typographical masterpiece." Like similar catalogues, it is inexpensive, provides an inventory list, has an introduction, functions as a guide, and is illustrated. However, the majority of its images are of installations, not their contents. Bayer accommodates the catalogue type for applied arts exhibitions by listing installations as objects, but he confronts the type by showing installations as display contexts that establish points of view, emulating, idealizing and interpreting the experience of the exhibition. By independently constructing ways of seeing and understanding the exhibition, the catalogue resists being an appendage to the exhibition, despite their close relationship. Giedion may have viewed Bayer's catalogue as an important but secondary work of graphic design, but this article argues that it is of primary significance as an exhibition catalogue, an unusual essay on the book typology that is conscious of its history while moving outside-to other types of book design and to exhibitions-to transform it.

Sigfried Giedion called Herbert Bayer’s exhibition catalogue for the 1930 Section Allemande a “minor typographical masterpiece.” Like similar catalogues, it is inexpensive, provides an inventory list, has an introduction, functions as a guide, and is illustrated. However, the majority of its images are of installations, not their contents. Bayer accommodates the catalogue type for applied arts exhibitions by listing installations as objects, but he confronts the type by showing installations as display contexts that establish points of view, emulating, idealizing and interpreting the experience of the exhibition. By independently constructing ways of seeing and understanding the exhibition, the catalogue resists being an appendage to the exhibition, despite their close relationship. Giedion may have viewed Bayer’s catalogue as an important but secondary work of graphic design, but this article argues that it is of primary significance as an exhibition catalogue, an unusual essay on ...

Using a patented defect avoidance technique, high yield production of high density SRAM devices (ULSI SRAMs) can be achieved one process generation ahead of the rest of the industry. Production wafer yields as high as 100% and long-term average yields above 80% are reported on Inova's monolithic, 1.2μ, 320 square mm, one megabit SRAM demonstrating a practical method of achieving wafer scale integration. A yield model is presented and used to determine the optimized architecture and redundancy scheme for Inova's four megabit SRAM and to predict yield as a function of defect density. Achievement of a working 8M-bit experimental device using a 1.2μ process is also reported.

Point of Departure:

Seeking collaborative research opportunities across the University of Kentucky campus, our team formed to focus on local issues with broader impact. The College of Design School of Architecture, the Center for Applied Energy Research, and the Office of Sustainability coalesced around an idea - explore sustainable issues through the design of a single solar-powered transit shelter. However, a single shelter seemed like a missed opportunity; this was our Point of Departure.

We needed to reimagine our urban campus through a strategic acupuncture-a series of interactive, networked, didactic, and iconic structures. Transit shelters are ideally located along major public thoroughfares at the edge of campus, maximizing their outward visibility, engagement, and potential impact. A typical shelter has a singular function: a place to wait for buses. They are designed for this purpose with no regard to context. A soulless kit of parts whose banal design regresses from the environment and amplifies what can be a poor transit experience. To add value to this experience we must change the user's perception by jolting them out of everyday rituals, making one present and consciously aware of their context. Once users are immersed, the shelter becomes a gateway to an educational experience about how small things can make a big difference.

In architectural education, a gap exists between academia and professional practice. It causes friction but can also productive, providing space for academic experimentation to push the profession forward, free from day-to-day constraints. Parametric tools and direct-to-fabrication processes are increasing control, speed, and variation while informing architectural solutions – simultaneously revolutionizing both environments. While tools can help bridge the gap, we cannot simply teach their application to smooth the professional transition - we must teach future architects to critically analyze the what, why and how they produce.

A re-alignment is already taking place. The academic environment leverages manufacturing processes daily, while in practice, the digital model is beginning to drive constructed reality. Many students graduate discovering they have immediate but specialized value, experts in advanced tools. As both environments evolve, the academy has a responsibility to prepare students for critical practice beyond tools. They must be taught to leverage technology to rapidly iterate, evaluate, and synthesize solutions; adapting them within a fluid feedback-loop of making and discovery.

Tools are commonly taught in ways that reinforce perceived divisions between formal innovation (academy) and integrated modeling (practice). Semester constraints and limited resources add friction, while content delivery and curricular integration are also implicated. I address these issues in my studios via an exercise titled “Disruptive Continuity,” forming the foundation of each studio’s project.  It encourages students to develop abstract formal/spatial intelligence and an open-ended process to resolve increasingly complex problems. It’s a process tested reflexively in my own award-winning practice. 3D printing is introduced, requiring students to see the design model as constructed reality, shifting production from purely representation to address material constraints, tolerance, and poché as performative territory. Form is consequential, understood as conceptual and precise. The shape of matter and the ability to control its construction lead to new spatial possibilities and geometrically embedded intelligence within the model that drives it. One of multiple manifold issues in a complex web of interactions - parametric thinking before parametric tools.

New tools and workflows are layered into the exercise where students learn to operate strategically within an ambiguous set of requirements - analyzing their own initial production within broader conceptual, organizational and aesthetic goals. Issues are now understood within a field of relationships where the architect controls specificity at both macro- and micro-interactions, primed to seek out novel combinations to manifest win-win solutions. Here, the student’s individual design decisions are focused on maximizing the problem seeking/solving opportunities, increasing their overall design coherence while revealing horizons beyond form. Students incorporate potentials as they are serendipitously discovered, maximizing each individual’s ability to see errors, glitches, and miscalculations as opportunities for investigation. Informed by knowledge gained via iterative feedback loops, intuition is valued and foregrounded, engendering more reasoned and nuanced solutions as the project develops. All these issues facilitate an introduction to a scalable, strategic, design pedagogy that maintains a productive gap from day-to-day constraints while increasing the student’s ability to become nimble, strategic thought-leaders in practice.

Focused on design process, the installation uses recent work to reveal methodologies employed in practice and teaching. The anthropocene is spatialized using 3d printed models, images, drawings, and flipbooks - individual artifacts that collectively reveal influence and their transformations through translation.