CED CASE STUDY

IT Integrated designIntegrated 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, 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 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, andSometimes 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;

• 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.

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.

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.

ResultsThe 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.

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 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 are straight and half drop. Often, the same design is produced in many different coloured versions, which are 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 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 seals and 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 printing is typically done using a printing press, while small-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 apparel design, lines can be a seam or embroidery or be used to describe how the garment fits the body. In textile design, lines can a pattern on fabric, such 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 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 are non-contact, meaning that media is printed on without hand contact, allowing for a more precise image. This prevents the image distortion that 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.

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

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 Greencard Creative. 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 designing and communicating with 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?

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.

Visual Communication DesignVisual 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 DesignProduct design courses focus on the design methodologies and technologies around the production of physical artefacts.

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 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 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 complexWhen 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.

Good Design is Good BusinessCGD™ 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.

Industrial Design

Site SurveyArabian 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.

Design and IntegrationIn 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)

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.

InstallationWe 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 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.

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.

MaintenanceTraining 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