How Glass House Became a Glasshouse of Culture and Art

The first time I visited the New York City-based glass house, I found it a strange place.

I had no idea what it was, nor was I very interested in it.

I was just here to visit a gallery in Manhattan, and a glass house seemed to fit the bill.

The walls were covered in brightly colored glass cubes, each of which had a different design.

It looked like a big, empty, empty room.

I wandered around for a few minutes, marveling at its beautiful, futuristic design, then left without much enthusiasm.

I’m not sure why I stopped.

In retrospect, I’m glad I didn’t.

Glass houses are like the New Weird, in that they defy our conventional understanding of what it means to be a person.

Glass is like a window to the past.

In a glasshouse, you can explore the past and take your place in the present.

You can see how the people who built it looked and felt at that time.

Glasshouses are a strange hybrid of the modern and the old.

They are also, at heart, a celebration of how the past can be revisited, revisited again, and revisited a hundred times more, if you are willing to pay attention to the history of glass in the first place.

Glass Houses: New Weird and Other Modern Glass Houses, edited by Emily Ziegler and Lisa Bowerman, is a collection of essays and articles that explore the history and future of glass houses.

Glasshouse.com is the online home of Glass Houses.

This is a guest post by Emily Bowerm, a writer at Glass Houses and a fellow at New York magazine.

Emily is also a freelance writer.

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Emily Zigler Emily Bowersman is a New York Times bestselling author of books like The Glass House, Glass Houses of the South, and Glass Houses for the Younger.

Follow her on Twitter @EmilyZigler.