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A proposal for the use of fractal geometry algorithmically in tiling design

Conference Paper · June 2019

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A proposal for the use of fractal geometry algorithmically
in tiling design

Asli Agirbas 1

1
Department of Architecture, Fatih Sultan Mehmet Vakif University, Istanbul, Turkey
[email protected]

Abstract. The design inspired by nature is an ongoing issue from the past to
the present. There are many design examples inspired from nature. Fractal
geometry formation, which is focused on this study, is a system seen in nature.
A model based on fractal growth principle was proposed for tile design. In this
proposal made with using Visual Programming Language, a tiling design
experiment placed in a hexagonal grid system was carried out. Thus, a base was
created for tile designs to be made using the fractal principle. The results of the
case study were evaluated and potential future studies were discussed.

Keywords: Fractals, Tile design, Biomimetic design, Algorithmic design.

1 Introduction
In the field of architecture and design, from the past to the present, there is a design
approach which is inspired by nature [1, 2]. This approach is often referred to as
biomimetic [3]. We come across this design approach in many architecture and design
products. This approach was initially developed as an imitation of nature. Later, it
took its place as learning the mathematical principles of nature and apply these
principles to design. With the inclusion of algorithms to the architecture and design
field, the use of these mathematical principles, especially in the design process, has
accelerated.

This study focuses on fractals. We can observe the formation of fractals in

nature. The stages of the formation of the fractal form continue to be a source of the
inspiration for the designers. Examples of the use of fractal growth principle are
encountered in the field of architecture and design. Especially in architecture, it is
used in the form-structure relation [4, 5], and in urban design, it is also used in
relation to urban growth principles [6- 8].

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 The applications of fractal principles to tile designs are limited. However, the
repetitive structure of tile is similar to the fractal principle. Taking advantage of this
situation, innovative products can be produced in tile design. In the development of
such a model, algorithms will be helpful tool in the rapid and correct implementation
of the fractal principle in design. Therefore, in this study, it is aimed to create a model
using Visual Programming Language (VPL) for the use of fractal growth principle in
tiling design.

2 Background

2.1 Nature-inspired design

Many studies have been conducted on the study of the morphology of the formations
in nature and the interpretation of this subject in the field of science and design. For
example, Raoul Francé, known as the pioneer of biological technology, carried out the
studies with considering the structural properties of plants using the term biotechnics
and this way, evaluated the natural forms as structural. Francé [9], in his work: Die
Pflanze als Erfinder (The Plant as Inventor), mentioned that forms such as crystals,
spheres, planes and branches were seen in the areas such as architecture, chemistry
and geography [10, 11]. D'Arcy Thompson's [12] 'On Growth and Form', Ernst
Haeckel's [13] 'Kunstformen der Natur' (Art Forms in Nature, 1899-1904) and 'Die
Natur als Künstlerin' (Nature as Artist) [14], and Blossfeldt's [15] 'Wundergarten der
Natur' (Wonder Garden of Nature) studies can be given as examples of other studies
in this area [16].

Human beings have begun to develop the first building techniques by

observing or imitating the formations in nature. Thus, throughout history, we see the
imitation/synthesis of nature in architecture and design [17 - 19].

Gaudi's use of skeletal systems and bones as metaphors to capture the

differences and aesthetics in his buildings and to construct suitable structural systems
for the designs can be given as an example of nature's reflection in design. In addition,
the Allen Lambert Gallery (1987) of the BCE Palace in Toronto designed by Santiago
Calatrava, the Bauschanzli Restaurant (1988) in Zurich, St. John Divine Cathedral
(1991) in New York, Oriente Station in Lisbon (1998), Reina Sofia Art Museum
(1999) in Madrid, and Stuttgart Airport Passenger Terminal (1996) designed by
Meinhard von Gerkan can be given as recent examples of tree-shaped formations
[20]. In addition, one of the architects who worked on mathematical formations in
nature was Frei Otto. As a result of the experiments, he called "Soap Experiments",
Frei Otto revealed many curvilinear formations and reflected these forms to his
buildings as structural elements. Otto has gained importance on designs with organic
forms that emerged by mathematical evaluation of nature. One of the most important
buildings that reflect this perspective is the Munich Olympic Games Stadium, which
he designed in 1972.

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 Besides nature-inspired design examples created in the form bases, there are
also nature-inspired methods that are algorithmically included in the design process.
For example, there is Genetic Algorithm (GA), which is inspired from the natural
selection process in nature. The studies are carried out to achieve the best solution in
design with including this algorithm to the design process [21-27]. Similarly, the
swarm intelligence principle in nature could be transformed into algorithms. There are
design studies using these algorithms [28].

From the past to the present, different names are used for nature-biology-
design relationship such as biomorphism, bionics, biomimetics and biomimicry. Otto
Schmitt [29] mentions about the use of systems, processes and models in nature to
solve the problems of people and this issue has taken place in the literature as
biomimetics [30]. Janine M.Benyus [31] revived the concept with his work
‘Biomimicry: Innovations Inspired by Nature’ and argued that nature should be
treated as a model and source of ideas [32]. Benyus says that human beings have
acquired experiences by observing nature at first, but are now taking lessons from it
as a mentor rather than as a model [20]. According to Pawlyn [33], biomimetics and
biomimicry concepts are used as synonymous. He says that only the concept of
biomimicry is mostly used for issues focused on the production of more sustainable
solutions. In the same sense, Jack Steele named this subject as bionics, which refers to
imitate nature and learn from biology [34]. Charles Jencks, in his Theory of Evolution
Table that was prepared for architectural movements, describes the beginning of the
new search for architecture in the end of the twentieth century, as biomorphism.
According to Pawlyn [33], this concept is used to reflect the existing natural forms in
design.

2.2 Fractals
The word Fractal comes from Latin fractus. Fractus means irregular or fragmented
[35]. Benoit Mandelbrot [36], describes fractals in the definition of various forms
(coasts, mountains, etc.) in nature [37]. Fractal geometry is the mathematical
production as repetition of the form. This formation may occur by repeating a unit in
the form of growth, or by dividing the unit into smaller units. As repetitions increase,
more dense structures are formed [38]. The basis of fractal geometry embodiment
relies on self-similarity. According to this embodiment in fractal geometry, there is a
similarity relationship between entire form and its smallest unit. As you go into detail,
each unit carries the characteristics of the whole. This form-based repetition feature of
fractal geometry inspires many designers to develop their designs. In this study, the
starting point of the proposal of a method for tiling design based on fractal geometry
is the form-based repetition.

Other than Mandelbrot [36], some mathematicians also contributed to this

issue. Various theories have been produced on fractals. Some of these people and
their theories are these: Cantor’s Comb (1872), Helge von Koch’s Curve (1904),

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Sierpinski’s Triangle (1915), and Gaston Julia’s Sets (1917) theories [39]. Henri
Poincare, Felix Klein and Pierre Fatou are also the names who worked on this subject
[40].

Kitchley [39] mentions that many ancient African settlements have fractal
properties. An example for this, she mentions about the “Ba-lla” settlement in
southern Zambia. She also mentions that the fractal characteristic exists in the temples
of India. The units in this architectural design get smaller as they go upwards layer by
layer repeatedly. This is also present in many Baroque cathedrals in Europe. Kitchley
[39] also mentions about the presence of fractal characteristics of contemporary
architecture. The followings can be given as examples for these: Peter Eisenmann's
House 11a project, Zvi Hecker's Extension for the University of Applied Arts,
Hamburg and Ramat Hasharon projects, and Ashton Ragatt McDougall's Storey Hall
project in Melbourne. Related to fractal tiling, Burry and Burry [35] also mentions
about the project of Heneghan Peng's Grand Egyptian Museum (Cairo, Egypt) and
Daniel Libeskind's project on The Spiral Extension (Victoria & Albert Museum,
London, UK).

On the other hand, fractal dimension is also used as an analysis method in

architecture. This method, for example, has been widely used to identify the visual
characteristic elements of historical buildings [41 - 46]. This method is applied in the
direction of the elevation or plan drawings. In this method, first, the grid is placed on
the designated 2D image. Then, with the ‘box counting’ method, the ratio of the boxes
containing the lines to the empty boxes is calculated. However, this method is
excluded from the scope of this study.

2.3 Tiling
Tiling is an architectural tradition coming from a long time ago. Old-fashioned tiling
designs are usually 2-dimensional. Some of them have reliefs. Tiles are known being
used in the interior and exterior coating in buildings. The material of tiles can be
ceramic, plaster, brick, stone and timber. They are usually arranged in a repetitive
manner, but may also be formed by a combination of different forms [35].

According to Van Lemmen [47], tiles and bricks were first used by nomadic
people who settled along the Nile River in Egypt and along the Euphrates and Tigris
Rivers in Mesopotamia. These people began to establish permanent settlements and in
doing so they used local materials (sand, clay, reed).

If it is specifically focused on the tile, it can be seen that, from the past to the
present, different types of tiles have been produced in different parts of the world.
Tiles were made of different sizes, shapes, and colors. They can include different
reliefs on them. Different patterns, geometries, symbols and writings can be found in
these reliefs.

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 Nowadays, the use of 3D printing technology, which allows the use of new
materials, is advancing rapidly. This brings innovations to the tile industry. 3D
printing technology allows various materials to be tested in design as well as the
production of different forms of products.

3 Fractal Software

Nowadays, there are various softwares that can produce 2D and 3D forms based on
the fractal principle. Some of these are: Mandelbulber, Mandelbulb3D, ChaosPro,
Fractal Zplot, QuaSZ, Fractal ViZion, Fractal Scope, Ultra Fractal, Apophysis, Fractal
Science Kit, Incendia Fractals, Fractal Extreme. These programs allow different forms
to be complexized, based on fractal principles (Fig 1) In addition, these programs can
also offer options of high quality rendering, coloring, lighting and animation creation.
These programs are frequently used by people interested in digital art.

In this study, a preliminary study was conducted to test the production of

forms based on fractal principles. Mandelbulb3D program was used in this
preliminary study. Mandelbulb form, which is known as 3-dimensional fractal form,
was selected to use. Iterations of Mandelbulb, which were used as the first form, were
increased and more complex forms could be produced. For example, in Fig. 2, states
of the form with 1, 3, 5 and 7 iterations can be seen. In Fig. 3, the details of the form
with 5 iterations can be seen.

However, in this program, it was seen that producing a form from scratch
and the possibility of obtaining a new form from this form by applying the fractal
principles was limited. The situation is the same in many other fractal creation
programs. Therefore, in a design to be made by considering the principles of fractal, it
was thought that a method should be developed in which the designer might be more
involved in the application of these fractal principles on the form. Thus, a method, in
which Visual Programming Language is used to apply the fractal principles, was
proposed.

Fig 1. Various forms designed by the author with using various software based on the
principles of fractal

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Fig. 2. Mandelbulb form with different iterations

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 Fig. 3. Detail of Mandelbulb with 5 iterations

4 A Proposal

4.1 Methodology
The fractal form formations in this study were created using Grasshopper, which
works as a plug-in to Rhino. Grasshopper is a Visual Programming Language (VPL)
program. The HoopSnake add-on was used to create a repetition in the geometry.
HoopSnake enables feedback loops within Grasshopper.

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 In this study, the repetitive process, which is the basics of the fractals, was
created parametrically in Grasshopper (Form 1 and Form 2). Then, the repetitive
process was repeated as required and the unit cell was created (Form 3). Afterwards,
through Form 3, the form was brought to the third dimension, and various arrays were
made (Fig. 4).

If we consider in more detail, first, a hexagon was created in the repetitive

process (The number of hexagon grid cells can be increased to obtain a pattern).
Then, the midpoint of each edge of this hexagon was defined. In this process, it was
benefited from ‘explode’, ‘list item’ and ‘evaluate curve’ components. The midpoints
of the edges of hexagon were obtained as an output. New lines were created using
these points. In order to conduct this process, ‘create a line between two points’
component was used. Then, these created new lines were joined with the help of the
‘join curves’ component (Fig. 5).

This process was then turned into a loop using the Hoopsnake component.
The first created hexagon was connected to the ‘starting data’ input of HoopSnake
component. The joined secondary hexagon, which was connected to ‘Data’ input of
HoopSnake, was defined as the starting form of the repetitive process. The Feedback
output was connected to the beginning of the repetitive process which was the
explode operation. The repetitive process starts with explode and ends with join.

After forming a unit, again in Grasshopper, the points on the edges of the
unit were determined and these points were moved at the different rates in the Z-axis.
Then, lines were created from these points. At this stage, the command ‘line between
two points’ was used. Later, loft operation was done with these created lines and
triangular surfaces were created in 3rd dimension. This process was made for a single
piece in every iteration of the tile created with the fractal principle. Then, by applying
‘array polar’ process to these pieces, the whole tile could be created (Fig. 6). Thus, 1
tile unit was brought to the 3rd dimension.

The depths of the tile design can be differentiated by parameterizing the

height in the Z axis. The ‘number slider’ component used allows this operation. For
example, in Fig. 7, deepening of a tile in different sizes (1 unit, 3 unit, 5 unit, 7 unit
and 9 unit sizes) can be seen. Finally, the cell units were arrayed to form
tessellations.

4.2 Outcomes
The formation of fractal geometry with this repetitive process as 2D was achieved
(Fig. 5). By changing the number of repetitions in the loop, different units could be
created for the tile design (Fig. 8). Using these units, different tessellations can be
created (Fig. 9). For example, in Fig. 9, a tessellation was created using only Unit 1 in
the first sample. In the following second sample, a tessellation was created using Unit
1, Unit 2 and Unit 3. In this example, 3 columns of Unit 1 side by side, 3 columns of

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Unit 2 side by side and 3 columns of Unit 3 side by side were sequenced and the
tessellation was created. In the following third sample, a tessellation was created
using Unit 1, Unit 2 and Unit 3. However, in this example, single column Unit 1,
single column Unit 2 and single column Unit 3 were brought side by side. This
process was repeated and tessellation was created. In the fourth sample, a tessellation
was created using only Unit 3 and in the fifth sample, a tessellation was created using
only Unit 2. In Fig. 10, only the 3-dimensional state of tessellation created using Unit
1, and the 3-dimensional state of the tessellation created using Unit 1, Unit 2 and Unit
3 can be seen.

Fig. 4. Fractal form creation with VPL

Fig. 5. The creation of the 2D tiling part in visual programming language (Grasshopper)

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Fig. 6. The creation of the 3D tiling part in VPL (Grasshopper)

Fig. 7. Parameterization of depths in 3D tile design

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5 Limitations and Future work
In this study, the principle of fractal growth was considered on a single cell basis.
However, in later studies, models can be created in which the principle of fractal
growth is arranged to cover more cells. In this case, tile designs, which do not fit on
the rectangular or hexagonal grid (formed by the combination of different sizes of
tiles) can be created.

This work is limited to cells which were placed on the hexagon grid and
generated by the fractal growth principle. However, the form on a single cell can be
changed (for example, square, rectangle, etc.). The formal modification on this cell
can be coded in VPL parametrically. Thus, a variety of patterns can be created with
different grids through the framework created in this study.

In this study, the script developed to create 1 tile unit and the script
developed to convert this tiling to 3D work independently from each other. In the
future study, it can be focused on making these two parts working together.

Fig. 8. Different units

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Fig. 9. Different tessellations with using different units

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 Fig. 10.Tessellation render

6 Discussion
It was observed that, in the end of using fractals in the tiling design containing
geometric repetition formed a pattern having continuity. Even if the unit cells of the
pattern are the same, when we look at this pattern as a whole, the pattern seems
complex. This is also the case in the samples where 3 different unit cells are used.
When we consider the complex form exploration in contemporary architecture, this
case is a preferred formation.

In this model, the creation of the form using VPL with the repetition
principle of fractals parametrically, provides the production of various forms with
different complexities.

Since the model in this study is coded with VPL, this script can be easily
modified by other designers according to design preferences. Parametric geometry
can be differentiated and different components can be included in the script.

Especially, with entering 3D printers into the tiling sector, 3 dimensionality

started to become a fashion in tiles. Thus, a search for 3-dimensional form in tiling
was started. In the search of this form, 3D tiling forms can be obtained with the
biomimetic approach in different forms suitable for the production with 3D printers.
Different experiments for 3D tiling can be made considering different formations in
nature other than fractals. In addition, the production of 3D tiling tests with the

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biomimetic approach can be produced with 3D printers using different materials and
this can further advance the research in this area.

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