LOGIC IN AGGREGATION YEAR 2 PROJECT 1 UNIT 2 STUDENT: VANESSA CHUNG WEI NING TUTORS: RIZOVA ALEKSANDRINA, SOOMEEN HAHM
INITAL RESEAR
The Salt Project is a architecture using se locally available reso create architecture
RCH -‘THE SALT CITY’
biomimetic attempt to create eawater in the desert. By using ources we can grow plants and e without producing waste.
GROWING S By controlling suar content, I crystalization. By container, sugar
the sa experient inserting crystals
SUGAR CRYSTAL
aturation of the fluid and ted with the growth rate of the string of seed in the starts to grow along the curve.
Length of growth: 3 hours Sugar Solution: 30% water + 60% Sugar Thickness of the: string: 0.3mm
Length of growth: 5 hours Sugar Solution: 30% water + 60% Sugar Thickness of the: string: 0.3mm
CRYSTAL LA On
a
lab disk, the growth ent. Accord the guiding cu
Length of growth: 6 hours Sugar Solution: 30% water + 60% Sugar Thickness of the: string: 0.3mm
ATTICE REACTION
h of crystal lattice becomes urve, the solution began to solidfy.
appar-
Length of growth: 20 hours Sugar Consenration: 30% water + 60% of sugar Thickness of the: string: 0.3mm
Length of growth: 20 hours Sugar Consenration: 30% water + 60% of sugar Thickness of the: string: 0.3mm
Crysta
The trasnformation from 2
l soldifcation
m liquid state to solid state after 24 hours.
Length of growth: 20 hours Sugar Consenration: 20% water + 80% of sugar Thickness of the: string: 0.3mm
Length of growth: 20 hours Sugar Consenration: 20% water + 80% of sugar Thickness of the: string: 0.3mm
less saturated 65% sugar 35% part water
highly saturated 80% sugar 20% part water
The Growi
It is found that in different suga ar seeds varies in shape and si tend to be smaller and undefind seeds are more apparent and la sugar seeds grow a
ng Sugar Seeds
ar saturated content, the individual sugze. In less saturated content, the seeds ded. Yet in higher saturated contect, the arger in size. In this way, we can see how and stack upon each other.
Crystal Zoom 2 by Benjamin Aranda & Chris Lasch
REFER ARANDA
Computer-generated modular mode come. The crystalline, diamond-like structures of v
RENCES #2& CHRIS LASH
els
present a preview of what’s to shapes are fused together to create varying sizes and uses.
The Crystalline Structures by Aranda\Lasch
FOLDING CO
Inspired by the investigati gradually stack upon eac ing component and explo aggerated to
OMPONEMENTS
ion of sugar crystal and how seeds ch other, I began to look into foldore how different modules can be become components.
One Module
Three Module One Ring
Two Rings
Three Rings
Four Rings One Module
Type of Components
Iteration: One
Iteration:Three
Prisms
Volrinoi
RECUR THROUG
The recursive growth and i more complex form. Further in a standard form but rathe
Iteration:Six
RSIVE GROWTH GH AGGREGATION
teration of components aggerate into a more, the component should not comply er a more organic shape to create different results.
Iteration: Nine
Iteration:Twelve
Aggreg throught Volro
Seeds/componants then closest curve wit I have also experiemented w as shaded and wirefr
gation onio Structure
start to generate to their thin the volume. with different textures such ramed components.
The Role of Recursive Growth and Vorinoi Structure in Aggregation Using sets of lines and geometry, components flow and aggerate to building different forms of structure.
Elevation
Generation One
Generation Two
Generation Three
Generation Four
Side View
Plan
‘Fractal Heart’, Eric Baird 2011
Cube Aggerations
Fractal A
Further more, fractural bette
Aggeration
aggeration are explored for er control.
Fractual Growt
After experimenting with handling with infinite amo cided to narrow down on The aggeration of these cu The subdivision of compon different
th in Aggregation
vorinoi structures, instead of ount of polysurfaces, I have deone simple geometry - cube. ubes is devleoped by fraction. nents add together to generate geometries.
Physical Model -F
After drawing the pattern interlocked to create sub
Fractual Aggeration
pieces, sheets of plywoods are bdivision boxes of the cubes.
Programmed Brick Column, Gramazio Kohler
Flight assembled Architecture, Gramazio Kohler
REference #4
The students defined not constructive logic accor organised in a particular te duced an a
- Gramazio Kohler
the geometry of the wall, but the rding to which the material was mporal order, and which thus proarchitectonic form.
Saw Swee Hock Student Center, LSE
Investigaiton - A metric
According to the assigned points, the components sh of the bricks can also be m ti
Aggregating in Parac Brick Walls
d parametric curves and attraction hift and stack differenlty. The densiy manipulated through these attracon points.
Vertica I
The
experiemented
brick
with
column
vertica
attemp t and
l Aggergation
al aggeration the brick.
and
to start giving functionality.
the
rotations
architectural
of
meaning
Different Edges for Voxels or 3D Pixels
voxelized peterpan, www.joesfer.comv
voxelized teapot,www.Drububu.com
VOXEL AG
each of an array of elem a notional three-dimensi array of discrete elements three-dimensio
m
GGEREATION
ments of volume that constitute onal space, especially each of an s into which a representation of a onal object is divided.v
Elementary CA Rules
Rule 30
AGGERA CELLULAR
Conway’s Game of Life. Th cellular automaton ) is play rectangular grid of cells that touch that cell, eithe from that cell. The initia
ATION LOGICAUTOMATION
he Game of Life (an example of a yed on an infinite two-dimensional s. ... Neighbors of a cell are cells er horizontal, vertical, or diagonal l pattern is the first generation.
2D Patterns generated throught CA evolution
Initial Configuration
t=5
t= 10
t= 15
t= 30
t= 35
t= 40
t= 55
t= 60 t=65
CELLULAR
The cells evolve on the gr cording to a set of rules b
t= 20
t= 25
t= 45
t= 50
t=70
AUTOMATION (CA)
rid through a number of time steps, acbased on the states of the neighbouring cells.
Physical Model -C
I experiented and attempted structure. The result was no meant to be floating in thin ai
The shape seems
Celluar Automation
d to build the seemingly random ot satisfying as some blocks are r, which is impossible to construct.
s to be out of control.
Game of Life- Cellu
I experiented and attempted to b structure. The result was not sa meant to be floating in thin air, wh
The shape seems to b
uar Automation
build the seemingly random tisfying as some blocks are hich is impossible to construct.
be out of control.
APPLICATION OF CA TECTURA
After understanding in the Log tion is how to control and manp diagram, I have construc
A RULES TO ARCHIAL MEANS
ic behind CA, further investigaulate the rule were made. In this cted a column using CA.
INITIAL PROPOSAL 1:APPLY IN VIRTUAL GAME ENVI
The game Minecraft is a three dimsent world. I am proposing to build a virtua inside the Minecraft Realm use Conra Cellular automata patter
LY CA RULES ROMENT
ional voxellated al environment ad’s game of life rn.
CA RULE Die : 2 Survive 3 Reborn: 4
CA RULE Die: 3 Survive: 2, 4 Reborn: 2
Numbers of components: 326
Numbers of components: 295
CA in Constraint env
I have generated four diffferent m rules. Inital configation and the grow controlled to observe the spatial em model.
ironment
odels of different wth environment is melment within the
CA RULE : Die: 3 Survive: 4 Reborn: 5
CA RULE Die: 3 Survive 4 Reborn:2, 6
Numbers of components: 318
Numbers of components: 289
APPLY C IN VIRTUAL GA
Applying CA in Minecraft allow adapted and mods rea I have spawned villages and cr
their way insi
CA RULES ME ENVIROMENT
w us to see how the environment acted to the infrustucture. reatures to observe how they find
ide the structure.
swiss pavilion venice biennale, 2016
Serpentine Gallery Pavilion, Bjarke Ingels 2016
CA App building Ergo
Inspried by the minecraft a bring the structure into re model can be insert in an in
lication in onimic pivlions
adaptation, it is also possible to ality, Similiar to minecraft, the nhabitant to create interations.
BarriosEscudero Project, Pabellon Ricchezze
Perpective View of Negative disposition
Section View of Negative disposition
SPATIAL ELEMENT W The negative space inside the s ronment. There seems to be a
WITHIN STRUCTURE tructure create a cave like envijourney within the structure .
SKELETON MOVEABLE PART
THE DYNA
The aggeratio on a skelton static, certain mov
AMICS OF STRUCTURE
on of the structure is based . While the skelton remind n component are able ro reved and put back.
Components: 267 Componets: 91
FABRIC THE SKELTO
Inorder to further explore th the structure, a 1:1 model w different ope
CATION OF ON FOR PAVILION
he spatial qualtity of the space within was built. Using foam cubes, it create ening and cantilevers.
1:1 MODE THE SKELTON OF INTERA
Inorder to further explore the spatial qu the structure, a 1:1 model was built. Us different opening and c
EL ACTIVE PAVILION
ualtity of the space within sing foam cubes, it create antilevers.
INTERAC CA AGGERAGATION
Based on the slits along the p to decide where would want th
heavily for serious enclosure, w
TIVE PAVILION: N AS MANUAL FOR USERS
prefabricated skelton, it is upon the users he block grow. Some parts may be stacked
while some parts may be more exposed.
T
INitital Configuration
Top View
Front Elevation
FURTHER P
Base on the investigation of the negat be put to a larger scale. The space su
PROPOSAL
tive spatial element, the outcome can uggests a path and journey for users.
Dailogue over the Wall
-The Pottery workshop and Communal space CHUNG, WEi NINg VANESSA Year 2 Building Project Site: Mexico Tutors: Rizova Alesandrina, SooMeen Hahm
MEXICAN FOLK ART Mexican handcrafts and folk art ARE a complex collection of items made with various materials and intended for utilitarian, decorative or other purposes. Some of the items produced by hand in this country include ceramics, wall hangings, vases, furniture, textiles and much more.
Palace of Iturbide centRE of Mexico City at Madero Street. It gained the name “Palace of Iturbide” because Agustín de Iturbide lived there and accepted the crown of the First Mexican Empire (as Agustin I) at the palace after independence from Spain. the structure WAS REOPENED as the “Palacio de Cultura Banamex.” It HOSTS numerous temporary art exhibitions, as well as art workshops for adults and children.
Tonala Pottery - Handpainted
MAYO-YAUI
TARAHUARA
Mata Ortiz Pottery
CORA
Mexican Pre-Columbian Clay Creations
HUASTEC
HUICHOI O
MAYA
TOTONAC
PUREPECHA
CHINANTE MAM
MIXTE
% INDIGENOUS
ZAPOTEC
Mexican Black Clay Oaxacan Pottery
70+ 40-69.9
Mexican Terra Cotta Clay Pottery Mexican Terra Cotta Clay Pottery
THE ORIGINS OF MEXICAN CERAMIC ART
The graph shows major MEXICAN indigenous groups and the DISTRIBUTION OF THEIR natural resources through out THE COUNTRY. THIS illustrates the diversity of Historical Background and Styles in Mexican Pottery.
Setting up a pottery studio will require some investments, but once you have the equipment, with minimal maintenance, it will last for many years. For the hobbyist, setting up shop could be as simple as acquiring a wheel, a work table and a small shelf unit to store your work in progress. But for the serious potter, setting up shop will require quite a bit more equipment.
It is very helpful to have a place that you can store GDPS SLHFHV WKDW VWLOO QHHG WR EH ČąQLVKHG VXFK DV SLHFHV that need to be trimmed or have handles applied). An old refrigerator with shelves still in it works well. Another option would be a metal or wooden shelf that has a sheet of plastic snuggle wrapped around it, so that it is totally encased. The goal is to have a completely encased area that will keep the pots damp.
DAmping Room
There are many wheels on the market and as with most things, they range in price and quality from cheap DQG ȲLPV\ WR H[SHQVLYH DQG KHDY\ GXW\ SURIHVVLRQal quality. These wheels start at about $950 and go up to about $1700. They are good all-purpose wheel, that are suitable for many different skill levels.
Wheel
There are many electric kilns available, but not all kilns are created equal. Over the last vseveral years, there has been a growing interest in pottery and many people have set up hobbyist studios at home. Many of them purchased the cheapest possible kilns, used them for a few years and put them into storage until they decided to sell their equipment. Many of these kilns are easily obtainable, but they are no good.
Kiln
MAJOR PROCESSES OF POTTERY A Pottery Studio, depending on the scale, the size and its needed equipment vary. a few major steps are crucial in Pottery Making.
House for Pottery Festival 7KLV LV D KRXVH DQG DWHOLHU IRU D SRWWHU\ DUWLVW IDPLO\ ORFDWHG DORQJ D WUDIȱF FLUFOH DW D VWDWLRQ LQ VXEXUEDQ 2VDND 7KH VLWH LV QDUURZ ȲDJ VKDSHG D UHFWDQJXODU VLWH with a pole-like narrow path), with 3m of frontage and depth of 34m. There is a large apartment building on the south side, and idle lands on the north and east sides.
This is a house and atelier for a pottery artist family, located along D WUDIȱF FLUFOH DW D VWDWLRQ LQ VXEurban Osaka. The site is narrow ȲDJ VKDSHG D UHFWDQJXODU VLWH with a pole-like narrow path), with 3m of frontage and depth of 34m. There is a large apartment building on the south side, and idle lands on the north and east sides. A distant view of the beautiful mountain range of Mt. Nijo can be seen in the east direction.
While incorporating the view of Mt. Nijo from the town, which will be blocked by construction of this building, the spaces were made by arranging high/low ceilings, and large DQG VPDOO DUHDV RQ WKH WUDIȱF OLQHV to create continuity with the town. Due to a limited budget, the structure is all exposed. The seven-layered slabs WUDQVIHU ȲRRU VWLIIQHVV E\ WKH VWHHO stairs located at the open ceiling. The continuous angle braces, which support the roof, handle the out-ofplane stress of wind pressure on the south wall. The interior is a large continuous space with the atelier on WKH ȱUVW ȲRRU DQG UHVLGHQWLDO VSDFHV RQ WKH VHFRQG DQG WKLUG ȲRRUV
THE PLANNING OF NORIO’S While incorporating the view of NOijo from the town, which will be blocked by construction of this building, the spaces were made by arranging high/low ceilings, and ODUJH DQG VPDOO DUHDV RQ WKH WUDIȱF OLQHV WR FUHDWH FRQWLQXLW\ ZLWK WKH WRZQ 'XH WR D OLPLWHG EXGJHW WKH VWUXFWXUH LV DOO H[SRVHG 7KH VHYHQ OD\HUHG VODEV WUDQVIHU ȲRRU stiffness by the steel stairs located at the open ceiling. The interior is a large continuRXV VSDFH ZLWK WKH DWHOLHU RQ WKH ȱUVW ȲRRU DQG UHVLGHQWLDO VSDFHV RQ WKH VHFRQG DQG WKLUG ȲRRUV
Delievery of Raw Material
Raw Material Mateiral Collection
Crushing Clay
3XULȱFDWLRQ RI XQSURFHVVHG FOD\
Foaming
Kiln Set UP
Glzing Pottery
Selling in Market Stalls Double Firing and Let Dry
Public and private dialogue WKH ȲRZ RI UDZ PDWHULDO LQFRPH WR SURFHVVLQJ DQG PDNLQJ RI SRWWHULHV WKHQ SURGuct selling in market store illustrates the entanglement between the community and the disclosed workshop inside the building.
7LDQJXLV RIWHQ WUDQVODWHG WR IDUPHUpV PDUNHW RU ȲHD PDUNHW LV D type of open-air, roaming market popular across the country; in Mexico City alone there are over 1000 registered tianguis. With their roots in pre-Hispanic culture, the majority sell fresh produce, others sell clothes, but pretty much all of them will have a selection of food stalls at which to grab a quick snack. This Market usaually openes 2 days a week. For example Bazar El ORO openes on wEdnesday and Satuarday. Because of the nature of Tianguis, the set up of Tianguis markets are after temporary.
Temporary MartKEt on Wednesdays and Saturdays
Normal Days on Weekdays and Sunday
SITE OF PROGRAMME MY site is located in mexico city, El ORO, at the enterance of a tiangus market. A tiangus market means that it is a open roof outdoor market where it only opens two days week. In my program I would really want to incoperate this idea of market day and non market days and different ways of function in different situations.
Del Chopo Tianguis
Sullivan Tianguis
Mercado de San jan La Lagunilla
Bazel El Oro
Tianguis Nápoles
Bazaar Sábado
Fashion Tianguis
Xochimilco Market
Tiangus Market Distrubtion 7LDQJXLV RIWHQ WUDQVODWHG DV IDUPHUpV PDUNHW RU ȲHD PDUNHW LV D W\SH RI RSHQ DLU roaming market across the country. With their roots in the pre-Hispanic culture, many stalls sell fresh produce, as well as clothes, but most of them will have a selection of food for anyone to grab a quick bite.
alk ins W 30 m
Mexican Art and Cultural buildings ARea of interest
THE ART DISTRICT Around the site area, major artist events or buildings have been singled out. Since the programme is a pottery workshop, investigation of artist within the district allows potential collabrations for further development.
REsidence/ Corner Shop
REstaurants/ entertinment Commercial
Empty Plot / Site of interest Market PLace
Elementary School
Food and Entertainment
A Scale 1:500
A
A cLoser look The graph shows the section and building heights around the site Area.
Site of INteresT
Tiangus Market Car ParK
Primary School
INHABITANTS AROUND THE SITE USing sketching and panoramic photos to indicate the site of interest and the major buildings around the site area.
Behind the WAlls the site model, Highlighted in red, shows the constraint of my site. not only the Enterance of the market, but an already empty plot behind the wall as shown in the diagram.
Noise Level Major noise source: Elementary School
Air pollution Major greenhouse gas emission: Roundabout
SITE ENVIRONMENTAL ANALYSIS The graphs show the annual sun path and wind speed around the area. IT is important for massing options later on as it can directly affect major design decisions.
massing iteration NON-MARKET DAYS
After setting the ideal space and area of my pottery workshop, only the areas for non-market days have been massed. My building then became very linear due to the constriction of the wall. a solution is to have the building enlongating along the wall.
The Pottery Marking building remains private on Market day and non Market day.
Wehn MArket day, the building opens up for communal use. the Pink area marks the possible place to let building splits to the market.
MARKET DAYS Open areas on market days will be integrated to the buidling site to create a sense of social interchange
project Inspiration For the envlope and structure of my building, I would like to incoporate my investigation in Project I on Celluar Automata and Voxels. BY generating patterns of boxes, Space pockets will be created. this generates a special typography and a unique spatial element for the structure.
INitital Configuration
Top View
Front Elevation
FURTHER PROPOSAL Based on the investigation of the negative spatial element, the outcome can be put to a larger scale. The space suggests a path and journey for users.
AN INTERACTIVE PAVILION the compositiion can be served as an interative structure where users are able to engage and make spatial desicions to suit their needs.
CA RULE Die : 2 Survive 3 Reborn: 4
CA RULE Die: 3 Survive: 2, 4 Reborn: 2
CA RULE : Die: 3 Survive: 4 Reborn: 5
CA RULE Die: 3 Survive 4 Reborn:2, 6
Numbers of components: 326
Numbers of components: 295
Numbers of components: 318
Numbers of components: 289
swiss pavilion venice biennale, 2016
Serpentine Gallery Pavilion, Bjarke Ingels 2016
BarriosEscudero Project, Pabellon Ricchezze
CA in constrainted environment In a given constraint grid/environment, air pockets can be seen in the voxel structure. These air pockets can be further investigated in their spaical qualities.
2.5 meter
138 meters
MAr ke t
G
d ri
GRID REFERENCE Taking the social context and THE SIZE OF THE MARKET STALLS, a grid system is generated. Based on this grid, the growth of building can be controlled by referring to the size and scale of my voxels.
PHYSICAL GRID SYSTEM An initial site model based on the grid system is created. This is a rough model is experiet what is it like to extrude the 2d markets stall grid system on site.
CONTINUING WITH MY PROSPOSAL IN PROJECT i, I USED THE WALL AS A CONSTRAINT AND EXPERIMENTED HOW THE WALL WILL REACT IF GOing OVER unDER OR THROUGH IT.
OVER
UNDER
OVER (CONTROLLED)
THROugh
THROUGH (CONTROLLED)
‘BREAKING THE WALL’ Applying the investigation on celluar automata and volexs to the site, the building can then ‘punch through’ the wall at various range and levels.
SOU FUJIMOTO - ULTIMATE WOODEN ARCHITECT ‘I thought of making an ultimate wooden architecture. It was conceived by just mindlessly stacking 350mm square.’ - Sou Fujimoto
Wooden 350mm cubes 7KHUH DUH QR VHSDUDWLRQV RI ȲRRU ZDOO DQG FHLOLQJ KHUH $ SODFH WKDW RQH WKRXJKW ZDV D ȲRRU EHFRPHV D FKDLU D FHLOLQJ D ZDOO IURP YDULRXV SRVLWLRQV 7KH ȲRRU OHYHOV are relative and spatiality is perceived differently according to one’s position. Here, people are distributed three-dimensionally in the space. This is a place like an amorphous landscape with a new experience of various senses of distances. Inhabitants discover, rather than being prescribed, various functionalities in these convolutions.
Pavilion installation A 1:1 model showing the interaction between the strucutre and the user.
HISTORY OF BOTTLE KILNS Looking at different bottle kilns to explore how it can be integrated to the building.
Light well, also as atrium of building enterance
Ramps goes up and around the Kiln
5RRP %DVHPHQW IRU ȱULQJ WKH Kin
Corridor, also an exihibition hall
A LONG SECTION CUTTING THROUGH THE BUILDING MODEL. FORM RIGHT TO LEFT, IT SHOW THE ENTERNCE OF THE WALKING SURFACE, THE KILN, THE MAIN BUILDING AND THE BIG ATRIUM AT THE ENTERENCE THER IS A RAMP THAT GOES ROUND INSIDE THE BUILDING. WITH THE LIGHT WELL ON TOP, IT WOULD CREATE A CENTRAL ATRIUM WHERE NATURAL SUN LIGHTS CAN PENETRATES THROUGH. .
Enterance of Walking surface
MAJOR MOMENTS OF EARLY MODEL A early model to show the interior massing and ciruclation
3d printed model Light is casted from the inside of the PRGHO WR UHȲHFW WKH VKDGLQJ HIIHFW The building is now seperated into two lanuages, The exposed fascade and the walking surface that generates over the building. The exposed structure allows the inside of teh building cast light directly out of the model. Since the walking surface covers the majorityof the model, it blocks light from the inside, this creates semi opaque creates a gentle luminosity.
Lights and shadows by placing lights withiin this model, The placement of the walking surface becomes apparent. It displays where the structure is exposed and enclosed from within.
EARLY ITERATION: STEEL FRAME based on the grid system, a steel frame structure is constructed as the basis of the facade.
The exposed fascade creates an impression of an open pavilion, revealing the interior structural design to the outer environment.
Steel Frame as Enclosed area for workshop Two LArge Kilns for Pottery Firing
This typography wraps around the building Light wells installed on the roof for natural sunlight and air ventilation
The enterance / stairs to the open community centre
A walking surface / typography over the building
These box volumn spills over the building and onto the market street
EXTERIOR AND INTERIOR FRAME the typography overlaying the building and the market street serve as a walking surface for users and the community
DUAL FEEDING OF THE STALLS AND THE BUIDLING The market stalls grow into the overlaying modules of the building to form a close interaction. this reformation gives the public a new conceptional picture of the area.
Voxelized typography over the building as walking surface
The walking surface cantalievered over the market street
Light well to cast naterual sun lighting throughout the building. For better Natrual ventilation and enveryg saving.
Opposite to the walking surface, the interior is made out of stell frae structure and wraps around th the kiln
The light well is placed in the center and the buildign is hoolw in the center to allow users to oversee the whole process of the building.
The exposed fascade allows people of the toepath to look into the building to see the whole process of making vice versa.
INTERIOR A close up moment of an early model
Section development Sectional development of the building
EARLY DEVELOPMENT strate
KENGO KUMA’S PHILOSOHY The idea of impermanence and disappearance is central to Kuma’s philosophy, and makes sense in the face of post-war concrete buildings that have not aged well - the residents of Nakagin Capsule Tower voted to demolish it in 2007, though the debate with Kurokawa continues! A s Kuma says, ‘”Permanent architecture” is impossible to begin with
Twelve wooden sticks slot together without glue to form the units, which combine to make shelving or tables. The six-sided units can be connected to one another from any edge.
chidori joints by kendo kumastruction
Traditional Japanese toys inspired this modular furniture by architects Kengo Kuma and Associates for the East Japan Project. Twelve wooden sticks slot together without glue to form the units, which combine to make shelving or tables.
The walking surface will be canteliever over the market place. I proposed to use a tinted glass and generate this walking surface enlongate above the market street. The timber cubes comprised of adjoining pieces connect at an angle of 90°, which makes the mortise and tenon joints suitable in this building circumstances. In its basic form it is both simple and strong. Although there are many joint variations, the basic mortise and tenon comprises two components: the mortise hole and the tenon tongue. The safety of of these timber joints raises concern how safe are these joints to build and walk on. This may relate to the balance of stiffness and the ration of tenon depth. According to Sandi (2013), it is evident from the analysis of rotational stiffness that the joints become stiffer as tenon depth is increased.
An exposed diagram of a single 0.5m trimber frame Module.
a. Tenon and Mortise and Peks are joint together at 90 degrees b. Use Peks, join the larger tenon to the small tenon c. Use Bolt screw safety glass and small tenon frame together d. Large Mortise e. Small Mortise f. Bolt g. Large Tenon h. Small Tenon i. Toughened Glass Pane j. Oak Pek k. Smaller imber frame
mortise and tenon joints The outer skin of the facade is comprised of units of timber joint cubes. The timber unit integrates in and out of the building to creates cantilevers and density. In this pages, the timber joint on the walk surface of the building is being described. They will be installed will glass panel so that people can walk on them and look down to the street.
WALKING SURFACE 3d model illustrating the walking surface on the building built by the individual modules.
Close up moements the walking surfaces will be entered at three different point of the street. It will be canteliever over the street and market stalls.
Stimulation A rendered presective of users using the facility.
Final Model 1:100 A section al model of building
Final model showing its interier quality the units are consistent throughout the building. the timber units on the outer skin penetrates through the wall of the building to become an interior component.
Final ModeL Closeup This model demonstrate how the units are consistent throughout the building. the timber units on the outer skin penetrates through the wall of the building to become an interior component.
Double Fascr to Improving thermal performances One important factor to note is that the typeof double skin facade determine the type of air circulation. In fact, the most remarkable systems are those designed in such a way that its permits natural air circulation while also using solar enery, converting it into electrical energy. There is a reduction in energy consumption is achieved by minimising solar gain through the façade and in turn reducing the cooling loads of the building. It is also natural ventilated. Due to the protection of the external skin, natural ventilation through the cavity can be achieved whilst not compromising occupant comfort during harsh climatic conditions such as wind, rain and snow.
D b. c. d. e. f. g. h. i. j. k. O m. n. R
$OO JODVV IROGLQJ ȲDS Timber frame, outer facade Wall insulation Double glazed glass panel Ceiling Surface plate Fixing screw Sealing/bearing layer Sealing layer Hinged bearing Horizontal precision adjustment %UDFNHW ȱ[LQJ WR IDFH Ball and socket Joints Pivot 3RLQW ȱ[LQJ
pivoting windows on Double facade the timber frame forms the double facade and the double glaze provides insulation for the building.
Reduce heat loss There are two reasons of choosing insulated susSHQGHG WLPEHU ȲRRU )LUVWO\ LW LV RQH ZD\ WR NHHS WKH ȲRRU VXVSHQGHG DQG DWWDFK EHWZHHQ D KHLJKW RI D timber units since the building proposal is that the timber unit will spill in and out of the building and E\ VXVSHQGLQJ WKH ȲRRU EHWZHHQ WKH XQLW ZLOO KHOS structuring the building. Secondly it is can reduce heat loss from the fabric of the building (walls, ceilLQJV ȲRRUV FORVHG ZLQGRZV DQG GRRUV DV ZHOO DV heat loss from draughts through things like gaps LQ ȲRRUV ZLQGRZV GRRUV RSHQ FKLPQH\V DQG ORIW hatches. Thermal comfort 6XVSHQGHG 7LPEHU *URXQG )ORRUV FRQVLVW RI WKH ȱQLVKHG WLPEHU ȲRRUERDUGV EHLQJ DWWDFKHG WR ȲRRU MRLVWV ZKLFK DUH VXVSHQGHG DERYH WKH VXEȲRRU RI WKH IRXQGDWLRQ 7KHVH ȲRRU MRLVWV DUH UDLVHG DERYH WKH VXEȲRRU RQ VPDOO VXSSRUWLQJ ZDOOV FDOOHG WDVsel walls (or sleeper walls).A wallplate is then attached to the top of the tassel walls, on which the ȲRRU MRLVWV UHVW RQ $ GDPS SURRI FRXUVH VHSDUDWHV the wall plates from the tassel walls, preventing decay from any rising moisture. Also, note the gap in the block work of the tassel walls, ensuring adequate air circulation. Therefore suspended timber ȲRRUV DUH YHU\ EUHDWKDEOH YHQWLODWHG ZKLFK SUHvent moisture and condensations as well.
Suspended Timber Ground Floors
$ ZHOO LQVXODWHG ȲRRU SURYLGHV WKH PRVW SUDFWLFDO DQG FRVW HIIHFWLYH ZD\ WR PDNH D KRXVH PRUH HQHUJ\ HIȱFLHQW NHHSLQJ LW FRROHU LQ VXPPHU DQG ZDUPHU LQ ZLQWHU DQG saving up to 40 per cent in heating and cooling bills. In addition, insulation may reduce condensation in the home.
Since all the components of my building will be based of a cube timber modules and intertwine throughout, The tempary Market stall will also be building based of this grid.
On a normal Day, the stall front will be closed and serve as only the fascade of the building. However on a market day, WKH VWDOO IURQW FDQ EH RSHQ OLNH D ȲDW SDFN WKLV SURSVDO UHGHȹQHG WKH FRQvention market stalls in Meixco and and possible ways of recreating them.
An Axo daigram of the stall front. It show how it is designed as the same lanuage as the building and can be intergreated seamlessly into the building.
0.5m module, intergreated on the exposed timber frame fascade
0.5m module, intergreated on the exposed timber frame fascade
Bifolding windows
Bifolding windows Existing Market store items. In a Market days, the buildign may sell potteries from the inside of the building
Existing Market store items. In a Market days, the buildign may sell potteries from the inside of the building
integrated stall front stalls extended out from the buidling where potteries from the workshop are sold to the public.
7KH ČąUVW VWHS RI SRWWHU\ PDNLQJ LV WR XQORDGURDG PDWHULDOV form the truckto different levels of the building. A pully system is placed adjustion to the market street, so that truck can unload right into the building. The poles of the pully system will be taken form the timber frame structure and act as a pivot from the oully. The dimension of the pollws will be 400*5*5 mm.
This daigram show have the pully system is installed right next ot the market street. There is a window tthat allows poeople to feed into the pully systmet .
PLaces on Second Floor to allow heavy raw materials to be able to trasnfer up and down the building
Double Pully system people pulling the pully will be able to see throught the fascade of what is hapening outside, vice versa.
Allows Truck stops by to load and un load materials and potteries Ground FLoor ready to load and unload materials.
Transport system raw material unloaded by the truck is carried intot the building via the pulley system. it is intergrertated opposite the street and can be feed into from the ground ȲRRU
ONE MORe Diagram
joining the kiln Investigatiing on how the wooden frame can be connected to the bottle kiln.
Building sequence the digrams show the constructino sequence on a time lapse. although some parts of the frame can be pre-fabricated, most parts such as glass units and timber joints will have to be handcrafted on site.
The double fascade Including the structure and detail construction above, the double facade of each ȲRRU LV EHLQJ SURFHG
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