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 Laila H. Kouta 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: Laila Kouta Student ID: 900160645
Š The American University in Cairo (AUC), May 2019
Laila H. Kouta Architecture Student
to really explore new realms and test new waters in terms of both material and program exploration but also design thinking process.
Architecture was not an easy path for me. I struggled in my first couple of euyears to really understand how different architecture is from everything else around us. So I decided to really put all my focus my attention on it and see the world of opportunities it could provide. Now, a few years later, I’m still struggling but I feel like I understand more on how things work together and how architecture isn’t just pretty buildings around us , but so much more. Initially, entering this course, I felt overwhelmed once again. I was worried of exploring new ways of thinking about design and experimenting with different programs. However, I’m more comfotable now with the programs and thinking process than ever before. I feel like this course is one of a kind in our Architecture Program as it really explores a unique way of approaching design. It gave me the chance
Table of Contents
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Shelter for the Homeless The Black Facade Canvas The Parametric Facelift
skeleton structure
“the backbone�
The skeleton structure of the chameleon alongside its glowing capabilities served as an inspiration for this design project.
01 SHELTER FOR THE HOMELESS
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CHANGING THE STIGMA Homelessness in Egypt is an alarming issue that affects more than 12 million people nationwide. It is an important and critical social issue that impacts all users of the society. There have previously been several attemps that try to address this through governmental hosuing and mobile projects, but few have proved sustainable on the long term.
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This project aims at addressing this particular point by proposing design alternatives that are accustomed to the needs of the people. This will be accomplished through three main zones of the designed shelter: Residenntial Cluster, Commercial Cluster, and Social Gathering Space.
Shelter for the Homeless
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LOCATION: AL-MINYA Located in Upper Egypt, 245 km away from Cairo. Historical Relevance: Hosts many pharaonic tombs. The rate of poverty is more than 60% in this governorate, where the total population is nearly 6 million. Leading Industries: +food processing (especially sugar and the drying and grinding of onions), +spinning and weaving of cotton, +cement-making, quarrying ( limestone), and brick-making. Temperature: +Comfort Zone: 20 - 24 degrees +Hot Season: May through September +Below comfort: rest of the year except April Prevailing wind direction: North- North West Average annual humidity is 40% with January being the most humid month and May the least humid.
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THE CHAMELEON [noun : a small slow-moving Old World lizard with a prehensile tail, long extensible tongue, protruding eyes that rotate independently, and a highly developed ability to change colour]
The chameleon is the main source of inspiration for this project with a special focus on the chameleon’s ability to glow under UV light. This concept was abstracted into different iteritations for a shelter model for the homeless. Abstracting the wavelength lines to create more dynamic spaces for shelter underneath (interior spaces), also expanding and contracting to mimic the skeleton of the chameleon. Drawing inspiration from the skeleton of the chameleon. Using the backbone as the main structural element for the designed shelter. Adding the ribs as additional structural framework. The skeleton is rigid and strong yet flexible in allowing for quick movements. Seperating the activities between two sides of the vertebrae. Dynamic activities having les structural supports and more dynamic curves. The more private activities suported by mesh pannels that allow for light in.
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Using the crystals in the skin structure as lamp bulbs that provide the glowing / light effect in the shelter. Also using them as joints connecting the ribs together.
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The chameleon has a thin layer of epidermis that acts as an optical filter and shifts the fluorescence towards a ‘bluer’ emission spectrum; allowing for it to glow blue under the UV light.
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ABSTRACTION PROCESS Using the wavelength as a guide for the curves in the design. The curves are composed of Crests and Troughs that can be manipulated and repeated to suite the needs of the composition.
First attempt of the abstraction process found the curves being repeated in the horizontal direction, contracted at areas annd expanding in other areas to allow for dynamic form.
After realising that the previous iteriation was too literal, I tried abstracting the curve too allow for more dynamic and versatile form with low points for more private activities and high zones for more dynamic activities.
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EXPERIMENTS Starting with a dynamic curve mimicking the wavelength form then adding the secondary ribs as structural supports for the form and enclosing it in a box to representing its rigidty.
Crtique: The form feels very enclosed within the rectangular box and feels like it is unconnected to the ground surface. The backbone acts like a seperator rather than its true function of being a connector.
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FORM GENERATION
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front view
top view
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Started off with a line that mimicks both the frequency line and the backbone of the chameleon. Then the line was repeated furthur and ribs were added with circular joints pining them to the ground.
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Meshes were created between the lines that created enclosures and provided privacy for the residential units. More curves were added to add to the dynamic form and mimick the behavior of the chameleon.
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ARCHITECTURAL DRAWINGS zoning
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residential
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2 social
commerical
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Plan Scale 1:75
Plan showing the residential unit at the top followed by the dynamic zones for social gathering in the middle and the commerical area where people can sell their products like crops, fruits, and such in the bottom area.
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Section Scale 1:75
This longitudinal Section demonstrating how the building tries to rise from the ground with its dynamic curve to connect it to nature.
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Elevation Scale 1:75
Elevations of the design project showing the different meshes connecting the zones together and the spines that are the main structural elements of the building.
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STRUCTURAL ANALYSIS THROUGH FABRICATION
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deforming steel rods
formwork
Creating the main spine through the deformation of a steel rod that is cut and then modled into its curve. It is supported on forwork that allows it to take its shape and is then removed with the rod is fixed to the ground with screws.
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2
printing the residential unit
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3D printing the residential unit and placing it on site. This unit is curved in form and composed of two walls with glass openings for the users inside.
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3
adding ‘ribs’ and ‘joints’
dimensions
Adding more supports through steel rods that mimick the ribs of the chameleon, these rods are simply cut to the correct size and then welded to the original rods. They are anchored to the ground through ‘joints’ which are spherical pins that are drilled into the earth to prevent the ribs from moving.
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Dimensions of the steel rods vary from 0.75 meters to 7.5 meters. This allows for them to be cut easily and precisely on site and welded straight away.
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laser-cutting the mesh fabrics Laser cutting the mesh fabrics that enclose the spaces between the curved pipes. The fabrics protect users from sun glare and provide some privacy from the outside world. Fabric can be stitched / glued onto the rods. Technique: Smash command for each fabric on Rhino - Import to AutoCAD and prepare for lasercutting.
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
autocad prints
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
PRODUCED BY AN AUTODESK STUDENT VERSION
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Stitching the skin to the ribs. The skin acts like a tensile fabric that shelters the residential unit from the outside world.
Ribs connected to the ground through spherical joints, holding up the structural fabrics through tension. The openings above create dynamic shadows throuhout the day.
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Shelter for the Homeless
21 Commercial area on the periphery so that it can attract customers to come and buy from the users.
Dynamic form allows for social gathering space within where people can enjoy time in the shade.
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material exploration
Exploring light shadows with epoxy resin and acrylic sheets.
02 THE BLANK FACADE CANVAS
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EPOXY RESIN [Epoxy refers to any of the basic components or cured end products of epoxy resins, as well as a colloquial name for the epoxide functional group.]
Reactions of Epoxides and Curing Mechanisms Epoxy resins are reactive intermediates that, before they can be useful products, must be “cured� or cross-linked by polymerization into a three-dimensional infusible network with co-reactants (curing agents). Cross-linking of the resin can occur through the epoxide or hydroxyl groups, and proceeds basically by only two types of curing mechanisms: direct coupling of the resin molecules by a catalytic homopolymerization, or coupling through a reactive intermediate. It is the combination of resin and curing agent which produces the cured thermoset epoxy resin. The process of curing an epoxy resin converts the initially low molecular weight resin into its thermoset form, which is a space network or three-dimensional chemical structure.
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Epoxy resin is the major type of structural adhesive and engineering adhesive used in the applications of human life, and has highperformance bonding strength. In addition, epoxy resin is developed to apply for any application. It can be used for metal, glass, and plastics. It can be fabricated as adamantine or flexible, high optical transparent or opaque, and fast or slow setting. Among common adhesives, epoxy resin is unmatched in heat and chemical resistance.
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They are used for laminates, adhesives, flooring, linings, propellers, and surface coatings. One of the most common uses of epoxy resin is for adhesive purposes. That’s because the strongproperties of the epoxy allow for structural and engineering adhesives. Commonly, epoxy resin is used in the construction of vehicles, snowboards, aircrafts and bicycles.
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EXPERIMENTATION Materials: Low Viscosity, Slow Cure, Self-Levelling, Highly transparent Epoxy; Hardner; Color Pigmentation. Working Time: 60-90 mins. Curing time: about 28-32 hours at 25 degree centigrade. Fully Hardened: 8 days.
Using traditional silicone molds from baking as the main formworks for the epoxy. These molds are flexible and come in several standard shapes like rectangles and triangles but are hard to be reshaped into something else.
Using plastic lego as molds for the epoxy. The plastic is a lot firmer than the silicone and doesn’t offer any flexibility in slight deformation of the shapes. However, for initial experimentation the shape was more interesting.
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measuring ratio
100:35 by weight
Measuring the epoxy to 100 grams before mixing with the hardner.
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Measuring the hardner to 35 grams before pouring it with the epoxy .
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‘the bad’
Using the basic mold had good results; the mold was not filled to the end so it didn’t overfill. After 24 hours the initial form was firm and seemed pretty solid.
Using a plastic mold made it almost impossible to remove the resin from inside.
‘the ugly’
‘the good’
INITIAL RESULTS
Tried adding an artistic color drop before the mold set but then discovered the entire color segment fell to the bottom and didn’t dry.
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material exploration for innovative facades
Exploring adaptive facades that can change depending on enviornmental factors and not merely decorative.
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the ‘structural’ formwork
the mold
EXPERIMENTATION
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Using a baking mold for the experiment. The mold is made up from mini triangular prisms.
Using the picture frame as the boundaries of the proposed prototype for the shading device for the facade. The frame acts as the structural formwork part of the building that is then attatched on to the mold. For the purpose of the project we removed the glass and cork to leave only the outer frame.
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prism architecture
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Outlining the frame to pour resin within so that the mold can then fit within.
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Realising that since there were no side borders the resin overspilled to the sides.
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rotational prism facade
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Using the frame as structural formwork and the chopstick as the rotational rod that enables the prisms to move throughout the day according to the degree of sun exposure.
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creating an enclosed object
EPOXY & OTHER OBJECTS objectives To understand how epoxy can be used to intrap other objects within it. Will it bind to the object completely? Will the object be visible?
parameters Using different colored plastic beads as objects that can be enclosed within a mold. The beads are different sizes.
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Pouring the transparent epoxy in the mold and adding the beads inside to see how they form. All the beads sank to the bottom.
Using a ready made silicone mold and external beads and transparent epoxy.
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outputs
reflections The objective of this experiment was to see how the epoxy would create a mould that can enclose other objects within. I wanted to see how the transparent epoxy can bond to itself and also to other objects within. Here some bubbles formed on the top surfaces that remained even after the mold dried. All the beads are apparent and can be seen clearly.
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creating a base layer
EPOXY & OTHER MATERIALS objectives
Trying to create a wooden ‘base’ for the epoxy by cutting a piece that fits within the mold and then placing it inside.
Pouring transparent epoxy in the mold and seeing how it will react to the wood. The wood strating rising to the top.
To understand how epoxy will bind to other materials. Will it imprint their textures?
parameters Using a ready made silicone mold, easy and quick but hard to create variety with. Using external wood as a base formwork. Pouring color pigments after pouring the epoxy resin into the mold as opposed to mixing it before pouring it in. Portfolio
Using a lighter to remove the excess bubbles that came from constantly pushing the wood piece to the bottom of the mold. The Blank Facade Canvas
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outputs
reflections The objective of this experiment was to see how the epoxy would bind to wood and how it would encompass it. I didn’t expect the wood piece to float inside the resin but I was able to push it down and form a base. The epoxy still shows the texture of the wood from beneath but it spilled around the edges since there was nothing preventing the epoxy from the sides.
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creating a wireframe mesh
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EPOXY & OTHER TEXTURES objectives
Trying to create a mesh resin through the use of a metal mesh and placing it in the mold and then pouring the resin.
Pouring transparent epoxy in the mold and seeing how it will react to the wood. The wood strating rising to the top.
To understand how epoxy will bind with a thin layer of metal mesh. Will the mesh allow for light to pass through?
parameters Using a ready made silicone mold and external wireframe to create shape.
Pouring the epoxy resin into the mold first.
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After creating a thin layer of epoxy, placing the mesh into the resin.
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outputs
reflections The objective of this experiment was to see how the epoxy would create a mesh that could be imprinted on it. The wire mesh was trapped in the middle of the epoxy mold with the texture not imprinting on the outer surface. To have it on the exterior maybe I could of have waitied for it to dry a but then placed it on the mold when it had dried initially for a few hours.
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creating light projections
EPOXY & LIGHT objectives
Melting this sheet with a lighter to create creases.
To explore how light can be manipulated with the use of transparent white epoxy. Will the creases of the acrylic sheet be projected?
parameters Using a ready made silicone mold and acrylic sheet.
Using a transparent acrylic blue sheet.
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Final mold result with the acrylic sheet inside and outside the epoxy at different points. The Blank Facade Canvas
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outputs
reflections The objective of this experiment was to understand how to create different light patterns using only the epoxy and the acrylic sheet. The outcomes were very successful in projecting the creases of the acrylic sheet that was binded inside the resin oon the external surface. This shows the potential of the epoxy to create interesting and dynamic light penetrations within a building.
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DESIGN GUIDELINES Parameters 1. Formwork Material All primary formwork structures had to be made out of silicone. Silicone allows the epoxy to be detatched from the mold easily. Early experimentations with different materials for the mold resulted in the epoxy binding to the mold itself.
Silicone! Silicone! Silicone!
2. Mixing Ratio The mixing ratio for the epoxy resin has to be closely weighed for each component. The ratio has to be 100:35 of epoxy to hardener or else it takes longer to harden and the potentials of the material coming out gooey in texture increases.
100 : 35 by the gram!
3. Secondary Materials & Transparency To achieve light penetrations and shadow effects for the epoxy, transparent colors had to be used. The transparency alongside an interaction with different materials / textures allows those to be projected in the shadows.
It’s a light show!
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REFLECTION
‘Favorite Moments’ Looking back at the first part of this phase, I can defintely say that I really enjoyed this! Exploring materials and creatingg physical models out of them was really enjoyable and getting to understand how the material interacts and binds to itself and then to other materials was something very fun to do. I think sometimes we get to caught up in the capabilities and process of digital work we overlook how essential physical models are in helping us understand materials, scale, and ofcourse the fabricatiob process itself! Moving forward, I would like to have spent more time exploring lights effects with the resin abd seeing how different shadows could be made through the use of materials like bubble wrap and macarroni circles. I think this stage was essential in moving forward and understanding how fabrication can be made digitally, having explored the parameters of materials physically.
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bloom bank 2.0
Redesign for the facade of Bloom Bank in New Cairo.
03 THE PARAMETRIC FACELIFT
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SITE ANALYSIS The chosen building is the Bloom Bank in S90 street, New Cairo. The building is a commercial bank office building with a 5 storey high glazed curved facade. This facade causes problems due to its South/ South-West orientation. As a result, the building interior spaces would require lots of cooling strategies in the summer time to keep the temperatures low.
Main Problem? The glazed curtain wall facade in the South/ South-West orientation is unsuitable to the hot arid climate of Cairo.
Strategic Solution: Creating an appropriate envelope that provides adequate shading and sun protection.
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ENVIRONMENTAL ANALYSIS SUN SHADING: Summer - In December, sun is needed from 7a to 11am and then shade is required. In november, the sun is needed from 7am to 8am only. From June to October the shade is needed from sunrise to sunset. Winter - Shade is needed only in June; from December to March the sun is needed.
PREVAILING WIND: The prevailing wind comes from Noth-East and the secondary prevailing wind comes from North - North-West. The maximum wind speed comes from South-West.
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ANALYSING PRECEDENTS Exploring different facades and their modules to better understand the most appropriate element.
UNIVERSITY OF SOUTHERN DENMARK Kolding Campus is fitted with dynamic solar shading, which adjusts to the specific climate conditions and user patterns and provides optimal daylight and a comfortable indoor climate spaces along the facade. When the shutters are closed, they lie flat along the facade, while they protrude from the facade when halfopen or entirely open and provide the building with a very expressive appearance. The solar shading system is fitted with sensors which continuously measure light and heat levels and regulate the shutters mechanically by means of a small motor.
design takeaways: Addition of colorful shutters to indicate more dynamic zones versus the plain grey panels. This will make the shutters attract users from furthur away and will act as a communication medium with them. If the colorful shutters are open then the building is welcoming users inside to interact with each other, if the colorful shutters are closed then the building is not welcoming anyone at the moment.
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RESPONSIVENESS TO WIND & SPATIAL CONFIGURATION
Elevation demonstrates playfulness and attracts users inside.
The perforation of the huge shutters is a light, organic pattern of round holes, which provides a distinctive play in the facade on the outside as well as a dynamic play of light on the inside. The holes in the facade are designed and adapted to an opening angle of approx. 30 %. Engineers and architects have conducted analyses and calculations to establish this as the optimal opening angle in relation to the amount of light and energy let in and out of the building - while at the same time providing users with optimal views to the outside urban space.
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SINGLE MODULE DESIGN What will the single module look like? What will it feel like? A geometric shape that folds, opens or closes; has perforations that allow for sunlight to create shadows internally; interplay of color.
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DERIVED PARAMETERS FROM PREVIOUS EXPERIMENTATION
Refraction & Reflection of Light.
Number of creases = complexity of shadows The creases are the major controlling factor on how the shadow is interpolated. When there are more creases the light appears mor dynamic and complex with wavy forms. When there are less creases the light projecting on the surface appears mre solid and coherent in texture and form; more static.
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SKIN GENERATION
open
closed
Origami skin exploration leading to triangulation formation.
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Paper modelling was very beneficial in conceptualising how the facade skin would operate. The need for a responsive facade meant that it had to be able to open and close and come together as one single unit. Abstracting a single triangular shape to creases. The creases act as the folds that allow the shape to contract and expand. The shape protrudes outwards when contracted and falls uniform with the vertical plane when fully expanded.
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responsive mechanism
MITIGATING THE PERCENTAGE OF SHADING BY ORIGAMI OPEN/ CLOSE
OPEN contracted
SEMI OPEN
CLOSED expanded
The mechanism is designed to be responsive to solar light. Concieved from an origami experimentation, the facade the ability to open and close easily in respone to the amount of solar radiation and the occupancy needs of the users inside the area.
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Attempt No. 1
TRIANGLE GEOMETRY
One module -> Three flaps connect at the center point. Here the single unit module is composed of three flaps. The flaps open and close depending on the solar radiation. They open when there is little exposure to direct radiation; the flaps close when there is intense radiation on the surface.
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GEOMETRY: ROTATIONAL BEHAVIOUR MECHANISM
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open
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semi-open
Construction psedu logic STEP 1: Make a Triangle. STEP 2: Explode Triangle. STEP 3: Join Midpoint of Triangle at one center point. STEP 4: Join all points to make new geometry. STEP 5: Connect each set of lines to make a surface. STEP 6: Create Sun Path to allow for inwards / outwards rotation of the module.
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closed
This panel choice of triangle mechanism composed of three flaps proved to be too difficult in terms of layering. Having penetrations on each of the panels ended up being too complex and unfeasable on grasshopper with the skills I had manifested. As a result, I looked for a simpler kinetic geometry that would achieve the same goal.
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Attempt No. 2
SQUARE GEOMETRY 1. Horizontal Folding Here the single unit module folds upwards when exposed to direct sunlight and then expands back downwards. Movement occurs in the y-direction. 2. Vertical Folding Here the single unit module folds to the left or right when exposed to direct sunlight and then expands back to the opposite direction. Movement occurs in the x-direction.
3. Diagonal Folding Here the single unit module folds in the diagonal direction. The module creases to form a triangular module that folds in the z-direction. The module acts like a flap that opens and closes.
Kiefer Technic Showroom / Ernst Giselbrecht + Partner Example of horizontal folding facade. The facade itself is functioning as a shading device but given the users to control the angle of the panel, and amount of light transmitted into the interior space.
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GEOMETRY: ROTATIONAL BEHAVIOUR MECHANISM
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open
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semi-open
closed
GRASSHOPPER LOGIC
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FINAL ITERATION LAYER NO:1 PANEL WITH CIRCULAR PERFORATIONS
1. Diagonal Folding with Circular Penetrations Number of circular openings increases depending on the zone: more active areas have more light penetrations vs. less dynamic areas have less circular perforations. ON THE SINGLE MODULE LEVEL: Number of perforation changes. ON THE CLUSTER LEVEL: color of light penetration changes.
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LAYER NO:2 LIGHT BEHAVIOUR: RANDOM VS SPECIFIED
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Solid color in the dynamic areas of the building; white transparent fabric at the less dynamic areas.
Random iteration is too playful overall and hard to match with specific zones.
specified
random
GRASSHOPPER LOGIC
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VARIATIONS IN CIRCULAR PERFORATIONS HIGHER LEVELS: Number of circular openings increases showing the dynamic activities happening inside for the users. These zones are typically the meeting rooms and public work spaces for the employees and a lounge area.
INTERMEDIATE LEVELS: Number of circular openings decreases and their radius increases to display the more focused and concentration zones of the buildings. These zones are typically the employee offices and cubicles.
LOWER LEVELS: Number of circular openings increases and their radius gets smaller to demonstrate the population of the public interacting with the building. Here the zones are typically the bank teller offices and windows where people can come in & out easily; a public zone.
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BUILDING SECTION
BOARD ROOMS MEETING ROOMS OFFICE ZONE Proposed connection detail of the triangle pannels to the curtain wall through steel hinge rods that connect them to the building .
PUBLIC ZONE
MATERIALS: Aluminum panels; tinted glass curtain wall.
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INTERIOR SPATIAL EXPERIENCE
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M E E T I N G ROOM AND LOUNGE AREAS The orange color experienced on the inside indicates a mix between playfulness and work environment. The color is used in the highest levels of the building.
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INTERIOR SPATIAL EXPERIENCE
WORK SPACES
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EXTERIOR SHOTS
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FINAL ITTERATION
SQUARE DIAGONAL FOLD WITH CIRCLE PERFORATIONS
GRASSHOPPER LOGIC
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Attempt No. 1
TRIANGLE GEOMETRY
GRASSHOPPER LOGIC
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Biblography
• • • • •
http://arcdog.com/portfolio/sdu-university-of-southern-denmark-campus-kolding/ http://www.iaacblog.com/programs/kinetic-facade-animation/ https://www.google.com/search?q=triangle+kinetic+facade+connection+detail&sxsrf=ALeKk03TTU-uUXtqStQwYDhVvqJ1CC2a_w:1608393585058&source=lnms&tbm=isch&sa=X&ved=2ahUKEwiOiK-CtdrtAhWQShUIHbccBDIQ_AUoAXoECA8QAw&biw=1536&bih=722#imgrc=LiF6oZFkOQr97M http://cargocollective.com/pnguyen/Kinetic-Origami-FacadesSed quatem id magnam, utatur? Os que consequos quide perum rempel et et et, corias ad quia doluptatem. Me pos anduntiat am la netur? https://www.dezeen.com/2015/07/14/henning-larsen-syddansk-universitet-sdu-kolding-campus-building-denmark-green-standards-university/
ŠAll rights reserved, American University in Cairo (AUC) May 2019