‘Growth From The Ger’ seeks to analyse the vernacular structure of the traditional nomad home and use parametric thinking to create a deployable structure that can grow by modular.
‘Ger’ meaning ‘home’ is a Mongolian word which describes the portable dwelling. Commonly known as a ‘yurt’, a Turkish word, the yurt offered a sustainable lifestyle for the nomadic tribes of the steppes of Central Asia. It allowed nomads to migrate seasonally, catering to their livestock, water access and in relation to the status of wars/conflicts. An ancient structure, it has developed in material and joinery, however the concept prominently remaining the same.
Growing up in London, I fell in love with the transportable home when I first visited Mongolia at the age of 17. The symmetrical framework and circulating walls create a calm and peaceful environment. In the winter it keeps the cold out and in the summer keeps the heat out. The traditional understanding of placement and ways of living within it, which seems similar to a place of worship, builds upon the concept of respect towards life and its offerings.
Understanding the beauty of the lifestyle, I also understand the struggles that come with it and with these in mind, I wanted to explore ways of solving it whilst keeping the positives of the lifestyle it offers.
Pros: Deployable, transportable, timber, vernacular, can be assembled and dissembled by one family, can vary in size/easily scaleable depending on user, low maintenance, sustainable, autonomous.
Cons: Difficult to sustain singularly, not water proof, no privacy, no separation of space, low ceiling height, can’t attach gers together, low levels of security.
Lattice Analysis and Testing
To understand the possibilities of the lattice wall, I created a 1:20 plywood model using 1mm fishing wire as the joinery. This created various circular spirals and curves. The loose fit of the wire within the holes of timber pieces allowed such curves to happen and created an expanding body. The expansion and flexible joinery allows it to cover a wider space in relation to the amount of material used.
I created the same latticework at 1:2 scale to see if the same curvature was created.
Locking the curve to create a habitable space. I did this by changing the types of joints in different parts of the structure.
To create a smoother and more beautiful curve I change the baton to a dowel and densify the structure.
To lock the lattice curve in expansion I extrude legs that meet the ground and tie together.
Manufacturing and assembly
The model made from sheet plywood cost approximately £30 and took one working day to make for one person. However, a more sustainable material and process needed to be considered as the process of making plywood contradicted this.
This model can be made by one person with the use of a wood workshop. The timber pieces were bought at 18mm x 95mm x 4200mm, 13 pieces of these were enough to make three modules, roughly costing £170 in total. Each module takes approximately 5 hours to construct, this involves the tying of the measured length twine joints. The structure is lightweight and each module is easily transportable by one person.
Growth from the ger: modular growth
Omnis Stellae – Redrawing your own constellation
“Only in the darkness can you see the stars”
Martin Luther King
This project involves the conception and design of a new way of mapping constellations, based on subdivision processes like Stellation. It explores how subdivision can define and embellish architectural design with an elaborate system of fractals based on mathematics and complex algorithms.
An abstracted form of galaxy is used as an input form to the subdivision process called Stellation. In geometry, meaning the process of extending a polytope in n dimensions to form a new figure. Starting with an original figure, the process extends specific elements such as its edges or face planes, usually in a symmetrical way, until they meet each other again to form the closed boundary of a new figure.
The material used for this installation will be timber sheets of 1/3 of an inch thickness that will be laser-cut.The panels will be connected to each other with standard connection elements which have already been tested structurally based on an origami structure.
The lighting of the installation will consist on LED strips that will light with burners interactions.
Although stars in constellations appear near each other in the sky, they usually lie at a variety of distances away from the observer. Since stars also travel along their own orbits through the Milky Way, the constellation outlines change slowly over time and through perspective.
There are 88 constellations set at the moment, but I would like to prove that there are infinite amount of stars that have infinite amount of connections with each other.The installation will show you all the possible connections between this stars, but will never rule which connection is the one you need to make.
I would like burners to choose their own stars and draw their own constellations. Any constellation that they can possibly imagine from their one and only perspective, using coloured lights that react to their touch.
The end result will have thousands of different geometries/constellations that will have a meaning for each one of the burners and together will create a new meaningful lighted galaxy full of stars.
On a clear night, away from artificial light, it’s possible to see over 5000 stars with the naked eye. These appear to orbit the Earth in a fixed pattern, as if they are attached to a giant sphere that makes one revolution a day.This stars though are organised in Constellations.
The word “constellation” seems to come from the Late Latin term cōnstellātiō, which can be translated as “set of stars”. The relationship between this sets of stars has been drawn by the perspective of the human eye.
“Omnis Stellae” is a manifestation of the existence of different perspectives. For me, there is great value in recognising different perspectives in life, because nothing is really Black and White, everything relates to the point of view and whose point of view and background that is.
As a fractal geometry this installation embodies an endless number of stars that each person can connect and imagine endless geometries, that will only make sense from their own perspective. The stellated geometry will show you all the possible connections but will never impose any.
“Omnis Stellae” is about creating your own constellations and sharing them with the rest of the burners, is about sharing your own perspective of the galaxy and create some meaningful geometries that might not mean anything to other people but would mean the world to you.
The grand finale is if it could become the physical illustration of all the perspectives of the participants at Burning Man 2018 shown as one.
The Fractal Hourglass counts down to the singularity, the moment that artificial super-intelligence triggers an unprecedented shift in human civilisation. The concept of recursively self-improved AI is portrayed by a tower of iterated fractal trusses, in which time is measured by a cascade of light.
Triangular steel trusses array to form a 15-foot tall hourglass silhouette, where scaled repetitions within each truss form a lattice of increasing complexity and infinite bounds. The visual density of each truss intensifies at each fractal iteration, culminating in the filling of the lower hourglass bulb, representing the finite time remaining until the singularity. At night, a dynamic cascade of LEDs will flow on and off from the upper to the lower bulb, a spectacle alluding to sand pouring through an hourglass.
The steel tubes forming the piece range from a diameter of 1.5″ in lengths from 1 to 3-feet, which are hammered flat and bolted to form the main structure, and 0.5″ diameter tubes welded inside to form the decorative fractal repetitions.
On approach, the tense drama of time running out is visible through the concentration of material in the bottom of the hourglass, provoking an instinct to stall the process. Burners have a choice of how to experience the hourglass- whether that is to ascend the structure to experience the inversion of the hourglass as the bulb empties, where ascension serves as a sanctuary from the saturation of technology and AI in the lower bulb. Or they can recline on the ground and let their eyes weave through the layers of trusses and bathe in the saturation and complexity of technological advancement. Or simply to turn away and let what effectively has become a natural process to take its course. At night, the cascading light display forms an even more immersive encounter with the hourglass, as waves of light repeat the process of time as it funnels through and fills the lower bulb, swarming anyone who is inside.
The finite nature of fractals in the hourglass represents the capacity for infinite artificial intelligence- each increment provides an equally stable steel structure, whilst having the capacity to use less and less material, but only to a point. It is not possible for this fractal to reach infinity and be constructed at a human scale. This poses the question of, at which point on the way to infinity do humans get before their intelligence can be overtaken by AI- the moment of the singularity. Is it too late to invert the hourglass and, given the choice, would you want to?
The Fractal Hourglass allows for Burners to take a moment to relish on their existence as humans, with the capacity to orchestrate their own experience, something which AI’s currently don’t possess. Artificial intelligence is currently an opportunity to shape a future experience where humans can outsource themselves, freeing up valuable time and energy. The hourglass serves as a visual symbol that human existence is fleeting so long as AI is permeating our lives, and provides a timer for the impending singularity, a moment that will transform the world as we know it, a reminder that we still have the alluring capacity to define and create.
‘The first ultra-intelligent machine is the last invention that man need ever make, provided that the machine is docile enough to tell us how to keep it under control.’
I J Good
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. 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.
Live feeding of Sound and the changing LED lights
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.
Studies of Sound patterns through water
You are in zone of
DANGER! – a project making people to stop as there’re hazards of Burning Man ahead. Navigation, which allows them to find the way out and look at the signs. At the same time it will let them to come closer, stay curious and discover danger from inside out.
DANGER! is a zone where Love and Fire are being found. The place where people express their love to surroundings such as Landscape, People, Architectural structures, each other. Love that they can share and find within zone of DANGER! In my opinion, Burning Man festival is about expressing the feeling of Love to someone special. At same time, Burning Man festival is closely associating with Fire. Fire of burning structures, Fire of burning Love. It all comes as one, as a zone of Danger, where visitors may find the Love and get closer to Fire.
The structure is designed to reveal following shadows: symbol of Love (Heart) and Alchemical symbol of Fire (Triangle).
Concept of the DANGER! structure
Alchemical Symbol of Fire – Equilateral Triangle
Definition of Subdivision is an act or instance of subdividing whole element into pieces. Symbol of the Proposed Burning Man Temple is an Alchemical symbol of Fire. Symbol, which stands as Equilateral Triangle, triangle with upraised point associating to infinitive Flame. Equilateral describes as having all its sides of the same length.
Burning Man defines three different types or levels of open fire, each with different characteristics, and each requiring different approval processes and safety procedures.
- Direct contact with the playa
- Enclosed fire
- Relocation for burning
In any case, the structures are associated with Burning Man (burning in fire), which can be either burnt on site or be relocated for further demolition or be fired up on separate Burning Man platform.
Studies of Flame shape, move and intensity
Fire is dangerous aspect of Burning Man festival – the structures have to be placed in correct area to maintain needed gaps for visitors stay safe. The Flame has it’s intensity moments, when it can explode and catch structure near by.
It is a zone of DANGER!
Sun rises up at 7a.m and brings the light of a day- shadow of the heart will appear at the first platform of DANGER!. Why is at 7 am? It is a time when citizens of Burning Man may join the awakening of the sun within the field, as it is a time when sun is coming out from East side mountains. Also, it is the time,when Yoga and Meditation classes are beginning. I believe it’s when soul and body are awaken to make and share the Beauty and Love.
17 pm Triangle shadow = BURNING MAN FESTIVAL = 7 am Heart shadow
Sun Studies at Black Rock City in Nevada
Site Model at 1:200000
Distortion of shape while keeping same shadow of triangle at certain position of the sun.
Option 1 Option 2 Option 3 Option 4 Option 5
Further studies on shadow creation
Experimental model – triangle shadow cast
Test video of two shadow being cast- Heart within triangle and Triangle with a symbol of Burning Man inside.
7 am and 5 pm 2nd and 3rd of September it is when the structure, shadows and people of Burning Man are becoming one entity.
Danger is 10m long, 3m wide and 3m tall. The entire structure is made out of 18mm birch plywood, 30cm diameter poles which are assembled on the Playa.
A 1:1 scale model of one part of the model including pole and platform had been built on site of University of Westminster to test the size, materials and way of building and assembling the structure.
Day and Night shape finding
During the night, the structure will be lightened up by neon lights fixed to external edge of the floating triangles. From certain view point the heart and triangle will be seen.
Final Model 1:20 scale
Way of assembling the DANGER!
Visitors and citizens are welcome to gather at the platforms created and stay within zone of Danger to enjoy the hot day in Nevada by the time second shadow appears. The sun at 5 pm will bring a shadow of Triangle, which represents the symbol of fire. It is the time when Burning Man is announcing the best burners of the festival. The time when everyone will get ready for the start of the main part of the festival- burning structures and a beauty of the Fire.
You are in zone of DANGER!
The project of DANGER! is designed for Burning Man festival, Black Rock City, Nevada, USA, 2017 by Ana Sidorova
Hello WeWantToLearn community. We’re going to Burning Man in less than a month!
Our project this year will be a physical manifestation of our collective dreams and is called Tangential Dreams. It is a seven meters high temporary timber tower displaying inspiring messages from around the world, written on a multitude of swirling “tangents”.
We need your help to realise our project! There is only three days left to collect the missing £5,000 on our crowdfunding campaign to finance the many expenses associated with the creation of such an ambitious project.
Please click on the image below or use the following shortlink to share/help – everything helps: http://kck.st/28KlbPk 🙂
The project is a climbable sinuous tower made from off-the-shelf timber and digitally designed via algorithmic rules. One thousand “tangent” and light wooden pieces, stenciled with inspiring sentences, are strongly held in position by a helicoid sub-structure rotating along a central spine which also forms a safe staircase to climb on. Each one of the poetic branches faces a different angle, based on the tangent vectors of a sweeping sine curve. In line with this year’s theme, the piece is reminiscent of Leonardo’s Vitruvian man’s movement, helicoid inventions such as the “aerial screw” helicopter and Chambord castle helicoid staircase as well as his deep, systematic, understanding of the rules behind form to create art. From a wave to a flame all the way to a giant desert cactus, the complex simplicity of the art piece will trigger many interpretations, many dreams.
The art piece attempts to maximize an inexpensive material by using the output of an algorithm – (the value of the piece being the mathematics behind it, as well as the experience, not the materials being used). The computer outputs information to locate the column, sub-structure and tangents. We believe digital tools in design are giving rise to a new Renaissance, in which highly sophisticated designs, mimicking natural processes by integrating structural and environmental feedback, can be achieved at a very low cost. We worked very closely with our structural engineer format, sharing our algorithms, to give structural integrity to the piece and resist the strong climbing and wind loads. There are now three “legs” to our proposal, each rotated from each other at 60 degrees angles around a central solid spine, to ensure the stability of the piece, similarly to a tripod. The tangents are not just a decoration, they act as a spiky balustrade to prevent people from falling.
We have a fantastic team for the project: Philip Olivier, Eira Mooney, Maialen Calleja, Aaron Porterfield, Sebastian Morales, Antony Dobrzensky, Laura Nica, Karina Pitis, Hamish Macpherson, Jon Goodbun, Yannick Yamanga, Matthew Springer ,Josh NG ,Lola Chaine, Dror BenHay, Peter Wang, Charlotte Chambers, Michael DiCarlo, Sandy Kwan.