M.Arch Thesis Preparation 2019

THE POETICS OF CONSTRUCTION IN BAMBOO ARCHITECTURE

THESIS PREPARATION

THE POETICS OF CONSTRUCTION

SUTD Master of Architecture Thesis Preparation Document The Poetics of Construction In Bamboo Architecture So Jing Wen Master of Architecture Student Advisor: Felix Raspall Architecture and Sustainable Design E-Mail: jingwen_so@mymail.sutd.edu.sg

ABST RACT 1

INT R O D UCT I O N MOT I VAT I O N MET H O DO LO GY BAMBUBSA G UA D UA

2.1

PHYSI CA L PA RTS

2.2

PHYSI CA L PR O PERT I ES

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T ECH N I Q UE S

3.1

DRAW I NG

3.2

CONST R U CT I O N

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CATA LO G

4.1

C ATA LO G O F PR OJ ECTS

4.2

SEL ECT ED CA S E ST U DI ES

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CAS E ST UD I E S

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C HUR CH W I T HO U T R ELI GI O N | F I NCA C AN AL E T, COLOM B I A | 2 0 0 9

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ZER I PAV I LI O N | WO R LD EX PO HA NNOV E R , G E R M AN Y | 2 0 0 0

5.3

TOL HU I ST U I N BA M BO O PO DI U M | A M STE R DAM , N E TH E R L AN D S | 2 0 1 0

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TAXO N O MY

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PHYSI CA L E XPLO RAT I O N S

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OUT LO O K

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BIBL I O G RA PH Y

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ABSTRACT

ABSTRACT

Architecture is invariably as much about structure and construction as it is about space and abstract form.

- Kenneth Frampton

This thesis seeks to explore the spatial and geometric potential of bamboo as a building material, more specifically, the architecture of Colombian architect Simón Vélez. The research will from line drawings by the architect to threedimensional space. The operations derived from this study of will then be applied to the design process in the following semester, as a reinvention of Vélez’s valuable techniques in bamboo construction.

From a collection of largely undocumented rural

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focus on the poetic dimension of the translation

works by Vélez, the research will seek to document and analyse selected key projects in depth, studying how the architect generated specific spatial effects through the geometric anatomization of his construction drawings. Basic geometric operations derived from the study are then applied to experimental models, which seek to define a new taxanomy for line, plane, and space. At each scale, the analysis is broken down into individual operations derived from research and experimental analysis.

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INTRODUCTION

MOTIVATION METHODOLOGY

M OT I V AT I O N

The Architect Simón Vélez’s work with bamboo rose from

‘Natural materials give you scale, because they

necessity. As he worked predominantly in rural

have big limitations, so when you work with these

areas, the high costs of importing standard

limitations, you start doing interesting things’.

building materials like brick and mortar was a significant challenge, which led him to make use

It is in the architect’s belief that the poetic can

of the abundant local resource - bamboo.

arise from constraints, unlike in modern materials like concrete or steel, where the human scale is lost when the material has no limits. The work of

Vélez works with giant Guadua bamboo native

Vélez thus embraces the idea of new vernacular

to Colombia. While there are copuis advantages

architecture, ‘taking traditional cultures and

to bamboo as ‘vegetable steel’, bamboo remains

materials found in art of building and enhancing

stigmatised as ‘wood of the poor’ in Colombia.

them with competence and creativity of trained professionals’. Such imprecision and rawness

Bamboo is often overlooked as a contemporary

of each bamboo precisely creates elegance and

building material, in spite of its beauty, strength

beauty in the works of Vélez, while continuously

and abundance. In traditional construction

advancing fabrication methods through new

methods, bamboo is connected with natural

construction techniques and a hybrid of

fibers that erode overtime, due to the humid

materials.

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A traditionally trained rural architect in Manizales,

climate. This highlights the importance of Vélez’s technical discoveries in pioneering new ways

Through his innovative works, Vélez has brought

of using the giant bamboo at an architectural

attention to the potential of bamboo, and altered

scale. The design of new connection joinery for

the perception of Colombian people. Bamboo

bamboo allows it to achieve the same durability

is changing perceptions of past, to become a

as concrete and steel. A simple but effective

building material of the future. There is a need

solution, this invention has created the ability

for more ‘vegetarian architecture’ and sustainable

to design bamboo structures with long spans,

building, especially in the use of bamboo, from

characteristic of Vélez’s works.

which there are rich layers of geometric and construction knowledge embedded in Vélez’s

The choice of working with bamboo is also driven

works to be uncovered and transformed into new

by the design philosophy of the architect.

possibilities for wider application.

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INTRODUCTION

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Lines derived from the sketches of Simón Vélez

M OT I V AT I O N

Importance of Geometry ‘Our hands are organs for thinking’

In today's world dominated by modernist

architecture, the need for nature to rejuvenate

- Martin heidegger

architecture has become so important. The works Architectural drawings consist of different lines -

of Vélez are thus relevant in seeking to preserve

each embedded with meaning and significance.

an experimental approach towards architecture

The importance of drawings is even more

through practical, yet intriguing drawings. The

apparent in Vélez’s architecture as his works

architect's use of abstract lines, shapes and

are formulated, elaborated, represented and

color as a way of representation gives freedom

communicated by free hand drawing.

to the interpretation and generation of geometry

In the age of technology and digital architecture,

constraints of existing construction systems and

the contemporary architecture scene has

materials, the reinvention of Vélez’s works seeks

experienced a change in treatment of material

to reestablish relationships between the exterior

design and construction methods. The traditional

and interior, and recover spaces that respond to

focus of indigeneous or vernacular architecture

the environment.

on the construction process and experimentation has shifted towards an emphasis on technical drawings and designing to perfection, enabled by

THE POETICS OF CONSTRUCTION

with the material. While working within the

digitalisation.

Amidst growing demands for buildings to be constructed rapidly at a low cost, uniform interiors and monotonous spaces that no longer engage their users are produced. Under Mies van der Rohe’s mandate that ‘Less is more’, modernists design dull, uninteresting spaces with a uniform grid.

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INTRODUCTION

Geometry and Material These series of studies began with an interest in

generate design operations through physical

bamboo and geometry - defined by structural

explorations, and eventually digitalisation. The

geometry and construction joinery. The benefits

design outcome can perhaps challenge the

of bamboo as a renewable material is manifold,

standard approach of digital design in today’s

but the material is not widely applied, as more

world with a renewed approach towards bamboo

reliable industrial materials such as steel and

in contemporary architecture.

concrete are preferred. The limited availability and neccessity for skilled craftsmanship is also

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a limitation in the application of bamboo to architecture. Nonetheless, the inherently unique physical and mechanical properties of bamboo, such as its hollowness and ability to bend creates limitless potential to generate elegant and poetic structures.

The philosophy of designing to construct and constructing to design underlies Vélez’s raw manner of designing and constructing with bamboo, which is quintessential in working with bamboo as a material that requires mastery of the craft. The continuous transformation of the project between conception and construction imbues Vélez’s works with unique structural and spatial qualities.

The two dimensional research and analysis of Vélez’s drawings thus seeks to understand the relationship between geometric operations and spatial effects of bamboo structures, from which this foundational language can be further

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explored to produce a taxonomy of systems and

METHODOLOGY

Methodology Bambusa Guadua

The methodology of research begins with

physical parts

background research on bamboo as a building

physical properties

material, specifically Guadua bamboo, and the techniques of Simón Vélez in drawing and

Techniques

drawing techniques

construction techniques

construction.

A catalogue of local and international works by the architect is generated, from which case studies are selected for in depth analysis of

catalogue of projects

drawing and construction in his works. This

selected projects

section also has archival value in the recovery of his works, as the majority of them are not well

Case Studies

documented.

case study 1

case study 2

Based on the analysis of the case studies,

case study 3

important aspects of his work with potential in opening up design opportunities are selected.

Taxonomy

The taxonomy develops a language at different

line

scales - line, plane, and space, which examine

plane

constructional and spatial potentials.

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Catalogue

space The taxnomy is then applied to a series of Physical Explorations

physical explorations, as an abstraction of Vélez’s

techniques, to seek to compose a new set of vocabulary for geometry in bamboo architecture.

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BAMUBSA GUADUA

PHYSICAL ANATOMY PHYSICAL PROPERTIES

Bamboo in Architecture Bamboo as a traditional material is culturally and socially emebdded in rural communities, but has been popularised in contemporary architecture in recent years. Characterised by strong structural properties, hollowness, flexibility and visual warmth, the material is suitable for a wide range of applications.

In taxonomic terms, bamboos belong to the and are further divided into - the herbaceous bamboos or Olyreae, and woody bamboos or Bambuseae. Bamboos have a wide geographical range due to their high adaptability. The Asian Pacific region has the most extensive area and advanced use of bamboo, where bamboo is seen as a cultural symbol that embodies traditional values. Conversely, in African region and Central

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Gramineae family, and Bambusoideae subfamily,

America, bamboo is seen as poor man’s wood, and is largely limited to low skilled craftswork in rural communities.

Bamboo is a versatile construction material that can be processed into various forms such as poles, splits, strips, planks and composites. In architecture, bamboo can be used to construct various structural elements in a building, such as the floor, wall and roof. The study of physical parts and physical properties of Guadua bamboo in the next section helps to understand the unique qualities and limitations of this species.`

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BAMBUSA GUADUA

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30 m

20m 5

4 3 2

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Comparison of Moso (left) and Guadua bamboo (right)

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4 3 2

1

P H Y S I C A L A N ATO M Y

Physical Parts The diagram draws comparison between Phyllostachys edulis bamboo that is the most common temperate bamboo and most widely recognised, and Guadua angustifolia bamboo.

1 Rhizome

4 Culm The jointed stem of the bamboo is called

Moso bamboos are monopodial bamboos

a culm. Unlike the diameter of tree trunks

(running root) that grow horizontally

that widen with age, bamboo culms

over long distances. Guadua bamboos

remain the same as the diameter of the

are sympodial bamboos (clumping root)

new shoot. The thickness of the culm

that develop in a circular pattern and

depends on the bamboo species.

effectively prevents soil erosion.

2 Cane

5 Leaves

The hard silicate layer on bamboo skin

Bamboos shed their leaves anually. The

gives it resistance to chemical and

leaves are high in silica and become

mechanical exposure, making it a suitable

fertilisers that promote bamboo grove

building material. Smaller bamboo

when they fall on the forest floor.

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The roots of bamboo are called rhizomes.

species have 15-20 segments and up to 18cm in diameter, while larger species like Guadua have up to 55 segments and up to 25cm in diameter

3 Node

6 Microscopic As bamboos are grasses and have no

spaced further apart at 30cm intervals,

bark, vascular bundles found in the

as compared to 24cm in Moso bamboo.

cross section of a bamboo are used to

These are the strongest part of the cane

transfer water and nutrients. Denser

and affect how the bamboo is cut or

bundles near the outer skin makes the

prepared.

bamboo stronger.

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The nodes in Guadua bamboo are

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BAMBUSA GUADUA

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SHOOT

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RHIZOME

SEED

GROWTH

FLOWER

Growth cycle of bamboo

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BRANCHING

M AT U R E

PHYSICAL PROPERTIES

Physical Properties The diagram shows the growth cycle of Guadua angustifolia.

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Rapid growth

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Quality of fiber The same cross section of bamboo can

about a third the growth cycle of a tree,

withstand higher tensile strength than

and higher productivity. Guadua can also

steel. The vascular bundles in bamboo

be utilised after maturity in 4-5 years, and

prevent the failure of a single fibre from

can grow 15-20m in 6 months, making it

fracturing the entire cane. The strong

an effective alternative to wood.

natural fibers of Guadua also makes it one of the best bamboo species.

2

Growth cycle

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Environmental advantages

The seed of the bamboo germinates in

Guadua prevents erosion of the soil and

to a shoot that sprouts from the soil,

regulates the flow of rivers. The Guadua

containing the nodes, segments, and

groves also provide an ecosystem for

diaphragms that are present in the mature

biodiversity and regulate the amount

cane. Bamboo grows in height with the

of carbon dioxide in the air during their

lengthening of its segments. The bamboos

life cycle as a plant, and thereafter as a

are ready to harvest once they have

sustainable and renewable material.

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Bamboos in general have rapid growth,

stronger lignified canes and are mature.

3 Flowering Guadua experiences sporadic flowering at irregular intervals, where the plant does not die unlike other species that die after flowering. This makes the species more sustainable overtime, as it does not require renewal.

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TECHNIQUES

DRAWING TECHNIQUES CONSTRUCTION TECHNIQUES

TECHNIQUES

Drawing Techniques

Construction Techniques

The architecture of Simon Vélez is formulated,

The research of German architect Gernot Minke is

represented and communicated on sketchbooks,

dedicated to the study of non-industrial modes

even the most complex projects are elaborated

of construction, such as bamboo, as traditional

exclusively by freehand drawing. These geometric

joineries do not optimise the potential of

drawings have a consistent language, through

bamboo properties. Vélez’s technical discoveries

the use of colors and elements like lines and

seek to find an effective and elegant solution,

bundling sections to understand spatial and

through the reinvention of joinery with modern

structural parameters. Sketches of constructional

technologies and the introduction of hybrid

detail such as the module, footing, joinery or

materials, such as steel and concrete.

consistent color code is simple to understand

As aforementioned, these technical discoveries

and digest, but is a powerful communication tool

are important tools for construction, as they

with his team of builders and those learning from

overcome existing structural limitations of

his works.

bamboo, such as the limitation of roof spans.

The refined and modular manner in which

Geometrically, the principle of ruled surface

Vélez designs allows his techniques to be easily

by Antonio Gaudi underlies the design of the

replicated and transferred, expanding the

architect, generating clean geometry lines from

freedom and possibilities of bamboo structures

a grid. The work of Vélez is also strongly based

and geometry.

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truss are also conveyed in his drawings. The

on symmetry and balance, similar to Palladian architecture. While Vélez uses a regular grid as a guide for structure and scale, he attempts to introduce complexity and rhythm to his geometry through layering different perspectives in plan, section and 3D module in his design.

The simplicity and rawness of Vélez ‘s drawings thus contain multiple layers of depth in its overlays of information.

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TECHNIQUES

Drawing Techniques 1

Drawing of bundle

3

Drawing of floor

The diagram of the bundle represents the

The drawing of the geometric floor plan

cross section of the bamboo bundle. Each

is also designed based on a regular grid,

circle represents a single bamboo, which

corresponding to the sectional drawing.

are arranged in different configurations

This drawing serves as an organisational

according to the design and different

tool for the agglomeration of sectional

bundle sizes according to the structural

modules.

requirement.

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The plan as a design tool can be adapted The bundle as a design tool can be

to various polygonal geometries and

applied to various segments of the

agglomeration methods such as linear

bamboo bundle, apart from the start of

and radial to generate different spatial

the bundle. This potentially increases the

effects with the same bundling module.

geometric complexity of spaces.

2

Drawing of module

4 Colors

The sectional drawing is a module that

Distinct primary colors (red, green, and

can be further dissected into smaller

blue) are consistently used represent

module that are reflected along at the

the primary, secondary and tertiary

central axis. The grid serves a guide

structures across all drawing. The

for dimension and scale for structural

innovative approach allows Vélez to

precision as Vélez designs with

design independent of three dimensional

construction in mind. Each module is

modelling tools, while producing spaces

color coded with primary, secondary

that are easily inferred from the drawings.

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and tertiary structures that correspond to the bundle section. This introduces

This systematic use of colors can be

an additional dimension to the two

applied to any design in bamboo

dimensional drawings of Vélez, generating

structures, increasing the ease of

three dimensional spatial effects when

designing reasonable structures for

read together.

construction.

DRAWING TECHNIQUES

Church of No Religion 2002 Elevation and bundling section

2

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1

3

Arles Contemplation Pavilion 2018 Elevation and plan

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TECHNIQUES

Construction Techniques 1

Bundling detail Traditional vernacular methods utilises natural fibers to bind multiple bamboos together. The reinvention of bundling with iron clamps or straps improves the stability and durability of the detail, as the standardised joinery can be mass produced and is resistant to weathering.

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2

Intersecting joinery Traditionally, the joinery bewteen bamboo and bamboo can be done by cutting the intersecting end of the bamboo to fit them together, and lashing to fasten. VĂŠlez invented the fish mouth joint to improve the tensile strength and constrain movement of the joint, by filling the bamboo chamber with concrete, then casting threaded rods that bind both bamboos together.

3

Footing detail The traditional footing detail punctures the hollow bamboo, and inserts a threaded rod and bamboo nail perpendicularly for the end to be casted in concrete. VĂŠlez similarly uses concrete to cast the perpendicular threaded rods in the chamber, and seals off the chamber with an iron bracket or plastic bottle and nut to stabilise the joinery, as it can easily

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shift when the bamboo is cast at an angle in the concrete footing.

CONSTRUCTION TECHNIQUES

1 12cm diameter bamboo Bamboo nail Threaded rod

old 12cm diameter bamboo Bamboo nail Threaded rod

2 12cm diameter bamboo Mortar/ concrete

Clamp Threaded rod

new

Threaded rod Iron foot

12cm diameter bamboo

Iron bracket

Mortar/ concrete

Nut Washer

Clamp Thread

Threaded rod

Microregulation nut

Nut

Iron foot Iron bracket

Washe

Microregulation nut

4

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1

2

old

Threaded rod Mortar/ concrete Threaded rod

new

Access hole to attach nut

Mortar/ concrete

Access hole to attach nut

Only drawing provided for the construction of Church without Religion

4 12cm diameter bamboo Bamboo nail

old

Threaded rod

12cm diameter bamboo Mortar/ concrete

new

Threaded rod Iron foot Iron bracket â–ś

Microregulation nut

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Diagram of traditional vernacular technique vs new technique

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CATALOGUE

C ATA LO G U E O F P R OJ E CTS SELECTED CASE STUDIES

C ATA LO G U E O F P R OJ E C TS

Catalogue of Projects The majority of Vélez’s projects are found in Colombia, where guadua is abundant. The pavilion is the most common structural typology and scale designed by the architect. The map of projects in Colombia is not exhaustive, as there are numerable informal works of the architect that remain undocumented. The map of projects in the World is a more comprehensive coverage of projects that have been internationally

The method of design in which Vélez designs is translatable and scaleable, identifying distinct characteristics of the colonial pitched roof and truss system across local and international projects.

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recognised.

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JAMAICA

Map of projects in the World CHINA

MEXICO

BRAZIL

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NETHERLANDS

GERMANY

FRANCE

C ATA LO G U E

B O G OTA

C A RTAG E N A

QUINDIO

C ATA LO G U E O F P R OJ E C TS

CUDINAMARCA

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Map of projects in Colombia â–¶

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C ATA LO G U E

RESIDENTIAL

CLUB PUERTO

P E A S A N T FA R M E R HOUSE

HACIENDA HOUSE

HOUSE ANAPOIMA

SOCIAL HOUSING PROTOTYPE

C U LT U R A L

T E AT R O L I B R E

A R L E S PA V I L I O N

NOMADIC MUSEUM

TOLHUISTUIN PODIUM

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STRUCTURE

STAG E I S L A N D VILLAGE

H O S P I TA L I TY

HOTEL DO FRADE R E STAU R A N T

PA R Q U E D E L C A F E LOOKOUT TOWER

CERAMICS STUDIO

INFRASTRUCTURE

C R O SS W AT E RS ECOLODGE

RELIGIOUS

CHURCH WITHOUT RELIGION

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CO F F E E PA R K LOOKOUT TOWER

E D U C AT I O N A L

P L A N TA M O S GREENHOUSE

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SOCIAL HOUSING PROTOTYPE

HOUSE ANAPOIMA

JENNY GARZON

BARCELONA SCHOOL

Z E R I PA V I L I O N

FINCA CANALETE H O RS E STA B L E

SELECTED CASE STUDIES

Selected Case Studies Based on the program, structural type and scale, a series of projects are selected for in depth analysis. These projects are also embody distinct architectural elements of the pitched roof and truss system that characterise Velez’s works The first case study on the Tolhuistuin bamboo podium is a representation of more simplistic, informal pavilions that Velez predominantly was a significant milestone in Velez’s works as guadua was internationally certified as a construction material at the Hannover EXPO in 2000, and involves a diverse use of materials and techniques. The Church without Religion is a departure from the dome typology in the former two case studies, and uses curved bamboo elements that are not typical of Velez’s works.

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constructs. At a larger scale, the Zeri pavilion

Through the use of geometric drawings and digital modelling as tools, the selected projects are analysed in a systematic structure: project background; tectonic | anatomy; tectonic | detail; geometry and interpretation.

A taxonomy is generated based on geometric and construction techniques extracted from the works of the architect. This taxonomy is applied in a series of experimental physical modelling as a foundation to explore and expand the geometric and constructional vocabulary of the architect.

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CASE STUDIES

I IGELSIA SIN RELIGION

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CASE STUDIES

1

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3

4

5

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1 2 3 4 5

Roof bricks Ruled beams Longtitude beams Truss modules Facade

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Project background A temporary cathedral was first constructed in 1999 within five weeks and at a low cost, after the original cathedral was destroyed in an earthquake in Pereria, Colombia. The popularity of the cathedral urged Vélez to rebuild a replica as a permanent structure on an island in Finca Canalet, Colombia, but without religious affliation and renamed Church without Religion.

experience obtained in the use of curved guaduas. Aside from retaining characteristic naves of a Gothic church, the design was inspired by natural vaults formed by guadua groves that border the streams of the region.

Through this design, Vélez was able to propose a radical, tropical reinterpretation of Gothic

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The construction technique built on the

architecture, while making it universal and liberal using a single natural material.

finca canalet, colombia program | cathedral completed | 2009 area | 700 m 2 dimension | 30 x 20 x 10 m

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Vincinity map

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CASE STUDIES

1 FO UN DAT I O N

2 MOD U L E | T RUSS SYST EM

The concrete foundation serves as a base for concrete footing and structure

The truss modules are pre fabricated and lifted to be cast in concrete footing

3 F RA ME WO RK | BAMB OO

4 ROOF | RU L ED B EA MS

Longitude beams are added to connect the individual modules

Ruled beams are added to the top of the truss structures

5 R O O F | BRI C K

6 FACA D E

Waterproofing layer and brick tiles are overlapped on the roof

Bamboo mesh, grid of bamboo poles and PVC fabric is used as an opqaue screen

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Tectonic | Anatomy The Church without Religion is built on a simple raised foundation to act as a water resistant barrier between the ground and bamboo structure. Each bamboo module is pre fabricated with the primary, secondary, tertiary structures and truss system, then lifted on to small concrete mounds that are cast on the foundation. These modules are tessellated and connected in a linear fashion. While the modules are installed, modules to construct the roof.

Upon completion of the bamboo structure, a water proofing layer and overlapping brick tiles are added to the roof. The facade of the temporary cathedral, using pvc fabric as an opaque screen, is replaced with bamboo mesh to improve porosity in the permanent church.

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Anatomy

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the ruled beams are concurrently lifted onto the

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CASE STUDIES

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D3

D2

D1

M2

M1

M2

R1 R2

R1 R2

R1 R2

R1 R2

M1

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Sectional bamboo module

Bamboo bundle

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Tectonic | Module and Detail Each sectional module is symmetrical. On either side of the median axis, two semi structures each cover a side aisle and half of the central nave, and are independent structures that are perfectly 12cm diameter bamboo

stable in themselves.

Mortar/ concrete D1

Threaded rod Iron foot

Each module can be broken down into the

Iron bracket

arch, arch supports and buttresses. The smaller

Microregulation nut

individual module M1 has a bundle of six bamboo the roof. Two pairs of curved bamboo R1 and R2 bend to either side to form the nave, and a pair

Bamboo truss D2 Bamboo nails

of straight bamboo extends directly to the roof.

The horizontal trusses and buttresses connect between the sets of curved bamboo to reinforce the structure and curvature. The larger module M2 has longer bamboo and more trusses at the same interval to support the larger scale.

Threaded rod D3

Mortar/ concrete

Access hole to attach nut

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poles that sprout from the ground to support

The connection details are a hybrid of materials consisting of bamboo, steel and concrete.

Unlike traditional bamboo construction, VĂŠlez uses concrete infills to cast threaded rods in the bamboo to stengthen connection points and pin bamboo together, as seen in D1 and D3. Bamboo nails are used for bamboo to

Construction detail Footing Bamboo to bamboo Bamboo to roof

bamboo connections for a clean finish and where connections are less crucial, as seen in D2.

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CASE STUDIES

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4.0m

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Geometric drawings of section and floorplan

8.0m

4.0m

IGELSIA SIN RELIGION

Geometry and Interpretation In section, the hierarchy of spaces is similar to traditional Gothic cathedrals with characteristic naves. While Gothic architectural elements are typically heavy, the minimal and elegant use of a single bamboo pole for structural elements through the systematic arrangement of arches, horizontal and vertical elements, creates lightness and porosity in the structure. The sprouting bundle of bamboo that originates from the roof, creating harmony between the vertical and horizontal structure. The large voids shaped by the naves also create deceptive lightness of the roof and appears to be sectionally devoid of structure.

In plan, the three-dimensional sectional modules are tessellated in a linear fashion.

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a point spreads out into a surface to generate

While the rectilinear plan expresses simplicity and linearity, it translates to curvature and complex spaces in the cathedral, expressed through the sectional drawing.

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CASE STUDIES

II Z E R I PAV I L I O N

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CASE STUDIES

1

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2

3

4

5

1 Hybrid roof 2 Radial beams

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3 Polygonal beams 4 Guadua root truss 5 Truss system

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6 Radial modules

Z E R I PAV I L I O N

Project background The Zeri pavilion in the Expo-Hannover 2000 in Germany was a demonstration of new vision towards a sustainable and lasting development, and the first time guadua was internationally certified as a construction material. The pavilion represented conclusively the theme of the EXPO ‘Nature, humanity and technology’.

A pavilion was first constructed in Manizales for and physical properties of guadua, afterwhich the actual pavilion was duplicated in Germany for the international EXPO. The construction of the pavilion fully utilised locally sourced materials for various parts of the structure. Only concrete for the gallery floor and steel for linkage are imported industrial products.

THE POETICS OF CONSTRUCTION

physcial stress tests to determine the mechanical

Overall, the pavilion had little environmental impact.

hannover, germany program | pavilion completed | 2000 area | 1650 m 2 dimension | diameter 40 m overhang >7m

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Vincinity map

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THE POETICS OF CONSTRUCTION

CASE STUDIES

1 F O UNDATI O N

2 M O DULE | A L ISO & G U A DU A

Ra d i a l l a ye rs of concret e fo ot ing cast

Aliso wo o d is bun dled an d used in main

w t ih re cycle d bot t l e s

co lumn s an d guadua in in terio r co lumn s

3 F R A M E W O R K | A R B O LO CO & CO N CR E TE

4 TR U S S | G U A DU A R O OT

A r bol oco wo od a s be a m s , chu s quea

S o lid guadua ro o ts are used to tran sfer

ba m bo o a nd chi cke n w ire wove n in

vertical lo ad an d sup p o rted by bo n go si

d ou be flo or ing , concret e a s fou ndatio n

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in m ezza nine

5 R O O F | R A DI A L B E A M S

6 R O O F | M E TA L

Ra d i a ll y a r ra ng e d be a m s for m

E xp an ded metal to sup p o rt fiber an d

fou nd a t i on for ro of

cemen t in ro of

Z E R I PAV I L I O N

Tectonic | Anatomy The pavilion is constructed on a ten sided polygonal concrete foundation as a water resistant base. Each segmental module of the pavilion is constructed first, then lifted and cast in the radial layers of concrete footing that are moulded with recycled plastic bottles. The columns in each module are inclined to provide added support.

structural materials for the roof, overhang and pillars, according to the diameter and physical properties needed for each component.

Arboloco wood is then used as beams for the gallery joist work, and concrete as foundation for the mezzanine, with chusque bamboo and chicken wire as finish for the mezzanine floor.

THE POETICS OF CONSTRUCTION

Aliso wood and guauda bamboo are main

Radial beams for the roof and layers of finishing material are added, including expanded metal, fiber and cement, and roofing felt, to construct a strong and stable roof with considerable weight.

Summary of key materials: structure, roof and overhang: guadua bamboo; pillars: aliso wood; gallery joist work: arboloco wood; connection: chusque

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THE POETICS OF CONSTRUCTION

CASE STUDIES

D3

D1

D2 D4

D5

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Segmental bamboo module

Z E R I PAV I L I O N

Mortar/ concrete

D1

Guadua root

Tectonic | Module and Detail

Bongosi support

Each segmental module consists of three frames and forms one edge of the ten-sided polygon.

Aliso column

Within each frame, aliso columns with larger diameter are used as exterior columns, whereas

Bongosi support

guadua columns are used as interior columns.

Iron

The interior and exterior columns begin with four

Threaded rod

aliso and six guadua respectively, but terminate

D2

above the mezzanine and are continued with smaller bundles of bamboo that support the roof.

D3

Aliso column

the intersection between the pillars and roof

Recycled bottle cast concrete Threaded rod and nuts

structure.

Iron

Between each frame, horizontal elements are added to connect the frames and form the edges of the polygon. Guadua root trusses are also added between exterior columns to transfer weight from the horizontal elements to the D4

Manual bent metallic strap Threaded rod

THE POETICS OF CONSTRUCTION

The truss support for the roof also splays from

ground. The structure for the mezzanine is built as segments that approximate the edge of the polygon. A concrete surface is constructed on the mezzanine to create space.

The construction details of the pavilion are

D4

Aliso column

rich in the selection of materials. Guadua root

Recycled bottle cast concrete Threaded rod

arcs are used as trusses; bongos as connection

Mortar/ concrete

for guadua root to aliso columns; cast iron as connection for bamboo to aliso columns; metallic strap for bundling; cast concrete moulded from bottles as footing.

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Construction detail Guadua truss Guadua truss to aliso Bamboo to aliso Bundling Footing

CASE STUDIES

THE POETICS OF CONSTRUCTION

7.0m

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Geometric drawings of section and floorplan

26.0m

7.0m

Z E R I PAV I L I O N

Geometry and Interpretation In section, the void in the central space appears to be spacious, but is bound by a hierarchy of spaces - the interior columns, mezzanine, exterior columns and cantilvering roof, that create enclosure instead of openness. The structural density of columns at the second level is also twice that of the first level, reducing opacity and increasing the rhythm of structure. As the columns slant to improve structural stability, it the splaying trusses for the roof structure creates visual divergence.

In plan, the ten-sided polygon inscribed in a circle, creating an experience of deceptive curvature and movement. As the polygon is equal on all sides, there is no hierarchy of entrance or exit, but maintains openness on all fronts. The

THE POETICS OF CONSTRUCTION

craetes a physical convergence of space, while

radial organisation of modules also generates the regularity of spaces from an interior perspective, but this rigidity is also modified with unexpected details like the guadua root truss that creates a skirt above the openings to the pavilion.

The section and plan drawings of the pavilion communicate to some degree in the corresponding dome typology and orthorgonal elements, but structural complexity is introduced through the partition of spaces and changing section of bundles that vary the quality of space.

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THE POETICS OF CONSTRUCTION â—€

50

CASE STUDIES

III TOLHUISTUIN BAMBOO PODIUM

THE POETICS OF CONSTRUCTION

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CASE STUDIES

1

THE POETICS OF CONSTRUCTION

2

3

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4

1 2 3 4

Hybrid roof Radial beams Truss system Arc system

TOLHUISTUIN BAMBOO PODIUM

Project background The pavilion was designed as a cultural stage for hospitality and public programming in Tolhuistuin, one of Amsterdam’s liveliest cultural hotspots. A relatively simple project, the scale of the pavilion is smaller in comparison to the Zeri pavilion and Church without Religion.

The pavilion accomodates the flexibility of program through a singular open space that yet generates intriguing spaces through the elevation of the pavilion and folding roof that is not typical of bamboo structures.

THE POETICS OF CONSTRUCTION

allows free configuration of furniture or elements,

amsterdam, netherlands program | pavilion completed | 2010 area | 290 m2 dimension | 17 x 17 m

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Vincinity map

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THE POETICS OF CONSTRUCTION

CASE STUDIES

1 FOUNDATION

2 CONCRETE TRUSS SYSTEM

Concrete arc footings are cast on the foundation to elevate the structure

3D trusses are cast in the arc columns as the primary support for the structure

3 FRAMEWORK | BAMBOO

4 FRAMEWORK | TRUSS SYSTEM

Polygonal bamboo arcs are constructed along the perimeter of the columns

The truss modules are pre fabricated and lifted to be cast in concrete footing

5 FRAMEWORK | DOME

6 ROOF

Addition of dome along interior of arcs to complete the roof

Waterproofing layer and ceramic tiles are used to cover the roof

TOLHUISTUIN BAMBOO PODIUM

Tectonic | Anatomy A concrete foundation is created for the base of the podium, on which arched concrete columns are cast at the four corners to elevate the bamboo structure. Concrete trusses are then cast on top of the arched columns in a splay, as the primary structure for the roof.

The main bamboo frame folds at the center of the edges, and is constructed along the perimeter to the podium. The edges of the inner and outer frame are connected with horizontal elements. A more eleborate three dimensional truss system is then added between the horizontal elements to reinforce the folding structure, as well as add structural complexity and depth to the arches.

Finally, the central space carved from the folding

THE POETICS OF CONSTRUCTION

of the columns to create four arched entrances

frame is constructed with an orthgonal dome to complete the roof. A water proofing layer and overlapping ceramic tiles complete the finish of the roof.

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THE POETICS OF CONSTRUCTION

CASE STUDIES

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Quadrant bamboo module

TOLHUISTUIN BAMBOO PODIUM

Tectonic | Module and Detail Each quadrant module consists of two rails that form the perimeter of the roof. Between these rails, horizontal beams are used to keep the rails apart, and diagonal trusses are reflected along the central axis of the two rails to further reinforce the frame system and detail the interior roof.

The intersection points of the frame sits on a arched concrete column. The elevation of the roof frame at two levels - the concrete column and bamboo columns creates deceptive lightness and porosity of the structure. When all quadrants are assembled, the edge of the roof forms a pitch that continues the arched language of the concrete columns.

THE POETICS OF CONSTRUCTION

splay of bamboo columns, which are cast in an

Diagonal beams are then built between the inner rails and a square frame at the top, to create a domed central space and opening for skylight.

The final structure resembles a folded origami roof with the facets of each module.

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THE POETICS OF CONSTRUCTION

CASE STUDIES

58

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Geometric drawings of section and floorplan

TOLHUISTUIN BAMBOO PODIUM

Geometry and Interpretation In section, the main structure of the podium is a hybrid of concrete and bamboo, where tall arched columns dominate the structure, and depart from conventional concrete footings that are small and concealed. The elevation of the roof thus creates lightness and the impression of a floating structure. The use of straight bamboo elements to create extension of the arc from the concrete columms also creates deceptive

In plan, the symmetry and regularity is disrupted by the controlled sprouting of the truss system in section. The truss system that connects midpoint to endpoint of the horizontal elements also creates visual movement along the edges of the folded structure.

THE POETICS OF CONSTRUCTION

curvature and a vaulted space.

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THE POETICS OF CONSTRUCTION â—€

60

TAXONOMY

SYSTEM & OPERATIONS GEOMETRIC AND STRUCTURAL EXPLORATIONS

SYSTEMS

Based on the analysis of the case studies, a taxanomy of systems are derived between lines, between modules, and between systems.

Line refers to joinery between bamboo elements.

The operations that are employed in Vélez’s works include bundling, termination and intersection.

Plane refers to the geometric floorplan that organises bamboo modules. The agglomeration radial and offset.

Space refers to the phenomenology of the space.

Phenomenology is the belief in the primacy of sensory and experiential qualities in architecture, inspired by the philosphy of Martin Heidegger, to use architectural means to create specific architectural atmospheres. This system composes

THE POETICS OF CONSTRUCTION

of bamboo modules can be abstracted as linear,

the space from an atmospheric approach, as compared to the former systems that are constructional tools for bamboo structures. The spatial effects derived from Vélez’s works are classified as lightness/ heaviness, light/ shadow, movement, and interior/ exterior.

Based on this taxonomy, experimental models are designed in the next chapter to derive a set of geometric and structural explorations.

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61

Line

TAXONOMY

Bundling

x1

x2

x3

t1

t2

t3

i1

i2

i3

Terminate

Plane

THE POETICS OF CONSTRUCTION

Intersect

Linear

l

Radial

r

Offset

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o

Space

SYSTEMS

Lightness/ heaviness

Movement

The weight of the structure is an intrinsic

Movement is about the composure of spaces

characteristic of tectonics and materiality.

that guides and stimulates the user of the space.

Impressions of of heaviness and lightness are

While the quality of movement is absent in most

connected with the expression of the material

bamboo architecture, it is crucial in generating

through density, contact points, voids and

dynamic spaces within the singularity and rigidity

bundling. These factors make the structure

of bamboo structures. Movement will be explored

appear heavier or lighter than it actually is.

through the study of arc/straight elements, symmetry/ asymmetry and balance.

Interior/ exterior

Sculpting the experience of light is an important

Tension between the inside and outside is

element in bamboo architecture. Light is a

eminent in the works of Vélez, characterised by

central element in Louis Kahn’s philosophy as a

a central space and large cantilevering roofs

‘giver of all presence’, and the ‘mysteriousness’ of

that generate a hierarchy of spaces between

shadow as a natural part of light evokes silence

the interior and exterior. The interior/ exterior is

and awe. Kahn’s methodology in the use of

one of the nine elements that are important to

shadow as a form giver for silent spaces draws

the creation of atmosphere in Peter Zumthor’s

similarities to the pure, natural atmosphere

works. The manner in which transition between

in bamboo architecture, which provies a

private and public spheres takes place alters

counterpoint to today’s architecture that strives

the experience of the user from the interior

for dynamic and bright icons. The quality

and exterior. The relationship between interior/

of light and shadow is understood through

exterior will be explored through the hierarchy

porosity, intersection of elements, and geometric

of spaces, openness/ enclosure, proportion and

configurations in the works of Vélez.

scale and forced perspective.

THE POETICS OF CONSTRUCTION

Light/shadow

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63

Between systems

TAXONOMY

Effect

Lightness/ heaviness

Technique

I

II

III

I

II

III

Density

THE POETICS OF CONSTRUCTION

Contact points

Void

Bundling

Light/ shadow

Porosity

Intersection

64

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Linear/ radial

Effect

Technique

Linear/ radial

SYSTEMS

Effect

Technique

Movement

Arc/ straight

I

II

III

Symmetry/ asymmetry

Balance

Hierarchy Cantilever Openness/ enclosure

A

B

C

B

A

A

B

A

A

B

C

B

A

THE POETICS OF CONSTRUCTION

Interior/ exterior

Proportion

Forced perspective

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65

TAXONOMY

THE POETICS OF CONSTRUCTION

LIGHTNESS/ HEAVINESS

I Effect

II Technique

III

I

II

III

Heavy bamboo columns are cast in light and

htness/ heaviness

Density

small concrete mounds, creating the impression that it floats above the floor with checkered tiling of a finer resolution. The upper part of the church appears lighter as the bundles of

Contact points

bamboo and density spread out towards the top. Aside from carving out usable spaces for the church, the central and side naves only touch the roof and floor at three points, creating

Void

large structural voids and visual lightness of the structure, as represented by the poche.

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Bundling

Light/ shadow

Porosity

L I G H T/ S H A D O W

I Effect

Lightness/ heaviness

II Technique

S PAC E

III

I

II

III

Density

Contact points THE POETICS OF CONSTRUCTION

Void

Bundling

While the naves of the church are reminiscent Light/ shadow

Porosity

of Gothic architecture, the silhouette of the church was drawn from the natural bending and leaning of bamboos in bamboo forests.

The porosity of the building is largely derived from the materiality of weaved mesh as walls

Intersection

of the building, as the roof does not create any skylight. Between towering bamboo columns, horizontal trusses cast shadows that are akin to the Japanese concept of komorebi - light filtering through the leaves of trees. This

Linear/ radial

immersive experience is further accentuated by the linear depth of space.

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Bundling TAXONOMY

MOVEMENT

Porosity

Light/ shadow

Intersection

THE POETICS OF CONSTRUCTION

Linear/ radial

I Effect

Technique II

Movement

Arc/ straight

III

I

II

III

The church is one of the few projects in which Velez uses curved bamboo. Bamboos are naturally found to be curved to varying degrees, the use of curved bamboo in this project generates more fluidity in the visual movement

Symmetry/ asymmetry

of the structure, as compared the rigidity of straight bamboo elements. The covergence of bamboo columns towards the tip of the nave and symmetry of each nave creates a singular

Balance

space that draws its visitors to views at both ends of the building. The regular rhythm of columns further contributes to the singularity of space under each nave.

Hierarchy

B

C

B

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Interior/ exterior A

A

Cantilever B

A

Openness/ enclosure

A

B

CA

B

BA

C

B

A

A

B

A

A

B

C

B

A

Linear/ radial INTERIOR/ EXTERIOR

Effect I

Technique II

Movement

Arc/ straight

S PAC E

I

III

II

III

THE POETICS OF CONSTRUCTION

Symmetry/ asymmetry

Balance

Interior/ exterior

The central nave serves as the main gathering

Hierarchy

space in the church, whereas the side aisles and

Cantilever A

B

C

B

A

A

B

A

A

BA

C B

B

A

C

B

A

naves act as transition spaces from the exterior A

B

A

A

B

C

B

A

to the interior. The depth of the linear space Openness/ enclosure

creates immersion, further accentuated by the disproportionate floor to roof height to create an atmosphere of immateriality and sacredness.

Proportion

At both ends of the church, the central nave acts as a large window that frames a view of the exterior and draws the interior towards the outside. As a contrast to traditional churches

Forced perspective

that are heavily focused on the interiority, Velez maintains the relationship of the structure with the surrounding context of the building.

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TAXONOMY

THE POETICS OF CONSTRUCTION

LIGHTNESS/ HEAVINESS

Effect Effect

Technique Technique

I

I

II

II

III III

The pavilion uses some of the highest densities

ss/ heaviness htness/ heaviness

Density Density

of bamboo in Velez’s works, due in part to the large span of the roof, and higher specification to meet strict technical standards. Regardless, the mixed use of thicker aliso columns and

Contact Contact points points

thinner bamboo columns, as well as different bundling sections creates varying densities to reduce the visual heaviness of the structure. At ground level, the rhythm of columns are less

VoidVoid

frequent than that at the mezzanine to create openness for entrances and allow the pavilion to

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Bundling Bundling

ght/ shadow Light/ shadow

Porosity Porosity

sit lightly on the ground.

L I G H T/ S H A D O W

Effect Effect

Technique Technique

htness/ heaviness Lightness/ heaviness

Density Density

S PAC E

I

I

II II

III III

Contact Contact points points THE POETICS OF CONSTRUCTION

VoidVoid

Bundling Bundling

The radial configuration of the pavilion creates Light/ shadow Light/ shadow

Porosity Porosity

high porosity, allowing natural light to filter through openings from all around the structure.

While higher densities of bamboo typically prevent light from entering the interior space, the structure is spaced apart with multiple

Intersection Intersection

intersecting points to generate interesting shadows cast by bamboo at different angles and intensities.

Linear/ Linear/ radial radial

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Bundling Bundling TAXONOMY

MOVEMENT

ight/Light/ shadow shadow

Porosity Porosity

Intersection Intersection

THE POETICS OF CONSTRUCTION

Linear/Linear/ radial radial

Effect Effect

Technique Technique

Movement Movement

Arc/ straight Arc/ straight

I

I

II

II

III

III

Straight bamboo elements are predominantly used in the pavilion, with exception to curved guadua root trusses in between columns to soften the rigidity of the pavilion. The polygonal resolution of the dome shaped pavilion also

Symmetry/ Symmetry/ asymmetry asymmetry

creates deceptive curvature of the space, while using straight bamboo elements. The slight asymmetry of each sectional module also introduces diversity of movement to the

Balance Balance

structure.

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Hierarchy erior/ exterior Interior/ exterior Hierarchy

Cantilever Cantilever Openness/ Openness/ enclosure enclosure

A

B

A

C B

B C

A

B

A

A

B

A

A

B

A

A

B

C

A

BB

A

C

B

A

Linear/ Linear/ radial radial INTERIOR/ EXTERIOR

Effect Effect

Technique Technique

Movement Movement

straight Arc/Arc/ straight

I

I

II

II

III III

Symmetry/ Symmetry/ asymmetry asymmetry

THE POETICS OF CONSTRUCTION

Interior/ exterior Interior/ exterior

S PAC E

Balance Balance

The interior roof experience is characteristic of

HieraHiera rchyrchy

Cantilever Cantilever Openness/ Openness/ enclosure enclosure

Velez’s works, through the use of long spanning A

BA

B

C

C B

B A

A

A B

BA

A

AC B

B CA

B

A

cantilevers and detailed structural roof patterns.

A

A

B

A series of interior spaces are created under the roof, to transition from the exterior, the space under the cantilevering roof being outermost, space below mezzanine, and central space being

Proportion Proportion

innermost. While the scale pavilion is large, the human scale is introduced through the horizontal and vertical partition of spaces.

Forced Forced perspective perspective

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TAXONOMY

THE POETICS OF CONSTRUCTION

LIGHTNESS/ HEAVINESS

nique Effect

ITechnique

II

I

III

II

III

The elevation of the pavilion from ground using

sity htness/ heaviness

Density

four curved concrete columns at its corners creates lightness. The arc is continued through the lifting of the roof edges, to create an open and airy space within. The massive vaulted

tact nts

Contact points

d

Void

ling

74

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Bundling

sity Light/ shadow

Porosity

structure is also lightened through the use of smaller trusses along the long spanning arcs.

L I G H T/ S H A D O W

echnique Effect

ITechnique

Density

Contact points

Contact points

Void

Void

Bundling

Bundling

Porosity Light/ shadow

tersection

Linear/ radial

II

I

III

II

III

THE POETICS OF CONSTRUCTION

Lightness/ heaviness Density

S PAC E

The tall and wide arcs allow light to enter the Porosity

pavilion from all four sides of the square plan, and skylight from the center of the roof. Small trusses that intersect the primary structure fragment the light, but do not generate detailed shadow patterns as the structure is relatively

Intersection

minimal and condensed.

Linear/ radial

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dling

Bundling TAXONOMY

MOVEMENT

osity Light/ shadow

Porosity

ection

Intersection

ique

Linear/ radial THE POETICS OF CONSTRUCTION

ear/ dial

Effect

I Technique

III

II

Arc/ straight

III

bamboo elements are used to approximate the arc and create deceptive curvature of its openings and dome shaped roof. The rising and

etry/ metry

falling arcs that run through the footing and

Symmetry/ asymmetry

roof of the pavilion generate a rhythm along its circumference.

nce

Balance

Hierarchy

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chyInterior/ exterior

ess/ ure

I

While the pavilion appears to be arched, straight

aight Movement

ever

II

A

B

C

Cantilever B

A

Openness/ enclosure

A

AB

B A

C

B

A

BA

C

B

A

A

B

A

A

B

C

B

A

Linear/ radial

Linear/ radial

INTERIOR/EXTERIOR

chnique Effect

Technique I

Movement c/ straight

Arc/ straight

mmetry/ ymmetry

Symmetry/ asymmetry

II

III

III

THE POETICS OF CONSTRUCTION

The transition from exterior to interior is direct,

Hierarchy

erarcInterior/ exterior hy

enness/ closure

I

II

Balance

Balance

antilever

S PAC E

with the cantilever of the roof as a shallow

Cantilever A

B

C

B

Openness/ enclosure

A

A A

BB

A

C

B

AA

B

C

B

A

B

A

A

B

C

B

A

buffer into the interior space. Large arched A

openings also reduce enclosure of the interior from exterior space, setting the surrounding landscape as the wallpaper of the pavilion.

oportion

Proportion

Forced spective

Forced perspective

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THE POETICS OF CONSTRUCTION

PHYSICAL EXPLORATIONS

PHYSICAL MODELLING TOOLS

From the taxonomy of systems line, plane and space, the constructional and spatial vocabulary is applied to a series of experimental models. The explorations seek to expand and develop the vocabulary derived from the works of VĂŠlez, through the translation of his methods to physical space.

The experimental models were executed at two scales: I

Small modules

between lines, with variation in the number of bundles for each module base.

II

Large modules

At higher complexity, these modules explore the organisation of bamboo bundles within a plane, generating variations in the geometric arrangement of bundles on the module base. The agglomeration

THE POETICS OF CONSTRUCTION

These modules explore the basic joinery connections

of the modules then seek to create atmospheric effects in the physical space. The connection methods from exploration I are applied to the bamboo bundles in this exploration.

Physical modelling tools Bundling detail (Top) Terminating joinery Intersecting joinery Footing (Bottom)

Physical modelling tools were also developed based on the taxonomy, as a language of expression to sculpture the space.

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P H Y S I C A L E X P LO R AT I O N S

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THE POETICS OF CONSTRUCTION

I

Small modules

Bundling

Terminate

Intersect

b1

t1

i1

b2

t2

i2

b3

t3

i3

II

Large modules

MODULES

Linear

Offset

Radial Bundling

Bundling

Terminate

Terminate

Intersect

b1

Terminate Bundling

L1

b1

Bundling

b2

Bundling Terminate

t1

b1

b 13 b

b2

t2

b2

b3

t3

b3

t2

bi 13

b3

t2

L2

Intersect

R1

t1

t3

b2

i2

Bundling

i1

1 t2 b

1 i2 t

i2

t3 b2 i1

i3 t2

Terminate

O1

b1

i3

t2

b3 i2

t3

b2

i3

b1

b 13 b

i1

i2

BundlingBundling

Terminate

b3

Intersect

t1

Terminate Terminate

Intersect

i1

IntersectIntersect

i3

t2

t1

tt 31

i1

ii 31

i2

i2

Intersect

ii 13

t3

R2

O2

i1

tt 13

b1

i2

t2

t1

i2

i1

b2

b2

t2

t2

i2

b2

i3

t3

t2

i3

i2

b3

b3

t3

t3

i3

â–ś

t1

b2

Terminate

i1

Intersect

Bundling

b1

t1

Terminate Intersect

b2

t1

Intersect Terminate

b1

Bundling

THE POETICS OF CONSTRUCTION

Bundling

Intersect

81 i3

P H Y S I C A L E X P LO R AT I O N S

Bundling Bundling

Terminate Terminate

Inte Inte

b1 b1

t1 t1

i i

b2 b2

t2 t2

i i

b3 b3

t3 t3

i i

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THE POETICS OF CONSTRUCTION

Exploration L1

ndling

Bundling

Terminate

Terminate

Intersect

Intersect

b1

LINEAR

t1

i1

Exploration L2

b2 i1

t2

i2

b3

t3

i3

t1

b2

t2

i2

b3

t3

i3

THE POETICS OF CONSTRUCTION

b1

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Bundling

Terminate

Intersect

Bundling

Terminate

Intersect

b1

t1

i1

b1 b2

t1 t2

i1 i2

b2 b3

t2 t3

i2 i3

b3

t3

i3

P H Y S I C A L E X P LO R AT I O N S

84

â—€

THE POETICS OF CONSTRUCTION

Exploration R1

ndling

Terminate

Intersect

RADIAL

Exploration R2

t1

i1

b2

t2

i2

b3

t3

i3

THE POETICS OF CONSTRUCTION

b1

â–¶

85

P H Y S I C A L E X P LO R AT I O N S

Bundling Bundling

Terminate

b1

t1

b2

t2

b3

t3

Terminate

Inter

Intersect

Exploration O1

b1

â—€

THE POETICS OF CONSTRUCTION

b2

86

t1

i

t2

i

t3

i

i1

i2

b3 i3

Bundling

Bundling

Terminate

Terminate

Intersect

b1

t1

Intersect

OFFSET

i1

Exploration O2

b1

b

2

t2

t1

i1

b3

t3

t

i

2

t3

i2

i3

2

i3

THE POETICS OF CONSTRUCTION

b3

b2

â–¶

87

88

â—€

THE POETICS OF CONSTRUCTION

OUTLOOK

Timeline W1

Physical explorations Refining physical model through study

W2

of spatial effects

W3

Digital tools 3D scanning and parametric modelling

W4

as means of digitalising physical studies, to refine system of design and

W5

Documentation Produce final models and drawings for physical explorations and digital tools

W6

Project design and iterations Selection of site and program if it has

W7

not been established

W8

Refinement of design

THE POETICS OF CONSTRUCTION

production

Details of the project W9

W10

Finalisation of design

W11

Production Drawings and models

W12 â–ś

89

W13

BIBLIOGRAPHY

INT RODU CT I O N

Frey, P., & Schaewen, D. V. (2013). Simon Velez: Vegetarian architecture. Arles: Actes Sud. Villegas, M. (2003). New bamboo: Architecture and design. Bogotá: Villegas Editores.

Ocampo, C. S., Arq. (2018, August). Form and Tectonicity of the Works of Simon Velez. Lecture presented at 11th World Bamboo Congress in Mexico, Xalapa.

The man who went 'bamboo'. Retrieved from https://thecitypaperbogota.com/features/the-manwho-went-bamboo/3890Pier, M. (2017, December 31).

THE POETICS OF CONSTRUCTION

Ito, T. (2006). Change the geometry to change the architecture. The Process in Architecture, 8-18.

Retrieved from http://papers.cumincad.org /data/works/att/caadria2006_007.content.pdf Tordoor, W. (2010, March 24). Colombian top architect Simón Vélez calls for buildings on a human scale. Retrieved from https://www.mo.be/en/article/colombian-top-architect-simon-velez-callsbuildings-human-scale Benítez, O. O. (2010, January 21). Simón Vélez and the prodigious guadua. Retrieved from http:// smpmanizales.blogspot.com/2010/01/simon-velez-y-la-prodigiosa-guadua.html

BAM BUSA G UA D UA

Botanicals, B. (n.d.). Bamboo Anatomy And Growth Habits. Retrieved from http://www.bamboobotanicals.ca/html/about-bamboo/bamboo-growth-habits.html Villegas, M., & Restrepo, E. A. (2001). Tropical bamboo: Bambusa guadua. Bogotá, Colombia: Villegas Editores.

T ECHNIQ UE S

Schwartz, C. (2017). Introducing architectural tectonics exploring the intersection of design and construction. New York, NY: Routledge, Taylor & Francis Group.

The house of bamboo: Colombian architect Simon Velez on his monumental sustainable bamboo structure [Interview]. (2018, July 17).

Colombian Architect Simon Velez on Culture of Bamboo. Retrieved from https://bestculturaldestinations.com/blog /simon-velez-colombian-architect

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Minke, G., & Henderson, J. K. (2016). Building with bamboo: Design and technology of a sustainable architecture. Basel, Switzerland: Birkhäuser Verlag.

CATALO G

Projects. (n.d.). Retrieved from http://www.simonvelez.net/projects.html Grow your own house: Simón Vélez und die bambusarchitektur = Simón Vélez and bamboo architecture. (2000). Weil am Rheim: Vitra Design Museum.

CASE ST U D I E S

Frampton, K., & Cava, J. (2007). Studies in tectonic culture: The poetics of construction in nineteenth and twentieth century architecture. Chicago, IL: Graham Foundation for Advanced Studies in the Fine Arts.

DeBoer, D. (2007). Bamboo building and culture: Applications in the U.S. Place of publication not identified: DeBoer Architects.

Yoshimura, K. (2017). Exploring the Potential of Bamboo as a Didactic Alternative Construction Material. Durban: University of the KwaZulu-Natal.

(n.d.). Retrieved from http://www.zeri.org /ZERI/Bamboo.html Visschers, L., & Jorissen, A. J. M. (2012). Het onderling verbinden van bamboestammen in de constructie van het cultuurpodium in de Tolhuistuin te Amsterdam. Eindhoven: Eindhoven University of Technology.

Bullaro, L. (2018, June 25). El bambú colombiano según Simón Vélez y Marcelo Villegas: Montajes, conexiones y soportes estructurales. Retrieved from https://www.plataformaarquitectura.cl/ cl/896067/el-bambu-colombiano-segun-simon-velez-y-marcelo-villegas-montajes-conexiones-ysoportes-estructurales

THE POETICS OF CONSTRUCTION

Zeri Pavilion for EXPO 2000 (Publication). (2012). Manizales: Zeri Foundation.

TAXONO M Y

Kahn, L. I. (1973). Silence and light. Tokyo: A U.Noto, D. (2013, June 4).

Rasmussen, S. E. (1964). Experiencing architecture. Cambridge: The MIT Press.

Baku.Zumthor, P. (2006). Peter Zumthor - Atmospheres architectural environments - surrounding objects. Basel: Birkhäuser.

PHYSICAL E X PLO RAT I O N S

Tamke, M. (2013, April 17). The Rise. Retrieved from http://www.bespokegeometry. com/2013/04/17/the-rise/ A Japanese Constellation: Toyo Ito, SANAA, and Beyond. (n.d.). Retrieved from https://www.moma. org /calendar/exhibitions/1615

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