Student Portfolio
ARCH 473/3522 - DIGITAL DESIGN STUDIO AND WORKSHOP Reem Abdelrahman Spring 2020
The American University in Cairo (AUC) School of Sciences and Engineering - Department of Architecture ARCH 473/3522 - Digital Design Studio and Workshop (Spring 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: Reem Abdelrahman Student ID: 900153214
Š The American University in Cairo (AUC), May 2020
Reem Abdelrahman Architecture Student
I am an undergraduate senior Architecture student, who is forever looking for that one topic in architecture that will just click with me. Will it be parametric designing? I guess you will know throughout. This digital design studio has broadened my perspective on how to produce parametric designs inspired from phenomenas that are unrelated to architecture using different digital programming tools. The process of abstraction of the natural elements into building iedas and function has been a major obstacle of my journey. It was not easy to start learning new programs along with implementing your design approaches. However, it gets much easier through out. (and fun too!) But that was just a starter.
It gets much harder throughout especially due to the fact that that from projects 02.1, everything carried out during a world pandemic, where we had to stay home and try to carry out experiments, watch tutorials, lectures and attend feedback. It has been a hard process to even grasp. However, I have reached many outcomes from this. First is the fact that we got to “Deal with what we have� and be creative enough with it during project 02.1. While the next phase was a whole other story of trying to find a way to understand grasshopper through Zoom meetings and youtube. It really did broaden my mind and made me depend on myself more (through understanding Grasshopper) to reach an outcome with my professors and teaching assistant. Many lessons learnt will be discussed throughout each project.
Table of Contents 01 Children’s Shelter Site Analysis Natural Inspiration Abstraction Drawings Analysis Modeling Fabrication
02.1 Fabric Canvas History
Different Techniques Different Types of Fabric Smocked Fabric Formation Simulation of Smocked Fabric
02.2 The Facelift From 02.1 to 02.2 Process of Simulation Progress of Pattern Final Model Analysis
What is the purpose of a shelter for a homeless child? Is it just a place where he could get his basic needs? Or are we looking to add more on to that.
Chapter 01 - Design a mobile shelter for homeless people that would be inspired from a natural inspiration and our chosen site is Al-Minya. This chapter starts with a group project on the site of the shelter, our choice of inspiration and how we intend to abstract this inspiration. I will then take you through a long, hard but worthwhile process of achieving a shelter that does not only satisfy a child’s basic needs but also their wants.
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The Children’s Shelter
2 Site Analysis
Site was chosen next to: A school (for user’s education) Farming Areas (for work) Residential Area Site location on the maps
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3 WHY Children? Al-Minya is well-known for having the largest percentage of homeless children thus the project aimed to provide a safe but playful zone for these young people. 80% of Egypt’s homeless children are located in Al-Minya. Site was chosen according to certain aspects surrounding it that would provide basic needs and wants of the homeless children.
Basic Needs
Shelter and Safety
Job for money Food
Education
Basic Wants
playing Space
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Social Interaction
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4 Natural Inspiration
Corn plant was specifically chosen because it is the most prominent crop in Al-Minya thus being inspired by it would relate back to the context. It was also relatable to be inspired by a plant that has many different parts all working on the idea of protecting the seed and supplying for it water or other nutrients. Corn roots were specifically focused on because they were a unique kind of roots that did not only offer water absorption but acted as a structural system for the whole plant due to its large heights.reaching 2.5m.
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5 Corn Roots
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Abstraction
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8 Architectural Drawings
Ground Floor Plan Scale 1:100 Showing the playing areas and entrance of the shelter Portfolio
9 I think that the zones created could have been better manipulated by integrating the branching happening on the upper floor with the underground living space.
Basement Floor Plan Scale 1:100 Showing the more basic needs of the children. ARCH 473/3522 - Spring 2020
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10 These sections may show how teh abstaction of the roots into a complicated structure that children can explore through interaction with it was achieved.
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11 I enjoyed the journey of trials I went through with using this technique of branching and intertwining to create a new face of privacy to the children, where they can play and live.
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12 Analysis
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13 Variables for Shelter The shading fabric created on top is mobile; means it is rotatable according to sun direction in order to provide shade at certain hours.
East facade shaded from 07:00 - 12:00
Branching always provides shade inside ARCH 473/3522 - Spring 2020
West facade shaded from 13:00 - 18:00
Three variables of the sheltered are demonstarted. Each of them shades a certain facade at a certain time. Reem Abdelrahman
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Process of Modeling
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15 Using a new program to implement ideas in my mind was not an easy process for me at all. I struggled with abstracting the ideas in my head intointerpolating curves, creating branches and finding a fabricaiton technique that best suits the project.
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16 Fabrication Model
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Using Cura, estimated time for fabrication (3D printing) was 10 hours. The application added the supports that would be required to print the model. As preparation for this step, certain measurements were used in order to get an accurate estimation of time from the application. Three certain radius sizes for pipes were used. The difference between each size is not much for better appearance of the steel pipes. Maximum pipe size: 0.165 cm Minimum: 0.16 Average: 0.15cm I think an important outcome of this course is the amount of programs that we got to understand how to deal with in order to broaden our skills.
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19 It was such a hard process for me to reach a design that both provides children with their basic needs and giving them a happy environment that would make a better social life for them. Using Rhinoceros and Grasshopper was not an easy task to conduct the design in my head, as I was just learning these programs. However, I am content with the product that I was able to produce.
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How can I capture the maximum fluidity that a fabric can reach.
Chapter 02 - Exploration of materials and how they interplay when added together. In order to dig deeper into our research of using fabric as a formwork to cast a certain shape, I started experimenting with the different shapes that could be made by fabric and casted gypsum over it. Through these expereiments I came up with a concept that will be further discussed and used in the secind phase of the project, which is capturing the fabric’s fluidity onto a more solid and strong element.
02.1
Fabric Canvas ARCH 473/3522 - Spring 2020
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Through Research...
History Different Techniques Different Types of Fabric Smocked Fabric Formation Simulation of Smocked Fabric
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History The evolution of fabric formwork happened consequently with the production of higher quality of synthetics, where better fabric was created the research and simulation of casting on fabric was upgraded. It all started in 1899, with Gustav Lilenthal using fabric to create a flooring/ roofing system that took the shape of the fluidity of fabric. Then Howard Neff started using fabric in 1941 to create the first formed shell but with the aid of catenary arched steal renforcement. Wall panels started to be dominant and patterns were created by Miguel Fisac in 1969. In 2002, Mark West started CAST, which is a research center for fabric formwork and from here onwards the evolution of using fabric as formwork is endless. Through this part of the research I found that the choice of fabric is extremely important in modifying my models and created more fluid forms.
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Different Techniques of Application Several techninques have been found to create and manipulate the fabric into a formwork that would best satisfy the project being done.
(1) The use of robotic arms to stretch the fabric with high forces and then poor inside. (2) The use of wooden supports to create a pattern on the fabric then casting the concrete on top. (Wall Paneling). (3) Knitting fabric to create “Smocked Fabric� and form a pattern to cast concrete over it and capture the fluidity of fabric. This part helped me out in identifying my technique in experimentation and what was most interesting for me. Portfolio
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Different Types of Fabric Used Different fabrics used create different outcomes. Specialists would choose a certain fabric to create different chaarcteristics for the formed shape.
(1) Spacer Fabric/ Pale Woven Fabric - this produces more uniform surfaces due to its smooth texture. (2) Polypropylene Geotextiles - it is considered a more stiff fabric and creates more geometric control over the produced model. (3) Interwoven Geocomposite Materials - these have multiple of grids and near-net shaped that allows resistance to force and water. I used this part of the research in choosing the types of material that would not stick to the casting element and the ones I was interested in experimenting with.
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Smocked Fabric Formation This technique was the most to grab my attention as it produces models that capture the maximum fluidity of the fabric formwork. (1)
(2)
(3)
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In order to start knitting the fabric, there has to be a starting pattern where the knits will be created. After the pattern is decided upon, knit are created and the fabric starts to form a shape, a “Smocked� shape. The concrete is then casted upon the fabric and is left to set then the fabric is removed
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Smocked Fabric Simulation Using Rhino, Grasshopper and Kangaroo Plugin many forms of the smocking patterns can be tried
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Through Experimentaiton... Experiment 1 Experiment 2 Experiment 3 Experiment 4 Experiment 5 Paramters Conducted
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Experiment 1 Materials Used
I was aiming to find something that would create for me the smocking pattern if the fabric was added over it. So this patterned cardboard was used and shaped into a box to fill with gypsum. I chose a satin fabric to create the formwork because it has a smoother surface that would facilitate the process of removing the fabric after the casting. I added a huge amount of gypsum with so little water unknowingly. This created for me a mixture that is more paste-like.
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Process & Outcomes (1)
(2)
(3)
(1) A glue gun was used to be added on the protrusions of the cardboard and stick the fabric over it. (2) The smocked pattern was created (or I thought it was created). The created form did not have a shape and was not geometric by any means. (3) Gypsum was added over the fabric to take the form, however it did not fill the whole shape and it was hard to add to the sides of the form.
Outcome The model broke down to several pieces as the sides of the gypsum were not thick enough to hold it vertically upwards. However, the smocked pattern did appear on some of the parts as shown. However, the gypsum mixture ruined a lot of the shapes creating by forming lumps.
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Conclusion 1. A pattern on the fabric itself should be developed in order to be using the fabric as an actual formwork and not adding something underneath it. 2. Better gypsum mixture that is more fluid in order to actually fill in the gaps of the patterned formwork. 3. A more controlled grid should be used in order to be able to create a repititve pattern
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Through Successful Experimentation... Experiment 2 Materials Used
Side A
Side B
A more organized way of creating the pattern was used, which is drawing the pattern onto a cloth using a grid. A diagonal line was drawn were the knit would be. There were two sides for me to decide where I would cast the gypsum over. Side A was were the knitting occured and Side B showed the pattern more. I chose to cast on side A in order for the gypsum to fill it in and take the shape of the patter created on the other side.
The mixture of the gypsum used was: 2.5 Cups of Gypsum Powder 1.5 Cups of Water
Four blocks were used to add the cloth over in order for it to be loose and for the gypsum to cast in the pattern well. The created gypsum was more paste-y than liquid. Portfolio
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Process & Outcomes (1)
(2)
(3)
(1) The smocked cloth was added onto the four blocks in order to start casting the gypsum onto it. (2) Due to the type of fabric used the gypsum did not take much time to dry and I started removing the cloth. (3) Removal of the cloth from the gypsum was a bit hard but it did not get stuck in between the pattern.
Concluded Parameter 1. The Grid: The ratio of knit in R:C was 2:3 and it did not create a similar pattern to that of Side B. However, it was close.
Outcomes The experiment created the intended smocked pattern . However some of the patterns broke while removing the fabric. The pattern of the cloth on side B was created however it was not the exact shape.
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The Result
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Experiment 3 What changed?
Side A
Side B
A new pattern was used on the same grid. Where two diagonal knits were created n the same row thus it created a more defined pattern on Side B. Side A shows the knitting work done and is the one that the gypsum was casted on. Side B showed the pattern that should be created after casting the gypsum onto side A.
The gypsum mixture changed into: 2 cups of gypsum powder 1.5 cups of water.
Fabric used was of a bag which contains is made of polypropylene geotextil, which provides more geometric control as previously found from preliminary research. The gypsum mixture created was more watery, which allowed the casting to reach deeper into the details of the pattern. Ratio of gypsum to water respectively; 2:1.5. Portfolio
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Process & Outcomes (1)
(2)
(3)
(1) The mixture took ore time to dry as the fabric used did not soak the water in the gypsum quickly like the experiment 2. (2) Due to the change in mixture and pattern the gypsum reached further into the gaps in between the pattern and was harder to remove the fabric. (3) Some threads were stuck inside the gypsum after it dried so to avoid breakage of the pattern a cutter was used to remove the fabric.
Concluded Parameters 1. The pattern: Increasing the ratio of R to C increased the detailes created on the gypsum and was more similar to the Side B. 2. The Mixture: Increasing the ration of the Water to Gypusm also affected the similarity of the pattern created.
Outcome This was a successful experiment as well. The smocking effect was created but with more defined pattern and shape like side B.
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Experiment 4 What changed?
A new pattern was created on the same grid dimensions. One diagonal knit was done over 3 squares. Pins were used to create the pattern because knitting was hard to do on such a strong material. Just one side was able to be used in this experiment, which would be Side B. This was a drawback to this experiment but the other side had to many pins it would have stuck to the gypsum.
Fabric was changed into denim fabric, which has more lycra and would extend more if required with the pattern created. A similar mixture was used as in experiment 3 where the gypsum was more fluid rather than pastre and this is to create a more defined patter. Ratio 2:1.5 Portfolio
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Process & Outcomes (2)
(1)
(1) It was easier to remove the fabric off of the gypsum model in this experiment due to the thickness of the material. (2) Some of the pins were stuck to the gypsum and was hard to remove.
Concluded Paramter The Fabric: the idea that the fabric’s interwoven threads grid is more intact in the denim fabric allowed a better more defined result. The model produced is more intact and strong and takes the shape of the fabric more Outcomes This experiment provided a defined pattern of side A but that was due to the less pattern on this side rather than pouring on side A.
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Experiment 5 An attempt for creating natural openings that captured the interwoven knitting of fabric and the fluidity of gypsum over it.
I tried creating random openingings in the fabric by burning it as the interwoven net of the threading becomes weaker and start to break out from each other. Fabric was added onto the four blocks ready for casting the gypsum over it. It was not well settled and was a bit onto the floor in order to avoid all the gypsum from falling down. The gypsum mixture created was aimed to be more mould-like in order to avoid it from all follwing down the opening and creating a thin layer of gypsum that would break. However, they still did.
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Process & Outcomes
(2)
(1)
(3)
(4)
(1) The openings were more visible on the other side of the fabric and I guess not removing the fabric would have been a better idea. (2) The casted gypsum took the shape of the naturally created openings of the fabric. (3) Some of the gypsum was stuck in the openings and took the shape of the threads of the fabric that were visible from the burns. (4) The model was so thing some of it broke down to pieces.
Concluded Parameters The openings needed to be created more and on a larger scale in order to study the pattern created more. The gypsum should have been added on a higher level than the ground to see the effect of the falling gypsum. Outcomes Smudgy-like pattern was created in the areas that had gypsum stuck in between. Some of the opening were created however overall the gypsum should have been more mould like and the created model should be kept with the fabric.
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Parameters Conducted
Three parameters highly affected the amount of detail and similarity of pattern between the smocked fabric and the gypsum model produced. 1. The Pattern; If the number of knits in the R direction increases more than in the C direction, the pattern becomes more detailed. 2. The Gypsum Mixture; If the ratio of the Water to Gypsum increases more than 3:5 respectively, the details of the pattern increases. 3. The Fabric Type; If the fabric used has more plastic or the threads of the fabric are more interwoven and create more nets and grids the pattern’s details increases.
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How can I create a facade that attracts people with its fluidity? Can we attract people by using elemnts other than glass?
Chapter 02.2 - In this project, the objective is 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. You are required to develop a parametrically driven building skin for the building shown below (Blom Bank Egypt SAE - Main Branch, South Teseen Rd, New Cairo). The main faรงade of the building is in a South/Southwest orientation, and so you are required to devise an appropriate envelope that provides adequate shading and sun protection.
02.2
The Parametric Facelift ARCH 473/3522 - Spring 2020
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The Facelift
From 02.1 to 02.2 Process of Simulation Progress of Pattern Final Model Analysis
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From 02.1 to 02.2
Through experimentation and research on the use of fabric as a formwork I was bewildered by the idea of capturing the fluidity of fabric with a more solid and harsh material like concrete. Carrying out experiments on smocking fabric made me realise the extents to which fabric can create fluidity. Therefore I thoought in order to solve the problem of having many curtain walls on the 90th street to attract people while environmentally it goes against many of the rules. I got my concept. Concept: Attracting people through the fluidity of the skin that will be conducted to suit the building environmentally and functionally. Portfolio
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Progress of Idea
Idea 1
Idea 2
(Idea 1) As a starting point, I thought of creating a panel which would be divided into 4 seperate sides. Each side I would start applying the idea of smocking pattern on it and after the knits are created it would shrink the side of the panel creating a void in between. However, I concluded after several trials that although this would make me use my paramters well, it would not make the facade fluid but rather repititive of the same unit. (Idea 2) I then started think of applying the pattern over the whole facade. This would create a more naturally fluid facade that would look more appealing to attract people’s eyes. But then, this idea left me with many questions. 1. How will I create openings that would not seem imposed onto the facade? 2. How will I use the parameters I investigated from phase 1 in creating spatial and environmental adaptation of the facade? But I decided to take it one step at a time and came up with the steps I needed to take first.
1. Creating a pattern
2. Being able to create
3. Having a controlling
4. Creating openings
over the facade.
a simulation for the
factor over the pat-
that do not seem im-
fabric.
tern created.
posed over the facade.
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Process of Simulaiton
Step 1. Creation of squared panels.
Step 2. Choice of columns for pattern.
Step 3. Choice of certain cells and being in control of their edges.
Step 4. Being able to select the edges that will be connected with a line. Portfolio
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Step 5. Creating a factor that controls the strength of the knit.
Step 6. Choosing my anchor points.
In order to simulate the smocking pattern on grasshopper, I had to understand many factors that act on a fabric in order to create it. It was not an easy process to reach this understanding as I had to understand a lot of physics behind the creation of fabric. First, I had to understand how to create a patterned grid over the surface of the facade just as what has been done during experimentation in phase 1. Steps of Simulation: (Step 1) I started with a squared grid with certain pattern divisions that was chosen. (Step 2) Then, I had to choose certain columns where I would create my pattern. (Step 3) After that, certain squares within this column were chosen with a certain pattern. (Step 4) Then, I started thinking of a way were I could create a line, which would represent the knit that would create the smocked pattern. (Step 5) In order to create a controlling factor for the knit length, I started scaling the two points chosen on the ege of each square along the line created. This would simulate the strength by which the knits will be made and thus change the pattern created. (Step 6) These edges were then chosen to be anchor points. What are the anchor points? These are the points were the forces (which are going to be discussed next) do not act. I also selected the edges of the surface to be anchor points to avoid the whole surface from being acted upon by forces.
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The Forces 1. Gravitational Force
Step 6. Creation of mesh.
Step 7. Force acting between two vector points.
(Step 6) In order to create a mesh that would act as fabric, I used the same squared grid panel but multiplied the number of divisions by 9 in order to create as many points on the surface as possible. These points would then be used to make forces act on it. Steps of gravitiational load: (Step 7) In order to use the force over the mesh created, a certain direction for the force had to be specified. This was done by adding to vector points on rhino and using “2-point� vector to connect it to the gravitational load. This allowed me to simulate the force onto the facade in whateve direction I wanted.
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2. Elastic Strength
Step 8. Specifying a length factor for the elasticity of the mesh
Steps of Elastic Strength: (Step 8) For creating a smocked pattern, the type of fabric being used differs from one another in many ways and one of them is in its elasticity. The length factor of the elasticity in this function allows me to simulate different types of fabric being used and creation of different pattern details and fabric length.
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Progress of pattern Several patterns were created
Pattern 1
Pattern 2
Pattern 3 Portfolio
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The first attempt was a random pattern created and repeated across the surface. It created a surface that is rather constant and not depending on any factor. Just a shape. The second attempt I wanted to create a more fluid pattern thus I started increasing the number of knots and their direction. As previously mentioned in project 1, the more the number of knit percolumn the more the details of the pattern which would increase the fluidity of the facade. The third attempt, I started thinking of how I could create different types of patterns along the same facade depending on the spatial functions of this area specifically. However, that did not create a good shape of the facade.
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Openings
In order to create voids that do not look imposed over the fabric created. Therefore, I started thinking of how could the openings look natural like they are coming from within the mesh. I found that I could bake the mesh created (before applying the forces) onto rhino. Then, I would remove certain squares from the mesh whrer I want the openings to be and their size according to the space required.
Three void sizes were created according to the spatial requirements. The minimum opening would be for offices. Maximum opening is for any outdoor spaces and the intermediate size are for meeting rooms or bigger rooms.
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Prefinal Facade
My prefiinal attempt did satisfy many environmental and spatial requirements. However, the parameters that were extracted from phase one were not used or did not help any function. The facade did satify the fluidity concept but was rather a constant repition of the same pattern, which makes sense because the pattern added over the grid was the same throughout the whole surface. Structurally, the fabric In section, the facade looked fluid and created several shapes for the building in section. I was kind of satisfied by this product in terms of overall shape of the facade over the building. However, the idea of using the number or direction of knits was not used to satisfy any spatial or environmental requirements.
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Final Model
Final Pattern My final attempt created a facade that was fluid, spatially and environmentally adapted. I was able to use the parameters deducted from phase one of the project to create spaces withing the facade skin that would adapt to it. For example, I used more knits in the floor that would be all offices were more patterns would be created and thus more divisions within the floor and openings. On the top column, I decreased the amount of knits in order to create an outdoor roof space with several openings that are larger in size allowing more sunlight into this space. I was more satisfied with this outcome because it created a more fluid facade rather than a constant one, where the parameters conducted from phase one were actually adapted to be useful spatially and envionmentally for this building.
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Grasshopper Definition
The Grid
Choosing certain cells
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Momentum solver that creates the fabric with all the forces added.
Anchor points
The Forces
Creating knit lines where anchor points will act upon It was a really hard process to understand the physics behind creating the fabric from a normal surface. However, it was an informative process for me as I understood the capabilities of the programs in functioning with the physical properties of elements. I personally enjoy physics and math so I was enjoying the creation of fabric and applying my design ideas to it through the smocking pattern and adaptation of the building facade. ARCH 473/3522 - Spring 2020
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Analysis & Drawings
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The fluidity appears through plans and sections very vividly. Throughout all the sections taken a new shape of fluidity is explored. The ground floor plan shows the gaps between the skin and the floor slab that allows air into the skin creating the stack effect. The third floor (Offices); the pattern changed, were more knits were added in order to create more defined spaces within the building that could be divided into several offices each with their own opening. The roof floor plan shows how the fluidity became more loose due to less knits in the this area of the facade and thus create an open roof space which could act as a breakout for the employees. In Sections, the fluidity of the pattern in the third floor is clear compared to other floors and it shows the difference between having different number of knits on the same grid. In Section 2, the stack effect is analysed, where the cold air goes in through the openings created and the hot air caused by the heat of the sun goes upwards.
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Environmentally
Through carrying out solar radiation analysis over the facade of the building it was conducted that the parts that have more shade (purple) will havemore voids than the parts that are more radiated to the sun. Through the windrose analysis it was shown that the South facade does not have any prevailing wind. However, the building can be susceptible to some wind from the south west direction and this is were all the openings were directed to, which makes them act as windcatchers.
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Structurally
In order to structurally carry this skin, I thought of dividing the skin into several panels before casting it onto the fabric, then attachingeach panel into metal rods. These metal rods would then be bolted onto the floor slabs of the buildings with the wanted proximity taken into account.
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Overall, the outcomes of this project were countless. I learnt how to think in an algorithmic way that would create for me the outcome that I wanted. This would happen by identifying the steps I need to take and the inputs I could provide in order to produce the outcome I wanted.
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Biblography
• • • • • • • • • • • • • •
https://www.ag.ndsu.edu/williamscountyextension/a-little-bit-country/articles-2014/corn-has-a-unique-root-system https://www.agry.purdue.edu/ext/corn/news/timeless/Roots.html https://acsess.onlinelibrary.wiley.com/doi/abs/10.2134/agronj1974.00021 962006600030002x https://academic.oup.com/jxb/article/66/8/2347/498619 https://www.grasshopper3d.com/forum/topics/fabric-formwork https://www.concretedecor.net/decorativeconcretearticles/vol-10-no-1-january-2010/fabric-formwork/ https://www.bft-international.com/en/artikel/bft_Fabric_formwork_an_alternative_to_traditional_formwork_3132192.html https://block.arch.ethz.ch/brg/files/suco_201100014.pdf https://www.researchgate.net/publication/49290348_Fabric_Formwork https://discourse.mcneel.com/t/creating-fabric-in-grasshopper-and-kangaroo/92606 https://www.grasshopper3d.com/video/flexhopper-intro-tutorial-1-cloth-simulation-collision-objects https://www.archdaily.com/922897/how-do-double-skin-facades-work https://study.com/academy/lesson/double-skin-fa-ade-system-materials-advantages-examples.html https://www.sciencedirect.com/science/article/abs/pii/S1364032116001866
ŠAll rights reserved, American University in Cairo (AUC) May 2019