Sustainable Design

In today's world, we are always faced with questions about protecting the earth and bettering our environment. And as we move into the future, that question is something that has to be addressed in our designs as architects and interior designers. We have to address sustainability. So now here is the time to address sustainability. What it is? How it affects us? How can we achieve sustainability?

THE CONCEPT OF SUSTAINABILITY

The concept of sustainable design has come to the forefront in the last 20 years. It is a concept that recognizes that human civilization is an integral part of the natural world and that nature must be preserved and perpetuated if the human community itself is to survive. Sustainable design articulates this idea through developments that exemplify the principles of conservation and encourage the application of those principles in our daily lives.
A corollary concept, and one that supports sustainable design, is that of bioregionalism - the idea that all life is established and maintained on a functional community basis and that all of these distinctive communities (bioregions) have mutually supporting life systems that are generally self-sustaining. The concept of sustainable design holds that future technologies must function primarily within bioregional patterns and scales. They must maintain biological diversity and environmental integrity, contribute to the health of air, water, and soils, incorporate design and construction that reflect bioregional conditions, and reduce the impacts of human use.
Sustainable design, sustainable development, design with nature, environmentally sensitive design, holistic resource management - regardless of what it's called, "sustainability," the capability of natural and cultural systems being continued over time, is key.

THE PRINCIPLES OF SUSTAINABILITY

Sustainability does not require a loss in the quality of life, but does require a change in mind-set, a change in values toward less consumptive lifestyles. These changes must embrace global interdependence, environmental stewardship, social responsibility, and economic viability.
Sustainable design must use an alternative approach to traditional design that incorporates these changes in mind-set. The new design approach must recognize the impacts of every design choice on the natural and cultural resources of the local, regional, and global environments.
A model of the new design principles necessary for sustainability is exemplified by the "Hannover Principles" or "Bill of Rights for the Planet," developed by William McDonough Architects for EXPO 2000 to be held in Hannover, Germany.
Insist on the right of humanity and nature to co-exist in a healthy, supportive, diverse, and sustainable condition.
Recognize Interdependence. The elements of human design interact with and depend on the natural world, with broad and diverse implications at every scale. Expand design considerations to recognizing even distant effects.
Respect relationships between spirit and matter. Consider all aspects of human settlement including community, dwelling, industry, and trade in terms of existing and evolving connections between spiritual and material consciousness.
Accept responsibility for the consequences of design decisions upon human well-being, the viability of natural systems, and their right to co-exist.
Create safe objects to long-term value. Do not burden future generations with requirements for maintenance or vigilant administration of potential danger due to the careless creations of products, processes, or standards.
Eliminate the concept of waste. Evaluate and optimize the full life-cycle of products and processes, to approach the state of natural systems in which there is no waste.
Rely on natural energy flows. Human designs should, like the living world, derive their creative forces from perpetual solar income. Incorporate this energy efficiently and safely for responsible use.
Understand the limitations of design. No human creation lasts forever and design does not solve all problems. Those who create and plan should practice humility in the face of nature. Treat nature as a model and mentor, not an inconvenience to be evaded or controlled.
Seek constant improvements by sharing knowledge. Encourage direct and open communication between colleagues, patrons, manufacturers, and users to link long-term sustainable considerations with ethical responsibility, and reestablish the integral relationship between natural processes and human activity.
These principles were adopted by the World Congress of the International Union of Architects (UIA) in June 1993 at the American Institute of Architect's (AIA) Expo 93 in Chicago. Further, the AIA and UIA signed a "Declaration of Interdependence for a Sustainable Future." In summary, the declaration states that today's society is degrading its environment and that the AIA, UIA, and their members are committed to:
Placing environmental and social sustainability at the core of practices and professional responsibilities
Developing and continually improving practices, procedures, procedures, products, services, and standards for sustainable design
Educating the building industry, clients, and the general public about the importance of sustainable design
Working to change policies, regulations, and standards in government and business so that sustainable design will become the fully supported standard practice
Bringing the existing built environment up to sustainable design standards
In addition, the Interprofessional Council on Environmental Design (ICED), a coalition of architectural, landscape architectural, and engineering organizations, developed a vision statement in an attempt to foster a team approach to sustainable design. ICED states: The ethics, education and practices of our professions will be directed to shape a sustainable future. . . . To achieve this vision we will join . . . as a multidisciplinary partnership."
These activities are an indication that the concept of sustainable design is being supported on a global and interprofessional scale and that the ultimate goal is to become more environmentally responsive. The world needs facilities that are more energy efficient and that promote conservation and recycling of natural and economic resources.

Taken from http://www.nps.gov/dsc/dsgncnstr/gpsd/ch1.html

Another part of sustainable design is recycling the many materials that we as designers use in construction. Here a ways to recycle those materials and promote sustainability.


Paper-Though not strictly a building material, a great deal of paper waste is generated during the design and construction of a building. Many types of paper are now recyclable. In addition to white office paper and computer paper, colored paper, fax paper, and even junk mail can be recycled. Newspapers, magazines, catalogs and phone books are also recyclable, though they need to be sorted. Unfortunately, blueprints are not currently being recycled in this region. An alternative is to use xerographic reproduction on bond paper, which is recyclable. Ask your blueprinting service about this. Use recycled paper in your office, have business cards and letterhead printed on recycled stock, with soy-based inks. Print on both sides of paper. Set up strategically located, clearly marked recycling bins at the office and on the job site.

Concrete-Concrete waste is ground up for road base and reused as aggregate for new concrete.

Asphalt-Asphalt from shingles and paving can be recycled into paving or road base.

Metals-Most steel has been reincarnated at least once. Some recyclers will accept metals mixed in with wood wastes because they can be separated magnetically, but check first. Did you know that it only takes 11% of the energy to recycle aluminum as it does to produce it initially from bauxite ore?1 That is why there is always a market for aluminum cans. Copper is so valuable that pipes are routinely recycled.

Wood-Wood waste can be ground up for particle board, mulch, or to mix with sewage to make fertilizer. Check with the recyclers for any restrictions. .

Corrugated Cardboard-Cardboard waste is remade into boxes and packaging.

GlassFloor tiles are being made from recycled windshield glass and from light bulbs. Although not yet manufactured in our region, they are locally distributed. Stained glass artisans may be able to use your leftover glass. Please note that for health code reasons, window glass cannot be recycled with glass bottles and jars because these are recycled back into food containers.

The more difficult materials to recycle are:

Plastics-These can be an environmental problem: rarely recycled, non-biodegradable, and when improperly disposed of, dangerous to fish and wildlife. Animals can become tangled in plastic and drown, suffocate or become injured. Waterfowl eat their fill of foam packaging, which is not digestible, and subsequently starve to death. Plastic is a petroleum-based product and, therefore, is not renewable. Research is being done to develop biodegradable plastics. There are also a variety of building materials and consumer goods that are being made from recycled plastics.

Insulation-Foamboard and fiberglass are not readily recyclable, although they can often be reused if not damaged in demolition. Cellulose insulation, made from recycled newsprint, is biodegradable. (Biodegradable means that with exposure to air, sunlight and/or moisture, the material will decompose into naturally occurring, harmless components). Unfortunately, the conditions in a landfill are not conducive to this process.

Gypsum Board/DrywallRaw gypsum is plentiful and inexpensive therefore recycling is not considered cost effective in our region. Transportation costs quickly exceed the value of the used gypsum board. One local recycler is experimenting with composting drywall waste. It is a biodegradable material.

Paint and Solvents-It is illegal to dispose of paints and solvents in most landfills. Many communities have special arrangements for toxic waste disposal. Call your city government for information. To prevent or minimize the problem, avoid using or specifying paints with volatile organic compounds (VOCs) and other harmful ingredients, such as heavy metals. Carefully estimate the amount needed to avoid large quantities of leftover paints or solvents. Leftover paint can be used as a primer on another project or given to someone who can use it. In Seattle, Habitat for Humanity has a program where leftover paints are combined and used as primer or finish coat where the desired color happens to be “Seattle Beige.” Check with your community to see if such a program exists.
To encourage recycling, there must be a demand for the end products made from the recycled materials. For example, wood waste is made into oriented strand board siding, particle board (non-formaldehyde preferred), or landscaping mulch. Throughout this guide you will find building products made from recycled materials. Encourage recycling by specifying and purchasing recycled products.
When implementing construction site recycling, presorting is almost always required. Recyclers operate on such a tight margin, that the time required to remove contaminants by hand causes it to be unprofitable. If the load is not pure enough, it is likely to end up in the landfill anyway. Check with your recycler for sorting guidelines. The need to involve and educate everyone on the building team cannot be over emphasized. Consult with the workers to help decide how to best implement the sorting process. Label bins clearly with symbols and words. Use bilingual labels, if appropriate.

Taken from http://www.aiasdrg.org/sdrg.aspx

One architecture firm, HOK, is making sustainable design there main priority. This is what they have to say about sustainable design.
"We embrace our responsibility as one of the world's most influential design firms to advance sustainable design for every building type, geographic region and budget level. Our people are impassioned by the opportunity to design healthy, environmentally friendly buildings that improve our planet's overall environmental condition. By designing solutions that enhance aesthetic goals, limit resource consumption, improve building performance, and promote health and productivity, HOK is leading the way toward an increasingly sustainable future."

To read more about what they are doing to help sustainability you can go to http://www.hok.com/sustainable/, there you can also view pictures of their work.

The Leaf Project

When i did this assignment i wanted to really look at the leaf was arranged. The key phrase that i took from the assignment sheet was the "system of the leaf." So when arranging my composition I actually layed out my drawings in my sketchbook before i did them. Here are some of my pictures.

Smart Glass

Smart Glass" on the Verge

After languishing for years outside the mainstream, "switchable glazing" is poised to become a viable alternative and could soon have a significant impact on facade design.

By Sara Hart

Most people are familiar with sunglasses that have photochromic lenses. Commercially available since 1983, the lenses darken in response to ultraviolet light and revert to clear when the exposure is removed. Though it may not seem like much of a leap from eyeglasses to windows, this technology has been slow to infiltrate the building-products marketplace.

But now it appears that both private- and government-sponsored research could soon make more energy-efficient building products widely available. One of the areas receiving considerable attention is “switchable glazing.” The National Renewable Energy Laboratory (NREL), the Department of Energy’s (DOE) primary laboratory for renewable energy and energy-efficiency research, has focused much of its attention on windows, and with good reason. NREL reports, “Windows contribute about 30 percent to building heating and cooling electrical loads nationwide. Thus, potential energy savings from the wide-scale use of advanced windows is nearly 6 percent of the national energy consumption.” NREL’s research includes advanced window concepts, particularly those combining high thermal efficiency and dynamic transmittance of light. A key area of research activity is in switchable glazing, also known as “smart glass,” for a variety of residential and commercial applications. The goal is to create a viable product to control the light and gain transmittance through windows. The benefits are clear: reducing light reduces glare; reducing solar gain reduces energy costs; and controlling transparency controls privacy.

“Smart glass” and “switchable glazing” are generic terms that refer to all types of passive and active systems. Photochromic and thermochromic glazing, which are light- and heat-sensitive, respectively, are considered passive, because they do not require electricity. Those transitional sunglasses are smart, but passive. Active-control or electrochromic systems offer more options, but must be hard-wired to a power source.

Active technologies are the focus of most of the current research. Electrochromic windows are generally considered to be the most suitable chromogenic technology for energy control in buildings. They reduce or block light transmission and alter transparency in response to environmental signals, such as glare, sunlight, or temperature. The change from transparent to tinted is achieved when a small electrical current is applied to the window. The window returns to transparent when the voltage is turned off. Light transmittance during operation varies from 5 to 80 percent. Once the change in tint is initiated, the electrochromic glazing does not need constant current to maintain the tinting. In addition, the film can be tuned to block certain wavelengths, such as solar (heat) energy.

Electrochromic windows are made up of several extremely thin plies. Darkening occurs when hydrogen or lithium ions from an ion-storage layer are transmitted through an ion-conducting layer, which, when a voltage is applied, hurls the ions into an electrochromic layer typically made of tungsten oxide. The ions cause this layer to absorb visible light, thus darkening the window’s glass. The thin plies are sandwiched between two sheets of a transparent conducting oxide material. Finally, all the layers are encased between two layers of glass. (Gasochromic windows are similar to electrochromic, but rely on diluted hydrogen in the cavity of the insulated window unit to effect color change.) The main advantage of electrochromic windows is that they typically require low-voltage power, remain transparent across their switching range, and can be modulated to any intermediate state between clear and fully darkened.

Some of the most exciting electrochromatic research is taking place at the Lawrence Berkeley National Laboratory (LBNL), another DOE agency. Tom Richardson and Jonathan Slack of the lab’s Environmental Energy Technologies Division are developing switchable-mirror (reflective) technology. By avoiding the rare earth metals originally used in metal-hydride switchable mirrors, Richardson and Slack expect to lower the cost and simplify manufacturing. Energy performance is also improved, since the new windows can reflect or transmit both visible and infrared light.

“We are working to make reflective, electrochromic windows,” explains Richardson. “These would give the user more control of the relative reflectance/transparency than is possible with gasochromic windows. Reflective electrochromic windows have several advantages relative to both the static low-E products now used in nearly all new construction and to the absorbing electrochromic windows now on the market. They can become opaque to provide privacy and control glare even in direct sun.” Because one can choose to admit or reject solar energy at all wavelengths, they offer better savings on heating, cooling, and lighting costs. They also do not get as hot in direct sunlight and, in principle, should be less expensive to manufacture.

Two other types of switchable glazing are called liquid crystal device windows and suspended particle device windows (SPD). Liquid crystal technology has been used for some time in wristwatches and is gaining popularity as privacy glazing. A thin layer of liquid crystals is sandwiched between two transparent electrical conductors on thin plastic films, and the entire device is laminated between two layers of glass. When power is off, the liquid crystals are in a random and unaligned state. They scatter light, which makes the glass become translucent, thus obscuring direct views and providing privacy. This type is used most often in interior applications, including bathrooms, conference rooms, and changing rooms in retail stores.

SPDs, on the other hand, start out dark and become transparent when voltage is applied. They are made of an electrically controlled film with a thin, liquidlike layer in which molecular particles are suspended between sheets of glass. When electricity comes into contact with the SPDs, which have a transparent conductive coating, they line up in a straight line and allow light to flow through. Once the electricity is turned off, they move back into a random pattern and block light.

While “smart glass” technologies promise to make huge contributions to efficiency, they are poised to have a tremendous impact architecturally on facade design. Most research focuses on the impact of switchable glazing on interiors because the goal is to control daylighting and heat gain. But what about the effect on a building’s exterior, especially on the rhythm of fenestration, the architectural scale, and proportion? Switchability will make these elements fluid and certainly change perception.

Because the use of “smart glass” is not yet widespread, the impact on design has not begun to receive much investigation. However, an experiment in the area of adaptive building envelopes is under way at structural engineer and professor Werner Sobek’s Laboratory at the Institute for Lightweight Structures and Conceptual Design at the University of Stuttgart, Germany. Of particular interest is a project called R129. “The goal of this project is to create a structure that will give the inhabitants direct contact with the surrounding nature, but still protect them from the elements,” explains Sobek engineer, Frank Heinlein.

The building envelope is to be made of the switchable glass lites, plus a very thin layer of Plexiglas that provides antiscratch protection and has a low-E coating. These switchable lites consist of various layers, including an electrochromic foil. The foil allows the entire envelope to be darkened or made completely opaque, either in sections or as a whole. Adaptability is mainly achieved by means of the liquid crystal embedded within the glass panes, two polarization filters, and transparent electrodes. Different from other switchable-glazing product developments, this patent-pending technology allows light transmission to be varied, colorless, and quick to change.

The structural frame is fabricated from carbon box sections. The foundation is a carbon “raft,” which carries a radiant-heated floor, HVAC equipment, storage, and IT functions. There are no fixed interior partitions or walls between the various functional areas. A central nonstationary module houses bathroom and kitchen installations.

The biggest concern at the moment in all R&D is durability. NREL has been testing electrochromic devices in accordance with ASTM standard E-2141 (Standard Test Methods for Assessing the Durability of Absorptive Electrochromic Coatings on Sealed Insulating Glass Units). The lab reports that at least one manufacturer has produced a ceramic, thin-film electrochromic device that has shown excellent durability under test conditions.

According to ToolBase Services (toolbase.org), the housing industry’s resource for technical information about building products, materials, and new technologies, the cost of electrochromic windows can be from two to three times more than a standard window. Comparing the two is not particularly useful, though, because the equation doesn’t take into account the energy savings from electrochromic insulated glass units. If electrochromic devices perform better, then a building can be equipped with smaller, and therefore less expensive, HVAC systems. At any rate, costs are expected to decrease significantly when manufacturing techniques improve and sales increase. Meanwhile, manufacturers are fine-tuning their control systems and exploring other means of powering the “smart glass.”

Taken from http://archrecord.construction.com/tech/techFeatures/0712feature-2.asp

Printable Solar Cells

April 13, 2007 — For all the sunlight they convert to energy, silicon solar panels are still costly, bulky, and brittle.

Now, a new kind of thin, flexible, film-like photovoltaic cell is about to go into commercial production for the first time.

The solar cells, coated with a common ingredient used in toothpaste and suntan lotion, will be four to five times cheaper than silicon. Manufactured with a process similar to inject printing, the cells will be able to produce electricity from direct sunlight as well as low-light and indoor lighting.

"Conventional silicon-based solar cells are more efficient in optimum conditions, but we win on the 24-hour cycle because our cells can use early morning light and work indoors. You can recycle energy from the electric lights in your building," said Clemens Betzel, president of G24 Innovations in Cardiff, U.K.

At the end of April, the factory will begin production of the cells — which were invented in 1988 by Michael Grätzel of the Federal Polytechnic School of Lausanne in Switzerland.

The company’s first application will come in the form of a cell phone charger. But the thin, flexible cells could eventually be installed across surfaces such as walls, counters and floors to power office and home electronics.

The so-called "dye-sensitized solar cells," also known as Grätzel cells, convert sunlight into energy similar to how leaves and plants do it through photosynthesis.

In leaves, chlorophyll molecules absorb sunlight and generate electric charges. Other mechanisms in the plant separate the positive and negative charges and conduct them to create energy.

Instead of chlorophyll, the Grätzel cells use titanium oxide to absorb the sunlight. The material is coated onto one of two conducting electrode layers, similar to foil. A gel-like electrolyte material is sandwiched between the two layers.

When sunlight falls onto the cells, excited electrons diffuse through the layer of titanium dioxide to the electrode, where the energy can be captured for electricity.

This process is different than what occurs in conventional silicon cells, where the absorption of sunlight and the separation of charges happen in the same material. To obtain the highest efficiency, the silicon must be pure and free of defects, which brings up the cost considerably.

Dye-sensitized cells are made from lower cost materials and rely on recent advances in nanotechnology to make them competitive with silicon. For example, the light harvesting is made possible not just by a layer of dye, but by hundreds of nano-sized particles coated in the dye and stacked up on top of each other.

According to Betzel, G24i will begin rolling out solar cell films 36-inches-wide and any length.

"There are two factors in manufacturing. One is cost and the other is how many you can make and sell at that cost. It looks like once you set up a manufacturing line for this kind of cell, it could be faster than silicon," said Brian O’Regan, a research fellow at the Imperial College London.

O’Regan’s team is currently researching a way to coat steel roofing products with dye-sensitized solar cells. The group is working with the Universities of Bath, Bangor and Swansea, as well as the pre-finished steel maker Corus Colors to develop roofing materials that could turn warehouses and superstores into solar energy powerhouses. It may not be long before thin, flexible, and inexpensive solar cells are soaking up sun everywhere you turn

Taken from http://dsc.discovery.com/news/2007/04/13/solarcells_tec_02.html?category=technology&guid=20070413090000

Floating Graphics

Floating graphics is always very interesting to see. I love how the shapes each have a cube shape even though they are all different letters. The colors of the letters are a mix of yellows, oranges, purples, and greens with blue being the most dominate color.

X

A very interesting graphic, I chose this one for that reason. The image is of a mouth but it is done in a very creative way. The color scheme of teal and silver give it a sense of sexuality. I also love that fact that the black is used as negative space. But even in its negative space it creates its own positive space by creating the shape of an X.

graphic designs

Color is in with this graphic design. Chosen for its abstract design and use of color. I like how this design has an in your face color scheme, especially with the yellow background. I really like how color was not over done but was done purposely. The white helps to balance out the color.

Design gone crazy

I love this design. Chosen for its color and use of shapes this graphic design is a good example of strategically using color. What I love most about this picture is that her hair is white. The use of white helps to brings out the other colors, especially the yellows ad red that are on her face and body.

Led Zeplin Tribute (3)

A Led Zeplin tribute taken from the October issue 2007 was very interesting to see. This tribute mixed black and white graphics with vibrant graphics to create a great cllection. I chose these colorful pieces of work because they are fun and interesting. They mix cartoon characters with abstract colorful backgrouds. What i love about these designs is that although they are very busy each pattern does not compete with each other.

Heidi Slimane, continued

Another one of Heidi Slimane's wallpaper designs taken from the October 2007 issue of Wallpaper. I chose this wallpaper because of its simplicity. Made of different geometric triangles, this design shows great shadows and tonal ranges of gray.

Heidi Slimane (2)

I chose this graphic design because it is hard to tell what it is. I love the uncertainty of the wallpaper. But after reading the Wallpaper magazine, it is actually a trash bag. My favorite aspect of this wallpaper is that you can see the wrinkles in the plastic. Even though it is in black and white you are still able to tell that it is a shiny material.



















Heidi Slimane does a really good job at capturing the most common things with a twist. This wallpaper design is a photograph of pile of hair. I chose this picture because I love the fact that you can get a sense of the hair texture through the page. I also like the shadows and different hues of grays throughout the design. Even more interesting is the curves the hair creates.

Fallingwater, Pennsylvania

Designed by the legendary Frank Lloyd Wright, Fallingwater is the perfect example of keeping in mind your environment when designing. Purposeful in every aspect of this house, Wright combined modernism and romanticism to create this beautiful house. What I love the most about this house is the tiers and balconies.

Bauhaus, Dessau

The Bauhaus was designed by Henry van der Velde. I chose this building for its clean cut lines. Although the black on the window may not be the best choice looking at it, bu somehow it works. What I love most about the building are the balconies.

einstein tower, potsdam

Designed by Erick Mendelson, a major European architect, the Einstein tower was designed for its form not function. When designed by Mendelson, he was inspired by expressinist sculptures which led him to design more on form. I chose this building because of its unusual form and windowns. Although not the most aesthetically pleasing building, it is very abstract which is why i like it.

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Saint Mary's Cathedral, Tokyo

Saint Mary's Cathedral in Tokyo was designed by Japenese architect, Kenzo Tange between 1961 and 1964. Known for its modernistic architecture, this cathedral goes against the traditional idea of a cathedral. Instead of having a normal roof and walls, this cathedral experiments with line and angles. I chose this building for its abstract appearance. Looking at it, you would never imagine that it is a cathedral.

Lima, Peru

Lima, Peru is a city known for the ancient civilization, Machu Picchu. Lima is a city that has a great architectural history and is revitalizing that history thanks to architectural firms such as Arquitectonica. Lima's architecture scene is a mix of Spanish and Tudor architecture. As the new architecture tries to embody the traditional architecture of Lima, Lima has a become a great city of architecture from its old museums to new hotels and sky scrappers.

Sans Souci

The Sans Souci was once home to Frederick the Great of Prussia. This one level palace combines many styles such as French and Neoclassical. Even more beautiful that the outside of this building are the interiors. Some rooms are covered in gold leaf to create a very royal feel. The windows and ceilings are all decorated with some kind of elaborate decoration.

Old Hospital, Beaune

This is the main entrance to the Old Hospital of Chancellor Rollins. I chose this building for its design and color. The elaborate windows on top of the balcony make this a wonderful building to see. The elaborate geometric designs are what immediately grab your eye, but its the overall design of the building that I truly love.

Kremlin in Moscow

The Kremlin of Moscow was built in the late to early 15th and 16th century. With a combination of Byzantine and Italian architecture, this kremlin has become one of the most famous. The kremlin has been home to tsars, patriarchs, and the center of government life.

I chose this building for its overall appearance. The windows, colors, and domes are very intricate and beautiful.

Indonesian Splendor

Indonesia is a country known for its orientaal design and Chinese inspired designs. One interior designer Leksmono Santoso decided to showcase the essence of Indonesia in his home, five house combined to create one huge estate. Indonesian design is greatly inspired by Chinese design and therefore can be seen in one of Santoso's rooms. Using the motto "more is more," there are 285 pieces in the Chinese Room. This room combines pieces from Yuan, Ming, and Qing. Throughout the house are brightly colored patterns and brightly colored painted walls. Mixed with Indonesian design is a Bohemian feel which can be seen in their Asmat room. The Asmat room is decorated wth tons of sculpted masks and bright colors. One color that is dominant throughout the house is the use of orange. Leksmono uses many traditional Indonesian style rugs . The purpose of his home is to tell a story of the Inodnesian history through patterns, colors, sculpted masks, and artifacts.

Based off of the artifacts in Leksmono's house, I really was able to get a sense of Indonesian design. I am glad to say that I liked what I saw. Although busy at times, all the rooms seemed to work. Looking at the artifacts , you can see the influences from other countries such as China.

The Leaning Tower of Pisa

The Leaning Tower of Pisa, an architectural phenomenon which has baffled viewers for centuries. Some call it an architectural genius while others call it a lack of planning. The Leaning Tower of Pisa was built in 1174, towards the end of the 13th century. It leans because it was built on a soggy site and insufficient foundations. Throughout the years, different strategies have been used to prevent the structure from falling.

Mesa Verde

Mesa Verde is now a national park in Colorado, but over 2,000 years ago it was home to basket makers and tribes. Mesa Verde is amazing for many reasons. These famous dwellings were constructed inside of cliffs. With no stairs, these two to three story homes have lasted through the years. These dwellings were huge in size with each taking up an average of 194 sq.ft. Certain communities had over 200 rooms. Just to see how these communities were constructed and how well they were constructed is amazing.

Ishtar Gate, Babylon

Part of ancient world architecture, the Ishtar Gate in Babylon shows the architectural genius tthat existed in the 3rd millennium BC. The gate which has been carefully restored, now lies in the National Museum in Berlin. This gate is so important because the technique used to make it, although not new, has never been used on such a large scale. The animals were originally modelled on a large panel of soft clay. The panel was then cut into bricks, fired, and reassembled on the wall.

More drawings makes perfect...maybe

the assignment: we had to redraw on of le corbusier's famous drawings.

the hardest part of the drawing for me was the door...there were so many different shades that it was hard to make it a smooth transition. but overall i think i did a good job.