Student Portfolio
ARCH 473/3522 - DIGITAL DESIGN STUDIO AND WORKSHOP Student Name Spring 2019
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 realization and analysis. Student name: Nour Chalabi Student ID: 900170397
Š The American University in Cairo (AUC), May 2019
NOUR CHALABI Architecture Student
My name is Nour Chalabi, i am an architecture student . Architecture made me discover so many things that turned into my hobbies like photography, reserach and criticizing. This course is very interesting for me because since the beginning of my journey in architecture, i have tried to explore models and spaces using rhino. So i can say that i found myself in this course.
North Elevation
West Elevation
West elevation shows the fluidity of the external surfaces of the building inspired by the octopus’s movement.
LOCATION: SUEZ
Suez is a seaport city (population of about 750,000 as of August 2018) in north-eastern Egypt, located on the north coast of the Gulf of Suez (a branch of the Red Sea), near the southern terminus of the Suez Canal. why suez? suez is connected by a canal, railways and highways. just like the octopus that has diverse membranes.
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Octopuses can use camouflage, which is when an animal blends into its surroundings. They can change their own color and texture to hide.they can even lose an arm and later regenerate. Also they are very flexible since they don’t have bones so their movenents are very fluid.
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A dynamic building that will be able to adapt to the environment and context through kinetic movements. This adaptibility will help the building to evolve through out the time and give strength and hope for homeless.
3 Pictures showing the development of the model. The progress shows how the different elements has been put together until they reached a flowy design
In these pictures, the development of the model is shown. It is seen the difference between the strip conceptual model that wanted to convey the idea of fluidity, motion and flow. The same idea got translated into several parts that formed a whole model however, the was no homogeneous connection between the different parts of the model. The black strip emphasized the entrance, the 5 strips formed an outer shell to protect and shade the building from the inside.
This developed into a more homogeneous model that is much more simpler and the zones are detectable. The first part is the commercial part where the entrance of it is beside the social zone. The social zone is a very simple platform, beside it, there are the ramps that leads to the residential floors. RESIDENTIAL ZONE COMMERCIAL ZONE
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The commercial zone is an open market that will sell products that the residents themselves will be doing. it will help them in their income and it will give them new opportunities to be able to make money. The space is an open plan so it is flexible from the inside to put tables for shops.
This shot is an interior shot from the residential floor, it shows the mesh and how the light penetrates into the space. The overall quality of the space is relaxing and soothing. The colors are calming and tries to bring peace.
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NORTH ELEVATION
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External shell to cover the building and shade the residential, commercial and social part.
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Residential area is divided into 3 floors accessible by ramps. light penetrates through meshes
Social space intersecting with residential and commercial space forming a node.
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The space frame is composed of a special steel tube-andnodes system. This structure system is used in the outer shell of the building.
SHELL STRUCTURE
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SOCIAL NODE
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COMMERCIAL SPACE
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FABRICATION: Slicer
02 BANK FACADE CANVANS
2 A brief history According to the International Society of Fabric Forming, the first practical applications for fabric formwork were introduced in the mid-1960s for erosion control and to line ponds. In the 1970s, the Spanish architect Miguel Fisac used thin plastic sheets as formwork for textured wall panels. In the late 1980s and early 1990s, three men, each on his own, invented a variety of techniques for fabric-forming aboveground structures.
Mark West – an artist, architectural educator and builder who is now the director of the Centre for Architectural Structures and Technology at the University of Manitoba’s Faculty of Architecture in Winnipeg – invented a series of techniques for constructing fabric-formed walls, beams, columns, slabs and panels. CAST is the first research center dedicated to fabric formwork technology and education.
Kenzo Unno, a Japanese architect in Tokyo, invented a fabric formwork system for in situ cast concrete walls. Rick Fearn, a builder and businessman in Canada, invented a number of fabric formwork techniques. This led him to develop a series of foundation footing and column products now manufactured and sold by Fab-Form Industries in Surrey, British Columbia, Canada. He is president of the company.
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Flexible fabric vs. hardened forms While Fearn’s fabric forms use flexible fabric that allows the weight of the concrete to dictate the final form, Brandon Gore of Gore Design Co. in Tempe, Ariz., prefers to use fabric and fabric hardeners to create a precise mold that can be used many times over. He primarily uses these forms for high-end custom sinks, but he says he’s currently working on integrating fabric-formed structural walls into his new studio space.
Gore uses fabric to form concrete in two ways. He either stretches the fabric over a frame he has made or he lets the fabric flow freely through framework openings. “At this point you can cast the concrete, or you harden the fabric and fine-tune the design into a specific shape, then cast the concrete
“Using fabric as the mold is very conducive to concrete, the high-end decorative sector in particular,” Gore says. “Having this skill set opens up a world of design possibilities that would not be obtainable using any other method.”
ARCH 473/3522 - Spring 2019
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The main objective of this experiment was to create a surface out of a simple plane. The target is to create interesting negative spaces with interesting textures. ARCH 473/3522 - Spring 2019
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POTENTIAL SPACE FROM THE OUTSIDE FOR SOCIAL GATHERING
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SHADED SPACE FROM THE INSIDE.
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WRINLY EFFECT CREATED BY THE ALUMINIUM FOIL. DEEP PERFORATIONS CAUSED BY THE PRESSURE OF THE MIXTURE. Student Name
8 TEXTURE CREATION Aluminium foil is the material i used to created the wrinkly texture. it is a very thin material, foldables, and can be wrkinly very easily.
MATERIAL STIFFENNING As said, this material is light and thin. in order to stiffen it and make it more solid, i added several layer of the sheet, so it can become harder.
Second layer to make the model more thick. in the folds, i made sure to add an extra layer to avoid the cracks. First layer to take the shape of the mold.
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POTENTIAL POINTS OF CRACKS IF NOT WELL FEEDED WITH MIXTURE AND SOLIDIFIED
POTENIAL POINT OF CRACK SO MUST BE WIDE TO CREATE A SOLIDE EDGE
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THE MOLD MUST BE SOLID ENOUGH TO SUPPORT THE AMOUNT OF GYPSUM AS THE SURFACE IS LARGE
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THE ANGLES MUST BE WIDE ENOUGH TO POUR THE MIXTURE
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A I R M A N I P U L A T I O N
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The main objective of this experiment is to see how we can manipulate the form by creating voids while using air. To achieve that, i used a bag and filled it with air then glued it to the cardboard box. then poured the mixture on top of it ARCH 473/3522 - Spring 2019
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The learning outcomes from this experiment ar two things. the first one can be seen in the leftside of the model where it appears light and thin skin. I really liked how it turned ou to be that soft and minimal with such inclosure. on the other hand, the right side of the model, where it appears to be stone-like. very bulky and massive. This happened due to the load of the mixture and the enormous quantity that was put on top of the bag. the weight of the mixture flattened the air bag and resulted in this form without any curvature. However, it showed some textures and thin perfortations that could be interesting in a facade.
In these pictures we can see the perforations and the patterns that got created due to the air and voids.
LAYERED WRINKLY EFFECT CREATED BY THE PLASTIC BAG DUE TO THE SMALL AIR CHANELS CREATED BY THE TENSION AT THE TOP OF THE BAG BY A KNOT.
MIXTURE
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-PUFFED AIR FULLY SATURATED WITH AIR -HIGH DENSITY (90%GYPSUM-10%WATER)
-MEDIUM DENSITY (70% GYPSUM-30%WATER)
-SEMI-PUFFED PLASTIC BAG -LOW-PUFFED PLASTIC BAG
VERY THICK,HEAVY FORM
-PUFFED AIR FULLY SATURATED WITH AIR -SEMI-PUFFED PLASTIC BAG -LOW-PUFFED PLASTIC BAG
VERY THIN,CURVED FORM
AIR CANALS RESULTING OUT OF THE AIR SLITS IN THE BAG CREATED BY THE HIGH DENSITY OF THE MIXTURE .
CONCAVED FORMED CAME OUT AS A RESULT OF THE LOW DENSITY OF THE MIXTURE. THE MIXTURE TOO THE SHAPE OF THE PLASTIC BAG WITHOUT ADDING PRESSURE ON THE MOLD SO IT KEPT THE FORM AS IT IS.
THIN LAYER CREATED BY THE LOW DENSITY OF AIR. HOWEVER IT IS NOT AS SMOOTH AS THE ILLUSTRATION. THE AIM IS TO SHOW THE CONTRAST BETWEEN THE TWO RESULTS.
THICK LAYER CREATING A WALL. HOWEVER, A WALL WITH PATTERNS AND OERFORATIONS AS SHOWN IN THE PICTURE
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After reading about fabric forming, the first material that came up to my mind is fillet socks. i had doubts in the begining about how am i going to stretch the fabric. Also i had doubts if the fabric will let the paste out and finaly, if the sticks will collapse or move out of their place and the mold will be flat with no volume.
wood sticks have been placed in the middle of the fabric to give volume, perforate the form from the inside and let light/air in. The ticks have been cut not very neatly to create a rough surface that will help it to attach in the fabric itself.
After forming the fabric mold by attaching it into cardboard with two nails, i started mixing the paste by adding the powder fisrt the slowly adding water while making sure that it is not very little, so it’s not dry and not too much that it’s not very watery. Luckily, the mixture worked from the first time, i knew i had to be fast in pouring it into the mold. After pouring the mixture, it was left to dry. the fabric did not spill out the mixture and it held it in a good way. I left it to dry for 15 minutes but i noticed soemthing which is the increase of the temperature of the form. At a certain time, the temperature increased and it was hot. However, after a certain time, the temperature dropped down again.
In this picture, we can see how the two wooden sticks created a voume in the mold instead of leaving it flat.
The wrinkly effect is achieved by the streched fabric. when it is overly streched, it created voids between the fabric therfore the wrinkle effect appears.
The voids created by bamboo sticks. A curve has been formed resulting in negative space and motion.
VARIABLES FORMWORK PARAMETERS TENSION Created by nails. the tension helps to increase the elasticity of the material. so the material can take the shape of the mold.
ROUGH EDGES To create the volume and openings, bamboo sticks were inserted but they must be cut in rough edges to hold themselves while pouring the mixtue.
ROTATIONAL POINT these points create the texture and wrinkly effect. THIN LAYER the model breaks when the mold is very think, so it must have a minimum thickness of 8 cm.
WEIGHT AND GRAVITY The formwork must be standing vertically so the gravity can do it’s job. after pouring the mixture, gravity sucks the mixture to the bottom of the formwork.
CREASES AND PATTERNS
ŠAll rights reserved, American University in Cairo (AUC) May 2019
02 PHASE TWO B
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PROJECT TWO PHASE B PARAMETRIC FACELIFT Portfolio
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3 SITE ANALYSIS LOACTION the bank is located in cairo, south 90 road in new cairo. FACADE The facade is overlooking the south-west direction. the main material is glass -The facades is exposed to high dierect sunlight for most of the year.
Prevailing wind is from the North West, the seconary wind comes from the North. We can also find ahigh humidity that levels throughout the year. Therefore,drect and indirect evaporative cooling are needed, while sun shading devices are essential. Also, Cairo has high air pollution level. New Cairo is considered to have a desert climate. ARCH 473/3522 - Spring 2019
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PARAMETERS FORMWORK PARAMETERS TENSION Created by nails. the tension helps to increase the elasticity of the material. so the material can take the shape of the mold.
ROUGH EDGES To create the volume and openings, bamboo sticks were inserted but they must be cut in rough edges to hold themselves while pouring the mixtue.
ROTATIONAL POINT these points create the texture and wrinkly effect. THIN LAYER the model breaks when the mold is very think, so it must have a minimum thickness of 8 cm. Portfolio
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WEIGHT AND GRAVITY The formwork must be standing vertically so the gravity can do it’s job. after pouring the mixture, gravity sucks the mixture to the bottom of the formwork.
CREASES AND PATTERNS
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6 PARAMETERS 1)THIN LAYER Thin layer will help to suck the air into the tube to allow it to circulate easier and then transfer this air to the building itself to help decreasing the amount of sun heating of the facade. 2)CONTROL POINTS They allow to respond to the need of daylight penetration and privacy control. these control points will move in the x and y direction. 3)TEXTURE The textures that were achieved in the model needs to be integrated in the facades as it conveys the desert feeling. since the building is located in a desert area, the texture will match the context in a conceptual way.
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BLOW-UPS
GRASSHOPPER DEFINITION 10
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GRAS
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SSHOPPER DEFINITION
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Biblography
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ŠAll rights reserved, American University in Cairo (AUC) May 2019