Joye, Yannick; Cognitive and Evolutionary Speculations for Biomorphic Architecture; Leonardo #39-2; 2006

Members of todays technologically oriented societies have increasingly diminished contact with natural form Humans, however, evolved in natural environments, and there is reason to believe that the human brain is adapted to processing natural settings and objects Biophilic Responses In a biocentric world, an individual had clear survival advantages if it were genetically predisposed to react emotionally toward living things. This entailed that living things with a high survival value (eg fruits) would be associated with positive emotional states, as opposed to living entities that were harmful (eg snakes) People nd vegetation-rich landscapes more aesthetically appealing than urban settings without vegetation The preference for these elements is due to their survival value to our human ancestors Flowers, for example, helped in identifying different sorts of vegetation (and were conspicuous signs of the presence of food resources) And the value of trees can be related to the fact that they provided our ancestors retreats [Nature is also] stress-reducing There is evidence that unthreatening animals also positively inuence human functioning and psychological development Biophilia and Cognitive Neuropsychology Patients with category-specic decits have impaired knowledge of certain classes of objects Interestingly, in the majority of cases, knowledge about the class of living things is impaired, and not that of non-living things According to the view of Domain Specic Account, knowledge about living things is organized categorically in the brain. This means that specic neural circuits are dedicated to knowledge about specic object categories (such as living things) Neural mechanisms only developed for those things that had evolutionary signicance for humans Neural pathways in the human brain are specialized not only in conceptual knowledge about living things, but also in processing perceptual information about this class of objects Biomorphic Architecture as Input for the Natural Module Clearly, mental modules can be stimulated by the objects to which they are dedicated. For example, a face-detection module will be activated by its proper input (actual human faces). Yet it seems that cognitive modules do not take into account whether the objects they analyze are in any sense real (this is one of the reasons why a smiley, and even the fronts of cars, are perceived as having face-like features). This observation can be extrapolated to the natural module. It is highly probable that the module specialized in processing natural elements will also be activated by stimuli that share essential geometric features with natural elements Concrete Natural Elements The integration of natural forms in architecture can include multiple levels of abstraction Evident examples of imitations can be found in traditional ornament, which often contains representations of leaves, owers, fruits, animals, monsters, etc. An alternative to such literal imitations would be the implementation of more stylized imitations of natural elements Biomorphic architecture [is also legitimate, because: 1. It is complex] (the image emerging from the complexity sciences is one of a nonlinear, dynamic universe, characterized by chaos, uctuations, and evolution) [2. It is efcient in its use of materials and energy, and welladapted to the landscape] (as any natural organism) Antoni Gaud designed perhaps the most widely known examples of biomorphic

architecture (here a building imitates not natural forms but the natural forces acting beneath its surface) A similar interest in structural concerns is present in the biomorphic works of Santiago Calatrava Abstract Natural Features Naturalness can be evoked by incorporating the more abstract geometric features of natural objects. Although such designs will not be recognized as being similar to specic natural objects (eg birds, owers,), they still can activate primary visual subsystems of the natural module that are dedicated to nature-like geometric features A primary abstract geometric feature of animal form is curvature (exemplied in the contemporary designs of Nox, Greg Lynn, Servo, etc.)

Dollens, Dennis; A System of Digital-Botanic Architecture; Leonardo #38-1; 2005

Louis Sullivans System of Architectural Ornament is analog, transcendentally poetic, quasi-scientic, and ornamental. His System nevertheless establishes a series of steps, a recipe and formula (loosely, an algorithm) for the generation of geometric surface volumes and plantlike growth Discussing the rst 7 sketches for his Plate #2 (The Manipulation of the Organic), he states: Any of these forms may be changed into any of the others through a series of systematic organic changes technically known as morphology Today, his instructions may be read as starting points for design instructions and can be translated, re-written, edited, and re-grown in digital software With a botanic underpinning established, Sullivan then set out to describe and illustrate how growth and generation may be applied to architectural design through the development of a series of cellular drawings, each linked to the preceding and each leading to the next Sullivans dictum, form follows function, while willfully misread by most Modernists, was, in Sullivans organic theory, a living, progressive principle in which the process of design links botanic as well as biologic life with geometry The Merchants National Bank (1914) may be seen as an analog proto-generator for botanic architecture. In a sense, the faade is a built drawing whose ornament is a metaphorical fractal of Sullivans theoretical and graphic work Here, segments of the System reached one threshold of expression, but their unexpressed potential, like that in DNA, may continue to reveal itself in future growth and morphosis The bank need be considered only as a rectangular blank block whose oculus (rose window) and entrance fuse in a terra-cotta growth of geometry, vines, and pods [Here there is the] potential for a digital graft Thinking of a phototropic shift from the z axis to the xy axis, [one may visualize] a hypothetical growth from exterior to interior, with the faade ornament seeding horizontal branching into the banks interior, transforming the System of ornament into a system of structure The grammar of Sullivans System, parsed in light of current and emerging technologies, or analyzed as analog-hybrid spaces, provides a reading of Sullivans original intentions while still generating possibilities for new patterns of visualization, which in turn create new test elds for a botanic or a digital-botanic architecture

Phillips, Gilles; Shape Grammar for Louis Sullivans Architectural Ornament; Architecture- MIT
Plate 1. The Inorganic Development of a blank block thru a series of mechanical manipulations which illustrate Mans initial control over materials and their Destiny. No. 11 represents #10 developed with increased Freedom, but still largely in the mechanical mode. Beginning appearance of the Imaginative element. - LHS 1922

Plate 2. Manipulation of the Organic Simple Leaf-Forms By manipulation any of these forms may be changed into any of the others through a series of systematic organic changes known technically as: Morphology. Compound Leaf-Forms Derivations of the above; technically, but Organically, expressions of differing identities of seedgerm. Technical Morphology of #7 into #12: Plastic changes, following Natures meter & liberating energy. Remember the seed-germ Development of #13 Motif Development of the #12 Motif Note: For elementary knowledge of plant life: student is referred to: Grays School and Field Book of Biology - LHS 1922 Plate 3. The Inorganic: Manipulation of Forms in Plane Geometry Mobile Geometry Basic Elemental Forms: Shown inscribed in Circle These simple forms, of ancient discovery and use, were given esoteric meaning and occult powers by the men of that day, in an effort to control, by means of formulas and secret ritual, the destiny of Man amidst the powers of Nature. With mystic numbers, and other phenomena, they formed part of an elaborate system of Magic: To which the world pinned its Faith. More however a New Faith is advanced: a faith in MAN: an unwavering faith that Man, with his Natural Powers, developed and FREE, may and shall control his Destiny through the ner magic of his enlarged vision, and of his will to Attain. Master of the inorganic and the Organic, he will, when he has Found himself, become Master of Himself (see the Prelude to this work) Technically, as an item in the progress of our Demonstration, the above forms, rigid in their quality, are to be considered, in our philosophy, as Containers of radial energy: extensive and intensive, That

is to say: Extension of form along lines of axes radiating from the center and(or) Intention of form along the same or other radials from the Periphery toward the Center. Here then appears the Will of Man to cause the inorganic and Rigid to become Fluent, through his powers. Note also that we assume energy to be resident in the Periphery, and that all lines are Energy lines. This may be called Plastic Geometry. Diagram of: Circle with Inscribed regular Polygons. The circle is assumed to be the Primal Form Radial Expansion of the Square (Sub-Center of energy, Sub-Center of energy, Sub-Center of energy) Morphology of the Hexagon Geometrical extension and intention conserve the idea of Axes, Morphology is a process whereby an original form gradually changes into Another form. One example of plastic development of equilateral triangle More Sub-Axes in 20. The Sub-centers of energy may extend outward and inward indenitely. Sub-Axes may be used at will. Freer treatment of the Hexagon than shown above for the Triangle. Our forms are gradually becoming Mobile, and the sub-axes and sub-centers of energy are coming into view. - LHS 1922 Plate 4. Fluent Geometry Rigid geometry here shown progressing, through Mans manipulation of a Central Idea, into Plastic, Mobile, and Fluescent (sic) phases of expression lending toward culmination in foliate and eforescent forms. Note: Clearly to grasp the signicance of the approaching fusion of the Inorganic and the Organic into a single impulse and expression of Mans Will, the Idea must steadily be held in mind that the rigid geometric form is considered as a container of energy upon which a germinal, liberating will is imposed by Mans free choice, intelligence, and skill. The Plant Organism derives its impulse from the seed-germ, and in its growth develops sub-centers of further growth. The seed-germ may thus be considered also as a container of energy, forming if its own will sub-centers of energy in the course of its functioning development toward the nality of its characteristic form - the expression of its identity. The Awakening of The Pentagon Pentagon in Action Note: The rigid pentagon has vanished in a mobile medium LHS 2.22.22 Plate 5. The Values of Axes [Life is Innite] Axes with or without Sub-Axes: Selected at Random There is always supposed to be a main Axis, however much it may be overgrown or overwhelmed by the vitality of its sub-axes. Herein lies the challenge to the imagination. These arrangements may be continued indenitely: THERE IS NO ENDING IN VALUES. Remember the seed-germ (Axis) Note: Any line, straight or curved, may be considered an axis, and therefor a container of energy, and a directrix of power. There is no limit to variation or combinations, or to the morphology possible. The main axis (of which the axis of the seed-germ is here taken as the primal type) may become secondary in development: A secondary axis may dominate all. Axes may be extended, restrained, combined, subdivided, made rigid, or plastic, or mobile, or uent in every conceivable way. They may be developed inorganically or organically, they may be developed as stolid, or as lled with the life-impulse. They may be dramatized from the heavy and ponderous to the utmost delicacy of rhythm, the most subtile (sic) palpitations of life. But: That all this be taken from the realms of the Transcendental and brought into physical, tangible, even psychic reality, requires that the spirit of Man breathe upon ideas the breath of his living powers: that they stand forth, created in his image, in the image of his wish and will: as demonstrations of MANS EGO-POWER. - LHS 1922 The student is again referred to Grays School and Field Book of Botany for a simple exposition of plant function and structure. The advanced student who wishes to investigate the power that [antedates?] the seed-germ (which is easily in and of embryo) is referred to that remarkable work by Prof. Wilson - The Cell in Development and Heredity No: For Further illustration see following plate.

Plate 6. Manipulations of Variants On a given axial theme Diagram of main axis A and sub-axes B and C. See NOTE plate 5 The aspect of freedom is begining (sic) to appear. B dominates, C dominates, A dominates, Equilibrium of the Branch. LHS 1922

Plate 7. The Values of Parallel Axes Note: The natural tendency of axes is toward uency when once they are liberated from rigid geometry. The initial resultant-series of transition-stages from the inorganic toward organic, and the developed stages of uency, are, both, of limitless variety and scope, and there ceases to be visible a distinct line of demarcation between them. Thus we come upon the truth that the creative reality of form lies within a continuous series emanating from a single primal life-impulse seeking and nding manifold expression in form. Life, itself, is thus manifested as a constant ow into countless multitudes of specic forms. - LHS 1922 Transcribers note: in diagrams, axes are noted

Plate 8. Further Development [Parallelism] For notations see sheet 9 - LHS 1922

Plate 9. Interlude: The doctrine of Parallelism We have now progressed to a point where it seems necessary and opportune to make a brief review of progress. The Prelude to the series of plates sets forth in literary form Mans Natural Powers as the foundation of his deeds. Then begins as illustrated in the plates the development of a Technical Thesis, with the objective in view of exposing these powers in action, as applied to a specic form of activity called Architectural Ornament. The out-working of the thesis as a science and an art is, of necessity technical, inasmuch as it involves a new conception of energy - and new philosophie (sic) and practical deductions therefrom. The theme is therefore exploited analytically and synthetically; differentially and integrally with the object ever in view of so humanizing science that it energizes art and so exhibiting the masterful uency of art that it in turn illumines science.

Between Science and Art there appears at rst view a sense of separated parallel activities. Such mental picture of them softens as the Euclidean sense of parallel gradually enters a seemingly nebulous domain which we here call Parallelism. It were better and truer to call this domain mystic, for within it Art, Science, and Philosophy fuse as it were into a single vital impulse. In this same sense, the inorganic and the organic, - seemingly utterly apart - are caused to enter this same domain of parallelism, and fuse or blend into an integral phenomenon, - this time by the powers of mans imaginative will. It may here be interjected the Imagination is the greatest of mans single working powers - and the trickiest; as the intellect is the frailest, the most subject to derangement, the most given to cowardice and betrayal, unless it be held steady and sane by the power of Instinct. The power of Intellect is valid beyond a doubt. But folly comes when it is allowed to usurp dominion over Instinct. The chief exhibit of intellect is called Logic; but the processes of Instinct involve a logic innitely more subtile (sic), much more powerful - becomes primordial. It is to this diaphanous labile logic of instinct, ever operative, and perceptible as processes involving certitude and nality, that the free spirit of man inclines - through sympathy with Life. For Life is of this transcendental logic, and exhibits it, rst to the instinct and slowly thereafter to the intellect of man. Such considerations open to view a still larger domain of parallelism: namely the parallelism between man and nature, and between man and his works. These are self contained within the all-embracing domain of Life, the universal power, or energy which ows everywhere at all times, in all places, seeking expression in form, and thus parallel to all things. Man stands, by virtue of his powers, a solitary ego within a universe of energy; a witness, a participant; and, by virtue of his powers a co-creator, his creations are but parallels of himself. It has been deemed urgent to devise this literary interlude, because, to evidence its varied suggestion apart, by graphic illustrations, would require space far beyond the limits of this work; ~ however interesting it might be to the advanced student to observe a scientic ~ poetic theory ~ or rather conviction ~ gradually unfold itself to the physical eye. It is to the inner eye therefore that a very considerable part of the appeal must perforce be made. Therefore what this work may lack in scientic continuity of gradual illustration must be compensated by continuity in sensibility and thought by the student. Such process may proceed either way: as a sentient development on an intellectual background, or as an intellectual development on a sentient background. The illustrations may be traced back to their primitive origins, or the primitive origins may be followed in their expanding development. Technically: Plate 7 is a simple study in two vertical parallel axes. Plate 8 is a further study in multiple parallel axes, both vertical and horizontal, with the introduction of distant parallels and uent parallels - thus preparing for the larger idea of parallelism. L.H.S. Plate 10. Fluent Parallelism [Non-Euclidean] Note: illustration of non-symmetrical, rhythmical equilibrium [mobile equilibrium] - 5/1/22 LHS

Plate 11. Values of Parallel Planes [Parallelism] Note - when Parallel planes become so numerous that their relative values are not immediately apparent they then lie within the domain of parallelism, as a group. Note: Science here passes into an Art which envelopes it. - 5/23/22 LHS

Plate 12. Values of Overlap and Overlay A Study in Virtuosity Louis H. Sullivan [?] 6/7/22 Chicago, Illinois

Plate 13. Interpenetration With resultant forms and development Louis H. Sullivan [spect?] 7/6/1922

Plate 14. Fantasy A study of curves in three dimensions Louis H. Sullivan [spect?] Chicago 7-18-1922

Plate 15. Values of the Multiple Leaf [Differential Energy] Note: The energy comes from the characteristic seed germ (imagined). The main stalk then differentiates into eight (8) specialized leaf-forms which in form differentiate. There being no limit to character-expression, this design lies within the eld of ROMANCE. Louis H. Sullivan [spect?] Chicago Aug 29th 1922

Plate 16. Impromptu! Note: Stabilizing Value of vertical forms. Note: we are now in the Domain of Virtuosity, Romance, & Symbolism. Louis H. Sullivan: Oct 28th 1922

Plate 17. A Geometrical Play-Ground Louis H. Sullivan [spect?]: 12/25/22

Plate 18. Untitled Louis H. Sullivan [spect?] Chicago: May 15th 1923

Plate 19. Untitled Louis H. Sullivan [spect?]: 6/11/23 Chicago

Plate 20. Finis Louis H. Sullivan [?] Chicago March 19th 1923

Introduction In a way, shape grammars provide a nice tool for understanding Sullivans designs... The grammar presented here was developed through the analysis of a specic design: the tiles which line the main entrances on the Guaranty Building. The rules were substantiated and rened through research of his writings and also his work, A System of Architectural Ornament. Key for symbolic representations: Elements (): w= workspace p= plane o= object Other: t= transformation n= number of repetitions Lines: a= linear, inorganic i= curvilinear, organic

Rule 1 w n(w) Workspace division. At any point in the grammar, a workspace, symmetrical or asymmetrical, may be divided into a parametrically-proportioned series of cloned elements. These elements may be either planes, objects, or children workspaces. Any operation applied to one element will affect all elements in the set. The division of the starting space must divide the entire starting space. Sullivan makes his divisions either even (a, a, a, a) or rhythmic (a, b, a, b) (a, a, b, a, a, b). Child workspaces inherit all the properties of their parents (reexivity, for example). Rule 2 wx Establish the main axis. This is critical for the grammar, because it establishes the primary axis in the nal design. Sullivan notes that there is always supposed to be a main axis, however much it may be overgrown or overwhelmed by the vitality of its sub-axes. The grammar for the Guaranty tile infers from this that the rst operation is to establish a main axis and then, from there, establish secondary sub-axes. Often and in this example, the main axis establishes the rule of symmetry that all subsequent rules elaborate. Rule 3 w x + (1/x) Establish the main axis- reective. One option for an initial gesture in the workspace is the establishment of a mirroring line. If this is drawn, then every element within the grammar is mirrored along the initial dividing line (placed in the rst rule). If an object is drawn and not mirrored, then the grammar within that workspace is terminated.

Rule 4 xx+w Create new workspace. New workspaces may be dened at any time simply by the emergence of an enclosed shape, the edges of which are dened by a group of lines x. These child workspaces inherit the properties of their parent workspaces. Sullivan uses emergent workspaces like these along with the division rule, as a primary method for changing scales. The type of elaboration within a workspace is tied to its architectural function. Rule 5 xx+a Linear sub-axis. A new. Emergent rectangular shape can be sub-divided with a secondary branching axis. Note that the geometry is parametric (a triangle doesnt have to match the triangle in the grammar exactly).

Rule 6 x t(x) Plastic development. For Sullivan, architectural ornament served to explore and represent mans will and power in the marriage of the organic and the inorganic domains. In his plates, he refers to this phenomena as parallelism, as the 2 domains are brought together. From his plates, we see that inorganic form is represented by strict geometric lines, which are then transformed through a series of additive and subtractive rules into something more organic. For Sullivan, organic form is represented through curves and non-linear geometry. There is a constant tension between the two, generated by Sullivans idea that forms are containers of radial energy: extensive and intensive. Rule 7 x t(x) Plastic development 2. As illustrated in the plates, the basic triangular geometry is made more complex through continued addition of dependent lines along axes and center lines.

Rule 8 x t(x) Organic connector. Any 2 lines of either straight or curved type (together forming x) may have a parametricallycurved line drawn between them, to connect them into a shape. The connector must have one end point along each line.

Rule 9 xx+i Curvilinear sub-axis (organic). In Plate 5, Sullivan notes that any line, straight or curved, may be considered an axis, and therefore a container of energy, and a directrix of power. The curved lines represent primal organic form, as he details in the 2nd plate (Manipulation of the Organic).

Rule 10 xx+i Curvilinear sub-axis (organic). Additional organic subaxis, this time a simple arc (quarter circle), rather than compound curve.

Rule 11 xx+i Additional organic simple-arc.

Rule 12 a a + a Adding an axis: linear. For all addition/transformation rules, the new line must share an endpoint with the existing line. New axes may be extended beyond the current workspace.

Rule 13 i i + i Adding an axis: curvilinear. For each of the organic axes there is a similar rule for the addition of other axes of the same type. The compound curves, which operate between 2 lines of the container triangle, can have a secondary axis articulated on one of those 2 lines.

Rule 14 i i + i Adding an axis: curvilinear. As in the previous rule, the new axis must operate along the same side as the parent triangle.

Rule 15 x t(x) Axis truncation 1. In the case of intersecting axes of either type, there are 3 rules for further manipulation. The rst shows that one of the axis lines can be truncated.

Rule 16 x t(x) Axis truncation 2. This is the second rule for handling of intersecting axes of either type: both axis lines can be truncated at the point of intersection.

Rule 17 xp Expansion of axis line to create a plane. If Sullivan wants to preserve tangible axis lines, he proceeds by expanding these lines into surfaces. Visually, the surface is represented by 2 lines upon which subsequent rules operate as one. The creation of any plane p erases all lines within the plane.

Rule 18 p t(p) Plane layering rules. In the case that intersecting axis lines are both expanded to create plane surfaces, Sullivan uses layering rules to establish balance and precedence. Layering of this type establishes much of Sullivans visual complexity, particularly in the embellishment of organic forms that are not established on a symmetric axis. Note that these rules are basically line-subtraction rules. They can be applied to both sets of lines if desired, to create a continuous surface between the 2 planes. Rule 19 xx+o Adding objects (autonomous seed-germs). Seed-germ is a conceptual term Sullivan used to describe elements from which his designs emerged. They are represented in this grammar as minimalistic objects that cannot be transformed. As seen in the subsequent rules, they can be added in explicit series along axes.

Rule 20 w n(o) Object inll (pattern 1). This makes explicit the lling of interstitial space between plane elements, with repeating circular elements of a common form. For Sullivan, each of these circular elements was organic, born independently out of a tiny conceptual seed-germ. In the Guaranty tile, we see that these elements are articulated along one of the lines that dene the shape, for the entirety of that line.

Rule 21 w n(o) Object inll (pattern 2). Similar to rule #20.

Rule 22 w n(w) Object inll (pattern 3). Similar to rule #20.

Rule 23 x t(x) Conclusion: asymmetric. In the highly ornate oral embellishment, there is considerable variation and detail of form. The embellishment is constructed through repeated generation of sub-axes and organic connectors. The emergent form breaks the symmetry law, and therefore concludes the grammar for the tiles workspace, and no other rules can be applied once the symmetry is broken. Upon conclusion of the grammar, all remaining axis lines are erased.