Ayah Elsheikh - AUC - ARCH 473/3522

STUDENT PORT FOLIO

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A R C H 4 7 3 / 3 5 2 2 - D I G I TA L D E S I G N S T U D I O A N D W O R K S H O P

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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: Student ID:

Ayah Elsheikh 900181993

© The American University in Cairo (AUC), May 2021 ARCH 473/3522 - Spring 2019

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Ayah Elsheikh Architecture Student

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Image showing a top view of the final model of Project One.

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T H E B L A N K FA C A D E C A N VA S ARCH 473/3522 - Spring 2019

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Experimentation of the use of gypsum to create different forms and its structural functionality.

L E A R N I N G F R O M M AT E R I A L I T Y INTRODUCTION Casting is known as a manufacturing process that consists of the use of a material with a changing state (from liquid to solid) and a mold. The mold is shaped with a cavity to fulfil the desired end product and the liquid material is poured into the mold and allowed to solidify.

The solidified product is then taken out of the mold.

The concept of casting is to be able to create products with unusual shapes that would not usually be made using other methods due to economical reasons.

H I S TO RY A N D B A C K G R O U N D Casting, specifically metal casting, started back in Southern Asia. It started by melting and reshaping metals that were present in nature. That includes silver, copper and gold. They started to experiment by making alloys to create various consistencies depending on the final product being made. In the early days, formworks and molds were created using mostly wax and clay. Later on and to this day, formworks and molds are usually made from plastics and materials with textures to create more defined products.

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CASTING PROCESSES

4 Die Casting Liquid metal is pressed into a high precision metal cavity then the liquid metal is cooled and solidified.

Investment Casting Method used to make patterns in fusible materials, covering the surface of the pattern, melting the pattern out of the mold shell.

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Applications: -Automotive industry -Instrument industry -Agricultural machinery -Electronics -Medical equipment

Applications: -Small parts -Complex shapes -High precision requirements

Sand Casting Production of castings in sand molds.

Applications: -Automotive engine block -Cylinder head -Crankshaft

Centrifugal Casting Use of a rotating mold where the liquid solidifies due to the rotating force.

Applications: -Cast pipe -Drainage equipment -Automotive industries

Low pressure casting Crystalizing a metal under pressure

Applications: -Traditional and general products like cylinder heads and hubs.

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EXPERIMENTING WITH GYPSUM

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M AT E R I A L S U S E D

S T E P S TA K E N :

C O N C L U D I N G R E S U LT S

Gypsum

1. Create mold using 2. Used mixing ratio of 2:1.5 (gypsum:wa ter) 3. Pour the cast in the mold.

4. Wait 15 minutes for the cast to dry.

5. Demold.

The mixtured dried up too fast and could not be poured, it had to be scooped with a spoon. This formed an uneven top surface and the bottom surface had empty gaps.

The sides were too thin and started breaking off with little force.

M AT E R I A L S U S E D

S T E P S TA K E N :

C O N C L U D I N G R E S U LT S

Gypsum

1. Create mold using 2. Used mixing ratio of 1:1 (gypsum:wa ter) 3. Pour the cast in the mold.

4. Wait 30 minutes for the cast to dry.

5. Demold.

The point of this experiment was to test whether the gypsum and the water would seperate with the fabric. The consistency of the mixture was too runny. The top surface was very smooth and no seperation happened with the fabric.

M AT E R I A L S U S E D

S T E P S TA K E N :

C O N C L U D I N G R E S U LT S

Gypsum

1. Create mold using 2. Used mixing ratio of 2:1 (gypsum:wa ter) 3. Pour the cast in the mold.

4. Wait 20 minutes for the cast to dry.

5. Demold.

The consistency of the cast was good.

When the cast was poured the foam blocks started to float and the cast went under the blocks. When demolding, the dried up cast could not seperate from the foam blocks.

Water Foil sheets Foil plate

Water Dental Guaze Foil plate

Water Foam blocks Foil plate

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PROJECT ONE CONCEPTUAL S K E T C H E S A N D I N S P I R AT I O N

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Main concept and inspiration coming from the idea of natural form of the sea, including: sea foam and ripple effect of water.

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PROJECT AND TRIALS

Trial One

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E X P E R I M E N TAT I O N

Trial Two

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Trial Three

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Final Trial

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12 STEP ONE:

Creating the mold out of plasticine. The parts with a plasticine fill will be void in the final model and the ones with no plasticine fill will be the solid parts in the final model.

STEP FOUR:

STEP TWO:

STEP THREE:

Used a consistency ration of 2:1 (gypsum : water)

Pouring the cast into the mold. The setting time was 20 minutes and the full hardening time was one hour.

PARAMETERS

CONCLUSION

-Consistency of the cast -Ratio of the solid to void.

-Thickness of cast poured.

-Width of the solid parts.

Minimum width: 1.7 cm Minimum thickness: 1.5 cm

DIFFICULTIES While demolding the cast from the plasticine mold, several parts of the solid cast broke due to weak points. Also, the edges were not smooth.

In order for the solid cast to be able to hold and avoid breaking, reinforcement might be needed for support.

Several gypsum layers might be needed for added strength and support.

Proportunate the ratio of the solid to the void to avoid the weak points and breakage.

Demoulding the dried up cast from the plasticine mold. Highlighted points are the breakinh points in Portfolio

Try a stronger material than gypsum.

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TRIAL ONE MATERIALS USED:

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-Gypsum -Water -Plasticine -Sillicon Surface

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14 STEP ONE:

Creating the mold out of plasticine. The parts with a plasticine fill will be void in the final model and the ones with no plasticine fill will be the solid parts in the final model.

STEP FOUR:

STEP TWO:

STEP THREE:

Used a consistency ration of 2:1 (gypsum : water)

Pouring the cast into the mold. The setting time was 20 minutes and the full hardening time was one hour.

PARAMETERS

CONCLUSION

-Consistency of the cast -Ratio of the solid to void.

-Thickness of cast poured.

-Width of the solid parts.

Minimum width: 1.7 cm Minimum thickness: 1.5 cm

DIFFICULTIES While demolding the cast from the plasticine mold, several parts of the solid cast broke due to weak points. Also, the edges were not smooth.

In order for the solid cast to be able to hold and avoid breaking, reinforcement might be needed for support.

Several gypsum layers might be needed for added strength and support.

Proportunate the ratio of the solid to the void to avoid the weak points and breakage.

Demoulding the dried up cast from the plasticine mold. Highlighted points are the breakinh points in Portfolio

Try a stronger material than gypsum.

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TRIAL TWO MATERIALS USED:

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-Gypsum -Water -Fabric -Sticks -Container

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STEP TWO:

STEP THREE:

Creating the mold using paper cups and a metal base. The paper cups are fixated on the metal base using duct tape; placed in a form that would create a wave-like model.

Used a consistency ration of 3:2 (gypsum : water) in order for the cast mixture to be able to hold itself on the fabric and not run off.

The fabric was placed on the paper cup molds and the cast was poured on it. The process was repeated two times making a total of 3 layers. The bottom is exposed fabric.

STEP FOUR:

PARAMETERS

CONCLUSION

-Consistency of the cast -Number of layers added.

-Thickness of cast poured.

-Height of the troughs.

Minimum trough height: 10 cm Minimum thickness: 0.7 cm

DIFFICULTIES A thicker consistency was used which meant a faster setting time so it dried up faster with uneven surfaces. Also, several layers were needed for more support and strength.

Removing the dried up cast and fabric from the paper cups. No breakage happened. The highlighted areas were the weakest points.

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The fabric was a good support for the gypsum and helped avoid the breakage and the resistance of weight.

Severeal layers are required for greater strength.

The troughs can vary in height.

Top coat of a more liquid consistency of gypsum will be required for better finishing.

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TRIAL THREE MATERIALS USED:

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-Gypsum -Water -Fabric -Paper cups -Metal Container

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STEP TWO:

STEP THREE:

Creating the mold using plastic bottles of different shapes , a metal base and fabric cut in the shape of the sea foam required as in the first trial. Lay the cut out fabric on the paper cups.

Used a consistency ration of 3:2 (gypsum : water) in order for the cast mixture to be able to hold itself on the fabric and not run off.

The fabric was placed on the plastic bottles and the cast was poured on it. The process was repeated two times making a total of 3 layers. The bottom is exposed fabric.

STEP FOUR:

PARAMETERS

CONCLUSION

-Consistency of the cast -Number of layers added.

-Thickness of cast poured.

-Height of the troughs.

-Ratio between solid and void

Maximum trough height: 10 cm Minimum thickness: 0.7 cm Minimum width: 2 cm

DIFFICULTIES

Removing the dried up cast and fabric from the plastic bottles. No breakage happened.

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A thicker consistency was used which meant a faster setting time so it dried up faster with uneven surfaces. Also, several layers were needed for more support and strength. The fabric could not be seperated from the gypsum dried cast.

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TRIAL THREE MATERIALS USED:

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-Gypsum -Water -Fabric Plastic Bottles -Metal Container

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21 SHOT OF THE FINAL MODEL OF PROJECT ONE

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Image showing the pavilion.

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L E A R N I N G F R O M N AT U R E ARCH 473/3522 - Spring 2019

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Sketch showing an abstraction of the supernova phenomenon.

U N D E R S TA N D I N G THE N O VA P H E N O M E N O N

SUPER-

INTRODUCTION Supernovas are powerful and luminous stellar explosions. The word “nova” is of Latin origin and it translates to “new”, which is a temporary new bright star. The prefix “super-“ was added to distinguish supernovae from ordinary novae, which are far less luminous.

H I S TO RY A N D B A C K G R O U N D In the beginning, Rudolph Monkoski recognized only 2 different types of supernovas, now there are 4 main types of supernovas. The classification is based on their presence of absence of certain features in their optical spectra.

There have been 8 known supernovas in the Milky way.

It is extimated that there are about 10 supernovae occuring every second.

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26 SCIENTIFIC CLASSIFICATION

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DIAGRAM OF THE BALANCED FORM OF THE SUPERNOVA

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Outer surface

Star core

Balanced forces

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28 OCCURANCE PROCESS: THE BALANCING AND UNBALANCING OF FORCES There are two different occurance processes for a cupernova. The first can be described as the balancing and unbalancing of the forces present within the start and its interaction which the forces outside of the star in the atmosphere. Known as core collapse: 01 The stars core has heat en ergy which generates pressure.

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02 The pressure generated in the core of the star generates and equally distributed force acting on the outter surface of the star.

03 Gravitational force acts on the outer surface creating a balance of forces.

04 The stars core loses fuel and therefore its ability to creatpressure and force. The gravitational force is greater than the inside pressure . The star shrinks and collapses

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Standard star

White dwarf

OCCURANCE PROCESS: COHESIVE MOVEMENT

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The second type of occurance process that happens in a supernova is known as the binary system and abstarcted as a cohesive movement between two stars.

Pivot point

01 White dwarf

01 There are two starts orbitting the same pivot point where one star is a standard star and the other is a white dwarf.

02 The white dwarf star then steals matter from the standard star without colision but only by having the cohesive movement circulating each other around a pivot.

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White dwarf

03 The matter of the surpernova becomes way too much for it to be able to withstand so it explodes into a supernove

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30 WAVES DIFFUSION

WHAT HAPPENS AFTER THE EXPLOSION?

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Explosion forms in concurrent waves. Forming rings around the collapsed core. The rings form in only one plane.

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The outer surface layer expands into a gas layer that forms an irregular transparent sphere around the core with a reflection of a color spectrum.

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ABSTRACTING SUPERNOVA

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Abstracting the wave by creating alternating ascending rings to give inpsiration for the form of the pavilion.

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Abstracting the diffused gaseous layer formed after the supernova explosion into a pttern.

Abstracting the form by applying the pattern onto the shape of form abstracted from the rippling effect of the waves.

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32 EXPLORING THE CONTEXT

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VISUAL NODE

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Creating a passageway for an intersection node that flows with the movement of the people and represents the phenomenon of a supernova in its form and pattern.

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34 CONCEPTUAL SKETCH

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VISUAL NODE

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Creating a passageway for an intersection node that flows with the movement of the people and represents the phenomenon of a supernova in its form and pattern.

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36 CREATING THE MODEL

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Creating the curves of the form on rhino.

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Creating the surface of the form on rhino.

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Creating t tern requ

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VISUAL NODE

the voronoi pat uired.

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Applying the pattern on the surface.

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Creating the seating area.

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38 PROGRESS WORK OF THE MODEL

01 Using polylines to create a curve on rhino, duplicate it, then play with the heights.

03 Morphing the diaptched voronoi pattern on the surface.

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02 Using loft to create a surface from the two curved drawn on rhino.

04 Rendering the cells on the surface in a color gradient inspired by the colors of the context.

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DIFFICULTIES WHEN MODELING

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Some of the difficulties faced when creating the form included the fact that the waves are supposed to be created in order to have a minimum clear height of 2.2 m in order for it to be accessible. It also took several trials in order to get the lofted surface the required shape without any issues. Moreover, morphing the pattern onto the surface Creating a passageway for an inwas challenging as some thewith tersection node that of flows pattern were too distorted thecells movement of the people and forming an unwanted represents the shape. phenomenon of a supernova in its form and pattern.

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40 FULL GRASSHOPPER DEFINITION

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VISUAL NODE

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Creating a passageway for an intersection node that flows with the movement of the people and represents the phenomenon of a supernova in its form and pattern.

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42 REPRESENTATION IN THE MODEL

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PERSPECTIVE VIEWS

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Form representing the waves and rippled effect.

ISOMETRIC

The pattern represents the diffusion of the gaseous product of the supernova.

TOP VIEW Color representing the gaseous color spectrum.

Seating and social node representing the core.

PERSPECTIVE

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44 THE MODEL IN CONTEXT

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Image showing the pavilion inspired by the naturalphenomenon of a supernova within its context in the SSE building.

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PA R A M E T R I C FA C E L I F T

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TA B L E O F C O N T E N T S

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INTRODUCTORY PHASE

SITE INTRODUCTION AND ANALYSIS

DESIGN APPROACH

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FACADE GENERATION

DOCUMENTATION

TECHNICAL DETAILS

07 EVALUATION

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01 INTRODUCTORY PHASE Portfolio

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The city of refuge in Paris.

U N D E R S AT N D I N G FACADES

DOUBLE

SKIN

A facade is a major constituent element of the building envelope. It plays a very important role in sheltering and protecting the indoor environment of the building as well as creating a relationship between the outside and the inside.

However, having a conventional facade can result in creating several environmental issues that limit the building in its functional operation, environmental performance and economic consumption. This is apparent in most of the modern, fully glazed buildings and skyscrapers we have nowadays.

A double skin facade is a facade system that is mostly popular in skyscraper designs and buildings with all-glass facades. The double skin facade system consists of mainly two skins placed in a way that these two skins would have air flowing between them. This intermediate gap or space acts as an insulation layer against several things, including: extreme temperatures, wind, sound, humidity levels, etc… As a basic concept, DSF can be defined as “ a special type of envelope, where a second “skin”, usually a transparent glazing, is placed in front of a regular building façade”. (] Safer N, Woloszyn M, Roux JJ) ARCH 473/3522 - Spring 2019

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Components of Double Skin Facades Double skin facades consists of three main elements: -External facade layer -Intermediate air gap -Internal Facade layer They are based on the offset of the external facade layer from the internal facade layer. That offset distance ranges from 10 cm - 2 m.

Both the internal and external facade layers have openings in order to ensure How double skin facades operate

HOT ARID CLIMATES

COLD CLIMATES

the cavity is vented outside the building so that heat is drained outside using the chimney effect where it plays on the effect of air density. It creates a circular motion where hot air rises outside of the skin and away from the building and cold air enters the cavity from the bottom.

the intermediate air gap acts as a barrier to the heat loss. The air is heated by the sun, raising its temperature. The heated air is contained in the cavity and heat energy is transferred to the indoor spaces via conduction.

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54 Designing Double Skin Facades The parametric design principle is used to provide a mathematical design base, in which the relevance between the defined design components are expressed as parameters that can be reformulated to generate different design alternatives for the DSF. This procedural technique enables forming a set of rules and algo-rithms, that respond to various design requirements in order to achieve the optimum solution. ( Eltaweel A) 01

Skin perforations: The screen perforations have a direct impact on the daylight performance and the indoor illuminance levels in the south facade in hot arid climates. The required daylit environment is achieved by creating a 80%-90% perforation screen.

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Skin depth: Optimum daylight required is achieved by providing an 80%-90% perforation percentage and a 1:1 depth cell size.

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Skin rotation angles: The axial rotation of the screen has a direct effect on the daylight performance. As the angle rotation increases the illuminance levels increase. The adequate illuminance level at 12pm in the south facade is achieved by a 30 degree rotated screen.

Skin perforation Geometry: Cell geometry and opening arrangements affect the daylight performance. Square cells achieved a higher illuminance level than cross cells with very similar dimensions and areas.

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Skin reflectivity and color:

Light colored skin achieves more of the required daylight percentage than darker skin.

DESIGN APPROACHES STATIC SKIN

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02 SITE INTRODUCTION & A N A LY S I S ARCH 473/3522 - Spring 2019

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Blom Bank Egypt SAE - Main Branch, Portfolio

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57 SUN EXPOSURE Main facade is a curved glass facade taking the orientation south, west and south west.

There is no self-shading provided from the building itself or from the surrounding buildings so it is fully exposed.

SUN SHADING

9 am

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12 pm

3 pm

6 pm

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58SOLAR RADIATION

The plain curtain walls have high solar radiation specifically in the south facade. Increasing the temperature inside,thus creating an uncomfortable working environment.High solar radiation causing glare inside the bank.

VENTILATION

ENVIRONMENTAL CHARTS

Tempurature is above con- Primary wind from the North. formt zone for most of the Secondary wind from North year.

West.

Primary and secondary winds have direct access to the building from the north and north west.

They are not blocked as there is and empty parking plot on the north side of the building.

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Hottest facade are from Sun shading, Natural ventilaSouth east to west where tion, cooling, dehumidificatemperature tion Chapter name

SITE CONSIDERATIONS

PARKING SPOT Potential for vegetation to improve air quality going to the building from thenorth.

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CHANGING WEATHER Adapting to the changing weather of New cairo without neglecting views, function,and noise.

PRIVACY No privacy for the users since the fa-

VIEW View of the square and the streets to not be blocked.

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SOUND Node infront of the bank.There will be noise requiring insulation.

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03 DESIGN APPROACH

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62 CONCEPTUAL SKETCHES 01

PAT T E R N G E N E R AT I O N

Using a voronoi pattern to repsond to the dynamic nature of the constantly changing node in the context. As well as breaking the regularity of the building and generating a more dynamic experience within the facade and on a contextual level.

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F O R M G E N E R AT I O N

Manipulating the voronoi pattern in the 2 dimenional and 3 dimensional plane by considering function, environmental aspects and user experience.

Creating a dynamic, irregular path or 3 dimensional voronoi cells to occupy circulation elements, entertainment elements and terraces. It also captures winds and therefore used for ventillation.

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03

D E TA I L S O F T H E F O R M

The 3 dimensional voronoi cells serve as a terrace connecting all the stories of the bank. These terraces have a different spacial experience than the rest of the building. They also have circulation connecting all the stor i e s t o g e t h e r.

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The terraces are supported on a double layered facade.

It consists of ststic horizont a l f l o o r i n g f o r a c c e s s i b i l i t y, and the top half of the cells are kinetic panels responsive t o t h e s u n ’s p o s i t i o n .

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64 INTERIOR SPACIAL CONFIGURATION

ROOF

GARDEN,

MANAGING OFFICES

LOUNGE AREA S TA F F C U B I C L E S

S T A F F L O U N G E , C O W O K I N G S PA C E

VIP OFFICES, VIP LOUNGE

ENTRANCE TELLER

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FUNCTIONAL REQUIREMENTS 65 PARAMETERS

R A I L I N G , T R A S PA R E N C Y

C O N N E C T I O N W I T H T H E L O U N G E A N D T H E S TA F F CUBICLES

COMMON AREAS, TERRACES, OUTDOOR EXPERIENCE LIGHT

COMMON AREAS, TERRACES, OUTDOOR EXPERIENCE L I G H T, C O N N E C T I O N W I T H S T A F F C U B I C L E S

Distance between skin and facade

Vo r o n o i c e l l scale

Thickness of the wireframe

Color and material

LOUNGE, TERRACE, Extrusion of terraces W A I T I N G A R E A , S H A D E D , P R I VA T E , E X P E R I E N T I A L

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04

FA C A D E G E N E R A T I O N

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68 PERSPECTIVE SHOT

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ISOMETRIC

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70 MODELING LOGIC

C R E AT I N G THE PA T T E R N

0 1 C R E AT I N G TERN CELLS

THE

C R E AT I N G THE 3D CELLS

C R E AT I N G THE 2 D S U R FA C E PA T TENRS

PAT-

First, volume that would be occupying the 2D and 3D cells is defined, then the voronoi cells are populated.

For the terraces, a pipe volume is defined and for the 2D surfaces, a volume created from offsetting the original glass facade.

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CREATING THE PATTERN: GRASS- 71 HOPPER DEFINITION

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72 02 C R E AT I N G THE CELLS OR TERRACES

3D

While creating the 3D cells, minimum, accessible dimensions were considered. The cells were spilt into the bottom surfaces, which were made static for accessibilit y, a n d t h e t o p s u r f a c e s which were given kinetic panels responding to the s u n ’s p o s i t i o n .

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73 0 3 C R E AT I N G T H E 2 D S U R F A C E PAT T E R N S

A

A

B

B

C R E AT I N G T H E S U R F A C E S

C R E AT I N G T H E R E S P O N S I V E PA N E L S

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74 FULL GRASSHOPPER DEFINITION

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76OPERATION OF THE PANELS

W E S T E L E VA T I O N TIME 11 AM D AY 2 1 J U N E PA N E L S CONTRACTED IN THE S O U T H A N D D I L AT E D I N T H E W E S T Portfolio

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S O U T H E L E VA T I O N TIME 11 AM D AY 2 1 J U N E PA N E L S C O N T R A C T E D I N T H E S O U T H A N D D I L AT E D I N T H E W E S T ARCH 473/3522 - Spring 2019

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D O C U M E N TAT I O N

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FLOOR PLAN DRAWINGS

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82 SECTIONS DRAWINGS

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84 ELEVATION DRAWINGS

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86 STRUCTURAL DETAILS AND MECHANISM DETAILS

The kinetic panels operate using a press roll mechanism.

The panel is made of fabric.

The fabric is connected to pipes and the faces overlap to dialte and contract.

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MATERIALITY 87

FABRIC FOR THE PANELS

STEEL FOR THE STRUCTURE & WIREFRAME

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© The American University in Cairo (AUC), May 2021 Portfolio

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