Figure 4.4. (a) The north facade, (b) the south facades of CH2 building [125].

The building includes a responsive facade design; especially in the western facade, the
vertical pieces react to external effects by performing a turning motion. These shutters
provide the users with shade and create a healthy climate within the building, while also
creating an aesthetically pleasing appearance to the facade. The facade design of the
Council House 2 is run by a central control system that is programmed to work using local
weather conditions, heat sensors and light sensors [112]. The facade design can respond to
environmental effects through sensors and hydraulic actuators, thus making it an example
of electromechanical technologies being used in responsive facade design.

Melbourne Council House 2 is an award winning building for its reductions in CO2
emissions and power and water consumption. The building discharges dirty air at night in
order to provide the users with %100 clean air during the day. Additionally, research
shows that by using natural ventilation and lighting, the building has an energy savings rate
of %65 [124]. All these parameters allow for a building design that can work without
human intervention by storing solar and wind power to later repurpose them as other types
 99

of energy, turning wastewater into usable water and using advanced technology and smart
building technologies.

Figure 4.5. Facade Design Diagram of the CH2 Building (prepared by author).

In conclusion, the facade design of the CH2 building is seen as being inspired from the
structural properties and behaviors of termite mounds and trees, while designing on the
behavior and organism levels of biomimicry. This design method was used in the western
facade, where wooden shutters allow for controlled sunlight into the interior space with
their opening and closing mechanisms, and also supporting ventilation as a responsive
facade. The facade design of the building allows for natural lighting, passive ventilation
and water storage. Thus, combining responsive facade systems with the concept of
biomimicry contributes to architecture and nature in terms of providing environmentally
conscious, energy-efficient, and sustainable design criteria.

4.2. Q1 BUILDING, THYSSENKRUPP QUARTER

The Q1 building is the office building in 2010 in Essen, Germany, designed in

collaboration between JSWD Architekten and Chaix - Morel et Associes architectural
groups for the ThyssenKrupp company. The Q1 building is the central building of a
 100

campus consisting of squares, green areas, connecting roads and 13 buildings. It reinforces
the appearance of metal and glass, openness and transparency, of the other structures
within the campus. The Q1 building is the most important building in the campus, it is also
the most visually striking structure in the region due to its facade design [127]. The facade
design of the building uses biomimicry, taking inspiration from bird feathers. The building,
which also has a responsive facade design, uses metal shading elements that are referred to
as feathers, and that can move in response to environmental factors. In this context, the Q1
building is analysed in detail in this chapter of the thesis because it combines 21st century
responsive facade technologies with the concept of biomimicry.

Figure 4.6. Q1 Building, 2010, Essen, Germany [128].

The Q1 building is located in a humid and rainy climate. The issue faced in the facade
design of the building was being able to protect the building envelope from the rain while
allowing sufficient sunlight into the interior space while not having a negative impact on
the aesthetic needs of the users. Architects have benefited from nature to solve these
problems and were inspired by bird feathers in the design of the shading system. Bird
feathers have small shafts and spikes that work in a micro scale in order to render the skin
waterproof and to close the pores. Furthermore, the feathers are formed integrated with
each other, diagonally covering all the pores on the skin of the bird [129]. Similarly to this,
the facade design of the building was inspired by the performance techniques of the bird
feathers in its shading system. It is concluded that this is how the facade design benefited
 101

from the behavior level of biomimicry. Additionally, the biomimicry approach of the
facade design has been determined as design looking to biology.

Figure 4.7. The Q1 building facade [128].

The facade of the Q1 building is made up of three layers. The textile layer on the interior
reduces shine on the inside, the middle consists of a thermal glass curtain and on the
exterior, there is a kinetic sun shading element. The dynamic facade design is
automatically controlled and is made up of 400.000 stainless steel slats [129]. These slats
are placed on a vertical axis and the movement of the shutters that can move on two axes
are controlled directly by engines. The shutters follow the movement of the sun and are
triangular and rectangular in shape; they can turn anywhere between 0º and 90º angles.
This movement is conducted from signals taken from an air station mounted on the roof of
the building [127]. In this context, the Q1 building uses electro-mechanical technologies in
responsive facade design by integrating it with the concept of biomimicry [112]. The light
sensors and engine based actuators in the facade designs allow the shutters to move in
response to environmental effects.
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(a) (b)

Figure 4.8. (a) Q1 building facade, (b) diagram of rotational movement of metal feathers
[128].

In this architectural facade design, the controlled use of solar energy provides light and
temperature comfort. The facade of the building, which has a large atrium, is covered with
2mm thick metal feathers, and even when these feathers are in closed position, the
structure gets natural light, thus decreasing artificial lighting costs [127]. The building has
many awards for its environmentally conscious identity thanks to how it makes use of
natural resources to provide properties such as energy efficiency, heating and cooling
through a central ventilation system, reusing geothermal energy and rainwater.

Figure 4.9. View of the panorama window at Q1 building [128].

In conclusion, the behavior level of biomimicry was used in the design of the shading
elements of the Q1 building. The sunlight sensitive system controls the shutters in the
designs, thus showing that the building has a responsive facade design. Therefore, the Q1
 103

building has been designed with responsive facade systems and using the concept of
biomimicry, by benefiting sustainable architecture through natural lighting, thermal
comfort and energy efficiency.

4.3. ONE OCEAN THEMATIC PAVILION

One Ocean Thematic Pavilion is a permanent exhibition building completed in 2012,

designed by Lukas Galehr and others in the Soma Architecture company for the Yeosu
Expo 2012 in South Korea. The concept of the building is the theme "The living Ocean and
Coast". The design aims for the union of nature and city, by allowing the visitors to
experience the simplicity and depth of the ocean. The design of the main entrance of the
building uses a biomimetic approach to design and the facade was designed with moving
cover glass pieces. The other facade, which has vertical cones, defines a curved shoreline
between the water and the land [130]. The building, which is the result of 21st century
technological advancements, uses biomimicry as a facade design concept and is analysed
in this chapter due to its reaction to environmental effects.

Figure 4.10. One Ocean Thematic Pavilion, Yeosu, 2012 [130].

The design of the Thematic Pavilion takes inspiration from the principles of elastic strain
seen in plant motion to design a new kind of kinetic facade system. The main inspiration
for the facade is the opening motion of the leaves in the perch of the bird of paradise
flower (strelitzia reginae) found in South Africa. Bird of paradise flowers open their leaves
downwards through a lateral rotation to ensure pollination. This motion inspired the design
 104

of the facade material called Flektofin®. In addition to this design, fiberglass polymers
(GFRP) were added to increase durability and provide a low bending rigidity. This is how
the facade design can easily turn on a lateral direction [131]. The facade design was
inspired by the turning motion of the leaves of the bird of paradise flower, therefore the
conclusion is made that the design was conducted using the behavior level of biomimicry.
Additionally, since it is inspired by the material designed as a result of analysis of the
motion of the plant, the biomimicry approach has been determined as biology influencing
design.

(a) (b)

Figure 4.11. (a) Bird of paradise flower [132]. (b) the lateral turning motion that was the
inspiration [133].

The facade of the One Ocean building is made up of 180 fiberglass lamellas made from
fiberglass reinforced polymers that are 140m in length and vary in height from 3m to 13m,
and are opened and closed by a servo motor. The lamellas are slightly curved and are 9 mm
in thickness and 125 cm in width. Each of the lamellas are moved by actuators found in the
upper and lower edges of the facade. This system is run by solar panels found in the roof.
The movement of the lamellas controls the light in the interior foyer and exhibition space
[97]. The length of the lamellas in the facade affects their opening angle. The taller a
lamella is, the higher its opening angle, thus increasing the amount of space affected by
light [130]. Additionally, the facade automatically closes when there is strong wind in the
region of the building, which seldom happens, and it is lockable. This is how the building
has the property of being undamaged in the face of the strongest storms.
 105

Figure 4.12. Responsive architectural facade with mobile lamellas [134].

The moving lamellas of the building can work separately from each other in accordance to
climate changes and user needs, while also creating moving patterns throughout the facade.
Furthermore, after sundown, LED strips in the interior side of the lamellas light up,
reinforcing the aesthetic appearance of the facade [131]. The building is an example of
electro-mechanical technologies being used in responsive facades due to its response to
environmental effects with the actuators and sensors found in the facade.

Figure 4.13. Interior ventilation and heat diagram [134].

In conclusion, the facade design of One Ocean takes inspiration from plant motion, thus
being designed on the behavior level of biomimicry, and moving lamellas were used in the
facade. The sunlight and wind responsive facade design provide natural ventilation and
lighting. Additionally, the solar panels on the roof allow the building to produce energy.
Thus creating a sustainable architectural envelope through providing energy efficiency
with facade design.
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4.4. AL BAHR TOWERS

The Al-Bahr Towers are two office buildings constructed in 2012 in the UAE capital Abu
Dhabi. The building, designed for Abu Dhabi Investment Council in collaboration with
Aedas Architecture (now AHR) and Arup, is 145 m tall and 29 stories. The design concept
of the Al Bahr towers is based on the combination of biomimicry, local architecture and
performance based technology. The concept of Mashrabiya in Arab culture was the
inspiration for the moving facade design of the building and a responsive facade system
responding to changes in climate has been used. The building, which has the largest
computer controlled dynamic facade, is defined as an aesthetical and cultural reflection of
21st century technological advancements [135]. The sustainability and conscious cultural
approach of the Al Bahr towers was awarded by the Council of Tall Buildings and Urban
Habitat with the 2012 Tall Building Innovation Award [136]. The evaluation of these
properties show that the building has a responsive facade design that reacts to
environmental effects through the use of the concept of biomimicry as a design method,
thus allowing it to be analysed in this chapter of the thesis.

Figure 4.14. Al Bahr Towers, Abu Dhabi, 2012 [135].

The facade design of the Al Bahr towers was designed as a contemporary interpretation of
Mashrabiya to create an innovative and aesthetically different shading system. Mashrabiya,
which is used in Islamic architecture, reduces shine and heat gain while also providing
privacy by using a wooden caged shading method. Additionally, the bio inspiration of this
system is flowers that can adapt to the direction in which they get sunlight from. In
conjunction with this, the facade of the Al Bahr Towers are made up of rows of translucent
parasol-like elements that open and close based on the angle of sunlight [136]. The folding
 107

concept of the dynamic shading element is explained with a simple origami model showing
how the triangular pieces function [135]. In this context, the building takes inspiration
from the movement adaptive flowers perform due to sunlight, thus concluding that the
design was made through the use of the behavior level of biomimicry. And the approach to
biomimicry is defined as biology influencing design.

Figure 4.15. Bio inspiration for the shading element and the principle of its opening motion
[135].

Mashrabiya (shading elements) in the facade of the Al Bahr Towers cover every side of the
building except for the northern side. There are 1049 Mashrabiya in each tower and are
mounted on beams 2m away from the glass facade. Each triangular piece on the facade is
made from stretched pieces of fiberglass covered with PTFE (polytetrafluorethylene). The
responsive facade is controlled by a preprogrammed central Building Management System
(BMS) to block sunlight on the facade. This system is run by a vertical hydraulic actuator
that opens and closes in parts throughout the day. Furthermore, several sensors are used to
determine changes in weather to open the units. Additionally, the form of the towers have
also been designed to provide the best amount of shading. The circular form around the
core is more narrow on the bottom and top of the tower, while being wider in the middle.
This has an important effect in reducing sunlight alongside the shading elements [136].
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The facade design of the Al Bahr towers is an example of electro-mechanic technology

being used in responsive facade design.

Figure 4.16. Open and closed states of the shading elements [137].

(a) (b)

Figure 4.17. (a) Exterior and (b) interior detail of the facade [135].

The dynamic facade of the Al Bahr towers reduces the need for heavily processed glass,
thus reducing the need for artificial lighting and mechanical air conditioning. In doing so, it
reduces energy use while creating a pleasing appearance and thermal comfort [135]. The
low use of artificial lighting in the building and a more than 50% reduction in solar gain
results in a 1,750 tonnes reduction per year in CO2 emissions. This results in designing a
responsive facade through sustainable solutions [136].
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Figure 4.18. The motion of the shading elements on the facade based on sunlight [138].

In conclusion, the facade design of the Al Bahr Towers was used the Mashrabiya concept
inspired by the motion of plants that can adapt to sunlight, and designed on the behavior
level of biomimicry. The responsive facade of the building works with a mechanism of
dynamic shading elements that open and close based on the movements of the sunlight.
Furthermore, a contemporary implementation of the concept of Mashrabiya develops a
sense of continuity with the past, while also being an effective method of use for
biomimicry in responsive facade design. Therefore, the moving system on the facade
provides sustainability through natural lighting, temperature regulation and energy
efficiency.
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4.5. MOKYEONRI WOOD MUSEUM

Mokyeonri Wood Culture Museum is a building designed by Seoul based architecture

studio Soft architecture lab and architect Eunju Han in Incheon, South Korea. The wood
museum is on a 549 m2 construction site and the construction was completed in 2017. The
name of the project Mokyeonri refers to the harmony between roots of different trees that
consists of a series of architecturally defined spatial experiences portraying the different
properties of wood. The Mokyeonri Museum was designed as an exhibition space where
visitors could feel the wood and the trees with all of their senses [139]. The project is
located in Incheon Grand Park. For this reason, the design concept has been planned
around symbolising the arboretum by integrating it into the architecture and to allow for
the trees in the forest to be sensed. In this context, the building is seen as a reflection of
nature and the conclusion is made that it was designed based on the concept of biomimicry.
The facade design of the building was designed as an interactive wooden wall and it is
included in this part of the thesis due to its reaction to environmental factors.

Figure 4.19. Mokyeonri Wood Museum, South Korea, 2017 [139].

The facade design of the Mokyeonri Museum was inspired by the shape and movement of
the leaves in the forest through their architectural abstraction. In conjunction with this,
Ambience Wall (interactive wooden panel) was designed by taking inspiration from the
falling of the sunlight between the leaves and the movement of leaves in the wind. In
contrast with other wood museums, this allows for the guests to see, hear, smell and touch
 111

the wood through the architectural ambience while experiencing the forest first hand [139].
The facade of the museum takes inspiration from leaves, thus concluding that it was
designed through the organism and behavior levels of biomimicry. Additionally, the
biomimicry approach has been determined as design looking to biology.

(a) (b)

Figure 4.20. (a) Museum facade inspired by leaves, (b) movement of the panels [139].

The wooden panels in the facade design of the Mokyeonri Museum are made from six
sided ‘leaves’ hanging from one point constructed of a hardwood called Merbau and a
metal frame. These panels are hung in pairs attached in one end. The facade, which is
positioned based on the wind and is sunlight sensitive, is moved via a mechanism. The
distance between the vertical pieces can be changed through a pulley system powered with
an engine in the facade design [140]. As a result of this, the 4m to 30m Ambience Wall
that can move on rails has been created. The wooden panels on the facade move based on
the position of the sun, thus controlling the amount of sunlight in the interior space. The
wooden panels in the facade design of the museum are powered by an electric engine, thus
making this an example of electromechanical technologies being used in responsive facade
design.
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(a) (b)

Figure 4.21. Wooden panels on the facade (a) and (b) [139].

The kinetic ambient wall technology designed by Soft architecture lab reacts to ever
changing factors such as time, weather and user movement and manages each factor [141].
This technology used in the facade design of the building goes outside the current building
concept and creates an interaction between the users and the building. Thanks to the
Ambience Wall, which parametrically reflects the weather and human actions in the
region, reinforces the communication between the interior and exterior spaces. Therefore,
an innovative, responsive and creative facade design is created to experience wood.

(a) (b)

Figure 4.22. A look at the ambience wall from the interior of the museum (a) and (b) [139].

In conclusion, the Mokyeonri Wood Museum has a facade inspired by the shape and
behavior of leaves found in nature, therefore it has been designed on the organism and
behavior levels of biomimicry. The facade is responsive to sunlight and wind, the
movement of the wooden panels provide the interior with natural lighting and ventilation.
 113

The location of the building affected the materials used in the facade design, making the
building fit in with the nature around it. When all of these are evaluated, it is seen that this
facade design benefits sustainability through energy efficiency.

4.6. HIVE HOUSE

Hive House is a house project completed in 2019 in Surat, India, by Monarch Champaneri
and others in Openideas Architecture firm. The building has a gross size of 600 meter
squares and it has 2 stories. The design concept of the Hive was creating a smart, adaptive
and sustainable family home [142]. Through the design process of the building, nature was
taken inspiration from multiple times and biomimicry principles were used. The facade
surrounds the common spaces of the ground floor, it not only uses biomimicry, but it also
has properties of a responsive facade [143]. A thorough research was conducted around
user needs and requests through the design process. The users worked together with the
architects by conducting a study covering everything from structural materials,
landscaping, sustainability requirements and a one year long solar energy plan. This
research and design criteria resulted in a technologically based smart structure constructed
out of metal. In this context, Hive House is an example of responsive facades that use
biomimicry through the technological advancements in the 21st century.

Figure 4.23. Hive House, Surat, 2019 [142].

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The facade design of Hive House is based on structural resilience, transformability and
biomimicry. The geometry of the facade was inspired by the structural hexagonal forms
seen in honeycombs and carbon crystals. This is also the inspiration of the name of the
project [142]. It is concluded that the building was designed on the organism level of
biomimicry, because the facade design only took inspiration from nature in its form. Also,
the biomimicry approach has been determined as design looking to biology.

The hexagonal fractals inspired by organism forms in the facade design of the building are
made up of smaller hexagonal fractals that are made up of six equilateral triangles. All of
these triangles include a solar sensor and use a mechanism to open and close based on
sunlight. The movement of the mechanism found in the facade was designed with the
working principle of bus doors in airport buses [143]. The use of solar sensors in the
responsive facade of the building shows that electro-mechanical technologies were used in
facade design.

(a) (b)

Figure 4.24. Repeating hexagonal modules in the facade (a) and (b) [143].

Only the strategically placed fractals on the facade of the building are made to move. Also,
the part of the facade that covers an entrance bridge and a ground floor bedroom is made in
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a design consisting of different thicknesses of hexagonal circles. This design eliminates the
harshness of the sunlight that enters the space [143]. Since dynamic facade design moves
based on the movement of the sun, it also affects the visual appearance of the indoor and
outdoor spaces.

(a) (b)

Figure 4.25. (a) Entrance bridge, (b) the effect of sensor based triangles on the interior
[142].

The Hive House has a responsive facade design that reacts to environmental factors, thus
creating better lighting quality and thermal comfort in the interior. Thus benefiting
sustainability and nature by providing heat regulation, natural lighting and energy
efficiency.

In conclusion, the facade design of the Hive House used biomimicry as a design method
and the design was done through the organism level of biomimicry by taking inspiration
from hexagonal shapes found in nature. The metal hexagonal fractals in the facade of the
building have a sunlight sensitive mechanism, and allow the sufficient amount of sunlight
into the space to ensure thermal comfort. This shows that the building has a responsive
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facade design. The integration of the organic forms found in the facade design of the
building with technology shows that the concepts of biomimicry and responsive facades
can provide daily living spaces with dynamism.

4.7. AN EVALUATION OF THE ARCHITECTURAL FACADES ANALYSED IN

TERMS OF RESPONSIVE FACADE AND BIOMIMICRY

The main goal of the thesis is to analyze the benefits of biomimicry as a design method for
designing facades to sustainability, nature and architecture. Research concludes that the
combination of the concept of biomimicry and responsive facade systems using present
day technology greatly benefits sustainability, nature and architecture in visual comfort,
thermal comfort and energy efficiency. In this context, the fourth chapter of the thesis
analyzes biomimicry based responsive facade designs that were inspired by nature and can
respond to environmental effects to benefit sustainability, and were built in the 21st
century. Building facades fulfilling these criteria were identified after extensive research
and 6 of these buildings with the most contemporary and innovative facade designs were
chosen for fulfilling these criteria. Care was taken to ensure variance in the functions of the
chosen buildings. Thus, in the subheadings of the fourth chapter the following buildings
were analyzed; CH2 Building, Q1 Building, One Ocean Thematic Pavilion, Al Bahr
Towers, Mokyeonri Wood Museum and Hive House. In conclusion of all these analyses a
table was compiled showing the common properties and differences between these
buildings.

The buildings analyzed in the fourth chapter of the thesis were analyzed on three
parameters. First, The table shows the architectural properties like location, year, architect,
function and photograph of the buildings. Then the effect of the first parameter, which is
biomimicry, on facade design is examined. In this parameter, the inspired organism, level
of biomimicry, biomimicry approach and the properties of the organism that were
integrated into the design (meaning the similarities between the facade design and the
inspired organism) are analyzed. The information in this part of the table is determined
based on the research in chapters 2.2 and 2.3 of the thesis. The second parameter used in
the table has been determined as the analysis of the responsive architectural facade design.
In this parameter, the environmental factor the facade responds to, the material of the
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facade, the applied technology and the technical elements of the responsive facade system
are analysed. This part of the table was determined based on the subjects in chapter 3.3 of
the thesis. The third parameter is the analysis of the effects of the facade design on
sustainability. This parameter examines the benefits of the facade design to sustainability.
These findings were determined by the analysis of the relationship between the concept of
architectural facades and sustainability in chapter 3.1 of the thesis. The 6 chosen buildings
have been compiled in chronological order in "Table 4.2".

As seen in "Table 4.2" below, all of the chosen examples have a responsive architectural
facade system that utilizes biomimicry and are buildings that were completed in the 21st
century. To ensure a broader perspective on the effects of the strategies of nature in facade
design, 6 different buildings were chosen by carefully assessing the following;

• Ensuring variance in the inspired organisms to analyze the effects of different

biological organisms on facade design

• Ensuring different biomimicry levels and approaches are used when the abstracted
properties of the inspired organism are being integrated into the design

• Ensuring the technically different use of materials and systems in facade design
(turnable, dynamic shading elements)

These buildings were analysed based on the parameters determined in chapter four of the
thesis.
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Table 4.2. Analysis of the chosen biomimicry based responsive architectural facades
(prepared by author).
 119

When the chosen buildings were analyzed based on the first parameter, meaning
biomimicry, it is seen that their main source of inspiration is organisms found in nature, or
organic forms. It is concluded that four of the building examples use plants or the
behavioral and structural properties of leaves of plants as inspiration. The Q1 Building
takes inspiration from the feathers in the animal skin, and the techniques it uses to protect
the skin of the animal have been implemented to the facade. While Hive House hexagonal
forms found in nature have been integrated into the geometry of the facade. In this context,
when the levels of biomimicry in the facade design of these buildings are analysed,
biomimicry was used more often in its organism and behavior levels to integrate the
strategies of the living beings to facade design. The ecosystem level of biomimicry, from
the levels of biomimicry examined in chapter 2.3 of the thesis, refers to the imitation of the
whole of the natural environment the organism lives in, therefore it is seen that this level of
biomimicry is not utilized in these facade designs. This shows that the integration of the
structural and behavioral adaptations of an organism is more easily integrated into design
than the ecosystem level. In conclusion, the evaluation of the facade designs has set forth
that the air, heat, light, and water regulation strategies of both animals and plants were
integrated into the responsive facade systems.

When the approaches of biomimicry for the chosen buildings are analyzed, the biomimicry
approach for four of the buildings (CH2, Q1, Mokyeonri Museum, Hive House) has been
determined as design looking to biology. The other two (Al Bahr Towers, One Ocean) are
determined as biology influencing design. In facade designs based on biomimicry the first
step in general is determining the design problem, then the solution organisms in nature
have for similar problems is analysed to integrate them into the design. The other two
facade designs use the approach of biology influencing design due to them integrating a
specific property into design after biologically researching the facade material Flectofin
and the concept of Mashrabiya. This approach is based on biological research, thus
concluding that, in architecture, a more problem focused approach was used.

The second analysis parameter of the chosen buildings examines their responsive facade
designs. In accordance with this, all of the chosen buildings were found to have responsive
facade designs that move based on sunlight. The facade design of the One Ocean Thematic
Pavilion has the property of self-locking in strong winds. Although this property detects
the strength of wind, it does not show the property of moving based on the direction of the
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wind. Furthermore, the Mokyeonri Wood Museum takes inspiration from leaves in its
facade design; the wooden panels gently close before going back to their initial position
whenever the wind blows. For this reason, it is concluded that in addition to being
responsive to the movement of sunlight, these two building facade designs are also
responsive to the wind. It is seen that, in general, 21st century responsive facade designs
tend to be designed as systems that can only respond to one stimulus such as sunlight.

As seen in "Table 4.2", the facade designs of the chosen buildings all have moving facade
systems that are run and controlled with a sensor, actuator or an engine. In conjunction
with this, the analysis in chapter 3.3 of the thesis of technologies used in responsive
facades, determines that all of the chosen buildings utilize electro-mechanical technologies.
Electro-mechanical technologies used in responsive facades are seen as the effects of the
technological developments of today and of sustainability to architecture; though it is
concluded that there are disadvantages, such as high power use, malfunction risk of
mechanical parts, high repair and maintenance costs.

When the facade designs of the chosen buildings are analyzed on materials and systems
used, it is seen that they have been integrated into the design as a specifically developed
innovative facade design based on the strategies of the inspired organism, or as a glass
curtain wall. These systems have been used in the facade design of the buildings as shading
elements, facade panels, parasols, ventilation shafts and fiberglass panels. Only the
Council House 2 building among the evaluated buildings is seen to use a recyclable
material in its facade design by using wooden panels. The other facade designs use durable
and insulated materials such as metals, stainless steel, hardwood and fiberglass. The use of
these materials in facade design provides a building with a better facade in terms of
durability, weight, sustainability and energy efficiency when compared to other commonly
used glass curtain-walls of today.

When the biomimicry based responsive facade designs examined in the table are analysed
in terms of sustainability, all buildings are seen to allow controlled amounts of sunlight
into the interior space by using moving shading elements. In conjunction with this,
artificial lighting costs were reduced, meanwhile providing natural light. Furthermore, all
chosen buildings fulfill thermal comfort due to their facade designs, while providing heat
regulation and natural ventilation. Aside from this, they also bring benefits to sustainability
in the context of water storage strategies, waste water management and water saving,
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inspired by organisms. These factors reduce the energy use of the building while rooftop
systems in some of the buildings allow for energy production. After all these evaluations, it
is seen that heat and light regulation provides the most energy efficiency in facade design.
The research and the analysis of these facade designs conclude that biomimicry as a design
method for designing responsive facades is one of the most effective, innovative and
technological methods that can be used to produce energy efficient, environmentally
friendly, sustainable and ecological designs.
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5. CONCLUSION

Nature has survived for billions of years through its own ideal order and cycles. The cycle
within nature and the organisms that live in it have always been an interest to people and
guided people to study nature. In this context, people started to take inspiration from
strategies developed by nature in order to raise their quality of life and produce efficient
designs. Even though the desire to take inspiration from nature appeared in the early ages,
the naming of that desires as the concept of biomimicry was suggested by Janine Benyus in
the 20th century. Humankind has consciously and unconsciously taken inspiration from
nature throughout history and benefited from the concept of biomimicry to solve issues
encountered in design.

With the proliferation of the concept of biomimicry and the beginning of its use as a design
method, architectural designs have increasingly become more affected by nature. When the
examples of biomimicry in the field of architecture were examined, it was seen that an
innovative design approach in designing building facades that serve as an interface
between nature and the built environment benefits fulfilling the responsibilities designers
have toward nature. In this context, different facade designs have been developed in the
21st century with the integration of technological developments and the concept of
sustainability into facade designs. In the research, it was concluded that the most
contemporary and newest technologies among these facade designs are the responsive
facades. The common goal of biomimicry and responsive facade concepts is to create a
sustainable and environmentally friendly building. Therefore, it is the aim of the thesis to
analyse these two concepts together.

While the aim, scope, and method of the thesis are defined in the first part of the thesis, in
the second part, the relationship between the concept of biomimicry and architecture was
examined in order to understand biomimicry and correctly apply its principles into design.
The study of the approaches and levels of biomimicry has guided the process of finding
solutions to problems encountered in architectural design while providing data that allows
for the correct implementation of properties of organisms into design. Through biologists
and architects working together, biomimicry approaches have emerged, and the integration
of biomimicry into the design process was made easier. In addition, the use of biomimicry
 123

as a method that offers solutions to problems in the field of architecture throughout history
has been analysed through examples. As a result of the research in this section, it has
concluded that biomimicry contributes to the development of innovative approaches by
emulating the ideal situation in nature in architecture, thus creating sustainable and eco-
friendly buildings.

The architectural facade design is critical in the creation of a sustainable building. The
concept of facades is the building element that contributes to the energy efficiency of the
building, provides the comfort conditions for the users, and the first visual interaction with
the building. In this context, the third chapter of the thesis focuses on the concept of
architectural facades and the effects of the technological advancements of today and
sustainability on facade design have been studied. The research analyzes biomimetic
facade examples that take inspiration from organism skins found in nature and concludes
that facades that behave similarly to organisms have a greater benefit to sustainability and
nature than the commonly used static facades of today. All of this serves as proof that the
use of the strategies found in nature in design is one of the most effective solutions for
making sustainable facade designs.

The innovations seen in the field of architecture in the 21st century have allowed the
development of responsive facade designs that respond to environmental conditions and
contribute to energy conservation. In this context, the architectural facade research has
been limited in the 3.3 chapter of the thesis to the concept of the responsive facade. In this
section, responsive facade systems were examined and the technologies used were
analyzed. It has been concluded that the contribution of responsive facade designs to nature
and architecture has increased thanks to the interdisciplinary work. The use of biomimicry
as a design method in responsive facade design allows for more interactive, eco-friendly,
and energy-efficient designs to be created, thus having a greater impact on sustainability.

Within the scope of the thesis, buildings with responsive facade designs that use
biomimicry as a design method in the 21st century are examined. Buildings that can
respond to environmental factors with dynamic facade elements, use new technologies, and
have sufficient data access, were selected in line with the determined criteria. However,
since the 21st century is still ongoing, newer examples continue to be built. In addition,
responsive facades that were not built in the 21st century, do not have biomimetic facades
design and do not have a dynamic facade system are excluded from the scope. As a result
 124

of the literature review, 6 contemporary buildings were identified for analysis. These
buildings are Council House 2, Q1 Building, One Ocean Thematic Pavilion, Al Bahr
Towers, Mokyeonri Wood Museum, and Hive House. Selected buildings were analyzed
within the framework of the parameters determined in the fourth chapter of the thesis.
Finally, a table was presented in chapter 4.7 of the thesis, and building facades were
evaluated in the context of biomimicry, responsive facade, and sustainability.

As a result of the research in the thesis, some findings and conclusions were reached. It has
been seen that the widespread use of the concept of biomimicry in design can be possible
with the increase of interdisciplinary cooperation. Due to the opportunities provided by
technological advancements, digital resources, and communication tools of today,
interdisciplinary work can be increased. Furthermore, conscious designers can be taught
through educational programs that teach biomimicry in the fields of architecture,
construction engineering, and design.

One of the findings that emerged from the analysis of the buildings examined in the fourth
chapter of the thesis is that buildings with existing responsive facades usually have shading
elements that move according to the angle of sunlight. This shows that other environmental
factors such as humidity, wind, precipitation, and so on, also need to be a part of
responsive facade design. And, in order to protect buildings and users from the very
common geological events of today, organisms and ecosystems found in nature can be
taken inspiration from to find new solutions to facade design. In conclusion, it can be
suggested that responsive facade designs that use the principles and methods of
biomimicry in order to avoid the negative effects of natural and meteorological events
should be made more common, and they should be designed to react to more than one
stimulus.

Advancements in technology and in conditions, as well as the 21st century developments

in the field of architecture, shows themselves in designs made with inspiration from nature.
From the times when the concept of biomimicry only took inspiration from the
observations of the form of an organism, it now has transitioned to a period where the
behaviors, textures, and survival methods of organisms are being implemented into design.
This is seen when existing buildings are analysed and it is also seen in projects that took
inspiration from animal skin examined in the other chapters of the thesis. It was seen after
the examination of projects, the use of an architectural facade that behaves similarly to a
 125

living organism or to skin results in a greater impact on sustainability. Although these

prototypes are not used as current building systems and are instead kept as experimental
works. This may be caused by high production costs or technical insufficiencies. These
ideas can be tested as additional designs on existing building systems and developed
through revisions for user needs and wishes.

In 21st century responsive facade designs, the property that was inspired by nature in the
design were made up of moving elements on the facade that were mostly run and managed
by electro-mechanical systems. Responsive facade systems that use electro-mechanical
technologies might be more efficient than many other systems, but they are seen as a
technology in need of development due to some of their disadvantages. In some of the
smaller scale projects inspected in the thesis, some facades use materials that can react to
environmental factors like a living organism in order to move, without the need of an
electrical system. In conjunction with this, instead of using smart materials that work
through a system in the facade design, a reactive material technology that can react to
environmental factors without the need for an electrical system might be suggested. It is
thought that this will be possible if biomimicry is taken complete advantage of in facade
design. In other words, the creation of facade designs that behave like a living organism
and are dynamic and interactive can be possible by using the organism and behavior levels
of biomimicry in tandem. This can be supported by use of material-based technology in
responsive facades, allowing the whole facade to behave as nature does.

The technological advancements of today also affect the materials used. In addition, the
concept of sustainability, which is of great importance in the 21st century, also allows for
the development of material technologies. Even though these advancements are being
implemented in responsive facade systems, it is concluded that the use of innovative
materials that benefit sustainability can still be increased. In this context, the use of
recyclable, eco-friendly, energy efficient, biodegradable, affordable, and smart materials
can be made more common in facade designs that use biomimicry as a design method.

In addition, the use of smart materials that cause energy consumption in buildings has been
a matter of discussion for sustainability. Because, although smart materials cause a
reduction of artificial lighting and ventilation costs in terms of thermal comfort in the
indoor space, the effect on energy consumption is also quite high since it operates with an
electrical system. For this reason, as mentioned in the paragraph above, it is thought the
 126

material reacting automatically to external conditions without the need for energy will
contribute more to sustainability. Nowadays this situation is going to be possible by using
programmable materials instead of smart materials used in facade design today.

The conducted analysis concludes that responsive facades that were designed with nature
based dynamic shading elements provide the following sustainable, energy efficient and
aesthetically pleasing solutions, reduction of energy use and increase of energy efficiency
(through passive ventilation, natural lighting, light regulation), prevention of the emission
of harmful gases to nature, prevention of air pollution, water storage and reuse, and visual
comfort. The results of the use of biomimicry based facade design proves its undeniable
benefits to architecture and to nature.

The concept of biomimicry will continue to give a wider perspective on facade design in
the 21st century and beyond. Thanks to the developments in material technology, the
organism and behavior levels of biomimicry defined by Zari can be more commonly
integrated into responsive facade designs. This will allow the architectural facade to cease
being just an external layer of the building, and for it to start behaving like organisms in
nature, and transform it into a living shell that does not disrupt the cycle of nature. In
conclusion, facade design created with this approach will allow for the creation of a
sustainable built environment that enhances the quality of life of all living beings and
increases the life expectancy of natural resources. Thus, cities consisting of a static series
of walls have the potential to transform into cities that constantly change and behave as if
they are alive organisms due to living facades.
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APPENDIX A: ANALYSIS OF THE CHOSEN BIOMIMICRY BASED RESPONSIVE ARCHITECTURAL FACADE

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