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The object of this final design presentation was to explore natural patterns of growth and how physical attriubutes could affect those pattens. The coral species served as an inspiration for our design methodoloy. Further, we look at instances in nature such as sunlight, geology, and physics to explore how standard patterns could be manipulated through multiple processes.
Universit채tStuttgart Stuttgart Universit채t
Institutefor forComputational ComputationalDesign Design Institute Institutf체r f체rComputerbasiertes ComputerbasiertesEntwerfen Entwerfen Institut
WT 2014/15 22790 ASSOCIATIVE AND ALGORITHMIC DESIGN
Abstract
Coral Growth
Parametric Patterns in Nature
Course Name: Associative and Algorithmic Design Course Number: 22790 Term/Year: Winter Term 2014/15 Examination Number: 22791 Examiner Number: 02442 Prof. Achim Menges Tutors: Ehsan Baharlou Institute: Institute for Computational Design
John Barnthouse Queenie Chen Weiyi Lin Alan Rodriguez Carrillo
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Coral Growth
Parametric Patterns in Nature
Course Name: Associative and Algorithmic Design Course Number: 22790 Term/Year: Winter 2014/15 Examination Number: 22791 Examiner Number: 02442 Prof. Achim Menges Tutors: Eshan Baharlou Institute: Institute for Computational Design
John Barnthouse Queenie Chen Alan Rodriguez Carrillo Weiyi Lin
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Contents Chapter 01: Project Overview_____Page 05 Chapter 02: Design Investigation_____Page 09 Chapter 03: Biological Precedents_____Page 13 Chapter 04: Mathematic Approach_____Page 17 Chapter 05: Design Concept_____Page 21 Chapter 06: Computational Process_____Page 25 Chapter 07: Fabrication_____Page 33 Chapter 08: Use in Design_____Page 37
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Chapter 01
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FIGURE 01: Exampe of coral structure. (Source: AnimalsWorld.de)
PROJECT OVERVIEW
The initial design goal was to investigate a fractal growth pattern , with design parameters to simulate natural growth pattern. We worked with the idea of growth on an adjacent object and the power of the sun. Through the use of Rhino, Grasshopper, Anenome, and Kangaroo we thought to achieve a parametric form that could be manipulated with our set parameters. We also create a number of design iterations in order to physically help the fabrication with 3d-priting. During the initial stages of design, we looked at examples of biological fractal structures found in nature, including tree structures, human anatomy, fruits and plants. Further, corals were studied and ultimately inspire the project. A mathematic process needed to first be determined in order to generate a parametric form. We started with 2D random, 2D branching and ultimately, a 3d branching
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FIGURE 02: Speical growth patterns can be found in differnet coral types. Brain coral is one example (Source: Scott Kinmartin)
structure best fit the needs of the project. Parametric fractal forms can be found in industrial design, such as a coat hanger or a lamp cover using the 3d branching system. Growth pattern system can also be used in structural components of buildings like columns. Through anenome loops, pipe connection, brep exclusion and projection we developed the 3d coral fractal pattern. Further, we set the attractor point(sun) and use kangaroo to pack sphere.The final design was able to be baked in Rhino and rendered using 3dsMAZX+VRay. A Series of Animation slides were also rendered from a semilar process. 3D printing served as the best medium to fabricate the final iteration of our project. Parameters were set such that the final project would be physically stable.
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Chapter 02
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FIGURE 03: Exampe of fractal pattern in 3D. (Source: Gregory Bard)
FIGURE 04: Plants have a natural tendency to grow towards sunlight. (Source: Jenni Goddard)
DESIGN INVESTIGATION FRACTAL PATTERNS The initial design goal was to investigate a fractual growth pattern, with design parameters that could be manipulated to generate specific forms. These growth patterns range from simple structures to complex nature. Was also wanted geometrically interpret the behavior of certain organic structures from fractal geometry. NATURAL GROWTH As the form began to grow, we hoped in simulate natural growth patterns, such as attraction towards the sun or gravitational pull of large objects. Ultimately we worked with the idea of growth on an adjacent object and the power of the sun and different environmental aspects that could influence the growth form and formal conclusion.
COMPUTATION The more complex to see nature path is to study and understand their behavior and try to imitate from scientific and numerical human theories. The interpretation of environmental and geometric parameters that were studied previously gave us the starting point to generate a study based on visual programming parameters. Thus, each element that influenced our design interepreto with geometric and numerical parameters employing the use of software. Through the use of Rhino, Grasshopper, Anenome, and Kangaroo we sought to achieve a parametric form. the final result could then be manipulated based on our set parameters. The final images and representation was made with 3ds max + VRay engine.
REALIZATION When working with 3D editing programs and 3D graphics, the easiest way was to represent our prototype based on the use of a printer to give us the opportunity to build our design successfully without errors. The final product should be formed such that it could be realized with the use of 3-D printing. with that, we created a number of design iterations that could be phyically help together once fabricated.
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Chapter 03
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FIGURE 05: Exampe of coral growth. (Source: Dave Fleetham)
BIOLOGICAL PRECEDENTS
During the initial stages of design, we looked at examples of biological fractal structures found in nature. These included tree structures, human anatomy such as simulating the breathing process of human, as well as the growth of fruits and plants under the external influence such as sun and gravity. Further, corals were studied and inspire the project. A coral “head� is a colony of myriad genetically identical polyps. Each polyp is a spineless animal typically only a few millimeters in diameter and a few centimeters in length. A set of tentacles surround a central mouth opening. An exoskeleton is excreted near the base. Over many generations, the colony thus creates a large skeleton that is characteristic of the species. Individual heads grow by asexual reproduction of polyps.
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FIGURE 06: Groth pattern found in the human lungs. (Source: B. Sapoval)
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Chapter 04
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FIGURE 07: Exampe of fractal pattern in 3D. (Source: Andrea Rossi)
MATHEMATIC APPROACH
A mathematic process needed to first be determined in order to generate the parametric form. ultimately, a 3-D branching structure best fit the needs of the project. 2-D Random The first method to try to imitate and represent a growth pattern in nature, was to establish a pattern of growth determined by a standard 2-D who was represented by lines and divisions. The pattern of growth in 2-D enabled us to successfully manage growth in two dimensions of the final order and served as a basis for establishing the final dimensions based on the number of divisions and segments that could have our system. This system allows us to control from Anemone plugin iterations and divisions from specific control points.
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FIGURE 08: Plants have a natural tendency to grow towards sunlight. (Source: Theverymany)
2-D Branching
3-D Random
3-D Branching
This system was developed from the concept of branching and controlled subdivision from studies of organic and plant systems such as the lungs, the human central nervous system and fractals found in the nature of plants and microorganisms.
The structures found in nature tends to grow at random, but always tends to follow specific sources such as the sun or moving water energy due to static and dynamic force. Therefore, as well as human and living beings on this planet we are influenced by these energy sources.
The development of a system based on ramifiaci贸n of division XY / 4 from each of our initial lines and expanded exponentially and, if a branch has one line, then after 4 and 16 have branches with three iterations growth 2-D. This rule can be represented by 1=1, 2=4, 3=16, etc, where the unit represents the interaction growth and the numbers 1, 4 and 16 the braching system in 2-D space.
The interpretation was performed from the movement of the sun and the way it has this in changing the geometry of 3D structure from a checkpoint that was used for this purpose. This checkpoint was modified from physical components such as gravity and wind forces that affect natural systems.
By having a static element as it is a rock or a body with inertia 0, we use the 3D branching system in order to control the growth of our geometric body in threedimensional space, the above was performed following the pattern of growth 2-D logarithmic but applied to 3D space with physical forces encountered in space, such as gravity and compression interpreted and carried out with the Kangaroo plugin.
The movement of the sun represented by a checkpoint, gave us the opportunity to have different spatial configuration structures from physical forces interacting in it.
With a branching system in three dimensional space, the growth pattern and geometric formal outcome of our body, had resulted in a system that could satisfactorily mimic a natural system, besides being able to control your character through mathematical parameters and numerical.
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Chapter 05
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FIGURE 09: Exampe of fractal pattern in 3D. (Source: John Barnthouse)
FIGURE 10: Plants have a natural tendency to grow towards sunlight. (Source: Academy of Arts University)
DESIGN CONCEPT Our design concept dealt with the manipulation of the coral fractal pattern that was initially generated in Grasshopper. The thinking was that the branching system would represent the coral. From there, we wanted to see how we could manipulate this system beyond simple repition. To achieve this, we introduced a brep “rock� into the project that would ultimately interfere with our growth pattern. The points which fell inside this brep were then projected on its surface, as coral would likely grow on the surface of a rock when the two objects met. Further, we introduced an attractor point growth pattern of the endpoint spheres that represented growth towards the sun.
Finally, we worked with Kangaroo physics to have a sphere packing effect that would represent the real-life interaction of the final spheres.
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Chapter 06
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FIGURE 11: Exampe of fractal pattern in 3D. (Source: Alan Rodriguez)
COMPUTATIONAL PROCESS The grasshopper plugin allows you to manipulate not only geometry but physical strength related parameters and complex mathematical implementations. For this system the random geometric Anemome plugins growth were used for the system of branching and D 2-3 Kangaroo plugin to simulate the physical forces of inertia lacking a living organic computational system. Our first step was to define an origin point in 3D space Rhinoceros 5.0 to be able to deploy our system into a spatial coordinate and control its growth. This procedure was performed with the help of Anemone plugin that allowed us to begin and end a system of
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FIGURE 12: Plants have a natural tendency to grow towards sunlight. (Source: Alan Rodriguez)
branches in 3D through lines and lines subdivisions in the components of grasshopper. Later these lines are divided into segments that rotated from the last point as to give rise to a system of circles that were divided into 3 parts and gave the start of the tertiary branches of our system. These segments from the subdivisions of the circles make our final iterations that lead to initial branch system organ system. The second step was to find the endpoints of each of the segments obtained from the circles points in order to obtain the centers of the “A” areas our 3D geometric pattern formed.
Due to the need of an object without inertia and stable in which our organic system could grow, a rock which represents stability and inertia = 0 was placed and a subtraction of points held within the rock in order to prevent internal and external growth only because the system can not grow inward when influences of solar energy. The centers of the end segments of our system are located and 3D branching generation continues spheres intersect each other to give rise to a complex spatial form which can be controlled by dividing numerical parameters, scale and rotation through elaborate the grasshopper definition.
An interpretation of the behavior of the sun and its dynamic motion is made from a checkpoint modifying the size and scale within all areas from a “random control” in 3D space. This point simulated the sun not-static and moving gradually influenced by movement the final formal configuration of this system. The last step was to incorporate components Kangaroo plugin like gravity influences the shape and growth control of our body. The components were added at the end of the random objects represented from the fields and along with the forces described above, gave us the final form system.
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DIAGRAMATIC APPROACH
The design process, as illustrated with the ad-
jacent diagrams, was as follows. An initial 3D branching pattern was found that could be used within the Anenome plug-in. This growth pattern was then looped to give us multiple brances. sphere packing effect that would represent the real-life interaction of the final spheres. Endpoints were generated from the branching system. Connections between the endpoints were found that would serve as a structual connection. A spherical geometry was assigned to each of the individual endpointsThe final sphere geometry was manipulated using an attractor point strategy.
FIGURE XX: Description of Figure. (Source: Alan Rodriguez)
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FIGURE XX: Description of Figure. (Source: Alan Rodriguez)
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FIGURE XX: Description of Figure. (Source: Alan Rodriguez)
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Chapter 07
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FIGURE 13: Exampe of fractal pattern in 3D. (Source: Q. Chen, W. Lin)
FABRICATION
Script was used to create a scaled physical model of our conceptual idea. 3d printing served as the best medium to fabricate the final iteration of our project. The final design was able to be baked in Rhino. Intersections were deleted and all the surfaces were joined to a polysurface. The polysurface is then converted to a mesh. Parameters were set such that the final project would be physically stable and meet the requirements of printing machine. After the printing was finished, the dust on the model was hoovered and the tiny dust was cleaned with a cleaning brush.
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FIGURE 14: Plants have a natural tendency to grow towards sunlight. (Source: Q. Chen, W. Lin)
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Chapter 08
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FIGURE 15: Exampe of fractal pattern in 3D. (Source: Werner Dieterich)
FIGURE 16: Plants have a natural tendency to grow towards sunlight. (Source: Luc Valencia)
USE IN DESIGN Technical Development Architecture and design, concerned with control over rhythm, and with such fractal concepts as the progression of forms from a distant view down to the intimate details, can benefit from the use of this relatively new mathematical tool. Fractal geometry is a rare example of a technology that reaches into the core of design composition, allowing the architect or designer to express a complex understanding of nature. Rapid prototyping tools and 3D printers have made possible to actualize the intricate digital designs to physical forms easily and quickly.
Idea from Nature The concept of Biomimicry, considered as the science and philosophy of learning from nature , is a source of design inspiration with different approaches undertaken by designers that refer nature. Often, nature as inspiration is combined with mathematics in order to move beyond the superficial inspiration and realize structurally designs. Mathematics offer rules which guide designers to understand the complexity of natural shapes. The irregular non-Euclidean geometry of natural trees have been now possible to explain through mathematics by the concept of complex, non-linear and fractal geometries (Casti, 1989). ‘Fractal׳, coined by Benoit Mandelbrot in the 1970s, can theoretically define the geometry of many natural objects (Mandelbrot, 1982).
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References 1 - Marek Kolodziejczyk,Thread Model, Natural – spontaneous Formation of Branches, in: SFB 230, Natural Structures – Principles, Strategies, and Models in Architecture and Nature,Proceedings of the II. International Symposium of the Sonderforschungsbereich 230, Stuttgartr 1991, p.139. 2 - For a pertinent concept of elegance that is related to the visual resolution of complexity see: Patrik Schumacher, Aguing for Elegance, in: Castle, H., Rahim, A. & Jamelle, H., (eds), Elegance, Architectural Design, January/February 2007, Vol.77, No.1, Wiley – Academy, London. 3 - Grasshopper Primer (http://www.grasshopper3d.com/page/tutorials-1) 4 - Kolarevic, B., 2003. Digital morphogenesis. In: B. Kolarevic, ed. Architecture in the digital age. Design and manufacturing. New York: Taylor & Francis, 12–28. 5 - Leach, N., and Schumacher, P., 2009. Parametricism: A New Global Style for Architecture and Urban Design. Architectural Design, 79 (4), 14–23. 6 - Burry M., 2011, Scripting cultures: Architectural design and programming. John Wiley & Sons 7 - Trummer, P., 2011. Associative Design. From Type to Population. In: A. Menges and S. Ahlquist, eds. Computational Design Thinking. London: John Wiley & Sons, 179–197. 8 - Terzidis, K., 2003. Expressive form. A conceptual approach to computatio nal design. London: Spon. 9 - Alexander, C., 1971. Notes on the synthesis of form. Cambridge, MA: Harvard University Press. 10 - Cross, N., 2001. Can a Machine Design? Design Issues, 17 (4), 44–50. 11 - Coates P.S., 2010, Programming.architecture. Routledge. 12 - DeLanda, M., 2001. Philosophies of design. The case of modeling software. In: J. Salazar, ed. Verb process¬ing. Architecture boogazine. Barcelona?: Actar, 132–142. 13 - Flake G.W., 1998, The Computational Beauty of Nature: Computer Explorations of Fractals, Chaos, Complex Systems, and Adaptation. MIT Press. 14 - Frazer, J., 1995. An evolutionary architecture. London: Architectural Association. 15 - Kolarevic, B., 2003. Digital morphogenesis. In: B. Kolarevic, ed. Architecture in the digital age. Design and manufacturing. New York: Taylor & Francis, 12–28. 16 - Kwinter, S., 1993. Soft Systems. In: B. Boigon, ed. Culture Lab 1. New York: Princeton Architectural Press, 207–228. 17 - Lawson, B., 2006. How designers think. The design process demystified. 4th ed. Amsterdam, London: Architectural. 18 - Leach, N., 2009. Digital Morphogenesis. Architectural Design, 79 (1), 32–37. 19 - Leach, N., and Schumacher, P., 2009. Parametricism: A New Global Style for Architecture and Urban Design. Architectural Design, 79 (4), 14–23. 20 - Littlefield, D., 2008. Space craft. Developments in architectural computing. London: RIBA Pub. 21 - Menges, A., 2008. Integral Formation and Materialization. Computational Form and Material Gestalt. In: B. Kolarevic and K.R. Klinger, eds. 2008. New York: Routledge, 195–210.
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22 - Menges A., Ahlquist S., eds., 2011, Computational Design Thinking. John Wiley & Sons, London. Burry M., 2011, Scripting cultures: Architectural design and programming. John Wiley & Sons. 23 - Park, K., and Holt, N., 2010. Parametric Design Process of a Complex Building In Practice Using Programmed Code As Master Model. International Journal of Architectural Computing, 8 (3), 359–376. 24 - Terzidis, K., 2003. Expressive form. A conceptual approach to computational design. London: Spon. 25 - Terzidis, K., 2006. Algorithmic architecture. 1st ed. Amsterdam, London: Architectural Press.
Parametric Coral Groth
ultimately inspired the project. A mathematic process needed to first
J. Barnthouse, Q. Chen, W. Lin A. Rodriguez Carrillo
with 2D random, 2D branching and ultimately, a 3d branching struc-
Prof. Achim Menges Tutor: Ehsan Baharlou
ture best fit the needs of the project.
Project Overview:
Fig 1: 3dsMax render which shows the attraction pattern of the spheres towards the “sun”.
Fig 2: 3D printing was used to create the final model.
Fig 3: This closer render clearly shows how Kangaroo physics was used for “sphere packing”.
Fig 4: Pipe connections were used to ensure the final spheres would be held together.
Fig 5: A final render shows the interruption of the brep “rock” on teh growth system.
Fig 6: A custom form generated to represent one iteration of the brep “rock:.
be determined in order to generate a parametric form. We started
Parametric fractal forms can be found in industrial design, such as a coat hanger or a lamp cover using the 3d branching system. Growth
The initial design goal was to investigate a fractal growth pattern ,
pattern system can also be used in structural components of buil-
with design parameters to simulate natural growth pattern. We wor-
dings like columns.
ked with the idea of growth on an adjacent object and the power of the sun. Through the use of Rhino, Grasshopper, Anenome, and
Through anenome loops, pipe connection, brep exclusion and projec-
Kangaroo we sought to achieve a parametric form that could be
tion we developed the 3d coral fractal pattern. Further, we set the at-
manipulated with our set parameters. We also created a series of
tractor point(sun) and use kangaroo to pack sphere.The final design
geometry within the model in to ensure successful fabrication with
was able to be baked in Rhino and rendered using 3dsMAZX+VRay.
3d-priting.
A Series of Animation slides were also rendered from a semilar process. 3D printing served as the best medium to fabricate the final ite-
During the initial stages of design, we looked at examples of bio-
ration of our project. Parameters were set such that the final project
logical fractal structures found in nature, including tree structures,
would be physically stable.
human anatomy, fruits and plants. Further, corals were studied and
Fig 7: An initial 3D branching pattern was found that could be used within the Anenome plug-in.
Fig 8: This growth pattern was then looped to give us multiple brances.
Project Methodology: Fig 9: Endpoints were generated from the branching system.
Fig 10: Connections between the endpoints were found that would serve as a structual connection.
For this project we wanted to generate a final design that was both
manipulate the final design in different stages of the growth system.
beautiful and could be fabricated in real life. We wanted not to simply
For example, the number of brances, size of branches, number of
copy an existing form, such as coral, but rather use this natural pat-
loops, and number of interferences can be controlled within the final
tern as an inspiration for the project.
script. Also, the physical aspect of the project, the Kangaroo sphere packing, can also be adjusted to give a different final result.
We found that exploring a number of corals gave us a variety of ways to think about growth patterns. Also, how these corals interacted with
When it to came to final production, we wanted to explore the use of
their environments played a role in our design process. For example,
3D printing with our model. For that, we needed to build a structure
we looked at how some coral grew vertically towards the sun, while
that could support itself and could be understood by machine fabrica-
others grew in accordance to their surroundings. The idea that these
tion. The final model clearly shows the design intent, and alludes to
corals sprung up from the sea floor and would inevitably interact with
how the design could be used in a real-world setting.
other types of geology inspired the idea of introducing a rock into the project.
As for computation representation, we wanted a design concept that Fig 11: A spherical geometry was assigned to each of the individual endpoints.
Fig 12: The final sphere geometry was manipulated using an attractor point strategy.
was based in mathematics, but also had a level of unpredictability to the final product. To achieve this, we introduced a number of ways to