The overall design consists of a cylindrical object inserted into the backdrop of a canonical house form. As in the photo, each of the two juxtaposed elements highlights the other by contrast and comparison. The cylinder becomes more of a foreign object in the context of the house, and the house, even though somewhat unusual, becomes more traditional in contrast to the foreign object.         Although the cylinder is partially visible from various angles, it is never fully revealed, leaving the final resolution of its form to the observer. In this photo, the silver blimp appears more mysterious and other-wordly than the fully exposed fuji film blimp which has fully emerged for its hanger.               The unresolved form of the partially exposed cylindrical section in the context of the canonical house form is intended to produce an interpretation of the cylinder as yet another canonical form, and the viewer has the tendancy to see it as a completed geometric form. In this photo, one successfully ignores the top tail fin and the feet below to see the form only as a perfect sphere, especially within the context provided.                 Familiar imagery is used to reinforce the contrast between the two forms. Clearly, the inserted cylinder is the more dynamic of the two, and takes its visual cues from both real and imaginary space craft and other technical, marine, vehicular and science fiction sources.   The Apollo Lunar Lander               The entry bridge   The Stargate           Marine Gangway                 Lit up   Lit up           The house form, conversely, pushes in the other direction with its imagery, taking cues from iconic residential, rural, and other clearly ground-rooted sources. Both the red color and the tight roofline of the familiar Monopoly hotel inform the design. The photo also demonstrates the clear distinction, between the angular forms and bright colors of the houses and hotels and the silver color and rounded forms of the playing pieces.                 The overall shape of the house is treated as an open-ended tube, but the shingles serve to fill the volume. This gesture keeps the mind from wondering whether there are end walls at the center where the volume is interrupted by the cylinder, since the end walls of the larger house volume itself are merely infill.   Is there any question what the other end of this structure looks like? What if you were to cut in in half?           Reinforcing the directionality of the house tube, horizontal windows are used in the direction of the ridge, but windows and doors in the end walls are treated as punctures. Of course, since Le Corbusier used the horizontal window all around on the Villa Savoye, it had the opposite effect, together with the pilote, of creating an absense of specific orientation.                 Even when the house is elevated from the ground, it is clearly brought back down to earth by the overscaled concrete column and network of steel structure that not only supports it but restrains it.   This house isn't going anywhere.               There are places where the imagery attempts to cross over to some degree, by pulling from both sources. In the concrete, for example, which is an exclusive part of neither of the two forms, but upon which they both rest, is the patterning reminiscent of Frank Lloyd Wright's grounded architecture, an ancient (perhaps alien?) civilization, or an electronic circuit board?    Of course, it is intended to recall all three.           Finally, a house is not merely a geometric exercise or one of juxtapostion of imagery. Leonardo's Vitruvian Man represents bringing it all together by uniting the circle and the square (I have converted the square to a house-shape in the somewhat tongue-in-check logo of the house). The presense of the man in the image is evocative of human habitation and the various functional requirements which must be met by the two forms. As the image points out, however, both are nicely accomodating.