473 Final Storybook

Student Portfolio

ARCH 473/3522 - DIGITAL DESIGN STUDIO AND WORKSHOP Salma El Zenouki Spring 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: Salma El Zenouki Student ID: 900170206

© The American University in Cairo (AUC), May 2019

Salma El Zenouki Architecture Student course till this day. As nature has no limitations, endless options from the outer form to the smallers details in it’s layers, the microcell and it’s patterns. As you’ll see in this portfoilo. By using we can get inspired by the smallest detail that people are taking for granted in the world around them.

“There are no straight lines or sharp corners in nature.

Therefore, buildings must have no straight lines or sharp corners” - Antonio Gaudi When I was young like the majority of people I did wasnt sure about what exactly I wanted to do in life. All I knew was that i want to keep exploring the world everyday with a different angle. All I knew was that I wanted to stay on the creative side of the world. However, for me being creative is not enough, for art to be appriciated it has also to be followed by the function. That is why I became an architect. Moreover, from my point of view there is nothing more beautiful and innovative as god’s creation. As I was always inspired by nature since day one in architecture staring from the first modeling

Designing something from scratch is something people from other departments will never understand nor appriciate how hard it is. The major of architecture is an actual journey that is full of ups and downs, its a rollercoaster that you are tied in and once you are in, you might think that you are regreting all of your desicions yet, will enjoying each and every one of them.

Learning something new everyday. Adding everything up each semester to reach something you would be so proud of. Reaching your maximum each and everyday to have something at the end that is actually worth all of those sleepless nights and breakdowns.

Learning a new tool everyday helps us get closer and closer to the future, because from my opinion architecture plays a huge role in people’s quality of life.

“As an architect, you design for the present, with an awareness of the past for a future which is essentially unknown” - Norman Foster

Oyster Shells are an amazing example of how I see homeless people, from outside what people see is being hard and rough. But from the inside they are very gentle, welcoming, and can actually produce something amazing in the right conditions.

01 Homeless Shelter

8

Portfolio

Homeless Shelter

9 Illustration for the different layers and details from the Shelter/

What are Oysters?

Oyster is the common name for a number of different families of salt-water bivalve molluscs that live in marine or brackish habitats. In some species, the valves are highly calcified, and many are somewhat irregular in shape.

What are the Different Types?

Ostrea Cassostrea Ostreola Magallana Pteriidae Pinctada Imbricata Is one of the types of oysters that secrete perals.

Why this one specifically?

Because from the outside it looks sharp and edgy. Thats exactly how people see homeless people in the community. However, from the inside it creates a safe and welcoming environment, which is exactly how the homeless shelter should be.

ARCH 473/3522 - Spring 2021

Salma El Zenouki

10

Concept

Enclosed, Safe, Welcoming, Mysterious Different features are used to differentiate between public and private areas in the building. Creating different experiances, such as the public spaces will be welcoming using double heights, natural light, etc.. Also by using different textures in both areas will also create from the inside different experiance and from the outside will be easily to differentiate between both areas.

Window strips to create a welcoming Light weight roof atmosphere in addition to the structure with curtain wall in the biotemplate commertial area

Screen to hide the more private areas.

Socialization areas can be outdoor yet protected and surrounded by nature.

Interior From the inside, the shell looks like the womb of a mother. It should be caring, sheltering, thoughtful and inspiring.

Portfolio

Homeless Shelter

11

(a) the pearl oyster shell biotemplate; (b) the pearl oyster shell biotemplate coated with Titanium dioxide precursor gel after thermal treatment at 90 C; (c-f) the TiO 2 samples calcined at 350, 450, 550, and 650 C, respectively.

ARCH 473/3522 - Spring 2021

Salma El Zenouki

12

Portfolio

Homeless Shelter

13

ARCH 473/3522 - Spring 2021

Salma El Zenouki

14

Portfolio

Homeless Shelter

15

ARCH 473/3522 - Spring 2021

Salma El Zenouki

P_Wall (2013), part of on-going research by Matsys into the use of flexible formwork, celebrates the self-organization of material under force.

02 Material Exploration

18

Introduction The second phase of the course was concerned with exploring the extents of fabric forming and casting. So, an initial research was conducted to cretae a base to launch form. Then using the research, it was decided to experiment with different effects and through this experimentation, rules and parameters were derived to carry on to the next phase.

Preliminary Research History

Fabric forming was introduced in the 18th century, but the concept roots back to early civilizations.

In Rome, impressions of reed were found on many structures which highlighted that reeds were used as formwork. Similarly, Ancient Egyptians used reeds as formwork and reinforcement.

In the 18th century, Gustav Lilienthal formally introduced the concept after designing a draped slab using mesh reinforcement.

Later, Miguel Fisac developed on the idea and started using it aesthetically rather than just for its effeciency. From there, the industry expanded and research is constantly being conducted.

Portfolio

Material Exploration

19

Poured-over Formwork

Pneumatic Formwork

The simplest technique to create a structure using fabric formwork is to shape the fabric and pour the material over it. To shape the fabric, it can either be sewn or altered to create the desired shape/pattern or obstacled chould be placed under taught material to create the negative of the obstacles (sunken areas are filled with material).

The third technique that is used in fabric forming is pneumatic formwork, which depends on inflatable fabric formwork, which can be deflated after the material is set. Similar to balloons being used to make paper mashe art, as they are popped after the paper stiffens to leave the core hollow and the balloon is removed.

Poured-Into Formwork Another approach is to shape the fabric and pour the concrete into it.

This technique is most suitable for dense structures that require lareg volumes like columns or structural elements ARCH 473/3522 - Spring 2021

Salma El Zenouki

20

Idea Generation

Tools and Materials Used

Since the bigger picture of this experimentation phase is to inspire the development of a unit to propagte over a facade, it was desired to design an adaptable facade to suit the users regardless of the time context. Hence, the idea arose of creating a modular effect that could potentially serve function, enviromental factors, and aesthentic purposes. Thus, through several experiments, inputs, output parameters were extracted to serve as guides for next phase.

Experimentation Process This phase was broken down into two sets of experimentations. The initial experiment was a simple one, as it was the first trial in an experiment of such nature. Howver, it was fruitful as it guided the bound of the second set of experimentation. The second part was focused on breaking down the input parameters and altering them to observe the result. Although, the experiment of this part were not always successful , still they presented benefits. Since the experimentations, different rules and relationships were formulated between the input and output parameters. These were then carried on to the next phase, in order to either utilize them or alter their basis to extract different parameters to use.

Portfolio

Material Exploration

21

Initial Experimentation As it was the first encounter with this type of experimentation, a simple prototype of the idea was tested out. A wooden frame was created to define the volume and a piece of fabric was secured to the sides .

The other one I tried to use wooden sticks as a formwork bellow the fabric to change the shape of the volume, but the material was too heavy and was hard to secure the formwork.

The main obstacle that I faced in this inital experiment is to reach the right water to cement ratio.

1. 1:1 Ratio That was the ratio I found while researching. however, it took less than a minute to dry, which made it hard for me to pour also created chunks, so that was a failure.

2. 3:1 Ratio There was too much water in the mixture, which made it take too much time to dry and the fabric soaked the water in. In addition to that when it dried it was much weaker than the previous one.

3. 2:1 Ratio That was the best so far. Not so weak , gave me time to pour the mixture and keep the surface smooth.

The Main Obstacles My first problem was what material to use, and how to fix the fabric on the box. But after chosing the gypsum as it does not require alot of preperation and does not take too much time or too low amount of time to dry, which gave me time to prepare the mixture and pour it unlike he epoxy that requires much faster reaction, and unlike the cement which takes forever to dry.

ARCH 473/3522 - Spring 2021

Another problem was that I tried to create some circular openings using plasticine, they were too small and needed to be much taller to create an opening as they were stuck inside.

Salma El Zenouki

22

Experiment One Formwork Creating the base formwork out of wooden sticks sticked on canson, then add the fabric on top to create the texture.

Process

Conclusion

1.

2.

3.

4.

Due to the lots of movements, it needs to be thick and have the openings away from the focal points

Create the mold Mix the gypsum and water 2:1 Pour the mixture into the mould Wait for it to dry.

Results Tried to create triangular openings at the points, but turned out to be the weakest points which resulted in it to break completely at these points. And the central ones needed to be deeper.

Portfolio

Material Exploration

23

Experiment Two Formwork Using this material as its flexible to mould and its easier to pull more than the ordinary aluminum foil.

The mould was created by multiple layered taped together to create flips

Materials Used

Conclusion We can use the overlapping techniques .

Process 1. Create the mold 2. Mix the gypsum and water 2:1 3. Pour the mixture into the mould 4. Wait for it to dry.

Results The mould created a wave like structure with overlapping shapes, and with a different texture. But it would be an inspiration for the screen as its so bulky as it is.

ARCH 473/3522 - Spring 2021

Salma El Zenouki

24

Experiment Three Formwork Using mainly fabric, the creating focal points using the technique of twisting and elastic bands, and to avoid it being flat I tried to pull the center point downward

New Material Used

Process

Conclusion

1.

2.

3.

4.

I can use the idea of pull point or attraction points to create triangles between them.

Create the mold Mix the gypsum and water 2:1 Pour the mixture into the mould Wait for it to dry.

Results Came out with lots of potential with creating triangles in the middle between the points which can be the openings further.

Portfolio

Material Exploration

25

Experiment Four Formwork Creating the base formwork using big bubble wrap

New Material Used

Process 1.

2.

3.

4.

Create the mold Mix the gypsum and water 2:1 Pour the mixture into the mould Wait for it to dry.

Conclusion Next time I can use a thinner layer of gypsum for the bubbles to create perforations to see how strong can it be if those were openings.

Also I can use the modular grid.

Results Turns out having intrusions creating a consistent pattern that can be used as the screen.

ARCH 473/3522 - Spring 2021

Salma El Zenouki

26

Experiment Five Formwork The idea behind the formwork: Twisting the fabric to create a loose knot in the middle to create the overlapping design of the fabric Sewing Fabrics together to create multiple knots

Process

Conclusion

1.

2.

3.

4.

Due to the lots of movements, it needs to be thick and have the openings away from the focal points

Create the mold Mix the gypsum and water 2:1 Pour the mixture into the mould Wait for it to dry.

Results The strongest point was the center, much weaker than the sides as it had lots of fabric overlapping so the sides dropped and that caused them to be bulky.

Portfolio

Material Exploration

27

Experiment Six Formwork

New Material Used

Started off by shaping the mould as desired, trying to create a curve, then added an aluminum plate.

Then added the fabric so it would be easier to pull off later.

Process

Conclusion

1.

2.

3.

4.

We can take the idea of using different patterns to create a more dynamic design.

Create the mold Mix the gypsum and water 2:1 Pour the mixture into the mould Wait for it to dry.

Results

Turned out having the flowy feature of the fabric with different patterned resulting from the different bases.

ARCH 473/3522 - Spring 2021

Salma El Zenouki

28

Portfolio

Material Exploration

29

Conclusion: What I am going to take from all the experimentations • • • • • • • •

ARCH 473/3522 - Spring 2021

The smoothness Having attraction points Extrusions and intrusions Overlapping & layering Perforations Consistency Different thicknesses and depth when needed Different sizes of openings according to: • Orientation • Environmental Factors • Internal Experiance of the users • Function of spaces inside • The mood I want to provide from users inside the building and outside

Salma El Zenouki

Złota 59, 00-120 Warszawa, Poland, Warszawa

03 Parametric Facelift

32

Introduction The Final phase of the course was dedicated to retrofitting the facade of a building in New Cairo with a responsive parametric facade. So, firstly 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 + Classifications Double skin facades are based on a multilayer principle. They consist of an external glazing, an intermediate gap, and an inner facade. The main advantage of this technique is that air gap behaves as a thermal sushion in both summer and winter thus resulting in significant energy savings. There are 2 types of ways to takle the energy transfer. 1. Extract-AirSystems: These use the warm exhaust air of the interior space to constantly increase the temperature of the cavity, while the rooms are cooled mechanically. 2. Exchange-Air_Systems use natural ventilation within the cavity to guide tempered air into the rooms and extract the used air for a constant exchange process.

Portfolio

Parametric Facelift

33

Response to hot climates Double skin facades can respond to hot climates in 2 ways.

Either employ a shading screen as the exterior face with a high performance curtain wall system as the interior layer of the facade, or the exterior layer is glazed and an air corridor is designed to act as a buffer zone lessen the heat effect. In our project we will use the first solution.

Advantages • •

• •

The Cavity creates a better environment quality inside and outside the building.

When exisitng inefficient buildings get a double facade renovation, they become economically sustainable due to reduction in operating cost.

The setback protect the shading devices from weather elements The double facade allow clear views and natural light without glare

Installation Techniques

Limitations

There are also 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 highrise buildings because of the time saving on site, advantaged for installation access, cost-savings by a semiautomated production for main equal units, and the quality improvements through preassembled products in a factory. On the other hand, stick systems depend on guide rails or attaching a frame which carries the units of the designed facade.

Stick systems are typically used for lowrise buildings, enterance areas, or smaller developments.

•

ARCH 473/3522 - Spring 2021

• • • •

Double skin facades require a high initial construction cost due to more material used They are difficult to maintain Software limitations could become an issue in implementing the design The facade consumes a lot of space.

It may fail to function properly if the context changes significantly (eg. Shading of other buildings)

Salma El Zenouki

34

Design Approaches Projection of Layers A double skin facade can be in the form of a projected exterior layer whether through solar shades, awnings, light shelves, or retractable blinds.

Functional Volumes Another layer that could be added to the facade is an architectural program that stimulates human interaction.

Multiplication of Layers Another approach is to multiply the external layers to create multiple interstitial spaces. However, it received criticism that the extra material costs supersede the energy gain.

Responsive Electronics Adding electronics to a double facade cavity allows the building to acquire, systemyically and over time, levels of artifical intelligence needed for self-learning and autocorrection

Portfolio

Parametric Facelift

35

Environmental Analysis Some Environmental analysis were done to check what the building needs in terms of reducing radiation, providing shading and also were to create the openings to allow the prevailing wind to enter the building and not to be blocked by the screen.

Dry Bulb and Radiation

High direct radiation

normal

and

diffuse

Radiation Range

The total surface radiation is also high especially from april till september

ARCH 473/3522 - Spring 2021

Sun Shading (Winter)

Wind Rose

When the temperature is higher than 24 shading is needed

The whole southern side does not have any wind coming

Sun Shading (Summer)

Psychrometric Chart

Almost need shading the whole day

Sun shading, Natural ventilation cooling and dehumidification

Salma El Zenouki

36

Site Analysis • • •

Facade facing south and south-west leading to solar heat gain and unwanted direct sun rays Surrounded from all sided, the only strong will will be from North-west from the parking lot.

Control of sun penetration based on needs

Transition from the Previous Phase

• • • • • •

Portfolio

The smoothness Having attraction points Extrusions and intrusions Perforations nad triangular openings Consistency of modules Different thicknesses and depth when needed

Parametric Facelift

Conceptual Approach

The large vision is to create vertical panels that respond environmental and user needs. The aim is to achieve this by creating panels that propagate according to orientation. Also, by reconfiguring the slabs, a self shading design could be resultant. The extension / recession of the slabs will create spaces for architectural benefit for the users

37

Slab Reconfiguration 1st & 2nd Floor

Extended in the left side to create experiential area for the users

5th Floor

Created an opening to overlook the indoor garden.

ARCH 473/3522 - Spring 2021

3rd Floor

4th Floor

On the side I created a lounge for the On this floor I created an indoor employees. garden and created perforations to lighten it up.

6th Floor

7th Floor

Created in the top floor a lounge The top floor the extended roof of overlooking the street, and creating the lounge expanded the accessible a self-shading. roof.

Salma El Zenouki

38

Final Grasshopper Definition Triangular Panels are created, then using the center of each to pull it to the closest points on the curve to create different sized openings.

Portfolio

Parametric Facelift

39

ARCH 473/3522 - Spring 2021

Salma El Zenouki

40

Final Outcome Prespective

Portfolio

Parametric Facelift

West Elevation (Side)

41

South Elevation (Front)

Top View Zones

Different new zones are created to enhance the indoor experiance, and the perforations in the screen enhance it too.

ARCH 473/3522 - Spring 2021

Salma El Zenouki

42

Sections A-A

A

A

Lounge Area and Terrace

Indoor Garden and mezzanine overlooking it

Waiting Area

Portfolio

Parametric Facelift

B 43

Sections B-B

B Private office Balcony and lounge

Meeting Rooms Area

Offices and Lobby

ARCH 473/3522 - Spring 2021

Salma El Zenouki

Biblography

• • • • • • • • • • • • • • • • • •

Aranda, B. and Lasch, C. (2006). Tooling, Princeton Architectural Press, New York, USA. Balmond, C. (2007). Informal, Prestel.

Dunn, N. (2012). Digital Fabrication in Architecture, Laurence King Publishing.

Frederick, M. (2007). 101 Things I learned in architecture school, MIT Press.

Freyer, C., Noel, S., Rucki, E. & Antonelli, P. (2011). Digital by Design: Crafting Technology for Products and Environments, Thames and Hudson.

Hensel, M., Menges, A. & Weinstock, M. (2010). Emergent Technologies and Design: Towards a Biological Paradigm for Architecture, Routledge.

Iwamoto, L. (2009). Digital Fabrications: Architectural and Material Techniques, Princeton Architectural Press.

Jabi, W. (2013). Parametric Design for Architecture, Laurence King Publishing.

Kolarevic, B. (2005). Architecture in the Digital Age: Design and Manufacturing, Taylor and Francis.

Segaran, T. & Hammerbacher, J. (2009). Beautiful Data: The Stories Behind Elegant Data Solutions, O’Reilly Media.

Spiller, N. (2009). Digital Architecture Now: A Global Survey of Emerging Talent, Thames and Hudson.

Tedeschi, A. (2014). AAD – Algorithms-Aided Design, Le Penseur Publisher.

Terzidis, K. (2006). Algorithmic Architecture, Routledge.

Vysivoti, S. (2012). Folding Architecture: Spatial, Structural and Organizational Diagrams, Bis Publishers

46

©All rights reserved, American University in Cairo (AUC) May 2019 Portfolio

Material Exploration