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.

171108 - Burning Man Timber Brick Laying Proposal View 2.jpg

 

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.

171108 - Burning Man Timber Brick Laying Proposal View 1.jpg

Mixpinski’s Myriad

In mathematics a fractal is an abstract object used to describe and simulate naturally occurring objects. Artificially created fractals commonly exhibit similar patterns at increasingly small scales. It is also known as expanding symmetry or evolving symmetry.  Mandelbulb 3D allows us to explore fractals in 3D, creating a seamless amalgamation of maths, art and science.

Understanding how this geometry can become infinite and how it can be built within the constraints of the physical reality was part of the philosophy of my piece.

Mandelbulb 3d fractals:

 

161117 FRACTAL sheet 1

From these specific chosen 3d Fractals I noticed a clear correlation with the natural formation of crystalline structures, in particular Hopper crystals.

Hopper crystals form when there is more rapid growth at the outer edges of a face than at the centre. This results in what appears to be a hollowed out step lattice formation, as if someone had removed interior sections of the individual crystals. This missing part was never actually developed as the crystals grow so rapidly that there is never time for this to be developed. Hopper crystals are very similar to the cubic halite skeletal crystals formed from extreme supersaturation in salt lakes existing in nature. Hopper crystals can be found in rose quartz, gold, calcite, bismuth, salt and ice. I looked at the growth of these crystals to better understand the structural qualities.

Hopper Crystal Formation:

161117 FRACTAL sheet 3.1

From looking at the crystalline structure it became apparent that the connection between the tapered levels was very important to the structure and adaptability of the proposal. The versatility of this connection allows for flexibility and movement within the module. The connector can be placed on any material simply by adapting the end nodes width to factor for the material depth. By creating this modular junction I can join all the stepped timber elements of the proposal in such a way that they are all supporting each other.

Connection options:

161117 FRACTAL sheet 2

Hopper crystal growth is never as predicted due to outside influences such as movement and temperature change. These influences creates the beautiful images we see of their crystalline forms and without these the fractal crystal growth would be predictable and simplistic. It is with these outside interactions that the crystals have their own idiosyncrasies. By combining the hopper crystal growth with the organic forms created with the 3d fractal generator, I created a pavilion proposal. Using a stepped form and the junction designed above I could use the unpredictable growth lines to create an interesting pavilion which can be experienced in the same way that crystals would grow, naturally and not within their algorithmic form. Nature does not always conform to predictability. The pavilion expresses this individuality and in turn expresses the way in which we grow as individuals, adapting to our environments and moulded by our experiences.

This project is a physical exploration of crystal formation centred around the theme of fractals. It aims to combine one joint in order to create a crystalline structure. Inspired by the geometry from the crystalline growth the lattice structure provides sanctuary and calm in a sea of dust and at night mesmerising myriads of stepped lights will illuminate the playa.271117 render night.jpgThe proposed installation will be formed of a mixture of 2 x 4 timber with CNC curved plywood pieces incorporated into the structure. Each 2 x 4 will have a joint or a pocket in order for it to slot into and support the weight of the neighbouring beam or column. The project will appear out of the sand as an elegant stepped fractal structure which gives the proposal an ecclesiastical ambiance.

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The intertwined stepped lattice timber elements form congregation and celebratory spaces, whilst capturing special views of the playa. The stepped elements promote Burners to climb and crawl between the spaces created by the overlapped timbers. At night when you ascend through the individual spaces the lights will constantly change and oscillate. With the lights constantly changing and staggering further through the elements the stepped structure will be enhanced.  The project aims to play with the burners’ perception of depth where the lattice stepped geometry is staggered and rotated. At night this perception is further confused by  the LED coloured strips oscillating along the staggered stepped beams and columns. The burners can seek sanctuary in a space in which dimensionality and form is confused and adapted.

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Shapes, Fractals, Time & the Dimensions they Belong to

First, second and third dimensions, and why fractals don’t belong to any of them, as well as what happens when you get into higher dimensions.

Foreword

In this post, I’m going to try my best to explain the first, second, and third dimensions, and why fractals don’t belong to any of them, as well as what happens when you get into higher dimensions. But before getting into the nitty-gritty of the subject, I think it’s worth prefacing this post with a short note on the nature of mathematics itself:

Alain Badiou said that mathematics is a rigorous aesthetic; it tells us nothing of real being, but forges a fiction of intelligible consistency. That being said, I think it’s interesting to think about whether or not mathematics were invented or discovered – whether or not numbers exist outside of the human mind.

While I don’t have an answer to this question (and there are at least three different schools of thought on the subject), I do think it’s important to keep in mind that we only use math as a tool to measure and represent ‘real world’ things. In other words, our knowledge of mathematics has its limitations as far as understanding the space-time continuum goes.

 

1.0 Traditional Dimensions

In physics and mathematics, dimensions are used to define the Cartesian plains. The measure of a mathematical space is based on the number of variables require to define it. The dimension of an object is defined by how many coordinates are required to specify a point on it.

It’s important to note that there is no ‘first’ or ‘second’ dimension. It’s a bit like pouring three cups of water into a vase and asking someone which cup is the first one. The question doesn’t even make sense.

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Excerpt from ‘minutephysics’
We usually arbitrarily pick a dimension and calling it the ‘first’ one.

 

1.1 – Zero Dimensions

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Something of zero dimensions give us a point. While a point can inhabit (and be defined in) higher dimensions, the point itself has a dimension of zero; you cannot move anywhere on a point.

1.2 – One Dimension

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A line or a curve gives us a one-dimensional object, and is typically bound by two zero-dimensional things.
Only one coordinate is required to define a point on the curve.
Similarly to the point, a curve can inhabit higher dimension (i.e. you can plot a curve in three dimensions), but as an object, it only possesses one dimension.
Another way to think about it is: if you were to walk along this curve, you could only go forwards or backward – you’d only have access to one dimension, even though you’d be technically moving through three dimensions.

 

1.3 – Two Dimensions

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Surfaces or plains gives us two-dimensional shapes, and are typically bound by one-dimensional shapes (lines/curves).

A plain can be defined by x&yy&z or x&z; more complex surfaces are commonly defined by u&v values. These variable are arbitrary, what is important is that there are two of them.

A surface can live in three+ dimensions, but still only possesses two dimension. Two coordinate are required to define a point on a surface. For example a sphere is a three-dimensional object, but the surface of a sphere is two-dimensional – a point can be defined on the surface of a sphere with latitude and longitude.

 

1.4 – Three Dimensions

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A volume gives us a three-dimensional shape, and can be bound by two-dimensional shapes (surfaces).

Shapes in three dimensions are most commonly represented in relation to an x, y and z axis. If a person were to swim in a body of water, their position could be defined by no less than three coordinates – their latitude, longitude and depth. Traveling through this body of water grants access to three dimensions.

 

2.0 Fractal Dimensions

Fractals can be generally classified as shapes with a non-integer dimension (a dimension that is not a whole number). They may or may not be self-similar, but are typically measured by their properties at different scales.

Felix Hausdorff and Abram Besicovitch demonstrated that, though a line has a dimension of one and a square a dimension of two, many curves fit in-between dimensions due to the varying amounts of information they contain. These dimensions between whole numbers are known as Hausdorff-Besicovitch dimensions.

 

2.1 – Between the First & Second Dimensions

A line or a curve gives us a one-dimensional object that allows us to move forwards and backwards, where only one coordinate is required to define a point on them.

Surfaces give us two-dimensional shapes, where two coordinate are required to define a point on them.

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Here is a shape that cannot be classified as a one-dimensional shape, or a two-dimensional shape. It can be plotted in two dimensions, or even three dimensions, but the object itself does not have access the two whole dimensions.

If you were to walk along the shape starting from the base, you could go forwards and backwards, but suddenly you have an option that’s more than forwards and backwards, but less than left and right.

You cannot define a point on this shape with a single coordinate, and a two coordinate system would define a point off of the shape more often than not.

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Each fractal has a unique dimensional measure based on how much space they fill.

 

2.2 – Between the Second & Third Dimensions

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Developing Koch Snowflake
The same logic applies when exploring fractals plotted in three dimensions:

Surfaces give us two-dimensional shapes, where two coordinate are required to define a point on them.

A volume gives us a three-dimensional shape where a point could be defined by no less than three coordinates.

While these models live in three dimensions, they do not quite have access to all of them. You cannot define a point on them with two coordinates: they are more than a surface and less than a volume.

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Fourth Iteration Menger Sponge
The Menger Sponge for example has (mathematically) a volume of zero, but an infinite surface area.

 

2.3 – Calculating Fractal Dimensions

The following are three methods of calculating Hausdorff-Besicovitch dimension:
• The exactly self-similar method for calculating dimensions of mathematically generated repeating patterns.
• The Richardson method for calculating a dimensional slope.
• The box-counting method for determining the ratios of a fractal’s area or volume.

 

On another note:

In theory, higher (non-integer) dimensional fractals are possible.
As far as I’m concerned however, they’re not particularly good for anything in a three-dimensional world. You are more than welcome to prove me wrong though.

 

3.0 Higher Dimensions

Sadly, living in a three-dimensional world makes it especially difficult to think about, and nearly impossible to visualise, higher dimensions. This is in the same way that a two-dimensional being would find it impossibly hard to think about our three-dimensional world, a subject explored in the novel ‘Flatland’ by Edwin A. Abbott.

That being said, it’s plausible that we experience much higher dimensions that are just too hard to perceive. For example, an ant walking along the surface of a sphere will only ever perceive two dimensions, but is moving through three dimensions, and is subject to the fourth (temporal) dimension.

 

3.1 – The Fourth Dimension (Temporal)

If we consider time an additional variable, then despite the fact that we live in a three dimensional world, we are always subject to (even if we cannot visualize) a fourth dimension.

Neil deGrasse Tyson puts it quite plainly by saying:
“[…] you have never met someone at a place, unless it was at a time; you have never met someone at a time, unless it was at a place […]”

Suppose we call our first three dimensions x, y & z, and our fourth t: latitude, longitude, altitude and time, respectively. In this instance, time is linear, and time & space are one. As if the universe is a kind of film, where going forwards and backwards in time will always yield the exact same outcome; no matter how many times you return to a point in point time, you will always find yourself (and everything else) in the exact same place.
However time is only linear for us as three-dimensional beings. For a four-dimensional being, time is something that can be moved through as freely as swimming or walking.
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Excerpt from ‘Seeker’

 

3.2 – The Fourth Dimension (Spacial)

If we explore spacial dimensions, a four-dimensional object may be achieved by ‘folding’ three-dimensional objects together. They cannot exist in our three-dimensional world, but there are tricks to visualise them.

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We know that we can construct a cube by folding a series of two-dimensional surfaces together, but this is only possible with the third dimension, which we have access to.

Cube-Rotation

 

If we visualise, in two dimensions, a cube rotating (as seen above), it looks like each surface is distorting, growing and shrinking, and is passing through the other. However we are familiar enough with the cube as a shape to know that this is simply a trick of perspective – that objects only look smaller when they are farther away.

In the same way that a cube is made of six squares, a four-dimensional cube (hypercube or tesseract), is made of eight cubes.

  • A line is bound by two zero-dimensional things
  • A square is bound by four one-dimensional shapes
  • A cube is bound by six two-dimensional surfaces
  • A hypercube, bound by eight three-dimensional volumes

It looks like each cube is distorting, growing and shrinking, and passing through the other. This is because we can only represent eight cubes folding together in the fourth dimension with three-dimensional perspective animation.

HCube-Folding
3D representation of eight cubes folding in 4D space to form a Hypercube

Perspective makes it look like the cubes are growing and shrinking, when they are simply getting closer and further in four-dimensional space. If somehow we could access this higher dimension, we would see these cubes fold together unharmed the same way forming a cube leaves each square unharmed.

Below is a three-dimensional perspective view of hypercube rotating in four dimensions, where (in four-dimensional space) all eight cubes are always the same, but are being subjected to perspective.

 

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3.3 – The Fifth and Sixth Dimensions

On the temporal side of things, adding the ability to move ‘left & right’ and ‘up & down’ in time gives us the fifth and sixth dimensions.

(For example: x, y, z, t1, t2, t3)

This is a space where one can move through time based on probability and permutations of what could have been, is, was, or will be on alternate timelines. For any one point in this space, there are six coordinates that describe its position.

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In spacial dimensions, it is theoretically possible to fold four-dimensional objects with a fifth dimension. However, it becomes increasingly difficult for us to visualise what is happening to the shapes that we’re folding.
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In theory, objects can keep being folded together into higher and higher spacial dimensions indefinitely. (R1, R2, R3,R4,R5, R6, Retc.)

There’s a terrific explanation of what happens to platonic solids and regular polytopes in higher dimensions on Numberphile: https://youtu.be/2s4TqVAbfz4

 

3.4 – Even Higher Dimensions

If we can take a point and move it through space and time, including all the futures and pasts possible, for that point, we can then move along a number line where the laws of gravity are different, the speed of light has changed.

Dimensions seven though ten are different universes with different possibilities, and impossibilities, and even different laws of physics. These grasp all the possibilities and permutations of how each universe operates, and the whole of reality with all the permutations they’re in, throughout all of time and space. The highest dimension is the encompassment of all of those universes, possibilities, choices, times, places all into a single ‘thing.’

These ten time-space dimensions belong to something called Super-string Theory, which is what physicists are using to help us understand how the universe works.

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Cross section of the quintic Calabi–Yau manifold
There may very well be a link between temporal dimensions and spacial dimensions. For all I know, they are actually the same thing, but thinking about it for too long makes my head hurt. If the topic interests you, there is a philosophical approach to the nature of time called ‘eternalism’, where one may find answers to these questions. Other dimensional models include M-Theory, which suggests there are eleven dimensions.

While we don’t have experimental or observational evidence to confirm whether or not any of these additional dimensions really exist, theoretical physicists continue to use these studies to help us learn more about how the universe works. Like how gravity affects time, or the higher dimensions affect quantum theory.

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.

Paolo Soleri

His life and work (1919 – 2013)

His life and work  (1919 – 2013)

Born in Turin, Soleri studied architecture at the Polytechnic University of Turin in 1946 where he received a doctorate with highest honors. After, he moved to the United States, he was an apprentice to Frank Lloyd Wright for a year and a half in Arizona.

In 1950 Soleri returned to Italy with his wife where he was commissioned to build Ceramica Artistica Solimene; a ceramics factory in Vietri. He adapted the ceramic industry processes learned to use in his designs and production of windbells and siltcast architectural structures.

Although Soleri designed and built homes and bridges, as time went on he turned his attention increasingly to his “arcologies”, which conceptually addresses the interrelationship between architecture and ecology. Soleri complied 30 arcologies in his book, Arcology: The City in the Image of the Man (1969). This featured intricately-rendered cities of the future where people would live, work and play in harmonious self-sufficiency. Arcologies are self-contained, vertically layered megabuildings that combined living, working and natural environments into condensed superorganisms.

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Arcology (The City in the Image of Man)

Soleri called for a “highly integrated and compact three-dimensional urban form that is the opposite of urban sprawl with its inherently wasteful consumption of land, energy and time tending to isolate people from each other and the community”.

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Hexahedron Arcology (The City in the Image of Man)

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Babelnoah (The City in the Image of Man)

Putting his ideas into motion, Soleri bought land overlooking the Agua Fria River, 70 miles north of Phoenix. This was the start of Arcosanti. Soleri spent most of his career trying to build an eco-Utopia in the desert planned for 5,000 people in 1970. His vision was originally designed to be 20 stories high which supported a study center for experimental workshops and performing arts. The construction was assisted by student volunteers from all over the world to help provide a model demonstrating Soleri’s concept of Arcology.

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Arcosanti Apse, 2006 (Provided by Wikipedia)

Arcosanti struggled to attract residents, reaching a peak population of about 200 in the mid-1970s. There are fewer than 60 permanent residents of the town, but thousands of students and tourists still arrive at Soleri’s “urban laboratory” each year to learn more about the architect’s ideas and methods.

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Arcosanti, 2005 (Provided by Wikipedia)

He retired from the project in 2011, leaving the continuation of Arcosanti to Jeff Stein, an architect from Boston. Soleri then passed away two years later. As an architect, urban designer, artist, craftsman, and philosopher, Soleri has influenced many in search of a new paradigm for our built environment.

 

Babels

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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.
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3-Dimensional computer generated Chladni Patterns 

When the frequencies increase, the pattern gets more complicated.

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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. 


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Concept Development through systematic studies of Ziggurat

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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.

The Bawaajige Nagwaagan

 

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Dream Catchers by Nick Huard

Legend of the Dream Catcher

‘The legend of a dream catcher began long time ago, when the child of a Woodland chief fell ill. Unsettled by fever, the child was plagued with bad dreams and unable to sleep. In an attempt to heal him, the tribe’s Medicine Woman created a device that would ‘catch’ these bad dreams. Forming a circle with a slender willow branch, she filled the centre with sinew, using a pattern borrowed from our brother the Spider, who weaves a web. This dream catcher was then hung over the bed of the child. Soon the fever broke, and the child slept peacefully.

It is said that at night, when dreams visit, they are caught in the dream catcher’s web, and only the good dreams are able to find their way to the dreamer, filtering down through the feather. When the warmth of the morning sun arrives, it burns away the bad dreams that have been caught. The good dreams, now knowing the path,visit again on other nights.’ (Oberholtzer, 2012, p9).

 

Origins

Dreamcatchers originated with the Ojibwe, a tribe of Native Americans scattered throughout the areas of the lake country in northern Michigan, Wisconsin, and Minnesota, and along the southern border of Canada, along the shores of Lakes Huron, Superior and Michigan, whose survival relied on fishing, hunting and trapping.  

Traditionally, the dream catchers were made by tying sinew strands onto a few inches in diameter round or tear-shaped frames of willow and were often wrapped in leather.

The spiritual life of the Ojibwa centred around the Midewiwin, the Grand Medicine Society and focused on the individual spiritual growth, gaining the insight through their dreams or visions.

 

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Grey Owl repairing an Ojibwa-style shoe

Mystical Experience

My project is a re-interpretation of the beliefs that dreams have magical qualities with the ability to change or direct one’s path in life. The bawaajige nagwaagan intends to create a mystical experience, where people are caught inside, similar to the way that bad dreams are caught in the dreamcatcher’s web, and good dreams escape through the centre. The participants are encouraged to climb through the centre and escape their bad dreams and feelings, releasing their spirit through the enclosure. Now they can sleep in the peaceful environment, stimulated by the fantasy of glowing feathers and luminescent rope structures. The pavilion aims for people to sleep, relax and free themselves from stress while being protected by the magical webs of the dream catcher.

 

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The Bawaajige Nagwaagan at night
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Close-up render at night

Romantic essence of the Native American Culture

The proposal is a celebration of the romantic essence of the Native American Culture. The large scale, three dimensional net is inspired by the native methods and techniques of making dream catchers. It is a manifestation of the traditions and significance of the Native Americans, paying respect and pledging support to the indigenous people of America.

The structure situated in the Burning Man festival commemorates the ceremonies of Native Americans, dedicated to acquiring an insight through dreams and visions. Fasting, or giving up of certain necessities for a certain length of time was a common practice used to enhance one’s ability to access different dreams or visions. Another method was to pour water over hot rocks to produce steam, which enhanced the occurrence of dreams, used as source of introspection. These rituals relate to the festival’s assertion of disconnecting from the necessities of our contemporary world, supplemented by the extreme weather conditions, which are hoped to encourage reflection.

The pavilion responds and works together with the Black Rock desert’s environment, and adds to the wider cultural context of leaving behind the essentials and expectations of the contemporary world while creating a moment for contemplation and tranquility in the magical weaves of the dream catcher.

 

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The Bawaajige Nagwaagan during the day

Proposal Development_System

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Form Experimentation_Platonic Forms

Hexahedron

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Development Model

 

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Diagrams explaining model assembly

 

Tetrahedron

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1:10 Model

 

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Diagrams explaining model assembly

 

Physical Description

The structure will be composed out of three, seven meters in diameter, dream catchers, tilted to form a tetrahedron. Each dream catcher’s net will be made out of 275 meters, 18mm, synthetic hemp rope which will be entwined in 1320 meters of 3mm fluorescent cord. Attached to the frame uv lights will make the fluorescent rope glow at night. Three rings hold the net structure together, with the bottom ring anchored to the ground, made out of T-shape plywood frames. The web of the frame will be 4 layers of 15mm ‘banana’ shaped pieces which will create a circle, together with 4 layers of 230mm x 2400mm x 9mm flange pieces bent in shape of the banana edge. Smaller rings, supporting the centre of the dreamcatcher net will be of similar structure, with 2 layers of banana pieces and 2 layers of 150mm x 2400m x 9mm flange pieces, bent in shape. The frame will be wrapped in 13500 meters of 8mm synthetic hemp with attached fluorescent fabric feathers.

 

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Axonometric View-Construction Development

 

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Frame’s web assembly
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Frame’s flange assembly

 

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Initial assembly diagrams

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UV lighting-Construction Development

Testing Ideas in 1:1 Scale

 

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1:1 Scale Test Model exploring the possibilities of glowing net structure and its connections.

Assembly of the net is inspired by a macrame knotting technique rather than weaving which means that the net could be made out of smaller 15 meters long pieces, rather than one 275 m coil of rope, making it easier to assemble and repair. Rope is anchored to the frame with thimbles and shackles, attached to the bolted staple on the plate. The rope is connected with simple S-shape stainless steel hooks. After testing the net I found that although these are easy to assemble, they can create some movement in a connection, therefore I am planning on exploring the idea of ferrules, which could be crimped in place.

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Photographs of 1:1 Scale Model