Semester Book 2018 - Aarhus Architecture School ''Questioning Wood'' by jaapkoopmans97

QUESTIONING WOOD as architectural- and building material

JAAP KOOPMANS (4007503) UNIT 2/3 D AUTUMN SEMESTER 2018 ARKITEKTSKOLEN AARHUS Supervisors: Niels Martin Larsen Ann Aloy Kilpatrick Camilla Bank Andersen

CONTENTS

INTRODUCTION Introduction to the autumn program

WOOD SEMINAR Case Study, excursion and summary

DAYLIGHT STUDIES Villa Mairea and studies of light phenomena

FINLAND Study trip to Finland/Helsinki

EXPERIMENT 1 Models and light studies

5 INDIVIDUAL STUDIES Investigating shou sugi ban

109

EXPERIMENT 2 Full-scale mockup

131

EXPERIMENT 3 Architectural development

159

Illustration front: mockup detail experiment 2

NOTE: This text has been taken from the Unit D study plan 2018-2019 on Moodle: https://moodle.aarch.dk/pluginfile.php/13033/ mod_resource/content/1/UNIT%20D%20study%20 plan%202018-19.pdf

INTRODUCTION Unit D is part of the teaching programme Technology, Building Culture and Habitation. In this unit, the focus lays on hands-on development of new forms of architectural design, where materials and technology are explored at the school’s workshops, often through digital design tools and digital fabrication. Technology and building culture are studied through case studies, experiments and project development in relation to architectural expression, daylight, geometry, materials, fabrication and montage, as well as spatial, social, political and theoretical aspects. Rooted in architectural practice, the studies will focus on material and technology, from traditional crafts over industrial fabrication to digital mass customisation. The studies are focused on establishing fundamental competencies and knowledge in relation to the architectural profession including the historical and theoretical context. We collaborate across the teaching programme through common lectures, courses and workshops. This year’s study plan focuses on wood as a construction material and explores the tectonic manifestation of the architectural transition between inside and outside. The studies take inspiration in the term ‘porosity’, which is explored in relation to a row of architectural perspectives: daylight, transitions, spatiality, materials and culture. The study year is constructed so that the autumn term is about investigating and experimenting with a methodical and research-oriented approach. Through a series of experiments, we will develop knowledge and competencies in relation to the topic architectural porosity and the façade. Using wood as a construction material, we will study architectural expression and the transition between inside and outside with a particular focus on the role of daylight. An important element is case studies that will be related to the study trip to Finland in October. Preliminary framed studies of wood and daylight forms together with the case studies the foundation for the studies in the rest of the semester and lead

towards designing and fabricating a concept for a façade construction. It is the ambition to develop an interaction between analogue sketching, digital design methods and physical production. POROSITY The word pore has its origin in the Greek πóρoζ [poros] that means passage or way. For a material, porous means having minute interstices through which liquid or air may pass. In this study year we will study how porosity as a term can be used in relation to architectural design, where it can be understood and interpreted on different levels. In particular, we will investigate how a porous architecture can function as a precise transmitter of light and visual connections. Through the perspective of porosity, we study the role of the façade. WOOD Wood has traditionally been one of the primary materials in architecture. It is available on large part of the globe, is relatively easy to process, compared to other materials, such as steel or stone. It is a renewable resource, and due to its capability of absorbing and storing carbon dioxide, there is an increasing attention towards using wood for building construction to larger degree than has been the case in the previous decades. Obviously, wood has maintained a place in the building industry over the years, but where it played the main role in many types of vernacular architecture, it has been used mainly for small scale construction, such as one family houses, and for particular building elements, such as pitched roofs, windows and doors. Now, we see whole new construction types emerge, based on recently developed fabrication methods, such as Cross Laminated Timber (CLT) elements and Laminated Veneer Lumber (LVL). Also, digital fabrication facilities allow on the one hand optimization of wood production and on the other use of large variation in the geometries used in wood constructions.

01_ WOOD SEMINAR Wood is a natural material, which got it’s own natural characteristics. Wooden architecture nowadays is becoming more and more popular. Climate change is currently the one factor that is putting pressure in favour of the use of wooden architecture and design (The new edge of Finnish architecture). But using wood in an architectural design does not just mean adding wooden cladding to a concrete wall with a special coating. It means a lot of constructive thinking, detailing and of course knowledge about the material and how to use the material. That is why our goal for the wood seminar is to establish some knowledge about wood as an construction material and moreover, its function for the architecture. Questions that could be asked are for example, what are the properties and sustainable advantages or disadvantages of wood? And how is wood used in today’s architecture? These questions are gonna be answered by doing a case study on a certain project in Finland. A country where wooden architecture is a long established tradition and has regained population over the last years. Furthermore there is an excursion where we will be visiting some ‘wooden projects’ as well as some wood processing plants. Finally, there are lectures and literature provided for the seminar to obtain some basic knowledge about wood as a building material. A short summary about one of the literature texts is included in this chapter. The case study is made to show the background of the project, in this case it’s about the Löyly building in Helsinki, the physical and cultural context, the functionality of the different spaces and their sizes, use of materials and most importantly how wood is used in the project and what the purpose of it means for it’s context. We are gonna explain that by showing different diagrams and drawings as well as described pictures of the building. Also, there will be some background information about the Finnish wood and sauna culture and how that is complementary to the design of the Löyly.

CASESTUDIES

LÖYLY, HELSINKI

L o cat i o n : Completed in: Arch i tects : Area:

Helsinki, Finland 2016 Avanto Architects 1 510 m 2

Description: A modern sauna at the coastline of Helsinki city. Löyly lies between future housing blocks and the water’s edge. It is designed to modify the environment in a way that provides enjoyment for visitors and citizens of Helsinki. The slats provide discrete privacy to those using the saunas while allowing a sea view from the inside. The horizon is visible from almost all indoor spaces and the views can also be taken in from the staggered lookout decks on the roof.

(https://www.archdaily.com/790432)

L O C AT I O N

Munkkisaari

1931

(http://vaunut.org/kuva/69670)

Now

(https://www.archdaily.com/790432)

2020

(https://www.archdaily.com/790432)

The Munkholmen (or in Finnish Munkkisaari) is a former island located on the southern shore of Helsinki. It is now part of the Hernesaare district and it spans an area size of 0,49 km2. In 2012, the name of the sub-area was changed to Hernesaare by the City Council. The original Munkkisaari was separated from the mainland by a narrow Swedish grundsundet, which is called a Matalasalmi in Finnish. At that time in the 19th century, you could find some wooden fishermenâ&#x20AC;&#x2122;s cottages and a bridge which connected the mainland with the island where the boats could pass through. Later, the strait was filled and the Munkkisaari was transformed into an industrial area (Wikipedia, 2018). The history of the district of Munkkisaari, Hernesaari is connected to that of the Hietalahti dockyard. The industrial zone has been used to build ships, steam engines, icebreakers and even the first gas turbine passenger ship. The dockyard is still in use although it is not as busy as it was before. The district is now being transformed into a residential area for 7000 residents with office space for 3000 workers. This all needs to be done by 2030 (Hernesaari, n.d.). The goal of this project is to transform the area into a maritime concentration of leisure and travel in the Helskini city center (City Executive Office, 2018).

S PAT I A L U S E

Different outdoor levels of the building

1 2 3 4 5 6 7 8 9 10 11 12 13

Kitchen Restaurant Entrance Toilet Sauna and showers Lounge Sauna Common areas Smoke sauna Showers Dressing room Elevator Bathing area

34 m2 210 m2 8 m2 45 m2 28 m2 55 m2 23 m2 67 m2 26 m2 19 m2 38 m2 7 m2

P R I VAC Y

PUBLIC S E MI - P UB L I C S E MI - P R I VAT P R I VAT

The wooden shield is made of slats. The slats creates a wall between the outside passer and the inside user. Instead of completely breaking the connection between outside and inside, the slats alows the users of the sauna to enjoy the view, ad letting light while still getting privacy from outside passers.

ROUTES

SAUNA ROUTE:

RESTAURANT ROUTE:

ROUTES

DESIGN PRICIPLE

The amorph wooden construction lies as a cloak on top of the square concrete/glass base. The two seperate parts seems to never touch each other. With the cloacks almost unnatural shape, and the baseÂ´ square and ofte n seen shape, the two makes a whole. The identity of the building becomes a mix between tradition and inovation. But as the cloaks turn grey over time, nature and buidning will become one. The sauna will assist the area and man, in there quest to return to nature.

Spacing of buildning

Basic concept - cloak on top of concrete block

CONSTRUCTION

• Main Construction: The main construction of the cloak is made out of hot galvanized steel. The structure consists of triangles which results in a stiff and strong self-contained construction. Next to the simple structure of it, you can see a detail drawing of one of the joints in the steel construction. • Secondary supports are added: The secondary supports are also made of galvanized steel. These supports provide a more stiff construction and are also meant for the installment of the pine wood planks. The diagram here, just shows a part of the secondary supports that are added. • Pine wood cladding is added: The wooden ‘‘cloak’’ is made of heat treaded pine which was also pressed and glued. More than 4000 planks have been used that were precisely cut to individual parts by a computer. There is no surface treatment on the pine wood.

M AT E R I A L S

All materials have been chosen because they have no need for maintenance. This interconnects with the idea of making a eco-friendly and sustainable building. The materials stand in great contrast to each other. The warm fire, the soft wood against the dark and cold concrete and steel, creates a symbiose of difference in materials, that compliments and highlights each others qualities.

M AT E R I A L S

BIRCH-WOOD

PINE-WOOD

Interior The interior is made of light Scandinavian birch wood. It has been is pressed, glued an slightly heat treated, and is made of left over materials, from the plywood industry. Due to the manufacturing process, the birch wood get a beautiful light color tone and heavy durability. Exterior shell Finnish pine (Pinus Silvestris) grows slowly which gives its wood a lot of strength. In particular the heartwood. It can withstand the hardest conditions that can almost be used everywhere. It can even withstand changes in humidity with nearly no cracking. However, pine wood requires plenty of light. Floors

BLACK CONCRETE Main construction of the exterior shell

GALVANIZED STEEL Interior

BLACKENED STEEL Interior

DARK WOOL

Site-plan Change of color in wood over time. Interprets the surrounding landscape.

C O M PA R I S O N W I T H T R A D I T I O N A L P U B L I C S A U N A

6 2

3000mm

The Rajaportin sauna is in this case used as a reference for the traditional public sauna. The Rajaportin sauna in Pispala is known as the oldest public sauna in Finland and is still in use. It was built in 1906 and has undergone a small renovation in the 1930â&#x20AC;&#x2122;s. It has got separate departments for men and women.

1. Dressing room 1 2. Dressing room 2 3. Sauna 1 4. Sauna 2 5. Heater 6. Water heaters 7. Vestibule 8. Wood preservatives

C O M PA R I S O N W I T H T R A D I T I O N A L P U B L I C S A U N A

If we are now comparing the traditional structure with that of the Lรถyly, we can immediately see some big differences. For example, the dressing rooms are for both buildings separated however, the saunas are also gender separated in the traditional structure but not at Lรถyly. You can see that the Lรถyly got a mixed structure of the saunas, they are not linked together.

1 2 3 4 5 6 7 8 9 10 11 12 13

Kitchen Restaurant Entrance Toilet Sauna and showers Lounge Sauna Common areas Smoke sauna Showers Dressing room Elevator Bathing area

34 m2 210 m2 8 m2 45 m2 28 m2 55 m2 23 m2 67 m2 26 m2 19 m2 38 m2 7 m2

There is also a fireplace present at the Lรถyly but not in the traditional sauna (although this has now become more common for saunas to have a fireplace lounge area). But what actually is the biggest similarity, is that these two structures are rectangle based and both contain more or less the same functions in it. To conclude, you could say that the Lรถyly has sort of modernized the traditional sauna structure but still uses the same typology.

B A C K G R O U N D I N F O R M AT I O N SAUNA history The tradition of the Finnish Sauna is about two thousand (!) years old. So you could say that it is deeply rooted into the Finnish identity. The sweat bath, as it was formerly called, has been influenced by both Eastern and Western bath cultures. But, it has also developed some genuinely national features. At the beginning of the sauna era, the sauna was probably just a small pit which was dug into a slope. A pile of heated stones were placed in one corner of the pit. The pit eventually developed into a log hut with a chimneyless stove. These huts served s both basic dwelling and a bathhouse. When the stove was turned on, a lot of smoke would fill the space also behind a smoky smell afterwards. This became the ‘smoke sauna’ which nowadays is regaining it’s popularity and is also seen at the löyly sauna. Today, the word ‘sauna’ mostly refers to a room with wooden walls, floor and ceiling. There is a stove in the room called ‘kiuas’ which is heated with wood, electricity, oil or gas. The top is covered with heated stones which radiates the heat to the room. The humidity is regulated by adding small doses of water on to the heated stones. This gives a vapour which is called ‘löyly’. The origin of the sauna might be quite rural but it eventually became part of the urban lifestyle. Town saunas first occurred in the yards outside the living area. Later on, they were placed in terraced houses and flats where all people who lived there shared the same sauna. In the towns they also had these public saunas. You could say that the proverbial saying ‘‘share your tobacco and tinderbox, but not your sauna or your woman’’ was kind of ignored in those days. Nowadays, you see that the principle has gained some more respect as people like to have their own private saunas (Valtakari, 2012).

The use of WOOD in the building The shape of the building, or at least the shell of it, clearly has got this natural feeling. Also the use of wood as main material for the shell really complements that. At the moment, the building looks like a landmark which really stands out of it’s context. A context which is industrial and is not made on human scale. However, it’s context is changing. After some years the context should have been changed into a residential area. Not only the context is changed by then, the building itself will also change. Because of the use of only untreated wood as cladding for the outer shell, the shell and therefore the expression of the whole building will turn dark grey. And no, this is not a fault by the architects. As already stated, the current shape and colour of the building expresses itself as a landmark in it’s context. The idea behind the use of the wood, and so it’s colour, is to bring back a part of the nature in the industrial area where the building is situated. The form itself refers to the coastline of the Hernesaari area, though this is roughly seen because of it’s bright colour. Therefore the untreated wood is used. When the wood turns dark grey, the building will be implemented in it’s context by adding itself to the coastline with shape as well as with colour. The use of (untreated) wood is not only used for it’s colour nor it’s sustainable advantages but also because of it’s importance for the Finnish Sauna culture. To Finns, an untreated wooden surface traditionally refers to a sauna or a farm and this is still rooted in the Finnish culture (Ilonen, 2005). Finland is also really proud of it’s long established woodwork tradition and it’s appreciation for craftsmanship and since 1994, this wooden architecture has increased in popularity throughout the world (Annual Rings: A New Generation of Wood Architecture in Finland, 2017).

B A C K G R O U N D I N F O R M AT I O N

”There is nothing that Finns have been so unanimous about as their sauna. This unanimity has remained unbroken for centuries and is sure to continue as long as there are children born in their native land, as long as the invitation still comes from the porch threshold in the evening twilight: ”The sauna is ready.”

Valtakari, P. (2012, April 3). Finnish Sauna Culture. Retrieved September 11, 2018, from https://www.sauna.fi/in-english/ finnish-sauna-culture

- Maila Talvio 1871-1951

Annual Rings: A New Generation of Wood Architecture in Finland. (2017, October 12). Retrieved September 11, 2018, from https:// www.centerforarchitecture.org/exhibitions/annual-rings-newgeneration-wood-architecture-finland/ From wood to Architecture, ed. Maija Kasvio & Roy Mänttäri, Museum of finnish architecture, 2005, page 16-33

‘‘Wood is related to sustainability but, especially for Finns, it’s also related to our national identity.’’ - Ilonon, 2013

The new edge of Finnish architecture. (2015, August 31). Retrieved September 11, 2018, from https://finland.fi/artsculture/the-new-edge-of-finnish-architecture/

EXCURSION

EXCURSION LISBJERG BAKKE This is social housing project was really appealing to me. The untreated wooden cladding gave the whole building a home-like traditional feeling. What was also quite interesting, was it’s nontraditional layout of residential blocks with was done on purpose to create a more natural atmosphere. This is also complemented by the wood that is used. On the first sight, I did not think it would have a steel construction because it did not look like it and also the roofs seem to be made out of wood. Although, this steel and wood contrast gave the building more architectural value. A personal touch that I liked were the car storages which got these natural ‘sticks’ as a roof on top of a metal construction.

G R Ø N A G E R G A A R D S AV VÆ R K Unfortunately, the guide who toured us around the place did not speak any English but I still got something from it. For example that all the wood that was produced here is untreated which is nowadays more commonly used (for example at the Lisbjerg Bakke project). Furthermore, we got to see 125 years old trees which were stored there in the open to dry. We learned that a Danish oak needs to dry for about 3 years and if that is too long, they can use a drying oven. We also got to see some of the sawmills that they used for processing the tree trunks. This gave sort of a oddly satisfied feeling because all the machines processed it really precise.

EXCURSION

EXCURSION T O R V E H A L L E R N E PÅ S TAT I O N S T O R V E T This public market house got some a really interesting timber construction with its black wooden cladding. The joints do not seem to be ‘constructive’ but they do actually give the building it’s strength and also architectural value. However, this complex construction makes it really hard for architecture students to draw the building. What was also peculiar, was it’s shape what looked like a traditional house. Why this was done, is still a question for me. Maybe it was done to make the whole public building feel more traditional in it’s context. The town was namely not filled with modern architecture.

RY H ØJ S KO L E This new part for the high school of arts and music had as goal to connect the roofs between the different buildings. Its architecture was influenced by the market house but also by the already present school building. The architect’s idea was to create a ‘heavy’ ground level and lighter upper levels. He did this by using brickstone on the ground level and timber on the upper levels. The detailing that is done to connect these two weights and levels was really nicely done with a lot of precision. Moreover, the outside construction, made out of steel, got this nice wooden coating which actual purpose it is to protect the steel from fire. The whole building rests on this outer construction.

EXCURSION

EXCURSION SLETTEN At first sight, this looked like a recent building but it was already 15 years old. When you take a closer look at the building, it becomes more clear that this building is already standing there for some years because of some rotten wooden parts. It is situated on a small hill with calm surroundings and a open view to the lake nearby. The building is using a sun shading method which was not common for it’s time with its large space between the interior and exterior. This is maybe the reason why this building got a more ‘recent’ feeling to it. We could not go inside the building unfortunately, but the view through the windows gave us a good inside look. We could see the large timber construction and it’s contrast with the exterior of the building what gave the interior a welcoming atmosphere.

PA L S G A A R D S PÆ R Here, they made prefabricated timber constructions for different kinds of buildings. It was really interesting to see how they used lasers for determining the exact positions for the different parts that were used. Also, we got to see how they connect the different pieces together with the steel connector plates. A lot, but really, a lot of pressure is needed to fix the steel connector onto the wooden components (about 25-50 tons!).

SUMMARY

WOODEN STRUCTURES \ EERO PALOHEIMO Wood is appealing to all senses. It generates softer acoustics and the sound of wood is soft. Wood also contains itâ&#x20AC;&#x2122;s own typical smell. Furthermore, wood does not heat up too much and therefore it is pleasant to walk on. The wooden structure can also reveal the production it has undergone and itâ&#x20AC;&#x2122;s story behind it. The wood tells a story. As the technology progresses, wood is losing its natural characteristics. Genes will be manipulated and cloned in the future thus the life of the tree will be fully controlled. Because of this, the natural tree will transform into an full industrial material. Using paint for wooden surfaces is not always necessary and is sometimes even harmful. When you maintain the original appearance, the material becomes meaningful. Famous Finnish sculptors such as Mauno Hartman and Kain Tapper can teach us about this meaningful nature of wood. The properties of wood depend on its annual rings. This is not the case for steel nor concrete. Moreover, the moisture content of wood has to be continuously monitored. On the other hand the temperature changes can usually be ignored in timber structures though in bad conditions the timber rots. Natural wood is a nonhomogeneous material. The technical properties vary in different directions and also depends on the species and amount of knots. To overcome this problem, plywood, glulam timber and LVL was invented. The ratio between strength and weight is crucial. This ratio is for birch wood for example, higher than that of steel. This means that wood is a great material for use in long-span structures. It is not possible to cast massive solids of wood nor you can weld it due to the nature of wood. On the other hand, you can fix wood by gluing or with metal connectors. The limitation is however, that you can not glue the end of a timber beam to the side of another beam.

There is still some research about developing an adhering glue for outdoor use that can be used in all weather conditions. Because this research lags behind other developments, connectors are now an essential detail of load bearing timber structures. The most common connector is the standard nail plate used in trusses. Most wooden structures need a whole range of nice looking, technically adequate and reasonably priced connectors. Especially large constructions, mostly needs fine tailored connectors. The simplest and most ecological way to make solid wood structures are log walls and slab-like floors. There is a lot of materials needed for this approach so it is not elegant. When elegant joints are needed a trussed rafter is the best option. Nail plates are suitable for joints that are hidden. A curved wooden construction needs many connections, therefore such a construction gets a mesh-like structure. This consists of a network of timber bearers. Because of its ability to cover great spans, these wooden structures represent the future of timber in a beautiful way.

02_DAYLIGHT STUDIES Daylight is something that we see everyday, need everyday. It is good for our mental and physical health. That is also why daylight is such an important factor for architecture. We need enough daylight in our homes, workspace, schools etc. Mostly this is achieved by just adding enough windows and transparent surfaces to match the requested amount of daylight. But what is more interesting is the effect of daylight on the architecture itself. What kind of experience does daylight add to the architectural quality of a building? In this studies, the purpose is to study what kind of effects daylight adds to space and architectural quality of a certain building. Also, how material and colour complements the effect of the daylight. For the first part was asked to create an analysis of the Villa Mairea building, which will also be visited during the Finland trip. Plan drawings as well as facade drawings are retraced and analysed. Every opening in the facade is highlighted and is further explained by what kind of material is used and what that does to the lighting inside. Secondly, there is an excursion to Aalborg where the three main themes of light (filtering, loans of and light space) are analysed throughout the visited buildings. From all the pictures, one picture which suits its theme the best is chosen and further explained The goal of this part is to get an understanding of the three main themes and to get inspiration for experiment 1.

CASESTUDIES

VILLA MAIREA, FINLAND Location: Completed in: Architects:

Pikkukoivukuja 20, 29600 Noormarkku, Finland 1940 Alvar Alto

Description: The Villa Mairea is built by Alvar Aalto in 1939. Based on a typical Finnish Farmhouse but also with its own modern adaptions, this villa really marks the transition from traditional to modern architecture in the beginning of the 20th century. Aalto designed the building and its interiors in such a way that the inside also becomes the outside. The house was officially built as a guest house and rural retreat for the couple Harry and Maire Gullichsen. When Aalto received the job, the couple gave him permission to experiment with the design. This becomes clear when studying the interesting villa.

L O C AT I O N

SITE: The Villa is located in Noormarkku which is located in the province of Western Finland and is part of the Satakunta region. One of the main goals of Aalto was to blur the lines between the indoors and outdoors. Therefore you can see in his use of different kinds of materials and how he used it in the design how he managed to deal with that. He also created a lot of references to the outside forest in the interior of the house. The columns of the house seem to form a pattern that follows the same patterns as those of the surroundings trees. Therefore the whole villa really mixes itself into the whole landscape. It is this form of detailing that make the Villa Mairea not only a really interesting piece of architecture as a building but also as a whole spatial design in itself.

PLAN DRAWINGS

Ground floor plan - 1:200

FA C A D E D R AW I N G S

Facade South East - 1:200

Facade North West - 1:200

P L A N A N A LY S I S

1 2 3 4 5 6 7 8 9 10 11

Main Entrance Entrance hall Library Living room Winter garden Fireplace Dining room Staff rooms Office Kitchen Office

4 2

3 1

Staﬀs route Owners route

P L A N A N A LY S I S

columns

light elements

solid elements

P L A N A N A LY S I S

Main gridstructure Light walls Columns

GRID STRUCTURE AND SYNTHETIC CUBISM There is a clear cubistic grid structure in the plan of Villa Mairea. The plan of the house can be put into a perfect square. This square can be divided into four new squares, and the same for the next. To exaggerate the idea of breaking with the traditional architectural grid, the lines of both the light walls and the columns have been added. From the abstract grid, there can be seen a connection to synthetic cubism, which was one of Alvar Altos great inspirational sources of that time. When looking not only at the irregular grid of the building, but at the entire plan itself, the soft shapes and the experimental design elements, gives an even more clear connection to the synthetic cubism.

TREES AND COLUMNS ON SITE

The columns in the house are inspired by the forest surrounding the house. In this way the nature is being dragged into the building.

OPENINGS - WINDOWS

1 2

South-East Elevation 1:200

3 6

7 8

OPENINGS - WINDOWS 1. As part of the large wooden extension of the house, Aalto created a sort lamella window. This window completely implements itself into the facade structure by following the same vertical lines as that of the facade which seems to be made out of dark pine timber cladding. 2. It is clear to see that this window is used for the bedrooms, hidden behind the balcony balustrade. The window frame also seems to be made of dark pine but a lighter tone. However, it looks like there is some kind of ventilation grille next to the window. There are no pictures from the inside, so it is hard to tell. 3. Just the as the former one, this windows connects the bedroom with the outside nature. However, to create a greater view, there is a little adjustment in the transparency of the balcony as you can see on the facade. 4. This windows are really typical for the villa. The windows are bringing as much sunlight as possible into the rooms by fully facing south. That is also the reason why they are placed under an angle. They do not span over the full height, so that means that there is also an large windowsills.

5. These windows functions as the deliverer of daylight into the living room. With its large area, it seems to really succeed in that part. If we look to a detail of the connection of the window(s), we see a kind of metal sill. Moreover, just as at window 2, there seems to be a ventilation grille next to the windows.

6. This windows got the same function as the former one, however they

are especially meant for the music room and not for the general living room. Maybe therefore they are slightly smaller than the ones from the living room.

7. There are no good pictures of this windows but it looks like they are

providing the toilet that is located behind that with daylight. That could also explain why the windows are just horizontal strips and very high placed in the wall.

8. The window is providing daylight and a nice view for the interior office

that is located behind it. Just like nearly all the windows of the building, this ones seems to be made out of dark pine wood as a reference to the Finnish wood vernacular architecture.

OPENINGS - DOORS

South-East Elevation 1:200

OPENINGS - DOORS 1. Just as the window above it, this door implements itself completely

into the wooden facade. This door seems to not provide any daylight to the space behind it, just as the window above it that filtrates the light. This may due to the fact that on the other side, there is a large skylight and window, providing the room with enough daylight. Although the door implements itself into the facade, the door seems to have a more lighter tone to fit better into the complete composition of doors.

2. In contradiction to door 1, this door actually provides daylight and light

in general for the bathroom part behind it. It is part of the whole set of windows for that room and it does not only provide enough daylight but also a great view of the natural surroundings.

3. This door connects the hallway of the first floor with the balcony and

especially, with the spiral staircase that leads to the rooftop terrace. Because the door contains a glass panel, it also provides the hallway with daylight. This might create a loan of light effect in the hallway which will lead the visitor to also walk to this part of the hallway. The light â&#x20AC;&#x2DC;tellsâ&#x20AC;&#x2122; you that there is an divarication of the hallway.

4. The large entrance door of the villa is an already an artwork in itself.

It has a big door handle which is interestely placed under an angle. Furthermore, there is not one but twelve peeking holes. Also, we can see hinges on both sides of the door, this means that it is actually a double door but different in size. Both made out of narrow wooden slats.

OPENINGS - WINDOWS

North-West Elevation 1:200

OPENINGS - WINDOWS 1. The window provides daylight for the hallway of the first floor behind it. It is quite remarkable that this window is smaller than the window that is used for the hallway on the south-east side of the building. It looks like Aalto wanted to create a different kind of experience on the other facade.

2. Just as window 1, this window provides the hallway behind it with sunlight. It is still a question why Aalto did used smaller windows for this side. Maybe because that would not fit well in the total composition of this facade. The window framing however is the same kind of dark pine wood.

3. This window part is quite remarkable for the whole building because it is the only part where there is also a lot of skylight involved. This creates a really open experience in the room itself. Especially, because there is not much daylight coming in from the other side. What this does for the room is that it gives this wide vertical view to the outside but also a more private zone which may be meant for activities like studying and working.

4. This window does not seem to be delivering a lot of daylight nor does

it provide a great view. There is just a service room behind it so that might explains why this window does not have to give a lot of architectural quality to the room. However it does add some architectural quality to the total view of the facade.

5. In most of the pictures of it, this window is hidden behind all the

vegetation that is growing above it. But that does not mean that this window does not have an important function for the interior. On the contrary, this window provides the filtering of light which is experienced just behind the main staircase. Besides that, the window also adds light to the living room which is located next to it.

6. Like with the windows on the South-East facade, these windows provide

a great open view to the garden as well as plenty of daylight to the living room. With its big glass panel, it prevents any unwanted interruptions for the view to the garden.

7. This windows are quite outstanding as compared to the other windows

in this facade. They all got this bars behind the glass panel which provide a filtering of light for the room. Moreover, they can all be separately opened. Also, the grid that is used for the windows is peculiar, they do not seem to occur anywhere else in the building. The real only resemblance they got, is the material use.

OPENINGS - DOORS

North-West Elevation 1:200

2 4

OPENINGS - DOORS 1. This door is half solid half open. It provides daylight for the hallway as

well it adds itself perfectly into the rest of the window composition as well as the whole facade.

2. This door functions as a part of the whole skylight composition. It

provides access to the outdoors from the room and also functions as an architectural part of the whole composition of this vertical wide view of the garden.

3. From the picture it looks like a mysterious door, but this is actually the back door. It is not providing daylight for the space behind it but it does gives access to the pathway to the garden and the sauna. Quite remarkable to mention is that all of the door handles are a bit different from each other. In other words, you should recognize the different doors just by looking to itâ&#x20AC;&#x2122;s doorhandle.

4. This door adds itself to composition of the large windows which provide

the living room with plenty of daylight as well as a great open view of the garden. Obviously, does the door also give access to the garden. It is a quicker way from the main entrance to go through this door to the garden. Aalto uses the same kind of vertical slats as of the windows that are next to it to let it fit completely into the whole facade image.

L I G H T A N A LY S I S - V I L L A M A I R E A

F I LT E R I N G O F L I G H T The columns in Villa Mairera gives associations to the finish woods, that surrounds the area. To break with the traditional architectural grid structure, in terms of placing columns, Alvar Alto uses the columns not only as bearing elements, but also as an interior detail. When the light shines in from the windows facing the garden, a filtering of the light appears. From the entrance hall you are able to see between four rows of columns at the same time. This gives the ultimate condition for the filtering of light, and can be associated to the way of seeing light trough the slender findings pine tree-woods.

D AY L I G H T S T U D I E S

EXCURSION

The skylight loans the light to the white timber cladded room which gives the room a calm lightened atmosphere. Not too bright, not too dark.

Daylight loaning light not only to the room but also spreads itself over the rainbow wall.

The skylight provides loans the light to the hall by following the interesting c u r v e d p a t h f r o m t h e r o o f.

Loans of light from the skylight to the internal facade. Light spaces from the skylight, where does this particular form come from? Is it only one window? Is the rest filtered?

Is het taking a p i c t u r e o f u s ? Ye s , and we are also blocking out a part of the light space.

L O A N S O F L I G H T A N D F I LT E R I N G O F L I G H T - JAAP KOOPMANS ‘‘Shattered light’’ In this picture you can see the combination of the exterior- and internal architecture. The large window which gives a great view to the outside let’s a lot of light going into the canteen hall of the Aalborg University. This light is being borrowed by the room next to it as seen from the floors. However, a part of this large amount of incoming light clashes with the translucent squares. This does not block the light, but it filters it, maybe even shatters it. Every square got its own light/colour tone. The questions that comes to the mind is what the experience would be if there were no translucent squares? Would the incoming light be too bright then? Do the students in the building see the same effect occurring? When you quickly walk past it, this combination of loaning and filtering of light seems to be some simple decoration to a canteen hall with a view to the harbour. When you stand still, you will experience the extra architectural value it adds to the space and its atmosphere.

03_FINLAND In this assignment the purpose was to study how wood is used as a building material in relation to its construction, connections between the inside and outside and the impact of the experience in relation to the interior context. Also, the daylight is studied as well as for buildings where wood is used as for other buildings that we visit in Helsinki. The idea of the daylight study was to investigate how the daylight is experienced and how the effects are achieved through the architectural design. Every building has got its own story and unique experience and we visited a lot of this buildings in Helsinki. Therefore, a selection of the best experienced buildings is made an further described by pictures. All the gathered information will eventually be used as inspiration and knowledge for the upcoming experiments and design projects.

W O O D A S A B U I L D I N G M AT E R I A L

Timber shingles

Corner timbering

W O O D A S A B U I L D I N G M AT E R I A L

Shou-sugi ban

Rough wooden cladding

W O O D A S A B U I L D I N G M AT E R I A L

Color change of pinewood

Applying slats

W O O D A S A B U I L D I N G M AT E R I A L

Bended stacking with no visible fixings

Filtering with sticks

In Finland I experienced different types and techniques of using wood as a cladding or construction system. This shows how elaborate timber can be. Interesting was to see how the traditional was combined with the contemporary. This also goes for the way they treated the wood as a building material. You could see that in every project, they tried to give the wood an extra form

of character. This could even be done by letting it untreated. The many cladding techniques and treatments also showed its effect on the architecture of the building, the porosity of the material and itâ&#x20AC;&#x2122;s aesthetic appearance to the building as well on the exterior as on the interior side.

A LVA R A A LT O S T U D I O - A LVA R A A LT O - 1 9 5 5

It was clear that Alvar Aalto tried to create a more dark ground level to invite the visitor to go up the stairs and experience the light. On the upper level you could see that the windows provided loans of light to the workspaces, this in combination with the plain white interior finish indeed created a bright experience which is really comfortable for working. Moreover in Aaltoâ&#x20AC;&#x2122;s own studio, he used the same technique of having large windows to provide a lot of daylight. Whatâ&#x20AC;&#x2122;s even more interesting was the use of plants in front of the windows which filtered the light before it goes into the room. This resulted in interesting light spaces.

VIKKI CHURCH - JKMM - 2005

The quite simple appearance of this building on the outside suggests that there is much more on the inside. With its almost too complex roof construction and its neatly done interior cladding, it gives the visitor urge to look around and really look to every aspect the building has. The use of only wood in the whole building, gave the sacred place a traditional and welcome feeling. The large windows gave a wide view on the natural landscape surrounding the church and they also provided a good amount of daylight which was filtered by the trees in front of the windows. Some hidden skylights in the top corners supplement some extra amount of daylight.

THINK CORNER - JKMM - 2017

What immediately stood out for me in this building were the large skylights which provided loans of light inside the building but there were not a lot of artificial lights inside the main hall so this increased the effect even more. It was really interesting to see the contrast between the concrete and the wooden cladding and walls that were used inside the building and how they made the staircase completely out of wood to give it a warmer feeling than in the central hall. Also the use of artificial lighting helped with this experience of warmer feeling. The whole building in total did not feel like it was renovated, it felt like a whole new building inside a already existing context.

KA L E VA B U I L D I NG - U NKNOW N

This building stands in star contrast to its surrounding buildings of the open-air museum Seurasaari. It uses a interesting way of slightly bending the wood an placing and stacking it in such a way that it looks like boat. Although the detailing, especially on the inside, was not properly done, the building has a outstanding appearance into its context with nearly no visible fixings. Also, the use untreated wood complemented the idea of making it a ship that has washed ashore.

S T. H E N R Y C H A P E L - P E H R J O H A N G Y L I C H

The contrast in light in this building is really remarkable. It is clear that the architect wanted to let the visitor look to the altar which was well lighted by the large windows on the side while there were no windows in the rest of the room. An interesting feeling was that the building on the outside had a â&#x20AC;&#x2DC;coldâ&#x20AC;&#x2122; appearance with its bronze cladding. However on the inside, this cold feeling changed to a warm one by the use of wooden interior cladding. This really adds to the fact that the church must be a welcoming place for everyone. Moreover, the large trusses on the inside gave the feeling of a shrinking and enlarging space by the fact that the are not placed in a straight line.

V I L L A M A I R E A - A LVA R A A LT O

The Villa Mairea is really nicely fitted into its surroundings, especially if you look to how Aalto implemented its vertical wooden elements onto the building. Therefore the building is one with its nature. Also, the color scheme of the building has got this clear hierarchic order. More dark on the bottom base and more light further up. The use of special elements in the entrance door for example really makes this building feel like it is highly detailed in every aspect. The use of large windows provide a great view into the forest and do also make the inside feel light and welcome. On the outside, it does the exact same thing.

V I L L A M A I R E A - A LVA R A A LT O - 1 9 4 0

A A LT O U N I V E R S I T Y L I B R A R Y - A LVA R A A LT O - 1 9 6 9

The library made great use of loans of light from the skylights in the ceiling. In combination with the plain white interior it developed a comfortable tone of light which was suitable for reading and concentrating. You could recognize the many Alvar Aalto skylights in this building. No timber was actually visible in this building but the way how the architecture â&#x20AC;&#x2DC;handlesâ&#x20AC;&#x2122; the light made it a good example of how to daylight can be treated to be a comfortable light source. Although, there were still some artificial light sources visible which might be needed at night.

A C A D E M I C B O O K S T O R E - A LVA R A A LT O - 1 9 6 9

As of the library by Alvar Aalto, the bookstore makes great use of indoor skylight. While the store seems to have a dark tone on the outside, the interior is actually what counts. Its open and bright central hall with the marble cladding make the whole building really feel like a place for knowledge. Its natural daylight provided by the interesting looking skylights which look like rocks make it feel like there is no additional lighting needed. Also here there is no use of timber but this is still and interesting result of using the right material and providing the right amount of daylight to make the place special.

TEMPPELIAUKIO CHURCH - TIMO and TUOMO SUOMALAINEN - 1968

When walking inside, you experience a dark cave looking lobby but when walking inside the church part, it gets brighter and more comfortable. The filtering of the light through the construction of the bronze ufo-looking ceiling provides a bright zone of daylight into the building. Furthermore, the rocks functions as a sort of connection between the human and the nature and it provides great acoustics for the room. The filtering does not literally create light spaces but it does provide the room with comfortable daylight instead of too bright direct sunlight.

E X T R A : BAG SVA E R D C H U RC H - J O R N U T ZO N - 1 9 7 6

When we visited Copenhagen we visited this church. From the outside, it looked pretty simple structured but on the inside opened up this really open and bright interior with its cloud looking ceiling in the church hall and glass roofs in the hallways. The use of the bright wood for the furniture and also for the doors made this place really feel traditional and welcome. Also, the bright interior created this feeling of entering a holy place which it really is. The use of daylight in the main hall is even more interesting, it origins from a hidden skylight and loans itself to the bright curved walls which then end in main hall.

04_ EXPERIMENT I The first experiment focuses on the understanding of the relation between architecture and daylight. This is done by working with digital drawing, modelling and physical model making while focusing on the theme porosity in the architecture. Different versions of the models are made so that the light effects of changing the different parameters can be investigated. In the first part of the experiment, an introduction is given to Grasshopper and how Grasshopper can be used to generate a spatial light filtering facade model. The results of this will be analysed and then further developed through light studies and digital rendering studies. The second part is about recreating an experience from the Finland trip. The goal is to identify a few parameters that are important for the recreation of the architectural light experience. It is important with this to constantly look how to make different iterations to recreate the same light effect, this could also be done in an abstractive way. As in the first part, the created models will then be tested in certain light conditions with digital rendering and also by light studies in a photo studio. All the created models and their test results are documented in this chapter of the semester book.

EXPERIMENT I

P O R O U S G R A S S H O P P E R FA C A D E S

For this experiment, a photobox was made to study the light effects of the produced facade iterations. This photobox was used to create renders in Vray with real daylight conditions but a physical model was also produced to study certain light effects with the help of artificial photo lighting. The photobox has a size of 400x600x300mm but the size of the facade partition that should be implemented is only 300x300mm. Both realistic and artificial light condition studies are documented in this chapter. In this experiment we compared the same realistic conditions for each facade iteration but tried to find characteristic light effects for each facade in the artificial light study (placed in the physical box). In this way, both the conceptual and reality are studied.

CONCEPT

The first faรงade is a modulation of the given Grasshopper introduction model. However, apart from changing the parameters of the curve, there are also horizontal elements added to the model. This is done by adding the same Grasshopper code that was used for the vertical ones again only with some slight changes. This in total formed a double layered faรงade model which looked like a grid structured model from the inside, but more free form on the outside. This idea of having a double layered structure could be referenced to the Lรถyly sauna in Helsinki. In this building, a double layered structure is used to support the wooden slats. In this case the wooden slats are the horizontal elements and the supports are the vertical elements. Although at Lรถyly, the slats are placed closer together than in the produced faรงade model so this will eventually create a different light experience.

I N S P I R AT I O N A N D I D E A

For the first experimental façade, the typical Alvar Aalto skylight was used as a reference point. The skylight is not particularly a straight tube but more of a cylinder with a cut off top. The goal was to not just recreate the skylight itself but to multiply and modify the basic form so that there would be a different experience of the light spaces the skylights create. To create the multiplied effect of skylights, Grasshopper was used to form layers of different patterns in a square box of 300x300mm which were then stacked together to form a façade model. For the research, there are two iterations. One iteration with Grasshopper generating voids on the layer and one with the Grasshopper generating tubes. Also, the placement of the holes is different for each iteration. This way of generating the ‘skylights’ gives you the possibility of controlling the creation of the light spaces at certain light conditions.

I N S P I R AT I O N A N D I D E A

With the second experimental façade, a more organic approach was taken. For this experiment, pictures of a specific daylight experience in the Aalto Studio and the Vikki Church were used as a reference point. This light condition was mostly created by the tree that was standing in front of the window. This created a pattern of different densities of light coming through. It was especially this effect that was wanted in the model, however with the use of more abstract forms rather than a natural one. So to create this, Grasshopper was used to generate a pattern of polygons, in this case squares, which are then connected to a single curve. The Grasshopper file then creates so called ‘attractor points’ which will give each square a certain sized based on how far they are away from the curve. This will create the effect of a tree with its branches where the density goes from high to low. There are different layers made where the curve points are changed with every layer. As a result, a façade element is created with the same light experience as in the pictures but with a more abstract approach.

T E S T I N G FA C A D E 1

GRASSHOPPER CODE

T E S T I N G ‘ C H E E S E 1 ’ FA C A D E

GRASSHOPPER CODE

T E S T I N G ‘ C H E E S E 2 ’ FA C A D E

GRASSHOPPER CODE

T E S T I N G ‘ C H E E S E G R AT E R 1 ’ FA C A D E

GRASSHOPPER CODE

ATTRACTOR POINTS:

A pattern of points is formed as a base

ATTRACTOR POINTS:

GH calculates which points are closest to the curve

T E S T I N G ‘ C H E E S E G R AT E R 2 ’ FA C A D E

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T E S T I N G ‘ C H E E S E G R AT E R 2 ’ FA C A D E

GRASSHOPPER CODE

ATTRACTOR POINTS:

Different domains gives different size of squares

ATTRACTOR POINTS:

Squares are in this case smaller.

101

R E A L I S T I C D AY L I G H T C O N D I T I O N S

45Â° ALTITUDE DIRECT SOUTH MIDDAY EQUINOX SUN

102

No facade

Facade 1

Cheese 1

Cheese 2

Cheese Grater 1

Cheese Grater 2

R E A L I S T I C D AY L I G H T C O N D I T I O N S

60Â° ALTITUDE SSE AFTERNOON SUMMER SUN

No facade

Facade 1

Cheese 1

Cheese 2

Cheese Grater 1

Cheese Grater 2

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R E A L I S T I C D AY L I G H T C O N D I T I O N S

20Â° ALTITUDE SSW AFTERNOON WINTER SUN

104

No facade

Facade 1

Cheese 1

Cheese 2

Cheese Grater 1

Cheese Grater 2

R E A L I S T I C D AY L I G H T C O N D I T I O N S

15Â° ALTITUDE SE MORNING WINTER SUN

No facade

Facade 1

Cheese 1

Cheese 2

Cheese Grater 1

Cheese Grater 2

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CONCLUSION

106

CONCLUSION

Through the use of physical models and by comparing identical lighting conditions affecting the different faรงades in v-ray we have examined the qualities of light produced by each facade element. The most interesting facade elements are the final iterations from both iterative streams. The elements are significantly different, although are still based on v-ray functions that create contoured three-dimensional forms with adaptable depth, and resolution. The modularity of the cylindrically formed facade makes it adaptable, and able to optimise the location of various light spaces around the room within. Its depth and the changing angles of the cylinders also allow the light to be optimised to multiple different times of day by changing the curve and depth of the tubes. The geometric facade excels in the filtering and diffusion of light within the space within. It creates dappled lighting on the walls and floor which can then disperse around the room. The modulating size of squares in the facade allows different levels of filtering, overall allowing control of light levels in a specific spot. We plan to use aspects of both faรงades in the coming task, allowing the soft filtering of light within non-rigid geometric forms.

107

108

05_ INDIVIDUAL STUDY The trend of using wood as a building material has risen a lot in the past few years. It has a traditional appearance and it is also a sustainable material. However, the maintenance of the wood especially with large constructions and facades can take up a lot of time and investments. There are many ways like varnishing to protect the wood from external factors but a more unknown technique for this is the traditional Japanese ‘shou sugi ban’ technique. This technique works as follows, the wood is first partly burnt by e.g. a blowtorch and then a natural oil layer is added as a finish. In this way, the wood gets an interesting natural looking texture and the carbonand natural oil layer acts as a protection against the weather and makes it a long lasting material. In this research, I will look to two different types of wood samples (softwood and hardwood) and also to the application of two types of natural oil. By this, I will investigate the aesthetical appearance the wood gets after the shou sugi ban treatment and in which way its changes the wood’s natural condition. There will also be a small theoretical research on the use of shou sugi ban as a sustainable technique as this can hardly be researched in the times pan of one week. This will be done by a literature research using scientific articles. All the investigations will be summarized in a conclusion part at the end of this chapter in the semesterbook.

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110

INDIVIDUAL STUDIES

THE A R C H I T E C T U R A L A N D S U S TA I N A B L E EFFECT OF SHOU SUGI BAN ON WOOD

Shou sugi ban, or the official Japanese name yakisugi-ita, is becoming more popular in the western part of the world nowadays while it is not as popular as it was anymore in its country of origin Japan. This might be due to the fact that in the past the technique was considered as countrified in Japan. But now in the west, it has developed itself into a stylish product. The idea of the technique looks illogical but is actually a intelligent idea, heating up wood to make it fireproof. It could be compared to the fact that it is hard to use already burnt logs for a campfire. Traditionally this was applied on cedar board. That is where the word yaki-sugi-ita comes from, it translates roughly into ‘‘burned cedar board.’’ The heating effect also makes it resistant to pests and rot. Furthermore, the carbon layer ensures water proofing and avoids sun damage as well. Some calculations concluded that this technique can make the wood last for approximately 80 years or more.

The deeper roots of this trend might lay in the current hunger for more artisan things in our lives. Things that are not mass produced but that contain the visible, raw craftsmanship. This has led to an adoption of the fundamental principles for Japanese architecture: Simplicity, using natural materials and a awareness of the surrounding environment. It is however to mention that not every type of wood will guarantee the same effectiveness (Fortini, 2017). A lot of architects around the word have already put their own signature on the technique. For example the Steigerhouse 2.0 in Amsterdam (also the image on the top left), has used it as a cladding for this energy-neutral house. The architect combined the dark charred colour with the bright orange which creates an interesting expression on the ground level. But another example is a project by Aaron Schiller (image top right). In this project every vertical wood cladding element is charred by hand.

111

HISTORICAL CONTEXT

Vikings used the charring wood technique for protecting the wood they used for their boats.

The Horyu-ji Temple in Japan was rebuilt after the structure collapsed by a fire in 711 AD with the shou sugi ban technique. The structure still remains in good state as of today (Critical Concrete, 2017).

Sources: Critical Concrete. (2017, October 10). Shou sugi ban. Retrieved November 1, 2018, from https://criticalconcrete.com/shou-sugiban/ Fortini, A. (2017, September 19). The Latest Design Trend: Black and Burned Wood. Retrieved October 31, 2018, from https:// www.nytimes.com/2017/09/19/t-magazine/shou-sugi-ban.html McDonald-Wharry, J. (2017, January). Chars in Construction, Composites and Additive Manufacturing: Concepts and Considerations. In The Australia New Zealand Biochar Conference 2017 Conference Proceedings (p. 39).

112

HISTORICAL CO N T E X T

The technique of charring wood as a preservation technique dates back at least two thousand years ago. This is known because the technique is mentioned in writings of the Roman engineer Vitruvius. Moreover, Vikings used charred timber on their ships to provide fire and water resistance. Also, there are some United States patents regarding various approaches to charring timber. This goes all along with the fact that the Japanese used it as a technique of making cedar boards resistant to termites, which is called the shou sugi ban (McDonald-Wharry, 2017). The shou sugi ban technique exists since the 18th century, although there are earlier examples of the technique as already mentioned. The technique began as a process that was mostly used for the construction of facades and fences for rural homes and storehouses. These buildings contained e.g. rice that needed to be safe from fire. By this technique, the families hoped that their

valuables were protected. Traditionally the charring was done by tieing together three boards of cedar lengthwise to form a triangular tunnel. The interior is then heated and the charred surface is cooled with water (Fortini, 2017). So to say, it seems that it is actually unclear when the first charring wood techniques were used or even the first case of shou sugi ban occurred. It is however fair to conclude that it has been around for a longer time than we might think in the first place. Also, the technique is widely spread and looks like it has found its own traditional way in different parts of the world and it is now regaining popularity in the west part of the world. This sudden trend might be an explanation for the fragmented history. It was popular during a certain period in a certain part of the world, but less popular during another period in history in that same part of the world.

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T H E S U S TA I N A B L E E F F E C T

Figure 1: contact angle as a function of time for a spruce and b pine (Kymäläinen et al., 2017)

Sources: Beleck, W. (2018, October 5). The Science Behind Flame Retardancy of Shou Sugi Ban/Yakisugi. Retrieved October 30, 2018, from https://nakamotoforestry.com/the-science-behindflame-retardancy-of-shou-sugi-ban-yakisugi/ Kymäläinen, M., Hautamäki, S., Lillqvist, K., Segerholm, K., & Rautkari, L. (2017). Surface modification of solid wood by charring. Journal of Materials Science, 52(10), 6111-6119. Vukas, N., Horman, I., & Hajdarević, S. (2010, September). Heat treated wood. In Symposium of the 14th International Research/ Expert Conference (pp. 11-18).

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T H E S U S TA I N A B L E E F F E C T

There are not many of scientific reports of the effects of shou-sugi ban on the wood. However, the reports that are available all show that the effects on the resistance and durability of the wood are reasonably positive. For example in the research done by Kymäläinen et al. (2017). They tested different intensities of wood charring on pine- and spruce wood. Thereafter, the wettability and the changes in the material on microscopical level were investigated. The results of these tests showed that both type of woods had an increased water resistance in comparison to the unmodified reference samples. In figure 1, it is showed how this was discovered. The figure shows the contact angle of the wood as a function of time for spruce and pine wood. If the contact angle is higher than 90 degrees, there is little to no wetting. If the angle is lower than 90, there is much wetting. As you can see, do both wood types show a noticeable effect in comparison to the reference samples (fig. 1). Furthermore, some microscopical changes occurred, especially on the inside walls of the cells which seemed to be damaged after the tests (Kymäläinen et al., 2017). Although, it is to mention that these tests were done on a hot plate with short- and long term charring. Another earlier research done by Vukas, Horman and Hajdarevic (2010) are showing the same kind of results. They concluded that the heat treated wood showed a lot of advantages in terms of aesthetic properties but also in technical properties. Their results showed a much reduced swelling and shrinkage process and also a improved resistance to fungus: ‘‘Studies have shown that the resistance of treated wood against wood decaying fungi

increases with increasing degree of modification.’’ (pp. 122). However, it is also discovered by them that the mechanical properties of the wood were substantially reduced. Moreover, they conclude with the fact that further investigations are needed for the effects on each type of wood (Vukas, Horman, Hajdarevic, 2010). This type of conclusion goes the same for the research done by Kymäläinen et al. (2017) where they mention that it would be interesting to see what the long-term effects on the durability of the charring are. In a small research done by Beleck (2018) it is explained how this depriving of fungus could be explained: The basic premise of heat-treated wood longevity is that the carbohydrate portion is burned off, leaving the structural lignin, and therefore depriving fungi and wood-eating insects of what they metabolize to survive.’’ (Beleck, 2018). He also did a investigation on the effects of the charring on the fire resistance of the wood. Because the cellulose is already burned away by the shou-sugi ban technique, the wood has left a surface that does require much more intense heat than not heat treated wood. Cellulose is the first component of wood to ignite with a lower combustion temperature than charcoal (Beleck, 2018). In conclusion, more investigations are needed to give a better understanding of the effects of the charring. Moreover, what effects occur on more different types of wood. However, concluding by the results of this researches, it can be said that shou-sugi ban has a positive effect on the durability and weather resistance on especially spruce and pine wood.

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EXPERIMENTS

116

EXPERIMENTS

For the experiments with the shou sugi ban technique, there were two types of wood used: - Pine softwood (sample size: 300x120x25 mm). - Brazilian hardwood (sample size: 300x150x14 mm). In total there were 16 (7 hardwood and 9 softwood) samples produced for the experiment to test the different heat intensities and oil treatments. The oils that were used for the experiments were: - (Boiled) linseed oil (from Linoliebutikken) - Sunflower oil (from supermarket) The choice for these specific type of oils is due to the fact that traditionally only natural based oils are used for the technique. Subsequently, the experiments went as follows. Firstly, the samples were charred by the use of a blowtorch. One part of the samples was charred till cracks started to occur, we called this the â&#x20AC;&#x2DC;crocodile skinâ&#x20AC;&#x2122; and one part was burned for a shorter time so it did still burned for a bit but not till it formed cracks. Afterwards, the samples were cleaned and some of the samples were oiled with three coats of one of the two oils. Moreover, two pieces were charred the same way as the other ones but they were scrubbed with a steel brush afterwards. In total, the scheme of produced samples was as follows:

1. Softwood with no charring and no oil 2. Hardwood with no charring and no oil 3. Softwood with short charring and no oil 4. Softwood with long charring and no oil 5. Hardwood with short charring and no oil 6. Hardwood with long charring and no oil 7. Softwood with short charring and linseed oil 8. Softwood with long charring and linseed oil 9. Hardwood with short charring and linseed oil 10. Hardwood with long charring and linseed oil 11. Softwood with short charring and sunflower oil 12. Softwood with long charring and sunflower oil 13. Hardwood with short charring and sunflower oil 14. Hardwood with long charring and sunflower oil 15. Softwood with short charring and brushed 16. Softwood with long charring and brushed, also oiled with linseed oil afterwards. After the experiments, pictures of every sample were taken and observations were documented to conclude what effect the charring had on the aesthetical appearance of the wood.

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EXPERIMENTS - REFERENCE SAMPLES

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EXPERIMENTS - REFERENCE SAMPLES

The two pieces that were used for the project were soft pine wood (fyrre/gran trae) and Brazilian hard wood. On the left you see the dark red Brazilian hard wood and on the right the bright pine wood. These samples were left untreated to compare with the treated ones. From the picture you can see that both type of woods show their grains really well. While the pine wood has got more curved grains, the hard wood has more straight lined grains. Although the hardwood is much thinner, it still feels more heavier than the softwood. Also the smell of the two types is different. Especially the hardwood has a typical smell what was labelled as ‘sour’ or ‘Parmesan cheese.’

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EXPERIMENTS - SAMPLES WITHOUT OILING

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EXPERIMENTS - SAMPLES WITHOUT OILING

On the (upper image) left is shown the long charred softwood. It is clear that the grains of the wood has now become less visible than with the reference sample. On the other hand, the â&#x20AC;&#x2DC;crocodile skinâ&#x20AC;&#x2122; produced by the charring is very visible. What can be added about this, is that the charred carbon layer in this case provides the sustainable effect that was described earlier in this chapter. On the right is shown the short charred softwood. In this sample, the grains are much better highlighted than in the reference sample by a light colour tone. This gives the wood an overall more natural feeling. Also the burning hot spots are clearly visible. What is even more interesting are the knots that seem to not have burnt through really well as they might require a longer charring time. On the (lower image) left the long charred hardwood is shown. The charring has produced a much darker tone to the whole wood. Additionally, the crocodile skin is formed in some spots but less intense visible than on the softwood. Noticeable to mention is that this hardwood took a longer charring time than softwood to generate the same charred effects. On the right, the short charred variant is shown. On this sample it is clear that the grains are less visible than on the reference sample although the grains seem to crack open a bit. In general, the whole sample gets a darker tone than its reference sample. As with the softwood, the short charred variant shows the burning hot spots really clear.

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EXPERIMENTS - SAMPLES WITH LINSEED OILING

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EXPERIMENTS - SAMPLES WITH LINSEED OILING

On the (upper image) left is shown the long charred wood with linseed oil applied on it. The crocodile skin on this sample looks less intense than without oil. This can be explained by the fact that the oil coats the cracked layer of carbon that is produced by the charring. Whereas the grains now became more visible with a darker tone. On the right the short charred wood with linseed oil is shown. In this sample, the grains are still getting highlighted but this time by a golden tone. Although some parts of the grain get highlighted by a more darker tone now. Also the wood gets a darker tone in general, hiding the burning hot spots more.

On the (lower let) the long charred hardwood sample with linseed oil is showed. First to mention is that the surface became smoother than its reference sample because of the oil. Also the crocodile skin seems less intense than on the sample without the linseed oil. Still it remained its dark skin with some produced cracks. On the right the short charred hardwood sample. As with the sample without the oiling, this sample gets an overall darker tone. Furthermore, the oil generated a shiny layer on top of the sample. Because of this shiny layer, the cracks that were highly visible in the first place, became less visible in this sample.

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EXPERIMENTS - SAMPLES WITH SUNFLOWER OILING

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EXPERIMENTS - SAMPLES WITH SUNFLOWER OILING

On the (upper image) left is shown the sunflower oiled long charred sample. In this case, the grains look much better highlighted with a dark tone than with the linseed oil. The crocodile skin seems as smooth as the sample with linseed oil. On the right, the short charred sample. The grains now look less golden toned than with the linseed oiled sample. Also the whole colour tone of the sample looks less dark than the linseed oiled sample. Furthermore, the burning hot spots are still clearly visible. Still, the oil gives the sample a darker tone than its reference sample and the non-oiled sample.

On the (lower image) left the long charred hardwood is shown. It is clear that the sunflower oil gives the same effect to the wood as the linseed oil. Although, the crocodile seems to be more present in the wood but this could also be due to fire intensity and charring time. As this could be shorter for the sample with linseed oil. On the left, the shorter charred hardwood. This sample seemed to have produced the same effect as the linseed oiled sample. A darker tone, more shiny and less visible cracks than on the non-oiled sample.

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EXPERIMENTS - BRUSHED SAMPLES

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EXPERIMENTS - BRUSHED SAMPLES

As extra experiment, two of the softwood samples were charred with the same levels of charring time and intensity than the other samples, however they are brushed afterwards with a steel brush. Moreover, the long charred sample was later on treated with a linseed oil finish. On the left this sample is shown. It is interesting to see that by brushing the charcoal layer from the wood, a sort of contra shape is formed in the grain. The grains are now highlighted by a much darker tone than the rest of the sample and the shorter charred sample on the left. Although, the brushing removes some of the produced charcoal layer which makes the woods more vulnerable again. Still, this might be the most interesting sample of all the samples. On the right, the shorter charred variant is shown. This sample seems a bit brighter than its non-oiled reference sample in spite of the fact that this sample still looks quite similar to the non-oiled variant.

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CONCLUSION

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CONCLUSION

Shou sugi ban is an interesting westernized form of a traditional Japanese technique. The idea of preserving wood by charring it seems to be scientifically working as is shown by some researches. However, there is a lot of space left for further research. Although, it could be said for now that this technique is a well thought out way of making wood more sustainable as is shown by a lot examples of different architects in the western world. About the effect on the aesthetical appearance, it seems that the technique can create a lot of different kind of aesthetical appearances to the wood. Although it is to mention that by only burning for a short period of time or brushing the charcoal layer of the wood, the sustainable effect of the technique is removed. It is also interesting that not only pine, which is commonly used in the western part of the world, but also hardwood gives interesting results with a less intense surface. On the other hand, the hardwood need a lot more burning time than pine wood which makes the production of charred hardwood more time consuming and also more expensive than pine.

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06_ EXPERIMENT II In experiment 2, the results of the first experiment are taken and further developed into a tectonic expression that could work as part of a facade solution. The focus in this experiment is to look to the material properties of wood and its tectonic potentials. To achieve this, a hands-on experience with the material wood is requested. This is done by a series of investigations in the schoolâ&#x20AC;&#x2122;s workshop. It is also asked to use inspiration from the Finland trip as a basis for researching the appearance and tactile quality of the material. The studies of the facade partition should be similar to the model setup from the first experiment. And while the focus in this experiment is on wood as a building material, an important part of this experiment is to investigate how the samples and the produced mock-up are reacting to daylight. The mock-up that is produced will represent a detail from the whole facade and should express its main idea. This mock-up should be about 50x50x50 cm, however in this experiment we used a slightly larger scale as this was better for us to really express the idea of the facade. As a starting point, this mockup is produced in 1:1 scale. Requirement of this experiment was to use at least the given Douglas wooden plank with a size of 5x30x430 cm. As already mentioned, essential part of this experiment is to investigate the functionality of the facade in a similar situation as in experiment 1. Therefore, a partition of 3x3m of the facade is made in 3D and used for daylight renders and also elevation views.

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I N S P I R AT I O N

Steam-Bent Wood Lattice Morphology

WISA Wooden Design Hotel - Helsinki

Seurasaari open air museum - Helsinki

Tom Raffieldâ&#x20AC;&#x2122;s home - Cornwall

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I N S P I R AT I O N

Helsinki Zoo Lookout Tower

Tom Raffieldâ&#x20AC;&#x2122;s home - Cornwall

Villa Mairea - Noormarkku

Matthias Pliessnig - Philadelphia

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STEAM BENDING

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STEAM BENDING

Steam bending wood is process which requires steam or boiling water to plasticize the wood thus that it can bent. This is mostly done over a mold or form. While the wood is drying and cooling down, it retains its shape leaving a bent structure. The advantage of it, is that the grain will follow the curve and hereby eliminating short-grain problems. Laminated wood pieces in a curved shape is also often used to create especially thicker bent parts. The disadvantage of this is that it will take more time to assemble all the pieces and the final product may leave some glue lines on the surface. Steam bending in general also has its shortcoming. The most burdensome one is the calculation of springback. Bent wooden pieces that are laminated will have less chance of having springback, the more layers, the less it will spring back. The results of the steam bending depend on the grain structure, knots, checks etc. When the wooden piece is steamed, the moisture and heat are softening its fibers and therefore allow them to deform from each other so that the piece can be bend. It is important that the steam is saturated with moisture and that the steaming process is not pressurized as this might result in an unsuccessful bending (Keyser. Jr. 1985).

William A. Keyser. Jr. (1985). Steambending: Heat and moisture plasticize wood in Fine woodworking on Bending Wood. Taunton Press. pp. 16-17. ISBN 0-918804-29-9

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TESTING BENDING

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Wood was put in a steam box

Results of the first test...

Laminating the second test piece

Using 5mm pieces for the last pole

TESTING BENDING For the first test, we generated a heavily tight curve which will show us if our idea is achievable with the size of wooden elements we want to use. We used pieces of 10x30mm because we wanted to see if it was possible to create a laminated curved element out of 3 pieces of 10mm thick each. Therefore, a template is made out of the curve and the mold is formed by wooden cutoffs that we used to form the corners so that we can bend the wood around it. By this, we do not have to use large amounts of wood to produce a big mold. For the steaming we used a special steam box with a boiler connected to it that will produce the steam. The wooden pieces were put into the steambox for about 30 min. After that, the pieces were taken out and put into the mold. In the first test the bending of the most tight curve did not work. It could not bend well enough to curve around the first corner. Also, the wood did not stay in place making it even more difficult to bend properly. Clamping did not help as well, because it slipped of the wooden elements. With the results of the first test, we added some extra mold parts to fit the bent wood in and also fixed the ends of the piece into another piece of wood so that it can not move out of its place while it is being bent. This eventually gave much better results. After letting the wood dry overnight, we glued the three pieces together an put it back in the molds to have less springback of the shape at the end. This worked out very good and the shape was maintained after we removed the molds and the clamps. Although some parts in the curves sprung back a little bit but. For the last test, we made a full-length bent pole to see if we can make the elements in the scale we wanted them to be. For this piece, we lowered the thickness of each wooden piece from 10mm to 5mm so that the bending process would require less pressure. Also, the curves in this prototype were less tight than in the previous one. We used the same kind of fabrication of molds as with the second prototype.

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T E S T I N G B E N D I N G - R E S U LT S

First test piece (that broke)

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Second test piece

T E S T I N G B E N D I N G - R E S U LT S

Eventually, we used the last test piece for the final model as it was clear that the process worked well and we could fit it into the design. We also decided not to make the model only 500x500x500 mm but rather 600x600x1700 mm because the curves would be too tight to produce if we did it on a smaller scale. Also, the whole idea of the facade design would not really be â&#x20AC;&#x2DC;expressedâ&#x20AC;&#x2122; by the smaller scale detail.

Final test piece

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D AY L I G H T T E S T I N G 3 D M O D E L

Iteration 1

Iteration 2

Plain photobox

Less curved structure with 15 poles

Iteration 3

Iteration 4

Slightly more curved

Slightly curved and parallel to opening

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D AY L I G H T T E S T I N G 3 D M O D E L

Iteration 5

Iteration 6

Heavily curved and parallel to opening

Extremely curved and parallel to opening

Iteration 7

Iteration 8

Less curved and parallel to 45 degree angle

Slightly curved and parallel to 45 degree angle

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D AY L I G H T T E S T I N G 3 D M O D E L

Iteration 9

Iteration 10

Heavily curved and parallel to 45 degree angle

Heavily curved, parallel to 45 degree angle and five added poles

Iteration 11

Iteration 12

Heavily curved, parallel to 45 degree angle and eleven added poles

Heavily curved, parallel to 45 degree angle and implemented â&#x20AC;&#x2DC;chairâ&#x20AC;&#x2122; part

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D AY L I G H T T E S T I N G 3 D M O D E L

The renders shown here do not represent a specific daylight condition but what they do represent is how the different iterations interact with the light in its basic essence. It becomes clear that the bent curves form interesting contrasts and shadows in themselves. This especially goes for the more curved iterations. Moreover, this effect is even stronger with the models that are parallel to a 45 degree angle. Also, the more intense the curves are, the more organic the total form gets. It could be asked if this kind of form still provides architectural quality. Therefore, a less intense curved model could be chosen. There looks little to none difference between the presence of 15 or 26 poles in the total model. Only that the filtering of light effect becomes more intense when there are more poles in the model. As a last iteration, the chair looking part that is produced 1:1 in real life, is implemented into the rest of the model to see what the element would look like in the rest of the facade.

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D AY L I G H T T E S T I N G 3 D M O D E L - R E A L I S T I C C O N D I T I O N

Iteration 1

Iteration 2

Plain photobox

Less curved structure with 15 poles

Iteration 3

Iteration 4

Slightly more curved

Slightly curved and parallel to opening

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D AY L I G H T T E S T I N G 3 D M O D E L - R E A L I S T I C C O N D I T I O N

Iteration 5

Iteration 6

Heavily curved and parallel to opening

Extremely curved and parallel to opening

Iteration 7

Iteration 8

Less curved and parallel to 45 degree angle

Slightly curved and parallel to 45 degree angle

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D AY L I G H T T E S T I N G 3 D M O D E L - R E A L I S T I C C O N D I T I O N

Iteration 9

Iteration 10

Heavily curved and parallel to 45 degree angle

Heavily curved, parallel to 45 degree angle and five added poles

Iteration 11

Iteration 12

Heavily curved, parallel to 45 degree angle and eleven added poles

Heavily curved, parallel to 45 degree angle and implemented â&#x20AC;&#x2DC;chairâ&#x20AC;&#x2122; part

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D AY L I G H T T E S T I N G 3 D M O D E L - R E A L I S T I C C O N D I T I O N

For the next daylight test, we took a realistic daylight condition. In this case, an azimuth of 150 degrees and an altitude of 11 degrees (this could be compared to a typical Danish autumn morning sun in November. Also, we placed the different models in the photobox we used for Experiment I. However, we scaled it up so that it would match the size of the facade models. The shadows that are cast on the back wall, really show the curvature of the models itself. It is also interesting to see how the different shadows of the curves intervene with each other on the back wall. Furthermore, the filtering of the light is more intense with the models that have got more poles and also the curvature of the poles add some effect to that effect.

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FA C A D E D E S I G N ( I T E R AT I O N 1 1 a n d 1 2 )

26 POLES (ITERATION 11)

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FA C A D E D E S I G N ( I T E R AT I O N 1 1 a n d 1 2 )

‘CHAIR’ PART IMPLEMENTED (ITERATION 12)

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1 : 1 M O C K - U P D E TA I L D E S I G N

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1 : 1 M O C K - U P D E TA I L D E S I G N

TOP VIEW

For the mock-up, we decided to create a part of the facade that would express the playability of the facade. Therefore we designed a part which could be seen as a sort of chair where you as an observer could potentially sit in or stand on. This however also meant that we had to look a the constructive design of the mock-up. This resulted in five additional straight poles that needed to be added to model. Moreover, a top part was specially made for this mock-up but does not occur in the facade design. This means in total that the mock-up is not a full representation of a detail of the facade but still shows the essence of the facade design and expresses its playfulness.

PLAN

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1 : 1 M O C K - U P D E TA I L D E S I G N

BACK

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FRONT

1 : 1 M O C K - U P D E TA I L D E S I G N

RIGHT

LEFT

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1:1 MODEL PICTURES

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1:1 MODEL PICTURES

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S U M M A R Y O F : ‘AT O M I Z AT I O N - S I F T I N G O F L I G H T THROUGH A POROUS SCREEN’ BY HENRY PLUMMER Italo Calvino finds a paradigm for the notion of lightness which is attained by a substraction of weight devoted to the ‘atomizing of things.’ Poets like the Roman Lucretius describes it as little motes of dust or spider webs that wrap themselves around us without noticing. This model shows that light is not retarded by refraction but by splintering and grinding of its routes. Without obstructing the light, the capacity of a mesh has endless precedents in vernacular and both monumental architecture. The current fascination for this phenomenon comes mostly from the past. Today’s interest in particular, is the controlling of the proportion of holes from screens and material finish to create a wall that is generating mysterious yet scintillating views. The screened light has its deep roots in Japan. The array of the traditional screens developed to let light as well as air through are now being translated to a more industrial language with expanded metal and aluminium. As the objects crumble when gathered through one of these screens, the world will appear less solid or clear and therefore vulnerable for logical vision. Colors are fading, outlines are melting calming both eye and the mind. By using thin porous metal sheets, architects like Fumihiko Maki, Toyo Ito, Itsuko Hasegawa and Jun Aoki have been capable to recreate the store of mystery and introspective that is characteristic for Japanese architecture. Another part in the world where atomized light has got its cultural roots is in Scandinavia, where forest and mist are the darkening effects. The Helsinki architects Heikkinen-Komonen have been concerning this problem of adapting light screens to an arctic climate. The Questions of how to adapt the screens optical behavior to its context has led the architects to work more on adjusting perforation size, surface finish and illumination levels. More widely expressed in these atomizations is the vision of reality which has developed over

the past century with the discoveries in physics. These physics demonstrate that matter and energy are interchangeable and involve the interplay of two particles: electrons and protons. This changing paradigm is reflected by architects who tried to irradiate solid boundaries and to mix energy and matter. The perceptual freedom of aerified boundaries has been linked with fractal geometry by some architects. In this case energy is jelled into physical form and contours are corroded by light. This idea refers to the geometric irregularity in many of nature’s most perfect forms. By eroding a reality that exists apart from us, these transparent edgings of buildings, more cloud-like than solid, shift the emphasis to an architecture that is based and transformed by human perception. Architects like Herzog & de Meuron and Heinz Tesar have greatly adapted this idea of into their works. Efforts of architects to construct soft wood screens are set against these industrial fabrics so as to link with nature on different layers. Light filtered through a timber grille is capable of sharing in the emotional benefits of human associations with wood. In all the experiments done by architects with pulverized light, boundaries are found which blurry limits gift the facades extreme delicate qualities which are inherently different from their geometry. Light gets caught in screens and while the viewer walks around it, it changes from becoming solid to transparent and then into nothing. Hereby the real boundary of a building fades away. And as these boundaries get out of focus, the architecture gets a dreamlike quality that let us discover their formulation.

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07_ EXPERIMENT III With the results from experiment 1 and 2, testing configurations are made in this experiment as part of the theme architectural porosity. The testing configurations are placed in a specific spatial context, in this case its the schools old Paradisgade building. Important for this assignment is to establish a graphically good communication of the facade idea. The assignment is carried out on the studio part of the building, it can be chosen if someone would transform the north- or the south facade. Moreover, the transformation can be limited to a limited area of the facade. One of the goal is to investigate how the new facade affect the daylight of the studio space and therefore creating a new spatial experience of the studio space. NOTE: this chapter contains the same kind of drawings as of the final critic poster however, the plans and sections in this chapter are differently scaled to fit in the format of the semester book.

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FA C A D E C O N C E P T

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FA C A D E

CONCEPT

The main idea of the new facade focuses on just a certain area of the North Facade. The filtered light affect of our facade concept would be much stronger on the south facade but this would be much more frustrating for the studio space than it would actually help or improve the space. The idea of the facade consists of â&#x20AC;&#x2DC;breaking upâ&#x20AC;&#x2122; a part of the facade and show its fibers, on the next page it will be explained what this exactly means. But, the main point of it means that the fluidity of the wood gets connected with the solidness of the brickstone exterior and concrete interior. Moreover, the facade will not only function as an aesthetic experience but also provides a seating function for the interior part. On the inside part of the facade, there will be some chair-formed curved which provide a quick seating space where people can meet in the traffic area of the studio because that is also the place where most people will meet each other. This chair idea is taken from experiment 2. Lastly, the goal is to create a facade part that is not strongly divided by a glass panel but is sort of more integrated into the whole facade.

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FA C A D E C O N C E P T ( F I B E R I N G )

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FA C A D E

CONCEPT (FIBERING)

Fibers (which comes from the Latin word fibra) is a substance from natural or synthetic origin. Fibers occur in vegetables, wood, animals, mineral form and in biological form. Example of the use of fibers for production is clothing. Fibers are sort of the structural part of the material. Fibers thereby give the feeling that it is sort of the ‘inner part’ of a material. A at first sight solid looking material, is showing its core materials which is holding it together but now does not look solid anymore. You can clearly see this at torn fabric shown on the left page. The at first plain and flat surface of the fabric now shows its muddled fibers which float in space. Not only with fabric, but also with fibered concrete this phenomena becomes clear (picture bottom right on left page). This idea of tearing a material apart and showing its fibers is what is applied on the facade transformation. The solid brickstone will be partially torn apart to show its fibers which are illustrated by the bent wood facade. As shown directly on the left, the part where the windows are now will be removed an replaced by the wooden facade idea. This also creates a contrast between the really dark and solid wood and the fluid an light wood. The porosity of this ‘fibering’ provides an interesting experience.

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FA C A D E C O N C E P T ( ‘ K E E P W I N D O W S ’ )

Keep function of the window as provider of daylight

Lower density of poles Higher density of poles Lower density of poles

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FA C A D E

CONCEPT (FUNCTION AND AESTHETIC)

Functional

Aesthetic

Also a core idea of the facade concept is the partition of the total facade into a functional interior part (where you can sit) and an aesthetic exterior part where it is more about the experience of the facade.

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FA C A D E I T E R AT I O N S

Structural wall outlines

Top

Iteration 1

Iteration 2

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FA C A D E I T E R AT I O N S

Top

Iteration 3

Iteration 4

Four iterations of the facade idea are made to test out what works best as a composition for the schools facade. On the top is shown how the iterations differ in terms of moving away from the wall.

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RENDERS

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RENDERS

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FLOOR PLANS

Ground floor

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FLOOR PLANS

First floor

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F L O O R P L A N S ( D E TA I L )

Ground floor

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F L O O R P L A N S ( D E TA I L )

First floor

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+7400

+3900

0-point -800mm

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In the section it is shown how the facade functions as a seating part without blocking out the traffic area. Moreover, it is a bit shown how the light still goes through the windows and then lights up the facade.

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sh and es

CONSTRUCTION CONCEPT

New facade element

Window panel

Concrete ﬁnish Exis�ng brickstone wall

Concrete ﬁnish and for ﬁxing poles

New facade element

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CONSTRUCTION CONCEPT

Shadow gaps are used to express the idea of the continuity of the wooden poles that go into the ground for the fixing.

At certain points where two poles almost touch, a connection can be established to ensure stability of the exterior part.

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M AT E R I A L O P T I O N S

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M AT E R I A L O P T I O N S

When talking about the materiality, wood is the best choice and especially Douglas wood. This is because it was shown in experiment 2 how much bending Douglas can provide whilst at first it was said that Douglas wood is not the best choice for bent wood. About the strength, Douglas wood can be a really good choice for the use of long bent poles. Because Douglas gets stronger over time. A good example of the use of Douglas on long elements, is the Danish boat Martha (picture top right) where the mast poles are made of Douglas wood. Although the light tone of the wood gives an interesting contrast between the brickstone and the wood, there is also something to say for the use of the shou-sugi ban technique. Because part of the structure is placed in the outside, it also gets in contact with external factors like rain, wind and direct sunlight. This can cause the material to rot or the bending to break. Therefore, the technique of charring the wood can be applied so that the wood can withstand the external factors better. Although, it is to mention that it is not investigated how the charred wood affects the bending of the wood but a clear example of the use of charred wood on bent wood are the Viking boats (bottom right picture). Disadvantage of the charred wood effect, is that the contrast of the facade fades away because the wood now has a more darker tone and this also conflicts with the daylight because the dark color absorbs it much more so the effect of lighting up the facade also gets more vague.

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