Dagmar Reinhardt, 'Synthetic Natures' (2011-20) by Dagmar Reinhardt

Synthetic Biologies Digital Natures Synthetic Natures a research catalogue by Dagmar Reinhardt, with collaboration and contributions by reinhardtjung and others exhibited at Australian Design Center, Sydney, Australia (2016) TU Delft, The Netherlands (2018) Het Kunstgemaahl, Bronkhorst, The Netherlands (2019) menm.gallery, Amsterdam, The Netherlands (2019)

Synthetic Biologies (2011-2015). Synthetic Biologies is a research portfolio that explores installations, interactions and collaboration based on natural precedents. The work reviews mathematical, organisational and material principle that bridge between architecture, mathematics, biology, and music. The research has been primarily developed through computational media, and has been exhibited, with the most recent compilation of works acquired by the Australian Design Centre (Sydney).

"An organism is so complex a thing, and growth so complex a phenomenon, that for growth to be so uniform and constant in all the parts as to keep the whole shape unchanged would indeed be an unlikely and an unusual circumstance. Rates vary, proportions change, and the whole configuration alters accordingly.” D’Arcy Thompson, On Growth and Form

‘nature rewards mistakes’. Janine Benyus

Symmetrical Principles in organisms CorallColony—from Singularities of Mathematical Code to Relational Networks (2016)

Geometrical systems, codes DNA.

and

CorallColony—from Singularities of Mathematical Code to Relational Networks (2016).

Hexagonal base patterns and deformed grid structures. Natural precedent vs powderprinted section.

2015. ‚Coral Colonies’. Research compilation work exhibited in the group show ‘FutureNature’, Australian Design Centre. www.object.com.au‚ July 2015, Sydney. 2014. Reinhardt, D, Jung, A, Loke, L, Austin, M, Dunn, K, Raanoja, C (2014). ‚Interactive Corals’. Research work commissioned by Alumni Group of The University of Sydney, exhibited at ‚Founders Circle’, One Night event, Quadrangle, The University of Sydney, August 2014. Reinhardt, D, Jung, A, Loke, L, Warren, P (2013). ‚Interrupted’. Exhibited at ‚Dissentience’ (curator L Loke), Tin Sheds Gallery, August 2013, Sydney. Reinhardt, D, Jung, A, Loke, L, Trefz, E, Anderson, D, Barata, E (2013). ‚Gold- Monstrous Geographies’. Exhibited and interacted as part of ‚ILTS- I Love Todd Sampson’ (LivingRoomTheatre) March 2013, Walsh Bay, Pier 2/3, Sydney. 2012. ‘Language of Life’ (curator: Reinhardt),, Verge Gallery, Sydney. Curated exhibition with architects, designers, artists. 2012. ‘biome: digital interdisciplinations – prototypes: prosthetics, parasites’. In collaboration with team (Reinhardt, D, Loke, L, Tomitsch, M, Bown, O. Tin Sheds Gallery, August 2012, Sydney. Curated exhibition with architects, designers, musicians, creative and computer artists. Live performances, over 6 weeks. Loke, L, Reinhardt, D. Law, C, Pohl, I, Jung, A (2012). ‘Black Shroud’. Exhibited at ‘Organized Cacophony’, November 2012, Shop 2.05, Playfair Square, Playfair Lane, The Rocks, Sydney. Curated Exhibition (New Media Productions D Turnbull, and O Bown). Reinhardt, D. Loke, L, Jung, A, Niemelä, M, Trefz, E, Fernandez, J, Lee, J (2012). ‘Black Spring’. Exhibited at biome: ‘biome: Digital Interdisciplinations – prototypes: prosthetics, parasites’, Tin Sheds Gallery, August 2012, Sydney.

Remember /Shells for Hermit Crabs (Tin Sheds, 2011)

DIAD/Sound Ball Performance

(2014)

03 relational composition system

Interactive Corals/ Social Prototype (2015)

01 network, parametric system

02 relative network within folding

03 relational composition system

Black Spring (Tin Sheds Gallery,

Black Shroud

(The Rocks, 2012)

2012)

Gold / Monstrous Geographies (Walsh Bay, 2013)

Interrupted (Tin Sheds, 2013)

Black Spring (Tin Sheds Gallery, 2012)

Remembering Home - Shells For Hermit Crabs (2011) Installation, Right to the City Exhibition, Tin Sheds Gallery, Sydney

One of the most generic organising principles of relations in growing systems is the Fibonacci sequence (a simple pattern in which each number after the second is the sum of the two preceding numbers, e.g. 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, and so on). This sequence describes the relative proportional value of two distances in relation to each other. It is further related to the Golden Ratio, which describes the relation between two numbers when the ratio of the smaller one to the larger is equal to the ratio of the larger to the sum of the whole (where a+b is to a as a is to b). This ratio is expressed as the constant φ (phi)=1.618. Fibonacci sequences inform the spiral growth in families of shells and vegetables, just as they inform the relative proportions of human limbs. This can be embedded as a proportional system for the organisation of an organism, for parts within an organism, or movement ranges relative to the whole (such as the limb system for motored mechanisms) in a responsive architecture context.

Resin prototyping with facetted parametric pattern associated. Shells For Hermit Crabs (2011)

Shell types in powder printer bed. Remembering Home - Shells For Hermit Crabs (2011)

Material: Rapid Prototype Shells (Powder Print), several living Hermit Crabs In terrarium, touchscreen archive. Remembering Home - Shells For Hermit Crabs (2011)

Hexagon structures as base compositions replacing Carthesian systems (forming cells).

Hexagonal geometries consist of multiples of a unit with six corners at 60 degree angles, and constitute the basic building plans for the two-dimensional tessellation of surfaces in skins, cells, and plates. They are the most efficient periodic pattern for covering a whole region without overlaps. Hexagons are homogeneous surface divisions and, when extruded in the third dimension, result in stable honeycomb structures, or can alternatively be organised as hexagonal lattices that are deformable. Hexagons appear as compound eye cells in robber flies (Holocephala fusca) or as building cells in beehives. As a nonCartesian system, hexagonal organisations are particularly useful for architectural computation of matter: as a tool for hybridisation between digitally fabricated organisations, and kinetic actuation.

A fractal can be described as a rough or fragmented geometric shape that can be split into parts, each of which is (at least approximately) a reduced-size copy of the whole, derived from the Latin (broken, fractured). A mathematical fractal is based on an equation that undergoes iteration, a form of feedback based on recursion. There are several examples of fractals, which are defined as portraying exact selfsimilarity, quasi self-similarity, or statistical selfsimilarity.

Robotic high-precison milling of Voronoi cells from two sides (2013).

Deformed Voronoi patterns on single curved surface. Postgraduate studio (2014).

Deformed Voronoi patterns on double curved surface. Postgraduate studio (2014).

Coral Colony (2014), study for reef system growth.

Coral Colony (2015), Study for reef system with two coral species interacting.

Beanz(2015), study for parallel soft tissue envelope.

Study for Alice in Wonderland (2012), carthographic mapping for transitional spaces.

Coral Colony (2014), Enneper surfaces as study of marine algy. An Enneper surface (a self-intersecting surface) belongs to the category of minimal surfaces that can be generated with the Ennerper-Weierstrass parameterization.

A Delaunay Triangulation (1934) describes the non-directional graph in which each surface is a triangle. Voronoi and Delaunay triangulation (a) within a given boundary, random points are associated (b) each point commands a surface area in closest vicinity, and follows a strategy of ‘divide and conquer’. When the location of points changes, both individual cells and the overall cell morphology change. (c) sites in the plane (marked with dots)are situated together with their Voronoi partition (heavy lines). the thin lines describe a dual delaunay triangulation, connecting sites with Voronoi structure and adjacent Voronoi cells.

Force flow lines(2014), postgraduate studio SmartStructuresLab.

Catenary chains as structure system (2014), postgraduate studio SmartStructuresLab.

Self-forming structure

Rule-based surfaces

Sergio Musmeci, form finding with elastic rubber, working model (Ponte Di Tor Di Quinto, Rome 1959).

Felix Candela, generic design model for hypar geometry Model of Hyperbolic Paraboloid (1960).

Self-forming of tensile membranes and structural nodes SmartStructuresLab, postgraduate studio, The University of Sydney (2014-2016).

Multi-hypar with three elements assembled in space. SmartStructuresLab, postgraduate studio, The University of Sydney (2014).

1:1 prototyping of heat-deformed plywood structures. SmartStructuresLab, postgraduate studio,(2014).

a\ columns outside, angled

b\ columns inside, straight

\Structure and Forceflow depending on the footprint size, columns can be situated either within the system (internal columns, not outside top boundary), or angled and completely outside the space.

A naturally produced foam of soap bubbles, demonstrating the differentiation of polyhedral cells in an intricate geometry of foam architecture, including the basic Plateau rules for the intersection of three films. Plateau’s laws extended into three dimensions =three relaxed soap bubbles can only meet at an angle of exactly 109°ｰ28’ 16‘‘.

Swarm Intelligence refers to the collective behaviour of decentralized, self-organized systems; individuals of a species: the flocking of birds, the swarming of bees, the schoaling of fish. Basic models of flocking behavior are controlled by three simple rules: • separation - avoid crowding neighbors (short range repulsion) • alignment - steer towards average heading of neighbors • cohesion - steer towards average position of neighbors (long range attraction) The ability of animal groups to shift shape as one, even when they have no leader, reflects the genius of collective behavior. The sum is more than its individual parts.

a\ half spheres or two-third spheres, open section, void

b\ two-third and three-quarter spheres, no open section, void

c\ shallow spheres less then half, open section, no void, oculus opening

\Form and Density Within the design system, a number of variations lead to different formal expression of the object. These include size and sectional cut of spheres, density, voids between, and the number of sections that meet between

Research elective for robotic manufacturing of intersecting domes, postgraduate studio,(2014).

e3 16

a\ sphere built from 8 ribs (a1-6 rib sections shared, a7 ring section, a8 ringbeam), a7 solo.

7 a6 6 a5

8 2 b1

8 Spheres = 16 node points = 24 ribs

c\ sphere built from 4 ribs (a3, c1-2 sections), c1 solo.

a3 3 4 5a4

d\ sphere built from 6 ribs (a4, c2, d1, d2, d3, d4), d1 an d2 solo.

e\ sphere built from 5 ribs (a5, d4, e1-3), e2 solo.

f\ sphere built from 3 ribs (a6, e3, f1)

c2 d4

e2 e1 14 15 h d3 h1 13

b\ sphere built from 5 ribs (a2, b1-4 rib sections, b3 ringbeam), b2 and b3 solo.

11 d1

g\ sphere built from 3 ribs (a1, b1, g1) f\ sphere built from 3 ribs (e1, d3, h1)

\conditions Different conditions determine each dome and inform spheres, intersections, boundaries, structure, material and patterning Research elective manufacturing of domes, studio,(2014).

for robotic intersecting postgraduate

Coral Colony (2015), Australian Design Center.

Precedent studies for Coral Colony (2015), Australian Design Center.

Precedent studies for RBDM Robodome (2014), Pavilion for Vivid.

Deformed Voronoi patterns on single curved surface. Postgraduate studio (2014).

Precedent studies for Shells (2012), comparison between shell growth and prototyped version.

A relative of the ideal hexagonal patterns is the Voronoi pattern, which offers deformations of the regular building plan. It divides space into a number of regions, following a set of points or generators that is specified beforehand, and according to the shortest distance to corresponding points in a region where points are closer than to any other. Regions are called Voronoi cells, follow a Delaunay triangulation, and are continuously adaptable by a strategy of “divide and conquer”: when the position of a singular point changes, the individual cells and the overall cell morphology propagates changes to the system. Voronoi patterns appear as skin plates on gecko feet (Hemidactylus frenatus), or as in colonies of corals (in the genus zoanthus), as much as in many other natural phenomena. While Voronoi are commonly deployed to enrich architectural surfaces through intricate pattern organisation, the research adopted these to provide tactile engagement.

Matlab, variation 2: harmonic, 300-400500Hz [x1,y1,z1,x2,y2,z2,x3,y3,z3] = ellipsoidgenerator(1.5,300,400,500) rhinoPython script with three asymmetrical ellipsoids.

Acoustic scattering surfaces, Robotic research project(2016).

Acoustic scattering surfaces, robotic research project(2016). CNC, wood (36cm x31cm x7cm)

HexDF-W1

HexDF-S1

Flowl-S1

(hexagon deformed pattern) 310mm in diameter, 12mm depth wood

(hexagon deformed pattern) 310mm in diameter, 12mm depth XPS styrofoam

(pattern stream between points) 310mm diameter, 18mm depth XPS styrofoam

HexDF-S1 (hexagon deformed pattern) 310mm in diameter, 12mm depth, XPS styrofoam Acoustic scattering surfaces, robotic research project(2016).

Acoustic scattering surfaces, robotic research project(2016). HexDF-S1 (hexagon deformed pattern), base geometry with single attractor point.

HexNF-S1

HexDF-S1

(hexagon periodic pattern) 310mm in diameter, 12mm depth XPS styrofoam

(hexagon non-periodic pattern) 310mm in diameter, 12mm depth XPS styrofoam

Flowl-S1 (pattern stream between points) 310mm diameter, 18mm depth XPS styrofoam

Adaptations of scripting geometry to robotic fabrication: a surface orientation relative to robotic zero point, b faces and 34 manually adjusted, c singular valley by two milling passes,d attractor points and relation of surface valleys relative to producible robotic angles Robotic toolpath simulation: for singular isocurves (left), and continued multiple curve milling (right) for 1:10 scale prototype

1:8 scale model of our reverberant room approx 0.25 m3 volume. used at 1:10 scale, meets ISO reverberant room dimension criteria (>200 m3)

Robotic hotwire cutting of acoustic scattering discs

Coral Colony (2015), Australian Design Center.

Barnacles sliding across artificial reef structure Coral \ Colony (2015) Coral Colony (2015), Australian Design Center.

Coral Colony (2015), Australian Design Center.

Brain coral, precedent geometry. Coral Colony (2015), Australian Design Center.

Turing patterns or reaction–diffusion systems are a mathematical model that generates stable, periodic patterns on animal skin. By laying down positional information, the reaction–diffusion system forces waves of chemical reactions between two substances that cause the migration and positioning of pre-patterns for coat markings, whereby particle swarms cause a subsequent differentiation into specialised pigment cells that then appear as coloured. As a pattern coding strategy, properties of this system include the autonomous formation of patterns without any other positional information; the stability of the pattern once formed; and a capacity for regeneration when disturbed. While for mammals most of the patterns are laid before birth, the chemical processes involved in the reaction– diffusion system remain active in some species, which allows continued expression after birth, and interactive behaviour. Turing’s reaction– diffusion system is expressed as genetic components that spontaneously self-organise into stripes, curves, or spots; examples include the unique patterns in a zebra’s fur (Equus quagga), the scales of zebra fish, and the skeleton structures of brain corals (Diploria labyrinthiformis).

Brain Coral developing a Turing pattern. Coral Colony (2015), Australian Design Center.

Gold- Monstrous Geographies Coral Colony (2012), Theatre Installation for LivingRoomTheatre, Walsh Bay.

Scissor Mechanism for Gold- Monstrous Geographies Coral Colony (2012).

Swarm, flower in Black Spring, TinSheds Gallery (2012).

Topography and swarm (animated flower entities) Black Spring, TinSheds Gallery (2012).

Human-machine interactions winged armour, fragmented topography. Black Spring, TinSheds Gallery (2012).

Black Shroud, The Rocks (2012).

Motor setup, divider plane, base geometries for folding swarm elements. Black Shroud, The Rocks (2012).

Reef system, Interrupted, TinSheds Gallery (2012).

Performance (Michaela Davies) Interrupted, TinSheds Gallery (2012).

Anonymous, ‘God Measuring the Earth with Compass’, (ca 1250) Hokusai, ‘The Breaking Wave off Kanagawa (The Great Wave), (1760-1849). Benoit Mandelbaum, ‘Fractal’

‘Madonna and Child with Saints’, (Montefeltro Altarpiece, 1472-.-74) Sandro Botticelli, ‘Birth of Venus’ (1486) Fibonacci Sequence in Shell

BIBLIOGRAPHY DIGITAL NATURES Otto, Frei. Form Force Mass – Experiments. IL 25 - Institute Of Lightweight Structures, Stuttgart 1960. Thomson, D’Arcy Wentworth. On Growth and Form (Cambridge: Cambridge University Press, 1961). Weinstock, Michael. Hensel , Michael. Menges, Achim (eds.). Special Issue: Techniques and Technologies in Morphogenetic Design. AD, Wiley Academy, March/April 2006, Volume 76, Issue 2. Moussavi, Farshid. The Function of Form (Barcelona ; New York : Actar ; [Cambridge, Mass.] : Harvard University, Graduate School of Design, c2009). Burry, Jane. The New Mathematics of Architecture. London : Thames & Hudson, 2010. Helmut Pottmann ... [et al.] ; editor, Daril Bentley ; formatters, Elisabeth Kasiz-Hitz and Eva Reimer. Architectural geometry. Exton, Pa. : Bentley Institute Press, c2007. Doczi, György. The Power of Limits-Proportional Harmonies in Nature, Art and Architecture. Boston and London: Shambala, 1994. Pearce, Peter. Structure in nature is a strategy for design. Cambridge : MIT Press, c1978. Ball, Philip. The self-made tapestry : pattern formation in nature. Oxford [England] ; New York : Oxford University Press, 1999. Weinstock, Michael. The architecture of emergence : the evolution of form in nature and civilisation. Chichester, U.K. : Wiley, 2010. Johnson, Steven. Emergence : the connected lives of ants, brains, cities and software. London : Penguin, 2002, c2001.

De Berigny, C, Reinhardt, D, Fey, N (2017). Reimaging Coral Reefs: Remodeling Biological Data in the Design Process. 16th International Image Festival / ISEA2017, University of Caldas. Reinhardt, D. (2016), CorallColony—from Singularities of Mathematical Code to Relational Networks, ATR, Article no: RATR 1184694. Reinhardt, D. and Loke, L (2013). Entangled. Complex Bodies and Sensate Machines. In Dong, A., Conomos, J., Buckley, B. (Eds.) Ecologies of Invention. Sydney University Press, 2013. Reinhardt, D. and Loke, L. (2013) GOLD (Monstrous Topographies) – Exploring Bodies in Complex Spatiality: Trespassing, Invading, Forging Body(ies). International Journal of Interior Architecture + Spatial Design, Vol.2. Loke, L., McNeilly, J. and Reinhardt, D. (2015) “PerformerMachine Scores for Choreographing Bodies, Interaction and Kinetic Materials” in MOCO 2015, 2nd International Workshop on Movement and Computing: Intersecting Art, Meaning, Cognition, Technology, MOCO '15, August 14 - 15, 2015, Vancouver, BC, Canada, ISBN 978-1-4503-3457-0/15/08. Reinhardt, D. and Loke, L. (2013) Not What We Think: Sensate Machines for Rewiring Cognition. In Proc. Creativity and Cognition 2013, ACM Press. Loke, L. and Reinhardt, D. (2012) First Steps in Body-Machine Choreography. In Proceedings of The 2nd International Body In Design workshop, OZCHI 2012. ISBN 978-0-9757948-6-9.