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Abstract
The conventions used to construct traditional Chinese ice-ray lattice designs are investigated. Parametric shape grammars are defined for the recursive generation of these patterns.
... The automation of the design thinking process makes SG relevant for contemporary architecture. In fact, advanced applications of SG, especially as an analytical tool and generation of shapes, include social housing, apartment floor plans, or architecture patterns [10][11][12][13][14]; and urban design [15][16][17][18][19]. More relevant to this study is the application of SG in traditional Chinese architecture and design [20][21][22][23][24]. ...
... Applications of SG in Chinese ice-ray lattice designs were first studied by Stiny [19]. When it comes to Chinese patterns, Li, Knight and Brown [22] applied parametric design to study the floor plans of traditional Chinese architecture; and Li, Knight & Brown [23] used the dou gong (a Chinese architectural element) to study contemporary methods of digital design. ...
... As an architectural element, it creates atmospheres, transitions, and privacy according to the design [41]. The distinct geometric compositions are the topic of research such as proposed by Stiny [19], aiming at discovering its design principles and recreating the patterns in an automated way. ...
... Whether these are further constrained to isometric or Euclidean transformations (disallowing scaling) or instead extended to, e.g., affine transformations (allowing for stretching and shearing), these all have in common that they can be represented by a transformation matrix. Stiny (1977) also suggests a parametric shape grammar, in which parametric shape rules operate on non-parametric shapes. A parametric shape rule embeds (numerical) parameters that govern the position of some spatial elements (or their boundary elements) within the left-hand-side shape (and corresponding elements in the right-hand-side shape). ...
... The void predicate has been extended to accept the type of spatial element that should be ex- cluded, e.g., points, line segments, plane segments, or curves, allowing other spatial elements to be present within the void area. Fig. 1 demonstrates both versions of the void predicate using an example inspired by Stiny's (1977) Chinese ice-ray lattice grammar. Stiny's shape rules iteratively subdivide an initial rectangle into a composition of triangles, quadrilaterals and/or pentagons, each of a minimum size, in each iteration by splitting one polygon into two smaller polygons. ...
... Considering the example of Stiny's (1977) Chinese ice-ray lattice grammar, each rule allows for a convex polygon, whether a triangle, quadrilateral or pentagon, to be split into two new convex polygons by placing a single line between two of the original polygon's edges. The endpoints of the new line must necessarily lie between the endpoints of the respective original polygon's edges, but it is not specified where the point should be placed. ...
... (Knight & Stiny, 2001;Stiny, 1977). .......... 42 (d) internal threedimensional diagonal centre. ...
... Chinese icy-ray lattice design, source (Knight & Stiny, 2001;Stiny, 1977). ...
Over the years, researchers have been searching for an approach to manage the complexity of architecture. Research has proven that grammar can facilitate formalism, establishing an approachable and effective representation of subsequent actions.
The Osteomorphic Interlocking brick properties are very suitable for the architecture industries; they can be assembled into several compositions, benefiting the structural stability without adhesive. Therefore, sets of forms derived from Osteomorphic Interlocking bricks are introduced.
This research is also focussed on how a finite set of production rules developed from the bricks functioning as arrangement processes. Based on the rewritten principle and several characteristics of syntactic rules, a description can easily manipulate intricate compages.
Furthermore, grammatical approaches can diversify the complexity of unit compositions. Therefore, the production rules and the set of the Osteomorphic Interlocking bricks in this thesis are expected to be the impetus of Computer-Aided Architecture design. Overall, given are some languages addressing several results from Osteomorphic Interlocking brick types. Therefore, grammar can be helpful to the complexity of architecture.
... Interestingly, when analyzing Chinese ice-ray patterns, particularly those from Sichuan province with a fragmented formal character of patterns as described by George Stiny (1977), a noticeable subdivision of polygons emerges, bearing a resemblance to the characteristics of random fractals. For instance, we can observe unequal subdivisions of a polygon, resulting in a random lattice pattern (Fig. 3). ...
... The IFS concept was initially proposed by John Hutchinson in 1981(Hutchinson, 1981 and later popularized by Michael Barnsley in 1988(Barnsley, 2014. The IFS technique involves contraction mapping and affine transformation operations (f i ) by which the parent shape is scaled, rotated, sometimes mirrored, and finally placed within or outside the parent body, and the same Fig. 3 An example of an ice-ray window lattice found in Chengdu, Sichuan province, in 1880, collected by Dye (1937) and redrawn by Stiny (1977), revealing the iterative subdivisions behind such a complex pattern. ...
... Shape grammars, which can be defined mainly as a set of rules, are an analysis/analysis and reproduction technique. Although Stiny (1977)'s works [13] are among the first examples in this field, the work in which Palladio villa plans are produced [6] includes parametric shape grammar productions. It is among the first studies to be considered in terms of the analysis of an architectural design example with a shape grammar method. ...
... Shape grammars, which can be defined mainly as a set of rules, are an analysis/analysis and reproduction technique. Although Stiny (1977)'s works [13] are among the first examples in this field, the work in which Palladio villa plans are produced [6] includes parametric shape grammar productions. It is among the first studies to be considered in terms of the analysis of an architectural design example with a shape grammar method. ...
Health is one of the basic needs of humanity. People use hospitals to control and treat their health. As the most advanced health structures, hospitals have been transformed with new requirements and systems throughout history. Health structure design contains various inputs, data, and criteria. This study reveals the network of relations with a rule-based design method to provide systematic design assistance for architects. Hospitals have complex structures in terms of the design solution and production management. Therefore, it will be useful to systematize these complex structures for design inputs to create a base for the architectural program. Within the framework of this study, rule-based design approaches were adopted for hospital polyclinics. Polyclinics work independently but are linked to the main hospital system. Today the main design problems in polyclinics are accessibility and visibility. The main purpose of this study is to create a model base for alternative plan types by taking advantage of the productive method: rules-based design. Firstly, to consider the functional relations and distances among multiple units for an optimum solution, the study evaluates the existing working designs and their derivatives. Secondly, it addresses the optimization of hospital polyclinic design in terms of obtaining the minimum route overlap, minimum walking distance, and high visibility of the patients in the polyclinics. Thirdly, due to the repetitive nature of polyclinic spaces, the space grammar method has been used as a rule-based approach for the derivation of spaces. The genetic algorithm method used together with the shape grammar is included in the study to process the formal and numerical data and to compare the original design alternatives. The spatial sequence technique of Space Syntax is used as an evaluation method. In the mixed method of this study, the relational information obtained from existing hospitals has been resolved. These relations have created design rules for an outpatient polyclinic architectural program by binary and triplet relations. Alternative productions with the genetic algorithm tools have been generated through the Rhino / Grasshopper software extension. The generated plans have been evaluated with the spatial sequence technique of Space Syntax theory to explore optimum solutions for distance and visibility.
... The shape grammar selected to demonstrate the automated implementation of shape embedding and shape replacement in Shape Machine is one of the earliest shape grammars in the field, Stiny's checkerboard grammar for a Chinese lattice design filling a 18th c. window frame at Chengtu, Szechwan [24]. Interestingly, Stiny's work focuses on the specification of parametric shape grammars that capture the conventionalization of ice formation in the making of traditional Chinese grill design (and there are many to admire), and yet, the simplicity of the very first checkerboard grammar and the possibilities it offered for the formal description and generation of a wide class of arresting designs that involve modularity, repetition, symmetry, proportion, planar growth, periodicity, and other fundamental principles of design, has made it one of the most popular shape grammars to rework [25]- [26 ]. ...
... The 18th c. checkerboard lattice design at Chengtu, Szechwan, published in Daniel Dye's A Grammar of Chinese lattice [27], an influential catalogue of Chinese ornamental and grilled window designs ranging from the 10th c. to the 19th c, is one of earliest examples of designs that are formally captured by the shape grammar formalism [24]. The longevity of the appeal of this early shape grammar is easy to explain. ...
Three computer implementations of one of the earliest and most iconic shape grammars are given to showcase different ways to use shape rules in Shape Machine. These three modes of working with shape rules-manual, automatic and conditional-are used interchangeably to produce three skeuomorphic variations of the original checkerboard lattice grammar in different design domains-3D prints, origami and kerfing-and showcase the versatility and applicability of the shape rules for the specification of diverse artifacts for different scales, materials and functions. Some initial remarks on the extension of the shape grammar formalism to include programming constructs including states, loops, jumps, and conditionals are discussed.
... Toplamda 5 kuraldan oluşan iki boyutlu biçim grameri yönteminin oluşum süreci Şekil 7'de verilmiştir. Şekil 7. Çin Buz Işınları (üstte) ve 5 biçim grameri kuralı (altta) [31] Verilen örneklerin haricinde yine araştırmalarda sıkça yer verilen iki boyutlu düzlemde analiz odaklı biçim gramerilere F.L. Wright'ın üç ev tasarımı (Life evi, Ralph Jester evi, Vigo Sundt evi) [30], Palladio Villaları [14]; üç boyutlu düzlemde analiz odaklı biçim gramerilere Wright'ın Kır Evleri [31] ve Queen Anne Evleri [17]; hem iki hem de üç boyutlu düzlemde analiz odaklı biçim gramerilere de Klasik Dönem Osmanlı Camileri'nin [32] ele alındığı çalışmalar göze çarpmaktadır. ...
... Toplamda 5 kuraldan oluşan iki boyutlu biçim grameri yönteminin oluşum süreci Şekil 7'de verilmiştir. Şekil 7. Çin Buz Işınları (üstte) ve 5 biçim grameri kuralı (altta) [31] Verilen örneklerin haricinde yine araştırmalarda sıkça yer verilen iki boyutlu düzlemde analiz odaklı biçim gramerilere F.L. Wright'ın üç ev tasarımı (Life evi, Ralph Jester evi, Vigo Sundt evi) [30], Palladio Villaları [14]; üç boyutlu düzlemde analiz odaklı biçim gramerilere Wright'ın Kır Evleri [31] ve Queen Anne Evleri [17]; hem iki hem de üç boyutlu düzlemde analiz odaklı biçim gramerilere de Klasik Dönem Osmanlı Camileri'nin [32] ele alındığı çalışmalar göze çarpmaktadır. ...
Mimaride biçimlerin oluşturulması ve bir araya getirilmelerinde kullanılan kural tabanlı
üretken sistemlerden biri biçim grameridir. Biçim gramerinde ele alınan şekiller farklı
deformasyonlara/işlemlere tabi tutularak yeni biçimlerin oluşturulmasına, bu biçimlerin
belirli kurallar dâhilinde bir araya getirilmesiyle de tasarımlar geliştirilmesinde kullanılan üretken bir yöntemdir. Bu çalışmada standart ve parametrik biçim gramerinin formalizmi, iki ve üç boyutlu uzayda kullanılan kural dizileri ile analiz ve/veya üretim süreçlerini içeren örnekler taranmıştır. Örnekler arasından seçilen grameri yöntemleri ve
algoritmalar, biçimler üzerindeki değişimin / gösterimin daha verimli yapılabileceği
düşünülerek seçilen “kentsel açık alan ve donatı tasarımı” konulu alan çalışmasında
yeniden kurgulanarak modele aktarılmıştır. Geometrik ve ergonomik verilere dayalı
türetme yöntemlerini içeren bilgi edinme, tasarlanan donatıya yönelik kullanıcı ve üretim odaklı kavramları içeren analiz aşamalarından sonra tasarım gerçekleştirilmiştir.
Sonuç ürünler ve açık alan, sanal ortamda “modülerlik, mekânsal ve topoğrafik esneklik, malzeme seçimi ve strüktür” gibi girdiler üzerinden geleneksel donatıların niteliği
ile karşılaştırmalar yapılarak yorumlanmıştır.
Anahtar kelimeler: Mimari Dil, Biçim Grameri, Kural Tabanlı Yaklaşım, Kentsel Açık
Alan Tasarımı, Kentsel Donatı Tasarımı.
... In 1977, Stiny generated parametric shape grammar of traditional Chinese ice-ray lattice designs, which can be considered as one of the earliest applications of shape grammar in traditional architecture. 78 Ice-ray lattices were ornamental window patterns constructed between 1000 and 1900 AD. T Knight had generated shape grammar of Japanese tea houses using 41 rules considering the traditional feng-shui principles. ...
Shape Grammar is a systematic tool used in the logical argumentive method in research for interpreting spatial design and activities. Shape grammar applies a group of shape rules in stages to create a set or a language of design. Researchers worldwide have used this method in various fields including architecture, arts, graphical design, and pattern recognition. Even in the case of architecture, researchers worldwide have implemented the shape grammar method to analyze patterns in various architectural fields. This study analyzed publication trends in the shape grammar domain using “Bibliometrix”, an open-source tool that uses the R package. Research papers from the Web of Science and Scopus (WoS) database were identified and assessed in terms of annual publication trends, contributions of various authors, countries, citation counts of authors, universities, popular keywords, journal trends, etc. A comprehensive literature review of all relevant research papers available in the WoS and Scopus academic databases on shape grammar and its application in architecture was also conducted as part of this study. The research paper concludes with the possible research opportunities in the domain of shape grammar.
... Tasarımı oluşturan elemanların bir araya gelişi ile biçimsel oluşumlarının tanımlanması ve planlama esaslı elemanların ilişkilerinin analizi ile çözüm üretme amaçlı çalışmalar biçim grameri konusundaki araştırmaların temelini oluşturmaktadır (Stiny 1977, Stiny ve Mitchel 1978, Stiny 1980). Şekil 2.2. ...
ZET Sivrihisar İlçesi geleneksel kent dokusunda yapılan bu çalışmada kent dokusunu tanımlama kapsamında biçimleniş adımlarının mimari dil bağlamında sorgulanarak bu dokunun oluşumundaki bilişsel kuralların ortaya çıkarılması ve kamusal-yarı kamusal ve özel alan ilişkisinin nasıl kurgulandığının çözümlenerek tasarım verisinin ortaya konulması hedeflenmiştir. Bu çalışma ile geleneksel kent dokusu biçim gramer yöntemi ile soyutlanmıştır. Bu soyutlama ile elde edilen veriler yorumlanabilir ve çözümlenebilir hale getirilmiştir. Üç farklı ölçek üzerinden bütüncül bir yaklaşımla ele alınarak analiz edilen geleneksel kentte bilişsel olarak kurgulanan kurallar ve bu kurallar arasındaki bağıntı çözümlenmiştir. Kent ölçeği-merkez, mahalle ölçeği-alt merkez ve konut yakın çevresi olarak ele alınan ölçek kavramı, çalışmanın bütüncül yaklaşım ve özgün yanını ortaya koymaktadır. Yazılı olarak ortaya konulmayan geleneksel kent kurgusunun merkez, alt merkezler, meydan, mahalleler, sokaklar ve mimari bileşenler bağlamında bağıntıları da bu yaklaşım üzerinden ele alınarak kurgu çözümlenmiş bu kurgu mekansal kullanım çerçevesinde ele alınarak geleneksel kentin bilişsel tasarım verisi ortaya çıkarılmıştır. Geleneksel kentlerde nadir olarak görülen meydan kavramı ise Sivrihisar geleneksel kent dokusunun özgün yanı olarak çalışmaya yön vermiştir. Bu çalışma ile kentin biçimleniş kurgusunun ortaya çıkarılarak tasarım verisi bağlamında kullanılabilmesi, yorumlanabilmesi hedeflenmiştir. 1.GİRİŞ Sivrihisar İlçesi, Frig Dönemi'nin en önemli ulaşım ağı olan Kral Yolu ve Osmanlı Dönemi'nin İstanbul bağlantı kervan yolu üzerinde yer almış ve uzun yıllar boyunca ticaret merkezi olma özelliğini korumuştur. Birçok medeniyete ev sahipliği yapmış olan Sivrihisar yüzyıllar boyunca farklı kültürler ile harmanlanarak özgün geleneksel kent dokusunu oluşturmuş ve özgün niteliğini koruyarak günümüze kadar gelmiştir. Kent dokusu oluşumundaki merkez kavramının biçimlenişi-gelişimi bakımından da Sivrihisar geleneksel kent dokusu özgün bir örnektir. Geleneksel ve yeni kentsel dokuyu bir arada barındıran Sivrihisar İlçesi'nde yapılan bu çalışmada kural tabanlı analiz yöntemi olan biçim grameri ile mahremiyet olgusunun bir sonucu olan mekansal kullanım kamusal, yarı kamusal ve özel alan bağlamında kentin biçimleniş kurgusunun çözümlenmesi hedeflenmiştir. Kent mimari dil bağlamında çözümlenerek biçimleniş kuralları çıkarılmıştır. Kentsel dokunun mimari dil bağlamında çözümlenmesi ile yazılı kuralara bağlı olmayan fakat bilişsel kurallar çerçevesinde biçimlenen kentte geleneksel dilin varlığı tespit edilmiştir. Bu geleneksel dilin ise kamusal-yarı kamusal/yarı özel ve özel alan kurgusu
... We can see examples of shape grammars as a foundation for art and architecture, such as Chinese lattice designs (Stiny, 1977), window designs of Frank Lloyd ...
... Shape grammar research, focusing on architectural products from a specific period, architect, style, or location, gained momentum starting in the 1980s. While studies on ice ray traces emphasize the elevation of Chinese lattices (Stiny, 1977), Stiny and Mitchell (1978) developed a shape grammar for generating the ground plans of Palladio's villas. In another paper, Çağdaş (1996) introduced a shape grammar capable of generating plan layouts for Traditional Turkish Houses. ...
This study offers two key contributions. Firstly, it introduces the concept and framework of "section grammars" (SecG), which is derived from Stiny's shape grammars. Secondly, it investigates the potential of SecG in generating existing and alternative section layouts for ancient underground cities. The case study focuses on Derinkuyu, which is located in Cappadocia, Turkey. The study thoroughly examines the components of the Derinkuyu underground city, presents its parameters, and explains the rules based on the relations between these components. The study employs these elements and rules to generate an existing satellite city as well as a new synthetic satellite city. Finally, the paper discusses the outcomes of implementing the SecG framework. This study contributes to shape grammar studies by integrating the subtractive (carving) approach and the topological relations observed in underground cities into the proposed framework.
... In the shape rules, rule (1) resizes the initial quadrilateral proportionally and rotates it 45 degrees to generate an external rectangle, while rule (2) removes the label dots on the initial quadrilateral. These two shape rules constitute a simple Shape Grammar, and by executing this Shape Grammar on a computer, the shape design and its iterative design process shown in Figure 3 can be obtained [19,20] . ...
This paper proposed an innovative method for aesthetic education by integrating shape grammar and neuroaesthetics. Aesthetic education can be divided into bottom-up aesthetic cultivation and top-down knowledge education, which correspond to the characteristics of shape grammar and neuroaesthetics, respectively. In this study, we redefined the state space of traditional shape grammar by replacing the computer-dominated label set with the affective-dominated emotion set of neuroaesthetics. This resulted in a neuroaesthetic shape grammar that is led by the designer and complementary to human intuition and algorithmic logic. We validated this method through practical design cases in the field of aesthetic education.
... The subdivision rule is constraining as the iteration typically goes inward and ensures that spaces for functions are multiplied inside an initial shape (e.g., a site boundary or a building envelope). Some additive rules are expansive and less sensitive to boundaries when populating a shape unless they are accompanied by overlapping rules [67][68][69][70]. The identity rule is intriguing as it invites opportunities to explore what shapes and rules can do in graph-to-shape translation. ...
This paper presents a method to synthesise functional relationships and spatial configuration simultaneously using shape and graph computation from shape grammar and space syntax theories. The study revisits seminal works and summarises the compatibilities between shape and graph computation as a set of rules. The rule computation is demonstrated in two cases from hospitality and retail, where current applications, opportunities, and limitations are discussed. The results from the study show that incorporating graph and shape rules allows sequences of functions and spatial arrangements to be developed in parallel. The method could help the designer anticipate the impact on the users’ flow of activities more explicitly during the early design process and could also assist in generating new functional configurations to provide alternative spatial strategies in broader applications.
... Ice-ray grammars were first formalized by Stiny (1977) using a shape grammar (see figure 5) as a means to describe the design of Chinese lattice. Figure 6 shows the result of the above shape grammar for ice-ray, a rectangle as the initial shape, and the sequence 3, 2, 4, 3, 4 for the application of rules. ...
... Early studies on shape grammar focused on shape analysis. For example, Stiny analyzed the grammatical rules of the Chinese ice-ray lattice in 1977 [25]. Stiny and Gips supplemented the shape grammar in 1980 to form a standard research methodology, identifying it as a production system and defining it as a design tool for representation, generation, and analysis [26]. ...
Architectural heritage in historic districts, as a complex type of heritage, encompasses both the uniqueness of the building itself and also shows cultural and regional characteristics as a group, especially for the heritage site that contains multi-culture features. The digitalization research of this type of heritage often focuses on the digital archiving and modeling of heritages but rarely considers the combination of culture analysis and digitalization. This paper develops a digital form generation method for the heritages in historical districts by means of typological plan analysis, the Shape Grammar method, and Grasshopper software. Based on the case study of the modern Western-style house on Kulangsu, a world heritage site and historical district, this paper include three results: (1) dividing the layout plans of Kulangsu modern Western-style houses into three types, that is, native prototypes, foreign prototypes, and mixed prototypes, with 39 sub-types in total; (2) establishing shape grammar for the layout plans of Kulangsu modern Western-style houses with shape grammar sets and “S, L, R, I” expression rules; (3) creating a digital form generation method based on shape grammar result by Grasshopper software, including function cluster creation, function cluster connection and final model generation. This paper presents an example of quantitative analysis of heritage culture and a rapid modeling method of heritage, providing a reference for the construction of a heritage culture database and digital heritage management in historic districts.
... A grid generation algorithm recaps how consecutive stitches are braided to form a lace strip. The grid method resembles the Ice Ray Lattice grammar (Stiny 1977), where rules generate designs based on a grid. ...
A pair of formal grammars capturing a traditional Cretan bobbin lace-making technique is defined. The analog, manual process of braiding and the craftsman’s interaction with physical tools and materials determine making rules. Generating geometric configurations of lace pattern designs determines parametric shape rules and symmetry transformations. Pairing a grammar for braiding and a parametric shape grammar for designing captures the specified bobbin lacemaking technique and the generation of a traditional Cretan lace pattern language.
... Any of them would suffice to test the proposed shape grammar interpreter. Initial applications include the generation of origami tessellations [51], the hospitality work of the architect John Portman [31], and the reworking of Stiny's checkerboard grammar for a Chinese lattice design at Chengtu, Szechwan [37] for the specification of diverse artifacts for different scales, materials and functions in manufacturing, origami, and kerf design [11], among others, still. The most ambitious setting for the testing of the Shape Machine, in the sense of a real case workflow scenario with users interacting directly with the technology, has been its first experimental usage in the advanced Design and (b) (c) (d) (a) Fig. 16. ...
The process of shape embedding, that is, the inquiry whether for two shapes u and w there is a transformation f that embeds the shape f(u) in w is the most critical – and elusive – process for all shape grammar interpreters implemented within CAD systems. This paper identifies three major challenges underlying the implementation of shape embedding within a CAD environment and proposes three corresponding solutions. The focus is given here in the calculation of shape embedding for shapes made up of lines in a 2D CAD environment to provide the testbed for the mechanisms proposed. The integration of these three sets of algorithms into one coherent framework produces the blueprint of Shape Machine, a general-purpose shape grammar interpreter implemented in Rhinoceros, a NURBS 2D/3D CAD software. Some preliminary thoughts regarding the impact of the proposed shape-rewrite modeler in CAD industry and more broadly, in design education are given in the end.
... Shape grammars in the art and architecture include Chinese lattice designs (Stiny, 1977), window designs of Frank Lloyd Wright (Rollo, 1995), traditional Turkish houses (Cagdas, 1996), ornaments on ancient Greek potteries (Knight, 1986), chair designs of Hepplewhite (Knight, 1980) and paintings of Richard Diebenkorn (Kirsch and Kirsch, 1986), Georges Vantongerloo (Knight, 1989) and Fritz Glarner (Knight, 1989). Ranges of these examples indicate that shape grammars can be used to generate new models on the basis of historical styles. ...
... However, computational approaches have been applied by western scholars to study Chinese architectural heritage design principles. Stiny (1977Stiny ( , 2006 and his followers (Chiou, 1995, Li, 2001,) em-ployed shape grammar to successfully interpret original design languages of architectural heritage, but they are focused on exploring the computational principles hidden in Chinese style decoration and construction, with an emphasis on finding simple algorithms that could generate complex forms. We are more interested in the possibilities of creating families of forms controlled by a few parameters. ...
... The idea of a universal grammar explains these innate formulations.subsequently, the notion of grammar was introduced into the field of geometry and algebra (Stiny 1975(Stiny , 1980(Stiny , 2011. A shape grammar is a structured formalism that incorporates a limited number of shape rules to describe geometric operations. ...
... The use of shape grammars is not limited to the architectural field. It has also been used for designs such as window lattice designs in the Iceray grammar (Stiny 1977), Froebel block arrangements in the Kindergarten grammar (Stiny 1980), and coffee makers in the Coffee maker grammar (Agarwal and Cagan 1998). Each grammar generates a design by using a particular technique of the shape grammar formalism. ...
... The vine grammar doesn't use a grid system to defi ne a basic unit. Chinese lattice generation of Ice-ray grammar (Stiny, 1977) and axis of Palladian grammar (Sass, 2007;Stiny and Mitchell, 1978b) both use a grid system to defi ne the parameter of distance in the space. Thus design that the vine grammar generates are decided by manipulating the apex of Bézier polygons. ...
... A grid generation algorithm recaps how consecutive stitches are braided to form a lace strip. The grid method resembles the Ice Ray Lattice grammar (Stiny 1977), where rules generate designs based on a grid. ...
A pair of formal grammars capturing a traditional Cretan bobbin lace-making technique is defined. The analog, manual process of braiding and the craftsman's interaction with physical tools and materials determine making rules. Generating geometric configurations of lace pattern designs determines parametric shape rules and symmetry transformations. Pairing a grammar for braiding and a parametric shape grammar for designing captures the specified bobbin lacemaking technique and the generation of a traditional Cretan lace pattern language. Introduction There is a growing interest in analyzing traditional craft techniques motivated by the ambition to renew the creative potential of computational fabrication and crafts. Traditional crafts are a repository of knowledge on material usage and artistic refinement. Their design and fabrication methods have emerged through longstanding exploration of materials and experimentation on how artifacts are made and how they look and feel. The computational examination of craft poses challenges in analyzing human cogni-tion and interfacing with tools, materials, and the world. It is a way to learn about human creativity, dexterity, and ingenuity in a targeted manner. In parallel, computational craft analysis renews design and fabrication methods in exciting ways by integrating enduring creative practices (see, for example , Muslimin 2014). This study is the first to address the generative K. Labrou and S.D. Kotsopoulos 2 specification of a traditional Cretan bobbin lacemaking technique. The presented analysis describes how braids are made with hand tools, focusing mainly on the process's performance and perceptual aspects. The multi-sensory approach of making grammar is central to this analysis. The originality of this study is that two formal grammars, namely a braiding grammar and a pattern generation grammar, are combined to capture the Cretan bobbin lacemaking technique while acknowledging the craft's original tools, materials , and physical limitations. Initially, simple weave varieties are distinguished and classified based on manual weaving rules that generate the in-terlacing of specific thread types. Then, the generation of lace pattern designs is treated as constructing visual patterns based on symmetry. Combining a braiding grammar, including rules of physical making that generate stitch patterns, and a parametric shape grammar with shape rules and transformations that generate geometric pattern designs determines the Cretan bobbin lacemaking technique. The two grammars describe the weaving process as a sequential rule application and provide a basis for implementing and automating this traditional bobbin lacemaking technique with finite-state automata.
... Stiny [11] also suggests a parametric shape grammar, consisting of parametric shape rules operating on (non-parametric) shapes. A parametric shape rule embeds (numerical) parameters that govern the position of some spatial elements (or their boundary elements) within the left-hand-side shape (and corresponding elements in the right-hand-side shape). ...
A shape grammar is a formal rewriting system for producing languages of shapes. While initially defined to operate over line segments and labeled points, the theory of shape grammars has numerously been extended to include other spatial and non-spatial entities, including, planar segments and volumes, some types of curves, weights, colors and descriptions. Over the years, also a number of shape grammar interpreters have been developed, implementations that support the specification and application of shape rules. However, each of these implementations has adhered to a single shape grammar formalism, even if the exact formalism may differ from one implementation to another. This paper reports on the development and application of a shape grammar interpreter supporting multiple shape grammar formalisms. This is achieved in two ways, first, by supporting a variety of representational structures as compositions of basic data types, and second, by providing two alternative matching mechanisms for spatial elements, a non-parametric and a parametric-associative mechanism. Together, this provides for a flexible and extensible interpreter for the specification and application of shape rules, which has been implemented in the Python programming language and is accessible from Rhino and Grasshopper.
... Portrayed in Figure 1, yarn is spun from alpaca wool and woven on treadle looms to produce blankets, cloths, bags, and more, for sale at the famed Otavalo market. (Rowe et al, 2007) Similar studies have used shape grammars to disclose the organizational language of other culturally significant work, including, for example, Chinese ice-ray lattices (Stiny, 1977), Mughal Garden designs (Stiny and Mitchell, 1980), and wire-bending for costumes in the Trinidad Carnival (Noel, 2015). ...
... Since the mid-1970s, shape grammars have been used as a computational method to explore shape alternatives in an algorithmic way without using computers (Stiny, 1977). Stiny highlights that computation is more generous and flexible than computers (Stiny and Gün, 2012). ...
Today, computational thinking and computational design approaches transform almost all stages of architectural practice and education. In this context, since students are most likely to encounter computers, in this study, the approach of teaching students computational design logic is adopted instead of teaching how to use computers only as a drafting or representation tool. This study focuses on developing a pedagogical model that aims to teach computational thinking logic and analog computing through a design process. The proposed model consists of four modules as follows: abstraction of music and text (Module 1), decomposition of buildings (Module 2), analysis of body-space (Module 3), design of a space by the help of spatial patterns (Module 4). The proposed model is applied to first-year students in Interior Design Studio in the 2019-2020 fall semester. As a result of Module 4, students designed both anticipated and unanticipated spaces in an algorithmic way.
... However, Chinese artisans at that time did not use any stress-induced method to create the ice-ray lattices but possibly adopted its simplified version and used geometric rules to construct such intricate designs. George Stiny was the first who used shape grammar to geometrically analyze and model ice-ray lattices cataloged by Daniel Sheets Dye (Stiny, 1980) (Stiny, 1977) (Dye, 1937). Later, an extended version of the shape grammar and a couple of new algorithms were proposed to model ice-ray patterns matching with the original lattices (Tapia, 1992) (Yuan et al., 2011) (Ji, 2016). ...
Chinese ice-ray lattices are perhaps one of the earliest and controlled designs of asymmetric and complex patterns applied as a traditional motif in windows. Such intricate and complex designs developed centuries back have created an evident curiosity to explore its underlying geometric rules. Some scholars used the Shape Grammar as a tool to explain and recreate similar patterns. The previous studies conceive the ice-ray lattice design as the iterative subdivisions of a polygon. However, they missed explaining this geometric quality through the discussion of fractal geometry, which can explain the shapes consuming self-similar or self-affine repetitions of itself at different scales. As a novel approach, this paper analytically focuses on the fractal characters of ice-ray lattice designs and uses fractal geometry as a unique tool for generating different types of ice-ray lattices. The significance of this study is the demonstration of the efficacy of fractal geometry and the simple geometric rule of IFS for analyzing and algorithmically modeling complex lattices and cracked-like patterns.
... For almost 30 years, shape grammars are used as a foundation for art and architecture such as Chinese lattice designs [1], window designs of Frank Lloyd Wright [2], traditional Turkish houses [3], ornaments on ancient Greek potteries [4], chair designs of Hepplewhite [5] and paintings of Richard Diebenkorn [6], Georges Vantongerloo and Fritz Glarner [7]. These series of examples point out that shape grammars can be used to produce innovative models on the basis of historical styles. ...
The aim of this research is to present the features of geometric patterns in Islam, to use rules-sets for two and three dimensional form generation and to indicate the potential of mathematics of symmetry and geometry. The study focused on parametrically defined shape grammars of Islamic patterns to generate three dimensional forms in CAAD. The information offered in this paper can be used to
generate innovative depictions and to add fresh perspective to architecture. Throughout the history, some simple repetitive patterns were used as a starting point for architectural layouts, landscape designs or urban planning. In this research, Islamic patterns are used as a basis for three dimensional form generation
explorations. This study can be accepted as a preliminary step of more complicated forward studies for innovative designs with historical patterns.
... The formal specification of this origami tessellation is given in the form of a shape grammar modeled after of the ice-ray grammar [49], a type of shape grammars that have been designed to capture the structure of traditional Chinese lattice designs [50]. The original ice-ray grammar generates a periodic structure consisting of squares, each exhibiting alternating dihedral symmetry of order 2, and then modifies this structure with a spatial motif. ...
As a ubiquitous paper folding art, origami has promising applications in science and engineering. Many software and parameterized methods have been proposed to draw, analyze and design origami patterns. Here we focus on the shape grammar formalism and the Shape Machine, a shape grammar interpreter that has managed to automate the seamless shape calculations that the shape grammar formalism advocates. Different from other origami pattern generation methods, the shape grammar considers the origami pattern as a combination of different shapes (such as lines and curves). Based on this concept, the transformations between some common origami patterns are reorganized following visual cues and reasoning. Four examples of generating origami pattern are presented to show the capability of shape machine in origami design, including construction, modification and programming of an origami pattern. The new origami designs inspired by this work prove that shape grammar and shape machine provide a perspective and modeling technique for creating origami tessellation patterns.
This project contributes to architectural epistemology – that is, the study of ways in which architectural knowledge may be created, organized, and disseminated. Within that context, the project addresses digitally modeling existing buildings for the purposes of conducting geometrically-based analysis. The project focuses on parametric analysis, defined here as a way of examining and foregrounding latent formal conditions within digital models of existing buildings. Parametric analysis encompasses three approaches: generative, dissective, and morphological, which seek, respectively, to explain, uncover, or transform inherent logics, hidden geometries, and dynamic morphologies, in ways that may inform critical understandings of existing buildings. While the approaches differ in their assumptions and methods, they are unified in using parametric modeling as an analytical tool to gain insights beyond that which is available through geometrically accurate representation of built form. A set of buildings designed by the architect Le Corbusier is considered here as a test case.
This study was conducted in Sivrihisar District, where traditional and novel urban textures are present along side each other, and attempts to portray the urban texture of the District and to analyse how the relationships between public, semi-public and private spaces are formed. It is found that traditional and succeeding new textures were formed with differing priorities. The study aims to analyse and compare the foundative and formative setup of these two styles in terms of usage of space by using by shape grammar methods.
Geleneksel mimaride birbirinden farklı birçok tasarım yaklaşımları bulunmaktadır. Bu tasarım yaklaşımları belirli bir mimari dil ile ifade edilmektedir. Dünyada çok sayıda geleneksel mimari dil örnekleri mevcuttur. Var olan bu geleneksel dokular ele alınıp incelendiği takdirde bölgeye ait mimari kimliği ortaya koyan birçok kural ve örüntünün var olduğu görülmüştür. Yöresel mimariler rastgele ortaya çıkmış gibi görünse de yıllarca kullanılan yöntemlerin mimari üslupta yarattığı benzerlik belirli bir kuralın oluşumunu sağlamıştır. Bu birikimde yer alan biçimler, kurallar mimari dili tanımlamaktadır. Çalışmada Diyarbakır ili Sur İçi Bölgesi’nde bulunan 4 adet U plan tipli geleneksel konuta ait cepheler, biçim grameri yöntemi ile incelenmiştir. Kullanılan bu yöntem ile konutların, cephesel analizleri yapılıp cephede bulunan açıklıklar kurallar ile tanımlanmıştır. Ayıca her konuta ait planlar tipolojik olarak analiz edilmiştir. Elde edilen veriler aracılığıyla bölgede yapılan ve yapımı devam eden yeni konutların, geleneksel mimari dil ile uyum içerinde olması gerektiği önerisinde bulunulmuştur. Hazırlanan çalışma; tasarım ölçütlerinin, kurallara dayandırılarak üretimin mümkün olabileceğini göstermektedir.
Cul-de-sacs are examined together with the urban reading in Siverek. Studying cul-de-sacs is instrumental to understand the morphology of Islamic cities. Cul-de-sacs provide a buffer zone between main roads and houses. For this reason, both the privacy phenomenon, which is one of the important issues for Islam, and the safe space need of the residents are important spatial elements. Until 1968, the city of Siverek developed organically within a compact texture of narrow and curvilinear streets, open courtyards, and a adjacent high-walled residences. In this texture, many semi-private cul-de-sacs have an organic form, which is one of the critical spatial elements of the city. Residential walls or courtyard walls form the natural line of traditional streets. In this study, typological analyses of cul-de-sacs were made, and form grammar, a productive method used to analyze architectural language, is included. It aims to examine the relationship between residential settlement and street using the data set created with shape grammars and to make urban propositions for neighbourhood structures in the context of a cul-de-sac using L-systems in the next step. Some parameters have been determined in forming cul-de-sacs that form the urban texture. These parameters were transferred to the model using digital tools. A method thought to be used in urban production has been put forward. The most important reference of this method is dead-end streets.
The process of architectural design can be complex due to the engagement of problem-solving with design thinking. However, in computer-aided approaches, there is no effective method of retrieving an understanding of the design process. This research aims to demonstrate a newly developed process-oriented workflow for design generation via retrievable design operations. This concept of retrievable design operations emphasizes design thinking as an accumulation of design strategies expressed as small operational steps. The transformation of design thinking can take place between projects and/or design alternatives through a recomposition of these steps. This paper exemplifies the method by using a proposed toolset on the Rhino-Grasshopper platform to achieve the retrievability of design operations. Intermediate results of this study are presented. Firstly, 3 categories of components in Grasshopper are presented that allow to define an operation-retrievable architectural massing. Secondly, the potential to amplify retrievable design operations into feasible design derivations is demonstrated via 1) transforming design models across different site conditions by retrieving the entire design operations, 2) and switching the individual typology by retrieving corresponding partial design operations.KeywordsTopological OperationsRetrievable Design OperationsComputer-aided Architectural DesignProcess-oriented RepresentationGraph Representation
In recent years, voxel-based approaches have been explored to address data distributions related to space and form in diverse design disciplines. While originally used for the digital reconstruction of the human body, they are now widely used in design to represent intensive spatial properties. However, a voxel-based design process can limit design outcomes due to a predetermined voxel size and space resolution. Although variable voxel density subdivision algebras exist, a generalized algebra for volume subdivision of any size and shape as well as computing between individual subdivided parts has not been implemented. This paper presents a generalized volumetric space dividing algebra for closed, convex Polyhedra of any shape, which extends the Ice-Ray Shape Grammar and demonstrates weighted 3D boundary subdivision. Specifically, we present an algebra for subdividing any closed convex polyhedron, we demonstrate a boundary-weight algebra that interrelates properties (weights) with a variably subdivided space and allows for their direct manipulation in space as the design process takes place. We also present rules for extracting isocurves and reconstructing iso-surfaces in a variably subdivided, weighted 3D space. Finally, a use case of The Marching Shape 3D is demonstrated in a renewable energy based design process. Algebras and schemas are shown for a general shape grammar as well as for a digital computing platform. KeywordsMarching ShapeVoxel SpaceShape Grammars
This research employs shape grammars to generate variations of the Truchet tile to characterize a two-dimensional and three-dimensional generative tiling system.
The ice-crack pattern, a decorative scheme in traditional Chinese window design, still attracts modern eyes. Its irregular and changeable form has made garden architect Ji Cheng (1582–1642) argue that the crackled pattern results from random choices. Nevertheless, particular methods seem to have governed these compositions. This paper examines the ice-crack pattern on the window cases of the Surging Wave Pavilion complex in Suzhou, China. By conducting a geometrical, proportional, and statistical analysis and considering the structural integrity of the wood structure, this study reveals a design process that starts with ‘key figure(s)’ and expands towards the periphery of the windows. This method is observable in windows in several major Suzhou Gardens. My paper complements design theorist George Stiny’s work, revealing form-generating rules that he had not considered. It thus provides a new model of ice-crack pattern creation that may be useful to future scholars and designers working in this mode.
This paper investigates team psychological safety (N = 34 teams) in a synchronous online engineering design class spanning 4 weeks. While work in this field has suggested that psychological safety in virtual teams can facilitate knowledge-sharing, trust among teams, and overall performance, there have been limited investigations of the longitudinal trajectory of psychological safety, when the construct stabilizes in a virtual environment, and what factors impact the building of psychological safety in virtual teams.
The symmetry properties of John Portman’s 1968 Midnight Sun cocktail bar are discussed in detail. A special emphasis is given to subsymmetry analysis to decompose the multiple layers of symmetry groups in the polyrhythmic design and to relate them to a foundational project in Portman’s corpus, the 1964 house Entelechy I. This analysis informs a rule-based interpretation of the cocktail bar as a transformation of the hollow column prototype developed in Entelechy I. These findings are specified formally in the Midnight Sun grammar, a shape grammar implemented in a shape rewrite technology called Shape Machine. The implementation is then used to produce a series of variations featuring a range of symmetry groups. These outcomes and their implications for design generation as well as insights into Portman’s design principles are discussed to conclude the paper.
In this paper, the fundamentals of a 3D nested construction method for 3D-printing stackable tower-like structures are explained, taking into consideration the transportation, storage, assembly, and even disassembly of building components. The proposed method is called “PRINT in PRINT.” This paper also documents the authors’ experience of and findings from designing and printing a column erected out of a series of 3D printed components in a short stack. Employing the design principles of 3D printing in a nested fashion, the authors showcase the main parameters involved in dividing the column’s global geometry into stackable components. By converting formal, technical, and material restrictions of a robotic-assisted 3D printing process into geometric constraints, the paper describes how the column components are divided, namely that one component shapes the adjacent one.
Polygon tilings in natural and man-made objects show great variety. Unlike previous studies that have mainly focused on their classification and production methods, this study aimed at exploring factors that may contribute to the perceived beauty of convex polygon tilings. We analyze the dimensions of regularity, curvature, and density, as well as individual differences. Triangle tilings and hexagon tilings were tested in Experiment 1 and 2, respectively. The results showed that the perceived beauty of convex polygon tilings can be enhanced by higher levels of regularity and nonobvious local curvature. Surprisingly, the effect of density appeared to be different, with the dense triangle tilings and the less dense hexagon tilings scoring higher than the reverse. We discuss a possible explanation based on trypophobia caused by different types of polygons, as well as the observers’ personality trait of agreeableness.
This research aims to generate hotel designs using visual production systems in a computer-aided design environment. The current goal is to explore how visual-computational methods offer new approaches to space planning problems by implementing a ruleset based on existing atrium hotel precedents. The ruleset focuses on formalizing the logic of three atrium hotels to define Atr-Ino, an implementation for generating hotel designs. Atr-Ino is specified in a shape rewrite technology called Shape Machine to generate the original precedent designs, variations based on the three prototypes, and a series of reconfigured hybrid designs. In addition, a user study demonstrates how the rules of Atr-Ino can be used and/or redrafted to generate new hotel designs characterized by double-loaded configurations.
The study of beauty in morphological design is conducted using a computer-based system for quantification of aesthetics in the presence of proportionality. The system is formulated, implemented, and tested in the analysis and synthesis of various design artifacts. With an assumption that universal aesthetic principles exist and are quantifiable, proportionality (known as the theory of means) is proposed as the apparatus for this research. When the computation of proportionality is encoded as quantifiable criteria into a design machine, in turn, a quantification of proportionality aesthetics is defined as the mechanization of the human process in selecting an optimum design. In this quantification, a description of a given design artifact consists of the dimensions of the artifact. The dimensions are used to compute proportionality values. These values are assigned to the given design artifact as its reference characteristic. When an artifact has the best reference characteristic, it is selected as the optimum among the alternatives generated from the given artifact using a design optimization methodology. This quantification process is implemented computationally in an analysis and synthesis system called Hermes. Hermes performs optimization using genetic algorithms. The analysis component of Hermes is designed as a plug-in application for AutoCAD and is tested with a group of 38 buildings designed by the Italian architect Palladio to discover the extent of proportionality rules used in his work. Factor analysis is employed for the classification of the results. The synthesis component is written in MATLAB and in AutoLISP. This synthetic function is tested with Palladio's Villa Rotonda and Mondrian's Composition with Red, Yellow, and Blue. The program provides a better understanding of the master's usage of proportionality in the design. In return, it allows exploration of how these designs may change by varying the presence of proportionality. The theoretical and computational results obtained using Hermes suggest that quantification of proportionality aesthetics is feasible and useful as an aesthetic measure for analyzing existing and creating new works of art. Providing an opportunity to begin to explore aesthetic pleasure, this approach may address a variety of issues about aesthetics in design, and about design in general.
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