TEDGlobal 2012
Michael Hansmeyer: Building unimaginable shapes
Majkl Hansmajer (Michael Hansmeyer): Izgradnja nezamislivih oblika
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Inspirisan deobom ćelija, Majkl Hansmajer piše algoritme koji dizajniraju neverovatno fascinantne oblike sa milionima faseta. Niko ih ne bi mogao rukom nacrtati, ali moguće ih je izgraditi - i oni bi mogli načiniti preokret u načinu na koji razmišljamo o arhitektonskoj formi.
Michael Hansmeyer - Computational architect
Michael Hansmeyer is an architect and programmer who explores the use of algorithms and computation to generate architectural form. Full bio
Michael Hansmeyer is an architect and programmer who explores the use of algorithms and computation to generate architectural form. Full bio
Double-click the English transcript below to play the video.
00:16
As an architect, I often ask myself,
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Kao arhitekta, često se pitam
00:18
what is the origin of the forms that we design?
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koje je poreklo oblika
koje dizajniramo?
koje dizajniramo?
00:21
What kind of forms could we design
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Koju vrstu oblika
bismo mogli dizajnirati
bismo mogli dizajnirati
00:24
if we wouldn't work with references anymore?
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ako više ne bismo radili
po referencama?
po referencama?
00:27
If we had no bias, if we had no preconceptions,
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Da više nemamo predrasude,
unapred stvorena mišljenja,
unapred stvorena mišljenja,
00:30
what kind of forms could we design
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koju vrstu oblika
bismo mogli dizajnirati
bismo mogli dizajnirati
00:32
if we could free ourselves from
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ako bismo se oslobodili
00:34
our experience?
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našeg iskustva?
00:36
If we could free ourselves from our education?
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Ako bismo se mogli osloboditi
našeg obrazovanja?
našeg obrazovanja?
00:41
What would these unseen forms look like?
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Kako bi ovi neviđeni oblici izgledali?
00:44
Would they surprise us? Would they intrigue us?
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Da li bi nas iznenadili?
Da li bi nas zaintrigirali?
Da li bi nas zaintrigirali?
00:48
Would they delight us?
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Da li bi nas ushitili?
00:50
If so, then how can we go about creating something that is truly new?
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Ako je tako, kako onda da krenemo
ka stvaranju nečeg što je zaista novo?
ka stvaranju nečeg što je zaista novo?
00:54
I propose we look to nature.
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Predlažem da pogledamo prirodu.
00:56
Nature has been called the greatest architect of forms.
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Prirodu nazivamo
najvećim arhitektom oblika.
najvećim arhitektom oblika.
01:01
And I'm not saying that we should copy nature,
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I ne kažem da bi trebalo
da kopiramo prirodu,
da kopiramo prirodu,
01:04
I'm not saying we should mimic biology,
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ne kažem da bi trebalo
da imitiramo biologiju,
da imitiramo biologiju,
01:07
instead I propose that we can borrow nature's processes.
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umesto toga predlažem
da pozajmimo prirodne procese.
da pozajmimo prirodne procese.
01:10
We can abstract them and to create something that is new.
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Možemo ih apstrahovati i stvoriti
nešto što je novo.
nešto što je novo.
01:15
Nature's main process of creation, morphogenesis,
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Glavni proces stvaranja u prirodi,
morfogeneza,
morfogeneza,
01:18
is the splitting of one cell into two cells.
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je deljenje jedne ćelije
na dve ćelije.
na dve ćelije.
01:22
And these cells can either be identical,
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Ove ćelije mogu biti ili identične,
01:24
or they can be distinct from each other
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ili se mogu razlikovati jedna od druge
01:26
through asymmetric cell division.
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kroz asimetričnu deobu ćelije.
01:29
If we abstract this process, and simplify it as much as possible,
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Ako izdvojimo ovaj proces
i pojednostavimo ga koliko je moguće,
i pojednostavimo ga koliko je moguće,
01:32
then we could start with a single sheet of paper,
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onda možemo početi
sa jednim listom papira,
sa jednim listom papira,
01:35
one surface, and we could make a fold
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jednom površinom
i možemo ga presaviti
i možemo ga presaviti
01:37
and divide the surface into two surfaces.
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i podeliti površinu na dve površine.
01:40
We're free to choose where we make the fold.
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Slobodni smo da odaberemo
gde ćemo ga presaviti.
gde ćemo ga presaviti.
01:42
And by doing so, we can differentiate the surfaces.
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I radeći to,
možemo diferencirati površine.
možemo diferencirati površine.
01:47
Through this very simple process,
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Kroz ovaj veoma jednostavan proces,
01:49
we can create an astounding variety of forms.
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možemo stvoriti zapanjujuću
raznovrsnost oblika.
raznovrsnost oblika.
01:53
Now, we can take this form and use the same process
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Možemo uzeti ovaj oblik
i koristeći isti proces
i koristeći isti proces
01:55
to generate three-dimensional structures,
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stvoriti trodimenzionalne strukture,
01:57
but rather than folding things by hand,
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ali umesto da savijamo stvari rukama,
02:00
we'll bring the structure into the computer,
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unećemo strukturu u računar,
02:02
and code it as an algorithm.
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i kodirati je kao algoritam.
02:05
And in doing so, we can suddenly fold anything.
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I radeći tako, odjednom
možemo presaviti bilo šta.
možemo presaviti bilo šta.
02:08
We can fold a million times faster,
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Možemo preklapati milion puta brže,
02:11
we can fold in hundreds and hundreds of variations.
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sa stotinama i stotinama varijacija.
02:14
And as we're seeking to make something three-dimensional,
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I pošto želimo da napravimo
nešto u tri dimenzije,
nešto u tri dimenzije,
02:16
we start not with a single surface, but with a volume.
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ne počinjemo sa jednom površinom
nego sa zapreminom.
nego sa zapreminom.
02:19
A simple volume, the cube.
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Jednostavna zapremina, kocka.
02:21
If we take its surfaces and fold them
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Ako uzmemo njene površine
i preklopimo ih
i preklopimo ih
02:22
again and again and again and again,
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iznova i iznova i iznova,
02:25
then after 16 iterations, 16 steps,
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onda nakon 16 ponavljanja,
16 koraka,
16 koraka,
02:27
we end up with 400,000 surfaces and a shape that looks,
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dobijemo 400 000 površina
i oblik koji izgleda
i oblik koji izgleda
02:31
for instance, like this.
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na primer, ovako.
02:34
And if we change where we make the folds,
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Ako promenimo mesta preklopa,
02:36
if we change the folding ratio,
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ako promenimo preklapajući odnos,
02:38
then this cube turns into this one.
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onda se kocka pretvori u ovo.
02:42
We can change the folding ratio again to produce this shape,
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Možemo promeniti odnos preklapanja
ponovo da bismo proizveli ovaj oblik
ponovo da bismo proizveli ovaj oblik
02:46
or this shape.
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ili ovaj oblik.
02:48
So we exert control over the form
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Dakle, vršimo kontrolu nad oblikom,
02:49
by specifying the position of where we're making the fold,
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specifikacijom pozicije preklopa,
02:53
but essentially you're looking at a folded cube.
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ali u osnovi gledate
u preklopljenu kocku.
u preklopljenu kocku.
02:57
And we can play with this.
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I možemo se igrati ovim.
02:58
We can apply different folding ratios to different parts
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Možemo primeniti različite
odnose preklapanja
odnose preklapanja
03:01
of the form to create local conditions.
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na različitim delovima oblika,
da bismo stvorili lokalne uslove.
da bismo stvorili lokalne uslove.
03:04
We can begin to sculpt the form.
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Možemo početi da stvaramo oblik.
03:06
And because we're doing the folding on the computer,
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S obzirom da vršimo preklapanje
na računaru,
na računaru,
03:09
we are completely free of any physical constraints.
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potpuno smo oslobođeni
svih fizičkih ograničenja.
svih fizičkih ograničenja.
03:12
So that means that surfaces can intersect themselves,
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To znači da se površine mogu
međusobno ukrštati,
međusobno ukrštati,
03:15
they can become impossibly small.
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da mogu postati nemoguće male.
03:17
We can make folds that we otherwise could not make.
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Možemo praviti preklope
koje drugačije ne bismo mogli.
koje drugačije ne bismo mogli.
03:20
Surfaces can become porous.
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Površine mogu postati porozne.
03:22
They can stretch. They can tear.
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Mogu se rastegnuti.
Mogu se pocepati.
Mogu se pocepati.
03:25
And all of this expounds the scope of forms that we can produce.
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Sve ovo objašnjava obim oblika
koje možemo proizvesti.
koje možemo proizvesti.
03:30
But in each case, I didn't design the form.
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Ali u svakom slučaju,
ja nisam dizajnirao oblik.
ja nisam dizajnirao oblik.
03:32
I designed the process that generated the form.
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Dizajnirao sam proces
koji je proizveo oblik.
koji je proizveo oblik.
03:37
In general, if we make a small change to the folding ratio,
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Uglavnom, ako napravimo
malu promenu u odnosu preklapanja,
malu promenu u odnosu preklapanja,
03:41
which is what you're seeing here,
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što možete da vidite ovde,
03:43
then the form changes correspondingly.
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onda se odgovarajuće menja i oblik.
03:47
But that's only half of the story --
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Ali to je samo pola priče -
03:49
99.9 percent of the folding ratios produce not this,
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99,9 procenata preklapajućih
odnosa proizvode, ne ovo,
odnosa proizvode, ne ovo,
03:53
but this, the geometric equivalent of noise.
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nego ovo, geometrijski ekvivalent buci.
03:58
The forms that I showed before were made actually
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Oblici koje sam pokazao ranije
su zapravo napravljeni
su zapravo napravljeni
04:00
through very long trial and error.
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kroz veoma dug period probe i grešaka.
04:02
A far more effective way to create forms, I have found,
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Daleko efikasniji način stvaranja oblika,
otkrio sam,
otkrio sam,
04:05
is to use information that is already contained in forms.
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je da se koriste informacije
sadržane u oblicima.
sadržane u oblicima.
04:09
A very simple form such as this one actually contains
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Veoma jednostavan oblik kao što je ovaj,
zapravo sadrži
zapravo sadrži
04:12
a lot of information that may not be visible to the human eye.
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mnogo informacija koje možda
nisu vidljive ljudskim okom.
nisu vidljive ljudskim okom.
04:15
So, for instance, we can plot the length of the edges.
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Tako na primer, možemo znati
dužinu ivica.
dužinu ivica.
04:18
White surfaces have long edges, black ones have short ones.
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Bele površine imaju duge ivice,
crne imaju kratke.
crne imaju kratke.
04:21
We can plot the planarity of the surfaces, their curvature,
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Možemo znati planarnost površina,
njihovu zakrivljenost,
njihovu zakrivljenost,
04:25
how radial they are -- all information that may not be
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koliko su radijalne -
sve informacije koje vam
sve informacije koje vam
04:29
instantly visible to you,
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nisu odmah vidljive,
04:31
but that we can bring out, that we can articulate,
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ali koje možemo izdvojiti,
koje možemo artikulisati
koje možemo artikulisati
04:33
and that we can use to control the folding.
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i koristiti za kontrolu preklapanja.
04:37
So now I'm not specifying a single
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Tako da sada više ne specifikujem
04:39
ratio anymore to fold it,
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odnos preklapanja,
04:41
but instead I'm establishing a rule,
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već umesto toga ustanovim pravilo,
04:43
I'm establishing a link between a property of a surface
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ustanovim vezu između osobina površine
04:46
and how that surface is folded.
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i načina presavijanja te površine.
04:49
And because I've designed the process and not the form,
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S obzirom da sam dizajnirao
proces, a ne formu,
proces, a ne formu,
04:52
I can run the process again and again and again
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mogu da ponovim proces
ponovo i ponovo i ponovo
ponovo i ponovo i ponovo
04:54
to produce a whole family of forms.
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da bih proizveo celu porodicu oblika.
05:09
These forms look elaborate, but the process is a very minimal one.
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Ovi oblici izgledaju složeno,
ali proces je minimalan.
ali proces je minimalan.
05:13
There is a simple input,
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Postoji jednostavna ulazna informacija,
05:14
it's always a cube that I start with,
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uvek počinjem kockom,
05:16
and it's a very simple operation -- it's making a fold,
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i operacija je vrlo jednostavna -
pravljenje preklopa,
pravljenje preklopa,
05:20
and doing this over and over again.
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i ponavljanje istog iznova i iznova.
05:24
So let's bring this process to architecture.
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Hajde da uvedemo
ovaj proces u arhitekturu.
ovaj proces u arhitekturu.
05:26
How? And at what scale?
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Kako? I u kojoj meri?
05:28
I chose to design a column.
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Izabrao sam projektovanje stuba.
05:29
Columns are architectural archetypes.
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Stubovi su arhitektonski arhetipovi.
05:33
They've been used throughout history to express ideals
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Korišćeni su kroz istoriju
da izraze ideale
da izraze ideale
05:36
about beauty, about technology.
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o lepoti, o tehnologiji.
05:41
A challenge to me was how we could express
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Za mene je izazov bio
kako bismo mogli izraziti
kako bismo mogli izraziti
05:43
this new algorithmic order in a column.
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ovaj novi algoritmični red na stubu.
05:46
I started using four cylinders.
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Počeo sam korišćenjem četiri cilindra.
05:49
Through a lot of experimentation, these cylinders
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Kroz mnogo eksperimentisanja,
ovi cilindri
ovi cilindri
05:53
eventually evolved into this.
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se najzad razviju u ovo.
05:56
And these columns, they have information at very many scales.
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I ovi stubovi poseduju informacije
na raznim nivoima.
na raznim nivoima.
06:01
We can begin to zoom into them.
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Možemo početi njihovim zumiranjem.
06:03
The closer one gets, the more new features one discovers.
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Što bliže priđemo,
više novih svojstava otkrivamo.
više novih svojstava otkrivamo.
06:07
Some formations are almost at the threshold of human visibility.
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Neke formacije su za ljude
skoro na granici vidljivosti.
skoro na granici vidljivosti.
06:10
And unlike traditional architecture,
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I za razliku
od tradicionalne arhitekture,
od tradicionalne arhitekture,
06:12
it's a single process that creates both the overall form
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jedan je proces koji stvara
i celokupan oblik
i celokupan oblik
06:15
and the microscopic surface detail.
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i mikroskopske detalje na površini.
06:21
These forms are undrawable.
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Ove oblike je nemoguće nacrtati.
06:23
An architect who's drawing them with a pen and a paper
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Arhitekti koji crta
pomoću olovke i papira
pomoću olovke i papira
06:27
would probably take months,
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bi verovatno bili potrebni meseci
06:28
or it would take even a year to draw all the sections,
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ili čak godina,
da nacrta sve preseke,
da nacrta sve preseke,
06:31
all of the elevations, you can only create something like this
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sve izglede, nešto poput ovog
možete stvoriti samo
možete stvoriti samo
06:33
through an algorithm.
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preko algoritma.
06:35
The more interesting question, perhaps, is,
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Zanimljivije pitanje je, možda,
06:37
are these forms imaginable?
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da li je ove oblike moguće zamisliti?
06:40
Usually, an architect can somehow envision the end state
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Obično, arhitekta nekako može
predvideti poslednju
predvideti poslednju
06:42
of what he is designing.
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fazu svog projekta.
06:44
In this case, the process is deterministic.
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U ovom slučaju,
proces je deterministički.
proces je deterministički.
06:47
There's no randomness involved at all,
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Uopšte nije uključena slučajnost,
06:50
but it's not entirely predictable.
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ali nije sve u potpunosti predvidljivo.
06:52
There's too many surfaces,
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postoji previše površina,
06:53
there's too much detail, one can't see the end state.
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postoji previše detalja
i ne može se videti završno stanje.
i ne može se videti završno stanje.
06:57
So this leads to a new role for the architect.
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Ovo dovodi arhitektu do nove uloge.
07:00
One needs a new method to explore all of the possibilities
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Potrebna je nova metoda
da bi se istražile sve mogućnosti
da bi se istražile sve mogućnosti
07:04
that are out there.
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koje postoje.
07:05
For one thing, one can design many variants of a form,
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Moguće je dizajnirati
mnogo varijacija oblika,
mnogo varijacija oblika,
07:09
in parallel, and one can cultivate them.
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i paralelno,
moguće ih je obrađivati.
moguće ih je obrađivati.
07:11
And to go back to the analogy with nature,
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I da se vratimo na analogiju
sa prirodom,
sa prirodom,
07:13
one can begin to think in terms of populations,
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moguće je početi razmišljati
u smislu populacije,
u smislu populacije,
07:16
one can talk about permutations, about generations,
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moguće je govoriti
o permutacijama, o generacijama,
o permutacijama, o generacijama,
07:19
about crossing and breeding to come up with a design.
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o ukrštanju i kombinovanju,
da bi se došlo do dizajna.
da bi se došlo do dizajna.
07:24
And the architect is really, he moves into the position
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I arhitekta zaista dolazi na poziciju
07:26
of being an orchestrator of all of these processes.
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dirigenta za sve ove procese.
07:30
But enough of the theory.
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Ali dosta je teorije.
07:32
At one point I simply wanted to jump inside
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U jednom trenutku sam jednostavno
hteo da uskočim
hteo da uskočim
07:35
this image, so to say, I bought these red and blue
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u ovu sliku, da tako kažem,
i kupio sam ove
i kupio sam ove
07:38
3D glasses, got up very close to the screen,
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crvene i plave 3D naočare,
prišao veoma blizu ekranu,
prišao veoma blizu ekranu,
07:41
but still that wasn't the same as being able to
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ali i dalje nije bilo kao
kad bih imao mogućnost
kad bih imao mogućnost
07:43
walk around and touch things.
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da hodam oko objekata
i da ih dodirujem.
i da ih dodirujem.
07:46
So there was only one possibility --
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Postojala je, dakle,
samo jedna mogućnost -
samo jedna mogućnost -
07:48
to bring the column out of the computer.
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da dovedem stub izvan računara.
07:51
There's been a lot of talk now about 3D printing.
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Trenutno se mnogo priča o 3D štampanju.
07:54
For me, or for my purpose at this moment,
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Za mene ili za moj cilj u ovom momentu,
07:57
there's still too much of an unfavorable tradeoff
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još uvek postoji mnogo
nepovoljnih kompromisa
nepovoljnih kompromisa
08:00
between scale, on the one hand, and resolution and speed, on the other.
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između razmere na jednoj strani
i rezolucije i brzine na drugoj.
i rezolucije i brzine na drugoj.
08:07
So instead, we decided to take the column,
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Zato smo odlučili da uzmemo stub
08:09
and we decided to build it as a layered model,
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i da ga izgradimo kao slojevit model,
08:11
made out of very many slices, thinly stacked over each other.
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napravljen od veoma mnogo tankih delova,
naslaganih jedan preko drugog.
naslaganih jedan preko drugog.
08:15
What you're looking at here is an X-ray
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Ovo što gledate je rendgenski snimak
08:17
of the column that you just saw, viewed from the top.
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stuba kojeg ste upravo videli,
gledan odozgo.
gledan odozgo.
08:20
Unbeknownst to me at the time,
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Do tada van mog znanja,
08:22
because we had only seen the outside,
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jer smo ga mogli videti samo spolja,
08:24
the surfaces were continuing to fold themselves,
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površine su nastavljale
da se preklapaju,
da se preklapaju,
08:27
to grow on the inside of the column,
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da se razvijaju unutar stuba,
08:29
which was quite a surprising discovery.
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što je bilo prilično
iznenađujuće otkriće.
iznenađujuće otkriće.
08:31
From this shape, we calculated a cutting line,
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Iz ovog oblika, proračunali smo
liniju sečenja,
liniju sečenja,
08:35
and then we gave this cutting line to a laser cutter
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i onda smo tu liniju preneli
na laserski sekač
na laserski sekač
08:38
to produce -- and you're seeing a segment of it here --
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da proizvedemo -
i vidite segment ovde -
i vidite segment ovde -
08:42
very many thin slices, individually cut, on top of each other.
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veoma mnogo tankih delova,
pojedinačno isečenih, jedan na drugom.
pojedinačno isečenih, jedan na drugom.
08:49
And this is a photo now, it's not a rendering,
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Ovo sada je fotografija, ne render,
08:52
and the column that we ended up with
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i stub koji smo na kraju dobili
08:53
after a lot of work, ended up looking remarkably like the one
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nakon mnogo rada
izgledao je izvanredno slično
izgledao je izvanredno slično
08:57
that we had designed in the computer.
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onom kojeg smo dizajnirali
na računaru.
na računaru.
09:00
Almost all of the details, almost all of the
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Gotovo svi detalji, gotovo sve
09:02
surface intricacies were preserved.
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zamršenosti površina su očuvane.
09:08
But it was very labor intensive.
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Ali bio je to veoma intenzivan rad.
09:10
There's a huge disconnect at the moment still
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Trenutno postoji ogromna nepovezanost
09:13
between the virtual and the physical.
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između virtuelnog i fizičkog.
09:16
It took me several months to design the column,
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Bilo mi je potrebno nekoliko meseci
da dizajniram stub,
da dizajniram stub,
09:18
but ultimately it takes the computer about 30 seconds
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ali na kraju računaru je trebalo
oko 30 sekundi
oko 30 sekundi
09:20
to calculate all of the 16 million faces.
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da proračuna svaku
od 16 miliona površina.
od 16 miliona površina.
09:23
The physical model, on the other hand,
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Fizički model, na drugoj strani,
09:25
is 2,700 layers, one millimeter thick,
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ima 2700 slojeva,
debljine 1 milimetar,
debljine 1 milimetar,
09:29
it weighs 700 kilos, it's made of sheet that can cover
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težak je 700 kilograma, napravljen
od ploče koja može pokriti
od ploče koja može pokriti
09:34
this entire auditorium.
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celi ovaj auditorijum.
09:36
And the cutting path that the laser followed
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A staza za sečenje koju je laser sledio
09:38
goes from here to the airport and back again.
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prostire se odavde
do aerodroma i nazad.
do aerodroma i nazad.
09:43
But it is increasingly possible.
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Ali ovo postaje sve više moguće.
09:45
Machines are getting faster, it's getting less expensive,
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Mašine postaju brže, jeftinije
09:47
and there's some promising technological developments
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i postoji obećavajući tehnološki razvoj
09:50
just on the horizon.
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na horizontu.
09:52
These are images from the Gwangju Biennale.
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Ovo su slike sa Gvangžu Bijenala.
09:55
And in this case, I used ABS plastic to produce the columns,
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U ovom slučaju, za proizvodnju stubova
koristio sam ABS plastiku,
koristio sam ABS plastiku,
09:58
we used the bigger, faster machine,
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koristili smo veću, bržu mašinu,
10:00
and they have a steel core inside, so they're structural,
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i stubovi imaju čelično jezgro iznutra,
tako da su konstruktivni,
tako da su konstruktivni,
10:03
they can bear loads for once.
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sposobni da nose opterećenje.
10:06
Each column is effectively a hybrid of two columns.
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Svaki stub je bukvalno hibrid dva stuba.
10:08
You can see a different column in the mirror,
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Možete videti drugi stub
u ogledalu,
u ogledalu,
10:12
if there's a mirror behind the column
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ako je ogledalo iza stuba,
10:14
that creates a sort of an optical illusion.
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stvara se neka vrsta optičke varke.
10:17
So where does this leave us?
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Dakle, gde nas ovo dovodi?
10:19
I think this project gives us a glimpse of the unseen objects that await us
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Mislim da nam ovaj projekat daje pogled
na neviđene objekte koji nas čekaju
na neviđene objekte koji nas čekaju
10:23
if we as architects begin to think about designing not the object,
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ako mi arhitekte počnemo razmišljati
o dizajniranju, ne objekta,
o dizajniranju, ne objekta,
10:27
but a process to generate objects.
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nego procesa koji će generisati objekte.
10:30
I've shown one simple process that was inspired by nature;
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Pokazao sam jedan jednostavan
proces inspirisan prirodom,
proces inspirisan prirodom,
10:34
there's countless other ones.
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postoji još bezbroj drugih.
10:37
In short, we have no constraints.
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Ukratko, nemamo ograničenja.
10:40
Instead, we have processes in our hands right now
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Umesto toga, sada u rukama
imamo procese
imamo procese
10:44
that allow us to create structures at all scales
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koji nam dozvoljavaju da stvaramo
strukture svih razmera
strukture svih razmera
10:48
that we couldn't even have dreamt up.
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o kojima nismo mogli ni sanjati.
10:51
And, if I may add, at one point we will build them.
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I ako mogu dodati,
jednoga dana ćemo ih izgraditi.
jednoga dana ćemo ih izgraditi.
10:56
Thank you. (Applause)
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Hvala.
(Aplauz)
(Aplauz)
ABOUT THE SPEAKER
Michael Hansmeyer - Computational architectMichael Hansmeyer is an architect and programmer who explores the use of algorithms and computation to generate architectural form.
Why you should listen
Classical architecture is defined by "orders" -- ways to connect a column to a building, to articulate the joining of materials and structural forces. Colloquially, these orders are based on elemental forms: the tree trunk, the plank, the scroll, the leaf. Michael Hansmeyer is adding a new elemental form: the subdivision algorithm. He turns his math and programming skills to making ornate, organic, hyperdetailed columns generated from lines of code and then comped up in cross-sections of cardboard, almost as if they're being 3D printed.
His recent work with cupolas and domes is even more mesmerizing, like looking deep inside an organic form of near-unbearable complexity. See images at digital-grotesque.com >>
Michael Hansmeyer | Speaker | TED.com