Flow Design Research Relating to Flowforms

by John Wilkes

An article from the 1994 Edition of the Golden Blade
An Anthroposophical Scientific Journal
https://www.waldorflibrary.org/images/stories/Journal_Articles/Golden_Blade__1994.pdf

Everywhere in nature we experience rhythm. If we consider fluid processes in outer nature, we repeatedly experience that rhythms constantly appear and disappear. With watery processes we have indeed a very transient situation.

The outer world of freely moving water although rhythmical is not one which can be held with any constancy. It is only when we experience living nature that these rhythms are really held within a firm organism. They can then be experienced in a very ordered and consistent way. For living organisms rhythm is an essential feature. As soon as it disappears, so does the possibility of living. There is no living organism
which exists without rhythm. A plant, of course, does not pulsate but it exists nevertheless within a rhythmical context. And these rhythmical organ forms that we see everywhere, through which the fluids pulsate are built in turn with the help of the fluid.

The river bed for instance, is built by the fluid process from the simplest beginnings. And this meandering bed, which is an expression of the rhythmic tendency in the watery process, then itself regulates the flow. The flow process creates the organ which then regulates the flow. It is
really an extraordinary thing and I never tire of pondering on it. The heart too is created out of the fluid process which it then regulates in this most extraordinary way.

But what is this fluid process? It is such a mystery. What is water, what is blood? What is its real function? The way we deal with it today is a travesty of its life supporting function. Water is indeed used principally for transport, and energy production. In every way in which we use it we deteriorate its capacity to perform its real fiction, and this brings us to the question — can we work in such a way with this wonderful substance, that we know is right? Do we have a conscience for water?

Water is self-effacing. It sacrifices itself and is not able to protect itself. Its very function is to be open for everything. It is there to take into itself and mediate cosmic processes to earthly functions.

This is possible by virtue of the very fine and sensitive membranous structure that becomes evident when water moves. Water is not really itself when it is still. It mirrors its surroundings, we are unable even to see into it. In movement it becomes filled with magic, it becomes a mediating organ. This must be one of the most sensitive organs. Theodor Schwenk is at pains to demonstrate the existence of this inner structure of water in his book Sensitive Chaos. At every moment water is changing its quality of movement. This characteristic may be even more dramatic with a substance like blood. Through my connection with George Adams, I met Schwenk and his experimental demonstration of the ‘vortex-sequence’ phenomenon, which has been an ongoing inspiration to me (Figure 5.1).

The vortex-sequence is an ordered expression of what I call a vortical meander. The question prompted for me by this phenomenon was: would it be possible to create a vessel or indeed an ‘organ’ which would enable water to manifest this potential for order and metamorphosis which lies within it? Such a vessel would exist as an artistic statement between the inorganic and the organic, lifting the former towards the
latter.


Would it be possible to create an organ which enables water to express and manifest its innermost potential?

Through experimentation I discovered that rhythm is generated by means of proportion. Surfaces cause resistance to water when it is gaining momentum by flowing down a slope. We remember the familiar phenomenon of water, forming waves as it spreads out over a sloping road. If a relatively narrow aperture is encountered, its dimensions determine whether more or less resistance is presented to the flow which might then be caused to hesitate. It is a very delicate set of conditions which lead to a self-inducing and self-maintaining rhythmical process. The wave rhythm is metamorphosed into a meander rhythm.

Having observed this rhythm-generating capacity of proportion, the next question was related to the nature of the surface itself which is intimately caressed by the fluid. What kind of influence might this have? A number of relationships present themselves: organism, rhythm, surface, time and also even place.

When watching all the extraordinarily complex movements that occur in water we realize they have principally to do with the vortex, left- and right-handed. These lead in turn to the meander, which is perhaps the most prolific of all forms and which is by definition asymmetrical. Taking this thought further in relationship to water’s function of supporting life, we have to admit the strange fact that all the organisms that
water supports tend in some way towards symmetrical forms. There are three qualities of symmetry; spherical, radial and bilateral. From asymmetry to symmetry we seem to move to a higher state: from the inorganic to the organic. Could it be that something might come of offering symmetry to water? A meander could be mirrored to form a channel (Figure 5.2), which would consist of expanding and contracting
sections potentially changing in proportion as the meander develops from the straight to increasingly curved form. It was this continually changing section which revealed the specific proportion that generated an unexpected pulse in my experiment.

There are three states of motion described as laminar, harmonic and turbulent. (Schwenk, Koehler, Schneider). It is in the realm of the harmonic/rhythmical that all living forms of nature appear, this extraordinary realm where proportions generate rhythms, rhythms essential to life. It is just this middle realm which is difficult to grasp, where with an increase in flow-rate there is a sudden change from laminar to turbulent and the middle is often missing. When it does appear it is held only by a very delicate balance. Having achieved the possibility of working with this narrow spectrum where rhythm appears, we have to ask how do we learn to work with rhythms in a positive and supportive way. Again and again test indications show some thing, even though not dramatic, usually pointing to a useful result.

George Adams had the idea of offering path-curve surfaces to water and I began building these in 1962. Introducing water to them proved however quite difficult. Firstly at that stage it was only possible to use synthetic materials and these had, it proved, a storing influence upon the quality of the water. Secondly gravitational and rotational forces were virtually impossible to overcome in the context of spreading
water over the surfaces. The only satisfactory way to ensure an intimate relationship of water to surface made of an acceptable material was to construct a tube in stoneware ceramic. Due to the vortical form of the surface used it was possible to create a kind of pump through which water was drawn up vertically while closely following the mathematical surfaces.


Since then it has been possible to construct apparatus consisting of a continuous vortical surface with a number of path-curve channels. Once primed, this functions as a pump, raising water nearly one metre while intimately caressing the proffered surfaces.

A short while after discovering the Flowform Method I was determined to investigate the possibility of introducing the path-curve surface into the Flowform. This was successfully carried out already in 1970. The streaming water passing rhythmically through a sequence of Flowforms, repeatedly passes over the surfaces built into the lateral cavities.

Since these first attempts Lawrence Edwards’ research has confirmed the validity of Adams’ ideas. With increasing certainty Edwards considers that the closer the organism achieves the ideal surface towards which it is striving, the more vigorous it is. It is clear from his work that water and surface combine to mediate the influences of the cosmos to the individual organism.

If we can achieve the goal of imbuing water with the necessary information in anticipation of its support of the organism, its life-sustaining capacities might well be dramatically enhanced. Having made this initial experiment with Flowform and mathematical surface it was necessary to proceed with investigating the Method itself.

The first priority was to establish the presence of a qualitative effect upon the water, due to rhythm. This rhythm was contained within surfaces built out of a direct experience of the pulsing water movements. Those proportionally related surfaces close to the central axis are most critical but all others have also to be designed to support and not resist the processes of rhythm reproduced from hump moulds. It was only a beginning and the movements were not as dramatic as had been hoped, due maybe to shrinkage and other variables: testing facilities were minimal but at least a start had been made.

During the mid seventies an installation for mixing biodynamic preparations was set up at Tablehurst farm, Emerson College, with the Jama Flowform in combination with a specially assembled Archimedian screw. It was on the basis of this work that the use of Flowforms among the farming community was explored in New Zealand. The possibility of spraying otherwise inaccessible hilly country by plane prompted the development of mixing techniques for large quantities. Mixing machines, designed as an attempt to reproduce the hand-mixing are being superseded by use of the Flowform Method. It is necessary to stir up to 2500 litres for an hour’s flying time. During this first hour a second
batch has to be prepared to ensure economic use of a plane during hired time.

Understandable arguments against the use of machine mixing, in which rhythms cannot develop, do not in my opinion hold for Flowform units. The human involvement necessary to design for the generation of truly rhythmical movements is very different from that of making a machine. With all three methods good results have indeed been achieved. Machines on the scale needed can however only be managed by groups of farmers and are excessively expensive to maintain.

Flowform units are in use on some sixty farms and gardens in New Zealand. As well as mixing preparations they can be used for treating water for animals, irrigation water for instance for seed germination and liquid manures. The units can thus be in use for all manner of purposes throughout the year.

As it is impossible to reproduce pictures of all the projects mentioned in the talk at Hawkwood and refer to the activities of the many people involved, a choice has to he made.

Warmonderhof Biodynamic Farm School was directed still in the early 80’s by Jan Diek van Mansfelt who later became Professor at Waageningen University. He became interested in Flowforms and was instrumental in building a large research project. The concept was to build a kind of organ for the treatment of the sewage effluent from the polluted canal surrounding the site. The canal discharges subsequently into the neighbouring river.

There were to be two separate biological systems built in such a way that there would be a great deal of flexibility for research purposes. The two systems related to two treatment methods. One in which water was moved over a Step cascade, the other over a choice of Flowform cascades, the former generating a more laminar flow under gravity, the latter rhythmical lemniscatory flow.

A further goal was to compare Flowforms with each other as a step towards an investigation of means of optimizing the effects of the Method.

During four years research reports indicated significant differences in the biological processes of purification, but both methods were useful in oxygen uptake.

The more tardy and laminar flow in the Step cascade directed the purification processes in such a way that vegetative growth with an emphasis on wide-leaf production was stimulated in the pond ecosystems. This is to be compared with the condition within an overshadowed, slow-moving or downstream eutrophic part of a river system.

The macrofauna composition was biased towards species that prefer a darker habitat. They displayed a somewhat softer-rounded exterior shape, with slower movements and a life-cycle that includes a flying phase (midge larvae). Direct observations showed a tendency to higher turbidity and a smell like fug-must-ammonia. Tests carried out with the Drop Picture Method displayed a less pronounced structure. Gold
fish behaviour was slow and passive at the cascade outlet.


The livelier, rhythmically pulsating and turbulent water movements in the Flowform cascade stimulated blossom and seed production. Flowering proceeded earlier in the summer while plants showed deeper colours in the autumn. Upright branching predominated with smaller leaf production. This is to be compared with the condition within the light-filled, open rapids and waterfalls, or the upstream, oligotrophic part of a river system.

The macrofauna composition was biased towards species that prefer a lighter habitat. They displayed a more pronouced and rugged exterior, with faster and more nervous movements and a life-cycle that remains in the water (crustaceans and water-mites). Direct observations showed a tendency to lower turbidity (clearer water) and a smell like humus or hay. Tests carried out with the Drop Picture Method displayed more pronounced structure. Goldfish behaviour was more active at the cascade outlet. A tendency towzirds higher oxygenation efficiency was noted but could not be proved in a satisfactory way

Jan Diek van Mansfelt’s comment was that where good quality water is needed for stimulating the development of higher organisms, Virbela Flowform systems could well be incorporated for positive effect.

The impulse to create the Warmonderhof installation was stimulated by the initial success of the lagoon purification system in Jama, where no comparative investigations could take place

Ame Klingborg had observed the results of my first three years design experiments at Emerson College and invited me in 1973 to build cascades for the Seminariet in Sweden. This proved to be the first major installation with Flowforms (Figure 8). Over the last twenty years the installation has proved to be a very useful object of research and innovation.

In the meantime the work of Prof. Katie Seidel created much general interest and experimentation with biological systems. My colleagues and I have had fruitful contacts over a long period from the late 70’s. Our interest remains with composite systems and the many different options they present. Basically the components consist of lagoons, filter-beds and cascades, used in very different ways dependent upon site conditions. Working with living systems demands continual watchfulness and willingness to change and achieve the overall balance and harmony for optimal functioning

The Jama purification system has grown into a beautiful much visited wetland park, rich in aquatic, plant and animal life. There are some seven lagoons, a series of meandering gravel and plant filter beds with four Flowform cascades all of different design. It is open to the public with daily tours throughout the year, paths, benches, bridges, sculpture sequences and an attractive thatched shelter for sitting and
bird-watching

A completely separate second system has been built to cater for the Vidar Clinic and a new co-worker housing estate. This consists of a series of extensive ponds and two large cascades.

These early projects were the beginning of what is now a continually increasing preoccupation with biological systems of every kind. Much work has been done also in this country with the combination of reed-beds, lagoons and cascades. Systems have been built, from the single household scale, attracting for instance the interest of such a flexible situation as that at Highgrove, Tetbury, to ones for three to four
thousand which are now being planned, and further, to a small coastal town site in Wales. There is also a very great range of pollution being managed, from highly toxic industrial waste in a successful pilot system for the Body Shop, through domestic and municipal to, for instance, swimming pool needs. It is possible to build chemical-free sustainable systems, vastly more user-friendly than the normal ones.

In Germany and Austria very beautiful solutions have been completed, presenting the overall impression of a natural lake. Swimming areas can be defined but then surrounded by planted gravel areas. From the deepest point water is extracted, sucking out any debris, to be treated by circulation through an extra biological pond, and returned, regenerated and clean to the swimming area via a cascade.

Another closely related but rather more aesthetically orientated task is connected with interior design and the problem of air-conditioning. We have from Sussex been involved in at least two large commercial buildings in Amsterdam and Frankfurt.

Other quite novel directions have been taken more recently, relating to food-processing. Near Munich on an organic farm we now have cascades operating in connection with cheese and meat curing cellars. This rhythm-penetrated environment into which geopathic influences are drawn, is a modem attempt at reproducing the ventilation and ambient control based on traditional northern Italian methods.

Quite apart from all these more functionally biased tasks carried out in collaboration with professional colleagues who have requested our involvement, we continue to work on many projects concerned with enhancing the aesthetic quality of public and private environments.

One of the most recent installations we have been privileged to complete is that at Chalice Well in Glastonbury. This is especially satisfying with the Sevenfold Cascade connected with a healing spring from which water has been flowing for two thousand years and no recirculation is necessary.

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