DIGITAL DESIGN & FABRICATION: SM 1 2016

THE EXPANDING PARABOLOID

ROMANA RADUNKOVIC (758087)
TIM, 12PM THURSDAY, SEM 1 2016
2nd Skin Project
The Expanding Paraboloid
1.0 IDEATION

Hyperbolic paraboloids
1.1 OBJECT

The hyperbolic paraboloid

is flattened out and laid out
on a flat surface to be pho-
tocopied. It is then carefully
traced using a pencil and ruler.

DIGITAL MODEL MAKING

METHOD:

On Rhino 5, a cube, measuring

210mm at each side, was cre-
ated using lines and squares.

The next step was to use

the SrfPt command and
selecting the surface cor-
ners to match up with
the corners of the cube.
The cube was then deleted.

The surface was then

shaded to produce the
hyperbolic paraboloid.
The object is made using a piece of
sqaure paper, following the instruc-
tions from an internet tutorial. Mea-
surements are taken using a ruler and
the object is re-drawn at a scale of 1:2.
1.2 ANALYSIS

Showing the movement of the final Showing that once the object is complete-
step after the object has been folded. ly made it can be ‘opened’ and ‘closed’,
ultimately creating a different shape.

The paper is folded multiple times to produce a grid. The next step is to shape the gridded folds in such
a way that the result is an object with peaks and troughs. By folding the object outwards and in oppo-
site directions, a shape with two curves is created. It is interesting that a paper, initially composed of trian-
gles and squares is able to create two curved surfaces opposite each other and facing different directions.
From here the object is able to be moulded. It can be folded back into its original, rectangular, shape or
sort of closed into a triangular shape. Another interesting component of the object is that it can be re-
versed. The points at each corner can be pushed in the opposite direction and the object smoothly flips itself.
 1.3 VOLUME

The idea of my reconfigured model came

from changing the folding patterns and
grid size of the initial folds of the hyperbol-
ic paraboloid. After a number of different
ideas and attempts, the final product was
made up of larger folded squares using the
same folding pattern to create the shape.
As shown in the images above, volume is
able to be created by creating multiple cop-
ies of the model and joining them together
at the corners where they slot in perfectly.
1.4 SKETCH DESIGNS

second skin support-contour-mould-comfort-relax rotate-twist-shape

The system acts as a second skin so it is a light and The system caters to any part of the body and The system protects personal space by act-
flexible barrier that helps to protect a person’s im- allows a person to be seek comfort and rest with- ing as a cage around the person. The twists al-
mediate personal space from unwanted intrusions in their own personal space. The pointy edges low for maneuverability so the person is not re-
could also act as a sign to ward off intruders. stricted. The folds keep intruders at a distance.
 1.5 REFLECTION

The object was easily measured using a ruler. It was flattened out, rotated, flipped inside and out to get a better feel for and
determine it’s properties. It was found that the object had a double-curved feature, which provided for an interesting geome-
try that was able to twist and turn. The panels and folds allowed the object to be more rigid and sturdy so as to hold its shape
rather than fall flat. What was most striking to me was that a flat, sharp and straight edged piece of material could be fold-
ed into this obscure shape that kept its form and produced smooth curves, yet it was also flexible. This flexibility, rigidity, and
curved feature was something I really wanted to abstract from the object and mold my designs around. In coming up with a
working definition of physical space, I considered that it was an “invisible boundary surrounding a person’s body into which
intruders may not come” (Sommer, 1969, p. 26) that changed in terms of your location and who was around you. Keeping this
definition in mind, I thought that my design for a sleeping pod should answer a few questions. My first question was what is my
intention with my design in terms of personal space? I wanted a sleeping pod that protected one’s personal space by cre-
ating a barrier between it and the surrounding environment. How could I achieve this? This was to be achieved by creating
privacy through a design that surrounded the person. What is the most important aspect of the body to protect? I wanted to
protect the head the most as whilst you are asleep your senses are turned off and I felt that it was most important to shield the
head from outside noise, people, light, smells, and physical contact. How could I ensure that a person would feel comfortable
falling asleep in such a public place such as university in terms of personal space? Disregarding physical comfort, I wanted
the person to feel mentally comfortable in falling asleep in a public place without having to worry about unwanted intrusions
into their personal space by others. I thought that it was important to have an aspect of protection in the form of physical
extrusions that would keep bystanders away so that it was ensured that the personal space would not be intruded upon.
I don’t think I fully understood the brief at the time. I believe that these were my underlying ideas but I just didn’t know how to
express them and failed to do so with the proposed 2nd skin designs. I think I achieved pulling apart the object and getting to
know how it worked which aided in further modules. As my understanding of the brief cleared up, my ideas began to develop
a lot more and in conjunction with my team members’ ideas, we were able to come up with a sole target of intentions that
we achieved through designing and redesigning based on all of our initial ideas and foundational strategies.
2.0 DESIGN
Group Members: Lucy Jenkins & Maryanne McRedmond

Rhino model of final design

 2.1 DESIGN PROPOSAL V.1

This design is very similar to one of Lucy’s designs, however

instead of being comletely rigid we have decided to try
and explore how we could make it collapse into a skin-like
form when personal space and protection is not needed.

We had some trouble working out how to effectivelty and efficiently expand and contract each
module without too much effort. The basic shape worked but we need a more complex mech-
anism that will semi-automatically allow the shape to pop back into place once collapsed.
 2.2 DESIGN PROPOSAL V.2

This design shows multiple hyperbolic paraboloids together and contracting and expand-
ing, which could be used for different levels of personal space when worn. We need to
resolve how to change the sizes or even shapes and stick them together coherently.
 2.3 PRECEDENT RESEARCH

Compression

Tension

The precedent design is a paper module using panel and fold to expand and contract as
a shell-like structure. It uses a complex series of folds to “tube” over the body and allow it to
fold away again cleanly with ease. Due to the multiple folds, the structure is still rigid once
it has been expanded, hence offers some preotection and personal space for the wearer.
Gaia scissors + paper rock

To resolve the issue of joining edg-

es of different lengths we cut one
fold from half of the initial shape.
We were inspired by this structure because it uses the same system as a hyper-
bolic paraboloid, and just like the shell structure, a hyperbolic paraboloid can ex-
pand and contract also. We wanted to grow on this idea and create a more com-
plex shape that can accommodate multiple sleeping positions for the sleep pod.
2.4 PROTOTYPE DEVELOPMENT V.1
Individual pieces of the module Elevation oEf module unfolded Plan of module unfolded

PROBLEMS ENCOUNTERED

The laser cutter is only able to cut paper of

200GSM minimum. This thickeness proved to
be too rigid once folded so we had difficulty
getting it to compress. We are trialling differ-
ent materials and the aim is to create a mod-
el that is rigid enough to support the neck
and head, but also easy to unfold and fold
back again when needed. We believe this
can be done with a thinner material and with
the aid of elastic to pull it back into place.

Plan of module partially folded

Perspective of module folded Perspective of module partially folded

The photos above show one module of the design while folded down and in compression. As shown, it can sup-
port the neck and head in multiple positions, accomodating for different types of sleepers. With the full design,
the wearer will also be able to have personal space and more protection of the head, as partly shown below.

The photos above show the module unfolded and in tension. This aspect of the design addresses the is-
sue of personal space, but also the need for lack of stimulation while sleeping. Once enclosed, the
piece will reduce audio and visual stimulation recieved by the wearer, hence making it easier to sleep.
2.5 REFLECTION

We sort of re designed a whole new idea at the beginning of this module which was bascially a step back from what we did in
module 1 but also probably a better idea because we did not seem to satisfy the brief in the first module. We did take into consid-
eration a few aspects from each of our proposed 2nd skin designs to create a proposed design, which we ultimately discarded.
What was prominent through our module 1 ideas was the notions of privacy, protection and comfort and we took what we could
from each of our designs that fit into these categories to create a new proposal. Sommer (1969) talks about different cultures and
how city like Hong Kong where there is more density there is more leeway for personal space invasion. We considered that at uni-
versity, whilst studying the environment is not densely populated thus the invisible personal space boundary, as mentioned earlier,
would be wider and our spikes have accounted for this. You are not as comfortable with all these strangers so you want protection
too, but you are not completely uncomfortable that your entire body needs to be protected against these people. This led us to
consider the idea of the ‘shell’ precedent as mentioned in lectures and it became something we wanted to incorporate within our
design. This was the design that we continued with because we thought that it met all of our intended criteria and was an idea
that showed a lot of promise and could be developed further. Our first proposal was very simple in that we wanted to keep the
properties that we thought were very interesting about our object, the hyperbolic paraboloid, and we wanted an expanding and
contracting sleeping pod. I think we were quite successful in pulling out ideas and properties from our initial object and our prec-
edent, and also through external research to produce a design that we thought would be able to follow through to the end. By
choosing to remain with our initial object, I think we limited ourselves a considerable amount in what we could achieve, but I think
through endless experimentations we were able to pull out the strongest properties of our object and manipulate them to suit our
design. Although it was difficult and we thought that different types of shapes would be easier to use, in my opinion it was bet-
ter that we stuck with this because it allowed us to really get to know the object and how it works and it was very satisfying to be
able to overcome the challenges of applying it to our design. It allowed us to think more critically and logically and pushed us to
think outside the box to come up with new techniques and ideas we normally wouldn’t have which was very beneficial for us and
allowed us to come up with a final design. It definitely taught us to persevere as was emphasized by Paul in the week 9 lecture and
just continue to make, and make, and make and to not stop until we were satisfied with an outcome. It was also emphasised in the
lecture that no matter how smart/good the digital model is, you still need to test particular properties through physical prototypes,
because some aspects of the design may not actually work, and we definitely took this on board to finalise our design. Through
multiple tests, we considered the ideas of abstraction and reduction as mentioned by Scheurer and Stehling (2011). We abstracted
and took out the data from our object with constant manipulation and discarded what we considered to be “superficial” (Scheur-
er & Stehling, 2011). We then found the best way to showcase our information and apply it to the criteria we wanted to satisfy for
our design.
 3.0 FABRICATION
Group Members: Lucy Jenkins & Maryanne McRedmond

Fabrication process
3.1 REVIEW

From Module 2, we wanted to extend our design more to the shoulders and arms, to create more ex-
panding space and therefore personal space for the user. We also need to do some materials test-
ing because the black card that we used for the prototype was too rigid and ripped when we tried
to fold it. We also need to further resolve the sizing of each module so it can be verstile between users.
 3.2 DESIGN DEVELOPMENT & FABRICATION OF PROTOTYPE V.2

Updated Rhino model of revised design: Updated Rhino model of revised de-
Plan view on body sign: Isometric view on body

ELEVATION OF RHINO
MODEL ON BODY

Updated Rhino model of revised design: Updated Rhino model of revised de-
Front elevation view on body sign: Back elevation view on body
Firstly we tested fabric with wire. It did not work well, as seen in the photo-
graphs, because the wire was too rigid to bend and did not bounce back
into place. Hence, it did not allow for the movement we desired in our
design. Although it can nicely mould around the body, it was also uncom-
fortable on the body, which was another major downfall of this material.

Secondly, we tested out paper, which we had already done, but with
extra folds. Although we thought this would make it more rigid, it made
it easier to bend and bounce back into place, which was our desired
outcome for the overall design. It is more aesthetically pleasing than the
design with less folds and just as comfortable on the body, if not more.
This is definitely an aspect of the design that we aim to carry through to
the final fabrication, though we want to incorporate different materials.

We then tested tissue paper that we coated in glue to strengthen. This

created an aesthetically pleasing translucent look to the paper, how-
ever it was too weak to give the support we needed. It also ripped easily
during fabrication, but also once dried. These things would cause a lot
of issues with multiple users. The design needs to be sturdy and durable.

We decided to go back to the hybrid idea, though this time we

chose two different materials from the previous test. Next we used
the card that was tested as the first prototype in Module 2, but
where we found the design was weak, at the folds, where it was
tearing easily, we glued fabric. This made the material a lot more
durable and easy to fold, which was our desired effect. How-
ever, the glue made it messy and it was still very rigid when fold-
ed. We needed an equally durable material, but less sturdy.

The fabric was working well so we decided to test it out some more. Using
fabric stiffner to strengthen the fabric and hold it in place, we used the card
as a mould. However, as we tried to take the fabric off the mould, it stuck.
This resulted in an interesting and uncontrolled hybrid of fabric and card,
though was quite effective. It was durable but flexible where needed. We
wanted our final piece to be aesthetically pleasing so potential users will
want to purchase our pod. Therefore, we decided to use extra fabric stiff-
ner and allow it to dry a little before moulding. The final test was successful.
The final prototype test of stiffened fabric modules worked well, although was too flimsy. The modules compressed too
much and did not bounce back into place enough. Adding more modules could have helped, but not enough to gain
our desired effect. We decided to use fabric for some of the modules in our final fabrication, but needed a more sturdy
material for the main modules on the shoulders and neck, which is where the most support was needed by the user.
3.3 FINAL PROTOTYPE DEVELOPMENT

We tested our refined design with paper to make

sure all dimensions were correct before getting
the main structural components laser cut in poly-
propolene. There will be three main structural
modules, one on each shoulder and one at the
back of the neck. The rest of the head piece and
arm pieces will be made from stiffened fabric.
We used a hybric of materials- polypropolene and fabric, to allow for
maximum utilisation of our design. The polypropolene acts as a sturdy
base for the entire design, and all other modules will stem from these.

The fabric will be softer and provide comfort for the wearer while al-
lowing movement and most importantly, expansion of personal space.

The expansion of the modules creates a spikey protection barrier for the
wearer and can be altered depending on the position of the wearer.

Initially, it proved difficult to determine the necessary measurements and

geometries we intended to utilise for the fabrication process. Our first steps
included measuring out our desired number of panels and folds and at-
tempting to fold the paper in this way. This was unsuccessful as the pa-
per gave easily and would not hold shape. The next step in the process
was to create regular hyperbolic paraboloids and only once they were
completely made, would we cut off a particular number of panels to
achieve our desired result. This worked extremely well as there was no
added difficulty in the folding process and we were able to create what-
ever size we deemed was fit. This then allowed us to determine that the
best way to join hyperbolic paraboloids together for fabrication was to
always ensure that connecting elements had the same side lengths. We
then created an unrolled model that allowed us to make continuous hy-
perbolic paraboloids whether they were increasing or decreasing in size.

As our second material was soft fabric, we were unable to laser cut it. There-
fore, the process of creating tens of hyperbolic paraboloids was very tedious.
It involved measuring out the fabric, cutting it out, gluing it, drying it and
moulding it. To simplify this process and develop an efficient system, we used
already cut pieces of card that matched our measurement specifications
and traced these instead of spending time measuring every piece of fabric.
By ensuring that the fabric was dry enough before moulding it,
we were able to continuously re-use the same card moulds, sav-
ing us both money and time laser cutting and re-folding them.
Through experimenting with material prototypes, we were able to realise
the most functional and aesthetic material and material processes for our
design. We began with paper and continued to use it all the way through
to test ideas, as its convenience to buy and relative rigidity made it easy
to work with. However, we didn’t use this for our final design due to its sim-
plicity, as well as lack of intense rigidity and also comfort against the skin.

We then moved to Opium card, which wasn’t far from paper, but
had more of the structural qualities we were in need of. Howev-
er, the card continued to tear when in both high intensity tensile
and compressive situations (movement and head resting/support).

Lazer cut polypropylene

We then began experimenting with tissue paper as a

non-structural member of the project, but found that its
tendency to tear under any pressure was not practical.
Material with wire Paper
Material with wire was similarly not suitable, as we be-
lieved it too closely resembled the skin and bone system
as opposed to panel and fold. Finally, we manipulated
the material and wire idea to just be material with fab-
ric stiffener. We combined this with Polypropylene to final-
ly fabricate our design idea. The two material work in har-
mony, as one (material) is a secondary comfort member,
and the Polypropylene is the primary structural member.

Tissue Paper Lazer cut Opium card

 3.5 FINAL DIGITAL MODEL

Rhino final model plan view

Rhino final model elevation view

Rhino final model isometric view Rhino final model isometric view
 Our final proposed design incorporates our foun-
dation ideas of personal space where comfort,
privacy and security were the most important
features. Building on our initial ideas from the M2
module, we further developed the expanding
shell properties of several hyperbolic paraboloids
connected together to sit behind the head and
fold over the entire head for privacy. The idea of
expanding geometries is incorporated into this to
ensure security by warding off potential personal
space intrusions with the large spike effect. Com-
fort is achieved through the use of hyperbolic pa-
raboloids made out of fabric sitting closest to the
face where the user is able to rest their head. The
connection of the elements in our proposed de-
sign has come from our revised design after M2.
Expanded second skin final design Contracted second skin final design

Our proposal is to attach the arm and

The introduction of hyperbolic pa- elbow sections together with elastic by
raboloids on the arms in the revised sewing it onto each edge so that it can
design has been further developed easily be placed on the body and fit
through physical and digital mod- on arms of varying sizes. The stiffened
elling and prototyping to span the fabric pieces are to be hand-made as
length of the upper arm and connect the fabric is too delicate to be cut on
in such a way that it still allows for ma- a laser cutter. The fabric elements are
noeuvrability but the spiked ends pro- to be sewn together using a sewing
trude out to achieve added security machine to achieve precision and effi-
and comfort for different seating and ciency. The fabric pieces are then hand
sleeping positions. An extra security sewn onto the laser-cut polypropylene
measure are the three hyperbolic pa- hyperbolic paraboloids as the material
raboloids attached to each other that is too thick to stick a needle through.
are to be located on the elbow as a
way to ward off potential intruders.

Motion of second skin final design with final proposed arm elements
 3.6 FABRICATION SEQUENCE

Each square of fabric was Each square was cut. The squares were laid out, The fabric stiffner was evenly The fabric stiffner was
traced out, using previously ready to be painted with squeezed onto each piece smoothed evenly over the
laser-cut card for precision. fabric stiffner. of fabric. fabric.

Each square was blow dried Each square was moulded Each square was folded Each square was folded by Final single module.
and another layer of fabric using the previously laser-cut around the mould. hand, without the mould, for
stiffner was applied and dried. card piece. precision and crispness.

Polypropolene pieces were Each sqaure was sewn The fabric pieces were sewn Elastic bands were sewn to The polypropolene pieces
collected from the Fabrica- together. to the polypropolene. the whole piece. were sewn together.
tion Lab and folded.
3.7 ASSEMBLY DRAWING

1.

2.

3.

3.
NE Back view
4.

Completed model

Major components
4.

SE Front view
1.

2.

2 1
3
4
:
- Hand sew all parts
5 Instructions: - Red lines represent where
- 7 elements fabric is to be placed against
- Elements are joined together using a polypropolene
sewing machine in the following order: - Thick lines represent where
6 1. 10x11 hyperbolic paraboloid polypropolene pieces are to
2. 11x12 hyperbolic paraboloid be joined
3. 12x13 hyperbolic paraboloid
4. 13x14 hyperbolic paraboloid
5. 14x15 hyperbolic paraboloid
6. 15x16 hyperbolic paraboloid
7. 16x16 hyperbolic paraboloid

7
4.

3.
Instructions:
- Join using same process as (1)

Final instructions:
- Hand sew (1).1 to (2).1 along edges
- Hand sew (3).1 to (2).2 along edges
- (4) is not connected to rest of object
Instructions:
- Hand sew pieces together
according to corresponding
coloured lines
3.8 REFLECTION

After module 2, we had a lot of work to do in terms of developing and finalizing our design, and ultimately fabricating it.
We started off by testing materials, as our final m2 model did not work effectively. By choosing to test out materials straight
away, we were able to discard particular ideas and also come up with new ones as we went along. It also allowed us
to add and subtract from our design based on what materials worked best and what properties they had that we could
exploit for our final design. I think that this was a necessary and successful first step to take. After determining the best
working material, we decided to manipulate it and reflect our design with it. Unfortunately, through this we sort of took
a step backwards as our design as not progressing but rather we came to a standstill because we didn’t know what to
do any more as our chosen material didn’t seem to be working. Fortunately, out of this did come a positive aspect as we
were finally able to resolve and remaining issue from m2 in our design that allowed use to mold the sleeping pod to the
body and connect it seamlessly. We then tested out some more material (polypropylene) in different forms and decided
on using a hybrid of materials for the final design. Through 3D digital modeling, we were able to determine how much of
what we needed.
3.9 COMPLETED SECOND SKIN
 4.0 REFLECTION
Most importantly, I have learned that persistence is key. By continuously working at something; pulling it apart,
putting it together, transforming it, rearranging it, etc. the answer will appear. By trying anything and every-
thing; even things you know are bound to fail, somewhere in the process you will come with new ideas; which
will lead to more failures, but more importantly it will lead to further ideas and successes and ultimately you will
be able to achieve what you are striving for; in this case development of the design. I’ve also learned, which
still blows my mind, is that your final design will not look anything like your initial idea. I remember being told this
in one of the first few studio sessions and I thought surely my idea won’t change that much. But I’ve learned
through experimentation and development that the design does change, and although you thought you had
a good idea to begin with, if you keep working at it your new and final designs will always be better and more
promising than what you had before, so I learned that it is important to not be stuck on one idea but to be fluid
in development so that your design can grow and not be stuck in one spot. Although we ultimately did want to
make something that could work; we didn’t want to be limited by this in our explorations because by creating
anything and everything we were able to develop our ideas further.
I think that something else that was very important to learn was that after you’ve exhausted all explorations
and your design still cannot continue, it is okay to discard it. It’s okay to leave it behind and go back to your
initial proposals and take what you’ve learnt from your first design process and apply it and add to it with other
ideas.
There were a lot of details to the design that I had to pay attention to and I didn’t realise this in the beginning.
You really have to think about every single little feature and how it works, why it’s there, can it be improved,
etc.
In some instances I felt really stuck for ideas because although we had a loose brief that we could shape our-
selves, we were limited by our material structure (panel and fold) and for our group we limited ourselves to us-
ing our entire initial object. This was challenging because through our material explorations and our precedent
research we had a lot of ideas that were in accordance with skin and bone material properties and didn’t ap-
ply to what we were supposed to use. This meant that it was quite hard to find particular materials and shapes
that could work, but I think it was good for us because it meant that we had to think a little harder to overcome
the challenge. We wanted to achieve through panel and fold what you could easily achieve through skin and
bone and I think this pushed us to work harder and explore more options and in the end we were more satisfied
with the outcome because we overcame the challenge and made a successful design.
Another aspect that was challenging was that almost our entire final model was to be hand-made rather than
laser cut and put together. This made it difficult because of time constrictions we were unable to constantly
keep creating prototypes using our material, so we had to sometimes take risks and assume that particular
aspects would work for the final model. I think that this was okay though because it taught us to work a little
harder and more efficiently whilst still being precise, aiding in skills we could use for future work.
Our design could possibly be improved by further changing the geometries of the hyperbolic paraboloid to
mould better the neck and shoulders in terms of starting off with a circular base. The arm components could
be further explored to attach to the body better and perform better jobs – such as possibly being able to flare
out. I think that the structure around the neck and head works quite well as a support and also because it at-
taches seamlessly. I definitely think the expanding headpiece works very well and we were able to achieve our
intended design successfully. Although the polypropylene is indeed very sturdy and supportive, it is very rigid
and doesn’t fold down for someone to comfortably rest their head to the side. The attachments to the body
could definitely be improved.
It was difficult as I had very little experience in using Rhino and spent countless hours trying to learn different
methods to create our design but it was helpful for me to learn these skills and the how to work between digital
and physical modelling at the same time, because it has taught me a new approach in tackling a design. I
now have the ability to use numerous new products such as Adobe Illustrator, InDesign and Rhino which are
skills I am able to transfer for future work.

It was very intense to be a part of this design process of constantly thinking, creating and remaking as it’s not
something I’ve experienced before. There were many times I wanted to give up because I felt like we had no
ideas left and we kept taking a step forward and two steps back. It was difficult to always find inspiration but
by not giving up and constantly approaching parts of the design in new and different ways was very reward-
ing in the end; it meant that all my hard work had paid off. It was just very satisfying to see that a quick sketch I
made 12 weeks ago, with lots of hard work, teamwork and effort, transformed into a physical model that actu-
ally performed the desired intentions.
Although it wasn’t a very large project, it definitely pushed me to my limits in formulating ideas, being per-
sistent, really being involved and working within a team for so long, as I’ve never really experienced something
like this, but despite all the stress it caused, I think it was a very rewarding experience and I’m glad to have
overcome the challenges we faced.
CREDITS

Model 5.1 CREDIT

Pag Computati Fabricatio Model Photogra Graphic
e Drawings on n Assembly phy Writing Design
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Romana
Radunkovi
c

Lucy
Jenkins

Maryanne
McRedmo
nd
5.2 BIBLIOGRAPHY

Scheurer, F. and Stehling, H. 2011: Lost in Parameter Space? IAD: Architectural Design, Wiley, 81 4, July, pp. 70,79

Sommer, R. 1969. Personal space : the behavioral basis of design / Robert Sommer. Englewood Cliffs, N.J.:Prentice, Hall.