Mariam Shehata -AUC - ARCH 473/3522 by ARCH 473/3522 - Digital Design Studio and Workshop

Student Portfolio

A R C H 4 7 3 / 3 5 2 2 - D I G I TA L D E S I G N S T U D I O A N D W O R K S H O P Mariam Shehata 900182718 Fall 2021

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: Mariam Shehata Student ID: 900182718

Mariam Shehata Architecture Student

I am Mariam Shehata, choose architecture even though i was warned about it stress and all-nighters. Love challenging myself and working on the things i love and the things i am curious about. Welcome to my 473 storybook, where you can see the process and development throughout the semester and the different projects. I am glad I was able to make it till this point in the semester and finally submitting my storybook, I have learned a lot through the challenges and stress, however we were still able to make the most out of it and enjoy the process.

Photo of one of the trials from from this project

01 P1 :The Blank Façade Canvas

RESEARCH WHAT IS CASTING? Casting is an old method that is used to create forms with materials that are liquid and solidify with time

HISTORY Casting started with melting metals that are found in nature, such as gold, silver, and copper. Formworks as we know them today, has been introduced during 1960’s and before that, formworks were made from clay and wax, nowadays there are many materials like plastic. And in the 1970s architects like Miguel Fisac have started to use plastic and textures elements to create textures walls. Later, formworks have been used in many applications such as casting concrete columns.

TECHNIQUES - Sand Casting - Die Casting - Squeezing die casting - Investment casting Portfolio

1- SAND CASTING The idea here is mainly that the mold is made from sand, so the cavity in the sand is the shape of the final product.The sand is usually strengthened with clay,so that it holds its form, and the casting is usually melted metals. This is the simplest form of casting and is one of the earliest methods invented

2-DIE CASTING This method is done under pressure, typically used for metal castings, such as iron magnesium and aluminum. The process consists of pressing high pressure liquid metal into a mold cavity with high speed. Then it cools and solidifies in the mold. Application is in many industries such as automotive, instrument, agricultural machinery, tools and electronics : clocks, cameras,… ARCH 473/3522 - Fall 2021

Mariam Shehata

3- SQUEEZING DIE CASTING The product is formed under high pressure, liquid or semi-solid metals are pressed into the cavity. And then another palette is pressed over the metal to create the shape from both sides. It offers a good quality and has lower percentages in shrinkage and pores than the standard die method. It also shows more accuracy and easier automations. Applications: various types of metal alloys

Advantages

Disadvantages

• Good product quality

• Fine pores and shrinkage could occur

• Stable size, no shrinkage

• Should not work under vibrations and

• Molds can be used multiple times • Good for mass production • Economical benefits Portfolio

load • When metals have high melting points, molds have low life expectancy

4- INVESTMENT CASTING This casting method works with making patterns into fusible materials, their surface would be covered with multiple layers. Later, the patterns is melted out of the shell to be without a parting surface, sometimes it is filled after baking at high temperature. Suitable for complex relatively small parts, products that need high precision and turbine engine blades

MATERIALS Materials should have one important characteristic, so the casting method would work, which is having the ability to solidify with time. So that the liquid material can be poured into the mold and then solidify to the final product. Plaster - Melted metal - Aluminuim - Steel - Bronze - Iron - Brass - Magnesium - Wax - Concrete

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PRECEDENTS

FattyShell (v.01) by Kyle Sturgeon, Chris Holzwart and Kelly Raczkowsk

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Concrete Chair by Tejo Remy & René Veenhuizen

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Photo of one of the trials from from this project

MATERIAL EXPLORATION

MATERIAL EXPLORATION I RATIO EXPERIMENTAION

FIRST TRIAL

SECOND TRIAL

RATIO (1 : 1) (WATER TO GYPSUM)

RATIO (1 : 2) (WATER TO GYPSUM)

This ratio created a runny mixture, it will flow from the mold and would be hard to settle, so it will not harden easily.

This ration looks solid enough to harden and not flow from the mold, it also flowy enough to be poured and shaped easily. This is the ration that will be used in the next trials.

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EXPERIMENT 1

A. POURING GYPSUM OVER A PLASTIC BAG TOPPED WITH BOTTLES CAPS

The gypsum layer was too thin at the caps, it broke into pieces while removing it from the plastic bag. The layer of the gypsum should be equally poured in all spaces to ensure that there are no weak points. Gypsum is very easily textured, by using a textured mold, it takes the same shape while drying.

B. POURING GYPSUM OVER A PLASTIC BAG WITH HOLES CREATED WITH THE TOP OF PLASTIC BOTTLES TO CREATE PERFORATIONS

This trial was thick enough and strong enough however, the onlu problem is that the plastic bottles could not be removed, as they are fixated to the gypsum due to the ‘twisting cap’. ARCH 473/3522 - Fall 2021

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C. CREATING LARGER PERFORATIONS, WITH THE SAME THICKNESS AND RATIO Thickness: 2 cm Diameter: 6.5 cm (d) : 2cm

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Larger perforations work fine with this thickness and ratio, so this should be adapted in the next trials and experiments. The egde is a weak point

EXPERIMENT 2 - EXPERIMENTING WITH THE INFLATED-LIKE CAST

A. TRYING THIS WITH PLASTIC BAGS, WITHOUT PERFORATIONS The gypsum layer was too thin at the edges and wrinkles, so the weakpoint were easy to break.

B. CREATING PERFORATIONS AND INCREASING THE GYPSUM LAYER THICKNESS

SUCCESS! One perforation was weak, due to uneven gypsum distribution

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EXPERIMENT 3 - EXPERIMENTING WITH SOAKING FABRIC METHOD SAME SHAPE DIFFERENT METHODS

A. CASTING ON WATER BOTTELS Due to the uneven thickness of the gypsum layer, some weakpoints were created, especially between the two half circles. so, it broke in halfs. Creating an even layer is hard to reach in a curvy form.

B. SOAKING FABRIC 1- Cut the fabric 2- soak the fabric, ensure full coverage 3- layer the fabric over the mold and the desired shape 4- let it dry SUCCESS! Portfolio

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MATERIAL EXPLORATION II EXPERIMENT 1 - SMOCKING EFFECT + PLASTIC BOTTLE A. TEST OF SMOCKING EFFECT

Taking the cast of the foam paper is easy, however, the layer was weak, needed to be thicker on some parts so that it will not break. SUCCESS of the pattern and the smocking effect

B. TRIAL 1

After creating the smocking effect and wrapping it around the bottle, the gypsum was pured, however, after it dried, it broke. Because of the curve it was harder to remove the gypsum. Also, it needed to be a thicker layer. Portfolio

C. TRIAL 2

When trying to take the gypsum off, crackings started to appear, so another gypsum layer was added for support. Oil was layered between the paper foam and the poured gysum. SUCCSSEFUL smocking pattern. Stable structure due to the double cast layer

TRYING DIFFERENT SMOCKING PATTERNS

This shows that a more 3 dimensional pattern needs to be created. One with more control points and different height, width and dimensions. ARCH 473/3522 - Fall 2021

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EXPERIMENT 2 - SMOCKING EFFECT + WOODEN STICKS SMOCKING THE FABRIC

Creating control poits, using wooden sticks and glass cups

- thin layer -fabric support -needs to be smoother

REFLECTION Leaving the fabric leads to stable structures. It is stable without any other support (no sticks or cups). SUCCESS. However,it needed a thicker layer of cast to be poured so that it would be stronger. Just like in Material Exploration I , leaving the fabric inside the final product offers extra support and makes it easier for the model to stand on its own as well as to be shaped freely and as desired.

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MATERIAL EXPLORATION III EXPERIMENT 1 A. Smocking effect + Wooden Sticks

REFLECTION The fabirc used is a fabric mesh , after the smocking it has a center point,that works as a base for the model. Also, the fabric is standing almost predndicular to the floor surface. There ar surfaces that are about to 12 to 15 cm higher and straight from the base. So, the edges of th fabric are 15 cm high in the z-direction. Other points, such as the curvy structures are about 7cm high. The resulted shape is intresting as it has points in all three directions. While pouring the gypsum, it was too heavy for the fabric, so it needed outter support, whic was provided with glass cups and wooden sticks.

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FINAL PRODUCT

CONCLUSION

The final product stands without any outer support. The relationship between the highest point and the base is proportional, the higher the point is, the more weight and width should be applied in the base.

Stability is the key to any model. The gypsum is usually heavier than the plain fabric, so it needs outer support till it dries. Every model needs a base, that has the majority of the weight and the most support, it supports the rest of the model while andafter it dries. Creating supports with wooden sticks works just like stretching a point in rhino, or any digital software, the curves can be modified by controlling the points (here the wooden sticks) in the x- y- and z-direction. The number of points create different attraction points to the curves, which makes the shape moreinteresting. The smocking effect shows better results when the distance between the stitches and creases is more than 2 cm (from previous experiments as well), so that there is enough space for the casting material to be poured and therefore be shaped. ARCH 473/3522 - Fall 2021

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EXPERIMENT 2 - MESHES + WIRES TRIAL TARGET: This experiment should focus on creating a fabric mesh that is reinforced in specific places for support. So, it does not need outer support before or after driying. This was tragted by smocking the fabric mesh with wires and metal mesh for support.

REFLECTION This model did NOT need any outer support, it was able to stand on its own while and after pouring the gypsum. It also has high points that are supported by the base of the model and the wires that are running in the fabric. The metal meshes create the support needed for the base. Portfolio

FINAL PRODUCT

The metal mesh that is located on highest point as well as in the base of the model work as a primary formwork to support the model. The wires work as a secondary formwork for support, it is rigid and strong.

CONCLUSION To reach the stability in this model, meshes and wires had to be implemented. The gypsum worked fine with these materials and one layer of gypsum was enough for a strong model. Creating such a mesh that is flexible and has many control points, basically it is control points. Each point in the fabric can be located in any direction. This represents the mesh- tool in Rhino, where the points are on a surface and control points are scattered in it to create curves ad creases. Each point is affected by the ones around it, because they all form one surface, so each points can be controlled individually and by its surrounding points as well. The distance between the control points is the key here. The larger the distance the less the effect each point has on its neighbouring control point, anti-proportional. ARCH 473/3522 - Fall 2021

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CONCLUSION & FINAL REMARKS

MODELLING PARAMETERS - the distance between the control points - having a base, that supports the shape - creases distances and dimensions - appropriate support

PHYSICAL MODELLING PARAMETERS - Materials, that are used for the supports (wooden sticks,..) - formwork/ mold materials (metal mesh, fabric mesh) - Mixing ratio of Gypsum the more effective is working with 2:1 (Gypsum:Water)

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REFLECTION The material interplay is not like the digital experience,it is very different, however, it does teach us the parameters of any model, wheter physical or digital. The digital interface does not include the materials properties and its behavior. So, working physically teaches us to always consider the materials that we will be working with,as well as, the paramters of shapes and how each technique has its own application. Sometimes preparing the process and steps, meaning the thinking about which technique to use it is the most important. ARCH 473/3522 - Fall 2021

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Photo of final presenation/ product of this project

02 P2 : Learning from Nature

SUPERNOVA WHAT IS SUPERNOVA? Powerful and Luminous stellar explosion Supernova Growth “Growth starts when the star dies”

STRUCTURE

Supernova have a core that holds all th eneregy in th ecenter of the structure. The structure is typically symmetrical and axial. The outter layers consist of heat and pressure that are balancing eachother out.

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CLASSIFICATION In the beginning, Rudolph Monkoski recognized only 2 different types of supernovas, now there are four main types of supernovas. The classification is based on their presence of absence of certain features in their optical spectra.

HOW OFTEN DOES IT HAPPEN ? There have been 8 known supernovas in the Milky way. It is extimated that there are about 10 supernovae occuring every second.They are just clear to the bare eyes.

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HOW DOES IT HAPPEN A. Core Collapse

Gravity pressures the core of the star. The core heat creates energy, combined with the core pressure, the star looses its nuclear fuel and explodes

B. Binary System

Two starts orbit around the same point. One (white dwarf) takes the matter to the other. Eventually, the volume is too much and it explodes.

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ABSTRACTION -- TYPE 1A: BINARY SYSTEM

Two stars are orbiting around each other, and not touching. This leads to a

movment,

cohesion of

represented below. There is a dominant structure (black), and a subordinate one (grey)

ABSTRACTION -- TYPE 2: CORE COLLAPSE Due to the pressure and force on the stars core, it explodes.

OPPOSING FORCES RESISTANCE

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SSE GATEWAY CONCEPT

The model and the people walking represent the orbinitng elemnts. The model resepcts the circularion and behavior pattern in the gateway, with seating area and an opening.

SITE CIRCULATION There are about four main circualtion paths. Each path has its own behavioral pattern. The one next to the SU market window attracts students to sit and talk there. However, the other ones are manily studnets reaching their classes or the plaza.

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FINAL PRODUCT

The horizonatal panels represnt the matter transfer how the pressure is applied at the end of the model, where the distances between the panels decrease.

IN CONTEXT The circualtion of the users has been put into consideration. There is a seating area, a bench, reflecting the students behavior and where they usually stand and sit. There is also an opening so that the path of the poeple is not obstacted in any way because of the gateway pavillion. ARCH 473/3522 - Fall 2021

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35 Grasshopper Defention

GRASSHOPPER MODELING PROCESS 1- Start by drawing the axis and the plan on rhino 2- draw the curves of the desired shape on rhino 3- create the pannelings with the desired dimensions and count 4- Create or Loft the desired curves 5- Morph the panneling to the surface 6- create openings and add the materials

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SSE GATEWAY II (DEVELOPMENT) SITE CIRCULATION

Adding on last time, the analysis now includes the different behavior of each circulation path. The pace and charcter of each path, as well as its main direction. So, there are bascially three main paths. The main one, that basically curves the whole gateway. The Secondary one that shows a relaxed path from the plaza and the SU Market. ANd the thrid one, the fast pace one, where students are usually in rush reaching and leaving their classes.

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THE THREE DIFFERENT CURVES

The main dominant curve - shows the character of movement and circulation

The fast pace curve, with substarte pattern, that is dense at the edges.

The relaxed curve, with tubes as the main element, with large distance between them and embedded seating area

IN CONTEXT

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MODEL

Top View The different circulation path have been respected according to the pace and character. Also, regarding the supernova, only the dominant curve is intersected by the other curves. However, as in the binary system, the movement and matter transfer happens without any intersection of the two starts path, here two the two subordinate curves show no intersections. From the top it looks like they are intersection, but the are not.

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3-D SHOTS

MAIN CURVES STRUCTURE IN CONTEXT

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41 Grasshopper Defention

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PARAMETERS

• • • •

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Panels and tubes dimensions Number/ AMount of panlels or tubes in a curve the distances betwen the panels and tubes Substrate: change the form of the cracks, its angles, count and structure.

CHALLENGES • • •

The depth of the dominant form is about 30 cm, when the morphing surface had pointed ends, it created overlayers at the end point. Creating the openings inside the curves, was not so easy, respecting clear heights and not cutting through the whole structure Shapes and patterns that respect the circulation behavior of each zone / path

REFLECTION Working with Grasshopper was not the easiest task, because sometime the desired shape or pattern cannot be easily found. I felt like i am not familiar with all the available commands and batteries to reach what I wanted to do. However, by the end of the project I became more familiar with the software and the process that i need to go through to reach the desired shape. Parametric designs are more structured and follow a specific way of thinking and organization to reach a desired shape, which is a new designing process for us as well .

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Photo of final presenation/ product of this project

03 P3 : Bloom Bank Facade

SITE ANALYSIS

Location Bloom Bank Egypt, SouthTeseen Street, NewCairo, Egypt

Five Storey Building Assumed Function of each floor: Ground floor: Public Zone and Bank Services First Floor: Public Zone Second Floor: VIP customer Services and Lounge for Visiotrs and Staff Third Floor: Meeting Rooms and Offices Fourth Floor: Manger Rooms and Offices

Problem The Glass Facade is on the South / South - West Facade. Summer: South facade will gain alot of heat and the building will require high HVAC to counter this heat gain. Winter: Heat gain will warm the building, no heating system is needed. HOWEVER, winter months and the Portfolio

Environmental Analysis Sun Shading Chart

December : Shade from 11 am November: Shade from 8 am June to October : From sunrise to sunset SHADE IS NEEDED THE MAJORITY OF THE YEAR

Prevailing Wind Chart Main Prevailing Wind: NorthNorth-East Secondary Prevailing Wind: North WEst Maximum Wind Speed: North - West- West

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Dynamic Double Skin Facade PRECEDENTS

KIEFER TECHNIC SHOWROOM, AUSTRIA Double Skin: dynamic folding elements made of perforated aluminium, electrically driven

When Closed the foldsare laying parallel to theglass facade, closing the sun and the view fully.

INSTITUT DU MODE ARABE

- dynamic redesign of the vernacular arabic screen - light sensitive diaphragms regulate the amount of daylight entering the building

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AL BAHR TOWERS, ABY DHABI

mashrabiya - inspired design solar-responsive dynamic screen decreases the towers’ solar gain.

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PARAMETERS 1- Skin Perforation According to the functionality of each floor, the day;ight required will differ. The first three floors, the public zones and customer services, require medium perforation, people stay for limited times. Usually croweded spaces so to lower the need for HVAC, the solar radition and heat gain need to be limited. The upper floors are less crowded with users that stay for longer times, so daylight and comfort is important. Larger perforations are required. 2- Skin Depth 3- Geometry

Triangluar shapes, that open and close according to the sun angle. The triangle main direction: Horizontal, larger side, for maxium shading in the south direction. They rotate directing to the west facade, to be more vertical, for the west facade.

4- Color & Material White / light color to reflect the sun light and increase the daylight reflection to the interior space, also less heat gain. (Material : Aluminum)

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MODELLING PROGRESS I

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MODELLING PROGRESS I designing the first unit

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53 Grasshopper Defention

GRASSHOPPER MODELING PROCESS 1- Triangular grid in XZ plane 2- Explode & get center 3- Polyline 4- add line for depth 5- Scale, explode 6- List Item & Create Surafces 7- Openings

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PARAMETERS 1- Dimensions All dimensions are parametric, the height and width of the triangle, as well as its depth and the panel scale

2- Center rotation The center of the triangle can be rotated, to create more horizontal louvers for the south and vertical for the west

3- Opening Sizes the opening sizes are also controlled using a number slider that affects the scaling factor

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SURFACE AND SLABS MODIFICATION SURFACE modyfing the surface to be more dynamic, cover or shade part of the roof as well, creating space for air gaps and movement.

SLABS AND FLOOR OCCUPATION Modifying the slabs so that the facade that the users can have the full experience of the facade design, as well creating a zoning private hierarchy

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MODELLING PROGRESS II

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MODELLING PROGRESS II PROGRESS

FACADE LAYERS

3. Cre dyna

Cons - Glas - Ran - Mak two u glass wall Portfolio

frame

panels -

FINAL FACADE

eating one surface with attractor point that controls the amic unit, maximized at the private floors.

siderations: ss layer location ndomize the patterns ke it more gradient, no sharp transitions between the units

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MODELLING PROGRESS II

PROGRESS 1 - Looks static - The scale of each panel needs to be revised - Each floor occupation needs to be considered - creating an attractor curve that guides the two units would be a great option

GRASSHOPPER: Using the dispatch command to integrate the two different units in one facade

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PROGRESS 2 - subdividing the surface into three different ones, where each is given a different grasshopper defention to control the sizes of each floor occupations

REFLECTION: i personally believe that this was a “down“ in the process, where the challenge of what comes out as a final product does not match the intended design or look.

PROGRESS 3

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- The scale of the smaller panels should be revised, scale-wise. - Adding an attractor curve for guidance is needed - Working on the transition between the different units is needed, the sharp transition is not recommended

Mariam Shehata

MODELLING PROGRESS II

MODEL FABRICATION 1

many errors needed to be fixed: - because of the three surfaces and the gaps that re created between them, the model was “unreadable“ for the fabrication program CURA - the fact that the panels are only surfaces was also a problem - a thick frame needed to be added to the panels

REFLECTION: the fabrication process is hectic one, the model needed to be changed based on the errors without changing the actual look of the facade, as well as making it PRINTABLE

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PROGRESS 4

63 This was the final modification, where the attractor curve guides the dynamic panels. Around it there are smaller static units. Worked on the gradient between the two units so there are no sharp transition between both.

REFLECTION: I believe that this is result satisfies what I had imagined but was not able to achieve from the first trial. One surface that speaks the same language and has two different units, each responds to the sun in its own way, where this two units create one composition.

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MODELLING PROGRESS II

MODEL FABRICATION 2 Errors include: - the surfaces are too thin - only a few panels can be printed - a lot of suport is needed.

Errors include: - many panels are still not printable, the frame is thin and not visible - huge support amounts SOLUTION: use of “MeshMixer“ to make solid form and genrate support

MODEL FABRICATION 3

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FINAL fabrication file that shows no errors, has a minimum thickness of 1 mm, supports are genrated in MeshMixer. Almost 14 hr printing time.

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GRASSHOPPER DEFINITION

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FACADE ANALYSIS

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PANELS ANALYSIS

Dynamic units Static units

larger triangle is subdivided into four smaller traingles, each with 1 m width and height, with a 0.6m depth. static module has different rotation anglesbased on its orientation in the facade. it also has openings,so that it does not close the natural light and view

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DYNAMIC FACADE MOVEMENT

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ANALYSIS - solid and void

sun from the south

sun from the west ARCH 473/3522 - Fall 2021

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DYNAMIC FACADE MOVEMENT

12 pm

3 pm

1 pm

4 pm

This analysis shows how the dynamic facade responds to the sun, where as the the panels close to minimize the sun radtion into the building.

2 pm Portfolio

REFLECTION: Working first with a sun attractor curve, did not show clearly the hours; howvwer, after plugging the ladybug, hours and seasons were much easier to manipulate -

ANALYSIS - Environmental Sun Radtion on facade This analysis shows the self-shading of the facade itself. Many parts show good self-shading, which means that the facade does not only help prevent sun heat into the building, but also maximizes th effect by the self shading and reducing the heat gain.

Sun Radtion on the slabs This analysis shows the solar radition that enters the buildng before and after the facade installation. After clearly shows better results.

before

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after

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FINAL PRODUCT

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Considering the feedback sessions and the developmnet of each step, this is the final facade design. There is an attractor curve that guides the dynamic unit, maximized at the private zone, there are two unit dimensions, with the smaller unit maximized at the public zone. The static and dynamic unit are randomized within eachother, creating a gradient effect. The facade shows good enviromntal analysis results, as well as being open enough to not close the view completely.

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SCHEMATIC DRAWINGS - PROFILE PLANS

1st Floor

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2nd Floor

3rd Floor

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4th Floor

5th Floor

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SCHEMATIC DRAWINGS - SECTIONS

South Section Portfolio

South-West Section -

West Section ARCH 473/3522 - Fall 2021

Key-map Mariam Shehata

EXTERIOR SHOTS

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EXTERIOR SHOTS

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CLOSE UPS

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INTERIOR SHOTS

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INTERIOR SHOTS

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Biblography

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Aksamija, A. (1970, January 1). [PDF] double skin facades: Thermal and energy performance in different climate types: Semantic scholar. undefined. Retrieved December 17, 2021, from https://www. semanticscholar.org/paper/Double-Skin-Facades%3A-Thermal-and-Energy-Performance-Aksamija/48946529985adac14b0ee5b6d118ca57269a2890 Clayton, D. D. Nova Ejecta ber 17,

(n.d.). Sudden grain nucleation and growth in supernova and Astrophysics and Space Science. SpringerLink. Retrieved Decem2021, from https://link.springer.com/article/10.1007/BF00643499

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Partner, E. G. +. (2010, September 13). Dynamic facade (Kiefer Technic showroom) by Ernst Giselbrecht + partner: Office buildings. Architonic. Retrieved December 17, 2021, from https:// www.architonic.com/en/project/ernst-giselbrecht-par tner-dynamic-facade -kiefer-technic-showroom/5100449?epik=dj0yJnU9NEZENkI5R1R4cm5IVzI0X0lEWm5IRzN5WjZxW TVaSEomcD0wJm49X3hvY0hB cVlacFFoal9SNUhvaUkxQSZ0PUFBQUFBR0Y4UWhv

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Supernovas: Facts, information, meaning, history &amp; definition. The Nine Planets. (2020, August 19). Retrieved December 17, 2021, from https://nineplanets.org/supernovas/ Take online courses. earn college credit. Research Schools, Degrees &amp; Careers. Study.com | Take Online Courses. Earn College Credit. Research Schools, Degrees &amp; Careers. (n.d.). Retrieved December 17, 2021, from https://study.com/academy/lesson/supernova-and-supergiant-star-life-cycle.html

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Tasoff, H. (2017, November 8). Bizarre 3-year-long supernova defies our understanding of how stars die. Space.com. Retrieved December 17, 2021, from h t t p s : / / w w w. s p a c e. c o m / 3 8 7 0 8 - b i z a r re - s u p e r n ov a - d e f i e s - u n d e r s t a n d i n g. h t m l

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What is a supernova? Space Center Houston. (2020, April 1). Retrieved December 17, 2021, from https:// spacecenter.org/what-is-a-supernova/