Forever shifting, changing and unfolding: The Fabric of Knowledge

The Fabric of Knowledge
aluminum, stainless steel
25 x 50 x 6′
Colorado State University
Behavioral Sciences Building – South Atrium
2011

(additional images)

Colorado artist Chris Weed also installed a work in the north atrium of same building:

After ten weeks of back-to-back fourteen hour days, the sculpture for the Colorado State University College of Business Rockwell West atrium was installed on March 15th. A very short period of time to acquire and assemble materials and parts! I will continue to update this posting as I recall details of fabrication and installation . . .

Fabrication

Below is a drawing of all parts related to 1 Large, 1 Medium and 1 Small configuration. The sculpture is composed of six major sections, 2 of each size, requiring 174 interconnecting triads.

Opting for a triad constructed of five parts (three legs sandwiched between two braces), I developed actual size vector drawings in Freehand and sub-contracted for water jet cutting of 870 sheet aluminum parts . . . plus a few extras.

Unable to locate mirror finish sheet aluminum in the four required thicknesses, parts were first cut from mill finish aluminum and then polished by Kevin Biggs / Dun-Rite Deburring in Denver, CO.

Machined aluminum standoffs for each of the triads were ordered. (Took about three weeks for my machinist, Steve Schlagel, to make the 1600+ parts.)

Stainless steel rod was obtained from two different suppliers . . . few suppliers handle 3/32 rod used in my smallest triad. The rods for each leg of each size triad are unique lengths. In addition, some are unthreaded and some, to connect with another triad, are threaded. Total rods cut by my machinist = 522. Once cut, both ends of each were chamfered, placed in a vise and bent.

pile of assembled triads:

The threaded stainless rod of the triad on the left connected to the center of another triad:

Each size triad required glass tiles of appropriate size . . . the largest being 3×6 inches and the smallest 2×2 inches. Set collars were glued to one face of each tile using a special glass-to-metal adhesive. One face of the glass is shinny and one is matte. Since, as part of my structural evaluation, I fully assembled one small, medium and large configuration, I was also able to determine the best orientation of each piece of glass. . . noting if the set collar was to be bonded to the shinny or matte face (522 of them). Collar set screws were removed prior to glueing and reinserted after adhesive was cured.

So that I could code the size, connectivity and identity of each triad, I made drawings based on the structure of the three models built in the development stage.

Most triad-to-triad connections are secured with nuts and lock washers but the core connections are welded:

To test structural integrity and to verify balance, one of the large configurations was assembled.

The orientation of each point of connection was labeled and the structure was subsequently disassembled for transportation to site.

Primarily to confirm its weight, one of the small configurations was completely assembled.

The math had been good. The actual thing weighed only a couple of pounds more than anticipated.

This was the most complex installation that I have completed (7 days). Installation notes found in Part 3.

Part 1

Class 1 Lever

the fulcrum is between the load and the effort — as when balancing a scale or seesaw or using a crowbar or scissors

insufficient effort to balance the load

effort and load balance

effort and load balance with fulcrum moved closer to load

crowbar

scissors - double lever

air movement (effort) against the sail (which is also a load) rotates a lever as well as the balanced loads

balanced, a class 1 lever is optimized to capture and transfer the wind’s effort

air movement against the sail (effort) rotates a lever lifting the load

Class 2 Lever

the load is between the fulcrum and the effort — as when lifting a wheelbarrow or using a nutcracker or opening a door

as the load moves father from the fulcrum, the amount of effort needed to move the load increases

door

nutcracker - double lever

air movement (effort) causes the sail (which is also the load) to rotate

effort used to lift the load through a class 2 lever system

Class 3 Lever

the effort is between the fulcrum and the load — as when swinging a bat or hammer or using tweezers

as the effort moves closer to the fulcrum the amount of effort needed to move the load increases

bat

tweezers - double lever

air movement (effort) causes the sail (which is also the load) to spin and wobble

effort used to lift the load through a class 3 lever system

A river stone shape with bent ends . . .

is common in my kinetic sculptures. The bent ends catch air movement as does the small sail that is made of translucent polycarbonate. This whole assembly is composed of two lever systems.

1 – The stone shape is both a load and a sail as are the smaller sail and its lever. This simple machine’s fulcrum has been placed at the balance point. Each of the sails collect effort causing movement.

2 – The small sail (also a stone shape) is a load and the only collector of effort. The portion of the lever that extends to the left of the fulcrum, becomes a load. Again, the fulcrum has been placed at the balance point.

Many of my monumental works are built for a specific architectural space. Often I receive the architect’s building plans and we agree on an appropriate height, width, and depth for the sculpture — before the building’s construction has started. A drawing that describes how the new sculpture will look is the result of this first and most creative phase. 1

Next, I make detailed drawings of every part, considering how its size, weight, and material thickness will relate to other parts in the sculpture. 2

Shapes are cut from sheets of aluminum. Many shapes are then folded and painted. Stainless steel cable, tube or rod are cut and holes are drilled. From this kit of parts, nut and bolt assembly begins. My experience with the materials that I use guides my creative thinking in that first drawing. Yet, assembly often reveals issues that I did not anticipate. So, adjustments are made in a way that does not alter the basic design. For example, if a section does not quite balance as intended, if the lever is a tube, I can insert additional weight from one end or the other or I can shift the position of the lever in relation to the fulcrum.

The sculpture is then completely disassembled and packed for shipping. On site it is reassembled, and for the fist time, I see the entire hanging sculpture. 3

]]> http://melristau.com/blog/leverage-in-the-mechanics-of-kinetic-sculpture-2/feed/ 3 http://melristau.com/blog/calders-mobiles-stabiles/ http://melristau.com/blog/calders-mobiles-stabiles/#comments Fri, 08 Jan 2010 23:27:51 +0000 admin http://melristau.com/blog/?p=254 Recently, i was asked to contribute to a Girl Scout troop’s education activity on mobiles and stabiles.

I retrieved an abandoned mobile kit project that seems perfect for 10 and 11 year old girls. Colorful on one side, the back side of the parts have been left white for a bit of personalization with writing and/or coloring.

Three colored shapes snap onto arm ends (dot of glue optional). String is cut, tied and adjusted to approximate length, connecting the five sections. For this troop, twelve color prints were mounted on 8-1/2 x 11″ elite flute corrugated cardboard and laser cut. After a short discussion on levers and balance, parts can be punched out and assembled in perhaps half an hour.

drawing of assembled mobile

When viewing Alexander Calder’s stabiles, one might note that he was doing with flat planes as he had done with drawing . . . He considered his work with wire to be drawing in three dimensional space:

. . . and his stabiles to be the unfolding of flat sheet materials into three dimensional space. This is evident in his many models.

image from: Calder, From Model to Monument, Marc Glimcher, 2006, PaceWildenstein p. 17, (original sheet metal maquette, 20 x 18 x 14″)

The .pdf (below) is an approximation of the model (above) and is intended for printing on paper + mounting on chipboard and then cutting -or- laser cutting from chipboard or other foldable sheet material. The parts can be fastened together with a folded piece of wire (as above) or eyelets, small nut & bolt or even glue.

download .pdf

Beginning with the model folded flat, it is unfolded to stand. This simple process demonstrates the kind of transformations Alexander Calder was playing with as he developed his stabiles.

The concept for this work began as i learned of the school’s unique education of students for outreach to communities and individuals in third world countries — Paul Polak’s Out of Poverty being a significant influence. The character of such a mission suggested a welcoming, interconnected life form, a spirit of growth, and visual emphasis on connecting points (the college’s social mission). An organic model of business interactions both within a vibrant student community and within global business communities and blooming with color and transparency at points of contact, the concept seemed to offer an appropriate visual narrative.

Investigating the concept’s feasibility, i designed a triangular branching motif of a somewhat irregular geometry (all branch lengths subtly different and radiating at angles other than 120º) and experimented with configurations through paper modeling.

Satisfied that the structures had more an affinity with plants than cold geometry, i built a digital model to visualize —primarily for myself— how colored glass might impact the overall aesthetic.

Taking another step toward physicality, a maquette was built to demonstrate an approximation of the general materials/structural aesthetic (for committee approval):

With a general plan for the sculpture’s structure, materials and assembly, i developed drawings of the atrium space — exploring alternatives for overall complexity and scaling and arrived at an integration of six generally spherical configurations to hang in pairs from three drop points.

Additional drawings identified the sizes of  four branch sets and estimates of material dimensions and weights for each.

Drawing of machined parts per branch set: four aluminum sheet parts, 9 aluminum rod-to-sheet standoff connectors, three bent stainless steel rods with threaded ends:

Acrylic models built to further explore degree and type of branching needed to realize generally spherical structures of 4, 5.5 and 7 foot diameters.

What will each section weigh and how to predict structural integrity of each of the 6 sections? The maximum load of the skylight’s cross beam is 2000 lb.s . . .

With my preliminary, proposed measurements in hand, an engineer is now calculating stresses and loads and will specify final measurements for sheet materials, stainless rod diameters, connectors as well as guidelines for branching patterns.

Drawings of cantilevered branching patterns used within the plastic models:

Once i have the engineer’s calculations, i can refine each of the six sections, finalizing an inventory of parts and begin fabrication.

The mobiles six sections are of three sizes (two of each size: small medium large). Movies of the structural models hint at the change that will occur with rotation . . . In the finished sculpture, colored glass + reflective aluminum + sections rotating in front of and behind other sections (group rotation), will add even greater visual interest.

Additional posts on fabrication, assembly and installation:

Part 2

rope-twirling cowboy from an X-Acto Suji Wire Art Kit and two twig figures, beads and wire, simple bead and wire bug (top right), two bugs with greater detailing (bottom right)

Examples of bugs that i made several years ago:

2003 gallery of bugs showing a diverse range of bead types and detailing

For me the essence of a bug consists of  the more mammalian four legs + head, spine, and torso.  The spines/backbones of my first bugs were rib bones of small animals that i found for sale at the Santa Fe flea market. However, spines can be made in many ways and as part of my updated notes, i show spines made from tree and shrub cuttings.

Interested in making a bug of your own? I’ve posted notes on tools, materials, and the construction process that i use: Stick, Bead and Wire Bugs.

I enjoy seeing bugs that other people make. Send photos!

While reading David Robert’s, In Search of the Old Ones, i discovered the research and creative work of Clint Swink.
Clint’s Messages from the High Desert, The Art, Archeology and Renaissance of Mesa Verde Pottery, describes through hundreds of drawings and photos the process knowledge needed to replicate Anasazi black-on-white and corrugated pottery.

Thinking of Mimbres black-on-white drawings on clay brings to mind David Brigman’s terra sigillata and underglazed earthenware pieces. Neolithic Persian and Mesopotamian pottery also influence David’s work. Google Images for “Neolithic pottery.”

David Brigman, shallow bowl drawing on terra sigllata, 7" dia.

David Brigman, shallow bowl drawing on terra sigllata, 7" dia.

David Brigman, platter drawing underglazed earthenware, 17.5" dia.

Years ago i experimented with incorporating figurative painted earthenware elements into small sculptures. Revisiting those materials with Swink’s helpful book in hand is of keen interest . . . painting with yucca brushes, different clay body and slip + trench kiln firing . . .

black-on-white earthenware heads

A refresher course in “humble mud” is appealing. Looking forward to a Swink workshop, re-grounding and de-digitizing my synapse.