DIGITAL DESIGN + FABRICATION SM1, 2016 Sleeping Bag
Yuhan Hou 743234 James, Group 2
1
2
0.0 INTRODUCTION
3
4
1.0 IDEATION 1.1 Object 1.2 Object + System Analysis 1.3 Volume 1.4 Sketch design proposal 1.5 Module 1 reflection 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 2.6 Module 2 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 + optimisation3.5 Final Digital model 3.6 Fabrication sequence 3.7 Assembly Drawing3.8 Completed 2nd Skin 3.8 Module 3 reflection 4.0 Reflection. 5.0 Appendix 5.1 Credit 5.2 Bibliography 5
1.0 OBJECT
6
7
1.1 Object
Measuring method: Firstly, the pine cone is photographed and traced with top, bottom views. As can be observed that each panels have a top point which is furthest point away from centre. By creating circular grids with same centre point, each panels can be located on that grids. And curtain top points of some panels have been chosen as radius of circular grid and any near top point of panel can be positioned and measures according to nearest circular grid. Similarly, in the sections, new grid is generated because the arrangement of panels are more linear. In terms of Rhino models, I start with creating a solid base by using sweeping 1 rail and make a 2D shape of panel. Then, custom 3D panels were used to create a similar panel shape of shape of pine cone.
8
TOP
ISOMETRIC
Detail
9
1.2 Object + System Analysis
As is showed in the graph above, golden ratio is applied in the formation of pine cone. When we rotate the golden ration in clockwise way and anti-clockwise, the bottoms shapes of pines cone can be observed. Also, when the golden ration comes to the math, the Fibonacci Sequence is introduced. It can be used as a way to calculate the number of exact clockwise and anti-clockwise waves. When it is applied pine cone, two waves are rotated and intersected. For later design, the special shape of pine cone and gradual changing of panels could have great potentials for design.
10
1.3 Volume
After investigated how volumes can be created with panel system, there developmented sketch models were made. The first model uses single cells of folded paper, connected to enclose a volume. These cells could change in size and shape over space The above model uses strips of paper, stapled together in specific locations, to create a foldable blanket design that, due to the width of the paper strips, can hold a volume of its own. The models on the left was made in similar simitem but with thinner material which have more capaacity to fold and bend.
11
1.4 Sketch design proposal
This neck brace takes its form from the components of the pinecone, as well as its layering of these parts which focuses on enclosing personal space through blocking the user’s views to the outside environment (below left). This sense of detachment is further supported through the use of warm L.E.D lights that are located behind a translucent window on the inside of the panels (below middle). From the outside, this design aims to tell outsiders ‘do not disturb’ by taking on a menacing form (right). After feedback, we decided that this design does not satisfy the criteria that the product must enclose an interior volume. The volume that it encloses in front of the face is too small.
12
The second idea is a hood system consisted of some small panels. Each panels have its rigid shapes and found be interlocked with other panels, composing a thin flexible hood closely toughed to human body. In the later idea, the sense of protection that provided by hood system was applied and emphasised. And the connection between panels might be a problem to considerer. The idea represented on the right side is a completely different design using a wire frame structure onto which we could attach pieces that could change in size and form over space. It could be attached to the body more easily and also allowed for more experimentation with the forms. Besides, by using some pin joints as connections of panels and frame, the panes might can move gradually when human body move under gravity.
13
1.5 Module 1 reflection
How to lay out a croissant� by Enric Miralles,Carme Pinos
14
In M1, we are emphasising on the analysis and measures of curtain objects. As the beginning of design, I found it is quite interesting to look into details of some common objects and try to apply the systems it has to the concept of sleeping pod. In the measuring stage, it is claimed in readings (Heath et al., 2000) how irregular object was measured accurately in some distinctive approaches. Inspired by the measures of croissant(Enric & Carme 1988), I try to find sone single geometry as circles in irregular pine corn and organise a unique circular grid as a measuring base. Beside measuring physical models, being familiar with digital tectonics — Rhino in process of modelling pine cone would also be very helpful in later design. In class, the practice of panel and fold give quick and fundamental understanding of that system and how volume can be created. However, after being familiar with pine corn and panel and folding system, I find it is still hard to come out ideas that linked with sleeping pod. Also, I feel hard to represent abstract with simple sketch design. It is expected to be simple but clear. Also, it has requirements of understanding of human space. The reading introduce by Sommer (1969) forces on few different understanding and definition over human space, which could inspire a lot. How to lay out a croissant�
15
16
2.0 IDEATION
17
2.1 Design development intro
From our investigation and abstraction of the pinecone, we found some key concepts and rules. We decided to take two of these forward to influence our designs. The first is the organic grid shape (below) and the second is the gradual, almost algorithmic, change in size and shape of the individual components (above). We presented our Module 1 sketch designs to each other and decided on the two more successful and workable designs. Zehua’s hood design (below right) uses a spine and blanket system to enclose personal space. Lachie’s neck brace (above right) design focuses more on the idea of individual components that change gradually over space.
18
We decided to pursue the ‘Enclosing Hood’ design as it created a larger interior volume and we felt that this better satisfied the brief. To develop this design, we started to investigate techniques for the construction of a foldable dome. Taking some inspiration from our refined sketch model, this design uses interlocking strips of paper to create a foldable grid (right). When outstretched, the width of the strips gives the system its structure and by curving these strips, a dome shape can be created (above). The windows created by this method allow us to play with interior light patterns (below). To give the design a more interesting external appearance, we experimented with attaching triangles of paper to the apertures that could collapse when folded (below right).
19
2.2 Digitization + Design proposal v. 1 This design responds to the protection of personal space when the user is leaning on a surface. The dome is made of a lightweight material that can be supported by the two-way structural span. The sleeping pod is designed to be foldable, therefore making it easy to store and transport. It encloses a larger volume that gives the user a sense of interior enclosure. To provide a sense of detachment, this design uses yellow-tinted, semi-transparent panels that filter the exterior light to provide a calmer interior environment. This design can be rotated around the torso and used when laying flat on the ground as well. In relation to the criteria of warding of outsiders, the exterior of this design could be made to look scarier.
20
TOP
ISOMETRIC
BACK
21
2.3 Precedence research RIGID ORIGAMI - LIGHTWEIGHT - FOLDABLE - SINGLE COMPONENT
ORIGAMI CLOAK - ALEXANDRA VERSHUEREN UNKNOWN DATE
This precedent is useful to our design as it is foldable. Using this method, our design could easily collapse for idle wearing. Although the design is lightweight, made of paper, it has a structural rigidity that allows it to hold shape.This method consists of a single component, which is condusive to our design. It can bend horizontally and vertically, a flexibility that will aid the mechanics of our design.
22
RULE 1:
RULE 2:
RULE 3:
RULE 4:
RULE 5:
Afterinvestigationoftheprecedent,rigidorigami,wediscovered somerules.Thegreaterthespace,thegreaterthecurve(rule1). Thesmallertheshape,thesharpertheincline(rule2).Changing fromaparallelogramtoatriangleincitesachangeindirection (rule3).Theangleofthebendaffectsthecurveofthewholecomponent(rule4).Byincreasing,thedistancebetweengridlines,the interioranglebecomesmoreacute,andthecurveofthewhole segment becomes tighter (rule 5). Using these rules, we can shape our design as we feel. We can adaptourdesigntofitthebody,andalsoachievetheexternal appearance we desire.
23
2.4 Design proposal v.2
BACK
LEFT LEFT
ISOMETRIC ISOMETRIC
24
BACK
Our design consists of three components (right): the corset, the hood and the dome. The hood and dome are collapsible to the top edge of the corset, which attaches to the body and supports the weight of the pod. After having investigated the precedent of rigid origami, we decided to implement this technique instead of the interlocking paper strips. We felt as though the rigid origami had more opportunity for algorithmic or gradual shape change. We experimented extensively with paper folding, using the findings from our precedent investigation, trying to create a folding dome structure that has some sort of iterative change across space (above and below). We attempted to model this system in Rhino, which will save us significant amounts of time as we will be able to make changes digitally as opposed to having to make a physical model. This design is an improvement on the last as this new technique allows us to make the exterior of the pod look more menacing. It still holds a large interior volume and panels could still be replaced with transparent material to control lighting inside.
25
2.5 Prototype v.2 + Testing Effects
26
We wanted to enclose a comfortably large interior volume for the user – that does not incite claustrophobia. We feel as though the current size is adequate. The curves of this design could be adapted however, to fit the natural curves of the body, as this prototype feels restrictive in certain areas. We chose to use the rigid origami method to give the design a less approachable external image. We feel that this has been a success, but we will further develop this surface. Although this prototype does not explore the principle of interior light, it does provide a sense of detachment for the user through noise reduction and visual blocking. We will experiment with light in further designs.
27
2.6 Module 2 reflection
After defining human spaces as a sense of detachment, a hood with dome shape enclosing a large volume was proposed. Besides, inspired by pine cone folding system, we tends to investigate techniques for a foldable dome. To provide more convenience, a lightweight and capable concepts was considered thoroughly. To enhance a lightweight, foldable “hood dome�, we start with intersecting techniques attaching rectangle pieces. Then, inspired by readings - Surfaces that can be built from paper (Pottmann, H et al. 2007), we realise one piece of paper could have considerable potential to be developed once it is ruled. To develop how to ruling a developed survive that could achieve a foldable dome, we did the lots of recreates tuning to Rigid Origami system as showed in precedence. Corresponding to reading, a piece of paper applied with Origami system provides various developable surfaces in different dimensions. And what is more, it is lightweight with paper material and has great capacity to fold, bend and twist. The reading - Introduction of Paneling Tools Manual (Walsh 2013) laying out in details how panelling tools can be used is quite essential in our design. By playing with panelling tools, such as create grids from surfaces, create 2D panels, customs 3D panels, an overall shape can be created visually. Also, it enables us to experienced with different panel pattens. But, the book contains too much information which will be hard for us to find what exact we need. After that, due to the complexity of Origami system, we find it difficult to control the outcome of folding pieces. To solve problems, we use the mathematic approach to figure out relationships between patten grid and final outcomes. Overall, the final prototype our idea well, as lightweight, foldable, capable origami hood dome. In later fabrication, how to adapt with human body and how different materials present requires more exploration.
28
29
30
3.0 FABRICATION
31
3.1 Design development & Fabrication of prototype V2
In order to solve the problem of variable sizes of rigid origami, we returned to a model that we created in Module 2. This design uses a secondary component to connect rigid origami curves of varying sizes and shapes. We developed this idea, using translucent polypropylene as the mediating material, to create the desired dome shape but with a more complex profile. The use of translucent polypropylene created windows to let light into the pod, which inspired further experimentation.
32
TOP
ISOMETRIC LEFT
33
3.2 Design development & Fabrication of prototype V3
34
Due to the success of this new technique, we decided to invest our time into testing a 1:2 size prototype. We used our detailed knowledge of the rigid origami system to fabricate components with the exact curve we wanted. This prototype, although too small in interior volume, achieved the dome structure that we desired. It was foldable, and allowed light through the transparent windows. Using paper as the material however, we felt was a flaw. Using paper, even with high GSM or gloss finish, still appeared too much like origami. We wanted to deviate from this appearance. Another problem was still the connection to the body. Using open pieces of origami was just too weak. We decided on a new system – to pin all of the components at the same point for structural solidity.
35
3.3 Design development & Fabrication of prototype V3 -
With these new panels in between the pieces of rigid origami we decided to play with lighting effects. The pattern on these panels allows light to enter inside the sleeping chamber. This creates a pattern of shadows across the interior. A sharper triangular design was chosen to continue the threatening effect of the exterior.
36
The need for permeability changes across the interior space. Ideally the area around the users face is the darkest with more light permeating towards the back. This variation can be achieved in two ways. The window apertures could become more abundant, or the aperture design could keep its shape and simply change in size.
37
3.3 Design development & Fabrication of prototype V3 -
With careful correspondence between Rhino 3D forms and the rigid origami rules, we created our desired curves and their relative grids. We measured their size and were dismayed to realise that they were too big to be cut in the laser cutter. Upon brainstorming, we decided to divide the pieces in half and connecting them with a third piece. We also decided to use self-sourced, A1 size polypropylene instead of the 600x600mm pieces sold in the Fabrication Worksop. Unfortunately, despite all our careful planning, the pieces did not fit together in reality. We did not foresee that the shape of the curved rigid origami actually changes depending on how much it is folded. This disallowed us from being able to use the rigid window components – a real shame considering our investigation into lighting effects.
38
After considering a range of ways to fill these windows, we eventually settled on fabric due to its flexible form. After trying many different types of fabric, we realised that lighting effects could be achieved with two layers of chiffon - when put together creating a ‘marais’ effect. We decided to use multiple layers of chiffon to achieve different levels of light into the pod, again, darker where the face is.
39
3.4 Final Design
TOP
RIGHT
40
ISOMETRIC
Our final design is a large foldable dome that creates and interior volume in which one can sleep. This volume protects the area of personal space around the upper body and head. It uses combinations of chiffon fabrics to control the light and shadow patterns on the inside. This darkness creates a sense of detachment from the outside world for the user. The external form of the design achieves a threatening appearance, which would ward off potential disturbers. This is in part due to the use of black polypropylene. The elastic rope across the axis of the design keeps the rigid origami in a structural tension as well as forming a shoulder strap for transportation of the pod – ‘transportability’ is a distinctive feature of this design.
41
3.5 Fabrication Sequence
Grid was printed by Lester Cutting
Each section was grouped with connection part
42
Fold polypropolene following grids
Before connect two pieces with connecting panel, we need to paralell them well
Each panels was fold including connection panels
We were testing what kind of glue will work best with poplypropolene
To hide the gap, we stick a same piece at edge
Use roodp to tighten all panes in tension
All 6 sectios was conneted without unexpected gaps
Stick fabric to propoer point
Tighten each section to same two end points
Stick same piece of poplypropolene to hide all ungly edges of fabric
43
3.6 Assembly Drawing
44
45
3.7 Completed 2nd skin
BACK
46
LEFT
TOP
Function
Rope Joint Detail
Fabric Window Detail
Polypropylene Joint Detail
47
3.7 Completd 2nd skin
48
Showing how it can be easilly carried
49
gn
o our design: Those hitecture and matectively apply in our
New shift of digital technology applied to our design: Those new shifted introduced by Lisa in the architecture and material techniques (2009) have been constructively apply in our
potentials was limdesigned for sleepng with user’s body hard to be realised in of sectioning methhop architect (Lisa, into six panels, havg system.
designed to fill the hod of tessellation is ver, it is found that the and distances behe connecting piece. and has more capacs tessellating piece.
have make the great early of our design. es as self-supporting antages as difficult to
3.8 Module 3 reflection Reading applied to design
Reading Response Wk 7
Digital Fabrications: architectural + material techniques/Lisa Iwamoto. New York: Princeton Architectural Press c2009
design
In M3, we are expected to fabricated a real sleeping pod with Sectioning (1)new 1: 1 scale. Some shifts, including sectioning, tessellation and was limpotentials realise the design Modules, LastLisa From by folding, introduced in the we architecture and material techsleepfor designed As paper. of piece one using ited by only niques (2009) benefits us a lot.
R T
ing pod was divide into six panels, having gradually changed shape and folding system.
(
C r p t d R f
ing, the surface need to change adapting with user’s body (1) Sectioning shape and lighting effects. However, it is hard to be realised in From Last Modules, we realise sleeping pod adaptingofwith humanmethsectioning the inspiration of paper.Under one piece body is hard to ods be as achieved under one piece of paper. Under (Lisa, architect exempted in projects designed Shop six panels, was divide pod the inspiration of sectioning methods exempted ininto projects de- havsleepingas the whole 2009) system. and folding ing gradually signed Shop architect (Lisa, changed 2009) on shape the right, the whole sleep-
(2) Tessellation (2) Tessellation At the beginning, the connection piece designed to fill the Corresponding to tessellation, the connection piece designed to gap between two sections with the method of tessellation is fill the gap between two sections. In process, it is found that the the rigid piece of same material. However, it is found that the folding panels tends to change shape and distances between folding panels tends to change shape and distances belast bottom points, which shrink the connecting piece as well. piece. connecting which shrink the points, bottom last will tween To solve problems, the fabric that is strong in tension and can more capachas and tension is strong is that fabric the Then, piece. tessellating as used was slightly move was used as tessellating piece. movements ity to do slightly
T c i e D t w
Dunescape project designed by SHop Architecs
(
A t p a w
(3)Folding In terms of folding introduced by Lisa (2009), our group have (3)Folding made the great use of folding technology form the very early of Inspired by Origami systems, our group have make the great our design. We tend to realise its typical form advantages as self-supof our design. the very early use of folding technology porting and monolithic system and also disadvantages difficult g self-supportin We tend to realise its typical advantages asas to control diatomic movements. system and also disadvantages as difficult to monolithic andfolding
9
(
I o f
control diatomic folding movements.
9
8
50
Reading applied to design
Previous fabrication process For the previous fabrication process, we normally start with creating grid and print them a small size paper. Following the grid lines, lots of time are wasting on cutting lines, folding and testing. In this process, we have less capacity to control fibrillation outcome and make adjusting. Also, personal mistakes might also drive the failure of finial prototype.
Digital fabircation process For the previous fabrication process, we normally start with creating grid and print them a small size paper. Following the grid lines, lots of time are wasting on cutting lines, folding and testing. In this process, we have less capacity to control fibrillation outcome and make adjusting. Also, personal mistakes might also drive the failure of finial prototype.
In the fabrication process, optimised and suitable folded panelsgrid are and shaped first in Rhino, which eating testing After unrolling For thedigital previous fabrication process, we normally start with creating print them a small sizegreatly paper.avoid Following thetime gridinlines, lotsgrid. of time the surfaces from 3D model, the two-dimensional grid can be easily created according to the certain panel shapes. The template with optimised are wasting on cutting lines, folding and testing. In M3 digital fabrication, whole design process was shifted completely. As is mentioned in grid was submitted to lesser cutting lab with the material of polypropylene. Quickly, the polypropylene etchedto bynarrow lesser cutting equipment accurately. The whole readings(Branko 2003), comparing to the traditional drawing, digital fabrication have greatwas capacity down the differences between design and fabrication process have been constructively improved under the utilisation of digital technics. presentation and actual physical model or final products, which having its particular limitations and potentials. Under utilisation of digital equipments
and tectonics, especially lester cutting, serious small scaled prototypes were made efficiently easily, which contribute to final model a lot.
In the digital fabrication process, optimised and suitable folded panels are shaped first in Rhino, which greatly avoid eating time in testing grid. After unrolling Insurfaces process from of final optimised and suitable folded panels are shaped first in Rhino, which greatly time testing grid. the 3Dmodel model,fabrication, the two-dimensional grid can be easily created according to the certain panel shapes. The reduce template withinoptimised gridAfter was 7 unrolling the surfaces from 3D model, the two-dimensional grid can be easily created according to the certain panel shapes. The template with submitted to lesser cutting lab with the material of polypropylene. Quickly, the polypropylene was etched by lesser cutting equipment accurately. The whole optimised grid was submitted to lesser lab withimproved the material of the polypropylene. Quickly, the polypropylene was etched by lesser cutting equipdesign and fabrication process have beencutting constructively under utilisation of digital technics. ment accurately. The whole design and fabrication process have been constructively improved under the utilisation of digital technics. However, after finishing the model, we realise even though it is supposed to be foldable under designed system, the real model can actually not be fully folded due to the thickness of material.
7
51
4.0 REFLECTION
52
53
For the reflection of overall designs this semester, I have say I really enjoyed and benefited a lot. It is an interesting subject which provide students chances to make their own sleeping pod real in 1:1 scale. It is also a challenged subject with the high expectations of final product, project presentation as well as formatting module journal. As what it is named — Digital design and fabrication, the digital techniques was expected to be applied thoroughly from initial design to later fabrication. As a second year student majored in architecture, this subject works pretty well as first introduction into various digital software, such as Rhino, panelling tool, in design and illustrators and first introduction towards fabrication techniques, including lester cutting and 3D print. Standing at the end of semester, I am surprised how broad and deeply the digital techniques was used in this subject. Except for digital techniques we learned, what I benefit most is how we meet and solve the problems arose in whole design process. I would not deny that this is the most challenged subject I have taken so far. Looking back whole design process, we met considerable problems and most of time we actually do not know the answer. At start, we are limited by complexity of Origami system and find it hard to control folding outcome, which wasting lots of time in cutting, folding and testing grids. After we finally figure out rules of Origami system and realise the limitation of system, we decide to cut one piece into few piece that could provide gradually changing volume and come out a proper grid that works well in small scale, But, it actually failed when it goes into a larger scale due to many reason. Near final stage, we fall in trouble again with connecting two Origami panels as distance change when they fold, which leads to the utilisation of fabric as connection. Thus, I realise the whole design is about holding initial idea and try to solve the problems. It would hard, but after solving problems, outcomes will be surprising. For me, readings works well as an ideal guidance in whole semester. And what I like in M4 reading - Building the Future: Recasting Labor in Architecture (Bernstein & Deamer 2008) is how deep he think in terms of digital tectonics. In modern world, under the spread use of digital techniques, architects are positioned in a paradox role like being invited in production of real, but work with tools of abstract representation. And what he emphasis on is calling back to craft, make models that outcomes might not be certain. As the risk he stressed that in the process of craft should be valued, which is quite inspiring in later design. Overall, I feel happy and lucky to work one such interesting and challenging subject with other people. I appreciate time I spent and learned a lot from them.
54
55
5.0 APPENDIX
56
MODEL CHRONOLOGY
MODEL CHRONOLOGY
57
5.1 Credit CREDITS
Page Cover
Drawings
Computation
Model Fabrication !!!
Model Assembly !!!
Photography !!!
6 7 !
8
Writing
Graphic Design
!
38 51
!
39 52
!
!
!
10
!
! !!
11 12
!
13
!
!!
!
!!
! !!
15
!
17
CREDITS
18
!! Page Cover
!! !
Drawings
9
24
10
25
11
!
! !
!!
26
12
27
13
!
32 33 34
!!
!
! Writing
! !
!
!
!
!
!
!
!
!
!
!
!!
!
!!
! !!
!!
!!
!
!!
!!
!!
!
!!!
!!!
!!
17
!!!
!!!
!!
!
! !!
!!
!!
!
!
!!
!
23
!
! !
!
!
56 70 57 71
!
58 72
!!
!!
!vv !
84
! !!
85
!!
!
!!!
!!!
!! !!!
!!
!!! !!!
!!! !!!
!!
!!! !!!
!!
!!!
!!!
!!!
!!
8682
! !!!
!
8783
!!! !!!
!!! !!!
!
8884
!!!
!!!
!!!
!
!!! !!!
!!! !!!
!!! !!!
9187
!!! !!!
!!! !!!
!!! !!!
9288 9389
8985
!!
!!
!!!
!!!
!!!
!!
!!
!!!
!!!
!!!
!!! !!!
!!! !!!
!!! !!!
!!!
!!!
!!!
Drawings
Computation
Yuhan Hou !
Lachlan Welsh
83
!
Model Fabrication !!! !!!
Model Assembly !!! !!!
Photography !!! !!!
9086
9490 !
9591 92
Writing
Graphic Design
93
!!! !!!
!!! !!!
!!!
!vv
94
!!! !!!
!!! !!!
!! !!!
!
95
Zehua He Yuhan Hou Lachlan Welsh Zehua He
59 60
62
!
!!
76
!
!
77
!
!
78
!
63 64 65
79
66
! !
!
!
!
!
!
! !
!!
80 67
!
81 68
!
!
!
!
26
!!
!!
!
27
!!
!!
!!
!
!!!
!!!
61
! !
!!
!!!
!!!
Graphic Design 82
!
75
!
24
!!!
! Writing
74
!! !
!
!
!!
Model Fabrication Model Assembly!!Photography !!! !!! !!! !!! ! !!! !!!
!!!
73 !
!
!
!
!
!!
! !
! Computation !!
69 55
!
!
!
25
68 54
! !!
!!
21
36
!
!!
!!
20
52 50
67 53
!
!!
18
65
!
! !!
!
16
!
! !
!
!!
!
Page 64 Cover 48
66
15
22
!
40 53 4137 54 4238 55 4339 56 4440 57 4541 58 4642 59 4743 60 4844 61 4945 62 5046 63 47
! Drawings
51 49
!
19
!Design Graphic
!
14
35
58
Photography !!!
!!
!
! !
31
Model Assembly !!!
!! !
23
30
Model Fabrication !!!
7 8
29
Computation
!!
6
22
28
!
!!
16
21
!
!! !
20
!
!!
14
19
!
!
9
Page 37 Cover
69 70
1 71
!
72
28
!
73
29
!
74
!!!
!!!
!!
2
5.2 Bibliography
Bernstein, P & Deamer, P 2008, Building the Future: Recasting Labor in Architecture, Princeton Architectural Press. c2008. pp 38-42 Greenblatt, S 2002, A special letter from Stephen Greenblatt, viewed 25th March 2010, <http://mla.org/scholarly_pub> HEATH, A., HEATH, D. & JENSEN, A. L. 2000. 300 years of industrial design : function, form, technique, 1700-2000, New York : Watson-Guptill, 2000. Kolarevic, B 2003, Architecture in the Digital Age_Design and Manufacturing, Spon Press, London. Miralles, E, & Pinos, C 1988/1991, “How to lay out a croissant”, En Construccion pp. 240-241. Pottmann, H, Asperl, H, Hofer, M, Kilian, A 2007, Architectural Geometry, Bentley Institute Press, p534-561. Sommer, R. (1969). Personal space : the behavioral basis of design / Robert Sommer. Englewood Cliffs, N.J. : Prentice-Hall, 1969. Walsh, A 2013, Introduction - Paneling Tools Manual, Rhino Mcneel, viewed 7th June 2016, <https://issuu.com/ annie_walsh/docs/panelingtools_v5>
59