Thesis Document

QUITO HOUSE

LIVING IN AN ENVIRONMENT

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LIVING IN AN ENVIROMENT A R IE L G U A N OL UI S A U NI V E R S I T Y O F S O UTH FL OR IDA S C H O O L O F ARCHI TE C T URE AND C OMMU NI T Y DE S IGN A m a s t e r s r e s ear c h pr o je c t pr e s e n t e d t o t he Gr a dua t e S cho o l o f Ar c h i t e c t u r e a n d C o m m u n i t y D e si g n a t t h e U ni v er sit y o f S o u th F lor ida in par t ial fulfillme n t o f t h e r e q u i r e m e n t s o f t h e d e g r e e o f M a s t e r s o f A r c h i t e c tur e

THESIS CHAIR: MICHAEL HALFLANTS Professor of Architecture University of South Florida Principal Architect Halflants + Pichette THESIS COMMITTEE: JOSUE ROBLES Professor of Architecture University of South Florida JAN WAMPLER Professor of Architecture University of South Florida

RICHARD WORKMAN Professional Environmentalist

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DEDICATED TO: The School of Architecture and Community Design at the university of south Florida , which has allowed me to grow as architectural student and shape me to be the passionate Architect of tomorrow.

Michael Halflants who work and passion to architecture always inspired me to deliver excellence work and to do more than expected.

Galo Guanoluisa Cevallos “papa” for always support me and teach me to grow as a person and professional. Your devotion to medicine always inspire me to grow and help others in need.

Maria Lucas “mama” for your unconditional love and care, For your patience as a teacher and mother to shape my brother and I to be better persons.

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CONTENTS

INTRODUCTION PREFACE AND INTRODUCTION

EXPLORATION AND OBSERVATION STUDY OF DIFFERENT CLIMATES, LANDSCAPES, AND ARCHITECTURE

LIVING IN A ENVIROMENT QUITO HOUSE AS NEW LIVING TYPOLOGY

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figure No. 1 Abstract Thesis Collage

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ABSTRACT This intent of the Master’s Thesis project is to explore different climates, landscapes and architecture. The interest is to learn from this observations and then apply this knowledge and discoveries into a new living typology that is capable to relate to it surroundings in quest for increasing efficiency; that will create a new living typology that is environmental sensitive, and that has a poetic coexistence with nature.

This is a world of increasing complexity where new emerging technologies are revolutionizing architecture, in some cases only a few of this technology give sense to architecture, the other ones neglect the opportunity to create a more efficient architecture, a sustainable architecture, and a Eco-efficient architecture. The idea is to create a prototype that follows the time-tested patterns of nature, landscapes, climates rather than squandering this precious energy resources to combat it for no real benefit either because of politically, economically, or cultural motives.

This project attempts to focus on one narrow area where, with a little awareness, major progress toward an energy efficient life style can be made. This is not a call for abandonment of cultural comforts and return to aboriginal existent, instead, it calls attention to the observation that in many cases our lives can be more efficient and sustained longer by creating living spaces that react and respond to our living environment.

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PREFACE What are the priorities of a living space whether it is a commercial, residential or institutional? It should be a well being of individuals although not in all cases. Today, there is much architecture that tries not to be strong or rather encourage energy efficient lifestyle. There are many ideas of what a living space should look like. A lot of great architects tried to respond to some several questions and even attempted to generate an ideal architecture; for instance, Le Corbusier tried to build an ultimate architecture with an innovative level that was applied in their composition designs. There are many ideas of what a living space should be but, Is there one specifically right? “Intention is what move us most deeply, the quality of mind brought to the creation of work”.(Le Corbusier, 1947) What are our intentions? Many great architects attempted to answer this questions, Even tried to create an ideal one. Le Corbusier attempted to create an ideal architecture with a new Harmonious measure system used in their composition designs. His controversial slangs a house is a machine for living create doubts of his work. I think he actually meant a house is machine to dignify the human being because of the enormous effort he applied to perfectionate an harmonious human scale in his projects. He with not regrets developed several attempts and reinvent his architecture proposition several times. “In fact the intention to find meaning even where it is less than apparent, is the basis of curiosity itself” (Wes Jones, 1998). What does the word encounter means in a living space? There are experiences that we had through out our life time in special or meaningful spaces that are inexpressible, ineffable. This could be consider ambiguity but it is something greater than that. How can be recreate this experiences into new stuff? There is a collection of techniques that we acquire and that prevailed in our knowledge to generate unique experiences where the meaning become meaningful. Intuition is a powerful tool.

It help us to create things from scratch. It help us to create tangible and visual concepts. It allow us to manifest our intentions. “The quest for increased efficiency has become the measure of sophistication in the cultural and commercial as well as technical spirit”.(Wes Jones, 1998). This project tries to scrutinize and investigate the potential to form additional energy efficient spaces by us-

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ing precursor of inspiration: nature for example by observing great examples of projects from the past. Technology is one of the precursors of inspiration.

What does technology means to architects and how has it influenced them?

There are various ways that energy efficiency technologies can be attained in architecture. Environmental collision can be reduced with energy proficient buildings that minimize damage contamination production and are environmentally reverberation whereas assortment of the resources and managing waste. Additionally, energy-efficient buildings lead to an enhanced indoor and outdoor air superiority leading to hale and hearty environment. Additional, proficient buildings can enhance the superiority of life of many of individuals since they improve reassure and suitable exposure to nature. Energy efficiency can extend accessible electricity resources by providing renewal energy access, dependability, and safety in isolated areas.

Figure No. 2 Conceptual artifact quality of metaphysics

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INTRODUCTION The purpose of the Master’s Thesis project is the investigation of environmental typologies that merges poetics(beauty) and Eco-efficiency principals. The question is how can an environmental sensitive typology benefits us? This is a globe of escalating intricacy where innovative emerging technologies are transforming architecture but at times, only a few of this technology give sense to architecture. On the other hand, they abandon the chance to generate a more competent, sustainable and approachable architecture. The main agenda is to make a model that follows the time-tested patterns of nature, landscapes, climates rather than squandering this precious energy resources to combat it for no real benefit either because of politically, economically, or cultural motives. This project attempts to focus on one narrow area where, with a little awareness, major progress toward an energy efficient lifestyle can be made. This is not a call for abandonment of cultural comforts and return to aboriginal existent, instead, it calls attention to the observation that in many cases our lives can be more efficient and sustained longer by creating living spaces that react and respond to our living environment. This project investigates the landscape, climate patterns, and architectonic exploration in three different locations. The plan was to understand the relationship in a detached living scenario where only the landscape and climate could be investigated and a morphological intercession could occur. This intervention should act in response to numerous elements such as climates, environment, and landscape to enhance development of an ideal living typology that merges melodious to the harmonious sun and Eco-efficiency principals. At the same time, the use of precursor as a basis of inspiration will be applied in this interventions. (Metaphysics). Various architects have articulated the curiosity in metaphysics and its philosophy, for instance, Le Corbusier, Wes Jones, Peter Zumthor among others. This intervention will try to attain meaningful moments where the surroundings that environs us is the border in a manner that generates a source of speculate, admiration and accomplishing that identifiable experiences that goes beyond our present. “Meta-physics” refers to ideas about stuff beyond the physical, beyond what is “simply present.” “meta” carries in it the valuation of this difference, which says it is not just “other”.” In rooting the possibility for meaning or significance in the relationship to “some greater, beyond,” The logic of transcendence exacerbates the violence of convention by its reference “ to another order of reality that devalues and lowers that which is immediately given.”(Gianni Vattimo, 1988) This is a project inquisition of metaphysical occurrences and empirical phenomenology that could propose magnificence, intrigue and in their multifaceted associations, they are a source of speculate and admiration.

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figure No. 3 Axonometric Drawing of conceptual artifact

In this volumetric drawing the intention was to implement the ideas and concept of a speculate space that illustrates ate meaningful moments with the quality of light, nature, and harmonies measurements. “Somewhere between use and expression, function and form, intention and reference, we will “find” architecture. this is a territory with great metaphysical weight; roots architecture in humanity’s most basic experience of “reality and being”(Wes Jones, 1998)

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figure No. 57 The Forest Community,Growing Native, 1980

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Observations for a new living typology After exploring different landscapes, climates and architectonic explorations. There are several conclusion for an ideal living typology. One of this is to hyper relate this prototype as much as possible to its native surroundings. In this case, I pick Quito to further develop. This site makes it possible to use native plants and trees from this location to several cost-free benefits as shade from the sun, filtration of pollutants from the air, moderation of temperature extremes, protection from storm winds, noise buffering , visual screening, beauty, and much more. Causing that the design work around the landscape and not the contrary. This is not a call for abandonment of cultural comforts and return to an aboriginal existent, Instead, it calls attention to the observation that in many cases our lives can be made more efficient and sustained longer by following the time tested patterns of nature other than squandering precious energy resources to combat it for no real benefit.

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Paulo Mendes Da rocha Casa no Butanta has highly developed longitudinal rays which are about twenty centimeters instability for holding and approaching the outer tangible gables absent from the rays, hence offering a space for higher channel breach in the major floor to not directly light up the center. The walls of this flooring are lifted external walls of tangible blocks; two extend beyond planes and a steady shade among them to enhance formation on the frontages, and sometimes a third transitional plane. The job and dinner tables are set on differing gables, to make it essential to comprise openings for illuminating the straight planes in equal gates. This lighting permitted by the apertures in the exterior gables was straight and sightless to enhance exterior prismatic volumes necessary as individual combos to diffuse the beam (Fracalossi, 2014). The volumes are allied with the tables; to create the horizontal planes extend to the outer surface. The sixteen cross rays of the roof lump have advance five and feet instability on mutual sides, to make the fences to be just window edges with no any other type of defense. The rays of the major pavement slab advance only two feet instability on the back frontage, adjacent to some meters in the major facade, to enhance inadequate safety for the external staircase and the top lump could not be broken up the meter before moving the end of the rays.

The ridges of steel and glass edges are concreted instability with the lower lump; to enhance the formation of an inverted C revolved some degrees with a high opinion to the C created by the sideways gables and the wrap slab. The arrangement created by the four thirty-five-centimeter square supports, and in the two stages created by two major longitudinal rays sustaining sixteen transverse rays each, for it to be undermined by the enclosures and openings.

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figure No. 58 Casa no Butanta Exterior Photo

figure No. 59 Casa no Butanta Interior Photo

figure No. 60 Casa no Butanta Dinner Table

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figure No. 61 Casa no Butana Entree

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figure No. 62 Casa no Butana Window details

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Lina Bo Bardi The Casa de Vidro, which is a glass house, was planned by Lina Bo Bardi. The place, which has now enhanced into the upmarket community of Morumbi, is in the center of the rainforest’s.

Its living room is wholly public, fixed all round, and the dining and living areas run into each other. It has seductively slight stairways to get guests up from the windy forest trail to the house. Its strides move and shudder, placing a factual coil in your footstep. The house displays a number of those manias and expertise stuff that articulate that push for to create, in conjunction with Catholic relics (Corato, 2013). Bo Bardi’s are approximately a complement to the tree costume just about the house, elating it into the sunshade of the Mata Atlântica jungle. In the patio enormous tree nurture through the compassion of the arrangement to make the house appears not to be striking itself on the forest, although quite obliging it and accessible within it. The borders should be supplementary liquefied, creation the kitchen space in-between at the sensitivity of the house. Windows slither open to enhance the living space turn out to be as much like a terrace as a room.

Works of revitalization and Gothic sculpture sit adjacent to the crunchy modernist scenery alongside outstanding native Brazilian pieces. The house on no account feels like a demonstration space; as an alternative, these pieces create a landscape of remembrance that widens from Italy to Brazil. If there is a distinction (further than the apparent openness of the frontage), it is in the intellect of pecking order between the personal and the public, which is greatly less distinct in the house. This gives a feeling of a house for business rather than consideration.

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figure No. 63 Casa de Vidrio Interior photo

figure No. 64 Casa de Vidrio Exterior Photo

figure No. 65 Casa de Vidrio Courtyard

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figure No. 66 Casa de Vidrio, Brasil

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figure No. 67 Casa de Vidrio Courtyard

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Alberto Kalach On a southern hill, on one of the numerous narrow valleys in the western part of Mexico City thickly planted with Tepozan trees, we envisage four arrangements in the structure of great platforms hovering in the scenery. The three structures are only set upon preexisting paths where trees seem to be less steep as well as less impenetrable. These platforms follow the direction of the trails to enhance the distribution of environment as little as possible. They have strong and entrenched foundations around the globe, hence obviating considerable preserving walls and keeping away from harm to the roots of the adjacent trees. The foundations consist of great cisterns; grasping the rainwater conducted from roofs and portico, they search for self-adequacy in water annually.

The arrangements are later affable to landscape, plants, and orientation, pacifying the easy and straight business of all the spaces. There is the maintenance of rhythms and proportions in each structure in harmony to its functions, whereas reaffirming the unity rising from the entire structural commencement. The tangible, steel, timber, and glass are conjugal to attain unrefined harmony of space, type, and arrangement.

The non-structural walls, made of filthy stone which is formed from the similar soil of the place, provide texture and warmness to the residence (Fernandez, 2015). The initial platform creates an entry to the home through a tiny patio, tagged along by the dining and living room that opens to the outlook. There is an exit to the roof of the subsequent platform which is a patio and a water mirror that is able to reflect both architecture and nature. There is an element that has the bedrooms as well as the family room on the way down. In that element, one can be able to connect or rather to access an open terrace or to the studio, which has two levels as well as the amenities for the swimming pool. Lastly one arrives at the thirty-meter long lap pool that is completely buried in the forest as the rest of the house.

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figure No. 68 Casa Negro Interior Photo

figure No. 69 Casa Negro Skylight

figure No. 70 Casa Negro Living Area

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figure No. 71 Casa Negro reflecting pool

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figure No. 72 Casa Negro submerge into the Landscape

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Miravalle, Quito “The flower, the plant, the tree, the mountain all this are upright, living in an environment.”

(Le Corbusier).This location is very special for several reason. It is located in the Equator in the middle of the world surrounded by Miravalle valley, mountains, and volcanoes. Mirvalle valley faces the magnificent Andes Mountains and the Cotopaxi volcano the highest point on earth. The fact that this site is located on the equator produces the most biodiversity place on earth; making it joyful place to celebrate the diversity of plants and trees, figure No. 24 projects a intervention on the miravalle valley looking at magnificent landscape that grasp a moment of wondering and amazement. This is highland subtropical climate which is locate in the equator, Which means part of the year the sun is on the north side and in the other part the sun is in the south. Producing very comfortable temperatures.

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figure No. 23 Quito Detach Morphology

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figure No. 24 Quito Perspective Collage

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Site Analysis

figure No. 25 Sattelite Map of Quito

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figure No. 26 Morphology Diagram

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figure No. 27 Quito Wind-Rose Year Analysis

figure No. 30 Quito Sunlight Hour Analysis figure No. 28 Quito Typography Surface

figure No. 29 Quito Full Year Sun Study

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figure No. 31 Quito Model Picture 1

figure No. 32 Quito Model Picture 2

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figure No. 33 Quito Model Picture 3

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Canama, Peru Each of its landscape transmit vitality, joy and color. In Camaná (Arequipa) it is possible to find peace and tranquility. This location is full of discoveries. It is located between the pacific ocean and the Andes mountains. This place in the cost of Peru creates a very phenomenal scenario a cold dry-desert. What causes the dessert is that Canama is between the pacific ocean and the Andes mountain and there is valley formations that create a fog in the atmosphere this causes that in this location rarely rains. The precipitation of rain in this site is even less than the Zahara desert. The landscape is stunningly beautiful with cliff formation that allow heights where one can capture beautiful views of the horizon and the pacific ocean as illustrated in figure No. 35.

figure No. 34 Canama Detach Morphology

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figure No. 35 Canama Perspective Collage

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Site Analysis

figure No. 36 Sattelite Map of Canama

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figure No. 37 Morphology Diagram

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figure No. 38 Canama Wind-Rose Year Analysis

figure No. 41 Canama Sunlight Hour Analysis figure No. 39 Canama Typography Surface

figure No. 42 Morphologial intersection

figure No. 40 Canama Full Year Sun Study

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figure No. 43 Canama Model Picture 1

figure No. 44 Canama Model Picture 2

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figure No. 45 Canama Model Picture 3

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Hemsedel, Norway Hemsedal is a village in Norway’s Scandinavian Mountains. It’s home to the Hemsedal and Solheisen ski resorts, which offer downhill and cross-country runs. Trails lead up Skogshorn, a rugged mountain to the east. This is a magnificent landscape were a very diverse and fascinating climate pattern occurs. It proximity to the arctic produces cold temperatures through the year. In figure No. 47 you can appreciate a intuitive hyper reactive morphological intervention that evoke a meaningful moment of joy and play in a ski resort cabin.

figure No. 46 Hemsedel Detach Morphology

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figure No. 47 Hemsedel Perspective Collage

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Site Analysis

figure No. 48 Sattelite Map of Hemsedel

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figure No. 49 Morphology Diagram

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figure No. 50 Hemsedel Wind-Rose Year Analysis

figure No. 51 Hemsedel Typography Surface

figure No. 53 Hemsedl Sunlight Hour Analysis

figure No. 52 Hemsedel Full Year Sun Study

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figure No. 54 Hemsedel Model Picture 1

figure No. 55 Hemsedel Model Picture 2

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figure No. 56 Hemsedel Model Picture 3

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Site On the edge of a magnificent inclined site characterized by 180 degrees views of the valley of Miravalle and the Andes Mountains in Quito, Ecuador. The project try to create a new living typology that combine beauty and Eco-efficiency principals. This site is locate in the equator with a subtropical highland climate. The fact that is in the equator make this site be very special one. Ecuador is one of the most biodiversity places on earth, what this means? is that in this small country has a large group of plants and tree species and some of them only grow there.

This phenomenal happen because the sun departure point is the equator so this allow to the site to have a larger cycle of sunlight throughout the year.

figure No. 73 Quito Typography

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figure No. 74 Quito Satellite Map

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figure No. 75 Physical Model Introduction Image

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Physical Model After exploring different landscapes, climates and architectonic explorations. There are several conclusion for an ideal living typology. One of this is to hyper relate this prototype as much as possible to its native surroundings. Making it possible to use native element from it surroundings, for example, native plants and trees from this location. Causing that design to work around the landscape and not the contrary. This is not a call for abandonment of cultural comforts and return to an aboriginal existent, Instead, it calls attention to the observation that in many cases our lives can be made more efficient and sustained longer by following the time tested patterns of nature other than squandering precious energy resources to combat it for no real benefit. Living in a natural Environment has several cost-free benefits as shade from the sun, filtration of pollutants from the air, moderation of temperature extremes, protection from storm winds, noise buffering , visual screening, beauty, and much more. As seen in Observation example for a new living typology. Those house are inserted into a natural environment, and react and coexist with it. Those example show use the potential of architecture when it submerge and react into a natural environment.

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048 figure No. 76 Living in an Enviroment, Quito House Physical Model

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figure No. 77 Living in an Enviroment, Quito Site Plan

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A NEW LIVING TYPOLOGY QUITO HOUSE The initiative was to form a model that tag along with the time-tested outlines of nature, landscapes, and climates, rather than squandering this precious energy resources to combat without benefiting due to cost-effective, political or cultural motives. In the explorations d experiences chapter we learn specific climate and landscape attributes of this location.

This knowledge help me in process of the design, for example by steeping different volumes of the house allowed the opportunity to cross ventilate each individual programmatic volume(bar). At the same time there is several shading devices to filter heavy solar radiation. For example, horizontal louvers and native trees adjacent to the building. In this case the building work around this native trees. In Quito the precipitation is very high. It literally rains every day. This houses uses rain water as cooling devices as well as water collecting opportunity. In the lower stepped bar there is a cistern which is part of the concept for this new living prototype. This feature does not only act as resiliency factor but also is part of design element. At the upper bars we encounter that part of the roof functions as reflecting pool when full allows water to fall into a fountain. And the highest bar there is a solar panel that collect solar energy, which allow the house to use renewal energy resources.

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figure No. 78 Living in an Environment, Living Area floor plan

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LIVING AND SOCIALIZING SPACES KITCHEN Living ROOM DINNING ARE BALCONY

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figure No. 79 Living in an Environment, Sleeping Quarters floor plan

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MASTER BEDROOM BEDROOM READING AND SOCIALIZING SPACE INTERIOR COURTYARD MASTER BATHROOM BATHROOM 052

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figure No. 80 Living in an Environment, Studio & Family room floor plan

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FAMILY ROOM STUDIO STORAGE FOUNTAIN / SUSPENDED PLATFORM

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figure No. 81 Living in an Environment, Cistern/ Water collecting

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CISTERN

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Exploded Axonometric

SOLAR ENERGY COLLECTION

ELEVATED LIVING AREA

SLEEPING QUARTERS /HABITABLE TERRACE

STUDIO & FAMILY ROOM/CISTERN

FIGURE GROUND AND VOIDS EXTRUSIONS

figure No. 82 Living in an Environment, Exploded Axonometric

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Passive Cooling Strategy Natural Ventilation and Cooling

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figure No. 83 Living in an Environment, Natural Ventilation And Cooling

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SOLAR ENERGY COLLECTION RAIN WATER COLLECTION & WATER AS A COLLING DEVICE CROSS VENTILATION CHIMNEY /HOT AIR RELIEF SOLAR SHADING DEVICE CISTERN WATER RETAIN 056

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Circulation diagram

figure No. 84 Living in an Enviroment, Circulation Diagram

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Program components Living Area

Sleeping Quarters

Studio/Family room

figure No. 85 Living in an Environment, Program Diagram

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figure No. 86 Living in an Environment, Physical Model Photo

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Model in Sections

Sectional Models brought new opportunities to further explore in the tectonics and details of the spaces.

It allow for intricacy of adding another level of delicacy and intrigue expressions. It also allow to have a better understanding of the complex landscape and uneven topography. It is very beneficial to work in sectional model because of new discoveries and opportunities at the moment or for future references. Another, It help to analyses different scenarios of light patterns. Which allows to revise and change some deficiency of the process ideas. This project is somehow a collection of techniques and procedures of experimental design approaches. In the next Pictures you will be able to look at the details and tectonic. This living typology try to knit to its surroundings and submerge into the natural environment of its site. Each plane or surface try to joint in a poetic and harmonious way. “ Harmony had always been for us the goal of an impassioned quest. In the course of a lifetime we had built up a wealth of observation gathered during many years, everywhere and all occasion” (Le Corbusier,1955)

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figure No. 87 Living in an Environment, Sectional model 001

figure No. 88 Living in an Environment, Sectional model 002

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figure No. 89 Living in an Environment, Sectional model 003

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figure No. 90 Living in an Environment, Sectional model 004

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figure No. 91 Living in an Environment, Sectional model 005

figure No. 92 Living in an Environment, Sectional model 006

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figure No. 93 Living in an Environment, Sectional model 007

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figure No. 94 Living in an Environment, Sectional model 008

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figure No. 85 Living in an Environment, Section Model 001

figure No. 88 Living in an Environment, Section Model 004

figure No. 86 Living in an Environment, Section Model 002

figure No. 87 Living in an Environment, Section Model 003

figure No. 89 Living in an Environment, Section Model 005

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figure No. 100 Living in an Enviroment, Interior Perspective 001

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figure No. 101 Living in an Enviroment, Interior Perspective 002

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LIST OF FIGURES figure No. 1 Abstract Thesis Collage figure No. 2 Conceptual artifact quality of methaphisics figure No. 3 Axonometric Drawing of conceptual artifact figure No. 4 Dale prototy (close & open) figure No. 5 Dale Interior Photo figure No. 6 Dale iexterior & Interior figure No. 7 Dale Exterior Photo figure No. 8 Dale scpace in between figure No. 9 Exploded Axo Diagram figure No. 10 Aerial view of Centre Pompidou figure No. 11 Elevetion Centre Pompidou figure No. 12 Exterior photo Centre Pompidou figure No. 13 Structure components figure No. 14 Maquette Unite d’ Habitation figure No. 15 Site Plan figure No. 17 Exterior photo Terrace figure No. 19 Detach Paradox 1 figure No. 20 Detach Paradox 2 figure No. 21 Detach Paradox 3 figure No. 22 Detach Paradox figure No. 23 Quito Detach Morphology figure No. 24 Quito Perspective Collage figure No. 25 Sattelite Map of Quito figure No. 26 Morphology Diagram figure No. 27 Quito Wind-Rose Year Analysis figure No. 28 Quito Typography Surface figure No. 29 Quito Full Year Sun Study figure No. 30 Quito Sunlight Hour Analysis figure No. 31 Quito Model Picture 1 figure No. 32 Quito Model Picture 2 figure No. 33 Quito Model Picture 3 figure No. 34 Canama Detach Morphology figure No. 35 Canama Perspective Collage figure No. 36 Sattelite Map of Canama figure No. 37 Morphology Diagram figure No. 38 Canama Wind-Rose Year Analysis figure No. 39 Canama Typography Surface figure No. 40 Canama Full Year Sun Study figure No. 41 Canama Sunlight Hour Analysis figure No. 42 Morphologial intersection figure No. 43 Canama Model Picture 1 figure No. 44 Canama Model Picture 2 figure No. 45 Canama Model Picture 3 figure No. 46 Hemsedel Detach Morphology figure No. 47 Hemsedel Perspective Collage figure No. 48 Sattelite Map of Hemsedel¬figure No. 49 Morphology Diagram figure No. 50 Hemsedel Wind-Rose Year Analysis figure No. 51 Hemsedel Typography Surface figure No. 52 Hemsedel Full Year Sun Study figure No. 53 Hemsedl Sunlight Hour Analysis figure No. 54 Hemsedel Model Picture 1 figure No. 55 Hemsedel Model Picture 2 figure No. 56 Hemsedel Model Picture 3 figure No. 57 The Forest Community,Growing Native, 1980 figure No. 58 Casa no Butanta Exterior Photo

figure No. 59 Casa no Butanta Interior Photo figure No. 60 Casa no Butanta Dinner Table figure No. 61 Casa no Butana Entrée figure No. 62 Casa no Butana Window details figure No. 63 Casa de Vidrio Interior photo figure No. 64 Casa de Vidrio Exterior Photo figure No. 65 Casa de Vidrio Courtyard figure No. 66 Casa de Vidrio, Brasil figure No. 67 Casa de Vidrio Courtyard figure No. 68 Casa Negro Interior Photo figure No. 69 Casa Negro Skilight figure No. 70 Casa Negro Living Area figure No. 71 Casa Negro reflecting pool figure No. 72 Casa Negro sumerge into the Landscape figure No. 73 Quito Typography figure No. 74 Quito Satellite Map figure No. 75 Physical Model Introduction Image figure No. 76 Living in an Enviroment, Quito House Physical Model figure No. 77 Living in an Enviroment, Quito Site Plan figure No. 78 Living in an Enviroment, Living Area floor plan figure No. 79 Living in an Enviroment, Sleeping Quarters floor plan figure No. 80 Living in an Enviroment, Stuido & Family room floor plan figure No. 81 Living in an Enviroment, Cistern/ Water collecting figure No. 82 Living in an Enviroment, Exploded Axonometric figure No. 83 Living in an Enviroment, Natural Ventilation And Cooling figure No. 84 Living in an Enviroment, Circulation Diagram figure No. 85 Living in an Enviroment, Program Diagram figure No. 86 Living in an Enviroment, Physical Model Photo figure No. 87 Living in an Enviroment, Sectional model 001 figure No. 88 Living in an Enviroment, Sectional model 002 figure No. 89 Living in an Enviroment, Sectional model 003 figure No. 90 Living in an Enviroment, Sectional model 004 figure No. 91 Living in an Enviroment, Sectional model 005 figure No. 92 Living in an Enviroment, Sectional model 006 figure No. 93 Living in an Enviroment, Sectional model 007 figure No. 94 Living in an Enviroment, Sectional model 008 figure No. 87 Living in an Enviroment, Sectional model 001 figure No. 88 Living in an Enviroment, Sectional model 002 figure No. 89 Living in an Enviroment, Sectional model 003 figure No. 90 Living in an Enviroment, Sectional model 004 figure No. 91 Living in an Enviroment, Sectional model 005 figure No. 92 Living in an Enviroment, Sectional model 006 figure No. 93 Living in an Enviroment, Sectional model 007 figure No. 94 Living in an Enviroment, Sectional model 008 figure No. 85 Living in an Enviroment, Section Model 001 figure No. 86 Living in an Enviroment, Section Model 002 figure No. 87 Living in an Enviroment, Section Model 003 figure No. 88 Living in an Enviroment, Section Model 004 figure No. 89 Living in an Enviroment, Section Model 005 figure No. 100 Living in an Enviroment, Interior Perspective 001 figure No. 101 Living in an Enviroment, Interior Perspective 002 figure No. 102 Living in an Enviroment, Interior Perspective 003

WORK CITED

Le Corbusier, The Modulor, A harmonious Measure to the Human Scale Universally applicable to architecture and Mechanics Walter de Gruyter GmbH Berlin/Boston Gianni Vattimo,”Metaphysics, violence, Secularization” in Recording Metaphysics: The New Italian Philosophy, ed. Giovana Borradori(Evansto: Northwestern Univ. Press, 1988), 52.

Fracalossi, I. (2014). Clássicos da Arquitetura: Casa no Butantã. Paulo Mendes da Rocha.

Renzo Piano Building Workshop, The Poetry of Flight, Taschen (2016) Corato, A. C. S. (2013). Art, Architecture and Life: The Interior of Casa de Vidro the House of Lina Bo Bardi and Pietro Maria Bardi. Biography, identity and the modern interior. Ashgate, Farnham, 153.

Fernandes, F. (2015). O negro no mundo dos brancos. Global Editora e Distribuidora Ltda.

Moncrieff, S., Venkatesh, S., & West, G. (2008). Dynamic privacy assessment in a smart house environment using multimodal sensing. ACM Transactions on Multimedia Computing, Communications, and Applications (TOMM), 5(2), 10.

Oliveira, M. M., & Tostões, A. (2010). Transcontinental modernism: M&G as a Unité d’habitation and a factory complex in Mozambique.