Shape Exploration and Biomimicry in Product Design, and use of Topology Optimisation

Most of the statements in this section are based on studies of (Miquel Prats, 2007), in with are explored the influence of the product shape in the design process.

Usually, the term shape of the product is related to its two-dimensions silhouette of an object and the term form are related to three-dimension (Miquel Prats, 2007). In this dissertation, shape means a contour at all of an object, even being two or three-dimension. The term product here is always related to tangible objects, composed of form and function.

Fundamentally, product development is motivated to meet a human’s problem or necessity, through the creation of an object with form and functions proprieties. The relation between form and function has been subject of discussion through time by several designers. The architect Louis Sullivan (1856-1924) declared at ends of 1910, “Form follows function”. Next, the architect Frank Lloyd Wright (1867-1959), changed this statement to “Form and function are one”, in a holistic vision based in nature as the best example of this integration, introducing the organic design. Indeed, the balance between form and function with tangible and intangible aspects transits depending on discipline and aim of the project. The model presented by (Gotzsch, 1999), allocates the limits between Engineering, Industrial Design and Art in the product creation process, and a similarity with natural design process can also be placed relating form and function (Figure 1).

Figure 1 - The balance between form and function with tangible and intangible aspects and creative disciplines boundary. Comparison with natural creation process: (a) Bone, (b) a face with a Golden Ratio frame, as a beauty model, (c) animal sexual ornaments. Modified from: (Gotzsch, 1999).

According to Hierarchy of Consumer Needs proposed by (Jordan, 2000), there are three levels of satisfaction that a product provides to the user, that are Function, Usability and Pleasure (Figure 2). These levels work similarly with the human needs model proposed by (Maslow, 1970), in which the base need must be the first to satisfy the user, and only after this fill, the user will concern to the next level. It does not mean that one level is more important than other, but this is the sequence of seeking of the user. An attractive product can fail if it is not usable and functional, or a usable and functional product cannot have success if it is incompatible with user values. Typically, in competitive markets, all these needs must be satisfied, and how much more pleasurable a product is, more value the customer is willing to pay. As defended by industrial designer Raymond Loewy (1893 – 1986), “Between two products equal in price, function and quality, the better looking will outsell the other”, and “Ugliness does not sell”. The achievement of all these needs is strongly linked to the product shape (Miquel Prats, 2007).   

The design process of a product is a complex activity, with several methodologies in the literature. Essentially, the process starts by describing and understanding a problem or opportunity, followed by an exploration of potential solutions, and then proceeding to tests and refinement. It is a learning process with an unpredictable end, where there are numerous possible solutions, in with several interactions that are necessary to be done according to with feedbacks looping, and all this process is majority supported by visual representations to communication and exploration. As announced by (Palmer, 1999), “The shape can convey more information about an object than any other properties…” (Figure 3). Many requirements must be satisfied, with mutual dependence and sometimes with conflicting objectives. In sum, all these indicate that design is a holistic process, subject to constant evolution, such as nature does, a product never is finished, it is in constant evolution consonant to external pressures. The seeking process of solutions is strongly dependent on designers’ creativity, based in many cases on their past experiences and educational formation, to influence of currently social forces and personal states, and inspired by other solutions made by human or nature. It means that the solution space is always bigger than designer(s)’s solution space, being the designer’s space dynamic and never static. Even to the most brilliant designers require a long exploration time to find the adequate shape solution. Currently, new computational tools are emerging with the aim to decrease this exploration time or to expand the designer’s solution space. The Topology Optimisation (TO), is an example of an emerging tool that can help the design process in searching of the ideal form, and better balance the form and function relation (Figure 4).  

Figure 2 - Hierarchy of Consumer Needs proposed by (Jordan, 2000).

Figure 3 - Observing only the contour of the product shape is possible to collect primary information about it. In this case, is possible to deduce that both products are steam irons, being the left with classical style and right, modern. From: (Miquel Prats, 2007).

Figure 4 - Solution space and designer´s solution space in product development and the influence by the aid of computational tools.

After understanding the problem and its requirements, the first conceptual design is created with simple lines. These lines usually are enough to recognise the whole object with its primary form and function, but incomplete and devoid of details. In this stage, more options for exploration are available, and the development of concepts can take place in various ways. To find the best solutions is necessary to have several options for the design process. For (Guilford, 1967), the concept design generation can occur from convergent or divergent thinking. In the convergent, the shape is an evolution of a one or a few concept models. In the divergent, aleatory new concepts are generated. According to (Goel, 1995), the exploration stages can be a transformation lateral or vertical. The lateral transformation is the development from one concept to other concepts by the addition of new elements. The vertical transformation occurs with generations of few improvements in the lines and details of the same idea, that is a potential concept solution (Figure 5). Is interesting to note that these exploration processes, have a similarity with the evolution process done by species in nature (see the post Biomimicry and Product Design (Part 2) - How Nature Works and its Optimisation Process).

Figure 5 - Concept design generations. Adapted from: (M Prats, Earl, Garner, & Jowers, 2006).

This same process of concept design generations can be performed through TO, instead of the use of sketches only. Using the TO, new concepts are possible to be created changing one or more objective functions and response constraints, while functional performance desired are not significantly penalised, thus increasing with this tool the balance of form and function. The use of hand sketches could support the generation of the initial geometry boundary to the TO perform possible solutions next (Figure 6). Design of a chair is a classic example in with function and form must be in balance. The chair must be comfortable, ergonomic, light, safety and reliable, beautiful and beneficent sensory properties to the user, all these at once. Without these requirements, there is a strong possibility of the chair fail in the market, and an extensive design exploration gives options to designer find the best option.

Figure 6 - Example of concept design generations using TO. (a) Sketch of Initial concept with simple lines; (b) Digitalization in CAD, creating the geometry boundary to TO; (c) Discretisation through FEM; (d), (e) and (f) different concept design families created by TO.

Bibliography:

Goel, V. (1995). Sketches of Thought. Cambridge, MA: MIT Press.

Gotzsch, J. (1999). Design orientation in new product development. (B. Jerrard, R. Newport, & Trueman, Eds.). London, UK: Taylor & Francis.

Guilford, J. P. (1967). The nature of human intelligence. New York, NY: McGraw Hill.

Jordan, P. W. (2000). Designing Pleasurable Products: An Introduction to the new human factors. London, UK: Taylor & Francis.

Maslow, A. (1970). Motivation and Personality. New York, NY: Harper & Row.

Palmer, S. E. (1999). Vision science: photons to phenomenology. Cambridge, MA: MIT Press.

Prats, M. (2007). Shape Exploration in Product Design: Assisting Transformation in Pictorial Representations.

Prats, M., Earl, C., Garner, S., & Jowers, I. (2006). Shape exploration of designs in a style : Toward generation of product designs, 201–215.