Seven seven seven

I build already a few versions of (truncated) chestahedra, one of them most likely still on display in Queensland, the rest of them embellishing my home. My "quick and dirty" way of transforming a geometric structure into a tensegrity basically cuts off the corners, with as many struts as the geometry had edges. The network of strings therefor doesn't properly reflect the original geometry, with the exception of the 4-strut tetrahedron.

4 strut tensegrity tetrahedron

6 strut (truncated) tetrahedral tensegrity

Truncation basically produces the "dual" of a Platonic solid. Cutting the corners of a cube creates the octahedron, cutting the corners of an octahedron brings back the cube. The number of faces becomes the number of vertices, while the number of edges remains the same. However, this beautiful relation does only really exist between hexahedron (cube) and octahedron, and between dodecahedron and icosahedron. Applying the same algorithm to non-Platonic solids creates still very interesting transformations.

The chestahedron, which can into human consciousness just very recently, also has a dual, the decatria. I'm surprised that it took me two years from finding out about the chestahedron to learn about its dual, which still is more than a mystery to me. I know it has 13 faces, 19 corners and 30 edges, mostly likely three different kind of faces. I still struggle to understand the 2d images I saw so far, how many different edge length are involved, so I delayed the ambition to "tensegrify" the decatria.

I got inspired, however, to build a chestahedron similar to the 4 strut tetrahedron, using the tension elements to outline the wireframe version of its geometry. I struggled a lot when tried this for the octahedron, failed completely for the cube so far. The six strut icosahedron doesn't need the additional six strings to unveil it's "true" geometry, my ten strut dodecahedron usually ends up slightly imperfect, with most pentagons not being really symmetric. 

10 strut dodecahedron

6 strut icosahedron

I ruminated a lot before getting hands on, using my experiences of building asymmetric structures to have a plan which made sense to me. I got frustrated on earlier attempts to construct things which seemed initially possible, but then turned out quite different. The idea to use seven struts for building a seven-sided object with seven corners kept me going. As the chestahedron has an unfolded tetrahedron at its base, the first tensegrity shape conceived in modern times might provide a great starting point.

This constellation was build in the 1920s before the term "tensegrity" was coined.

My first attempt followed my intuition. I chose three different length for the struts: 30cm for the base, 20cm for the vertical riser, and 15 cm for the middle section. The length for the outer tension network were simple, using the edge length relations Frank Chester published for the chestahedron. 9 strings were knotted to 30 cm, 3 more to 16cm, for a 0.53 ratio between top and base edge. In the truncated version, the top seemed to sink a bit in, distorting the beautiful relation of the solid object.

Healing heart (made of yarrow with suspended copper wire spiral) 

I started off as minimal as possible, connecting the three base struts with a string loop which served to received the three shorter struts for the middle section as well. The central riser was supposed to connect to the outer string network, and three pieces of elastic string connected to the top end of the base struts.

It was relatively straight forward to get everything together. All I needed to do was to connect the bottom of the vertical riser to the top of the base struts, creating an expansion from bottom to top through the inside which should be limited by the tension network on the outside. It got a bit fiddly, all seven sticks come together fairly close in the centre, but there were only two connections to go.... and then everything fell apart in a tangle of sticks and strings.

So decided to use some transparent elastic string to stabilise the base, making a classic nine string, three strut tensul out of it. It still took some dexterity to finish it, yet this the little deviation from making it as minimal as possible provided a satisfying prove of the concept which emerged less than 24 hours in my mind.

Very first seven strut tensegrity chestahedron as prove of concept

Elastic string always allows a bit of leeway, and I used it sometimes to draft models. Some of the four strut tetrahedra combine elastic string in the centre, and non-elastic on the outside. Non-elastic string requires much more precision than elastic, but besides this, I love the "invisibility" aspect of it. Frank Chester mentioned that geometric shapes act as scaffolding to manifest physical objects, so I'm perfectly happy to have some transparent scaffolding still in place.

I probably stopped using non-stretchy string for smaller objects after having some careless punters breaking my sculptures. I think it was Edison who mentioned that "you cannot make things foolproof, because fools are so damn inventive". I liked the idea to show the framework of a chestahedron with the outer tension network of a tensegrity, while hiding the supporting inside tension with transparent string. 

When I measured the draft I made, I noticed some variations of lengths, so I chose some very similarly prepared struts and dedicated some time to prepare my strings with as much precision as possible. The second model looked promising already in its early stages.

Unfolded tetrahedron, four equilateral triangles

All the supporting tension elements are now made with transparent string, symbolising the invisible forces. I still needed two attempts to find a good length for the strings supporting the vertical riser. The final version has a relaxed amount of tension. As it's not really meant to be stressed heavily, I'm quite confident that it will maintain its shape for years to come.

Seven strut chestahedron

Here you go. An object with seven vertices, seven faces made with seven sticks and seven supporting transparent strings. Can it get any better? Most certainly. I used three different length for the struts, introduced new length for the invisible support. The perceived centre moved up, although it still seems to divide the structure with the golden ratio.

Now that I know how to build a version of it, I'm curious how to explore this shape even more. It's close to my heart.... as it is the scaffolding needed to create a heart in first place. Stay tuned.

Wrap up

I hope my thirst for novelty got quenched for a while - I still feel the itching to build something fantastic, yet I'm more than happy that I mastered some structures which posed lots of challenges. What started off with revisiting the x-module, and having some tetrahedral galore, ended with a four tensul (3 strut prism)  multi-coloured tetra with non-elastic string which balances in 20 constellation (four corners, four faces, six edges in two constellations).

Vier gewinnt (12 struts, outlining an tetrahedron)

Although I like the visual effect by using different colours, when I tried to make a digital 3d model out of the structure, the optical continuity of same coloured struts overwhelmed the software, and led to very blurry results. However, when shot against a suitable background the colours create many interesting perspectives, and even without being collapsible, the structure is very playable.

Vier gewinnt

I drafted the model with elastic string, using nylon for the 'base' of each tensul. It was tricky to balance, and untuned itself easily. Once I replaced all tendons, the model had movement as well as balance. I dread scaling the concept up, as the build was quite challenging with plenty of hick-ups on the way.

Clover (6 strut tetrahedron)

Clover isn't really a new structure for me - it's tetrahedron where the struts meet in close proximity at its center, instead creating more clearance and 'central space'. However, in this configuration more symmetry than usual can be seen, especially with the use of different colours. Nylon provides plenty of sturdiness, and with my corner configuration it looked a bit like a 4-leaved clover.

Tetrahelix

The first challenging build I did was the tetrahedron. The method differed from the ones I use now, and I got much more familiar with the chaos of sticks and strings that exists before finishing a structure. Although most likely the icosahedron plays a much more important role for biotensegrity, our vertebrae possess a very tetrahedra-like appearance.

I experimented lots with combining tetrahedra into larger structures. Two of them joined at a corner produce an hourglass shape. I build as well a tower of five stacked tetrahedra, which took me ages to balance, and still doesn't satisfy me much. Most of the time, I approached larger structures with tetrahedra in a more complex way than needed. When two 6-strut tetrahedra are joined at a face, the 'center' triangular consists of 6 struts, while only three are needed.

In a tetrahelix, faces of tetrahedra are joined. When enough tetrahedra are joined in this way, the corners seems to build a helix (hence the name....).  I hoped that five tetras would produce some interesting effect, yet joining pre-build tetras turned out more of a challenge than I hoped for. There's more than one way to connect modules to each other, and each yields different results.

Then I decided a new approach. Instead of perceiving the tetrahelix as compound of tetra modules, I tried to understand it as singular structure enclosing connected tetrahedral spaces. So if I take a tetrahedron and extend it to enclose to tetrahedral spaces, I get a tensegrity tetrahelix without a single tetrahedron remaining visible.

The first 5-stage tetrahelix required 30 struts, yet when my idea works out with only 21 struts I have six stages (6 struts for the 'seed' tetra, 3 for each additional stage). Instead of connecting an incomplete three-strut tensul 'somehow', I connected the extension into the corner loops. Although that meant some more steps per connection than usual, I found an easy way to do so. The first extension, however, brought the biggest surprise. I just build myself another trigonal dipyramid.

I used a magnetic model to figure out the corner configuration for the tetrahelix. Each additional tetrahedron adds only a single vertice to the helix. So the dipyramid has two tetras and five corners, lets make this a bit more systematic.

struts # tetra spaces # corners # type
6        # 1               # 4           # tetrahedron
9        # 2               # 5           # trigonal dipyramid
12      # 3               # 6           # 3-stage tetrahelix
15      # 4               # 7           # 4-stage tetrahelix
n*3+3 # n              # n+3        # n-stage tetrahelix

I'm not sure whether an object encompassing 3 tetrahedral spaces already deserves the name tetrahelix, it takes at least 5 tetrahedra to have all possible vertice configurations (3, 4, 5 and 6 struts converging in one corner). However, knowing that the maximum number of struts meeting in a single is six made extending the helix a breeze. The corner at the end has 3 struts, on the second level there are either four, five or six struts meeting. Thus there are three different constellation for the faces connecting to the 'top' (or bottom) corner: 3-4-5, 3-4-6 and 3-5-6.

So all I needed to do when extending the helix was finding the 3-4-5 face, and adding an incomplete tensul to the vertices of this face. I think I went up to 69 struts, creating something quite floppy which might connect into a torus.

Unlike most other models, I didn't manage to create something self-balancing. Up to about seven or eight stages, the model kept straight while I held one end, before the elasticity of the string made it bend a lot. While it's not too suitable for mere display, it's a lot of fun to play with. At the moment I have it hanging around, with an EL-wire threaded through the corners. In this constellation, the helical structure becomes visible, which otherwise remains quite hidden in the chaos of sticks and strings.