DIGITAL DESIGN + FABRICATION SM1, 2016 M4 JOURNAL - Skin and Bone

Elizabeth Wang761029

James Wentworth-Park + Seminar 2

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CONTENTS

0.0 INTRODUCTION

1.0 IDEATION1.1 Object 1.2 System Analysis 1.2 Volume1.3 Sketch design proposal

2.0 DESIGN2.1 Design development intro2.2 Digitization + Design proposal v.1 2.3 Precedent research2.4 Design proposal v.22.5 Prototype v.1+ Testing Effects

3.0 FABRICATION 3.1 Fabrication intro3.2 Design development 3.3 Prototype Development3.4 Further Design development3.5 Further Prototype Development3.6 Final Digital model 3.7 Fabrication sequence3.8 Assembly Drawing3.9 Completed Sleeping Pod

4.0 REFLECTION

5.0 APPENDIX5.1 Credit5.2 Bibliography

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0.0 INTRODUCTIONIN ADDRESSING THE BRIEF TO CREATE A SLEEPING POD BASED THE SKIN AND BONE SYSTEM, WE DESIGNED A PORTABLE STRUCTURE WHICH BOTH CONTOURED AND EMPHASISED THE NATURAL SHAPES WITHIN THE BODY AND CREATED A BARRIER BETWEEN THE USER AND SURROUNDING ENVIRONMENTAL FACTORS TO PROTECT THEIR PERSONAL SPACE AND THUS ENHANCE THE SLEEPING ENVIRONMENT.

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1.0 IDEATION

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THE SKIN AND BONE SYSTEM OF THE UMBRELLA IS BOTH SIMPLE IN ITS STRUCTURE AND MECHANISM.

1.1 OBJECT

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ELEVATION CLOSED 1:5 ELEVATION CLOSED AND SECURED 1:5

69cm

THE LIGHTWEIGHT, FLEXIBLE BONE STRUCTURE PROVIDES SUPPORT FOR THE THIN SKIN LAYER WHICH IS PULLED TAUT AS THE MECHANISM IS OPENED. THE FLEXIBLE ‘ARMS’ BEND AS THE OBJECT IS OPENED, CREATING A DOME LIKE SHAPE THAT ALLOWS FOR WATER RUN OFF THE AND GIVES THE USER COVERAGE, SHIELDING THEM FROM ENVIRONMENTAL FACTORS.

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IN CREATING THIS DIGITAL MODEL, I LEARNT COMMANDS SUCH AS PIPE, BOOLEAN TOOLS AND SURFACE TOOLS TO CREATE THE BASE SHAPE OF THE UMBRELLA. I ALSO BEGAN TO ADD DETAILS SUCH AS THE SHAPE OF THE HANDLE AND THE CENTRAL MECHANISM, FOCUSSING ON THE OVERALL SHAPE OF THE OBJECT.

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1.2 SYSTEM ANALYSIS

AS A BASE FOR FURTHER DESIGN EXPLORATION, THE UMBRELLA GIVES AN EXAMPLE OF A SIMPLE SKIN AND BONE STRUCTURE IN WHICH THE BONES SUPPORT A SKIN SYSTEM THAT PROVIDES PROTECTION AND COVERAGE FOR THE USER.

THE TRANSITION OF SHAPE AS THE UMBRELLA OPENS

ELEVATIONSECTION

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1.3 VOLUME

WHEN BEGINNING TO EXPLORE CREATING A VOLUME FROM THE SKIN AND BONE SYSTEM, I BEGAN TO PLAY WITH CREATING MY OWN BONE SYSTEM FROM SIMPLE SHAPES THAT COULD BE LAYERED AND OVERLAID TOGETHER TO CREATE A COHESIVE SYSTEM WHICH CONTOURS TO THE BODY’S NATURAL SHAPES.

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1.4 SKETCH DESIGN PROPOSALS

FOCUSSING AROUND THE HEAD AREA OF THE USER, I BEGAN TO PLAY WITH EMPLOYING THE PREVIOUSLY MODELLED SYSTEM TO CREATE GEOMETRIC SHAPED BONE STRUCTURE THAT COULD THEN BE OVERLAID BY A SKIN MATERIAL.

THIS HOWEVER NEEDED FURTHER DESIGN EXPLORATION IN ORDER TO PUSH THE TYPOLGY OF THE SYSTEM AND THUS CREATE MORE COMPLEX VOLUMES AND SHAPES.

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2.0 DESIGN (WITH MAY ALSANIA)

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2.1 DESIGN DEVELOPMENT

COMBINING OUR EXPLORATIONS OF THE SKIN AND BONE STRUCTURE, WE DECIDED TO FOCUS ON THE PROTECTION AND SHIELDING OF THE USER’S PERSONAL SPACE AROUND THE HEAD AND NECK SHOULDER AREA USING SHARP ANGLES AND GEOMETRIC SHAPES AND VOLUMES THAT WOULD PROTRUDE OF FROM THIS AREA IN ORDER TO CREATE MORE VOLUME AROUND THE USER.

THROUGH OUR EXPLORATION OF PERSONAL SPACE AS DEFINED BY SOMMER (1969), WE DECIDED TO FOCUS ON THE HEAD AND SHOULDER AREA, THE MOST SENSITIVE PART OF THE BODY.

DESIGN PROPOSAL V.1

DESIGN PROPOSAL V.2

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2.2 DIGITIZATION + DESIGN PROPOSAL V.1 AND V.2

V. 2THROUGH OUR DIGITAL MODEL, WE BEGAN PLAYING WITH WAYS TO SHIELD THE FACE AND NECK AREA AND PROVIDE PROTECTION FOR THE USER.

V.1: THE SHARP ARMS OF THE DESIGN CREATE A ‘NO-GO’ ZONE AROUND THE UPPER TORSO AND SHOULDER AREA, BOTH PROTECTING THE USER AND POTENTIALLY SCARING AWAY OTHER SURROUNDING PEOPLE.

THE CHANGED DIRECTION OF THE SHARP ELEMENTS WORKS TO CREATE A LARGER VOLUME AROUND THE USER WHILE THE ADDITION OF THE FACE SHIELD WORKS TO PROVIDE EXTRA PROTECTION, HOWEVER DOES APPEAR DISJOINTED FROM THE REST OF THE DESIGN.

DESIGN PROPOSAL V.1

DESIGN PROPOSAL V.2

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2.1 PRECEDENT RESEARCH: WINDE RIENSTRA’S “11:11” COLLECTION

RIENSTRA’S WORK FEATURES A STRUCTURED FRAME LIKE BONE SYSTEM THAT CREATES BOTH VOLUME AND SPACE FOR THE USER, WHILE STILL FITTING THE CONTOURS OF THEIR BODY. THE HARD WOOD FRAME IS FIXED AROUND THE USERS WAIST TO PROVIDE SUPPORT AND STABILITY, USING GEOMETRIC ANGLES AND SHAPES TO EMPHASISE THE NATURAL ANGLES AND SHAPES OF THE BODY AND CERTAIN ASPECTS SUCH AS THE SHOULDERS, THUS CREATING VOLUME.

RIENSTRA’S WORK INSPIRED US THROUGH HER USE OF SKELETON LIKE SHAPES, BOTH GEOMETRIC AND ANGULAR AND HER EMPHASIS OF SHOULDER SHAPE WHICH CREATES BASE SHAPE OF HER DESIGN. WE WANTED TO TAKE THIS EXAGGERATED SHAPE TO CREATE FURTHER VOLUME WITHIN OUR DESIGN.

EXAGGERATED SHOULDER SHAPESSAMPLE PROTOYPE OF FRAME STRUCTURE

11:11 COLLECTION - WINDE RIENSTRA, 2012

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2.1 DESIGN PROPOSAL V.3

TAKING INSPIRATION FROM THE PRECEDENT STUDY, OUR DESIGN PROPOSAL V.3 USES THESE EXXAGERATED SHAPES AROUND THE NECK AND SHOULDER AREA TO PROTECT AND SUPPORT THE HEAD AND THE PERSONAL SPACE AROUND IT WHILE STILL MAINTAINING THE SAME GEOMETRIC SHAPES AND SHARP ANGLES.

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2.5 PROTOTYPE V.1 + TESTING EFFECTS

TESTING THE COMBINATION OF A BASE TRIANGLE BONE STUCTURE PLUS A DRAPED SKIN STRUCTURE

TESTING LIGHTING EFFECTS; THE

TRANSPERANCY OF THE MATERIAL

THIS ELASTIC FABRIC IS SIMILAR TO STOCKING MATERIAL BUT WITH MORE OPACITY.

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TAKING A SAMPLE OF TWO OF THE TRIANGLE SHAPES FROM OUR DESIGN, WE TESTED BOTH WIRE AND PLASTIC BASES IN FULL SCALE IN RELATION TO THE BODY WITH THE DRAPED FABRIC.

WE FOUND THAT THE PLASTIC TUBING WAS MORE STABLE, HOWEVER IT COULD DO BE CONTOURED TO THE BODY. THE WIRE WAS LESS STABLE BUT COULD MORE EASILY CONTOUR TO THE BODY. WE NEEDED TO CREAAAET A SYSTEM OF MATERIALS THAT COMBINES THE BEST OF BOTH.

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3.0 FABRICATION(WITH MAY ALSANIA)

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3.1 FABRICATION INTRODUCTION

IN RESPONSE TO FEEDBACK FROM THE INITIAL DESIGN PHASE, WE DECIDED TO FOCUS MORE ON THE STABILITY OF THE STRUCTURE, ESPECIALLY AROUND THE HEAD AREA SO THE USER IS ABLE TO REST THEIR HEAD ON THE DESIGN, AND THUS CREATE A MORE COMFORTABLE SLEEPING ENVIRONMENT.

FURTHERMORE WE WANTED TO CREATE A DISTINCTION BETWEEN DIFFERENT ELEMENTS OF THE DESIGN THROUGH THE USE OF DIFFERENT DESIGN LANGUAGES AND PROFILES; THE SHOULDER STRUCTURE WHICH DIRECTLY ATTACHES TO THE BODY, THE SUPPORTING HEAD STRUCTURE AND THE VOLUMINOUS PROTECTIVE STRUCTURE. WE ALSO BEGAN TO FURTHER PROTOTYPE MORE MATERIALS TO CREATE A COMBINITION OF FLEXIBILITY AND STRUCTURE WE NEEDED FOR THIS DESIGN.

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3.2 DESIGN DEVELOPMENT

WE BEGAN DESIGNING A TRUSS-LIKE HEAD STRUCTURE WHICH WOULD SUPPORT THE HEAD AND NECK AREA, AND THUS CREATE MORE STABILITY WITHIN THE DESIGN.

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PROTOTYPE TESTING:

TESTING DIFFERENT SIZES OF TUBING IN ORDER TO MAXIMISE STABILITY IN CERTAIN AREAS WHERE NEEDED AND CREATE A CLEAR DESIGN LANGUAGE BETWEEN THESE DIFFERENT SECTIONS

3.3 PROTOTYPE DEVELOPMENT

FOR SURROUNDING TRIANGLE STRUCTURE

FOR HEAD AND NECK SUPPORTIVE STRUCTURE

FOR BASE SHOULDER STRUCTURE

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PROTOTYPE TESTING:

TESTING THE SIZE OF JOINTS AND THE PHYSICAL DIFFERENCE BETWEEN MODELLED AND PRINTED SIZE

ON AVERAGE;PHYSICAL MODEL = DIGITAL MODEL + 0.3MM

IN ORDER TO CREATE THE INIDIVIDUAL UNIQUE JOINTS FOR OUR DESIGN, WE NEEDED TO USE THE 3D PRINTER. THIS FABRICATION PROCESS ALLOWED US TO CREATE UNIQUE SHAPES TO BUILD A VOLUME AROUND THE USER.

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PROTOTYPE TESTING:

DIGITAL MODELLING OF THE JOINTS

WE MODELLED A COUPLE SAMPLE JOINTS TO TEST THE SHAPE AND SIZE OF EACH JOINT AND HOW THEY WOULD INTEGRATE INTO THE FULL DESIGN.

EACH JOINT NEEDED TO BE INDIVUDALLY MODELLED IN RHINO IN ORDER TO CREATE THE UNIQUE SHAPES OF THE TRIANGLES. WE NEEEDED TO MEASURE EACH ANGLE AND MODEL THE JOINT ACCORDINGLY.

ADDING JOINTS TO OVERALL DESIGN MODEL

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PROTOTYPE TESTING:

TESTING THE PHYSICAL PRINTING OF JOINTS USING THE UPBOX 3D PRINTER, BEGINNING WITH A SIMPLE 2 ARM JOINTS THEN TRYING JOINTS WITH SEVERAL ARMS

FIRST SAMPLE JOINT WITH 2 ‘ARMS’

TEST JOINTS WITH SEVERAL ‘ARMS’

A TEST BATCH OF JOINTS IN THE 3D PRINTER SOFTWARE

IMPORTED RHINO FILE INTO UPBOX SOFTWARE (SAVED AS .STL), EXTRUDE ABS PLASTIC AND HEAT UP NOZZLE AND BED BEFORE PRINTING BATCH

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WE BEGAN EXPLORING THE ADDITION OF FABRIC IN ORDER TO PROVIDE EXTRA COVERAGE FOR THE USER AND ADD SKIN TO THE SKIN AND BONE STRUCTURE.

HOW DO WE ATTACH THIS FABRIC? WHERE DO WE ATTCH THE FABRIC TO MAXIMISE COVERAGE AND PROTECTION WHERE NEEDED?

3.4 FURTHER DESIGN DEVELOPMENT

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PROTOTYPE TESTING:

TESTING THE STRETCH OF THE FABRIC AND THE FABRIC HOOKS THAT WOULD JOIN THE FABRIC TO THE BONE STRUCTURE

3.5 FURTHER PROTOTYPE DEVELOPMENT

WE DECIDED TO USE STOCKING MATERIAL WHICH MAXIMISES STRENGTH AND ELASTICTY WHILE ALSO HAVING THE RIGHT AMOUNT OF TRANSPERANCY WHEN STRETCHED

3D PRINTED HOOKS PIERCE THROUGH THE FABRIC AND SIT ON THE ALUMINIUM TUBE FRAME TO CREATE THESE AREAS OF COVERAGE WITHIN THE DESIGN AND ADD THE SKIN TO THE SKIN AND BONE SYSTEM

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3.6 FINAL DIGITAL MODEL

AFTER TESTING SEVERAL PROTOTYPES AND DEVLOPING OUR DESIGN, OUR FINAL DESIGN UTILISES GEOMETRIC SHAPED BONE STRUCTURE AND TAUT SKIN ELEMENTS TO CREATE VOLUME AND PROTECTION FOR THE USER, PROVIDING HEAD AND NECK SUPPORT AND FITTING TO THE CONTOURS OF THE BODY.

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FRONT

TOP SIDE

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3.7 FABRICATION SEQUENCE

THERE WERE SOME CHALLENGES DURING THE FABRICATION AND ASSEMBLY PROCESS THAT NEEDED TO BE OVERCOME INCLUDING;

-THE FRAGILITY AND RELIABILITY OF THE 3D PRINTER (WHICH MEANT EACH JOINT NEEDED TO BE PRINTER SEVERAL TIMES)-THE CUTTING OF EACH ALUMINIUM LENGTH WITHOUT CRUSHING THE TUBING (WE USED A ELECTRIC WOOD SAW IN ORDER TO MAINTAIN THE SOFT METAL’S SHAPE)-THE ORGANISATION AND NUMBERING OF THE DIFFERENT JOINTS AND ALUMINIUM TUBING LENGTHS (WE NUMBERED EACH JOINT AND TRIANGLE SHAPE AS SHOWN IN THE DIARGAM ABOVE)-THE BENDING OF THE SHOULDER STRUCTURE WHILE STILL MAINTAINING THE SHAPE OF THE TUBING (WE ADDED A SECOND PIECE OF TUBING INSIDE THE OUTER TUBING AND BENT THIS PART BY HAND) -AND THE OVERALL FIT AND STABILITY OF THE MODEL (THIS WAS DONE BY TRIAL AND ERROR).

CUTTING OF ALUMINIUM LENGTHS 3D PRINTING OF JOINTS

ONE BATCH OF PRINTED JOINTS

(APPROX 4 HRS PRINTING TIME PER BATCH)

NUMBERING OF JOINTS AND LENGTHS

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ATTACHING JOINTS TO TUBING, ASSEMBLY OF BONE STRUCTURE

TESING FIT OF BASE BONE STRUCTURE

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PRINTED FABRIC HOOKS ATTACHING SKIN/FABRIC TO BONE STRUCTURE

FINISHED MODEL LEFT FOR DRYING

(SOME SMALL CHANGES WERE MADE LATER DUE TO DAMAGE)

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3.8 ASSEMBLY DRAWING

JOINTS AND TUBING JOIN TOGETHER TO CREATE TRIANGLE SHAPES WHICH REPEAT AROUND THE SHOULDER STRUCTURE AND A BASE HEAD STRUCTURE

HEAD SUPPORT AND BASE SHOULDER STRUCTURE JOIN TOGETHER

THESE TRIANGLES ARE ATTACHED TO THE BASE SHOULDER STRUCTURE

SELECT TRIANGLE SHAPES HAVE HOOKS AND FABRIC ADDED

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3.9 COMPLETED SLEEPING POD

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4.0 REFLECTIONI AM EXTREMELY PROUD OF WHAT WE HAVE BEEN ABLE TO ACHIEVE THROUGH THE COURSE OF THIS SUBJECT. IT HAS BEEN A REAL JOURNEY THROUGH THE WHOLE DESIGN PROCESS, FROM ANALYSING AND DESIGNING TO THE ACTUAL FABRICATION OF THE DESIGN. BEFORE THIS SUBJECT, THE CONCEPT AND PROCESS OF DIGITAL FABRICATION SEEMED OUT OF REACH FROM A PRACTICAL PERSPECTIVE, RECEIVED ONLY FOR THOSE WITH A LARGE BACKGROUND IN THE AREA, BUT THIS SUBJECT HAS DEFINITELY TAUGHT ME OTHERWISE. DIGITAL FABRICATION IS AN ACCESSIBLY WAY TO REALISE A DESIGN, AIDED BY THE FACILITIES OF THE FABRICATION LAB AT MELBOURNE UNIVERSITY. THIS JOURNEY, THOUGH UNDENIABLE TOUGH AND STRESSFUL, IS ONE OF THE REAL STRENGTHS OF THIS SUBJECT AND SOMETHING I HAVE IN HINDSIGHT UNDENIABLY ENJOYED.

RECENT INNOVATIONS IN DESIGN TECHNOLOGY HAVE HELPED TO REVOLUTIONISE THE WAY DESIGNERS AND ARCHITECTS THINK ABOUT THEIR DESIGNS, THE WAY THEY ARE CONCEIVED, EXPLORED, TESTED AND CONSTRUCTED. FURTHERMORE IT HAS ALSO OPENED THE DOOR TO STUDENTS OR DESIGN AMATEURS WHO ARE JUST BEGINNING TO DISCOVER DESIGN TO FABRICATE FINISHED PIECES IN A WAY THAT WAS NOT PREVIOUSLY POSSIBLE. THE QUALITY OF THE FINISHED PIECE IN ITS MATERIAL AND DESIGN FOR DESIGN BEGINNERS HAS CHANGED SO DRAMATICALLY. THESE NEW TECHNOLOGIES HAVE MINIMISED THE “RISK” IN THE FABRICATION PROCESS, REDEFINING THE “RELATIONSHIP BETWEEN HUMAN INPUT AND TECHNOLOGICAL DETERMINISM” (MARBLE, 2008). THE DIGITAL FABRICATION PROCESS HAS ALLOWED FOR A “MORE FLUID FABRICATION” (KOLAREVIC ,2003) AND THIS IS CLEARLY DEMONSTRATED NOT JUST IN OUR DESIGN JOURNEY, BUT THOSE OF MANY OF THE STUDENTS IN THIS SUBJECT WHO WOULD NOT HAVE BEEN ABLE TO FABRICATE THEIR DESIGNS WITHOUT THESE NEW TECHNOLOGIES.

THREE DIMENSIONAL MODELLING IS ONE ASPECT OF DESIGN TECHNOLOGY THAT HAS IMPROVED HUGELY IN RECENT YEARS. THOUGH CAD MODELLING SOFTWARE IS NOT NEW, IT REPLACED THE NEED FOR PHYSICAL PLANS AND ELEVATIONS YEARS GO. THE FURTHER INNOVATION OF THREE DIMENSIONAL MODELLING THROUGH NURBS AND MESHES HAS ALLOWED FOR THE CREATION OF SMOOTH CURVED SURFACES, USING COMPLEX MATHEMATICAL FORMULAS (SCHEURER & STEHLING, 2011) THAT WERE NOT GENERALLY ACCESSIBLE TO THE AVERAGE ARCHITECT OR DESIGN STUDENT ALLOWING THEM TO ANY DESIGN IMAGINABLE AND ANALYSE IT IN PERSPECTIVE. THOUGH THE TRANSLATION INTO THE PHYSICAL WORLD FROM THIS DIGITAL SPACE CAN OFTEN BE DIFFICULT, THE LIMITS TO MODELLING HAS BECOME INFINITE AND ACCESSIBLE AT THE SAME TIME.

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THE PHYSICAL FABRICATION OF DESIGN HAS ALSO CHANGED DRAMATICALLY IN THE LAST FEW YEARS. THE ENTRANCE OF 3D PRINTING AS AN ACCESSIBLE TECHNOLOGY ALLOWS FOR THE PRINTING OF PROTOTYPES SO THESE COMPLEX MODELS CAN BE TESTED WITHIN THE REAL WORLD. NURBS MUST BE TRANSLATED INTO MESHES, THE APPROXIMATION OF THESE SMOOTH SURFACES (IWAMOTO, 2009) RATHER THAN JUST DEVELOPABLE SURFACES WHICH IS OFTEN REQUIRED WITH OTHER FORMS OF MODELLING. THESE PRINTER MACHINES USE COMPLEX AXIAL MOVEMENTS, AND THOUGH HAVE THEIR LIMITATIONS, HAVE CHANGED THE WAY WE ARE ABLE TO REALISE DESIGNS IN THE PHYSICAL WORLD. THOUGH ONE COULD QUESTION THE RELIABILITY IN THESE MACHINES, THEY HAVE UNDENIABLE CHANGED THE WAY WE WERE ABLE TO THINK ABOUT OUR DESIGNS AND THE PHYSICAL POSSIBILITIES WE COULD ACHIEVE.

WORKING IN A GROUP ALSO PRESENTS ITS OWN CHALLENGES AND BENEFITS. MY PARTNER AND I DID INITIALLY STRUGGLE TO EVENLY BALANCE THE WORKLOAD BETWEEN US BUT FURTHER COMMUNICATION ALLOWED US TO MOVE FORWARD IN A MORE BALANCED MANNER. ALL DESIGN STUDIOS DO NOT SOLELY RELY ON GOOD IDEAS. IT IS ALSO ABOUT THE TIME AND EFFORT YOU PUT INTO A PROJECT AND I THINK THIS IS CLEAR IN THE FABRICATION OF OUR FINAL SLEEPING POD DESIGN. THE FABRICATION OF JOINTS USING 3D MODELLING AND PRINTER TECHNOLOGY, THOUGH AT TIMES WAS INCREDIBLY FRUSTRATING, IS ONE OF THE MAIN SKILLS I WILL TAKE AWAY FROM THIS SUBJECT AND IS ONE OF THE REAL STRENGTHS OF OUR PROJECT. THIS SUBJECT HAS REALLY PUSHED ME TO USE THE FABRICATION LAB IN MELBOURNE SCHOOL OF DESIGN AND TAKE ADVANTAGE OF THESE FACILITIES WHICH WILL BECOME INCREDIBLY IMPORTANT IN FUTURE ARCHITECTURE AND DESIGN STUDIO SUBJECTS.

OVERALL I AM INCREDIBLY PROUD OF OUR FINISHED DESIGN AND THE PROCESS WE WENT THROUGH TO ACHIEVE THIS FINAL GOAL. THANK YOU TO PAUL LOH AND OUR TUTOR JAMES WENTWORTH PARK FOR THEIR HELP THROUGHOUT THE WHOLE DESIGN PROCESS.

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5.0 APPENDIX

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Page Drawings Computation (Digital Model, photo editing)

Model Fabrication

Model Assembly

Photography Writing Graphic Design

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5.1 CREDITS

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IWAMOTO, LISA 2009. DIGITAL FABRICATIONS: ARCHITECTURAL + MATERIAL TECHNIQUESNEW YORK: PRINCETON ARCHITECTURAL PRESS.

KOLAREVIC, B 2003, ARCHITECTURE IN THE DIGITAL AGE - DESIGN AND MANUFACTURING /BRANKO KOLAREVIC. SPON PRESS, LONDON

MARBLE, S, 2008. BUILDING THE FUTURE: RECASTING LABOR IN ARCHITECTURE/ PHILIP BERNSTEIN, PEGGY DEAMER. PRINCETON ARCHITECTURAL PRESS. PP 38-42

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, C1969.A

5.2 BIBLIOGRAPHY

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