“UNTITLED 7”
CONTENTS 1. Introduction
- the project, the background, the aim
2. Initial Research
- getting the studio to think - progress, process and compiled thoughts
3. Design Permutations
- from wikihouse to ‘untitled’
4. System of Codex
- the rules and the system
5. Site Placement
- location as the basis of the project - “untitled 7” in its intended space
6. Arithmetic Design
- grasshopper coding and rhino programming - the mathematics and logic structure behind the final design
7. Half-Scale Model
- a greater understanding of the project on a smaller scale - documentation of half-scale friction-fit model of the project
8. Digital Fabrication
- fabrication and assembling of friction fit elements - individual parts become the whole
9. Analytiques
- an individual journey through the architects that we aspire to be - presidential studies abstracted and expressed through 3� x 1� individual prints on canvas
10. Conclusion
INTRODUCTION the project, the background, the aim
The use of automation and digital fabrication have become increasingly popular methods of practice in the architectural design and building industry. Such practices have aided both architects and engineers alike in the completion of several worldwide projects.The integration of automation and digital fabrication into the architecture profession has inspired more ambitious design innovations that have prompted the development of experimentation in the design field. The inception of automation and digital fabrication techniques has led to an unprecedented efficiency with more capabilities, allowing more time for experimentation and easier communication. As aspiring architects, we aim to design real world solutions that can be integrated into everyday life. The architecture profession encounters many issues and questions of the methods of practice, affordability and practicality of projects when implemented into real world applications. The debate of the impact of our work on the real world and surrounding environment is something discussed and felt both as an undergraduate student and in the architecture profession. Research and development of methods such as automation and digital fabrication seek to answer these questions. This can especially be seen through the application of the prefabricated Wikihouse building system. The Wikihouse system can be built using a CNC machine, then shipped into a box and assembled upon location. The idea of ordering a house in a box is a revolutionary concept. However, as previously stated, there are debates and questions regarding whether or not this method is affordable and/or practical.
INITIAL RESEARCH getting the studio to think progress, process and compiled thoughts
The development of this project began with independent research into the practice of automation and digital fabrication, in addition to the exploration of specifications regarding the Wikihouse project. The Wikihouse project has a great amount of information available online. The open source database of information allows designers to share their research via an open community. This allowed us to find dozens of documents, files, and articles that we could download and use at our disposal. This information found online through various sources helped guide us as we developed models using a variety of fabricating software. The development of this project began with independent research into the practice of automation and digital fabrication, particularly the Wikihouse project. The Wikihouse project forms part of an open source database of information that can be accessed online, allowing designers to utilise the system and share their research via an open community. This independent research was further developed during the Summer ARCH 509 Design/Build Studio, through the experimentation and studies made by Micah Edmonson, Samuel Evans, Kate Koby and Daniel Brown. Our project aims to understand the work more thoroughly, and apply the Wikihouse rules and system in order to evolve from a housing or closed structure for other applications. Proving the adaptability of the rules.
THE WIKIHOUSE DESIGN Ever since its inception in 2011, the concept of the Wikihouse addresses a big queston in today’s Architecture: can the Consumer become the Designer? Traditional architecture has consisted of designing magnificent structures endorsed by the affluent to either serve their corporation or distribute to their less than propertied counterparts. With the decreasing cost in CNC machines and increased accessibility of open-sourced architecture, more power is put to the common person’s hands. “We’re moving into this future where the factory is everywhere, and increasingly that means that the design team is everyone,” as stated by Wikihouse Co-founder Alastair Parvin during a TED Talk. Once constructed, pieces to the Wikihouse can be as easily removed and inserted to a similar model, or modified digitally to create a new frame design altogether. This results in a community of modular construction where house designs can be shared and printed for construction instantly. The Wikihouse has been influential on people worldwide, reconfigurating the system to fit their environmental needs and conditions. One such example is the FOUNDhouse, created in 2014 by architecture students Patrick Beseda and Lacy Graham. The modified frame was fabricated in Denver, then shipped to the Navajo Reservation near Bluff, Utah. Constructed with CNC-milled plywood, the 150 sq. ft. chassis including insulating, sheathing, and solar electricity was constructed for approximately $5,000. In the above example, the Wikihouse was adapted to accommodate two students in a desert climate. The Wikihouse files have also been used in New Zealand to provide quick and cost-effective shelter after a 2011 Earthquake. Another concept currently being developed in Brazil can be converted to suit the South American climate and address its high-density housing issue. The Wikihouse chassis (excluding all systems) forming the Dashilar Pavilion in Beijing was constructed by twelve unskilled high school students in under seven hours. That’s the beauty of the Wikihouse; it’s simple guidelines are its greatest strength: allowing the buyers limitations to be his/her creativity, and less dependent on their financial means. *Images Sources: Wikihouse Foundation.
THE HOUSING SYSTEM The Wikihouse is an easily adaptable, systemised structural form of a house. The customisable pieces allow the space to be modified to the needs of the owner. Just as the building as a whole can be arranged in several different assemblies, the systems that are fed through the building can be placed wherever the designer desires. There is no particularly correct way to pipe, wire, ventilate, or insulate in the Wikihouse design. Holes are simply cut into the walls and floorboards to the size of the ducts and pipes that need to go through the house, allowing for piping and ventilation. The wiring system in the Wikihouse is incredibly innovative. The Wikihouse makes use of a wiring system that allows the designer to hide all wires in an inch and a half space that they refer to as a “service zone” behind a sheet on wood paneling that covers the room. With this system, the designer can run wire freely wherever they need to and just cut holes for any outlets and fixtures. This gives the designer a lot of freedom as to how they can design the layout for their lighting and power sources in their home. Another interesting part of the wiring system is that it helps the house act as a complete DC circuit that increases the home’s energy efficiency. The Wikihouse Foundation recommends the use of the multiple types of insulation such as L-soft fill insulation (sheep’s wool or other recycled products suggested), expanded polystyrene (must be pre-cut), or blow-in cellulose. There are cavities in the walls and joints for insulation installation and the designers (once again) have the option to choose from a variety of solutions to do so. Overall this structural form is very adaptable to the designer and allows for infinite possibilities. *Images Sources: Wikihouse Foundation
THE CNC MACHINE The CNC Machine “Computer Numerical Control (CNC) is the automation of machine tools by means of computers executing pre-programmed sequences of machine control commands. This is in contrast to machines that are manually controlled by hand wheels or levers, or mechanically automated by cams alone.” The CNC Machine has influenced the design field positively. The machines vary in price, depending on the size, complexity, and functionality. A standard compact precision CNC Machine, which allows users to create 2D and 3D designs - using wood, plastic and metal — typically costs around $2,000.(mfg.com) Although CNC machines may seem like a cost effective building and construction design solution, there are a number of factors that can drive the cost and affordability of the machine up. There are five different ways in which the cost can be managed: Machine Times, Proper use of CNC machine for part design, Minimizeing wall thickness, Reducing/Eliminating small seatures and Eliminating text from part design. (cnc. com) Architecture firm, the Rising Barn found in San Antonio, Texas, has designed/designs houses ranging from $35,000 to $150,000 using CNC machines. According to the design firm, they able to build these affordable houses at a profit, using coding and algorithms to create objects, which helps with costs and design process. (xconomy. com) This kind of growth in the industry alludes to the future of how the CNC machine can be used to redesign the way we construct housing around the world. *Images Sources: CNCCookbook
DESIGN PERMUTATIONS from the wikihouse to “untitled 7”
The development of this project began with independent research into the practice of automation and digital fabrication, in addition to the exploration of specifications regarding the Wikihouse project. The Wikihouse project has a great amount of information available online. The open source database of information allows designers to share their research via an open community. This allowed us to find dozens of documents, files, and articles that we could download and use at our disposal. This information found online through various sources helped guide us as we developed models using a variety of fabricating software. The development of this project began with independent research into the practice of automation and digital fabrication, particularly the Wikihouse project. The Wikihouse project forms part of an open source database of information that can be accessed online, allowing designers to utilise the system and share their research via an open community. This independent research was further developed during the Summer ARCH 509 Design/Build Studio, through the experimentation and studies made by Micah Edmonson, Samuel Evans, Kate Koby and Daniel Brown. Our project aims to understand the work more thoroughly, and apply the Wikihouse rules and system in order to evolve from a housing or closed structure for other applications, proving the adaptability of the rules.
STRUCTURAL FRAME A simplified diagram of the Wikihouse frame shows how the different pieces come together to form the entire structural frame. Each piece is mirrored from the original. Male/female connections are swapped.
1 2
2M
3
3M
4
4M
5
GROUPS OF WIKIHOUSE FRAME PERMUTATIONS Each group is followed by 4 altered digital illustrations of the original configuration. Exemplifying the near-unlimited variations and options that the Wikihouse concept can provide.
GROUP A This is the most simplistic design due to its symmetry.
Same frame apart from the angled roof, making storage space more accessible.
Combination of the lengthened side, creating an elongated version of the last column.
Similar to the prior model, except the two frames intersect.
Frames placed perpendicular to each other, creating a T-Shaped house.
GROUP B This configuration breaks symmetry with one side extended more than the traditional counterpart.
Two frames combined for a family sized house.
Merging two frames together, except since each side roof lengths aren’t the same it produces a different effect.
Taking the elongated and regular sides and forming an L-shaped structure, with a large rectangular area in the middle.
Four lengthened sides branching out to form a cross, connected by a square in the middle.
GROUP C Two-story layout. The upper floor dimensions are exactly the as the preceding group, while the lower floor follows the same dimensions. The first physical example of this arrangement is called “Wikihouse Farmhouse� in Warwickshire, UK. The template was designed/ distributed via open source, and built by the soonto-be occupants.
Same frame apart from the angled roof, making storage space more accessible.
Combination of the lengthened side, creating an elongated version of the last column.
Similar to the prior model, except the two frames intersect.
Frames placed perpendicular to each other, creating a T-Shaped house.
GROUP D This final example takes the previous configuration and shifts one side up. This arrangement would be ideal for houses on a hilly terrain or perhaps a more artistic flair.
Four sections are brought to the first level, but arranged in a stair step formation. This could be used for one large component or several smaller units.
Merging two frames together, except since each side roof lengths aren’t the same it produces a different effect.
Three of the four sections retain their original positions; however, the lower left component is move up to match the left angled unit.
Merging four frames together, the roofs are angled oppositely, each unit shifted up.
“UNTITLED 7� This project challenges the artist’s role in design and extends the boundaries of how space is composed. The boundaries of space are set by the limitations of current design processes and this project extends them. The use of ubiquitous material in a banal space proves how the design process is evolving. Architecture is ultimately rooted in the built artifact, which physically affirms artistic intent as a result of the design. The aim of this project is proved through the design process, rather than a result of it. It takes a banal space and pervasive material and is transformed into architectural space. The process of interrelated steps stitch together a logic structure based on an imposed grid and invented rules. Physical elements are created through this system and figure and plan emerge from the geometric play. The process of how the space is transformed is directly connected to the geometric construction which underlies each subsequent process from site placement to construction.
7 WALL
COLUMNS
BOOLEAN CIRCLE WALL
CIRCLE A (LARGE) & CIRCLE B (SMALL)
SYSTEM OF CODEX the rules and the system
The Wikihouse Building system is built upon a system of rules. The independent research and projects required the students to thoroughly analyse and differentiate these sets of rules in order to truly understand how they may be implemented into new structural forms and designs. The project forced the students to reverse engineer the entire building system, systematically dissecting the parts and individual pieces that may be used for the completion of the final project. A strategic coding system was required to break down the information in a way that could communicate the necessary information most clearly. This gave birth to a color coded matrix table that clearly defines the rules and anatomy of each piece, in relationship to the built environment in which they fit. Developing the matrix table was fundamental in understanding how the building system works in order to program blocks in Rhino. The benefits of making use of blocks in Rhino are that one can automatically make changes to the entire building project without having to manually adjust specific sizes or shapes. This technology is especially beneficial for designing a custom Wikihouse as it facilitates the designers ability to model a new structure.
A A.1
D
B.1
C.1
D.1
D.2
A.3
D.3
A.4
D.4
A.5
D.5
V
W
W.1
V.1
W.2
V.2
F.3
47.00
W.3
8.50
12.00
7.61
6.00 3.00
C
A.2
U
A simplified matrix table breaks down the unique characteristics of each piece used in the Wikihouse building system. They're grouped together based on their similarities and likeness. In addition, they're labelled according to their family.
6.00
B
3.25
RULES OF THE WIKIHOUSE BUILDING SYSTEM
7.50 3.00
8.00
6.00
6.00
23.50 S
S.1
S.2
H.1
12.00 Y
8.00
12.00 X
8.00
X.6
Z
Z.1
Y.1
X.1
X.7
Y.2
X.2
X.8
X.3
X.9
X.4
X.10
X.5
X.11
Y.4
5.00
O
N
10.50
K
H
5.75
5.00 3.00
11.25
RULES OF “UNTITLED 7” TO BE ADDED TO THE SYSTEM In order to move forward with the “Untitled 7” project, we were required to create a new group of rules from the system found through the open-sourced files of the Wikihouse Building system. The new rules follow the same system as the previous rules, however, these rules do not differentiate between the same rule but varying dimensions. There is one rule that fits all different dimensions. The connection gap is place so as to accomodate as many notches and joints as possible within the required dimensions.
1.0
2.0
3.0
3.7
1.1
2.1
3.1
3.8
3.2
3.9
3.3 3.10 3.4
3.5
3.6
3.11
3.12
4.0
5.0
4.1
5.1
W.3
Sections used for rib and panel connections:
I
A: Bottom corner of main frame B: Bottom connection of main frame D: Side of main frame K
E: Top connection of main frame
K
F: Apex of main frame G: Bottom corner of support frame J
H: Side of support frame
F
J
I: Apex of support frame E
J: Interior roof panel
E
K: Exterior Roof Panel L: Exterior wall panel M: Rib connection
H
D
D
H
N: Floor Panel O: Interior wall panel L
O
A
O
B
L
A
M
G
N
G
SECTION M RIB/ CONNECTION
SECTION N FLOOR PANEL
SECTION J INTERIOR ROOF PANEL
SECTION K EXTERIOR ROOF PANEL SECTION O INTERIOR WALL PANEL
SECTION L EXTERIOR WALL PANEL
SECTION B BOTTOM CONNECTION OF MAIN FRAME SECTION U VERTICAL FLOOR SPACER
VERTICAL V HORIZONTAL FLOOR SPACER
SECTION T ROOF SPACER
SECTION S RIB/SPACER CONNECTION
O O
SECTION W SMALL FEMALE SPACER
SECTION X SMALL MALE SPACER
SECTION E TOP CONNECTION OF MAIN FRAME
SECTION Y LARGE FEMALE SPACER
O O
SECTION Z LARGE MALE SPACER
SECTION G BOTTOM CORNER OF SUPPORT FRAME
SECTION A BOTTOM CORNER OF MAIN FRAME
SECTION D SIDE OF MAIN FRAME
SECTION H SIDE OF SUPPORT FRAME
SECTION I APEX OF SUPPORT FRAME
SECTION F APEX OF MAIN FRAME
7 WALL Wall Section Top/Bottom (x3)
Connection Components (x1)
Interior Connection Component (x2) Corner Section Top/Bottom (x3)
Connection Component (x1)
Corner Wall Section Sheathing (x1)
Side Sheathing (x2)
Wall Section Sheathing (x2)
RULES KEY: 1.0
2.0
3.0
5.0
1.1
2.1
3.5
5.1
3.6
3.7
W.3
COLUMNS
Connection Components
Interior Connection Component (x4)
Sheating Fastener Top/Bottom (x12) Middle (x8)
Cube Exterior Sheating (x4)
Cube Interior Sheating (x4)
RULES KEY: 1.0
2.0
3.0
1.1
2.1
3.1
3.2
3.3
3.4
4.0
5.0
5.1
W.3
BOOLEAN CIRCLE WALL
Wall Sheating (x2)
Sheating Fasteners (x1)
Curve Sheating (x5)
Plug Connector (x1)
Interior Vertical Support (x2)
Interior Support Connector (x5)
Exterior Sheating 1
Side Sheating (x1)
Exterior Sheating 2
RULES KEY: 1.0
2.0
3.0
1.1
2.1
3.5 3.6
4.1
CIRCLE A (LARGE)
Sheating Fastener (x4)
Wall Section (x2)
Interior Connection Component(x2)
Side Sheating (x2)
RULES KEY: 1.0
2.0
3.0
2.1
3.6
3.8
W.3
CIRCLE B (SMALL)
Connection Components (1)
Side Sheating (x2)
Sheating fastener (x3)
Exterior Sheating (x1)
RULES KEY: 1.0
2.0
1.1
2.1
3.8
3.9
3.10
3.11
3.12
5.0
5.1
W.3
SITE PLACEMENT location as the basis of the project “untitled 7” in its intended space
The site is set inside the University of Kansas School of Architecture’s Design/Build facility. A warehouse located in the East Hills business park of Lawrence, Kansas. The warehouse is primarily a space for collaborative construction and storage. The big and largely empty space is the base of the project. The project initially mapped out the site conditions, focusing on the east side of the warehouse. A grid from the joint lines in the concrete floor was imposed. The grid informs the logic structure which is based off the system of rules. These underlie the play of points and lines, to extrusions that yield geometric forms. The three-dimensional forms are broken down into sections that contain pieces derived from the rules. The pieces fit together by following these rules. The rules are set by a fractal system that fit pieces together to form sections which become the whole. From here the process of making parts to whole is applied to the ubiquitous and nominal material of oriented strand board (OSB). Each piece is fabricated by Computer Numerical Control technology from the input design. The output pieces are assembled with minimal tools and transported from the studio classroom to the East Hills facility, where they are arranged and further assembled. The assembly and placement of each section are informed by the initial logic structure.
3813 Greenway Dr. Lawrence, KS 66044. East Hills Warehouse
1
2
3
5
4
6
62'-0"
13'-0"
13'-0"
12'-0"
12'-0"
EQ
EQ
EQ
EQ
12'-0"
EQ
EQ
6'-0"
12'-0"
A
R36'-0"
R6'-6"
7'-0"
12'-0"
째 75
5'-10 3/4"
13'-6"
36'-6"
7'-7 1/4"
B
C 11'-0"
R17'-6"
45째
45째
째 60
D 3'-0"
3'-0"
6'-3"
5'-9"
12'-0"
3
4
ALGORITHMIC DESIGN grasshopper coding and rhino programming the mathematics and logic structure behind the final design
POINT EXTRACTION FROM GRID POINTS 1, 3, 5 EXTRACTED FROM WAREHOUSE GRID VERTICES POINTS 2, 4, EXTRACTED FROM MIDPOINTS OF 1, 3, 5
POINT EXTRACTION FROM COLUMN LINE POINT FROM MIDPOINTS OF COLUMNS 1, 2
RECTANGLE FROM POINT LENGTH OF 6’ WEST OF POINT, 12’ EAST OF POINT, WIDTH OF 0’ - 6”
EXTRUDED RECTANGLES POINTS BECOME RECTANGLES L = 1’ - 6” W = 1’ - 6”
RECTANGLE EXTRUDED TO 8’ - 0“ CIRCLE ON WALL FROM RECTANGLE ORIGIN POINT CIRCLE WITH DIAMETER 1’ 11” FROM RECTANGLE ORIGIN POINT, CENTER OF CIRCLE MOVED FROM 0‘ - 0” TO 4’ - 0” ALONG Z AXIS SOLID DIFFERENCE OF RECTANGULAR EXTRUSION AND CIRCLE CREATE OPENING IN WALL
SPLIT AND MOVE EXTRUSIONS EXTRUSION SPLIT AT COLUMN CENTERLINE, PARTS MOVE DIRECTLY EAST/ WESTWARD 0’ - 9” CREATING A 1’ - 6” GAP
CIRCLE RADIUS 36’ - 0” FROM MIDPOINT OF EXTERIOR SIDE GARAGE BAY 3 VECTORS AT 60° AND 315° SPLIT CIRCLE CIRCLE TRIMMED ARC OFFSET 0’ - 6” EXTRUDED 2’ - 0” ARC OFFSET 0’ - 6” FROM CIRCLE OF RADIUS 36’ - 0”
CIRCLE RADIUS 17’ - 6” FROM MIDPOINT OF EXTERIOR SIDE GARAGE BAY 3 POLAR ARRAY CIRCLE RADIUS 6’ - 6” TANGENT TO CIRCLE R17.5
CIRCLE RADIUS 36’ - 0” FROM MIDPOINT OF EXTERIOR SIDE GARAGE BAY 3 VECTORS AT 60° AND 315° SPLIT CIRCLE TRIMMED ARC OFFSET 0’ - 6” EXTRUDED 2’ - 0” ARC OFFSET 0’ - 6” FROM CIRCLE OF RADIUS 36’ - 0”
VECTOR AT 45° SPLIT ITEM 11 OF POLAR ARRAY TRIMMED ARC OFFSET 1’ 0” EXTRUDED 4’ - 0”
POINT FROM COLUMN 5 CENTER, MOVED EAST 3’ - 0” SECONDARY POINT FROM LAST POINT MOVED 7’ - 0” SEGMENT FROM CREATED POINTS, COPIED AND ANGLED 75° ANGLED SEGMENT TRIMMED AT INTERSECTION WITH POLAR ARRAY ITEM 11 OFFSET
JOINED SEGMENTS TO POLYLINE, OFFSET 0’ - 6” EXTRUDED 4’ - 0”
DIGITAL FABRICATION fabrication and assembling of friction fit elements individual parts become the whole
Digital Fabrication is the process of joining traditional methods of design production with the assistance of 3D modeling software and digital applications. For this phase of the design process, we primarily worked using 2D modeling in Rhino, and operating the laser cutter. Both of these methods served as the basis for constructing our 1/3 scale model. Before we sent our completed 2D models through the laser cutter, we formatted our models so they would fit properly into the bed of the laser cutter, and minimize as much waste as possible. Once the models were formatted, we tested out the tolerance of the laser. During this stage of the design process, we were forced to adjust the tolerance, and make adjustments to the models so they would be cut to the size. The process took much longer than anticipated. In order to make sure the pieces were cut out properly, we had to make serveral revisions so that the pieces would connect tightly. Nevertheless, once we got over this hurdle we were able to cut out each of the pieces required to build the 1/3 scale model of the structural frame. The 1/3 scale model of the structural frame is composed of over 60 small pieces that are interlocking. The entire model was cut using 12 sheets of 4� x 8� MDF wood. Through this process, we realized that we wasted a lot of wood. This prompted many questions regarding how we could further minimize waste in the future.
All the individual elements making up the geometric forms of the project were layed on 48” x 96” x 7/16” OSB sheets, ensuring that as much material was saved as possible in order to achieve ultimate efficiency - both financial and with regards to time.
SHEET - OSB
SHEET 1 (10X)
SHEET 3 (20X)
SHEET 4 (2X)
SHE ET 2 (1 5 X )
SH E E T 5 ( 2X )
SHEET 6 (5X)
SHEET 7 (5X)
S H EE T 8 (2X
SHEET 9 (2X)
SHEET 10 (3X)
SH E E T 11 ( 3X )
SHEET 12 (1X)
SHEET 13 (1X)
SH EE T 1 4 ( 1X )
SHEET 15 (18X)
SHEET 16 (1X)
SHE E T 1 7 ( 24 X )
SHEET 18 (1X)
Trial and error Laser cutting The first phase of the digital fabrication process began with operating the laser cutter machine. Before we sent our 2D models through the laser cutter, we had to format our pieces to fit properly onto the bed of the laser cutter, minimizing as much waste as possible. Once the models were formated correctly in Illustartor, we began testing out the tolerance levels and settings. During this stage in the design process, we were required to adjust the tolerance so that the pieces could be cut out in order to fit tightly when interlocked with one another via male to female connections. Form fitting each piece was essential to the success of the final model. We wanted to make sure that when we built the model it would be stable. We made several revisions in order to ensure this, taking longer than anticipated. Although this process was tedious, in the end we were able to create pieces that were tightly fitted.
Trial and error CNC machine The second phase of the digital fabrication process began with operating the CNC Machine. At this point in the design process had streamlined all of the major difficulties we experienced during the laser cutting process. Altough we had ironed out a lot of the major issues, converting the dimentions to a large scale. When you’re converting from digital to real life, there can be many issues that arise, so it may be necessary to make several revisions to come up with meaningful solutions that can correct the issue and errors. This entire process has been a learning experience that has redefined building production and manufacturing.
HALF-SCALE MODEL a greater understanding of the project on a smaller scale documentation of half-scale friction-fit model
The half-scale model was carefully constructed, allowing a greater understanding and analysis of the Warehouse site. The Half-Scale model of the warehouse was initally constructed out of 1/2� MDF (the flooring and frame) and 0.22� Acrylic plexi-glass (the openings and walls). The warehouse is primarily a space for collaborative construction and storage. The big and largely empty space is the base of the project. A grid from the joint lines in the concrete floor was imposed. This grid informs the logic structure which is based off the system of rules. These underlie the play of points and lines, to extrusions that yield geometric forms. The threedimensional forms are broken down into sections that contain pieces derived from the rules. The pieces fit together by following these rules. The rules are set by a fractal system that fit pieces together to form sections which become the whole. From here the process of making parts to whole is applied to the ubiquitous and nominal material of Oriented Strand Board (OSB). Each piece is fabricated by Computer Numerical Control technology from the input design. The output pieces are assembled with minimal tools and transported from the studio classroom to the East Hills facility, where they are arranged and further assembled. The assembly and placement of each section are informed by the initial logic structure.
ANALYTIQUE an individual journey through the architects that we aspire to be presidential studies abstracted and expressed through 3� x 1� individual prints on canvas
WOOD WORN AND AGED Anna Brodersen
Yang Jingxiang
INK-GEHRY
SIKTA
THE WINDING VILLAGE
Julia Frendo
Yuhua Dai
Bruder Klaus Field Chapel Peter Zumthor
Guggenheim Museum Frank Gehry
The Water Temple Tadao Ando
China Academy of Art’s Folk Art Museum Kengo Kuma
Architecture is everything that is true in this world, made in an art of space and time. It is how the world should work. This structure of how we live is our existence. It is a ritual, because everything you do in life should be a ritual. It is a dance between solidarity and discord, and indulgence and order. Between following a path and discovering a path. It is the physical form of our reality, manifested through the plasticity of life.
This work aims to deconstruct the Guggenheim Museum in Bilbao, Spain and reconstruct into an ink-wash painting form. The reason for that is that both Guggenheim Museum, Bilbao and the ink-wash painting are relied on fluid transformation, layering and unique orders.
A sensorial experience, a simple inversion of the conventional, a series of different architectonic spaces and emptiness. A spiritual cleansing - a place where the combination of architecture with nature reflects the passing of time and transcends the day.
The goal of Kengo Kuma is the construction of ‘negative building’. This negative architecture means that the building is not obvious to see because it is hidden into the surrounding environment. This work best represents this concept. This architecture was built in the mountain. Therefore, it is covered by the forest and it is also hidden by the trees. The ethereal atmosphere is the theme of this architecture.
GOD IS IN THE DETAILS
OF THE TREES
Jessie Ewing
Rachel Johnston
Seagram Building Mies Van der Rohe
Villa Mairea Alvar Aalto
“The essense of space is not determined by the mere presence of limiting surfaces but by the spiritual principle of this limitation. The true task of architecture is to let the structure articulate the space; it is not the building that is the work of art, but the space.”
Alvar Aalto’s Villa Mairea completely transcends what a typical home and living space have become. Aalto’s design is the mimicry of nature’s beauty. From the staircase with teak wood jutting up to the ceiling like trees in a forest to the serpentine shape cut out from the living room fireplace, there is serenity and peaceful beauty to this place that results from juxtaposed references to the Villa’s Finnish forest surroundings. Another aspect of the Villa is the sense of rhythm that these call outs to nature provide. The whole villa is somewhat of a musical experience with its curved shapes, synthesized materials, and use of natural light. The house, in a sense, draws you in from the forest but never fully takes you away before you are led back outside. Villa Mairea is built in and of the trees.
The Seagram Building doesn’t have any ornamentation covering the facades, instead the buidling takes the surrounding stone buildings and reflects them. It shows what New York is consumed with and makes you look around. When looking at the building you see a glimpse of what is around you but still leaves a little bit of mystery to what you’re standing next to.
THE INNATE OBJECTIVE OF ARCHITECTURE Bumsoo Kim
U.S. Federal Courthouse Richard Meier A building becomes architecture when it aims to surpass the programmatic constraints and address symbolic notions of the building and its purpose. Meier reestablishes this objective in his designs through a critical reflective formulation of design process and manipulation of form against the innate constraints put on by the design program. A visual layering is achieved by self-imposed compositional disciplines, transparency of the envelope, arrangement of successive planes, and the assertion of syntactic centrality which becomes the pivotal space within a building. This design progression is often lost in so-called modern architecture, which tends to rely on aesthetics concealing the constraints rather than surpassing them.
PRAIRIE HOUSE Mario Lerma
Robie House Frank Lloyd Wright The Frederick C. Robie house was built between 1909 and 1910. It was designed by Frank Lloyd Wright and is the greatest example of the Prairie school style which is considered the first American style of architecture. It was designated a national historical landmark on November 27, 1963.
CHIAROSCURO
RISEN
MODULAR
COLUMNS OF LIGHT
Samir Alvi
Kaitlyn Hoines
Trevor Cadiz
Saint Ignatius Chapel Steven Holl
Temple of Inscriptions The Maya
Villa Savoye Le Corbusier
World Trade Center Transportation Hub Santiago Calatrava
“Anyone who has become entranced by the sound of water drops in the darkness of a ruin, can attest to the extraordinary capacity of the ear to carve a volume into the void of darkness.” - Steven Holl
Ascend the steps of King Pakal of Palenque’s inscripted temple and journey his birth, life, death and rise amongst the Mayan gods. The temple awaits only those that are worthy - those who give offerings. The King’s rule was forever inscribed on this great funerary pyramid. His death was to be honored as he lied below, hidden in a secret passage way within an intricately decorated sarcophagus.
The Villa Savoye represents the point when the method of designing buildings enters a new era of thinking. Precise and thoughtful extrusions from simple lines and basic geometry evolve a promenade, which relates the modern epoch of the time to the home. For the first time, the home was thought of as a machine for living.
The overall form of the World Trade Center Transportation Hub, termed The Oculus, was inspired by that of a dove being released from a child’s hands, which symbolizes the new era of peace after attacks this nation underwent on September 11, 2001. The major motif is light, and when the sun sets, the illumnated oculus then releases light back out to the surrounding neighborhood as a lantern. Light is such an important element, Calatrava speaks about the structure being supported by columns of light. The combination of natural light flowing throughout the entire station and its innate sculptural form brings relief to the mundane urban jungle of New York City.
Angela Garza
CONCLUSION
“Untitled 7” came together through a focus on two main sectors of the overall process: the rules/fabrication and the coding/ documentation. The coding sector engineered the design into section masses where the rules and fabrication sector would take these masses and implement the set of invented rules onto the them, resulting in pieces that would friction fit together. In terms of the physical production of the 1:1 model, the only aspects of the process that could have been made more efficient would be to test the friction facets in a prototype phase, and in doing so, assuring the proper opening dimensions and shapes. I.e. the process resulted in the tenons having rounded corners rather than the initial squared corners which allowed for the mortises to fit more securely. The widths of the openings varied due to millimeter differences in the size of OSB sheets. The proper friction fitting of the pieces involved quite a bit of work but was necessary, as its accuracy was fundamental to the construction of our model’s individual elements. The entirety of our project took place over the course of four months. The graphic display summarizes time into sectored phases, and the overlapping of lines confirms the necessary continuous coordination and collaboration between the physical assembly of the elements and the computer coding and documentation. A particularly vital part of this project was the need to pay close attention to how every computer input would affect the appearance of the physical model. The idea of this project is to continue striving for perfection in the coordination of the human mind with the computer, as this is the direction the architectural field is headed. “Untitled 7” will not be built again. This text is not for promoting a “next time,” because that is not what it is about. It is not a guide on how to rebuild this exact structure. This project is instead about a physical manifestation of the ability to construct architectural elements from the use of digital technologies and fabrication resources, and how this can only be achieved through the communication and collaboration of the people in charge of different aspects of the project. These built pieces of cut away OSB board are confirmation of the ability to build environments where each step is interrelated with the previous and subsequent steps of the system ruling the constructs and the fractal elements in between. This is a framework for the commencement of evolving our thinking and learnings of how we construct our built environments, in a world where the critical symbiosis between technology and keeping our humanity is the catalyst at the brink of evolution. The idea to take away from “Untitled 7” lies in the process of design to construction. Something that breaks with traditional and digital construction methods where the significance lies not in the built artifact but rather the process of summation that leads to it.
START SEMESTER
1st DECEBMER, EXHIBITION DAY
DESIGN ENGINEERING CODING RULES IMPLEMENTATION
RULES IMPLEMENTATION FABRICATION
DOCUMENTATION
indicates time in relation to semester
FABRICATION
RULES IMPLEMENTATION
RULES IMPLEMENTATION FABRICATION
FABRICATION
RULES IMPLEMENTATION FABRICATION
contributors Julia Frendo Anna Brodersen Rachel Johnston Kaitlyn Hoines Angela Garza Jessie Ewing
tutored by Kadim Alasady
Bumsoo Shane Kim Samir Alvi Trevor Cadiz Mario Lerma Yuhua Dai Yang Jingxiang