Posts tagged with "CNC":
In Aarhus, Denmark’s second largest city, a consortium of architects, engineers, and manufacturers are advancing the capabilities of concrete construction formwork and advanced design. This effort culminated in a recently unveiled 19-ton prototype dubbed Experiment R.
The project, led by the Aarhus School of Architecture, Odico Formwork Robotics, Aarhus Tech, concrete manufacturer Hi-Con, and Søren Jensen Consulting Engineers, tackles the waste associated with concrete formwork through the use of a novel robotic fabrication method.
How does this new method work and why is it potentially so disruptive? According to the Aarhus School of Architecture, formwork is easily the most expensive aspect of concrete construction, making up to three-quarters of the total cost of a concrete project. Significantly reducing waste associated with the formwork process and the molds themselves boosts environmental performance and the economic feasibility of complex concrete geometries.
The project's new apparatus consists of a heated and electrically powered wire rotating at a speed of approximately 160 feet per second around a carbon fiber frame. This device is mounted atop a robotic arm, which can shape complex detailing. While a polystyrene mold was used for the formwork of Experiment R, the mechanism has the capacity to cut through harder materials such as stone and timber.
Conventional methods of formwork fabrication are significantly more laborious—a typical CNC milling machine is able to process an 11-square-foot surface in approximately three to five hours. In an action that Asbjørn Søndergaard, chief technology officer of Odico Formwork Robotics, refers to as “detailing the whole formwork in one sweep,” the new technology is able to process that same surface area in 15 seconds. Strikingly, this timescale is applicable to both straightforward and advanced design formwork.The 19-ton Experiment B prototype, installed adjacent to Aarhus's Marselisborg Lystbådehavn in July 2018, is an extreme example of what can be achieved with this new method, displaying future possibilities of construction. According to Søndergaard, it is the hope of the consortium that the highly optimized concrete formwork is translatable and ultimately adopted for everyday projects such as minor infrastructural works and standard residential or commercial development.
The Cambridge Mosque Project, founded by Dr. Timothy Winter in 2008, purchased the one-acre site in 2009. Allées of cypress and linden trees ring the mosque, which occupies a symmetrical 27-feet-by-27-feet grid. The new house of worship will be able to accommodate approximately 1,000 worshippers.
In a statement to The Guardian, the deceased architect David Marks viewed the project as a shift from the “preponderance of Ottoman mosques” found throughout the United Kingdom. MBA saw an opportunity to design an Islamic center unique to the British community, with a massing similar to the surrounding Georgian terraces, featuring a height of three stories, brick elevations, and a subtle dome rather than a towering minaret.
For the project, MBA reached out to Swiss timber-construction specialist Blumer–Lehmann AG (BLA). Thirty free-form timber columns, built of curved glue-laminated beams, form the primary support structure of the Cambridge mosque. Each column flowers into a network of latticed arches and beams that is topped with a lightweight, 20,000 square-foot timber roof. Rows of circular skylights are embedded above the supporting columns, allowing for the significant diffusion of natural light throughout the prayer space.
Design-to-Production (DP), a Zurich-based firm at the forefront of building information modeling, was commissioned by BLA to optimize the timber structural system’s geometry, establish a pre-fabrication and assembly strategy, and develop a comprehensive 3-D model of the project.
Through parametric design, DP whittled down the project’s 6,000 structural joints to just 145 different timber parts. Then the firm plugged in their digital fabrication data to a 5-axis CNC milling machine to mass-produce the timber components along with pre-assembly instructions and drawings. After being transported 900 miles over land and sea to the United Kingdom, the components were assembled in under a month.
The onion-dome, with a base of arched clerestory windows, reaches a height of 30 feet and is placed atop the truss system made of glue-laminated beams.
Construction for the project should wrap up in 2018 and will open in January 2019.
It took decades of piecemeal construction—a new day school here, a dank brick chapel there—to build the Temple Israel of Hollywood (TIOH). But it would require 10 years of work by Koning Eizenberg Architecture to transform the 90-year-old Spanish Colonial Revival–style temple into a flexible and social campus for worship. So far, the project has yielded a collection of generous, sunlit spaces, including a sculptural multiuse chapel.
The chapel is a study in contrasts: A large glass wall populated by staggered, canted window panes fronts a courtyard framed by the masonry-clad temple and a low administrative wing, the glass surfaces of the new chapel sheathed by a folded-aluminum louver system. That steel-supported shade was meticulously designed and fabricated against the restrictive physical tolerances of the aluminum material—its design is partially inspired by the ceremonial tallit cloth. The expanse is interrupted by a wall enclosing the Ark of the chapel, an extra-thick volume that appears to be made of solid sandstone but is actually hollow inside. The sedimentary exterior treatment on the Ark is achieved by hand-applying compositions of different colored sands and tiny pebbles—brought to Los Angeles from congregants’ visits to Jerusalem—over a shotcrete substrate.
Nathan Bishop, principal at KEA and project designer for TIOH, explained that a tight budget forced the architects to develop custom but frugal approaches. “There are no off-the-shelf products,” Bishop explained regarding the chapel’s major components.
Along the inside of the chapel, the Ark itself is interrupted by a large vertical screen made of CNC-milled maple. The Ark screen is decorated by a dense geometric pattern that conceals a space containing a Torah. The chapel interior is topped by a suspended CNC-milled, segmented plywood ceiling. Its crisscrossing and angular profiles sweep from east to west, variable peaks and valleys rising and falling to create a cavernous lid. The segments allow for the ceiling to have two readings: an airy structure from below, and a solid one from afar.
Bishop explained that among the Ark wall, sunshade, and chapel ceiling, the designers aimed to establish an open-ended dialogue between architecture and ritual. The sunshade, for example, can exist as a discrete architectural element reflecting light every which way, while remaining vaguely associated with “something that feels like the frayed end of the tallit,” as Bishop put it.