The design problem is to create interior spaces which choreographs a narrative derived from the Edward Hopper painting 'Nighthawks'. In a sense it is to translate the abstract qualities of ambience, enclosure and dialogue from the medium of paint on canvas to architectonics.
Reveals a sense of injured national pride, loss of national identity, coincides with the Pearl Harbor attacks. The space is without exit, while the cold artificial light penetrates the surrounding buildings.
Realistic colors but surreal hue and saturation, suggesting the schizophrenia of the city. The characters are lost in thought, but the weather is pleasant. Eliminates physical discomfort as a cause of their internal conflict.
Edward Hopper was one of the first artists to depict the newly invented fluorescent light in paintings, used as a metaphor of emptiness and transience.
The narrative is "The man in suit smokes and seduces, the other just wants his mum." The man smoking seems to suggest transience of his stay at the cafe, and of his relationship, just as the cigar advertisement on the cafe represents the transience of activity within. In contrast the other man seems tumor-like in is favorite seat, drowning in his sorrows.
Continuity of mass by flush facades.
A twist opreation transports pedestrians from the external dimention to the internal space.
Geometric camouflage, space within space to dictate privacy.
The lone tree on the site is conserverd, accommodated by the only recession.
Superglue corroded the inside of the perspect box, giving a frosted finish. A happy mistake that clarifies the suggestion of enclosed space and smoke.
Light additive space and heavy grown space in the urban context from Hopper's Nighthawks.
Sections, front facade references to Le Corbusier's United Nations building in New York, while the side ratio references to Mies's Seagram Building. Internal fabrick and program become the 'wall' mass.
Ando's Garden of Fine Arts, occupying a terrace house-like site. After establishing a strong sense of orthogonal axis, a sense of dynamism os introduced with the disruption of axis.
Ando Tadao's Chichu Art Museum, exhibits a sense of 'growth' from site, and also heaviness due to using the context as the wall thickness. In the glass tower, the content of the the tower will be the wall mass.
A few concepts from Eileen Gray's Tempe a Pailla I explored were the contrasting characters of the light and heavy space, and the process of building on an existing architectural element. 
Integration of plan and section to reveal insights into the circulatory relationship of walkable space in Tempe a Pailla. Below is a time map, with contours marking out the distance by time to each part of the house. Representing the way people move through space.
Circulation, a flattened version of the axonometric diagram below, map of the floor area.
Structure, the upper floor employes Le Corbusier's free plan, with thin structural column ns set in a grid pattern and redundant walls. Eileen Gray concealed the columns by snapping the walls onto the column grid in plan, another critique of Le Corbusier's free plan by reconnection structure with space. In the lower level, retaining walls define the subtractive spaces out of infinite wall thickness.
Above is the horizontal enclosure, revealing the heaviness of the lower floor converted from water tanks carved out the mountain, and the lightness of the 'free plan' inspired upper floor. The weight of enclosure increases from the front to the back of the house in coherence with privacy.
Precise suggestion of complicated spatial qualities using concise graphical forms.
