The superellipse (or Lamé curve) is the geometric figure defined in the cartesian coordinate system as the set of all points (x, y) with

$\backslash left|\backslash frac\{x\}\{a\}\backslash right|^n\backslash !\; +\; \backslash left|\backslash frac\{y\}\{b\}\backslash right|^n\backslash !\; =\; 1$

where $n\; >\; 0$ and $a$ and $b$ are the radii of the oval shape. The case $n\; =\; 2$ yields an ordinary ellipse; increasing $n$ beyond 2 yields the hyperellipses, which increasingly resemble rectangles; decreasing $n$ below 2 yields hypoellipses which develop pointy corners in the $x$ and $y$ directions and increasingly resemble crosses.

Effects of n

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When n is a rational number with even numerator and odd denominator, then the superellipse is a plane algebraic curve. In particular, when a and b are both one and n is an even integer, then it is a Fermat curve of degree n. In that case it is nonsingular, but in general it will be singular. If the numerator is not even, then the curve is pasted together from portions of the same algebraic curve in different orientations.

For example, if x^4/3 + y^4/3=1, then the curve is an algebraic curve of degree twelve and genus three, given by the equation

$(x^4+y^4)^3-3(x^4-3x^2y^2+y^4)(x^4+3x^2y^2+y^4)+3(x^4+y^4)-1=0.$

$x\backslash left(\backslash theta\backslash right)\; =\; \backslash plusmn\; a\backslash cos^\backslash frac\{2\}\{n\}\; \backslash theta,$

$y\backslash left(\backslash theta\backslash right)\; =\; \backslash plusmn\; b\backslash sin^\backslash frac\{2\}\{n\}\; \backslash theta;$

Generalization

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The superellipse is further generalized as:

$\backslash left|\backslash frac\{x\}\{a\}\backslash right|^m\; +\; \backslash left|\backslash frac\{y\}\{b\}\backslash right|^n\; =\; 1;\; m,\; n\; >\; 0.$

History

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Though he is often credited with its invention, the Danish poet and scientist Piet Hein (1905-1996) did not discover the super-ellipse. The general Cartesian notation of the form comes from the French mathematician Gabriel Lamé (1795–1870) who generalized the equation for the ellipse.

However, Piet Hein did popularize the use of the superellipse in architecture, urban planning, and furniture making, and he did invent the super-egg or super-ellipsoid by starting with the superellipse

$\backslash left|\backslash frac\{x\}\{4\}\backslash right|^\{2.5\}\; +\; \backslash left|\backslash frac\{y\}\{3\}\backslash right|^\{2.5\}\; =\; 1$

and revolving it about the $x$-axis. Unlike a regular ellipsoid, the super-ellipsoid can stand upright on a flat surface.

City planners in Stockholm, Sweden needed a solution for a roundabout in their old city square Sergels Torg. Piet Hein's superellipse provided the needed aesthetic and practical solution. In 1969, negotiators in Paris for the Vietnam War could not agree on the shape of the negotiating table. Piet Hein designed a huge superelliptical table which accommodated all parties. The superellipse was used for the shape of the 1968 Azteca Olympic Stadium ^*, in Mexico City.

Hermann Zapf and Donald Knuth have made extensive use of superellipses in typography, Zapf for aesthetic reasons and Knuth partly for technical reasons. Like Bezier curves, superellipses are easier to implement with integer arithmetic than are circular arcs, so Knuth used superellipses instead of circular arcs in his Metafont type-design software. However, Zapf must have learned about superellipses long before his famous collaboration with Knuth, since Zapf's Melior font from the 1950s has superelliptical curves and Knuth only became interested in typography much later. Many web sites say Zapf actually drew the shapes of Melior by hand without knowing the mathematical concept of the super ellipse, and only later did Piet Hein point out to Zapf that his curves were extremely similar to the mathematical construct, but these web sites do not cite any primary source of this account.

Man is the animal that draws lines which he himself then stumbles over. In the whole pattern of civilization there have been two tendencies, one toward straight lines and rectangular patterns and one toward circular lines. There are reasons, mechanical and psychological, for both tendencies. Things made with straight lines fit well together and save space. And we can move easily — physically or mentally — around things made with round lines. But we are in a straitjacket, having to accept one or the other, when often some intermediate form would be better. To draw something freehand — such as the patchwork traffic circle they tried in Stockholm — will not do. It isn't fixed, isn't definite like a circle or square. You don't know what it is. It isn't esthetically satisfying. The super-ellipse solved the problem. It is neither round nor rectangular, but in between. Yet it is fixed, it is definite — it has a unity. —Piet Hein

See also

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• Ellipse
• Ellipsoid, a higher-dimensional analogue of an ellipse
• Spheroid, the ellipsoids obtained by rotating an ellipse about its major or minor axis
• Astroid, a particular ellipsoid (n = , a = b = 1)
• Superquadrics

References

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• Gardner, Martin: Piet Hein's Superellipse. - in Gardner, Martin: Mathematical Carnival. A New Round-Up of Tantalizers and Puzzles from Scientific American. New York: Vintage, 1977, pp. 240-254.
• Johan Gielis: Inventing the circle. The geometry of nature. - Antwerpen : Geniaal Press, 2003. - ISBN 9080775614

External links

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• Superellipse (MathWorld)
• Lamé's Super Ellipse (Java-Applet)
• Super Ellipsoid (Java-Applet)
• Johan Gielis' and Bert Beirinckx' "Superformula".

Curves | Algebraic curves

Superellipse | Superellipse | Superelipse | Superellisse | Superelipsa | Super elipse