Module4_WINNIECHIU_698653 by wchiuu

DIGITAL DESIGN + FABRICATION SM1, 2017 CULTURAL SPACE WINNIE CHIU 698653 / LUCA LANA / TUTORIAL 2

TABLE OF CONTENTS 1.0 IDEATION 1.1 MEASURED ISOMETRIC DRAWINGS 1.2 DIGITAL MODEL 1.3 SKETCH MODEL 1.4 PHOTOS 1.5 CRITICAL ANALYSIS 2.0 DESIGN 2.1 CONCEPT 2.2 PRECEDENTS 2.3 DIGITIZATION + DESIGN PROPOSAL V.1 2.4 DIGITIZATION + DESIGN PROPOSAL V.2 2.5 PROTOTYPE V.1 + TESTING 2.6 CRITICAL ANALYSIS 3.0 FABRICATION 3.1 DESIGN DEVELOPMENT + FABRICATION OF PROTOTYPE V1 3.2 DESIGN DEVELOPMENT + FABRICATION OF PROTOTYPE V1 3.3 FINAL PROTOTYPE DEVELOPMENT + FABRICATION 3.4 FINAL DIGITAL MODEL 3.5 FABRICATION SEQUENCE AND ASSEMBLY DRAWING 3.6 COMPLETED SECOND SKIN 3.7 CRITICAL ANALYSIS 4.0

REFLECTION

5.0 APPENDIX 5.1 CREDITS TEMPLATE

0.1

INTRODUCTION

This subject aims to introduce us to contemporary digital design tools, technology and how that can aid and guide us through design and fabrication. We started this subject by being exposed to three systems; panel and fold, skin and bone and section and contour. Through the analysis of each system I was most drawn to panel and fold. I like the detail and patterning the system provided and how on a small scale it was very simple but when repeated formed a very interesting and complex design. This subject also aims to explore the idea of personal space and how that can be translated into a physical and tangible design.

1.0 IDEATION Ideation is the first stage where we explore the idea of personal space, the boundaries, meanings and how those ideas can be translated into a design. During this module I defined what I thought the boundaries of personal space meant through diagrams and also created drawings of my preliminary ideas of personal space. These ideas were then translated into a physical model to see how the form and modularity fuctions and how light interacts with it.

SIDE VIEW

FRONT VIEW

20 CM

1.1

MEASURED ISOMETRIC DRAWINGS: Analysis FIG.2 TOP VIEW

TOP FOLDING COMPONENT

20 CM

To further investigate how panel and fold works. I dissembled a fan into its individual components. By creating measured drawings enables a more clear undestanding of each component and how they interact. The fan was taken apart and each component was individually measured. As a result I found that the fan was constructed with five components:

STRAP

[ A ] Joint [ B ] Inner spikes x 27 [ C ] Paper [ D ] Exterior spikes x 2

FIG.1 OPEN VIEW 1:2

The structure is composed of a series of wooden spikes that held together two points. The base point is a pin joint that the fan revolves around and the second joint connects the spikes to the paper. The way the paper is folded allows for the fan to expand and contract. The inner spikes are thinner allowing for the fan to be compact whilst the outer spikes on either side are sturdier and thicker giving it structure.

JOINT

C B

FIG.3 CLOSED VIEW 1:2

38.5 CM

[A]

What I found was common with panel and fold is there was a repeatable shape that also utilises a repeatable connection with each other.

BASE

0.5

READING :300 Years of industrial design by Adrian Heath , Ditte Heath and Aage Lund Jenson

38 CM

0.5

JOINT

[C] FOLDING COMPONENT

10.5

[B] INNER STRUCTURE

[D] OUTER STRUCTURE

FIG.4 COMPONENTS DISASSEMBLED

1.2

DIGITAL MODEL : Fan

FRONT VIEW

STEP 1

STEP 2

Trace spikes, create the

Trace paper component

pattern and extrude

SIDE VIEW

STEP 3

STEP 4

STEP 5

Attach the paper

Polar array along the joint

Apply materiality to each

component to the spikes

component

1.3

SKETCH DESIGN PROPOSAL

ISOLATION

PHYSICAL COMFORT

PROTECTION

1.4

SKETCH MODEL : Construction

CREATING EACH MODULE

Fold in hald

CONNECTION OF THE MODULE

Fold in half again

Fold all corner inwards

Tuck in all sides except one

This is the base component. Three base components form one triangular modules.

1.4

SKETCHMODEL : Analysis

This model was constructed with the use of a modular origami triangle. I was interested in experimenting with a module that was repeatable. With these modules alone I could create a very interesting form but I wanted to introduce another element into the design that could create greater complexity and volume. I selected this module due to its neat form. From all sides it was really clean and neat. Also due to its lightweight material it enables the connections to rely solely on glue allowing the joints to be seamless. Integrating the wooden fan component gives the design structure and strength so that the triangular modules are able to be freely placed and arranged. In experimenting with this I found how important it is to select the right modules and one that is versatile in itâ&#x20AC;&#x2122;s form and function.

MODULE [BACK]

MODULE [FRONT]

FRONT VIEW

BACK VIEW

RIGHT VIEW

LEFT VIEW

1.0

CRITICAL ANALYSIS

Reflecting on my sketch design proposals I was more interested in expressing what personal space meant and defining it rather than exploring different types of designs. I wouldâ&#x20AC;&#x2122;ve liked to explore both personal space more and also different ways to integrate panel and fold more into those different ideas. Throughout this module I learnt to create and explain how an object is constructed and functions through plan, section and elevation. I found these methods really helpful in understanding how the panel and fold works and how to integrate that into my design. From this physical model I noticed the importance on selecting the right base module that not only looks aesthetically nice but is functional, adaptable and versatile.

2.0

DESIGN

Aspects I would like to take to M2 are a general direction of where to head in terms of personal space I would like to further explore panel and fold and the opportunities it withholds. Personally, Iâ&#x20AC;&#x2122;m particularly interested in creating a second skin that someone can wear and control depending on each individuals personal space. We were asked to collaborate during this modules and what was a common theme between all our designs in module one was that we were all interested in a moveable design. We thought personal space as something that isnâ&#x20AC;&#x2122;t static and one design cannot fit all, it changes enlarges and it shrinks depending on the time, place, people and occasion, thus, its form should reflect that fluctuating need. Our design was to create a moveable and dynamic design that an individual can change depending on their comfort level. We were able to test different ways of joints and movement and although still in its early stages I think we will be able to develop it so that it can work together as one whole system. I hope what we create is a very simple yet complex design in terms of its detailing.

Each culture has different values and traditions that shape an individual and their personal space. We want to create a second skin that can be adaptive to both the environment and to the individual.

2.1

Cultural Space Anaysis

FACIAL EXPRESSIONS

This diagram aims to highlight different areas of the body that play a role in different cultures and what might be deemed appropriate and what might not.

We were interested in cultural space, how there is a distinct relationship between psychological comfort of personal interactions and physical space. We found that within each country average personal space was closely defined firstly by their cultures and secondly by population density. We discovered in terms of cultures there were different level; intimate space, personal space, social space and public space. We were particularly interested in personal space and social space and to create a second skin where one could use it to adapt to different cultures. For example, Spain and China are countries that have a high population density thus people are more accustomed to a smaller personal space, but the level of comfort of each country is different due to its culture and traditions. Spain are a more warm, high contact culture they greet with hugs, touching a strangers arm during a conversation, eye contact are things that are common and is acceptable in comparison to China. Whereas cultures like Australia and America have a lower population density and therefore a need for a larger personal space. They feel more comfortable when there is a larger distance from one person to another. Eye contact can cause discomfort. We think it would be interesting designing a second skin able to combat these the changes in personal space in relation to culture. To find a second skin someone is able to wear when entering different cultures and helping someone feel more comfortable in each.

Facial expressions allow people to express their emotions help others examine how someone else is feelings a gauge whether someone is approachable of not. It defines how close someone is able to get. Itâ&#x20AC;&#x2122;s a universal way people from different cultures are able to communicate. Aside for facial expressions other non verbal communications such as eye contact and itâ&#x20AC;&#x2122;s appropriateness in different cultures. Eye contact can be a sign of confidence and politeness but in other countries it is frowned upon and disrespectful.

HANDS AND ARMS

Hand gestures and touching between strangers are different depending on the culture. In some countries greetings with hand shakes, hugs and kisses are polite form of greeting. In other countries that same method of greeting is inappropriate For example in the Middle East, Latin America and South Europe there is more physical contact during normal conversations. Men would touch each others hands or shoulders freely and it is a common and acceptable gesture. In others countries such as Japan the culture opposed physical contact between strangers.

2.2

PRECEDENT RESEARCH

RESONANT CHAMBER

BY RVTR

The Resonant Chamber is an interior envelope system that uses a rigid origami system. It employs electro-acoustic technologies to transform the interior space. The aim of this project was to develop a sound sphere that is able to be altered and adjusted depending on the performance and scale (Furuto 2017). We found this project particularly interesting as it was dynamic and able to adjust to each individual musician or artist that performed in the space. Its form was derived from information that was inputted into grasshopper that would generate the most optimum reverberation time, absorption coefficient, directional amplification and early/late acoustic response. Alongside the concept we were really drawn to the idea of a repeatable module that had in its structure an ability to move by opening and contracting and how a simple fold in the module can create an interesting effect and complex form with simple repetition.

Movement of panels in relation to sound

ADAPTIVE FOLDING BY THOMAS DIEWALD Adaptive folding is an idea of having a constant surface size is able to modify its size by an enclosing volume it utilised a patterning system of valley and mountain folds that create tension in the building (Diewald 2017). The strength of the material itself allows for a level of compression where the form is able to bounce back. I design reflects panel and fold and itâ&#x20AC;&#x2122;s characteristics but is lacks structure. It was the technique of create a module that is able to change its base volume and expand and contact that was very interesting. Aesthetically the design although formed with one singular pattern where each is under a different degree of compression (open, closed or slightly opened) has a different appearance. I find to have this technique of folding allows for a design that produces its own level of complexity by creating tension at a few points. As well as the indivdual patten as a whole the form is very fluid and gentle when the patterns are very tight when considering it was formed with very angular are sharp folds.

Paper of the same base shape changing volume

2.3

PROPOSED DESIGN V.1 & V.2

01 Defence

02 Hiding

03 Shield

REFINED SKETCH MODELS

V.1 OPEN AND CLOSE

V.2 LAYERING

04 Weapon

2.4

PROPOSED DESIGN MODULE

1. 2D Base Shape

5. Use planar surface to turn lines to surfaces

2. Draw a vertical line at the center point

6. Copy surface

3. Connect all external points to center point

4. Delete base grid

7. Rotate side along the base line

8. Mirror to form the entire module

2.4

DESIGN DEVELOPMENT: Version #1 Opening and Closing

FRONT VIEW

TOP VIEW

SIDE VIEW

MODULES

2.4

DESIGN DEVELOPMENT: Version #2 Layering

FRONT VIEW

SIDE VIEW

TOP VIEW SINGULAR LAYER

DOUBLE LAYER

TRIPLE LAYER

2.5

PROTOTYPES : Corner Joint, Edge Joints & Mid-Point This was our first joint idea. We thought the less surface area each module had in contact with the other would allow for the most expandability with the least restraints. This was not entirely wrong but by having less contact the modules moved independently from each other and we werenâ&#x20AC;&#x2122;t able to achieve a structure that flowed and moved as a whole. Moreover, the structure was weak at a point connection and it was tedious to connect them this way and didnâ&#x20AC;&#x2122;t give the form enough structure to stand alone. What we did like about this type of connect is it had enough space for the modules to fully open and fully close.

JOINT

CONTRACTED

EXPANDED

The second joint type we experimented with was the edge joint. This was a much neater joint, it was stronger and gave the a stronger form structure.

As we wanted to create a structure that could move as a whole we were heavily reliant on picking the right joint. It would rely upon the connection of each model we were interested in how each module could join, the patterns it would form, the extent of the movent it offered and how it could be constructed.

What was disapointing was that because of this joint it held the modules open when connected on all four sides. It restriced the modules from opening and lost the qualities we admired in the modules.

JOINT

The third joint we tested was a mid point joint. We found this joint was neat, created an interesting pattern and most importantly allowed for the structure to rely on each other. When in compression on one side it would influence the following modules and gave us the opportunity to work with something that could flow.

JOINT

Pattern Movement Expandiblity Constructibility

CONTRACTED

What we did note was that it was a very tedious process to construct. It required taping each modules together then stiching at every point.

Pattern Movement Expandiblity Constructibility

CONTRACTED

Pattern Movement Expandiblity Constructibility

2.6

TESTING EFFECTS : Vertical & Horizontal Movement This prototype is constructed where four strings were attached to each inner base corner. The vertical pull of all strings is able to fully enclose the module creating a more sharp and tight appearance. Although this worked as a single module we were doubtful of how it would work as whole, as each set of strings for each module needed to be pulled straight down - parallel from the base for it to work. We were also aware that this selection would create too many strings as we intended to have over 100 modules, there would be 400 strings.

After jointing the modules we found it would contract and expand by a push or pull of our hands but we wanted to explore a more elegantly way to control it.We wanted to create an effect that would shock the people surround the during deterring them more approaching. Here, we explore two types the vertical pull and the horizontal pull. EXPANDED

EXPANDED

CONTRACTED

Moving on from the idea of tightening each module individually we were interested in exploring if there were ways of pulling more than one module together with less strings. What we constructed was where one end of the module would be fixed (the hand) and the pull of the string through the hand with pull the module in. The higher the pull the tighter the module. We thought this method could be a lot of efficient and minimise the mechanise involved to move this second skin.

2.0

CRITICAL ANALYSIS

As a result I think we achieved a design that was simple but would have a complex joint and system. We did a lot of testing in relation to the joints of each module and how that would allow for movement and also also how to control that movement. Through this module we were able to experiment with Rhinoceros 3D. We were taught many methods on how to replicate our design on a 3D digitised model but due to the form of the module we struggled. In the reading ‘Lost in Parameter space’ by Fabian Scheurer and Hanno Stehling they said ‘ A perfect model does not contain as much information as possible, but as necessary to describe the properties of an object unambiguously.’ Depending on the model and what you’re trying to show to tailor that to the design and it’s features instead of attempting to accurately and precisely represent each detail. In reference to our digital model we found it challenging to detail our form in rhino. We would create a template with precise dimensions, rotate it and the angles still would not aline. This was due to the materiality and how it performs when compressed the paper slightly distorts the dimensions. In order to create this we made it look as similar as we could to represent the module and the quality we admired.

3.0

FABRICATION

In relation to the previous module the feedback for our design was that it was very interesting but it lacked scale and volume. Moving forward we would like to further explore the module but also try play with the size, height and to apply these ideas weâ&#x20AC;&#x2122;re formed into something tangible.

3.1

PROTOTYPE DEVELOPMENT + SELECTION : Joint, Material, Scale

Prototype Development

Prototype Optimisation

JOINT

Joining the modules at the midpoint allowed for movement in both directions, however if the point was not exactly centered, the design would not hold its form. Another issue with this joint type was the strength of the connection as although it allowed for movement in both directions, it was not strong enough to endure the strong pull needed to open and close the modules. In order to accommodate for this, we used the same pattern that the midpoint joint made, but joined it along the whole edge. This prevented movement in both directions, however created a strong movement in one direction. The images below highlight how each module is joined and the pattern that is created. Corner

Midpoint

Edge

Top view

Bottom view

MATERIAL

Although we liked the idea of using polypropylene, we decided to use black optix card with a 200 gsm thickness because this material worked best with our module. It was thick enough not to tear/rip when in tension and under pressure and thin enough to close into the flat state that we had hoped for. Polypropylene - 0.6

Polypropylene - 0.2

Black optix card - 200gsm

SIZE

Origami paper

+ 4.5 CM

+ 3 CM

READING :Building the future

+ 1.5 CM

Standard size

Modules progressively increasing in height Within the article imagining risks they stated that Architects need to mediate between tools the objects that are produced but also between design as a process of imagination and production as a process of technique. Digital technology is now able to further refine art and design. It can now accurately predicted the properties and functions of materials and allow architects to design with a high level of certainty. Through modelling simulation and optimisation softwares allow designers to predict virtually any materials, systems and buildings. What this allows is a process that mazimised efficiency and allow designers to narrow down choices with more ease. I found exploring materiality was quite expensive and very time consuming, each material has its own properties that requires its own joints and its own connections and the process of testing one , material after another when these could be easily simulated through modelling softwares. 30

we came up with a modified module that has the same base size and same overall shape, however is taller, creating variation. In order to blur the line between small and large, we made the modules on the upper section increasingly taller to create a smooth transition while also allowing for the movement system to work. We chose to have the larger modules towards the top of the arm because it is closer to the face and upper body which are areas of vulnerability. We also did this because the smaller modules allow for more movement therefore being able to close much more easily, this is important as you would not want spikes around your whole arm in certain situations eg. greeting/ hugging someone.

3.1

PROTOTYPE DEVELOPMENT + SELECTION : Closing

Prototype Development

Prototype Optimisation Using the technique seen on the 4 module string closing system, we amplified the amount of modules and strings to create a system that allows the structure to move as one. There are a number of strings on each end of the structure (one bunch at each end) that when pulled at the same time, cause the structure to close. This is great because only 2 things are needed are needed to be pulled apposed to multiple strings.

Vertical pull (opened)

Vertical pull (closed)

Horizontal pull (opened)

Horizontal pull (closed)

4 module closing system (opened)

Closing string system (bottom view, opened)

Closing string system (bottom view, closed)

Closing string system (top view, opened)

Closing string system (top view, closed)

4 module closing system (closed)

In M2 we looked at opening and closing at a small scale (with 1 to 2 modules) and came up with the idea of pulling on a string vertically and horizontally, however using these techniques while working with multiple modules meant that many strings would have to be pulled resulting in every module or row of the structure to work individually rather than the desired coherent whole that we were after. We started by looking for a way to make 4 modules work together then used this technique at a larger scale.

3.1

PROTOTYPE DEVELOPMENT + SELECTION : Opening

Prototype Development

Prototype Optimisation We were thrilled when we came up with the idea of having one continuous thread that connected every edge module as when pulled tight, the modules come together like we needed. The only problem was that when we let go, the structure would not close without us manually loosening the thread due to the friction and tight hole so in order to account for this, instead of threading through the module itself, we threaded it through jump rings (large hole + small string allowed for easy/smooth movement).

Velcro attached

Velcro detached

Rubber band loose

Rubber band tension

Getting the structure to open from its closed state was another one of the most challenging issues that we faced. Initially we tried using velcro to hold the open form but realised there was no way to get the structure to close without manually attaching each module by hand. We then started looking for a material that would allow the structure to snap back to its open state once we let go, but we could not find a material that was elasticated enough to stretch around the whole arm and snap back to less than 1cm. The material we were looking for needed to stretch from 1cm to approximately 10cm. We tested many materials including lycra, different types of rubber band and elastics but none of them were even remotely close enough to the firm stretch we needed.

Thread pulling modules open (through the modules)

Thread pulling modules open (through jump rings)

3.1

PROTOTYPE DEVELOPMENT + SELECTION : Fixing model to the body

Prototype Development

Vertical pull (opened)

Vertical pull (closed)

Horizontal pull (opened)

Horizontal pull (closed)

4 module closing system (opened)

Closing string system (bottom view, opened)

Closing string system (bottom view, closed)

Closing string system (top view, opened)

Closing string system (top view, closed)

4 module closing system (closed)

DIGITAL MODEL ‘ A perfect model does not contain as much information as possible, but as necessary to describe the properties of an object unambiguously.’ Depending on the model and what you’re trying to show to tailor that to the design and it’s features instead of attempting to accurately and precisely represent each detail. In reference to our digital model we found it challenging to detail our modules in rhino. We would create a template with precise dimensions, rotate it and the angles would not aline, this was due to the materiality and how it performs and abstracts the dimensions. In order to create this we made it look similar to just represent the module.

CLOSED

OPEN

READING :LOST IN PARAMETER SPACE

3.2

DIGITAL MODEL

TOP VIEW

FRONT VIEW

OPEN

CLOSED

3.3

FABBRICATION SEQUENCE & ASSEMBLY DIAGRAM

READING :Architecture in the Digital Age - Design and Manufacturing

Module size +1.5

Module size +3

Standard module

Module size +4.5

We used digital fabrication in our design through reverse engineering whereby we started with a physical model and translated that into a digital representation to further develop our design. Instead of using ‘point cloud’ which is a scanning software we measured the length and width of each component, created the base shape and rotated it to form our three dimensional object in Rhinoceros 3D. This was useful in laying out the design on the body and discovering where to put the modules and how many modules were required. Another technique we used was two-dimensional fabrication. This technique can be done with a plasma-arc, laser-beam or water jet. The tool we used was a laser cutter, this is where a high-intensity beam of infrared light and high pressurised gas is used to burn or melt material being cut away. This technique allows for us to mass produce our models, with speed and with accuracy. As a result it allowed us to work on other components of our designs such as our joints or other details whilst the file was sent to the laser cutter. It is a very time efficient want to product a module. Another element was the precision of the laser cutter. Our modules being joint along the edge required a very accurate 90 degree angle and for each module to be completely parallel so the overall pattern wouldn’t be distorted. The last cutter allowed for that accuracy and precision. Other techniques are substrative fabrication, additive fabrication, formative fabrication and assembly which are other ways to print and put together designs with a high level of precision and accuracy.

Larger modules

3.3

FABBRICATION SEQUENCE & ASSEMBLY DIAGRAM

1. Rhino template to laser cut

2. Folded individual modules

7. Added jump rings along edge and threaded opening string system

1. Individual modules

2. Taped along the edge

3. Fixed lower arm modules together

6. Added jump rings down centre and threaded the closing string system

4. Fixed upper arm modules together (with increasingly taller modules)

5. Stitched all edge modules together

3. Jump rings attached to center

4. Strings attached on the edges that cross over at the center point and run down the central axis.

3.0

CRITICAL ANALYSIS

Through this module we were able to resolve a lot of the problems that arose in M2. We developed a system where it was able to expand and contract by the pulling of two strings. We were also able to solve the problem we had in regards scaling and creating a design that had volume. As a whole it was a very cohesive system that had a complex mechanism which controlled it and although it was simple design it functioned well. Through this module we learnt various techniques on how to utilise digital fabrication to aid our design. We used it to laser cut our modules which was efficient and increased the accuracy of each module. Digital fabrication allows for not only efficient fabrication but also customisation, we are able to design and create our own modules and joints allowing for a higher level of detail and personalisation. A lot of the time and costs were spent were on testing the properties of the materials. We recognised there are tools and optimisation softwares now that couldâ&#x20AC;&#x2122;ve predicted materials and systems with a lot more ease. This would be useful in not only saving time but also saving money. By fully understanding the world of digital fabrications could speed up the design process and allow for us to test and explore materiality and systems with more rigour.

4.0 REFLECTION Through this subject I found that I was able to adopt a basic understanding of how to use Rhinoceros 3D and Indesign. I was able to learn the properties of different materials through testing and the importance of selecting materials that may aid the design rather than just selecting it for aesthetics. In terms of the project I noticed that I found I was very interested in resolving problems with the design. In particular I was very interested in focusing on the smaller details such as the joints and how each element interacted with the other. I noticed that that can be a good and a bad thing as we spent a lot of time resolving a design and neglecting the overall form. It restricted us from creating something a lot more intriguing. We went down the path of reverse engineering and while it was a simple and complex design it would of been interesting what we could of achieved if we were more experimental. To improve our current design, I hope to integrate the systems instead of having one element that closes, one that opens and one that connects it to the body to integrate them to create a more simple and cohesive design. I think it would also be very interesting to test color and perforations and see how they would effect the design.

4.1

IMPROVING DESIGN To improve our current design, I hope to integrate the systems instead of having one element that closes, one that opens and one that connects it to the body to integrate them to create a more simple and cohesive design. I think it would also be very interesting to test color and perforations and see how they would effect the design. To further develop the design and integrate all the systems we tested using Lycra which is fabric that has an ability to expand and contract. The idea was to have a string that pulls (closing the modules) and when released the fabric would the modules back. What this could achieve is a much more neater and elegant design with less mechanisms. As a result of our tests we were unable to find a fabric that was elastic enough and when testing will Lycra we found that after it was stretched and released the fabric lost its elasticity. When the strings were released the material materials would gather underneath and which actually prevented the modules from smoothly bouncing back. If we were able to source a fabric that had more stretch and was more durable this may of worked.

5.0

APPENDIX

Architecture in the Digital Age - Design and Manufacturing /Branko Kolarevic. Spon Press, London, c2003 Building the Future: Recasting Labor in Architecture/ Philip Bernstein, Peggy Deamer. Princeton Architectural Press. c2008. pp 38-42 Diewald, T. (2017). Adaptive Folding Structure – Thomas Diewald. [online] Available at: http://thomasdiewald.com/blog/?p=743 [Accessed 6 Jun. 2017]. 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 Furuto, A. (2017). Resonant Chamber / rvtr. [online] Available at: http://www.archdaily.com/227233/resonant-chamber-rvtr [Accessed 6 Jun. 2017]. 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. Scheurer, F. and Stehling, H. _2011_: Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 _4_, July, pp. 70-79 Sommer, R. (1969). Personal space : the behavioral basis of design / Robert Sommer. Englewood Cliffs, N.J. : Prentice-Hall, c1969.

5.1

CREDITS

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