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 Mayar Omran 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: Mayar Omran Student ID: 900172095
Š The American University in Cairo (AUC), May 2019
Mayar Omran Architecture Student
Hi, I’m Mayar Omran, student in Architecture. This semester I will be exploring and experimenting new digital techniques. Hope I would get benefit out of it and use it in my parallel courses and upcoming semesters. Bye.
Table Of Contents:
01 Alexandria Homeless Shelter
02 A- The Blank Facade Canvas
02 B- The Parametric Facelift
This project is inspired by the butterfly and the process of its growth, especially, its eclosion out of its chrysalis.
01 Alexandria Homeless Shelter
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Location Alexandria, Egypt.
We chose the shelter to be located in Alexandria as it is a coastal city, so we can find a lot of the Monarch butterflies there.
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Project 1
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Project 1
5 The eclosion is the emergence of the butterfly from its chrysalis after it is fully grown and wings are mature to fly.
I have chosen the butterfly for this project as it gives the sense of freedom and glow up especially after its emergence from the chryslais. Which is how the shelter could be like a sanctuary for the homeless people in Alexandria and through there spatial experience they get to know themselves more and there capabilities through providing them with what they need which is a shelter with flexible partitions in which they will decide the space they need and share it with others. They get to know people in the social gathering areas. Also they will have a chance to get
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Journey of Form Experimentation Throughout the process, I tried to acheive a form that starts from a point and evolve at the end representing the emergence of the butterfly from its chrysalis. I also tried to maintain the contrast between opaqueness and transperency at the end.
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Project 1
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People dwell in the street and find it their home, so I do not want to take them off the street. That’s why I did the zoning where the residential zone is right overlooking the street at the same level. While the social gathering space is overlooking the sea at the emergence part to be more open to the nature and have a pure mind and soul. The commercial part is in the middle as the source of food and living like the abdomen of the butterfly pumping to the wings.
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Project 1
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Final Developed Model
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Project 1
Process of Modeling 1. Curve starting from a point and having different directions.
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2. Points in the middle then patch. 3. Use contour for the sheds. 4. Then putting materials on it.
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Project 1
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Urban Steppings Overlooking the Sea
Commercial Area with Booths to Empower the residents
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Ground Floor Plan Scale 1:100 Portfolio
Project 1
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Section A-A Scale 1:100 ARCH 473/3522 - Fall 2020
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Northern Elevation Scale 1:100 Portfolio
Project 1
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Eastern Elevation Scale 1:100 ARCH 473/3522 - Fall 2020
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Fabrication of the model 1. 3D printing using Cura Program For the core shell like structure
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Project 1
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2. Laser Cutting using Rollsrf on Rhino For the striped shed
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In this phase of project 2, we were required to experiment physically the fabric forming at home using gypsum. through this phase, I got to know more about the material and its properties and limitations through the trial and error method.
02 A- The Blank Facade Canvas
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Fabric Forming Research ... What
is
it?
Fabric formwork is constructed using porous textile sheets made of synthetic fibres that are fabricated into containers to contain concrete during its placement and curing.
How
It
Works?
The form takes the designed shape under the pressure of the wet concrete. The formwork, used to support the wet concrete, define its shape and determine the quality of finish.
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Project 2-Part A Materials Exploration
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Why
Fabric
Forming?
There are two reasons for an increasing, widespread application of fabric formworks. Fisrtly, they guarantee the improvement in economy and durability of concrete structures. Secondly, they are flexible for a three-dimensional layout shaping of beams, columns and walls, limited by an architect’s vision only. Fabric formwork is constructed using porous textile sheets made of synthetic fibres that are fabricated into containers to contain concrete during its placement and curing. The form takes the designed shape under the pressure of the wet concrete.
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H i s t o r i c a l B a c k g r o u n d The invention of fabric formwork came about as a result ofthe Industrial Revolution, but it is interesting to note someearly parallels in Roman engineering.For the construction of cofferdams, the Roman ar-chitect and engineerVitruviusexplains a method of creat-ing two retaining walls that are filled with clay in wovenreed baskets. A second patent soon followed and suggests various appli-cations in hydraulic and geotechnical engineering as a lin-er for embankments, canals, etc. Wallerhimself notedthat this invention allowed for innumerable other struc-tures. He also deviated from the work of LilienthalandFarrarin his designs by underlining the tensile strength ofthe fabric as it formed the sole reinforcement in most cases.
Up to this point in history, the use of fabrics in formworkswas purely utilitarian, seen as a simple and cost-effectivestrategy in construction, although Lilienthalhad com-mented on the resulting texture of the concrete. The firstperson to truly acknowledge the architectural and aesthetic possibilities of fabric formwork was the Spanish archi-tect Miguel Fisac. Portfolio
Project 2-Part A Materials Exploration
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New explorations in faric-formed architecture The line between the purely structural and the purely architectural functions of fabric formwork started to blur during experiments at CAST. Examples of this began withearly experiments on highly expressive columns, using spandex at first, geotextiles later, allowing the concrete to bulge outwards at various points. Attention moved to casting beams and floor slabs that varied their shape according to natural force paths, creating a sculptural beauty. This naturally led to experiments with integrated structural systems and efficiently curved bending moment shaped structures. The past decade of experimentation has also included highly optimized concrete trusses, double-curvature thin shells and investigations into the aesthetic and structural implications of allowing folds and wrinkles in the fabric formwork. ARCH 473/3522 - Fall 2020
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Precedents T h e “ K n i t C a n d e l a � p r o t o t y p e represents the first application of this technology at an achitectural scale, a five-tonne concrete structure on display at the Museo Universitario Arte Contemporaneo in Mexico City. With a knitting time of 36 hours, the cable-net and fabric formwork system allows for expressive, freeform concrete surfaces to be constructed without the need for m o l d s . The knitted fabric for KnitCandela, developed at ETH Zurich, was transported from Mexico to Switzerland in two checked
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Project 2-Part A Materials Exploration
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Concrete structures u s i n g fabric formwork Additional and ongoing research, led by Professor Mark West at the University of Manitoba’s Centre for Architectural Structures and Technology (C.A.S.T), has further considered the architectural possibilities of fabric formwork for beams and trusses, in addition to its use for shells, panels, columns and walls. Using a combination of inexpensive fabric as formwork and lightweight, durable, high strength carbon fibre sheets as reinforcement, medium span shell elements such as those already produced at C.A.S.T may become a realistic alternative to existing floor and roof systems ARCH 473/3522 - Fall 2020
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Experimentat i o n #1 B E N D I N G Portfolio
Parameters: -Control points. -Gravity. -Fabric used.
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Trial 1 5
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Steps: In the first trial, I used a palstic bag as the fabric, then i poured the gypsum inside it and started to support it by my hands against the gravity. Allowing it to bend by the effect of gravity. Results: First trial, the gypsum dried very fast. While taking the plastic bag oout of the gypsum cracks were created and couldn’t take the plastic bag completely out of the bended form itself. Second trial, interesting bends were created by the non woven fabric and it was easy to take this fabric off the form without cracking or breaking it, also the form took the pattern of the fabric on its surface which made it more interesting. Project 2-Part A Materials Exploration
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Parameters: -Control points. -Gravity. -Fabric used.
Trial 2
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Steps: In the second trial, I used a non woven fabric and set some control points by folding the fabric and poured the gypsum inside the fabric. And left it to dry.
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Observation: creating a bended form using fabric forming is very sensitive. The type of the fabric used was an important parameter. The smoother the fabric used the easier we can take it off the form without cracking it or breaking it. Gravity was good to bend the form but needed a help of some supporters. ARCH 473/3522 - Fall 2020
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Experimentat i o n #2 R E P E T I T I O N Portfolio
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1
Trial 1
3
4
Parameters: -Fabric used. -Spacing between solid and void. -Thickness of gypsum. Steps: In the first trial, I used plastic bag as a fabric and eggs box as a supporter for the form, then I poured 3 cups of gypsum onto the fabric and left it to dry for 15 mins. Results: First trial, the gypsum dried quickly and some cracks appeared on the gypsum after removing the plastic bag, a repeated pattern of gypsum resulted creating some solid and voids in between. The form was thick and heavy so it created big protrusions. In the second trial, the form was thiner so the protrusions was not as obvious as the first one. More voids were created and the form became more interesting with solids and voids. Project 2-Part A Materials Exploration
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2 Parameters: -Fabric used. -Spacing between solid and void. -Thickness of gypsum.
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Steps: In the second trial I did the same as the first but I used the non woven fabric instead. I placed the fabric on the egg box and then poured 2 cups of gypsum on the fabric and left it to dry for 15 mins. Observation: As the thickness of the gypsum decreases the form becomes lighter and more voids are created making it more interesting creating a weaving like form. The use of the non woven fabric makes it easier to take the fabric off theform. As the thichness of gypsum increases less spacing between voids created.
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Experimentat i o n #3 B U L G I N G Portfolio
Parameters: -Control points. -Tension applied. -Shape supporter.
1 2 Trial 1 4
3
Steps: In the first trial, I used a plastic bag to pour the gypsum inside it and used a glue to set a control point in the middle in order to create a void in the middle. I controlled the bulging effect by adding some tension by the use of sticks. Results: First trial, the control point created a void in the middle and the tension applied made it bulge with an interesting form. Also some voids were created by the air bubbles in the plastic bag. Second attempt, a bended form that is also bulging from different regions creating strip like voids.
Project 2-Part A Materials Exploration
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1
2
Trial 2 3
4
5
Parameters: -Control points. -Tension applied. -Shape supporter. Steps: In the second attempt, I prepared the gypsum and poured it inside the plastic bag and then support it in a piece of plastic having a strips form. and then left it to dry for a while. Observation: the bulging effect is very flexible while the fabric forming. Smooth surfaces are created with smooth solid and voids. I also learned that it is easy to fabricate using the plastic bags. control points helped in making the voids and as the I put more glue on it the size of the opening is bigger.
ARCH 473/3522 - Fall 2020
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B L O M B A N K FACADE P R O P O S A L
In this phase of project 2, we were required to explore and parametrically generate a prototype for a building faรงade skin that takes into consideration issues of environmental comfort, spatial relations and human aspects using a passive approach.
02 B- The Parametric Facelift
S i t e Analysis
Location: The Blom Bank Egypt SAE - Main Branch is located in the main spin of New Cairo in the South Teseen Rd. The main faรงade of the building is in a South/Southwest orientation. Analysis of the Facade: - Due to the maximum exposure to the sun, glare effect is produced. -Extreme noise coming from the Teseen St. -High Solar radiation that creates excessive heat energy inside the building.
Wind Flow Analysis
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Wind Rose
Climate Consultant Analysis of New Cairo
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Monthly Diurnal Averages
Temperature Range
Sun Shading Chart
Project 2-Part B The Parametric Facelift
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S I T E C u r r e n t Blom Bank F a c a d e
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C C
O E
N P
T
Design Parameters:
B U L G
-Voids: By repition of units to create voids. -control points: To adjust the degree of bulging. -Thickness: Material used.
I N G Inspiration
from
part
1
experimentations
Designing a Resilient outer Facade Material: A Pollution-Eating Facade The material contains titanium dioxide, which effectively “cleans� the air of toxins releasing spongy free radicals that could eliminate the pollutants. Tiles neutralize air pollutants when installed near traffic or in heavily polluted conditions. Inspired by fractals in nature, the wavy forms maximize the surface area of the active coating to diffuse light and pollution. Portfolio
Project 2-Part B The Parametric Facelift
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Sketches
the er
of Proposed outfacade design
Diffused light in, natural ventilation.
Dynamic via sensors, actuators & control systems
Adding the staggered effect.
Solids get bigger for shading, get smaller to allow more diffused light in.
Noise Cancellation, allows air flow inside the building
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Facade Development Grasshopper First Attempt
In the first attempt, I was experimenting with the solid and voids and also the shape of the panel that will provide shading to the building.
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Second Attempt
In the second attempt, I was experimenting with the shapes of the openings and variations in size responding to sun and users activities inside the building.
Third Attempt
In the third attempt, I played with the thickness of the panels and the bulging effect in respond to the inside activities.
Project 2-Part B The Parametric Facelift
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Blom Bank Facade Final Design
Direct Sunlight
Diffused Light
Design Parameters: -Solid and voids: Provide Adequate shading -Size of panels and degree of bulge: Users need inside the building. -Materials used: Absorbs pollution. ARCH 473/3522 - Fall 2020
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Blom Bank Facade Sections PARAMETRIC DESIGN Building responds to sun penetration: The floors of the building were redesigned to self shade each other and also the facade panels gets bigger as it goes up to provide protection from direct sun penetration and allow more diffused light inside the building.
Bulging effect applied on the form of the facade itself.
Section A-A
Roof Terrace
Private Floors
Building responds to the users activity: VIP Floors The first two floors are for the public use and as we go up it gets more private. The facade panels gets bigger as it Public Floors goes up to the private area to give more privacy to the users in the building and gets smaller to allow diffused light Shaded Entrance inside the public area. Portfolio
Project 2-Part B The Parametric Facelift
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Region 3
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Region 2
Region 4
Facade regions: The facade sizes of the panel change from one region to the other. For instance the panels are smaller in public region and bigger in the private region to provide privacy or allow daylight inside the building during assembly time.
Section B-B
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Blom Bank Facade Facade Layers
Steel trusses for the structure.
Fixation frames out of steel Diffusing Glass
Pollution eating panel fixed on the diffusing glass panels.
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Project 2-Part B The Parametric Facelift
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Fabrication:
-Each face of the circular panels is fabricated on its own and then fixed together on the glass panels.
Facade Panels
-Different sizes of the same panel to be fabricated for the different regions throughout the whole building. -Glass panels are fixed onto the steel truss carried on columns of the building.
Entrance 3D shots
The facade is designed to touch the ground and create a welcoming, grand entrance that is shaded. ARCH 473/3522 - Fall 2020
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Blom Bank Facade Interior Shots
Interior Experience: Roof terrace.
Double height floor for the public.
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Project 2-Part B The Parametric Facelift
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Outer Terrace.
Vip floor.
Private floor.
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Blom Bank Facade 3D Shots
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Project 2-Part B The Parametric Facelift
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Blom Bank Facade Grasshopper script
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