Week 4: Project Matrix
Architectural Precedent
- Bruder Klaus Field Chapel
Architect: Peter Zumthor
Location: Mechernich, Germany
Project Year: 2007
1. Key Concept:
The Bruder Klaus Field Chapel by Peter Zumthor, completed in 2007, is known for its beautiful respect for the materials which were used to construct the sensuous space. 'In order to design buildings with a sensuous connection to life, one must think in a way that goes far beyond form and construction.' This concept is represented in the design of the Chapel, where a mystical and intimate interior that invites reflection, is masked by a very rigid rectangular outer.The architecture seems blurred and diffused into its background with the feature of solidity. It is because of its largely similarity to the sand and gravel in the site which is site configuration. In addition, Peter Zumthor uses a precise and sensuous way to expose the essence of the materials. Concrete, an essential ingredient here, can simulate other forms but it is a shapeless mass. As a material with plasticity, there is a great aesthetic property living in it. 'The ornamentation on the interior surface of the concrete walls is quite literally derived from the natural materiality of wood and elemental effects of fire.’ (Schwartz, 2016). Last but not least, the concept that 'the space of religious buildings are aimed to draw the visitor's eyes upward towards God' is well demonstrated as the vertical axis at the spiritual centre takes the view up to the oculus above. (Schwartz, 2016). The light filtering into the interior highlights the texture of the space. The process of construction is integrated with the experience of space.
2. Selected Design Element:
The selected design element is the entire architecture in order to experience and understand the actual construction of the Chapel. The interesting part of the Chapel is the method of construction. Upon completion of the frame, layers of concrete were poured and rammed atop the existing surface, each around 50cm thick. When the concrete of all 24 layers had set, the wooden frame was set on fire, leaving the interior a black cavity. The curved conical form is a stark contrast to the comparatively smooth angular façade. After removing the frame, many small holes were left behind in the walls, creating an effect reminiscent of the night sky. The chapel’s "beautiful silence" and undeniable connection to its surrounding landscape make it an evocative and popular destination. Therefore, the concrete casting model is similarly achieved through the following processes:
1. Earthwork: Creating base by laser cutting plywood into two pieces and glued together to support the structure above.
2. Hearth: Shaping concrete slab on the site model and marking the placement of the hearth by plaster casting.
3. Floor: Casting the floor and marking the formwork in order to place sticks.
4. Framework: Assembling the interior formwork - a wigwam made of 112 tree trunks premises, which in this model is wood sticks.
5. Cladding: forming the layers of concrete around the frame.
6. Ornament: Making the triangle entry by laser cutting.
1. Earthwork: Creating base by laser cutting plywood into two pieces and glued together to support the structure above.
2. Hearth: Shaping concrete slab on the site model and marking the placement of the hearth by plaster casting.
3. Floor: Casting the floor and marking the formwork in order to place sticks.
4. Framework: Assembling the interior formwork - a wigwam made of 112 tree trunks premises, which in this model is wood sticks.
5. Cladding: forming the layers of concrete around the frame.
6. Ornament: Making the triangle entry by laser cutting.
3. How is the Key Concept Reflected in the Design Studio?
Firstly, in the future design studio as well as the career, relationship between site and architecture will always play a significant role in the design. The building involve moulding, where a tangible transposition of site to building is produced by imprint and material transformation. Interaction between site and production is found to achieve poetic quality through localisation of materials. From this project, I could learn from Zumthor's method of choosing the materials just from the site and getting inspiration of construction from the locals to respect the nature and community. The nature and architecture should echo with each other.Secondly, the unique character of the concrete is well utilised in the construction method. Concrete which will be broadly used as a thermal mass in my high performance stream can be deeply understood from this project. I could also apply the method of shaping functional space to my design rather than merely creating concrete wall.
Additionally, it is a religious building which I have never been asked to design in the studio, therefore it is a great potential precedent for my future career. I will take this opportunity to learn from the aim of delivering a very sombre and reflective feelings to the visitors' encounter with the chapel. The use of skylight in the Chapel is also an interesting point to consider as it controls the indoor climate based on the time of day and season.
4. Geometrical Description of the Shape
The sections and floor plan are shown above. The scale of the model will be 1: 100. The building is around 15m* 15m with height of 12m. As a result, the base will be at 150mm*150 mm and the height of the model will be 120 mm. There will be two layers of 5mm plywood under the structure. The hand-poured metal floor consists of a 2 centimeter-thick (3/4-inch-thick) layer of an amalgam of zinc and lead created by local artisans. So, the floor could be represented by silver-textured paper. The wood sticks of 5mm diameter (estimated and need more research) could be used as the 112 local trees from the town forest of Bad Münstereifel. The plan can be used to determine and trace the position of those sticks. The 24 concrete layers is 50cm thick in reality, so for the model, they are supposed to be 5mm. Laser cutting mold for containing the poured concrete need to be modeled through software at 5mm height. The video from YouTube is a reference and demonstration of how the model will be built.
5. Proposed Scale, Material, Technique.
Proposed scale:
1: 100
Material:
Silver-textured paper
Plywood 6 mm
Plywood 2 mm
Wood sticks 5mm diameter
Technique:
Concrete casting
Laser cutting
6. Time Commitment, Budget
Time commitment - 25 days and 10 hrs
Laser cut file preparation - 1 hr
Laser cutting - 1 hr
Assembling framework and base- 8 hrs
Concrete casting for concrete slab - 1 day
Concrete casting for 24 layers - 24 days
Budget - $82
Silver-textured paper - $2
Plywood 5 mm - $20
Plywood 2 mm - $10
Wood sticks - $5
Laser cutting - $15
Cement - $20
Reference
1. Anon, (2010). [video] Available at: https://youtu.be/SKWgZ-pINa8 [Accessed 30 Jun. 2019].2. ArchDaily. (2011). Bruder Klaus Field Chapel / Peter Zumthor. [online] Available at: https://www.archdaily.com/106352/bruder-klaus-field-chapel-peter-zumthor [Accessed 30 Jun. 2019].
3. ArchDaily. (2016). Peter Zumthor's Bruder Klaus Field Chapel Through the Lens of Aldo Amoretti. [online] Available at: https://www.archdaily.com/798340/peter-zumthors-bruder-klaus-field-chapel-through-the-lens-of-aldo-amoretti
[Accessed 30 Jun. 2019].
4. Jenner, R. (2016). Production of site and site of production: Herzog & de Meuron's Schaulager and Zumthor's
Feldkapelle. Architectural Research Quarterly, 20(4), pp.313-323
5. Making.unsw.edu.au. (2019). Shop | UNSW Making. [online] Available at: https://www.making.unsw.edu.au/dfl/shop/ [Accessed 30 Jun. 2019].
6. Schwartz, C. (2016). 19 Bruder Klaus Field Chapel | Peter Zumthor | Hannover, Germany. In: C. Schwartz, ed., Read Online Download Book Add to My Bookshelf Share Link to Book Cite Book Introducing Architectural Tectonics : Exploring the Intersection of Design and Construction. [online] Routledge, pp.358-372. Available at: https://ebookcentral.proquest.com/lib/unsw/detail.action?docID=4710851 [Accessed 30 Jun. 2019].
- Swiss Sound Box
Architect: Peter Zumthor
Location: Kronsberg, Hanover
Project Year: 1996-2000
Location: Kronsberg, Hanover
Project Year: 1996-2000
1. Key concept:
Swiss Sound Box, Switzerland’s entry in Expo 2000 in Hanover, was designed accordingly with the exposition’s theme, 'Man, Nature and Technology'. Instead of showing theoretical or virtual information to promote Switzerland, the basis concept was to offer a relaxed atmosphere to the visitors, who would be tired from studying all the messages in the other national pavilions. The architect Peter Zumthor describes the pavilion as a place, which encourages the visitor 'to roam, to let go, to discover and to enjoy'. (Sufrin, 2000) Dramatic music played by musicians moving around was designed to merge with the architecture. A sensory experience has been created as the pavilion is permeable and can be accessed from 15 entrances without any doors. The visitor has a different experience in this changing atmosphere as there are infinitely possible routes.
Sustainability is also a dominant consideration in this design. The walls of the pavilion are made of identical wood beams. Mooring rods and steel springs keep the structure firm. Not a single nail, screw, bolt or drop of glue has been used in the construction. All the beams are undamaged, ready to be dismantled after the exhibition and re-used as building timber.
2. Selected Design Element:
I will produce two models including one whole model showing the allocation and arrangement of walls and another structural model about how one of the stacked walls is constructed.
Seen from the plan, the building looks like as twist and weaving of textiles with knots at various meeting places venues and event nodes. Three stand-up bars served food and drink reflecting the Swiss culture. These service elements are placed in spiral multi-layered units. Other voids in the stacks hosted musician’s performance stage where melodies echo in the Sound Box. I am planning to 3D print the stacked timber walls, concrete foundation and asphalt tarmac. The arrangement included 12 separate stack areas - each alternating direction 90 degrees from those adjacent - and a total of 99 walls. The gutter will be made by sheet metal in the workshop. As a not detailed model, the tension robs and caps can be ignored.
1. Concrete Footing
2. Steel base plate: anchored to the top of each concrete footing also done by laser cutting.
3. Asphalt Tarmac: the finished ground surface of the sound box.
4. Stacked wood I: supported by steel plate.
5. Wood blocks: running perpendicular to the stacked wood I creating spaces between the timbers.
6. Stacked wood II: same as I.
7. Rod supports: guides placed in the spacer system at each tension support.
8. Lower wall: system of stacking built up to the roof level.
9. Parallel spacers: spacers are placed parallel to the wall to support the roof structure
10. Roof structure: same timbers spanning from wall to wall.
11. Roof Spacers: spacers are placed on the top of roof structure to receive the upper portion of the wall.
12. Upper wall: system of stacking built continuously.
13. Tension cap: inserted at the top of the wall to receive tension structure.
14. Tension robs: steel rods and springs are utilised to ensure and stability and clamp the wall construction together.
3. How is the Key Concept Reflected in the Design Studio?
Firstly, roof construction vary depending on the structural spanning at each program space in voids. The longer the span, the deeper the structure became, which means more layers of timber and lower ceiling height. In this case, the program determines the structural condition and final space height. This will contribute to my future design in terms of understanding how the space might affect construction and vice versa.
In another aspect of environmental considerations in the design process, I learned that light, cast shadows, and music affect the mood of the visitors to the building. In the building, light is filtered through the openings of the sound box roof system to provide drama for the space. The wood itself, as well as the ever-changing choice of food and drink, laced the pavilion with smell reflective of Swiss. Swiss sound box was built to enhance the impact of the natural and artificial environment.
Finally, in high performance stream, sustainability is the key word, which is well demonstrated in this project. The Expo guidelines state that each pavilion must be easy to dismantle. Most of the materials in each pavilion also need to be recycled and reused. In response to this challenge, Zumthor envisioned the sound box as a lumberyard. After being dismantled, the lumber was sold for other uses. This recycling process influences me on the idea of sustainability.
Finally, in high performance stream, sustainability is the key word, which is well demonstrated in this project. The Expo guidelines state that each pavilion must be easy to dismantle. Most of the materials in each pavilion also need to be recycled and reused. In response to this challenge, Zumthor envisioned the sound box as a lumberyard. After being dismantled, the lumber was sold for other uses. This recycling process influences me on the idea of sustainability.
4. Geometrical Description of the Shape
The first model of the whole architecture will be at 1:50. Below the tarmac, 396 prefabricated concrete foundation blocks were laid on a continuous layer of crush rock. The rock is planning to be made with 6mm plywood by laser cutting. The scale is not 1:100 because the model might be crashed when 3D printing 1mm thick wall. If the scale does not work well, other method such as laser cutting walls with score to represent timber assembly. However, it is better to do precisely 3D printing. The height of stacks is 8.68m thus 173.6mm in model. The base area will be approximately 40*40 mm. There are 99 walls and these lengths can be determined through the plan when modeling the building in Rhino. Other elements such as gutter is planning to be made by sheet metal and bended. Cross section is 20*10cm for the lumber, so its is suppose to be 4*2 mm.
The scale of second structure model is 1:20. The laser cutting acrylic with dimensions of components is utilised to hold the structure. Each components are shown below. These timbers are stacked in alternating layers with smaller blocks of wood running perpendicular to the wall. These blocks were 45*45*544mm. The roof structure sits about 6.3m above the tarmac surface. The tension systems are placed every 3m along the stacks; they were anchored at the bottom to steel plates and at the top pf a cap element that spanned across the wall. The roof span ranges from 6.74m to 11.25m. The spring will be done in the sheet metal workshop using steel wire. 5mm and 2.5mm plywood will be laser cut to represent stack wood, spacers and wood block.
5. Proposed Scale, Material, Technique.
Proposed scale:
1: 50 and 1: 20
Material:
PLA white
Plywood 5mm
Metal wire
Sheet metal
Metal wire
Sheet metal
Technique:
3D printing
Laser cutting Metal working
6. Time Commitment, Budget
Time commitment - 25 days and 10 hrs
Laser cutting and 3D print file preparation - 3 hr
3D print - 15 hr
Assembling 1:50 model: 3 hr
Laser cutting - 1hr
Assembling 1:50 model: 3 hr
Laser cutting - 1hr
Metal work - 2hr
Assembling 1:20 moel: 12 hr
Assembling 1:20 moel: 12 hr
Budget - $103
Acrylic clear 2mm -$21
Plywood 5 mm - $20
Plywood 2.5 mm - $12
Laser cutting - $30
3D printing - $45
3D printing - $45
Metal and wire - $20
Reference
1. Making.unsw.edu.au. (2019). Shop | UNSW Making. [online] Available at: https://www.making.unsw.edu.au/dfl/shop/ [Accessed 30 Jun. 2019].2. Paul Sufrin. (2000). Swiss pavilion at Expo 2000 offers respite from assault on senses. [online] SWI swissinfo.ch. Available at: https://www.swissinfo.ch/eng/swiss-pavilion-at-expo-2000-offers-respite-from-assault-on-senses/1507598 [Accessed 30 Jun. 2019].
3. Schwartz, C. (2016). 02 Swiss Sound Box | Peter Zumthor | Hannover, Germany. In: C. Schwartz, ed., Read Online Download Book Add to My Bookshelf Share Link to Book Cite Book Introducing Architectural Tectonics : Exploring the Intersection of Design and Construction. [online] Routledge, pp.108-125. Available at: https://ebookcentral.proquest.com/lib/unsw/detail.action?docID=4710851 [Accessed 30 Jun. 2019]
4. WikiArquitectura. (2019). Swiss Sound Pavilion - Data, Photos & Plans - WikiArquitectura. [online] Available at: https://en.wikiarquitectura.com/building/swiss-sound-pavilion/#swiss-sound-pavilion-peter-zumthor-03 [Accessed 30 Jun. 2019].
- Allmannajuvet Zinc Mine Museum
Architects: Peter Zumthor
Location: Sauda, Norway
Area: 150.0 m2
Project Year: 2016
1. Key Concept:
Located in Allmannajuvet, the museum has a unique landscape and rich cultural history and is one of the 10 largest attractions along the National Tourist Routes. The key concept is the intimate relationship with history through the careful choice of site, material and form. The simplistic buildings are inspired by the mining operation, the drudgery and hard daily lives of workers who work on the site between 1882 and 1898. The exposed structural timber framework and corrugated metal roofs of the buildings are echoing the infrastructure of mining operations as well as the surrounding rugged terrain. The project focuses on materials and construction through unique post-industrial design references to the site's industrial history. In addition, the beautifully constructed interiors also offers the highest precision. Designed to resemble a gallery, rich black walls and ceilings pierced by diamond shaped lights make for an amazing space. The dark interior contrast sharply to the landscape of woodland with a clear view through the long narrow windows.
2. Selected Design Element:
As I used to create site model by the method of laser cutting, in this course I am interested in testing to do the site model by CNC milling with the material of solid wood. The site contour plan is shown above. I will model the site through Rhino and leaving the foundation space to support the buildings.
It helps me to understand the relationship between the site and architecture.
The construcction of the building is simple but distnctive. Timber supports elevate the cafe and exhibition above the rocky landscape, while the service building hangs from the side of a stone wall. The timber framework extends up the black outer walls to raise a mono-pitched corrugated zinc roof above each of the blocks. For the three buildings, I choose the service building that firmly fixed to the wall to do with timber structure at 1:100 scale. In the site model, the three supported blocks will be done by 3D printing looking into the interior void or negative spaces. The materiality, structure and also space involved in the design will be learned through the modeling process.
3. How is the Key Concept Reflected in the Design Studio?
The concept of context, culture and materials merged in the architecture will influence me in the future career. The geography and history of this place forms the architecture, which tells me that different factors will result into an unique design methodology. The architecure should response to all these aspect. Therefore, a precise and deep research on the site and history is fundamental during the pre-design period.
Many buildings claim to enhance and respect the environment in which they are placed, most fail to do so but not here. Drama to a wonderful landscape. ‘I feel respect for the art of joining, the ability of craftsmen and engineers’, he says. ‘I am impressed by the art of knowledge, which lies at the bottom of human skill.’ (Architectural Review, 2017) It also enabled him to restore and express a sense of place in his familiar role of architectural archaeologist. As a result, I better understand the importance of respecting the site and how to respect the history and heritage when designing.
The CNC method can give a accurate and detailed appearance to the model compared to laser cutting, so I will try to utilise it in the future.
4. Geometrical Description of the Shape
The site model is at 1:500 scale with base at 300* 600mm according to the site plan above. The digital file will be prepared in Rhino. Remember to leave some space on the edge for stablising the wood on the CNC bed. The parking facility has been masoned with natural stone which could be laser cut with score lines showing the texture. The visible corner of the wall is approximately 18 metres tall and has been firmly fixed three metres to the riverbed.
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Service Building
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| Section |
5. Proposed Scale, Material, Technique
Proposed scale:
Material:
PLA black
Wood stick square
Timber for milling (Bunnings)
balsa
Technique:
CNC milling
3D printing
wood structure handmade
6. Time Commitment, Budget
Time commitment - 25 days and 10 hrs
CNC milling file preparation - 3 hr
CNC milling - 2 hr
3D printing file preparation -3 hr
3D printing - 5*3 hr
Model making (Timber structure) - 12 hr
Budget - $135
Wood stick square - $10
Timber for milling (Bunnings) - $30
balsa 1mm
CNC milling - $50
3D printing - $45
Reference
1. ArchDaily. (2016). Allmannajuvet Zinc Mine Museum / Peter Zumthor. [online] Available at: https://www.archdaily.com/796345/allmannajuvet-zinc-mine-museum-peter-zumthor [Accessed 30 Jun. 2019].
2. Architectural Review. (2017). Allmannajuvet Zinc Mine Museum in Norway by Peter Zumthor: ‘The progeny of an artist-architect’. [online] Available at: https://www.architectural-review.com/buildings/allmannajuvet-zinc-mine-museum-in-norway-by-peter-zumthor-the-progeny-of-an-artist-architect/10016453.article?search=https%3a%2f%2fwww.architectural-review.com%2fsearcharticles%3fqsearch%3d1%26keywords%3dAllmannajuvet+Zinc+Mine+Museum [Accessed 30 Jun. 2019].3. Architizer Journal. (2016). Master of Modesty: Peter Zumthor's Zinc Mine Museum Is an Understated Icon. [online] Available at: https://architizer.com/blog/inspiration/industry/peter-zumthor-zinc-mine-museum/ [Accessed 30 Jun. 2019].
4. Frearson, A. (2016). Peter Zumthor completes buildings for Norwegian tourist trail. [online] Dezeen. Available at: https://www.dezeen.com/2016/06/10/peter-zumthor-architecture-wooden-buildings-on-stilts-tourist-trail-norway-allamannajuvet-mine/ [Accessed 30 Jun. 2019].
5. Larsen, J. (2014). Geologic Presence in a Twenty-First-Century Scenic Garden. Studies in the History of Gardens & Designed Landscapes, 34(1), pp.85-100.
6.Mairs, J. (2017). Peter Zumthor's stilted Zinc Mine Museum captured in new photography. [online] Dezeen. Available at: https://www.dezeen.com/2017/06/02/peter-zumthor-stilted-zinc-mine-museum-buildings-aldo-amoretti-photography-norway/ [Accessed 30 Jun. 2019].
7. Making.unsw.edu.au. (2019). Shop | UNSW Making. [online] Available at: https://www.making.unsw.edu.au/dfl/shop/ [Accessed 30 Jun. 2019].
8.Susanna, M. (2017). Peter Zumthor's Allmannajuvet Zinc Mine Museum in Sauda, Norway.. [online] Available at: https://www.yellowtrace.com.au/peter-zumthor-allmannajuvet-zinc-mine-museum-norway/ [Accessed 30 Jun. 2019].
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