Le Corbusier’s Villa Savoye

Strip windows and thin, repeated columns recall

and the Glass House by Philip Johnson.

The transparent glass box with inset, opaque service volumes

appears inspired by Mies Van de r Rohe’s Farnsworth House

Strip windows and thin, repeated columns recall Le Corbusier’s Villa Savoye

Mies van der rohe’s Farnsworth House And the Glass House by Philip Johnson.

The transparent glass box with inset, opaque service volumes

appears inspired by

Strip windows and thin, repeated columns recall Le Corbusier’s Villa Savoye

The transparent glass box with inset, opaque service volumes

appears inspired by Mies van der rohe’s Farnsworth House

And the Glass House by Philip Johnson.

Le Corbusier’s Villa Savoye

Strip windows and thin, repeated columns recall

and the Glass House by Philip Johnson.

The transparent glass box with inset, opaque service volumes

appears inspired by Mies Van de r Rohe’s Farnsworth House

Strip windows and thin, repeated columns recall Le Corbusier’s Villa Savoye

The transparent glass box with inset, opaque

service volumes appears inspired by Mies Van der Rohe’s Farnsworth House

And The Glass House by Philip Johnson.

Architecture becomes A site for the endless reconstructions of nature

But these reconstructionsLack the naturalistic historicism of their eighteenth century or More recent antecedents.

Through architecture, nature appears As a production of the city

Nature’s contemporary reality

But also as an act of recovery.

Architecture becomes A site for the endless reconstructions of nature

Through architecture, nature appears As a production of the city

Nature’s contemporary realityBut also as an act of recovery.

But these reconstructionsLack the naturalistic historicism of their

eighteenth century or More recent antecedents.

In their writing, they examine

buildings that are registers of external environments and environmental features, such as rain or pollution.

My book is more about

The building and the environment around it being

made or “produced”simultaneously.-David Gissen

buildings that are registers of external environments and environmental features, such as rain or pollution.

The building and the environment around it being

made or “produced”simultaneously.

In their writing, they examine

buildings that are registers of external environments and environmental features, such as rain or pollution.

My book is more about

The building and the environment around it being

made or “produced”simultaneously.-David Gissen

buildings that are registers of external environments and environmental features, such as rain or pollution.

The building and the environment around it being

made or “produced”simultaneously.

Precedent Photomontages with Text:An Iterative Study

Grad A&R IEvan Janes

VILLA DALL’AVA: A BUILDING IN TIME

Evan Janes

Lukasz Czarniecki

Jason Danforth

Peng Zhang

Glass Block Wall, Horiuchi HouseOsaka, Japan Tadao Ando 1977-1978

If concrete walls are used as rock and glass as

the opening of a cave, Tadao Ando chose

to make the experience of someone standing

inside the house looking out – and vice-versa –

a little more sophisticated. He erected a wall

made entirely out of glass blocks,

letting light in but distorting any

visual information it carries. The wall forms a

distinction between interior and exterior

without completely separating them – letting

the house belong in its street and allowing

privacy at the same time.

Glass Block Wall, Horiuchi HouseOsaka, Japan Tadao Ando 1977-1978

People explored the effect light since the beginning

of mankind, when they painted animals on dark

rocks and observed the lit exterior showing from the

entrance of a cave. It is a declaration of might

–proving the ability to control light. This control is

the concept behind Glass Block Wall.

The human eye catches information carried

by light and interprets it into visual images. Light and

darkness are two extremes and the gradient between

them allows the distinction of forms and colours.

Light can be distorted, refracted, reflected, or

blocked by various means such as heat, water, or

man-made devices like lenses and mirrors to

complicate or simplify the way objects appear.

Activity 8.0 - TypographyAnalysis & Representation, Arch-Des 540

Glass Block Wall, Horiuchi HouseOsaka, Japan Tadao Ando 1977-1978

If concrete walls are used as rock and glass as the opening of a cave, Tadao Ando chose to make

the experience of someone standing inside the house looking out – and vice-versa – a little more sophisti-

cated. He erected a wall made entirely out of glass blocks, letting light in but distort-ing any visual information it carries. The wall forms a distinction between interior and exterior

without completely separating them – letting the house belong in its street and allowing privacy at

the same time.

Y. D. Kim

Theresa Sester

an end-less pro-ject of de-struction and rene-wal.

The architects had the builders gather all the demolition debris into a huge pile in the centre of the pro-ject. It looked like a mountain of demolition and construction waste, but it became a

central feature of the housing estate’s landscape. It holds the history of the site, in some ways, while providing a tangible image of what modernity is all about — an endless project of destruction and renewal.

an end-less pro-ject of de-struction and rene-wal.

The architects had the builders gather all the demolition debris into a huge pile in the centre of the pro-ject. It looked like a mountain of demolition and construction waste, but it became a

central feature of the housing estate’s landscape. It holds the history of the site, in some ways, while providing a tangible image of what modernity is all about — an endless project of destruction and renewal.

an end-less pro-ject of de-struction and rene-wal.

The architects had the builders gather all the demolition debris into a huge pile in the centre of the pro-ject. It looked like a mountain of demolition and construction waste, but it became a

central feature of the housing estate’s landscape. It holds the history of the site, in some ways, while providing a tangible image of what modernity is all about — an endless project of destruction and renewal.

Today, the architectural reconstrution of nature continues and intersects with themes of late

modern environmentalism but this is not at all obvious.

Natures appear at new modern scale that the literal imagery

seemed disconnected from the natural and architectural

representation.

The reconstruction of nature is an aspect of the history; architecture can be positioned to build nature

into forms that engage with problems of pass history and

representation to form an interesting perspective.

Andrew Stadnicki

Today, the architectural reconstrution of nature continues and intersects with themes of late

modern environmentalism but this is not at all obvious.

Natures appear at new modern scale that the literal imagery

seemed disconnected from the natural and architectural

representation.

The reconstruction of nature is an aspect of the history; architecture can be positioned to build nature

into forms that engage with problems of pass history and

representation to form an interesting perspective.

Nikki Perry

Robert Kane

Theresa Sester

The architects had the builders gather all the demolition debris into a huge pile in the centre of the project. It looked like a mountain of demolition and construction waste, but it became a central feature of the housing estate’s lands-cape. It holds the history of the site, in some ways, while providing a tangible image of what modernity is all about — an endless project of destruction and renewal.

The architects had the builders gather all the demolition debris into a huge pile in the centre of the project. It looked like a mountain of demoli-tion and construc-tion waste, but it became a cen-tral feature of the housing estate’s landscape. It holds the history of the site, in some ways, while providing a tangible image of what modernity is all about — an endless pro-ject of destruction and renewal.

The architects had the builders gather all the de-molition debris into a huge pile in the centre of the pro-ject. It looked like a mountain of de-molition and cons-truction waste, but it became a cen-tral feature of the housing estate’s landscape. It holds the history of the site, in some ways, while providing a tangib-le image of what modernity is all about — an end-less project of de-struction and renewal.

The ar-chitects had t h e b u i l -d e r s gather all the demo-l i t i o n debris into a h u g e pile in t h e centre of the p r o -ject. It looked like a moun-tain of demo-l i t i o n a n d const-ruction waste, but it became a central feature of the housing estate’s land-scape. I t h o l d s t h e history of the site, in s o m e w a y s , w h i l e prov i -ding a tangib-l e image o f w h a t moder-nity is a l l a b o u t — an e n d -l e s s project of de-s t ruc-t i o n and re-newal.

Nabila Iqbal

Rachel Beesen

...teach us to not fear the future as long as we confront it truthfully.

Fahim Mahmud