MMMC- volume 5

[eleni economidou] 2013

Portfolio

[Re_Map]606

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MMMC Portfolio

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[Re_Map]606: Post Capitalist Urbanism

Economidou E.

Eleni Economidou _MArch Master of Architecture 2013 Manchester School of Architecture University of Manchester Manchester Metropolitan University Year 5

T: +447598942804 E: economidou.eleni@gmail.com economidou.eleni@stu.mmu.ac.uk

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Contents:

MArch Master of Architecture 2013 - 5th year works Vol. 1 - Data Derivé | Fall 2012 | Studio 4.1 Vol. 2 - CCCP | Winter 2012 | Technology B: 16180002(B) Vol. 3 - Creature - Feature | Winter 2012 | Studio 4.2 Vol. 4 - Prototypes and Assemblies | Spring 2013 | Studio 4.3 Vol. 5 - Concrete Testing Journal | Spring 2013 | MMMC Vol. 6 - Age-friendly cities | Spring 2013 | Events Week | instructors: Nick Dunn, Richard Brook, Vikram Kaushal | © Eleni Economidou Student no.12100412

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MMMC concrete testing journal

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Contents:

MArch Master of Architecture 2013 - 5th year works Data Derivé | Fall 2012 | Studio 4.1 Creature - Feature | Winter 2012 | Studio 4.2 Prototypes and Assemblies | Spring 2013 | Studio 4.3 | instructors: Nick Dunn, Richard Brook, Vikram Kaushal |

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Contents: 0.0 - Preface

1.0 - Precedents

1.1 - Precedent I

1.2 - Precedent II

1.3 - Precedent III

1.4 - Precedent IV

2.0 - Design Concepts

2.1 - Design Concepts I, II, III

3.0 - Tests

3.1 - Tests Overview

3.2 - Test I

3.3 - Test II

3.4 - Test III

4.0 - Final output Bibliography

12 14 16 18 20 22 24 26 24 28 30 34 36 40 46

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0.0 Preface >>Brief: MMMC concrete testing journal In group of four the aim was to explore the properties of concrete by making and per mutation (analogue and digital part).

Using some of the coding skills acquired from previous projects we looked at ways of mutating concrete using fabric form work. We did some initial testing to test the different mixes available, the reinforcement possible to achieve and also put the forces of gravity to the test. We managed to bond technology with hands-on concrete pouring.

Out of trial and error processes the learning outcomes were enriched. we worked as a group, each bringing our own individual skills to collectively produce a successful form.

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1.0 precedents MMMC

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1.1 Precedent I Seat Slug San Francisco Bay Area firm Rael San Fratello Architects has initiated a fundamental shift.

Through research Assistant Professor Ronald Rael conducts at the University of California Berkeley, the firm has developed a cement-based polymer and a new process that,for the first time, employs conventional rapid prototyping hardware to produce strong and durable building components that cost far less than conventional rapid prototyping materials—up to 90% less than comparable powder printing materials. The material can also reach strengths of up to 4,700psi in compression.

The SeatSlug, a biomorphic interpretation of a bench, demonstrates how this new digital output process generates end-product structural building components directly from 3D software models. The design is inspired by flabellina goddardi, the newest species of sea slugs discovered in California in 2010, and by the infinite tessellations of Japanese karakusa patterns. It is constructed of 230 unique rapid-manufactured components1.

1 Concrete FAQs, Available from: http://www.cement.org/ basics/concretebasics_faqs.asp [Accessed on: 12/03/2013]

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Fig.1.01: The Seat Slug

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Fig. 1.02

Fig. 1.03

Fig. 1.04

Fig. 1.05

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1.2 Precedent II Reinforced Concrete Construction Fabric form-works for reinforced concrete construction and architecture is an emerging technology with the capacity to transform concrete architecture and reinforced concrete structures.

The natural tension geometries given by flexible fabric membranes provide extraordinarily light and inexpensive form-works, some using hundreds of times less material than conventional form-works, and some providing zero-waste form-work systems.

The flexibility of a fabric form-work makes it possible to produce a multitude of architectural and structural designs from a single, reusable mold. The use of a permeable form-work fabric produces improved surface finishes and higher strength concrete as a result of a filtering action that allows air bubbles and excess mix water to bleed through the form-work membrane.

A flexible fabric mold awakens concrete to its original wet, plastic nature by naturally producing concrete members with complex sensual curvatures. The sculptural and architectural freedom offered by this method of construction is matched by new possibilities for efficiently curved structures. Research at CAST has produced simple methods for forming beautiful and efficient beams, trusses, panels, vaults, slabs, and columns.1.

Concrete form-work method, Available from: http://www. umanitoba.ca/cast_building/research/fabric_formwork/index.html [Accessed on: 13/03/2013]

1

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Image.1.6: Wall method used to form buttressed columns

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1.3 Precedent III Pre-stressed fabric form works

casting concrete panels in flexible fabric moulds A new class of pre-cast concrete panels can be constructed using a mildly pre-stressed fabric sheet as form-work.

Unlike conventional form-work technology, which relies on rigid and typically prismatic containers, fabric form-works are flexible, and are allowed to deflect under the weight of the concrete they contain. As a result, these casts are defined by three-dimensional tension curves rather than planar surfaces.

Figure 1.10 shows the pre-tensioned fabric membrane in place along with the upper frame and reinforcing, ready to receive the concrete. When wet concrete is placed in this mold, the fabric membrane deflects downward creating three-dimensional tension curves between the supports provided and, in this case, producing the panel shown in Figure 1.11 and Figure 1.12.

Using this method, a single membrane can be used to form a wide variety of designs by simply changing the design of the intermediate supports below the reusable fabric membrane.

Figures 1.13 & 1.14 illustrate alternate designs using the same fabric membrane. Simple changes in intermediate support patterns will produce significantly different panel designs1.

1 Mark West Director: C.A.S.T., Centre for Architectural Structures and Technology,University of Manitoba Faculty of Architecture

The geometry of the form-works’ deflections will vary depending on the weight and distribution of the concrete, the elasticity and pre-stress levels of the fabric membrane, and the boundary and intermediate support conditions provided. The geometric design of these panels is achieved by altering these constraints.

“Direct-Cast” Panels: A Lower Frame, which matches the final dimensions of the panel to be formed, is prepared with intermediate supports placed inside it. Figure 1.08 shows a lower frame with intermediate supports.

A fabric membrane is held and pre-tensioned over this frame and intermediate supports using a pre-tensioning frame. Figure 1.09 shows a steel pre-tensioning frame. Placed above the fabric sheet is an Upper Frame that contains the wet concrete, and set the edge thickness of the panel.

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Image.1.08:

Plaster study models at the Centre for Architectural Structures and Technology: a large variety of panel designs can be cast from the same fabric sheet simply by changing the intermediate supports used in the form-work rig.

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Fig. 1.09

Fig. 1.10

Fig. 1.11

Fig. 1.12

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1.4 Precedent IV Pre-stressed fabric form works

Bone structure, Organic formed concrete, formed using fabric.

This example of simple cast fabric formwork uses inherent properties of the fabric to manipulate the plasticity of concrete.

The project aimed to cast a beam and a column as a single element using sewing to stitch and shape the formwork using sleeves. They wanted to produce specified, on site easy assembly with a large free standing singularly cast enclosure being a wall with two columns.

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Image.1.15: Cement :600 KG/M3 CEM II/A 52.5 Sand : 800 KG/M3 (Size 0/4 mm) Gravel: 1000 KG/M3 (Size 4/16 mm)

Water : Water/Cement = 0,4 Fluid adjutant: 2% of cement Polypropylene Fibre : 400grams

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Fig. 1.16

Fig. 1.17

Fig. 1.18

Fig. 1.19

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2.0 design concepts MMMC

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2.1

Design Concepts

Concept I : Natural Form Bone structure drawing in grasshopper parametrically

Bone structure, parametrically formed

Initial idea 1 To create similar profiled concrete two detrimental pieces, rotate and joint to form three dimensional objects.

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Concept 2 : Duplication and rotation

Rotating Towers

Fablab Chair - Tyrertecture

Initial idea 2 To create similar profiled concrete two detrimental pieces, rotate and joint to form three dimensional objects.

Concept 3 : Drape and Flow

Gaudi Chair Initial idea 3 Incorporate the force of gravity with frames works

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Simulate Grav

Grav Dry in Layers

Button

Hanging Techniques

3.0

Techniques to Amend Form

Coarse Cotton

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Fabrics Cotton

Patterned Lace Denim

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Sand

Coal

Cement Mixes

vity

Kangaroo

Fiberglass

Plastic Rod

Strucutre Steel Wire

vity Computation

PVA Glue

Chicken Wire

Nodes

cut out holes

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3.1

CONCRETE MIX + AGGREGATES

CHARCOAL

Tests Overview

GRAVEL

FIBRE GLASS

The first series of tests were carried out to give the group an initial idea of how concrete works with fabric. It involves testing different types of fabric, various different aggregates, reinforcements, different hanging techniques and various different methods of manipulating the form.

SAND

These tests were carried as initiators of the translation between a computer generated model and a concrete form produced using fabric. They all particularly focused on way different hanging techniques assisted the impact of gravity on the forms.

This test included producing four models which were all made differently. The models were based on the same form which was previously modelled parametrically.

Fig 3.1.

Testings overview

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Fig: 3.2 Arch structure parametrically designed on grasshopper using Kangaroo

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3.1

Test I model 1

The first model was created using 1 part cement, 2 parts sand and two part coal. The coal was added as an aggregate and used to test whether the coal would affect the colour of the model.

The form was set in a thick cotton fabric and hung upside down. Bricks were used to hold the form in place as it set.

Steel roads with a plastic coating were inserted in to the form to act as structural elements.

The main problems found with the first model were that the steel rods were not attached to the form and came out.

The gravity of the concrete dragged it down and left the rods hanging upwards.

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Fig 3.2 Photos showing Process

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3.2

Test I model 2

The second model was hung between bricks, similarly to the first model however a button was incorporated in the centre of the form. This button would hold the fabric together and stop it from gaining too much weight in the centre.

The third model was hung the right way round, lying on curved mesh. This mesh would act as a mould to form the curve of the form.

The forth model was hung upside down using string, this generated more even curves in the form.

The second third and fourth models were all made up of a; one part cement and two parts coarse sand mix.

We tested the strength of the first set of models by standing on them. They proved to be stronger than they appeared as initially they did not break under our body weight. However after standing on them a number of times they did break eventually Issue This mix proved to be weak as the aggregates were not big enough to hold the model together. They proved problematic especially when it came to the legs. The thin parts of the legs tended to break in all three models.

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Fig 3.3 Photos showing Process

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3.3 Test II

The second test involved parametrically modelling natural forms inspired by tree trunks. The forms were then replicated in an abstract way in concrete. This test was carried out to generate more knowledge on how to generate such forms and what problems may be involved in such an exercise. of the legs tended to break in all three models.

Natural forms were drawn and stitched in very thick cotton.

A very small straight stitch was used to prevent water from seeping through the stitches. The form was then filled with one part cement and two parts coarse sand. It was then left to dry flat rather than hung; this was done to achieve evenness in the form.

Issue: When the fabric was peeled away from the form, it began to break along thin joints. This happened as the structure had not been left to dry for long enough and because the joints were very thin and therefore weak. Folds in the fabric also caused thinner weaker parts which also broke.

The group then decided to incorporate other more reliable and stronger aggregates. The coarse fabric proved to leave an aesthetically pleasing texture on the concrete.

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Fig 3.4 Sewing pattern

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3.4 Test III

This test was carried out to link together all the previous tests and to determine how accurately a computer-generated pattern could be translated into a concrete form by using fabric and a sewing machine. Focusing particularly on the impact gravity has on this final form.

A form was generated on the computer, this form was generated based on a grid and included five main nodes.

These nodes would act as areas of which the fabric would be hung.3D parametric software; kangaroo was used to simulate forces applied by gravity on the concrete, and tension forces of the fabric.

The design was then cut out and sewn and the same concrete mix which was used in the chair legs was used.

The test proved very successful. The final form was very similar to the one generated by the computer.

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Fig 3.5 Final form

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4.0 Final Output MMMC

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4.1 Final Output

The final test/output involved creating seating. It incorporated the forms and skills developed in the previous tests.

The form was based on a soft looking seating pad with natural looking legs which were based on the previous tree branch form. The chair also incorporated the use of gravity which impacted on the curves and flatness of the seating pad. The chair was hung upside down and filled bottom up. This test was a very important part of the study, as it highlighted the level of practicality of the implementation of parametric design on concrete seating formed by fabric.

Fig 4.1 Lace imprinted on concrete

The group began by drawing and cutting out the shapes of the parts required on thin cotton fabric. The shapes were then stitched together. Lase was sandwiched in between the seating pad and the legs. A frame was then built with holes cut out for holding the base of the chair legs. The fabric was then inserted into the four holes and then nailed down. The fabric was folded several times before being nailed down. The nails were then bent backwards. This process insured that the fabric would be held securely and would not tear.

The concrete, which was the same as the mix in the previous experiment, was made in sections. This was done to get minimum drying and hydration before pouring. The mix was then poured into the tight holes of the legs. Once the mix reached the legs it began to stretch the fabric. At this point the pouring was paused for a few days. This was done to allow the base to set so that when the concrete for the legs was poured it would not mix with the base causing it to expand extensively.

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Fig 4.2 Final designed parametrically

[Re_Map]606: Post Capitalist Urbanism Leaving the base to set on the ground, however placing the frame high enough for the edges to curve meant that the chair was comfortable to sit on and gravity effected the beautiful curves on the edges of the seating area of the chair, giving it a light, airy and natural look.

To insure secure joints, plastic columns were inserted into the concrete, in the areas where the legs would go. These columns would act as joints to give the legs maximum strength. Before the legs were poured PVA glue was poured into the form. This was done to give extra strength between the dry mix and the new wet mix. A new mix was made with slightly more fiberglass for extra strength and was poured slowly into the holes. It was squeezed down into the areas around the plastic columns. The form was then squeezed and sculptured around the legs. Chicken wire was then cut and inserted into the end of the legs and the rest of the thick cement mix was poured and forced in and around the chicken wire.

The concrete was then left to set. A few days later the fabric was peeled and the form was turned the right way around. It was too early to disconnect the wooden frame from the legs as the concrete was not yet fully dry, however within a week it will be ready to separate from the timber.

The only problems which occurred during this process were that the concrete was not resting in the legs, and stretching the seating part of the chair. This problem was solved by leaving the base to set, and then pouring the rest of the cement afterwards. The lase left a beautiful pattern on the chair, and generally the piece of furniture seems aesthetically pleasing and appeared light and soft. Š Eleni Economidou Student no.12100412

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4.2 Final Output process

The testing carried out were a mix of both hands on testing based on mixes, fabric, stitching, colouring, structure and gravity, and computed form. We started off by trying to achieve forms similar to computerised models we produced then went on to achieve these forms with greater precision.

The testing carried out enabled us to reach our goal.

We generated a computer generated form based on a grid, lines and assigned nodes. We then applied gravitational forces on the computer to simulate reality. We then stitched the form and poured the concrete mix into it. The form generated was very similar to the computed one. The fibre glass in the mix gave the final product both lightweight and strength, even in slim parts of the form.

Our experiments have proven that you can achieve accuracy and precision when using fabric formwork to form concrete, providing you use computer aided design assisted with the use of software, such as kangaroo, which simulate the forces which will impact the form in real life.

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bibliography Bram Geenen. (no date) Gaudi Chair, [Online] [Accessed on 29th April 2013] http://www.studiogeenen.com/?portfolio=gaudi-chair Dezeen magazine. (2012) Absolute towers by MAD. [Online] [Accessed on 29th April 2013] http://www.dezeen.com/2012/12/12/absolute-towers-by-mad/ Dunn, N. (2011). Digital Fabrication in Architecture. London: Lawrence King Tyrertecture. (no date) Fablab Chair.[Online] [Accessed on 29th April 2013] http://www.tyrertecture.com/post/6703853628/fablab-chair-conceptual-designwill-fabricate-a Resources: http://www.ruairiglynn.co.uk/portfolio/fsymmetry http://www.youtube.com/watch?v+VY7WEXQaatA http://vimeo.com/21289742 Theo Jansen http://www.youtube.com/watch?v=WcR7U2tuNoY http://www.concretecentre.com/ http://www.concretenetwork.com/concrete-mix-design/ http://www.cement.org/basics/concretebasics_faqs.asp http://www.technologystudent.com/joints/reinforc1.html http://www.umanitoba.ca/cast_building/research/fabric_formwork/cast_panels.html http://www.umanitoba.ca/cast_building/research/fabric_formwork/index.html http://www.foundationsakc.com/process/concrete-construction

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© Eleni Economidou Student no.12100412