Student Portfolio
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 Fares Elkallaf Fall 2021
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: Fares Elkallaf Student ID: 900171872
© The American University in Cairo (AUC), May 2019
Fares Elkallaf Architecture Student
A highlight of architecture is all the travel opportunities it provides. Regarding my roots and history, I’m quite proud. And the knowledge I gain from it is absolutely transformative. Even though I enjoy all forms of art, travelling and discovering new locations are two of my most favourite things to do together. For some reason, I’m always on the lookout for new areas to explore.
My name is Fares, mI’m a fourth-year architectural engineering major. My home is Alexandria, Egypt. This field, to my surprise, brought together everything I’d previously learned about. I enjoy what I do and the creative process; it’s enthralling and the desire to provide more never ends. A person can learn the most useful skill by practising design. Designers, in my opinion, are the ones who will shape the world of tomorrow. It’s extremely difficult, yet that’s where inspiration comes from.
When it comes to writing and recording the history of any location, architecture serves as a second language. To communicate and perform, it serves two purposes. For the first time, something extraordinary and technologically advanced has been proposed in a children’s narrative book. Instead of the traditional 12-story structure, I’ve finally reached the point where I can create something truly unique.
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FABRIC FORMING AND CONCRETE POURING
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Project 1 : Phase 1
3 FABRIC FORMING AND CONCRETE POURING
Introduction: Fabric formwork is a building technology that uses concrete as a structural material as well as a finishing material for the final surface. The fabric material is extremely flexible and can deflect under pressure as opposed to conventional weight from the concrete shapes. Curvature is exhibited in the resulting forms as well as excellent surface finishes that are not commonly associated with concrete structures.
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Fares Elkallaf
4 James Hardress de Warenne Waller was probably the most prolific inventor in the field of fabric formwork. Waller found, while in Salonika, Greece, that cement dust blew on a wet tent made the canvas incredibly solid. It was this occurrence that led to his “Nofrango” patent. Hessian, or a woven cloth made of some kind of vegetable fiber, is spread over a frame of wood and coated with a cement mortar. Several implementations of this concept other than the flooring system referred to are listed in the first US patent for this system These examples can be classified into four distinct categories upon inspection; – Draped (stretched in one direction) and plastered (floor, roof ) – Stretched and plastered (wall) – Filled and stressed through hydraulic pressure (column) – Level, lying on the ground (ground floor, liners) Using parallel falsework arches, he extrapolated this observation to create shells and allow the fabric to sag in between to form corrugations (Fig. 8). The depth of the corrugations along with prestressing and rib spacing was determined by the first thin coat of cement and the deflections thus generated. To minimize the amount of reinforcement required to create the shell of a building, he used the purely compressive structural form of the inverted catenary arch for the ribs.
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5 The Spanish architect Miguel Fisac was the first person to actually consider the architectural and aesthetic possibilities of fabric formwork. He was able to fundamentally rethink the material and architectural qualities of concrete in the wake of these developments and various ventures across Spain and patented a new concept which he used at the Centro de Rehabilitación para la MUPAG in Madrid in 1969. He used a smooth and flexible lamina of polyethylene hanging as a formwork from a rigid frame. ““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”. This gave Fisac the freedom to create a number of new styles of façade panels, giving a particular look and feel to each building when this method was used.
Centro de Rehabilitación para la MUPAG
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Recent experimentation using fabric-formed architecture
Horizonal fabric forming
Knit candela using fabric and concrete
FattyShell, using rubberand concrete.
Fabric cast concrete
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Project 1 : Phase 1
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Concrete table
Fabric-formed truss fabricated
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Flexible concrete
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EXPERIMENTATIONS
First Approach
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Materials Used:
- Started by creating a shape using mesh. - Added a support system (wooden sticks) to prevent the mesh from falling after adding the cement
Wooden Sticks Mesh Fabric
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- The first experiment didn’t work so I added a cement instead to create a free form. - Failures: The cement wasn’t strong enough which results in breaking down.
- Added the fabric to prevent the wax from passing through. - Failures: The wax wasn’t sturdy so it was broken easily
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Second Approach
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Materials Used:
- Started by fixing the sticks with a gluegun on the board. -Added more support system to make the structure string enough to hold the cement.
Wooden Sticks Plastic Paper Steel Wire
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- Added the steel wire to strenghthen the connection between the plastic paper and the sticks. - Adding plastic paper and then started adding the cement.
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- Results: The method of formwork with the plastic at the base is mucch more successful than the first approach - Failures: The shape was interesting but easily breakable so I added steel wires to make the structure stronger.
Project 1 : Phase 1
Third Approach 1
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Materials Used:
- Started by mixing the fabric with the concrete. - Added strings to create tension to form the shape. - Stones were added to hold the structure from below.
Fabric Strings Stones
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- Using the same approach but with different fabric. - Used the fire to create different holes and sizes. - Added stone to stretch the fabric from one side.
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The trial was successful as I created the form using tension as I imagined. - Failures: The first shape wasn’t strong enough so I added more cement to make it stronger and withstand the heavy weight. Fares Elkallaf
DEVELOPMENT TWO
First Development
Materials Used: Leather
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Materials Used: String
The cement I poured at first wasn’t strong enough because I used alot of water in the mix
Started by connecting the string with the leather
Used the strings to hold the leather when pouring the cement
Cement added on the leather to hold it in place.
Added steel wire for support system to make the structure stroonger
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Results was interesting, the structure and even the sides of the shape are thick and Farestrial Elkallaf stronger than the first
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Second Development (Using Plastic)
Materials Used: Plastic Paper
Materials Used: String The plastic paper wasn’t strong enough so I couldn;t create the shape I want. (all the cement was gathered in the middle)
Materials Used: Steel Wires
Experience the idea of stretching by using a plastic paper.
strings were connected with the plastic paper to hold it.
cement was added on the plastic to create the shape and turn it stiff
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The results as expected, thick shape but broke and didn’t form the shape I want Project 1 : Phase 1
Failures (Plastic / Transparent folder / paper)
Materials Used: Fabric / transparent folder Mesh / string / wool
The paper is very light so it broke immediately after
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The results as expected, thick shape but broke and didn’t form the shape I want
The mesh didn’t help in supporting the structure .
The plastic paper wasn’t strong enough which makes the cement gather in one place. ARCH 473/3522 - Fall 2020
The structure was weak which results in breaking apart.
Not enough cement was used and so the structure was weak Fares Elkallaf
DEVELOPMENT THREE
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Precedents Close Up Of Holes Fabric Texture With Light Coming from the roof
SAINT-PIERRE, LE CORBUSIER WINERY PODERE, LA CHIESA
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KIARA LOORO, TIONAL COMPETITION
INTERNA-
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First Experiment
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AIM: Playing with the openings to create and interesting lightning - Using circular foam shapes to create holes in the structure. - Tieing one of the foam with a string to hold it from the bottom and create an organic
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After drying t I had to pull th create th
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Created the shape by stretching the strings and then added the cement. - The plastic bottle as a supporting system as the cement was heavy
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the cement, he string to he hole
The results was interesting, the structure is neat and was able to create standing points that holds
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First Experiment
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AIM: Playing with the openings to create and interesting lightning -Using sticks to create holes for the structure. -Leather material to hold the structure while inserting the cement. -Foam sticked to the leather
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Sticks from the bo structure to hold the
Sticks added in random positions to create an the holes -cement added over to form an organic shape with the holes.
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ottom as acts as a system e leather
The results was not as expected to be. The structure is thick that it didn’t create the holes I imagined -It broke down after trying to
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A minimlistic approach of designing a housing building inpsired by the light wieght, aesthatic appearance,
02 LEARNING FROM NATURE
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FIRST TRIAL
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DEVELOPMENT MODELING TOOLS
Split command to cut Started with a command the extra part from the mobius surface to create bottom the curve Twist parameter to create this wavy formation
Finally materials were Populate geometry to added inspired from the play with the lines in silk material different vectors then used pipe to to cre- Random reduce to trim ate thickness to the different parts of the threads shape’s surface randomly
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ELEVATIONS
FRONT VIEW
SIDE VIEW
PROJECT EXPERIENCE THE PAVILION IS LOCATED IN SSE ENTRANCE TO CREATE DYNAMIC AND VIBRANT EXPERIENCE PROVIDING THE STUDENTS WITH A SPACE TO EXPLORE AND SOCIALIZE
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Facelift:The parametric facelift
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PROJECT 3
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Introduction: Through this phase, we tried to reflect on our experimentation in order to create a parametric facade design that satisfies behavioral, structural, and enviromental aspects
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BLOOM BANK
Bloom bank is an office based building found in new cairo along the T’seen street. the building location or main orientation is adjusted to towadr the southern facade. Although the building is directly facing the sun, most of the building is unprotected from the heat as the face id covered with glass. V
Based upon enviroemntal studies, Cairo is considered as a hot climate country during most of the year, and almost Moderate during winter and spring. The average solar radiation is above the comfort zone. the primamry wind direction is north/northwest, while the secondrly is northeast.
Facade Analysis: 1- Advanatge: - Ventilated southern area due to the openning in the facade.
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2- Disadvanatge: Excessive heat energy inside the building due to the high solar radiation of the facade.
3- High noise coming from the street.
4- Glare effect is produced due to the excess amount of sun exposure.
PROJECT 3
FACADE GOALS & CONCEPT
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SITE ANALYSIS
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Current Facade of the building
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FORM STEPS
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LAYERS 10
GRASSHOPER DEFINITION
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SOLAR ANALYSIS
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WINTER
faces with small voids passes winter sun while pockets the summer sun to ensure moderate heat aroud the year.
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12 OPENNINGS ANALYSIS
SMALLER PORTION
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LARGER PORTION
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FACADE LAYERS
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14 SHADE ANALYSIS
SECOND LEVEL
THIRD LEVEL
4PM
4PM
5PM
5PM
6PM
6PM
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BLOOM BANK NEW FACADE
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VR SHOTS
Learned Pro Interior facade cutting through the slab
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Slab cutting needs to be larger
sla
PROJECT 3
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ocess
ab is extruded more than 3 meters
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Opening are stretched
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fabrication
Learned Process Adding more structure to hold the facade
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Decrease the distance of the outer facade from the building
PROJECT 3
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FORM DEVELOPMENT FORM 1
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FORM 2
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FORM 3
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SHOTS
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Biblography • • Aranda, B. and Lasch, C. (2006). Tooling, Princeton Architectural Press, New York, USA. • Balmond, C. (2007). Informal, Prestel. • Dunn, N. (2012). Digital Fabrication in Architecture, Laurence King Publishing. • Frederick, M. (2007). 101 Things I learned in architecture school, MIT Press. • Freyer, C., Noel, S., Rucki, E. & Antonelli, P. (2011). Digital by Design: Crafting Technology for Products and Environments, Thames and Hudson. • Hensel, M., Menges, A. & Weinstock, M. (2010). Emergent Technologies and Design: Towards a Biological Paradigm for Architecture, Routledge. • Iwamoto, L. (2009). Digital Fabrications: Architectural and Material Techniques, Princeton Architectural Press. • 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. • Vysivoti, S.
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