Michael Hansmeyer, Subdivided Cube 4, Computational Architecture 2009. (Note from blogger: watch the pores change.)
Michael Hansmeyer and the Fourth Industrial Revolution
The Fourth Industrial Revolution is the fourth major industrial era since the initial Industrial Revolution of the 18th century. It is characterized by a fusion of technologies that is blurring the lines between the physical, digital, and biological spheres. weforum.org
Sounds like fusion in cuisine and music, yes? Aspects of globalism, compass points converging. The tendency in modern practice to both hyper-focus and intermingle like a red sweatshirt in a laundry of white. In hyperfocus a medical doctor becomes an internist becomes a cardiologist becomes an expert on heart arrhythmia. The push-back tendency is for artists to work fruitfully with doctors, doctors to probe brains with physicists, physicists and musicians to learn things together.
You may think that the parer-downers have difficult work and complexifiers have it easy. Throw in a bunch of newts, some old silver dollars and onion soup mix. Complexity! We need to understand that mindless complexifying can be done by a dog undigging bones in a nice lawn. Don’t even need a human. But brilliant complexifying takes imagination and rigor.
Michael Hansmeyer, Computational Architect, is among the elite who think about reasons to wantonly complexify rather than to simplify. This unique corps of thinkers buck the trend of paring off the dross to find something pristine and spit-shined inside.
He has taken a platonic solid (think sphere > cube > pyramid >…dodecahedron) and designed a way to create thousands of unique versions. (The Hansmeyer site says if you have 3d glasses the forms will come out to meet you.)
Hansmeyer’s goal in complexifying is toward the discovery of brand new and hitherto unknown forms. Often their geometry is more complex than humans have been able to conceive before computers. Hence the computational in his job description. In a TED talk the artist shows a diagonal fold in a sheet of paper. His Platonic Solids and the elaborating columns that followed grow and morph based on that one fold. Innies and outies pushed to a paroxysm of expression.
All of the forms shown are generated using the same single process, Only the variables that control the process’ division operation are allowed to change. This single process affects both the form’s topography and topology. It influences attributes such as the degree of branching, porosity, and fractalization – just to name a few. Hansmeyer, Platonic Solids.
Origami, the ancient Japanese art of paper folding, has become a hot topic in mathematics and engineering. The father and son duo at MIT, Eric Demaine and his father Martin have famously pushed the study forward. “It’s very cool to make something that doesn’t exist,” says Martin.
His fabrication information is well-sifted. You can learn plenty in a few short paragraphs.
Of Muquarnas (above): To articulate the the tiles of the original design, 15,000 individual hollow aluminum tubes were inserted into the tiers and glued into place. Specific tubes were custom fabricated in order to minimize their weight. Muqarnas, Fabrication
This is a mind that starts at computers and gets from algorithms to totally unique computer-controlled manufacturing. Abstract digits, touchable renditions. Imagination assisted by computers works out the practicalities of design. Plus people recognize the strangeness and bend their curiosity to understand.
Once the math has had its say the architect in Hansmeyer takes over to devise a visual form and make the airy math palpable. One thing I love about his work (I was a museum guard once) is that he invites viewers to touch. In one installation of columns each pillar was up-lighted in a small circle so that those who asked questions with their hands reached into a spotlighted space. The human encounters with his strange work seem another layer in his strategy.
He obviously experiments with materials and architectural problems like gravity and force flows.
And architects need a crew of experts — with forms that no one has created before, they need wised-up experience.
You say to brick, “What do you want, brick?” … Brick says to you, “I like an arch.”
If you say to the brick, “Arches are expensive, I can use a concrete lintel over an opening.
What do you think of that brick?” … Brick says, “I like an arch.”
The question today is: What would a grain of sand like to be?
(Hansmeyer on beginning a new project that will be of cast sandstone.)
There’s a wealth of information in multiple formats, but sly little arrows reveal other whole troves. Like a clever mirror of complexity as a phenomenon, the volume keeps on expanding.
The variety of Hansmeyer’s endeavors can be found on his Projects page. You see his scope, from columns of evolving complexity to an encircling room of lace to a stageset for the Zauberflöte.
• Meaty quote about Eric and Martin Demaine, the MIT origamists:
[The Demaines]…built the piece by starting with a three-dimensional hexagon they folded from paper. They then inputted the shape into a computer and virtually erased all of the paper, so that only the creases remained. Next, they turned back to the tangible and created a dynamic piece of art, using aluminum rods, locked together at the joints with plastic spheres, to represent each crease.
“We took something real and virtualized it, and then made it real again,” says Martin.
Yes, we say.