jONATHAN THONGARCHITECTURE DESIGN STUDIO: AIRJOURNAL

Jonathan ThongArchitecture Design Studio: Air

Journal

To my groupmates, Bec and Danny, who patiently put up with me.

Part A - Expression of Interest A.1. Case for Innovation A.1.1. Architecture as a Discourse A.1.2. Computing in Architecture A.1.3. Parametric Modelling A.1.4. Case for Innovation Conclusion A.2. Research Project A.2.1. Scope of Possibilities A.2.1.1. Input/Association/Output Matrix A.2.1.2. Reverse-Engineered Case-Study A.2.2.3. CUT Research Project A.2.1.4. Material Effects A.2.1.5. Assembly Methods A.2.2. Research Project Conclusion A.3. Expression of Interest Conclusion: Competitive Advantage A.4. Learning Objectives and Outcomes: Interim

Part B - Project Proposal

B.1. Project Interpretation B.2. Project Development B.3. Final Project B.4. Project Proposal Conclusion

Part C - Learning Objectives and Outcomes: Final

C.1. Reflection

Part A - Expression of Interest

A.1. Case for Innovation

A.1.1. Architecture as a Discourse

Metropol Parasol by Jurgen Mayer-Hermann

The Metropol Parasol is a beautiful pavilion set in the middle of Seville in Spain. It is the world’s biggest wooden structure, and its design is almost like a forest, where the waffle-like tops are the branches of the canopy and the columns are the tree trunks. This is appropriate as its purpose is to provide shade in the Plaza de la Encarnacion, where it is located.Due to the locations of ruins nearby, the architects had to work closely with the engineers as the supports could only be placed in certain locations, and that would affect the shape of the “mushroom-crown” top. This would’ve been aided greatly by computer-aided parametric design softwares, as it would allow the designers to modify certain parametres without having to go back to step one.The architect, Jurgen Mayer-Hermann was trained as an artist, before switching to architecture. His interest in the digital world led him to use computerised design and construction to create complex, non-repeating elements. As a result, no two parts of the Parasol are identical.The idea of this project was to invigorate a faltering city centre by incorporating a significant piece of design, using architecture as an art form. I believe that the Wyndham Gateway Project brief runs parallel with this approach, as the Gateway should be an immediately recognisable structure that is associated with Wyndham.

Beijing National Stadium by Herzog & De Meuron

The designers were looking to design a building that is “porous” while also being “a collective building, a public vessel”, which led them to study Chinese ceramics. While the original design was meant to contain a retractable roof, a collapse at Charles de Gaulle caused the designers to remove it. This, in turn, created the iconic final design of the Bird’s Nest.The revolutionary design was a sharp departure from Herzog & De Meuron’s contemporary modern architecture. They take a very ordinary object in nature, and turn it into a impressive structure. It isn’t the building, however, as it works as a second layer of skin.I personally like the idea of drawing upon nature to create a beautiful piece of architecture. The use of computer-aided design allows this to happen, even for the Bird’s Nest. The seemingly random placement of steel beams that help create the iconic structure was a result of CAD. As most of Wyndham’s beauty is in its natural surroundings, I’d like to use the same idea, drawing upon nature, and then using CAD as a tool to aid the design process.

Studley Park Boathouse by Jonathan Thong

Finally we get to my picturesque masterpiece, the Studley Park Boathouse. The inspiration for it was two of Frank Lloyd Wright’s iconic designs, Seacliff I and Seacliff II. Both Seacliffs were, as the name would suggest, on a cliff facing the sea. This provided FLW with many difficulties in its design and construction. However, he did find a way to create a successful, awe-inspiring design that provided the user with excellent views. In this project, I aimed to capture the essence of FLW’s work and make it my own, which was basically the brief of the project.Using FLW’s design techniques such as floating manner, breaking the box and interpenetrating forms, I was able to be inspired and create a building using CAD/CAM, which provided many benefits which FLW perhaps didn’t have in his career. It also gave me an opportunity to see the building in the site location without having to build an actual model. This meant that I could see how the building reacted to its environment, and make the necessary changes wherever I saw fit.

Part A - Expression of Interest

A.1. Case for Innovation

A.1.2. Computation in Architecture

What is computational design?

Computational design harnesses the processing power of computers to perform millions of mathematical computations to cre-ate multiple outcomes. These computations can be anything: form generation, manipulation, or reduction. The designs created by this technique is almost impossible to have been sketched or sculpted by the designer. As a result, computational design challenges the limits of today’s technology, as well as conventional design teaching and practice, one of the reasons as to why Architecture Design Studio: Air is run diffrerently to the other studios, perhaps. These challenging yet innovative computational tools can be applied to challenging design problems.

How can it be applied?

Kolarevic (2003) suggests that the goal of computational design is to create a four-dimensional model encoded with the qualita-tive and quantitative dimensional information for design analysis, fabrication, and construction. The result is a complete model that contains all the information to build a structure.

Computational design is used mainly in the industrial design sector, due to its ability to form complex shapes. Car designers, aeroplane designers, boat designers all use some form of computational design to see and virtually test their product. These virtual simulations are almost identical to what happens in reality, and therefore these designers are able to make changes to the product according to the problems they encounter. The construction process is also made easier due to digitalisation of the manufacturing process, once again aided by computational design.

The computers are able to make thousands of calculations per second, and therefore can identify and solve issues much quicker than a human can. The ability to form complex shapes using algorithms and parametrics allows more freedom to the designer. Despite the programs being developed mainly for industrial designers and graphic designers, architects can now take advantage of the software and create incredible buildings and structures, such as the ones mentioned in last week’s journal entry,

Mazda Nagare Design Language

When Mazda introduced the Nagare Concept in 2006, the world was stunned. The exte-rior form language of textured surface lines and the dramatic body shape was nothing like anything before it. The design team set out to discover something new and fresh for Mazda design: the brief was to capture Mazda’s essential brand characteristics - ‘Zoom-zoom’, ‘stylish’, ‘emotion in motion’ among others - even when the cars were stationary. The result was Nagare or Flow, a whole new design language for Mazda cars.

The most apparent is the surface treatment itself, which suggests air or fluid flow over the vehicles’ side surfaces. This is apparent for all of the Nagare concept vehicles. Their surface designs are textured to play with light as if the car is speeding through the air.

The second concept in the series, the Ryuga, was based on the question ‘how would nature form objects if artificially controlled by man?’ The surface textures were based on the flow of raked rocks in Japanese gardens, while the twisted wheel spokes sug-gested movement even while static.

The Hakaze concept which came next took inspiration from a combination of natural elements like sand-dunes and technological man-made objects such as helicopters, speed boats and jetfighters. It was packaged within a practical SUV body, showing that the Nagare concept could be transferred to a contemporary model.

The innovative styling of the Taiki, meaning ‘Atmosphere’, was designed with a single objective: visually express the flow of air. A pair of Hagoromo - the flowing robes that enable a celestial maiden to fly according to Japanese legend - were used as inspira-tion. The result of this was a fusion of these were flowing upper and lower surfaces that created a visual depiction of flowing air. It also minimised body volume for a trim, well-toned appearance, as well as creating a sense of floating lightly on air.

The final concept, Furai - sound of the wind - was arguably the most dramatic in the Nagare concept series. While the other concepts were merely for aesthetic and design purposes, the Furai was designed with racing in mind. Thus every surface texture had to suit a purpose. The team used complex Computational Fluid Dynamics (CFD) software to tune various Nagare design elements to function at a high degree of efficiency. Drag, downforce, lift and overall esthetics were all key considerations.

Though the exact methods used vary between automakers, cars are increasingly cre-ated within the computer (or transferred there from the initial 2D sketches) using digital design software. This information is combined with technical information, such as the existing components including the chassis and drive system, to create a 3D ‘realistic model’. Today complex surfaces could only have been executed digitally. This is be-cause it is easier to design and produce clean, clear surfaces than the complex textured surface language.

Mazda Nagare

Mazda Ryuga

Mazda Hakaze

Mazda Taiki

Mazda Furai

Part A - Expression of Interest

A.1. Case for Innovation

A.1.3. Parametric Modelling

What is SCRIPTING?

Scripting or a scripting language are programs written for a software environment that automate the execution of tasks which could alternatively be executed one by one by a human operator. It affords a significantly deeper engagement between the computer and user by automating routine aspects and repetitive activities, thus facilitating a far greater range of potential outcomes for the same investment in time.

Project: Emerging Morpho(eco)logies

The architecture of morpho(eco)logies and its design process is based on the idea that energy and environment is a dynamic and performative system of operations, forms, materials and programs which through self organizational and modulating processes can provide optimized solutions to complex and diverse problems. The design of such evolutionary and dynamic space can be generated by digital algorithmic methods. These methodologies can tackle the problem of sustainability.

The architecture of morpho(eco)logies and its design process is based on the idea that energy and environment is a dynamic and performative system of operations, forms, materials and programs which through self organizational and modulating processes can provide optimized solutions to complex and diverse problems. The design of such evolutionary and dynamic space can be generated by digital algorithmic methods . These methodologies can tackle the problem of sustainability(Katodrytis, 2007).

In the quest for architecture to become sustainable, it has to look to nature. To do this, it has to imitate the processes in nature by becoming dynamic and adaptive: both organic features. Energy and most natural phenomena is an adaptive and self-sufficient process that achieves and maintains survival and optimization without external control. The research and design of such morpho(eco)logical systems engage the examination of physical systems in relation to their capacity to modulate climates, as well as space and program (Katodrytis, 2007).

Environmental mimesis is a means for survival and performance. Animals are seen as perfecting mimicry (adaptation to their surroundings with the intent to deceive their pursuer) as a means of survival. By means of the mimetic impulse, the living being equates itself with objects in its surroundings. This holds the key to exploring the question of how human situate themselves within their environment (Katodrytis, 2007).

One technique by which mimesis is constructed is by algorithms that are programmed to execute a series of mimetic tasks. Genetic algorithms constitute a class of search algorithms especially suited to solving complex optimization problems. Through its use the algorithm architectural notation has become operational: to design the choreographing of the transformation process. The architectural object is transformed into event and performance (Katodrytis, 2011). However, this may cause the underlying mathematical and computational models to become too similar - the products differ of course but more based on in which context they are deployed and not so much conceptually. (Burry, 2011)

The architect now becomes a constructor of formal systems than static spaces. This new condition gives architecture an “auto-poiesis”, similar to biological dynamics. By using scripting languages it is possible to create forms through methods analogous to the evolution of intelligent life: emergent behavior and self-organizing systems. It pursues various methods through which the role of the designer can shift from “space programming” to “programming space” (Katodrytis, 2011). This is like Burry (2011) says, the tool user becoming the tool maker.

Part A - Expression of Interest

A.1. Case for Innovation

A.1.4. Case for Innovation Conclusion

ARCHITECTURE AS DISCOURSE

METROPOL PARASOLThe Metropol Parasol reconceptualises architecture into an art form and vice versa. The project shows that it is possible to use architecture as a mean to reinvigorate an urban area using an iconic structure, rather than erecting a building. Such a project may even cause a transformation in the urban landscape by redirecting human traffic and forming a new city centre. I would like the Gateway to be a structure that does both, and become an icon of Wyndham.

BEIJING NATIONAL STADIUM (BIRD’S NEST)Using one of nature’s simplest structures as a starting point, the Bird’s Nest is created using CAD to form the iconic woven steel frames that form the outer skin of the stadium. I would like to draw upon nature, as it is a strong part of Wyndham’s culture, and create a structure the city will be proud of.

STUDLEY PARK BOATHOUSEDrawing from the past as inspiration to create a design is not a new thing. However, what the past did not have was the use of computers to aid them in the design process. By being able to view your building on the site, albeit a virtual one, it makes it easier to make changes on-the-go according to the site constraints or others. Using these methods will make it easier to design and develop the project. COMPUTING IN ARCHITECTURE

MAZDA NAGARE DESIGN LANGUAGEThe Nagare design language and concept by Mazda demonstrates how it is possible to take an idea - in this case, Flow - and turn it into a stunning and unique piece of design. The use of computer-aided design allows these intricate surfaces to be formed and changed on the go. This makes designing a much quicker and easier process for various industries, in this case car design, but also for architecture.

PARAMETRIC MODELING

MORPHO(ECO)LOGIESMorpho(eco)logies is a project that tries to solve the problem of sustainability using algorithms and scripting to virtually create biomimicry. Biomimicry is a rapidly developing branch of architecture studies and design and it would be great to incorporate elements of this into the project.

Part A - Expression of Interest

A.2. Research Project

A.2.1. Scope of Possibilities

A.2.1.1. Input/Association/Output Matrix

“Search is a process we engage in when the outcome of an action cannot be fully ascertained in advance. It consists of finding, or developing,

candidate solutions, and evaluating them against the goals and the constraints.” - Kalay (2006)

The matrices were created through a trial-and-error process by changing certain variables within the definition. Understanding what each variable does to the model is key to adequately forming a solution to a problem. Parametric design has almost infinite possibilities in outcomes, and the search process is a way to discover the best possible solution.

Kalay (2006) suggests that search methods are so common that computer science has studied these processes, coming up with three different types:

• Depth first. In this method a promising candidate solution is explored to its logical conclusion (either it meets the goals, or it fails) before another candidate solution is examined.• Breadth first. In this method several alternative ways to develop a candidate solution are explored before any one of them is taken to its logical conclusion.• Best first. In this method all currently available candidate solutions are evaluated, and the one which appears most promising is chosen for further development.

Using this trial-and-error method, I was able to come up with a variety of outcomes using different inputs, associative methods and outputs, which ties in with Kalay’s “Paradigm of Design: Puzzle Making”. The example he uses is the Tangram puzzle, in which the seven different pieces are used to create many different shapes. The same sort of experimentation is done with the variables to create different outcomes.

Kalay (2006) suggests that in this paradigm, design is a process of discovery, which generates insights into the problem that were not previously known. The process of discovery allows the architect to find a basic framework on which to build upon and improve. This sort of method is perfect for creating the Gateway project, as there are no known problems.

Part A - Expression of Interest

A.2. Research Project

A.2.1. Scope of Possibilities

A.2.1.2. Reverse-Engineered Case-Study

Restaurant Aoba TeiSendai, JapanHitoshi Abe + Atelier Hitoshi Abe

“People are trying to capture architecture through a filter of conceptions such as a structure or a programme, following an

existing meaning, but it doesn’t allow the human body to interpret the significance of the

space that is presented.The body is the only interface of

communication between humans and nature. Architecture, when stripped from context, is capable of interfacing with the human body

and of adding a meaning to the ‘space’.” - Hitoshi Abe

The Restaurant Aoba Tei - meaning ‘leafy place’ - was designed by Japanese architect Hitoshi Abe. The interior contains a perforated steel membrane decorated with images of Zelkova trees that line Jozenji street on which the restaurant is located.

The S-shaped steel membrane acts as a cocoon or skin that seamlessly encapsulates the downstairs reception area and the upstairs restaurant. The abstract perforated dot patterns in the steel allow a multitude of tiny lights to shine through, creating a play on light and shadow that appears to create the ambience of a forest.

The architect wanted to relate the restaurant directly to the street—a six-lane commercial artery lined with gracefully shading Zelkova trees—but did not have permission to alter

the existing curtain-wall facade. His solution was to distill an image of the trees into an

abstract pattern of dots, and then punch them into a steel screen.

Reverse-Engineered Case Study

Part A - Expression of Interest

A.2. Research Project

A.2.1.3. CUT Research Project

Delving further into how perforations in a membrane may allow the passage of light, explorations into the BanQ restaurant and the Dior Building were made. The organic form that was created by the panels in the BanQ restaurant was something that we, as a group, wished to replicate in our final project. The patterns in the Dior building was also an interesting way to allow light to filter through.

We were able to recreate the BanQ restaurant’s panels and then placing the Dior perforations on its surfaces. Experiments were done on how the figure cast shadows and also on the interesting patterns that occurred when shone with light.

“The interplay between depth (form,structure, screen or surface) and a specific

material (such as program, image,or color) produces the ornament (for example

complex tilings, perforatedscreens, or structural patterns) which transmits unique affects in each case.”

- Moussavi (2006)

Part A - Expression of Interest

A.2. Research Project

A.2.1.4. Material Effects

A test to see how the model would react under bending. It was also interesting to see the different shadows that were cast depending on how the model was bent. This study of shadows is something that we’d like to experiment with further and carry onto our final project.

Another model was used to create an ice mould. This was to see the patterns that could be create under a different medium, and also the effects of a different medium. This was purely experimental and helped usunderstand the possibilities of using other materials and methods of construction.

Part A - Expression of Interest

A.2. Research Project

A.2.1.5. Assembly Methods

The different parts of the structure are pre-fabricated in a factory

They are transported by truck to the site

The structural ribs (pylons) are put into place first. There are six of these

The different layers are then slotted into place, built from the bottom-up

The next section of structural ribs is put into place, and the pro-cess is repeated until the structure is completed

Completed structure

THE CONSTRUCTION PROCESS FOR THE STRUCTUREIS SIMILAR TO HOW AN AEROPLANE IS ASSEMBLED. THE PROCESS TAKES INTO CONSIDERATION THE PRE-FABRICATED PARTS, METHOD OF TRANSPORTATION, AND ESPECIALLY WYNDHAM’S PAST AS A RAAF BASE. EACH LAYER IS DIVIDED INTO SECTIONS, WHICH IS MANUFACTURED IN A FACTORY OFF-SITE. THESE SECTIONSARE 25 METRES LONG TO FIT ONTO A TRUCK LEGALLY. THE STRUCTURAL RIBS PROVIDE SUPPORT TO EACH OF THE 30 LAYERS, WHICH ARE JOINT TOGETHER IN A WAFFLE FORMATION, FOLLOWED BY RIVETING. THE JOINTS DISAPPEAR INTO THE STRUCTURE SO AS TO BE HIDDEN. THERE ARE SIX INDIVIDUAL SECTIONS OF THESE, ANDEACH FINISHED SECTION IS ALSO CONNECTED BY RIVETING.

Part A - Expression of Interest

A.2. Research Project

A.2.2. Research Project Conclusion

MATRIX RESEARCH

We started off without restricting ourselves to limitations that may have restrained creative possibilities. The process of exploring and creating these matrices relates to Kalay’s “puzzle making”, which is classified under “Paradigm of Design”. As this was still in an experimental stage, the individualised criteria were not considered. As a result, there was no specific goal to create a specific geometry or pattern and therefore designing becomes a process of discovery.

CASE STUDY RESEARCH

The way light penetrates a material and the way that a patterned perforation was able to create an interesting diffusion of the light was an interesting proposition to discover. The Aoba Tei Restautant was a prime example of this, and the exploration of its form and patterns was extremely insightful.

CUT MODEL RESEARCH

The selection process was based on the concept of nature and how to emulate the processed and functions intrinsic to natural organisms. The explorations of the geometries on each panel were linked to the notion of how there an be dynamic changes in animal and plant life such as skin pores and light sensitive leaf cells. With these ideas, experiments were pdone on how the fabricated models would perform under different lighting conditions and pressure in relation to the dynamic qualities abundant in ‘air’.

Part A - Expression of Interest

A.3. Expression of Interest Conclusion: Competitive Advantage

A.4. Learning Objectives and Outcomes: Interim

COMPETITIVE ADVANTAGE

The precedents that I have chosen - Metropol Parasol, Beijing National Stadium and Studley Park Boathouse - will be the guiding lights for the Gateway project. The experiments that were done with the Design Matrix and Reverse-Engineered Case Study allowed me to use and understand Rhino/Grasshopper, a key element in the design process. Using the techniques learnt through these experiments, a CUT Research Model was made to perform further design experiments to enhance our ideas and creativity for the Gateway project.

In the midst of all this, we created a list of criteria that would lead us, as a group, to create a successful design for Wyndham. These criteria represent our ambitions which will guide our process to discover a suitable design for the Gateway project. We will endeavour to create a dynamic relationship to the site, one which reflects the ever-changing culture of Wyndham city. In relation to this notion of change, we want commuters driving pass the structure to have a different experience dependent upon the direction of travel. The viewing experience of our project should also change across all hours of the day and night, using a play on light and shadows. Finally, we would want to manifest our ideas in an abstract rather than literal form, as this encourages the public to appreciate the project as more than just a structure but as an artistic reflection of the municipalityof Wyndham.

LEARNING OBJECTIVES

Integrating the Wyndham brief and incorporating personal agendas, interests that influence design.

Modifying various parameters within Grasshopper as a process of discovering each one’s purpose in order to create a final product.

Working in Rhino and Grasshopper really challenges perception of 3 dimensional spaces as there are less visual cues for attributes like scale. Being able to visualise and coherently express what you’re doing in grasshopper is extremely important to successful producing experimental models.

Air is an important theme that should run through the work. The notion of air carries many significant connotations to this Gateway project: ventilation, change, light, weight, visibility, aerodynamics.

Understanding how to pick relevant and appropriate precedents and recognising the architect’s intent in designing their works.

Using precedents and case studies to understand and influence a final design.

Part B - Project Proposal

B.1. Project Interpretation

The Wyndham City Gateway Project is striving to follow on the success of “Seeds of Change” and “House in the Sky” by establishing another iconic indicator on the Western Interchange entry to the City. The location of this proves a challenge for the design, as it will be viewed by motorists travelling at over 100km/h. Therefore, it is required that motion and change be taken into consideration.

Capturing an abstract value of the city is essential, as we want the aesthetic properties of the project to be thought-provoking. This means a literal “W” is out of the question. The in-tegration of the project into the surrounding landscape is also important, as we don’t want the structure to look out of place. The project must also adhere to various safety guidelines that are imposed by VicRoads.

With that in mind, the project should also incorporate the community spirit of Wyndham, in order to create something that the city will be proud of and can relate to. Therefore, we have chosen Wyndham’s motto: City. Coast. Country. as a basis to form our ideas for the project. We believe that this is a fine starting point for the project as it takes into consider-ation Wyndham, as well as its surrounding landscapes.

Part B - Project Proposal

B.2. Project Development

On the next spread, there are four examples of experiments we did to come up with a final form. To select the desired form, we went for a right amount of curves that would cast intricate shadows, yet maintained the triangular form of the structure. Our chosen form is on the last row.

Part B - Project Proposal

B.3. Final Project

Part B - Project Proposal

B.4. Project Proposal Conclusion

I feel that the final project suited the brief very well. As the proportions of the structure were drawn from the site, this satisfied the requirement that the structure should suit the site. Its situation far from the road also adheres to VicRoads’ regulations, as it doesn’t block any views, cause obstructions etc. The size of it also considers aesthetic appeal, as well as scale of the site, and we believe that we have attained the perfect size for our project. The abstract application of Wyndham City’s motto, “City. Coast. Country.”, satisfied our self-imposed criteria. Taking into consideration the changes across the day, we feel that the effect on shadows that the different layers affected the way shadows are cast on the structure and also on the landscape. Meanwhile, the twisted form meant that as motorists drove along, they would be treated to a visually-changing shape. We feel that the internal representation of the structure will not only appeal to the Wyndham community, but also provide an intellectual experience to the motorists the way a literal form doesn’t. With all these considered, I believe it is a making of a truly iconic feature, not just for Wyndham, but for Victoria.

Part C - Learning Objectives and Outcomes: Final

C.1. Reflection

How the last 12 weeks or so have flown past. The start of semester was intimidating, realising that we would have to learn an entirely new program from scratch, in three weeks, and at the end of semester, create something that could be used in a real-life competition. A pretty daunting task, especially for those who weren’t around Melbourne during the holidays to take part in the Exlab sessions. So it was down to 3 weeks of cramming Rhino/Grasshopper knowledge in order to utilise it for the rest of the semester. This proved to be too hard, and some sympathy was shown from the higher-ups, leading the course to be changed and for the students to be placed into groups. Which was great. This way, we worked as a team, and the individuals could focus on their strengths, be it Rhino, idea generation, or making presentations. For me, I was lucky to be in a group with people who knew how to use the software, which meant I could learn more and faster than by doing it alone. This was particularly helpful in the reverse engineering task, and I was quite happy with what I achieved there.

There have been many ups and downs in this semester, but I was happy with the group. I felt this was important because in the real world, architects would be working in a team. Each of them would focus on different areas in a task, depending on their qualities. This leads to better results in whatever they are trying to achieve. I felt the same way in our group, as we delegated tasks to each other depending on what we were proficient in.

It was interesting to learn how to use Rhino/Grasshopper. The basics were easy to catch on, but of course it got harder as the definitions got more complicating. However it was really cool to see a design come to life on the screen, no matter how random it was. I believe parametric design is certainly the way that architecture is going. This is due to my interest in biomimicry as a way to promote sustainable design and living.

To sum it all up, I was happy with my group, happy with our final project, and happy with what we have achieved this semester. Having said that, I miss the feeling of putting pencil to paper. Looking forward to next semester!

List of References

Burry, Mark, Scripting Cultures: Architectural Design and Programming (Chichester: Wiley, 2011), pp. 8 - 71.

Katodrytis, George, 2007. Emerging Morpho(eco)logies presentation at the Museum of Modern Art in Tehran. Avail-able at: http://katodrytis.com/main/171/emerging-morphoecologies-at-the-museum-of-modern-art-in-tehran (Accessed: 14 March 2012)

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 62

Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cam-bridge, Mass.: MIT Press, 2004), pp. 5 - 25