Portfolio
ARCH 473/3522 - DIGITAL DESIGN STUDIO AND WORKSHOP Yasmin Hazem Spring 2020
The American University in Cairo (AUC)
School of Sciences and Engineering - Department of Architecture ARCH 473/3522 - Digital Design Studio and Workshop (Spring 2019) Student portfolio documenting samples of work submitted along the course, including research, experimentation, 3D modeling, digital fabrication, parametric design and modeling, physical model realisation and analysis. Student name: Yasmin Hazem Morsi Student ID: 900150704
Š The American University in Cairo (AUC), May 2019
Yasmin Hazem Architecture Student
This is Yasmin, a highly enthusiatic senior architecture student. My passion for architecture has always been there since my childhood, but most importantly, my passion is always growing. Although architecture’s nature is highly stressful and tiring; my growing passion is what makes me stronger and willing to continue this journey until the end. My story with 473 starts with a flu which forced me to miss the first lecture and introduction to the course. If it hadn’t been for this flu, I would not have felt that I was lost and got me more interested in the course. 473 has been so overwhelming and hard
since the very beginning. Parametric design was hard to grasp at the beginning. However; after finalizing all 3 projects, I have learned the basics of how surfaces to find relations between points, lines, curves and surfaces. I have learned to parameterize my design in order to have control over and manipulate design based on environmental and architectural factors. In addition, Research and Reading has helped me alot in this course. They have been very interesting and mind-opening to the new computational and parametric designs . After this course has ended, I can assure that it has definitely been outside my comfort zone. However; I need to admit that I have learned a very important lesson in life not just in the course; which is the fact that each failure just brings us closer to success. The amount of trials and errors was so dissapointing and demotivating. Up until the end I have dicovered that my final definitions were just bits and pieces from the previous trials. I believe this course will be a game changer in my design afterwards in terms of innovation and function and definitely patience!
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TABLE OF CONTENTS
CHAPTER 1
Mobile Shelter for the Homeless
CHAPTER 2A
The Blank Facade Canvas
CHAPTER 2B
The Parametric Facelift
Project Brief In this project, a mobile shelter for the homeless was designed, with design drivers and inspirations from nature; specifiaclly the element of growth in nature. Several alternatives and conceptual approaches were developed to reach a language of formal expression that responds to basic aesthetic and functional requirements. The project is located in the governorate of Minya. This entails an awareness of the specific context where the project lies within and how it informs and inspires the design and character. .
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Mobile Shelter for the Homeless
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LOTUS FLOWER as a Natural Inspiration Site Location
Site Selection
alMinya-, as a Symbol for
al-Minya Governorate Upper Egypt
Site Location Neighbor Hospital (main funder of the project) Greenery Nile River
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LOTUS FLOWER Shelter’s Target Group al-Minya, Egypt User Group al-Minya governorate’s poverty rate is more than 60%; therefore, elders and retired people have limited job opportunities anda very low income This leaves them not able to afford good living conditions, so they live on the streets. Elders have limited income and health so it is harder for them to find a source of income or to find their own shelter, hence, they should be provided with a secure, healthy and fully equipped shelter more than the youngsters which have more opportunities for securing a source of money or finding a place to live. Since, The government have started financial assistance to residents with disabilities, we wanted to contribute in this process by helping those who are weak, sick and homeless.
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4 Group Concept &Inspiration
LOTUS FLOWER as a Natural Inspiration Connection with 4 Elements of Nature
Symbolism
Lives in Water
Has Aerial Leaves
Reaches Earth
Moves with Sun
Histroical meaning for Ancient Egyptians. Symbol of Re-birth.
Dynamism
Water & Sun Movement
Reflection In a group of 6, we chose the lotus flower as our design inspiration because of its connection to the site, symbolism and its unique character and behavior at each growth stage. Therefore, our choice of a natural inspiration was contextually driven.
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5 Lotus as an element of Growth in Nature
LOTUS FLOWER as an Element of Growth in Nature Growth Stages 1 Early Growth stage
2 Blossom Development
3 Reproduction
Root Tubers Lotus plants grow from underwater tubers. The bottom part of a live lotus plant including the roots is called a tuber. Clump-Forming Roots Lotus are clump-forming plants that spread from their submerged root systems. Long Stem The lotus forms a long stem that reaches toward the surface of the water Floating Leaves The long leaf nodes extend upward, allowing the broad leaves to float on the surface of the water It takes lotus plants about a month from the time of planting to begin blossoming. The flowering process lasts for approximately two months. The lotus blossoms form on long stems that rise above the surface of the water and the floating leaves Lotus Blossom Lasts up to three days then petals start dropping off. The Pod grows larger and then dries out. The Seeds Loosen and drop into the wa-
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6 Individual Inspiration Lotus leaf as a stage of growth
LOTUS LEAF as a stage of the growth process Leaf growth stages
Coin-sized leaves
Floating leaves
Aerial leaves
Seed leaves
The four stages of a leaf development in a seedling lotus are the Coin-sized leaves that follow the cotyledons, or Seed leaves, followed in four to six days by Floating leaves. Large wide-standing leaves then develop with long stems that hold the leaves well
Reflection After studying the Lotus flower’s growth process, our group was divided upon the growth stages of the flower. So, my role was to analyze and get inspired by the lotus leaf.
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7 Lotus Leaf as a character
LOTUS LEAF as a character Abstraction in Keywords Overlapping/Clustered Always appearing in groups Textured Veins/Water Repellency stucture
Breathable Air passes through Aerial leaves
Inviting Wide open/Flat
Dynamic/Exciting Sun and Water movement
Lightweight Aerial/ Floating
Down to earth/humble Due to its connection to 4 elements of nature
Radial Petiole attached to the centre Self Shading Aerial leaves overlapping
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Curvy/Flowy Round and circular in shape
Reflection At this stage, the lotus leaf had been analysed and described thorouly in keywords according to its shape and behavior. The next step was to categorize these keywords, group them and translate them into an architectural language.
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8 Early abstraction attempts
Abstraction Process Early attempts for of abstraction
2D to 3D Sketches Attempts
2D Sketches Attempts 1.
2.& 3. 1. All shapes and forms of all leaf growth stages were sketched 2. Developing a cluster of shapes to form a dynamic composition
Round and Curvy Form
3. Starting with a complex design then simplifying it Levelling and waving for airy and lightweight effect
Reflection However, these approach were not very successful These attempts captured mostly the shape and outline of the leaf and not the growth stages of the leaf and its behavior.
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9 Early abstraction attempts
Abstraction Process Early attempts for of abstraction
Physical Sketch Models Working with Planes/Surfaces
1.
2. 1.
3. 1. This attempt was just adding surface/ walls along an outline of a 2D plan with some change in heights
2.This trial was using one continious plane or surface and twisting with respect to the outline of the plan
3. This trial was using multiple plane and chaining them together surface with twisting and re-
Reflection Trial 3 was the closest to a conceptual design and form finding ARCH 473/3522 - Spring 2020
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10 Early abstraction attempts
Final Abstraction In parallel with Architectural Translation
Abstraction of Lines Visually Curvy/Round and Dynamic with textured skin
Growth stage 1. Coin-sized leaves are formed
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Socially Clustering/overlapping zones for common areas
Growth Stage 2. Leaves start expanding in different sizes, grouping and overlapping
Environmentally Self-shaded by verticality and change in heights/ Naturally ventitaled
Growth Stage 3. Leaves start to float on the water surface
Growth Stage 4. Leaves start to rise above the water surface to be called Aerial Leaves
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11 Group Concept &Inspiration
ZONING
Zones Entrance Sleeping Zone Living Area/Kitchenette Toilets/Laundry Common Area
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12 Early abstraction attempts
Modelling Strategy & Approach In parallel with Architectural Translation
GROWING COINSIZED LEAVES
PATCHING
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EXPANDING
IN
OVERLAPPING
CONNECTING
ABSTRACTING
FINAL MODEL
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13 Group Concept &Inspiration
Materiality & Architectural Precedents/Inpirations MATERIALS
ARCHITECTURAL PRECEDENTS
Steel pipes
Textured/PVC Tensile Fabric
Wooden panels
Grass
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Fabrication Process 3D Printing using Cura
The model will be fabricated using 3D printing to better represent the curves and texture Model will be scaled 1:200 Model dimensions 100.1x121.4x72.0 mm It will take 9 hrs 51 mins
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15 Early abstraction attempts
Architectural Plans Ground Floor Plan 1:100
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16 Group Concept &Inspiration
Architectural Plans First Floor Plan 1:100
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17 Early abstraction attempts
Architectural Plans Layout Plan 1:100
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Architectural Sections Section A 1:100
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Architectural Sections Section B 1:100
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Architectural Elevations Southern Elevation 1:100
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Architectural Elevations Northern Elevation 1:100
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3D SHOTS
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Project Brief In this experimental project, the objective was to physically explore with different materials and fabrication techniques to design a unit prototype for a building facade. Several techniques were used in th process of casting and fabric forming. A research was conducted first to learn about the physical interplay of materials and techniques used in fabric froming, fabric forming’s history, domain of application and architectural precedents.
02A The Blank Facade Canvas
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Fabric Forming Research Outline
01 History & Background
02 Methods & Techniques
03 Materials
04 Domain of Application
05 Precedents
Reflection The course readings were very helpful in my research. They were straightforward and comprehensive. The sequence of them was important to build a whole picture of the topic. Reading about history was very beneficial; I have learned the different materials, applications and techniques and how all this developed with people’s different responses and some advantages and disadvantages.The new taxonomy (labelling) by Mark West, based on how the fabric is (pre-)stressed and how the concrete is applied and resulting in different geometries; was comprehensive and made sense of fabric formwork development. I have learned some of its limitations and challenges in design and engineering and some limitations. I have also learned that the development of accessible design tools like programs and application for the design and analysis of fabric formworks is crucial to reach the full potential of fabric-formed structures. Afterall, as an architect, I have learned not be uncomfortable or unfamiliar with non-orthogonal geom-
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History &Background I of Fabric forming
Early beginnings; Vitruvius A method of creating two retaining walls that are filled with clay in woven reed baskets. Then, for the construction of vaulting with a plaster finish, Vitruvius recommended the use of reeds tied together to form the lower surface on which a sand mortar is applied. The use of Reeds; lightweight and flexible. (Evidences show impressions and remnants of reeds) Industrial Revolution Gustav Lilienthal, 1899 Wide variety of materials were available after the revolution; Gustav invented the first fabric-formed suspended floor. James Waller, 1934 Mentions a very similar floor system to Lilienthal’s concept, which was applied in India, 1937. Reported advantages were saving centring, falswork materials and labor and no skilled labor was necessary.
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History &Background II of Fabric forming Large Scale applications; James Waller, 1934 He was inspired by Taq-i Kisra arch of the ancient imperial city of Ctesiphon & the Chicken coop. Several applications took place other than flooring systems like the draped and plaster for floors or roofs, stretched and plastered walls, filled and stressed through hydraulic pressure for columns and levelling on the ground for liners and ground floors. Waller believed that “Engineers are frequently unkind in their treatment of concrete, impolitely regarding its aversion to tensile stress� He also dealt with planar or linear elements (2D only).
purely utilitarian; a useful, practical and cost effective strategy in construction rather than looking attractive.
Waller further developed the Ctesiphon system in 1954 for the construction of domes in Cyprus, using prefabricated external trusses arches to suspend the fabric. The Ctesiphon system had been employed in one form or another for housing, storage and factories around the globe. India used the Ctesiphon method with customized casting medium-sized modular shells in fabric. Reported disadvantages of the system were likelihood of cracking at the top of the ribs and the poor thermal quality. Up to this point in history, the fabric formwork was Portfolio
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History &Background III of Fabric forming
Architectural Expression; Miguel Fisac, 1969 Fisac was the first person to acknowledge the aesthetic aspect of fabric formwork for an architectural expression. Fisac’s method was using smooth and flexible polyethylene lamina hanging from a rigid structure as a formwork. “The result that the weight of this soft material gives to the concrete when poured is real and effective; the concrete takes on the texture of the material in a tactile way” Fisac’s method gave the freedom to create a variety of new façade panel types, giving each building a specific look and feel when this method was used. Mark West & Kenzo Unno, late 80s In search of alternative, low-cost construction methods, they discovered the strength of plastic netting as a formwork material and subsequently developed a fabric formwork system for load-bearing walls (zero waste formwork).
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Different Methods
Smocking The use of a traditional smocking, an embroidery technique A selection of conventional smocking patterns, sewn fabric and resulting cast counterparts
Digital Prototyping & Casting Simulation of Flexible Formwork Allows Simulation tool development & design variation
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Different Techniques •
Draped (stretched in one direction) and plastered
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Stretched and plastered
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Filled and stressed through hydraulic pressure
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Levelling, lying on the ground and adding obstacles
Fabric Materials • • • • • •
Custom-engineered special fabrics Synthetic fabrics; nylon, polyester, polyvinyl chloride (PVC) and rayon PVC-coated polyester fabric Polyethylene lamina Silicone-coated glass fabric Foil
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Architectural Precedents MIGUEL FUSIC
ZAHA HADID
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ELIM CHENG
WILF MEYNELL
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MATERIAL EXPLORATION I
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Experiment 1 Using Draping technique Casting Material Gypsum+Water Formwork Material Bandage Fabric Process
Draping fabric around the casting material
The Formwork material: Vandage Fabric
Form making with fabric
After forming the model
The material soaked up in water and gypsum
After 15 minutes drying
A mesh kind of fabric was tested first, but the material soaked up the gypsum and water mixture because it was too permeable. Thus, the bandage fabric material was used instead of the mesh one.
The mould’s consistency was
thick, so that it can be shaped by draping th fabric around it. The fabric was draped around the mould inside a plate directlty to form this kind of form.
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Experiment 1 Results & Reflection
Reflection This experiment resulted in the same form as shaped, However a few cracks appeared from top. This might have occured because of the hot air used for fastening the curing pro-
The Removal of the fabric formwork
The fabric folds from bottom also appeared
cess. Another assumption would be the consistency of the mould while shaping the fom needed to be thinner to take its time for curing. The fabric texture also was also printed on the skin of the model. The texture was exactly like the fabric
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The cracks from the top
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Experiment 2 Using pouring technique Casting Material Gypsum+Water Formwork Material Non-woven felt fabric + Elastic Foam sheet Process
The non-woven fabric sheet
felt
The elastic foam sheet
The aim of this experiment was to create a thin skin using two different materials to result in two different textures from two sides. The elastic foam sheet was rolled to form the shape of a cone, then the non-woven felt fabric was rolled in a smaller size to fit inside the foam cone.
Creating the 2 cone fabric formwork
Pouring material
casting in-be-
Pouring casting material inside the fabric formwork
After 20 minutes drying
The casting material was then poured in between both cones.
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Experiment 2 Results & Reflection
Reflection This experiment resulted in pieces and most of it could not be seperated from the fabric. This happened becasue the layer was too thin with a highher ratio of water leading to leak-
The Removal of the fabric formwork
The fabric folds from bottom also appeared
age to store gypsum in the middle of the cone, leaving the sking very thin. However, the texture also appeared on one side, the black foam side, the only side that was removed. Although the texture was not as smooth as the foam.
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The texture was exactly like the fabric
The cracks from the top
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Experiment 3 Using pouring technique + Designing the mould Casting Material Gypsum+Water Formwork Material Non-woven felt fabric (Glued) Process
The non-woven fabric sheet
felt
A shape was formed and glued
The aim of this experiment was to design the formwork at first then pour in the gypsum and water mix to get the same form at the end. Two pieces of non-woven fabric were glued togther and closed at the ends to avoid any leaks like the previous
Creating the 2 pockets of fabric for gypsum mix to be poured in
Pouring casting material inside the pockets
Before removing the fabric
After 20 minutes drying
experience. It was then left to dry.
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Experiment 3 Results & Reflection
Reflection This experiment resulted in same results as experiment 2. The cast cracked; It could have been the thickness of where the cast is poured. Besides, that the same model was
The Removal of the fabric formwork
hot-air dryed instead to being normally aiir-dryed. The texture still was formed just like the last 2 experiments.
The texture was exactly like the fabric
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Experiment 4 Using Sinking technique Casting Material Flour+Water Formwork Material Non-Woven Felt Fabric Process After Gypsum ran out, a new casting material was used which consisted of flour and water. The mix was added to
Mixing Flour and Water in a container
The consistency was too thick, then more
After reaching a good consistenc
the non-woven fabric was anchored
a container, where the fabric was anchored to ground of the container causing folds and creases in the fabric holding the mixture.
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Experiment 4 Results & Reflection
Reflection This experiment has completely failed due to the curing time of the casting material.
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Material Exploration I Reflection •
The readings actually helped in choosing the material for my experimentation, taking into consideration its stiffness, initial geometry and resulting shape. I have learned the importance of physical modelling; if we only design digitally we will become distanced from the practical reality and treating tools as black boxes void of context. Leading to impractical designs and imagination. However, sometimes finding geometry using physical modelling can be very time consuming, like what happened in Women and Newborn Hospital canopy.
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My expectations for the experiment results and process were much higher than the actual results. Due to limited materials, small scale models were made. I believe larger scale model would have given better results and new techniques to be applied. I have tried draping; wrapping the fabric around the mold. I have tried attaching two layers of different texture fabric to create a thin layer with two different texture. I have tried a very stiff and permeable material. Lastly, I have tried shaping the fabric in a container and filing it up. Next time, I will try stretching and shaping normal to the plane with some subtractions
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MATERIAL EXPLORATION II
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Experiment 5 Using Hanging and Obstructing technique Casting Material Cement+Water Formwork Material Cotton T shirt fabric + Staples+ Foamboard + Ribbons Parameters •
Water to Cement Ratio: 3:4
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Volume: 30x30x15cm
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Fabric dimensions: 50x40cm
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Height of Ribbons
•
Proximity of Ribbons
Stapling the cotton cloth to avoid any leakage
Hanging and pinning up ribbons to create line grooves.
The Fabric placed on top of the hanged ribbons
After pouring the casting material.
Process In this experimient, a new casting material was used, new technique and a new fabric material. A piece of a cotton cloth was cut and stapled to close the openings. Ribbons were hanged on the top of the box. The fabric was placed on top of the hanging ribbons and cement and water mixture was poured from a top openenig.
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Experiment 5 Results and Reflection Reflection The outcome of this experiment was intermediate. Since, the expected form was not produced. It also was not choerent enough and it broke in a few piece. This happened because the amount of casting material was not enough to fill up the whole volume of the foamboard box. It might also have happened because the height and locations of the rib-
Before removing the formwork, after 5 hrs drying.
The pieces broken from the ribbon connections
bons weakned the connections. The texure was also not clear enough, unlike the gypsum results. It aslo took alot of time to dry due to the high water ratio.
The same exact pattern was generated.
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The final model
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Experiment 6 Using Draping technique Casting Material Gypsum+Water Formwork Material Mesh fabric + toilet carton rolls + Ribbons + Foamboard Parameters •
Water to Gypsum Ratio: 1:1
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Volume: 30x30x15cm
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Fabric dimensions
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Tightness of the Ribbon
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# of curves
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Curve sizes
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Curve sharpness
Stapling the cotton cloth to avoid any leakage
Hanging and pinning up ribbons to create line grooves.
The Fabric placed on top of the hanged ribbons
After pouring the casting material.
Process In this experimient, the mesh fabric material was cut into a long strip then tied up with the ribbon with different curve sizess and sharpness. The carton rolls were used as a structural element to hold the fabric from losing its shape and also to reduce the permeability of the fabric. The Gypsum ratio was increased to create a kind of a paste for the model to hold itself.
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Experiment 6 Results and Reflection Reflection The outcome was very dissapointing since the form was kind of interesting. It was created so that the pieces would interlock into each other when panel is repeated. The model took more than 12 hours to dry out because while adding the casting material it started to dry so water was added randomly to fix the paste. The carton rolls absorped all the water and was weakned by it. So the structural integrity of the rolls was also weakned. The
Before removing formwork
the
Removing the formwork
curves were too sharp so that almost all of them cracked while removing the formwork. Besides, some of the fabric was stuck into the model. However, the most interesting part of this experiment was the texture generated. Maybe the number of curves and its sharpness should have been reduces. And adjusting the water to gypsum ratio would have also produced better results. The texture showing and stuck fabric formwork.
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The final model
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Experiment 7 Concept & Inspiration The Golden Ratio The golden ratio has been used throughout history to create design elements that have an ideal visual appeal. Because the shape is rooted in nature and mathematics, it’s the
The golden ratio is a shape with a proportion of 1 to 1.618
perfect combination of balance and
Each number in the Fibonacci sequence is simply the sum of the
harmony. It is found in nature, math, architecture, art and design.
two numbers before it. It begins with 1, 1 (i.e., 1 + the unseen 0 = 1), and the first 10 members of the sequence are 1, 1, 2, 3, 5, 8,
Therefore, the design will be set up using a grid based on the ratio to create balance and harmony.
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Experiment 7 Using Stretching & Adding pillars technique Casting Material Gypsum+Water Formwork Material Semi-synthetic type of rayon fabric (Viscose) + Straws + Pins + Foamboard Parameters •
Water to Gypsum Ratio: 2.5:3
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Volume: 30x30x15cm
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Fabric dimensions: 50x40cm
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# of Straws: 22 Straws
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Height of Straws: Approximately, 3 dif-
Creating a volume box 30x30x15cm using Foamboard
An outline of one of the golden ratio configurations was sketched on the base of the box
The box was left open from one side to fix the fabric
In the intersections of lines, straws with 3 different heights were glued acting like pillars
ferent heights with same golden ratio 1.61/2.6cm/4.14cm •
Proximity of Straws: (Rule 1)1.6 height can not be right next to 5.2cm height (Rule 2) 5.2cm height located in the middle of the condensed pin points area
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Experiment 7 Using Stretching & Adding pillars technique Geometry Based on the golden ration in a square of 30x30x15 4cm
1.6cm
3cm (Rule1) 1.6 height can not be right next to 4cm height (Rule 2) 4cm height located in the middle of the condensed pin points area
Mixing and stirring water and gypsum for 3 minutes with Water to Gypsum Ratio 2.5:3 Portfolio
Casting material was then poured ino the Foamboard volume box
After 10 minutes
Pins were fixed inbetween the straws to create Grooves in the fabric when stretched Pin type 1 Pin type 2 Straw Protrusions
After 30 Minutes
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Experiment 7 Using Stretching & Adding pillars technique
Removing Foamboard formwork
Before removing fabric formwork
Removing fabric formwork
The side from which fabric was stretched and tucked underneath the box
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Experiment 7 Using Stretching & Adding pillars technique
Inputs
Fine Details & Outcomes I
Input: Different straw heights Output: Different groove sizes Large height Straw Grooves Medium height Straw Grooves Small height straw Grooves Following the height Rules, Large height can be near the small height. It needed to gradually decrease. Spreading from the void, the grooves decreases gradually. ARCH 473/3522 - Spring 2020
Input: two different types of pins Output: two different marks Pin type 1 Pin type 2 Pin type 2 was easily removed since it was very near the surface; while pin type 1 could not be removed since it is was not near the surface because of its height, so it was stuck inside the panel. However, the metal part protruded created creat an interesting pattern with its shadow Yasmin Hazem
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Experiment 7 Outcome Analysis
Fine Details & Outcomes II
Input: This side of the form had the fabric stretched and tucked underneath the box
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Output: Creases reaching out to the grooves, the larger the groove/void, the longer the crease
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Experiment 7 Outcome Analysis
Fine Details & Outcomes II
Input: The side opposite had the fabric hanged and pinned on the foamboard from the inside.
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Output: Deep creases, starting thick then gradually decreases
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Experiment 7 Outcome Analysis
Fine Details & Outcomes III
The pillars locations were not exactly following the geometry of the golden ratio, due to the nature and properties of the fabric and the placement of the straws. However, the golden ratio overall impression was achieved.
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Experiment 7 Outcome Analysis
Fine Details & Outcomes IV
The arrows show the pattern of the metal part shadow of the long pin. .
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The Texture of the fabric was highly visible and effective. It looks as if the fabric is still on
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Experiment 7 Reflections &Conclusions
Recommendations for further Exploration/ Learning Outcomes In this final experiment, I learned to identify the parameters of each step in order to change the outcomes if needed. For example, If I would like to change the solid and void ratio, I would increase the number of large height straws to result in the openings and vice versa. If I want to increase the long but shallow creases, I would stretch the fabric from more than one side. If I want deep but short creases, I would hang the fabric losely from more than one side. This experiment has taught me to record each and every step with very meticulous observation. This exercise has taught me to look at things differently. It taught me that I can be in control of the experiment with just understanding and observing the behavior with identification of the variables, limitations and constants.
Afterall, it was a fun exercise, in which I have learned from my failures more than the successes. It took me 6 failed experiments in order to achieve and control what I conceptualized and expected. I believe that this model can be easily digitalised now that I can clearly indentify its parameters. With digitalizing the prototype, infinite alternatives can be created to reach an optimized design for a facade.
I was interested to try other configurations for the golden ratio; in order to optimize the results and add an environmental aspect to it regarding the size of the openings, the orientation and depth of the grooves and creases. I also wanted to try different textures on the same experiment, in order to discover and analyze different results and behavior of material.
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02A The Blank Facade Canvas - Material Exploration II
Project Brief In this project, the objective is to explore and parametrically generate a prototype for a building faรงade skin that takes into consideration issues of environmental comfort, spatial relations and human aspects using a passive approach. A parametrically driven building skin for the Blom Bank Egypt SAE Main Branch building, South Teseen Rd, New Cairo) is required to be developed. The main faรงade of the building is in a South/ Southwest orientation, an appropriate envelope that provides adequate shading and sun protection is required.
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Derived Panel Parameters Panel Design
Panel depth, length & width
Opening locations according to geometry
Golden Ratio Geometry
Solid &Void Ratio
Level of curve smoothness
Opening depth, width and length
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Site Analysis I Blom Bank, N90 Rd, New Cairo Sun Path 30°01’00.5”N 31°25’06.4”E
Using Sunearthtools, The Sun path and chart were produced with the exact coordinates of the site
Wind Distribution&Strength by Month
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Site Analysis II Blom Bank, N90 Rd, New Cairo
Temp/C
Cairo Weather Averages by Month With an average of 27.6 °C, July is the warmest month. The lowest average temperatures in the year occur in January, when it is around 13.1 °C . Using Climate-data.org
Sun Shading
Sun Position Using Rhino’s Sun tool simulation
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Site Analysis Environmental Response & Performance
Reflection The location of the facade in addition to the curtain wall highly exposes the facade to solar radiation heat gain effect; which means that the building consumes large amount of energy. Besides, the users might not be satistfied with the amount of sun they are exposed to during their working hours. After the DSF group research, the Twin Facade system was chosen for the facade design
Sectional Modifications
Wind catcher to catch the NW/NE Wind
The twin system consists of a conventional curtain wall or thermal mass wall system inside a single glazed building skin. Shading devices may be included.
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Interior Space Modifications Blom Bank, N90 Rd, New Cairo
It takes this Parabolic shape to keep its architectural curvilinear language/character
Most occupied/Used spaces,Least exposed/ Protected
The main space functions will be taking place in these buffer zones created. However, the less practised activities will take place in the most exposed zone.
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Least occupied/Used space, Most exposed
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Operation Mechanism Dynamic Panels
4 Adjacent Panels with 45 degree angle motion.
Panels will allow light entry with overlaping 45 adegrees angle motion
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Facade Layout Dynamic & Static Panels
Full Scale Design Layout
Dynamic Panels will operate to create new openings, as well as move and overlap on top of each other to allow light entry in its natural form/slits.
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Static Panels Panels Divisions and subdivisons will be according to the facade’s orientation. SouthWest facade will be subdivided into smaller panel to minimze the size of the panel thus th e openings
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Facade Layout Dynamic & Static Panels
An attractor/repeller will be used to create the subdivision pattern of the static part of the facade. The golden spiral from the goldenn ratio will be used as the attractor. In order to protect the south-western facade from large sun exposure
The remaining panels will be further divided into 4 dynamic panels that will move based on the sun attractor.
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Panel Design First Successful Trial
3. Sel with 3 comp
1. A surface was firstly divided and subdivided using lunchbox panels and QuadSurface
2. Points of intersection were then selected by deconstructing Brep
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Reflection In this trial, the panel was created using the same logic used during the material exploration phase. It was the first successful trial but it did not produce the an accurate or a close design to the original panel.
lected points were then moved 3 different heights using move ponent
5. Smoothing curves was not successful at this trial as lines and points were repeated and overlapping
4. Points were further connected to each other then to the base surface to create this panel shape
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Panel Design Second unsuccessful/Incomplete Trial
Reflection Panels will allow light entry with overlaping 45 adegrees angle motion
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Panel Design Third Trial Finding a new logic Inspired by the panel design Experimentation (The Blank Canvas Part of the project); - The geometry’s intersections are the centres of the openings. - Surface divided based on the geometry of the opening screated - Openings are divided into two directional sets (Left &Right) - Openings are created with scale, move &loft
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Panel Design FourthTrial
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Reflection This trial was successful and close to the end result; however, the solid and void ratio was not maintained
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Facade Design Trial 1 Interior attractor
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Final Design
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Panel Design Grasshopper Definition
2. Creating openings using a curve attractor to match the golden ratio geometry
1. A surface was firstly divided and subdivided using lunchbox panels and QuadSurface (Trial 1)
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3. Scaling panels and moving them with different heights randomly (Trials 2&3)
5. Smoothing curves was successful at this trial as to create a more natural impression
4. Curves were then lofted between the base panels and the scales and moved ones
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Panel Design Rendered Shot
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Panel Design Reflection
Previous Trials
Trial 1
Original Panel Design
Trial 2
Trial 3
After so many trials and errors, I have learned different components that worked successfully together to create this panel design. Each step was used in a previous trial. From which I have learned that each failed trial was a step closer to the successful trial.
Final Panel Design
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Facade Design I Grasshopper Definition
1. A surface was firstly divided and subdivided using lunchbox panels
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2. A Spiral curve was created on surface to act as an attractor for the southern side of the facade using Pull point and Remapping values
3. Two groups created to be d Dynamic
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4. The static panels are then subdivided into smaller divisions
of panels were then divided into static and
5. Interior attractors were learned from facade design trial 1 to create the interior modifactions
4. Curves were then lofted between the base panels and the scales and moved ones
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Facade Design II Grasshopper Definition
1. All panels are then seperated from each other to allow the dynamic panel movement
3. The 4 panels sta the sun path
2. 4 Dynamic panels are then created
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art moving diagonally responding to
Reflection
By the end of this project, I have learned the importance of using a parametric design; and how easy it can be to optimize any design. It just needs deeper learning and alot experimenting in order to reach the requires or optimized design .
Dyanmic Panels showing direction of motion
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Morphing Surface Grasshopper Definition
Panels are then morphed on the facade surface
Facade Surface
Panel Design
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Plan
Most occupied/Used spaces,Least exposed/ Protected
Least occupied/Used space, Most exposed
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The panels start to decrease in size as they go towards south facade
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Section 1 1:100
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Section 2 1:100
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3D Shots
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3D Shots
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ŠAll rights reserved, American University in Cairo (AUC) May 2019