Omnis Stellae

Omnis Stellae – Redrawing your own constellation

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


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

Example of Stellation diagram on a platonic polygon

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

Omnis Stellae – Daytime interior render view

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

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

Omnis Stellae – Daytime exterior render view

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

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

Omnis Stellae – Daytime interior render view from the ground

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

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


Omnis Stellae – Nightime exterior render view

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

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

Omnis Stellae – Daytime interior render view from above

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

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

Omnis Stellae – Daytime and Nightime

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

Omnis Stellae – Daytime interior render view

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

With Love,





The Wishing Well

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


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

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



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

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

Different Recursive Steps of a Dragon Curve


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

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



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

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

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

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

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

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

Fractals vs Digital Fabrication

Since the last post on the 23rd October our students have been exploring how to materialise their research into fractals (which they generated with Mandelbulb3D). The conflict between endless geometry and finite material world creates a creative tension that pushes innovation in digital design and fabrication. From parametric equations to parametric design, students have explored fractals as self-generating computer images and attempted to control them, first through changing their variables and then by extracting the most appealing fragments and recreating them using Grasshopper3D . From pure voxel-based images to NURBS or meshes and to 3D printing, laser-cutting, thermo-forming, casting..etc… students are confronted to the limitation of the computer’s memory and processing power as well as materials and numerical control (NC) programming language such as Gcode.

Navigating through fractals, exploring their recursive unpredictability to create more finite prototypes is like walking through the forest and noticing a beautiful flower to design your next building – it helps to let go of a fully top-down approach to architecture, it encourages a collaborations with your computer and a deep understanding of machines and materials. It anticipates a world in which the computers will have an intelligence of their own, where the architect will guide it onto a learning path instead of giving him instructions.  Using infinite fractals to inspire designs helps instill infinity within the finite world – bringing a spiritual dimension to our everyday life. 

Below is a selection of our students Brief01 journey so far:

Manveer Sembi's  Aexion Fractal imported from Mandelbulb3D to Rhino and 3D Printed
Manveer Sembi’s Aexion Fractal imported from Mandelbulb3D to Rhino and 3D Printed
Alexandra Goulds' MIXPINSKI4EX fractal
Alexandra Goulds’ MIXPINSKI4EX fractal
Michael Armfield's parametric exploration of the Amazing Surf Fractal
Michael Armfield’s parametric exploration of the Amazing Surf Fractal
Michael Armfield’s parametric exploration of the Amazing Surf Fractal
Michael Armfield's parametric exploration of the Amazing Surf Fractal
Michael Armfield’s parametric exploration of the Amazing Surf Fractal
Henry McNeil's Fibreglass modelling of the Apollonian Gasket.
Henry McNeil’s Fibreglass modelling of the Apollonian Gasket.
Henry McNeil's 3D printed support for his fractal
Henry McNeil’s 3D printed support for his fractal
Henry McNeil's 3D printed fractal imported from Mandelbulb3d to Rhino
Henry McNeil’s 3D printed fractal imported from Mandelbulb3d to Rhino
Henry McNeil's Fibreglass prototype from Ping-Pong and tennis balls
Henry McNeil’s Fibreglass Fractal prototype from Ping-Pong and tennis balls
Ed Mack's laser-cut Fractal Dodecahedron.
Ed Mack’s laser-cut Fractal Dodecahedron.


Ben Street's auxetic double curved paper models
Ben Street’s auxetic double curved paper models
Ben Street's single curved paper models
Ben Street’s single curved paper models
Lewis Toghill's composite shells with Jesmonite, plaster, wax and fibre glass
Lewis Toghill’s composite shells with Jesmonite, plaster, wax and fibre glass

20171109_114548Alexandra Goulds' flexible timber node

Alexandra Goulds' flexible timber node
Alexandra Goulds’ flexible timber node
Manveer Sembi's paper cutting for double curved paper sphere
Manveer Sembi’s paper cutting for double curved paper sphere
James Marr's single curved wood node with rotational geometry for subdivided mesh geometry
James Marr’s single curved wood node with rotational geometry for subdivided mesh geometry
Nick Leung's 3D prints of the different recursive steps of a space-filling curve
Nick Leung’s 3D prints of the different recursive steps of a space-filling curve


Rebecca Cooper's Fractal truss study on parametric structural analysis tool Karamba3D
Rebecca Cooper’s Fractal truss study on parametric structural analysis tool Karamba3D
Manon Vajou's burnt polypropelene studies
Manon Vajou’s burnt polypropelene studies


Resonance cryptograph

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


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




Eigen vector


Da Vinci Codex

‘Da Vinci Codex’ is a latticed sculptural piece which creates unique poetics of morphology that merge structure and movement. It transgresses the artificial boundary between art, science and technology, casting seemingly established analogies in a new light while inviting visitors to rethink the relationship between form, geometry and construction. Linear and curved scissor elements form a series of recursive cubes which speak of infinity and the complexity of our world. It denotes a recognizable metaphor of ‘object-within-similar-object’ that appears in the design of many other natural and crafted objects. The precision of the cubic form reflects the organised chaos of our universe. Poignant patterns inspired by a study into the scissor movement of the cube elements are perforated into the triangulated parts of the Codex.

Da Vinci Codex 1

Da Vinci Codex 2

As they expand and collapse, the triangles form unique and intricate shadows which highlight the transitional quality of human life and emotions, changing from a state of happiness to sadness, from calm to anger, from life to death. The structure provides shelter from the heat of the sun while entertaining its guests with opportunities to engage with the structure. A deployment mechanism inspired by study into Leonardo da Vinci’s machinery sketches found in his Codex Atlanticus is actuated by a series of gears situated at the base of the structure, which are set into motion by a pedal system powered by visitors. As burners interact with the piece, they contemplate a fascinating and spectacular change of light and decor. ‘Da Vinci Codex’ stands as a piece of event architecture, a spatial construct where movement is a transformational creative force.

The visitors interact with the piece by powering one of the four pedal systems connected to the deploying mechanism. As they pedal, the burners witness a captivating movement: the synchronised expanding and collapsing of the three cubes which cast intricate shadows and stimulate a sense of play. The visitors can also step inside the cubes and experience a series of ‘in-between’ spaces before reaching the central volume and enjoying a level of protection from the wind and sun. The highly abstract aesthetic of the ‘da Vinci Codex’ is meant to affect the community with a spirit of experimentation and encourage each and every burner to question preconceived ideas, beliefs or desires.

Da Vinci Codex

Da Vinci Codex3Da Vinci Codex2

The size of each member has been carefully considered not only to allow structural integrity but also to respect the proportions of the human body. Each face of the cube moves in a synchronised manner. The relationship between the size of each face and proportions of the human body has been inspired by da Vinci’s Vitruvian man.

BM open cubeBM night render

‘Entwine’ – Submission for Burning Man 2016

Final Day Render


Entwine is a timber frame structure which has been developed through rigorous physical and digital testing to ensure a safe climbing frame for all to enjoy. When exploring Entwine, the vast expanse of the playa is framed through beautiful intertwining curved plywood beams. Burners can view the event from glorious vantage points nestled amidst multiple communal spaces that encourage interaction and play.

The structure predominantly consists of strips of curved plywood which have been connected together using pioneering construction techniques, specifically the utilisation of conflicting forces, similar to those apparent in ‘Tensegrital’ design. Drawing inspiration from Leonardo Da Vinci and his various experimentations with physical form, ‘Entwine’ is a marvel of geometry. The piece is formed from an arrangement of 19 octahedral components, each consisting of six beams, which are paired and positioned upon one of three axis. These three elements represent the unity of man, nature and the universe that surrounds us.

Close up Render.jpgFinal Close Up RenderFINAL Night Render

Each modular component is tessellated to form an octahedral space frame structure. The rigidity resulting from this tessellation is in direct contrast to the curving structural beams which exude an organic aesthetic. As Burners view Entwine from different aspects, a remarkable array of different patterns and forms are revealed, many bearing resemblance to sacred geometry, specifically the Flower of Life, which was a significant study within Leonardo Da Vinci’s work.


Entwine is unorthodox in its composition, and this is a contributing factor to what makes it so unique: Each module is constructed through tensioning layers of ¼ inch thick plywood, which are then mechanically fixed together when a desired radius has been reached. By laminating the plywood in this manner, each component retains its curvature but remains in compression. These conflicting forces are integral to the design of Entwine: Each octahedral module is constructed from these compressed plywood elements, and are held together with tensioning ropes creating a structure of isolated components in compression within a net of continuous tension.MODEL PHOTOGRAPHSMODEL PHOTOGRAPHS 2The form of the structure is based on the octahedron, which is a Platonic solid composed of eight equilateral triangles; four of which meet at each vertex. One of the eight triangles acts as a base for the structure. This results in one edge creating a small cantilever, whilst the counter edge can be anchored to the ground. As previously studied by Buckminster Fuller, the geometry of an octahedron is particularly good at forming space frames with a strong cantilevers.


Entwine Construction Proposal

The participatory aspect of the installation voids the role of the ‘spectator’ and creates more active engagement. In many of Leonardo Da Vinci’s paintings, his subjects are framed by surreal, dreamlike landscapes. This is reflected within Entwine: As Burners become part of the installation, they are framed by the awe inspiring backdrop of Black Rock Desert: In many ways Entwine becomes the artist, the playa the canvas, and Burners the subjects.

“the artist is not a special sort of person, but every person is a special sort of artist.”

This is not only true in the sense of physical involvement but during the construction the ‘spectator’ becomes involved in making strategic decisions in the realisation of the work of art. The development, design and construction of the project embodies the principles of self-reliance and self-expression, whilst a proposal that is safe, interactive and beautiful will be gifted to the community at Burning Man.

Entwine’s curving form will be illuminated using LED spot lights to enhance the organic patterning existent within the structure. This allows the full form of the structure to be fully visible.

Three DS10 students win Art Grants for the Burning Man Festival 2015 (Diploma Studio 10 at the University of Westminster led by Toby Burgess and Arthur Mamou-Mani)  is happy to announce more good news – Three of our students have just received art grants from the Burning Man Festival to build the pavilions they designed as part of our brief – Congratulations to the following winners:

All DS10 students will be offered a chance to build the projects this summer with the designers and we will be supported by RAMBOLL and Format Engineers.

Over the course of four years, DS10 has submitted a little more than 80 proposals to the Global Arts Grant of Burning Man and received a total of 6 grants including the ones for Fractal Cult Shipwreck (built in 2013) and Hayam (built in 2014). We are all very proud and excited to go back!

The Infinity Tree by Tobias Power
The Infinity Tree by Tobias Power
Reflection by Lorna Jackson
Reflection by Lorna Jackson
Bismuth Bivouac by Jon Leung
Bismuth Bivouac by Jon Leung
Watch our TEDx talk, The Architecture of Joy to understand the philosophy behind these projects
As the grant is limited, we need your help to pay for transportation and the additional costs related to construction, you can donate on the PayPal button below just indicate which project you want to donate to, kickstarter campaigns should follow shortly: