added assembly info

docs/assignments/week02.md

@@ -313,7 +313,6 @@ So in the end: I will cut only the outlines and the fold lines and kept the canv
 
 
 **Change of plan, cutting at work**<br>
-
 I had to do another cuttest because I changed to the different machine and ended up cutting at speed 400 power 22. Some of the element curled up so I had to be smart about layering and order of cutting, because once they curl up the focal length changes so you will not get nice cuts anymore. I made sure the machine cut the insides and then outsides by separating the layers and ordering them, and changing these settings:
 
 ![](../images/wk02_smartsettings.jpg)
@@ -330,12 +329,21 @@ The tabs give guidance and hold the mannequin together to some extent, but they'
 ![](../images/wk02_assemble1.jpg)
 
 **Order of assembly**<br>
-I made the separate limbs first and then put it together. The size of the mannequin was a little too big for the strength the paper could give. A smaller model would have been much sturdier. But in the end I filled it up with the left over paper from cutting and it's standing firmly now! Probably not fit to travel though. It was quite amazing how it went from very floppy (in the middle of the process) and feeling it gain coherence and structure as I advanced. It reminded me a lot of how confused I can get while sewing when you have to keep pulling things inside out. I find it easy to get confused about what body part I'm working on haha. 
-
-Left arm: 
-Right arm: 
-Head: 
-Back: 
+I made the separate limbs first and then put it together. The size of the mannequin was a little too big for the strength the paper could give. A smaller model would have been much sturdier. But in the end I filled it up with the left over paper from cutting and it's standing firmly now! Probably not fit to travel though. It was quite amazing how it went from very floppy (in the middle of the process) and feeling it gain coherence and structure as I advanced. It reminded me a lot of how confused I can get while sewing when you have to keep pulling things inside out. I find it easy to get confused about what body part I'm working on haha. I assembled in this order, constantly referring to the slicer 3D model to see which parts should connect: 
+
+1. Left arm: 19, 20, 23, 24 and 25
+2. Right side of belly: 1,3,14,21 and 21
+3. Boob/belly: 4, 5 and 12 
+4. Head: 13, 31 and 32
+5. Back: 6, 7, 10, 11, 15 and 17
+6. Right arm: 27, 28 and 29
+7. Last bits: 
+	* 9 = near left shoulder
+	* 8 = near left boob
+	* 2 = underneath bottocks (I didn't use this)
+	* 16 = near right shoulder
+	* 30 = near chin/shoulder (I didn't use this)
+8. Connect the above elements starting from the head down
 
 ![](../images/wk02_consentual.jpg)
 

docs/assignments/week03.md

 # 3. Circular fashion
 
+## Tutorial by Cecilia
+
+Look at interlocking textiles
+
+Armours
+
+Moroccan architecture
+
+Mandalas
+
+Snowflakes
+
+Portuguese tile patterns
+
+Architectural structures
+
+indonesian bone carving
+
+kaleidoscope!
+
+
+KEEPING IT FLAT
+
+
+You can make a male and a female, or male/female at the same time.  You can also make three different elements
+
+Think in directions (3, eg. triangle, 4 eg rectangle, or 8 eg star. 
+
+By creating excess, material sticking out you can create dimeanions. But that's sort of decorative 3D, not structure. 
+
+Real 3D is always done with triangulation. The shape doesn't really matter, the shape of the centerpart is what determines #directions and ways of interlocking. Everything outside the centershape is excess and decoration.
+
+You can use the edges of the center shape, or the corners. 
+
+Think: colors, transparency 
+
+Combine thicker and thinner textile. Play with different sizes of the modules. You can also layer up if your holes permit! 
+
+You can use leather, felt etc, rigid materials. But also organza and thinner matterials *can work* can have led to beautiful results.
+
+GOING 3D
+
+The key is playing around with paper. There's not really rules for it. 
+
+Also think of creating empty space! Don't succumb to horror vacui, the empty spaces will give room for options and add-ons.
+
+Think *movement*, loose parts can move. 
+
+ZERO WASTE
+
+Design on a grid if you want to do this. See Jessica's example. 
+
+
+PROCESS
+
+Don't look at modules! Get inspired by literally anything else, nature, armours, any system with structure.
+
+ASSEMBLING
+
+There should be a logic to this to I guess. Write it up, document it REAAAAAAALLY well. Test your instructions with someone else. 
+
+Make a "pattern", like a knitting pattern. 
+
+To make a garment: design the modules into the dress pattern, you can design finished edges. 
+
+Rhino can make nice arrays
+
+
+INSPIRATION
+
+See documentation of of jessica stanley from last year: it's male/female AND zero waste.
+
+You can encode the textile too! Eg. Jessica's binary. 
+
+See Irene Caretti's dress. So gorgeousssss
+
+Grid: triangle, hexagon, square? Determines structure?
+Decorative elements: what do you want it to look like?
+Material: determines width of cuts and arrows.
+
+Rei Kabakubo-Comme des Garcons worn by Rihanna. OMG yes. 
+
+Post-Couture Antwerp. Look at their double interlocks. It helps to make things really wearable. Like a tiewrap.
+
+Häckel's biological studies, drawings!
+
+Fish skin!
+
+REQUIREMENTS
+1. modular
+2. as zero waste as possible
+3. 
 
-This week I worked on defining my final project idea and started to getting used to the documentation process.
 
 ## Research