Ole Egholm - Concrete making and formwork tectonics - doctoral defense

More flexible formed formwork tectonics

The Cast Thicket project I just wrote about here reminds me of work by the Danish architect and doctoral student Ole Egholm who also explores the formwork tectonics of folded plastic sheets. Egholm  is defending his doctoral thesis on Friday September 13th 2013 in Aarhus. His project is related to my own doctoral work in the sense that it is about concrete, formwork tectonics, about flexible formwork, uses Gottfried Semper and other similar theories and key texts about tectonics, and it is investigated through making with the assistance of lots of great students, yet Ole has a digital starting point where as my own investigations were analog. Also important is his focus on building systems based on concrete elements, for example the vault shown below. 

[Youtube video of the assembly of the ReVault]

The use of concrete elements in Denmark could definitely use a lift and Ole's approach is great. His project has the title The Tectonic Potentials of Concrete and you can read an English summary of it here. The experiment shown below is from the ReVault workshop made in Aarhus as a collaboration between researchers and architecture students from Aarhus and from University of Technology, (UTS) in Sydney, Australia.

[Images from Re-vault, via. Elements are connected with zip ties. See more images here]

Ole and I have found similar sources of inspiration and this becomes clear when Ole Egholm writes about his conceptual universe that it 

"is based on research into established writings concerning tectonic thinking. The ideas of German Theorist Gottfried Semper are presented as a strategy for describing form as a result of materials and technical matter. Furthermore the idea of poetic construction is presented. Set forth by the English / American theorist Kenneth Frampton, the idea is that poetic construction is achievable though attention the properties of materials, structural logics and the craft of making. The thoughts of Marco Frascari which suggest a reading of details as a creator of meaning are introduced to be able to help establishing a progression in the case studies. Due to the narrow research focus on the making of concrete, an additional conceptual framework which emphasizes tectonics as a physical phenomenon is presented: The relationship between material, technique and form. Finally, a distinction was made between relationships surrounding mould making and the actual creation of geometric forms in concrete. The former was referred to as mould tectonics, the latter concrete tectonics." From Egholm's summary

This relation between formwork principles and the cured physical manifestation (concrete) is what I relate to as Stereogeneity - I think that Ole, as I am, is drawing on the definition of tectonics presented by Eduard Sekler. - well, I did write an entire post about Sekler, the tectonic, and the relationship between the mold and the molded here

Revault credits, participants

Eleven students from Aarhus School of Architecture (AAA) and UTS

Dave Pigram -architect, Senior lecturer - UTS

Ole Egholm Pedersen - architect, ph.d. candidate - AAA

Niels Martin Larsen - architect, ph.d. candidate - AAA

Stefan Rask Nors - architect, assistant professor - AAA

Ronni Lundoff Madsen - M.Sc. Architectural Engineering - Alectia

Jacob Christensen - M.Sc. Architectural Engineering - Vision+

Yo_cy's formwork tectonics

[Light and space inside the Cast Thicket by yo_cy, via]

Cast Thicket or filigree concrete

I have forgotten to repost this award winning project by yo_cy from Tex-Fab’s APPLIED: Research through Fabrication competition at the University of Texas at Arlington, which is posted on blog of the Architects' Newspaper A/N Blog. The project is familiar to some fabric-formed filigree-like projects with a major difference that it is facetted structure. Yet, despite being inspired by textile-like mats used for casting walls (which you can see way below), the formwork material is actually thin, lasercut plastic sheets. I enjoy the combination of digital fabrication and of combining the lasercut plastic sheets with the hydrostatic pressure from casting. 

“[With this project] we are reacting to the singular material tendency of digital fabrication and [we have shown that] we can use the computer to coordinate different methods of making a material, and simulate that on a smaller scale.” says Tracy, via

[Cast Thicket principle Via]

Cast Thicket is both a form of construction and a finished design product. To produce finished forms of reinforced concrete, construction begins with the design of prefabricated steel struts, which are positioned using a system of interlocking laser-cut plates. Formwork is also prefabricated and attached to the joints. Plastic formwork is then detached and reattached as the structure grows upwards. The final product has the possibility for infinite variation. via the competition site 

[Cast Thicket by yo_cy]

The structure is awesome and perhaps also thicket like (the title contains a new English word for me) - it rather reminds me of columns in Gaudi's Sagrada Familia as well as art pieces by the wonderful Ernesto Neto who fills spatial fabric structures with everything but concrete and plaster. Instead he uses eps, sand, and even spices.

[Ernesto Neto's fabric-formed soft world]

[Each piece of the plastic casing is connecting by a series of tabs. Photo:Kenneth Tracy]

[The plastic mold is held together with plastic zip ties. Photo:Kenneth Tracy]

While I find the work of yo_cy wonderful, I still have to let out a big sigh because of the overly time consuming construction. The idea of the 'tailor-made' as something related to flexible formwork is still so heavily labor intensive as you can tell on the image above, and thus far from being scaleable. I guess the work now can be compared to crocheting and not sewing.

Woven formwork for Kopo House

I am not sure if this house has been built but I'd love to see it if it does - the project is in Indonesia and contains the literal exploration of manufacturing a formwork textile, I mean the textile is in itself a structure with its own principles and the larger the fibers, the is it a building component and material in itself. yo_cy's Christine Yogiaman and Kenneth Tracy state as their profile that combining labor intensive acts in craft culture with rule-based, digital frameworks their projects in Indonesia multiply the everyday to intensify space. The images on the project show initial weaving samples inspired by Ketupat a sort of rise casting formwork... (!) that are manipulated and given form before it is used as formwork for plaster, I think. Other images show larger scale casts of modules and some rebar, so something is definitely being built. Fingers crossed.

The formwork principle is inspired by Indonesian cast rice dumplings known as Ketupat - wow, see below how great they are!

[Ketupat - --- I love these throwaway sturdy lunch boxes]

[woven mats used as formwork and a plaster cast for the  Kopo House project. I'd love to see the full scale version of this! via - Wait - below are bigger prototypes investigating some formwork types]

[Images of the Kopo House investigations, by Yo_cy]

Credits of the Cast Thicket:  Fabricators TOPOCAST

Competition Tex-Fab’s APPLIED: Research through Fabrication competition at the University of Texas at Arlington 

Designers Kenneth Tracy, Christine Yogiaman

Location Arlington, Texas

Date of Completion February 2013

Material limestone powder, white fiber reinforcement, Poraver glass beads, metakaolin, superplasticizer, .03-inch plastic

Process Rhino, Kangaroo, Grasshopper

Formwork tectonics - to round a square column

[2-meter high fabric-formed concrete column]

Formal consequence

The use of flexible molds entails a direct formal relation between the tectonic principles of the formwork structure, the type of concrete pour, and its concrete consequence, so to speak. It is a potential to develop the details in formwork construction because they are technical as well as aesthetic/form giving. On the other hand, this formal consequence means that all mistakes show themselves as well with equal power, and this is a disadvantage of the building method unless you see mess-ups as a charm. The dilemma of course is that working meticulously in construction shows high-level craftsmanship. This comes at a price in hours and wages, in Denmark 70% of the cost of concrete elements go to wages.

[Images of fabric-formed plaster model 1:4] 

Formwork tectonics

One of the student groups at the 2013 TEK1 workshop at RDAFA also concluded this from their preliminary experiments with fabric formed plaster casts. When attempting to literately tailor the fabric formwork the ruthless character of the poured plaster changed initial intentions to less controlled and little desired folds and bulges (not shown here). It took a long time to work with intricate principles and it still proved difficult to anticipate and achieve the results they desired. As a result, the students devised a formwork principle that, while simple to construct, would still result in sharp, controlled edges as well as soft curving surfaces. The principle was tested in the model shown above

  

Formgiver and structure

The storyboard shows the steps of constructing the column and the simplicity and tectonics of the structural formwork principle. The title is Compression and Expansion and refers to the role of the formwork sheets and the consequence on the poured fabric mold. I love how the interlocking and formgiving mdf-sheets are also what holds up the fabric tube. The principle means that the column has a square footprint and always two flat surfaces and two curved ones, i.e. quite a complex geometry.

 

[Left: the formwork structure ready for the pour. Right, detail of the formwork structure before stripping ; bits of cement has filtered through the fabric along with excess mix water during the pour.]

[Sketches from student report showing the principles and the steps of constructing the formwork]

 

Creases and shifts

Despite their work at simplifying the process for ultimate control, for the resulting fabric-formed concrete column, students were unhappy about little creases from the fabric as well as the asymmetry of the bulges. Especially the bottom has uneven bulges, which could have been avoided by adjusting the fabric tube before and during the pour, as well as working the concrete from outside the formwork – simply moving the fresh concrete by pushing against the membrane mold. Note, however, how identical creases can be found on the surface of the plaster model cast using the same principle.

This first meeting with concrete and principles formwork tectonics for first-year students is promising. If you are in Copenhagen, swing by the quay behind the RDAFA and check out the columns.

Credits

Work and drawings by: Oskar Mannov, Sidsel Petersen, Nora Ødegård, Cuong Tran, and Toke Ridderson.

TEK1 2013 concrete workshop organized and taught by Finn Bach, Tenna Beck, and Anne-Mette Manelius (yours Concretely) for the Institute of Architectural Technology at the RDAFASA

PS

I have written much more about formwork tectonics and stereogeneity (concrete as material and as process) in my PhD dissertation

Ensamble Studio's concrete sticks and bones

The Spanish architectural office Ensamble Studio uses concrete as a tectonic ensemble of elements or as a poured mass of liquid stone. Sticks and stones, in other words. -- enjoy a few videos of constructing the projects further down in this post.

Constructing solid space
For a while I was only familiar with their quirky project the Truffle. I like the conceptual approach to constructing space and structure. Bales of hay is used to construct the solid space, so to speak, and then concrete is poured all over it. - the main quirky part is the use of a neighbor's calf to feed off the hay and thus excavating the interior space over the summer. The cow grows as does the space.

[Image above by Ensamble Studio, 2010]

[Film about the cow Paulina and the project, YouTube link]

[This way of constructing space can be compared with the Bruder Klaus Kapel by Peter Zumthor. Here the space is constructed by wooded laths, cast in what appears to be a pisé technique - and finally the space is revealed by a fire burning away the wood.]

According to a lecture with an Ensamble Studio architect, the Truffle House was a prototype for another and much larger project to be cast in place and in which the different functions were conceived as spatial blocks connected by concrete pour. The studio did not win this competition but it would be great to see a scaled up version of this conceptual approach to casting, which is so bound to the process of construction and of very small projects.

Radical Sticks

Other projects use prefabricated and huge concrete elements, tectonic use of concrete sticks. - the Hemeroscopium House (2005) is pretty radical in its use of elements laying off eachother. And that's it - no cold bridges dealt with - and looots of concrete. I have seen images of livable spaces of the house. Images of the web site are more structural.

[Hemeroscopium House (2005) with the 'G point' rock on top. Via]

The office describes how: "It took us a year to engineer but only seven days to build the structure, thanks to a total prefabrication of the different elements and a perfectly coordinated rhythm of assembly. All of our effort oriented to develop the technique that would allow creating a very specific space. And thus, a new astonishing language is invented, where form disappears giving way to the naked space. Hemeroscopium house materializes the peak of its equilibrium with what in Ensamble Studio we ironically call the “G point”, a twenty ton granite stone, expression of the force of gravity and a physical counterweight to the whole structure."via

[Hemeroscopium House (2005) with the prestressed 'swimming pool profile' element. Via]

[4 minute movie of the construction, YouTube link]

Transformation of space and program

Reader's House is my favorite project and is the transformation of an old market hall to a cultural purpose. Here, long pre-streesed U-shaped elements, introduces a different orientation of the space, as well as the opportunity of a variety of programs on these bridge-like slabs. The slabs span the entire space in a simple and remarkable way.

[Images of the Reader's House, via]

"The Reader’s House project is the result of a competition that took place in 2006, in which Ensamble Studio won the first prize. The purpose of the competition was to restore the warehouses 13, 14, 17b and 17c of the Old Slaughterhouse to incorporate a new educational program.

The proposal made by Ensamble Studio maintains and enhances the original character of the industrial complex, by imposing a new order to the one of the pre-existent buildings. The confluence and relationship of the new system and the existing one forms a new space.

Two physical, perceptual and activity levels are defined forming a mutable scenario. The upper level, constructed with precast concrete beams of 40 Tons each, is a space for research and study. These beams are bridges, aerial streets, vectors of activity. In opposition to the basilica-like structure of the warehouses, longitudinal, light and metallic; the new structures are inserted through the windows and sew the space transversally, giving unity to the complex formed by the warehouses 13 and 14, which were previously independent buildings. The lower level participates, without losing its essence, of the rhythm marked by the upper level. Dynamic and mutable, this level will host the educational and cultural diffusion activities, enabling their future redefinition."From the Ensamble Studio website 

[Building the Reader's House, Youtube link]

Watch this video of the construction process - It's hard to explain and hard to believe the simplicity of the construction process, really - the accompanying music plays on this in Buster Keaton type way, I guess... I mean, Keaton and Ensamble do have some high precision planning in common if you think of this famous movie clip.

Brief terminology of fabric formwork

For my doctoral dissertation, which I finally defended in July (yipee), I used or developed a number of concepts for the discussion of textile notions and 'concreteness' of fabric formed concrete 'Concreteness' is actually a term I abandon for a tendency to emphasize solely the dichotomy of fluid and solid - instead I invented my own concept, Stereogeneity. Below is summary of this and more key terms:

Concrete and cement

The term concrete is derived Lat. concrēscere, to grow together. The word cement is based on the ancient Roman definition of caementum, a mortar with a binding material for constructing walls. Béton is the term for modern concrete used in French, German and Danish. The word is derived from the Old French betum for a mass of rubbish.(1) See stereogeneity and condition.

Concreting

The procedures of pouring fresh concrete into a mold, or applying thin layers of fresh concrete

on a surface.

Condition

According to the Retrospective Object Theory posed by the Danish artist and Professor Willy Ørskov an art object and its becoming can be understood over time as a series of conditions.(2)

Fabric

A planar textile structure produced by interlacing yarns, fibers, or filaments. The word fabric is derived from Lat. fabrica, workshop, and the French fabriquer, to manufacture, and describes a  number of fabrications. The sense in English evolved via ‘manufactured material’ to ‘textile.’

Formwork tectonics

The relation and careful joining of between parts and whole of formwork structures. The formwork

tectonics of fabric formwork has the core parts: frame, form tie, and textile. Structuralformwork principles, see structure.

Stereogeneity

Word derived from the roots of Gr. stereos (solid) and ginomai (to begin to be); describes concrete as a material and a process and is a coinage of the author. The formal definition is suggested as: ‘the expressed manifestation into solid material form of a series of conditions from the construing and construction of structural formwork principles and concreting.’ See condition.

Structure and structural principles

The use of the word is influenced by the use in Danish struktur, from Lat. struere to pile up.

The word covers the linkages and relationships that exist between parts of a whole.(3) The German

architect Mies van der Rohe (1886 – 1969) defined structure in architecture as a philosophical concept: ’The whole, from top to bottom, to the last detail, with the same ideas.’(4) He saw structural order as a condition where ‘form becomes a consequence of structure and not the reason for the construction.’(5) Structural formwork principles, see formwork tectonics.

Technology and techne

The word is understood through the Greek words techne ‘art, skill, craft, method, system.’combining; and the root of legein ‘to speak’. The architectural scholar Marco Frascari refers to a dual-faced notion of technology because it unifies the tangible and the intangible of architecture.

Rhetorical, symbolic and reflective representations of technology thus refer to the techne of logos; scientific, instrumental and practical representations of technology refer to the logos of techne.(6)

Tectonics

Introduced to architectural discourse in the 19th century, several uses of the word are present in the dissertation: for practical use of tectonic thinking, see structure and formwork tectonics.

Analytical use of tectonics as the expressed manifestation of initial structural principles and the materials and processes,(7) see stereogeneity.

Textile

The term originally describes a specific mode of fabrication, to weave; from Latin: textilis, woven,

fabric, cloth. The word refers more generally to modes of construction for textiles. In the dissertation textile is used as a fabric surface, as structure as well as metaphor.

Notes

1: Peter Collins, Concrete, the Vision of a New Architecture: A Study of

Auguste Perret and his Precursors, 2nd ed. (McGill-Queen’s University

Press, 2004), 21.

2: Willy Ørskov, “Objekterne - Proces og Tilstand: forslag til en objektteori,”

in Samlet : Aflæsning af objekter, Objekterne, Den åbne

Skulptur, Antology of writings. (Borgen, 1999),

3: “Struktur”, Den Store Danske (online dictionary, Denmark: Gyldendal,

2012), www.denstoredanske.dk, (Accessed 15-01-2012).

4: Ludwig Mies van der Rohe and Peter Carter, Mies van der Rohe at

Work, reprint (org 1974). (London: Phaidon, 1999), 9.

5: Ibid.

6: Marco Frascari, Monsters of Architecture (Rowman & Littlefield

Publishers, 1991), 116–17.

7: Sekler, Eduard, “Structure, Construction, Tectonics,” in Structure in

Art and Science, ed. Gyorgy Kepes (George Braziller, 1965), 89-95.

Please reference my dissertation: Manelius, Anne-Mette (2012) Fabric Formwork for Concrete - Investigations into Formwork Tectonics and Stereogeneity in Architectural Constructions, the Royal Danish Academy of Fine Arts Schools of Architecture, Design and Conservation, School of Architecture.

Formwork tectonics

In a series of photographs, my friend Signe Ulfeldt has documented formwork-tectonic details right after a concrete pour. Her photos lifts the introductory chapters of my dissertation - but why not share the niceness with the readers of Concretely.

[Image of newly poured fabric formed concrete at TEK1 2011. Photo: Signe Ulfeldt]

For fabric formwork there is a direct relation between formwork design and concrete form and surface. The role of the construction of formwork structures thus acquire careful attention to all details. Yet, the aesthetics of formwork structures while performing its duty supporting concrete is left only as traces or more directly as impactos on the cured concrete structure after the formwork has been removed.

[Images of newly poured fabric formed concrete at TEK1 2011. Photo: Signe Ulfeldt]

Photographic attention

Signe assisted in the making of Composite Column in 2010. In 2011, the last concrete workshop I organized and taught before writing up my doctoral dissertation, and which I will defend two weeks from today...,  Signe exchanged her physical assistance with that of the observer. She focused her photographic attention on the relation between formwork structures and the freshly placed concrete in a series of photographs that I just love. The materials and rhythm of the formwork structures are captured to form graphical patterns of their own. The concrete is still fresh and the fabric is 'sweating' excess mix water. Yet only the image of a masonry tool, above, and the home made 'sewing aggregates', below, refer to the recent presence of the workshop participants and a massive concrete truck.

[Images of newly poured fabric formed concrete at TEK1 2011. Photo: Signe Ulfeldt]

[Images of newly poured fabric formed concrete at TEK1 2011. Photo: Signe Ulfeldt]

Benches on the Quay

The attentive fabric-former may wonder about the extensive presence of timber in the images. Well, the TEK1 2011 was all about benches and the focus upon the use of fabrics as formwork turned out the receive a smaller role than most student groups' desire to design, the assignment for the workshop was a bench for the quay behind the studios of the Royal Danish Academy of Fine Arts, School of Architecture. (RDAFASA). You can still come around and enjoy the afternoon sun sitting on some of the results.

Thanks again Signe for the nice work -

Formworks at Columbia

Formworks is a course taught at GSAPP, Columbia by my new formwork friend Joshua Draper (yes, it is a very cool last name these days, what?).

[JAJI Noise Continuum, via]

Since 2008 the studio class has hybridized methods of casting with digital fabrication

"The ambition is to challenge the repetitive nature of casting and formwork by developing a parametric, dynamic formworks system and produce a series of precast elements using that system. 

Organized around a series of short but intense assignments, students are introduced to 1 and 2 part molds, silicone casting, vacuforming, rotational molding and a variety of casting materials. Students respond with their own system which takes these techniques and systems of organization, assembly and fabrication further." Via

[JAJI is a project that investigates the role of the milling direction(s) in creating form and surface pattern. via]

JAJI project by students: Jennifer Chang, Aaron Berman, Juan Fransisco Saldarriaga, and Idan Naor.


See presentations of work by the Formworks classes:
formworksfa11.blogspot.com
formworksspr11.blogspot.com
formworksfa10.blogspot.com
formworksspr10.blogspot.com
formworksfa09.blogspot.com
formworksspr09.blogspot.com
formworksfa08.blogspot.com
formworkssum08.blogspot.com 

Flex Form by Allison Adderley

Building Matters is a blog compiled around the wonderful experimental thesis work of permanent, flexible formwork of Allison Adderley, architecture student at the University of Buffalo in the state of New York.

[Flex Form via]

"Typically, formwork is understood as a temporary building element, often being discarded and seen only as a construction tool, rarely a component of the final design.  This proposal explores the opportunity of employing formwork as a permanent building element, thus incorporating the formal elements inherent in building within the final form itself," Adderley states

[A very 'textile' formwork principle for a permanent formwork principle, "Flex Form" via]

Some of Adderley's formwork principles are permanent, and some 'just' leaves a permanent, formal consequence of the construction principles behind the formwork structure. I share this interest with Adderley in practices of molding and the relation between the mold and that which is molded. Basically, what I like to call 'formwork tectonics.'

Adderley introduces her abstract and theoretical references, Gottfried Semper, Kenneth Frampton, and Gework Hartoonian, and how she uses these theories. In this sense, find inspiration in the blog as a nice way to present rigorous, experimental and poetic work.

Semper's theories of the transformation of textile principles to methods of 'weaving' and 'dressing' facades are evident in the above experiment.

There is also a nice gallery of photos from a visit to the laboratory of CAST at the University of Manitoba. Adderley is obviously inspired by the work at CAST but has found her own way of investigating the roles of the fabric in formwork for concrete.

[Formwork detail, Series3 - Permanent Fabric (Suspension) via]

[Casting Series3 - Permanent Fabric (Suspension) via]

A goal in the abstract is to end the thesis work with a full scale cast, so more appears to come on the blog.

 Allison, I hope to see you at the ICFF2012 (World's Second International Conference of Fabric Formwork) in Bath, (UK) June 2012 :)