S T U D E N T 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 NADA ABOUELMAATI 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: Nada Abouelmaati Student ID: 900181740
© The American University in Cairo (AUC), December 2021
Nada Abouelmaati Architecture Student
aspect to it. Over the past years, after deciding to study architecture, I have Learnt how I could integrate all my hobbies and talents together to create the architecture one may aim for. The engineering aspect alone is never enough, this is where the architects role come along. Digging deeper into the human, environmental and context aspect in order to produce what is truely needed.
“It is not possible to design always the same. How to be different in each different place - that is the most important work and duty of the architect to find out.” - Jean Nouvel My name is Nada Abouelmaati, an Architectural Engineering student at The American University in Cairo. Throughout my life I have always grown passion towards several and different fields and hobbies, painting, reading, photography, designing and more. Never knowing what could possibly combine this all together to actually be able to do everything I am passionate about. This is when architecture starting making sense to young me, and how this duty carries more than just a visually appealing
A closeup shot of a gypsum model of a wavey model expressing texture, concavity and thickness control with the material.
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LEARNING FROM MATERIALITY
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3 An intial sketch of the intended flowy form model in progress through experimenting materials
The aim of this project and especially the first submission is to carry out several trials and experimentations using several materials that change from liquid to solid states in the process of building a form. In order to understand and test the materialities and learn from them the forms structures. This is done by looking into the materials mixing rarios, time of setting, forms weak and strength points and the different external affecting factors.
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VE R TI C AL FORM S EXPERIMEN TATIO N S
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EXPERIMENT 1 AIM OF THE EXPERIMENT: The intention was to create a column using kkitchen paper roll. bend and tears were made to add a level of dynamic in the column. MATERIAL: Gypsum, water, paper roll WATER TO POWDER RATIO: 1:2.5
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PROCESS:
THE RESULT:
A paper roll was used to create the shape of the column This is considered more of a successful trial as the intended by filling it with the mixture and creating the bent shapes. shape was acheived.
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EXPERIMENT 2 AIM OF THE EXPERIMENT: Aimed in improvIng the past column experience and adding cloth texture by using the smocking technique. MATERIAL: Gypsum, water, cloth, wooden sticks WATER TO POWDER RATIO: 1:2
PROCESS:
A paper roll was used to create the sha filling it with the mixture and creating t
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THE RESULT:
ape of the column by The experiment was successful overall, however the the bent shapes. choice of fabric type could be enhanced to allow the pattern formed to be more clear and emphasized.
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EXPERIMENT 3 AIM OF THE EXPERIMENT: In this attempted it was Aimed to improve the past column experiments by developing the smocking knots patterned texture and playing with the axis of the column. Supporting it with wooden sticks and metal wires. MATERIAL: Gypsum, water, cloth, wooden sticks and metal wires WATER TO POWDER RATIO: 1:2
PROCESS:
Creating the pattern: Creating an arro on a 40x20 piece of cloth.
After pouring the paste and adding metals wires, the cloth was wraped and Portfolio
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THE RESULT:
ow smocking pattern Successfully achieving a dynamic form with textures and structural support.
g wooden sticks and d shifted in axises. ARCH 473/3522 - Fall 2021
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FLOWY FO RMS E XPERIMEN TATION S
EXPERIMENT 1
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AIM OF THE EXPERIMENT: The intention was to create a flowy looking surface by using a plastic file and resting it from different points to create the bends. MATERIAL: Gypsum, water, bottle, boxes and plastic file WATER TO POWDER RATIO: 1:2
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PROCESS:
THE RESULT:
A plastic file was used to create the form and supported by The water content was too much for an enclosed form work, bottle to create the flowy shape. and so it did not dry enough and broke while removing it.
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EXPERIMENT 2 AIM OF THE EXPERIMENT: Aimed in reforming the past failed experiment of bent fabric form work and enhance the weak points of the structure.
MATERIAL: Gypsum, water, bubble wrap, cream boxes WATER TO POWDER RATIO: 1:2
PROCESS:
A bubble wrap was used to create the te while resting it on bottles and boxes to cr of the form.
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THE RESULT:
exture of the form By following emhamcements over the past trials, the reate the flowiness mixture was made thicker and added two layers of gypsum instead of one. Leaving it to open air to dry well. The trial was successful and achieved the desired bent
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EXPERIMENT 3 AIM OF THE EXPERIMENT: Aimed in creating a thin and flowy surface by maintaining solid and voids experimentations.
MATERIAL: Gypsum, water, cloth, paper WATER TO POWDER RATIO: 1:2
PROCESS:
Gypsum mix was spread on a piece of c rested on paper rolls to create the conc while still maintaining the flowiness of th
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THE RESULT:
cloth that was then The experiment was successful overall, as the ratio and cavities in the form thickness of the gypsum layer supported the structure of he form. the form and held it in place.
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EXPERIMENT 3 AIM OF THE EXPERIMENT: Aimed in creating a thin and flowy surface by maintaining solid and voids experimentations.
MATERIAL: Gypsum, water, cloth, paper WATER TO POWDER RATIO: 1:2
PROCESS:
A plastic bubble wrap is used to spread it and creating concavities by resting it water bottle. After drying for a bit the ho metal sharp cutter to create negative spa
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THE RESULT:
the gypsum mix on t on paper rolls and oles were cut using a aces.
Successfully acheiving a flowy/wavey form with textures and structural support. While reaching a uniform thickness and concavety. Was able to achieve this due to the understanding of the gypsum material and appropriate water:powder mixture that have been studied through the past experimentations. And with understanding the weak and strength points of the form in general.
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STAGE REFLECTION
This part of the course helped in knowing more about materiality through the experiments carried out. It widened the vision of how the same material could act in several ways depending on how it is treated and the external factors around it. I could have perhaps used this opportunity better by allowing a chance for more experimentations with different materials other than just gypsum. Which would have helped in also understanding how these different materials could act together on the larger scales.
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A closeup shot of the main sreen shot, showing the scattered pixilation of the created panels.
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LEARNING FROM NATURE OUTDOOR PAVILION: SSE GATEWAY
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23 A picture showing the pavilion in context of the SSE entrance.
The aim of this project is to explore the phenomena of growth in nature as a source of an inspiration to create a pavilion gateway to the SSE entrance, that allows for interaction among students from SSE and possibly other students on campus. The (in)visibility of the pavilion is one of its main challenges, where both an iconic element and a sensitive approach are coupled to accommodate the multitude if activities and dynamic flow of students within this significant location on campus, allowing for behavioral patterns of both quick unobstructed pass-by circulation and slow-paced dwelling within a hub of student expression and interaction. INSPIRATION FORM NATURE SEA CAVES : Sea caves are formed due to the force of waves on the different sea shore hills, hiting weak spots and creating craves that increment by time and due to the external forces. This leading to different accessible spaces btween rocks holding experiences of light, solid and voids and water. The form is inspired by the cave formation and experience happening within it, from dark to lit spaces and how this forms the overall experiantial story.
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STAGES OF ABSTRACTION
The balls positions and bulkiness of the form did not help in reflecting the function and analysis from which the concept is supported.
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The position of the balls, the openings and their sizes were further altered to better mirror the flow of the users and attraction points around the pavillion.
Overall form is more related to the shape of hills affecated by wave forces creating the caves. Acheiving the experience of the cave interior
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CONTROLLED PARAMATERS VOIDAL SPHERES Different spheres with the same centers as the metaballs were created to emphasise the spatial eperience of the students inside the pavilion and to create more negative spaces between the layers to act as seating areas
METABALL SIZING Sizes of the metaballs were altered based on the different points of attractions around the pavilion and how the density of the people varies between the spaces and entrances.
CENTER POINTS Points were first drawn in 2D. Based on the analysis of the students flow and movements directions, the position of the points in the x, y, and z axis have been altered to create the centre of the metaballs.
XYZ PLANES The size of the metaballs is altered based on the points of attractions and position of the ball in relation to the flow of the students and entrances.
PLANES SURFACES INTENSITY The intensity of the horizontal surfaces varies based on their level in the form and how they would act functionally. Making them more intense in the bottom to act like seatings and decreasing going up. ARCH 473/3522 - Fall 2021
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GRASSHOPPER DEFINITION Creating metaballs main structure
Setting voidal balls to create negative spaces
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Setting a final preview to the structure
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ENTRANCE EXPERIENCE
The pavilion is to create a light and motion experience within the entrance of the SSE building. Giving students a space to socialize while experiencing a dry cave story. Through the diferent openings penetrating light into the pavilion and the varying in sizes entrances and exits .
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STAGE REFLECTION
I believe the output of this project is relatively successful it being my first interaction with Grasshopper and yet getting to know the tools and how to translate my thoughts through the computational elements. Giving me a chance to explore the tools and how fastly and variously a single thought could be translated with just the small definition. The project have also made me have a deeper look into the different parameters that are taken into consideration when designing a space even if it as small as an entrance.
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A closeup shot of the main sreen shot, showing the scattered pixilation of the created panels.
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PARAMETRIC FACELIFT
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Parametric Facelift
41 A closeup shot of how the skin would look like on the building in context.
In this project, the objective is to explore and parametrically generate a prototype for a building façade skin that takes into consideration issues of environmental comfort, spatial relations and human aspects using a passive approach. You are required to develop a parametrically driven building skin for the building shown below (Blom Bank Egypt SAE - Main Branch, South Teseen Rd, New Cairo). The main façade of the building is in a South/Southwest orientation, and so you are required to devise an appropriate envelope that provides adequate shading and sun protection. Your building skin designs should originate from your explorations in either Project 1 or Project 2. You should capitalize on ideas captured in the material exploration or natural inspiration exercise and develop conceptual approaches based on the derived parameters, rules and relationships so that you can define extensive iterations for a variety of design alternatives. Your approach should devise a parametric logic for the design of the façade skin based on environmental, spatial, functional, and/or aesthetic considerations. You are to assume functional and behavioral scenarios and settings during your investigation.
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EXISTING STATE ANALYSIS ARCHITECTURE CONDITIONS ANALYSIS
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ENVIRONMETNAL CONDITIONS ANALYSIS
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FIRST DESIGN PROPOSAL CONCEPT FISH TAIL FACADE
The main element of the skin was inspired by the shape and moving mechnism of the fish tails.
The tail fin pivots on a single axis from the end of the tail to perform the moving mechanism, which was maintained in the skin conept but rather pivoting each single fin from the middle rather than the edge.
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RESPONSE APPOROACH An exterior that can change in response to its surrounding environment to maximise its performance. This can help control the interior environment within the building, and so minimise the energy consumption of building services systems. The responsiveness is to be on both the micro and macro scales:
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BASED ON R E S E A R C H APPLICATION OFFICES
COMMUNAL
INTERIOR CONFIGRATION RELATIONSHIP Intensity and rotation angle of the individual fins depeneds on the interior space. To contrl the view and amount of sunlight into the building.
OPEN SPACE OFFICES
STRUCTURAL MECHANISM A steel structural grid with the connected fins would be attached to the main facade.
MEETING ROOMS
OFFICES
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NEW PANEL DESIGN APPROACH BLOW UP Closeups showing the movement of the kinteic panels repeated along the facade based on internal configrations
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The units are set to respond kinetically to the sun path in relation to the orientation of the unit of the facade skin .
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GRASSHOPPER DEFINITION
CONTROLING THE PIXILAIONS INTENSITY ALONG THE FACADE
DIVIDING THE FACADE INTO A LARGE GRID TO BE FURTHER DIVIDED BASED ON THE PIXILATIONS
CREATING GRID OFFSET ON THE NORMAL PLANE
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FORMING DOUBLE FINNED PANELS BASED ON THE PIXIALTIONS AND SETTING THE KINETIC ONES
CREATING THE AXIS AND DIRECTION OF THE MOVING PANEL
CONTROLLING THE PANELS MOVEMENT BASED ON THE SUN ATTRACTOR
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COMPOSITION FORMATION PROCESS
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CONTROLLED PARAMATERS PANELS MOVEMENT Panels are divided to two independent fins. In which the left fin is responsive to the sun path. It rotates along a set axis to open and close controlling the light penetration into the building.
PANELS INTENSITY The intensity along the facade varies depening on the interior spaces. As the higher the place in privacy the higher the intensity of the skin panels.
PANELS MATERIAL Depending on the sie of the unit and whether it is accessible or not, the matrials differ. The larger and accessible ones are highly reflective glass and the smaller ones perforated metal.
PIXILATIONS SIZES The grid and so the units sizes differ depending on whether it is accessible or not. Making the larger ones connected to the slabs and act as a semi outdoor space.
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PROGRESS REFLECTION FABRICATION PROCESS The fabrication proccess allows a further look into how the form would be looking like. Starting a first trial on Cura Fabrication Program, the model was first out of scale ont eh slicing sheet and so had t be rescaled to fit the required printing desired scale. In this trial also, the slicing time came to around 2 days and half, this was due to the large number of supports required and the set thickness in the process.
In order to reduce the time into a more practical number of hours for printing, the model was rotated and the supports where set to smaller thickness, just enough to support what needs support but low enough to create a significant drop in the number of hours to 19 hours.
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VIRTUAL REALITY EXPEREINCE
OBSERVATIONS AND ACTIONS TAKEN PIXILIATION PATTERN
GRID X SLABS RELATIOSHIP
Pixilations of the skin could be developed to have a more emphasized pattern of scale heirarchy to refelect the interior configration of the building from the outside.
The edges of the slabs do not practically and perfectly meet with the structural grid of the skin, resulting in an odd shaped relationship that afects the interior experience of the space and view.
The relation between the interior and the skin was restudied to re shape the pixilations accordingly making it more clearer and reflecting.
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Scale of the units was altered to ensure closure of the units with slab edges.
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FACADE X SLABS EDGES RELATIONSHIP
INTERIOR FACADE SKIN
The fact that all edges end at almost similar points gives the feeling of enclosure in the interior experience and do not emphasize the double height spaces.
The constant solid texture of the panels interior creates a dull feeling and interior experience.
Terraces within the facade itself were created to break the statics effect of the slabs ending together.
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SUN ATTRACTOR PARAMETER
The Kinetic Panel The kinetic left fin of each panels pair on the larger units are set to rotate along the center axis of the unit to open and close based on the sun path. Controlling the amount of light let into the building based on the space function. They operate independently and each with a different angle relative to the orientation with the sun position along the day hours. During the morning the East left fins are closed while the West ones are open. And vice versa in the afternoon. At 12 pm, the southern ones are closed in addtition to those with an angle to the south.
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SOLAR RADIATAION ANALYSIS An analysis was carried out to evaluate the amout of solar radiation being reduced by adding a skin on the facade, and how this contributes to increasing the interior comfort of the builidng
BEFORE ADDING A SKIN
WITH AN ADDING SKIN
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COMPARISON CHART
By adding the skin intervention, the sunlight radiation penetration into the building by reduced by almost 90%. Creating a more comfortable interior spaces and suiting the functions.
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PLANS
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SECTIONAL VIEWS
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ELEVATIONS
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Stage Reflection In this project I was more capable and experienced with Grasshopper, this making the process go smoother compared to project 2. Looking at a larger scale and more aspects to be considered, the skin came to be functionally successful and fulfilling the needs of creating interior comfort. However, on the technical and computational part, i believe the skin may have required a layer of complexity to it in the kinetic features. Since the proposed motion was somehow basic and not complex enough. Yet, the process itself have helped me grow my mastery in the program and getting to know more about the tools, plugins and the various analysis and evaluations that could be carried just through a click of a button.
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COURSE REFLECTION •
Through this course I was able to come accross and experience several things, starting of by the materiality experimenting and getting to know and understand how differently a material could act. And the grasshopper projects were a whole new experience as i was getting to know a program that i have never been accross before, and was amazed by the number of things and translations that could be easily output through the program. Although i am not very good and the program, yet i was able to explore and go through various of definitions, tools and plugins. Which have all helped me in going through a whole different type of architecture that i have always been fascinated by but never got the chance to actually try.
BIBLIOGRAPHY • • • • • • •
“Caves and How They Form.” Science, National Geographic, 4 May 2021, https://www.nationalgeographic. com/science/article/caves. “Figure 2f from: Irimia R, Gottschling M (2016) Taxonomic Revision of Rochefortia Sw. (Ehretiaceae, Boraginales). Biodiversity Data Journal 4: e7720. Https://Doi.org/10.3897/BDJ.4.e7720.” https://doi. org/10.3897/bdj.4.e7720.figure2f. “Fun Facts for Kids on Animals, Earth, History and More!” DK Find Out!, https://www.dkfindout.com/us/ earth/caves/. Gibson, Brittany. “20 Of the Most Beautiful Sea Caves in the World.” Reader’s Digest, Reader’s Digest, 3 Aug. 2021, https://www.rd.com/list/sea-caves/. “Sea Cave.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., https://www.britannica.com/ science/sea-cave. Sabhadiya, Jignesh. “What Is Casting?- Definition, Process, And Types.” Engineering Choice, 27 Oct. 2021, https://www.engineeringchoice.com/casting/. The Virtual Cave: Seacaves, https://caves.org/virtual/virtcave/seacaves/seacaves.html.
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