Digital Design - Portfolio

MAIKEN STROMGREN SKOGSTAD

9 7 8 4 0 9

PORTFOLIO DIGITAL DESIGN 2019

S T U D I O 1 6

TUTOR: SEAN GUY

MAIKEN STROMGREN SKOGSTAD Email mskogstad@student.unimelb.edu.au Website https://maikenskogstad.wix.com/designs

EDUCATION 2018 - present The University of Melbourne Bachelor of Design (Arhictecture) WORK EXPERIENCE 2018 - present 2016 - present 2014 - 2016

Sonor Hennes & Mauritz Bunnpris Klaebu

EXHIBITION / SCHOLARSHIPS 2019 MSDx Exhibition, MSD 2018 Melbourne International Undergraduate Scholarship 2018 FoD:R Exhibition, AFLK Gallery SKILLS Adobe Illustrator Adobe Photoshop Adobe Indesign Rhinoceros Grasshopper Model making

Looking back at the semester, the three modules we were assigned has given me more experience and a better understanding of digital design. I have developed several digital design techniques and been introduced to exciting new software.

For module 1, ‘Diagramming Design Precedents’, I was given the Libeskind Serpentine Pavilion by Daniel Libeskind in London to study. Its intricate shape and construction made it a challenge to create in Rhinoceros, but after examining it as a string of paper which wraps around itself to create a serpentine, I got a whole new understanding of how it was created. The module taught me new techniques with modelling, and also with diagramming threshold and circulation as part of the key concept.

Module 2, ‘Generating Design Through Digital Processes’, gave us the option to create a more individualised design and also gain experience with the software Grasshopper.

Creating the panels and waffle structure proved quite challenging, as Grasshopper was a brand new concept for me and it took a while to get the hang of it. It turns out, once you understand it, it opens a wide range of new possibilities within programming and fabrication.

For the final module, ‘Queen Victoria Garden Pavilion’, we were given an actual site for which we were to produce a pavilion. The only restrictions were that the pavilion was to be within the boundaries of 5x5x5 meters, meaning we had much freedom in regards to what we wanted to create. This module helped me combine all the techniques and software I had been using in earlier modules, to create a finalized product. Furthermore, I got the great possibility of using Unreal Engine, which creates beautiful rendered vignettes to further communicate the final product. Also, the fact that we used both VR and 3D printing for communicating our projects, are important skills I look forward to developing and bring with me in future endeavors.

All in all, the subject has proved to be very challenging and time demanding, but also very educative and fascinating.

The possibilities within digital design and fabrication are endless, and for future projects I need to put this into practice and start stepping out of my comfort zone and safe boundaries to develop as an architect.

INDEX 3

MODULE 1 DIAGRAMMING DESIGN PRECEDENTS

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MODULE 2-A GENERATING DESIGN THROUGH DIGITAL PROCESSES: SURFACE AND WAFFLE

16

MODULE 2-B GENERATING DESIGN THROUGH DIGITAL PROCESSES: SOLID AND VOID

20

MODULE 3 QUEEN VICTORIA GARDEN PAVILION

MODULE 1 DIAGRAMMING DESIGN PRECEDENTS

3

PRECEDENT STUDY

4 Source: Serpentine Galleries. Serpentine Pavilion, 2001, London, United Kingdom. https://libeskind.com/publishing/ serpentine-gallery/

SERPENTINE PAVILION BY LIBESKIND

UNROLLED PLAN

Libeskind’s Serpentine Pavilion is essentially a long string of several planes varying in size and angles. The planes are wrapped around each other to create an intricate and impressive pavilion. The most accurate way to design the pavilion in Rhinoceros was to begin with tracing the provided unrolled model, which is also functioning as a plan. The next step in the process was to, as accurately as possible, rotate the various planes with the Rotate3D-command. Finally, the planes were extruded and given volume to resemble the actual pavilion.

The provided picture of the unrolled model was placed in Rhino and arranged in layers to be able to trace the plan accurately. All the lines were traced so that all the planes, with their various shapes and angles, were individual objects before finally extruding.

DESIGN PROCESS IN RHINO

The process progressed with the rotation of the many different planes. The ‘Rotate3D’-command was used and the planes were carefully rotated and tweaked to become the intricate pavilion Libeskind designed.

Finally, the planes were designed, extruded and rotated, as well as having been given volume.

Structure was built to demonstrate a possible way the pavilion can be supported. More details in circulation diagram on next page.

5

By carefully maneuvering around the 3D-model in Rhino and assessing the angled planes, figures were created to represent the unoccupiable space of the pavilion.

Finally, the planes were designed, extruded and rotated, as well as having been given volume.

Structure was built to demonstrate a possible way the pavilion can be supported. More details in circulation diagram.

CIRCULATION AND THRESHOLD DIAGRAMS

Panels

Structure

Panels

Angled planes creating unoccupiable space

6

Plan/base with circulation paths in various colours showing the circulation which is affected by the height of the structure

Unoccupiable space due to angled planes shown on plan/ base

Easy accessibility Medium accessibility Low accessibility

CIRCULATION 1:200 @A1

THRESHOLDS (PERMEABILITY) 1:200 @A1

The circulation diagram shows the isometric divided into three layers. The top layer shows the panels and their shape, the middle layer shows the structure of the pavilion and how it is built, while the bottom layer shows the plan/base with circulation paths in various colours. The circulation paths, shown by the use of arrows, demonstrate the circulation which is affected by the height of the structure. Green symbolising easy accessibility, orange symbolising medium accessibility and lastly, red showing low accessibility.

The threshold diagram is also divided into three layers and the purpose with this diagram is to demonstrate how the angles of the planes affect what space is occupiable or not.

The top layer shows the panels, while the middle layer shows the panels, functioning as walls, that because of their angles, create unoccupiable space. The bottom layer displays those particular unoccupiable spaces as figures.

Circulation Diagram 1:300

Threshold Diagram 1:300

0

0

3

9m

3

9m

FINAL ISOMETRIC

7

Isometric 1:100 0

1

3m

The isometric is taken from an angle that shows some of the most intricate corners of the pavilion and the rotations of the different planes. It shows both a piece of the flooring with the texture as well as the tiling-like detailing on the panels. This pavilion has been very educative in regards to the complexity of a serpentine pavilion due to the way it is wrapped around itself multiple times and consequently forms a structure for occupiable space. The circulation and threshold diagrams assisted me in the understanding of the natural flow both inside and outside the structure, when it comes to occupiable and unoccupiable space. The roofing planes vary greatly in height and therefore, accessibility varies as a consequence. Certain areas may have a decent height where one can move around freely in a natural pattern versus other areas where one might have to bend down slightly to access it properly.

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MODULE 2 GENERATING DESIGN THROUGH DIGITAL PROCESSES PART A: SURFACE AND WAFFLE PART B: SOLID AND VOID

PART A: SURFACE PANELS GRASSHOPPER SCRIPT

9

THE

PROCESS

OF

DeBrep ListItem Line Lofting SurfaceDomainNumber OffsetGrid ptCurveAttractors ptPointAttractos 3DMorph Bake

CRETING

THE

SCRIPT

To create two surfaces, one must first start with constructing a cube and extract edges using DeBrep command. Second, four curves are created and selected using ListItem command. The curves are divided into five equal parts and points are extracted. The lines are created using the Line command and the surface is made by Lofting the lines. This created two opposing closed curves with four corners.

Furthermore, I used SurfaceDomainNumber to create points along the surface in a 5x5 grid. I used the OffsetGrid command to create offsetting points and then a variation of ptCurveAttractors and ptPointAttractors to allow individual points to be moved by different units in different directions. The original grid, offset grid and panelling unit are the inputs for the 3DMorph command.

GRASSHOPPER SCRIPT KEY Script given by tutors and created in workshop (changed and manipulated later) Self-created script

PART A: THE PROCESS OF CHOOSING PANELS

1.1

1.2

1.3

1.4

In the process of making the panels, I followed the content in the workshop and made a box of 150x150x150 to set the boundaries of the panels. The command Rectangle created the base itself while the Extrude command extruded the box with the help of UnitZ. In order to start manipulating and individualising the panels, I used a DeconstructBrep and made eight individual lines. By using EdgeSelector and PointSelector, I was able to tweak the lines to creating various panels. In the process, it was important to create a functional design. For instance, in Figure 1.1, the panels overlap each other and would not make a good final outcome. Figure 1.2 was angled in two awkward directions and got me to question the stability of the structure. Figure 1.3 is made up of two plane panels with no bending to them, so I decided to go with figure 1.4. It has got two panels that communicate with each other without overlapping as well as an interesting mix of angles, bending and space between them.

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PART A: THE PROCESS OF CHOOSING UNITS

+

1.1

1.2

1.3

1.4

1.1 The first unit design I tried on my panels were simple pyramids extruded form a square. I made all of these unit designs in Grasshopper and the first design was used in assistance to clearly see how the panels was affected by the pointand curveattractors. I did not use this design as it was too simple. 1.2 The second unit design I create is a 2D surface design with a polygon opening in the middle. The task requirements were to design a surface with 50% 2D units and 50% 3D units. I wanted to create an interesting opening to the 2D surface and adjust the size of the opening. 1.3 After discarding design 1.1 due to its simplicity, I decided to go for a more complicated approach. I created this design in Grasshopper from a single point, creating rectangles, extruding curve to point and creating two pyramids right next to each other. This gives the overall design of the surfaces a more interesting look. 1.4 To fulfill the requirements of 50/50 3D and 2D units on the surfaces, I decided to join design 1.2 and 1.3. This created a more intersting design, and with the mix of both point- and curveattractors the units play around their surfaces in a dancing and dynamic way.

PART A: WAFFLE GRASSHOPPER SCRIPT

THE PROCESS OF CRETING THE SCRIPT DivideSurface Polylines

GRASSHOPPER SCRIPT KEY

Line

Script given by tutors and created in workshop (changed and manipulated later)

Curve

Self-created script

UnitY SolidUnion Unitz NumberSlider DeconstructBrep CullIndex JoinCurves

When scripting and creating the waffle, it was important that the X contour align with the panels. To do this, I divided the surface with the DivideSurface container and made Polylines for each of the individual lines, a total of eight of them. The contours were to NOT be shown through the openings and that is why a number of four were created on either panel. The next move was to turn the Line into a Curve and use the UnitY command to Loft the geometry.

I used SolidUnion to join the X contours together. Initially, I attempted to make the Z contours align with the panels as well, and succeeded, but quickly discovered that they would be impossible to LaserCut, something that was a requirement for this assignment.

Therefore, I had to go back to my script and change the Z contours to horizontal contours, which can be seen through the openings of the surface, but are essential to allow the structure to function properly. I created the Z contours using the Contour container, and inserting UnitZ, a NumberSlider as a distance and a DeconstructBrep container. Furthermore, a CullIndex was used to rule out unessential contours and the JoinCurves container completed the task.

11

PART A: EXPLODED ISOMETRIC Waffle structure allows for interplay of the surfaces without interfering with the various openings.

The 3D units of the surfaces on the panels are manipulated and individualised with the help of one point attractor and one curve attractor.

12 The 2D units on the surfaces of the panels allowing variety in the design.

Exploded Isometric 1:2 0

20

60mm

The relationship between the panels is one of great function as they play on each other’s features. It varies from being very close together to being very far apart, allowing the structure to have a more dynamic appearance.

3D units giving the design a more dynamic and individual appearance.

Lofts

1.1

1.2

1.3

Key

1.4

Attractor / Control Points (X,Y,Z)

{0,0,0} {75,-1,150}

{30,-1,150}

{30,0,105}

{75,0,105}

{105,0,150} {0,150,105}

Attractor / Control Curves

PART A: MATRIX OF POSSIBILITIES

{0,150,135}

{150,150,150}

{150,150,150}

{120,150,105}

{120,149,150}

{105,0,150}

{75,0,150}

Grid Points

{0,0,75} {0,150,75} {0,0,15} {150,-1,60}

{150,0,15} {0,30,0}

{150,149,60} {150,149,45}

{0,150,0}

{150,150,15} {150,105,0} {150,150,0}

{150,150,0}

{0,119,0}

Paneling Grid & Attractor Point

2.1

2.2

2.3

The ‘Lofts’ row of the matrix shows the various panel designs I created in the process. The points of the corners of the panels have been identified and coordinates in space have been annotated. I chose to work with Figure 1.4 as the relationship between the panels intrigued me and allowed for a more dynamic design. The second row, ‘Panelling Grid & Attractor Point’, shows the process of using point and curve attractors. The matrix shows the offset points and how they were affected by the varied use of attractor elements. It also shows the coordinates of the points and of the end points of the curves. I chose the attractors in Figure 2.4, as it created the most interesting design on the offset grid. The third row, ‘Panelling’, shows the final process were I implemented a geometry to the panels to create a surface affected by the point and curve attractors. I used different geometry such as a single triangle, two joined triangles and open 2D units with a polygon design. I decided to join the designs shown in Figure 3.4.

{0,45,0}

{150,75,0}

{105,150,0}

2.4 {-841,70,0}

{511,482,155}

{108,0,41}

{646,56,293}

{-23,111,0}

{780,608,275}

{156,52,-9}

{157,23,-28}

Paneling

3.1

3.2

3.3

3.4

MKey ATRIX KEY

1.4

{0,0,0}

150}

{105,0,150}

{75,0,150}

Attractor / Control/Curves Attractor Control {0,150,135}

+

{150,150,150}

{150,150,150}

Attractor / Control/Points (X,Y,Z)Points Attractor Control

Grid Grid Points

(X,Y,Z)

Curves

Points 13

{0,0,75} {0,150,75}

x4

A25

{0,30,0} {0,150,0}

{150,105,0} {150,150,0}

6,56,293}

PART A: PREPARING PROJECT FOR LASER CUTTING

A21

A22

A24

{0,45,0}

z0

A17

A16

{150,75,0}

I chose to unroll all the panels individually to make sure they were all unrolled correctly and also to make the assembly process easier. The image shows all the 50 units Unrolled on the canvas. PtTabs has been used to add tabs to make it possible to assemble them and glue them together. The units have been places as close together to each other as possible to save material and time used in the Fab Lab to laser cut the file. Image is also showing the X and X contours 2.4 ready for laser cutting, once again laid out closely together. All units and contours have been named accordingly to their position in the final structure, to make it easier to assemble.

A23

A18

A19

{105,150,0} A12

A13

A11

A20

A15

A6

A14 A10

A8

A5

x1 x2

x6

x3

x7

z7

A4 A2 B21

z2

B17 B22

B23

B16

B20

z3

B11 B24

B25 B18

B19

B13

B8 {-841,70,0}

z1

B4

B6 B2 B9

z4

B10

B3

B1

z5

B14

B12

B15

{108,0,41}

x0

A9

A7

A1

x5

z6

z8

B5

PART A: MODEL PHOTOS

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Picture showing the front of the assembled laser cut model. The interesting features of this view is how the varied sizes of the 2D units relate to the 3D units.

By using a curve attractor, the sizes of the openings in the 2D units have been varied to create a dynamic landscape design of the ocean, with flatlands in the middle and coral in the outer corners. he 3D units are clearly affected by point and curve attractors, and gives the model an interesting design.

Picture showing the back of the assembled laser cut model. The interesting features of this view of the model is the variation between the 2D and 3D units on the surface, and especially how various point and curve attractors have affected the dynamic expression of the 3D units.

Furthermore, the shadow that the units create is of interest due to the different intensities of the shadows, as well as the transition from the 2D units on the corners to the 3D units in the middle which moves in a natural, “wavey�-like flow.

15

PART B: SURFACE PANELS GRASSHOPPER SCRIPT

16

CREATING BOUNDING BOX AND PLACING GRID POINTS CREATING BOOLEAN GEOMETRY Pictures show completed scripted and designed geometries for the boolean volume in ghosted view in Rhino. The geometry was made it by creating a Polygon on the XYPlane and inserted an Expression: (sqrt(((x/2)^2)-z-2)).

ExtrudePoint > CapHoles > DeconstructBrep > Scale. The smaller cut pyramids were made with the TrimSolid container.

The geometry was very interesting to work with due to its design, which can create so many different spaces within a volume ones it has been cut out of said volume using the Boolean-Difference and BooleanIntersection commands in Rhino.

DomainBox NumberSlider DeconstructBrep SurfaceDomainNumber UnitY PointAttractors Cellulate3DGrid Centroids BooleanDifference BooleanIntersection

In the process of making the Boolean Geometry, I followed the content in the workshop.

We created a box using the DomainBox container with the help of a NumberSlider of 150. DeconstructBrep > List Item > Surface Domain Number. This created the surface grid. To be able to create various designs, we used a Move container and inserted UnitY vector. This is where I individualised by design and experiments with various point attractors using the PointAttraction container. Furthermore, I used a Cellulate3DGrid to create grids out of the points. The Centroids container of this grid allowed for an individual design and I created several different geometries to use inside the box. Finally, I joined the geometry and the bounding box, baked them and created the rest of the design in Rhino using BooleanDifference and BooleanIntersection.

GRASSHOPPER SCRIPT KEY Script given by tutors and created in workshop (changed and manipulated later) Self-created script

Grid Attractors

1.1

1.2

1.3

Key

1.4

{0,0,0} {-88,507,72} {-75,408,78}

Attractor / Control Points (X,Y,Z) Attractor / Control Curves

{-75,408,78}

{-112,-110,72}

{-112,-110,72}

{10,388,-43}

{100,-55,74}

PART B: MATRIX OF POSSIBILITIES

{10,388,-43}

Different Geometries

{-1.0,1.0}

{-0.6,0.7}

{1.4,0.7}

{1.1,-0.6}

2.1

2.2

2.3

2.4

Scale Attractors

3.1

1.4

3.2

The top row of the matrix, ‘Grid Attractors’, show how the grid inside the box is affected by different grid attractors. By moving them around in space and changing their proximity to the volume, the grid changes from one interesting design to another. The coordinates of these points in space are shown. In the second row, ‘Different Geometries’, I have shown the process of using different geometries for the design. I experimented with a sphere, a pyramid, a pyramid with its corners cut off, and a pyramid with its corners cut of in various sizes and placement. I chose to go forward with Figure 2.4 as it as the most interesting design. In the third row, ‘Scale Attraction’, I have shown how the scale attractors affect the placement and size of the geometries, and therefore the overall design of the volume and the boolean fragment.

Key MATRIX 3.3

3.4

{0,0,0}

{-400,342,27}

{-88,507,72}

{-128,-87,155}

{-75,408,78}

{-75,408,78}

KEY

Attractor / Control Points (X,Y,Z)

Attractor / Control Points (X,Y,Z)

Attractor / Control Curves

Attractor / Control Curves

17

{254,213,0} {-168,4,-130}

Cannot be seen in the isometric but rather on the physical model: The booleaned fragment has an opening throughout which functions as a pathway and allows for movement

PART B: ISOMETRIC VIEW {10,388,-43} Illustration showing an isometric view of the 50x50x50 fragment. I chose to

send this fragment to 3D printing and to analyse this piece of the volume due to its varying porosity and permeability. The fragment has an opening which goes through the entire fragment, allowing the fragment to be used for multiple functions. For instance, in a larger scale, the opening can be used as a pathway for people. The design is also made up of various sized shards, which can be hazardous in some scales and intriguing in others. In vast scales it may resemble caves with stone drooping down intriguingly {1.1,-0.6} from the roof. To summarize, this fragment has many different functions depending on scale, which is what makes it interesting.

Exploded Isometric 1:1 0

10

30mm

2.4

The variation in the height of the structure gives the fragment an interesting design.

Exterior boolean-created outdoor area for people to use, either for steps or to sit on.

Threshold openings on all four sides of the geometry

PART B: MODEL PHOTOS

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Fragment - Right View

Fragment - Back View

Photo showing final model, fragment 1.4, in right view focusing on how it can be used in a semi-small scale where people can use it as simple shelter.

Photo showing final model in back view, focusing on how it can be used in a small scale where only small children can access and use the openings properly.

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Fragment - Left View

Fragment - Front View

Photo showing final model in left view, focusing on how it can be used in a semi-large scale where people can walk through and use opening as pathway.

Photo showing final model in front view, focusing on how it can be used in a large scale where people can use all the different levels of it.

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MODULE 3 QUEEN VICTORIA GARDEN PAVILION

PAVILION GRASSHOPPER SCRIPT Guidelines given for the project said the pavilion was to be no more than 5 x 5 x 5 meter in volume. Therefore, Grasshopper was used to set up a bounding box to assure the pavilion met the requirements.

Mirroring the triangulated surface to create pavilion structure.

Pavilion iterations; structure can be changed and manipulated with the parameter component.

21

Dividing the ground into horizontal and vertical lines to be able to gain access to points. The parameter moves the lines in order to create the origami structure. Diagonal lines are tweaked and changed.

By using the triangulated panels created in Grasshopper, the roof structure was further developed as an individual element. Brep Join > Deconstruct Brep > Construct Mesh.

Weaverbird Split Triangles Subdivision was used to add the triangulated surface panels to give the overall structure a more dynamic appearance.

FINALIZED PAVILION IN RENDERED VIEW

The rendered view of the pavilion shows the overall pattern in perspective and top view.

The top view shows the secondary concept of the pavilion which is floral pattern.

Thickness was added to the structure before 3D printing, as the 3D printers require a minimum of 2mm thickness to print.

22

PREPARING PAVILION FOR 3D PRINTING Creating the pavilion by 3D printing it at the university/s NExTLAB. The 3D printing process began with cutting the pavilion into sections (with the split command); one for the base (left image) and two for the roof with the triangulated surface panels (right image).

Each section was imported into MakerBot > custom printing settings for Digital Design added > support structure was calculated.

PAVILION MODEL PHOTOS 1:25

EXPLODED ISOMETRIC Roof Panel Detail 1:35 @A1

Individual Panel Detail 1:35 @A1 Triangulated patterns added to the sixteen individual panels on the roof to create a more dynamic appearance as well as further build upon the concept of origami mixed with floral patterns Top panels creating a more interesting roof with more connection to the concept; origami and floral patterns

Luminous lighting added underneath top panels (roof) - the luminous lights help give the pavilion its own particular feeling in space

25

Opening added in bottom level to create natural entrance into the pavilion

Space in the middle of the pavilion has a roof-height of about 3,5 meters and can therefore be used for standing comfortably

KEY FOR ISOMETRIC Geometry with colour key and dotted outlines showing the threshold: Threshold is created by the angled panels creating walls, and therefore creates ‘unoccupiable space’, or in this case creates space which can only be used comfortably while seated

Guidelines Colour key showing luminous lighting appearing under the roof

Threshold: Space which can only be used while sitting down due to the height of the roof Circulation: Low roof, movement suitable for children

Exploded Isometric 1:75 0

1

3m

Circulation: High roof, movement suitable for everyone

VIGNETTE 01 Pavilion approached from the back at night, showing relationship to the surrounding landscape and the importance of the luminous light.

26

VIGNETTE 02 View of pavilion in daylight, showing its various functions as well as the triangulated panels on the roof.

27

VIGNETTE 03 Pavilion approached from the front at night, showing the various functions the pavilion can accommodate.

28

VIGNETTE 04 View of the inside of the pavilion,

to get a feel of the internal space.

29

PERSPECTIVE

The specific height of the pavilion was created to accommodate the function of the pavilion; quartet concert and lunch-time seminar. Key idea was to create a structure which allows for sound to travel appropriately, and the dome structure compliments this idea as sound will be reflected and enhanced by the roof

The pavilion’s main concept is origami and how one can create a structure by using angled and intersecting panels; the second concept is floral patterns to make the pavilion blend with the landscape; in this case the main inspiration is the lotus flower

30 Pavilion structure and panel surfaces are made out of white steel to enhance the main concept of origami

Threshold is created in the pavilion by the various angled panels. The height varies greatly and therefore affects how occupiable certain areas inside the pavilions are; some can only be used for sitting and other can be used for standing (see exploded isometric for more details)

Steps and seating created by using concrete as a material. The height of the steps is greatly varied to accommodate various functions such as standing, sitting or walking, and is adjusted for the use of both adults and children Circulation arrows describing movement in space for the visitor (see exploded isometric for more details)

360 VIEW

LUMINOUS (“THE LUM”) The inspiration for my concept came from module 1 and is origami and the study of angled planes wrapped around and intersecting with each other. The second concept for my pavilion is floral patterns (seen in top view on page 22), to make the pavilion connect to the surrounding landscape. It accommodates the lunch time seminar and quartet concert by creating a centered space in the middle of the pavilion that can be used for these two situations, but also allows for other activities. The seating and steps for the pavilion are in relation to the second concept, floral patterns, and connect with the design of the pavilion from top view. The material of the pavilion is white steel to accommodate the concept of origami while the seating and steps are in white concrete. The various heights of the openings in the pavilion allows for movement through the space, although the lowest openings are more suited for children. The luminous lighting in the “caps” of the structure create a crystal-like appearance, connecting it even more to the surrounding landscape with it resembling the stars on the night sky.

MS

DESIGNS