C a l i f o r n i a P o l y t e c h n i c U n i v e r s i t y, San Luis Obispo
Nathan Mok Arch 101 -Spring 2016 Professor Michael Lucas
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Essay 1: Architect Fundamentals In Arch 101, we learned a great deal from different readings and sources that introduced to us the cross-cultural nature of dwelling and design over a span of lifetimes. From many different architects, we learned of the many issues that stem from the soup of these conflicts, which will be further discussed in the paragraphs below. We also learned how the many designs and details in the world of architecture came to be. We learned how the reality of the world we live in today was molded by past designs and details, and how it has allowed us to grow accustomed and accommodated to what architecture provides for us today. Though modernism of architecture has created many conflicts still apparent in the world today, it has also given us opportunities in design and dwelling that have made it a building point for the future. With this support of modernism and abstract designs given by past artists and past architects, sustainability is born in which we can build upon for the future. Vitruvius, whose full name was Marcus Vitruvius Pollio, was a Roman Architect and writer. Vitruvius saw nature as a model for architecture, and proportion and symmetry of the human body inspired and awed him when making architectural designs. This can be seen depicted by the famous picture Vitruvian Man by Leonardo da Vinci, which was made in order to visualize Vitruvius words into a visible reality that could be grasped. From the Ten Books on Architecture by Vitruvius, a lot of information is given about architecture, it’s roots, its principles, and its connection to nature that is all around us. Education of the architect is the first book Vitruvius talks about, and it focuses on what it takes to become a student of architecture. An Architect has to be equipped with knowledge of many branches of different study and many different kinds of learning, because this is the foundation for all that is to come. Architects must aim to acquire manual skills to correspond to the substance of their pain and authority. According to Vitruvius, “in all that matters, but particularly in architecture, there are these two points - the thing signified, and that which gives it its significance” (Ten Books on Architecture by Vitruvius). I think this is very important to keep in mind because it is kind of like the basics of architecture. This is the main point, and when you finally figure this out, all else follows suit. https://en.wikipedia.org/wiki/Vitruvian_Man The main point is to find the thing that you want to analyze, make, admire, etc. With that, you take that object and turn it into something that gives it significance. This is a great example that demonstrates natural ability in combination with instruction can create the perfect artist. Another main rule is that an architect ought to be an educated man and have the knowledge to show the appearance of the work which he proposes. A wide recollection of history is also essential, as it is ornamental in an architect’s design for work in which he is trying to accomplish. An architect 3 must also be high-minded and not self-assuming, speaking in a philosophical sense. This is essential because work
be done honestly, without incorruptibility. The temples within the human body depend on symmetry, which must be carefully observed by the architect. This symmetry is given by proportion and is correspondent among measures of an entire work. Without symmetry and proportion, there can be no principles of design. With all these many different kinds of learning, the study becomes so vast, embellished, and enriched in extent. Being nursed by this knowledge, we have reached the heights of the holy ground of architecture, given by the work of Vitruvius. Another architect who set the table for great historic work was French Architect Eugene-Emmanuel Viollet-le-Duc. Influenced by the buildings of the middle ages, Viollet studied the underlying principles of structures stemming from the logic of rationality of nature and the harmony of parts, proportion, and use evident in natural creations. From Viollet, we learn about styles. “Styles enable us to distinguish different schools and epochs from one another. The styles of Greek, Roman, Byzantine, Romanesque and Gothic architecture differ from each other… produce various types of art” (Style by Dictionnaire Raissonne). Style can be understood as a mode to make art form a conception of the objective human mind. It is a work for the human body. It develops work nourishes it, and gives it strength, health and stamina. Architecture is a human creation molded by style. It is an application of principles that are born outside use, which we appropriate by observation. By allowing ourselves to become penetrated by principles that are natural and true, we can possess style without having to seek after it, which is the main point that Viollet is making to us about the importance and consequences of style. Adolf Loos believed “it could only benefit us if for a time we were to abandon ornament and concentrate entirely on the erection of buildings that were finely shaped and charming in their sobriety.” In this piece, Loos talks about attacking the ornament or art in the world of architecture. He states how ornamentation causes objects to soon go out of style. In this, he gives an example using animate things and examples that we would understand and relate to, such as clothes and shoes, and the government. He says that these ornamented things first create a truly unaesthetic effect when executed in best material and greatest care. “The modern man who holds ornament sacred as a sign of the artistic super abundance of past ages will immediately recognize the tortured, strained, and morbid quality of modern ornaments. No ornament can any longer be made today by anyone who lives on our cultural level” (Ornament and Crime by Adolf Loos). Adolf Loos states his philosophy on how ornamentation causes objects to become obsolete, and effort is wasted on the need for more ornamentation as a whole. As an architect student, Adolf Loos makes a lot of sense, and I hope to enquire on what he says in this short piece to help elevate my vision as an architecture student as much as I can. “Emptiness.” It has a sense of sick or hollow connotations. Through the work of Michael Benedikt, I learned that there are two distinct types or aspect of emptiness. For anyone, it could mean artlessness, innocence, inevitability, etc. But for architecture, “emptiness implies that a building should not be slave to its program, https://oohsonice.wordpress.com/2014/10/31/interior-design-plates/
twisting and turning to accommodate our every movement and wish – squirming to please, as it were- but rather should be formed according to innate principles of order, structure, shelter, the evolution of architecture itself – and accident” (Presence and Emptiness by Michael Benedikt). With these concepts, we can see how the quality of realness is paramount. The realness of presence, significance, materiality, and emptiness contributes to helps us see the terms of it as independent. With presence and emptiness implies an attentiveness, assertiveness, and tautness that can only be found in certain pieces of work. Emptiness is more akin to the idea of space, or interval. Many contemporary high style architecture lacks emptiness, with all the full designs and displays pushed on by the artists. For these buildings, there are not only full of things coming and going, but they are full of themselves, and the cleverness that it brings to the two simple words of emptiness and presence. Dwelling and Modernism. In my introduction to Architecture class, we learned about the dwelling and modernism that is present today. Balance and beauty are interchangeable, when talking about architecture. Where there is balance, there is beauty. This can be seen evident of the slides we went through in class, of the nature of the world, specifically in the plains and in the Grand Canyon, where nature is greatly defined. In these areas, balance is present in the physical world, and as I learned in class, that is the epitome of beauty. Balance in Architecture is the same way. When making my design village project, we used balance as a key to beauty. Our project was a pole lying on the hill, with 5 pieces of hammocks lying to the side. We wanted to give it a little bit of a nature aesthetic, but also something different to give a different vibe. Through the making of my design village project, I learned a lot about modernism and dwelling, and how those two factor in to make such great architecture, as I have seen from my professors before. As I am learning more and more, I can see the resemblance between architecture of humans and physical nature. I can see how architecture starts to become influenced by nature, and how it is essential in creating work that satisfies the surroundings. This principle ties back to the proportions found in architecture, and how the symmetry creates a sense of beauty, as talked about in the paragraphs above. Symmetry and balance are also interchangeable. With symmetry and proportion, humans see it as a connection to itself, or to nature. Behind the lack of ornament is material richness, that plays a great part in spatial play, emphasizing the greatness of originality in a piece of architecture. Through the principles of architecture that I have learned, I can see how the rationalism, abstraction, and expression and comes into one to create such beautiful things, and how it’s connection with nature allows it to define it’s surroundings, or in other 5 https://ecemolgun.wordpress.com/2015/11/23/adolf-loos-ornament-and-crime/ cases, stand out to it’s surroundings.
Essay 2: New Beginnings While taking the class ARCH 101 during the Spring Quarter, I learned about the overt emergence, development, and nature of international and globalist roots of 20th century architecture. Over this span of time, there were many different Architects that changed the face of architecture forever in the eyes of many. Some of these famous architects are Frank Lloyd Wright, Louis I. Khan, Le Corbusier, Henry Russell Hitchcock, and Phillip Johnson. Over time, the issues of form and technology related to how the composed their own architectural style. The early forms of modernism differ so vastly from the 20th Century because of the evolution that was created from many of the 20th century architects, shifting the balance of architecture forever and changing it into something newer and greater. In the Cause of Architecture by Frank Lloyd Wright states how Wright began his career. Frank Lloyd Wright emerged as an architect by developing very specific ideas about architecture, communicating them through numerous designs, lectures, and publications. Through-out Frank Lloyd Wright’s span of six decades, he developed a highly unique architecture style inspired by many various sources in American and Japanese works. With the use of Prairie Style Works, Wright began to express his early natural philosophy in his career. The Prairie Style homes were generally characterized by “long, low horizontal roofs that echo the flat landscape of American Midwest.” In many of Wright’s pieces, he furnished materials of nature to make architectural motifs out of which new architectural forms have been created to this day for centuries. From his studies, Frank Lloyd Wright was motivated by a text read from Carlyle in 1894, stating “The Ideal is within thyself, thy condition is but the stuff thou art to shape that same Ideal out of it.” From this, Frank Lloyd Wright came up with “propositions” that he though would make light of the experiences received from this quote. He deciphered that Simplicity and Repose are qualities that measure true value of any piece or work of art. For example, buildings should mostly contain and have as few and less rooms as possible to meet the conditions of the living, and as architects, we should try and strive to simplify everything, as simplicity measures the beauty and true value of a work. Similarly, openings that occur in a household or would should occur as integral and important parts of structure and form, or natural ornamentation. Detail should be kept to a minimum, and not be used excessively. Design of the structure must be consistent with appliances and or fixtures that assimilate together. All in all, the most truly satisfactory spaces are those spaces in which the scheme is all integrated to one as a whole. Through many of the ideas, Frank Lloyd Wright deciphered his form of “Prairie Style” and made it into his own. Above all, Frank Lloyd Wright really cherished the idea of integrity. He believed it was important to give work to formulate life in their own buildings, in their own way. There was a certain quality or style that had to be possessed as an artistic expression that translated throughout the work. Through Frank Lloyd Wright’s emergence, his architectural style became very prominent and maintained his philosophy of creating harmonious, integrated, and original works as he consistently
kept looking to develop architecture that was reflective of the American democracy and of individually. This was inspired by integrity of the artist, as well as integrity of the land. From the ideas of Frank Lloyd Wright, for the future, simplicity is key to show an understanding and appreciation of life, and that was one of the main ideas in the 20th century given to us by him. Louis I. Kahn, an architect, educator, and writer, wrote Form and Design to occupy a unique role in the architectural realm that we live in today. In Form and Design, Louis I. Kahn told a story about a young architect who dreamed of “spaces full of wonder.” He dreamed of spaces that rose and enveloped without beginning and Frank Lloyd Wright’s “Prarie Style” - https://prairiearchitect.com/ without end, and a joint-less material of white and gold. When trying to capture the dream on paper, the dream became less. From this, Kahn deciphered that the “man is always greater than his works because he can never fully express his aspirations.” Dreams are always more complex than what they are made out to be. The first line of paper is less. Through this idea of turning feelings and thoughts into the work of a pen, Kahn began saying how this was the beginning of form. Form encompasses systems and characterizes existence. Through from, there is a house. A house is an interpretation of spaces, leading to design, leading to architecture, leading to a certain style pertained by the user. Through his ideas, we see that architecture creates space. In dreams, there are invisible lines and walls that we see through our imagination, but through the work of architecture, we create physical space that can be interpreted and seen differently by anyone. As architecture is the thoughtful meaning of making spaces, it evokes feelings of appropriate use. Louis I. Kahn states that a great building must begin with the unmeasureable and must go through measurable ideas and means when being designed to create a measurable act. It’s like turning dreams into physical nature. The spirit of existence always has to follow nature’s laws and evolution. With that same concept in mind, a building has to go through an unmeasurable phase and then transferred to measureable to be able to be accomplished. Kahn teaches us that Design leads to realizations leading to form, which is the constant excitement and new awakenings created while working with architecture. In Towards a New Architecture by Le Corbusier, we see that he highlights mechanized objects such as airplanes for models of contemporary architectural thoughts. While Le Corbusier was working with Pierre Jeanneret (his cousin), they stumbled upon making ideas that pointed toward “Five Points towards a New Architecture.” From this set of revolutionary principles by Le Corbusier, new architecture was challenged through traditional notions of structure and aesthetics, leading towards a new approach to architectural design. Le Corbusier tells us that one common place misconception among younger architects is that construction must be shown, and when a thing responds to a need, it is beautiful. We see this as 7 beautiful because it satisfies part of his mind, so there is a great satisfaction when one thing is taken care of. From
his writings, we see that Architecture has a greater meaning that to just pursue ends of showing construction and responding to needs. The existing plan of dwelling houses takes no account of man and we should all have an urgent appeal of the manual of a dwelling. Every man has a mechanical sense, but the feeling in regard to machinery is of respect, gratitude, and esteem. “Five Points Towards a New Architecture” demand the theory of concise formulation. The first point is the supports. We must solve a problem scientifically based on the means to distinguish it’s many different parts, elements, and foundations. The second point is the roof gardens. The terrace of a roof satisfies demands of a protection and of a utilization for domestic purposes. The third point is the free designing of the ground plan. The support system carries intermediate ceilings and to the roof, and can be entirely independent of the rest. The horizontal window is the fourth point. Together with the ceilings, it is the support that facades Corbusier’s “Five Points Toawards A New Architecture” http://modulormix.tumblr.com/post/66364627122/five-points-towards-a-new-architecture-1-the through where light and air enter. It connects walls to wall through light. The fifth and final point are the free designs of the façade. It gives quality throughout the piece. Le Corbusier teaches us that these five points are essential to set out above and represent a new fundamental aesthetic, and teaches us new learnings in the world of architecture. Through The International Style by Henry-Russell Hitchcock and Phillip Johnson, we see how the works of European Architects dominated America, featuring buildings of steel, glass and concrete. The style created was made to put a decorative garment on architecture, using the interior principles in which it lived and grew. The idea of the style became more and more an aesthetic composition, and with it, new ideas were created. Through this work we see tremendous impact of American Architecture in the 20th century, creating commercial, civil, and residential design. America adopted this style, and it changed the 20th century of architecture to what we know it as today. The four leaders of modern architecture are Le Corbusier, Oud, Gropies, and Mies, and from these men, we see the principles of Internation Style integrated into buildings and houses we see today. From all these many different Architects, we have seen how the conception of architecture has changed throughout the years, for better or for worse. We see that it has turned architecture into something new, and it’s refreshing to see how our field of study is changing as the years go by. As a student, I’m glad to be a part of something with such a great history, and I cherish the experience to be able to live through what can be seen as a “changing phase” of modern Architecture, and how it is evolving right in front of our very eyes.
Essay 3: Modernism and Architecture The development between modernism and individuals looked at the situation immediately following the two world wars. This included many concepts and technologies that in many architect’s eyes, could form a new utopian architectural dream. With this dream, many architects all over the world laid out massive dreams of built examples in scale models that would live out what they thought in their minds to a reality. Though some received much criticism, there are many late 20th century ideas that still resonate today in the world we live in, and their ideas live on. These works included Bernard Tshumi’s 1970’s anti – historicist ideas, Greg Lynn’s animate form, Juhanni Pallasmaa’s geometry of feeling and inroads into phenomenology, Daniel Libeskind’s invisible ideas, and Frank Gehry’s intuition ideas. These sources introduce an undercurrent of the relationship between architecture and individuals that can be seen throughout their works, with points of emotion and intimacy helping support and elevate their works. Bernard Tschumi, a famous Swiss architect, educator, and theorist, has challenged the ideas of space and program through his great architectural works. Through his many works of design and text, he proposed a new novel view of architecture unlike anyone has seen before. In his ideas, he embraced the “disjunction between use, form, and social values.” With this, he created a link between architecture and human individuals in the world. One implication that can be taken from this concept is the correlation between form and function, saying that neither is exclusive nor direct. Tschumi explored dthis idea through the use of his “folies”, which are defined as a series of small buildings that are based on variations of the cube. With the help of his “folies,” Tschumi responded to the notion that the architect can never forsee what evens will occur in a given space. This idea is seen as “De-, Dis-, Ex-,” and is also known as the famous lecture in 1987 that Tschumi presents to discuss the de-regulated, dis-integrated, ex-centric nature of the late 20th century society. He states that today is the age of deregulation, meaning that control mainly takes place outside of society. Greg Lynn had architectural projects and meditations that forged his path towards his own gaining interest computer aided design. Through his research and work, Lynn has reconceptualized the traditional practice of architecture, and has challenged the notion that an architectural object has a fixed and static state. Using computer design as a tool, he incorporates programic and environmental factors into making the formation of all of his structures. With this, he creates architecture that reflects the conditions of the site as well as the conditions of its intended use. Through this work, he creates things that seem abstract but do not strip architecture of the meaning that it gives people, reflecting his design in the production process. One key to Lynn’s work is his use of animation in his work. While animation is often confused with motions, there is the notion that motion implies movement and action, while animation implies the evolution of a 9 form and its forces. Lynn also uses virtuality in his work. The term virtual refers to digital space of computer aided-
design, and is used frequently in his line of work. In his approach towards architecture, he uses design technologies to incorporate different factors of time and factors of motion. With these techniques, he gives feelings of perspective, stereometric projection, and other geometric techniques that make his descriptive architectural designs unique. Through the use and availability of computer aided techniques given to us through Lynn, we have opportunities to retool and rethink architecture in different ways that we could have before. Technology is now animate. In The Architecture of Humanism (1914), it is discussed that the power of architecture is great in means to give off an emotional response from its viewers and occupants. From this concept, Juhani Pallasmaa described this progressive decline in taste as obsessed with formal manipulation at the expense of “the artistic essense of architecture.” He also saw that as the “experimental and mental dimensions of architecture.” One key part of Pallasmaa’s work is that he argues that architectural form came from meaning that only the images with which form is connected. He saw form alone meant nothing, but through human and interaction, the interpretation of form was given an actual meaning. This is seen evident in his work he has created over the years. Pallasmaa’s human take stems from someone he studied greatly, Alvar Aalto, another famous architect that was known for his careful attention to material qualities in his work and the tactile qualities of his design and concern. He argues that architecture has to play with form. One viewpoint that was made was that the relationship between architectural form and how architecture is experienced has one great connection. The artistic dimension of a work of art does not only lie in the actual physical piece of art work, but it also exists only in the wide consciousness of whoever is experiencing that object, and whoever has a part in it. Work of art’s meanings not only lie in the form but in images that are given and transmitted, carrying emotional force http://www.unz.org/Pub/ScottGeoffrey-1915 by appealing to people throughout. Another key piece of Pallasmaa’s work is the idea of phenomenology. This concept of phenomenology strives to see that phenomena appeals directly to consciousness, ignoring the fact of any theories and categories taken into account from natural sciences or psychology. He also states that this means examining phenomena of consciousness in its own dimension, which is the reason that architecture evokes emotions in a person when seen or being dwelled in. Architecture is a direct expression of existence and of human presence in this world that we live in, and is larger based on the language of the body that is contained in it. Pallasmaa continues these thoughts all throughout his work, with the model of thought and design deeply grounded into the realities of the experience of human nature throughout the years, as well as the emotion shows of architecture’s effect on a person. A polish – American architect named Daniel Libeskind was featured at the Deconstructivist Architecture exhibition in 1988. His strength was in his writings. The writings were clearly presented as a strength in his communicative devices. One
of his concepts was the “proof of things invisible.” This concept is defined as talking about work through the use of words. Perhaps language and its meaning are grounded in the spaces of architecture. This invisible technique is accomplished through sharing something through the use of “invisible” works. Architecture’s reality is as old as the substance of things hoped for, which is also defined as the proof of things invisible. Throughout Libeskind’s projects, he has followed a certain path that one could name as the search for the “Irreplaceable.” Through this search, Libeskind was interested in the portrayal of architecture and space as a result of the surroundings, and a figure through cities. The substance of the individual in society and history is a figuration of the inorganic and organic parts of the body and of the soul. The concept of being invisible has some what a part of spirituality to it. The Spiritual in architecture is urgent. Architecture is and remains as the ethical, the good, the beautiful, the true, and contains value. Contemporary architecture is split between bitter and sweetness, and evokes a meaning of freedom. Studying architecture at the University of Southern California (USC) and urban planning at Harvard’s Graduate School of Design, Frank Gehry became a renowned architect throughout the years. He worked in Los Angeles and Paris in his younger years, before opening his own practice in 1962. Throughout his work, the Canadian-born architect gained fame for his highly expressionistic and unconventional works. One of his most famous works was the titanium clad surfaces of the Guggenheim Museum, one of the most famous museums in the world located in Bilbao, Spain (1977). Many are amazed by his work, as he uses “intuition” to soar through the heights of architecture, as his work can be categorized as both sculptures and architecture. As a modernist, Gehry thought historFrank Gehry Abstract Sketches https://www.pinterest.com/hartpressed/architects-sketches/ icism was a dead end. He thought that painters and sculptors did more abstract things, and as a result, more exciting things, as they played with ideas, forms, textures, and feelings that were interesting. Gehry had the “intuition” to go back in time, millions of years. He started making abstract things to an architectural scale, and it started to gain momentum and fame. His abstract works began impacting people outside the world. With his talent, he strove for perfection. He was a huge supporter of just following your intuitions, as you won’t get out of line because gravity will hold you down. If we carry sensibility into our lives, you can get to anywhere that you want to. We just have to trust our insticts, as Frank Gehry has taught us through the making of this book. The culture around Gehry was his own inspiration. His advice for us is to be free, like he was. Just let things happen, just feel what we are going to do, and architecture will come to you in it’s amazing ways. 11
Essay 4: Hearst Lecture Comparison
For my Hearst Lectures this quarter, I went to the Hearst Lectures of Ted Flato and Christopher Benninger. Ted Flato
is a Stanford University Graduate who recieved a Bachelor of Science in Architecture in 1977. For his work, he is renouned nationally and internationally for creating simple yet regional designs that incorporate indigenous building forms and materials, that respond very well to the context of their landscape. Another key to his work is sustainability. Throughout his many designs, Flato creates and employs sustainable strategies for a wide variety of building types and scales, with a mamin focus in conserving energy and natural resources to the environment. Christopher Benninger is one of India’s most highly decorated Architects, known for his award winning projects Mahindra United World College of India, Samundra Institute of maritime Studies, National Ceremonial Plaza at Thimphu, Bhutan, the “Suzlon one Earth” world headquarters, as well as his own “India House” studio in Pune. He studied urban planning at MIT and architecture at Harvard before settling in india in 1971, where he was a professor at the School of Planning at Ahmedabad, a school in which he also helped found. His works are so great because each project adresses complez issues of design, context, climate, materials, techonology, and sustainability.
One obvious thing that both these people have in common is that they are both famous architects and have achieved
many things throughout their careers. In addition to building, both Flato and Benninger have a made sustainability a huge influence on what they base their projects after. Both use sustainability in their works to help the environment, and use natural resources to enforce these sustainable strategies. When I attended these lectures, I was extremely fascinated by these ideas, and what similarities that these two had in common. As an aspiring architect, I feel one very important thing to keep in mind is sustainability, as it helps keep things cheap as well as being great for the environment, and these two really helped show that. Another similarity between these two is their styles. Both like to add simplicity to their vernacular design, giving off leverages of good design, quality, sustainability, and practicality. I really admire both of these architects for those things because those traits are what makes and architect great, and that is what seems that they have perfected over the years to get them to where they are now in the first place. Overall, I’m glad that I went to both of these lectures because of all that it has taught me about sustainability, as well as practicality. Though they were each a little bit similar to the other, both lectures had it’s own sense of style that made it different, and I throughly enjoyed sitting through both of them.
Essay 5: Reflection Looking back at a l l t he a d vent ures I ’ ve ha d t hroug h ARC H 101 and St ud io d ur i ng my fi r s t yea r of col l eg e, I never expect ed t o get t hi s fa r, a nd I ’ m s a d t o s ee i t fi na lly come t o an end. T he t r a ns i t i on from a ki d fres h out of high school int o t he re a l i t y of col l eg e w a s roug h, b ut a ft er a w hile, it st ar t ed b ecomi ng t he new nor ma l . Thoug h i t w as definit ely a year of b l ood , s w ea t , a nd t ea r s , I w oul d n’t t r ade t he memor ies an d fr i end s I ’ ve ma d e b eca us e of i t for any t hing. T his y ear, I ’ ve g row n from know i ng not hi ng about archit ect ure t o know i ng s o much more, l ea r ni ng how t o use shop, dr aft ing, crea t e s ca l e mod el s , a nd a b unch of ot her st uff. T he st or i es of t he s t r ug g l es a nd ha rd s hi p s I heard from upper cla s s men t ur ned out t o b e t r ue, a nd i t can final ly now be my t ur n t o t el l t he s t or i es t o t he younger gener at ion. I hones t l y w i s h I ha d more t i me a s a fi r s t year Archit ect ure st ud ent . The yea r j us t w ent b y t oo fa s t , ev en t hrough al l t he pa i n of s t ud i o, l i vi ng t hroug h t hi s w a s t he exper ience of a l if et i me. W hi l e checki ng out t he 5 t h year Archit ect ure show a s w el l a s t he Vel l um Show, I rea lized w hat a long w ay I s t i l l ha ve t o g o t o b e a g rea t a rchit ect and how much lea r ni ng I s t i l l ha ve t o d o a s a s t ud ent . T hank you St ud io and AR C H 1 0 1 , for p rep a r i ng me for w ha t I hav e t o face in t he fut ure, a nd I ’ m rea d y for w ha t ’s next . Br ing it on Archit ect ure.
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