4. The case study is a building and exterior envelope design of a 250-room boutique hotel
for the Appejay Surrundra Park Hotel Group in Hyderabad, India. The building will be the
client’s first newly constructed project and serves as its flagship Hotel. The Park Hotel Group
wanted the hotel to reflect the highly optimistic and sustainable culture in a growing India
through a forward-thinking architecture. Once completed, it will be the first LEED Gold
Hotel in India. To further encourage development and tourism, the national government has
developed new economic incentives that eliminate any tax duty on products imported for
the hotel and tourism industry. The design team included engineers, computer specialists,
energy simulators, and university researchers, all embracing the opportunity to contribute
to design decisions throughout the process. Many decisions have been informed by environ-
mental research including building program, orientation, massing, and façade optimization.
The energy-and resource-intensiveness of the hotel typology has underscored the importance
of these results. The process sought to redefine the typical role of master architect and de-
signer to address a specific challenge of sustainable design in emerging economies through
an in-depth understanding of climate and culture.
Climate Analysis
Hyderabad lies at 17°20’N 78°30’E in the Andrah Pradesh state in central India. It is in the
“Tropical Monsoon” (Am) region as defined by the Koppen classification for international
climate. Summer months between March and May experience a large diurnal temperature
swing between 25°C to 42°C. The Monsoon season stretches from mid-June to September
and brings heavy rains and prevailing wind from the northeast. The fall season or “post-
monsoon” is characterized by high humidity with minimal rainfall.2
The winter months carry
much cooler temperatures and pleasant breezes that create opportunities for passive cooling
and natural ventilation. The temperatures range from 20°C to 32°C (humans are most com-
fortable in a range between 18 and 25 degrees, depending on wind speed and humidity).
The hourly temperature chart below highlights the maximum and minimum diurnal tem-
perature throughout the year overlayed on the human comfort zone. Of significance in this
climate data is the high solar radiation, particularly in the winter season from December to
April. The direct solar radiation drops significantly in the summer from June to August, as
the monsoon season mitigates the direct solar gain through the building envelope. (Fig 1.)
Wind analysis reveals that the prevailing wind during the monsoon is from the west/south-
west. Building outdoor spaces should be positioned to protect them from the higher winds
and wind-driven rain in the summer months. (Fig 2.)
40
DESIGN PRINCIPLES AND PRACTICES: AN INTERNATIONAL JOURNAL
5. Fig 2: Seasonal Windrose for Summer
Months Showing Frequency and Speed
(Source: Meteonorm)
Fig 1: Hourly Climate Data for Hyderabad
(Source: Meteonorm)
Environmental Types
The analysis of the local climate and application of this analysis to the design process recalls
the words of James Marsden Finch in his book American Building, The environmental forces
that shape it: “Our physical environment must be thought of as being of composite structure,
formed of many distinct, coextensive and coexistent yet interacting elements which may
actually be viewed as complete subenvironments”1
He describes seven types of “environ-
ments” that are only concerned with those factors that which act directly upon the human
body and which can be immediately and directly modified by buildings. For the purpose of
the climate analysis, five of the seven environmental parameters are used: thermal, aqueous,
sonic, atmospheric, and luminous. The thermal environment in Hyderabad consists of low
diurnal swings and consistently high temperatures all year. The aqueous environment is
characterized by the high relative humidity and high levels of rainfall through the year. It
presents an opportunity for water collection during the monsoon months. The sonic environ-
ment relates to acoustics and ambient noise that impact the building user. It manifests itself
in the building through internal-borne sound such as vibration from equipment or from ex-
ternal sound such as train horns and car traffic. The luminous environment pertains to the
spectrum between 380 and 700nm that allows for visual light to be perceived.
Arguably, a balance between the luminous and thermal environments is the most important
aspect of design in this climate. Thus, the design prioritized strategies that struck a balance
between these two parameters. The next step was to focus on leveraging the impact of
‘passive’ strategies before designing the mechanical or ‘active’ systems.
The design team needed to reconcile the client’s many preconceptions about the design
of a modern and progressive building. The first bias was the idea that a modern building
should be a completely glass and transparent enclosure. This preconception combined with
a hotel typology presented a challenge for the team in terms of developing a low energy
prototype, but also provided an opportunity to educate the client about the process of collab-
oration and high performance buildings.
41
JAMES KRAUS
6. Design Process
The process of sustainable design is not the same for every project, nor is it a strictly linear
process. Differences between projects emerge during the design process to provide richness
and individuality. Each client has different goals and aspirations and each climate is different,
but one thing remains constant: the multidisciplinary input and collaboration needed to design
an environmentally sensitive building. The process diagram for this project involved many
groups at different phases of design and illustrates the sequence of setting goals and analysing
data for the building information model based on parametric input and feedback loops. (Fig
3.)
Fig 3: Design Flow Chart
The process chart is a vital tool, not only for the design team to make decisions but also for
the client to visualize how parameters from the environment influence the design. In this
case, the chart was developed in the middle of the project and completed once it was finished.
By documenting this particular path to sustainable design, the architecture team can learn
more about how to improve the process on future projects when different collaborators, clients
and consultants are involved.
Building Massing and Orientation Studies
Building massing and space planning are the first steps in the design of the building form.
The initial decisions about room location relative to solar orientation and site planning have
the largest passive environmental impact on the building. Once the sun position is documented,
the mass and overall form were established based on the team’s intuition about solar stress.
Experience indicated that the service areas and corridors could be located on the west side
of the building to mitigate the direct solar gain during the peak temperature.
The chairperson of the Park Hotels often spoke about having high tea on the veranda in
her youth when the weather was pleasant. Therefore, the courtyard space was developed
around the idea of a common area for guests that was elevated from the street and protected
42
DESIGN PRINCIPLES AND PRACTICES: AN INTERNATIONAL JOURNAL
7. from the prevailing wind. The program space was organized around the courtyard, with a
double loaded corridor and guest rooms positioned to provide maximum view of a large
lake.
Heat gain through radiative transfer (direct solar gain) has a direct impact on cooling load
and energy balance. Therefore, it was essential to focus on reducing these loads before they
entered the enclosure. This condition was particularly important for a hotel typology, with
multiple individual rooms on each floor which may or may not be occupied during the day.
The remainder of the heat gains come from equipment, lighting, occupants and roof enclosure.
Intuitive design moves based on climatic understanding were diagrammed to present to the
client in early design presentations (Fig 4.)
Fig 4: Site Photo and Solar Stress Diagrams
The remainder of the program spaces evolved in several iterations. The hotel rooms were
then elevated above a podium of shops, galleries, and banquet halls to provide better access
to view. The swimming pool was positioned at the edge of the courtyard and a night club
was placed between it and the main gallery space. Since the majority of solar insolation falls
on the east and west facades in this latitude, the building mass was dematerialized on the
east facade and the service corridors placed on the west. (Fig 5.)
Fig 5: Building Space Allocation and Circulation Diagram
Once the massing was in place, some basic fluid dynamic simulations were conducted to
determine if the prevailing monsoon wind could be enhanced or redirected by the sculptural
roof. The Venturi effect was found to have a small impact on airflow, and the building mass
blocked significant wind and wind driven rain. A range of triangular roof shapes were tested
to determine how they impacted wind speed in the courtyard. A low angled roof was shown
to reduce air flow in the courtyard to comfortable levels of 1-2 m/s. (Fig 6.)
43
JAMES KRAUS
8. Fig. 7: Solar Insolation Calculation
Fig. 6: Computation Fluid Dynamics Model
The client also wanted the building to capture impressive views to the east. The east-facing
glazed sections of the building had significant exposure to sun, therefore, the “solar stress”
on the façade was measured with Ecotect (a solar simulation analysis software). (Fig. 7.)
These solar stress or insolation values were then used to estimate heat gain and resultant
cooling load inside the building. They also provided a baseline for further façade development.
The results were shared and compared with an energy simulation model developed by the
mechanical engineering team to determine the final equipment configuration.
Materiality and Visual Comfort Studies
The client wanted the glass to be as clear as possible. The primary impact of clear glass on
the users is brightness and glare. Therefore, the levels of light were analysed to determine
the best material selections for visual comfort. The term “visual comfort” in building design
can be defined by two parameters: glare and visual light transmittance. Because the building
is located in a tropical climate, the sun is very bright even when it is cloudy which made
glare a concern. The visible light spectrum refers to a range of light wavelengths that do not
transfer heat but allow colors to be seen. To paraphrase Climate Design, The human eye
uses electromagnetic radiation from the sun in the wavelength range from 380 to 780nm.
The Earth’s atmosphere is transparent to these wavelengths and this gives humans a reliable
means of perceiving their surroundings. Higher visual comfort at work promotes a feeling
of well being and can therefore contribute to productivity”3
Users inside a building will feel
more comfortable when indoor light is closer to the true rendering provided by sunlight. A
lower amount of visual light is like being outdoors wearing sunglasses and not getting a true
color rendering of the objects around you.
A daylighting sensitivity analysis was performed to ascertain the sensitivity of the rooms
to glare and visual light. This would allow the design team to determine the optimum level
and dimension of the shading device to mitigate glare and solar gain. The analysis was per-
formed first on a two-dimensional or flat curved shading surface, then as three-dimensional
surface with 600mm deep shelves and curves at varying points around the building as test
cells. The test cells indicated the level of illumination required to diffuse the strong glare.
Radiance, an advanced ray-tracing lighting simulation tool developed by Lawrence Berkeley
National Laboratory, provided the team with advanced photometric data, photorealistic
renderings, and quantifiable levels of light in a computer simulation (Fig 8.) Since heat
generated from lighting can contribute to an increase cooling loads, daylighting can reduce
cooling loads in the building by eliminating artificial lighting. The passive strategy in this
44
DESIGN PRINCIPLES AND PRACTICES: AN INTERNATIONAL JOURNAL
9. case was to minimize and diffuse the harsh tropical sun to prevent radiant heat transfer, and
to supply usable light to offset heat generated from the buildings lighting during the day.
Fig 8: Parametric Daylighting Studies and Visible Light Spectrum
Glass Selection
The client wanted a glass that had minimal sound transmittance and best rendering of visual
light and solar control. A range of industry glass types were simulated in Radiance models.
Glass selection was determined by three main parameters: the Solar Heat Gain Coefficient
or SHGC, visual light transmittance as determined by the solar stress, and visual sensitivity
studies of the external acoustic environment. The visual sensitivity studies were used to
simulate a range of glass types. The glass types were cycled through the simulation to find
a manufacturer with a relatively high SHGC and high visual light transmittance in the range
of 50-70%.
An understanding of the acoustic environment was facilitated by an acoustical consultant
who pinpointed the peak sound load generated from passing trains in a series of field tests.
The tests registered passing express train horns with 90-100 Decibels when they passed the
hotel. The distance from the sound source and the background noise from equipment led to
the selection of laminated glass outboard light, 24mm air space and 5mm inboard light. The
greater mass of the assembly prevented the outdoor noise level from exceeding the “threshold
of waking,” a ratio between ambient indoor noise such as HVAC units and noise sources
outside such as trains or emergency sirens. The hotel’s design standard specified that the
Noise Coefficient of the rooms needed to be below this threshold despite the proximity to
the local train station and express train traffic. The final selection consisted of a 35mm insu-
lated glazed unit by China Southern Glass, thicker than the industry standard IGU of 24mm.
The unit make up was a 6mm laminated outer light, at 24mm air gap, and a 5mm inner light
with a double low-e coating on the #4 and #5 surfaces.
Intuitive Design Response + Design Development
The intuitive design response to all these parameters and analysis was a perforated metal
screen fulfilling a desire to mask guest room areas without reducing views. The initial geo-
metry of these perforations was inspired by regional vernacular and craft-making traditions
embodied in the crown jewels of Nizam. The Nizam were the ruling class in the region who,
at one point, had the most valuable jewel collection in the world. The large leaf-shaped
45
JAMES KRAUS
10. geometry was a perforated in flat metal and combined into a repeating pattern across the
façade. (Fig 9.)
Fig 9: Rendering and Elevation of Perforated Screen
The three primary environmental factors which informed the design included solar orientation,
access to view, and use of diffuse daylight. The screen provides both privacy and shading
during the day and a rich diurnal shift at night, when the rooms become illuminated and the
privacy curtains are displayed. Before an empirical analysis of solar gain and view could be
determined, a “fitness score” was developed for each room or program type. The fitness
score indicated the level of response the screen pattern would have to the four parameters
of view, sun shading, daylight and program. (Fig 10, 11) In initial meetings, the client wanted
to develop a design that responded to the environment while maintaining a “timeless quality”
that reflected local craft traditions. The initial concept had some of these qualities, but the
client thought the scale of the pattern was too large, so the design team embarked on a series
of investigations of the scale and constructability of the micro perforations in the screen
wall. (Fig 12.) After a series of visualisations of the proposed design, the decision was made
to proceed with a smaller scale embossed pattern. This decision eventually led to number
of unanticipated benefits including self shading of the perforations and increased structural
stability of each panel.
Fig 11: Program Parameter DiagramFig 10: Solar Orientation Parameter Diagram
At this point in the design, a building energy simulation was conducted and the screen was
found to yield a 20% reduction in a baseline energy building model as defined by ASHRAE
90.1-2004.
46
DESIGN PRINCIPLES AND PRACTICES: AN INTERNATIONAL JOURNAL
11. Fig 12: Façade Screen Design and Material Studies
Material Prototyping – Material Goals and Construction
Once the design evolved past the initial screen pattern studies, the team began to work with
various manufacturers to understand the limitations of the design in material properties and
constructability. The team engaged in a pre-bid prototyping phase with a multinational en-
velope fabricator to test some of the material and construction research in a built mock-up.
The mock-up was both a visual understanding of the design for the client as well as a
process of vetting material decisions for the design and construction team. First, a flow chart
was developed to outline the process of collaborating during this phase of the project. (Fig
13.) Second, the scope of the mock-up was determined by considering the minimum size
needed to test two material ideas for visualization and a suitable size and section of the final
building to represent the maximum number of conditions. Third, a series of prototypes and
details were developed through back-and-forth collaboration with the design team and fab-
ricator. Finally, a complete prototype assembly was constructed and reviewed with the client
before a design-build contract was awarded.
The flow chart was developed by the multinational fabricator at the start of the process to
highlight the schedule and process for completing the prototype. In an initial concept phase,
the team sent physical models and computer models to develop a visual prototype. (Fig 14.)
The mock-up process was used to study and install stainless steel and aluminium panels,
and an alternative material that could be more flexible. After further material research, only
stainless steel and aluminium were installed.
The process of cross collaboration started with stainless steel. Stainless steel was initially
preferred by the team for its visual quality and low maintenance, but was found to be inap-
propriate for three reasons. First, the dyes created to do the double punch emboss process
were not strong enough to conduct multiple repetitive operations without breaking. Second,
once the panels were constructed, they were heavier and harder to handle than aluminium
causing problems in shipping and installation. Third, the air in Hyderabad is very dusty and
was found to have a high degree of suspended iron fragments. These fragments had the po-
tential to become embedded in the stainless steel and rust. The only way to prevent this was
a continuous coat of oil which would have been very time intensive and expensive to apply.
47
JAMES KRAUS
12. Fig 14: Rendering of Mock-up
Fig 13: Fabricator Flow Chart
Another concern of the design team was oil-canning of the metal panels due to a release of
internal stresses once the panels were deformed for the pattern. Oil-canning is the deformation
of a flat sheet of metal during fabrication caused by stresses induced in the manufacturing
process. The oil-canning was more apparent on the stainless steel panels because of the
stresses generated from deforming the panel.
The shape and depth of the perforation created structural stability. The punched and em-
bossed aluminium assumed a symmetrical shape with a depth of 6mm proud of the surface,
increasing the section modulus of the panel and providing greater stiffness in the whole
system, much as a corrugated roof supports a heavy load with light gauge material. (Fig 15)
The prototypes ultimately used on the project were fabricated out of aluminium. They
were malleable and durable enough for repetitive punching. A multiple powder coat finish
then provided the final layer of protection. The high recycled material content of aluminium
also made it an ideal material selection for the sustainable goals of the project. Once the final
prototypes were completed, they were installed at the testing facility and reviewed with the
client (Fig 15, 16, 21.)
Fig 16: Stainless Steel PrototypeFig 15: Aluminium Prototype
48
DESIGN PRINCIPLES AND PRACTICES: AN INTERNATIONAL JOURNAL
13. Building System Design
The exploration of the aqueous and atmospheric environment from the initial climate analysis
led to a secondary priority of water utilization. The limited amount of water and energy in-
frastructure in emerging countries such as India is a significant restriction to sustainable
economic growth. While the building envelope impacts energy infrastructure, the building
systems impact the water infrastructure. The environmental constraints established limitations
on the system design which made it all the more significant to identify external variables
early in the design process. The government of India has also instituted mandatory water
conservation measures for all new buildings. The Park Hotel adhered to these guidelines by
installing an on-site water treatment facility. The on-site equipment treats sewage and grey
water generated in the building and uses it for irrigation on site. Additionally, water storage
tanks in the building collect and distribute rain water for non-potable use inside the hotel.
(Fig 17.)
A baseline energy simulation model was developed (EDS 2007) to compare to the design
case. Once a baseline envelope design was complete, the HVAC system design could reflect
the advanced design of the envelope system. The cooling loads generated from solar heat
gain were approximately 20% lower than the baseline model. Further detailed optimization
of the prototype only improved the designated performance of the energy and HVAC systems.
Fig 17: Water Conservation Strategies
Performance Optimization with Data
The final stage of envelope and screen design involved optimization based on aesthetics,
environmental performance, and fabrication criteria. A custom automation tool was used to
combine a multiplicity of seemingly contradictory options into a curtain wall design pattern
balancing a broad range of parameters and priorities. The computer generated envelope
design was assessed by the design team and revised as needed to ensure conformance with
design intent and project feasibility.
Environmental performance data was generated over the course of several months in
collaboration with the Product Architecture Lab at Stevens Institute of Technology in
Hoboken, New Jersey. The general logic used by the Stevens students was first to calculate
the amount of solar radiation that falls on a given surface of the curtain wall without perfor-
ation. Second, the optimum shape and size of the openings was calculated based upon solar
analysis of the same surface with maximum perforation. The minimum opacity (percentage
of surface area that is perforated) of the pattern needed to obtain target lighting levels was
then determined through a series of solar lighting studies of the interior spaces. The minimum
49
JAMES KRAUS
14. depth of the “shelf or “return” was determined by the initial shading and solar stress studies
to be 200mm. (Fig 18)
Fig 18: Solar Insolation Test Cells in Ecotect
Design decisions were made by experience and aesthetics. However, prototyping was neces-
sary to determine if the metal would in fact perform as designed. Once the prototyping process
was finished, the results of the physical testing could be compiled as data to further inform
the design. The design generated in this case results from an intuitive but informed approach
by the design team combined with the aesthetic goals of the client. The solution materializes
in the form of ‘rules’ which the design team can then quantify within the building information
model. The aesthetic design approach called for a gradient to be formed by varying the level
of perforation across the surface. Before applying the rules that generated the optimized
pattern, the screen was audited for the required level of sun shading, daylight, view, and
program. The initial design then served as the starting point for generation of the optimized
surface pattern, which was constrained and guided by an additional series of predefined rules
for fabrication and environmental performance. Optimization rules included: a gradient or
transition of open to closed perforation types, a closed embossed pattern where there is no
view such as the spandrel zones between windows, and maintaining a view zone of 1.5
meters in the prime hotel rooms and 1 meter in the service areas, while providing a curvilinear
transition for each gradient following the window opening edge lines.
The fabrication data was a summary of lessons learned from the prototyping process such
as joint and panel connections and material thresholds. These data sets were used to control
the size and extent of the shape defined in the parametric computer model. The primary
pattern component or “trillium” perforation was modelled as a series of interlocking nested
hexagonal shapes in Digital Project (parametric design software developed by Gehry Tech-
nologies) (GT) (Fig 19.). GT consultants provided help with developing a full building
geometry model using existing elevations. A custom script was developed to populate the
nested shapes across all building facades based on an optimal opacity. The custom tailored
pattern responds to varying lighting needs and program types around the hotel. This digital
50
DESIGN PRINCIPLES AND PRACTICES: AN INTERNATIONAL JOURNAL
15. project software output generated 6000 custom panels. The panels were then surveyed to
determine similar shapes or patterns within a “performance family” that could be calculated
and sent back to the fabricator for pricing and construction. The final count consisted of
approximately 300 custom perforation patterns or performance families.
Fig 19: “Trillium” Pattern used to Create Overall Screen Pattern and Opacity
Final Solution for the Envelope
While experience and aesthetic goals guided the development of the initial form, the solution
evolved through the input of multiple collaborators. Ultimately, the client has the final say,
but it is the responsibility of the design team to foster communication that allows for feedback
loops to develop. The color diagrams above represent the various manufactured pattern
components determined by the fabrication prototyping process. The final design solution is
a computer-derived pattern composed of custom panels that could be fabricated through a
programmed laser punch machine that the fabricator had purchased. (Fig 20.) The pattern
creates a range of gradients that change from open or "perforated" to closed or "embossed"
shapes. For example, the south façade has more open perforations while the west has more
closed embossed shapes due to increased solar exposure.
Fig 20: Final Pattern Solutions – South Façade Fig 21: Visual Mock-up
51
JAMES KRAUS
16. Conclusions
The final solution for the Park Hotel evolved from an intuitive response to a detailed envir-
onmental analysis and collaboration with fabricators and consultants. The design performance
and ecological impact of the building developed through a collaborative process in which
all groups had input and impact on the final design. This process resulted in 20% reduction
in energy loads from a baseline design. The optimized design would not have been possible
without the use of building information parametric modelling and environmental analysis
to inform and produce the metal screen. The final design combined sustainable, energy-effi-
cient, and performance-based design results with regional, environmental, and cultural
sensitivity to allow for design and performance evolution through multiple inputs.
Acknowledgements
Key design team members include: SOM New York design team – Roger Duffy, Peter Magill,
Mark Igou, Peter Lefkovits, Thomas Behr, Katherine Wong, Paul Cha, Michael Kirchmann,
Kwong Yu, Eric Van Epps, Herb Lynn, Victor Keto, Keith Besserud, Josh Cotton, Neil Katz,
Ajmal Aqtash
Environmental Consultants – Environmental Design Solutions, New Dehli (India)
HVAC Consultants – Spectral Services Consultants, Noida (India)
Acoustical Consultants – Cerami Associates, New York
Curtain Wall Contractor – Permasteelisa India Ltd, Bangalore, India
Client – Apeejay Surrendra Park Hotels
References
1. Fitch, James Marston. 2: The Environmental Forces That Shape It 2nd Ed. (New York:
Schocken, 1972), p.6-7
2. Kohli, Varun, “Form Follows the Sun: SEZ Office Complex” 25th Conference on
Passive and Low Energy Architecture (October 2008)
3. Hausladen, G., Saldanha, M. de, Liedl, P., Sager, C. Climate Design: Solutions for
Buildings that Can Do More with Less Technology (Basel: Birkhauser, 2005), p. 20
About the Author
James Kraus
James Kraus has been leading SOM's efforts in Sustainable design, helping to integrate and
guide the development of peformative, environmental, simulation tools in generating advanced
geometry(and vice-versa) Utilizing scripting, and working with performance tools (such as
Ecotect, IES, and advanced 3D modeling tools) on all SOM projects. James is activly engaged
in all scales of the design practice including urban design, hospitality and commercial office
buildings. Prior to Joining SOM he completed a Masters degree at the Architectural Associ-
52
DESIGN PRINCIPLES AND PRACTICES: AN INTERNATIONAL JOURNAL
17. ation in London in Environment and Energy. He also holds a Bachelor of Architecture from
Virginia Tech.
53
JAMES KRAUS
18.
19. EDITORS
Bill Cope, University of Illinois, Urbana-Champaign, USA.
Mary Kalantzis, University of Illinois, Urbana-Champaign, USA
EDITORIAL ADVISORY BOARD
Genevieve Bell, Intel Corporation, Santa Clara, USA.
Michael Biggs, University of Hertfordshire, Hertfordshire, UK.
Thomas Binder, Royal Danish Academy of Fine Arts, Copenhagen, Denmark.
Jeanette Blomberg, IBM Almaden Research Center, San Jose, USA.
Eva Brandt, Danmark Designskole, Copenhagen, Denmark.
Peter Burrows, RMIT University, Melbourne, Australia.
Monika Büscher, Lancaster University, Lancaster, UK.
Patrick Dillon, Exeter University, Exeter, UK.
Kees Dorst, TUe, The Netherlands; UTS, Australia.
Ken Friedman, Swinburne University of Technology, Melbourne, Australia;
Denmark’s Design School, Copenhagen, Denmark.
Michael Gibson, University of North Texas, Denton, USA.
Judith Gregory, IIT Institute of Design, Chicago, USA; University of Oslo,
Oslo, Norway.
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Liz Sanders, Make Tools, USA.
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São Paulo, Brazil.
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