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ARCH 473/3522 - DIGITAL DESIGN STUDIO AND WORKSHOP Nada Yaakoub 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: Nada Yaakoub Student ID: 900170070
Š The American University in Cairo (AUC), May 2019
Nada Yaakoub Architecture Student
Designning is the best tool that someone can learn. I believe that designers of any field are the creators to the future. it is very challnging and hard, but there is where creativity comes from. My only dream is to one day create something different. For how simple it might sound, it is so hard to achieve. I’m just doing my best and clinging to that hope by how ever it might take me. My life is motto is summarised in this phrase that always moves me forward: “Green light forever”. I never stop, and you can find me persistant most of the time. If I wasn’t, maybe I would ahve shifted from this major three years ago. My name is Nada. I’m an undergraduate student studying Architectural Enfinnering. I live in Cairo, Egypt but I call many places home. Throught my life, I worked as a photographer, video Editor, Graphic designer, painter, but I decided to study architecture at the end. Surprisingly, this field combined all what i’ve been doing before, plus “a little more work”. I love what I do, and adore the creative process; it’s addictive and the passion for giving more never ends. You will always catch me working, if not on a project from work or college, then I probably made something to work on. This is where you will find me mostly passionate, when I do work when I want to.
Best part about architecture is the opprtunities that I get to explore my country. I couldn’t be proud enough about my heritage and history. It’s mesmerizing and the information I get to know is so powerful. I love art in all its forms, but I love exploring places more. Traveling and visiting new places is a curious behavior that drives me all the time. Architecture is another language for writing doing history of any place. It’s a tool of communication and function. The project presented in this story book is first attempt to create something extra ordinary, and highly advanced in terms of structure or architecture. Unlike the tradition 12-floor building, I finally came to the phase where i can truly build something different.
A minimlistic approach of designing a housing building inpsired by the light wieght, aesthatic appearance, and complex structure of the butterfly.
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3 Site Location: Alexandria, Egypt A mediterranean port city.
This site is located along El- Gaish street directly facing the sea view. It’s an empty plot of land in Dekhela District.
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A minimlistic approach of designing a housing building inpsired by the light wieght, aesthatic appearance, and complex structure of the butterfly.
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chitin fibers in wings MODELING PROCESS:
The three pictures presented are representations of architectural features needed for the design. The elongated geometry of the butterfly was translated in the model and added essence to the form. The layering of different materials varied between transperent and solid. Finally, the the mesh used to cover part of the facade was inspired from the butterfly’’s wing.V
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(CONT’D) At this phase, the shape of the curve was completely changed and enhanced to present a better form to the complete model. as I started to divide my zones into private, semi-private, and public. more definition and design guidelines were added.
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MODELING TOOLS
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PRIMARLY, CURVE WAS DRAWN IN 2D PLAN.
THEN, THE SHAPE WAS DUPLICATED, AND RAISED FROM TWO SIDES.
FROM THE TWO CURVES, A SURFACE IS CREATED FOR THE SLAB AND THE ROOF
BY LOFTING THE TWO BORDERS, A WALL IS CREATED
PART OF THE ROOF WAS RAISED AND MINIMZED, SO THAT THE GAP WILL BE MADE OF THE MESH SHAPED
THE MESH STRUCTURE IS PRECEDED WITH GLASS WALLS TO CLOSE THE BUILDING
STAIRS WERE CREATED TO SUPPORT THE BUILDING, AND CREATE A SLAB
FINALLY, THE STAIRS WERE ADDED INSIDE THE BUILDING
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ARCHITECTURAL TRANSLATIOn
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chitin fibers in wings MODELING PROCESS:
The three pictures presented are representations of architectural features needed for the design. The elongated geometry of the butterfly was translated in the model and added essence to the form. The layering of different materials varied between transperent and solid. Finally, the the mesh used to cover part of the facade was inspired from the butterfly’’s wing.V
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ELEVATIONS
NORTH ELEVATION
SOUTH ELEVATION
WESTERN ELEVATION
EASTERN ELEVATION
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FABRICATION TOOL
USING THE APPLICATION OF CURA, THESE ARE THE SETTING FOR ADJUSTING THE MODEL TO THE 3-D PRINTER.
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LAYERING PROCESS
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02 Fabric Forming: The Blank Facade Canvas
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3 FABRIC FORMING AND CONCRETE POURING
Introduction: Fabric formwork is a building technology that uses concrete as a structural material as well as a finishing material for the final surface. The fabric material is extremely flexible and can deflect under pressure as opposed to conventional weight from the concrete shapes. Curvature is exhibited in the resulting forms as well as excellent surface finishes that are not commonly associated with concrete structures.
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HOW IT STARTED?
Reed centring in the Roman concrete vaults beneath the Villa Medici, Rome.
The invention of fabric formwork came about as a consequence of the Industrial Revolution, and the early Roman engineering work. The Roman architect and engineer Vitruvius describes a way of constructing two retaining walls that are packed with clay in woven reed baskets for the building of cofferdams. Vitruvius also suggests the use of reeds bound together to form the lower surface on which a sand mortar is placed for the construction of vaulting with a plaster finish. This is the basis for further coatings before the plaster is added. The reeds were laid in a single direction in both cases, presumably bound together as proposed by Vitruvius. Reed was an abundant resource, both versatile and lightweight.
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Gustav Lilienthal early application Combined with his interest in textiles, Lilienthal’s proficiency as a builder and inventor led to his invention of a fabric-formed suspended floor, patented in the USA in 1899. This floor featured an impermeable cloth or paper stretched over parallel beams, on top of which wire netting was put in successive layers prior to pouring the concrete. He already recognizes a fascinating feature of fabric formwork, noting that the interaction of the wire mesh, paper, and wet concrete contributes to a “similar to that of a sofa cushion” surface. Patented floor system
Patented floor system
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James Waller Large scale applications
James Hardress de Warenne Waller was probably the most prolific inventor in the field of fabric formwork. Waller found, while in Salonika, Greece, that cement dust blew on a wet tent made the canvas incredibly solid. It was this occurrence that led to his “Nofrango” patent. Hessian, or a woven cloth made of some kind of vegetable fiber, is spread over a frame of wood and coated with a cement mortar. Several implementations of this concept other than the flooring system referred to are listed in the first US patent for this system These examples can be classified into four distinct categories upon inspection; – Draped (stretched in one direction) and plastered (floor, roof) – Stretched and plastered (wall) – Filled and stressed through hydraulic pressure (column) – Level, lying on the ground (ground floor, liners) Using parallel falsework arches, he extrapolated this observation to create shells and allow the fabric to sag in between to form corrugations (Fig. 8). The depth of the corrugations along with prestressing and rib spacing was determined by the first thin coat of cement and the deflections thus generated. To minimize the amount of reinforcement required to create the shell of a building, he used the purely compressive structural form of the inverted catenary arch for the ribs. Four distinct fabric-formed constructions patented
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A Ctesiphon shell under construction
Candela first shell
For the building of granary domes in Cyprus, Waller updated this “Ctesiphon� device in 1954, named Cyprus bins (Fig . 9). In 1955, he invented a particular device for spans of up to 150 m with prefabricated, external trussed arches to suspend the fabric. Reinforcement was required for these larger spans and the use of a cement gun, a precursor to later attempts to create shells with shotcrete, was suggested. While few Ctesiphon structures survive today, in his early work, their legacy can be measured by the inspiration provided by the great shell constructor Felix Candela. It should be an honor for the work of James Waller that Candela chose the Ctesiphon method for his first shell, an experimental vault in San Bartolo, Mexico, considering the rigor with which he examined various papers. ARCH 473/3522 - Spring 2019
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Miguel Fisac Architectural expression
Centro de Rehabilitación para la MUPAG
The Spanish architect Miguel Fisac was the first person to actually consider the architectural and aesthetic possibilities of fabric formwork. He was able to fundamentally rethink the material and architectural qualities of concrete in the wake of these developments and various ventures across Spain and patented a new concept which he used at the Centro de Rehabilitación para la MUPAG in Madrid in 1969. He used a smooth and flexible lamina of polyethylene hanging as a formwork from a rigid frame. ““The result that the weight of this soft material gives to the concrete when poured is real and effective; the concrete takes on the texture of the material in a tactile way”. This gave Fisac the freedom to create a number of new styles of façade panels, giving a particular look and feel to each building when this method was used.
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Recent experimentation using fabric-formed architecture
Fabric-formed truss fabricated
FattyShell, a student project using rubber Disruptive Technologies, student project. and concrete.
Knit candela using fabric and concrete
Concrete Chair, Tejo Remy and RenĂŠ Veen- Concrete table huizen
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Chronological diagram of fabric formwork and fabric formwork liners. *Andreoli, 2004
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` REFRENCES •
Veenendaal, Diederik, et al. “History and Overview of Fabric Formwork: Using Fabrics for Concrete Casting.” Block Arch, 2011, block.arch.ethz.ch/brg/files/suco_201100014.pdf.
Experimentation
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LAYERING PROCESS
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02 Fabric Forming: The Blank Facade Canvas
03 Facelift: The parametric facelift
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Introduction: Through this phase, we tried to reflect on our experimentation in order to create a parametric facade design that satisfies behavioral, structural, and enviromental aspects
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Bloom bank is an office based building found in new cairo along the T’seen street. the building location or main orientation is adjusted to towadr the southern facade. Although the building is directly facing the sun, most of the building is unprotected from the heat as the face id covered with glass. V
Based upon enviroemntal studies, Cairo is considered as a hot climate country during most of the year, and almost Moderate during winter and spring. The average solar radiation is above the comfort zone. the primamry wind direction is north/northwest, while the secondrly is northeast.
Facade Analysis: 1- Advanatge: The southern area is well ventilated due to the opennings in the facade
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2- Disadvanatge: the facade has high solar radiation that create excessive heat energy inside the building.
3- Extreme noise coming from the main street
4- Due to the maximum exposure of the sun, glare effect is produced
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Current Facade of the building
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Design Approach and Concept
The concept of “Sun Filteration” The primary purpose of the project is to ensure shading during harsh hours of the year/day, and sun penetration during the cold hours of the year/day as well.
Learned Parameters
Angles The previous experiments triggered different ideas that can be translated into an effective parametric guidline for the facade. For instance, 1- crumbled foil --- different angles need for filtering sunlight
Precedent example: ‘V on Shenton’ in Singapore The building used angled geoamtries to the pattern to pocket the sunlight from the upper half, and reflect natural light from the second half.
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2- control points and thickness ----matrial usage and fixations 3- voids and spacing --- further enhance the filteration process
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PARAMETRIC DESIGN LOGIC The basic shape of the geomatry is used to create patterns that increase the performance of the facades with angles and shading devices that are responsive to the climatic conditions of Cairo. The size of each panel of the facade are important to maintain the level of privacy needed in each floor.
INSPIRATIONAL PICTURES TO THE FACADE DESIGN
Design Pattern with slits
Perferusions some panels
Coherent flow between panels
in Glazed panels
3 dimensional geomatry
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Triangular design geomatry
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Crystalized Effect
The pattern of the facade will be inspired from the crystalized shape effects to establish the different angles that can filter the sun rays.
Parametric Guidlines
According to the angle measurment during different hours of the day and differwent season, these angkes are calculated, and the panels orientationation will be adjusted accordingly. 3 levels of fabrication: 1- For each each samll face 2- For each panel that have a group of faces 3- for the entire facade Rhino Model Portfolio
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SOLAR ANALYSIS
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faces looking down passes winter sun while pockets the summer sun to ensure moderate heat aroud the year. The facade faces were tilted in different ways to control the sun rays getting inside.
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FACADE LAYERS
The facade was designed baed on several layers to produce the needed function of the design. Starting primarily by a layer of structure of 3d trusses pertruding outward 1.5 meters to create a gap that pockets the prevailing wind. Then another layer of support is added for the mesh surface. The panels are divided into perfurated and solid faces to control the amount of sun passing inside the building
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FACADE ANALYSIS
The division of the facade weither solid or perfurated was based on the angles of the triangles. Faces looking down passes winter sun while pockets the summer sun to ensure moderate heat aroud the year. The facade faces were tilted in different ways to control the sun rays getting inside.
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12 WIND ANALYSIS
the design facade was redesigned to adjust the angels where part of it will shade the building from the sun, and the other part will allow ventilation to pass through the building
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OPENNINGS ANALYSIS
The external facade was broken to 4 faces. Each face has a different number of triangulation where they increase gradually from right to left according to the heat intensity
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BLOOM BANK NEW FACADE
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ONE FACADE OR FOUR
From one angle, the facde seems as if it is a complete face that is growing from one direction gradually
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From another angle, the facade shows its honest nature where the ventilation and all the other details are shown
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GRASSHOPER DEFINITION
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INTERIOR PICTURES
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Experimentation
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Bibliography •
• 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 P r e s s . • 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
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Course Reflection •
At the end of this course I figured out a couple of important things. First of all is that I have a growing passion towards experimentation and the process of trial and error that we go through in order to figure out the best solution for the design problem in hand. I also learned that digital tools is the best in helping us to do this experimentation process faster, cheaper and way more easier than it was ages ago. However, the rapid growth of technology and the level of its complexity is what really scares me the most. I think this feeling is due the fact that I fear not knowing everything about the subject I am interested in and technology is impossible to know everything about.
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©All rights reserved, American University in Cairo (AUC) May 2019
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