A PERCUSSIVE INTERVENTION University of Cambridge Department of Architecture Year 1
1
2
Alice Anders Adekunle Awodele Sophia Bharmal Laura Bielinski Oli Brenner Dom Browne Eleanor Derbyshire Lare Erogbogbo Kathryn Fisher Melvin Fung Ceri Hedderwick Turner Leyla Hepsaydir Inji Kang
Ali Laali Nadia Lesniarek-Hamid Michelle Lo Nicole Ng Luka Pajovic Jack Shi Amelia Stevens Miho Sugiyama (ÈCPS 5BKOBG˸J Luke Upton Emily Wickham Matilda Wickham
Year 1 Tutors Julika Gittner Beth Hughes Jim Ross Mark Smith
3
4
5
With thanks to:
Karakusevic Carson Architects Cambridge Association of Architects The University of Cambridge, Department of Architecture The Cambridge Junction
6
Contents: Introduction Site Analysis Design Connections Tuning Lighting Logistics Budgeting Construction & Fabrication A Percussive Intervention
8 13 25 47 81 91 97 103 109 127
7
8
9
10
The Cambridge Junction is an arts centre seeking new ways to be a place where people socialise and collaborate; how do we go beyond a foyer with tables, chairs and a bar? The area outside J1 of the Cambridge Junction is where people queue to get into the music venue, the metal structure provides a vague framework along which people queue. This was used as a starting point from which to make the experience of queueing outside beyond the ordinary.
11
12
SITE ANALYSIS In order to create a successful intervention at the Cambridge Junction, we underwent a period of site analysis. This involved identifying the demographic that the Cambridge Junction caters for and considering the other uses of the site.
13
14
Perspective of the Cambridge Junction from the square on which it is situated 15
Cambridge University students- at Juntion evening events
Local residents at - any point in the day
0GmDF 8PSLFST PO B MVODI CSFBL
Hills Road Sixth Form Students on lunch break
The Perse School Students on their lunch break
Demographic of people to target for the Cambridge Junction intervention
16
Inside /VNFSPVT QPTUFST PG FWFOUT SFnFDUJOH UIF WJCSBODZ PG UIF $BNCSJEHF +VODUJPO
Outside Empty and unexciting
17
Mapping the surrouding public space
Mapping the surrounding public space
18
Mapping sound interference
19
20
The main demographic present in the square in the evening is teenagers; the Cambridge Junction does not cater well for the age group 21
22
Graph illustrating the change in queue densities outside the Cambridge Junction throughout the evening 23
24
DESIGN The design of this intervention was a complex process involving many different factors, preventing it from being led purely by aesthetic objectives. Instead it was led by a range of constraints and practicalities: availability and cost of materials, constraints of the existing structure and ease of construction.
25
Space 1. Interactive, permeable area that gives a fun function to an unused bike rack space. Gives activity to the people who hang around outside the junction.
26
Space 2. Back of the q der through this area in can move to create a KatieStephenson - will katie_stephenson@ho %ULWDLQ路V JRW WDOHQW VHP
queuing area for the junction music space. People can wannstead of just waiting in a line. During the day one of the walls semi- enclosed workshop space for drumming workshops. ing to do the opening drumming workshop otmail.com PL ÀQDOLVW
Space 3. Draws attention to passers-by to the entrance of the junction as a place of music and social interactions.
Original design proposal
27
ANALYSIS OF SITE
PROPOSAL AND
Fig. 1
Fig. 2
Fig. 3
Fig. 4
Fig 1. The queuing area outside J1 of the junction during the day is mostly empty. Fig 2. Demographic of people: Through day research and night research we have concluded that there are 2 main demographics of people - teenagers and children who hang around outside and late twenties who enter the juntion.
PROPOSAL: To create a musical structure th with people who are occupying the space ar by children during the day and junction dwe
Fig 3. Smokers and people waiting to go in huddle in groups of 3 or 4 Fig 4. An intervention - putting inside, domestic chairs outside the queing area at the junction, attracted teenagers and junction dwellers. An intervention that gave the dead outside space a sense of fun - can we recreate this in a more ambitious construction? Two local teenage boys - come to the junction most evenings and day times - never buy tickets. Get moved on often by the police.
28
1.
Set up Scaffolding
3.
Insert barrels into scaffolding
CONSTRUCTION
MATERIAL RESEARCH
hat integrates people who are entering the junction round it, during the day and during the night. Used ellers seeking entertainment during the night.
Material:
Sound:
Dimensions, cost and quantity:
Source:
Overall Cost:
18 litre Water Barrels
:KHQ ÀOOHG ZLWK GLIIHUHQW amounts of water, the pitches of the bottle vary and melodic sounds are made
250 barrels each 26cm in diameter 48 cm in length
Cooler Aid will provide 250 barrels which must be returned undamaged
£1000
Custom made Scaffolding
Tinny but structural and tactile. A Costings from scaffoldingsupgood aesthetic with the junction plies.co.uk and EZI clamp and the water barrels systems
scaffoldingsupplies.co.uk EZE Klamp systems. Bridge Street
£645
3m Tubes range from £8.50 to £12.00 Approximate cost £500
2.
Sockets Cost between £1 and £2 Approximate cost around £145
Test the tones of the drums White rope to bind the barrels
Dampen the sound of the barrels 300 meters of rope - £74p per so as not to cause too much meter noise.
budgetchandlery.com
£225
Solar powered Outdoor lights
No sound - light up the barrels to create shadow and intimate dynamic spaces
5 lights £20 pounds each
Maplins
£100
Coloured water
Varies the tones in each water barrel
FREE
Tap water, rain water
N/A OVERALL COST OF PROJECT : £1970
4.
Bind barrels with rope to pre vent slippage and vandalism
Original design proposal
29
Progression from the idea of a soundwave dictating the arrangement of the facade and how this might be articulated using the bottles in panels
30
Visualisation of the intended evening aesthetic
31
We are hoping to obtain 500 bottles, capacity 19 litres preferably empty with no preference for age however they would need to be structurally sound and intact. 1000 00 scrap water cooler bottles we Would it be possible to arrange transport of thesfor a project that w Architecture Department
about potentially buying Ju are working on. This is live project at the Junction, a performing arts centre in Cambridge, celebratingWetheir 25th anniversary. are a small group of architecture students at Cambridge University who have been selected as the winners of a design project in which p y 18.5L water cooler bottles veryy cheaply p y in order to create an interactive, musical structure for a client. I we will need about 400 empty was wondering if you knew of anywhere we could get our hands on these?
ou can source them - wefrom may the haveimage, to go back to sourcing themwill fromactually several places p (ask As youyou hopefully can see not that many how ow complicated 100 b bottles bottle l would be for example) example). exam ple). Be Be very proactive in your q quest. be accessible to be hit, probably only about 100 maximum. Ideally we were looking for between 800 and 1000 but will appreciate anything you can help ''4 us with. ( '$"#/ /* *)6-( /# / # 1 ( ) " /* . 0- 1000 bottles within our
budget of ÂŁ1000 including transport both there and back! We store them in a container and once it is full (about 250-300 bottles) we take them to be recycled. Most of the bottles would have our label on.
a design project at uni which requires up to 400 empty water cooler bottles. Do a design project in which we will need about 400 empty 18.5L water you have a supplier
bottles very cheaply in order to create an interactive, musical We are hoping to obtain 500 bottles,cooler capacity 19 litres preferably empty structure for a client. with no preference for age however they would need to be structurally looking source a large quantity of 18.5 litre water bottles for a temporary sound andtointact.
n musical structure outside The Junction, a performing arts centre in bottler you Cambridge Cambridge. would be able to help us source around 1000 bottles. They can be used ones and can be near the end of their lives,
Wedecided needthat to the source 500-1000 bottles. I have reviewed this again and unfortunately have complications of delivery and racks are too great so we will not proceed with this supply arrangement. although preferably still in tact.
Further to our phone conversation we are sourcing bottles (18.5l) for a temporary installation outside 'The / $. !*- 6-./ 4 - - #$/ /0- ./0 )/. / /# )$1 -.$/4 *! ( -$ " and they will be building the installation themselves as part of their studies.
Junction' in Cambridge. # +-*%
Ideally we were looking for between 800 and 1000 but will appreciate anything you ou can c help p us us with. with and once it is full (about 250-300 bottles) we we have managed to source 750 bottles and now just need another take them to be recy recycled. yycled cled 250. Would it be possible to come anytime between the 9th and 13th January to pick them m up?
We will probably need about 100 bottles if that is ok? Just to check - do the bottles have handles?
32
0 Bottles The Divine Water Company
300 Bottles
500 Bottles
750 Bottles
1000 Bottles
%FTJHO JOnVFODFE CZ BWBJMBCJMJUZ PG CPUUMFT GSPN TVQQMJFST
33
5IF VTF PG B TDBGGPMEJOH GSBNF BMTP JOnVFODFE UIF EFTJHO BT JU QSPWFE UP CF UPP FYQFOTJWF
34
The design progressed from the scaffolding frame, to replacing it with a rope weave
35
Elevation pre jig
Elevation post jig
36
Section AA Section AA
The panelsin in this mustmust allow for accesfor to the bike racks; racks themselves are far Panels thisarea area allow access to the bike racks. Racks enough away not to interefere with the bottles
themselves are far enough away to not interfere with the bottles.
The panel in be this bay must be high enough to allow The panel in this bay must high enough to allow the doors to the storage facilitydoors to fully to open and they must be accessible to large equipment storage facility to fully open and be accessible by large equipment. A
A
37
Section BB Section BB
Gutter and roof running over bays 5-9 are set far enough back to not interfere with bottle necks.
Gutter and roof running over bays 5 to 9 are set far enough back to not interfere with bottle necks
Artwork in5,bays 6not and 7 will not beinstallation; removed before installation. Artwork in bays 6 and 75,will be removed before the panels in these bays must sitThe below these,in butthese we havebays been granted to run ropes but downwe in front of them to suspend the panels must permission sit below these, have been granted panel permission to run ropes down in front of them to suspend the panel. B
B 38
Section CC Section CC
Gutter inbetween bays 6 and 7 sits6behind I-Beam so will not interfere vertically; is angled Gutter inbetween bays and the 7 sits behind the I-Beam so itwill not slightly outwards horizontally but enough forward to not affect the panels
interfere vertically. Angles slightly outwards horizontally, but not far enough forward to affect panels.
C
C
39
Section DD Section DD
Bay 9 contains the main entrance into J1. Panel in this section
Bay 9 contains the main entrance into J1; the panel in this section must allow for access must allow for and barriers put bays out 9on and barriers to be putaccess out on performance nights across andperformance 10
nights across bays 9 and 10.
D
D 40
Section Section EEEE
-BSHF TUFFM /P JO CBZ JT TFU JO UIF DFOUSF PG UIF mOBM WFSUJDBM -BSHF TUFFM /P JO CBZ JT TFU JO UIF DFOUSF PG UIF mOBM WFSUJDBM * #FBN UIF QBOFM JO UIJT section will have toinbethis suspended below it have to be suspended below it. I-Beam. Panel section will
E
E 41
Final elevation primarily based on the constraints of the site; these include circulation and obstructions within the frame 42
Section BBBB Section High Panel
Section AA Section AA Low LowPanel Panel
High Panel
A
B
A
B
Sections showing how the design adapts to the constraints of the site.
43
7JTVBMJTBUJPO PG UIF mOBM EFTJHO JO DPOUFYU
44
Final iteration of the design accounting for all constraints
45
46
CONNECTIONS " DSVDJBM QBSU PG UIJT QSPDFTT XBT mOEJOH B NFUIPE PG DPOOFDUJOH UIF CPUUMFT CPUI UP FBDI PUIFS BOE UP UIF FYJTUJOH frame. This section explains the different knots that were explored, the method of attachments to the frame and then lays out instructions for the process of construction.
47
48
#1 Amelia’s weave
How to tie a single knot
49
Section of bottle showing the single knot around the handle, and the pivoting effect about the handle which it caused
An elevation showing how the sag from the knot affects the overall aesthetic of the panel
50
#2 Diamond Grid Weave
Section showing weave from front of steel frame
51
Section showing the weave from the side of the frame and potential buckling problem
A section of a bottle showing the double knot around the handle and around the bottle, as well as the pivoting effect which could lead to the bottles buckling out of place
An elevation showing how the sag from the knot affects the aesthetic of the overall panel 52
#3 Constrictor weave
A
B
B
A
How to tie a Constrictor knot
53
A section showing the horizontal and vertical weave, and the consequence of increasing the spacings between the bottles
A section of a bottle from side of steel frame showing the Constrictor knot and the amount of rope being used
A section of a bottle from front of steel frame showing the Constrictor knot
54
#4 Net weave
How to tie a Bale Hitch
55
Other adaptations of Net weave
Section showing rotation of bottles
56
#5 Self tightening system
Section cut A showing the vertical weave and the thinning of the rope as highlighted, when the rope is tightened
Section cut B showing the horizontal weave
57
How to tie a Midshipman’s Taut Line Hitch
Exploded view of the Midshipman’s Taut Line Hitch
58
#6 Self tightening system and Bale Hitch bottle neck weave
section of bottles and 3 layers of weave
Section of bottles and 3 layers of weave, and the possibility of deformation due to improper positioning
59
Section of bottle showing 3 layers of weave
Section of bottle showing vertical movement
Exploded view of the Bale Hitch
60
#7 Improvement of self tightening system and Bale Hitch bottle neck weave
Knot has to be redesigned due to considerable sag
+ 2 half hitches
Section of bottle showing horizontal bale hitch weave and vertical self tightening weave
Section of bottle showing horizontal movement
61
poorly knotted tautline hitch with 2 half hitches (common mistake)
properly knotted tautline hitch with 2 half hitches
mOBM EFTJHO NJETIJQNBO T UBVUMJOF IJUDI XJUIPVU UIF FYUSB IBMG IJUDIFT
analysis of knots and its sag extents
62
#8 Final weave design 7FSUJDBM TFMG UJHIUFOJOH XFBWF XJUI .JETIJQNBO T 5BVU -JOF )JUDI %PVCMF "MQJOF #VUUFSnZ MPPQ BOE %PVCMF 'JTIFSNBO T ,OPU Horizontal bottle neck Clove Hitch with spliced ends
Section of bottle
Section of bottle showing Midshipman’s Taut Line Hitch and Clove Hitch around bottle neck
63
How to tie a Clove Hitch
Exploded view of Clove Hitch
64
)PX UP UJF B %PVCMF "MQIJOF #VUUFSnZ MPPQ
How to tie a Double Fisherman’s knot
65
How to Eye Splice
66
67
68
Roles / working as a team
69
Top connection version 1 Too much friction - danger of breakage
Top connection version 3 Metal on metal - danger of damaging I-beam
70
Top connection version 2 Hard to maintain uniform lengths when creating knots, and tubing is too expensive
Top connection version 4 Chain too expensive
Final connection using a simple splice and a D-lock nut
71
&MFWBUJPO BOE DSPTT TFDUJPO PG QBOFM TIPXJOH mOBM XFBWF EFTJHO 72
Preparing the Rope Panel Construction Manual
1.
1.
2. Stretch the tape measure
2.
Vertical Weave = 11m Horizonatal bottle-neck weave = 7.3m
3. Ensure rope is not stretched during measuring
3.
4. Seal with electrical tape to prevent the ends fraying
5. Cut 10 lengths of 11m and 7 lengths of 7.3m
4. 5.
1. Vertical weave = 11m Horizontal weave = 7.3 m 2. Stretch the tape measure 3. Ensure rope is not stretched during measuring, but is taut 4. Seal with electrical tape to prevent the ends fraying 5. Cut 10 lengths of 11m and 7 lengths of 7.3m
73
Self tightening weave column Prepare the vertical column ropes (11m)
6. 6. Fold the rope in half
7.
8. Tie a Double Apline ButterÀy Loop
7.
8.
9.
10. Tighten around a scaffolding pole
9.
10.
11.
10. Complete the knot on each of the 10 ropes
6. Prepare sections of rope for vertical weave - 11m, and fold in half 7. Take rope 5JF %PVCF "MQJOF #VUUFSnZ MPPQ 9. Take tied knot 10. Tighten around a scaffolding pole 11. Comple the knot on each of the 10 ropes
74
handle 12.
of handle
Section through bottle
13.
14.
15. Whilst keeping the tension in the left-hand rope, tighten the right-hand rope
16. Pull on the rope to pre-stretch the rope
15. Whilst keeping the tension in the left-hand rope, a second person tightens the right-hand rope
15.
16.
12. Ensure loop sits at centre of bottle handle 13. Tie the Midshipman’s Hitch at 7 o’clock 5JHIUFO UIF MFGU IBOE SPQF mSTU 15. Whilst keeping the tension in the left hand rope, second person tightens the right hand rope 16. Pull on the rope to pre-stress the rope
75
18. 17.
19.
20.
17. Attach together 7 bottles to form a column by repeating steps 6-11 18. After attaching another bottle, pre-stretch that bottle and the previous one, as opposed to repeated stretching the whole column 19. Tie a Double Fisherman’s knot at the end of the column 20. Trim the ends of the rope and burn with a blowtorch to prevent fraying, then place in jig
76
Horizontal bottle neck weave
the 7.3m lengths of rope
21.
22.
25.
23.
24.
26.
27.
21. Apply masking tape rings around the 10cm and 12cm mark of the rope 22. Separate the ends and burn 23. Measure the length of rope needed for splice 24. Complete an eyesplice 25. Align the splice with the edge of the bottle 26. Tie a clove hitch around the bottleneck with the knot facing the bottom of the column 27. Tie clove hitches along the row 77
28.
29.
30.
28. Once a clove hitch has been tied around each bottleneck, use the mini-jig to adjust the tension of the rope - the hitch can be tightened like a rachet until the rope between the bottle neck is taut 29. Fold back the rope at the end of the row so that the loop is aligned with the edge of the bottle and cut the rope at the arrow 30. Tie an eye splice to complete the row
78
79
80
TUNING A crucial feature of this project was the percussive characteristics of the water cooler bottles. A key focus was experimenting with the sounds that could be created and the arrangement of the water cooler bottles with regards to how the different sounds are spread through the percussive wall.
81
JERRY CANS
An initial idea of using Jerry cans as the material was dismissed as they did not have the desired sound quality 82
The water cooler bottles had much more desirable acoustic qualities
83
84
Testing the sound of the water cooler bottles with different contents
85
Empty water bottle
9 litres of water
4 litres of water
1kg of rice
Illustration of the different sounds created with various contents
86
Exploring how the different sounds could be arranged in relation to a human’s reach
)PX UIF BSSBOHFNFOU PG TPVOET DIBOHFE UP NBUDI UIF mOBM EFTJHO
87
0VS mOBM EFTJHO VTFE OPUIJOH JOTJEF UIF XBUFS DPPMFS CPUUMFT IPXFWFS EJGGFSFOU TPVOET DBO CF created by hitting the bottles in a variety of ways 88
89
90
LIGHTING To give another aspect to the project and enable use of the percussive wall at night, we decided to illuminate the water cooler bottles. The lighting solution was affected by a range of factors including cost, maintenance and attachment.
91
Lighting concept
92
1.
2.
3.
4.
5.
1. Sodium Floodlight
£35
2. Low Pressure Sodium Vapour Streetlight
£20
3. Low Energy LED Outdoor Security Floodlight 4. Halogen Floodlight
£16
5. 45 LED Floodlight
£14
£18
Research into various forms of lighting
93
5IF JOJUBM JEFB XBT UP VTF nPPEMJHIUT BUUBDIFE UP UIF GSBNF VTJOH NBHOFUJD pads, however this was dismissed as it was too costly 94
Final lighting design using festoons
95
96
LOGISTICS A large part of this project was the organisation and transportation of the water cooler bottles. The design, storage and construction had to be split between the University of Cambridge, Department of Architecture and our site, the Cambridge Junction. There was also the organisation of people with regards to the constrcution of the percussive wall.
97
Planning for the arrival of bottles at the Department of Architecture
98
Planning for transport and storage of bottles at the Cambridge Junction
99
Building at the Department of Architecture
100
Building at the Cambridge Junction
101
102
BUDGETING The project had to adhere to the strict cost constraints imposed by the budget. This informed many design decisions and developments that are shown through this chapter.
103
Total: ÂŁ2,087
Design using Jerry cans, inner tube and scaffold bars
104
Total: ÂŁ2,677
Design using water cooler bottles, inner tube and scaffold bars
105
Total: ÂŁ1,948
Design using water cooler bottles, weave and scaffold bars
106
Total: ÂŁ1,688
Final water cooler bottle weave design
107
108
FABRICATION & CONSTRUCTION 0ODF UIF EFTJHO XBT mOBMJTFE UIFSF XBT B QFSJPE PG UFTUJOH SFIFBSTJOH BOE DBSSZJOH PVU UIF DPOTUSVDUJPO QSPDFTTFT
109
Use of the Department of Architecture during construction
110
Intended construction plan of the jig used to mass produce identical panels with uniform spacings
111
112
Building and using the jig
113
A system of pulleys was planned to reduce friction when hoisting, this became VOOFDFTTBSZ XJUI UIF mOBM EFTJHO 114
115
Scaffold frame used for testing prior to construction
116
1SPUPUZQF VTFE UP JEFOUJGZ nBXT JO UIF DPOTUSVDUJPO QSPDFTT
117
Installation process - Installing top attachment
118
Installation process - hoisting knot
119
*OTUBMMBUJPO QSPDFTT mOBM BUUBDINFOU VTJOH % MPDLT
120
Installation process - tensioning using side attachments
121
122
Final installation process
123
124
125
126
A PERCUSSIVE INTERVENTION
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
Dear Oli, On behalf of my son, who is 9 years old, I would like to say a big thank you for an amazing music bottle installation near the Junction. We had great fun playing there yesterday. My son is now asking if we could build similar structure out of milk bottles in our garden I would very much appreciate if you could help me to mOE PVU XIFSF ZPV CPVHIU BMM UIF SPQFT BOE UIF FRVJQNFOU UP TFDVSF UIF TUSVDture. Many thanks for this inspiration and good luck with your studies. Great job!!! Best regards, Yelena
143
144