Wednesday, June 10, 2009


Dear students

Please upload Project 3 on your blogsites - We need to have that up before Wed - for parity. Firstly, it is a folio submission and therefore it is not complete between now and Wednesday morning you risk losing marks for late submission. Secondly, your grades will be unmoderated - which might disadvantage you. Treat this as 'another' submission (I know - I hear "Oh no!") - and do the best job in terms of photographing your models and scanning/digitizing your drawings. If you did not do as well in the presentations - Now is your chance to make up for it - 15 percent is a good chunk. Could I also suggest that you CAPITALIZE the title of the blogpost for Project 1 2 and 3 so its easy for me to locate the projects.

I also wanted to say that I was impressed by the energy and patience of the group as a whole - Thanks for sticking around till the end through a freezing day and evening - and participating in the presentations!! I hope it was worth it and that you learned something from hearing other students present their schemes. I was very happy with the quality of the models and the ideas in the schemes - I thought maybe the drawings could have been better - But it is unrealistic to hope for more for such a short and complex project - I think most of you took some imaginative leaps in terms of light, view, scale, and siting - whether it worked is another issue - but I commend the fact that you were engaged with these issues. I also saw the beginning of what I would consider a 'professionally' constructed presentation - both verbally and graphically - and I hope you will keep pushing this as you progress through this degree - as a lot of architecture is not what you say but how you say it.

So congratulate yourselves and celebrate the end of a studio!


Sunday, June 7, 2009



All the drawings are to be presented in A2 sheets.

Submit the following items of work:

1. Site plan showing the art gallery and its relationship with adjacent buildings and the street. 1: 500 or 1: 1000 – This is a small drawing and therefore it should be accompanied by some site analysis on an A 2 sheet.

2. Floor plans and sections (including the outdoor courtyard). 1: 100 – These are discrete plans – separate plans for separate floors – this is self evident but I have seen many students over the years compromise by combining floor plans! You will lose marks if you don’t do this. Remember that the floor plans and sections are poches not line drawings! So make them atmospheric.

3. One room in plan and section (rendered, showing the quality of light in the room, and with at least one art object in it). 1: 50 – You should realise that as this is 1:50 it will need to be “animated” – people in silhouette, display, and some furniture if applicable

4. Sectional, architectonic model. 1: 100 – Model should be well crafted and glued together – Another self evident statement but you will lose marks for models that are not glued to the base or whose roofs are not glued down – Pay attention to the word “sectional” – the section is the only place where the model comes apart.

5. Interior perspective vignettes showing the main sequence of spaces. There should be at least 5-6. These should be to scale (I would say 1:50 or 1:100 – smaller than this would make it hard to read)


Colour – I prefer monochrome presentations but some students are good at using colour in their digital renderings. If you want to use colour, please make sure that they are not realistic. You will not gain points for using colour either. Most importantly do not use it as a decoration or if it is a minor part of your design.

Axonometric – Even though this is not mentioned as part of the submission requirement you may wish to make them – particularly if a sectional model does not completely explain your scheme.

Additional material 1 – The kind of art marketed by the dealer MUST BE presented along with the narrative for the architectural programme in an A2 format. This is important as this is the foundation for your design!

Additional material 2 – Case study – You would have studied at least one art gallery so you MUST please present your findings in a graphic form in an A2 format. Again this shows that you have done some research on the idea of displaying art and moving through a gallery – it forms the foundation of your design!

Text – on the site analysis sheet, case study, describing the art, narrative, space labels and street names, drawing conventions (Up, down, levels, first floor second floor etc) – NO OTHER TEXT is to be inserted in the presentation


Guest critic – You will have one external guest critic for this submission in addition to Prof Xing Ruan so please treat this as a formal event – be prepared, be on time, come equipped with pins and tapes.

Presentation – You will speak for 7 minutes and the jurors will speak for a total of 8. Please prepare your presentation – write it down as a script of no more than 7 minutes – Which is not more than 800 words (with pause erms and aahs) – Do not present your design as if I already know it – Decide on what is the most significant part of the scheme and present that – it is unlikely you will have time to talk about everything – but tutors and jurors will look at your scheme again so that all that you have not had the chance to present will be picked up then. So be succinct and strategic in explaining the MOST IMPORTANT aspects of your scheme.

Tuesday, June 2, 2009

IMPORTANT Crit Schedule Studio Week 12

Dear tute group

This is the order in which I would like you all today (Let me know if
you can spot any mistake) - this is based on the numbers of times you
have had consultation with me and the level of difficulty you are
facing. I think this is equitable as a number of students (probably
shy or modest) always see me much later in the day leaving me with
little energy. Of course, this is subject to your timely attendance.
Hence, if you are not there to attend the crit on time, then you slide
right down to the list and I will keep seeing the students in the
order in the list. If you are progressing well, please come to the
studio and keep working there till your turn comes. Please be there at
2 sharp. I will take a break at around 4 for 15 -20 minutes to run to
another studio to collect some student works

Yuen,Adley Chun Kit 2
Awad,Yasmin Fayek 2 15
McGee,Samantha Jane 2 30
Chan,Chiu Yin 2 45
Li,Yao Ling Sam 3 00
ieong, andrew 3 15
Burraston,Joseph Bede 3 30
Borromeo,Michael Brian 3 45

BREAK at 4 00

Desai,Karl 4 30
Amirashairi,Amir 4 45
Butterworth,David Andrew 5 00
Aduldechachai,Thiradet 5 15
Aoukar,Joycey Rita 5 30
Argent,Matthew 5 45
Beer,Scott Brodie 6 15
Brennan,Nicholas Sean 6 30



Friday, May 29, 2009


Hi all

As Professor Richard Johnson mentioned in a lecture sometime ago that
he learnt as much from his peers as he did from his tutors and
lecturers. Having a class of 160 means that there is a wide range of
ideas and skills to learn from. Hence, I ask you look at some of the
outstanding works from the year group as a whole, on which all the
tutors had a consensus in the parity meeting for Project 2

Try to look at these works objectively and constructively examine the
different ways in which these students have addressed the same
project. This is the benefit of having a blog site, so please make use
of it.

Wednesday, May 27, 2009


Dear tute group please see the list of things to do for studio in Week 12

It is encouraging to see some interesting schemes develop over the last couple of weeks and the seriousness with which some of you have started to thinking of light and space, but more importantly of the design as a community of rooms. Here are is the MAP of where you should be at this stage


Narrative formed
Art selected
Site analysis complete
Scale drawing of the site complete
Initial plans (initial sequence of spaces, circulation, massing), sections (closed/open, connection between spaces, light conditions) and elevations (relation to context) at 1:100 scale
Initial Vignettes


A – Developed and drawn up plans sections and elevations 1:100
B – Working model 1: 200 showing massing and key compositional elements (and openings)
C – Matured Vignettes/ interior perspectives (See Blogposting which show the sequence of spaces, qualities of light and habitation (displays, work, rest, administration, break out space or courtyard, and entry)
D – Competently discuss/answer questions about light, space, and habitation in terms of
Display (paintings and sculpture)
Creative work (Workshop)
Commercial space (Shop/Office)
Rest (bed-sit apartment)
Gathering and celebrating (Living area )
E – Test the scheme in relation to the site and context – Photomontages/section/elevation/model


Week 12 studio will revolve around the RESOLUTION of design solutions. I will help with this. Hence, if you do not work hard now to transcribe/explore/develop design ideas and sketches (to scale) developed by you or in collaboration with the tutor, you will find Week 12 a waste of time.


If for some reason you have made no progress in terms of your scheme in Week 11 my advice is to a) Recycle some of the ideas from Project 2 and develop them b) Base your project on one of the case studies. This background work COMPULSORY – please do not come expecting the tutor to provide you with a design solution on the spot!!


The conditions about the amount of work; format; and scale same as in Week 11

PROJECT 3 Vignettes

Tuesday, May 26, 2009


Hi all

Please see the houses in this practice - you might find it interesting

Friday, May 22, 2009

Studio Week 11

COMPLETED WORK (You don't need to show me this but it is expected that you would have completed these tasks for studio Week 10)

• Site analysis
• Narrative formation (characters of the gallery owner, as well as the kind of art that is to be exhibited, kind of artists who would be using the workshop)
• Site selection
• Site visit
• Selection and analysis of case study


• Building Plan (1:100) showing neighbouring buildings (one plot deep for the
plans and sections) - Separate Ground, First, Second and so on
• 1: 100 Building sections
• 1: 100 Building elevations
Note: You should make a template site plan section and elevation and
bring your Building plans on large tracings laid over the template (and some extra tracing for feedback session) - save time and money
• Working model 1: 200 (1: 100)
• At least 2 internal perspectives showing light quality of two galleries
These can be hand drawn or CAD
This is work in progress and will be evaluated as such


Please keep in mind that the tutor can decide not to give you feedback if you do not have at least 80 percent of the above stated requirements to the right scale and in the right format. Incomplete work or lack of work or work that is not printed and on the laptop means that more time is spent in verbally trying to extract architectural ideas out of the student, thereby disadvantaging students who have indeed produced work. Xing clarified this issue in the beginning of the semester. Hence please take responsibility for your education. If your work is not printed or complete, we may ask you rectify that during the studio session. We are pretty firm about this.


I see a number of students always in the end – if you know who you are (and are interested in seeing me earlier in the day) – could you come to studio at sharp 2 to put your name down on the roster – I think this is fair.


You all have your feedback sheets for Project 2 and I will individually email you the grades


It is expected that the individual/group site model is in progress and this is separate from the work you show in studio (you may not bring this to studio - but it is expected that you upload progress photos on the blogsite).

A lot to do but I hope you are at least enjoying the project and learning a lot from it.



Thursday, May 21, 2009

Project 3 References on Google Books

These are some really handy references on lighting and art - I suggest you at least study one of these books to be able to competently talk about these issues in your project



Project 3 Strategy 3 - Examples

Note the different strategies for lighting circulation, sculpture and painting galleries - Can different conditions of lighting (both pragmatic as well as atmospheric) become the driving force of your project?

Project 3 Strategy 2- Examples

Could the public face of your building provide a series of steps, or a tactile surface, or juxtaposed balconies which could create an outer life of the building?

Project 3 Strategy 1- Examples

These are installations - not buildings - yet they address the idea of the void - and that the task of architecture is to connect the different edges of the void - could that help you think of your site as a void?

Project 3 Strategy 1 2 3

Key strategies


Architecture is a performance and the site is a three dimensional stage that the building must reach out and touch all parts of it – in other words, don’t think of the site as flat ‘pancake’ like graphic image – it is a three dimensional void – and it cannot be filled merely with a convention plan stacked on top of plan – especially because the building is of an intimate scale – so think of creative strategies through which your building can occupy this three dimensional void

The narrative for the project will prompt you about the parti of the building, which will inform how and the extent to which the groups of activities – Display (galleries and shop); Administration (storage, office) and Living are connected


This building will have an inner and an outer life – in other words, you not only have to deal with light and interiority (recall Project 2) but you also have an obligation towards providing a public ‘face’ to the building because it is in Newtown – so think of how your building reinforces or breaks the existing urban rhythm – think of the impact (positive or negative) your building will have on the urban environment – Thereby considering the project as consisting of two mini-projects – one about the interior/light/circulation and the other about a visual/tactile/ habitable threshold (surface).


This project is still about light and interiority – Hence when studying Art Galleries (and I hope that you are), you must understand the different lighting conditions for paintings, sculptures and photographs
Paintings may require diffused light and avoidance of direct/focussed light
Sculptures are three dimensional objects and they may need focussed light to appreciate its three dimensional form?
Photos may require another kind of light condition – a lighting that simulates the intense light and shade of the medium?
Circulation passages can have more directional light – like “light at the end of the tunnel” or a “pattern of lights to guide movement”
Similarly the workshop, office, bedsit and living may require different light conditions (overexposed? In contrast to the art works)

Wednesday, May 20, 2009


Hi all

In case you have neglected to look at the handout or forgotten the contents, the final submission will consist of

drawings presented in A2 sheets.

1. Site plan showing the art gallery and its relationship with adjacent buildings and the street. 1: 500 or 1: 1000
2. Floor plans and sections (including the outdoor courtyard). 1: 100
3. One room in plan and section (rendered, showing the quality of light in the room, and with at least one art object in it). 1: 50
4. Sectional, architectonic model. 1: 100
5. Interior perspective vignettes showing the main sequence of spaces.

This needed emphasis as some of you will now start to build your site models, and only a handful of students on Wed Week 10 had 1:100 drawings even though I had included it as part of the things to do (Some students even told me they could not do this because the plan would not fit on an A3!!!) Working at the right scale (rather scales, as one would also make conceptual sketches initially as well as throughout) is crucial - your design will not resolve or mature at a scale smaller than this (1:100).

I will send through a list of things needed for Studio Week 11 shortly - Adhering to it is in your best interest as the quality of the feedback (and therefore your progress) will depend on it. There are only two more weeks to go before the final submission.



Thursday, May 14, 2009


Dear tute group

As we discussed in the studio, you need to have finished the following groundwork before coming to studio in Week 10

1 site selection
2 site analysis in line with the images on the blogsite - drawing sketches photomontages must be printed and brought to class for presentation - these should show the environmental (light/shade), physical (heights/ densities/widths/ rhythm of shop fronts/), visual (features of surrounding buildings, materiality/ texture), experiential (sound/ambience), spatial (pause spaces versus spaces for rapid movement), and other facets you have come across
3 formation of narrative from the programme
4 1: 100 drawing of the site and the surrounding - you have the dwg and the pdf - but as some adjustments need to be made (or not) please do that as a group otherwise the group model will be useless
5 A selection of case study discussed in the lecture (if you missed the lecture - the slides will be up tomorrow) - the list is on the blogsite - and collection of photos, plans, sections, elevations of your chosen case study

All this groundwork must be complete before Studio next week. Make sure nothing is on the PC - that everything is printed/copied

So we will start the studio with presentations of site analysis - this should take one hour. For the remaining hour, I would like to do desk crits - to discuss your case study, narrative, ideas for dealing with the site, and initial sketches and strategies for design.

I know this might seem overwhelming but as the project is another rapid one you will need to stay focussed on the task and I am confident you will do well. Do not miss studios - because there arent many to miss!! However, if you missed the studio this week - you will need to check with your mates - It will be hard to recapsulate that discussion in an email.

I am happy to stay till after 6 but the studio must start at sharp 2

This all seems clear, I think

best and see you on Wed

I will be in touch with more details about the site models after I talk to Xing tomorrow.


Monday, May 11, 2009


Please study these drawings and your analysis of the site must be based on this

Prepared by Bernard Whitcher

Sunday, May 10, 2009


Hi all

Please be there in the studio at 2 sharp (not 2 15 or 2 30) and after a brief feedback session we will head off to the site

Attendance in both parts of the studio is NOT OPTIONAL

This is especially for students who have struggled with Project 2 and who would benefit from this one on one feedback session.

And it is crucial that we visit the site together so that you can ask questions.

See you in class

Please come prepared with sketchbooks, pencils, site plan (also accessible on the master site), a camera, and tape measure as you might need to start measuring up the site for an accurate site plan.


Monday, April 27, 2009

PROJECT 2 TYPOLOGIES Part 2 (Parasite)
P.A.R.A.S.I.T.E. PROJECT, designed by Dutch architects Kortknie Stuhlmacher Architecten


Sunday, April 26, 2009


You are probably at a stage when you would need to consider (or reconsider) carefully the siting of the building - and ask yourself whether the site should be a part of the model - if not - why - it is not about whether the tutor wants to see the site in the model or whether the 250 X 250 will allow for it - but how best to indicate it graphically (not verbally) as a part of the overall story.

Nevertheless, you need to be clear about whether your project is

1 set on the side of a cliff face

2 set in a valley

3 submerged into a sloping hill or cut into it to join two roads at an upper or lower level

4 bridging a creek or a river

5 set at the waterfront (harbour or river)

6 inserted into an existing urban fabric or a building or set in an empty carpark

These are very exciting possibilities and even though it is a generic site it is will have some impact on the CONDITIONS and DESIRES of

a movement
b view
c light

Thursday, April 23, 2009


Dear Tute Group

For next Wednesday please bring the following

1 Final drawings plans sections and axonometric (all POCHE)
2 ONE sample of what the submission drawing will look like (this is because presentation wise our group was a little bit weak last time so I want to make sure I know what you are attempting - Please look at the link I have posted on the blogsite about
3 Working model (1:100) or Final Model in Progress

IMPORTANT: For students whose have had one or less consultation please bring between 1-3 design solutions so the Studio session can be fruitful (this is not whimsical - we as students and tutors are pressed for time therefore having more than one option means that the tutor can tell you what works and what doesnt )

The scale is 1: 50 for students working with small structures 1-2 rooms The scale is 1: 100 for students working with larger/more expansive schemes

IMPORTANT: You will need to get your scale approved before you go into 'production mode'
We will follow the roster system again and make sure everyone gets a fair go



Tuesday, April 21, 2009


Hi all

This week you should start to think what kind of architectural type your project corresponds to. You could say: "Must I define my building along these lines...I am designing a work/living space". However, we argue that this is too vague a definition. It has a strong functional undercurrent and it automatically tends towards the design of domestic space.
Hence, it is suggested that you think of the TYPE. It is a suggestion of course but it will give your project A HIGH DEGREE OF DEFINITION in terms of light and view.

The possible types are:
C A V E / B U N K E R


H A B I T A B L E _B R I D G E
M A Z E/ L A B Y R I N T H

Studio Week 6

Dear all

At the request of some students, we will run the studio from 2 pm - Please be there at the start if you want feedback
Students who are struggling with this project are especially encouraged to attend
Please bring all the process work to receive feedback


Sunday, April 19, 2009

Project 2 What your blogsite should look like

Please see the variety of investigations that all of you should be engaged in at this stage
I know you are busy but if you upload then I can comment on your work before studio
The blog is a place of sharing work and not just uploading your folio

Models from Australian Pavilion Venice Architecture Biennale

See these models for inspiration
You can also see a short video on
The catalogue has more images

Enter Architecture, Redfern Housing Prototype. Photo: Byron Keane. Model: Tom Spalding, Envizage Australia.
Super Colossal, Cubby Conglomerate.
Mulloway Studio, Contemplative Space.
Chenchow Little Architects, Pitched Roof House. Photo: Phillip Hayson. Model: Chenchow Little.

Exquisite model and overall process in Project 2 in 2008

For exquisite model and overall process in Project 2 in 2008

See for the drawings and other views of the model

Here are some images

Standards - Model and Drawing

Dear all

Examples within the year group

For excellent presentation standards see

Model and drawings (notwithstanding the coloured diagrams)

Model and drawings (notwithstanding the coloured diagrams) -

Line work

Model making Books (taken from Ainslie Murrays 2008 blogsite)

James Angus, James Angus, Sydney: MCA, 2006.

James Angus, Mikala Dwyer, Emily Floyd, Ronnie Van Hout, Ricky Swallow, Still Life: The Inaugural Balnaves Foundation Sculpture Project, Sydney: AGNSW, 2003.

Tim Hawkinson, Tim Hawkinson, Sydney: MCA, 2007.

Wolfgang Knoll and Martin Hechinger, Architectural Models: Construction Techniques, London: BT Batsford, 1992.
Criss Mills, Designing With Models: A Studio Guide to Making and Using Architectural Design Models, New York: John Wiley & Sons, 2000.

Karen Moon, Modelling Messages: The Architect and the Model, New York: Monacelli Press, 2005.

Toshiko Mori (ed.), Immaterial, Ultramaterial: Architecture, Design and Materials, New York: Harvard Design School and George Braziller, 2002.

Callum Morton, More Talk About Buildings and Mood, Exhibition Catalogue, Sydney: MCA 2006.

National Sculpture Prize & Exhibition 2005, Canberra: NGA, 2005.

Susan Norrie, Daniel von Sturmer, Callum Morton, Venice Biennale 2007 Australia, Sydney: Australia Council for the Arts, 2007.

Tom Porter and John Neale, Architectural Supermodels, Oxford: Architectural Press, 2000.

Verlag Anton Pustet, Scale Models of the 20th Century, Basel, Boston, Berlin: Birkhauser, 1999.

Albert Smith, Architectural Model as Machine, Oxford: Architectural Press, 2004.
Martha Sutherland, Modelmaking: A Basic Guide, New York: W W Norton & Co, 1999.

Sophia Vyzoviti, Supersurfaces: Folding as a method of generating forms for architecture, products and fashion, Corte Madera: Gingko Press, 2006.

Sophia Vyzoviti, Folding Architecture: Spatial, Strucutral and Organisational Diagrams, Corte Madera: Gingko Press, 2003.

Modelling supplies (taken from Ainslie Murrays 2008 blogsite)

Artlink Art Supplies
3 Chard Rd Brookvale
ph: (02) 9939 7633

Art Smart Discount Art Supplies
50 Ethel St Seaforth
ph: (02) 9949 7477

Art On King
199- 201 King St Newtown
ph: (02) 9516 2342

Bondi Road Art Supplies
179-181 Bondi Rd Bondi
ph: (02) 9387 3746

Burwood Art Supplies
246 Burwood Rd Burwood
ph: (02) 9747 6222

Campus Art Store
Cnr Greens Rd & Napier St Paddington
ph: (02) 9331 7474

2- 8 Phillip St Parramatta
ph: 1800 227 116

88 Walker St North Sydney
ph: (02) 9957 5678

93 York St Sydney
ph: (02) 9299 4151

21 Atchison St St Leonards
ph: (02) 9439 4944

Janet’s Art Supplies
145 Victoria Ave Chatswood
ph: (02) 9417 8572

Hurstville Art & Drafting Supplies
23 MacMahon St Hurstville
ph: (02) 9570 4138

North Shore Art Supplies
10 George St Hornsby
ph: (02) 9476 0202

Oxford Art Supplies
221- 225 Oxford St Darlinghurst
ph: (02) 9360 4066

Parkers Art Supply
3 Cambridge St The Rocks
ph: (02) 9247 9979

The Art Scene
912 - 914 Victoria Rd West Ryde
ph: (02) 9807 6900

Project 2 Composition, Craft, Opening

As you develop your design for project 2, keep in mind the idea of composition and craft

Composition - Like I have noted before, you will need to show competence with architectonic composition using strategies of folding, stacking, carving, shifting, arranging, repeating, thickening, layering of planes and linear elements.

Craft - Craft is not merely a neat model but also clarity in thinking through the formal strategies - You need to think of how to use the model making materials and what they signify in terms on inhabitation

Window - Think inside out

Have a look at some of these first year example from another university in Australia - very similar in approach if not in scale to your project - to see how some of them have used these strategies to create habitation

Example of folding

Example of repeating
Example of layering

Example of thickening

Monday, April 13, 2009

PROJECT 2 - Precedents Compositional Strategies

Hi all

This is a very reductive BUT helpful categorization of the works of these architects

1. Architecture of solid planes and light
Luis Barragan
See - An interactive website

2. Architecture as a composition of linear elements
Shigeru Ban

Wednesday, April 8, 2009

PROJECT 2 What to do next

Dear all

You have made a very good start in Week 5 with writing a narrative from the painting

As you begin to look for architectural manifestation for this narrative keep in mind a few things

1 The rooms designed by you is not a literal translation of the rooms in the painting

2 You need to be aware of FORMAL vocabulary of contemporary architecture in order to attempt the project with some competence and confidence - so please look at the images and the list of architects I have uploaded and look for others

3 You should also keep in mind that this is not exclusively a form making exercise - it is an exercise in forming interior spaces - Hence please stay away from monumental and conspicuous forms for their own sake

4 Even though this is not a form making exercise, there will be significant emphasis on form because composition of forms is essential to the formation of enclosure and composition of forms will often produce interesting conditions of gaps/openings/void/shafts/chasms that might provide the light/view quality you want

So, you might need to think of COMPOSITIONAL strategies like folding, stacking, carving, shifting, arranging and so on - Please Look at CHING'S FORM SPACE AND ORDER for inspiration/revision

See the Assessment Criteria to be on track

5 Also, please work at a scale of 1: 50 as it is hard to discuss enclosure and materiality at a scale smaller than this. Model is very important - Start to think of materiality in terms of the three model making materials

6 Please also think of a number of design options and try not to be too precious about the scheme at this stage - this will allow you to change and transform it freely.

I will send more information about what is expected in the next studio.

Till then please

1) update project 1 blogsite
2) start uploading your research and works in progress for Project 2 - This is essential so I can follow your progress

very best


'Openings' in Architecture - II

1 Sangath, B. V. Doshi, Ahmedabad, India - Consider the use of vaults in a semi-subterranean structure

2 Berlin Holocaust Memorial, Peter Eisenman

3 student project?

4 Tadao Ando, Collezione
See more in 5 Kunihiko Hayakawa's Labyrinth
See more in
6 Arakawa's Reversible Destiny House
See more in

Examples 2 - 6 show the emphasis on a labyrinthine layout - What role do openings have in this?

hasan fathy's works might be an inspiration for students working with the idea of a cavernous quality and with massivness. Note how the thickness of the wall is emphasized through the arches, the in-built furniture and its connections with windows.

Nakagin Capsule Tower
For students interested in the idea of stacking modules with openings to create a multidirectional enclosure

Origami inspired house, Tokyo, Yasuhiro Yamashita, Atelier Takuto
This house emphasizes the idea of folding. It shows how the strategy of folding can create strategically placed openings that are integrated into the fabric of the structure - It is not a simple subtraction from the mass of the building.

Window Less House
Light can be diffused through the use of courts, paths, gaps and bridges - Similar to Geoffrey Bawa House in which courtyards provide majority of the light coming into the habitable spaces

Another example of stackable forms that allow the creation of a multidirectional composition