sailboat kinetic art

Building a Kinetic Wind Sculpture

Introduction: Building a Kinetic Wind Sculpture

Step 1: Load and Learn a 3D Software Package

Step 2: Identifying the Three Components of the Assembly

Step 3: Design the Sculpture's Wings

Step 4: Design the Sculpture's Central Column

Step 5: Assemble the Sculpture

Step 6: Design the Turbine Blades

Step 7: Design the Turbine Column and Assemble

Step 8: Design the Stand

Step 9: Print a Scale Model and Test

Step 10: Considerations for a Larger Sculpture

Step 11: Realizing a Larger Scale Sculpture

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Lyman Whitaker has been creating his soothing, durable Wind Sculptures since 1987.

You can buy online via our secure ecommerce system, or contact us if you’ve questions: 816.333.3111 / [email protected] . All sculptures can handle winds of up to 90 MPH. If you acquire a Whitaker Wind Spinner we promise you’ll be ecstatic with it always. You’ll receive a receipt, tracking info, install instructions—and yes these works are simple to install. The height listed is the true above-ground height.  Don’t settle for poorly designed imitations that don’t work and don’t come with a warranty. Buy the real thing. Buy a Whitaker Wind Sculpture. 

Client Testimonials

“We were torn between a few designs for a set that involved Patricia Arquette and Christopher Walken, directed by Ben Stiller. Josh at Leopold Gallery created some mockups for us that simplified the decision-making process, so we chose the Double Spinner Large and everyone loved it.”

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"Hilary perfectly grasped how to help me determine which size wind sculpture would look best in my garden. I’m in love with the Desert Flame and plan to order another one at some point in the future."

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"Once you get your first Whitaker you’ll likely want another. I currently have a wind forest of seven and finally feel that my collection is complete. Leopold always sends me great wine as a gift."

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About lyman whitaker.

Lyman Whitaker, a sculptor since 1971, has emerged as a luminary in kinetic art, akin to Alexander Calder in his era. Collectors include Disney World, Apple TV+, the Dallas Arboretum, the Morris Arboretum of Philadelphia, the City of Boston, and private collectors in the US, Europe and Asia.

Whitaker's Wind Sculptures embody his mission: fostering harmony between humanity and the Earth. Crafted meticulously from durable copper and stainless steel, each piece is designed to endure for generations, resilient against winds up to 90 MPH. Beyond their structural integrity, Whitaker's creations evoke serenity and fascination, offering easy installation and minimal maintenance.

Recent exhibitions, such as the one at Dawes Arboretum in Columbus, OH, attest to the enduring appeal of Whitaker's work. Since 2008, Leopold Gallery has proudly represented Whitaker's Wind Spinners, showcasing them in botanical gardens and museums globally. Each sculpture, handcrafted in Whitaker's innovative studio, marries aesthetic brilliance with mechanical integrity, rejecting planned obsolescence for enduring creations.

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Soviet Kinetic art show includes more than 400 works exploring the once ‘marginal phenomenon’

The new tretyakov gallery exhibition features more than 90 artists including protagonists of the movement such as lev nusberg, francisco infante-arana and viacheslav koleichuk.

A 1972 work by Viacheslav Koleichuk made using plywood, plexiglass, lenses and a small motor

The Art Newspaper Russia is an official media partner of the Tretyakov Gallery

A sweeping survey of Soviet kinetic art at the New Tretyakov Gallery in Moscow has become one of the best critically received exhibitions to open this year in the Russian capital. Future Lab: Kinetic Art in Russia (until 10 May) opened after the city came our of its second Covid-19 lockdown and explores the beginnings and influence of the post-war avant-garde movement.

The movement was regarded for a long time as a “marginal phenomenon” of 20th Russian art history, since it did not fit into the discourse of “conflict between art and authority”, says the exhibition curator Yulia Aksenova. “[It] neither spoke in the language of power, nor spoke out against it.” But it appears to have resonated with the museum-going public in today's Moscow.

An installation view of Future Lab: Kinetic Art in Russia at the New Tretyakov Gallery in Moscow

The exhibition features work by more than 90 artists, including precursors to the movement as well as contemporary artists who have followed in its wake, such as vtol (Dmitry Morozov) and the Stain Group. Russian Modern masters from the early 20th century, like Kazimir Malevich and Vladimir Tatlin, “conduct a dialogue with artists of the 60s”, Aksenova says. However, the exhibition focuses on the main protagonists and founders of the post-war kinetic art movement, such as Lev Nusberg, Francisco Infante-Arana and Viacheslav Koleichuk.

“Directly continuing the line of the 1920s avant-garde, [the movement] was interested in universal ideas and transcendental problems on a planetary scale,” Aksenova says. Artists were both researchers and experimenters, she adds.

The show includes around 400 works ranging in media from mobiles, moving sculptures and interactive pieces, to collages, optical illusion paintings and photography. It is staged jointly by the Tretyakov and St Petersburg’s Manege Central Exhibition Hall, where it was shown last year , together with Rosizo, the federal culture ministry’s exhibitions branch, and Moscow’s Triumph Gallery.

• Future Lab: Kinetic Art in Russia , New Tretyakov Gallery, Moscow, until 10 May

interview: alex chinneck brings a massive, looping steel boat to sheffield's historical canal

Alex chinneck on the looping boat, his most complex work.

British artist and sculptor Alex Chinneck is days away from unraveling The Looping Boat, his most complex installation to date. Seemingly floating on the Sheffield & Tinsley Canal, the artwork takes the form of a sculptural boat whose body, made of rolled steel , behaves in an extraordinary way, performing a six-meter-high and thirteen-meter-long, gravity-defying, aerial loop-de-loop. Chinneck is painting it in traditional canal boat colors and will engrave it with signwriting that celebrates Sheffield’s industrial heritage and historic waterways. ‘ It’s very much nestled into its situation, and it’s really unpretentious, ‘  the artist tells designboom . Positioned between locks 4 and 5, the waterway will serve as a gallery space for the sculpture, enabling the dramatic looping hull to be viewed from 180 degrees. The canal, which is looked after by the nation’s waterways charity Canal & River Trust, will also be used to transport sections of the artwork to the site by boat.

expanding interventions across sheffield

Alex Chinneck has been working on The Looping Boat since 2016. During that time, the artist installed two temporary public artworks in Tinsley – the first, a sculpture of a peeling road with a car hanging upside down beneath it, creating an illusion that more than 5,000 people visited over six days; the second, in 2019, a knotted post box temporarily displayed on a residential street outside Tinsley Meadows Primary Academy. The Looping Boat is co-funded by British Land and by energy company  E.ON , who committed to creating a public artwork as part of its redevelopment of Blackburn Meadows into the renewable energy plant that serves the city today.  In an exclusive interview, Alex Chinneck walks us through the mind-bending process of sculpting his latest loop-de-loop along a historical canal. Read the full conversation below. 

interview with alex chinneck

designboom (DB): Can you walks us through The Looping Boat and how it ties to the canal’s historical layer? 

Alex Chinneck (AC):  The project is in Sheffield, an area we’ve worked in for a long time. We took part in an open call about seven or eight years ago and won the commision. The Looping Boat has been underway ever since. When we responded to the open call, we didn’t really commit to a particular design; instead, we explored the idea of it. It’s how we approach all of our work, which is developing an improved understanding of the location. I’ve always championed the idea that the work belongs to its surroundings. We not only consider the aesthetic of the area but also the people that use it and occupy it, the opportunities that the location presents, and the history of the location. I like to think that when something resonates with the past of a place, it’s a good way of connecting with the present and, hopefully, the future.

We spent a lot of time in this particular area of Sheffield, understanding all of those different elements. Along the way, we originally designed a series of four huge sculptures to travel along the canal, which is 200 years old and has incredible industrial history. It used to be lined with many factories, and it was of hive of industrial activity, production, energy, and community, and that’s all changed now. It’s largely all gone along the canal. What’s left are the remnants of old cranes, old bridges, and old fallen factories. Even with this industrial heritage, it’s also a lovely place to spend time and walk.

AC: However, as different issues surfaced, we didn’t end up pursuing the original series of sculptures. Instead, we installed two artworks in Tinsley to engage and hopefully excite the residents, particularly the local school children who would never expect to find a public artwork on their doorstep. The first work is our peeling road, which gives the illusion of a car hanging upside down. We installed that overnight, so everyone woke up in the morning to the sight of it in Tinsley. We also brought every single class from the local school, one at a time, and it did a lovely job of blowing their mind. It had a hefty dose of theatricality. The second artwork is our knotted bronze post boxes outside of the school as well, which they equally loved. So we’ve been working in this part of Sheffield long.   Returning to The Looping Boat, we wanted to take advantage of the heritage and water element. The site’s history of steel and fabrication of factories pushed us to create something out of metal; something that was very complicated to build. And sited very close to the marina, home to other canal boats, the sculpture sits nicely within the landscape and the history; it encourages people to walk along the canal system and discover it. It’s not a plinth, a gallery, or a town square. You have to make a journey to go and see it. It’s very much nestled into its situation, and it’s really unpretentious. While I don’t consider it street art, it has that feel of something that pops up in a surprising way; you would never expect it to be there. I really love that. That’s my favorite kind of public art.

DB: Seeing as the loop-de-loop is a signature style of yours, could you elaborate a bit more on what it represents in this particular context? Considering the industrial heritage? 

AC:  I love the illusion of material fluidity, and something about it on the water works so nicely. I find that to be a deeply satisfying sculptural action. And then, obviously, I really enjoy the surrealism of taking ordinary things and making them as extraordinary as possible. In terms of the loop itself, I wouldn’t say it represents anything. I always work in a very sculptural and contextual way. I don’t often operate in an overly conceptual way. That’s how it’s always been, and that approach works well in the public realm. It’s not that it’s intentionally diluted in terms of intellect. It’s just that it isn’t overly communicative of a particular idea or concept, and I think it leaves it more open to enjoyment, access, and interpretation. I’ve always loved loops because there’s this kind of continuation of a journey. I like that you keep going in the same direction, but there’s a complicated and awkward detour along the way, which feels quite true to life.

The Looping Boat will be six meters high and thirteen meters long

DB: The Looping Boat is your most complex project to date. Describe to us the construction process, its complexity, and how it’s influenced your artistic direction. 

AC:  At the risk of repeating myself, the nice thing about working in the public realm and different locations is the environment and the surroundings; it’s the materials and how the context is always changing. These changes bring about a tweak of the aesthetic, a tweak of the theme, a tweak of the materials, a tweak of the subject matter — whether it’s a pylon, car, boat, etc.. I think all our work is different, but a common sculptural thread still travels through them, essentially a kind of fluidity and surrealism. What’s different here is the chosen shape. In terms of design, we spent a lot of time refining the size, shape, color palette, and detailing. But the engineering part is tricky; building a 13-meter long, six-meter high object that goes on the water means we need to make it highly stable. It can’t fall over. We always work with the same engineering team, but given these new challenges, we had to appoint additional experts — namely, engineers who specialize in the waterways.

It got more complicated when we moved on to the logistics. The artwork’s location on the canal makes it impossible to access by vehicle. This lack of vehicle access meant that we will have to transport it along the water and design it in a way that came apart into sections that would fit under the bridges and through about 20 lock gates. These parts are going to be towed along the water for about two miles before getting assembled on the water by crane. We had to design the entire structure, its size and shape, and the weight of the components around these restrictions. We also had to dredge the canal bed — which means clearing all of the old silt that’s built up at the bottom to make way for the steel pads —  and be extra careful about the size of the machines we were using, where they would go, so as not to interfere with the rail and tram lines nearby.

AC: But the big one was bombs. This area of the canal was bombed heavily in World War II and became a high-risk location for unexploded devices. It’s rare, but it happens — and it’s incredibly tricky when underwater. We had to commission an underwater radar survey that detected all metal objects lying on the canal bed and assessed their size and shape, the positive and negative poles, and the depth they were at. But identifying the bombs can be highly uncertain; it’s called a ferrous anomaly. So, we had to create clearance radiuses around the objects we couldn’t be sure about and design the entire project away from these zones. That’s why we have a bomb expert on site; we even had to appoint specialist waterway contractors.  That’s not all; we also had to deal with contaminated soil, power cables near the water, and potential mines. In my opinion, this is as complicated as public artwork can get.

Despite these challenges, what distinguishes our practice from others is that we genuinely still try to create artworks that haven’t been made before and genuinely try to defy logic. It’s not an easy path but a necessary one to reach an original and unique conclusion. I do think it’s an artist’s responsibility to make this kind of impact on contemporary art. A shoot of originalities is critical, and one mechanism for that is doing ridiculously complex projects. 

DB: Building on your previous two installations at Tinsley, and given how The Looping Boat is going to be a permanent artwork, how do you see this project resonating with the local community? Do you see it eventually evolving into something else?

AC: I certainly hope it encourages more people to go along the waterway and enjoy the artwork and properly take in the site and landscape. The sculpture is part of the experience. And while The Looping Boat is quite large and complex, I think we worked out a good scale so as not to overpower the context. It’s not too punchy and not too loud. I think it’s fun, accessible, colorful, and cute in many ways. I really hope that people will see it as a warm, uplifting, and contextually responsive little landmark — that it grows into an endearing object. We will hire a bus for a day and take every class from the local schools to see it. I hope that it excites them in the way that the peeling road did. We’re also putting in place a yearly maintenance program so we can return and repaint the sculpture, as it’s designed to last a very long time.

Beyond that, I want us to find a way of telling the story of The Looping Boat. It’s not just about the finished product but also about how we got there and the challenges you meet along the way. That’s why we’re partnering with the Canal and River Trust, a charity that owns and manages the waterway, to include this story on their website. And then, eventually, I hope to write books about it and see documentaries made for it. 

close up shot of the fabrication process

DB: The Looping Boat is quite a straighforward title for a project, unlike previous ones which known to be quirky and playful…

AC: I’ll give you a real exclusive. We’re still figuring out what to call it, behind-the-scenes (laugh). One of our better-known projects is the sliding house, and everyone calls it the sliding house. But the real title is: From the Knees of my Nose to the Belly of my Toes. We kind of anticipated this, and it’s absolutely fine. The same goes for this project; everyone will call it The Looping Boat because that’s what it will be. Even though we don’t really use those quirky names, I still enjoy the titling process. It’s a nice way to put a bow around the work as if we’re wrapping it up before moving on to the next thing. 

DB: Looking ahead, what material(s) or technique(s) would you like to to start / keep experimenting with?

AC:  For about four years, we turned things upside down, we cracked them, and melted them; it was a great hive of sculptural experimentation. Then, during the pandemic, something changed; we wanted to focus on one sculptural area: the illusion of fluidity, as seen with our bending and unzipping buildings, our knots, our twists, our loop-de-loops. I think that came from trying to establish a strong visual identity and strong association with that sculptural form. And it’s been a great journey for us. But now we’re looking to dive deeper into kinetic works, like our Hermès windows, which I say is a nice vehicle to move some of those ideas further. It’s a lovely platform to test ideas on a small scale before applying them to an architectural situation. We’ve already started to fold buildings like origami.

Also, now that we understand processes more, we can work with more challenging elements like cast iron and bronze. We’ve gotten to a nice point where our material palette and our technical understanding of what’s possible is as broad as it’s ever been, and the appetite and the opportunity to create lots of different types of work — bending, cracking, moving — is as good as it’s ever been. In the next 12 months, our practice is going to start to move in lots of new directions, which is really exciting. 

DB: Beyond Sheffield, where do you see your work landing in? 

AC:  We were thinking that it would be great to have a project in Dubai. There’s some energy there in terms of public art. Our work enjoys quite a large international reach, which is great, but, so far, our interventions had been confined to places in the UK and Europe. We’ve never made a public artwork in America or the UAE. That’s definitely something worth uncovering. 

factory site | image: video still, courtesy the artist

project info:

name: The Looping Boat

artist:   Alex Chinneck |  @alexchinneck

location:  Sheffield & Tinsley Canal, UK

co-funded by: British Land  and  E.ON

launch date: September 2024

height: 6 m

length: 13 m

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2023 New Kinetic Art Wind Sculpture, Summer Lighthouse Sailboat Windmills, Nautical Wind Sculpture Metal Decor for Yard Garden, Outdoor Metal Wind Spinner for Lawn Outside (A)

Brand	Darzheoy
Color	Muti Color
Material	Metal
Special Feature	Kinetic
Manufacturer	Darzheoy

About this item

The Nautical Wind Sculpture is brand new for 2023 and creates a truly unique design for those who love lakes and oceans.

Vibrant Red, White, and Blue styling create a stunning statement next to the lake, or the shore, or even brightens any garden or yard, by bringing the ocean to you.

The Nautical boats spin in opposite directions with the winds, anchored by the central lighthouse, and are designed to move well with strong winds or a gentle breeze.

• The bottom post has 3 spiked feet that you stand on to drive them into the ground. Very firm and stable!.
• Risk Free Guarantee: Your purchase is fully protected when you order today. If you are not satisfied with our product, contact us any time, we will get you back within 24 hours try our best to make things right.

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2023 New Kinetic Art Wind Sculpture

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Brand	Darzheoy
Color	Muti Color
Material	Metal
Special Feature	Kinetic
Manufacturer	Darzheoy
Number of Items	1
ASIN	B0CB6GPN9T
Item model number	Wind Sculpture
Customer Reviews	1.8 out of 5 stars
Best Sellers Rank	#578,237 in Patio, Lawn & Garden ( ) #2,302 in

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Customers say

Customers have negative opinions about the ease of assembly of the wind spinner. They say it's hard to put together and does not look like the picture. Customers also mention that the size is smaller than most other wind decorations and the nuts and bolts are very small. Customers are also disappointed with the quality, saying it'd be better off buying another wind spinter.

AI-generated from the text of customer reviews

Customers find the wind spinner hard to put together. They mention that it doesn't come with instructions.

"...The structure came with no instructions and contrary to the description it only had two prongs for a stand...." Read more

"Incredibly small, lighthouse is not as pictured, no directions , obvious missing piece. What a joke." Read more

" It didn't come with any instructions . The nuts and bolts are very small and hard to hold on to. Does the nut or the bolt go on the outside?..." Read more

"...It took an engineer to built this one and no instructions plus it did not look like the picture at all...." Read more

Customers are dissatisfied with the appearance of the wind spinner. They mention that it does not look like the picture, it's cheap looking, and it does have an obvious missing piece.

"...Yeah. That.The lighthouse widow's walk was NOT as pictured (was NOT, period; it was an aluminum disc)...." Read more

"Incredibly small, lighthouse is not as pictured , no directions, obvious missing piece. What a joke." Read more

"...an engineer to built this one and no instructions plus it did not look like the picture at all. I love thought of it not easy to put together." Read more

"...Not seeing anything resembling bottom post. Lighthouse not as pictured . Missingrailing as in picture...." Read more

Customers are dissatisfied with the size of the wind spinner. They mention that it's smaller than most other wind decorations, the nuts and bolts are very small, and hard to hold on to. Some say that the lighthouse beacon is too tall for the inadequately short bottom post.

"...were not properly measured: the white 'metal' lighthouse beacon was too tall for the inadequately short bolt that connects it to the structure...." Read more

" Incredibly small , lighthouse is not as pictured, no directions, obvious missing piece. What a joke." Read more

"It didn't come with any instructions. The nuts and bolts are very small and hard to hold on to. Does the nut or the bolt go on the outside?..." Read more

"...Missing a few boats and this is a lot smaller than what was mentioned in the specs.Very disappointed. Would not buy again." Read more

Customers are dissatisfied with the quality of the wind spinner. They mention that it is poorly made, cheap looking, and disappointing. Some say that the product is flimsy and poorly packaged.

"... Very disappointed . Would not buy again." Read more

"...Not just one or two…the whole thing is piecemeal . No instructions included." Read more

"...It’s really a cheap looking and the product itself is less than what I was thinking it was based on the picture...." Read more

"...very tall but the whole thing comes in a 12 X 12 box and has tiny little crappy pieces ...." Read more

Customers are dissatisfied with the missing pieces in the wind spinner. They mention that there are a few boats missing.

"Incredibly small, lighthouse is not as pictured, no directions, obvious missing piece . What a joke." Read more

"... Missing a few boats and this is a lot smaller than what was mentioned in the specs.Very disappointed. Would not buy again." Read more

"...like what is displayed online: much smaller, no directions, pieces missing and sailboats are flat rather than curved." Read more

" Missing pieces ..." Read more

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