1. University of California, Berkeley
Florida 1999
CS_39
Sculpture Generator I
Carlo H. Séquin
University of California, Berkeley
In collaboration with
Brent Collins
Gower, Missouri

2. Brent Collins “Genesis” – Brent Collins at BRIDGES 2000 Florida 1999
Brent Collins is a professional artist living in Gower, MO, out in the nowhere, about half an hour north of Kansas City.
He has been carving abstract geometrical structures from solid wood blocks or from laminated assemblies for several decades. Many of his sculptures comprise minimal surfaces that form an intricate composition of tunnels and saddles.
“Genesis” – Brent Collins at BRIDGES 2000

3. Brent Collins: Early Sculptures
Granada 2003
Brent Collins: Early Sculptures
Here are some examples.
All photos by Phillip Geller

4. Collins’ Abstract Geometric Art
Granada 2003
Collins’ Abstract Geometric Art
Beautiful symmetries
Graceful balance of the saddle surfaces
Superb craftsmanship
Intriguing run of the edges
What type of knot is formed ?
Mystery: one-sided or two-sided ?
==> Focus on “Chains of Saddles”
This is what appeals to me in Collins’ work: . . .

5. Brent Collins: Stacked Saddles
Granada 2003
Brent Collins: Stacked Saddles
Brent Collins has no mathematical training. He uses his intuition as well as rulers and compasses.
These are the kinds of sculptures that he created before we made contact.
One motif that stands out, are the intricate compositions of tunnels and saddles; –often the surfaces in between look like soap film membranes.
All photos by Phillip Geller

6. Leonardo -- Special Issue
Granada 2003
Leonardo -- Special Issue
On Knot-Spanning Surfaces: Illustrated Essay on Topological Art
With an Artist’s Statement by Brent Collins
In 1992 Leonardo published this article …
I did not see it until early 1994.
George Francis is a professor at the University of Illinois. He pointed out the relationship to Minimal Surfaces…
George K. Francis with Brent Collins

7. The Math in Collins’ Sculptures
Granada 2003
The Math in Collins’ Sculptures
Collins works with rulers and compasses; any math in his early work is intuitive.
He is inspired by nature, e.g. soap films (= minimal area surfaces).
Prof. George Francis: “Connection to math. Minimal Surfaces!”
Brent is inspired by what he sees in nature, for instance soap films forming minimal surfaces.
George Francis is a mathematics professor at the University of Illinois. He was the first one to notice the connections between Collins’ sculptures and some well defined mathematical surfaces, so called Minimal Surfaces.

8. Scherk’s 2nd Minimal Surface (1834)
ISAMA 2004
Scherk’s 2nd Minimal Surface (1834)
In particular, with the classical minimal surface discovered by Scherk in This surface is formed by two planes intersecting in the z-axis, where the intersection line is then replaced by an infinite series of crisscrossing tunnels with smooth saddles between them.
Only the central portion of this surface is artistically interesting. The four flanges go off to infinity and become flat and rather boring. This central part I call a “Scherk Tower”.
The central part of this is a “Scherk Tower.”

9. Generalizing the “Scherk Tower”
Granada 2003
Generalizing the “Scherk Tower”
Normal
“biped”
saddles
In the simplest case, it is composed of simple biped saddles, as you would find on the back of a horse;
But the Scherk tower can be generalized to saddles of higher order, for instance 3rd-order “monkey saddles” with 3 valleys going down (one for the monkey’s tail) and 3 ridges going up between them.
Generalization to
higher-order saddles (“Monkey saddle”)
“Scherk Tower”

10. “Scherk-Collins Toroids”
Granada 2003
Closing the Loop
straight or
twisted
Now we can take such a Scherk tower and bend it into a toroidal loop. If we close it into a straight loop without any twisting, we get the result at top right; – it is nice and symmetrical, but somewhat dull.
But if we give the tower a longitudinal twist of 180 degrees before we close the loop, as shown on the left, we obtain a less symmetric – but, I believe, more interesting, more dynamic result, shown at the bottom right.
“Scherk Tower”
“Scherk-Collins Toroids”

11. Brent Collins: Hyperbolic Hexagon (1993)
Granada 2003
Brent Collins: Hyperbolic Hexagon (1993)
Six balanced saddles in a circular ring.
Inspired by the shape of a soap film suspended in a wire frame.
= Curved “Scherk Tower” (with 6 stories).
Here is the specific picture that prompted me to pick up the phone and call Brent Collins out of the blue. -- Brent called this wood sculpture “Hyperbolic Hexagon.” Because of the article by George Francis, we had a common language to discuss this shape over the phone, where we could not see each other or point to any jointly visible object. We both readily understood this as a 6-story Scherk tower closed into a toroidal loop.
In this first phone conversation, we discussed what might happen if we added a 7th story into this ring, or gave the Scherk tower an initial twist. Under some circumstances (i.e. when there are an odd number of saddles) that surface then becomes single-sided, like a Moebius band, and the edges of the sculpture would form complicated knots. -- This was all intellectually challenging, but how do we know, whether these geometries make beautiful sculptures that are worth 3 months of Collins’ time to carve them?

12. Brent Collins’ Prototyping Process
Granada 2003
Brent Collins’ Prototyping Process
This is the kind of models that Brent normally builds before committing 2-3 months of carving such a shape from solid wood. He makes some kind of skeletal frame – here made from embroidery-hoops. Then he fleshes out the skeleton with wire meshing and beeswax, shown in black on the right.
But this is time consuming and may take a couple of weeks for such a model. At that time, we had phone conversations about once a week --, and every time we came up with more new and intriguing ideas. So there was no way that Brent could keep up with making models for all these ideas.
Armature for the "Hyperbolic Heptagon"
Mockup for the "Saddle Trefoil"
Time-consuming ! (1-3 weeks)

13. Collins’ Fabrication Process
Granada 2003
Collins’ Fabrication Process
Building the final sculpture (2-3 months):
Take measurements from mock-up model, transfer parallel contours to 1” boards.
Roughly precut boards, leaving registration marks and contiguous pillars for gluing boards together.
Stack and glue together precut boards, remove auxiliary struts.
Fine-tune overall shape, sand and polish the surface.
 A big investment of effort !
This is how Brent builds his larger, more complicated wooden sculptures. He first makes a detailed beeswax model …

14. Collins’ Fabrication Process
Granada 2003
Collins’ Fabrication Process
Overall this approach can bee seen as some kind of “manual layered manufacturing.” He constructs cross sections at regular intervals and cuts them out of 1” thick wood boards, and those pieces are then put together with industrial strength glue. Then the rough shape is smoothed out, and on that surface he then draws the next level of detail (as the protuberances mimicking solar flares, here) and then carves it out by hand.
Detailed pattern cut from main shape
Layered laminated main shape
Example: “Vox Solis”

15. The Need for a Prototyping Tool
Granada 2003
The Need for a Prototyping Tool
Intriguing Conceptual Idea:
“Turn the Hyperbolic Hexagon into a Heptagon”
Goals: Give it more variety;
Make different hole-angles visible from one direction by adding twist before closure.
Results: Surface becomes single-sided;
The four separate edges join into a torus knot.
Question: Will it look beautiful ?
What can we do if it doesn’ t ?
Perhaps more twist can save it ?
What is the best size for the holes, the flanges ?
How can we find out quickly ?
We needed a quicker way to find out whether a particular idea would lead to a good sculpture.

16. “Sculpture Generator I”
Granada 2003
“Sculpture Generator I”
Prototyping tool for Scherk-Collins Saddle-Chains.
Slider control for this one shape-family,
Control of about 12 parameters.
Main goal: Speed for interactive editing.
Geometry part is about 5,000 lines of C;
10,000 lines for display & user interface.
So, with a couple of undergrad students, I embarked on writing such a program.

17. The Basic Element Scherk’s 2nd minimal surface
Granada 2003
The Basic Element
The basic element was the saddle in the center of Scherk’s 2nd minimal surface.
To make a sculpture, it had to be thickened and cut off at some distance from the z-axis.
This “Scherk-tower” could the be twisted …
Scherk’s 2nd minimal surface
3-story tower, trimmed, thickened
180 degrees of twist added

18. Toroidal Warp into Collins Ring
Granada 2003
Toroidal Warp into Collins Ring
… and / or bent into an arch or a closed loop.
8-story tower;
warped into a ring;
360º twist added.

19. Granada 2003
A Plethora of Shapes
Even with just a few saddles, a wide range of elegant shapes resulted.
Bottom right shows again the structure of the “Hyperbolic Hexagon.”

20. Edge Treatment square, flat cut semi-circular bulging out
Granada 2003
Edge Treatment
Edges are important features in these sculptures. Their treatment can influence the look and feel of the art work.
square, flat cut
semi-circular
bulging out

21. Embellishment of Basic Shape
Granada 2003
Embellishment of Basic Shape
Add color, texture, background to make the display in the program more interesting.
color
texture
background

22. Sculpture Generator 1, GUI
Granada 2003
Sculpture Generator 1, GUI
This was a very special-purpose computer program. The only thing that it could model was such a chain of saddles and tunnels: I called it somewhat pompously: “Sculpture Generator 1”. Here you see its GUI. About 10 sliders define the geometry of this shape: the order and number of saddles, and their height; -- the width and thickness of the flanges, and the treatment of the edges: squarely cut off or rounded; -- and, most importantly, the amount of twisting and bending of the whole structure: For instance you can bend the Scherk tower into a full circle -- or just into an arch, as shown here.
This program was further developed in 1996, when I spent the Fall semester at UNC Chapel Hill on a sabbatical.

23. Some of the Parameters in “SG1”
This slide shows in more detail some of the parameters used in this special-purpose program.
With this program I could now generate very quickly a whole lot of intriguing shapes …

24. Generated Scherk-Collins Shapes
On the left is an emulation of Brent’s “Hyperbolic Hexagon”; on the right is a variation that I call the “Minimal Trefoil”; and this was my own first optimized design.
One key issue in programming this was: What should be the internal representation of these curvy shapes?
Brent’s shapes were not truly minimal surfaces, and I wanted to keep good control over the resulting shapes.

25. Base Geometry: One “Scherk Story”
ISAMA 2004
Base Geometry: One “Scherk Story”
Taylored hyperbolas, hugging a circle
The solution I chose was to model half a saddle as a stack of hyperbolas with varying curvature, whose heads always lie on the circular profile of a round tunnel shown in red. The hyperbolas are connected with triangle strips. This simple piece of geometry is defined just once, and is then replicated many times, stretched and twisted, and warped into a toroidal shape.
Hyperbolic Slices  Triangle Strips Pre-computed -- then warped into toroid

26. Shapes from Sculpture Generator 1
Granada 2003
Shapes from Sculpture Generator 1
Then it is just a composition of these basic elements with some stretching and twisting as needed.
With this generator I could quickly create a whole lot of promising artistic geometries, by moving those sliders and picking some fancy colors and textures.
Some of these images, Brent liked enough, so that he was willing to spend 3 months of his life carving them at a 30 inch scale.

27. A Simple Scherk-Collins Toroid
Granada 2003
A Simple Scherk-Collins Toroid
Parameters: (genome)
branches = 2
stories = 1
height = 5.00
flange = 1.00
thickness = 0.10
rim_bulge = 1.00
warp =
twist = 90
azimuth = 90
textr_tiles = 3
detail = 8
Here are some example what can come out of this generator, and how it depends on the parameters.
This one is just a single saddle with very stretched legs – closed into a loop.

28. Also a Scherk-Collins Toroid
Granada 2003
Also a Scherk-Collins Toroid
branches = 1
stories = 5
height = 1.00
flange = 1.00
thickness = 0.04
rim_bulge = 1.01
warp = 360
twist = 900
azimuth = 90
textr_tiles = 1
detail = 20
This does not even have real saddles, it is just a Moebius band with 5 half-flips.

29. A Scherk Tower (on its side)
Granada 2003
A Scherk Tower (on its side)
branches = 7
stories = 3
height = 0.2
flange = 1.00
thickness = 0.04
rim_bulge = 0
warp = 0
twist = 0
azimuth = 0
textr_tiles = 2
detail = 6
This looks quite different; but it is just a very short, fat 3-story Scherk tower, made of 7th order saddles, lying on its side.

30. 1-story Scherk Tower branches = 5 stories = 1 height = 1.35
Granada 2003
1-story Scherk Tower
branches = 5
stories = 1
height = 1.35
flange = 1.00
thickness = 0.04
rim_bulge = 0
warp = 58.0
twist = 37.5
azimuth = 0
textr_tiles = 8
detail = 6
A single story, using a 5th-order saddle, – forming a strange desert plant.

31. 180º Arch = Half a Scherk Toroid
Granada 2003
180º Arch = Half a Scherk Toroid
branches = 8
stories = 1
height = 5
flange = 1.00
thickness = 0.06
rim_bulge = 1.25
warp = 180
twist = 0
azimuth = 0
textr_tiles = 8
detail = 12
Now that single story has been further stretched and extended into an arch …
---
This generator is good for quickly evaluating some conceptual ideas; … but how can it help Brent Collins to make more intricate sculptures?

32. Slices through “Minimal Trefoil”
Granada 2003
Slices through “Minimal Trefoil”
50%
30%
23%
10%
Remember, Brent’s construction mode is somewhat similar to what a 3D-printer does. The computer calculates the geometry of the individual slices – typically about 1/100” apart, and the machine then deposits the material in those places.
These diagrams show 12 equally spaced slices through the “Minimal Trefoil.”: Starting at the bottom 3 flanges touch the ground…
Brent states, that this kind of complexity is about the limit of what he might be able to design by hand.
45%
27%
20% 5%
35%
25%
15% 2%

33. Our First “Joint” Sculpture
Granada 2003
Our First “Joint” Sculpture
Six monkey saddles in a ring with no twist
(like Hyperbolic Hexagon)
azimuth = –30°, flange 1.5
(aesthetics)
size, thickness
(fabrication consideration)
This like the Hyperbolic Hexagon, but with monkey saddles. It has no twist.
The role of some of the parameters: azimuth controls where the 6 rim curves appear, here one dead center, and one at the equator.
This is the model …

34. “Hyperbolic Hexagon II” (wood)
Florida 1999
“Hyperbolic Hexagon II” (wood)
… and this is what Brent made of it.
Here you can see him holding up “Hyperbolic Hexagon II” – our very first collaborative piece.
Brent Collins 1997

35. Profiled Slice through “Heptoroid”
Granada 2003
Profiled Slice through “Heptoroid”
One thick slice thru sculpture, from which Brent can cut boards and assemble a rough shape.
Traces represent: top and bottom, as well as cuts at 1/4, 1/2, 3/4 of one board.
From these Collins will precut boards
then assemble the complete shape
and fine tune and polish it.
This is one slice of “Heptoroid”, which I designed for Brent using my sculpture generator. This is much more complex, because of the built-in twis. I sent a dozen of such 3ft by 3ft blue prints to Brent, and he used a saber saw to cut these shapes out of 1-inch thick Mohagony boards.

36. Emergence of the Heptoroid (1)
Granada 2003
Emergence of the Heptoroid (1)
Here are the assembled cut-out pieces. In this way he obtains the proper rough shape that contains all the right symmetries. However, the surface exhibits strong stair-casing, and it takes him a few weeks to make the surface smooth.
Assembly of the precut boards

37. Emergence of the Heptoroid (2)
Granada 2003
Emergence of the Heptoroid (2)
As he does this, a continuous, broad rim emerges – about an inch wide. It travels around the loop 8 times before it gets back to the starting point, because for this sculpture, the Scherk-tower has been given a twist of 135 degrees (which is 3/8 of a full turn) before closing the loop.
Brent then continues to grind down this edge to form a smooth, thin surface.
Forming a continuous smooth edge

38. Emergence of the “Heptoroid” (3)
Granada 2003
Emergence of the “Heptoroid” (3)
In this phase the sense of touch becomes very important. Also, the glue lines between the different layers of wood are a good indication whether the surface is nicely curved.
Smoothing the whole surface

39. The Finished Heptoroid
Granada 2003
The Finished Heptoroid
This is what the result looked like: We called it “Heptoroid” because it has seven 4th-order saddles in a toroidal twisted loop.
It was exhibited at the Art Gallery at Fermi Lab near Chicago. The physicists there liked it a lot; but everybody saw something different, e.g.:
>>>
The geometry of a tokamak or stellarator fusion reactor; -- the head of the tunnel-boring machine used in digging the tunnel for their accelerator; -- or the inner shape for one of the elementary quark particles.
=== Now that I had this wonderful playground of Sculpture Generator I, I could not wait for 2-3 months for Brent to carve another sculpture.
at Fermi Lab Art Gallery (1998).

40. Fused Deposition Modeling (FDM)
Granada 2003
Fused Deposition Modeling (FDM)
And in the late 1990s we got our own first 3D Printer – An FDM machine from Stratasys.
<< describe how it works >>

41. SFF (Solid Free-form Fabrication)
Granada 2003
SFF (Solid Free-form Fabrication)
This is the kind of models you get from it.
Monkey-
Saddle
Cinquefoil

42. “Scherk-Collins” Sculptures (FDM)
Granada 2003
“Scherk-Collins” Sculptures (FDM)
Thanks to rapid prototyping via layered manufacturing, I could make several small sculptural maquettes in a matter of days.

43. “Cohesion” (SIGGRAPH’2003 Art Gallery)
Granada 2003
“Cohesion” (SIGGRAPH’2003 Art Gallery)
Some of the models were nice enough, so I sent them to Steve Reinmuth’s Bronze Studio in Eugene, OR. He converted them into bronze with a classical investment casting process, where the ABS plastic of the original was sublimated away in a hot kiln, and then replaced with bronze.
This sculpture has only 2 monkey saddles. It is about a foot tall.
Cast by Reinmuth Bronze Studio, Eugene, OR

44. Hyper-Sculpture: Family of 12 Trefoils
Granada 2003
Hyper-Sculpture: Family of 12 Trefoils
W=2
Or I could make a “Hyper-Sculpture” consisting of a whole family of sculptures, which differed in only one parameter value between neighbors.
B is the number of branches in the saddles, where B=1 is just a simple twisted band.
W is the number of windings in the toroidal loop. – Let me explain this . . .
W=1
B= B= B= B=4

45. Going more than once around the loop
Granada 2003
Going more than once around the loop
W = 380°
W = 560°
W = 720°
On the left is a toroidal loop with 7 stories that sweeps through slightly more than 360 degrees. In the middle it goes around the loop 1.5 times. And at right it makes two full turns. If I use an odd number of stories (7 in this case), and just the right amount of twisting, I can create a structure that has no self-intersections.
… results in an interwoven structure.

46. 11 Stories, Monkey-Saddles, W=2:
Granada 2003
11 Stories, Monkey-Saddles, W=2:
Here is a more complex design. If you are good at looking at cross-eye stereo pictures (and you sit in the right place: central axis), you can see this in 3D.
I did not quite believe myself that such geometries could be realized . . .
cross–eye stereo picture

47. 9-story Intertwined Double Toroid
Granada 2003
9-story Intertwined Double Toroid
Bronze
investment
casting from wax original made on 3D Systems’ “Thermojet”
… until I had a physical proof in hand. For this one I made a wax original on a 3D printer from 3D-Systems, and then had Steve Reinmuth investment cast it in bronze and gold-plate it electrolytically.

48. Extension of Concept Allow different kinds of “stretching” …
Granada 2003
Extension of Concept
Going more then once around the loop, was an extension of the original concept, which allowed me to make new interesting shapes.
Here is another simple extension of the basic concept. After a toroid has been defined, we can apply some non-uniform scaling, stretching the sculpture preferentially in the vertical dimension and somewhat less in either of the two horizontal dimensions.
Allow different kinds of “stretching” …

49. Extending the Paradigm: Totem 3
Granada 2003
Extending the Paradigm: Totem 3
This then results in some sculpture that are reminiscent of “totem poles”.
On the left is the original ABS plastic maquette; on the right is the bronze investment cast made by Steve Reinmuth.
Bronze Investment Cast

50. Stepwise Expansion of Horizon
Granada 2003
Stepwise Expansion of Horizon
Playing with many different shapes and
experimenting at the limit of the domain of the sculpture generator,
stimulates new ideas for alternative shapes and generating paradigms.
This exploratory extension of the sculpture generator is like a hike in the Swiss mountains: As you climb the first set of hills you then see the next ridge; on that ridge you can then see some high mountains; from the top of which you can finally see the Matterhorn. Each experiment stimulated ideas for some further extension of the generator program – like going twice around the loop. And often just a few minutes of programming were required to allowed me to extend the range of possible shapes.
Swiss Mountains

51. Granada 2003
Note:
The computer becomes an amplifier / accelerator for the creative process.
Many new ideas …
Different sculptures need different fabrication technologies. Some examples …

52. 12-Story Scherk-Collins Toroid
Granada 2003
12-Story Scherk-Collins Toroid
branches = 4
storeys = 11
height = 1.55
flange = 1.00
thickness = 0.06
rim_bulge = 1.00
warp =
twist =
azimuth = 56.25
mesh_tiles = 0
textr_tiles = 1
detail = 8
bounding box:
xmax= 6.01,
ymax= 1.14,
zmax= 5.55,
xmin= -7.93,
ymin= -1.14,
zmin= -8.41
Here is another design that came out of my generator: On the right are its design parameters. It has twelve 4-th-order saddles in a circular loop; and the complete ring exhibits ¾ of a full turn of twisting.

53. David Lynn, Nova Blue Studio Arts
Granada 2003
David Lynn, Nova Blue Studio Arts
With the help of this man -- David Lynn from Nova Blue Studio Arts -- we got a chance of realizing this sculpture with a 10-ft diameter – in a more durable medium than snow! Our customers wanted a large, light-weight indoor sculpture, possibly slightly translucent. David cast this sculpture in epoxy and polyester resin. This is quite an elaborate, multi-phase process. In the following, I will try to give you a glimpse of this process with a few pictures that David made available to me.
[ 148 Brianna Drive, Seymour, MO ]

54. Master Module for “Millennium Arch”
Granada 2003
Master Module for “Millennium Arch”
Here is the master geometry module (2 of the 12 stories in the ring) – in full size; machined from high-density foam on an numerically controlled 5-axis milling machine, and coated with clay to make its surface smooth for mold-making.

55. Fabrication of “Millennium Arch”
Granada 2003
Fabrication of “Millennium Arch”
Around this master module, a negative mold is made out of silicone rubber, glass-fiber sheets, and epoxy.
In this mold, 6 copies were then cast, using the yellow polyester material shown on the right.
The mold for the key module
A polyester segment cast

56. Two Times Three Modules
Granada 2003
Two Times Three Modules
And then 6 of these elements were assembled into the 10 foot circle. Here is the final assembly step of two semi-circles composed of 3 modules each on the floor of the atrium where the sculpture is to be hung.

57. Merging the Two Half-Circles
Granada 2003
Merging the Two Half-Circles
Matching ends are epoxied and fused together and . . .

58. Granada 2003
The curing of the bond is accelerated with some heat. Then the surface is smoothed across these junctions.

59. Brent Collins and David Lynn
Granada 2003
Brent Collins and David Lynn
Here is the final phase of the installation process of this sculpture.
Left: artist Brent Collins – Right: David Lynn, the man who created this object.
This hangs in a community sports center in a suburb of Kansas City.

60. “Millennium” Arch by Night
Granada 2003
“Millennium” Arch by Night
This is how it looks at night from below, towards the skylight.
Our customers wanted to call it “Millennium Arch”; and this was just fine with us…

61. Millennium Man Vitruvian Man by Leonardo
Granada 2003
Millennium Man Vitruvian Man by Leonardo
It inspired Brent Collins to take this photograph – a take-off on the famous “Vitruvian Man” by Leonardo da Vinci

62. Granada 2003
In 2013, in Agenstein Hall, the science center of the Mo-Western-State-University, we got a commission to make an even more complicated sculpture with the same fabrication technology. This is called “Evolving Trefoil.”

63. V-art Virtual Glass Scherk Tower with
Granada 2003
V-art
Virtual Glass Scherk Tower with
Monkey Saddles (Radiance 40 hours)
Jane Yen
Here is another virtual design coming out of the sculpture generator. But I was also fortunate enough to get a larger sculpture out of this – in a very durable material.

64. ISAMA 2004
It started with this small 6-inch model made on an FDM machine. This was send it to Dingli Stone Carving Art Co., in SE China, and we told them to scale it up by a factor of 8 and carve it from granite.

65. Yet Another Medium: Stone
Granada 2003
Yet Another Medium: Stone
After a few weeks I got a picture showing the work in progress.
(This is the same place that also carved the MLK monument in Washington, DC…)
Progress picture from Dingli Stone Carving Art Co., SE China

66. Granada 2003
Spring, 2012
And a few months later a couple of boxes arrived on a container ship.

67. And this is what we found in one of the crates,
ISAMA 2004
And this is what we found in one of the crates,
And the other one contained a cylindrical base …

68. Here we just finished installation.
Granada 2003
Here we just finished installation.
Paul Suciu, a former EECS student of Prof. David Hodges, sponsored this project. He is in the center.
Everybody is very happy that we could assemble it without scratching the polished surface …

69. Because this elegant form has a very finely crafted surface.
Granada 2003
Because this elegant form has a very finely crafted surface.

70. Granada 2003
The craftsmanship in this work is absolutely wonderful. It looks like a metal cast!

71. I am sure it took many, many hours of sanding and polishing.
Granada 2003
I am sure it took many, many hours of sanding and polishing.
Check it out on the 6th-floor terrace of Sutardja Dai Hall at UC Berkeley.

72. ISAMA 2004
QUESTIONS ? ?