The project make in concerned the design of a pavilion in which has been explored a form finding process through the application of morphogenesis and physical topology of the skeletal structures of, protozoa that inhabit the oceans of our planet, implemented to a generic geometry and consequently its manufacture . The pavilion resulted the most suitable architectural typology for this kind of design process because it was supposed not to have a peculiar function and, consequently, a specific form. It has been considered a space of experimentation and research, in which the functional concepts expressed a particular idea or circumstance and the target was the construction in itself that became an instrument explaining a purpose, a function, an image. The main characteristics were its ephemeral nature and the ability to describe the compositional research as a unity, joining together the environmental and architectural scales in the definition of a generative process space. The preliminary and theoretical approach of the project has been the definition of an association of rules and assumptions, their translation into a form in the digital space . The tools used in the design have been aware from the work of D’Arcy Thompson, “On Growth and Form”. According to D’Arcy Thompson, the morphology considers the shape as a structure because it presents characteristics of disposition, configuration, organization, structure, sort. Therefore, the form is perceived as result of a dynamic process and no longer in a static sense. The morphological approach of the British biologist has been applied and extended by ‘architect Frei Otto, the architecture through the “form finding”: a method that developed a mathematicalgeometrical-mechanical theory in order to reduce different expressions in a unique generative model. Pavilion is the result of morphological and topological rules of radiolarian protozoa, transposed into a model. Therefore, by the tessellation method the 3d model was discretize ,in small modules that reproduce radiolarian’s skeletal structure. Design decisions have been tested in different scales, through the implementation of architectural model and structure’s morphology prototype that showed the real possibility of fabrication and assembly, made in the digital space and then transposed into physical reality. This analytical method is becoming an emerging phenomena that is totally involved in the design of contemporary architecture. The drawing is only a part of the potential of computation, which could allow you to manage and compose a large number of variables, arranged in multiple hierarchies and in a high level of complexity. The architect, thanks to this design process, could imagine and synthesize a large number of elements and heterogeneous languages which interact all together in the architectural composition.

Credits and grateful to:
Pierre Alain Croset ,Caterina Tiazzoldi, Zubin Khabazi