Volume VII Number 2 Fall 199B A Forum for Teachers of Technology in Schools ofArchitecture Teaching Technology With Design For a long time we have heard about, and perhaps experienced, the separation between teclmology teaching and design teaching that reinforces the perception that they are indeed different activities. The "technology people" or "building science" people usually com- plain that students do not care about tech- nology or science when they are working in the design studio. Because of this vel)' reason, in our University of Adelaide, teclmology is taught in a design context and not as a separate course, thanks to the introduction of so-called "project-based learning" into the curriculum manyyears From the first to the final year, students learn ECS subjects and structures in a design context-they design a small build- ing, then a house, part of a large building, and finally large buildings, and at all these scales, technical issues are explored through and applied to 11IEIR DESIGNS. This means that people who teach the ECS-related and structures-related courses must also under- stand and be able to teach architectural de- sign. The response from students? They find building science exciting, interesting, and practical. Technical theories stick in their minds more, compared to those who learn the theories in a classroom, because theyap- ply the theories directly to their designs. A few examples: First year students in the Bachelor ofDesign Studies program take a subject called Built Environment Oecturer: Deborah White). One of the topics is solar radiation, light, and shadow. Students learn these issues and simultaneously design shad- ing devices for an existing building in a his- toric setting in the ety, using solar charts or a heliodon. Other aspects are also involved at the same time: function, context, aesthetics, materials, etc. Second year students take a subject called Technology and the Built Environment, which covers construction design, thermal issues, acoustics, and structures. (I coordinate this . subject). Each designs a small studio with his or her own friend as the client Again they use solar charts and a heliodon, and perform heat gain calculations through windows. They also size the roof purlins and rafters, analyse the road traffic, select wall and window ma- terials, etc. But first they have to produce preliminaty designs that are as creative and innovative as poSSible, and then use building science techniques to analyse, evaluate and refine their building designs. Third year students take a subject called Issues in Urban/Landscape Sustainability (Prof. Anthony Radford). In this class they learn such issues as rain water collection, grey water utilisation, geothermal energy, and ec0- nomic feasibility analysis, and then use this knowledge to design an urban-scale project This year they are using the ENER-WIN en- ergy simulation program (Texas A&M), and Form-Z to analyse the shadows and as their design and presentation tool. This method of teaching is also utilized in the B.Arch program. For example, in the first design studio of this program, students de- sign low-energy building{s) for a real client on a real site (coordinator: Deborah White). They perform site and climate analysis, ex- plore and analyze their ideas on low-energy designs, perform more detailed heat gain and loss calculations than was done in the sec- ond year, select materials, and prepare a set of working drawings. Through this teaching approach, we dem- onstrate to students that beauty and tec!mol- ogy are not in conflict My own approach is always (l) to challenge the students, and (2) help them realize the consequences of their deSign. For example, if a student puts a large window in a west wall, I tty to help her real- ize what this decision means in terms of com- fort and energy costs to people who use the building. At the beginning of this semester I was asked to give a lecture to the final year (B.Arch.) design studio students on ECS is- !lOit'lK <lUI!iUTEDtDUi tiiQT WilieR t.-sTEI I'IIDTIlWLT!H! lOUR ENERGY $1sTI,. «ioIIiIIt" IIDiIlEO • WIILI..UITERIUll Y T!III,c*n...e 1---, .L1L. IICT.... tlWTH!!tilN "e i)D1..' COIIRT'I'AAg lu ... 1!IfMIIH! IUfDliIiI1.SJ WIiLtli (lJUS1iUlVnIJ,gjftt liiJ""•• 1'£ $LAJifl University of Adelaide
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Volume VII Number 2 Fall 199B
A Forum for Teachers of Technology in Schools ofArchitecture
Teaching Technology With Design
For along time we have heard about and perhaps experienced the separation between teclmology teaching and design teaching that reinforces the perception that they are indeed different activities The technology people or building science people usually comshyplain that students do not care about techshynology or science when they are working in the design studio
Because ofthis vel) reason in our schoo~ University ofAdelaide teclmology is taught in adesign context and not as aseparate course thanks to the introduction of so-called project-based learning into the curriculum manyyears ~ From the firstto the final year students learn ECS subjects and structures in adesign context-they design a small buildshying then a house part of a large building and finally large buildings and at all these scales technical issues are explored through and applied to 11IEIR DESIGNS This means that people who teach the ECS-related and structures-related courses must also undershystand and be able to teach architectural deshysign
The response from students They find building science exciting interesting and practical Technical theories stick in their minds more compared to those who learn the theories in aclassroom because theyapshyply the theories directly to their designs
Afew examples First year students in the Bachelor ofDesign Studies program take a subject called Built Environment Oecturer Deborah White) One of the topics is solar radiation light and shadow Students learn these issues and simultaneously design shadshying devices for an existing building in ahisshytoric setting in the ety using solarcharts or a heliodon Other aspects are also involved at
the same time function context aesthetics materials etc
Second year students take asubject called Technology and the BuiltEnvironment which covers construction design thermal issues acoustics and structures (I coordinate this
subject) Each designs a small studio with his orher own friend as the client Again they use solar charts and aheliodon and perform heat gain calculations through windows They also size the roofpurlins and rafters analyse the road traffic select wall and window mashyterials etc But first they have to produce preliminaty designs that are as creative and innovative as poSSible and then use building science techniques to analyse evaluate and refine their building designs
Third year students take a subject called Issues in UrbanLandscape Sustainability (Prof Anthony Radford) In this class they learn such issues as rain water collection grey water utilisation geothermal energy and ec0shy
nomic feasibility analysis and then use this knowledge to design an urban-scale project This year they are using the ENER-WIN enshyergy simulation program (Texas AampM) and
Form-Z to analyse the shadows and as their design and presentation tool
This method ofteaching is also utilized in the BArch program For example in the first design studio of this program students deshysign low-energy buildings) for a real client on areal site (coordinator Deborah White) They perform site and climate analysis exshyplore and analyze their ideas on low-energy designs perform more detailed heat gain and loss calculations than was done in the secshyond year select materials and prepare aset ofworking drawings
Through this teaching approach we demshyonstrate to students that beauty and tecmolshyogy are not in conflict My own approach is always (l) to challenge the students and (2) help them realize the consequences oftheir deSign For example ifastudent puts alarge window in awest wall I tty to help her realshyize what this decision means in terms ofcomshyfort and energy costs to people who use the building
At the beginning of this semester Iwas asked to give a lecture to the final year (BArch) design studio students on ECS isshy
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Connector Fall 1998 Page 2
sues Ispoke about the problems ofwest facshying windows and showed the temperature differences between east and west facing walls and those on the north and south The stushydents had been asked to design a multistory building on anarrow lot in the dtywith along north-south axis so that the long facades would face east and west Ichallenged them to come up with a thermally effldent design in spite of this condition Iwas quite pleased with most ofthe resulting designs Some tried to break the building into several blocks so that the windows are all facing north and south Some massed the building along the north-south axis butcleverly designed the west wall so it will not face direct sun either by fragmenting the wall into angled segments or by intelligently conceived shading devices such as vertical fins Two students used westshyfaCing walls but made them of ventilated double glass with internal louvers None of them ignored the climatic and thermal issues yet no one designed an ordinary north-facing building (its a south latitude folks) either They produced buildings that are both beaushytiful and technolOgically sound
I think that we self-proclaimed building sdence people should not distance ourselves from or put ourselves into competition with design historical cultural and social issues In reality they always interact with each other anyway whether we recognize the fact or not We need to be practical and real Veronica Soebarto Department ofArchitecture Unishyversity ofAdelaide SA5005 Australia veronicaarchadelaideeduau
The Society of Building Science Educators (SBSE) held its 1998 annual retreat at Snakedance ski resort high above Taos New MexicoJune 18-21 Despite the rarified air of the 9400 ft elevation and the resulting panshydemic of minor nosebleeds the theme Masshytering the Art ofTeaching led to the demonshystration of some down-to-earth techniques for facilitating student learning of technical asshypects of architecture
The University of Oregons Rob Pena one of the two organizers of the retreat shared some ofhis most cherished New Mexico treashysures with the attendees En route to the reshytreat guided by Rob the vans delivered the group to the ristras-clad Rancho de Chimayo restaurant for a superb Southwestern lunshycheon The leisurely trip continued with visshyits to the hauntingly lovely half-abandoned quadrangle of the old town of Chimayo and the delightful adobe Las Trampas church
Once everyone was settled in at Snakedance co-organizer Alison Kwok also of the University of Oregon took up her half of the burden guiding the participants through acommnacione of teaching workshyshops Chris Luebkeman (MIT) and Ed Allen (unattached) conducted asession on graphishycal design of structures in which participants found form and forces for aMaillart-Iike conshycrete arch bridge that spanned 99 ft Charlie Brown (Oregon) Paul Clark (VPI) Mark DeKay (WashU) and Lance LaVine (Minneshysota) presented a two-part introduction to Energy Scheming acomputer-based tutorial with which students interact to make inshyformed decisions that affect the energy conshysumption ofthe building that they are designshying Cris Benton (Cal Berkeley) presented an architects view ofthe sun Lighting legshyend Marietta Millet (0 Washington) guided participants through the design oflighting fixshytures to meet different performance specifishycations using very simple materials Bruce Haglund (Idaho) who is also editor ofSBSE News the worlds best newsletter on archishytectural education showed how to do physishycal modeling of room acoustics with cardshyboard aluminum foil and a laser pointer Mike Garrison (Texas) described his Sound BUilding Studio in which students produce sound buildings byworking comprehensively on the full range of technical aspects as well as form and space There was one important characteristic that tied all these workshops together All of them demonstrated ways of teaching technical subject matter within the setting of adesign project rather than in the abstract
Special features ofthe retreat commenced the first afternoon with amuch-enjoyed workshyshop inwhich actress Carrie Danielson taught
dynamic techniques for preparing psychologishycally and physically for lecture appearances and similarly apprehension-laden events That evening Anne Marshall (Idaho) shared her investigative work on the stunning ruins of Chaco Canyon Peter Stone (Florida AampM) tuned peoples bodies each momingwith yoga sessions An afternoon van tour on the secshyond day took us to Mike Reynoldss totally selfshysufficient houses which are made largely of earth-filled tires and other economical comshyponents and to the beautiful solar adobe house of retired Cornell studio teacherJohn Shaw
The concluding event the last evening was the party favors exchange an occasion that other organizations would do well to copy Each participant brought a little teaching-reshylated gift in sufficient quantity that there were copies for everyone One person handed out a two-diskette energy analysis program that he had developed Another passed out kits for small sundials Athird gave everyone a couple of color slides of the new chapel in Seattle by Steven Holl Another slide gift feashytured a photo of the donors bathroom that showed a daylighting paradox that can be posed as apuzzle for students to explain One participant promised and later made good a gift of placing numerous color photos of the entire conference on the Web Awarm atmoshysphere of selfless camaraderie came over the group as the gifts flowed freely
Extramural events included an evening resshytaurant meal in Taos a tour ofTaos Pueblo an overnight canlping trip to Chaco Canyon individual hiking excursions along mountain trails and aerial photography using a giant kite
SBSE is an example ofwhat every teachshyers organization should be Its low-key inshyformal and oriented completely toward acshytivities that help its members in tangible ways slide exchanges teaching materials exshychanges teaching workshops an e-mail bulshyletin board an informative newsletter help in finding employment and low-cost high-imshypact meetings It stays clear of pomp acashydemic tides and pretense To date it has conshycentrated its work in the areas of HVAC lightshying and acoustics Teachers in the other techshynical areas would do well to form a similar organization or to offer to work toward an expansion ofSBSEs scope EdwardAHen
Improving on Wrzghts Masterpiece
Last Spring the Technology ill class at Syrashycuse University guided by Ted Ceraldi conshyducted a six-week investigation into the thershymal properties of Frank Lloyd Wrights Fallingwater house The group of90 gradushyate and undergraduate students was broken into twelve teams Teams 1and 2prepared as-built details and calculated heat losses for the existing assemblies of the house Teams 3 and 4redeSigned the details for greater thershymal efficiency and teams 5and 6calculated heat losses for iliese improved details Team 7prepared detailed axonometric drawings of ilie existing hydronic heating and plumbing systems of the house Team 8 utilized these drawings to design a new radiant floor hyshydronic heating system and team 9designed a forced-air heating and air conditioning sysshytem Team 10 redesigned the Original details ofilie house using Aerogel to improve thershymal performance and team 11 did the nushymerical evaluation ofiliese new details Team 12 designed ageothermal HVAC system for ilie house using boili ilie ground and the stream as heat sources
Original construction documents for the house were obtained and placed on reserve for student use by Barbara Opar ofthe SU Fine Arts library Students found thatin many cases the original drawings were rather sketchy leaving many decisions to the contractor Ceraldi specified in advance iliat all modifi-
Connector Fall 1998 Page 3
cations had to be accomplished without alshytering ilie appearance or changing ilie finish materials ofilie house and without changing the thicknesses of the existing assemblies The results were presented to the Western Pennsylvania Conservancy which is charged wiili maintaining and preserving Fallingwater
Upon visiting the house one ofthe students remarked Itwas amazing to stand in it and to touch itIt was smaller than you would iliink but the details we learned about were all there Ted Ceraldi is quoted in ilie Syrashycuse Record the campus newspaper as sayshying There is a built-in excitement with a project like this which motivates students to go beyond the original requirements He hopes to make iliis work the beginning of a
Connector Fall 1998 Page 4 book on retrofitting and updating greatworks ofarchitecture without changing their appearshyance He can be contacted at School of Arshychitecture Syracuse University 103 Slocum Hall Syracuse NY 13244-1250 (315)443shy2256
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Task Group on Open Building
The crn (International Council for Buildshying Research Studies and Documentation) a 5000 member organization fostering research and innovation in all areas ofthe building arts formed a new Task Group two years ago on the subject of open building The Task Group-TG26 Open BUilding Implementashytion-now has more than 40 members from 13 countries We are architects engineers building economists educators construction industry- professionals and researchers and policy makers in government agencies We meet regularly to discuss recent projects studies and activities and to devise ways to supporteach other in implementation ofopen building in practice TG has two joint-ltoorshydinators Karel Dekker (Delft) and Stephen Kendall (Silver Spring MD) We have aweb site at wwwdecconVobi
Questions-and participation in future
meetings and activities-are welcome Memmiddot bership in crn is a prerequisite for full parshyticipation in the Task Group but it is also posshysible to attend one meeting on an exploratoryshybasis
What is Open Building The first contemshyporary appearance of open building came in multi-tenantoffice buildings that are orgashynized on two levels a base building level (comprising all systems system components and spaces shared by all tenants) and a fitmiddot out level (comprising all products system components and spaces determined for indishyvidual tenants) The base building level conshysists largely of components that are relatively fixed whereas the fit-out level is made up of products and components that are modular and easily changed Presently the levels distinction is undergOing extensive change and consolidation in the United States and is coming to maturity in other countries It is also being introduced in residential architecshyture particularly in Europe and Asia with major funding and experimentation but also quietly in the US
In the future most architecture will be open to avariety of uses and occupancies over their useful life making for sustainable buildings The use of levels such as base building and fit-out will continue to help all parties organize romplexity and variety Furmiddot ther levels will be found andexploited to supshyport work and living eg within furniture systems The levels roncept helps explain how complex buildings and products work when one part (eg the fit-out or FFampE) must change without making the base bUilding change It also explains how romplex buildshyings and products operating with patterns of distributed control can nonetheless remain coherent and can avoid constant conflict among the responsible parties
There is good reason to say that in the rommiddot ing decade an infill or fit-out industry- will emerging internationally with new players new products and new skills to design inshystall and manage its product repertoire Fitshyout products from avuiety ofmanufacturers will become increaSingly comprehensive open and widely useful providing alternashytives to rigidly constructed integrated facilimiddot ties and products The concept of open sysshytems will likely prevail in arapidly changing built environment in which players align and
realign on afrequent basis and inwhich rommiddot plex closed product systems will often colshylapse from their own weight Stephen Kendall skendalJpipelinecom
New Structures Textbook
Fuller Moores newest book UnderstandshyingStructures has just been published by McGraw-Hill It introduces the concepts of structural support in buildings and emphashysizes the importance of integrating structure and architectural design Fuller has included numerous conceptual diagrams and illustrashytive case studies to help the reader develop an intuitive understanding of how structure affects the design ofbuildings
An introduction to the basic physical prinshyciples (statics dynamics and strength of materials) is followed by adescription ofthe various structural systems These are clearly presented in anonmathematica1 manner that stresses their architectural design implicashytions These systems include cable stays trusses space frames geodesic domes colshyumns and walls beams and slabs frames catenary cables tents pneumatics arches vaults shells and folded plates The theoryshyand behavior ofeach system is presented usshying extensive illustrations familiar analogies and model demonstrations followed by buildshying case studies These numerous case studshyies were selected for their integration ofstrucmiddot ture and excellent architectural design as well as their suitability for demonstrating the unique behavior of aspecific structural sysshytem Finally achapter on structural layout describes astep-by-step methodology for inshytegrating structure into the design process at the earliest stages using schematic framing plan diagrams a system selection matrix anddesign charts for preliminary member sizshying
Features include 79 case study buildings 32 model demonstration of structural prinshyciples end-of-lthapter summary of terms 179 citations in bibliography 503 illustrations (drawn by Fuller specifically for this book) 42 charts for preliminary member sizing and 286 pages paperback (11 x85 in)
To receive an examination copy eshymail a requestto wcbcompmcgrawshy
Four Misconceptions An Editorial
There are four misconceptions that occur frequently in the thinkshying of those of us who teach architecture and engineering
bullMisconception 1 We tend to think ofarchitecture as a combination ofartand science In reality architecture is neishyther science nor art nor even acombination of the two Science through experimentation and observation seeks to discover truths that already exist Architecture doesnt do that Art seeks to creshyate beauty for its own sake Architecture doesnt do that either Although architecture is informed by both science and art it is something else entirely It is a design discipline Adesign discipline seeks to create useful objects that have not previously existed objects such as buildings automobiles dishes cellular telephones jet engines boilers and bridges Adesign discipline achieves this act ofcreation through repeated cycles of synthesis and analysis in aprocess thatwe all know and understand using rough sketches tracing paper overlays quick study models crishytiques and progressively refined representations and analyses Design is the discipline ofaddressing problems that have no right orwrong answers only more or less acceptable ones In this it is entirely distinct from the disciplines of art and science
bullMisconception 2 We tend to think ofengineering as scishyence This is afallacy that perhaps can be traced to the proliferashytion of doctoral degrees among professors of engineering Docshytoral degrees are research degrees and many ifnot most holders ofdoctorates are scientific researchers who have little or no deshysign experience Thus many university engineering departments have gradually become transformed into scientific research esshytablishments But engineering is not science like architecture engineering is a design discipline The design methods of a good engineer are very much like those of agood architect emshyploying repeated cycles of synthesis and analysis to arrive at an acceptable solution to aproblem that has no right or wrong anshyswers The only essential difference between the design method of the architect and that of the engineer is that the engineer has a wonderful arsenal ofrelatively precise analytical techniques with which to judge the quality of what he or she has synthesized at each step of the design process Unfortunately the perceived preshycision and elegance of these analytical techniques has led to
bullMisconception 3 HistOrically whenever adesign discishypline IuJs developed acomprehensivesetofmathematicaltools Jor the analyticalportion ofthe designprocess we have tended to stop teaching the syntheticalaspects ofthat discipline and to teach only the mathematics This happened in the past with structures heating and cooling lighting and acoustics perhaps because the mathematics seemed scientific or perhaps because professors just found it easier to teach the math with its right and wrong answers than the soft parts ofadiscipline When Iwas a student Iwas taught only the mathematical techniques associated with these fields ofarchitectural technology In acourse on lightshy
ing for example our teacher an electrical engineering professhysor taught us the lumen and point-by-point methods for calculatshying illumination levels We did seemingly endless exercises with them but we never laid out alighting design for aroom or buildshying and qualitative considerations were scarcely mentioned It was the same in my other technical courses endless calculations no designing Fortunately lighting acoustics and HVAC have drawn back from this extreme position over the past thirty years-they tend to be taught as well-rounded design disciplines at many ifnot most schools of architecture considering synthesis as well as analysis and utilizing design problems as teaching veshyhicles The field of structures has been slower to change In many schools it is still taught only through mathematics omitting entirely the crucial and fascinating topics of how one selects a structural material and system and then applies them to an archishytectural problem Astonishingly this same state of affairs seems to exist in structural engineering programs Analogous situations pertain in most other fields ofengineering education as well
bullMisconception 4 We tend to associate studio teaching exclusively with the design ofarchitecturalform and space We tend to speak of studio courses and support courses or studios and building technology courses as if studio were synonymous with the design of space and form Studio is nothing more or less than a mode of teaching like classshyroom or laboratory Just as aclassroom setting is effective for learning through lectures and discussions just as alaboratory is effective for learning through experimentation and observation so astudio is effective for learning the methods of adesign discishypline any design diScipline Astudio is awonderful setting for teaching such design disciplines as structural deSign lighting deshysign acoustical deSign and design for thermal comfort If you want to teach a technical subject really well consider teaching it in astudio forma~with students pursuing adesign project ofyour devising As in atraditional architectural design studio your role in addition to being aroving critic is to offer lectures and demshyonstrations as needed to support the ongoing design work ofyour students The efficiency oflearning hovers up near the 100 mark because students feel agenuine need for the lecture mateshyrial and utilize it immediately Your tech studio neednt be afullshyscale afternoon studio but can have alesser time commitment and be offered in the mornings or on afternoons when the regushylar studios dont meet
Taken together these four misconceptions have done immeashysurable harm to architectural education because they have preshyvented us from realizing that architecture is all one thing Its seamless You cant split technology from design because technologyis design Ifyou try to make this spli~ you slice through the living tissue of architecture itself dismembering and killing it surely and swiftly Show me aschool ofarchitecture where techshynology is safely quarantined from design and Iwill show you aschool where the students design work is meaningless conshysisting at best ofempty images that are fit to be hung on gallery walls but not to be built or inhabited EdwardAUen
Connector Fall 1998 Page 6
hillcom or call (800) 338-3987 and ask for FacultyService
New Statics Textbook
Waclaw Zalewski and Edward Allen anshynounce publication of their new tex~ Shapshying Structures Statics (New York John Wiley amp Sons 1998 ISBN 0-471-16968-4) What sets this book apart from other statics texts is its emphasis on creative use of the fundamental conditions ofstatic equilibrium Rather than working with small problems that involve levers beams pulley systems and the like the student is immersed from the first chapter in finding form and forces for trusses cable-stayed structures suspension cables arches shells and constant-force funicular trusses Thus using no more than the three equations of static equilibrium and the forshymula for axial stress students find themselves designing large exciting long-span structures that for elegance and grace often rival the work of the masters Statics class becomes less of an academic exercise and more of a design course Both numerical and graphishycal methods are presented for each type of structure with some preference given to graphical methods because of their speed power and form-finding capabilities Through step-by-step lessons on acompanshyion CD-ROM tutorial disk (ISBN 0-471shy28338-X) created byJoseph lano it is easy for you and your students to learn the graphishycal methods The design ofstructural details is emphasized throughout the book on the premise that appropriate details are not only necessary for structural stability but are also key factors in the aesthetic success of astrucshyture Many of the worlds great structures by designers such as EiffeL Maill~ Nervi Menn Arup and Calatrava are pictured and anashylyzed thus unlocking the secrets of these masterworks in away that allows students to emulate them Both conventional and Slunits ofmeasurement are utilized in the calculashytions For examination copies ofthe text and CD telephone Wiley at (800)225-5945 or visit the books website at shapingstructurescom ATeachers Manual is available free of charge to teachers who
adopt the book as atext You can contact the authors directly via the website or at allenarchcompuservecom
Editors Note In order to avoidapparshyent or real conflict ofinteres~ the editor ofConnector has institutedanewpolicy on book reviews For any new book an announcement or review ofup to one double-spaced typewrittenpage will be printedprovided thatitisfurnished by the author ofthe book Thus whenyou read such an announcementor review you moy do so with the knowledge thatitrepresents the authorspointofview The announceshyments above werefurnished under this policy Authors ofnew books on architecshytural technology are encouraged to submit announcements or reviews that comply with the statedguidelines
Hands On Steel at USL
Twentyyears awgt Ideveloped acourse that was accepted by the American Institute of Steel Construction (AISC) for their then-curshyrent Hands-On Steel program for accredshyited schools of architecture The AISC proshyvided an initial grant to equip ametals lab and ayearly stipend for supplies and awards for afew years thereafter
At the University ofSouthwestern Louisishyana the Hands On Steel course started out as an elective that was offered during summer school It became so popular that it was moved to the fall semester as an elective course The course has been fully enrolled every year since that time Four years ago we started anew program in industrial design and the Hands On Steel course became a reshyquired course for thatcurriculum At present we offer the course both in fall and spring semesters There has been such ademand for admission that this year we are also offershying it during the summer semester it filled up during the firsttwo weeks of early regisshytration
The first part of the course consists of lecshytures on history process and use ofsteeL and field trips to ornamental ironworks metal building manufacturers offshore oil rig fabshyricators foundries machine and fabrications shops and high-tech laser cutting operations The middle third of the course comprises hands-on workshops in sheet metal work torch cutting welding and brazing arc weldshy
ing migwelding and blacksmith forging The students must have aproject designed by the end ofthis time and they spend the last third of the semester building the project Each student is required to submit slide documenshytation of process and final product Some of these images are reproduced here Edward J Cazayoux School ofArchitecture Unishyversity of Southwestern Louisiana LafayetteLA 70504-3850 (318)482-6229 ejc2954usledu
Masonry Camp The International Masonry Institute conshy
ducts week-long summer Masonry Camps on Swans Island off the coast of Maine These are organized in avery intelligentway Equal numbers of mason apprentices and intern architects are invited They are joined in teams of two one mason and one architect per team Each team designs abuilding with a loadbearing masonry structure and also constructs afull-scale mockup ofafeature of the design In the design work the architect takes the lead teaching the mason some funshydamentals ofthe design proress Inconstructshying the mockup the mason is the leader inshystructing the architect in some fundamentals ofthe craft At the end ofthe week the archishytect interns leave the island with avastly inshycreased fund of knowledge about masonry and agreat deal more respect for the skills of the mason The mason apprentices leave with agreater appreciation for the abilities and concerns of the architect and an increased knowledge and understanding ofthe role that design plays in their work An article in the February 1998 issue ofMasonry Construcshytion quotes one mason apprentice as saying ofarchitects at the end ofthe camp I never realized all the things they have to take into consideration Another said Their drawshyings were verywell exeruted their craftsmanshyship was excellent Architect interns were quoted as saying It made us understand what its like to be out thereThese arent things I was taught at schoolYou can do so much more ifyou appreciate and understand each others work Information on the Masonry Camps is available through David Sovinski of the International Masonry Institute Great Lakes Regional Office 53 WestJackson Boushylevard Suite 315 Chicago IL 60604 (312)347-2500
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Connector Is You Connector consists ofwhat you its readers put into it
Each ofyou has made certain innovations in how you teach technical subjects to architects Pick the one youre proudshyest of and write ashort infonnal article to tell us what you did why you did it and how it worked out Keep it laid back and readable avoiding henneneutic syllogisms transshyactional hyperspace and other advanced stuff that the Edishytor cant fathom Add relevant illustrations Submit i~ prefshyerably in digital forma~ preferably through e-mail but on acocktail napkin ifyou must and Connector will publish it communicating your ideas and experiences to a thoushysand other tech teachers including all those in North America and ascattering ofothers arOlUld the planet Thats how itworks Ifyou have a nonprofit product to distribshyute afaculty position to advertise or ifyou want to solicit some kind of help from your fellow teachers take advanshytage of Connectors free want-ads Deadlines areJanuary 31 for the Spring issue and August 31 for Fall Edward Allen Editor 129 Eliot Street South Natick MA 01760 Phone and fax are (508)653-3852 The e-mail address is allenarchcompuservecom
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Volume VII Number 2 Fall 1998_07
Volume VII Number 2 Fall 1998_08
Connector Fall 1998 Page 2
sues Ispoke about the problems ofwest facshying windows and showed the temperature differences between east and west facing walls and those on the north and south The stushydents had been asked to design a multistory building on anarrow lot in the dtywith along north-south axis so that the long facades would face east and west Ichallenged them to come up with a thermally effldent design in spite of this condition Iwas quite pleased with most ofthe resulting designs Some tried to break the building into several blocks so that the windows are all facing north and south Some massed the building along the north-south axis butcleverly designed the west wall so it will not face direct sun either by fragmenting the wall into angled segments or by intelligently conceived shading devices such as vertical fins Two students used westshyfaCing walls but made them of ventilated double glass with internal louvers None of them ignored the climatic and thermal issues yet no one designed an ordinary north-facing building (its a south latitude folks) either They produced buildings that are both beaushytiful and technolOgically sound
I think that we self-proclaimed building sdence people should not distance ourselves from or put ourselves into competition with design historical cultural and social issues In reality they always interact with each other anyway whether we recognize the fact or not We need to be practical and real Veronica Soebarto Department ofArchitecture Unishyversity ofAdelaide SA5005 Australia veronicaarchadelaideeduau
The Society of Building Science Educators (SBSE) held its 1998 annual retreat at Snakedance ski resort high above Taos New MexicoJune 18-21 Despite the rarified air of the 9400 ft elevation and the resulting panshydemic of minor nosebleeds the theme Masshytering the Art ofTeaching led to the demonshystration of some down-to-earth techniques for facilitating student learning of technical asshypects of architecture
The University of Oregons Rob Pena one of the two organizers of the retreat shared some ofhis most cherished New Mexico treashysures with the attendees En route to the reshytreat guided by Rob the vans delivered the group to the ristras-clad Rancho de Chimayo restaurant for a superb Southwestern lunshycheon The leisurely trip continued with visshyits to the hauntingly lovely half-abandoned quadrangle of the old town of Chimayo and the delightful adobe Las Trampas church
Once everyone was settled in at Snakedance co-organizer Alison Kwok also of the University of Oregon took up her half of the burden guiding the participants through acommnacione of teaching workshyshops Chris Luebkeman (MIT) and Ed Allen (unattached) conducted asession on graphishycal design of structures in which participants found form and forces for aMaillart-Iike conshycrete arch bridge that spanned 99 ft Charlie Brown (Oregon) Paul Clark (VPI) Mark DeKay (WashU) and Lance LaVine (Minneshysota) presented a two-part introduction to Energy Scheming acomputer-based tutorial with which students interact to make inshyformed decisions that affect the energy conshysumption ofthe building that they are designshying Cris Benton (Cal Berkeley) presented an architects view ofthe sun Lighting legshyend Marietta Millet (0 Washington) guided participants through the design oflighting fixshytures to meet different performance specifishycations using very simple materials Bruce Haglund (Idaho) who is also editor ofSBSE News the worlds best newsletter on archishytectural education showed how to do physishycal modeling of room acoustics with cardshyboard aluminum foil and a laser pointer Mike Garrison (Texas) described his Sound BUilding Studio in which students produce sound buildings byworking comprehensively on the full range of technical aspects as well as form and space There was one important characteristic that tied all these workshops together All of them demonstrated ways of teaching technical subject matter within the setting of adesign project rather than in the abstract
Special features ofthe retreat commenced the first afternoon with amuch-enjoyed workshyshop inwhich actress Carrie Danielson taught
dynamic techniques for preparing psychologishycally and physically for lecture appearances and similarly apprehension-laden events That evening Anne Marshall (Idaho) shared her investigative work on the stunning ruins of Chaco Canyon Peter Stone (Florida AampM) tuned peoples bodies each momingwith yoga sessions An afternoon van tour on the secshyond day took us to Mike Reynoldss totally selfshysufficient houses which are made largely of earth-filled tires and other economical comshyponents and to the beautiful solar adobe house of retired Cornell studio teacherJohn Shaw
The concluding event the last evening was the party favors exchange an occasion that other organizations would do well to copy Each participant brought a little teaching-reshylated gift in sufficient quantity that there were copies for everyone One person handed out a two-diskette energy analysis program that he had developed Another passed out kits for small sundials Athird gave everyone a couple of color slides of the new chapel in Seattle by Steven Holl Another slide gift feashytured a photo of the donors bathroom that showed a daylighting paradox that can be posed as apuzzle for students to explain One participant promised and later made good a gift of placing numerous color photos of the entire conference on the Web Awarm atmoshysphere of selfless camaraderie came over the group as the gifts flowed freely
Extramural events included an evening resshytaurant meal in Taos a tour ofTaos Pueblo an overnight canlping trip to Chaco Canyon individual hiking excursions along mountain trails and aerial photography using a giant kite
SBSE is an example ofwhat every teachshyers organization should be Its low-key inshyformal and oriented completely toward acshytivities that help its members in tangible ways slide exchanges teaching materials exshychanges teaching workshops an e-mail bulshyletin board an informative newsletter help in finding employment and low-cost high-imshypact meetings It stays clear of pomp acashydemic tides and pretense To date it has conshycentrated its work in the areas of HVAC lightshying and acoustics Teachers in the other techshynical areas would do well to form a similar organization or to offer to work toward an expansion ofSBSEs scope EdwardAHen
Improving on Wrzghts Masterpiece
Last Spring the Technology ill class at Syrashycuse University guided by Ted Ceraldi conshyducted a six-week investigation into the thershymal properties of Frank Lloyd Wrights Fallingwater house The group of90 gradushyate and undergraduate students was broken into twelve teams Teams 1and 2prepared as-built details and calculated heat losses for the existing assemblies of the house Teams 3 and 4redeSigned the details for greater thershymal efficiency and teams 5and 6calculated heat losses for iliese improved details Team 7prepared detailed axonometric drawings of ilie existing hydronic heating and plumbing systems of the house Team 8 utilized these drawings to design a new radiant floor hyshydronic heating system and team 9designed a forced-air heating and air conditioning sysshytem Team 10 redesigned the Original details ofilie house using Aerogel to improve thershymal performance and team 11 did the nushymerical evaluation ofiliese new details Team 12 designed ageothermal HVAC system for ilie house using boili ilie ground and the stream as heat sources
Original construction documents for the house were obtained and placed on reserve for student use by Barbara Opar ofthe SU Fine Arts library Students found thatin many cases the original drawings were rather sketchy leaving many decisions to the contractor Ceraldi specified in advance iliat all modifi-
Connector Fall 1998 Page 3
cations had to be accomplished without alshytering ilie appearance or changing ilie finish materials ofilie house and without changing the thicknesses of the existing assemblies The results were presented to the Western Pennsylvania Conservancy which is charged wiili maintaining and preserving Fallingwater
Upon visiting the house one ofthe students remarked Itwas amazing to stand in it and to touch itIt was smaller than you would iliink but the details we learned about were all there Ted Ceraldi is quoted in ilie Syrashycuse Record the campus newspaper as sayshying There is a built-in excitement with a project like this which motivates students to go beyond the original requirements He hopes to make iliis work the beginning of a
Connector Fall 1998 Page 4 book on retrofitting and updating greatworks ofarchitecture without changing their appearshyance He can be contacted at School of Arshychitecture Syracuse University 103 Slocum Hall Syracuse NY 13244-1250 (315)443shy2256
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Task Group on Open Building
The crn (International Council for Buildshying Research Studies and Documentation) a 5000 member organization fostering research and innovation in all areas ofthe building arts formed a new Task Group two years ago on the subject of open building The Task Group-TG26 Open BUilding Implementashytion-now has more than 40 members from 13 countries We are architects engineers building economists educators construction industry- professionals and researchers and policy makers in government agencies We meet regularly to discuss recent projects studies and activities and to devise ways to supporteach other in implementation ofopen building in practice TG has two joint-ltoorshydinators Karel Dekker (Delft) and Stephen Kendall (Silver Spring MD) We have aweb site at wwwdecconVobi
Questions-and participation in future
meetings and activities-are welcome Memmiddot bership in crn is a prerequisite for full parshyticipation in the Task Group but it is also posshysible to attend one meeting on an exploratoryshybasis
What is Open Building The first contemshyporary appearance of open building came in multi-tenantoffice buildings that are orgashynized on two levels a base building level (comprising all systems system components and spaces shared by all tenants) and a fitmiddot out level (comprising all products system components and spaces determined for indishyvidual tenants) The base building level conshysists largely of components that are relatively fixed whereas the fit-out level is made up of products and components that are modular and easily changed Presently the levels distinction is undergOing extensive change and consolidation in the United States and is coming to maturity in other countries It is also being introduced in residential architecshyture particularly in Europe and Asia with major funding and experimentation but also quietly in the US
In the future most architecture will be open to avariety of uses and occupancies over their useful life making for sustainable buildings The use of levels such as base building and fit-out will continue to help all parties organize romplexity and variety Furmiddot ther levels will be found andexploited to supshyport work and living eg within furniture systems The levels roncept helps explain how complex buildings and products work when one part (eg the fit-out or FFampE) must change without making the base bUilding change It also explains how romplex buildshyings and products operating with patterns of distributed control can nonetheless remain coherent and can avoid constant conflict among the responsible parties
There is good reason to say that in the rommiddot ing decade an infill or fit-out industry- will emerging internationally with new players new products and new skills to design inshystall and manage its product repertoire Fitshyout products from avuiety ofmanufacturers will become increaSingly comprehensive open and widely useful providing alternashytives to rigidly constructed integrated facilimiddot ties and products The concept of open sysshytems will likely prevail in arapidly changing built environment in which players align and
realign on afrequent basis and inwhich rommiddot plex closed product systems will often colshylapse from their own weight Stephen Kendall skendalJpipelinecom
New Structures Textbook
Fuller Moores newest book UnderstandshyingStructures has just been published by McGraw-Hill It introduces the concepts of structural support in buildings and emphashysizes the importance of integrating structure and architectural design Fuller has included numerous conceptual diagrams and illustrashytive case studies to help the reader develop an intuitive understanding of how structure affects the design ofbuildings
An introduction to the basic physical prinshyciples (statics dynamics and strength of materials) is followed by adescription ofthe various structural systems These are clearly presented in anonmathematica1 manner that stresses their architectural design implicashytions These systems include cable stays trusses space frames geodesic domes colshyumns and walls beams and slabs frames catenary cables tents pneumatics arches vaults shells and folded plates The theoryshyand behavior ofeach system is presented usshying extensive illustrations familiar analogies and model demonstrations followed by buildshying case studies These numerous case studshyies were selected for their integration ofstrucmiddot ture and excellent architectural design as well as their suitability for demonstrating the unique behavior of aspecific structural sysshytem Finally achapter on structural layout describes astep-by-step methodology for inshytegrating structure into the design process at the earliest stages using schematic framing plan diagrams a system selection matrix anddesign charts for preliminary member sizshying
Features include 79 case study buildings 32 model demonstration of structural prinshyciples end-of-lthapter summary of terms 179 citations in bibliography 503 illustrations (drawn by Fuller specifically for this book) 42 charts for preliminary member sizing and 286 pages paperback (11 x85 in)
To receive an examination copy eshymail a requestto wcbcompmcgrawshy
Four Misconceptions An Editorial
There are four misconceptions that occur frequently in the thinkshying of those of us who teach architecture and engineering
bullMisconception 1 We tend to think ofarchitecture as a combination ofartand science In reality architecture is neishyther science nor art nor even acombination of the two Science through experimentation and observation seeks to discover truths that already exist Architecture doesnt do that Art seeks to creshyate beauty for its own sake Architecture doesnt do that either Although architecture is informed by both science and art it is something else entirely It is a design discipline Adesign discipline seeks to create useful objects that have not previously existed objects such as buildings automobiles dishes cellular telephones jet engines boilers and bridges Adesign discipline achieves this act ofcreation through repeated cycles of synthesis and analysis in aprocess thatwe all know and understand using rough sketches tracing paper overlays quick study models crishytiques and progressively refined representations and analyses Design is the discipline ofaddressing problems that have no right orwrong answers only more or less acceptable ones In this it is entirely distinct from the disciplines of art and science
bullMisconception 2 We tend to think ofengineering as scishyence This is afallacy that perhaps can be traced to the proliferashytion of doctoral degrees among professors of engineering Docshytoral degrees are research degrees and many ifnot most holders ofdoctorates are scientific researchers who have little or no deshysign experience Thus many university engineering departments have gradually become transformed into scientific research esshytablishments But engineering is not science like architecture engineering is a design discipline The design methods of a good engineer are very much like those of agood architect emshyploying repeated cycles of synthesis and analysis to arrive at an acceptable solution to aproblem that has no right or wrong anshyswers The only essential difference between the design method of the architect and that of the engineer is that the engineer has a wonderful arsenal ofrelatively precise analytical techniques with which to judge the quality of what he or she has synthesized at each step of the design process Unfortunately the perceived preshycision and elegance of these analytical techniques has led to
bullMisconception 3 HistOrically whenever adesign discishypline IuJs developed acomprehensivesetofmathematicaltools Jor the analyticalportion ofthe designprocess we have tended to stop teaching the syntheticalaspects ofthat discipline and to teach only the mathematics This happened in the past with structures heating and cooling lighting and acoustics perhaps because the mathematics seemed scientific or perhaps because professors just found it easier to teach the math with its right and wrong answers than the soft parts ofadiscipline When Iwas a student Iwas taught only the mathematical techniques associated with these fields ofarchitectural technology In acourse on lightshy
ing for example our teacher an electrical engineering professhysor taught us the lumen and point-by-point methods for calculatshying illumination levels We did seemingly endless exercises with them but we never laid out alighting design for aroom or buildshying and qualitative considerations were scarcely mentioned It was the same in my other technical courses endless calculations no designing Fortunately lighting acoustics and HVAC have drawn back from this extreme position over the past thirty years-they tend to be taught as well-rounded design disciplines at many ifnot most schools of architecture considering synthesis as well as analysis and utilizing design problems as teaching veshyhicles The field of structures has been slower to change In many schools it is still taught only through mathematics omitting entirely the crucial and fascinating topics of how one selects a structural material and system and then applies them to an archishytectural problem Astonishingly this same state of affairs seems to exist in structural engineering programs Analogous situations pertain in most other fields ofengineering education as well
bullMisconception 4 We tend to associate studio teaching exclusively with the design ofarchitecturalform and space We tend to speak of studio courses and support courses or studios and building technology courses as if studio were synonymous with the design of space and form Studio is nothing more or less than a mode of teaching like classshyroom or laboratory Just as aclassroom setting is effective for learning through lectures and discussions just as alaboratory is effective for learning through experimentation and observation so astudio is effective for learning the methods of adesign discishypline any design diScipline Astudio is awonderful setting for teaching such design disciplines as structural deSign lighting deshysign acoustical deSign and design for thermal comfort If you want to teach a technical subject really well consider teaching it in astudio forma~with students pursuing adesign project ofyour devising As in atraditional architectural design studio your role in addition to being aroving critic is to offer lectures and demshyonstrations as needed to support the ongoing design work ofyour students The efficiency oflearning hovers up near the 100 mark because students feel agenuine need for the lecture mateshyrial and utilize it immediately Your tech studio neednt be afullshyscale afternoon studio but can have alesser time commitment and be offered in the mornings or on afternoons when the regushylar studios dont meet
Taken together these four misconceptions have done immeashysurable harm to architectural education because they have preshyvented us from realizing that architecture is all one thing Its seamless You cant split technology from design because technologyis design Ifyou try to make this spli~ you slice through the living tissue of architecture itself dismembering and killing it surely and swiftly Show me aschool ofarchitecture where techshynology is safely quarantined from design and Iwill show you aschool where the students design work is meaningless conshysisting at best ofempty images that are fit to be hung on gallery walls but not to be built or inhabited EdwardAUen
Connector Fall 1998 Page 6
hillcom or call (800) 338-3987 and ask for FacultyService
New Statics Textbook
Waclaw Zalewski and Edward Allen anshynounce publication of their new tex~ Shapshying Structures Statics (New York John Wiley amp Sons 1998 ISBN 0-471-16968-4) What sets this book apart from other statics texts is its emphasis on creative use of the fundamental conditions ofstatic equilibrium Rather than working with small problems that involve levers beams pulley systems and the like the student is immersed from the first chapter in finding form and forces for trusses cable-stayed structures suspension cables arches shells and constant-force funicular trusses Thus using no more than the three equations of static equilibrium and the forshymula for axial stress students find themselves designing large exciting long-span structures that for elegance and grace often rival the work of the masters Statics class becomes less of an academic exercise and more of a design course Both numerical and graphishycal methods are presented for each type of structure with some preference given to graphical methods because of their speed power and form-finding capabilities Through step-by-step lessons on acompanshyion CD-ROM tutorial disk (ISBN 0-471shy28338-X) created byJoseph lano it is easy for you and your students to learn the graphishycal methods The design ofstructural details is emphasized throughout the book on the premise that appropriate details are not only necessary for structural stability but are also key factors in the aesthetic success of astrucshyture Many of the worlds great structures by designers such as EiffeL Maill~ Nervi Menn Arup and Calatrava are pictured and anashylyzed thus unlocking the secrets of these masterworks in away that allows students to emulate them Both conventional and Slunits ofmeasurement are utilized in the calculashytions For examination copies ofthe text and CD telephone Wiley at (800)225-5945 or visit the books website at shapingstructurescom ATeachers Manual is available free of charge to teachers who
adopt the book as atext You can contact the authors directly via the website or at allenarchcompuservecom
Editors Note In order to avoidapparshyent or real conflict ofinteres~ the editor ofConnector has institutedanewpolicy on book reviews For any new book an announcement or review ofup to one double-spaced typewrittenpage will be printedprovided thatitisfurnished by the author ofthe book Thus whenyou read such an announcementor review you moy do so with the knowledge thatitrepresents the authorspointofview The announceshyments above werefurnished under this policy Authors ofnew books on architecshytural technology are encouraged to submit announcements or reviews that comply with the statedguidelines
Hands On Steel at USL
Twentyyears awgt Ideveloped acourse that was accepted by the American Institute of Steel Construction (AISC) for their then-curshyrent Hands-On Steel program for accredshyited schools of architecture The AISC proshyvided an initial grant to equip ametals lab and ayearly stipend for supplies and awards for afew years thereafter
At the University ofSouthwestern Louisishyana the Hands On Steel course started out as an elective that was offered during summer school It became so popular that it was moved to the fall semester as an elective course The course has been fully enrolled every year since that time Four years ago we started anew program in industrial design and the Hands On Steel course became a reshyquired course for thatcurriculum At present we offer the course both in fall and spring semesters There has been such ademand for admission that this year we are also offershying it during the summer semester it filled up during the firsttwo weeks of early regisshytration
The first part of the course consists of lecshytures on history process and use ofsteeL and field trips to ornamental ironworks metal building manufacturers offshore oil rig fabshyricators foundries machine and fabrications shops and high-tech laser cutting operations The middle third of the course comprises hands-on workshops in sheet metal work torch cutting welding and brazing arc weldshy
ing migwelding and blacksmith forging The students must have aproject designed by the end ofthis time and they spend the last third of the semester building the project Each student is required to submit slide documenshytation of process and final product Some of these images are reproduced here Edward J Cazayoux School ofArchitecture Unishyversity of Southwestern Louisiana LafayetteLA 70504-3850 (318)482-6229 ejc2954usledu
Masonry Camp The International Masonry Institute conshy
ducts week-long summer Masonry Camps on Swans Island off the coast of Maine These are organized in avery intelligentway Equal numbers of mason apprentices and intern architects are invited They are joined in teams of two one mason and one architect per team Each team designs abuilding with a loadbearing masonry structure and also constructs afull-scale mockup ofafeature of the design In the design work the architect takes the lead teaching the mason some funshydamentals ofthe design proress Inconstructshying the mockup the mason is the leader inshystructing the architect in some fundamentals ofthe craft At the end ofthe week the archishytect interns leave the island with avastly inshycreased fund of knowledge about masonry and agreat deal more respect for the skills of the mason The mason apprentices leave with agreater appreciation for the abilities and concerns of the architect and an increased knowledge and understanding ofthe role that design plays in their work An article in the February 1998 issue ofMasonry Construcshytion quotes one mason apprentice as saying ofarchitects at the end ofthe camp I never realized all the things they have to take into consideration Another said Their drawshyings were verywell exeruted their craftsmanshyship was excellent Architect interns were quoted as saying It made us understand what its like to be out thereThese arent things I was taught at schoolYou can do so much more ifyou appreciate and understand each others work Information on the Masonry Camps is available through David Sovinski of the International Masonry Institute Great Lakes Regional Office 53 WestJackson Boushylevard Suite 315 Chicago IL 60604 (312)347-2500
Connector Fall 1998 Page 7
bull
Connector Fall 1998 Page 8
Connector Is You Connector consists ofwhat you its readers put into it
Each ofyou has made certain innovations in how you teach technical subjects to architects Pick the one youre proudshyest of and write ashort infonnal article to tell us what you did why you did it and how it worked out Keep it laid back and readable avoiding henneneutic syllogisms transshyactional hyperspace and other advanced stuff that the Edishytor cant fathom Add relevant illustrations Submit i~ prefshyerably in digital forma~ preferably through e-mail but on acocktail napkin ifyou must and Connector will publish it communicating your ideas and experiences to a thoushysand other tech teachers including all those in North America and ascattering ofothers arOlUld the planet Thats how itworks Ifyou have a nonprofit product to distribshyute afaculty position to advertise or ifyou want to solicit some kind of help from your fellow teachers take advanshytage of Connectors free want-ads Deadlines areJanuary 31 for the Spring issue and August 31 for Fall Edward Allen Editor 129 Eliot Street South Natick MA 01760 Phone and fax are (508)653-3852 The e-mail address is allenarchcompuservecom
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Volume VII Number 2 Fall 1998_01
Volume VII Number 2 Fall 1998_02
Volume VII Number 2 Fall 1998_03
Volume VII Number 2 Fall 1998_04
Volume VII Number 2 Fall 1998_05
Volume VII Number 2 Fall 1998_06
Volume VII Number 2 Fall 1998_07
Volume VII Number 2 Fall 1998_08
dynamic techniques for preparing psychologishycally and physically for lecture appearances and similarly apprehension-laden events That evening Anne Marshall (Idaho) shared her investigative work on the stunning ruins of Chaco Canyon Peter Stone (Florida AampM) tuned peoples bodies each momingwith yoga sessions An afternoon van tour on the secshyond day took us to Mike Reynoldss totally selfshysufficient houses which are made largely of earth-filled tires and other economical comshyponents and to the beautiful solar adobe house of retired Cornell studio teacherJohn Shaw
The concluding event the last evening was the party favors exchange an occasion that other organizations would do well to copy Each participant brought a little teaching-reshylated gift in sufficient quantity that there were copies for everyone One person handed out a two-diskette energy analysis program that he had developed Another passed out kits for small sundials Athird gave everyone a couple of color slides of the new chapel in Seattle by Steven Holl Another slide gift feashytured a photo of the donors bathroom that showed a daylighting paradox that can be posed as apuzzle for students to explain One participant promised and later made good a gift of placing numerous color photos of the entire conference on the Web Awarm atmoshysphere of selfless camaraderie came over the group as the gifts flowed freely
Extramural events included an evening resshytaurant meal in Taos a tour ofTaos Pueblo an overnight canlping trip to Chaco Canyon individual hiking excursions along mountain trails and aerial photography using a giant kite
SBSE is an example ofwhat every teachshyers organization should be Its low-key inshyformal and oriented completely toward acshytivities that help its members in tangible ways slide exchanges teaching materials exshychanges teaching workshops an e-mail bulshyletin board an informative newsletter help in finding employment and low-cost high-imshypact meetings It stays clear of pomp acashydemic tides and pretense To date it has conshycentrated its work in the areas of HVAC lightshying and acoustics Teachers in the other techshynical areas would do well to form a similar organization or to offer to work toward an expansion ofSBSEs scope EdwardAHen
Improving on Wrzghts Masterpiece
Last Spring the Technology ill class at Syrashycuse University guided by Ted Ceraldi conshyducted a six-week investigation into the thershymal properties of Frank Lloyd Wrights Fallingwater house The group of90 gradushyate and undergraduate students was broken into twelve teams Teams 1and 2prepared as-built details and calculated heat losses for the existing assemblies of the house Teams 3 and 4redeSigned the details for greater thershymal efficiency and teams 5and 6calculated heat losses for iliese improved details Team 7prepared detailed axonometric drawings of ilie existing hydronic heating and plumbing systems of the house Team 8 utilized these drawings to design a new radiant floor hyshydronic heating system and team 9designed a forced-air heating and air conditioning sysshytem Team 10 redesigned the Original details ofilie house using Aerogel to improve thershymal performance and team 11 did the nushymerical evaluation ofiliese new details Team 12 designed ageothermal HVAC system for ilie house using boili ilie ground and the stream as heat sources
Original construction documents for the house were obtained and placed on reserve for student use by Barbara Opar ofthe SU Fine Arts library Students found thatin many cases the original drawings were rather sketchy leaving many decisions to the contractor Ceraldi specified in advance iliat all modifi-
Connector Fall 1998 Page 3
cations had to be accomplished without alshytering ilie appearance or changing ilie finish materials ofilie house and without changing the thicknesses of the existing assemblies The results were presented to the Western Pennsylvania Conservancy which is charged wiili maintaining and preserving Fallingwater
Upon visiting the house one ofthe students remarked Itwas amazing to stand in it and to touch itIt was smaller than you would iliink but the details we learned about were all there Ted Ceraldi is quoted in ilie Syrashycuse Record the campus newspaper as sayshying There is a built-in excitement with a project like this which motivates students to go beyond the original requirements He hopes to make iliis work the beginning of a
Connector Fall 1998 Page 4 book on retrofitting and updating greatworks ofarchitecture without changing their appearshyance He can be contacted at School of Arshychitecture Syracuse University 103 Slocum Hall Syracuse NY 13244-1250 (315)443shy2256
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Task Group on Open Building
The crn (International Council for Buildshying Research Studies and Documentation) a 5000 member organization fostering research and innovation in all areas ofthe building arts formed a new Task Group two years ago on the subject of open building The Task Group-TG26 Open BUilding Implementashytion-now has more than 40 members from 13 countries We are architects engineers building economists educators construction industry- professionals and researchers and policy makers in government agencies We meet regularly to discuss recent projects studies and activities and to devise ways to supporteach other in implementation ofopen building in practice TG has two joint-ltoorshydinators Karel Dekker (Delft) and Stephen Kendall (Silver Spring MD) We have aweb site at wwwdecconVobi
Questions-and participation in future
meetings and activities-are welcome Memmiddot bership in crn is a prerequisite for full parshyticipation in the Task Group but it is also posshysible to attend one meeting on an exploratoryshybasis
What is Open Building The first contemshyporary appearance of open building came in multi-tenantoffice buildings that are orgashynized on two levels a base building level (comprising all systems system components and spaces shared by all tenants) and a fitmiddot out level (comprising all products system components and spaces determined for indishyvidual tenants) The base building level conshysists largely of components that are relatively fixed whereas the fit-out level is made up of products and components that are modular and easily changed Presently the levels distinction is undergOing extensive change and consolidation in the United States and is coming to maturity in other countries It is also being introduced in residential architecshyture particularly in Europe and Asia with major funding and experimentation but also quietly in the US
In the future most architecture will be open to avariety of uses and occupancies over their useful life making for sustainable buildings The use of levels such as base building and fit-out will continue to help all parties organize romplexity and variety Furmiddot ther levels will be found andexploited to supshyport work and living eg within furniture systems The levels roncept helps explain how complex buildings and products work when one part (eg the fit-out or FFampE) must change without making the base bUilding change It also explains how romplex buildshyings and products operating with patterns of distributed control can nonetheless remain coherent and can avoid constant conflict among the responsible parties
There is good reason to say that in the rommiddot ing decade an infill or fit-out industry- will emerging internationally with new players new products and new skills to design inshystall and manage its product repertoire Fitshyout products from avuiety ofmanufacturers will become increaSingly comprehensive open and widely useful providing alternashytives to rigidly constructed integrated facilimiddot ties and products The concept of open sysshytems will likely prevail in arapidly changing built environment in which players align and
realign on afrequent basis and inwhich rommiddot plex closed product systems will often colshylapse from their own weight Stephen Kendall skendalJpipelinecom
New Structures Textbook
Fuller Moores newest book UnderstandshyingStructures has just been published by McGraw-Hill It introduces the concepts of structural support in buildings and emphashysizes the importance of integrating structure and architectural design Fuller has included numerous conceptual diagrams and illustrashytive case studies to help the reader develop an intuitive understanding of how structure affects the design ofbuildings
An introduction to the basic physical prinshyciples (statics dynamics and strength of materials) is followed by adescription ofthe various structural systems These are clearly presented in anonmathematica1 manner that stresses their architectural design implicashytions These systems include cable stays trusses space frames geodesic domes colshyumns and walls beams and slabs frames catenary cables tents pneumatics arches vaults shells and folded plates The theoryshyand behavior ofeach system is presented usshying extensive illustrations familiar analogies and model demonstrations followed by buildshying case studies These numerous case studshyies were selected for their integration ofstrucmiddot ture and excellent architectural design as well as their suitability for demonstrating the unique behavior of aspecific structural sysshytem Finally achapter on structural layout describes astep-by-step methodology for inshytegrating structure into the design process at the earliest stages using schematic framing plan diagrams a system selection matrix anddesign charts for preliminary member sizshying
Features include 79 case study buildings 32 model demonstration of structural prinshyciples end-of-lthapter summary of terms 179 citations in bibliography 503 illustrations (drawn by Fuller specifically for this book) 42 charts for preliminary member sizing and 286 pages paperback (11 x85 in)
To receive an examination copy eshymail a requestto wcbcompmcgrawshy
Four Misconceptions An Editorial
There are four misconceptions that occur frequently in the thinkshying of those of us who teach architecture and engineering
bullMisconception 1 We tend to think ofarchitecture as a combination ofartand science In reality architecture is neishyther science nor art nor even acombination of the two Science through experimentation and observation seeks to discover truths that already exist Architecture doesnt do that Art seeks to creshyate beauty for its own sake Architecture doesnt do that either Although architecture is informed by both science and art it is something else entirely It is a design discipline Adesign discipline seeks to create useful objects that have not previously existed objects such as buildings automobiles dishes cellular telephones jet engines boilers and bridges Adesign discipline achieves this act ofcreation through repeated cycles of synthesis and analysis in aprocess thatwe all know and understand using rough sketches tracing paper overlays quick study models crishytiques and progressively refined representations and analyses Design is the discipline ofaddressing problems that have no right orwrong answers only more or less acceptable ones In this it is entirely distinct from the disciplines of art and science
bullMisconception 2 We tend to think ofengineering as scishyence This is afallacy that perhaps can be traced to the proliferashytion of doctoral degrees among professors of engineering Docshytoral degrees are research degrees and many ifnot most holders ofdoctorates are scientific researchers who have little or no deshysign experience Thus many university engineering departments have gradually become transformed into scientific research esshytablishments But engineering is not science like architecture engineering is a design discipline The design methods of a good engineer are very much like those of agood architect emshyploying repeated cycles of synthesis and analysis to arrive at an acceptable solution to aproblem that has no right or wrong anshyswers The only essential difference between the design method of the architect and that of the engineer is that the engineer has a wonderful arsenal ofrelatively precise analytical techniques with which to judge the quality of what he or she has synthesized at each step of the design process Unfortunately the perceived preshycision and elegance of these analytical techniques has led to
bullMisconception 3 HistOrically whenever adesign discishypline IuJs developed acomprehensivesetofmathematicaltools Jor the analyticalportion ofthe designprocess we have tended to stop teaching the syntheticalaspects ofthat discipline and to teach only the mathematics This happened in the past with structures heating and cooling lighting and acoustics perhaps because the mathematics seemed scientific or perhaps because professors just found it easier to teach the math with its right and wrong answers than the soft parts ofadiscipline When Iwas a student Iwas taught only the mathematical techniques associated with these fields ofarchitectural technology In acourse on lightshy
ing for example our teacher an electrical engineering professhysor taught us the lumen and point-by-point methods for calculatshying illumination levels We did seemingly endless exercises with them but we never laid out alighting design for aroom or buildshying and qualitative considerations were scarcely mentioned It was the same in my other technical courses endless calculations no designing Fortunately lighting acoustics and HVAC have drawn back from this extreme position over the past thirty years-they tend to be taught as well-rounded design disciplines at many ifnot most schools of architecture considering synthesis as well as analysis and utilizing design problems as teaching veshyhicles The field of structures has been slower to change In many schools it is still taught only through mathematics omitting entirely the crucial and fascinating topics of how one selects a structural material and system and then applies them to an archishytectural problem Astonishingly this same state of affairs seems to exist in structural engineering programs Analogous situations pertain in most other fields ofengineering education as well
bullMisconception 4 We tend to associate studio teaching exclusively with the design ofarchitecturalform and space We tend to speak of studio courses and support courses or studios and building technology courses as if studio were synonymous with the design of space and form Studio is nothing more or less than a mode of teaching like classshyroom or laboratory Just as aclassroom setting is effective for learning through lectures and discussions just as alaboratory is effective for learning through experimentation and observation so astudio is effective for learning the methods of adesign discishypline any design diScipline Astudio is awonderful setting for teaching such design disciplines as structural deSign lighting deshysign acoustical deSign and design for thermal comfort If you want to teach a technical subject really well consider teaching it in astudio forma~with students pursuing adesign project ofyour devising As in atraditional architectural design studio your role in addition to being aroving critic is to offer lectures and demshyonstrations as needed to support the ongoing design work ofyour students The efficiency oflearning hovers up near the 100 mark because students feel agenuine need for the lecture mateshyrial and utilize it immediately Your tech studio neednt be afullshyscale afternoon studio but can have alesser time commitment and be offered in the mornings or on afternoons when the regushylar studios dont meet
Taken together these four misconceptions have done immeashysurable harm to architectural education because they have preshyvented us from realizing that architecture is all one thing Its seamless You cant split technology from design because technologyis design Ifyou try to make this spli~ you slice through the living tissue of architecture itself dismembering and killing it surely and swiftly Show me aschool ofarchitecture where techshynology is safely quarantined from design and Iwill show you aschool where the students design work is meaningless conshysisting at best ofempty images that are fit to be hung on gallery walls but not to be built or inhabited EdwardAUen
Connector Fall 1998 Page 6
hillcom or call (800) 338-3987 and ask for FacultyService
New Statics Textbook
Waclaw Zalewski and Edward Allen anshynounce publication of their new tex~ Shapshying Structures Statics (New York John Wiley amp Sons 1998 ISBN 0-471-16968-4) What sets this book apart from other statics texts is its emphasis on creative use of the fundamental conditions ofstatic equilibrium Rather than working with small problems that involve levers beams pulley systems and the like the student is immersed from the first chapter in finding form and forces for trusses cable-stayed structures suspension cables arches shells and constant-force funicular trusses Thus using no more than the three equations of static equilibrium and the forshymula for axial stress students find themselves designing large exciting long-span structures that for elegance and grace often rival the work of the masters Statics class becomes less of an academic exercise and more of a design course Both numerical and graphishycal methods are presented for each type of structure with some preference given to graphical methods because of their speed power and form-finding capabilities Through step-by-step lessons on acompanshyion CD-ROM tutorial disk (ISBN 0-471shy28338-X) created byJoseph lano it is easy for you and your students to learn the graphishycal methods The design ofstructural details is emphasized throughout the book on the premise that appropriate details are not only necessary for structural stability but are also key factors in the aesthetic success of astrucshyture Many of the worlds great structures by designers such as EiffeL Maill~ Nervi Menn Arup and Calatrava are pictured and anashylyzed thus unlocking the secrets of these masterworks in away that allows students to emulate them Both conventional and Slunits ofmeasurement are utilized in the calculashytions For examination copies ofthe text and CD telephone Wiley at (800)225-5945 or visit the books website at shapingstructurescom ATeachers Manual is available free of charge to teachers who
adopt the book as atext You can contact the authors directly via the website or at allenarchcompuservecom
Editors Note In order to avoidapparshyent or real conflict ofinteres~ the editor ofConnector has institutedanewpolicy on book reviews For any new book an announcement or review ofup to one double-spaced typewrittenpage will be printedprovided thatitisfurnished by the author ofthe book Thus whenyou read such an announcementor review you moy do so with the knowledge thatitrepresents the authorspointofview The announceshyments above werefurnished under this policy Authors ofnew books on architecshytural technology are encouraged to submit announcements or reviews that comply with the statedguidelines
Hands On Steel at USL
Twentyyears awgt Ideveloped acourse that was accepted by the American Institute of Steel Construction (AISC) for their then-curshyrent Hands-On Steel program for accredshyited schools of architecture The AISC proshyvided an initial grant to equip ametals lab and ayearly stipend for supplies and awards for afew years thereafter
At the University ofSouthwestern Louisishyana the Hands On Steel course started out as an elective that was offered during summer school It became so popular that it was moved to the fall semester as an elective course The course has been fully enrolled every year since that time Four years ago we started anew program in industrial design and the Hands On Steel course became a reshyquired course for thatcurriculum At present we offer the course both in fall and spring semesters There has been such ademand for admission that this year we are also offershying it during the summer semester it filled up during the firsttwo weeks of early regisshytration
The first part of the course consists of lecshytures on history process and use ofsteeL and field trips to ornamental ironworks metal building manufacturers offshore oil rig fabshyricators foundries machine and fabrications shops and high-tech laser cutting operations The middle third of the course comprises hands-on workshops in sheet metal work torch cutting welding and brazing arc weldshy
ing migwelding and blacksmith forging The students must have aproject designed by the end ofthis time and they spend the last third of the semester building the project Each student is required to submit slide documenshytation of process and final product Some of these images are reproduced here Edward J Cazayoux School ofArchitecture Unishyversity of Southwestern Louisiana LafayetteLA 70504-3850 (318)482-6229 ejc2954usledu
Masonry Camp The International Masonry Institute conshy
ducts week-long summer Masonry Camps on Swans Island off the coast of Maine These are organized in avery intelligentway Equal numbers of mason apprentices and intern architects are invited They are joined in teams of two one mason and one architect per team Each team designs abuilding with a loadbearing masonry structure and also constructs afull-scale mockup ofafeature of the design In the design work the architect takes the lead teaching the mason some funshydamentals ofthe design proress Inconstructshying the mockup the mason is the leader inshystructing the architect in some fundamentals ofthe craft At the end ofthe week the archishytect interns leave the island with avastly inshycreased fund of knowledge about masonry and agreat deal more respect for the skills of the mason The mason apprentices leave with agreater appreciation for the abilities and concerns of the architect and an increased knowledge and understanding ofthe role that design plays in their work An article in the February 1998 issue ofMasonry Construcshytion quotes one mason apprentice as saying ofarchitects at the end ofthe camp I never realized all the things they have to take into consideration Another said Their drawshyings were verywell exeruted their craftsmanshyship was excellent Architect interns were quoted as saying It made us understand what its like to be out thereThese arent things I was taught at schoolYou can do so much more ifyou appreciate and understand each others work Information on the Masonry Camps is available through David Sovinski of the International Masonry Institute Great Lakes Regional Office 53 WestJackson Boushylevard Suite 315 Chicago IL 60604 (312)347-2500
Connector Fall 1998 Page 7
bull
Connector Fall 1998 Page 8
Connector Is You Connector consists ofwhat you its readers put into it
Each ofyou has made certain innovations in how you teach technical subjects to architects Pick the one youre proudshyest of and write ashort infonnal article to tell us what you did why you did it and how it worked out Keep it laid back and readable avoiding henneneutic syllogisms transshyactional hyperspace and other advanced stuff that the Edishytor cant fathom Add relevant illustrations Submit i~ prefshyerably in digital forma~ preferably through e-mail but on acocktail napkin ifyou must and Connector will publish it communicating your ideas and experiences to a thoushysand other tech teachers including all those in North America and ascattering ofothers arOlUld the planet Thats how itworks Ifyou have a nonprofit product to distribshyute afaculty position to advertise or ifyou want to solicit some kind of help from your fellow teachers take advanshytage of Connectors free want-ads Deadlines areJanuary 31 for the Spring issue and August 31 for Fall Edward Allen Editor 129 Eliot Street South Natick MA 01760 Phone and fax are (508)653-3852 The e-mail address is allenarchcompuservecom
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Volume VII Number 2 Fall 1998_01
Volume VII Number 2 Fall 1998_02
Volume VII Number 2 Fall 1998_03
Volume VII Number 2 Fall 1998_04
Volume VII Number 2 Fall 1998_05
Volume VII Number 2 Fall 1998_06
Volume VII Number 2 Fall 1998_07
Volume VII Number 2 Fall 1998_08
Connector Fall 1998 Page 4 book on retrofitting and updating greatworks ofarchitecture without changing their appearshyance He can be contacted at School of Arshychitecture Syracuse University 103 Slocum Hall Syracuse NY 13244-1250 (315)443shy2256
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Task Group on Open Building
The crn (International Council for Buildshying Research Studies and Documentation) a 5000 member organization fostering research and innovation in all areas ofthe building arts formed a new Task Group two years ago on the subject of open building The Task Group-TG26 Open BUilding Implementashytion-now has more than 40 members from 13 countries We are architects engineers building economists educators construction industry- professionals and researchers and policy makers in government agencies We meet regularly to discuss recent projects studies and activities and to devise ways to supporteach other in implementation ofopen building in practice TG has two joint-ltoorshydinators Karel Dekker (Delft) and Stephen Kendall (Silver Spring MD) We have aweb site at wwwdecconVobi
Questions-and participation in future
meetings and activities-are welcome Memmiddot bership in crn is a prerequisite for full parshyticipation in the Task Group but it is also posshysible to attend one meeting on an exploratoryshybasis
What is Open Building The first contemshyporary appearance of open building came in multi-tenantoffice buildings that are orgashynized on two levels a base building level (comprising all systems system components and spaces shared by all tenants) and a fitmiddot out level (comprising all products system components and spaces determined for indishyvidual tenants) The base building level conshysists largely of components that are relatively fixed whereas the fit-out level is made up of products and components that are modular and easily changed Presently the levels distinction is undergOing extensive change and consolidation in the United States and is coming to maturity in other countries It is also being introduced in residential architecshyture particularly in Europe and Asia with major funding and experimentation but also quietly in the US
In the future most architecture will be open to avariety of uses and occupancies over their useful life making for sustainable buildings The use of levels such as base building and fit-out will continue to help all parties organize romplexity and variety Furmiddot ther levels will be found andexploited to supshyport work and living eg within furniture systems The levels roncept helps explain how complex buildings and products work when one part (eg the fit-out or FFampE) must change without making the base bUilding change It also explains how romplex buildshyings and products operating with patterns of distributed control can nonetheless remain coherent and can avoid constant conflict among the responsible parties
There is good reason to say that in the rommiddot ing decade an infill or fit-out industry- will emerging internationally with new players new products and new skills to design inshystall and manage its product repertoire Fitshyout products from avuiety ofmanufacturers will become increaSingly comprehensive open and widely useful providing alternashytives to rigidly constructed integrated facilimiddot ties and products The concept of open sysshytems will likely prevail in arapidly changing built environment in which players align and
realign on afrequent basis and inwhich rommiddot plex closed product systems will often colshylapse from their own weight Stephen Kendall skendalJpipelinecom
New Structures Textbook
Fuller Moores newest book UnderstandshyingStructures has just been published by McGraw-Hill It introduces the concepts of structural support in buildings and emphashysizes the importance of integrating structure and architectural design Fuller has included numerous conceptual diagrams and illustrashytive case studies to help the reader develop an intuitive understanding of how structure affects the design ofbuildings
An introduction to the basic physical prinshyciples (statics dynamics and strength of materials) is followed by adescription ofthe various structural systems These are clearly presented in anonmathematica1 manner that stresses their architectural design implicashytions These systems include cable stays trusses space frames geodesic domes colshyumns and walls beams and slabs frames catenary cables tents pneumatics arches vaults shells and folded plates The theoryshyand behavior ofeach system is presented usshying extensive illustrations familiar analogies and model demonstrations followed by buildshying case studies These numerous case studshyies were selected for their integration ofstrucmiddot ture and excellent architectural design as well as their suitability for demonstrating the unique behavior of aspecific structural sysshytem Finally achapter on structural layout describes astep-by-step methodology for inshytegrating structure into the design process at the earliest stages using schematic framing plan diagrams a system selection matrix anddesign charts for preliminary member sizshying
Features include 79 case study buildings 32 model demonstration of structural prinshyciples end-of-lthapter summary of terms 179 citations in bibliography 503 illustrations (drawn by Fuller specifically for this book) 42 charts for preliminary member sizing and 286 pages paperback (11 x85 in)
To receive an examination copy eshymail a requestto wcbcompmcgrawshy
Four Misconceptions An Editorial
There are four misconceptions that occur frequently in the thinkshying of those of us who teach architecture and engineering
bullMisconception 1 We tend to think ofarchitecture as a combination ofartand science In reality architecture is neishyther science nor art nor even acombination of the two Science through experimentation and observation seeks to discover truths that already exist Architecture doesnt do that Art seeks to creshyate beauty for its own sake Architecture doesnt do that either Although architecture is informed by both science and art it is something else entirely It is a design discipline Adesign discipline seeks to create useful objects that have not previously existed objects such as buildings automobiles dishes cellular telephones jet engines boilers and bridges Adesign discipline achieves this act ofcreation through repeated cycles of synthesis and analysis in aprocess thatwe all know and understand using rough sketches tracing paper overlays quick study models crishytiques and progressively refined representations and analyses Design is the discipline ofaddressing problems that have no right orwrong answers only more or less acceptable ones In this it is entirely distinct from the disciplines of art and science
bullMisconception 2 We tend to think ofengineering as scishyence This is afallacy that perhaps can be traced to the proliferashytion of doctoral degrees among professors of engineering Docshytoral degrees are research degrees and many ifnot most holders ofdoctorates are scientific researchers who have little or no deshysign experience Thus many university engineering departments have gradually become transformed into scientific research esshytablishments But engineering is not science like architecture engineering is a design discipline The design methods of a good engineer are very much like those of agood architect emshyploying repeated cycles of synthesis and analysis to arrive at an acceptable solution to aproblem that has no right or wrong anshyswers The only essential difference between the design method of the architect and that of the engineer is that the engineer has a wonderful arsenal ofrelatively precise analytical techniques with which to judge the quality of what he or she has synthesized at each step of the design process Unfortunately the perceived preshycision and elegance of these analytical techniques has led to
bullMisconception 3 HistOrically whenever adesign discishypline IuJs developed acomprehensivesetofmathematicaltools Jor the analyticalportion ofthe designprocess we have tended to stop teaching the syntheticalaspects ofthat discipline and to teach only the mathematics This happened in the past with structures heating and cooling lighting and acoustics perhaps because the mathematics seemed scientific or perhaps because professors just found it easier to teach the math with its right and wrong answers than the soft parts ofadiscipline When Iwas a student Iwas taught only the mathematical techniques associated with these fields ofarchitectural technology In acourse on lightshy
ing for example our teacher an electrical engineering professhysor taught us the lumen and point-by-point methods for calculatshying illumination levels We did seemingly endless exercises with them but we never laid out alighting design for aroom or buildshying and qualitative considerations were scarcely mentioned It was the same in my other technical courses endless calculations no designing Fortunately lighting acoustics and HVAC have drawn back from this extreme position over the past thirty years-they tend to be taught as well-rounded design disciplines at many ifnot most schools of architecture considering synthesis as well as analysis and utilizing design problems as teaching veshyhicles The field of structures has been slower to change In many schools it is still taught only through mathematics omitting entirely the crucial and fascinating topics of how one selects a structural material and system and then applies them to an archishytectural problem Astonishingly this same state of affairs seems to exist in structural engineering programs Analogous situations pertain in most other fields ofengineering education as well
bullMisconception 4 We tend to associate studio teaching exclusively with the design ofarchitecturalform and space We tend to speak of studio courses and support courses or studios and building technology courses as if studio were synonymous with the design of space and form Studio is nothing more or less than a mode of teaching like classshyroom or laboratory Just as aclassroom setting is effective for learning through lectures and discussions just as alaboratory is effective for learning through experimentation and observation so astudio is effective for learning the methods of adesign discishypline any design diScipline Astudio is awonderful setting for teaching such design disciplines as structural deSign lighting deshysign acoustical deSign and design for thermal comfort If you want to teach a technical subject really well consider teaching it in astudio forma~with students pursuing adesign project ofyour devising As in atraditional architectural design studio your role in addition to being aroving critic is to offer lectures and demshyonstrations as needed to support the ongoing design work ofyour students The efficiency oflearning hovers up near the 100 mark because students feel agenuine need for the lecture mateshyrial and utilize it immediately Your tech studio neednt be afullshyscale afternoon studio but can have alesser time commitment and be offered in the mornings or on afternoons when the regushylar studios dont meet
Taken together these four misconceptions have done immeashysurable harm to architectural education because they have preshyvented us from realizing that architecture is all one thing Its seamless You cant split technology from design because technologyis design Ifyou try to make this spli~ you slice through the living tissue of architecture itself dismembering and killing it surely and swiftly Show me aschool ofarchitecture where techshynology is safely quarantined from design and Iwill show you aschool where the students design work is meaningless conshysisting at best ofempty images that are fit to be hung on gallery walls but not to be built or inhabited EdwardAUen
Connector Fall 1998 Page 6
hillcom or call (800) 338-3987 and ask for FacultyService
New Statics Textbook
Waclaw Zalewski and Edward Allen anshynounce publication of their new tex~ Shapshying Structures Statics (New York John Wiley amp Sons 1998 ISBN 0-471-16968-4) What sets this book apart from other statics texts is its emphasis on creative use of the fundamental conditions ofstatic equilibrium Rather than working with small problems that involve levers beams pulley systems and the like the student is immersed from the first chapter in finding form and forces for trusses cable-stayed structures suspension cables arches shells and constant-force funicular trusses Thus using no more than the three equations of static equilibrium and the forshymula for axial stress students find themselves designing large exciting long-span structures that for elegance and grace often rival the work of the masters Statics class becomes less of an academic exercise and more of a design course Both numerical and graphishycal methods are presented for each type of structure with some preference given to graphical methods because of their speed power and form-finding capabilities Through step-by-step lessons on acompanshyion CD-ROM tutorial disk (ISBN 0-471shy28338-X) created byJoseph lano it is easy for you and your students to learn the graphishycal methods The design ofstructural details is emphasized throughout the book on the premise that appropriate details are not only necessary for structural stability but are also key factors in the aesthetic success of astrucshyture Many of the worlds great structures by designers such as EiffeL Maill~ Nervi Menn Arup and Calatrava are pictured and anashylyzed thus unlocking the secrets of these masterworks in away that allows students to emulate them Both conventional and Slunits ofmeasurement are utilized in the calculashytions For examination copies ofthe text and CD telephone Wiley at (800)225-5945 or visit the books website at shapingstructurescom ATeachers Manual is available free of charge to teachers who
adopt the book as atext You can contact the authors directly via the website or at allenarchcompuservecom
Editors Note In order to avoidapparshyent or real conflict ofinteres~ the editor ofConnector has institutedanewpolicy on book reviews For any new book an announcement or review ofup to one double-spaced typewrittenpage will be printedprovided thatitisfurnished by the author ofthe book Thus whenyou read such an announcementor review you moy do so with the knowledge thatitrepresents the authorspointofview The announceshyments above werefurnished under this policy Authors ofnew books on architecshytural technology are encouraged to submit announcements or reviews that comply with the statedguidelines
Hands On Steel at USL
Twentyyears awgt Ideveloped acourse that was accepted by the American Institute of Steel Construction (AISC) for their then-curshyrent Hands-On Steel program for accredshyited schools of architecture The AISC proshyvided an initial grant to equip ametals lab and ayearly stipend for supplies and awards for afew years thereafter
At the University ofSouthwestern Louisishyana the Hands On Steel course started out as an elective that was offered during summer school It became so popular that it was moved to the fall semester as an elective course The course has been fully enrolled every year since that time Four years ago we started anew program in industrial design and the Hands On Steel course became a reshyquired course for thatcurriculum At present we offer the course both in fall and spring semesters There has been such ademand for admission that this year we are also offershying it during the summer semester it filled up during the firsttwo weeks of early regisshytration
The first part of the course consists of lecshytures on history process and use ofsteeL and field trips to ornamental ironworks metal building manufacturers offshore oil rig fabshyricators foundries machine and fabrications shops and high-tech laser cutting operations The middle third of the course comprises hands-on workshops in sheet metal work torch cutting welding and brazing arc weldshy
ing migwelding and blacksmith forging The students must have aproject designed by the end ofthis time and they spend the last third of the semester building the project Each student is required to submit slide documenshytation of process and final product Some of these images are reproduced here Edward J Cazayoux School ofArchitecture Unishyversity of Southwestern Louisiana LafayetteLA 70504-3850 (318)482-6229 ejc2954usledu
Masonry Camp The International Masonry Institute conshy
ducts week-long summer Masonry Camps on Swans Island off the coast of Maine These are organized in avery intelligentway Equal numbers of mason apprentices and intern architects are invited They are joined in teams of two one mason and one architect per team Each team designs abuilding with a loadbearing masonry structure and also constructs afull-scale mockup ofafeature of the design In the design work the architect takes the lead teaching the mason some funshydamentals ofthe design proress Inconstructshying the mockup the mason is the leader inshystructing the architect in some fundamentals ofthe craft At the end ofthe week the archishytect interns leave the island with avastly inshycreased fund of knowledge about masonry and agreat deal more respect for the skills of the mason The mason apprentices leave with agreater appreciation for the abilities and concerns of the architect and an increased knowledge and understanding ofthe role that design plays in their work An article in the February 1998 issue ofMasonry Construcshytion quotes one mason apprentice as saying ofarchitects at the end ofthe camp I never realized all the things they have to take into consideration Another said Their drawshyings were verywell exeruted their craftsmanshyship was excellent Architect interns were quoted as saying It made us understand what its like to be out thereThese arent things I was taught at schoolYou can do so much more ifyou appreciate and understand each others work Information on the Masonry Camps is available through David Sovinski of the International Masonry Institute Great Lakes Regional Office 53 WestJackson Boushylevard Suite 315 Chicago IL 60604 (312)347-2500
Connector Fall 1998 Page 7
bull
Connector Fall 1998 Page 8
Connector Is You Connector consists ofwhat you its readers put into it
Each ofyou has made certain innovations in how you teach technical subjects to architects Pick the one youre proudshyest of and write ashort infonnal article to tell us what you did why you did it and how it worked out Keep it laid back and readable avoiding henneneutic syllogisms transshyactional hyperspace and other advanced stuff that the Edishytor cant fathom Add relevant illustrations Submit i~ prefshyerably in digital forma~ preferably through e-mail but on acocktail napkin ifyou must and Connector will publish it communicating your ideas and experiences to a thoushysand other tech teachers including all those in North America and ascattering ofothers arOlUld the planet Thats how itworks Ifyou have a nonprofit product to distribshyute afaculty position to advertise or ifyou want to solicit some kind of help from your fellow teachers take advanshytage of Connectors free want-ads Deadlines areJanuary 31 for the Spring issue and August 31 for Fall Edward Allen Editor 129 Eliot Street South Natick MA 01760 Phone and fax are (508)653-3852 The e-mail address is allenarchcompuservecom
~ ~ ~ ON 11V1113d VVI gtt811VN
OIVd 38V1S0d
sn
31VII gttlns
vSn 09L lO tfW gt0UeN qmos
)88J)S )Ol3 6cl JOlJ9UU0J
Volume VII Number 2 Fall 1998_01
Volume VII Number 2 Fall 1998_02
Volume VII Number 2 Fall 1998_03
Volume VII Number 2 Fall 1998_04
Volume VII Number 2 Fall 1998_05
Volume VII Number 2 Fall 1998_06
Volume VII Number 2 Fall 1998_07
Volume VII Number 2 Fall 1998_08
Four Misconceptions An Editorial
There are four misconceptions that occur frequently in the thinkshying of those of us who teach architecture and engineering
bullMisconception 1 We tend to think ofarchitecture as a combination ofartand science In reality architecture is neishyther science nor art nor even acombination of the two Science through experimentation and observation seeks to discover truths that already exist Architecture doesnt do that Art seeks to creshyate beauty for its own sake Architecture doesnt do that either Although architecture is informed by both science and art it is something else entirely It is a design discipline Adesign discipline seeks to create useful objects that have not previously existed objects such as buildings automobiles dishes cellular telephones jet engines boilers and bridges Adesign discipline achieves this act ofcreation through repeated cycles of synthesis and analysis in aprocess thatwe all know and understand using rough sketches tracing paper overlays quick study models crishytiques and progressively refined representations and analyses Design is the discipline ofaddressing problems that have no right orwrong answers only more or less acceptable ones In this it is entirely distinct from the disciplines of art and science
bullMisconception 2 We tend to think ofengineering as scishyence This is afallacy that perhaps can be traced to the proliferashytion of doctoral degrees among professors of engineering Docshytoral degrees are research degrees and many ifnot most holders ofdoctorates are scientific researchers who have little or no deshysign experience Thus many university engineering departments have gradually become transformed into scientific research esshytablishments But engineering is not science like architecture engineering is a design discipline The design methods of a good engineer are very much like those of agood architect emshyploying repeated cycles of synthesis and analysis to arrive at an acceptable solution to aproblem that has no right or wrong anshyswers The only essential difference between the design method of the architect and that of the engineer is that the engineer has a wonderful arsenal ofrelatively precise analytical techniques with which to judge the quality of what he or she has synthesized at each step of the design process Unfortunately the perceived preshycision and elegance of these analytical techniques has led to
bullMisconception 3 HistOrically whenever adesign discishypline IuJs developed acomprehensivesetofmathematicaltools Jor the analyticalportion ofthe designprocess we have tended to stop teaching the syntheticalaspects ofthat discipline and to teach only the mathematics This happened in the past with structures heating and cooling lighting and acoustics perhaps because the mathematics seemed scientific or perhaps because professors just found it easier to teach the math with its right and wrong answers than the soft parts ofadiscipline When Iwas a student Iwas taught only the mathematical techniques associated with these fields ofarchitectural technology In acourse on lightshy
ing for example our teacher an electrical engineering professhysor taught us the lumen and point-by-point methods for calculatshying illumination levels We did seemingly endless exercises with them but we never laid out alighting design for aroom or buildshying and qualitative considerations were scarcely mentioned It was the same in my other technical courses endless calculations no designing Fortunately lighting acoustics and HVAC have drawn back from this extreme position over the past thirty years-they tend to be taught as well-rounded design disciplines at many ifnot most schools of architecture considering synthesis as well as analysis and utilizing design problems as teaching veshyhicles The field of structures has been slower to change In many schools it is still taught only through mathematics omitting entirely the crucial and fascinating topics of how one selects a structural material and system and then applies them to an archishytectural problem Astonishingly this same state of affairs seems to exist in structural engineering programs Analogous situations pertain in most other fields ofengineering education as well
bullMisconception 4 We tend to associate studio teaching exclusively with the design ofarchitecturalform and space We tend to speak of studio courses and support courses or studios and building technology courses as if studio were synonymous with the design of space and form Studio is nothing more or less than a mode of teaching like classshyroom or laboratory Just as aclassroom setting is effective for learning through lectures and discussions just as alaboratory is effective for learning through experimentation and observation so astudio is effective for learning the methods of adesign discishypline any design diScipline Astudio is awonderful setting for teaching such design disciplines as structural deSign lighting deshysign acoustical deSign and design for thermal comfort If you want to teach a technical subject really well consider teaching it in astudio forma~with students pursuing adesign project ofyour devising As in atraditional architectural design studio your role in addition to being aroving critic is to offer lectures and demshyonstrations as needed to support the ongoing design work ofyour students The efficiency oflearning hovers up near the 100 mark because students feel agenuine need for the lecture mateshyrial and utilize it immediately Your tech studio neednt be afullshyscale afternoon studio but can have alesser time commitment and be offered in the mornings or on afternoons when the regushylar studios dont meet
Taken together these four misconceptions have done immeashysurable harm to architectural education because they have preshyvented us from realizing that architecture is all one thing Its seamless You cant split technology from design because technologyis design Ifyou try to make this spli~ you slice through the living tissue of architecture itself dismembering and killing it surely and swiftly Show me aschool ofarchitecture where techshynology is safely quarantined from design and Iwill show you aschool where the students design work is meaningless conshysisting at best ofempty images that are fit to be hung on gallery walls but not to be built or inhabited EdwardAUen
Connector Fall 1998 Page 6
hillcom or call (800) 338-3987 and ask for FacultyService
New Statics Textbook
Waclaw Zalewski and Edward Allen anshynounce publication of their new tex~ Shapshying Structures Statics (New York John Wiley amp Sons 1998 ISBN 0-471-16968-4) What sets this book apart from other statics texts is its emphasis on creative use of the fundamental conditions ofstatic equilibrium Rather than working with small problems that involve levers beams pulley systems and the like the student is immersed from the first chapter in finding form and forces for trusses cable-stayed structures suspension cables arches shells and constant-force funicular trusses Thus using no more than the three equations of static equilibrium and the forshymula for axial stress students find themselves designing large exciting long-span structures that for elegance and grace often rival the work of the masters Statics class becomes less of an academic exercise and more of a design course Both numerical and graphishycal methods are presented for each type of structure with some preference given to graphical methods because of their speed power and form-finding capabilities Through step-by-step lessons on acompanshyion CD-ROM tutorial disk (ISBN 0-471shy28338-X) created byJoseph lano it is easy for you and your students to learn the graphishycal methods The design ofstructural details is emphasized throughout the book on the premise that appropriate details are not only necessary for structural stability but are also key factors in the aesthetic success of astrucshyture Many of the worlds great structures by designers such as EiffeL Maill~ Nervi Menn Arup and Calatrava are pictured and anashylyzed thus unlocking the secrets of these masterworks in away that allows students to emulate them Both conventional and Slunits ofmeasurement are utilized in the calculashytions For examination copies ofthe text and CD telephone Wiley at (800)225-5945 or visit the books website at shapingstructurescom ATeachers Manual is available free of charge to teachers who
adopt the book as atext You can contact the authors directly via the website or at allenarchcompuservecom
Editors Note In order to avoidapparshyent or real conflict ofinteres~ the editor ofConnector has institutedanewpolicy on book reviews For any new book an announcement or review ofup to one double-spaced typewrittenpage will be printedprovided thatitisfurnished by the author ofthe book Thus whenyou read such an announcementor review you moy do so with the knowledge thatitrepresents the authorspointofview The announceshyments above werefurnished under this policy Authors ofnew books on architecshytural technology are encouraged to submit announcements or reviews that comply with the statedguidelines
Hands On Steel at USL
Twentyyears awgt Ideveloped acourse that was accepted by the American Institute of Steel Construction (AISC) for their then-curshyrent Hands-On Steel program for accredshyited schools of architecture The AISC proshyvided an initial grant to equip ametals lab and ayearly stipend for supplies and awards for afew years thereafter
At the University ofSouthwestern Louisishyana the Hands On Steel course started out as an elective that was offered during summer school It became so popular that it was moved to the fall semester as an elective course The course has been fully enrolled every year since that time Four years ago we started anew program in industrial design and the Hands On Steel course became a reshyquired course for thatcurriculum At present we offer the course both in fall and spring semesters There has been such ademand for admission that this year we are also offershying it during the summer semester it filled up during the firsttwo weeks of early regisshytration
The first part of the course consists of lecshytures on history process and use ofsteeL and field trips to ornamental ironworks metal building manufacturers offshore oil rig fabshyricators foundries machine and fabrications shops and high-tech laser cutting operations The middle third of the course comprises hands-on workshops in sheet metal work torch cutting welding and brazing arc weldshy
ing migwelding and blacksmith forging The students must have aproject designed by the end ofthis time and they spend the last third of the semester building the project Each student is required to submit slide documenshytation of process and final product Some of these images are reproduced here Edward J Cazayoux School ofArchitecture Unishyversity of Southwestern Louisiana LafayetteLA 70504-3850 (318)482-6229 ejc2954usledu
Masonry Camp The International Masonry Institute conshy
ducts week-long summer Masonry Camps on Swans Island off the coast of Maine These are organized in avery intelligentway Equal numbers of mason apprentices and intern architects are invited They are joined in teams of two one mason and one architect per team Each team designs abuilding with a loadbearing masonry structure and also constructs afull-scale mockup ofafeature of the design In the design work the architect takes the lead teaching the mason some funshydamentals ofthe design proress Inconstructshying the mockup the mason is the leader inshystructing the architect in some fundamentals ofthe craft At the end ofthe week the archishytect interns leave the island with avastly inshycreased fund of knowledge about masonry and agreat deal more respect for the skills of the mason The mason apprentices leave with agreater appreciation for the abilities and concerns of the architect and an increased knowledge and understanding ofthe role that design plays in their work An article in the February 1998 issue ofMasonry Construcshytion quotes one mason apprentice as saying ofarchitects at the end ofthe camp I never realized all the things they have to take into consideration Another said Their drawshyings were verywell exeruted their craftsmanshyship was excellent Architect interns were quoted as saying It made us understand what its like to be out thereThese arent things I was taught at schoolYou can do so much more ifyou appreciate and understand each others work Information on the Masonry Camps is available through David Sovinski of the International Masonry Institute Great Lakes Regional Office 53 WestJackson Boushylevard Suite 315 Chicago IL 60604 (312)347-2500
Connector Fall 1998 Page 7
bull
Connector Fall 1998 Page 8
Connector Is You Connector consists ofwhat you its readers put into it
Each ofyou has made certain innovations in how you teach technical subjects to architects Pick the one youre proudshyest of and write ashort infonnal article to tell us what you did why you did it and how it worked out Keep it laid back and readable avoiding henneneutic syllogisms transshyactional hyperspace and other advanced stuff that the Edishytor cant fathom Add relevant illustrations Submit i~ prefshyerably in digital forma~ preferably through e-mail but on acocktail napkin ifyou must and Connector will publish it communicating your ideas and experiences to a thoushysand other tech teachers including all those in North America and ascattering ofothers arOlUld the planet Thats how itworks Ifyou have a nonprofit product to distribshyute afaculty position to advertise or ifyou want to solicit some kind of help from your fellow teachers take advanshytage of Connectors free want-ads Deadlines areJanuary 31 for the Spring issue and August 31 for Fall Edward Allen Editor 129 Eliot Street South Natick MA 01760 Phone and fax are (508)653-3852 The e-mail address is allenarchcompuservecom
~ ~ ~ ON 11V1113d VVI gtt811VN
OIVd 38V1S0d
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31VII gttlns
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)88J)S )Ol3 6cl JOlJ9UU0J
Volume VII Number 2 Fall 1998_01
Volume VII Number 2 Fall 1998_02
Volume VII Number 2 Fall 1998_03
Volume VII Number 2 Fall 1998_04
Volume VII Number 2 Fall 1998_05
Volume VII Number 2 Fall 1998_06
Volume VII Number 2 Fall 1998_07
Volume VII Number 2 Fall 1998_08
Connector Fall 1998 Page 6
hillcom or call (800) 338-3987 and ask for FacultyService
New Statics Textbook
Waclaw Zalewski and Edward Allen anshynounce publication of their new tex~ Shapshying Structures Statics (New York John Wiley amp Sons 1998 ISBN 0-471-16968-4) What sets this book apart from other statics texts is its emphasis on creative use of the fundamental conditions ofstatic equilibrium Rather than working with small problems that involve levers beams pulley systems and the like the student is immersed from the first chapter in finding form and forces for trusses cable-stayed structures suspension cables arches shells and constant-force funicular trusses Thus using no more than the three equations of static equilibrium and the forshymula for axial stress students find themselves designing large exciting long-span structures that for elegance and grace often rival the work of the masters Statics class becomes less of an academic exercise and more of a design course Both numerical and graphishycal methods are presented for each type of structure with some preference given to graphical methods because of their speed power and form-finding capabilities Through step-by-step lessons on acompanshyion CD-ROM tutorial disk (ISBN 0-471shy28338-X) created byJoseph lano it is easy for you and your students to learn the graphishycal methods The design ofstructural details is emphasized throughout the book on the premise that appropriate details are not only necessary for structural stability but are also key factors in the aesthetic success of astrucshyture Many of the worlds great structures by designers such as EiffeL Maill~ Nervi Menn Arup and Calatrava are pictured and anashylyzed thus unlocking the secrets of these masterworks in away that allows students to emulate them Both conventional and Slunits ofmeasurement are utilized in the calculashytions For examination copies ofthe text and CD telephone Wiley at (800)225-5945 or visit the books website at shapingstructurescom ATeachers Manual is available free of charge to teachers who
adopt the book as atext You can contact the authors directly via the website or at allenarchcompuservecom
Editors Note In order to avoidapparshyent or real conflict ofinteres~ the editor ofConnector has institutedanewpolicy on book reviews For any new book an announcement or review ofup to one double-spaced typewrittenpage will be printedprovided thatitisfurnished by the author ofthe book Thus whenyou read such an announcementor review you moy do so with the knowledge thatitrepresents the authorspointofview The announceshyments above werefurnished under this policy Authors ofnew books on architecshytural technology are encouraged to submit announcements or reviews that comply with the statedguidelines
Hands On Steel at USL
Twentyyears awgt Ideveloped acourse that was accepted by the American Institute of Steel Construction (AISC) for their then-curshyrent Hands-On Steel program for accredshyited schools of architecture The AISC proshyvided an initial grant to equip ametals lab and ayearly stipend for supplies and awards for afew years thereafter
At the University ofSouthwestern Louisishyana the Hands On Steel course started out as an elective that was offered during summer school It became so popular that it was moved to the fall semester as an elective course The course has been fully enrolled every year since that time Four years ago we started anew program in industrial design and the Hands On Steel course became a reshyquired course for thatcurriculum At present we offer the course both in fall and spring semesters There has been such ademand for admission that this year we are also offershying it during the summer semester it filled up during the firsttwo weeks of early regisshytration
The first part of the course consists of lecshytures on history process and use ofsteeL and field trips to ornamental ironworks metal building manufacturers offshore oil rig fabshyricators foundries machine and fabrications shops and high-tech laser cutting operations The middle third of the course comprises hands-on workshops in sheet metal work torch cutting welding and brazing arc weldshy
ing migwelding and blacksmith forging The students must have aproject designed by the end ofthis time and they spend the last third of the semester building the project Each student is required to submit slide documenshytation of process and final product Some of these images are reproduced here Edward J Cazayoux School ofArchitecture Unishyversity of Southwestern Louisiana LafayetteLA 70504-3850 (318)482-6229 ejc2954usledu
Masonry Camp The International Masonry Institute conshy
ducts week-long summer Masonry Camps on Swans Island off the coast of Maine These are organized in avery intelligentway Equal numbers of mason apprentices and intern architects are invited They are joined in teams of two one mason and one architect per team Each team designs abuilding with a loadbearing masonry structure and also constructs afull-scale mockup ofafeature of the design In the design work the architect takes the lead teaching the mason some funshydamentals ofthe design proress Inconstructshying the mockup the mason is the leader inshystructing the architect in some fundamentals ofthe craft At the end ofthe week the archishytect interns leave the island with avastly inshycreased fund of knowledge about masonry and agreat deal more respect for the skills of the mason The mason apprentices leave with agreater appreciation for the abilities and concerns of the architect and an increased knowledge and understanding ofthe role that design plays in their work An article in the February 1998 issue ofMasonry Construcshytion quotes one mason apprentice as saying ofarchitects at the end ofthe camp I never realized all the things they have to take into consideration Another said Their drawshyings were verywell exeruted their craftsmanshyship was excellent Architect interns were quoted as saying It made us understand what its like to be out thereThese arent things I was taught at schoolYou can do so much more ifyou appreciate and understand each others work Information on the Masonry Camps is available through David Sovinski of the International Masonry Institute Great Lakes Regional Office 53 WestJackson Boushylevard Suite 315 Chicago IL 60604 (312)347-2500
Connector Fall 1998 Page 7
bull
Connector Fall 1998 Page 8
Connector Is You Connector consists ofwhat you its readers put into it
Each ofyou has made certain innovations in how you teach technical subjects to architects Pick the one youre proudshyest of and write ashort infonnal article to tell us what you did why you did it and how it worked out Keep it laid back and readable avoiding henneneutic syllogisms transshyactional hyperspace and other advanced stuff that the Edishytor cant fathom Add relevant illustrations Submit i~ prefshyerably in digital forma~ preferably through e-mail but on acocktail napkin ifyou must and Connector will publish it communicating your ideas and experiences to a thoushysand other tech teachers including all those in North America and ascattering ofothers arOlUld the planet Thats how itworks Ifyou have a nonprofit product to distribshyute afaculty position to advertise or ifyou want to solicit some kind of help from your fellow teachers take advanshytage of Connectors free want-ads Deadlines areJanuary 31 for the Spring issue and August 31 for Fall Edward Allen Editor 129 Eliot Street South Natick MA 01760 Phone and fax are (508)653-3852 The e-mail address is allenarchcompuservecom
~ ~ ~ ON 11V1113d VVI gtt811VN
OIVd 38V1S0d
sn
31VII gttlns
vSn 09L lO tfW gt0UeN qmos
)88J)S )Ol3 6cl JOlJ9UU0J
Volume VII Number 2 Fall 1998_01
Volume VII Number 2 Fall 1998_02
Volume VII Number 2 Fall 1998_03
Volume VII Number 2 Fall 1998_04
Volume VII Number 2 Fall 1998_05
Volume VII Number 2 Fall 1998_06
Volume VII Number 2 Fall 1998_07
Volume VII Number 2 Fall 1998_08
ing migwelding and blacksmith forging The students must have aproject designed by the end ofthis time and they spend the last third of the semester building the project Each student is required to submit slide documenshytation of process and final product Some of these images are reproduced here Edward J Cazayoux School ofArchitecture Unishyversity of Southwestern Louisiana LafayetteLA 70504-3850 (318)482-6229 ejc2954usledu
Masonry Camp The International Masonry Institute conshy
ducts week-long summer Masonry Camps on Swans Island off the coast of Maine These are organized in avery intelligentway Equal numbers of mason apprentices and intern architects are invited They are joined in teams of two one mason and one architect per team Each team designs abuilding with a loadbearing masonry structure and also constructs afull-scale mockup ofafeature of the design In the design work the architect takes the lead teaching the mason some funshydamentals ofthe design proress Inconstructshying the mockup the mason is the leader inshystructing the architect in some fundamentals ofthe craft At the end ofthe week the archishytect interns leave the island with avastly inshycreased fund of knowledge about masonry and agreat deal more respect for the skills of the mason The mason apprentices leave with agreater appreciation for the abilities and concerns of the architect and an increased knowledge and understanding ofthe role that design plays in their work An article in the February 1998 issue ofMasonry Construcshytion quotes one mason apprentice as saying ofarchitects at the end ofthe camp I never realized all the things they have to take into consideration Another said Their drawshyings were verywell exeruted their craftsmanshyship was excellent Architect interns were quoted as saying It made us understand what its like to be out thereThese arent things I was taught at schoolYou can do so much more ifyou appreciate and understand each others work Information on the Masonry Camps is available through David Sovinski of the International Masonry Institute Great Lakes Regional Office 53 WestJackson Boushylevard Suite 315 Chicago IL 60604 (312)347-2500
Connector Fall 1998 Page 7
bull
Connector Fall 1998 Page 8
Connector Is You Connector consists ofwhat you its readers put into it
Each ofyou has made certain innovations in how you teach technical subjects to architects Pick the one youre proudshyest of and write ashort infonnal article to tell us what you did why you did it and how it worked out Keep it laid back and readable avoiding henneneutic syllogisms transshyactional hyperspace and other advanced stuff that the Edishytor cant fathom Add relevant illustrations Submit i~ prefshyerably in digital forma~ preferably through e-mail but on acocktail napkin ifyou must and Connector will publish it communicating your ideas and experiences to a thoushysand other tech teachers including all those in North America and ascattering ofothers arOlUld the planet Thats how itworks Ifyou have a nonprofit product to distribshyute afaculty position to advertise or ifyou want to solicit some kind of help from your fellow teachers take advanshytage of Connectors free want-ads Deadlines areJanuary 31 for the Spring issue and August 31 for Fall Edward Allen Editor 129 Eliot Street South Natick MA 01760 Phone and fax are (508)653-3852 The e-mail address is allenarchcompuservecom
~ ~ ~ ON 11V1113d VVI gtt811VN
OIVd 38V1S0d
sn
31VII gttlns
vSn 09L lO tfW gt0UeN qmos
)88J)S )Ol3 6cl JOlJ9UU0J
Volume VII Number 2 Fall 1998_01
Volume VII Number 2 Fall 1998_02
Volume VII Number 2 Fall 1998_03
Volume VII Number 2 Fall 1998_04
Volume VII Number 2 Fall 1998_05
Volume VII Number 2 Fall 1998_06
Volume VII Number 2 Fall 1998_07
Volume VII Number 2 Fall 1998_08
Connector Fall 1998 Page 8
Connector Is You Connector consists ofwhat you its readers put into it
Each ofyou has made certain innovations in how you teach technical subjects to architects Pick the one youre proudshyest of and write ashort infonnal article to tell us what you did why you did it and how it worked out Keep it laid back and readable avoiding henneneutic syllogisms transshyactional hyperspace and other advanced stuff that the Edishytor cant fathom Add relevant illustrations Submit i~ prefshyerably in digital forma~ preferably through e-mail but on acocktail napkin ifyou must and Connector will publish it communicating your ideas and experiences to a thoushysand other tech teachers including all those in North America and ascattering ofothers arOlUld the planet Thats how itworks Ifyou have a nonprofit product to distribshyute afaculty position to advertise or ifyou want to solicit some kind of help from your fellow teachers take advanshytage of Connectors free want-ads Deadlines areJanuary 31 for the Spring issue and August 31 for Fall Edward Allen Editor 129 Eliot Street South Natick MA 01760 Phone and fax are (508)653-3852 The e-mail address is allenarchcompuservecom
![YZ20T4 OPERATION MICROSCOPE INSTRUCTION MANUAL · The control line connector for focusing and magnification. [9] 7 core plug/socket The control line connector of the X-Y coordinate](https://static.documents.pub/doc/80x56/5e28a00e6552322c8646416a/yz20t4-operation-microscope-instruction-manual-the-control-line-connector-for-focusing.jpg)
