Portfolio 1314

Unit C Kiyoshi Chida 1325376

PORTFOLIO 2013 / 2014

Clara Kraft Satoshi Isono

BRIEF 1 Hypar

Chapel Lomas de Cuernavaca’s 3D model

Elevation

Plan

Chapel Lomas de Cuernavaca, Mexico, was designed by Felix Candela. The geometric design which gave the shape to the chapel is called hyperbolic paraboloid and it was studied to understand better how this geometric form works when applied on architecture.

Candela did not use structural optimization techniques to develop the form and dimensions of his thin shell designs; however, we find evidence that he did optimize his forms for efficiency of construction, for deflection control, for consideration of energy costs, and for fluidity of the form.

Candela’s reputation came not only from the aesthetic quality of his work, but also from his ability to construct his structures economically. Since the quantity of both concrete and steel material is minimal in shells, their economy lies in reducing the cost of forming.

Candela was able to construct most of the structure out of concrete that is only four centimeters thick (Basterra 2001). At the side foundations, Candela recognized that the structure would need to be strengthened, and sufficiently thickened these sides to reduce stresses. The exact gradation of thickness is not documented but an onsite visit reveals a thickness of about 52 cm at the base of the front mouth (Draper et al 2007).

CHAPEL LOMAS DE CUERNAVACA Hypar

Paper folding model - shows a huge potential since it’s created from a flat sheet of paper that folded becomes a rigid form, taking advantage of the characteristics of the material.

PAPER MODEL Hypar

Top: Church San Jose Obrero, Mexico.

Botton: Los Manantiales Restaurant at Xochimilco, Mexico.

Both buildings were drew by Felix Candela. The combination of two modules, or more, creates a space underneath the shell and creates a rigid form.

COMBINATIONS Hypar

There are many combinations that can be made using hypar. And the combinations that were most interesting was the combination of three or four modules together. These shapes becomes a new module that can be combined as many needed depending on the purpose of the structure.

COMBINATIONS Hypar

The first mold to cast plaster or concrete model was made using an A1 squared paper folded with a brown tape on it to avoid the plaster or concrete to stick on the mold.

MOLD Hypar

First cast with plaster. A squared A4 size. It was casted on a paper mold with vaseline on it.

Second cast with plaster. Squared A1 size.

PLASTER CASTING Hypar

The first model has one folded surface and one smooth surface. The model was deformed since the paper mold wasn’t strong enough to hold the weight of the plaster. So new method had to be developed to keep the shape when casting.

PLASTER CASTING Hypar

Concrete casting. Paper mold was used to cast it. It didn’t work because a steel reinforcement was used and it wasn’t the proper material to be applied as reinforcement.

CONCRETE CASTING Hypar

Rhino was used as a tool to represent these hypars in 3d models to be able to develop a final proposal.

DESIGNING HYPAR Hypar

This module has an angle that allows it to be combined to 3 more modules of the same ones and the result is a new square module.

DESIGNING PROCESS Hypar

Drawing of four hyper combined. The design was developed at the grymsdyke farm, where CNC machines was used to create the molds, since the design team didn’t work on it before. This is the combination chosen to be used as prototype for the concrete casting. The pararell edges allow a single joint to work on entire model.

DEVELOPMENT Hypar

Top mold with expanded foam

Plastic mold

Slotting scaffolding

This mold was developed through combining some of the experimental model that was made before. The paper model was used to create the hypar shape, with folded surface. But since the paper mold wouldn’t be strong enough to be casted a plastic sheet was used as a mold. The structure that would keep it in shape is a sloting scaffolding system. The idea came from a slotting model made previously by the group. The model could have one side a folded surface and the other a smooth surface or both sides folded surface. A method was created to be able to cast both sides with folded surface. To create the top surface another plastic mold had to be created. This mold was inserted inside the box that fitted perfectly on the top of scaffolding system. But the plastic mold of the top surface wasn’t strong enough to keep the shape when casting.

So we had to use the expanded foam to keep the shape.

MOLD Hypar

Drawing of the slotting scaffolding used to create the models.

MOLD Hypar

Drawing of the plastic mold. Some adjustments were made to fit on the scaffolding.

MOLD Hypar

FIRST STEP: the pieces of the scaffolding were made in the CNC machine, which is faster than the laser cut. Then, they were sanded and put together. The pieces follow the slotting process, this way, the scaffolding is very strong and stable. The plastic mold fits perfectly the scaffolding because it has, in each edge, profiles made of wood that also follow the slotting process.

MOLD Hypar

SECOND STEP: once the files were ready, the first thing to be done was cutting the plastic mold in the laser cut. The strenght of the laser had to be enough just to mark the lines that would be folded. That way, it was easy to fold the model.

MOLD Hypar

THIRD STEP: the box cover was made in the laser cut. All the pieces were sanded and put together. After that, another plastic mold was fixed inside the box.

The expanded foam was tested and then sprayed inside the box cover to compress the plastic mold and avoid its deformation when casting.

The concrete passes through two wholes that are very stable thanks to the foam.

MOLD Hypar

Top mold

This mold was developed through combining some of the experimental model that was made before. The structure that would keep it in shape is a sloting scaffolding system. The idea came from a slotting model made previously by the group. A method was created to be able to cast both sides with folded surface.

Scaffolding is made of 4mm plywood and based on the process of slotting, it is a temporary structure to support the plastic mold and later the concrete casting. It has to be strong to support the concrete model while it is been made and also the shaking during the casting. Each piece was designed on Rhinoceros and then cut on CNC machine. This way, all the pieces fit perfectly making the scaffolding resistant.

Plastic mold

The plastic mold has the shape of folded hypar, when flattened has 54 centimeters on the sides. The angulation was stablished after putting the model together with three other ones. The wood edge was designed in Rhinoceros as well as the plastic model. It has slots that fit in the scaffolding so the mold does not come out from the scaffolding. The height of the wood edge was defined by the thickness that the concrete piece would have.

The top mold was made in the laser cut. All the pieces were sanded and then put together. After that, another plastic mold was fixed inside the box. The expanded foam was tested and then sprayed inside the box to avoid deformation of the plastic mold when casting. The concrete passes through two wholes that are very stable thanks to the foam.

Slotting scaffolding

MOLD Hypar

The first casting after the farm was made with plaster to see how it works. There were some leaking problems so the gaps were filled with clay and the mold was sealed with tape. The result was as expected but the thickness had to be adjusted since the shell form allows a thinner element.

CASTING Hypar

After changing the thickness of the mold we casted the first concrete model. It didn’t work because the mixture wasn’t right. But we could see that the form and the thickness was achievable.

CASTING Hypar

After many attempts of casting the final shape were casted with plaster and concrete. Many aspects can be studied from this work. The joint that combines these models together can be thought in a way that allows the light to go in, the scaffolding can be designed in a way that creates a space inside it, combination of many hypars with different scales and angles. For the Conde Duque proposal all the aspects of this model will be put together with the CaixaForum study case.

CASTING Hypar

Final casting models made of concrete and plaster. The quality of the model is the contrast of light and shadow that is created by the elegance of it’s shape. This contrast creates a curious internal space, attracting people’s attention. For this reason this shape was used to develop the entrance of the cultural centre.

QUALITIES Hypar

BRIEF 2

CaixaForum

Museo del Prado

Paseo d el Prado

CaixaForum

Jardin Botánico de Madrid

Top addition

Existing building

Covered Plaza

Madrid-Puerta de Atocha

CaixaForum Madrid, Madrid, 2008 Conceived as an urban magnet, not only for art-lovers but also for the building itself, the architects lifted the building off the ground to draw visitors inside.

The multi-storied building above ground houses the entrance lobby and galleries, a restaurant and administrative offices. There is a contrast between the existing building and the top floor.

A gas station was demolished to create a small plaza between the Paseo del Prado and the new CaixaForum.

“The garden establishes a connection with the Botanical Garden and the landscape of the Paseo del Prado.” /Jacques Herzog

Architects: Herzog & de Meuron Building site: 1,934 m² Plaza: 650 m²

Vertical Garden

Gross Floor Area: 11,000 m² Building Footprint: 1,400 m²

Green Wall: Patrick Blanc, Artist-Botanist Client: Obra Social Fundación “LaCaixa”

Open Plaza

REMODELING CaixaForum

The existing building was an energy station called Central ElĂŠtrica de Mediodia before becoming a museum.

The base of the building was removed and a covered plaza was created under the brick shell, which now appears to float above the street level. This space now offers place to rest on its shade or used as meeting point.

Additional floors were built on the top of the existing building. The silhouette reflects the roofs of the surrounding buildings.

CONCEPT CaixaForum

Many elements as well as the contrasts between different materials, due to the remodelation of the building, can be seem on this elevation.

OLD & NEW CaixaForum

Here we can see the different materials used on the building. The sketch of the window from the inside the building shows the new materials applied on the building. The picture of the same window from the outside shows the contrast of the window and brick.

OUTSIDE & INSIDE CaixaForum

Administration

Restaurant

Galery 2

Galery 1

Lobby

Covered Plaza

Auditorium

Foyer

Lifting the building created a idea of a building that’s floating in the space, the covered plaza attracts not just people who wants to stay on its shade but also curious people just wandering around.

LIFTING THE BUILDING CaixaForum

Plan of the covered plaza. Three structures that holds the entire building is inserted on the plaza without attracting too much attention.

COVERED PLAZA PLAN CaixaForum

FLOATING ELEMENT CaixaForum

Located at the Madrid’s cultural center, Paseo del Prado, is considered an “urban magnet”, the museum attracts people who are just wondering around the place and those interested in buildings. This phenomenon is interesting since the building’s façade itself blocks the connection between the inside and outside the building.

At other hand the covered plaza on the ground floor integrates the building to the city. The plaza is a good example of a successful public space that attracts people’s attention, letting them want to go inside the space to see what this space is about and how the space flows in this particular part of the city.

Other interesting aspect of the building is the old interacting with the new. The brick, the metal roof, the vertical garden and the plaza are linked creating a whole new space and urban design. But some of the new construction might be interpreted as suffocating once the new window that was installed doesn’t follows the construction sequence of the existing building.

CONSIDERATIONS CaixaForum

BRIEF 3

Conde Duque

Madrid

Site

CaixaForum

Plaza Mayor

Palácio de Liria

Ca lle

Conde Duque

a es

c rin aP

l de

Templo de Debot San Miguel Market

Plaza de Espana

Conde Duque: Architects: Carlos de Riaño Lozano Building site: 10,423m² Localização: Calle Conde Duque, 28015 Madrid, Espanha

The site of this project is located in Madrid, capital of Spain. Located at the centre of Spain, the 3.3 million people who lives there enjoys going out throughout the year day and night either to meet people at plazas, squares and parks spreaded in the city or to have a “bocatillo” with friends at the bars, restaurants and markets or to enjoy the rich cultural life provided by many museums and cultural centers.

LOCATION Conde Duque

650

652

654

View of south courtyard looking to the west.

656

658

660

662

1983

2005

1750

View of south courtyard looking to the east.

Companía Italiana, south courtyard, was chosen to be studied. This space shows different stages of the reconstruction of Conde Duque.

On the southwest corner of the plaza exposes the original brick work of Conde Duque, the painting of the reconstruction of 1983, and the most recent restoration of 2005. The stairs and the elevator installed on the same corner shows the architect’s concern about respecting the different stages of the building.

View of south façade of Conde Duque

COMPANÍA ITALIANA Conde Duque

South corner of Calle Conde Duque

Main entrance of Conde Duque

Panoramic view of CompanĂ­a Famenco

WALKING THROUGH Conde Duque

1750

1880

1985

Companía Italiana

Pedro Ribera designed the first project for the quartel Conde Duque in 1717. The project was big enough to settle 600 men and 400 horses of the Royal Guard. It is divided in three courtyards: Compania flamenco, Espanola and Italiana. The building stood still for three centuries going through many challenges. The most significant ones are the two fires during the midle XIX that resulted on demolition and reconstruction of the building. The reconstruction of the 1983 didn’t finish.

In 2004, a Plano Director was formulated and a new history started at Conde Duque. The restoration was finished in 2011. The new project was quite risky since it was the second biggest building in Madrid, only behind the old Royal Palace.

Companía Espanola

Companía Flamenco 2011

Proposal

HISTORY

Conde Duque

From the drawing we can see three construction time of the Conde Duque. First one from 1717, the bricks were used to raise the wall. On the first restoration, 1983, the faรงade got another aspect, showing the different time of the building. The painting that imitates brick is from the second remodeling. On the third reconstruction, 2005, a smooth faรงade was added to the faรงade. Conde Duque shows the different times of the history of the building on the materials that composes its faรงade. For the proposal a new material will be used trying to respect the other materials applied on the building.

RECONSTRUCTIONS Conde Duque

Conde Duque with it’s surrounding.

The study of topography of the site shows a difference of 13 meters of height on the highest and lowest point of Conde Duque. On the lowest point of the building, south corner, the impression of the building is that it’s intimidating and doesn’t give access of the public to the inside. And even on the three courtyards the dimention of it and the walls that enclosures this space creates an enviroment that it is not welcoming to the public.

Streets around Conde Duque.

664 662

648

650

652

660 658 654

656

Topography of the site

SITE ANALYSIS Conde Duque

2nd floor +10.5m

1st floor +6.1m

ground floor 0.0m

The programme of the south area of Conde Duque has exhibition areas, lecture hall, theatre, dancing studios but all these spaces are not connected with a clear vertical circulation as shown on the diagram.

The intention of the intervention is to create a new courtyard that could become an auxiliar to the vertical circulation that exists, it will connect the existing spaces and the new spaces created for the intervention. The new circulation area is more dinamic because every space have relation to the activities proposed on the courtyard, which creates integration of interior and exterior spaces.

1st basement -5.5m

exhibition room library dancing studios

2nd basement -8.5m

lecture hall theatre madrid memory space courtyard

Programme

Vertical circulation

EXISTING PROGRAMME Conde Duque

Existing building

Concept 1

A sectional model was made to understand the relation between the spaces.

Integrate courtyard to the building. Make courtyard to be auxiliar space to the existing building through creating many access levels to it.

Concept 2

Concept 3

Design the new courtyard in a way that the existing structure can be used on the intervention.

Shift some existing spaces in order to change the relation between the spaces, creating covered or uncovered plazas.

THROUGH MODEL Conde Duque

Existing theatre will be turned to create a covered plaza with a view to city

View to city

Access to street

Improve circulation Create auxiliary spaces Access to street East-West section

CONCEPTS Conde Duque

Applying Hypar was used as design technique to draw the new entrances to Conde Duque, which are located at the lowest corner of the building and at existing entrance location, which is not used.

The courtyard has many platforms where temporary exibition can be done in these spaces and also connect to the exhibition rooms located inside the building.

The existing theatre was turned so it could create a covered plaza.

The covered plaza has a view to the city, creating a conversation with the city. It is also an exterior extention of the restaurant and bar at the same level.

0.0

-3.70 -5.50

-9.50 -10.50

East-West section looking towards south

The 2nd basement level has many workshop rooms. Being complementary space to the existing activities of the cultural centre.

PROPOSAL SECTION Conde Duque

APPLYING THE BORROWED Conde Duque

WINDOW TO CITY Conde Duque

Palácio de Liria

650

652

Travesía Conde Duque

654

Parque de la Calle Santa Cruz de Marcenado

656

658

660

Calle Conde Duque

662

664

Museo ABC

Elevation and Plan

PLAN & ELEVATION Conde Duque

Stage 4 (Conde Duque - Conde Duque) Rotate the existing theatre and allow the opening of the building to outside. The rotation will allow the creation of a covered courtyard.

Theatre

Stage 3 (Conde Duque - City) Create an opening to the city, not an entrance but a window that allows the view from inside Conde Duque to city and vice versa. The idea is to keep the existing wall and create the opening only at the ground floor. This way a covered plaza is located where you have access to the courtyard, exhibition rooms, cafeteria, restaurant and theatre

Covered plaza

Restaurant and bar

The new courtyard was developed taking these two accesses in consideration to allow the public to cross through the cultural center.

Exhibition space

A new entrance from the street level brings the public to the new courtyard from where you can access any space inside the cultural center.

The proposal for the south courtyard creates a new vertical circulation and spaces which are auxiliary to the existing ones. The new space connects the exhibition room of the ground floor to the new exhibition room on the 1st basement floor. It also extends to the courtyard giving importance to the relation of internal end external spaces inside Conde Duque.

Ground Floor

Studying room, workshop areas, which are complementary spaces to the existing programme, was designed.

From each of these spaces you can access the courtyard, where there are spaces to rest, meet and gather people, as well as cafeteria to relax.

Flexible space

Cafeteria

w/c

All the internal spaces are connected through generous and flexible space, which is a circulation area where markets, bars, open cinemas, temporary exhibitions and many activities can take place. The flexible space on the 2nd basement level has plenty space for temporary exhibitions, or music, dance or art presentation, it can be used as public theatre and stage where anybody can use.

Stage 2 (Conde Duque - Conde Duque) The proposal for the courtyard is to become auxiliary circulation area and offer many attractive space for the public such as exhibition area, open exhibition area, book shop, caffee shop, workshop studios and studying areas to be complementary spaces to the cultural centre.

Exhibition space

1st Basement Entrance from calle Conde Duque Stage 1 (Conde Duque - Street) Appropriate the existing structure

Integrate Conde Duque with the city through creating new access from the street level. By tearing the faรงade the proposed entrance breaks the impression of a impenetrable barrack and creates a opening that brings curiosity to whose is passing in front of it. The idea is to bring more people inside the building.

The main idea of the structure for the intervention is to appropriate the existing metal structure, reducing the cost and use of uneccessary material.

Workshop space Studying room Bookshop

Flexible space

Entrance from travesia Conde Duque

Workshop space

2nd Basement

AXONOMETRIC Conde Duque

Office

Theatre

2nd Pavement Music Studio 1st Pavement Exhibition Room Exhibition Space

1st Basement Calle Conde Duque

Entrance to Conde Duque

Covered Plaza Ground Floor

Flexible Space

Flexible Space

Workshop Space 2nd Basement

East-West section looking towards south

SECTION

Conde Duque

Office

Music Studio

Exhibition Room

Entrance to Conde Duque

The top of the hypar can be seen from the ground level where is the exhibition room. The shell itself can be considered piece of work and people can interact with it by crossing the shell.

Calle Conde Duque East-West section looking towards south

Section

Conde Duque

Timber floor Glass insulation Steel beam Timber window frame

Brick

Gutter

Steel reinforcement Concrete

Asphalt

Gravel

Sand

Stone flooring

SECTION Detailed Section, Scale 1:20

Conde Duque

Restaurant/Bar Covered plaza

0.0 Foyer

W/C

-9.50

W/C

-5.50 Exhibition Space

-8.50 Shop Market Exhibition Space

-9.50

-8.50

-3.70

0.0

Exhibition Space Information

Ground Floor Plan, Scale 1:200

The top of the entrance hypar can be seen from the ground level where is the exhibition room. The shell itself can be considered piece of work and people can interact with it by crossing the shell.

From the covered plaza there is a open window where you have a panoramic view of the city.

PLAN

Conde Duque

-5.50

Cafeteria -10.50

-10.50

-10.50

-10.50

-9.50

-5.50 Bar -5.50

-8.50

Market

Exhibition Space -9.50

-8.50

W/C

Deposit

W/C

Flexible Space Flexible Space Deposit

Deposit

-3.70

Entrance from Calle Conde Duque

1st Basement Plan, Scale 1:200

The entrance designed with a hypar is attractive and show the many flexible spaces available on courtyard.

The flexible spaces can be used to have markets, bars, lectures, open cinemas etc.

PLAN

Conde Duque

Entrance from TravesĂ­a Conde Duque -10.50

Book shop

-10.50

Workshop Space

Workshop Space

Workshop Space

Workshop Space

Information

-9.50

Flexible Space

-8.50 Entrance from TravesĂ­a Conde Duque Studying Room

Workshop Space

-9.50 Flexible Space

Workshop Space

2nd Basement Plan, Scale 1:200

The top of the entrance hypar can be seen from the ground level where is the exhibition room. The shell itself can be considered piece of work and people can interact with it by crossing the shell.

The 2nd basement level has studying room, workshop areas, which are complementary spaces to the existing programme from each of these spaces you can access the courtyard, which is a flexible space, a place to rest, meet and gather people, it can be used for temporary exhibitions, music, dance and art presentation, public theatre and stage where everybody can use.

PLAN

Conde Duque

+6.50

0.0

Theatre

-9.50

-5.50

Dancing Studio

1st Pavement Plan, Scale 1:200

10.50

6.50

0.0

W/C

W/C

-9.50

-5.50 2nd pavement Plan, Scale 1:200

PLAN

Conde Duque

MODEL

Conde Duque

MODEL

Conde Duque