matiss zemitis pratt design log

ARCH 611: Computer 1 MultimediaSection 01: B.Martinson, C.Whitelaw, P.Parker

ARCH 602: Design Studio 2 Section 01: M.Sieira, B.Martinson

ARCH 612: Computer 2: Advanced MultimediaSection 02: B.Martinson, C. Kroner

ARCH 620: Design Studio 1 FundamentalsSection 05: Karel Klein

MATISS ZEMITISPRATT INSTITUTE Design LOG

ARCH 620: Design Studio 1 FundamentalsSection 05: Karel Klein

THE PROJECT STARTED OUT AS A MATERIAL STUDY. THE CHOSEN MATERIAL - STRIPS OF PLEXIGLASS WERE CHOSEN AS THE BASIC UNIT. DURING THE COURSE OF STUDIES VARIOUS WEAVING PAT-TERNS WERE TESTED. FINALLY A GEODETIC WEAVE WAS CHOSEN AS A PATTERN FOR THE POSSIBLE CONSTRUCTION. THE SITE OF THE PROJECT WAS CHOSEN AFTER THE INITIAL VISIT TO THE SITE AND THE ANALYSIS OF THE SITES UNUSED POTENTIALI-TIES. A PLACE UNDERNEATH THE WILLIAMSBURG BRIDGE WAS IN ORDER TO MAKE NEW, MORE DIRECT CONNECTIONS TO THE WATERFRONT AND FOR A BET-TER SPACE UTILIZATION - AT THE MOMENT THE AREA BENEATH THE BRIDGE IS GATED AND USED FOR OLD TRUCK STORAGE... THE MAIN TASKS OF THE NEW CONSTRUCTION IS A CONNEC-TION OF A SOUTH GOING BICY-CLE PATH RUNNING ALONG THE RIVER TO THE CITIES PATHS, PE-DESTRIAN CROSSING OVER THE FDR RDIVE AND A SMALL CAFE ON THE FIRST LEVEL AND AN EX-HIBITION SPACE ON THE SECOND LEVEL.

/M. ZEMITIS/

STEP 1 - CREATING THE SHAPE OF THE STRUCTURE BY DEFORMING TWO BENT PLANES WITH A LATTICE.

EQUIPMENT NEEDED: Autodesk MAYA 2012

TOOLS NEEDED: 1) Create -> NURBS Primitives -> Plane2) Create deformers -> Nonlinear de-formers -> Bend3) Create -> NURBS Primitives -> Cylinder4) Create deformers -> Lattice5) Edit deformers -> Edit Membership Tool6) Top camera attributes -> Insert an im-age plane7) Move, Rotate, Scale8) Move, Rotate, Scale -> Soft select

TUTORIAL USED: Modelling the Japan Pavilion EXPO 2000http://www.christopherwhitelaw.us/?p=134

PROCEDURE: 1) Create a NURBS plane. Make sure the plane has plenty of divisions. Then choose a Nonlinear deformer bend from the Create deformers menu (while the plane is selected). Adjust bending options and direction. Use rotate and scale to bend the plane as you wish. Then create a sec-ond plane and repeat the bending operation, but rotate it 45 degrees (so that the first and second plane divisions are 45 degrees different). Position the two planes one in-side the another. 2) Create a NURBS cylinder. Make sure it has plenty of divi-sions (you might come back to this point to create a cylin-der with more or less divisions). Create a deformer Lattice around the cylinder. Make sure the lattice has enough divisions so that you can acquire the shape needed.

3) In Top camera attribute editor find an Insert Plane tab and insert an image (JPEG) with a desired shape of the structure. 4) Position the lattice and the bent planes above the im-age from the top camera point of view. 5) Position the lattice and the bent planes parallel to each other. Make sure that the diameter of the bent planes are just a little bit smaller than the diameter of the cylinder in-side the lattice. 6) Select the Lattice and go to the Edit deformers tab and choose Edit membership tool. Then hold SHIFT and select both of the bent planes.

7) Select the planes and move them into the Lattice. Se-lect the lattice points and try deforming it by moving or scaling the lattice. Notice that the bent planes are follow-ing.8) Go to the lattice attributes and adjust the plane behav-iour when they are outside the lattice to Fall-off. That will make a nice transition off the planes if you need it. 9) Hide the cylinder by selecting it and pressing ctrl+H.

10) Switch to the top camera. Start adjusting the lattice points by rotating, moving and scaling. First sculpt the big-ger masses and the overall form of the structure. Do not adjust individual lattice points. First do groups of them to-gether. Use the X-Ray mode of visibility while doing this - it will ensure that you don’t miss any lattice points. 11) When you are done with adjusting the shape of the structure in top view, switch to the side and/or perspective view to adjust the “height” of the structure. Start with the bigger masses, than sculpt the details. Insert the ground plane and some elements for scale.12) Select the lattice and the planes and make a copy. Than adjust the part of the model what need to be differ-ent - follow the steps 10) and 11). 13) Do not forget to save frequently. Make backup cop-ies every time you begin or end your work. Make it a habit.

For the basis of the modelling technique Christopher Whitelaw

tutorial on Shigeru Ban Japan pavilion project was used.

STEP 2 - OBTAINING THE CURVED LINES FORM THE BENT AND DEFORMED PLANES AND MULTIPLE EXTRUSION


TOOLS NEEDED: 1) Edit Curves-> Duplicate Surface Curves2) Edit Curves -> Cut Curves, Fillet curves, Detach Curves, Combine Curves3) Window->General Editors->Script Editor4) Create -> NURBS Primitive -> Circle5) Modify -> Convert -> NURBS to Subdivi-sions; Subdivisions to Polygons6) Mesh -> Fill Hole

6) To cut curves individually select a curve. Right-click and choose CurvePoints. Click on the curve where you want to cut and then from the Edit Curves menu choose De-tach Curves. 7) To cut a group of curves by a line go to Create -> CP Curve tool. Draw and position the line across the curves you want to cut. Go to Edit Curves mode and select the Cut Curves attributes. Choose to cut - Using Last Curve. 8) Run the script for multiple line extrusion. Save it to Shelf. 9) Draw a circle going to Create -> NURBS Primitives -> Cir-cle. Adjust circle attributes - linear, 4 spans. 10) Select the circle, than Shift+select the lines you want to extrude. Press the multiple-extrude command on the shelf. 11) Convert extruded surfaces to Polygons (see point Nr. 3).12) To close ends of the polygons go to Polygon mode, Mesh -> Fill Hole.

PROCEDURE: 1) When the bent planes have been deformed by the lattice and the particular form have been accomplished, select the planes and make a copy by pressing Ctrl+D. 2) Use move tool to drag the planes in free space. 3) Convert the planes form NURBS to Polygons using the Modify menu -> Convert -> NURBS to Subdivisions and Subdivisions to Polygons. 4) Go to Surface Mode. Select the deformed planes and go to Edit curves -> Duplicate surface curves. 5) Once you have obtained the surface curves, Group them pressing Ctrl+G, give the group a name.

STEP 4 - RENDERING - DAY

EQUIPMENT NEEDED: Autodesk MAYA 2012 - MENTAL RAY

TOOLS NEEDED: 1) AutoCAD 3D trees and cars -> import in Maya2) Maya: Creating physical sun and sky; Creating global illumination3) Position of the direction of the Sun by Move and Rotate. 4) Assigning new materials. 5) Maya: Create -> NURBS Primitives -> Plane.

PROCEDURE: 1) Insert Physical sun and sky. Adjust the direction of the sun so it supports the mood of the image what you want. 2) Insert trees, cars and people if it tells something about the project.

3)Assign new materials by Right clicking on them and pressing Assign new material or edit Material attributes.4) Switch to perspective view. Position the camera and do test renders if the position of the sun and the colours of the materials are right.

STEP 5 - RENDERING - AXO

EQUIPMENT NEEDED: Autodesk MAYA 2012 - MENTAL RAY

TOOLS NEEDED: 1) Side camera2) Maya Mental Ray 3) Position of the sun direction to articu-late the important features of the project.

PROCEDURE: 1) Delete the physical sun and sky. Insert Area lights in the structure. Do multiple test renders to test the lights intensity, colour, positioning. 2) Insert some Point lights as ambient light. Do multiple test renders. Adjust material properties - reflectiveness, colour...3) If needed place some additional area lights outside the structure if needed, put some point lights in the struc-ture if needed. Do multiple test renders.

4) Render as tiff image. Open in Photoshop. Go to Chan-nels -> turn off colour channels, leaving alpha channel on. Go to select menu -> Select by colour. Select the black. Turn back on the colour channels. Crop the selected area. 5) Insert a sky of your choice, considering the mood you want to create. 6) Keep playing with the image if the printing deadline of the project is still in good future.

STEP 6 - RENDERING - NIGHTEQUIPMENT NEEDED: Autodesk MAYA 2012 - MENTAL RAYAdobePhotoshop TOOLS NEEDED: 1) Maya: Point lights 2) Area lights3) Area light colour adjustments, intensity adjustments4) Photoshop: Tiff file alpha layer cropping5)Insertion of sky images, image opacity.

PROCEDURE: 1) Go to Side or Front camera. Create the sun and the sky. Position the sun to articulate the important aspects of the project. 2) If the colour of the structure was white, and if you want to have a white background, adjust the color of the struc-ture to light gray. Render as tiff. remove the background

as in STEP 6.

STEP 7- 3D MODEL PREPARATION FOR 3D PRINTING

EQUIPMENT NEEDED: Autodesk MAYA 2012Rhinoceros 4.0

TOOLS NEEDED: Maya: 1) Mesh -> Combine2) Mesh -> Mirror Cut (options -> leave the merge with original unchecked)3) Mesh -> Fill Hole4) Mesh -> Smooth 5) Export selected -> OBJexport

Rhinoceros 1) Rhino Options –> Appearance –> Ad-vanced Settings –> Shaded2)Adjust back-face colour to Green 3) Create a measure box4) Scale and rotate model to the dimen-sion needed5) Export -> as .stl file.

PROCEDURE: 1) Choose a section of the model you want to 3D print. Convert everything to polygons and go to Mesh -> Com-bine in the polygon menu. 2) Go to Mesh -> Mirror cut Options and make sure the Merge with original is unchecked (by default it should). 3) Position Mirror Cut plane and cut the model. Go to the outliner, select the mirrored part of the model and delete. 4) Go to Mesh -> Separate. Select the cut pieces and go to Mesh -> Fill Hole.

5) After you have filled all holes of your model Smooth it a couple of times - Mesh -> Smooth. 6) Export as .obj file tipe for opening in Rhinoceros 4.0. 7) Open Rhino and go to options to change the back-face display colour to green - so it will be easy to see how bad your 3D model actually is. 8) Create a box in Rhino as big as the 3D printer bed size for reference. 9) Scale, rotate and move the model so it fits the maximal bed size. Select your model and export as .stl file.

STEP 8 - .STL FILE PREPARATION FOR 3D PRINTING.

EQUIPMENT NEEDED: Z-Print, Magics X SP2

TOOLS NEEDED: 1) Z-Print: View -> Calculate Part Statistics2) Magics: Fix Wizard -> Update -> Go to advised step.

PROCEDURE: 1) If you have checked your model in Rhino and it looks, good, first go to Z-Print to check the volume of your print and calculate how much it will cost. If it is too expensive, you can try to put some effort in to reduce its volume by making it hollow or reducing the intersections. 2) If your model is really messy, you can try to bring it in Magics for automatic fixing. It might not fix all your model issues, but for sure, it will be much faster to fix the inverted normal issues.

3) Open your .stl file in Magics and go to Fix Wizard tool. Update it - make the program scan the model for pos-sible problems. It will detect all inverted normals and over-lapping volumes automatically. 4) When the program has detected all the problems go to -> Go to the Advised Step. To fix the problems press -> Automatic fixing tab. Repeat the step for several times. Sometimes it destroys the model completely. Than go back to the original .stl file and uncheck the last to Fix Wiz-ard Diagnostics tools Use update+AutomaticFixing again.

ARCH 611: Computer 1 MultimediaSection 01: B.Martinson, C.Whitelaw, P.Parker

THE COMPUTER 1 MULTIMEDIA COURSE WAS DIVIDED INTO THREE SECTIONS EACH TACK-LING DIFFERENT COMPUTER MODELLING TECHNIQUES AND THEORETICAL ASPECTS OF DRAW-ING AND OTHER ARCHITEC-TURAL REPRESENTATIONAL TECH-NIQUES AND THEIR HISTORICAL DEVELOPMENT AND MEANING. IN SECTION ONE - CURATED BY BEN MARTINSON - WE OBTAINED THE BASIC MAYA MODELLING TECHNIQUES BY BUILDING 3D MODEL OF A LIGHT BULB AND ALL THE PIECES IT CONSISTS OF. BESIDES WORKING IN MAYA THE MAIN TASK WAS TO CONVERT MAYA MODEL OF THE LIGHT BULB INTO A REPRESENTATION LINE DRAWING. IN SECOND SECTION - CURATED BY CHRISTOPHER WHITELAW - WE CONTINUED TO LEARN DIFFERENT MORE COMPLEX MAYA MODEL-LING TECHNIQUES INCLUDING SOME BASIC ANIMATION AND BLEND SHAPING. OUR FINAL TASK WAS TO COME UP WITH A DE-FORMABLE UNIT. IN THIRD SECTION OF COMPUTER MEDIA WE WERE INTRODUCED TO THEORETICAL COMPLEXITIES OF TIME AND FORCE AND ITS RELATION TO ARCHITECTURAL DRAWINGS AS TRACES OF THEM.

/ M. ZEMITIS /

MAYA MODELLING OF THE UNIT: Autodesk MAYA 2012TOOLS NEEDED: 1) Create -> Polygons -> Plane2) Edit Mesh -> Bridge3) Mesh -> Combine4) Soft select -> Scale, Rotate, Move5) Mesh -> Smooth

PROCEDURE: 1) Create two Polygon planes. Position in 45 degree an-gel. Combine the planes using tool - Mesh -> Combine. Select the planes and use tool Edit Mesh -> Bridge. 2) Copy the bridged surface and rotate to have the bridges overlap. Use soft select to make the crossing nice.

3) Add edge loops to make sharper edges where neces-sary (see. Light bulb Polygon modelling). 4) Smooth the surface to make more divisions. Select both surfaces and use tool Mesh -> Combine. Select faces on one and another surface and go to Edit Mesh -> bridge. 5) Use Soft tools to sculpt the Base and Target units.

BASE UNIT0% blendshape 15% 30% 45%

MAKING BLEND-SHAPES BETWEEN BASE AND TARGET UNITS EQUIPMENT NEEDED: Autodesk MAYA 2012TOOLS NEEDED: 1) Create Deformers - Blend Shape2) Duplicate special 3) Blend shape options

PROCEDURE: 1) Use your Base unit to create the Target unit. The Target unit has to have the same geometry - the same amount of faces, control points and so on as the Base unit. 2) Select the Base and the Target unit and use the tool Create Deformers -> Blend Shape.

3) Select the Base unit and go to its Attribute editor. Find a Blend shape tab and try adjusting the Blend Shape Weight value. It should have amplitude from 0 to 1. 4) First set it to .15 and than make a copy of it pressing Ctrl+D. Use move tool to drag it to a different place. Than set the blend shape value to .30 and so on.

60% 75% 90% TARGET UNIT100% blendshape

SETINNG THE ATRACTOR PINT DEFORMA-TIONS TO A FIELD OF UNITS.


TOOLS NEEDED: 1) Create Deformers -> Blend Shape2) Edit -> Duplicate Special -> Duplicate with imput graph 3) Animate - Set Driven Key -> Set4) Create - Measure tools -> Distance tools5)Create -> NURBS Primitives -> Plane6) Create deformers -> Lattice 7) Create deformers -> Wrap

PROCEDURE: 1) When you have the unit with a working Blend Shape, create a Distance tool going to Create -> Measure Tools - > Distance Tool. Put one distance marker in the middle of your unit and the other somewhere away from the unit. 2) Go to the Animate menu and Choose the Set Driven Key tool and select Set. Then choose the Driver and the Driven - the Blend Shape of your Unit and the distance measure. 3) Key the maximal and minimal distances and Blend Shape values. Now you can hide the distance measure - leaving just the distance point. Notice that when you are moving the distance point around, the unit deformations happen according to the measure point distance from the unit. 4) Now use the Duplicate special tool from Edit menu. Go to the Duplicate special Options. Select the - Duplicate Imput Graph option and press duplicate. Use Move tool to move just the unit without changing the position of the measure point. Repeat the sequence to create a field of units. 5) Create a NURBS plane by going to Create -> NURBS Primitives -> Plane. Adjust the number of divisions of the plane. Duplicate the plane and sculpt some deforma-tions to the plane by Soft select and move tools. Create a Blend shape between the strait and deformed plane.

6) Select the Field of the units. Make sure some of the units are fully Bend Shaped (the geometry has expanded to all of the directions the most). Go to Create Deformers tool and select Lattice. Adjust the divisions of the lattice. 7) Select the plane with the Blend Shape and the Lattice. Go to Create Deformers menu and select Wrap. Now hide the Lattice and the plane. Go to the planes Blend shape editor and change the Blend shape Value. The field of the units should Blend Shape.

Frame 40 Frame 80 Frame 120

BATCH RENDERING AN IMAGE SE-QUENCE, CREATING A QUICKTIME MOVIEEQUIPMENT NEEDED: Autodesk MAYA 2012ADOBE PHOTOSHOPTOOLS NEEDED: 1) Maya: Mental Ray -> Batch rendering2) Photoshop : Import Image sequence3) Import video layer4) Adjust the video layers. 5) Export as a QUICK time movie.

PROCEDURE: 1) To render out image sequence an animation trail has to be set up. Set the animation frame number to 240 and Key frame the important moments on the Animation trail. 2) Once you have Key Framed the image sequence go to Maya Mental Ray Rendering options. Choose to ren-der image sequence by selecting the Filename.#.ext. Set the first frame to 1 and the last frame to 240. Go to Render menu -> Batch Render and render an image sequence.

3) In Photoshop open an image sequence by checking the Image sequence in the Open menu and select the first image sequence file. Photoshop will automaticaly recognize it as a video layer. 4) Add text to the video and adjust its opacity to have it either fade in or fade out. 5) Make a video by going to File -> Export -> Render vid-eo. Select Quick time movie -> Settings -> Settings -> Com-pression type -> H 264.

Frame 160 Frame 200 Frame 240

MAYA MODELLING OF LIGHT BULB AND LINE-WORK REPRESENTATION OF THE MOD-ELLED WORK

EQUIPMENT NEEDED: Autodesk MAYA 2012Rhino 4.0Adobe IllustratorAutoCAD 2012Adobe InDesign

TUTORIALS USED: Modelling an Edison Bulbhttp://www.christopherwhitelaw.us/?p=508

TOOLS USED: Side view –> Insert plane -> Import imageInsert polygon -> cylinderMove/scale/selectEdit mesh -> Insert edge loop tool -> Offset edge loop toolInsert polygon -> cylinder (imputs – subdivision axis – 20 8) Multiple face selection (select vertexes between the faces you want to select, than go to Select -> Convert selection -> to facesMaking the wires -> SURFACE mode -> (select first the shape to be extruded, than the path of the extrusion – the curve) -> Surface -> ExtrudeMaking of the spiral to connect the edges -> POLYGON mode -> Edit mesh -> BridgeTo shift the pivot point -> Insert tab –> Snap to the point -> move the pivot point where you need -> Insert tab. Hide & unhide objects – Ctrl+H ; Shift+HTo combine the spiral and the cylinder top –> Mesh -> Combine -> Edit mesh -> Merger vertex tool. Smoothing the metal cap of the bulb -> Move + Soft select tool (changing the proper-ties of the soft select tool)

Getting the thickness of the glass part of the bulb+the metal cap -> Edit mesh -> ex-trude (changing the thickness of the extrusion under Attributes editor -> Poly Extrude Face History -> Thickness. Cutting the sections of the light bulb -> Mesh -> Combine -> General Editors -> script editor -> (copy/paste the script in script window) -> Ctrl+Enterx2 -> toi_polySection() + Ctrl+Enter -> TOI section tool (create section planes (use selected), create a box around the light bulb, create section planes + Combine with the light bulb). Exporting selected for opening in Rhino (Window -> Settings/Preferences -> Plug-in Manager) File -> Export selection -> File type - .iges_dce. Somewhere along the way also used -> Chamfer vertexes; Fill hole; Duplicate; Merge

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DRAWING - TRACES OF AN OBJECT ON THE ALUMINIUM FOIL WRAP PAPER OVER TIME.

EQUIPMENT NEEDED: White Rose Aluminimu Foul Wrap 200sq.ft. 12inch x 66.66 yrd.

TOOLS NEEDED: IDEA, SOMETHING TO WRAP AROUND, PATIENCE FOR THE LENGTHY WRAPPING PROCESS, THE SPECIFIC REPRESENTATION TECHNIQUES.

THE FIRST PROJECT: The first project involved the process of observation of de-formations apparent on the cream cheese aluminium wrapping paper after a two week use comparing to the recently opened one. As the numerous opening and folding operations were taking place the traces of time

could be noticeable on the wrapping foil.

THE SECOND PROJECT: The second project involved an action. A piece was wrapped with a purpose to see how incrementally the wrapping process leaves trace on the foil if it is repeated.

folds is obtained. As from observing the image sequence above, it can be seen that the maximal crumbling hap-pened on the corners of a wrapped thing and those were the first places to fail. After initial failures, the succes-sive ones start appearing in a rapid progression, destroy-ing the unity of the foil completely.

THE THIRD PROJECT: In the third project the idea of observing the traces of the wrapping process on an aluminium foil wrap were taken a step further. Aluminium foil after the 4th time it was open and closed starts to become fragile and some local de-formations start to happen. The maximum intensity of the

The “Science Lab” Elementary School Project at Peck Slip questions the concept of the school as an institution for discipline and punishment where students are divided according to age and measured from the established benchmarks etc. As described by Foucault in his book “Disci-pline & Punish: The Birth of the Prison” that the transition to the industrial system around 17th-19th century required different type of control over people in order to ensure the efficiency of the new economic system. In the 21st century we are experiencing another systematic change (from industrial to information technology society) and there has to be an ade quate change in educational system. By understanding the needs of the society and the developmental peculiarities of children at the early age (they learn better by challenging different senses – sight, touch, smell, balance, etc. rather than by following text books and that it is important to stimulate their imagination, so that they are able to be creative) “Sci-ence Laboratory” project offers an alternative to the 200 years ago estab-lished norms still widely used today. The “Science Lab” project would set grounds for bottom up learning. The usual teacher - student (master - slave) relationship would be substi-tuted with something like a “smart search engine and curious explorer relationship” that could constantly open up more and more interest-ing horizons as one gets more involved. The knowledge would not be taught; instead children would be discovering it themselves with men-tors (the smart search engines) only to guide, give direction and to pro-voke interests. The “Science Lab” Elementary School Project will capture, keep the chil-dren’s attention and provoke learning from the moment they approach the school early in the morning to the time they go home. “Scientific cabinets of curiosity” scattered throughout the school will expose chil-dren to different types of information ranging from the most recent discoveries in quantum mechanics to most bizarre fantasies, interpreted for their age-specific learning capacities. Interactive screens in floors, walls and ceilings, digitally produced aggregations, and a variety of wild life including aquariums, terrariums, bug containers and green rooms from different climate zones will serve children as grounds for learning to use all their senses. The unusual placement of things and bizarreness will provoke critical thought on the accepted realities of our everyday life. The critical view on accepted realities at the “Science Lab” project is also questioned by architectural means. The usual rigid structure of class-rooms along the main corridor is substituted by a continuous space a with variety of special qualities – dark, light, spacious, enclosed, continu-ous etc. Gym, auditorium, classroom and playground do not exist at the school as single entities with specific borders. The spaces merge from one to another based on adjacent interests.

/ M. ZEMITIS /

ARCH 602: Design Studio 2 Section 01: M.Sieira, B.Martinson


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0’ 50’ 100’ 200’ 300’ 400’ 500’

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SITE PLAN

BROOKLYN BRIDGE

FDR DRIVEFRONT STREET

FRONT STREET

WATER STREET

EAST RIVER

PIER 17

SCIENCE LABORATORY School at Peck Slip, New York

LEVEL ONE

0’ 100’20’ 40’ 60’ 80’

MAIN ENTRANCE

LEVEL ONE DETAIL

FRONT

STRE

ET

CAFETERIA AND KITCHEN

SNACK SHOP

LIBRARY

TEACHERS’ LOUNGE

LEVEL TWO LEVEL THREE LEVEL FOUR

SCIENCE CLASSROOM

DANCESTUDIO

TEACHERS’ LOUNGE

CLASSROOMS

CLASSROOMS

CLASSROOMS

CLASSROOMS

AUDITORIUM

ROOF GARDEN/PLAYGROUND

CLASSROOMS

CLASSROOMS

STAFF ROOMS

CLASSROOMS

MORPHOLOGYCAL DRAWING MODEL BASED ON BERNARD TSHUMI BRIDGE IN FRANCE

matiss zemitis pratt design log

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