_ the contemporary house keith s

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					• the contemporary house keith s. moffat texas technological university fall

2007-B l^th. Street Lubbock, Texas jgl+Ol December 5, IQ?^

Mr- Gordon McCutchan Department of Architecture Texas Tech University Lubbock, Texas 79J+O9 Dear Mr. McCutchan: Enclosed is my program which is a requirement for Design Program, Architecture U22. As to the best of my knowledge and your advisement, T have fulfilled the requirements of the course. PesTiectJcrlilv.

Keith S. Moffdi Enclosure

Preface P a r t One The Idea P a r t Two Th.e Family P a r t Three Activities P a r t Four Design Philosophy Part Five Human Engineering Part Six The Site Part Seven Financing Epigram Footnotes Bibliography Appendix ^2 ^5 50 52 5^ iii 2 13 21 30

35 38


"Scientific-technical advancement is no longer anteceded, even less induced, by new spiritual-philosophic cognitions as in previous ages. Instead, science and technique advance autonomously, without the moral control and intellectual preparation that religion and philosophy provide. Each new phase in the rapid transformation of the contemporary physical environment meets wsn unprepared and hence remains outside his full control. "As a result, new scientific-technical achievements no longer address human sentiment. Consequently, they no longer assume the

role of art an in previous ages, when all creative manifestations of man were within popular conception. That is to say, science

and technique -- the two major forces that shape the contemporary environment -- are without art ^^nr^ without the human!zine- force that art gives. "This alienation is evident in man's emotional indifference to the forms created by science and technique. It is also appar-

ent in his failure to grasp the new dimensions conquered in space and energy or to imagine their meaning for the human race on this planet. Indeed, science and technique -- the two most effecient

instruments of human progress -- now virtually endanger the very existence of mankind. "The challenge of the present, thus, is not discovery of the new but the total comprehension of the existing and its integra• • •


tion into contemporary ethics; hence, its human application and aesthetic appreciation. The tragedy of the present is that any

such spiritual search for the meaning of man's existence in the contemporary epoch is no longer a noble expression of man's inner desire for enlightenment, but a necessity forced upon him by technical-scientific progress. "The challenge exists also for the architecture in the industrial society. For even though building technically lags far be-

hind other industries, it has, nevertheless, progressed so far that its forms remain largely neutral to human emotions. Not being incorporated into a universal order of contemporary thought, architecture constitutes still another alien and inhuiman element among m3,n's scientific and technical creations and, especially in residential architecture, revives an unrealistic escape to romanticism. "Therefore, it is not the improvement of technical, economical, functional, hygienic or visual factors of buildings, but the establishment of organic relationships between man, society, technique, and shelter within the total framework of contemporary ethics that is the vital task of contemporary architecture."-L The preceding is an excerpt from Heinrich Engles' book. The Japanese House. It is a stirring comment on technology, existI believe it sets the stage for the

ence, and the plight of man.

presentation of the following ideas. The purpose of this writing is two-fold. The first is to ex-

plore the idea of home. What is it, and how has man come to use it in terms of his culture, as a shelter. The second is a con-


certed effort to educate a client in the area of reasoning behind the motives of the built form. This is not an attempt to "tell

the client what he wants" but rather to explain the reasoning behind certain motives; such as, privacy, conveniences, and environment, in order that he may see and fully understand all of the possibilities available to him. The realm of family shelters has not been explored at an in-depth level in the academic world. The merits of this atti-

tude will not be taken up here and are left to the imagination of the reader. But, it is hoped that in some small way this paper can contribute to the almost non-exi?tent "wealth" of knowledge on the subject of man and his habitation.


part one

the idea
In the development of the "idea" of home, or house, the discussion will go from the general to the specific. The general being the idea of man living within a social context, envolved with complex cooperative and inter-dependent relationships. How does man view his place in the scheme of things? The specific will Man being

deal with the direct influences on the built form.

the greatest of these is influenced by his culture and the culture is influenced by the man. The term culture is general. There

are several hundred specific definitions of culture, each with its own particular emphasis. The concept is extremely important to

understand if any tangible relationship is to be drawn between man and the form of his shelter, for both are a Product of this concept. Presented here is a brief, somewhat simplified explanation of culture, its components, and its structure. The elements of which a culture is composer), though all alike are traditional, habitual and socially shared, may be conventiently divided into techniques, relationships, and ideas. Techniques relate the members of a society to the external world of nature . . . Relationships . . . are the interpersonal habitual responses of the members of a society . . . ideas consist not of habits of overt behavior but of patterned verbal habits, often subvocal but capable of expression in speech. Tl^ese include technological and -^ci^-ntific knowledge, beliefs of all kinds, and a conceptual formulation of normal behavior in both techniques and relationships and of the sanctions for deviation therefrom.2 Shelter is a technique used by man to relate himself to nature. Relationship is man's interaction within the group. Idea

is the philosophy which upholds or justifies the technique. Man to nature, man to man, and man to mind.

the general
Mp.n lives in communities. The purpose of this paper is not to discover the underlying causal factors which have permitted men to band together into social structures called communities. Lockean and Hegelean philosophies are sufficient for this purpose. But leather, question t«> relationship of the social unit h= It is only

of space called the house to the human community.

within the conter^.t of comi^unity (that is houses, many of them), that house form really begins to mean anything. First, because it is the culture of the community which actually produced the house form and not a single individual engaged in producing a single unique idea, the home. Second, it is only within the context of community that the real problems of the house arise. For if the hoiise is removed from community and hence from culture, it is reduced to a crude shelter, the only requirements of which are protection from the elements and enemies. "The discussion dealing with separation of domains and social intercourse suggest that the house cannot be seen in isolation from the settlement, but must be viewed as part of a total social and spatial system which relates the house, way of life, settlement, and even landscape. Man lives in the whole settlement of which the house is only a part, and the way in which he uses the settlement affects house form, as, for example, in areas where the meeting place is the house, and others where the meeting place is a part of the settlement; such as a street or plaza.

Geography as well as architecture has usually separated study of the house from that of settlement, yet the need to look at the house as part of a larger system confirms that the house conveys little sense outside of its setting and context. Because the living pattern always extends beyond the house to some degree, the form of the house is affected by the extent to which one lives in it and the range of activities that take place in it."3 If the house is to be viewed as part of a communal setting, what is the nature of this relationship? This begins to define

hierarchies of spatial organization and the types of transitions between the settlement and the house. It also begins to define

the fusing function of the house, that is, man to community and community to man. "There have generally been two traditions of concentrated settlement. In one the whole settlement has been considered as

the setting for life, and the dwelling merely as a more private, enclosed, and sheltered part of the living realm. In the other

the dwelling has essentially been regarded as the total setting for life, and the settlement, whether village or city, as connective tissue almost "waste" space to be traversed, and secondary in nature."^ It is Important to see the house both in relation to settlement, patterns, and as part of a system to which it belongs because the house, the settlement, and landscapes are part of the same cultural system and are therefore parts of a single system. Within this single system, that of man and culture (or community), are contained the variables which, when introduced, begin to effect

the form of the house.

These variables begin to define the func-

the specific
"The house is an institution, not just a structure, created for a complex set of purposes. Because building a house is a cultural phenomenon, its form and organization are greatly influenced by the cultural milieu to which it belongs. Very early in recorded time the house became more than shelter for primitive man, and almost from the b'^^ginning "function" was rmich more than a physical or utilitarian concept. Religious ceremonial has almost always preceded and accompanied its foundation, erection, and occupation. If provision of shelter is the passive function of the

tions of the home in an urban -netting.

house, then its positive purpose is the creation of an environment best suited to the way of life of a people - in other words, a social unit of space."5 The social unit of space the very phrase implies that

house is only a smaller part of a larger sum of space, which has social implications, directives, and influences. How does one begin to separate and distinguish tbrse social variables which will later prohibit or allow the final forms of the shelter? First, distinguish the primary from the secondary, those that define and those tha.t merely modify.

There are many conceptions and misconceptions about forces Overly simplified, these may be placed in two categories.

which directly affect man's interpretation of physical statements.

On the one hand, there are the socio-cultural forces, that is

those that are subtle and not apparent in nature. On the other hand, there are the physical forces, those that are apparent and obvious in nature.

The socio-cultural factors can only be dealt with in their broadest terms. They are the most difficult to distinguish because they are of a cultural nature. This is not to say that they are instinctive, though they may well be at this point in time, but rather that they have been transmitted through the socialization processes and are taken for granted. They are consid-

ered as normative and are no longer within the realm of question. "The term genre de vie used by Max Sorre Includes all the cultural, spiritual, material, and social aspects which affect form. We can say that houses and settlements are the physical expression of the genre de vie, and this constitutes their symbolic nature. I would further suggest that the socio-cultural

component of the genre de vie is the sum of the concepts of culture. Ethos, world view, and national character used by Redfield, which he defines as follows: Culture - the total equipment of ideas and institutions and conventionalized activities of a people. Ethos - the organized conception of the Ought.

World view - the way people characteristically look out upon the world. Nation Character - the personality t^Te of a people, the kind of hximan being which, generally, occurs in this society."° This concept of genre de vie is interesting and helpful in the sense that it begins to define areas in which to look for the

variables; but, by very general nature, it still fails to describe the variables themselves, which affect the built form. So, given the general concepts, what are the implip^^i specifics that -'trill begin to define those variables which directly affect the form? Everyone has his own idea about the functions

of a house, or the needs which it must fulfill. In the course of the research, many conflicting and agreeing accounts were found about the function of the house and the needs of man. Rather than accept the one and discount the other, the following are two opinions about the needs a house must fulfill; one general and one specific, which could be considered as a mean or average interpretation. It is characteristic of all good residential architecture that it should provide for man's seven fundamental housing needs; health, safety, convenience, comfort, privacy, beauty, each with due reference to e conomy.7 The following are some of the more important aspects of the genre de vie which affect built form: 1. 2. 3. k. 5. Some basic needs. Family. Position of women. Privacy. Social intercourse.

Since each of these provides many choices of definition, relative importance, and forms used to provide for them, which depend on the goals and values of the culture or subculture, they need to be made very specific.^ The second definition has been chosen for use in this program because of its more general inclusive nature. Terras such as beauty, comfort, and privacy really begin to have little meaning when dealing with a specific house for a specific client because such terms are subject to many definitions and are relative only to

that particular client. True, culture has taught the client these specific terms but men modify culture to a small extent to meet their own individual needs. "If we accept shelter as a basic need (and even this can be questioned), and also accept that the idea of the house, as apposed to shelter, comes very early, as recent discoveries show, then the form the house takes depends on how "shelter," "dwelling," and "need" are defined by the group. This definition will

be reflected in the different interpretations given to such concepts as "home," privacy, and territoriality. In the same way,

if we accept protection from weather and human and animal enemies as basic needs, the way in which this protection is achieved is open to wide choice, although always involving physical psychological, and cultural limits."9

The word physical implies something concrete and tangible. While socio-cultural factors are more general and philosophic in nature, physical factors are more readily and distinctly discernible. The physical factors will be viewed more as modifiers of

form rather than determinates of it. The reason for this is the concept of "criticality and choice," which will be explained in a moment. There are three types of physical factors which will be mentioned here. They are: economic, technological (includes material), and climatic. The economic factor depends entirely on the means of the individual client. a form. It does not determine the appropriateness of

It merely finances it. The technological factor can de-

termlne form in some rare instances but because of the scope of this problem, it will not be considered as a determinate. The climatic factor is also non-determinate with respect to form. It

may modify thickness or thinness of structure, amount of "open air" space, etc. but it in itself does not constitute the sole justification for a form. Criticality and choice is a concept which is discussed in length in Rapoport's book. House Form and Culture. It has interesting implications when applied to the determinants and modifiers of form. paper. To explain it fully is beyond the scope of this

The following is a brief excerpt from the book and explains

the essence of the concept. It could be argued that whereas constraints in the past were climate, limited technology, and materials, the forces of tradition, and lack of economic surplus, today's constraints are different but no less severe. Current constraints are those Imposed by density and population numbers, and the institutionalization of controls through codes, regulations, zoning, requirements of banks and other mortgage authorities, insurance companies, and planning bodies; even today the freedom of the designer as form-giver is rather limited. Nevertheless, the degree of choice open to a builder in the United States today is very different from that available to an Eskimo or Peruvian peasant. The fact is that a degree of freedom and choice exists even under the most severe conditions, as we have seen repeatedly. The possibility os this degree of choice and freed o with regard to the house, even under the maxirmim .m degree of constraint, is most usefully understood through the concept of criticality. The forms of houses are not determined by physical forces and hence can show great variety because of the relatively low criticality of buildings. This is the crucial argument: because physical criticality is low, socio-cultural factors can operate; because they can operate, purely physical forces cannot determine form.10 "We may say that house form is the result of choice among existing possibilities -- the greater the number of possibilities.

the greater the choice -- but there is never any inevitability, because man can live in many kinds of structures."ll Man can choose his shelter within cultural and technological limits. The 20th. century holds few technological limits. Why then is man's "criticality" of architecture so low? Why does man accept (or live in) the hodgepodge of residential structure, each with its neatly designed "front"? It does indeed "repreThe Colonial House.

sent an unrealistic escape to romanticism". The Ranch Style.

Technology has put man on the moon, man has put

man on the moon. Why does he still live in primitively "designed" shelters and use million dollar environmental control systems to make him comfortable? First of all, was it all inevitable or is man responsible? The proliferation, even praise of the "individual" can be traced to the beginnings of this ' - e t nation. America had no real tra3ra dition of an evolutionary nature. It had only the traditions

brought by the immigrants. Tradition carries with it the law of acceptance and therefore is a stabilizing force through universal public assent. Whatever true "collective tradition" was present, is slowly disappearing. It is disappearing for three

specific reasons, each with its own implications. The first reason is the greater number of building types, many of which are too complex to build in traditional fashion. This rise of specialization and differentiation is paralleled in the spaces within the buildings and the various trades and professions involved in their design and erection. The second reason is loss of the common shared value system and image of the world, with a consequent loss of an accepted and shared hierarchy - and generally a loss of goals shared by designers and the public. This results in the disappearance of that spirit of cooperation

which makes people respect the rights of adjoining people and their buildings, and ultimately the rights of the settlement as a whole. Lack of cooperation leads to the introduction of such controls (going beyond pattern books) as codes, regulations, and zoning rules concernin?, alignments and setbacks, which also existed, in some preindustrial towns. These 2rules do not usually work as well as the voluntary controls of public opinion. The distinction between traditional and modern societies can be understood in terms of the contrast between informal controls, affectivity, and consensus in the former and impersonality and interdependent specialization in the latter. The third reason for the disappearance of tradi tion as a regulator is the fact that our culture puts a premium on originality, often striving for it for its own sake. As a result, society becomes dissatisfied with traditional forms, and the verna.cular process can no longer work. This dissatisfaction is often based on nonfunctional considerations and is linked to socio-cultural factors. In most traditional cultures, novelty is not only not sought after, but is regarded as undesirable.12 Whether the "tradition" of man disappears, will depend upon a re-evaluation of societal goals, and the integration of architechure in these goals, as a basic tool of man in satisfying his physical and emotional needs.

part two



the family
Houses are for families. T^ile the house is a social unit of space, the family is a social unit of culture. Since both are products or components of the same system (culture), then both should relate to each other. The influences of culture upon the In this section, the

house have been considered in part one.

relationship between culture and family will be discussed.. The family manifests the culture of the times. The cultural level of a society is characterized by emotional relationships between man and man made environment, or between family and house. It was shown in part one that the house does p o beyond the mere r fulfillment of purely functional needs. If it is to be siiccess-

ful, it must also fulfill the emotional needs of a family and enrich their lives as well. In attempting to understand the rela-

tion between family and house, the reality of the family must be carefully defined. The reality of the family finds expression in three ways; first, in the manner in which the family unit is organized, both morally and practically; second, in the position that each family member occupies in this organism: and finally, on the resu.lting mode of living. Although these factors are partially dependent

upon individual values, their dominating motives are the principles of morality that control the society as a whole. 13 I f n and Ve family are essentially controlled by societal values. Each live

within the framework of culture but each modify it to small decrees to fit their own particular needs and desires. Through these small modifications, man and family effect a change in culture. The process then becomes one of participation, modifiThis process begins to hint at an im-

cation, and redefinition.

portant aspect of the family and its relationship to the house. The aspect is that of change. The family is a dynamic organism because it is a function of culture; the culture changes and the family changes. Through culture, the family undergoes "mental" change. By this, attitudes, values, and behavior undergo conThrough biological pro-

stant modification and redefinition.

cesses, man also undergoes physical change; conception, birth, growth, life, decline, and death. In a generic sense, this is

also modification and redefination. Man participates in culture and is bombarded with ideas, attitudes, etc. throu.e-h the multi]_pvel a n multi-networks of media. .d and some rejected. Some attitudes are absorbed

Man then modifies his attitudes and beliefs Culture is then redefined to inIn this same sense, the house Like culture, it must

in terms of these attitudes.

clude or reject these new beliefs.

imist undergo modification and redefinition. evolve, it must be dynamic.

It is between the concepts of "genre die vie" and change that man, the family, finds his place in residential architecture. Family then, is the essence that underlies residential architecture. Through family, building becomes house and through family the house lives.1^


The evolvin;P; fami y for which this urogram was written are the A. D. Thompsons of Lubbock, Tp-'^as. There are five members in the family, -olus two dogs and some fish. The parents teach at Texas Tech University and the children attend Lubbock public schools. This portion of the writing is devoted to the family;

its histories, ideas, philosophies and personalities.


Born in Waxahachie, Texas. No electricity.

Well on the back

Rememberances. Heating water on the stove. No bath tubs.

Chinaberry trees. Raising Banty roosters. Separated from the rest of the family in attitude and age. Stayed by myself. Fantastic love. Front yard, ni'3ht, mosquitoes. Was second, rate in high school sports. Liked boxing. Childhood diseases, yellow

jaundice, rickets. Cook rabbits and squirrels. No food during depression, "dust bowl". Not poor, nor middle class. Vacations,

1936 Ford, Corpus Christi, Galveston, Red River. Relatives were Creek Indians, ate boiled rice. Felt sorry for Indians. They had nothing. Fortune telling old man. Five feet tall when I graduated

from high school. Good student. Severe religous upbringing. Poverty area with hard Protestant background. Sunday morning, night,

Wednesday, revivals. Highly educated coimnunity. Enjoyed people of intellect. Favorite person, alcoholic law^rerbuilding. Jake leg. Cotton buyers

Set course for my life. Harvard graduate.

always said, "good morning citizen", his language flowed. Went to courtroom with him. Blacks poor. He wore a cello-nhane collar.

My ambition: manage drug store and sell multi-colored prophylactics at Easter. Encouraged to study architecture in high school. Came to college. All things Taught a way of archi-

Jealous and envious of Robert Benton.

warm and comfortable as a child untaught. tecture.

Failed graphics three times. Poi-h.istic^ted students;

all were Republican, upper middle class, and had gone to Europe. I gave up. Played guitar, drank wine, cut class. Drafted. Sent to Japan. Bad time in Army. Almost went to Big 8 (stockade).

Went to Gifu instead because I had an architectural degree. Major turning point. Totalness of design and environment. Worked with Caught on. Con-

architects in Japan. Began to feel architecture. tribute to society. Passing through. Mess around, then teach. is exciting.

Nolan Barrick job. No.

Didn't want architectural license. TeachFighting students on the

Met Virginia and married.

fire escape. Tired of talking about architecture, it is defunct in this society. Fellowship at Columbia. Work, travel, research. Virginia pregnant in Enrone. Fast^ decisions, liked non-sophisticated life. 6*1", bushy moustache, snores, smelly cigars. Likes cars, cameras, guns, and axutars. Sensitive and intelligent. Feel that architecture is useless without planning. The Court Jester.


Born in Frost, Texas. Rural area, farming.

Lived in the back

of a store. Father was a grocer. No electricity or plumbing. Kerosene lamps and well water. Dark and gloomy. Smells of oil.

Played in the alley. Reared myself. Railroad houses, dark and

brown. Tall ceilings and tin roof. Living area small, whole exSection houses, instituistence in one room, yard was in alley.

tional drab in color, cold and dark. Hi^h school. Scholarship in art. Graduated from Tech. Worked in Dallas, fashion illustrator. Lubbock, furniture store layouts. Art Director in loNew York. Teach. Art Director for Civic affairs limited.

cal publishing house. Married.

Waterman Getz Advertising Agency.

Paint, photography, advertising, design. Three children. Plays piano in the morning. "Teaching affords me time with my children 5'^", red hair, wears mini-skirts

that I wouldn't have otherwise."

and smokes straight cigarettes. Quiet sometimes. President of "The Family Affair", an advertising agency in Lubbock, composed entirely of the Thompson family. Goal, to integrate advertising Loves autumn.

art and design with fine arts. Hard worker-

and math. ther and sister. Run.

Brilliant, laugh, runs track.

Likes animals, reading, play-

ing piano. Plays football with father. Ten years old. Spelling "Go to the ''tore and get some junk." Plays with broLikes dogs, quiet, curious, be by myself. Room

of my own. Play army and tackle with Andrew. Play basketball. School work, studies hard, good grades. Builds model ships, Look at the stars. Telescopes. Microscopes.

boats, and planes. Inquisitive.

Smiles, friendly, drawing. Watches television. Dig

tunnels and caves. Sensitive, feeling, young, growing up.

eva marie
Nine years old. Fun. Tomboy. Football. Fish in aquarium. Likes her brothers. Secure, and warm places. Tidy, nature, col-

lects rocks. Plays piano. Read. vith animals, likes dogs. Study hard, good student. Play Health and science. Soft. Play army. Intelligent.

Likes music and art. "Don't like to kiss on boys." Good. A young girl.

Six years old, "Snaggle-tooth". harmonica. Likes animals. Plays the Laugh, imitator, likes recess and lunch. "Scholar Young and changing. Likes his brother and sisof the Family." ter. Shares a lot of love. Play chase and army. Hates stickers and rules. The preceding descriptions of the family members are intended to give only a 'general view into the personalities, interests, etc. of the particular members. From these impressions, a general view of the family begins to emerge about ideas, attitudes, and way of living. A psychoanalysis of the family and its members is not the

intended purpose of this section; rather, a general description of them. The family will interact with the house in two ways. These

are important considerations when viewing the total relationship of man and his shelter. "Manners of living, being shaped prima.rily through moral principles and secondarily through climate, tradition, and societv (also through architecture itself), constitute a major cause for the evolution of characteristics in residential architecture. In fact, people everywhere have always revealed their true nature much more clearly by the way they have built their homes than by other products of the creative arts, which are always tied to the strong

subjectivity of their creators and only seldom express the attitude of the people as a whole toward the world and life."15 "The physique of building in its relationship to family life is usually assumed to be in essence receptive-reflective rather than causative-formative, i.e., it is commonly accepted that the house is but a mirrored image of the family therein."1° The mode of living is a direct influence on the form of the house. Furniture begins to modify the amount of space required

for living. Eye levels of humans, seated or stand, begin to affect form and orientation. These are influences on the house.

The shelter protects man from climate and the seasons. So, activities are carried on inside the shelter with little r^Tard for seasons, temperature, etc. influence its occupants. In this way, the house begins to

part three



activities food Preparation
Both of the parents cook. Mrs. ''^neuf-l^rrciT.^Ar^eT' daily meals, and fr. Thompson, the "gourmet cook", specializes in ..Japanese and French dishes. He also cooks pastries. The equipment needed will be as follows: Stove - Hobart or good industrial ."-rade. Refrii-'^rator ^Ink or sinks Dishwasher Chopping block - Hardwood Pastry board - Softwood Storage for utensils, pots, and pans, and other cooking equipment are presented in the amount of area given to these articles in their present home. Pots and pans - 30" x 30" x 3' All other equipment 7' long x 3' high x 30" deep Storage for ^- to 6 small electrical apiDliances. 1 Storage for k sets of dishes - service for 12 (each set) Mrs. Thompson does not stockpile food, and meals are planned about three riays in advance. The family likes fresh food, meats, and vegetables, and trips to the grocery are frequent. Counter s-oace

will be needed, some which can be converted either for storage or general use purposes. This activity should be self contained and hidden from other activities of the household. In proximitv

to this activity, stora'^e facilities should be provided for cleaning equipment. This would include vacuum cleaner, brooms, mops, This storage would be utility in nature and

detergents, etc.

could provide for washer and dryer, ironing, etc. Mrs. Thompson's

arm length, waist, height, etc. are given in the next section.


T i Thompson family eats in a somewhat formal manner. The le

plates are always filled and then brought to the table. When the plates are empty, the meal is over. This is not an economy measure but has to do with how Mrs. Thompson balances the family diet, and keeps them from "over indulging" at the table. This activity requires .no equipment other than a surface on which to eat and suitable places to sit. It should serve five people daily, and during periods of entertaining, it should serve a maximum of twenty people. During these periods, Mrs. Thompson likes to decorate for atmosphere (French, Italian, etc.); so, the activity should be flexible enough to provide varying degrees of privacy, lighting levels, and decoration.

varied activities. to do this together.

This activity is really an amalgam of many different and It is very collective in nature. The follow-

ing are activities to be included in the living function. The entire family plays musical instruments such as guitars, clarinets, recorders, harmonicas and piano, and at times they like They enjoy sitting around and singing ' o s s ^nr

together. All are fantastic story tellers and they enjoy relating these to each other. other favorite pastime. Just sitting around and talking is anThe entire family reads a great deal and "The Family Affair" is an advertis-

enjoYS watching television.

ing agency and the Thompson family comprise the five principals. When a problem comes up, everyone in the family gets together and

draws out his own solution. These solutions are then put up The entire family During the sum-

and the most appropriate solution is chosen.

likes to draw, and they need a place to do this.

mer months, Mr. Thompson teaches the children water color for three hours and a foreign language for one hour, every morning. This activity should accommodate up to twenty people during entertainment periods, and should be extremely flexible.

Mrs. Thompson and two of the children, Eva terie and Odell, play the piano. them play. Mr- Thompson enjoys sitting and listening to At the present, they own pne studio piano, which reIn the future, they will buy a quires an area of about 6' x ^'. Mason Hamlen Baby Grand piano which will require an area of 8' x 8'. Proper acoustics will be needed, both to enhance the music

out work. will be as follows:

and to limit disturbances to other activities. This activity will primarily serve two people the parents.

It will be split into two zones; one that can be cluttered and dirty at times, and one that stays clean for designing and layThe activities in the studio will consist of painting, The equipment

photography, layout work, and advertising work.

Drafting tables - 7' x i- and 6' x 3^'. l' Storage for drafting materials. Paper,silk screen supplies, etc. (This presently fills two stora-p unit-^ that are 4' x 4' x 7'5" in their present home.) This activity should be extremely flexible. It should provide

natural and artificial lighting systems to obtain proper degrees

of illumination for photography, painting, and drafting-. Storage will be needed for paintings, prints, and drawings of all si'/es, and facilities should be available for hanging and drying prints, and drawings. This is a relatively quiet activity and should re-

finishes. The Wet Area

t a ^ a degree of privacy for contemplation and creative processes.

This activity should hav^ direct access to the studio. It

will also be split into two distinct zones: the wet area and the dry area. Both will be completely light sealed and have white

All chemical processing will be done in this area for black and white, and color. The process uses fiv=> trays - 20" x 2k-"

and a sink which is 3' x 2k" deep x 28" wide, and a deep red safe ii,3:ht. Hot and cold water will be needed, both separately and blended. Storage for chemicals should be provided and rlacep The temperature in the wet area

to hang ne";atives while drying.

is critical and should be kept between 68° and 72°. Humidity control is not necessary. The parents sometimes spend all day in the

dark ^onm, so it should be a Yery comfortable place in which to work. A water closet should be provided. Size of the area is


If it becomes too large, it is inefficient; too small In their present home this activity pres-

and it becomes cramped.

ent!^' occupies a k' X k^ area. The Dry Area The enuj.pment in this area is as follows: Beseler enlarger Developer

Filters Lenses Easels Scales Safe l i - h t (Soft amber) Negative storage - 3' wide x 8' high x 2^' deep. Alphabetized by year and nlace. Finished p r i n t storage - f l a t , maxirnu.m size 20" x 2k". The c l i e n t takes a l o t of p i c t u r e s . The present p r i n t s t o r The This

age accommodates u r l u t s up to 20" x 21-I-" and i s 5' in height. c l i e n t can iisuaMv f i l l one of these storage u n i t s per year.

a c t i v i t y should also be comfortahle, but affaln si^e i s an im-nnrtaii+ f a c t o r .

quiet, and removed.

The father enjoys reading, cleaning guns, making bullets, and

playing quitar, and likes to enjoy a degree of privacy while doin"these things. The father has stated in interviews that he needs and enjoys a den. This does not necessarily mean what the modern day "den" has become, but a true den like thing, warm and cozy, The client oi-ms a sizeable library, about

5,000 volumes. Hard back volumes comprise about two-thirds of the library (3200) and paper backs make up the rest. One-third of the books are over sized (over 12"). The family alots $500.00

per year for the purchase of books. The gun storage in the present home is as follows: Gun equipment - Bullet making equipment, gun powder, casings, cleaning equipment, etc. 7' x 5' x 7^'. This storage area should be lockable. rnn J.s About 26 but this number varies from time to time. 6' X 4' X 7'5"

The father is a "pack rat". He collects things, stores them in the original boxes, and never throws anything away. Storage

for his guitars and memorabilia in the present home take up approximately 6' x 'J X 8'. '

sons. as follows: Cronuet Tennis Badminton Roller skating Baseball Basketball Football

The clients believe that athletic development is an essen-

tial part of a child's mental growth, and t^e entire family enjoys outdoor s-nouts of all hinds. The father spends about two hours a day playintr football, baseball, or basketball with his The sports which should be considered in this program are

Other outdoor activities that do not come under the heading of sports are bird feeding (the client owns many bird houses), a sand pit, outdoor cooking, and entertainment.

parents. Odell

This activity will broken down into four separate and dis-

tinct parts; three activitiec, for the children, and one for the

Odell is ten years old. He presently shares a room with hi"^ ^'ounger brother but is approaching the age that requires privacy, and is ready for a place of his own. His storage requirements will be as follows: (Given in area taken up in the present home.)

Seasonal clothes - 8' x 3' x 7^' Tovs - 8' X ^-T' X i- deep '' Models - No set area, but he does need a place to display them.

Eva Marie Eva Marie is nine years old. As she grows up, she will need increasing privacy. small aquarium. She collects rocks and fish and has a

Her storage requirements are as follows:

Seasonal clothes - 8' x 3' x 7^' Toys - 8' X 3i' X k' deep Andrew Andrew is six years old. Because of his age, it is ex-

tremely hard to project interests and requirements for him. As he grows older, he will need increasing degrees of privacy as do the other children. His storage requirements for clothes and toys will be about the same as for Eva Marie and Odell. The parents The parents activity should include provisions for dressing and bathing. It should afford a prent degree of privacy and be

well insulated from noise, both from within the house and from outside. Storage requirements in their present home for clothes

are as follows: His - 8' X 3' X 7'6" Hers - 8' X 3' X 7'6" Approximately 30 T'^irs of shoes Two cedar storage units - k^ deep x 3' high x 8' long. Two large chests 5' x 2' x 3' It was stated in an interview with the family that the parents do not - r - d a great deal of time in the bedroom. ^pn


Five people need bath room facilities. The parents should

be separate from the children, and the daughter's should be separate from that of her brothers.

Each facility will need the normal bathroom equipment,(shower, bath, water closet, and sink) and storage for toilet articles such-as bath towels, etc. The father has stated that he would like to have bath facilities away from the house. Conceivable this will be used not only

by the family but would also be used by guests during periods of entertainment. This is not an open air facility and would require It should

the normal comforts of heating, cooling, and privacy.

provide storage for toilet articles, towels, and have a bath with shower, water closet, and sink.


Additional storage which is not particular to any of the

above activities is as follows: Rain coats and other coats - 4' x 6' x 8'. Two cedar storage units - i- x 3' x 8'. i' Well house - 12' x 8' x 8' (lawn and garden tools). Storap-e will be needed for two autom.obiles, with the possibility of a third, five bicycles, and one motorcycle.

part four



design philosophy
The activities were described in as brief a form as possible. This was done for two reasons. The first was to describe them in such a fashion that who is envolved, what they do, and what they do it with would be readily apparent. The second reason was an attempt to separate design philosophy from design criteria. Philosophy behind design is extremely important, but when it is mixed with criteria, it tends to "muddy the water"

and both lose a little of their importance, and it becomes difficult to distinguish between the two. Presented here are the design philosophies with regard for each activity. The philosophy, when linked with the family per-

sonality and design criteria, begin to show the total picture of the habitation. The following are responses which apply to all activities of the house. They are very general and psychological in nature,

but the implied specifics are extremely important considerations in the design of appropriate shelters for each activity. "Orientation Response: I am ready to act, so that I can be fully aware of a particular event which T mu-^t face. I raise or turn my head or my whole body. I dislike anything that is interposed between me and the source of stimulation. Defense Response: (a) Esca.-oe: I am alerted to flight. I have quickly checked that I am not surrounded by an obstructing enclosure or any other obstacles impeding escape. (b) Protection: T like to be fully protected, should any circumstance require it. I have checked that I am

well surrounded by an enclosure to shelter me safely. Control Response: I desire to be at liberty, free of shackles and im.pediments, to have full control of my limbs and of all objects or tools that may be required for the gratification of my intentions. I have checked that everything I might want to use is handy. It is all within reach; nothing, no one is in a position to interfere or to stop me. Precision Response: I am acting to make everj^thing in which I am interested clf^a.r, sharp, and distinct to my senses. I have succeeded in eliminating all vaguenessall blurred uncertainty from my surroundings. Everything I intend to pay attention to is well in focus and defined."17 • The Children i The maturation process brings with it many new needs, activities, and attitudes. Among these, one of the most important is privacy. In one sense, privacy is a locked door. This is

expected privacy. But in yet another sense, privacy is an ability to sit in one's oira place, with one's own things gathered around. An atmosphere on your own terms. The sleeping activity can become such a place for this privacy. It becomes a large

safe deposit box for all the railroa.d track, back allp:^^ and store bought junk one can muster as a child. All of the things

which are important in the makiup- o f a man out of a ^on^r - r ^ ^. stored in tv-is place. It should be able to contain all of the

-Pears and frustrations of the joys and the vanity of the teens. It must be totally flexible and envolvinf?.

The Parents It should be quiet, both internally and externally. should exhibit warmth and naturalness. It

It should be physically

sensual and mentally envolvinc^ but not overbearing (psychological) and physical privacy are very important.



It should exhibit extreme physical naturalness and offer It should offer a degree of flexi-

varvinp- degrees of privacy.

bility through combination or s-paration of facilities in order to accommodate r---^A loads.

food Preparation
An activity of this type should be extrerael v - : - = - ent +•--• comfortable. Only one thing is done here. : ' Good food is prepared with efficient, well designed tools. very important. This activlt-'^Tirrii.d be flexible in an atmospheric sense. It should call to mind any city in the United States, or any country in the world. Smells and textures will be

ative processes.

F l e x i b i l i t y i s ^n understatement.

This a c t i v i t y requires

somethino' beyond f l e x i b i l i t y .

More than any other a c t i v i t y , t h i s


exhibits the true "face" of the family.

This activity should have an atmosphere condusive

to cre-

It should accommodate a high degree of creative

"spontaneity"; but the degree of physical envolvement of the suace itself is critical because mental processes are taking place at a sometimes rapid hace in this activity.

To a ^reat de^vRe,

nature provides as much mental shelter Varying degrees of pri-

as the house provides physical shelter.

vacy are important as well as freedom from visual and physical barriers.


This activity should be very masculine and secure in nature. It should ex-

Natural materials and finishes will be important. hibit a very "homey" atmosphere.

part five



human engineering
Houses should be engineered for humans. At first this would seem to be an obvious consideration in design, but the degree of actual human engineering in todays houses has left something to be desired. Human engineering should go much farther than mere door heights, location of switches, and drawer pulls. The human body is not a mass produced machine oriented object. Bodies come in all sizes, shapes, and dimensions. The house should be designed and engineered especially for the bodies in the shelters. Human engineering can be divided into two distinct studies. The first is mental engineering. This, in part, eludes to the

different psychological responses which were mentioned in Part k. It also includes colors and degrees of visual awareness. The This inclndes the design

second is physical human engineering.

of objects and machines which are meant to operate with impetus provided by the body, and its muscular and leverage systems. The house should be totally engineered. This means every

part that is touched, either physically or visually, by the human body and mind. The following page is a drawing which was submitted by the Thompsons. It includes some of the more important body measure-

ments of the father and mother. The childrens measurements were not included because they are not constant.

-.^' ..^-^'<^'



\ A



(y^yuph^ IfmJ^ if 'f-h • '^.'/J-

part six



the site
The clients and their children work and go to school in Lubbock. For this reason the selection of a site will be limited to Lubbock, the city of, or the immediate vicinity. The following are factors considered to be important in the selection of a site.

The topography of the site should be such that it offers both relief and contrast from the flatness of the plains. The use of man made as well as natural land forms should be studied to achieve these results. This does not necessarily mean the destruction of the plains atmosphere, only the enhancement of it. Diast is a major consideration in the selection of a site. It

hMrology vegitation

is one of the client"s chief dislikes. The elimination of this problem m°v lie uartlv, in the use of water on or around the site. Another consideration is rainfall. ^ J e e does it go, and is there 'hr a way of effectively using it?

Vegetation .should be present on the site. The clients were born in an area which had heavy vegetation, and they have expressed a desire for this t^Te of atmosphere. The use of vegetation should be in such a way that it helps to control other climatic factors such as dust, heat, and wind. T^pes and kinds of vegetation which Also, sev-

require little or no maintenence should be studied.

eral t^q^eg of solid or ground cover plants .should be considered. All planting and vegetation should be effectively

used with respect to its own particular seasonal growth.


The client will provide the wildlife for the site in the

form of two dops. Places in nature for children and dogs should be provided as we.ll as anv other animals native to the area.

land use

It is hoped that the existing land use is such that no ex-

ti"a money will be need.ed to clear away any existing structures. However, if the nature of the site is such that it fulfills all of the above criteria, that is natural factors, and the existing structures are of a nature that is compatible with the overall design concept, to the extent of bein^ included as part of the project, then such propertv should be considered.


As mentioned before the clients work at Texas Tech, and the The only linkage requirement

children attend school in Lubbock.

is that the site be not more than fifteen minutes at the most from Tech, and that it be in or near a good school district. This has been defined as one with superior academic programs and opportunities. Proximity to ma.ior shopping areas or churches is a minor concern in this project.


The client's second major dislike is noise. Traffic noise The 15 minute limit from

should be kent to an absolute minimum.

Tech does not necessarily mean an x-mile radius from Tech. The

site may be located farther out if it is located near major traffic lines. The major form of transportation will be by automobile, of which there are two. Conditions of access to

the site during extremes of weather should be taken into account, and any extremes in grade should be studied carefully.

ler children around.

The clients feel that just because you are married and have

a family, doesn't mean that you have to live in a neighborhood situation. Privacy is a major concern. As the children begin to grow older, there will be less and less a need to have other sma,lThe need for a private territory has been

expressed and should be fulfilled in the selection of a site. If a suitable site is found, but is not zoned for residential use, local laws and zoning ordinances should be checked to see how the land could be acquired, converted, or changed.

natural feature
Any natural features of the site must enhance the design. This can mean elimination if necessary. They should, again, offer contrast and relief, and should be an integral part of the overall design. The site should be one in which nature can be viewed, in all seasons and in all its moods. There should be private areas in nature as well as wide open spaces and views. The site should be protective, comfortable, and compatible with the home.

part seven



This project will be financed through a local savings and loan association. The budjet is $il-0,000 for the house and a ceiling of $10,000 for the site. These figures were submitted by the client, and were arrived at through figuring a ceiling for monthly payments and the amount of equity they now have in their present home. The client will pay one-half of the total The amount of the loan It will be a 25 year loan

amount down and borrow the remainder. will then be $33,350 at Q^ interest.

and the payments will be in the neighborhood of $27^.00 per month, plus taxes and insurance. The total cost of the loan will be about $62,500. On the subject of restrictions, no concrete rules were obtainable. Mr. Robert Mangum of Lubbock Savings and Loan Associa-

tion said that the plans of the house must be submitted to a loan committee. The plans are reviewed, and if the committee approves Their criteria being, the

the plans, then the loan is granted.

house must have a definite degree of resale value in the event of foreclosure. If the client has such a financial background and

good character references and foreclosure is a remote possibility, then the loan is granted with little regard for the plans submitted. Mr. John Jarret of State Savings and Loan Association had a somewhat different approach. The plans are submitted to the loan

board. If the plans are deemed structurally sound, then the loan The Company must be able to make inspec-

is made on one condition.

tions at different stages of the construction, with the authority of foreclosure in the event of sub-standard constioiction methods or materials. The Company must personally know the contractor, all sub-contractors, and anyone else envolved with the project. Lubbock Savings and Loan Association seemed to be concerned about the aesthetics of the house with regard to the present market; while State Savings and Loan Association was concerned more with good workmanship and materials. Granted, these are highly opinionated and cannot be used as documentary evidence; but, they are two different approaches to the problem.




The epigram is by William E. Kirkbride. Although it is somewhat of a critical comparison between the architecture of the east and the west, and although that is not the intended purpose of this program, it provides a quiet and appropriate close for this writing.


Sit alone, cross-legged, static, and immobile. Think in seclusion unchecked, active, and flowing. Sit upon a mat. The mat is three by six. Think disciplined of the immeasurable and infinite. Sit between paper screens and see the world within, the Self. Think of the unseen, the without: The out is in, the in is out. Sit after bath to wonder at the peace and order. Think when clean. In purity is truth, and truth is beautiful. Sit with tea lovingly prepared and thus presented. Think with scented potient. Understanding enters the ordered mind. Japan and architecture: How very beautiful their marriage. Modems and architecture: man estranged from the world he created. Japan, its architecture scents the air with thoughtful beauty.

Modern architecture empty when naked, searching ashamed for a leaf. Japan finds architecture: Each facet ordered and full of meaning. Moderns lose architecture: a labyrinth of coin and thoughtlessness. Japan knows architecture: Each home, the palette and canvas of man's life. Moderns lack architecture: no depth or search, just surface pleasure. Japan is architecture: Man is house, and house if life. Modern architecture: Sit and listen and think and profit. What is architecture? 0 Zen and hosts, your message we beseech. It is thoughtful living, necessity softened by history, intellect, and life. What is necessity? A roof, thatched or china-tiled, creator of interior. It is a platform shielded against rain and sun, man's world. V/hat causes necessity? Nature: adversary, master, and mystic. It is ten'.s ..desire to survive, be Self, and understand the unknown. What tools for necessity? Nature's yield: wood, earth, bamboo, rice paper. It is space. Nature's essence, captured, measured, and cared.

What lesson, architecture? The space: image and envelope of human life. It is humanity architecture's cause and destiny, its alpha and omega.




iHeinrich Engle, The Japanese House, A Tradition For Contemporary Architecture. Rutland, Vermont: Charles E. Tuttle & "Co".'"and" Tokyo,^ Japan, 196^1-, p. 621. 2ciyde Kluckholn and A. L. Kroeber, Culture, assisted by Wayne Utereiner and Alfred G. Meyer. New York: Random House, I963, P- l85" 3Amos Rapoport, House Form and Culture. Englewood Cliffs, New Jersey: Printice-Hall, Incorporated, I969, p. 69, ^Ibid., p. 70. 5lbid., p. k6. ^Ibid., pp. h^-k£, Ijames-and Katherine Morrow, The Modern House in America. New York: The Architectural Book Publishing Company, 19^+0, p. 11. ^Amos Rapoport, op. cit., p. 61. 9lbid. lOlbid., p. 59lllbid. l^Ibid., pp. 6-7 13Heinrich Engle, op. cit., p. 221. l^Ibid. 15ibid., p. 227. l^Ibid., p. 229. ITpichard Neutra, Is Planning Possible; Can Destiny Be Designed. Los Angeles: University of California, 19^^, p. 13-




Alexander, Christopher and Serge Chermayeff. Community And Privacy. New York: Doubleday & Company, Incorporated, I965. Bradford, Barbara Taylor. The Complete Encyclopedia of Homemaking Ideas. New Yorkl Meredith Press, 1968^ Engle, Heinrich. TbB Japanese House, A Tradition for Contemporary Architecture. Rutland', "Vermont: Charles E. Tuttle & Co. a " nd Tokyo, Japan, 196^. Ford, James and Katherine Morrow. Design of Modern Interiors. New York: Architectural Book Publishing Company, l i - . Qi2 Ford, James and Katherine Morrow. The Modern House in America. New York: The Architectural Book Publishing Company, 191+0. Fuller, R. Buckmlnster. Operating Manual for Spaceship Earth. New York: Simon and Schuster, 1970. Goitlieb, Louis Davidson, Environmental Design in Housing. New York: The McMillan Company, I966. ~ Graff, Raymond K., Rudolph A. Matern and Henry Lionel VJilliams. The Prefabricated House. Garden City, New York: Doubleday & Company, 19^77 Kennedy, Robert Woods. The House And The Art of Its Design. New York: Reinhold Publishing Company, 1953Kluckholn, Clyde and A. L. Kroeber. Culture, assisted by Wayne Utereiner and Alfred G. Meyer. New York: Random House, 1963Nelson, George and Henry Wright. Simon and Schuster, l^k6. Tomorrow's House. New York:

Neutra, Richard. Is Planning Possible; Can Destiny Be Designed. Los Angeles: University of California, 1964. Post, Emily. The Personality of a House. New York: Funk and Wagnalls Company, 1933Rapoport, Amos. House Form and Culture. Englewood Cliffs, New Jersey: Printice-Hall, Incorporated, I969.

Redfield, Robert. The Primitive World and Its Transformation. New York: Cornell Univ~ers"ity Presi7 1953* Seike, Kiyosi and Charles S. Terry. Contemporary Japanese Houses. Tokyo, Japan: Kondansha International Ltd., l^bk. Simon, Miriam J. 19^7. Your Solar Hoiu_se. New York: Simon and Schuster,

Sorre, Max. Les Fondements de la Geographic Humaine, (Esp. Vol. 3, L'habitat.") Paris: Armand Colin, 1952. Wright, Frank Lloyd. The Natural House. New York: Bramhall House, 195^. " "

Personal Interviews^ Mr. Robert W. Mangum, Senior Loan Officer Lubbock Savings and Loan Company 1602 Avenue Q Lubbock, Texas Mr. John W. Jarratt, Vice-President State Savings and Loan Association 1617 Broadway Lubbock, Texas



T i t l e Page L e t t e r of T r a n s m i t t a l Table of Contents Preface Body Footnotes Bibliography Appendix


To even entertain the idea of condensing six years of thought and emotion into a volume of less than 1000 pages is absurd. Since this cannot be done in the time allotted, I will try to unload those thoughts that I feel most important at this time^ What will be explained here i^ why I designed the Thompson residence as I did, I do not feel the need to go deeply into specific areas of the residence such as the eating, food preparation, a n so forth. .d This would serve no real purpose in explaining why they ended up in the configuration and place that they Aid, Rather I would like to explain the guidlines along which the design ebbed and flowed and the stages through which the design proceeded to its present state. First of all, the Thompson residence cannot be viewed as an absolute, final thing. It is only the oonsiquence of a process which is geared to achieve a desired result. By this, design is a process by which a thought, an idea, a feeling is concieved and made manifest in a three dimensional sence. The end product of design cannot be divorced from the process b p which j it was achieved. Design is not a cituation in which a X b = GT, where c being the "final design" appears on r 1

only one side of the equation. Rather design is a process in which a X b=a X b, where all elements appear on both sides of the equation. In the same since, design should exhibit to a -reater or lesser degree, the process of conception, birth, life, decline, but never death. One must act in architecture as one acts in life. We are dead when we no longer exist in a physical state and from the day we are concieved we constantly undergo mental and physical change. Yet we continue to design with the premiss of arriving at a finished product. There is no finished state in life, not even in buildings. No city in this world has ever been designed to be a finished product. They are designed to grow and change in phases and inter-phases, and socshould man's house. If the process by which the Thompson house was designed had to be labeled, I guess that it would most nearly fit the title. Design by Impression. It is a proces.s that makes use of abstrations and free thought, and although it does a o through distinct phases and combinations, it is fairly unstructured and allows room to think and move. Before one can approach design from a conceptual state, one must knoi-J why and for what he is conceiving. A fairly intimate and complete knowledge of the person being designed for is absolutly necessary. In addition to knowing the person quite well, the designer

must at least be able to identify with that person in some small way. I guess I am saying that you at least have to likp the person youiare designing for. This is idealistic to a degree, but it is also extremely idealistic to assume (as we do now) that the architect is a "man for all seasons", that he can design anything in the /.'orld for any one in the world. Man is simply not that flexible. I personally could not design a doorknob for someone I could not stand. To begin the process, or to get into it I began with quick sketches of the place in the type of setting and on the type of land that it needed to occur in. The site had not been choos-:-n'yfet, and here I think it is important to say that the site should not be picked before one is well into the design. When sites are chcoseu before the design is far enough along to know what type of situation is needed, one begins to place limitations on the type of things that oar, occur. Structures should point the way to the type of land that they best har-nonize -lith, not the reverse. So with these first quick sketches, I began to define or try to get at the personality and life style of the Thompsons, It must be said here that these are extremely quick sketches, no more than five minutes apiece, .and many of them, .25-50 would not be too many. All of them need not be completely original and different. The important thing is to get out a large volume of work in a short


period of time, put it up and evaluate it. The sketches can be done on newspri.nt, drawing paper, paper towels, anything. Tracing paper was designed for one thing, tracingo Yellow tracing paper offers a lousy surface to draw on, it Is fairly expensive, and tears if using anything harder than a 6 B lead. If one is going to be envolved in a creative process, then one should use tools that enhance the process, not deystroy it. By creative tools, I mean anything that is capable of making a mark on paper. This includes i.ak, pastel, crayola, oil sticks, acrylic, the list is endless. The use of many types of media not only allows you to find the best means of expression for yourself in terms of which media you can handle best, but it allows you to find the best media to express what you are trying to design., Not all things can be expressed effectively in all media. With the first group of sketches done, I began to sence a certain type of ordered unordered life style,' I then began a second group of sketches in color. These were complete abstractions of the feelin gs I had about the residence at that point. They were very unstructured at the beginning, gradually becomming more and more so untill the structure played as an Important role as the color. StiTucture is spoken of here as str^icture of an organizational sence, not a physical sence. Again, these were complete abstrations of thought and feelings about the Thompsons, and at no point did they dictate

or even su-gest a three- dimensional for,?( may be subconscience). With c-'lor the atmosphere the life style began to reveal itself, I then began the form studies, which were done not in a traditional sence. They were di-ne with a brush and acrylic. They were merely line drawings, hl(/.hly simplified, that begin to suL^ge.-;t forms, and "oust be read in both two and three dimensions and in botn plan and elevation. The studies basically show forms that offer protection, either '' sheltering or confining^ The former :y condition was choosen and from about ten studies, one ^;as choosen because it off'-^red the most possibilities as far ' s shelter and protection are concerned. = After the form, or rather the suggestion of the form was choosen, another gr,-jup of sketches i / r begun -ee that began to represent the form in an elevational sence. These were not true elevations as we know them, but were really transparanees. They u-ere not tied to or concerned with conventional or standard building materials, forms or textures. The site was then choos-h, because it fit the ciiaracter of the house, and the personality of the Thompsons, It is a ten acre site in north Lubbock on Mesa road. It is in the Brazos Hi^T^^r Basiii and it offers plenty of room and contrast. It was really an extremely suits-bl© site, no cone-essions made. Another group of drawings were begun. These delt and rnood of

with specific activities in the house and their relation to each other. They were done 'n crayola and ink, and were structured only as the activities dema.nded, some more, some less, some not at all„ By now there were about seventy- five drawings. In evaluating them all as a group I noticed a certain continuity throughout. This continuity was the character of the Thompsons, it was them, and it revealed itself quite naturally without any concious effort on my part. Solutions evolve out of the drawing process by themselves, they do not have to be forced. Design ca.n be studied in a two dimensional representation of three dimensional form for only so long. The place must finally evolve into a physical thing. Although I believe models are the best way to study design and form, I don't believe they can be undertaken with any de^^^ee of success iinless one has a complete and through understanding of what it is he is trying to do. The drawing process gave me this understanding," All the models were done in a relatively short time, about one a weekp and they are at a large enough scale to be of use, at least i" =1'0". As in the drawings one must choose a media which lends Itself to expression of three dimensional form, and one which best exhibits the character of the place. The first model was rea'ily too literal a translation of the drawings. Nevertheless, it did have a cer-

tain quality about it that was appropriate for the Thompsons o It had an extremely open plan and was surrounded by continuous porches covered with large eves. It exhibited a certain Japanese quality b i not overly so. tt The second model followed the same premise of form as the first one did but with a few modifications. The symetry was deystroyed and another wing was added at the second level for the children's sleeping quarters. The use of sheet metal and' canvas helped to further establish quality and character. The third model was a refinement of the qualities of the previous two. The scale in the horizontal plane was reduced and that in the vertical plane Increased, with the bight of the roof in the living area or center bay being some JO feet. This made the spaces much more interesting and dramatic. The children's rooms were l6 feet in height, the idea being to allow room for some vertical movement within the space. Instead of entering a space and then being able to move in only one plane, horizontally, why not enter a space and then be able to move both horizontally and vertically, going to different spaces within the space. All three models were done without the use of formal floor Plans. After the first model, one begins to grasp the scale you are working with and floor plans really are not necessary, if you have an intimate understanding of the overall thing. By working without floor

plans, one is able to move around freely in the spaces, testing planes and structure. By doing this, you can actually see and feel what is happening in- a particular space. No matter how many organization type people tell you about the absolute necessity of a well organized plan, they simply cannot see what is happening in a design by looking at a plan which is a two dimensional drawing. In plan drawing the chance for true discovery in a spatial sence Is almost non-existent, I discovered things in model form that I would never have founff in 1000 years of drawing. The mind is a fantastic thing, but it cannot be expected to think in three dimensions all the time. By building models one can actually experience physical space. By this time I had about one week left in the semester and I still had no floor plans except those within the models,^ I was told that working drawings would be required and so I began to translate the model forms into a formal floor plan, Thig is where my particular process of design balked. Up untill this time as I've said before, nothing had to be forced. Solixtions presented themselves at the proper time. Through the drawing and model building process, solutions had naturally evolved. But now, as I tried to translate the design back into a two dimensional drawing, the house began to lose its character and quality in triangle lines and 2H lead. It is my contention that there is yet another

step in the process that, because of time, I was unable to explore, I feel certain that it Is this step that would allow the three dimensional form to be translated Intp a two dimensional state without losing all of the character and feeling that has been carried this far. At the point the design process was stopped, floor plans were simply not the answer.

This is how the house was designed and probably why it ended up as it did. It was designed from many memories and impressions which are dear to the Thompsons, and it is all tempered with a few of the qualities of my own warped sence of what fun, funcky architecture should be like. For Mr, Thompson, I believe it includes the memories of his childhood and life which are precious to him. For Mrs. Thompson,I believe that it makes up for many of the things she seemed to ha#e missed in her childhood homes. For the children, I think that it will offer a stimulating atmosphere in which to grovr up Ln,' For me, it represents my beliefs about a vague thing called architecture. I believe that finally after six frustrating years in an academic situation, I was free long enough to actually say something about architeci:ure. By this I don't mean words, I would really like to thank everyone envolved in the project. To the fhompsons for allowing me to use them as gliinBa pigs, for putting up vjith my boring in-


tervlews the first semester and my constant badgering the second semester. To Mr. Calvert for being what he is and allowing me to be what I am, for being uninterested at the right time and interested when : t really : counted, at the end. To Mr. Verkler for being terribly understanding, even though I really don't think he ever understood my drawings, he tried. To Mr. Stuart for keeping me in architecture when I was a freshman and standing beside me when everyone else thought I had flipped out. The most thanks go out to the rest of the faculty- Wether it was their intention or not, I fed off of their narrow mlndedness and inability to understand why I was and what I was doing. They really can't be blamed.




ST^ I PfwjLirs







F E A T U R E S a n d j^DV-A-nSTT^GI-ES o f


The graceful sweep of PresTeel spiral sta harmonizes with the design of the finest indu commercial, residential, religious or monur structure. Adaptable to both interior and e use.

Woodbridge spiral stairways cut time and costs. Parts are matched and marked befor ment. Standardized design makes parts changeable. No welding necessary—railing] attached to balustrades with Woodbridgi able brackets.

One story or 30 stories, a single flight car full traffic load safely.

The wide range of sizes and styles carried ii assures fast delivery. There is no costly when you specify Woodbridge spirals. Imrr. quotations are available on request, with d/ information stated. i


Harmonizing plastic handrail covering; ayl in many colors. Ornamental iron designs;Ni spindles or scrolls can be worked into the l,;| and tread supports to meet any desired,"' See p. 5.




T Y F E nsro. -lO-A. OPEISr R I S E R , T Y P E
Treads are supported by a collar welded to the treads and bolted to the center column. Widely used in the industrial field. Designed to use tread types 1 and 2.

. 12 gauge steel. Each riser is flanged er column and is shaped to give extra s provide security and safety at any ! tread types 1 thru 7.


T " ^ R E nsro. 5 0 - B C - A - K F T I L E V E R R E I S E R T'STRE
X I V i " X 3/16" angles which to the center column. The jsed in the residential field. Designed 4, 5, 7. Treads are supported by Woodbridge PreSteel ribs welded to a sleeve tube and slipped over a center column. Designed to use tread types 1 thru 8.






l--# ^

i. i







y;imi'//M'AA/M''A 3 '//////////My/////^, y///My/.



1. 4-way Safety Plate, Me" thick. 2. Grating, 1 x Vs in. welded, with standard closed nosing. Abrasive nosings optional. 3. Wood, 1 % in. maple or oak, sanded ready for finish coat. Also available with flush type extruded safety nosing. Special woods on request. 4. Non-Skid Abrasive, %" abrasive rolled steel floor plate. 5. Cast Iron, abrasive satety tread specifically developed for Woodbridge by Wooster. Outstanding quality tread that has an even distribution of diamond hard aluminum oxide grits integrally cast directly into the metal. 6. Pan Type, No. 12 gauge steel pan arranged to receive IVa in. concrete or terrazzo fill furnished by others. 7. Smooth plate, ^le in. steel plate used as a base for tile, cork, linoleum, etc.





standard level railings are con IVV I.D. pipe. Two custom designs are availal suggested for residential and c No. 1 custom design level railing bars approx. 10" on center to r No. 2 custom design level railing bars approx. 5" on center wit bars twisted.


T Y R E "A."

T Y F E "C


Now available are beautiful precast terrazzo treads supported by a heavy duty steel framework. Illustrated above is the Dark Cedar Tennessee design. Other designs include: Utah Onyx, Royal Green, Williamsburg White and Raven Black.

Platforms are of same material as treads. Size of platform dependent upon stair size. Platforms are connected to floor construction by a 3" x 2" x V4" angle directly below platform.


of insulation
rigid, homogeneously impregnated roof of perlite particles, mineral binders and rdinary qualities of perlite provide the :cification requirements, contribute supet Fesco Board is a roof insulation with lation of balanced qualities... fire-rated, ated.
TEST PROCEDURE A S T M C177 Factory Mutual P i t t s b u r g h T e s t i n g Lab. A S T M D1037 -combustible) tance ASTM ASTM ASTM ASTM ASTM ASTM E84 C209 C165 C203 D1037 C209

Physical Data
Test results shown below are obtained under controlled laboratory conditions. Values shown represent typical results from standard FESCO Board production.

Flame Spread Smoke Developed Moisture Resistance

(Non-combustible) 25 0 No capillarity

Vapor Permeability perms @ 73 F & 51 % RH 25 Linear Expansion (Between 50% & 97% RH) Lengthwise 2/10 of 1 % Crosswise 9/100 of 1 % Concentration Load Indentation n " Dia. Disc.) @ 1/16" Compression Resistance (5% consolidation) Wt/sqft.-l" Density—psf Laminar Tensile Strength—psi Laminar Shear diagonal—psi Laminar Shear horizontal—psf Wind Uplift Resistance-psf 57 lbs 35.0 0.9 11.0 7.0 31.8 1540.0 117.0

s in big size sheets: width, 24 inches; hickness, % inches through 3 inches in ches.

(Test is over closed-rib steel deck with FESCO BOARD secured to bearing surface of substrate with properly applied solid mopping of J-M 190 Asphalt-rate of 25 lbs per square.)

Surface Hardness Brinell (X1000)


Roof Deck Type and Thickness Fesco Thickness C Factor Metal 21/2" Cast Gypsum SVa " Cast Gypsum 2" Concrete 4" Concrete 6" Concrete 1 " (Nominal) Wood 2" (Nominal) Wood 3" (Nominal) Wood Roof Deck Type and Thickness Fesco Thickness C Factor Metal 2y2" Cast Gypsum 31/2" Cast Gypsum 2" Concrete 4" Concrete 6" Concrete 1" (Nominal) Wood 2" (Nominal) Wood 3" (Nominal) Wood Roof Deck Type and Thickness Fesco Thickness C Factor Metal 21/2" Cast Gypsum SVi" Cast Gypsum 2" Concrete 4" Concrete 6" Concrete 1" (Nominal) Wood 2" (Nominal) Wood 3" (Nominal) Wood Witnout ueiiing underside Insulated with Fest No Insulation 0.90 0.36 0.30 0.79 0.70 0.63 0.48 0.32 0.23 0.48 0.31 0.21 0.18 0.30 0.28 0.27 0.24 0,19 0.15 1" 0.36 0.26 0.18 0.16 0.25 0.24 0.23 0.21 0.17 0.14

0.24 0 0.19 0.14 0.13 0.18 0.18 0.17 0.16 0,14 0.12

t C c C C 0 0 0 0

With Metal Lath & Gypsum Ceiling Insulated with No Insulation 0.41 0.25 0.21 0.39 0.36 0.34 0.29 0.22 0.18 0.48 0.22 0.16 0.15 0.21 0.21 0.20 0.18 0.15 0.13 1" 0.36 0.19 0.15 0.13 0.19 0.18 0.18 0.16 0.14 0.12 VA" 0.24 0 0.15 0.12 0.11 0.15 0.14 0.14 0.13 0.12 0.10

0 0 0 0 0 0 0 0 0

With 5/fe" Splntone/Suspen Ceiling Insulated with No Insulation 0.28 0.19 0.17 0.27 0.25 0.25 0.22 0.18 0.15 0.48 0.18 0.14 0.13 0.17 0.17 0.16 0.15 0.13 0.11 1" 0.36 0.16 0.12 0.12 0.15 0.15 0.15 0.14 0.12 0.10 I'/a" 0.24 0 0.13 0.11 0.10 0.13 0.12 0.12 0.11 0.10 0.09

0 0 0 0 0 0 0 0 0

1. U values are expressed in BTU/SQ. FT./HR/ perature diilference, still air inside and IS MPH wi conditions, heat flow up. 2. Coefficients and procedures used for determimn accordance with current edition of ASHRAE Gui 3. An air space of from W' to 4" is assumed to bf deck and ceiling. Calculations for air space are ba temperature and 30 F temperature difference. •Adjusted to agree with the Department of Com Practice Recommendations for Thermal Conduc Preformed Above Deck Roof Insulation," No R.






Insulation rated

Fesco Board conforms with t ment of Commerce Simplified Pi ommendation R-257, requiring! of 0.36 for nominal thick matei can do far better! With the ran] ness available you can economici the exact type of thermal efficie for your particular building.


r "pull apart" resistance-Fesco > of wood and attached to hooks, d it takes a pull of over 7.0 lbs Board starts to separate. By conon minimum is 4.0 lbs per sq. in.

o Board laminated between two )pposite corners. This assembly )sition. Then, it took 31.8 lbs tart shearing, a result that is 2 er Fesco Board and 4Vi times lations.




1 under controlled laboratory condile possible effect of air foil or other squirements for velocity pressure of conditions. J-M Fesco Board will • 30 per cent above the Factory MuFesco is secured with Standard 190 lbs. per square; and evenly applied :k. Wind pressure anticipated to exattachment specifications for maxiconsult Johns-Manville for special

;ified, over rigid permajard has such high tenigth that it effectively id stresses of high wir ds tnents. The wind loaditifies to Fesco Board's s of wind pressure and

Wind rated

Fesco Board is rated non-combusti proved by these authorities:

Underwriters' Laboratories, Inc. Fei

listed with Underwriters' Laboratories, Hazard Classification and Roof Deck ( No. 1 and No. 2 (reference UL G U8.14, March 14, 1965, R-40 40AV Factory IMutual Fesco Board is accepte Mutual for Class 1 construction when, to metal deck with approved adhesive; to metal deck with 12-25 lbs hot asph New York City Fesco Board is appr Board of Standards and Appeals for York City as non-combustible roof ir der Cal No. 442-56-SM.

Federal Specification Fesco Board cc Federal Specification HH-I-529 (sub Mineral Aggregate Board-Roof Insula Fesco Board is rated non-combustible tional Building Code and recomme! American Insurance Association (Nal of Fire Underwriters).

* UL labelled material furnished on request, f l

Smoke developed

Fire rated

Because of its mineral compo^^i Board is non-combustible. Not board itself a fire-rated product quires no backing of paper or oth that might constitute a fire ha2 Board meets the rigorous stands ing laboratories with the readi in the column above.


STEEL FRAME . . . for strength. Surrounds the sash and reinforces the sturdy wood interior liners.

ROLSCREEN Installed in all vent units as standard. Rolls up and down lilce a window shade with iinger-tip operation, stores out of sight. Flat all-aluminum screen is available as an option.

DOUBLE GLAZING PANEL Inside panel is self-storing; stays in place all year round.

SASH LOCKS Cam-action operation draws sash tightly against weatherstripping for positive weather seal. Finished to match operator crank in Baked Bronze Enamel, Satin Chrome and Bright Chrome.

WOOD JAMB AND SILL LINERS . . . for beauty and insulating qualities. Cover mechanical parts and match other trim. Pine is standard; oak, birch and mahogany are available.

WEATHERSTRIPPING As window is closed, spring-type stainless steel is compressed between sash and frame for positive seal against draft and moisture. Cannot be clogged by paint.

HINGES Special extra-long hinges are screwed to steel frame for firm sash support. Tamper-proof when window is closed. Double-action design permits washing outside of glass from inside.


2-OVa 2-41/8 I-8V2 l-QVi 1-8 2-0 1-7 1-11 16" 20" 2-8y8 2-4Vz 24 2-3 24" 3-8Ve ; 3-4M! i 3-4 3-3 36" ' ! 4-81/8 4^/2t 4-4 4-3 48' 5-8V8 5-4Vi 5-4 5-3 60"
7-8V8 7-014

10 CO C J Cp glj V cn «n C « O

• ^ = n n n an
I 1 20320C

64V2 6-4 6-3 72"

7-4V2 7-4 7-3 84"


1624DC 2024DC


1632DC-3632 1E3ZDC

\ I 1632DC

I I 2432DC



1636DC 2036DC 2436DC 3: •> "p



^ .* ^ - ?
2448DC <


<» rv. to "^ C3 to lA l o i n *** 1660DC 2060DC 2460DC

366000 366800



leesoc 2oe8DC 24GSDC 4S6800

1^ C c.i a oo O <o *o 10 th '^

Note: VENTILATING WINDOWS Glazing—All vent units available single glazed or with insulating glass. Double glazing panels available for all vent units. Slimshade — All vent units available with Slimshade. LARGE FIXED WINDOWS Glazing — All large fixed units available single glazed, insulating glass available for all units except 6032DC, 7224DC, 7232DC, 7236DC, 8424DC, 8432DC and 8436DC. Double glazing panels available for all l a r g e fixed u n i t s except 6068DC, 7260DC, 7268DC, 8424DC, 8432DC, 8436DC, 8 4 4 8 D C , 8 4 6 0 D C and 8468DC. All large fixed units available open for 7 / 1 6 " through 1" insulating glass. Slimshade — All large fixed units except 6068DC, 7260DC, 7268DC, 8424DC, 8432DC, 8436DC, 8448DC, 8460DC and 8468DC available with Slimshade.

ROUGH OPENINGS FOR SINGLE UNITS: -Add 1/2" to frame width and % " to frame height to get rough opening when Pella subsill is used.

MASONRY OPENINGS FOR SINGLE UN Frame dimensions DO NOT include I mould or subsill. Add 41/8" to frame 1 1 and 2 % " to frame height to get masonry 0 ing wfien Pella brick mould and subsill are i

5-4% 5-OV2
2J|V8 4-4%





6-4Mi 6-OV2


1624001 1624002

Dm 11
1624003 1632DC3

M 1


D m
2024001 2024DC2 2032001

1632001 1632002 1636001 1636002

1632004 1632005

Dm Dm

1660001 1660DC2










1668DC1 1668002








HOWTC 12-4ye i2-oy2

9-4% 9-0%

9-8V8 9-4y2


lO-SVa 10-4V2



n-AVa 11-0V4


/' /
100-202400 242400^82400-242400 2024DC-602400-202400 242400-602400-2424DC 2024D0-7224DC-2024OC 242400-722400-242400 242400-8424DC-24240C



•00-20320C 00-203200 243200-483200-243200 2032DC-603200-20320C 243200-603200-243200 20320C-7232DC-2032DC 24320C-7232DC-243200 24320C-8432DC-24320C



^— \
300-20360' 300-203600 243600-483600-243600 2036DC-6036DO-203600 243600-603600-243600 2036DC-7236DC-2036D0 2436D0-7236DC-24360O 24360C-84360C-2436D0
























206800-726800-2068 DC




bined frame widths, the frame heights, and use the same formula given for single unit rough and masonry openings. Dimensions apply only when Pella brick mould and subsill are used.

Since Pella v lating sash mj hinged on e side, it is nec< to designate di hinge position lustrations s standard methc indicating left or right-hand ing. Hinge f ment is desigl by viewing dow from oui

S-OVe 4-8<(t 7-4ye 7^)% 9-81/8 9^y2






2432002 M36002 :448002












The six standard fixed units at right are designed for installation in combination with any two standard venting units of the same width. They may be placed over, under, or over and under a pair of venting casements of like rough opening width. For example, the 4412DC or 4424DC combine with two venting units with 2' 0" frame width and any of six heights. Special member between overunder and vent units should be used to provide adequate support independent of window frame structure. Consult your Pella representative for details. Note: Glazing — -AH units available single glazed or with double glazing panels. Insulating glass available for 3624DC and 4424DC only. Slimshade — All units available with Slimshade. Note:
For r o u g h opening height, add frame heights of individual units plus % " , w h e n Pella subsill is used, plus i/g" for each horizontal mullion.

3-4 3-3 36" 4-0


>A 4-7 52'

f ^1.
" "^ "



.• • c
362400 442400


3-8% 3-4V2 4-4% 4-0%


361200 1648002 44120C 20480C2 2448D


362 DC 1648DC2 442 DC 2048 D02






r qu open, Slimshade's slats admit plenty it and allow practinobstructed view. Adjust the shade to any degree from fully open to closed — admit whatever amount of light you want.* Completely close Slimshade for maximum shading, privacy or to darken the room.




The shade has aluminum slats supported by polyester cord ladders. It can be adjusted from fully open to completely closed by a handle at the sill. Finish is Oyster White Baked Enamel. Handle is finished in Baked Bronze Enamel to match other window operating hardware. Slimshade is available in De Luxe Casements, Standard Casements and Awning Windows for which double glazing panels are furnished. See notes accompanying tables of sizes pages 4, 10, 22 and over-under fixed units page 5. Patent Pending

SLIMSHADE—t'ella De Luxe Casements, Standard Casemfents and Awning Windows ofifer this e c o t i ^ i c a l and practical means of light contrpJ<r Slimshade is set inside the sash Delweinexterior glazing and the double glazing panel. In the completely closed position, it can reduce solar heat gain in summer by up to 8 2 % compared with single unshaded window glass; in winter, heat loss through the window can be cut by as much as 6 2 % . Ask your Pella distributor to show you the results of tests conducted by Yellott Solar Energy Laboratory confirming these figures.

PIVOT FIXED WINDOWS — Here's the answer to the window washing problem that exists wherever large fixed units are used — in multi-story buildings or residences. The Pella Pivot Fixed Window sash rotates horizontally to bring the outside glass inside for easy washing. This feature reduces the expense, work and element of danger inherent in window cleaning. Also, in air-conditioned buildings where only large fixed windows are used, the Pella Pivot Fixed Window provides emergency ventilation, should the air-conditioning system fail. Sash pivots between spring-loaded vinyl jamb liners. Pivot hardware consists of non-ferrous dual-camming sash locks and adjustable zinc die-cast sash pivots rotating in non-ferrous metal sleeves. All hardware is finished in Baked Bronze Enamel. Pivot Fixed sash are available as extra in the following Pella Windows: Standard Casement — A l l large fixed units except 6068SC, 6836SC, 6848SC and 6860SC. Pivot fixed detail appears on page 13. Double-Hung — All large fixed units except 6562DH and 6574DH. See detail on page 19. Awning — All large fixed units. See page 25 for Awning Pivot Fixed detail.


Wood gives Pella Sliding Glass Doors high insulating value as warmth and beauty. Condensation is minimized because there inside extension of metal to conduct heat or cold. Stainless steel provides complete weathertightness, even in severe climates. F match outside-inside trim. Rigid steel reinforcing in both door and screen panels insures ti ation — panels are kept properly aligned and free from warping long life. Both panel and screen rollers are adjustable for precis Specify Pella Wood Sliding Glass Doors for top quality and rugj

MASONRY ROUGH FRAME GLASS 3-5% • 3-3% 3-2% 33 -



Pella Sliding Glass Doors are available in the five types shown in the chart at right; note that " X " indicates sliding panels, " O " panels are fixed. Designed to utilize standard insulating glass sizes, Pella Doors can be furnished with Ys" or 1" insulating glass or l^" plate. Removable muntins are available for all standard types and sizes of Pella SUding Glass Doors. They can be furnished in either regular or diamond arrangements for use with YA' plate or J/g" insulating glass. Muntins snap in and out to create a traditional look without the inconvenience of many small panes of glass.

6-4%6-2%61 % 33 -

• 6-4% • 6-2%-6-l%33 -

9-7%9-51/49-41/433 -

r«. o -o r^

0-33 OX-33 XO-33

0X0-33 12-7%2-51/412-41/445 -

r^ o o r^ 0X0-45 15-73/815-51/4l5-4l/4• 57 -

o1 .

t^ .0 .0 1^

*.0 '^ * i
0-57* OX-57



ROUGH OPENING WIDTHS for multiple openings are obtained by sum of the inaividual frame size widths. MASONRY OPENING WIDTHS for multiple openings are obtained the sum of /he individual frame size widths.

STANDARD'S' (frame height) SLIDING GLASS DOORS available in 0 X 0 and OXXO in 33", 45" and 57" glass widths (89%" g'^ss heigh ROUGH OPENING HEIGHT 8' 01/2"


WIDTH DIMENSIONS are same as shown in table above.

Custom widths and heights — or combinations of both — are also avails XO, 0 X 0 and OXXO Pella Sliding Glass Doors. Your local Pella dist information on these custom sizes, which include special frame widths 2 0 ' 1 " , and special frame heights to a maximum of 8'0". Removable supplied for all custom size Pella Sliding Doors. SEE YOUR TELEPHONE DIRECTORY FOR PELLA DISTRIBUTORS IN U.S. AND CANADA.

Form W-69





A. Sheet fasteners (indicated by X) should be spaced every V-valley or low corrugation {4''la") at end of she& over supporting members and every other V-valley (9V4") at intermediate supports. If purlin spacing is lesrythan 7', fasteners at end of sheets over supporting members can be spaced every other V-valley (9V4") al At endlaps these fasteners should be kept not more , than 3" from end of overlapping sheet. i
Self-tapping screw* No. 14 X 1 " recessed hex head type " B , " stainless steel alloy 30 cadmium plated, with aluminum and neoprene wasliers or with integral metal washer and conical neoprene washer *See FASTENERS on page 28.

B. Sidelap fasteners (indicated by • ) should be space not more than 12" on center through the V-crown or high corrugation.
Aluminum sheet metal screw' No. 12 X 3/4"; slotted panhead type " A "



qu C. Endlap: • For roof slopes 2" in 12" up to 3" in 12"—use minimi endlap of 9" • For roof slopes 3" in 12" and over—use minimum 3.0 endlap of 6". -le D. Sidelap should be 1-V and should be laid away from prevailing winds.
'See FASTENERS on page 28.


= E S 2 " I N 12" A N D






START at eave and progress from or end into prevailing wind.

;S!GN DAD, IPER 3FT 20 25

SHEET LENGTH, FEET 3 3V2 4 4V2 5 5V2 6 6V2 7 7V2 8 8V2 9 9V2 10 IOV2 11 1172 12 I2V2 13 13V2 14 14V2 15 15V2 16 I6V2 17 17V2 18 I8V2 19 19V2 20 2OV2 21 21V2 22 22V2 23 23V2 24 24V2 25 25V2 26 2672 27 27V2 28 28'/2 29 29V2 30 AREA PER SHEET SOFT 10.41 12.14 13.88 15.61 17.34 19.08 20.81 22.55 24.28 26.02 27.75 29.48 31.22 32.95 34.69 36.42 38.16 39.89 41.63 43.36 45.09 46.83 48.56 50.30 52.03 53.77 55.50 57.23 58.97 60.70 62.44 64.17 65.91 67.64 69.38 71.11 72.84 74.58 76.31 78.05 79.78 81.52 83.25 84.98 86.72 88.45 90.19 91.92 93.66 95.39 97.13 98.86 100.59 102.33 104.06

MAXIMUM RECOMMENDED SPAN LENGTH, INCHES ONE OR TWO SPANS 0.032" Thickness 125 111 102 94 88 83 79 75 72 0.040" Thickness 146 130 119 110 103 97 92 88 84 0.050" Thickness 174 158 145 134 125 118 112 107 102

POUNDS PER SHEET 0.032" 0.040" 0.050" 6.07 7.08 8.09 9.10 10.11 11.12 12.13 13.15 14.16 15.17 16.18 17.19 18.20 19.21 20.22 21.23 22.25 23.26 24.27 25.28 26.29 27.30 28.31 29.32 30.33 31.35 32.36 33.37 34.38 35.39 36.40 37.41 38.43 39.43 40.45 41.46 42.47 43.48 44.49 45.50 46.51 47.53 48.53 49.54 50.56 51.57 52.58 53.59 54.60 55.61 56.63 57.64 58.64 59.66 60.67 7.52 8.77 10.02 11.27 12.52 13.78 15.03 16.28 17.53 18.79 20.04 21.29 22.54 23.79 25.05 26.30 27.55 28.80 30.06 31.31 32.56 33.81 35.06 36.32 37.57 38.82 40.07 41.32 42.58 43.83 45.08 46.33 47.59 48.83 50.09 51.34 52.59 53.85 55.10 56.35 57.60 58.86 60.11 61.36 62.61 63.86 65.12 66.37 67.62 68.87 70.13 71.38 72.63 73.88 75.13 9.40 10.96 12.53 14.10 15.66 17.23 18.79 20.36 21.93 23.50 25.06 26.62 28.19 29.75 31.33 32.89 34.46 36.02 37.59 39.15 40.72 42.29 43.85 45.42 46.98 48.55 50.12 51.68 53.25 54.81 56.38 57.95 59.52 61.08 62.65 64.21 65.78 67.35 68.91 70.48 72.04 73.61 75.17 76.74 78.31 79.87 81.44 83.00 84.58 86.14 87.71 89.27 90.83 92.40 93.97

9.72 ; 8.34 i 7.29 1 6.48 i

4V2 3 5

5.31 4.86 4.49 3.89 3.65 3.43 3.24 3.07 2.92 2.78 2.65 2.54 2.43 2.33 2.24 2.16 2.08 2.01 1.95 1.88 1.82 1.77 1.72 1.67 1.62 1.57 1.53 1.49 1.45 1.42 1.38 1.35 1.32 1.29 1.26 1.24 1.21 1.19 1.16 1.14 1.12 1.10 1.08 1.06 1.04 1.02 1.00 .98 .97

"^ „ i

40 —45 —50



4.17 M

THREE OR MORE SPANS 140 124 114 105 98 93 88 84 80 163 145 133 123 115 108 103 98 94 194 177 162 150 140 132 125 120 114

—20 25

35 —40 45 50 iDc-55 S O

le to fit contours of Alcoa V-Beam Sheet iGTH: 3" or 8 V-corrugations. IMINUM CLOSURES: •Mailable from Alcoa in 0.040" thick sheet only. 5:FORMED RUBBER CLOSURES: Vailable from— abricated Products Division, — Townsend Co., West Newton, Pa.

sphalt Corp. of America, Danville, III. —losures. Inc., Houston, Texas —fE: For Flashing, see page 27.






A. Sheet fasteners (indicated by X) should be spacec every other rib-valley or low corrugation (8"). At endl. they should be kept not more than 3" from end of ry. overlapping sheet.
Self-tapping screw' No. 14 X 1 " recessed hex head type " B , " stainless steel alloy : cadmium plated, with aluminum and neoprene washers or will integral metal washer and conical neoprene washer

B. Sidelap fasteners (indicated by • ) should be spac not more than 12" on center and installed through the rib-valley only. These screws are also used to fasten flashing and closures.
Aluminum sheet metal screw* No. 12 X "A"; slotted panhead type •'A^^


LAPS C. Endlap should be a minimum of 4"


D. Sidelap should be 1 rib and should be laid away 0.0 from prevailing winds.
he ag<

*See FASTENERS on page 28.






0 *^


ade to fit contours of both sides of coa Ribbed industrial Siding. INGTH: 40" .UMINUM CLOSURES: Available from Alcoa in 0.032" thick sheet only. lEFORMED RUBBER CLOSURES: •8V8^vailablefrom— ^^^-abricated Products Division, Townsend Co., West Newton, Pa. \sphalt Corp. of America, Danville, I iDc-Oiosures, Inc., Houston, Texas 'TE: For Flashing, see page 27.

SHEET LENGTH, FEET 3 372 4 4V2 5 5V2 6 6V2 7 7V2 8 8V2 9 9V2 10 IOV2 11 IIV2 12 I2V2 13 13V2 14 14V2

POUNDS PER SHEET 4" RIB 0.032" 5.99 6.98 7.98 8.98 9.98 10.97 11.97 12.97 13.96 14.96 15.96 16.96 17.95 18.95 19.95 20.94 21.94 22.94 23.94 24.93 25.93 26.93 27.92 28.92 29.92 30.92 31.91 32.91 33.91 34.90 35.90 36.90 37.90 38.89 39.89 40.89 41.89 42.88 43.88 44.88 45.87 46.87 47.87 48.87 49.86 50.86 51.86 52.85 53.85 54.85 55.85 56.84 57.85 58.84 59.83 0.040" 7.47 8.72 9.97 11.21 12.46 13.70 14.94 16.19 17.43 18.68 19.92 21.17 22.42 23.66 24.91 26.15 27.40 28.64 29.89 31.13 32.38 33.62 34.87 36.12 37.36 38.61 39.85 41.10 42.34 43.58 44.83 46.07 47.32 48.57 49.81 51.06 52.31 53.55 54.79 56.04 57.28 58.52 59.77 61.02 62.26 63.51 64.76 66.00 67.25 68.49 69.74 70.98 72.23 73.47 74.72 8" RIB 0.032" 5.40 6.30 7.20 8.10 9.00 9.90 10.80 11.70 12.60 13.50 14.40 15.31 16.20 17.10 18.00 18.90 19.81 20.70 21.61 22.50 23.41 24.30 25.20 26.11 27.00 27.90 28.80 29.71 30.61 31.50 32.41 33.30 34.21 35.11 36.01 36.91 37.81 38.71 39.60 40.51 41.41 42.30 43.21 44.11 45.01 45.91 46.81 47.71 48.61 49.51 50.41 51.31 52.21 53.11 54.01 0.040" 6.75 7.87 8.99 10.12 11.24 12.36 13.48 14.61 15.73 16.85 17.98 19.11 20.23 21.35 22.48 23.60 24.73 25.85 26.98 28.10 29.22 30.35 31.47 32.59 33.72 34.84 35.96 37.09 38.21 39.33 40.46 41.58 42.71 43.83 44.96 46.08 47.21 48.33 49.45 50.58 51.70 52.82 53.95 55.07 56.19 57.32 58.44 59.56 60.69 61.81 62.94 64.06 65.19 66.31 67.43

AREA PER SHEET, SOFT 10.41 12.14 13.88 15.61 17.35 19.08 20.81 22.55 24.28 26.01 27.75 29.49 31.22 32.95 34.69 36.42 38.16 39.89 41.63 43.36 45.10 46.83 48.56 50.30 52.03 53.77 55.50 57.24 58.97 60.70 62.44 64.17 65.91 67.64 69.38 71.11 72.85 74.58 76.31 78.05 79.78 81.51 83.25 84.99 86.72 88.45 90.19 91.92 93.66 95.39 97.13 98.86 100.60 102.33 104.06

APPROX. NO. SHEETS PERSQ (100 SQ FT) 9.60 8.23 7.20 6.40 5.78 5.26 4.82 4.45 4.13 3.86 3.61 3.40 3.21 3.04 2.89 2.75 2.63 2.51 2.41 2.31 2.22 2.14 2.07 1.99 1.93 1.87 1.81 1.75 1.70 1.65 1.61 1.56 1.52 1.48 1.44 1.41 1.37 1.34 1.31 1.28 1.25 1.23 1.20 1.18 1.15 1.13 1.11 1.09 1.07 1.05 1.03 1.01 .99 .89 .96

15 15V2 16 I6V2 17 17V2 18 I8V2


19 I9V2 20 2OV2 21 21V2 22 22V2 23 23V2 24 24V2 25 25V2 26 26V2 27 27V2 28 2872 29 29V2 30

8" Ribbed 0.032"







109 98 89 83 77 73 69

124 115 108 100 93 88 83

73 65 60 55 52 49 46

86 77 70 65 61 57 54

THREE OR MORE SPANS 122 110 100 93 86 81 77 139 129 121 112 104 98 93 81 72 67 61 58 55 51 96 86 78 72 68 63 60

THICKNESSES: 0.032" and 0.040" LENGTHS: 3' through 30' Over 30' subject to inquiry. WIDTHS: 41 Vs" over-all (40" coverage with 1 r sidelap) Wider width subject to inquiry. RIBS: 4" pitch, 1" dept, IVs" wide outer fla' IVs" wide inner flat 8" pitch, 1" depth, SVs" wide outer fI, IVa" wide inner flat WEIGHTS: 4" pitch, 0.032" thickness-57.5 lb pe 4" pitch, 0.040" thickness-71.8 lb pe 8" pitch, 0.032" thickness-51.8 lb pe 8" pitch, 0.040" thickness-64.8 lb pe.°'' mqu FINISHES: No. E-5 Stucco Pattern Low Specular Gloss finish available i O.C special inquiry she pagi COLORS: Natural aluminum ALUMALURE FINISH-(See page 3)














^1 _i
242' S|



rorm »»-OT


THICKNESSES: 0.032", 0.040" and 0.050" LENGTHS: 3' through 30'. Over 30' subject to inquiry. WIDTHS: 41Va" overall (39" coverage with 1-V sidelap). Wider widths subject to inquiry. V-CORRUGATION: A''h" pitch; IV4" depth; V4" each on top and bottom flat. WEIGHTS: 0.032" thick-58.4 lb per 100 sq ft 0.040" thick-72.2 lb per 100 sq ft 0.050" thick-90.3 lb per 100 sq ft FINISHES: No. E-5 Pattero, stucco finish Also available in plain mill finish, or specular gloss finish on special inqu COLORS: Natural aluminum ALUMALURE FINISH on 0.032" and O.C thick sheet are standard; on 0.050" she is subject to special Inquiry. (Seepagi
NOTE: Above dimensions are nominal.

j a a a a ' ^ ^ n iiiiiiiriiTiTrwTTB^fTf«««-rft-«j<^>""*jrn».rT«.i^»niii

















rorm W-OT


^ ^



„ , , , FW—Kitchen or basin, wall mounted. Eu 3971 BHJ —Stall shower equipped with vacuum breaker and flexible hose. 3971 E —Stall shower, exposed, for use with concealed piping. 3911 CH—Tub and shower combination equipped with diverter, flexible hose and cradle. 3911 AHK (Not shown) Identical unit with wall bracket instead of cradle.

3971 FW

Statically controlled mixing valve
mtrol water-temperature for comfort, convenience and safety

E S S foot operated valve systems


manual, non-thermostatic valves

b Kugler y
institutional, eommerciai, professional showers, bathtubs and basins

BAIH and bHUWtK MUULL J » 4 I
Concealed unit with surface mounted selector plate




Streamlined — Sturdy — Attraci







/ixBr ,


f 40S5 '/;>"

)F.934U!" r. 3941'IA

^°*.( (dn\ <:<»i<J
# 4 0 0 2 (above) •flexible hose telephone jet shower

These words spell ou^f the unei EUROTHERM valve, truly symbolic of craftsmanship and so well typified by KUG manufacturer of thermostatically controllei This fine precision valve was long ii and good ones, had preceded it. But KUC for improvement, and perseverance eventi the present patented EUROTHERM, which is rapidly making its mark in the world of These magnificent valves embody the hap pactness, elegance, efficiency and, above Among other exclusive features, t finger-tip control temperature dial calibra novel, easily adjustable safety lock for p temperature. W a t e r fluctuations are autoi there is an automatic shut-ofF for protectio in either the hot or cold water supply. Thus, comfort, convenience, econonr by EUROTHERM. Eliminated is the wasi trying to find and maintain the right te handle back and forth. Instead, the EURO' degree desired and the mixed water flow; single tap. Eliminated also is the danger jumps and twists to avoid the unexpected ( that occurs so frequently as a result of flu< W h a t makes the EUROTHERM so struction, which consists only of 3 parts, < mixer, an ingenious mechanism, can, if n seconds by anyone for cleaning of screens, of the mixer. The problem of maintenance non-existent.

ALL EUROTHERM valves hove b strainers, including couplings. All valves non-rising handle stems and long life washei All units are unconditionally guarai long warranty bespeaks the fine qualil EUROTHERM valves.

r o r m T»-I

NILAV is ideally suited for individual |om areas; executive washrooms; patients | | rooms; pharmacy scrub areas; surgeon areas throughout hospital; private ining rooms; any washroom where space


ioap Dispenser Ispenser S Steel or Tempered Mirror S Jlade Disposal and Bottle Opener above shelf for wheelchair patients

ffijl mounted faucets with ioni blades IPpispenser ity 1000 leaves) ihen Leaf Dispenser ity 1000 leaves) Operated Soap Dispenser inless Steel Construction ^Mounted )ble Tilting Mirror i-Set Deck Mounted Faucet Receptacle

SPECIFICATION: ^ri-purpose lavatory module shall be Watrous W-1190-J with liquid soap dispenser andnsoacksplash mounted faucet with \ ^ wrist actlpWlSlades. Unit shall be 20V2" wide by ^^"SeMrlffiwith one piece frame returning V4" to the wall and constructed of type 302 stainless steel. All exposed stainless steel surfaces shall be polished to # 4 satin finish. All other surfaces shall be Watrous Rosewood vinyl woodgrain finish. Optional: See general options M O U N T I N G : Provide rough wall opening I9V4" wide X 54V4" high x 4V4" deep and secure to framing.



Designed to increase washroom efficiency and reduce installation costs, compact self-contained modules by Watrous have been developed t o allow the designer to select components best suited to the users' specific requirements. Basic module incorporates a one piece frame returning V4" to the wall for rigidity and neat rough-in • Mirrors are # 1 quality plate electrolitically copper backed encased in stainless frame, which is removable for mirror replacement • Concealed locking device and stainless steel piano hinge • Fluorescent light fixture with translucent diffuser • Convenience outlet • Soap dispenser is matching satin chrome • Soap dispenser positioned to the right for alignment with lavatory soap depression. Entire unit constructed of type 302, 22 gauge stainless steel. All exposed surfaces polished to #4 satin finish.

SPECIFICATION:« inodules shall be^ 1098 with soap leai recessed shelf and penser. All expos* shall be polished finish. OPTIONAL: Sped on page 12.


Light and Convenience Outlet

3 Adj. Glass Shelves in Lieu of Towel Dispenser

wheel Chair Mirror Above Shelf

Blade Disposal and Bottle Opener

CATALOGUE NUMBER DESCRIPTION Illustrated Similar t o W-108r Vertical Soap Valve Replaces Cup Dispenser Recessed Mirror Similar t o W-1081 Illustrated Similar to W-1098 w i t h Liquid Soap Shelf Same as 1088 installed without mirror

Lather Valve

Cup Dispenser










• ' !




: wy-noBT

_ -,

w-noBS ; \A/-noB7 \A/-ldBB 1 \A/-10S3

W-IOBB \A/-n09S

— 1 —

Illustrated Illustrated


Same as W-1098 installed without mirror

Surface Mounted



^NOTE: Universal mechanism for C-fold, Multi-fold, and Single-fold requires 6V2"deep wall opening.


1 •4 1 Adjustable Tilting

storage Cabinet in Lieu of Soap Shelf

Pedal Operated Soap Dispenser

stainless Steel Door Panel

Keyed Cylinder Lock

Facial Tissue Dispenser

Gamophen Leaf Dispenser

Two Adjustable Glass Shelves

22a Ci

>ricated Vhlte Toplighting P a n e l s
by Circle Redmont Corporation

Circle Redmont SolarWhite toplighting panels are factory prefabricated in a number of sizes ready for easy installation in the roof. The prismatic glass block units are spaced on one foot centers and are supported by an insulated, extruded aluminum grid. All exposed joints are weather sealed with Rubber CalkTM Sealant, a tough, durable, elastomeric sealant designed to provide a long term, leak-proof seal. The perimeter of the glass unit is designed to provide the best possible configuration to insure a positive seal and has complete flexibility on any building orientation. In addition, the hollow evacuated glass units provide excellent thermal insulation; the U-factor being less than one-half that of the conventional skylight. Heat loss is drastically reduced in winter and possibility of condensation is virtually eliminated.

high percenti TOPLIT This area following FLANGE TYPE PANEL. This low profile SolarWhite panel rests directly on the roofing without a curb.

A. 2500 F *B. Sun an

3. Where relativ nation are sal

TOPLIT This area following CURB TYPE PANEL Install on conventional curb. Panel is furnished complete with anchor straps, cap flashings and corner caps.

A. 2500 F *B. Sun am *Based upon lur sq. ft., illumina mer will be higt

design features
The SolarWhite glass block units in CR toplighting panels utilize prisms which transmit a high percentage of diffused light from the sky but reject the extreme brightness and heat from the high summer sun. This results in a more uniform transmission of daylight throughout all seasons of the year. Total transmission of solar heat during summer months is approximately one-third that of conventional skylights. FIBROUS GLASS SCREEN SMOOTH TOP FACE


For good illumim center spacing of ceed their height cal seeing tasks, spacing should m above the floor.

Center-to-centei equals room leng White panels alon wall to SolarWhite




distribution estimating areas

CORRUGATED BOTTOM FACE DIMENSIONS: 3 % " THICK x 1 1 % " x 1 1 % " Daylight entering the building is controlled and diffused to provide the lowest possible brightness in the field with an absence of apparent shadows.

Curve shows typ toplighting panel for a 2500 FC ovi

CR SolarWhite panels may be used as the sole source of daylight or as a supplement to side-wall daylighting. SolarWhite panels allow complete daylighting of one-story buildings without increase in ceiling heights or cubage due to monitors or saw-toothed roof, thus affording low-cost construction. In addition, their low profile does not affect appearance of the structure. SolarWhite is a source of controlled daylight available for all types of buildings—such as schools, institutional structures, homes, commercial buildings and factories.

These formulae may be used as a guide to determine the area of SolarWhite panels necessary to produce various levels of daylight illumination. The selection of the formula to be used should be based upon room requirements and prevailing exterior illumination conditions. Examples shown are based upon 12" deep skylight wells and upon the assumption that SolarWhite panels will be the only source of daylight. If windows are used as a supplement, these illumination levels would be higher. 1. For use where a high level of illumination is required and in regions where many overcast days occur. TOPLITE AREA = FLOOR AREA =

u c



12 8 Structural (



This area will produce approximately the following average Illumination levels: A. 2500 FC HSI Overcast sky 60 FC *B. Sun and Clear Sky Winter Months 115 FC


22a Ame
Page 2-3 4-5

1, top hinged type il, double pitch type


ust type jlosion type nd explosion type heat release type ators

6-7 6-7 6-7 6-7 8

Offices, Modern Drop Forge; Bartolomeo and Hansen, Architects




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•XfUTLINE SPJICIFICATION Division 1- General Requirements Division 2- Site Worl *^211 Clearing of Site Site is to be left in natural condition. Division3- Concrete 0311 Lip-htweip-ht A ' - 6 . 1 f Concrete ,.r;-Materials- To be of American manufacture conforming to ATSM C- 15O-6O0 Division 4- Masonry None in this project. Division 5- Metals 0511 Metal Decking Roof- To be Alcoa V-Beam Roofing Panels,.04l", with Weather-Lok Fasteners. 0521 Metal Siding Alcoa V-Beam siding, Industrial Grade, 0531 r'letal Stairs Living Area- Woodbridge Spiral Stair, Type 50-E, Division 6- Carpentry 0611 Framirp- and Sheathi'-fFra.T>]ing- All framing lu^nber to be Dense Select Structural #1. Sheathinc— Roof Sheathi-ng to be 1 x 12 Storm sheaf'ingo 0621 Heavy Ti^iber ''crk All Heavy Timber Work to be of 1750f. Industrial

Grade, Conforming to U.P.C. Standard 25-3-71o 0631 ' . o d Trin^ •fo All wood trirr, to i e of matched Bananna Woodo ^ 0 ^ - Wr.oc Sid in-' 611 All wood siding to be of Rou-h Sawn Cerlp.r, l"o' 0651 Custom Panel VJork All panol work to be of Da^k Polished Oak. Division 7- Moisture Protection 0711 Meta] Rnpf Embed in plastic of hot asphalt, !! la'o ^" and nail on 4" centerso 0721 Metal Sidi.npUse preformed Neoprene •"'losures as supplied by Alcoao 0731 Vapor "inrriers Use polyethylene sheet. 0741 Building Insulation
• -

- —


Roof- Johns-Mcit-viii.e Fesco Board, 1" t h i c k „ 0751 Me-^al Framed S k y l i g h t s D''-'^"ble p i t c h e d t o p hinged s k y l i g h t s a t roof peak, by American ThreoT-.'-ay, with Amei-'icgri break and r e l e a s e c o n t r o l , chain o p e r a t e d , Aluminum Glazing Vsv, and 1/^-!" ,'ire g l a s s . ^'752 T^l'-^t r-.v-el S k y l i g h t s F l a t Panel S k y l i g h t s by C i r c l e Redmont on Sovk'i East sbr-'pe. D i v i s i o n 8- Doors, '.-Ix^'^c'-'Sf and Class

Speclrjl order by private contract.

Sliding r'lass

doors ^n Living Area and Study

to be Pella Deluxe, OX-^5, 06" f i o ^ hei-ht;-^ ^--e O83I eood VJinHQvre All Wi.a.iows to be Pella Deluxe Casement, fitted with Sliishade and Dou>'le Insulatin'?- Glass. 08^1 Glass and Glazing All fixed glass to be l A " wire glass. Division 9- Finishes 0911 Gypsum Lath To be perf'orated type, •^/8" thick, I6" x 48" size, 0921 Accessories Corner Bead- 26 ga, galvanized 0931 Glazed Ceramic Wall Tile Standard grade, cushion edge, white body, duct pressed, maohine m.ade, 0932 Unglazed Ceramic Floor TiSie Standard grade, 09^1 Wood Sto'ir Flooring Sub flooring- 1 x 8 #3 sheathing laid diagonally<> 0 i - Wood Block Industrial Flooring 9j2 Studio- Composed of end grain wood blocks, 1/2" thick, treated with preservative., and attached T.-t mastic or mechanical fasteners. 'iih

0951 Painting All exterior wood siding shall receive one coat of Unseed Oil and Graphite, Division 10- Specialties 1011 Mesh Partitions Partition between Studio and Living Area to >e woven wire, by outside contract. 1021 Lavatory Modules In childrens Rooms, Watrous-1190-J with liquid soap dispenser, backsplash mounted faucet with wrist action blades. Rough opening- 19 l A " wide, 5 4 3 A " high, 4 3 A " deep. Z, Division 11- Equipment 1111 Ran,'-" Top Hobart #JK-29 Industrial Commercial Range Top, 7.1 K¥ connected Load, 1121 0 ^ ° -^n Hobart #JK-76, with self clean, meat thermometer, rotisserie. Timer, and self clean features, 1131 Dishwasher General Electric- #SD-400-D Dishwasher, 5 cycle, 4 level wash, 120 volts, 7000 watt heater, ll4l Garbage Disposal In-Sink-Erator, #707, 1/2 h.p., all stainless continuous feed. 1151 Kitchen Sink Elkay # LR-3722 Double Compartoent, 18 ga. stainless.

Division 12- Furnishings T6 be provided by Owner, Division 13- Special Construction None in this Project.^ Division 14- Conveying Systems None in this Project Division 15- Mechanical 1511 Soil. Waste. Drain. And Vent Piping Standard weight cast iron coated hub and spiggot for all underground piping. Above ground piping may be zinc coated steel with cast iron drainage fittings. 1521 General Sewer Vitrified clay drain tile with polyvynle hub ring joints. 1531 Water Piping Type K copper without joints under slab. Type L copper above salb with sweat solder "ittingSo 15^1 Gas Piping Schedule 40 black steel pipe with malleable iron fittings, 1551 Traps All fixtures connected to the drainage system shall have traps, 1561 Ai-r Conditio.ning and Heating Adaptopak, gas fired heating end Electric cooling, CTG909A0, 60 cycle. 3 phase, 440 volts, 15 Amps,

1571 Hot VJater HeatLng Systea T^y and Ni-ht, 50JC, 50 eal„, 60,000 BTU, 10 year warranty, 1581 ^''JEtures All fixtures to be white<> 1582 vhitev Closets Champlin-K-3390 EBA elongated, vitreous china K-7606 supplies, 2 china bolt caps, 1583 ]"-avatories Caxton K-2210 vitreous chi..ia, K-9OOO 1 l A " traps, 1591 Pipe Insulation Owens-Corning Fiberglass, 1510 Electrostatic Air Cleaners General Electric #ef 012 Air Cleaner, 1512 Humidifiers General Electric HU 500 Humidifiers. Division 16- Electrical 1611 Branch Circuits Minimum size for all lighting and appliance circuits shall be #12 ra, wire, 1.621 Wall Switches General Electric Silent Switch 1631 . ' l Recepticles val General Electric Twist-15k, l64l Lighting Board Panel Square D Type NQO, 3 wire, solid neutral, main


Itigs only,

1651 Breakers Quick- make, quick-break, thermalmagnetic trip type 1661 Lighting Fixtures Living Area- Medium Spread high bay reflectors. porcelan .finish, l6" diam. Music Room- Narrow beam high bay reflectors, porcelan finish 12" in diam. Studio- 2 x 4 , 4 tube, suspended florescent fixtures by General Electric,


1-11 12-26 27 - 34

Preliminary Conceptual Character Sketches Conceptual Mood Studies Suggestive Form Studies Wood and Activity Studies

35 36 37 38 39 40 41 42 - 49 50 - 52 53 - 65 66 - 77

Indoor - Outdoor Relationship Living activity and Father's study Eating, food preparation, and living activity Studio and darkroom Children's sleeping area Parent's sleeping area Overall Wood Study Conceptual Sections and Elevational Transparencies Site Sketches First Wodel Study Second model Study

7 8 - 1 0 8 Third Model Study

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