virtual environments
coral spawn
paper lantern inspired by a natural process/pattern
jillian raleigh
student no. 583168|semester 2, 2012|group 3
ideation & ofdesign conception research & abstraction the natural process growth mechanisms coral growth occurs through several processes: accumulation of calcified polyp ‘skeletons’, and both asexual and sexual reproduction.
coral spawn selected from 3 x initial concepts focused on natural growth phenomena (others: human embryonic development & DNA patterning). an exploration of the science of coral growth revealed a highly complex and intricate process, involving temporal, spatial and geometric patterns at the micro (coral polyp), meso (coral organism) and macro (coral reef) scale. coral organisms emerging 542 million years ago, coral are not single entities, but colonies of genetically identical ‘polyps’ (microscopic spineless animals). structural and geometric variation is generated by the genetic characteristics of the particular polyp species inhabiting the form. growth influences both the growth rate and structural character of coral is influenced by: 1. fluctuations in sea-levels 2. light intensity (photosynthesis) 3. water temperature 4. carbon dioxide concentration 5. pH + salinity, and 6. ocean currents (delivering nutrients)
accumulation polyps receive nutrients through a simbiotic relationship with zooxanthellae, microscopic organisms that photosynthesise in return for a protected environment, allowing polyps to produce calcium carbonate skeletons. growth of some coral species through calcification varies from 2.1 to 3.9cm per year. asexual reproduction coral reproduce asexually through budding (chipping a tiny portion off a whole polyp) or division (halving of a polyp).. missing parts regenerate and the process is repeated.
radiograph of coral growth bands (lighter, wider bands represents low density summer growth & darker, narrower bands indicates high density, winter growth)
sexual reproduction sexual reproduction involves releasing gametes during a synchronous spawning event.. gametes fuse to form planulae, fertilised and micrscopic larva that eventually settle on a solid surface to begin a separate coral colony. coral have evolved to spawn during calm conditions, with reproductive periods varying according to regional wind and current patterns. the date of the spawning event is controlled by the lunar cycle and the time by the solar cycle, not by a ‘circadian rhythm’ (internally determined timing): coral spawn at sunset on the full
growth pattern coral growth patterns are temporal.. or seasonal. rates are higher and the coral structure less dense in summer than in winter (due to increased water temperature and light intensity). the asexual and sexual reproductive processes are chaotic, spurred on by the whims of ocean currents and polyp activity.
virtual environments
selected natural process coral growth through sexual reproduction.. the natural phenomena with the most potential to create a dynamic and sculptural form, a highly abstracted representation of a spatially chaotic, yet temporally regular pattern. analysis & abstraction ‘spawning’ growth is abstracted by distilling the essential forces of the process and translating the phenomena into graphic form: seasonal fluctuation in water temperature and the corresponding density of coral structure is expressed by the expansion and contraction of the sculptural contours.. spawn events are represented by light emitted by penetrations in the surface.
clay models of concept designs
virtual environments
ideation &processes design conception exploration of natural & patterns in architecture architectural precedents inspiration for both form and panelling pattern derived from the proliferation of structures by contemporary architects with geometric, dynamic façade panelling, or natural process-based design with organic, curvilinear, asymmetrical & additive forms.
Swanston Academic Building Design Hub
Webb Bridge
Times Eureka Pavilion
Prada Building
Fleet of Putrajaya
‘Brain’ Coral detail
in Melbourne: Swanston Academic Building (RMIT) by Lyons, Design Hub (RMIT) by Sean Godsell Architects, Melbourne Rectangular Stadium (AAMI Park) by Cox, Webb Bridge by DCM & Robert Owen & globally: Times Eureka Pavilion in London by Nex, Prada Building in Tokyo by Herzog & de Meuron, Fleet of Putrajaya near Kuala Lumpur by Hijjas Kasturi. virtual environments
response to module 1 lectures & readings patterns in nature the lectures revealed the complexities of natural processes and patterns – visual & nonvisual, organic & inorganic, spatial & temporal, macro & micro-scale – and explored design informed by, but not literally representing natural phenomena. conceptual design involves ‘sampling space’ (the reinterpretation of natural phenomena, identifying the fundamental phenomena and patterns) and ‘architectural biomimicry’ (a licence to replicate, approximate or misrepresent natural phenomena to a design programme and conform to the realities of fabrication and construction). self-organisation & spontaneous pattern formation Ball, P. (2012): Pattern Formation in Nature “self-organisation”: the forming of patterns within “complex systems” (like organisms or geological formations) determined by the chemical or physical interaction of elements, a process termed “spontaneous pattern formation”.
clay model of selected design
patterns in nature: essentially a result of growth and the “symmetrybreaking of an initially uniform or random system”; the development of an embryo involves the transformation of a symmetrical fertilised egg into an asymmetrical human, or the gradual massing of a sand dune. motivations & principles behind analytical drawing Poling, C. (1987): Analytical Drawing Kandinsky’s analytical drawing reduces a still life composition (“large, simple shapes” – furniture, draped cloth or building materials) to a geometric expression of the structural relationship, or the ‘tension’ between the objects in the frame. analytical drawing aims ultimately to capture the form in a concise motif, and intended to train students to observe the abstract qualities of the basic form, “the whole construction by means of the most concise possible schema”, often hidden or obscured by superficial features. form, function & materiality: influence of context function is the platform of design, determining form and selection of materials. in turn, material limitations impact on both form and function.. form and contexts (of use and resources) equally control design, in an iterative process.
virtual environments
digitisation design development translation from physical& to virtual
rescaling the model
digitisation process
traced 2D co
translation of the physical model (clay) into a digital model (Rhino) to create a curvilinear surface within the digital environment:
contoured clay model
1. reducing 3D physical model to 2D contours: contour lines traced onto physical model in pencil. model sliced along the contour lines to form segments. 2. importing contours into digital environment: segments traced on graph paper for scale and photographed in plan. image imported into Rhino with ‘PictureFrame’ & traced to form 2D contours. 3. generating 3D digital skeleton from 2D contours: photograph of original physical model imported into Rhino.contours manipulated (‘Move’ & ‘Rotate’) to correspond to contour lines of the image. 4. creating curvilinear surface from skeleton: transforming lines into surface with ‘Loft’ & scaling to intended size with ‘Scale.’ the surface is panelled with 3-dimensional elements composed of flat surfaces, to enable fabrication from 2-dimensional material (paper card).
virtual environments
design development numerous design possibilities explored, aiming to create an organic, dynamic and chaotic form emulating the coral spawning process: altering the geometry of both the entire form (adjusting contour geometry & loft style from ‘loose’ through to ‘tight’) and the individual panel elements (experimenting with the various grid and panelling tools contained within the program). design considerations relate to the brief: relevance (to the natural process), aesthetic impact of panelling designs, structural integrity & constructability, lighting effects and wearability. images show a selection of forms representing the design alternatives afforded by lofting and panelling tools in rhino: trialling various combinations of the contoured form, grid generation methods and panel geometries..
ontours
orienting contours
virtual environments
digitisation developed design evolution of design in the& digital environment aesthetics panels inspired by the coral polyp, the tentacle form approximated by polyhedral elements, and by the triangular façade motif of the Swanston Academic Building.. refinement of the panel geometry influenced by constructability and lighting effects. numerous grid and panelling techniques applied to the digital model, including ‘random’ and ‘vector’ grids, and ‘point attractor’ and ‘curve attractor’ panelling methods. structural integrity & constructability built in segments: structurally independent rings accumulate to form a warped cylinder. lantern to act structurally as a sort of elongated dome, with forces thrusting horizontally, contained by the closed circle geometry (in plan).. and vertically, relying on the rigidity of the cylindrical form. lighting LEDs dispersed throughout the lantern, reflecting the spatial chaos and luminescence of the gametes released during the spawning process..
straight loft: initial command run
loose loft: too gentle to reflect the dynamism of the fluctuations in the natural process..
tight loft: more definition.. extreme expansion & contraction structurally unstable/difficult to construct?
tight loft + incre diameter: too u & contraction t of coral spawn
contours 1 + loose loft
40 x 20 ‘surface domain number’ grid, offset magnitude 1
panel #1: dynamic effect, b structurally unstable (see det
virtual environments
normal loft + lateral displacement of randomised contours: organic, dynamic form, appropriate allegorical representation of the coral growth process. still ugly, but just the right kind of ugly. selected surface.
ease in contour uniform in expansion to express the chaos n. a bit ugly.
but tail A)..
tight loft + randomisation of contour diameter: also too extreme for structural stability/constructability?
normal loft + another randomisation of contour diameter: improvement aesthetically and in terms of relevance to the natural process
contours 2 + tight loft
40 x 20 ‘surface domain number’ grid, panel #2: variation of polyp motif. offset magnitude 1 improved structural integrity..tidier aesthetic with narrower contours and good lighting potential. more dynamic with increased grid complexity?
panel #3: another attempt to improve on #1.. sufficiently perforated for light emission, but too uniform to produce an effect relevant to the randomness of the natural process.. also probably structurally unstable (see detail B). feasible with different grid pattern?
panel #3: with point attractor method (2 points selected at locations representing the spawning period).. variation in panelling has potential for more interesting lighting effects (see detail C), but still too conservative aesthetically and structurally dubious in parts. point attractor method worth pursuing.
panel #4: embellishment of panel #2.. potentially more difficult to fabricate, due to additional surface articulation (see detail D), with no aesthetic gain.. rejected.
virtual environments
digitisation & developed design contours 3 + normal loft
40 x 20 ‘surface domain number’ grid, offset magnitude 1
panel #5: structurally improved version of panel #3.. panelled on regular grid with 3 x panels and point attractor method. 2 points again selected to represent the spawning period (see detail E).
contours 3 + loose loft
panel #6: hexagonal pattern is structurally unstable (elements attached on 2 edges only). attempt to remedy with octagonal form..
panel #7: octagonal p tructurally viable, with joined on 4 edges. hig form may emit too mu induce the intended e mysterious aesthetic. t rejected.
30 x 20 ‘surface domain variable’ grid (random), offset magnitude 1
60 x 20 ‘surface domain variable’ grid (random), offset magnitude 1
panelling #10: reverting to more basic panel, with random grid pattern.. highly organic aesthetic, embodying the spectacular confusion of the coral spawn process. near-impossible to fabricate..! alter to enable logical construction, but attempt to retain the dynamic form..
panelling #11: reduced grid density and panel complexity to decrease complexity.. point attractor method with 2 x points (see detail E). seemingly fabricatable and constructable. sufficient surface penetration for emittance of light, without loss of drama from too much erosion of surface. selected panelling method.
virtual environments
pattern is elements ghly perforated uch light to ethereal/ therefore,
detail A: inadequate opportunity for structural connection between elements
detail B: elements attached along 4 edges, but form diagonal strips. panel #8: attempt to reduce the degree of perforation by increasing edges in contact between elements and increasing number of points on the grid.. resulting micro-panelled aesthetic is unappealing: rejected.
panel #9: experimenting with more complex panel with a reduction in grid density. closing the gaps between elements, attempting to improve the potential for dramatic lighting.. no aesthetic advantage with the panel design.. problematic with respect to fabrication (numerous curved surfaces translating to an impractical number of triangulated elements).
detail C: variation in panelling with point attractor method
detail D: surface articulation potentially problematic during fabrication
detail E: points selected for point attractor panelling method circled
h
virtual environments
digitisation & developed design response to module 2 lectures & readings composition & design evolution module 2 lectures explored composition (form and/or matter within a boundary that is attractive, coherent, ambiguous, representative) and encouraged expression through a single gesture (1 + 1 = 1), hinting at conceptual origins rather than literally reproducing a natural process. the lectures also discussed design evolution.. design as a cumulative process of multi-layered analysis, abstraction of concepts, variation in scale and constant re-evaluation of design concept.
developed digital design
media influencing design material controls the direction of design inquiry. size, structural system, connection details and considerations of material transparency must be suited to the media... the properties of paper card influences the lantern design. abstraction vs. reduction Scheurer, F. & Stehling, H. (2011): Lost in Parameter Space? ‘abstraction’ is the process of transforming reality into an unambiguous digital model & ‘reduction’ is the optimisation of information contained in the digital model.. essentially a similar approach to analytical drawing (the simplification of a complex system). the process of digitising the coral growth concept in module 2 involves both abstraction (translation of the physical model into the digital equivalent) and reduction (refinement of the design according to the boundaries of the digital environment). the demand for highly defined ‘parameter space’ in computer algorithms may significantly alter the resulting design, though not necessarily in a negative manner. the limitations inherent in the digital environment may restrict certain aspects of the design, but the digitisation process may also yield unexpected improvements to the design structurally or aesthetically, through the unintended result of a digitisation procedure, or an unimagined effect allowed by a manipulation of the algorithm. material behaviour computing form Fleischmann, M., et al. (2012): Material Behaviour – Embedding Physical Properties in Computational Design Processes while traditional architectural design approaches prioritise geometry over materiality, computational design methods enables the incorporation of material properties into models, allowing material behaviours to influence the form. similarly, the form of the lantern must respond to the inherent properties of paper card, though no specific structural analysis is applied in the design process. ‘material behaviour computing form’ exists in vernacular construction techniques with natural materials: the Madan tribes in southern Iraq build vaulted structures from reeds, harnessing the elastic properties inherent in the material.. and in modern architecture with modern materials: the ICD/ITKE Research Pavilion in Stuttgart engages the full mechanical potential of plywood, through the digital arrangement of unique elements according to the stresses within the structure.
virtual environments
prototyping &models design refinement fabrication & assembly of 1:1 prototyping fabricating 1:1 models by ‘unrolling’ triangulated panels elements (‘ptUnrollFaces’), organised into horizontal segments, for laser cutting onto white or black card (200 or 300gsm).. wearability rationale for the placement on the body: choosing to enclose the head within the form is a reference to the complexity inherent in coral organisms paralleling the human neural network (hence the appropriateness of proximity to the brain). the structure is to fit over the head, resting on shoulders. original lofted surface is extended 200mm below the top of shoulders (represented by the construction plane) down the chest and back to provide lateral stability. arches cut from the surface - with ‘project’ and ‘trim’ commands - to fit shoulders (measuring 300mm in breadth and 150mm wide).
prototype 2: actual panelling with geometry adjusted according to prototype 1
prototype 1: simplified grid & panelling for initial prototype testing for fit
segments colour coded and placed on separate layers within Rhino to avoid confusion.
virtual environments
prototyping & design refinement
prototype 2 rhino files
prototype 1 rhino file
virtual environments
typical structural anomaly
manually repaired panelling
observations fabricatability panelling pattern generated by the random grid problematic: panels had to be unrolled in small clusters within the segments (automatically unrolling the entire lantern form results in Rhino dumping the panel elements into a jumbled pile).. time consuming to unfold & complex to label for fabrication. plagued by frequent structural anomalies (discontinuities in surface & overlapping elements, particularly along lofting seam) requiring manual adjustment (adding and deleting elements to repair anomalies). persist with the current design.. the aesthetic impact is worth the effort.
virtual environments
prototyping & design refinement materials masking tape PVA glue + toothpicks stanley knife metal rule cutting mat
partial model of final form
various 1:1 experimental prototypes
prototy trialling body ( cutter)
proxy panelling model with base moulded to fit the body.
virtual environments
cutting elements free from fabricated sheet
ype 1 g feasibility of placement on (white 200gsm card, card )
folding and gluing elements
prototype 3 trialling structural integrity of panelling + aesthetics (black 200gsm card, laser cutter)
prototype 2 trialling structural integrity of panelling + aesthetics (black 200gsm card, laser cutter)
material consumption: attempted to minimise waste by minimising space between panels... still, a substantial amount of black card wasted: approximately 25%.
virtual environments
prototyping & design refinement experimentation with illumination lighting lighting arrangement (groups of 1, 2 or 3 LEDs) placed within prototypes and tested for intensity and shadow effects.
connecting LEDs in series, soldering +ve sprig to -ve sprig
materials soldering iron + solder masking + electrical tape 9V batteries + clips 3.2V LEDs insulated wire
wrapping connectio clear tape for insu
connecting independent circuits of 3 x LEDs in series results in a load of 9V (equal to the battery voltage).. no resistor necessary
virtual environments virtual environments
ons in ulation
review of prototypes design refinement adjustment of design according to observations made during prototyping process.. an iterative process, involving suspension of commitment to the design. observations structural integrity & constructability prototype seems unnecessarily massive.. compress the lantern by removing contours (not drastically altering the form, just reducing the height) model may not hold selfweight: increase material thickness from 200gsm to 300gsm in lower portion of model to improve rigidity.. more difficult to achieve a clean fold on the smaller segments with 300gsm card than with 200gsm: retain 200gsm for upper portion of model prototype 3 catastrophe: approximately 6 elements missing, lost during the fabrication process. structurally undermining the entire form. more care in labelling and assembly.. (cut and join elements progressively). laser cutting more expensive, but yields a superior quality finish: card cutter prone to rough edges or bent/ripped corners. laser cutting more also precise than anticipated.. decrease space between unrolling segments to reduce waste. lighting single LEDs emit an adequate intensity of light, particularly for prototypes with white card.. but 3-LED clusters provide a much more vibrant effect, again a more appropriate aesthetic for the natural process. white vs black: white card prototypes emit a more diffused light, but joints and exact LED locations are revealed through the material. black card models yield a harsher lighting effect (the material is completely opaque, producing a starker contrast between light and dark), perhaps more dynamic and reflective of the ‘spawning’ process. wearability fit is a little tight around the face: rescale (x1.15) to increase comfort of wearer. sits properly on shoulders, but extension of the form down the chest and back more than necessary.. shorten from 200mm to 150mm. virtual environments
prototyping & &design refinement response to module 3 lectures readings power of making: constraints & possibilities module 3 lectures discussed ‘the power of making’: the philosophical and practical relationship between craft and industrial fabrication methods (Ruskin & Morris’ ideology). increased affordability & access to technology has democratised fabrication, releasing the potential of a broader spectrum of designers through direct control of the process of ‘making’.. designs are perpetually limited by mechanical limitations in fabrication technologies: material and sizing constraints inherent in the available equipment. equality fabrication Gershenfeld, N. (2005): Subtraction; Addition; Building Models. though not strictly ‘equality fabrication’, material consumption is optimised by arranging the 2D elements with as little negative space on the cutting template as possible. other waste reduction methods: sharing cut lines between the elements may to achieve ‘equality’ (drastically restricting the object geometry to a symmetrical or repetitive form).. reducing the physical size or panelling complexity of the design (also limiting the aesthetic possibilities of the design). initial prototyping informed subsequent fabrication attempts: reduced spacing between the elements (with some experience of fabrication tool limitations).. wasted material progressively reduced. the prototyping process proved vital in the production of a unique and complex design. digital design & the division of labour digital modelling and fabrication challenges the division of labour by dissolving the boundaries between conceptualisation, representation and construction. in other words, digital design tools empower the designer and allow involvement in each phase of the creative process. making digital ideas Macfarlane, B. (2005): Making Ideas. In Architecture in the Digital Age lantern design parallels with macfarlane’s digital design philosophy: 1. 3D digital modelling allows the designer to specify complexities of surface and geometry precisely and unambiguously.. traditional 2D documentation methods are unable to fully express the design... 2. working “fluidly with conventional and digital media”, switching from hand sketching to computer modelling and back again throughout the design process. 3. ideas in a constant state of flux and evolution, exploring variations on the original concept right up to the fabrication stage of the final design. event as generator of form interior design for the Florence Loewy Bookshop: creation of an imaginary circulation route (event), modelling on a 3D grid, in turn generating the location of the book ‘islands’ (form)
virtual environments
design final iteration finalisation & exhibition final design adjustments final modifications, based on observations made progressively during the prototyping process. final digital model
some design adjustments: increase in size (x 1.15) for improved wearability, reduction in height (removal of contours) and refinement of materials to ensure structural integrity, clustering of LEDs to create a more striking lighting effect.
isometric NE
isometric NW
isometric SE
isometric SW
virtual environments
design finalisation & exhibition fabrication & construction
final fabrication successive fabrication errors: design cut on incorrect paper card (lower portion 200gsm and upper 300gsm, instead of vice versa). mistake threatened to structurally undermine the lantern.. due to time constraints, design re-fabricated and constructed entirely with 200gsm card. lantern consequently less structurally sound than the originally intended, but performs perfectly if worn as designed. lantern adequately supports self-weight if unworn, due to 4 lengths of wire inserted at the base to reinforce the model.
removal of contours
prototype 3 dimensions (removed segments shown in orange).
final design dimensions
joining of panels good result for a
virtual environments
s difficult at 2 x locations.. a model of 109 segments
electrical tape for wire camoflage
inserting LED clusters near penetrations to create a ‘twinkling’ effect: as the lantern moves/rotates, the LEDs intermittantly shine through the penetrations, invoking the chaotic magic of the coral spawn process
virtual environments
design finalisation & exhibition lantern completion
finished lantern
front
right side
virtual environments
back
left side
virtual environments
design & exhibition manifestation offinalisation coral spawn
virtual environments
response to module 4 readings Mitchell, W. (2000): Software: New Genius of Place. Mitchell, W. (2000): Replacing Place. form fetches function ‘designing code to generate form’ releases an unlimited potential for functional flexibility in design. integrated into the design of communication devices, transportation systems, medical equipment… the concept has not yet been embraced by designers of the built environment. in terms of architecture, spaces might be programmed to respond to practical considerations (weather conditions, energy availability, occupancy levels) or to entirely aesthetic demands (variable colour schemes and furnishings).. ‘designing form’ may be relegated to the pre-digital era, though the inseparability of structure and materiality from architectural form may maintain the link in spite of technological advances. genius of object a ‘smart, attentive and responsive’ lantern might dim or brighten according to the natural lighting (already a capability of smart phones and computers), switch on as a person enters the room or switch off after a child falls asleep, alter the colour of the light seasonally or in response to the palette of the environment, or adjust surface colour for the same reasons. other features rapidly expand the brief of the lantern (beyond the mere provision of light, to a multipurpose object): Mitchell’s ‘genius of place’ is limited only by the designer’s imagination. ‘smart, attentive and responsive’ in art: the Reef Installation at the Taubman Museum of Art, New York, discussed in a module 2 lecture (the blades flutter according to the movements of viewers passing through the space).. a simple system of responsiveness. http://www.youtube.com/watch?v=X-TSgVT8JxM and in architecture: the Swanston Academic Building in Melbourne (the glass discs of the façade adjust according to climatic conditions, through a computer system within the building).. a more complex engagement with the occupants and the environment.
virtual environments
reflection review of the design journey realisation of concept the most rewarding part of the journey: the material realisation of the abstracted natural process (& the witnessing of other students’ realisations)... representations appear to be independent, but the design takes a unique, almost autonomous direction (‘a life of it’s own’), stemming directly from the original idea. the concept and the material realisation are mutually dependent: the design relying on the concept for inspiration, and the physical manifestation instilling the idea with fresh aesthetic meaning. challenge & growth several design lessons learnt, pertinent to future architectural studies.. 1. abstraction of natural processes: exposure to huge variety of inspirational sources and methods for deriving form. 2. time, time, time: time devoted to the ideation, development and fabrication phases of the design process pay dividends in the aesthetic and material quality of the final product. 3. presentation: the importance of succinct and appealing communication of design intent.
virtual environments
inspiration acknoledgement of sources images ‘brain’ coral: http://www.freeimages.co.uk/galleries/nature/underwater/slides/brain_coral_polyps_5002. htm fleet of putrajaya: http://mail2web.com/blog/2008/03/putrajaya-waterfront-development/ prada building: http://www.flickr.com/photos/degi-ichi/4449571988/ RMIT swanston academic building: http://theredandblackarchitect.wordpress.com/2012/08/27/the-redblack-review-swanston-academic-building-building-80-rmit/ RMIT design hub: http://www.seangodsell.com/rmit-design-hub times eureka pavilion: http://www.archdaily.com/142509/times-eureka-pavilion-nex-architecture/imagefinal-a/ words Bauman, A, Baird, A, & Cavalcante (2011), ‘Coral reproduction in the world’s warmest reefs: southern Persian Gulf (Dubai, United Arab Emirates)’, Coral Reefs, 30, 2, pp. 405-413. Fleischmann, M, et. al. (2012), ‘Material Behaviour: Embedding Physical Properties in Computational Design Processes’, Architectural Design, Wiley, 82 (2), pp. 44-51. Gershenfeld, Neil (2005): Subtraction; Addition; Building Models. In FAB: The Coming Revolution on Your Desktop--From Personal Computers to Personal Fabrication, Basic Books, pp. 67-76; 93-101; 103-113. Klein, R, & Loya, Y (1991), ‘Skeletal growth and density patterns of 2 porites corals from the Gulf of Eilat, Red Sea’, Marine Ecology-Progress Series, 77, 2-3, pp. 253-259 Macfarlane, B. (2005): Making Ideas. In Architecture in the Digital Age, B. Kolarevic (ed.), Spon Press, London, pp. 182-197. Mitchell, W. (2000): Replacing Place. In The Digital Dialectic, P. Lunenfeld (ed.), MIT Press, Cambridge, MA, p. 112-127. Mitchell, W. (2000): Software: New Genius of Place. In e-Topia, MIT Press, Cambridge, MA, p. 42-68. Scheurer, F, & Stehling, H (2011), ‘Lost in Parameter Space?’, Architectural Design, Wiley, 81 (4), pp. 70-79.
virtual environments