THEATERRA - Crafting an oasis of culture within a refugee camp| MSc Year II - EARTHY Q1 2021

ARBO11 EARTHY | EARTHY 4.0 DATE: 02-10-2021 AUTHORS: GROUP 3 JENS SLAGTER 4599780

JOB HANDELE

4437616 FAWZI BATA 5117739 RHEA ISHANI 5315883

SHREYAS VADODARIA 5268613 TUTORS:

DR. IR. PIROUZ NOURIAN DR. IR. SHERVIN AZADI DR. IR. HANS HOOGENBOOM DR. IR. FRANK SCHNATER

FACULTY OF ARCHITECTURE AND THE BUILT ENVIRONMENT TU DELFT 2021-22

1 3 5

Configuring p.15

Structuring p.52

Chosen Iteration p.72

0 2 4 6

Research & Analysis p.1

Forming p.38

Construction p.62

Reflection p.86

0

////////////////////////////////////////////////////////////////////////////////////// The report describes the design process/workflow for the urban redevlelopment of Al Zaatari Refugee Camp by proposing the ‘recipe’ to design a ‘Cultural Centre’ for and by the residents of the camp. The average Displaced Person (DP) camp exists for 17 years, hobbling the generation of children who grow up not knowing nothing of the world their parents left, nor the world they will eventually arrive into. The people in Zaatari have no home to go home to.

This chapters illustrates the problem statement, motivation for design, research and material analysis of the camp. The methodology / workflow will be explained in detail in the subsequent chapters. //////////////////////////////////////////////////////////////////////////////////////

RESEARCH & ANALYSIS

RESEARCH & ANALYSIS

THEATERRA

INTRODUCTION A brief section explaining the current state of the camp, and the motivation of the project The aim of the report is to elaborate on the design and learning process of the project ‘Theaterra’. During the initial weeks of the course, an analysis showed that the majority of the Al’ Zaatari camp population (56%) is under 18, and they have mostly not experienced life elsewhere. Culture is being treated as secondary since organizations are only focusing on essential needs. We propose a cultural center built by the people themselves, allowing for the transfer of Syrian culture, knowledge, and craftsmanship to the younger generation. The project Theaterra aims to craft an oasis of culture within a camp.

The general framework, the course AR3B011 EARTHY (popularly known as EARTHY 4.0) at TU Delft, Building Technology Master Programme is crafted to continually improve the living conditions in the refugee camp, by building with earth as a poetic representation to the vernacular Syrian Architecture. EARTHY 4.0 is dedicated to design of Gothic Structures and the challenge is to design/engineer earth/masonry buildings under compression with a focus on relations of materials, shapes and structures explored computationally each time by adding a layer of complexity and value to logic in configuration and Layout, form finding and shaping followed by verification through the phase of structuring and finally by illustrating the construction process essential to realize the design.

The structure of the report will follow the logic of the course, starting with justifying the need for a cultural centre, and building the campus in phases. Introducing the theatre as a primary hero followed by supporting workshops and commercial spaces. This is followed by configuring the rules of the layout. The next step is forming and shaping the modules followed by testing through Structural Analysis. In the Construction phase, a brick module is designed and material properties are explored.

The project ‘Theaterra’ is a participatory design game that works as a game and a framework to enable the residents of the community to come together to learn and build something that they are proud of.

Figure 0.1 - A glimpse of the refugee camp at Al Za’atari. Source: ABC News, the Za’atari refugee camp seen from a cherry picker.

“

AL Za’atari Camp, Jordan

If the road to hell is paved with good intentions, then the world’s newest slum, Zaatari in Jordan, is a fourlane highway there” -David Smith

”

The Al Zaatari Refugee Camp in Jordan’s Mafraq Governorate opened on July 28, 2012, as part of a UN-sponsored aid effort to shelter individuals displaced by the Syrian civil conflict.

It is located near Jordan’s northern border with Syria and has become a symbol of Syrian displacement. Since then, the camp has expanded from a modest collection of tents to a 76,000-strong urban community, reflecting both the camp’s inhabitants’ needs and aspirations, as well as a shift to a more predictable, costeffective, and participative platform for aid distribution (UNHCR, 2020).` Except in extreme situations, refugee groups never fade; either they integrate into their new neighborhoods or they become bitter outcasts. The host country’s government (because it would have to provide for the newcomers), the relief agencies (because they would have to cater for the newcomers) all want to deny this.

2

RESEARCH & ANALYSIS

THEATERRA

The modern Displaced Camp is seen as a ‘temporary camp’, not a soon-to-be permanent city. The average Displaced Person (DP) camp exists for 17 years, hobbling the generation of children who grow up not knowing nothing of the world their parents left, nor the world they will eventually arrive into. The people in Zaatari have no home to go home to.

Growth of the Camp Jordanian authorities provided land for Zaatari’s growth and ensured the camp’s security. The camp covers 530 hectares (220 square meters) of land, which is enclosed by an 8.3-kilometer ring road that runs east-west for 3.5 kilometers. In July 2012, the west or “traditional side” of town was inhabited first; the old side of town includes Zaatari’s downtown and slums. Conflicts arose all throughout the city’s planning because the Jordanian government had (and continues to have) a vested interest in Syrian refugees who fled the conflict’s end. Stakeholders must maintain a steady balance between refugee demands and Jordanian concerns about Zaatari becoming such a permanent city (Ledwith & Smith 2014).

Demographics The Zaatari camp was opened in 2012. Since 2013 the population of the camp has increased significantly.

Currently around 80000 people live in the camp from which 56% of them are children and teenagers.

The camp has 12 districts. However, it is important to mention that the emergence of the camp started from district 1 and 2.

The Zaatari camp currently hosts 79,793 refugees, significantly more than its official capacity of 60,000. Many refugees have already established businesses within the camp.

Figure 0.2 - Syrian refugees collect water at the Al-Zaatari refugee camp in Mafraq, Jordan, near the border with Syria, August 18, 2016 (Source: https://learningenglish.voanews.com/a/trappedin-jordan-syrian-refugees-see-no-way-home/5081354.html

Figure 0.3 - The rectilinear arrangement of the Caravans in the camp, Jordan. (Source: https://www.dezeen.com/2016/12/09/refugee-cities-turn-camps-into-enterprise-zones/)

120,000 Syrians

680 Large Stores

120 Mosques

530 Hectares

680 Shops that employ

3 Hospitals

17,000 Caravans 8,000 Tents 90 percent of refugees are

children

65 Percent employment 360 TWater truck arrivals per day

month

3 Schools 16130 USD worth of

from the Daraa province

2500 Total Shops

200 Children born per

1500 NGO offered jobs

electricity used per day

Figure 0.4 - Data of demographics from the camp (Source : AHI Publications (Ledwith, 2014))

3

RESEARCH & ANALYSIS

THEATERRA

PROBLEM STATEMENT

DESIGN GOALS Following this we established a few design goals:

Za’atari had been plagued by design flaws that are linked to violence and disorder (the guardian article). The research focused on understanding what was not provided for the refugees. Logo-stamped burlap and metal sheets are repurposed to solve practical problems, but the deeper question to ask as a designer is ‘how do you live in a shelter that is not a home?’ Even in the state of displacement, their culture is still a displaced heritage of the future.

Figure 0.5 - A collage describing the life at the Al Za’atari Camp, Jordan

“

Our problem statement and the motivation to design became: The majority of the Al’ Zaatari camp population (56%) is under 18, and they have mostly not experienced life elsewhere. Culture is being treated as secondary since organizations are only focusing on essential needs. We propose a cultural center built by the people themselves, allowing for the transfer of Syrian culture, knowledge, and craftsmanship to the younger generation.

Figure 0.6 - A diagram of the Maslow’s pyramid (Source: https://www.signium. com/news/top-leadership-tips-from-maslows-pyramid/)

Outlet for Cultural Expression

The center will be an outlet for cultural expression - a space for people to learn,

Space to connect with Culture

Reinstating culture back into the camp, to have fun and connect with and experience their cultural identity

Build as a community

The center will be an outlet for cultural expression - a space for people to learn. The spaces will grow and adapt to meet people’s growing needs and create a sense of belonging.

4

RESEARCH & ANALYSIS

THEATERRA

PASSIVE EDUCATIION

Concept?

THEATRE WORKSPACES EXHIBITIONS

ACTIVE EDUCATIION REHEARSAL SPACE WORKSHOPS

Figure 0.7 - A diagram to explain the concept of the project (Source: own image)

5

RESEARCH & ANALYSIS

THEATERRA

“For them”

“From them”

“theirs”

Figure 0.8 - A diagram to explain the concept of the project (Source: own image)

6

RESEARCH & ANALYSIS

THEATERRA

LOCATION Data about the camp’s layout and configuration.

In order to obtain an understanding of the necessities of the camp, we needed to have a deeper understanding of the site. In the first weeks all groups together conducted a site analysis. We contributed to this analysis. From this bigger analysis we picked out smaller problems and see where we could overlay maps in order to pick a good location.

Cultural Centre Since we Wanted to build a cultural centre, we first had to research the current location and type of facilities in the camp. Figure 1.4 (on the next page) shows the location of family and child centres. These are meant to bring comunities and people togheter by means of activites, livelihood programs, recreation and social events. They are also used to hold other functions like library, day-care, sports, games, traiining, language courses and complaint mechanisms.

The community centres are widley spread (58 centers in the whole camp) and very tiny. Each district has an average of 5 of those centres. These are to many and to widely spread to use as a educative tool for the whole camp. We then propose a bigger and more central Location for this. There are also limiting factors for the people to participate in going to those facilites.

(UNHCR, 2019) figure 0.9 - The urban growth of the camp from 2012 till 2014

Because of this we want our centre to tackle these problems and facilitate in solutions to improve involvement in the centre.

Location (research) In the image 1.0 on the right you can see the growth of the camp.

It is very clear that the camp has been constructed in segments and is setup very fast. However after a small abstaction (figure 1.1), it is visible that the camp has a clear layout and that the density of the camp is unequally distributed. There are a lot more households to the West of the camp than to the right (figure 1.2). This causes a unsymetrical division inside the camp. More facilities are prone to settle in the West and the East part has to travel a lot further to reach those facilities (figure 1.3). The centre of the camp as a whole is located adjecent to the big steet going from north to south. This is confirmed by the amount of facilites that are located around this street (figure 1.4).

Figure 0.10 Abstract representation of the camp’s layout

Figure 0.11 Density of shelters in Zaatari as of March 31, 2013. | REACH Initiative

7

RESEARCH & ANALYSIS

THEATERRA

LAYOUT Data about the camp’s layout and configuration.

The conventional layout of the camp is a grid-system with caravans arranged in rows; caravan spacing is designed to accommodate cars, prevent fire, and improve hygiene.

Surveyors choose where the caravans will be placed, and assistance workers must set the caravans where the surveyors requested.(Ledwith, 2014) The original planning fabric from the tent infrastructure is visible in the old camp since the caravans were not donated at the start of the camp. As caravans replace tents in the old town, surveyors are forced to locate more caravans in a particular space than is necessary due to the close spacing.After the occupants received their caravans, the camp’s unstructured arrangement arose. (Ledwith, 2014)

Figure 0.12 The layout of the Caravans in the intially (Source:Zeid Madi’s Thesis Project, https://issuu.com/zedd. madi/docs/zeid_madi-selected_works_hq

Figure 0.13 The layout that the residents changed over time (Source: Zeid Madi’s Thesis Project - https://issuu. com/zedd.madi/docs/zeid_madi-selected_works_hq

Figure 0.15 The figure ground map (Source: Zeid Madi’s Thesis Project - https://issuu.com/zedd.madi/docs/zeid_ madi-selected_works_hq

Figure 0.14 The figure ground map (Source: Zeid Madi’s Thesis Project - https://issuu.com/zedd.madi/docs/zeid_ madi-selected_works_hq

8

RESEARCH & ANALYSIS

THEATERRA

Site picking tool: Our intention is to establish a methodical way of locating a site.

This way we deliver a modular approach for picking a location for a Cultural Centre. We used the facilites and urban structure of the Zaatari Camp as a example study. The establisment of the location should then be based upon a few (changable) paramaters. The programm/script will always provide a good suggestion for a location. This contributes to the idea of creating an approach instead of a specific building. We used the Rhinoceros plug-in UNA-Toolbox to generate the Data ourselves.

The input date set is a set of 2 dimensional points containing information about building- types and outlines, roads, street names. We obtained this from an open-source netwerk like Openstreet-maps.From this we used Rhinoceros and grasshopper (Elk) to transfer points to polylines resembling buildings, roads and

households. This is crossed referenced with maps about the camp to validate the accuracy of the data (data from a refugeecamp can be inaccurate).

Now we can use a shortest distance algorithm to determine the behaviour of the households inside the camp.The first analysis to obtain is to locate the main streets. This can be done to see what roads are used most inside the camp. We can check the shortest distance from all households, through a roadnetwerk, to a certain set of interest points. We can then check what roads are used most. By checking the orientation of the road, we can now find the intersection between the busiest street and the busiest street attached to that (more than 45 degree difference between orientation).

The next page shows the UNA-toolbox analysis of this. The only input needed, is to manual insert the curves (serves as a netwerk, need to be completely exploded), origin points and destination points. The results can be seen in figure 1.8 to 1.13.

Figure 0.17- Infrastructe and facilites (REACH, 2013)

Figure 0.18 - RefuGIS, Unicef (2015) - Distances to child and family centres

Figure 0.16 Reach, Unicef (2014) - Shops and businesses Owned by Refugees

Figure 0.19 - Reach, Unicef (2015) - Distances to school

9

RESEARCH & ANALYSIS

THEATERRA

Figure 0.20 - Abstract representation of the camp’s layout

Figure 0.21 - Density of shelters in Zaatari as of March 31, 2013. | REACH Initiative

As can be seen from these maps, the busyness of the road from households to the supermarket and to the busstops are not accurate to find the main streets. The supermarkets are well devided and there are many sub-roads going there. The busstops are all around the camp, this means that the roads on the outside of the camp are mostly used. In reality, people who cross eachoter on the street feels more busy then when people walk in the same direction. It is therefore not a good indicater to use in the toolbox.

10

RESEARCH & ANALYSIS

THEATERRA

The roads themselves may give a misleading indication when you use a bad variable.

The Busstops is not a facilities that is on a main street. You can tell when you look what the closest busstop is for any household and show visually show this (figure 1.10).

Figure 0.22 - Centrality to busstops

Figure 0.24 - Centrality to supermarkets

Another good way to locate the central axis is by looking at the distance from households to typical shops (see figure 1.12).

They are mostly located around the central axis.

Here you already see a clear location where the 2 main roads intersect.

This is the location the toolkit needs to identify.

When you check how far a household needs to travel to get to a supermarket you can clearly see that it should be a good indicator.

The previous map is misleading due to the fact that 1 supermarket in a remote part of the camp will attract in theory more people to one than when you have 2 in close proximity.

Therefore the streets around the remote supermarkt will (in theory) be used more.

The correct way to look is when you see how far people have to travel to get to a supermarket (figure 1.11). This is a correct resamblence of the central axis.

To show that you cannot use any attractive point that is located in the centre, we took a look at home businesses (figure 1.13). This would result in a wrongfull identification of the main axis.

We can conclude that the distance to either regular shops, or the distance to supermarkets need to be used in order to identify the main axis of a refugee camp.

Figure 0.23 - Centrality to clothing-, small electronic-, bike repairs, music and street food shops

Figure 0.25 - Centrality to home and small businesses.

11

RESEARCH & ANALYSIS

THEATERRA

Axis

Functional/facility/density balance

Density

- Shortest path algorithm - Creating dictionary of local roads and origins/ destinations - Most used crossing

- Density of facilities - Pick domain on road in low density areas

- Find plot near road and on correct side of the camp with lowest density of houses

Figure 0.26

Breakpoint Our intention is to create a toolkit that can be used for any site.

The technique used so far uses a good and available dataset.

The downside is that you have to manually select the in and outputs every time you want to make an analysis. The result of the analysis is then visualized, but not stored in any form of data type. This means it is still hard to programm a computter to pick a spot. A person would still need to evaluate the results.

To solve this, we first tried to break open the UNA-toolbox software. This plugin from City Form Lab is widely documented.

However from the start of the course we where not able to read/understand the RAW script (from: https://bitbucket.org/ cityformlab/urban-network-analysis-toolbox/src/master/src/ Common/Data_Structures/ ).

Since this was far beyond our comprehension, we wanted to recreate the essence of the script. With the help of the pathfinding workshop we started to create a shortest path algorithm inside grasshopper-python.

Working with a big dataset is a lot messier than working with a small one. So we used 6 polylines with various lengths and intersection locations and 10 points to simulate the big network with origins and destinations. The curves need to acknowledge a intersection with another curve as a possible place to switch

Figure 0.27 from one path to another, meaning that every endpoint needs to be connected to a starting point. Step one is splitting every curve at intersection points see Github code 1 in attechments.

We can now create a dataset with locations of start and enpoint of every curve with the length of that specific curve.

The idea is to create a dictionary of the start and endpoint and locate where they are the same. We set the length of a curve to be the weight of the path. This way we have constructed the right format for the graph network. We only need to map the points of origins and destinations to the closest end/start point. This would allow the algorithm to function propperly. I.e when told to go from “A, C and F” to “G” it would match the paths with the lowest accumulated length and do it for A to G, C to G and F to G. We used a shortest path algorithm (dijkstra) and dictionary from Alex Keen (retrieved from: https://benalexkeen.com/ implementing-djikstras-shortest-path-algorithm-with-python/).

This way you can select the desired starting- /endpoints and the code will give you how many persons are useing one street.

From the most used streets can be obtained. To find the biggest intersection we wanted to located the most used street adjecent to the biggest street and test if the orientation was shifted more than 30 degrees. If this was the case, it would mean that this would be a big (not per se the biggest) intersection. We would then redraw these 2 lines over the big map to find the axis of the camp. Our suggested location is somewhere along these lines.

Figure 0.28 From that it would be an easy task to identify any unequal density in area. This would have been done by finding the absolute centrepoint of the camp and the average position of all households.

This would result in a left/right north/south centred camp.

We want to bring balance to the camp and make it pysically available for everybody, so we want to position it on the mirrored axis of the current absolute and real centrepoint. Combining that with the location along the axis gives a specific site area.

The final part of the script would have isolated this area and searched for the section with the lowest density in order to not bother to many people.

See Github code 2 for the attempted grasshopper-python code.

Githube code 3 gives the full grasshopper script. The shortest path algorithm did not result in any errors, but when you check the results they are not correct. Also the script did not always work for every point location.

The making of this script took a lot of time and it was not our main focus of the project. This is why we cancelled the programming part from this toolkit and continued with the previous UNAtoolbox analysis. The error is probably located in the formatting of the data. The algorithm works perfect, but the graph network is not formatted accordingly. We could not fix this bug in time for the final report.

12

RESEARCH & ANALYSIS

THEATERRA

Site location The breakpoint concluded that we had to manually pick the site.

We left the toolkit unfinished for the time being. From figure 1.11 and 1.12 we can identify that the main axis in the camp.

Figure 0.29

Figure 0.32 - Flowchart of inteded urban anlysis toolki

After this we can identify the absolute centrality of the camp versus the realistic centrality of the houses or functions. We can do this by using figure 1.2, 1.4 and/or 1.5. The location of the central axis need to move to the East of the camp. So our location will be placed around the East side of the axis.

Figure 0.30

From this we looked at the district with the lowest density. Districkt 18 and site number 6 has been chosen. We considered it to be a ‘blanck’ canvas. It is the lowest density of 6 sites located near the axis, but there is a school in the location. We where asked not to consider this

Figure 0.33: District 6 Site 18

Figure 0.31

13

THEATERRA

RESEARCH & ANALYSIS

Figure 0.34: Diagram of the overall workflow of the project

14

1

////////////////////////////////////////////////////////////////////////////////////// This chapter talks about the process of generating a layout and finding suitable criteria to evaluate the layout and choose the best one among the ones generated.

The rules and logic of the game is defined, by using the space syntax, REL chart and the bubble diagram. The rules of the game are experimented by first playing manually and transferred to the python and grasshopper in the second step to generate multiple layouts and evaluate by grading them.

This helps in choosing the best layout in the end of the process. //////////////////////////////////////////////////////////////////////////////////////

CONFIGURING 15

CONFIGURING

THEATERRA

CONFIGURING

The process of configuration the layout Architecture design shares many similarities with art. Architects are often in favour of decisions that support aesthetics and in this process, the optimised and logical solution might fall second in the priority.

During the design process, architects often face the threat that their decisions may be biased due to the natural limitations of human cognition acting in complex environments (Performance et al., n.d.)

When the design process moves towards data-driven and performance based decision making, it gives the opportunity to revisit every step of the design process, thereby substantiating with logic to produce the optimised and desired result. The main goal of this project was to build a recipe that could be followed by fellow members of a community to build a campus by themselves without the prominent shadow of a body of designers governing their design.

Main goals : - Defined by a gamified approach, the procedure of making a layout plan is broken down into smaller solvable steps.

- To estimate the amount of earth that needs to be dug for making the bricks.

- To define rules that are flexible for resolving complex decision making processes.

- Developing a set of rules that can evaluate a generated layout to make it easy to pick the best one at the end of the process.

Figure 1.1: The development of the layout in many Phases

16

CONFIGURING

THEATERRA

CONFIGURING

The process of configuration the layout

Figure 1.2: Changing layout by Python

Figure 1.3: Puzzle of 2D rooms by hand

Figure 1.4: puzzle of layout by hand and evaluating

Chapter 2.1: Programming

Chapter 2.2: The game

Chapter 2.3: The grading

In the first part of EARTHY 4.0, we wanted to make a fully programmed layout tool. It will generate a random layout that fulfills a set of desired parameters. We started off in grasshopper and with kangaroo we could change the location of a room based upon limitations. We wanted to produce it in python, but due to a lack of knowledge in the initial stage we had to pause this part. We later went back to write a python script to find various layout options based upon a set of limitations.

In the second parth of EARTHY we had to test all the rules and limitations that we had set up for the programming of all the rooms.

However, when playing the game, we discovered that it will be incredible amount of work to program and that the game itself is very fun, personal and interactive. We thus move on with a different approach. It now involves the finetuning of the rooms and their relationship.

In the final phase of EARTHY 4.0 we wanted to make the game ‘playable’ by almost everybody. This way it can be a participatory aspect for the refugees. With a few simple rules based upon the game of Colonist Of Catan. We now write a script to evaluate the layout. The same rules as before can be used, but a balanced grading system need to be designed.

17

CONFIGURING

THEATERRA

Figure 1.5: Theater spaces

Chapter 2.1: Programming Our intention is to give the refugees a toolbox to create THEIR culture centre. A input is needed to determine the needs and desires of the people inside the camp.

We intend to hold questionaires to obtain information about the type of rooms, functions or accesability. It is inpossible to recieve the results, so we simulated the rooms and dimensions ourselves.

We started by defining 4 cluster area’s. These would have the same type of spaces and therefor serve the same function. These clusters are:

Figure 1.6: Workshop spaces

1) Theater: main focus of the building. A magnificent piece that inhabitants of the camp can be proud of. Iconic and unique in shape and functions as a stage to perform and educate.

2) Workshops: a place to craft, move, train, sing, build, paint ect. A set of spaces to accomodate for activites related to culture. Some spaces will need sertain requirement or bring negative effects to their surrounding.

3) Offices: the logistical business of the cultural centre. This can also include small businesses and community start-up projects. This is part of the incentive to make it attractive for households to come and participate in the culture centre.

Figure 1.7: Office spaces

4) Commercial: to sell goods that are related to cultural aspects. This can range from hand mande rugs, to special bricks to build their own DIY house. It facilitates the neighboorhoud and brings commercial oppertunities to those participating in the culture centre.

Figure 1.8: Commercial spaces

18

THEATERRA

1

2

3

4

5

6

7

8

9

10

11

12

CONFIGURING

19

CONFIGURING

THEATERRA

Space Syntax Now that have determined all the rooms, we can construct relationships between spaces. Every room is special and their relationship to other spaces might be necessary, unwanted or not important/ neutral. The kitchen need to connect to the cafeteria, but the toilet does not connect to the podium (see figure 2,8). In this diagram it is inportant to note that the green have to be connected, and that the blue or yellow connections can be used to create loops inside the building. This way you can walk from a stage design workshop to a courtyard and from the courtyard to the shops, but not from the stage design workshop directly to the shops. We will now discuss the most important desicions per room: Courtyard: You have to be able tot walk from the entrence to this oasis. From this you can walk to a lot of public places. Rather not the more private ones.

Arrival space: Connects the workshops and theater hall. A lot of public functions are available through this room.

Toilets: Available throughout the building but not in a room where people are staying. Mostly desired in ‘transport’ rooms.

Figure 1.9 Rel Chart

Storage room: Used to store goods, so you want to connect it to the rooms that do not have the space itself, need a lot of suplies or connect it to a ‘transport’ area.

Meeting room: Private and remote. Preferably no noise.

Theater hall: Connects the arrival space with the theater. This doesn’t need to be connected to any other spaces besides the podium and arrivalspace/courtyard.

Rehearsal space: preferably next to changing room and/or theater.

Backstage: Connects podium to the changing room, storage and stage design workshop to accomodate an easy route for the products that are made.

Changing rooms: very private and only connects to rehearsal space or backstage.

Workshops: they all connect to public transport area. Some of them are special and connect to the theater or to a shop/exhibition space.

Shops: can be connected to any space that produces products.

Exhibition space: connected to a shop to allow the possibility of selling exhibition related products. Might be connected seperately

Figure 1.10: We established our first schematic ‘bubble’ diagram. We want to create 4 clusters that have some connection to eachother. This will create some loops inside the building. The clusters are however somewhat seperate.

20

CONFIGURING

THEATERRA

Bubble diagrams: From the REL chart we can obtain the relationship/configuration of rooms. As mentioned before, there has to be a selection what rooms are going to be connected to what rooms. A bubble diagram will show an abstract configuration of these spaces. The placement of the bubble’s are arbitrary. The important part in the diagrams are the connections between the bubbles and the siezes. Normally the wires between the bubbles show if there is a connection between one space and another and the size of the bubble shows the importance of a room.

In figure 2.10 our first bubble diagram is shown.

You can see that there are 2 different clusters not connected at all. This would mean that there are 2 sperate buildings. also the courtyards are barly used as transportation areas. Users just go directly from one room to another. Some rooms are missing due to the simultanious development of the space types and dimensions.

Figure 2.11 is the first adaption. It is one building and you can enter at the entrence of the theater. There are 2 very seperate wings that do not connect to eachother. One side is the office area and the other is the Workshop area. This does not need to be wrong, but it is desirable to have routes (or loops) inside the building.

In this stage of the course there was an initial thought to transfer the cartesian location of the bubbles to a physical configuration. This is why we used the same syntax in 2.12, but the bubbles are placed different to see if we can control the placement of them. After discussing, we concluded that the bubbles need to be used as a inderect guide for room connections rather than a direct implementation.

In figure 2.13 you can see the depth of the rooms of figure 2.12 and 1.11. It is supposed to be a public building, but a lot of rooms are located very deep in the building. This means there is a high threshold for households to go to the building. You would need to know the way inside to go to your location.

Figure 1.11: First bubble diagram

Figure 1.13: Improved bubble diagram

Figure 1.12: Adapted bubble diagram

Figure 1.14: Depth chart of figure 1.12

21

CONFIGURING

THEATERRA

After creating the REL chart and the first few bubble diagrams, we revisioned some of the spaces inside the building. We used to have 4 different sections inside the building and 3 building phases.

Category of spaces: The 4 different sections are not all in line with our intended design vision. We wanted to create a place where the inhabitants can experience and learn about their culture. We Identified that this does not work at the moment is becuase of a lack of participation due to either financial, family, time or pyhical limitations. Meaning it that they rather spend their time earning money, watch the children, it is to far away or that there is no benefit for them.

We wanted all the spaces inside the building to contribute to our design vision. This means educating and experiencing Culture, but it indirectly means that we have to create an Area/ user Ceiling interesting environment for the inhabitants [m2] space additional Users Area [m2] Noise height Accessibility Nature of spaces in order to participate. The Theater and workshop sections are perfectly in line with Theater 1,2 - 1,5 550 720 yes min 6 Public Open amfitheater our design vision. However, the offices are Entrance 100 yes min 3 public semi-open Propper lighting Base mainly for administartive activities for the Toilet 20 no min 3 semi-public closed cultural centre. We therefor want to merge Brick workshop 2 - 2,5 40 100 yes min 3 private closed lot of brick storage this with the commercial functions inside.

This way it can be attractive for the inhabitants to participate in order to also have an Rehearsal space 3 25 100 yes min 3,5 private closed office/workspace inside the cultural centre.

Changing room 2x 2 x 50 no min 3 private closed The administrative space will be merged Stage design workshop 1,75 - 2,25 40 100 no 3-5 private semi-open with the offices and meetingrooms inside Expansion Storage 0 0 50 no min 3 private closed the building.

Phasing:

Cafeteria Kitchen Toilets

1,5 - 2 3-5

We want to let the refugees inside the camp create their building. This means we need shops 4x 1,5 - 2 their input for certain decision we make.

Textile Workshop 1,75 - 2,25 One of them is the phasing of the construction of the building. We slowly want Exhibition Space 1,5 - 2 Final to build the cultural centre. This way the Meeting rooms 1,5 - 2 building does not have to feel like a corLobby porate intervention and we can expand our grasp on the community when the buildToilet 2x ing expands. More involvement means more hands to build, and more people to educate about culture. Since we cannot ask people there, we made a design decision ourselves. Whe categorized the Theater, Brick workshop and Entry hall to be the bare necessity of the building (base phase). Phase 2 (expansion) will be the workshops of the building, the cafeteria and a small workplace.

This way we fulfill our educational intentions and we start to eliminate restrictions for people not to participate. The last phase (final) will then be the rest of the commercial functions and the exhibition space.

The building is now completed. The phases do not need to be constructed in one go. An expansion phase can be constructed room after room.

50 4

100 20 20

yes no no

min 3 min 3 min 3

public private semi-public

semi-open closed closed

4 40 20 10

25 100 100 20 40 20

no no no no no no

min 3 3-5 min 5 min 3 min 3 min 3

semi-public private public private semi-public semi-public

semi-open semi-open semi-open semi-open open

Propper lighting

Figure 1.15: New Spaces and requirements

22

CONFIGURING

THEATERRA

There needed to be some more annotations for the bubble diagram. There needed to be more loops (not just wings) and we wanted to visually show what rooms need to be connected underground.

This because the theater is determined to be partially underground and therefore required spaces that connect to this. This gave us insight in the placement of the rooms and to make small indicateve rules.

Figure 1.16: Bubble diagram 1

The depth diagram is more in-line with our intentions and the spaces are corrected as mentioned on the previous page.

This will still change over the course, but we have a basis we can start from.

Figure 1.17: Depth diagram to figure 2.15

23

CONFIGURING

THEATERRA

Programming Intentions: We initially wanted to give the people a toolkit where they do not need to do anything besides giving their opinion on what rooms should be in the building and how they should be related to eachother. We wanted a script that builds the layout based upon a set of rules. Inhabitants of the camp need to feel at home and comfortable inside the building. To minimize transportation area inside the building is one way to feel comfortable to enter (especially for the first time). The first design goal is then to write a script that tries to find a layout based upon a certain quantity of transportation cells. We defined transportation cells as rooms (or gridcells) that do not have any other function than to connect one room to another. This can vary from a closed corridor to a open halway. We do not want to define the exact representation of these cells, but we do want to use as few as possible.

To start this we need to create the site. We decided to go for grasshopper since python implementation is fairly easy in there as well. We buildt the grid and added the complementary roads from district 6 site 18.

The next step is to create the rooms. We have the dimensions and thus can create a rectangle that represents the room.

In order to know what place needs to be placed where, we need to set up some rules. The fisrt step is to construct the base rooms: Step 1 Step 2

Step3

Step4

Snap entry hall to road (random place).

Identify what nodes of the entry hall are outside a 2 meter radius of the roads.

Move the east side boundry nodes of the theater to one of the nodes identified on the entry hall.

Connect toilet to entry hall. Make sure toilet is not in 2 meter offset of road.

We wanted to try this out in grasshopper first since this a familiar platform. We created a script that uses the input of room sizes a and kangroo anchors to create a configuration (see github code 2.1 and figure 2.18 to 2.23).

Figure 1.18: Alternative layouts produced by python.

Initial Design goal

24

CONFIGURING

THEATERRA

Figure 1.19: Creating roads

Figure 1.20: Setting 2x2 meter grid cells

Figure1.21 Make entry hall and place on canvas

Figure 1.22: Move entry hall to random place near road

Figure 1.23: Snap the left side of the theater to the entry hall. Make sure theater is not in 2 meter offset area of roads.

Figure 1.24: Snap workshop to entry hall.

25

CONFIGURING

THEATERRA

STRUCTURE

GRID

AREA

Figure 1.25: Input parameters for room size definition

Flaws in initial script:

The input is the name of the room, and the desired floor area. The output are a minimal of 2 sizes of rooms that are closest to this arae and fit on the grid.

This can directly be impemented in grasshopper to assemble the room’s walls and roof types (see walls and roof typology section).

We are now able to buildt the full library of rooms that can be used inside the inteded script. The results can be seen on the next page.

As can be seen from figures 1.18 to 1.23, the rooms do not have desirable sizes. There is no relation between the width and height of the room and the grid that lays underneath. We need to develop a definition that constructs a variety of rooms based upon grid sizes and desired floor area. A python script that snaps the the x and y range to the x and y sizes of the gridcells and eleminates combinations that are unwanted. For instance a 10 by 10 room is difficult to construct a comfortable layout. This means the script has to include constructive limitations (github code 1.2 and image All rules of the expansion- and final phase need to be set up. We go over the initial sel of rules after the library of rooms.

1.24).

The concept is that the script will return an error if no possible layout can be found. Every time it cannot generate a layout, we add 1 transportation cell to the algorithm. This will continue until a layout can be constructed. Since our building also goes underground we have to develop a way to also use vertical transportation cells and seperate the rooms that are not connected horizontally. This has been though out by making the rule operators not 2-dimensional but 3-dimensional. This way an intersection of a room is not considered to be a line, but a flat surface (when overlapping it is a mesh). Vertical transport can only be conducted by a module that is covering 2 floors. This would mean rooms on the first floor can intersec as well as rooms on the ground floor (see imgae XXX).

26

THEATERRA

CONFIGURING

Figure1.26: Full library of rooms

27

CONFIGURING

THEATERRA

Expansion: Workspace

Toilet

Final: adjecent to a transportation cell. away from noise distributing rooms. not in 2 meter offset of road. adjecent to a transportation cell.

rehearsal space not in 2 meter offset area of road.

adjecent to changing rooms. adjecent to backstage.

adjecent to workshop space. changing rooms adjecent to rehearsal room. backstage adjecent to west/right side of theater.

adjecent to transportation cell. adjecent to storage. workshop stage design

Figure 1.27: 3-dimensional intersection events on vertical transportation cells

adjecent to transportation cell.

storage

adjecent to transportation cell. snap to road (for delivery). not in entry hall.

kitchen

adjecent to cafe.

cafe

adjecent to kitchen adjecent to transportation cell

workspace

away from noise adjecent to a transportation cell

Figure 1.28: Table showing Expansion rooms rules (original)

Shops

in 2 meter offset area of road adjecent to a transportation cell

Textile workshop adjecent to a transportation cell Exhibition space adjecent to a transportation cell

adjecent to textile workshop meeting rooms away from noise adjecent to workspace adjecent to workspace Lobby snap to road adjecent to workspace

adjecent to a transportation cell Toilet

adjecent to a transportation cell.

Figure 1.29: Table showing final rooms rules (original)

28

CONFIGURING

THEATERRA

Special modules: Stair: The vertical transportation module on image 2.29 comes in two versions. There is a linear and a rectangular module, both cover 4 gridcells. The threadsize is 300 mm, riser is 225 mm and the total elevation gain is 4,5 meter.

4,5 m

4,5 m 8m

4m

4m

Figure 1.30: Stair module types. 4,5 meter high.

20 cm thread, 22,5 riser and 20 steps to go rise an elevation.

29

CONFIGURING

THEATERRA

Chapter 2.2: The game

Figure 1.31: The first play of the game (https://youtu.be/NXOMexudkNw)

Since these are a lot more rules and a lot more complex, we first want to make sure the script will work with these rules. This means we have to validate if every outcome of the script with these rules is desirable.

We are taking the scripting operators and use them as rules to play the game ourselves. All rooms have been cut to the right sizes ( see the room library). The task is to check if we can create undesirable layouts, if this is the case whe have to alter the rules of the game.

30

CONFIGURING

THEATERRA

Rules of the game: The game is based upon the principe of Colonist Of Catan. You start with constructing the base layout. From the entry you can now connect (horizontal or vertical) transportation cells. You need transportation cells to move through the building.

You first have to build a complete phase before you can use any of the rooms from the next phase. You can go back anytime.

Everytime you place a room it has to comply with the rules that are connected to that specific room (see figure 1.31). On the previous page you can see the first play of the game. Every time a layout could not be configured we went back to re-arange. This iterative process was a good puzzle, but we finally configured a layout (see figure 1.32).

Figure 1.32 The first layout from manual play

Figure 1.33: The rules for each room.

31

THEATERRA

CONFIGURING

Evaluation of the rules: The final layout complies with all the rules. When we look closely to those rules, we discovered that they are not all needed.

The workshop does not need to be connected to the rest of the building as long as it is connected to the road. Surplus bricks can then easily be picked up by households in the camp and the building stays clean.

Or that we wanted a path around the top of the theater to accomodate a good view to the inside of the theater.

We wanted to cluster the rooms of the different phases to maintain a compact building over time and to really sort rooms with different fucntions some more. After the base layout you are allowed to add ‘regular’ transportation cells to go to a courtyard. From that courtyard you now need function-specific transportation cells. In the expansion phase we call them Workshop-Transportation Cells (WTC). You need to connect the WTC to the workshop courtyard, or to another WTC. All the rooms that belong to the workshop section of the building need to be connected to a WTC. When you enter the final phase, you can again use regular transportation cells to go to the commercial courtyard. From there you need Commercial-Transportation Cells (CTC) to connect the commercial functions to the commercial courtyard.

Figure 1.34: Re-writing rules

Kitchen not in offset area Dedicated 1 changing room to be connected to the back of the theater and one to the rehearsal space Implemented structural placement of overlapping rooms. When two rooms are on top of eachother there are certain rules. The smallest side of the rooms need to have the same dimension. If this is the case, the stacking is allowed, otherwise it has to be replaced.

We sharpened all the rules as seen in figure 2.33. We played the game again as can be seen in figure 2.34.

Figure 1.35: Re-playing the game

32

CONFIGURING

THEATERRA

Apply rule set into python: Now that we finally have all the room sizes, constraints and interconnectivity, we can start/continue programming the layout.

We started in grasshopper, but realised it was not our design goal to improve our grasshopper skills. We strarted over and used python to programm arrays.

Figure 1.36: Placement of the entry hall controlled by a random variable of python

Figure 1.37: Placement of the theater based upon placement of entry

The first parat of the script identifies the boundry of the array. It pickes any point (except 5 cells from the origin) to insert a cluster of ones in the array of zeros. We only need to check if the total sum of the canvas is equal to the sum of the room that is inserted.

The second part we need to find the neighbors of the entry location.

We can do this by applying stencils. we can eliminate positions that we do not want from the stencil (the theater needs to snap close to the centre of the entry hall). When we apply the stencil we can find all possible locations for the theater. After this we eliminate all possibilities that are not possible (not in 2 gridcells away from road).

Also we have to check if the whole theater is on the canvas. when we know all possible locations of the theater we want to include the toilet. The toilet needs to snap next to the entry hall. However we do not want it to be in the 2 meter offset area and it should not overlap with the theater.

Once all these parts are written we need to include a loop function to try different entry positions if there is an error in any of the placements. This way it will alway produce a layout.

Figure 1.38: Placement of the toilet in the whole layout

33

CONFIGURING

THEATERRA

Chapter 2.3: The grading

46 points Figure 1.39: Playing the game online with corresponding walls. Test layout in order to grade the layout.

The game was very fun to play. Our design vision is to make it their theater, so we came to the conclusion to switch our design goal for the configuration. We wanted them to experience this puzzle and really make it theirs. This means we had to simplify the game (it was not easy to understand or play). After this we focussed on writing a script to evaluate every input layout. The layout that scores the best will be chosen to build. (see: https://youtu.be/1BpZwV0ztOg )

34

CONFIGURING

THEATERRA

The important part is now to assign grades to values from the layout. We can subdivide the rules into smaller components. Those can relate to either one of 5 sections (for full code see github 2.3):

1) Architectural

3) Noise disturbance

4) Routing

5) Placement of spaces

6) External look

The hard to grasp concepts like How many transportation cells symetry and negative space in- are being used side a building

If rooms that require peace are placed in close proximity of noise producing rooms

Checks if there are loops inside the buidling

If the place of a space is beneficial or the opposite for another space.

How the building is precieved from the outside.

- Symmetry is being analysed by drawing two rectangles over the theater. Then by comparing the total area of the left and right side. This can still give a wrong answer, but it is accurate enough for this purpose. We could also have evaluated the contours, but the result is in the same range.

- workspace away from noise rooms is checked by taking the curve closest proximity to the noise producing rooms.

- loop workshop takes all the workshop transportation cells and looks if they are connected to the theater (or theater seating) by first checking if all workshop cells are connected by looking at the shortest intersection point, then checking if any of those cells intersects with th theater (make sure this is done at the right level!).

- For shops near road we assign a - For every stacked room point every time a shop is placed you gain a 2 points. This is near one of the roads (this means checked by the overlaping intersection assign 2 points). check in the script that - For theater near entry we check evaluates if a layout is if the theater is attached to the allowed. centre of the edge of the entry. - The building outline is done If this is the case no points are by measuring the negative deducted, otherwise we deduct 2 area by offsetting the road points and subtract the countour - If the theater is in a proximity of of the building. The grades 2 gridcells to the road we subtract are assigned from 1 to 6 and 10 points, otherwise nothing depend on the quantity of happens. negative space in relation to - We want the workshop to be road. within 25 meters of the entrry of the building (otherwise far walk to go to toilet ect.) if this is close enough, 2 points are added. Otherwise 6 points are subtracted.

- Check for intersection between courtyard and 2 gridcell offset of the road. If there is one, subtract 6 points. Else add 2 points.

- Check Z-coordinate of the rehearsal space. If it is -3 [m] then add 4 points. Otherwise subtract 2.

- If reheasal space is touching with theater, assign 5 points.

Otherwise subtract 1.

- If there is an intersection between the changing room and the west half of the theater, add 1 point. Otherwise subtract 3.

- If textile workshop is closer than 2 gridcells away from the road you subtract 7 points, otherwise add 1.

- If a shop intersects with the exhibition space, add 2 points.

Otherwise subtract 4.

if it is lower than 60% similar we assign 8 points, 60 - 75% gives 11 points, 75 85% is 14 points, 85 - 90 % is 18 points and for 90 - 100 % is 21 points.

2) Distances

- Regular Transportation are the sum of all regular transportation cells used in the building.

less 10 = 20 points,10 -11 = 17 points, 11 12 = 14 points, 12 -13 = 11 points, 13 - 14 =8 points, 14 -15 = 5 points, 15 - 16 = 2 points.

- Workshop Transportation are the sum of all WTC in the building

less 6 = 14 points,6 -7 = 12 points, 7 - 8 = 10 points, 8-9 = 8 points,9 - 10 = 6 points, 10 - 11 = 4 points, 11 - 13 = 2 points.

- Commercial Transport are the sum of all CTC used in the - Intermediate area is being building. measured by measuring th less 7 = 14 points,7 -8 = 11 points, 8 - 9 = 8 countour of the current projected points, 9 - 10 = 5 points, 10 - 11 = 2 points floorplan and compare it to the length of the rectangle of the sum of all areas used.

If contour differs only 25 m2 25 points.

25 - 30m2 18 points, 30 - 35m2 14 points, 35 - 40m2 9 points, 40 - 45m2 4 points.

- Rooms above or below exhibition area are unwanted. A lot of light is needed. We check this by projecting everything to one plane and look for an intersection with the exhibition space. if there is there are 12 points subtracted, if there isn’t nothing happens

if it is closer than 1 gridcell than you reduce 8 points, otherwise you add 1.

- meeting room away from noise rooms is checked by taking the curve closest proximity to the noise producing rooms.

if it is closer than you reduce 5 points, otherwise you add 1.

if there is add 10 points, otherwise subtract 4.

- loop commercial takes all the commercial transportation cells and looks if they are connected to the theater (or theater seating) by first checking if all workshop cells are connected by looking at the shortest intersection point, then checking if any of those cells intersects with th theater (make sure this is done at the right level!). if there is add 10 points, otherwise subtract 4.

- Look if the lobby intersects with the road. If it does add 5 points otherwise subtract 10

35

CONFIGURING

THEATERRA

The script works and now we only need to create multiple layouts to evaluate. This way we can pick the highest scoring layout and move on to the forming section.

The game is simplified in order for every person to be able to play it. You still have to place all rooms phase after phase. Also the Catan strategy of using transportation cells still stand. You use regular Transportation cells to get to the courtyards (the seating around the theater counts as regular transportation area). Once you have placed the courtyard, you use the couryards’ specific Transportation Cells to go to the rooms that relate to that courtyard.

In figure 2.36 to 2.42 you see the different configurations that we have created (also see: https://youtu.be/zPSVJl4EbHE).

36

THEATERRA

CONFIGURING

37

2

////////////////////////////////////////////////////////////////////////////////////// This chapter talks about the process of generating a layout and finding suitable criteria to evaluate the layout and choose the best one among the ones generated.

The rules and logic of the game is defined, by using the space syntax, REL chart and the bubble diagram. The rules of the game are experimented by first playing manually and transferred to the python and grasshopper in the second step to generate multiple layouts and evaluate by grading them.

This helps in choosing the best layout in the end of the process. //////////////////////////////////////////////////////////////////////////////////////

FORMING 38

FORMING

THEATERRA

WALL LIBRARIES WALL & OPENING MODULES FOR GENERATING CONFIGURATIONS A library of wall modules was developed in order to generate various configurations of wall combinations to enclose the different spaces. The different combinations of modules is based on adjacencies of spaces, functional requirements, structural requirements, and some climatic considerations.

The main grid of 2x2m is further offset into a sub-grid with tartan bands (Figure 2.1). This allows for the wall modules to be placed on the main grid and in a non obtrusive manner. The tartan band is offset 0.25m from the main grid lines allowing for wall thicknesses of 0.5m. This is based on the structural performance required from the walls and the brick laying patterns and dimensions we developed that are shown in the structural part of this report.

In elevation a sub-grid is also introduced to accomodate for the various opening types while maintaining the structural integrity of the walls (Figure 2.2). The openings are always placed such that there is always 50cm of solid wall left on either side of the module and at least 35cm above the opening.

Figure 2.1 Tartan Grid Plan

Figure 2.2 Elevation Sub-Grid

Figure 2.3 Openings Construction Lines

The openings were design to follow the gothich method of constucting arches for openings (Figure 2.3). The arch is created from an equilateral triangle with the width of the opening as its base dimension, and to intersecting circles with their centers at the bottom corners of the triangle result in the final arch shape.

Combining the different modules can lead to all possible configurations that are required for the layout that was generated as shown in the diagram of Figure 2.4.

Figures 2.5-2.9 show the resulting wall modules.

Figure 2.4 Configuring Wall Modules

39

FORMING

THEATERRA

Figure 2.5 Closed Wall Module

Figure 2.6 Door Module

Figure 2.8 Small Window Module

Figure 2.7 Large Window Module

Figure 2.9 Column Module

40

Roof tesselations

FORMING

THEATERRA

The form-finding for the room started with figuring out how the eventual shape would come out of the dynamic relaxation. We experimented with different tessellations, anchor points, subdivision levels.

To get to a shape we would first draw a tessellation. This tessellation was then converted into a quad mesh using the weaverbird quad mesh subdivision. Anchor points were chosen based on the walls or lack of walls underneath the structure. XYZ-anchors are used to keep the edges on the line by locking the x and y coordinate of the naked vertices.

By controlling the edge length, spring strength and load the eventual shape is relaxed. With real time feedback about the height of the structure. We checked if the height is what we are looking for. The final relaxed meshes are baked to use for the analysis with karamba.

The roof dimensions are based on the possible sizes of the building.

The building is based on a grid of 2x2. the possible roof dimensions are multiples of 2x2.

Figure 2.10: Test tessellations

Figure 2.11: Flowchart roof tessellations

41

THEATERRA 2x2 transportation

FORMING

cell

The roof dimensions are based on the possible sizes of the building. The building is based on a grid of 2x2. the possible roof dimensions are multiples of 2x2. The 2x2 transportation cell is the smallest module in our building. the rest is atleast 4 meter in span. The 2x2 transportation cell is a self supporting module. Its tessellation is based on the ribs and openings in the sides. The corners are anchored in place to provide a connection with the ground the other naked vertices are anchored in their x and y coordinate but are free to move up and down. When dynamically relaxed the mesh is 3m high.

Figure 2.12: 2x2 transportation cell

4x4 dome The next smallest room is a 4x4 room this dome can be scaled to a 6x6 which is used for the calculations in Karamba. The tessellation of the 4x4 is based on the ribs that are there to support the structure and help with guiding the construction. The 4x4 or 6x6 dome is supposed to be supported by walls on 4 sides and all naked vertices are anchored during the relaxation. The dome is 1,5m high, so when the dome is used as a ceiling for a room underneath a second story the vertical distance between the rooms is limited.

Figure 2.13 : 4x4 dome

8x4 vault The 8x4 vault is used for the rectangular shaped rooms. The cross ribs also are the base for the tessellation of the mesh. All the naked vertices are anchored in place as the vault as to be placed on walls or arches. This vault is also 1,5m high to keep the vertical distance between spaces limited.

Figure 2.14 : 8x4 vault

42

FORMING

THEATERRA

Figure 2.15: 12x12 vault

Figure 2.16: Separated parts

12x12 vault

Separated parts

The 12x12 vault is used for all the bigger spaces. It is relaxed in its entirety to make it convenient to connect the different parts. The tessellation is based on the ribs and connections between the different parts of the space. It is anchored all along the edge of the mesh and in the center there are 4 places where columns are placed to further support the ceiling. The vault does not exceed the 1,5m limit.

To make the 12x12 more modular it is split in its components of 4x4. It consists of a corner piece, edge piece, and centerpiece. With these components all the larger rooms with a multiple of 4x4 can be provided with a ceiling, This includes the 8x8 room and everything larger. The Tessellations are the same as the 12x12 vault and also based on the ribs and opening within the vault. The height is 1,5m again.

43

FORMING

THEATERRA

Theatre roof The theatre roof has seen many iterations.

This is the final design we came up with. The roof consists of multiple arches and vaults placed behind each other. One of the elements can be seen in figure xx. The element consists of 1 large arch and 2 smaller vaults on the sides.

The Large arch is covering the seating area within the theatre. It spans a distance of 12m and is 4m deep. It is 7m high at the front and 5m high at the back. This is a continuous design decision to provide an interesting light entrance in the space and have a fresh breeze flow through the theatre. The tessellation for the arch is to accommodate the difference in height. With more mesh edges on one side it becomes higher when dynamically relaxed.

The short sides of the arch are anchored in place and placed on arches in the theatre.

The naked vertices on the long sides are anchored in their x and y coordinate.

The secondary vaults are tessellated in the direction of movement of the stairs below it. The vault spans 4m and is 4m deep. The top is 2.4m high. The roof rests on 2 arches on either side. So the anchors are placed on those sides.

Figure2.17: Theatre roof

44

FORMING

THEATERRA

PUTTING IT ALL TOGETHER COMBINING ALL THE DIFFERENT LIBRARIES AND GENERATING THE FINAL FORM FOR THE CHOSEN LAYOUT An automated process was developed through a script combining various rules that reference the libraries previously generated in order to formulate the different rooms and spaces from the chosen layout.

The rules depended on a couple of different inputs from the layout, namely; - Room Dimensions (Width, Height) - Double Story; True or False - Wall Height - Slab Thickness - Freestanding; True or False - Desired Connections (Door Locations) - Unwanted Connections (Solid Wall Locations) Based on the previous inputs, a form is generated for the given space. From the different layout variations a form is then automatically derived based on this script. The following pages show some examples of how the script is applied to different types of spaces.

Chosen Iteration Here we can see the forming proccess applied to the chosen layout iteration. The theater roof is a special case and has been designed separately.

Figure 2.18 Chosen Iteration Isometric

45

FORMING

THEATERRA

W≠H Minimum (W,H) < 8m Supported Edges Single Story

W=H=2m Freestanding Single Story

Figure 2.19

The rooftype for freestanding transportation cells is used.

Figure 2.22

The rectangular rooftype is first introduced, and it automatically rotates to span in the shorter direction.

W=H < 8m Supported Edges Single Story W=H=2m Freestanding Single Story

Figure 2.20

The rooftype for freestanding transportation cells is used, with a solid roof ontop for other functions to be placed onto.

Figure 2.23

W=H < 8m Supported Edges Single Story

Figure 2.21

A square dome roof type is placed. Here we see the introduction of the wall modules.

Windows are automatically placed, with smaller windows towards the south side.

A square dome roof type is placed. The is similar to the square roof used in the 2x2 type, but scaled in the x and y direction. The z direction maintains the 1.5m height and is structurally calculated for the worst case scenario.

W≠H Minimum (W,H) < 8m Supported Edges Single Story

Figure 2.24

The closed rectangular rooftype is is again used, and it automatically rotates to span in the shorter direction.

46

FORMING

THEATERRA

Minimum (W,H) > 6m Larger Span > 8m Supported Edges Single Story

W=H < 8m Supported Edges Single Story

Figure 2.25

A square dome is used again.

Note that this is the maximum span we use for the single span square dome we derived.

Figure 2.28

The modular roofing is used again, with a new piece of the module being used in between the corner pieces; the side piece. An additional support is also introduced.

Minimum (W,H) > 6m Both Spans > 8m Supported Edges Single Story W=H < 8m Supported Edges Double

Figure 2.26

Similar to the previous case, but with a flat roof above the dome for functions to be placed ontop.

Figure 2.28

W=H > 6m Supported Edges Single Story

Figure 2.27

A new form of roofing is introduced along with the location for a new support. Since the minimum span direction is larger than 6m. Note that this roofing system is modular and in this case uses four corner pieces.

A third piece is introduced to this modular roof type to complete the set, a center piece.

The span is larger than 8m so new supports are added in the other direction. For every span that is larger than the previous multiple of 4m a new support is always added.

Solid Wall Locations

Figure 2.29

Adjacent spaces that do not require connections are identified and solid walls are placed in the required locations. This step is done with a slider for now and is not detected automatically.

47

FORMING

THEATERRA

Rib Placement

Door Placement

Figure 2.30

Figure 2.31

Figure 2.32

Doors are placed in the required locations where connections to nearby spaces are neccessary.

Figure 2.33

Ribs are placed with the correct thickness according to structural calculations and in locations following the roof mesh tesselations.

Applying Tartan Grid

Roof Mesh Thickened

The base grid is shown here for an example space where a tartan grid is applied next.

The roof mesh is applied thickness and is placed with the ribs and thickened wall modules.

Figure 2.34

Applying Tartan Grid

Buttress placement

Thicknesses are given to the modules and support lines based on the tartan grid.

Buttresses are then placed on outer walls that are not laterally supported by other walls.

Figure 2.35

48

THEATERRA

FORMING

Cluster Example Here the forming script is applied to a cluster of different spaces with different requirements resulting in the 3d form shown.

Figure 2.36

49

FORMING

THEATERRA

THEATER Size and Zones The size of the theater was decided on the maximum number of people who could use it. The maximum number of the user is 500 people and the size of the whole theater including sitting, front stage and back stage, which sums to 640 m2. Further, the subdivision of the area was 50% for the performance and 50% for the sittings and viewing.

Layout Derivation The layout of the theater was derived considering the viewing angle of the people sitting in the viewing area. For design consideration in terms of the view angle and derivation of sitting layout, neufert standards for theater design and studying the layout considerations behind the design of colosseum being elliptical in form. In order to have the best viewing range from all the parts of the sitting area. The sitting layout was designed based on the width of the front stage. Taking the center of the front stage as center of the first ellipse to make the sitting layout, later offsetting the same ellipse to have multiple rows of sitting. And considering the center of the last row, the view angle from the there should be 30 degree and view angle at center mid row have to be 60 degree and the view angle at front row has to be 110 degree wide.

These standards were from neuferts, and in the theater design here we achieved the angles 33, 57 and 113 degrees respectively.

Viewing Gallery Figure 2.37 : Plan of theater showing the zones

Viewing and Sitting

Front Stage

Side Stage

Back Stage

Section Derivation Section of the theater was developed considering the acoustics and viewing array for the people sitting in the theater and people from the transitional corridor above on either side of the theater at ground level.

The form of the roof of the theater was developed on the consideration of sound reflection. And some of the other consideration for the roof design was to have natural light and air ventilation in the theater, as it is very important to best natural wind flow for the local climate.

Figure 2.38 : Plan of theater showing the reference lines to derive the viewing angle and base ellipse

50

THEATERRA

FORMING

Figure 2.39 : Section of theater showing the sitting layout and the roof with the consideration of sound reflection and viewing angle

Figure 2.41 : View of the theater showing the whole theater with roof and viewing gallery at the ground level looking over the theater

Figure 2.40 : Plan of theater showing the sitting layout derived from the multiple offset of ellipses

Figure 2.42 : View of the theater showing the elliptic sitting layout to have proper viewing anlge for all the peope sitting

51

3

////////////////////////////////////////////////////////////////////////////////////// This chapter talks about the process of choosing a building material and further developing the shapes into structures. //////////////////////////////////////////////////////////////////////////////////////

STRUCTURING 52

STRUCTURING

THEATERRA

MATERIAL PROPERTIES The properties of the material have a significant value for deeper structural analysis. Here we have used basic standard data for CSEB blocks from Auroville Earth Institute. For the structural analysis the properties of class A bloc are used to have the best result. We have considered tensile strength as 1/10th of the compressive strength.

Figure 3.1 : Basic data table showing the properties of CEB blocks, the values used for the structural analysis are boxed in red

53

Structural analysis THEATERRA

STRUCTURING

In the flowchart below you can see the different steps that have been taken to ensure the elements of the building are structurally sound. The inputs used for the Karamba3D Finite element analysis are the shapes designed in the shaping phase of the project, the material properties and the load cases.

If these inputs do not give a satisfying outcome the shape and sections of the structural elements can be tweaked until the stresses and deformation fall within the allowable values.

The structures are tested for principle tension and compression stresses and displacement as a result of the given load cases. The principal stresses have to fall within the limits of the material and the displacement has to be lower than span/200.

The Tension stresses in the structure showed to be the limiting factor in designing the structure.

This resulted in thickening the shell or making the ribs larger.

54

Load cases

STRUCTURING

THEATERRA

For the calculations within Karamba3D we had to set up multiple load cases. These can be divided in dead loads and live loads: Dead loads: Gravity (L0)- Karamba calculates the mass of the entire structure and applies a gravitational force to it.

Filling with sand and next floor (L1) - The structure that is being calculated could be situated under another level and it should be able to take the resulting loads. With an extra level the dome of the ceiling is covered with sand, to make a flat surface for the floor above. The density of sand is 15 kN/m3, with the dome being 1,5m high we estimate that the volume of sand above the dome provides a load of 5 kN/m2 being 1/3 of the bounding box of the dome or vault.

Live loads: Roof maintenance (L2) - Roof maintenance is taken into consideration this a load of 1 kN/m2 Office load (L3) - In the case of a 2 story part of the building we have taken the standard office load of 2.5 kN/m2.

Lateral load: Wind Load (L4) - For the wind load we have taken the standard wind load for buildings. These are 0.5 kN/m2. The wind load case is used for the calculations where walls were taken into consideration.

Loads

Magnitude (kN/m2)

SF

L0

1

1.2

L1

5.0

1.2

L2

1.0

1.5

L3

2.5

1.5

L4

0.5

1.5

Figure 3.2 : Load cases

55

2x2 Transportation cell

STRUCTURING

THEATERRA

Figure xx shows the load cases that are being used for the calculation of the structure In figure xx you can see the final dimensions of the structure. The thickness of the shell is a multiple of 4. There are 3 layers of 4cm thick tiles.

In figure xx the resulting stresses and deformation can be seen. because of the low span the default shell thickness and rib dimensions are more than sufficient.

Loads

Magnitude (kN/m2)

SF

L0

1

1.2

L1

5.0

1.2

L2

1.0

1.5

L3

2.5

1.5

Figure 3.3: Loads on 2x2 Transportation cell

Element

Dimensions

Span (m)

2

Thicknes (cm)

12

Ribs (cm)

32 x 16

Figure 3.4: Final dimensions elements 2x2 Transportation cell

Resulting stress/deformation

Actual

Allowable

Max tension (MPa)

0.01

0.3

Max Compression (MPa)

0.21

3.0

Deformation (cm)

0.32

1

Figure 3.5 : Tension, compression and deformation compared to max allowed

Figure 3.6 : Mesh and principle stresses

56

6x6 Dome

STRUCTURING

THEATERRA

Figure xx shows the load cases that are being used for the calculation of the structure. the hight of the dome is 1.5m to keep the height between the different levels acceptible. This posed a challenge because the dome is very shallow.

In figure xx you can see the final dimensions of the structure. To increase the strength of the structure to accomodate the shallow dome we increased the dimensions of the ribs to 32x32 cm this proved to be enough.

In figure xx the resulting stresses and deformation can be seen.

Loads

Magnitude (kN/m2)

SF

L0

l

1.2

L1

5.0

1.2

L2

1.0

1.5

L3

2.5

1.5

Figure 3.7 : Loads on 6x6 Dome

Element

Dimensions

Span (m)

6

Thicknes (cm)

12

Ribs (cm)

32 x 32

Figure 3.8 : Final dimensions elements 6x6 Dome

Resulting stress/deformation

Actual

Allowable

Max tension (MPa)

0.29

0.3

Max Compression (MPa)

0.49

3.0

Deformation (cm)

1.8

3

Figure 3.9 : Tension, compression and deformation compared to max allowed Figure 3.10: Mesh and principle stresses

57

8x4 Vault

STRUCTURING

THEATERRA

Figure xx shows the load cases that are being used for the calculation of the structure In figure xx you can see the final dimensions of the structure. The thickness of the shell is a multiple of 4. There are 3 layers of 4cm thick tiles.

In figure xx the resulting stresses and deformation can be seen. Because of the low span the default shell thickness and rib dimensions are more than sufficient.

Loads

Magnitude (kN/m2)

SF

L0

1

1.2

L1

5.0

1.2

L2

1.0

1.5

L3

2.5

1.5

Figure 3.11 : Loads on 8x4 vault

Element

Dimensions

Span (m)

4

Thicknes (cm)

12

Ribs (cm)

32 x 16

Figure 3.12 : Final dimensions elements 8x4 vault

Resulting stress/deformation

Actual

Allowable

Max tension (MPa)

0.11

0.3

Max Compression (MPa)

0.78

3.0

Deformation (cm)

0.80

2

Figure 3.13 : Tension, compression and deformation compared to max allowed

Figure 3.14: Mesh and principle stresses

58

12x12 Supported vaults

STRUCTURING

THEATERRA

Figure xx shows the load cases that are being used for the calculation of the structure In figure xx you can see the final dimensions of the structure. The thickness of the shell is a multiple of 4. There are 3 layers of 4cm thick tiles.

In figure xx the resulting stresses and deformation can be seen. because of the low span the default shell thickness and rib dimensions are more than sufficient.

For the calculations of this vault we had to use a simplified mesh because we could not get the ribs to work otherwise, as can be seen in figure xx.

Loads

Magnitude (kN/m2)

SF

L0

l

1.2

L1

5.0

1.2

L2

1.0

1.5

L3

2.5

1.5

Figure 3.15: Loads on 12x12 ribbed vault

Element

Dimensions

Span (m)

4

Thicknes (cm)

12

Ribs (cm)

32 x 16

Figure 3.16: Final dimensions elements 12x12 ribbed vault

Resulting stress/deformation

Actual

Allowable

Max tension (MPa)

0.15

0.3

Max Compression (MPa)

1.07

3.0

Deformation (cm)

1.08

2

Figure 3.17: Tension, compression and deformation compared to max allowed

Figure 3.18: Mesh and principle stresses

59

8x4 Vault with walls and buttresses

STRUCTURING

THEATERRA

Figure xx shows the load cases that are being used for the calculation of the structure. Wind laod is added to the long side of the building.

In figure xx you can see the final dimensions of the structure. The thickness of the shell is a multiple of 4. There are 3 layers of 4cm thick tiles.

In figure xx the resulting stresses and deformation can be seen. because of the low span the default shell thickness and rib dimensions are more than sufficient.

Because large tensile stresses where showing in the connection between the roof and the walls we decided to add buttresses. These buttresses help to direct the horizontal forces to the ground and as a result reduce the tensile stresses in the connection.

Loads

Magnitude (kN/m2)

SF

L0

1

1.2

L1

5.0

1.2

L2

1.0

1.5

L3

2.5

1.5

L4

0.5

1.5

Resulting stress/deformation

Actual

Allowable

Max tension (MPa)

0.25

0.3

Max Compression (MPa)

0.59

3.0

Deformation (cm)

1.62

2

Figure 3.19: Tension, compression and deformation compared to max allowed

Figure 3.20: Loads on 8x4 vault with walls and buttresses

Element

Dimensions

Span (m)

4

Thicknes (cm)

12

Ribs (cm)

32 x 16

Wall thickness (cm)

42

Buttress (cm)

64 x 64

Figure 3.21: Final dimensions elements 8x4 vault with walls and buttresses Figure 3.22: Mesh and principle stresses

60

STRUCTURING

THEATERRA

Theatre roof Figure xx shows the load cases that are being used for the calculation of the structure. A wind load is added to the short, exposed side of the theatre.

In figure xx you can see the final dimensions of the structure. Because of the increased span the thickness of the shell is increased to 32 cm. the shell basically concists of mulitple ribs placed after eachother. To further strengthen the structure thicker ribes are placed on the edges of the different shells. Walls are placed on the ends and as a devide between the seating and back stage area to improve the latiral stability.

In figure xx the resulting stresses and deformation can be seen. At first the deformation was the deciding factor.

But after placing more stabilising walls the tension was the limiting factor and the ribs at the end had to be enlarged to 40x40 cm

Loads

Magnitude (kN/m2)

SF

L0

1

1.2

L2

1.0

1.5

L4

0.5

1.5

Figure 3.23: Loads on Theatre roof and walls

Element

Dimensions

Span (m)

12

Thicknes (cm)

32

Ribs (cm)

40 x 40

Wall thickness (cm)

64

Figure 3.24: Final dimensions elements theatre roof and walls

Resulting stress/deformation

Actual

Allowable

Max tension (MPa)

0.27

0.3

Max Compression (MPa)

0.96

3.0

Deformation (cm)

3.85

6

Figure 3.25: Tension, compression and deformation compared to max allowed

Figure 3.26: Mesh and principle stresses

61

4

////////////////////////////////////////////////////////////////////////////////////// In the last phase of design, the results of the structuring process are detailed. This has meant understanding and developing the construction procedure of each design element. This gave a chance to study the material properties of the Brick composition and analyzing Brick patterns. The details with respect to rain-water management are shown in this chapter. //////////////////////////////////////////////////////////////////////////////////////

CONSTRUCTION 62

CONSTRUCTION

THEATERRA

METHODOLOGY OF THE CONSTRUCTION The basic method of construction followed is the “Cut and Fill” system of building. Where we are using the raw material obtained from the excavation of the spaces proposed underground. Thus, we can have a direct relation between the total amount of the excavated earth and material used for the production of building blocks. By this process we can achieve a controlled and systematic way for the development of spaces. In this way the users could calculate themselves the amount of raw material required for the spaces they have to build and vice versa.

CUT

FILL

Figure 4.1

63

CONSTRUCTION

THEATERRA

BRICK COMPOSITION The raw material composition for the bricks is based on the local soil composition. The composition of soil shown here is 40% sand, 19% silt and 41% clay. In this type of soil the locally available lime is the best stabiliser. Thus the 5% to 7% of lime is used to make the Compressed Stabilised Earth Block for the construction.

Sand

40%

Silt

19%

Clay

41%

+

Lime as stabilizer

5% to 7% 64

CONSTRUCTION

THEATERRA

BRICK SIZES The size of the brick was decided to fit the base tartan grid of the configuration. Thus the value of X was fixed to 40mm and having all the dimensions of the bricks in multiple of 40mm. Thus it resulted in the main brick size of 8X x 4X x 2X = 320mm x 160mm x 80mm. Further for the masonry purpose and for the purpose of tilling the roof, we have Queen Closer , 3/4 th Brick bat, ½ Brick Bat and a Tile.

X = 40mm Single Brick Queen Closer ¾ Brick Bat ½ Brick Bat Tile

= 8X x 4X x 2X = 8X x 2X x 2X = 6X x 4X x 2X = 4X x 4X x 2X = 4X x 8X x X

Figure 4.2 : Basic brick sizes with different type of bricks for wall masonary and tile for roof tilling

65

CONSTRUCTION

THEATERRA

CONSTRUCTION PARTS WALLS The exterior load bearing walls are one and half brick walls constructed using flemish bond technique. Here the modular block system of value of x relates with the sizes of the walls. Which eventually results in the making of the walls of the spaces based on a grid. Thus the wall of size 4480mm is 112X and the 8480 is 212X.

Figure XX : Brick course pattern in elevation

Odd Course

Even Courses

Figure 4.3 : Brick courses

66

CONSTRUCTION

THEATERRA

CONSTRUCTION PARTS COLUMN AND TILLING PATTERN

Third Layer at 135°

Second Layer at 45°

Column A - Solid column for load bearing support

Figure 4.4 : Views of the columns

Column B - Hollow column for taking water pipe through for water harvesting syatem

First Layer

Figure 4.5 : Tilling Pattern for the roofs over the ribs

67

CONSTRUCTION

THEATERRA

CONSTRUCTION SEQUENCE

3

THEATER Step 1 - Digging the theater in the steppe form Step 2 - Constructing the walls to support the roofs Step 3 - Constructing the roof one by one with side barrel vault

2

1

Figure 4.6 : Theater construction sequence

68

CONSTRUCTION

THEATERRA

CONSTRUCTION SEQUENCE

3

2

1

4

5

6

9

8

7

THEATER ROOF Step 1 - Once the barrel vaults are constructed, then construction of the roof arches can begin.

Step 2 - Firstly to construct the arch we need to make a base scaffolding out of wood Step 3 - Building the arch over the scaffolding one by one Step 4,5,6,7,8- repeating the same thing till we have hoisted all the 12 arches Step 9 - Thats the final arched roof using the brick blocks

Figure 4.7 : Theater roof construction sequence

69

Ribs

CONSTRUCTION

THEATERRA

We use ribs as a guide for domes of the construction fo the roofs and ceilings. They also function as a structural element To construct the ribs we came up with a method that only makes use of 2 elements. a brick and a wedge. Next to these elements there are two special elements: the keystone and the base blocks.

The rib is constructed following a script. The script looks at the starting angle of the catenary line and starts building a tower of blocks on the same angle. As soon as the catenary line intersects with the tower of bricks a wedge is placed, and another tower is is constructed. This continues until the top is reached. ( Figure xx) At the end of the script a building sequence is given. This sequence consists of an amount of bricks followed by a wedge. The instructions also include the starting angle of the rib. (Figure xx) Figure 4.9 : Keystone

Keystone

Figure 4.8 : A rib with baseblocks, bricks, wedges and keystone

At first we wanted to make a complex rib structure for the roof of the theatre. But we did not continue with this concept. This concept would recuire a lot of keystones with ribs in multiple ‘random’ directions, so we wrote a script for making a keystone where 4 ribs could come together no matter the direction. For the shaping of the key stone the important factors are the angles of the faces of the last bricks of the different ribs that are comming together. These faces then are connected and lofted. The result can be seen in figure xx.

Building sequence

- Starting angle: 46 - 17 blocks, wedge - 0 blocks, wedge - 15 blocks, wedge - 0 blocks, wedge - 13 blocks, wedge - 3 blocks, wedge - 6 blocks, keystone

Figure 4.10: Rib elements with catenary line

Figure 4.11: Example building sequence

70

1

Construction sequence ribs and ceiling

THEATERRA

For the building sequence of the regular modules of the complex, we first build the walls according to the previously mentioned brick laying pattern. A space is left for the base blocks of the ribs at the corners. then the ribs are constructured according to the building procedure provided by the script. During the construction of the ribs, telescopic props (figure xx) are used to keep the rib stable. When following the building sequence of the script a catenary line is followed automaticly. When the two end of the arch meet a keystone is placed and the rib is stable.

Now the other rib can be constructed. When the ribs are finished they are used as a guide to build the shell out of tiles. The shell consists out of 3 layers of 4x32x32 cm tiles.

CONSTRUCTION

Figure 4.13: Brick walls with base blocks for ribs

2

3

Figure 4.14: Starting of rib building with telescopic props

Figure 4.15: Finishing first rib with keystone

4

5

Figure 4.16: Builing second rib and removing props

Figure 4.17: Placing shell of tiles over the ribs

Figure 4.12: Telescopic props

71

THEATERRA

5

CHOSEN ITERATION

//////////////////////////////////////////////////////////////////////////////////// This section shows the chosen output of the overall design process.

The main goal was to develop a recipe that helps in generating many layouts and this is an example of the possible options. This section also shows how all the different phases finally come together to produce a cultural centre that can be designed by the community itself ////////////////////////////////////////////////////////////////////////////////////

CHOSEN ITERATION 72

CHOSEN ITERATION

THEATERRA

PLAN AT LVL -1

N 73

THEATERRA

CHOSEN ITERATION

PLAN AT LVL 0

N 74

THEATERRA

CHOSEN ITERATION

PLAN AT LVL +1

N 75

THEATERRA

CHOSEN ITERATION

ISOMETRIC

76

THEATERRA

CHOSEN ITERATION

ISOMETRIC VIEW

77

SECTION A

78

SECTION B

79

THEATERRA

CHOSEN ITERATION

VIEW FROM THEATER BALCONIES

80

THEATERRA

CHOSEN ITERATION

THEATER IMPRESSION

81

THEATERRA

CHOSEN ITERATION

EAST COURTYARD

82

THEATERRA

CHOSEN ITERATION

VIEW FROM ROAD INTERSECTION

83

THEATERRA

CHOSEN ITERATION

WORKSHOP INTERIOR

84

THEATERRA

CHOSEN ITERATION

VIEW FROM MAIN ROAD

85

6

////////////////////////////////////////////////////////////////////////////// This Chapter elaborates on the further improvements and points od interest. It also refelcts on the design process throwing light on individual opinions and learning goals that were achieved theoughout the course. //////////////////////////////////////////////////////////////////////////////

REFLECTION 86

For future development it would be optimal to have the script automatically detect where connections between rooms are required and place doors there, as well as thicken the wall modules based on the tartan grid. For now the locations of doors are decided manually and the thickening of the ewall modules is also done manually. Another step to develop is to have the script detect the walls that are not supported laterally and require buttresses, for now this part is done manually as With the limited amount of time at hand, it is impossible well.

REFLECTION

to declare any stage of the design complete. This chapter throws light on what we accomplished, and illustrates the further steps or possible directions the project could take.

Configuration During the design weeks, our main goals were reiterated a couple of times. Although this is a part of the process, we managed to configure the entire layout on Grasshopper, and a base layout on Python and VS Code. The adaptation of the design goals resulted in a shift of attention. Due to limited time it was difficult to produce all the results.

The evaluation system of the game is something we are proud of since it helps in choosing the best layout. However, we intended to achieve the previous design goals as well.

The further developments for the project would be to develop it into a digital or physical game with an interface and 3-dimensional blocks.

The idea is to integrate the excavation process (with calculations) in order to know how much one should dig to build a certain phase.

Forming & Shaping We divided the shaping in 3 different parts: the roofs, walls and theatre roof. For the roofs we experimented with different tessellations but we are not completely satisfied with the outcome of the shapes. The dynamic relaxation gives limited options to control the outcome of the shape. It should be an optimised shape but we are sceptical if the shapes are truly optimised. The theatre roof we had designed for the final presentation was not thought through properly. The span and resulting height were too big and unrealistic. So we had to go back to the drawing board. We came up with a more realistic roof with a smaller span and we think better looking as well. Even Though the roof improved we still think there is room voor further development of the theatre roof because we only had a couple of days to come up with an alternative.

After having the different libraries of roofs and walls/openings, we continued to develop a workflow for generating the different configurations of spaces using these libraries. The roof generation from the libraries was based on room sizes and acceptable spans derived from the structural analysis, and for openings it was based on having closed walls where rooms share those walls, small windows towards the sun (south) and large windows elsewhere, along with doors where connections are needed.

87

Rhea Ishani

Job Handelé

The first weeks of the course felt very overwhelming and an eye opener at the same time. It gave me a deeper understanding of the concepts and the logic that every piece of architecture bears since history. It changed the way I look at architectural design as this course highlighted the bias that we as designers carry, and how performance-based design / supporting design with logic and math can still yield beautiful designs.

During the first weeks of the course I was very overwhelmed with all the technical and abstract math as well as the python. It was all new to me and in the beginning it was hard to follow. During the course of earthy I started to get a grip on the concepts discussed in the lectures but the programming was still a hard part.

The course focused on the fields that were at the top of my interests, but the only problem I faced was with respect to time. During the first 2-3 weeks, we as a group did not have much clarity on which way we must move forward. But after the midterm, we found a rhythm in our work and could execute more designs. To avoid this, I feel that the consults must begin at the first week, even if they are shorter they help define a direction.

I was mostly involved in configuration and making the layout tool. I am very satisfied with our output and the grading system. I would really love the opportunity to develop it into a physical game, and this was not possible due to limited time. My honest opinion would be to consider EARTHY 5.0 to be a semester-long course (similar to BUCKY LAB), as this will give enough time to learn new softwares and produce those results.

In all, this course has made me realize the potential and possibilities that lie in this area and has given me enough knowledge with which I will be able to choose a Graduation topic and pursue with all the knowledge I have learnt through this course.

Fawzi Bata

The process of designing that Earthy takes is very different to what I am used to and it is what drew me to taking the course. The first few weeks are very compact and dense with very useful information. I was able to grasp some of the concepts to apply in the final design to a certain extent, the amount of information was however quite overwhelming for the duration of the course and I was therefore not able to completely At first the project objective was not that clear to me. We started with implement a good portion of the material we were given. just designing a theatre. After the first consultation it became clear that we had to focus on designing the “recipe” of the building instead of I focused mainly on the forming part of the design and combining all designing the building itself. With this in mind we quickly came to a the different libraries in order to give our chosen layout a final form more logical method of designing this “recipe”. and according to set rules. This is something that falls into generative design which I would still like to explore further. I believe some develI focused mainly on the structural and shaping part of the project. I am opments could be made to eliminate the manual parts of the process. very interested in the structural part of design and it was a real challenge to work with earth. We thought we had it worked out but in the We had many prolonged discussions during the course of earthy and last 2 weeks we were challenged to approach it a different way. We I found the explicit and logical way of design thinking and decision planned to do shells but because of construction limitations we had to making very beneficial, and something that I can implement in future come up with an alternative way that would be more approachable by work. I would like to dive further into advancing my programming skills the eventual workers that had to put it together. So we came up with for future projects using some of the material provided in this course. the ribs.

I found that designing a theater was our achilles’ heel. It was a chalThe theatre roof gave us problems. We first tried solving the issue of lenge to take on and not something a typical earthy project would do. spanning 20 meters with a complex rib structure. But we could not get The result we had in the final presentation was insufficient and we had this to work structurally. The ribs only weighted the structure down and to rework it for the final presentation. The theater roof in the final preaccording to karamba it would be more efficient to have less ribs. So sentation being lacking, led to our other work being shunned by the the roof we proposed during the final presentation was not sufficient. tutors with most of their remarks being focused on the theater roof as In the days following the final presentation we came up with a new a result. I do believe the redesigned version to be sufficient, however tessellation and reduced the span. this was one of the more challenging parts of our project that could For future EARTHY courses it would make sense to have more time to understand the programming better before starting the project. I had the feeling that the programming was only slowing me down while I think it is a very interesting approach to design.

Jens Slagter

Shreyas Vadodaria

The beginning of the course has been very bumpy and chaotic. The project was very vague for a long period of time. As a result, it is hard to place the information dictated in the first 4 to 5 weeks. It is difficult to focus on combining the new methods and programs with the course. The course brief does not cover what an EARTH project should contain. During consultation this is augmented by leaving room for personal focus and development. You are free to focus on the topics that you want to focus on within the scope of earthy. However this did not appear to be the direction they aimed us towards. We knew what we wanted to focus on within our project at an early stage, but consultations and discussions often covered different subjects. When we say what we wanted to do, it seems like tutors do not always listen or understand what we intend. This causes a lot of confusion on what to do for the course.

I want to stress the enthusiasm I have for the computational part of the course. Through Bouwkunde there aren’t a lot of courses covering these subjects. Therefore I liked the parts that implement python in the architecture world.

There are many parts inside our EARTHY project that I would still like to finish. The timeline is very dense and leaves no spare time to catch up. Normally I work 2 days a week as a trainee to learn more about programming in architecture. Unfortunately during the last 4,5 weeks of EARTHY I had to pause my education there due to the high demand of hours for EARTHY. I always work hard and do my hours, but there are so many things to cover that it is hard to make a subdivision. This is more than the normal study hours registered. This can be seen as a good thing (more education) or as a bad thing (high workload) and therefore not good for mental health.

In the end I enjoyed the course. I think the timeline could be optimized. A suggestion could be to have more specific deliverables in earlier weeks. Another suggestion is to either do everything online or everything on location (preferably). The consultation days were very stressful and filled with wasted time by finding the correct rooms, setting up zoom, connection troubles ect.

The starting of course is very overwhelming, challenging and exciting all together. As the course itself has a wide array of subjects covered under it, thus it was really tough for me to focus on one thing and keep on going. I feel that the weeks having the workshops in the beginning of the course doesn’t have enough time for students to process the amount of information given during each week.

My purpose of pursuing this course was to learn the new method to derive forms and prove their constructability with earth as a material with validating it through structural analysis. Thuus, I focus more on form finding of the theater roof and designing theater layout, during the course. I have learnt alot about those topics during the course.

I felt that it would have been nice to have a few more workshops on form finding and how that is limited to the material like earth. And lastly one more i would like to add is that it would be great to have an elective related in the line of the course prior in first year, such students can follow it in a better way. As not everybody pursuing this course has computational design experience. Thus it was a very short time for me to unlearn the things i knew for a while and to learn new things.

//////////////////////////////////////////////////////////////////////////////

Through difficult configurations , Karamba Analysis and redesign of Theatre roof!

- Group 3 | EARTHY 4.0 | 2021 //////////////////////////////////////////////////////////////

R

/////////////////////////////////////////////////////////////////////////////////////////

REFERENCES

91

REACH. (2013, 31 maart). Al Zaatari Refugee Camp - Shelter Locations and Shelter Density [Map]. https://reliefweb.int/map/jordan/al-zaatari-refugee-camp-shelter-locations-and-shelter-density-31-march-2013 REACH. (2015). Distance to healthcare facilities [Map]. http://reachjor.github.io/pop_count/ index.html# UNHCR. (2014, 12 may). Shops and Businesses Owned by Refugees - Zaatari camp [Map/ geodata]. https://data2.unhcr.org/en/documents/details/40612 UNHCR. (2019). Zaatari Syrian Refugee Camp Fact Shee [Dataset]. UNHCR. https://data2. unhcr.org/en/documents/details/70183 English, V. O. A. L. (2019, September 12). Trapped in Jordan, Syrian refugees see no way home. VOA. Retrieved November 2, 2021, from https://learningenglish.voanews.com/a/ trapped-in-jordan-syrian-refugees-see-no-way-home/5081354.html.

Guardian News and Media. (2021, October 18). ‘existing is an act of resistance’: The Syrian refugees creating design from displacement. The Guardian. Retrieved October 29, 2021, from https://www.theguardian.com/artanddesign/2021/oct/18/syrian-refugees-venice-architecture-biennale?fbclid=IwAR2Zzpgy2dG0cIdayJlOxsq3r25R950R61eVH5y2rq10Jp9X0dmOT-yKpmo.

Talia Radford | 23 November 2015 58 comments. (2016, December 12). Refugee Camps are the “Cities of tomorrow”, says aid expert. Dezeen. Retrieved November 2, 2021, from https://www.dezeen.com/2015/11/23/ refugee-camps-cities-of-tomorrow-killian-kleinschmidt-interview-humanitarian-aid-expert/.

Top leadership tips from Maslow’s pyramid. Signium. (n.d.). Retrieved November 2, 2021, from https://www.signium.com/news/top-leadership-tips-from-maslows-pyramid/.

Ledwith, A. (2014). Zaatari : The Instant City. An Affordable Housing Institute Publication, 1, 1–95.

Github: 1.1) https://github.com/jcslagter/EARTHY_4.0/blob/main/Splitting_at_intersection 1.2) https://github.com/jcslagter/EARTHY_4.0/blob/main/shortest_path 1.3) https://github.com/jcslagter/EARTHY_4.0/blob/main/split_dijkstra_final_attempt.gh

92

93