Archive

Uncategorized

Ant City investigation – [AGENTS]

Ants live in colonies consisting of millions of individuals. They don’t have leaders. Although there is the queen ant, she doesn’t tell the other ants what to do. Every ant knows their own roles and carries out their tasks faithfully. They are able to work together effectively because they all have the same goal for the good and unity of the colony.

In an ant colony, different ants have different team roles. There are the worker ants, drones and queen ants. Amongst the worker ants, there are workers of different sizes. The larger ants have stronger mandibles which are more effective for fighting. These are also known as soldier ants, although most of the time they will do the work of a worker ant. Meanwhile, the smaller ants are in charge of taking care of the young.

Below is an example of the ant algorithm in which they adopt a strategy for applying the shortest path technique. As a result, ants act as agents, developing an extremely intelligent network for collecting food and resources. They apply this same knowledge and behavior towards their colonies which creates an extremely efficient and adaptable city.

ACA – Ant Colony Algorythm

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.

91Ah5va7jcL

arcology-4

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”.

Busbea_CIM-115-J300

Hexahedron Arcology (The City in the Image of Man)

16488755244_d7bd69b935_b.jpg

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.

Arcosantiapse

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.

Arcosanti-Panorama-800

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.

 

render1-day


Symbol- Language and Sound into System

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

3-Dimensional computer generated Chladni Patterns 

When the frequencies increase, the pattern gets more complicated.

cymaticstacktotal


BabelTower of Babel – The origin of different languages

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

(The Tower of Babel by Pieter Bruegel)

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

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


12_24312_244

Concept Development through systematic studies of Ziggurat

12_246


 

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

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

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

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

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


Whatever your creed your reliance on the sun is unquestionable.

We have worshipped it as a God.

Spent lifetimes studying it through science.

Yet human hands will never touch its surface.

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

Triggering our own solar flare.

light-rod-render_close-up-night

Internal perspective of the Celestial Field Pavilion

 

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

sun-symbols-across-the-globe

Sun symbolism from across the globe and through the ages

 

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

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

 

newgrange-sunrise

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

 

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

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

sun-worship-in-religion

Ra, Helios and Jesus all depicted with solar symbols

 

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

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

 

helios-geometric-symbol_01

Building the Helios

 

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

 

light-sphere

Physical model light testing

 

digital-light-sphere

Digital animation of lighting tests

 

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

 

magnetic-fields

Recording magnetic fields with computer models and physical experiments

 

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

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

macro-magnets

Macro photographs of physical tests of magnetic structure using iron filings

 

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

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

 

suspended-pins

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

 

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

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

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

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

 

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

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

 

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

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

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

sun-spot-to-system

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

 

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

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

 

light-rod-render_distance-night-populated

 

 

 

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

axonometric explanationSymbolism

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.

fractals-experiments-model-02

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.

acrylic-model

model-photos

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

final-concept

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.

renders02

renders03night-render

 

 

 

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.

161129 - Shell 3.3dm

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.

shells2

shellsmodel-2

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.

Night View 1.jpg

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!

A2-wide angle perspective.jpgJohann Wolfgang von Goethe says Architecture is frozen music. Albert Einstein believes the key to unlocking the universe is through the hidden geometry and mathematics.  This design seeks to unlock the geometry of Sound making sound visible through 3-dimensional volume and lights.

Johann Wolfgang von Goethe says Architecture is frozen music. Albert Einstein believes the key to unlocking the universe is through the hidden geometry and mathematics.

Sound is a hidden code when it unlocks allows us to perceive it as a set of geometrical patterns. 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.

 This design seeks to unlock the geometry of Sound making sound visible through 3-dimensional volume and lights.

 

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.

Resonance cryptograph-night.jpg

Live feeding of Sound and the changing LED lights

diagram-01-01

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.

resonance_cryptograph_process_4resonance_cryptograph_process_3resonance_cryptograph_process_2

Process
cc_dp_6-01cc_DP_1.jpg

Studies of Sound patterns through water

cc_dp_06

Harmonograph

cc_DP_08.jpg

Eigen vector

eigen-shape-layout-01