Tag Archives: Natural Systems

Philosophical Statement:

Inti: The Incan Sun God, his face portrayed as a gold disk from which rays and flames extended. Inti is the Sun and controls all that implies: warmth, light and sunshine. During the festival of Inti Ramyi, held during the Summer Solstice, Inti is celebrated with much drinking, singing and dancing - special statues are made of wood are burned at the end of the festival. This sculpture is an extended physical manifestation of this; decadent ritualism and a spiritual experience.

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Inti incorporates 288 petals are self-assembled into 12 concentric rings, with each petal representing the hours of the day and each ring every month of the year. These are held together using mirror polished circular brackets, designed to catch the light and reflect circles of sunlight around the structure interior. Inti's focus is the sunrise; as the sun rises on the playa, Inti is designed to catch the light at this precise moment and funnel through the piece, enveloping and bathing the burners inside with it's warmth and spirit.

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01 Day

Philosophical Statement:

‘Timber-Wave’; a plywood instillation emerging and crashing on to the desolate Black Rock Desert. This breaking wave a remnant of the retreating Quinn River, draws on imagery of both waves and dunes provoking thoughts of the original Burning Man Beach Parties and surfing counter culture. Simultaneously the design evokes concepts of the Silk Road as a mirage of a giant wave appearing from across the playa to be discover by wondering burners.

The design of the Timber Wave was driven by creating an interactive environment. In daytime, people are encourages to climb and search between the interwoven plywood structure. Open sun soaked communal areas create areas for group contemplation. Solitary areas for single travelers have also been designed as places of refuge from the intense sun, wind and dust storms hoping to encourage serendipity. At night the wave truly come alive as a monument to the sea. Bathed in varying blue tones of color the spectacular structure is a mysterious beacon within the dark playa.

02 Night

Physical Statement:

‘Timber-Wave’  structure consists of 3 layers of 12 intersecting plywood ribbons.  Each ribbon consists of a varying number of water bent plywood components con-caving and con-vexing together forming a rigid series of tensioned and compressed sections.  The result is a homogeneous structure creating a beautiful ergonomically sized spaces. Each ribbon a series of circular penetrations in the form of an abstracted water pattern.  Creating foot and hand holes for climbing as well as allowing dramatic shadows to be cast throughout the structure and across the playa. At night the penetrations allow the lighting of the instillation to spill across the playa and between the layers of the structure.

03 Day

04 Internal Image


1:20 Scale Model

01 Portfolio Review.indd


Lying somewhere between science and art, University of Tokyo scientists Yoichi Ochiai,  Takayuki Hoshi and Jun Rekimoto use precision acoustics to bring the beauty of sound waves to life in three dimensions.

More information here from the University of Tokyo, Nagoya Institute of Technology

Polystyrene beads self organising in mid air

Back in our studio and excited to see how students are tackling the brief this year. Here are some pictures showing the different systems that students chose for brief01 and some of the models that are already being produced.

DS10 studio all buzzing

DS10 studio all buzzing

Andrei Jippa is 3D printing radiolarias with his RepRap

Andrei Jippa is 3D printing radiolarias with his RepRap

String vibration experiments by Garis Lu

String vibration experiments by Garis Iu

Henry Turner looking at microscopic images of sea urchins

Henry Turner looking at microscopic images of sea urchins

Origami Folding from Sarah Shuttleworth

Origami Folding from Sarah Shuttleworth

John Konings looking at bamboo structures

John Konings looking at bamboo structures

Arthur C. Clarke’s documentary on Fractals:

A basic set with fractal behaviour is the set of Complex numbers (C):


No matter how much one zooms in or out, the set is self-similar with infinite detail.

The typical fractal sets (Mandelbrot, Julia, Fatou) follow a pattern of 3 infinities: an infinite number of points is run an infinite number of times through a recursive polynomial and it will/will not reach infinity:



To make the step to 3d, the major issue is that the 2d rules cannot be generalized  because there is no corresponding set of numbers for 3d space. 1d space has Real numbers, 2d space has Complex numbers, but there is no 3d equivalent. However, Quaternions (hypercomplex numbers) are a theoretical set of points corresponding to a 4d space. Therefore there are two possible approaches: a) Define a three dimensional set of points in polar coordinates and switch them back to a cartesian coordinates in order to build it in computer space. b) Build a theoretical 4d fractal using hypercomplex numbers and cast its 3d shadow in 3d.Image

Either way, results are similar:Image

Dealing with infinite numbers, infinite iterations and infinite sets of points, computation times become an issue. One way around this is to build ray-traced images estimating distances to a virtual fractal (not physically storing the points of the fractal in memory):ImageImage


The image above is magnified ~3.10e13 times. In other words, presuming the size of the sectional model is 1m, it scaled up to roughly the size of the Solar System.

Building 3d models in computer space is slightly trickier because of the huge number of points involved to define even a limited section of a fractal. The issue is to define an algorithm for the correct order of the points in order to build a mesh. A rather neat solution is to ray-trace consecutive sections through a fractal (ray-tracing involves a Z-buffer anyway) and work from there. Here is an example (a 38,000,000 face-mesh obtained from 1,000 sections):Image

An important tool in exploring 3d fractals is building Julia sets (the only difference is that they use a constant increment at each iteration rather than the initial step):

Software used for my project: Processing, ImageJ FIJI, MeshLab, Netfabb Studio, Jesse’s MandelBulb 3D, Autodesk 3dS Max, Chaos Pro, Adobe Premiere.

Here is the book that I kept mentionning in the tutorial: The Nature of Code by Daniel Schiffman

The Nature of CodeThe book explains many algorithm that attempt to reproduce natural systems (including swarms and fractals) using Processing, the java-based scripting interface.

You can download the book and make a donation or buy the hard copy. Try some examples, register to the Processing forum and to Ask for help on the Processing IRC Channel.

For some example, you will need to need to download the Toxiclibs library and you might want to use the Eclipse IDE to speed up your workflow. You can also follow the great tutorials by Jose Sanchez.

A series of experiments tracing the movement of a freely oscillating pendulum in a layer of sand.

The pendulum’s centre of gravity is slightly off-centre, meaning that the the x and y components of its movement oscillate at very slightly different frequencies; the harmonic relationship between these frequencies causes remains constant as the amplitude decreases rapidly due to friction between the pendulum and the sand. The rate of decay of the amplitude can be controlled by the depth to when the pendulum penetrates the layer of sand.

Casts of these forms were made by pouring liquid plaster carefully over the sand once it had been held in place with a light coating of sprayed acrylic varnish.

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