Student Portfolio
ARCH 473/3522 - DIGITAL DESIGN STUDIO AND WORKSHOP Daniella K. Tinawi Fall 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: Daniella K. Tinawi Student ID: 900171670
Š The American University in Cairo (AUC), May 2019
Daniella K.Tinawi Architecture Student Digital Design this semester was the cherry on top and breakthrough of my explorations in this major. In the beginning, it was overwhelming the how simple software techniques could turn a conceptual idea into an organic and flexible structure. Parametric modeling and design aided me into translating my sketches and ideas into something that is tangible and easily visualized. Its dynamics works like a Rubik’s Cube with a certain algothrim that needs to be comprehended. All in all, this course has been nothing but an exciting challenge and I am looking forward to learn more throughout the process, not just the final result. I am a fourth year student, studying Architecture and minoring in Business Adminstration, at the American University in Cairo. Ever since I was a kid, I have had a passion for interior design and I aspire to open my own firm in the future where I can combine my love of art, colors, and knowledge to create a unique story out of each client. Driven by my love of knowledge, I enjoy reading novels of different genres, watching documentaries and series in my spare time. I also have developed a passion for baking, which acts as my therapuetic go to during submissions.
Through all of its workload and long nights, Architecture amazes me everyday with its ability to combine different subjects and topics into one field. Getting to experience
This storybook captures my journey throughout the course with all of its challenges, milestones, and digital exploration.
IN THIS ISSUE
TABLE OF CONTENTS 01 PROJECT 1 Mobile Shelter for the Homeless
24 PROJECT 2: PART A The Black Canvas Facade
48 PROJECT 2: PART B The Parametric Facelift
Inspiration picture of my vision of the shelter, as a medium of protection, light, and community interaction.
01 Project 1 Mobile Shelter for the Homeless
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Portfolio
Project 1
3 A picture of the main source of inspiration in design - The Chameleon- highlighting its element of color change.
Project 1: Mobile Shelter for the Homeless aids to develop several alternatives and design ideas as part of the preliminary search for a language of formal expression that responds to basic aesthetic and functional requirements. It is set in Minya, serving the needs of homeless people there. The notion of a shelter does not only denote concepts of mere protection and residence, but also aspects of social coherence and interaction. The design drivers should be extracted from a natural phenoma of growth, found in life and nature. ARCH 473/3522 - Fall 2020
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Portfolio
Project 1
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PROJECT LOCATION EL MINYA, EGYPT El Minya, located in Upper Egypt and lies on the western bank of the Nile River. The governate is known for its hot weather from May to September. Its comfort zone is about 20-24 degrees throughout the year. Minya has a large percentage of homeless children and people living there.
TARGET USERS
The shelter’s main goal is to provide a smoothful experience and a temporary protective sheltered area for the children and people in El Minya. It aims to bring together the community within a safe environment. ARCH 473/3522 - Fall 2020
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NATURAL INSPIRATION
THE CHAMELEON A type of reptiles belonging to the lizard family, the chameleon represents a living example of growth within the nature. It dominates a lot of characteristics that makes it unique and distinct.
CAMOUFLAGE AND COLOR CHANGE Chameleons have the ability to change color within their environmentm due to several reasons: 1. Protection in the environment and from predators 2. Changes in their mood 3. Changes in external factors such as temperature, light and moisture
Microlevel skin sections at different stages of Chameleon’s development.
SKIN STRUCTURE The chameleon’s skin is the key element of the reptile’s ability to change colors. It acts as the main factor of growth in nature as a phenomena, that helped in abstraction of ideas for the shelter. Portfolio
(A) Project 1
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COMPOSITION Skin structure is composed of layers of pigmentation: 1. Top layers are of red pigments (erythrophores) and yellow pigments (xanthophores). 2. Layer of crystals (iridophores) 3. Melanophores or chromatophore cells are wrapped around in which they contract and extract according to the chameleon’s movement and tuning of nervous system.
(B) ARCH 473/3522 - Fall 2020
(C) Daniella Tinawi
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CRYSTAL LATTICE STRUCTURE Portfolio
Project 1
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The mechanism of the color change is mainly triggered from the second layer of the dermis, which is the iridophore crystals.
Iridophores are specialized cells made up of hundreds of thousands of Guanine crystals (lattice structures). They act like prisms, reflecting different wavelengths of light when tuned by the chameleon’s actions and nerves. Factors affecting the color to reflect: thickness, spacing, refractive index of crystals.
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01
02
POROSITY
BLENDING IN
KEY CONCEPTS EXTRACTED
03 EXPANSION AND CONTRACTION Portfolio
04 ACTIVE TUNING MORPHOLOGY Project 1
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MAIN CONCEPT INSPIRATION After studying the chameleon and brainstorming different elements that can feed into design, began the phase of abstraction into the essence of the shelter. Drawing inspiration from the layers and stages of development on a cellular level of the chameleon’s skin, the shelter goes through a journey of phases representing the different zones. The journey focuses on two spaces coming together into one main social/ communal zone. Also the lattice structure of the iridophores are abstracted into oepnings that adjust the temperature and natural light inside the shelter, and reflecting light based on the function of the space.
KEYWORDS ADAPTABILITY - REGULATION - HOMEOSTASIS - COLORFUL JOURNEY
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ABSTRACTION 1. SKIN LAYERING - Structure -
2. CRYSTAL LATTICE - Substructure -
Skin development and its layering in the Chameleon is a major inspiration for the primary form of the shelter.
Taking the form of hexagons, the crystal structure within the chameleon can function as openings in the shelter that open and close (expand and contract) to adjust the temperature and light within the cluster, similar to what the chameleon does, hence, achieving homeostasis.
Layer 1 Epidermis as protection
Layer 2 Dermis for dynamics of shelter
the outline of the microlevel skin section
layers and clusters coming together
3. COLOR CHANGE Due to the action and tuning of crystals, color change can be reflected based on the function and mood of the zones.
Portfolio
Project 1
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FUNCTIONAL DESIGN & ABSTRACTION SHELTER ZONES
Residential
PRIVATE Enclosed Relaxed Protected
Commercial
Social Gathering
SEMI-PRIVATE
PUBLIC
Internediate Moderate Energy
Open Connecting Elevated (sound-light)
EXPERIMENTATION SKETCH
ATTEMPT 1
I began thinking of the communal space being in the middle acting as a courtyard and then having the subzones all around it with a substructure embracing the whole shelter. ARCH 473/3522 - Fall 2020
ATTEMPT 2
Through development, the idea of having the three zones blending in together as a unified entity yet each with its own differentiating characteristics rose. The openings dominate the shelter for regulation.
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FORM ATTEMPTS & DESIGN PROCESS
01 The first attempt of using the software was just to demonstrate how to play with different curvatures, creating space bubbles that can represent different changes of tuning morphology in the building.
02 The mesh dominates the form of the lattice openings to go through adaptations of temperature to enable survival within the environment, but it needed to be translated into a structural and functional form.
03 In this trial, a journey was beginning to emerge, where it emphasizes on the idea of how two private/semi-private areas “blend in� with the main social space that is intertwining with its layers of porosity getting heightened in the center. Portfolio
Project 1
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04
In this attempt, the form changed in order to be perceived as a uniform entity from the outside, it has three zones coming together where each has different specs varying as the space goes from private to more public clusters, however the social (middle) structure was very breaking amongst the rest that it looked odd. Its openings too stood out and did not fit with the harmony of the shelter. The form needed more continuity.
05 This model was a developed iteration of trying to create continuity within the shelter. The middle social space was replaced with a shell structure, embracing the other zones. Colors began to appear to show the change of mood as one moves through spaces. ARCH 473/3522 - Fall 2020
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THE STORY BEHIND THE COLORFUL SHELTER DESIGN MODEL DESCRIPTION
the main structure and form is extracted from layers and ribbing of Chameleon’s skin sections -Social Space characterized by height and less thickness, opening more to the public, blending in with the zones and acting as a mediator between them. -Commercial Space has an intermediate and more controlled thickness and height, with a lattice substructure protecting it from within. -Residential Space is the most enclosed and protected one due to privacy having the greatest thickness and the substructure enveloping its from all sides.
addition of lattice structure pattern as a substructure Social
Residential
The cellular structure of the chameleon’s skin developemt acts as the main element of growth that inspired the form of the shelter. The structure of the shelters extracts the concept of layering and ribs in the skin sections, creating a journey where the large public zone blends in with the other sub zones and conveys the meaning of protection as a form. It is perceived as a unified entity, yet each zone is characterized responding to its function, as the places go from public to more private areas. The shelter’s substructure is inspired from the chameleon’s lattice structure, where the openings adjust light and temperature from within to achieve homeostasis for the users. Colors change along with the tuning of the lattices, reflecting the mood of the zone from relaxed to more excited.
Commercial
FORM GENERATION Portfolio
Project 1
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STUDIES CIRCULATION AND ZONING
2D SHOTS
Social A
A Social Zone/Link
Plan B
Residential
Commercial
Commercial
Composition and zoning without the lattice structure, it shows the difference in zones coming in together, and the middle cluster (social space) blends in together with them and links them together.
B
Section A-A Section A-A shows the social main zone that acts as a mediator, creating a strong link between the residential and commercial zone, where the society gets to socialize and interact.
Section B-B Section B-B shows the main structure of the shelter, inspired from layers and ribbing of cellular skin of the Chameleon and privacy between zones. ARCH 473/3522 - Fall 2020
Residential
Abstracted Pattern The pattern is abstracted from the Chameleon’s crystal lattice structure that controls its color change based on tuning. It is experimented in the shelter with a more abstract version of shapes and a variety of sizes.
The pattern varies from small openings to more wide ones as the space moves from private to more public zones.
Daniella Tinawi
18 ELEVATION SHOTS
Portfolio
Project 1
19 MAIN PERSPECTIVE SHOT Just like the Chameleon, the shelter goes through a process of color shift complementing its journey from within. The colors change as the mood of the space changes, making people experience a dynamic, colorful shade and shadow. Green/Blue as shades demonstating a relaxed state.
changes as the spaces become more public
Red/Oranfe showing excitement.
SOCIAL ACTIVITIES
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Interior Shot showing pattern and dynamics of light
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DIGITAL FABRICATION The revolution of digital fabrication has changed Architecture and made a breakthrough complementing technology. There are several techniques for fabrication of models. A software such as Cura, has helped me in going through the process of digitally fabricating an organic model such as the one I have for the shelter. Cura experimentation was the most optimum option as it maintained the curvilinear mechanism and details of the structure.
FINAL MODEL FOR FABRICATION
Adjustment of the model in terms of scale and units is needed before going into Cura, then adjusting thickness, infill layers, adding support for the structure, and speed/cooling in printing are factors that affect time needed for printitng.
TIME REQUIRED
Portfolio
Project 1
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PROCESS
ARCH 473/3522 - Fall 2020
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The final outcome of one of the material explorations using circular voids and gypsum mixture.
02 Project 2: PART A The Black Facade Canvas
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Project 2 Part A: Material Explorations
25 Inspiration picture of a dynamic facade that is playing with the solid and void ratio; having subtracted rectilinear panels and a curved edge.
Project 2 Part A: In this experimental project, the objective is to physically explore with different materials and fabrication techniques to devise a unit prototype for a building faรงade. It is encouraged to investigate several physical/digital techniques and material explorations that can support the process of experimentation. There are two main approaches in fabrication: Casting and Fabric Formwork. In this phase, I decided to experiment with gypsum through the casting method.
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CASTING FABRICATION APPROACH What is Casting? Casting is a type of manufacturing process that originally gets associated with metals, but has several applications in different industries. It is an approach that involves pouring a liquid into a designed mold and left to harden to take its shape. Treatment and curation of the hardened mold is usually needed.
Historical Background Casting is one of the oldest manufacturing processes that dates back to for over 5,000 years to create objects such as tools and jewelry. Its an approach that was firt used in the Mesopotamian civilization in 3200BC. The idea of molds rose during the Iron Age. There were molds made out of clay , wax, and permanent molds made of stone and metal. Casting accepts hot or liquid, meltable material or water setting materials such as concrete or plaster. Nevertheless, iron casting grew tremendously during Industrialization Period of 18th century. Ever since then metal casting was developed and modern advances allowed casting to have broad applications until our present day. Reference: Encyclopedia. (n.d.). Casting. Retrieved October, from https://www.newworldencyclopedia.org/entry/Casting
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Project 2 Part A: Material Explorations
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Different Types of Casting 1. Plaster Casting: Expendable Mold Casting Type It involves using a mixture of gypsum with water as the main component to fill in the gaps around the designed mold. ROS of Plaster Casting: P •Leaves a smooth surface after hardening •The ability to cast complex shapes
2. Sand Casting 3. Shell Molding 4. Wax Casting 5. Die Casting
Process of Casting
CORE MAKING It is essential to design the mold in order to create the hollow construction of the component’s interior. ARCH 473/3522 - Fall 2020
MOLDING Process of using the strengthening main component of casting to formulate the mold and leave it to dry.
FINISHING Post casting causes some cracks or defects in which finishing techniques and curing treatments are applied. Daniella Tinawi
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Precedents GREEN CAST BUILDING |Kengo Kuma & Associates| Location: Japan
DIE CASTING TECHNIQUE
The Green Cast in Japan is a mixed use building known for its lively facade that is made by die casting panels. The panels are aluminum which act as vertical planters. Some of the planels are slightly slanted; these are made out of monoblock casted panels. The facade is an inclusive, comprehensive living facade that has equipment such as an air reservoir for ventilation and downpipes behind the aluminum panels.
Portfolio
Project 2 Part A: Material Explorations
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Portfolio
Project 2 Part A: Material Explorations
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MATERIAL EXPLORATION In this phase, material exploration is essetial in order to get used to working with the material, and knowing its constraints, limitation, and also its advantages. The main goal is to create a prototype of a unit panel through casting, that could be later implemented as the facade of the building. C asting helps in: • • • • • •
creating complex geometries has a fast production cycles: good workability reduced assembly of units minimal sizing restraints (flexible to from small to large molds) diverse and adaptable surface textures (smooth, semi-smooth or rough textures)
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RATIO
Gypsum
: 1 Water
GYPSUM ARCH 473/3522 - Fall 2020
WATER
MODULE BASE
MATERIALS USED
CONTROLLED VARIABLES
During the experiments, a module of 15x15cm was created using cardboard and foam board to fit in 30x30x15 volume.
Daniella Tinawi
IDEA BEHIND FORM
32 Addition and subtraction are the two main methodologies of application in casting. Hence, I wanted to experiment with different types of core making in the module. In addition, having a interactive and paneledl/slit through in a facade, aids the building to become easily responsive to the environment and any perforations or negative space play creates a dynamic experience.
PHYSICAL EXPERIMENTATION I Maintaining Uniformity and Regularity 01
02
Forming unit module out of cardboard as a base.
Portfolio
Creating the gypsum mixture using a 3:1 ratio (gypsum:water)
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Trying out a regular uniform as the core making before pouring the mold
04
I poured the mixture first into the mold, then applied force on the circular core making into it, ensuring that all gypsum has flowed in between the shapes before leaving it to dry out. Project 2 Part A: Material Explorations
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THE FINAL OUTCOME
In this exploration, I was testing out a plastic uniform and regular patterened core making during the casting process. A modular tile with clean and smooth edges was the result, where the void to solid ratio is higher. In addition, the distance between the circles is very thin, making it a weak point after casting. ARCH 473/3522 - Fall 2020
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PHYSICAL EXPERIMENTATION II Regular yet Random Pattern Trial 01
Trying out another pattern as the core making and lubricating the prisms with oil to ease its post pull off.
02
Pouring the gypsum mixture into the mold with the same constant ratio and mold base
03
Adjusting the gypsum mixture into the mold and inbetween the prisms, making sure it flows everywhere
04
Pouring the mixture while having the lubricated prisms set in was a bit messy, but I managed to adjust the mixture into the mold and form an irregular random interplay with the core play before leaving it to dry and harden out.
Portfolio
Project 2 Part A: Material Explorations
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THE FINAL OUTCOME
In this trial, I applied the same concept of having a subtracted coremaking, but tried to achieve a random placement of the wooden prisms in the unit. The wooden prisms were harder to get out compared to the plastic, but they came out intact. The mold also came out smooth and clean; with the cardboard base giving it a texture from the back. However, having the prisms placed like that , varying in the distance between them compared to the circular ones of no. 1, made the hardened gypsum stronger in the points in between. The solid to void ratio is higher in this experiment. ARCH 473/3522 - Fall 2020
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PHYSICAL EXPERIMENTATION III Inclined Base with Uniform Pattern 01
Using the same dimensions of the module base, I experimented this time by creating a inclination with the foam boards.
02
03
I wanted to see how the material will adapt and take the form of an inclination/slope in the formwork.
I used the same PVC coremaking of Experiment 1 but experimented this time with positive pressure/space.
04
Creating the same consistent gypsum mixture (3:1), I poured the gypsum in the core making on the side and then proceeded quickly to pour into the inclined base module. After that, I applied pressure in the mold using the already poured coremaking and left it to dry as one entity.
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Project 2 Part A: Material Explorations
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THE FINAL OUTCOME
In the previous experiments I was experimenting with negative space and subtractions. In this trial, I wanted to try the effect of having a positive pressure or addition as the coremaking using the same plastic circular coremaking, and adding another independent variable being an inclined base. The gypsum smoothly took the the form of the inclination, and varied in its height. There is also a smooth positive modularity in the tile. ARCH 473/3522 - Fall 2020
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IDEA BEHIND FORM
38 Even though casting seems like a rigid and nonflexible technique for fabrication, I wanted to test its capabilites in forming a curvature in its surface geometry using the same mold base to fit in the needed volume.
PHYSICAL EXPERIMENTATION IV Testing Curvature in Surface Geometry 01
Using the same base, I made a curved groove in the base and fixated a stencil sheet in it. Portfolio
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03
I added tape to I proceeded to ensure the stencil create the gypsum doesn’t come mixture using the out and had the same 3:1 ratio formwork stand (gypsum:water) vertically.
04
I poured the mixture into the stencil pocket at 90deg., it was challenging to compact and level the mixture as it was drying out quickly, and I had to apply pressure in the middle to maintain the curvature form. Project 2 Part A: Material Explorations
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THE FINAL OUTCOME
This experiment was the most interesting, because it has layers of development that could be applied in other iterations. It shows how form follows structure, the mixture took the curvature of the mold achieving a pillow (pocket) like filled shape. It also tests tension created in the middle at the lowest point of the curve. However, not leveling the mixture from the top created gaps in the mold and it wasn’t uniform through all. ARCH 473/3522 - Fall 2020
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IDEA BEHIND FORM
40 In the final trial, I wanted to experiment with the two main variables I have been trying out: Curvature and Subtractions (in the mold). In addition, I wanted to add a texture while pouring to get the sense of how fabric formwork works compared to basic casting, in order to achieve a dynamic and interactive panel.
PHYSICAL EXPERIMENTATION V Textured Casting Technique ft Voids 01
Experimenting with wooden prisms to create voids in a mold that has a curvature achieved by sticking a stencil sheet to the sides. Portfolio
02
Adding a layer of bubble sheet to experiment with different textures and fabric like material.
03
I poured the gypsum mixture into the left part of the mold playing with the solid and void ratio and letting the dried out unit to take a curved edge. This picture is mid drying out , where I decided to remove the wooden prisms for ease but it caused cracks in the mold. Project 2 Part A: Material Explorations
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THE FINAL OUTCOME
I wanted to try to combine most of the independent variables I tried before in the final experiment, while adding an element of fabric formwork to see how it will effect the mold. The outcome panel was not fully successful as had cracks and broke into pieces, indicating the presence of weak points and flaws in the pouring process. However, the bubble wrap created a dynamic interplay in the unit with a texture that could be developed later on through its hierarchy of pixels. The prisms followed the same concept of subtraction in its coremaking, and the solid to void ratio is almost equal having a curved edge from one of the sides. ARCH 473/3522 - Fall 2020
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DESIGN PARAMETERS INPUT PARAMETERS 1. Mixture Ratio The mixture ratio was constant throughout all experiments having a 3:1 (gypsum to water) ratio, which achieved a good consistency.
2. Formwork Material
All molds were of rectangular bases to maintain the modularity of the units and to fit in 30x30x15 cm volume.
Cardboard Base
Foam board Base
Bubble Wrap Sheet
3. Coremaking Element Circular Plastic Pattern
Wooden Prisms
4. Control Points Control Points variable is mainly present in experiment 4, where the control points of the curve are the ones that allow the form to take its shape. It can be later iterated to have several developments and interplays. Portfolio
Project 2 Part A: Material Explorations
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OUTPUT PARAMETERS A. Mold Height Mold height varied when the mixture was not leveled up especially in experiment number 4. Gravity pull of the mixture is slow, making the panel non uniform with gaps.
B. Mold Thickness and Depth Mold Thickness (t1) was mainly consistent throughout all of 3 cm. The inclination exhibited difference strength points throughout the slope, and in others, edges were thin based on the distance of the coremaking elements.
C. Surface Geometry and Texture Control points was a major factor that affected the surface geometry of the panel, showing flexibility and how tension comes into perspective. (Form follows structure) Texture varied, but the bubble wrap can be translated as pixels in the digital application. ARCH 473/3522 - Fall 2020
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D. Solid to Void Ratio The solid to void ratio is a main datum output parametere out of all the experimentations. It changed as the inputs were tuned throughout each trial. It is the important factor that can act as a design driver in the digital translation. In addition, solid to void ratio through subtractions in the panel leads to environmentally friendly and adaptable solutions in facade units. Several subdivisions fall under this parameter that need to be taken in consideration.
RATIO AND SIZE OF VOID Ratio variation (2:1) Solid to Void Size of Voids (d1-d2)
DISTANCE FOR TENSILE STRENGTH Distance between the voids (s1-s2) is around 1.5-2.0cm.
MODULARITY WITHIN FRAME
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Project 2 Part A: Material Explorations
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ARCH 473/3522 - Fall 2020
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Inspiration picture for a Double Skin Facade.
03 Project 2: PART B The Parametric Facelift
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Portfolio
Project 2 Part B: The Parametric Facelift
49 Picture of BLOM BANK in Egypt, which is the building we will experiment on with the DSF system in the final project of this course.
Project 2 Part B: 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. It is required to develop a parametrically driven building skin for the building of (Blom Bank Egypt SAE - Main Branch, South Teseen Rd, New Cairo).
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PROJECT SITE ANALYSIS LOCATION BLOM Bank Building, 90 Street, New Cairo, Egypt
BLOM Bank Office Building is located in South Teseen Road in New Cairo Egypt, where its main facade is in a South/Southwest orientation, making it a target side directly exposed to the sun in Egypt’s hot climate. The building is not considered in such a context as its facade is entirely made out of glass. The bank lies in between other corporate offices in the Banks Centre Street, commercial shops, and is directly accessible from the main street. Portfolio
Project 2 Part B: The Parametric Facelift
ENVIRONMENTAL ANALYSIS
51 |HOT CLIMATE| W I N D
S U N S H A D I N G
During Summer, shade is needed especially in June.
During Winter, sun is needed in early mornings.
SUMMER
WINTER
R O S E Prevailing wind is mainly from the North West. Whereas, the secondary wind comes from North and North East. The max wind speed also comes from the south west. New Cairo also has high humidity levels all year round.
PROBLEM DEFINITION High exposure to solar radiation High glare due to the glass facade Noise Pollution Lack of natural ventilation
APPROACH NEEDED Apply DSF system for shading, adjustment of solar exposure, and bringing natural ventilation. ARCH 473/3522 - Fall 2020
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CONCEPT PIXELATED ORIGAMI After analyzing the hot climate of New Cairo and the building’s location, a design concept and approach must be implemented to solve the issues produced from the glass facade. The most efficient technique is applying the Double Skin Facade System that encompasses ventilation and shading devices. Its design can be derived from the parameters of Part A: Material Explorations, which act as a guideline for the strategy.
DERIVED PARAMETERS Solid to Void Relationship Deduced from previous experiments with casting formwork, the relationship between solid to void elements is the main design driver of the facade’s concept. Having penetrations in the units of the facade can help in controlling the amount of sunlight entering the building, achieving a comfortable environment for the users of the building.
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Project 2 Part B: The Parametric Facelift
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PRECEDENTS I. SIPOPO CONGRESS CENTRE Location: Equatorial Guinea The centre is embraced with a lace like mesh that is a semi-transparent metal envelop. It acts as a shield reducing heat, benefiting the daylight at optimum, and being energy efficient. The design of the mesh is inspired from the surroundings, taking the color of the trees (bronze) as to blend in with the nature and ocean in context. The facade has a playful geometry as the metal panels vary in angles and placement of levels. They change in every direction with the orientation of the building and depending on its relation with the exterior and the course of the sunlight.
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II. SDU CAMPUS KOLDING Location: Denmark The campus’ is distinctive through its facade that is composed of a system of approx. 1,600 triangular shutters made out of perforated steel. They are smart or “intelligent” panels that change orientation to adjust daylight and desired inflow of light. The panels have sensors which are responsible to control heat and light levels around the building. Those sensors activate the panels and control its opening ratio/size. They can be fully closed, half open, or fully open. In addition, the panels have small micro pixels which allow light to enter, even when fully closed.
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DESIGN STRATEGY Repetition of Pixels/Perforations The facade’s concept will be an interplay of pixels/perforations that will be repeated across the facade, to obtain the best filteration of sunlight into the building and to have a dynamic effect reflected in the interior. They are placed on triangular panels simulating origami movement. The more the perforations, the lower the thermal load in terms of transmitted solar energy and window heat gain.
Pixels as perforation on the panels, playing with solid to void ratio.
Zoning of the Building The slabs need to be adjusted with the DSF to embrace social activities happening bank.
inside
The
the
system
gives the flexibility to have terraces to enjoy quick breaks, and have protrusions for ventilated spatial configuration.
Portfolio
Private Semi-Private Private Semi-Private Public Area
Breathable facade while utilizing a good angle for sun penetration and encompassing social activities. Project 2 Part B: The Parametric Facelift
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FACADE MECHANISM The facade mechanism is kinetic, where the panels move according to the sun’s movement and these panels then contain a hierarchy of perforations. The perforations vary in number across the whole span. It also acts as a creative and interactive element in the main facade of the building, that will also reflect on the inside, having a dynamic and ambient interior. Purpose of Installation Decrease solar heat gain Diffuse natural lighting Allow natural ventilation Act as a sound buffer (Acoustic Insulation) Have thermal insulation Parameters of the Panel Size
Angle of protrusion and rotation
Color
85% perforation (%) in desert climate
The panels fold and unfold and act along the depth and curvature of facade to maximize the penetration of wind and sunlight efficiently.
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DESIGN DEVELOPMENT I) Dividing the Surface and Constructing the Main Panels of the Facade
II) Creating the Pixels as sub-elements on the Panels
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Project 2 Part B: The Parametric Facelift
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The panels are created through having the facade be divided into rectangular grid of x,y grid lines, and then each rectangular grid is sub-divided into triangular panels. The whole skin is controlled by attractor points, that embrace the building differently at different points and allow the panels to have a certain depth, achieving the objectives of a DSF system.
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PANEL MECHANISM & ENVIRONMENTAL ANALYSIS TRIANGULAR FORMATION
The mechanism of the panel functions around the idea of having a rectangular grid with centre axis lines and points, that then get divided into triangles; in which they fold inwards and outwards toward the center of each panel.
BLOW UP OF THE ORIGAMI PIXELATED PANEL OF DSF
The panels are carried by stainless steel fittings and fixed upon aluminum supporting structure. The second skin is glass acting as a buffer zone to ensure privacy and filter daylight. The panels are of a kinetic mechanism that open and close along with the sun’s movement, emphasizing on the origami concept, and the perforations allowing daylight into the interior space are abstracted from the pixels concept. Portfolio
Project 2 Part B: The Parametric Facelift
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WIND The offset skin of about 2 m controlled by attractor points, helps to capture the Northern wind and allow it to circulate through the building.
SUN MOVEMENT OPEN (WEST)
OPEN (SOUTH)
CLOSED (SOUTH)
The panels close when the sun directly hits the facade and open when the sun moves away. ARCH 473/3522 - Fall 2020
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SECTION A-A
TYPICAL FLOOR PLAN
ARCHITECTURE REPRESENTATION & ANALYSIS
Portfolio
SOUTH ELEVATION
WEST ELEVATION
Due to the triangular shape, the depth increases at certain points in the facade, the gap between the curtain wall and the skin increase, allowing more air to flow and provide space for terraces.
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BOARD ROOM Upper level and accessible to monitor offices
OFFICES
Slab extended for outdoor breaks and double height for max lighting
MEETING ROOM A private inbetween zone with good daylight
EMPLOYEE LOUNGE A semiprivate area; terrace self shading the lower level
WAITING/PUBLIC AREA Extended to the outdoors and more open.
MAIN SECTION WITH INTERIOR FUNCTIONALITY
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GRASSHOPPER DEFINITION AND SCRIPT
(02) (01)
The grasshopper definition consists of: 01) Dividing the Surface and Creating Attractor Points 02) Creating Triangular Panels 03) Setting in the sun simulation for movement control 04) Creating Pixel Perforations on Main Triangular Panels
Portfolio
Project 2 Part B: The Parametric Facelift
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(03)
(04)
ARCH 473/3522 - Fall 2020
Daniella Tinawi
MAIN 3D SHOT
Biblography
• • • • • • • •
Dunn, N. (2012). Digital Fabrication in Architecture, Laurence King Publishing. Jabi, W. (2013). Parametric Design for Architecture, Laurence King Publishing. Kolarevic, B. (2005). Architecture in the Digital Age: Design and Manufacturing, Taylor and Francis. Segaran, T. & Hammerbacher, J. (2009). Beautiful Data: The Stories Behind Elegant Data Solutions, O’Reilly Media. Spiller, N. (2009). Digital Architecture Now: A Global Survey of Emerging Talent, Thames and Hudson. Tedeschi, A. (2014). AAD – Algorithms-Aided Design, Le Penseur Publisher. Terzidis, K. (2006). Algorithmic Architecture, Routledge.
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ŠAll rights reserved, American University in Cairo (AUC) December 2020 ARCH 473/3522 - Fall 2020
Daniella Tinawi