PROCESS // DIARY 01
FREDERICK MAWHOOD
CONTENTS // PAGE
UNIT 04 INTRODUCTION
01-02
SEMESTER ONE ASSIGNMENT 01
05-20
. Precident studies . Building case study . Digital modelling development
ASSIGNMENT 02
23-78
. Learning context capture . Cleaning up meshes in Descartes . Catalogue of scanned artifacts . Reducing meshes in mesh lab . Piranesi’s Campo di Marzio . Compiling the scans in Microstation . Building a VR experience in Unity . Final visualisations of tile
ASSIGNMENT 03
81-118
. Cultural investigation . Shelter concept sketches & model . Precedent & material studies . Final digital model . Structural & bioclimatic considerations . Final interior & exterior visualisations
BIBLIOGRAPHY
120
01 INTRODUCTION
FROZEN TIMBER ______________________________________________________________ We know that timber is one of the best renewable resources available to us. As a tree grows, not only does it absorb carbon dioxide from the atmosphere, but it turns it into oxygen through the process of photosynthesis. Once the tree stops growing, it continues to absorb carbon from its environment until it reaches the end of its life-cylce, where it re-emits the absorbed greenhouse gases as it eventually dies and rots away. However, if a tree is cut down, processed and used in the construction process, its timber retains the carbon it accumulated during its lifetime - carbon sequestration. The beauty of Cross Laminated Timber is not only that it comes in the form of large structural planes, but that it can be made from low-grade shorter pieces of timber from smaller spieces of tree such as the arctic pine. We aim to engage in this conversation about the new limits of timber construction, with the aim of making Kiruna an engineered timber town made from regional resources as a means to reduce its ecological footprint.
CONTEXT ______________________________________________________________ We will be participating in the debate on the environmental adaptation and design/development of the new town of Kiruna, which has been forced to move 3km from its current location as a consequence of the expanding iron-ore mine directly beneath it. The new town plan, which will house the 14,000 displaced inhabitants of the old town, is based on the Swedish architectural practice, White’s competition winning entry. Besides attempting to reduce the effects of a potential natural disaster in the region, this project also aims to operate as an incubator for the local/regional culture and economy. Swedish Lapland is a European Development region with an enormous unemployment rate and a decreasing population, it is also the home of Europe’s only remaining indigenous people - the Sami.
DESIGN BRIEF ______________________________________________________________ We will be designing a new type of bioclimactic architecture that can be adapted to the extreme climate of the arctic biome of Kiruna in Swedish Lapland. The aim is to not only create a climactically smart architectural proposition, but also to explore emerging digital media techniques, as well as developing the use of refined timber in an arcitic architectural construction process - to invent and innovate. Across a few sites in Kiruna we aim to implement our new expertise in engineered timber, suitable for arctic forestry, and adapt our proposals to both the natural landscape, extreme climate, as well as the limited local resources. The ambition is to address the design opportunities inherent to engineered timber assemblies in order to develop a intelligent public building with a particular formal, spatial, material and experiential character integrated with a positive ecological footprint.
DESIGN CHALLENGE ______________________________________________________________ The challenge is to create a medium to large scale venue of a public nature, that is adapted to the local climate and wider contextual considerations. The program can be based around either education, research, entertainment, industry, or have a mixed-use program with the objective to create both working opportunities and stimulate new venture within its vicinity. The proposal will be integrated into the natural landscape and facilitate an increased biodiversity and range of ecological services, aswell as a percieved proximity to nature. Furthermore, the project should propose an inexpensive alternative to local construction techniques, and offer both cost and environmental benefits without compromising the architectural qualities of the designed environment.
UNIT 04 2017-2018 BUILDING LABORATORY // FROZEN TIMBER
02 INTRODUCTION
Figure 01. The Arctic City
ASSIGNMENT // 01
BUILDING CASE STUDY
05 ASSIGNMENT 01 ‘‘Treet’’, a timber high-rise building in Bergen, Norway now holds the world record for timber construction. It was conceived as an attempt to create a cost-efficient and sustainable modular highrise, as well as doubling as a celebration of the regions heritage in timber construction methods. The design was inspired by Norwegian timber bridges, and Bergen & Omegn were able to attract the political support necessary to get the project through planning by increasing the height to 14 storeys during the design process. The tower is comprised of a series of volumetric elements stacked together, with each module complying with contemporary passive house standards. Approximately 9,500m3 of timber will be used in its construction, avoiding approximately 18,000 tonnes of CO2 emissions compared to more traditional construction methods. In addition, if we include the CO2 already stored within the timber elements, the building will avoid more than 21,000 tonnes of emissions in total.
TREET TOWER BERGEN & OMEGN, NORWAY
KEY PROJECT INFORMATION ____________________________
. 550m3 of glulam beams, columns and bracing was used in the frame . 385m3 of cross laminated timber was used in the core, floor and walls . It sits on a concrete garage with foundations piled onto the bedrock . Prefabricated timber modules are inserted into the structural frame . The glulam elements carry all of the vertical loads with concrete decking providing additional dynamic support . The columns measure 405x650 or 495x495, and the bracing 405x405 . Total cost is comparable with a similarly sized steel or concrete build ____________________________
Figure 02. Treet Tower Images
ASSIGNMENT 01
. The tower stands 14 storeys tall at a total height of 52.8 metres
06
07
1) The concrete garage is constructed and foundations piled into the bedrock
ASSIGNMENT 01 2) The first module elements (stacked up four levels) are placed into position
3) The glulam structural frame and CLT core is assembled around the modules
4) Each four level stack is finished with concrete decking for additional support
TREET TOWER BERGEN & OMEGN, NORWAY
08 ASSIGNMENT 01
5) This sequence continues to 14 storeys and the concrete roofing is added
6) Additional cladding is added to protect the structural timber and insulate
09 ASSIGNMENT 01 As part of the development of the Northern Link motorway in Stockholm, Rundquist architects were asked to design two ventilation towers, located in different parts of the National City Park, which could divert the polluted air inside the traffic tunnels and reduce emission levels at the entrances. An underground duct connects each tunnel to its corresponding tower, where the interior geometry and structure has been optimized to reduce the resistance of the air flow. CLT was used as the structural material as a way of challenging preconceptions about how technological functions are usually designed; embedding cutting edge timber engineering from design to fabrication to construction.
VENTILATION TOWERS RUNDQUIST ARCHITEKTER, STOCKHOLM
PRODUCTION & CONSTRUCTION PROCESS RUNDQUIST EMPLOYED FOR THE TOWERS ______________________________________________________________________________
10 ASSIGNMENT 01
Figure 03. Ventilation Tower Images
11 ASSIGNMENT 01
VENTILATION TOWERS RUNDQUIST ARCHITEKTER, STOCKHOLM
KEY PROJECT INFORMATION ____________________________________
. The towers are both shaped like a super triangle, which pivots upwards along its axis, in order to optimise the exhaust air flow . Each tower is made from 117 unique bands, with each band comprising of 6 individual CLT sections bolted together . In total, each tower is made up of 702 unique elements, all of which have been cut from CLT spruce panels using a CNC milling machine . 6000, 400mm long screws fix these all in place, and six sprung tie-rods inside the structure hold it all together and allow for sway . Western red cedar shingles clad the towers to help it blend in with the National City Park . The towers were parametrically 3d modelled ____________________________________
ASSIGNMENT 01
. Each one of the towers stand at a maximum height of 21 metres, with the minimal cross section occurring 7.1m above ground level
12
13 ASSIGNMENT 01 Zurich’s Tamedia building is the first Shigeru Ban structure to be built in Switzerland. At seven storeys tall, and with a net area of 10,120 m2, it is a formidable presence and shows us how timber technologies have matured. Following the ancient Japanese traditions of ‘Miya-daiku’ and ‘Sukiyadaiku’, carpentry which requires no glue, nails or screws, precision CNC-milled components work together to create the largest timber frame construction in the country. In total 3,600 m3 of spruce timber was used to create the columns, posts and beams, which were put together into tall wooden frames of five floors and erected with a crane before being connected with 5.5m long cross bars.
TAMEDIA OFFICE SOU FUJIMOTO, ZURICH
14 ASSIGNMENT 01
Figure 04. Tamedia Office Images
15 ASSIGNMENT 01
The most fascinating aspect of the building’s structural system, and the reason I chose to study it, is the connection detail between the larch glulam columns and the larch glulam floor beams. The structural columns are fabricated as one solid piece, with the floor beams being split into four separate plates and secured with a beech plywood dowel and mortise pin system that runs through the vertical element. Beech plywood plates and fasteners keep the joint rigid, and a hook on the end of the dowel slides into an opening on the secondary larch glulam beams, locking in place and connecting the structural elements into a single continuous timber frame.
5) 1) 4)
6)
2) 1) Secondary larch glulam beam 2) Mortise pin 3) Beech plywood plates & fasteners 4) Beech plywood dowel 5) Larch glulam column 6) Larch glulam beam (half)
3)
For such a large structure, it’s an incredible achievement that the main structural system is made entirely out of timber, with no metal connectors. Shigeru Ban developed this system in collaboration with the Swiss engineer Hermann Blumer who specialises in timber structures. All of the structural elements are entirely visible from both the interior and exterior which gives the building a “unique appearance from the inside space, as well as from the city around”. As well as for its aesthetic qualities, timber was also chosen for its sustainable properties, all of the material coming from nearby, renewable forests, thus reducing the amount of C02 produced in the construction process.
TAMEDIA OFFICE SOU FUJIMOTO, ZURICH
16
ASSIGNMENT 01
17 ASSIGNMENT 01
Another fascinating aspect to the buildings design is the 50m linear glazed facade which faces onto the Sihl water canal. One of the primary reasons for this is to expose the timber structure encased within and “reinforce the privileged relationship between the interior spaces and its surrounding landscape”, but careful consideration has been given to the bioclimatic functionality of this glass-skin cladding; “special attention was given to achieving low-energy transmission levels that respond to the latest and very strict Swiss regulations in terms of energy consumption”. The facade is comprised of a network of tall, retractable windows that lift upward, revealing informal rooms that become open to the air. These “balconies” can be used as meeting and resting areas, with the added benefit of being able to transform into open air terraces in the summer months. This ‘intermediate space’, constituting the entire ground floor and east facade, acts as a ‘thermal barrier’ to reduce energy consumption, being heated and cooled with the extraction air from the offices behind. The building is operated C02-free as all of the heating and cooling is produced from geothermal groundwater and not through the use of fossil fuels. In addition, sun shaders protect the roof level from over exposure to UV rays and further shaders can be automatically actioned along the glazed facade. Good thermal insulation and the use of heat pumps keep the operating costs of the first carbon-neutral wooden skyscraper in Switzerland to a minimum. East facade with all windows retracted to ventilate the public spaces in the summer months
East facade with all windows closed to insulated the public spaces in the winter months
TAMEDIA OFFICE SOU FUJIMOTO, ZURICH
18
ASSIGNMENT 01
TAMEDIA OFFICE SOU FUJIMOTO, ZURICH
19 ASSIGNMENT 01
20
ASSIGNMENT 01
ASSIGNMENT // 02
MULTI-AUTHORED MESH COMPOSITES
23
01 CAREFULLY CIRCLE THE OBJECT & ENSURE PHOTOGRAPHS HAVE A 70% OVERLAP
ASSIGNMENT 02 02 IMPORT ALL OF THE DESIRED PHOTOGRAPHS INTO CONTEXT CAPTURE
03 INPUT CAMERA DETAILS INCLUDING THE SENSOR SIZE & FOCAL LENGTH OF DEVICE
PROCESS DOCUMENTATION CONTEXT CAPTURE EXPERIMENTATION
04 SUBMIT AN AEROTRIANGULATION REPORT
24 ASSIGNMENT 02
05 REVIEW THE AEROTRIANGULATION RESULT & SELECT AREA OF RECONSTRUCTION
06 INPUT PARAMETERS SUCH AS LEVEL OF DETAIL & ENSURE FORMAT IS AS AN OBJ
25 ASSIGNMENT 02
07 SUBMIT THE REPRODUCTION PRODUCTION & SETTLE DOWN FOR A VERY LONG WAIT
08 BEHOLD... IF YOU ARE LUCKY THEN YOU WILL BE PRESENTED WITH THIS SCREEN
09 AS YOU CAN SEE THIS PARTICULAR PRODUCTION HAS WORKED RELATIVELY WELL...
PROCESS DOCUMENTATION CONTEXT CAPTURE EXPERIMENTATION
26
ASSIGNMENT 02
27
01 SUBMIT ANOTHER PRODUCTION FOR RETOUCHING WHICH WILL BE THE EDIT MODEL
ASSIGNMENT 02 02 IMPORT THE EDIT MODEL INTO DESCARTES & DROP THE ELEMENT TO EDIT IT
03 USING THE ‘DELETE MESH FACET’ TOOL TRIM OFF UNWANTED AREAS OF MESH
PROCESS DOCUMENTATION CLEANING UP THE MESH IN DESCARTES
04 ONCE YOU HAVE YOUR DESIRED RESULT SELECT ALL & USE ‘CLOSE MESH VOIDS’
28 ASSIGNMENT 02
05 EXPORT AS OBJ & SAVE OVER YOUR ‘EDIT FILE’ TO GET THIS IN CONTEXT CAPTURE
06 IMPORT THE RETOUCHES THAT YOU’VE MADE TO THE OVERALL RECONSTRUCTION
29 ASSIGNMENT 02
07 NOW SELECT THE SUBMIT UPDATE OPTION FOR YOU ORIGINAL OBJ PRODUCTION
08 GET COMFORTABLE AS, ONCE AGAIN, YOU MUST BE PREPARED FOR A LONG WAIT
09 BEHOLD... IF YOU’RE LUCKY THEN THE REPRODUCTION WILL NOW BE CLEAN & TIDY
PROCESS DOCUMENTATION CLEANING UP THE MESH IN DESCARTES
30
ASSIGNMENT 02
31 ASSIGNMENT 02
PROCESS RESULTS SMALL-SCALE OBJECT SCANS
32
ASSIGNMENT 02
33 ASSIGNMENT 02
PROCESS RESULTS SMALL-SCALE OBJECT SCANS
34
ASSIGNMENT 02
PROCESS RESULTS SMALL-SCALE OBJECT SCANS
35 ASSIGNMENT 02
36
ASSIGNMENT 02
37 ASSIGNMENT 02
PROCESS RESULTS SMALL-SCALE OBJECT SCANS
38
ASSIGNMENT 02
39
ASSIGNMENT 02
40
ASSIGNMENT 02
PROCESS RESULTS MEDIUM-SCALE OBJECT SCANS
41 ASSIGNMENT 02
42
ASSIGNMENT 02
PROCESS RESULTS MEDIUM-SCALE OBJECT SCANS
43 ASSIGNMENT 02
44
ASSIGNMENT 02
45 ASSIGNMENT 02
__________________________________________________________________________________________________________
__________________________________________________________________________________________________________
__________________________________________________________________________________________________________
LESNES ABBEY RUINS MEDIUM-SCALE OBJECT SCANS
__________________________________________________________________________________________________________
__________________________________________________________________________________________________________
ASSIGNMENT 02
__________________________________________________________________________________________________________
46
LESNES ABBEY RUINS MEDIUM-SCALE OBJECT SCANS
47 ASSIGNMENT 02
48
ASSIGNMENT 02
49 ASSIGNMENT 02 _____________________________________________________________________________
ST MARY’S CHURCH LARGE-SCALE OBJECT SCANS
50 ASSIGNMENT 02 __________________________________________________________________________________________________________ After observing how well Lesnes Abbey ‘captured’, I decided to continue scanning old artifacts, however, now I wanted to try and capture an entire building. St Mary’s Church, in Bexley, offered me a perfect opportunity to develop my ‘context capturing’ skills, because it not only had more complex and intact stonework than the ruins, but also roofing, gutterwork and stained-glass windows to contend with. The resulting mesh was far messier than my previous scans, but I believe that the intricacy of the texture-work more than makes up for this.
ST MARY’S CHURCH LARGE-SCALE OBJECT SCANS
51 ASSIGNMENT 02
52
ASSIGNMENT 02
ST JOHN’S CATHEDRAL LARGE-SCALE OBJECT SCANS
53 ASSIGNMENT 02
54
ASSIGNMENT 02
ST JOHN’S CATHEDRAL LARGE-SCALE OBJECT SCANS
55 ASSIGNMENT 02
56
ASSIGNMENT 02
57
01 IMPORT THE MESH INTO MESHLAB (WHOLE OR IN TILES)
ASSIGNMENT 02 02 REDUCE THE MESH SO IT HAS UNDER 64,000 VERTICES
03 COPY THE MESH TEXTURE FILE(S) INTO A NEW LOCATION & RENAME THEM
PROCESS DOCUMENTATION REDUCING THE MESH IN MESHLAB
04 EXPORT THE MESH AS AN OBJ FILE INTO THE NEW LOCATION
58 ASSIGNMENT 02
05 LINK THE NEW MESH WITH THE RENAMED TEXTURE FILE(S) WHEN PROMPTED
06 BEHOLD... YOU HAVE A DRAMATICALY COMPRESSED MESH WITH TEXTURES INTACT
59 ASSIGNMENT 02
PROCESS DOCUMENTATION ORIGINAL & REDUCED MESH COMPARISON
ORIGINAL MESH DETAILS ____________________________________ Number of Vertices // 283,340 Number of Faces // 565,149 Size of the File // 45,485 KB ____________________________________
60
Number of Vertices // 28,942 Number of Faces // 60,000 Size of the File // 6,902 KB ____________________________________
ASSIGNMENT 02
REDUCED MESH DETAILS ____________________________________
61 ASSIGNMENT 02
In 1762, the engraver, mapmaker and architect Giovanni Battista Piranesi created a series of etchings that depicted a fantastical vision of what ancient Rome might have looked like. Entitled ‘Campo Marzio dell’antica Roma’ these etchings have been a source of speculation and inspiration for architects, urban designers and scholars since their publication over 250 years ago. This utopic view of the ancient Roma is still contemporary. His large-scale etchings, depicted the ancient city as stacked layers of marble, each of them revealing a different phase in the city’s development. This inventive approach to mapping pioneered a role for memory in architectural representation, and each of the ruined pieces of the marble plan directly challenged the discoveries of scientific archaeology. Piranesi particularly stressed the process of disintegration that fragmented plans could represent, with the aim of casting dispersions on the classically ordered urban fabric of Ancient Rome. In Piranesi’s mind, the fragments projected memories ruminating in the mind, onto the architectural enterprise, sparking visual puns or flights of fantasy, and countering the rigid limitations imposed by scientific absolutes. The plan has been analysed and dissected by many famous architects over the years, such as Aldo Rossi and Peter Eisenman, and was the primary source of inspiration for Colin Rowe’s revolutionary ‘Collage City’ book. Now, it is our turn to interpret the plan, both as a collective and an individual, and by using modern digital software we will populate Piranesi’s vision with our 3D scanned artefacts and create an immersive and exciting new reality in Unity 3D which can be experienced in VR.
PIRANESI’S CAMPO DI MARZIO ARRANGING THE ARTIFACTS & SCANS
62 ASSIGNMENT 02
Figure 05. Campo Di Marzio Images
63 ASSIGNMENT 02
Piranesi’s Campo di Marzio plan has been divided into 21 interconnected tiles and it is up to Unit 4 to populate and connect our individual allocations to create an immersive alternative virtual depiction of Ancient Rome. Using our new workflow, in teams of three we will be scanning interesting artefacts and man-made natures across London with the aim of compositing our findings into a single, interconnected world that can be experienced in VR. The challenge is to re-interpret the classical order of each tile and arrange our digital models to simultaneously correspond with and challenge it. Scanning in groups and individually the aim is to create not only a tile that works as an independent reality, but also one that works in conjunction with the alternative tiles of our team-members to create an interesting and interwoven urban fabric.
After looking at my allocated tile I began this assignment by identifying what aspects of Piranesi’s plan I wanted to work with and what I wanted to challenge. I decided that the most important characteristics of the plan was how it seemed to be arranged around two central plazas on either side of the canal, as well as the grand entrance sequence located on the upper North East side of the tile. These areas became the anchor points around which I arranged my scanned artifacts and helped me construct an unconventional but vivid new urban fabric of my own design. I chose to focus my efforts on scanning ruins, old stone buildings and ancient sculptures, not only because do I believe that these objects have the most interesting and diverse textures, but I also wanted to evoke the atmosphere of an abandoned and sinking city in my VR experience.
PIRANESI’S CAMPO DI MARZIO ARRANGING THE ARTIFACTS & SCANS
64 ASSIGNMENT 02
SOUTH WEST VIEW OF MY TILE SOUTH EAST VIEW OF MY TILE
65
01 CREATE A NEW FILE & IMPORT YOUR TILE AND PIRANESI’S PLAN
ASSIGNMENT 02 02 ATTATCH YOUR FIRST MESH TO THE MICROSTATION FILE AS A REFERENCE
03 IMPORT YOUR MESH INTO THE WORKSPACE & IT SHOULD APPEAR WITH TEXTURES
PROCESS DOCUMENTATION COMPILING THE ARTIFACTS IN MICROSTATION
04 SCALE YOUR MESH & MANOEUVRE (WITH DIFFICULTY) INTO THE DESIRED POSITION
66 ASSIGNMENT 02
05 REPEAT THIS PROCESS FOR YOUR OTHER MESHES UNTILL THE TILE IS POPULATED
06 SELECT THE MESHES IN SMALL GROUPS & EXPORT THEM AS FBX FILES
67
01 CREATE A NEW PROJECT & START IMPORTING YOUR MESHES AS ASSETS
ASSIGNMENT 02 02 DRAG THEM INTO THE WORKSPACE ONE BY ONE & THEY SHOULD ALL ALIGN
03 SELECT THE MESHES & GENERATE COLLIDORS SO THEY BECOME PHYSICAL OBJECTS
PROCESS DOCUMENTATION CREATING AN IMMERSIVE WORLD IN UNITY
04 PLACE A CAMERA ASSET INTO THE SCENE SO THAT YOUR GAME HAS A VIEWPOINT
68 ASSIGNMENT 02
05 PRESS THE PLAY BUTTON TO TEST OUT YOUR GAME & START DETAILING YOUR WORLD
06 ONCE YOU ARE HAPPY BUILD THE GAME SO IT BECOMES SIMPLER & FASTER TO RUN
69 ASSIGNMENT 02
THE SUNKEN RUINS UNITY WORLD EXPERIENCE
70
ASSIGNMENT 02
THE SUNKEN RUINS UNITY WORLD EXPERIENCE
71 ASSIGNMENT 02
72
ASSIGNMENT 02
THE SUNKEN RUINS UNITY WORLD EXPERIENCE
73 ASSIGNMENT 02
74
ASSIGNMENT 02
ANCIENT ROME REIMAGINED TEAM TILES CONNECTED TOGETHER
75 ASSIGNMENT 02
76
ASSIGNMENT 02
77 ASSIGNMENT 02
ANCIENT ROME REIMAGINED MY FINISHED CAMPO DI MARZIO TILE
78
ASSIGNMENT 02
ASSIGNMENT // 03
ADAPTIVE CLIMACTIC SHELTER
81 ASSIGNMENT 03 The lavvu shelter is a simple, easily transportable system of structural poles and reindeer hides, used by the indigenous Sami tribes of Scandinavia. The shelter’s design responds to their migratory culture, and can be easily disassembled, transported and erected, as they follow their semi-domesticated reindeer herds across the continent. Because of the harsh arctic conditions, native to their environment, it must be able to withstand strong wind-loads, and this is achieved by grounding it with a wide, stable base, and using fourteen arched lateral support rods which work together to absorb external forces. The doorway, usually reinforced with wooden slats, is always designed to face away from the prevailing winds, and the lavvu covering is traditionally made up of several reindeer pelts sewed together with a bone needle and guy thread.
Figure 06. Sami Lavuu Images
SAMI LAVVU SHELTER REGION-SPECIFIC CLIMACTIC ADAPTATION
82 ASSIGNMENT 03
Despite the lavvu’s primitive appearance, without the help of modern construction and advanced technologies, the Sami people have created a structural form that not only meets the requirements for survival, but also maintains a level of thermal comfort for its inhabitants. Due to the high latitude of Northern Scandinavia, the sun is almost completely absent as a suitable thermal source for large periods of the year, and the shelter has been designed to rely on interior heat gain rather than exterior sources. A key design consideration is the central hearth, and the circular form of the shelter helps to maximise the effectiveness of heat radiated by the fire, whilst simultaneously maintaining a constant velocity of air currents to reduce the potential for pockets of differing internal temperatures. Heat rises with the smoke, through the topmost part of the structure which creates a constant exit that prevents the entrance of colder air from the outside. In addition to environmental considerations, the circular form also creates a welcoming social area inside the shelter and produces an atmosphere where everyone is considered of equal importance.
SAMI LAVVU SHELTER A WARM GLOW IN A HARSH SETTING
83 ASSIGNMENT 03
84
ASSIGNMENT 03
85 ASSIGNMENT 03
DEVELOPMENT SKETCHES REGION-SPECIFIC CLIMACTIC ADAPTATION
86
ASSIGNMENT 03
87 ASSIGNMENT 03
DEVELOPMENT SKETCHES REGION-SPECIFIC CLIMACTIC ADAPTATION
88
ASSIGNMENT 03
89 ASSIGNMENT 03
DEVELOPMENT SKETCHES REGION-SPECIFIC CLIMACTIC ADAPTATION
90
ASSIGNMENT 03
DIGITAL CONCEPT MODEL LIFE-POD 3000 ARCTIC SHELTER
91 ASSIGNMENT 03
92
ASSIGNMENT 03
MAKING THE SHELTER GLOW HEIMA ICELANDIC TREKKING CABIN RESEARCH
93 ASSIGNMENT 03 Heima, is a trekking cabin designed to seamlessly integrate itself into its environment. An exterior polycarbonate skin clouds and obscures the building, whilst reflecting the colours of the surrounding lanscape, and an additional polycarbonate lantern glows at night from the internal light sources.
94 ASSIGNMENT 03
Figure 07. Heima Cabin Images
POLYCARBONATE SHEETING INVESTIGATION INTO MATERIAL QUALITIES
95 ASSIGNMENT 03 The walls of this house in Tousuien, designed by Suppose Design Office, are comprised of thin, translucent polycarbonate panels which allow natural light to flood the interior space from all directions. Although light can permeate through the external envelope, it does so without comprising the resident’s privacy, and its semi-translucent properties create a constantly evolving dialogue between the internal activities and environmental conditions. At night, interior lights glowing from within the structure transform the building into a huge lightbox, bringing the streetscape to life.
MATERIAL QUALITIES OF POLYCARBONATE _______________________________________
. Translucency reduces the need for artificial lighting, whilst reducing heat loss, thus improving the overall energy efficiency of a building . Polycarbonate glazing is up to 200 times stronger than glass and highly resistant to impact damage, perfect for extreme climactic adaptation . It can be coated in a UV protection layer, preventing 98% of UV rays from penetrating the sheet... a huge advantage in a snowy environment . Sheets can be tinted in different ways to control levels of light transmission and emission... thus creating the ambient glow I want for my shelter . Sheets can be easily moulded into any desired shape, and quickly installed, making polycarbonate a cheaper and more suitable alternative to glass for my double curved form . Different polycarbonate structures can be used to achieve the desired material qualities, and all of the above attributes can be easily altered and tailored to the very demanding arctic environment _______________________________________
Figure 08. Polycarbonate Images
ASSIGNMENT 03
. Excellent insulative properties, and through the use of layers, u-values as low as 0.83W/m2K can be achieved from a thickness of just 55mm
96
97 ASSIGNMENT 03 The ‘Trojan Egg’, designed by Camilo Rebelo, measures seven metres wide, four metres deep, and three metres high. The double curved form, usually difficult for timber to achieve, was constructed through a series of CNC-milled cross-laminated timber elements, assembled into panels, and fixed in place along a steel frame. I intend for my shelter to have a similarly organic form, and by breaking the exterior facade down into smaller CNC elements, it makes it more conceivable to construct. “The experience of mystery is a condition very close to disappearing from Western society”
SHELTER EXTERIOR SKIN CROSS-LAMINATED TIMBER PRECEDENT
98 ASSIGNMENT 03
Figure 09. Trojan Egg Images
99 ASSIGNMENT 03 Although the 38-foot-tall ‘Kamppi Chapel of Silence’ is a form more suited to concrete, by utilising CNC milling techniques and a former shipbuilding construction company, K2S Architects were able to create its double curvature using primarily timber elements. More than two-dozen CNC-milled glulam columns were secured to a concrete base, creating a frame onto which thousands of individually CNC-milled CLT spruce and alder planks were fastened to act as the external and internal cladding.
SHELTER EXTERIOR SKIN CROSS-LAMINATED TIMBER PRECEDENT
100 ASSIGNMENT 03
Figure 10. Kamppi Chapel Images
101 ASSIGNMENT 03 The ‘de Havilland Mosquito’ aircraft may seem like an unusual precedent, but the extensive use of timber in its construction earned it the nickname ‘The Wooden Wonder’. To make the fuselage, layers of balsa wood and plywood were wrapped around a mould and held together with cold-water glue. After drying to a hard-wooden shell, the half section was then attached to a timber frame for finishing, before being assembled with its opposite number. To create a smooth internal skin for my shelter, I could use similar construction techniques combined with modern engineered plywood.
SHELTER INTERIOR SKIN FLEXIBLE PLYWOOD SHEETING PRECEDENT
102 ASSIGNMENT 03
Figure 11. De Havilland Mosquito Images
103 ASSIGNMENT 03 Figure 12. Grotto Sauna Images
SHELTER INTERIOR FURNITURE SCULPTED ORGANIC TIMBER PRECEDENT
104 ASSIGNMENT 03
The ‘Grotto Sauna’, designed by Partisans, is based on the natural formation of waterside grottos which feature underground chambers carved and smoothed by the ebb of the water currents. The interior space is lined with curved cedar wood panels, creating an undulating organic form which becomes part of the seating arrangement and gives way to large window elements. It was designed using a 3D scanner to study the nearby rock formations, before using 3D technology to finalise the model and build the CNC elements in collaboration with local sawmill MCM Inc. The entire proposal was prefabricated before being loaded onto a boat and craned into position on site.
105 ASSIGNMENT 03 By far the most innovative aspect of this reindeer pavilion, designed by Snohetta, is the rippled timber core which has been sculpted to mirror the curves of the surrounding Dovre Mountains. Using digital 3D models to drive the CNC milling machines, Norwegian shipbuilders in Hardangerfjord created the entire organic form from 10-inch square pine timber beams. Each beam was then assembled using traditional methods, using only wood pegs as fasteners.
SHELTER INTERIOR FURNITURE SCULPTED ORGANIC TIMBER PRECEDENT
106 ASSIGNMENT 03
Figure 13. Snohetta Pavilion Images
FINAL DIGITAL MODEL LIFE-POD 3000 ARCTIC SHELTER
107 ASSIGNMENT 03
108
ASSIGNMENT 03
FINAL DIGITAL MODEL LIFE-POD 3000 ARCTIC SHELTER
109 ASSIGNMENT 03
110
ASSIGNMENT 03
111 ASSIGNMENT 03
Through my precedent studies I have managed to make extensive use of engineered timber technologies in the design of my shelter. The external layer is made up of individually CNCmilled CLT panels which are fixed to an internal glulam frame and stabilise the double curved form. Flexible plywood sheets, made off site on moulds, are then fixed to the internal side of structural frame to create a smooth continuous internal surface. The organic, flowing interior seating arrangement is made up from a number of curved CNC-milled panels fixed together and placed on top of a hidden steel structural frame. All of the windows are made of doublesided polycarbonate sheets because these are cheaper than glass and can be made just as thermally efficient. From the outside this material allows the internal fire to cast a warm glow onto the surrounding landscape, and from the inside exterior conditions are diffused and blurred, creating interesting light patterns and a sense of distance from the harsh arctic climate.
The external layer is comprised of CNC-milled CLT panels measuring 80mm deep and 200mm in height. They are fixed onto the interior glulam structure and stabilise the structural form whilst insulating the shelter from external forces. The primary structure is made up of a curved glulam frame, with each component measuring 150mm wide and 200mm deep. These meet at a circular timber joint and provide a rigid stability to the structure to combat strong wind loads. The wall cavity constitutes of 200mm of CNC-milled rigid insulation, air gaps and waterproofing membranes. Although this layer does not cover the glulam elements, the external CLT layer ensures that the entire structure is insulated. The internal layer is made from 5mm thick flexible plywood sheets. These sheets are created on moulds before being lifted into place and secured to the structural frame. This will create a smooth continuous internal surface. The floor is raised off of the ground by 500mm on adjustable screw jacks. These are attached to glulam beams, which make up the floor structure, with insulated floor cassettes slot neatly into place.
CONSTRUCTION & ASSEMBLY APPLICATION OF ENGINEERED TIMBER
01) Adjustable screw jacks 02) Metal mesh stair with handrails 03) Exterior plywood skirting panels 04) Cross laminated structural canopy 05) Insulated aluminium door frame 06) 150mm double-sided polycarbonate panels 07) 240mm insulated plywood floor cassettes 08) 75 x 200mm glulam flooring joists
09) 150 x 200mm glulam structural frame 10) 285mm thick panelled wall structure 11) 5mm flexible birch plywood inner skin 12) 200mm rigid insulation & membranes 13) 80mm cross laminated exterior skin 14) CNC-milled 80 x 200mm exterior CLT panels 15) Insulated steel ventilation duct 16) suspended aluminium wood burner
17) 75 x 200mm glulam support beams 18) Insulated steel module connection frame 19) Supporting frame for interior furniture 20) CNC-milled organic timber seating panels 21) 200mm double-sided polycarbonate panels 22) Insulated aluminium window frame 23) Insulated aluminium extraction duct 24) CNC-milled insulated CLT roof cap
112 24)
ASSIGNMENT 03
23)
22)
13)
12)
21) 11)
20) 14) 19) 10)
15)
09)
18) 17) 06)
16)
08) 05) 07)
04)
03) 01) 02)
LIFE POD 3000 EXTERIOR VISUALISATION
LIFE POD 3000 INTERIOR VISUALISATION
115 ASSIGNMENT 03
116
ASSIGNMENT 03
LIFE POD 3000 INTERIOR VISUALISATION
117 ASSIGNMENT 03
118
ASSIGNMENT 03
BIBLIOGRAPHY // SOURCES
ASSIGNMENT 01 Figure 01
Emmett, B. (2014) The Arctic City [Collage]. Available at: https://www.iconeye.com/architecture/features/item/10164-frei-otto-s-arctic-city.
Figure 02 WCTE. (2014) Treet Tower Images [Various]. Available at: http://www.woodworks.org/wp-content/uploads/Strucural-Design-and-assembly-of-Treet.pdf.
Figure 03 Dudzik, K. (2017) Ventilation Tower Images [Various]. Available at: https://www.archdaily.com/875260/ventilation-towers-for-the-northern-link-rundquist-arkitekter.
Figure 04 Didier, B. (2015) Tamedia Office Images [Photograph]. Available at: https://www.dezeen.com/2015/07/08/tamedia-timber-framed-office-building-zurich-shigeru-ban.
ASSIGNMENT 02 Figure 05
Piranesi, G. (1774) Campo Di Marzio Images [Etching]. Available at: https://www.quondam.com/e27/2743a.htm.
ASSIGNMENT 03 Figure 06
Emmons, R. (2004) Sami Lavuu Images [Photograph]. Available at: https://www.laits.utexas.edu/sami/dieda/anthro/architecture.htm.
Figure 07
TRIAS. (2017) Heima Cabin Images [Render]. Available at: https://divisare.com/projects/334984-trias-heima-iceland-trekking-cabins.
Figure 08
Crook, L. (2017) Polycarbonate Images [Photograph]. Available at: https://www.dezeen.com/2017/01/23/seven-best-examples-plastic-polycarbonate-architecturebuildings.
Figure 09
Rebelo, C. (2015) Trojan Egg Images [Photograph]. Available at: https://archello.com/project/trojan-egg.
Figure 10 Uusheimo, T. (2012) Kamppi Chapel Images [Various]. Available at: https://www.archdaily.com/252040/kamppi-chapel-k2s-architects.
Figure 11 Aviation History Museum. (2013) De Havilland Mosquito Images [Photograph]. Available at: http://www.aviation-history.com/dehavilland/mosquito.html.
Figure 12 Friedman, J. (2014) Grotto Sauna Images [Various]. Available at: https://www.archdaily.com/574851/grotto-sauna-partisans.
Figure 13
Frearson, A. (2011) Snohetta Pavilion Images [Various]. Available at: https://www.dezeen.com/2011/11/01/norwegian-wild-reindeer-centre-pavilion-by-snohetta.