But the disservice of the metaphor is to suggest that buildings can be conscious, or that they should represent human attributes. Classical architecture, as illustrated in this drawing of a column capital after the 15th century originals by Francesco di Giorgio, begins with an idealized image of the human body imposed upon the landscape.
Humanism is that trait of western cultures which assumes that the world revolves around human conditions. Rather than understand those things which are clearly separate from humans, we have developed an unfortunate tendency to project our own form and will upon them. Thus we have mice named M-i-c-k-e-y and entire cities organized in the physical image of MAN, as in this fortified town (also after di Giorgio) where 6 human forms join to make the star pattern.
The House as a Biological System
Watson's Five Metaphors
:PHYSSIZE
Classical entablature
patterns
watsonsVentilation
watsonsLight
An analysis of the Victorian house in the drawing in terms of the micro-climates it
creates, would go like this:
By making an L-shaped plan, open to the
southwest, the house creates an exterior
space which is shielded from predominant
winter winds and receptive to afternoon sun.
In the harsh climate of Maine, this design
strategy creates a sun pocket which can
extend the growing season as much as a
month. In other words, the house has creat-
ed a garden place which might also serve
as an entry "anteroom." In placing the garage
and service spaces of the house on the north
side, the living spaces are likewise shielded
from the winter wind and open to the sun.
Principles of Design
@ :PHYSSIZE
School Street site plan
The House as a Micro-climate
Watson's Five Metaphors
arrow
neighborhoodPatterns
WatsonArt
n understand those things which are clearly separate from humans, we have developed an unfortunate tendency to project our own form and will upon them. Thus we have mice named M-i-c-k-e-y and entire cities organized in the physical image of MAN, as in this fortified town (also after di Giorgio)......................
Principles of Design
The House as a Biological Systemy
watsonsfivelast
Principles of Design
:PHYSSIZE
The Carpenter House can be viewed as a diagram for future living. It uses an array of unorthodox building materials, all originating or recycled locally, to provide a low energy dwelling which can grow over time. It is a serious attempt to integrate developing scientific knowledge with a sensitivity to architectural form.
As an ecological niche it is regional in the most profound sense of responding directly to ecological conditions of the place without adopting the cultural conventions of style typically associated with Texas.. conventions of style typically associated with Texas.....
:PHYSSIZE
get onto 2 screens instead of 3
The House as an Ecological Nicheo
Watson's Five Metaphors
Courtesy Center for Maximum Building Potential
4hdfPath
buttonUp
buttonUp
hdfPath
4g, showingandhiding, layering
B"moving"
6000, y, 6723, y + 723
"startoff"
"screenedge"
default
"startmove"
H-100, 0
"nextmove"
5820, 1755
5655, 1741
5450, 1727
5250, 1714
5100, 1700
"moveout"
H100, 0
"moverest"
5100, 1600
(i - 1)
6000, y
"16"
6000, y
setback
buttonup
buttonup
layering
moving
showingandhiding
moving
startoff
screenedge
startoff
startmove
startmove
nextmove
nextmove
moveout
moveout
moverest
moverest
screenedge
Y-setback
buttonup
moving
default
showingandhiding
layering
n :PHYSSIZE
Ventilation
Watson's Five Metaphors
rather than with the natural technology of building, they have substituted air conditioning for common sense..of building they have substituted air conditioning for common sense..
Belvedere natural cooling system
watsonsfivelast
watsonsHeat
prospect
lding
How do you feel connected to a place psychologically?
Geographer Jay Appleton believes our percep-tions of a given place arise from innate survival mechanisms, and are then modified by cultural, social, historical and personal experiences. And the pleasure we get from perceiving the environment motivates us to modify our behavior. In other words, we adapt.
tes us to modify our behavior. In other words, we adapt.
e mechanisms of survival respond to three landscape characteristics defined as prospect, refuge and hazard. Appleton calls this natural symbolism. Our perception of the landscape in these terms causes us to feel either encouragement or warning.
ect appeals to the hunter or observer in us. It is both an offensive and defensive position. The top of a hill or a penthouse apartment overlooking the street are places of prospect.
Refuge is afforded by a cave or house which looks inward, such as a courtyard house. It is that quality of place which allows us to be at rest.
Principles of Design
:PHYSSIZE
:PHYSSIZE
Rural Prospect
Urban Prospectt
Prospect, Refuge and Hazard
Anchoring the Building
Prospec
:PHYSSIZE
See The Symbolism of Habitat by Jay Appleton. See Bibliography, General Architecture.
footnote
"footnote"
mouseEnter
mouseLeave
mouseEnter
footnote
mouseLeave
footnote
4hdcPath
"HumidTropLast"
buttonUp
buttonUp
HumidTropLast
hdcPath
achieve a seam-less whole. An admirable goal -- if social cohesion is considered the greatest good......
:PHYSSIZE
r~~t~~u
~mmsxz{}
{pjpz~
Qbny~
~u`P\t~
!/<IYhy~
}qZ?Bg
#.;Mgvx
zt^=/X}
qdSE9*
|ukaYI2
~}zvqiZ;
~wdI4$%3C
}u^D647ATf
uW5(1@N]lq
~u_G?HV^
uch conscious simulation of existing patterns has led to many thought-
less buildings. Not all existing patterns make sense. In fact, many of the highly stylized patterns of residential development invent-ed after the early 19th century are in direct conflict with the environmentally based principles promoted here. This is particularly true of suburbia. It is far more significant to recognize and respond to historic -- meaning pre-suburban -- local patterns of space and land use than to the superficial-ities of style.
House. To confront the broader issues of urban design, we suggest you consult the current literature regarding neo-traditional town planning, some of which is listed in the Resources section.
Principles of Design
Neighborhood Patterns and Context
However, such conscious simulation of existing patterns has led to many thoughtless buildings. Not all existing patterns make sense. In fact, many of the highly stylized patterns of residential development invented after the early 19th century are in direct conflict with the environ-mentally based principles promoted here. This is particularly true of suburbia.
Although consideration of land use development patterns for housing is critical to a full discussion of sustainable design principles, it is beyond the scope of Complete House. To confront the broader issues of urban design, we suggest you consult the current literature regarding neo-traditional town planning, some of which is listed in the Bibliography.
Principles of Design
initializeProcesses
4processes,steps
how many sets
lines/paintobjects that you want
animate
T each
{will take traversing its
-- Get the XY distance
must travel
-- order
follow
5slope
traverse
--
held
-- This XY
be stored
property "incXY"
--
Ui -\
Ui )
& "," &\
--
starting location
--
sloc"
(The math centers the
--
{over
]point
i)
y2)&","& (
moveProcessesToStart
4counter,
--
Hinc
ializeProcesses
enterpage
moveProcessesToStart
initializeProcesses
leavepage
enterpage
AiinitializeProcesses
initializeProcesses
moveProcessesToStart
processes
steps
moveProcessesToStart
counter
steps
processes
moveProcessesToStart
processes
counter
leavepage
moveProcessesToStart
4mainPath
buttonUp
buttonUp
mainPath
BUTTONUP
BUTTONUP
BUTTONUP
watsonsBiology
watsonFive
The House as a Biological System;
Principles of Design
:PHYSSIZE
This metaphor allows us to understand that buildings must have a dynamic relationship to the environment -- windows that open and close, shades that can be pulled, or electronic controls to measure temperature swings -- just as human bodies sweat, shiver, and grow hair in response to changing environmental conditions.
Watson's Five Metaphors
Humanism is that trait of western cultures which assumes that the world revolves around human conditions. Rather than understand those things which are clearly separate from humans, we have developed an unfortunate tendency to project our own form and will upon them.
Thus we have mice named M-I-C-K-E-Y and entire cities organized in the physical image of MAN, as in this fortified town (also after di Giorgio) where six human forms join to make the star pattern.
The House as a Biological System
Watson's Five Metaphors
:PHYSSIZE
v N s
Principles of Design
watsonsEcology
This principle suggests that we think about the house in its symbiotic relation to the landscape rather than as a consumer of the landscape. Natural resources gathered to make the house and used to sustain it should be returned to the earth in forms which benefit both the natural and built worlds.
What happens to the materials wasted in construction, the plant life displaced by the house, or the sewage produced by occupants?
hese expelled materials should be viewed as resources to be directed back into the land-scape through the process of design. Construc-tion debris can be minimized and recycled, sites can promote biological diversity through plant selection, and sewage can be used as a plant nutrient source. Such solutions, however, require thinking about the house as one component of an ecological system..l system..em..em.
Principles of Design
House as an Ecological Nichee
The House as an Ecological Niche
Watson's Five Metaphors
These expelled materials can be directed back into the landscape through the process of design. Construction debris can be minimized and recycled, sites can promote biological diversity through plant selection, and sewage can be used as a plant nutrient source. Such solutions, however, require thinking about the house as one component of an ecological system...t of an ecological system.em....d as a plant nutrient source. Such solutions, however, require thinking about the house as one component of an ecological system.
watsonsLight
Principles of Design
Some would argue that the quality of light in a room is more important to sensory pleasure than temperature. We have grown accustomed to thinking about light in quantitative terms -- engineering standards tell us how many lumens are required to perform specific tasks without causing eye strain, just as they tell us that rooms should be kept at a constant 68 degrees for body comfort.
nalizations of space isolate us from participating in the environment. In res-ponse to those conventions, we turn on the lights or turn up the thermostat. We too easily place these phenomena in the realm of the artificial to be controlled by science, and ig-nore their contribution to the quality of spaces -- to the art of making spaces.
- to the art of making spaces.
lumen
The House as a Natural Light Diffuser
Lumen: A unit of luminous flux equal to the light emitted in a unit solid angle by a uniform po
Watson's Five Metaphors
These rationalizations of space isolate us from participating in the environment. In response to those conventions, we turn on the lights or turn up the thermostat. We too easily place these phenomena in the realm of the artificial to be controlled by science, and ignore their contribu-tion to the quality of spaces -- to the art of making spaces..
Show
"lumen"
Hide
mouseEnter
mouseLeave
mouseEnter
lumen
mouseLeave
lumen
Lumen: a unit of luminous flux equal to the light emitted in a unit solid angle by a uniform point source of one candle.
Neighborhood Patterns and Context
4mainPath
buttonUp
buttonUp
mainPath
4mainPath
"hdmap"
buttonUp
buttonUp
hdmap
mainPath
4resrcPath
"biblio"
buttonUp
buttonUp
biblio
resrcPath
Biblio
:PHYSSIZE
"cadfp.exe"
buttonUp
buttonUp
cadfp.exe
buttonUp
buttonUp
buttonUp
buttonUp
HOUSE DESIGN
BUTTONUP
BUTTONUP
BUTTONUP
BUTTONUP
BUTTONUP
BUTTONUP
:PHYSSIZE
--- in fact, all houses are solar houses.
This house in North Carolina illustrates how a traditional sun shading device can be integrat-ed into the building design thoughtfully.
t useful.
at three times of the day and at four times during the year. This information will define in quantifiable terms what you may already know in experential terms and thus make it useful.
useful.
se in North Carolina illustrates how a traditional sun shading device can be integrated into the building design in an inventive way.
Solar Gainn
As a whole, the design of
this house conforms to what Mainers call a door yard. It is
a traditional pattern arising
from natural opportunities and experience. In Georgia, we would want to reverse many
of the relationships created
here to increase shade and ventilation. In either location,
the house and landscape
can be consciously modified
to create micro-climates which are more receptive to plant
and animal habitat, and are
thus less resource-consuming.onsuming.suming..re thus less resource-consuming.g.......consuming.suming..
The House as a Micro-climate
Principles of Design
:PHYSSIZE
Courtesy Steven Moore
Watson's Five Metaphors
:PHYSSIZE
rather than with the natural technology of building, they have substituted air conditioning for common sense..of building they have substituted air conditioning for common sense..
Belvedere natural cooling system
watsonsMicroclimate
The House as a Micro-climate
The act of building modifes the climate -- in small ways. Placing even the tiniest house in the landscape will effect the climate at each surface of the building as well as within the surrounding landscape itself. In measurable but subtle ways, the house mediates the natural conditions of the environment.
Design is conscious mediation.
is of the Victorian house in the drawing, in terms of the micro-climates which it creates, would go like this:::is:
:PHYSSIZE
Courtesy Steven Moore
Principles of Design
ural Light Diffuser
Watson's Five Metaphors
initializeProcesses
4processes,steps
how many sets
lines/paintobjects that you want
animate
T each
{will take traversing its
-- Get the XY distance
must travel
-- order
follow
5slope
traverse
--
held
-- This XY
be stored
property "incXY"
--
Ui -\
Ui )
& "," &\
--
starting location
--
sloc"
(The math centers the
--
{over
]point
i)
y2)&","& (
moveProcessesToStart
4counter,
--
Hinc
ializeProcesses
enterpage
moveProcessesToStart
initializeProcesses
leavepage
enterpage
AiinitializeProcesses
initializeProcesses
moveProcessesToStart
processes
steps
moveProcessesToStart
counter
steps
processes
moveProcessesToStart
processes
counter
leavepage
moveProcessesToStart
anchorBuilding
Principles of Design
The exchange of heat with the environment happens in both directions: loss from the inside and gain from the outside. The latter is, of course, a function of solar radiation. The latitude and altitude of your site will generally determine the amount of solar heat gain which you want to accept or reject.
A great deal of information which we will not repeat here is available about strategies for both passive and active solar design. However, one need not design a solar house to make intelligent use of natural energy --- in fact, all houses are solar houses.
n North Carolina illustrates how a traditional sun shading device can be integrat-ed into the building design thoughtfully.
t useful.
at three times of the day and at four times during the year. This information will define in quantifiable terms what you may already know in experential terms and thus make it useful.
useful.
se in North Carolina illustrates how a traditional sun shading device can be integrated into the building design in an inventive way.
:PHYSSIZE
Moore house by Marlon Blackwelll
The House as a Natural Heat Exchanger
Watson's Five Metaphors
This house in North Carolina illustrates how a traditional sun shading device can be
integrated into the building design thoughtfully.
Stack Animation
<=H<s
Gqqwqm
%'("qo
Dk;l:
"main"
.tbk"
`NeNN>8NG6
66::9
:NMNN2-
+N:N`::>J9>N
^{{^N=
^{S>88j>MB
^UM8-&
P MNNJ=-M8BN.
R{Se.\
GNN.NG
gN8::\
8`8``2
UG8Nj:+={9%2
`@G!8(
hCJZ2
g{9=M8
MM8>>=G(&\
^N{2N.
N({::
6U9N"
B9-*-1
3{N:G-!`B(!
9@2N->S
9N82N::!
J`NN98\
(:8:'%+
8>'M(
#9N:>NM5
?>N-M8.\
&J>+5N
8:-:"
@=6+J8-#
U:NA8#
N9N'Kv
+@`3NJ
-823>
@#+N*:-J
#?v^NM
~{u8:
?'S2"
`=63-98N9
:5'6>'6"*9
+U3.`N-
>BNM+
`2-+63++6M!->!++2
`:`{`MG:+(A-)
BU`>-N3NNN
JM-'#'h
:>nM3
h*`26-#''N:-9"#6##
!":(:#@
*`>9>-899N`%nv
{CN"e=>"
9N."+M1o{
g:UG8M-*6
+%'':+
>(.!"#
v?N>:+CNN:
v52vw^
{`>(\
ZM6--J--#-`83`B"
-GRU-6B-:
5M-8-`='F
-aG89
l#&{-,
^+2Z8A*=
68:-"!e
:J-(+%1>
?aN2#
&SR@".,
-85''::'->1
j::S:-6>
^N>>(
6:88!'
)' `--?):UM"
M8GN"Fohve
-G(M^#
G>=':
B5:-#"#*%%
8aC=-
M2^@'6,
eh{oN
N"'A#J+:5
MRNi6
^Z9N*-
@:3=i-h
8RZMSNg7'
M:8M9#!
gC:=Sw`{g{
)AvRR
:6M&`S8N"!\
-#5:828#J
R3(h#'
v^{^UDPP
NZ>UZ3--
-(>+:-)
,A+%6C#
eve`eeh2
NS`^M:
>!:(-#-5"
3vN5C-e
4=8NN
N#-%!
{Bh{{
^Bv{`{
?3C.R
U-(51=-:3NZA
iNN!--
g`::=:
hURo<
((-:8^
U{MBG!::G"
M>:M=1g
3i:GM+?+v!{
U`M*&{{g{Jjx
`ahhve
9(@58
#.MRR{?(P
aNGZM>
8@2'
R>`CM-2
RM`:>2
:M,>M3gvi:MP
4`.2:(9@
{`{vSw
"`.M:8*Z
`'MB
N:C9@>8N=%+
MN8-:M%!
!2N>M=8{
6M+>C#KMg{a
@8`.`
>5-MC+Ne#
g@A'M2:#
^8MM2+
a^`U;
q/V/k
B>.8N6#=
U4C-:(
4=3AM
NNh(NN-)
o-@%1{
N:`6(h
1C"ii
8NK.>
685+M
8-!A:N
fpqT<
MB>=6+
F--34'
(G-8#o
{e{g{h
"eG-83(
YdV<<cqY
a8=:-
NNSHH
[czcmm_
Tm<<0
:@%=U
^^BN#{v!
v3N!
OOfdq
@aUNN"
!{8{>
gM(M(%B
1?M>g-%
cfYI/H<0;_TE<T$c
_<</;
ZNM#`"Z
|mmVfT/qTVr/<r
C`{N{^8S
9N^Z~
:N8!`
C9N=N
)a`-+``
>5^!`
p[cEO
:GG N
@B"!Ua
`UR-`
v3:RS
MM33-e
pcc|kYdr
g^^=1
IYT;<r_qq
I;VV_Im
qd_rcHqq/
EdmfcmVV
L}Wyy
^ig3B
mmdcp
b}}W}
}n}y}
1@^?8
q$|dkTcY
f;mIq
]LB9KKW
ccHfd
dmdfkI
]LWx}y
H;O|$
<$$mHVq0;mdImdV
y}Wsyss
<V$<H<Y$
fqVH0
LWWybLbL
f$t_mm
yybbL
LbLybb
V</<;
yyLbb
yysbxyyW}
YrddYc
XXXXX
KKPxK]]X
dqrm_<
FKFL]
WbLL]
p$;;|
|5-"8
0)!87!
0&'>5
:8%:L!
0w"1%
W8 '"
k7!$$
W_g0O
5rr:O
LXc7@
3#i):|?
7g1eu+6
8"k}0l
6DYrPfcr
OfrWWeCgZL
rAmgrBCWfWLcZ
_ucuLXrgLrcrJc
Qu89x
CuLWWBQf;\cJr
fIwf\u_fXcfZcf
XWCucmKcg~\f
xiJAu
Gfg$&
,98Pi
rmWKorKoff\UZp
wJC9g
.4B:fcLXWcJ:
W\MgPII
#4XWTgrcLcffXiYiXWxq
J\fZZiXcZ
(j>ZG
Qggf7LKXKCuLZg;rIKiCrG
fXWcJWXZfZcPXf
&43' cBL_XPZJKuZWW\\cZcZiJ2
cC~ZuZZXZW\u
7BmfBr\f1
mC_^CJCWcr;gXXX\JgrcLG
rLrL_gWWf>cg\r
4ZJdf
>fcILLKUWu
ggIXAXGiWWL\ZKuC\\BXJG
r\cWduWIYrZf\r
OxLu\cfZ9B_Z\
~\Jf\ZIXcUL
WI4mfXIMXBIIfiXWuucgfQ
ggff_XrXEfrLfr
L4>7A
Zq3WXLQ
ZJWXgc\IiB>
uif\CJiIZfcL\JXWuLWBLc
MBfffmXY\WuKx
0437:
xCo\cZx.JLZu
gIfK\\WJfZ:
WZMALIWZfiiJcX\cJZ\C
gmcfWZI\~XZW\u
,,;07
ci9JIc^
gKiZZL\cc_/
rL\gC_ZWuGXif\IcPfIXZl
cLuXffZuXWr\
47,7.
ug\9W\\i
xUiZJr\QXg1.LKXcMWXZWfgQuKLfc\fcf2
f_\WckuKrccQu
,4480 `iZKvri@=XW\
fLXL_CxIYr; kJfJK\ZfiZWWffcWLJg9uG
uicfcfQWr\WL
D,1C'6g`W`L`iA;LI`
wIiXLXWJLD&.i\LLJXWLc`WLUZCLJc;euG
fZAdZuuLf\LXs
KZWuici98g\7
r\ZiWKWL\c7 gZK_LL_Z_ZWcW<PZciZfu
r\ciWY
\cWLW\g
a,!4&6WXuWZiZ{?DZB
rZWW_XKFWL:
Z\\XKoIZXJJrIMrLQWKLi-
uogiZYZiKAgX\x
g,80K
Iu>O?CZ;
gLMEJiLCc_>
cLcCWXWgIiC
>LIf1
rc\cfZW
BXcJJx
-F)8:1
rLKuid
OhDc>
WZcDK\JK_iL
uiIcLfuL_iZW\XIrMW\g_+
odXcWcWBcXWr\r
ufxu+K03HE
\\fu9C\B=
g7L>WQ
KfICXW_>ruWLZWLJgI\J
fiWuX`dXWWZUZr
r?7;=
\uXfZx3B\c8
grLcQViLIZQ ciLZgu\JBim_g
B_rW\Wi8
`WrWTWhXj_XLc
FXuiK
iWcBXXG\^X1$_ZZoWLJGmZCKWVWgJ\XKgx
~_fiLc[irZW_^c
89149jWuQ\cx
rXgWg\ILJX:
g[cQWPiLmWYWufZc_WWicw
JcuccYumfW\Wm
$rx{u:
U\\gccug
g\iIJ\LLKu$ XfcX\\ZWWKg\fiPZWX\fXs
uuiLKfcBuiImLr
1,7&(W^ciXc
gg\m:rgIcg#(\W\IL\XIfWfXWcfWL
uuX_dLYiWd\Z?
G~Q,;8
qficfci
fD\gCJZLLX:
LArXL`ZfZWUriccifWvXf
\cuiUwW\WuPxj
);:(icux\g
iW`JLZ\CWI=
wrCcB\gW\Yd\fg\ZWW\fra
YL~XZQfXf;
ric\iWx
uCXLcJZ_\J1 c\PiIWKCcWWT\uX\c\^Pu2
@gicd`i\rZmuij
~crLirq
>X>A~BoCWLf
cWZcLcLXZ\KmcuiX\ccWc-
K`cLcrLimoWa
uw0CK
ffowcc
ZJX^6KFCjZZcWXAM
rJgJA7fLU\cWW`uZXrW
uuc\dfuIud
!)Og\\\cu
ZW5.\;g\JJXWiPi
cZ\c>MdCcWfZfXciLP\mr'3
Ircu_i6g4hX cXcWKXcfWg>
wcK\JcAL_>rJccJ\iccKu
(Tcco
Zxc~gouN
wcu\ZfZ
gLZu_IgfIcc
\cJfKLJWYcWWWZfc\WLrc
\r\ooffx"
\r`~u
wii\X
xiJiWVZ\gcM
uccCI\Z~ZAifLJ\XcWmg
.ZuomW
c\%(cLcX
YWimucx
wfgmLWa
wX\fQ
gXiXUgLLZPI\KfZcf~X
@UfffmYuf
Ocgc\
gWogr
ZuW`ii
KiKff\rTdUX
JfJz]JXiLffuucZfr
%.rpY
LccfrXi
YcZfc
Yim\Zu
rgi>Tig
<cXEpW\^WcX
9oZXJ^cLgJiBgufZ
zc\rfrfcZu\Y UXiuX
LuKrcu
mcf~K\
fWfcW>ccWr
O\X\\XuKr;\Wgkf
@fcvfuuiXog{\
UikfW
ifi\&
cZcc^WJu
Ug\iZcWciX\V
KcoucZccggf
Zcuxfu+
wicaJWw
$fWXx
fXZ\XuW\\iKg
\~_ n
uuKcZucfIXf
oiKW\
(xuZ~gx
_XZ\\ZfcLu\rE
r\uWQrmx Ucgd\
Y\rBcXZZfcWiu
LduZrgf
U\KXc
o\ZuWKXc\u\Wg
KuWWiccug
ofWcrIcufWc\c
cru`fiWZ
fKifc\ZfWuuu
IuW\pfrZr
uccidXfLW\fEq
uVrf~cfXWAf
Zccd\f
urcXrZx
AfLL`
u uUrGcLWTZuWuK
fvWuufJZuf]~l
Z\rQmKc\ru-
ucZcu
{fccVuLWrf
euZfuc_f\\Wf5@
Zhcc_cu\
OdXof
v(uiifcPcigL
*SffG
KgvufciiJ
6gucg*
cuWdQrPL^fd8*
cBudQuXG
2Ogcri
cWLLccIZfh
ZWrWZrWcL__-(
CcLrX\\ZuWf
rLfZC
WLW\cZKYZi
3gXWucWodu
_WAW\JiZ\Yc
xIAPIWf
fWCWUpcLQWu
fLfLWYAX[uc
fm;WJcWg\Wr
DcL^LJrW\f
.KIJXLZZX
JuDgiK
N2222
|||h|||
gedZbSSFLF`
Fd\W]UUddU?F`
0FSUF?
Y( X]FUdUX
dd_d_d[eSS?
U{c_FWcJHAUF#m
HgZ?#
.tWFbd#
gncZbFF>L/V
Hg\OdUUdd]3:V
6HJU83
s]AXsF:
{dbSkdZU<;
_{WLJuFF\]8A*
qdFk*
qJW?6/
szbeJdF8`
AFdS]UdSGsX<-
dDUZF-
kbdU?F
smsG]dA*
DXbAWgFMS{Fd<..
|:WF:D
\bJWL>
tdJPA-
sSbJUcUZbMU[$
hgZdG*
[mUbFSD
]gcGg+;
&GGXUQ>ZmbF$
dUSg3:
,=0SdSi
USt3mF30
J:ZGZbHLFe<(
sdSUbG#
-F\:kA
MkS?FGGd<
7+Xdd:]A<X.
Sd\*+#I
+FU_d<&
?:MSG[
APF[:]A83&
\:*.t
F/-bPb$
3[[d>&b_e+
1fW#C
dW=AcgZ#
T{8U_$
>0+d-L
:JA:s<u
$WBULc+83
sWUG-6
+G]UXZF3D
SUb>s*`
CTF[m+]
3dH??]-
!AmbbZ[
H_Fb[|sk
"/>sLS
3LUAI]#
>bthbbXkZse8-
mSq[:F
cqqHD
H=FHU8
Lb]UdYcFdh1
\dcgUU+3X3/8
HXbdt-I
sdY:FbdbFLD
S]dS7
YDUqq3
FWe]b8eAsK
}_gd]USUFcS*i
dZ[]d<`
6W:mZUFFbd*
[dPX>
XqUGdeM&
`ZSg5
:ZSJZUSGWsS\2
AdU_UJG
kZFee+
HdFLH]X>_d#
:SqWUD
qUW?3/D
USc]PF7>+ASJ#
0?P{cZbJ
'bdWI:UUZF
|sqZd[#
}ZdFU/+
]Zs]bb:0
FFASb
dLZ]U#
3]HL/#'
q]FUJ#R
AkUeFF*
bsgS6
]WUdF{e#
#Jd>GF-
kGZ8:
G\m:Rj
dWbgHZF-
;0.,6
dsmsss]
k<d?*
DFZ/*6
ZJd?FG#6
sZmdSb&
UP?*G*I
U]ddJ'
HddgHSA$
cFb8F:
t2%-s
td\J.-
DqsbL
mcsP8?
s\XF*
UULAL
LSLPW7
Y cUs_$
XSkOFFs
iFZX0
Sd:bHJ(
bRsub&
2IMqd?
.dUA&3j
cms{qm
dFWUd$
,(S]&&
i1X_d*V
.cJF_d`
PWmg+
yskdt
mMUA#7u
|*8&%
q[cM!(
3tsq&
[UGGS$+
wgXtQ
Ubdq[q>db
'ZX:eKt#i
Xh8&g
c_gZ#
UccGWJZm}
|Z\F:1(
dkbs_.
kdk3AF
UlqJdAPd
e[b#:(
3$Pd2
JF]FSbQkdbb<#
k_AJZ+
c[A*D&^
cs[.j
{gGMZ>U>JW80
n5<]tdED
}AUULU#
3]FUeFFF6
Z>bdA.
/S8U*](
6S8:U3:z
}JL^
U3GWcSY8
}?w/GF
I]IM]
\]UJPS8F:
=m_S.
_SU:&
ue&3D
M3'M1
mb]P7
G8:Ue3]c
RMWW7c
}P[kSF7
q[kd?
7 gGAq-7
X[tb.
J+Rtq.
UbL{Zq{
kUF7F
}g8*+
!dL&-0^
dgdZd:P|HU6!
kdg3D
1&<DY
X+M?&
jTG/\
dXWDbUJ<PXG
BdZG*
?&{ jR
u-jGT
Zb>TF]bHWSL
deS0S&
L{W:XLFW>qI
t8sLJR'R
'kbGAs
LS]3G
DAQHkSeF
UkSFI
?UUZ3T#
U7/?Li
d+7uc2t
]LGZ8
8s[bkd[
13* QQ*d
AEFG7Fg
0U?YYI/X
S37*0
)))))
JXXRZg
m3+?#M
L\ZcFF
F00/-
9999999
YFCGbb?*
XXkLjuuU
;+tR+8+
LWtsd<
fZs=s
9)))))9))
A+73*
sM{bR{Jud7
Dqn{[`
,_PUA}
?+TP1
4)9)99))99)
"U$FFTZLR0
\bWdWAS?z
LM3Fh
9))9)9))99
^&$&'DI
uGbU]U
*:Gs]e8
6mUbc
cRFL;
9)))9)))99
D8M$GL*R/
\<PFbSF
9))))))99
7:?eR
,^?-*
XC./ij
HF3*D
HF7ss
)99)))
}?#jjot
|bdWi
,dU-g
PT#LM1+$Cm
`{k|gm{
C[S:R
,JAL?
ssXdI
g+*$G37Xo
SG?DJR8M
`M;Y
4,HdFg0
MH6?/??!
U:0XA8m
jg8(0
Gt&jF,
}_>7@
GFC;U
.U+GoZ
IJ/0F%
mLLXg:
ssgXG
iEucIV
#1+TG;
R/UL6
>tXDgRjJ
U]sW<t
U?Gc{
U$'$+R
q^RJto
mcFgU{c
%QL>%
U]S :%
td:0X
cZ7]/cSU
XbssM
08*6]A*7
X{sku
&cGG$*
xc?]U%
tsq1\
RGYI%
?c]Gd<
(dFdg
#X-'+7AzbU.
>dIod
G<0G-]1
V?:R3*d
u*3Xg<bC
C*ut2
8gUF:
Gcz*!
_FUZJP}
(Gdb]d<j
S[8L<H
??ez+\
suS7:
/hdS]
6[/U3m
mZ]WcESc FF]HGed
mu]SF<&
DkcS8LAU\
cmG/m2
[J.?ALFFPT
sHUL-]s^
i pctet
#7d#R
A+PF&
sG_eSH
JPe]bF
mR*d&ts
(fsZA
X#X>8
kqeAF
6eG#{D
bggbL.
D_d_dSI
mXXFd
N@N`NNr
rrrrr
pNNrr
x4+ Gd\C
rrN`pNN
xxpjr
} ~ {
dA$%@
%(^$%n
/P0ETM
,W<SSY
ES/Eo
EG:Wc
T5E/c
EGHc
LScdJSIY
B_@LZZlc_
SEcYSS<
663TYVESESY(
d%6S7
CSIP:JLYW
PoGEd?cq0
PYEIcIHM-
@TYEcJE]
6?@P=M@7
SIBY:Eb@E&
kSkJGcJE4
.bw.T5c:EW
W%{J|
@d@5Sc*
@="c|
EG@@]0
S:.H_
JbcI"
T5.3d
+S@+H
GdTq
]qdcS|
ccEdIk
M1WLSEE
S]cW?
S:qSTW%
JEdIIW
JkJYTc
chJcJS
k +:
6q SA
S@cIdq
cZSYH: 3
dSNLJW1
jDdfI
d +=-
cEWLGSA
cTSI@J<
W"SocT@kcSdLmc
JkSI5d7
$hVGncSJSWEdEYEJWC
GETcT:7
!;tt``tOt
So]q?TeA=WGW=S==]YJ-
TGdETY&
!`RRRR`;`OO-
E3STbY5qIWSYSVJ:]Sd@G(
SSmoo0
!R`t;O`R`R`O`Ot
YTd@kSEEETSGcYTE<%&
ttO`RR``OtO`RO;`
dkSIrBIIdSq_TWS(
t;R;Rt`OORtORR`!
hScIdWd>&
t`;R`RORt`tR`tR;!
MOOtRROt`;ORRR;`
tO`ORO`ORRRRtRt
tt;`RO`;``t;R;;
dcdW8'
tt```;
qrhdq
.P_c~|hqDoT]h
dJqEY:qoh]TJ
+.dIT
dSJYSWEScmVVch
YcYk|d
~IT@kYTcdSdSVdcT7
3ScSdYYccTEASJV?SJcIqTc\co
ccVodS
|YeEqecYhh@TShIJ1
ccccGcSSd]SYEddISTYSSY:Sm]dco
YPWqYq
dSSkS=?5Td?WESc1
khEdkWSSGGSE=YSSSJdd?GoJJ?dSm
]SYcc
hS@T@dII]EIT5cW@b
qdSdSY?dSEEEEcIScELBSSJSLmCYdI_
ddSkY|
'oiJ@SS<cJqSoTJTT<
!oSdSTcJmSSSSJISdIdI@SSdJq8cS
cGmIYc
'YTcEk=G?EIEWJ]?GWj
)dESTT@dWICIVISHJ=LE=WoSdWc><
Td?c]
cS?m5rGS:SSd@oqcM[
!dSSIThV0S
3c:JS=SGoB~Y<0
oeYmq3kIGET||Y]_6
-doJTSdY:q-ooLY?E<1*
rJIVDdccdhGhIJ(
):ddET3?Y
$#636H||
1~Dd]SdTP_
dTDddJM=7
cSESdY:P)
eIII?SGI
/.3@5Dc~
Ech]ITJdJBT
#6(3yc|
mGoqv-j}
TcdhTkSd
ddmd<JcS@SYEd
,/[:|o|o
dhSYcTSI]w
-EdcYcoLdEcSJ]SkJJYJTSmGGG:d
!<(WMhMJM0
dkJokd|L
ddccSkNSSTk@kcdSSScd
EjhIVh]ebTTndYkYTdVd?
YdJ~ccc
ooSmc\]ccdq<kEYSYdYdq
wM|Td
?~odcVYTPVYcqdxkodqd/*
mcmwY}
qYkhdooVkTYSTk<LJ.IWY&,E
GSWsGd|YWq3>/
cdd]Y]eTc@IdJYISY=Ecm-9
HYZ7<
SW_#&
,hoTWDYSETSc?ISSSWodJH
VVLK]c
komnq
WdJZISmThTEkYdY+
]h~cdcJSSdcq
Y|doc
cYG/*'
GkddccSEDdL~T\d|
W7/(#"
+dGkcc|]kdkVl~ed
=3oSq%
5]d]|dTcnY]L@A)
[mkIdWSdId7
DjcdqSVYed
ooHH`9
[[uZuM
:76,,H
:22BB2,B
B,:,:6:7H
B266:,,27
"272767:,V
9,7,26,79
9B,7B
"0.(;;&
88DX|G?3;
X.D3FgXXMM3
XNgmNVA8&
%@Jbb
=D@J^
&+" "8+3&&
'aPFMu
uMAMmG
(ewyWJC=/
hWUJCW=*%0=U
ey^Wyyw
e3C(*
]4/i%
utttuueeeuueufbbeefbbebYYIIIID;S`ac`dUU
surutufeetrutrrru
ertuuueeeeueeeD
bWZhrih
isrebbD
ebbbtD
DiYsr
vld\d\^\dvcfddkj
WciicZii
*hZchi
ihdwc^d~hJJOhcgiQ
,IbbYbbiZDDhib
cghJJJ*9
w{gwq
_cU@
\[`LVK]
[UHAUOU@
[6SG@\@X@
U]HS
J`$F+
/5SPa`:@
/(G!G
HESU[FT+@ 0A@
5!SSTAFL/
%LK <
i\Y<`KV$
U:'A@G]=U0$@@WHU(#
0@L@K(A\FL/FG@
XF] S
\ZBL)
cL=H=@K@L
:@3@S%A
?SS@UVO/\@E-3'G<S H@S 5S)
hdS]Nc]Z?
:GA3:3(F
(&(:0<//`3(H$
%F#(("
G0:///>60(@
@L/G%G=
33((AL!
HF[U6GS M5
:@0G/
.S'B@Q(@
-@/(E#(&H>@#S
5-E@#:::
A(0S)@L@/A$-@@
$TAGGK3
5/@/ E
A8%H@A03SF<5L
AG/A6#1B@3@\ S0
A:/(/T@A
G/.:#3@<B@5<5@0-5H3S/@0@$L
A@3T/5&
0%=0'G(L@,#SA@
0/<!$:&K
(03TG!@,:
E @@G/1A
GKH@K-
(#3H@G:5KTS#@(
9 05H5(
3/L%!
6S/@/L@@5@/LT@T@=
<@0/0
(@H3@L
M0GS5,[3
0'@KAG00
@#E&-
@3.5/A
A@H@/
-LH^3=
:OG$/Q5G@
%A!L?A@
$@/#A+F0K@
@/:(@
G(FK@'
4@H@H/&6
@@T(>#
-0%))
A)%:H#
I-/.=
M>A#3S'(
E$E#
G@:H05G@
UGH=@A
@(@AK5SL3:
@$S"=</V:
BE(#@4
&+/+(/GL(//
$3L30:5+%'/(
I*Yb =63S5%50
:=0#*6K@"@(IA(HHK0"S-@=(/:33+5#/
uD'/@
AA#E((6B3^3&-=HS3@0%A"0/3^/LF0:
S0G:V/B@
#A!G0)E-A
:&"#GB+G1L:$/BA@'AH@@/
?SL3/0A
5:L A
5=0"N@0@6&::&
KL/G-!Q#!@
<@5@0BA50@A
A@ @$G
@0L//@000K
@A;AATK
E0#+4G)(
KAS@@50'4@L6A3
K6(5S(/@@0
=>K!5@H@
T3A@LA5//50
@ B3A@ASSA/S@+:
/3@=.
@> `?M/A%
,:!::&3/K@ /@0K@:0:#=60FAS
.GL@
A@P5G@5@0 5
LSXL@A-%=G= A
(@#>?3
*!#%A#
O##%A(A
B"Q3G
3O(KQ
@% #V/3
,&-%%:%0 @
@@$@A
A:5%[
4E G&=
X@?@) A#
A$(SI&
K(,+#:A3<5+
#'GAEJ-
:T0= @
:K10(
--AGVS5
/@!1%4@G15G<@AO!:0
T#BVAV3
5<@\GK2\@A
:N(K/T&GS@S@:
G:S@S&V0@A%B0S/(
0A/GSK(SS>A@ %
K@3@>#S/LA\HK%A"GT+EA-L/A5\IG5&
KE#>"$3>
0@3@X3
L0(/3@3A@0,F?C3T(S
3-KSK
03S@UA!@
G;01G/AF
G:%@<
%@GA/L
/G<3,L K#:>G3H+L+,A'
S<(AZ
AS@&S/
@+U/@
10@H/0[@0@
%=:SHAG0
@S(/+@@>:#@(BL
AX5VS
%THH,H'#:STS%@:/SOA,
.F0,@
%F1c/*Z(%S\
<5@R/@G//VA]:@@(S(FL@:@#F$A
5#05+U>@+@3/AX/
,0\G ,
D*AE\
H(035:S(XA@KLKL@
%=[H!
A>=5GKAA1T3A:T=:
:A3/#BG+L#
35(L_
KLTR"@@T0@A
@/K3P
*(\#3<
SS>L/K
:5/4HE/B+H
g/@S/:5@]A
I[@K@/@3K0@@@6F,N'/ J
q{gy{{{
<53BTE
#5@#@AF3
EAA(@
H=<G:LW=)6@T(J
0UU00
\AG>[5G
<A[U'G@FKH1(
J7S@A/0A[
GLAU%:@@L\A@6
LVUA\/
:[AVF0
IK@0/(S/\/
Z-5A2
]UOIHG[
A#FSA5%(@/@X@:0@G4<
n@UAVAS
S53/S/1@03H%@@
@T"(@3@
U<@\KTLH@
zl{zzzz
fJEK%L@
A @(HWAU>LS%
@HK,(T/L3B?K@\%KA
@A,3K]=H>*K A
YS /Ua
a(F(-GA(:@KFL%`(
hHQ+a
\]I@SBBY
!@%5+)I6
k (UAL(I\/A>LK
A=A%HCS%+^n
HKS:S/USLAG[
TKF`5K/(6aS
![<]:3/HJ
6\V,3
#LUL3
HAS\K
/0:IJVk
V0[@!=/TU]\
35UH^k
OHL@S=
=Q@FS/=SS
c\c1,
SY#3K=#S@
**7TGG>/]Z
d\J5=/<"
L:U/GHA`
=5-P/
K[%AHS\
S=\,#kj
=HLSSI1
%XL kg
'"LLS``
U@/H]P[
D*)K%L@QX
AGIT\'
*[%aHK
qv{vq{
D4]M>GU
QY2A[@
Y@OHH\
\AS3AFQ
GU:AUSE.K[Gc(Fj
:PHYSSIZE
footnote
Hazard is perceived in a place where there is no cover or place to take refuge. Narrow alleys, barren flats, or forest-like environments (Central Park) warn
us that we are vulnerable.
If all 3 characteristics are present in the same place, you can feel ambivalent. Such ambivalence is a part of the pleasure to be found in the contemplation of landscape --- a kind of test to our awareness of strategic opportunities. The author Tony Hiss describes a faculty of "simultaneous perception" which hints at a similar ability, and the need for humans to drink in an environment in ways that are preconscious.
But if you suceed in understanding the natural symbolism of your site, the house will both adapt your behavior and interpret the place..
N :PHYSSIZE
:PHYSSIZE
Principles of Design
Urban Hazardd
Rural Hazard
Prospect, Refuge and Hazard
Anchoring the Building
Prospec
"footnote"
mouseEnter
mouseLeave
mouseEnter
footnote
mouseLeave
footnote
See The Experience of Place by Tony Hiss. See Bibliography, General Architecture.........
"footnote"
leavePage
leavePage
footnote
:PHYSSIZE
Neighborhood Patterns and Context
Anchoring the Building
Prospec
watsonsVentilation
WatsonArt
L L <
Watson's Five Metaphors
Art vs. Science
By various estimates, buildings in America consume between 30 and 40 percent of our national energy budget. This sobering fact establishes a relationship between the creation of built environment and the destruction of natural environment which is far more insidious than the impact of a single building on its immediate site.
In confronting this dilemma, Donald Watson, Professor of Architecture and Dean of the School of Architecture at Rensselear Polytechnic Institute, has concluded that our culture has lost a fundamental link between the idea of shelter and the method of its making.
rchitectural expression, or style, has become disconnected from technology, or ways of building. In our confusion, we have relegated the problems of the environment to the world of technology and science, and have failed to recognize that they are inextricably linked to the world of design and art.
In order to get beyond the art vs. science conflict, Watson has proposed a series of five metaphors which translate the concernese of science into visual knowledge. We have found them compelling enough to include has as design principles.
Architectural expression, or style, has become disconnected from technology, or ways of building. In our confusion, we have relegated the problems of the environment to the world of technology and science, and have failed to recognize that they are inextri-
cably linked to the world of design and art.
In order to get beyond the art vs. science conflict, Watson has proposed a series of five metaphors which translate the concerns of science into visual knowledge. We find them compelling enough to include here as design principles.........
Many designers have compared the technological systems of a mod-ern building to the biological sys-tems of the human body. At first glance it makes sense to compare the wood frame of a building to the human skelecton, the heating sys-tem to the circulatory system, or the plumbing system to the digestive tract.
This metaphor allows us to
understand that buildings must
have a dynamic relationship to the environment -- windows that open en en close, shades that can be pulled, or electronic controls that can accurately measure temperature swings, just as human bodies sweat, shiver, and grow hair in response to changing environmental conditions.
Principles of Design
The House as a Biological System
:PHYSSIZE
The House as a Biological System
Watson's 5
Watson's Five Metaphors
and close, shades that can be pulled, or electronic controls to measure temperature swings -- just as human bodies sweat, shiver, and grow hair in response to changing environmental conditions..onditions..ns.
The perfect demonstration of this principle is to recall architect Lisa Heschong's suggestion that two basic architectural forms were derived from thermal considerations: the hearth form and the garden form.
If we apply the laws of basic physics to an analysis of these two forms, we discover that they might enclose an identical quantity of living space, but that the surface area of the garden house is about double that of the hearth house. In a cold climate, the garden house would require twice the energy to maintain comfort. In a hot climate, the hearth house would cool at a rate which is half as efficient.
surface area to volume ratios should be a basic design strategy related to the thermal demands of the place.
:PHYSSIZE
:PHYSSIZE
Hearth form
Garden form
Principles of Design
The House as a Natural Heat Exchanger
Watson's Five Metaphors
neighborhoodPatterns
Let's consider an example of how a new house can be thoughtfully inserted into an established older neighborhood. The illustration here is a top-down view of a rather typical street in Brunswick, Maine, lined with houses built between 1880 and 1920 -- that is, except for one interloper built in the early 1960's.
It's ironic that this newer house tries desperately to mimic an architectural style of the past, yet violates every other rule which the previous builders observed. Note how the relationship of the garage to the house and street has inverted the rhythm of the street -- house/dooryard/house/dooryard. The neighbors' privacy is compromised and the setback of the house from the street disturbs the street facade...
Principles of Design
:PHYSSIZE
School Street site planeeeeeeeeeeeeeeee
arrow
Neighborhood Patterns and Context
Anchoring the Building
Prospec
"arrow"
arrow
arrow
Watson's Five Metaphors
:PHYSSIZE
Rural Prospect
Urban Prospectt
Prospect, Refuge and Hazard
"footnote"
mouseEnter
mouseLeave
mouseEnter
footnote
mouseLeave
footnote
watsonsMicroclimate
Biblio
buttonUp
buttonUp
buttonUp
buttonUp
HOUSE DESIGN
:PHYSSIZE
4mainPath
"hdmap"
buttonUp
buttonUp
hdmap
mainPath
4resrcPath
"biblio"
buttonUp
buttonUp
biblio
resrcPath
"cadfp.exe"
buttonUp
buttonUp
cadfp.exe
4mainPath
buttonUp
buttonUp
mainPath
BUTTONUP
BUTTONUP
BUTTONUP
BUTTONUP
BUTTONUP
BUTTONUP
thermostat. We too easily place these phenomena in the realm of the artificial to be controlled by science, and ignore their contribu-tion to the quality of spaces -- to the art of making spaces..
Out of our rather infantile need to see ourselves reflected in the landscape, we have consumed the resources of the planet without much regard for other species. Given this history of human egocentrism, it is dangerous to suggest that we should conceive of environments as physical extensions of ourselves.
In this redrawing of "Le Modulor" by le Corbusier, a system of measurement based upon the proportions of the human body is proposed. It suggests that the built environment can accommodate the body without mimicking human form.
It is valuable to consider houses as another form of biological system -- one that mediates for us humans in the world, but that is clearly not human..
Principles of Design
:PHYSSIZE
:PHYSSIZE
The House as a Biological System=
Watson's Five Metaphors
Watson's Five Metaphors
Courtesy Denuta Fishman
Color Key
Blue Least amount of heat loss
Yellow Medium amount of heat loss
Red Most amount of heat losssssssss
Principles of Design
:PHYSSIZE
Simple surface area to volume ratios should be a basic design strategy related to the thermal demands of the place.
This infrared photograph of a house in a cold climate is graphic evidence of how buildings exchange heat with the environment.
e exchange of heat with the environment happens in both directions: loss from the inside and gain from the outside. The latter is, of course, a function of solar radiation. The latitude and altitude of your site will generally determine the amount of solar heat gain which you want to accept or reject.
The House as a Natural Heat Exchanger
Watson's Five Metaphors
The House as a Natural Heat Exchanger
ciples of Design
rospect
Principles of Design
Prospect, Refuge and Hazard
These mechanisms of survival respond to three landscape characteristics defined as prospect, refuge and hazard. Appleton calls this natural symbolism. Our perception of the landscape in these terms causes us
to feel either encouragement or warning.
Prospect appeals to the hunter or observer in us. It is both an offensive and defensive position. The top of a hill or a penthouse apartment overlooking the street are places of prospect.
Refuge is afforded by a cave or house which looks inward, such as a courtyard house. It is that quality of place which allows us to be at rest.
\ :PHYSSIZE
:PHYSSIZE
Rural Refuge
Urban Refugee
Prospect, Refuge and Hazard
Anchoring the Building
Prospec
watsonFive
Watson's Five Metaphors
BEL EXE
MACHINE EXE
MEM EXE
NLSFUNC EXE
POWER EXE
PRINT EXE
QBASIC EXE
RECOVER EXE
REPLACE EXE
RESTORE EXE
SETVER EXE
"lumens"
*p1488Y
*p607X143c
*p907X19
*p1357XHouse as micro-climate: need 2 pictures here
FILE:TCannot open output file for writing. Check to ensure path and filename are correct.
Overwrite existing output file?
&More Windows...
e or indigestible, consider other means. They may take longer initially, but can save you a great deal down the road.
Courier
(s0p12h10
(s0p12h10.0v0s3b3T
#A#GA
GVGVtV
/`0`'
l|}``
After learning more about designing and building a house, yourself, and your budget, you may decide building a new house isn't for you right now.
But if you still need more space or a different location, and if you're not happy with existing houses available to you, there are some other options.
Renovation is the big one. It may be that your current house can be changed or enlarged. The ideas and guidelines offered in Complete House apply to remodeling as well....
Deciding to Build
:PHYSSIZE
:PHYSSIZE
Before & After
After & After
------ Courtesy Andersen --------
[windows]
spooler=yes
load=c:\mouse\pointer.exe
Beep=yes
NullPort=None
BorderWidth=3
CursorBlinkRate=530
DoubleClickSpeed=452
Programs=com exe bat pif
Documents=
DeviceNotSelectedTimeout=15
TransmissionRetryTimeout=45
KeyboardDelay=2
KeyboardSpeed=31
ScreenSaveActive=0
ScreenSaveTimeOut=120
CoolSwitch=1
DosPrint=yes
device=HP LaserJet IIP,HPPCL,LPT1:
[Desktop]
Pattern=(None)
Wallpaper=(None)
GridGranularity=0
TileWallPaper=1
IconSpacing=75
[Extensions]
cal=calendar.exe ^.cal
crd=cardfile.exe ^.crd
trm=terminal.exe ^.trm
txt=notepad.exe ^.txt
ini=notepad.exe ^.ini
pcx=pbrush.exe ^.pcx
bmp=pbrush.exe ^.bmp
wri=write.exe ^.wri
rec=recorder.exe ^.rec
hlp=winhelp.exe ^.hlp
doc=C:\WINWORD\winword.exe ^.doc
dot=C:\WINWORD\winword.exe ^.dot
rtf=C:\WINWORD\winword.exe ^.rtf
tbk=toolbook.exe ^.tbk
[intl]
sLanguage=enu
sCountry=United States
iCountry=1
iDate=0
iTime=0
iTLZero=0
iCurrency=0
iCurrDigits=2
iNegCurr=0
iLzero=1
iDigits=2
iMeasure=1
s1159=AM
s2359=PM
sCurrency=$
sThousand=,
sDecimal=.
sDate=/
sTime=:
sList=,
sShortDate=M/d/yy
sLongDate=dddd, MMMM dd, yyyy
[ports]
; A line with [filename].PRN followed by an equal sign causes
; [filename] to appear in the Control Panel's Printer Configuration dialog
; box. A printer connected to [filename] directs its output into this file.
LPT1:=
LPT2:=
LPT3:=
COM1:=9600,n,8,1,x
COM2:=9600,n,8,1,x
COM3:=9600,n,8,1,x
COM4:=9600,n,8,1,x
EPT:=
FILE:=
LPT1.DOS=
LPT2.DOS=
[FontSubstitutes]
Helv=MS Sans Serif
Tms Rmn=MS Serif
Times=Times New Roman
Helvetica=Arial
[TrueType]
[Sounds]
SystemDefault=ding.wav, Default Beep
SystemExclamation=chord.wav, Exclamation
SystemStart=tada.wav, Windows Start
SystemExit=chimes.wav, Windows Exit
SystemHand=chord.wav, Critical Stop
SystemQuestion=chord.wav, Question
SystemAsterisk=chord.wav, Asterisk
[mci extensions]
wav=waveaudio
mid=sequencer
rmi=sequencer
fli=animation1
flc=animation1
[Compatibility]
NOTSHELL=0x0001
WPWINFIL=0x0006
CCMAIL=0x0008
AMIPRO=0x0010
REM=0x8022
PIXIE=0x0040
CP=0x0040
JW=0x42080
TME=0x0100
VB=0x0200
WIN2WRS=0x1210
PACKRAT=0x0800
VISION=0x0040
MCOURIER=0x0800
_BNOTES=0x24000
MILESV3=0x1000
PM4=0x2000
DESIGNER=0x2000
PLANNER=0x2000
DRAW=0x2000
WINSIM=0x2000
CHARISMA=0x2000
PR2=0x2000
PLUS=0x1000
ED=0x00010000
APORIA=0x0100
EXCEL=0x1000
GUIDE=0x1000
NETSET2=0x0100
W4GL=0x4000
W4GLR=0x4000
TURBOTAX=0x00080000
[Microsoft Word 2.0]
HPDSKJET=+1
AUTOSAVE-path=C:\WINWORD
INI-path=C:\WINWORD
programdir=C:\WINWORD
[colors]
Background=0 64 128
AppWorkspace=255 255 255
Window=255 255 255
WindowText=0 0 0
Menu=255 255 255
MenuText=0 0 0
ActiveTitle=64 128 128
InactiveTitle=192 192 192
TitleText=255 255 255
ActiveBorder=255 128 64
InactiveBorder=192 192 192
WindowFrame=0 0 0
Scrollbar=192 192 192
ButtonFace=192 192 192
ButtonShadow=128 128 128
ButtonText=0 0 0
GrayText=128 128 128
Hilight=0 128 128
HilightText=255 255 255
InactiveTitleText=0 0 0
ButtonHilight=255 255 255
[fonts]
Arial (TrueType)=ARIAL.FOT
Arial Bold (TrueType)=ARIALBD.FOT
Arial Bold Italic (TrueType)=ARIALBI.FOT
Arial Italic (TrueType)=ARIALI.FOT
Courier New (TrueType)=COUR.FOT
Courier New Bold (TrueType)=COURBD.FOT
Courier New Bold Italic (TrueType)=COURBI.FOT
Courier New Italic (TrueType)=COURI.FOT
Times New Roman (TrueType)=TIMES.FOT
Times New Roman Bold (TrueType)=TIMESBD.FOT
Times New Roman Bold Italic (TrueType)=TIMESBI.FOT
Times New Roman Italic (TrueType)=TIMESI.FOT
WingDings (TrueType)=WINGDING.FOT
Roman (Plotter)=ROMAN.FON
Script (Plotter)=SCRIPT.FON
Modern (Plotter)=MODERN.FON
Symbol (TrueType)=SYMBOL.FOT
Fences (TrueType)=FENCES.FOT
MT Extra (TrueType)=MTEXTRA.FOT
MS LineDraw (All res)=WINLD.FON
MS Sans Serif 8,10,12,14,18,24 (VGA res)=SSERIFE.FON
QuikTour=true,true,false,false,true,true,true,false,true,false,true,true,false,false,false,false,false,false,true,true,Quick Tour Topics
[spooler]
window=-8 22 648 488
[HPPCL,LPT1]
prtcaps=52104
winver=310
[Paintbrush]
width=38
height=24
clear=COLOR
[pubpb]
SaveConfigOnExit=0
[HP LaserJet IIP,LPT1]
Memory=369
[PrinterPorts]
HP LaserJet IIP=HPPCL,LPT1:,15,45
[devices]
HP LaserJet IIP=HPPCL,LPT1:
(c) Copyright Microsoft Corp. 1991. All rights reserveO'
63,&_
;5;")g
<Xklz
_np%t
bfpQt
&:1YV
nYQnpYf
wkz<\
fnrtA
lxzxkzl
}M}<z\
<bzzS<z
}qkz<5T
bb<&s5S
QnQHQnn
Sbk}k
T\XbbSka
<ka&bSb
.p*7.x
Stack Animation
screenedge
On pageen
Off pageen
Moving
Moving
ShowAndHideDemo
4g, layering, moving
B"showingandhiding"
"stackobjects"
)6180, 1830
5200, 1600
"hidestack"
"showimage"
"hideimage"
"dotherest"
(i + 1)
setback
buttonup
buttonup
layering
showingandhiding
moving
showingandhiding
stackobjects
stack
stackobjects
hidestack
hidestack
showimage
showimage
hideimage
hideimage
dotherest
dotherest
Y-setback
buttonup
showingandhiding
layering
moving
ShowAndHideDemo
Layer
Layer
layering
buttondoubleclick
buttondoubleclick
pShowHide
About setting the layer order:
To animate by setting the layer number of objects in a stack, first position the objects on the page. Use numbers to name the objects, making sure the numbers match the order that the images will appear.
The script loops through each object in succession, setting its layer number to the top. Using a layer number like 999 to set the layer usually works fine in a script. At the end of the sequence, check for the last object, then start again with the first object.
(Double-click this field to dismiss it.)
hideandshowscript
pShowHide
Script to show and hide groups:
to handle IDLE
if vGroupnum < 16
show group (vGroupnum + 1)
hide group vGroupnum
increment vGroupnum
else
set vGroupnum to 1
show group "1"
hide group "16"
(Double-click this field to dismiss it.)
layerscript
buttondoubleclick
buttondoubleclick
pShowHide
Script to set the layer order of groups:
to handle idle
if g < 16
set layer of group g to 999
increment g
else
set g to 1
set layer of group g to 999
(Double-click this field to dismiss it.)end
set g to 1
end
movescript
buttondoubleclick
buttondoubleclick
pShowHide
Script to move groups on and off the page:
to handle idle
if g < 16
move group (g + 1) to 5200, 300
move group g to -1000, -1000
increment g
else
move group "1" to 5200, 300
move group g to -1000, -1000
set g to 1
(Double-click this field to dismiss it.))nd
fonsize
pShowHide
A typical loop
for showing objects:
step i from 1 to 16
show group i
(Double-click this field to dismiss it.)oup i
end
set g to 1
show group "1"
hide group "16"
end
n layering is true
if g < 16
set layer of group g to 999
increment g
else
set g to 1
set layer of group g to 999
end
when moving is true
if g < 16
move group (g + 1) to 5200, 300
move group g to -1000, -1000
increment g
else
move group "1" to 5200, 300
move group g to -1000, -1000
set g to 1
end
end conditions
to handle idle
system g, showingandhiding, layering, moving
conditions
when showingandhiding is true
if g < 16
show group (g + 1)
hide group g
increment g
else
set g to 1
show group "1"
hide group "16"
end
when layering is true
if g < 16
set layer of group g to 999
increment g
else
set g to 1
set layer of group g to 999
end
when moving is true
if g < 16
move group (g + 1) to 5200, 300
move group g to -1000, -1000
increment g
else
move group "1" to 5200, 300
move group g to -1000, -1000
set g to 1
end
end conditions
set g to 1
end
end conditions
end
end conditions
idlehandler
pShowHide
An IDLE handler for hiding and showing:
to handle IDLE
system earth --stores the name of the
--rotation in this variable
if earth < 16 -- increments the rotations
show group (earth + 1)
hide group earth
increment earth
else -- starts all over again
set earth to 1
show group "1"
hide group "16"
(Double-click this field to dismiss it.))nd
when moving is true
if g < 16
move group (g + 1) to 5200, 300
move group g to -1000, -1000
increment g
else
move group "1" to 5200, 300
move group g to -1000, -1000
set g to 1
end
end conditions
to handle idle
system g, showingandhiding, layering, moving
conditions
when showingandhiding is true
if g < 16
show group (g + 1)
hide group g
increment g
else
set g to 1
show group "1"
hide group "16"
end
when layering is true
if g < 16
set layer of group g to 999
increment g
else
set g to 1
set layer of group g to 999
end
when moving is true
if g < 16
move group (g + 1) to 5200, 300
move group g to -1000, -1000
increment g
else
move group "1" to 5200, 300
move group g to -1000, -1000
set g to 1
end
end conditions
set g to 1
end
end conditions
end
end conditions
showingandhiding
pShowHide
About showing and hiding objects:
To animate objects in a stack by hiding and showing them, position the objects on the page first, then layer them in the same order that they'll be shown. Use object names that match the order that they'll appear. Hide all the objects except the one on the top layer.
The animation script loops through each object, layer by layer, showing each one, and then hiding the object on the layer above it.
At the end of the sequence, check for the last object, then start over with the first object.
(Double-click this field to dismiss it.)
and then start over at the first.
Moving
buttondoubleclick
buttondoubleclick
B$pShowHide
About moving objects on and off the page:
To use this method to animate objects, first position all the objects off the page except the starting object. You can move them to a location with negative coordinate values such as -1000, -1000 or to coordinates larger than the page size. The layer order of the objects should also match the order that they'll appear.
The script should move each object in succession to the desired page location, then move the previous object back off page.
To continue at the end of the sequence, check for the last object and start over.
(Double-click this field to dismiss it.)
4mainPath
buttonUp
buttonUp
mainPath
4mainPath
"hdmap"
buttonUp
buttonUp
hdmap
mainPath
4resrcPath
"biblio"
buttonUp
buttonUp
biblio
resrcPath
Biblio
:*:PHYSSIZE
"cadfp.exe"
buttonUp
buttonUp
cadfp.exe
buttonUp
buttonUp
buttonUp
buttonUp
HOUSE DESIGN
BUTTONUP
BUTTONUP
BUTTONUP
*N$*1+s
,',"%Y`
\/~Hi
/!'+(
J."2-
qFa_E"
.JD"
\]aDa
C^EDD^aE
Y@Y^s
D]@]\
\\I&w'
D^DD0D^^
~Y~s`
PZ$X\
Ib&[&\K
^cNc^
'h6h6h6h6h6h6
5048,1860
14,-6
:PHYSSIZE
Buildings aren't opaque objects which interact thermally with the environment only
by conduction through their skins. Doors
and windows admit and exhaust air as well as sunlight -- which is called ventilation. The passage of air through a building cools the space by convection. Many architectural types have been invented to take maximum advantage of a cooling breeze.
The bod-gir of southern Iran is one of
the most inventive natural cooling systems. The wind tower captures breezes as far away from the baked desert floor as possible and then passes that air over
a subterranean cistern, further cooling it before introducing the now moistened
air into the house. )))))use. (FN)FN)))use. (FN))use. (FN)
Principles of Design
The House as a Natural Heat Exchanger
Watson's Five Metaphors
0,-22
#51,0
:PHYSSIZE
:PHYSSIZE
+0,-22
+sloc
5108,2213
:PHYSSIZE
0,inc
0,-21
+sloc
3998,2070
:PHYSSIZE
,inc
+sloc
5738,3705
#z#:PHYSSIZE
105,0
"footnote"
mouseEnter
mouseLeave
mouseEnter
footnote
mouseLeave
footnote
J%:PHYSSIZE
footnote
See Dwellings by Paul Oliver. See Bibliography, General Architecture.
Bod-gir natural cooling systemm
+:PHYSSIZE
+105,0
+sloc
5333,4388
5670,4208
7463,4313
5738,3705
0,-21
!V/@*#/x
Stack Animation
screenedge
On pageen
Off pageen
Moving
Moving
ShowAndHideDemo
4g, layering, moving
B"showingandhiding"
"stackobjects"
)6180, 1830
5200, 1600
"hidestack"
"showimage"
"hideimage"
"dotherest"
(i + 1)
setback
buttonup
buttonup
layering
showingandhiding
moving
showingandhiding
stackobjects
stack
stackobjects
hidestack
hidestack
showimage
showimage
hideimage
hideimage
dotherest
dotherest
Y-setback
buttonup
showingandhiding
layering
moving
ShowAndHideDemo
Layer
Layer
layering
buttondoubleclick
buttondoubleclick
pShowHide
About setting the layer order:
To animate by setting the layer number of objects in a stack, first position the objects on the page. Use numbers to name the objects, making sure the numbers match the order that the images will appear.
The script loops through each object in succession, setting its layer number to the top. Using a layer number like 999 to set the layer usually works fine in a script. At the end of the sequence, check for the last object, then start again with the first object.
(Double-click this field to dismiss it.)
hideandshowscript
pShowHide
Script to show and hide groups:
to handle IDLE
if vGroupnum < 16
show group (vGroupnum + 1)
hide group vGroupnum
increment vGroupnum
else
set vGroupnum to 1
show group "1"
hide group "16"
(Double-click this field to dismiss it.)
layerscript
buttondoubleclick
buttondoubleclick
pShowHide
Script to set the layer order of groups:
to handle idle
if g < 16
set layer of group g to 999
increment g
else
set g to 1
set layer of group g to 999
(Double-click this field to dismiss it.)end
set g to 1
end
movescript
buttondoubleclick
buttondoubleclick
pShowHide
Script to move groups on and off the page:
to handle idle
if g < 16
move group (g + 1) to 5200, 300
move group g to -1000, -1000
increment g
else
move group "1" to 5200, 300
move group g to -1000, -1000
set g to 1
(Double-click this field to dismiss it.))nd
fonsize
pShowHide
A typical loop
for showing objects:
step i from 1 to 16
show group i
(Double-click this field to dismiss it.)oup i
end
set g to 1
show group "1"
hide group "16"
end
n layering is true
if g < 16
set layer of group g to 999
increment g
else
set g to 1
set layer of group g to 999
end
when moving is true
if g < 16
move group (g + 1) to 5200, 300
move group g to -1000, -1000
increment g
else
move group "1" to 5200, 300
move group g to -1000, -1000
set g to 1
end
end conditions
to handle idle
system g, showingandhiding, layering, moving
conditions
when showingandhiding is true
if g < 16
show group (g + 1)
hide group g
increment g
else
set g to 1
show group "1"
hide group "16"
end
when layering is true
if g < 16
set layer of group g to 999
increment g
else
set g to 1
set layer of group g to 999
end
when moving is true
if g < 16
move group (g + 1) to 5200, 300
move group g to -1000, -1000
increment g
else
move group "1" to 5200, 300
move group g to -1000, -1000
set g to 1
end
end conditions
set g to 1
end
end conditions
end
end conditions
idlehandler
pShowHide
An IDLE handler for hiding and showing:
to handle IDLE
system earth --stores the name of the
--rotation in this variable
if earth < 16 -- increments the rotations
show group (earth + 1)
hide group earth
increment earth
else -- starts all over again
set earth to 1
show group "1"
hide group "16"
(Double-click this field to dismiss it.))nd
when moving is true
if g < 16
move group (g + 1) to 5200, 300
move group g to -1000, -1000
increment g
else
move group "1" to 5200, 300
move group g to -1000, -1000
set g to 1
end
end conditions
to handle idle
system g, showingandhiding, layering, moving
conditions
when showingandhiding is true
if g < 16
show group (g + 1)
hide group g
increment g
else
set g to 1
show group "1"
hide group "16"
end
when layering is true
if g < 16
set layer of group g to 999
increment g
else
set g to 1
set layer of group g to 999
end
when moving is true
if g < 16
move group (g + 1) to 5200, 300
move group g to -1000, -1000
increment g
else
move group "1" to 5200, 300
move group g to -1000, -1000
set g to 1
end
end conditions
set g to 1
end
end conditions
end
end conditions
showingandhiding
pShowHide
About showing and hiding objects:
To animate objects in a stack by hiding and showing them, position the objects on the page first, then layer them in the same order that they'll be shown. Use object names that match the order that they'll appear. Hide all the objects except the one on the top layer.
The animation script loops through each object, layer by layer, showing each one, and then hiding the object on the layer above it.
At the end of the sequence, check for the last object, then start over with the first object.
(Double-click this field to dismiss it.)
and then start over at the first.
Moving
buttondoubleclick
buttondoubleclick
B$pShowHide
About moving objects on and off the page:
To use this method to animate objects, first position all the objects off the page except the starting object. You can move them to a location with negative coordinate values such as -1000, -1000 or to coordinates larger than the page size. The layer order of the objects should also match the order that they'll appear.
The script should move each object in succession to the desired page location, then move the previous object back off page.
To continue at the end of the sequence, check for the last object and start over.
(Double-click this field to dismiss it.)
4mainPath
buttonUp
buttonUp
mainPath
4mainPath
"hdmap"
buttonUp
buttonUp
hdmap
mainPath
4resrcPath
"biblio"
buttonUp
buttonUp
biblio
resrcPath
Biblio
:*:PHYSSIZE
"cadfp.exe"
buttonUp
buttonUp
cadfp.exe
buttonUp
buttonUp
buttonUp
buttonUp
HOUSE DESIGN
BUTTONUP
BUTTONUP
BUTTONUP
BUTTONUP
BUTTONUP
BUTTONUP
-t*t*
O1H!P
fUO^P`-gU-^#O)h
+L`R]LSh"i3
Z+~L>
-X[I?|
@H[btx
Rv3O%
Pu;HH
}}}}}}
}o}vhhffN)(<}}
)?afmK(
;}xZ
}}}}}}
eN)\9
}}}}}k
}}}}}
:=?Nv
}o}}v}
}v}}v}v
GGG@;G
}vvvv}
ozo}v}v}
}}}}j}}}v}}
}v}}}
}}}}}
vsoc__++K+)'++())("((("("
}}k}}}
}}}}}}}}}}
v}}v}
vvv}}}v}
ve}}}}j
}}v}}}
}v}}}e)
}}}}}}}}
vv}o}oe+
v}}h}k}}
v}oo}a
}}}j}}}}
QCCA@A((
f(?h})
}}}}}}}
ohoovhoo+?((++("
9GGG(GF
9((9((C((
(@lssoomeoos
(<oe(
;n:(;(
A<:9<<@G9
}($$&_S_SSn+
j}9;9
R+++vjjk}ht
)egggg+:
+gegngW
99999
9:DDGG
E9G9G
9:G9<GD
(>a?=Q
vno}v
"v}x}}v
;*Wda
hNh}hhvvvf>
qjkkk
}~}}}
h(__c
k`kj}
}}}jN
}}}}}}}
}}}}v}
$Nq::(9
tmQtmtANqtNN
tk}g}
::<:NNNENQ:iNCo
N<e}}}}
v}}}}
v}}}}}}}
K?ee+f+++++(
e??++
WaWeeNemeaNN?
)(@=(9)((
9AG@G::G@:(
+
9CGFEE9GEQG
$(&&+?eggh
QGpGEGQQG:
:G):9(99
}}}}h
9@G9@
}kv}}v
pelllpqpQQeQlmGeQl
/GG=9
FlG9>((:@)@?A+(((()<)<C(+<()=<*(@Q9
szootsl?
}v}}v
}}}}vv
qQsrurP\Z;Zvvhaq
}v}vv}
v}}v}v}v
W(NNC++
}}}vv
}}}vh
}}vvvvv}
99D99(""$
}}}}v}}}
vvvvv}
}v}v}jv}v
?fN?:
vo}}}
je}}tj}}
}v}z}}}}v}
}}}v}}j}}
v}}|}
j}}o}jk
t+}}}
}}v}}v
lcfa+KCW
}}}}vv}
(Wevh;DF
v}}}}
N)<ee(
DEDGG
mmqQpp
N::::mQQt
QQMQQ
tAoegfahoetvv}hcooove+
}oav+
}eogeoh+??e}
~}~~~
jg}(
}}}}}}}
}}}cha"*
}}kjjjk}j
+(=<(?C?+)<(9(?(=lmqqt
o(G/:GG9AF9
~~}}}
}~t}}
zC}}}}}v}
lo}}}
yCv}}
<((@((<:(9:GGE(((@
qQCGNCQQlq
ppqlqGQp:
QG:E((
Yvj}}v}
vhvvo(
n9nvvZ
NaNaK)+
}}mCZolAr
}}}}v}}}
}vj}}
~lo|\
GGQGG
vv}}}}}}
}}hv}
k}}j}
jv}}}
}}}}}}}
}}}}v
}}oe?=
}}}}}}}
}}v}}j
}hvvvv
G((("9/9("
vv}k}
}}}}}}
}}}h(
\;\sh
}}}}}}
:GQG+==:99(
}}}}}}
:9)
:Cg9lu
}}v}}
}}}}}}
qg>gF
W+prpQs+cKbh'
v}}}}}
}}}vvv
}}}}}}k}
}k}}}
k}}}}}}}vkv}
W))N))N)
oh}}j}}vkj}v}}k
}}}k}}}}}}
}}}kv}o
jWgeWZTnnvj
hvv}j}kv}k}}}}
(j}vko}jkkkjk}}}}}}}}}vok}ohkjto}vvtkh
<)*<+<<?<+?W??CeeWCNe???N?CNleeNQeNCN
}}}}}
B9((((+
qQGGGGlQlpq
kvvh+
}vv}k}h
;G:G9EGG
tQpQQpqp
GEE99
}}}}vs6
k}v}k
k?9ov
}k?vj}
}hdhoj
hghh}}}
EGGFG
(+(=GAAAA@Q@GN@@QlqQQplNls
qplpmmlCQ?"Q
\Z\+(
qNqqs
n?eoo
}v}vghhhaWhagnhg?
h}o<+v
\WYjg+(+=(t
sotoeNeeeeel
"9B\VTfthte}
Zz}}k}j}}}}}}
ty\4<
kcvjt}}asszsne
ttqQQQN
}}kj}}}g
?ttohh
N=)))$
K4:QGQGG
e(jj}(
(((9
<(}t(
"QQQG:
}}}~N
jg\Z??99
Q9G9/9E
tqllQCA=CC<ACCAl=9A=QACNA??<?QClhlfaeNQ(Q
Wh]ykW
ut]Bh})
Q)
t(?eN<Z
=Amo+A
llQW)
BNqosmleN%
9GG::G
NJ:ovNA
''+'''''S_'%"
}}ecj
}j(}j}}khj}}}}k
<;g}N
j}}}}
}}N++(( (>}}}}}}kk
kvj}}jk}}k}j}h}
@G@EG:@
+}}}}}vj}}k}}}}k}k}kk}ht
}}}k}}jhkvhv}}}k}}hi
}}}}}}}}k}}voi}i}}}
W}}}}v}jt}}hj}k}}}kht
}}j}}ijj}}}t}vk}}hj
99:::::E099
v}k}}}}v}}}}}kj}}}}it
k}\Z(
n}}kv}}}}}k}k}v}}}khj
W}}hk}vh}o}}k
g}kk}o}}hk}}}}h}k}}ho
}}kkkk}}}
}}k}}}}
'lQAG
?}}k}k}}}}}}}}}hNehj
<(K++)*("((+
}}k}}h}}}
j}}k}}
t+lo(=CC
}}h}}}}}a((
}}kvkk
}}}h}}h(
=vvhv
W}hkj}
hW=$'
h}}{]
Ta+%"
)hWN+
h+(*((;
))*(*#*4*(W(**\
N<No)
elG(("
ckkkkjjjjjj
tssWl?+)
qC:(:G
:GQ:9;
NlQQG
ZlCGpZ
vi}kvkhi
}kthCr
|}ekkt:
}Khh_hd_
k}}k}}kO+
}}k}}q;r
k}k}k}}%S
~}~}k}}ko
}}}kdkhohhbtdh}
}}}}d
gouuu\{\9
tozlrWC)
}}~~i~}kf
}}}~}hh
td}})
}}~~~~~~~~}ikh
9hjh}J
}~~~~~~~~k
GQGGQGG
QGQQQ
;k}te)
}~~~~~~~kk*(?<ll<99
(Q+(k}WG(";Z;
G9GqGCe>Ap
?<CCN?C(
}~~k}~}}tadhhv}o
}}}}=o
GV[]Z
}~i~~~ikkcac
}~~}~~
}}}hhN
}k}}k/
994E9/90//
}k}}}
}}}}^
}}}k^
}}v}j^
G@(}%
]\\x}}
}}}kj^
}}}}^
\;w}}k
k}v}k_
VWx}}}}}}
k}}hr
nng|}}}}}}}}}~}}
x}}}}
}}k}allnelesk}}}}~h}
}}}}}
}hk}~}}}~
}}}}}}h
vno}}j}
}}}}k
}}}~}
}k}}}
~}}}}}k
}}}}jI
}}}}}}}k}}}}fh}
}}}}~
}}}k}I
}}}}}
}}vhi}}k}}
~j~}(
e}}k}}}}|
}}}okok}}}}}hhv"
k}~}}
}}}}}ki}}}i}}}t}j(
~}}}}}e
}}k}}
}}t}}
}}}}i}t}kkt}
}t}}}}
}}hhit}i}}}}kj)+
}k~}}~
tji~k~}~}}~}khh3
jht}}
}}~}k}h}i}}
i}}}}}5
B\]\\W
}}ihti
ik}iG
~}}}}~t}}}}hhjiht}t}}
i}}hZ
N+?n\9
]]]\"
~}}~ik}}}~}~
iidhihi}}}h~ki}h
QPGMQQM
}}}}}}}
}~}~}}k}t}}}}}}hhahhijt}}}h}}i;
z*h??N=?=?NN?KNK9
}}}}}}
}~i~~}t~kk~}t~tkhdhhhh}hk}k}i}hW
}}}k}}}}}}}}Nv
}}}}t}}}
}kkk_kkii~tkikkkkkid_ddhhihk}ikih5
W~~}}k~}~k}k}kN
}~}}}}}}}}kkZ
jXXjXjjjj}
}~}~}~}}}k}hC
XwXXjwv}}
tmNQNQN
tqQNs
h>~}~}~}~~}k}kk9
jXjXXjjh}
}}}}}}}}}}
he?W+?NofbmfefmfheefffeNWgfbNaN?)v
}}~}}i}}j:
jwXXXjh}
}t}}}}}}k}
~}}Nh
s*~}}~}tk~~}}}hhZ
jwXjjjdj
}ko}i}}
tht}tiht~}~~~t}k
t*}ikk}k}}kkki}}iWr
}}}ht}}
(?@Q+(:<9(l=
((:<Cl=C?(<QqG(effNaaefhafhaaao
ZeWWWcWTWWW>>>WgoWg
QGNCCeeN?eGA<(()(<
=A999<9999(;9@<Gss
m?_onozt
ll?el
_m\AB
5*r(eA
x,31v
&8[%P,"C;
)s`qoN
qSs%_
|T[C$8
:m!e2
XVF/#4
UZ H
eM:r
7x-4W
uVX-O_
iJf/c
[[0gw7
,W7F]
"s$n(Fq
PY.0i|
JgT{d
FhQ7N
RvJ\
3yYVfc
<f4D<
"DHu+U
7.O+{#
7>_K~c
SRvH<i
M7xGb
^54M/P2Vm
o/[*e
&F?PH
1>?|?T
>za4r)
i'D_{
>$D-zy
n!D-i
DUu~aX
nz*lJ
R<}X|]
Z_\gp
DCQ`V
W M l3v
i)KN~
rTz+
j9;;A
hj^flr
$U*y7i6
Vx {c
rwhZP
`J:}W|{
2x$4z
|T c Y
Zwi`*
^g}}9.
YH7Xv
wPDMl)O
>i%;T
7X/Op
1a,kR
GS|bm
v "va
nW|jx
@: RPB
cIrbg
GoD&o
09AGo
e{c{L`
hG`LaK
<dKnz
_WAN~:r
}!2=s
xgjP
v!/wSr
Ju=O;
Mog7-
0!@xKy
JuI4(
GOnUy
^ozEY
4[7-Z
]spEZ
Zk:%KPu
sf#%u
9A<27
ny_7`
g 6O.?)
@y2<I
FORMS
6'89j{L
FGS-LDS.FRMa
x7hwzt
)^hXv
>jD70
FGRSH.INS
`}t*R
%3Vqk
tD7Cp
0(,sD
V,T&{
Tx<#b
b,ZXqn!C,{
>U*E|3%
FGS.FRMPK
USER-NO.EXEPK
TC-AMS.ADSPK
REGISTRN.FRMPK
READMEPK
PRINT.CTRPK
PED.FRMPK
NAMES.NTSPK
NAMES.DA1PK
MANUALPK
FTINSTAL.EXEPK
FTINSTAL.DATPK
FTDEMO.EXEPK
FTCOLOR.DATPK
FT.EXEPK
FORMSPK
FGS-LDS.FRMPK
FGRSH.INSPK
Aq5!@
A=Twaa
b``?sBt=
Dh3ZV
#^HOgA
Di87[
[5zwY"+
a%g-pX
cH"K:
cC8nV
ZZY|.N
^>cPXCr
dqZn}
vYs$)
?&\g[
!=DvR`t
g1$B]
}3{hd
?H_kY
ZeOc"
_z^lW>K
Bt/.@
!qHbS
ZKu]L
:vUO&
c=A Z
*I!Fs
_Ok\e
@;beh@zk
i8%Ks
w2ye1
zpJ["
7U}^: %
;!Tb,l
WPo*/
A~/W:I
$-8,Y
^jftY
{8kfD*
'?1XnQ
*<'Cx$
7foO-
EP,FV
]*biK
=wE(5
?gM HZ
)+(\v
@6fxg*
>'YxN
!rG3U
@v>!A
"3Pna
FC&)XC
d(J kc
AAb3o>
~Lqof
C[@EZ
CHX_r
{NHr"
gh<k{
^~~wqjd&
~p|{s
Sorry !! The NOTES file is full for this database.
ORD
16DIBS
BCIMWIN
CLASSIC GE
ATLAS
C1 TIF
C TIF
SD INI
9R|3I
dFZ-|`M
#2a6z
?"f8_J
CLKge
d6DYk
?!~*v5g
}Dj%TI
8Y!^
y|~FI*;^
'q;:t
y)]|,
<(saY
[GH9(sj<
a{`^n9r,
=GQ8:r
d^Klm_
^9i[`&
^Y:U,
X{zmAH
_.wHo
^EtEfp
ao-^8
!n6&A
g`'+f,
{XyKW
D^KdmV
$9!/B
;+Jc#
UTs~"!
X4hG)
]LEp/
{FqAKu
&dG]}
8fl(/Z
@E6-8W
?tu5n
f-.@b
9~fO3Bg
_j]TV
~)}$npW
CyY3v
':>Ow i
=9hZT%
|n?i%
#~Y?w1C,
@ctkw
=Grw\
?J@[?
aR<}J
y ]2&6
?n'O&
B"HTYf
~QYdM
#n3;N
y\dO42W
%$QHzi
?$W<P^ A
hw$:j
F1>Xo
F Dauc
BXPJf
B{_uwOs
JS [[
HUSB >
BORN>
9CHR'ND>
MARR>
EALED>
DIED>
9BURIED>
FATH>
(MOTH>
OTHER WIVES
0 >
WIFE >
BORN>
9CHR'ND>
DIED>
9BURIED>
FATH>
(MOTH>
OTHER HUSBAND
S 0 >
RECORD #
;LAST UPDATE
0 Children
LAST NAME>
1st NAME>
2nd NAME>
3rd+NAMES>
BIRTHDATE
,CHRISTENING D
9ATE>
BIRTH PLACE
CHRISTENING
DEATH DATE
1BURIAL DATE>
DEATH PLACE
BURIAL PL
MARRIAGE DATE
MARRIAGE PL
FATH>
(MOTH>
<town>
<county>
$<state/cntry>
`CHKJf
b2;eQ
_+fY_
as^/i
}7grS-
J&(_y
c^QJk=
C~S=n/
@|o+r
xbml0
(N"_h
%{:tcM7
:p{1P
ZRWd'
)^2'{
8:a;%
d'$6Eqf"
io0r|
_b?l>}9
#rS;q
How do you find the right architect?
u Ask friends, family, co-workers for recommendations.
u Identify houses you like and find out who designed them.
u Clarify your goals and needs for space, activity, location, budget,
financing, and time.
u Call a few promising architects to describe your project and time frame,
and to ask for literature listing their qualifications and experience.
u Interview the two or three most suitable to see their work, to see how they
do business, and to get a sense of the chemistry between you.
u Look further if you're not convinced or make a decision if you are...................................................
The Role of the Architect
Redefining House
If the labeling of rooms can limit the way in which they may be used, the same is true in naming the place where you live. As the nature of cities and families change, the social function of the single family house will also change.
The recent developments in communications technology make it possible for many white collar workers to be employed at home. Public space is no longer concrete or tangible, it exists between modems and video phones as hyperspace. The change in work relationships created by the new technology will have increasing impact upon how we think about the architectural conventions of "places of employment" and "living places."""
Redefining House
hyper
hyper1
Show
"hyper1"
Hide
mouseEnter
mouseLeave
mouseEnter
hyper1
mouseLeave
hyper1
Technical term used in computer technology, but appropriated by the world of criticism --- refers to the unreal space which electronic data occupies.
The income, or mother-in-law, apart-ment is another pattern which challenges the conventional idea of the single family house.
Planners have recently promoted this concept as a method of both creating social diversity in traditional neighbor-hoods and of increasing density. The occupant of the mother-in-law apartment may well be a recent college graduate. returning to the nest.est.
:PHYSSIZE
Could we put in a funny cartoon here of a harried homeowner surrounded by plans or some other graphic?
The Role of the Architectedge
Often people are under the impression that one does not hire an architect unless they are planning an elaborate and expensive house. Actually the opposite is true.
-- Lois Davidson Gottlieb
Why hire an architect?
Why hire an architect?
:PHYSSIZE
The Designer Within
We want the designer within you to step into the light, bringing your ideas and abilities to the complex job of creating your next house.
Design is a collaboration of disciplines -- art, engineering, science, economics, history, and craft. Creativity is that power of insight which combines all of these disciplines into a single vision -- and that vision must permeate every level of decisionmaking.
How you bring each of these ingredients to this task is up to you. In House Design, we hope to supply you with enough information to make wise decisions about your house and about your role in its design.
Deciding to Design: The Designer Within
Proceeding to Design
If you intend to invent architecture, we recom-mend that you collaborate with an architect to develop an environmentally conscious design.
Kenneth Frampton has proposed a design attitude which he terms "critical regionalism" reflected in this house by Lake/Flato Architects of Austin, Texas.
This house, located in southern Arizona, "...stands on the edge of the desert and is formed from a protective parasol of mesquite logs and saguaro fronds that hovers above an adobe structure half buried in the ground." The design is thoroughly modernist in its presentation, yet uses several local design strategies to adapt to a very particular environment. (FN)
. (FN)
ironment. (FN)
Proceeding to Design
pic??
@;beh@zk
i8%Ks
w2ye1
zpJ["
7U}^: %
;!Tb,l
WPo*/
A~/W:I
$-8,Y
^jftY
{8kfD*
'?1XnQ
*<'Cx$
7foO-
EP,FV
]*biK
=wE(5
?gM HZ
)+(\v
@6fxg*
>'YxN
!rG3U
@v>!A
~Lqof
C[@EZ
CHX_r
{NHr"
gh<k{
^~~wqjd&
~p|{s
[`LZ)\
ZsjuA
f!5<kE
EjQ#|u
dbI5oG
aG1!;\
D%Hci
Ay])h
"rUck
(f&Gnx
:jY[0
$)UZ|
SUBST EXE
TREE COM
COMMAND COM
OPSETUPTEXE
SBSETUP EXE
DL-VIEW EXE
WHATSNEW110
README DOC
MANUAL DOC
ADDENDUMDOC
DEDICATEDOC
LICEN
E DOC
ORDER DOC
APPNOTE TXT
AUTHVERIFRM
OMBUDSMNASP
bw7,J
b82;F
"'Ynj
IB)(s:
{UO8-
>J\%Nw/
@i4S;
cbV]uo(Z
V{S5
JY!Ps
*<.=~
~-j|[
*N rr
~k4&,
!#o+xD
#LW}s
vXt;)
?oG/B
dt/GP
\6s@Y
<I|E^
c-"R;
Dx1rU3
A `*n-o
7Cg<$W^8
A]DOM9p
&5DEu
%rI@t
RUr7
[WtiL$
}N|9j
W'{N4
'f!w`
k$Y'
}h>s,
:'^4/n
}OAa+
\gY1>k
K6#G|
7}|f5Q
XVzX?
:No[A
$>ROxA
U\wF&)
];{5i
lT xk
{fHV#
E&:(gY8
}4CG/
^$qvh
|lZ}=
}JQ]=
}u;H$
:^~fPXC
A]`Gn2qm
aHE^O
h?-rtk
^m]NP
g@)KfL
`8hpi3
bhR-ep
(_3@t9
CSP=m
9cJc
9 ]O&Q
@1_o`
[tb?=
`gvoy
78gU
"F:GNx
:'vVG
$'- SY
`wmqp,
@C!]&v0_c
]~p@`3
D]PGw1
`)<Y=
"O>RP
(I,Rl
"XPqg3
\n`1C
kL }c
)I0Zz
:.zgP
=3>t,
~<U F
\HknM
yz}"H
@R(|,
$4)EO
^SRsD
DB%TLev
cv`w{*~
d)8l^
|xs V
"{6|MU
aaV|e
}.GA6
aJ>DH
~sS=F
j)+L{
AZ n*@-
ak'(2
Z&k@?s
\Xi;K
aKqv}
v/Kz
6+z8+
^;mf^A
do#]F
zZ|%R
[,e~D
XkaU(
6sk$
HNaS
X(gY(
#WWnq',
d)M,mv
D3L^m
!)R:`
gr>@y
{^,i Zl
=3>T+
'R0+i
=~;Z&L
_Gxyu
`> Q%B'
y;Yi"E
:Ml&C
$<0%X
`<0w6X
]FGx6
hF5@ws!u
(q/$r
dF2AXr
d'*)Kd
>R1[(
{GCJ!
i5.0w
!$%S.tX
_ pKl
~nxyo
\Cs}U
:xd1:
@19C?
bA<TP]2
WKw}1
_}.;)&
_7;q3*
f;/A`
9R|3I
dFZ-|`M
#2a6z
Defining your needs and how you will approach the process of design are important first steps. But once this abstract information has been digested, throw the diagrams and lists away for now; they are rationalizations that can limit design exploration...ons...n limit your design explorations..
Proceeding to Design
Proceeding to Design
or example, expresses the family activity of keeping cars.
Understanding the Parts
child's drawing of a house?
turn up more schools or classes.
The Value of Design Knowledge
left blank for possible pictures or spillover of text
The Value of Design Knowledge
The Role of the Architect
zoopppp
-0y-0--
xxxyxx
vwDTssTT{{
jiiz]j]
izzzi
j]ju]
jjj]]j
]juuu
pwwwvw
b
**%*%*%I
%%%%%%77
*I7*7%%%*%I
*r
TVBow
A''Mee
<+AD-&
88-ee
++0&:
0-:'B8'N
>WQq0'-&
<--NBD00
F>#>#4/
>qA&<'B0D
&-+:&:&B<
0BB:&{+:0:T8+&
AN&'':+
&:---&-
>J#/>!4(
N--8N0+-&0
'+':&0
J#>!>;#
'-'&8
<:-+++
99O/EQ
mA8'B'8&0
-+--0&-+:D
9;9//!E#
A-:&&-&-'-
!99///
/K,9E9
A+&--&'
0&0'+A
0:0Vp*
BDB&D:&B-+'+0+
,#>;(
-++-8n
'-T-0+:&
xD:+-'TB&
+0B&eo
4E(,#JW
&'B00'
n&0&:D&
J#9!/O9#KE
(5WgvyA+AenT-<yA&
A00':
!/#>4J
+&+-+
5W9,E/OOE
D<+<AA'
8&+B0
+8Ae-
/!O/O9!Q
DA'&'+TB0000-V:I
;/WQ!
#QJ!!;P
0&+&+A'B&BT'+
OE!#,2
(444;
8DB0+:D-
B0Dy+&'D|y
m,O(E
'-T<0+&
% Ix.
,#(PW
!J;E54
&8D0'0&-0T
Vee'-wzDp
?\/,!
(2E#(
D0&:DT'
'A'+&
&<8V8N'
J4@;5
/4,(!
-|B-8
C6Erk
!!2!>!;_
0:&B0-''+-
&-'+'<8
qm-+A+ATn
+'0A8-8
80+:A<&N
8ggZZHg
!>4(W
J>!>#!
B+'A:<B+
^gRld
<B'DB&&
NA++'&
$gdZR(dl
lWO#(E
#!,,4
5;P4J!!O
+'8&0&&&
A+:'{
SgdZdd_R~
Zg$5Sl
T8&<0:
&B-+:0+
lZZSSGk
49#,,
Q5E!Q
80&0D:&-&
GWJ!!
F(4#F
'+'-D
':''T
##>/>E>
'T'&A
!9#Eh
+&'T<T
qH#!#>52/E>
!(!,#
=3...
#(5;5
!544,^
Q6G,YKYR
!6Y6@2R
42!P44!
t2Y@@hGRKYSEq
mQtG@Y6YR22YY6K66d
,#/!>
m^Gt6
26@6GR@
62KY6
HYG662t2@KG2@62YY66YYtYG^q
@2@266@6KRhG6K6KKK2@htR<
;!;//
E4>>J
R@2G@G6h2RR@hG66K6KYK2h@@ttQ
Ot6K6@626h6KGh@^K2266KKhhtRGG2tG
Y@R2G@RGh6@2,6@K@@K@h
|MMN8V
tG66YG^R6@K2G22
RY6R@@66h6@h2@
kf<MVVVfr
VfMfVMN
GG@dKR
2GhY.
VVNNV
6tK@@dhK6
GtY@RY
NNNM''
/454_
fMVNL
W4(PS
R_h,(_62_
SHBNM|M
$H(gQ(FP,!(
LLLc\q
HG,,5(P@F^W(H
'fN8|
|}cA?
tF,(!(2(2,H;
<8|||
,5F2F(P,5HS
.q_RyMV8&
cLLcc
;55(Flf
Z,k&N
LLcccc
F2(SSF
y'M|'c
KG,,W(25PS_2
KGK;(25(^d_
2^P5_SR(F
2P2(^,Sm
O5P2F
] %bz-
77Ibo
Heartwood was established in 1978 to teach the skills and knowledge it takes to build an energy efficient house ....
The determination to become an active creator of your environment -- as designer or builder -- claims back your right to make a difference, to be able to build places that express your care for the life that will happen within them.
-- Heartwood brochure
the summer
1-week workshops from April to October
Weekend masonry workshops during the summer
Owner-Builder Schools
Heartwood
Johnson Hill Road
Washington, MA 02135
(413) 623-6677
:PHYSSIZE
F :PHYSSIZE
Courtesy Heartwood
Offerings --
3-week timberframe house building
courses (summer)
1-week workshops, April to October
Weekend masonry workshops (summer)
Un-making Listss
When beginning the design process, some architects quantify the building by making a list -- or program -- of each room in the house and its area in square feet; but at early stages of design thinking, programs tend to limit thoughtful analysis in the same way that naming rooms constricts the invention of new possibilities.
The architect Louis Kahn challenged designers to "...refuse the program....which reads in the form of areas." By example, he interpreted the nature of families and institutions in a far more poetic manner. er. s plan for the Goldenberg House in Rydal, Pennsylvania, Kahn began with a square courtyard, bounded on one side by the hearth and then radiated rooms from this center which responded to their own internal demands.
Un-making Listss
"kahn1"
mouseEnter
mouseLeave
mouseEnter
kahn1
mouseLeave
kahn1
kahn1
Quote from: Writing, Lectures, Interviews, by Louis I. Kahn, p. 152. See Resources for information.
clip art???
designer within
The Role of the Architect
The right architect ---
asks what you need and like, and listens carefully to your answers
respects your budget from the start
has done jobs similar to what you want and takes the time to show them to you
has done jobs you are not just impressed by, but that you like
understands construction
has the time, judgment, technical skills, and creativity you need
is comfortable to work with
Who is the right architect???
Biblio
buttonUp
buttonUp
buttonUp
buttonUp
HOUSE DESIGN
:PHYSSIZE
:PHYSSIZE
Un-naming Rooms
Through the years Upper Loft has developed an ever-growing course offering that centers on two objectives: to inform and educate the home buying/building public to mechanical and aesthetic aspects of timber framed structures; and to provide the best practical and theoretical education possible for persons who think they might like to become timberframe professionals of hobbyists.
--- Upper Loft Design, Inc. bro
Owner-Builder Schools
:PHYSSIZE
Route 1 Box 2901
Lakemont, Georgia 30552
1-800-242-7474
(706) 782-52466642-7474
(706) 782-5246
:PHYSSIZE
pic smaller in height to add space for caption: logo could be smaller
Through the years Upper Loft has developed an ever-growing course offering that centers
on two objectives: to inform and educate the home buying/building public to mechanical and aesthetic aspects of timber framed struc-tures; and to provide the best practical and theoretical education possible for persons who think they might like to become timber-frame professionals of hobbyists.
&l2a4d1e42F
*t300R
*p273Y
*p307X
*c16385D
)s64W
Times New Roman
(16385X
*c16385D
*c70E
(s148W
*c105E
(s84W
*c120E
(s82W
*c45E
(s26W
*c116E
(s78W
*c32E
(s17W
*c97E
(s88W
*c110E
(s85W
*c100E
(s118W
*c82E
(s181W
*c101E
(s88W
*c109E
(s131W
*c114E
(s85W
*c78E
(s186W
*c111E
(s88W
*c115E
(s64W
Fix-it and Reminder Notes
*p331Y
*p307X
*c16386D
)s64W
Times New Roman
(16386X
*c16386D
*c68E
(s181W
*c97E
(s88W
*c116E
(s76W
*c101E
(s88W
*c58E
(s40W
*c32E
(s17W
*c49E
(s82W
*c48E
(s115W
*c47E
(s88W
*c50E
(s115W
*c57E
(s115W
Date: 10/21/92
*p390Y
*p307X
*c16386D
*c80E
(s148W
*c103E
(s118W
Page 1
*p500Y
*p307X
(16385X
*c16385D
*c84E
(s148W
*c108E
(s82W
*c98E
(s118W
*c107E
(s148W
*p505Y
*c201A
*c100g2P
*p-5YToolbook
*p505Y
*c104A
*c100g2P
*p-5Y
*p607X
*c16385D
*c79E
(s191W
*c117E
(s85W
*c102E
(s118W
*p505Y
*c248A
*c100g2P
*p-5YOutline Ref
*p505Y
*c52A
*c100g2P
*p-5Y
*c16385D
*c80E
(s148W
*c103E
(s118W
*c35E
(s115W
*p505Y
*c307A
*c100g2P
*p-5YToolbook Pg #
*p505Y
*c143A
*c100g2P
*p-5Y
*p505Y
*c180A
*c100g2P
*p-5YProblem
*p600Y
*p307X
*c16387D
)s64W
Arial
(16387X
*c16387D
*c72E
(s106W
*c68E
(s136W
*c65E
(s136W
*c46E
(s20W
*c84E
(s106W
*c66E
(s106W
*c75E
(s136W
HDA.TBK
*p607X
*c16387D
*c49E
(s76W
*c97E
(s85W
*c58E
(s38W
*c101E
(s85W
*c110E
(s85W
*c118E
(s82W
*c105E
(s46W
*c114E
(s62W
*c111E
(s85W
111a:environ.
*p907X
*c16387D
*c50E
(s106W
*p1357X
*c16387D
*c112E
(s109W
*c115E
(s85W
*c98E
(s106W
*c108E
(s46W
*c32E
(s17W
*c107E
(s106W
*c116E
(s76W
*c104E
(s106W
*c99E
(s85W
possible links to other topics
*p648Y
*p607X
*c16387D
*c100E
(s106W
*c109E
(s108W
*c121E
(s106W
111d:money
*p907X
*c16387D
*c56E
(s106W
*p1357X
*c16387D
*c103E
(s109W
possible child:cost saving tips
*p744Y
*p307XHDB.TBK
*p907X
*c16387D
*c54E
(s106W
*p1357X
*c16387D
*c102E
(s76W
definition for pattern books
*p792Y
*p907X
*c16387D
*c57E
(s106W
*p1357X
*c16387D
*c70E
(s106W
*c78E
(s106W
*c45E
(s24W
*c83E
(s106W
*c117E
(s82W
*c122E
(s82W
FN ref Norberg-Schultz
*p840Y
*p907X12
*p1357X
*c16387D
*c34E
(s38W
*c39E
(s27W
```definition "divided lites'"
*p888Y
*p607X
*c16387D
*c51E
(s106W
1.3.2
*p1357X
*c16387D
*c120E
(s82W
|re-scan extended farmhouse
*p936Y
*p1357X
*c16387D
*c47E
(s76W
*c52E
(s106W
*c119E
(s104W
plan: needs to be good 3/4" lower
*p984Y
*p907X
*c16387D
*c48E
(s106W
*c44E
(s26W
@20,21
*p1357X
*c16387D
*c76E
(s106W
Large picture stored on p. 21 needs
*p1032Y
*p1357Xto be inserted into scroll window on p.20.
*p1080Y
*p907X22
*p1357X
*c16387D
*c67E
(s136W
Clipart or something else needed for
*p1128Y
*p1357X
*c16387D
*c85E
(s106W
"Un-making lists."
*p1176Y
*p607X1.3.4
*p907X24
*p1357XFN missing first name of Author Brownlee
*p1224Y
*p607X1.3.4
*p907X24
*p1357X
*c16387D
*c71E
(s136W
missing small pic "Goldenberg House"
*p1320Y
*p907X28
*p1357XBotta diagram: need to know what
*p1368Y
*p1357Xrooms are represented by each color
*p1416Y
*p1357Xto complete the "Key."
*p1512Y
*p907X30
*p1357X
*c16387D
*c87E
(s196W
Same as previous, but for Winslow diagram
*p1608Y
*p607X1.3.8
*p907X31
*p1357X
*c16387D
*c69E
(s106W
*c80E
(s106W
FN from Eugene Gardner, Planning for Change
*p1656Y
*p1357XAlso: caption for illustration of house
*p1752Y
*p907X32
*p1357XName of house for caption
*p1848Y
*p607X139
*p907X34
*p1357Xproceeding to design: missing illustr 139
*p1896Y
*p1357X
*c16387D
*c41E
(s92W
of "Cement Plant House by Lake/Flato Arch)
*p1944Y
*p1357XPossible addition of links here
*p2040Y
*p607X139
*p907X
*c16387D
*c53E
(s106W
*p1357X
*c16387D
*c63E
(s106W
*c73E
(s46W
Alamo Cement Plan pic? Is this same as previous
*p2088Y
*p1357Xwith slightly diff name given?
*p2136Y
*p1357X
*c16387D
*c113E
(s109W
FN for Kenneth Frampton's quote
*p2184Y
*p1357Xneed about 2 addl pix here
*p2280Y
*p307XHDC.TBK
*p607X141
*p907X1
*p1357X
*c16387D
*c77E
(s136W
xMaking Places: need 1 pic
*p2328Y
*p1357Xpossible links on this page
*p2424Y
*p907X6
*p1357XSally: add nature scene pic here
*p2472Y
*p1357XFN info needed for Steven Holl quote
*p2568Y
*p607X142a
*p907X8
*p1357XFN: Holl? "According to Melville's Moby Dick..."
*p2664Y
*p907X14
*p1357Xpossible link to Blueprint Farm in House as
*p2712Y
*p1357XEcological Niche -- or a popup box on this page with
*p2760Y
*p1357Xthe picture
*p2856Y
*p907X15
*p1357X
*c16387D
*c82E
(s136W
Robert Bailey: FN info or ID him?
*p2952Y
*p607X142b
*p1357X
*c16387D
*c79E
(s136W
ECOREGION SECTION: Sally, child windows for
*p3000Y
*p1357Xshowing house types
*p2760Y
*p1357Xthe picture
*p2856Y
*p907X15
*p1357X
*c16387D
*c82E
(s136W
pic??
orking is to find a third level of seeing a place -- where the apparent conflicts between nature and culture are dissolved in poetry. An example of this design attitude can be seen in the Berkowitz House at Martha's Vineyard, Massachusetts.
Planning for Change
The more perfectly your needs are met in a house, the more exclusive the solution becomes. Family structures change over time, and so do owners of houses.
Is it wise to create a living environment so family-specific that it is inflexible to change? In the late 19th century, author Eugene C. Gardner proposed that houses be personalized to a degree that would have scandalized 18th century America. Early republicans would have found Victorian individualism to be shameless self-aggrandizing. (FN)
y Americans have little concern for the moral and democratic ideals of the Greek Revival or Federal Periods, we do seem to be caught in a conflict between the values of con-sumerist self-expression
It is more important to build well than to try to predict those future conditions which will guide how you or others might dwell there. Those eccentric Victorian houses are doing well in today's real estate market.
Although contemporary Americans have little concern for the moral and democratic ideals of the Greek Revival or Federal Periods, we do seem to be caught in a conflict between the values of consumerist self-expression and con-cerns for resale. But concern for change and resale value can inhibit design invention unnecessarily.
ecessarily.
interpretation.
:PHYSSIZE
e himself holds in our collective memory. We can all see the whale skeleton in the sand we can therefore understand Holl's interpretation of it, even though the building itself may appear to be very unfamiliar.
Even if the conditions leading to types of houses change, knowledge of those types can guide us in solving current problems. A regional approach to building is always an environmental approach.
Historian Leo Marx in The Machine in the Garden observes the deeply rooted conflict within American culture between Jeffersonian values of the pastoral dream (living in harmony with the garden) and the myth of industrial wealth (living by the machine). He admonishes Americans to "invent new symbols of possibility" to reconcile our historic controntation of values.
Such a symbol might be found in recent projects created by the Center for Maxi-mum Building Potential near Laredo, Texas..exas...Texas.exas.xas..s..
:PHYSSIZE
Principles of Design
See The Machine in the Garden by Leo Marx, p. 365. See Bibliography, General Architecture..........
:PHYSSIZE
footnote
The House as an Ecological Niche
Watson's Five Metaphors
"footnote"
mouseEnter
mouseLeave
mouseEnter
footnote
mouseLeave
footnote
"footnote"
enterPage
leavePage
enterPage
footnote
footnote
leavePage
footnote
footnote
"footnote"
leavePage
leavePage
footnote
:PHYSSIZE
Principles of Design
These rationalizations of space isolate us from participating in the environment. In res-ponse to those conventions, we turn on the lights or turn up the thermostat. We too easily place these phenomena in the realm of the artificial to be controlled by science, and ig-nore their contribution to the quality of spaces -- to the art of making spaces....acees -- to the art of making spaces.
The fact that artful manipulation of natural light can both increase our pleasure and reduce energy use needs to be re-learned. These simple diagrams begin to show how the building itself can become a light fixture by diffusing natural light. The more diverse the source of light in a room, the more pleas-ing will be the play of light on objects as the sun moves through the day.ay......cts as the sun moves through the day.
:PHYSSIZE
The House as a Natural Light Diffuser
Watson's Five Metaphors
1. A typical south lit room. The high contrast of light and shadow can be uncomfortable.
2. The same room with some light reflected to the ceiling from a clerestory window.
3. The addition of north light softens contrast and seems to open the room.
Picture 1 is a typical south lit room. The high contrast of light and shadow can be uncomfortable. Picture 2 shows the same room with some light reflected to the ceiling from a clerestory window. In Picture 3, the addition of north light softens contrast and seems to open the room.................
Historian Leo Marx in The Machine in the Garden observes the deeply rooted conflict within American culture between Jeffersonian values of the pastoral dream (living in harmony with the garden) and the myth of industrial wealth (living by the machine). He admonishes Americans to "invent new symbols of "possibility" to reconcile our historic controntation of values.
Such a symbol might be found in recent projects created by the Center for Maxi-mum Building Potential near Laredo, Texas.exas...Texas.exas.xas..s..
:PHYSSIZE
Principles of Design
See The Machine in the Garden by Leo Marx, p. 365. See Bibliography, General Architecture..........
:PHYSSIZE
footnote
The House as an Ecological Niche
Watson's Five Metaphors
"footnote"
mouseEnter
mouseLeave
mouseEnter
footnote
mouseLeave
footnote
4g, showingandhiding, moving
B"layering"
"stackobjects"
)6700, 2520
5200, 2000
"setlayer"
"16"
H200,0
"16"
H0, -200
Zj <= 1800
"16"
H-200, 0
H0, 200
"layerrest"
H200,0
H0, -800
Zj <= 1800
H-200, 0
H0, 200
setback
buttonup
buttonup
showingandhiding
layering
moving
layering
stackobjects
stack
stackobjects
setlayer
setlayer
layerrest
layerrest
Y-setback
buttonup
layering
j:to1
showingandhiding
moving
The House as an Ecological Nicheo
Watson's Five Metaphors
Courtesy Center for Maximum Building Potential
prospect
lding
How do you feel connected to a place psychologically?
Geographer Jay Appleton believes our percep-tions of a given place arise from innate survival mechanisms, and are then modified by cultural, social, historical and personal experiences. And the pleasure we get from perceiving the environment motivates us to modify our behavior. In other words, we adapt.
tes us to modify our behavior. In other words, we adapt.
e mechanisms of survival respond to three landscape characteristics defined as prospect, refuge and hazard. Appleton calls this natural symbolism. Our perception of the landscape in these terms causes us to feel either encouragement or warning.
ect appeals to the hunter or observer in us. It is both an offensive and defensive position. The top of a hill or a penthouse apartment overlooking the street are places of prospect.
Refuge is afforded by a cave or house which looks inward, such as a courtyard house. It is that quality of place which allows us to be at rest.
Principles of Design
:PHYSSIZE
:PHYSSIZE
Rural Prospect
Urban Prospectt
Prospect, Refuge and Hazard
Anchoring the Building
Prospec
:PHYSSIZE
See The Symbolism of Habitat by Jay Appleton. See Bibliography, General Architecture.
footnote
"footnote"
mouseEnter
mouseLeave
mouseEnter
footnote
mouseLeave
footnote
BUTTONUP
BUTTONUP
BUTTONUP
patterns
It is quite conceivable that if you were to act on each of the design principles noted previously, your house might not reflect the same design atti-tude that your neighbors have adopted. While some may consider such a departure from local convention to be a badge of honor, others might be concerned with flaunting a sore thumb. While there is no correct answer to this dilemma, good design can be responsive to opposing principles.
In the 1980's many architects championed a contextual approach to design. Simply stated, this position holds that a new house on the block should mimic the land use patterns and architectural styles of the neighborhood in order to achieve a seam-less whole. An admirable goal -- if social cohesion is considered the greatest good......
Principles of Design
However, such conscious simulation of existing patterns has led to many thought-
less buildings. Not all existing patterns make sense. In fact, many of the highly stylized patterns of residential development invent-ed after the early 19th century are in direct conflict with the environmentally based principles promoted here. This is particularly true of suburbia. It is far more significant to recognize and respond to historic -- meaning pre-suburban -- local patterns of space and land use than to the superficial-ities of style.
House. To confront the broader issues of urban design, we suggest you consult the current literature regarding neo-traditional town planning, some of which is listed in the Resources section.
Because computers can manipulate hyperspace, we will simply erase this interloper house from the sixties and insert a house site plan which respects the archi-tectural agreements of this street. Our point is that this new house could have a flat roof and be sided with stainless streel and still be a better neighbor than the ill-conceived house from the sixties which attempts to look like a cape.
Spatial and social patterns in a neighborhood should not be confused with architectural style.....
In the hot and sticky south-eastern United States, the belvedere works in a similar fashion, but without the need to humidify the air before it is introduced into overheated rooms. The deeply shadowed porch and raised first floor serve to cool air before it enters the house.
Both of these architectural devices are very effective heat exchangers. However, as the cultures which invented these
cooling strategies have become
preoccupied with styles of buildingher than with the natural technology of building they have substituted air conditioning for common sense...se.
rather than with the natural technology of building, they have substituted air conditioning for common sense..of building they have substituted air conditioning for common sense..
(.txt)