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First published in 1907, this magazine showcases the work of architects and engineers in the state of Michigan. It contains photographs, floor plans, and detailed descriptions of notable buildings and infrastructure projects throughout the region, making it an ideal resource for students of architecture, engineering, and urban planning. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
The first and most prolific professional architect to reside permanently in Michigan’s Upper Peninsula, D. Fred Charlton used the local Lake Superior sandstone to craft the distinctive style found in buildings throughout Michigan’s Upper Peninsula. Born in England and trained there as a civil engineer, Charlton came to Detroit in the late 1870s, seeking work as a draftsman. Much like his peers of the time, he had no formal training as an architect and learned his trade by working at several prominent firms. The last, Scott & Company, sent him to Marquette in 1887 to open a branch office. Three years later, Charlton opened his own firm, and over the next twenty-eight years, he designed more than four hundred buildings, including residences, commercial structures, schools, courthouses, and churches throughout the region, which offer an invaluable insight into the tastes of Americans before the World War I and provide a unique vantage point for studying the evolution of the architectural profession. Deftly adapting national trends, he provided the communities of the Upper Peninsula with modern structures worthy of any place in the nation. Many of his buildings remain to this day, monuments to the skill of this English-born architect who made a place for himself upon the shores of Lake Superior. Anyone interested in architecture and in the history of the upper Midwest will find this read both fascinating and informative.
The third book in the series from Columbia University is focused on metals. Metals, as surface or structure as the generators of space play a role in nearly every strain of modernization in architecture. They define complete geographies of work, production, and political life. Non-architectural metals delivered in automobiles, and hard goods in the United States and worldwide have all been sourced as the engines of the sprawling late twentieth-century city in all of its forms. But in the received aspects of architectural history, metals, and in particular steel, remain less diluted; they are presented as intrinsic to the profession as material precedes concepts they are carriers of architectural meaning. Few concepts are as central in structural engineering as the ability of a material to sustain plastic deformation under tensile stress the standardization of historically known deformation limits or ductile properties in most materials allows architects and engineers to keep the analysis of structure within known parameters of finite element analysis rather then materials science. If the goal is avoid fracture, the boundaries are set and the limits of ductility are observed. Post-Ductility refers to the literal aspects of material behavior in this case of metals but also of aspects of architectural and urban space that are measured by less verifiable but nonetheless real quotients of stress and strain. It is the tension and compression of space that gives form or coherence to form. In either the case of engineering and architecture, formerly daunting degrees of risk seem to have been diminished; new levels of sophistication in calculation lower the risk tolerance for fracture, while more metaphoric readings of limits in architectural and urban space seem to have been long surpassed, at times with abandon. The counter-effort has been quite strong if not successful: there are those that want to recreate dense cities by means of compression and there are immense forces of spatial extension by way of economics, communication and transit. Space is pulled to elastic limits and made thin as highly malleable materials such as gold or lead as it is also often re-compressed as forms of urban density. If metals are a significant origin for architecture and indeed whole cities—from buildings to automobiles and labor, then what are the limits or equations that offer a new evaluation of both metals, but also of material in a wider sense, as a determining component of the built world? What does an engineer and architect bring to this arena in both local and global circumstances?
“Looks behind the facade to see the hidden engineering marvels . . . will deepen anyone’s appreciation for New York’s most magnificent interior space.” —The New York Times Book Review Winner of the Professional/Scholarly Publishing Award in Architecture from the Association of American Publishers Grand Central Terminal, one of New York City’s preeminent buildings, stands as a magnificent Beaux-Arts monument to America’s Railway Age, and it remains a vital part of city life today. Completed in 1913 after ten years of construction, the terminal became the city’s most important transportation hub, linking long-distance and commuter trains to New York’s network of subways, elevated trains, and streetcars. Its soaring Grand Concourse still offers passengers a majestic gateway to the wonders beyond 42nd Street. In Grand Central Terminal, Kurt C. Schlichting traces the history of this spectacular building, detailing the colorful personalities, bitter conflicts, and Herculean feats of engineering that lie behind its construction. Schlichting begins with Cornelius Vanderbilt—“The Commodore”—whose railroad empire demanded an appropriately palatial passenger terminal in the heart of New York City. Completed in 1871, the first Grand Central was the largest rail facility in the world and yet—cramped and overburdened—soon proved thoroughly inadequate for the needs of this rapidly expanding city. William Wilgus, chief engineer of the New York Central Railroad, conceived of a new Grand Central Terminal, one that would fully meet the needs of the New York Central line. Grand Central became a monument to the creativity and daring of a remarkable age. More than a history of a train station, this book is the story of a city and an age as reflected in a building aptly described as a secular cathedral.
The study of human body measurements on a comparative basis is known as anthropometrics. Its applicability to the design process is seen in the physical fit, or interface, between the human body and the various components of interior space. Human Dimension and Interior Space is the first major anthropometrically based reference book of design standards for use by all those involved with the physical planning and detailing of interiors, including interior designers, architects, furniture designers, builders, industrial designers, and students of design. The use of anthropometric data, although no substitute for good design or sound professional judgment should be viewed as one of the many tools required in the design process. This comprehensive overview of anthropometrics consists of three parts. The first part deals with the theory and application of anthropometrics and includes a special section dealing with physically disabled and elderly people. It provides the designer with the fundamentals of anthropometrics and a basic understanding of how interior design standards are established. The second part contains easy-to-read, illustrated anthropometric tables, which provide the most current data available on human body size, organized by age and percentile groupings. Also included is data relative to the range of joint motion and body sizes of children. The third part contains hundreds of dimensioned drawings, illustrating in plan and section the proper anthropometrically based relationship between user and space. The types of spaces range from residential and commercial to recreational and institutional, and all dimensions include metric conversions. In the Epilogue, the authors challenge the interior design profession, the building industry, and the furniture manufacturer to seriously explore the problem of adjustability in design. They expose the fallacy of designing to accommodate the so-called average man, who, in fact, does not exist. Using government data, including studies prepared by Dr. Howard Stoudt, Dr. Albert Damon, and Dr. Ross McFarland, formerly of the Harvard School of Public Health, and Jean Roberts of the U.S. Public Health Service, Panero and Zelnik have devised a system of interior design reference standards, easily understood through a series of charts and situation drawings. With Human Dimension and Interior Space, these standards are now accessible to all designers of interior environments.