Reflection

Reflection presents this years burners with an intimate setting in which to share their inner most confessions, secrets and tales – With the option to do so both openly with other burners face to face, or retain the mystery of their identity by sharing with a complete stranger through the pavilions semi private screen. Reflection embodies the theme ‘Carnival of Mirrors’ in a variety of manners:- the geometry of the pavilion not only mirrors itself in its own form, but also incorporates a reflective surface within its interior spaces. The reflective physicality of the pavilion beautifully juxtaposes its function, by giving its burners a physical platform with which to cogitate their innermost thoughts and feelings, and share these with others. The pavilion is created as a result of rigorous testing of origami in order to create a single Spiralhedron which is then mirrored through along all axis.

Based upon a geometric origami principle which outlines the rules for the triangular subdivision of a 2-dimensional shape and assigns mountain and valleys creases to each subsequent subdivision the Spiralhedron has been optimised through both digital and physical testing. Reflection takes an abstract approach to this years theme, the pavilion’s form manifests itself as a result of mirroring this singular Spiralhedron in the X,Y and Z axis, which in turn creates its enclosing plywood form. In order to create the semi-private confessional screen, the panels incorporate a pattern, providing both the function of privacy, but also narrating the origins of the pavilions final form.

The principles of Burning Man are carefully considered, by providing an interactive base for participation that is never fully accomplished without the burners involvement. By sharing their stories, burners create a unique experience manifested through the ideals of trust and sharing, which facilitates a special bond between the burners. Upon its burning at the end of the festival, ‘Reflection’ becomes a resting place for the confessions, secrets and stories of its burners, allowing new bonds to be formed.

Construction

Due to form being created through the act of mirroring the entire pavilion will be made of 9 unique laser cut panels which will be bolted together with both metal hinges and 90 degrees and wooden brackets at 135 degrees.

Dimensions

Constrained by the size of a plywood sheet each individual Spiralhedron is made of two sheets of plywood (requiring 16 in total). Made of eight spiralhedrons ‘Reflection’ has a footprint of 3.5metres*3.5metres with a maximum height of 3.5m creating a footprint equal to that of the height of the pavilion.

Crit One

Some joyous proposals for both Burning Man and Buro Happold’s London office at yesterdays crit, the first of the year.

Our guest critics were Andrew Best, James Solly, Andrei Jipa, Harry Charringdon and Ben Stringer. Thank you all for your inspiring comments and tireless enthusiasm throughout the day.

Here are some images of the exciting work coming out of the studio this year, more to come 🙂

Frozen music pavilion by Toby Plunkett inspired by the soundwaves inside a cube

Diana Raican’s transforming cubes model

 

Burning Man proposal by Diana Raican exploring fractal cubes

 

Bent timber pavilion by Garis Iu

Guest critic and DS10 alumni Andrei Jipa with Naomi Danos’s hypar surfaces model

 

Inspired by Cairo tesselation, playful pavillion by Sarah Stell

Sarah Stell’s model capturing the translation of cubes into dodecahedrons

Lianne Clark’s animated keyframe light and shadow explorations

Jon Leung’s bismuth inspired pavilion

Aslan Adnan’s perturbated pavilion inspired by crystal growth patterns

The Tower of Power by Tobias Power

Rheotomic surface installation by Tobias Power

Charlotte Yates animated jitterbug model proposed for Buro Happold

Lorna Jackson’s spidron installations at different scales

Joe Leach’s pavilion of timber tension

Tom Jelley’s anamorphosis experiments remapping geometry

Tom jelley’s magical anamorphic proposal

21st November 2014 Tutorials

We are approaching the first “crit” of the term and our students are already proposing joyful projects for the Burning Man festival and Buro Happold’s newly refurbished HQ on Newman Street. The talented photographer NK Guy (http://nkguy.com/ and http://burningcam.com/) gave an excellent evening lecture at our campus to inspire our students and for the release of the book “The Art of Burning Man” (Taschen) which will feature some of our studio’s work. Here are couple images of the student’s project and of our buzzing DS10 space (pictures by Toby Burgess):

Aslan Adnan’s early proposals for Buro Happold and Burning Man

Aslan Adnan’s Explosive Recursion

Joe Leach’s early proposal for Burning Man

Tom Jelley’s Mirror deformation of 3d geometry using the inversion principle.

Lorna Jackson’s kerfed Spirohedron. (spidron ™ )

Garis Iu’s Curved Folding Components

Toby Plunket’s 3D Cymatic

Lorna Jackson’s kerfed Spirohedron. (spidron ™ )

DS10 WeWanttoLearn’s buzzing Studio Space

Ieva Ciocyte’s Tree Bundling Truss

Naomi Danos Folded Hypar volumes

NK Guy, author of The Art of Burning Man giving a lecture to our students

NK Guy, author of The Art of Burning Man giving a lecture to our students

Minimal Surface – Hyperbolic Paraboloid Folding

   Triply Periodic Minimal Surfaces

  Minimal surface is an area minimizing surface whose mean curvature at any point is zero, and is often represented by the shapes of soap bubbles that span wire frames. Some minimal surfaces have crystalline structures that repeat themselves periodically in three dimensions. Many of these surfaces were discovered by Alan Schoen who analysed them in his technical report, ‘Infinite Periodic Minimal Surfaces without Self-Intersection‘, written in 1970. I first started researching the different types of triply periodic minimal surfaces to understand the rules behind their structures.

Schwarz Surface

Neovius Surface

Lidinoid Surface

Gyroid Surface

 Folded Hyperbolic Paraboloid

Parametric Kerf Bending

I have also been investigating different types of lattice hinges or cutting patterns that could help fold a hyperbolic paraboloid from a rigid single sheet material.

Curved Crease Folding

The history of curved crease folding goes back to as early as the Bauhaus, where a student had scored circular creases onto a paper in order to study its materiality. When a circular surface is folded along concentric rings, the resultant form bends on itself and forms a paraboloid in order to make up for the loss in circumference. Initial investigation involved the replication of such system and multiplying the modules which are then interlocked into each other to create various origami sculptures.

The system is then digitally simulated in order to extract the parameters which may affect the resultant geometry of the surface. With a combination of Kangaroo Physics, Hinge Forces and Springs, the digital simulation is created which allows anchor points to be placed, thus dragging for surface into various forms. Tests are carried out on different surfaces, including a closed circle of equal concentric rings, a closed circle of increasing concentric rings as well as an open circular strip with concentric rings. With an increasing fold angle, the bend angle increases.

Upon cutting the closed circle, the surface becomes an open ended circular strip. The constraints that follow a closed surface no longer presents itself, thus allowing the strip to bend freely – although the principles of the system still applies. With increasing fold angles, the strip bends at greater angle. Having this revelation, different open ended strips are then tested against different parameters to extract the system further.

In parallel to the research of curved crease folding is the investigation into the probability of transferring the system onto a more rigid, larger material, such as plywood. Here lattice hinge / kerf folds are employed, allowing the plywood to bend in a similar manner to card and paper. The final patterns for the hinges are a result of rigorous testing through trial and error. By repeating the modules we begin to see that, due to the folds, plywood can be as flexible as card.

System Development: Spidron

First developed in 1979 by Dániel Erdély the Spidron is created by recursively dividing a 2-dimensional hexagon into triangles, forming a pattern that consists of one equilateral followed by one isosceles triangle. The resulting form is of six Spidron legs that, when folded along their edges, deform to create a 3-dimensional Spidron.

Initial investigations into the Spidron system using paper resulted in irregular shapes that could not be predicted, and therefore replicated precisely. Progressing onto using rigid materials allowed the system to be broken down into six components, removing unnecessary triangulated fold lines, and developing latch folded Spidron that is precisely the same as that formed parametrically.

This relationship between parametric and physical tests of component based Spidrons in both regular and irregular hexagons, as well as various other equal-sided shapes, has enabled the development of large scale models concluding thus far in a 1:2 scale version being built which will continue to be developed as a pavilion for submission to the Burning Man festival.

In parallel there has been an investigation into the system at a smaller scale allowing for the Spidron nest to be made as one component. In order to achieve the 3-dimensional Spidron form lattice hinges, also known as kerf folds, have been employed. Rigorous testing into the best cutting pattern have resulted in a straight line cutting pattern that allows for bending on multiple axis at once.

Developing this smaller scale system for submission to Buro Happold the intention is to create an arrayed system that is a conglomeration of both regular and irregular spidrons with varying depths and apertures that are able to integrate various display models etc. within.

Thursday 6th November Tutorials

We just finished Brief01:System/Sci-Fi and starting Brief02:Buro/Burn – Here are couple pictures of our last tutorials by Toby Burgess. Students will be uploading their systems on Monday on this blog!

Our Joyful DS10 Studio – Picture by Vlad Ignatescu

Spirohedron by Lorna jackson

Spirohedron by Lorna jackson

Spirohedron by Lorna jackson

Spirohedron by Lorna jackson

Pyritohedrons by Sarah Stell

Pyritohedrons by Sarah Stell

Curved Kerf Folding by Garis Iu

Inversion Principle by Tom Jelley

Tom Jelley’s Inversion Principle explained in a model

Recursive Reciprocal Structure by Irina Ghiuzan

Tobias Power plotting complex numbers onb a vertical axis – Rheotomic Surface inspired by Daniel Piiker

Jonathan Leung creating his own Bismuth Crystals

Esha Hashim’s Fabric Tensegrity

Lianne Clarke’s Reaction Diffusion Patterns on Acrylic

17th October 2014 Tutorials

Here are couple pictures from our last tutorials. DS10 is back with some exciting experiments, models and diagrams for Brief01:Systems. From Lorna’s spiralhedrons to Sarah’s pyritohedron, Maria’s stalagtites to Charlotte’s Jitterbug, Garis’ curved folding to Tobias’ Rheotomic surfaces, students are exploring the mathematical, natural or biological system of their choice, both with physical and digital parametric models.

Lorna Jackson’s Spiralhedron

Lorna Jackson’s Spiralhedron

Toby holding the curved Folding by Garis Iu

Curved Folding by Garis Iu

Water, Speaker and Smart Phone, beautiful patterns by Toby Plunkett

Joe Leach’s 3D Reciprocal Structures

Mesh Recursive Sub-Division by Aslan Adnan

Sarah Stell’s Pyritohedrons

maria vergopoulou’s stalagtites

Charlotte Yates Buckminster Fuller’s Jitterbug

Bismuth Crystals Growth Analysis by John Leung

Cellular Automata model and diagram by Alex Berciu

Rigid Miura-Ori Origami by John Konnings

Inversive Geometry Diagrams by Tom Jelley

Recursive cube growth by Diana Raican

Sectionned Rheotomic Surfaces by Tobias Power

Membrane Bunching

Here is an animation of membrane bunching I have been working on with help from Arthur. The membrane is suspended from 4 outer hanging points and 1 central. Triangulating springs are added to the mesh to force it to retain its shape and bunch like a real fabric. In order to achieve the complex folding that occurs in fabrics, the vertical unary force is not applied universally to all points, but is rather applied to only the paths within the fabric along which the majority of the load passes. This was calculated through earlier research. When the fabric first drops at the beginning of the video these force paths are visible.