STUDIO AIR 2018 SEMESTER ONE, DANIEL SCHULZ JUN MING TING
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TABLE OF CONTENTS INTRODUCTION 4 A1.0 DESIGN FUTURING
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A1.1 LOOKING INTO NATURE 8 A1.2 LOOKING INTO THE FUTURE
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A1.3 DESIGN TASK 1 12
A2.0 DESIGN COMPUTATION A2.1 NERI OXMAN
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A2.2 MICHAEL HANSMEYER 19 A2.3 DESIGN TASK 2 20
A3.0 COMPOSITION & GENERATION
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A3.1 RULES OF SIX 24 a3.2 WOODEN WAVES a3.3 gridshells
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a3.4 voronoi
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A4.0 CONCLUSION 30 a5.0 LEARNING OUTCOMES a6.0 APPENDIX
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INTRODUCTION
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My name is Jun Ming Ting. I am from the country of Brunei Darussalam. It is a very small country in South East Asia with a very small population. Whilst it is rather rich in terms of its culture and its locally inspired architecture, there isn’t much for me to be exposed to in terms of diversity in society and culture, hence my understanding of the world was rather quite linear. Melbourne is pretty much the total opposite in that the population is diverse in their culture and ethnicity. Because of this, moving to Melbourne has been a real eye opener for me, or maybe even a culture shock, as I was suddenly exposed to many different things I have never experienced before. Not to mention, the buildings here are very different in terms of style compared to what was available back home. The diversity of buildings available here, from the abundant Victorian style dwellings, to the Italian street of Lygon, to the modern high-rises in the Melbourne CBD, really captured my eye, and got me more captivated in the subject of how cultures and societies affect architecture, or vice versa. I see the series of studio classes that this course has to offer as a chance to learn new things; a stepping stone into the world of architecture. Studio Air will teach me even more, while gaining new insights and new thinking into current matters.
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A 1 . 0 DESIGN FUTURING
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Design futuring is a widely thought about, and is now a common practice in the architectural industry, but it does pose many unanswered questions and problems. ‘Designing for the future’... But whose future? The matter regarding this topic can be very subjective. For example, one man’s perception of sustainability would be the reduction of carbon dioxide emissions, whilst another man prioritises the plantation of trees. Then again, does it even have to be about the sustainability of the planet? Could sustainability be perceived as the prolonged longevity of humans, especially for those living in poverty? Could design futuring also mean designing for a better future in terms of technology and innovation? Not to mention the economy as well as the presence of socio-political parties. All these factors will clash and would cause something unsolvable - a wicked problem. Tokenism is very abundant nowadays, especially within projects directed by designed whose main goal is recognised and reputable - they include some sustainability features into their designs just for the sake of recognition. But one could argue that it is still a step forward into a more sustainable future? Perhaps? Perhaps not? We are autodestructive. Architecture is auto-destructive in itself. The most sustainably built and designed building is already destructive with respect to Earth’s longevity - but it does prolong our lives.
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A1.1 LOOKING INTO NATURE A Natural Habitat for Animals Located in the Lower Yarra River Habitat in the Royal Botanical Gardens, the Eucalyptus camaldulensis, also known as the ‘river red gum’, inhabits beside the river course. It association with water makes it a natural habitat choice for animals. During flooding season, the tree can act as a breeding ground for fish. Hollows formed in the tree create habitats for many different species, such as bats and carpet pythons[1]. Not only are the inhabitable aspects of the tree attractive as inspiration for the brief, but the external features of the tree, such as its interesting array of patterns that evolve from the dying bark, may also be used as inspiration for further development of the design. Nick Wilson and Nature Conservation Council of N.S.W. The flooded gum trees : land use and management of river red gums in New South Wales (Sydney: The Council, 1995). [1]
Eucalyptus camaldulensis a.k.a. the river red gum.
HYPOTHETICAL Habitat The section drawing shows an imaginary habitation for small animals like birds and insects. Included are hypothetical habitation entries, each for a different species, sunlight entries, and a potential nesting area.
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Dying bark.
Recess at the bottom of the tree trunk.
FORM FINDING OF HABITABLE ASPECTS Where the trunk splits in two.
Sketches were made of four habitable aspects of the tree. The patterns form by the dying bark could provide shelter for small insects. The recess at the bottom of the tree could provide shelter and shade for small animals. The area where the trunk splits into two could also provide a platform for nesting, or just a spot for animals to rest on. Hollow branches could also act as entrances to hollows within the tree trunk. Hollowed branch. 9
A1.2 LOOKING INTO THE FUTURE
The Tree of Life Expo 2015, Milan, Italy The Tree of Life, a pavilion located at the Milano Expo 2015 in Milan, Italy, was built by the “Orgoglio Brescia” Consortium[1]. The Tree of Life’s roots lies in the Renaissance, which was a time of great beauty and art. It also reflects complex symbolism shared by many cultures, in that its life force gave rise to the universe. Not only does the Tree of life represent tradition and religion, but it also reaches out to the future, into technological advancement and revolutionary innovation and discoveries. This is successful conveyed with the tree blossoming outwards at the top, suggesting the expansion of knowledge and technology, whilst the roots and the trunk of the tree symbolise great human development which
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allowed humanity to grow. It also links together Expo 2015’s various pavilions. This poses some great ideas for the use of symbolism in my design. This precedent is also useful for the brief in terms of its parametric design and fabrication they way it makes a complex piece simple to manufacture. It is also useful in that it features a holistic-looking piece in itself - even though it may be constructed with several components - rather than the assemblage of constituent parts, which is what I plan to focus on in this course. Italia Expo Milano 2015, ‘What is the Tree of Life?’, Italia Expo Milano 2015 <http://www. padiglioneitaliaexpo2015.com/en/italy_pavilion/tree_of_life> [15 March 2018] [1]
ANALYSIS OF DESIGN CONCEPT The design consists of only two components - a pair of mirroring panels that spiral from the base to the top. The components spiral outward at the base, mimicking tree roots, and join together at the top, mimicking branches and leaves. SPIRAL 1
SPIRAL 2
SPIRAL 1 & 2 COMBINED
Image shows the connections of the spiral components.
Conceptual diagram showcasing the upper section of the Tree of Life.
Pirelli, â&#x20AC;&#x2DC;Tree of Life - Albero Della Vita: The Italian Symbol of Expo Milanoâ&#x20AC;&#x2122;, Pirelli <https:// www.pirelli.com/global/en-ww/life/tree-of-life-albero-della-vita-the-italian-symbol-of-expomilano> [15 March 2018]
In relation to the brief... This precedent is useful for my brief in terms of its parametric design and the way it makes a complex piece simple in its design and fabrication. It is also useful in that it is a great design that features a holistic-looking piece in itself - even though it may be constructed with several components rather than the assemblage of constituent parts, which is what I plan to focus on in this course. The above supporting image and diagrams help explain this. 11
A1.3 DESIGN TASK 1
ITERATION A This iteration was achieved by the integration of the 5 basic surfaces seen opposite. The basic surfaces were inspired by the form of the river red gum, seen at the Royal Botanical Gardens. The concept of this iteration can be imagined as two parts - the sheltered area with gaps for controlled transmittance of light, and the multiple pathways. The idea is that a single sheltered area has access to multiple locations.
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THE BASIC SURFACES Inspired by: 1. Branching 2. Dead bark (on tree) 3,4. Dead bark (off tree) 5. Splitting of the tree trunk
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A2.0 DESIGN COMPUTATION What is design computation? Initially, it could be thought of as the use of computers to manually digitise or to document design outcomes i.e. 3D modelling or CAD drawings. However with technological advancement, such as with the introduction of algorithms, new design processes can be used in practice. Algorithms can quickly generate many iterations of a single design, and it can also be used to generate or explore forms. With such a drastic difference, we canâ&#x20AC;&#x2122;t refer to design computation as what we do on the computer (what we can call design computerisation), but as a method to generate design ideas, whether it be on the computer or not. The introduction of algorithms and other forms of systems, such as the L-system, has lead to the plausibility of creating many new conceivable and achievable forms. Whether it be a algorithmically generated complex form, or a form that has been inspired by the thorough research of biological organisms, they would not be possible without the advancement of technology and design computation.
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A2.1 NERI OXMAN
Business Wire, ‘‘Vespers’ – a Series of Stratasys 3D Printed Death Masks Designed by Neri Oxman and Her Team – Highlights at Prestigious National Gallery of Victoria’, Business Wire <https:// www.businesswire.com/news/home/20171220005638/en/Vespers-%E2%80%93%C2%A0a-Series-Stratasys-3D-Printed-Death> [15 March 2018]
VESPERS EXHIBIT VS ROYAL BOTANICAL GARDENS Comparing the visits to the Botanical Gardens and the NGV, the botanical gardens has a very calm and relaxing atmosphere. The NGV is designed to evoke certain emotions and moods into the visitors, and because it is artificially designed, it can be customised and arranged into many complex formations in terms of architectural design and layout to evoke specific emotions. The Botanical Gardens, although is comprised of natural compositions in that of plants, flowers and trees, the park is still designed in a way to enhance our experience while being inside. This can be understood as “Design inspired Nature”. Whilst everything is naturally grown, the layout of the different areas, as well as the pedestrian paths are designed to enhance the visitor’s journey by making them feel lost in nature. In NGV however, more specifically Neri Oxman’s Vespers 2016 exhibition, the ‘death masks’ are designed with inspiration from nature, more specifically the biology of organisms. This results in a mysterious design that is artificial in the bones but looks and feels rather organic, which evokes an uneasy feeling within me. 16
SKETCH OF A DEATH MASK I explored the perceived lines and shadows created by this specific death mask. The line drawing shows interesting and organic patterns that I could implement in my design for the brief. The shadows, giving me a sense of depth, shows how the integration of the hollows, such as the alignment, can result in stimulating aesthetical results. It also gave me several ideas of how I can integrate solid and void to create a holistic yet broken piece. 17
SILK PAVILION - THE MEDITATED MATTER GROUP Meditated Matter, ‘Silk Pavilion‘, Meditated Matter < http://matter.media.mit.edu/environments/ details/silk-pavillion#prettyPhoto> [15 March 2018]
Computation has allowed the team to research and develop their design in ways that wouldn’t have been possible without it. It enabled the team to discover the microbiological forms of certain organism and their by-products. Without modern technology, we wouldn’t be able to understand the world around us down to the atomic level. This understanding inspired Neri Oxman, from then which she tried to mimic certain aspects which would allow certain objects to be fabricated in ways never done before, such as varying surface properties on a single surface without using multiple materials. She wanted her designs to be ‘grown’, not built and assembled. The development of this revolutionary innovation can allow future architecture to be designed and built more efficiently whilst also using less material in the process.
2300x magnification polychromatic SEM micrograph of the silk support scaffold of a domesticated Bombex mori cocoon. Meditated Matter, ‘Silk Pavilion‘, Meditated Matter <http://matter.media.mit.edu/environments/ details/silk-pavillion#prettyPhoto> [15 March 2018]
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The magnified image features the structure of the silk support scaffold of a domesticated Bombex mori cocoon. Without technology and computation, this structure could not be perceived and hence could not be researched and applied into the design.
A2.2 MICHAEL HANSMEYER
“We viewed the computer not as parametric system of control and execution, but rather as a tool for search and exploration[1].”
Digital Grotesque II Digital Grotesque II, a highly-ornamented 3D printed grotto, premiered at Centre Pompidou’s “Imprimer le monde’ exhibition. The grotto, which is made out of 7 tons of printed sandstone, was designed entirely by subdivision algorithm [2]. With the use of computational design, the form was created by defining procedures - algorithms - to generate form; there were no manual development or interventions. The 1.35 billion surfaced grotto would not be conceivable, let alone achievable without computation. Not only does computation entirely define the design process, but it also allows the fabrication of the grotto to be achievable. The swift transference of information from computer to 3D printer would allow the grotto to be printed precisely and accurately.
current post-modern architecture into a fresh, new style, if society does so find it find it attractive. This could just be another step in the timeline - just like how we transitioned out of the classical period, for example, we could transition out of the post-modernism era, and that would likely be affected by the advances in computational technology.
As opposed to my own design project for the brief, the computer has been used, as a tool for exploration of design forms, rather than a parametric system of control and execution. Computational design could definitely re-define practice in the future, especially because it could make every process more simple and efficient to execute. Computation could pose opportunities and innovation for future designers and architects in many ways such as a transition out of the
Close-up image of Grotto II. Michael Hansmeyer, ‘Grotto II’, Michael Hansmeyer <http://michael-hansmeyer.com/mobile/ digital_grotesque_2.html> [15 March 2018]
[1]
Michael Hansmeyer, ‘Grotto II’, Michael Hansmeyer <http://michael-hansmeyer.com/ mobile/digital_grotesque_2.html> [15 March 2018]
[2] Michael Hansmeyer, ‘Digital Grotesque II’, Michael Hansmeyer <http://www.michaelhansmeyer.com/projects/digital_grotesque_2_info3.html?screenSize=1&color=1#undefined > [15 March 2018]`
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A2.3 DESIGN TASK 2 LOFT 1
ITERATIONS I created 3 lofts that were influenced by Neri Oxmanâ&#x20AC;&#x2122;s death mask I saw at the National Gallery of Victoria (NGV). From these lofts, I explored several functions on Grasshopper wireframes, interpolation of curves, geodesic strips, contour, and box morph. Shown are the most attractive iterations. I figured that the box morph would produce more compelling design iterations. Box morph could potential mimic the bark pattern of a tree the best due to the ability to control it in 3D space.
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LOFT 2
LOFT 3
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A3.0 COMPOSITION & GENERATION Architectural designs nowadays still mainly adopt the top down approach - that it too built all the component parts separately first before assembling them together. However, the bottom-up method (generation) has been on the rise in the recent years due to technological and computational development. Not only can the design be generated by algorithms, but it can also be “grown”. Works that are materialised through this method could mimic those in nature better conceptually, in the sense that there would be a functional reason for almost all aspects of the piece. However, building architecture generatively still may be a far catch, but “growing” conceptual/digital designs could prove influential for future works. Why I feel generation could be a better design method than composition? By building all the components separately and assembling them together, this could disrupt the flow of the architectural piece, and some pieces may also be deemed unnecessary. By “growing” architecture, every part of the design has a link to another, and therefore it would produce a holistic design. 23
A3.1 RULES OF SIX
“The simultaneous unyielding sameness and infinite possibility”[1].
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Aranda Lasch, ‘Rules of Six‘, Aranda Lasch <http://arandalasch.com/works/rules-of-six/ > [15 March 2018]
Aranda Lasch, ‘Rules of Six‘, Aranda Lasch <http://arandalasch.com/works/rules-of-six/ > [15 March 2018]
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The image shows the growth pattern of the adopted from that of a snowflake recurring patterns growing out by itself indefinitely. The scientist and designer adopted this method for their design generation. Aranda Lasch, ‘Rules of Six‘, Aranda Lasch <http://arandalasch.com/works/rules-of-six/ > [15 March 2018]
GROWING ARCHITECTURE ‘Rules of Six’ is an installation curated by Paola Antonelli, commissioned at the Museum of Modern Art in New York. The project explores the concept of automative assembly (a bottom up approach of formation) in which material structures are “grown”. Material scientist Matthew Scullin wrote a custom piece of software that simulates gradual material formation similarly to the way molecules assemble themselves in the experimental lab [1]. The concept came from the growth of snowflakes, with the idea that the form of snowflakes conform to their laws, but yet no two are alike - “the simultaneous unyielding sameness and infinite possibility” [2]. This, in my opinion, could mark the conceptual change between compositional architecture and generational architecture because its computational process is not only algorithmic, but it also relies on the research of molecular science, and its the properties of these molecules that allow the architectural piece grow. Because of this, Rules of Six is designed to grow and multiply indefinitely without sacrificing stability, just like trees - this concept could influenced the design of my brief. Aranda Lasch, ‘Rules of Six‘, Aranda Lasch <http://arandalasch.com/works/rules-of-six/ > [15 March 2018] [1][2]
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a3.2 WOODEN WAVES
Optimisation Process - Finding the right radius to match the freeform Mamou-Mani, ‘Wooden Waves’, Mamou-Mani < https://mamou-mani.com/project/woodenwaves/> [15 March 2018]
WOODEN WAVES BY MAMOU-MANI Wooden Waves is an architectural installation suspended in BuroHappold Engineering’s London offices to provide a visual link between the 17 and 71 Newman Street entrance spaces. Most notably, the support modules were generated through ‘Topological Optimisation’ [1]. This digital process assesses the load paths within the structure and will automatically remove unused material. This will be a very useful process that can be used in the design process for my brief. It can help my design flow better in terms of its form, and just like trees, every part of it will have a function. Digital generation aside, the Wooden Waves utilises a ‘latticehinge-formation’ [2] which can also be used in my design. The parametric pattern of laser cut lines that allows controlled local flexibility on timber sheets can allow my design to flow in a smoother fashion, mimicking that of a tree. The cuts also allow diffusion of light through, which can also be an important aspect of my design. [1][2]
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Mamou-Mani, ‘Wooden Waves’, Mamou-Mani < https://mamou-mani.com/project/ wooden-waves/> [15 March 2018]
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a3.3 gridshells GRIDSHELL
ORIENT WITH EXTRUDED GEOMETRY
ORIENT WITH MORE COMPLEX SURFACES
WHAT I LEARNT Gridshells are very aesthetically pleasing and could potential be used for the frame of my design. However, when using gridshells as a medium for orienting geometry onto the surface, it created quite a scattered result if the surface is uneven or asymmetrical. It produced areas that are far too dense and areas that are far too sparse. If I could learn how to control these parameters locally, it could lead to more interesting patterns which could lead to my final design. But for now, I only plan to use gridshells potentially for the frame of my design.
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a3.4 voronoi
VORONOI SURFACE PATTERN
WHAT I LEARNT Voronoi surfaces could be altered to produce simple or more complex patterns. I didnâ&#x20AC;&#x2122;t really like the outcome of the voronoi patterns on the lofted surface - partly due to the reason that I have not figured out how to adjust the planes for the geometry correctly. I also figured that mapping voronoi patterns onto lofted surfaces may be more suitable if the lofted surface is more conceptually geometrical rather than organic. This is because the voronoi patterns that were mapped onto the surface were staggered and not smooth, hence it created an odd mix of smooth organic lines with sharp staggered lines. Voronoi could also potential be used to construct the frame of my design. Maybe once I learn how to smoothen the lines, I could use it as a tool to orient geometry onto the lofted surface. 29
A4.0 CONCLUSION
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The design approach will be highly computational, from the design to fabrication process. Grasshopper will be used (algorithmic process) more of as a search and exploration, rather than a control for desired outcomes. By doing so, I may achieve more interesting forms that may also be feasible. Even though the forms generated may be random, some of the outcomes may be most desirable, and they would also be suitable for the brief, as nature can also be perceived as random. I will also use algorithm as an optimisation tool to design what is needed, nothing unnecessary, just like in nature. By designing this way, it would benefit everyone in the picture. It would benefit me by expanding my knowledge on the matter, as well as on better design computational methods. The client would undoubtedly benefit, as the design outcomes would be optimal for its purpose. It would also benefit the environment as a result of efficient material usage. A finally, the it would also benefit the surrounding community, as an innovative design outcome could pose to be influential to them, whether it would be at a surface level, such as improving the aesthetical qualities of the environment or at a deeper level, such as symbolisms for a better future.
Part A was a real eye-opener for me. Prior to this, I have never thought about design computation and generation as such a big topic in this age of architecture. I was also oblivious to the many different design methods and design thinking. Because of the new-found knowledge, I can use them to expand on my current design projects by using different design methods for different purpose, such as the use of computational algorithm for design exploration. Most notably, the notion of ‘Design inspired Nature’ induced a new way of design thinking - not to look for inspiration in nature, but on how to improve nature with design, as nature is already comprised of well developed and holistic ‘designs’ that were generated by the amazing integration of biological components.
a5.0 LEARNING OUTCOMES
In hindsight, there are many ways to improve on my previous designs, from the design process and thinking to fabrication. I could use algorithms and other computational process to optimise my designs as well as to implement more ornamental features to allow my final product to flourish. It would also result in a much cleaner and a more professional-looking model. It may also seem arbitrary in the sense of architectural but I will also save money on material fabrication due to more efficient designs.
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a6.0 APPENDIX DESIGN ITERATIONS
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BIBLIOGRAPHY Aranda Lasch, ‘Rules of Six‘, Aranda Lasch <http://arandalasch.com/works/rules-of-six/ > [15 March 2018] Business Wire, ‘‘Vespers’ – a Series of Stratasys 3D Printed Death Masks Designed by Neri Oxman and Her Team – Highlights at Prestigious National Gallery of Victoria’, Business Wire <https://www.businesswire.com/news/home/20171220005638/en/Vespers%E2%80%93%C2%A0a-Series-Stratasys-3D-Printed-Death> [15 March 2018] Italia Expo Milano 2015, ‘What is the Tree of Life?’, Italia Expo Milano 2015 <http://www.padiglioneitaliaexpo2015.com/en/italy_ pavilion/tree_of_life> [15 March 2018] Mamou-Mani, ‘Wooden Waves’, Mamou-Mani <https://mamou-mani.com/project/wooden-waves/> [15 March 2018] Meditated Matter, ‘Silk Pavilion‘, Meditated Matter <http://matter.media.mit.edu/environments/details/silk-pavillion#prettyPhoto> [15 March 2018] Michael Hansmeyer, ‘Digital Grotesque II’, Michael Hansmeyer <http://www.michael-hansmeyer.com/projects/digital_grotesque_2_ info3.html?screenSize=1&color=1#undefined > [15 March 2018] Michael Hansmeyer, ‘Grotto II’, Michael Hansmeyer <http://michael-hansmeyer.com/mobile/digital_grotesque_2.html> [15 March 2018] Pirelli, ‘Tree of Life - Albero Della Vita: The Italian Symbol of Expo Milano’, Pirelli <https://www.pirelli.com/global/en-ww/life/tree-oflife-albero-della-vita-the-italian-symbol-of-expo-milano> [15 March 2018] Wilson, Nick and Nature Conservation Council of N.S.W. The flooded gum trees : land use and management of river red gums in New South Wales (Sydney: The Council, 1995).
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