 |
Drawing the line: informal learning and the architecture of the exhibition |
Ostwald, Michael J. |
2010 |
—
|
|
 |
The erotics of fieldwork in Learning from Las Vegas |
Ostwald, Michael J.; Chapman, Michael |
2010 |
—
|
|
 |
Ignored or repressed: reconstructing the missing interior in 'Learning from Las Vegas' |
Ostwald, Michael J. |
2010 |
—
|
|
 |
On the value of labour: rethinking the physical model and questioning the CAM/CAD model |
Ostwald, Michael J. |
2010 |
—
|
|
 |
Ostwald-Tucker-Chapman |
Ostwald, Michael J.; Tucker, Chris; Chapman, Michael |
2010 |
—
|
|
 |
Anthropocentric biocybernetic computing for analysing the architectural design of house facades and cityscapes |
Chalup, Stephan K.; Ostwald, Michael J. |
2009 |
—
|
|
 |
Draw the line |
Ostwald, Michael J. |
2009 |
—
|
|
 |
Fractal architecture: knowledge formation within and between architecture and the sciences of complexity |
Ostwald, Michael J. |
2009 |
—
|
|
 |
Politics and the cultural centre: representations of Australian Aboriginal totems at Brambuk |
Mallie, Tara; Ostwald, Michael J. |
2009 |
—
|
|
 |
The professional accreditation of architecture programs: academics' perceptions |
Ostwald, Michael J.; Williams, Anthony; Fuller, Sascha |
2009 |
—
|
|
 |
Psychic automatism and nonlinear dynamics: surrealism and science in the architecture of Coop Himmelblau |
Ostwald, Michael J.; Chapman, Michael |
2009 |
|
|
 |
Visual qualities in early modern and late modern architecture: a mathematical comparison of formal complexity in the houses of Gray and Sejima |
Ostwald, Michael J.; Vaughan, Josephine |
2009 |
—
|
|
 |
Architecture as concept: the case of the artist's model |
Ostwald, Michael J.; Morrison, Tessa |
2008 |
—
|
|
 |
Characteristic visual complexity: fractal dimensions in the architecture of Frank Lloyd Wright and Le Corbusier |
Ostwald, Michael J.; Vaughan, Josephine; Tucker, Chris |
2008 |
—
|
|
 |
A face-house paradigm for architectural scene analysis |
Chalup, Stephan K.; Hong, Kenny; Ostwald, Michael J. |
2008 |
—
|
|
List View
