STUDIO AIR 2018, SEMESTER 1, MATT DWYNER JUN DA LING
Table of Contents 3 About me 3 Introduction 4 Previous works 6 A: CONCEPTUALISATION 7 A1: Design Futuring 13 A2: Design Computation 20 A3: Composition/ Generation 24 A4: Conclusion 25 A5: Learning outcomes 26 A6: Algorithmic Sketches 27 A7: Site Study & Chosen Insect
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INTRODUCTION
Introduction
About me
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y name is Jun Da, I’m a third year architecture major student in the University of Melbourne. Aside from being interested in architecture I enjoy drawing, whether it be still life or some fanart of shows I enjoy developing my skill of drawing and ocassionally some painting. I also probably enjoy gaming way too much. It was only when I entered studio AIR that I realised how little I knew about digital design in relation to architecture. From what I understand, digital tools in the field of architecture allows a person to create something that may not even need to exists physically in this world. There are many examples of purely conceptual and digital designs that can influence and make a mark on this
world without the need of a built form. My skills in digital softward started with Rhino as most students in my university do. I recall learning how to use rhino and the plugin paneling tools for a subject. Prior to this subject I have only experimented with a couple of features in Grasshopper for previous subjects. Never really learnt it extensively. Other software I use include the Adobe Creative Suite, the essentials for documentation and presentation. AutoCAD is also part of my arsenal of digital programs because I use it a lot in my subjects for drafting and other drawing purposes.
INTRODUCTION 3
Previous works
ARCHITECTURAL STUDIO: WATER CONCEPTUAL RENDER
These are the projects that I’ve worked on in my first two years in the Architecture major. It’s quite evident from my work that geometry is probably my most used element when designing a building. Incorporating simple shapes and a very simple style is what I enjoy to do.
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INTRODUCTION
DIGITAL DESIGN AND FABRICATION FINAL MODEL
INTRODUCTION 5
A: CONCEPTUALISATION A1: DESIGN FUTURING A2: DESIGN COMPUTATION A3: COMPOSITION/GENERATION A4: CONCLUSION A5: LEARNING OUTCOMES A6: APPENDIX - ALGORITHMIC SKETCHBOOK
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CONCEPTUALISATION
A1: Design Futuring
FIG 1: THE PROLOGUE AND THE PROMISE BY ROBERT MCCALL
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esigners play an important role on the advancement of their items in the future. However, as we advance in technology and in industrialization, we start to experience what Fry calls defuturing meaning a threat of unsustainability. 1 Is this due to the design intent of our ancestors not for a sustainable future? Rather to just advance us forward without thinking about the consequences that these advancements might hold. Design futuring is the perfect solution to the stated defuturing. Because it’s motive is to slow down the rate of the unsustainability caused by defuturing. To also change the course in which humanity will have a more sustainable habitation on Earth. This means to design for a change for all forms of mediums that require design to follow a single goal and that is to increase sustainability in the environment.2
The act of designing a future with sustainability in mind can sound easy. Design has always been very optimistic 3 when it comes to dire situations because some of the bigger problems are normally put aside to improve the concept. The end product is a future that removes all threat of defuturing. I would describe it as a utopia, simply because achieving it is near impossible. However there is another way of looking at designing for the future. It is not a means to an end, the problem will always exist and hinder us from an utopia. It is to help us aid our imaginative thoughts and to better understand the present.4 There are many scenarios of the future people design and are often debated amongst one another. This is the path that will actually inch us closer to a future that we actually desire.
1 FRY, TONY (2008). DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE (OXFORD: BERG), PP. 1–16 2 FRY, TONY (2008). DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE (OXFORD: BERG), PP. 1–16 3 ANTHONY & RABY, FIONA (2013) SPECULATIVE EVERYTHING: DESIGN FICTION, AND SOCIAL DREAMING (MIT PRESS) PP. 1-9, 33-45 4 ANTHONY & RABY, FIONA (2013) SPECULATIVE EVERYTHING: DESIGN FICTION, AND SOCIAL DREAMING (MIT PRESS) PP. 1-9, 33-45
CONCEPTUALISATION 7
Precedent works Eden Project | Cornwall | Nicholas Grimshaw | 2003
FIG 2: THE EDEN PROJECT IN CORNWALL, ENGLAND
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he Eden project is one of Cornwall’s most visited attractions. It boasts two very distinct biome areas. The domes that cover these biomes consist of many pentagon and hexagon shapes to provide structure to the domes. What acts as the membrane that sits on the patterns are plastic cells. The Eden Project is one scenario of a built form that succeeds in creating a platform to slow down defuturing. The mixture of different plant types from all
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CONCEPTUALISATION
around the world are being held within these two biomes. Furthermore, they are in close proximity of local plant types as well. Right outside these domes is a botanical garden filled with Cornwall and UK’s very own plant types. This project manages to combine different plant types together with the help of technology providing a simulation of the climate which the foreign plants can survive within these domes.
The Eden Project has since it’s opening not only became a tourist attraction further improving the economical status of Cornwall. It has also become a hub of entertainment and media. People from across the globe would travel exclusively to Cornwall just for the Eden Project. Specifically the Eden sessions, which are musical performances that the management hosts to further utilize the space and venue of the Eden Project.
FIG 3: INSIDE THE TROPICAL BIOME
Personally, I think the Eden Project is a good example of an utopian design for the future. Not only in application but in appearance as well. The juxtaposition of the domes with nature is seen to be very pleasing to the eye as well as pentagons, hexagons and geometrics are normally associated with modern design as well.
FIG 4: THE BOTANICAL GARDEN AND THE BEE
CONCEPTUALISATION 9
The New Babylon | Concept | Constant Nieuwenhuys | 1959
FIG 5: VIEW OF NEW BABYLON’S SECTORS
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he New Babylon is a utopian concept conceived by Constant Nieuwenhuys. Inspired from a book called Homo Ludens by Johan Huizinga, he is trying to shape society to become a place where everything is ‘automated’. This concept also challenges where art fits in enhancing daily experiences, so Constant actually removed forms of creativity and art to further ponder on this thought. The form of this concept is to create a vertical approach to living. It’s seen to be a quite radical change from the
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norm as seen in the image above. The full concept is to have these flexible structures supported by concrete columns to span accross Europe. Constant added that the climate, light and air would be controlled artificially. Below the buildings would be a pure vehicle access zone whereas the roof would be a pedestrian zone only. This project actually seems to be against capitalism where all other variables are controlled very specifically.
The New Babylon is a very interesting approach to a utopia. I understand how some aspects of this concept can somewhat classify this as an utopia. However, the lack of creativity and freedom makes me see this more of a dystopia. The inability to create art and the climate assumably controlled by the government just paints a dystopian future for me. This actually makes me think of design for a dark future mentioned in the speculative everything reading. This concept plays around with challenges the norm and extracts our complacency from us. It excites and makes us ponder on a desirable future that we actually want.1 That is what goes through my mind when I study more on this concept.
FIG 6: MODEL OF SECTOR IN NEW BABYLON
FIG 7: CONCEPT ART BY CONSTANT
1 ANTHONY & RABY, FIONA (2013) SPECULATIVE EVERYTHING: DESIGN FICTION, AND SOCIAL DREAMING (MIT PRESS) PP. 1-9, 33-45 CONCEPTUALISATION 11
Analysis of both precedents Both the Eden Project and The New Babylon were very interesting precedents to look at in the topic of design futuring. Both of these precedents had the same goal, which was to decrease the rate of defuturing. To create a sustainable future for everyone to live in. However the approaches each precedents took is quite different from one another.
FIG 8: EDEN PROJECT SECTION
The Eden Project sought to decrease defuturing by creating and combining natural environments from foreign lands with local ones as well. They also sustain these biomes with programs that utilize the space of the area to fund other items that may improve the sustainability of this project. However, The New Babylon concept seems to have completely ignored natural habitats within this built environment. The New Babylon is seen to completely reform the structure of society from the norm. To create a future where humans do not have to resort to manual labour. This concept achieves this by creating specific sectors of an urban environment and emphasising on a more vertical approach to living. Visually these two contrast one another. The Eden Project is symmetrical and pleasing to the eye. The New Babylon appears to be in discord and dark colours, it is pleasing to the eye in some way but not imposing a positive feeling.
FIG 9: NEW BABYLON LINEWORK
Something interesting that both of these precedents have in common is the desire to control the climate of the area. The biomes serve as an artificial climate zone and The New Babylon concept had the idea of controlling the whole climate artifically. Perhaps both of these precedents wanted to create an ideal future where climate wouldn’t be a problem at all. The limitations of tropical or temperate wouldn’t matter with these implications.
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CONCEPTUALISATION
A2: Design Computation
FIG 10: WALT DISNEY CONCERT HALL BY FRANK GEHRY
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he design process within architecture is something that has been developing ever since it’s discovery of the field. The introduction of computers had evolved the design process of architecture because humans never could achieve analytical power that this new form of technology could provide. Architects can now create accurate models and drawings of a building without it existing physically anymore. This puts architectural design at a larger emphasis of planning rather than constructing. Furthermore, we have already seen the great minds of architects such as Frank Gehry that utilize computation to create his works. Curvillinear and organic forms became easier to produce through computation with the ability to input desired designs by the architect.
of dynanism and the many ways a design can change within the design process. It is also a method of form finding where a set of parameters are set up for a geometry within which elements can be manipulated to create many different outcomes. This is a form of algorithmic design.1 Computerisation, not to be confused with computation also brings improvements to communication between architects and anyone who will be involved in the design process. (structural engineers, lawyers, contractors, etc.) These information can now be easily transfered between one another through computers.2 The design process can be further developed because it is now open to everyone because this information can now be shared through computers through advancements such as the internet.
Parametric design is the embracing 1 OXMAN, RIVKA AND ROBERT OXMAN, EDS (2014). THEORIES OF THE DIGITAL IN ARCHITECTURE (LONDON; NEW YORK: ROUTLEDGE), PP. 1–10 2 KALAY, YEHUDA E. (2004). ARCHITECTURE’S NEW MEDIA: PRINCIPLES, THEORIES, AND METHODS OF COMPUTER-AIDED DESIGN (CAMBRIDGE, MA: MIT PRESS), PP. 5-25 CONCEPTUALISATION 13
Precedent works Serpentine Pavilion | London | Toyo Ito | 2002
FIG.1: SERPENTINE PAVILION EXTERIOR
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oyo Ito and Cecil Balmond’s design for the 2002 Serpentine Pavilion in London was driven by an computation that would shape the building.
main aspect that drives the form. This changes the way architecture is planned because buildings can obtain it’s form purely from computation instead of traditional methods.
Despite having geometries that seem random and out of place, there was an algorithm of a rotating cube that would expand. These would cause intersecting lines that create dynamic geometries.
The geometries present in the pavilion is something unique to only computation. Therefore it is something only computation seems to be able to create.
The Pavilion’s design here puts a large emphasis on computation being the
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CONCEPTUALISATION
FIG.12: BLOWN UP AXO OF SERPENTINE PAVILION, 2002
CONCEPTUALISATION 15
Galaxy Soho | Beijing | Zaha Hadid | 2012
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nother good example of how computation has affect the architectural design process is the Galaxy Soho by Zaha Hadid in Beijing. Despite the design being largely based off Beijing’s status. You can see the influence of parametric design just by looking at the form of the building. This precedent is unique in that it has no corners at all. This helps to retain fluidity of the design and also giving it a 360 degree view from inside the building. Not only can computation produce geometrical and dynamic shapes. But curvilinear and organic forms as well. As long as the parameters are logical and grouped well most forms can be created through parametric design. The Galaxy Soho serves as a landmark in Beijing, an architectural feat created through parametric design and produced on such a large scale is rarely seen as well.
FIG.13: GALAXY SOHO BY ZAHA HADID
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CONCEPTUALISATION
CONCEPTUALISATION 17
Analysis of bo
Original Forms
FIG.14: ELLIPTICAL FORMS
FIG.15: POST SECTIONING
FIG.16: RECTANGULAR FORM
FIG.17: POST SECTIONING
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hrough the analysis of both precedents. It has come to mind that these two buildings utilize parametric design to achieve their final built form.
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Product of Sectioning
are then made through the building to create a seamless connection.
In the graph above, it explains how these two projects are actually very similar in the application of parametric design.
Then the Serpentine Pavilion, starts off with a simple cuboid form. It then uses the algorithm of rotation and enlarging of rectangles to obtain triangular shapes. These shapes are then used to section the original rectangular form.
For the Galaxy Soho, it started off as a simple ellipsoid shape. Then horizontal sectioning was added as a parameter to create the form you see in the building today. The connections
These two precedents have almost a similar method in creating it’s final built form. But it is still amazing to see that parametric design has so much potential in designing for architecture.
CONCEPTUALISATION
oth Precedents
FIG.18: SERPENTINE PAVILION FORM EMPHASIS
FIG.19: GALAXY SOHO FORM EMPHASIS
CONCEPTUALISATION 19
A3: Composition/Generation
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he introduction of computation has brought a complete new field or style in architecture. Some architects dedicate themselves to this field and even start to learn how to engineer software. Computation in architecture is a celebration of technology, that architects have evolved from the pen into the digital realm which they can further evolve architecture to something unprecedented. The process of engineering a software is completely different to architectural practices. Being you have to learn machine languages to translate the desired digital tool creation in a way that computers can understand it. Computation allows designers to extend their abilities to handle highly complex situations. It augments their abilities by handing them a platform in which they can create or solve intricate problems. Architects that create digital tools design it specifically to tackle certain problems in architecture. However, modifications can be created to further extend the capabilities of a software to suit other problems as well. Think Grasshopper, a plugin for the software Rhino3D. It turns an ordinary 3D modelling tool into a platform in which architects can practice parametric design. Knowing this, computation can constantly be improved through the effort of wanting to explore options within digital design. Computation in this era of architecture has been fully integrated into
the practice and even the design process itself. Computational technique is combined with the design intent, therefore it is used very naturally to design a building. With the further improvement of software, architects can now receive feedback regarding building performance through computation. This is possible through the translation of data of materials, tectonics and parameters of production machinery being translated into the program allowing for calculations to be made by the computer. This allows architects to accurately plan a project before construction. Computational designers translate the logic of architecture and create new opportunities to explore and simulate designs. Architecture at this rate will shift from drawing to algorithm as a method of communicating designs.1 Peters through this reading has given a very bias standpoint on computation in architecture. However, I can’t help but think of negative implications this method might give. Should we allow computation to fully take over our conventional practices in architecture? Is computation the design? Or is it a tool we can use to help with our designs. What if the algorithms generated replace the need of architects?
1 PETERS, BRADY. (2013) ‘COMPUTATION WORKS: THE BUILDING OF ALGORITHMIC THOUGHT’, ARCHITECTURAL DESIGN, 83, 2, PP. 08-15
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Precedent works Arabesque Wall| Toronto | Benjamin Dillenburger & Michael Hansmeyer | 2015
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he Arabesque wall is a 3 metre tall 3D printed sculpture that is inspired by arabesques from Islamic culture. It is a sculpture that boasts over 200 million surfaces at a resolution of 0.2 millimeters. The creators explained that this shifts the design process to an abstract level. Without the technology from computation it would be impossible for a designer to specify or even create. This project has shown some limitations of computation as it took four days from a 4GB file to print. But just like any other building or sculpture it would of course take days to build. But this has the combination of computation and computerisation, the designing through parametric and the printing through 3D printers. It is truely a remarkable example of what we can achieve through algorithmic design.
FIG.20: THE ARABESQUE SCULPTURE FULL SCALE
CONCEPTUALISATION 21
Elbphilharmonie Auditorium| Hamburg | Herzog & de Meuron | 2017
FIG.21: ELBPHILHARMONIE AUDITORIUM
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nother grand example of how computation and algorithmic design has intergrated within architecture is specifically the auditorium within the Elphilharmonie. Being a venue of music and philharmonics, it has to impress with a grand central auditorium. This one is built with 10,000 unique acoustic panels that exists in the ceiling, walls and balustrades. The form appears to be very organic and resembles rippling waves or the seaside. However, the creation of these forms were computational. Parametric design was used to create these patterns. They used algoritms to create a unique shape
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CONCEPTUALISATION
for each of the 10,000 panels. By working closely with a professional on acoustics. They managed to obtain the parameters needed for these panels to function as needed. To absorb sound. Architectural preferences had been implemented despite the restrictions as well, such as the consistency of the form throughout the auditorium. Benjamin Koren, from One to One studio helped with generating the design of the panels through parametrics. Once again parametric design has helped to create not just an aesthetically pleasing design. But a functional item as well.
FIG.22: CLOSEUP DETAIL OF THE PATTERN
FIG.23: PARAMETERS FOR THE PANELS
“That’s the power of parametric design. Once all of that is in place, I hit play and it creates a million cells, all different and based on these parameters. I have 100 percent control over setting up the algorithm, and then I have no more control.” - Benjamin Koren FIG.24: PANELS IN AN ANGLE
CONCEPTUALISATION 23
A A4: Conclusion
The introduction of design futuring had defined what it means to design for the future. To design for sustainability and to learn from it as well. Radical or not these scenarios we create for the future exists to help turn the gears for our imagination. Through the debate of all these scenarios we can start to imagine a desirable future based on society’s response. This section also introduces technology within architecture and how it has evolved the practice. Specifically through computation, it is evident that this is a new platform where architects can choose to express their design through inputing parameters for a desired product and creating dynamic responses from these parameters. Not to be confused with computerisation, which is the act of having the aid of the computer to help us perform better. Such as drafting tools, 3D printers and etc. Lastly, we end this part with the affirmation of computation as a design practice. It has integrated within architectural firms and is now seamlessly used in the design process as well. Through the precedents we can see that amazing and highly complex forms can only be conceived through computation. It has some constraints in time and file sizes but the merits outweigh the problems here. However, I do think there is a lack of freedom in creativity if we as architects choose to dive deeper into parametric design.
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A5: Learning outcomes
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tarting out this semester doing three core subjects has been tough on me. Throughout the weeks I found myself become more tired. That wasn’t the case for this studio. I found myself enjoying the topics of each week. Learning about the future and how to approach it. This studio has given me a fresh perception on how to design for the future through its readings and discussions through tutorials. I also had little to no experience using grasshopper for Rhino3D prior to starting this subject. After watching
the provided video tutorials and attending the lectures it became more of an enjoyment rather than a chore because of the immersive environment. So I have improved in my grasshopper skills as well. My tutor also gave us an early idea of the brief for the project we will be doing later on in the semester. I find it quite exciting to have received it slightly early. Preliminary research has already begun. Through this I learned how to do extensive research on a brief in regards to site and chosen items.
CONCEPTUALISATION 25
A6: Algorithmic Sketches
FIG.25: ANT SHELL STUDY
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n my algorithmic sketchbook I tried to create a form which resembles my chosen insect which will be covered in the following page. The shell form of an ant is what I want to be experimenting on by maybe adding patterns on it as well.
FIG.27: OPPOSITE VIEW FIG.26: FRONT VIEW
FIG.28: BUS STOP DESIGN TASK EXERCISE
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CONCEPTUALISATION
A7: Site Study & Chosen Insect
FIG.29: AERIAL MAP OF LINCOLN SQUARE
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he site of choice for me would be Lincoln Square. It is largely because that it is more urban than other sites as well as conforming to the brief that it is next to a tram stop. I also chose it because I think the urban heat island effect of this area can be decreased. The adjacent parks nearby can act as a connection point to this park and decrease the urban heat island effect in a larger scale. If there is a larger need, the tram line runs all the way north to Princes Park as well, which is one of the larger parks that can improve the natural environment.
LINCOLN SQUARE
NEARBY PARKS
Another reason why I chose it is also because the insect life there is quite diverse. Being primarily mid storey, like all the other insects. This park has everything ranging from the grass, lawns, trees and midstorey. 1 The existing water feature for Lincoln Square could be of use as well when thinking about the hanging gardens brief. 1 MATA L, IVES CD, MORÁN-ORDÓÑEZ A, GARRARD GE, GORDON A, CRANNEY K, SMITH TR, BACKSTROM A, BICKEL DJ, HAHS AK, MALIPATIL M, MOIR ML, PLEIN M, PORCH N, SEMERARO L, WALKER K, VESK PA, PARRIS KM, BEKESSY SA (2016). THE LITTLE THINGS THAT RUN THE CITY – INSECT ECOLOGY, BIODIVERSITY AND CONSERVATION IN THE CITY OF MELBOURNE, REPORT PREPARED FOR THE CITY OF MELBOURNE.
CONCEPTUALISATION 27
The insect of choice here is the Iridomyrmex Sp. One of the most plentiful and important species in Victoria. This species of ant is local to Australia and it is very important to the ecology around it. They are known to distribute seeds through both dispersal and pollination making them quite versatile. These ants are preyed upon by beetles and spiders. This will help to sustain or even increase the amount of biodiversity of insects within the park itself.
FIG.30: IRIDOMYRMEX ANT
These ants are however, in conflict with themselves and another ant. The also known as Rainbow Ant are very territorial even with one another. Clear boundaries are specified when the ants move to scavenge. When another Iridomyrmex crosses this boundary, they engage in what is call a traditional conflict. 1 Another threat to them is the Argentine Ant, a highly aggresive species of ant that will hinder the Iridomyrmex’s lifestyle. The Argentine Ant is foreign and therefore should be removed from the park as it is a known pest as well. Through chemical substances we can remove the argentine ant however I would like to search for an alternative other than resorting to chemical usage.
FIG.31: IRIDOMYRMEX ANT AND EGGS
Lastly, the Iridomyrmex exists in the most plant types within Lincoln Square. Making them the most versatile to exist in many common plant forms. That makes it less troublesome to find specific plants they might choose to nest near.
1 MATA L, IVES CD, MORÁN-ORDÓÑEZ A, GARRARD GE, GORDON A, CRANNEY K, SMITH TR, BACKSTROM A, BICKEL DJ, HAHS AK, MALIPATIL M, MOIR ML, PLEIN M, PORCH N, SEMERARO L, WALKER K, VESK PA, PARRIS KM, BEKESSY SA (2016). THE LITTLE THINGS THAT RUN THE CITY – INSECT ECOLOGY, BIODIVERSITY AND CONSERVATION IN THE CITY OF MELBOURNE, REPORT PREPARED FOR THE CITY OF MELBOURNE. 28
CONCEPTUALISATION