Step 1
Write an article about the subject of your site or product. Simple, right? Well, it can be simple but the trick to it is that you really don't want to seem like you are making a sales pitch. Surfers are looking for useful content, not spam. So write your article so that your reader is learning something that you are knowledgeable about.
Step 2
Write a good biography that will compel the surfer to click on your link to learn more about your subject. Again, this doesn't need to be all hyped up either. To the contrary, a simple "Hey, this is my site, please scope it out to find out more" with a link will do. This is where the simpler, the better is the rule in my humble opinion.
Step 3
Submit it to every ezine directory you can find. There are some services that will send your article to hundreds of ezine sites for a small amount of cash like Article Trader at http://www.articletrader.com/distribution/?ss=51425.
Step 4
After your article has been submitted to all these sites, do a search for your particular site on Google and Yahoo by placing the article title in quotes like this: "my site article for all to see". Look at all the different sites carrying your article on the first page. These are called the Prime Results. You'll need to place the URL to these results on your page on your site that has the same article. This makes for great backlinking.
Step 5
Write fresh articles often, repeating steps 1, 2, 3, & 4!
Tim Davis is a trained architectural designer and web builder/programmer who has been building Architectural and Christian websites since 1995. He also has several ebooks published, including architectural drafting courses called "House Plan Drafting 101, Learning to Draw House Plans in a No Nonsense Way" that you can find at http://homedesign.8m.com/101ebook
[ add comment ] | permalink |
( 2.9 / 13 )Drawing an architectural set of plans isn't a simple matter when you consider all the elements that make up a set of house plans. What you need to do is first research all the needs of the family, understand the local codes, know what style of house you're wanting, know what sort of foundation is needed, etc...
There are several automated drawing programs on the market that say they will take your data and turn it into a plan. But to be quite honest, the technology hasn't quite been perfected yet to read your mind and put all the elements into place. There has to be an amount of human planning and an algorithm just can't handle that right now.
So what are your options?
1. Hire a Drafter or Designer. This would be the least expensive method short of drawing them yourself. Main reason is they normally give you a flat square foot price.
2. Hire an Architect. If you have the money, spend it. Most of us don't. No, I'm not down on architects. It just seems that most want to tell you what you want instead of being concerned about what you are wanting. If you find an architect who is really wanting to give you your dream instead of his or hers, you've got a winner.
3. Buy a stock plan and have them alter it to suit your needs. Sure, this will work but you can nickel and dime yourself to death in revision costs. Not to mention note and dimension errors that can be overlooked in the changes.
4. Take an online drafting & design course and learn to do it yourself. Hey, there are several architectural drafting and design courses on the net that are affordable. Some that would actually only take up a few weeks of your time and give you the solid education you need to draw your house.
About the Author
Tim Davis is a veteran Architectural Designer who also teaches architecture and drafting over the internet at http://houseplandrafting101.com
His custom home design site is at http://customhouseplans.8m.com
[ add comment ] | permalink |
( 2.9 / 14 )Great idea, it sure saves money. Also eliminates the middle man. Those architects and designers can get expensive. I've heard that some designers can charge up to ten dollars per square foot for simple drawings containing a floor plan and exterior elevations. Now that is a chunk of change. If you are going to do it for yourself, you're going to need to know how. Below are just some of the things needed to know to draw a simple ranch style home.
So what do you need to know to draw your own house plan?
1. You need to know how to lay out your Floor Plan. The floor plan is the template for your entire set of drawings. From the floor plan show where we want our electrical, tell how big our rooms are, note our window and door sizes, etc., so this is where we have to begin. Sure you could start with the exterior views but that would limit our interior of the home to what the outside looks like. Not a good idea! The house needs to be functional first and look pretty second out of necessity.
2. You need to understand the mechanics of a well designed kitchen. A kitchen is a place where the homemaker spends a majority of their time. It needs to be comfortable but functional. This area consists of a Sink area, Cooking area, & Food storage area. The best layout for a kitchen is one in which the least steps are taken to reach each appliance. This is called the working area or working triangle. A good working triangle doesn't exceed 12 to 14 feet all the way around.
3. The builder of the home would sure appreciate knowing where the walls, windows, & doors are located exactly. They would also like knowing door and window sizes, not to mention anything else special that is on the plan. That's where the dimensions and notes come in handy. You need to be able to create a dimensional string and groups of notes that are not confusing.
4. The Electrical Plan is very important to you as it gives you the opportunity to customize the home to your power and comfort needs! On the other hand, it is not always needed. What I mean by this is that any electrician who has taken a test for his or her license knows what is required electrical service by code. Chances are that they have already wired quite a few residences and barring any special needs or preferences can do the job without this plan. Always be aware though! Certain states require that you be a licensed Architect or Electrical Engineer to do Electrical plans. Be sure to check with your local building inspector to see what your limitations are! This will definitely save you some headaches down the road.
5. In standard construction, at least in the South Eastern United States, houses are built on Masonry Foundations or Basements. A foundation is the part of the home that anchors it to or keeps it from settling into the ground. This knowledge is a must in completing your plans.
6. What about how the exterior is going to look? It is no small matter if you are wanting to convey the idea of how the finished product is going to look when construction is complete. What is it going look like when its built? How to determine the best roof pitch, do we use brick, siding or rock?
7. Folks, I defiantly don't believe in mind reading! Neither does to typical contractor! If there is anything special you are wanting to build into your house, how is the builder to know unless you show them? You can make all the notes you want to on your plans and elevations but the message of how you want the house constructed may not always come across. That's why you need to understand how to draw details.
8. Then there is the task of finishing your drawings and not letting goofs and slip-ups get out the door. You need to understand the most common mistakes made by people who draw house plans so you can look out for them!
9. Last but not least in drawing your house plans is to know how to print them out and in what format and size.
http://pcimunity.blogspot.com/2008/10/d ... -plan.html
http://ezinearticles.com/?Do-You-Want-t ... ;id=935949
http://houseplandrafting101.com/reposit ... 810-150113
About the Author
My name is Tim Davis and I draw architectural plans for a living. I know what I'm talking about. I also teach others how to draw plans in a virtual classroom on the internet called House Plan Drafting 101 at http://houseplandrafting101.net - Also in Ebook format at http://homedesign.8m.com/101ebook
Above are the basics I teach in that class.
[ add comment ] | permalink |
( 2.6 / 14 )Nature was the first builder so we may look to her works to see the origin of the floor, wall and roof which are what constitute all buildings.
In the trees of the woods we see the first walls. Rooted firmly in the earth like any foundation, they rise step by step into the air like the shafts of temples. As with all walls, their power of resistance to pressure from any direction is great. In our wooden houses, these same trees do their work as corner posts, studs and joists.
Stone walls, too, occur, as we may see, in steep cliffs and mountain-sides, their faces offering a continuous surface of resistance, somewhat like the brick walls of cities.
In the ground itself we see the first floor. The roof we may imagine as suggested in the branches of the trees.
Now, if to the base of two trees, a plank may be supposed to be nailed, and above this a second plank, a third, and so on until a height of seven or eight feet is reached, we have plainly constructed a rough wall. If a second such wall were made a short distance away, but a little higher, and a row of planks were laid on top, stretching across from wall to wall, we will have constructed a simple roof. For our floor we have the ground. If our two walls were carried up the same distance further, the plank roof would become a floor—a floor with a span as in actual buildings. Enclose the remaining two sides of our space below, and we have a building, though stili a crude one.
Cover the ground floor with blocks of stone, fitted tightly together, or bricks, planks or other hard material, and it will be greatly improved for living purposes. Examples of the hardening or reinforcing of city streets may be thought of in this connection, such as basalt block paving, asphalt, wood-block paving, etc.
To make our shell habitable, however, portions of the planks in the walls would have to be removed to provide openings for entrance, light and air; as is also the case with the roof where it might be necessary for a pipe or chimney to pass through, or perhaps a ladder for passage to the roof (or floor) above. Our structure now may be said to be a box, of larger form, whose sides are stiff sheets, some on edge, some flat and some more or less slanted; a box not for folding goods only, but for men, women and children, and sometimes animals, to live in.
If our trees had been sawed off at a height of say ten feet, and other tree trunks been laid across on top of them and spiked to them, a rough building frame would have been the result, typical of all building frames whether of wood or iron. The smaller structures in houses such as chairs, bureaus and other furniture, have the same form; they are all frames. Many of them are virtually boxes with doors and wheels (casters) attached to them for moving them about. These latter suggest the great family of vehicles which, from the cab and motor car to the trolley car and railroad car, are simply boxes on wheels, each having its four sides, top and bottom.
In the case of small stationary compartments, telephone booths offer simple examples of boxes. The booth becomes a room when it is needed to house several people, which gradually increases in size to a small collection of rooms, or a cottage, finally reaching its full development in a department store or office building. Still boxes—but boxes of a larger mould with their perpendicular sheets grown more immense, and their horizontal shelves vaster in extent.
[ add comment ] | permalink |
( 2.6 / 16 )ARCHITECTURAL EDUCATION
This variety in modern methods of technical education in architecture is due to the manifold aspects and relations of architecture. It is at once a science, an art, and a learned profession; its practitioner must furthermore be familiar with a number of mechanical trades; and the knowledge and experience it calls for are of the most varied character. One system of training may emphasize its scientific side, dwelling upon the mathematics, mechanics, and engineering necessary for the proper designing of foundations, retaining walls, roofs, vaults, columns, and girders, or upon the physics, chemistry, and electrical science required for the proper construction, wiring, and heating and ventilating equipment of a modern building; and these are subjects best taught in a school of engineering. Another system may emphasize the artistic side of architecture, giving special importance to the teaching of drawing, drafting, shades, and shadows, perspective and modeling; to the history of architectural styles and ornament, and to the theory and practice of design. Such a school would naturally be joined to a school of art rather than to a technological institute.
Present Position. — These observations lead naturally to a survey of the work of the architect and of the various branches of study that may be considered as preparatory for this work.
The function of the architect is the designing of artistic buildings; that is, of edifices which, while they serve the utilitarian purpose of housing and sheltering human beings, activities, industries, and material goods in the most convenient and efficient manner, shall also be in themselves beautiful, objects of pleasing contemplation, adornments to the city or region in which they are placed. This combination of utility and beauty, this joint and simultaneous pursuit of the useful and the beautiful, is what differentiates architecture from engineering. Fundamental to all artistic design is drawing, as essential to the designer as writing is to the novelist or poet. Fundamental to correct construction in its higher forms is mathematics with its applications in mechanics. Mathematics and drawing are thus the foundation studies of all training in architectural design. But these two heads cover a large number of distinct subjects. Freehand drawing may include drawing from the flat, from casts, from objects, from living models, draped or nude, in pencil, water colors, charcoal and crayon, pen-and-ink. Architectural drawing or drafting comprises projections, intersections, shades and shadows, perspective, descriptive geometry, and stereotomy; the drawing of the orders of architecture and of the elementary forms of architecture—doors, windows, arches, arcades, vaults, balustrades, spires, etc.; the combinée! application of projections and shades and shadows to the "rendering" of plans, elevations, and sections with shadows cast and inter-
preted in washes of India ink and color; and practice in the making of office drawings with their conventional representations and systems of tinting and figuring.
The scientific study of construction has been greatly complicated in modern times by the marvelous development of steel as a building material, and lately also of concrete, and by the growing complexity of modern buildings. Plumbing and wiring, heating and ventilation, elevators and mail chutes, have introduced numberless features and problems unknown fifty years ago. The architect must provide intelligently for these in his designs, besides knowing how to calculate the strength of columns and girders, arches and vaults. Hence in addition to the prerequisite algebra, geometry, and trigonometry, he should master analytical geometry, the calculus and mechanics, graphical statics and strength of materials. A fair knowledge of physics and chemistry and of their applications in sanitation, heating and ventilation, and electric installation, is important. Indeed, these studies may be carried very far into their various subdivisions and applications without exhausting the list of desirable scientific attainments of the architect.
While pursuing these various studies, the student is presumably applying his newly acquired knowledge in the solving of problems in design. In this work he will be aided by lectures on the theory of design and decoration, and by familiarizing himself with the history and characteristics of the various styles and of the great masterpieces of his art. Lectures and seminars on the history of architecture and of ornament, with study of reference books and photographs, will provide the means for acquiring this sort of knowledge and resource. The problems in design are worked out in the studio or drafting room, under frequent criticism and advice, and in most schools are judged by a jury of award. In England especially, and also in some other European schools, the measuring of actual examples of historic architecture and the embodying of the results in carefully elaborated scale drawings, is a valuable adjunct to the work in design. The methods and procedures in the teaching of design vary greatly in different countries and in different schools; some emphasize planning, some draftsmanship; in some schools the teaching is extremely practical, in others very idealistic. Some make sound construction and practical convenience the chief considerations: others seek to stimulate the imagination and cultivate the power of artistic expression; while in still others archteological correctness, erudition, and detailed acquaintance with and use of particular historic styles are insisted on as sine qua non in good design.
But while there is this wide variety of method, proportion, and emphasis, there is a fairly general agreement as to the essential subjects of study. They may be grouped under the five heads of (a) Delineation, including all graphics and drawing; (6) Construction, divided into science, comprising all the mathematics and engineering of the course, and practice, comprising specifications, materials, and superintendence; (c) History, treating both of architectural styles and of their decorative details, with whatever may be necessary in the way of archaeology; (d) Design, comprising theory (theory of planning, of composition, of decoration, of color, etc.), and practice (the solution of problems in design upon definite programs); and finally (e) Office Practice: the principles of contracts, professional relations, ethics, competitions, etc. Other studies are often found in the programs of architectural schools, such as history, economics, modern languages, or English literature, but these are simply introduced as elements of liberal culture; they are not parts of an architectural curriculum. Certain other studies, not strictly architectural, are nevertheless desirable as preliminaries or additions to an architectural curriculum; notably such sciences as botany, hygiene, physics and chemistry, analytical geometry and the calculus.
There is a wide diversity of opinion and practice as to the best methods for the teaching of design, .especially as to the relative importance of imaginative and practical problems. The French system, which is also the basis of the systems of most American schools, eliminates as far as possible from the problems given out to be solved by the students those practical and utilitarian elements which in real practice so often hamper the freedom of the designer. The programs of these problems require no figured working drawings and structural details, no calculation of strains and stresses, no minutiae of flues and ducts, no consideration of cost. They are intended to stimulate rather than to restrict the imagination, and to give the widest possible scope for artistic expression. They are usually of a more or less monumental character, in order to train the student into a due sense of the possibilities of large conceptions, dignified composition, and harmonious detail. Particular emphasis is laid upon the plan, upon the right balance and distribution of parts, the proper handling of entrances, circulation, stairs, and vistas, and an artistic and logical correlation of exterior and interior, of plan and section and elevation. The theory is that an architect so trained will, under the restrictions of practical work, still conceive his designs in a monumental spirit and upon artistic lines; while one who has never had this sort of training will always dwell on details and utilitarian considerations, and his work will always lack imagination and the higher artistic qualities. In some quarters, both in France and elsewhere, this idea is decried, and the student is required from the first to work out problems of the character which he is likely to meet with in ordinary practice, and as nearly as
possible under the limitations of ordinary practice. There is also considerable variety as to the treatment of style, some schools insisting on classic or neo-classic details, some on the archaeologic- ally correct use of historic nonclassic styles. The relative importance of artistic draftsmanship varies greatly in different schools. Most of the American schools follow the lead of the Ecole des Beaux-Arts in attaching great importance to the drawing and " rendering " of the designs; but there is in many minds an appreciation of the danger of over-valuation of mere draftsmanship as against design properly speaking.
In all schools the student is required to do a certain amount of what might be called office work; that is, to prepare working drawings with structural details of one or more of the designs he has made; but here again there is wide variety in the amount and character of such work. In the French system it is confined to a single problem, the final task in the curriculum for the diploma; a thesis problem of a practical though monumental character which forms the culmination of the course in scientific construction. Most of the English schools are evening schools for draftsmen employed in offices during the day; and while the office work thus gives the student a certain amount of practical experience, a large amount of time is also generally devoted to the study in the school of practical construction in a very detailed manner, often with classroom demonstration of the various building trades by expert workmen in those trades.
All this variety of theory and practice in architectural education is due to the great complexity of architecture, which has so many branches, and is related to so many interests and so many kinds of knowledge that it is impossible to include them all in any scheme of teaching that comprises only three or four years' work. Every system of architectural training is therefore of necessity a compromise, and its real function can only be to equip the student with a fund of knowledge upon which he can safely base all his later acquisitions; and with a method of work and a habit of thought which will enable him in his after practice to acquire further knowledge and skill and use these wisely and well. It is therefore less the particular things he studies and does in the schools than the way in which he is taught to study and do them, that counts. That school does the most for him which trains him best for the needs of five and ten years after graduation, rather than for mere draftsman's work in the years immediately succeeding his school days.
England. — In England the theory is that office work and academic training should be coincident and complementary. The student enters the office of an architect as an " articled " student or apprentice for a term usually of three years, paying an annual premium for ARCHITECTURAL EDUCATION
ARCHITECTURAL EDUCATION
that period and receiving such instruction as his chief may give him. As soon as he is able, he passes the preliminary examinations held by the Royal Institute of British Architects. His further studies may be continued during his articled service by attendance on evening classes maintained by various colleges, boards, and societies (e.g. the evening classes of the Architectural Association or of the South Kensington School of Art); and in time, usually at the end of four years, he may go up for the final examinations of the Institute; and again, after a still further course in the Royal Academy classes, he may compete for a gold medal or a traveling bursary or studentship.
This system is being considerably modified, however, by the multiplication of all-day courses (e.g. the Edinburgh College of Art, the London University College School, the Architectural Association day classes) for students who can afford to dispense for the time being with office work, having already had two or three years of it, or intending to take it up after the school course is finished. But in few or none of the schools does pure design, exemplified in a long series of progressive problems upon ideal programs, receive the emphasis and attention which characterize the French and American systems, nor is academic draftsmanship taught after the Continental and American fashion. On the other hand, more is made of pen drawing and measured drawings of existing monuments than anywhere else.
France. — In France the young student enters the Ecole des Beaux-Arts or one of the provincial schools on passing entrance examinations in the orders, drawing, mathematics, history, and modeling, and is enrolled in one of the ateliers or studios of a professor in the school or of an outside practitioner, for the work in design in the " second class." Upon passing examinations in the school in descriptive geometry, stereotomy, analytical geometry, and construction, and acquiring a certain number of " values " in freehand drawing, modeling, and design, he is admitted to the " first class." In this grade he pursues further studies in construction, building legislation, and other technical branches and after acquiring further " values " in drawing and design, he prepares an elaborate thesis design with the structural details and engineering calculations fully worked out, and graduates with the diplSme du gouvernement, which qualifies him for official appointment in any of the numerous governmental services of communes, municipalities, or departments (counties), or of the general government. Usually a certain amount of office experience has been acquired by sporadic engagements during the scholastic course.
The distinctive excellence of the French schooling lies in its system of teaching design and in the admirable training which it provides in all forms of artistic draftsmanship. Archi
tecture is conceived of throughout as an art, and all constructive science as subordinate to and serving the art of design. Hence the work in design predominates throughout. In Paris the programs of all the problems for the two classes respectively are issued by the Professor of Theory upon specified dates: the students make summary sketches of the proposed solutions of these problems, to which their subsequent elaborations of the design must essentially conform. Two months are allowed for tliis elaboration, which is worked out under frequent criticism from the patron or architect- master of the atelier. But quite as valuable, in its way, as the patron's instruction is the free and constant interchange of criticism and assistance between the students of the atelier, the anciens or " elders " criticizing and instructing the younger men, who in turn assist in the drafting of the designs of the elders. The " rendered " or elaborated drawings are handed in on a fixed date, publicly exhibited, judged by a jury composed of school professors and of patrons of aselected list of ateliers, and " mentions," "first mentions," and "medals" are awarded to such among them as seem to deserve it, each award conferring a certain number of "values." Similar judgment is passed upon the work in freehand drawing in stated competitions. In addition to the regular problem competitions, there are special competitions for medals and money prizes, in decoration and architecture, such as the Godeboeuf, the Chaude- saigues, and the Prix Americain, founded by American gifts, most of these prizes being open only to French citizens. Finally there is the annual contest for the Prize of Rome or Grand Prix d'Architecture. The preliminary competition, open to all Frenchmen, consists of a two days' sketch problem, as a result of which the ten final competitors are chosen, who work, during four months, upon a new program for a large and elaborate building or group of buildings. The winner of the First Grand Prize is sent to Rome as a pcnsionnaire of the Villa Medici, where he spends three years, followed by two years of travel and study in Italy and Greece at the expense of the government. This is the highest honor any student can win. It secures him important official employment and confers lasting distinction upon the winner. It is the goal of the entire system, and its influence is all-important in maintaining the classic traditions of monumental design in France.
The Ecole Specials d'Architecture, on the Boulevard Montparnassc, Paris, is a private institution, following in part the system of the Ecole des Beaux-Arts, but with more attention to practical details and less emphasis on academic traditions. Many architects are trained in the Ecole Centrale des Arts ct Manufactures, which is really a school of engineering, with incidental architectural studies. But the great majority of the successful,French practitioners have been trained in the Ecole des Beaux-Arts.
United States. — In the United States the first organized school of architecture was that established in the Massachusetts Institute of Technology, under the direction of Professor William R. Ware of Boston, in 1866. This was followed by the organization of a course in architecture at Cornell University under Professor Charles Babcock a few years later, and soon afterwards by the opening of a similar course in the Illinois State Industrial University at Champaign by Professor N. Clifford Rickcr. In 1881 Professor Ware was called to Columbia College (now Columbia University) to establish a department of architecture in the technical school, then known as the School of Mines; and not long after a similar department was started in the University of Pennsylvania. Within the past 20 years, Harvard University, Syracuse University, the University of California, Washington University at St. Louis, George Washington University at Washington, D.C., McGill University at Montreal, Canada, Michigan University, Tulane University at New Orleans, and several important technical echools have established more or less complete courses in architecture. The Society of Beaux- Arts Architects of America has also established an important system of competitions in design in two classes, "B " and "A," after the model of the French Ecole competitions, but it does not maintain any school, properly speaking.
In the majority of American schools of architecture a modification of the French system prevails. The student passes examinations for admission, approximately equivalent to those for admission to the B.A. or college course, and pursues for four years a curriculum which combines lecture courses and recitations in the mathematics, science, theory, and history of the art, with drafting-room work on problems in design and in freehand drawing. The classroom courses coyer mathematics through the calculus, mechanics, graphical statics, and strength of materials; shades and shadows, perspective, descriptive geometry and stereot- omy; the history of architecture; the theory of design and decoration; specifications, building construction and contracts, and in many cases, physics, chemistry, botany and geology, hygiene and sanitation, French, and German. The work in design is generally patterned after the French in the form of the program and the kind of presentation and draftsmanship required; and in several cases the professor of design is a Frenchman. But in only one school, that of Columbia University, is there more than one atelier. In this school there are three, each with its own supervisor or supervisors, providing the stimulus of friendly emulation within the school which the single atelier system lacks, and which is so important an element in the success of the Paris system. At Harvard University monotony and narrowness of teaching arc avoided by intrusting the preparation
of programs and the criticism of the designs successively to different architects. Several of the schools adopt the Beaux-Arts Society's problems, which thus provide an interscholastic emulation in place of the Parisian and Columbian system of inter-atelier emulation within the school.
Nearly all the schools require a graduating thesis design of some importance. Some schools require summer vacation work. Columbia requires every student to do at least one month's office work and one design in each summer vacation.
Several of the schools offer for competition among their graduates prize scholarships for foreign travel and study. Not only the winners of these, but many others, graduates or students who have spent two or three years in an American school without graduating, devote from two to four or even five or six years to study in Paris at the École, often with a view to winning the diplôme du gouvernement. This seems to be a wasteful course: after four years in the American school, two years in Paris — not necessarily as a registered student in the École — should suffice for acquiring the best part of the French training, — the French criticism, environment, and manner of attack and study of problems in design, — and a year or two of travel in Italy and other European centers of art, to study the great monuments of architecture, should supply the further culture and information most needed by the American practitioner.
Office training and experience in the preparation of working drawings and in the innumerable details of construction and superintendence are usually acquired by the American student after leaving the school. Only a small part of this training can be advantageously provided in a school, and this is fairly well given in the larger schools in the United States and Canada. In some cases the student enters the school after a year or two of office experience, and many schools admit office draftsmen as special or nonmatriculated students. Mo.st of the schools confer on their graduates the degree of Bachelor of Science; two or three that of Bachelor of Architecture. Columbia University gives the degree of Bachelor of Architecture only to students who enter with two complete years of collegiate or scientific school study to their credit; a Professional Certificate is given to graduates who have entered with only a secondary school training.
The tendency in the United States is toward a constantly higher and more exacting training for the architect, and the profession is coming more and more into the hands of highly educated practitioners. Probably the weakest feature of the American schools is in their following French academic models too closely in design and draftsmanship; but there is little doubt that time will bring greater independence and a healthy originality more in accord with ARCHITECTURE
[ add comment ] ( 1 view ) | permalink |
( 3.2 / 14 )
Archives
