Marina Shonoda - AUC - ARCH 473/3522

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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 Marina Shonoda Spring 2020 ARCH 473/3522 - Spring 2020

Marina Shonoda

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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: Marina Shonoda Student ID: 900161374

Š The American University in Cairo (AUC), May 2020 ARCH 473/3522 - Spring 2020

Marina Shonoda

IV Marina Shonoda

Architecture Student Hi, welcome to knowing a little bit more about myself I entered university as an undergrad in Fall 2016 and is currently a senior architecture student expected to graduate on Fall 2021.

This course asnwered so many unanswered questions and wonders that Ihad on how to create and design certain forms, that I, as a younger student, thought would never be able to design as a younger student, like complex truss forms and curvilinear shell forms. After this course, I have very strong new tools to utilize to create endles possibilities of forms, and that is so freeing and is giving me so much potential for my thesis project. Not just on a form designing level, but also on the rendering and analysis level. The different graphics that Rhino provides were very useful and convenient to me. I was intimidated at the beginning by the program but I ended up getting really comfortable with it that I used for my design project this semester (photo, a juvenile court with a children empowerment center) alongside uaing it in this course for the veey first time!

Also in this course, I finally understood that parametric design is not just random as I thought! But it has a lot of parameters that need to be followed and manipulated in a logical way.

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01 PROJECT 1:

A SHELTER FOR A HOMELESS FAMILY IN EL-MINYA, EGYPT

02 PROJECT 2A: BLANK FACADE CANVAS

03 PROJECT 2B:

PARAMETRIC FACELIFT: BLOOM BANK, EGYPT.

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01 ARCH 473/3522 - Spring 2020

Project 1: Shelter for a Homeless Family in Shonoda El-MinyaMarina Egypt

1) Inspiring Element of Growth 2

The inspiring element of growth in nature as a design driver for me was the morpho-elastic development of molluskan shells by surface and volume growth.

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Molluskan shells grow via an accretive process occurring at the shell margin by a part of the anatomy called the mantle, which is a thin elastic membrane lining the inner surface of the shell. At each growth increment, the mantle extends slightly beyond the calcified shell edge, adheres to the rigid shell, and secretes matrix proteins, which, through biomineralization and calcification harden into a new layer of shell. Within this process is an interesting mechanical interaction, due to the fact that the mantle is itself a part of the living mollusk, and thus undergoing growth separate from the growth of the shell. As the mantle may have grown since the last shell secretion, the mantle margin may be longer than the shell edge, and hence attachment to the shell may induce deformation of the mantle tissue that is then “cemented� in the shell shape upon secretion and calcification.

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4 2) Abstraction Process to Concept Dual Environment of External vs. Internal in the Mollusc Anatomy

The hard shell houses many internal compartments (rooms) but the x-rays show that it has a main spine keeping it all together. These compartments house the delicate organs of the mollusc animal. The shell seperates 2 different worlds, the outside and the inside, and the in-between...

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5 5 Rules of Morphological Growth in the Mollusc Shell

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3) Modelling Iterations

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4) Conceptual Application to the Shelter

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5) Trials for the External Shell Ridging according to Shade, Shadow and Venti

ilation

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6) Anatomy of the Shelter

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7) Final Product

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8) Fabrication Software

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02 Project 2A - Blank Facade Canvas ARCH 473/3522 - Spring 2020

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Casting the Stone Cast concrete or “cast stone,� as it is properly called, has been in use literally for centuries. Ancient Romans and Etruscans used lime and other minerals to make concrete that was then formed or cast into various shapes, including decorative sculptures for buildings. Even the ancient Egyptians used a similar process to cast some of their sculptures. The quality of any cast concrete depends on the mix of minerals. Traditionally, lime was the major ingredient. However, even the Romans created both low quality concrete using only lime and higher quality concrete -- which added more expensive minerals.

Today, Portland cement is the modern choice and cast concrete is utilized on many buildings as a lower-cost alternative to natural solid stone.

Also an important factor to the quality of most concrete mixes is the amount of water utilized. A soupy mix will yield a casting that is soft and vulnerable to wear and damage. A somewhat dryer mix will yield a more solid stone-like quality concrete.

Another important factor in achieving a quality concrete casting is to make sure all of the air pockets are eliminated as the mold is filled with wet concrete. To do that the concrete should be added slowly and shaken down or tamped into the mold.

Making the Mold Mold-making is another centuries-old tradition. Molds can be complex like those made to cast automotive parts or as simple as the plastic molds that children use to cast clay toys. There are many compounds used to create molds. The two most common are plaster and silicon RTV (room temperature vulcanizing) rubber. While the mold-making process can sometimes be complex and involve many steps, the basic concept is not a mystery. You can learn to do it yourself. The basic elements needed to make any mold are: - A model -- from which the replicas will be cast.

- A mold medium -- plaster is common, as is silicon RTV. - A parting agent or mold soap -- so the casting won’t stick to the mold.

- A cleaning solution -- to clean up the mold after each casting

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Precedence

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3) Lessons Learnt

Definitely less water needs to be put thanI did, although i don’t know the exact gypsum to water ratio yet, sincce it took so much time to dry! I should add gypsum to the water not water to the gypsum.

The form of the plate was more apeealing from the outside than the inside, i envisioned it as a cast of the outside, not as 4 different bodies. Is there a way to cast its outside form?

The strengethening elements need to be put before pouring the mix, not after! Since it just floats on the top!

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4) Final Product

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5) Parameters Deduced

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Project 2B - Parametric Facelift: Bloom Bank, Egypt Marina Shonoda

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1) Site Analysis

2) Concept

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3) Inspiration of the Pattern:The Islamic Mafrouka

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Jeen Noval’s Arab World Institute

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4) The Structural Frame of the Facade

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5) Openings in Response to the Noon Sun

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6) The Main Elevation

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7) 3D Shots

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Extrusions on the inside of the Facade

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8) Grasshopper Definition

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Biblography

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Source 1: Pre-Print Research Paper: A computational framework for the morpho-elastic development of molluskan shells by surface and volume growth. Authors:Shiva Rudraraju, University of Wisconsin-Madison, Krishna Garikipati, University of Michigan Year: January 4, 2019. Publisher: Research Gate URL:www. researchgate.net Source 2: Book: A New Kind of Science. Author: Stephen Wolfram. Year: 2002. Publisher: Wolfram Media.

Place: Champaign, IL. ISBN: 1-57955-008-8. URL: www.wolframscience.com

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ŠAll rights reserved, American University in Cairo (AUC) May 2019 ARCH 473/3522 - Spring 2020

Marina Shonoda