Building unimaginable shapes
-
0:00 - 0:03As an architect, I often ask myself,
-
0:03 - 0:06what is the origin of the forms that we design?
-
0:06 - 0:09What kind of forms could we design
-
0:09 - 0:11if we wouldn't work with references anymore?
-
0:11 - 0:15If we had no bias, if we had no preconceptions,
-
0:15 - 0:17what kind of forms could we design
-
0:17 - 0:19if we could free ourselves from
-
0:19 - 0:21our experience?
-
0:21 - 0:26If we could free ourselves from our education?
-
0:26 - 0:29What would these unseen forms look like?
-
0:29 - 0:32Would they surprise us? Would they intrigue us?
-
0:32 - 0:35Would they delight us?
-
0:35 - 0:39If so, then how can we go about creating something that is truly new?
-
0:39 - 0:41I propose we look to nature.
-
0:41 - 0:45Nature has been called the greatest architect of forms.
-
0:45 - 0:49And I'm not saying that we should copy nature,
-
0:49 - 0:51I'm not saying we should mimic biology,
-
0:51 - 0:55instead I propose that we can borrow nature's processes.
-
0:55 - 0:59We can abstract them and to create something that is new.
-
0:59 - 1:03Nature's main process of creation, morphogenesis,
-
1:03 - 1:07is the splitting of one cell into two cells.
-
1:07 - 1:09And these cells can either be identical,
-
1:09 - 1:11or they can be distinct from each other
-
1:11 - 1:13through asymmetric cell division.
-
1:13 - 1:17If we abstract this process, and simplify it as much as possible,
-
1:17 - 1:19then we could start with a single sheet of paper,
-
1:19 - 1:22one surface, and we could make a fold
-
1:22 - 1:25and divide the surface into two surfaces.
-
1:25 - 1:27We're free to choose where we make the fold.
-
1:27 - 1:32And by doing so, we can differentiate the surfaces.
-
1:32 - 1:34Through this very simple process,
-
1:34 - 1:37we can create an astounding variety of forms.
-
1:37 - 1:40Now, we can take this form and use the same process
-
1:40 - 1:42to generate three-dimensional structures,
-
1:42 - 1:44but rather than folding things by hand,
-
1:44 - 1:47we'll bring the structure into the computer,
-
1:47 - 1:50and code it as an algorithm.
-
1:50 - 1:53And in doing so, we can suddenly fold anything.
-
1:53 - 1:55We can fold a million times faster,
-
1:55 - 1:58we can fold in hundreds and hundreds of variations.
-
1:58 - 2:01And as we're seeking to make something three-dimensional,
-
2:01 - 2:04we start not with a single surface, but with a volume.
-
2:04 - 2:05A simple volume, the cube.
-
2:05 - 2:07If we take its surfaces and fold them
-
2:07 - 2:09again and again and again and again,
-
2:09 - 2:12then after 16 iterations, 16 steps,
-
2:12 - 2:16we end up with 400,000 surfaces and a shape that looks,
-
2:16 - 2:18for instance, like this.
-
2:18 - 2:21And if we change where we make the folds,
-
2:21 - 2:23if we change the folding ratio,
-
2:23 - 2:26then this cube turns into this one.
-
2:26 - 2:30We can change the folding ratio again to produce this shape,
-
2:30 - 2:32or this shape.
-
2:32 - 2:34So we exert control over the form
-
2:34 - 2:37by specifying the position of where we're making the fold,
-
2:37 - 2:42but essentially you're looking at a folded cube.
-
2:42 - 2:43And we can play with this.
-
2:43 - 2:46We can apply different folding ratios to different parts
-
2:46 - 2:48of the form to create local conditions.
-
2:48 - 2:50We can begin to sculpt the form.
-
2:50 - 2:53And because we're doing the folding on the computer,
-
2:53 - 2:57we are completely free of any physical constraints.
-
2:57 - 3:00So that means that surfaces can intersect themselves,
-
3:00 - 3:01they can become impossibly small.
-
3:01 - 3:05We can make folds that we otherwise could not make.
-
3:05 - 3:07Surfaces can become porous.
-
3:07 - 3:10They can stretch. They can tear.
-
3:10 - 3:14And all of this expounds the scope of forms that we can produce.
-
3:14 - 3:17But in each case, I didn't design the form.
-
3:17 - 3:22I designed the process that generated the form.
-
3:22 - 3:26In general, if we make a small change to the folding ratio,
-
3:26 - 3:28which is what you're seeing here,
-
3:28 - 3:31then the form changes correspondingly.
-
3:31 - 3:34But that's only half of the story --
-
3:34 - 3:3899.9 percent of the folding ratios produce not this,
-
3:38 - 3:43but this, the geometric equivalent of noise.
-
3:43 - 3:45The forms that I showed before were made actually
-
3:45 - 3:47through very long trial and error.
-
3:47 - 3:50A far more effective way to create forms, I have found,
-
3:50 - 3:54is to use information that is already contained in forms.
-
3:54 - 3:56A very simple form such as this one actually contains
-
3:56 - 4:00a lot of information that may not be visible to the human eye.
-
4:00 - 4:02So, for instance, we can plot the length of the edges.
-
4:02 - 4:06White surfaces have long edges, black ones have short ones.
-
4:06 - 4:09We can plot the planarity of the surfaces, their curvature,
-
4:09 - 4:13how radial they are -- all information that may not be
-
4:13 - 4:15instantly visible to you,
-
4:15 - 4:18but that we can bring out, that we can articulate,
-
4:18 - 4:21and that we can use to control the folding.
-
4:21 - 4:23So now I'm not specifying a single
-
4:23 - 4:25ratio anymore to fold it,
-
4:25 - 4:28but instead I'm establishing a rule,
-
4:28 - 4:30I'm establishing a link between a property of a surface
-
4:30 - 4:33and how that surface is folded.
-
4:33 - 4:36And because I've designed the process and not the form,
-
4:36 - 4:39I can run the process again and again and again
-
4:39 - 4:41to produce a whole family of forms.
-
4:53 - 4:58These forms look elaborate, but the process is a very minimal one.
-
4:58 - 4:59There is a simple input,
-
4:59 - 5:01it's always a cube that I start with,
-
5:01 - 5:04and it's a very simple operation -- it's making a fold,
-
5:04 - 5:08and doing this over and over again.
-
5:08 - 5:11So let's bring this process to architecture.
-
5:11 - 5:12How? And at what scale?
-
5:12 - 5:14I chose to design a column.
-
5:14 - 5:17Columns are architectural archetypes.
-
5:17 - 5:20They've been used throughout history to express ideals
-
5:20 - 5:26about beauty, about technology.
-
5:26 - 5:27A challenge to me was how we could express
-
5:27 - 5:31this new algorithmic order in a column.
-
5:31 - 5:34I started using four cylinders.
-
5:34 - 5:38Through a lot of experimentation, these cylinders
-
5:38 - 5:41eventually evolved into this.
-
5:41 - 5:45And these columns, they have information at very many scales.
-
5:45 - 5:48We can begin to zoom into them.
-
5:48 - 5:51The closer one gets, the more new features one discovers.
-
5:51 - 5:55Some formations are almost at the threshold of human visibility.
-
5:55 - 5:57And unlike traditional architecture,
-
5:57 - 6:00it's a single process that creates both the overall form
-
6:00 - 6:05and the microscopic surface detail.
-
6:05 - 6:08These forms are undrawable.
-
6:08 - 6:11An architect who's drawing them with a pen and a paper
-
6:11 - 6:13would probably take months,
-
6:13 - 6:15or it would take even a year to draw all the sections,
-
6:15 - 6:18all of the elevations, you can only create something like this
-
6:18 - 6:20through an algorithm.
-
6:20 - 6:22The more interesting question, perhaps, is,
-
6:22 - 6:24are these forms imaginable?
-
6:24 - 6:27Usually, an architect can somehow envision the end state
-
6:27 - 6:29of what he is designing.
-
6:29 - 6:32In this case, the process is deterministic.
-
6:32 - 6:34There's no randomness involved at all,
-
6:34 - 6:36but it's not entirely predictable.
-
6:36 - 6:38There's too many surfaces,
-
6:38 - 6:41there's too much detail, one can't see the end state.
-
6:41 - 6:45So this leads to a new role for the architect.
-
6:45 - 6:48One needs a new method to explore all of the possibilities
-
6:48 - 6:50that are out there.
-
6:50 - 6:53For one thing, one can design many variants of a form,
-
6:53 - 6:55in parallel, and one can cultivate them.
-
6:55 - 6:58And to go back to the analogy with nature,
-
6:58 - 7:00one can begin to think in terms of populations,
-
7:00 - 7:04one can talk about permutations, about generations,
-
7:04 - 7:09about crossing and breeding to come up with a design.
-
7:09 - 7:11And the architect is really, he moves into the position
-
7:11 - 7:14of being an orchestrator of all of these processes.
-
7:14 - 7:17But enough of the theory.
-
7:17 - 7:19At one point I simply wanted to jump inside
-
7:19 - 7:23this image, so to say, I bought these red and blue
-
7:23 - 7:263D glasses, got up very close to the screen,
-
7:26 - 7:28but still that wasn't the same as being able to
-
7:28 - 7:30walk around and touch things.
-
7:30 - 7:32So there was only one possibility --
-
7:32 - 7:35to bring the column out of the computer.
-
7:35 - 7:38There's been a lot of talk now about 3D printing.
-
7:38 - 7:41For me, or for my purpose at this moment,
-
7:41 - 7:44there's still too much of an unfavorable tradeoff
-
7:44 - 7:51between scale, on the one hand, and resolution and speed, on the other.
-
7:51 - 7:53So instead, we decided to take the column,
-
7:53 - 7:56and we decided to build it as a layered model,
-
7:56 - 8:00made out of very many slices, thinly stacked over each other.
-
8:00 - 8:02What you're looking at here is an X-ray
-
8:02 - 8:05of the column that you just saw, viewed from the top.
-
8:05 - 8:07Unbeknownst to me at the time,
-
8:07 - 8:09because we had only seen the outside,
-
8:09 - 8:11the surfaces were continuing to fold themselves,
-
8:11 - 8:13to grow on the inside of the column,
-
8:13 - 8:16which was quite a surprising discovery.
-
8:16 - 8:20From this shape, we calculated a cutting line,
-
8:20 - 8:23and then we gave this cutting line to a laser cutter
-
8:23 - 8:26to produce -- and you're seeing a segment of it here --
-
8:26 - 8:31very many thin slices, individually cut, on top of each other.
-
8:33 - 8:36And this is a photo now, it's not a rendering,
-
8:36 - 8:38and the column that we ended up with
-
8:38 - 8:41after a lot of work, ended up looking remarkably like the one
-
8:41 - 8:45that we had designed in the computer.
-
8:45 - 8:47Almost all of the details, almost all of the
-
8:47 - 8:50surface intricacies were preserved.
-
8:53 - 8:55But it was very labor intensive.
-
8:55 - 8:57There's a huge disconnect at the moment still
-
8:57 - 9:00between the virtual and the physical.
-
9:00 - 9:02It took me several months to design the column,
-
9:02 - 9:05but ultimately it takes the computer about 30 seconds
-
9:05 - 9:08to calculate all of the 16 million faces.
-
9:08 - 9:10The physical model, on the other hand,
-
9:10 - 9:14is 2,700 layers, one millimeter thick,
-
9:14 - 9:18it weighs 700 kilos, it's made of sheet that can cover
-
9:18 - 9:20this entire auditorium.
-
9:20 - 9:22And the cutting path that the laser followed
-
9:22 - 9:27goes from here to the airport and back again.
-
9:27 - 9:29But it is increasingly possible.
-
9:29 - 9:32Machines are getting faster, it's getting less expensive,
-
9:32 - 9:35and there's some promising technological developments
-
9:35 - 9:36just on the horizon.
-
9:36 - 9:39These are images from the Gwangju Biennale.
-
9:39 - 9:43And in this case, I used ABS plastic to produce the columns,
-
9:43 - 9:45we used the bigger, faster machine,
-
9:45 - 9:48and they have a steel core inside, so they're structural,
-
9:48 - 9:51they can bear loads for once.
-
9:51 - 9:53Each column is effectively a hybrid of two columns.
-
9:53 - 9:56You can see a different column in the mirror,
-
9:56 - 9:58if there's a mirror behind the column
-
9:58 - 10:01that creates a sort of an optical illusion.
-
10:01 - 10:03So where does this leave us?
-
10:03 - 10:08I think this project gives us a glimpse of the unseen objects that await us
-
10:08 - 10:12if we as architects begin to think about designing not the object,
-
10:12 - 10:15but a process to generate objects.
-
10:15 - 10:18I've shown one simple process that was inspired by nature;
-
10:18 - 10:21there's countless other ones.
-
10:21 - 10:25In short, we have no constraints.
-
10:25 - 10:28Instead, we have processes in our hands right now
-
10:28 - 10:33that allow us to create structures at all scales
-
10:33 - 10:36that we couldn't even have dreamt up.
-
10:36 - 10:41And, if I may add, at one point we will build them.
-
10:41 - 10:47Thank you. (Applause)
- Title:
- Building unimaginable shapes
- Speaker:
- Michael Hansmeyer
- Description:
-
Inspired by cell division, Michael Hansmeyer writes algorithms that design outrageously fascinating shapes and forms with millions of facets. No person could draft them by hand, but they're buildable -- and they could revolutionize the way we think of architectural form.
- Video Language:
- English
- Team:
- closed TED
- Project:
- TEDTalks
- Duration:
- 11:07
Thu-Huong Ha edited English subtitles for Building unimaginable shapes | ||
Thu-Huong Ha approved English subtitles for Building unimaginable shapes | ||
Thu-Huong Ha accepted English subtitles for Building unimaginable shapes | ||
Thu-Huong Ha edited English subtitles for Building unimaginable shapes | ||
Thu-Huong Ha edited English subtitles for Building unimaginable shapes | ||
Morton Bast added a translation |