6th unit. construction with modular elements

construction with modular elements6

UNIT 6 CONSTRUCTION WITH MODULAR ELEMENTS

1. DEFINITION

2. FROM MODEL TO MODULATION

3. EXAMPLES OF PROPORTIONS AND MODULATION SISTEMS

3.1. PROPORTIONS IN THE HUMAN aaaaaaBODY

3.2. AESTHETICS OF PROPORTIONS IN AAAATHE NATURE

3.3. GOLDEN RATIO3.4. MODULOR 3.5. FRACTALS

4. COMPONENTS AND JOINS4.1. THE VALUE OF THE JOIN 4.2. JOIN TYPES

5. CAPSULE TOWER

6. KIM HOUSE

7. JEAN-MARIE TJIBAOU CULTURAL CENTRE

8. EDEN PROJECT

BIBLIOGRAPHY

Authors: Maialen Andiarena, Ibon Apodaca, Edurne

Aracama, Kristina Aranburu, Ohiane Eguren, Iratxe Etxano,

Ana Gracenea, Ane Mateos, Irati Mendizabal, Mikel Soro

1. DEFINITION

MODULE

Is a dimension, usually taken as a measure unit,rule or ratio.

The module is also used to determine the ratio between different parts of a whole, just as a component or an assembly of parts, a recurringmethod of any design.

MODULATION

Is the reference to the employment of repetitive elements with similar characteristics in regard to shape, size and function, naming “module” each one of them.

MODULE

MODULATIONImages: AG


In order to establish a model, a parametric or dimensional definition is required. In the field of construction, usually this is a metric parameter, which often responds to empirical criteria.

As each situation has its own unique characteristics, hardly any constructive component with predetermined dimensions will respond accordingly. In those cases, the parameters and dimensions of the components ought to be determined and, consequently, the need for the module.

The module can be either the component itself or a part of it. Moreover, it can be a pure division

or the result of a complex decomposition. The module of a mass production is determined by production systems and the degree of specificity of demand.

A module definite away from both factors is bound to fail, so modules established with empiricalorigin are the successful ones.

In conclusion, the idealization and universalization of the module are a megalomaniac error.


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3.1 PROPORTIONS IN THE HUMAN BODY

The anthropometry is the “science that express the human body in a mathematical form” (Cameron, 1979) or saying it in an other way; “the systematized art of measuring and observe the man, his skeleton his brain and his other organs” (Hrdlinka, 1947).

Egypt Rome Greece

Image: http://www.flickr.com/photos/rinzewind/

Image: http://www.flickr.com/photos/gb_fotos/

Image: http://www.flickr.com/photos/zaqarbal/


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VITRUVIAN MAN (1492)

The Vitruvian man is the famous drawings, including anatomic notes, of Leonardo da Vinci, drawn in one of his dairies by 1492. It represents a naked male figure in two different positions, overprinted by arms and legs, and inscribed in a square and a circle.

It’s about a study about proportions in human body. In other to this, Da Vinci based his drawing

in one of the text of De architectura (Book III Chapter I) by the roman architect from Octavio Augusto’s period, Marco Vitruvius Polion (c. I BC).

In the text Vitruvius mentions divers proportions presents in the human body, probably based in Greek canons. Leonardo da Vinci used the proportions of Vitruvius, but he made some

corrections and made some additions to draw his Vitruvian Man.

It’s also known as the canon of human proportions.


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All these measurements are related by a module: H

4 finger = 1 palm4 palm = 1 foot6 palms = 1 elbow4 elbows = the men’s height4 elbows = 1 step24 palms = a men

If you separate the legs enough to decrease your height 1 / 14 and stretch and rise your shoulders until your fingers are leveled with the top of your head:

extended arms = h

from the hairline the tip of the chin = h/10

from the tip of the chin to the top of the head = h / 8

from the upper chest to the tip of his head = h / 6

from the upper chest to the hairline = h / 7

from the nipples to the top of the head = h / 4

the greatest width of shoulders = h / 4

from the elbow to the tip of the hand = h / 5

angle from the elbow to the armpit = h / 8

Full hand = h/10

the beginning of the genitals = h / 2

foot = h / 7

from the sole of the foot to below the knee = h / 4

from below the knee at the beginning of the genitals = h / 4

the distance from the bottom of the chin to the nose = from the hairline to the eyebrows = 1 /

3 of face

Image: http://www.ibiblio.org/wm


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DUERER’S MAN (1528)

Albrecht Düerer, is one the most famous artist in the German Renaissance.

Through many of his journeys he acquire a renaissance vision. After one trip to Italy, he started to develop an investigation about the human body’s proportions, which were edited after his dead in the “The four books about human proportions” in 1528.

The innovation of Düerer in the evolution of the proportional systems, is that he doesn’t limit himself in the search of the proportions of beauty in an only model or proportional system, but in many, that can be understand as the beauty can be found in different proportions combinations. Is the definitive acceptance of the canons plurality.

This characteristic thought of Düerer, makes a difference in the all classic tradition and his renaissance’s contemporaries, who where still determined to find an unique human beauty by a proportional system. At this point he starts to denied the unique model In a certain way, this is the beginning of the gradual separation between the beauty and the proportion.

It’s paradoxical his tentative to us that the scientific validity of the proportions theory is to multiply them.


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Anthropometric canons:

1/2 h = height of the head and trunk (up to the crotch)

1/4 h = height of the leg from ankle to knee, and distance from chin to navel

1/6 h = foot length

1/8 h = height of the head, from top to the bottom of the chin, and distance between

1/10 h = height and width of the face (including ears), and the length of the hand to wrist

1/12 h = from face width to the lower edge of the nose and thick calf

...

These subdivisions go up to 1/ 40 h

Images: http://www.aloj.us.es/abduran/estilo%20doctorado/


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3.2. AESTHETICS OF PROPORTIONS IN THE NATURE

THE GOLDEN RATIO

The golden ratio refers to a number. This number, discovered in the antiquity, has some interesting properties as proportion or rate. This ratio is found both in geometric figures and in the parts of the body. It can also be found in nature: as the relation between bodies and in the morphology of

various elements such as shells, the ribs of the leaves of some trees, the thickness of branches, human proportions, and so on. Comparing all the examples which can be seen in nature, which golden ratio is the most spectacular and surprising for you?

"The measure of the bee's abdomen divided by Φ is equal to the measure of his chest. Conversely, his

chest measurement divided by Φ is equal to the measure of his head."

If we take a leaf stalk and count the number of consecutive leaves until we find another sheet with the same orientation, this number will generally be part of the Fibonacci sequence.

Images: http://www.sxc.hu/


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3.3 GOLDEN RATIO

Greek mathematics (Pythagoras, Euclid and Plato) discovered the predominance of the golden ratio in their theories about proportions.

“A segment is divided by means of the golden ratio when the proportion between of the segment and the biggest section is the same as the proportion between the biggest and the smallest sections. ”

Take AB=1, BC=X, the golden ratio will be defined as:

(X+1)/X=X/1

Being the golden ratio, represented by Φ figure

Then, the solution to the equation: Φ ² - Φ - 1 = 0

Which it’s square root is:

Φ=(1+√5)/2 =1,61803399 > golden ratio

Image: AG


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Euclid, and the geometric construction of the golden ratio rectangle.

The golden rectangle, one of the most used canonical composition method of work. It has

been used by all kinds of artists throughout art history.

Image: AG

Take the diagram in which AE=EB and EF=EC

If we suppose AE=EB=1, BC=2 can be calculated,

and by means of the Pythagorean theorem EC=√5

we can subtract that AF=1+=√5.

Consequently, the sides of AFGD rectangle are

bound by the golden ratio: AF/AD=Φ=(1+√5)/2


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Starting with ABCD rectangle, if we subtract AEFD square of the rectangle’s AB side’s smaller part, we will get EBCF golden rectangle. Then, if we subtract EBGH square from EBCF in the

same way, we will get HCGF, another golden rectangle. This process can be repeated as we want, each time bring those rectangles closer to the logarithmic spirals O centre.

Autores: Maialen Andiarena, Ibon Apodaca, Edurne



Image: AG


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Relation between the golden number and Fibonacci sequence:

0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233…

The ratios of consecutive numbers of the Fibonacci sequence are steadily approximating

to Φ = 1,61803399… the golden ratio.

Image: AM


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DANTEUM. GIUSEPPE TERRAGNI. 1938-40

The utilization of the use and the application of the golden ratio has been used frequently in design process but also in architecture, as we can see in the next example.

The Dantum was designed in 1938 by Giuseppe Terragni and Pietro Lingeri, with interventions sculptural Sironi. Even if this project was no executed, its approach can be considered as one of the finest and complex ideas in the tradition as the modern movement, becoming a subject

of major studies.

The aim of the project is to describe the materials and the architectural laws based in the signification expressed in the verses of Dante Alighieri’s “Divine Comedy”. Al least a third of the total project has been a “function” (exposition hall and library) and all the remaining space has on a “right”.

The project consisted of a series of rooms placed in an ascending(rising) spiral marked by the use of substances of the light, also ascending(rising) (I change from the shades to the light), that symbolizes a trip of the conscience to contemplating celestial infernal abyss. In Danteum the transition between(among) the rooms always treats itself about the interruption or the postponement of the walls.

The principal rooms were: the dark wood, the purgatory, the hell and the paradise.


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The Golden ratio in the plan of the Danteum is divided in four equal rectangles, (rectangles that are also based in the golden ratio, the proportion is unchangeable in resemblance, in this case

in1=2 reason), 3 of then are entitled to the different rooms that represent the 3 canticles: the hell, the purgatory and the paradise, situated in 3 levels.

In the next link (click here) we can read a very clear explanation of the application of Dante’s novel. Also a very good graphic explanations in the different rooms and passages bases in the golden ratio.

In this video you can check a recreation of the interior views of possible construction of the Danteum (click here)

For more interest you can consult the following book:

Terragni: el danteum. Roma. 1938-1940 Aparicio Guisado, Jesus Mª2005Isbn: 9788472071667


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http://divulgamat.ehu.es/weborriak/TestuakOnLine/06-07/PG-06-07-Blanco.pdf

http://www.youtube.com/watch?v=V6YZtfuVOTw

3.4 LE MODULOR (1948)

Le modulor is the measuring system detailed by Le Corbusier. The measurements start form the man’s height with the hand lifted (226 cm) and from his half, the height of the belly button (113 cm). From the first measurement and multiplying successively and dividing in the same way by the gold number we obtain the so called Blue series, and we also obtain in the same way the red series. Becoming each one a Fibonacci’s sequence, and allowing thousand harmonical combinations

Blue series (m):…9,57; 5,92; 3,66; 2,26; 1,40; 0,86; 0,53; 0,33; 0,20…

Red series (m):…4,79; 2,96; 1,83; 1,13; 0,70; 0,43; 0,26; 0,16; 0,10…

Image: http://www.flickr.com/photos/rucativava


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3.4 FRACTAL GEOMETRY

It seeks analyze, develop and to model nature objects and situations.

Fractal geometry isn’t based in a modulation, it looks for a nature basedmodulation.

It’s too irregular to be explained in traditional geometric terms.

Applications of the fractal geometry:

Medicine Strategy Military Science

Industry Architecture Music Painting

Image: Jon Sullivan


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Fractal forms, those which its parts are similar to the whole, can be found in the biological matter, along with symmetry (basic forms that only need half of that genetics' information), and spirals

(basic forms ways of development and growth for expansion), as the most sophisticated ones in the evolutionary development of biological material, presented in processes in which mayor developments occur in biological terms, and as a result possible catastrophes (extraordinary scenarios) that give rise to even more complex new realities. For example, leaves ( the ones that have similar morphology to the small branch of which they are part) have, in turn, a shape similar to the branch, which in turn is similar to the shape of the tree. Nevertheless, neither of them are the same in biological terms: a leaf is, simple biological form, whereas a branch or a tree are biological complex forms.

“Clouds aren’t spherical, mountains aren’t cones, seashores aren’t circular, a dog’s bark isn’t smooth, as lightning doesn’t make a straight line. ” - Benoît Mandelbrot

Images: www.freedigitalphotos.net


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http://www.freedigitalphotos.net/

As we mentioned before, we can apply the fractal geometry to architecture.

The fractal method allows new expression of architectural theories, by means of its possibilities of complexity and superposition. The use of fractal geometry as source grants the power to express two opposing states such as organized forms and organic complexity, at the same time to architecture.

In the image on the left we can in the see the representation of the Logone-Birni city’s palace (Cameroon). On the right we have the fractal model of the Ba-lla’s city settlement. Tow clear fractal example of African architecture.

Images: AG


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Another, more contemporary, example of fractal architecture we can find in the Eugene Bavinger house (Oklahoma, 1950), as we can see down here. But also represented in the floor

plan of the Jewish Elementary school by the architect Zvi Hecker that can be consulted in the following link: http://www.zvihecker.com

Image: http://www.wikipedia.org/


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4. COMPONENTS AND JOINS

The ancient construction was characterized by a material continuity in which the unions werevanishing in a hydraulic counterfoil.

Nevertheless, the meeting always has had an identifying presence of limits, in some non-existent cases.

The board is consubstantial with industrialized construction, in which the parties are fully identified and are performed by different agents in different places, and are limited by transportation, media production and assembly.

The joins must satisfy all the requirements imposed on the components that you link and the

specific ones derived from his own character of meeting.

Very diverse types exist of united, consistent to the systems which they join and the characteristicsof the components.

In case of the buildings for example, the meetings are very clear; it is to say, it is possible to observethe meeting between two materials. The proportions in the architecture are estimated in the composition of the building, the front… modules exist in the elements of construction.


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In case of the buildings we can see clearly the line of meeting or the join.

To achieve it different systems of construction are in use, this way like: mortar (to join two bricks), neoprene (for meetings expansions), anchorages (to place the panels in the walls), screws without end, spikes …

Image: http://www.sxc.hu/

Image: taken in situ- author: Ramón Muñoz


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4.1 THE VALUE OF THE JOIN

All the technological systems have joins (garment, footwear, domestic appliances, furniture, cars, computers, etc.). Providing that if different parts exist, there will be joints.



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A good part of the inventions now-a-days, have incorporated major value added thanks to the

evolution of the joins (Velcro, zippers, screws, nails, …)


Imagen: http://www.sxc.hu/


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Contradictory opinions exist around to the aesthetic or composition value of the joins since, these

can form a part of the global image of the building or, be mere constructive requirements.

For example, in the building Sainsbury de Foster, we can see an hiper-valuation of the meeting since its forms a part of the aesthetic concept of the building.

Images: http://www.flickr.com/photos/25831000@N08/


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4.2 TYPES OF JOINS

System joins




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Images: taken in situ- author: Ramón Muñoz


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5. KISHO KUROKAWA. NAKAGIN CAPSULE TOWER (1972)

The Nakagin Capsule Tower was the first capsule architecture design, the capsule as a room inserted into a mega-structure, built for actual use. The Capsule Tower realizes the ideas of metabolism, exchangeability, recyclability as the prototype of sustainable architecture.

Image: © arcspace.com - www.arcspace.com



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The one-man-room capsule, a modified (4 x 2.5 meter) shipping container, has a circular window, a built-in bed and bathroom unit, and is complete with TV, radio and alarm clock. The

capsule interior was pre-assembled in a factory then hoisted by crane and fastened to the concrete core shaft.




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Located in the Ginza area of Tokyo, the Nagakin Capsule Tower, was originally designed as a Capsule Hotel to provide economical housing for businessmen working late in central Tokyo during

the week.

The 14-story high Tower has 140 capsules stacked at angles around a central core. Kurokawa developed the technology to install the capsule units into the concrete core with only 4 hightension bolts, as well as making the units detachable and replaceable.



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Residents in Japan’s most famous experiment in living and working in tiny pods are now plotting its demolition. Kurokawa's design theory was to replace the capsules when needed but the

building has not been maintained in 33 years which has caused drainage and water pipes to be damaged.

The international heritage protection group Docomomo, have unsuccessfully pleaded for the United Nations' heritage arm to protect this landmark building



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6. KIM HOUSE. WARO KISHI (1987)

The Kim house is situated in the humble neighbour of Ikuno-ku (Japan). This small lot (large and narrow) was constructed before the was. The neighbor is formed by different large and narrow streets.

Most the one family house live together with the Korean food restaurants, fabrics and store

houses.

The Japanese culture is full of traditions. The Kim House tries modernize to these traditions (in example, having crystal walls instead of paper walls) but at the same time it preserves the typical characteristics of a traditional Japanese room.

Osaka is a city with mild weather, due to its proximity to the sea. Strong rains hit the city during the months of June to August. While in September, the typhoons arrive.

The construction of the dwelling is very influenced by the weather. Usually, the back and front facades are close. This helps a lot in winter, as the house is protected by the cold, and in summer the house gets refrigerated as is provided an interior courtyard, that at the same time it provides light.


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The budget for the house was limited. It lead the architect to create a house based on modules and prefabricate elements.

In other to do this, he used the measurement that is between walls, 2.58m. With this measure he plans all the project. The high, the length, the depth… are directly proportional to this number. From the prefabricated panel of the facade to the floor ceramics.

As we can see in the images from the following link (click here) we can see the clear modulation starting from the façade

In a nutshell we can say that:

16 ceramics

the smallest unit of the facades 9 of thesethe width of the house 2 units of the width the house heightthe division of the depth3 of these

the total depth

Images: AM


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http://k-associates.com/k.associates/en/03_works/residence/residence.php?id=8

The function of the material in the structure.

The principal material used in Kim House are from these days. The ones that are being created thanks to the industrializations. In this way the dwelling is formed by the reinforced concrete and the H steel profiles.

About the space distribution, it is made by crystal panels, that creates a continuity between

spaces. The same effect is made by the floor tiles. Or the same effect that we find between the kitchen and the interior courtyard.

The only construction systems used where the foundations, made in-situ, and all the rest elements were made by mounting pieces. In this way, comes the need of a physical interaction of both oh the objects, one carries the other.

Even if it is economically cheap, also in maintenance, the construction is totally efficient.

For more information and images about the Kim House you can check the following book:

“Waro Kishi-Buildings and projects”

Hiroshi WatanabeEd. Axel Menges.


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7. JEAN-MARIE TJIBAOU CULTURAL CENTRE. RENZO PIANO (1991-98)

Situated in Noumea (New Caledonia), the Marie Tjibaou cultural center is locate in very sensible natural environment.

The hill where the cultural center is situates, has a difficult access and the tropical climate creates strong wind drafts.

Image: http://www.flickr.com/photos/virginieetfabien/


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The main program was the creation of a settler for the Kanaki tribe. For this, the architect made

an re-interpretation of the traditional huts of the place, but without leaving apart the new technologies.

The Iroko wood (local) was used for the constructions, with galvanized steel for the subjection. The floor is granite, the enclose is made of glass and the interiors are covered with cork.



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Noumea is situated in the Tropic of Capricorn, from this the tropical climate, the strong winds

and the heavy rains that hit the peninsula.

When they were planning the center they took in account the climate and planed a refrigeration system, taking advantage of the wind drafts. In addition, due the high levels of humidity the materials suffer a very special treatment.

Image: A. M.


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The module is used in the plan as well as in the sections. In the plan it represent a structure

gradually modulated by the used of 2 by 2 columns groups.

It modules the vertical panel, but also the horizontal ones, situated in two layers, to compose the façade. All of this is well documents in developing plans, so all the panels can be prefabricated.

In those building with a roof, the roof will also be modulated, the structure as well as the panels. The join elements are also prefabricated.

Image: http://www.flickr.com/photos/mishmoshimoshi

Image: www.flickr.com/photos/robyn-gallagher


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8. PROYECTO EDEN. NICHOLAS GRIMSAW (2000)

This project designed by N. Grimzhaw, is based on the nature and into the sustantaible design. The interior held different biological species. The aim: create a tropical climate and to make possible the visitors can walk inside.

The projects states that the interior and exterior climates are not the same. The exterior climate is strongly oceanic, with a relative high humidity, rain and clouds. While the interior climates tries to

simulate the oceanic and Mediterranean climate conditions. The project is giant greenhouse.



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The influence of the High Tech is very notorious in the structure, as well in the closure systems.

The roof is composed by different vaults, that at the same time they are modulated. These metallic vaults are construct by pentagon and hexagons, that get cut between obtaining different uses in their interiors. The line of the intersection between the spheres are made by metallic arcs.

Image: http://www.flickr.com/photos/apenguincalledelvis


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Because the light in the hexagons was 11m it was difficult to build it with glass. EFTE panels were used. This material was able to adapt to the structure’s irregularities. It simplified, cheapened and

accelerated the constructive process.

Image: http://www.flickr.com/photos/apenguincalledelvis


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Pentagons are used in singular places such as on the top of the domes. The outdoor skin structure and the indoor arc structure are joined by tetrahedrons.

Besides cheapening the project thanks to the modulation, it facilitated the construction. The compromise between the module and the material was important, because it was possible to use the advantages of the module trough EFTE.

Image: http://www.flickr.com/photos/europafoto


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Ventilation pipes are directly joined to the interior structure, showing them.

Despite the big volumes, the ventilation system is efficient.

Image: http://www.flickr.com/photos/europafoto


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Besides cheapening the project thanks to the modulation, it facilitated the construction. The compromise between the module and the material was important, because it was possible to

use the advantages of the module trough EFTE.

You can also find more information and images about this project in the following magazine.

AV Monografías 96. Año 2002.

Image: http://www.flickr.com/photos/11475646@N03


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BIBLIOGRAPHY




BIBLIOGRAPHY

www.wikipedia.comwww.wikipedia.eswww.youtube.comwww.arcspace.comwww.aloj.us.es/abduran/estilo%20doctorado/www.infomadera.net/images/15869.pdfwww.flickr.com

http://www.sxc.hu/http://centros.edu.xunta.es/iesramoncabanillas/cuadmat/indhv.htmhttp://bp2.blogger.com

Waro Kishi; Introd. Terence Riley, Ed. G:G.“Waro Kishi-Buildings and proyects”, Hiroshi Watanabe, Ed. Axel Menges.

AV monografias 119.Renzo Piano, architettura e tecnica.Renzo Piano Buildig Workshop.AV Monografías 96. 7- 8- 2002.


1. DEFINITION







5. CAPSULE TOWER

6. KIM HOUSE


8. EDEN PROJECT

BIBLIOGRAPHY




AUTHORS [2008-2009]

Unai Apraiz Ibone Arreche Olalla Arrien Nekane ArrietaAmaia Díaz Nikolas LegardaDaniel Eguren Daniel LuengasMercedes Ibáñez Mikel Mujika Alexander de Luis Julen Rodriguez Berta MartínHéctor Pérez

Zuriñe Piñán

AUTHORS [2009-2010]

Maialen AndiarenaIbon ApodacaEdurne Aracama

Kristina AranburuOhiane EgurenIratxe EtxanoAna GraceneaAne MateosIrati MendizabalMikel Soro

Copyrights of these images belong to their authors. Any other content on this work is licensed under Creative Commons by-sa 3.0.


1. DEFINITION







5. CAPSULE TOWER

6. KIM HOUSE


8. EDEN PROJECT

BIBLIOGRAPHY




Education

6th unit. construction with modular elements