ARCH 597 Architectural Detailing Mick Kennedy GEOMETRIC LOGICS An Exploration of the Detail as Motif Across Three Scales The project explores the theme of the detail 7’ 2” as motif in three sites of different scales: the column-to-floor connection, the ceiling and the doorknob. 6’ CEILING: MONUMENTAL LIGHT ENTRANCE DOORKNOB CEILING: SMALL DOWNLIGHT Location The STANDARD context is aOFFICE galleryDOORKNOB for the work of Anne Tyng, sited in the campus of the University of Pennsylvania. COLUMN BASE (1) 1/8” STEEL PLATE W SCREWS ONTO WOOD DOOR 6” CONCRETE ON STEEL DECKING WHITE GYPSUM TRIANGULAR TILED CEILING PANEL (6’ SIDE), SUPPORTED BY SECONDARY STRUCTURE SECONDARY STRUCTURE: BRASS SECTIONS HUNG FROM CEILING WITH HEXAGONAL CAP AT INTERSECTIONS 9’ DIAMETER ALUMINUM LIGHT RING HUNG FROM MIDDLE OF HEXAGONAL CAP (2) 1/8” CAST STEEL PLATE WELDED TO (1) (3) 9” EXTERIOR DIAMETER BRASS RING SCREWED ONTO (2) (4) TEAK WOOD RING INSET AND SCREWED ONTO (3) Expanded Project Description As the design of the building heavily uses triangular and tetrahedral geometry in reference to Tyng’s geometrical obsessions, the project aims to explore how the details interact with this overarching theme in the motif of the triangle and circle. The first detail is the connection between the diagonal columns that are part of the tetrahedral space frame, (1) PYRAMIDAL CAST BRASS BASE and the concrete SCREWED ONTO DOOR slab and column below ground. In this detail I explore the interaction of geometry in relation to the motif of a triangle in a circle, as well as how the column detail also acts as a site for human BRASS HANDLE interaction through the provision of(2)seating. Yong Feng See COLUMN BASE GEOMETRIC LOGICS ARCH 597 Architectural Detailing Mick Kennedy “The motific detail obviously falls prey to the same problems as the formally consistent detail: the inability to respond to scale, the blurring of material differences between elements, and just plain styling.” - Ford 29 The renewed interest in form and geometry today in the form of parametric and algorithmic design and digital fabrication raises similar questions and the necessity of confronting this issue. This project suggests how motific details can still play a viable role in contemporary architecture by not simply repeating variations of a geometric idea, but modulating them in different ways through scales and materials in response to their specific functions and how they interact or accomodate the body. The issues that Ford points out are addressed by using the motif at different scales, and treating the materials for the circle and triangle parts seperately. Through this, material difference is empahsized, not blurred, and the detail changes to respond to the scales of the structural column, ceiling, and door handle. Once inside, we slowly pause and reorient ourselves, as the walls and columns seem to slip and slide in all directions but the vertical axis – even looking upward through the atrium gives no reassurance of orthogonal stability. The diagonal steel tube sections are brought together at the ground at a massive concrete pyramid, their lines of action intersecting somewhere within its volume. At this point we understand how the building stands despite its unusual nature through the physicality of the masses coming together, almost as if the weight of the floors above pressured and formed the concrete into a single metamorphic crystal. Again, the geometry here repeats what we have already seen at a small scale, but here there is a counterpoint in the form of the seating that seems to hover around it, offering a space for the weary visitor to rest their feet as they look above and contemplate the forces running in the steel just behind them. Where the triangle provokes with its angularity, the circle soothes and invites, a dynamic opposition just in balance with each other... Yong Feng See 2 COLUMN BASE 10” DIAMETER STEEL HOLLOW TUBE W INTUMESCENT COATING TETRAHEDRAL CONNECTION HUB WELDED FROM 2” STEEL PLATES STEEL CLEVIS JOINT WELDED TO HOLLOW TUBE BENCH: 1 1/2” X 1/2” TEAK SLATS SPACED 1/2” APART, ON BRUSHED ALUMINUM SUPPORTS 2” DIAMETER HOLLOW SECTION STEEL CIRCULAR RING 1’ 7” PRECAST TETRAHEDRAL CONCRETE BASE, SANDBLASTED TO EXPOSE AGGREGATE 2” STEEL PLATE WELDED TO REBAR 6” CAST IN PLACE CONCRETE SLAB 24” DIAMETER CAST IN PLACE CONCRETE COLUMN WITH TETRAHEDRAL CAP 1’ 8” SCALE 1” = 1’ 4’ 8’ 16’ 32’ 3 COLUMN BASE STEEL CONNECTION HUB 05 10 00 STRUCTURAL METAL FRAMING 05 12 00 STRUCUTRAL STEEL FRAMING 05 12 13 ARCHITECTURALLY-EXPOSED STRUCTURAL STEEL FRAMING PART 1 GENERAL An STL file of the geometry will be provided in addition to drawings to ensure accuracy for the connection with the steel hub. Steel manufacturer should work with precast concrete manufacturer to set tolerances and build a mockup that will be reviewed by architect. PART 2 PRODUCTS Hub shall be fabricated from 2” thick flat plate steel per AISI 1008/1010 or equivalent. Pieces to be cut with a CNC waterjet cutter using the given CAD file, and welded into place according to the 3D model. Hub’s ultimate load under tension shall be at least 120% of the nominal yield strength of the structural steel tubes being joined as demonstrated by tests and analysis. Coating to be applied to exposed surfaces as specified in Section 07 81 23 “Intumescent Mastic Fireproofing” PART 3 EXECUTION Erection of the steel structural system shall be in complete accordance with the manufacturer’s installation instructions and following recommendations of manufacturer’s qualified site consultant. Adequate temporary bracing and supports shall be provided to insure the space truss’ stability during erection. COLUMN BASE 03 40 00 PRECAST CONCRETE 03 41 00 PRECAST STRUCTURAL CONCRETE PART 1 GENERAL An STL file of the geometry will be provided in addition to drawings to ensure accuracy for the connection with the steel hub. Precast concrete manufacturer should work with steel manufacturer to set tolerances and build a mock-up that will be reviewed by architect in relation to overall pyramidal form. Samples of surface treatement as described in “Finishes” section to be submitted for approval, with minimum size 300 x 300 x 25mm. PART 2 PRODUCTS Cement, aggregates, water and admixture: to CSA-A23.4 and CSA-A23.1. Aggregate shall be clean and free of foreign material and will conform to the provisions of Section 90-2.02 of the Standard Specifications. Coarse aggregate of 3/8” x #8 pea gravel should be used. Fabricate architectural precast concrete units to CSA - A23.4. Anchors, lifting hooks, shear bars, spacers and other inserts or fittings required shall be as recommended and/or designed by manufacturer in collaboration with steel manufacturer for a complete and rigid installation. Chemical retardant should be evenly applied to inside faces of forms in preperation for light sandblasting to expose the edges of the coarse aggregate, to a depth of 3mm. PART 3 EXECUTION Erect precast work in accordance with CSA-A23.4. Set precast concrete units, straight, level and square. Units will be lowered into place after steel connection hub has been installed, and welded to the steel base. Remove shims and spacers from joints between non-load bearing panels after fastening but before sealant is applied. Provide and install sufficient temporary bracing to brace precast units adequately, at all stages of construction, so that units will safely withstand loads to which they may be subjected. Sealant to be applied to joints in accordance with Section 07 90 00. Tolerances: Joint dimension to be 15mm +/- 6mm. Clean exposed face work by washing and brushing only, as precast is erected, if required. Use approved masonry cleaner if washing and brushing fails to achieve required finish. Remove immediately materials that set up or harden. Yong Feng See 4 GEOMETRIC LOGICS ARCH 597 Architectural Detailing Mick Kennedy CEILING “At Hanna, there are many places where one sees the 30/60° geometry with no hexagon in sight. It has ceased to be a motif or figure and has become simply a controlling geometry; the results descend all too easily into styling.” - Ford 108 Though the triangle does serve as a controlling geometry for the building, the inclusion of the circle as an element of counterpoint balances its regularity of styling and prevents it from being monotonous or overwhelming. The triangle and circle are used to delineate the structural (triangular) from the non-structural seating (circular) in the first detail. In the ceiling design, the geometrical opposition is repeated where the circular pendant lamp, sprinkler or downlight contrast with the regularity of the pyramidal acoustic ceiling tiles that, while technically non-structural, serve to reinforce the idea of the tetrahedral structural lattice beneath. Again, the metallic finishes of the lights contrast with the rougher texture of the acoustic panels, and the brass sections that hold the panels evoke the warmer touch and color of the wooden seats. Lastly, at the door pull and doorknob, steel in the form of the triangle makes the main structural connection to the door, while the circular handle receives the hand as the ring seating receives the body. The warmer materials of brass and teak again refer back to the bench, drawing an intricate web of connections across materials, components and their roles in accomodating to human needs as well as the structural performance of the building. Yong Feng See 5 CEILING GEOMETRIC LOGICS ARCH 597 Architectural Detailing Mick Kennedy 6” CONCRETE ON STEEL DECKING SUPPORTED BY TETRAHEDRAL SPACE TRUSS AIR SUPPLY DUCT ARMSTRONG SOUNDSCAPES SHAPES CUSTOM PYRAMIDAL ACOUSTIC PANEL, 2” THICK AT BASE, ATTACHED TO GALVANIZED STEEL FRAME LINEAR DIFFUSER POP-DOWN FIRE SPRINKLER CONCEALED BY HEXAGONAL BRASS HUB 9’ DIAMETER CIRCULAR ALUMINUM LIGHT DIFFUSER WITH LED RING LIGHTING COLUMN BASE 03 40 00 PRECAST CONCRETE 03 41 00 PRECAST STRUCTURAL CONCRETE PART 1 GENERAL Related Selections 1. Section 09 51 00 - Acoustical Ceilings 2. Section 09 51 13 - Acoustical Fabric-Faced Panel Ceilings 3. Section 09 53 00 - Acoustical Ceiling Suspension Assemblies 4. Section 09 20 00 - Plaster and Gypsum Board 5. Section 02 42 00 - Removal and Salvage of Construction Materials 6. Divisions 23 - HVAC Air Distribution 7. Division 26 - Electrical PART 2 PRODUCTS A. Acoustical Panels Type AP 1. Surface Texture: Fine 2. Composition: Fiberglass 3. Color: White 4. Size: 48IN x 48IN 5. Edge Profile: Square 6. Noise Reduction Coefficient(NRC): 7. Ceiling Attenuation Class (CAC) : 8. Sabin: 1.49 9. Articulation Class (AC): 10. Flame Spread: ASTM E 1264; Class A (UL) 11. Light Reflectance White Panel: ASTM E 1477; 0.90 12. Dimensional Stability: Standard 13. Recycle Content: Post-Consumer - 12% Pre-Consumer Waste - 59% 14. Acceptable Product: SoundScapes Shapes, 5440 as manufactured by Armstrong World Industries PART 3 EXECUTION 3.3 INSTALLATION A. Follow manufacturer installation instructions. B. Install suspension system and panels in accordance with the manufacturer’s instructions, and in compliance with ASTM C 636 and with the authorities having jurisdiction. C. Suspend main beam from overhead construction with hanger wires spaced 4-0 on center along the length of the main runner. Install hanger wires plumb and straight. D. Install wall moldings at intersection of suspended ceiling and vertical surfaces. Miter corners where wall moldings intersect or install corner caps. E. For reveal edge panels: Cut and reveal or rabbet edges of ceiling panels at border areas and vertical surfaces. F. Install acoustical panels in coordination with suspended system, with edges resting on flanges of main runner and cross tees. Cut and fit panels neatly against abutting surfaces. Support edges by wall moldings. Yong Feng See 6 CEILING Looking up we see the ceiling, the pyramidal acoustic panels softly repeating the motif in yet another guise, with the aluminum lamp hanging below. A realization occurs: that this repetition is not a tedious, mechanical one. Each detail is uniquely tailored to its site and context, solving different problems with different materials, while the circular and triangle geometries serve as ties that bind them strongly into a coherent yet differentiated and complex whole. 7 DOOR HANDLE GEOMETRIC LOGICS ARCH 597 Architectural Detailing Mick Kennedy “The motific detail at its best is a counterdetail, going against the grain of the formal strategy of the totality of the building. The more the detail is used, the less powerful it becomes. And herein lies the problem. If it is no more than a leitmotif in the building rather than the primary controlling device, it loses most of its philosophical underpinnings.” - Ford 126 (1) 1/8” STEEL PLATE W SCREWS ONTO WOOD DOOR The use of the motific detail at different scales and materials allows it to maintain its power of expression and remain the primary controlling logic of the building. In the structural base and seating, ceiling and door handle, the generating idea is expressed not only through the geometry of the circle and triangle, but also through how they explain different usages and functions that relate to both the building’s inhabitants and its structure. (2) 1/8” CAST PYRAMIDAL STEEL PLATE WELDED TO (1) (3) 9” EXTERIOR DIAMETER CIRCULAR BRASS RING SCREWED ONTO (2) (4) TEAK WOOD RING INSET AND SCREWED ONTO (3) DOOR HANDLE 08 70 00 HARDWARE 08 71 00 DOOR HARDWARE PART 1 GENERAL Related Sections: Relationship between triangle and circle to be studied in the column and ceiling details, in how the use of material at different geometries relate to the motif: COLUMN: Triangle (Concrete and Steel), Circle (Aluminum and Teak) CEILING: Triangle (Acoustic Panels on Steel frame), Circle (Aluminum light) DOOR HANDLE: Triangle (Steel), Circle (Teak and Brass) 7’ 2” Studying the three details should give the worker an appreciation of how the details uniquely tackle the problem of the joint at different scales and maintain the motif of the triangle and circle in different ways. What at first seems like a simple, repetitive design and the result of an applied style is understood as a complex relationship between style, material and geometry. 6’ Yong Feng See 8 DOOR KNOB GEOMETRIC LOGICS ARCH 597 Architectural Detailing Mick Kennedy A UNIQUE STEERING WHEEL DOOR KNOB DESIGN MAINTAINS THE GEOMETRY OF THE DOOR HANDLE WHILE ALLOWING IT TO BE EASILY TURNED WITH TWO HANDS FOR A LATCHED DOOR. (1) LATCH ASSEMBLY (2) 1/8” CAST PYRAMIDAL STEEL PLATE WELDED TO CIRCULAR PLATE (3) 9” EXTERIOR DIAMETER CIRCULAR BRASS RING SCREWED ONTO (2) (4) TEAK WOOD RING INSET SCREWED ONTO (3) Yong Feng See 9 DOOR HANDLE AND KNOB The gallery’s plan is a perfect equilateral triangle at its base, which slowly evolves upwards at every level according to the geometry of the tetrahedral steel grid. It seems a highly regular and stylized design, where a controlling geometry determines all aspects of the design. But our exploration of the building’s internal dimensions takes place later. First, we enter. The handle on the wood door is warm to the touch, a simple clean strip of oxidized brass bent into the shape of a triangle, with the tip inserted into a circular fitting. Though both handle and plan have a similar shape, they rest on different planes – one horizontal and the other vertical, one resting solid and still while the other accommodates the entrance of the visitors...