Robotic timber construction in architecture
Gramazio Kohler Research, ETH Zürich, Switzerland
New paradigms of the automatic Robotic timber construction in architecture
Advancements in robotic fabrication technology combined with the utilization of sustainable materials, particularly wood, offer a glimpse into a future characterized by innovative construction methods that prioritize renewable and potentially locally-sourced resources.
This integration of cutting-edge technology with eco-friendly materials not only holds promise for revolutionizing the aesthetic and structural possibilities of architectural design but also underscores a commitment to environmentally conscious building practices. In their groundbreaking research, Jan Willmann, Fabio Gramazio, and Matthias Kohler of Gramazio Kohler Research at ETH Zürich introduce pioneering interdisciplinary approaches aimed at enhancing the flexibility and sustainability of timber constructions.
Through a series of empirical experiments, they explore the transformative potential of automated robotic assembly methods, unlocking new avenues for large-scale digital timber construction. By employing a locally differentiated aggregation of materials, their work not only enhances structural efficiency but also promotes the development of integrative computational design methodologies and techniques, paving the way for a more sustainable and technologically advanced future in architecture and construction.
Automated assembly processes
- Robotic technology combined with timber construction represents a shift towards innovative and sustainable architectural practices.
- Traditional manual assembly methods are being replaced by automated processes enabled by advancements in digital design and fabrication techniques.
- Despite progress in timber prefabrication with CNC systems, manual tasks and machinery limitations persist in the industry.
- Robotic systems offer significant time savings and the ability to translate complex digital designs into real-world assembly operations.
- Automated construction facilitated by robotics allows for the creation of non-standard timber structures without the constraints of labor-intensive processes or additional scaffolding.
- Integration of robotic technology streamlines the machining and assembly of building components, unifying all processing into a cohesive fabrication system.
- Designers can digitally oversee and control various aspects of the construction process, including element sequencing and assembly, with robotic systems.
- Robotic technology provides unprecedented flexibility in manipulating and positioning building components in space, enhancing precision and design possibilities.
‘The Sequential Wall’ was one of the first projects to investigate the architectural and constructive potential of additive robotic |
(The image above - The Stacked Pavilion’ represents a further stage of development and is conceived as a temporary spatial structure and consists of 16 elements made from 372 wooden battens. The)
The integration of robotics into the assembly of complex timber structures at the building scale represents a promising yet nascent development, posing numerous challenges to the field of architecture. Addressing these challenges, the Gramazio Kohler Research group at ETH Zürich embarked on a series of investigations in 2008 focused on robotic assembly techniques for intricate timber structures.
These endeavors mark a departure from conventional construction practices reliant on standardized elements like bricks, instead embracing the potential of non-standard timber components. Through minimal customization of individual components, both aesthetic and functional possibilities are unleashed, as articulated by Gramazio and Kohler in 2008. By employing robotic machining and assembly, these structures amalgamate the flexibility of bespoke fabrication with the efficiencies of mass production, obviating the need for repetitive processes while ensuring consistent quality and affordability.
Central to this approach is not merely the streamlining of fabrication processes but the exploration of innovative timber constructions and their intrinsic relationship with design flexibility, structural integrity, and robotic assembly methodologies. Initially focused on layer-based systems, wherein customized timber members are robotically added to non-standard walls and structures, the research has evolved over the years to encompass the free aggregation of elements in space. This advanced technique enables precise placement of materials according to digital blueprints, eliminating the necessity for repetitive or standardized construction routines characteristic of traditional manual methods. Consequently, this approach not only minimizes material wastage but also fosters additional savings by obviating the need for auxiliary scaffolding or external building references. In essence, the research conducted by the Gramazio Kohler Research group represents a significant stride towards unlocking the full potential of robotic timber construction, paving the way for sustainable, cost-effective, and architecturally innovative building practices.
- Integration of robotics into assembly of complex timber structures at building scale is a nascent development.
- Challenges include theoretical, practical, and methodological aspects for architecture.
- Gramazio Kohler Research group at ETH Zürich initiated investigations into robotic timber assembly in 2008.
- Departure from standard building elements to non-standard timber components for aesthetic and functional liberation.
- Customization of individual components enables flexibility while maintaining advantages of mass production.
- Focus on exploration of novel timber constructions and their relation to design freedom, structural performance, and robotic assembly.
- Research initially focused on layer-based systems, gradually expanding to robotic aggregation of elements in space.
- Precise placement of materials according to digital blueprints eliminates need for repetitive construction routines.
- Approach minimizes material wastage and reduces reliance on scaffolding or external building references.
- Represents significant progress towards sustainable, cost-effective, and architecturally innovative building practices.
The Sequential Structure |
This unique approach to spatial timber assemblies has been extensively investigated within the framework of the SNSF NRP 66 'Resource Wood' research program, leading to the development of pioneering experimental demonstrations. These demonstrations, showcased in the initial phase of the research, highlight the innovative methodologies and technologies devised to explore the potential of timber as a versatile and sustainable building material.
Following these experimental endeavors, the focus shifted towards industrial implementation, culminating in notable projects such as the 'Sequential Roof'. This large-scale demonstration exemplifies the practical application of the research outcomes, requiring the development of novel computational design and construction processes seamlessly integrated with automated fabrication procedures.
The successful realization of such projects underscores the transformative impact of comprehensively automated assembly processes on the design, performance, and expression of architecture at the building scale. This research trajectory signifies a significant paradigm shift in timber assembly practices, with implications for future sustainable construction endeavors.
- Spatial timber assemblies explored within SNSF NRP 66 'Resource Wood' research program
- Development of experimental demonstrations showcasing innovative methodologies and technologies
- Transition to industrial implementation phase, exemplified by projects like the 'Sequential Roof'
- Novel computational design and construction processes developed
- Seamless integration with automated fabrication procedures
- Successful realization of projects indicating transformative impact on architecture at building scale
- Paradigm shift in timber assembly practices towards sustainability and efficiency
Digital Fabrications in Architetcure // Mafoombey
Section templates. |
Mafoombey
Martti Kalliala, Esa Ruskeepää,
with Martin Lukasczyk, 2005
Mafoombey was the winning entry in a design contestarranged by the University of Art and Design in Helsinki in 2005. The competition brief called for a space for listening and experiencing music within the set dimensions of two and a half cubic meters. The project was executed with 3D software and scale models. The design builds up from a simple architecturalconcept: a free-form cavernous space that is cut into a cubic volume of stacked material.
Finished exterior. |
The low resolution of form and the perception of weight achieved through a layered structure were determined to be the key issues. Research into various materials suggested corrugated cardboard as optimal for its low cost and excellent acoustics. Furthermore, the material has a strong aesthetic appeal, which the designers felt had not been fully exploited at the scale of the project.
Program and equipment void diagram sections. |
Mafoombey consists of 360 layers of seven millimeter corrugated cardboard, adding up to 720 half-square sheets. The sheets, 2.5 meters by 1.25 meters, are cut one by one using a computer- controlled cutter. The structure sits under its own dead weight without fixing. The lightweight assembly details ensure relatively easy transportation and quick construction.
Axonometric diagram of interior voids. |
Assembly |
Detail of surface. |
Book Reference:
Digital Fabrications Architectural and Material Techniques by Lisa Iwamoto
https://amzn.to/3Gt0s2u
Digital Fabrications in Architecture // A Change of State
Detail of connections. |
A Change of StateGeorgia Institute of Technology/Nader Tehrani, 2006
This installation is the result of a one-year research
process conducted by Nader Tehrani with a core
team of students during his time as the Ventulett
Distinguished Chair in Architectural Design at
Georgia Tech. The task of the project was to analyze
and develop a three-dimensional installation whose
fabrication method was limited to a two-dimensional
material.
The underlying mission, therefore, was to
radicalize the potentials of sheet material by provoking
it to take on structural, spatial, programmatic, and
phenomenal dimensions while adopting techniques
that bring this variety of agendas into organic
alignment. From the perspective of technique, the
most important aspect of this project was the
awareness that two-dimensional surfaces gain
access to a third by way of the ruled surface.
The logic of the geometric unit, then, was based on the introduction and elimination of vertices—in combination with surface rotation—to create transformations in the structure.
Book Reference:
Digital Fabrications Architectural and Material Techniques by Lisa Iwamoto
https://amzn.to/3Gt0s2u
Digital Fabrications in Architetcure // [c] space
[c]space
Alan Dempsey and Alvin Huang, 2008
The pavilion is a discontinuous shell structure,
spanning more than ten meters of thin fiberreinforced-concrete
elements,
which
perform
as
structure and skin, floor walls and furniture.
The
design takes the material to new technical limits,
having required extensive prototyping and material
testing during the development phase. The jointing of discrete concrete profiles exploits the tensile strength
of [fibre-C] concrete, and a simple intersecting notch
joint is locked together using a bespoke rubber-gasket
assembly. The angle of intersection at each joint
varies continuously across the structure.
Plan. |
The elements were finally manufactured directly from digital models, using CNC cutting equipment and standard thirteen-millimeter-thick flat sheets of [fibre-C] concrete and fifteen-millimeter-thick mild steel plate.
Digital model describing continuous and discontinuous ribs. // Analysis: Adams Kara Taylor |
Book Reference:
Digital Fabrications Architectural and Material Techniques by Lisa Iwamoto
https://amzn.to/3Gt0s2u
Digital Fabrications in Architecture // West Coast Pavilion
West Coast Pavilion
Atelier Manferdini, 2006
Atelier Manferdini, 2006
The pavilion is a sandwich of undulating layers that diverge and coalesce around and through its volume. The surface of the skin, combined with the diamond-shaped structure, behaves like three dimensional lacework, creating a dynamic screening and filtering effect.
CNC-routing plywood for inner structure. |
Assembled wall, from exterior. |
Assembled plywood and MDF wall structure. Photo: Courtesy Neil Leach |
Cut, folded, and assembled metal cladding panels. Photo: Courtesy Neil Leach |
Laser-cutting metal cladding panel. Photo: Courtesy Jae Rodriguez. |
Templates for laser-cutting metal cladding panels. |
Completed project. |
Completed project. |
Book Reference:
Digital Fabrications Architectural and Material Techniques by Lisa Iwamoto
https://amzn.to/3Gt0s2u
Digital Fabrications in Architecture // Huyghe + Le Corbusier Puppet Theater
Huyghe + Le Corbusier Puppet Theater
MOS, 2004
MOS, 2004
To celebrate the fortieth anniversary of Le Corbusier’s
Carpenter Center for the Visual Arts at Harvard
University—his only North American project—this
theater was constructed within the site’s sunken
exterior courtyard specifically for a puppet
performance by the conceptual artist Pierre Huyghe.
The organic form of the theater was built with
five hundred unique white polycarbonate panels,
diamond-shaped and interlocking to create a rigid
structure; because they are simply bolted together,
they are easily assembled and disassembled. Forces
dissipate across the assembled surface, which encloses
the theater space, and the modulated ceiling panels
are turned inside out to create skylights and, like
keystones, structural stability.
Interior view. |
CATIA model. Photo: MOS |
The panels are three
inches in depth and span more than fifteen feet at
the center of the theater. Foam inserts placed in the
panels stiffen the plastic shell. An exterior layer of
moss covers the plastic panels, so at night, when light
permeates the edges of the diagonal plastic panels,
the moss appears suspended.
Entering the theater from Quincy Street through
a soft, flexible opening focused around a tree, the
space bulges to form an interior of reflective, glossy,
white plastic walls. Undulating white foam seating
repeats the patterning and dimension of the plastic
panels, creating a uniform vessel.
The interior compresses,
looking
toward
the stage
opening.
When
the
puppet performance isn’t playing, there is a view into
the Carpenter Center, while the soft entrance frames
a single tree as one exits. The theater collapses the
synthetic and organic into a single structural surface.
Unfolded panels. |
Formed plastic panels and assembly. |
Formed plastic panels and assembly. |
Moss-filled panel. Photo: Michael Vahrenwald |
Assembly. Photo: MOS |
Book Reference:
Digital Fabrications Architectural and Material Techniques by Lisa Iwamoto
https://amzn.to/3Gt0s2u
Digital Fabrications in Architecture // Technicolor Bloom
Technicolor BloomBrennan Buck, 2007
Technicolor Bloom is a full-scale prototype that
produces doubly curved, digitally designed geometry,
using completely standard, scalable fabrication
technology. It proposes a method and a set of
aesthetic principles that extend the architectural
potential of topological form by incorporating such
architectural systems as structure, aperture,
fenestration, and construction directly into the
project’s geometry.
Built from fourteen hundred
uniquely cut, flat plywood panels, the installation
favors intense detail over seamless elegance.
At the
same time, it proliferates continuity: continuity of
surface morphology, continuity of the structural
patterns across those surfaces, and varied
interrelationships of depth and color from one
surface to the next.
Laser-cut panels |
test mock-up |
installation. |
The result is a kaleidoscopic
study of the literal and phenomenal effects of
three-dimensional pattern. These patterns reinforce
the geometry they define in one moment and cloud
it the next. Finally, the installation proposes a
variation of architectural figure that evokes loose, variable associations while remaining in the realm
of affect.
Technologically, the project is comparable to
the Technicolor film process, which multiplies the
visual intensity of film through the superimposition
of three primary colors. Technicolor Bloom embraces
the geometry of subdivision surfaces and techniques
of computation but treats them as a given rather than
as motivation.
While adaptive tessellation algorithms
were used to produce the initial patterns, parametric
design, with its associated discourses of efficiency
and automated authorship, was suppressed in favor
of specific design intention and the precise control
of visual effects. In addition to pattern variations,
a series of techniques were used to multiply the
affective qualities of the patterned surface.
Surfaces
were layered at various depths to produce moirés and
other effects, while individual structural members
were thickened or trimmed down to emphasize a
network of figures that materialize and fade away
within the overall pattern.
Panel-cutting templates. |
Details showing converging pattern. |
Details showing converging pattern. |
Tessellation studies. Photo: Brennan Buck |
View from above. |
View from inside. |
Book Reference:
Digital Fabrications Architectural and Material Techniques by Lisa Iwamoto
https://amzn.to/3Gt0s2u
About Me
Hi, I'm Dana Krystle - an Architectural Designer, Artist and Author with a passion for experimental approaches & techniques. A German Jordanian University Graduate with multiple experiences in the field of Landscape Architecture, Heritage Conservation, Exhibition Design and Architecture Design. My style was defined as Contemporary, Abstract and Uncanny. You will find my work posted in multiple websites showcasing my Architectural designs, Abstract Paintings, Travel Photography and the occasional Poetry excerpts which I publish a - collection of- on a yearly basis.