open tectonics - syracuse university
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Syracuse University Syracuse University
SURFACE SURFACE
Architecture Thesis Prep School of Architecture Dissertations and Theses
12-2014
Open Tectonics Open Tectonics
Steven O'hara
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Recommended Citation Recommended Citation O'hara, Steven, "Open Tectonics" (2014). Architecture Thesis Prep. 262. https://surface.syr.edu/architecture_tpreps/262
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Open Tectonics
Steven O’HaraProfessor Roger Hubeli
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Table of Contents
Part 1: Introduction
Abstract
Thesis
Definitions
Organization
Part 2: Explications
Practice of jigging
Project of the open assembly
Theory of articulation
Part 3: Manifestations
Projections
Site
Program
Part 4: Ambitions
Bibliography
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Part 1: Introduction
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Tectonics is the project of following rules. It is the process of accepting what is given to us and making the best of it. We, as architects, assemble these
predetermined components without question, albeit with potentially great results, but there is more latitude to these rules than we realize. What if our components
were special? What if each subdivision of architecture was like a component on a spaceship; tailored and considered, necessary for the life of the project. What if
its existence, experience, and investigation brought us life and curiosity? What if we felt like explorers of endless curiosity, every day of our lives?
Tectonics is “the science or art of construction, both in relation to use and artistic design—not only the activity of making the materially requisite construction
that answers certain needs, but rather to the activity that raises this construction to an art form.” (Maulden)
Themeansofproducingthecomponentsofconstructionrequiresaprocessofdesign.Itrequiresscientificexperimentation,engineering,chemistry,
physics, and more. But it is not architecture. This thesis holds that architecture is the effect achieved by the thoughtful and intentional assemblies and constructions
of these components, for human use. However, when beginning to question these components, one must concede that the components of construction are too
well designed and time-tested to be overturned by a single thesis. The tools which form and manufacture these artifacts are too well developed and proven over
thousands of years to be reasonably questioned to any productive end. The manufactories and markets speak too clearly to waste time denying the practicality of
steel, concrete, and lumber. But this does not mean that we must accept whatever they produce, it only means that we must intervene with greater knowledge of
thepractices—ofhowsteelismilled,howlumberisprepared,howglassisfloated,andhowtheseallinterface.
The invisible variable in this equation is the jig. It is not the material, it is not the tool, and it is not the design; it is the artifact which enables the interface
of the three. It is here that the designer and the architect can produce variation in the closed world of tectonics. If the architectural potentials of construction
componentscanbeopened,andtheproblemsofdifferentassembliescanbesolved,infinitenewpotentialsemerge.Theworldoftectonicssuddenlyopens.The
rules are changed, specialized, and simultaneously made more accessible. The linear relationship between the designer, producer, and constructor becomes
cyclical, and the architect has the opportunity to choreograph the process.
By understanding the materials, processes, design, and jigging of building components, the limitations of actualizing designs can be eroded, challenging
the relationship between designer, builder, and user.
Abstract
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The idea of open tectonics will be explored through
three lenses of practice, project, and theory. These
lenses will be the criteria of decision-making
throughout the design process.
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Theory of articulation
Practice of jigging
Project of the open assembly
Open Tectonics
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Part 2: Explications
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FORMWORK
Jig: (n) a device that holds a piece of work and guides
the tools operating on it. -Oxford Dictionary
The process of making and using a jig involves a
design intention, a tool, a material, and a physical or
digitalobjecttoserveastheguideandfixture.
The jig is conceptually and practically distinct from
formwork. For the purpose of this study, the jig will be
the focus of research.
GUIDE FOR TOOL PATH
LIQUID MATERIAL
FIXTURE FOR MATERIAL
MOLD
JIG
+
=
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Jigdefinition
Physical
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A digital model or line drawing is also a jig, by
definition.Itguidesthepathofamechanizedtool.This
thesis acknowledges a continuity between physical
and digital fabrication, and the concept of the jig is an
important piece in understanding this continuity.
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Jigdefinition
Digital
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Aparticularjigcorrespondstoaspecifictool.This
necessitates an understanding of tool, material, and
design goals to make use of the jig.
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Jigs + tools
Physical
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‘Digital fabrication’ follows the same rules, with
specificpotentialsandlimitationsofmaterial,design
geometries, and tooling. In order to emphasize the
continuity between digital and physical fabrication, this
thesis holds that ‘digital jigging’ is a more accurate
conception of the processes known as ‘digital
fabrication’
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Jigs + tools
Digital
Physical
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The proper combination of jigs, tools, and materials
enables repeatability, precision, and potentially
irregular geometries for the actualization of a given
design. In the production of architectural components,
the jig is constantly present.
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*large hydraulic machine guiding placement of roller
*
Jigs + tools + materials
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Design intention, tools, materials, and jigs form a
matrix of fabrication and production processes. Each
must inform and be conscious of the other. This thesis
willinvestigatetheextentoftheinfluenceofdesign
intention and jigging on architectural components,
accepting the practicality of existing tooling and
materials.
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ToolingDesign intentions
MaterialPhysical or digital jigging
Jigs + tools + materials + information
Matrix of relationships
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Within the basic matrix of building production and
fabrication, different projects demonstrate different
hierarchies of value. The open tectonic project
proposes a restructuring of this hierarchy within
architectural discourse.
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Jigs in architecture
Tectonic Project Formal Project Open Tectonic Project/ /
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The tectonic project uses regular objects, methods,
and geometries as a means to the end of following the
logics, qualities, and nature in a spatial context.
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Tectonic Project
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c
b
a
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Tectonic Project
a+b c
Ludwig Mies van der Rohe, S.R. Crown HallChicago, USA 1950-1956
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The tectonic project values material and tooling most
highly, with the jig as the next necessary (yet invisible)
variable. Design intentions, while undeniably powerful,
aim to architecturally manifest the existing logics of
material, production, and construction processes.
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ToolingDesign intentions
MaterialPhysical or digital jigging
1
4
3
2
Tectonic Project
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The formal project uses regular objects, methods,
and geometries as a means to the end of actualizing
non-regular formal and spatial aspirations.
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Formal ProjectFrank Gehry, Fondation Louis Vuitton
Paris, France 2006-2014
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a
dc
b
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Formal Project
a
d
c
b
36
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ToolingDesign intentions
MaterialPhysical or digital jigging
2
1
4
3
Formal Project
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The open tectonic project proposes to shift the
hierarchy of the fabrication matrix. Material must
necessarily drive the designs, but the architectural
intentions for the material has the opportunity to be
in closer dialogue, due to the higher value placed on
determining factor of the jig.
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Open Tectonic Project
ToolingDesign intentions
MaterialPhysical or digital jigging
1
2
3
4
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The assembly of building components, no matter their
nature of production, is at the root of architecture.
The caribbean hut was Gottfried Semper’s study
of the origins and archetype of man-made space.
The dinstinction between structure and cladding are
important to the development of this thesis, and will be
used as a means of analysis.
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Archetypal assemblyGottfried Semper, Caribbean Hut
Study, 1851
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The distinction between primary and secondary
structure is essential to understanding the nature of
building assembly. It is a practical reality of the creation
of space, and of mediating primary structure and
panelized cladding.
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Archetype
Primary structure Secondary structure
Panelized cladding Assembly
Archetypal assembly
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As architectural components begin to be re-jigged,
certainflexibilitiesmustemergeintheprocessesof
assembly. Pictured left is an example of a completely
open assembly. Nearly anything can be added
or subtracted, while maintaining the integrety of
the design and construction. Pictured right is an
example of a limitedly open assembly, which is able
toberedesigned,changed,andmodifiedwithinthe
parameters of its design and constructional integrity.
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Open assemblies
Shanty, Johannesburg, South AfricaCirca 2000
Charles and Ray Eames, Case Study House #8 (Eames House)PacificPalisades,USA1945-1949
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AssemblyAssembly
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Primary structure
Secondary structure
Panelized cladding
Primary structure
Open system: no limitations Semi-open system: construction limitations
Secondary structure
Panelized cladding
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Thisexistsincontrasttohighlyrefinedworksof
architecture,towhichmodificationisdifficultor
impossible--technologically or architecturally.
Ludwig Mies van der Rohe, S.R. Crown HallChicago, USA 1950-1956
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Closed assembliesFrank Gehry, Fondation Louis Vuitton
Paris, France 2006-2014Ludwig Mies van der Rohe, S.R. Crown Hall
Chicago, USA 1950-1956
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AssemblyAssembly
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Primary structure
Closed system: design, technology, and construction limitationsClosed system: design limitations
Primary structure
Secondary structureSecondary structure
Panelized claddingPanelized cladding
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AssemblyAssembly
This thesis intends to position its assemblies along this
spectrum, creating an architecture that is designed
and intentional, while embracing the values of
improvisation.
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AssemblyAssembly
Open Tectonic Project
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ASSEMBLYSUPPRESSED
details
whole
details/ornament
details
whole
details/design details/order
details
whole
Detail as abstraction Detail as an orderDetail as motif
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Complimentary to this thesis is an
architectural ambition, which guides the
directions and decisions of re-jigging.
Edward Ford’s theory on the categories of
details is important in the consideration of
new assemblies.
The detail as joint is of particular interest
to this thesis. This focus enables an
architectural theory to guide the nature
of the assemblies engendered by the
study of the jig’s role in the production of
architectural components.
Theory of details
ASSEMBLYARTICULATED
detailswhole
details/architecture
detailswhole
details/architecture
Detail as joint Detail as autonomous design
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Drawing from David Pye’s concept of energy
transformations in The Nature of Design, the
articulation of assemblies can also articulate statically
contained energy within assemblies. The project of
open tectonics seeks to enhance this aspect of spatial
experience with the alteration of the components and
their assemblies.
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Articulation of energy
Peter Zumthor, Stalinset MemorialAssemblies are articulated in a way that expresses the forces of and between components
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There is energy contained in all structures, but as
with assembly, it must be intentionally articulated or
suppressed. Within this assembly, one can almost feel
the materials and components straining to mantain
stasis.
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Articulation of energy
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Part 3: Manifestations
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*large hydraulic machine guiding placement of roller
* *a b
If the material (steel) and tooling (milling rollers) are
kept constant, what latitude is there to change the
designofawide-flangesteelsection?Thejigging,in
this context, is the information guiding the placement
of the rollers.
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Wide-flangebeamstudies
b
a
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Rollers could move in and out, creating swells and
dips, moving in harmony or dissonance.
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Wide-flangebeamstudies
a
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Depending on the speed by which the steel passes
through the rollers, multiple nodes could be developed.
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Wide-flangebeamstudies
a
68
By varying the angle of the rollers, an ad hoc quality
begins to emerge out of the rigidity of the I-section.
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Wide-flangebeamstudies
b
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Typical assemblies and components provided a
valuable starting-point in developing the focus of open
tectonics.
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Exterior cladding (protective finish)Vapor barrierStructural rigid diaphramStructure
Heat barrier (insulation)Interior cladding (rough finish)Interior finishTrim (tolerance cover)
Exterior cladding(protective finish)
Vapor barrier
Heat barrier (insulation)
Interior finish
Trim (tolerance cover)
Assembly studies
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If the fabrication of basic joints was re-jigged, how
would this affect the openness of the assembly?
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Open assembly studies
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The idea of overlapping panels is a potentially fruitful
area in the idea of openness. The construction,
tolerances, and qualities are greater than precise
reveals or butt-jointss.
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Open assembly studies
76
In exploring the articulation of assemblies, as well as
theenergywithinassemblies,specificmaterialswere
hypothesized as existing exlusively in compression or
tension. This idea is consistent with the nature of a
truss, and a mash-up ermerged.
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Articulation study
78
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Syracuse Regional Market structures are clear projects that follow existing guidelines of components and assemblies.
Contexts for intervention
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The market halls were designed and constructed with
varying proportions of architectural intention and utility.
They range from the delightfully simple...
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Contexts for intervention
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... to the sparsely grand...
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Contexts for intervention
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... to the tastefully utilitarian...
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Contexts for intervention
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... to the strictly engineered.
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Contexts for intervention
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Part 4: Ambitions
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Myambitionsforthisprojectaretodevelopasimple,cohesive,highlyspecificanddevelopeddesign.
Concetely, some of the products will include:
Large scale axonometric drawings of assembly and space, large enough to feel human scale
Large scale model, using non-representational materials, but materials that communicate, in miniature, the atmosphere of the space
Many, many iterations for the three aspects of the project: jigging, open assemblies, and articulated energy
Studies of site usage, to determine how openness ought to apply to the Syracuse markets
And as a reminder to myself:
DO DISCOVERY REALISM DON’T INVENTION SURREALISM
Ambitions
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Bibliography
Andersen, Michael Asgaard. “In Conversation: Peter Zumthor and Juhani Pallasmaa.” Architectural Design 82.6 (2012): 22-25. Web.
Aranda, Benjamin, and Chris Lasch. Tooling. New York: Princeton Architectural, 2006. Print.
Bastea, Eleni. Memory and Architecture. Albuquerque: U of New Mexico, 2004. Print.
Bostwick, Ford, “Shapes of Gray: Concepts in Concrete” (2013). Senior Theses. Paper 162. http://surface.syr.edu/architecture_theses/162
Burry, M. (2014), The Architectural Detail and the Fear of Commitment. Archit Design, 84: 134–141. doi: 10.1002/ad.1792
Cadwell, Mike. Strange Details. Cambridge, MA: MIT, 2007. Print.
Corbusier, Le, Peter De Francia, and Anna Bostock. The Modulor. Cambridge, MA: Harvard UP, 1954. Print.
Ford, Edward R. The Architectural Detail. New York: Princeton Architectural, 2011. Print.
Ford, E. (2014), The Grand Work of Fiction: The Detail as Narrative. Archit Design, 84: 26–35. doi: 10.1002/ad.1778
Hartoonian, Gevork. Ontology of Construction: On Nihilism of Technology in Theories of Modern Architecture. Cambridge: Cambridge UP, 1994. Print.
Hopkins, Stacey, “On Memory and Architecture” (1996). Thesis Prep. Paper 167. http://surface.syr.edu/architectue_tpreps/167
Keetman, Peter, Armin Kley, Dirk Nishen, and Rolf Sachsse. Volkswagen, a Week at the Factory. San Francisco: Chronicle, 1992. Print.
Kieran, Stephen, and James Timberlake. Refabricating Architecture: How Manufacturing Methodologies Are Poised to Transform Building Construction. New York:
McGraw-Hill, 2004. Print.
Koolhaas, Rem, and Bruce Mau. “Typical Plan.” S M L XL: OMA. S.l.: S.n., 1993. 335-69. Print.
Merin, Gili. “Peter Zumthor: Seven Personal Observations on Presence In Architecture” 03 Dec 2013. ArchDaily. Accessed 04 Nov 2014. http://www.archdaily.
com/?p=452513
Mihalyo, Daniel. Wood Burners. New York: Princeton Architectural, 1997. Print.
Pallasmaa, Juhani. The Embodied Image: Imagination and Imagery in Architecture. Chichester: John Wiley & Sons, 2011. Print.
Pallasmaa, Juhani. The Thinking Hand: Existential and Embodied Wisdom in Architecture. Chichester, U.K.: Wiley, 2010. Print.
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Pye, David. The Nature and Art of Workmanship. S.l.: S.n., 1968. Print.
Pye, David. The Nature of Design. New York: Reinhold Pub., 1964. Print.
Schittich, C. (2014), Details Around the Corner. Archit Design, 84: 36–43. doi: 10.1002/ad.1779
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Zumthor, Peter, Maureen Oberli-Turner, and Catherine Schelbert. Thinking Architecture. Basel: Birkhauser, 2006. Print.