Masters Design Thesis

OXFORD BROOKES UNIVERSITY, SCHOOL OF ARCHITECTURE

INTERWOVEN: S PAC E B E T W E E N S PAC E S weaving as an architectural expression

MArchD Applied Design in Architecture Design Studio 2_2019|2020 Tutors: Michael Kloihofer, Adam Holloway Student: Austin Wyeth

DS2 2020 - Group Project - Orange Eye View

M AT E R I A L E X P LO R AT I O N + M A K I N G : E X P E R I M E N T 1 Experiment 1: Form Finding

CONTENTS

1 - GROUP TECTONIC SHRINE

0/ 1/ 2/ 3/ 4/ 5/

Areas of Interest P r e c e d e n t G a l l e r y Themes + Design Process Material Exploration + Making Fa b r i c a t i o n P r o c e s s The Shrine

7 8 9 10 22 24

2 - CRAFT RESEARCH + SHRINE DESIGN

0/ 1/ 2/ 3/ 4/

Abstract Craft History + Research Te c t o n i c M a k i n g Te c t o n i c D r a w i n g Shrine Design

28 29 40 53 60

3 - DESIGN PROJECT

0/ 1/ 2/ 3/ 4/

Brief S i t e + B u i l d i n g Ty p o l o g y Design Process D e s i g n Te c h n o l o g y Visualisations

70 72 88 108 126

4- REFERENCES

0/ References

136

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CONTENTS

1 - GROUP TECTONIC SHRINE

0/ Areas of Interest

7

1/ Precedent Gallery

8

2/ Themes + Design Process

9

3/ Material Exploration + Making

10

Experiment No.1 Form-Finding

Narrative Development

Form Evaluation and Selection Experiment No.2 Maquette Models @1:20 Experiment No.3 Maquette Model @1:10 Final Model Component Detailing @1:10 Weaving Detailing @1:10

4 / Fa b r i c a t i o n P r o c e s s

22

5/ The Shrine

24

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DS2 2020 - Group Project - Orange Eye View

AREAS OF INTEREST Group Project Initial Crafts

TIMBER GRIDSHELLS The use of timber gridshells in construction today is extensive due to its simplicity, structural stability and aesthetics. This 1:1 reproduction of a simple timber gridshell uses 2mm strips of ply wood. The pieces were connected by simple screws and the dome set in place by makeshift timber clamps. The gridshell was inspired by the Weald and Downland Gridshell Building, arguably the first modern timber gridshell construction. Determining the exact angles at which the grid should sit was difficult due to the traditionally manual approach to construction, a challenge not experienced today due to the use of technology to precisely calculate all grid dimensions.

TENSILE TIMBER Timber is well known for its compressive strength and as a surface material, but it also has impressive tensile strength.

This makes it an interesting material to experiment with as it can be used to perform different structural functions.

As explored by different joinery techniques (see left, above) the fibres of timber can create incredibly strong members with a aesthetically pleasing profile.

COIL WEAVING Lightweight natural and synthetic materials such as rope, twine, bamboo and composite polyesters lend themselves to coil weaving. Bunched together and secured by strings, they can produced coiled self-supporting structures and elegant lightweight draping. As an architectural material, the density of application can also produce different atmospheric effects.

FABRIC CASTING A relatively new material process, fabric casting brings together concrete’s ability to take the form of its container with the flexibility and re-usability of fabric. The examples to the right show the compressive abilities of thin concrete casted over fabric and the sculptural and textural possibilities of fabric impregnated with concrete.

Images from Authors

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DS2 2020 - Group Project - Orange Eye View

M AT E R I A L E X P LO R AT I O N + M A K I N G : E X P E R I M E N T 1 Experiment 1: Form Finding

L AT T I C E

MESH

GRIDS

FA B R I C

FORMWORK

GRADIENTS

T R A N S PA R E N C Y

W E AV I N G

SUSPENSION

TIES

TENSION

DESIGN PROCESS

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DS2 2020 - Group Project - Orange Eye View

DS2 2020 - Group Project - Orange Eye View

M AT E R I A L E X P LO R AT I O N + M A K I N G : E X P E R I M E N T 1

M AT E R I A L E X P LO R AT I O N + M A K I N G : E X P E R I M E N T 1

Experiment 1: Form Finding

Experiment 1: Form Finding

Name:

STIFF NETTING

Test Size:

430 x 430 mm

Grid Size:

3 x 4 mm

Grid Shape:

HEXAGON

Flex Direction: HORIZONTAL + VERTICAL Grid Detail

Test 1

Test 2

Name:

NYLON TIGHTS

Test Size:

280 x 330 mm

Grid Size:

1 x 1 mm

Grid Shape:

COMPLEX POLYGON

Flex Direction: HORIZONTAL + VERTICAL Grid Detail

Test 1

Test 2

Name:

FOAM NET

Test Size:

60 x 140 mm

Grid Size:

3 x 4 mm

Grid Shape:

DIAMOND

Flex Direction: HORIZONTAL ONLY Grid Detail

Test 1

Test 2

Name:

ONION NETTING

Test Size:

80 x 140 mm

Grid Size:

8 x 10 mm

Grid Shape:

DIAMOND

Flex Direction: HORIZONTAL + VERTICAL Our fabric experimentation marked the first experiment of the form-finding exercise.

We sourced a range of materials, particularly stretchy fabrics with a visible grid.

Free-from stretching and twisting created different results based on the fabric’s characteristics. We selected materials to experiment with further that produced visually striking results and interesting light and shadows.

Grid Detail

Test 1

Test 2

Name:

ANTI-SLIP MAT

Test Size:

150 x 300 mm

Grid Size:

1 x 3 mm

Grid Shape:

COMPLEX POLYGON

Flex Direction: HORIZONTAL ONLY Grid Detail

Test 1

Test 2

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DS2 2020 - Group Project - Orange Eye View

N A R R AT I V E D E V E LO P M E N T Experiment 1: Evaluation

I think that God must often walk, Deep in the winter wood, For seldom I have missed Him there, Finding His new snow good.

And meeting there, I have no words But walk on quietly, Gospelled by the falling snow, Humbled by a tree.

The inherent nature of a tensile structures requires tall, strong elements to attach to, such as trees.

Coupled with our original interest in timber as a construction material, we consider a clearing in the forest the ideal atmospheric location for the shrine.

Our experimentation continues by scaling the model further and refining its elements.

excerpts from ‘Winter Wood’ poem by Mary Littledale Poetry (February 1937)

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DS2 2020 - Group Project - Orange Eye View

DS2 2020 - Group Project - Orange Eye View

M AT E R I A L E X P LO R AT I O N + M A K I N G : E X P E R I M E N T 1

M AT E R I A L E X P LO R AT I O N + M A K I N G : E X P E R I M E N T 2

Experiment 1: Form Finding

Experiment 1: Form Finding

This form is in tension only.

Model No.:

01

Materials:

Plastic Netting

Fixings:

Screws + Hands

Tools Used:

Scissors, Glue

The fabric enables a flexible manipulation of form with the layering providing varying transparency.

Without the manual and base support, the form cannot be maintained, however. Therefore a more rigid material is required.

Requires Frame: Yes Grid Detail This form is in compression only.

Name:

GARLIC NETTING

Model No.:

02

Test Size:

45 x 140 mm TUBE

Materials:

Grid Size:

1 x 3 mm

2 mm Mountboard + String

Grid Shape:

DIAMOND

Fixings:

Screws

Tools Used:

Scissors

Flex Direction: HORIZONTAL ONLY

The mountboard provides rigidity to the form meaning manual support is no longer needed. However, signs of stress in the timber were beginning to show through ripping at material intersections. Therefore a stronger material is required.

Requires Frame: Yes

This form is in compression and tension.

Model No.:

03

Materials:

1.5 mm Lasercut Ply + Yarn

Fixings:

Screws

Tools Used:

Scissors

The plywood pieces provides rigidity to the form. With more plywood pieces being used, there is no need for string.

The use of yarn forces the form to be in tension as well as compression.

Requires Frame: Yes

1

2

3

4

stand netting

from the base,

stretch out

reach inwards

tube upright

roll tube inwards

the four corners

+ pull

This form is in tension only.

Model No.:

04

Materials:

3 mm Lasercut Ply

Fixings:

String

Tools Used:

Lasercutter

Requires Frame: No

The garlic netting was our preferred fabric as it visually portrayed the compressive and tensile stresses through open and tight netting.

The form is created from a single piece of fabric folding in on itself (see photos above) and pulled by a pair of hands, which connects to the brief of a shrine for two people.

The lasercut plywood struts were given curvature to match the form of the garlic netting test. This allowance reduced the stress on the members which created the strongest and most structurally sound model out of the four.

The model is not physically attached to a base as it is completely selfsupporting.

These maquette models provide insight into how various materials affects the tensile and compressive forces within a form.

Viewing the models at this scale also show the bulk or elegance of the respective materials.

The next stage of experimentation required testing different possible materials at a slightly larger scale.

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DS2 2020 - Group 2 - Shrine Part 1

M AT E R I A L E X P LO R AT I O N + M A K I N G : E X P E R I M E N T 3 Experiment 1: Form Finding

CONNECTOR TYPES:

4 + 6 connectors for 3mm lasercut plywood struts

Upscaling our test models exposed the brittle nature of the plywood. To maintain a proportions, we would need to connect the plywood lengths and so created our first iteration of lasercut plywood connectors.

CONNECTOR EVALUATION

Type A.1

Type A.2

Type C.1

Type A.1 to A.3 Restrictive - requires all plywood members to be connected at the same orientation.

Type B Successful - accepts horizontal and vertical plywood members.

Type C.1 Wasted material and unnecessary space created between plywood members Type C.2 Bulky profile which creates unnecessary complexity as members enter the component at verticals and diagonals.

Type A.3

Type B.1

Type C.2

CONNECTION METHODS

CONNECTION EVALUATION Type 1 Bulky and uses twine unnecessarily Type 2 Crude - Is not reflective of the 1:1 detail that would need to be fixed to the ground to oppose the forces on the structure.

Type 1 - Twine + Lasercut Plywood to connect members

Type 3 Partially successful as they allows for various profiles, however further refinement was needed.

Experiment 3 scaled our model up to 1:10. Our chosen material, in line with our interest in timber was 3mm plywood strips cut length ways to 720mm. Initially lasercut and water-soaked strips, we found that dry, band-sawn plywood was less likely to buckle and maintain a uniform curve. This was our major departure from ‘soft’ materials (fabric/paper) which forced us to confront the rigidity of timber.

At this scale, we were able to test: - compressive and tensile forces on the structure (see graphics below) - the flexure of the structural members: - connection members to lengthen our 720mm long plywood strips - methods of fixing the structure to the ground.

Type 2 - Duct Tape to connect members to floor

L-R: Overview, Inner + Outer Structure

Lasercut Plywood Connectors

Type 3 - Lasercut Plywood Connectors

Twine and Lasercut Plywood Connectors

Connected Members under Flexion

Members held with Duct Tape

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DS2 2020 - Group Project - Orange Eye View

M AT E R I A L E X P LO R AT I O N + M A K I N G : E X P E R I M E N T 3 Experiment 1: Form Finding CONNECTION METHODS

Type 3 - Final Lasercut Plywood Connectors

Type 2 - 3D Printed Joints to connect members to floor FINAL CONNECTION EVALUATION Type 1 Two small sections of laser cut mdf connect the plywood members 80mm apart with a 10mm gap either side. This gives a cleaner, less busy look to the connections (see bottom left).

Type 2 We modelled a flexible joint on Rhino which was then 3D printed (see above). This is gives the structure more professional look and allows for any movement between the timbers, while firmly connecting them to the frame/ ground.

Type 1 - Lasercut Plywood to connect members The Final build was also at scale 1:10. We used 65mm timber sections to create the diamond-shaped base, and the fixture for vertical elements. As a group we decided that thicker plywood sections (10mm) for the structure would create a more solid effect and also better bear the load of the weaving which would form the ‘skin’ of the structure.

Type 3 The final lasercut plywood connectors have a dual purpose: they bring together all the ends of timber while their incrementally reducing profiles creating a slimming effect (see below, middle).

Further developments after Experiment 3 include: - new connector members to lengthen our 720mm long plywood strips - 3D-printed joints to connect the structure to the frame/ground - new lasercut connectors for the ends to hold the plywood members and create a slender, aesthetically-pleasing profile.

Phases of the Build Process

Final Lasercut Plywood Connectors

Connectors during Assembly

Connected Members under Flexion

Members held with Connectors

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DS2 2020 - Group Project - Orange Eye View

DS2 2020 - Group Project - Orange Eye View

N A R R AT I V E D E V E LO P M E N T A N D P R E C E D E N T

M AT E R I A L E X P LO R AT I O N + M A K I N G : F I N A L M O D E L

Experiment 1: Form Finding

Final Model: Weaving Detailing 1:5 Taking inspiration from the craft of basket weaving, we explored how different weaving patterns and sizes and fibres can influence the atmosphere inside a space as well as how it can reinforcing the structure of the shell.

We used a range of twine and string to create different variations in density along the structure, taking into account how the materials respond to tension and draping.

Our Selection of Weaving Materials

Weaving Experiment: Oculus @1:20

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DS2 2020 - Group Project - Orange Eye View

FA B R I C AT I O N P R O C E S S Using dimensions from the digital model, the timber Strips are cut off site.

In general the fabrication of the shrine at 1:5 is the same as the fabrication of the shrine at 1:1. All materials are scaled up and assembly is done with the assistance of cranes for the 1:1 model, as per the assembly of the Galaxia Temple at Burning Man Festival.

1:5 THE SHRINE

1:1 GALAXIA, BURNING MAN FESTIVAL

720mm x 10mm Strips Ply Wood

A digital model of the shrine is created to determine the quantity and dimensions of each component needed and load bearings to be tested.

First step of assembly: Timber strips are connected with timber and 3D printed components to create modules.

Using dimensions from the digital model, the timber components are laser cut off site.

Second step of assembly: Base strips are assembled in situ.

32mm x 38mm Component

3600mm x 50mm Strips Pine Wood

160mm x 190mm Component Third step of assembly: Upper strips are assembled in situ.

Using dimensions from the digital model, the plastic component are 3d printed off site.

120mm x 40mm x 40mm Component

600mm x 200mm x 200mm Component Completed structure is weaved into to improve aesthetics and create more of an enclosure. The weaving at the intersection points also reinforces structure.

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DS2 2020 - Group Project - Orange Eye View

THE SHRINE Fnal Form

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CONTENTS

2 - CRAFT RESEARCH + SHRINE DESIGN

0/ Abstract

Abstract 28

1/ Craft History + Research

Initial Craft

29 History 32 Georgraphy 34 Material Profile 36 Weave Types 38 Weave Techniques 40

2 / Te c t o n i c M a k i n g

3 / Te c t o n i c D r a w i n g

Weaves Experiment 1-4 Analog Taxonomy

Experiment 5: Digital Form Digital Taxonomy

42 44 52

54 58

4/ Shrine Design

Narrative 60

Taxonometric 62

Analog + Digital Model 64

Model Photos 66

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ABSTRACT

DS2 2020 - Group 2 - Shrine Part 1

CRAFT HISTORY + RESEARCH INITIAL CRAFT

COIL WEAVING

“... native people have always looked to create artful ways of living, seeking ways to blend beauty and usefulness. We try to live in ways that bring together the material, spiritual and aesthetic worlds. In basketry, beauty and utility are joined together.” Terrol Dew Johnson For some indigenous tribes, basket weaving is implicit of their culture. Certain myths are as follows, that the creator first taught the people how to weave baskets, followed by how to make houses from vegetation. The art and craft of basket weaving is intrinsically linked with the building and technology of the architecture as well.

Lightweight natural and synthetic materials such as rope, twine, bamboo and composite polyesters lend themselves to coil weaving. Bunched together and secured by strings, they can produced coiled self-supporting structures and elegant lightweight draping. As an architectural material, the density of application can also produce different atmospheric effects.

Figure 2:

Traditional Native American Basket Weaving

Baskets were traditionally built with varying types found plant materials depending on geographical location making weave types reliant on a certain material profile. For example in the southwest coil weaved baskets tend to be a reflection of the seasonal harvests - white yucca in the summer, bear grass in the winter, and devil’s claw in the monsoon season. While the baskets patterns and designs are a reflection of tradition, narrative, and myth.

Terrel Dew Johnson Figure 3:

Coiling Baskets and Sculptural Forms

Nadine Spier Figure 4:

Coil Basket Gallery Clay Burnette

Climate change effects fragile ecosystems constantly and architecture has a responsibility to be part of the solution, and for these communities it is no different, as climatic changes affect vegetation growth. Researching a scalable form of sustainably sourced craft could lead to innovation in construction techniques that is beneficial to local climatic preservation.

The research will delve into the 4 main type of basket weaving techniques utilized throughout the north american continent by indigenous tribes. It will encompass the tradition of basket crafting and material choices, form design and variance, and cultural context and location. From there, experimentation of the weaves, the volumetric variances and material profile will attempt to push the possibilities of the craft beyond the scope of baskets. While researching the background and myths to provide narrative.

The ability for the material to build upon itself creates spaces and create voids, by following a pattern, is an intriguing spatial quality to explore. Additionally, the ability for the weave to build off a form or structure lends to the possibility for the weave to in turn inform structure itself.

The different weave types should allow for a plethora of variance in space creation possibilities, resulting in a dynamic shrine of spaces between spaces.

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In basketry, beauty and utility are joined together.� - Terrol Dew Johnson

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DS2 2020 - CRAFT RESEARCH + SHRINE

CRAFT HISTORY + RESEARCH HISTORY

6

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DS2 2020 - CRAFT RESEARCH + SHRINE

CRAFT HISTORY + RESEARCH GEOGRAPHY

Basket weaving on the North American continent can be categorized into ten distinct regions, comprising 4 different predominant types of basket weaving techniques. .

The regions consist of: The Algonquin (Northeast), Southwest, Southeast, Central and South California, Basin, Northern California and Puget Sound, Salish, Northern Coast, and McKenzie.

The four basket weaving types are Coiling (predominantly), Twining, Plaiting, and Wicker.

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DS2 2020 - CRAFT RESEARCH + SHRINE

CRAFT HISTORY + RESEARCH MATERIAL GARDEN

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COIL TECHNIQUE

PLAITED TECHNIQUE

TWINING TECHNIQUE

WICKER TECHNIQUE

C O I L W E AV E

P L A I T E D W E AV E

T W I N E D W E AV E

W I C K E R W E AV E

WICKER BASKET

TWINED BASKET

PLAITED BASKET

COILED BASKET

DS2 2020 - CRAFT RESEARCH + SHRINE

CRAFT HISTORY + RESEARCH

WEAVE TYPES

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DS2 2020 - CRAFT RESEARCH + SHRINE

TECTONIC MAKING WEAVE TECHNIQUES

C O I L W E AV E

P L A I T E D W E AV E

Plaited weaves are traditionally done with banana leaves, sweet grass, or any large plat member. The warp and the weft generally tend to be of the same size to create consistantcy across the weave.

Coiled basketry may proceed in either a clockwise or a counter clockwise direction, built upon a central point and built out.

1.

Most Commonly “open stitiching” is used, in which “thread” is looped on continously back around the previous layer and the new layer inbetween the previous stitch.

Very similiar, “close stitiching” is where the“thread” is looped on continously back around the previous layer and the new layer, but loops back through the previous stich to create a more cmpact connection.ous stitch.

2.

4.

3.

W I C K E R W E AV E

T W I N E D W E AV E

2.

1.

2.

Traditionally, twine weaves used roots and tree barks. The weave is started with a warp, and two weft, perpendicular to each other.

2.

2.

1.

Often made from sumac or willow branches, wicker baskets relly on a stiff vertical warp member to provide structure for the basket. Less rigid members are then wover across the warp.

Start with a flat base the next member is weave d in an under-over pattern out and down from the origin.

The two weft members are then twisted about each other before proceeding on to the next warp.

This action is then repeated through the weave surface.

The weft members, alternatively, go over and under the warp members as the traverse the series of vertical members.

More members are added to contine the weave and create density. The action is repeated with everying intersection of the members creatign a constant crossing pattern.

By adding more members in bothe the warp and weft density in the weave is created.

The more members the more dense the weave will be in both directions.

By adding more members in bothe the warp and weft density in the weave is created.

The more members the more dense the weave will be in both directions.

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DS2 2020 - CRAFT RESEARCH + SHRINE

TECTONIC MAKING WEAVES

In the following experiments I began to test the formal possibilities of the weaves in both analog and digital. By applying the weaves across frames, and weaving both axially and non planar formal variance began to arise, allowing for more volumetric possibilities.

C O I L W E AV E

P L A I T E D W E AV E

T W I N E D W E AV E

W I C K E R W E AV E

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DS2 2020 - CRAFT RESEARCH + SHRINE

TECTONIC MAKING EXPERIMENT 1: COIL WEAVE

C O I L W E AV E The natural form of the weave creates oculus like spaces. moments of hierarchy.

Experimentation revealed the ability for the coil weave to build off itself, unreliant on a rigid frame to create space within the space. By weaving back on top of itself, the structure can descend or ascend from a plane perpendicular to its structural origin.

Additionally the coil weave can momentarily break from the reticulating form to create moments of openess, deviating from its natural density. By originating from the structure, this allows the weave to jump between two structural members prematurely. The amount of material deviated from the stitch, and the length the coil it remains detatched from the reticulating weave affects the amount of sag, and the density detween the weave members.

This action too builds on itself, creating a deviating pattern.

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DS2 2020 - CRAFT RESEARCH + SHRINE

TECTONIC MAKING EXPERIMENT 2: PLAITED WEAVE

P L A I T E D W E AV E In two dimesions the plaited weave, alternating, extends points from the x and y-axis perpendicularly. And attaches to a corresponding x or y-axis member. Thus creating a continually crossing fabric.

In this experiment the plaited weave is extended to three dimensions by incorporating an x-axis member. By weaving the warp and weft from two different, non planar, sources the weave creates a contorted surface from which space is derived.

IE: from one x-plane to and distant z-plane.

And alternatively from one y-plane, to a distant x-plane.

Additionally the contortion of the weave creates different density of fabric affecting the view and light permeation of the spaces formed by the weave.

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DS2 2020 - CRAFT RESEARCH + SHRINE

TECTONIC MAKING EXPERIMENT 3: TWINE WEAVE

T W I N E D W E AV E The purpose of this experiment was to attempt to apply the twined weave pattern across a structure to manipulate it into proding three dimensional space.

The twined weave is naturally dependent on both the warp and the weft to achieve length or height. In this experiment, this action is stretched between three points and a central axis. By extending the weave across the x,y, and z planes, the fabric creates spaces between the frame and the weave itself.

The repetative action of the weave remains, creating a pattern with the weave. In this particular case, after every trip around a corner points, the warp is returned across a central point, wraped around it, before descending down and to the left.

This results in a repetative triangular prismic volume with multiple interior spaces.

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DS2 2020 - CRAFT RESEARCH + SHRINE

TECTONIC MAKING EXPERIMENT 4: WICKER WEAVE

W I C K E R W E AV E In two dimensions, the wicker weave is very dependant on rigid warp members to create a surface.

In this experiment the warp members are extrapolated across three dimensional planes.

By doing this the weave takes on three dimensions and starts to create spaces between.

The density of the weaving member transitions throughout these experiments to create different atmsophere and space.

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DS2 2020 - CRAFT RESEARCH + SHRINE

TECTONIC DRAWING ANALOG TAXONOMY

Initial Expieriments resuted in a simple axonomy of the combination of the four weave types when used together. Analysing both spatial limitations and permiation levels.

From there The expriments progressed to the digital to further explore the formal and spatial possibilites that the systems could achieve.

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DS2 2020 - CRAFT RESEARCH + SHRINE

TECTONIC DRAWING EXPERIMENT 5: DIGITAL FORM FINDING

C O I L W E AV E

P L A I T E D W E AV E

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DS2 2020 - CRAFT RESEARCH + SHRINE

TECTONIC DRAWING EXPERIMENT 5: DIGITAL FORM FINDING

T W I N E D W E AV E

W I C K E R W E AV E

90˚

90˚

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DS2 2020 - CRAFT RESEARCH + SHRINE

TECTONIC DRAWING

W

IC

K

ER

W

EA V

E

P LA

IT

ED

W

EA V

E

T

W

IN

ED

W

EA V E

C O

IL

W

EA V E

DIGITAL MATRIX

90°

These experiments resulted in a nonexhaustive taxonomy - an understanding of the formulaic possibilities of the four different weave types when manipulated in a series of different ways following a set of rules.

When expressed in combination at an architectural scale, across an existing structure, the weaves create a dynamic architectural space. As one transitions through the space, each weave expresses a different spatial experience. In one way building off itself, as well the existing structure.

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DS2 2020 - CRAFT RESEARCH + SHRINE

SHRINE DESIGN NARRATIVE

NARRATIVE

The world we know is round and floats in the sky, but Navajo myth says there are four worlds, one on top of another, and the sky above. Framed by the sacred mountains to the North,South, East, and West. Emerging in the fourth world, the transition through three worlds was complete.

Above the Sun and Moon, precious in their placement, gracefully pass each day from the east. Approaching with the sun, a tight fury of weave forces ones under and into the first space. Tight, low, narrow and crowded. Transition is needed. Progressing inward, the weaves close in, a sense of conflict arises. Density of pattern and material constrict light, bar the oculus above, a light streaming down through worlds. Transition is needed. Climbing, an ascent through a central reed begins. Material softens, spaces opens up, and light streams through. Views open, comfort sets in. Dense, secure, tactile and bright, a coveted space.

But there is one above. Transition is needed. Centrally, the ascent repeats. Speckled, light bounces in and out like twinkling stars as one moves, pushing and pulling the woven wall. A comforting, tactile space. The cocoon like elasticity of the material stretches and embraces. It is here one can rest, contemplate, and appreciate the surrounding natural beauty. Framed, North South East and West. Three worlds below, Sun, Moon and Stars above.

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DS2 2020 - CRAFT RESEARCH + SHRINE

SHRINE DESIGN TAXONOMETRIC

QUATERNARY SPACE

COIL WEAVE

TERTIARY SPACE

TWINED WEAVE

SECONDARY SPACE

PLAITED WEAVE

PRIMARY SPACE

WICKER WEAVE

AERIAL

CARDINAL DIRECTIONS

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DS2 2020 - CRAFT RESEARCH +SHRINE

DS2 2020 - Group Project - Orange Eye View

SHRINE DESIGN

M AT E R I A L E X P LO R AT I O N + M A K I N G : E X P E R I M E N T 1

ANALOG + DIGITAL MODEL

Experiment 1: Form Finding

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DS2 2020 - CRAFT RESEARCH + SHRINE

SHRINE DESIGN MODEL PHOTOS

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CONTENTS

3 - DESIGN PROJECT

0/ Brief

Site Choice

1 / S i t e + B u i l d i n g Ty p o l o g y

Site Choice Urban Analysis Demographic analysis Market Analysis Initial Site Design Sketches Form Finding Site

70

72 74 76 78 80 82 84 86

2/ Design Process

Design Drivers Precendent 1 Precedent 2 Design Digrams Plans Design Diagrams Taxonometric

3 / D e s i g n Te c h n o l o g y

4 / Visu a l is at i ons

88 90 92 94 102 104 106

Column 108 Spatial Sketches 112

Existing and New Structures 114

Weave Connection Details 116 Weave Function 118 Weave Distribution 120

Solar and Lighting Strategy 122

Section 126

Main Market Space 128 Market Entrance and Bridges 132 | 69

DS2 2020 - DESIGN PROJECT

BRIEF

Research Question: How can the use of scaleable woven structures, through materia combination nad digital fabrication,be utilized to create architecture that both services the necessary programmatic qualities of a market, yet challenges the traditional market and formulates a new way in which the market interacts with the urban fabric and community in the 21st century?

The craft of basket weaving is steeped in traditional techniques handed down through generations, yet is adaptive in technique and formal expression. Mastery of the techniques results in inherently parametric volumes. As the craft becomes less and less prevalent, an architectural application provides opportunity for basketry.

At an architectural scale these weaving techniques create an exciting opportunity to interact with existing structures and stitch together an architecture in voids and non spaces, creating new expressive ambiguity adapted to the rigid structures of existing dense urban grids, all while avoiding mass demolition and construction issues. There by weaving together differing layers of the urban context into a cohesive architectural moment.

This project aims to create a central public market to weave together the area’s dynamic community. Barcelona’s Eixample “Cerda Block” master plan sprawls across the city creating a repetitive and rigid circulation grid, forcing the city’s flow in one way. As a metaphorical extraction of the project’s building system, basket weaving, The threads of New Poblenou Market reach out, through, and across this Cerda Block. It challenges the flow forced upon people, weaving together the community through multi-level circulation, leading people to a central market and public space where the many layers of the neighborhood can meet in community. In response to the area’s historic urban grid, offset from the Cerda Block, the market physically connects to the community through intimate integration of the weaving system upon the existing building stock; beginning in a central market space, before continuing to leak out into adjacent spaces. Through an understanding of the formal and spatial possibilities of the different weaving techniques explored in the project research, the market adapts its form, spatial quality.

“In basketry beauty and utility are joined” Terrel Dew Johnson KEY WORDS: WEAVE, COIL, PLAIT, TWINE, WICKER, SPACE BETWEEN SPACE, CIRCULATION, FLOW, FORCES, MULTI-LEVEL, MARKET, GATHER, LAYERS, COMMUNITY

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SITE + BUILDING TYPOLOGY SITE CHOICE

In dense existing urban centers across the world, these weaving techniques create an exciting opportunity to interact with existing structures and stitch together an architecture in voids and non spaces, creating new expressive ambiguity adapted to the rigidity of existing building stock, all while avoiding mass demolition and construction issues. Thus leading to a sustainable intervention and There by weaving together differing layers of the urban context into a cohesive architectural moment.

Barcelona is one of these cities.

Located in the Catalonia in the Northeast of Spain, the storied is steeped in architectural history.

SAN FRANCISCO

PARIS

NEW YORK

Barcelona’s historic roman founding, Gotic expansion, Colonial history, 17th century expansion, industrial revolution, Eixample and Cerda Block and constant city evolution, continuing through today, has resulted in a varied and layed urban grid, perfect for an intervention

SARRIÀ

GRÀCIA

EIXAMPLE EIXAMPLE

EIXAMPLE EIXAMPLE

EL RAVAL

EL BORN GÓTICO

POBLE SEC / MOUNTJUIC

VILA OLÍMPICA

POBLE NOU DIAGONAL MAR

BARCELONETA

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SITE + BUILDING TYPOLOGY URBAN ANALYSIS

Barcelona’s Poblenou neighborhood is one of these layered areas. It is subject to the rigid, ‘cerda block’ plan, which has been layered on top of an offset grid from a prior industrial living working community Know as Trullas. Resulting in a dense and dynamic urban grid of alleyways and old industrial buildings on an off axis plan from the overarching cerda block. Thus creating unique non spaces and voids between the existing structures creating an opportunity for a woven intervention.

During the 1860’s - known as Trullás District - became one of the first residential areas in Poblenou. This was the beginning of the settlement of a wetland full of ponds, natural aquifers and irrigation channels for agriculture. Factory owner Miquel Trullás developed it at his own expense by draining land and building homes for his workers. The development was based on the former country roads and agricultural plots. This is why alleyways such as Trullás, IGlesias and Camp run at an angle to the blocks in the Cerdá Plan, which were not finally marked out here until the late 19th century.

Trullás District has retained its own personality owing to the layout of the neighborhood in alleyways and its recently recovered local festival.

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SITE + BUILDING TYPOLOGY DEMOGRAPHIC ANALYSIS

The neighborhood is up and coming due to an influx of young innovative universities, design studios, Co-working spaces and startups settling in the newly deemed Tech Hub of Barcelona. Additionally there remains a strong community in the area, committed to traditional festivals and cultural events, community gardens, permaculture.

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SITE + BUILDING TYPOLOGY MARKET ANALYSIS

With the dynamic community and rapid development, the neighborhood, however, is devoid of a central market, a staple of Barcelona neighborhoods to foster local communities. The green spaces across the map denote the neighborhood markets across the city, and their area of influence. Marked in red, here is the center of Poblenou, devoid of a market.

The red shows this are of influence a new market will have on the up and coming community.

SANTA CATERINA

BARCELONETA

CONCEPCIO

SAN ANTONI

MARKETS OF BARCELONA

LA BOQUERIA

Low Influence Medium Influence High Influence

ENCANTS

NEW POBLENOU

POBLENOU

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SITE + BUILDING TYPOLOGY INITIAL SITE

Beginning to zoom in on the site, I began by formulaically exploring how and where a woven interaction could exist in a multitude of ways.

For example: reaching over and connecting, creating canopy, draping off existing buildings, and creating space in voids.

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SITE + BUILDING TYPOLOGY DESIGN SKETCHES

TRANSITION AND CONNECTION

C A N O P Y

DRAPING AND GROWTH

&

C R E A T I N G

V A U L T

S P A C E

REACHING / DRAWING IN

CANOPY

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SITE + BUILDING TYPOLOGY FORM FINDING

es

an

ies

O TR

e

el

d ça

lòr sG

tal Ca

ME

a Pl

CITY SPREAD

ELEVATED CROSSING

MAIN MARKET AREA

ELEVATED MOMENTS

POKING OUT FROM CITY GRID ELEVATED CROSSING ELEVATED MOMENTS

CITY SPREAD

POKING OUT FROM CITY GRID

O TR

ME

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SITE + BUILDING TYPOLOGY SITE

The resulting site exists here on the corner of the city block where the old Trullas plan can clearly be seen running through the site offset to the Cerda Block. Primarily existing within an abandoned factory here, and spreading outward from there.

1:1000

SITE PLAN | 87

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DESIGN PROCESS DESIGN DRIVERS

DESIGN DRIVER 1

DESIGN DRIVER 2

STITCH TOGETHER DIVERSE COMMUNITY

CHALLENGE THE RECTILINEAR FLOW FORCED BY THE CERDA BLOCK

INTERACTIVE SIVELY WITH ING BUILDING

BY MULTI-LEVEL CIRCULATION BRIDGES INFLUENCED

BY OLD CITY GRID

THROUGH WEAVE AND SUBFRAME TO CREATE ARCHITECTURE BETWEEN SPACES

THROUGH A PUBLIC MARKET AS A THROUGH A CENTRAL GATHERING SPACE

DESIGN DRIVER 3

COHEEXISTSTOCK

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DESIGN PROCESS PRECEDENT 1

In relation to Design Driver 1 and 3, I looked at how the nearby Santa Caterina market

Santa Caterina Market / Miralles Tagliabue EMBT

EIXAMPLE / CERDA BLOCK

The stark difference between the existing structure and Enric Miralles choice of steel and ceramics creates a strong aesthetic moment. In one way it is a divergence from the existing city fabric, yet in another it is an ode to Spanish modernism. Creating something bold, organic, and colorful that challenges the limits of an existing plan, creating something dynamic.

INFORMED MARKET STALL GRID / ALLUSION TO CITY FABRIC DUALITY

OLD CITY / GOTIC / EL BORN

In Plan, Santa Caterina is organised in a way to emulate the transitory urban fabric Barcelona.

In the same way that the city has a severe departure from scale when transitioning from The Gotic to the Eixample, so too does the plan of the market stalls.

Santa Caterina market successfully blends into the existing fabric of the city, rejuvenating the area, creating public gathering space, maintaining a historical connection, and most importantly providing a functional working market for the community.

FLOW OF FORCES FROM CITY FABRIC INTO AND THROUGH THE MARKET

SANTA CATERINA

SANTA CATERINA

CARRER DE LA PRINCESA CATEDRAL DE BARCELONA SANTA MARIA DEL MAR

PLACA DE SANT JAUME

PEDESTRIAN FLOW THROUGH CITY FROM SIGNIFICANT POINTS

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DESIGN PROCESS PRECEDENT 2 The High Line is a 1.45-mile-long elevated linear park, greenway and rail trail created on a former New York Central Railroad spur on the west side of Manhattan in New York City.

In relation to Design Driver 2, I studied the way an elevated walkway can successfully function in the Highline by analysing a section of the highline. I extracted that moments along the path make people want to be there as it cuts across the urban grid. t IE: a framed view of the city, interaction with existing building fabric, an endpoint or vantage point.

The Highline / Diller Scofidio + Renfro, and Piet Oudolf

GREEN INTERACTION

FRAMING A MOMENT

CITY OASIS

END POINT AND VANTAGE POINT

CONTEXT INTERACTION

CHALLENGING CITY GRID

PEDESTRIAN FLOW

HA VE

NU

E

ET

TR E

HS

17T

GANSEVOORT STREET

10T

20 TH ET

ST RE ET

TR E

DS

23R HA VE

NU

E

T

TR EE

27T HS

10T

HIGHLINE PHASE 1 30 TH ET

ST RE

HIGHLINE POST PHASE 1 SUBWAY STOP LOCATION ACCESS STAIRS PEDESTRIAN FLOW TO HIGHLINE

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DESIGN PROCESS DESIGN DIAGRAMS

Learning from the precedence of Santa Caterina, I went through a series of studies to illustrate how pedestrian flow works from important local areas and transportation areas to the site. Extracting this info I mapped out the flow paths to and through my immediate site to design the market plan and massing layout.

EXISTING BUILDING FOOTPRINT

PEDESTRIAN FLOW TO AND THROUGH SITE BLOCK

FLOW PATH THROUGH SITE FROM BLOCK EDGES

FLOW PATH THROUGH SITE FROM BLOCK INTERIOR

RESULTING FLOW PATHS ON BUILDING SITE

RESULTING MARKET KIOSK SPATIAL ARRANGEMENT

PEDESTRIAN FLOW TO SITE FROM SITE CONTEXT

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DESIGN PROCESS DESIGN DIAGRAMS

The existing building stock works in combination with the flow path extraction to create the main market space.

EXISTING BUILDINGS INTERVENTION

INVERSE SPACE CREATES MARKET STALL VOLUMES

RESULTING FLOW PATH BASIS STALL VOLUMES

RESULTING INTITAL SITE AND MARKET VOLUMETRIC SPACE

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DESIGN PROCESS DESIGN DIAGRAMS

A series of moves in response to the site, and existing structure results in a transitory market space of organically shaped market stalls and a rigid set of central stalls. As the weave structure interacts with the existing frame a secondary level is created above the market as a means of public gathering and interaction with e weave beyond the market.

SUB FRAME - COLUMN GRID

VOLUMES SHIFT OFFSET

SECONDARY SPACE ABOVE

PEDESTRIAN BRIDGES

GRIDDED CANOPY STRUCTURAL SYSTEM

FORMS MIRROR STRUCTURAL SYSTEM

EXTERIOR MARKET SPACE

ORGANIC TO RIDGID

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DESIGN PROCESS DESIGN DIAGRAMS

In response to the Trullas alleys, At the central axis of the market a central oculus is created, resulting in a central basket like gathering space at the heart of the market. A gestural connection to the historical area, connected through waving to the modern market.

Resulting in the main market space below, and the interactive public woven membrane above.

MAIN AXIS FROM TRULLAS PLAN

CENTRAL MEETING SPACE

VOID CONTUNED UP THROUGH MARKET

CENTRAL OCULUS

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DESIGN PROCESS PLANS

REDO

1 - Circulation Ramp 2 - Circulation Bridge 3 - Central Oculus 4 - Woven Walkways 5 - Auxilliary Shading

1 - Market Stalls (typ.)

2 - Central Market 3 - Second Lvl Entrance Ramps 4 - Exterior Market Space 5 - Surrounding Alleys 1:500

GROUND LEVEL

1:500

FIRST FLOOR | 103

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DESIGN PROCESS DESIGN DIAGRAMS

From there, The weave reaches out across the urban fabric. In response to the Trullas axis. It reaches out over, through and across the Cerda Block. By creating elevated circulation paths directing flows efficiently through the block to the market. Disrupting the rigid Cerda Block. The weave membrane continues to leak out through the alleys, challenging the Cerda block in circulation, while providing shading for ground level circulation that still exists.

BRIDGE WEAVE EXPANDS OUT AND ACROSS MAIN ROAD

BRIDGE WEAVE PUNCHES THROUGH CERDA BLOCKWW

WEAVE CREATES SHADING ACROSS THE BLOCK AND BEYOND

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DESIGN PROCESS TAXONOMETRIC

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DESIGN TECHNOLOGY COLUMN

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DESIGN TECHNOLOGY COLUMN

The weave works with a timber subframe to create columns and structure where existing structures cannot.

Weave Connection Cable

Timber Sub-Frame Member

Cable Connection Moment

Steel Connection Plate

Rotational Connection Socket

The subframe in the most straightforward sense provides the necessary structure for the weave to operate as an architecture, but also also allows the weave to create dyanimic formal experssions These columns start to form the basis for the main market space, as well as the public space above and multi level circulation bridges.

Steel - Timber Connec- Steel Bolt Connection Typ. tion Point

1:10

Steel Bolt Connection W/ Rotation Axis

Main Connection Moment

Steel Cable Socket Connection

Sub - Frame Weave Connection Moment

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DESIGN TECHNOLOGY SPATIAL SKETCHES

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DESIGN TECHNOLOGY EXISTING AND NEW STRUCTURES

FR AM

E

The collection of columns in collaboration with the existing frame of the old factory roof start to create the central market space.The existing steel structure is paired with the wooden subframe for the weave, allowing for a dynamic woven membrane Creating a canopy for one level, and a walkable interactive space above.

EX

IS

TI

NG

ST

EE

LF

RA M

EX

E

IS TI

RO OF

NG

ST E

EL

EXISTING STEEL FRAME ROOF

WOVEN INTERVENTION VOLUME

W OV E

TI

M BE R

SU

B-

ST

RU C

TU R

E

N

IN T

ER VE N

TI

ON

VO LU M E

M

AI N

M

AR

KE

TS

PA CE

EXISTING STEEL FRAME

TIMBER SUBSTRUCTURE | 115

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DESIGN TECHNOLOGY WEAVE CONNECTION DETAILS

1:10

The use of the 4 different weave types, in different areas allows for more structural spaces to walk upon, or areas of greater porosity allowing for a connection between the two levels, and different levels of light permeation.

Existing Structure and Weave Connection

Existing Steel Frame Structure Steel Plate Bracket

By connecting with the existing steel frame structure, the woven canopy for the market is created. It is hung from the existing structure, and then inversely pulled down to the ground by the column subframe. The combination of the tensile hanging of the weave, and the pulling of the subframe create a dynamic structural moment. Forces are pushed and pulled in both directions.

Bolt Connection Typ. Steel Bolt Connection W/ Rotation Axis Rotational Connection Moment Conection Join Steel Bolt Connection Typ. Weave Member Connection Steel Connection Plate Weave Cable Socket Connection

Existing Steel Frame Structure

Steel Plate Bracket

Bolt Connection Typ. Steel Bolt Connection W/ Rotation Axis Existing Brick Wall

Moment Conection Joint Steel Bolt Connection Typ. Weave Member Connection

Steel Connection Plate

Weave

Cable Socket Connection

1:10

Existing Structure and Weave Connection

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DESIGN TECHNOLOGY WEAVE FUNCTIONS

C O I L W E AV E

Weave Strength: Low to Medium Uses:Oculus/ Light well, Interactive Weave

P L A I T E D W E AV E

Light Permeability: Medium to High Uses: Main Canopy, Secondary Shading

W I C K E R W E AV E

T W I N E D W E AV E

Light Permeability: High Uses: Structural Area, Central Walkways

Light Permeability: High Uses: Column Structure

Frequency of knots along the weave allows for more struc- Density of weave correlates directly with strength of weave. tural integrity, however the weave’s natural progression away Frequency of overlap of warp and weft create variable strength in situational dependant moment from structural subframes creates structural issues.

Densely twisted around thicker members, Twined weaving is Densely Woven around thicker members, Wicker weaving is tight, and thick, allowing it to be directly woven onto struc- tight, and non-porous, allowing it to be directly woven onto tural members, adding to the structure. structural members, adding to the structure.

Light Permeability: High to Low, Variable Uses:Oculus/ Light well, Interactive Weave

Light Permeability: Low Uses: Structural Area, Central Walkways

Light Permeability: High to Medium Uses: Main Canopy, Secondary Shading

Simple coil weave is densely opaque beyond a central ring Plaited weaves criss crossing pattern ensure a base level or left from the coil start or end. Variable Knot types, however, light permeability. From there different density of warp and can change the spacing between layers causing more light weft results in higher or lower Porosity. permeation.

Light Permeability: Low Uses: Column Structure

Densely twisted around thicker members, Twined weaving is Densely Woven around thicker members, Wicker weaving is tight, and non porose, allowing for low levels of light porosity. tight, and non porose, allowing for low levels of light porosity.

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DESIGN TECHNOLOGY WEAVE DISTRIBUTION

Each weave based on its structural and permeable properties is used in specific parts of the woven membrane.

The use of the 4 different weave types, in different areas allows for more structural spaces to walk upon, or areas of greater porosity allowing for a connection between the two levels, and different levels of light permeation.

C O I L W E AV E Oculus/ Light well, Interactive Weave

P L A I T E D W E AV E Main Canopy, Secondary Shading

T W I N E D W E AV E Structural Area, Central Walkways

W I C K E R W E AV E Column Structure

1:100

SECTION | 121

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DESIGN TECHNOLOGY WEAVE DISTRIBUTION

C O I L W E AV E Oculus/ Light well, Interactive Weave

P L A I T E D W E AV E Main Canopy, Secondary Shading

T W I N E D W E AV E Structural Area, Central Walkways

W I C K E R W E AV E Column Structure

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DESIGN TECHNOLOGY SOLAR SHADING AND LIGHT PERMIATION STRATEGY

The central oculus allows direct light into the central gathering space at both levels in the market space. From there the central market is largely shaded as a way to give respite to market goers. The light permeability then slowly increases again as the weave creeps across the block. Opening up as it moves outward. Inversely, creating more and more sun shading as users naturally gravitate towards the center space and market.

High Permeability Street Shading

1:500

High Permeability Shading

Wicker and Twined Weave

Site Circulation Bridge - Medium Light Permeation

Central Market - Low Permeation

Central Oculus -Coil Weave

Existing Roof -High level Shading

LIGHTING SECTION | 125

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V I S U A L I S AT I O N S SECTION

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V I S U A L I S AT I O N S CENTRAL MARKET SPACE

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V I S U A L I S AT I O N S MAIN MARKET SPACE

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V I S U A L I S AT I O N MARKET ENTRANCE AND MAIN CIRCULATION BRIDGE

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V I S U A L I S AT I O N MARKET ENTRANCE AND MAIN CIRCULATION BRIDGE

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DS2 2020 - PORTFOLIO

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