A Public Aerial Kinetic Sculpture Commission / Part 2

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 . . .

Communities of Light - detail

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.

5 sheet aluminum parts compose the foundation of single triad

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.

The longest leg of each triad was sanded to 600 grit and sprayed with matte lacquer.
Stainless steel screws, nuts, washers, lock washers and set screws of various sizes were purchased.

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

fabrication drawings for machining of aluminum standoffs
9 standoffs of two lengths (6 outer longer than 3 inner)

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.

bent stainless rods some threaded outer end (connection to another triad)

pile of assembled triads:

pile of triads

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

first inspection of two connected triads

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.

three pieces of .75" thick glass
set collars bonded to either shinny or matte face of glass

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.

maps of triad interconnections

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

two welded connections

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.

largest configuration assembled for structural examination

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

small configuration assembled for structural integrity evaluation

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

Examples of Leverage in Kinetic Sculpture

A kinetic sculpture is an artwork designed to move. Having mechanical advantage, levers can make it easier to get things moving. Movement can be achieved by capturing environmental energy (effort) like wind or water or by employing effort generating devices like motors or muscle wires. The presence of effort can result in movement that rearranges [...]

Calder’s Mobiles & Stabiles

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 [...]

A Public Aerial Kinetic Sculpture Commission

With an installation date of mid-March 2010, i am about to begin fabrication of an aerial kinetic sculpture for the new Colorado State University Rockwell Business building atrium.
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 [...]

Simple Pleasures

Originally appearing as The Lightbug in Beadwork magazine (June/July 2003), this posting describes how to make a simple figure from a twig, wire and beads—a four legged “bug”—inspired by a renewed appreciation for the simple materials and crafts of my youth. By showing how to replicate a basic figure, my intent is to provide a springboard for more creative interpretations [...]

Humble Mud

Oh to work with simple materials and processes!
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 [...]