Pop-Up Architecture Libraries

Robert Adams, Associate Director of the Library, Boston Architectural College
Dana Sly, Instruction Librarian, Boston Architectural College
Amy Trendler, Architecture Librarian, Ball State University Libraries

Why a Pop-Up Library?
The flexible content and format of the pop-up library make it adaptable to many different purposes and situations, and for the Boston Architectural College (BAC) Library and the Architecture Library at Ball State University the pop-up has proven to be a great way of reaching out to those in the schools’ practice-based studio programs. By taking the library to where students and faculty members are, the pop-up library helps reach groups that may not be regularly visiting the architecture library in its home space or making use of the library’s collections and services.

Ball State and BAC Pop-ups
(Clockwise from top photo): the Ball State University Architecture Library’s pop-up library in the building’s busy atrium; BAC students browsing the mobile library cart in their studio; BAC Librarian Robert Adams talks with a professor about the mobile library; Ball State Librarian Amy Trendler (in blue) at the Architecture Library pop-up at PARK(ing) Day 2017; BAC Librarian Dana Sly and the mobile library at the lecture on prison architecture.

Where Does the Library Pop Up?
Inspired by projects in other art and architecture libraries including a pop-up library at the Alfred R. Goldstein Library at the Ringling College of Art & Design, the summer studio mobile library at the Frances Loeb Library at the Harvard Graduate School of Design, and the in-studio reserves from the Architecture Library at the University of Maryland, the libraries at the BAC and Ball State have been popping up in studios, classrooms, busy public spaces, and special events. These have included:

  • Studios. Each semester, the BAC hosts a “studio lottery” for incoming, advanced-level architecture students. Faculty give brief presentations on the different thesis topics to be offered that semester, and students rank their top studio choices. Students are then assigned to a topic through a lottery system. Librarians attend these studio lotteries with a mobile library and make note of the various project topics offered in each studio. This gives students and faculty the opportunity to browse a portion of the library’s collection and allows the librarians to incorporate the knowledge of studio topics into collection development and information literacy strategies. Librarians and faculty also discuss how the library may support each studio and make plans for individual studio pop-ups.
  • Classrooms. The Architecture Library at Ball State popped up in an architecture seminar class where students had been tasked with finding books on their group topics to use in presentations. While students browsed the cart and the instructor spoke with students who had questions about the assignment, the librarian made an effort to talk with each group to see if they were finding what they needed on the cart or to suggest ways to find other books on their topic.
  • Busy public spaces. In the Architecture Building at Ball State, the pop-up library has been appearing in the building’s atrium during the lunch hour before the college’s studio classes start. Students and faculty members coming and going from lunch are encouraged to browse the new books or stop by to look at books selected to fit with an array of ongoing studio projects.
  • Special events. The BAC Library hosted a pop-up library during the school’s last National Architectural Accrediting Board (NAAB) accreditation visit. The NAAB visiting team members were very impressed with both the selection of items on display from the collection and the idea of the pop-up library itself. The BAC librarians also recently attended a lecture on prison design at the school. They created a hybrid pop-up library that combined both circulating collection and special collections material. This mobile library visit featured the library’s 1761 Carceri d’invenzione by Giovanni Battista Piranesi displayed on the top tier of the cart, with circulating material on the shelves below.

What Makes the Pop-up Library Work?
Pop-up or mobile libraries are customizable to suit the needs of a particular situation or event. There are, however, a few general guidelines that we follow in order to make the mobile libraries functional.

  • Selection. First, we compile a list of relevant titles suited to the subject, audience, and desired purpose of the pop-up event in question. The subjects and audiences will, of course, vary each time the mobile library is assembled. For instance, book lists compiled for class visits at the BAC often feature duplicates of titles placed on reserve for that class and additional items relevant to that class’s theme or focus. Many courses in the design field are organized around several case studies – and so, when pulling materials for the mobile cart, we aim to collect information relevant to those specific projects.
  • Collaboration. The pop-up library can be an opportunity to collaborate with instructors and students. Meeting or corresponding with an instructor or affiliate group (such as student government) before bringing a mobile library to the classroom allows for both library and faculty to request and recommend materials that suit the interests and projects of students. In addition to incorporating titles requested by faculty, this collaboration also provides librarians with the opportunity to recommend materials that might not be on the instructor or affiliate group’s radar. At the BAC, several times a faculty member has also checked out a book from the mobile cart and remarked on the scope of the cart’s (and the library’s) collection of compiled resources.
  • Checkout. Once items are selected for the cart, they are checked out to an administrative library account. This may be a user account specifically designed for the pop-up, or it may be the individual account of the librarian (or librarians) conducting the pop-up. By charging each item out to the librarian, it marks the materials as unavailable to those who may be in the library at the time of the pop-up, and makes note of the book’s use for circulation statistics.
  • Display and transportation. Items are then arranged on a rolling library cart in an attractive display. A visually appealing display is one that draws attention to the cart, is lush enough to encourage browsing, but one that is not overcrowded or overwhelming. Depending on the scenario, you may wish to select between a one- or two-sided cart. A two-sided cart allows for students to circulate the entire cart and maximizes the number of students who may use the cart at once. If periodicals or narrower, less structured materials are featured on the cart, however, a one-sided cart may be more appropriate and provide more stability. At Ball State, the library has acquired two tall AV carts that can display many books or magazines on book easels.
    Carts for Pop-ups
    (Clockwise from top right): Mobile library on architecture and the Olympics for a studio at the BAC; BAC Library pop-up for a guest lecture on prison architecture; Ball State Architecture Library pop-up for a studio on housing in a small Midwestern city.

    *   It is important to consider the intent of a pop-up in the design of your cart. When planning a mobile library for a public area, such as the Ball State Architecture Library’s biweekly atrium pop-ups, a table or several carts allow for a more spread out display. It may be also important to visit the space ahead of time. Visualizing how the pop-up will occupy the space will help determine the size of your display and the number of carts or tables.
    *   It may be that your library pop-up is occurring in a separate building, or in a space that requires the cart to travel a farther distance than a simple ride on the elevator or stroll down the hall. In these cases, you may wish to pack your books and display material and assemble the cart on site for safety and ease of transit. A cart with sturdy wheels is a must when moving between buildings. Never turn down an extra set of hands to help navigate obstacles with the cart!

  • Mobile checkout. Finally, a pop-up library needs some method of checking materials out to patrons. If technology permits, some may like to include a laptop loaded with your ILS software and a mobile scanner. However, a simple notepad and pen will suffice. When patrons wish to check out an item, the librarian makes note of their library barcode number and the barcodes of the materials they wish to check out.
  • After the pop-up. Once the library cart returns to the library, items are charged to the patrons who checked out materials during the pop-up. Then, any remaining material is discharged and the library account double-checked to make sure that all materials have been accounted for.
  • Giveaways. For the Ball State Architecture Library’s pop-ups in the atrium at lunch time, the primary goal is outreach and visibility. In addition to providing a selection of books for checkout, the pop-up often features giveaways ranging from the Architecture Library’s coloring bookmarks (with library hours and contact information on the back) or candy to university library-branded water bottles and pens. Mobile libraries at the Boston Architectural College have featured giveaways of a different sort. After noting that periodical circulation had significantly decreased, the librarians brought a selection of free, duplicate copies of library periodicals down to the ground floor of the main building during a new student welcome week event. These duplicates were given away to students for free while the librarians spoke with students about the library’s periodical collections available for use.

Where Will the Library Pop Up Next?
The flexible content and format of the pop-up library make it adaptable to many different purposes and situations, and the librarians at the BAC and the Architecture Library at Ball State have plans for more pop-ups that capitalize on variations in timing, location, or collaborations.

  • In terms of timing, special events such as guest lectures, welcome week, and finals week all lend themselves to different kinds of pop-ups focused on a subject, new or interesting materials, and stress-relievers or last-minute project needs. The Architecture Library at Ball State already has plans for a pop-up library at finals time that will feature various relaxing activities such as flipping through a design magazine and time-saving items available for checkout such as phone chargers and flash drives.
  • Locations elsewhere in the building or across campus offer another kind of opportunity. In the six-story BAC building the elevator bank is the perfect location for a mobile library that will take advantage of students’ and faculty members’ wait times and turn it into library material browsing time.
  • Collaborations are planned with academic departments at the BAC and with student organizations at both schools. The BAC librarians plan to bring the mobile library to the college’s biweekly departmental curriculum meetings. This will allow the librarians to showcase new and relevant books to deans and faculty. They also plan to bring new books to the college’s monthly All Staff meeting in order to reach out to employees outside the education department, who may not realize that the library supports them as well. Pop-ups coordinated with student groups’ events such as PARK(ing) Day and student organizations’ fundraiser sales are in the works at both libraries.

Finally, pop-up libraries are due to pop up in assessment, although we are still working out the details on what this will look like. In our experience, the value of the pop-up goes beyond strictly quantifiable numbers such as the items checked out, and it doesn’t fall neatly into the kinds of statistics kept at a reference desk. Anecdotally, instructors at the BAC have reported that students have gotten better grades on their projects after a visit from the mobile library. The trick is to capture such observations in a meaningful way. Ideally, we can demonstrate through assessment what we have observed in practice. Namely that the pop-up or mobile library is a successful outreach tool for architecture libraries.

A Visit to London: Attending ARLIS UK & Ireland

Rebecca Price
Architecture, Urban Planning & Visual Resources Librarian, University of Michigan

Thames View
River Thames View

It is with great delight that I report on my recent trip to London, England. I feel fortunate to have been able both to attend the ARLIS UK & Ireland conference and to extend my stay so that I could visit a number of architecture and design libraries.

Though marked by uncharacteristically sweltering heat and dry weather, my visit was tremendously productive and meaningful in that I visited several architecture libraries and talked with their librarians. I am very grateful to support from the Kress Foundation as well as supplemental professional development funds from the University of Michigan Library making the trip possible.

Digital Fabrication at The Building Centre

The conference (July 26-27) offered two full days of programming and a day of tours of selected London libraries. I found the presentations interesting, inspiring, and highly relevant to my work. Some personal favorites were a session on the use of Special Collections to support creativity and critical thinking in the studio as well as the classroom. It was a lesson in using eccentric objects and deliberately odd experiences to provide the unexpected for students. In addition, there were several presentations on artist’s books and their value in highlighting current issues and social themes, as well as in providing meaningful hands-on learning experiences. I presented on the use and value of materials collections and happily heard several other papers offering new perspectives and experiences related to materials collections.

Materials at Central St. Martin’s, London

Four keynote speakers spoke over the two days.  With keen insight and humor, they brought new points of view challenging our norms of practice and thought. They each spoke to broader issues of librarianship, particularly in arts or special libraries. Each one challenged us to reconsider our definitions of the typical librarian, the typical library user, and the typical library. I was particularly impressed by how their words asked us to think about how our teaching methodologies and collection practices can lead to silences and excluded voices.

On the Saturday after the sessions, the organizers offered an optional tour day. I participated in two museum library tours; the National Gallery Library and the Tate Britain Library. It was truly special to be able to walk through their library collections and archives in spaces that only their library and curatorial staff can access. Particularly fascinating in the Tate Britain Archives was a model ship used by Turner in many of his seascapes and depictions of sea battles.  Everyone was exceedingly generous with their time and knowledge.

Turner’s Ship Model, Tate Britain
Turner Seascape, Tate Britain

 

 

 

 

 

 

A high point of the trip was being able to take the time to visit six art/architecture libraries. I pre-arranged meetings with each of the art and architecture librarians. Highlights were touring collections and spaces, and talking with librarians and staff at the Architectural Association, the Bartlett at University College London, the Royal College of Art, Central St. Martin’s College of Art & Design, Ravensbourne University, and RIBA.

RIBA Collections, London

They graciously took the time to meet with me and talk about their libraries. It was especially inspiring to learn from them, to see their collections, and to discover the challenges that we share and those that are different.

The biggest take-away for me was realizing the surprising similarities in the work of the arts librarian in the UK and the arts librarian in North America.

Interactive Visitor Art, Tate Modern, London

In addition, I visited a few materials collections, twelve museums, and two historic houses.  I chose to visit several museums focused on art and design (The Design Museum, The Fashion and Textile Museum, The Tate Modern and Tate Britain, The V&A, The National Gallery, Sir John Soane’s Museum) and some focused more on the social history of the city (The Museum of London, The Museum of London Docklands, The Transport Museum, The Foundling Museum, and The Tower of London).

Design Museum London, Words

And there were the fun hours walking through the neighborhoods and parks of London.

Attending the ARLIS UK & Ireland conference gave me the opportunity to talk with and hear from numerous international colleagues and to gain a much deeper understanding of their work. If any of you are given the opportunity to attend in the future, I highly recommend it. And as librarians visit us from other countries, I hope that we open our collections to them as generously as was done for me.

Digitizing the F. Blair Reeves Papers

Jessica Aberle
Architecture and Fine Arts Library, University of Florida

PIN Sign
PIN (Preservation Institute Nantucket), Univ of Florida

In the spring of 2017, Professor Morris Hylton III, the Program Director for Historic Preservation at the University of Florida, approached the George A. Smathers Libraries with a proposal to digitize material related to the Preservation Institute Nantucket(PIN), which will celebrate its fiftieth year in 2022.  PIN was founded in 1972 by F. Blair Reeves, a faculty member in the School of Architecture at the University of Florida, in partnership with Walter Beinecke, Jr.

The F. Blair Reeves Papers in the Architecture Archives include correspondence, grant proposals, course material, and photographs that all document the foundation, history, and culture of the early years of PIN. In order to make this material accessible through digitization, we applied to the Strategic Opportunities Grant Program (SOP), which is internally funded by the Smathers Libraries. Through this program, the team (which included faculty and staff from the Department of Special and Area Studies Collections, Preservation, and Digital Production Services) was able to secure funds to digitize roughly 6,000 pages from the F. Blair Reeves Papers and to document related PIN material held in other collections and sometimes, offices.

Nantucket, Oldest House
Oldest House, Nantucket, 1686

During July of 2017, I traveled to Nantucket (escaping the Florida heat for a few days) to visit the Research Library of the Nantucket Historical Association(NHA) and the PIN Studios. The NHA is one of the official repositories for PIN material which includes the PIN Archives, student reports, and Historic Structure Reports. I took a rough estimate of the materials that had accumulated in the PIN Studio in Sherburne Hall over the years. This material included student reports, exhibit material, posters, program files, working drawings, and the wooden signs that the students created every summer for the PIN studio. I was only able to document the various formats and take a rough estimate of the quantity of material during my brief visit. Full documentation will have to await the transfer of materials to the Architecture Archives at the University of Florida. Whenever the PIN Studio and the Research Library was closed, I took the opportunity to see as much of Nantucket as possible!

Nantucket Old Mill
Old Mill, Nantucket, 1746

In the fall of 2017 Digital Production Services began digitizing the materials selected from F. Blair Reeves Papers. In the end, they scanned 6,315 pages of material and digitized several audio files. The grant also allowed us to fund a graduate student research assistant who documented the materials that had accumulated in the current PIN offices at the University of Florida. Our research assistant worked both fall and spring semesters to organize and document twelve boxes of archival material that were transferred to the Architecture Archives this past spring. He documented the dates, significant people associated with the materials, format, quantity, and a brief description, which will aid in the creation of a finding aid for the collection. I was also able to identify additional collections here at UF that contain PIN material including oral histories and student work.

The project funded by the SOP grant is just now wrapping up. Our priority moving forward is to continue to digitize PIN material locally from some of the newly identified collections.

For those interested in PIN, you can learn about its early history through the F. Blair Reeves Papers. The digitized material is available in the University of Florida Digital Collections: http://ufdc.ufl.edu/pin. We will continue to add material over the next few weeks, so please do check back. If you would like to know more about either PIN or the newly launched Preservation Institute St. Augustine (PISA), information can be found on the website for the Historic Preservation Program in the College of Design, Construction, and Planning at the University of Florida.

Assessing Competencies in Architecture and Architectural History Studies

Alan Michelson
Head, Built Environments Library, University of Washington, Seattle

This February at the 2018 ARLIS/NA Conference in New York, James Sobczak and I presented our information competencies for the fields of architecture and architectural history. We received some excellent feedback there from the discussion group that was convened. Interested in expanding some of the ideas brought up there, we attended the annual conference of the Association of Architecture School Librarians in Denver, to discuss the idea of coordinating a nationwide effort to study the goals of educators in these two fields and to survey recent graduates to see if they felt they were getting skills that they needed in the workplace. With this perspective on what educators are seeking to teach and what students say that they need, we are hoping to develop data that can assist architecture school librarians with developing effective information literacy strategies. At the very least, we are hoping to understand what key courses should be targeted with greater levels of cooperative teaching from librarians. In this way, our limited time could be spent most efficiently.

Drafting Class at Armstrong Technical HS, Washington, D.C., 1942, Marjory Collins, photographer. Library of Congress Collections (Digital ID fsa 8d20247 //hdl.loc.gov/loc.pnp/fsa.8d20247)

Since that time, we have been in contact with a small group of volunteers to consider next steps in this long-term project. We have discussed implementing several features in our research methodology. These steps would include initial collection of data–syllabi, departmental outlines of curricula, accreditation reports, and other written statements of purpose by departmental leaders–about the courses currently taught in architecture and architectural history. An initial study period of this departmental data seems fundamental to familiarizing ourselves about the overall curricular structure, areas of pedagogical focus, and the approaches of individual instructors.

James Sobczak has developed a survey instrument for students who’ve graduated, either at the undergraduate or graduate levels. This survey focuses on skills that young professionals got while in school, and to ask if they saw any deficiencies in their training. Additionally, surveys could be prepared to query incoming graduate students about skills that they hoped to obtain while earning their degrees.

Contact me (alanmich@u.washington.edu) if you’re interested in participating.

New Research Guide for Getty Research Library’s Architecture and Design Collections

Model of Walt Disney Concert Hall, Los Angeles, California, Frank Gehry, 2003. Frank Gehry Papers. The Getty Research Institute. © Frank O. Gehry
Model of Walt Disney Concert Hall, Los Angeles, California, Frank Gehry, 2003. Frank Gehry Papers. The Getty Research Institute. © Frank O. Gehry

By Aimee Lind, Getty Research Library

For scholars, researchers, and fans of architecture and design, a new research guide is available that provides an introduction to the Getty Research Library’s substantial archival holdings on this topic.

The architecture and design collections of the Getty Research Library include a vast array of materials related to architecture and design. These diverse resources reveal the complex dimensions of the design process, from initial sketches and study models to evocative final renderings, detailed construction drawings, and published promotional photographs. The collection’s extensive archival materials include letters, notebooks, audiovisual materials and ephemera that outline the evolving themes and issues of architectural discourse. International holdings date from 1500 to the present, with concentrations in 19th- and 20th-century avant-garde movements and mid-20th-century modernism.

Highlights of the collection include the archives of progressive Southern California architects Frank Gehry, Pierre Koenig, John Lautner, Ray Kappe, Frank Israel, and William Krisel; international projects by Coop Himmelb(l)au, Peter Eisenman, Yona Friedman, Zaha Hadid, Philip Johnson, Daniel Libeskind, Aldo Rossi, Bernard Rudofsky, Lebbeus Woods, and Frank Lloyd Wright; the influential architectural photography of Julius Shulman and Lucien Hervé; and the papers of Reyner Banham, Ada Louise Huxtable, and Nikolaus Pevsner.

The Architecture & Design Collections Research Guide was created with the aim of assembling these resources in one place, making the breadth and depth of the GRI’s holdings in these subject areas easier to grasp and research simpler to undertake. The Research Guide is a work in progress. Though it is not designed to be comprehensive, an attempt has been made to include all major archival collections as well as individual materials connected to important figures.

The Architecture & Design Collections Research Guide is divided into the following sections:

Welcome & Getting Started serves as an introduction to our library, our holdings, as well as key points regarding access.

Papers of Architects & Designers is an alphabetical list of architects and designers represented in our archival collections, complete with holdings summaries and links to the Primo record.

Papers of Architectural Critics & Historians is an alphabetical list of architectural critics and historians represented in our archival collections, complete with holdings summaries and links to the Primo record.

Architectural Photography Archives is an alphabetical list of photographers of the built environment represented in our archival collections, complete with holdings summaries and links to the Primo record.

Notable Southern California Modernism Collections gathers the Getty’s notable holdings in Southern California Modernism into one page, with links to both the Primo record and the full collection Finding Aids.

California Architecture Collections Search Portal is a custom search that only returns records with the terms “architect*” (architecture, architect, architectural, etc.) and “ca*” (California, Calif., CA, etc.) in subject headings, thereby streamlining the search process and bringing back only results that are highly relevant to the architects and architecture of California.

Bauhaus Resources gathers the Getty’s important Bauhaus holdings into one page, complete with holdings summaries and links to the Primo record. As 2019 marks the centenary of the founding of the school, these resources are sure to be in great demand.

Other Collections of Note include papers representing significant schools, movements, meetings, exhibitions, and competitions.

Related Past Exhibitions provides links to past Getty exhibitions that focused on architecture and design themes.

Researching an Architect and Researching a Building contain links to online guides, directories, encyclopedias, and databases that can be accessed from anywhere without a subscription as well as links to key Getty subscription databases that are particularly useful for those researching the built environment.

We hope you will make use of this Research Guide and we welcome suggestions for how we can make it better!

 

Architecture Section Updates to ARLIS/NA Website

By Aimee Lind, Getty Research Library

All known architecture-related ARLIS/NA sessions through 2017 are now listed on the ARLIS/NA Website’s Architecture Section pages, with links to the presentations themselves where available.

Thanks to Rebecca Price for doing the legwork on this and to Mark Pompelia for updating the website. It’s so nice to have these all in one place in order to see all of the important & brilliant work our colleagues are doing! If you know of a session that is not included, please contact me at alind@getty.edu or comment below and I will make sure it is added.

“Memoir of a City”: The Ryerson & Burnham Archives Celebrate the David Garrard Lowe Collection

Autumn Mather
Ryerson & Burnham Libraries, Art Institute of Chicago

In 2016, historian David Garrard Lowe, author of Lost Chicago, donated a collection of approximately 1,100 photographs and ephemeral items, ranging in date from the 1880s to the 1980s, to the Ryerson & Burnham Archives of the Art Institute of Chicago. The collection currently is in the process of being digitized, and a selection of materials is on display through June 15 in an exhibition in the Ryerson & Burnham Libraries’ Franke Reading Room.

Nathaniel Parks, Tigerman McCurry Art and Architecture Archivist, curated “Memoir of a City”: Selections from the David Garrard Lowe Historic Chicago Photograph Collection, to highlight Lowe’s generous gift. Lost Chicago, originally published in 1975, was both a love letter to the city and an impassioned plea for preservation of Chicago’s unique architecture. Lowe, a third-generation Chicagoan, begins the work “Chicago was always, for me, a magical city,” and proceeds to present images of long-vanished structures that defined the city alongside captions on their significance, making locations such as Bertha Palmer’s picture gallery, Dwight L. Moody’s Tabernacle, Crosby’s Opera House, and the Sherman House hotel come alive for the reader.

Henry Ives Cobb’s Federal Building: US Post Office, Courthouse, and Customhouse, completed 1905; demolished 1965, photo courtesy of the Ryerson & Burnham Archives, Art Institute of Chicago
Henry Ives Cobb’s Federal Building: US Post Office, Courthouse, and Customhouse, completed 1905; demolished 1965, photo courtesy of the Ryerson & Burnham Archives, Art Institute of Chicago

The exhibition follows the table of contents in Lost Chicago, organizing the cases thematically around pre-Fire Chicago; culture and recreation in the city; residential architecture; transportation and infrastructure; government and commercial architecture; the 1893 and 1933 World’s Fairs; and significant Chicago people and events. Viewers can explore Pullman Town, the White City of the World’s Columbian Exposition of 1893, and Frank Lloyd Wright’s Francis apartments, and reminisce about civic structures such as Comiskey Park (“the baseball palace of the world”), the Trianon Ballroom, and Central Station. In addition to photographs, some of which have not been previously published, the exhibition features playing cards from the Century of Progress International Exposition, menus, postcards, souvenir photo books, news clippings, and both the design and advertisement for “a modern Christmas tree” that may have inspired Irving Berlin’s song, White Christmas. This representative selection of materials demonstrates both the variety of evocative materials in the David Garrard Lowe collection, and the variety of research questions that can be explored through this compilation of primary source materials.

Design for a “Modern Christmas Tree,” 1930, photo courtesy of the Ryerson & Burnham Archives, Art Institute of Chicago.
Design for a “Modern Christmas Tree,” 1930, photo courtesy of the Ryerson & Burnham Archives, Art Institute of Chicago.

The Ryerson and Burnham Archives are a fitting home for this significant collection. The David Garrard Lowe collection will be accessible alongside the papers of Chicago architects such as Daniel Hudson Burnham, Louis Sullivan, and Bertrand Goldberg; historic preservationists such as Richard Nickel and John Garrett Thorpe; and collections such as the Chicagoland Building Brochure collection and the World’s Columbian Exposition Photographs by C. D. Arnold. Once the Lowe materials have been digitized, they will join the more than 500,000 items available freely online in the Ryerson & Burnham Archives’ digital collections.

If you’re planning to visit to view the exhibition, please join us for a conversation with David Garrard Lowe, “Lost Chicago”—The Past, Present, and Future of Historic Preservation, in the Morton Auditorium at 6:00 on May 24. Lowe will be joined by author and former Art Institute of Chicago curator John Zukowsky; Founding Partner and Design Principal of the architecture, interiors, and urban planning firm UrbanWorks, Patricia Saldaña Natke FAIA; and School of the Art Institute professor and former director of research for the city’s Department of Planning and Development Historic Preservation Division, Terry Tatum, for a lively discussion on the history and future of historic preservation in Chicago’s rich architectural environment. He will also discuss his landmark book Lost Chicago, and his recent gift to the Ryerson and Burnham Libraries.

Viewers enjoying the exhibition in the Ryerson & Burnham Libraries,  photo by Autumn Mather.
Viewers enjoying the exhibition in the Ryerson & Burnham Libraries,
photo by Autumn Mather.

 

Using a book kiosk to establish a connection between the Library and Design Studio

Cindy Frank
Architecture Library, University of Maryland

The University of Maryland’s graduate architecture program starts off with the Integrated Design Studio. Students often work on the same building for the entire semester, and they meet with mechanical and structural engineers as well as their studio critic. Materials and construction methods must be understood, and included in the design of the building. This is an intensive, immersive course, with a co-requisite of the structures course. It also comes with a significant recommended reading list, that includes reference materials, precedent studies, certain architects monographs and current articles on newest building technologies.

Approximately six years ago, the previous architecture librarian and the professor of the studio tried an experiment. What if the books for this specific course were placed in the studio to be available for the students the entire semester? Most architecture firms have working libraries as an integral part of their office. This would be another way to mimic the professional experience. In this case, the library is somewhat portable – a double-sided bookshelf on wheels, known as a kiosk, became the shelving system of choice for the studio. They are 49 inches tall, 25 inches wide, and 39 inches long with 3 shelves on each side.

My predecessor did the hard part, getting permission to send books out of the library, and getting the metadata staff to add categories to ALEPH – our catalog and circulation system. Then she ordered and assembled the kiosks. The books are treated like any other set of books put on reserve for a class, but instead of residing on a shelf in the library, they reside on a kiosk in the studio area.

The professor submits a list of books through the course reserves module of Canvas, our Enterprise Learning Management System. The Libraries use a system called ARES to manage course reserves. Within ARES, we can look up a book, get its call number, determine which library it is in, and print slips with the call number and course number on them. My student workers take the stack of slips and pull the books from the shelves in the architecture library. I order any new books, and recall books that reside in other libraries on campus. To put the books on reserve for the studio course, the collection is changed and the item status is changed. The collection is temporarily changed from general collection to SKISK, where SKISK means studio kiosk. This location code had to be added to the Library catalog and circulation system. The item status goes from regular to non-circulating. With these two changes, if the book ends up in the book drop or found somewhere, and we scan its barcode, it is immediately identified as a studio kiosk book, and gets placed back on the kiosk. We also place a ‘course reserves’ sticker on the spine of all course reserves books, so there is some visual identification, but these stickers tend to fall off over the course of the semester.

One the first day of class, the kiosk is rolled downstairs to the studio, and parked in a somewhat central location for the students. The main concern about this system was the security of the books. However, this is a graduate level studio with students who are used to the studio culture. The building itself is locked at 10 PM, and you need to be a student within the School of Architecture, Planning and Preservation programs with a swipe card to gain access. There are always people working in the studio at all hours of the day and night, so if the book goes missing it is because a student is careless, not because a stranger has wandered in and stolen something. We have done this every fall for 6 years now, and have lost 3 books.

Students may take the books off the kiosk and put them on their desks, but I have never noticed coffee stains or physical damage to the books. At the end of the semester the books come back to the kiosk, the professor sends it back upstairs to the library and we re-check them all in, and change their location and item status back to their original categories. This is the same process we use for books that are placed on reserve in the library.

Fall 2012
A library kiosk in the graduate studio. (Photo by Cindy Frank)

We also have a wood shop/ fabrication lab person who does a complete sweep of the studio spaces at the end of the semester, after the students have supposedly cleaned up and moved out. He usually finds a few library books, but often those are books that had been checked out individually by students, and not associated with the studio kiosk.

Of course, having the books assigned to the studio kiosk outside of the library cuts down on the gate count, if the students are no longer coming in and out of the library to check out the books or to pick them up from a course reserves shelf. It also reduces the loan counts of the individual books. However, the architecture program is the third largest user of course reserve items behind the History and English departments, and I am confident it is because of the numbers of books that go onto the studio kiosk.

The book kiosk has been quite popular, and it now has a partner,
the materials kiosk shown here.

Architecture Library Spring 2014
Studio material kiosk. (Photo by Cindy Frank)

With some bins as well as shelves, the kiosk will hold objects like glass block or tile samples, styrofoam or wood veneer samples.

The architecture library is located upstairs from the studios, so it is not a hardship to walk upstairs, but when this project started, the library was not accessible 24/7 by swiping your ID card, like it is now. I walk through the studio occasionally and straighten the shelves on the kiosk. I feel that having the books in the hands of the students makes an impression, and maybe it gets them into the library the next semester to check out books individually. From my librarian point of view, the kiosk has been a successful project, and we will continue to do it as long as the professors continue to see the need.

Building for Tomorrow: Collaborative Development of Sustainable Infrastructure for Architectural and Design Documentation

Ann Baird Whiteside
Frances Loeb Library, Harvard GSD

Since the introduction of Computer Aided Design (CAD) software in the 1960s, industries that design and develop our built environment have been moving from pencil and paper to computers and digital files. The earliest adopters of the new technology were industries like aerospace and automotive, and since then the fields of architecture and design have been enthusiastic adopters. CAD has allowed architects to take previously unimaginable risks in their designs, and to experiment with new forms and materials without the need of building prototypes or performing expensive structural analyses until much later in the process.

Architectural museums and archives are faced with a rapidly growing need to preserve digital information and are grappling with the need for technological tools, technical expertise in digital preservation, AutoCAD expertise, archival expertise, and the need for repositories that can preserve and disseminate the archived data.

The use of 2D and 3D CAD and Building Information Modeling (BIM) software is now routine in architecture and design firms. The contractual deliverable has shifted from printed, wet-signed and wet-stamped drawing sets to an electronically signed model that can be manipulated to achieve equal, if not more, granular information than the traditional printed plans.

Many types of digital files produced during design and construction that are important for long-term preservation for future renovations/restorations and scholarly research.

  • 3D CAD models
  • hundreds or thousands of detailed 2D layer drawings
  • 3D printed objects
  • project “out-puts” – for example, drawings or sketches of the building.
  • photographs and videos
  • websites about the building
  • BIMs
  • communications among architects, clients, contractors and other parties

Over the last five years, we are seeing that students in architecture and design schools are further routinely using CAD for modelling, skipping the 2D drawing process entirely, meaning that the coming generation of architects will be only producing documentation in 3D models, providing more urgency to the problem of preserving this type of documentation.

The impact of this on the record of architectural innovation and practice –in architecture libraries, archives, museums, among others–is only beginning to be appreciated. No longer can libraries acquire blueprints or drawings, a few images, and a scale model or two, to represent a major work of architecture in their collections. Now they must acquire the 3D CAD models and 2D drawing files, Building Information Models (BIM), digital images, videos and documents, all delivered on a computer hard drive often with no annotation whatsoever. No library or archive is currently prepared for this new reality, but they are increasingly under pressure to figure out how to acquire these 21st century collections, to support the next generation of architectural students and historians.

The Frances Loeb Library at the Harvard University Graduate School of Design received an IMLS National Forum Grant under the National Digital Platform funding priority to support two meetings of engaged stakeholders – architects, architectural historians, archivists, librarians, technologists, digital preservationists, and others who will frame a national/international collaborative infrastructure to support long-term preservation of digital design data. The first meeting will place on April 17th and 18th, 2018 and will provide a venue for the diverse group of stakeholders to think collaboratively about the issues in preserving architectural design data, to find alignments across communities, and to identify the needs required to develop an infrastructure to support archiving of digital design information that will be usable by a variety of types and sizes of architectural museums and archives.

There has been considerable work in this arena over the last five years, and in 2018 there have been three Summits, Symposia, and workshops already that have set the stage for the Forum in April.

Society of American Archivists Design Records Section CAD/BIM Task Force
https://www2.archivists.org/groups/design-records-section/cadbim-taskforce

The Design Records Section Task Force has produced some critical information for the community to help us understand how practitioners, firms, and archives are managing digital content.

Designing the Future Landscape: Digital Architecture, Design and Engineering Assets Symposium, November, 2017

This event brought together a wide variety of stakeholders to discuss the issues we face when preserving digital design records. The report has just been made publicly available and can be found here: A Report on the Architecture, Design and Engineering Summit

Community Standards for 3D data preservation, February, 2018

3D/VR Creation and Curation in Higher Education, March, 2018

Building for Tomorrow: Collaborative Development of Sustainable Infrastructure for Architectural and Design Documentation

New York City Meeting at ARLIS/NA 2018

Architecture Section Meeting
ARLIS/NA Annual Conference, New York
February 27, 2018

Please send any corrections to alind@getty.edu

Present:
Nilda Sanchez-Rodriguez (CCNY) – Moderator
Aimee Lind (Getty Research Library) – Vice-Moderator, Minutes
Jessica Aberle (University of Florida)
Robert Adams (BAC)
Lucy Campbell (New School of Architecture + Design)
Rachel Castro (University of Arizona)
Raymonde Champagne (Universite de Montreal)
Kitty Chibnik (Columbia University)
Karen DeWitt (North Carolina State University)
Cindy Frank (University of Maryland)
Eleanor Gawne (Architectural Association)
Ted Goodman (Avery Library)
Janine Henri (UCLA)
Katie Pierce Meyer (UT Austin)
Alan Michelson (University of Washington)
Mar González Palacios ((Canadian Centre for Architecture)
Effie Patelos (University of Waterloo)
Rebecca Price (University of Michigan)
Irene Puchalski (University of Toronto)
Shannon Robinson (Drexel University)
James Sobczak (University of Washington)
Ann Whiteside (Harvard GSD)

Self-introductions of members in attendance

Old business:
Approval of minutes from 2017 meeting
Motion to approve.
Motion seconded and passed without opposition.

Discussion: Architecture section online spaces – what’s next?
Despite a lengthy conversation on the same topic at last year’s meeting, very few people contributed to the Architecture Section’s Facebook page and Blog in 2017. Potential content could include liaison reports, conference summaries, new courses, exhibitions, renovations, books of the year, publications, or any projects or news relevant to the group. In the past, there was a sign-up sheet at the Architecture Section meeting where people committed to providing specific content. There was general agreement that this was a good way to move forward, with Rebecca Price volunteering to act as de facto blog editor. Rebecca has the sign-up list and will contact content providers a month prior to their blog publication date.

New business:
Discussion: architecture sessions/posters at ARLIS New York conference?

  • Cindy Frank presented “Life Comes First: A Solo Librarian’s Balance of Life and Work” and was a speaker at “Scope Drift – Blending and Rebranding in Visual Resources”
  • Ann Whiteside was responsible for the poster session “Building for Tomorrow: Collaborative Development of Sustainable Infrastructure for Architectural and Design Documentation” as well as an invitation-only workshop/forum on the topic of creating an infrastructure for archiving digital design data.
  • Rebecca Price presented “Building a Collection from the Ground Up” and was a speaker at “Library Collections and Object-based Learning in the Art and Design Curriculum”
  • Rebecca Price and Alan Michelson presented “Pushing the Bounds: Library as Physical and Intellectual Civic Space”
  • Shannon Robinson moderated and Alan Michelson was a speaker at “Information Competencies for Students in Design Disciplines
  • Janine Henri was a speaker at “Pushing the Boundaries: Teaching and Learning outside the Classroom”
  • Aimee Lind presented “No Art Library Left Behind: Cross-Border Resource Sharing Among Art Libraries”

Discussion: new directions for Architecture Section?

  • Alan Michelson discussed “Information Competencies for Students in Design Disciplines” and the effort to reinvigorate the information competencies created by ARLIS in 2006. See Farrell & Badke’s 2015 report “Situating Information Literacy in the Disciplines: A Practical and Systematic Approach for Academic Librarians”. He suggested creating focus groups amongst faculty to determine priorities. If we can create a network of focus groups, we will then have the data on learning outcomes from our peers to take to faculty. Ideas suggested included polling recent alumni regarding perceived gaps in their education and taking that back to faculty focus groups. Effie Patelos reported that the University of Waterloo has hired an information literacy librarian. Embedded librarians may be able to map competencies to what is being taught using syllabi. The relative merits of focus groups vs. surveys were debated with a caveat to appreciate differing local contexts (undergrad, grad, accredited, unaccredited, basic to intermediate to terminal degree expertise). Janine Henri suggested aligning with ACSA to get faculty buy-in. Consider what is *our* place to meet *their* expectations? Are we only the support/service people or can we have a partnership with faculty, providing an essential education in image research, copyright, etc. that may be left out of curriculum otherwise? Focus groups could present an opportunity to guide the conversation. Should we examine syllabi first or survey first? To be continued…

Reports:
Janine Henri – update on SAH conference activities:

  • Janine reported on the 2016 Pasadena conference and the 2017 Glasgow conference, including informing the group about publishing sessions, and library visits to the Glasgow School of Art and the University of Strathclyde. She encouraged us all to reach out to colleagues when traveling to other cities/countries. Janine also mentioned Barbara Opar’s extremely useful new book list, published on the SAH website monthly. SAHARA now has over 100,000 images. The 2018 SAH meeting will be held in St. Paul, MN 4/18/18-4/22/18 and in Providence, RI in 2019.

Aimee Lind- update on CalArchNet:

  • CalArchNet is an informal group of librarians, archivists, and curators working with architecture archives in California. Aimee briefly reported on the group’s last meeting in Palm Springs and their upcoming meeting at Cal Poly SLO and Hearst Castle. For more information, email calarchnet@gmail.com.

Gabriella Karl-Johnson on AASL:
“A Brief Update on AASL: Strategic Planning Implementation + 2018 Denver conference” (Aimee read this report from Gabriella, who was unable to attend)

  • As some of you may know, since late 2015 the Association of Architecture School Librarians has been actively working on strategic planning for the first time in the association’s history. In October of 2016 the Executive Board approved a new Strategic Directions document, including a new Mission statement, Vision statement, and a set of Strategic Directions objectives. (The full document is available on AASL’s newly redesigned website at http://www.architecturelibrarians.org/strategicdirections .) The document was drafted by the Strategic Planning Task Force based upon input from our membership and feedback gathered during the well-attended Strategic Planning Session held at the 2016 AASL conference in Seattle. The Strategic Planning Task Force has now given way to a Strategic Directions Implementation Committee, which is working on concrete ways to enact the objectives outlined in the Strategic Directions document. Our upcoming 2018 conference in Denver will provide a forum via a two-hour planning session for the full membership to discuss and help shape the ways that our strategic directions will translate to action. Speaking of the conference, the 2018 AASL conference will be held in Denver on March 14-17. We will be meeting alongside the Association of Collegiate Schools of Architecture conference at the I.M.Pei-designed Sheraton Hotel, and the AASL conference planners have worked into the schedule more time for cross-pollination between ACSA and AASL. The conference will offer an excellent complement of presentations and talks based around the theme of identity, as well as walking tours of Denver that promise to provide views of the city’s history and recent transformations. Registration is open until March 3, and we hope to see you in Denver!”

Ted Goodman – update on Avery Index:

  • Ted is retiring in June. The Avery Index will continue though he doesn’t believe his position will be refilled, rather there will likely be some restructuring within Avery and possible reexamination of the Index’s coverage. Congratulations Ted! We are so grateful for your tireless work that benefits us all every day!

Visit to Avery Library: Details
Directions were provided for our visit to the Avery Library. It was agreed that we would meet at the Hilton’s tour gathering spot near conference registration.

Call for Vice-Moderator
A call went out for incoming Vice-Moderator (Salt Lake City) / Moderator (Saint Louis) but there were no takers. Aimee will send out another call on the listserv.

Meeting Adjourned