Shen jesse 833944 partb

STUDIO AIR 2018, SEMESTER 1, CHELLE YANG JESSE SHEN

1

CRITERIA DESIGN

1

30

CRITERIA DESIGN

30

Table of Contents

31

B.1 RESEARCH FIELD

32-35

B.2 CASE STUDY 1.0

36-43

B.3 CASE STUDY 2.0

44-51

B.4 TECHNIQUE DEVELOPMENT

52-57

B.5 TECHNIQUE PROTOTYPE

58-63

B.6 TECHNIQUE PROPOSAL

64-71

B.7 LEARNING OBJECTIVES/ OUTCOME

72-73

B.8 APPENDIX

74-75

CRITERIA DESIGN

31

B.1 RESEARCH FIELD MATERIAL PERFORMANCE Previously I mentioned a need to be considerate of material usage as we need to be careful of how we make the most out of those resources instead of just simply squandering it. Thus it a key theme for this module to analyse material performance of all the resources we utilise.

However, material performance goes beyond merely understanding the behaviour of available resources, it’s about exploiting such relationships to achieve more than just one simple task. This considerably increases the usage of the material. Typically in the past, one material was used for one purpose one such as utilising bricks for load bearing walls, then utilising another material as a veneer. Not only is it an in efficient use of materials, but it further demonstrates a clear separation between architectural expression and construction, a goal in which parametric design aims to address.

The ICD 2010 research pavilion is an perfect precedent in which constraints dictated the design to optimise both materials and construction in order to achieve its architectural expression. The biggest constraint lied within the ultimate aim of the architectural expression, to fabricate a self standing structure utilising principles of equilibrium, internal stresses and bending moments(“ICD/ITKE Research Pavilion 2010 | Institute for Computational Design and Construction” 2010). The end result is a pavilion which utilises the elasticity afforded by 6.5mm thin develop-able plywood strips, fixed in a manner where each connection allows two strips of plywood so mutually maintain its elastically bend shape through mutual yet alternating points of constriction.

Ultimately this precedent demonstrates that even a single material when designed and modelled correctly can achieve both a self standing structure whilst successfully have its own unique architectural expression.

Therefore the key question to address as of now include ways in which a single material can express structural performance, intelligent construction processes as well as an architectural expression while using the least amount of materials.

FIG 19:: PARAMETRIC ANALYSIS OF INTERNAL STRESSES OF EACH STRIP 32

CRITERIA DESIGN

FIG 20: EXTRAPOLATING DATA ON KEY CONNECTION POINTS AND THEIR HEIGHT 32

FIG 21: PAVILION INTERIOR DEMONSTRATING THE ALTERNATING ORIENTATION OF EACH STRIP

33

CRITERIA DESIGN

33

CASE STUDY: P WALL (2013)

When considering the types of fabrication processes available, it become easy to distinguish which methods are wasteful. Whilst the 2010 ICD research pavilion demonstrated that a single material is capable of achieving more than one task, it was fabricated using subtractive fabrication processes which generated waste through carving out excess material out of each panel of plywood. Thus it should be necessary to explore other fabrication processes and to test out its material performance.

One possible fabrication process which can ideally save on materials is the additive fabrication process, which is capable of making self standing structures whilst using the exactly amount of resources necessary. Furthermore manipulating the mould in which material is cast into can also achieve architectural expression without compromising too much of its structural capacity.

Concrete is the typical form of additive construction technique used in today’s architecture, however despite using the exact amount of materials necessary to achieve its form, there is still significant wastage of timber/steel found in the form-work or its “mould�.

34

CRITERIA DESIGN

This precedent mentioned earlier demonstrates an attempt at minimising wastage in the mould by discarding traditional form-work and substituting fabric as its mould it an effort to reduce wastage.

The key advantage of fabric is in its flexible tensile quality. This flexibility grants potential in exploring various architectural expressions. Furthermore this tensile quality can be further explored as a form finding technique like with cantenary curves which are typically modelled in the past in a tensile manner through reverse hanging. Therefore there is potential for fabric to achieve both structural and expressive qualities, particularly during fabrication.

In the case of the precedent, parametric design is primarily responsible for modelling and randomising the location of key points as anchors or as point loads as well as the extent of which the fabric will stretch and deform and in which direction(s). further exploration should be considered in fabric shape and how to arrange multiple panels

34

Ornament is the figure that emerges from the material substrate, the expression of embedded forces through processes of construction, assembly and growth

FARSHID MOUSSAVI AND MICHAEL KUBO

35

CRITERIA DESIGN

35

B.2 CASE STUDY 1.0 PANELLING

Firstly, it is important to understand that the chosen case study is fundamentally a panelled wall facade.

Whilst the fabric is mostly responsible for the aesthetic appearance and quality of the of the panel; However, it is still important to remember to maintain a panel shape as the panel shape is key to maintaining the modularity of the panels for easy setup of the facade as well as the maintaining its modularity which is critical to its theme.

The panel shape utilised is mostly squares with some rectilinear shapes which are double in scale in one dimension. This simple set of rules allows for connections between panels to remain simple in nature as connections would mostly rely on connecting surfaces to have the same length and could easily be connected by notches across the length of the panel edge.

The panel geometry also dictates the arrangement of a group of panels. The mostly rectilinear shaped geometry of the panels would logically be panelled in a 2d planar field like a flat wall.

Parameters to explore: . Panel Shape . Number of anchor points . Depth of extrusions . Panel Patterning In addition to exploring these parameters, we will cross reference with the criteria below to isolate the panels with the most potential.

SELECTION CRITERIA SCALE

POTENTIAL TO BE SCALED UP AS A SINGULAR PIECE OF GEOMETRY

VARIABILITY

THE ABILITY TO MANIPULATE THE PATTERNS OF THE PANEL TO ACHIEVE SOME SORT OF VARIABILITY ACROSS MULTIPLE PANELS

WEIGHT

CONSIDERATION TO WHETHER OR NOT THE INDIVIDUAL PANEL IS CAPABLE OF STANDING UP

WORKABILITY

CONSIDERATION TO WHETHER OR NOT IT IS POSSIBLE TO EASILY TO FABRICATE THE PANEL

36

CRITERIA DESIGN

36

FIG 22: A KEY THEME OF THE P WALL PROJECT IS MODULARITY , THE 2009 VARIATION UTILISED HEXAGON MODULES(P WALL 2009)

37

CRITERIA DESIGN

37

ITERATIONS SPECIES

PANEL SHAPE

NUMBER OF ANCHOR POIN

ITERATIONS

Changing base panel shape

Adding more anchor poin

N=1

Triangle

N=2

N=3 Parallelogram

N=4

Square

N=5

38

CRITERIA DESIGN

38

NTS

nts

39

DEPTH OF EXTRUSION

PANEL PATTERNING

Changing fabric elasticity

Imprinting different patterns

N=1

Star

N=2

Random points

N=3

Ellipse

N=4

Line Space

N=5

Cross

CRITERIA DESIGN

39

CROSS SPECIES MATRICES

DEPTH OF EXTRUSION (Ascending)

40

CRITERIA DESIGN

40

NUMBER OF ANCHOR POINTS (Ascending)

There are a few details in which to be careful of: Firstly is that the more anchors or points of restriction, the less overall deformation of the fabric and careful consideration has to placed into how much deformation is desired.

This fact also impact the consideration of other parameters such as line thickness. This parameter when compounding with number of anchor point will result in quickly diminishing returns.

41

CRITERIA DESIGN

41

SUCCESSFUL ITERATIONS

SCALE

SCALE

VARIABILITY

VARIABILITY

WEIGHT

WEIGHT

WORKABILITY

WORKABILITY

The strength of this panel lies within its potential for some variable patterning. The singular anchor points with some wrinkles linked to the four corners can accommodate some potentially simple yet interesting randomised patterns like in the case study; Party due the manner in which the anchor point has some flexibility to be placed within the boundaries of the panel dimensions. Furthermore, if it is possible to achieve the wrinkles automatically without the need of extra props, its workability could increase dramatically ass less effort would be needed, but will require some further testing to demonstrate whether such a pattern is capable of mass production.

42

CRITERIA DESIGN

This panel in contrast is fixed in its anchor point location. The effect its achieves is a consistency in the deformation of the fabric as well as the distribution of the casting materials. The result however is that the panel is easily mass producible as the props required to imprint the pattern is consistent and therefore standardised. Whilst this may be a potential dream for fabrication and is thus workable, however there is an issue of being able to generate interesting yet variable patterns as the module itself is consistent.

Yet despite this drawback, there may be potential in scale this module up to be a singular pavilion.

42

SCALE

SCALE

VARIABILITY

VARIABILITY

WEIGHT

WEIGHT

WORKABILITY

WORKABILITY

This panel has some potential expression with exploring some interesting patterns by taking advantage of varying the ellipses generated in the centre in both its location and relative scale to the panel size. Yet despite its inherent advantage in variability, there are mostly drawbacks during the fabrication process. This would mostly be attributed to the as of this stage unknown behaviour of how casting materials behave when poured and how it may impact a thing anchor point made potentially out of string or thin wires. Fabricating curved props whilst being able to control thickness will be difficult without utilising digital fabrication methods.

43

This panel was chosen mostly for its variable potential.

There are plenty of further variables which can be changed such as the spacing between the lines, line thickness and potentially the angle. These factors can also contribute to the relatively high workability factor as the props can be set up relatively easy thanks to the use of straight props with the exception of changing the angle which would require further planning.

However it is also hard to determine the overall weight of the module as it could potential be both light and heavy depending on the number of props utilised.

CRITERIA DESIGN

43

B.3 CASE STUDY 2.0 STRUCTURE

Whilst the case study is mainly focused on facade aesthetics, structure is an inherent problem to the ability to not only hold the panels but to ensure the stability of the facade itself. Without some sort of consideration for the structure, it would be difficult for such a facade made up of multiple elements to remain self standing has movement is common between the connecting edges of many of the pieces.

Therefore a composite panel and structure system can be broken down into two key elements; The structure serves as the overall composition of the design and panels serving as the subdivided element of the composition where the patterning can be applied onto the surface.

Parameters to explore: . Structure shape

Whist a structural system must be added for the panelling of the facade system, its is still a manipulatable system which can be exploited to enhance the aesthetic quality of the overall design. Due to the necessary requirements for the panels to be placed on the structure to compensate for the lack of structure, the structure itself would logically dictate the overall composition and arrangement of the panels.

. Grid-shell fabrication type . Other structural Systems

SELECTION CRITERIA

44

GRADIENT

VARIATION OF CURVATURE OF THE STRUCTURE TO PROVIDE DIFFERENTIATION OF SPACES

STRUCTURAL CAPACITY

THE CAPABILITIES OF THE STRUCTURE TO BE SELF STANDING

OPENNESS

TO ALLOW FOR ENOUGH SPACE TO ALLOW PROPER CIRCULATION OF USERS AND EQUIPMENT THROUGH THE STRUCTURE

PRACTICALITY

IS THE SPACE USABLE AND FULFILS THE AMENITIES OF A BIKE SHELTER

CRITERIA DESIGN

44

FIG 23: MASSERIA OSPITALE RESTAURANT CANOPY POST-FORMED TIMBER GRIDSHELL

45

CRITERIA DESIGN

45

ITERATIONS: GRID SHELL

46

ITERATION TYPE

RANDOMISED COLUMNS

RANDOMISED COLUMNS

DESCRIPTION

Randomising column locations (preformed grid-shell)

Hexagonal Gridshell wi triangulated subdivisio

CRITERIA DESIGN

46

ith ons

47

OPEN DOME

CLOSED DOME

Post-formed Grid-shell with large openings

Hemispherical Preformed gridshell

CRITERIA DESIGN

47

ITERATION PROCESS

PANEL GEOMETRY EXTRAPOLATING MESH POINTS

CULLING NON-ANCHOR PO

Acquiring all mesh point both naked and clothed

Extrapolating data to apply a load to all non anchor points

ANCHOR POINT PARAMETER Randomising anchor points to control extrusions

SHELL GEOMETRY PARAMETER

Setting up Initial boundary curves

48

CRITERIA DESIGN

LOF

FORM FINDING

Manipulating initial curve positioning

Surfacing the

48

OINTS

APPLYING LOAD TO MESH

Transforms the mesh to generate the extrusions

FTING

SUBDIVISION AND OFFSETTING

Forming Gridshell lines

e new Brep

49

PANELLING SHELL

Panelling grid-shell with the panels

CRITERIA DESIGN

49

FINAL OUTCOME

50

CRITERIA DESIGN

50

GRADIENT STRUCTURAL CAPACITY OPENNESS PRACTICALITY The design process to generate this outcome was difficult and slow around the end. To panel the developable curved surface required a lot of patience for grasshopper to process the result. We ideally attempted to box morph the panels onto the surface profile of the shell. Whilst the gridshell was simple to generate and subdivide, the complexity in the data mainly stemmed from the panel due to its more complex doubly curved profile. Furthermore it was difficult for the panelling to work as the panels were outputted as meshes and needed a readjustment into NURBS surfaces to properly panel.

51

CRITERIA DESIGN

51

B.4 TECHNIQUE: DEVELOPMENT

The original case study had demonstrated many of the capabilities and constraints of the entire system.

The original system demonstrated the capacity to easily generate and fabricate doubly curved geometry and re-adapting it to a panel cladding system. This system allowed for such geometry to be generated with minimal moulding material given the qualities of concrete as a heavy material requiring a significant amount of form-work and labour. The result being a facade with broke away from the typical 2d plane and having it extend into three dimensions.

52

CRITERIA DESIGN

However, the lack of any real structure not only informed us of the need for a composite system, furthermore it had restricted the capability to compose the modules in general. Without any structure, the panels were strictly forced into a 2D plane and could at best form a wall.

Having a structure of some sort can extend beyond a mere 2D place into a 3d space. Therefore by having an addition structural system, there is greater potential architecturally for the case study to have an architectural expression beyond mere staying as a cladding facade.

52

There are also fabrication elements which need to be resolved in order to ensure the success of the new system. The case study is a further development of an older project in which the panels were solid casts and thus expended considerable more materials and would weigh significantly more. The case study had addressed this problem by changing the mould system. This was achieved by adding a rubber mould to sandwich the concrete between the fabric and the rubber mould during the casing and curing stage. This process ensures that not only does less material get expended to achieve the same task, it further improves the handling of the panels at it comes easier to handle due to the reduced weight.

53

However by using a rubber mould to sandwich the concrete, more materials are expended within another facet of the system. Therefore it is also paramount to develop and means to evenly distribute concrete thinly and evenly across the entire fabric without the need for extra moulding equipment to be fabricated as well given the limited resources available.

Therefore the potential of this system is to further re-adapt the 3D panelling system across and entire 3D structure and elevate its architectural expression beyond a 2D plane.

CRITERIA DESIGN

53

DEVELOPED GRIDSHELL ITERATIONS ITERATION TYPE

MODULE SHAPE

DESCRIPTION

Developed cantilevering gridshells

Hexagon

Developing from case study 2.0, adjustments have been made to the gridshell structure parametrically to generate more interesting iterations. . Non-uniform shape to vary the gradient to better define different spaces . Cantilevering structure significantly increases the openness of the structure

Square

. Spaces of modular panels have been defined to determine the spacing between modules

Triangle

54

CRITERIA DESIGN

54

55

CRITERIA DESIGN

55

INITIAL FABRICATION TECHNIQUE

Phase TWO: Fabric Preparatio

Phase ONE: casting Frame Building Building a cube timber frame to hang fabric over 56

CRITERIA DESIGN

Cutting out frame pieces

Drilling holes and screws into pieces

Cutting fabric to size and fastening the fabric to the fram

56

Phase THREE: Casting

on: Cutting fabric

me

57

Fastening fabric to Frame

Mixing plaster (2:1 plaster water ratio) and pouring it over the fabric

CRITERIA DESIGN

57

B.5 TECHNIQUE: PROTOTYPING

The fabrication results between the initial and the current process remains very similar and maintains its three phase process of frame building, fabric preparation and casting. However there were problems with the initial fabrication system which need to be addressed.

Firstly the choice of fabric dictates not just the capacity in which the casting material is able to cure and its texture, but also how easily it is to take out without damaging the texture created or the casting itself at any fragile points.

Secondly, plaster was chosen originally for its relatively light weight and fast curing time in hopes of quickly and more easily fabricate multiple panels. However this material quality actually worked against us because it set too quickly. The time frame to pour plaster is too short and would lead to a poor quality pour susceptible to more cracks, a structurally in-cohesive casts and no guarantee of filling up all voids within. The consistency of pours has to be a liquid in order to ensure that all voids are filled.

58

CRITERIA DESIGN

Thirdly, during the pouring stage, it became even more apparent that until a system that ensures a hollow cast is in place, a solid cast is critical to ensure panels are self standing without cracking edges due the manner in which casting materials flow and pool in the mid span of the fabric. This problem reduces the strength around the edges and this lead the initial prototypes being extremely fragile.

Lastly, the initial frame was relative large, capable of accommodating a forty centimetre square piece of fabric. This process however limits the rate in which we could generate different prototype iterations as well as consume a significant amount of resources in both, timber fabric and cement when it is easily susceptible to problems.

58

These problematic details resulted in all of the plaster prototypes failing to meet our expected standards.

Thus it had become paramount to re-adjust our process to fabricate better models to better identify the best possible conditions.

Alterations to the process: Problem

Resolution

Fabric choice

Lycra was chosen for being the most workable, its flexibility not only has better potential in form finding, but it is also relatively clean when taking the cast out of the form-work

Plaster as a casting material Pouring cement/ concrete (2:1 cement or concrete mix/water ratio) into the fabric form-work consistently resulted in better quality casts

Pouring

As of this stage no hollow pouring technique has been developed, therefore all further casts are to be solid and fill all the way up to the top of the frame to prevent the fabrication of fragile panels

Scale of Frame

The frame has been scaled down to accommodate the fabrication of twenty centimetre squared panels for allow more iterations to be cast in one setting

59

CRITERIA DESIGN

59

NEW FABRICATION PROCESS

60

CRITERIA DESIGN

60

The focus for prototyping was to both test and experience concrete casting. The gridshell is more easily rationalised for fabrication though either the CNC miller or the laser cutter. As previously mention parametric design software has limitations and will not exactly predict the results of casting. This is an especially important phase as this particular fabrication is the least controlled digitally.

Effect not easily and accurately tested by grasshopper include wrinkles in the fabric as it deforms, pinching and horizontal flow. Only though physical test can these issue be brought to light immediately. Furthermore, there will be a need to scale up the prototyping as it is certain that at a larger scale, the materials will behave differently.

Other considerations after testing include the idea of having sacrificial formwork and maybe structure as not all of the fabric is salvageable/reusable as it has deformed beyond the elastic phase similar to steel.

61

CRITERIA DESIGN

61

PROTOTYPE RESULTS

The first cast demonstrated many failures in the fabrication process. A problem which wasn’t significant with casting plaster was weight and therefore the fabric didn’t require any pre tensioning. However with a cement mix, the fabric easily deformed to the bottom and would set with a flat face. Props were also made of plywood which easily de-laminated and split at the bottom where it was nailed to the bottom plate. This alone caused tilting and even falling down under the weight of the cement. Further consideration is to change the frame, as the cement would also flow horizontally. A potential solution is to wall the sides to ensure a flat boundary.

62

CRITERIA DESIGN

This cast in stark contrast is result is contributed by the fa anchor point also contributes by the fabric deformation as m available. Furthermore this ca doubly curved finish with the imprinted on with a few mino was split into two pours of ce which cement formed the sha and concrete as the filler. The difference in colouring betwe

62

significantly lighter. This act that the elevation of the s to the volume generated more room to deform is ast had a relatively smooth fabric texture being r imperfections. The cast ement and concrete in ape of the deformed fabric ere was also a notable een the two layers.

63

This cast was poured with a purely quick setting concrete mixture. The result was a cast in which a smooth finish didn’t occur to due to the inclusion of aggregates. The end result was a very rough finish which wasn’t ideal as not only were we trying to achieve smooth doubly curved surfaces, furthermore it would impact the overall aesthetic of the design proposal looking unfinished. In addition, the thin wired used to create the ellipses pattern resulted in a cast which was difficult to remove as the concrete pour pinched the wire in with the fabric. Thus it is paramount to ensure the a minimum line thickness in the anchors to smooth the fabrication process.

CRITERIA DESIGN

63

B.6 TECHNIQUE: PROPOSAL SITE ANALYSIS SITE LOCATION: NEW STUDENT PRECINCT, THE UNIVERSITY OF MELBOURNE The new student project aims to transform the student experience on-campus by revitalising/renovating an relatively underused portion of the campus and converting it into a world class student hub. In addition to the introduction of new buildings and spaces, its location is closer to transportation routes and aims to relocate the hub away from the north of the campus to a more central location. The new program focuses on adding extra amenities which compliments the student experience such as the introduction of a new programmable outdoor space, new study areas and the addition of an arts and culture facilities.

Exploiting the ease in which construction is relatively quick and easy to setup without needing to accommodate a large amount of space. The new design proposal aims to provide the new amenities of a bike shelter which circulates parallel to the overall program but in addition doesn’t compromise too much of the open space critical the same circulation.

The key to this space lies within its location relative to circulation from key transport infrastructure as well as the trend of students expanding out of the traditional heart of the campus around union house and expanding both south and east. The introduction of new amenities acts as an incentive for students to conglomerate around this revitalised space.

The design proposal should compliment this new modern space as well as further enhance its program. Whilst we are designing a bike shelter, it is important to for this program to work in harmony with the circulation of the space, more specifically close to Swanston street as that is where the most cyclist traffic enters from due to the presence of the bike lane. Furthermore its is important to have enough open space to allow for the circulation of both people and bicycles. Therefore both the design proposal and the site must have the open space capable of accommodating the additional program.

64

CRITERIA DESIGN

CURRENT SITE BUILDINGS

64

INITIAL PRECINCT DEVELOPMENT PLAN

65

EXCAVATION/FLATTENING PLAN

CRITERIA DESIGN

65

UPDATED PRECINCT DEVELOPMENT PLAN

66

CRITERIA DESIGN

NEW CIRCULATION

66

ALL POTENTIAL SITE LOCATIONS 67

CRITERIA DESIGN

67

PROPOSED DESIGN PLAN

ELEVATION (North)

68

CRITERIA DESIGN

68

DESIGN PROPOSAL SUMMARY: •

Cantilevering doubly curved open bicycle shelter

•

Cantilevering structure ensures optimal open space to blend with the circulation

•

Gradient vary between entry and exit

•

Larger opening indicates entry and accommodates both bicycles and individuals

•

Whereas smaller opening only accommodates individuals

•

Bike shelter is orientated parallel to new circulation

•

Modulated panels serve as both a facade and as bicycle racks

• Site location between GSA and old John Smyth building do not interfere with new programs

SECTION

69

CRITERIA DESIGN

69

70

CRITERIA DESIGN

70

71

CRITERIA DESIGN

71

B.7 LEARNING OBJECTIVES AND OUTCOMES

DIGITAL DESIGN

FABRICATION

Grasshopper has proven itself to be a very powerful tool in quickly pushing out variations of quick conceptual designs. The matrices format helps visually compare the variations to find out to what extend making changes become redundant and within what ranges does a change in a single parameter result in a significant change in design. Furthermore it has allowed me to become more insightful to where the design process can be throttled due to complex procedures such as box morphing as an alternative method to panel structures. In addition its has become beneficial to able link the different stages and components of the design to maintain a proper flow of information from modules to the structure. Whilst it has bee difficult pushing lots of iterations given the our skill with grasshopper at the time which has developed since.

The arbitrary values of kangaroo had compounded the problems it couldn’t mode/predict during the fabrication process. Fabrication in this studio is unique as in contrast to other studios, fabrication is a particularly important process to refine because of utilising materials I have never used before. Much of the equipment is partially hand made and the process refined through some trial and error in analysing the effects physics had on our casting process and material behaviour. What initially seemed like a simple fabrication process evolved into a set of more complicated stages where failure is possible in every step of the way. Whilst the process may not be digitally controlled, it never the less still important to compare the physical results with the digital to quickly isolate the differences for consideration for immediate resolution.

Yet it has also been very insightful to the current limitations of parametric modelling and correlating that data to reality. The use of plugins such as weaverbird and kangaroo whilst useful in modelling dynamic behaviour and predicting a potential result; the iterations are still at best arbitrary in its use of values and it becomes difficult to remain precise when I have already become accustomed to the precision of current laser cutting technologies.

Despite the improvements in parametric design skills, ultimately however there is sill room left to improve when working with parametric design. Simplifying the process has the benefit of efficiently making the most out of designs, especially when there are components and scripts both available and capable of achieving so much within a single module.

72

CRITERIA DESIGN

72

“While the Digital Technology Group’s scripts are an important part of the design process, the building of physical models and testing of design concepts at various scales play an equally important role.”

BRADY PETERS

73

CRITERIA DESIGN

73

B.8 Appendix

Panel Definition

Design proposal Definition

74

CRITERIA DESIGN

74

75

CRITERIA DESIGN

75