1 comments about Framework Houses.

1. With the recent interest in German wunderkind photographers Andreas Gursky, Thomas Ruff and Thomas Struth (known collectively as 'Struffsky') its particularly telling to see early work by their mentors Bernd and Hilla Becher. Framework Houses is among their earliest work, with the bulk of it dating from the early sixties through the seventies. The virtually patented Becher formula of typology is already in place (back at a time when Robert Adams was still a struggling English major): same flat viewing angle, precisionist approach and shadowless light. Taken individually, the photos are deadpan documents of an architectural type, but the strength of the Becher's work has always lay in the collective. The effect of seeing page after page of images so similar, yet individual, is an astonishing rendering of a past industrial age. This rendering is underlined in the last section of the book where the images are grouped in the famous Becher grids. Where this body departs from their other series of factories, water towers, et al, is that while the houses are part of an industrial region, they aren't industrial structures. Other series describe the 'what' of function, but these domestic forms also include a possible 'who' of the people that reside there. An interest in pattern is evident, too. The graphic rendering of shingle siding or dark timber against light stucco is a surprisingly lyrical play on theme and variation, where the grid of halftimbers begins to deviate from strict rationality. In the overall collective, this line quality becomes almost as giddy as a Paul Klee etching. This series is likely the least typical of the Becher's work, but in my opinion, is the most compelling.

1 comments about Applied Statics and Strength of Materials.

1. When I first started Statics and Strength of Materials I had trouble understanding Statics and some theories in Strength of Materials. I have studied and read "Schaum's Outline Statics and Strength of Materials" by John J. Jackson & Harold G. Wirtz, and also "Applied Statics and Strength of Materials" by Spiegel Limbrunner.
   This is the best book I read on this subject so far. After reading this book I finally understood everything. The book is very readable the author did a excellent job explaining everything specially in Statics.
   If your learning this subject for the first time this is the book to get. The only down fall of this book is that there are errors and misprints in some of the examples in this book. Hopefully they come out with a second edition with the errors and misprints corrected.
   I still gave this book 5 stars because of the superior job the author did in explaining this subject.

No comments about Warm Air Heating for Climate Control (4th Edition).

5 comments about Rubble: Unearthing the History of Demolition.

1. According to author/journalist Jeff Byles, we can trace the modern history of building demolition to the Great Fire of London in 1666. With remarkable foresight, diarist Samuel Pepys declared that "unless his Majesty did command houses to be pulled down, nothing could stop the fire." Pepys then "hustled home and buried his wine and Parmesan cheese in the garden." When the Lord Mayor ignored the pleas of Pepys and others, citizen activists took matters into their own hands and with "axes, crowbars, ropes and chains" they chopped firebreaks throughout the city.
   
   Of such fascinating bits is RUBBLE composed, a charming and exceedingly thorough researching of the subject of purposeful architectural destruction. In the last century, rubbling gained a macabrely festive reputation when entrepreneurs in Las Vegas realized that people would pay to see buildings fall. In a non-city that continually recreates itself, "old" hotels and casinos (30 years is antiquated by Vegas standards) can attract a bigger crowd for their collapse than they did for their opening night. The Vegas "rubble-rousers," as Byles cleverly calls them, have brought razing to a high art, with pyrotechnic displays and lavish pre-show advertising.
   
   It's impossible to talk about how a building collapses (it's referred to as "implosion," even though that is, technically speaking, a misnomer) without remembering the World Trade Center's twin towers, the Titanic of the late twentieth century. The towers were skyscrapers whose demise was a sucker punch at the very notion of progress, financial hocus-pocus and technological mega-complexity. Eerie predictions of their ultimate fall were early voiced, with one pundit calling them the "arrogant twins" and another, Cassandra-like, declaring, "There are so many things about gigantism that we don't know." Their doom seemed a foregone and melancholy conclusion to their excess.
   
   Another renowned teardown was the Berlin Wall, so poorly built, it turned out, that getting rid of it was accomplished in the main by the modern equivalent of the citizen activists of London's Great Fire. A 6,000-pound section of it was sent intact to Ronald Reagan for his library, undoubtedly making heavy reading.
   
   Though there has always been demolition, it is only in recent history that buildings are built with their destruction written into the blueprint. Does this strike anyone as morbid, like tagging each newborn infant with its parent's choice of ultimate disposal? Where is Howard Roark when we need his tormented idealism? But the practice seems logical to a civilization that no longer prides itself on permanency. After all, demolition is a big-buck industry, and the fashions of the city-scape change at our merest whim.
   
   Sophisticated subject matter, archly amusing, but sad, sad, sad.
   
   
   --- Reviewed by Barbara Bamberger Scott



2. As a 20-year demolition consultant and historian who was approached by Mr. Byles in 2002 to supply facts for this book, I had high expectations that it would provide an entertaining - and accurate - look at the history of the demolition industry. So it is with disappointment that I write today about the scores of issues that render this book virtually useless to the casual reader and offensive to the serious demolitionist. Its inaccuracies are many and substantial, and in the age of James Frye/Oprah Winfrey, where repeatedly sacrificing truthfulness for entertainment value is exposed as intentionally deceptive, this effort is about as irresponsible as it gets.
   
   Mr. Byles writes that his idea for this book was formed while watching the twin towers fall on 9/11 and the resulting demolition activities at Ground Zero. However, instead of performing research by visiting jobsites and speaking with experienced demolitionists, the author openly elected to solicit kooky, over-the-top hyperbolic sound bites ("I have set off more big bangs than anybody on earth in peacetime") from three or four self-serving contractors who were willing to pontificate quasi-poignant phrases on demand ("We are seizers, we seize... the building is fighting me, but I've got to bring her to her knees... [via a] symphony of failure") in return for gushing favorable mention (Just one of Mr. Byles' selected demo buddies is hailed as, "the philosopher king of destruction... part matador, part sage, part connoisseur of collapse... a convinced neurobiologist... the dentist of urban decay... the Mozart of dynamite... the Guru of gravity...", and many more). Perhaps this would be warranted and even entertaining, if any of it were true.
   
   To make things worse, Mr. Byles then dovetailed those sound bites with references to dozens of previously published articles - many of which themselves are well known to be inaccurate - and un-researched personal prose to paint a grand, sweeping verbal extrapolation on the demolition industry.
   
   The lack of fact checking for this book is astonishing: Not counting the first two chapters that cover the well worn but interesting ground of how demolition was used to control fires in the 1600s, Guy Fawkes Gunpowder Plot and various other developments transpiring up to the 1940s, an astounding 74 of the remaining 231 pages read as an endless run of long-disproven misrepresentations, attacks on industry trade publications and mocking ridicule of virtually all responsible demolitionists worldwide (thousands of contractors outside of Byles' small cabal of sound bite buddies are dismissed as "glum rivals" and "detractors", "skulking around" while engaged in "industry bickering"). So many quotes and statements in the book are just plain untrue or appear wildly out of context, this space doesn't allow listing them all.
   
   But above all, the most inexcusable aspect of this book is its hypocrisy. At its lowest point, the book takes several demo contractors to task for two tragic fatalities that resulted from building implosions in Glasgow and Canberra, then piles on additional derision via unflattering quotes and personal commentary. Is this warranted? Perhaps. However further on, when describing one of several fatalities suffered by some of his favored sound-biters, Mr. Byles sees fit to hold them completely unaccountable, writing, "In a freak explosion that remains unexplained to this day, the dynamite detonated [and killed the bystander]."
   
   Come again with that? Mr. Byles, the first rule of blasting is that a detonation is never, ever unexplained. OSHA sure found a way to explain it while serving up a record fine for willful safety violations in connection with the event. Similar biased and hypocritical statements are made in other parts of the book, and Mr. Byles never explains why he avoids mentioning the disproportionate long-term OSHA/safety problems associated with his favored spokespeople.
   
   It serves no purpose to mention names of the author's buddies, because that's not the point. It could be anyone. In the end the only name is Jeff Byles, who has gambled his reputation that he could trust his sources as truthful, and has lost his shirt. By constantly striving for the catchiest or kitschiest phrase, bypassing verbal interaction with more than a handful of demolitionists, and playing favorites, Mr. Byles not only misses the mark on accuracy but misses the essence of what it's like to deconstruct structures every day for a living. Which as I recall was the point. Thus it is difficult to imagine how a reader will come away from their experience with a better understanding of this diverse profession.



3. It's a history lesson, a technical lesson, poetry, reminiscent, nostalgic, bittersweet, and poignant. Funny, realistic, and lots of footnotes - it's clear he's done his homework! I learned a lot, and enjoyed it thoroughly.
   
   A great read - I learned about some of the technical work, and some history and even learned about other countries, and I didn't even realize I was learning - my favorite kind of book.
   The pictures were awesome.



4. This book is not about the technical aspects of demolition or the politics between the players of the industry. It is masterfully researched and documented by 41 pages of reference notes. It is written with matchless wit combined with seriousness and compassion. It touches on all aspects of "unbuilding" which has existed for many centuries. It goes through the early use of pick axe, the wrecking ball, ever-present dynamite to recent "deconstructing" by hand to recycle for future use every possible piece of lumber, brick and fixture. More important, it explains all the reasons why demolition does and has occurred. Some seem valid and others are simply sad. In many ways we cannot blame the demolitionists as they are often reacting to obsolescence created by government, greed by land barons, buildings that were built with a particular life span, or the new fields of play for the demolitionists such as nuclear plant obsolescence and urban asphalt removed to make way for urban living. In short, "it goes to the heart of the scientific, social, economic, and personal meaning of how (and why) we unbuild our world."



5. As one who is fascinated with the old, I thoroughly enjoyed this thought provoking expose about the place "unbuilding" has played in our past and its role in our future. I especially appreciated learning about the role demolition played in the Paris cityscape. I will see Paris in a whole different light the next time I amble through her streets. Very witty examination of an "art" that we see and hear about, but have not delved into either its colorful and varied history or its current affect onour landscape.

No comments about Barry's Introduction to Construction of Buildings.

No comments about Structural Analysis of Historic Buildings: Restoration, Preservation, and Adaptive Reuse Applications for Architects and Engineers.

1 comments about Project Management: Principles and Practices.

1. If you are an owner of or a project manager for a construction company and you want to know how to manage and schedule construction projects, this book is for you.
   
   In just a few hours, this book will teach you the basic process of project management. It can be very useful to have this basic understanding before you try to manage or schedule a construction project.

No comments about Building Services Handbook, Fourth Edition: Incorporating Current Building & Construction Regulations (Building Services Handbook) (Building Services Handbook).

No comments about Dramatic Faux Finishes.

1 comments about Prefab: Adaptable, Modular, Dismountable, Light, Mobile Architecture.

1. As a consumer and soon-to-be first-time homeowner, I borrowed PREFAB: ADAPTABLE, MODULAR, DISMOUNTABLE, LIGHT, MOBILE ARCHITECTURE, by Alejandro Bahamon, from my local library, in hopes of learning more about prefabricated/modular homes.
   
   Although the book's Amazon listing implies that PREFAB is a useful guide for individuals looking to build a prefabricated home ("PreFab will prove to become the definitive reference for architects, contractors, homeowners, and anyone else interested in creating a prefabricated structure"), the author doesn't really offer any practical advice for consumers who are considering building a modular home. Rather, PREFAB seems as if it's geared more towards art or architecture students - it features a number of unusual and/or experimental prefab projects, many of which are NOT single-family dwellings. Some of the modular buildings profiled in PREFAB include bus dwellings, small office buildings, studios, visitor centers, apartment buildings, and pedestrian bridges. Those buildings that are meant as single-family dwellings are highly customized, with little general appeal: cliff houses, tree houses, tiny, 200-square-foot homes, even a "floating island"! Thus, I definitely would NOT recommend this book to the average consumer, who's just looking for practical, real-world information on modular construction.
   
   Although I picked up PREFAB expecting something totally different, it would be unfair to give the book a negative review just because it was not what I anticipated. Yet, even as an art/architecture book, PREFAB is fraught with a number of problems. The book was originally written in Spanish (I assume, given the author's name), and translated into English by Bill Bain. Consequently, the text is absolutely atrocious. I don't know if this is the author's, translator's, editor's, or publisher's fault (or some combination thereof), but the book is almost unreadable! There are a number of grammatical, punctuation, and even spelling errors. Sentences run on and on, and many don't even make any sense at all!
   
   Some examples, taken word-for-word, typos left as-is:
   
   "The Yardbird prototype was constructed in Charlottesville, Virginia, USA, where the client and the architect shared common go a is with regerd to the region's landscape, which to a part of the neoclassical architectural legacy of Thomas Jefferson and the developmental center of modern architecture during the first decades of the twentieth century."
   
   "The Studio couldn't be simpler in its desingn. It is a room some 64.5 by 37.5 square feet elevated by raw steel columns a small building is based on standard dimensions and prefabricated building materials."
   
   Huh!?
   
   As if the writing isn't hard enough to read, most of the text is white, printed on a black background. It literally jumps out at the reader in a migraine-inducing optical illusion!
   
   This design issue is particularly puzzling, as the rest of the book is aesthetically pleasing. PREFAB is filled to the brim with color pictures, floor plans, and elevations of the various projects featured within its covers. Many of the buildings are simply breathtaking; even the ones that are bare and minimalist have unique and unusual qualities that make them interesting to the senses, if nothing else.
   
   Unfortunately, the text that accompanies the pictures is sub par (and that's putting it nicely!). I suspect that this is mainly due to the English translation and editing as opposed to sloppiness on the author's part. If you're an architecture student or aficionado who speaks fluent Spanish, try to find a copy of PREFAB in its native language. On the other hand, if you don't speak Spanish or are a consumer looking for practical advice on prefab/modular home construction, steer clear of this book - it will offend both your wallet and your senses!
   
   - Kelly Garbato