The main aspects of the Corn-Crete House system are the use of space, material efficiency and relationship to site. The way space is shaped influences human behaviour. According to a research paper done by KAYVAN MADANI NEJAD in 2007 the curvilinearity of interior design directly affects the way people feel inside them. It concluded that the more curvilinear a space is the more comfortable, safe, relaxed and friendly it feels. My project builds upon this argument. Research also shows that the concrete industry is a major environment pollutant. Cement is the most damaging ingredient. I am proposing a new system which will be using less concrete & less cement thanks to: 1) corn residues partially replacing aggregate making the structure lighter and more porous 2) casting around inflatables resulting in curvilinear architecture suitable for compression which requires less tensile strength.

# Category: Grasshopper

## Transcendental Staircase

## Plants, Math, Spirals, & the Value of the Golden Ratio

The natural world is brimming with ratios, and spirals, that have been captivating mathematicians for centuries.

# 1.0 Phyllotaxis Spirals

*phyllotaxis*(from the Greek

*phullon*‘

**leaf**,’ and

*taxis*‘

**arrangement**) was coined around the 17th century by a naturalist called Charles Bonnet. Many notable botanists have explored the subject, such as Leonardo da Vinci, Johannes Kepler, and the Schimper brothers. In essence, it is

**the study of plant geometry**– the various strategies plants use to grow, and spread, their fruit, leaves, petals, seeds, etc.

### 1.1 Rational Numbers

**giving them each as much room as possible to grow, and propagate**.

**you have 360 degrees to choose from**. The first seed can go anywhere and becomes your reference point for ‘

**0**‘ degrees. To give your seeds plenty of room, the next one is placed on the opposite side, all the way at

**180°**. However the third seed comes back around another

**180°**, and is now touching the first, which is a total disaster (for the sake of the argument, plants lack sentience in this instance: they can’t make case-by-case decisions and must stick to one angle (the technical term is a ‘

*divergence angle*‘)).

*Phyllotaxis Study: 180° (see corn leaves), 90° (see mint leaves), and 72° (see gentiana petals)*

**90°**with your second seed, since you noticed free space on either side. This is great because you can place your third seed at

**180°**, and still have room for another seed at

**270°**. Bad news bears though, as you realise that all your subsequent seeds land in the same four locations. In fact, you quickly realise that any

**number that divides 360° evenly yields exactly that many ‘spokes.’**

*Phyllotaxis Study – 1,000 Seed Spread: 45*

**°**, 36**°**, and 20**°***Phyllotaxis Study – 1,000 Seed Spread: 8*

**°**, 5**°**, and 2**°**### 1.2 Irrational Numbers

**nal’ it is, the poorer the spread will be (**

*ratio***a number is rational if it can be expressed as the ratio of two integers**). Naturally this implies that a number can be irrational.

**Irrational numbers go on and on forever**, and never repeat.

**an angle defined by a rational number gives you a lousy distribution**, you decide to see what happens when you use an angle defined by an irrational number. Luckily for you, some of the most famous numbers in mathematics are irrational, like

*(pi),*

**π***(Pythagoras’ constant), and*

**√2***(Euler’s number). Dividing your circle by*

**e***(360°/3.14159…) leaves you with an angle of roughly*

**π****114.592°**. Doing the same with

*and*

**√2***leave you with*

**e****254.558°**and

**132.437°**respectively.

*Phyllotaxis Growth Study: Pi, Square Root of 2, and Euler’s Number*

*is doing a much better job than*

**√2***, however the difference between*

**π***and*

**√2***appears far more subtle. Perhaps expanding these sequences will accentuate the differences between them.*

**e***Phyllotaxis Study – 1,000 Seed Spread: Pi, Square Root of 2, and Euler’s Number*

*appears to be producing a slightly better spread. The next question you might ask yourself is then: is it possible to measure the difference between the them? How can you prove which one really is the best? What about Theodorus’, Bernstein’s, or Sierpiński’s constants? There are in fact an infinite amount of mathematical constants to choose from, most of which do not even have names.*

**√2**### 1.3 Quantifiable irrationality

**some irrational numbers are actually more irrational than others**. For example,

*is technically irrational (it does go on and on forever), but it’s not exceptionally irrational. This is because it’s approximated quite well with fractions – it’s pretty close to 3+1⁄7 or 22⁄7. It’s also why if you look at the phyllotaxis pattern of*

**π***, you’ll find that there are 3 spirals that morph into 22 (I have no idea how or why this is. It’s pretty rad though).*

**π***Phyllotaxis Voronoi Diagram – Proximity to Closest Neighbour: Pi*

**colour code each cell based on proximity to nearest seed**. In this case, purple means the nearest neighbour is quite close by, and orange/red means the closet neighbour is relatively far away.

*Phyllotaxis Voronoi Diagram – Proximity to Closest Neighbour: Square Root of 2, and Euler’s Number*

**is in fact more effective than**

*√2**at spreading seeds (*

**e***‘s spread has more purple, blue, and cyan, as well as less yellow (meaning more seeds have less space)). But this begs the question: how then, can you find the most irrational number? Is there even such a thing?*

**e****every single angle between 0° and 360°**to see what happens.

**that the pattern is actually oscillating between spokes and spirals**, which makes total sense! What you’re effectively seeing is every possible

**rational**angle (in order), while hitting the

**irrational**one in between. Unfortunately you’re still not closer to picking the most irrational one, and there are far too many to compare one by one.

### 1.4 Phi

**the most irrational of all**. This number is called

*(a.k.a. the Golden/Divine + Ratio/Mean/Proportion/Number/Section/Cut etc.), and is commonly written as*

**phi***(uppercase), or*

**Φ***(lowercase).*

**φ****the hardest to approximate with fractions**. Any number can be represented in the form of something called a continued fraction. Rational numbers have finite continued fractions, whereas irrational numbers have ones that go on forever. You’ve already learned that

*is not very irrational, as it’s value is approximated pretty well quite early on in its continued fraction (even if it does keep going forever). On the other hand, you can go far further in*

**π***‘s continued fraction and still be quite far from its true value.*

**Φ***Source:*

*Infinite fractions and the most irrational number: [Link]*

*The Golden Ratio (why it is so irrational): [Link]*

*, which gives you an angle of roughly*

**Φ****137.5°**.

*Phyllotaxis Study: The Golden Ratio*

**Seeds always seem to pop up in spaces left behind by old ones, while still leaving space for new ones**.

*Phyllotaxis Voronoi Diagram – Proximity to Closest Neighbour – 1,000 Seed Spread: The Golden Ratio*

*‘s colour coded voronoi/proximity diagram with the one produced using*

**Φ***, or any other irrational number. What you’d find is that*

**√2****However**

*Φ*does do the better job of evenly spreading seeds.*(among with many other irrational numbers) is still pretty good.*

**√2**### 1.5 The Metallic Means & Other Constants

*(even if the range is tiny). The following video plots a range of only*

**Φ****1.8°**, but sees six decent candidates. If the remaining

**358.2°**are anything like this, then there could easily well

**over ten thousand irrational numbers**to choose from.

**new seeds grow from the middle and push everything else outwards**. This also happens to by why

**phyllotaxis is a radial expansion**by nature. In many cases the same is true for the growth of leaves, petals, and more.

*shows up everywhere in nature. Yes, it can be found in lots of plants, and other facets of nature, but not as much as some people mi*

**Φ****there are countless irrational numbers that can define the growth of a plant in the form of spirals**. What you might not know is that there is such as thing as the

*Silver Ratio*, as well as the

*Bronze Ratio*. The truth is that there’s actually

**a vast variety of logarithmic spirals**that can be observed in nature.

*Phyllotaxis Voronoi /Proximity Study: Various Known Mathematical Constants*

*Source:*

*The Silver Ratio & Metallic Means: [Link]*

### 1.6 Why Spirals?

**These patterns facilitate photosynthesis, give leaves maximum exposure to sunlight and rain, help moisture spiral efficiently towards roots, and or maximize exposure for insect pollination**. These are just a few of the ways plants benefit from spiral geometry.

**physical phenomenons**, defined by their surroundings, as well as various

**rules of growth**. They may also be results of natural selection – of long series of

**genetic deviations**that have stood the test of time. For most cases, the answer is likely a combination of these two things.

M.C. Escher said that *we adore chaos because we love to produce order.* Alain Badiou also said that

**mathematics is a rigorous aesthetic**; it tells us nothing of real being, but forges a

**fiction of intelligible consistency**.

## The Nature of Gridshell Form Finding

Grids, shells, and how they, in conjunction with the study of the natural world, can help us develop increasingly complex structural geometry.

### Foreword

This post is **the third installment of sort of trilogy**, after *Shapes, Fractals, Time & the Dimensions they Belong to*, and *Developing Space-Filling Fractals*. While it’s not important to have read either of those posts to follow this one, I do think it adds a certain level of depth and continuity.

Regarding my previous entries, it can be difficult to see how any of this has to do with architecture. In fact I know a few people who think studying fractals is pointless.

Admittedly I often struggle to explain to people what fractals are, let alone how they can influence the way buildings look. However, I believe that this post really sheds light on how **these kinds of studies may directly** **influence and enhance our understanding **(and perhaps even the future)** of our built environment**.

On a separate note, I heard that a member of the architectural academia said “forget biomimicry, it doesn’t work.”

Firstly, I’m pretty sure Frei Otto would be rolling over in his grave.

Secondly, if someone thinks that biomimicry is useless, it’s because they don’t really understand what biomimicry is. And I think the same can be said regarding the study of fractals. They are closely related fields of study, and I wholeheartedly believe they are **fertile grounds for architectural marvels to come**.

# 7.0 Introduction to Shells

As far as classification goes, shells generally fall under the category of **two-dimensional shapes**. They are defined by a curved surface, where the material is thin in the direction perpendicular to the surface. However, assigning a dimension to certain shells can be tricky, since it kinda depends on how zoomed in you are.

A strainer is a good example of this – a two-dimensional gridshell. But if you zoom in, it is comprised of a series of woven, one-dimensional wires. And if you zoom in even further, you see that each wire is of course comprised of a certain volume of metal.

This is a property shared with many fractals, where **their dimension can appear different depending on the level of magnification**. And while there’s an infinite variety of possible shells, they are (for the most part) categorizable.

### 7.1 – Single Curved Surfaces

Analytic geometry is created in relation to Cartesian planes, using mathematical equations and a coordinate systems. Synthetic geometry is essentially free-form geometry (that isn’t defined by coordinates or equations), with the use of a variety of curves called *splines*. The following shapes were created via Synthetic geometry, where we’re calling our splines ‘*u’* and ‘*v*.’

These curves highlight each dimension of the two-dimensional surface. In this case only one of the two ‘curves’ is actually curved, making this shape **developable**. This means that if, for example, it was made of paper, **you could flatten it** completely.

Uniclastic: Conoid (Conical paraboloid)

In this case, one of them grows in length, but the other still remains straight. Since one of the dimensions remains straight, it’s still a single curved surface – **capable of being flattened** without changing the area. Singly curved surfaced may also be referred to as *uniclastic* or *monoclastic*.

### 7.2 – Double Curved Surfaces

These can be classified as *synclastic* or *anticlastic*, and are **non-developable** surfaces. If made of paper, **you could not flatten them** without tearing, folding or crumpling them.

In this case, both curves happen to be identical, but what’s important is that **both dimensions are curving in the same direction**. In this orientation, the dome is also under compression everywhere.

The surface of the earth is double curved, synclastic – non-developable. “The surface of a sphere cannot be represented on a plane without distortion,” a topic explored by Michael Stevens: https://www.youtube.com/watch?v=2lR7s1Y6Zig

**convex parabola along a concave parabola**. It’s internal structure will behave differently, depending on the curvature of the shell relative to the shape. Roof shells have compressive stresses along the convex curvature, and tensile stress along the concave curvature.

**tensile and compressive**potato and wheat-based anticlastic forces. Although I hear that Pringle cans are diabolically heinous to recycle, so they are the enemy.

### 7.3 – Translation vs Revolution

This shape was achieved by sweeping a straight line over a straight path at one end, and another straight path at the other. This will work as long as both rails are not parallel. Although I find this shape perplexing; it’s double curvature that you can create with straight lines, yet non-developable, and I can’t explain it..

**Ruled Surface & Surface of Revolution (Circular Hyperboloid)**

The hyperboloid has been a popular design choice for (especially nuclear cooling) towers. It has **excellent tensile and compressive properties**, and **can be built with straight members**. This makes it relatively cheap and easy to fabricate relative to it’s size and performance.

# 8.0 Geodesic Curves

These are singly curved curves, although that does sound confusing. A simple way to understand what geodesic curves are, is to give them a width. As previously explored, we know that curves can inhabit, and fill, two-dimensional space. However, you can’t really observe the twists and turns of **a shape that has no thickness**.

*The Geometry of Bending*)

A ribbon is essentially a straight line with thickness, and when used to follow the curvature of a surface (as seen above), the result is a plank line. The term ‘plank line’ can be defined as a line with an given width (like a plank of wood) that passes over a surface and **does not curve in the tangential plane,** and whose width is always tangential to the surface.

Since one-dimensional curves do have an orientation in digital modeling, geodesic curves can be described as the one-dimensional counterpart to plank lines, and can benefit from the same definition.

The University of Southern California published a paper exploring the topic further: http://papers.cumincad.org/data/works/att/f197.content.pdf

### 8.1 – Basic Grid Setup

For simplicity, here’s a basic grid set up on a flat plane:

We start by defining two points anywhere along the edge of the surface. Then we find the geodesic curve that joins the pair. Of course it’s trivial in this case, since we’re dealing with a flat surface, but bear with me.

We can keep adding pairs of points along the edge. In this case they’re kept evenly spaced and uncrossing for the sake of a cleaner grid.

After that, it’s simply a matter of playing with density, as well as adding an additional set of antagonistic curves. For practicality, each set share the same set of base points.

He’s an example of a grid where each set has their own set of anchors. While this does show the flexibility of a grid, I think it’s far more advantageous for them to share the same base points.

### 8.2 – Basic Gridshells

The same principle is then applied to a series of surfaces with varied types of curvature.

First comes the shell (a barrel vault in this case), then comes the grid. The symmetrical nature of this surface translates to a pretty regular (and also symmetrical) gridshell. The use of geodesic curves means that these **gridshells can be fabricated using completely straight material**, that only necessitate single curvature.

The same grid used on a conical surface starts to reveal gradual shifts in the geometry’s spacing. **The curves always search for the path of least resistance** in terms of bending.

This case illustrates the nature of geodesic curves quite well. The dome was free-formed with a relatively high degree of curvature. A small change in the location of each anchor point translates to a large change in curvature between them. Each curve looks for **the shortest path between each pair** (without leaving the surface), but only has access to single curvature.

Structurally speaking, things get much more interesting with anticlastic curvature. As previously stated, each member will behave differently based on their relative curvature and orientation in relation to the surface. Depending on their location on a gridshell, **plank lines can act partly in compression and partly in tension**.

#### On another note:

While geodesic curves make it far more practical to fabricate shells, they are not a strict requirement. Using non-geodesic curves just means more time, money, and effort must go into the fabrication of each component. Furthermore, there’s no reason why you can’t use alternate grid patterns. In fact, **you could use any pattern under the sun** – any motif your heart desires (even tessellated puppies.)

Here are just a few of the endless possible pattern. They all have their advantages and disadvantages in terms of fabrication, as well as structural potential.

Gridshells with large amounts of triangulation, such as Buckminster Fuller’s geodesic spheres, typically perform incredibly well structurally. These structure are also highly efficient to manufacture, as their geometry is extremely repetitive.

Gridshells with highly irregular geometry are far more challenging to fabricate. In this case, each and every piece had to be custom made to shape; I imagine it must have costed a lot of money, and been a logistical nightmare. Although it is an exceptionally stunning piece of architecture (and a magnificent feat of engineering.)

### 8.3 – Gridshell Construction

In our case, building these shells is simply a matter of converting the geodesic curves into **planks lines**.

The whole point of using them in the first place is so that we can make them out of straight material that don’t necessitate double curvature. This example is rotating so the shape is easier to understand. It’s grid is also rotating to demonstrate the ease at which you can play with the geometry.

This is what you get by taking those plank lines and laying them flat. In this case both sets are the same because the shell happens to the identicall when flipped. Being able to use straight material means far less labour and waste, which translates to faster, and or cheaper, fabrication.

**An especially crucial aspect of gridshells is the bracing**. Without support in the form of tension ties, cable ties, ring beams, anchors etc., many of these shells can lay flat. This in and of itself is pretty interesting and does lends itself to unique construction challenges and opportunities. This isn’t always the case though, since sometimes it’s the geometry of the joints holding the shape together (like the geodesic spheres.) Sometimes the member are pre-bent (like Pompidou-Metz.) Although pre-bending the timber kinda strikes me as cheating thought.. As if it’s not a genuine, bona fide gridshell.

This is one of the original build method, where the gridshell is assembled flat, lifted into shape, then locked into place.

# 9.0 Form Finding

Having studied the basics makes exploring increasingly elaborate geometry more intuitive. In principal, most of the shells we’ve looked are known to perform well structurally, but there are strategies we can use to focus specifically on **performance optimization**.

### 9.0 – Minimal Surfaces

These are surfaces that are locally area-minimizing – surfaces that have **the smallest possible area for a defined boundary**. They necessarily have zero mean curvature, i.e. the sum of the principal curvatures at each point is zero. Soap bubbles are a great example of this phenomenon.

Hyperbolic Paraboloid Soap Bubble [Source: Serfio Musmeci’s “Froms With No Name” and “Anti-Polyhedrons”]Soap film inherently forms shapes with the least amount of area needed to occupy space – that minimize the amount of material needed to create an enclosure. Surface tension has physical properties that naturally relax the surface’s curvature.

*Kangaroo2*Physics: Surface Tension Simulation

We can simulate surface tension by using a network of curves derived from a given shape. Applying varies material properties to the mesh results in a shape that can behaves like stretchy fabric or soap. **Reducing the rest length of each of these curves** (while keeping the edges anchored) makes them pull on all of their neighbours, resulting in a locally minimal surface.

Here are a few more examples of minimal surfaces you can generate using different frames (although I’d like stress that the possibilities are extremely infinite.) The first and last iterations may or may not count, depending on which of the **many definitions of minimal surfaces** you use, since they deal with pressure. You can read about it in much greater detail here: https://tinyurl.com/ya4jfqb2

Here we have one of the most popular examples of minimal surface geometry in architecture. The shapes of these domes were derived from a series of studies using clustered soap bubbles. The result is a series of enormous shells built with an impressively small amount of material.

Triply periodic minimal surfaces are also a pretty cool thing (surfaces that have a crystalline structure – that tessellate in three dimensions):

### 9.2 – Catenary Structures

Another powerful method of form finding has been **to let gravity dictate the shapes of structures**. In physics and geometry, catenary (derived from the Latin word for chain) curves are found by letting a chain, rope or cable, that has been anchored at both end, hang under its own weight. They look similar to parabolic curves, but perform differently.

*Kangaroo2*Physics: Catenary Model Simulation

A net shown here in magenta has been anchored by the corners, then draped under simulated gravity. This creates a network of hanging curves that, when converted into a surface, and mirrored, ultimately forms a catenary shell. This geometry can be used to generate a gridshell that **performs exceptionally well under compression**, as long as the edges are reinforced and the corners are braced.

While I would be remiss to not mention Antoni Gaudí on the subject of catenary structure, his work doesn’t particularly fall under the category of gridshells. Instead I will proceed to gawk over some of the stunning work by Frei Otto.

Of course his work explored a great deal more than just catenary structures, but he is revered for his beautiful work on gridshells. He, along with the Institute for Lightweight Structures, have truly been pioneers on the front of theoretical structural engineering.

### 9.3 – Biomimicry in Architecture

**the practical application of discoveries derived from the study of the natural world**(i.e. anything that was not caused or made by humans.) In a way, this is the fundamental essence of the scientific method: to learn by observation.

Frei Otto is a fine example of ecological literacy at its finest. **A profound curiosity of the natural world greatly informed his understanding of structural technology**. This was all nourished by countless inquisitive and playful investigations into the realm of physics and biology. He even wrote a series of books on the way that the morphology of bird skulls and spiderwebs could be applied to architecture called Biology and Building. His ‘IL‘ series also highlights a deep admiration of the natural world.

Of course he’s the not the only architect renown their fascination of the universe and its secrets; Buckminster Fuller and Antoni Gaudí were also strong proponents of biomimicry, although they probably didn’t use the term (nor is the term important.)

Gaudí’s studies of nature translated into his use of ruled geometrical forms such as hyperbolic paraboloids, hyperboloids, helicoids etc. He suggested that there is no better structure than the trunk of a tree, or a human skeleton. **Forms in biology tend to be both exceedingly practical and exceptionally beautiful**, and Gaudí spent much of his life discovering how to adapt the language of nature to the structural forms of architecture.

Fractals were also an undisputed recurring theme in his work. This is especially apparent in his most renown piece of work, the *Sagrada Familia*. **The varying complexity of geometry, as well as the particular richness of detail, at different scales is a property uniquely shared with fractal nature.**

Antoni Gaudí and his legacy are unquestionably one of a kind, but I don’t think this is a coincidence. I believe the reality is that **it is exceptionally difficult to peruse biomimicry, and especially fractal geometry, in a meaningful way in relation to architecture**. For this reason there is an abundance of superficial appropriation of organic, and mathematical, structures without a fundamental understanding of their function. At its very worst, an architect’s approach comes down to: ‘I’ll say I got the structure from an animal. Everyone will buy one because of the romance of it.”

That being said, modern day engineers and architects continue to push this envelope, granted with varying levels of success. Although I believe that **there is a certain level of inevitability when it comes to how architecture is influenced by natural forms**. It has been said that, the more efficient structures and systems become, the more they resemble ones found in nature.

Euclid, the father of geometry, believed that nature itself was the physical manifestation of mathematical law. While this may seems like quite a striking statement, what is significant about it is **the relationship between mathematics and the natural world**. I like to think that this statement speaks less about the nature of the world and more about the nature of mathematics – that math is our way of expressing how the universe operates, or at least our attempt to do so. After all, Carl Sagan famously suggested that, in the event of extra terrestrial contact, we might use various universal principles and facts of mathematics and science to communicate.

## Developing Space-Filling Fractals

Delving deeper into the world of mathematics, fractals, geometry, and space-filling curves.

### Foreword

*…first, second, and third dimensions, and why fractals don’t belong to any of them…*“, this post is about documenting my journey as I delve deeper into the subject of

**fractals, mathematics, and geometry**.

**single-curve geometry**. But, keep in mind that I’m only really scratching the surface of what there is to explore.

# 4.0 Classic Space-Filling

**a mapping of a one-dimensional line into two-dimensional space**– a curve that will pass through through every single point in a given space.

**increase its length and curvature**– the amount of space in occupies in two dimensions. And in the mathematical world, where

**a curve technically has no thickness and space is infinitely vast**, this can be done indefinitely.

### 4.1 Early Examples

In 1890, Giuseppe Peano discovered the first of what would be called space-filing curves:

**can keep doing this over and over again**. One would think that if you kept doing this indefinitely,

**this one-dimensional curve would eventually fill all of two-dimensional space**and become a surface. However it can’t, since it technically has no thickness. So it will be as close as you can get to a surface, without actually being a surface (I think.. I’m not that sure..)

### 4.2 Later Examples

**how much space they fill when iterated infinitely**.

**endless different variations**that are possible. Jeffrey Ventrella spent over twenty-five years exploring fractal curves, and has illustrated over 200 hundred of them in his book ‘Brain-Filling Curves, A Fractal Bestiary.’ They are organised according to a taxonomy of fractal curve families, and are shown with a unique genetic code.

**Nicolino’s Quatrefoil**.’ The following was created in

*Rhino*and

*Grasshopper,*in conjunction

*Anemone*.

#### On A Strange Note:

**difficult to categorize**. It is a single, one-dimensional, curve that is ‘bent’ in space following simple, repeating rules. Following the same logic as the original Hilbert Curve, we know that this can be done indefinitely, but this time it is transforming into a volume instead of a surface. (Ignoring the fact that it is represented with a thickness) It is a one-dimensional curve transforming into a three-dimensional volume, but is never a two-dimensional surface? As you keep iterating it, its dimension gradually increases from 1 to eventually 3, but

**will never, ever, ever be 2??**

*…*“

**there is no ‘first’ or ‘second’ dimension.**It’s a bit like pouring three cups of water into a vase and asking someone which cup is the first one. The question doesn’t even make sense…# 5.0 Avant-Garde Space-Filling

**play with the rules used to generate them**. For starters, they do not have to be so mathematically tidy, or geometrically pure. The following curves can be subdivided infinitely, making them true space-filling curves. But, what makes them special is

**the ability to control the space-filling process**, whereas the original space-filling curves offer little to no artistic license.

### 5.1 The Traveling Salesman Problem

**passing only through the ones we choose**. This now becomes a well documented computational problem that has immediate ‘real world’ applications.

**he must make his journey as short as possible**, while of course still visiting every city on his list. His best possible route becomes exponentially more challenging to work out, as even just a handful of cities can generate thousands of permutations.

**a single curve, filling a space in a uniquely controlled fashion**. This method can be used to create single-lined drawings based on points extracted from Voronoi diagrams, a topic explored by Arjan Westerdiep:

### 5.2 Differential Growth

**more organic and less controlled**.

*Rhino*is used with

*Grasshopper*and

*Kangaroo 2*. A curve is drawn on a plain, broken into segments, then gradually increased in length. As long as the curve is not allowed to cross itself (which is achieved here with ‘Collision Spheres’), the result is a curve that is pretty good at

**uniformly filling space**.

*Rhino*&

*Grasshopper – Kangaroo 2 –*Planar

**any two-dimensional surface**(or in three-dimensions (even higher spacial dimensions I guess..)).

*Rhino*&

*Grasshopper – Kangaroo 2 –*NonPlanar

*Rhino*&

*Grasshopper – Kangaroo 2 –*Single-Curved Stanford Rabbit

*Anemone*can be used in conjunction with

*Kangaroo 2*to continuously subdivide the curve as it grows. The result is much smoother, as well as far more organic.

*Rhino*&

*Grasshopper – Kangaroo 2 & Anemone –*Octopus

*Rhino*&

*Grasshopper – Kangaroo 2 & Anemone –*BatmanDuck

# 6.0 Developing Fractal Curves

**Recording the progressive iterations of a space filling curve**allow us to generate what is essentially a space-filling surface. This new surface has the unique quality of being

**able to fill a three-dimensional space**of any shape and size, while being a single surface. It of course also shares the same qualities as its source curves, where it keep increasing in surface area (and can do so indefinitely).

**a two-dimensional surface seamlessly transforming into a three-dimensional volume**.

### 6.1 Dragon’s Feet

**Each iteration is recorded and offset in depth**, all of which inform the generation of a surface that loosely flows through each of them. This was again achieved with

*Rhino*and

*Grasshopper*.

*Dragon’s Feet*.’

### 6.2 Hilbert’s Curtain

*Hilbert’s Curtain*.’

### 6.3 Developing Whale Curve

**this method fills a specific space in a less controlled manner**.

*Kangaroo 2*is used to grow a curve into the shape of a whale. Like before, each iteration is used to inform a single-surface geometry.

## 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.

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.**

With Love,

Maya

## The Amazing Surf

### Project Summary

The Amazing Surf is a complex fractal geometry which ascends toward the light, symbolizing our obsession with reaching for the stars. We use our increasingly digital world to help us extend our reach, but at what point do the shadows we cast reach out above us?

### Physical Description

The shape is inspired by the Amazing surf fractal which is generated by a mathematical formula and visualized in Mandelbulb3D. A visually imposing 25ft tall Ply wood hyperbolic structure, with intricate evolving folded panels. Each folded panel is digitally unrolled into a 2D net and CNC milled, the resultant ply components will be glued to a layer of fabric and folded back to their original 3D shape. This construction technique removes the need for a supporting frame, keeping the complex geometry unobstructed from view. A few panels have been removed at the base to make way for an entry point. Neon strips attached to each panel will produce dramatic light patterns on the surface at night. The installation will orient toward the sunset, where the sun appears at it’s closest.

### Interactivity & Mission

The piece is intended to be used as an impromptu climbing frame, a ladder to ascend burners above the desert and into the stars. Sunlight will bounce off the multi-faceted shapes, creating intricate patterns of light and shadow. Burners are invited to dance in the light shafts and seek shelter in the shadows. As the shape begins to flatten toward the top, the folded panels can be used as armchairs, where vision will be limited to that of the sky and light above; burners can sit and watch as the sky transforms from day to night.

### Philosophy

*“Keep your face always toward the sunshine – and shadows will fall behind you” *

*-Walt Whitman*

As a race we strive to advance, developing new tools and machines to help us in this process. There will come a point in the not too distant future where the machines we have developed to help us will supersede us; we will become so reliant on technology, it will begin to control us. I see the Amazing Surf installation as a juxtaposition to this potential future; on the one hand we are using technology to create built environments that are intricate, beautiful and unique, on the other hand these environments are only attainable through the use of technology. If only we took a moment to look back into the shadows, we could avoid the fate that we are gradually bringing upon ourselves.

## Algorithmic Beetle

The idea that nature can inspire us to create robotic aided designs that have a positive impact on humans is something that fascinates me. Ever since I learned of the Stenocara Beetle’s unique ability to harvest water from the air, I knew I had to produce a design inspired by this. I hope this aspect alone will create some wonderment, questioning and reflection around what I personally deem to be one of the biggest crisis facing the planet: dwindling water supply.

A 13.13.13 feet structure made from light, translucent, flexible polypropylene material. The structure follows a complex geometric form made of Borromean rings and Mobius strip which consist of a single surface winding along three double ellipses and features a unique textured surface throughout.

Assembly always takes place at the base of the project as the sheets are assembled piece by piece using a thermoforming process. These large bumps take on an important structural role in helping form the sheets together. The peaks of the building follow attractor points and also become a unique artistic installation that reflect light in a unique way at night.

## The Wishing Well

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

## Summary

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

## Description

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.

## Ambition

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.

## Philosophy

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.

## The beauty of error

As our studio dipped into the complexity of fractals, it became easy to get lost. Suddenly, these geometries were everywhere. Trees, clouds, coastlines, our own bodies – all examples of fractals. Systems, that are made up of smaller self-simular parts until they reach infinity. Systems, that travel between dimension (more about it here https://wewanttolearn.wordpress.com/2017/10/18/shapes-fractals-time-the-dimensions-they-belong-to/). Wanting to understand these geometries better, I found a Fractal plugin for Grasshopper by albertovalis on Food4Rhino. Playing around with various parameters and GH components gave me interesting shapes, but which seemed far away from an architectural object. I then decided to give it a try and allow the program to randomly select elements by assigning different true/false patterns. Finally, an error happened and it was beautiful.

**Error 101**

**Summary **

Error 101 is a visual representation of relationships between machines and humans. It illustrates what we can learn from each other (what does this mean?). The geometry was generated through a combination of fractal mathematics properties, parametric design tools and finally a computer error, which were all guided by human decisions.

**Physical description**

The artwork will be made out of ‘chaotically’ arranged ribbons that, together, form a tetrahedron. From far, the geometry will look well defined – a triangle or pyramid. As you get closer you notice the complexity. When you experience is physically, you find logic in the chaos. Inside the tetrahedron is a void.

Error 101 will be constructed using bent cross-laminated timber modules that are interlocked together with flitch plates. Their arrangement will allow the object to be self-supporting. The whole piece is 18’x18’x18’ (5.5 metres). Timber strips create the outer shell and are 25 inches wide (635 mm). Their surface will be treated to achieve a smooth finish to protect both the piece and visitors. Light strips will be fixed to edges of timber curves and turned on at night. Assembly will be completed on site.

**Interactivity and Mission**

Error 101 is left open to interpretation – everyone can have their personal take on the piece. Visual and emotional perception of Error 101 may change depending on how close you get to it. It may encourage visitors to think of it, as something that travels between dimensions, which is a liberating allegory of how one thing can become another and how the whole is just a collection of its parts. Just like water can be liquid, ice or vapor, Error 101 can be a triangle, pyramid or chaotic curves.

The structure is climbable and each of many unique curves can be treated as a nest. Occupying empty spaces on different levels may make burners feel like a part of the ‘chaos’, that has a space for everyone. Different curvature can suggest different positioning of a body that may influence visual as well as physical experience. Entering the structure’s core shifts the visitor’s focus away from the idea of a pyramid and allows them to focus on what’s within. Such study erases preconceptions and allows new ideas to be born. This notion is also enhanced with the use of lights at night.

**Philosophy **

Error 101 is a product of human ability to perceive beauty, and computer’s power to process complex mathematics. Its development started with an attempt to try to understand fractal geometries that only became possible to study in the recent years due to the development of computer processing power. A continuous human-computer-human processes that involved both logic and error allowed for the piece to be born.

Error 101 is a common error in Internet browsing. A simple solution to it is clearing browsing history and cache. It may also appear in other spheres of digital world when software or a device is out of date. Burning Man participants are invited to clear their mind, update the ‘software’ and reset their system to become a new advanced version of themselves. The final steps of error 101 creation involved chance and error. The chaos led to something beautiful. We, as humans, can learn from this – learn to let go, to acknowledge and even appreciate mistakes, complexity of the world and our own selves. The geometry of an artwork is essentially a continuous strip that can be unrolled into one flat curve on the ground. This idea of continuity and interdependence is an allegory of a world’s structure.

The closer you get to Error 101, the more you can learn from it. A 2D triangle turns into 3D pyramid and then into a collection of overlaying shapes that are not truly from our dimension. With the speed of the modern world we tend to simplify things, which leads to inability to see details. Visitors are invited to come take time to study and appreciate the complexity of the Error, and to realize the beauty of a whole. From this, they may find that, in fact, all processes in our lives have a similar structure. Chaos generates order and order generates chaos.