Emerging Structures: Information Aesthetics and Architectures of the Digital Medium (Princeton: Princeton University, PH.D., Summer 2010), 908 pages.
Re-Coded: Studio Rocker, Exhibition Catalogue, (Berlin: Aedes Gallery, 2005), 156 pages.
Chapters / Contributions in Books
“Computation | Design Speculations 2011.” In Jason S. Johnson, Joshua M. Taron, Vera Parlac, and Branko Kolarevic (eds.) Proceedings Acadia Conference 2011 (Calgary, Canada),14-17.
“Urban Encounters: Design informing future living Scenarios?” In Winka Doubbledam, Roland Snooks, Ferda Kolatan (eds.), New Normal (University of Pennsylvania, Philadelphia, 2011), 18-19.
“Parametric Prototypes.” In Tom Verebes (ed.), New Computational Paradigms: Parametrics &
Prototypes (Xi'an: XUAUT Publications, Xi'an University of Architecture and Technology).
“Recursions: Emerging Structures of Computer Generated Art and Architecture.” In Tomas Valena, Tom Avermaete and Georg Vrachliotis (eds.), Strukturalismus in Architektur & Städtebau reloaded. Book collaboration of the Hochschule München, the TU Delft and the ETH Zurich. (Achim Menges Verlag, Stuttgart, 2011), 304 - 314.
“Interface: between Analog and Digital Systems.” In Aaron Sprecher, Shai Yeshayahu, and Pablo Lorenzo Eiroa (eds.), Proceedings Acadia Conference 2010 (New York City: The Cooper Union, USA).
“Computation in command? Fading Flamboyant Architectural Aesthetics.” In Kostas Terzidis (ed.), Proceedings Second International Conference on Critical Digital: ‚Who cares?’ 18-19 April 2009, Harvard University, Graduate School of Design (Cambridge: Harvard University, 2009), 9 – 11.
"Berechneter Zufall. Max Benses Informationsästhetik," Kulturtechnik Entwerfen II - Zwischen 1960 und 1970 (Universitqt der Kunste: Berlin, 2008).
For conference information
"Architectures of the Digital Realm: Experimentations by Peter Eisenman | Frank O. Gehry,"
In Die Realitt des Imaginren - Architektur und das digitale Bild / 10. Internationales Bauhaus Kolloquium (Bauhaus University: Weimar, 2008).
For conference information
"Versioning: Architecture as series?" In Kostas Terzidis (ed.), Proceedings First International Conference on Critical Digital: 'What Matter (s)?' 18-19 April 2008, Harvard University Graduate School of Design (Cambridge: Harvard University, 2008), 157 – 169.
"Das Denkmal für die Ermordeten Juden Europas in Berlin: Erinnern, Bewahren, Hinterfragen," Creating Identities, Sepulkral-Museum, Kassel (Kassel: Sepulkral-Museum, 2004).
Critical peer review (in German)
“Fugitive Realities: Konrad Fiedler.” In A. T. Tymieniecka (Hg.), Metamorphosis: Creative Imagination in Fine Arts Between Life- Projects and Human Aesthetic Aspirations, Serie Analecta Husserliana, Vol. 81. (Dordrecht: Springer-Kluver Academic Publishers, 2003), 155 - 173.
”The Virtual: The Unform in Architecture,” In Das Virtuelle Haus, (Köln: 1998), 108-123.
Articles in Magazines
“A propos Parametricism: If, in what style should we build?” Log, (January 2011): 89-100.
“Analyzing Peter Eisenman, ” Constructs, Yale School of Architecture (Fall 2010): 10-11.
“Interview: Idea driven Practices,” Harvard Design Magazine, no 32, (Spring/Summer 2010): 106-113.
“Vom Ornament zum Muster: Ästhetische Strukturen der 60er Jahre,” Zona (Beilage Abitare 494) 4, (August 2009): 18–22. Engl. u. Germ. Translation X-XVI.
"Digital Revolution: Feedback between Architecture, Technology, and Culture," Book Review, Ali Rahim, Catalytic Formations: Architecture and Digital Design (London and New York: Taylor and Francis, 2006). The Architect’s Newspaper, (June 2006): 30 - 33.
Interview Ingeborg Rocker with Greg Lynn: "Calculus-Based Form: An Interview with Greg Lynn," In Programming Cultures: Design, Science and Software, guest edited by Michael Silver, AD 76, Architectural Design, (London: Wigley Academy Publishers:), 88-97.
Greg Lynn's name has become synonymous with digital architecture. The guest-editor of  Folding in Architecture (1993) Lynn pioneered a curvilinear approach when computerized technologies were still only a marginal part of the discussion. Here in an interview with Ingeborg M. Rocker, Lynn speaks candidly and enthusiastically about his own journey through software from appropriation of standardized packages to scripting customized tools. The interview suggests a departure from traditional architectural production based on geometries in favor of an architecture informed through differential calculus.
— Helen Castle, Wiley-Academy Press, 2006
"When code matters" In Programming Cultures: Design, Science and Software, guest edited by Michael Silver, AD 76, Architectural Design, (London: Wigley Academy Publishers:), 16-25.
The article — part of Ingeborg Rockers ongoing research project at the GSD, Harvard University — argues that algorithmic architecture in the past was all about control while it is in the present about design.
Architecture has been bound and shaped by changing codes and constraints throughout its history. The publication traces the development of calculus into computation and then, in turn, the introduction of computers into architecture and the development of algorithmic architecture.
The argument is supported through examples of the works by Christopher Alexander and Allen Bernholtz, done at the Graduate School of Design at Harvard University between 1963 and 1967. For the more recent explorations of the design potential of algorithmic architecture, the publication refers to the works by the architects Karl Chu, and George Liaropoulous-Legendre, to name a few.
The article concludes with a speculation on the potential effects of computation for the coding and recoding of architecture.
"Virtuale: Il Senza Forma In Architettura: Di Ingeborg Rocker," In Parametro, online magazine.
Fugitive Realities: Konrad Fiedler, in: A.T. Tymieniecka (Hsg.), Metamorphosis: Creative Imagination in Fine Arts Between Life-Projects and Human Aesthetic Aspirations, Series: Analecta Husserliana, Vol. 81, (Dordrecht: Springer-Kluver Academic Publishers), 155-173.
”Versioning In-forming Architectures," In Versioning Evolutionary Techniques in Architecture, AD Architectural Design 72, Wigley - Academy Publishers: London, S. 10-17.
As a continuous means of processing data-design, versioning is to have far-reaching consequences. It is to change the ways that we both comprehend and make architecture. Here Ingeborg Rocker looks at the full ontological implications of this shift, as architecture moves away from a means of representing a priori given ideas towards one of evolution and presencing design data. This requires us not only to revisit the ideas of representation and difference, but also current emphasis that is placed on originality, authorship and identity in architectural culture.
— Helen Castle, Wiley-Academy Press, 2003.
Furthermore Versioning suggests in reference to developments in the car manufacturing industries - that industrial mass production (repetition of the same parts) will be replaced through mass customization (repetition of self-similar parts). Instead of prototypical elements, principles for an element series will be developed.
”Memorizing, Maintaining, Questioning: Memorial to the Murdered Jews of Europe Peter Eisenman,” In Progetti e opere, I Quaderni De L’Industrie delle Construzione, (Rome: Nov. 1998), 55-63.
”The Virtual: The Unform in Architecture,” In InterCommunication 24, (Tokyo: Spring 1998), 30-33.
”The Virtual: The Unform in Architecture,” In The Virtual House, Any Magazine 19/20, (New York: 1997)
The publication inquires into Deleuzes concept of the virtual and its possible consequences for architecture. Gilles Deleuze, suggested in 1968 in his book Difference and Repetition
The virtual is opposed not to the real but to the actual.
The virtual is fully real insofar as it is virtual.
Ingeborg Rocker asks in her article, What is the virtual? How will it be actualized in architecture? She suggests an alternative discussion of virtuality in architecture that is neither based on the notion of virtual reality as a simulacrum of reality, nor on the notion of virtuality as a simulation of architectures physicality: Indeed, Rocker rejects the idea of an opposition between virtuality and physicality, and proposes the virtual instead as the potential in architecture, which is present, but which has not yet been realized.