Ruga Ribbons is a 14 feet tall permanent sculpture commissioned by Rowland Design for Liberty Fund library that is located in Indianapolis. “Ruga” is the Latin word for making winkles, creases, pleats, and folds. Inspired by the use of winkling and folding in the material as a primary genesis of artistic forms, Ruga Ribbons is a digitally-precise form created from flat sheets of corrugated plastic material that mimics fabric-like ribbons. Suspended in the void of the main stairwell, Ruga Ribbons creates an ever-changing visual experience for people who come to interact with it as they move up and down the staircase.
The building architecture and art displayed in the building, which was designed by Rowland Design, provided the initial inspiration for Folded Light Art’s use of abstract geometry. Folded Light Art then worked with Ignition Art, a fabricator and installer, on solving issues associated with unrolling a couple of hundred unique panels for digital cutting and assembly. These unique panels were then connected in order to create the two ribbons that are intertwined with one another.
See the above for a stop-motion movie, showing the installation-in-progress a wonderful crew from Ignition Arts, a designer/fabricator based in Indianapolis.
Recently I had an opportunity working with two great local artists who have a lot of experiences in public art: Lucas Brown and Brian McCutcheon. As a team, we proposed a public art, entitled Orix, for the Bloomington Trades District. Orix is inspired by naturally occurring origami folds. ‘Ori’ means fold in Japanese and ‘X’ refers to both the seed of the origami folds and the ambiguous, futuristic, and bionic form that results from the folding and distorting process. In nature, folding can be seen everywhere, and for some scientists, nature, at both the macroscopic and microscopic level, ‘folds’ rather than ‘builds.’ Through the manipulation of folds, colors, light, and its conversation with the people who come to experience it, Orix, as a mystical being, actively engages, encloses, protects, and connects the Trades District site and the community.
Light, if rendered into art, must be transmitted and transformed through multiple materials. Non-material light, either emitted or reflected, interplays with a material surface that is folded from thin aluminum sheets and perforated with generative patterns inspired by Indiana limestone fossils. When light interacts with the mountains and valleys of the perforated surface, it is transmitted and reflected through the porosity of the colored aluminum. The folded form anchors to the ground plane through a series of similarly faceted limestone benches.
The design draws from local inspiration at multiple scales. The color palette pulls from the interplay between autumn foliage, sky, and water. The folded form references the order and chaos found in piles of discarded limestone in area quarries, while the porosity is inspired by overlapping crinoid patterns.
The generative seed of Orix is a triply periodic bi-foldable mathematical surface that is the result of a collaboration between IUB mathematician Matthias Weber and artist/designer Jiangmei Wu. The DNA of the surface is an ‘X’ shaped vertex that can be aggregated in three-dimensional space. Through a process of adding, subtracting, folding, and distorting, Orix can be generated and optimized into various potential solutions based on artistic compositions, engineering analyses, and community engagement.
A folding workshop and collaborative ideation session will be used to familiarize community members with the form-making process and to allow participants to provide design input. The artist team will use feedback from the session to help define the final location, form, pattern, and colors.
Our proposal is one of the five finalists selected to present proposals to the city of Bloomington. We are seeking public comments. Feel free to leave us feedback here:
In March 2018, I worked with two contractors and a group of volunteers to move the Synergia installation from the North Christian Church in Columbus, Indiana to the Indiana University Bloomington campus. The volunteers included my former students Tristin Moore and Siqiao Gao, and Bloomington High School South students Dexter Wu-corts and Levy Burdine. The site was the nice and quiet green space between the Simon Hall, Chemistry building, the Lindley Hall, and the Kirkwood Hall. It took us about four days to complete the job. While Synergia was originally designed for the site at the North Christian Church designed by Eero Saarinen, it also fitted well on IUB campus. The white pristine geometry worked in contrast with the Collegiate Gothic style structures in the background. The installation definitely had caught the eyes and curiosities of students and faculty who happened to walk by the area. For one instance, Molecular and Celluar Biochemistry professor Adam Zlotnick took his entire class to see the pavilion as Synergia’s cellular structure resembled the viruses they had been study. For anther instance, biology student Ari Williams, found peace and serenity in the pavilion while playing some guitar. He was amazed at how the cellular structure enhanced the acoustic experience in the outdoor on windy spring days (video above, shot with a iphone).
Installed on the site of Eero Saarinen’s North Christian Church in Columbus, Synergia is a public pavilion by the students of the IU School of Art, Architecture + Design in Bloomington, who were directed by me in my D475 design studio in Spring 2017 and in the summer of 2017 as volunteers. The graduate students of the IUPUI School of Engineering and Technology in Indianapolis, directed by Professor Andre Tovar and myself in our ME59700 course in Spring 2017 on designing complex origami-inspired structures, also participated at this project by conducting the structural analysis and optimization. Synergia is open to the public at Exhibit Columbus between August 26th and November 26th, 2017 in Columbus, Indiana.
Synergia embodies the reality of life, community, and harmony through its simple parts working together to create a complex and light-filled space. Sitting next to Eero Saarinen’s North Christian Church in Columbus, Indiana, the translucent quality of the light found in Synergia in the daylight alludes to the hushed secondary light radiating from the perimeter of Saarinen’s structure. Colored LEDs further illuminate Synergia at night, creating an ephemeral atmosphere as Saarinen’s concrete façade serves as a backdrop. The interplay of light and shadow, acting in conjunction with the movements of compression and expansion, creates a space that fosters peace and reflection.
The generative seed for Synergia is a bisymmetric space-filling polyhedron that tessellates the space when stacked in interlocking layers. Over five hundred of the polyhedrons, measuring about two to three feet each, work together to form elongated hexagonal units. This hexagon geometry echoes the overall geometry of Saarinen’s mid-century modernist architecture and at the same time serves as the building block of a complex and diverse structure in a way that is similar to the development of biological forms, soap bubbles, and crystal patterns.
Synergia is constructed of translucent corrugated plastic sheets that are made from recycled plastic and are one hundred percent recyclable. The plastic boards were laser cut at Noblitt Fabricating in Columbus Indiana and then hand folded like origami to form each of the structural units in the studio at IU. With a thinkness of about 4mm, the plastic corrugated boards are super lightweight and can be easily bended along the flutes. The simple origami folds add significant structural strength to the otherwise light and flexible plastic sheet material. Furthermore, when connected together to form the overall installation, the folded hinges produce an interconnected and interlocking self-supporting space lattice that is light and yet structurally sound, eliminating the need for additional framing and assemblage and thus minimizing the material wastes.
Students scoring the plastic board using a template by hand..
Special thanks: I would like to thank many individuals, including my colleagues at IU SoAAD (Kelly Wilson, Marleen Newman, Peg Faimon, Ryan Mandell, Tai Rogers), Exhibit Columbus members (Janice Shimizu, Josh Coggeshall, Anne Surak and Richard McCoy), community members of Columbus (Tricia Gilson, Jerry Karr, and “Bill” who lives near the North Christian Church and who is helping to ensure that the lights are on every night), and my most dedicated students Tristin Moore and Guanyao Li. Thank you all very much for helping with this project during its ideation, fabrication, construction, and installation process.
Chromatic Points of Light is a proposal for a public art installation. The project is based on my interests in form finding through computational physical simulation. The main tool used is Kangaroo, a plug-in for Rhinoceros that work within Grasshopper interface. Kangaroo is developed by Daniel Piker, who used to work at the Specialist Modelling Group (SMG) at Foster + Partners. Essentially, Kangaroo is a collection of algorithms that simulates certain aspects of the behavior of real-world materials and objects, enabling geometric forms to be shaped by material properties and applied physical forces such as spring forces and gravity forces.
The minimal surface found in Chromatic Points of Light is the result of simulations of spring forces on a mesh surface. The main material proposed for this tensile structure is some type of architectural fabric. Potential fabrics might includ vinyl coated polyester (PVC), Teflon coated fiberglass (PTFE), or HDPE, a high density polyethylene mesh. In addition, digitally controlled LEDs is proposed to wash the canvas of this architectural mesh with ephemeral and changing patterns of light.
Commissioned by the city of Bloomignton, Indiana, (C)olumn project realizes complex data visualization in the form of public sculpture through a participatory process that uses of social media and web technologies. The project is a collaboration with my colleague Jon Racek.
Participatory public art is an approach to making art in which the public are engaged directly in the creative process, changing their roles from being merely viewers to creators. Participatory art challenges the notion that professional classes of artists/designers are dominating the form-making process and that the public are the passive observers. But how can the public be effectively engaged in the form-making process, particularly in the making of a monolithic-like gateway sculpture? Can the social media and web technologies mediate the public’s direct participation? (C)olumn project intends to understand the relationship between public participation, data visualization and form making in public art.
Approximately 11 feet in height and 5 feet in width, (C)olumn is a tapered “C”- shaped architectural room with myriads of words about Bloomington cutout and inscribed onto steel panels. The “C” in the name “(C)olumn” represents the values of connectivity, culture and community. The design is meant to act as an “urban room”, an architectural folly that allows passers-by to stop their busy lives, stop, enter the (C)olumn site and look in a variety of ways.
Bloomington public was directly involved in order to come up with a visual concept that truly represented Bloomington community, a college town with a population of roughly 80,000. During a three-month period, Jon and I set up web interfaces to solicit inputs from Bloomington community through social media sites. Answer Garden, a free web 2.0 tool, was used to collect the words from the residents anonymously and posted their words instantaneously. These words were then displayed in a word cloud format in which the size of each input word indicated its popularity and frequency among Bloomington residents. Hundreds of residents submitted inputs in Answer Garden. The final word cloud, consisted of roughly three hundred unique words ranging from words like “Over-priced” to “Basketball,” were collected at the end of the three-month period and were used as the base for a final design that was produced in CAD programs such as Rhino. This finished word cloud design, was then sent to a local sheet fabricator to be laser cut onto six large ¼ inch thick steel panels. These large panels were then rolled into the three dimensional forms and were welded into one structure.
Sitting quietly next to the historic park and illuminated at night, (C)olumn is brimming with the energy of vibrant night scenes of the nearby BEAD district, full of words from the people of the community.