ata report london met

C O N C R E T E C A N V A S

G R O U P 7

Marcos Anton Banon11037890

Yoanne Chan15024127

Nikolai Gomes de Almeida14025325

Jordana Lyden-Swift08006205

Rudi Perestrelo10007751

Harveen Sunner15017540

CONTENTS

Introduction

Development Process

MaterialsAestheticsServices

Construction and Model MakingComponent Schedule

Drawing SetExploded IsometricWorms eyeReflected Electrical PlanReflected Ceiling PlanShort SectionLong SectionRoofing Detail - Short SectionFire SafetyWall Construction & Cold BridgingRoofing Detail - Long SectionPost and beam assemblyRendered Representation

Design Critique

1

3

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1720

32333436373840424445474950

53

INTRODUCTION

The concrete articulated ceiling designed by group 7 is composed of seventeen

reinforced concrete beams and three 73m rolls of concrete canvas. After deliberation

our main aims were to use a high tech material to create a low-tech design. Using as little cement as possible and minimizing workforce requirements and environmen-

tal impact. We wished to be very honest with the material and transparent with

the construction process. These notions of minimized resources, honest execu-

tion and integrity to all components run throughout the design and it’s process.

1

DEVELOPMENT PROCESS

3

1. Experimenting with fabric forms2. C.A.S.T, University of Manitoba3. Fabric Formwork, Remo Pedreschi and Alan Chandler

Initial inspiration from the fluidity and versatility of concrete cast by fabric and structural stability by a thicker central beam to create a rib-like form.

4

1. Vodaphone HQ, Porto, Portugal - Barbosa & Guimarães2. Andrea Russo - Paper folding sculpture3. Experimenting with paper folding form

The aesthetic flexibility created by concrete, used in the Vodaphone HQ , lead exploration in paper folding forms in architecture. This started the exploration of our approach to the articulated concrete ceiling.

5

Exploring the link between the structural form, simultaneously being able to communicate a fluid aesthetic was explored through the use of repetition of beams, using the same structural principle with a thick central part. However, with slightly different formwork to create an undulating configuration. This was tested to formulate a design pf undulating ridges that work both structurally and aesthetically

Testing the experiential qualities of the rib aesthetic, allowing to introduce the exposed qualities of services enhancing the honest nature of the techniques informing the design.

Repetition of concrete beams tapered towards the central point for optimum load bearing capacity,

6

1. Barrel vault ceiling in Zarzuela Racecourse Grandstand, Madrid, Spain2. Inverse barrel vault ceiling in the National Assembly, Kuwait

The appeal of creating an honest and unconcealed ceiling celebrating the characteristics of concrete lead us to explore the possibility of the ceiling skin layer that was also structural using the barrel vaults as a structural precedent.

Weaknesses in the form concerning drainage lead us to rethink the form to create a shape to allow and to cater for drainage as an integral part of the ceiling design. This allowed us to carry the principle right through to roof detailing.

7

Test draping on different configurations of beams to explore how the ‘fabric sheet’ forms a seamless blanket over the structural element of the ceiling.

Nottingham Contemporary, Caruso St John

Concrete Canvas is a flexible, concrete impregnated fabric that hardens when hydrated to form a thin, durable, water proof and fire resistant concrete layer. CC allows concrete construction without the need for plant or mixing equipment. Water just needs to be added to the Concrete Canvas to allow it to set.

Concrete Canvas consists of a 3-dimensional fibre matrix containing a specially formulated dry concrete mix. A PVC backing on one surface of the material ensures the material is water proof. The material can be hydrated either by spraying or by being fully immersed in water. Once set, the fibres reinforce the concrete, preventing crack propagation and providing a safe plastic failure mode.

This material allows the desired design to be realistically articulated through its use in the blanket layer that forms the shell structure of the ceiling.

8

The final design of the concrete articulated ceiling was realised by abandoning the ideas relating to the tapered beams as the thickeneded central element of the beams would compromise the crucual structural junction where the beam meets the post.

In addition to this, by mitigating the graduated beam, a large amount of concrete was able to be mitigated from the design, saving cost, and also load of the structure.

This allowed for the the beams to be of a slender profile to enhance the delicate draping aesthetic achieved through the the use of high performance concrete.

9

MATERIAL CHOICES

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CONCRETE CANVAS Concrete canvas was chosen to achieve the effortless fabric form of draping because of its capacity to achieve this form along with its structural stability needed for a ceiling. This was decided after extensive research on fabric formwork and alternative concrete casting techniques.

WWW.CONCRETECANVAS.COMConcrete Canvas (CC) is a flexible, concrete impregnated fabric that hardens when hydrated to form a thin, durable, waterproof and fire resistant concrete layer. CC allows concrete construction without the need for plant or mixing equipment. Simply position the canvas and add water.

CC consists of a 3-dimensional fibre matrix containing a specifically formulated dry concrete mix. A PVC backing on one surface of the material ensures the material is water proof. The material can be hydrated either by spraying or by being fully immersed in water. Once set, the fibres reinforce the concrete, preventing crack propagation and providing a safe plastic failure mode.

CC in avaible in 3 thicknesses: CC5, CC8 and CC13, which are 5, 8 and 13mm thick respectively. CC is used in a variety of civil infrastructure applications, such as ditch lining, slope protection and capping secondary containment bunds.

Compared to traditional concrete solutions, CC is faster, easier and more cost effective to install and has the additional benefit of reducing the environmental impact of concreting works by up to 95%.

After researching the material, discovering its uses in aid shelters we had an ambition to run with this idea to create a ceiling that could also be constructed on site by minimal labour (2 men). This was achieved by minimising the weight of the components used.

Fig.1 Concrete canvas component pinned in place for setting12

CONCRETE BEAMS Contrasting textures of smooth beams and rough concrete canvas highlighted the aesthetic properties of the materials involved. This was also enhanced by the method of articulating the services. A decision was made to have all services exposed and therefore all wiring was carefully configured as a feature of the ceiling. By using high performance concrete we were able to minimise the cement content and enhance the draping effect of the concrete canvas by having very thin fins instead of bulky concrete beams.

Glue laminated timber beams was considered as an alternative to using concrete for the beams because of our aim to use as little concrete/cement as possible. Particularly as the joint detailing of the beams are coincidentally very similar to timber detailing,

Using GLULAM beams would substantially reduce the concrete/cement used in the articulated ceiling. However, as our brief was to investigate concrete construction the team wished to further the benefit of the experience of the charette, and endeavoured to push the design remit of standard concrete beams to fully understand the processes and limits of traditional concrete construction as a primary material. In addition, we felt the singularity of the materials used created a desired aesthetic. (being able to showcase very smooth, finished beams in comparison to the rough texture of the concrete canvas,) would hold an honesty in the versatile nature of concrete as a material – an initial aim of the design.

Fig.2 Concrete beams with voids for services 13

AESTHETIC CHOICES

The majority of our aesthetic choices were made based on the material and construction techniques we wished to investigate. We were enticed by the techniques and properties of the material choice and allowed them to lead the aesthetic decisions. Best showcasing the different capabilities of the material choices. To contrast and compliment the concrete textures we chose brass as the secondary detailing material. The rawness and honesty of the material held true to the ethos we wished to carry through the design.

Fig.3 The variety of treatments concrete canvas could be capable of

14

SERVICES CHOICES

We endeavored to integrate services, making them a highlighted feature as opposed to finding clever ways to hide them. This was in line with the honesty aim we had from the beginning. Casting services in to the beams would create problems if there is ever a necessity to alter them, however there seems something ‘unplanned’ by simply tacking them to the surface. We chose to showcase instead of hide them by casting voids through the beams to run wires perpendicular to the beams. In line with the minimal workforce required to construct the ceiling, the services are remarkable easy to adapt and appropriate of the placement of the services due to the multiple channels for the wires to run along. We allowed the wires to naturally drape and to reinforce the draping effects between the beams as opposed to running a straight pole conduit through the space which we felt wouldn’t do justice to the form of the ceiling. It also felt a step away from the initial ambitions of honest execution, by hiding the services with in a conduit.

Fig.4 Wires run through the beam voids

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CONSTRUCTION AND MODEL MAKING

Fig.5 Workings out for beam moulds

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The ModelIn the making of the model we endeavoured to stay as true to life as possible with both the final representation and the construction process. A substantial amount of time was spent working out how to create the model assessing the benefits of each technique, therefore the model making process went very smoothly and to plan.

The model mirrors the actual construction make up of the design, perhaps too much though. In our effort to represent life we applied layers of fabric and felt to mimic insulation and cold applied waterproofing membrane. Unfortunately this hid the pleasant aesthetic of the concrete canvas roof construction from above. However, as this was a ‘ceiling’ oriented project, the interior looked exactly as planned, one just had to get underneath it to appreciate it.

As we stayed as true to reality as possible regarding the construction process, we learnt about some of the issues that might be faced. Concrete canvas is not currently used very expansively outside infrastructure projects and mining. It is supplied in 1m wide rolls.

The roof would require nine widths to cover the roof. On trying to apply individual rolls we came into problems regulating the curve. However, by combining the individual rolls into one solid sheet we were able to easily apply it. Concrete canvas comes with ties to attach it to itself when necessary. We would possibly recommend creating a solid sheet before application to the roof, however this means additional machinery would be needed to lift it in to place. It would no longer be possible for just two men to apply which is one of it’s great attributes. With proper marking up and care it can be applied roll by roll and joined once in situ.

Unfortunately the makers of concrete canvas are quite protective of their product and would not send us a sample. The unavailability of the material of testing was a project weakness.

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CONCRËTE

GROUP 7

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Concrete canvas roof -‐ components

Item Quantity Unit weight (kg) Subtotal weight (kg)Triangular end beam 2 387 774Left to right beam 8 774 6192Right to left beam 7 774 5418Concrete beam ties 96 2 192Concrete canvas ties 630 0.4 252Concrete canvas rolls 3 (73m each) 1200Flexible rigid insulation 150sqm 4 600Cold formed roof membrane 150sqmWaterproof membrane 150sqm

Total weight (kg) 14628

EQUIPMENT AND MATERIALS NEEDED FOR CONSTRUCTION

OFF SITE: - Reinforced concrete pre cast beams with services holes1. 2 end beams, 2. 8 left to right beams, 3. 7 right to left beams precast

ON SITE:1. A lorry to transport 9m beams on to site2. A crane to lift concrete beams in to place.3. 3 rolls (9 strips) of 13mm concrete canvas4. 96 concrete beam ties5. 630 concrete canvas ties6. 150 sqm Flexible rigid insulation panels7. 150 sqm cold formed roof membrane8. 150 sqm waterproof membrane

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9X

2X

8X

7X

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1. Concrete beams lifted and installed into place and bolted to the flitch plates in the beams and to each other to create portal frame type joint. Ensure joint to walls are as specified

on drawings.

22

8X

23

2. Roll out and cut 9 x 18m strips of concrete canvas perpendicular to the beams, pinning in place to regulate curves using concrete canvas ties to join each strip to the next

(alternatively, 9 strips could be tied together before installation, however this would require a larger workforce).

Fig.6 The pinned rolls of ‘concrete canvas’ are wetted

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10X

CONCRETE CANVAS

25

3. Wet the concrete canvas thoroughly and allow to set by leaving 24 hours.

4. Apply waterproofing membrane, flexible rigid insulation and cold form roof membrane to roof. Ensure insulation is inset by 500mm to maintain slender external roof profile.

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5. Install LED strip lights on front edge of each beam 100mm from ceiling edge to illuminate and enhance the draped canvas effect.

Fig.7 The services arramgement28

15X

15XLED LIGHTING

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6. Install pendant lighting in configuration set out in drawings using the precast services holes to hold wiring.

7. Install smoke detectors in locations specified on drawings, using precast services holes to hold wiring.

Fig.8 The feature pendants

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9X

39X31

THE DRAWING SET

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Damp proof membraneFlexible rigid insulation

Cold applied waterproofing

Concrete canvas

Concrete beams

Concrete posts

Glazing panels

SIPs panelsBrass end cap

End beam/wall

Exploded Isometric1:200

33

Worms Eye Isometric1:50

34

Pendan

t Ligh

ting

Strip

LED

lightin

g

Sm

oke

Dete

ctor

Ligh

t switch

Motio

n se

nso

r switch

Pendan

t Ligh

ting

Strip

LED

lightin

g

Sm

oke

Dete

ctor

Ligh

t switch

Motio

n se

nso

r switch

Reflected Ceiling Plan with Sym

bols1:50

Pendan

t Ligh

ting

Strip

LED

lightin

g

Sm

oke

Dete

ctor

Ligh

t switch

Motio

n se

nso

r switch

Pendan

t Ligh

ting

Strip

LED

lightin

g

Sm

oke

Dete

ctor

Ligh

t switch

Motio

n se

nso

r switch

Pendan

t Ligh

ting

Strip

LED

lightin

g

Sm

oke

Dete

ctor

Ligh

t switch

Motio

n se

nso

r switch

Pendan

t Ligh

ting

Strip

LED

lightin

g

Sm

oke

Dete

ctor

Ligh

t switch

Motio

n se

nso

r switch

Pendant Lighting

Strip LED lighting

Smoke Detector

Light switch

Motion sensor switch

Pendant Lighting

Strip LED lighting

Smoke Detector

Light switch


Reflected Ceiling Plan with Symbols1:50

Pendant Lighting

Strip LED lighting

Smoke Detector

Light switch


Pendant Lighting

Strip LED lighting

Smoke Detector

Light switch


Pendant Lighting

Strip LED lighting

Smoke Detector

Light switch


Pendant Lighting

Strip LED lighting

Smoke Detector

Light switch


Pendant Lighting

Strip LED lighting

Smoke Detector

Light switch


Pendant Lighting

Strip LED lighting

Smoke Detector

Light switch



Pendant Lighting

Strip LED lighting

Smoke Detector

Light switch


Pendant Lighting

Strip LED lighting

Smoke Detector

Light switch


Pendant Lighting

Strip LED lighting

Smoke Detector

Light switch


Pendant Lighting

Strip LED lighting

Smoke Detector

Light switch


Reflected Ceiling Plan1:5036

Pendant Lighting

Strip LED lighting

Smoke Detector

Light switch


Pendant Lighting

Strip LED lighting

Smoke Detector

Light switch



Pendant Lighting

Strip LED lighting

Smoke Detector

Light switch


Pendant Lighting

Strip LED lighting

Smoke Detector

Light switch


Pendant Lighting

Strip LED lighting

Smoke Detector

Light switch


Pendant Lighting

Strip LED lighting

Smoke Detector

Light switch




37

Short Section Scale 1:25

light

Glazing unit frame

Fixing cap

Damp proof membrane

Structural insulated panel

Pre-cast post

Glazing unit

Window sill

External aluminium cladding

Birch plywood

Short Section1:25

38

Short Section Scale 1:25

light

Glazing unit frame

Fixing cap

Damp proof membrane


Pre-cast post

Glazing unit

Window sill

External aluminium cladding

Birch plywood

39

Long Section Scale 1:50

Long Section1:50


Flexible rigid insulation

Damp proof membrane

Concrete Canvas

Canvas pin

Rubber movement joint

Precast concrete beam

40

Long Section Scale 1:50

41

Pre-cast post

Glazing unit frame

Damp proof membrane

Bolt fixing

Supporting bracket

Screw fixing


Movement joint

Fixing cap

Pre-cast hole (Assembly bolt and nut)

Fixing pin

Concrete canvas

Rigid insulation


Vapour barrier

Detail SectionScale 1:5

Detail Section1:5

42

Pre-cast post

Glazing unit frame

Damp proof membrane

Bolt fixing

Supporting bracket

Screw fixing


Movement joint

Fixing cap

Pre-cast hole (Assembly bolt and nut)

Fixing pin

Concrete canvas

Rigid insulation


Vapour barrier

Detail SectionScale 1:5 43

Fire SafetyAs mentioned earlier, concrete has a natural ability to resist fire, in fact, the material can sometimes be described as fireproof. Such performance is due to the inert and poor thermal conductivity property when cement and aggregate are chemically combined within the material. Concrete Canvas, inheriting the properties of concrete, can be used as a fire protection layer for the ceiling application. The canvas has been subjected to assessments of fire and health and safety certifications, including approval from the US Mine Safety and Health Administration.

In case of fire, hazards in the proposed multifunctional hall are likely results of man-made accidents or malfunctioning of electrical in the hall since the concrete canvas ceiling has excellent high temperature performance (eliminating conduction in transmitting fire beyond the hall). Smoke detectors are also installed as to cope with the potential risks.44

Supporting bracket

Glazing unit(only framed for

openable windows)

Structural Insulated Panel

Window sill

Structural Insulated Panel

Fixing cap

Brass end cap

Pre-cast beam

Pre-cast post

Concrete canvas

Cold BridgingAs much as possible we tried to address cold bridging issues as they arose in the design phase. For example, the main post and beam structure is within the glazing line avoiding the compromising junctions that would result. Likewise, insulation is above the roof so that the majority is within the thermal envelope.However, there is a single continuous 13mm cold bridge around the entire structure where the roof thickness meets the external glazing line. To avoid this, wrap around insulation (keeping the entire roof within the thermal envelope) could have been used, but this would have compromised the aesthetic of the extremely thin edge. A secondary option of insulation above and below the cold bridge point (that then continues along inside for 1m) could have mitigated the effect of the cold bridge. Again, this would have compromised the aesthetic qualities of the concrete canvas and was decided against.

45



Damp proof membrane

Concrete Canvas

MaxiLux strip lighting

Brass Coated Pendant Light

Fig.9 The draped wires between cast voids

46



Damp proof membrane

Concrete Canvas

MaxiLux strip lighting

Rubber movement joint

Canvas pin

Precast concrete beam

Brass Coated Pendant Light

Detail1:10 47

Fig.10 The beam joints

48

D1 Post & Beam Assembly

Concrete caps

Nuts

Bolts

Concrete caps

Post

Beam

Rubbermovementjoint

49

Rendered representation

50

DESIGN CRITIQUE.

Whilst the team feel that we were innovative in the use of materials, putting thought in to not only the primary structural elements but also the spaces between, we also feel that the concrete canvas, which was a secondary structure, could have been pushed further. It has good structural capabilities in it’s own right and due to the vaulting technique used in the design, could possibly have been self supporting. We were unable to get enough technical details at the time to be comfortable with that, however, that element of the model itself was self-supporting due to it’s form.

The team agrees that one of the strongest parts of the design is the development process that lead to it. Both structurally and conceptually it was developed and streamlined as seen in the process section of this report. As a team we developed common themes around fabric formwork and alternative construction methods, this lead to the discovery and choice of concrete canvas. Once the our material choice had been made, further development of the design took place in order to showcase it in an interesting way.

It was important to remember however, that despite it’s amazing flexibility and multiple uses, Concrete canvas was not a panacea. Therefore, to further the benefit of the experience of the charette the team also endeavoured to push the design remit of standard concrete beams. Making them very thin but deep was the first step, this lead to questions on the necessity of high performance concrete.

The TeamThe team worked surprisingly well together. Decisions were made as a whole group and then smaller groups or individuals split off in order to conduct tasks. Everyone was very proactive and at no point was there twiddling of thumbs. There was a good range of strengths regarding model making and computer skills so tasks were split accordingly. However, everyone got their hands dirty at some point, and everyone contributed to the drawing set.

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