DIGITAL DESIGN + FABRICATION SM1, 2016 YOUR PROJECT TITLE JAMES SCIESSERE
699068 MATT + GROUP 8
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Contents: 1.0 Ideation 1.1 Object 1.2 Object + System Analysis 1.3 Volume 1.4 Sketch design proposal 1.5 Reflection 2.0 Design 2.1 Design development intro 2.2 Digitization + Design proposal v.1 2.3 Precedent research 2.4 Design proposal v.2 2.5 Prototype v.1+ Testing Effects 2.6 Reflection 3.0 Fabrication 3.1 Fabrication intro 3.2 Design development & Fabrication of prototype v2 3.3 Design development & Fabrication of prototype v3 3.4 Final Prototype development + optimisation 3.5 Final Digital model 3.6 Fabrication sequence 3.7 Assembly Drawing 3.8 Completed 2nd Skin 3.9 Reflection 4.0 Reflection. 5.0 Appendix 5.1 Credit 5.2 Bibliography
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0.0 Introduction Our project, Light and Shadow, was a response the the brief to create a second skin utilising the Section and profile structural system. We endeavoured to also fulfil design goals set out by ourselves, namely to create a fluid and dynamic form and to include a means of filtering light through the design.
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DIGITAL DESIGN + FABRICATION SM1, 2016 M1 JOURNAL - PROFILE AND SECTION JAMES SCIESSERE (699068) MATT #8
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1.1 OBJECT
Measured Drawings
As I was absent for the first class, my method of measured drawings may have been different from the others. The basis of my drawings came from a single photo of the head lying next to a ruler, and so the entire drawing came from that reference as well as a series of photos. Those were then printed and traced, with the tracings being scanned and then made clearer in photoshop.
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Digital Model
The digital model was constructed in an almost identical manner to the physical model. The first step was to draw out the full schedule of pieces on Illustrator, and then import that file to Rhino, extrude the pieces to the desired thickness and then assemble them.
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1.2 OBJECT + SYSTEM ANALYSIS
Analysis
The pieces fit together in an interlocking fashion, as usually the respective gap that each piece fills is the length of the remainder of the piece. Shown on the right is the full material schedule drawn up on illustrator. The three main pieces are the main parts of the moose’s face, as they have the most gaps in the piece, and would therefore have the most connecting pieces.
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1.3 VOLUME
Sketch Model
As I didn’t have access to the original moose head, I had to choose another material in which to create a sketch model from. I used an old deck of playing cards, as I wanted to explore the bending and twisting potential of the section and profile framework. Initially, I had difficulty creating interlocking pieces, as I was cutting without an rule or reason, however this definitely helped my understanding on how the elements come together.
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1.4 SKETCH DESIGN PROPOSAL
Sketch Design #1 BEEKEEPER HEADPIECE What is your idea? [Maximum 5 key words]
How does this respond to your personal space? I found this concept to be somewhat obtrusive to personal space in some respects, as is encompasses the head. However it also creates a zone of sorts in which you have your very own intimate space.
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Sketch Design #2 SHOULDER PAD What is your idea? [Maximum 5 key words]
How does this respond to your personal space? In comparison to the first design, this one is less ‘in your face’ and paired back. However, unless I could work on the idea more and explore it, this current iteration is very limiting in a mobility sense.
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Sketch Design #3 FOREARM BRACE What is your idea? [Maximum 5 key words]
How does this respond to your personal space? This is probably the most safe design of the three, as it is both unobtrusive and not effecting movement at all. I feel like it is a bit ornamental, and doesn’t effectively interact with the idea of personal space to a high level. However, it opens up the possibility to think about cast design.
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1.5 REFLECTION
Understanding the object was a relatively straightforward exercise. Taking what we learned from the ‘300 years of Industrial Design’ reading (Heath et al., 2000), the main means of measuring was to photograph the Moose head with a measure of scale next to it, in this instance, a ruler. Then the last stages of the process were scanning and tracing the result. The work in Rhino was perhaps the most challenging module for me, as it became apparent extremely quickly that I had a lot of work to do in order to develop my digital design skills to an acceptable level. The reconfiguration of the model was perhaps the most pertinent part of the module when viewing the subject as a whole, as it illustrated to me that it wasn’t as simple as cutting a gap and slotting a model together. It was especially helpful in understanding the tectonics of the system. The measured use of openings, as well as an emphasis on understanding the thickness of the material you’re working with are definitely things that I would have endeavoured to explore further throughout Modules 2 and 3. Regrettably, the final part of the module could have been explored further, as the formative ideas made it especially hard to get started in module 2.
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DIGITAL DESIGN + FABRICATION SM1, 2016 M2 JOURNAL - Profile and Section David Bi, Kayla Yao and James Sciessere(813472, 779984 and 699068)
Matt Greenwood Group 8
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2.1 DESIGN DEVELOPMENT INTRO
Personal Space Analysis and Design Direction
Design Goals/design target: - To create a design that explores the area between our designated conscious and unconscious personal spaces
Differing levels of consciousness
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- To test the limits of profile and section models by attempting to create a nonrigid form - The designated use the design would be as an everyday item used primarily in settings such as public transport
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- The intended purpose of the design would be to provide the user with a sense of comfort through various means yet to be explored - An effect that we want to explore through the design of the model is the manipulation and diffusion of light
With regard to personal space, we first mapped out an area around the body in which we thought were areas of comfort, or rather areas in which people would begin to feel uncomfortable should they be invaded. However, we also explored the idea of ‘conscious personal space’, meaning the areas within this previously mentioned space in which we are constantly aware of. The aim of this was to identify a space which the user would be aware of the design subtlely. Therefore the area that we tried to situate the design was the intersection between the two points, creating an active portion and a passive portion, with the active area constantly reminding the user of the passive ‘safety’ area.
OUR AIMS SUMMERISED INTO A CHECKLIST: - PERSONAL SPACE INTERPLAY - FLUIDITY - COMFORT/SAFETY - EFFECT: LIGHT DIFFUSION
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2.2 DIGITIZATION + DESIGN PROPOSAL V.1
2nd Skin proposed design V.1
PLAN VIEW
PERSPECTIVE
This concept was the most literal translation of our goal to achieve the two areas in sync. Essentially a wearable member, it aims to act as an exo-skeleton of sorts. However, whilst the rigid nature supports this idea, we are unsure if this is an avenue we wish to explore further. Things we liked: Echoes the shape of active personal space mentioned previously, somewhat fits the natural shape of the body also - fulfilling the second skin idea.
ELEVATION
Aspects we disliked: The structure looks too rigid and planar. The only interesting element of its form was the curvature in the elevation, when looking at the model from front on, it comes across as an axial mesh.
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This was the original personal space map that we designated at the outset of this module, however, it didn’t adequately represent what we wanted so we didn’t use it. However, when we designed this model, it is what we used, and therefore the general shape revolves around what is represented in this image.
The yin yang symbol was a motif that we tried to apply to our design at this stage, as it illustrates the interplay between two contrary states - something that we too are trying to achieve. We then settled on this shape as a general foundation of what we wanted to try design for this part of the project.
- PERSONAL SPACE INTERPLAY - FLUIDITY - COMFORT/SAFETY - EFFECT: LIGHT DIFFUSION
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2.3 PRECEDENT RESEARCH
Precedent Research Swoosh Pavilion at the Architectural Association Architects: Second and third year architecture students at the Architectural Association school of Intermediate Unit 2 tutored by Charles Walker and Martin Self.
FLUIDITY/MOVEMENT/LIGHT EFFECT/AXIALITY
What is the concept of the precedent? [Maximum 5 key words]
https://c2.staticflickr.com/4/3160/2708401012_424ea9dd8c_z.jpg?zz=1
Description of precedent Each of the continuous profiles are connected by a series of individual pieces, rather than being continuous profiles in two axes. The composition of the pavillion gives up the structural integrity of standard waffle grids to instead explore the potential of curvature and less regular openings.
http://www.mexican-architects.com/portal/pics/bdw_mex/bdw_
Aspects that we could use to enhance our design from this structure is the idea that the pieces of our model do not necessarily have to be interlocking and also do not have to intersect at 90 degree angles.
mx_09/01_2009/tema_1_2.jpg
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2.4 DESIGN PROPOSAL V.2
2nd Skin proposed design V.2
PLAN VIEW PERSPECTIVE VIEW
FRONT VIEW
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ELEVATION
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We felt we couldn’t adequately draw the concept for this part of the design, so we used a sketch model to try and find a desirable form. It’s based loosely off the idea of a jumper, trying to promote the idea of comfort, as well as the back section of a life jacket - satisfying our aims for the personal space interplay as well as the idea of safety.
- PERSONAL SPACE INTERPLAY - FLUIDITY - COMFORT/SAFETY
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- EFFECT: LIGHT DIFFUSION
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Design development - Version #2
PLAN VIEW PERSPECTIVE VIEW
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FRONT VIEW
ELEVATION
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Chronology of the overall form of the model
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2.5 PROTOTYPE V.1 + TESTING EFFECTS
Prototype The prototype that we chose was the section that we further developed in ‘design development - version 2’ as it is the aspect of the model that illustrates the effect of light diffusion most effectively. We fabricated the model first by laying out a schedule in rhino and then having the individual pieces laser cut. As we intended to incorporate elements of the swoosh pavillion into the model, rather than interlocking pieces we used a bonding agent - in this case, hot glue.
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Testing Effects
The effect that we are exploring is the way that light diffuses through section and profile models and how the angle of both the light source hitting the model and the angle of the model itself can effect this. We started by using a sketch model with the horizontal members set at various angles. This was a basis for choosing the angle in our prototype. With the prototype itself, the effect is illustrated though a series of photos showing how the shadow cast changes as the angle of the light changes.
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2.6 REFLECTION
The difficulties we encountered at the start of this module stemmed from both our ideas from Module 1 as well as our initial personal space analysis not being extensive enough. In reevaluating the analysis throughout the Module, we made sure that we stuck to our design goals set out at the start. This also helped formulate ideas for our concept, as we altered it and expanded on the initial ideas throughout. The precedent study posed another issue for us, as, while it created opportunities for our design ideas, it also in a way made the fabrication of any model through our proposed method of laser cutting much harder. However, it was apparent that the precedent illustrated a dynamic form, something that we wished to emulate in our own work. Taking what we learned throughout the lecture series thus far (specifically week 5), we believed that our prototype successfully addressed some of the design goals that we as a group set out, however, it was also very lacking in others. The strengths of this prototype lay in the lighting effect that we proposed, as we were able to control the shadow that is cast very effectively. However, there were key elements regarding both our ‘brief’ as well as the overall study goals laid out for the subject, namely the fact that our prototype was not a profile and section model, as it was held together by glue rather than its own structure. The largest takeaway from this stage of the design was that, from one viewing perspective, we needed a 90 degree grid, as we were unable to cut the material at an angle via laser cutting.
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DIGITAL DESIGN + FABRICATION SM1, 2016 M3 JOURNAL - SECOND SKIN JAMES SCIESSERE, YUNKE YAO and DAVID BI (699068)+(779984)+(813477) MATT 8A
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3.1 FABRICATION INTRO
Introduction It is our intention thoroughout this module to not only apply the precedent that we couldn’t previously implement below, but to also go back to the final design in M2 and utilise the feedback given in order to create a better model. The intention is that the model will remain consistent with the setting from M2, being something that you can use on the train to eusure comfort by controlling the way light is diffused through it. A main goal is to ‘activate’ the entire model, as in that current iteration, much of the model doesn’t effectively address the design goals set in M2. We will achieve this by further prototyping the part of the model that was effective further, alongside developing the overall form of the final design. If we develop a technique to effectively control the way that we sectioning of a shape, we can easily apply it to another overall form.
WOODEN WAVES - BURO HAPPOLD
This precedent used different sized openings on a flat A4 page in order to manipulate the shape of the object when bent. The interplay between the compound lines and the more spaced lines creates an interesting means of filtering light through these shapes that we could potentially apply to the project. (FROM M2 - APPLIED IN OPTIMISATION)
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3.2 DESIGN DEVELOPMENT & FABRICATION OF PROTOTYPE V2
Design development + fabrication of Prototype V.2
This prototype was effective in showing some shortcoming of the way that we intended to construct the final model. The first image was the best perspective of the model, as it showed movement and not just a grid like the others. We also had to consider density and scale, as this was only a section of the final model but it was much too heavy to be viable, and also large and cumbersome.
DOG FOR SCALE
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Design development (M2) We set out a series of curves that resembled the general shape of the prototype, and tried to create a continuous shape, in order to create a model that was more like one piece, rather than a series of elements crudely put together. The reason we decided on the shape that we chose to develop further was that we found it increasingly difficult to design something that didn’t curve back on itself, meaning we wouldn’t be able to actually make it.
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This developed design is much more effective, as the entire model has purpose and not just one aspect of it like our final design for Module 2. This was an overall shape that we decided to work with, and at this point we opted to further develop a sectioning technique, as we were satisfied with this form. We also strayed somewhat from our personal space illustration, as we had to consider real life aspects such as how the model was going to be worn and put on/removed after use.
PLAN VIEW
ELEVATION
ISOMETRIC
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3.3 DESIGN DEVELOPMENT & FABRICATION OF PROTOTYPE V3
Prototype optimisation
At this stage in the design, we had to consider the overall weight of the model. In the X-axis, we decided to cluster the planes with an emphasis on desnsity behind the head. This is the main connection point between the user’s body and the concept, therefore, we wanted the the majority of the weight there, as it will stay on the body more effectively. In the Y-axis, we opted to cluster the planes with more density either side of the head, leaving less pieces running vertically through the user’s eyeline. It also created a contour which we thought may be a viable way to control light, however we decided not to pursure it in that way.
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The angle of the grid was another thing we explored in detail, as this was element that effected our light dispersion effect the most directly. The intention was to manipulate the angle of the grid, in ordar to manipulate the angle of the openings. this lead to us having to also alter the distribution of the planes as they did not perform in the same way as when they were vertical. One thing we found was that in changing the angle of the grid, we produced interesting pieces that illustrated our idea of movement very effectively.
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3. 4 FINAL PROTOTYPE DEVELOPMENT +OPTIMISATION
Prototype optimisation
Materiality was another consideration we made when designing the final model. The very first prototype we did in M2 was made out of wood, however we wanted control over the transparency of the model, so we explored other options such as a hybrid combination and different types of transparent materials. We wanted to emphasise particular pieces so we decided to use two types of perspex, one shaded, one clear.
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This was the final step in the prefabrication stage before we made the final design, and it was essentially running through each indivdual piece with a fine-toothed comb in order to ensure it’s performance as part of the final model. In this instance, we had to create additional surfaces in order to respond to any final weaknesses in the design. The space left by the trimming process to make the opening was very sheer and jagged, so we curved the ends of them in order to make sure the user remains comfortable inside the design. Also we had to add additional surfaces, as the really thin pieces were prone to snapping as we learnt in the prototype 2.0.
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3.5 FINAL DIGITAL MODEL
2nd Skin final design
ELEVATION
PLAN VIEW
ISOMETRIC
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3.6 FABRICATION SEQUENCE
Fabrication Sequence
The fabrication sequence started out to be a difficult experience, as the model didn’t have any structural integrity until more pieces were added. We started with the shaded section as that was the bottom of the right side of the model, and assembled the rest of the pieces using that as a reference. The only concen was that pieces X1-3 (see assembly drawing) were not able to be added until the end, as it would make it physically impossible for other pieces to be installed afterwards.
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3.7 ASSEMBLY DRAWING
Assembly Drawing
X1
Y1
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X8
Y14
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The assembly of the model is extremely straightforward. Each piece is labelled at an intersecting point, to hide the label after it has been fully fabricated. The pieces that are vertical are labeled X1-8, with the pieces that are on the same plane being labeled XA and B respectively. The horizontal planes are labeled Y1-14, with Y1 being the very top piece and Y14 being the bottom. Y5-8 are the shaded pieces.
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3.8 COMPLETED SECOND SKIN
2nd Skin
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3.9 REFLECTION
As I undertook studying Design Studio: Air concurrently with DDF, at this point I felt like I had developed and refined my skills on Rhino enough to actually effectively translate ideas into made form digitally. This meant that, as a group, we were able to design in an iterative manner, as we experimented and expanded much further beyond the scope of Module 2. The critical review was an instance where were able to step back, and have a different perspective analyse the design. I personally felt that this was especially helpful, as until that point we had essentially been working in a bubble, and it allowed us to move back towards what we initially wanted to do. The most helpful part of the review was identifying a main challenge of the design, which was that whilst from one perspective the form was very dynamic, in another it had to be very static and modular. Therefore hiding the grid within a perspective that would not be regularly viewed (from plan view) was something we seeked to have more control over. The main factors that we learned from the prototype were all generally associated with the fabrication of the system. These areas of improvement included: generating an understanding of the real life properties of the material such as weight and strength, understanding the importance of labeling pieces in order to help the overall fabrication and understanding the difference between the physics and interactions of a digital model versus actually physically making it. These factors were especially pertinent, as without this understanding, our final model could have exhibited the same features that made aspects of the prototype unsuccessful, such as missing or broken pieces. This module was important in understanding aspects of Digital Design and Fabrication that were not explored in detail previously. The idea of prototyping was something that did not resonate with me until this point. However, understanding that ‘making becomes knowledge’(Iwamoto, 1969), we were able to build upon original ideas to create a design that effectively fulfilled the design goals we set out.
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4.0 REFLECTION
Throughout this subject, I feel like I made undeniable progress in working with digital modeling, specifically in Rhino. At the start of the subject I did not have any previous exposure to Rhino, however, after creating a base set of skills through the workshops at the start, it enabled me to further develop throughout the rest of the subject. At the start of the group work, I generally avoided contributing to the digital models in lieu of completing other parts of the Modules. However, by Module 3, I felt that I had learnt enough to consider the digital aspect a skill, and ended up being influential in developing both the concept and design of the final model. The support staff available were an undeniable influence in this progression. The most vital part of our design regarding the fabrication of it, was the ability for it to be laser cut. We identified the benefits and drawbacks of this method very early on in the subject. Trying to work with angles other than 90 degrees in Module 2, we immediately understood that this method would not be suitable. As a result, we strayed from the intended methods, and our outcome was a crude model held together by glue with pieces that had to be altered. However, as we moved into Module 3, we garnered more agency over both the system and the process of laser cutting. The understanding that the 90 degree nature of both the system and the result of a laser cut was able to be effectively manipulated and we achieved our goal. Finally, using multiple materials throughout the Modules was another factor that gave us perspective, and ultimately allowed us to have control over the way light works with the model. As we didn’t want to completely block the light, as well as the senses of the user, the change from wood to transparent material meant that we could be more creative with the openings of the design. We learnt much about the performance capabilities through prototyping. One thing that was left unexplored to a degree was the way in which two different materials joined together, as we opted not to use any hybrids. Also the nature of the Section and Profile system did not call for excessive use of glues or anything of the sort. The understanding of the delineation, but also the coming together, of digital design and fabrication is something which I will undeniably take forward in further studies. Generating understanding was to how digital concepts come together in a real life context is a skill, which after cultivating it to a degree in Module 3, seems to be something which can almost infinitely be built upon. Through the readings, we also had another perspective stressing the importance of embracing parametric design, and the infinite possibilities available to designing in that style. The skills gained from this project are skills that I believe will be a very strong foundation in being able to work in this manner myself.
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5.0 APPENDIX M4_Credits Template.xlsx - Sheet1 CREDITS
Page Cover
Drawings rrr
6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50
Model Fabrication
Model Assembly
Photography
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x x x x x x x x x x x x x x x x x x x x x x James Sciessere David Bi Kayla Yao
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Computation
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Writing
x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x
Graphic Design x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x
Page Cover 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95
Drawings r
Computation
Model Fabrication
Model Assembl
BIBLIOGRAPHY
Heath, A., Heath, D., & Jensen, technique, 1700‐ 2000 / Adrian Heath, Ditte Heath, Aage Lund Jensen. New York : Watson‐Guptill. Sommer, R. : Prentice‐Hall,
A.
(2000).
300 years of industrial design : function, form,
1969. Personal space : the behavioral basis of design / Robert Sommer.
Englewood Cliffs, N.J.
c1969.A
Iwamoto, L 2009. Digital Fabrications: architectural and material techniques/New York : Princeton Architectural press c 2009.
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