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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.


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.

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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.

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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.

 

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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.

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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

 

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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.

 

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Physical model light testing

 

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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.

 

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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.

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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.

 

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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.

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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.

 

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renders01The project is inspired by the interaction between people. It celebrates the female and male union and brings together people that already know each other or are completely strangers. Its interactive, it challenges its visitors, its playful.

It invites people to take part and be interactive with each other. It is called like that as it challenges people to reach the final gate and come together. It acts indeed like a mistletoe. Mysterious and magical. The moment you stand beneath the final gate you stand where all the magic happens. You feel the power and need to kiss the other person. Its design celebrates this union and offers a magical mutation.

It offers a labyrinth of complex, intriguing that seek to nourish individual experiences.

Black rock city seems to be the promised land, the promise of freedom, of self-expression, of immediacy and creativity and community. In a community like Burning Man you can assume the right to approach any random person and have an interesting interaction. You can overly express interest and curiosity. The Desert Mistletoe aims to give people a chance to be more expressed, more playful. Its for those people who want deeper connections, more meaningful interactions, less seriousness and more play.

Hugs and affection are a particularly significant aspect in which to expect more from strangers. We all need love, hugs and kisses are one of the best ways to deliver it. Take the risk to go in for a kiss. Of course some people will be hesitant. The project challenges people to express affection and admiration and relax. Hugs and kisses bring us together. At Burning Man, the endless parade of people flaunting their unusualness brings joy and excitement.

The unusual is both delightful and challenging. People love the unusual, the extraordinary and anything out of our everyday lives and routines. At Burning Man you do not need to sacrifice your wonderful weirdness. On the contrary you are challenged to explore your playful impulses and discover or express your freaky freedom.

The project is inspired specifically by the people of Burning Man.

‘Burners respect the gift of being touched’

 

Inspiration – The Symbol of Sri Yantra

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The Sri Yantra is conceived as a place of spiritual pilgrimage. It is a representation of the cosmos at the macrocosmic level and of the human body at the microcosmic level. It is a Journey. A spiritual journey from the stage of material existence to the union of the individual soul with the divine. The spiritual journey is taken as a pilgrimage in which every step is an ascent to the center. It represents a movement beyond one’s limited existence and every level is nearer to the goal. All the stages are within a gated frame, which is called the ‘earth citadel’ and forms an enclosed space.

The geometry

The symbol consists of nine interlocking triangles, centered around a bindu ( the central point). The five downward pointing triangles represent Shakti; the female principle. The four upright triangles represent Shiva; the male principle. The nine interlocking triangles form 43 small triangles each representing a particular aspect of existence.

 

The Concept – Fractals & Koch Snowflake

The proposed project is inspired by the concept of fractals – a never ending pattern, applied to a specific geometry. They are infinitely complex patterns created by repeating a simple process over and over, creating patterns that are self-similar across different scales. Fractals are images of dynamic systems that are driven by recursion.

The idea is based on the Koch Snowflake, a mathematical curve which has a finite area bounded by an infinitely long line.

For the project a script was created in Grasshopper and different patterns were created based on the triangles extracted from the Sri Yantra symbol.

fractals-experimentsBelow: Acrylic model based on the fractal pattern that was created above

fractals-experiments-model-01The model below is based on the fractal pattern created by

  1. the triangles representing the Female principle
  2. the triangles representing the Male principle

Together they represent, like the Sri Yantra symbol, the union of female and male. A celebration of our Creation.

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Developing the design and the creation of a journey through a structure

The initial idea was to extract some patterns and create something that will look like gates. Gates that could provide a journey to their visitors.

first-attemptFurther development of the gates was undertaken. The final concept consists of 4 gates which intersect with each other in order to provide a journey. There are 4 different designs for each gate. Each gate has a dense pattern in order to create something elegant and ornamental. The pattern is based on the Koch snowflake concept and has been applied to multiple directions. The gates have different heights and dimensions with the last one reaching up to 10m height. This was designed in such a way to provide a climax of the visitor journey at the final gate/stage.

final-gatesThe design is all about a journey. A personal journey with different experiences. A welcoming structure, inviting the visitors to interact with each other. It says a story, it represents a story and it invites you to create one.

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Experiment model in order to understand at what points the gates could intersect. At this point, the gates are connecting only on the top.

This has as a result to have an ’empty’ structure on the sides.

initial-ideasFinal Design Concept

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All the gates are connected with each other not only at the top but also on the sides. To achieve best results and better connections, the 3 gates are duplicated and connected with each other. The second gate will be connected with the third one only at the bottom. The 4rth gate has three sides creating a triangular central space. The gates have been rotated along the 2 other sides allowing for its visitors to enter from different directions. This also creates an enclosed space, like the Sri Yantra symbol.

The proposed installation aims to be part of this beautiful journey of self-discovery. It takes part of expecting more from strangers, while noticing the weirdness of others and encourages everybody to express themselves. With expecting more of strangers it increases the likelihood that the people you meet will become a part of that sometimes elusive network of connections we call community.

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Harmonesthesia’s form embodies the serendipity of chancing upon a beautifully spiraled shell in the sand and realising that when placed next to the ear, that momentary experience can be conjured up in an instant, through the soft sound of waves, hundreds of miles away from its conception.

Harmonesthesia is a play on synesthesia, a crossing of the senses, that interchanges both visual and aural harmonies. The ritual production of art and music is defined by juxtaposition and harmony; Harmonesthesia will turn light into sound and sound into light.

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A 5m shell will project from the ground with a low opening at its base, inviting participants to climb up into its interior. The internal structure will consist of tensioned plywood ribs that will also provide safe steps to climb up to the pinnacle, where interactions will be intimate. The exterior will be wrapped in 9mm plywood strips, curved around and nailed to the ribs. Their organic curvature will juxtapose the angular appearance of the ribs and steps partially concealed beneath. Wrapped between each strip of plywood will be LED strips. The interactive animation of these LEDs, along with loudspeakers placed inside the spine of the structure, will be controlled by a polar array of light sensors and microphones around the shell.

The spiral is a phenomena that occurs in much of the natural world from galaxy arms to snails, even the cochlea (from the Greek word for snail) or inner ear. It is a spiral-shaped cavity, in humans making 2.5 turns around its axis. Sound vibrations are converted into the sound we interpret by thousands of hairs within the cochlea; the spiral cavity allows each of these hairs to pick up slightly different frequencies which collectively can be interpreted as sound. Harmonesthesia’s form is inspired by this spiral, whose shape allows the conversion of sound into electrical impulse.

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Once thought to be extremely rare, synaesthesia is now believed to affect between 1 and 4% of the population. The Nobel Prize winning physicist Richard Feynman reported seeing equations in colour. The artist Wassily Kandinsky tried to recreate the visual equivalent of a symphony in each of his paintings. And Vladimir Nabokov wrote;

“One hears a sound but recollects a hue, invisible the hands that touch your heartstrings.  / Not music the reverberations within; they are of light. / Sounds that are coloured, and enigmatic sonnet addressed to you.”

Human cultures around the world have all to some extent cultivated their own sense of music; processional movement and dance are closely associated with these musical vernaculars, their combination a sort of synesthesia whereby one evokes the other by association. In this way Harmonesthesia will become the focus of a ritual procession and generator of harmonious music.

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Please participate by downloading and exploring Harmonesthesia in digital form via this link. Unzip the folder and open the file and you will be able to control an avatar in the virtual playa; ‘WASD’ keys to move; ‘C’ to crouch; ‘M’ to hear the music; and ‘L’ to turn on lights. Enjoy!

Sound is a hidden code when it unlocks allows us to perceive it as a set of geometrical patterns.Einstein believes the key to unlocking the universe is through the hidden geometry and mathematics, the mechanic of sound is translated visually through frequency and amplitude represents itself with beautiful geometries as code from the universe. My design recreates Sound’s geometries into a physical symbolic Sanctuary for users to retreat their senses in the desert,to unravel meaning behind the symbol of Sound by deconstructing it and re-dressing it with physical form. Making Sound visible.

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The structure measures 13.77 feet in length &12.8 feet in height. The material for the structure would be paneled by birch plywood(4ft. x 2ft. panel).2-D dimensional geometry is translated into 3-Dimensional form by folding and joining edges.The sanctuary is made up of three mirroring layers, stacking vertically. The construction of the structure is to explore double curvature design with single curvature paneling and assembly. The ground storey encourages private space for reflection; individual sitting and resting area are carved inwards towards the air-well  ,in contrast, the upper storey is the communal area within the enclosure where users can access from a ladder. Pocket of windows are generated by the stacking and mirroring of sound vibration patterns.  Users enters into the enclosure and view the desert from within.

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Live feeding of Sound and the changing LED lights

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In the night, live feeding of sound is captured when in contact with the surfaces of the sanctuary. With a contact microphone attaches onto the surface, it captures the sound amplitude when a user touches or tap as sound travels through the surface as a medium. The device(computer coding with Arduino) then translates the amplitude variation (loudness) into changing colours of LED lights. The lights are attached on the rim of the panels.

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Process
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Studies of Sound patterns through water

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Harmonograph

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Eigen vector

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Elysian {DNA}

Elysian – [ Beautiful,  Creative; Divinely inspired; Peaceful and Perfect ]

My installation entitled, ‘Elysian’ is based on scientific principles of dna, wave forms, kinetic energy and how we perceive through our senses. Elysian invites people to visualise the form of dna in an infinite space as a fractal kinetic system. Its encourages a new relationship to experience between art and observer.

I believe dna to be much more than simply a chemical structure with coding instructions, and that the visual and physical depiction of the familiar double helix is only one aspect of a multi dimensional reality. I prefer to imagine dna as a pathway of energy and information connecting all levels of manifest reality, and that this unique pathway and the flowing currents of our souls along it are opitimised by love.

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Elysian aims to capture the essence of ‘The Sacred’, providing a unique opportunity for people to connect directly and consciously with their dna, by experiencing mindful movement through the actual shape of dna as a fractal kinetic system. The infinite space of immateriality enable access to a world and dimension more profound
than our own. An escapism. A space in which emotions wander freely without constraint: Love, joy, wonder, dread, awe. Elysian ultimately intends to evoke ritual exploration. 

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Elysian is not designed for rational thinking but rather for exploration and playful surrender. The spinning kinetics flashing lights and noise, coupled with the infinite void and physical pulling of rope, are all elements to induce honest and playful engagement and to banish all notion of reasoned and literal thought. Elysian seeks to capture the emotion of the festival and ultimately become a means of catharsis for the people of the Black Rock City. 

Proposal Elemental Analysis: 

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Elysian: Parallel Space

Elysian amplifies our perceptions to play with our senses. Its design reacts to movement of people inside coupled with the physical interaction of people outside. It behaves differently depending on the time of day. In sunlight the walls reflect the festivals landscape, concealing itself in the desert, creating a period of discovery. At night the walls transform producing a beautiful interplay between inside and out. Standing inside the pavilion you cannot see out and so you are lost in an infinite space of mesmerizing kinetic wave forms. Participants adjusting the levers outside can see inside and begin altering the waveforms. These waves step from moments of harmony to deformed chaos. The role of the individual inside is to control the light. The more they move, the more the light changes. You interact with Elysium through your senses. The mirrors produce a stunning depth of field illusion, the lights flash at a rate faster than your eyes can see, called chromastrobic light and the rope rapidly spins to cause a whistling noise that together break the rules in your mind and induce the playful side as you work out the space around you that doesn’t exist in the physical world. I wanted Elysian to be a collaboration where people of the festival manipulate the effects to freely create there own sculptural dna forms.

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Detail:

Inside are four spinning motors have rope attached which extends to the ceiling. At the base of each motor are four electronically controlled dmx led lights. As the motors spin, the rope transforms into a visual waveform. Small micro controllers pick up movement inside through small infrared sensors and vary the lighting output.

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Earlier Concept System:

An earlier concept for the system enabled the viewer to pull the rope in order to disrupt the wave at the same time as viewing the outcome. This idea was later redesigned to enable a collaborative response in which one person alters the rope whilst another views the outcome in a different location.ier

[01]    DNA – Concept and Origin

Everyday I wear a gold necklace that has engraved upon it two serpent
s intertwined ol.jpgaround a staff. It forms the symbol  commonly used for identifying an individual with medical conditions. I wear it for this reason, but in reality it has a far deeper meaning. I have always viewed the serpents as a symbol of dna and therefore a symbol of me as an individual. All living organisms acquire their uniqueness by there carefully defined strands of dna and yet by the very nature that we all possess dna we are in fact one and the same. Through this careful balance derives my intensive interest into the matter of dna and how we might perceive it in the real world.

DNA: 

‘There are as many atoms in a single molecule of your DNA as there are stars in the galaxy, We are, each of us, a little universe’ 
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DNA stands are the genetic code that determines all the unique characteristics of every living thing.  Simply put your DNA is what makes you, you! You inherited your DNA from your parents, known as ‘hereditary material’ (information that is passed on to the next generation). Nobody else in the world will have DNA the same as you, unless you have an identical twin. Deoxyribonucleic acid is the large molecule shaped like a double helix and a ladder that’s been twisted many times.

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 In the early 1950’s two scientists, Rosalind Franklin and Maurice Wilkins, carried out intensive studies into DNA using x-rays. Franklin produced an x-ray photograph that enabled two other researchers, James Watson and Francis Crick to determine the 3D structure of DNA. The structure was found to be a double helix. In 1962 Crick and Watson, along with Wilkins all received the Nobel Prize in Physiology or Medicine for their discovery. Rosalind Franklin had died four years earlier and her pivotal contribution was not fully acknowledged until much later.

[02]    Parametric Understanding and Symbol Manipulation

Understanding the Basics:

In mathematics there is only one polygonal formation that would create a double helix. Ten regular pentagons orientated around a decagon.

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Shape Deconstruction:

Starting with the end state of a number of packed circles I drew a polygon around them. I then trying to work backwards to find out how, given the polygon, I could have drawn the circles. By constructing a square one circle-radius in width on several of the key points it generated a larger pentagon. I had a pentagon packed with circles, so I could work backwards and attempt to find a construction which would give me the centres of the circles. Since a square helped me last time, I decided to go for the most obvious square (actually rectangle) – the one built on the pentagon’s baseline – and voila: A circle the width of one of the pentagon’s sides, centred on the pentagon’s centre, gives the centres of the circles which pack that pentagon. This is a general solution that seems to only work for pentagons.

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Adopting Knowledge to Science:

The diameter of the helix (HD) and the height of the helix extension (HE) have a direct and constant proportional ratio to the pentagon length (PL) and pentagon diameter (PD). In order to establish the precise nature of this ratio we must devise some trigonometrical equations. The pairing of purines and pyrimidines in the Crick and Watson proposal locates the molecular pentagons that make up a part of the purines on the outside of the paired bases. However, it has been demonstrated that a more fluent and natural geometry would require adjacent pentagons at the heart of the base pairing. 

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Adopting Knowledge to Science:

Below represents the development of the pattern. It was a case of understanding what could be found from my previous understanding. Constructed parametrically, it shows step by step the methodology behind the system. The final proposal form was a simplified expression. 

 
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 *As I developed this pattern the American election had taken place. The pattern I had generated contained 50 stars,  the same number that are present on the US flag. I felt this highly significant and relevant to the projects location in  Nevada, USA. My symbol of DNA characterises each individual human but also represent a bond and connection  between all living this. A sense of unity and connection which defines Burning Man.

*It was this point that the ‘stars’ significance became more profound…

 

[03]    Wave and Light Analysis – Physical Experimentation

Chromastrobic Light and Waves:     [Artist Collaboration]

In order to fully understand the science and artistic quality of my project I met the discoverer of the phenomena ‘Cromastrobic Light’, Paul Friedlander. If we look at visual effects, we have to understand the limitations of our eyes. In much the same way that images which flash at rates higher than ten times per second will be perceived as a continuous sequence (like in a movie theater), if we surpass the total number of images per second that the eye can see, they will be seen as a continuous path.  It is this scientific understanding for the reason why we see a three dimensional form and not a rotating rope. The effect of Chromastrobic light adds another dimension that allows the eyes to perceive the rope as almost completely still for a millisecond before it changes. Chromastrobic light is only perceived when the lights flash at rate faster than our eyes can see. The video below represents this beautiful phenomena.

It was my intention to understand wave properties through a physical exploration. Below represents the standing wave experiment in which a spinning motor is fixed on one side with string attached. The opposite side is fixed. The experiment involved adjusting the tension of the string, the linear distance and the motor rpm.  With a greater understanding of wave simulation I began investigating their effects with LED DMX lights

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[04]    A space of Immateriality

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Infinity: Space of Immateriality

The most challenging aspect of the design to understand, though, is the optical Illusion. Optical Illusions are like candy for the mind. Like quenching the minds sweet tooth is the infinity mirror. The mirrors inside Elysian produce a stunning depth of field illusion that causes you to lose a sense of reality and appreciate what you are looking at more intensively. Viewing the spinning dna forms in this manor will break the rules in your mind and induce the creative playful side as you begin to work out the space around you that doesn’t exist in the physical world.

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Infinity: Space of Immateriality

The infinity mirror effect is produced whenever there are two parallel reflective surfaces which can bounce a beam of light back and forth an indefinite (theoretically infinite) number of times. The reflections appear to recede into the distance because the light actually is traversing the distance it appears to be traveling.

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Two-way Mirrors: Infinity with a twist

Using a one-way mirror allows light to pass through on one side but reflect the light backwards on the reverse side. Two-way mirrors allow some light to pass through and also reflect the light like a mirror on the same side. Rather than using glass, however, I will use one-way acrylic. The special property of the acrylic is it allows a small amount of additional light to pass through. A cheaper more accessible alternative. Placing two of these opposite to each other creates an infinite mirror system whilst being able to see it face on.

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Two-way Mirrors: Architectural Device

I wanted to retain the effect of having lots of these spinning devices but without physically building them. Therefore, I am creating an infinite mirror effect to allude the viewer into a false sense of perception. The space will seem to be full entirely of spinning kinetic art forms when in fact there will actually only be four. By mirroring the floor and ceiling as well  they will spin in all directions. The star form of my pavilion should create a unique infinite mirror experience. Focused around the points of the star, the reflection should develop in a polar array. The kinetic forms will in principle reflect in a circle array around the end points of the star. The space will develop into an infinite array of DNA patterns and stars, coupled with the spinning string, lights and the individual viewers. Ultimately this produces a very close depiction of my earlier scheme with the benefit of being cheaper. It also uses sophisticated architectural devices to represent the same outcomes.

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[03]    Scientific Investigations – Technical Project Understanding

Wave Analysis: Processing

I am currently developing the code and design to be used as an application on both android and apple devices. The application encourages the understanding of sin and cosine waves and how they respond to changing certain parameters. By using processing and open source material I have been able to start constructing an accurate wave understanding.

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I also intend to be able to develop the code further to consolidate the link between the waves and dna, which is the essence of my Burning Man project.There could even be the possibility of using this at the burning man festival itself as a way in which people control parameters of the waves or lights via an interactive screen. The video below is a demonstration of the code working.

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Wave analysis 2 looks at investigating different types of waves, adjusting sin and cosine functions in processing.
Wave Analysis 3 – Parametric Investigation [Grasshopper; Kangaroo]

I developed a computational parametric script using grasshopper and the Kangaroo component inside to produce waves. Kangaroos properties mean that I can alter parameters like tension to give more accurate results. The waves run of an initial rpm and distance. 

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Elysian – Burning Man 2017

By Matthew Chamberlain,

Master of Architecture ( University of Westminster)

Thank you!

Whatever has a Beginning has an End.

Inspired by a continuous fractal curve, Snakes and ‘Ladders’ takes its form from the space filling Hilbert curve; an image that grows exponentially while at the same time being bound by a square with a finite area. The curve continues to grow until all that can be seen by the eye is a solid cube. From afar, the proposal will sit on the playa as a cube made up of horizontal and vertical wooden studs fixed together. As the burner approaches the structure, it can be seen that the internal space can be explored and allows the user to interact throughout the climbable structure as they make their way to the central and upper levels. As the person makes their way inside, each layer consists of a reinforced fractal curve that can be used as a ladder progress. When the sun sets, LEDS built into the wooden studs light up the various iterations of the Hilbert Curve giving off a colourful effect to each layer inside the structure. Each layer will be programmed to allow a brighter light sequence to follow the curves creating snake-like lights that envelop the laddered structure.

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Symbols to Systems

“Then it seemed like falling into a labyrinth: we thought we were at the finish, but our way bent round and we found ourselves as it were back at the beginning, and just as far from that which we were seeking at first.”   Euthydemus, Plato.

My starting point began with the famous symbol from greek mythology, the labyrinth; an endlessly running meander. a structure designed and built by Daedalus for King Minos. Its function was to hold the Minotaur. It was said that Daedalus had so cunningly made the Labyrinth that he could barely escape it after he built it. However, despite this, a labyrinth will always consist of a start and an end point. The goal? Reach the centre.

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Many labyrinths today are based on symmetrical patterns,  first seen from the Roman Labyrinth. These represent the first real attempts to create different forms of the genre.CT10_modernlabyrinth.png

The term labyrinth is generally synonymous with maze. However maze refers to a complex branching of multicursal puzzle choices in path and direction,  the original goal is not lost but rather relocated for creating games to challenge the user.

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Looking at the work of M.C Escher I started looking at forms that could be intertwining together. As the number of staircases increase, the denser the stair maze becomes. However from this, each stair leads endlessly and no goal created.

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Fractal Curve Analysis

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Looking more into the Hilbert and  Moore Fractal Curves, I constructed both out of match sticks to look at how the pathing route for each curve differed. It was noticed that the Hilbert Curve looked to be more stable when finished as it’s upper level were more supported.

Structural Testing

As a fractal curve will always be developed from start to end using one line, additional support will be needed.Using Karamba, I was able to generate a script that will allow me to test the strength of both fractal curves until it fails. As the structure collapses I will be able to point out the weakest areas and provide additional support to prevent the proposal from failing.

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Initial Proposals & Development.

Attempting to combine the stairs with the reinforced Hilbert Curve created some uninteresting results as an initial Proposal, from this point, it was decided that to create a more complex maze would be to increase the amount of iterations and strip out the staircases.

By removing the staircase, I instead increased the size of the structure to allow additional interations to be nested externally and internally. From this a 5m x 5m Cube was to be proposed, constructed entirely out of 2in. x 4in Dried Whitewood studs. This allowed the proposal to be built cheaply and quickly using Karamba to identify weak points in the structure and reinforce them.

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Proposal: Snakes & Ladders.

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Snakes and Ladders originated in Ancient India, popular by the name Moksha Patam; associated with Hindu Philosophy contrasting Karma and Kama.The game has also been interpreted and used as a tool for teaching the effects of good deeds versus bad.  The squares of Fulfillment, Grace and Success were accessible by the ladders, which represented virtues such as generosity, faith, and humility, while the snakes represented vices such as lust, anger, murder, and theft. The morality lesson of the game was that a person can attain salvation ‘Moksha’ through doing good and reaching the last square was attainment.

The number of ladders was less than the number of snakes as a reminder that a path of good is much more difficult to tread than a path of sins.

With Radical Ritualism being the Theme for Burning Man 2017, I believe my Proposal can itself be a cube of Fulfillment, allowing people to play the game of snakes and ladders to forget about their sins as they try to achieve ‘attainment’ by reaching the top.

The Snake.

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Like the classical mobile game ‘Snake’ the lighting aims to wrap around the cube, illuminating the ‘N’ Iterations of the Hilbert Curve using LED Lighting.

 

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The Ladder.

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The structure is made up out of 2in. x 4in Dried Whitewood studs and reinforced to allow people to climb all the way to the top allowing either the external or the internal framework to be used as a ladder system to move throughout the proposal. Each iteration has start and end point which is travelled upon during the night which is reinforced by additional studs to allow no failure.

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By Christopher Thornton