Archive

art

render1-day


Symbol- Language and Sound into System

Language has a strong symbolic meaning to the mankind. It is not just a sound but with meanings which then allows to self-express, communicate and inspire. The mechanism of the sound system of languages is translated into visually represented geometries using Chladni’s Law.
9_102

3-Dimensional computer generated Chladni Patterns 

When the frequencies increase, the pattern gets more complicated.

cymaticstacktotal


BabelTower of Babel – The origin of different languages

“Come, let’s make bricks and bake them thoroughly. […] Come let us build ourselves a city, with a tower that reaches to the heavens, so that we may make a name for ourselves and not be scattered over the face of the whole earth.” (Genesis 11:3~4)

(The Tower of Babel by Pieter Bruegel)

It is the story from the Bible but also architectural structure found in Mesopotamia Civilisation – called Ziggurat. It was made of asphalt and baked bricks with total dimensions of 90m x 90m, 90m high. This is equivalent 30th floor building.

The united humanity spoke a single language and agreed to build a city and a tower that is ‘tall enough to reach heaven’. God found such behaviour as rude and disrespectful. He confounded man’s speech so that they could no longer understand each other. 


12_24312_244

Concept Development through systematic studies of Ziggurat

12_246


 

The frequency and nodes of the word is analysed and recreated as two geometrical forms. They are proportioned according to the Ziggurat Algorithm ratio and timber pieces are stacked up vertically reaching the highest deck at 8m above. The structure encourages to climb complex geometry.

While reaching the top, less intense the space becomes. The LEDs are placed underneath the timber pieces which are concentrated on the top of the tower and scattered following the central void of the structure. Lights illuminate with the voice reactive sensor placed at the top of the tower.cymatictotal2

Human always wanted to reach higher points either physical or spiritual. The height of architecture symbolised one’s power and control. This can be observed from the tower of Babel and continues in architectural history. Such expression of the desire of heights lead to competition of building higher structure.

High rise buildings were often found in religious architecture where they had few typical characteristics. First, it was the only tower to observe your land and the only tower which can be seen from everywhere in town. It has a visual meaning that the land within the perspective is the land within control. Second, religious architecture often had music instruments embedded within. This represented the control of the land where music reaches. And finally, high-rise tower was a representation of the centre of universe and sacred space in religious term. The tower, architecture of height is a spatial symbol of man’s deep desires.

The ritual is all about finding the true desire of your own. This begins with constructing the tower where the ritual follows the biblical story of Babel. Climbing up 8m high construct is a challenge then the climbers are rewarded with the beautiful panoramic view of Black Rock city. The climbers will also interact with the installation by continuously stacking up the Babels with anything they can find. Eventually it will deform from the original shape. Then the Babels will be the collective symbol of the Burners’ pure desire.

 

Logo - Black

• SOL •

The Ritual of Light

Side - Fog.jpg

SOL is an architecture designed by Burning Man for Burning Man as a celebration of its surrounding landscape.The design creates an enclosed space, which is flooded with light daily at 12pm for a limited time. This ritual occurs only when both sun and architecture line up, becoming one entity.

-SOL- Top - Sunset copy.jpg

SOL is 9m long, 3m wide and 5m tall. The entire structure is made out of 18mm birch plywood, cut with CNC and assembled on the Playa.

SOL copy.jpg

SOL is directly connected with its surrounding landscape, mimicking the silhouette of the harsh mountains. A series of 9 chimneys, which rise from the ground create several sloped surfaces where users can lay down to relax and embrace the natural surrounding. During daytime SOL will be a climbable structure, which can also provide shelter from the challenging conditions of the desert.

- SOL - Front Midday - Diagram copy.jpg

SOL was designed to act, appear and generate different experiences based on the user’s position. Frontally viewed it acts as a sun clock aligning with the sun at 12pm.

sol-back-2

The overall shape resembles a series of monolithic rocks emerging from the playa, which are inspired by the landscape. During night time, SOL is dynamically lit by LED strips both internally and externally, producing a colorful light show, which celebrates the darkness of the night through artificial light.

Over the years, Black Rock City has seen a multitude of projects which have been created to animate the Playa.

SOL aims to be a playful, interactive and informative design, which enhances the relationship between humans and celestial bodies, in particular with the sun. Human history has been driven by the cult of the sun, and divinities and architecture have been dedicated to it. With the help of parametric design and environmental analysis, SOL is a direct representation of a particular moment on the playa: 12pm of everyday.

- SOL - interior - No lights - 01 .jpg

Diagram - Sun entering SOL.jpg

Internally, the light that penetrates and cast itself on the floor for only 30 minutes, wants to make the user aware of the sun’s movement in a more evident way. This phenomenon is a daily ritual, which brings people together in order to experience a connection with our universe that we sometimes take for granted since we cannot directly perceive it.

The wooden structure will be lit on fire on the last day of the festival since it was designed to exist only at Burning Man for the length of the festival.

My inspirations has a direct link to archeoastrology, a science that looks at the relationship between celestial bodies and architecture, i.e. Stonehenge, Chiceniza and the Parthenon in Rome. The common element between these projects is the attention, precision and relation with the sky and the movement of the sun. All of these projects and many more, create a different dimension where the architecture only becomes a tool to admire and contemplate what surrounds us.  

08.jpg

In conclusion, SOL aims to be an example of how architecture can be shaped by the use of datas and parametric design, in order to deliver a project which is directly derived from its surrounding environment.


Whatever your creed your reliance on the sun is unquestionable.

We have worshipped it as a God.

Spent lifetimes studying it through science.

Yet human hands will never touch its surface.

Celestial Field brings our sun to the Playa for us to dance in its glory.

Triggering our own solar flare.

light-rod-render_close-up-night

Internal perspective of the Celestial Field Pavilion

 

From the dawn of time the sun has been a constant in human life. It has been central to the beliefs of nearly every civilisation throughout history. What was once an astrological wonder sustaining life; dictating when to plant and harvest our crops; evolved into a god and deity, woven into the stories and teachings of nearly every culture, from the Egyptians to the Ancient Greeks and even Christianity.

sun-symbols-across-the-globe

Sun symbolism from across the globe and through the ages

 

The oldest man-made structures in the world have resounding astrological connections to both the sun and constellations, covered in carvings they unquestionably align to major astrological events.

Newgrange in Boyne Valley, Ireland, thought to be built in 3500BC, has a tomb in which sits a stone basin lit by a single beam of light at sunrise on the winter solstice.

 

newgrange-sunrise

Newgrange Tomb- Borne Valley, Ireland; built around a single beam of light that exists only for a moment each year

 

The Egyptians, Greeks, and Christians have all referenced the sun within their religion and beliefs.

The Egyptians in 3000BC had Ra, the Greeks in 400BC believed Helios to be God of the sun, and Christians have often depicted Jesus in front of what is thought by many to be the solar cross.

sun-worship-in-religion

Ra, Helios and Jesus all depicted with solar symbols

 

In the past the sun has been depicted as a 2Dimensional disk of light travelling across the sky before dying only to be reborn at sunrise.

The Ancient Greeks believed Helios to be the personification of the sun. A man with a many rayed crown of light, pulling the sun across the open sky with a horse drawn chariot. The Helios named after the Greek god has been used and adapted through the ages, with one of the most recognisable iterations being the logo of global corporation BP which symbolises “a number of things – not least the greatest source of energy … the sun itself..” – bp.com

 

helios-geometric-symbol_01

Building the Helios

 

This once celestial being has now become a tangible thing. Through advances in our technological and scientific capability we have gained an understanding of the suns chemical make-up, uncovering many of its secrets from sun spots to solar flares. Although we have developed an increased understanding of the forces driving the sun, it is still no more accessible to us mere humans than on the first day on earth remaining an impenetrable sphere in the sky only to viewed from a far.

 

light-sphere

Physical model light testing

 

digital-light-sphere

Digital animation of lighting tests

 

The suns surface has taught us much. Galileo’s sun spot diagrams unknowingly demonstrated the unique fluidity of the suns chromosphere. Further study of these sun spots and magnificent solar flares proved that the surface of the sun is covered in billions of interlaced magnetic fields all interacting together to form the whole. When these fields cross swirling plasma burst in an instance out into the corona bringing with it immense light displays that can be seen on earth as the aurora.

 

magnetic-fields

Recording magnetic fields with computer models and physical experiments

 

In an age where endless streams of newfound knowledge are accessible with the touch of a finger – it is easy to lose our sense of innocent amazement and unquestioning awe. We have a constant need for explanation of why and how phenomena exist, no longer blindly excepting their beauty and revelling in it.

The indescribable beauty of these gigantic magnetic fields can often be lost and forgotten in the mundane when scaled down to earthly objects. Viewing them at a micro scale allows us to connect with their other-worldly nature.

macro-magnets

Macro photographs of physical tests of magnetic structure using iron filings

 

Science has taught us how a magnet attracts and repels enabling use in industry, medicine and everyday life. And as our knowledge expands, we move from child to adulthood and our desire to play diminishes – burdened by explanations and reasoning; we are no longer in awe of our ability to make metal move without laying hands on it. It has become the norm and the expected, it is no longer ‘magic’.

Life should be fun and full of mesmerising moments. Our increased knowledge should enable and enhance our experience of ‘magic’ not hinder it.

 

suspended-pins

Experimenting with magnetism to define levels of sensitivity for large scale interaction

 

Celestial Fields captures the unexplainable wonderment the sun once held and makes it accessible through modern mediums, combining two worlds; science and enchantment, imbedding them on the Playa at Black Rock City, Nevada, for people to explore and lose themselves in.

Thousands of swaying rods made of tubes of one-way mirror form an undulating field, rising high above your head, and falling like the plasma pulled in all directions by the phenomenal magnetic forces found on our sun.

By day a field of mirrors reflect and intensify the suns natural beauty and power. Creating a maze of ever changing light to explore, push through and play within. At sunset everything transforms. The field morphs, bursting into a sea of glowing beams reacting to movement and mimicking the fluid, almost pulsing nature of the suns corona.

Like the chromosphere, magnetic fields have informed density and pattern, creating patches of pure brightness and areas as dark as sunspots. With each rod built on a spring loaded base it can be pushed a manipulated, enabling you to forge your own path through the densest areas of Celestial Field, parting rods like magnets repelling polarised iron.

 

Individual rods are clad in a one-way mirror film - creating a reflection of the desert in the day and an illuminated environment at night

Individual rods are clad in a one-way mirror film – creating a reflection of the desert in the day and an illuminated environment at night

 

Movement through the sprung rods creates interest not only for the participants but also onlookers. During daylight hours people weaving in and out can be seen across the playa through the constant glinting of the sun on the reflective rods. An ever changing shimmer, like sunlight dancing across water in the distance, drawing people in from all directions out of wonder and intrigue.

Once the sun has set the lights come on, and the show only gets better. The rods now glow and pulse, changing colour, transforming the world around them – each equipped with a sensor so as to react to movement as people push past; creating tracks of swirling light shifting like the turbulent surface of the sun. Areas of intense and overwhelming light can occur when people team together to trigger a cluster of rods forming a concentration of light evocative of a solar flare.

The sun is not solely about light, with it comes inevitable darkness. Shadows too have been used throughout time as a symbol in opposition to that of the sun; and in this instance the areas of shadow formed in the magnetic layout create areas of calm within the thrill of the lights where one can sit and ponder everything from the dessert to the sky and the sun that brings life to earth.

sun-spot-to-system

The pavilion layout is informed by the patterns of sunspots and flares forming on the suns surface

 

What was once worshipped as a distant god and celestial being can now exist on the surface of the earth as a Celestial Field in Nevada. The sun has risen and set, bringing with it heat and light; powering life on earth since the dawn of time, a focus of incomprehensible wonder and fascination for each and every culture across the globe.

Celestial Field intends to reignite our faith in the intangible, while showing us there are powers and beauty still to be found in the modern world.

 

light-rod-render_distance-night-populated

 

 

 

The symbol of the spiral

Through the inviting but challenging spirals I want to bring you to the inside of the dust storms, to the dead zone where you don’t feel anything, not even a single hint of air or dust but you will still enjoy the beauty and the magic.

 

What is an spiral?

Spiral_stairs_(спирално_степениште).jpgA curve on a plane that winds around a fixed center point at a continuously increasing or decreasing distance from the point.

A three-dimensional curve that turns around an axis at a constant or continuously varying distance while moving parallel to the axis; a helix. By definition describes a planar curve, that extends in both of the perpendicular directions within its plane; the groove on one side of a record closely approximates a plane spiral (and it is by the finite width and depth of the groove, but not by the wider spacing between than within tracks, that it falls short of being a perfect example); note that successive loops differ in diameter. In another example, the “center lines” of the arms of a spiral galaxy trace logarithmic spirals.

161025_Construction of the spiral_002.jpg

Analysis of the construction of the spiral

 What does the spiral mean to us?

Spirals are some of the oldest geometric shapes in ancient artwork dating back at least to the Neolithic period, the product of people thousands of years away from having access to writing. As such, we know very little about their religious beliefs and can, at best, guess about general meanings of symbols based on context.

Maialen Calleja_210x594_120gsm_UniverisyOfWestminster_Page_32.jpg

Spiral to me means CHANGE, means CYCLE OF LIFE, means EVOLUTION all these is what The eye of the Storm is to me. A structure that will symbolize change as the same way Burning Man changes people; the cycle of life, the merging of completely different kinds of lives into the same place or same art structure or same festival; and evolution because it will attract you to the inside and will make you push yourself and challenge you towards the center where you will feel the peace of the eye of a storm as the same way life does to us.

To me The eye of the Storm symbolizes THE LIFE CHANGING, every frame of each spiral is an action, a decision you make in life that leads you to the place you want to be or the person you want to become. Although like in a windy storm that pushes you around, these events are not necessary your choice, many factors in life can change your path like a new elect president in the country or falling in love with a person, but all these merged together will consolidate our lives.Hence that is our task, putting all these frames together and connect them to become whatever we want to be and finally find the peace inside of each one of us.

02.jpg

Daytime render of “The eye of the storm”

Breaking down a six sided box The eye of the storm has six spirals, each one of them in a different orientation, symbolizing different kinds of paths in life. But each one of these spirals merge in the center of the cube creating a space of peace. Like the feeling of going through the Burning Man festival until the day the Temple burns when everything goes silent and calm.

The spirals, made out of standard size timber, will attract you to the center but these will be challenging like going towards a storm.The shape of the structure could become an obstacle but if you success you will get your reward of peacefulness in the center, protected by all these wooden spirals and with the chance to share these moment with whoever makes it through the storm with you.

01.jpg

Nightime render

Making the storm real

Starting from a box and breaking its frame into spirals is the basic starting geometry of The eye of the Storm. Going through many different testings and alterations on the parameters and after an structural analysis leading to the final shape.

002.jpg

Design process through parametric modelling

Looking at the materializing of the structure and mimicking the aesthetics of a storm, the overlaying wood planks give the sense of it. Structured but at the same time crazy, just like Black Rock City.

161031_Diagram spiral CREATING A SOLID_004.jpg

Testing of different materials

Building the eye of the storm

The structure is composed of 6 identical modules called twists, arranged in cuboid manner. Each twist is formed of frame elements and ribs connecting those frames, which act as ruled surfaces.

Vertical loads are spread between the outer frames and the central bottom twist that acts in vending and axial force to carry the vertical load to the ground. Lateral forces are resisted using the perimeter frames acting as bracing or the in-plane rigidity of the modules themselves.

007.jpg

Structural analysis from engineering

The frames with a cross section of 50 by 50 mm will be the main structure. Eleven frames on each side of the 6 sides of the cube, making a total of 66 frames.

The overall length of this out of the shelve timber will be 45.5 meters.

By the interpolation of the division points on the main frames we create the secondary structure which will support and interlock the main frame, with a cross section of 10 by 50 mm.

The overall length of this out of the shelve timber is 672 meters

010.jpg

Building sequence: One of the six sides of the cube

 

The structure is arranged in a cubic form of 14 x 14 x 14 feet and will invite the people to climb,interact and inhabit it. This can represent a health and safety risk. In order to ensure the safety of all actors interacting with the sculpture at each stage of the project, we will be following the right safety requirements.

 

012.jpg

Construction on The Playa

Feeling the dust at Black Rock City

Sand storms that make you lose sense of time, space, people or anything else that happens around you create these magical moments in Playa when every burner feels alone in a place full of people.

006.jpg

With The Eye of the Storm I want to bring you to the inside of these dust storms, to the dead zone where you don’t feel anything not even a single hint of air or dust but you still enjoy the beautiful magic of the storm. Through the challenging spiral structure inviting burners to come in, I want them to come inside the eye to the safety of being inside the storm and at the same time experiencing all the dust storms happening in Playa which are a natural ritual that happens every year.

We can compare the plague from the Exodus with any of the dust storms that we go through at burning man, The eye of the storm is a structure calling at the sun on these occasions.

03.jpg

People experiencing the inside of the storm

The experience from the outside is compared with a tornado in a sand storm. Symbolizing a constant sand storm, kept in a broken box, which often happens in Playa. Within the overlaying of the wood frames experiencing the messiness of a storm but at the same time the spiral of the rotating structured nature force.While in the inner geometry you will sense none of this in the same way as in the dead zone or in the eye of the storm. All the layers of the structure will protect everyone inside from any sand storms in the outside. It wont be easy to reach that inner point as this all wooden layer will be complicated to cross like when you go through a storm and you are not able to find anyone around you and you feel in a place of nowhere.

04.jpg

Construction diagram

The overall dimensions of the structure are 14 x 14 x 14 feet. Allowing people to get inside and experience the space in between the frames.

002.jpg

Front view: Technical drawing

The shadows from the structure will project a similar form as an spider web.Simulating as the sun goes around through the day, a tornado moving through The Playa.

004.jpg

Perspective plan view of the structure

The reward to cross all these layers of wood through is to be in this protected space inside the Eye and experience the storm from the inside until you are ready to leave the peace and call Ra the god of the sun as in Egyptian rituals when the Pharaoh called the God to clear the skies from the storm and get back the sun to Black Rock City.

160525_tangets_002_0017.png

Abstract render of the structure

Once the ritual is finished the burners will enjoy a view of the dust storm in a protected space while they wait the answer of the call to Ra the god of sun, who will finish with the dust storm and bring the sun back again.

160525_tangets_002_0018.png

Entrance to the structure from the top spiral

The thunder-light

The LED lights will be located on each one of the frames on every side of the cube. They will be located on the inner face of these frames flowing from the outside to the inside of the cube, giving the sensation of the spiral coming inwards the structure.

TOTAL LENGTH : 45.5 meters
LENGTH ON 1/6 OF THE SIDE OF THE CUBE: 7.6 meters

008.jpg

Night render of the structure

At night the structure will become and spiral of colorful thunder lights that you will recognize from everywhere in The Playa.

160525_tangets_002_0016.png

Inside night render

 

 

By Maialen Calleja , Master of Architecture ( University of Westminster)

This project is a physical exploration of anamorphosis in three dimensions centred around the theme of duality. It aims to combine two widely recognisable figures into a pavilion that will attract burners, provoke debate, and catalyse interaction.



Duality DayThe theme of this project arose from the realisation that even the most widely recognisable symbols contain multiple layers of meaning and mystery.  Social, historical and sometimes even spiritual contexts give a symbol its perceived meaning. For example, while the Christian cross is a symbol of hope it is literally a scaled representation of an ancient torture device – an icon synonymous with good carries with it a darker elucidation. This interpretation led to the emergence of duality as a topic and a title. 
There are many symbols which have multiple meanings and nuances to those who interpret them.

pages-for-blog-re-systemI began by looking at the Ankh, the Egyptian symbol for life/fertility. The Loop of the Ankh represents the feminine discipline or the womb, while the elongated section represent the masculine discipline or the penis. These two sacred units then come together and form life. This is a perfect representation of man and woman in perfect union. I then was led to study the symbol for mercury, which is used in botany to indicate a flower with both male and female reproductive organs.

This duality of meaning in symbols led me to the desire to study how I could physically combine other symbols and forms to create one form. Anamorphosis, from the Greek anamorphōsis meaning ‘transformation,’ from ana- ‘back, again’ + morphosis ‘a shaping’, became an interesting opportunity to do just this.

 

pages-for-blog-re-system2pages-for-blog-re-system-27
pages-for-blog-re-system4pages-for-blog-re-system5pages-for-blog-re-system8pages-for-blog-re-system6pages-for-blog-re-system7

pages-for-blog-re-system9

I want to explore this theme using the iconic faces of Donald Trump and Kim Kardashian as instigators. From a random vantage point or even from up close, the subject matter of the piece is evidently unclear, the image changes until the viewer arrives at a specific pre-set location, only then does the likeness reveal itself. This echoes our warped perception of figures in limelight; anything the media choose to present to the world is an engineered production and if taken out of its context it becomes incomprehensible. My aim is to stir ambivalence among the burners, for them to engage in discussion with one another about these two incredibly famous personalities and what they seemingly represent.

As a physical entity, the sculpture is purposefully made durable enough to be able to endure the brunt of any elicited reactions. Its exposed surfaces are smooth, an open invitation to graffiti, carve or deface in any manner possible. It is large enough to climb and to gather within as a group – it only takes a spontaneous suggestion from a creative festival goer to give the sculpture another unforeseen use.

pages-for-blog-re-system-new pages-for-blog-re-system-new2


The aim of my proposed sculpture is to provoke an exchange of opinions and interactions between burners. It depicts two iconic and highly controversial public figures who personify two tremendously important issues that we as a society face today; political and social change.

As festival goers approach the installation, and the two widely recognisable faces reveal themselves, comments about the likenesses will spiral inevitably highlighting or at least touching upon the shift that these two personalities represent.

The sculpture’s physical form comprises of several spatial elements that lend themselves to fostering the kind of debates that I wished to promote. The hollow centre creates an enclosure, to enable hosting or housing for a meeting, it gives its participants a sense of protection; this is an open forum, please take part. The raised base on the peripheries can act as stages or podia. The expansive smooth external surfaces can act as billboards or banners, the skin of the sculpture will bear the physical outcome of the issues discussed here.

Whether people get photographed with it, or whether they deface, damage or even burn it to the ground, I will have succeeded if among any of the interactions the agenda was heard and a heartfelt reaction was made.

2016-01-02-closeup


The sculpture will be made of 8mm CNC routed plywood sheets fixed to a heavy plywood formwork. Standing at 6m tall, one side will represent a 25:1 scale stencilled portrait of president-elect Donald Trump, the other side; the likeness of reality television personality and socialite Kim Kardashian. Much like the oblique anamorphosis incorporated in Holbien’s The Ambassadors, the sculpture’s subject matters will reveal themselves only from some 60m away, but from close up, the installation will seem like a mass of abstract wooden extrusions, something suggestive of an adult-sized climbing frame. Fluorescent LEDs recessed into junctions of the outer plywood skin layer will illuminate the piece at night.

2017-01-03-night-render


The pavilion achieves the incredible feat of allowing the viewer to have a personal and intimate connection with it whilst also allowing for reflection. The two images are intended to bring moments of delight to viewers to allow for interaction even from a distance.

Combined with its symbolic and evocative power, it should indeed conjure a deeper sense of place and self, and bring a subtlety and complexity to what might have been just another pavilion.

 

The aim is to generate an architectural response through a playful loop between the digital and the physical. Digital tools such as Rhino and Grasshopper are used  in order to carry out analysis and generate buildable three-dimensional forms. Interplay between physical fabrication and digital experiments enable to become an inventor of a system. Here is mine.

TriNect is a flexible system of triangular elements with slots at their vertices. Elements interlock with one another creating different space filling polyhedra. The system can be applied in various scales and adapted for different needs.

TriNect

TriNect1TriNect2TriNect3TriNect4TriNect5TriNect6TriNect7TriNect8TriNect9TriNect10TriNect11TriNect12TriNect13TriNect14TriNect15TriNect16TriNect17TriNect18TriNect19TriNect20TriNect21TriNect22TriNect23TriNect24TriNect25TriNect26TriNect27TriNect28TriNect29TriNect30TriNect31TriNect32TriNect33TriNect34TriNect35TriNect36TriNect37TriNect38TriNect39TriNect40TriNect41TriNect42TriNect43TriNect44TriNect45TriNect46TriNect47TriNect48TriNect49TriNect50TriNect51

Final Day Render

INSTALLATION SUBMISSION TO BURNING MAN 2016 – ‘Entwine’

Entwine is a timber frame structure which has been developed through rigorous physical and digital testing to ensure a safe climbing frame for all to enjoy. When exploring Entwine, the vast expanse of the playa is framed through beautiful intertwining curved plywood beams. Burners can view the event from glorious vantage points nestled amidst multiple communal spaces that encourage interaction and play.

The structure predominantly consists of strips of curved plywood which have been connected together using pioneering construction techniques, specifically the utilisation of conflicting forces, similar to those apparent in ‘Tensegrital’ design. Drawing inspiration from Leonardo Da Vinci and his various experimentations with physical form, ‘Entwine’ is a marvel of geometry. The piece is formed from an arrangement of 19 octahedral components, each consisting of six beams, which are paired and positioned upon one of three axis. These three elements represent the unity of man, nature and the universe that surrounds us.

Close up Render.jpgFinal Close Up RenderFINAL Night Render

Each modular component is tessellated to form an octahedral space frame structure. The rigidity resulting from this tessellation is in direct contrast to the curving structural beams which exude an organic aesthetic. As Burners view Entwine from different aspects, a remarkable array of different patterns and forms are revealed, many bearing resemblance to sacred geometry, specifically the Flower of Life, which was a significant study within Leonardo Da Vinci’s work.

"DCIM100MEDIA"

Entwine is unorthodox in its composition, and this is a contributing factor to what makes it so unique: Each module is constructed through tensioning layers of ¼ inch thick plywood, which are then mechanically fixed together when a desired radius has been reached. By laminating the plywood in this manner, each component retains its curvature but remains in compression. These conflicting forces are integral to the design of Entwine: Each octahedral module is constructed from these compressed plywood elements, and are held together with tensioning ropes creating a structure of isolated components in compression within a net of continuous tension.MODEL PHOTOGRAPHSMODEL PHOTOGRAPHS 2The form of the structure is based on the octahedron, which is a Platonic solid composed of eight equilateral triangles; four of which meet at each vertex. One of the eight triangles acts as a base for the structure. This results in one edge creating a small cantilever, whilst the counter edge can be anchored to the ground. As previously studied by Buckminster Fuller, the geometry of an octahedron is particularly good at forming space frames with a strong cantilevers.

section.jpg

Entwine Construction Proposal

The participatory aspect of the installation voids the role of the ‘spectator’ and creates more active engagement. In many of Leonardo Da Vinci’s paintings, his subjects are framed by surreal, dreamlike landscapes. This is reflected within Entwine: As Burners become part of the installation, they are framed by the awe inspiring backdrop of Black Rock Desert: In many ways Entwine becomes the artist, the playa the canvas, and Burners the subjects.

“the artist is not a special sort of person, but every person is a special sort of artist.”

This is not only true in the sense of physical involvement but during the construction the ‘spectator’ becomes involved in making strategic decisions in the realisation of the work of art. The development, design and construction of the project embodies the principles of self-reliance and self-expression, whilst a proposal that is safe, interactive and beautiful will be gifted to the community at Burning Man.

Entwine’s curving form will be illuminated using LED spot lights to enhance the organic patterning existent within the structure. This allows the full form of the structure to be fully visible.