Omnis Stellae

Omnis Stellae – Redrawing your own constellation

“Only in the darkness can you see the stars”
Martin Luther King

 

This project involves the conception and design of a new way of mapping constellations, based on subdivision processes like Stellation. It explores how subdivision can define and embellish architectural design with an elaborate system of fractals based on mathematics and complex algorithms.

Example of Stellation diagram on a platonic polygon

An abstracted form of galaxy is used as an input form to the subdivision process called Stellation. In geometry, meaning the process of extending a polytope in n dimensions to form a new figure. Starting with an original figure, the process extends specific elements such as its edges or face planes, usually in a symmetrical way, until they meet each other again to form the closed boundary of a new figure.

Omnis Stellae – Daytime interior render view

The material used for this installation will be timber sheets of 1/3 of an inch thickness that will be laser-cut.The panels will be connected to each other with standard connection elements which have already been tested structurally based on an origami structure.

The lighting of the installation will consist on LED strips that will light with burners interactions.

Omnis Stellae – Daytime exterior render view

Although stars in constellations appear near each other in the sky, they usually lie at a variety of distances away from the observer. Since stars also travel along their own orbits through the Milky Way, the constellation outlines change slowly over time and through perspective.

There are 88 constellations set at the moment, but I would like to prove that there are infinite amount of stars that have infinite amount of connections with each other.The installation will show you all the possible connections between this stars, but will never rule which connection is the one you need to make.

Omnis Stellae – Daytime interior render view from the ground

I would like burners to choose their own stars and draw their own constellations. Any constellation that they can possibly imagine from their one and only perspective, using coloured lights that react to their touch.

The end result will have thousands of different geometries/constellations that will have a meaning for each one of the burners and together will create a new meaningful lighted galaxy full of stars.

 

Omnis Stellae – Nightime exterior render view

On a clear night, away from artificial light, it’s possible to see over 5000 stars with the naked eye. These appear to orbit the Earth in a fixed pattern, as if they are attached to a giant sphere that makes one revolution a day.This stars though are organised in Constellations.

The word “constellation” seems to come from the Late Latin term cōnstellātiō, which can be translated as “set of stars”. The relationship between this sets of stars has been drawn by the perspective of the human eye.

Omnis Stellae – Daytime interior render view from above

“Omnis Stellae” is a manifestation of the existence of different perspectives. For me, there is great value in recognising different perspectives in life, because nothing is really Black and White, everything relates to the point of view and whose point of view and background that is.

As a fractal geometry this installation embodies an endless number of stars that each person can connect and imagine endless geometries, that will only make sense from their own perspective. The stellated geometry will show you all the possible connections but will never impose any.

Omnis Stellae – Daytime and Nightime

“Omnis Stellae” is about creating your own constellations and sharing them with the rest of the burners, is about sharing your own perspective of the galaxy and create some meaningful geometries that might not mean anything to other people but would mean the world to you.

Omnis Stellae – Daytime interior render view

The grand finale is if it could become the physical illustration of all the perspectives of the participants at Burning Man 2018 shown as one.

With Love,

Maya

 

 

 

The Amazing Surf

Project Summary

The Amazing Surf is a complex fractal geometry which ascends toward the light, symbolizing our obsession with reaching for the stars. We use our increasingly digital world to help us extend our reach, but at what point do the shadows we cast reach out above us?

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Physical Description

The shape is inspired by the Amazing surf fractal which is generated by a mathematical formula and visualized in Mandelbulb3D. A visually imposing 25ft tall Ply wood hyperbolic structure, with intricate evolving folded panels. Each folded panel is digitally unrolled into a 2D net and CNC milled, the resultant ply components will be glued to a layer of fabric and folded back to their original 3D shape. This construction technique removes the need for a supporting frame, keeping the complex geometry unobstructed from view. A few panels have been removed at the base to make way for an entry point. Neon strips attached to each panel will produce dramatic light patterns on the surface at night. The installation will orient toward the sunset, where the sun appears at it’s closest.

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Interactivity & Mission

The piece is intended to be used as an impromptu climbing frame, a ladder to ascend burners above the desert and into the stars. Sunlight will bounce off the multi-faceted shapes, creating intricate patterns of light and shadow. Burners are invited to dance in the light shafts and seek shelter in the shadows. As the shape begins to flatten toward the top, the folded panels can be used as armchairs, where vision will be limited to that of the sky and light above; burners can sit and watch as the sky transforms from day to night.

Philosophy

“Keep your face always toward the sunshine – and shadows will fall behind you”

-Walt Whitman

As a race we strive to advance, developing new tools and machines to help us in this process. There will come a point in the not too distant future where the machines we have developed to help us will supersede us; we will become so reliant on technology, it will begin to control us. I see the Amazing Surf installation as a juxtaposition to this potential future; on the one hand we are using technology to create built environments that are intricate, beautiful and unique, on the other hand these environments are only attainable through the use of technology. If only we took a moment to look back into the shadows, we could avoid the fate that we are gradually bringing upon ourselves.

The Wishing Well

something caught in between dimensions – on its way to becoming more.

Summary

The Wishing Well is the physical manifestation, a snap-shot, of a creature caught in between dimensions – frozen in time. It is a digital entity that has been extracted from its home in the fractured planes of the mathematical realm; a differentially grown curve in bloom, organically filling space in the material world.

The notion of geometry in between dimensions is explored in a previous post: Shapes, Fractals, Time & the Dimensions they Belong to

 

Description

The piece will be built from the bottom-up. Starting with the profile of a differentially grown curve (a squiggly line), an initial layer will be set in pieces of 2 x 4 inch wooden studs (38 x 89 millimeter profile) laid flat, and anchored to the ground. Each subsequent layer will be built upon and fixed to the last, where each new layer is a slightly smoother version than the last. 210 layers will be used to reach a height of 26 feet (8 meters). The horizontal spaces in between each of the pieces will automatically generate hand and foot holes, making the structure easily climbable. The footprint of the build will be bound to a space 32 x 32 feet.

The design may utilize two layers, inner and out, that meet at the top to increase the structural integrity for the whole build. It will be lit from within, either from the ground with spotlights or with LED strip lights following patterns along the walls.

Different Recursive Steps of a Dragon Curve

Ambition

At the Wishing Well, visitors embark on a small journey, exploring the uniquely complex geometry of the structure before them. As they approach the foot of the well, it will stand towering above them, undulating organically across the landscape. The nature of the structure’s curves beckons visitors to explore the piece’s every nook and cranny. Moreover, its stature grants a certain degree of shelter to any traveller seeking refuge from the Playa’s extreme weather conditions. The well’s shape and scale allows natural, and artificial, light to interact in curious ways with the structure throughout the day and night. The horizontal gaps between every ‘brick’ in the wall allows light to filter through each layer, which in turn casts intriguing shadows across the desert. This perforation also allows Burners to easily, and relatively safely, scale the face of the build. Visitors will have the opportunity to grant a wish by writing it down on a tag and fixing it to the well’s interior.

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Philosophy

If you had one magical (paradox free) wish, to do anything you like, what would it be?

Anything can be wished for at the Wishing Well, but a wish will not come true if it is deemed too greedy. Visitors must write their wish down on a tag and fix it to the inside of the well. They must choose wisely, as they are only allowed one. Additionally, they may choose to leave a single, precious, offering. However, if the offering does not burn, it will not be accepted. Visitors will also find that they must tread lightly on other people’s wishes and offerings.

The color of the tag and offering are important as they are associated with different meanings:

  • ► PINK – love
  • ► RED – happiness, joy, success, good luck, passion, vitality, celebration
  • ► ORANGE – change, adaptability, spontaneity, concentration
  • ► YELLOW – nourishment, warmth, clarity, empathy, being free from worldly cares
  • ► GREEN – growth, balance, healing, self-assurance, benevolence, patience
  • ► BLUE – conservation, healing, relaxation, exploration, trust, calmness
  • ► PURPLE – spiritual awareness, physical and mental healing
  • ► BLACK – profoundness,  stability, knowledge, trust, adaptability, spontaneity,
  • ► WHITE – mourning, righteousness, purity, confidence, intuition, spirits, courage

The Wishing Well is a physical manifestation of the wishes it holds. They are something caught in between – on their way to becoming more. I wish for guests to reflect on where they’ve been, where they are, where they are going, and where they wish to go.

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Anahad

 

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ANAHAD

– Limitless Sound –

“Vocal music is considered to be the highest, for it is natural; the effect produced by an instrument which is merely a machine cannot be compared with that of the human voice. However perfect strings maybe, they cannot make the same impression on the listener as the voice which comes directly from the soul-breath and has been brought to the surface through the medium of the mind and the vocal organs of the body”.

– Harzat Inayat Khan, The Mysticism of Music, Sound and Word –

 

The combination of architecture, derived from fractal geometry, and the power of sound led to the creation of Anahad. This installation is an interactive musical display, which will be acting as musical instrument giving voice to the burners and the surrounding environment.

Anahad_Day - Square

This art installation, which challenges the perception of nature, is called Anahad. I am planning to build 3 free-standing “trees”, each measuring 1.5m in diameter at the base and 3m at the top. The trees are 5m tall and they are composed of 105 copper pipes or mild metal tubes each measuring 6m long and ranging between 30 and 45mm in diameter. A central column connected to a solid base is the main structural element supporting 2 concentric layers of pipes.

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The most external pipes are bent and perforated and filled with LED strips that will shine through the openings. Every pipe will generate a different sound based on the perforation pattern and the bends. The inner pipes, which are only bent and connected to a propane tank, will spit fire from the top.

ANAHAD - Night + Fire - Small

Anahad establishes a connection among the user, the art, and the environment.
Can you recall how the wind blowing sounds? Is it always the same? This design will act as a musical instrument, which will be playable both by burners and the Playa itself.
During nighttime, the user will be transported both visually and sensorially into a digital forest through a LED light show mimicking sun rays penetrating the forest treetops. Then flames will be shooting out from the top to mark every hour.
The aim of this installation is to create an uninterrupted musical performance, combining the sounds produced by burners hitting the pipes or by the wind blowing through the pipes. The central space between the three trees and the niches at their base will provide a space to meditate and be mindful of the soundless sound of the Playa. This installation in its simplicity will connect people and natural environment through the use of musical harmony.

Anahad

Anahad is solely an instrument through which the breath of the Playa will blow, singing for the burners. Vice versa, burners will be able to express themselves striking the metal pipes playing melodies for the community and the surroundings.
This installation aims to connect the people to the Playa. The three “trees” are a digital fabricated representation of a natural forest. In a world where disconnecting from reality becomes a luxury, where innovation takes over simplicity, and nature gets left aside in our busy lives, music is what makes us human. Anahad challenges the way we experience reality, by combining the digital and virtual world with the natural environment. The aim is to provide the participants with an ideal environment for them to meditate in and be mindful of their whole experience.

dis|integration[loops]

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dis/integration[loops], inspired by the composer William Basinski’s seminal works of the same name, explores the limitations of digital processes in our world – and the chaos that can unfold from overreliance on them.

A towering array is assembled from recursive fragments of an inherently destructive process. It explores the tension that exists between the digital and physical realms; challenging an immortal, digital world, the glorious ruin of the analogue realm confronts the perceived perfection of the artificial.

Existing in a state of intended incompleteness, dis/integration[loops] eschews vanity in favour of exhibiting procedural rawness; the power of ruinous accident reveals itself through the tarnishing of idyllic digitalism.

Pressure-laminated plywood modules, form-found through iterative casting experiments, connect to form a pervious, fragmented structure; it’s transcience and impermanence exaggerated as night follows day.

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In the same way that Basinski’s fragile recordings were destroyed upon being processed by the human ear, dis/integration[loops] exists in a contented, lush and shimmering state prior to being activated by human presence.

Proximity-controlled LED lighting impregnates the structure. When combined with sounds inspired by those Basinski’s (de)generative process created, this affords a level of animated deconstruction upon activation; visually and sonically, the imperfect presence of humanity causes dis/integration[loops] to be engulfed in chaotic ripples of distortion.

It’s most perfect (yet still decidedly imperfect) state is one in which it lies dormant and peaceful, undiscovered by the presence of people. It experientially disintegrates upon activation.

The fragmented structure exaggerates ever-changing natural light conditions and provides shelter, as well as an intimate, tactile space withi it’s permeable walls.

‘And then as the last crackle faded and the music was no more, I took in my surroundings and looked around at the faces and I was right there with everybody and we were alive.’

dis/integration[loops] is a reminder than everything we encounter eventually falls apart and returns to dust. It challenges the perfect, edited, occularcentrism that blights our social lives, explores the sound of decay, and the beauty that can exist in destruction. It is a meditation on death and loss, and exploration on a theme that some things are better left untouched.

The experience of life – a gradual disintegration – is simultaneously enriched and eroded by the imperfect nature of our encounters; pristine digitalism deserves a tarnished, ruinous quality symbolic of our experiences.

‘and I was right there with everybody and we were alive.’

Life’s First Flicker

LifeFirstFlicker_External_Night.png

Project Summary

Translucent fractal ball animated by dancing color changing lights symbolizing the very first spark at the beginning of the universe as well as the spark of life that our species is on both an eternal mission to keep alight and is in the final stages of creating anew with artificial intelligence.

Physical Description

A 20 foot diameter translucent form, made of twelve identical five petal polypropylene origami flowers arranged as a dodecahedron each with two smaller flower at their centers and intricately lazercut with a 2d filigree depicting the overall form. All the flowers are tied to each other and to a timber dodecahedral internal skeleton with concealed zip ties. The creased polypropylene held in tension by the origami folds themselves provide the rest of the stability. LED DMX lights sit in the five points which touch the ground, facing upwards, illuminating the entire form.

LifesFirstFlicker_External_Day

Philosophy

At the end of Isaac Asmiov’s book ‘The last question’ a disembodied AI is the last mark of the human race left in an empty entropic universe. It remains calculating the answer to the last question it was asked, and, unable to find a recipient for it’s solution it says ‘Let there be light’ and creation begins again.

This piece is shaped as a tangible interpretation of this spark. The spark at the first second of the universe and the spark of life which our civilization is racing to create in a sentient self learning AI. This moment, when our creations become self aware, is the theme of burning man 2018 and also likely to be the most important moment in our species’ history. Self teaching AI will rapidly become so powerful it will effectively be a deity. This pavilion’s purpose is to draw the visitors attention to this rapidly approaching moment and consider how we should design this mind before it is too late.

Burners can pass by or play with the spark and think it is just a cool shape, but those who climb up inside what is figuratively a snapshot right at the beginning of new life and the universe, can take a moment to pause and ponder from within, whether their life’s endeavor is relevant in the face of coming AI, what our species’ current knowledge may lack and how it could be codified and explained to a machine and how lucky we are as a generation to have both been born late enough to see AI’s birth, and early enough to have known life before it.


<p><a href=”https://vimeo.com/244593633″>Life’s First Flicker: Burning Man 2018 Art proposal</a> from <a href=”https://vimeo.com/user71835996″>Benjamin Street</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>

The Curves of Life

“An organism is so complex a thing, and growth so complex a phenomenon, that for growth to be so uniform and constant in all the parts as to keep the whole shape unchanged would indeed be an unlikely and an unusual circumstance. Rates vary, proportions change, and the whole configuration alters accordingly.” – D’Arcy Wentworth Thompson

“This is the classic reference on how the golden ratio applies to spirals and helices in nature.” – Martin Gardner

The Curves Of Life

What makes this book particularly enjoyable to flip through is an abundance of beautiful hand drawings and diagrams. Sir Theodore Andrea Cook explores, in great detail, the nature of spirals in the structure of plants, animals, physiology, the periodic table, galaxies etc. – from tusks, to rare seashells, to exquisite architecture.

He writes, “a staircase whose form and construction so vividly recalled a natural growth would, it appeared to me, be more probably the work of a man to whom biology and architecture were equally familiar than that of a builder of less wide attainments. It would, in fact, be likely that the design had come from some great artist and architect who had studied Nature for the sake of his art, and had deeply investigated the secrets of the one in order to employ them as the principles of the other.

Cook especially believes in a hands-on approach, as oppose to mathematic nation or scientific nomenclature – seeing and drawing curves is far more revealing than formulas.

252264because I believe very strongly that if a man can make a thing and see what he has made, he will understand it much better than if he read a score of books about it or studied a hundred diagrams and formulae. And I have pursued this method here, in defiance of all modern mathematical technicalities, because my main object is not mathematics, but the growth of natural objects and the beauty (either in Nature or in art) which is inherent in vitality.

Despite this, it is clear that Theodore Cook has a deep love of mathematics. He describes it at the beautifully precise instrument that allows humans to satisfy their need to catalog, label and define the innumerable facts of life. This ultimately leads him into profoundly fascinating investigations into the geometry of the natural world.

 

Relevant Material

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“An organism is so complex a thing, and growth so complex a phenomenon, that for growth to be so uniform and constant in all the parts as to keep the whole shape unchanged would indeed be an unlikely and an unusual circumstance. Rates vary, proportions change, and the whole configuration alters accordingly.” – D’Arcy Wentworth Thompson

D’Arcy Wentworth Thompson wrote, on an extensive level, why living things and physical phenomena take the form that they do. By analysing mathematical and physical aspects of biological processes, he expresses correlations between biological forms and mechanical phenomena.

He puts emphasis on the roles of physical laws and mechanics as the fundamental determinants of form and structure of living organisms. D’Arcy describes how certain patterns of growth conform to the golden ratio, the Fibonacci sequence, as well as mathematics principles described by Vitruvius, Da Vinci, Dürer, Plato, Pythagoras, Archimedes, and more.

While his work does not reject natural selection, it holds ‘survival of the fittest’ as secondary to the origin of biological form. The shape of any structure is, to a large degree, imposed by what materials are used, and how. A simple analogy would be looking at it in terms of architects and engineers. They cannot create any shape building they want, they are confined by physical limits of the properties of the materials they use. The same is true to any living organism; the limits of what is possible are set by the laws of physics, and there can be no exception.

 

Further Reading:

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Biomimicry in Architecture by Michael Pawlyn

“You could look at nature as being like a catalogue of products, and all of those have benefited from a 3.8 billion year research and development period. And given that level of investment, it makes sense to use it.” – Michael Pawlyn

Michael Pawlyn, one of the leading advocates of biomimicry, describes nature as being a kind of source-book that will help facilitate our transition from the industrial age to the ecological age of mankind. He distinguishes three major aspects of the built environment that benefit from studying biological organisms:

The first being the quantity on resources that use, the second being the type of energy we consume and the third being how effectively we are using the energy that we are consuming.

Exemplary use of materials could often be seen in plants, as they use a minimal amount of material to create relatively large structures with high surface to material ratios. As observed by Julian Vincent, a professor in Biomimetics, “materials are expensive and shape is cheap” as opposed to technology where the inverse is often true.

Plants, and other organisms, are well know to use double curves, ribs, folding, vaulting, inflation, as well as a plethora of other techniques to create forms that demonstrate incredible efficiency.