Student Portfolio
ARCH 473/3522 - DIGITAL DESIGN STUDIO AND WORKSHOP Dana Abu Ghazaleh 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 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: Dana Abu Ghazaleh Student ID: 900161058
Š The American University in Cairo (AUC), May 2019
Dana Abu Ghazaleh Architecture Student and Athelete
who chose the toughest sport and major. My journey was always challenging as i had to balance between two things that are very time and energy consuming. But honestly, this made me discover more about my potentials and capabilities.Yes, it took from my social life and changed my life patterns but my passion for them made everything possible. i also became the team captain.
Hello! this is Dana. i am an athelete who is majoring in architecture. yes, i mentionned being an athelete first as it is part of my identity because i grew up as an athelete and a ballerina.I will not talk about my history in sports but i can talk to you about it since i started university. I have never been into mainstream or easy things; i have always adapted the idea that life is about exploring and experiencing new things, especially things that may seem hard to do. Rowing which is considered to be one of the toughest sports, seemed to be the right small adventure for me. I joined the university rowing team since my freshmen year so now you can start to imagine my life as a student athelete
Now lets talk architecture, honestly my dream was to study something that relates psychology to interior design especially child psychology. i was always interested in studying the effect of the surrounding enviroment on the human being so imagine for children who are building their personalities and how can a space that they are in effect their behavior at the moment and in the future aka nurseries.Unfortunatly there was not any similar oppurtunity here in egypt and me studying abroad was not an option to my family so the closest route to my dream was architecture. Regarding design, i am the person who is more realistic and functional than extra imaginative. I believe that designing an innovative and life inhancing design within certain constraints is the essence of challenge in architecture. how you should consider the people, the culture, the codes and many more to create something that is simple and unique yet sustainable and revolutionary and being up to date with the knew technologies to aid you reach what you want to achieve.
Table of contents: 01 Mobile Shelter for the Homeless Introduction
Site Analysis
DNA Analysis + Abstraction
Model Development
Fabrication & Mobility
02 Material Exploration Introduction
Fabric Forming Research
Experimentation + Results
03 Paramteric Facelift Introduction
Double Skin Facades Research
Site Analysis
Approach + Development
Final Facade Design
04 Bibliography
Description Located in ELof Minya, photo in thea homeless couple of mobile lines, including shelters are inspired and/or explanation by DNA.references
01 Mobile shelter for homeless
2 Project Scope:
Studies show that homelessness in Egypt is an alarming social issue that is currently affecting more than 12 million people nationwide, including around 3 million street children according to UNICEF and the National Center for Social and Criminological Research in Egypt. Despite efforts by the government to provideaffordable housing to Egypt’s ever-growing population, homelessness remains a pressing issue that hosts serious threats including drugs, abuse, violence and health risks to mention the least, due to the abundance of slums where citizens live in extreme poverty and deteriorating basic services and conditions. Almost 80% of Egypt’s homeless children are found primarily in 10 governorates: Cairo, Giza, Qaliobya, Minya, Sharqya, Alexandria, Assiut, Suez, Beni Suef, and Menofya, based on the Ministry of Social Solidarity’s reports in the past five years. Efforts by the Ministry of Housing and the Ministry of Social Solidarity typically lie short of the increasingly growing population of the homeless. In addition, the outcomes of such efforts tend to result in shelters that are mass produced and fail to provide character and a sense of inclusivity to their residents. Some recent initiatives have attempted to address some out-of-the-box ideas such as mobile shelters and units but have not fully materialized. In this project, I am required to design a mobile shelter for the homeless. You are encouraged to develop several alternatives and design ideas as part of your preliminary search for a language of formal expression that responds to basic aesthetic and functional requirements. My site should fall into one of the 10 governorates mentioned above, which entails an awareness of the context I am designing within and how it informs and inspires your design and character. The design is open-ended in terms of the required functionality, form, mechanism and number of residents, to allow me to generate innovative ideas; it should however lie within the range of 40-50m2.
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3 Project location: El Minya ,Egypt
The site is a trading and adminstrative center located on the west bank of the nile and rich with alot of monuments. Our plot of land is looking directly to the nile
why El-Minya? It hosts a notable percentage of the homeless population in Egypt El-Minya is representative of most of the Egyptian climate.
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5 Conceptural Group board that explains the biological growth of the DNA and its abstraction to guide our individual design process.
Natural Growth Process We were asked to choose any natural growth process as an inspiration. After alot of discussion, we settled on the DNA as we were interested in how DNA growth is the key of the growth of all living organisms. Tt was really challenging to turn those biological terms into architectural terms, experiencies and keywords. Basically,it is a nucleic acid that has three main components: a deoxtribose sugar, phosphate and nitrogenous base.To replicate , the two strands got unzipped into two singles strands to be ready to merge with a new strand.RNA piece called primer bind to the end of the strand untill new strand is ready,primer is replaced with appropriate bases. So, the importance of the nitrogenous bases is what grabbed my attention the most in the process. The Nitrogenour bases are: 4 Amino acids carrying different properties and each amino acid is found twice within the single gene and this was my starting point.
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6 Design Abstraction: I wanted to design something special , i didn’t want to mimic the shape of DNA as my shelter form as shown in the previous precedents. So, i took the route of Bio architecture which is basically, Extracting one principle or more from nature, seek to understand this principle and then incorporate the principle into a new medium, design, or other end result rather than just mimicking the exact shape. My choosen keyworks: Flexibility: Having a kit of parts that can be assembled in various arrangements allowing for fl exibility in spaces or configurations. Modularity: kit of parts such that no individual part is emphasized more than the other ensuring that focus is to create the unity of the whole. Replication/Evolution: kit parts are eaisly repaired and replaced making the incorporation of replication principle attractive for bio-inspired architecture. The gene is created from the 4 amino acids having different functions yet equally important. They get replicated ,have a module and can easily change their configurations.The shelter will be created from 4 boxes and then get replicated ,change configuration and have the amino acids module as proportional inspiration.
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Inspiration: Habitat 67 in Montreal, Quebec, Canada, by Moshe Safdie. A Bio architectural project inspired from DNA. It is constructed from identical, pre-fabricated modules. Constructed over looking water as our site givig an urban/sub urban balance.
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Model Trials: randoumly placing 8 identical squares to form a shelter
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11 Designing professionally, there is nothing called random placement. Every step must have a logic behind it that drives any design decisions.
Design Logic: Game of Life “cellular automation� by John Conway .....WHY? because their rules are very similar. Game rules are : 1- Living cell stays alive when surrounded by 2 or 3 living cells, come to live if surrounded by 3 living cells and if not surrounded , the cell will die. 2- Cellullar automation is multi agent, each cell represent an agent. 3-Cells connected together forms neighbourhood. 4-New generations are created over time, self replicating patterns. 5-For a shelter to be created it needs 4 living cells. -DNA rules are : 1- Amino acid stays alive or come to live when it is surrounded by the other 3 amino acids, will be useless if stayed alone. 2- Amino acids has multi fuctions, each acid has its own function. 3-Acids connected together form genes. 4- For the new born, acids change its placment forminh new gene,self replicating patterns. 5-For the gene to be created, it needs 4 Amino acids. ARCH 473/3522 - Spring 2019
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12 Implementing Logic in the form: (Stage 1) After studying game of life patterns, i chose the “Glider� pattern because its final outcome gave me the impression of branching mechanism of the DNA. So, i started working on it and understanding it manually. The problem here with this pattern is that alot of cells are connected to each other at a point which makes it functionally impossible. Another problem is that this pattern start with five cells which contradicts with my concept of having for main cells and then each cell form a another one creating the functions of the shelter.
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13 Implementing Logic in the form: (Stage 2) Here, i got introduced to the grass hopper where it facilitated my trials of the game by only changing certain variables and the final outcome will show immediatly. The problem was solved when doing many trials of different placments of the four cells and seeing the configuration that has no cells that are connected at a point so now Cell connections was solved functionally. Each eight cells form one shelter, so playing the game a couple of times and make connections would create a neighbourhood of shelters.
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15 A 3D shot of the whole neighbourhood after connecting units together
This is how it will look like after the cells have been replicating them selves forming different configurations of shelters and circulation. i worked spacially and functionally all over the model so that any cell connected at a point is solved and also made a connection between the three mini building like shelters and focused on the architectural function of one shelter which is the highlighted one providing its architectural drawings
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Final Drawings: The shelter consist of 4 parts which fullfill the basic human needs for a family and those parts are distributed among two floors, it contains bedrooms, bathrooms, kitchenette and living room. Ground floor plan
Each unit has it own entrance, entrance lobby and core stairs for the person to reach his shleter and each unit is connected spatially with the other units creating a small neighbouhood or a habitat that has an indoor outdoor experience sheltering people and bringing them together too.
First floor plan
Section 1
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Fabrication: Luckily, my fabrication process was basically folding the cubes and laser cutting as much as needed with different opennings and dimensions according to the function of the cube. I tried doing it on slicer and it was actually interesting as it showed the module but it was too rigid so i just sticked to the folding idea.
Mobility: The portable houses can be transported on a truck to any place and by the mere click of a button of a hand-held battery-powered drill. It also include space for any furiture or appliancies.It is installed with walls and partitions that can be modified to any space and need.
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Gypsum and fabrics will be used too experiement new and innovative techiques for casting.
02 Material Exploration
Project Scope: Today’s computational capabilities introduce an associative and performance-based process that was not available before. Material exploration and digital fabrication in particular is gradually gaining prominence as a fundamental shift in design development and construction. Being able to fulfill “informed manufacturing potentials becomes a principal strategy in realizing innovative contemporary architectural design intentions” – Kolarevic and Klinger, Manufacturing Material Effects: Rethinking Design and Making in Architecture, 2008. In this experimental project, the objective is to physically explore with different materials and fabrication techniques to devise a unit prototype for a building façade. You are encouraged to investigate several physical /digital techniques and material explorations that can support the process of experimentation with your ideas, including but not limited to: Casting Fabric Forming Sectioning Folding
Introduction: Casting is a manufacturing process in which a liquid material is usually poured into a mold, which contains a hollow cavity of the desired shape, and then allowed to solidify. Using fabric as the medium where the liquid construction material will be poured into and formed. The shape of the fabric mold determines the form of the dried solid material. Fabric Forming and Casting is a fabrication technique that falls under the additive fabrication process. The main idea behind it is the parametric design process through changing the formwork process from traditional to one where we use impermeable fabrics to serve the form and function.
Applications:
Walls
Furniture
Trusses
Shells & Vaults
Sinks
Columns
History & background: Roman Era Fabric Forming originated during then Industrial Revolution, but similar ideas were found earlier on, starting with Roman Architecture. Reed marks were found in Roman structures that seemed to be used as formwork for concrete, as also suggested by Vitruvius. They were used to construct cofferdams, plastered vaults, and might have been used for aqueducts as well. Mid-Late 19th Century German Architect, Gustav Lilienthal, initiated the concept of fabric forming. He designed a draped slab using fabric formwork, wire mesh reinforcement, and cast concrete. James Waller then followed this path, after observing the effect of cement drying on a tent. So he developed the idea of using Hessian, or a woven fabric made from any vegetable fiber, to stretch it over a timber frame and plaster it with cement mortar. 20th Century Spanish Architect, Miguel Fisac acknowledged the aesthetics of fabric formed concrete, not just its cost efficiency. He believed shuttering gave concrete the ‘incorrect texture’, so he started using polyethylene (plastic), to give it a smooth, seamless texture.
Late 20th Century: Mark West, and Kenzo Unno independently. Unno, in search of simple, alternative, low-cost construction methods, discovered the strength of plastic netting as a formwork material and subsequently developed a fabric formwork system for load-bearing walls. Mark West began with column forms, eventually included flexible formwork methods for panels walls, slabs, beams and thin shells, all using flat sheets of fabric. Modern Day: After the invention of inexpensive geotextile fabrics that have considerable strength, the industry boomed, and architects started developing many innovative techniques in the field. Attention moved to casting beams and floor slabs that varied their shape according to natural force paths, creating a sculptural beauty, including optimized concrete trusses, double-curvature thin shells and investigations into the aesthetic and structural implications of allowing folds and wrinkles in the fabric formwork.
Advantages: Potential savings of both formwork materials and reinforced concrete. Reductions in transportation, storage and labor as well as dead weight.
Savings in embodied energy and greenhouse gas emissions, making for more sustainable designs.
The permeability of the fabric will affect the quality of the concrete surface, reducing the numbers of air voids and blowholes, and therefore improving overall durability.
Fabric Thin, strong, Flexible Membranes (30% Lycra a& 70% polyester)
Wire mesh Secured to the top of the wooden frame to hold the fabric to the top
Screws To control the sliders by tightening or loosing
Concrete Heavy cast material
Wooden Frame Frame for the fabric
Frame for the fabric Timber sliders
Materials used:
Techniques: Fabric cast concrete by robotic arm: Pouring a concrete fiber glass mixture into Y-shaped Lycra sleeves stretched into position by six-axis robots. The fabric allows users to create many shapes without having to cast a unique mold every time they produce a new shape. This lends itself well to parametric design, where dramatic forms can be achieved by digitally altering a set of variables at the design stage. Rectangular formwork: we make rectangular boxes to cast wet plastic concrete. The flexibility of a fabric sheet mold, however, allows us to escape this geometric cul-de-sac. Fabrics under stress will spontaneously produce shapes of curved resistance, and if cunningly restrained, can produce geometries as well. Obstacle based formwork: Often fabric is formed by placing obstacles like foam or plastic beneath the fabric so the liquid takes the shape of negative of the obstacles (the sunken areas in the fabric)
Precedents: Knit Candela, Zaha Hadid: It was built on an ultra-lightweight knitted formwork that was carried to Mexico from Switzerland in a suitcase which exhibits how fabric formwork can allow the flexibility of structure resulting in such 3-dimensional curvature. With a layer of stiffener coating and then concrete being poured over. Double-layered textile produced as a single piece. the visible inside layer is an aesthetic surface that displays a colorful pattern and reveals traces of the supporting cable-net falsework system. the exterior surface fulfills technical requirements by including features for inserting, guiding and controlling the position of additional formwork elements.
Fatty Shell, University of Michigan: Alternatively, rather than using geotextiles, rubber was used to create the formwork, as its elasticity gives room for the concrete to flow and plywood discs were often inserted to correct the shape. The form was also tensioned in areas to give more structural support. The concrete was poured into the fabric.
Experimentation 1: The target for this experiment was to produce a unit that would for a modular shape that later would be translated into a double skin for the required building to serve the functional, environmental and aesthetic needs while it purtrude, open and close. The first trial was done through making a box with the required dimensions and also create a form that has the openning area needed so that it is placed in the middle of the box to leave a gap when casting the cement and finally i added the fabric and poured the cement. This experiment was done twice, in the first time it failed because it was my first time ever dealing with such a material. While i was doing the mixture, it dried out very soon and i had no idea about the correct ratio between cement and water for it to be good but i tried anyway and poured the mixture into my frame and the result was a total mess, it all cracked. For the second time, things went right and the unit was successfully formed. Materials used: Box 30x30x15 as formwork Piece of cloth Gypsum Foam board shaped to make the intended hole Wooden spoon and box for gypsum preparation water
Outcome & Reflection: The physical model process was a tough one. From the research, I thought that the fabric formwork could be easily handled that I tried to change some of the technicalities and challenge its materials. However, when it came to practice, handling the gypsum was not as I have expected. The density of the material was not taken into consideration while creating the fabric formwork. Accordingly, the shape didn’t come out the way it was planned in the first trial, the mixture of the gypsum was a factor of failure as more water should have been added in order for It to take the shape of the fabric. The parts were not well connected so it all broke down. Then in the second trial, i successed in forming the shape that i intended to get when i studied more the ratio of gypsum and water but it turned out that i didnt really understood the task as i used a box that is setteling and the fabric is just placed above it so it seems like a very normal casting techniques as if the fabric has no need to be placed there which is true so in my next experimentation i will be testing a more dynamic techniques where fabric is the actual formwork.
Experimentation 2: As this was the first encounter with this type of experimentation, a simple prototype of the idea was tested out. A frame was created to define the volume and a piece of fabric was placed by hanging on sticks and held by clips. The cement was then poured and left to dry. Although, the model didn’t hold, input parameters that could be experimented with later were extracted: Fabric/ texture Control points Opening diameter vs unit thickness
Parameter 1 : Fabric Textures Smaller units were created as the factor being tested didn’t require a large volume, Four fabrics were used to compare the texture resulting of the materials. The intention was to create a smooth surfuce just like the precedent but it felt less interesting. So, i tried several fabrics that vary in their roughness leve, taking it a further step with a fabric with inprints that are clearly showing on the cast and actually i saw potential in the last black fabric with inprints on it. Outcomes: The only input here was the fabric so let us discover its potentials: -The pattern in the inprint fabric can be used further as opening that control air movement. -Playing with the inprint thickness and the thickness of the poured material can form total voids, shaped as the pattern of the fabric.
Parameter 1 : Testing opennings Different number of openings with different sizes were used to test solid to void ratio that the cast can handel without breaking. The experiment is done in 4 identical plates with the same about of cement poured to keep the parameter of thickness controled. Outcomes: In a cast 10x10x1.5: -opening with diameter 5cm or more will weaken the edges and break the cast -the solid to void ratio can reach 60% without falling apart but openings should be distributed. -openings can be played with later on for shading purposes, work with the extrusions and thicknesses.
Parameter 3: Testing Thickness Shorter Sticks were used to provide space for a thicker base for the unit to test if it is gonna break this time or not plus integrating the material with inprints to see its outcome. Outcomes: -If the whole unit thickness is 9 cm, the base must not be less that 2.5 cm ( 3:1) -The depth of bulges to the base is an important parameter to put into consideration. -In the 9 cm depth unit, if the depth of the bulg in the z direction is nore than 7.5, the bulg will fall from the rest of the unit. -Can play with the heights of the control points so it result in units that can self shade
One of the facades taken as an inspiration for this phase
03 Parametric facelift
Introduction : The final phase of the course was dedicated to retrofi tting the facade of Blom Bank Headquarters with a responsive parametric facade. So, fi rstly a brief research was conducted on double skin facades. Then the parameters deduced from phase 2 were altered to suit the developed concept. Using these parameters, an appropriate facade was designed.
Preliminary Research
Principles+Classifi cations: ● It is an envelope construction composed of two transparent ‘’skins’’ that are separated by an air corridor. ● It is a form of active façade, because it employs equipment, like fans or solar/thermal sensors. It also integrates passive design strategies, such as natural ventilation, daylighting, and solar energy. ● It is a system that can be created over an entire façade or just a portion of it. It can be installed to any existing building with minimal adjustments.
Response to hot climates: ● When solar radiation is high, the façade cavity has to be well ventilated, to prevent overheating. The key criteria here are the width of the cavity ( min 20 cm ) and the size of the ventilation openings in the outer skin ● The air change between the environment and the cavity is dependent on the wind pressure conditions on the building’s skin, the stack effect and the discharge coefficient of the openings. ● These vents can either be left open all the time (passive systems), or opened by hand or by machine (active system). Installation Techniques: There are 2 main types of installing a double skin facade: Stick construction and Unitised Construction. Unitised facades are ones that are attached to the existing slabs. They dominate the curtain wall market especially for high-rise buildings because of the time saving on site, advantages for installation access, cost-savings by a semiautomated production for many equal units, and the quality improvements through pre-assembled products in a factory. On the other hand, Stick systems depend on guide railsor attaching a frame which carries the units of the designed facade. Stick systems are typically used for low-rise buildings, entrance areas, or smaller developments.
Design Approaches:
Advantages:
Different typologies of double skin facades
Reduce cooling and heating demand. Allow clear views and natural light. Improve insulation, whether thermal and acoustic. Allow natural ventilation and air renewal, creating a healthier environment.
Different separation concepts between cavity & interior
Disadvantages: Much higher initial cost of construction. Space consumption. Maintenance demand.
Different ventilation concepts
It may fail to function properly if the context changes significantly. Software limitations could become an issue in implementing the design
Site Analysis: Location: The building to be retrofi tted with a facade is the Blom Bank Main Offi ce located in El Teseen Street. It is an office based building that is located on the prime spine of new cairo which is teseen street. It is overlooking the street from the south and an empty parking lot at the north. Most offices are placed south and south west to maximize street view but they also face the worst sun orientations. Environmental analysis: Strengths -Exposure to Northern wind due to the hind empty plot occupied by a parking lot. -Large facade area could be used for diff erent purposes. -Surrounding streets and plots create a buff er. Weaknesses - Northern winds could be blocked by a future buildings. -The building is exposed to a lot of noise & air pollution from Teseen. -The facade is South- Western which faces the strongest sun.
Transition from Phase 2 In phase 2, a Bulging effect was created to provide flexibility for user & environmental flexibility ;however transitioning to phase 3, a simpler approach was taken.The Bulgy effect is implemented with the sticks becoming control points, the clips becoming the attractor curves, a minimum openning diameter is installed and the self shading is on. Conceptual Approach The larger vision is to create units that respond to the environmental and user needs. The aim is to achieve this by creating units that purtrude, open and close according to sun movement to control the amount of heat radiation and create active vent mechanism. In addition to giving the user the oppurtunity to be in control. Also, by reconfiguring the slabs, a self-shading design could be resultant. The extension/recesion of the slabs will create spaces for architectural benefit of the users. Slab Reconfi guration/ Architectural Benefit The slab of the lower floor is extended to create experiential areas for bank clients/employees, on the next floor the slab will stay the same to create a double height experience in the ground floor. While for the upper office floors, the slabs are extended to create balconies as gathering space. This slab confi guration also allows for self-shading from the southern sun.
Environmental Benefits: seasonal: the facade will be having an active vent mechanism where the western part of the facade open allowing the northern wind coming from the change in pressure of the rectangular openning of the building to inter the atrium in summer and stay close in winter. Daily: - Each cell or clustar of cells change their height to self shade another cell or another clustar. - Each cell will purtrude, open and close according to intensity of sunlight. -At the most prominent functional zones there will be like attractor points where Light, heat & visibility from interior space can now be optimized as per user requirements
Parameters: - units purtrude, open and close according to sun intensity not direction to allow natural light and minimize sun radiation.
- attractor points on curves that move with the sun movement creating an active vent for the building
- thickness of a unit and the max diameter of the opennings were installed according to results from Phase 1
- control points by the users for private offices controlling amount of light and visibilty
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Modeling attempt: -in my first couple of modeling trials i wasn’t really lucky to generate all my parameters together untill this trial where i achieved two parameters that are enviromental flexible altering with the sun movement but the user flexible one wasn’t there yet -the scale wasn’t correct and the experience behind the facade was very static or bascially no experience.
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Model iterations: 12 pm
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Sections: In the first section, it shows how it feels when the user choose to bulge the facade creating a very welcoming space. In the second and third sections, they show the user experience when the facade is activily venting and letting the northern wind in the building and then close .
Plans:
Biblography • • • • • • • • • • • • • • • • • • • • • • • • • • •
Bruce. “DNA Replication and Recombination.” Nature News, Nature Publishing Group, 23 Jan. 2003, www.nature.com/articles/nature01407. Computational Design of Fabric Formwork - Shape Lab. shape.bu.edu/fabric. “DNA Cryptography.” GeeksforGeeks, 9 Aug. 2019, www.geeksforgeeks.org/dna-cryptography/. “DNA Is the Future of Data Storage: Secure Cloud Backup Software: Nordic Backup.” Secure Cloud Backup Software | Nordic Backup, 2 Feb. 2018, nordic-backup.com/blog/dna-is-the-future-of-data-storage/. Ganea, Simona. “22 Unique Building Designs With Dynamic Facades.” Homedit, 14 Nov. 2018, www.homedit.com/ building-with-dynamic-facades/. Harlan, Becky. “Egypt’s Limestone Quarries: Picturesque but Deadly.” National Geographic, 23 Mar. 2015, www.nationalgeographic.com/photography/proof/2015/03/23/egypts-picturesque-butdeadly-limestone-quarries/. Klemenc, Stacey Enesey. “Using Fabric in Concrete Formwork.” Concrete Decor, 8 May 2020, www. concretedecor.net/decorativeconcretearticles/vol-10-no-1-january-2010/fabric-formwork/. “Molecular Mechanism of DNA Replication (Article).” Khan Academy, Khan Academy, www.khanacademy.org/science/biology/dna-as-the-genetic-material/dna-replication/a/molecular-mechanism-of-dna-replication. “Prism.” Merriam-Webster, Merriam-Webster, www.merriam-webster.com/dictionary/prism. Tornea, O., and M. E. Borda. “DNA Cryptographic Algorithms.” SpringerLink, Springer, Berlin, Heidelberg, 26 Sept. 2009, link.springer.com/chapter/10.1007/978-3-642-04292-8_49. Veenendaal, Diederik, et al. History and Overview of Fabric Formwork: Using Fabrics for ... 2011,