Final Journal

Architecture Design Studio: AirJournal

James Johnstone 390 462

the world is under going seismic change: politically, socially and ecnomically

architects and architecture must respond to this if they want to advance the architectural discourse

the age old method of building the biggest, the tallest or the most beautiful is gone

architecture has to relate to the pre-sent latent needs of the user

it has to change peoples strongly held persceptions about what is right or wrong, black or white.

it is about finding the grey, the undefined

By responding to these issues, architecture will be able to take on a new dimention, and a new perception of beauty.

ARCHITECTURE AS A DISCOURSE 3

My major design project for ar-chitectural design studio: water, was primarily focussed on chal-lenging the perceptions of those viewing the structure. The design was meant to create a dialgoue in the mind of the viewer as to what they were seeing. It was meant to challenge what they thought a boathouse should be and look. I tried to achieve this by using the ideals of Sejima by enveloping the structures in a skin that gave no clues as to the purpose, structure or layout.

This process is something that is highly relateable to the Gateway project. Given that the audience will be exposed to it for such a short amount of time, it needs to create im-pact. It needs to create a dis-course in the mind of the viewer.

MAJOR DESIGN PROJECTARCHITECTURE AS A DISCOURSE4

The Eiffel Tower, although over 120 years old, it is the epitome of the ideals that architecture should be seeking to achieve. Barthes argues that a design must not have one meaning to it. It must react to the changing context that it is in. He ar-gues that an object must respond to its context and those viewing it.1

This method of approach is something that may not have initially have been intended for the Eiffel Tower, but it is an ideal that has become a part of it. To many different people it is a sym-bol of something, of love, of progress, the celebration of new material, and

even something to be destroyed.

This lack of clear definition was something completely radical at the time and greatly forwarded archi-tectural discourse. It proposes that a design can have multiple mean-ings that canchange depending on the audience and the current context.

This idea of a fluid definition seen in the Eiffel Tower is something that could definately be applicable to the Gate-way Project. Given the high volume nature of the site and the constantly changing nature of the surrounding area, a design that is able to evoke

differing meanings depending on the time and audience if vitally important.

It will mean that there will be greater interaction with the installation through the added thought of what it actually is to the conversation between viewers. It will leave a reminder of the palace.

By contributing to the architectural discourse, the project will have a better ability to connect with those who immediately encounter it and also create wider recognition of the area by getting it broadcast through a variety of avenues in the archi-tectural and greater community.

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Contemporary Computational Design Techniques

Contemporary computational design techniques have allowed architects to expand their thinking beyond the limi-tations of their skill and presentation methods. It has allowed an advance-ment in the way buildings are looked at, both structurally and visually.

Through the use of complex codes and algorithims it has become pos-sible to create dynamic designs that can easily be altered should the need arise. It has arugably made the design process far more efficient.

The advancement of comupational design however, can be seen to have some negative characteristics. The issue of creating a parametric de-sign just for the sake of it, and be-cause one is able to does nothing to help the advancement of architec-ture or contribute to the discource.

Further to this, the use of computer aided design takes away some of the core skills of an architect, it opens it up to anybody who is good at program-ming, diminishing what it means, and

the skill required to be an architect.

Computer aided design is obviously the way of the future for the archi-tecture field. However, just because it is possible to design in a certain way doesn’t mean that one has to.

It has to be a measured approach to the application of the technology so that the architectural discource is able to continue, and not become flooded by a plethora of designs which solve little.

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This building is one of the most iconic designs of the new century. It is a celbration of the advancements in digital technologies and the advance-ment of the architectural discourse.

The original design concept was taken from soap bubbles. Such as simple natural occurance presented the design team with a set of prob-lems that they could not solve with

their current skills and technologies. In this case, it was the need for ad-vanced digital design techologies to be developed to solve a problem.

This is a natural way to advance the architectural discourse as opposed to developing programs for the sake of experimentation. The soft-ware was developed to help solve problems occuring with the geom-

etry, physical prototyping, structural performance, analyse acoustics, smoke spread, pedestrian movement and construction documentation.

The development of these programs enabled the creation of one of the most unique structures to date. It enabled for the experimentation and implementation of brand-new tech-nologies such as ethylene tetra-

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fluoroethylene (EFTE) which in turn further pushed the architectural dis-course.2 The building is the prime example of how digital design can create an incredibly beautiful build-ing whilst still advancing the architec-tural discourse in a meaningful way.

The “Water Cube” was built to be an icon for China. The Gateway is intend-ed to be an icon for the City of Wyn-

dam. By looking at the Water Cube as a precedent, the use of digital design to push the boundaries of design and material use become very apparent.

Although the creation of new pro-gramming is not possible, it is pos-sible to use digital design to push the boundaries of what a gateway and highway scultpure really are. This should most definately be sup-

ported by the use of the latest in materials that will further serve to make the Gateway become iconic.

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Digital design techniques and pro-gramming have allowed architects to expand the formal boundaries of standard archtiectural design and ex-perimentation. At present there is sig-nificant interest in the exploration of non-Euclidean forms and surfaces.3

This interest has spawned a variety of new explorations and forms such as the Klein Bottle, the Möbius Strip and the Torus. These forms have them-

selves then served as a primary inspi-ration in a number of designs, notably Möbius House, Torus House, Klein Bottle House and the National Li-brary of Kazakstan. These designs are not literal interpretations of the core forms, but a rationalisation of them.

It highlights how the advancement in digital design technology has al-lowed for the radical exploration of form and context. It has allowed ar-

chitects to change the way they view the design process and step out-side the boundaries of architecture.

This method of using digitally cre-ated forms as a base inspiration for a design is something that could be highly relevant to the Gatewat de-sign in that by using a non-standard design, it will make the project stand-out in its context but also in the wider archtitectural discourse.

Möbius House

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At present digital architecture and de-sign is being criticized for being too ‘blobby’ and lacking real architectural and design intent from the designer.

This view, however, is very arrow-minded in that it is taking a very literal approach to the critique of the new work being produced & not the work that goes on behind the scenes. We have entered a period of great technological

advancement and as such architects are simply experimenting with new methods of design and construction.Within the next few years it is very likely that a more dominant and com-mon design influence will emerge, but at present architects are still ex-perimenting to discover how far they can push the boundaries of design.

This period in architectural design will be one thatat has perhaps the most pro-

found impact upon design for decades.

It is going to radically change the way buildings are used, viewed and designed. It will allow archi-tectural design and theory to meet up and be at comparable stages to other industries. At the moment they are just playing rapid catchup.

Torus House

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Our interest is in how an algorithm, loaded with design intent, emerges fromthe design problem rather than simply the architecture emerging from a

known algorithm. (Roland Snooks, Kokkugia)

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Frank Gehry is perhaps one of the most reknowned architects in the world in the use of digital processes in design. His designs are almost com-pletely reliant on the advancements made in digital design and scripting.4

New York by Frank Gehry, also known as Beekman Tower, is a prime ex-ample of this. Such a complex and unusal form could only have been created through digital ma-nipulation and the use of scripting.

Computer models were created from the scanning of physical models

to create point clouds of scalable data. Rhino was then used to do the preliminary work in the design of the surfacing of the building. One these inital core forms were devel-oped Digital Project, from Catia, a program that allowed for the de-sign to eventual through scripting.

The use of parametric design and scripting has enabled the creation of a design that challenges notion of the residential skyscraper. Gehry has used parametric design to create an apartment building that is unique.

It enabled the creation of unique bay windows which immediately change the dynamic of the building. Instead of being a standard rectangular volume where all the apartments are the same, it has created a dynamic solid where all the apartments differ. It has brought individuality to the residential building.

Further to the experiential qualities that have been created, visually the tower is striking. The facade has been created in such a manner that it appears to be moving. This dynamism of the design is something that is a unique quality to parametrically designed objects. The

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software makes their creation a simple process which is easily manipulatable, allowing for a range of explorations.

Bury agrues that with the advent of parametric design, there has been a tendancy for architects to simply 'clone' designs. This is a major issue as the designs will utlimately be unsuccess-ful as they are not respondinng to a con-text, experimenting for the sake of it.

However Gehry used paramet-ric design as a tool to resolve of set of direct problems, and themes he wanted to incorporate into the

design. He let the design dic-tate the use of the programming.

In relation to the Gateway proposal, parametric design can be utilised to push the boundaries of the design. As evidenced in New York by Frank Gehry, an element of dynamism in the form of an object greatly enhances the impact that it has upon the viewer.

This use of dynamism would be very relevant as the design will have to act quickly to attract the atten-tion of the viewer. The exact nature of the dynamism isn't defined yet,

but as a broad theme it is useful.

Using parametric design as a tool to resolve a set of contextual and design issues will yield the most unique result. This is of the utmost importance to the Gateway site as it must respond to its context and enngage with its audience.

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"The most radical way in which scripting has affected the field of design is notthe outcome of a particular script or set of scripts, but rather the collateraleffects of participating in such a design model" (Mode)

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Design is a process we engage in when the current situation is differentfrom some desired situation, and when the actions needed to transformthe former into the latter are not immediately obvious.

The process of design experimenta-tion and exploration with grasshop-per was approach with a depth first approach as proposed by Kalay.5 This enabled the full investigation of a cer-tain definition.

However, a limit of 5 explorations per definition was introduced to give a boundary to try and sterr the design.

At first there was no defined method to selecting definitions as the process was undertaken as a way to get a han-dle on the capabilites and potential of the programming software. However, as the experimentation continued a few elements started to become more of a focus.

The elemennts which

stood out were the use of image sampling and layer overlaps. These two approaches appeared to have a greater ability to portray a wide array of ideals and as such more applicable to the design process.

By undertaking such a process dur-ing the design phase of the Gateway project, it will enable a far greater

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The Children’s Museum of Pittsburg is an interes-tinng project in that it has an entirely dynamic facade. It responds constantly to the changing context around it. This method of changing to fit the context is some-thing that could be very applicable for the Gateway proposal. This method of having a change in design could be applied to the proposal in two different ways.

The first method could be through a design that could be changed depending on the context of the time, so as the site changes, so does the structure. The second could be through the just a visual change as the viewer passes the installation

The Dior Ginza building is a very interesting example of how the use of an image overaly can create a very dy-namic facade that itself is static. The illusion changes constantly and is entirely dependant on where the viewer is standing. It is a good example of how multiple defi-nitions can be combined to create an interesting result. The method of using illusion is very interesting as it crosses over a few different representational boundar-ies thus giving the building multiple interpretations.

This can also tie in with the previ-ous ideas, in that the use of visualisation can

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The de Young Museum is another example of how the application of an image can create a dynamic facade. However, the different here is that they are all differ-ing in size and reliant on the weathering to change the effect of the facade. However, the most intersting part is that any of the panels can simply be replaced if they are ever damaged. This interchangability is some-thing that could be of use for the Gateway project.

The Restaurant Aoba-Tei has interesting parts to it. Here an image sample has been used to transplant an image across the walls and ceiling of the restaurant. Firstly, it is this envelopment in the design that has very interesting qualities. It allows the audience into to. To experience it from an entirely different perspective. Further to this, the use of light to enhance the visual drama of the design is very clever. Without it, it is hypothetically possible that the design wouldn’t be anywhere near as effective. The use of light can have dramatic affects upon how a sculp-ture or building is viewed. It is definately something that should be investigated in relation to the Gateway proposal.

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We selected to reverse-engineer the Dior Ginza facade as we believed that it had the more interesting concepts that we wished to investigate. This is because at this stage we had a decid-ed to focus on the use of perforation and layering as our method to design.

To achieve the desired result the im-age sampler and surface divide cut definitions were utilisedn These gave

the outer layer of the building, with the interior simply being a printed image of the desig at a smaller scale.

Through this method of reverse-engi-neering an understanding of the po-tential for these techniques to create optical illusions. The main aim of this process was to try and recreate the Moire affect. This was achieved and helped to direct the our design pro-

posal to the use of optical illusions.

Further to this, we experiment-ed with how whe the size of the circles are changed, there will be a dramatic change in effect.This method of approach will help in future work as it will allow for a more integrated approach to de-sign. It allows for the quickl analy-ses and refinement of design.

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A visualisation of the Moire af-fect and the way the model in-eracts with the the atmosphere and the position of the viewer.

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Exploring materiality and how it can drastically change the sensation of an object.

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Here we began to investigate how light and material, in collaboration with a solid form can give a wide array of potential outcomes. This was used as an investigation to the possible interaction between the audience of passing cars and the installation. This

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experimentation process has helped to further the design process as now there will be more of a focus on how the structure changes throughout the day, and the different meanings that each time of day will convey.

The study of precedents in any design process is absolutely critical. With-out it you are left with a design that can't possibly relate to the broader architectural discourse or effectively communicate the intended message.

The study of precedents in this pro-posal has been used to argue the reason for innovation and the driv-ing message behind the proposal as well as arguing to the use of para-metric design in teh Gateway Pro-posal. The Eiffel Tower symbolises what we want our proposal to embody.

A design with a fluid definition that can change depending on the context

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of the time. In this manner the design will not become obsolete but an ever evolving message about Wyndham.

The use of computational design, such as that used for the design of the Water Cube will enable us to shake free of the limitations of standard drafting software such as SketchUp and AutoCad and enable us to inves-tigate unique and innovative designs.

Parametric modelling will be our main focus driving the design process. This method of computational design allows us to make many quick alterations to a core design until we find a resolution that fits are desired outcome. In this

manner we will be leaning on Kalay's method of depth-first to enable use to fully investigate the limits of design.

As evidence in our design research, parametric design has already enabled us to research a number of unique proposals. Through this investiga-tion we came to the conclusion that the use of perforation and layering will yield us the results most appli-cable to our intended design outcome.

By closely studying the Dior Ginza Building, we were able to experi-ment with the use of visual effects and the potential for layering and perforation to yield positive results.

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Through this we investigated the use of material and a variety of dif-ferent compositions of perforated el-ements to discovered their qualities.

From this process we were further able to focus our design agenda with a focus on how the design will change through-

out the day, further tieing into the precedent research of the Eiffel Tower.

However, we found the use of the grid and rectilinear shapes to be too con-strictive and so the image above is a more accurate representation of the direction we wish to take the design

proposal. It still has the same core elements of perforation and layer-ing, but we have applied them in a method that hopefully will evoke a greater response from the audience.

The design and investigation to date has been incredibly beneficial and con-structive to the design process and my evolution as a designer. It has opened up a new approach to design that will undoubtedly have a significant impact in the way I design in the future. The

process of precedent research greatly altered my view of computational and parametric design and allowed me to see the benefits that is has to the architectural community. I am now excited to be able to use Grasshop-per and Rhino to investigate a whole

new avenue of design and further my development as an architecture stu-dent. Looking back on the start of the semester, it is now evident to see how everything we have done so far has been incredibly useful and inciteful.

Key Learning

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Project Proposal

“ Provide an entry statement and arrival experience, and become a newidentifier for the municipality. The installation should create a focal point oficonic scale and presence and encourage a sense of pride within the local

community.The Western Gateway should propose new, inspiring and brave ideas, to

generate a new discourse. “- Wyndham Council

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Project Proposal

From looking at those precedents, we aimed to create a design, which would adapt to the evolving con-text of its surroundings over time, whilst representing the rapid growth of Wyndham as an international city through exploring the interconnec-tions between Wyndham and its sis-ter cities: Chiryu, Japan and Costa Mesa, California. This will be done through the combination of the three above core design ideas, coming together to create one coherent de-sign, like how the three cities com-bine to create a cultural dialogue.The design is intended to become

a part of the branding of Wynd-ham, acting as an icon/symbol of innovation, similar to how the Ei-ffel Tower represents Paris or the Bird s Nest represents Beijing. It is innovative as it is designed to push the limits of conventional structure and perceptions of that an object can only have one meaning. The fluid form, generated through computational design, takes refer-ence of the common prominent fea-ture of Wyndham and her sister cities wave. While it can also be viewed as an emerging cloud, representa-tive of the emergence of the city of

Wyndham, such fluid form also sug-gests a new way of interpreting a rigid waffle structure. This structure, however is also a sculpture that of-fers multiple meanings to different people under various circumstances. It offers a unique interactive experi-ence to the citizens as the installation gradually vanishes and reappears when you drive pass it. Visibility and clarity of structure changes with time, weather and lighting condi-tions which mean that its mean-ing will constantly being changed by the ever changing context.

Design Intent

31Disceting the Brief

Prominent location of the site at the entry to metropolitan Melbourne

The “Gateway” has been positioned at a location to be viewed from theinbound traffic lane towards the Melbourne CBD to give them a sense of arrival at the site and to the greater con-text.

Site Context

The overall context for the area is of flat to slightly undulating plains. However, there was one hill which we deemed as the most appropriate site for our project. It would act as a platform to enable to design to fully com-municate its message to the viewer.

Iconic Feature

Through the use of computational design (Rhino + Grasshopper), wewere able to to create a unique design that interacts with its context but also enables the change in visual appear-ance throughout the day.

Dialogue between sculture and landscape to compose the Gateway

The design has been placed to make it appear that it is emerging from the landscape. This serves to communicate one of our key design ideas.

32 Disceting the Brief Design Development

After consulting with Gwyll, our design moved away from a literal interpreta-tion of our ideas to a more abstract representation, in the form of a cloud.

The design progressed from a series of sticks along the road, to a more flu-id surface. In exploring this fluid sur-face the use of a cantilevered structure became apparent as it would enabled the gretest ability to communicate with the audience and lanndscape.

We explored fluid solid shapes and their potential to contribute to the de-sign, but due to the limitations of the software, it would not be possible to fabricate such a design. This led to the extraction of a core curve from the solid to become a fluid surface. This method proved to be the most appropriate as it allowed for relatively easy fabrication.

33Fabrication

34 Fabrication Vector Diagrams

As the design is such a large cantilever, large foundations and support are needed to allow it to remain structurally sound.

35Vector Diagrams

36 Vector Diagrams Vector Diagrams

CLOUD OF GROWTHWYNDHAM WESTERN GATEWAY PROPOSALWERRIBEE, VICTORIA

Following the set requirements in the brief, we aimed to create a design, which would adapt to the evolving context of its surroundings over time, whilst representing the rapid growth of Wyndham as an international city through exploring the interconnections between Wyndham and its sister cities: Chiryu, Japan and Costa Mesa, California.

The “Cloud of Growth” will be an exciting and eye-catching installation, which will inspire and enrich the municipality of Wyndham, as well as generate discourse in the field of architecture and design. The Wyndham Gateway project follows on from the “Seeds of Change” installation, located at the close-by Eastern Interchange of the Princess Freeway, and “House in the Sky”, located at the interchange with the Western Ring Road. The “Cloud of Growth” will be situated at the Western Interchange of the Princess Freeway, acting as a Gateway into Metropolitan Melbourne, but also as a signpost signalling the location of the city of Wyndham.

The “Cloud of Growth” becomes a part of the branding of Wyndham, acting as an icon or symbol of innovation, similar to how the Eiffel Tower represents Paris.

The design proposal is innovative and provocative as it pushes the limits of conventional structural integrity and laws of physics, contributing to the discourse for cases of innovation. The design also challenges the notion of perception; perceptions that an object or sculpture must have one set meaning. The fluid form, generated through the aid of computational design, is influenced by the prominent features of Wyndham and her sister cities - an ocean wave. But keeping with the notion of different perceptions, the form can also be viewed as an emerging cloud, a more fluid form that pushes the boundaries of the rigid waffle structure, suggesting a new innovative way of interpreting conventional construction methods using solid materials such as wood.

“The Cloud of Growth” is both structural and sculptural, offering multiple meanings to different peoples under various circumstances. It offers a unique interactive experience to the motorists taking into consideration the high-speed movement of traffic along the Princes Freeway as you approach the Melbourne CBD. The visibility and clarity of the structure will change according to time of the day, as well as different weather conditions. As a motorist driving towards the Melbourne CBD, the installation will appear to emerge as you approach, undulating as you drive under and then gradually vanishing as you drive into the distance.

During daylight the “Cloud of Growth” will be viewed as a solid timber structure, the high visibility allowing motorists to view the structural connections to the landscape. In contrast, at night, the installation will be lit from below, creating the optical illusion of the “cloud”, where the installation will appear to float as the motorist approaches.

PROJECT|SMAPTM

37 A1 Panels

38 A1 Panels

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The Silver Lining

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The Silver Lining

Following the critque from the pre-sentation we realsed that we had to radically change the way that we ap-proached the design. We decided to research various ways of cladding structures, and most importantly curved surfaces. The most prominent

examples that helped to push the design were the aeroplane, Guggen-heim Bilbao and the old style caravan.

Through this additional research, it became evident that it would be pos-sible to incorporate the existing waffle

structure into the design. Examples of metallic cladding on curved surfaces require a waffle structure beneath to support it. From this the model was built entirely to scale, down to even tbe scale sizes of plywood panels, represented by balsa wood.

This new design direction is still completely relevant to our design agenda as the key points we wanted to address have simply been ad-dressed in a different manner. The use of metallic cladding, a clad-ding that is also not perfectly flat means that the design constantly changes dependant on the light.

The most striking advantage to this approach is in the night views of the design. During the day it is simple to see the whole structure, however when it is dark it appears to float above the road as the headlights illuminate it.

Perforation was still used here, al-

though it was simply decicded by a random chance. The use of perforation seeks to enhance the changing nature of the design by the way the light al-ways changes as it goes through them

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Although this subject has been incredibly intense in both the work load and the learning of new design methods, I can see now just how beneficial it is. Even if i use a fraction of what I have learned from the subject, my ability as a designer will be greatly enhanced. It has given us a much better chance of employment, and an edge over others in the field.

However, my major issue of the subject was the group work. I found this to be incredibly difficult with four people each having very different approaches to design and interests. This led at times to severe stress and arguments but is a good introduction into the real world of team-based design. It taught me to be more tolerant of others ideas and to try and incorporate them better into my own.

In this final week however, our group experienced severe difficulties. Following the Crit, there was a near complete lack of communication between the group from my perspective. I havn’t seen or talked to Peter since the Crit and saw Terence and Annie once. I have at numerous times attempted to organise meetings so that as a group we could come up with a solution to the cladding and to self-review it. However, this was not possible as they simply didn’t respond to me and I had to take it upon myself to design the cladding, fabricate it and build it. The was absolutely no input from the other members and as such we missed a vital opportunity for a self-review of the work. Due to this, it eventuated that I was infact the one who came up with the overall design, the re-design and built the whole thing, meaning some group members little if nothing to the overall project. Because I had to do the entire redesign it meant that I was unable to complete the journal on time and to an exceptional standard and I believe I had to shoul-der far too much of the workload of the group and believe that the marks should be adjusted inrelation to contribu-tion and participation. This is just my view.

Sources:Image 1: http://blueblots.com/wp-content/uploads/2011/01/14-Eiffel-Tower-Black-and-White.jpgRef 1: Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 16

Image 2: http://www.google.com.au/imgres?start=170&um=1&hl=en&client=firefox-a&rls=org.mozilla:en-GB:official&biw=1280&bih=643&tbm=isch&tbnid=KuJUpJNhZs2K6M:&imgrefurl=http://post-traumaticurbanism.com/%3Fp%3D93&docid=2ID4LpzT-ZVE6M&imgurl=http://post-traumaticurbanism.com/blog/wp-content/uploads/2009/04/water-cube-03.jpg&w=452&h=500&ei=ZkeiT5H7OOaQiAeW4-zhCA&zoom=1&iact=hc&vpx=575&vpy=290&dur=281&hovh=236&hovw=213&tx=138&ty=66&sig=102322792630133878698&page=9&tbnh=140&tbnw=127&ndsp=24&ved=1t:429,r:20,s:170,i:240Image 3: http://www.peterdanford.com/beijing_olympic_swim_center.jpgRef 2: Patrick X. W. Zou & Rob Leslie-Carter (2010): Lessons Learned from Managingthe Design of the ‘Water Cube’ National Swimming Centre for the Beijing 2008 Olympic Games,Architectural Engineering and Design Management, 6:3, 175-188

Image 4: http://bombsite.com/images/attachments/0003/6235/vanBerkel_02_body.jpgImage 5: http://www.pscohen.com/images/projects/torus_house_1.jpgRef 3: Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 - 71

Image 6: http://jootix.com/upload/DesktopWallpapers/cache/New-York-City-at-night-newyork-6013x3789.jpgImage 7: http://www.newyorkbygehry.com/new-york-no-fee-apartment-gallery.html Image 8:Image 9: http://www.newyorkbygehry.com/new-york-no-fee-apartment-gallery.htmlImage 10: http://www.newyorkbygehry.com/new-york-no-fee-apartment-gallery.htmlImage 11: http://www.designboom.com/cms/images/jayme01/beekman/g06.jpgRef 4: Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 - 71

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

Image 12: http://www.archidose.org/Blog/AAApitt.jpgImage 13: http://farm1.static.flickr.com/155/367117872_dbbf278f9f.jpgImage 14: http://lh6.ggpht.com/-RVsBJU1AbIk/ShVQ5XDzVEI/AAAAAAAABgU/7M2uVOrLQl0/P1100653.JPGImage 15: http://dereksisson.com/wp/wp-content/uploads/2010/09/20100928-32106_g1-768x1024.jpg

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