The envelope of a building can be thought of as an assembly of filters, with each filter allowing, and preventing, a particular set of elements from passing through it. These elements might include heat, cold, light, radiation, water, moisture, rain, snow, air, drafts, breezes, fire, embers, smoke, views, sound, noise, strangers, children, burglars, pets, farm animals, insects, smells, dust, pathogens, toxins, vehicles, or projectiles. The strongest filter is a thick concrete bunker wall; the weakest is a large opening without door or glazing.
Many of the filters in buildings are operable or ‘tuneable’ to some extent, the most obvious examples being doors and windows. In most Australian houses, the conventional filter arrangement for windows is an openable, clear-glazed sash, with a flyscreen which may be fixed or openable/removeable. Flyscreens are considered essential to keep flies out in summer, and mosquitoes out at night - in other, malarial places, the ‘insect filter’ might be brought within the envelope, in the form of a mosquito net over the bed.
So the conventional filtering options for a window are: with sash closed, admitting light and view but excluding air, smells and most sound; with sash open, admitting light, view, air, sound and smells. Adding some combination of blackout curtain, lace curtain, and/or blinds gives you additional control over light and views.
There are other, less conventional ways of arranging the filtering functions of a window: you might have two-part windows, for example, with one part fixed glazing and the other part an insect-meshed opening fitted with an operable shutter. The advantage of this arrangement is that it avoids the expense and complexity of a modern operable glazed sash, and can be constructed DIY without too much skill or trouble.
Glass is something of an illusory material in that it gives the impression of openness, but in fact a closed window, while it admits light and view, filters out a great deal else, and largely excludes the exterior from the interior in the sensory sense. A house with an envelope consisting almost entirely of floor-to-ceiling fixed glazing is much less in contact with the outside environment than a house which is all solid wall other than for a single unglazed opening. This isn’t necessarily a bad thing: in unpleasant environments, the ability of glass to divide light and view off from the other senses is often desirable, and one we take for granted.
In contrast, the semi-opaque paper-covered shoji of traditional Japanese dwellings admit light and sound but not view, and their solid timber amado shutters prevent sound to a degree, but exclude light. You cannot have light without sound, and you cannot have vision (view) without the other senses: smell and touch (breezes) and, in winter, cold. Again, the filter is brought within the building envelope, in this case in the form of warm clothes.
