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 Lina A. Khomais Fall 2020
The American University in Cairo (AUC) School of Sciences and Engineering - Department of Architecture ARCH 473/3522 - Digital Design Studio and Workshop (Fall 2020) 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: Lina A. Khomais Student ID: 900170762
Š The American University in Cairo (AUC), October 2020
Lina A. Khomais Architecture Student
I’m a 21 senior Architectural Engineering student aspiring to become a great architect someday. I am from Jeddah, Saudi Arabia but cuurently reside in Egypt because of university. I may not be smart, but I’m definitely a hardworking student always challenging and pushing myself beyond the limits.
TABLE OF CONTENTS
Project I: Mobile Shelter for the Homeless
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Project II Part I: Blank Canvas Facade 15 Part II: Parametric Facelift 31 Bibliography 50 Reflection
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“Perhaps the butterfly is proof that you can go through a great deal of darkness and still become something beautiful.�
01 H O M E L E S S S H E LT E R
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Project Location: Alexandria, Egypt
The second largest city in Egypt, known as “The Pearl of the Mediterranean�, has an atmosphere that is more Mediterranean than Middle Eastern. Its ambience and cultural heritage distance it from the rest of the country.
Temperature levels are within the comfort zone during most of the year, except from Jan-March where temperature levels are very high.
Portfolio
Primary prevailing wind direction is Northwest while secondary prevailing wind direction is East
Project 1
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ARCH 473/3522 - Fall 2020
Lina A. Khomais
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B U T T E RF L Y DESIGN DRIVER
Why Butterflies?
Butterflies have various species that could represent the diversity of user backgrounds. they are indicators of a healthy environment where they portray the essence of nature, freedom, beauty, and peace. Their growth is a representation of the user’s life. Butterflies are deep and powerful representations of life. Many cultures associate the butterfly with our soul. Around the world, people view the butterfly as representing endurance, change, hope, and life. There is no doubt the butterfly has significant meanings to us.
Portfolio
Project 1
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CONCEPT
FUNCTION
MOVEMENT OF THE WINGS A butterfly has 4 wings are attached to the second and third thoracic segments .Strong muscles in the thorax move the wings up and down in a figure-eight pattern during flight through contraction. ARCH 473/3522 - Fall 2020
Lina A. Khomais
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Abstraction Process
Broad leaves for the butterflies to roost under (sanctuary)
Expressing the building not as a static structure
Reduce the interference with the natural environment already existing on site. Portfolio
Project 1
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ARCH 473/3522 - Fall 2020
Lina A. Khomais
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Project Development
- The angles needed to be more emphasized. - Bulky structure dominating - No clear connections Portfolio
- Top of the structure not in harmony - Dynamic movement of the wings not clearly visible in the elevation of the structures - Model became too compacted
- Departure of flight is more visible - Residential cluster lacks enclosure - The pattern of the openings should be consistent - Model should be transformed Architecturally Project 1
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F I N A L MO DE L
ARCH 473/3522 - Fall 2020
Lina A. Khomais
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Architectural Translation Top View
Ground Floor
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Social Commercial
First Floor
Architectural Translation Portfolio
Project 1
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West Elevation Zone I: Residential
Section A-A
Zone II: Social
East Elevation
Section B-B
ARCH 473/3522 - Fall 2020
Zone III: Commercial
Lina A. Khomais
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Fabrication Using Cura
Layering Process
Although it’s a rectilinear model, it can be still fabricated using 3D printing. However, it’s not the most suitable option since the model would require too much support and thus extra material and expenses. Using Laser Cutting as an alternatve is a much better solution. However, It would take alot of time to explode the model into pieces. Assembling the pieces together may become a challenge as some are very small and can be lost during the process.
Portfolio
Project 1
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ARCH 473/3522 - Fall 2020
Lina A. Khomais
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Portfolio
Project 1
“Architecture starts when you carefully put two bricks together.”
02 THE BLANK CANVAS FACADE
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Research
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History & Overview
The concept of casting concrete in fabrics has resurfaced at various times and in different forms throughout the past century. Fabrics provide different types of flexible formwork for casting concrete, that is both controlled permeability and pneumatic. fabric casting could allow architects to create interesting structures with up to 40 percent less concrete, and may also mean that buildings could be made with less labour. The technique was pioneered by the likes of the University of Manitoba’s Centre for Architectural Structures and Technology (CAST) and 20th century Swiss engineer Heinz Isler, who used it as part of his work developing super-thin concrete building shells.
Portfolio
Project 2
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Fabric formwork replaces conventional rigid forming materials such as plywood or steel panels with a thin, flexible sheet of fabric When concrete is contained by a thin fabric membrane, the flexibility of the container naturally produces a set of beautiful and structurally useful tensiong geometries.
ARCH 473/3522 - Fall 2020
Lina A. Khomais
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Fabric Casting Precedents Materials Used
Juan Zurita Residence (Studio Miguel Fisac) The use of rope and plastic sheeting to create these precast panels imparts a sense of “warmth and softness” to an otherwise cold and hard substance.
Susae Nakashima “Stone Renaissance” (Kenzo Uno) The use of cast-in-place (CIP) fabric-formed wall systems substance. Using standard wall ties and the wall’s reinforcement for support of the fabric membrane his quilt-point restraint method, for example, creates a pattern reminiscent of a quilt “frame” restraint method was employed using pipes at a slight angle to restrain the fabric and give these walls their own distinct character.
Portfolio
Project 2
Individual Experimentation
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Materials Used
ARCH 473/3522 - Fall 2020
Lina A. Khomais
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Experiment #1 Process
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Creating the formwork using wooden sticks assembles in triangular sections to maintain stability of the
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Covering the formwork by creating tension through the used fabric to outline the intended shape.
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Using Layers of Gypsum to strengthen the model and stabilize the structure.
Portfolio
Using gypsum over the fabric outlines the wooden formwork, illustrating a rib-like pattern on the surface.
As the gypsum hardens, negative spaces are highlighted through contrast with the hard gypsum surface covering the top.
Project 2
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Experiment #2 Process
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Cutting a piece of fabric and sewing the places where I wanted the shape to be pulled from.
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Hanging the threads to the formwork created to elevate the fabric
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Dipping the fabric into gypsum while still attached to the formwork and letting it dry
ARCH 473/3522 - Fall 2020
A series of protrusions in different directions add dynamism to the model. A “flowing� movement is also illustrated.
Pulling different points of the fabric an positioning them at various heights create interesting negative spaces. The combination of both solid and void adds stability and lightness to the structure.
Lina A. Khomais
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Experiment #3 Process
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Determining the shape by placing the fabric on plastic cups and bowels
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Dipping the fabric in light gypsum to primarily maintain the shape. Weak structure.
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Pouring another thicker layer of gypsum
Portfolio
The structure is slightly unstable at the highest part of the model since there’s no support.
Curtain-like openings creating a combination of interesting negative spaces.
Project 2
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Experiment #4 Form (1)
Fabric Casting Improvement (Stage II)
Because of the failure to remove the fabriic from the gypsum in the previous experiments, I experimented with a different material similar to fabric, latex gloves. Another modeling approch was taken in that I resorted to create this smooth interlocking shape throughout pouring and dipping gypsum.
Experiment Approach: 1. Test tension & different forms 2. Experiment with facade texture & pattern
Process
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stretching the latex glove over the corners of the box to create tension. it’s placed in this position to facilitate the flow of gypsum mixture into the fingers
- Latex gloves were easily removed - Some pieces were broken in the process (to much water) - Bulkier than the required shape
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pouring the gypsum mixture into the glove. - Interesting negative spaces - Tension can be seen even after the model dried - smooth texture on the surface achieved ARCH 473/3522 - Fall 2020
Lina A. Khomais
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Experiment #5 Form (2) Process
Same process as previous: creating tension by pulling fingers to different directions and then pouring gypsum into the glove.
- Harder, more durable structure due to balancing the gypsum mixture (1:1 ratio water and powder) - Smoother shape - However, fragile pieces (fingers) due to shortage of gypsum mixture - closest form to the required - Broken pieces resembe the pieces in the image (top right) which can be combined by attaching them together to create a single structure
Portfolio
Project 2
Experiment #6
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Form (3) Process
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Cutting multiple frames out of cardborad to create thickness when combined durable enough to hold the glove
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Attaching the ends of the glove to each side through knitting to create tension
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Carefully filling the the glove with white cement+gypsum mixture
ARCH 473/3522 - Fall 2020
Improved durability of the model. Although it became bulky at the palm area, but the two thin fingers were still able to carry it showing balanced load distribution. Tension can be noted on the side fingers which can be connected to additional pieces to form a complete structure. Lina A. Khomais
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Experiment #7&8
Texture and Pattern (1)
Intended surface
1. Using Plastic Cups
I wanted to try and create this perfortated and porous texture. For this experiment, I tried 2 approaches: 1. using plastic bowls and cups 2. Knitting different areas of a latex glove
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Process
(1) knitting a glove on different areas (2) tying instead of knitting the glove
Process
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covering the base with a plastic wrap to prevent the gypsym from stucking when it dries, then laying out the cups by elevating one using straws.
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Pouring the concrete mixture and letting it dry for app. 15 minutes
The model didn’t dry after so long due to imbalance between gypsum and water portions. Taking it off while it’s wet broke a part of it (also showing that the distance to the opening was too small). Portfolio
2. Using Knitted Latex Gloves
(1)
(2)
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Pouring gypsum mixture into the gloves and letting them dry
Both Experiments, however, failed due to 2 reasons: 1. Imbalance in the mixture 2. For knitted case, the glove was torn causing the mixture to leak Project 2
Experiment #9
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Texture and Pattern (2) Process
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Getting a zip lock lolly bag that’s clear and making sure it’s not dry inside (switching material due to failure of latex gloves)
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Using glue gun to close the points where the mixture is undesired to create the intended surface
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Carefully and slowly pouring the cement+ gypsum mixture while patting it on the table gently to make sure the fluid covers all the bag
The plastic bag was easily removed without any breaking in the model. Moreover, the glued points created the intended creasing of the fabric which is reflected clearly even after the bag was removed. Smooth surface between points add beauty and elegance to the facade. The greater the spacing, the more durable the model.
THIS EXPERIMENT IS THE MOST SUCCESSFUL AMONG ALL!
ARCH 473/3522 - Fall 2020
Close up of the creasing shows how the dipped shape results in elevation of nearby edges adding tension and dynamism as well.
Lina A. Khomais
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Control Points
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Control points help create multiple forms out of a planar surface which can differ depending on the number and the spacing between the points. This technique was used in the first experiments. The smaller the spacing, the more unstable it becomes.
Portfolio
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Angle
Finding the form of fabric casting dpended mainly on tension. However, Angle was discovered to have a key role in mainting that tension without breaking of gypsum. The greater the angle, the more likely the mixture won’t fill it and the more it’ll be prone to break.
Project 2
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Thickness
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Thickness of the material plays a vital role in the durability of the model/ structure. The thicker, the bulkier, but the more stable it becomes. Decreasing the thickness results in unbalanced load distribution as some parts may become thick while others don’t depending on the flow and settling of gypsum.
ARCH 473/3522 - Fall 2020
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Spacing
Spacing between openings is important in that it determines the weak and strong areas of the model. The smaller the spacing between the openings and the edges, the more likely it’ll break, while the greater the spacing, the stronger and more durable it becomes. The spacing between openings is more desirable to be large, in order to avoid breaking due to tension.
Lina A. Khomais
“Architecture starts when you carefully put two bricks together.”
03 PART II: PARAMETRIC FACELIFT
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Site Analysis Blom Bank, New Cairo, Egypt
Solar Radiation:
The average is mostly above the comfort zone (30%) which means that Cairo has a hot climate with direct exposure to sun throughout most of the year.
Facade Analysis:
The facade has extreme solar energy exposure leading to exccessive heat inside the building.
Wind Rose: Blom Bank is an officebased building overlooking South Teseen st. The most eye catching feature in its design is the wide glazing facing South/ Southwest.
Portfolio
Primary wind direction: North/ Northwest Secondary wind direction: Northeast
Natural Ventilation:
As shown, the openings in the building’s form creates a wind passageway ventilating the Southern region. It’s properly ventilated on all floor levels.
Project 2: Part II
Existing Facade Issues
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Orientation
Facade facing the South maximizes exposure to solar radiation, trapping heat.
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Noise
Noise pollution due to proximity to S. Teseen st.
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Lighiting
Direct exposure to sunlight without shading devices creates intense glare in the interior.
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Ventilation
Lack of natural ventilation internally due to absence of openings in the facade.
ARCH 473/3522 - Fall 2020
Lina A. Khomais
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Facade Goals & Concept 01
Sun Shading
Protect the Building from extreme sun exposure using gradient openings that respond to the direction of the sun
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Ventilation
Create wind passege to ventilate the interior by using wind catchers
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Cooling
Cool down warm air using indirect/direct evaporating cooling by integrating plants or water pipes into the facade.
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Privacy and Comfort
Layering Approach
Addition of the required goals in the production of an effective facade by studying how to integrate all of them into a single double facade design mechanism.
Part I: Learned Parameters
Adjust opening sizes depending on privacy levels and proximity of noise sources.
Portfolio
Angle
Control pts
Spacing & Size
Project 2: Part II
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Control Points
Tension in Fabric Forming
Control points help create multiple forms out of a planar surface which can differ depending on the number and the spacing between the points. This technique was used in the first experiments. The smaller the spacing, the more unstable it becomes.
Finding the form of fabric casting dpended mainly on tension. Angle was discovered to have a key role in mainting that tension without breaking of gypsum. The greater the angle, the more likely the mixture won’t fill it and the more it’ll be prone to break.
Opening Size and Spacing
Spacing between openings is important in that it determines the weak and strong areas of the model. The smaller the spacing between the openings and the edges, the more likely it’ll break, while the greater the spacing, the stronger and more durable it becomes. Sizes is porpotional to spacing. The larger the opening, the tighter the spacing between them. Size contributes to the extend of transparency and exposure of the surface. ARCH 473/3522 - Fall 2020
Lina A. Khomais
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Gradient Openings
Adjust opening size according to the facade’s solar energy consumption The modules get smaller to the Southern part of the facade where there’s high exposure to sunlight. South (Closed) - North (opened)
Responsive Facade
Openings respond to the direction of the sun to allow the maximum penetration of natural lighting whenever possible while blocking harsh sun rays and preventing glare
Evaporative Cooling Pipes
Interation of water pipes running along the facade to cool down warm air as thermal exchange takes place between warm air particles and chilled water.
Portfolio
Inspiration: Muscatese Evaporative system a wooden lattice covers the windows while a porous, water-filled ceramic jar sits inside it. As the air passes through the lattice, the water inside evaporates, depositing cool air inside the house. Project 2: Part II
Precedents Al Bahar Towers | AEDAS
Responsive facade which takes cultural cues from the “mashrabiya”, a traditional Islamic lattice shading device. Using a parametric description for the geometry of the actuated facade panels, panels operate in response to sun exposure and change incidence angles during the different days of the year.
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Twin Towers | UNSTUDIO
External envelop expposed to the sunlight is closed by slit-like skin while the internal part is mostly exposed due to self-shading effect. It’s also overlayed with plants to engage in cooling and ventilating the building through indirect evaporative cooling as air passes through.
Nantong Urban Planning Museum | HENN
Its distinctive façade is composed of two layers: the inner which thermally seals the building envelope, and the outer, a reticulated metal structure with a gradient of varied panels. The façade’s diamond-shaped Diagrid is comprised of seven different panels that allow for varying degrees of opening from 9%-60%. The exhibition spaces are therefore, characterized by a predominantly closed façade with minimal openings, and the offices with maximum levels of natural daylight. ARCH 473/3522 - Fall 2020
Lina A. Khomais
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Architecture Modifications Isometric view
Each floor is offset app. 0.5 m outward creating a steppedlike facade which self shades and also adds dynamism.
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Stepped Facade
This form allows the upper floors to throw shade on the ones below creating a self-shaded facade. As a result, buildings are protected from direct solar radiation while allowing passive solar heating during winter. Portfolio
mezzanine level
Double height & mezzanine floor to provide visual connectivity and maximize natural lighting. Project 2: Part II
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smooth curvature of the facade contrasts with the modular part of the building, acting as a distinct feature of the building.
Skin modification
The facade is pulled upward on the south and downward on towards the north
The facade’s height increases towards the south to shade the roof garden from the harsh sun rays.
The skin opens up towards the primary wind direction and narrows as it goes south to create +ve and -ve pressure zones for catching wind and improving ventilation. ARCH 473/3522 - Fall 2020
it’s slightly elevated to provide privacy for the users.
Lina A. Khomais
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Design Form Interlacing Cells
Interlacing Form:
Cells are connected by each other. as one cell changes in size, it pulls the one behind creating tension in the connecting members similar to the shape of fabric casting from the first experiment. The angle and degree of tension depends on the cell’s movemen to the sun direction.
Portfolio
Project 2: Part II
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Design Analysis Responsive Facade
Size of openings change according to the direction of the sun. Gradient openings increase towards the northwest direction as it’s self shaded. On the South, openings begin to decrease in size as long as there’s excessive sunlgiht to prevent glare and heat build up. As the sun begins to set, cells widen to allow natural lighting.
Fixation
Cells close and open withing designated fixed panels placed like a puzzle and that are all bound together by a single frame.
Closed ARCH 473/3522 - Fall 2020
opened Lina A. Khomais
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Design Analysis Ventilation and Evaporative Cooling
Advanced Mechanism Because the convective heat transfer coefficient of water is much larger than that of air, the cooling effect of the pipes is assumed to be much better than that of ventilation, thus the solar radiation on the glazed facade and the DSF itself can be taken away directly by the cooling water instead of transferring it to the cavity o indoor space.
Embedded Cooling Pipes
A system of embedding cooling pipes into the nurbs of DSF panels to reduce the heat gain. Cooling water is circulated in the pipes to take away the radiant heat directly, and the cool water is provided by a natural cooling source. Portfolio
Project 2: Part II
43 NATURAL VENTILATION
Through Analysis, It’s found that the facade is properly ventilated as wind is clearly passing through the DSF from the +ve to the -ve pressure zones. In collabroration with embedded cooling water pipes, natural ventilation can aid in reducing built up heat on the glazed facade as well as the shading panels of the DSF exposed to harsh Southern solar radiation
Structural system (steel rods)
Steel rods (18 mm) used for fixation of the double skin facade by connecting it to the reinforcement of slabs and columns.
Slab-DSF connection
ARCH 473/3522 - Fall 2020
Lina A. Khomais
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Architectural Drawings
Section A-A
Top View
Section B-B
Southwest Elevation
Portfolio
Project 2: Part II
45 Process:
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Draw a box and use 3D populate to distribute points
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Use 3D veronoi tool to create cells by controlling the number and iteration of using populate.
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Create curved, smooth cells using by generating nurbs
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Scaling each cell according to an attractor point in to control the openings
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Morphing the surface onto the facade in addition to using costume preview for texture
Grasshopper Definition
ARCH 473/3522 - Fall 2020
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Interior Shots
Portfolio
Project 2: Part II
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ARCH 473/3522 - Fall 2020
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3D Shots
Portfolio
Project 2: Part II
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ARCH 473/3522 - Fall 2020
Lina A. Khomais
Biblography
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• Aranda, B. and Lasch, C. (2006). Tooling, Princeton Architectural Press, New York, USA. • Balmond, C. (2007). Informal, Prestel. • Dunn, N. (2012). Digital Fabrication in Architecture, Laurence King Publishing. • Frederick, M. (2007). 101 Things I learned in architecture school, MIT Press. • Freyer, C., Noel, S., Rucki, E. & Antonelli, P. (2011). Digital by Design: Crafting Technology for Products and Environments, Thames and Hudson. • Hensel, M., Menges, A. & Weinstock, M. (2010). Emergent Technologies and Design: Towards a Biological Paradigm for Architecture, Routledge. • Iwamoto, L. (2009). Digital Fabrications: Architectural and Material Techniques, Princeton Architectural Press. • Jabi, W. (2013). Parametric Design for Architecture, Laurence King Publishing. • Kolarevic, B. (2005). Architecture in the Digital Age: Design and Manufacturing, Taylor and Francis. • Segaran, T. & Hammerbacher, J. (2009). Beautiful Data: The Stories Behind Elegant Data Solutions, O’Reilly Media. • Spiller, N. (2009). Digital Architecture Now: A Global Survey of Emerging Talent, Thames and Hudson. • Tedeschi, A. (2014). AAD – Algorithms-Aided Design, Le Penseur Publisher. • Terzidis, K. (2006). Algorithmic Architecture, Routledge. • Vysivoti, S. (2012). Folding Architecture: Spatial, Structural and Organizational Diagrams, Bis Publishers
Course Reflection In a final reflection on this course, I think I went through multiple feelings throught this journey. In the very beggining it was very exciting and joyfult o work with rhino and try to create many forms and solutions for the design problems we had. I think It was fun because rhino is an easy software for translating thoughts into forms and architectural drawings. In addition it has great abilities that allow me as a designer to dream big and free.However, In the second phase of this project when we strated working with grasshopper things started to feel more heavy because grasshoper is a logic based software not a visual one. logics need time to be understood and we did not have plenty of that. Thats why grasshopper was harder to take in, but in the end of this semester I got over the challenges and the difficulty of learning new technologies and I learnt also that time is all we need to learn.
ŠAll rights reserved, American University in Cairo (AUC) May 2019