Exploiting lattice structures in shape grammar implementations

The ability to work with ambiguity and compute new designs based on both defined and emergent shapes are unique advantages of shape grammars. Realizing these benefits in design practice requires the implementation of general purpose shape grammar interpreters that support: (a) the detection of arbitrary subshapes in arbitrary shapes and (b) the application of shape rules that use these subshapes to create new shapes. The complexity of currently available interpreters results from their combination of shape computation (for subshape detection and the application of rules) with computational geometry (for the geometric operations need to generate new shapes). This paper proposes a shape grammar implementation method for three-dimensional circular arcs represented as rational quadratic Bézier curves based on lattice theory that reduces this complexity by separating steps in a shape computation process from the geometrical operations associated with specific grammars and shapes. The method is demonstrated through application to two well-known shape grammars: Stiny's triangles grammar and Jowers and Earl's trefoil grammar. A prototype computer implementation of an interpreter kernel has been built and its application to both grammars is presented. The use of Bézier curves in three dimensions opens the possibility to extend shape grammar implementations to cover the wider range of applications that are needed before practical implementations for use in real life product design and development processes become feasible.

Entelechy revisited: On the generative specification of John Portman’s architectural language

John Portman’s work attracts significant commentary, although the focus is typically on the commercial and social aspects of his work as opposed to the actual designs and their related architectural implications. The obvious place to start unpacking his contribution is in his widely recognized and published commercial portfolio, yet he maintains that his design principles are found in his personal domestic work. Here, his 1964 residence Entelechy I is analyzed to inform the development of a parametric shape grammar that generates the original design as well as a series of variations. The goal of this research is to engage Portman’s architectural philosophy and constructively assess his claims of its implicit relationship to his work to date. Key rules suggesting his principles and anticipating his ongoing architectural contribution are outlined. The structure provided by shape computation, involving both shape rules and rule schemas, is positioned as the theoretical basis for an ongoing study of transformations within Portman’s language.

The Investigation on the Influence of Cultural Consideration in Shape Segmentation

Shape grammar has been used widely to analyze and generate designs by its computation and generation ability. In shape computation, shape segmentation is very crucial for choosing constituents and the change of the constituents always causes the change of the shape rules totally. However previous research on shape segmentation cannot provide a reliable method to segment the shape into constituents when calculating with shape. In this study, we propose a culture related approach that can help designer deciding the constituent in shape segmentation. We investigate cultural considerations that embedded in the artifact and explore how these cultural considerations can help determining the constituent and the way to segment the shape. A case study is conducted to demonstrate how the cultural considerations can be used to provide cultural hints to choose the constituents in shape segmentation.

The Immediacy of the Artist's Mark in Shape Computation

This paper contributes to the area of computation in the production of artistic form. The author-artist describes a computational system in the form of a curvilinear, parametric shape grammar. Based on an analysis of over 3,000 entries in her traditionally hand-drawn sketchbooks, she describes the grammar that synthesizes drawings in the design language of her evolving style and serves as a tool for self-understanding of her artistic process.