Katerina Efraimoglou I Thesis Research Study

ARCHITECTURE AND EXTREME ENVIRONMENTS Research & Device Investigation Iceland 2014

KADK The Royal Danish Academy of Fine Arts Schools of Architecture, Design and Conservation AIKATERINI EFRAIMOGLOU

CONTENTS RESEARCH STUDIES_ ICELAND

HISTORY I MIGRATION I DEMOGRAPHICS I URBANISM I CULTURE

FIELD OF INTEREST INVESTIGATION

ICELANDIC SHEEP WOOL I MATERIAL PROPERTIES I INSULATION & ACOUSTICS

MATERIAL AND INSULATION EXPERIMENTS

SHEEP WOOL I FELT I ROCKWOOL I ALUMINIUM

FELT STUDIES

SHEEP WOOL IN ARCHITECTURE I INSULATION & ACOUSTICS

DIFFERENTIAL FORCES

TENSIONAL TENSEGRITY I FLOATING COMPRESSION

KNITTING STUDIES

KNITTING PATTERN EXPLORATION I WEAVING I ‘3D’ PATTERNS

3D WEAVING TECHNOLOGY

3D WEAVER I HONEYCOMB STRUCTURE I 3D SPACER FABRICS

DEVICE CONCEPT & STRUCTURE

YURTS I CONCEPT IDEA I THE DEPLOYABLE STRUCTURE

WEAVING EXPERIMENTS

KADK The Royal Danish Academy of Fine Arts Schools of Architecture, Design and Conservation AIKATERINI EFRAIMOGLOU

RESEARCH STUDIES_ ICELAND Team : Aikaterini Efraimoglou I Kine Fagerheim I Morten Falbach I Axel Kaaber HISTORY I MIGRATION I DEMOGRAPHICS I URBANISM I CULTURE

KADK The Royal Danish Academy of Fine Arts Schools of Architecture, Design and Conservation

RESEARCH STUDIES_ ICELAND HISTORY MIGRATION DEMOGRAPHICS URBANISM CULTURE

A TIMELINE OF ICELANDIC HISTORY

A circular format from the settlement in 874 until the year 2014, showing major events in the history of Iceland.

RESEARCH STUDIES_ ICELAND HISTORY MIGRATION DEMOGRAPHICS URBANISM CULTURE

MIGRATION PATTERNS

A map showing exchanges mainly among countries of Europe and Iceland, but also the great migration movement of Icelanders towords the USA and Canada, around 1900.

RESEARCH STUDIES_ ICELAND HISTORY MIGRATION DEMOGRAPHICS URBANISM CULTURE

DEMOGRAPHIC STATISTICS

An infographic comparing population between Iceland & Denmark, in terms of the size of each country, and the age structure of their population.

RESEARCH STUDIES_ ICELAND HISTORY MIGRATION DEMOGRAPHICS URBANISM CULTURE

URBANISM

A map showing how the concept of an urban city is formed in Iceland. Characteristically, an area of 200 inhabitants in Iceland is considered as an urban area.

RESEARCH STUDIES_ ICELAND HISTORY MIGRATION DEMOGRAPHICS URBANISM CULTURE

A YEAR IN ICELAND

An infographic showing the variety of important cultural events in Iceland in a period of one year.

FIELD OF INTEREST INVESTIGATION Research on Icelandic sheep breed & wool properties LOCAL INDUSTRY I ICELANDIC SHEEP WOOL I MATERIAL PROPERTIES

KADK The Royal Danish Academy of Fine Arts Schools of Architecture, Design and Conservation

DEFINING A SPECIFIC FIELD OF INTEREST

LOCAL INDUSTRY & ARCHITECTURE I MATERIALS I INSULATION

TOPOGRAPHY & THE CONTEXT

SOLUTIONS INSPIRED BY LOCAL - ANONYMOUS ARCHITECTURE

What and how can we learn from local Icelandic architecture, having as a paradigm the traditional icelandic turf houses, towards a more sustainable and high contectualized architecture? Perhaps regarding their structural performance for seismic conditions and strong wind loads, utilization of local materials such as moss and their construction methods. How could geothermy, contruction and insulation inform the future of architecture?

Image above: Turf house at Loch Eynort, South Uist, 1936

FIELD OF INTEREST

THE UNIQUE ICELANDIC SHEEP WOOL I A SUSTAINABLE RESOURCE

ICELANCIC SHEEP BREED

ICELANDIC SHEEP WOOL_ A GREAT RESOURCE OF ICELAND

The Icelandic sheep has been essential to the survival of those people living in Iceland. In the centuries-old struggle to live on this inhospitable island, sheep have been our greatest resource. A source of food, clothing and protection against the harsh climate, without sheep Iceland would have remained uninhabitable. Because of this, the tradition of working with wool dates all the way back to the Viking settlers. The traditions of shearing, spinning and carding began back then, and they continue to this day.

And, in Iceland, there continue to be more sheep than people.

FOCUS OF INTEREST

ICELANCIC SHEEP WOOL I UNIQUE PROPERTIES MATERIAL EXPLORATION

THEG + TOG = LOPAYESA SAVING ENERGY

Wool is designed by nature to save energy. Sheep Wool Insulation also requires only a fraction of the energy to produce compared to that of man made counterparts. This means that Sheep Wool Insulation will pay back its energy costs more than 5 times sooner (only 15 kW of energy are used to produce 1 m³) MATERIAL ADVANTAGES

Wool is natural, renewable and sustainable. Sheep Wool Insulation is perfectly safe to touch and requires no specialised safety clothing or equipment, making it easy to install. It causes no irritation to the eyes, skin or lungs and wool fibres present no hazard to your health. Wool fibres are breathable, meaning they can absorb and release moisture without reducing thermal performance unlike fibre glass based product. Wool does not support combustion and will extinguish itself in the event of fire.

Sheep Wool Insulation does not settle due to the high elasticity of the wool fibres ensuring no loss of performance over time.

‘‘There is a difference in the name given to the traditional Icelandic sweater between Icelandic and other languages. In Icelandic, the term is lopapeysa. Lopi is the name of the yarn traditionally used in its making, and yesa means sweater, so in Icelandic the term literally means sweater made of ‘lopi’. In other languages, the sweater is named after its perceived country of origin. ‘‘

SPECIAL ATTRIBUTES OF THE ICELANDIC SHEEP WOOL

Icelandic sheep have evolved over more than 1,000 years in complete isolation, influenced only by the harsh climate and rugged landscape. This has helped to create a unique combination of fibres, unlike any other in the world.

The soft, fine inner fibres provide insulation and are strongly resistant to the cold. Meanwhile, the tough outer fibres are long and glossy, making them water resistant. So: hardy, lightweight, warm and water-repellant.

MATERIAL AND INSULATION EXPERIMENTS Working with different materials and types of wool. Testing their performance SHEEP WOOL I FELT I ROCKWOOL I ALUMINIUM

KADK The Royal Danish Academy of Fine Arts Schools of Architecture, Design and Conservation

MATERIAL STUDIES

SHEEP WOOL INSULATING PERFORMANCE & PROPERTIES BENEFITS & LIMITATIONS

SHEEP WOOL INSULATION The insulating properties of the wool are down to the millions of tiny air pockets between the wool fibres that trap the air, preventing movement of heat across it. Insulating with sheep wool is the most sustainable method of insulating. Issues to take under consideration are: 1. Where is the insulation to be installed 2. The recommended R-values for areas to insulate

BENEFITS It is a natural product produced every year by sheep, therefore there are no costs associated with producing it. Sheep’s wool has good insulating properties, helping to keep heat in during the winter and heat out during the summer. It is perfectly safe to touch, causing zero irritation, therefore no specialist clothing to install it. The wool is very flexible and therefore very easy to install in the home. Wool fibre is breathable, naturally absorbing and releasing moisture without decreasing its thermal insulating properties, which has the added benefit of preventing damp build up on wooden joists in the loft. It does not burn readily in air, since it needs a higher concentration of oxygen to combust than is found naturally in air.

LIMITATIONS Although sheep’s wool is produced naturally, since the demand for wool for other uses is relatively high, it is higher in price than either glass or mineral wool. The wool needs to be treated with chemicals so it is not 100% energy free to produce (in fact it requires about 15% of the energy required to produce glass or mineral wool).

COLLAGE EXPLORING MATERIALITY FORM & SHAPE Working with layers. Combining different values

EXPERIMENT NO 01

INSULATION PERFORMANCE REORDERING THE FACADE LAYERS: INSIDE I MIDDLE I OUTSIDE 1:1 SCALE MODEL

THE FIVE DIFFERENT FACADE SYSTEMS

a. 25 cm of rockwool was replaced by 10 cm of rockwool. b. A layer of 8 cm fabric synthetic felt, cut into strips c. A pure piece of 5cm unprocessed wool, placed into a fiberglass net d. A 2 cm layer of wool yarn weaved with a polyester fabric e. 0.1 mm aluminium piece

MATERIAL STUDIES

SHEEP WOOL INSULATING PERFORMANCE & PROPERTIES BENEFITS & LIMITATIONS

a.

b.

d.

MODEL OF 2,5 CM WIDTH_ TESTING THE INSULATION VALUES OF FIVE DIFFERENT ‘FACADES’

c.

e.

This model aims to investigate the insulation performance of 5 different facade systems, regarding their width, their material and the way they were situated each time (close to the window, among other layers, or at the inner side).

A foam box of 50 x 50 x 25 was adjusted at the studio’s window, insulating that specific zone. Moreover, five different layers were situated each time in different positions, testing not only their outer and inside material temperature, but also their performance in terms of material adjacement.

FELT STUDIES Felt within an architectural context SHEEP WOOL IN ARCHITECTURE I INSULATION & ACOUSTICS

KADK The Royal Danish Academy of Fine Arts Schools of Architecture, Design and Conservation

EXPERIMENT WITH FELT NO 02

FELT & MATERIALITY WITHIN AN ARCHITECTURAL CONTEXT VARIATIONS OF FORM

EXPERIMENTING WITH FELT

A playful material exploration encouraging a more visceral architecture.

Crimped wool fibres also gives the manufactured product particularly good resilience. This means that insulation made from wool will retain its thickness, one of the main contributors to insulation efficiency. As wool contains moisture, it is fire resistant, extinguishing itself when the source of flame is removed. It is also a very effective airborne and structureborne acoustic insulation, significantly reducing noises that can be heard throughout a building.

SHEEP WOOL PERFORMANCE

HYGROSCOPIC FIBRE I CONDENSATION CONTROLER GOOD INSULATOR

SHEEP WOOL FIBER

PERFORMANCE BENEFITS OF SHEEP WOOL

Wool has a higher fire resistance than cellulose and cellular plastic insulation. It does not burn, but instead singes away from fire and extinguishes itself (Wool has a very high inflammation point of 560°C due to its high Nitrogen content of ~16%) Wool is self extinguishing because of its high Limiting Oxygen Index (LOI=25.2), which means to completely burn wool an oxygen content of 25.2% is necessary whereas air only has 21%. Wool fibres are hygroscopic by nature, meaning the can absorb up to 35% of their own weight from the surrounding atmosphere depending on the humidity, helping to preserve the surrounding timbers.

While absorbing this moisture, wool releases energy in the form of heat, thus raising the temperature of its surrounding areas. Naturally releasing this moisture in the warmer seasons, wool creates a cooling effect on the same surroundings. Multiple layered wool fibres effectively reduce airborne sound transfer.

HYGROSCOPIC FIBRE

Sheep’s wool is a hygroscopic fibre and is therefore able to absorb, store and release moisture faster than most other materials. Wool can absorb over 35% of its own weight in moisture without significant changes to thermal performance, whereas the thermal performance of man-made mineral fibre insulation deteriorates when condensation is present. Sheep wool insulation has a unique ability to absorb noxious gases emitted from some building products e.g. formaldehyde; a carcinogenic gas emitted from various man-made building materials. Wool permanently locks up these gases which help to protect residents from a number of health risks. A lack of ‘breathability’ in buildings can cause various problems, including health issues as a result of damp and mould. providing a more comfortable internal environment.

CONDENSATION CONTROLLER

Condensation is one of the biggest challenges facing the building industry today. Excess moisture can not only have a detrimental effect on the structure of a building but it is also a root cause of mould which can have an adverse affect on the welfare of its inhabitants.

A single wool f ibre is stronger than steel of the same diameter.

WOOL FIBRE Wool is the most commonly used animal fiber. The fiber is obtained from the soft, hairy covering of sheep and sometimes goats.

Under the microscope, the wool fiber looks like a long cylinder with scales on it. The fiber is very curly and springy. Cloth made from wool includes cashmere, camel’s hair, alpaca, covert cloth, flannel, gabardine, mohair, serge, tweed and worsted.

SHEEP WOOL

MICROGRAPH OF WOOL FIBERS

MICROSCOPE IMAGES OF WOOL

MICROGRAPH OF WOOL FIBERS

Light micrograph of undyed sheep wool. The hairs are abnormally thick and have an internal honeycomb structure, filled with air pockets, which makes it an excellent insulating material for both sheep and man.

FELT & ARCHITECTURE

WOOL FELT I INSULATION I ACOUSTICS

VARIATIONS OF FORM

01.

02.

INSULATION & ACOUSTICS PROPERTIES

01. ACOUSTIC FELT Finnish born Anne Kyyrรถ Quinn hand-cuts sews and finishes sustainable wool felt to create undulating three-dimensional wall coverings. The pieces have excellent sound absorbing qualities, making them ideal for use in public buildings.

02. THE ICEWORKS In collaboration with installation artist Francesco Draisci this is a unique solution to bring down noise levels in a large library area.

The three separate curtains open and close on an electronic track, employing the honeycomb structure that the wool fabric has been manipulated in to enhance the acoustic performance.

FELT & DESIGN

WOOL FELT I WEAVING I FABRICS I INSULATION I ACOUSTICS

VARIATION OF PATTERNS

WOOL FELT FOR SOUND ABSORPTION

Felt provides near permanent resilience, as it is composed of millions of individual wool fibers, selected, blended, and felted to provide a material with maximum vibration-energy absorption and isolation characteristics. The naturally resilient construction is maintained under the compressive stresses of heavy static and dynamic loads without deterioration. An important feature is that felt retains its resilience at low temperatures where some other materials become hard and brittle. The impact absorption capacity limits rebound, reducing wear and tear on equipment. Impact absorption and flexing properties remain constant over years of use, assuring dependable performance.

DIFFERENTIAL FORCES Workshop by CITA and IBT - Extreme Environments TENSIONAL TENSEGRITY I FLOATING COMPRESSION

KADK The Royal Danish Academy of Fine Arts Schools of Architecture, Design and Conservation

CITA STUDIO

DIFFERENTIAL FORCES

Workshop by CITA and IBT - Extreme Environments

TENSEGRITY & GRAVITY FORCES

Tensegrity, tensional integrity or floating compression, is a structural principle based on the use of isolated components in compression inside a net of continuous tension, in such a way that the compressed members (usually bars or struts) do not touch each other and the prestressed tensioned members (usually cables or tendons) delineate the system spatially.

The term tensegrity was coined by Buckminster Fuller in the 1960s as a portmanteau of “tensional integrity�. The other denomination of tensegrity, floating compression, was used mainly by Kenneth Snelson.

KNITTING STUDIES Engaging with the craft of knitting & weaving KNITTING PATTERN EXPLORATION I WEAVING I ‘3D’ PATTERNS

KADK The Royal Danish Academy of Fine Arts Schools of Architecture, Design and Conservation

THE CRAFT OF KNITTING

EXPLORATION OF WEAVING PATTERNS THE LOOP TECHNIQUE

CILRCULAR KNITTING MACHINE

CIRCULAR KNITTING

Circular knitting or knitting in the round is a form of knitting that creates a seamless tube. When knitting circularly, the knitting is cast on and the circle of stitches is joined. Knitting is worked in rounds (the equivalent of rows in flat knitting) in a spiral. Originally, circular knitting was done using a set of four or five double-pointed needles. Later, circular needles were invented, which can also be used to knit in the round: the circular needle looks like two short knitting needles connected by a cable between them.

THE CRAFT OF KNITTING

DIFFFERENT TYPE OF YARNS TEXTURES

VARIATION OF YARNS

BASIC STITCHES

Knit & Purl: The Knit & Purl category includes stitches with different level of difficulty, created only with simple knit and purl stitches. This makes them perfect for beginners as well as for advanced knitters.

Cables & Twists: The Cables & Twists category, adds a bit of a twist to the knitting projects.

Rib Stitches: The Rib Stitches category features vertical rib patterns.

Stockinette stitch: Unlike garter stitch (which appears ridged and does not roll), stockinette stitch has a much smoother appearance and a tendency to curl at the edges. Many designers use this inclination to their advantage, creating everything from rolled necks and cuffs to rolled edges of handbags and scarves.

THE CRAFT OF KNITTING CATALOGUE

VARIATION OF PATTERNS

DIFFERENT PATTERNS & KNITTING TECHNIQUES

A catalogue of different variations of knitting patterns. The type of yarn and the ‘streching’ someone applies to these patterns, give in turn different results; thousand configurations, shapes ans thickness.

THE CRAFT OF WEAVING

WEAVING MACHINES VS HAND - WEAVING

WEAVING MACHINE

WEAVING MACHINE

The photo above was taken in the Design School of the Royal Danish Academy. Visiting the weaving studio and talking to the weaving teacher was enlightening for my further experiments not only with wool, but also with various kind of yarns.

ENGAGING WITH THE WEAVING CRAFT

SHEEP WOOL YARNS I VARIOUS THICKNESS & COLOURS 3D WEAVING EXPERIMENT MY INITIAL WEAVINGS

VARIATIONS OF DIFFERENT PATTERNS, TECHNIQUES AND WOOL YARNS

First efforts of weaving. Experimenting with different type of yarns and patterns, in order to gain a better understanding of their properties, and get engaged with the material and the process of weaving. Initial plain patterns, lead me to achieve a more ‘3d’ dimensional weaving result. Is there any link between bubble wrap and 3d weavings in terms of insulation? Which techniques or patterns can give optimized insulation, and how can that be achieved, perhaps revealed as parts of the architecture?

KNITTING LOOPS

CATEGORIES OF KNITS WEFT KNITS & WARP KNITS

LOOPS

KNITTING MACHINE WHLE LOOP - ‘ING’

A knitting machine forms loops of yarn and connects them into various knits. The principal working parts of a knitting machine are the looper, the yarn feed motion, and the take-up motion. The sinkers, blades with complex shapes, bend the yarn into loops and move the yarn along the shaft of the needle or hold it; one sinker is usually positioned in each space between the needles. When the yarn is laid on the needles, the yarn feed motion maintains a specific and constant tension, with the aid of the yarn guides, brakes, take-up motions, and other attachments. The take-up motion draws the finished knitwear off the needle cylinders while maintaining a constant tension.

3D KNITTING PATTERNS

BUBBLE WRAP INSULATION I SPATIAL WEAVINGS 3D PATTERNS THE VAFFEL PATTERN

Confirurations of the 3d spacer fabric

THE 3D FIBERGLASS WOVEN FABRIC VS THE VALLEL PATTERN

The 3-D spacer fabric consists of two bi-directional woven fabric surfaces, which are mechanically connected with vertical woven piles. And two S-shaped piles combine to form a pillar, 8-shaped in the warp direction and 1-shaped in the weft direction.

The simple, slip-stitch waffle/honeycomb pattern, on the other hand, adds extra, insulating warmth. These mittens can be done on double-points or with a circular needle using the Magic Loop method.

3D WEAVING TECHNOLOGY 3d Spacer fabrics & 3d weaver 3D WEAVER I HONEYCOMB STRUCTURE I 3D SPACER FABRICS

KADK The Royal Danish Academy of Fine Arts Schools of Architecture, Design and Conservation

3D WEAVER I XYZ

VARIATIONS OF FORM

The patent-pending 3D Weaver uses XYZ coordinates to weave fabric into a variety of three-dimensional shapes. The machine works by feeding thread through a nozzle that weaves around warp posts in X, Y and Z coordinates. A silicone resin is extruded at the same time for added structural stability. This machine uses adapted CNC-milling technology to weave complex 3D structures with varying densities. ‘‘3D weaving can “reduce cost and improve structural integrity” in architecture’’ - Oluwaseyi Sosanya -

3D WEAVER I XYZ

RCA graduate Oluwaseyi Sosanya invented a 3D-weaving machine, which he claims could be used to create better sportswear, medical implants and even architecture. ‘‘There are structures that are extremely rigid and structures that can be completely soft,” Sosanya explains. “In architecture we can look at custom panels for insulation and custom extrusions, varying the properties throughout the piece as it’s woven.”

THREE - DIMENSIONAL KNIT

TEXTILE INDUSTRY I 3D SPACER FABRIC

3D SPACER FABRIC

THREE - DIMENSIONAL KNIT

Three - dimensional knitted fabrics are most commonly produced as seamless forms for medical supports, lingerie or whole garments. In our high - technology age, stiched seems appear laughably old fashioned, yet it remains the main method for joining fabric together. Another approach to three - dimensional knits can be seen in the spacer fabrics. These are predominantly used in the sports and medical industries where they provide cushioning and support. The knit canbe open like a mesh or net, or appear as a close knit on the front and back. In either case the fabric is springy, giving under pressure, then regaining its form once pressure is released. Resins or other coatings can be added to provide additional performance characteristics, such as rigidity.

3D WEAVER I XYZ

ESXPLORING FUTURE POTENTIALS

HONEYCOMB STRUCTURE

THREE - DIMENSIONAL KNITTING INDUSTRY

3D printed wearables are shifting from the plastic pieces of questionable comfort worn by runway models to the soft sorts of materials that everyday consumers might actually have an interest in. In 2014 wehave seen a 3D knitting machine and a company working on a 3D printing loom. And, while it hasn’t yet been used for clothing, researchers at Carnegie Mellon have developed a 3D felt printing machine. Along with the work of Dutch designer Borre Akkersdijk, 3D printed clothing may actually become an actuality this year. And where there is 3D printed clothing there is wearable technology.

DEVICE CONCEPT & STRUCTURE Local Architectures: The turf - house, the yurt & the tipi YURTS I CONCEPT IDEA I THE DEPLOYABLE STRUCTURE

KADK The Royal Danish Academy of Fine Arts Schools of Architecture, Design and Conservation

COLLAPSIBLE ARCHITECTURE

THE MONGOLIAL YURT FELT COATS I HARSH CLIMATIC CONDITIONS

A YURT - A GER

The Mongolian portable house has a Russian name: the Yurt. Because the word has an Turkish origin and was used by the Western invaders, the last ones were Russians, this word is not very much appreciated by the Mongolians.

A Ger is designed to be dismantled quickly and the parts are carried compactly on camels or yaks to be rebuilt easily on another site. The structure can collapse small enough to fit on one draft animal and can be set up again in a half an hour. The Ger consists of a wooden frame and is covered with white felt which is pressed to the wooden skeleton with hair rope. Without being fixed in the ground, it takes a heavy load of a wind because of it’s streamline contour.

The yurt has been the main habitation of central Asian nomads for thousands of years and continues to be the main form of dwelling in Mongolian harsh steppe.

THE INNER SPACE OF A YURT

The inner space is natural ventilated thank to the opening in the centre of the roof, which is called the crown or toono. Because the crown is located at the top, fresh air regularly circulates through the yurt as cold air flows down and hot air flows upward.

In order to easily heat and cool the inner space, there is a wood-burning stove placed in the central place and provides heat evenly throughout the inner space. In the coldest months, extra layers of felt are wrapped around the structure to provide insulation.

THE TURF - HOUSE I THE YURT & THE TIPI EXPLORATIONS ON THE DEVELOPING PROCESS OF THE LOCAL ARCHITECTURE

SKETCHES

THE TURF - HOUSE I THE YURT & THE TIPI

Conceptual Sketches aiming to explore the way that archetype architecture has developed within time and space.

DEVICE - STRUCTURE - EXPLORATION PUTTING THE IDEAS OF THE YURT & THE TIPI TOGETHER

COLLAGE

COLLAGE_ EXPLORING THE IDEA OF DEPLOYABLE ARCHITECURE & HABITATION

Collage, developed in time by adding layers of ideas and drawings. It is a transforamtion of a typical tipi into a deployable structure, aiming to response to different users, sizes and different ways of habitation. A typical yurt’s plan talks about the different zones that can be found and reconfigured in this limited space, while there is space of more ‘yurts’ to be added, creating in turn their own private and more public zones. These zones respond to the users’ needs and climatic conditions.

The structure is giving itself the possibility to work into triangular tiles of different sizes, which later on stimulated my method of working with weaving. The structure will become my own ‘weaving loom’ in Iceland.

How can this collage transform into architecture and fieldtrip device?

DEVICE STRUCTURE

DEPLOYABLE ARCHITECTURE DIFFERENT POSITIONS I DIFFERENT CLIMATIC CONDITIONS

SCALE MODEL 1:1

DEVICE EXPLORATIONS

1:1 Scale model: 21 sticks of Plywood cut and sanded in the school’s wood workshop.

[9 mm depth. 1.5 cm width, 1,80 m height].

Revealing the different positions, of the unlimited that the structure can take. The white cloth aims to ‘protect’ the structure when taken in Iceland. It is the ‘underwear’. Later on the structure will ‘wear’ the weaving cloths I have been making through the whole semester, in order to test the materiality and their insulation performance in situ.

PROTOTYPE

DEPLOYABLE ARCHITECTURE DIFFERENT POSITIONS I DIFFERENT CLIMATIC CONDITIONS

SCALE MODEL 1:3

DEVICE EXPLORATIONS.

Testing in studio the thousands positions and posibilities of the structure; from a single stick of wood, till a totally flat ‘weaved’ ring.

Prototype in 1:3 scale model. Made out of 21 sticks of wood, screwed together, following the logic of the Scissor’s structure, thus being able to take this great fasma of differents positions.

DEVICE STRUCTURE

DEPLOYABLE ARCHITECTURE TESTING_ DIFFERENT POSITIONS

SCALE MODEL 1:1

DEVICE EXPLORATIONS 1:1 Scale model: 21 sticks of Plywood cut and sanded in the school’s wood workshop.

[9 mm depth. 1.5 cm width, 1,80 m height].

- Putting up the structure 01

DEVICE STRUCTURE

DEPLOYABLE ARCHITECTURE TESTING_ DIFFERENT POSITIONS

SCALE MODEL 1:1

DEVICE EXPLORATIONS 1:1 Scale model: 21 sticks of Plywood cut and sanded in the school’s wood workshop.

[9 mm depth. 1.5 cm width, 1,80 m height].

- Putting up the structure 02

WEAVING EXPERIMENTS Insulation facade ‘systems’ I Working with tiles WEAVING THE STRUCTURE I PATTERNS & TECHNIQUES

KADK The Royal Danish Academy of Fine Arts Schools of Architecture, Design and Conservation

WEAVING EXPERIMENTS

LEARNING THE CRAFT DESIGNING PATTERNS & MIXED TECHNIQUES VARIATIONS OF FORM

The idea was to create various of weaving ‘facades’, which would be tested in Iceland in terms of insulation performance.

By xperimenting with different weaving techniques and yarns, I managed to create my own patterns; patterns that created their own ‘space’ in this weavings.

Strategy: 3 main types of weaving & many variations of them A. weaving with 2 types of yarns B. weaving with yarn & felt C. Weaved honeycomb structure, later added with a 3rd yarn or felt

WEAVING DIFFERENT PATTERNS I DIFFERENT TYPE OF YARNS

Above: A particularly thick yarn, twisted around strips of foam. Weaving made and tested in Iceland

WEAVING EXPERIMENTS

LEARNING THE CRAFT DESIGNING PATTERNS & MIXED TECHNIQUES WEAVING YARN & FELT TOGETHER

STRATEGY B

Weaving structure made with a ‘Viking loom’ made in the school’s studio.

Weaving around a thicker yarn or fluffy felt.

WEAVING EXPERIMENTS

LEARNING THE CRAFT DESIGNING PATTERNS & MIXED TECHNIQUES WEAVING YARN & FELT TOGETHER

STRATEGY B

Performing the weaving on the structure. Trying different positions.

Perhaps good as a ‘foundation’ system?

WEAVING EXPERIMENTS

LEARNING THE CRAFT DESIGNING PATTERNS & MIXED TECHNIQUES WEAVING WITH 2 TYPES OF YARNS

STRATEGY A

Testing the different ‘zones’ of the same weaving.

Result because of different stretching and thightness while weaving

WEAVING EXPERIMENTS

LEARNING THE CRAFT DESIGNING PATTERNS & MIXED TECHNIQUES WEAVING WITH 2 TYPES OF YARNS

STRATEGY A

Performing the weaving on the structure. Trying different positions.

Stretching and leting it loose

WEAVING EXPERIMENTS

FELT & MATERIALITY WITHIN AN ARCHITECTURAL CONTEXT HONEYCOMB STRUCTURE

STRATEGY C

Using the typical ‘Vaffel’ pattern in order to achieve a more spatial result.

Transforming the pattern; creating differnt variations that change the shape of the final weaving.

Does the insulation performance remain the same?

WEAVING EXPERIMENTS

FELT & MATERIALITY WITHIN AN ARCHITECTURAL CONTEXT HONEYCOMB STRUCTURE

STRATEGY C

The weaved honeycomb layer in later on weaved again with small pieces of felt, that aim to ‘fill the gaps’; empty holes, been created due to the ‘Vaffel’ pattern.

DEVICE TESTS

PATTERNS DEVELOPED THROUGH THE SEMESTER

VARIATION OF PATTERNS

SKETCHES

Thinking of patterns Different configurations shapes and forms

DEVICE TESTS

TESTING THE DEVICE IN VIK

DEVICE & THE CONTEXT

3D SPACER FABRICS & THE ‘VAFFLE’ KNITTING PATTERN

What and how can we learn from the local architecture, having as a paradigm the traditional icelandic turf houses, towards more sustainable and high contectualized architecture? Perhaps regarding their structural performance for seismic conditions and strong wind loads, utilization of local materials such as moss and their construction methods. How can old principles of geothermy contruction and insulation inform the future of architecture?

DEVICE TESTS

TESTING THE DEVICE IN VIK WEAVING THE STRUCTURE WITH THE WOOLEN TILES

DEVICE & THE CONTEXT

BRINGING THE LOOM IN ICELAND I STILL WEAVING

Weaving, this time, with Icelandic wool, bought the first day in Vik , at the local supermarket.

Testing how Icelandic wool performs in the rainy Vik

DEVICE TESTS

TESTING THE DEVICE IN VIK WEAVING THE STRUCTURE WITH THE WOOLEN TILES

DEVICE & THE CONTEXT

BRINGING THE LOOM IN ICELAND I STILL WEAVING

Setting up the device. ‘Dressing’ the structure with the already weaved facades

DEVICE TESTS

TESTING THE DEVICE IN VIK WEAVING THE STRUCTURE WITH THE WOOLEN TILES

WORKING WITH LIGHT

EXPLORING THE DEVICE_ STILL IN VIK

Lighting the device from inside, brought into light new shapes and shadows.

The weaving patterns are emphasized, but also the wooden structure, making contrast with the light cloth.

DEVICE TESTS

TESTING THE DEVICE IN VIK WEAVING THE STRUCTURE WITH THE WOOLEN TILES

WORKING WITH LIGHT

EXPLORING THE DEVICE_ STILL IN VIK

Lighting the device from inside, brought into light new shapes and shadows.

DEVICE TESTS

TESTING THE DEVICE IN JOKULSARLON

SETTING UP THE DEVICE

EXPLORING THE DEVICE_ IN JOKULSARLON

Small shots showing the process of setting the device up and weaving

DEVICE TESTS

TESTING THE DEVICE IN JOKULSARLON

WEAVING THE STRUCTURE

‘DRESSING’ THE DEVICE_ IN JOKULSARLON Putting the cloth on the structure.

DEVICE TESTS

TESTING THE DEVICE IN JOKULSARLON

DURING NIGHT

LIGHTENING THE STRUCTURE

Small bike lights are placed with various configurations between among and inside the weavings.

Playing with light and shapes

DEVICE TESTS

TESTING THE DEVICE IN JOKULSARLON

DURING NIGHT

TESTING INNER & OUTER MATERIAL TEMPERATURE

Attaching the weavings on the structure in order to take material inside and outside temperature.

KADK The Royal Danish Academy of Fine Arts Schools of Architecture, Design and Conservation AIKATERINI EFRAIMOGLOU