Omar Mansour- AUC - ARCH 473/3522

Student Portfolio

The American University in Cairo (AUC)

School of Sciences and Engineering - Department of Architecture

ARCH 473/3522 - Digital Design Studio and Workshop (Fall 2022)

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: Omar Mansour Student ID: 900191835

© The American University in Cairo (AUC), December 2022

Omar Mansour Architecture Student

Digital Design Studio and Workshop serves as the perfect transition course in my fourth year of Architectural Engineering at the American University in Cairo. It breaks through the shell of the typical stigma that “digital media limits creativity,” acting as both an innovator and conveyor of ideas. It really demonstrates how important it is to define what one wants to use digital design for, whether they may be starting from scratch or simply modeling someone already constructed. As someone who has a lot of passion for the digital world, this course has really piqued my interest in the field even more. I’ve begun to look at how to benefit from modeling softwares for my own use even outside academics. In the future, I hope to continue down this more tech-driven path to mature my strengths.

Material Exploration

Plaster Model Created using Fabric Formwork

Fabric Formwork used on a Concrete Surface (as Seen through the Ridges and Grooves)

The Blank Facade Canvas Portfolio

Background Research

Fabric Forming

Fabric formwork consists of using the membranes in a kind of fabric to serve as the mould for whatever material is being used.

Casting

Casting, on the other hand, entails pouring any kind of mixture into a set mould in which it will harden then be removed.

It is often used to create aesthetically pleasing designs, whether it be for building elements or furniture, etc. It originated from the Industrial Revolution, as the boom of affordable textiles, concrete, and steel allowed for such formwork to be created.

While the casting of plaster is something of more recent centuries, the idea of casting itself has been done long ago, dating back to the ancient Shang Dynasty. They would utilize sand casting when melting metals.

Initial Experimentation

Approaches I, II, & III

Approach I

Plaster to Water Ratio: 2 : 1

Method: Casting in Mould

Aim: Casting into a mould (small pot) and lining inside with cloth to achieve mixed design

Result: The texture I wanted was achieved perfectly. The ratio was good as well. I can now think of creating different solid moulds myself to pour into. The use of both a mould and fabric was also useful.

Approach II

Plaster to Water Ratio: 2 : 0.8 Method: Lining in Plastic Bag

Aim: Pouring into a plastic bag and shaping into an irregular form Result: Parts of the plastic left an interesting mark, but the texture was too dry in parts.

Texture Created by Fabric Formwork on Plaster Model

Approach III

Plaster to Water Ratio: 2 : 1.2

Method: Fabric Formwork in Cloth

Aim: Forming the plaster in an old cloth and twisting it then hanging to achieve a pulling aesthetic Result: Once again, it is not entirely smooth, but leaving it to be held by gravity had a nice effect on the form.

Approaches IV, V, & VI

Approach IV

Plaster to Water Ratio: 2 : 1

Method: Fabric Formwork in Cloth

Aim: To create a volcanic shape by forming with fabric and twisting naturally

Result: The overlapping aesthetic I desired turned out fine in some parts. However, I noticed some bits were drier due to mixing in the same container of plaster from previous approaches.

Approach VI

Plaster to Water Ratio: 2 : 1.2

Method: Forming in Newspaper

Aim: To crunch in balls of newspapers and create a jagged effect on the surface

Result:

I was already quite skeptical of trying this method out, and the outcome was just as I expected. The plaster stuck to the newspaper in most parts, becoming simply unremovable from the surface.

Approach VI

Plaster to Water Ratio: 2 : 1.4

Method: Formwork Using Plastic Bag

Aim: A more two-dimensional approach to create a wave-like surface

Result: The addition of too much water led to a lot more cracking when removing the formwork. It was also difficult to shape blindly, leading me to think a mould would be better for this kind of approach.

Creases Left by Plastic Bag on Plaster Model

Secondary Experimentation

Approaches I, II, & III, IV

Approach I

Plaster to Water Ratio: 2 : 1.2

Method: Fabric Formwork

Aim:

- Creating a shell-like structure using fabric formwork held at four points to make a parabolic curve

- Experimenting with the thinness of the material

Result:

- Achieved a thinness that allowed for a kind of translucency where some light could pass through

- Tried to create a hole in the center but failed to remove the paper towel roll

Creases Left by Plastic Bag on Plaster Model

Texture Created

by Cloth When Poured as Solid

Approach II

Plaster to Water Ratio: 2 : 1.6

Method: Fabric Formwork in Cloth

Aim:

- Using the same idea as the first approach but thickening the layer

- Creating a solid mould without a hole in the center, unlike the first approach

Result:

- The texture takes to the fabric and can be seen all across, especially due to adding more water

- The edges crack more when the center is thicker, unlike the first example using the same technique

Approach III

Plaster to Water Ratio: 2 : 1.6

Method: Plastic Formwork

Aim:

- To make a creased, paper-like texture using a plastic bag as a mould

- Pouring on the outside of the bag to easily remove after

Result:

- The folded paper texture appeared just as I had desired on the inside of the mould

- However, the outside did not look aesthetically pleasing despite being a thin layer of plaster

Folds and Glass-Like Edges Made by Plastic

Twisting Plaster Model Creating by Using Several Anchor Points

Approach IV (Selected Approach)

Plaster to Water Ratio: 2 : 1.2

Method: Fabric Formwork in Cloth

Aim:

- Creating a thin, curvilinear shape with fabric formwork

- Folding the fabric on itself to hold together when being placed between supports

Result:

- The shape held together firmly despite being about 0.2 centimeters thick

- The mixture had some dry bits from the previous mix, leading to the uneven edges

Approach V & VI

Approach V

Plaster to Water Ratio: 2 : 1.4

Method: Latex Formwork

Aim:

- Using a latex glove to create a shape of twists and pulls

- Experimenting with the effect of different materials to the plaster

Result:

- Some pieces cracked off, but the surface was smooth for the most part

- The twists are evident, with one main one at the center resembling a heart in a way

Approach VI

Plaster to Water Ratio: 2 : 2

Method: Plastic Formwork

Aim: - Experimenting with the plaster to water ratio by increasing the amount of water drastically Result: - After taking significantly longer to dry, the plaster immediately cracked upon being removed from the plastic bag - Due to the mixture being so watery, it didn’t take to the creases in the bag as much

Conclusion of Research Phase

- Although this was not the first time I used plaster to create moulds, it was the first time I developed my own formwork completely from scratch

- Understanding the importance of the plaster-to-water ratio and how it impacted the fragility of the model was a huge learning curve

- Learning how to create the ideal mixture was crucial, as it was all about experimenting with the plaster solidifying too soon or not at all

Technical Outcomes Variables and Relationships

- Following my experimentation, perhaps the biggest variable I am looking to manipulate in the coming stages is the number of anchor points

- The way in which the anchor points can change whether it be through quantity, size, spacing, etc. is something I will use to my advantage to develop my single module panel

- The texture also left by the cloth resembles slits, something I can consider later in the model development

Selected Model Approach to Follow in Later Stages

Cluster of Panels featuring Alternating Grid and Slits

Single Panel Module

Panel Translation

Number of Anchor Points

Increasing or decreasing will affect the number of curves

Width and Height of Anchor Points

Changes the steepness or flatness of the curves and which way they tilt

Thickness Affects the texture and transluscency of the material

Texture

Recessed texture left by cloth on plaster can change in every direction, resembling slits

Parameters

Fabric Formwork

• A curvilinear shape taking inspiration from nature (waves)

• Different anchor points can control the extremity of the curves

• Slits can be added for perforation, allowing light and wind to pass through

Waves as Seen from Underwater

Curve Demonstrating the Impact of Anchor Points

The main parameters that can be experimented with are: 1. Number of Anchor Points (Pinch and Spread Locations) 2. Depth and Width of Anchor Points (Pinch and Spread Radii) 3. Thickness of Curve (Extrude) 4. Number of Slits in Curve (Populate Geometry) 5. Width and Length of Slits in Curve (Rectangle, Random)

Workflow Diagram

Form Generation

Grasshopper Definition

Variations of Panels

Radius of Anchor Points

Increasing and decreasing the radius of anchor points (strengths, falloffs, and weights) results in very different looking panels, with potential to create a gradient of sorts in a cluster

Increasing and moving around anchor points often creates very odd-looking panels, as there is

only a set amount that can be added until it begins to look completely deformed

Dimensions of Slits

Through increasing and decreasing the number of slits in addition to the vertical and horizontal dimensions, the panels appear noticeably different and can be used throughout a cluster

Cluster of Panels featuring Alternating Grid and Slits

03

Cluster of Panels

Grasshopper Definition

Logic of Propagation

Variations of Clusters

- Slight overlap of panels vertically and horizontally to appear as one

- Continuity of panels to create seamless appearance

- Not ideal for daylight

- Every other column is flipped inwards

- Once again creates seamlessness

- Also lacking in providing proper lighting

- One row of bumpy panels vs. another of smoother panels

- Increasing to decreasing number of slits

- Ventilation not equal on all parts

- Not too bumpy, good for ventilation flow

- Alternating grid for slits

- Gaps between columns for sunlight, etc.

Application in an Architectural Setting

- Perforated slits ideal for ventilation

- Gaps in between serve as passage for dayllight (could move in the future)

Reflection

- I found the form-finding and exploration stage to be a fun process but one very difficult to control

- Learning the parameters and what needed to be altered was a big step in developing an understanding of how to use Grasshopper to its utmost potential

- Discovering my limits and identifying what can be done in the future has encouraged me to cultivate an interest in the field of digital design

Double Skin Facade of Doha Tower

(Left to Right) Double Skins as a Twin Face Facade, Extract Air Facade, and Buffer Facade

Double Skin Facades Acting as a Ventilator

Environmental Performance in Hot,

Different Approaches

Static Designs Dynamic Designs

An Example of a Static Design Double Skin Facade Facade at Apple Park

Solar Analysis of Different Shapes Using Simulations

Simulations Optimizations

Relevant Precedents

Doha Tower (Doha, Qatar)

Layered Static Design Double Skin Facade at Doha Tower

The Blank Facade Canvas

Dynamic Design Double Skin Facade at Al Bahar Towers

Al Bahar Towers (Abu Dhabi, United Arab Emirates)

Technical Details Materials Fixation

Fabrication

Kinetic Operational Design Mechanism in Detail

Advantages of a Double Skin Facade

Double Skin Facades Disadvantages

Advantages

Facade of Selected Site (Al Ahly Bank)

05Site Analysis and Preliminary Research

Site Analysis

Al Ahly Bank, South Teseen Road (New Cairo, Egypt)

Environmental Conditions

Proposed Approach

Conceptual Goals

Responsive Facade

Previous Experimentation

Derived Perimeters, Rules, and Relationships

Strategy

Parametric Facelift Progress and VR Lab

Satellite View of Selected Site (Al Ahly Bank)

Preliminary Grasshopper Definition

Parameters

Orientation Width

The direction of the panels will be determined by sun path. The warmest spots will require the panels to be rotated more towards the building, whereas cooler spots can be more open.

The columns of panels are meant to get thinner as they move more towards the West, as they will require less horizontal shading and more vertical shading.

Number & Size of Slits

The slits on the panels are meant to be different across the entire facade to have more diversity. It also allows for more interesting shadows to be cast on the inside.

Anchor Points

For structural support, the panels will be connected to the closest anchor point of the facade. This is necessary to prevent the pipes from being excessively long and distracting.

Form Generation

- The initial task was to divide the surface of the facade into a reasonable number of panels and to plug the individual panel into it

- The actual panel was read 2-dimensionally, refusing to stay true to its original shape

- After much trial and error, the issue was with the original rotation of the panel

- I was able to replicate the panels all across the facade in its original shape

- To create more diversity, I divided the original surface into panels of uneven sizes

- This once again, however, created problems with the original panel geometry

- After finally reverting the panels to their original geometry, I rethought the idea of different sized panels

- To make more environmental and practical sense, I decided to make their size change depending on which was closest to the most sunlight

- Therefore, the further left the facade moved, the thinner the panels would get

- For structural support, I added an exo-skeleton layer offset from the panel

- To add to the environmental aspect of the model, I decided to tilt the panels based on the solar analysis to optimize sunlight while minimizing solar radiation

Model for VR Lab

- Using Mindesk, it came to my awareness that the skeleton for the panels were facing outside and not in

- Additionally, the panels towards the far left were way too small and were also blocking too much sun where it was needed

- The preliminary model used for the VR lab had a few issues that would only become noticeable once immersed in the experience

- Moving from the walking mode to the fly mode also made different errors visible that would have otherwise been forgotten

- In Enscape, it became apparent that not enough lighting was passing through - The panels needed to be rotated based on the solar analysis to let more light - They would also require a structural element to support them

Facade

Grasshopper Definition

Facade Design

The facade consists of panels that appear to be rotating away from the sun, allowing for sunlight in the more shaded regions and proper shading in the more exposed regions. There are also slits to allow for more sunlight and ventilation.

Sections

From this section, the layers of the double skin facade can be seen. The outermost layer is followed by a skeleton-like layer for structural integrity, then there is a cavity followed by a curtain wall.

The rods carrying each and every panel can be seen in this section. They act as additional structural supports, connected the double skin facade to the main one. The layered rotation of the panels is also visible in this view.

Ground Floor

1st

The plans shrink gradually as they move further towards the top, with a particular section being dedicated to the double skin facade cavity. There are also some open spaces for terraces, etc. in the middle floors. The supports are also visibly denser as the floors go higher, with less accessible space between them.

Roof of Building with Facade

Perspective Shot of Main Facade

Environmental Analysis

Solar Analysis Conducted on Double Skin Facade

- Having analyzed the solar radiation absorbed by the building, it became apparent which side could use more opening to pass light and which needed to remain properly concealed

- As a result, the solar radiation analysis results were used directly in the grasshopper definition to rotate the panels in the necessary direction

- The slits were also enlarged to allow for more light to shine through

Impact on Facade

- In response to the facade being covered in a lot of sunlight, I decided to add more openings

- These were done by rotating the panels based on the direction of the sun where it created the most solar radiation

- This way, the parts that were warmest could be more shaded, and the parts that were coolest could be more open to the outside

- More slits were added of different sizes to also create more interesting shadows on the inside

- However, when running the environmental anaylsis again to check the results, the geometries were too complex to generate an analysis

- Though, I can be sure that they would have been positive, as the results of the first trial were used as a direct input to create the final facade

Interior Shot Looking Out at Facade Exo-Skeleton

The Blank Facade Canvas

Interior Shots of the Double Skin Facade

Exterior Shots of the Double Skin Facade

Fabrication

Before

- As my geometry is extremely complex, I decided to only export the outer layer of the panels without the skeleton on the inside or the support rods

- Despite that fact, it needed several additional supports to be 3D printed

- As a result of the mass being extremely intricate, the original time it stated it would take to 3D print was upwards of 38 hours

After

- In order to reduce the time it takes to 3D print, I decided to rotate the model on the face that would have the most contact with the ground

- This would lessen the amount of supports needed to lift the model

- As a result, the time needed to print was reduced by half but was still around 19 hours due to the model’s intricacy

- In the future, I would go back to the Rhino modele and get rid of the slits, etc. to have it be more simple and take less time to print

Reflection

Overall, the course has been a very eye-opening experience. As someone who enjoys the digital aspect of most things, I was quite mesmerized with what modern technology is capable of when it comes to designing from scratch. While I was familiar with Rhino and a number of other design tools, I wasn’t fully aware of their full potential. For example, I had never used Grasshopper or was aware that it could help in even the smallest of tasks. After getting introduced to it, I found myself using it for my own amusement or to explore ideas for other courses including Vertical A. As we were tasked with looking into more complex structures, programs like Grasshopper using plug-ins like LunchBox enabled me to visualize what was in my head. I was easily able to create things like space trusses that I would not have imagined possible before.

In addition to this, experiences like that of the VR lab were genuinely beneficial to my learning and overall understanding of the course. While it did make me nauseous, it was a fun and immersive way of grasping concepts. In the future, I definitely see myself taking advantage of what I’ve learned in this course and using it in real time. My lifelong dream is to eventually partake in designing a football stadium, as it would be a gel of my two favorite fields: sports and architecture. I feel as though this course has definitely aided me on my journey. Though they may be small steps, they are essential ones that I will be surely grateful for down the line.

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