THE POETICS OF CONSTRUCTION IN BAMBOO ARCHITECTURE
THESIS PREPARATION
THE POETICS OF CONSTRUCTION
SUTD Master of Architecture Thesis Preparation Document The Poetics of Construction In Bamboo Architecture So Jing Wen Master of Architecture Student Advisor: Felix Raspall Architecture and Sustainable Design E-Mail: jingwen_so@mymail.sutd.edu.sg
ABST RACT 1
INT R O D UCT I O N MOT I VAT I O N MET H O DO LO GY BAMBUBSA G UA D UA
2.1
PHYSI CA L PA RTS
2.2
PHYSI CA L PR O PERT I ES
3
T ECH N I Q UE S
3.1
DRAW I NG
3.2
CONST R U CT I O N
4
CATA LO G
4.1
C ATA LO G O F PR OJ ECTS
4.2
SEL ECT ED CA S E ST U DI ES
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CAS E ST UD I E S
5.1
C HUR CH W I T HO U T R ELI GI O N | F I NCA C AN AL E T, COLOM B I A | 2 0 0 9
5.2
ZER I PAV I LI O N | WO R LD EX PO HA NNOV E R , G E R M AN Y | 2 0 0 0
5.3
TOL HU I ST U I N BA M BO O PO DI U M | A M STE R DAM , N E TH E R L AN D S | 2 0 1 0
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TAXO N O MY
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PHYSI CA L E XPLO RAT I O N S
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OUT LO O K
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BIBL I O G RA PH Y
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ABSTRACT
ABSTRACT
Architecture is invariably as much about structure and construction as it is about space and abstract form.
- Kenneth Frampton
This thesis seeks to explore the spatial and geometric potential of bamboo as a building material, more specifically, the architecture of Colombian architect Simón Vélez. The research will from line drawings by the architect to threedimensional space. The operations derived from this study of will then be applied to the design process in the following semester, as a reinvention of Vélez’s valuable techniques in bamboo construction. From a collection of largely undocumented rural
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focus on the poetic dimension of the translation
works by Vélez, the research will seek to document and analyse selected key projects in depth, studying how the architect generated specific spatial effects through the geometric anatomization of his construction drawings. Basic geometric operations derived from the study are then applied to experimental models, which seek to define a new taxanomy for line, plane, and space. At each scale, the analysis is broken down into individual operations derived from research and experimental analysis.
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INTRODUCTION
MOTIVATION METHODOLOGY
M OT I V AT I O N
The Architect Simón Vélez’s work with bamboo rose from
‘Natural materials give you scale, because they
necessity. As he worked predominantly in rural
have big limitations, so when you work with these
areas, the high costs of importing standard
limitations, you start doing interesting things’.
building materials like brick and mortar was a significant challenge, which led him to make use
It is in the architect’s belief that the poetic can
of the abundant local resource - bamboo.
arise from constraints, unlike in modern materials like concrete or steel, where the human scale is lost when the material has no limits. The work of
Vélez works with giant Guadua bamboo native
Vélez thus embraces the idea of new vernacular
to Colombia. While there are copuis advantages
architecture, ‘taking traditional cultures and
to bamboo as ‘vegetable steel’, bamboo remains
materials found in art of building and enhancing
stigmatised as ‘wood of the poor’ in Colombia.
them with competence and creativity of trained professionals’. Such imprecision and rawness
Bamboo is often overlooked as a contemporary
of each bamboo precisely creates elegance and
building material, in spite of its beauty, strength
beauty in the works of Vélez, while continuously
and abundance. In traditional construction
advancing fabrication methods through new
methods, bamboo is connected with natural
construction techniques and a hybrid of
fibers that erode overtime, due to the humid
materials.
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A traditionally trained rural architect in Manizales,
climate. This highlights the importance of Vélez’s technical discoveries in pioneering new ways
Through his innovative works, Vélez has brought
of using the giant bamboo at an architectural
attention to the potential of bamboo, and altered
scale. The design of new connection joinery for
the perception of Colombian people. Bamboo
bamboo allows it to achieve the same durability
is changing perceptions of past, to become a
as concrete and steel. A simple but effective
building material of the future. There is a need
solution, this invention has created the ability
for more ‘vegetarian architecture’ and sustainable
to design bamboo structures with long spans,
building, especially in the use of bamboo, from
characteristic of Vélez’s works.
which there are rich layers of geometric and construction knowledge embedded in Vélez’s
The choice of working with bamboo is also driven
works to be uncovered and transformed into new
by the design philosophy of the architect.
possibilities for wider application.
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INTRODUCTION
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Lines derived from the sketches of Simón Vélez
M OT I V AT I O N
Importance of Geometry ‘Our hands are organs for thinking’
In today's world dominated by modernist
architecture, the need for nature to rejuvenate
- Martin heidegger
architecture has become so important. The works Architectural drawings consist of different lines -
of Vélez are thus relevant in seeking to preserve
each embedded with meaning and significance.
an experimental approach towards architecture
The importance of drawings is even more
through practical, yet intriguing drawings. The
apparent in Vélez’s architecture as his works
architect's use of abstract lines, shapes and
are formulated, elaborated, represented and
color as a way of representation gives freedom
communicated by free hand drawing.
to the interpretation and generation of geometry
In the age of technology and digital architecture,
constraints of existing construction systems and
the contemporary architecture scene has
materials, the reinvention of Vélez’s works seeks
experienced a change in treatment of material
to reestablish relationships between the exterior
design and construction methods. The traditional
and interior, and recover spaces that respond to
focus of indigeneous or vernacular architecture
the environment.
on the construction process and experimentation has shifted towards an emphasis on technical drawings and designing to perfection, enabled by
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with the material. While working within the
digitalisation. Amidst growing demands for buildings to be constructed rapidly at a low cost, uniform interiors and monotonous spaces that no longer engage their users are produced. Under Mies van der Rohe’s mandate that ‘Less is more’, modernists design dull, uninteresting spaces with a uniform grid.
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INTRODUCTION
Geometry and Material These series of studies began with an interest in
generate design operations through physical
bamboo and geometry - defined by structural
explorations, and eventually digitalisation. The
geometry and construction joinery. The benefits
design outcome can perhaps challenge the
of bamboo as a renewable material is manifold,
standard approach of digital design in today’s
but the material is not widely applied, as more
world with a renewed approach towards bamboo
reliable industrial materials such as steel and
in contemporary architecture.
concrete are preferred. The limited availability and neccessity for skilled craftsmanship is also
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a limitation in the application of bamboo to architecture. Nonetheless, the inherently unique physical and mechanical properties of bamboo, such as its hollowness and ability to bend creates limitless potential to generate elegant and poetic structures. The philosophy of designing to construct and constructing to design underlies Vélez’s raw manner of designing and constructing with bamboo, which is quintessential in working with bamboo as a material that requires mastery of the craft. The continuous transformation of the project between conception and construction imbues Vélez’s works with unique structural and spatial qualities. The two dimensional research and analysis of Vélez’s drawings thus seeks to understand the relationship between geometric operations and spatial effects of bamboo structures, from which this foundational language can be further
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explored to produce a taxonomy of systems and
METHODOLOGY
Methodology Bambusa Guadua
The methodology of research begins with
physical parts
background research on bamboo as a building
physical properties
material, specifically Guadua bamboo, and the techniques of Simón Vélez in drawing and
Techniques
drawing techniques
construction techniques
construction. A catalogue of local and international works by the architect is generated, from which case studies are selected for in depth analysis of
catalogue of projects
drawing and construction in his works. This
selected projects
section also has archival value in the recovery of his works, as the majority of them are not well
Case Studies
documented.
case study 1
case study 2
Based on the analysis of the case studies,
case study 3
important aspects of his work with potential in opening up design opportunities are selected.
Taxonomy
The taxonomy develops a language at different
line
scales - line, plane, and space, which examine
plane
constructional and spatial potentials.
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Catalogue
space The taxnomy is then applied to a series of Physical Explorations
physical explorations, as an abstraction of Vélez’s
techniques, to seek to compose a new set of vocabulary for geometry in bamboo architecture.
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BAMUBSA GUADUA
PHYSICAL ANATOMY PHYSICAL PROPERTIES
Bamboo in Architecture Bamboo as a traditional material is culturally and socially emebdded in rural communities, but has been popularised in contemporary architecture in recent years. Characterised by strong structural properties, hollowness, flexibility and visual warmth, the material is suitable for a wide range of applications. In taxonomic terms, bamboos belong to the and are further divided into - the herbaceous bamboos or Olyreae, and woody bamboos or Bambuseae. Bamboos have a wide geographical range due to their high adaptability. The Asian Pacific region has the most extensive area and advanced use of bamboo, where bamboo is seen as a cultural symbol that embodies traditional values. Conversely, in African region and Central
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Gramineae family, and Bambusoideae subfamily,
America, bamboo is seen as poor man’s wood, and is largely limited to low skilled craftswork in rural communities. Bamboo is a versatile construction material that can be processed into various forms such as poles, splits, strips, planks and composites. In architecture, bamboo can be used to construct various structural elements in a building, such as the floor, wall and roof. The study of physical parts and physical properties of Guadua bamboo in the next section helps to understand the unique qualities and limitations of this species.`
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BAMBUSA GUADUA
5
30 m
20m 5
4 3 2
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Comparison of Moso (left) and Guadua bamboo (right)
1
4 3 2
1
P H Y S I C A L A N ATO M Y
Physical Parts The diagram draws comparison between Phyllostachys edulis bamboo that is the most common temperate bamboo and most widely recognised, and Guadua angustifolia bamboo. 1 Rhizome
4 Culm The jointed stem of the bamboo is called
Moso bamboos are monopodial bamboos
a culm. Unlike the diameter of tree trunks
(running root) that grow horizontally
that widen with age, bamboo culms
over long distances. Guadua bamboos
remain the same as the diameter of the
are sympodial bamboos (clumping root)
new shoot. The thickness of the culm
that develop in a circular pattern and
depends on the bamboo species.
effectively prevents soil erosion.
2 Cane
5 Leaves
The hard silicate layer on bamboo skin
Bamboos shed their leaves anually. The
gives it resistance to chemical and
leaves are high in silica and become
mechanical exposure, making it a suitable
fertilisers that promote bamboo grove
building material. Smaller bamboo
when they fall on the forest floor.
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The roots of bamboo are called rhizomes.
species have 15-20 segments and up to 18cm in diameter, while larger species like Guadua have up to 55 segments and up to 25cm in diameter
3 Node
6 Microscopic As bamboos are grasses and have no
spaced further apart at 30cm intervals,
bark, vascular bundles found in the
as compared to 24cm in Moso bamboo.
cross section of a bamboo are used to
These are the strongest part of the cane
transfer water and nutrients. Denser
and affect how the bamboo is cut or
bundles near the outer skin makes the
prepared.
bamboo stronger.
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The nodes in Guadua bamboo are
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BAMBUSA GUADUA
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SHOOT
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RHIZOME
SEED
GROWTH
FLOWER
Growth cycle of bamboo
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BRANCHING
M AT U R E
PHYSICAL PROPERTIES
Physical Properties The diagram shows the growth cycle of Guadua angustifolia. 1
Rapid growth
4
Quality of fiber The same cross section of bamboo can
about a third the growth cycle of a tree,
withstand higher tensile strength than
and higher productivity. Guadua can also
steel. The vascular bundles in bamboo
be utilised after maturity in 4-5 years, and
prevent the failure of a single fibre from
can grow 15-20m in 6 months, making it
fracturing the entire cane. The strong
an effective alternative to wood.
natural fibers of Guadua also makes it one of the best bamboo species.
2
Growth cycle
6
Environmental advantages
The seed of the bamboo germinates in
Guadua prevents erosion of the soil and
to a shoot that sprouts from the soil,
regulates the flow of rivers. The Guadua
containing the nodes, segments, and
groves also provide an ecosystem for
diaphragms that are present in the mature
biodiversity and regulate the amount
cane. Bamboo grows in height with the
of carbon dioxide in the air during their
lengthening of its segments. The bamboos
life cycle as a plant, and thereafter as a
are ready to harvest once they have
sustainable and renewable material.
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Bamboos in general have rapid growth,
stronger lignified canes and are mature.
3 Flowering Guadua experiences sporadic flowering at irregular intervals, where the plant does not die unlike other species that die after flowering. This makes the species more sustainable overtime, as it does not require renewal.
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TECHNIQUES
DRAWING TECHNIQUES CONSTRUCTION TECHNIQUES
TECHNIQUES
Drawing Techniques
Construction Techniques
The architecture of Simon Vélez is formulated,
The research of German architect Gernot Minke is
represented and communicated on sketchbooks,
dedicated to the study of non-industrial modes
even the most complex projects are elaborated
of construction, such as bamboo, as traditional
exclusively by freehand drawing. These geometric
joineries do not optimise the potential of
drawings have a consistent language, through
bamboo properties. Vélez’s technical discoveries
the use of colors and elements like lines and
seek to find an effective and elegant solution,
bundling sections to understand spatial and
through the reinvention of joinery with modern
structural parameters. Sketches of constructional
technologies and the introduction of hybrid
detail such as the module, footing, joinery or
materials, such as steel and concrete.
consistent color code is simple to understand
As aforementioned, these technical discoveries
and digest, but is a powerful communication tool
are important tools for construction, as they
with his team of builders and those learning from
overcome existing structural limitations of
his works.
bamboo, such as the limitation of roof spans. The refined and modular manner in which
Geometrically, the principle of ruled surface
Vélez designs allows his techniques to be easily
by Antonio Gaudi underlies the design of the
replicated and transferred, expanding the
architect, generating clean geometry lines from
freedom and possibilities of bamboo structures
a grid. The work of Vélez is also strongly based
and geometry.
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truss are also conveyed in his drawings. The
on symmetry and balance, similar to Palladian architecture. While Vélez uses a regular grid as a guide for structure and scale, he attempts to introduce complexity and rhythm to his geometry through layering different perspectives in plan, section and 3D module in his design. The simplicity and rawness of Vélez ‘s drawings thus contain multiple layers of depth in its overlays of information.
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TECHNIQUES
Drawing Techniques 1
Drawing of bundle
3
Drawing of floor
The diagram of the bundle represents the
The drawing of the geometric floor plan
cross section of the bamboo bundle. Each
is also designed based on a regular grid,
circle represents a single bamboo, which
corresponding to the sectional drawing.
are arranged in different configurations
This drawing serves as an organisational
according to the design and different
tool for the agglomeration of sectional
bundle sizes according to the structural
modules.
requirement.
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The plan as a design tool can be adapted The bundle as a design tool can be
to various polygonal geometries and
applied to various segments of the
agglomeration methods such as linear
bamboo bundle, apart from the start of
and radial to generate different spatial
the bundle. This potentially increases the
effects with the same bundling module.
geometric complexity of spaces.
2
Drawing of module
4 Colors
The sectional drawing is a module that
Distinct primary colors (red, green, and
can be further dissected into smaller
blue) are consistently used represent
module that are reflected along at the
the primary, secondary and tertiary
central axis. The grid serves a guide
structures across all drawing. The
for dimension and scale for structural
innovative approach allows Vélez to
precision as Vélez designs with
design independent of three dimensional
construction in mind. Each module is
modelling tools, while producing spaces
color coded with primary, secondary
that are easily inferred from the drawings.
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and tertiary structures that correspond to the bundle section. This introduces
This systematic use of colors can be
an additional dimension to the two
applied to any design in bamboo
dimensional drawings of Vélez, generating
structures, increasing the ease of
three dimensional spatial effects when
designing reasonable structures for
read together.
construction.
DRAWING TECHNIQUES
Church of No Religion 2002 Elevation and bundling section
2
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1
3
Arles Contemplation Pavilion 2018 Elevation and plan
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TECHNIQUES
Construction Techniques 1
Bundling detail Traditional vernacular methods utilises natural fibers to bind multiple bamboos together. The reinvention of bundling with iron clamps or straps improves the stability and durability of the detail, as the standardised joinery can be mass produced and is resistant to weathering.
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2
Intersecting joinery Traditionally, the joinery bewteen bamboo and bamboo can be done by cutting the intersecting end of the bamboo to fit them together, and lashing to fasten. VĂŠlez invented the fish mouth joint to improve the tensile strength and constrain movement of the joint, by filling the bamboo chamber with concrete, then casting threaded rods that bind both bamboos together.
3
Footing detail The traditional footing detail punctures the hollow bamboo, and inserts a threaded rod and bamboo nail perpendicularly for the end to be casted in concrete. VĂŠlez similarly uses concrete to cast the perpendicular threaded rods in the chamber, and seals off the chamber with an iron bracket or plastic bottle and nut to stabilise the joinery, as it can easily
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shift when the bamboo is cast at an angle in the concrete footing.
CONSTRUCTION TECHNIQUES
1 12cm diameter bamboo Bamboo nail Threaded rod
old 12cm diameter bamboo Bamboo nail Threaded rod
2 12cm diameter bamboo Mortar/ concrete
Clamp Threaded rod
new
Threaded rod Iron foot
12cm diameter bamboo
Iron bracket
Mortar/ concrete
Nut Washer
Clamp Thread
Threaded rod
Microregulation nut
Nut
Iron foot Iron bracket
Washe
Microregulation nut
4
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1
2
old
Threaded rod Mortar/ concrete Threaded rod
new
Access hole to attach nut
Mortar/ concrete
Access hole to attach nut
Only drawing provided for the construction of Church without Religion
4 12cm diameter bamboo Bamboo nail
old
Threaded rod
12cm diameter bamboo Mortar/ concrete
new
Threaded rod Iron foot Iron bracket â–ś
Microregulation nut
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Diagram of traditional vernacular technique vs new technique
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CATALOGUE
C ATA LO G U E O F P R OJ E CTS SELECTED CASE STUDIES
C ATA LO G U E O F P R OJ E C TS
Catalogue of Projects The majority of Vélez’s projects are found in Colombia, where guadua is abundant. The pavilion is the most common structural typology and scale designed by the architect. The map of projects in Colombia is not exhaustive, as there are numerable informal works of the architect that remain undocumented. The map of projects in the World is a more comprehensive coverage of projects that have been internationally
The method of design in which Vélez designs is translatable and scaleable, identifying distinct characteristics of the colonial pitched roof and truss system across local and international projects.
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recognised.
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JAMAICA
Map of projects in the World CHINA
MEXICO
BRAZIL
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NETHERLANDS
GERMANY
FRANCE
C ATA LO G U E
B O G OTA
C A RTAG E N A
QUINDIO
C ATA LO G U E O F P R OJ E C TS
CUDINAMARCA
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Map of projects in Colombia â–¶
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C ATA LO G U E
RESIDENTIAL
CLUB PUERTO
P E A S A N T FA R M E R HOUSE
HACIENDA HOUSE
HOUSE ANAPOIMA
SOCIAL HOUSING PROTOTYPE
C U LT U R A L
T E AT R O L I B R E
A R L E S PA V I L I O N
NOMADIC MUSEUM
TOLHUISTUIN PODIUM
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STRUCTURE
STAG E I S L A N D VILLAGE
H O S P I TA L I TY
HOTEL DO FRADE R E STAU R A N T
PA R Q U E D E L C A F E LOOKOUT TOWER
CERAMICS STUDIO
INFRASTRUCTURE
C R O SS W AT E RS ECOLODGE
RELIGIOUS
CHURCH WITHOUT RELIGION
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CO F F E E PA R K LOOKOUT TOWER
E D U C AT I O N A L
P L A N TA M O S GREENHOUSE
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SOCIAL HOUSING PROTOTYPE
HOUSE ANAPOIMA
JENNY GARZON
BARCELONA SCHOOL
Z E R I PA V I L I O N
FINCA CANALETE H O RS E STA B L E
SELECTED CASE STUDIES
Selected Case Studies Based on the program, structural type and scale, a series of projects are selected for in depth analysis. These projects are also embody distinct architectural elements of the pitched roof and truss system that characterise Velez’s works The first case study on the Tolhuistuin bamboo podium is a representation of more simplistic, informal pavilions that Velez predominantly was a significant milestone in Velez’s works as guadua was internationally certified as a construction material at the Hannover EXPO in 2000, and involves a diverse use of materials and techniques. The Church without Religion is a departure from the dome typology in the former two case studies, and uses curved bamboo elements that are not typical of Velez’s works.
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constructs. At a larger scale, the Zeri pavilion
Through the use of geometric drawings and digital modelling as tools, the selected projects are analysed in a systematic structure: project background; tectonic | anatomy; tectonic | detail; geometry and interpretation. A taxonomy is generated based on geometric and construction techniques extracted from the works of the architect. This taxonomy is applied in a series of experimental physical modelling as a foundation to explore and expand the geometric and constructional vocabulary of the architect.
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CASE STUDIES
I IGELSIA SIN RELIGION
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CASE STUDIES
1
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2
3
4
5
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1 2 3 4 5
Roof bricks Ruled beams Longtitude beams Truss modules Facade
IGELSIA SIN RELIGION
Project background A temporary cathedral was first constructed in 1999 within five weeks and at a low cost, after the original cathedral was destroyed in an earthquake in Pereria, Colombia. The popularity of the cathedral urged Vélez to rebuild a replica as a permanent structure on an island in Finca Canalet, Colombia, but without religious affliation and renamed Church without Religion.
experience obtained in the use of curved guaduas. Aside from retaining characteristic naves of a Gothic church, the design was inspired by natural vaults formed by guadua groves that border the streams of the region. Through this design, Vélez was able to propose a radical, tropical reinterpretation of Gothic
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The construction technique built on the
architecture, while making it universal and liberal using a single natural material.
finca canalet, colombia program | cathedral completed | 2009 area | 700 m 2 dimension | 30 x 20 x 10 m
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Vincinity map
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CASE STUDIES
1 FO UN DAT I O N
2 MOD U L E | T RUSS SYST EM
The concrete foundation serves as a base for concrete footing and structure
The truss modules are pre fabricated and lifted to be cast in concrete footing
3 F RA ME WO RK | BAMB OO
4 ROOF | RU L ED B EA MS
Longitude beams are added to connect the individual modules
Ruled beams are added to the top of the truss structures
5 R O O F | BRI C K
6 FACA D E
Waterproofing layer and brick tiles are overlapped on the roof
Bamboo mesh, grid of bamboo poles and PVC fabric is used as an opqaue screen
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Tectonic | Anatomy The Church without Religion is built on a simple raised foundation to act as a water resistant barrier between the ground and bamboo structure. Each bamboo module is pre fabricated with the primary, secondary, tertiary structures and truss system, then lifted on to small concrete mounds that are cast on the foundation. These modules are tessellated and connected in a linear fashion. While the modules are installed, modules to construct the roof. Upon completion of the bamboo structure, a water proofing layer and overlapping brick tiles are added to the roof. The facade of the temporary cathedral, using pvc fabric as an opaque screen, is replaced with bamboo mesh to improve porosity in the permanent church.
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Anatomy
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the ruled beams are concurrently lifted onto the
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CASE STUDIES
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D3
D2
D1
M2
M1
M2
R1 R2
R1 R2
R1 R2
R1 R2
M1
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Sectional bamboo module
Bamboo bundle
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Tectonic | Module and Detail Each sectional module is symmetrical. On either side of the median axis, two semi structures each cover a side aisle and half of the central nave, and are independent structures that are perfectly 12cm diameter bamboo
stable in themselves.
Mortar/ concrete D1
Threaded rod Iron foot
Each module can be broken down into the
Iron bracket
arch, arch supports and buttresses. The smaller
Microregulation nut
individual module M1 has a bundle of six bamboo the roof. Two pairs of curved bamboo R1 and R2 bend to either side to form the nave, and a pair
Bamboo truss D2 Bamboo nails
of straight bamboo extends directly to the roof. The horizontal trusses and buttresses connect between the sets of curved bamboo to reinforce the structure and curvature. The larger module M2 has longer bamboo and more trusses at the same interval to support the larger scale.
Threaded rod D3
Mortar/ concrete
Access hole to attach nut
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poles that sprout from the ground to support
The connection details are a hybrid of materials consisting of bamboo, steel and concrete. Unlike traditional bamboo construction, VĂŠlez uses concrete infills to cast threaded rods in the bamboo to stengthen connection points and pin bamboo together, as seen in D1 and D3. Bamboo nails are used for bamboo to
Construction detail Footing Bamboo to bamboo Bamboo to roof
bamboo connections for a clean finish and where connections are less crucial, as seen in D2.
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CASE STUDIES
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4.0m
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Geometric drawings of section and floorplan
8.0m
4.0m
IGELSIA SIN RELIGION
Geometry and Interpretation In section, the hierarchy of spaces is similar to traditional Gothic cathedrals with characteristic naves. While Gothic architectural elements are typically heavy, the minimal and elegant use of a single bamboo pole for structural elements through the systematic arrangement of arches, horizontal and vertical elements, creates lightness and porosity in the structure. The sprouting bundle of bamboo that originates from the roof, creating harmony between the vertical and horizontal structure. The large voids shaped by the naves also create deceptive lightness of the roof and appears to be sectionally devoid of structure. In plan, the three-dimensional sectional modules are tessellated in a linear fashion.
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a point spreads out into a surface to generate
While the rectilinear plan expresses simplicity and linearity, it translates to curvature and complex spaces in the cathedral, expressed through the sectional drawing.
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CASE STUDIES
II Z E R I PAV I L I O N
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CASE STUDIES
1
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2
3
4
5
1 Hybrid roof 2 Radial beams
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3 Polygonal beams 4 Guadua root truss 5 Truss system
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6 Radial modules
Z E R I PAV I L I O N
Project background The Zeri pavilion in the Expo-Hannover 2000 in Germany was a demonstration of new vision towards a sustainable and lasting development, and the first time guadua was internationally certified as a construction material. The pavilion represented conclusively the theme of the EXPO ‘Nature, humanity and technology’. A pavilion was first constructed in Manizales for and physical properties of guadua, afterwhich the actual pavilion was duplicated in Germany for the international EXPO. The construction of the pavilion fully utilised locally sourced materials for various parts of the structure. Only concrete for the gallery floor and steel for linkage are imported industrial products.
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physcial stress tests to determine the mechanical
Overall, the pavilion had little environmental impact.
hannover, germany program | pavilion completed | 2000 area | 1650 m 2 dimension | diameter 40 m overhang >7m
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Vincinity map
43
THE POETICS OF CONSTRUCTION
CASE STUDIES
1 F O UNDATI O N
2 M O DULE | A L ISO & G U A DU A
Ra d i a l l a ye rs of concret e fo ot ing cast
Aliso wo o d is bun dled an d used in main
w t ih re cycle d bot t l e s
co lumn s an d guadua in in terio r co lumn s
3 F R A M E W O R K | A R B O LO CO & CO N CR E TE
4 TR U S S | G U A DU A R O OT
A r bol oco wo od a s be a m s , chu s quea
S o lid guadua ro o ts are used to tran sfer
ba m bo o a nd chi cke n w ire wove n in
vertical lo ad an d sup p o rted by bo n go si
d ou be flo or ing , concret e a s fou ndatio n
44
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in m ezza nine
5 R O O F | R A DI A L B E A M S
6 R O O F | M E TA L
Ra d i a ll y a r ra ng e d be a m s for m
E xp an ded metal to sup p o rt fiber an d
fou nd a t i on for ro of
cemen t in ro of
Z E R I PAV I L I O N
Tectonic | Anatomy The pavilion is constructed on a ten sided polygonal concrete foundation as a water resistant base. Each segmental module of the pavilion is constructed first, then lifted and cast in the radial layers of concrete footing that are moulded with recycled plastic bottles. The columns in each module are inclined to provide added support.
structural materials for the roof, overhang and pillars, according to the diameter and physical properties needed for each component. Arboloco wood is then used as beams for the gallery joist work, and concrete as foundation for the mezzanine, with chusque bamboo and chicken wire as finish for the mezzanine floor.
THE POETICS OF CONSTRUCTION
Aliso wood and guauda bamboo are main
Radial beams for the roof and layers of finishing material are added, including expanded metal, fiber and cement, and roofing felt, to construct a strong and stable roof with considerable weight. Summary of key materials: structure, roof and overhang: guadua bamboo; pillars: aliso wood; gallery joist work: arboloco wood; connection: chusque
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45
THE POETICS OF CONSTRUCTION
CASE STUDIES
D3
D1
D2 D4
D5
46
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Segmental bamboo module
Z E R I PAV I L I O N
Mortar/ concrete
D1
Guadua root
Tectonic | Module and Detail
Bongosi support
Each segmental module consists of three frames and forms one edge of the ten-sided polygon. Aliso column
Within each frame, aliso columns with larger diameter are used as exterior columns, whereas
Bongosi support
guadua columns are used as interior columns.
Iron
The interior and exterior columns begin with four
Threaded rod
aliso and six guadua respectively, but terminate
D2
above the mezzanine and are continued with smaller bundles of bamboo that support the roof.
D3
Aliso column
the intersection between the pillars and roof
Recycled bottle cast concrete Threaded rod and nuts
structure.
Iron
Between each frame, horizontal elements are added to connect the frames and form the edges of the polygon. Guadua root trusses are also added between exterior columns to transfer weight from the horizontal elements to the D4
Manual bent metallic strap Threaded rod
THE POETICS OF CONSTRUCTION
The truss support for the roof also splays from
ground. The structure for the mezzanine is built as segments that approximate the edge of the polygon. A concrete surface is constructed on the mezzanine to create space. The construction details of the pavilion are
D4
Aliso column
rich in the selection of materials. Guadua root
Recycled bottle cast concrete Threaded rod
arcs are used as trusses; bongos as connection
Mortar/ concrete
for guadua root to aliso columns; cast iron as connection for bamboo to aliso columns; metallic strap for bundling; cast concrete moulded from bottles as footing.
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Construction detail Guadua truss Guadua truss to aliso Bamboo to aliso Bundling Footing
CASE STUDIES
THE POETICS OF CONSTRUCTION
7.0m
48
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Geometric drawings of section and floorplan
26.0m
7.0m
Z E R I PAV I L I O N
Geometry and Interpretation In section, the void in the central space appears to be spacious, but is bound by a hierarchy of spaces - the interior columns, mezzanine, exterior columns and cantilvering roof, that create enclosure instead of openness. The structural density of columns at the second level is also twice that of the first level, reducing opacity and increasing the rhythm of structure. As the columns slant to improve structural stability, it the splaying trusses for the roof structure creates visual divergence. In plan, the ten-sided polygon inscribed in a circle, creating an experience of deceptive curvature and movement. As the polygon is equal on all sides, there is no hierarchy of entrance or exit, but maintains openness on all fronts. The
THE POETICS OF CONSTRUCTION
craetes a physical convergence of space, while
radial organisation of modules also generates the regularity of spaces from an interior perspective, but this rigidity is also modified with unexpected details like the guadua root truss that creates a skirt above the openings to the pavilion. The section and plan drawings of the pavilion communicate to some degree in the corresponding dome typology and orthorgonal elements, but structural complexity is introduced through the partition of spaces and changing section of bundles that vary the quality of space.
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THE POETICS OF CONSTRUCTION â—€
50
CASE STUDIES
III TOLHUISTUIN BAMBOO PODIUM
THE POETICS OF CONSTRUCTION
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51
CASE STUDIES
1
THE POETICS OF CONSTRUCTION
2
3
52
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4
1 2 3 4
Hybrid roof Radial beams Truss system Arc system
TOLHUISTUIN BAMBOO PODIUM
Project background The pavilion was designed as a cultural stage for hospitality and public programming in Tolhuistuin, one of Amsterdam’s liveliest cultural hotspots. A relatively simple project, the scale of the pavilion is smaller in comparison to the Zeri pavilion and Church without Religion. The pavilion accomodates the flexibility of program through a singular open space that yet generates intriguing spaces through the elevation of the pavilion and folding roof that is not typical of bamboo structures.
THE POETICS OF CONSTRUCTION
allows free configuration of furniture or elements,
amsterdam, netherlands program | pavilion completed | 2010 area | 290 m2 dimension | 17 x 17 m
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Vincinity map
53
54
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THE POETICS OF CONSTRUCTION
CASE STUDIES
1 FOUNDATION
2 CONCRETE TRUSS SYSTEM
Concrete arc footings are cast on the foundation to elevate the structure
3D trusses are cast in the arc columns as the primary support for the structure
3 FRAMEWORK | BAMBOO
4 FRAMEWORK | TRUSS SYSTEM
Polygonal bamboo arcs are constructed along the perimeter of the columns
The truss modules are pre fabricated and lifted to be cast in concrete footing
5 FRAMEWORK | DOME
6 ROOF
Addition of dome along interior of arcs to complete the roof
Waterproofing layer and ceramic tiles are used to cover the roof
TOLHUISTUIN BAMBOO PODIUM
Tectonic | Anatomy A concrete foundation is created for the base of the podium, on which arched concrete columns are cast at the four corners to elevate the bamboo structure. Concrete trusses are then cast on top of the arched columns in a splay, as the primary structure for the roof. The main bamboo frame folds at the center of the edges, and is constructed along the perimeter to the podium. The edges of the inner and outer frame are connected with horizontal elements. A more eleborate three dimensional truss system is then added between the horizontal elements to reinforce the folding structure, as well as add structural complexity and depth to the arches. Finally, the central space carved from the folding
THE POETICS OF CONSTRUCTION
of the columns to create four arched entrances
frame is constructed with an orthgonal dome to complete the roof. A water proofing layer and overlapping ceramic tiles complete the finish of the roof.
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THE POETICS OF CONSTRUCTION
CASE STUDIES
56
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Quadrant bamboo module
TOLHUISTUIN BAMBOO PODIUM
Tectonic | Module and Detail Each quadrant module consists of two rails that form the perimeter of the roof. Between these rails, horizontal beams are used to keep the rails apart, and diagonal trusses are reflected along the central axis of the two rails to further reinforce the frame system and detail the interior roof. The intersection points of the frame sits on a arched concrete column. The elevation of the roof frame at two levels - the concrete column and bamboo columns creates deceptive lightness and porosity of the structure. When all quadrants are assembled, the edge of the roof forms a pitch that continues the arched language of the concrete columns.
THE POETICS OF CONSTRUCTION
splay of bamboo columns, which are cast in an
Diagonal beams are then built between the inner rails and a square frame at the top, to create a domed central space and opening for skylight. The final structure resembles a folded origami roof with the facets of each module.
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THE POETICS OF CONSTRUCTION
CASE STUDIES
58
â—€
Geometric drawings of section and floorplan
TOLHUISTUIN BAMBOO PODIUM
Geometry and Interpretation In section, the main structure of the podium is a hybrid of concrete and bamboo, where tall arched columns dominate the structure, and depart from conventional concrete footings that are small and concealed. The elevation of the roof thus creates lightness and the impression of a floating structure. The use of straight bamboo elements to create extension of the arc from the concrete columms also creates deceptive
In plan, the symmetry and regularity is disrupted by the controlled sprouting of the truss system in section. The truss system that connects midpoint to endpoint of the horizontal elements also creates visual movement along the edges of the folded structure.
THE POETICS OF CONSTRUCTION
curvature and a vaulted space.
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THE POETICS OF CONSTRUCTION â—€
60
TAXONOMY
SYSTEM & OPERATIONS GEOMETRIC AND STRUCTURAL EXPLORATIONS
SYSTEMS
Based on the analysis of the case studies, a taxanomy of systems are derived between lines, between modules, and between systems. Line refers to joinery between bamboo elements. The operations that are employed in Vélez’s works include bundling, termination and intersection. Plane refers to the geometric floorplan that organises bamboo modules. The agglomeration radial and offset. Space refers to the phenomenology of the space. Phenomenology is the belief in the primacy of sensory and experiential qualities in architecture, inspired by the philosphy of Martin Heidegger, to use architectural means to create specific architectural atmospheres. This system composes
THE POETICS OF CONSTRUCTION
of bamboo modules can be abstracted as linear,
the space from an atmospheric approach, as compared to the former systems that are constructional tools for bamboo structures. The spatial effects derived from Vélez’s works are classified as lightness/ heaviness, light/ shadow, movement, and interior/ exterior. Based on this taxonomy, experimental models are designed in the next chapter to derive a set of geometric and structural explorations.
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61
Line
TAXONOMY
Bundling
x1
x2
x3
t1
t2
t3
i1
i2
i3
Terminate
Plane
THE POETICS OF CONSTRUCTION
Intersect
Linear
l
Radial
r
Offset
62
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o
Space
SYSTEMS
Lightness/ heaviness
Movement
The weight of the structure is an intrinsic
Movement is about the composure of spaces
characteristic of tectonics and materiality.
that guides and stimulates the user of the space.
Impressions of of heaviness and lightness are
While the quality of movement is absent in most
connected with the expression of the material
bamboo architecture, it is crucial in generating
through density, contact points, voids and
dynamic spaces within the singularity and rigidity
bundling. These factors make the structure
of bamboo structures. Movement will be explored
appear heavier or lighter than it actually is.
through the study of arc/straight elements, symmetry/ asymmetry and balance.
Interior/ exterior
Sculpting the experience of light is an important
Tension between the inside and outside is
element in bamboo architecture. Light is a
eminent in the works of Vélez, characterised by
central element in Louis Kahn’s philosophy as a
a central space and large cantilevering roofs
‘giver of all presence’, and the ‘mysteriousness’ of
that generate a hierarchy of spaces between
shadow as a natural part of light evokes silence
the interior and exterior. The interior/ exterior is
and awe. Kahn’s methodology in the use of
one of the nine elements that are important to
shadow as a form giver for silent spaces draws
the creation of atmosphere in Peter Zumthor’s
similarities to the pure, natural atmosphere
works. The manner in which transition between
in bamboo architecture, which provies a
private and public spheres takes place alters
counterpoint to today’s architecture that strives
the experience of the user from the interior
for dynamic and bright icons. The quality
and exterior. The relationship between interior/
of light and shadow is understood through
exterior will be explored through the hierarchy
porosity, intersection of elements, and geometric
of spaces, openness/ enclosure, proportion and
configurations in the works of Vélez.
scale and forced perspective.
THE POETICS OF CONSTRUCTION
Light/shadow
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63
Between systems
TAXONOMY
Effect
Lightness/ heaviness
Technique
I
II
III
I
II
III
Density
THE POETICS OF CONSTRUCTION
Contact points
Void
Bundling
Light/ shadow
Porosity
Intersection
64
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Linear/ radial
Effect
Technique
Linear/ radial
SYSTEMS
Effect
Technique
Movement
Arc/ straight
I
II
III
Symmetry/ asymmetry
Balance
Hierarchy Cantilever Openness/ enclosure
A
B
C
B
A
A
B
A
A
B
C
B
A
THE POETICS OF CONSTRUCTION
Interior/ exterior
Proportion
Forced perspective
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65
TAXONOMY
THE POETICS OF CONSTRUCTION
LIGHTNESS/ HEAVINESS
I Effect
II Technique
III
I
II
III
Heavy bamboo columns are cast in light and
htness/ heaviness
Density
small concrete mounds, creating the impression that it floats above the floor with checkered tiling of a finer resolution. The upper part of the church appears lighter as the bundles of
Contact points
bamboo and density spread out towards the top. Aside from carving out usable spaces for the church, the central and side naves only touch the roof and floor at three points, creating
Void
large structural voids and visual lightness of the structure, as represented by the poche.
66
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Bundling
Light/ shadow
Porosity
L I G H T/ S H A D O W
I Effect
Lightness/ heaviness
II Technique
S PAC E
III
I
II
III
Density
Contact points THE POETICS OF CONSTRUCTION
Void
Bundling
While the naves of the church are reminiscent Light/ shadow
Porosity
of Gothic architecture, the silhouette of the church was drawn from the natural bending and leaning of bamboos in bamboo forests. The porosity of the building is largely derived from the materiality of weaved mesh as walls
Intersection
of the building, as the roof does not create any skylight. Between towering bamboo columns, horizontal trusses cast shadows that are akin to the Japanese concept of komorebi - light filtering through the leaves of trees. This
Linear/ radial
immersive experience is further accentuated by the linear depth of space.
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67
Bundling TAXONOMY
MOVEMENT
Porosity
Light/ shadow
Intersection
THE POETICS OF CONSTRUCTION
Linear/ radial
I Effect
Technique II
Movement
Arc/ straight
III
I
II
III
The church is one of the few projects in which Velez uses curved bamboo. Bamboos are naturally found to be curved to varying degrees, the use of curved bamboo in this project generates more fluidity in the visual movement
Symmetry/ asymmetry
of the structure, as compared the rigidity of straight bamboo elements. The covergence of bamboo columns towards the tip of the nave and symmetry of each nave creates a singular
Balance
space that draws its visitors to views at both ends of the building. The regular rhythm of columns further contributes to the singularity of space under each nave. Hierarchy
B
C
B
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Interior/ exterior A
A
Cantilever B
A
Openness/ enclosure
A
B
CA
B
BA
C
B
A
A
B
A
A
B
C
B
A
Linear/ radial INTERIOR/ EXTERIOR
Effect I
Technique II
Movement
Arc/ straight
S PAC E
I
III
II
III
THE POETICS OF CONSTRUCTION
Symmetry/ asymmetry
Balance
Interior/ exterior
The central nave serves as the main gathering
Hierarchy
space in the church, whereas the side aisles and
Cantilever A
B
C
B
A
A
B
A
A
BA
C B
B
A
C
B
A
naves act as transition spaces from the exterior A
B
A
A
B
C
B
A
to the interior. The depth of the linear space Openness/ enclosure
creates immersion, further accentuated by the disproportionate floor to roof height to create an atmosphere of immateriality and sacredness.
Proportion
At both ends of the church, the central nave acts as a large window that frames a view of the exterior and draws the interior towards the outside. As a contrast to traditional churches
Forced perspective
that are heavily focused on the interiority, Velez maintains the relationship of the structure with the surrounding context of the building.
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69
TAXONOMY
THE POETICS OF CONSTRUCTION
LIGHTNESS/ HEAVINESS
Effect Effect
Technique Technique
I
I
II
II
III III
The pavilion uses some of the highest densities
ss/ heaviness htness/ heaviness
Density Density
of bamboo in Velez’s works, due in part to the large span of the roof, and higher specification to meet strict technical standards. Regardless, the mixed use of thicker aliso columns and
Contact Contact points points
thinner bamboo columns, as well as different bundling sections creates varying densities to reduce the visual heaviness of the structure. At ground level, the rhythm of columns are less
VoidVoid
frequent than that at the mezzanine to create openness for entrances and allow the pavilion to
70
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Bundling Bundling
ght/ shadow Light/ shadow
Porosity Porosity
sit lightly on the ground.
L I G H T/ S H A D O W
Effect Effect
Technique Technique
htness/ heaviness Lightness/ heaviness
Density Density
S PAC E
I
I
II II
III III
Contact Contact points points THE POETICS OF CONSTRUCTION
VoidVoid
Bundling Bundling
The radial configuration of the pavilion creates Light/ shadow Light/ shadow
Porosity Porosity
high porosity, allowing natural light to filter through openings from all around the structure. While higher densities of bamboo typically prevent light from entering the interior space, the structure is spaced apart with multiple
Intersection Intersection
intersecting points to generate interesting shadows cast by bamboo at different angles and intensities.
Linear/ Linear/ radial radial
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71
Bundling Bundling TAXONOMY
MOVEMENT
ight/Light/ shadow shadow
Porosity Porosity
Intersection Intersection
THE POETICS OF CONSTRUCTION
Linear/Linear/ radial radial
Effect Effect
Technique Technique
Movement Movement
Arc/ straight Arc/ straight
I
I
II
II
III
III
Straight bamboo elements are predominantly used in the pavilion, with exception to curved guadua root trusses in between columns to soften the rigidity of the pavilion. The polygonal resolution of the dome shaped pavilion also
Symmetry/ Symmetry/ asymmetry asymmetry
creates deceptive curvature of the space, while using straight bamboo elements. The slight asymmetry of each sectional module also introduces diversity of movement to the
Balance Balance
structure.
72
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Hierarchy erior/ exterior Interior/ exterior Hierarchy
Cantilever Cantilever Openness/ Openness/ enclosure enclosure
A
B
A
C B
B C
A
B
A
A
B
A
A
B
A
A
B
C
A
BB
A
C
B
A
Linear/ Linear/ radial radial INTERIOR/ EXTERIOR
Effect Effect
Technique Technique
Movement Movement
straight Arc/Arc/ straight
I
I
II
II
III III
Symmetry/ Symmetry/ asymmetry asymmetry
THE POETICS OF CONSTRUCTION
Interior/ exterior Interior/ exterior
S PAC E
Balance Balance
The interior roof experience is characteristic of
HieraHiera rchyrchy
Cantilever Cantilever Openness/ Openness/ enclosure enclosure
Velez’s works, through the use of long spanning A
BA
B
C
C B
B A
A
A B
BA
A
AC B
B CA
B
A
cantilevers and detailed structural roof patterns.
A
A
B
A series of interior spaces are created under the roof, to transition from the exterior, the space under the cantilevering roof being outermost, space below mezzanine, and central space being
Proportion Proportion
innermost. While the scale pavilion is large, the human scale is introduced through the horizontal and vertical partition of spaces.
Forced Forced perspective perspective
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TAXONOMY
THE POETICS OF CONSTRUCTION
LIGHTNESS/ HEAVINESS
nique Effect
ITechnique
II
I
III
II
III
The elevation of the pavilion from ground using
sity htness/ heaviness
Density
four curved concrete columns at its corners creates lightness. The arc is continued through the lifting of the roof edges, to create an open and airy space within. The massive vaulted
tact nts
Contact points
d
Void
ling
74
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Bundling
sity Light/ shadow
Porosity
structure is also lightened through the use of smaller trusses along the long spanning arcs.
L I G H T/ S H A D O W
echnique Effect
ITechnique
Density
Contact points
Contact points
Void
Void
Bundling
Bundling
Porosity Light/ shadow
tersection
Linear/ radial
II
I
III
II
III
THE POETICS OF CONSTRUCTION
Lightness/ heaviness Density
S PAC E
The tall and wide arcs allow light to enter the Porosity
pavilion from all four sides of the square plan, and skylight from the center of the roof. Small trusses that intersect the primary structure fragment the light, but do not generate detailed shadow patterns as the structure is relatively
Intersection
minimal and condensed.
Linear/ radial
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75
dling
Bundling TAXONOMY
MOVEMENT
osity Light/ shadow
Porosity
ection
Intersection
ique
Linear/ radial THE POETICS OF CONSTRUCTION
ear/ dial
Effect
I Technique
III
II
Arc/ straight
III
bamboo elements are used to approximate the arc and create deceptive curvature of its openings and dome shaped roof. The rising and
etry/ metry
falling arcs that run through the footing and
Symmetry/ asymmetry
roof of the pavilion generate a rhythm along its circumference.
nce
Balance
Hierarchy
76
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chyInterior/ exterior
ess/ ure
I
While the pavilion appears to be arched, straight
aight Movement
ever
II
A
B
C
Cantilever B
A
Openness/ enclosure
A
AB
B A
C
B
A
BA
C
B
A
A
B
A
A
B
C
B
A
Linear/ radial
Linear/ radial
INTERIOR/EXTERIOR
chnique Effect
Technique I
Movement c/ straight
Arc/ straight
mmetry/ ymmetry
Symmetry/ asymmetry
II
III
III
THE POETICS OF CONSTRUCTION
The transition from exterior to interior is direct,
Hierarchy
erarcInterior/ exterior hy
enness/ closure
I
II
Balance
Balance
antilever
S PAC E
with the cantilever of the roof as a shallow
Cantilever A
B
C
B
Openness/ enclosure
A
A A
BB
A
C
B
AA
B
C
B
A
B
A
A
B
C
B
A
buffer into the interior space. Large arched A
openings also reduce enclosure of the interior from exterior space, setting the surrounding landscape as the wallpaper of the pavilion.
oportion
Proportion
Forced spective
Forced perspective
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THE POETICS OF CONSTRUCTION
PHYSICAL EXPLORATIONS
PHYSICAL MODELLING TOOLS
From the taxonomy of systems line, plane and space, the constructional and spatial vocabulary is applied to a series of experimental models. The explorations seek to expand and develop the vocabulary derived from the works of VĂŠlez, through the translation of his methods to physical space. The experimental models were executed at two scales: I
Small modules
between lines, with variation in the number of bundles for each module base. II
Large modules
At higher complexity, these modules explore the organisation of bamboo bundles within a plane, generating variations in the geometric arrangement of bundles on the module base. The agglomeration
THE POETICS OF CONSTRUCTION
These modules explore the basic joinery connections
of the modules then seek to create atmospheric effects in the physical space. The connection methods from exploration I are applied to the bamboo bundles in this exploration. Physical modelling tools Bundling detail (Top) Terminating joinery Intersecting joinery Footing (Bottom)
Physical modelling tools were also developed based on the taxonomy, as a language of expression to sculpture the space.
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P H Y S I C A L E X P LO R AT I O N S
80
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THE POETICS OF CONSTRUCTION
I
Small modules
Bundling
Terminate
Intersect
b1
t1
i1
b2
t2
i2
b3
t3
i3
II
Large modules
MODULES
Linear
Offset
Radial Bundling
Bundling
Terminate
Terminate
Intersect
b1
Terminate Bundling
L1
b1
Bundling
b2
Bundling Terminate
t1
b1
b 13 b
b2
t2
b2
b3
t3
b3
t2
bi 13
b3
t2
L2
Intersect
R1
t1
t3
b2
i2
Bundling
i1
1 t2 b
1 i2 t
i2
t3 b2 i1
i3 t2
Terminate
O1
b1
i3
t2
b3 i2
t3
b2
i3
b1
b 13 b
i1
i2
BundlingBundling
Terminate
b3
Intersect
t1
Terminate Terminate
Intersect
i1
IntersectIntersect
i3
t2
t1
tt 31
i1
ii 31
i2
i2
Intersect
ii 13
t3
R2
O2
i1
tt 13
b1
i2
t2
t1
i2
i1
b2
b2
t2
t2
i2
b2
i3
t3
t2
i3
i2
b3
b3
t3
t3
i3
â–ś
t1
b2
Terminate
i1
Intersect
Bundling
b1
t1
Terminate Intersect
b2
t1
Intersect Terminate
b1
Bundling
THE POETICS OF CONSTRUCTION
Bundling
Intersect
81 i3
P H Y S I C A L E X P LO R AT I O N S
Bundling Bundling
Terminate Terminate
Inte Inte
b1 b1
t1 t1
i i
b2 b2
t2 t2
i i
b3 b3
t3 t3
i i
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THE POETICS OF CONSTRUCTION
Exploration L1
ndling
Bundling
Terminate
Terminate
Intersect
Intersect
b1
LINEAR
t1
i1
Exploration L2
b2 i1
t2
i2
b3
t3
i3
t1
b2
t2
i2
b3
t3
i3
THE POETICS OF CONSTRUCTION
b1
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83
Bundling
Terminate
Intersect
Bundling
Terminate
Intersect
b1
t1
i1
b1 b2
t1 t2
i1 i2
b2 b3
t2 t3
i2 i3
b3
t3
i3
P H Y S I C A L E X P LO R AT I O N S
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THE POETICS OF CONSTRUCTION
Exploration R1
ndling
Terminate
Intersect
RADIAL
Exploration R2
t1
i1
b2
t2
i2
b3
t3
i3
THE POETICS OF CONSTRUCTION
b1
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P H Y S I C A L E X P LO R AT I O N S
Bundling Bundling
Terminate
b1
t1
b2
t2
b3
t3
Terminate
Inter
Intersect
Exploration O1
b1
â—€
THE POETICS OF CONSTRUCTION
b2
86
t1
i
t2
i
t3
i
i1
i2
b3 i3
Bundling
Bundling
Terminate
Terminate
Intersect
b1
t1
Intersect
OFFSET
i1
Exploration O2
b1
b
2
t2
t1
i1
b3
t3
t
i
2
t3
i2
i3
2
i3
THE POETICS OF CONSTRUCTION
b3
b2
â–¶
87
88
â—€
THE POETICS OF CONSTRUCTION
OUTLOOK
Timeline W1
Physical explorations Refining physical model through study
W2
of spatial effects
W3
Digital tools 3D scanning and parametric modelling
W4
as means of digitalising physical studies, to refine system of design and
W5
Documentation Produce final models and drawings for physical explorations and digital tools
W6
Project design and iterations Selection of site and program if it has
W7
not been established
W8
Refinement of design
THE POETICS OF CONSTRUCTION
production
Details of the project W9
W10
Finalisation of design
W11
Production Drawings and models
W12 â–ś
89
W13
BIBLIOGRAPHY
INT RODU CT I O N
Frey, P., & Schaewen, D. V. (2013). Simon Velez: Vegetarian architecture. Arles: Actes Sud. Villegas, M. (2003). New bamboo: Architecture and design. Bogotá: Villegas Editores. Ocampo, C. S., Arq. (2018, August). Form and Tectonicity of the Works of Simon Velez. Lecture presented at 11th World Bamboo Congress in Mexico, Xalapa. The man who went 'bamboo'. Retrieved from https://thecitypaperbogota.com/features/the-manwho-went-bamboo/3890Pier, M. (2017, December 31).
THE POETICS OF CONSTRUCTION
Ito, T. (2006). Change the geometry to change the architecture. The Process in Architecture, 8-18. Retrieved from http://papers.cumincad.org /data/works/att/caadria2006_007.content.pdf Tordoor, W. (2010, March 24). Colombian top architect Simón Vélez calls for buildings on a human scale. Retrieved from https://www.mo.be/en/article/colombian-top-architect-simon-velez-callsbuildings-human-scale Benítez, O. O. (2010, January 21). Simón Vélez and the prodigious guadua. Retrieved from http:// smpmanizales.blogspot.com/2010/01/simon-velez-y-la-prodigiosa-guadua.html
BAM BUSA G UA D UA
Botanicals, B. (n.d.). Bamboo Anatomy And Growth Habits. Retrieved from http://www.bamboobotanicals.ca/html/about-bamboo/bamboo-growth-habits.html Villegas, M., & Restrepo, E. A. (2001). Tropical bamboo: Bambusa guadua. Bogotá, Colombia: Villegas Editores.
T ECHNIQ UE S
Schwartz, C. (2017). Introducing architectural tectonics exploring the intersection of design and construction. New York, NY: Routledge, Taylor & Francis Group. The house of bamboo: Colombian architect Simon Velez on his monumental sustainable bamboo structure [Interview]. (2018, July 17). Colombian Architect Simon Velez on Culture of Bamboo. Retrieved from https://bestculturaldestinations.com/blog /simon-velez-colombian-architect
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Minke, G., & Henderson, J. K. (2016). Building with bamboo: Design and technology of a sustainable architecture. Basel, Switzerland: Birkhäuser Verlag.
CATALO G
Projects. (n.d.). Retrieved from http://www.simonvelez.net/projects.html Grow your own house: Simón Vélez und die bambusarchitektur = Simón Vélez and bamboo architecture. (2000). Weil am Rheim: Vitra Design Museum. CASE ST U D I E S
Frampton, K., & Cava, J. (2007). Studies in tectonic culture: The poetics of construction in nineteenth and twentieth century architecture. Chicago, IL: Graham Foundation for Advanced Studies in the Fine Arts. DeBoer, D. (2007). Bamboo building and culture: Applications in the U.S. Place of publication not identified: DeBoer Architects. Yoshimura, K. (2017). Exploring the Potential of Bamboo as a Didactic Alternative Construction Material. Durban: University of the KwaZulu-Natal.
(n.d.). Retrieved from http://www.zeri.org /ZERI/Bamboo.html Visschers, L., & Jorissen, A. J. M. (2012). Het onderling verbinden van bamboestammen in de constructie van het cultuurpodium in de Tolhuistuin te Amsterdam. Eindhoven: Eindhoven University of Technology. Bullaro, L. (2018, June 25). El bambú colombiano según Simón Vélez y Marcelo Villegas: Montajes, conexiones y soportes estructurales. Retrieved from https://www.plataformaarquitectura.cl/ cl/896067/el-bambu-colombiano-segun-simon-velez-y-marcelo-villegas-montajes-conexiones-ysoportes-estructurales
THE POETICS OF CONSTRUCTION
Zeri Pavilion for EXPO 2000 (Publication). (2012). Manizales: Zeri Foundation.
TAXONO M Y
Kahn, L. I. (1973). Silence and light. Tokyo: A U.Noto, D. (2013, June 4). Rasmussen, S. E. (1964). Experiencing architecture. Cambridge: The MIT Press. Baku.Zumthor, P. (2006). Peter Zumthor - Atmospheres architectural environments - surrounding objects. Basel: Birkhäuser.
PHYSICAL E X PLO RAT I O N S
Tamke, M. (2013, April 17). The Rise. Retrieved from http://www.bespokegeometry. com/2013/04/17/the-rise/ A Japanese Constellation: Toyo Ito, SANAA, and Beyond. (n.d.). Retrieved from https://www.moma. org /calendar/exhibitions/1615
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