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Read Ebook {PDF EPUB} Glass House 51 by John Hampel Glass House 51 by John Hampel Read Ebook {PDF EPUB} Glass House 51 by John Hampel Glass House 51 by John Hampel. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 657924532822c3ed • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Slaughterhouse Says ‘Glass House’ Album Will Be Its Most Personal. For the greater portion of Slaughterhouse’s four projects ( Slaughterhouse , Slaughterhouse EP , On The House , and Welcome to: Our House ), hip-hop’s four horsemen proved why they are the… John Kennedy. Share this article on Facebook Share this article on Twitter Share this article on Tumblr Share this article on Pinit + additional share options added Print this article Print this article Print this article Print this article Share this article on Print Print this article. For the greater portion of Slaughterhouse’s four projects ( Slaughterhouse , Slaughterhouse EP , On The House , and Welcome to: Our House ), hip-hop’s four horsemen proved why they are the mightiest lyrical force in rap. Yet the collective is digging a little deeper on its third LP. Joe Budden, Royce Da 5’9″, Crooked I and Joell Ortiz sat down for an interview after ripping their SXSW performance at VIBE x House of Vans’ showcase to speak on how their next effort ( Glass House , out this year) will be the group’s most personal to date. “The content is what is going to separate this particular body of work from our previous efforts,” says Budden, with a Burberry scarf draped around his neck. “As artists [we] go somewhere that we probably haven’t explored as a collective in quite some time… When the album comes out a lot of people will be shocked at the caliber of music.” Budden adds that the music on Glass House , which is executive produced by Just Blaze, is an all-star collection of instrumentals. “Just Blaze created a Slaughterhouse of producers,” says Budden, mentioning J.U.S.T.I.C.E. League, Cardiak, AraabMuzik and Illmind as contributors. DJ Premier has also spoken on a future collaboration with Slaughterhouse. “Everybody in there just rocked out for two months and inspired each other. The music reflects that.” Crooked I cosigns his lyrical partner, adding that the group vented personal issues to make the music even more relatable. “We were going through different things personally in our life and it just shines through the music,” said Crooked. “That’s what’s going to make it relatable to the fan. It’s everyday struggles, everyday pain, everyday obstacles. You’re going to go through a journey when you listen to this album.” “You’re going to get to know Slaughterhouse a lot better,” he continues. “I’m hoping that we become more like a friend to the listener than [rappers] that they’re listening to. The whole album is going to surprise people.” Slaughterhouse’s Glass House is for release later this year, while the Glass House tour kicks off tonight in Boston. — John Kennedy. GLASS HOUSE. During my latest visit to Sao Paulo whilst attending the Brazil-UK Innovation Dialogues, I’ve managed to finally make it to Lina Bo Bardi’s Glass House, located in the hills of Morumbi neighbourhood. The house was designed and built between 1950-51, and it was the Bardi family home until Lina’s death in 1992. Her husband, Italian art curator Pietro Bardi, donated the house in 1995 to function as an institute for the preservation and dissemination of her work (click here to see the type of exhibitions held at the Institute). I’ve mentioned details of her life in another post, so will only concentrate here, very briefly, on one predominant aspect: the relation between Architecture and Nature. Two things are essential to understand Lina’s relationship with Nature, one is her article “ Architettura e Natura: La Casa nel Paessagio ” published while she was the editor of Domus (Number 194 February, 1944, pp. 464-71). The other is to visit the Glass house where she put into practice what she preluded in this article. In her written work, Lina Bo Bardi makes an important distinction between organic and rationalist architecture. She defines the first type as one that tries to melt with the environment, that is open to nature and tries to mimic its forms. In contrast, rationalist architecture is one that delicately touches the ground and watches over nature. While the first is rooted in a specific location, the second can be located anywhere. In contrast to many of her contemporaries that were taking side with one type of architecture or the other, Bo Bardi declares that both types are equally valid. The fact that Lina Bo Bardi is comfortable designing in the junction of the organic/rational dichotomy becomes evident when visiting the Glass House. The house is clearly divided in two parts – the day area, which floats over nature and sits precariously over very slender pilots; then the night area, with load bearing walls that anchor the house to the slope. The night area is further divided by an internal patio, separating the servants quarters and the owners, linked by the kitchen. House Plan Ground Floor and level 1. As the visitor walks through the house, the division between nature and architecture is constantly appearing; in some parts of the Glass House the viewer feels at one with nature but in others a foreign observer of it. For example, the views from the garden towards the city stress this difference making the visitor feel part of nature and turning urban life into a distant alien object. View of the city from the Garden of the Glass House. In some other areas of the house, the visitor feels overlooked by Nature, arousing feelings of vulnerability and exposure to the surrounding uncontrolled environment. At some other points, Nature is the one under observation, like in the internal patios of the house or the tree that grows in the heart of the day area. Here architecture is in control, turning Nature into an object of study and observation. At other times, the visitor becomes a voyeur, viewing human life inside the house, experiencing the role that Nature always has over the Glass House. There is a constant changing of roles as the visitor moves around the house, which inspires one to meditate about our place in the natural world, just as the Greeks contemplated the relation between Mount Parnassus and the Temple of Apollo in Delphi; so well described by John Summerson in the Classical Language of Architecture. The materials used in the Glass House also aim to stress this nature-human dichotomy. Architectural elements are reduced to their minimal essence, the granite and iron staircase is a simple exercise of vertical and horizontal lines, allowing the eye to continually explore the surrounding nature as the visitor moves upwards towards the interior of the building. The window frames have extremely slender lines, with the windows having panes of sliding glass that provide maximum exposure to the surroundings, making the visitor feel inside a tree house. This feeling of openness and the invitation to interact with nature contrasts with the void between the windows and the outside. There are no balconies or protection, just a vertiginous drop, making the visitor suddenly feel the fear of Nature. The distance between the house and urban life becomes closer, making people retreat back inside, towards the comfort of rational man-made objects. The mechanical details of the design of the ironwork reinforce the rational ideal. Hinges and window-locks are strikingly simple but yet they have an aura of clockwork technology which immediately brings to mind notions of the Cartesian world.The kitchen, which acts as the transition between the rational space of the day and the more organic space of the night area, is where the mechanical expression explodes, with a very clinical steel worktop, long enough to experiment with a variety of exotic fruits and flavours, and equipped with the latest technology to offer cutting edge comfort. Original 1950’s dishwasher. Lina Bo Bardi was very interested in mechanical objects. She was apparently fascinated by an antique folding chair that she admired for its simple mechanism and fine joinery. There are some examples of these chairs around the house, alongside samples of furniture designed by her. This close relation with history can also be seen in the eclectic choice of ornaments around the house. Suddenly Nature is not longer centre stage, what becomes important is humanity, man-made objects and their historical roots. Antique folding chairs. Interior view showing an eclectic array of ornaments and mix of furniture including Lina’s own. Lina Bo Bardi’s bowl chair. To visit the house is a fascinating experience that manipulates the viewers, inspiring thoughts on our relationship with nature and to land. Lina Bo Bardi was herself a foreigner in Brazil as she immigrated from her native Italy in 1946. As many migrants she developed a sharp eye to observe the unfamiliar.
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