系統識別號 | U0002-0903202113112000 |
---|---|
DOI | 10.6846/TKU.2021.00211 |
論文名稱(中文) | 數位時代的木建築之構築研究 — 韓國工藝模式於互卡木構造之應用 |
論文名稱(英文) | The Tectonics of Timber Architecture in the Digital Age — the Applications of Korean Crafting Pattern to Interlocking Joint |
第三語言論文名稱 | |
校院名稱 | 淡江大學 |
系所名稱(中文) | 建築學系碩士班 |
系所名稱(英文) | Department of Architecture |
外國學位學校名稱 | |
外國學位學院名稱 | |
外國學位研究所名稱 | |
學年度 | 109 |
學期 | 1 |
出版年 | 110 |
研究生(中文) | 徐智英 |
研究生(英文) | Ji Young Seo |
學號 | 607365029 |
學位類別 | 碩士 |
語言別 | 英文 |
第二語言別 | |
口試日期 | 2021-01-18 |
論文頁數 | 176頁 |
口試委員 |
指導教授
-
陳珍誠
指導教授 - 游雅婷 委員 - 張恭領 委員 - 陳宏銘 |
關鍵字(中) |
構築 關節 互卡 模式 木材腳料 |
關鍵字(英) |
Tectonics Articulation Interlocking joints Patterns Timber |
第三語言關鍵字 | |
學科別分類 | |
中文摘要 |
鑑於數位設計和先進的製造技術,木材構造,尤其是互卡,已重新成為當代建築領域的焦點。大多數關於互卡結構的研究都集中在木板的卡榫形式上,和關注於線性木材單元的互卡接頭的設計實驗。在這種情況下,這項研究對實現三米高的互卡木構造涼亭、大規模製造提出了挑戰。 為了重新詮釋傳統的木材構造,本文定義了構造的主要特徵:樣式、互卡構造和關節。這項研究重新思考了傳統樣式作為空間交流,新的意義和作用。換句話說,它說明了樣式可以結合建築環境、文化和先進技術,新構造的實用方法。 在樣式研究的基礎上,持續研究關節構造,將接合的單元和整個構造透過互鎖的接頭結合在一起。當它們有選擇性地隱藏和顯現其構造時,可以有定義和表達建築物外立面的可能性,從而表達超出其構造以外的某些形式。 基於前期的研究,使用CNC機銑床對所有260個木材單元和812個卡槽,實現了完整的1:1模型。特殊的木材單元在幾何圖案、互卡構造和先進的製造技術的結合下,提供了複雜的空間表達。它暗示了關節可以提供有效的方式和想法,來表達場所的特殊性,同時具體化為建築的物理形式。 |
英文摘要 |
In the light of digital design and advanced fabrication technologies, wood tectonics, especially interlocking joints, have regained focus in the contemporary architectural realm. Most of the researches on interlocking joints focus on joint geometries for timber plates. Meanwhile, there has been attention to the design experiments of interlocking joints for linear timber elements. In this context, this research challenges mass customization of interlocking joints with the realization of a timber pavilion at a three-meter height. In order to reinterpret traditional wood tectonics, this paper defines key features of tectonics: pattern, interlocking joint, and articulation. This research rethinks the meaning and the role of traditional patterns as new diagrams of spatial communication. In other words, it suggests that patterns could be practical means to revitalize new tectonics that can synthesize built environment, culture, and advanced technology. Based on the researches on patterns, it proceeds to study tectonic articulation that unite articulated elements with the whole work by means of an interlocking joint. It could define the possibilities of building facades as articulate when they selectively conceal and reveal their constitution, allowing the expression of something beyond their construction. All earlier studies considered, the full scale 1:1 model has been realized for all the 260 timber elements and 812 notches with a CNC machine. The particlized timber elements give complex spatial articulation in the synthesis of geometric patterns, interlocking joints, and advanced fabrication technologies. It hints that articulation can provide useful sources and ideas for expressing specificities of place and materializing into a physical form of architecture. |
第三語言摘要 | |
論文目次 |
Contents.....5 List of Figures.....10 List of Tables.....16 Chapter 1. Introduction.....2 1.1 Research Motivations.....2 1.1.1 The Digital in Architecture.....2 1.1.2 The Restoration of Tectonics in the Digital Age.....4 1.1.3 Expanding the Utilization of Timber.....5 1.1.4 Exploring the Agenda of Traditionality of Today.....6 1.1.5 Towards a Newer Architecture: with Social, Cultural and Political Context.....7 1.2 Research Objectives.....8 1.2.1 Exploring the New Possibilities of Timber Tectonics in the Digital Age.....8 1.2.2 Experimenting the Timber Construction with Linear Timber Elements.....8 1.2.3 Investigating the Potential Application of Geometric Patterns in Traditional Korean Woodworking.....9 1.2.4 Reinterpretation of Traditional Wood Structures with Digital Design and Fabrication Technologies.....9 1.2.5 Inquiring the Role of Timber in Prefabrication.....10 1.3 Related Fields.....11 1.3.1 Digital Fabrication.....11 1.3.2 Parametric Design.....12 1.3.3 Wood Carpentry.....13 1.3.4 Timber Construction.....13 1.4 Research Findings.....15 Chapter 2. Literature Review.....18 2.1 Tectonics.....18 2.1.1 Architectural Theories of Tectonics.....19 2.1.1.1 Gottfried Semper.....19 2.1.1.2 Karl Bötticher.....22 2.1.1.3 Kenneth Frampton.....24 2.1.2 Digital Tectonic Thinking.....26 2.1.2.1 Digital Timber Tectonics.....27 2.1.2.2 Innovation in Materials.....28 2.1.2.3 Innovation in Fabrication.....30 2.1.2.4 Innovation in Digital Design Strategies.....32 2.2 Tectonics and Articulation.....37 2.2.1 Articulation.....37 2.2.2 Tectonic Articulation.....38 2.2.3 Case Studies.....39 2.2.3.1 Kengo Kuma: Particlizing.....39 2.2.3.2 E. Fay Jones: Articulation.....42 2.2.3.3 Gilles Retsin: The Discrete.....44 2.3 Digital Architecture.....47 2.3.1 Generation in Design.....47 2.3.1.1 Parametric and Generative Design.....47 2.3.1.2 Design Tools.....49 2.3.2 Digital Fabrication.....50 2.3.2.1 A Brief History of Digital Fabrication.....50 2.3.2.2 CNC Milling.....51 2.3.2.3 The Fundamentals of CNC.....53 2.3.2.4 Rhino Preparation and CNC.....57 2.3.2.5 CNC Operations.....63 2.3.2.6 CNC Limitations.....68 Chapter 3. Preliminary Design Research in Pattern.....72 3.1 Enclave (飛地) and Non-site (非地).....72 3.1.1 Definitions of Enclave and Non-site.....72 3.1.2 Metaphorical Concepts of Enclave and Non-site.....74 3.1.2.1 Myth of the Flat Earth.....74 3.1.2.2 Religion.....75 3.1.2.3 Dreams.....76 3.1.2.4 The Present Situation between North and South Korea.....77 3.1.3 The Unique Korean Concept of Han.....78 3.1.3.1 Han (恨).....78 3.1.3.2 Historical Origins of Han.....79 3.1.3.3 Four Common Characteristics of han.....80 3.2 Traditional Korean Patterns.....82 3.2.1 Patterns in Traditional Crafts.....82 3.2.1.1 Bojagi.....82 3.2.1.2 Norigae.....84 3.2.1.3 Chaesangjang.....85 3.2.1.4 Changho.....86 3.3 Prototype Design.....93 3.3.1 Design Principles.....93 3.3.1.1 Interlocking.....93 3.3.1.2 Modular Grids.....94 3.3.1.3 Iconic Designing of Hangul.....95 3.3.2 Prototype Models.....97 3.3.2.1 Piling up.....98 3.3.2.2 Tangle.....100 3.3.2.3 Residue.....103 3.3.2.4 Hope.....105 3.4 Summary.....107 Chapter 4. Preliminary Design Research in Interlocking Joints.....109 4.1 Joints and Spatial Arrangements.....109 4.1.1 Wood joinery and Tectonics: Kengo Kuma.....109 4.1.1.1 Chidori.....110 4.1.1.2 Jigoku Gumi.....115 4.1.2 Korean Wooden Architecture: Gongpo.....121 4.2 Advanced Designs.....125 4.2.1 Design Principles.....125 4.2.1.1 Segmentation of Blocks.....125 4.2.1.3 Connection Patterns.....127 4.2.2 Advanced Prototype Models.....128 4.2.2.1 Prototype A.....130 4.2.2.2 Prototype B.....132 4.2.2.3 Prototype C.....134 4.2.2.4 Prototype D.....136 4.2.2.5 Prototype E and F.....138 4.3 Summary....140 Chapter 5. Realization of Timber Pavilion in Repetitive Patterns with Interlocking Joints.....142 5.1 Computational Design.....142 5.1.1 Pattern Logics.....142 5.1.1.1 Expandable patterns.....142 5.1.1.2 Design Experiment of Expandable patterns.....143 5.1.2 Master Surface.....144 5.1.3 Grasshopper Descriptions.....145 5.1.4 Material Optimization.....147 5.1.4.1 Naming.....147 5.1.4.2 Optimization of Materials.....148 5.2 CNC Operations for Wood Milling.....149 5.2.1 Rhino settings.....149 5.2.1.1 Size of Work Area.....149 5.2.1.2 Units.....149 5.2.2 Toolpath Settings.....150 5.2.3 End Mills.....151 5.2.4 Template.....152 5.2.4.1 Fixtures.....152 5.2.4.2 Template and Origins.....153 5.3 Fabrication and Assembly.....154 5.3.1 Fabrication.....154 5.3.1.1 Cutting.....154 5.3.1.2 Smoothing.....155 5.3.1.3 Fixing Template.....155 5.3.1.4 Fixing Materials.....156 5.3.1.5 Setting the Origins.....156 5.3.1.6 CNC Milling.....157 5.3.2 Assemblage.....158 5.3.3 Completed Physical Mode.....159 5.4 Summary.....163 Chapter 6. Conclusions.....165 6.1 Conclusions.....165 6.2 Limitations.....166 6.3 Further Researches.....166 References.....167 Appendix.....169 List of Figures Figure 1.1 - A temporary light timber construction which has been designed based on bending behavior under the self-weight of over-sized sheets of plywood https://www.archdaily.com/221650/pavilion-emtech-aa-eth/ Figure 2.1 - Caribbean hut referenced in Semper’s The Four Elements of Architecture https://www.researchgate.net/figure/Caribbean-Hut-on-display-at-the-great- Exhibition-of-1851-in-London-by-g-Semper-1863_fig4_322700381 Figure 2.2 - Crown election (left) and the first lounge (right) of Haesley Nine Bridges Golf Club House by Shigeru Ban, 2010 https://worldarchitecture.org/world-buildings/fgng/haesley-nine-bridges-golf-clubhouse- building-page.html Figure 2.3 - ICD/ITKE Research Pavilion 2010, University of Stuttgart https://vimeo.com/48374172 Figure 2.4 - The joints of pavilion of the Théâtre Vidy Lausanne by IBOIS, 2017 https://www.epfl.ch/labs/ibois/projects/completed-projects/vidy-pavilion/ Figure 2.5 - Yusuhara Town Hall by Kengo Kuma, 2006 http://www.town.yusuhara.kochi.jp/kanko/kuma-kengo/eng/town-hall.html Figure 2.6 - The grid system of Yusuhara Town Hall https://www.pinterest.com/pin/562950022146580859/ Figure 2.7 - The joints of traditional bracket system https://www.archdaily.com/199906/yusuhara-wooden-bridge-museum-kengo-kumaassociates/ 5004e40d28ba0d4e8d000c11-yusuhara-wooden-bridge-museum-kengokuma- associates-photo?next_project=no Figure 2.8 - Thorncrown Chapel https://thorncrown.com/photogallery.html Figure 2.9 - Pavilion made with discrete parts by Gilles Retsin, 2017 https://www.retsin.org/filter/work/Tallinn-Architecture-Biennale-Pavilion Figure 2.10 - Grasshopper and parametric design https://www.rhino3d.com/features/ Figure 2.11 - Rhinoceros https://www.rhino3d.com/ Figure 2.12 - Grasshopper https://www.grasshopper3d.com/ Figure 2.13 - Robotically assembled non-standard brick façade (left) and its assembling in progress with a robotic arm (right) Figure 2.14 - Figure 2.5 3D printing with various materials: transparent glass structure (left), ceramic bricks (middle) and plastic (right) https://www.dezeen.com/2015/08/26/neri-oxman-3d-printing-transparent-glasssculptural- structures-mediated-matter-mit-media-lab/ https://www.dezeen.com/2012/10/31/building-bytes-3d-printed-bricks-brian-peters/ https://portella.com/blog/3d-printing-in-architecture/ Figure 2.15 - Typical additive manufacturing method: laser cutting (left) and milling (right) http://lasercutting101.com/laser-cutting-machines/ https://www.architectmagazine.com/technology/detail/made-in-germany-by-robots_o Figure 2.16 - 3-axis CNC milling machine and its controller Figure 2.17 - VISI, a software for CAM and CAD https://www.visicadcam.com/visi-2018-r1 Figure 2.18 - Cartesian Coordinate system https://en.wikipedia.org/wiki/Coordinate_system Figure 2.19 - The four quadrants of Cartesian Coordinate system https://en.wikipedia.org/wiki/Quadrant_(plane_geometry) Figure 2.20 - The X, Y and Z-axis of the CNC machine Figure 2.21 - The home position of the CNC machine Figure 2.22 - VISI CAD CAM software https://pngimage.net/png-visi-2/ Figure 2.23 - Working near the origin in Rhino Figure 2.24 - Placing surface-based geometry underneath the XY plane Figure 2.25 - Giving a boundary box in line Figure 2.26 - Self-designed template for CNC milling and its origin at corner of the template Figure 2.27 - Flat (left) and ball (right) end mills, and its different scalloping https://wiki.harvard.edu/confluence/display/fabricationlab/Choosing+Tools https://tourlomousis.pages.cba.mit.edu/fabclass-recitation-toolpath-planning/#TC2.2 Figure 2.28 - Larger tools with smaller stepover leave smaller scalloping https://fabacademy.org/2019/labs/sorbonne/students/hanneuse-luc/assignments/ week08/ Figure 2.29 - Tools and work coordinate system Figure 2.30- Climb milling (top) and conventional milling (below) https://tourlomousis.pages.cba.mit.edu/fabclass-recitation-toolpath-planning/#TC2.2 Figure 2.31 - A crashing happened because of an incorrect “home” setting Figure 2.32 - Limitations of CNC — rounded shape https://blog.creatable.com/cnc-guide/ Figure 2.33 - Limitations of CNC — limited shape https://blog.creatable.com/cnc-guide/ Figure 2.34 - Limitations of CNC — considering material strength https://blog.creatable.com/cnc-guide/ Figure 2.35 - Limitations of CNC — accessibility shape https://blog.creatable.com/cnc-guide/ Figure 3.1 - The Flammarion engraving of Flat Earth https://commons.wikimedia.org/wiki/ File:Flammarion_engraving_colored_(edited).jpg Figure 3.2 - The illustration of Dante shown holding a copy of the Divine Comedy https://en.wikipedia.org/wiki/Divine_Comedy#/media/ %20File:Dante_Domenico_di_Michelino_Duomo_Florence.jpg Figure 3.3 - A poster of ‘Inception’ https://www.amazon.com/Movie-Posters-Inception-11-17/dp/B00GYP5E2E Figure 3.4 - A map of East Asia http://afp-cv.blogspot.com/2017/05/name-of-east-asian-countries.html Figure 3.5 - The illustration picturing the feeling of Han Figure 3.6 - The pattern of bojagi (left) and work of Piet Mondrian (right), whose use of squares and color has been compared to bojagi https://en.wikipedia.org/wiki/Bojagi Figure 3.7 - Norigae with different types of knots https://www.museum.go.kr/site/main/relic/search/view?relicId=211252 https://www.museum.go.kr/site/main/relic/search/view?relicId=212700 https://www.museum.go.kr/site/main/relic/search/view?relicId=114932) Figure 3.8 - Chaesang (bamboo boxes) https://www.chf.or.kr/c2/sub1.jsp?brdType=R&bbIdx=100267 Figure 3.9 -Different patterns of changho https://leeesann.tistory.com/325 Figure 3.10 - A halved joint Figure 3.11 - The rule of modular grids Figure 3.12 - Completed physical model of 'piling up’ (left) assembled with a repetitive rule and the basic assemblage logic (right) Figure 3.13 - The patterning logic of ‘Piling up’ Figure 3.14 - Computational assembly simulations of 'Piling up' with a generative growth mechanism Figure 3.15 - Completed physical model of ‘tangle’(left) assembled with a repetitive rule and the basic assemblage logic (right) Figure 3.16 - The patterning logic of ‘Tangle’ Figure 3.17 - Computational assembly simulations of ‘Tangle’ with a zig zag rule Figure 3.18 - Completed computational model of ‘Tangle’ from different angles Figure 3.19 - Completed physical model of ‘Residue’ (left) and the basic unit made with three similar components indicated in a, b, c (right) Figure 3.20 - The patterning logic of ‘Residue’ Figure 3.21 - Computational model of internal connections of ‘residue’ (upper) and completed computational model in two different angles each (below) Figure 3.22 - Completed physical model of ‘hope’ (left) and the basic unit consisted of three identical component (right) Figure 3.23 - The patterning logic of ‘Hope’ Figure 3.24 - Completed computational model of ‘hope’ Figure 4.1 - Chidori Figure 4.2 - Chidori wooden furniture http://www.architectureofearlychildhood.com/2011/11/cool-modular-furnituresystem- inspired.html Figure 4.3 - Assembly diagram of Chidori furniture Figure 4.4 - GC Prostho Museum Research Center by Kengo Kuma, 2010 (left) and comparing the joinery difference between Chidori furniture and GC Prostho Museum Research Center (right) https://www.archdaily.com/199442/gc-prostho-museum-research-center-kengo-kumaassociates/ 5004e0be28ba0d4e8d000ad1-gc-prostho-museum-research-center-kengokuma- associates-photo Figure 4.5 - Jigoku Gumi Figure 4.6 - Statbuck coffee at Dazifu Tenmangu Omotesando by Kengo Kuma, 2008 https://kkaa.co.jp/works/architecture/starbucks-coffee-at-dazaifutenmanguomotesando/ Figure 4.7 - Assembly diagram of Starbucks coffee at Dazaifu Tenmangu Omotesando Figure 4.8 - Sunny Hills Japan by Kengo Kuma, 2013 https://www.archdaily.com/484981/sunnyhills-at-minami-aoyama-kengo-kuma-andassociates Figure 4.9 - Assembly diagram of Sunny Hills Japan Figure 4.10 - Gongpo of Haeinsa in South Geyongsang Province, South Korea Figure 4.11 - The most common joint, Gidung-sagae jjaim, used for gongpo Figure 4.12 - The completed model with the lattice structure resulted in a porosity that continuously changes the geometrical perception of the surface depending on view angles Figure 4.13 - Assembly diagram of the model with the lattice structure Figure 4.14 - Components of the experimental model inspired by the most common traditional Korean joint, gidung-sagae jjaim and its diagram of assemblage with fragmented pieces Figure 4.15 - Basic interlocking logic of three pieces Figure 4.16 - Radial aggregation of components Figure 4.17 - Radial aggregation of components in three-dimension Figure 4.18 - Realized physical model of prototype A Figure 4.19 - Diagrams of prototype model A Figure 4.20 - Realized physical model of prototype B Figure 4.21 - Diagrams of prototype model B Figure 4.22 - Diagrams of prototype model C Figure 4.23 - Diagrams of making a hole on wood with drilling (left) and reproducing it with a laser cutter (right) Figure 4.24 - Diagrams of prototype model D Figure 4.25 - Constraint of triple weaving Figure 4.26 - Two ways of solving assembly problem: specular addition of two components (left) and filleting edges of notch (right) Figure 4.27 - Diagrams of prototype model E Figure 4.28 - Diagrams of prototype model F Figure 5.1 - Modified pattern which can be expandable without any extra parts Figure 5.2 - Completed physical model with expandable patterns Figure 5.3 - Computational model of expandable model with different types of notches that make it possible to connect one with another Figure 5.4 - Design development of master surface Figure 5.5 - Controlling the slope of the early surface created in Rhino Figure 5.6 - The entire geometric descriptions created with Grasshopper Figure 5.7 - Completed computational model of the final design Figure 5.8 - Timbers with assigned names Figure 5.9 - Optimization of materials in Grasshopper Figure 5.10 - The work area of CNC and its units in millimeters Figure 5.11 - Toolpaths setting of CNC milling Figure 5.12 - Flat and ball end mills mounted with ER32 collet chuck Figure 5.13 - Placing and clamping stocks on the sheet for safety matter Figure 5.14 - Template designed for placing three stocks at one time Figure 5.15 - Origin at a corner of the template and setting X, Y, and Z homes Figure 5.16 - Cutting lumbers with a table saw Figure 5.17 - Planing timber for making timbers with same width and thickness Figure 5.18 - Fixing a template Figure 5.19 - Fixing prepared lumbers on the platform of CNC Figure 5.20 - Setting the zero of X, Y coordinates with a ball end mill (∅ 3 mm) and changed to a flat end mill (∅ 6 mm) to set Z zero Figure 5.21 - The one set of timber elements, 130 members Figure 5.22 - Assembly Figure 5.23 - The Overview of the timber pavilion 01 Figure 5.24 - The Overview of the timber pavilion 02 Figure 5.25 - The Overview of the timber pavilion 03 Figure 5.26 - The Overview of the timber pavilion 04 Table 3.1 - Four common characteristics of Han Table 3.2 - Four different pattern types of bojagi Table 3.3 - Fifteen different types of traditional Korean knots usually applied in Norigae Table 3.4 - Thirty different patterns of chaesang restored by Seo, Sinjeong Table 3.5 - Examples of changho patterns Table 3.6 - Korean vowels that were created based on the Confucian concept of three realms, sancai Table 3.7 - Three fundamental elements of architecture in hangul: point, line and plane Table 5.1 - Tables of optimized materials Table 5.2 - CNC settings for wood milling Table 5.3 - Needed number of timbers in different lengths |
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