30 Insightful Lessons on Site Design

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30 INSIGHTFUL LESSONS ON SITE DESIGN R. MARTINEZ ARCH 527 SITE AND LANDSCAPE DESIGN 12.15.14

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This book is a class assignment chronicling thirty insightful things I’ve learned about site design throughout my time in Washington State University’s Architecture 527 Site and Landscape Design course. This book is divided into three sections focusing on architectural design relative to Human Behavior, Prompting Awareness, and Gestures to Site. These three sections correlated to class exercises focusing on Self-Analysis, Site Analysis, and Site Design.

PART I SELF-ANALYSIS: HUMAN BEHAVIOR 1 Scale 2 Lighting 3 Intimate Moments 4 Comfort & Security 5 Prospect and Refuge 6 Personal Space 7 Mystery 8 Distance 9 Preference 10 Attitudes of Space PART II SITE ANALYSIS: PROMPTING AWARENESS 1 Curiosity 2 Light 3 Weathering 4 Markers 5 Exposure 6 Natural Phenomena 7 Reflection 8 Filter 9 Framing 10 Abstracting PART III SITE DESIGN: GESTURES TO SITE 1 Celebrate 2 Weather 3 Textures 4 Enfronting 5 Display 6 Blending 7 Horizon 8 Extension 9 Geometry 10 Parallel

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PART I

SELF-ANALYSIS: HUMAN BEHAVIOR This part of the course required us to reflect on the significant features that compose our personal sacred place of refuge. This place was one that made us feel comfortable and revitalized. Our assigned readings focused on how different environments affect human behavior and comfort.

The following pages in this section document ten insightful lessons regarding architecture’s impact on human emotions from our given readings.

5

01

How the Shape of a Room Can Influence User Behavior “The room is not only the beginning of architecture: it is an extension of self. If you think about it, you realize that you don’t say the same thing in a small room that you say in a large room.”[1] Perception of a space’s program is subconsciously influenced by the proportions of the room. What one does in a large room may not feel possible nor appropriate in a smaller room. An example of this is how the Bishan Public Library changes floor and wall dimensions to promote specific activities in specific spaces. Manipulation of a space’s proportion is an effective tool for manipulating a user actions.

Open (Extroverted)

Small (Intimidate)

Tiny (Introspective)

1.1

1.1 Bishan Public Library | LOOK Architects

7

02

The Power of Light as a Beacon of Interest “My room is on the bottom floor at the end of a long cold hallway, cavelike, but full of its own sunshine. It was my sanctuary.”[2] Light is a powerful tool in creating atmosphere, defining space, and capturing users’ interest. Light can be used as a beacon at the end of a hallway or illuminate a corner of a dark room, drawing users’ attention to a specific area. The contrast of a darker space diffusing into a naturally well-lit space emphasizes this area as being welcoming and closer to nature. This contrast of light and darkness is often used in meditative and sacred spaces, a phenomenon that is often considered alluring and transcendental.

Evenly Lit (Introspective)

Gradient (Beacon)

2.1

2.2

2.3

Koshino House | Tadao Ando

Yad Vashem Holocaust Museum | Moshe Safdie

Air Flow House | UID

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03

The Intimate Experience Between an Individual & their Surroundings “Many places, probably most places, are by their very nature, private.

They are the products of an encounter between a single individual and his surroundings.�[3] Each individual is constantly having private moments with the built environment as he or she engages with his or her surroundings.

Architecture can be designed to influence the narrative of these private moments. Providing an individual with an intimate space close to nature can prompt users to ponder about the natural environment, allowing them to get lost in a moment that is contemplative and truly a private.

Introspective

Engaged with Nature

3.1

3.2

InBetween House | Koji Tsutsui

Split View Mountain Lodge | Reiulf Ramstad Arkitekter

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04

The Comfort and Security of Enclosed Spaces (The Womb) “[A]n enclosed space... often associated with a feeling of wombness, being loved, security, autonomy and privacy, were preferred 12 to one over exposed open spaces.�[4] A majority of users consider the experience of being in a completely enclosed space as one that is comfortable and secure. This is in contrast to feeling more vulnerable in large open spaces. Spaces that offer a sense of intimate security are often associated with the primal sense of security and comfort felt by infants in the womb. Providing these types of small and enclosed spaces can bring comfort and refuge for users from their everyday interactions.

Exposed & Vulnerable

Sheltered & Safe

4.1

4.1 Light Lab 5.1 | VaV Architects

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05

The Comfort of Observing Without Being Seen (Prospect and Refuge) “The next most frequently mentioned characteristic was an enclosed space in a large space. An attic with a view over a neighborhood…”[4] Another widely sought after place of comfort are places of Prospect and Refuge. These are places where the user can be an observer with out being seen. This is often associated with providing a sense of perceived safety. Architectural design can be used to create these places, providing users with a revitalizing security and stimulation.

Level & Disengaged

Elevated & Observing

5.1

5.1 Forest Pond House | TDO Architecture

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06

Scale of Place in Correlation to Personal Space and Comfort “The Montana-born may feel claustrophobic in city streets that seem spacious to New Yorkers�[2] Different cultural backgrounds can lead to different perceptions of personal space and comfort. Two places of different size and proportions can offer similar activates as well as different degrees of personal space.

Providing different public areas offer different options for users to inhabit where they can feel comfortable.

Small Personal Space

Large Personal Space

6.1

6.2

Paley Park | Zion Breen Richardson Associates

Sheep Meadow | Frederick Law Olmsted & Calvert Vaux

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07

The Different sides of Mystery and the Unknown “When you were a child there probably were places you could and couldn’t go. We learned to connect busy streets and the yards of cranky neighbors with the dangerous unknown.”[2] Fortified spaces often provide a sense of exclusivity, mystery, and possible danger of the unknown. This can create a powerful impression that can deter trespassers or unwanted guest. This can also provide security and sanctuary for the homeowner or who ever is allowed inside. Ideas of fortification, mystery, and the unknown provide different experiences for different users.

?

?

Open

Blocked

7.1

7.1 San Juan House | Jose MarĂ­a Saez

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08

The Power of Distance in Creating Compelling Environments “And here, tucked in a distant corner of the large woodlot, we discovered the most enchanting place, my favorite place.�[4] Providing a sense of physical distance from other establishments can allow a space to feel more transformative and detached from the environment around it. This dislocation from a user’s immediate surroundings can lend a hand in creating a more compelling and transformative experience by removing all outside distractions. These spaces can be characterized as enchanting or mystical.

?

Connected

Separated

8.1 Juvet landscape Hotel | Jensen & Skodvin

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09

Managing the Needs of Individual Preferences and Comfort Levels “Their choice of location indicates what they wish to experience, even if this experience is for only a short duration.�[5] Different users have different preferences and comfort levels. It is important to provide a variety of different opportunities for users to inhabit a space to appeal to more visitors. These spaces can be designed to provide subtle variations on the same program such as seating. These variations can focus on different levels of privacy, use, or occupancy.

?

Monotony

Variety

9.1

9.2

Theater over 10th Ave (High Line)

Serpentine Gallery Pavilion | Olafur Eliasson & Kjetil Thorsen

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10

Attitudes of a Space “Realizing the importance of space as a mean of expressing conflict, Phil J Hart, an architect/therapist, leads couples’ workshops in which he focuses on spatial relationships between partners as a means to explore marital problems.”[4] ?

Arrangement and proximity of a building’s massing and program can be used to reflect the social values of the client. This can create environments that celebrate equality and engagement or hierarchy and separation. All architectural design has the opportunity to create or deter interactions.

This can be reflective of culture, social, or personal preferences.

United

Disregard

Separated

Distant

Hierarchy

10.1

10.2

Train Depot to Modern Cottage Conversion | Organschi Architecture

Kicking Horse Residence | Bohlin Cywinski Jackson

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PART II

SITE ANALYSIS: PROMPTING AWARENESS This part of the course required us to reflect on the significant features that compose our personal sacred place of refuge.

This place was one that made us feel comfortable and revitalized.

Our assigned readings focused on how different environments affect human behavior and comfort.

The following pages in this section document ten insightful lessons regarding architecture’s impact on human emotions from our given readings.

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01

Creating Curiosity and Intrigue “Maria’s court is completely hidden; Bico’s alley provides a glimpse. I like the glimpse very much-the public street given a dimension of intrigue mystery, and complexity by private cosmos glimpsed.”[6] Architecture has the ability to create curiosity, stirring interest and luring in people from their predetermined destination. This phenomenon of curiosity can be used to get users to engage in a narrative that they did not intend. Curiosity is often encouraged through glimpses into hidden and unexpected stimulating places. This often provides a sharp and unique contrast to the surrounding environment.

?

Intended Path

Path of Curiosity

11.1

11.1 Waterfall Garden Park | Sasaki Associates

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02

The Power of Sunlight to create Emphasis “The sun in the sky does not realize how wonderful it is until after a room is made. A man’s creation, the making of a room, is nothing short of a miracle. Just think, that a man can claim a slice of the sun.”[1] Natural light is a free and often an abundant resource. When manipulated right, it can become a powerful tool for the designer to transform space and create stunning moments of reflection. The allure often comes from the contrast of light and shadows as well as the ability to manipulate something intangible and evasive.

?

Uninterrupted

Intervention

12.1

12.2

Church of Light | Tadao Ando

Koshino House | Tadao Ando

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03

Using Weathering to Highlight Local Climate “[A]lthough the concrete footing behind the drinking fountain on Burnside Street seems to be reinforced with pigeon droppings. White nodules have petrified onto the ledge there, harder than the concrete that erodes around them.�[7] Allowing a structure to be exposed to the weather can create a vivid connection between the building and its natural environment. Visually, the weathering draws attention to the local climate and ? the natural process of aging. Copper is a popular material used to show the stress of weathering through its change in patina. This is often used as a design aesthetic to create a rustic and aged aura.

Protected

Exposed

13.1

13.2

Bruneel Residence | Travis Price Architects

Third Wave Kiosk | Tony Hobba Architects

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04

Using Marker to Identify Site Boundaries and Threshold “There were two garbage cans in the front yard that marked our ? compound.”[2] The power of the implied line can help create invisible thresholds and boundaries without actual doors or walls. Markers can be used to imply a boundary line, letting the user acknowledge a transition between spaces.

This helps distinguish a change in the environment and program where the user can act accordingly without being confused. Markers can be made out of different objects such as vegetation, art, or extensions of the building’s structure.

Physical Boundaries

Implied Boundaries

14.1

14.2

Seattle Central Library | OMA + LMN

Igualada Cemetery | Enric Miralles and Carme Pinรณ

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05

?

Connecting to the Site through Exposing Users to the Weather “My bedroom is separated from the main body of my house, so that I have to go outside and cross some pseudo-Japanese stepping-stones in order to go to sleep at night. Often I get rained on a little bit on my way to bed. It’s a benediction, a good-night kiss.”[8] Allowing physical exposure to the weather is a powerful way to get the user to acknowledge the natural environment. This works significantly well when exposing a user to things such as rain in places that are typically sheltered and secure from the elements. This can also put into perspective how the built environment desensitizes users from the climate outside, a thing most take for granted.

Sheltered

Exposed

15.1

15.1 Belimbing Avenue | HYLA Architects

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06

Fostering Thought by Highlighting Natural Phenomena “It falls through the roof, drips from the steel frame, hits galvanized shingles with a variety of metallic notes signifying intensity.�[9] Natural forces such as wind and rain tend to be free and often abundant resources. Designers typically see these as inconveniences to be sheltered from but when harnessed properly, they can become stimulating and entertaining forces in kinetic design. To integrate these forces in the design of a structure can bring wonderment, stimulating thought and conversations about the natural environment.

Unused

Utilized

16.1

16.2

Wave Wall | Sowers, Lani, Richards, & Schwartzenberg

Courtyard of Elements | Paul, Rossner, & Tempel

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07

Creating a Transformative Space for Reflection The place simply memorializes an event, but the spatial characteristics nonetheless seem important to our spatial values.�[4] It is important to create a space absent of outside stimulation when trying to create a place of reflection. This space is transformative from the surrounding context, fully engulfing the user in a more sacred environment.

A typical strategy in creating such an experience is to visually and sonically cut users off from the outside world so that the user can be fully engaged with their personal feelings and the topic being highlighted.

Exposed

Submerged

17.1

17.2

Vietnam Veterans Memorial | Maya Lin

Igualada Cemetery | Enric Miralles and Carme Pinos

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08

Filtering Views to Highlight Other Perspectives “…views from all these places through the next layer of leaves or glass or people to the next.”[10] Controlling how the user views the natural environment from inside a structure is often forgotten or defaulted to standard window glazing. With a window, a designer has the opportunity to display and highlight certain feature for the user to observe. A window can go beyond they typical framing of features and instead be used as a filter, creating a distorted lens that highlights certain aspects of the site outside.

Real

Distorted

18.1

18.2

Serpentine Gallery Pavilion 2010 | Jean Nouvel

Lenscape | Kine Solberg

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09

Framing to Create Emphasis on Particular Site Characteristics “If you stood in the right place, one of these openings became a perfect frame for Pike’s Peak, solitary and unmistakable, seventy-five miles away to the south.”[11] Framing is a powerful and readily used strategy in manipulating users to focus on certain features outside of the site. Framing connects the structure to entities in the surrounding context that could be hundreds of miles away, thus creating a powerfully relationship that extends beyond the boundaries of the site. This quality tends to make these framed spaces rather special and significant.

Blocked

Framed

19.1

19.2

Shoji Ueda Museum of Photography | Shin Takamatsu

135 East 57th Street | Kohn Pedersen Fox Associates

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10

Abstracting Characteristics of Nature into Urban Elements “A woman drives her ford explorer from her home in the country, navigating ruts and puddles, to downtown Manhattan, where, with the same casual deftness, she navigates potholes and cobblestones...the contemporary consumer aspires to live in both the city and the country and the demands of both places are pretty much the same.�[12] Abstracting nature into an urban environment not only distills and acknowledges the essence that make up these natural features but it also stimulates the conversation of the built environment’s relationship to natural landscape that was once been located there. The success of Ira Keller Fountain demonstrates our primal instincts to explore and climb as well as brings up the idea of what we find so alluring in nature that might be missing in the urban environment.

Nature

Abstraction

20.2 20.3

20.1 Ira Keller Fountain Park | Angela Danadjieva

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PART III

SITE DESIGN: GESTURES TO SITE This part of the course required us to propose a new site design and building for Pullman’s Planned Parenthood. The intent of this assignment was to reconnect the complex with the site given the lessons we learned throughout the course. The following pages in this section document ten insightful lessons regarding how architecture can physically celebrate and gesture to the existing site.

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01

Using Architecture to Celebrate the Surrounding Site “Whenever two or more parts meet, there is an opportunity to express an attitude of engagement/interdependence versus estrangement‌â€?[13] Every site is unique, offering various opportunities for architecture to celebrate the surrounding context. The attitude in which architecture engages with these features can determine how users view their relationship with the land. These expressions can be achieved through the gestural form of the building mass, transparency, or material.

x

Ignore

Engage

21.1

21.1 Norwegian National Opera and Ballet | Snøhetta

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02

Connecting Architecture and Weather “The latter consisted of a two-mile-long water feature, originating as a hillside waterfall and becoming a terraced cascade of water staircase.�[14] All architecture is exposed to weather. The way that the structure engages with these elements can create a powerful and informative relationship with the site and its unique climate. Architecture can be designed to highlight natural processes such as the rain cycle at the Salk Institute.

Instead of letting rainwater drain off with a standard grading of the site, it is turned the drainage of the rain into a theatrical spectacle that visitors find mesmerizing and iconic.

Typical

Theatrical

22.2

22.1

22.2 Salk Institute | Louis Kahn

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03

Connecting Architecture to the Site

By Mimicking Dominate Textures “When hills or trees or other textures are strong on a site, the house can be made to blend into the landscape and seem a part of it. [I]t can give the impression of being at one with its surroundings, and consonant with them.�[15]

A building can be made to seem cohesive with the site if the mimicking the strong textures of the surrounding environment. This will make the structure seem as if it sprouted up with the rest of its surroundings. Mimicking these textures can be accomplished in material application or in the form of the buildings itself.

Ignore

Mimic

23.1

23.2

Summer House Vestfold 2 | JVA Architects

The Desert House | Kendrick Bangs Kellogg

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04

Using a Facade to Engage with Prominent Elements of the Site (Enfronting) “Enfronting the site requires one face of a house to be made special in order to address a certain feature of the site.”[15] The façade of a building is another design element one can use to celebrate a specific feature of the site. Enfronting is a spatial design term describing a building’s facade that engages with some element of the site. This façade is characteristically different from other faces of the building as it engages and responds to a special feature on the site. This may call for a change in material or a unique gesture of form.

This response reflects the buildings values a certain feature on the site, wanting the user to acknowledge it as well.

Ignore

Enfront

24.1

24.1

24.1 Tverrfjellhytta | Snøhetta

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05

Putting the Natural Environment on Display “Elements of the house close around a part of the land to make a private domain outdoors. The closure may be only partial, or it may be complete, accomplished either by the house itself or the house and an adjacent garden or courtyard wall.”[15] Architecture can engage with the site by bringing the natural environment inside. This puts natural vegetation on display to be valued and admired. It also allows for an uncharacteristic, protected, and intimidate experience with nature that is not typical in the “wild.” Even if the vegetation maybe tamed or untamed, it prompts users to engage and acknowledge the beauty of the surrounding site.

Ignore

Enclose

25.1

25.2

Queen Astrid Park House | Aamer Architects

Aloni House | Deca Architecture

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06

Blending Architecture with Prominent Natural Features of the Site “It is also possible to make houses on open land merge with their background by placing them near or against some prominent feature of the terrain.�[15] It is important to not overpower and impose on the environment if a designer wants to create a cohesive relationship with the site, a relationship where the structure is there to celebrate and observe the beauty of the site rather than to dominate and transform. One way to achieve this is to blend the structure with a prominent feature on the site so it doesn’t draw attention away from the natural environment but highlights it unique terrain.

x

Separate

Blended

26.1

26.2

Casa do Penedo

The Pierre | Olson Kundig

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07

Blending Architecture into the Horizon “A house on open rural land can also be made to merge with its background by keeping its profile horizontal or low.�[15] In a sparse environment, a structure can be blended into its surroundings if it stays low and horizontal against the horizon line. This strategy is useful when trying to create a less noticeable structure in an open area. This low profile blends in with the horizon of flat open areas as well as lets natural features dominate the skyline.

x

Stand Out

Blended

27.1

27.2

Nk’Mip Desert Cultural Centre | HBBH Architects

Reykjavik House | MOOMOO Architects

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08

Using the Landscape as an Extension of the Architectural Narrative “Many architects realize that landscape can work in dialogue with buildings, helping to expand a narrative beyond what any building could accomplish alone.”[16] The landscape outside of the structure can work extend the building’s design agenda. The structure’s surrounding landscape extends the realm of the building’s narrative to the outside, thus continuing the experience and creating a more powerful and cohesive relationship with the site.

Topography, vegetation, and water all have the opportunity to be players in extending thisx narrative.

Independent

Cohesive

28.1

28.2

Scottish Parliament Building | Enric Miralles

Zhangmiao Exercise Park | Archi-Union Architects

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09

Mimicking Surrounding Natural Geometry with Architectural Form “Geomorphic: Man extracts the idea for built forms from the site and landscape. He gets involved with it and interprets it in architecture.�[17] x

Architectural form can derive inspiration from natural geometries around the site. This demonstrates that the designer acknowledges the importance of these forms to the character of the site as they translate nature into built form. As users explore these structures, they are prompted to acknowledge the unique forms of the site as well.

Independent

Mimicking

29.1

29.2

Hydro-Electric Power Station | Becker Architekten

Trollwall Restaurant and Service | RRA

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10

x

Architecture Parallel to Nature “The cave, the mountain, the valley, the water edge and the plain are only the most obvious models for architecture which become man’s own creation, parallel to that of nature. That ‘built forms are influenced by ideas of nature’ is a generally held conviction.”[17] Architecture is always responding to the natural environment, whether the designer chooses to or not. Each structure has the opportunity to create a unique engagement with each given site by reacting to or extending ideas from the surround landscape. When a designer chooses to engage with the landscape the resulting structure in essence becomes parallel to nature.

Imposed

Imposed

Infused

30.1

30.2

Aloni House | Deca Architecture

Villa P | Bergmeister Wolf Architekten

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BIBLIOGRAPHY

1

Lobell, John, and Louis I. Kahn. “The Garden and the Room.” Between Silence and Light: Spirit in the Architecture of Louis I. Kahn. Boulder: Shambhala, 1979. 38. Print.

2

Keen, Sam, Anne Valley Fox, and Sam Keen. “The Past.” Your Mythic Journey: Finding Meaning in Your Life through Writing and Storytelling. Los Angeles: J.P. Tarcher, 1989. 38-44.

Print.

3

Gussow, Alan. A Sense of Place: The Artist and the American Land. San Francisco: Friends of the Earth, 1972. Print.

4

Hester, Randolph. “A Womb with A View: How Spatial Nostalgia Affects the Designer” Landscape Architecture. 1979. 475-481. Print. Architecture. 1979. 475-481. Print.

5

Schmidt, Widdicombe. “Not Just Another Pretty Place: Some Reflection.” Wide Angle October 1993 15.4 (1994): 35-40. Print.

6

Solomon, Daniel. “Two Places.” ReBuilding. New York: Princeton Architectural, 1992. 31. Print.

7

Moore, Kathleen D. “Concrete Footing: On the Solidity of the Insubstantial.” Orion Magazine July 2012: 46-47. Print.

8

Robbins, Tom. “Why I Live in Northwestern Washington.” Edge Walking on the Western Rim: New Works. Ed. Bob Peterson and Mayumi Tsutakawa. Seattle: One Reel, 1994. 96-98. Print.

9

Ott, Bonnie, and Tracy Walker. Moir-McClean. “Rain Collection & Diversion System (The Path of Water).” Appalachian Summer-Rain-Place. Washington, DC: Association of Collegiate Schools of Architecture, 1994. 36-38. Print.

10

Solomon, Barbara S. “Green Architecture: Notes on the Common Ground.” Design Quarterly 120 (1982): 7. Print.

11

Richardson, Robert D., Jr. “The Hawk In the City.” 1993. Intro to Sierra Club Wilderness Calendar.

12

Gladwell, Malcolm. “Town & Country.” The New Yorker n.d., Architecture sec.: 67. Print.

13

Hirzel, Paul, and 2009 Washington State University Graduate Architecture Design Studio.

Disturbing Places: An Exploration of the Seven Deadly Sins of Architecture. Print.

14

Wylson, Anthony. “Water Context (Water Features and Water Activities).” Aquatecture: Architecture and Water. London: Architectural, 1986. 14. Print.

15

Moore, Charles Willard, Gerald Allen, and Donlyn Lyndon. “Fitting the House to the Land.” The Place of Houses. New York: Holt, Rinehart and Winston, 1974. 188-90. Print.

16

Paul Bennett N/A

17

Valena, Thomas.“Topography & Architecture.” Cornell Thesis Print.

PHOTOS CITED 1.1

Nolan, Tim. Bishan Public Library. ArchDaily. N.p., n.d. Web. 30 Nov. 2014. <http://www.archdaily.com/209596/>.

2.1

Perez, Gonzalo. Koshino House. Digital image. ArchDaily. N.p., n.d. Web. 30 Nov. 2014. <http://www.archdaily.com/161522/>.

2.2

Hursley, Timothy. Yad Vashem Holocaust Museum. Digital image. ArchDaily. N.p., n.d. Web. 2 Dec. 2014. <http://www.archdaily.com/179679/>.

2.3

Ueda, Hiroshi. Air Flow House. Digital image. ArchDaily. N.p., n.d. Web. 3 Dec. 2014. <http://www.archdaily.com/285010/>.

3.1

Baan, Iwan. InBetween House. Digital image. ArchDaily. N.p., n.d. Web. 3 Dec. 2014. <http://www.archdaily.com/131318/>.

3.2

Nielsen, Søren Harder. Split View Mountain Lodge. Digital image. ArchDaily. N.p., n.d. Web. 30 Nov. 2014. <http://www.archdaily.com/?p=473775>.

4.1

VAV Architects. Light Lab 5.1. Digital image. VAV. N.p., n.d. Web. 3 Dec. 2014. <http://www.archdaily.com/288596/>

5.1

Blossom, Ben. Forest Pond House. Digital image. ArchDaily. N.p., n.d. Web. 3 Dec. 2014. <http://www.archdaily.com/330969/>.

6.1

Dimitriadi, Dafni. Pocket Park. Digital image. River of Flowers. N.p., n.d. Web. 30 Nov. 2014. <http://www.riverofflowers.org/wild-city-blog/st eet-level-nyc-pocket-parks>.

6.2

Ingfbruno. Sheep Meadow. Digital image. WikimediaCommons. N.p., n.d. Web. 3 Dec. 2014. <http://commons.wikimedia.org/wiki/File:3015-Central_Park-Sheep_Meadow.JPG>.

7.1

Saez, Jose María. San Juan House. Digital image. ArchDaily. N.p., n.d. Web. 3 Dec. 2014. <http://www.archdaily.com/5141/>.

8.1

JSA. Juvet Landscape Hotel. Digital image. ArchDaily. N.p., n.d. Web. 3 Dec. 2014. <http://www.archdaily.com/8600/>.

9.1

Natatorium, Kelly. Theater over 10th Ave. Digital image. Thejumpstartproject. N.p., n.d. Web. 3 Dec. 2014. <http://thejumpstartproject.com/category/abandoned/>.

9.2

Fairs, Marcus. Serpentine Gallery Pavilion 2007. Digital image. DeZeen. N.p., n.d. Web. 8 Dec. 2014. <http://www.dezeen.com/2007/08/23/serpentine-gallery-pavilion-2007/>.

10.1

Architects, Grey O. Train Depot to Modern Cottage Conversion. Digital image. Trendir. N.p., n.d. Web. <http://www.trendir.com/house-design/train-depot-to-modern-cottageconversion.html>.

10.2

Millman, Matthew. Kicking Horse Residence. Digital image. Arch Daily. N.p., n.d. Web. 8 Dec. 2014. <http://www.archdaily.com/497280/>.

11.1

Kinoshita, Masao. Waterfall Garden Park. Digital image. Panoramio. N.p., n.d. Web. 8 Dec. 2014. <http://www.panoramio.com/photo/89205103>.

12.1

Medve, Tamas. Church of Light. Digital image. CGarchitect. N.p., n.d. Web. 8 Dec. 2014. <http://www.cgarchitect.com/2012/12/church-of-light-by-tadao-ando1>.

12.2

Perez, Gonzalo. Koshino House. Digital image. ArchDaily. N.p., n.d. Web. 30 Nov. 2014. <http://www.archdaily.com/161522/>.

13.1

Wyner, Ken. Bruneel Residence. Digital image. Architizer. N.p., n.d. Web. 8 Dec. 2014. <http://architizer.com/projects/bruneel-residence/>.

13.2

Hobba, Tony. Third Wave. Digital image. DeZeen. N.p., n.d. Web. 8 Dec. 2014. <http://www.dezeen.com/2013/11/17/third-wave-kiosk-steel-piles-tony-hobba-architects/>.

14.1

Herrera, Fernando. Seattle Central Library. Digital image. ArchDaily. N.p., n.d. Web. 8 Dec. 2014. <http://www.archdaily.com/11651/>.

14.2

Terna, Diego. Igualada Cemetery. Measure, Enlarge, Unify: Spanish Landscapes. Digital image. Diegoterna. N.p., n.d. Web. 8 Dec. 2014. <https://diegoterna.wordpress. com/2011/09/07/spanish-landscapes/>

15.1

Swalwell, Derek. Belimbing Avenu. Digital image. ArchDaily. N.p., n.d. Web. 8 Dec. 2014. <http://www.archdaily.com/484112/>.

16.1

Wave Wall. Digital image. Charlessowers. N.p., n.d. Web. 8 Dec. 2014. <http://charlessowers.com/wave-wall>.

16.2

Kunsthofpassege Singing Drain Pipes. Digital image. Atlasobscura. N.p., n.d. Web. 8 Dec. 2014. <http://www.atlasobscura.com/places/kunsthofpassage-funnel-wall>.

17.1

Le Vietnam Veterans Memorial, Washington DC. Digital image. Panoramio. N.p., n.d. Web. 8 Dec. 2014. <http://www.panoramio.com/photo/29202960>.

17.2

Terna, Diego. Igualada Cemetery. Measure, Enlarge, Unify: Spanish Landscapes. Digital image. Diegoterna. N.p., n.d. Web. 8 Dec. 2014. <https://diegoterna.wordpress. com/2011/09/07/spanish-landscapes/>

18.1

Solberg, Kine. Lenscape. Digital image. DeZeen. N.p., n.d. Web. 8 Dec. 2014. <http://www.dezeen.com/2014/07/21/kine-solberg-lenscape-convex-lens-window/>.

18.2

Nouvel, Jean. Serpentine Gallery Pavilion 2010. Digital image. Flickr. N.p., n.d. Web. 8 Dec. 2014. <https://www.flick .com/photos/alatxu/4884530545/>.

19.1

Fuji, Hoki. Shoji Ueda Museum of Photography. Digital image. Flickr. N.p., n.d. Web. 8 Dec. 2014. <https://www.flick .com/photos/katsuzin13/6937443074>.

19.2

Batistich, Zlatko. 135 East 57th Street. Zlatko Batistich Photography. Digital image. Photo. N.p., n.d. Web. 8 Dec. 2014. <http://photo.net/photos/Zlatko>.

20.1

Portland Trip Report. Ira Keller Fountain Park. Digital image. Milespointstravel. N.p., n.d. Web. 8 Dec. 2014. <http://www.milespointstravel.com/2013/06/03/may-2013-portland-tripreport/#comment-959>.

20.2

Lawrence Halprin: Auditoriom Forecourt Fountain. Digital image. Pattyhume. N.p., n.d. Web. 8 Dec. 2014. <http://www.pattyhume.com/2010/02/04/lawrence-halprin-auditoriumforecourt-fountain-ira-keller-portland/>.

21.1

Norwegian National Opera and Ballet. Digital image. Snohetta. N.p., n.d. Web. 8 Dec. 2014. <http://snohetta.com/project/42-norwegian-national-opera-and-ballet>.

22.1

Cleary, Rob. Salk Institute. Digital image. Blogspot. N.p., n.d. Web. 8 Dec. 2014. <http://robclearyphoto.blogspot.com/2012/05/salk-institute-louis-kahn.html>.

22.2

A Living but Dispassionate History of 20th Century Architecture. Digital image. Vituvius. N.p., n.d. Web. 8 Dec. 2014. <http://www.vitruvius.com.br/revistas/read/ resenhasonline/13.148/5124>.

22.3

Salk Institute. Digital image. Flickr. N.p., n.d. Web. 8 Dec. 2014. <https://www.flick .com/photos/67317135@N02/6238421453/in/photostream/>.

23.1

Dale, Nils P. Summer House Vestfold 2. Digital image. ArchDaily. N.p., n.d. Web. 8 Dec. 2014. <http://www.archdaily.com/40418/>.

23.2

Spirou, Kiri. The Desert House. Digital image. Yatzer. N.p., n.d. Web. 8 Dec. 2014. <http://www.yatzer.com/desert-house-kendrick-bangs-kellogg>.

24.1

Jacobsen, Ketil. Digital image. ArchDaily. N.p., n.d. Web. 8 Dec. 2014. <http://www.archdaily.com/180932/>.

25.1

Tyson, Josh. Queen Astrid Park House. Digital image. Selectism. N.p., n.d. Web. 8 Dec. 2014. <http://www.selectism.com/2012/07/09/queen-astrid-park-house-a-lookinside/#slide-8>.

25.2

decaARCHITECTURE. Aloni House. Digital image. ArchDaily. N.p., n.d. Web. 8 Dec. 2014. <http://www.archdaily.com/45925/>.

26.1

Guimarães, Feliciano. Stone House. Digital image. ArchDaily. N.p., n.d. Web. 8 Dec. 2014. <http://www.archdaily.com/73745/>.

26.2

Benschneider, Benjamin. The Pierre. Digital image. ArchDaily. N.p., n.d. Web. 8 Dec. 2014. <http://www.archdaily.com/255187/>.

27.1

Nk’Mip Desert Cultural Centre. Digital image. ArchDaily. N.p., n.d. Web. 8 Dec. 2014. <http://www.archdaily.com/10629/>..

27.2

Rykjavik House. Digital image. Moomoo. N.p., n.d. Web. 8 Dec. 2014. <http://moomoo.pl/projects2.php?id=262&lang=1&cat=26>.

28.1

Scottish Parliamentary Corporate Body. Scottish Parliamentary. Digital image. ArchDaily. N.p., n.d. Web. 8 Dec. 2014. <http://www.archdaily.com/111869/>.

28.2

Archi-Union Architects. Zhangmiao Exercise Park. Digital image. ArchDaily. N.p., n.d. Web. 8 Dec. 2014. <http://www.archdaily.com/524427/>.

29.1

González, Brigida. Hydro-electric Powerstation. Digital image. ArchDaily. N.p., n.d. Web. 8 Dec. 2014. <http://www.archdaily.com/353707/>.

29.2

Reiulf Ramstad Arkitekter. Digital image. ArchDaily. N.p., n.d. Web. 8 Dec. 2014. <http://www.archdaily.com/162679/>.

30.1

decaARCHITECTURE. Aloni House. Digital image. ArchDaily. N.p., n.d. Web. 8 Dec. 2014. <http://www.archdaily.com/45925/>.

30.2

Schaller, Lukas. Villa P. Digital image. Ideasgn. N.p., n.d. Web. 8 Dec. 2014. <http://ideasgn.com/architecture/villa-p-bergmeisterwolf-architekten/>.

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