A brief report or case study on some types of designs.

1. CED
CASE STUDY

2. IT Integrated design
Integrated design is an approach to design which brings together design
specialisms usually considered separately. For example:
1) Design of a building which considers architecture, structural engineering
and HVAC. The approach may also integrate building lifecycle management
and a greater consideration of the end users of the building. The aim of
integrated building design is often to produce sustainable architecture.
2) Design of both a product (and family of products) and the assembly system
that will produce it.
3) Design of an electronic product that considers both hardware and software
aspects, although this is often called co-design (not to be confused with
participatory design, which is also often called co-design).
The design of buildings requires the integration of many kinds of information
into an elegant, useful, and durable whole. An integrated design process
includes the active and continuing participation of users and community
members, code officials, building technologists, contractors, cost consultants,
civil engineers, mechanical and electrical engineers, structural engineers,
specifications specialists, and consultants from many specialized fields. The
best buildings result from continual, organized collaboration among all
players throughout the building's life cycle.
The Integrated Design Process (IDP) has been developed on the basis of
experience gained from a small Canadian demonstration program for high
performance buildings, the C2000 program. This program was designed in
1993 as a small demonstration of very high levels of performance, and its
technical requirements cover energy performance, environmental impacts,

3. indoor environment, functionality and a range of other related parameters. The
ambitious performance goals of the program led its managers to believe that
the incremental costs for design and construction would be substantial, and
provision was made for support of incremental costs in both the design and
construction phase.
Three phenomena are associated with a lack of integrated design:
1) Silent design: design by people not aware that they are participating in
design activity. Design by default or omission.
2) Partial design: design is only used to a limited degree, such as in
superficial styling, often after the important design decisions have been made.
3) Disparate design: design activity may be widespread, but is not co-
ordinated or brought together to realise its potential.
A committee is sometimes a deliberate attempt to address disparate design,
but design by committee is associated with silent design.
The Integrated Design Process
The Integrated Design Process has impacts on the design team that
differentiate it from a conventional design process in several respects. The
client takes a more active role than usual; the architect becomes a team leader
rather than the sole form-giver; and the structural, mechanical and electrical
engineers take on active roles at early design stages. The team always includes
an energy specialist and, in some cases, an independent Design Facilitator.
The IDP process contains no elements that are radically new, but integrates
well-proven approaches into a systematic total process. The skills and

4. experience of mechanical and electrical engineers, and those of more
specialized consultants, can be integrated at the concept design level from the
very beginning of the design process. When carried out in a spirit of
cooperation among key actors, this results in a design that is highly efficient
with minimal, and
Sometimes zero, incremental capital costs, along with reduced long-term
operating and maintenance costs. The benefits of the IDP process are not
limited to the improvement of environmental performance. Experience shows
that the open inter-disciplinary discussion and synergistic approach will often
lead to improvements in the functional program, in the selection of structural
systems and in architectural expression. The IDP process is based on the well-
proven observation that changes and improvements in any design process are
relatively easy to make at the beginning of the process, but become
increasingly difficult and disruptive as the process unfolds. Although this may
seem obvious, it is a fact that most clients and designers have not followed up
on the implications. As well, the existence of a defined roadmap gives
credence and form to the process, making it easier to promote and implement.
Typical IDP elements include the following:
• inter-disciplinary work between architects, engineers, costing specialists,
operations people and other relevant actors right from the beginning of the
design process;
• Discussion of the relative importance of various performance issues and the
establishment of a consensus on this matter between client and designers;
• Budget restrictions applied at the whole-building level, with no strict
separation of budgets for individual building systems, such as HVAC or the
building structure. This reflects the experience that extra expenditures for one
system, e.g. for sun shading devices, may reduce costs in another systems,
e,g, capital and operating costs for a cooling system;

5. • The addition of a specialist in the field of energy engineering and energy
simulation;
• testing of various design assumptions through the use of energy simulations
throughout the process, to provide relatively objective information on this key
aspect of performance;
• The addition of subject specialists (e.g. for day lighting, thermal storage,
comfort, materials selection etc.) for short consultations with the design team;
• Clear articulation of performance targets and strategies, to be updated
throughout the process by the design team; and 3
• In some cases, a Design Facilitator is added to the team to raise performance
issues throughout the process and ensure specialist inputs as required.
Based on experience in Europe and North America, an IDP is especially
characterized by a series of design loops per stage of the design process,
separated by transitions with decisions about milestones. In each of the design
loops the design team members relevant for that stage participate in the
process.

6. The design process itself emphasizes the following broad sequence.
1. Establish performance targets for a broad range of parameters, and develop
preliminary strategies to achieve these targets. This sounds obvious, but in the
context of an integrated design team approach it can bring engineering skills
and perspectives to bear at the concept design stage, thereby helping the
owner and architect to avoid committing to a sub-optimal design solution.
2. Minimize heating and cooling loads and maximize day lighting potential
through orientation, building configuration, an efficient building envelope and
careful consideration of the amount, type and location of fenestration.
3. Meet heating and cooling loads through the maximum use of solar and
other renewable technologies and the use of efficient HVAC systems, while
maintaining performance targets for indoor air quality, thermal comfort,
illumination levels and quality, and noise control.

7. 4. Iterate the process to produce at least two, and preferably three, concept
design alternatives, using energy simulations as a test of progress, and then
select the most promising of these for further development.
Results
The best buildings in history are the result of high degrees of consistency at
all levels of their realization and have stood the test of time. The simplicity in
massing of the Seagram Building by Mies van der Rohe, for example, is
supported by the building's subtle and spare details at every level. Meticulous
attention is applied equally to the massing and the drinking fountains, the site
plan and the door hinges. Frank Lloyd Wright referred to this process as
"organic design"—he used the phrase to refer to the integral relationship in
good architecture between the parts and the whole—and declared it the
architect's obligation to assure consistency at every level of detail. Yet
consistency is predicated on collaboration: Good buildings when all members
of the design team are working toward the same ambitions.

8. Textile Design
Textile design is essentially the process of creating designs for woven, knitted
or printed fabrics or surface ornamented fabrics. Textile designers are involved
with the production of these designs, which are used, sometimes repetitively, in
clothing and interior decor items.
The field encompasses the actual pattern making while supervising the
production process. In other words, textile design is a process from the raw
material into finished product. Fibre, yarn and finishes are the key elements to
be considered during the textile design procedure.
Overview: Textile designing is a creative field that includes fashion
design, carpet manufacturing and any other cloth-related field. Textile design
fulfills a variety of purposes in our lives. For example, our clothing, carpets,
drapes, towels, and rugs are all a result of textile design.
These examples illustrate the significance of textiles in our daily lives. The
creations of textiles are not only important for their use, but also for the role
they play in the fashion industry. Textile designers have the ability to inspire
collections, trends, and styles. The textile industry, while being a creative art
form, is a very business savvy industry.
Textile designers marry a creative vision of what a finished textile will look like
with a deep understanding of the technical aspects of production and the
properties of fiber, yarn, and dyes.
The creative process often begins with different art mediums to map concepts
for the finished product. Traditionally, drawings of woven textile patterns were
translated onto special forms of graph paper called point papers, which were
used by the weavers in setting up their looms.
Today, most professional textile designers use some form of computer-aided
design software created expressly for this purpose. Some of the latest advances
in textile printing have been in the area of digital printing. The process is similar
to the computer controlled paper printers used for office applications. In

9. addition, heat-transfer printing is another popular printing method to be used
in the textile design. Patterns are often designed in repeat to maintain a
balanced design even when fabric is made into yardage. Repeat size is the
distance directly across or down from any motif in a design to the next place
that same motif occurs. The size of the repeat is determined by the production
method. For example, printed repeat patterns must fit within particular screen
sizes while woven repeat patterns must fit within certain loom sizes. There are
several different types of layouts for repeated patterns. Some of the most
common repeats arestraight and half drop. Often, the same design is produced
in many different colouredversions, whichare called colourways.Once a pattern
is complete, the design process shifts to choosing the proper fabrics to get the
design printed on or woven into the fabric.
Designers might want to use the method of dyeing or printing to create their
design. There are many printing methods.
 Direct (Blotch) Printing
 Overprinting
 Discharge Printing
 Resist Printing
 Block Printing
 Roller Printing
 Screen Printing
Dyeing: It is the process of adding colour to textile products
like fibres, yarns, and fabrics.[1] Dyeing is normally done in a special solution
containing dyes and particular chemical material. After dyeing,
dye molecules have uncut chemical bond with fibre molecules. The
temperature and time controlling are two key factors in dyeing. There are mainly
two classes of dye, natural and man-made.
The primary source of dye, historically, has generally been nature, with the dyes
being extracted from animals or plants. Since the mid-18th century, however,
humans have produced artificial dyes to achieve a broader range of colours and
to render the dyes more stable to resist washing and general use. Different

10. classes of dyes are used for different types of fiber and at different stages of
the textile production process, from loose fibres through yarn and cloth to
complete garments.
Printing: It is a process for reproducing text and images using a master
form or template. The earliest examples include Cylinder sealsand other objects
such as the Cyrus Cylinder and the Cylinders of Nab nidus. The earliest known
form of woodblock printing came from China dating to before 220 A.D.[1] Later
developments in printing include the movable type, first developed by Bi
Sheng in China.[2] Johannes Gutenberg introduced mechanical movable type
printing to Europe in the 15th century. His printing press played a key role in
the development of the Renaissance, Reformation, the Age of Enlightenment,
and the scientific revolution and laid the material basis for the modern
knowledge-based economy and the spread of learning to the masses.[3]
Modern large-scale printingis typicallydone usinga printingpress, whilesmall-
scale printing is done free-form with a digital printer. Though paper is the most
common material, it is also frequently done on metals, plastics, cloth and
composite materials. On paper it is often carried out as a large-scale industrial
process and is an essential part of publishing and transaction printing.
Elements of Design in Textiles & Clothing:
A design is an arrangement or organization of items. The elements of design
are the basic components of a two- or three-dimensional arrangement. Any
visual work can be dissected to identify the five elements of design. These five
elements are integral to every type of design, including designs of textiles and
clothing.
Line
 There are several different types of lines, including vertical, horizontal and
diagonal. Lines can be thick or thin, zigzag or jagged, straight, curved or wavy.
In appareldesign, lines can be a seam or embroidery or be used to describehow
the garment fits the body. In textile design, lines can a pattern on fabric, such

11. as a stripe, or can be the weave of a piece of cloth. Every type of textile and
clothing design starts with a line.
Shape
 Shape is a very important element of design. Shapes are formed by connecting
different types of lines. In apparel design, the term "shape" applies to the way
the garment fits. Bell-bottom pants, A-line skirts and trapeze tops are all
examples of shapes in apparel design. Shape can also be achieved by folding
and stitching fabric, like a pleat or a dart. In textile design, shape applies to
patterns on fabric. Polka-dot, hound's tooth and plaid are all examples of
shapes in fabric.
Color
 Color is another element of design. Various colors, shades and hues evoke
different emotions and moods. Certain colors, such as blue and orange, are
complimentary on the color well. Choice of color in apparel design is important
to convey the mood or theme of a designer's collection. In textile design, color
is one of the most important elements, as it is one of the first decisions a textile
designer makes. A textile designer, like an apparel designer, considers color
and color combinations to evoke a feeling or mood from his design.
Texture
 Texture is just as important in clothing design as it is in textile design. When
designing fabric, a textile designer strives to create a certain weight and hand,
or texture, to the fabric. Examples of fabric textures are boucle wool, corduroy,
denim and satin. A clothing designer certainly takes fabric textures into
consideration when designing a garment. Satin hangs differently on the body
than corduroy does. The texture of fabric also determines what fabric would be
a suitable match for certain garments.
Space
 Space is the final element of design. A textile designer considers positive and
negative space in her fabric pattern. The clothing designer considers how the
garment occupies a space. A couture dress designer or a wedding dress

12. designer designs a gown based on how it would look on a runway, on a red
carpet or walking down an aisle.
Mass or Size
 The mass or size of an object is the fifth basic element of design. This refers to
the amount of space a two- or three-dimensional object takes up. An object's
mass in relation to other objects in the picture plane affects the proportion or
scale of work of art. As an example, a picture of a person can take on a whole
different scale if a tall tree is also placed in the picture.
Methods: There are two most widely used printing method that are
used all over the world and these are Direct Printing & Overprinting
Direct Printing: Direct to garment printing, also known as DTG
printing, digital direct to garment printing, digital apparel printing, and inkjet
to garment printing, is a process of printing on textiles and garments using
specialized or modified inkjet technology. The two key requirements of a DTG
printer are a transport mechanism for the garment and specialty inks (inkjet
textile inks) that are applied to the textile directly and are absorbed by the
fibres.
Most direct to garment printers are descendants of the desktop inkjet printer,
therefore many DTG printers, such as the Spectra DTG, Anajet Sprint, and the
BelQuette Mod1 utilize some parts from preexisting printers. Some companies,
such as BelQuette, DTG Digital, AnaJet, Oprintjet, Brother, MAPI
Digital, Kornit and Mimaki have printers which utilize similar technology, but
are manufactured without the exact parts from any other brand machine.[1]
Financial impact:
A primary advantage of DTG printing is the lack of set-up costs and instant
turnaround time not associated with traditional garment printing methods such
as screen printing. The comparative disadvantage of DTG is equipment
maintenance and ink cost. Ink technology developments have significantly
improved ink performance and lowered ink cost. Digital printing technologies

13. are non-contact, meaning that media is printed on without hand contact,
allowing for a more precise image. This prevents the image distortionthat takes
place in screen printing.[2]
Overprinting: Overprinting refers to the process of printing one colour
on top of another in reprographics. This is closely linked to the reprographic
technique of 'trapping'. Another use of overprinting is to create a rich
black (often regarded as a colour that is "blacker than black") by printing black
over another dark colour.
It is also the term used in the production of envelopes customised to order by
printing images (such as logos) and texts (such as slogans) on mass-produced
machine-made envelopes; the alternative way of producing such envelopes is
to print "on the flat" and then cut out the individual shapes and fold them to
form the envelopes. However the latter method is generally only economically
viable for large print runs offering returns to scale.
Overprinting also refers to the printing of additional information onto self-
adhesive labels and product packaging. "Best Before", "Use By" dates and batch
codes are printed in situ onto product packaging as the items are packed.
Generally thermal printers, ink jet printers or laser printers are used.

14. Interdisciplinary Design
It allow students to explore a diverse range of design
concerns from an interdisciplinary approach. These
courses cover a wide area, including Visual
Communication and Illustration, Product, Spatial and
Interaction Design.
What is an interdisciplinary approach to design?
Looking at many disciplines and categories at the same time; looking at a
project beyond its category and using intersections. At Greencard Creative, we
look at neuroscience, architecture, fashion, culture, design, art, artists, human
behavior, astronomy, children’s books, and education, trends around the
world, inventions, sculpture, industrial design, engineering and museums, just
to name a few areas.
The Interdisciplinary Design Approach

15. One of the latest buzzwords in the creative community seems to be
interdisciplinary design. As I understand it, the need for graphic designers to
wear many hats or take on a growing list of responsibilities has led to increased
level of collaboration across design disciplines. While your professional title
might be “illustrator,” your job description tends to be something like
“illustrator-slash-copywriter” or “illustrator-slash-animator.” Sound familiar? If
so, you need to start implementing an interdisciplinary approach into your
design thinking and workflow. One company that is already doing this is
branding and design firm GreencardCreative. I caught up with CEO Tatiana Pagés
to ask about what Greencard is doing to take their design work to the next level.
Here’s what she had to say about the interdisciplinary design approach and how
it can work for you.
oHow does this approach influence your
design thinking?
Everything we do is about designingand communicatingwith people’s emotions
and reasoning at the same time. The strategy breathes through the brand
design.
oHow has this way of design thinking
helped Greencard us Creative and its
clients?

16.  I just came back from Miami and won a new business pitch because I
used design thinking in my presentation. We’re going to do strategy,
brand architecture, branding, web design and all brand expression
materials for a $5.6 billion company. This way of thinking makes
Greencard unique in the way that we build brands and help our clients’
businesses. We’re experts at looking to the future.
oHow can others implement this
approach?
 Read about everything. Always be curious and become an artist in some
way. Use brain plasticity to train yourself to be interdisciplinary and
question all truths. If you look beyond the obvious to a place where
nobody else is looking, you can uncover a newer, more powerful solution.

oWhat kinds of results can be expected
from this kind of design thinking?
 Powerful, profitable, unique and respectful [results], since our process is
so rigorous and creative at the same time.

17. Visual Communication Design
Visual communication is the visual presentation and communication of ideas.
Courses in this discipline involve semiotics, graphic design, typography,
illustration and photography.
Interaction Design Courses in interaction design enable students
to explore and manipulate visual forms in the digital environment.
Product Design
Product design courses focus on the design methodologies and technologies
around the production of physical artefacts.

18. Spatial Design Spatial design is concerned with the design of space
between and within exterior and interior environments.
Communication Design
Communication Design is a mixed discipline between design and
information-development which is concerned with how media intermission

19. such as printed, crafted, electronic media or presentations communicate with
people. A communication design approach is not only concerned with
developing the message aside from the aesthetics in media, but also with
creating new media channels to ensure the message reaches the target
audience. Some designers use graphic design and communication design
interchangeably due to overlapping skills.
Communication design can also refer to a systems-based approach, in which
the totality of media and messages within a culture or organization are
designed as a single integrated process rather than a series of discrete efforts.
This is done through communication channels that aim to inform and attract
the attention of the people you are focusing your skills on. Design skills must
be tailored to fit to different cultures of people, while maintaining pleasurable
visual design. These are all important pieces of information to add to a media
communications kit to get the best results.
Communication design seeks to attract, inspire, create desires and motivate
the people to respond to messages, with a view to making a favourable impact
to the bottom line of the commissioning body, which can be either to build a
brand, move sales, or for humanitarian purposes. Its process involves
strategic business thinking, using market research, creativity, and problem-
solving. Communications designers translate ideas and information through a
variety of media. Their particular talent lies not only in the traditional skills of
the hand, but also in their ability to think strategically in design and marketing
terms, in order to establish credibility through the communication.
The term communication design is often used interchangeably with visual
communication, but has an alternative broader meaning that
includes auditory, vocal, touch and smell. Examples of communication design
include information architecture, editing, typography, illustration, web
design, animation, advertising, ambient media, visual identity
design, performing arts, copywriting and professional writing skills applied in
the creative industries.
Graphic design (or communication design) involves effective visualisation of
communication concepts, primarily in print and electronic media (including
interface design), in the context of business and technology, socio-political,
cultural and educational environments, in transmitting government and

20. institutional aims and services, and in visually explaining and exploring
medical and scientific data and processes. Clients usually determine project
aims.
Graphic/communication designers help to achieve communication goals by
analysing, structuring, planning and creating images and text to enhance
visual communication for specific purposes. They often act as consultants.
Simplifying the complex
When you think of a successful Canadian organization, chances are their logos
spring to mind. But innovative graphic/communication design goes far beyond
a memorable logo. Great graphic/communication design can communicate
emotions and subtle shades of meaning — all without saying a word.
Graphic/communication design is integral to our lives and to Canada’s leading
organizations. CGD certified members of the GDC are skilled at using art and
technology to visually communicate ideas. By controlling colour, type, images
and ideas, graphic/communication designers produce materials that convey
specific messages to intended audiences.
Over the past 50+ years, graphic and communication design has emerged as a
complex service-profession. While pioneering designers honed their craft on
paper by hand, today's designers are at the forefront of technology, using
complex computer software and the latest printing techniques to communicate
ideas.
In addition to producing communications materials and solving problems for
clients, 21st century designers require intelligence, versatility, and marketing
know-how.
Successful business leaders recognize the importance of great
graphic/communication design. And that's why they understand the
importance of the GDC.

21. Good Design is Good Business
CGD™ certified members of the GDC can make you stand out, motivate your
potential customers, cultivate brand recognition, and influence public
perception of your company, your service, your product. Experienced graphic
designers understand this – extending your reach into the marketplace and
helping you achieve your full market potential.
A graphic/communication designer whose services have been CGD™ certified
is a business partner who can see your project from the planning, concept
development and budgeting stages, through to production, quality control and
the finished product. When you hire a CGD™ certified member of the GDC, you
are tapping into expertise in communication strategies, effective problem-
solving and highly specialized design know-how. Your CGD™ certified
designer can help you articulate your business objectives and crystallize your
ideas. You'll be rewarded with thoughtful, visual communications that make
your message clear.
When you think about graphic/communication design, and its potential for
your business, remember, quality design is effective design. Always look for
the CGD™ certification mark following a designer's name – your assurance of
quality and professionalism from a CGD™ certified member of the GDC.

22. Industrial Design
Site Survey
Arabian Gulf Oil Company (AGOCO) of Libya, one of the largest oil companies
in North Africa, required an inspection and assessment of an existing Fire and
Gas detection and Extinguishant system at one of their sites. The report was
for the Loss Prevention as well as the Maintenance Departments, highlighting
specific and relevant aspects for each.
The system, which had become prone to faults with age, was to be evaluated
for its operation, functionally and obsolescence. A further assessment and
evaluation was to be made into the replacement of the entire system, whilst
making use of existing cabling and considering down time.
One of our team travelled to the site, located an hour's flight into the Libyan
Desert and conducted the detailed survey over a four day period. The activities
involved securing, isolating and activating the Control Panels before observing
the functionality and operation.
A detailed report was compiled, to clearly explain the results of the survey and
evaluation. This enabled the departments involved to make strategic and
budgetary decisions, which resulted in the project being put out for tender.

23. Design and Integration
In a project for end client, Sonatrach of Algeria, and main contractor,
Mitsubishi Heavy Industries, we were required to integrate various disciplines
of Fire Detection seamlessly into two Control Panels. The Control Panels were
located at to separate pumping and compression sites in the remote South
Eastern region of the Algerian Sahara Desert.
Our objective was to make use of the main fire equipment supplier, Kidde
Products', own equipment where possible, alongside our own, to monitor and
control the disparate fire detection technologies. The system presented the
information as a graphical user interface on a panel mounted touch screen
display, as well as communicating directly to the site SCADA system
(Supervisory Control and Data Acquisition).
Our control panel incorporated:
 LHD (Linear Heat Detection),
 Toxic gas and combustible gas detection,
 UV/IR flame detection,
 Smoke and heat detection,
 Water mist extinguishant control,
 Dry Powder extinguishant control, and
 CO2 (Carbon dioxide) extinguishant control
 Motor Siren Control
The product technologies used were:
 Conventional 19" rack control system,
 Analogue addressable detection
 Extinguishant control units
 Touch screen graphical mimic HMI (Human Machine Interface)

24. Arabian Gulf Oil Company (AGOCO) of Libya, required a survey to assess the
replacement or refurbishment of the existing Fire Protection systems across
eight of their oil fields. The survey covered 41 separate "risk areas" (where
there was a need to protect personnel, plant and/or product), some of which
were new risk areas or where there was a change of use at the location.
The sites: Nafoora, Messla, Sarir, Tobruk, Beda, Hamada and Majid; are spread
from the North East coast to deep into the Sahara Desert and across to the
West of Libya. Thousands of miles were covered during the three week survey
and a wealth of data compiled to present a clear assessment of the systems.
Hand drawn sketches evolved to form dimensioned CAD drawings for each
"risk area", identifying cable routing and interfacing to existing systems as
necessary. These, along with survey reports detailing brief summaries,
recommendations, bills of materials and cost estimates were collated to
compile a comprehensive report for the preparation of tender specifications.
Installation
We were approached by a Libyan contractor to provide Supervision of
Installation on a project, where we had supplied the Gas detection system and
Control Room Mimic Panels. The project was for Zueitina Oil Company of
Libya, at their coastal Zueitina. Zueitina Oil Company's decision to replace the
Ozone harmful Halon extinguishant with FM200 involved the replacement of
the Fire and Gas detection and suppression systems on six of their sites. The
first of the sites to be upgraded was Zella, a strategic gathering, processing
and pumping station.
The risk areas to be protected were installed and commissioned in phases, but
most important to the process were three solar gas turbines used for the
production of electricity to power the operation critical systems, and
surrounding sites. To reduce the impact on production down time the turbines

25. had to be taken off line; the existing fire systems decommissioned; the new
fire system installed and commissioned one at a time.
The commissioning process involves verification of the installation, fault
finding installation irregularities and confirmation that the installed system is
compliant to the regulations and design specification. Each of the installations
was functionally tested proving the design philosophy, installation integrity
and operation, as well as building trust and ownership with the site personnel.
A full training program on the philosophy, operation and maintenance was
given to appropriate department personnel to ensure the future integrity of
the system and safety of the product, plant and personnel working with it.
Lastly, after a successful proof of the system, Final Documentation of "As Built"
drawings and commissioning certification were issued.
Terminal site and LPG plant site.
The planning aspect involved an installation survey of 19 installation locations
on two main sites including the "hazardous area" LPG Plant and one mile
marine tanker loading pier; planning and submitting trench routing between
these locations; materials audit and project planning.
Supervision was maintained over trenching teams, (under the control of local
foremen), digging the trenches, laying the cables and backfilling, and
electricians installing the field equipment and local control panels. A
continuous presence was maintained on site over a 14 week period with back
to back rotation of supervisors.
Throughout the process a high level of communication and transparency was
maintained with ZOC personnel, other equipment suppliers and site
contractors.

26. No safety system is complete or fully functional unless the operators and
maintenance personnel are familiar with the operation and workings of that
system. As such, onsite training is a standard procedure when commissioning
and handing over a system. The suppression system installed on the aviation
fuel tanks at Gatwick Airport's North Terminal for Shell Aviation involved the
training of not only the site maintenance and safety personnel, but also the
Local Authority Fire Brigade Service, who would be responsible for attending in
the event of a fire alarm.
Maintenance
Training was formally conducted on site over two days involving the Fire
Brigade Service and Site Safety personnel. Training documents were produced
to allow future training without the need for our involvement.
Often during plant maintenance and upgrading of system components, faults
can be generated. In such a circumstance, we were contacted by AstraZeneca
to assist in resolving the introduced fault at their Macclesfield plant in the UK.
After some preliminary diagnosis we were able to isolate the fault to a single
field device. We attended site to correct the fault, replace damaged
components and to warrant the integrity of the system as commissioned.
As in the majority of cases, seemingly insignificant actions can have far wider
implications. The skill is in the fault finding to identify and resolve the root
cause