Interaction Through Crafts by Camilla Bjørcklund, Jeppe Mølbach Dyg and Katarina Anna Jonsen

INTERACTION THROUGH CRAFTS MSc04 Spring 2020, Master Thesis, Group 11 Camilla Bjørcklund, Jeppe Mølbach Dyg, Katarina Anna Jonsen

AALBORG UNIVERSITY ARCHITECTURE & DESIGN MSC04 2020

TITLE PROJECT GROUP PROJECT PERIOD

Interaction through crafts Group 11 03/02-2020 - 28/05-2020

MAIN SUPERVISOR

Isak Worre Foged Associate Professor, Department of Architecture, Design and Media Technology Associate Professor, The Technical Faculty of IT and Design

TECHNICAL SUPERVISOR

Dario Parigi

NUMBER OF PAGES REPORT APPENDIX

186 82

Associate Professor, Department of Civil Engineering Department of the Built Environment Associate Professor, The Faculty of Engineering and Science

CAMILLA BJØRCKLUND

JEPPE MØLBACH DYG

KATARINA ANNA JONSEN

ABSTRACT The Master Thesis was developed in Spring 2020 on MSc04 Arc by Group 11 at Architecture & Design, Aalborg University.

What is known as the Refugee crisis during 2015 has changed the Swedish society. Many people fled to Sweden with the hope of a better future, yet they been met with distrust, and a social gap have appeared. These complications might get worse with the event of climate changes, where the number of refugees potentially can increase.

Sweden is, furthermore, known for its timber industry and wood architecture. In addition, wood have achieved a status asa sustainable material, and its use in architecture has been proved to provide positive solutions.

The Thesis Interaction through craft takes point of departure in translating Nordic architecture to contemporary structure with the purpose of unifying the multi-ethnic community of Stockholm, Sweden, in the field of woodcraft. Resulting in a wood workshop, which accommodates the woodworking craft in a space to communicate and further inspire the use of wood. It has been accomplished with an architectural and engineering approach, through analyses and studies of atmospheric properties in relation to structure, joints, light, acoustics, material and spatiality.

READING GUIDE The report consists of three parts: Program, Process and Presentation. Each is marked by a spread with a short introduction. Following, is an extended list of content of the given part, though with page number reference to the two other parts. To accommodate the digital format of the report, floorplans, sections and such are presented in scale with additional scale reference.

Through the report the Harvard reference style has been used and references to Appendix and illustrations has been noted in the relevant context. The lists of references and illustrations can be found in the end of the report, along with the Appendix, which consists of material not shown in the report, structural calculations and scaled material in a more appropriate scale.

COVID-19 The virus Covid-19 was first seen in Wuhan China in the end of 2019, and on the 11th of March 2020 the World Health Organization declared a pandemic. In continuation of this, measurements were taken, which meant Aalborg University suspended all study related activities on and off Campus.

The Thesis has been forced to be developed under other circumstances than usual. Alternative communication between group members alone and with supervisors happened digitally to the best of effort. The Thesis group sought, in addition, other opportunities to enforce the integrated design process, mainly through digital modelling software’s, which the process happened to be characterized by.

PROGRAM

The Program outlines and describes topics and aspects, which takes point of departure in the stated problem of the Thesis. The topics are clarified to obtain the relevant knowledge, which will be included in the development of the project.

CONTENT INITIATION

Page 06

26 27 30 33

02

01

Help! We’re drowning...

Method & Tools Resurrection of society A multi-ethnic community Tectonics Sub-conclusion

08 10 14 16 18 25

DIVERSE COMMUNITY

Introduction More than a wood workshop Users Sub-conclusion LOCATION

03

Introduction Get to know Stockholm Site specification Kornhamnstorg The faces of Gamla Stan Flow Sub-conclusion

34 35 39 40 44 46 47

BUILDING ANATOMY

05

04

Introduction Nordic architecture Local wood Wood structure and construction Joint cases The sensorial experience of architecture Light & Acoustics Sub-conclusion

48 49 50 52 54 56 57 59

DESIGN BASIS

Page 07

60 Introduction 61 Room program 62 Unit program 64 Vision 65 Design ambitions

PROCESS 66

126 PRESENTATION

Page 08

HELP! WE’RE DROWNING...

The number of refugees is still growing. They are settling down in different countries and cultures, creating a social gap between them and the natives. Resulting in cross cultural issues within states and local communities. Initiatives are taken to make the integration easier. Many fled with hope of a better life, but is met with crooked glances and distrust.

The social diversity is becoming greater and clear social segregation appears.

Integration is a contemporary topic and ever so crucial for the future since the phenomenon of the climate changes have been knocking on the door. The consequences of the climate changes bring a new kind of refugees driven away from their home as a result of the worlds’ fauna and flora is changing. A kind of group which in the upcoming years will increase in size.

Illu. 01.

A man clinging to a rock on the shore during a storm, T. Stothard 1790

The scope of the project is to create a wood workshop situated in the centre of Stockholm, the capital of Sweden.

Through a process inspired by the principles of tectonic, the design will reflect a combination of traditional and contemporary Nordic architecture in wood. Within the building, a community will be created, inviting people from different cultural and educational backgrounds to be part of common projects within the woodworking craft.

The program of the project will try to deal with some of the problematics in the Swedish society related to cross-cultural issues between immigrants and native Swedes by creating a place for them to meet and interact. This corresponds to the statement that through mentoring, employment, leisure and learning, a bond can be created. (EWSI Editorial Team, 2016) Yet, how can these aspects unify to emphasise the cross-cultural issues, by creating a building that house different cultures and sets the scene for dialogue and a knowledge sharing space of intangible cultural heritage?

How can the combination and translation of traditional Nordic architecture and contemporary woodwork structures create an immersive, creative and social space for people with an interest in the woodworking field?

Simultaneously, how can construction methods and timber structures through a tectonic expression minimise the CO2 emission in the building industry, while contribute to the narrative of the Nordic architecture?

Page 09 Introduction & Problem

During 2015, 1.3 million people sought asylum in Europe - it got known as the beginning of the Refugee Crisis. When it hit, the Italian and Greek registration systems broke down and the rest of Europe panicked. No country was ready to handle such a wave of refugees from across the Mediterranean Sea. (Chege, 2020) Following, many countries were in agreement of helping with the wave of refugees that rose up through Europe, among other Sweden who had 143.000 asylum seekers the next three years (Migrationsverket, 2020).

METHOD Systemize

Problem

Illu. 02.

Investigation

Development

The Advanced Integrated Design Process

Methodology

Page 10

Research

The Advanced Integrated Design Process (Adv. IDP) is inspired by the Integrated Design Process (IDP), which is an iterative design process consisting of five phases: Problem, Analysis, Sketching, Synthesis and Presentation (Knudstrup, 2005). Whereas, the Advanced Integrated Design Process consist of 7 phases: Problem, Research, Investigation, Development, Systemize, Format, Elaboration and Display.

Adv. IDP is like IDP an iterative process, therefore, the phases will affect and redefine the former phases. Through the transition to the next phase, it is important to reflect upon the former phases and, furthermore, go back and restrict the material from those to give a clear fundament for the upcoming phases.

The first phase of the Adv. IDP is the Problem phase where the scope is defined according to the subject and the questions, justifying why the project is relevant. Following, in the

Research phase information is collected about the problem statement to understand and refine the subject which also leads to a reinterpretation of the problem statement. The relevant information of the subject, site and user groups can come from e.g. academic articles.

The data from the research is used in the Investigating phase where the analysis and sketching phases from IDP overlap. Here, small fundamental design explorations can be made based on the information and definitions can be elaborated. Such investigations could be material investigations or volume studies with smaller inputs, both on its own and in relation to the site. The phase can also consist of more general design explorations of initial concepts, e.g. concept sketches, initial plan layout and structural systems.

Systemize

Format

Elaboration

Display

lopment

Methodology

Page 11

The initial concept is then explored in the Development phase, where the interesting ideas from the former phases are specified. More complex digital and analogue models of the ideas along with parametric models are developed to generate iterations of the concept. The object is to explore the potentials in the created ideas, e.g. how can a concept of a structural system be translated into a functional floorplan?

Eventually, the developed ideas are put into a system in the Systemize phase, in order to compare and evaluate in relation to the design criteria, but also possibly redefining the criteria (Davidova, 2017). The systemized ideas are then in the Format phase connected with potential fitting ideas, with the objective of combining the strengths of the numerous concepts in order to find the most significant concept.

The chosen concept is then reflected upon in the Elaboration phase, by stating the different parameters and optimise or further develop them. This is also the phase where the more specific and final details are concluded. The concept’s visual presentation material is taking shape in the Display phase.

TOOLS Throughout the project, methods related to the topic will be used. Site related analyses will be employed including the Atmospheric Sense of the site, Mappings and history summaries. With Tectonic in mind, wood as the primary material will be analysed in terms of sustainable use, properties, atmospheric senses, and crafting methods. Both related to traditional and contemporary methods. To comprehend the cultural diversity discourse in Sweden, the topic must be further studied through various sources.

CASE STUDY

Methodology

Page 12

Through the experience of cases, a design can go from rule-based beginner to a virtuoso expert. A case study is to situate oneself in a specific architectural field, accumulating relevant data, analyse the observed phenomena and its context, and reflect on its performance to include in one’s own project (Flyvbjeg, 2006). In this project, the case studies will be used to analyse the concept of a workshop, as a social science approach. Furthermore, architectural case studies will be conducted in relation to Nordic Architecture, in addition with detailed analyses of structures and constructions with a technical approach.

MAPPING James Corner describes mapping as being useful to state the physical attributes of the terrain, such as topography, road and building, and more indirect parameters that influence the area such as historical events, economics and political interest (Corner, 2011). In the project, the area around the site will be mapped to get a better understanding of the functions and cultural focal points in the surrounding area, and of the infrastructure in Stockholm in relation to the public transportation with metro, busses and trains. Giving an understanding of the area the building will be placed in, while understanding the public transportation options in relation to picking a site. When choosing a site, the flow of pedestrians will be mapped to understand the daily activity in the near context. Furthermore, a mapping of the relation between immigrants and native Swedes in the areas around Stockholm will be made to get an understanding of which areas immigrants are settling down and to what extent they are mixed with natives.

ATMOSPHERIC SENSE The Atmospheric Sense of the site-analysis is based on Gernot Böhme’s theory. He defines the characteristics of atmosphere within five main groups: Moods in a limited sense like cheerful, serious or melancholic; Synaesthesia understood as states produced by different sensorial aspects in the environment like cold, warm, soft and hard; Suggestive of movement like wide, narrow, uplifting or oppressive, all occurring by the distribution of volume and geometrical shapes in the environment; Intersubjective atmosphere like the relation between two people before a potential conversation begin; and Conventional characteristics like elegant, poor and rich, which occur in contrast to the others from symbols and objects from cultural conditions in a further relation to materials and colours. (Böhme, 2014) In the project, the analysis will be used to understand the atmospheric relation between the site and the individual, which preliminarily will be investigated by a physical visit on the site. The investigation and the following analysis will be focusing on the senses and defining the site through these in relation to Böhme’s five defined groups.

Illu. 03.

The designers toolbox

THE DESIGNERS TOOLBOX The toolbox consists of among other the enduring pen, parametric digital models and physical models.

The pen represents the quick manifestation of an idea directly from the imagination. The limitation of hand sketches is often seen in the restricted scope of problems it solves. It is a naive tool, which can alter dimensions and physical laws, or look past them and create the initial idea of a concept for further investigation and development. The tool is efficient for further communication of problem-solving, discussions and dialogues.

The digital parametric model can further investigate conceptual ideas e.g. Rhino with Grasshopper, which is used in this project. By working with parametric models, one can apply relevant parameters and create multiple iterations of the initiative conceptual design or other explorations.

Furthermore, the digital parametric modelling can be supplemented by additional software, such as Ladybug, Honeybee, Pachyderm acoustic and Karamba3D. These can give informative output such as light conditions in a given room, describe non-visual architectural phenomenon like acoustic atmosphere, or show a deformation of a structural

system. Thereby, a representation of gravity and real conditions, which can otherwise only be obtained in 1:1 physical models. This can be used in the design process dialogue, which is not visually justified, but based on practical and descriptive information that can argue the “buildability� of the design. In addition, it can state the problematics of the idea and give enough insight to solve them.

The physical model can both be conceptual and more specific and detailed. It can be used for exploring the tactility of the material and the contrast of light and shadow. It can reveal issues regarding the design both aesthetically and according to the method of construction. And upon revealing these issues is the first step to solving them.

With the mindset of the integrative approach should the freely conceptual design process and the more constrained information process intertwine with one another. The iterative process, which mix the tools, should provide a design with a coherence between the technical demand and the aesthetic expression of the building. (Worre, 2018)

Methodology

Page 13

RESURRECTION OF SOCIETY Stored in the Nordic fells between trees and a rich wildlife, a 10.000-year-old society and history are saved, Sweden. As part of the Scandinavian countries, the history disperses between different ages. Especially the Viking Age (800-1050AD) is worth mentioning, where Scandinavians went on expeditions to both plunder and trade along the Baltic coast.

Further, the Viking Age was the time period where woodcraft became an important skill within the society and for the development of the architecture in the country. (‘History of Sweden’, 2016)

Resurrection of society

Page 14

THE SWEDISH KINGDOM The kingdom of Sweden has undergone radical changes through the centuries. Since its foundation in the 13th century, Sweden has been a part of other countries or incorporated parts of countries within its regime and, thereby, different ethnic groups. Starting with the Kalmar Union where Sweden together with Norway was ruled by the Danish queen Margrethe, moving to the kingdom’s powerful time period, where several areas and whole countries around the world had been conquered. The parliament became the ruling power in the 18th century, after the abolishment of the royal power. They guided Sweden into the industrialisation age, where a socialistic movement and the Socialistic Democrats took over, whom started the growth of the Swedish welfare state. (‘History of Sweden’, 2016) A feature that today characterises the Swedish regime in collaboration with its policy of neutrality in wartime. Through these decades, Sweden had an increasing number of immigrants moving to the country, leading to the country in 1975 was declared a multi-ethnic country after the parliament voted in favour of the Government Bill (Andersson, 2011).

Viking age 800-1050

Resurrection of society

Page 15

Kalmarunion 1397-1523 The parliament as the ruling power 1803

Industrialization 1870’s

Declared a multi-ethnic country 1975

Illu. 04.

Time line

A MULTI-ETHNIC COMMUNITY During the last decades, a great number of immigrants have moved or fled to Sweden, giving the country one of the highest numbers of foreign-born in the world, set to 19,1 % in 2018 (Statistics Sweden, 2019). The number has been affected by several political initiatives and historical incidents, such as the country’s neutrality during World War II, where thousands of people fled to Sweden from around Europe. Furthermore, after the war the growing labour shortage in Sweden led to many people from Finland and the east European countries immigrated to Sweden for work. Nowadays the growing number is affected by an extra addition of immigrants, which is refugees, who flee due to political problems or war in their home countries. (Andersson, 2011)

A multi-ethnic community

Page 16

The high number of immigrants settle in the suburban parts of Stockholm, and give these neighbourhoods an overwhelming percentage of immigrants. This means that a large number of the immigrant groups are living very segregated from the Swedish natives, as they often only obtain acquaintance with other foreigners. Something affecting the ethnic hierarchy which also dominates many of the other bigger Swedish cities. Further, a frequent number of the ethnic groups have problems with getting integrated in the Swedish society regarding learning to speak the native language and getting a job or education - something that often leads these ethnic groups into poor living standards.

(Andersson, 2011) Immigrants are also often mentioned in the debate about crime in Sweden. This in relation to the rising number of immigrants and the rising number of crimes, while the Swedish government has not made any statistics on the case in 15 years. (Roden, 2018) Although, a new scientific study from 2020 has revealed that in 2017 a percentage of 58 % of people suspected for total crime on reasonable grounds were immigrants, while for manslaughter and murder it was 73 %. (Adamson, 2020) This gives an insight to the critical situation, which calls for better integration options for the immigrants in the society to prevent the division between ethnic groups.

85-94

+95 0-4

5-14

75-84

15-24

65-74

25-34

33% 55-64 35-44

...of the citizens in Stockholm city are foreigners Illu. 05.

45-54

Demographic

The age-spread in Stockholm metropolitan

Page 17

Demographic

A multi-ethnic community

Illu. 06.

Germany million citizens

Bosnia Tyrkey

1,6

Somalia Iran Yugoslavia

0,7

Poland

+12,8% increase from 2018 to 2035

Syria Iraq

1950

Finland 0

0,5

1

1,5

2

Top 10 foreign-born citizen groups in Sweden Illu. 07.

Demographic

% 2,5

2020

2035

year

By 2035 it is estimated that there will be

1.873.000 citizens in Stockholm municipality Illu. 08.

Demographic

TECTONICS The term Tectonic originates from the ancient Greek word Tekton, meaning construction, referring to the craftmanship discipline such as the carpenter and the builder. Its introduction into architecture is often related to Karl Bötticher’s publications from the 19th century, Die Tektonik der Hellenen, which analysis results in the definition of the Kernform (core-form) and Kunstform (art-form). Thereby, giving different parts of an architectural construction different meanings.

(Vallhonrat, 1988; Liu & Lim, 2006)

Tectonics

Page 18

From then on, the definition of tectonic and what it consists of has been discussed by various architectural theorists and practitioners, to give the architect an interdisciplinary understanding of the materials, construction, structure, aesthetics and function of a building. Gottfried Semper was one of the first to further elaborate on Bötticher’s definition of tectonics, by defining it according to the understanding of the cultural development. By studying the early tribes who would gather around a fire within their primitive huts, Semper defined tectonics through four fundamental elements; earthwork, hearth, framework/roof and enclosing membrane. These four elements give both a philosophical, poetic and practical understanding of the building’s elements, such as the wall, floor and roof. The four elements are further formulated within two groups; Stereotomic, relating to earthwork and hearth which are a continuation of the topography; and Tectonics, referring to the spatial and lightweight framework/roof and the enclosing membrane.

Semper stated that the quality of architecture is formed by the articulation and meeting between the two, which he further extends to the understanding of how materials and elements are joined. As this assembly is a way to understand materials’ properties and how they can be applied within architecture. (Semper, 2004)

The focus on the joint as a significant aspect of architectural quality is further discussed by the architectural theoretician Marco Frascari. He defines the joint as something more than just an assembly between two or more elements, but instead as a detailing, which is not defined by scale and becomes important for the articulation of tectonics (Frascari 1984). The architect and architectural theoretician Carles Vallhonrat also relates to this structural articulation of force:

“Tectonics depends upon a very few fundamental aspects of the physical world. One, of course, is gravity and the physics that goes with it. Gravity affects what we build and the ground beneath it. Another aspect is the structure of the materials we have, or make, and a third is the way we put those materials together.” (Vallhonrat, 1988)

IC N TO C E T

STEREOTOMIC

Illu. 09.

Tectonic and Stereotomic

Tectonics

Page 19

In addition, the architectural historian and professor, Eduard Sekler, writes about the relation of form and forces in a building and how an architectural expression is given through tectonics, structure and construction. The structure of a building can be defined as a system or a principle dealing with the forces that affects the building, making sure it stands, while the construction is the realization of a principle.

Of which can be done in several materials and ways. (Sekler, 1965)

“Through tectonics, the architect may make visible, in a strong statement, that intensified kind of experience of reality which is the artist’s domain – in our case the experience of forces related to forms in a building. Thus structure, the intangible concept, is realized through construction and given visual expression through tectonics.” (Sekler, 1965)

Tectonics

Page 20

The definition of construction can be categorized into two main categories, Solid construction and Filigree construction. While the solid construction is primarily a massive element, enclosing the architectural space and limits the connection between the internal and external space, the filigree construction consists of linear members, creating open connections between spaces (Deplazes, 2005).

This construction consists of a hierarchy between the load bearing structure and the non-load bearing construction, characterized by an analogy to human anatomy: Skin-meatbone. Skin resembles the building membrane dividing the interior and exterior space. Meat is the volume and spatiality of the building, the internal connections of the room and their atmosphere. And bone is the structural system of the building that is significant for the transferring of the gravity forces (Andersen, 2015).

SKIN

MEAT

BONE Illu. 10.

Skin, meat, bone

With a human-oriented approach, Environmental Tectonics aims to create environments for humans reflecting a connection and understanding of the related context. Within this approach, architecture is understood as constructed by different phases of matter; gaseous, fluid and solid, which have the ability to change from one state to another. Emphasizing the idea that architecture is not static but instead dynamic structures in constant development through its lifespan.

Within the organisation of matter, different sensorial environments will be created for the humans to be affected by in a way to experience the architectural construction (Worre, 2015). It is the idea of atmospheres becoming an important element of a building, as the German philosopher Gernot BÜhme states; architecture is understood through the notion of atmospheric perception (BÜhme, 2015). In this way, by not directly aiming for decreasing the use of climate-damaging energy sources, the focus is instead put on constructing different environments in relation to the context, which will improve the energy balance regarding both the climate problems and humans’ wellbeing (Worre, 2015).

Page 21 Tectonics

In relation to the environmental problematics in the world, the building industry is increasingly focusing on the development of environmentally sustainable architecture. It has been seen in various attempts, mostly focusing on a technical approach in the creation of air-tight building envelopes with a greater amount of insulation and thermal-modifying mechanical systems to regulate the fresh air. This can be related to the idea of solid constructions, where the inhabitants will be isolated from the external surroundings, and the building will be isolated from the local environment they are placed in. Something having a negative effect on the psychological conditions of humans and their understanding of the built environment (Worre, 2015). Therefore, the construction of environmentally sustainable architecture asks for another approach, which creates a better relationship between the local environment and the building, and thereby the human. The architect and engineer Isak Worre Foged has described an approach of extending the definition of tectonics to comprehend these problematics under the term Environmental Tectonics.

Environmental tectonics

ENVIRONMENTAL TECTONICS

Environmental tectonics Tectonics

Page 22

Environmental Tectonics is defined by the five causalities inherent in the German philosopher Martin Heidegger’s notion of techné, with reference to the early Greek philosophers’ thoughts on the process of making. In the Aristotelian philosophy, four of the five causes were first introduced; Causa Materialis, the causality of matter or material of which something is made; Causa Formalis, the causality of a form’s formations into the shape the material enters; Causa Finalis, the causality of the final form; and Causa Efficiens, the causality of the effect on humans brought by the finished product. Within Environmental Tectonics, these four causes are extended with a fifth in relation to the human’s impact, Causa Humanus, which integrates the psychological and physiological aspects of human behaviour into the construction of architecture. (Worre, 2015) The five causes unified should act as a measurement for developing and understanding environmental tectonic architecture. To unfold the qualities of these causes, an agent is needed. In correlation to the idea about architecture being understood as dynamic and changeable through its whole life, not only the architect-agent will influence the formation of architecture, but instead several agents will. When built, the architecture will continue developing with influence from the environments, which it is surrounded by, as another agent in relation to climate and humans’ behaviour.

Based on this, when designing the internal atmosphere and the spatial articulation of these, one must understand the environment and micro-climate surrounding the building and not only design for one situation but instead for a whole life.

Make the architecture dynamic according to light, temperature and acoustic, so the atmospheric spatiality will be defined by the thermal environment. (Worre, 2015)

CAUSA FORMALIS

Environmental tectonics

CAUSA MATERIALIS

Tectonics

Page 23

CAUSA FINALIS

CAUSA EFFICIENS CAUSA HUMANUS

Illu. 11.

The five causes

INTANGIBLE CULTURAL HERITAGE

Intangible cultural heritage

Returning to Heidegger’s notion of techné, the philosopher wanted to distinguish between the two terms technological and technology, and aimed for defining technology in relation to society and culture and as the creation of something more profound than just technological artefacts.

This led to his notion of techné described as the method and set of principles, which is included in the production of objects. It was to be understood as making in relation to the activities and skills of craftsmen, leading to a two-folded understanding of knowledge; making and knowing. (Worre, 2015)

Tectonics

Page 24

Intangible cultural heritage can be linked to this two-folded understanding of production of objects. Together with tangible heritage, understood as the physical existing objects, they define cultural heritage. Intangible is here to be understood as the performing arts, social practices, rituals, knowledge and skills to produce traditional craft. It is more fragile since it only exists in practise, but just as important to maintain in a growing globalization. Furthermore, the understanding of intangible cultural heritage in a multi-cultural community provides a fundament for intercultural dialogue and understanding, which reduces indifferences. This also makes intangible cultural heritage very inclusive, since it gives a sense of identity and contributes to the social cohesion which helps individuals to feel part of a community. (unesco.org, 2020) Technology and the production of objects have been defined according to something more profound by exploring a culture’s intangible heritage within the craftmanship. By including intangible cultural heritage according to skills and knowledge of crafts into the formation of architecture, it can add a cultural layer to the atmospheric and spatial articulation which will impact the human perception of the building. Combined with the qualities of Environmental Tectonics, it can create a new kind of architecture that can respond better to the climatic challenges by creating environments in correlation to the relationship between human, local climate and architecture.

Additionally, the terminology description of tectonic in relation to Environmental Tectonics and Intangible cultural heritage, contributes to an extensive design vocabulary in the project.

Sub-conclusion

The design of the Wood Workshop will be developed upon a creative process including several informative steps and a comprehensive toolbox to evolve and improve its ideas. The Tectonic section contribute with another element in the development, by introducing a new approach of creating sustainable architecure with a focus on generating dynamic atmospheres within the building. This aims for creating a better relation to the surronding environment and microclimate, and for articulating the human experience of the architecture.

Both, contributing to the common goal of minimising the worlds CO2 footprint.

Page 25 Tectonics

SUB-CONCLUSION

DIVERSE COMMUNITY To comprehend the extent of the project’s functions and to whom it addresses, an exploration of different concepts is carried out.

In close relation, the users are defined, connecting the possibilities of the building and the scope of the multi-ethnic community.

Thereby, tackling the questions of how to ensure the workshop’s usefulness and how to integrate the immigrants.

Diverse community

Page 26

02

The initial vision of the Wood Workshop was to create a place with a workshop area, where people could come to explore and develop their skills and ideas within woodcraft. This is seen at the Cultural Production Centre, Godsbanen, in Aarhus. By providing a diversity in different open craft workshops, including woodcraft, with professional equipment and educated employees ready to help, while also containing other cultural events and facilities, Godsbanen becomes the ideal place for exploring a hobby, make a study- or business related project, or to just observe the cultural production. (Godsbanen, n.d.) The initial thoughts of this project deal solely with woodcraft. The extent of this idea might result in the problematic whether enough people will use the facilities. Thus, other concepts are therefore considered in collaboration with a vision about creating a community within the building.

The exploration of creating a wood workshop environment has been seen in various examples, where all had a distinctive approach to the theme. In this project, the concept will be a combination of activation of immigrants, common projects, and an academic research and knowledge centre. This combination will frame the possibilities for creating a social interaction between immigrants and Swedish natives, by connecting people from different social and cultural backgrounds. This will create a synergy of knowledge sharing between them and, thereby, give life to the building and construct the frames for creating the community, from which personal and professional relations can occur.

“Community architecture manifests not only in independent architecture objects but can also take the shape of an embedded space whose primarily aim is another.” (Griogrescu, 2015)

More than a wood workshop

MORE THAN A WOOD WORKSHOP

Diverse community

Page 27

Illu. 12.

Godsbanen, Århus

The exhibition hall

More than a wood workshop Diverse community

Page 28

Integration Centre

Academic and research Centre

The idea about the Integration centre will deal with the social and ethnic discourse in the Swedish society, by activating immigrants in workshop facilities and create an environment for them with normal structures and interaction with new people outside their original acquaintances. This is something the growing work of the integration social workshop RĂĽt&Godt succeeds in. Through cooperation with the municipality of Aalborg, the centre activates young people with a troubled background by letting them help and work in the workshop. The workshop is run by educated carpenters, who also have a pedagogical background and are therefore suited for helping the young people for a better future, where they perhaps can start an internship, an education or get a job. (Information gained though a site visit at RĂĽt&Godt)

The Utzon Centre in Aalborg is an example of an Academic research and knowledge centre. Its workshop facilities are mainly used by students from Aalborg University, who among other things have been experimenting in building wooden architecture with robotic technology. Further, the centre acts as a museum and an experiencing centre for architecture and design, especially for children through learning programs. (Utzon Center, 2019)

Likewise, it is important to activate the immigrants through the activities in the Wood Workshop and helping them towards a better future in Sweden. Therefore, it is important to create an environment they feel comfortable within by working with the architectural qualities of the building and the activities it encompasses, so the immigrants become part of the community.

Common projects The common projects are something several people can be part of, creating a proper approach for activating the immigrants and incorporating them in the community. Coming from different social groups and cultures, they can be mixed and work side by side. It is not necessary to speak the language, as they through the craft share their knowledge and learn from different cultural wood crafting methods. The approach is focusing on knowledge sharing within wood craft, which is also celebrated in other cases like the Viking Ship Museum in Roskilde. Here the historical crafting skills within ship building from the Viking age has been recalled. The ordinary visitor is welcomed to join and experience the craftmanship with own hands by participating in the common projects through workshops. (Viking Ship Museum, 2020) It is particularly the process of learning that is important for the Common projects, which is also reflected in the idea about an Academic research and knowledge centre. Thus, the common projects can be combined with research orientated activities and experiments, which give another level of knowledge sharing regarding wood in the projects.

Unifying the purposes The mentioned buildings are built upon a transparency, letting visitors in the museums be able to experience the work carried out in the workshops. This transparency contributes to the knowledge sharing aspect, thus important to incorporate in the Wood Workshop. Further, the Common projects and the Academic research and knowledge centre require facilities within the building supporting the process of learning. This includes space for the necessary machineries for working with wood; laboratories to study and experiment; a library to gain knowledge about the material and crafting methods; an auditorium for academic talks; and an assembling space for the projects. In relation to the community feeling, the building must also encompass a smaller community lounge for people to interact in a calmer and more relaxing environment, especially for the immigrants to avoid they will feel overwhelmed. Altogether, the functions in the building must create spaces for people to use for talking and studying the material wood.

RĂĽt&Godt, Aalborg

Page 29 Diverse community

Storage of reusable materials

More than a wood workshop

Illu. 13.

Illu. 14.

Utzon center, Aalborg

The exhibition hall and active workshop room Illu. 15.

Viking Ship Museum, Roskilde

The craftmanship

USERS

User groups

The Wood Workshop will be a place for people to gather and share their knowledge within the woodwork craft in a workshop environment. By inviting people with different backgrounds and ethnicity, a multi-cultured community occurs, where people can meet and create a relation to each other through the universal language within the craftmanship. All having an interest for developing their skills and contribute to this new community. Based on the activities it will contain, the users can be divided into three main groups; visitors, employees and workshop participants.

CRAFTSMEN

Diverse community

Page 30 Workshop employees

IMMIGRANTS

Visitors Workshop participants

Workshop participants

NATIVES

Research employees

ACADEMICS

Illu. 16.

The relation between user groups

User groups

Employees

The visitors are tourists or people living in the city, visiting the exposition area of the Wood Workshops as well as the cafĂŠ, auditorium and library. They have a personal interest in the craft and want to learn more about it.

The employees are in the building on a daily basis, administrating the life happening in it, including the planning of workshops and the handling of the contact with the integration centre. The employees encompass both the people in the office, but even more the craftsmen who are hired to take care of the workshop areas. The craftsmen are both native Swedes and immigrants, who have been through an integration process and become a part of the community.

Illu. 17.

Different users

Diverse community

Page 31

Visitors

User groups Diverse community

Page 32

Workshop participants The last main group are the people coming to the Wood Workshop to work in the workshop facilities, both on own projects, and smaller and bigger common projects. These can be divided into natives and immigrants.

The native, who is a person born in Sweden, no matter where their parents are born (Dictionary Cambridge, 2020) can be either craftsmen, people with an academic or researcher background within the woodworking craft, or just people with a big interest within the woodworking craft as a spare time activity. All are coming to the Wood Workshop by themselves and due to their interest in the craft.

Illu. 18.

Different users

The immigrants being referred to are connected to the Wood Workshop through the integration centre in Stockholm. They have travelled to Sweden due to different reasons and have still not established a good foundation for themselves. Therefore, by becoming a part of the activities in the Wood Workshop they can find a way to get integrated into the Swedish community and get relations to the native people. The immigrants can, like the natives, both be craftsmen, people with an academic background like architect or constructor, or simply people who have a great interest in the woodworking craft.

Sub-conclusion

SUB-CONCLUSION The workshop will facilitate concepts of which the users will be part of a wholeness of contribution, learning and experimenting within a common language of crafts. It will be a place for activating immigrants, craftsmen and academics through cultural studies in the woodworking craft, and also a place for knowledge sharing for the workshop users and other visitors. Altogether, having a common social end-goal - together creating a synergy.

Diverse community

Page 33

LOCATION The following chapter shows the process of choosing the site through several mappings, which seek out the ethnic hierarchy, accessibility and points of interests. It aims to understand the context of the contemporary environment and the circumstances through several site studies.

In order to design site-specific, the atmosphere of the site has been experienced during a study trip to Stockholm.

Location

Page 34

03

Sweden

10.120.000 citizens

Population

Municipality citizens

Illu. 21.

Population

Population

1.633.000

Page 35 Location

Illu. 19.

City

962.000 Metropolitan

2.344.000 citizens

Illu. 20.

Population

citizens

Illu. 22.

Population

VASASTADEN KUNGSHOLMEN

ÖSTERMALM

NORRMALM

Stockholm

GAMLA STAN

DJURGÅRDEN

SÖDERMALM

Location

Page 36

Illu. 23.

Stockholm city, scaleless

STOCKHOLM On a small island on the edge between Mäleren and the Baltic Sea, the Swedish capital Stockholm was established in the 13th century. The city’s heart, Gamla Stan, made on stone of stone, became the launch pad for the rapidly growing city. It stores some of the city’s most precious building pieces such as the ‘Stockholm Castle’, ‘Riksdaghuset’ and ‘Storkyrkan’, placed in the network of narrow streets and densely arranged buildings.

The first expansion happened in the 18th century where the northern part, Norrmalm, was formed upon a strict street pattern. After a big city rationalisation, the area became the cultural centre, where people visit but not many live. Vasastan instead was the place for living with rows of apartment buildings which were built for the big amount of people moving to the city in the middle of the 19th century.

The more exclusive residential areas are found in Kungsholmen and even more in Östermalm, as they both went through a transformation in the late 19th century from slum districts to residential areas for the upper middle class.

Södermalm, the last of the ‘malms’, differ from the rest, both psychically by the wall of rock towards the rest of the city, but also architectural wise with its more artistic expression. Through history it has been the working class’ neighbourhood, but also the artistic class has given the area its appearance and soul.

(Wivel, 2013)

Illu. 24.

Percentage of immigrants in Stockholm, scaleless

DISTRIBUTION OF IMMIGRANTS AND NATIVES To understand where the immigrants and natives are living in and around Stockholm, a mapping revealing the percentage of immigrants according to the total population in the areas were made. This revealed that immigrants tend to settle down in the suburban areas (the blue areas) both northwest and south of the city center, while the main city and the north-eastern suburban areas are mainly inhabited by native Swedes (red areas).

Social groups Page 37 Location

0-10 % 10-20 % 20-35 % 35-45 % 45-55 % 55-65 % 65-80 % 80-90 % 90-100 %

STOCKHOLM INFRASTRUCTURE

Central Station

Infrastructure Location

Page 38

Slussen

Buses Metro Train Illu. 25.

Infrastucture, 1:30.000

STOCKHOLM CULTURE SITES

Concert Hall

Army Museum

City Theatre

Mediterranean Museum

Royal Opera National Museum

Parliament Royal Castle

Far Eastern Antiquities

Nobel Museum Post Museum Modern Museum Illu. 26.

Culture sites, 1:25.000

SITE SPECIFICATION

Illu. 27.

Gamla Stan

Site specification, 1:15.000

Site specification

By situating the building on a site in Gamla Stan, it will be located in a centre of culture and art, in an area of Stockholm that makes it possible to experience the seven-hundredyear-old history of the Swedish capital. According to the map showing the distribution of Swedes and immigrants, it is relevant to place the site close to collective traffic, as a fast and easy connection between the centre of Stockholm and the surrounding areas. As this is the key for creating the relation between the different groups of people.

Location

Page 39

Kornhamnstorg

Illu. 28.

Site specification, 1:1.200

KORNHAMNSTORG

Kornhamnstorg

Walking along one of Gamla Stan’s many narrow streets from the North to the South, where the air is filled with ateh smell of Kanelbullar, you will arrive at an open and bright town square on the otherwise dim and shadowy island.

Location

Page 40

The town square, Kornhamnstorg, is protected from the northern wind by different historical buildings, creating an arc which opens towards the water and the traffic encounter. The new development of the Slussen area allows the sun to shine on the site the whole day, as seen on the sun path diagram (illu. 30). The correlation between the southern placement of the site and the buildings surrounding it towards the North, the site almost experiences the sun from when it rises to it sets. The site is rarely exposed to shadows from the context, only during summer in the early morning and late afternoon, which give rich potential for solar power and providing sunny outdoor areas. Though, complications in relation to the functions inside the building might occur.

The flow on the site is very influenced by the weather.

When cloudy, people are rushing across with another destination in mind. But as soon the sun peeps through the clouds and the wind speed is low or coming from north, people tend to stay longer to enjoy the heat from the sunrays to welcome their daily shot of D-vitamin, some in combination with a lunch from the local fish food truck, which replaces the sweet scent of the Kanelbullar with a sour smell of grilled fish. With the rare phenomenon of hot summers with the average temperature of 20oC, the dominating wind from SW can be a refreshing cooling breeze (Illu. 29).

The fish food truck’s green and grey colours set the colour coding for the site’s few other objects, which bear witness about elder time with a touch of ornamental history. Trees and big trays of flower beds add a refreshing and lively level to the green colour, when the plants bloom in the summer half-year. A pattern of small and big squared grey and lightbrown stones covers the site, which the footprint of a big cobber-green statue fits into. During the dark hours, the site is enlightened by the black steel light poles in combination with the luminous restaurant facades in the ground floor.

In contrast to the dreary coloured site, the arc of buildings creates a colourful and dramatic facade with a character of town houses. Each house has its own style with different stories, colour and ornamental detailing – all tied together by their material choice and collectively creating an appealing appearance, which the whole island’s architecture beams of.

20,1 17,7 15,3 12,9 10,5 8,1 5,7 3,3

-1,5 -3,9

January

February

March

April

May

June

July

August

September October

Illu. 29.

Dry Bolb Temperature [oC] Dry Bulb Temperature (C)

Page 41 Location

N 10° 22:08

20°

03:31

30° 40° 50° 60° 70° 80°

W

E

17:02

07:01

14:48

Illu. 30.

Sun path and wind rose

08:44

S

November December

Kornhamnstorg

0,9

Illu. 31.

Site photo, Kornhamnstorg

Kornhamnstorg

Located at the edge of the current renovation of Slussen, one is very much affected by the noises from the construction site of the new urban area being developed. Mixed with the sounds from the cars and trucks’ rumbling upon the paving stones, and the metros’ screeching wheels, attempting to stop at the station on the bridge straight opposite the site, enhances the site’s characteristics about being in the centre of a junction.

Location

Page 42

Visiting Kornhamnstorg, whether it is day or night, summer or winter, the site is humming of a vibrant life for the busy Stockholmer and the curious tourists. It embodies the qualities of a rich urban space, where the sun generously visits, and where its openness creates the opportunities for bigger cultural events to arise. Having a historical past as a corn- and later iron-trading post, the site today feverishly seeks for a new purpose with a refreshing cultural direction. A direction that can create a new level to the urban life being enhanced in the upcoming years in relation to the completion of the urban transformation project around Slussen.

Being the largest urban transformation project in Sweden, the New Slussen aims to reconstruct the decrepited water- and transport infrastructure into a new urban part of town. The project focuses on constructing a new transport system, creating a better hierarchy between the pedestrians, cyclists and road vehicles. This will be done initially with a new bridge, making space for both pedestrians and road vehicles, and in the future a new bicycle bridge. In this way, creating a better connection between the hip and urban area of Södermalm and the more historic and denser Gamla Stan, in particular Kornharmstorg. New mixed-used buildings will be constructed with restaurants, cafés and cultural amenities, along with the definition of new urban area originating from the space around the existing city museum in Södermalm. (Foster+Partner, 2008)

Kornhamnstorg Site photo, Slussen

Illu. 33.

Render of the New Slussen by Foster+Partners

Page 43 Location

Illu. 32.

THE FACES OF GAMLA STAN

Facade study

As part of the understanding of the site and the surrounding area, the architectural context on Gamla Stan was explored at the site visit. The study revealed a uniqueness for each building on the island by its choice of materials, colour and ornaments. As they were placed close together, they create a dynamic facade expression. Despite each facade’s uniqueness, a general and clear structure and rhythm could be drawn upon them, which in a larger perspective create a cohesion between them. A general structure of the facades, shown at Illu. 34, and creates a simplified understanding of the complexity of the unique facades.

Location

Page 44

The structure, linking the buildings together, creates a tripartition of the facades; a base, a middle and a top. The base displays as open by bigger windows and with its public functions like restaurants, cafés and shops, which create a close interaction between the public street and the internal life in the building. The middle facades are taller and characterised by a grid according to the placement of windows and horizontal ornaments. Behind the more closed facade less public companies and residential apartments are located. The top is characterised by a greater detailing in the shapes it is composed of. By working with different pitched roofs being rotated and scaled in various ways for each building, the combination of them create a detailed and peculiar roof landscape that at some buildings can be observed from the street, while other buildings only reveal the gable wall.

The construction of the Wood Workshop will take inspiration in the tripartition by exploring the use of three structural systems for respectively the base, middle and top part.

Each system is allowed to vary in its expression, while the middle-segment must create the balance between the top and the base to make sure the structure is experienced as a whole. Therefore, even though the building explores a higher complexity in its construction, form and expression, the perception of it can still be simple by following the division and obtaining a kind of homogeneity through the middle segment’s cohesion character.

top detailed

base open

Page 45 Location

facade

Facade study

middle grid

Illu. 34.

Facade study

FLOW

Flow

The primary traffic of pedestrians happens along the southern part of the square. During workdays, the flow around the metro is especially busy, where a lot of people arrive from and move towards when passing the site. Although, most of the pedestrians arrive from Sรถdermalm or the eastern part of Gamla Stan, where the ferry dock is situated. Many tourists use the ferries and tourist boats or arrive from north along the narrow shopping streets of Gamla Stan. They are often more explorative on the site and, thereby, less predictable. They tend to stop and admire the square, the view and, depending on the weather, the sun.

Location

Page 46

Ferry dock

Metro station

20m Illu. 35.

Flow diagram of the site

Bus stop

Page 47 Location

The site of the building is situated in the centre of culture in Stockholm, at the square Kornhamnstorg, which is an evolving area with the development of the new Slussen next to. Furthermore, the site is close to every means of transportation, and with its open placement on the isle of Gamla Stan it is almost unavoidable, creating great opportunities for displaying and communicating the work of the workshop, which also can enrich the daily experience for the pedestrians walking through the site.

The Wood Workshop should relate to the buildings of the context by interpreting the rhythm of the tripartition.

The site should attempt to keep the current atmosphere of the open sqaure in contrast to the narrow streets of Gamla Stan, so people can stop to enjoy the sun while admiring a building that reflect contemporary and traditional nordic wooden architecture.

Sub-conclusion

SUB-CONCLUSION

BUILDING ANATOMY This chapter deals with the anatomy of the building, seen in individual parts with an inspiration of Deplazes’ theory about skin, meat and bone. Initiating with a presentation of the development of wooden architecture in the Nordic countries, followed by an overview of local timber and their properties, and an analysis of different construction methods and structural systems. Altogether, defining the preparation material for developing the skin and bone of the building, by exploring the options within timber construction. By tackling the question of how the atmospheric aspects of the architecture can contribute to the community, the meat will be explored with a focus on spatiality, acoustics and light in relation to all the senses.

Building anatomy

Page 48

04

NORDIC ARCHITECTURE The picture of Swedish architecture is very dominated by wooden derelict farms coloured particular in red. Dating back to the Viking Age, the material wood has been an important material in the Swedish architecture, which otherwise has been dominated by influence from other Europeans countries like Germany and the Netherlands. (Den Store Danske, 2013)

Sawmill industrialisation 1850

Nordic architecture

Further, wood has been used for the construction of stave churches in the 11th and 12th century for bigger profane buildings like city halls and for decorating ornaments around windows, doors and verandas (Akoma Group, 2016). The most famous of the stave churches is the Borgund stave church in Norway build around 1150 in Lærdal Norway. The name Stave church originates from the use of staves (large columns) that support the structure, set on a foundation of stone. The use of metal was limited to ornamentations and hinges in the door. Instead wooden dowels were used which meant the structure could expand and change according to the climate, which might have been a reason for the building to last over 800 years. (‘Chapel in the hills’, n.d.)

Viking Age 800-1050

Prefabricated houses 1930-

Building anatomy

In Sweden the timber industry escalated in the middle of the 19th century, where the export rose 500 percent, making it the leading timber exporter in Europe. (Ohlin, 1955) In addition, Sweden is known for their prefabrication of timber houses, which started with a housing program during the depression in 1930’s. By 1983 nearly 90% of all new housing units were premanufactured. (Mathieu, 1987) Today, wood has gotten a sustainable symbol, leading to more and more architects play with the natural material in their versions of wooden architecture (Akoma Group, 2016).

1943-

Alvar Alto, a Finnish architect, rethought the articulation of the wooden truss in Säynätsalo Town Hall (Fiederer, 2016) and the simple design of Stool 60 with the use of bended wood (Artek, 2020). Other architects worth mentioning is Erik Asmussen, a Danish architect who combined the vernacular Scandinavian traditions with the organic style from the modern architecture. He is most known for his buildings at the Rudolf Steiner Seminar located in Ytterjärna in Sweden from 1965 (Coates, 1997).

In addition to today’s explorations of wooden architecture, especially high-rises are in demand for experimentation to give these typologies another sustainable level (Akoma Group, 2016).

Page 49

Wood highrise 2023

Illu. 36.

Time line

LOCAL WOOD

Local wood

Sweden has a close connection to wood and timber architecture through centuries of history. With 60 % of the country covered with forest, and a tree growth higher than the cutting of them, it gives good argumentations for using the natural material in architecture (Skogstatistisk Årsbok, 2006).

Further, the country has the third highest export of wood in the world making it even more reasonable (Nag, 2017).

When comparing the Global Warming Potential (GWP) of 1 m3 of the three species mostly used for construction, it shows immediate negative values. This is due to the absorption of CO2 during the process of photosynthesis. The assessment does not include the aspect of emission during transportation. Arguing that the wood used for the project is from a local source, the emission during transportation is then minimised. Based on the assessment and the distribution percentage, seen in the illustration bellow, Norway Spruce or Scots Pine should be considered for the construction.

On the following page, the different properties of the two species have been listed to be considered in the further process.

A material’s lifecycle has an environmental impact, which is managed according to the industrial system, cradle to grave, which covers a range of activities in a lifecycle assess-

Building anatomy

Page 50

The forests are mixed of different species that all naturally have existed and grown in the Swedish nature for centuries.

The most common are the Norway Spruce, the Scots Pine and Birch. The last percentage consists of different deciduous tree species, like Aspen, Alder and Oak. (Skogstatistisk, 2016) In the building sector, the species are used for different things depending on their properties. Scots Pine, Norway Spruce and European Oak is commonly used for construction, whereas Birch and Alder are great for plywood and Aspen for light building constructions, such as partitions walls and flooring (Søgaard, 1979).

ment. By assessing the entire lifecycle of a material, it can be evaluated on the basis of different kind of emissions (Curran, 2008).

Scots Pine

40,8% Illu. 37.

Norway Spruce

39,3%

Silver Birch

12,4%

Distribution of wood species in Sweden

European Alder

1,6%

European Aspen

1,6%

European Oak

3,1%

Illu. 39.

Norway Spruce Local wood

Scots Pine

Density:

550 kg/m3

Density:

405kg/m3

Strength:

Bending strength = 83,3MPa Compressive strength = 41,5 MPa Elastic modulus = 10.080 MPa

Strength:

Bending strength = 63MPa Compressive strength = 35,5 MPa Elastic modulus = 970 MPa

Description of the xylem:

Technical qualities:

(Søgaard, 1979) (Meier, 2020)

It has a red brown xylem with visible growth rings and a dense texture. The number of knots varies, while it is lightly resin filled.

Scots Pine dries fast and properly and is stable when used. According to its weight, it has a good strength and is easy to work with, while obtaining a good finish. It is not resistant for rottening.

Description of the xylem:

Technical qualities:

The xylem is almost white, sometimes with a pink glow, and it is known for its natural and high gloss. It is lightly filled with resin and does not have very visible growth rings.

The wood dries fast and properly. It has a good strength and is easy to work with for obtaining a good finish. It is not resistant for rottening.

Page 51 Building anatomy

Illu. 38.

WOOD STRUCTURE AND CONSTRUCTION

Wood structure and construction

Timber Construction Systems can be divided into two main categories: Massive structural systems, also known as Solid, and Lightweight structural systems, also known as Filigree. What particularly distinctive the two is the amount of wood used, as the Solid structural system use a magnificent larger amount than most of the Filigree structural systems.

Something having a great impact on the sustainability aspects.

Building anatomy

Page 52

The Massive structural system, which includes both Log construction and Solid timber systems with cross-laminated timber (CLT) elements, has a high horizontal stiffness and load capacity. All its load-bearing elements are solid and are somewhat similar to a plate format with rigid homogenic characteristics. In contrast, the Filigree structural system works with lighter timber frame load-bearing elements, which still achieve a high strength. The structural system is divided into the classical Linear skeletal system and the Planar frame system, based on its load-bearing function. The linear has all loads transmitted through linear bearing elements in the frame, such as vertical studs or columns, horizontal beams and a third stabilising element, being either diagonal braces in the plane of the wall, or struts and ties acting as a secondary structural system between the columns and beams. The planar frame system also transmits vertical loads through linear timber elements, while all horizontal loads are transmitted through sheathing boards.

Types within both the Solid and the Filigree structural systems are made as prefabricated elements, where bigger building elements are made on a factory and then assembled on site. For Filigree, this includes the three types within planar frame systems, where the Frame panels system has whole building envelope elements with structure, insulation and cladding prefabricated, where the other two types only have the structural system made as whole walls, floors, etc.

The Solid Timber Construction within Massive can be prefabricated in both ways.

In the design of the Wood Workshop, there will be a focus on minimising the amount of wood, while articulating the wooden structure and ways of working with wood. Two case studies have been made with the focus of this, see the next pages. Those were used for inspiration in the design process. A focus was also put on minimising the amount of steel used in the construction. Therefore, hinge connections would be used in the construction. Hinge connections includes a larger amount of types, that resist rotation, but where the horizontal and vertical forces will be transferred through the joint. Thereby, the moment is removed from the connection, which makes it possible to avoid steel plates or a larger amount of steel bolts in the connection.

(Boake, 2018)

FILIGREE STRUCTURAL SYSTEMS LINEAR SKELETAL SYSTEMS

PLANAR FRAME SYSTEMS

Log construction

Page 53

Timber-frame construction

Balloon-frame / platform-frame construction

Frame construction

Frame-panel construction

Solid timber construction

Illu. 40.

TImber construction systems

Building anatomy

SOLID TIMBER SYSTEMS

Wood structure and construction

TIMBER CONSTRUCTION SYSTEMS

CASES

Cases

Illu. 41.

Center for Design and Materials, Dorte Mandrup

Building anatomy

Page 54

Anthony Timberlands Center for Design and Materials Innovation Architect: Engineer: Location: Status:

Dorte Mandrup Arup Arkansas, Canada Unbuilt

Anthony Timberlands Center is the new university building for Fay Jones School of Architecture and Design. The building will house future experts in timber and wood design and will set an example of translating traditional wood techniques into research and innovation with the objective of pursuing a more sustainable future.

The facade is double glass curtain facade with an internal structural system consisting of a massive glulam timber diagonal grid and beam system that stabilises and takes the vertical loads. The joint, where the diagonal grid and beam meet, is a rigid joint enforced by an internal metal plate and metal bolts.

The joint and the structural system encourage the users of the building to integrate it in collaboration with exhibition, events etc. Furthermore, the flexible and free space creates lots of room for larger installations and exhibitions. Both the external and internal transparent connections give a sense of community and inspire future projects.

(Mandrup, 2020)

Researcher: Location:

Christopher Robller, Yves Weinand IBOIS Laboratory for Timber Constructions, EPFL Schwitzerland

Folded plate structures are self-supporting, column free shells with thin plates spanning over large spans. Researcher Pieter Huybers described the structural system by referring to antiprismatic shells. Further, the diagonal connection of the plates function as cross bracing which does not only make it a load bearing system, but also a stable and rigid system. The benefits of double curvature of the shell structure, compared to single curved shell structure, are, further, that the deformation from asymmetrical loads such as snow are reduced by 39 %.

The rigid connection between the plates are insured by integral joint, inspired by the traditional dovetail joint known from furniture carpentry. The joint is made possible by replacing the manual labour with advanced 5-axis CNC routers, computers and software, making the fabrication faster, more precise and much cheaper. Furthermore, the dovetail provides higher strength for spruce rather than hardwood and is thereby ideal for plywood - which often is made of spruce or pine.

(Robeller & Weinand, 2017)

Page 55 Building anatomy

Integral joints for timber folded plate structure

Cases

Illu. 42.

Folded timber plate structure, Christopher Robller

The sensorial experience of architecture Building anatomy

HEAR

UNDERSTAND

COMFORT

PLEASURE

TOUCH

LOCATION

TEXTURES

MEMORY

SMELL

UNDERSTAND

TASTE

UNPLEASANT

STRENGTH

SEE

SILENCE

Illu. 43.

TASTE

ODORS

Page 56

Senses

THE SENSORIAL EXPERIENCE OF ARCHITECTURE In correlation to the aim of creating a community, and as a continuation of the tectonic chapter regarding environmental tectonics, it is important to create different atmospheres within the building to play with peoples’ sensorial experience of the architecture. This encourages the aim of stimulating all five senses through the spatiality and materiality of the rooms. As the architect and former professor, Juhani Pallasmaa, expresses it: “Architecture is the art of reconciliation between ourselves and the world, and this mediation takes place through the senses.” (Pallasmaa, 2019).

When designing, one must be working with the characters and the tactility of rooms to create an interaction between architecture and humans. It is especially happening through the work with different materials, where wood is interesting in relation to the ways of treating it towards various colours and tactility. Further, wood is a natural material and has a close relationship to the life in nature. As Kengo Kuma claims: “Wood provides both tactility and the rich scent of nature”, emphasizing the nature-related stimuli wooden objects and surfaces bring into architecture. (Kuma, 2018)

Wood has a strong relation to the senses. Especially the sense of smell is stimulated by wooden scent and can bring back memories of occasions and places, like a carpenter class or a summer cabin. The sense of touch is stimulated by the interaction between skin and the material, as one recognises the textured surface from a tree’s bark. This has a close relation to the treatment of the wood, as study shows natural wooden surfaces are better received among humans than coated (Bhatta, 2017), which creates sensorial associations with a trip to the forest and the calming experience of nature. The sense of vision is also triggered by the textures of wood, along with the dynamic colours, which change depending on the environmental impact of light and moisture.

Thus, when implementing wood in the architecture, it will have a great impact on the atmospheres and the spatial articulation.

In the following, light and acoustic will be further accounted for in relation to their impact on the atmospheric and environmental architecture.

LIGHT In Nordic countries, people worship the sun – but often they must settle with the limited diffused light pushing through a cloudy sky. Thus, it is important to work with ways to utilise the light within architecture to embrace the sensorial experiences. In the Wood Workshop, especially the architecture of the exposition area and the workshop facilities must explore this interplay in the spectrum of light and shadow to create spaces for immersion and engagement.

The workshop facilities According to BR18’s requirement, workshop facilities require a light condition of 300 lux for workspace (Dansk Standard, 2012). In Nordic countries, this is often achieved by a great amount of artificial light, like seen in the Utzon Centre in Aalborg. Observed in its workshop, artificial light dominates the illumination over daylight from characteristic rooflights. Opposite, in the Piet Hein Ekk Laboratory and Workshop the luminosity of artificial light is reduced to allow daylight from windows in walls and ceiling to gleam in the room. Still, the room achieves a great light level to work in.

The light rays create an interplay between light and shadows through the grid of mullions, enhancing the sensorial experience of the architecture. (Foiret, 2011) The project reveals how to work with a more sensorial lightning in workshop facilities while obtaining the required illumination, which is something the design process will examine further.

Illu. 45.

Workshop and Laboratory, Piet Hein Ekk

Illu. 46.

Therme Vals, Peter Zumthor

Building anatomy

Page 57

The exhibition hall The traditional exhibition hall is often made with bright surfaces and a great amount of artificial light to illuminate the room, letting the exhibited items in focus. According to Pallasmaa, this disturbs the visitors’ immersion and visionary mind and block one’s creativity and imagination (Pallasmaa, 2015). Instead, the exhibition hall must play with the light by working with different window openings both in shape, size and location. Peter Zumthor’s project Therme Vals plays with light and shadows to create a place for relaxation, where all senses are activated (Zumthor, 2009). Obtaining this mysterious sense, while creating a light enhancing the architecture of the exhibition hall and the displayed items produced in the workshop, will be examined in the development of the exhibition halls. In contrast to Therme Vals, which light enhances the cool colours of the Kelvin spectrum, the Wood Workshop will explore the warmer colours in its different rooms, which will feel inviting and relaxing and thus correspond to the sense of community.

Utzon Center workshop, Jørn

Light

Illu. 44.

Utzon

ACOUSTICS Exploring the acoustic possibilities within the buildings’ spaces is another important part of the sensorial architectural experience. Juhani Pallasmaa explains that in contrast to the sense of sight, the sense of sound incorporates more, than what the eye can see. It appears from various directions, while promoting and articulating the spatial understanding and experience of a room. Sounds have an immense impact on the mind, as one in the darkest hour can create a whole world from perceived noises. (Pallasmaa, 2015) The acoustic qualities should create a synergy with light to enhance the sensorial environment of the rooms in the Wood Workshop, which will be studied in the design process through physical and digital methods in relation to the reverberation time and the definition.

Illu. 47.

Acuwood, Siga Design

Acoustics

Absorption and Sound Insulation

Building anatomy

Page 58

Incorporating different functions within the same building, like the workshop facilities and the exhibition hall, calls for an exploration in how to handle the movement of sound between the spaces. The workshop facilities will generate a higher noise level, thus it is important to work with several initiatives for absorbing the sound and preventing it from spreading to other rooms and be disturbing. In the exploration of this, the design of different absorbing acoustic panels in wood can be studied. This can be done with inspiration from different products on the market, including perforated wood panels, panels with lamellas on a wooden core, and the typical Troldtekt panel.

Illu. 48.

Perforated panels

A spiritual experience The exhibition hall should work with architectural elements creating a higher reverberation time to create the mysterious sense. Churches and concert halls are great examples of spaces with high reverberation time by working with different materials and shapes. In the MalmĂś Live Concert hall, designed by Schmidt Hammer Lassen, the acoustic properties were achieved by working with oak box-panels placed unevenly on walls and ceiling (shl.dk, 2016). In Therme Vals, the spiritual acoustic experience is obtained by working with materials like stone, glass, concrete and water with very little absorption of sound, creating spaces with high reverberation time (Hawkes, 2019). For the project, the architecture of the exhibition hall will in a smaller scale incorporate some of the qualities from these typologies within the exploration of the acoustic properties of wood.

Illu. 49.

MalmĂś Live, Schmidt Hammer Lassen

Illu. 50.

Therme Vals, Peter Zumthor

Starting with the skin and bone, the project has a focus on local materials, thus, Scots Pine and Norway Spruce will be used in its construction, which is also based on their structural properties. In the project, these will be explored further, along with the analysis and testing of the different construction methods and the two detailed construction typologies. The study is executed according to the way they articulate and visually express traditional and contemporary wooden architecture, and the way they correspond with the creation of atmospheres. The atmosphere, being the third aspect, the meat, will be studied in relation to obtaining the different sensorial qualities regarding spatiality, light and acoustic in a wooden environment.

Page 59 Building anatomy

The chapter gave an insight to working with the three aspects of the building’s anatomy, being the skin, meat and bone.

Sub-conclusion

SUB-CONCLUSION

DESIGN BASIS The chapter will outline the different parameters, which have been concluded as important in the previous chapters. These will be included in the following designprocess.

Design basis

Page 60

05

ROOM PROGRAM

Room program

The room program illustrates how the different functions are connected to each other, how the private functions are connected to the public functions, and how the building differentiates between soft and hard functions. The hard functions are among other defined by the workshop characteristics and their outward orientation in relation to the context. In addition, it is the space where the practicalities of the everyday life would take place in the building, such as assembly, machine and laboratory. In contrast, the soft functions are oriented inwards, understood as functions, where the atmosphere differentiates to the rest and with immersive experiences such as the exposition area.

Foyer Bookshop

Library Office

Page 61 Design basis

Lounge Exposition CafĂŠ

Assembly

Kitchen CafĂŠ staff room Storage

Changing room Auditorium

Storage Machine Laboratory

Soft functions Illu. 51.

Room program

UNIT PROGRAM SIZE [m2] FOYER

Unit program Design basis

LIGHT [lux]

LIGHT [lKelvin]

REVERATION [s]

NOISE LEVEL [dB]

50

3,5

300

3000-4000

<0,8

<70

EXPOSITION

250

3,5

0-300

3000-4000

Low Hz: 1-2 High Hz: <0,8

<60

ASSEMBLY WORKSHOP

200

3,5

300

4000-5000

<0,8

<75

MACHINE WORKSHOP

125

3,5

300

5000-6000

<0,8

<110

30

2,5

200

5000-6000

<0,8

<70

100

2,5

500

5000-6000

<0,8

<70

COMMUNITY LOUNGE

50

3,5

200

3000-4000

<0,8

<60

OFFICE

50

3,5

300-500

5000-6000

<0,8

<70

LIBRARY

80

3,5

300

3000-4000

<0,8

<60

BOOKSHOP

70

3,5

300

4000-5000

<0,8

<65

AUDITORIUM

100

3,5

300-500

5000-6000

<0,8

<65

CAFÉ

150

3,5

200

3000-4000

<0,8

<70

KITCHEN

75

2,5

500

5000-6000

<0,8

<70

CAFÉ STAFF ROOM

30

2,5

300

5000-6000

<0,8

<70

TOILET(S)

50

2,5

300

5000-6000

<0,8

<65

UTILITY / PLANT ROOM

100

3,5

300

5000-6000

<0,8

<75

STORAGE

150

3,5

300

5000-6000

<0,8

<70

CHANGING ROOM

Page 62

HEIGHT [m]

LABORATORY

TOTAL

1630

DESCRIPTION Must be easy to identitfy. Provide information and an overview of the interior functions.

Should vary in the spatial expression to create a course of impression; yet compliment the exhibition by its anonymity.

Flexible area to accommodate the work and assembly of different sizes of projects. Should be connected to changing facilities with showers and small lockers.

Should facilitate all machineries relevant to woodwork. Other experimental approaches such as robots and CNC should also be accommodated.

Meeting area for the users of the workshop facilities. Flexible area for group meetings and other social- or workshop related purposes.

Should accomodate the necessities of an administrative workspace, such as workstations with computers and small storage units.

Withdrawn or isolated area with publications in relation to wood work and alike.

Should be in close relation to the foyer. Should display and sell tokens of the wood work.

Flexible area for conferences, lectures and talks.

Provide a service categorized between restaurant and bar. It should have the capacity to serve coffee and drinks alike, as well as providing a limited menu. Facilitate niches and table groups of different sizes, and accomodate all user groups.

Should facilitate the necessities of a small restaurant kitchen in order to accommodate the limitied menu. Directly linked to the cafĂŠ and a staff room. Should include a depot.

Break room for the cafĂŠ and kitchen staff.

Should include seperate uni-sex change rooms.

Handicap toilet(s) Included. Uni-sex.

Placement of ventilation and utility fixtures.

Primarily for the workshop areas and exposition. Secondly, storage for cleaning supplies and equipment for the cleaning staff.

Page 63 Design basis

Facilitate the resources to execute experiments in relation to mild chemicals related to different surface treatments and such. High demand of ventilation, which include small ventilation pipes at the workstations for more isolated effect.

Unit program

Seperate uni-sex changing rooms with shower, toilet and with lockers.

VISION

Vision

Through the physical frames of tectonics, atmospheric detailing and with the concept of gathering people from different social and educational backgrounds through crafts, the architecture will provide the best setting for social interaction between immigrants and native Swedes.

Design basis

Page 64

The design and construction of the building will reflect upon traditional and contemporary Nordic Architecture and woodwork in its structure, and deal with contemporary social sustainability and cross-cultural issues to give the building a sense of identity through intangible multi-cultural heritage.

DESIGN AMBITIONS

The rhythm of the structure must relate to the rhythm of the facades in the nearby context

The architectureâ&#x20AC;&#x2122;s structural system should be an inspiring experience in relation to ways of building with wood

The structure should have a minimized CO2-footprint by exploring local materials, minimizing the amount of material and by using hinge connections

The structure of the building must be developed in relation to its internal room program, so they reflect the Wood Workshop community

The structure should work with local timber materials, especially Norway Spruce and Scots Pine

The Wood Workshop must utilise the weather conditions at site and take the microclimate into consideration in its design of the building and its internal spaces

The structure must reflect traditional and contemporary woodwork in the exploration of its shape

Design ambitions

ARCHITECTURAL TECTONICS

COMMUNAL ASPECTS The architecture must accommodate the existing flow at the site The architecture must create and promote the connection between the internal and external spaces The building should facilitate workshop spaces for woodworking explorations for both academics and craftsmen The architecture should create a transparency between the private workshop areas and the public functions In relation to the community, the architecture must accommodate spaces that celebrates and promote the creation of relationships between natives and immigrants in a calmer and more relaxing atmosphere

The internal rooms should be designed upon creating functional and immersive atmospheres and experiences, in relation to light, acoustic and spatial qualities The site must develop new urban spaces for short and longer stays, while still accommodate the existing flow The design of the site and the architecture must handle the construction of a new parking basement underneath Kornhamnstorg

Design basis

Page 65

PROCESS

The design process is a messy affair, where many different things happen at once. Things influence each other across different topics, and on paper this process is impossible to accurately represent.

In this part, different stages of the design process are presented. The process strives to be shown in chronological order. Though, for a better understanding, the phases has been divided into different topics, which for some were developed in a coherent process with the others. Ultimately, they have all influenced each other.

CONTENT 06

PROGRAM 04

INITIAL EXPLORATIONS

Page 68

70 71 72 74 76 77 80 81

Introduction Wood explorations Volume study and sketches Exploring the atmosphere Composing a floorplan Spatiality Quantitative approach towards the facade Sub-conclusion WORKSHOP: STRUCTURE TO FORM

88 89 92 93 94 98 100 102 103

08

07

Introduction Taking point of departure in structures Systemisation of initial ideas A form BUILDING DESIGN

Introduction Developing the structure Site A curved frame system The column Layout Placing the column Facade Sub-conclusion

82 83 84 86

104 105 108 110 113

09

EXTERIOR ELABORATION

Introduction Completing the structure with Grashopper Karamba Robot assessment of the structural system Composing the facades: the skin and bone Sub-conclusion INTERIOR ELABORATION

10

Introduction Adjusting the floorplan Assembly workshop Solar shading Auditorium Exposition area Sub-conclusion

126 PRESENTATION

Page 69

114 115 116 118 120 124 125

INITIAL EXPLORATIONS In the first part of the design phase, several workshops were made to start studying and developing different elements simultaneously in the design to create a more integrated process. To kickstart these studies, an initial wood exploration workshop was made where different joints, abilities, etc. within wood structures were studied. The following workshops were then investigating different volumes and plan layouts, including spatiality and functions; studied how to work with atmospheres in architecture regarding light and acoustic; and started developing the facade regarding the tripartition.

Initial explorations

Page 70

06

WOOD

Joint

Wood

Illu. 52.

Initial explorations

Page 71

Illu. 53.

Illu. 54.

Bending

Illu. 55.

Joint

Investigation of vein directions of Plywood

Volume study + sketches

VOLUME STUDY + SKETCHES The sketching focused on creating concepts, all with the design criteria from the Problem, Research and initial Investigation phase in mind. The sketches worked with the relation to the site, the internal connections between functions, and the relation between the interior and external environment.

This culminated in many ideas and initial thoughts were visualised as a kick-off to further investigations in the later process. These studies were mainly developed through the basic tools of the designer, pen and paper, yet with a selection of digital models and foam studies. Evidently, many of the sketches on these pages are not just a concept of one idea, but instead a mix of the different ideas and thoughts, and how they all interact and create synergy with each other.

Obtaining the square creates a different space in the context Double height exposition area, creating internal views from different perspective

Initial explorations

Page 72

Double coloumn with cross beam

Structures can dictate form and facade

Acoustic can define form/volume or internal material and surfaces

The curvature of the site expressed in the floor plan The form is bound to the siteâ&#x20AC;&#x2122;s shape

Volume study + sketches

Shifting between open, semi-open and solid element

The form utilises the whole site

Exploring how to manifest the tripartitioned facade

The compact footprint increases the building height

Illu. 56.

Volume study + sketches

Page 73 Initial explorations

Connecting the functions by a hallway creates a uniform flow oriented around the center functions

EXPLORING THE ATMOSPHERE

Exploring the atmosphere

Acoustic and light parameters were explored in a spatial, material and human context with the notion of architectural atmosphere, inspired from Pallasmaaâ&#x20AC;&#x2122;s multisensory experience of Architecture.

absorbing

reflective

Surface finish affect the sound

Activation of the wall

Initial explorations

Page 74

The purpose of this workshop was to investigate how an intangible phenomenon could manifest into tangible architecture and the other way around. In addition, getting an insight into which atmospheres should be implemented in the different rooms, which will be further developed. The investigations were conducted as a combination of analogue sketches, parametric models and researching existing buildings and literature on the subject.

The workshop gave an insight to the initial definition of acoustic and light in an atmosphere in the different rooms by a linear definition going from absorbing to reflective for acoustic, and direct to diffuse for light. Furthermore, the atmospheric investigations resulted in initial conceptual ideas, where the light investigation had a direct connection with the external expression of the facade, while the acoustic studies gave a character to the interior surfaces and elements.

High frequence gets absorbed by min.

1 m wood panel depth Perforated plywood panel

Mid frequence gets absorbed by min. 2 m wood panel depth Low frequence gets absorbed by min. 3 m wood panel depth

Wooden planks with different width absorbs different frequencies

diffuse Exploring the atmosphere

direct

The rooflight creates a spotlight, wich travels through the day

Page 75 Initial explorations

Horizontal solar shading, which varies between the three parts of the facade

Creating a play in the light by placing horisontal shading in diagonal rooftop windows

Daylight as space defining

The natural light fades and can define the characteristics of an atmosphere

Illu. 57.

Light explorations

Connecting the function as open or clossed relations, can create different experiences

Composing a floorplan

The functions’ placement must be considered based on creating good logistic

By exploring the heights of the rooms and in that context the respectively functions, connections through visual relations can be created between functions

Initial explorations

Page 76

Illu. 58.

Café

Expo

Initial floorplans principles

COMPOSING A FLOORPLAN Different concepts and ideas were explored through sketching and volume studies. Based on these, floorplans was developed to get an idea of scale for further design development in relation to different scenarios: exposition area as the centre, workshop as the centre, the relations between the functions, and exposition area as the result of the other functions’ placement (negative space).

The volume sizes were based on the initial Unit program and reflects the needed functions in the building. The composition were expressed as floorplans, though some aspects were better represented as principle sections.

Of the exploration derived three aspects of which were essential in the further development of the floorplan; Relations, Logistics and Compactness. See Appendix 01.

Relations is expressed in the visual and physical relation between the functions and the orientation of them. In addition, the relations assess the guidelines represented in the Room program, essentially developing the transition between the functions, including the transition between the soft and hard functions. Following, Logistics explores the connections between the functions and thereby the placement of them. Lastly, the Compactness of the floorplans reduces the building footprint and, thereby, represents itself in a taller building volume.

NEARBY CONTEXT

NEARBY CONTEXT, PARTIAL VIEW TO SÖDERMALM WATER, VIEW TO SÖDERMALM

Spatiality

IMMEDIATE CONTEXT

Illu. 59.

Initial explorations

Page 77

Views from the site

SPATIALITY Based on the Room program, which defines the hard and soft functions, an initial exploration of the interior setting was composed taking point of departure in the Unit program and placed in the context of the site Kornhamnstorg. The composition would consequently give an insight in the relation between the functions and the context, which would be expressed in placement of the functions to support the flow in the context, orientation of views, and the microclimate in terms of light and acoustics.

By developing and modelling initial floorplans of the individual functions, the hard and soft functions were investigated individually in relation to the context. This helped giving a better understanding of the rooms and for validating their square meter noted, by explaining them not only in 2D floorplans, but also as 3D models. The spatiality was visualized through floorplans and interior views. Shown on following pages is two functions, respectively one hard and one soft. More can be seen in Appendix 02.

In addition, the different rooms within soft and hard functions were composed respectively to create a horizontal and vertical connection between them. The composition are shown on the following page. The focal points of this exploration were, among others, the orientation of the workshop areas, which mainly had been placed towards the south to create a relation to the context; the foyer oriented towards the east to catch the main flow; and the café placed to the south in a height of which a view towards Södermalm and the water would be emphasized.

In addition, an initial exploration was executed of the atmosphere in terms of utilizing the main material, wood, as interior cladding, adding to the characteristics of the atmosphere. Further, the placement and size of windows were also initially studied in relation to the site as seen before.

HARD FUNCTIONS

Hard functions

Illu. 61.

Assembly workshop

Illu. 62.

Assembly workshop, 1:250

Spatiality

Illu. 60.

Initial explorations

Page 78

10m

ASSEMBLY WORKSHOP Based on the earlier exploration of the floorplan, the assembly workshop is the meeting point for the other workshops, acting as the main space for the daily users. The definition of hard function manifests in a flexible working space, and as an extrovert room the tall windows creates visual connection to the outside, adding life to the context.

SOFT FUNCTIONS

Soft functions

Spatiality

Illu. 63.

Illu. 64.

Community lounge

Illu. 65.

Community lounge, 1:150

Initial explorations

Page 79

10m

COMMUNITY LOUNGE The community lounge is a place for the daily user to relax and socialize. It is an introvert room, which demand a more unformal atmosphere.

N

Quantitative approach towards the facade

A

B

C

D

E

F

G

H

I

Initial explorations

Page 80

Illu. 66.

Facade explorations

QUANTITATIVE APPROACH TOWARDS THE FACADE In relation to the interpretation of the tripartition of the context facade, an exploration of the Wood Workshopâ&#x20AC;&#x2122;s facades were executed to emphasize the division and characteristics of openness, orientation or direction and details.

The exploration was conducted as a quantitative workshop, where the three parts, base, middle and top, were individually developed as parametric models in Grasshopper, which made it possible to vary the parts, in relation to the characteristics and other inspirational aspects. The frames for the workshop were defined by the floor height, which depended on the part; base: four meters, middle: eight meters, and top: four meters. The workshop concluded in 65 combinations containing the base, middle and top.

The exploration gave an insight and highlighted the importance of the cohesion of the three parts, which exclusively could not be referred to as three individual parts, but three shares of a whole. This consideration kickstarted an exploration of the facade, which were to be articulated through a structure.

Sub-conclusion

SUB-CONCLUSION Based on the initial explorations, the Design Basis of that time were evaluated. The Room Program were adjusted in relation to the grouping of hard and soft functions. Whereas the Unit Program got detailed concerning light and acoustics, here of especially the colour of the light measured in Kelvin, and the reverberation time. Simultaneously, the division of square meters of the functions were given a more precise estimate and additional descriptions. Lastly, the initial design ambitions were reassessed and adapted to the newly acquired knowledge.

Initial explorations

Page 81

WORKSHOP: STRUCTURE TO FORM In this chapter, three ideas based on the earlier explorations, will be introduced and evaluated according to each other and to the earlier material. From this evaluation, a formation of all the material were made, where the most suitable elements were extracted and combined to one idea.

Workshop: structure to form

Page 82

07

TAKING POINT OF DEPARTURE IN STRUCTURES In continuation of the initial exploration and in the search of a concept, three different structural ideas were explored and developed to define the form and spatiality of the Wood Workshop. Following are the three presented. Extended material is shown in Appendix 03.

This idea takes its tectonic inspiration from the stave churches and Viking halls’ timber frame structure with the limited to no use of steel, adopting the ideas of two side nave and one main in the middle. The side naves would act as stabilizing cores, making the middle nave independent of structural elements. The structure would articulate the special dimensions and orientation and need for daylight, and thereby create a planar hierarchy.

FOLDED PLATES STRUCTURE

Illu. 67.

The three naves

The idea works with a simple base with only columns, a dynamic geometrical roof, and a middle consisting of elements connecting the base and the top. The base and the middle should only contain linear bearing elements, placed at the south and north facade, while the roof consists of solid plates like a folded timber plate structure. The roof’s structural properties make it possible to create larger spans and, thereby, connect the south and north facade. The idea will, further, explore the curvature of the site and follow this in the shape of the building.

Workshop: structure to form

Page 83

GRID The idea was based on a simple 7 x 7-meter grid consisting of wood elements, which influenced the layout in the matter of the placement of the main walls and, therefore, the functions’ relation. The design considerations were inspired of especially Nest We Grow, which are based on Asian architecture. In addition, the concept of the idea works with steps of the roofscape.

Taking point of departure in structures

THREE NAVES

Illu. 68.

Folded plates structure

Illu. 69.

Grid

SYSTEMISATION OF INITIAL IDEAS

Systemisation of initial ideas

The material of the different ideas was composed in relation to one another and aspects of these were highlighted in attempt to create a system. In the further process, the tripartition in the facade and the curvature of the floorplan were developed. In addition, the tripartition of the floorplan was caused by the naves in the structure continued, and lastly, the folded plate structure were further developed.

Workshop: structure to form

Page 84 The core consist of fire escape and other logistic functions, while also adding to the stability in a curved building form

The first thing to meet the eye is the stairs, enhancing the first impression, which also has the potential of becoming a part of the exhibition

The building form creates minor squares towards the south, maintaining the invitation for stay

Systemisation of initial ideas

The exposition area creates a connection between other functions

Workshop: structure to form

Page 85

Illu. 70.

Systemisation of initial ideas

A FORM

A form

Based on the development of the structural ideas and the earlier analysis on the context facades, the further unification of the structure was clear in relation to continue the tripartition. The structure would consist of a base column, being repeated along the facades, which would divide into a number of branches, connecting the base column and the roof structure. Further, the roof structure would explore the possibilities as a folded timber plate structure.

Workshop: structure to form

Page 86

The floorplan was bound to the limits of the columnâ&#x20AC;&#x2122;s placement, creating the three naves. On the ground floor walking along the building from the east, the foyer interrupts the flow emphasizing the entrance. From the foyer, a changing area connects the soft function to the hard functions of the assembly and machine workshop. In connection to the foyer, a round staircase leads to the auditorium and office, which were connected to the storage and evidently the laboratory. In addition, a larger staircase, which would be actively used in the exhibitions, leads to the first floor, where the exposition area continues to the library. The exposition area would continue on the second floor ending at the cafĂŠ, facing south.

The process called for further development of the column in relation to the design and other structural considerations.

In addition, the floorplans would be further optimized to the curvature and structure.

Illu. 71.

Groundfloor, 1:750

Illu. 72.

First floor, 1:750

Illu. 73.

Second floor, 1:750

N 10m

View facing North-East

A form

Illu. 74.

Workshop: structure to form

Page 87

Illu. 75.

Bird-eye view

Illu. 76.

Site plan, 1:1.000

N 50m

BUILDING DESIGN In this chapter, the building design from the previous chapter was developed further. This began with an initial adjustment of the structural system. Next, the column were developed according to the number of branches in the middle part, form of the base element, and placement of the whole column. In addition, further modifications of the floorplan were done, as well as an initial study in the facade expression regarding windows and panel direction.

Building design

Page 88

08

DEVELOPING THE STRUCTURE

Developing the structure

For the initial development of the structure, several steps towards achieving a stabile structure was made. These studies were conducted in Autodesk Robot where all had the same exploratory uniform deadload, wind load and snow load applied.

Illu. 77.

Structure concept

Illu. 78.

The column structure in relation to the building

Building design

Page 89

STEP 1 The original idea of the structure was a simple column with branches connecting a folded timber plate structure roof.

The column would be connected to the branches, which further would connect to the rigid roof, all with hinges. In a very simplified version, the rigid roof can be drawn as a single beam, connecting the column, which will be divided in two where the column and branches will be connected. Ultimately creating a simple frame.

Developing the structure

STEP 2

Building design

Page 90

The first step revealed the instability of the structural system. In this second step, two extra columns were therefore added - as seen in the Format chapter. These two would be straight columns without branches, going from the ground floor to the roof. In addition, these would be connected with hinges to the roof, where it is important to understand the roof as a super-beam.

STEP 3 A folded timber plate structure is able to span over long distances, without support. With inspiration in the vault, the roof can achieve a higher stability by being curved across.

This step studies the curving of the roof in a simplified version, where the roof beam will be modified towards achieving the curved shape, while still being rigid in its connections. Although, the curving did not reveal a higher stability, which led to the fourth iteration.

STEP 4 The branches have been viewed in one direction, as one vertical element connecting the column and the roof. Instead, as seen in the earlier process, more branches should be made to connect the column and the roof. In this step, the branches would be further investigated in 2-dimensions, as one will be connected vertical to the roof, and another will go diagonal away from the wall - making the roof move away from the initial structure. A simplified version was made and investigated in Robot, which revealed a high stiffness and stability.

STEP 5 The frame has now achieved a higher stability in 2D. In the next step the stability will be increased in a 3-dimensional structure. The frame will be repeated along a straight line, and each frame connected to each other through rigid jointed beams in the roof - working as the Folded Plate Structure.

Y

X

Deadload Snowload

Deadload

Deadload

Windload

Windload

Windload

Snowload

Deadload Snowload

Windload

Snowload

Z

Z

Z

Y

X Y

X

Y STEP 4 SIMPLIFICATION X

Z

Y

X

STEP 1

Displacement: 2,14 *1016 mm

Snowload

Deadload Snowload Deadload Snowload

Deadload

X

Y

Y

X Y

X

Z

Z

Y

STEP 2 X

Windload

Z

Z

X

X

X

Windload

Deadload

Windload

XY

X Y

Y

Y

X

Z

X

STEP 3

Displacement: 153 mm

Snowload

STEP 4

Snowload Snowload Deadload

Windload

Z

Windload

Windload Windload Z

Y

Displacement: 39 mm

Snowload Snowload Snowload Deadload Deadload Snowload Deadload Deadload

Z

Y

X Y

Displacement: 120 mm

Z

Page 91 Building design

Z

Windload Windload

Deadload

Windload Windload Windload Windload

Z Z

Developing the structure

Snowload

Deadload Snowload Snowload Deadload Deadload Snowload

Y

STEP 5

Displacement: 20 mm

Z Y

X

Y

Illu. 79.

Structure step 1-5

SITE

Site

Based on the existing qualities of Kornhamnstorg and the new development of Slussen across the road towards the south, the site would adapt to a new identity. The immediate context and square were developed to accommodate the premises of the building placement. The central placement of the building on the square created several smaller urban spaces, which would in the further process be developed with the focal point of continuing the existing qualities, though realising the recreational qualities of the development of Slussen.

Building design

Page 92

Illu. 80.

Site development

The square was expanded, following the addition of a parking basement under the site and removal of the parking lots around the site. By this, the context would be partly cleared of cars, creating a more favourable area for pedestrians and such. In addition, the square would continue across the road crossing the west facing corner, creating one square.

Snowload Deadload

A CURVED FRAME SYSTEM Windload

As shown before, the structure was displayed in 3D on a straight axis, step 5, which created a generic form. Based on the shape of the site, the frame system was modified to compliment the curve towards the south, and evidently support the main flow across the site.

By repeating the frame along a curve axis instead of a straight axis, it affects the stability of the system positively.

Thus, the structure obtained a lower displacement and a higher stiffness.

X

A curved frame system

Z Y

Y

Building design

Page 93

Snowload Deadload

Z X

Y

Windload

Y

Displacement: 10 mm Illu. 81.

Curved frame system

THE COLUMN BRANCHING OUT

The column

Initially the structure had a simple base column, which would branch out and join the folded timber plate structure roof. The branches would create a 2D grid system in relation to the structure, which would consequently be expressed in the facade. In continuance, the number of branches was considered in order to create a simple joint, and evidently attempt to avoid the need of other materials, such as steel, in the structure.

A column with three branches would fulfil the requirement listed before and would make the column transform from a two-dimensional structure to three-dimensional. The mid branch would in this case stretch away from the facade and obtain a higher stability for the structural system, seen in the simplified frame system earlier in step 4, on page 91, in Developing the Structure. In addition, the system of the roof appeared as it would be joint to the stretched branch, which would make every second timber plate extending further than the building footprint.

Building design

Page 94

Illu. 82.

Conceptual drawings of the number of branches

The column Building design

Page 95

Illu. 83.

Curved frame system

DEVELOPING THE BASE COLUMN In context to the development of the branches, the base column was further developed in order to create a hinge joint with the least amount of steel. By optimizing the joint as much as possible in relation to the amount of material utilized, the building would move towards the vision of a minimized CO2-footprint. Accordingly, a set of steps were taken for the purpose of exploring this aspect.

The column

STEP 1

Building design

Page 96

Taking point of departure in a squared cross section, where the branches would be connected on each side, the column would be solid and using a great amount of material. All elements would be connected in the same point, applying loads of â&#x20AC;&#x153;stressâ&#x20AC;? to that single point. In addition, due to the thickness of the base column, the connection to the branches was problematic.

STEP 2 In the second step, the column was divided into two elements, where the diagonal branch was placed between, though placed higher than the two other branches to connect separately. The amount of wood was reduced in comparison to the first step, while at the same time obtaining identical cross section dimensions.

STEP 3 The column would be divided into four parts, joint to one another to act as one column. All branches would be placed between the four parts, simplifying the construction while spreading tension from one joint to several. The mass of wood was further reduced to 1/3 of the original column.

Conclusively, the column would then fullfil the desired requirements for the further process.

The column

STEP 1

Building design

Page 97

STEP 2

STEP 3 Illu. 84.

Column step1-3

LAYOUT The floorplan was developed concurrently to the structure and strived to encourage the curvature of the structure. Taking point of departure in earlier explorations and developments, the orientation, placement and logistics of the floorplan was further developed. The floorplans can be seen in Appendix 04 for better detail.

Layout

As earlier concluded, the foyer would be placed facing east and catch the main flow by meeting the notch where the entrance would be placed. Inside, the foyer would be in open relation with a wardrobe and the bookshop, oriented towards north-east on the ground floor. Here it would be possible for guests to enter the exposition area on the first floor, and for the users of the workshop areas to directly enter the assembly area, facing south.

Building design

Page 98

On the first floor, the exposition area would stretch along the eastern and southern facade, creating a flow and different experiences. The library was placed west in continuation of the exposition area, emphasizing the connection between the two functions in relation to the knowledge and research concept, explained in earlier analysis, More than a Wood Workshop. In addition, the office was placed towards the north, entering from the exposition area. From assembly on the ground floor, a staircase would connect the community lounge and laboratory, both facing north.

For a better understanding of the rooms, exploratory atmospheric analyses were made for the assembly workshop and the auditorium. See Appendix 05. The purpose of the atmospheric analysis was to investigate the earlier stated atmospheric descriptions, translating a principal state to a measurable state, where the atmosphere would be based on numeric results, which would be influenced by the properties of the materials, form of the space, and usage. The simulation of the atmosphere consisted of an acoustic analysis, using the Pachyderm plugin for Rhino, defining the reverberation time and definition of frequencies. Furthermore, a lux simulation, made with DIVA4 plugin for Grasshopper, will measure the amount of lux for a specific day and time.

Consequently, the floorplan required further development in the later process in order to emphasize the curvature of the structure and adjust the technicalities of the shafts, ventilation system and fire escapes. Further, the floorplan revealed the feature of the placement of the column in relation to the building envelope, which called for further development.

The exposition area would continue all the way to the second floor, where it would connect to the cafĂŠ, facing west. In addition, the auditorium would be placed along the northern facade and be connected to the workshop areas by a goods elevator, creating good logistic relations.

Illu. 85.

Section A, scaleless

Illu. 86.

Section B, scaleless

A www.autodesk.com/revit Storage

122 m²

Bookshop

60 m²

Bookcase

Bookcase

Goods elevator

Wardrobe

Fire escape, stairs

Change

Robot

Tool wall

Assembly

Expo piece

UP

-

No.

Foyer + exposition

-

Description

Date

UP

Saw

134 m²

Consultant Address Address Phone Fax e-mail

B

-

Machine

Consultant Address Address Phone Fax e-mail

Elevator

34 m² -

Consultant Address Address Phone Fax e-mail

40 m²

CNC

B

Consultant Address Address Phone Fax e-mail

127 m² 186 m²

Drill

Workstation table

Expo pieces

Expo piece

Owner

Movable worktables

Project Name Unnamed Date

Issue Date

Drawn by

A102

Groundfloor, 1:500

1 : 100

Scale

O ice Workstation

www.autodesk.com/revit

42 m²

70 m²

Expo piece

Shelves storage

Spray room

DN

ounge ichenette

B

Consultant Address Address Phone Fax e-mail

Consultant Address Address Phone Fax e-mail

Consultant Address Address Phone Fax e-mail

UP

23 m²

DN

Study -

Fire escape, stairs

Consultant Address Address Phone Fax e-mail

Layout

ab

-

Author Checker

Checked by

10-05-2020 12:02:58

GROUNDFLOOR Illu. 87.

0001

Project number

Workspace

77 m²

22 m² Study

Depot

22 m²

10 m²

-

B

Expo piece

No.

Expo pieces

Expo pieces

Expo pieces

-

Description

Page 99

Date

Expo piece

Exposition ibrary

Building design

330 m² 82 m²

Expo piece

Expo piece

Owner Project Name Unnamed 0001

Project number

Illu. 88.

Issue Date

Drawn by

Author Checker

Checked by

A103

First floor, 1:500

1 : 100

Scale

10-05-2020 12:03:05

FIRST FLOOR

Date

www.autodesk.com/revit

Sta room

Consultant Address Address Phone Fax e-mail

Consultant Address Address Phone Fax e-mail

Consultant Address Address Phone Fax e-mail

Consultant Address Address Phone Fax e-mail

72 m² Auditorium

132 m² Fire escape, stairs

itchen Depot -

75 m²

-

Expo pieces

Cool room

Ca

-

B

23 m²

No.

DN

-

Description

Date

Expo piece

Exposition 135 m² 223 m²

Expo piece

Expo piece

Owner Project Name Unnamed 0001

Project number

SECOND FLOOR Illu. 89.

Second floor, 1:500

A

Date

Issue Date

Drawn by

Author Checker

Checked by

A104 Scale

1 : 100

N

10-05-2020 12:03:12

B

10m

PLACING THE COLUMN An assessment of the placement of the column in relation to the building envelope was carried out to explore the different possibilities. This allowed an insight to the consequences of the possibility of emerging thermal bridges, the treatment of the material and the visual expression in the facade. By that, three iterations were developed and were assessed to explore these aspects.

Placing the column

ITERATION 1

Building design

Page 100

The column was placed on the inside and, thereby, not exposed to the weather and wetting, giving it better durability without treating it. The structure was only explored on the inside of the building and never as a whole, as the floors divide it into three pieces. Thereby, the structural system was not as articulated and not as revealed in the total expression of the building.

ITERATION 2 The column was placed in the middle of the thermal envelope, having one side of it outside and another inside.

The placement would create problems regarding thermal bridges, as several elements must go through the thermal envelope to connect the column-pieces, particularly the diagonals. Further, the visual expression of the whole column would be destroyed, as the branches would be hidden in the wall and the base-elements divided into two parts.

ITERATION 3 The column was placed on the outside, exposing it to weather and wetting. In this case, the column as a whole was articulated and revealed its structural and loadbearing position in the building. In addition, it would make it possible to explore all elements and their connection with each other.

Iteration 3 was chosen for the placement of the column, as the column was clear in the articulation and created a positive impact on the total external expression of the building as a wooden construction.

ITERATION 2: BETWEEN Placing the column

ITERATION 1: INTERIOR

Building design

Page 101

ITERATION 3: EXTERIOR Illu. 90.

Placement iteration 1-3

FACADE In continuation of the exploration of the placement of the column, a study of the facade expressions was made. Initial explorations of the directions of facade cladding consisting of wood panels, were explored with the desire of supporting the articulation of the building shape. Simultaneously, the size and shape of the windows was developed in continuation of the articulation, and with the focus on obtaining the glass area equal to minimum 10% of the floor area.

Facade

A set of iterations were made in Rhino Grasshopper based on the northern and southern facade, which are the most

Building design

Page 102

ITERATION 8 Illu. 91.

Cladding direction iteration 8

ITERATION 6 Illu. 92.

Window iteration 6

expressive facades. See Appendix 06 for all iterations related to the direction, and Appendix 07 for window iterations.

The facade was developed based on iteration 8 of the cladding direction and iteration 6 of the window iterations, which in cohesion compliment and articulate the verticality of the structure and the building shape. Finally, further development of the facade expression in the later process must consider the material composition.

The initial development of the structure revealed the greatest stability happens in 3D and by following a curve (inspired by the site). Further, two extra columns were incorporated in the middle of the system, which created a division into three segments in the plan as well, which were studied according to the layout of the different functions.

To reduce the amount of steel in the joint between the elements, the base element was divided into four pieces where three branches were connected in different heights. To articulate the structural system of the building, the column was placed on the outside. This affected the development of the facades, which in its design further celebrate the verticality of the structure.

Sub-conclusion Page 103 Building design

SUB-CONCLUSION

EXTERIOR ELABORATION The external design of the building was elaborated, which included a structural simulation regarding obtaining a higher stability by including a secondary structure, using Karamba3D in Grasshopper. Further, the structural elements were dimensioned with a combination of a Robot Autodesk-analysis and hand-dimensioning. The composition of the facade regarding colour and windows was also studied.

Exterior elaboration

Page 104

09

The structural system was assessed in Grasshopper Karamba3D, where exploratory loads were applied. The assessment of the initial structure revealed a displacement of 2,83 cm, which were too much compared to the maximum displacement of 2,5 cm for the longest element in the structure.

A set of iterations were assessed in order to minimize the displacement. In addition, the iterations would be evaluated in relation to the amount of material in order to compare on several parameters; the initial structure had a mass of 215 m3.

150 mm 200 mm

200 mm

200 mm

Completing the structure with Grasshopper Karamba

COMPLETING THE STRUCTURE WITH GRASSHOPPER KARAMBA

500 mm

BASE COLUMN Illu. 93.

Element sections

Illu. 94.

Structure base point

BRANCHES

Illu. 95.

Initial analysis

FLOOR BEAMS

Exterior elaboration

400 mm

400 mm

500 mm

Page 105

Completing the structure with Grasshopper Karamba Exterior elaboration

Page 106

ITERATION 1 The first iteration presents an addition to the two rows of the column in the middle of the structure in form of a stiffener, which would stretch between the column and the roof. A set of variations, where the distance varies between the joint of the stiffener on the column and respectively the floor and roof. The simulations of the variations showed a small difference in relation to the displacement, though none were smaller than the starting point.

1a

1c

H1 (roof to branch) [m]

0,5

2,5

4,0

H2 (floor to branch) [m]

5,0

3,0

1,5

Simulated Displacement [cm]

2,8

2,8

2,8

Mass [ton]

98,1

99,2 100,2

Mass [m ]

223,0

225,4 227,7

3

ITERATION 2 Second iteration explored the effect of the addition of a crosspiece from the base column to the mid branch. Again several variations were simulated, where the distance varied between the top of the base column and the joints at respectively the base column and the mid branch. As in iteration 1, none of the variations met the requirements of the maximum displacement.

1b

2a

2b

2c

H1 (base column to joint) [m]

1,5

1,5

1,0

H2 (mid branch to base column) [m]

1,5

5,0

8,0

Simulated Displacement [cm]

2,8

2,8

2,8

Mass [ton]

95,2

95,8

96,4

Mass [m ]

216,3

3

217,8 219,3

ITERATION 3 For the third iteration, a secondary branch structure was explored, where the additional structure would be placed between the primary branches. Here, the variations would depend on the number of secondary branches. As seen, 3a and 3b met the requirements, yet in consideration of minimizing the amount of material utilized, 3a was the optimal choice regarding further developments.

3a Number of secondary branches

3b

3c

3d

2

3

5

10

Simulated Displacement [cm]

1,84

2,37

2,59

2,54

Mass [ton]

96,3

97,2

98,9 103,2

Mass [m3]

219,0

220,9 224,8 234,6

Completing the structure with Grasshopper Karamba

H2

H1

H2

ITERATION 1

Page 107 Exterior elaboration

H1

ITERATION 2

ITERATION 3

Illu. 96.

Structure iterations 1-3

ROBOT ASSESSMENT OF THE STRUCTURAL SYSTEM

Robot assessment of the structural system

The structure was assessed in Robot Structural Analysis to give an insight to how the forces and moment would act in the structure. For this, the deadload, consisting of the structure, roof, envelope and internal walls; the snowload; the windload, both on walls and roof; and the imposed loads were calculated, see Appendix 15.

The initial structural simulation was based on iteration 3a from the earlier Karamba simulation. The structure was defined with fixed supports in the exposed corners, while the rest were pinned with release of moment in the y-direction.

All elements were verified and a small verification-ratio for all revealed the possibility of making some adjustments. The output of the first two steps can be seen in Appendix 08.

STEP 1

The first step was to remove the smallest of the two secondary branches (added in the Karamba-simulations), as this was not necessary. The new simulation still revealed all elements to be verified and continued displaying a small ratio.

STEP 2 All supports were changed to pinned in order to get an insight to the consequences of this. Again, the simulation revealed all elements to be verified with a small verification-ratio.

STEP 3-5 To minimize the mass of the structural system, the most critical elements in the structure were identified based on the Robot Structural Analysis. A manual dimensioning for these, both for the base-column, the diagonal branch and the side branch, was conducted, where the results are noted in the scheme bellow. The final calculations can be seen in Appendix 16 whereas the final dimensions are illustrated at Illu. 97.

Exterior elaboration

Page 108

IterElement ation

W-section (mm)

H-section (mm)

N (kN)

My (kN*m)

Mz (kN*m)

Îťrel.y ratio

Îťrel.z ratio

kc.y

kc.z

Ratio (Stress-Strength)

500 (150)

500 (150)

297,58

229,49

-

0,451

-

0,981

-

0,439

Dia. branch

200

400

16,56

1,90

33,57

1,204

2,408

0,597

0,165

0,352 ; 0,552

Side branch

200

400

-55,96

11,99

28,88

1,144

2,288

0,646

0,183

0,404 ; 0,634

500 (150)

500 (150)

293,15

230,26

-

0,451

-

0,981

-

0,439

Dia. branch

200

350

16,14

0,07

33,08

1,376

2,408

0,477

0,165

0,390 ; 0,611

Side branch

200

350

-55,75

11,83

28,88

1,308

2,288

0,521

0,183

0,488 ; 0,732

500 (150)

500 (150)

291,24

241,96

-

0,451

-

0,981

-

0,561

Dia. branch

200

300

15,86

1,21

32,46

1,605

2,408

0,36

0,165

0,58 ; 0,876

Side branch

200

350

-55,81

11,67

28,88

1,308

2,288

0,521

0,183

0,595 ; 0,894

Base-part 3

Base-part 4

Base-part 5

Robot assessment of the structural system

IDENTIFIED CRITICAL ELEMENTS

FINAL DIMENSIONS OF THE COLUMN 150 mm 200 mm 200 mm

350 mm

500 mm

300 mm

200 mm

500 mm

BASE COLUMN

DIA BRANCHES

SIDE BRANCHES

Illu. 97.

Robot Structural Analysis

Exterior elaboration

Page 109

COMPOSING THE FACADES: THE SKIN AND BONE MATERIAL EXPLORATIONS

Composing the facades: the skin and bone

Following the full development of the structure, a material study was made regarding the colour, based on the different surface treatment of the wood elements. In context, both the roof and the facade would be covered with wooden boards, while the structure would be made of glulam timber.

Exterior elaboration

Page 110

To distinguish the load bearing elements from the non-bearing, the roof and the structure would have the same surface treatment and colour, while the facade another. Different nuances of brown were considered, as well as charred wood.

A set of iterations showed the composition of different colours as a result of different surface treatments. For all iterations see Appendix 09.

In consideration of the facade expression, the aspect of maintenance was included. The brown nuances require frequently treatments being every 3-8 year (Danske Boligarkitekter, n.d.), while the charred wood with a method called Shou Sugi Ban requires treatment every 10-15 year (Cooper, 2017). Based on this and the clear articulation of the load-bearing structure system, iteration 1 with light wood boards on the facade and the treatment of Shou Sugi Ban on the structural system was chosen as the final combination.

Composing the facades: the skin and bone

ITERATION 1

Exterior elaboration

Page 111

ITERATION 12

ITERATION 3

ITERATION 14

Illu. 98.

Material iterations

Composing the facades: the skin and bone

WINDOW EXPLORATIONS Simultaneously, and based on earlier explorations of the window area, different iterations were made towards supporting the articulation of the structure, the verticality of the building and create cohesion between all the facades. Earlier assumptions of the most expressive facades being the northern and southern facade continued and were illustrated in this context. In addition, the windows on the eastern and western facade aimed to continue the articulation of the verticality as narrow windows where the top of the frame would be parallel to the roof angle. For the northern and southern facade, iteration 2 were chosen as the final combination, articulating the structure and verticality of the building. See all iterations in Appendix 10.

Exterior elaboration

Page 112

ITERATION 1

ITERATION 2

ELEVATION, NORTH

ELEVATION, NORTH

ELEVATION, SOUTH

ELEVATION, SOUTH

Illu. 99.

Window iterations

For the facade expression, it was important to articulate the structural system, both regarding the colouring and the windows which also focused on its verticality. For the chosen treatment of the wood towards the colours of the load-bearing structure and the other elements, it was important to show a clear separation of these, while also incorporate thoughts regarding the treatment requirements.

Sub-conclusion

The structural simulations, both conducted in Karamba 3D and Robot Structural Analysis, revealed that an extra element connecting the top of the branches, would generate the necessary stability of the system. Further, it revealed that a small reduction in the dimensions of the elements could be made to reduce the mass.

Page 113 Exterior elaboration

SUB-CONCLUSION

INTERIOR ELABORATION The internal design of the building has been elaborated. Initially, the floorplan has been adapted based on the former atmospheric analyses of the layout. Next, the assembly and auditorium have been further detailed according to atmosphere through simulations regarding light and acoustic. For assembly, this has also included a study in solar shading for the southern facade. Further, an atmospheric detailing has been done for the exposition according to materials.

Interior elaboration

Page 114

10

ADJUSTING THE FLOORPLAN

UP UP UP

GROUND FLOOR Illu. 100.

Ground floor, 1:500

Adjusting the floorplan

Based on the process of the structure and the desire to articulate the tripartition, the floorplans were modified to accommodate the experience of the structural system. See Appendix 11 for more appropiate scale. This led to, among other things, that the assembly workshop was placed along the whole southern facade, where before it crossed the curved row of column stretching from east to west. The same adjustments were made to the exposition area and library on the first floor and the cafĂŠ on the second floor.

In addition, a fire escape staircase was implemented in the western part of the building, and more area were dedicated to the ventilation shaft in the core.

evel evel2 evel 22 2 2 2 11 ::1500 : 500 500

FIRST FLOOR

evel evel3 3 evel 3 3 3 3 11 ::1500 : 500 500

SECOND FLOOR

Illu. 101.

Illu. 102.

Interior elaboration

Page 115

First floor, 1:500

Second floor, 1:500

N 10m

Unnamed Unnamed

ASSEMBLY WORKSHOP

Assembly workshop

According to the adjusted floor plan, the assembly workshop was analysed in relation to the indoor climate of light and acoustics to obtain the desired atmosphere. In addition, the materiality of the different surfaces would be specified.

Interior elaboration

Page 116

A set of iterations was analysed in relation to the Daylight Autonomy (DLA) using Rhino Honeybee/Ladybug and the reverberation time in Rhino Pachyderm. The DLA were defined to be simulated in the time period 8-16 o’clock, which represents the primary working hours, though the Wood Workshop would exceed this time period. Since the window area would be a specified constant, the DLA would not show changes. The critical aspect was the reverberation time, which would have an impact on the definition of sound and thereby the intelligibility. Materials, which would have a high sound absorption coefficient within a range of 500-4000 Hz (DPA Microphones, 2020) , would be explored based on the characteristics of the clear communication. The simulations were based on scenarios with three groups consisting of five people: one speaker and four listeners. Equally for all simulations were these settings: Number of rays: 150000 Cut off time: 1500 Reflection order: 1 Method: Evans & Bazley (Indoor Attenuation) Air temperature: 20oC Relative humidity: 50%

Illu. 103.

Acoustic, assembly workshop

The iterations were simulated based on different surface materials (Ermann, 2015) (‘Light reflectance values (LVR’s)’, n.d.). Iteration 1 had pine boards on all primary surfaces, whereas iteration 2 had the same definition though with an addition of two times two meters Baux pulp acoustic panels on the walls. The third iteration would have pine boards on the floor and acoustic timber panelling on the walls and ceiling. The simulations can be seen in Appendix 12.

In consideration of which iteration fulfilled the requirements, iteration 3 created a cohesion between the functionality and aesthetics of the space, while reducing the reverberation time, increasing the definition of the sound and thereby increasing the intelligibility. The assembly workshop creates the frames for interaction and communication, and most important physical work. In continuation of this, the DLA calls for further explorations in relation to solar shading on the southern facade to prevent possible overheating.

Assembly workshop Source DLA 85.0< 82.5 80.0 77.5 75 72.5 70.0 67.5 65.0 62.5 <60.0

Illu. 104.

DLA, assembly workshop

Page 117 Interior elaboration

Reciever

ASSEMBLY WORKSHOP - SOLAR SHADING

Solar shading

The radiation analyses of different solar shadings were investigated based on the sun radiation from 8 to 16 oâ&#x20AC;&#x2122;clock during summer time, June, July and August. Striving towards minimizing the sun radiation to prevent overheating, a set of iterations were investigated and compared based on the efficiency and character, see Appendix 13. In addition, the iterations were evaluated based on the Daylight Autonomy, which were based on annual weather data during the primary work hours, 8 to 16 oâ&#x20AC;&#x2122;clock, and would give an insight to the percentages of the given time. The threshold for the analysis would be 300 lux or higher.

Iteration 3 fulfilled the requirements of the desired effect and expression. Showed in the table, iteration 3 had the highest radiation reduction and a relatively low reduction of the DLA. Further, it emphasized the relation between the inside and the context.

Interior elaboration

Page 118

Iteration 1: The window mullion was extended.

Iteration 2a: The exterior wooden boards of the facade continued down to the ground and were placed with a distance, which created an immediate limited view of the context.

Iteration 2b: Same as iteration 2a, but with another distance, which resulted in less limited view of the context.

Iteration 2c: Same as iteration 2a and 2b, but with particularly more distance between, which opens the facade, providing a better view and letting in more sun.

Iteration 3: Horizontal boards were fixed between the columns. It was efficient of screening for the high summer sun, while providing a wide view to the context. In addition, emphasizing the flow passing by.

Iteration 4: A horizontal wood panel extended from the facade, blocking the high summer sun. It would be supported by extra branches from the columns and would continue the open facade of the base point.

Base

1

2a

2b

2c

3

4

82,5

81,2

73

79,3

79,7

78,2

78,7

DLA, reduction [%]

-

1,6

11,5

3,9

3,4

5,2

4,6

Radiation [kWh/m2]

12.610

10.403

6.199

9.003

9.286

6.391

6.029

-

17,5

50,8

28,6

26,4

49,3

52,2

DLA, average [%]

Radiation, reduction [%]

Solar shading

ITERATION 3

Interior elaboration

Page 119

ITERATION 1

ITERATION 2A

ITERATION 4 Illu. 105.

Solar shading iterations

AUDITORIUM As for the assembly workshop, the auditorium was elaborated in relation to the atmosphere. The simulations were based on the same settings as the assembly workshop. A set of iterations was simulated, which explores the window placement and the atmospheric consequences. The simulation setup for the acoustic studies have been the same for both iterations.

Number of rays: 150000 Cut off time: 1500 Reflection order: 1

Auditorium

Method: Evans & Bazley (Indoor Attenuation) Air temperature: 20oC Relative humidity: 50%

Interior elaboration

Page 120

ITERATION 1 In iteration 1 the window was placed on the northern facade, which gave the room a dim and immersive atmosphere derived from the diffuse daylight. The combination of the orientation of the interior and the light rays from the window led the focus on the speaker, who would face the audience and the window.

The low reverberation creates an intimate atmosphere, while suiting the dimensions of the room. This results in a high definition of the frequencies, culminating in a closer connection between the speaker and audience.

Illu. 106.

Acoustic iteration 1, auditorium

Auditorium Reciever Source DLA 85.0< 76.5 68.0 59.5 51.0 42.5 34.0 25.5 17.0 8.5 <0.0

ITERATION 1 Illu. 107.

Auditorium iteration 1

Interior elaboration

Page 121

ITERATION 2

Auditorium

Iteration 2, equally, created a dim and immersive atmosphere, though with the window placed on the western facade. The length of the window created a larger light source, which manifested in the reach of the light, making the area of the audience more lit. The window impacted the reverberation time negatively compared to iteration 1, though still creating a high definition and fit the requirements of the atmosphere.

Based on the simulations, iteration 1 was chosen for the auditorium. Though the auditorium is an immersive space, the functionality of the space showed the natural light from the northern window was not sufficient. As a supplement to the dim light, artificial light was explored in context of this.

A set of iterations were explored in relation to the composition and cohesion of the space, see Appendix 14. Iteration 3, shown on the following page, strives to compliment the ceiling structure, and was therefore chosen.

Interior elaboration

Page 122

Illu. 108.

Acoustic iteration 2, auditorium

DLA 85.0< 76.5 68.0 59.5 51.0 42.5 34.0 25.5 17.0 8.5 <0.0

ITERATION 2

Auditorium iteration 2 Auditorium

Illu. 109.

Interior elaboration

Page 123

Illu. 110.

Auditorium artificial light, iteration 3

EXPOSITION AREA The exposition area was elaborated in relation to its characteristics of a reflective and immersive atmosphere. Different material combinations were composed and explored visually in the context of the space.

Exposition area

The ceiling, floor and walls would be represented as immediate anonymous surfaces cladded with broad pine planks in a repetitive pattern. This would be repeated on the floor though with lighter lye treatment and in a different pattern. The ceiling would be cladded with acoustic timber panels to reduce the reverberation time of the high frequencies, which were explored earlier.

Interior elaboration

Page 124

Illu. 111.

Possible compositions

In the considerations of the material combination, the idea of temporary surfaces was introduced. Shown below is possible material compositions of the exposition area, where the temporary surfaces would be incorporated into the exhibitions, acting as contrasts to the remaining surfaces. Further, it would compliment the exhibited pieces and thereby contribute to the atmosphere and the impression of the area, and evidently create an ambient atmosphere with neutral light surfaces with contrasting temporary walls.

The atmospheric simulations resulted in the assembly being one continuous and well lid room with 300 lux in the working area for 80-85% of the annual time within the primary working hours â&#x20AC;&#x201C; making it suited for working space. Adding horizontal solar shading halved the radiation during summer, while almost kept the same DLA and preserved the transparent connection with the context.

In the room, a low reverberation time has been obtained with acoustic panels on walls and roof.

The low reverberation time along with a high definition was also obtained in the auditorium with acoustic panels on the northern wall, creating an intimate and immersive atmosphere. A dim light from the north facadeâ&#x20AC;&#x2122;s window contributed to this atmosphere, while also directed the listeners towards the speaker.

Page 125 Interior elaboration

A clearer tripart in the floorplan was implemented, resulting in a more even flow and better orientation within the building. Further, an extra fire escape staircase was integrated and the ventilation shaft was given more space.

Sub-conclusion

SUB-CONCLUSION

PRESENTATION

The presentation of the project strives to emphasise the qualities and thoughts, which are the foundation of the Wood Workshop.

CONTENT

PROGRAM 04

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66 PROCESS

THE WOOD WORKSHOP Concept Site plan Arrival Elevations & sections Floorplans Perspective section Foyer Assembly workshop Detail: Column Community lounge Exposition area Auditorium Detail: Wall Detail: Joint Ceiling CafĂŠ

130 132 134 138 148 156 158 160 162 164 166 168 170 171 172 174

Conclusion 176 Reflection 177

Page 129

CONCEPT

With inspiration in the tripartition observed in the context, the concept regarding the shape of the Wood Workshop evolves. Starting with the facade being composited by the three elements, base, middle and top, the building reveals a hierarchy that is further detailed regarding three different structural systems being base-columns, mid-branches and a folded timber plate structure. While having their own structural properties and expression, the elementsâ&#x20AC;&#x2122; connection with each other creates a cohesion between them. The façade obtains a third dimension, as the structural system moves away from its base line, creating a higher stability and a dynamic yet systematic expression.

Concept

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Going from the three-dimensional facade to a three-dimensional building volume, different rooms are created with various atmospheres in which the community of the Wood Workshop will unfold. A second tripartition occurs, as two centre columns are integrated in the structural system and divides the plan into three wings. With another inspiration in the context, the curvature of the site is implemented in the shape of the building towards both improving the stability properties of the structure and emphasizing the flow on the site. A notch in the south-eastern corner emphasises the entrance of the building, while a notch in the north-western corner enables a better light in the centre of the building.

To articulate the influence of the structure and how it plays with traditional and contemporary wooden construction methods, the bone of the building (to recall Deplazeâ&#x20AC;&#x2122;s skinmeat-bone theory) are here placed on the exterior. Thus, the skin (the facades) only encloses the meat, being the internal rooms. Particular in the base, the skin will primarily be transparent to emphasise the connection between the interior and exterior and their individual dynamic environments.

Within the meat, different atmospheres have been developed to construct the frames for social interaction through crafts.

Concept

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At the southern part of Gamla Stan, at the old corn and iron trading square, Kornhamnstorg, the Wood Workshop is placed. Located in front of the elder stone buildings, which stand as a protecting wall, the building has a clear view to the water and to Sรถdermalm with the new urban project, Slussen. Its curved shape and location on the site accommodates the form of the site, along with the existing flow coming from several directions, while establishing the space for smaller urban spaces for both shorter and longer stay. The town square has been extended beyond 19,00its original boarders, to create a greater urban space for pedestrians in an almost car free zone. The cars have instead been moved underground in a new constructed parking basement.

18,00

15,50

15,90 12,40

16,10

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12,40

Master plan

16,00

14,50

40m

MASTER PLAN, 1:1.000

25,00

Page 133 Master plan

19,00

17,00

15,00

Walking from the southern part of Gamla Stan, or across the bridge from Sรถdermalm, one will instantly discover the Wood Workshop. Placed between the historic context, the timber construction catches the eye and stands as a symbol of the culmination of traditions and contemporary development. Its cantilevering facades and vivid roof create a dynamic expression, which is fragmented into a simple rhythm and tripartition in the understanding of it. The gleaming base with its light brown colours creates an inviting and warm atmosphere drawing people in.

Arrival

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Arrival

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South

The tripartition of the structural system is mostly articulated on the facades, as one experiences the branching from the simple base column to the folded timber plate structure roof. Enhancing the filigree qualities of the structure, the materiality of the building creates a light and transparent base with a dense middle part covered with light brown Spruce boards. The structure contrasts the façade with its darker colour due to the Shou Sugi Ban treatment. The windows on the second floor emphasise the structural properties of the column, while create a view in the cafÊ towards the water.

Elevation

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10m

SOUTH ELEVATION, 1:250

Elevation

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South

The longitudinal section articulates the rhythm created by the equal distanced columns and the roof structure in the length of the building. As the section cuts through the southern wing of the building, it also reveals how the three most public functions are placed above each other.

Section

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10m

SECTION A, 1:250

Section

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North

The north facade continues the qualities from the south facade, although appearing more closed, especially in the base. Based on the functions on the second floor, the windows are lower, yet beneath the roof scape to articulate the branches.

Like the south facade, the windows at the first floor enhance the verticality of the building while following the triangular shape of the wall.

Elevation

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10m

NORTH ELEVATION, 1:250

Elevation

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North

East

The entrance to the building is located to the east. At this facade, the centre columns of the structural system are revealed as one tall piece. Thereby, they do not mark the change between the base and middle, which instead is emphasised by the density of the faรงade. The base reveals transparent with bigger glass walls, while the middle is more enclosed with few vertical windows, which together with the columns articulate the verticality of the building.

Elevation

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10m

EAST ELEVATION, 1:250

Elevation

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East

The cross section articulates how the facade columns, with its base part and branches, together with the centre columns, support the folded timber plate roof. In the section, the dynamic roof obtains a simplicity as a rhythm are revealed in the position height of the plates. In addition, it reveals a stabile height on the ground- and first floor, while the heights on second floor are more diverse.

Section

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10m

SECTION B, 1:250

Section

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West

The west faรงade, like the east, also expresses the division between base and middle through the density. Further like the east facade, the verticality is articulated by the tall windows and the piece between the first and second floor, where the spruce boards are horizontal orientated.

Elevation

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10m

WEST ELEVATION, 1:250

Elevation

Page 147

West

15,50

C

Ground floor

B

8

15,90

3 12,40

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4

Floorplan

NER

5 7

2

1

6

A

16,10

A

B

BUS

UPP

C

10m

GROUND FLOOR, 1:250

16,00

1 2 3 4 5 6 7 8

Pre room Foyer Wardrobe Bookshop Changing room Assembly workshop Machine workshop Storage

Gross area

34 m2 76 m2 42 m2 77 m2 37 m2 169 m2 135 m2 119 m2 820 m2

Ground floor Page 149 Floorplan

The layout of the Wood Workshop accommodates the tripartition in plan of the structural system, by utilising the three wings which appear.

The ground floor consists of two areas; the public entrance to the east and the workshop areas to the west â&#x20AC;&#x201C; which have a visual connection to each other. Through a stock delivery in the storage, goods can be delivered and transported through a goods elevator to the upper floors. The elevator is placed in the core together with other relevant utilities, which is extended to all floors. See Appendix 18 for fire escape plans.

C B

First floor

13

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14

Floorplan

NER

9

11 12

A

10

A

B

BUS

UPP

C

10m

FIRST FLOOR, 1:250

9 10 11 12 13 14

Exposition area Library Community lounge Office Laboratory Spray room

Gross area

331 m2 82 m2 77 m2 32 m2 51 m2 21 m2 849 m2

First floor Page 151 Floorplan

On the first floor, the exposition area begins at the stair coming from the foyer and extends along the northern and southern wings. At the end of the southern wing, it evolves into a smaller library for both visitors and workshop users. Thus, the library acts as a transition to the second part of the workshop area, which is placed at the north-west corner and is connected to the workshop area on ground floor by a stair in the assembly workshop.

C

Second floor

B

16

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18

Floorplan

NER

15 19

A

A

17

B

BUS

UPP

C

10m

SECOND FLOOR, 1:250

15 16 17 18 19

Exposition area Auditorium CafĂŠ Break room Kitchen

Gross area

238 m2 73 m2 215 m2 41 m2 77 m2 902 m2

Second floor Page 153 Floorplan

The exposition continues on the second floor, where bigger items are possible to show due to the taller room and the gate to the east for transportation of exhibition pieces. The exposition area continues along the northern wing and ends at the auditorium, whereas the cafĂŠ is placed in the southern wing.

C

Parking

B

Floorplan

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A

A

C

B

65 lots

20m

PARKING BASEMENT, 1:500

Gross area Number of lots

2410 m2 65 pieces

Parking Page 155 Floorplan

As most parking spaces have been removed from the street, a parking basement has been constructed underneath the site. This will be used both by the workshop participants and visitors of the Wood Workshop, and by the surrounding restaurantsâ&#x20AC;&#x2122; owners, who used to park on the street. The parking basement will be constructed as an extension of the underground area of the old subway system.

Within the building, different daily activities happen which create specific atmospheres and environments in the rooms. Those are based among others on the materiality and spatiality of the rooms, which for each room varies according to function and volumetric height and depth. Specific on the second floor, the roof structure has a great influence on this.

Section

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10m

SECTION C, 1:200

Section

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FOYER

The foyer marks the first step on the journey into the universe of wood. People will be able to get information regarding the activities in the building, along with putting their overcoats in the wardrobe or buy a small souvenir in the bookshop. In the room, a big wooden stair is placed to guide the visitor further onto the journey, which with its openness through all floors also creates a sneak peek of the spectacular folded roof structure. The surfaces in the room are all covered with light coloured Pine boards to let the structure attract the attention.

Foyer

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Foyer

Page 159

ASSEMBLY WORKSHOP The essence of the Wood Workshop is articulated in the assembly workshop. Here, immigrants and natives work side by side on common projects and let their creativity unfold in an interrelated process. Therefore, the room acts as a peek into the life in the building and creates a connection to the external environment through the glass facade. To obtain a good working environment, horizontal solar shading has been incorporated to prevent overheating while maintain a high daylight quality.

In addition, the materiality of the room with acoustic panels on wall and ceiling enhances the working atmosphere by reducing the reverberation time in the room while fortifying the definition of the spoken word. Altogether, it creates the frames for interaction through crafts.

Assembly workshop

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Assembly workshop

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DETAIL: COLUMN The detail shows how the column and the glass in the base meets the foundation, which acts as an insulated flooring structure between the building and the parking basement.

Detail: Column

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DETAIL, 1:20

Detail: Column

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COMMUNITY LOUNGE The community lounge is part of the workshop, where participants can take a break while establishing relationships to each other in a relaxing and calmer environment. The light Pine panels and the interior with a bigger sofa area contribute to this atmosphere, together with smaller windows creating a dim light. This also reduces the exposed feeling as opposite to the assembly workshop, while still allow a view to the outside. The ceiling is covered with acoustic panels to obtain a good audible atmosphere, as the lounge functions as the place for breaks and smaller meetings.

Community lounge

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Community lounge

Page 165

EXPOSITION Being the space for reflection and immersion, the three exposition wings have been elaborated towards a calmer atmosphere. Each wing has been given a specific quality according to the exhibited items and the material on the temporary walls. The remaining fixed surfaces are presented as immediate anonymous with light Pine boards, to let exhibited items attract the attention. In addition, a few windows allow a smaller illumination of the room, while establishing a view to the outside when standing nearby. The ceiling is covered with acoustic panels to emphasise the ambient atmosphere, by reducing the reverberation time for the higher frequencies.

Exposition area

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Exposition area

Page 167

AUDITORIUM With its small volume, the auditorium obtains an intimate atmosphere. This is fortified by a dim light coming from the northern top window, which natural light rays also guide the viewer towards the speaker. Further, the northern window articulates how the roof is solely supported by the columns and its branches. When lectures or talks are held in the room about wood crafting-subjects, the speakerâ&#x20AC;&#x2122;s words are absorbed by acoustic panels at the northern wall to achieve a good audible atmosphere. The dynamic shape of the roof is articulated with linear luminous lamps to obtain a better light quality for the events, where it is needed.

Auditorium

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Auditorium

Page 169

The detail shows how the windows on the second floor and the diagonal branches meets the roof. In addition, it is also revealed how the drainage has been handled.

Detail: wall

Page 170

DETAIL, 1:20

The structural system of the Wood Workshop consists of three structures which are connected in a way to reduce the amount of steel. The joint connecting the base-column and the mid-branches have therefore been made as a hinge to avoid moment in the joint, which is fastened with a steel bolt. Calculations can be seen in Appendix 17.

Detail: joint

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DETAIL JOINTS

CEILING

In the Wood Workshop, the structural system is also a part of the exhibition. Especially on the second floor, the dynamic roof can be explored. The roof works as a folded timber plate structure, which obtain its structural properties due to the double curvature of the roof. The plates are connected with a fixed joint, inspired by a Japanese Nejiri Arigata joint, which are cut directly into the timber plates and, thereby, no glue or steel is needed (Robeller, 2017).

Ceiling

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Ceiling

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CAFÉ

In the café, a remarkable view towards Södermalm and the new Slussen appears. One can here explore the spatial articulation of the structure, as the whole floor follows the cantilevering effect to create smaller niches, in which one can have dinner or just simple enjoy the view. The café will be used both by visitors of the exposition area, people interested in a meal or drink, and by the workshop participants in connection with bigger common projects in the workshops.

Café

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Café

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Cantilevering facade

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Cantilevering facade

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CONCLUSION The Wood Workshop is situated in the centre of culture in Stockholm, Sweden, at Kornhamnstorg on the isle of Gamla Stan with the view of the New Slussen. Thereby, positioning itself in between the historic and modern Stockholm. An ideal position for expressing cultural heritage and innovation.

The project seeks to handle cultural issues by establishing a dialogue, communicating first and foremost Nordic cultural heritage through interaction by the universal language of crafts.

Thereby, it facilitates a community were immigrants gets an opportunity to interact and, furthermore, communicate their cultural heritage.

The combination of the building form and structure articulates a clear tripartition, which mirror the context. Further, the structure represents the notion of technĂŠ with its reinterpretation of the solid and filigree structural elements. Not only does it serve as the skeleton of the building, it represents both the traditional and innovative use of wood. Following in the folded plate structure of the roof and the columns, which with its complex geometry represent the tripartition in the facade, while creating niches within the building and providing three-dimensional stability.

Conclusion

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The community is supported by the multi-sensorial architectural experience. For instance, by creating a well lid and less reverberant space of the assembly workshop resulting in an ideal atmosphere for working with craft and a clear definition of sound. The atmospheres in general seek to accommodate the dynamic state for the building and its spatiality.

REFLECTION This project aims to enhance integration of immigrants into the Swedish society through crafting and sharing of intangible cultural knowledge. Multiple factors are significant for this goal to be met. Firstly, intangible cultural knowledge can be difficult to work with because of its immateriality. The project seeks to represent this in the structure by various structural systems, joints and treatment of materials. Furthermore, by creating a space for people to work together, each user has the opportunity to materialise their intangible knowledge. Hence, the workshop provides a space for immigrants to communicate their culture on equal terms with the Swedes. Lastly, the sense of community is important within the workshop to ensure a safe environment for sharing of knowledge.

COMMUNITY

The quantitative approach is helpful in comparing outputs, but demands the determination of some standards. Hence, it is obliged to interpret numbers into the sense of atmosphere in order to evaluate, whether the desired atmosphere have been achieved. For instance, choosing a certain material over another. During the process these standards has been the point of departure of the perception of atmosphere, while indoor climate usually follows certain given standards. The investigation of the desired sense of atmosphere could have been further studied by going on site studies to experience the atmosphere of different spaces, and with both engineering and architectural approach could result in a more thorough understanding and numeric establishment of atmospheric terms.

In this project, the primary factor has been the shaping of the construction. The skin, meat and bone theory has been influential in the investigation of the design factor of atmospheres, but the project differs from the theory in that the skeleton is the shape giving factor on the outside of the skin. Thus, it is articulated and visual, which creates an extrovert expression, not unlike the proud way an elk displays its antlers to the world.

Page 179 Reflection

The success of the social aspects within the project depends on the community feeling, which is developed amongst the immigrant and native users and visitors of the wood workshop. The project revolves around working with atmospheres, as a means of enhancing this sense of community, and in addition, to achieve an immersive and reflective atmosphere. Evidently, this was conducted in a quantitative approach to both describe a functional and abstract atmosphere. Working with the atmosphere has been useful due to the importance of daylight when working with crafts, and acoustics for clear communication. Generally, daylight is essential in Nordic countries, owing to the dynamic changes of light throughout the year.

The project strived towards integrating this dynamic into the architecture, though it could have been more articulated.

The project sought to create a solution to a social problem within society by establishing the settings for enhanced intercultural interaction and integration. However, as the project can only create the space, there is a need for fonds or support from the municipality to have the project running. With this support, the project could be just as successful as the case study of RĂĽt&Godt, where everyone involved gained from it economically. The language barrier could cause some resistance in the project, but if the users were met with the prospect of earning something from the project, this barrier could be overcome. Furthermore, the entrance fee to the exhibition would be an income to the building.

The building is positioned in between modern and traditional parts of the city, in a junction which secures an equal accessibility to the building for both immigrants and natives. The equal accessibility along with the historical surroundings create an optimal setting for sharing of intangible cultural knowledge.

DYNAMIC ARCHITECTURE

Reflection

Page 180

The project has sought to create a dynamic building which reacts to different weather conditions based on the theories of environmental tectonics, but further solutions could have been investigated. Such solutions count moveable solar shading, easily coverable windows, or surfaces on the facade which could be opened. Generally, buildings tend to shut off their surroundings instead of integrating it. The demand to meet the BR18 standards results in solid and isolated buildings that do not adapt to the weather conditions as humans do. Instead, the rooms must be homogenic with the same temperature and air density throughout the year. However, with the implementation of green energy, green electricity might as well be used to heat the buildings and reduce the resources spend on materials for the building envelope. Thereby, the indoor climate will be more dynamic, and the natural ventilation will improve. The project has only touched the surface in relation to thermal indoor climate by solar shading, but it is essential when working with daylight.

STRUCTURE

The complex shape of the building creates challenges, experienced in the connection of the elements and the curvature of the building. Although, the complex shape is a great way to challenge oneself, as it first of all challenges the premises of wood and create the foundation for exploring and developing new possibilities. In addition, it can encourage other to explore the properties of wood and use it as the primary material in buildings exploring the complexity or height. Working with the complex form has limited the time to detail all joints in the structure, and therefore the process has mainly revolved around the joint between the base-column and middle-branches. Likewise, the description of the folded timber plate structure is only principal and based on case studies. These aspects could have been further developed.

FACADE

In the process of choosing the windows of the facades, it could have been further investigated of how it could be integrated in the construction of prefabricated elements and aligned the shapes in order to make the prefabrication more efficient and prevent loss of materials. The structure and the facades could likewise be aligned. The external shape of the building has been the primary focus and thus, the internal rooms have been conditioned by the external shape.

PROCESS

The process of the project has mainly been digital as the group has been working apart as consequence of Covid-19. Therefore, communication was conducted on a digital platform, which followed the group to be in different atmospheres, creating a distance and less relatable empathy for e.g. acoustic and light interference, which could led to uncomfortable distractions.

This might have led to some more egocentric early design processes, which could have been better off by general design studies that could supplement one common design concept. It could be argued as a common phenomenon in group work, and the discussion is whether it is better or worse for the project, or does it just stimulate oneâ&#x20AC;&#x2122;s self-ego. Since these individual processâ&#x20AC;&#x2122;s intent is for the better of the project, does it contribute to the final concept, or were these investigations wasted? Either way, the situation may have enhanced this egocentric process in the beginning, until adjusted to the circumstances.

Regardless, these circumstances have increased the ability to plan the delegation of work in the arrangement of the whole process for a longer time span, which have resulted in efficient and undisturbed design sessions.

Page 181 Reflection

In addition, interaction only occurred through online meetings. Thereby, excluding the unformal small talks and dialogues that can lead to further idea development and exchange of thoughts on different topics, or generally establishing more empathetic thoughts of the individualsâ&#x20AC;&#x2122; ideas. As experienced from former projects, this project, given the separated work locations, had less of a creative team spirit. It accumulated in the feeling of a lesser shared situation, when only visual represented on a 2D digital surface with decreased quality and just as poor auditive circumstances.

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Hawkes, D. (2019). The environmental imagination of Peter Zumthor. In The Environmental Imagination: Technics and Poetics of the Architectural Environment (2nd ed.). Taylor & Francis. Retrieved from https://books.google.dk/books?id=M9W8DwAAQBAJ&pg=SA9-PA10&lpg=SA9-PA10&dq=acoustic+therme+vals&source=bl&ots=bOwHOfUUc9&sig=ACfU3U3cmkdDRDYwlJnuMwAF_N-C3wXChw&hl=da&sa=X&ved=2ahUKEwiJ-bf9_O_nAhUDGewKHR45CvIQ6AEwEHoECAkQAQ#v=onepage&q=acoustic therme vals& History of Sweden. (2016). Retrieved February 10, 2020, from https://sweden.se/society/history-of-sweden/ Knudstrup, M.-A. (2005). The Integrated Design Process (IDP) – a more holistic approach to sustainable architecture. Tokyo.

Kuma, K. (2018). Kengo Kuma provides a sensorial experience in the age of e-commerce. Retrieved April 25, 2020, from https://www.frameweb.com/news/kengo-kuma-valextra-milan Light reflectance values (LRV’s). (n.d.). Retrieved May 15, 2020, from http://www.leaderflushshapland.co.uk/Integrated-doorsets/Technical-Resources/Light-reflectance-values-PVC-laminates Liu, Y.-T. & Lim, C.-K., 2006. New tectonics: a preliminary framework involving classic and digital thinking. Design Studies, 27(3), pp.267–307. Within: Worre, H. I. (2015). Environmental Tectonics: Matter Based Architectural Computation. Aalborg Universitet. https://doi.org/10.5278/vbn.phd.engsci.00010

Reference list

Page 184

Mandrup, D. (2020). Among the six finalists for Anthony Timberlands Center for Design and Materials Innovation - an international beacon for sustainable wood design. Retrieved February 26, 2020, from https://www.dortemandrup.dk/news/ dorte-mandrup-among-six-finalists-new-anthony-timberlands-center-design-and-materials-0 Mathieu, R. (1987). The Prefabricated Housing Industries in the United States, Sweden and Japan. Construction Review, 33(4), 8–10.

Meier, E. (2020). The Wood Database. Retrieved from https://www.wood-database.com/wood-finder/ Microphones, D. (2016). FACTS ABOUT SPEECH INTELLIGIBILITY. Retrieved May 15, 2020, from https://www.dpamicrophones.com/mic-university/facts-about-speech-intelligibility Migrationsverket. (2020). Asylum - Monthly statistics January 2020. Retrieved February 27, 2020, from https://www.migrationsverket.se/English/About-the-Migration-Agency/Statistics/Asylum.html Nag, O. Sen. (2017). World Leaders In Wood Product Exports. Retrieved February 11, 2020, from https://www.worldatlas. com/articles/world-leaders-in-wood-product-exports.html Ohlin, G. (1955). Swedish Timber Exports 1850-1950. The Journal of Economic History, Cambridge, 69–70.

Pallasmaa, J. (2015). Arkitekturen og Sanserne (2. oplag). Arkitektens Forlag.

Pallasmaa, J. (2019). Multi-sensory design – building for all senses. Retrieved April 25, 2020, from https://www.re-publicspace. com/multi-sensory-design-building-for-all-senses/ Robeller, C., & Weinand, Y. (2017). Integral Joints for timber folded Plate Structure. In A. Menges, T. Schwinn, & O. D. Krieg (Eds.), Advancing Wood Architecture - A computational Approach (pp. 73–83). Routledge.

Roden, L. (2018). Why Sweden doesn’t keep stats on ethnicity and crime. Retrieved February 26, 2020, from https://www. thelocal.se/20180508/why-sweden-doesnt-keep-stats-on-ethnic-background-and-crime Sekler, E. F. (1965). Structure, Construction, Tectonics. In I. W. Foged & M. F. Hvejsel (Eds.), Reader - Tectonics in Architecture (1st editio, pp. 71–82). Aalborg: Aalborg Universitetsforlag.

Semper, G. (1989). The Four elements of Architecture. In I. W. Foged & M. F. Hvejsel (Eds.), Reader - Tectonics in Architecture (1st editit, pp. 21–46). Aalborg: Aalborg Universitetsforlag.

SHL. (2016). Acoustics and reverberation - Malmö Live in Malmö, Sweden by SHL – Schmidt Hammer Lassen. Retrieved February 26, 2020, from https://www.swedishwood.com/publications/wood-magazine/2016-2/acoustics-and-reverberation/ Skogstatistisk. (2016). Growing stock, forest land excluding alpine birch forests by Year. Retrieved February 11, 2020, from http://skogsstatistik.slu.se/sq/120bee45-0f05-44a8-99a9-6c9c0cae1ea1 Søgaard, K. (1979). Bogen om træ. (P. O. S. Jan Buchter, Ole Crumlin-Pedersen, Lasse Freiesleben, Jan Hjarnø, Jørn Jøkov, George Nellemann, Ed.). København: Lademann.

Statistics Sweden. (2019). Summary of Population Statistics 1960–2018. Retrieved February 12, 2020, from https://www.scb. se/en/finding-statistics/statistics-by-subject-area/population/population-composition/population-statistics/pong/tables-andgraphs/yearly-statistics--the-whole-country/summary-of-population-statistics/

Page 185

TBoake. (2018). Innovative Connections - Hinge and Pin Connections. Retrieved May 5, 2020, from https://www.tboake.com/ SSEF1/pin.shtml

Reference list

Statistics Sweden. (2018). Population by region, marital status, age and sex. Retrieved February 11, 2020, from http://www. statistikdatabasen.scb.se/pxweb/en/ssd/START__BE__BE0101__BE0101A/BefolkningNy

Unesco. (2011). What is Intangible Cultural Heritage? Retrieved February 11, 2020, from https://ich.unesco.org/en/what-is-intanible-heritage-00003 Utzon Center. (2019). Utzon Center. Retrieved February 12, 2020, from https://utzoncenter.dk/en Vallhonrat, C., 1988. Tectonics Considered: Between the Presence and the Absence of Artifice. Perspecta, 24(1988), pp.123– 135. Within: Worre, H. I. (2015). Environmental Tectonics: Matter Based Architectural Computation. Aalborg Universitet. https:// doi.org/10.5278/vbn.phd.engsci.00010 Viking Ship Museum. (2020). Viking Ship Museum in Roskilde. Retrieved February 12, 2020, from https://www.vikingeskibsmuseet.dk/en/ Wivel, H. (2013). Stockholm, Stockholm - Kunsten, arkitekturen, kvartererne og menneskene. Latvia: Gyldendal.

Worre, H. I. (2015). Environmental Tectonics: Matter Based Architectural Computation. Aalborg Universitet. https://doi. org/10.5278/vbn.phd.engsci.00010 Zumthor, P. (2009). The Therme Vals / Peter Zumthor. Retrieved February 25, 2020, from https://www.archdaily.com/13358/ the-therme-vals

ILLUSTRATION LIST All illustrations not mentioned below, are own illustrations.

Ill. 01: Stothard, T. (n.d.). A man clinging to a rock on the shore during a storm. Engraving by T. Medland, 1790, after T. Stothard. Retrieved February 22, 2020, from https://wellcomecollection.org/works/vvt48hku Ill. 05: Statistics Sweden. (2018b). Swedish and Foreign-born population by region, age and sex. Retrieved February 11, 2020, from http://www.statistikdatabasen.scb.se/pxweb/en/ssd/START__BE__BE0101__BE0101E/InrUtrFoddaRegAlKon/ Ill. 06: Statistics Sweden. (2018a). Population by region, marital status, age and sex. Retrieved February 11, 2020, from http:// www.statistikdatabasen.scb.se/pxweb/en/ssd/START__BE__BE0101__BE0101A/BefolkningNy Ill. 07: Statistics Sweden. (2017). Swedish and foreign-born population by region, age and sex. Retrieved February 11, 2020, from http://www.statistikdatabasen.scb.se/pxweb/en/ssd/START__BE__BE0101__BE0101E/InrUtrFoddaRegAlKon/ Ill. 08: Worldpopulationreview.com (2018). World Population Review. Stockholm Population 2020. Retrieved from http:// worldpopulationreview.com/world-cities/stockholm-population/ Ill. 12: Godsbanen. (2020). Godsbanen. Retrieved April 5, 2020, from https://www.visitaarhus.dk/aarhus/planlaeg/godsbanen-gdk836811

Illustration list

Page 186

Ill. 14: Utzon Center. (2020). Om Arkitektur er en leg. Retrieved February 12, 2020, from https://utzoncenter.dk/da/indhold/ om-arkitektur-er-en-leg-7201 Ill. 15: Viking Ship Museum. (2020). Viking Ship Museum in Roskilde. Retrieved February 12, 2020, from https://www.vikingeskibsmuseet.dk/en/ Ill. 19: Statistics Sweden. (2017). Swedish and foreign-born population by region, age and sex. Retrieved February 11, 2020, from http://www.statistikdatabasen.scb.se/pxweb/en/ssd/START__BE__BE0101__BE0101E/InrUtrFoddaRegAlKon/ Ill. 20: Worldpopulationreview.com (2018). World Population Review. Stockholm Population 2020. Retrieved from http:// worldpopulationreview.com/world-cities/stockholm-population/ Ill. 21: Statistics Sweden. (2018a). Population by region, marital status, age and sex. Retrieved February 11, 2020, from http:// www.statistikdatabasen.scb.se/pxweb/en/ssd/START__BE__BE0101__BE0101A/BefolkningNy Ill. 22: Statistics Sweden. (2018a). Population by region, marital status, age and sex. Retrieved February 11, 2020, from http:// www.statistikdatabasen.scb.se/pxweb/en/ssd/START__BE__BE0101__BE0101A/BefolkningNy Ill. 24: Nordregio. (2014). Towards Inclusion: Botkyrkaâ&#x20AC;&#x2122; Approach to Urban Social Issues. Retrieved February 11, 2020, from https://archive.nordregio.se/en/Metameny/Nordregio-News/2014/Poverty-and-Social-Exclusion/Towards-Inclusion-%0ABotkyrkas-Approach-to-Urban-Social-Issues/index.html Ill. 29: EnergyPlus. (2020). Retrieved February 24, 2020, from https://energyplus.net/ Ill. 30: Gaisma. (2020). Stockholm, Sweden - Sun path diagram. Retrieved February 24, 2020, from https://www.gaisma.com/ en/location/stockholm.html EnergyPlus. (2020). Retrieved February 24, 2020, from https://energyplus.net/

Ill. 33: Foster+Partner. (2008). New Slussen Masterplan. Retrieved February 26, 2020, from https://www.fosterandpartners. com/projects/new-slussen-masterplan/ Ill. 38+39: Meier, E. (2020). The Wood Database. Retrieved from https://www.wood-database.com/wood-finder/ Ill. 41: Mandrup, D. (2020). Among the six finalists for Anthony Timberlands Center for Design and Materials Innovation - an international beacon for sustainable wood design. Retrieved February 26, 2020, from https://www.dortemandrup.dk/news/ dorte-mandrup-among-six-finalists-new-anthony-timberlands-center-design-and-materials-0 Ill. 42: Robeller, C., & Weinand, Y. (2017). Integral Joints for timber folded Plate Structure. In A. Menges, T. Schwinn, & O. D. Krieg (Eds.), Advancing Wood Architecture - A computational Approach (pp. 73–83). Routledge.

Ill. 45: Foiret, C. (2011). Piet Hein Eek Laboratory & Workshop. Retrieved February 25, 2020, from https://trendland.com/ piet-hein-eek-laboratory-workshop/ Ill. 46: Hannah. (2018). Study Abroad Bucket List. Retrieved from http://www.ifwallscoulddream.com/2018/08/14/studyabroad-bucket-list/ Ill. 47: SigaDesign. (n.d.). Akustikvægge - AcuWood. Retrieved February 26, 2020, from https://sigadesign.dk/acuwood/akustikvaegge/

Ill. 49: SHL (2016). Acoustics and reverberation - Malmö Live in Malmö, Sweden by SHL – Schmidt Hammer Lassen. Retrieved February 26, 2020, from https://www.swedishwood.com/publications/wood-magazine/2016-2/acoustics-and-reverberation/ Ill. 50: Zumthor, P. (2009). The Therme Vals / Peter Zumthor. Retrieved February 25, 2020, from https://www.archdaily. com/13358/the-therme-vals Ill. 125: Chapel-in-the-hills.org. (n.d.). Stave Church Architecture & The Stave Churches of Norway. Retrieved May 5, 2020, from https://www.chapel-in-the-hills.org/architecture.html SagnlandetLejre. (2018). KONGEHAL GENSKABES - To sidste højsædestolper og sideremme rejses, 22.august 2018. Retrieved April 5, 2020, from https://www.youtube.com/watch?v=ioshBdba6GY&list=PLMOLiYsryN43a6TJeTPyIm2HNQtn9WLfE&index=17 Ill. 126: 22 ARCHITECTURE AND DESIGN OF TRAIN STATIONS IN THE WORLD. (2020). Retrieved April 10, 2020, from https://vintagetopia.co/2018/04/16/22-architecture-and-design-of-train-stations-in-the-world/ COFFEE & BLUEPRINTS. (2015). No Title. Retrieved April 5, 2020, from https://coffeeandblueprints.tumblr.com/ Flickr. (n.d.). Retrieved April 5, 2020, from https://www.flickr.com/photos/scottnorsworthy/3142512403/in/photostream/ Ill. 127: ArchDaily. (2015). Nest We Grow / Kengo Kuma & Associates + College of Environmental Design UC Berkeley. Retrieved February 16, 2020, from https://www.archdaily.com/592660/nest-we-grow-college-of-environmental-design-uc-berkeley-kengo-kuma-and-associates

Page 187 Illustration list

Ill. 48: Filippetti, J. (2012). resonant chamber origami architectural acoustic panels. Retrieved February 26, 2020, from https:// www.designboom.com/technology/rvtr-resonant-chamber-origami-architectural-acoustic-panels/

INTERACTION THROUGH CRAFT APPENDIX

Appendix 01 - Exploring the floorplan Appendix 02 - Spatiality Appendix 03 - The three ideas Appendix 04 - Floorplans Appendix 05 - Atmospheric analyses Appendix 06 - Facade cladding direction Appendix 07 - Window iterations, 10% Appendix 08 - Robot analysis output Appendix 09 - Material iterations Appendix 10 - Window iterations Appendix 11 - Adjusting the floorplan Appendix 12 - Atmospheric analysis, assembly Appendix 13 - Solar shading Appendix 14 - Artificial light exploration Appendix 15 - Load calculations and definition limit state Appendix 16 - Dimensioning most critical elements Appendix 17 - Verification of timber to timber joint with double shear plan and steel bolt 81 Appendix 18 - Fire escape plans

02 03 09 12 15 19 20 21 22 24 25 28 30 36 37 60 75

APPENDIX 01 - EXPLORING THE FLOORPLANS RELATIONS

Page 2

LOGISTIC COMPACTNESS

APPENDIX 02 - SPATIALITY SOFT FUNCTIONS

Page 3

Illu. 112.

Foyer, 1:200

Illu. 113.

Library, 1:200

FOYER

LIBRARY

The foyer is the first room you experience when entering the building. It is an extrovert room with a transparent connection with the context, which results in the big floor to ceiling windows.

The library is an immersive and reflective space. Both for the visitor and the daily user. It has an introvert atmosphere therefore the usage of smaller windows, which function is to let in light (and give a bit of view to the context.)

N 10m

Page 4

Illu. 114.

Café, 1:200

Illu. 115.

Bookshop, 1:200

CAFÉ

BOOKSHOP

The café is an extrovert room with high windows from floor to ceiling, letting in a lot of light while giving a wide view to the context.

The bookshop is an extrovert room that has a connection to the context creating a relation between the interior and the context. Giving the people outside a peek into what is happening inside.

N 10m

Page 5

Illu. 116.

Office, 1:200

Illu. 117.

Auditorium, 1:200

OFFICE

AUDITORIUM

The office is an introvert and functional room, where the administrative part of the activities in the building are managed.

The auditorium is an introvert and immersive room that focus on the speaker, resulting in no or limited windows with a limited view to the life outside.

N 10m

Page 6

Illu. 118.

Exposition area, 1:200

EXPOSITION AREA The exposition area is an introvert room that frames the exhibition.

The windows are placed high on the walls, creating limited views to the outside, though letting the light deeper into the room.

N 10m

HARD FUNCTIONS

Page 7

Illu. 119.

Machine workshop, 1:200

Illu. 120.

Laboratory, 1:200

MACHINE WORKSHOP

LABORATORY

The machine workshop is an extroverted room which with itâ&#x20AC;&#x2122;s high windows make the room very lit up and suitable for working space. Furthermore, it creates a visual connection for people passing by, giving an insight to the life in the buliding and, thereby, also adding life to the context with the transparent connection.

The labratory is an introvert and functional room focusing on detailed work, with its smaller window it let enough light in without implementing distracting views to the outside.

N 10m

Page 8

Illu. 121.

Kitchen, 1:200

Illu. 122.

Storage, 1:200

KITCHEN

STORAGE

The kitchen is an introvert and functional room, focusing on detailed work, with its smaller window it led ind enought light while not making a distracting view between inside and outside.

The storage is a functional space, which have relation to the outside by the visual connection, identifying the material for upcoming projects.

N 10m

APPENDIX 03 - THE THREE IDEAS THE THREE NAVES

STRUCTURE Page 9

630 m2 footprint

INSPIRATION

N

CONCEPTUAL FLOORPLAN, 1:500

Illu. 123.

Church based idea

10m

Illu. 124.

Traditional Nordic architecture

FOLDED PLATES STRUCURE

STRUCTURE

Page 10

INSPIRATION int otpr o f m 700 2

N

CONCEPTUAL FLOORPLAN, 1:500

Illu. 125.

Contemporary structure idea

10m

Illu. 126.

Braching architecture

THE GRID FORM

Page 11

STRUCTURE 7m

7m

560 m footprint 2

INSPIRATION

N

CONCEPTUAL FLOORPLAN, 1:500

Illu. 127.

Grid idea

10m

Illu. 128.

Nest We Grow, Kengo Kuma

APPENDIX 04 - FLOORPLANS

Storage

Con Add Add Pho Fax e-m

122 m²

Bookshop

60 m²

Con Add Add Pho Fax e-m

Bookcase

Bookcase

Goods elevator

Wardrobe

Fire escape, stairs

Change

Page 12

CNC

34 m²

40 m² Elevator

Robot

-

-

Tool wall

Assembly

Machine

UP

Expo piece

UP

Saw

134 m²

No.

Foyer + exposition

127 m² 186 m²

Drill

Workstation table

Expo pieces

Expo piece

Movable worktables

Project Date

Drawn b

Checke

Scale

GROUND FLOOR, 1:250 N 10m

O ice ab

Workstation

ww

42 m²

Consulta Address Address Phone Fax e-mail

70 m²

Spray room

DN

ounge

-

-

Fire escape, stairs

UP

23 m²

DN

Study ichenette

Consulta Address Address Phone Fax e-mail

Expo piece

Shelves storage

Workspace

77 m²

22 m² Study

Depot

22 m²

10 m²

Page 13

Expo piece

No. Expo pieces

Expo pieces

Expo pieces

Expo piece

Exposition ibrary 330 m² 82 m²

Expo piece

Expo piece

P

Project num Date Drawn by

Checked by

Scale

N FIRST FLOOR, 1:250 10m

ww

Consulta Address Address Phone Fax e-mail

Sta room

72 m²

Consulta Address Address Phone Fax e-mail

Auditorium

132 m² Fire escape, stairs

itchen

Page 14-

Depot 75 m² 23 m² Expo pieces

Cool room

Ca

No.

DN

Expo piece

Exposition 135 m² 223 m²

Expo piece

Expo piece

Pr

U

Project numb Date Drawn by Checked by

Scale

SECOND FLOOR, 1:250 N 10m

APPENDIX 05 - ATMOSPHERIC ANALYSES ACOUSTIC AUDITORIUM

First ray Second ray Third ray

ITERATION 1

ITERATION 2

Page 15

Fre q u e n c y (Hz)

Reverberation time (s)

Definition (%)

Fre q u e n c y (Hz)

Reverberation time (s)

Definition (%)

62.5

0,73

74,7

62.5

0,70

76

125

0,76

72,0

125

0,73

74

250

1,07

60,8

250

0,96

64

500

1,44

49,1

500

1,31

53

1000

1,79

37,6

1000

1,66

42

2000

1,89

36,6

2000

1,69

41

4000

1,88

34,8

4000

1,76

39

8000

1,73

39,7

8000

1,62

43

LIGTH AUDITORIUM

ACOUSTIC AUDITORIUM

First ray

>300 lux

Second ray

>200 lux

Third ray

ITERATION 3

ITERATION 1

Page 16

Fre q u e n c y (Hz)

Reverberation time (s)

Definition (%)

62.5

0,71

73

125

0,74

72

250

0,99

61

500

1,34

50

1000

1,68

40

2000

1,71

39

4000

1,78

36

8000

1,65

41

LIGTH AUDITORIUM

>300 lux >200 lux

ITERATION 2

ITERATION 3

Page 17

ACOUSTIC AND LIGHT ASSEMBLY WORKSHOP

First ray Second ray Third ray

Frequency Reverberation time Definition (Hz) (s) (%) Page 18

>300 lux >200 lux

62,5

1,09

85

125

1,09

85

250

1,59

80

500

1,83

75

1000

1,96

73

2000

2,04

72

4000

2,09

70

8000

1,94

73

APPENDIX 06 - FACADE CLADDING DIRECTION

ITERATION 1

ITERATION 2

Page 19

ITERATION 3

ITERATION 4

ITERATION 5

ITERATION 6

ITERATION 7

ITERATION 8

APPENDIX 07 - WINDOW ITERATIONS, 10%

ITERATION 1

ITERATION 2

ITERATION 3

ITERATION 4

ITERATION 5

ITERATION 6

ITERATION 7

ITERATION 8

Page 20

View - FX;FZ;MY; Cases: 6 (ULS_Wind)

odesk Robot Structural Analysis Professional 2019 hor: ress:

File: 0505_Structure Robot-iteration4.rtd Project: 0505_Structure Robot-iteration4_3D

APPENDIX 08 - ROBOT ASSESSMENT OUTPUT

w - FX;FZ;MY; Cases: 6 (ULS_Wind)

Autodesk Robot Structural Analysis Professional 2019 Author: Address:

odesk Robot Structural Analysis Professional 2019 View - FX;FZ;MY; Cases: 6 (ULS_Wind) hor: STARTING POINT ress:

File: 0505_Structure Robot-iteration4.rtd Project: 0505_Structure Robot-iteration4_3D

File: 0506_Structure Robot-iteration5.rtd Project: 0505_Structure Robot-iteration5

w - FX;FZ;MY; Cases: 6 (ULS_Wind) Page 21

Autodesk Robot Structural Analysis Professional 2019 Author: Address:

View - FX;FZ;MY; Cases: 6 (ULS_Wind)

ITERATION 1

ITERATION 2

File: 0506_Structure Robot-iteration5.rtd Project: 0505_Structure Robot-iteration5

APPENDIX 09 - MATERIAL COMBINATIONS

Page 22

ITERATION 1

ITERATION 2

ITERATION 3

ITERATION 4

ITERATION 5

ITERATION 6

ITERATION 7

ITERATION 8

ITERATION 9

ITERATION 10

ITERATION 11

ITERATION 12

ITERATION 13

ITERATION 14

ITERATION 15

ITERATION 16

Page 23

APPENDIX 10 - WINDOW ITERATIONS

Page 24

ITERATION 1, SOUTH

ITERATION 1, NORTH

ITERATION 2, SOUTH

ITERATION 2, NORTH

ITERATION 3, SOUTH

ITERATION 3, NORTH

ITERATION 4, SOUTH

ITERATION 4, NORTH

APPENDIX 11 - ADJUSTING THE FLOORPLAN

Page 25

UP

GROUND FLOOR, 1:250 N 10m

Page 26

N FIRST FLOOR, 1:250 10m

Page 27

SECOND FLOOR, 1:250 N 10m

Owner

Unnamed

APPENDIX 12 - ATMOSPHERIC ANALYSIS, ASSEMBLY

ITERATION 1

Page 28

ITERATION 2

Surface

Material

LRV

Wall

pine on studs

37

Glazing

Glass

-

Floor

pine on studs

Ceiling

pine on studs

LT

Surface

Material

LRV

Wall

pine on studs

37

Glazing

Glass

-

37

Floor

pine on studs

37

37

Ceiling

pine on studs

37

74

LT

74

ITERATION 3 Surface

Material

LRV

Wall

pine on studs

37

Glazing

Glass

-

Floor

pine on studs

37

Ceiling

pine on studs

37

LT

74

Page 29

APPENDIX 13 - SOLAR SHADING

ITERATION 1

Page 30

ITERATION 2A

Page 31

ITERATION 2B

Page 32

ITERATION 2C

Page 33

ITERATION 3

Page 34

ITERATION 4

Page 35

APPENDIX 14 - ARTIFICIAL LIGHT EXPLORATION, AUDITORIUM The chosen iteration 3 highlights the aesthetics of the ceiling caused by the folded plate structure. In addition, it underlined the orientation of the focal point of the speaker and the joints in the structure.

ITERATION 1

ITERATION 2

ITERATION 3

ITERATION 3.1

ITERATION 3.2

Page 36

APPENDIX 15 - LOAD CALCULATIONS AND DEFINITION OF LIMIT STATES 1 Dimensions

The whole building will be calculated for as one structural system. ts dimensions ha e been gi en.

The uilding

Page 37

Fig. 1.1 - Di ensions of the

h ≔4 m h

oof1 ≔ 1.

ilding

h ≔ . m m

h

oof2 ≔ 2

m

h

oof3 ≔ 4

m

l1 ≔ 31.2 m

l2 ≔ 39.4 m

l3 ≔ 4 .4 m

l ≔ 34.4 m

w1 ≔ 13.4 m

w2 ≔ 2 .9 m

w3 ≔ 20.8 m

w ≔ 13.2 m

r

1≔1

m

r

2≔2

m

r

3 ≔ 29

m

r

3≔1

m

he ol

n

h

ol

n≔

00 mm

w

ol

n≔

00 mm

a o nt

ol.row ≔

Fig. 1.2 - e tion of the ol

n

he diagonal ran hes Page 38

wdia.

ran h ≔ 200

mm

hdia.

ran h ≔ 300

mm

a o nt

ran h.row ≔ a

o nt

ol.row =

Fig. 1.3 - e tion of the ran h

o nt

ol.row ⋅ 2 = 14

Fig. 1.3 - e tion of the ran h

he side ran hes

wside.

ran h ≔ 200

hside.

ran h ≔ 3

a o nt

mm

0 mm

ran h.row ≔ a

he ea s

h

ea s ≔ 400

mm

w

ea s ≔ 200

mm

a o nt

ea .row ≔

Fig. 1. - e tion of the ea

2 Load Definition The Folded Plate Structure Roof and the columns will be affected by their own deadload, a windload, a snowload, the deadload from the floors-construction and internal walls, as well as the imposed load. The first step is to define these, for later to be used to define the limit states.

m g ≔ 9.82 ― 2 s

kg ρGL32h ≔ 440 ―― 3 m

2.1 Dead Load 2.1.1 Dead Load Roof The Roof will be built by the following layers, as shown at fig. 2.1. The dead load for each layer will be calculated.

Page 39

Spruce boards 20mm Laths with an air gap between 25x50mm 2times Roofing Felt layer 4mm Plywood Board 15mm Two times laths 200x50mm c/c 600mm w. insulation between Installation ceiling w. laths 50x50mm c/c 600mm w. insulation between CLT elements 100mm

Fig. 2.1 - Detaildrawing of the roof and its layers

Spruce oards

h 1 ≔ 20 mm g 1 ≔ ρGL32h ⋅ h 1 ⋅ g = 8 .41 ―― 2 m Laths 2 mm

0mm - cc 00mm with a air gap in between

wlaths ≔ 0 mm

hlaths ≔ 2 mm

2 ≔ 0.3

m

wlaths g 2 ≔ ρGL32h ⋅ hlaths ⋅ g ⋅ ――= 18.003 ―― 2 m 2 2 times 4mm layer Roofing felt

kg ρ F ≔ 10 0 ―― 3 m

h 3 ≔ 2 ⋅ 4 mm = 8 mm

g 3 ≔ ρ F ⋅ h 3 ⋅ g = 82.488 ―― 2 m Page 40

Plywood board

ρ

lywood oard ≔

g ≔ρ

kg 40 ―― 3 m

lywood oard ⋅ h

Two times laths 200mm

hlaths2 ≔ 400 mm ρro

wool ≔ 30

kg ―― 3 m

h ≔ 1 mm

⋅ g = 9. 42 ―― 2 m

0mm - cc 00mm with insulation in between

wlaths2 ≔ 0 mm

≔ 0. m

h ≔ 400 mm

⎛ wlaths2 g ≔ ⎜ρGL32h ⋅ ―― + ρro ⎜⎝

- wlaths2 ⎞ k ⎟ ⋅ h ⋅ g = 0.2 2 ―― ⋅ ―――― wool 2 ⎟⎠ m

Installation ceiling: Laths (50mm x 50mm - cc 600mm) with insulation in between

hlaths3 ≔ 50 mm

wlaths3 ≔ 50 mm

ccR7 ≔ 0.6 m

wlaths3 N gR6 ≔ ρGL32h ⋅ ―― ⋅ hlaths3 ⋅ g = 18.003 ―― 2 ccR7 m Pine board

kg ρplywoodboard = 540 ―― 3 m

hR7 ≔ 100 mm

N gR7 ≔ ρplywoodboard ⋅ hR7 ⋅ g = 530.28 ―― 2 m kN gR ≔ gR1 + gR2 + gR3 + gR4 + gR5 + gR6 + gR7 = 1.067 ―― 2 m hR ≔ hR1 + hlaths + hR3 + hR4 + hR5 + hlaths3 + hR7 = 0.618 m

Page 41

2.1.2

ead Load

all

he wall will be built b the ollowing la ers as shown at g. 2.2. he dead load or each la er will be calculated.

Load carrying columns 500x500mm 2 layer spruce boards, 20x200mm Horisontal laths 25x500mm c/c 600mm Vertical laths 25x500mm c/c 600mm Waterproof Plywood 20mm Insulation 300mm with laths 300x50mm Vapour barrier 0,15mm Insulation Wall w. laths 50x50mm c/c 600mm Plywood Board 20mm Vertical Pine Boards paneling 20x100mm

g 22

Page 42

ta ldraw g o th wall a d ts lay rs

2 la er s ruce boards

kg ―― d 3 m

ρ

14 ≔ 350

1 ≔ 2 ⋅ 20

g

1 ≔ ρ 14 ⋅ d 1 ⋅ g = 137.48

mm = 40 mm

N ―― 2 m

ori ontal laths (25mm x 50mm - cc 600mm) with an air ga in between

dlaths 1 ≔ 25 mm

hlaths 1 ≔ 50 mm

kg ρGL32h = 440 ―― 3 m g

hlaths 1 2 ≔ ρGL32h ⋅ dlaths 1 ⋅ g ⋅ ―― = cc

N .002 ―― 2 m

cc ≔ 0.6 m

ertical laths (25mm x 50mm - cc 600mm) with an air ga in between

dlaths 2 ≔ 25 mm

hlaths 2 ≔ 50 mm

cc ≔ 0.6 m

kg ρGL32h = 440 ―― 3 m g

hlaths 2 3 ≔ ρGL32h ⋅ dlaths 2 ⋅ g ⋅ ―― = cc

N .002 ―― 2 m

Pl wood board

kg ρplywoodboard = 540 ―― 3 m g

d

4 ≔ 20

4 ≔ ρplywoodboard ⋅ d 4 ⋅ g = 106.056

mm

N ―― 2 m

wo times laths (150mm x 50mm - cc 600mm) with insulation in between

dlaths 3 ≔ 300 mm

hlaths 3 ≔ 50 mm

kg ρGL32h = 440 ―― 3 m

ρroc

g

⎛ hlaths 3 ⎜ρGL32h ⋅ ―― + ρroc ≔ 5 cc ⎜⎝

wool ≔ 30

cc ≔ 0.6 m

kg ―― 3 m

d

5 ≔ 300

mm

⎛cc - hlaths 3⎞ ⎞ N ⎝ ⎠⎟ ⋅ ⋅ dlaths 3 ⋅ g = 18 .035 ―― ―――― wool 2 cc ⎟⎠ m

a our barrier

ρ g

a a ≔ 0.14

kg ―― 3 m

6≔ρ a a⋅g⋅d 6=0

d

6 ≔ 0.15

mm

N ―― 2 m

Installation wall: Laths (50mm x 50mm - cc 600mm) with insulation in between

dlaths 4 ≔ 50 mm g

hlaths 4 ≔ 50 mm

⎛

⎛

cc ≔ 0.6 m ⎞⎞

hlaths 4 ⎝cc - hlaths 4⎠ 7 ≔ ⎜ρGL32h ⋅ ―― + ρroc wool ⋅ ――――⎟ ⋅ dlaths 4 ⋅ g = 31.506 ⎜⎝

cc

cc

⎟⎠

N ―― 2 m

Page 43

Pl wood board

kg ρplywoodboard = 540 ―― 3 m g

d

≔ 20 mm

N ⋅ g = 106.056 ―― 2 m

≔ ρplywoodboard ⋅ d

Pine boards aneling (20x100 mm)

kg ρGL32h = 440 ―― 3 m g

≔ ρGL32h ⋅ d

d

≔ 20 mm

N ⋅ g = 86.416 ―― 2 m

Load carr ing columns (500mm x 500mm)

a o g

1

Page 44

tcol

drow ≔ 7

≔ ρGL32h ⋅ hcol

cccol

⎛

⎞

l3 - ⎝hcol ⋅ a o tcol drow⎠ s ≔ ――――――――――= 6.271 a o tcol drow

m

hcol kN ⋅ g ⋅ ―――= 0.172 ―― 2 cccol s m

Load carr ing branches (200mm x 400mm)

g

hcol ⋅ ⎛⎝hd a bra ch + hs d bra ch ⋅ 2⎞⎠ = 0.344 11 ≔ ρGL32h ⋅ g ⋅ ――― cccol s

g ≔g

1+g 2+g 3+g 4+g 5+g 6+g 7+g

+g

d ≔d

1 + dlaths 1 + dlaths 2 + d 4 + dlaths 3 + d 6 + dlaths 4 + d

+g

1

+d

kN ―― 2 m

+g

11 = 1.1

= 0.5 m

kN 1 ―― 2 m

2.1.3 Dead Load loors The oors inside the building will be built with the following layers as shown at fig. 2.3. The dead load for each layer will be calculated.

Floor beams 20mm Joists (176x45mm), Step damping pieces (12x90mm), soft bricks (12x90mm), c/c 600mm w. insulation 200mm Plywood Board 15mm Wood Panels Boards 20mm Load carrying beams 200x400mm Fig. 2.3

etaildrawing o the oor and its layers Page 45

loor boards

ρ

merican sh ≔ 540

gF1 ≔ ρ

kg ―― 3 m

hF1 ≔ 20 mm

merican sh ⋅ hF1 ⋅ g = 106.056

N ―― 2 m

Layer underneath oor beams with oists 176 45mm step damping pieces 12 90mm soft bricks 12 90mm all three in a distance of 600mm.

Inbetween these insulation in a height of 200mm is placed.

hjoists ≔ 176 mm

wjoists ≔ 45 mm

hstep ≔ 12 mm

wstep ≔ 90 mm

hbricks ≔ 12 mm

wbricks ≔ 90 mm

hinsulation ≔ 24 mm

ccF2 ≔ 600 mm

⎛ wjoists wstep ⎞ N ⎟ ⋅ ρC14 ⋅ g = 57.742 ―― gF2.C14 ≔ ⎜hjoists ⋅ ――+ ⎛⎝hstep + hbricks⎞⎠ ⋅ ―― 2 ccF2 ccF2 ⎟⎠ ⎜⎝ m

ccF2 - wstep N gF2.insulation ≔ hinsulation ⋅ ―――― ⋅ ρrockwool ⋅ g = 6.01 ―― 2 ccF2 m N gF2 ≔ gF2.C14 + gF2.insulation = 63.751 ―― 2 m Plywood board

kg ρplywoodboard = 540 ―― 3 m

hF3 ≔ 15 mm

N gF3 ≔ ρplywoodboard ⋅ hF3 ⋅ g = 79.542 ―― 2 m Wood panels boards

kg ρWoodpanels ≔ 500 ―― 3 m

hF4 ≔ 20 mm

N gF4 ≔ ρWoodpanels ⋅ hF4 ⋅ g = 98.2 ―― 2 m Page 46

Load carrying beams

hbeams = 400 mm

wbeams = 200 mm

ccbeams ≔ cccolumns = 6.271 m

wbeams kN = 0.055 ―― gF5 ≔ ρGL32h ⋅ hbeams ⋅ g ⋅ ――― 2 ccbeams m kN gF ≔ ⎛⎝gF1 + gF2 + gF3 + gF4 + gF5⎞⎠ ⋅ 2 = 0.805 ―― 2 m hF ≔ hF1 + hjoists + hstep + hbricks + hF3 + hF4 = 0.255 m

2.1.4 Dead Load Internal Walls The internal walls is built up like seen on fig. 2.4. The deadload of the different layers would be calculated..

dint.W ≔ 2 ⋅ 20 mm = 40 mm kg ρC24 ≔ 420 ―― 3 m

Internal Walls first oor

⎛ 2 ⎞ lint.W.1st ≔ 33.6 m + 18.2 m + 8.8 m ⋅ 8 + 10.2 m ⋅ ⎜3 + ―⋅ 2⎟ = 166.4 m 3 ⎠ ⎝ hint.W.1st ≔ 4 m - hF = 3.745 m lint.W.1st ⋅ hint.W.1st ⋅ ρC24 ⋅ dint.W ⋅ g N g nt1 ≔ ―――――――――― = 122.595 ―― 2 2 838.6 m m Internal Walls second oor

lint.W.2nd ≔ 33.6 m + 25 m + 8.8 m ⋅ 7.3 + 6.4 m ⋅ 6 = 161.24 m h oo 1 + h oo 2 + h oo 3 hint.W.2nd ≔ 2.5 m + ――――――― =5 m 3 lint.W.2nd ⋅ hint.W.2nd ⋅ ρC24 ⋅ dint.W ⋅ g N g nt2 ≔ ――――――――――= 158.602 ―― 2 2 838.6 m m N g nt ≔ g nt1 + g nt2 = 281.197 ―― 2 m

Page 47

2.2 Imposed Loads s the building is occupied both as a office landscape regarding the people working in the building on a daily basis and as a cultural building regarding being a museum where people freely can mo e around the imposed load must be defined based on category ffice and 3 useum urocode 1.1 2 page 21 22 table .1 .2 . The di ision between them depends on the area of each.

kN ≔ 2.5 ―― 2 m ≔ 435 m

mp ≔

2

⋅ ―― + 1.2

C3 ≔ 4.0

kN ―― 2 m

C3 ≔ 1120

C3 = 3.58 C3 ⋅ ―― 1.2

m

2

kN ―― 2 m

1.2 ≔

+

C3 = 1555

m

2

2.3 now Load The structure will be affected by a snowload which can be calculated by the formula

s ＝ i ⋅ Ce ⋅ Ct ⋅ s

urocode 1.3 2

page 1

ormula 5.1

The e posure factor is set to

Ce ≔ 1.2

urocode 1.3 2 page 2 table 5.1

The thermal factor is set to

Ct ≔ 1.0

urocode 1.3 2 page 2 point

The characteristic terrain alue depends on the area which in this pro ect is weden. This is therefore defined by the following calculation

k sk ＝ 0.790 ⋅ + 0.375 + ―― ―― 336 m 2

Page 48

Where

is the one number gi en as

≔2

Where

is the site altitude abo e ea Le el

≔ 17

⎞ kN ⎛ kN s ≔ ⎜0.790 ⋅ + 0.375 + ―― = 2.006 ―― ⎟ ⋅ ―― 2 2 336 ⎠ m ⎝ m The shape factor depends on the shape of the roof. The roof is a olded Timber Plate tructure and therefore simplified in the calculations to a ulti span oof. The shape factor will be defined as the smallest alue of the following three definitions.

1＝2

2 ⋅ b3 2 ＝ ――― ls1 + ls2

h ― s

h≔h

oo 1 = 1.5

m

b2 ≔ 4 m 1≔2

3＝5

b1 ≔ 3 m

ls1 ≔ b1 = 3 m

ls2 ≔ b2 = 4 m

b3 ≔ ls1 + ls2 ⋅ 2 = 11 m

h = 1.496 ――― 3 s ⋅m ――― kN

2 ⋅ b3 = 3.143 2 ≔ ――― ls1 + ls2

Therefore the shape factor can be set to The snowload can now be defined as

≔

i ⋅ Ce ⋅ Ct ⋅ s

urocode 1.3 2

kN = 3.6 ―― 2 m

i≔

1 = 1.496

3≔5

page 34

2.4 Wind Load The building will be affected by a wind load both on its roof and on the facades. This is calculated by defining the pressure on the roof and on the walls, with the formula:

qw ＝ qp ⋅ cpe

(Eurocode 1.4, 2007, page 24, formula 5.1)

2.4.1 The peak velocity pressure The peak velocity pressure will be the first element to define:

1 qp ＝ ⎛⎝1 + 7 ⋅ Iv⎞⎠ ⋅ ―⋅ ρluft ⋅ vm 2 2

(Eurocode 1.4, 2007, page 22, formula 4.8)

The first step toward this is to calculate the mean wind velocity:

vm ⎛⎝z⎞⎠ ＝ cr ⎛⎝z⎞⎠ ⋅ c0 ⎛⎝z⎞⎠ ⋅ vb

(Eurocode 1.4, 2007, page 19, formula 4.3)

With the following formula, the basic wind velocity will be calculated:

vb ＝ cdir ⋅ cseason ⋅ vb.0

(Eurocode 1.4, 2007, page 18, formula 4.1)

The fundamental value of the basic wind speed:

m vb.0 ≔ 25 ― s

The directional factor:

cdir ≔ 1.0

As the building is set to be used the whole year, the seasonal factor is set to:

cseason ≔ 1.0

Giving the basic wind velocity:

(GeoZone Tool, 2013)

m vb ≔ cdir ⋅ cseason ⋅ vb.0 = 25 ― s

Based on the definitions from Eurocode 1 - Actions on structures - part 1.4: General actions - Wind loads, 2007, page 20, table 4.1, the building is located in the Terrain category IV. As it is higher than zmin , the terrain roughness factor is given by the formula:

⎛z⎞ cr ⎛⎝z⎞⎠ ＝ kr ⋅ ln ⎜―⎟ ⎜⎝ z0 ⎟⎠

(Eurocode 1.4, 2007, page 19, formula 4.4)

Page 49

The minimum height for category :

(Eurocode 1.4, 2007, page 20, table 4.1)

zmin ≔ 10 m

and the roughness length:

z0 ≔ 1.0 m

The roughness length for terrain category :

z0.II ≔ 0.05 m

The height of the building is given at:

z≔

+

+

oof3 = 14.5

m

⎛ z0 ⎞ 0.07 ⎜ ⎟ = 0.2 4 kr ≔ 0.1 ⋅ ―― ⎜⎝ z0.II ⎟⎠ (Eurocode 1.4, 2007,

Terrain factor is calculated to:

page 20, formula 4.5)

⎛z⎞ cr ≔ kr ⋅ ln ⎜―⎟ = 0. 27 ⎜⎝ z0 ⎟⎠

Giving the terrain roughness factor:

c0 ≔ 1.0

The orography factor is set to: Page 50

The mean wind velocity can now be defined as:

m ― s

vm ≔ cr ⋅ c0 ⋅ vb = 15.

The ne t step is to calculate the Turbulence ntensity Iv ⎛⎝z⎞⎠ at height . This is done by dividing the standard deviation of the turbulence with the mean wind velocity.

kI v Iv ⎛⎝z⎞⎠ ＝ ――＝ ――――― ⎛z⎞ vm ⎛⎝z⎞⎠ c0 ⎛⎝z⎞⎠ ⋅ ln ⎜―⎟ ⎜⎝ z0 ⎟⎠ The recommended value of the turbulence factor is set to:

(Eurocode 1.4, 2007, page 22, formula 4.7)

kI ≔ 1.0

The other elements are given earlier as:

c0 = 1

z = 14.5 m

z0 = 1 m

The turbulence intensity can now be calculated to:

kI Iv ≔ ―――― = 0. 74 ⎛z⎞ c0 ⋅ ln ⎜―⎟ ⎜⎝ z0 ⎟⎠

The air density is given at:

ρair ≔ 1.25 ―― m inally, the peak velocity can be calculated as:

1 qp ≔ ⎛⎝1 + 7 ⋅ Iv⎞⎠ ⋅ ―⋅ ρair ⋅ vm 2 = 0.555 ―― 2 2 m

2.4.2

efining the wind load on roof and walls

n the e ternal surfaces, roof and walls, a wind pressure is acting which is now being defined.

According to the shape of the building, pressure coefficients for the roof and walls will be found.

The shape of the roof is defined as a folded timber plate structure, and can be simplified to a multispan roof. Two scenarios will then be investigated.

Page 51

c

d

ig. 2.4 - T e two scenarios for t e roof - inspired b (Eurocode 1.4, 2007, page 49, gure 7.10)

onfiguration c will be for the wind coming from the south, while configuration d will be for the wind coming from east. Both scenarios will be calculated for, whereas the one giving the biggest wind load will be used in the further dimensioning. The roof has an angle of 22 . The area of the 2

roof will be higher than 10 m , therefore the cpe.10 values will be used. cenario c, the first cpe is from the monopitch roof, while the rest are from the duopitch roof.

cpe for monopitch roof will be calculated for the wind direction ＝ 0 , see fig. 1.2.5. As an angle of 22 is not possible, the value will be taken as the midvalue between the values for angle 15 and 0 . This will give following e ternal pressure coefficients, as two cases would be presented, one with all positive and one with all negative (Eurocode 1.4, 2007, page 42, Table 7.3a).

Page 52

cpe.

ig. 2.5 e for monopitc roof, wit a wind direction of 7.7)

-0. + -0.5

.mono.1 ≔ ――――= -0.7

2

-0. + -0.5 cpe.G.mono.1 ≔ ――――= -0. 5 2 cpe.

-0. + -0.2

.mono.1 ≔ ――――= -0.25

2

＝0

cpe.

(Eurocode 1.4, 2007, page 41, gure

0.2 + 0.7

.mono.2 ≔ ―――= 0.45

2

0.2 + 0.7 cpe.G.mono.2 ≔ ―――= 0.45 2 cpe.

0.2 + 0.4

.mono.2 ≔ ―――= 0.

2

The greatest value for the negative and the positive cpe will be:

cpe.mono.neg ≔ cpe.

.mono.1 = -0.7

cpe.mono.pos ≔ cpe.G.mono.2 = 0.45

n the upwind and downwind side of the roof, this value would be used, whereas for the downwind side it will be multiplied with 0, .

cpe.mono.neg.0. ≔ cpe.mono.neg ⋅ 0. = -0.42

cpe.mono.pos.0. ≔ cpe.mono.pos ⋅ 0. = 0.27

The cpe for the duopitch roof will

be for the wind direction θ ＝ 90 ° , see fig. 1.2.7. Again, the values will be defined as the midvalue between the cpe for 15 ° and 30 ° and both for a negative and positive case (Eurocode 1.4, 2007, page 45, Table 7.4a).

-0.9 + -0.5 cpe.F.duo.1 ≔ ――――= -0.7 2 0.2 + 0.7 cpe.F.duo.2 ≔ ―――= 0.45 2

Fig. 2.6 Key for duopitch roof, with a wind direction of θ ＝ 0 ° (Eurocode 1.4, 2007, page 44, figure 7.8)

-0.8 + -0.5 cpe.G.duo.1 ≔ ――――= -0.65 2

0.2 + 0.7 cpe.G.duo.2 ≔ ―――= 0.45 2

-0.3 + -0.2 cpe.H.duo.1 ≔ ――――= -0.25 2

0.2 + 0.4 cpe.H.duo.2 ≔ ―――= 0.3 2

-0.4 + -0.4 cpe.I.duo.1 ≔ ――――= -0.4 2

0.0 + 0.0 cpe.I.duo.2 ≔ ―――= 0 2

-1.0 + -0.5 cpe.J.duo.1 ≔ ――――= -0.75 2

0.0 + 0.0 cpe.J.duo.2 ≔ ―――= 0 2

Here the greatest value for the negative and the positive cpe will be:

cpe.duo.neg ≔ cpe.J.duo.1 = -0.75

cpe.duo.pos ≔ cpe.G.duo.2 = 0.45

For the parts in the middle, furthest away from the wind, will be multiplied with 0,6.

cpe.duo.neg.0.6 ≔ cpe.duo.neg ⋅ 0.6 = -0.45

cpe.duo.pos.0.6 ≔ cpe.duo.pos ⋅ 0.6 = 0.27

Situation d, will use the same duopitch cpe -values. Here the values will both be multiplied with 0,8 and 0,6, depending on how far away the areas are from the wind.

cpe.duo.neg.0.8 ≔ cpe.duo.neg ⋅ 0.8 = -0.6

cpe.duo.pos.0.8 ≔ cpe.duo.pos ⋅ 0.8 = 0.36

cpe.duo.neg.0.6 = -0.45

cpe.duo.pos.0.6 = 0.27

Page 53

To define the windload on the roof, all values will be considered based on the division of areas on the roof.

Fig. 2.7 rea di ision for scenario c (Inspired

by Eurocode 1.4, 2007, page 4 , figure 7.10)

cpe.c.neg ≔ cpe.

Fig. 2.8 rea di ision for scenario d (Inspired

by Eurocode 1.4, 2007, page 4 , figure 7.10)

ono.neg ⋅ 0.3 + cpe.duo.neg ⋅ 0.2 + cpe.duo.neg.0.6 ⋅ 0.2 + cpe. ono.neg.0.6 ⋅ 0.3

cpe.c.neg = -0.576 Page 54

cpe.c.pos ≔ cpe.

ono.pos ⋅ 0.3 + cpe.duo.pos ⋅ 0.2 + cpe.duo.pos.0.6 ⋅ 0.2 + cpe. ono.pos.0.6 ⋅ 0.3

cpe.c.pos = 0.36 1 1.5 6.5 cpe.d.neg ≔ cpe.duo.neg ⋅ ―+ cpe.duo.neg.0.8 ⋅ ―― + cpe.duo.neg.0.6 ⋅ ―― 9 9 9 cpe.d.neg = -0.508 1 1.5 6.5 cpe.d.pos ≔ cpe.duo.pos ⋅ ―+ cpe.duo.pos.0.8 ⋅ ―― + cpe.duo.pos.0.6 ⋅ ―― 9 9 9 cpe.d.pos = 0.305 These values will be used to calculate the windload, acting on the roof, respectively for the negative and the positive case. r.neg ≔

p ⋅ cpe.c.neg +

p ⋅ cpe.d.neg = -0.602

r.pos ≔

p ⋅ cpe.c.pos +

p ⋅ cpe.d.pos = 0.369

kN ―― 2 m

kN ―― 2 m

e t the windload on the walls will be defined. The walls are defined as vertical elements on a rectangular ground base simplified according to the shape of the building . n the calculations, both the wind from east and south will be calculated for and defined in the robot model. First the wind from east will be found, with first defining the e- and d-values.

d is determined as the length of the building.

dE ≔ l = 47.4 m

Fig. 2. Key for ertical walls (Inspired by Eurocode 1.4, 2007, page 6, figure 7.5)

The e-value is the smallest value of either the crosswind dimension here the width of the building or 2 h biggest height of the building .

e1E ≔ w2 = 26.9 m

h≔h +h +h

oof

e2E ≔ 2 ⋅ h = 29 m Page 55

As seen, the width is the smallest of the two values. e t, the relationship between the height and d will be found.

h ―= 0.306 dE As the value is bigger than 0,25 but smaller than 1, the cpe -values will be defined as the midvalue between the two cases.

cpe.

0.7 + 0.8

.E ≔ ―――= 0.75

2

-0.3 + -0.5 cpe.E.E ≔ ――――= -0.4 2

Having.......

w. .E ≔

p ⋅ cpe. .E = 0.416

kN ―― 2 m

w.E.E ≔

p ⋅ cpe.E.E = -0.222

kN ―― 2 m

ow the windload from south will be determined. Again the d and e, values are found to determine the relationship between them and the height. d is determined as the length of the building.

d ≔ l = 47.4 m The e-value is the smallest value of either the crosswind dimension here the width of the building or 2 h biggest height of the building .

e1 ≔ l = 47.4 m h≔h +h +h Fig. 2.10 Key for ertical walls(Inspired by Eurocode 1.4, 2007b, page 6, figure 7.5)

oof

e2 ≔ 2 ⋅ h = 29 m As seen, the height is the smallest of the two values.

e t, the relationship between the height and d will be found.

Page 56

h ―= 0.306 d As the relation between h and is bigger than 0,25 but smaller than 1, the value for areas are again the midvalue.

cpe.

.

0.7 + 0.8 ≔ ―――= 0.75 2

-0.3 + -0.5 cpe.E. ≔ ――――= -0.4 2

iving the loads: w. .

≔

p ⋅ cpe. .

kN = 0.416 ―― 2 m

w.E.

≔

p ⋅ cpe.E.

kN = -0.222 ―― 2 m

The total windload on the walls is then calculated to: w.

≔

w. .

+

w. .E = 0.832

kN ―― 2 m

w.E ≔

w.E.

+

w.E.E = -0.444

kN ―― 2 m

and

-

eďŹ nition of imit States o verify the dimensions of the columns and the other elements in the structural system of the Wood Workshop, the t o limit states must be deďŹ ned.

.1 ltimate imit State he ultimate state

S

S

ill be deďŹ ned based on the formula Eurocode 1. ormula .1

â&#x2C6;&#x2018; đ?&#x203A;žđ?&#x203A;žđ??şđ??ş.đ?&#x2018;&#x2014;đ?&#x2018;&#x2014; â&#x2C6;&#x2122; đ??şđ??şđ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;.đ?&#x2018;&#x2014;đ?&#x2018;&#x2014; " + "đ?&#x203A;žđ?&#x203A;žđ?&#x2018;?đ?&#x2018;? â&#x2C6;&#x2122; đ?&#x2018;&#x192;đ?&#x2018;&#x192;" + "đ?&#x203A;žđ?&#x203A;žđ?&#x2018;&#x201E;đ?&#x2018;&#x201E;.1 â&#x2C6;&#x2122; đ?&#x2018;&#x201E;đ?&#x2018;&#x201E;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;.1 " + â&#x2C6;&#x2018; đ?&#x203A;žđ?&#x203A;žđ?&#x2018;&#x201E;đ?&#x2018;&#x201E;.đ?&#x2018;&#x2013;đ?&#x2018;&#x2013; â&#x2C6;&#x2122; đ?&#x153;&#x201C;đ?&#x153;&#x201C;0.đ?&#x2018;&#x2013;đ?&#x2018;&#x2013; â&#x2C6;&#x2122; đ?&#x2018;&#x201E;đ?&#x2018;&#x201E;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;.đ?&#x2018;&#x2013;đ?&#x2018;&#x2013; đ?&#x2018;&#x2014;đ?&#x2018;&#x2014;â&#x2030;¤1

đ?&#x2018;&#x2013;đ?&#x2018;&#x2013;>1

When deďŹ nining the S, it ill be deďŹ ned based on a dominant â&#x2C6;&#x2018;his đ?&#x203A;žđ?&#x203A;žđ??şđ??ş.đ?&#x2018;&#x2014;đ?&#x2018;&#x2014; ill â&#x2C6;&#x2122; đ??şđ??şbe " + "đ?&#x203A;žđ?&#x203A;žđ?&#x2018;?đ?&#x2018;? ith â&#x2C6;&#x2122; đ?&#x2018;&#x192;đ?&#x2018;&#x192;"the + follo "đ?&#x203A;žđ?&#x203A;žđ?&#x2018;&#x201E;đ?&#x2018;&#x201E;.1 â&#x2C6;&#x2122;ing đ?&#x2018;&#x201E;đ?&#x2018;&#x201E;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;.1 " imposed load. formula đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;.đ?&#x2018;&#x2014;đ?&#x2018;&#x2014; done

ind load, sno

1

page

load or

đ?&#x2018;&#x2014;đ?&#x2018;&#x2014;â&#x2030;¤1 d.

.M ďź? F

â&#x2039;&#x2026;

â&#x2039;&#x2026;

k. .sup +

.1 â&#x2039;&#x2026;

k.1 â&#x2039;&#x2026;

F

+

.i â&#x2039;&#x2026;

.i â&#x2039;&#x2026;

k.i â&#x2039;&#x2026;

F

he loads have been calculated to k. .sup.

â&#x2C6;&#x2018; đ??şđ??şđ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;.đ?&#x2018;&#x2014;đ?&#x2018;&#x2014; " + "đ?&#x2018;&#x192;đ?&#x2018;&#x192;" + "đ?&#x2018;&#x201E;đ?&#x2018;&#x201E;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;.1 " + â&#x2C6;&#x2018; đ?&#x153;&#x201C;đ?&#x153;&#x201C;0.đ?&#x2018;&#x2013;đ?&#x2018;&#x2013; â&#x2C6;&#x2122; đ?&#x2018;&#x201E;đ?&#x2018;&#x201E;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;.đ?&#x2018;&#x2013;đ?&#x2018;&#x2013; đ?&#x2018;&#x2014;đ?&#x2018;&#x2014;â&#x2030;¤1 đ?&#x2018;&#x2013;đ?&#x2018;&#x2013;>1kN â&#x2030;&#x201D; g + gW + gF + g nt = . â&#x20AC;&#x2022;â&#x20AC;&#x2022; 2 m

k.1.s â&#x2030;&#x201D;

k.1.

â&#x2030;&#x201D;

k.1.im â&#x2030;&#x201D;

S=

kN . â&#x20AC;&#x2022;â&#x20AC;&#x2022; 2 m

r.pos +

mp =

.

.

he load combination

k.i.s â&#x2030;&#x201D;

kN = 1.2 1 â&#x20AC;&#x2022;â&#x20AC;&#x2022; 2 m kN â&#x20AC;&#x2022;â&#x20AC;&#x2022; 2 m

k.i.

â&#x2030;&#x201D;

k.i.im â&#x2030;&#x201D;

kN . â&#x20AC;&#x2022;â&#x20AC;&#x2022; 2 m

S=

r.pos +

mp =

.

.

-factors for the variable loads are given

Sno load at dominating imposed load

ind load or

Wind load at dominating sno imposed load

.

.i.S.W â&#x2030;&#x201D;

load or

mposed load at dominating sno ind load

.i.W â&#x2030;&#x201D;

or .i. mp â&#x2030;&#x201D;

Page 57

. .

kN = 1.2 1 â&#x20AC;&#x2022;â&#x20AC;&#x2022; 2 m kN â&#x20AC;&#x2022;â&#x20AC;&#x2022; 2 m Eurocode 1.

1 page 1 ta le 1.1 .i.S.

â&#x2030;&#x201D; .

he design values of actions are given .sup ≔ 1.

.in

≔ 1.

.1 ≔ 1.

.i ≔ 1.

Eurocode 1 ta le 1.

As the building is characteri ed as Conse uence class , the F

F

page

-value is defined as

≔ 1.

he S is no defined for the different cases, first here the dead load is avourable and ne t here the different loads ill be avourable. ead load avourable d.

.

≔

k. .sup.

⋅

F

⋅

.sup =

kN . 1 ―― 2 m

ominating Wind oad

Page 58

⎛

d.

.M.W ≔ ⎝

d.

.M.W =

⋅

k. .sup.

.in

+

k.1.

⋅

.1 +

k.i.s ⋅

.i ⋅

.i.S.W +

k.i.im ⋅

.i ⋅

⎞

.i. mp⎠ ⋅

kN ―― 2 m

.

ominating Sno

oad

⎛

d.

.M.S ≔ ⎝

d.

.M.S = 12.

k. .sup.

⋅

.in

+

k.1.s ⋅

.1 +

⋅

.i ⋅

.i.W +

k.i.s ⋅

.i ⋅

.i.S.

k.i.

⎞

k.i.im ⋅

.i ⋅

.i. mp⎠ ⋅

⋅

.i ⋅

.i.W⎠ ⋅

F

kN ―― 2 m

ominating mposed oad d.

.M.

≔ ⎛⎝

d.

.M.

=1 .

k. .sup.

⋅

.in

kN ―― 2 m

+

k.1.im ⋅

.1 +

+

k.i.

⎞

F

F

â&#x2C6;&#x2018; đ?&#x203A;žđ?&#x203A;žđ??şđ??ş.đ?&#x2018;&#x2014;đ?&#x2018;&#x2014; â&#x2C6;&#x2122; đ??şđ??şđ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;.đ?&#x2018;&#x2014;đ?&#x2018;&#x2014; " +imit "đ?&#x203A;žđ?&#x203A;žđ?&#x2018;?đ?&#x2018;? â&#x2C6;&#x2122;State đ?&#x2018;&#x192;đ?&#x2018;&#x192;" + "đ?&#x203A;žđ?&#x203A;žSđ?&#x2018;&#x201E;đ?&#x2018;&#x201E;.1Sâ&#x2C6;&#x2122; đ?&#x2018;&#x201E;đ?&#x2018;&#x201E;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;.1 " .2 Serviceability đ?&#x2018;&#x2014;đ?&#x2018;&#x2014;â&#x2030;¤1

he serviceability state S S

ill be deďŹ ned based on the formula Eurocode 1. ormula .1

â&#x2C6;&#x2018; đ??şđ??şđ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;.đ?&#x2018;&#x2014;đ?&#x2018;&#x2014; " + "đ?&#x2018;&#x192;đ?&#x2018;&#x192;" + "đ?&#x2018;&#x201E;đ?&#x2018;&#x201E;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;.1 " + â&#x2C6;&#x2018; đ?&#x153;&#x201C;đ?&#x153;&#x201C;0.đ?&#x2018;&#x2013;đ?&#x2018;&#x2013; â&#x2C6;&#x2122; đ?&#x2018;&#x201E;đ?&#x2018;&#x201E;đ?&#x2018;&#x2DC;đ?&#x2018;&#x2DC;.đ?&#x2018;&#x2013;đ?&#x2018;&#x2013; đ?&#x2018;&#x2014;đ?&#x2018;&#x2014;â&#x2030;¤1

đ?&#x2018;&#x2013;đ?&#x2018;&#x2013;>1

1

page

he S S ill ďŹ rst only be given for the long lasting loads the dead load , and then only temporary loads ith the three temporary loads as dominant in each case.

ith

nly long lasting loads

p

erm â&#x2030;&#x201D;

k. .sup.

= .

kN â&#x20AC;&#x2022;â&#x20AC;&#x2022; 2 m

ominating Wind oad

p

.W â&#x2030;&#x201D;

k.1.

+

ominating Sno

p

.S â&#x2030;&#x201D;

k.1.s +

k.i.s â&#x2039;&#x2026;

.i.S.W +

k.i.im â&#x2039;&#x2026;

.

kN â&#x20AC;&#x2022;â&#x20AC;&#x2022; 2 m

.1

kN â&#x20AC;&#x2022;â&#x20AC;&#x2022; 2 m

.i. mp =

oad k.i.

â&#x2039;&#x2026;

.i.W +

k.i.im â&#x2039;&#x2026;

.i. mp =

ominating mposed oad

p

. mâ&#x2030;&#x201D;

Both the

k.1.im +

S and S S

k.i.s â&#x2039;&#x2026;

.i.S.W +

k.i.

â&#x2039;&#x2026;

.i.W =

.

kN 1 â&#x20AC;&#x2022;â&#x20AC;&#x2022; 2 m

ere used in the calculations in Autodesk Robot Structural Analysis.

Page 59

APPENDIX 16 - DIMENSIONING OF MOST CRITICAL ELEMENTS 1 Most Critical Elements

Based on the structural simulation of the Wood Workshop structure in Autodesk Robot Structural Analysis, the most critical elements have been detected, seen on ďŹ g. 2.1.

Autodesk Robot Structural Analysis Professional 2019 Author: Address:

Symbol

Value

Unit

File: 0506_Structure Robot-iteration7.rtd Project: 0506_Structure Robot-iteration7

Symbol description

MEMBER: 97

; COORDINATE: x = 0.00 L = 0.00 m

Cross-section properties: Facade Columns

Page 60

Ax mm2 Cross-section area 150000 Ay mm2 Shear area - Y-axis 100000 Az mm2 Shear area - Z-axis 100000 Ix mm4 Torsional constant 912309146 Iy mm4 Moment of inertia of a section about the Y-axis 3125000000 Iz mm4 4875000000 Moment of inertia of a section about the Z-axis Wy mm3 12500000 Elastic section modulus about the Y-axis Wz mm3 19500000 Elastic section modulus about the Z-axis ht mm Fig.Height 500 of cross-section 1.1 Most critical Elements in the Wood Workshop Structure bf mm 500 Width of cross-section tf mm 0 Flange thickness tw mm 200 Web thickness 1.1 Result for the most critical Base Column-element ry mm 144 Radius of gyration - Y-axis 1.1 Material Results for elements rz mm 180 Radius of gyration - Z-axis Material: Name gM f m,0,k f t,0,k f c,0,k f v,k f t,90,k f c,90,k E 0,moyen E 0,05 G moyen Class Beta c

1.25 32.00 22.50 29.00 3.80 0.40 3.30 13700.00 11100.00 850.00 1 0.10

MPa MPa MPa MPa MPa MPa MPa MPa MPa

GL32h Material safety coefficient Strength for bending Strength for tension Strength for compression Strength for shear Strength for transversal tension Strength for transversal compression Average modulus of axial elasticity 5% modulus of axial elasticity Average modulus of transversal elasticity Service class Shape coefficient (rectangular sections or others)

Internal forces in section characteristic points N MY TY TZ

296.42 -242.58 -3.59 81.30

kN kN*m kN kN

Axial force N Bending moment MY Shear force in direction Y Shear force in direction Z

Stresses in characteristic points of cross-section Sig_c,0,d

1.98

MPa

Normal stress due to compression

Iz mm4 4875000000 Moment of inertia of a section about the Z-axis Autodesk Robot Structural Analysis Professional 2019 Author: 0506_Structure Robot-iteration7.rtd Wy mm3 12500000 Elastic sectionFile: modulus about the Y-axis Address: Project: 0506_Structure Robot-iteration7 Wz mm3

1.2htResult for bf tf Symbol tw ry rz Ax Name Ay gM Az fIxm,0,k fIyt,0,k fIzc,0,k fWy v,k fWz t,90,k fhtc,90,k E bf 0,moyen E tf 0,05 G tw moyen Class ry Beta c rz

19500000 Elastic section modulus about the Z-axis mm 500 of cross-section the most critical Base Height Column-element mm 500 Width of cross-section mm 0 Flange thickness Symbol description Value Unit mm 200 Web thickness 97Radius ; COORDINATE: x = 0.00 L = 0.00 m mm 144 MEMBER: of gyration - Y-axis mm 180 Radius of gyration - Z-axis Cross-section properties: Facade Columns Material: mm2 Cross-section area 150000 GL32h mm2 Shear area - Y-axis 100000 Material safety coefficient 1.25 mm2 Shear area - Z-axis 100000 MPa Strength for bending 32.00 mm4 Torsional constant 912309146 MPa Strength forinertia tension 22.50 mm4 Moment of of a section about the Y-axis 3125000000 MPa Strength for compression 29.00 mm4 4875000000 Moment of inertia of a section about the Z-axis MPa Strength for shear 3.80 mm3 12500000 Elastic section modulus about the Y-axis MPa Strength for transversal 0.40 mm3 19500000 Elastic section modulus tension about the Z-axis MPa Strength for transversal 3.30 mm 500 Height of cross-section compression MPa Average of axial elasticity 13700.00 mm 500 Width of modulus cross-section MPa 5% modulus of axial elasticity 11100.00 mm 0 Flange thickness MPa Average modulus of transversal elasticity 850.00 mm 200 Web thickness Service class 1 mm 144 Radius of gyration - Y-axis Shape coefficient (rectangular sections or others) 0.10 mm 180 Radius of gyration - Z-axis Internal forces in section characteristic points Material:

N Name MY gM TY f m,0,k TZ f t,0,k

296.42 -242.58 1.25 -3.59 32.00 81.30 22.50

kN kN*m kN MPa kN MPa

Axial force N GL32h Bending safety moment MY Material coefficient Shear force direction Y Strength for in bending Shear force direction Z Strength for in tension

f c,0,k MPa Strength for compression 29.00 Stresses in characteristic points of cross-section f v,k MPa Strength for shear 3.80 Autodesk Robot Structural Analysis Professional 2019 Sig_c,0,d MPa Normal due to compression 1.98 f t,90,k MPa Strengthstress for transversal tension Robot-iteration7.rtd 0.40 Author: File: 0506_Structure Sig_m,y,d MPa Base edge normal stresscompression due to My Robot-iteration7 19.41 f c,90,k MPa Strength for transversal 3.30 Address: Project: 0506_Structure Tau y,d MPa Tangent stress in direction Y -0.04 E 0,moyen MPa Average modulus of axial elasticity 13700.00 Tau z,d MPa Tangent stress in direction Z 0.81 E 0,05 MPa 5% modulus of axial elasticity 11100.00 G moyen MPa Average modulus of transversal elasticity 850.00 Allowable stresses Symbol Value Unit Symbol description Class Service class 1 fBeta c,0,dc MPa Allowable normal stress due tosections compression 16.24 Shape coefficient (rectangular or others) 0.10 f m,y,d MPa Allowable normal stress from bending 18.25 f v,d : 27/05/20 MPa forces Allowable longitudinal Internal in section characteristic points 2.13 Date Page : 1 shear stress N MY kh TY kh_y TZ kh_z kl kmod Sig_c,0,d km Sig_m,y,d Ksys Tau y,d kcr Tau z,d

Delta Section MEMBER: 97 ;

Date : 27/05/20

kN Factors 296.42 Axialand force N additional parameters kN*m -242.58 Bending moment MY Scale coefficient 1.10 kN -3.59 Shear force in direction Y Scale coefficient 1.02 kN 81.30 Shear force in direction Z Scale coefficient 1.10 factorpoints depending on member length 1.00 Stresses in Reduction characteristic of cross-section Modification factor depending on time of load action 0.70 MPa Normal stress due to compression 1.98 Interaction factor due to bending 0.70 MPa Base edge normal stress due to My 19.41 System coefficient 1.00 MPa Tangent stress in direction Y -0.04 Crack influence factor 0.67 MPa Tangent stress in direction Z 0.81

1.08

Ratio: Allowable stresses Ratio between normal and allowable stresses

Page : 1

Page 61

Iz mm4 200000000 Moment of inertia of a section about the Z-axis Autodesk Robot Structural Analysis Professional 2019 Author: 0506_Structure Robot-iteration7.rtd Wy mm3 3000000 Elastic sectionFile: modulus about the Y-axis Address: Project: 0506_Structure Robot-iteration7

Wz ht 1.3 Result for bf tf Symbol tw ry rz Ax Name Ay gM Az fIxm,0,k fIyt,0,k fIzc,0,k fWy v,k fWz t,90,k fhtc,90,k E bf 0,moyen E tf 0,05 G tw moyen Class ry Beta c rz

mm3 2000000 Elastic section modulus about the Z-axis Height Branch-element of cross-section the most300 criticalmm Diagonal mm 200 Width of cross-section mm Flange thickness Symbol description Value 100 Unit mm 100 Web thickness 8Radius ; COORDINATE: x = 0.42 L = 3.58 m mm 87 MEMBER: of gyration - Y-axis mm 58 Radius of gyration - Z-axis Cross-section properties: Facade Diagonal Branch Material: mm2 Cross-section area 60000 GL32h mm2 Shear area - Y-axis 40000 Material safety coefficient 1.25 mm2 Shear area - Z-axis 40000 MPa Strength for bending 32.00 mm4 Torsional constant 469835418 MPa Strength forinertia tension 22.50 mm4 Moment of of a section about the Y-axis 450000000 MPa Strength for compression 29.00 mm4 200000000 Moment of inertia of a section about the Z-axis MPa Strength for shear 3.80 mm3 3000000 Elastic section modulus about the Y-axis MPa Strength for transversal 0.40 mm3 2000000 Elastic section modulus tension about the Z-axis MPa Strength for transversal 3.30 mm 300 Height of cross-section compression MPa Average of axial elasticity 13700.00 mm 200 Width of modulus cross-section MPa 5% modulus of axial elasticity 11100.00 mm 100 Flange thickness MPa Average modulus of transversal elasticity 850.00 mm 100 Web thickness Service class 1 mm 87 Radius of gyration - Y-axis Shape sections or others) 0.10 mm 58 Radius coefficient of gyration(rectangular - Z-axis Internal forces in section characteristic points Material:

Page 62

N Name MY gM MZ f m,0,k TY f t,0,k TZ f c,0,k

15.84 1.22 1.25 -32.46 32.00 1.41 22.50 3.33 29.00

kN kN*m kN*m MPa kN MPa kN MPa

f c,0,d f m,y,d N f m,z,d MY f v,d MZ TY TZ kh kh_y kh_z Sig_c,0,d kl Sig_m,y,d kmod Sig_m,z,d km Tau y,d Ksys Tau z,d kcr

MPa forces Allowable normalcharacteristic stress due to compression 16.24 Internal in section points Page : 1 MPa Allowable normal stress from bending 19.21 kN 15.84 Axial forcenormal N MPa Allowable stress from bending 19.71 kN*m 1.22 Bending moment MY MPa Allowable longitudinal shear stress 2.13 kN*m -32.46 Bending moment MZ kN Factors and additional parameters 1.41 Shear force in direction Y kN 3.33 Shear force in direction Z Scale coefficient 1.10 coefficientpoints of cross-section 1.07 Stresses in Scale characteristic Scale coefficient 1.10 MPa Normal stress due to compression 0.26 Reduction factor depending on member length 1.00 MPa Upper edge normal stress due to My 0.41 Modification factor depending on time of load action 0.70 MPa Right edge normal stress due to Mz 16.23 Interaction factor due to bending 0.70 MPa Tangent stress in direction Y 0.04 System coefficient 1.00 MPa Tangent stress in direction Z 0.08 Crack influence factor 0.67

Axial force N GL32h Bending safety moment MY Material coefficient Bending moment MZ Strength for bending Shear force direction Y Strength for in tension Shear force direction Z Strength for in compression fAutodesk v,k MPa Strength for shear 3.80 Professional 2019 Robot Structural Analysis Stresses in characteristic points of cross-section f t,90,k MPa Strength for transversal tension Robot-iteration7.rtd 0.40 Author: File: 0506_Structure Sig_c,0,d MPa Normal due to compression 0.26 Address: Project: 0506_Structure f c,90,k MPa Strengthstress for transversal compressionRobot-iteration7 3.30 Sig_m,y,d MPa Upper edge normal stress due to My 0.41 E 0,moyen MPa Average modulus of axial elasticity 13700.00 Sig_m,z,d MPa Right edge normal stress due 16.23 E 0,05 MPa 5% modulus of axial elasticity to Mz 11100.00 Tau y,d MPa Tangent in direction Y 0.04 G moyen MPa Average stress modulus of transversal elasticity 850.00 Symbol Value 0.08 Unit Symbol description Tau z,d MPa Tangent stress in direction Z Class Service class 1 Allowable stresses Beta c Shape coefficient (rectangular sections or others) 0.10 Date : 27/05/20

Ratio: Date Delta: 27/05/20

0.84

: 1 and allowable stresses Ratio betweenPage normal

Iz mm4 233333333 Moment of inertia of a section about the Z-axis Autodesk Robot Structural Analysis Professional 2019 Author: 0506_Structure Robot-iteration7.rtd Wy mm3 4083333 Elastic sectionFile: modulus about the Y-axis Address: Project: 0506_Structure Robot-iteration7 Wz mm3

1.4htResult for bf tf Symbol tw ry rz Ax Name Ay gM Az fIxm,0,k fIyt,0,k fIzc,0,k fWy v,k fWz t,90,k fhtc,90,k E bf 0,moyen E tf 0,05 G tw moyen Class ry Beta c rz

2333333 Elastic section modulus about the Z-axis mm 350 Height of cross-section the most critical Side Branch-element mm 200 Width of cross-section mm 100 Flange thickness Symbol description Value Unit mm 100 Web thickness 18Radius ; COORDINATE: x = 0.50 L = 4.06 m mm 101 MEMBER: of gyration - Y-axis mm 58 Radius of gyration - Z-axis Cross-section properties: Facade Side Branch Material: mm2 Cross-section area 70000 GL32h mm2 Shear area - Y-axis 46667 Material safety coefficient 1.25 mm2 Shear area - Z-axis 46667 MPa Strength for bending 32.00 mm4 Torsional constant 599940216 MPa Strength forinertia tension 22.50 mm4 Moment of of a section about the Y-axis 714583333 MPa Strength for compression 29.00 mm4 233333333 Moment of inertia of a section about the Z-axis MPa Strength for shear 3.80 mm3 4083333 Elastic section modulus about the Y-axis MPa Strength for transversal 0.40 mm3 2333333 Elastic section modulus tension about the Z-axis MPa Strength for transversal 3.30 mm 350 Height of cross-section compression MPa Average of axial elasticity 13700.00 mm 200 Width of modulus cross-section MPa 5% modulus of axial elasticity 11100.00 mm 100 Flange thickness MPa Average modulus of transversal elasticity 850.00 mm 100 Web thickness Service class 1 mm 101 Radius of gyration - Y-axis Shape coefficient (rectangular sections or others) 0.10 mm 58 Radius of gyration - Z-axis Internal forces in section characteristic points Material:

N Name MY gM MZ f m,0,k

-56.48 11.83 1.25 28.88 32.00

kN kN*m kN*m MPa

Axial force N GL32h Bending safety moment MY Material coefficient Bending moment MZ Strength for bending

f t,0,k MPa Strength for tension 22.50 Stresses in characteristic points of cross-section f c,0,k MPa Strength for compression 29.00 Sig_t,0,d MPa Normal due to tension -0.81 f v,k MPa Strengthstress for shear 3.80 Autodesk Robot Structural Analysis Professional 2019 edge normal stress due to My Sig_m,y,d MPa Base -2.90 f t,90,k MPa Strength for transversal tension 0.40 Author: File: 0506_Structure Sig_m,z,d MPa Right edge stresscompression due to MzRobot-iteration7.rtd -12.38 f c,90,k MPa Strength fornormal transversal 3.30 Address: Project: 0506_Structure Robot-iteration7 E 0,moyen MPa Average modulus of axial elasticity 13700.00 Allowable stresses E 0,05 MPa 5% modulus of axial elasticity 11100.00 fGt,0,d MPa Allowable normal stress due to tension 13.86 moyen MPa Average modulus of transversal elasticity 850.00 fClass m,y,d MPa Allowable normal stress from bending Symbol Value18.91 Unit Symbol description Service class 1 f m,z,d MPa Allowable normal stress from bending 19.71 Beta c Shape coefficient (rectangular sections or others) 0.10 Date : 27/05/20

kh N kh_y MY kh_z MZ kl kmod km Sig_t,0,d Ksys Sig_m,y,d

1.10 -56.48 1.06 11.83 1.10 28.88 1.00 0.70 0.70 -0.81 1.00 -2.90

Sig_m,z,d

-12.38

Delta

f t,0,d Section f m,y,d MEMBER: 18 ; COORDINATE: Cross-section

Date : 27/05/20

properties: Facade Side Br Cross-section a

Factors and additional parameters Internal forces in section characteristic points Page :1 Scale coefficient kN Axial force N Scale coefficient kN*m Bending moment MY Scale coefficient kN*m Bending moment MZ Reduction factor depending on member length Stresses in Modification characteristic points of cross-section factor depending on time of load action Interaction factor due to bending MPa Normal stress due to tension System coefficient MPa Base edge normal stress due to My

MPa

Allowable stresses Ratio between normal and allowable stresses

0.79

13.86 18.91

Right edge Ratio: normal stress due to Mz

MPa MPa

Allowable normal stress due to tension Allowable normal stress from bending

Page : 1

Page 63

1.4 Section Forces Diagrams

Page 64

Mymax=5,37 kNm Mymin= -242,58 kNm

Fxmax=89,43 kN Fxmin= 6,81 kN

Fzmax=81,30 kN Fzmin= -2,93 kN

eri ing es ts rom o ot Str ct ra

na sis

e res ts rom o ot or t e most critica ase co mn art t e most critica si e ranc an most critica iagona ranc i no e eri e . e oa a ecting t e co mn is iggest or ominating in oa . e materia is am im er strengt ro erties.

ic

aracteristic mo s o e asticit a ong t e res (Teknisk Ståbi, 2013, p. 304): aracteristic en ing resistance (Teknisk Ståbi, 2013, p. 304):

aracteristic com ression resistance

as t e o o ing im ortant a es regar ing its

Ek ≔ 111 fmk ≔

MPa MPa

(Teknisk Ståbi, 2013, p. 304):

fc.0.k ≔

aracteristic com ression resistance er en ic ar to t e grain (Teknisk Ståbi, 2013, p. 304):

fc.90.k ≔ . MPa

aracteristic tension resistance

(Teknisk Ståbi, 2013, p. 304):

ft.0.k ≔

MPa

. MPa

For t e imensioning im ortant a es a e een iste . artia actor or

am im er

(Eurocode 5, 2007, p. 24, table 2.3)

γM ≔ 1.

e ction actor or instantaneo s oa (Eurocode 5, 2007, p. 27, table 3.1)

kmod ≔ .

arameter or g

am tim er

(Eurocode 5, 2007, p. 45, formula 6.29)

arameter or rectang ar sections (Eurocode 5, 2007, p. 41)

βc ≔ .1 km ≔ .

Factor or com ression resistance er en ic ar to t e grain (Eurocode 5, 2007, p. 37)

kc.90 ≔ 1.

Page 65

The design resistances for GL32h have been calculated: fmk ⋅ kmod fm.y.d ≔ ―――= 23.04 MPa γM fc.0.k ⋅ kmod = 20.88 MPa fc.0.d ≔ ―――― γM fc.90.k ⋅ kmod fc.90.d ≔ ―――― = 2.376 MPa γM

ft.0.k ⋅ kmod ft.0.d ≔ ――― = 16.2 MPa γM

Page 66

2.1 eri cation of ase olu n in L

ith

o inant

ind Load

The di ensions regarding the base colu n has been listed belo .

The critical length of the colu n:

= 4000

.co m

≔

ection idth:

co m

= 00

ection height:

co m

= 00 . .

c t o of com

d com

o

d

or the veri cation the follo ing state ent c.0.d

m.y.d

d

ocod

a is

co m

ust be veri ed.

―――+ ――≤1 kc.y ⋅ fc.0.d fm.y.d irst the relative slenderness for the

Mo t c t c

00

fo m

.

ill be de ned based on the for ula:

‾‾‾‾ fc.0.k ＝ ―⋅ ――

ocod

00

fo m

.

k

The slenderness ratio is calculated for the a is de ection in direction : The relative slenderness ratios for calculated:

a is is

.co m ⋅ y ≔ ――― co m y .y ≔ ―⋅

‾‾‾ 12 = 27.713

‾‾‾‾ fc.0.k = 0.4 1 ―― k

The ky value is de ned to:

ky ≔ 0. ⎛⎝1 +

⎛

c⋅⎝

⎞

.y - 0.3⎠ +

.y

The kc.y value is de ned to:

1 kc.y ≔ ――――――= 0. 81 ky 2 - ⎛⎝ .y⎞⎠ 2 ky + ‾‾‾‾‾‾‾‾‾‾

2⎞

⎠ = 0.60

ocod fo m .

00

ocod fo m .

00

.

Page 67

e t the stresses o

ill be calcultated.

ression stress: The or al orce is calculated in obot tructural nal sis:

≔ 2 1.24 The section area of the base colu n is given at: co m

The co

≔

co m

⋅

co m

ending stress around

MPa

a is:

o ent My has been calculated in obot tructural nal sis.

a i u

My ≔ 241. 6

Page 68

2

ression stress is de ned to:

= 1.16 c.0.d ≔ ――― co m

The

= ⎛⎝2. ⋅ 10 ⎞⎠

⋅

The lastic ection odulus about the the for ula for a rectangular section:

1

⋅ y≔― 6

co m

The bending stress

⋅

co m

m.y.d

My = 11.614 m.y.d ≔ ―― y

2

a is for the base colu n is given at

= ⎛⎝2.083 ⋅ 10 7 ⎞⎠

3

is then de ned to:

MPa

The strength values are de ned as:

fc.0.d = 20.88 MPa

fm.y.d = 23.04 MPa

inall the ratio of utili ation is being calculated. c.0.d

m.y.d

―――+ ――= 0. 61 kc.y ⋅ fc.0.d fm.y.d

hich eans the base colu n is veri ed for bending force and co ression.

2.2 eri cation of

iagonal ranch in L

ith

o inant

ind Load

The di ensions regarding the diagonal branch has been listed belo .

The critical length of the longest diagonal branch:

.d

c

≔ 8. 44

ection height:

d .

c

= 300

ection idth:

d .

c

= 200

c t o of com

d com

o

d

or the veri cation the follo ing state ents c.0.d

m.y.d

m. .d

―――+ ――+ km ⋅ ――≤0 kc.y ⋅ fc.0.d fm.y.d fm. .d

d

. . Mo t c t c

fc.

resson strength is

and

c.0.d

m.y.d

00

fo m

or ing at an angle to the grains the fc.0.d

given at the for ula.

fc.

fc.0.d .d ＝ ――――――――――― 2 2 fc.0.d

a is

‾‾‾‾ fc.0.k ＝ ―⋅ ――

.

.

ill be changed to Page 69

ocod fo m .

⎛⎝ ⎞⎠⎞⎠ + ⎛⎝co ⎛⎝ ⎞⎠⎞⎠

irst the relative slenderness for the and

m. .d

―――+ km ⋅ ――+ ――≤0 kc. ⋅ fc.0.d fm.y.d fm. .d

.d

⋅ ⎛⎝ ―――― kc.90 ⋅ fc.90.d

00

ill be de ned based on the for ula:

ocod

00

fo m

.

.

k

The slenderness ratio is calculated for the a is de ection in direction : The relative slenderness ratios for calculated:

a is is

The slenderness ratio is calculated for the a is de ection in direction :

c

ust be veri ed.

ocod

s the co

o

y.d

.d c ≔ ―――⋅ ‾‾‾ 12 = 8.6 8 d .

.y.d

.d

c

‾‾‾‾ fc.0.k y.d ≔ ―― ⋅ ―― = 1.60 k

.d c ≔ ――― ⋅ ‾‾‾ 12 = 147. 86 d .

c

The relative slenderness ratios for z-axis is calculated:

‾‾‾‾ λz.dia fc.0.k λrel.z.dia ≔ ―― ⋅ ―― = 2.408 π Ek

The ky and kz -values is defined to:

ky.dia ≔ 0.5 ⎛⎝1 + βc ⋅ ⎛⎝λrel.y.dia - 0.3⎞⎠ + λrel.y.dia 2 ⎞⎠ = 1.854

(Eurocode 5, 2007, page 45, formulas 6.25+6.26)

kz.dia ≔ 0.5 ⎛⎝1 + βc ⋅ ⎛⎝λrel.z.dia - 0.3⎞⎠ + λrel.z.dia 2 ⎞⎠ = 3.504 The kc.y and kc.z -values is defined to:

1 kc.y.dia ≔ ――――――――― = 0.36 ky.dia + ‾‾‾‾‾‾‾‾‾‾‾‾‾‾ ky.dia 2 - ⎛⎝λrel.y.dia⎞⎠ 2

(Eurocode 5, 2007, page 45, formulas 6.27+6.28)

1 kc.z.dia ≔ ―――――――――= 0.165 ⎛kz.dia⎞ 2 - ⎛λrel.z.dia⎞ 2 kz.dia + ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ ⎝ ⎠ ⎝ ⎠ Next, the stresses will be calcultated.

Page 70

Compression stress and strength at an angle to the grain: The Normal Force is given in Robot Structural Analysis:

Ndia ≔ 15.86 kN The section area of the diagnal branch is given at:

2 Abranches ≔ wdia.branch ⋅ hdia.branch = ⎛⎝6 ⋅ 10 4 ⎞⎠ mm

The compression stress is defined as:

Ndia σc.α.d.dia ≔ ―――= 0.264 MPa Abranches The angle α is given at (ill. xx):

αdiabranch ≔ 20.556 deg

Fig. 2.3 The angle between the grain and force

The compression strength is then calculated to:

fc.0.d fc.α.d ≔ ―――――――――――――――= 10.652 MPa 2 2 fc.0.d ⋅ ⎛⎝sin ⎛⎝αdiabranch⎞⎠⎞⎠ + ⎛⎝cos ⎛⎝αdiabranch⎞⎠⎞⎠ ―――― kc.90 ⋅ fc.90.d

ending stress around y-axis: The maximum moment, y.dia ≔ 1.21

y , has

been calculated in Robot Structural Analysis.

kN ⋅ m

The lastic Section odulus about the -axis for the diagonal branch is being calculated for a rectangular section:

1

⋅ wdia.branch ⋅ hdia.branch y.dia ≔ ―

2

6

= ⎛⎝3 ⋅ 10 6 ⎞⎠ mm

3

The bending stress σm.y.d is then defined: y.dia

σm.y.d.dia ≔ ――= 0.403 MPa y.dia

ending stress around z-axis: The maximum moment, z.dia ≔ 32.46

z , has

been calculated in Robot Structural Analysis.

kN ⋅ m

The lastic Section odulus about the -axis for the beam is being calculated for a rectangular section:

1

⋅ wdia.branch z.dia ≔ ― 6

2

3 ⋅ hdia.branch = ⎛⎝2 ⋅ 10 6 ⎞⎠ mm

The bending stress σm.y.z is then defined: z.dia

σm.z.d.dia ≔ ――= 16.23 MPa z.dia

The strength values are defined as:

fc.α.d = 10.652 MPa

fm.y.d = 23.04 MPa

fm.z.d ≔ fm.y.d = 23.04 MPa

Finally, the ratio of utilization is being calculated. σc.α.d.dia σm.y.d.dia σm.z.d.dia ――――+ ―――+ km ⋅ ―――= 0.58 kc.y.dia ⋅ fc.α.d fm.y.d fm.z.d

and

σc.α.d.dia σm.y.d.dia σm.z.d.dia ――――+ km ⋅ ―――+ ―――= 0.86 kc.z.dia ⋅ fc.α.d fm.y.d fm.z.d hich means the diagonal branch is verified for bending force, buc ling and compression.

Page 71

2.3 erification of Side ranch in

S with

ominant

ind oad

The dimensions regarding the diagonal branch has been listed below.

The critical length of the most critical side branch:

ls.sidebranch ≔ 8.12 m

Section height:

hside.branch = 350 mm

Section width:

wside.branch = 200 mm

eri cation of combined tension and bending

Fig. 2.4

ost critical ide ranch

For the verification, the following statements must be verified. σc.0.d σm.y.d σm.z.d ―――+ ――+ km ⋅ ――≤0 kc.y ⋅ ft.0.d fm.y.d fm.z.d

and

σc.0.d σm.y.d σm.z.d ―――+ km ⋅ ――+ ――≤0 kc.z ⋅ ft.0.d fm.y.d fm.z.d

ombination of (Eurocode 5, 2007, page 45, formulas 6.23 +6.24) and (Eurocode 5, 2007, page 43, formulas 6. 7+6. 8)

Page 72

First the relative slenderness for the z and y-axis will be defined, based on the formula:

‾‾‾‾ fc.0.k λ λrel ＝ ―⋅ ―― Ek

The slenderness ratio is calculated for the yaxis (de ection in z-direction):

ls.sidebranch λy.side ≔ ―――― ⋅ ‾‾‾ 12 = 80.36 hside.branch

The relative slenderness ratios for y-axis is calculated to:

‾‾‾‾ λy.side fc.0.k λrel.y.side ≔ ――⋅ ―― = 1.308 π Ek

The slenderness ratio is calculated for the zaxis (de ection in y-direction):

ls.sidebranch λz.side ≔ ―――― ⋅ ‾‾‾ 12 = 140.643 wside.branch

The relative slenderness ratios for z-axis is calculated to:

‾‾‾‾ λz.side fc.0.k λrel.z.side ≔ ――⋅ ―― = 2.288 π Ek

The ky and kz -values is defined to:

ky.side ≔ 0.5 ⎛⎝1 + βc ⋅ ⎛⎝λrel.y.side - 0.3⎞⎠ + λrel.y.side 2 ⎞⎠ = 1.405 kz.side ≔ 0.5 ⎛⎝1 + βc ⋅ ⎛⎝λrel.z.side - 0.3⎞⎠ + λrel.z.side 2 ⎞⎠ = 3.21

The kc.y and kc.z -values is defined to:

1 kc.y.side ≔ ―――――――――= 0.521 ky.side + ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ ky.side 2 - ⎛⎝λrel.y.side⎞⎠ 2 1 kc.z.side ≔ ―――――――――― = 0.183 ⎛kz.side⎞ 2 - ⎛λrel.z.side⎞ 2 kz.side + ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ ⎝ ⎠ ⎝ ⎠ Next, the stresses will be calcultated.

Tension stress: The Normal Force is given in Robot Structural Analysis:

Nside ≔ 55.81 kN The section area of the side branch is given at: 2 Abranches ≔ wside.branch ⋅ hside.branch = ⎛⎝ ⋅ 10 4 ⎞⎠ mm

The tension stress is defined as:

Nside σt.0.d.side ≔ ―――= 0.

Abranches

Page 73

MPa

ending stress around y-axis: The maximum moment, y.side ≔ 11.6

y , has

been calculated in Robot Structural Analysis.

kN ⋅ m

The lastic Section odulus about the calculated for a rectangular section:

1

⋅ wside.branch ⋅ hside.branch y.side ≔ ― 6

2

= ⎛⎝4.083 ⋅ 10 6 ⎞⎠ mm

The bending stress σm.y.d is then defined: y.side

σm.y.d.side ≔ ――― = 2.858 MPa y.side

-axis for the side-branch is being

3

Bending stress around z-axis: The maximum moment, Mz , has been calculated in Robot Structural Analysis.

Mz.side ≔ 28.88 kN ⋅ m The Elastic Section Modulus about the Y-axis for the side-branch is being calculated for a rectangular section:

1 3 Wz.side ≔ ―⋅ wside.branch 2 ⋅ hside.branch = ⎛⎝2.333 ⋅ 10 6 ⎞⎠ mm 6 The bending stress σm.z.d is then defined:

Mz.side σm.z.d.side ≔ ――― = 12.377 MPa Wz.side The strength values are defined as:

ft.0.d = 16.2 MPa

fm.y.d = 23.04 MPa

fm.z.d ≔ fm.y.d = 23.04 MPa

Finally, the ratio of utilization is being calculated.

Page 74

σt.0.d.side σm.y.d.side σm.z.d.side ――――+ ―――+ km ⋅ ―――= 0.595 kc.y.side ⋅ ft.0.d fm.y.d fm.z.d

and

σt.0.d.side σm.y.d.side σm.z.d.side ――――+ km ⋅ ―――+ ―――= 0.894 kc.z.side ⋅ ft.0.d fm.y.d fm.z.d Which means the side branch is verified for bending force, buckling and tension.

Kilder: https://www.dlubal.com/en/load-zones-for-snow-wind-earthquake/wind-bfs-201310eks-9.html#&center=59.320405806128704,18.067641222347515&zoom=13&marker=59.3 293234999999,18.0685808

eriďŹ cation of timber to timber joint with double APPENDIX 17 - VERIFICATION OF TIMBER TO TIMBER shearSHEAR plan and hard JOINT WITH DOUBLE PLAN ANDwood STEELdowels BOLT 1 Forces in the oint Connections The structural performance of the most critical column were investigated in Robot. The column has a hinge connection between the base column and its branches, therefore no moment force is working in the connection. The joint connection which is going to be calculated is the one between the diagonal branch and the base column s two front columns, in the most critical case ill. 3.1 . Dimensions of the column and its parts, as well as the placement and diameter of the joint, is given.

Page 75

Fig.1:

Fig. .2: ertical section o the Column and the oint bet een the base column and the diagonal branch

ost critical oint

Fig. : orisontal section o Column and the oint

1.1 Normal Force as Critical Force The dimensioning of the joint wll be based on the critical force in the connection, which is defined as the normal force coming from the diagonal branch. Since the column is split into four parts, where the two front parts surround the branch, the normal force working in the connection will be the half of what is calculated in Robot. The force acting in the connection is given.

89.43 kN Fx.dia ≔ ―――― = 44.715 kN 2 The critical force is therefore defined as:

Fcrit ≔ Fx.dia = 44.715 kN

2 Characteristics Some important characteristics and dimensions will be given:

2.1 Dowel Characteristics Page 76

dbolt ≔ 25 mm

dowel diameter

2.2 Elements Characteristics t1 ≔ 150 mm

outer timber member thickness

t2 ≔ 200 mm

inner timber member thickness

h1 ≔ 150 mm

outer timber member height

h2 ≔ 300 mm

inner timber member height

α1 ≔ 0 deg

Force to fibre angle in inner timber member

α2 ≔ 20.556 deg

Force to fibre angle in outer timber member

Fig.4: Cross Section Column

Fig.5: Cross Section Dia. Branch

2.3

aterial Data

The elements material is lulam Timber, regarding its strength properties. c.

.

≔ 0.5

≔ 343

32h which has the following important values

Characteristic strength perpendicular to fibers

―― m3

ood unit densit

The bolt is made of Steel with the following important values regarding its strength properties. u.

2.4

≔ 600

a

Steel olts tensile strength

e nis St bi 2 1

. 215 able .

odification Factors

The following modification factors will be defined for the further calculations. mod ≔ 0.9

≔ 1.25

Reduction factor for instantaneous load artial factor for

lulam Timber

uroCode 5 2

urocode 5 2

.2 :

. 24 table 2. :

ne ≔ 1

Effective number of fasteners in each row parallel to the grain

ns ≔ 2

Number of shear planes in the connection

r l≔1

Rows of fasteners laterall loaded parallel to the grain

2.5 erification of spacing between bolts and edges The bolt s placement must meet the re uirements for minimum spacing between the bolt and the edges. The spacing between edge and bolt must be verified according to the formulas in table 8.4 urocode 5 2 age able .5 . iven the angle between the force and the grain direction for the diagonal branch:

α1 = 0 deg

iven the angle between the force and the grain direction for the base column:

α2 = 20.556 deg

Page 77

The following cases must be fulfilled from the table, based on the angle, for both the base column and the diagonal branch:

Fig. : e or eri action o s acing bet een bolts and edges ns ired b urocode 5 2 . . ic. b 1 and

Diagonal ranch:

a

.col ≔ 7 ⋅ dbolt = 175

a4.t1.col ≔ ⎛⎝2 + 2 ⋅ sin ⎛⎝α1⎞⎠⎞⎠ ⋅ dbolt = 50

or

a4.t2.col ≔ 3 ⋅ dbolt = 75 ase Column:

Page 78

a

.bra ≔ 7 ⋅ dbolt = 175

a4.t1.bra ≔ ⎛⎝2 + 2 ⋅ sin ⎛⎝α2⎞⎠⎞⎠ ⋅ dbolt = 67.556 a4.t.bra ≔ 3 ⋅ dbolt = 75

or

eaning the dimensions of the elements are fine.

2.6 Characteristic Embedment Strength First the characteristic embedment strength of the timber,

h,

will be calculated. t is given as the

average compressive strength of the timber under the action of a straight bolt.

h

is the

characteristic embedment strength parallel to the grains, where the embedment is given as the distance from the timber to the dowel.

≔ 1.30 + 0.015 ⋅ dbolt = 1.675 ≔ 0.082 ⎛⎝1 - 0.01 ⋅ dbolt⎞⎠ ⋅

h

h1

h2

⋅

= 21.095

h

= 21.095 ≔ ――――――――― 2 2 ⋅ sin ⎛⎝α1⎞⎠ + cos ⎛⎝α1⎞⎠ h

≔ ――――――――― = 19.474 2 2 ⎛ ⎞ ⎛ ⎞ ⋅ sin ⎝α2⎠ + cos ⎝α2⎠ h2

≔ ―― = 0.923 h1

2.7 haracteristic Fastener ield

oment

ext, the characteristic fastener yield moment will be calculated.

M

Rk ≔ 0.3 ⋅ f .k ⋅ dbolt

2.6

⋅ N ⋅ mm = 776.09793 kN ⋅ mm

3 Dimensioning of the oint 3.1 oad arrying apacity of the onnection For a timber to timber connection, four failure modes can happen. To ensure none of these failures occur, the characteristic load carrying capacity per bolt per shear plan, FvRk , should be higher

than the critical force.

dbolt ≔ dbolt ⋅ mm = 25 mm Failure mode 1

Fi . Fo r Fail re modes for timber connections E rocode

o ble hear imber to 00 a e Fi . .

Page 79

FvRk ≔ fh1k ⋅ t1 ⋅ dbolt = 79.1044 kN Failure mode 2

FvRkh ≔ 0.5 ⋅ fh k ⋅ t ⋅ dbolt = 48.685 kN Failure mode 3

FvRk

fh1k ⋅ t1 ⋅ dbolt ⎛ ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ 4 ⋅ ⎛⎝2 + ⎞⎠ ⋅ M Rk ≔ 1.05 ⋅ ――――⋅ ⎜ 2 ⋅ ⋅ ⎛⎝1 + ⎞⎠ + ―――――― ⎜ 2+ fh1k ⋅ t1 2 ⋅ dbolt ⎝

Failure mode 4

FvRkk ≔ 1.15 ⋅

‾‾‾‾‾ 2⋅ 2 ⋅ ⎛⎝M Rk⎞⎠ ⋅ ⎛⎝fh1k⎞⎠ ⋅ ⎛⎝dbolt⎞⎠ = 32.238 kN ――⋅ ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ 1+

The most critical load carrying capacity is found to the further calculations

FvRk ≔ min ⎛⎝FvRk , FvRkh , FvRk , FvRkk⎞⎠ = 32.238 kN

⎞ ⎟ = 32.3935 kN ⎟ ⎠

3.2 Ductile Failure Verification To ensure ductile failure is not happening in the joint, the total load carrying capacity of all fasteners in all shear plans, Fvef.Rd , should be bigger than the critical force, Fcrit (ratio less than 1).

kmod ⋅ FvRk FvRd ≔ ―――― = 23.212 kN γM FvefRd ≔ nsp ⋅ rpl ⋅ nef ⋅ FvRd = 46.423 kN Fcrit ――= 0.963 FvefRd

Which means the joint is verified for ductile failure, and the capacty of the connection uses 96,3 %.

3.3 Brittle Failure Verification Besides ductile failure, brittle failure can also occur which is caused by splitting of the wood elements. This depends on the splitting capacity of the wood perpendicular to the grain, F90.Rk , that should be bigger than the critical force.

Page 80

t1 b1 ≔ ―― = 150 mm

the member thickness in mm

w≔1

modification factor

h1 he ≔ ――― = 75 2 mm

h_e is the distance from dowel center to edge of timber member

h1 = 150 h1 ≔ ―― mm F90Rk ≔ 14 ⋅ b1 ⋅ w ⋅

‾‾‾‾‾‾‾ he ―――⋅ N = 25.72 kN ⎛ he ⎞ ⎜1 - ―⎟ h1 ⎟⎠ ⎜⎝

F90Rk F90.Rd ≔ kmod ⋅ ――= 18.518 kN γM Fz.dia ≔ 4.49 kN

Fz.base ≔ - 1.08 kN

Fv.Ed ≔ max ⎛⎝Fz.dia , Fz.base⎞⎠ = 4.49 kN Fv.Ed ――= 0.242 F90.Rd

Which means the joint is verified for brittle failure, and the capacty of the connection uses 24,2 %.

APPENDIX 18 - FIRE ESCAPE PLANS

Page 81

GROUND FLOOR, 1:250 N 10m

Page 82

N FIRST FLOOR, 1:250 10m

Page 83

SECOND FLOOR, 1:250 N 10m