Halis ErciyasTutor: GeoffKimm

2015

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Journal ofHalis Talha Erciyas53 88 54

University of MelbourneArchitecture Design Studio: AirABPL30048_2015_SM1

Studio 4Tues 2:15 - 5:15Geoff Kimm

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Content4 Introduction

5 Part A. Conceptualisation6 A.1. Design Futuring8 A.2. Design Computation12 A.3. Composition/Generation14 A.4. Conclusion14 A.5. Learning outcomes16 A.6. Appendix - Algorithmic Sketches

19 Part B. Criteria Design20 B.1. Research Field22 B.2. Case Study 1.0 ‘Green Void’26 B.3. Case Study 2.0 ‘Canton Tower’29 B.4. Technique: Development32 B.5. Technique: Prototypes34 B.6. Technique: Proposal36 B.7. Learning Objectives and Outcomes37 B.8. Appendix - Algorithmic Sketches

41 Part C. Detailed Design42 C.1. Design Concept48 C.2. Tectonic Elements & Prototypes52 C.3. Final Detail Model64 C.4. Learning Objectives and Outcomes

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IntroductionMy name is Halis Talha Erciyas, born in Melbourne on the 1st of February 1993. Living my whole life in Mel-bourne, I have observed the architec-tural evolution in Melbourne’s inner and outer suburbs.

Also lucky enough to have travelled and seen European architecture as well as Turkish and Arabian architec-ture. Although I travelled while I was young, it makes me think if I travel and see the same buildings I saw then now, would I appreciate it better with the knowledge of architecture I carry now.

As far as I can remember I have al-ways been interested in architec-ture. Hoping one day I can produce a building for all kinds of people, one that will have a wow factor and unite. To be remembered, that is the dream.

Currently in my final year of my Bach-elor of Environments, major in Archi-tecture. Completing this will bring me a step closer to my dream.

I am new to digital programs used for architecture like AutoCAD, Revit and Rhino, but do belive programs of such where used in the design pro-

Autobiography

cess of building like The Gherkin, Water Cube and the Bird’s Nest.

1.

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Part A. Conceptualisation

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A.1. Design Futuring

The BanQ Restaurant by Office dA in-troduced the idea of reflecting design on a ceiling not just on an exterior wall or floor. Considered revolution-ary and instigating change consider-ing the fact that they won the best new restaurant according to Wallpa-per magazine.They expand future possibilities with digital design, allowing a computer to sculpt a wave like surface to fit the ceiling of a once abandoned building. Drawing the interest of new users or owners of this space until today.A victory for computerised design.

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The Centre of Ideas by Paul Mini-fie and Fiona Nixon, built in Victoria Australia, is another example of algo-rithmic design, implementing the Vor-onoi diagram on the external facade. This cell like structure captivates the viewer with its beauty and detail.Integrating the windows with the digi-tally formes facade is a point not to forget. This takes digital design to the next level considering that it is form-ing more of the building rather than just the ceiling like the last example. This just shows the efficiency of us-ing algorithms to design complex ex-terior walls .

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A.2. Design Computation

Computing has affected the design industry in a phenomenal way. It has revolutionised the method in which architects can design their works and has made the process of de-sign, smooth and easier to conceptualise an idea. The UNStudio Design team consists of the artists: Ben van Berkel, Astrid Piber with Ger Gijzen, Marc Herschel and Marianthi Ta-tari, Sander Versluis, Albert Gnodde, Jorg Lonkwitz, Tom Minderhoud, Lee Jae-young, Woo Jun-seung, Constantin Boincean and Yu-chen Lin. It is these artists that were able to computer generate an attractive building and make it come to life.

The ongoing and incoming changes that are a part of the design and construction industry is that it is a constant evolving process, set on eliminating any unnecessary process which is deemed to either slow down the production or be evidently pointless to the end result. The Galleria Center City façade is a part of this new design structure and was completed between March 2008 – December 2010 and is a design store filled with multifunctional fa-cilities.

The usage of computing impacts the achiev-able geometrics and conceivable design by

Galleria Center City

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making the whole design process easier to complete. The architects are able to design their ideas using various programs and actu-ally are able to visualise their ideas in a way that hand drawing them would not be able to give. The ways of drawing and sculpting our designs are over and the age of technologi-cal advancements in the field of computing is the way of the future. We are able to cre-ate geometrical shapes in a way that cannot be done by hand drawing and it is because of this that stunningly visual buildings like the Galleria Center City façade can be conceived and constructed.

Computing contributes to performance- ori-entated design by completing architectural

design tasks in a much more pictorial land-scape than conventional drawings and sketches. The Galleria Center City façade is a building consisting of a large media sur-face with minimum lighting fixtures and light spill. Due to computer aided design, there are results like in this example, a wavelike ap-pearance, which changes with the viewpoint of the spectator (Moire effect). This design would have been achieved visually only by computer generation as sketches would not have been able to express this. This provides the architect and artists an opportunity to add their input of design and demonstrate their ideas to the people.

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Double Agent White is Marc Fornes / Thev-erymany’s latest morphological freedom art piece is computer generated parts for fabri-cation of double curved surfaces. This proj-ect would not have been able to become a piece of art if not for the computing design process. The impact of the computing gen-

erating process in this particular piece is that the geometrics of this design were achiev-able only through computer programs.

The unique opportunity given to this artist through the usage of computer programs is an exceptional timeless piece of artwork and

Double Agent White

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it is because of the forward usage of com-puter generating artworks that architects and artists have created such innovations as the Double Agent White. These concepts relate to preceding architectural theories, have the same notion as the conventional drawings,

but are able to technologically transform the sketches into digital images that are more easily visualised.

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A.3. Composition/Generation

To generate something rather than design the traditional way, is this the new way of archi-tecture. I don’t think so, but it is still good to have a variety of different ways to come up with a building, wether it be designed or gen-erated with an algorithm.

Looking at the Bird’s nest in Beijing by Ai Wei-wei, Jacques Herzog, Li Xinggang and Pierre de Meuron. An architecture style lent towards deconstructivism, but non the less complete. Two independent structures, the outer steal layer built in a way to look like a bird’s nest is the structure we are interested in.

Using an algorithm to come up with the inter-woven steal fame like non other seen before it. This is a prime example of the conceptual

changes instigated by computing.

An iconic Chinese building, showing the infi-nite possibilities of digital design. How some-thing so complex looking can be computed and modeled with a simple algorithm.

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Another revisionary building is the Guggen-heim Museum by the Gehry Partners, in Bil-bao, Spain, dated to 1997. A first of its kind and still living up to today standards of gen-erative design.

This building will make a by passer look more than twice, due to its unusual, irregular, but beautiful surfaces. Only made possible due to the generative approach of design.

This form of parametric design was made possible by BIM (building information model-ling). As said “a physical model can be seen as a computational system for exploring the behaviors of digital algorithms (and the ulti-mate behaviors of construction systems) in as much as now digital models serve to ex-

plore and predict the possibilities of a physi-cal world.”

Using generative approaches to architecture makes form and design limitless as long as there is space.

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Conclusion Learning Outcomes

“The orbit of human vision has widened and art has annexed fresh territories that were formally denied to it” - Max Bill.

Architecture has always been a pivotal part of our society. As human beings we are constantly evolving and changing the way we think and do things and thus, our skills in design and architecture have changed with us. From wooden long houses in the days of the Vikings, to the skyscrapers and bridges of the 21st century, humans have continually pushed the barrier between in-novation and art.

My intended design approach is that of Geometry such as minimal surfaces and ruled surfaces to create a relaxing piece for human observation. Using new tech-nology that I will be coming to learn, I hope to design a piece that is not only economi-cally sustainable but also artistic in form. It is significant to be to be designed this way because of my passion for environmental conservation and the desire to see some-time in the future, the entire world using recyclable materials to help sustain and make the future of energy consumption ecofriendly.

I hope to design a piece where everyone can benefit from its form and where hope-fully in the future, there will be many like it and we can save this planet and preserve it for many future generations to come.

In my limited experience, I never knew the exact extent of my knowledge until I undertook this subject. I have learned the way that computer generating our ideas is a much easier and visually acceptable way of establishing ones ideas.

It also has made me enthused to use pro-grams such as Rhino to create my work because it will help save paper and there-fore be more environmentally friendly. It is my first time using computer aided design and I find it to be challenging but stimulat-ing to my creativity.

I hope, in future, to be able to conceptual-ise my ideas appropriately and adequately that will provide for me an opportunistic career as an impending architect.

A.4. A.5.

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A.6. Appendix

Algorithmic Sketches

Above you can see my first proper attempt on using Rhinoceros 5 with the plug in Grasshop-per. These are five sculptures done with the simple yet useful lofting command.Intended to be left blank to allow graffiti artist to paint the sculptures.

To your left is the most intriguing sculpture which was produced using four simple curves and the loft tool. I was amazed at the number of varia-tions you can get from only simple curves. This was like a whole new world for me, like learning to walk.

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The next exercise was to try and get a wo-ven like affect. To the left is my outcome of this. Changing the first sculpture which was so plain into something so intricate.

Below are a wall of shapes and sizes, trying to produce a tapestry of some sort. At first I had the wrong mind frame and was leaving spaces between the shapes, which did not really look right. Later experimented with overlapping shapes. Which turned out perfect.

This can be used on site to control the plow of pedestrians, the can use the wall as shade from the sun, or interact with it by altering their walking paths.

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ReferencesAD Magazine, Dennis R Shelden, Information, Complexity and the Detail (pages 92–97) (2014) <http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.1786/epdf> [accessed 15 March 2015].

Beijing National Stadium (2010) <https://beijingbirdsnest.wordpress.com/birds-nest-facts/> [accessed 16 March 2015].

Frank Gehry, Eikongraphia (2012) <http://www.eikongraphia.com/?p=937> [ac-cessed 18 March 2015].

Jessica Escobedo, Double Agent White (2012) <http://www.evolo.us/architecture/double-agent-white-in-series-of-prototypical-architectures-theverymany/> [ac-cessed 1 March 2015]. Images 8. 9.

Lara Prendergast, Guggenheim Museum Bilbao guide: Director favourites (2013) <http://www.telegraph.co.uk/luxury/travel/1241/guggenheim-museum-bilbao-guide-director-favourites.html> [accessed 18 March 2015].

Maxx, BanQ - Office DA - US (2009) <http://simbiosisgroup.net/10296/banq-office-da-us> [accessed 18 March 2015].

Paul Minifie and Fiona Nixon, Centre of Ideas (2007) <http://www.mvsarchitects.com.au/doku.php?id=home:projects:victorian_college_of_the_arts> [accessed 15 March 2015]. Images 4. 5.

Steph, Weird Up 15 Bent & Bizarre Buildings Around the World (2014) <http://we-burbanist.com/2010/04/19/15-bizarre-buildings-around-the-world/> [accessed 18 March 2015].

UNStudio, Galleria Center City (2010) <http://www.unstudio.com/projects/galleria-cheonan> [accessed 1 March 2015].

UNStudio, Galleria Center City (2010) <http://www.dezeen.com/2011/03/28/galle-ria-centercity-by-unstudio/> [accessed 1 March 2015]. Images 6. 7.

Volver A, Galeria - BANQ (2015) <http://www.plataformaarquitectura.cl/cl/02-240994/banq-nadaaa/512623b6b3fc4b5edd000050> [accessed 19 March 2015].

Images are all sourced from the corresponding references

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Part B. Criteria Dersign

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As a starting point for the development of my technique i have selected the research field of geometry. Geometry is one of the primary element of any design. Although some de-signs don’t make this obvious, most designs require some geometry to be a unique design type. Geomety is a broad field which is simple to design and manipulate with the help of parametric programs, such as grasshopper. With grasshopper, the shape, number of members and other variables are easily changed. manipulated and adjusted with sliders. The structure of a parametric design could take the form of a lattice grid, minimal surface, contours, collumn grids and expressive forms.Conceptual design implications geometry may take the many conceptual design forms. From small to gigantic to curvilinear planes. However, its fabrication oppurtunities are lim-ited. Limited in the sense that, the key way to piece together structural members effciently is, in my opinion, to fit them together via slits or gaps, similiar to a waffle grid.Some examples of geometry are the Green Void you see above, the SG2012 Gridshell on the top right and the San Gennaro North Gate by SOFTlab shown on the bottom right.

B.1. Research Field

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B.2. Case Study 1.0 ‘Green Void’

The art for Green Void designed by the architect team LAVA is the perfect example of a minimal surface light weight structure under tention held by the walls ceiling and floor of a building in Sydney, Australia.Iterating the green void was interesting and challenging, testing the perameters of geom-etry and what can be achieved as a sound structure.

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Iterations

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Out of the thiry itterations, these four on the right were the most intriuging. On the top left is one that is no longer minimal surfaced but pannelled with triangles, and the top right one using a similar idea but emphasising more on the intersecting points.

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To the bottom are iterations that stil kept the minimal suface idea. On the left one very similar to that of the green void and to the right it being bounded with less inter-

sects. Giving the affect of pannels trying to implement minimal surfacing or wires un-der tention with a fabric from wire to wire.

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B.3. Case Study 2.0 ‘Canton Tower’

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Canton Tower by Information Based Architects, in Guandong, China, is unlike any other. With a height of 600m, the Canton Tower, in 2010, became the worlds tallest TV and sightseeing tower. Rather than designing a regular rectan-gular and strong masculine structure, the team at Information Based Architects decided to intro-duce a more feminine structure with curves and a waist. Their curvey design was structured with straight members, which gives it a unique twist. With a circle form at the bottom and an eclipse up top, the straight members connect the two together and fool the eye with a form that ap-pears to be deformed and curved.

Above are ten steps to reverse engineer the canton tower. First make a base and top shape, the loft for an inner structure and outer sur-face. Divide the surface for the members to go through, form a structure the connects the two lofts together.Pipe all the lines that connect the points and two surfaces.Lastly present the structure in any colour.

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B.4. Technique: Development

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Iterating a matrix for the Canton Tower was simple yet time consuming. Fifty-two itera-tions vary from changes in pipe diametre, the outer skins pattern, the number of mem-bers vertically and horizontally, and the type of truss system which connects the tower and the skin as well as the base and top shapes.

To the right are two still using the canton towers form, but the one on the left was the first time I changed the base and top shape giving it a more boxy twisting look.

The two at the bottom are where things get interesting with the form looking disfigured on the left and like a hut on the right. These can most definately be used in future design ideas.

Considering this being a 600 metre tower it would be inpractical to use in our current design brief therefore I may consider scaling the size down to a more practical and func-tional level.

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B.5. Technique: Prototypes

Above is a test of fabric that can be used on the design especially when try a minimal suface geometry.

On the right is a collage of a wired structure with this fabric around it holding the structure under compression with the fabric under tension. Also an atempt at connecting pannels with angled joints to give a cone like look.

These are all prototypes experimenting with wires, pannelling and fabric tension.

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B.6. Technique: Proposal

A proposal to the site chosen which is next to Rushell station (Fitzroy North) along the train line is a new community garden or an expan-sion to the existing one.The idea is to create certain land arts that would also work as vine props for cer-tain fruits and vegetables, like passionfuit, grapes, kiwis, watermelons, tomatoes, beans, cucumbers, eggplants, peas and zuc-chinis.These structures could aslo draw more of the community to the gardens.

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B.7. Learning Objectivesand Outcomes

I believe geometry was a good choice as a technique to develop, because it is a flexible technique, in that I can apply other techniques along with it. Experimentiung with geometry allowed me to then experiment with structure and panellisation, which I found to be more interesting and rewarding. However, as experienced while prototyping, I realised that a lat-tice structure and panels were an issue to fabricate, the way I had designed them. There-fore, a method of designing the loft and the panels to be fabricated and attached efficiently.

Furthermore, the prototype was successful in the fact that, it allowed me to experiment with structure and allowed me to physically analyse the issue I had with a design. However, the prototype was unsuccessful in that it had broken and bent due to inefficient diammeters. Learning from these mistakes, I have to proportionatelly prepare a form which will physi-cally hold itself up in the real-world and obviously be structurally efficient. Testing out a few more prototypes with different diammeters might help. In order to efficiently attach the members together, welding being an option. Another option would be to create points from the nodes where each members could be inserted into.

Overall, prototyping was a good lesson for me to learn from for upcoming attemps at mod-elling.

In regards to learning from the Canton Tower case study, I will be taking away from it the principle that the structural members are able to create a curved and deformed illusion while still remaing straight. I will be applying this as the structure to hold solar panels, snaking along the site, capturing energy to be used and guiding users around the site as a inhabitable sculptural land art, in a similiar way to the Spanish Pavillion, but with the design concept of the Canton Tower.

Conclusively, I believe that the mistakes I have made and issues I have come across have taught me lessons which allow me now to develop a successful proposal.

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B.8. Appendix - AlgorithmicSketches

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The sketches on these pages were an at-temp at creating a structure that of the Span-ish Pavillion with a steel structure and wicker cover (architect: Benedetta Tagliabue2010 Shanghai Pavillion, Spain).

The pannel design on the steel structure gives an intresting and scaley look, almost like bringing the simple mesh to life.

This could be implemented in future design development, giving it a unique look.

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Part C. Detailed Design

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C.1. Design Concept

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SiteBelow is a collage of photos which shows the path to the community gardon, when followed top left to right.

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My design was given a proper purpose when I visited the sight I had chosen a second time round. Noticing that the Rushall Crescent Community Garden was actually hidden from the general public, a garden that you would only come across if you were familiar with the area. This made me decide to keep my design small and discreet, so to blend in with the garden and not become an eye sore.

Another thing that was noticed was that the garden was filled with these sticks that were erected to help grow plants (as shown on the photos on the right). This is when the function of my design was decided, to use a simple form that follows the parameters of geometry and minimal surfaces structures, deriving forms like the structures on the bottom far right image.

These are sticks erected in a precise manner which gives it the twisted motion, which at the same time gives it the minimal surface smoothness which I was going for. The most interest-ing feature is that all the stick are straight pieces of wood, but yet the structure looks smooth and curved.

To further develop this idea I was suggested to use tensegrity, which would be another key feature of my design.

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The concept of the function is that the design will be integrated into the garden so the a new variety of fruits and flowers can be grown in this community garden. This range being: pas-sion fruit, grape, kiwi, watermelon, tomato, beans, cucumber, eggplant, peas, zucchini, jas-mine, honeysuckle and wisteria.

All the listed plants are in the family of climbers and creepers. This is why they are ideal for my design, which gives then a structure to climb and grow on. The tallest structure only be-ing 1.7 meters tall and the short structure being 1 meter tall means that it is easily accessible without a stool for pruning and trimming.

Function

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Introducing new plants to the garden will bring different verity of activities to the garden. One that grabbed my attention was the passion fruit which apparently grows well on Melbourne soil if iron is found in it. The activity that is done to put iron in the soil is to bury a sheep liver at the base of the passion fruit plant.

I believe this design to develop the community garden further with not only adding more plants but modernising the garden with its aesthetics. A design that is generated using design technology and software.

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C.2. Tectonic Elements & Prototypes

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Process

Getting a bunch of straight pieces of timber to stand without them touching each other is no easy task.

Tensegrity was the answer. With the help of gravity and rope my design would stand tall and firm. The key I found was balance and a wide base. Above are images of the construction process.

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The desired outcome was achieved with this prototype. Using tensegrity wile keeping the smooth and slick aesthetic. This prototype also made it clear that my model can easily be moved around, confirming that my design can be a portable one, witch would be an important feature for the community garden.

Allowing the users to collapse the structure and easily move it around to the de-sired garden patch. Also making it easy to store away when they are not in use due to the seasons.

As shown on the photos on the right the structure also projects a nice shadow which will change as the plants grow through the design. Showing the integra-tion of nature, design and technology in a simple way.

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The desired outcome was achieved with this prototype. Using tensegrity wile keeping the smooth and slick aesthetic. This prototype also made it clear that my model can easily be moved around, confirming that my design can be a portable one, witch would be an important feature for the community garden.

Allowing the users to collapse the structure and easily move it around to the de-sired garden patch. Also making it easy to store away when they are not in use due to the seasons.

As shown on the photos on the right the structure also projects a nice shadow which will change as the plants grow through the design. Showing the integra-tion of nature, design and technology in a simple way.

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C.3. Final Detail Model

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My final detail model is a 3D print of my design using the ZCORP Z450 Powder printer. This printer prints at largest of 170L x 170W x 170H mm, pushing it to its limit I was able to print my design at a height of 170mm at a scale of 1:10.

Free from man-made imperfections the 3D printed model shows and exact representation of the virtual 3D model. Showing a solid model which is smooth and decorative.

Due to the fact that 3D modeling is still new there were a few changes that had to be done to the final design so that is can be printed. Changes like thickening the members so that the model will hold strong together.

All in all the outcome is very pleasing, demonstrating the fluidity of the design even though all the members are straight. The model shows the viewer exactly what needs to be seen.

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More Photographs

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As seen on the previous pages the design isn’t actually that big, this is so that whatever plants grow on it, they are easy to prune and groom. Keeping the design practical and sim-ple.

Using computational design to keep the minimal surface geometry which was one of my key research fields, is demonstrated well with this model as seen in the above photo.

Finally what’s a piece of design without a name? The name I have chosen to give this piece is ‘New Twist’. This portrays the new added feature in the community garden.

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Renders

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C.4. Learning Objectives and Outcomes

The aim of Studio Air was to educate us regarding the new-age system of design within the world of architecture, which is computational architecture. Personally, I have learnt very sig-nificant lessons. I am now able to generate numerous designs for a certain scenario, with the aid of Rhino and the parametric tools available via Grasshopper. These computational tools allow me to explore a wide range of design possibilities. I have worked with numerous dif-ferent styles of parametric design, such as patterning, tessellation, structure, sectioning and most importantly geometry.

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Using computational tools I am now able to parametrically and systematically generate a ma-trix of various designs for each of these research fields. I began by experimenting with struc-ture by analysing and re-engineering the Canton Tower. A matrix of numerous iterations are evident in Part B of this Journal. After gathering techniques from this analyses I then moved on to prototypes using tensegrity, to find the equilibrium of the structure.

Moving on to 3D modeling, which was very new to me, but non the less a vital part of my learning from Design Studio Air. I believe my final design ticks all the boxes in the design brief like creating a possible activity like planting as well as well as using environmentally friendly materials.

Overall, the course has been extremely rewarding and my computational skills have improved significantly. I would like to end with the same note we all started off with found in the design brief; “[…] when all frontiers have been tamed and developed, when all exotic tribes and spe-cies have been winkled out of their hid-den crannies and firmly tagged, where after all can one look for the wild, the unknown? When all natural wonders have been scientifically inves-tigated, and all ancient monuments have be-come tourist attractions, where can one seek the numinous, the sacred? In a world contracted by motor travel and telecommu-nications, how can one experience vastness?” (Mathews, 2005, p. 136, 137)

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ReferencesAD Magazine, Dennis R Shelden, Information, Complexity and the Detail (pages 92–97) (2014) <http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.1786/epdf> [accessed 15 March 2015].

Beijing National Stadium (2010) <https://beijingbirdsnest.wordpress.com/birds-nest-facts/> [accessed 16 March 2015].

Frank Gehry, Eikongraphia (2012) <http://www.eikongraphia.com/?p=937> [ac-cessed 18 March 2015].

Jessica Escobedo, Double Agent White (2012) <http://www.evolo.us/architecture/double-agent-white-in-series-of-prototypical-architectures-theverymany/> [ac-cessed 1 March 2015]. Images 8. 9.

Lara Prendergast, Guggenheim Museum Bilbao guide: Director favourites (2013) <http://www.telegraph.co.uk/luxury/travel/1241/guggenheim-museum-bilbao-guide-director-favourites.html> [accessed 18 March 2015].

Mathews, Freya (2005). Reinhabiting Reality: Towards a Recovery of Culture (Al-bany: State University of New York Press)

Maxx, BanQ - Office DA - US (2009) <http://simbiosisgroup.net/10296/banq-office-da-us> [accessed 18 March 2015].

Paul Minifie and Fiona Nixon, Centre of Ideas (2007) <http://www.mvsarchitects.com.au/doku.php?id=home:projects:victorian_college_of_the_arts> [accessed 15 March 2015]. Images 4. 5.

Steph, Weird Up 15 Bent & Bizarre Buildings Around the World (2014) <http://we-burbanist.com/2010/04/19/15-bizarre-buildings-around-the-world/> [accessed 18 March 2015].

UNStudio, Galleria Center City (2010) <http://www.unstudio.com/projects/galleria-cheonan> [accessed 1 March 2015].

UNStudio, Galleria Center City (2010) <http://www.dezeen.com/2011/03/28/galle-ria-centercity-by-unstudio/> [accessed 1 March 2015]. Images 6. 7.

Volver A, Galeria - BANQ (2015) <http://www.plataformaarquitectura.cl/cl/02-240994/banq-nadaaa/512623b6b3fc4b5edd000050> [accessed 19 March 2015].

Images are all sourced from the corresponding references

Photos in part c. are all taken by Halis T. Erciyas

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