STUDIO AIR2015, SEMESTER 1, TUTOR: BRADLEY DAVID ELIASXIRONG BAO (625544)

INTRODUCTION

PART A. CONCEPTUALIZATION

A.0 DESIGN FUTURING A.1 DESIGN COMPUTATION A.2 COMPOSITION / GENERATION A.3 CONCLUSION A.4 LEARNING OUTCOMES A.5 APPENDIX

PART B. CRITERA DESIGN B.1 RESEARCH FIELD B.2 CASE STUDY 1.0 B.3 CASE STUDY 2.0 B.4 TECHNIQUE: DEVELOPMENT B.5 PROTOTYPES B.6 PROPOSAL B.7 LEARNING OUTCOMES

PART C. DETAILED DESIGN C.1 DESIGN CONCEPT C.2 TECTONIC ELEMENTS C.3 FINAL DETAILED MODEL C.4 LEARNING OUTCOMES

CONTENTS

ABOUT ME

INTRODUCTION

I’m Xirong Bao ( Maggie ), a third year student majoring in architecture in Melbourne University. I come from China and spent all my school years there learning about science. I’ve been trained of a very rational way of thinking but personally I’m very emotional and have a great passion in arts and all the beautiful things in general.

I chose architecture because as most people would assume that it strikes a balance between arts and science. But after two years’ studying I’m now pretty confused whenever asked about it. I’m not sure what is the most important about architecture nor can I understand all the large concepts and big ideas associated with it. But I really appreciate and admire the intelligence, sensibility, energy, beauty, creative thinking and the general wish to make things better that is so often found among architects and delivered through their works. They keep inspiring me and make me wish to join this group in the future.

PREVIOUS WORKS

I’ve done several design projects in previous studios but I’m not completely satisfied with any of them. In virtual environments I learned about Rhino and went through a digital design process guided me from conceptualization to fabrication. But I think I did most of the work intuitively without enough rational evaluations or creation. And because the lantern designed was only an object with a limited scale, nothing went too wrong. I was not completely satisfied with my work but I really got exited about what could be done through the digital design process. And I’m really looking forward to having a great design experience through studio air.

CONCEPTUALIZATIONPART A

A.0 DESIGN FUTURING It is said by Fry that our current unsustainable mode of inhabitation, the future of human beings as a race is in doubt. Architecture as a design discipline, is embedded with all the power and responsibilities associated with creating a better future. It is believed that our ways of living is mediated by the built environment and thus architects should be capable of guiding people to a better future (Dutton). Unfortunately, the ability for design to directly impact and predict the future is overrated. Designers and especially architects are too restricted and limited by all the other cultural and social systems to simply design a good future for us. And beyond all the limitations, to simply design a better future is something that cannot be mastered by any groups of expertise alone (Fry).

What designs are really good at is articulating different possibilities related to our future which assists the society finds a preferable one through debates and discussions. It could be done through either evocative designs illustrating a promising future or ironic ones that demonstrate an undesired future and encourage people to critically reflect on the current situation (Dunne).

PRECEDENTS 01

The first project I chose is the Teesside Power Station located in one of the poorest areas in UK. It is a biomass power station built to provide energy for the new homes built around the area. The architect Thomas Heatherwick detects the current inefficiency in the arrangement of necessary elements of a power station and promoted a new composition. In the proposed structure, the bottom part of the station is buried in spare soil on site not only allow plants to grow upon but also provides acoustic insulation to the station. The top part is built as public space that utilizes the height required by the station to generate great view for recreation. The design radically shifts the site from a scary power station with danger signs that keeps people away into a power park that invites people in and be proud of the place supplying energy. The driving force of this design is probably the sensibility to human experience, and the outcome really creates great social values that will be continuously appreciated.

I chose this project as an example to innovative design not because it is carbon neutral nor does it engages with the most advanced technology to create outstanding building performance. But it inspires me that sometimes the sensible and creative design thinking it self is powerful enough to generate great change promise us with a better future.

IMG: Teesside Power Station Stockton-On-Tees, Teesside, UK, Heatherwick Studio

PRECEDENT 02

The second precedent I choose is the newly released design for Google’s California Headquarters. It is still under research and development, which positions itself at the very edge of the current and the future.

This project is innovative in so many aspects. In the social context, it creates a community oriented plan, which opens up space and actively shapes it for the benefits of the whole community. Facilities that can be shared by the locals such as bike tracks are laid out around the buildings as well as retail shops that associated with new work opportunities. It manages to keep the diversity and vitality of urban settings but blurs traditional distinctions by making the space accessible to all that lives in the area. The environmental considerations provide this project with qualities that will be continually appreciated in the future. It leaves the ecological sensitive areas untouched and aims to restore the natural environment through reformation of parking lots. It also sufficiently utilizes renewable energy. In the technical field, the project is engaged with translucent membrane as a new material, which blurs the exterior and interior. Moreover, flexible working space is created through movable lightweight building blocks. A more efficient office-working pattern is proposed here which may initiate

severe change in the future.

The many exciting and innovative thoughts involved in this project are not only formed from collaborative design of two creative and much celebrated architects at the moment but also thanks to the contribution of Google, as a client that is very sensible to the environmental and social issues and the responsibilities related to them. It gives some suggestions on the contribution that the commissioner can make to an architectural project.

The whole project is almost like an experiment of optimizing the built environment in every possible way, given the best resources. Though unfinished it unquestionably provides us with a promising vision of built environment in the future and hopefully it will inspires new innovative designs.

IMG: Design for Google’s California Headquarters, Google / BIG / Heatherwick Studio

A.1 DESIGN COMPUTATION Architectural design benefits from the new computational techniques in many ways. Both the design process and outcomes evolved with the help of the analytical and generative power of computers.

Traditionally, an architectural proposal goes through separated stages worked by groups with different expertise before its realization. The long process does not allow people with certain expertise to participate in the early design stages such as the structural engineers. On one hand, there is potential risk of expensive modifications in later process due to the lack of expertise of architects in certain fields. Moreover, the multiple groups that could help refine and expand design ideas much further fail to contribute in the formation stage of a design. The efficacy of this process can be well solved through computers as a medium that facilitates communication between architects and other groups. Architects can now encodes their abstract design ideas in different formats besides 2D drawings that could be easily decoded by other groups such as engineers. This new collaborative and integrated process can take design solutions into much more advanced fields beyond conventional practice (Kalay). Architects are now able to make designs beyond what are intuitive and familiar to them with the help of computers (Roudavski).

In this collaborative relationship, building performance can also be significantly improved. Architects can provide design proposals with controlled variables thanks to the generative power of computational design. And these proposals can be tested by engineers on

structural and energy performance with 3D simulation software. Thus architects can be guided with active feedbacks and new possibilities through the whole design process. And these analytical jobs traditionally done manually with potential mistakes had led to unpredictable outcomes (Kalay).

In addition, computational techniques reshape material fabrication. Rapid prototypes and digital testing of materials all encourages the use of new materials and more complex geometries. Indeed, the modern iconic buildings are well characterized by their ordered structural complexity and employment of new materials (Oxman).

PRECEDENT 01

The BMW Welt building is really a good example to show how the collaborative relationship between architects and engineers helps to realize ambitious design ideas. And lies the in the heart of this relationship is the efficient commutation facilitated by computers.

The design of the BMW is ambitious, architects creates a giant hall with a twisted tornado-like shape that is not familiar to traditional architectural practice. But with the help of computers, architects were able to specify the geometry of every each panel, which allow calculation to be conducted by structural engineers. With the help of the expertise of structural engineers, the hall with vast support-free space was realized.

The requirement on the performance of the building was equally challenging. Since it is used for car delivery, the gases produced by cars must be efficiently exhausted. The giant hall is required to be naturally ventilated. With the help of computational technique, designers and engineers were able to simulate the airflow within the complex structure. Repeating calculations were conducted to find out the optimal distribution of the outflow and intake vents on the irregularly paneled surface.

IMG: BMW Welt, Coop Himmelb(l)au

PRECEDENT 02

Zaha Hadid Architects wins projects around the world with their non-repetitive design solutions achieved through computers. There are no rigid forms or fixed plan found through their projects. Instead, every each building is comprised of a unique dynamic form shaped by a parametric approach of articulating complicated social process.

IMG: Zaha Hadid Architects

A.2 COMPOSITION / GENERATION Architecture theory and practice has slowly shifted from composition mode based on the representational logic into generation mode following the logic of algorithm. At the beginning of this shift, iconic buildings such as Gehry’s Guggenheim Museum led architecture away from formal representations. Giant buildings were divided into smaller scaled components to be designed and digitally fabricated. Theorists that attempted to form a new architectural theory out of these new buildings picked up not the complex geometric outcomes but the algorithmic thinking, as ‘formation precedes form’. (Kalay)

To well use algorithmic thinking, associative relationship between the components of an object and their parts-and-whole relationship with the object were carefully studied. A new medium emerged to use algorithmic thinking for the creation of variations that is the parametric design. It allows the creation and modulation of differentiation at various scales. (Kalay) Based on these scriptable variability, building performance could be selectively studied and improved through simulating testing. Besides building performance, there are simply too many advantages associated with this generative model of design (Oxman). It makes the creative design process traceable that can be constantly refined and studies. In addition, it provides a bottom-up pattern of design that allows architects to generate solutions free from the limitation of their preferences and backgrounds that best serves the site. And the programed rules help to define the possibility space, within which much more solutions can be generated by the algorithms compared to traditional practice.

But there are also disadvantages embedded in this design mode. Parametric design over relies on programs, which limits our creativity to transferring what is available in the software into designs instead of searching for what is mostly needed. And in addition, many of the programing software we use to conduct architectural design were originally invented for other purpose, thus the solutions generated from these programs may not be the best in the architectural context.

PRECEDENT 01

The first project I chose is the Serpentine Gallery Pavilion by Toyo and Balmond. This project is one of the earliest experiments made on parametric design. At the first sight, it seems to be an extremely random box created intuitively by the architects. It is like an art object at a larger scale with a sense of instability and elegance. The contrast between the positive and negative space, the translucent and transparent is also extremely interesting. But what is really significant about this building is not its outcome but its design process, which employs algorithmic modeling. And surprisingly the algorithm applied to the design is an extremely simple one: ‘a cube expands as it rotates’.

This building really demonstrates the level of complexity and beauty that can be achieved through even the simplest parametric design, which inspires much more ambitions proposals in the following years.

IMG: Serpentine Gallery Pavilion 2002, Toyo Ito, Cecil Balmond, Arup

PRECEDENT 02

The second building I chose is the Beijing National Aquatics Center. Unlike other generative design that often hides their algorithms behinds complex geometries, this building takes a representational approach of parametric design. Architects drew the inspiration from soak bubbles.

At the first sight, the formation of them may seem quite random without a fixed pattern. But after careful investigation, architects found that the way the bubbles are packed together outlines a natural rule of space optimization. Sphere bubbles blend into each other and turned out to be polyhedrons sharing surfaces. And this form is the most efficient way of occupying three-dimensional space.

This fantastic rule found in nature was then encoded as algorithms to generate bubble-like cells of mediated variations on the façade. The parametric modeling tools help architects give precise geometric definitions of each bubble and later be used to work out the complex steel-frame that supports itself. IMG: Watercube – National Swimming Centre, PTW Architects

A.3 CONCLUSION

A.4 LEARNING OUTCOMES

My intended design approach is the parametric design. It is innovative because it emphasis the rules over form and transfers abstract design process into traceable creative algorithms. I think we can all benefit form this design approach in the future as it has endless potential to create architecture that is better than ever.

Through the three-weeks learning of my understanding of digital architectural theory is completely reformed. I used to have very ambiguous understandings of the various terms that seem to be similar such as digital design, computational design, parametric modelling and algorithmic thinking. Now after specific studies of precedents I’m getting more clear about the elements essential to digital design and their connections.

A.5 REFERENCEBMW Welt, Coop Himmelb(l)auhttp://www.archdaily.com/29664/bmw-welt-coop-himmelblau/bmw-welt-7059/

Design for Google’s California Headquarters, Google / BIG / Heatherwick Studiohttp://www.archdaily.com/603947/see-big-and-heatherwick-s-design-for-google-s-california-headquarters/

Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press)

Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16

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

Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

Serpentine Gallery Pavilion 2002, Toyo Ito, Cecil Balmond, Aruphttp://www.archdaily.com/344319/serpentine-gallery-pavilion-2002-toyo-ito-cecil-balmond-arup/

Teesside Power Station Stockton-On-Tees, Teesside, UK, Heatherwick Studiohttp://www.heatherwick.com/teesside-power-station/

Watercube – National Swimming Centre, PTW Architectshttp://www.ptw.com.au/ptw_project/watercube-national-swimming-centre/

Zaha Hadid Architectshttp://www.zaha-hadid.com/archive

CRITERIA DESIGNPART B

B.1 RESEARCH FIELD

Geometry plays a very important role in digital architectural design. It is extremely inspiring with great complexity and endless possibilities. Moreover, a deep understanding of geometrical relationship forms the base for parametric design (Walliser, 2009). The main concept that I want to explore and apply to my design is minimal surfaces. Minimal surfaces is becoming more and more popular in contemporary architectural design because it is not only structurally efficient but also creates an organic appeal standing out from the rigid built environments.

In general, minimal surface can be understood as a surface with minimal surface area for a given boundary. A direct structural benefit comes with its definition is that it can efficiently enclose a space with minimal material use. And since less material means less weight, it is very promising for light roof construction (Velimirovi, Radivojevi,Stankovi and Kosti, 2008). A good example of this is the Munich Olympic stadium. Secondly, minimal surfaces are physically very stable. Material strength is maximized in this type of structure, which further indicates its structural effectiveness. Thirdly, a minimal surface often constructed as tensile membranes in the real world proposes

a type of architecture in which the structure and the skin becomes one. This further illustrates construction efficiency but also generates challenges. Since there is no external skin to protect the structure, the construction material needs to have high structural strength and yet durable (Walliser, 2009). At last, though most of the ruled surfaces such as the paraboloid are not minimal surfaces but they are often used as good approximation to fabricate minimal surface with simple linear elements (Velimirovi, Radivojevi, Stankovi and Kosti , 2008).

Minimal surface is also very attractive from the design perspective. The buildings utilize this concept, such as many of projects by Zaha Hadid, appear to be organic, dynamic and seamless. They look like liquid flowing through the solid built environments. And the structure built at human scale creates unique spatial qualities. The organic form and free-flowing lines resembles nature.

IMG: Paul Nylander

GEOMETRY

B.2 CASE STUDY 1.0The project I chose for case study 1.0 is the Lava Greenvoid. It is a twenty-meter tall installation made out of light-weight fabric. It utilizes minimal surfaces to connect the boundaries at different level with minimal material use. Mesh relaxation is the key algorithmic tool here to create the complex seamless geometry.

SPECIE 01: BASIC TRANSFORMATIONBasic transformation on the initial geometry. Anchoring points are adjusted but the overall brunch-like structure remains.

SPECIE 01: Basic transformation on the initial geometry. Adjusting anchoring points but remaining the brunch-like structure

SPECIE 02: SURFACE FLOWIntersecting anchor planes, so the structure no longer has a separate inner and outer skin. Surfaces flow into each other and the whole structure is made out of a continuous surface.

SPECIE 02: Intersecting anchor planes, so the structure no longer has a separate inner and outer skin. Surfaces flow into each other, the whole structure is made out of a continuous surface.

SPECIE 03: SKIN & VOIDWrapping a surface to an extend that part of it is enclosed by the rest. So a continuous simple surface creates an external skin and a central void by itself.

SPECIE 03: Wrapping a surface to an extend that part of it is enclosed by the rest.

SPECIE 04: STRUCTUREBasic transformation on the initial geometry. Anchoring points are adjusted but the overall brunch-like structure remains.

SPECIE 04: Closing brunches into loops to create central void, and further creating more complicated 3D structures with the brunch-es and voids.

CITY OF DREAM HOTEL

B.3 REVERSE ENGINEERING

The project I chose to reverse engineer is the “City of Dreams” Hotel Tower in Macau by Zaha Hadid. It looks fluid and seamless by local application of minimal surface. The arrangement of the volume is extremely interesting. The two main towers are joint at the top and bottom creating a central void. And then two organic bridges melt in between and divided the void into three (Karissi, 2014). The beautiful flow of the internal space is the key idea that I want to incorporate into my design.

The external mesh layer is also very interesting. It does not structurally hold the building but provides it with lateral reinforcing. And the pattern embedded in the web further emphasis fluidity. It inspires me that I could make the suspended structure required by the brief out of two layers: one layer of rigid cables and one layer of tensile membranes.

ZAHA HADID

Initial geometry Mesh relaxation Rebuild mesh

External web Offset for structural connection

SELECTION CRITERIA

1. The form needs to be more open compared with the reverse engineered structure.

2. It needs to have the organic appeal and dynamisms of the original structure.

3. It is ideal to be made of a rid structure and a soft enclosing skin.

4. It should possess some structure as the original. (The central voids)

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B4. Technique development

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B.5 TECHNIQUE

PROTOTYPE 01The first prototype I made was out of rubber and steel. I warped the steel to form the curved struc-tural frame and then tied rubber in between. The surface created is a ruled surface to approximate minimal surface but since the surface is not dou-ble-ruled so I could not create lattice out of it. And the linear strings in tension does not provide a sta-ble surface so I moved on to my second prototype.

PROTOTYPE 02

The second prototype I used tapes to aprroximate minimal surface. The visual outcome looks great but their are problems lies in the structure. Firstly the outcome is not minimal surface but simply appear to be. Secondly, tapes are easy to work with but it does not has enough tensile strength to build on human scale. So for further development, I will refine the cable structure to reduce the span of the tensile structure and replace the tape with transparent fabric to keep the visual appearence.

B.6 PROPOSAL

I chose the bridge as my site because the struc-ture I desire really needs large stable surfaces to anchor on and I do not think that three trunks are good solutions. And since the structure is sheltered by the bridge their would be no drainage problem related to the construction.

B.7 LEARNING OUTCOMESThe two case study exercise were of great fun. I found grasshopper so powerful that it enables me to model many of the structures I dreamed of drawing for so long and I finally have the chance to take a closer look at them and play with them. But I guess because I was too obsessed with playing with geometry and algorithm I did not done enough research on precedents to assist my design process. In part C I think I will take a closer look at the detailed design solutions of the precedents to further understand the keys that contribute to their success and uniqueness be-sides the general concept.

DETAILED DESIGNPART C

C.1 DESIGN CONCEPT

CRITICAL ADJUSTMENT

1. Directly application of minimal surface has great visual appeal but it is really hard for fabrication. Soft materials such as the tape is not really suitable for large scale construction and the form cannot be precisely controlled. So a relaxed mesh that mimics the visual appearance of a minimal surface seems to be a better solution than a continuous NURB surface. It can be easily fabricated out of planar material, and it is more operable through Kangaroo.

2. The previous site under the highway bridge seems to be too large in scale for the intended installation. The highway is also too noisy and seems to have access issue. So the site is shifted to the Clifton Hill Bridge. It is more manageable in scale and it is located in a quiet place surrounded by large open space.

Using mesh wo simulate continous minimal surface.IMG: kelvin thengono

SITE LOCATION

The site is almost at the edge of the Melbourne city with 4.08km to the CBD. It is a place that many citizens spend their weekends hanging out, doing sports and interacting with nature.

Therefore the design should have an organic form to blend in the surronding natural environment.

SITE TRAFFIC PATTERN

The site is surrounded by large open areas. No resting kiosks or benches through the site. Though it is loved by many to simply take rest on the natrual ground, it is desirable to design a structrue that people can take a rest during their walks or exercise.

THE BRIDGE

The bridge provides good views to the river on both sides. And the steel structure provide great anchor points for the suspended structrue. The triangles on the bridge also seems to pocess a certain rhythm pf rigidity that may contrust with an organic design.

Interactive: lying, climbing

Field Geometry: minimal surface, ruled surface

Tensile structure

Mesh relaxation

Seamless appeal

Suspended

Taking load from people

BRIEF:

Design Agenda:

A simple suspended surface containing structure within itself, that allows people to rest and climb to have a unique spacial experience.

DESIGN PROPOSAL

Allowing people to climb, lie down and rest. Sculpture-like installation on the bridge. One simple continuous net, with two central voids

C.2 Tectonic Elements & Prototypes

HARVARD PUPPET THEATER

PRECEDENT:

‘Plastic polycarbonate panels covered with moss are bolted together, for easy assembly and disassembly, forming an accordion-shaped performance space in honor of the 40th anniversary of Le Corbusier’s Carpenter Center at Harvard University.’ (the Creatersproject)

1:10 PROTOTYPE 01Polystyrene panel + Rivets

EVALUATION

Structural: shear force one-way rigid

Experience: Hard cold surface Durability, Drainage

EVALUATION

1:20 PROTOTYPE 02Rope & Knot

Structural: Tension, shear force Organic: form changes with the force applied to it

Experience: Soft Interactive: Climbing, lying Durable Preserve great view No drainage problem

FABRICATION

FABRICATION

The model was fabricated manually but through the same method as previous digital fabrication. The net was waved according to the unrolled pattern. I was not sure whether the form could be achieved through this way but the structure turns out to be reasonably correct.

A.0 TITLESUBTITLES

CRITICAL FEEDBACKS

1. The space under the bridge is not very desirable for relaxation. It is dark and quite dirty.

2. The bridge acts as a path the previous proposed installation will cause traffic problems.

3. The net made out of ropes do not pocess much architectural appeal.

NEW DESIGN PROPOSAL

Material: Nylon + Steel

A mix of soft and rigid material. The steel cable provides the main structrue. Steel anchor rings are wilded to the main caple upon which hooks the nylon net.

New DesignA new design conforming to the previous design criteria. It is still a simple continuous surface possessing sculptural quality. But it no longer hangs under the bridge but bypasses the bridge receiving structural support. People access the structure directly from the site so it no longer causes traffic problems.

NEW DESIGN PROPOSALC.3 FINAL DETAILED MODEL

A.0 TITLESUBTITLES

A.0 TITLESUBTITLES

C.4 LEARNING OBJECTIVES & OUTCOMESObjective 1. “interrogat[ing] a brief” by considering the process of brief formation in the age of optioneering.Through this studio I learned to interpret a brief studio in a reasonable but creative way. This was mainly achieved by learning from my classmates, many of them had really creative and inspiring designs out of the same brief as I got.

Objective 2. developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration;Through the studio I felt both inspired and limited by the parametric modelling tool. After playing with so many iterations in Part B I feel a bit overwhelmed by the structures I could model and failed to stick to a strong design concept. I think this studio really taught me about the advantages and disadvantages of computational design through experience.

Objective 3. developing “skills in various three dimensional media” and specifically in computationalgeometry, parametric modelling, analytic diagramming and digital fabrication;I think this objective was well achieved through this studio because I shifted my design idea several times during Part C and really gave me a chance to play with very different materials and and find a way to realize a design proposal in the optimal way.

Objective 4. developing “an understanding of relationships between architecture and air” throughinterrogation of design proposal as physical models in atmosphere;

Objective 5. developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse.This objective was reasonably achieved by myself. I think all the writings and readings that seemed not so relevant at the beginning turned out to be really helpful. After careful reading I found many of my understanding of computational design in architecture was wrong before this course. And now I have a reasonable understanding of the precise meaning of the big terms.

REFERENCE

‘The History of Tensile Architecture’, Red Sky Shelterhttp://redskyshelters.com/index.php?page=tensilehistory

Velimirović, Radivojević , Stanković and Kostić, 2008, ‘MINIMAL SURFACES FOR ARCHITECTURAL CONSTRUC-TIONS’, Architecture and Civil Engineering Vol. 6, No 1, 2008, pp. 89 – 96http://facta.junis.ni.ac.rs/aace/aace200801/aace200801-08.pdf

Wallisser, 2009, Other geometries in architecture: bubbles,knots and minimal surfaces, Springer-Verlag Italia, Milano

Rosenfield, Karissa. "Zaha Hadid Designs “City of Dreams” Hotel Tower in Macau" 12 Apr 2014. ArchDaily. Accessed 10 Apr 2015. http://www.archdaily.com/?p=491074

BMW Welt, Coop Himmelb(l)auhttp://www.archdaily.com/29664/bmw-welt-coop-himmelblau/bmw-welt-7059/

Design for Google’s California Headquarters, Google / BIG / Heatherwick Studiohttp://www.archdaily.com/603947/see-big-and-heatherwick-s-design-for-google-s-california-headquarters/

Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press)

Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16

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

Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

Serpentine Gallery Pavilion 2002, Toyo Ito, Cecil Balmond, Aruphttp://www.archdaily.com/344319/serpentine-gallery-pavilion-2002-toyo-ito-cecil-balmond-arup/

Teesside Power Station Stockton-On-Tees, Teesside, UK, Heatherwick Studiohttp://www.heatherwick.com/teesside-power-station/

Watercube – National Swimming Centre, PTW Architectshttp://www.ptw.com.au/ptw_project/watercube-national-swimming-centre/

Zaha Hadid Architectshttp://www.zaha-hadid.com/archive