technical report by silvia

Testing the performance of Timber By Silvia Miah

Testing the performance of Timber Technical dissertation By Silvia Miah

University of Greenwich

BUIL 1074: ARCHITECTURAL DESIGN TECHNOLOGY III Unit tutors: Shaun Murray, Georgios Loizos, Simon Withers Course co-ordination: Max Dewdney Year: 2016 - 2017

Abstract

The ambition of this report is to illustrate a detailed information from building context, construction and environmental constrains. For my project, I will mainly focus on the facade structure that will wrap my building. It will be the main point that will serve as a tool to communicate the idea of viewing but also, exploring more in detail different types of timber to test its properties of flexibility and durability, acoustic performances: to isolate certain key areas of the building from the sound and finally the dance of the light quality that will adapt to the theatress needs.

Content page

Introduction Site pictures Vauxhall map transport Building context Sun path Sound analysis Timber properties Timber properties Shigeru Ban Pompidou Centre Case study Physical model Shigeru Ban Pompidou Centre Case study Details Shigeru Ban Pompidou Centre Case study Details Peter Salter case study, Light Physical model Peter Salter case study, acoustic Peter Salter case study, acoustic Technical investigation, acoustic Technical investigation, acoustic Technical investigation, acoustic Technical investigation, light Technical investigation, light My design 2D Details 2D Details 2D Details 2D Details 2D Details Long Section

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27

Plans Plans Plans Plans Exploded axonometric Line drawing Exploded Axonometric Conclusion Bibliography

28 29 30 31 32 33 31 32

 In this dissertation, the main focus pint is the timber. I will be looking at three different types of properties and how can I achieve that by manipulating timber. Property one: is about structure, how timber can be bend, types of joints and the flexibility of the material. Property two: is about reflecting and absorbing sound with the density of timber. Property three: will be about controlling light with timber. My two case studies will be: Shigeru Ban - Pompidou Centre Metz, to analyse types of timber: structure, tensions and joints. Peter Salter - Walmer Yard, to explore the acoustic and the lighting conditions.



The Vauxhall Pleasure Garden is the core of the site with its past history and present activities. The park is a really active place surrounded by: the Vauxhall city Farm, The Cabinet Gallery, The tea house theatre, and the Royal Vauxhall tavern.

This plan shows how the area is divided into: business area, residential area, historical site, shopping area and high- tech shopping area.

Vauxhall map transport

Building context

 



Sun path

 

























The canopy structure on the north site is more open and allows more light to come in. Since northern light trend to be dim, it is a good lighting condition for the theatre performances. On the other hand the shops on the south are more exposed to the sun and have a more textures timber surface that creates a dance between shadows and light inside the spaces.

Sound analysis

ACOUSTICS ANALYSIS The Vauxhall Garden is generally a noisy area, since is located near the main road and the train station. (Type of noisy: cars, bus, trains and machinery) The Vauxhall City Farm is also another active space. (Type of noisy: different types of animals) Kennington Lane is a road full of shops and is more active around 4-6 consider as it is the rush hours. The projects acoustics revolves around its two contrasting spaces: the theatre on the north which is a noise area and the residential accommodation a silent area. In order to maintain the connected social interaction, high importance has been placed for the noise control. The outside of the accommodation and theatre is timber line. After entering the interior of the accommodation and service area the floor material becomes an end-grain woodblock setts that absorb the sound of foot â&#x20AC;&#x201C;fall. This timber strategy has been used in many designs construction as Peter Salter - Walmer Yard and lodge building of Trinity College Dublin.

Timber properties

Timber should be lifted from the ground 200mm, (so it would not root.). This helps the timber to survive more and not to root). For larger structures Mortice and Tenon (are a good timber joint) which allows to enable much bigger structures. A good example is Stave Church Gol Norway the oldest timber building in Europe.

PROPERTIES OF TIMBER AS A STRUCTURE The reason of why I have decided to use timber for my project (roof structure) is because it is an incredibly strong and light material even stronger than steel. For this I have referred to the RIBA GC2 to explore and understand both structural and constructional system of timber. The purpose of a roof is to carry its own weight, which is why timber is the best option. The reason why timber is so light weighted is because of the composition on its cellular. The trunk is like a giant water system that allows the tree to be hydrated. The trunk of a tree resembles a bundle of long wood stripes. If this is stress into parallel this becomes a very strong material.

FACT: The pic hall in the joints shows two

The only disadvantage of timber, is that across the way is easier to crush it, but if it is used in a strong parallel direction it's more resistant.

holes that aren't aligned, which means that the pagans are slightly bent so when the post dries and shrinks across the grain as all timbers does so the little pic tries to straighten and it actually pulls the beam and the post together. This joint was actually designed to accommodate the natural dry tribute of timber. Now days the timbers are dried out before it's put inside the buildings. Reference from Andrew Lawrence lecture about LOG POSTS TO LAMINATED BEAM The Birth Of A Modern Construction Material.

Timber properties Shigeru Ban Pompidou Centre Case study

SHIGERU BAN What interests me the most about the Pompidou Centre- Metz is its intriguing roof structure, which are made of laminated timber beach and another wood so it is a very dense strong timber. The timber slabs that compose the roof structure are 400 x 140 cross section.

3. During fabrication, a new idea was introduced to avoid the very tight curved parts, the members were curved and simply machine the second curvature. The straight line show the original line of the member and how that sort of curvature and plans have been introduced in this picture.

Physical model To understand more this process and how can timber be bend I decided to do a small model. This model is to test the flexibility of wood.

Figure 1

I've laser cut the roof structure of my building into wood.

I order to bend the wood more easily, I've soaked the wood into PVA and water for 24hours.

One of the main question about the structure is: How to fabricate a doubly curved and twisted membrane? The answer is by making single curved glulam.

1. The glue labs are glued together singularly and curved at the same time.

Figure 2

2. The tightest part of the timber are on the funnels.

figure 3 6

Once the wood is soft and bendy like rubber, I've removed it from the PVA and water, then the next process is start modelling it.

Physical model

Model with the wool tensile

While the wood is still wet I started to tense into shape by using a mould and tying it with wool.

Final outcome, after drying the wood and taking the wool tensile. The process is a success, the shape remains in place.

Shigeru Ban Pompidou Centre Case study Details

Node connection it is a very large wooden bolt about a 100mm in diameter and it is made of LVL, this is because LVL has a thin veneer so the defects the knots and anymore lab don't effect very much so this is even stronger than glulam.

figure 4

Physical model To explore this process of joining wood together, I tried to weave wood in the same way as In the Pompidou Centre.

Shigeru Ban Pompidou Centre Case study Details

Pompidou Centre Metz wall to roof connection. The reason of why the roof was stopped half a meter from the wall is because the climate is cold and can course a condensation on the roof. I decided to use the same strategy on my design however the gap between the roof and the wall is wider. This is because my roof and wall will not only prevent condensation to occur but allow light to come into the building, since the roof is located on the north site and the natural light is much more cooler and dimmer.

Figure 5

Peter Salter case study, Light

The Walmer Yard by Pter Salter is characterized by its peculiar sunlight relationship between spaces. This example is visible on the ramp that leads to the basement for the car park. The aperture on the ram from the ground floor enable a wild angle of natural sunlight to penetrate throughout the hole day. The entrance to the building creates this hidden passage of light that leads the view while walking. In the Walmer Yard one of the apartment's plan are has a deep plan section, which shows a variety of sun path trajectory into the rooms. The other two houses have an emptier plans and spacious elevations, this is mainly to take advantage of every sunlight possible. It is an efficient light strategy for cold places. Finally, on the fourth house, the majority of the rooms are well lit of natural light by the wide angles roofs, set in large coffered soffits. The large opening on the soffits level window allows light to be projected across the celling of the room. To be able to accomplish a high level of reflection, Peter Salter decided to glazed the majority of the partitions on above the door's eight. With this little detail, it is possible to offer a glimpse of daylight upon the staircase before reaching the next room. In Perter Slater's Walmer Yard what I have learned is the importance of window and how it can be determined two different uses for it: one is to view and the other one is to capture the daylight. Also in order to control the amount of daylight the external louvers can be adapt to the user's need. These louvers can either deflect or reflect light, and also provide private views for the residents. Reference from: Four Houses in London, a 'back-lot' development, an example of packed urban dwellings in which privacy, quietness and defensible space are of strategic importance. The construction uses an overt materiality to achieve these goals.

Figure 6

Physical model

From this research, I decide to explore more in depth the use of louvers and how can I use it in my design. For this I made a small model to test how can this work.

The wire shows the mechanism that controls the level of light that can entre thought out the day.

Peter Salter case study, acoustic

The room on the top floor have a different interaction with the sunlight, this is in relation to Peter Salter's architectural vocabulary (the timber 'yurt'). The majority of the rooms leads to an exit of a garden or terrace, this is accomplished by using sunlight as a guide. Tree of the houses have a cold-moulded timber structures more knowns as a 'yurts'. The concept behind this structure are of roof top dining rooms on sixteenth century country houses where supper was served across the 'leads' of the roof. In the evening the yurt becomes dark, and in contrast the roof and terrace becomes brighter. In these rooms supper is served at low tables.

Figure 7

Peter Salter case study, acoustic

In the Walmer Yard the acoustic performances is an important design tool, to maintain the order and coexistence between social interaction and private intimacy and silence. For this reason, the courtyard is strategically located in a corner of the space, and the visitor have to turn the corner before the main area of the spa get revealed. This 'dog leg' provides a sound shadow for the courtyard. As an outdoor room space, this room tries to replicate the quietness of a room with the surrounding houses. When entering the courtyard, it is visible the timber line cladding. The floor material changes to end-grain woodblock setts that are sound absolvent to foot-fall. This is a similar material also used in the lodge building of trinity College in Dublin, known for receiving many students through its portal daily.

.In the Walmer Yard, a specific space is created between the city street and the courtyard. The layout of the courtyard is more absented into a domestic scale timber panels. These work in groups of vertically pivots louvers that operates individually by the house owners. These louvers are finished so as the reflect light onto the house., or adjusted or closed to block neighbouring views. The degrees of adjustment allows airborne sound to be reflected via the louvers to the interstitial cavities of the acoustic render forming the wall surface of the courtyard. Impact sounds within the house are isolated by timber floors, and in kitchens and ding rooms by vibrant resistant industrial crook floor surfaces.

Figure 8 Figure 9 15

Technical investigation, acoustic

SOUND ABSORBENT TIMBER For this technical report, I decided to analyse oak veneer timber as a sound absorbent material that will seal sound around my building.

OAK OAK - Most of the wooden houses in Europe are made of European oak. This wood creates a saliva substance that produce toxins into the heart of the tree to stop it rotting while it is still alive. We can use that for the structures, and be confident that the structure is resistant to decay. Oak is the only timber in Euorpe with that property.

VENEER

Figure 10

VENEER - It comes from slicing flitches wood as large rectangular blocks or peeling the trunk of a tree. Veneer is composed by thin slices of wood that are glued together onto a main panel, this could be medium-density fibreboard, wood, etc. The slices are normally thinner than 3mm or (1/8 inch). Due to its many layer composition, it is a good material that could be used for acoustic to absorb sounds.

Fugure 11 14

Technical investigation, acoustic

SOUND REFLECTIVE TIMBER Wood/timber conducts sound better in the longitudinal direction of the grain than perpendicular to it. Barriers with no absorption material such as wood is considered reflective. This mean the sound energy bunces in from one site to another.

BLACKBUTT

The sound gets reflected

Figure 12

Technical investigation, acoustic

Technical investigation, light

Technical investigation, light 21 Jun times: 8:00, 16:00, 00:00

21 dec times: 8:00, 16:00, 00:00

My design

                           

Detail 1

Detail 2

Detail 3

Detail 4

Detail 5

Detail 1

Detail 2

Detail 3

Detail 4

Detail 5

Conclusion In conclusion Exploring timber and how it can be used in many different ways was interesting. If I had time I would have made more physical models to text the flexibility of timber and how it can be added to other material. Iâ&#x20AC;&#x2122;ve started to combine timber with concrete in the technical report but it was not fully developed.

Bibliography Figure 1: Author Commons Article title: Borgund stave church | Wondermondo Website title: Wondermondo.com URL: http://www.wondermondo.com/Countries/E/Norway/SognOgFjordane/BorgundStaveChurch.htm Figure 2: Author Prince Noir Article title: Centre Pompidou Metz | Lorraine Cafe Website title: Lorrainecafe.fr URL: http://www.lorrainecafe.fr/discussions/centre-pompidou-metz.

Figure 6: Website title: Adaptmaterialitylab.files.wordpress.com URL: https://adaptmaterialitylab.files.wordpress.com/2013/03/work-shop-001-041.jpg Figure 7: Author Terence Choong Article title: Centre Pompidou-Metz, France Website title: Archichoong.blogspot.co.uk URL: http://archichoong.blogspot.co.uk/2010/11/centre-pompidou-metz-france.html Figure 8:

Figure 3: Article title: Curved Bridge Beams - Construction & Durability- Mtbr.com Website title: Forums.mtbr.com URL: http://forums.mtbr.com/trail-building-advocacy/curved-bridge-beams-construction-durability-945351.html Figure 4 Author Terence Choong Article title: Centre Pompidou-Metz, France Website title: Archichoong.blogspot.co.uk URL: http://archichoong.blogspot.co.uk/2010/11/centre-pompidou-metz-france.html Figure:5 Author Terence Choong Article title: Centre Pompidou-Metz, France Website title: Archichoong.blogspot.co.uk URL: http://archichoong.blogspot.co.uk/2010/11/centre-pompidou-metz-france.html

http://devoswoodworking.com/Photos/Butcher_Block_Countertops/Mesquite_Butcher_Block_Countertop_102.htm Figure 9: Author added next to wooden decking. It has been cut to size and rolled out and laid and is being nailed down. the installer has a hammer and nails. Artificial grass being installed Article title: Search photos by cbckchristine Website title: Fotolia.com URL: https://www.fotolia.com/p/203026585 Figure 10: Author Ben Stone Article title: Navy Island | Types of Veneer Slices Website title: Navyisland.com URL: https://www.navyisland.com/about-veneer/veneer-types-of-slices.html

Bibliography PDF: Article title: Log in or sign up to view Website title: Lookaside.fbsbx.com URL: https://lookaside.fbsbx.com/file/Peter%20Salter_Walmer%20Yard.pdf?token=AWxvi47agTDensngAuWFSTGE4QMDYHdaeahLYwlpMvPXrN3x-pd7CH5lTdhNVroaQe0yBywYjzO_x4SXDxuTSmX2obgYRE-PQPBmxrUmKR7aGeeSH9qkbYiSniAti0FgLWyHaySrvr5K2rjMwXIw8lyA Youtube Lecture: Article title: LOG POSTS TO LAMINATED BEAM The Birth Of A Modern Construction Material by Andrew lawrence Website title: YouTube URL: https://www.youtube.com/watch?v=dPMk0sWGGIk

        

                                  

                                ’    

                ’           ’                       











                        



 

 

  







 

    

 

      

                 

             ’                 

                ’             

                               

 

  

















  

       

                      

                             

         ’                          ’       













    

      ’                                  

                                                             

           

          

Silvia Miah BUIL 1074: Architectural Design Technology III Research Method Statement

Subject Area – give an outline description of the technical focus of your project.

My design project is a street theatre centre that will help performers to engage between the private and public space. It will also create opportunities with the façade to be used as a tool for performing and communicating. The building will be located in between the Vauxhall Pleasure Garden behind the main street. The façade will be composed in two main parts: part 1 façade will be an existing face with small alliteration that will act as an entrance to the building and part 2 façade will be a new design made with timber and steel that will allow multiples views to the park. 2.

Type of technology you are interested in and why it is relevant to your project.

Another important element in my design are balconies and views. An important reason that justifies the reason of why I have chosen my location. The privilege views that this site offers are: a football pitch, park, gallery, farm and the main street. In order to show the importance of it I have chosen light and air flow as my main technology of interest. Light: inspired by Arabic World Institute I would like to use light to highlight performances with natural and artificial light also to project different types of views. Air flow: it will mainly be used for air ventilation and as a mechanism for air-power stages. 3.

Type of materials you are interested in and why they are relevant to your project.

Natural and artificial light will be my focal point. For this I have used the Arabic World Institute as one of my research study. In this building the surface treatment is important in the façade and how it reacts to the environment changes, relationship between natural light and artificial light. But at the same time there is no concept of demonstrating the logic of making the building and what is made out, the skin of the museum is smooth which hides the structure underneath. The intense varieties of shapes create a geometrical effect the Institute of Arabic World and regulates the light level and create this illusion of immense shapes and shadows.

4. Particular focus or application of this technology / material and what is specific in your selection. (You can give a number of examples) 5.

Examples of buildings / artworks / technologies from others working in the field that are similar to your focus (minimum four)

Based on previous questions I decided to study two different types of facades; timber facades to expose and steel facades to hide. SunnyHills by Kengo Kuma: the building is covered with 5000M wooden stripes from façade to celling. Some of the wooden were arranged in 30 & 60 degrees to create multiples layers.

Figure

Figure 1

Figure 3

Figure 2

Figure 4

Arabic World Institute: the faced was to show traditional Arabic architectural elements like the mashrabiya into a modern idea of the Middle East architecture. Also shows a diverse context which is the the technology, materials. The detailed faรงade is an ingenious element of the IMA, which is the advanced responsive metallic brise soleil on the south faรงade. It interprets traditional Arabic wooden lattice screens in a glass and steel construction with 30,000 light-sensitive diaphragms in 1600 elements, which function as a one-camera lens.

Figure 5

Figure 6

Hawkins\Brown pairs cross-laminated timber and steel for record-breaking apartment block: This residential building was built using a hybrid structure which is mainly cross laminated wood (CLT), but also integrates steel elements and a reinforced concrete core. One of the advantages of this technique is the cross-laminated timber allows rapid construction and decrease the environmental impact.

Figure 7

Figure 8

Zaha Hadid, Saudi Arabian metro station: the design will mainly emphasis in multi- functional purpose but mainly a big public space for the city. The walls and roof of the building will be designed as a pattern of undulating waves scattered with curved screens like the traditional mashrabiya. These sine waves extend to the envelope of the station and are strictly affiliated to its internal layout, translating the architectural concept to the exterior.

Figure 9 6.

Current reading (principles, case studies, can be from journals and books, blogs, etc and what you are learning from them).

Dezeen: Hiroyuki Moriyama completes Tokyo apartment building with a perforated skin https://www.dezeen.com/2016/06/08/house-hiroyuki-moriyama-housing-apartment-block-perforatedsteel-tokyo-japan/ Dezeen: Anders Berensson proposes wooden skyscraper with decorative facade for Stockholm https://www.dezeen.com/2016/04/25/anders-berensson-architects-tratoppen-wooden-skyscraperconcept-stockholm-cross-laminated-timber/ Detail: Bamboo basket: Shop by Kengo Kuma (with this I am learning how timber can be connected by using traditional Japanese techniques like the chidori)

http://www.detail-online.com/article/bamboo-basket-shop-by-kengo-kuma-16760/ Architizer: 5 Contemporary Buildings That Embody Le Corbusier's Five Points http://architizer.com/blog/5-buildings-that-embody-le-corbusiers-five-points/ Book: Lessons for students in architecture 1 by Herman Hertzberger 2013, publisher 010 Uitgeverij. (with this I am learning about specific elements like a balcony, door, etc and how to emphasis on them) PDF: Department of Architecture, Faculty of Engineering, October University for Modern Sciences and Arts (MSA University) 2014 by Nermine A. & Gelil M. http://www.iiste.org/Journals/index.php/ADS/article/viewFile/10288/10493%20Traditional%20Resid ential%20Architecture%20in%20Cairo%20from%20a%20Green%20Architecture%20Perspective 7.

How are these technologies tested in the examples you are looking?

Kengo Kuma Sunnyhills

Research from: http://www.archdaily.com/484981/sunnyhills-at-minami-aoyama-kengo-kuma-andassociates/531e6b34c07a80688c000341-sunnyhills-at-minami-aoyama-kengo-kuma-and-associatesstructure-diagram-7

8. What are your current research methods; empirical research (i.e first hand testing; material experiments, physical models, etc), computer modeling and digital simulation, interviews / consultations, desktop research, etc (and what you are learning from it and why is it appropriate to your chosen topic).

• • • 9.

first hand testing (to understand the use of timber and how to manipulate it I will make small test of different techniques to analyse natural lighting conditions and the air circulation.) computer modelling & digital simulations (to help me develop patterns and geometrical forms.) Research (to learn about different types of techniques.) How are you going to test the technology / materiality against your design?

For this task I will set drawings into scale to measure the volume of the façade and how much space it will occupy. I will also do research of different types of timber, to know the strength and flexibility of the material in order to choose the appropriate one for my design. For this research I will make small models into scale to prove if the design works or not. 10. How does the technology relate to the design of your building?

For my design private and public spaces are one of the main aspect that are support by the technology. It helps creating boundaries where it is needed and social interaction by using the façade and other openings, reason why it should be more engaging throughout designs and technology. The two different types of facades; timber facades to expose and steel facades to hide are examples of how the design will interact.

Figure 1: https://www.dezeen.com/2014/02/25/sunnyhills-at-minami-aoyama-by-kengo-kuma/ Figure 2, 3, 4: http://www.detail-online.com/article/bamboo-basket-shop-by-kengo-kuma-16760/

Figure 5: http://openbuildings.com/buildings/arab-world-institute-profile-10699 last accessed 23/11/2016 at 17:08 Figure 6: https://www.dezeen.com/2013/05/16/king-abdullah-financial-district-metro-station-by-zahahadid-architects/ Figure 7, 8: https://www.dezeen.com/2015/09/25/hawkins-brown-cross-laminated-timber-steelapartment-block-housing-shoreditch-london/ Figure 9: https://www.dezeen.com/2013/05/16/king-abdullah-financial-district-metro-station-byzaha-hadid-architects/