M4 Journal DDF Kelvin Ng

DIGITAL DESIGN + FABRICATION SM1, 2017 M4 Journal Kelvin Ng

832308 Sia Malek - Studio Six

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CONTENTS

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1.0 Ideation

1.1 Object 1.2 Object + System Analysis 1.2 Volume 1.3 Sketch design proposal 1.4 Reflection

2.0 Design

2.1 Design development intro 2.2 Digitization + Design proposal v.1 2.3 Precedent research and sketches 2.4 Design proposal v.2 2.5 Personal Space 2.6 Prototype v.1+ Testing Effects 2.7 Final Prototype an 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

4.0 Reflection.

5.0 Appendix: 5.1 Credit: 5.2 Bibliography

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1.0 IDEATION

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The deer head came in a set of pre cut parts, each part corresponding to the instructions that were included. The instructional diagram was scanned before being extruded in rhino to the correct volume and then built according to the instructions.

1.1 OBJECT

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MEASURED DRAWINGS

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DIMENSIONS The measurements were taken using the cutouts, tracing each peice onto paper for an exact replica of the model. As there were many parts, photography did not give adequate results, and thus was not used as a base for the tracing, merely serving as a reference alongside the physical model.

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As the dimensions were already in place through the cutouts, it was then simple to halve each dimension to give a 1:2 scale.

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1:2 scale @A4

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1:2 scale @A4

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A combination of Rhino, V-Ray, Illustrator and Lightroom was used to create the 3D model of the deer.

Rhino formed the base model for the deer, which was then given textures with V-Ray. This was then enhanced with Adobe Photoshop and Lightroom as a final process.

The cutouts were replicated on illustrator before being imported into rhino to extrude. Using the instructions, I was able to easily recreate the full model quickly and accutately.

After creating the model, textures were applied and rendered using V-Ray.

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The rendered image was given a white background and cleaned up in Photoshop.

After rendering, the image was imported t o lightroom t o clean u p the colors, matching the original model.

Fully rendered views of the model, complete with textures.

Detail

Top

Front

Perspective

Side Elevation

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Not to scale

1.1

SYSTEMS ANALYSIS 12

The parts were joined using slots, forming a series of interlocking planes that gave each other stability and strength. The drawing above shows how the parts slot together.

Each panel is shaped differently, but are all flat in an almost 2D way. However, when combined in a system such as this, the 2D element is lost and the overall structure takes on a more three dimensional feel.

Through this we are able to easily form quie complex shapes, using only 2d planes and slots.

1.2 VOLUME

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Using a peg joint, the modules are able to rotate slightly, eliminating the problem we had with the panels in our previous experiment.

This allows, hypothetically, the ability to wrap around any surface and move to a small extent.

I decided not to emulate the deer head idea to create shapes, but instead explore the possibilities of the technique.

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1.3

SKETCH DESIGN PROPOSAL

The ribs protect the person from others who might encroach upon space

Another idea is to mount the ribs onto an arm, allowing free lateral movement, whilst still having an element of crowd control.

Able to support the weight of the ribs Allows tspace within the frame

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Peg joints

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1.4 REFLECTION

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Throughout module one, I played with the idea of the slot system extensively, exploring the limits of the system. I found that the slot system’s greatest strength was the strength that came from the interlocking pieces. However, I found this to be way too rigid and a limitation on the sytem. This was addressed in the sketch model made for the presentation.

The positive feedback given after the presentation pointed me in the direction of movement throught the system, something that I continued to explore in the next few modules.

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2.0 DESIGN

KELVIN NG DAVID ONG JAMES GLEDHILL HILARY STEPHENS

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2.1

DESIGN DEVELOPMENT INTRODUCTION

From the module one sketch designs that we all came up with, we decided to proceed with the idea of the cone like shape, optimising the section and profile idea for rigidity and strength to create a strong protection of personal space. The form iteslf evokes motion through the curvature of line.

The other two designs that were considered were design 2 and 3. Design 2, even though using a fowing shape and hood like structure to encompass personal space, did not complement the section and profile nature. Design 3 added the use of hinges to reduce rigidty, but was somewhat cumbersome and complicated.

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2.2

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DIGITALISATION AND DESIGN V1.

In response to our earlier misgivings about the inflexible and fixed nature of the previous design, we decided to make our next version slightly more flexible.

Through the simple act of spinning around a central axis, we were able to quickly and easily allow our design to change based on personal space needs. We capitalised on the strength of the design, which were the varying peak heights and allowed them to move, shielding or exposing the user as they chose, both from and towards the outside environment.

However, this was still quite boring and static, and we felt quite unsatisfied with the level of adaptability that it posessed, only being able to rotate in one plane.

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We took the idea of movement in a non linear way to the next level, each piece spinning on its own axis, forming an extreme diffraction of pieces.

This is far by the most flexible and `free moving of the version 1 skins.

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PRECEDENT AND SKETCHES

MELBOURNE CENTRAL SPIRE // Picture Version 1 Design Model - Sketches Inspired by the shape and unconventional circular section and profiling effect, the spire opens a new way of thinking about the form. The symmetry of the circle means that the form looks the same from every angle around it. The cone shape creates an interesting internal volume that somewhat conforms to our notion of personal space i.e. personal space is more immediate on the upper body but looser around the legs.

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Version 1 Design Model - Development 1 Sketches

REVOLVING DOORS // Picture The notion of revolving doors is very relevant to our concept of personal space in the sense that the openings are fluid and can be opened or shut at any moment.

The idea that a space can open and close, purely based on a revolving motion is taken further to explore how we can mediate personal space in flexible and fluid way.

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Version 2 Design Movel - Precedent CORN/FED // Festival Poster Inspired by the simplicity of the corn in the poster, in the depiction of beauty that allows for the natural elements life to be able to protect themselves.

The direction of /folding in the body that protects the CORN/FED / Festival Poster corn asInspired it grows inside, formed for our folding by the simplicity of the the corn basis in the poster, concept.

The directional change allows for movement in the depiction of beauty that allows for the natural around elements a rigid structure, whilst the alternating life to be able to protect themselves.directions of a basic inward/outward creates a The direction of folding in the undertaking body that protects seamless beauty in design. the corn as it grows inside, formed the basis for our folding concept. The directional change allows

ROLLERCOASTER // Picture for movement around a rigid structure, whilst the alternating directions of the a basic inward/outward The rollercoaster created form for the undulating undertaking creates seamless design.going as far wavy forms that the skina is madebeauty up of,ineven as resembling the grid pattern of sectioning.

ROLLERCOASTER // Picture The rollercoaster

VENUS FLYTRAP // form Picture created the for the undulating wavy forms

that the skin is made up of, even going as far as

The Venus Flytrapthe with opening nature, is drawn upon, resembling grid its pattern of sectioning. combining with the corn influence to create the open and close of the design.

VENUS FLYTRAP // Picture The Venus Flytrap with its opening nature, is drawn upon, combining with the corn influence to create the open and close of the design.

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Version 2 Design Model - Sketches

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Synthetic Grain // By Projectione Taking a natural form from the environment, projection were able to be inspired by the natural curvatures of a wood grain, to create a building skin that results in a three dimensionally curved, contoured surface.

This formed as a precedent for our design through further investigation, as the beautifully organic lines are held together through an engineered locking system. This allows the laser cut polystyrene to slot into a plywood back.

The flowing shapes of the grain gave us the idea to alter the radial form of personal space, through fluid lines to create a softness in our second skin.

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The Twist Bridge // Netherlands This precedent formed the main basis for our final design, as it enabled us to use our idea of the blind system and second skin basis; whilst enhancing the body of a section and profile. From the beginning of the process, we have aimed to create movement in the rigid structure of section and profile; through the concept of contortion.

This utilises the unyielding strength of section of profile, yet still challenges and develops the structure through the addition of the twisting, which will be enabled through choice of materials.

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2.4

DIGITALISATION AND DESIGN V2.

OPEN

The opening and closing of the design was developed after considering the natural world, looking especially at the venus flytrap flower and the corn. The open configuration invites people in, showing the face of the person wearing the design, whilst in the closed configuration, the sections block the face, signalling a reluctance to communicate.

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CLOSED

The idea of the sections peeling outwards were inspired by the twisting rails of a roller coaster.

This gives the design a sense of undulating movement, much like that of the ride itself.

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Version 2 Design Model - Development 1 This design was developed with the idea of bending in different creating This designplanes, was developed with theaidea bulge that relates to creating the a of bending in different planes, personal space user. bulge that relates to of thethe personal space of However, this is quite static the user. However, this is quite static and and thus boring. did and likeidea thus boring.

We did likeWe the shape the shape idea ofmight the use of the bendingand bluges, and so bending and so the concept inbluges, our final model. might use the concept in our final model.

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Version 2 Design Model - Development 2

DENSITY This idea was developed whilst exploring the concept of opacity and density. It uses a simple but effective blind system to hide and idea was developed whilst exploring the of concept of opacity andsection density. It and uses aprofile simple but effectivebut blindtakes system it to a hide and reveal the body.

This furthers revealThis the body.

This furthers the idea density in the system, step further, the user beingtheable to idea of density in the section and profile system, but takes it a step further, the user being able to control the blind to cover the whole body or simply selective parts control the blind to cover the whole body or simply selective parts they want to hide/show. they want to hide/show.

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Looking at personal space in relation to our concept of a second skin, furthered our analysis to the study of humans use of space and the effect that culture and density has on our senses; known as proxemics.

Our second skin brief takes place in the context of different cultures, how one adapts and finds comfort in a new or foreign environment.

Proxemics depicts the symbolic and communitive role in a culture of special arrangements and variations in distance; the ways in which a cultures population density can differ our behavior, the way we communicate and how one interacts in a social environment.

A second skin challenges this concept of proxemics, in which a second skin gives the user the ability to neutralise the notations and effects of these proxemics; by providing protection through density and coverage.

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PERSONAL SPACE

After interviewing a fellow student and averaging out our own definitions of personal space and individual boudaries, this dagram was created.

The darker areas represent more intamacy, the three levels being intimate, friends and strangers.

The subject was right handed, and expressed less comfort on her left side, the less dominant side. Additionally, she felt that the lack of vision towards the back of her person was less comfortable than the front, the back less protected than the front.

This correlates with our own views, the back being the spine and soft section of the skull that need to be protected and the least dominant side not as dextrous or strong as the dominant.

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2.6

PROTOTYPE V1 + TESTING

The idea behind this design was to flip the concept of profile and section on its head. The strength of section and profile comes through its interlocking slot system, allowing complex shapes of different planes and densities to be formed whilst being incredibly strong and rigid.

We did not like the rigidity of the system and thus, decided to construct a flexible system that included all the principles of the section and profile approach except the rigid nature.

Along with this came another benefit, the bending and buckling of the flexible material allowing us to change the density, shape and mass of the skin simply through twisting and moving parts.

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The model was printed onto cartridge paper to build a initial small scale protoype model, allowing us to quickly and cheapy fabricate the design.

After printing, the parts were cut and laid out before being assembled. We found that even though the paper by itself was quite flimsy and floppy, it still was able to hold its shape when combined in this way.

We used this flexibility to our advantage, able to bend the paper model to our heart’s content and fully explore the potential of the design.

One thing we took note of was the limitations of the system, the structure failing if even one part was absent. This showed us the almost gestalt like properties of the system.

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The paper model was then mounted onto a 30cm mannequin, replicating what it would look like when attached to a full size human.

We found that the shadows and light that were created by the design were quite interesting and could be further enhanced if the material were more transluscent.

Additionally, the paper was far too flexible for this purpose, holding together, but just barely, some parts at the ends not even being able to support thier own weight. We needed a stronger, transluscent and thin material which was also able to flex and contort.

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After looking at the paper model, we decided to switch to polypropylene. This material fit all the criteria that we decided upon after playing with the paper mode. It is transluscent, flexible, fairly strong and has an equal amount of flex.

Above are images showing the bending of the material under pressure, the planes buckling to create an effect similar to that of the blinds, increasing the density of the structure while increasing opacity thorugh the overlapping transluscent sections.

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2.7

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FINAL PROTOTYPE AND REFLECTION

The final prototype was constructed from polypropelene, put together in the same way as the paper model. However, with the small scale of the model, it was far too rigid and did not demonstrate the capabilities of the real material.

However, we were pleased with the way polypropylene achieved differencing opacity.

Some aspects that didnt work were the overall shape being too large if it were to be produced at a one to one scale and the vertical axis of sectioning and profile were too rigid to create more bending and movement. Going forward, we will experiment with more material and perhaps combining different materials into the one design, also developing more of how the individual would manouvere the second skin and how it would attach to the body.

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3.0

FABRICATION KELVIN NG DAVID ONG JAMES GLEDHILL HILARY STEPHENS

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3.1

INTRODUCTION

In module 2 we developed a design that used the idea of a folding shutter system, contorting the section and profiling idea to create different levels of density and transparency throughout the design.

We came up with this idea after many iterations of the more static and rigid form of traditional section and profiling, most of which included the waffle method of construction.

We did not like the rigidity of the waffling and decided to turn the system on its head and work with the idea of buckling and bending to create something that still retained the idea of section and profile, but was flexible and organic.

Feedback we recieved during the presentation of module 2 was quite positive, however, there were some more issues pointed out.

The concept points out how the head is a focus for your team, however other parts of the body received the same treatment as the head? update your design aproach Overall mechanism has not been resolved and as a group of 4 you have to resolve a lot of design and fabrication issues

We came across a few issues after fabricating.

The back section was too rigid

Didn’t have enough control over the system

Shape was not indicative of our concept

Verticals were too flexible

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3.2

DEVELOPMENT 1

Following the feedback given in module 2, we tackled the issues that were present, reduing the amount of verticals present in the structure as well as limiting the variable that were related to movement in the design.

We found that the waffling method we were using in the previous design made the entire structure too rigid and was unable to bend properly to create the desired effect. The solution we came up with was a series of shelf like verticals that allowed the horizontals to rest when not in contortion, but still allowed a sliding motion when force was applied.

We limited the amount of variables in this, experimenting with slot sizes and ‘shelf’ lengths to create different amounts of bend.

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The second iteration had more variation in the widths, instead of only having the spine section being varied as seen in our first attempt. We decided to vary the widths of the ribs, to create a more interesting effect. We also added the head sections to the design, which were different to the rib sections.

Head

Rib

With the first iteration, we found that the rib sections were too thin, coming in at 5mm. This continued all the way across all the ribs, the only variation being on the left side of the body. The only variation that was present in the design is the spine.

This also only included the body sections, stopping at the base of the neck.

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3.3

DEVELOPMENT 2

Vertical Material Our initial aim was to create the entire system out of one material but we found that polypropylene lacked the rigidity we needed for our vertical elements. In our tests on the prototype, we affixed steel rulers to the vertical sections to emulate a more rigid material taking the place of the flexible polypropelene.

We considered using multiple layers of polypropylene but it still lacked the required properties. In our search for a new material the properties we were looking for included, rigidity, light weight and aesthetically coherent when used with polypropylene. We first tried using balsa wood, it met most of the criteria but was not strong enough for the scale we were working at. We then identified Bamboo Ply as a suitable material.

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After testing its’ properties we found that it met all our criteria.

The only issue that remained was that we needed to be able to feed the bamboo into the horizontal panels and for it to hold in place.

The polypropylene was good at this as we could bend it through the holes and it would snap back into shape and ‘lock’ the system together.

With this in mind, our solution was to sandwich a piece of polypropylene between two sheets of bamboo ply so we could utilise the properties of both materials.

2.5mm Laminated Bamboo Ply with 0.6mm Polypropene ‘core’

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3.4

FINAL PROTOTYPE DEVELOPMENT AND OPTIMISATION Vertical Shape As we refined the overall form of the second skin into something that was organic and reflective of our notion of personal space, we needed to design the vertical elements to accommodate the desired shape. To ensure as much control over the system as possible we tried to keep the vertical elements perpendicular to the horizontal elements.

Towards the head, however, the horizontal elements contract, which meant we had to angle the vertical elements. We realised, from earlier tests that the angled nature of the vertical element would still pull the horizontals inwards regardless.

This required extra thought during the modelling process but it was found that the overall effect was the same and we would not lose any control.

Verical Orientation One difficulty we encountered when designing the final system was getting the vertical elements to run through the horizontal elements that varied so drastically in width and shape. To make this easier for ourselves, we took inspiration from the handle design and decided to rotate all vertical elements, bar the one running through the spine, so the long edge would run with the horizontal elements rather than against it.

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Handles Working out how the user would have control over the system was a big part of our development. Early on, it was decided that we would put vertical handles that were fixed towards the front of the system. Initially these were going to be polypropylene elements that had been folded over to give extra strength and slotted into the vertical elements. Once again we found that the polypropylene was not structurally sound, so similar to all the other vertical elements we decided to incorporate bamboo to add the required rigidity.

The other issue we had to resolve was the fact that the handles being fixed in place limited the movement through the system.

The handles had to have control over the system but still allow movement. To compensate for this, we decided to run the handles through the horizontals but turn them sideways so that the long edge ran parallel with the horizontals. This resolved our problems whilst also creating a homogenous link between the handles and other vertical elements.

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Horizontal Material Once we identified the effect we wanted our system to create, we needed a material that had the desired properties. As it needed to be flexible, light weight and somewhat transparent, we quickly identified frosted polypropylene as the best material for the job. It had all the required properties and after conducting some principal testing, it created the desired effect. Our biggest concern with the material was that it would not hold its shape when the system was at rest but with added supports from the vertical elements, we were able to overcome this.

Horizontal Shape Our horizontal shape was one of the key ways we could identify and occupy our personal space. We wanted the shape to be organic and also effectively show the areas we thought were most important to our personal space.

We went about creating the shape by producing many different sketch designs and continually refining them into something that we felt accurately represented out notion of personal space. We then translated the 3D drawings into 2D panels so that the varying widths and shapes of the horizontal panels defined the overall shape.

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Horizontal Joints As our horizontal elements are too big to fit on one sheet of polypropylene, we needed to identify an effective way of breaking up the elements and joining them together.

Overlap

Brick

After brainstorming many ways to achieve this we decided the two most effective methods of doing this would be to either have two pieces that overlap at the back or to create horizontal elements that are two layers thick with a brick overlay design. We also needed to find an appropriate adhesive that would not be too obvious on the clear polypropylene.

We tested both our solutions using adhesive spray. The results showed; firstly, that adhesive spray was appropriate and barely showed up when applied correctly and secondly that our first solution worked best as it looked clean and did not hinder the required movement while the second solution made the joints

obvious.

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Properly applied glue

Distance Between Horizontals The distance between the horizontals affects the density when the panels fold down. We varied the distance to try and find appropriately sized gaps. After trialling different combinations, we decided that the panels surrounding the head should be denser than around the body as this fit with our interpretation of personal space and created an interesting overall effect.

Small Slot Large Slot

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Ratio between the width of the verticals and the holes in the horizontals To gain full control of the system, we wanted to know how far the horizontals would fold down. To control this, we tested the relationship between the size of the holes in the horizontals relative to the vertical elements passing through them.

We trialled different ratios to see the varied effect. We found that to create a noticeable variation, the ratio needed to be drastically changed. We then took our findings and applied them to our final design.

Interlocking System between the Horizontal and Vertical Components A key component of our design process was figuring out how our horizontal elements and vertical elements would interlock.

As the system needed to allow movement, we could not simply fix them together. We experiment with the idea of using string to essentially tie them together but this proved to be to complex and did not provide the required rigidity. Instead we took inspiration from the zip tie in that we could push the horizontal elements through in one direction and they would lock into place and not fall back the other way. To achieve this, we incorporated polypropylene flaps into our verticals that could be manipulated through the holes in the horizontal elements and bend back into place, thus locking the system.

Connection to the Body The last element that needed to be developed was the connection to the body. Once again, the moving system made it difficult to design a system the would allow it to sit on the body with no extra support and still flex when the second skin is active. We considered different forms of strappings to connect it to the body but realistically we needed a design that would support all the verticals and sit tight on the body. To achieve this, we took inspiration from a back pack. We designed overthe-shoulder supports as well as one that rests on the lower back to prevent the system rotating off the body. To connect all the vertical elements, we will run fishing wire through the shoulder supports and have the wire in tension to suspend the other vertical elements.

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3.5

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FINAL DIGITAL MODEL

2nd Skin final design Rendered in V-Ray

Top

Perspective

Front

Side

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3.6

FABRICATION SEQUENCE

Horizontal Elements 1.

Separate excess material from laser cutting

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Lay pieces out in correct pairings

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Use adhesive spray to join the pairs

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Layout completed pairs

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Vertical Elements 1.

Separate excess material from laser cutting

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Lay out pieces in correct groups

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Join the first layer of bamboo to the polypropylene using adhesive

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Secure the second layer of bamboo to the polypropylene

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Layout the completed elements

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Joining the Horizontal and Vertical Elements 1.

Slot one horizontal element through all five verticals

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Start with the middle horizontals and work outwards

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Connection to the Body 1.

Remove the bamboo components from their laser cut sheet

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Join the two layers together with adhesive

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Slot the three elements into their appropriate slots in the vertical elements

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Fix them with adhesive

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Run fishing wire from the other verticals to provide support

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3.7

Front

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ASSEMBLY DRAWING

Back

Detail

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3.8

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COMPLETED SECOND SKIN

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4.0

REFLECTION

Digital Design and Fabrication has been an incredibly en only about the care and precision needed to fully realis thought needed to acomplish a task well. The oppurtu areas of thinking, conceptial and pracatical, and the more modelling and hands on building. The most important sk taking, our design largely 3d modelled with the considerat until we finally built it that the problems arose, and we fixe

We found that the design was much more flexible than we being too rigid in other areas, not letting us control the syste being modelled using the human model provided, proved finally, the vertical supports, which we did not give much shape, were deemed to be too sharp.

All in all, I am quite happy with how the design turned o pleasing and to our expectation. Time was not on our sid semester, stress and fatigue starting to creep in and man over how we could better our concept. However, if workin more time and money, I now know to test the designs a concepts rarely ever work to the degree you expect, “the r of a knowledge base developed through feedback, both i information in the hands of designers who in turn work wit All in all, this subject has really broadened my horizons in fabrication, learning many new skills from both success an

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nriching experience, learning not se a design, but also the level of unity to push myself, both in the e physical side of design, using 3d kill that I think I have learnt is risk tion of concepts behind it. It wasn’t ed them one by one.

e anticipated in some areas, while em very well. The shoulder mounts, d to be the wrong dimensions and h thought to in regards to overall

out, working in a way that is quite de towards the final weeks of the ny long nights were spent pouring ng on this again int he future with and materials in the real world as resistance of material... can be part in real and simulated that puts this th it� (Scott Marble, 2008, pg 40) regards to design, modelling and nd failure.

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The vertical elements were rounded to give a less sharp finish

We added small horizontal supports made from bamboo to keep the system rigid 68

The shoulder mounts were modified to be thicker, giving the design less room to tilt and move

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5.0

APPENDIX

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Page Cover

Drawings 1 2 3 4 5 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 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70

Computation

Model Fabrication

Model Assembly

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Kelvin David James Hilary

5.1

CREDIT

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5.1

BIBLIOGRAPHY

Marble, Scott, 2008, “Imagining Risk’, in Bernstein, Philip and Deamer, Peggy (eds.), Building (in) the Future: Recasting Labour in Architecture, Princeton Architectural Press, New York, pp 38-42.

IMAGES Revolving Door. (2017). [image] Available at: http://1000awesomethings.com/2010/10/25/389-go-ing-through-a-revolving-doorwithout-having-to-push/ [Accessed 10 Apr. 2017].

Roller Coaster. (n.d.). [image] Available at: http://travelchannel.sndimg.com/content/dam/images/travel/fullset/2014/12/5/coolestroller-coasters-balder.jpg.rend.tccom.1280.960.jpeg [Accessed 7 Apr. 2017].

Synthetic Grain Protoype. (2017). [image] Available at: http://www.projectione.com/synthetic-grain- prototype/ [Accessed 7 Jun. 2017].

Twist Bridge. (n.d.). [image] Available at: https://mishilpatel.files.wordpress.com/2011/11/twist-bridge-72.jpg [Accessed 7 Apr. 2017].` Twist Bridge. (n.d.). [image] Available at: http://www.amusingplanet.com/2011/11/twist-bridge- over-vlaardingse- vaart.html [Accessed 7 Apr. 2017].

Venus Fly Trap. (n.d.). [image] Available at: http://www.flytrapcare.com/wp-content/uploads/2015/02/slide3.jpg [Accessed 6 Apr. 2017].

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