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TRANSCRIPT
Design ParadigmsA Sourcebook for Creative Visualization
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Design ParadigmsA Sourcebook for Creative Visualization
WWaarrrreenn KK.. WWaakkee,, DD.. DDeess..
John Wiley & Sons, Inc.New York · Chichester · Weinheim · Brisbane · Singapore · Toronto
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This book is printed on acid-free paper.
Copyright © 2000 by John Wiley & Sons, Inc. All rights reserved.
Published simultaneously in Canada.
No part of this publication may be reproduced, stored in a retrieval system or transmitted inany form or by any means, electronic, mechanical, photocopying, recording, scanning or other-wise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act,without either the prior written permission of the Publisher, or authorization through paymentof the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive,Danvers, MA 01923, (978) 750-8400, fax (978) 750-4744. Requests to the Publisher for permis-sion should be addressed to the Permissions Department, John Wiley & Sons, Inc., 605 ThirdAvenue, New York, NY 10158-0012, (212) 850-6011, fax (212) 850-6008, E-Mail: PERMREQ @WILEY.COM.
This publication is designed to provide accurate and authoritative information in regard to thesubject matter covered. It is sold with the understanding that the publisher is not engaged inrendering professional services. If professional advice or other expert assistance is required, theservices of a competent professional person should be sought.
Library of Congress Cataloging-in-Publication Data:
Wake, Warren K.Design paradigms : a sourcebook for creative visualization / Warren K. Wake.
p. cm.Includes bibliographical references and index.ISBN 0-471-29976-6 (pbk. : alk. paper)1. Design, Industrial. 2. Visualization. 3. Computer graphics. I. Title.
TS171 .W35 2000745.2--dc21
99-048039
Printed in the United States of America.
10 9 8 7 6 5 4 3 2 1
Cover design: Paul DiNovo.
Cover photography: Warren K. Wake.
Editor: Margaret Cummins.
Assistant Managing Editor: Maury Botton.
Book design and layout: Warren K. Wake.
Set in ITC Stone using QuarkXPressTM.
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To my children, Richard and Paulina
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Preface xi
Acknowledgments xvTrademarks . . . . . . . . . . . . . . . . . . . . . . . .xvi
1 Introduction 1Recognizing Design Paradigms . . . . . . . . . .6Paradigms as Metaphor . . . . . . . . . . . . . . . .8Design and Nature . . . . . . . . . . . . . . . . . . .12The Human Body . . . . . . . . . . . . . . . . . . . .15Where Does Form Come From? . . . . . . . . . .17
2 Simple Shapes 21Basic Geometrics . . . . . . . . . . . . . . . . . . . .22The Platonic Solids . . . . . . . . . . . . . . . . . . .23Polyhedra and Geodesics . . . . . . . . . . . . . . .25Ball . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26Disc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28Sheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29Tube . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31Torus . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32Coil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33Helicoid . . . . . . . . . . . . . . . . . . . . . . . . . . .36Spiral . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38Fanfold . . . . . . . . . . . . . . . . . . . . . . . . . . .39Corrugation . . . . . . . . . . . . . . . . . . . . . . . .41Oar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43Spoon . . . . . . . . . . . . . . . . . . . . . . . . . . . .43Airfoil . . . . . . . . . . . . . . . . . . . . . . . . . . . .45Möbius Strip . . . . . . . . . . . . . . . . . . . . . . .46Questions . . . . . . . . . . . . . . . . . . . . . . . . . .48
3 Enclosure 49Cup . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49Jar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51Bottle . . . . . . . . . . . . . . . . . . . . . . . . . . . .52Bubble . . . . . . . . . . . . . . . . . . . . . . . . . . . .54Blister . . . . . . . . . . . . . . . . . . . . . . . . . . . .57Net . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58Socket . . . . . . . . . . . . . . . . . . . . . . . . . . . .60Skin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61Wrap . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64Coating . . . . . . . . . . . . . . . . . . . . . . . . . . .66Capsule . . . . . . . . . . . . . . . . . . . . . . . . . . .68Cell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69Pipe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71
Trunk . . . . . . . . . . . . . . . . . . . . . . . . . . .73Cave . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74Building . . . . . . . . . . . . . . . . . . . . . . . . . . .75Bag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76
Pouch . . . . . . . . . . . . . . . . . . . . . . . . . . .77Envelope . . . . . . . . . . . . . . . . . . . . . . . . .78
Questions . . . . . . . . . . . . . . . . . . . . . . . . . .79
4 Bending and Flexing 81Sapling . . . . . . . . . . . . . . . . . . . . . . . . . . .82Gumby . . . . . . . . . . . . . . . . . . . . . . . . . . .83Nitinol . . . . . . . . . . . . . . . . . . . . . . . . . . . .84Hinge . . . . . . . . . . . . . . . . . . . . . . . . . . . .84Flexstraw . . . . . . . . . . . . . . . . . . . . . . . . . .86Gooseneck . . . . . . . . . . . . . . . . . . . . . . . . .87Elbow . . . . . . . . . . . . . . . . . . . . . . . . . . . .88Ball And Socket . . . . . . . . . . . . . . . . . . . . .88Questions . . . . . . . . . . . . . . . . . . . . . . . . . .91
Contents
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5 Bigger and Smaller 93Growth . . . . . . . . . . . . . . . . . . . . . . . . . . .94Expansion and Contraction . . . . . . . . . . . . .95Swelling and Squashing . . . . . . . . . . . . . . .96Hydration and Dehydration . . . . . . . . . . . . .97Spring . . . . . . . . . . . . . . . . . . . . . . . . . . . .99Extension Ladder . . . . . . . . . . . . . . . . . . . .100Wedge . . . . . . . . . . . . . . . . . . . . . . . . . . . .100Fur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102Stretching and Shrinking . . . . . . . . . . . . . . .103
Rubber Band . . . . . . . . . . . . . . . . . . . . . .103Elastic Sheet . . . . . . . . . . . . . . . . . . . . . .104Balloon . . . . . . . . . . . . . . . . . . . . . . . . . .105
Arms and Legs . . . . . . . . . . . . . . . . . . . . . .107Wing . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110Bellows . . . . . . . . . . . . . . . . . . . . . . . . . . .111Scissors . . . . . . . . . . . . . . . . . . . . . . . . . . .112Telescope . . . . . . . . . . . . . . . . . . . . . . . . . .113Screw . . . . . . . . . . . . . . . . . . . . . . . . . . . .115Flower . . . . . . . . . . . . . . . . . . . . . . . . . . . .116Order and Disorder . . . . . . . . . . . . . . . . . . .117
Boiling and Freezing . . . . . . . . . . . . . . . . .118Fire and Chemical Reactions . . . . . . . . . . .120Explosion and Implosion . . . . . . . . . . . . . .122Shredding . . . . . . . . . . . . . . . . . . . . . . . .123Fluff . . . . . . . . . . . . . . . . . . . . . . . . . . . .124
Foam . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124Chain . . . . . . . . . . . . . . . . . . . . . . . . . . . .126Openings . . . . . . . . . . . . . . . . . . . . . . . . . .127
Clam Shell . . . . . . . . . . . . . . . . . . . . . . . .127Drawstring Purse . . . . . . . . . . . . . . . . . . .128
Questions . . . . . . . . . . . . . . . . . . . . . . . . . .129
6 Binary Object Relations 131Sexual Connections . . . . . . . . . . . . . . . . . .133Identical Twins . . . . . . . . . . . . . . . . . . . . . .134Siamese Twins . . . . . . . . . . . . . . . . . . . . . .136Lock and Key . . . . . . . . . . . . . . . . . . . . . . .138Scissors . . . . . . . . . . . . . . . . . . . . . . . . . . .140Violin and Bow . . . . . . . . . . . . . . . . . . . . . .141Hammer and Anvil . . . . . . . . . . . . . . . . . . .141Stone and Chisel . . . . . . . . . . . . . . . . . . . .143Gnomon: A Stick in the Sand . . . . . . . . . . .144Wheel and Axle . . . . . . . . . . . . . . . . . . . . .146Oil and Water . . . . . . . . . . . . . . . . . . . . . .148Epoxy . . . . . . . . . . . . . . . . . . . . . . . . . . . .149
Lever and Fulcrum . . . . . . . . . . . . . . . . . . .150Cam and Follower . . . . . . . . . . . . . . . . . . .151Questions . . . . . . . . . . . . . . . . . . . . . . . . . .152
7 Joining 153Dovetail . . . . . . . . . . . . . . . . . . . . . . . . . . .154Plug and Socket . . . . . . . . . . . . . . . . . . . . .155Ball and Socket . . . . . . . . . . . . . . . . . . . . . .156Universal Joint . . . . . . . . . . . . . . . . . . . . . .157Pin Joint . . . . . . . . . . . . . . . . . . . . . . . . . . .158Fasteners . . . . . . . . . . . . . . . . . . . . . . . . . .159Zipper . . . . . . . . . . . . . . . . . . . . . . . . . . . .160Sewing . . . . . . . . . . . . . . . . . . . . . . . . . . .161Velcro . . . . . . . . . . . . . . . . . . . . . . . . . . . .162Weld . . . . . . . . . . . . . . . . . . . . . . . . . . . . .164Knot . . . . . . . . . . . . . . . . . . . . . . . . . . . . .165Bridge . . . . . . . . . . . . . . . . . . . . . . . . . . . .165Questions . . . . . . . . . . . . . . . . . . . . . . . . . .167
8 Attaching 169Suction Cup . . . . . . . . . . . . . . . . . . . . . . . .169Glue . . . . . . . . . . . . . . . . . . . . . . . . . . . . .172Adhesive Tape . . . . . . . . . . . . . . . . . . . . . .174Shrink Wrap . . . . . . . . . . . . . . . . . . . . . . . .175Tacks . . . . . . . . . . . . . . . . . . . . . . . . . . . . .176Clips and Clamps . . . . . . . . . . . . . . . . . . . .177Harpoon . . . . . . . . . . . . . . . . . . . . . . . . . .178Burdock . . . . . . . . . . . . . . . . . . . . . . . . . . .180Magnet . . . . . . . . . . . . . . . . . . . . . . . . . . .180Questions . . . . . . . . . . . . . . . . . . . . . . . . . .182
9 Passages 183Pipe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .184
Straw . . . . . . . . . . . . . . . . . . . . . . . . . . .185Hose . . . . . . . . . . . . . . . . . . . . . . . . . . .186
Gateway . . . . . . . . . . . . . . . . . . . . . . . . . .187Bottleneck . . . . . . . . . . . . . . . . . . . . . . . . .189Wire . . . . . . . . . . . . . . . . . . . . . . . . . . . . .190Umbilical Cord . . . . . . . . . . . . . . . . . . . . . .191Chinese Fingercuffs . . . . . . . . . . . . . . . . . . .192Baffle . . . . . . . . . . . . . . . . . . . . . . . . . . . . .193Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . .194Bridge . . . . . . . . . . . . . . . . . . . . . . . . . . . .195Canal . . . . . . . . . . . . . . . . . . . . . . . . . . . . .196Questions . . . . . . . . . . . . . . . . . . . . . . . . . .197
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10 Multiple Object Relations 199Comb . . . . . . . . . . . . . . . . . . . . . . . . . . . .200String of Beads . . . . . . . . . . . . . . . . . . . . . .200Nested Spoons . . . . . . . . . . . . . . . . . . . . . .201Sandwich . . . . . . . . . . . . . . . . . . . . . . . . . .202Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . .203Matrix . . . . . . . . . . . . . . . . . . . . . . . . . . . .203Honeycomb . . . . . . . . . . . . . . . . . . . . . . . .205Tree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .206Herd . . . . . . . . . . . . . . . . . . . . . . . . . . . . .209Formation . . . . . . . . . . . . . . . . . . . . . . . . .210Cluster . . . . . . . . . . . . . . . . . . . . . . . . . . . .212Random Distribution and Even Distribution .213Gradient Distribution . . . . . . . . . . . . . . . . .214Spaghetti . . . . . . . . . . . . . . . . . . . . . . . . . .216Sets of Similar Objects . . . . . . . . . . . . . . . .217Sets of Dissimilar Objects . . . . . . . . . . . . . .218
Kits . . . . . . . . . . . . . . . . . . . . . . . . . . . . .219Questions . . . . . . . . . . . . . . . . . . . . . . . . . .221
11 Objects Within Objects 223Pregnancy . . . . . . . . . . . . . . . . . . . . . . . . .224Russian Dolls . . . . . . . . . . . . . . . . . . . . . . .225Peas in a Pod . . . . . . . . . . . . . . . . . . . . . . .227Systems and Subsystems . . . . . . . . . . . . . . .228Self-Consumption . . . . . . . . . . . . . . . . . . . .230Reversible Jacket . . . . . . . . . . . . . . . . . . . . .232Questions . . . . . . . . . . . . . . . . . . . . . . . . . .233
12 Multi-Function Objects 235Knife . . . . . . . . . . . . . . . . . . . . . . . . . . . . .236Claw Hammer . . . . . . . . . . . . . . . . . . . . . .236Bicycle Wrench . . . . . . . . . . . . . . . . . . . . . .237Hand . . . . . . . . . . . . . . . . . . . . . . . . . . . . .238Vacuum Cleaner . . . . . . . . . . . . . . . . . . . . .238Convertible Sofa . . . . . . . . . . . . . . . . . . . . .239Swiss Army Knife . . . . . . . . . . . . . . . . . . . .240Socket Wrenches . . . . . . . . . . . . . . . . . . . .241Tractor . . . . . . . . . . . . . . . . . . . . . . . . . . . .242Computer . . . . . . . . . . . . . . . . . . . . . . . . .243Questions . . . . . . . . . . . . . . . . . . . . . . . . . .245
13 Transcending the Visible 247Flashlights and Glowworms . . . . . . . . . . . . .248Lens . . . . . . . . . . . . . . . . . . . . . . . . . . . . .250Wristwatch . . . . . . . . . . . . . . . . . . . . . . . . .252Magnet . . . . . . . . . . . . . . . . . . . . . . . . . . .253Compass . . . . . . . . . . . . . . . . . . . . . . . . . .254Barometer . . . . . . . . . . . . . . . . . . . . . . . . .255X ray . . . . . . . . . . . . . . . . . . . . . . . . . . . . .256Sail . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .257Questions . . . . . . . . . . . . . . . . . . . . . . . . . .259
14 Putting Design Paradigms to Work 261Using Design Paradigms . . . . . . . . . . . . . . .261Reduction . . . . . . . . . . . . . . . . . . . . . . . . .262Selection . . . . . . . . . . . . . . . . . . . . . . . . . .262Application . . . . . . . . . . . . . . . . . . . . . . . .263Integration . . . . . . . . . . . . . . . . . . . . . . . . .263Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .264Paradigm Shifts . . . . . . . . . . . . . . . . . . . . .264
Paradigm Superimposition . . . . . . . . . . . .265Paradigm Shift . . . . . . . . . . . . . . . . . . . .266Categorical Shift . . . . . . . . . . . . . . . . . . .268
Synectics . . . . . . . . . . . . . . . . . . . . . . . . . .270Misapplied Paradigms . . . . . . . . . . . . . . . . .271Finding New Paradigms . . . . . . . . . . . . . . .273
Notes 277
References 281
Figure Credits 285
Index 287
Contents ix
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“Design paradigms” is a term that we use to talk about a thousand
different great little ideas that are at the heart of natural and man-
ufactured devices. This book is a “field guide” to the paradigms,
introducing this powerful tool for design and creative visualiza-
tion. It is intended for professionals, students, and instructors
alike in design professions, including industrial and graphic
design, architecture, and engineering. It will also be of use to per-
sons interested in creativity, biology, and invention.
This is intended as a book that can be immediately put to
work; it is filled with ideas you can apply to all types of design
problems. For instance, the next time you face a question such as
“How can I connect these two things?” turn to the design para-
digms, in Chapters 7 and 8, and explore a host of different meth-
ods for attaching and joining that you can apply. The book is also
suited to casual reading, providing insights into the structure of,
and similarities between, the mechanisms of design, invention,
and organisms.
The book is organized as follows: The first chapter is an intro-
duction to design paradigm concepts, followed by twelve chapters
of paradigms broken down into categories of more or less increas-
ing complexity. The paradigm chapters begin with simple shapes,
followed by the ways more complex forms can accommodate
functions like enclosure, bending, and getting bigger and smaller.
We then look at how multiple objects relate to each other, and
Preface
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how they can be joined, attached, or have passages between them.
We also consider how multiple objects can relate to each other or
how an object can have multiple functions. We also look at para-
digms that operate in areas that are not readily apparent to the
naked eye. In the final chapter we look at how to apply the para-
digms in creative processes and endeavors. Design professionals
might wish to skip around in the book, visiting paradigm cate-
gories as need or fancy strikes. Those new to design might wish to
read the final chapter earlier.
This book focuses on the basic 3-D paradigms. It is neither a
full treatment of design, nor a full treatment of design paradigms.
Perhaps later volumes will explore design paradigms in areas
including structure, 2-D composition, and color. A book of this
type can never be complete, even within the selected categories
I’ve covered here, for new paradigms will continue to be invented
and discovered as time goes by. Rather, let this be a starting point.
Each designer must ultimately develop his or her own collection
of paradigms, thereby creating the mental toolbox you draw upon
when designing. To those early in the stage of building this tool-
box, this book aims to give you a head start, with the many won-
derful paradigms collected here and organized into useful cate-
gories. Learning these will serve to help build your visual and con-
ceptual vocabulary. To the seasoned professional, this book aims
to close the gap on years of experience and time spent trying to
figure things out. Design Paradigms offers you ways to connect
many of the important things you’ve learned over the years, and a
method to structure and utilize the knowledge you already pos-
sess.
You are invited to participate in this ongoing process of design
exploration. As you explore each category of paradigms, look
around you. Study your possessions, your tools, your pets, your
body, and think. How do things bend? How are things joined?
How do things get larger or smaller? As you pay attention to these
questions, you’ll find the examples discussed here are hard at
work in things all around you. You might also discover other par-
adigms, other methods of accomplishing the goals defined in each
xii Preface
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chapter. You are encouraged to keep a sketchbook of these
or at least draw in the margins of this book, for through
drawing comes understanding and ownership. As we travel
through the different domains of the design paradigms, you
the reader will join in a design adventure and conversation
that has been going on for centuries. Discover the para-
digms, and make them your own!
Preface xiii
Fig. 0.1 Rene Descartes(1596–1650), mathematician,philosopher, and scientist.Descartes’s appreciation for mecha-nisms led to his development ofcartesian mechanism philosophythat attemped to explain virtuallyeverything except god and humanspirit through mechanicalmetaphor.
“And I hope that my nephews will be gratefulnot only for the things I have explained here, butalso for those which I have purposely omitted, sothat they find pleasure themselves in inventingthem. . . . ”1
–Rene Descartes
Warren K. Wake, D. Des.Belmont, MassachusettsJanuary, 2000
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The author gratefully acknowledges the contributions of the
many friends, associates, and family who helped bring this
project to fruition. Thanks to my son, Rick, for his help, his
comments, and his photography. Thanks to Susan Englert and
Sally Levine, for their editing and suggestions on the manu-
script, and for introducing me to QuarkXPressTM. Thanks also
to Rosanne Russell, for her suggestions on the design of the
book, and her instruction in Quark. Thanks to Matthew
Linton and Marc Lisle for their comments on the early manu-
script. I am deeply indebted to Diego Matho, who helped
immensely throughout the project, reviewing the manuscript,
developing illustrations, and assisting with the photography.
Special thanks to Peter Cheimets, for his photographs of
the Amundsen-Scott Station at the South Pole, to Dean Powell
for his photograph of the Northwest Coast Nesting Tables, and
to Kenneth W. Gardiner for his photograph of the spittle bug.
Thanks are also due to those who got me started on asking
many of the questions I address here: my mother, Doris, who
didn’t fuss too much as I took apart my toys and our house-
hold telephones; my high school art teacher, Dr. Robert
Burkey and my instructors in the Syracuse University Design
program, Rolf Faste (now with Stanford University) and James
Pirkl. Thanks also to Bill Mitchell, for his encouragement and
advice at the start of this project; to Don Brown, who remind-
ed me to tell the story with pictures, as well as with words;
and to my editor, Margaret Cummins, for her support
throughout the project.
Acknowledgments
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Trademarks
It is the author’s intention to acquaint the reader with
the design paradigms in the many settings in which they
occur. Many of these are employed in commercial products.
Where possible, the familiar product names are used in the
text, in order to properly acknowledge the commercial
forms of these products. This is not an endorsement of these
products, and none of these companies have underwritten
this project.
AutoCAD® is a registered trademark of Autodesk Inc.
Band-Aid® is a registered trademark of Johnson & Johnson.
Barricade® is a registered trademark of Fire Protection, Inc.
Bondo® is a registered trademark of Dynatron/Bondo Corp.
Bubble Wrap® is a registered trademark of Sealed Air
Corporation. Calphalon® is a registered trademark of
Calphalon Corporation. Cheerios® is a registered trademark
of General Mills. Coke® is a registered trademark of The
Coca-Cola Co. DERMABOND® is a registered trademark of
Johnson & Johnson. EMS® is a registered trademark of
Eastern Mountain Sports, Inc. Fiberglas® is a registered trade-
mark of Owens Corning Fiberglas Corporation. Frisbee® is a
registered trademark of Wham-O Mfg. Co. GelReleaseTM is a
trademark of Cetacean Research Technology. Goodyear® is a
registered trademark of the Goodyear Tire & Rubber
Company. Gore-tex® is a registered trademark of W. L. Gore
& Associates. Great Stuff® is a registered trademark of Insta-
Foam Products, Inc. Greenlee® is a registered trademark of
Greenlee Textron Inc. Gumby® is a registered trademark of
Prema Toy Co. Inc. Hula Hoop® is a registered trademark of
Wham-O Mfg. Co. L'eggs® is a registered trademark of Sara
Lee Corp. LEGO® is a registered trademark of Interlego A.G.
Levi’s® is a registered trademark of Levi Strauss & Co. Liquid
Nails® is a registered trademark of The Glidden Company.
Lycra® is a registered trademark of E. I. Du Pont de Nemours
xvi Trademarks
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and Company. Mag-lite® is a registered trademark of Mag
Instrument, Inc. Mason Jar® is a registered trademark of
Restaurant Specialties Inc. Post-it® is a registered trademark
of 3M Company. Pringles® is a registered trademark of The
Proctor & Gamble Co. Rollerblade® is a registered trade-
mark of Rollerblade, Inc. Scotch Brand Magic Transparent
Tape® is a registered trademark of 3M Co. SCOTCHGARD® is
a registered trademark of 3M Co. Sheetrock® is a registered
trademark of United States Gypsum Company. Silly Putty®
is a registered trademark of Binney & Smith, Inc. Slinky® is
a registered trademark of James Industries Inc. Styrofoam®
is a registered trademark of The Dow Chemical Company.
Teflon® is a registered trademark of E. I. DuPont de
Nemours and Co. Thinsulate® is a registered trademark of
3M Company. TINKERTOY® is a registered trademark of
Playskool Inc. Tyvek® is a registered trademark of E. I. Du
Pont de Nemours and Company. Velcro® is a registered
trademark of Velcro Industries B. V., and Zoob® is a regis-
tered trademark of Primordial LLC.
Trademarks xvii
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