DIGITAL DESIGN + FABRICATION SM1, 2016 CONTOUR COCCON Louis Saunders (831807)
Siavesh Malek + Group A
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Contents 1.0 Ideation 1.1 Object: 1.2 Object + System Analysis: 1.2 Volume: 1.3 Sketch design proposal: 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 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 Credits 5.2 Bibliography
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INTRODUCTION The key concept of our design was to create a device that would allow you to protect your personal space depending on how comfortable you felt in a certain situation, for example if you were in a crowded situation you would be able to close your self off and protect your personal space, were as if you were in a more comfortable situation say with a group of friends you would be able to open up the device and let people in. Furthermore, the material system that this explores is section and profile and the major quality we wanted to explore was movement
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1.0 IDEATION
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obeject
The object that we were given was a 3d Balsa wood puzzle in the shape of a deer head. The deer head had come with instructions to assemble it and assembly was fairly simple. To measure to object for the drawings I photograph it then scaled it in illustrator with base dimensions I measured from the object. 2
plan scale 1.1 @a3
A1
30 cm
27 cm
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elevation scale 1.1 @a3
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24 cm
A1
section scale 1.1@a3
3D MODEL
To create the digital model, first I traced pieces with Illustrator to create vectors to extrude then saved vectors as dwg and imported them into rhino form there, I had to extrude the curves then use the gumball to rotate and move them in to position.
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the object has no real purpose other than decoration or when putting it together it creates a puzzle
ANALYSIS
the shapes are duplicated offset, or changed slightly to further add and create the three dimensional form.
the sections are either placed horizontal or vertical depending on their shape. the one exception is the antlers which are placed on a 45 degree angle to achieve the likeness of the dear.
Each section has a corresponding cut which fits into another section, thus ultimately creating a 3d form by placing together each of the 2d sections.
24 cm
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VOLUME In the reconfiguration of the object I have taken the base silhouette of the dear shape and simplified it into three pieces, one representing the head of the dear and the other two representing the antlers. To fulfil the technique of section and the create the model I first cut multiple two dimensional triangles out of cardboard to use as the building blocks of the model. To join the sections, the shapes where sliced accordingly in order for them to be joined together, this idea for the joints was the same used for the 3d puzzle of the dear, the cardboard was used because smaller incisions where easy to make than balsa wood.
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SKETCH DESIGN PROPOSAL:
IDEA 1
This idea concentrates solely on the personal space around ones head. Made up of flat trigaular shapes creating a three dimension form, this design protects and repels things from the personal shape arounds one head. The material used for the triangular shapes transparent to maximise vision and diminish impediments. The shape is also moveable so it can be moulded to any head shape
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IDEA 2
The way in which this responds to personal space is that the panels mould around the human form creating a second skin which separates other people from the boundaries of personal space of the person using it. the materials used will be light allowing for maximum comfort and each panel is interchangeable allowing to customisation depending on the body shape
IDEA 3
The way in which this responds to personal space is that the two dimensional rings wrap around a persons body creating a three dimension shape and outlining the boundary on ones personal space, the rings create a barrier between people this would be ideal for a public transport situation. The sizes of the rings differ as the body shape changes allowing for maximum movement and can be interchanged with different body shapes. the materials 15 used will be light to minimise stress on the person.
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M1 REFLECTION At the conclusion of Module one our group came together a discussed where to take the design to next. Upon discussion and displaying each of our sketch designs to each other we decided to combine a some of our ideas in conjunctions with some new ones in order to design the personal space alliance effectively. The main source for our design was an idea that Mitch came up with that featured moving panels which open and close depending on how the individual wants to use their personal space. One of the main inspirations or precedent researched for this idea was the studio gang aqua tower, we wanted to create a similar looking aesthetic of the sections wrapping around the body as they wrap around the building in the aqua tower.
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2.0 DESIGN with Mitchel Sack (639167) , Zamanah Moslih (837636)
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Digitization + Design proposal v.1 Personal space varies depending on the person with whom one is interacting. We may choose to open ourselves up to others, physically and emotionally whilst choose to close ourselves off in other instances. Using the technique of sectioning, we aimed to emulate this experience when designing a second skin. Using planar contours, the body could be wrapped within a cocoon that can be opened and closed by the user in order to vary the amount of exposure presented to those around.
Tolerance
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Using a central spine and offsetting the sections, the contours would be able to form two moveable wings that come together into the closed cocoon structure, defining the boundaries of personal space and sheltering the used from the surrounds. When “opening up� to someone, the cocoon can be peeled back to allow interaction.
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Precedent Research Planar - Fins -Volume - Contour - Fluidity Aqua Tower, Studio Gang
(ArchDaily, 2009)
Studio Gang’s Aqua Tower project makes use of contouring in o https://www.google.com/url?sa=i&rct=j&q=&esrc=s&s ource=images&cd=&ved=0ahUKEwjH27KzxqjUAhUHlZQKHTI YB7sQjRwIBw&url=http%3A%2F%2Fjameshowephotography. com%2Fblog%2F2013%2F07%2Faqua-tower-2-chicago-illinois. html%2F&psig=AFQjCNF08fhW2L2j9Pe4LPSG5jcAU7XPZA&u st=1496815497939201 ne direction to give a skyscraper with highly regular form a unique and dynamic appearance. The
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Building on the initial second skin proposal, the variable curved fins of the aqua tower could be applied to the contour of the cocoon to generate a more dynamic, volumetric form, also assisting to vary the visual permeability of the second skin.
Curved Spine In this variation, we removed the straight spine on which the sections used as a rotation axis and replaced it with a curved, variable one. Running the sections along this curved spine created a fascinating undulation of density without actually requiring a change in spacing of elements. The dynamic nature of this variation makes it highly responsive to the natural curves of the human body and is a concept we will look to employ as the design develops further.
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Design proposal v.2 Two Directional Sections: Bottom-Up Building on the concepts outlined by the CSpace Pavilion, this development employs two directional sections to create a more complex, interlocking cocoon. Using two spines instead of the one witnessed previously, this design has excellent potential in outlining personal space due to the significant volumetric effect produced. However, in the fabrication process, this type of design would be significantly more difficult to realize as the points at which all sections intersect must be determined and executed perfectly prior to assembly
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Two Directional Sections: Top-Down Inverting the previous design created a smoother, less abrasive effect in terms of the external appearance of the cocoon. Removing the contours joining the two spines at the back would also allow for greater flexibility for the wearer. While this design may be more suited to the body than the previous design as it allows more arm space, we preferred the aesthetic of the bottom-up iteration.
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Prototypes: Materiality, Density, Visual Effect Using mountboard and a central axis, this design successfully achieved a relatively dense aesthetic. We did notice, however, that despite the light weight of the material, the fins were prone to bending and slipping about the central dowel.
Using non planar fins, this prototype successfully demonstrated the volumetric qualities that could be established with interlocking, two directional sections. The use of foam spacers overcame the slipping of the fins on the dowel rods and held them in place much more successfully than the first prototype. To take this further, grooves could be cut in the fins to ensure the pieces effectively lock into each other.
This prototype used two joints and achieved a more rigid structure at the back with three dowels instead of one. Having two axis of rotation is a concept that we are looking to apply further in our design development as it allows for greater response to the human body. However, the rigidity of this prototype meant that the desired quality of flexibility was not achieved.
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Using MDF instead of mountboard, we found that the fins became significantly heavier. However, by cutting holes in the middle of each section, we were able to overcome this issue. The shadowing effect of the hollowed sections was extremely interesting, as was the perceived density of the design when it was closed.
This prototype attempted to convey the visual effect of having a high density of sections. We found the visual effect of this model unappealing as the sections were prone to slipping and deformation, creating a somewhat messy appearance. Going forward with our design, we feel that mountboard is also an unsuitable material due to its flimsy nature and lack of strength.
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All contours could be moved independently about the central axis, allowing for a responsive and customized design. Using foam spacers again fixed the fins in place and ensured no vertical slippage.
Using a cable tie to penetrate the panels, the fins were able to move together without sliding. We decided this prototype was successful in its approach, however it lacks the variability of moving each fin individually.
This joint was designed to test flexibility in linking movement of the fins with the elbow. The joint itself was successful, but the wire lacked flexibility, bent too much and appeared distorted, not achieving the desired effect.
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Precedent Research Enzo Ferrari Museum - Jan Kaplický Light - Curves - Illumination – Light weight - Transparency
(Frearson, 2012)
The Ferrari Museum’s glass interior curves around the space, with sections illuminated from behind to give it depth and consistency. In order to incorporate this within our model, we wanted to transfer a sense of lightness and transparency. We felt as though the technique of simply using transparent contours was too simple, and didn’t achieve the effect we wanted. That is when we became inspired by the moth wing, featuring a solid outer with a somewhat transparent centre. This then would allow for lighting of the model, creating shadow and depth.
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Testing Effects: Light and Shadow
Inspired by the previous precedent study, we wanted to test out the lighting effect and the weight of the moth wing concept. Because it was hollow, the MDF fins were significantly lighter, even with the inside filled. We used a total of 3 methods here. We used polypropylene and tracing paper to create the transparent membrane across the fins and shone light underneath to see if the desired effects were achieved.
The solid ones illuminated quite nicely, and the cut out one created the shadow effect wanted. It was found that the polypropylene was quite difficult to cut by hand, while the tracing paper was far quicker but prone to ripping. We concluded that to continue this effect, it would be best to use polypropylene but laser cut the panels to fit within the MDF fin for a cleaner model.
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We wrapped the hollow panels MDF panels with wire, to project line shadows, onto the solid fins below to demonstrate the effect. We really liked this design idea, and found it was successful, however we found we liked the use of light, more than shadow.
This prototype was constructed from mountboard, and used 4 different cutting methods. We poked holes into one, cut squares into another, and sliced the third one to allow light from an angle. They did give a nice effect, but it wasn’t what we were looking for. We then decided to cut one, similar a bird’s arm, then used tracing paper to cut out feather like forms. We used wire to connect the feathers to the panel, and shone light above it to get the desired effect. It was great, and looked very interesting, but we couldn’t see how it could tie with personal space or our design ideas.
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M2 REFLECTION Working through our design development and prototyping stages we explored a number of concepts throughout our processes. Following from the qualities and successful sketch designs in M1, we found the most effective way to move forward was through reduction of the personal space concept. We were able to deduce and define what we felt was an appropriate representation of the variation in personal space between a person opening themselves up or closing themselves off to the world. By reducing the idea to this core concept, we were then able to represent this through our second skin design. Digitally modelling our design, several methods were tested to varying degrees of effectiveness. Generally, the individual contours were all manually shaped to generate the curving effect, however, moving forward, a parametric solution would be more efficient and allow greater control over the cocoon’s response to personal space. By determining an algorithm or sequence of instructions, we will be able to more successfully generate a responsive model with complete control over the final output (Scheurer Stehling, 2011). In the prototyping stage, the concept of abstraction became extremely critical to the success of our explorations. By simplifying our models and avoiding extreme complications, the core concept of each prototype could be easily read without unnecessary details. This allowed us to achieve the desired effects swiftly and test a large range of proposals. In doing so we have been able to successfully identify and isolate the qualities and techniques we will move forward with for the “Contour Cocoon”.
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3.0 FABRICATION with Mitchel Sack (639167) , Zamanah Moslih (837636)
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Introduction ‘Contour Cocoon’ In developing a second skin to dictate personal space, it was decided to explore a design which allowed the wearer to physically open or close themselves from those around them. This is an action that is unconsciously carried out by the body depending on our familiarity and relationships with those around us. The creation of our second skin aimed to make this action more deliberate and allow the user to dictate their level of physical exposure to those around. Using the section-profile technique, our initial designs centred around the idea of creating a cocoon from contours that could be opened or closed by the wearer. Early design concepts lacked control over the technique, with the curving of sections arbitrary and unrelated to one another. These designs were also highly regular in the spacing of sections and lacked a response to the body and concept of personal space. Moving forward, we aimed to ensure that the spacing of the “fins” was denser around the face and crotch (areas in which more privacy or space is required) with less density required through the torso. An ongoing exploration of different methods of digital modelling and various prototpes allowed for the fabrication of the Contour Cocoon, a moveable shell of sectioned fins that allows the wearer to expose or hide themselves to the world around them.
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Design development An initial surface was created to determine the proximity of the fins to the body
A second surface was then created to determine the outer edge of the fins
Using grasshopper, fins were then placed between the two surfaces. The angle of these fins was determined by positioning them at normals to a curve.
The curve determining the angle of the fins was then turned into two spines. The density of the fins could then be dictated by the angles of these spines.
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Design development V2 Following the previous design developments, the two spines were to serve as axis of rotation for each side of the cocoon, allowing the second skin to be opened and closed. However, following the prototyping of this concept, it was decided this metho would be near impossible to fabricate. as shown in the protoype section As shown in the prototype section of the journal we were un able to even get on sticking the way we wanted, the hose was a perfect idea for what we wanted to do be unfortunately even with tarzan grip it was not going to hold how we wanted it to ultimately the spine was then changed to what you see in V3
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Design development V3
With the failure of using the rod-like spines, we redesigned the second skin such that the fins were attached to two hook like plates that were then fixed over the shoulder. The angle of the fins would remain the same as the joints were angled to give the desired density effect. This added rigidity and strength to the design, as well as extremely simple joints during the fabrication stage.
To lighten the wieght of the structure, the number of fins was reduced from previous designs, and each fin was split to create an elbow-like point of movement that allowed the cocoon to be opened and closed. This allowed for rigidity at the back fixing point whilst permitting the desired effect that formed the design’s core concept.
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Final Prototype development V2 In order to fabricate the opening and closing section the fins, a joint was required in each one to allow movement. Our first test involved the use of eyelets glued into a hole to create an opening with a short dowel placed in the midddle. This was ultimately unsuccessful as the joint failed to keep the two sections joined together as well as being unsightly with the amount if gue required to fix the eyelets in place. However, the degree and smoothness of the motion was successful and something that would ultimately be in our project.
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Prototype development V2 The major joint in the initial design was the fixing of the fins to a flexible spine, angling the fins to create the varying density effect of the cocoon. This spine would have to made of a material that could be shaped to suit our needs but also retain its shape to ensure the fins were adequately fixed in position. We sourced a material known as a misting hose, which consisted of a tough plastic sheet wrapped around a solid alumnium rod. It was perfect for what was required as it was easily workable but retained its shape. However, we had extreme difficulty fixing any of the fins to it, requiring a major overhaul to our design in which we abandoned the
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Prototype optimisation (Joint) Due to the dowel and glued eyelet joint being unable to set onto the MDF, and looking visually unpleaseing, we deiced to resolve this by using bolts, nuts and washers to get a more stable and clean joint. Instead of later cutting holes, using the bolts allowed us to accurately drill holes where we needed. The optimised joint was simply a M6 bolt and nut with a washer on either side and allowed for smoother movement and a better fix. The bolts are about 20mm in depth, the shortest abailble, to prevent the loss of the visual asthetics.
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Prototype optimisation (Movement) In order to stop the fins from drooping down and to allow them to move in a wave like singular motion, wires were threaded through the MDF panels (fins) to help achieve this. In the case below we used guitar strings as the connection between panels due to their strength and flexibility, and we were able to get it moving and reduce its drooping, but ultimately the guitar strings was unsuccessful because they kepts their form, couldn’t keep proper tension, were hard to tie, and were costly. This is why we decided to move towards elastic string, due to its great tension, strength and cost efficiency.
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Prototype optimisation (Connection) Due to the its inability to stick to the MDF the mist hose spine was abandoned and replaced with laser cut sheets of MDF. The sheets were cut into a hook like shape which allowed for a perfect fit for the users body and holes were cut along the spine which matched the corresponding panel and allowed them to slot in tightly. The joints were holes cut 3mm to match the thickness of the MDF, and the tolerance was tested, but no changes need to be made as the panels were able to fit together without much movement. Ultimately having the MDF spine will make assembling and dissembling a lot faster and easier which helps for transportation of the model. This concept was derived from our Journal 1, the deer/moose head and our previous Journal 2 design concepts.
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The final set-up
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Final Digital model Front Elevation
Plan
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Back Elevation
Side Elevation
Back Isometric
Front Isometric
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Fabrication Sequence
1. Sorting and numbering the fins
7. Components are fixed
2. Slotting in each fin according to numbers
3. First three were put on for stability
8. Elastic is threaded through 9. Plan view
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4. The rest are assembled
10. Opened to test out tension
5. Holes are drilled for M6 bolts
11. Cosed to test out tension
6. Tightening of the bolts
12. Back view to view density
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1L 1L 1L 2R 1L 2L 2R 3R
2L
Assembly Drawing
3L 3R 4R
3L 4L 4R 4L
5R 1
5L5R 1
6R 5L 6L 6R 6L 7L 7L
7R
8L 8R
8L
9L 9R
9L
10L 10R
1 7R2 3 4 5 8R 6 7 9R 8 9 10 10R 11 12 13 11R
10L 11R 11L
12R
The following images show the contour cocoons components and how they are assembled by number order (L represents the Left spine and R represents the Right spine).
11L 12L 12R
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13R
12L 13R 13L 13L
L
1 2 2 33 44 L R 5 5 6 6 7 7 8 8 9 9 10 10 11 11 12 12 13 13
2 3 4 5 6 7 8 9 10 11 12 13
R
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4.0 REFLECTION Overall, upon completion of this subject I am glad to say that I’m very proud of the effort and work my group and I have put in over this semester to create and fabricate a fully functional working final design. Though we were disappointed with our mark for M3 we took on the feedback on board and improved our design, but it was not the completion of the final model that I found most rewarding I was vast amount of very important skills I learnt from this subject that I will go on to use through out my time and at university and into my career. These skills include, a sound understanding on how to use rhino and most importantly how to use the resources in the fab lab such as the laser cutter. Learning how to use the laser cut has saved my so much time and significantly improved the quality of my work, doing this subject early in my second has given me the leg up over other students in my studios that still hand make models. As far as rhino goes my skill level on the program has jumped exponentially considering were I was at at the start of the year I all but tripled my knowledge on the program and will continue learning it and using as a design aid for my future subjects, I learnt more about rhino in the workshops and watching the videos than Id through the entirety of last year. Furthermore, back to our final design I felt that we were a little hard done by in our final grade. I understand the fact that it should have been painted but, due to time and cost constraints we decided that it would be best that we concentrate on getting our personal space device working and more on the actual design rather then how it looked, then once it was working to a proper standard then we would improve the aesthetic. As far as other feedback goes the point that we should have set constraints for ourselves before we started designing in terms of materials and cost would of have greatly benefited us, but due to our inexperience we didn’t even think about that, this point will be very useful to help with other projects in the future to come. Moreover, I was disappointed by was the fact that we were criticised for our project being “very simple, maybe too simple”, I don’t understand how simple can be a bad thing when it comes to design, our design may have look simple, but from the way it worked and the countless hours of many weekend and afternoons spent putting it together and perfecting it, I can assure you that was not as simple as it looked. But I think what caused it took end up looking “too simple” was that we wasted too much time working on things that either didn’t work and we didn’t use for example we spent one weekend trying to get the plastic tube spine idea working, yes this was a good idea for prototyping we should have realised sooner that it wasn’t going to work. Looking back though at our final design, I am extremely with how it turned out even though mark doesn’t reflect it, we will learn from out mistakes and move on to design bigger and better things. Really I’m not too concerned with the mark we got for final because it is what I learnt on the way like using the laser cutter and learning more rhino and grasshopper that will come to help immensely in the future. I would have to say out of all my subject this semester and even last year I have learnt the most the most valuable skills in this subject that will hopefully go on and aid me in my career.
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5.0 APPENDIX
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Bibliography Cheng, R. (2008). Inside Rhinoceros 4 / Ron K.C. Cheng. Clifton Park, NY : Thomson/Delmar Learning, c2008. Heath, A., Heath, D., & Jensen, A. (2000). 300 years of industrial design : function, form, technique, 1700-2000 / Adrian Heath, Ditte Heath, Aage Lund Jensen. New York : Watson-Guptill, 2000. Enric Miralles,Carme Pinos, “How to lay out a croissant� El Croquis 49/50 Enric Miralles, Carme Pinos 1988/1991, En Construccion pp. 240-241 Sommer, R. (1969). Personal space : the behavioral basis of design / Robert Sommer. Englewood Cliffs, N.J. : Prentice-Hall, c1969. Ching, Francis D. K. (1990): Basic Orthographic Methods. In Drawing- A Creative Process, Van Nostrand Reinold, pp. 146-159 Yee, Rendow (1997): Conventional Orthographic Terminology. In Architectural Drawing- A Visual Compendium of Types and Methods, John Wiley & Sons, pp. 41-63 Scheurer, F. and Stehling, H. 2011: Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 4, July, pp. 70-79 Surfaces that can be built from paper / In H.Pottmann,A.Asperl,M.Hofer, A.Kilian (eds) Architectural Geometry, p534-561, Bentley Institute Press, 2007 Architecture in the Digital Age - Design and Manufacturing /Branko Kolarevic. Spon Press, London, c2003 Digital fabrications: architectural and material techniques / Lisa Iwamoto. New York : Princeton Architectural Press, c2009. ArchDaily,. (2009). Aqua Tower / Studio Gang. ArchDaily. Retrieved 26 March 2017, from http://www.archdaily. com/42694/aqua-tower-studio-gang-architects Fairs, M. (2007). [C]Space Pavilion by Alan Dempsey and Alvin Huang | Dezeen. Dezeen. Retrieved 26 March 2017, from https://www.dezeen.com/2007/11/04/ cspace-pavilion-by-alan-dempsey-and-alvin-huang/ Frearson A. (2012, March 15). Enzo Ferrari Museum by Future Systems. DeZeen, Retrieved from - https://www.dezeen. com/2012/03/15/enzo-ferrari-museum-byfuture-systems/ Lost in Parameter Space? (Scheurer, F. and Stehling, H., AD: Architectural Design, Wiley, pp. 70-79, 2011) Miguel A. Landestory T. 2008 The Story of a Legend, The Life of a Great Man in Museum Casa Ferrari (2012, March 23). Design&Trend, Retrieved from - http://www.designntrend.com/ articles/1345/20120323/story-legend-life-great-man-museum-casa.htm
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