Chimera: Interactive Kinetic Sculpture
2014 / Collaboration with Dan Mikesell & Zachary Fraser
Sponsored by Seoul Arts Space Geumcheon, Power Station of Creativity Project (Public Art)
Chimera is an interactive kinetic sculpture that invites viewers into a symbiotic exchange with a hybrid creature. Inspired by the biomimetic flapping of an ornithopter, Chimera responds to the spectator’s arm movements, flapping its wings in unison to create a shared rhythm. This work explores the delicate balance between mechanical and organic movement, transforming stiff gears and joints into fluid gestures that echo the viewer’s actions. Through this mirroring of motions, Chimera blurs the line between machine and life, fostering a visceral connection that extends beyond language into a shared, embodied experience.
FINAL PROTOTYPE
THE MAKING OF…
PROPOSAL
Our proposal envisioned a large-scale kinetic artwork of a hybrid creature with flapping wings, inspired by ornithopter mechanics. The design merged engineering with organic beauty, creating a lifelike, responsive motion that evoked a sense of imminent flight. The monumental scale of the piece amplifies its impact, immersing viewers in the creature's presence and heightening the sense of wonder as they confront this fusion of nature and technology. Through this powerful blend, the artwork invites viewers to explore the boundary between the natural and the mechanical, sparking curiosity and contemplation.
3D MODEL SIMULATION
INTERACTION DESIGN
The interaction with the chimera unfolds in three steps: greeting, learning to communicate, and mirroring. When a viewer stands in front of the chimera, it acknowledges their presence with a slight movement. If the viewer extends and flaps their arms, the chimera responds by mimicking the motion with its own wings. This back-and-forth creates a shared rhythm, forming a connection as the chimera mirrors the viewer’s actions.
Interactive System Components
PROOF OF CONCEPT
The first proof-of-concept model demonstrated the mechanism and confirmed the design’s feasibility, but its movement was stiff, jerky, and abrupt. Resistance between parts disrupted the flow, making the motion feel fragmented and disconnected.
2. MINIATURE PROTOTYPE
The redesigned model features an optimized configuration, improved gear ratio, and refined material use. The final design minimizes material weight and strategically positions joints and connecting parts to reduce friction and create smoother movement. Curves were accentuated for a more organic appearance, avoiding a stiff, mechanical look. Adjustments to the gear ratio and component placement improved power transmission and speed control. Tube spacers ensured gears remained aligned with the metal plate, while each structural element was crafted to centralize and balance the overall weight.
Bushings were pressed in to enhance flexibility in connecting parts with limited rotational movement, and the motion was tested using spare gears and motors in the studio.
The final design shows much more fluid and natural movement compared to the proof-of-concept model.
3. FINAL PROTOTYPE ASSEMBLY
Ball bearings were pressed in to support the rotating shaft for effective power transmission
Interactive System Development
(late May to mid June)
The system was built with openFrameworks for gestural recognition and motor speed control. A Mac Mini processes data from the Kinect sensor to detect arm-flapping motions and estimates their speed, which then adjusts the DC motor’s rotation via an Arduino.
FINAL THOUGHTS
Producing a final prototype within less than 3 weeks was a formidable challenge, especially with Dan working from the states. Our funding source mostly confined our scope of activity to Korea, which significantly compromised our ability to work as a team. Being the only one to speak Korean, I inevitably ended up with a disproportionate amount of work - overall project management including planning, budgeting and scheduling, design prototyping, raw material purchases and orders, communication with SAS and vendors, documentation, progress reports and presentations - which considerably affected my capacity to improve our interaction system design and development. While we did our best under these conditions with the time we had, it was difficult enough just to get a basic structure up and running, which left us with no time to experiment and expand on our ideas. Moving the final prototype from my workspace in Daejeon to Seoul to showcase our work also turned out to be a nightmare: since hiring a truck driver just for this purpose was not financially feasible, we ended up having to repeatedly disassemble the complex mechanism into moveable parts and re-assemble it from one place to another. It was a lot to handle, in such a tight timeframe.
The work would have benefited immensely from a more sophisticated interaction design that provided spectators with a more enriching dialogue and gave a poetic dimension to the work. The final prototype was a direct implementation of a rough concept, and there was not enough time for us to explore ways in which we could imbue the interaction with more depth and meaning. Its mechanic movements are not intricate and elegant enough to make the work compelling for viewing alone. Many commented that the work was more visually evocative of spider legs than the wings of a bird. It would have been great if its visual design and sense of movement conveyed the unique character of the hybrid creature we were imagining, which is unlike any one animal.