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 KS H O P Hana Khalil Fall 2021
The American University in Cairo (AUC) School of Sciences and Engineering - Department of Architecture ARCH 473/3522 - Digital Design Studio and Workshop (Fall 2021) 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: Hana Hassan Khalil Student ID: 900182423
© The American University in Cairo (AUC), December 2021
Hana Khalil Architecture Student
An architectural engineering student at the American University in Cairo, expected to graduate in the Spring 2023 semester with a Bachelor of Science degree in architectural engineering and a minor in interior design. She has conducted numerous research in her eld of study. Khalil’s research about the effect of a restaurant’s interior design on consumers’ behaviour, which she has completed during her research writing course (RHET 1020), has been exhibited in the AUC’s Excellence in Undergraduate Research, Entrepreneurship and Creative Achievement (EURECA) Conference of Spring 2021.
Gypsum material experimentation.
01 Materiality Experimentation
Research History & Background
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Plaster has been used to replicate art works, in particular sculptures in the round and reliefs. To this purpose a mold (negative) is taken from the object (positive). Mold types can be in different material such as wood, terracotta, plaster, or in our days, silicone rubber. This is the most complicated, and expensive step in the production of a plaster cast. The process of casting itself is less work-intensive. The mold is lled with plaster powder dissolved in water. Once the plaster has hardened and the mold been removed, there is a 1:1 replica of the original. This process can be repeated many times with nearly the same outcome. Plaster being cheap material and having a quick hardening property allowed for a budget-priced production of precise replicas for the success and popularity of the casts, but also for their demise. Plaster casts have been formative for many artistic movements such as Renaissance, Baroque or NeoClassicism. From the 15th century on casts were part of private collections of scholars, artists, aristocrats and royals in Europe. The replicas were considered masterworks of the ancient Greek and Roman world. Casts enabled artists to study human anatomy and to learn “the idea of beauty.“ Casts had an important role, as models, for the applied arts of the age of industrialization. Institutions such as the Victoria and Albert Museum in London were set up to educate of the entire British nation. The low-budget prize of the casts paved their way into the homes of
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the petite bourgeoisie. Museums in the 19th century welcomed the casts since they offered the possibility to ll gaps in the collections. Large public art museums in the U.S., the motivation of which was primarily educational, at rst relied totally on budget-friendly casts. Since the 1970s till now a re-evaluation of plaster cast collections was taking place all over the world. The effects of wars or of the polluted environment raised the awareness of cast’s documentary value. Cornell’s collection, for example, owns casts the originals of which suffered substantial damage through weathering or perished entirely in the bombings of World War II. In colonial contexts, cast collections are starting to get valued as part of local, if “white” heritage. Also from an aesthetic point of view, casts have become attractive again. The idea of artistic genius and originality appears as an invention of the 19th century. Contemporary artists and cultural theorists a like have embraced the idea of copies, simulacra or works without authorship. The cast collections’ didactic value still holds. As a sort of “textbook in 3D and 1:1” they remain unsurpassed.
Techniques
Advantages & Disadvantages
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Different techniques: Mixing gypsum, strengthening compound, and water. Coat the plaster pattern with an anti-adhesive compound to prevent it from sticking to the mold. Fill any gaps or corners in the mold with the plaster. Once the plaster material has been used to cast the part, it usually cracks or forms defects. Materials used: Mixture of strengthening compounds, gypsum, and water International Plaster Casting Companies: Casting Solutions Inc. 3-Dimensional Services Group Pilgrim Harp Midwest Rubber Company Domain of application: Its application is usually used in casting aluminum and copper-based alloys and to create models for projects.
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The advantages of plaster casting: It provides a very smooth surface nish (if intended). It has the ability to cast complex shapes with thin walls. It has the capacity to form large parts with less expense than other processes, such as investment casting. It has a higher degree of dimensional accuracy than that of sand casting. Considered effective and cost-efficient when the quality of the surface nish is an important requirement. The drawbacks of plaster casting: It is more expensive than most sand casting operations It may require frequent replacements of the plaster molding material.
Techniques Used Customized Clay Approach
Steps 1. 2. 3. 4.
Outcome
forming the desired shape with the clay leaving the clay to dry for at least two hours preparing the mix by adding gypsum to water with a ratio of 3:2 respectively. pouring the mix onto the dried clay 5- leaving it to dry
Plastic Mold Approach
Steps 1. 2. 3. 4.
Outcome
preparing the plastic mold preparing the mix pouring the mix into the mold leaving it to dry
Cartoon Paper Approach
Steps 1. 2. 3. 4.
Outcome
forming the desired shape with the cartoon paper pouring the mix into the paper Shaking the paper to make sure the mix is evenly distributed leaving it to dry
Suspended Bag Approach
Steps 1. 2. 3. 4. 5.
Outcome
hanging the bag from one end pouring the mix to the bag 3hanging the bag from the other point quickly modeling the mix to take the desired shape leaving it to dry
Final Project Suspended Fabric Approach
Steps 1. 2.
3. 4. 5. 6. 7.
tying the fabric from two points suspending the fabric from the same two points in a way that is not very tight to create the curved shape. preparing the mix by adding gypsum to water with a ratio of 2:1 respectively. pouring the mix to the suspended fabric quickly modeling the mix to take the shape of the fabric leaving it to dry
Outcome
Re ection & Conclusion Re ections
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Lessons Learned: Experimenting with a physical model allowed for the feel of the texture and the ability to actually shape the model by hand and feel connected to it. The use of different materials allowed for experiencing different surface texture. Speci c Techniques used: For the fabric form I used the suspension technique The fabric was easy to remove and it created a very interesting texture and shape I also used a suspended bag approach which gave the form a very smooth texture For the casting approach, I used the plastic molds to be able to remove them easily, I also used plastic wrap around the objects that were used to create the openings The different textures on the molds were re ected in a very successful way on the form
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Developments During Experimentation: During experimenting, I found that it is better for the mix to be heavier (with a ratio of 2:1 gypsum to water) during fabric forms approach. The mix is stirred quickly after adding the gypsum to the water for half a minute and then it is poured immediately to the suspended fabric. The mix was modeled immediately to the desired shape once it was poured in the fabric and before it started to dry ( preferred to be modelled within a minute). For the casting method, the better ratio was 3:2 gypsum to water ratio to allow for the mix to easily take the shape of the mold. Gypsum was added to the water and the mix was also stirred quickly and poured immediately in the mold Also while experimenting, I found that it is better to x the objects for creating the openings before pouring the gypsum mix, so that it won’t be closed
Conclusions
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Variables, rules, relationships developed: The suspension points were the ones that could be changed to create different shapes. Changing the number of points to suspend the fabric from and their places helped create the curves in the form. The relationship between the mix weight and the type of mold was discovered, with heavier mix better with fabric and lighter mix with cast. The proportions of the mix were a ratio of 2:1 gypsum to water for fabric forms. A ratio of 3:2 gypsum to water was used for casting.
SSE Pavilion inspired by nature speci cally Coral Reefs
02 SSE Pavilion
Inspiration Coral Reefs (Atoll) An atoll is a circular type of coral reef which is created as a ring of coral surrounding an undersea volcano that has risen above the water’s surface. After the volcano has receded into the ocean, the atoll remains forming a lagoon inside.
Atoll Formation
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Atolls develop with underwater volcanoes. First, the volcano erupts, piling up lava on the seaoor. As the volcano continues to erupt, the seamount’s elevation grows higher, eventually breaking the surface of the water. Next, corals begin to build a reef around the island. The type of corals that build reefs are called hermatypic corals, or hard corals. The coral reef, called a fringing reef, surrounds the island just below the ocean surface. After a long time, the volcanic island erodes and sinks to the sea oor. Its ring-shaped fringing reef turns into a barrier reef. Subsidence brings slight differences in ocean chemistry that change the reef radically. In the nal stage of an atoll’s formation, ocean waves break apart pieces of the limestone reef. Into sand. This material, including organic matter such as plant seeds, form a ring-shaped island. This is an atoll.
Hermatypic Corals
Hermatypic corals are corals which build reefs by depositing hard calcareous material for their skeletons, forming the stony framework of the reef.
Atoll Morphology
Model Progress & Views
Top View
3D View
Front View
Side View
Final Model Different Views
SSE Entrance
The curvilinear shape of the pavilion would create a contrast with the SSE entrance creating an interesting structure that would intrigue students passing by to stop and explore it as well as sit there and study or interact with other students. It would also create a sense of continuity with the circular structure installed in front of AUC’s gate 1.
Designing the facade of Blom Bank as an adaptive facade in response to external factors
03 The Parametric Facelift
Site Location : 90th Street, New Cairo, Egypt
Environmental Analysis Psychometric Chart
Wind Rose
Sun Shading
4 Inspirations & Precedents Lane 189, Shanghai On the lower facade a hexagonal grid consists of diamond shaped panels that are tied between pins forming a tensioned cladding system. Here the arrangement of the components can change across the facade from single layer to triple layer, up to a depth of 400mm. Constructed from different materials and lit by RGB LEDs these panels create different visual effects: transparent or opaque, colourful or monochrome, re ective or matt.
The facade is designed to support the overall design concept of a programmed facade and to create depth for the building envelope. The use of multi-layered components enables a variety of views towards the surroundings, whilst simultaneously providing functional transparency in speci cally located areas. Large double-height facade openings present the interior programme to the outside world. These ‘urban eyes’ simultaneously create large display platforms for products whilst providing balconies with views to the surroundings.
Portfolio
Chapter name
5 Al Bahar Towers, Aedas “At night they will all fold, so they will all close, so you’ll see more of the facade. As the sun rises in the morning in the east, the mashrabiya along the east of the building will all begin to close and as the sun moves round the building, then that whole vertical strip of mashrabiya will move with the sun,” said Peter Oborn, the deputy chairman of Aedas.
the 145 meter towers’ Masharabiya shading system was developed by the computational design team at Aedas. Using a parametric description for the geometry of the actuated facade panels, the team was able to simulate their operation in response to sun exposure and changing incidence angles during the different days of the year. The screen opperates as a curtain wall, sitting two meters outside the buildings’ exterior on an independent frame. Each triangle is coated with berglass and programmed to respond to the movement of the sun as a way to reduce solar gain and glare. In the evening, all the screens will close.
ARCH 473/3522 - Spring 2019
Student Name
6 Materials Thermo-bimetal The current prototype features oval, leaf-like pieces of a thermobimetal that combines nickel, manganese, copper and iron. The pieces are thin, almost like foil, and Sung says that when they move, they seem like uttering butter ies.
Thermo bimetals are comprised of two different metals laminated together, their movement is attributed to the different heating and expansion coefficients of the metals laminated together. When heated one metal expands faster than the other therefore causing it to curl as it is constricted by the slower expanding metal. By using different metals, the movement of the structure can be calibrated to dynamically respond to their environment.
System sits within double glazing of office blocks In the Invert system, they sit inside the cavity of a standard double-glazed window. This partially obscures the view, but only on a level similar to fritted glass. It is argued that in some ways, the views through Invert are more true than that in a typical office building with oor-toceiling windows, because those rely on protective coatings. Portfolio
Chapter name
7 Thermo-bimetal Shutters
Laminated metals with differential thermal coefficients deform unevenly when exposed to temperature set points, inducing tension and causing movement in the thermo bimetal. When the heat source is removed, the bi-metal returns to its original shape
ARCH 473/3522 - Spring 2019
Low-E heat protection glass
The worst-case scenario of a double skin façade is a hot summer afternoon with low sun-angle at the west oriented façade of the building when outside temperatures are high. This extreme situation can be solved by means of a high re ecting sunshade, a double coated, low emission heat protection glass in the primary façade, which reduces the radiated heat ux from the gap to the room signi cantly
Student Name
Adaptive Units
Creating units that are adaptive to the external environment and react according to the sun rays and according to the time of the day to allow for the optimal shading and lighting in the building.
Creating panels on two layers that rotate as well as open and close according to the time of the day to control the amount of light entering the building and also according to the orientation of the facade helps create a better interior environment.
Blow up smaller openings towards south
rotation for sun control and self shading larger openings towards west
Structure Honey-comb hexagonal frame structural system Honeycomb is one such structural design in uence. Inspired by the beehive and rst implemented in the aerospace industry, the interlocking hexagonal shapes of the honeycomb have become revered in the architectural world. Applied to building design and construction materials, honeycomb-inspired techniques are favored for their high speci c strength, low density, and reduced materials required for manufacturing.
Due to the perfect aligning of the hexagonal pattern, the space between panels will be optimally utilized. This results in a very strong and proportionally divided interior of the panel. Notorious for being lightweight and yet very strong, a core of aluminium honeycomb panel is able to span large panel dimensions with a easy subconstruction. The weight will be equally divided because of the hexagonal structure.
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Grasshopper De nition
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Model Progress
3D MODEL
VR Experience
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Plans
Ground Floor
Second Floor Portfolio
First Floor
Third Floor
Fourth Floor Chapter name
6 Sections
Section Lines on Plan
Section A-A
Different spaces on the different oors have differnt connections with the facade. For example, office spaces are extended to the edge of the facade to have a view and bene t from the adaptive units as they are the most spaces that time is spent in them in the bank. Other areas are forming pockets in the building or terraces where people on the different oors can see ad interact with each other. Section C-C Portfolio
Chapter name
ADAPTIVE UNITS
SECTION A-A
SECTION B-B
KEY
SECTION C-C
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3D SHOTS
Fabrication In snap maker, the In ll is chosen to be between 10% to 15% as to reduce printing time , mesh mixer is used for supports to transform the model to its solid form as well. There is no intersection, the model is a whole part in a union form.
Using overhang in mesh mixer to create our supports. The mesh thickness is taken to be 2 mm, as less than that fails the model and becomes weaker than support, and more makes the mesh over densed. The model in snap maker is chosen to be 2mm which makes the perfect balance. as at 3 mm, it was too dense on a scale of 1:100, so 2 mm was the balance.
Biblography
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An architectural engineering student at the American University in Cairo. Expected to graduate in the Spring 2023 semester with a Bachelor of Science degree in architectural engineering and a minor in interior design. She has conducted numerous research in her eld of study. Khalil’s research about the effect of a restaurant’s interior design on consumers’ behaviour, which she has completed during her research writing course (RHET 1020), has been exhibited in the AUC’s Excellence in Undergraduate Research, Entrepreneurship and Creative Achievement (EURECA) Conference of Spring 2021.
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