UNIVERSITY INSTRUCTIONAL MATERIALS CENTRE

by Po1ydoros M. Zekkos Master's Student Department of Architecture McGi11 University

March 1972

® Polydoros i·i. Zekkos 1972

SUMMARY

This study is concerned with the function

of communication media in higher education, the

increasing abundance of instructional aids, and their

influence in teaching and learning systems.

It concerns the method used to meet today's

educational needs and plan for tomorrow's, through the

establishment of an "Instructional Materials Centre",

which will facilitate the increased use of aIl media.

Part l formulates the educational philosophy

of the I.M.C. and its role on the campus, as weIl as a

description of its functions and special services.

Part II develops the building program which is

the essential first step in the design of the I.M.C., and

describes the projects and the teaching and learning

systems that will be included in it.

Part III gives the architect inexperienced with

this type of design more specifie information about the

influence of media on the design of an Instructional

Materials Centre.

Pclydoros M. Zekkos Dept. of Architecture M.Arch.

UNIVERSITY

INSTRUCTIONAL MATERIALS CENTRE

UNIVERSITY INSTRUCTIONAL MATERIALS CENTRE

by Po1ydoros M. Zekkos Master's Student Department of Architecture McGi11 University

Spring 1972

PREFACE

This topic was selected for study because 1

believe that in the near future aIl universities will

find it necessary to have their own "Instructional

Materials Centre" to facilitate the use of modern

technological aids to learning, as weIl as the more

traditional library materials. These centres will also

develop inter-university links for sharing of teaching

facilities, pooling research information and holding

colloquia.

Such a centre is a very special and expensive

uniertaking and it is imperative that its planning,

especially the design, be entrusted to knowledgeable

professionals.

The purpose of this study is to give the

architect inexperienced with this unusual facility aIl

the necessary information concerning the l.M.C.

building program, which should be carefully considered

and completely detailed.

-. ..-'\

2.

This building program contains aIl the basic

information concerning the educational philosophy of

an l.M.C o lt also provides aIl the guiding principles

concerning the planning process of the l.M.C. and some

examples of existing ones. Finally, it includes the

architectural analysis of the l.M.C. resulting from the

direct design influence of media.

This study does not include any con crete

design proposaIs, for it does not apply to any specific

project with specific limitations su ch os site, environ­

ment, number of students involved, budgeting, et cetera.

lts aim is to provide aIl the information for the

development of a prototype or ideal university l.M.C.,

which can be used in the future as an example for the

design development of a specific project.

3.

ACKNOWLEOGEMENTS

l am indebted to Rudoslav Zuk, Professor in

the School of Architecture, for his guidance throughout

my postgraduate studies at McGill University, and for

his assistance during the preparation of my thesis,

particularly the relationship matrices and the design.

My special thanks are due to Or. Garry

Coldevin, Professor in the Oepartment of Education of

Sir George Williams University, for the special atten­

tion given to me in his course in Instructional Communi­

cations, and the valuable advice he has provided

throughout this study.

l am also grateful to Professor Leslie Ooelle,

visiting lecturer in Architectural Acoustics at the

School of Architecture, and to Professor Rodolphe

Lavergne, Associate Oirector of the Graduate School of

Library Science, both of McGill University, for the infor­

mation gained in their classes.

.--'"

4.

Thanks are also due to Heather Sommerville

for her contributions during aIl phases of my work, in

checking, correcting and making positive suggestions

for improvement of the handscript of my thes~s; to

Miss Katerina Kalatzakis, who contributed to the prepara­

tion of the appendix and reviewed the final typescript;

ond finally, to Mrs. Joan Smith for her excellent typing

work.

March 1972 Polydoros M. Zekkos

5.

PREFACE

ACKNOWLEDGEMENTS

INTRODUCTION

TABLE OF CONTENTS

Part I

PRINCIPLES DISTINGUISHING AN I.M.C.

0) What is an I.M.C.?

b) Definition and function of the I.M.C.

c) How on I.M.C. is used

d) The advantages of the I.M.C.

e) I.M.C. services to students

f) I.M.C. services to professors

g) I.M.C. faci1ities

h) The I.M.C. and the future

i) Footnotes

2

4

8

14

16

19

21

26

29

32

36

40

6.

Part II

HOW AN I.M.C. CAN BE ESTABLISHED

a) I.M.C. plonning committee and the role of the architect

b) Changing concepts in library buildings

7.

43

47

c) Relationship of library and I.M.C. 52

d) I.M.C. learning, teaching and communication spaces 57

e) The I.M.C.: a building or a system centre? 61

f) I.M.C. teaching and learning systems and special equipment 68

g) I.M.C. personnel 89

h) Some examples of existing university I.M.C.ls 95

i) Footnotes 102

Part III

ARCHITECTURAL A~ALYSIS OF AN I.M.C.

a) Objectiv~

b) Relotionship matrix of main spaces

c) Design concepts resulting from the relationship matrix of main spaces

APPENDIX

BIBLIOGRAPHY

106

108

III

1

xxxv

Introduction

The student of today, entering on a course of

higher education at any college or university, is quite

likely to find himself taught in a manner little different

from that of his forerunners of twenty years ago. Tradi­

tional methods were evolved to cater to circumstances as

they then existed, for example, the lecture may have

seemed revolutionary when first introduced, but since then

times have changed. The average student nowadays comes

from a home background very different from the one common

before the Second World War, the university or college he

attends is much bigger, much more impersonal, and he will

be taught in larger groups. But the most important factor

is that today's student is a child of the age of media

and messages. Thus if we want to increase the produc-

8.

tivity of higher educction systems, we must learn to use

aIl the instructional aids and media that the technologists

can devise.

Since World War II, the development and use of

instructive aids and media have been rapidly expanding,

due in large part to the War itself. Films, film strips,

slides t and records were perfected and used extensively

in training both civilian and military personnel. Since

then, the opaque and overhead projector, as weIl as

improved film projectors, have been developed; the 1950s

brought the major development of television, and since

then programmed instruction and electronic-based informa­

tion retrieval and data-processing systems have come into

wider use. These technical advances extended communication

media so much that the medium became "the extension of the

human senses".l

Media have also been used in increasing the

efficiency and effectiveness of education. Books

increased effici~ncy by making more information available

to greater numbers of people at relatively low costi

blackboards made classroom instruction more effective,

and the training methods developed during the War were

geared to efficiency. The current high interest in media,

supported by federal, provincial, foundation, and indus­

trial programs, continues this trend by aiming chiefly

towards increased efficiency and effectiveness of

teaching.

9.

A number of studies have been made investigating

the feasibility of instruction by television and other

new instructional devices. The results indicate that

there is usually "no substantial difference" in learning

achievement between the new methods and conventional

methods. It should be noted, however, that these studies

were conducted in converted, conventional, or often inade-

quate spaces. If favourable results can be obtained

under su ch conditions, it is reasonable to expect decisive

advantages with the use of instructional aids and media in

spaces designed specifically for their optimum use.

Naturally the economlc factor must be taken into

account when the advantages and disadvantages of media use

are considered. A careful cost analysis must be made for

each situation to determine whether it is economically

feasible. Factors su ch as equipment costs, faculty

salaries, costs of facilities and maintenance, and course

enrollments will vary with each situation; but by careful

analysis a break-even point con be found between conven­

tional instruction and a new approach using aids and media.

However, general statements that "costs will be reduced

10.

by using media" are not necessarily valide

It is estimated that less than 1% of the total

educational budget is spent on instructional aids and

media, nevertheless the y have had a considerable impact

on education. Analysis of their potential value has led

to redefinitions of educational goals, cur=iculum studies,

course revisions, a review of the role of the library, and

many other significant developments.

Through these new developments both professors

and students now have available an array of equipment to

help them achieve their learning objectives; for the

creative and motivated professor this is both a challenge

and an opportunity.

Il.

However, there are also problems facing the

professor who wishes to use media instruction - complicated

and costly equipment, poor maintenance, inadequate sup~ly

of parts and replacements, immobility of equipment, lack

of technical assistance, and inadequate facilities. Many

of these basic logistical problems must he solved one at

a time, by the individual professor. Besides aIl these

factors, there is the problem of finding the time to use

media we11; in fact, it is surprising that media are in

such wide use in view of these drawbacks. 2

The use of media in instruction has a1ways

affected the design of educationa1 buildings. The intro­

duction of cha1kboards requires appropriate viewing

conditions and 1ighting; slides and films require that a

screen be used, that a projector be positioned and powered,

and that natura1 1ight be control1ed by drapes or blinds.

With increased use, and the expanded range and

sophistication of methods, the influence of instructional

aids and media on the design of 1earning spaces is more

12.

extensive than ever before. In fact, their optimum

utilization requires conscious planning efforts, a deve10p­

ment of new concepts in educational faci1ities, and

additiona1 research, in order to determine the new meaning

of the architectural spaces and their "hidden dimensions".3

It is hoped that su ch a method of studying and planning of

the learning spaces will prove both theoreticol1y meaning­

fu1 and applicable to current educational prob1ems.

PART l

PRlNClPLES DlSTlNGUlSHlNG AN l.M.C.

a) What is an l.M.C.

An educatar's life is never dull and their

lives have been filled of lote with more thon the usual

number of explosions. The population explosion has filled

their classraoms, and the explosion of knowledge has

fi lIed their waking hours. There has also been an

explosive-like revolution in teaching methods and in the

amount of material created for instructional purposes.

Aiding professors and students in dealing with

the flood of knowledge, assisting them in using the wealth

of instructional aids now available, and helping them to

employ effectively the methods and "hardware" of the new

teaching technology is the function of an "instructional

materials centre". The concept of a unified service

including both library and audio-visuel materials is

receiving rapid acceptance among educators. Whether it is

called "materials centre", "curriculum laboratory", or

"learning resources library", its purpose is to help

14.

create a ri cher learning environment through providing

appropriate learning materials, experiences and resources.4

The instructional materials centre begins when

traditionally regarded library and audio-visual depart­

ments are combined. From this union should come not only

the sum of what previously was available in two seporate

oreas of the university but also distinctly new services

that result from the centralization itself. The concept

of such a unified service is receiving rapid acceptance

among educators.

15.

b) Definition and Function of the I.M.C.

In materials centres aIl learning materials

have equal status and receive consideratiun. The collec­

tion may contain the whole range of materials used in

teaching. Printed matter such as books, pamphlets,

~eriodicals - audio-visual material su ch as slides,

film strips, films, records, recordings and equipment

such as opaque and overhead projectors, film projectors,

television, et cetero are equally available to professors

and students. Free and inexpensive materials, charts,

clippings, globes and maps are also included, as are tha

less common but useful items such as models, specimens,

dioramas.

Ideas, too, are part of the centre. Bulletin

board materials and suggestions, exhibit and display

ideas, scripts, field trip and community resources files,

and aIl manner of things which will make instruction more

effective are housed in the centre. Professional books

and periodicals as weIl as units of work and demonstration

suggestions are also available.

16.

The most important choracteristic of an effec­

tive instructional materials centre is its skilled staff.

A mature, experi3~c3d, o~cl creative professionol person

who enjoys helping professors and students is the keystone

of an effective program. Skill and knowledge in the total

field of instructional materials are a necessity. Given

adequate clerical help and funds, such a person can

markedly influence teaching practices.

Current experiments in class size in independent

student research, and in more effective utilization of

professional staff members already are providing implica­

tions concerning changes in the use of instructional

materials. More audio-visual materials undoubtedly will

be used; departments will create many of their own

instructional materials, and students will need additional

guidance in finding information. Centralization of

mate rials and services into a single department moy be

the answer. Facilities that are designed around such

services - but still adaptable to future changes - will

5 be necessary.

17.

Not only services and materials, but also

instruction in the use of these materials should be pro­

vided by the instructional materials centre. Of course,

economic advantages result from centralization, but better

services and more effective utilization of materials

already owned by the university are necessary.

The American Library Association in its new

standards supports the centralization of aIl materials.

Some universities are experimenting with materials centres

for their students and faculties. Certain states, such as

California and Florida, are showing major leadership in

this direction.

13.

c} How an I.M.C. is Used

Varied activities take place in a centre.

Professors inquire about, order, preview or make the

materials the y need to do an effective teaching job. The

materials specialist gives guidance in securing and using

materials. Resource units and good ideas employed by

other professors are shared. Students ask for data for

research purposes or for a practical project, and they

secure information about resource people. Administrators

and curriculum people receive help in planning effective

meetings and conferences or preparing booklets or reports.

The centre collects many of the same kinds of publications

as a curriculum laboratory and it performs some of the

functions that educational documentation centres handle

in other ~oùntries, servicing as a resource for

professors, librarians, Qèministrators and students.

Each student advances as fast as his ability and

interest dictate. One may go through the curriculum of a

traditional grade in four months, another will need

fourteen. When he needs help he consults the professor;

or he will be called into "studios".

19.

20.

At times a total class will come with a

professor to learn about research tools or to use the

centrels other resources. Often small or large groups

will be at work in the studios finding information by

examining printed or audio-visual materials. Materials

and equipment also con be taken from the centre for

classroom use.

In general two ~QJor types of activitv go on in

the centre: 1) reading, listening to, and viewing of

materials by professors and students individually and in

large or small groups; 2) professor and student prepara-

tion of teaching aids su ch os graphs, charts, slides,

types, films, et cetera.

In the materials centre the specialist is con-

cerned with acquiring, organizing, housing, and distributing

the whole range of possible learning resources so os to

enrich the learning environment of the university.

Servicing and repair of materials and equipment ore also

th ° 1° 1 °bOlOt 6 e spec~a ~st s respons~ ~ ~ y.

d) The Advantases of the I.M.C.

In order to do the kind of teaching job expected

by the community, a professor must utilize a wide variety

of materials and approaches. Administrators and curriculum

people can he!p professors by providing a climate which

enables them to be creative and to bring to bear aIl

possible resources for the solution of an instructional

problem. It is in the classroom where the effect of the

"explosions" is felt. Professors have always been busy

people but now with the rapid increase in the numbers of

students they must educate, an increasing emphasis on

quality education, and the deluge of new knowledge and

teaching moterials, a comprehensive learning resources

progrom is a necessity. It is more efficient and helpful

for professors to have one place to go for teaching

materials rather than to visit separate library and audio­

visual departments. The unified collection encourages

better and more frequent use of the learning materials

available.

It is widely recognized that each learner has a

pottern and rhythm of growth which are unique. Providing

the wide variety of learning experiences necessary to

satisfy the different levels, abilities and interests is

a challenge. A properly staffed and equipped materials

centre can have real impact on the prcblem of differing

learning rates. Easy access by professors and students

to a wide variety of instructional materials a~d skilled

guidance in the selection and use of these tools is neces-

sary if we are to have the type of education required by

7 today's demands.

Certainly today there is no dearth of materials

available commercially. But despite this embarrassment

of audio-visual riches, many professors make little use

of them. Why? Because they often aren't related specifi-

colly enough to the curriculum units they teach. Best

22.

answer, then, is to provide facilities for producing audio-

visual aids on the spot to supplement those available

commercially. They can be custom-made by the staff

precisely to meet their own specifications - and sometimes

as a cash savings over purchase or rental priees.

Locally-produced materials have several advan­

toges over those on the market. First of aIl, they are

up-to-the-minute. There is normally a considerable log

between the time an event happens and the time it con be

worked into an instructional aid and marketed. But if

they have their own production facilities, professors

con clip a map in today's newspaper or a picture on this

week's ~, make an overhead transparency and project it

in class immediately to show the latest invention, economic

crisis, or political development.

Another advantage of locally-produced materials

is the flexibility they allow the professor. Take the

case of a closed-cirr.uit class on physiology. The tele­

vision instructor finds the right diagram of the human

digestive system in a reference book, photographs it, and

makes a large photographie print to project on the tele­

vision sereen. Then he has smaller duplicates made and

circulates the se along with the lesson outline to the

professors who will be tuning into his lecture. Finally,

he has 2" x 2" slides made up of the diagram for each

professor to use in follow-up study.

Still another advantage with facilities for

developing their own visual materials, professors con

23.

practice "frontiersmanship" and try out new teaching

methods - the "set theory" in mathematics, for example,

or the use of visuals in lan9u~ge instruction.

"The value to the student of teaching aids

tailored to the specifie class is obvious enough.

(I~agine the vo-ag student's heightened interest in the

problem of soil erosion when he sees photographie samples

taken right from his locality.) But values accrue to

the professor as weIl. The very act of creating a

teaching aid - whether bulletin board, display model,

slide, or tape recording - helps the professor to evaluate

the content of this presentation. (One university

professor, highly respected in his academic specialty,

revised six times a ccmplex table he was to use in a

24.

visualized lecture before he felt it communicated precisely

the point he wanted to get across.)"8

Too, the professors quickly learn how to evaluate

the points in their messages, to decide which need te be

nailed down with a visual image ond which do note As

they use the media they come to know the advantages ond

limitations of each. And since they are using their own

talents and energies in developing their instructional

aids, the y can blame no one but themselves if their

message is not communicated.

Obviously professors can no longer be expected

to provide good instruction given only a blackboard, a

few maps, and the loan of a filmstrip. They need ready

access to the full range of instructional materials. Our

advice to the educator who is intent on improving instruc­

tion is this: do not ignore the materials available

commercially, but do not let go by default those that

can be produced better right on the premises.

25.

e) l.M.C. Services to Students9

10

1) Organization of materials. The l.M.C.

selects, orders, catalogues, and organizes aIl materials

for use by student and professors. Anything aiding

instruction is an instructional material and thus a

service of the l.M.C. Pictures, models, maps, charts, and

study kits must be numbered and filed in their designated

areas; the professional resource file must list people in

the community who can serve as resource speakers on given

subjects and indexes places thQt are suitable for field

trips. AlI materials must be listed in the card catalogue

and distinguished by colour: a blue card may indicate

films, yellow the study kits. Centres using this method

would continue by adding coiours for programmed lessons,

models, and exhibits.

2) Circulation of materials. Circulation pro­

cedures resemble those of the traditional library, ex ce pt

that not only books and magazines may be checked out, but

also audio-visual materials and programmed lessons, and

even equipment for their use. Some audio-visual material

can be booked in advance, as they are in audio-visual

26.

-'

centres, so that students and professors may know for

what day and hour the materials are reserved for them.

3) Use of materials. The I.M.C. carrels or

booths can be used by the student for reading purposes

and for use of film or tape recordings. The student may

also use one of the conference rooms which will pravide

electrical outlets and sound-proofing facilities. The

film or filmstrip may be taken home, as books are in

conventional libraries, and if the student does nat happen

to have a projector of his own he may obtain one at the

I.M.C. and check it out for home use.

4) Guidance in finding materials. In the I.M.C.

the librarian spends less time finding information for

students, because they will learn their study skills

early. Since students will spend sixt Y percent of their

time in individual study, they must become proficient in

finding what they need in the I.M.C.

5) I.M.C. instruction will be given in two ways.

27.

When several students are ready for advanced card catalogue

experiences, their professor will direct them for small

group instruction from the librarian or his assistant,

though the professor may do it himself. Or an individual

student may ask to go to the I.M.C. for help from the

librarian or through some self-instructional device: a

study kit, programmed text, or teaching machine, on

finding and using materials.

6) Reading guidance. Individual reading guidance

will follow the pattern of the traditional class. There

will be as much variety in the reading levels of students

as in their mastery of content. Many students, however,

will come ta the I.M.C. ta participate in discussions

with others on the same reading level, or subject. 9 10

28.

f) I.M.C. Services to Professors 9 10

In the conventional library the librarian

assists a professor who must give one les son to a class

of thirty-five; in the I.M.C. the library personnel help

a professor who is in charge of sixt Y students, but who

has perhaps no more thon six studying the same les son at

once.

1) Compiling bibliographies and assembling

materials. The professor will be able to calI on the

I.M.C. when he has one student or a cluster of students

29.

who need material on a given subject. A list of 011 the

books, films, and other materials on the subject will be

compiled by the librarian and sent to the teacher. Often

the materials themselves can be gathered when the professors

request them. They May be placed on reserve for his

students; or films, books, pictures, mQ~els, and exhibits

are collected, checked out, and sent to the studios for

the length of time they are needed, ranging from a day to

a month. Because of the diversity of the collection, even

bulletin board ideas and materials must be available ta

teachers. Book jackets, charts, pictures, letters, and

other objects must be checked out as often as are books

in a conventional library.

2) Preparing teaching materials. If the library

does not contain the materials needed by the professors,

one of the l.M.C. personnel will help him make it, or may

make it for him with the help of student assistants.

Pictures can be enlarged on the opaque projector, trans­

parencies can be made for overhead projection; models

can be built; and collections of various types can be

assembled. The I.M.C. must include a technical process

department, with full-time persons in charge of graphies

and production of teaching aids. AlI materials will be

there: cardboard, construction paper, scissors, paper

cutter, paints, aIl the table and counter space necessary.

3) Planning with professors. Planning takes up

a large portion of time. Sometimes only a few minutes

are needed to find a picture or map. More oft~n the

librarian or audio-visual specialist will visit a studio

to discuss the materials needed by a group of students

and their professor. In addition, monthly meetings must

30.

be he1d with the various departments to discuss the

needed materia1s. Often the 1ibrarian or audio-visual

specia1ist will join the professor in previewing a film

9 10 for prospective purchase.

31.

32.

) 1 M C F °lOtO Il 12 9 ••• aC1 1 1eS

There are four types of interrelated facilities

that are required in a complete university instructional

materials centre: 1) learning facilities, 2) production

facilities, 3) communication facilities, 4) housing

facilities. For truly effective utilization of instruc-

tional aids and media and in planning for new programmes,

aIl four should be provided.

1) learning facilities. The I.M.C. must be

designed to provide facilities for large-group instruction,

medium-sized classes, and small-group discussion, in which

students come together with media, and usually with a

professor for the purposes of instruction, learning and

research, as weIl as to provide facilities for individual

learning. These learning facilities may be of many types:

seminar rooms, recitation rooms, learning laboratories,

lecture rooms, classrooms, project rooms, case study rooms,

et cetera. Each type may be necessary to the educational

system, and in each the aids and media should be employed

effectively.

2) Production facilities. Another strong

influence on I.M.C. design is the increasing emphasis on

local production of instructional material and programs,

that is, those that are originated to meet the needs of

particular learning situations. This has been accelerated

by the demands of educational television as weIl as by

the visual requirements of large-group instruction. Here

also the teaching staff, as weIl as the individual student,

receives assistance and support in the use of media. In

those facilities professors and students are involved with

the production of 011 types of graphie aids, including

transparencies for overhead projection, 35 mm slides,

Motion pictures, block-a~d-white and colour photographs,

models and apporatus, kinescopes and production sets for

television and various video types.

33.

3) Communication facilities. In these facilities,

like the library, television and radio as part of and

learning resources system, will have the opportunity to

develop their potential to the fullest and to take on a

new image. In no other single media-unit can we find as

great a source of untapped dynamisms as in television and

34.

radio. These facilities for the production of open-circuit

and closed-circuit television progroms, radio programs,

video-tape services, et cetera must be highly sophisticated

in design and all the electronic components for information

transmission and display systems should be part of their

structural design. The sa me electronic components must

be repeated in aIl the learning facilities for group or

independent study areas, in the learning laboratories of

the centre, and in the science laboratories which can be

housed in various science buildings of the university, as

weIl as in the dormitory rooms, staff and graduate

students' offices, and future facilities of the University,

thus extending the possibilities for wide-angled leorning

systems of the centre, throughout the campus. The trans-

mitting facilities for the broadcast services can of

course be located several miles from the campus, on a hill

or a tower.

4) Housing facilities. These facilities are

the fourth essentiel component of an instructional materials

centre, and the y should provide adequate storage and

35.

functional work space for the equipment. Here media in

forms will be catalogued, stored and made readily

accessible for individual learning and for group instruc-

tion. With the increasing use of instructional aids and

media, and the loss of face-to-face contact, it becomes

important to make the instructional materials used in

class readily available to the students. Just as a student

has a textbook, laboratory manual et cetera for initial

instruction, review, study and supplementary learning, so

the films, tapes, slides and other instructional materials

. Il 12 should be availoble for similar funct10ns.

h) The University I.M.C. and the Future

The following seven factsl3

indicate that the

future must depend on the instructional materials centre.

A child in Grade 1 this year will be about thirty years

old in the year 2000 at the beginning of his most produc­

tive years. What kind of life will he be living? We need

only take a look at the rapid changes taking place about

us right now to hazard a guess:

1) Twenty percent of the jobs existing twenty

years ago have become obsolete or are fast disappearing.

2) Thirty percent of the jobs existing today

were unknown before the 1ast war.

3) Ninety percent of the scientists of record

are living today.

4) Three-thousand scientific journals a10~e are

pub1ished every month.

5) Some types of ski11ed labour are moving into

a four-day week.

6) Some kinds of information are building up so

rapidly that e1ectronic data processing is the only means

of providing efficient retrieva1.

. -""\

36.

7) Speedy communication of ideas is recognized

as a key to world peace, understanding, and security.

This rapid change, due mainly to our technolo-

gical progress, is so powerful that it changes our values

and the relationships between people in families, friend-

ships, sex, politics, as weIl as those between people and

14 their dwellings, their business, et cetera. The

situation is similar, in education, and the problems which

seem to be causing the most concern, besides the relation-

ship between the university and the community, include

student protest, the pressures of increased enrollment,

the difficulty of finding adequate finances for higher

education, a desire to make learning more individual, and

the development of a system of continuing education

relevant to the 1970s. These problems are interrelated,

although in a complex way. However, techniques of

educationûl technology are now being cooperatively used

and can be increasingly used to help solve them, by

setting up inter-university links15

for the sharing of

teaching facilities, pooling research information, holding

colloquia, et cetera. The technical means are constantly

37.

changing, as the national network of telecommunications is

extended - that is, by the use of satellite communications

for educational broadcasting stations, as new types oT

apparatus are developed and as priees respond to demand.

These facilities are mainly deployed to fulfil

internaI needs and expand intra-university activities in

aIl the group and independent-study areas, laboratories,

et cetera. The trend in the future must be towards

extending their uses in inter-university cooperative

projects and developing facilities for inter-university

communication purposes, not only within one region or

state, but throughout the whole country.

Finally, the conclusion is that the time is

ripe to go on from considering the theoretical possibi-

lities to setting up a series of experimental exchanges

between universities on a variety of subjects and using

a variety of techniques. The results of some experiments

on inter-university communications in both North America

and England, and the success of the "University of the

Air" or "Open University"16 providing for the home student

an opportunity to proceed to a degree and using as its

.. -) i

38.

main means corresponden~e tuition supplemented by the

use of radio, telephone and television, gives us confi­

dence, as a guide to the future of inter-university

communication.

39.

i) Footnotes

1. Appendix: pp. IV, XXII.

M. MclUHAN: Understanding Media. McGraw-Hill

Book Co., p. 14. New York, 1964.

2. RENSSElAER POlYTECHNIC INSTITUTE: New Spaces for

learning. Educational Facilities laboratories

Inc., June 1966.

3. Appendix: pp. XV, XXIV

E. T. HAll: The Hidden Dimension. Anchor Book Co.

Inc., p. 188. New York, 1966.

4. J. J. HERMAN: The Instructional Service Centre.

School Board Journal, Feb. 1964.

5. 1. K. TAYLOR: Instructional Materiels Centre.

Nations Schools, Dec. 1960.

6. P. L. CAHN: Educational Materials Centre.

American Educ~ticn, July 1966.

7. F. SIMONS: The Instructional Resource Centre.

A. L. A. Bulletin, Feb. 1963.

8. J. MOLDSTAD H. FRYE: A Complete Materials Centre.

Overview, May 1961.

40.

9. R. WYMAN: The Instructional Materials Centre.

Audiovisual Instruction, Feb. 1967.

10. T. C. BIRD: The Teachlng Materials Centre.

Teachers College Journal, Jan. 1965.

Il. RENSSELAER POLYTECHNIC INSTITUTE: New Spaces for

Learning. Educational Facilities Laboratories,

Inc., p. 15. June 1966.

12. L. SINGER: Where Tomorrow Begins. Audiovisual

Instruction, April 1963.

13 ••••••••••• Report of the N.C.T.E. Convention.

San Francisco, Nov. 1963.

14. Appendix: pp. V, XXX.

A. TOFFLER: Future Shock. Bantam Book Co.,

Aug. 1970.

15. H. PERRATON D. WADE J. FOX: Linking University

by Technology. National Extension College, 1969.

16. • ••••••••• The Nine Universities Research Project.

National Extension College, Aug. 1966.

41.

PART II

HOW AN I.M.C. CAN BE ESTABLISHED

a) l.M.C. Planning Committee and the Role of the Architect

Planning an educational building is an especially

difficult task, as is the design of an l.M.C. which will

facilitate an increased use of media and yet meet the

requirements for an up-to-date learning facility. lt is

obvious that "planning of an l.M.C. begins with an under­

standinç of instructional communications and, through this

understanding, a conviction that communication is a vital,

necessary factor in teaching and learning ... l

Thus the development of the building program

43.

is the essential first step in the design of the l.M.C.,

for which aIL those responsible for planning educationol

buildings and committing large amounts of money to their

construction must jointly assume primary responsibility.

The preparation of such a building program is a very

complex process, for it involves many groups - university

administrators, educators, library professionals, commu­

nications specialists, trustees, architects, planners,

engineers and othèrs - who do not speak the same language.2

Their conflicting philosophies, policies and interests,

as weIl as the complicated financial, political and

administrative factors make communication difficult.

A truly successful educational system can result only

when its programming has been thoroughly considered and

completely detailed, and that requires hard work and

diplomacy.

The formulation of the educational philosophy

of the I.M.C., its behavioral objectives and its role on

the campus and in the community as a ~hole, will follow

the decision concerning the innovative projects that will

be included in the building and the description of the

functions to be served by it.

Besides this basic information, the building

program should give the architect more specifie informa­

tion about the building he is to design, even more so

when it concerns unusual facilities he has not had

experience with.

This more specifie information that should be

~rovided to the architects is:

a) A schedule of aIl the required spaces of the

building.

44.

b) A definition of the number and the types of

the users in each space.

c) The function of eoch space.

d) The size and shape of each space.

e) The necessary furniture and special equipment

needed in each space.

f) The special considerations of each space su ch

as: lighting, wiring, acoustic treatment, ventilation,

heating, et cetera.

g) The access to and the location of each space.

h) A description of the desirable relationship

between the required spaces.

i) The need of flexibility and expansion of each

space.

A complete building program should include some

other guiding principles in l.M.C. planning, such as:

a) The necessary personnel and their duties in

planning activities and providing services.

b) The acceptable materials and equipment in

qu~ntity and quality to support the planned l.M.C.

45.

c) The l.M.C. teaching and learning systems.

d) An annual budget sufficient to operate and

develop the l.M.C.'s program.

e) Organization to provide for effective use of

media by students and professors.

46.

b) Changing Concepts in Library Building

The hypothesis of Mark Twain of the death of

the book is greatly exaggerated. The book, which ap~ears

to have extraordinary survival power, has sto~d IIp ag~inst

the threats of radio, film, and television. Since 1945,

for example, when general television broadcasting began,

the circulation of public library books in the United

States has increased by more than 200 percent; and from

1960 through 1970 the numbers and t;~les of new books,

and new editions of books produced in the United States,

3 increased by more than 90 percent.

But, library professionals as weIl as archi-

tects, college and university presidents, trustees, and

011 those responsible for planning library buildings and

committing large funds to their construction, are acutely

aware of the need for new solutions to mounting library

problems. Major among these is the flood of new infor-

motion. Most of the librories are hard pressed for

money to buy, and space to house, the books and journals.

There are 400,000 books published annually worldwide,

4 roughly twice that of a decade ago. In the sciences

47.

alone, where old-fashioned physics, biology, and chemistry

have bred new fields like biomanagnetics, macromolecular

physical chemistry, et cetera, there are 35,000 separate

journals published annually with over 15 million articles

in them. The journals themselves are estimated to be

growing in number at the rate of 5 to 10 percent a year,

the literature in them doubling every 10 to 15 years.5

Cornell University catologues over 85,000 titles a year.

And if one considers that academic and research libraries

tend to double the size of their collections every 16 to

20 years - then, in the words of mathematician, J. G.

Kemeny, "the cost of building, of purchasing volumes,

of cataloguing, and of servicing these gigantic libraries

cou Id eventually ruin our richest universities." This

says nothing of the difficulties for the user as he

approaches the huge card catalogues, or the reference

librarion who is estimated at the present time to walk

an average of eight miles a day on the job.

The 1965 report of the Office of Education,

estimates that, in institutions of higher education, the

indications are that more than 135 million new square

--\,

48.

feet of space will be required by 1972. Librarians are

the first to recognize that the solution is not sim ply

more books, more buildings, and more librarians. What

they look forward to and need, is a change in the very

concept of what a library is: that is, beyond its

function as a depository of books, the library must

become a source of active information transfer. The new

technologies offer the hope of realizing this concept,

and librarians, above aIl, welcome it. Through computer

storage and retrieval, microforms, long-distance trans­

mission, and the like, it may yet be possible to multiply

the usability of every information unit, to transcend

the physical and geographic limitations of the library

building, and perhaps, to make one1s home or office, a

place for learning as good as the best university library.

The questions that hang over the heads of

library planners are a) the probability of these

propositions, and b) whether they will be true for aIl

types of information, in aIl types of libraries, in

small ones as weIl as large, c) whether they will be

economically practical or prohibitively expensive, and

49.

d) the speed of change.

In June 1967, the Educational Facilities

Laboratories, arranged in New York a symposium of

librarians, communication and information technologists

and architects. The topic was: "The Impact of

Technology on Library Buildings."

50.

The consensus of those who participated in the

conference was that for at least the next 20 years the

"book will remain an irreplaceable medium of information,"6

and, therefore# library planners can proceed at this

time with confidence that technological developments in

the future will not change very much the way that the

libraries are used. In planning library buildings today,

plonners should start with the library as the institution

they now know it to be, but they must also be informed

of the implications of the new technology, and provided

with guidelines so they can proceed with confidence,

knowing that the buildings they plan today will be usable

in the future. The present state of library architecture,

based on modular principles for interior flexibility,

has until now provided that confidence. We know that

such buildings, appropriately located, planned for

expansion, and with provisions for the addition of

electrical and air-conditioning needs, can serve as weIl

in 100 years as the y do today.

Now, more than ever, it is important to design

library buildings so the y will be inviting and comfortable

for people to use. The library building itself will

gradually change, but people, who use libraries are a

co~stant factor.

51.

c) Relationship Between Library and I.M.C.

Questions about the relatianship between the

university library and the I.M.C. have periodically

developed into deep concerns for both librarians and

audio-visual specialists.

Librarians show a growing concern for "nonbook"

materials. Many advocate the expansion of libraries to

include not only books but pamphlets, films, pictures,

records, models, et cetera, catalogued together for easy

access, providing teachers and pupils a one-stop service.

Sorne leaders advocate the library as t~e natural home

for 011 types of independent study activities of pupils.

This they would coll an lnstructional Materials Centre.

Many audio-visual instruction specialists see

as part of their role a concern for "instructional"

materials. In the past the y have provided non-book types

of teaching materials to classrooms, ranging from small

film collections to centres including everything from

real objects to abstract charts. Now many specialists

include programmed learning materials and equipment

among their service areas, thereby entering the area of

52.

--"\

1

53.

"linguistic-type" materials. These service organizations

are also named lnstructional Materials Centres.

This use of the I.M.C. label by members of

both organizations together with the attendant broadening

spheres of activities by professional members of each

group raises important questions. Are the purposes of

both grovps alike? Do the services provided differ? An

answer to this question was given by E. Heiliger, one of

the most reputable librarians who wrote: "Librarians

are eternally occupied with the need for more books, more

space to put the books, and more staff to process the

books. This seems to leave little time for an equally

essential problem: how to make the books useful and

meaningful to the users." Heiliger goes on to state that

"a university library stands or falls on its contributions

to the main task of the university - teaching studentso"

He calls for a plan that would "integrate the library

into a teaching program in a significant way." Heiliger

recognizes that "one facet for this integration is a

firsthand knowledge of each professor's work. With such

a knowledge, the librarian could be forewarned of demands

to be macle of services, could make the professor aware

of additional library resources in course planning, and

could gear its services to make the optimum contribution

to the teaching situation."7

Here was on outstanding leader in the library

movement calling for 0 reconstruction of the library's

image and a redefinition of its role. But most colleges

and universities continue to follow the traditional

practice of separating audio-visual service from the

library that contains printed materials. Many educators

also have question~d this separation on theoretical

grounds: Why should not the various media, materials,

and services connected with their use be combined adminis-

tratively for the greater convenience of instructors and

students? As technological factors assume new importance

in implementing communication processes generally, it

would seem logical that coordination might be a means of

reducing operating costs while improving the quality of

the service. In view of such considerations, we are led

to the conclusion that universities and colleges would

54.

do weIl to consider the case for an integrated organization

of learning resources, and to estimate the disadvantages

of allowing new media centres and libraries to operate

independently of each other. "For there are strong

grounds for such an integration:

1) It overcomes immediately the print-media

dichotomy.

2) It simplifies the access routes to teaching

and learning resources for teachers and students, and

facilitates the improved organization of the flow of

information to faculty and students.

3) It provides the framework within which tele­

vision (which almost invariably tends to run off

operationally and cost-wise on its own) can be brought

into a more balanced relationship with other media.

4) It provides an integrated production base for

internaI publications, teaching and learning materials,

irrespective of the combinations of media required.

5) It helps turn the library into a much more

dynamic agency, more integrally involved in institutional

resource planning, and with the total process of teaching

and learning.

55.

6) It thus creates a university-wide,

integroted resource system capable of combining

flexible growth and administrative efficiency, also

making possible economies of scale by centralization of

appropriate manpower and technological plant. n8

56.

d) The I.M.C. Learnins, Teaching and Communication Spaces

The previous chapters led us to the conclusion

that the new complete I.M.C. must be designed to bring

tagether the many modern technological aids to learning

and the more traditional library materials, making them

readily available in combined facilities for faculty and

student use. As part of the Instructional Materials

Centre, the library will be able to cope with the rapidly

expanding body of knowledge, demanded by the space age

and its new curriculum.

This total learning facility must be designed

so that students and faculty would have ready access, in

one place, to books, periodicals and other printed

materials, various collections, pictures, reproductions,

films, filmstrips, slides, records, tape recordings,

television, cassettes, et cetera. AlI these materials

must be listed in the main card catalogue file, so that

individuals may readily locate aIl kinds of materials

relevant to a given topic. In large university I.M.C.'s,

the computerization of the card catalogue is necessary.

The adv~ntages of such an operation are: a) the accessi-

57.

bility to users beyond the library, and b) the possibi­

lit Y of interchanging the catalogue information between

university libraries.

The students and faculty should also have direct

access to housekeeping areas which, in large university

I.M.C.'s, should be computerized also, for better opera­

tion of the ordering and receiving departments, as weIl

as for a more systematic circulation control.

Another area of a large university I.M.C.

which will be completely computerized, perhaps within

10 years, is the storage and retrieval of widely-used,

specialized technical data, which will gradually increase

the production of microform texts.

A complete university I.M.C. should also contain

the following facilities: a) learning laboratories,

58.

b) production laboratories, c) collections and display areas,

d) learning and teaching spaces, e) science laboratories,

and f) a communication centre.

a) The learning laboratories must contain:

1) curriculum laboratories, 2) tape language learning

laboratories, 3) a library science audio-visual teaching

laboratory.

b) The production laboratories must contain:

1) instructional-materials production laboratories

(charts, graphs, transparencies, models, apparatus,

et cetera), 2) a dark room for slides and pictures and,

3) student do-it-yourself production laboratories.

c) It should also contain: 1) an art collection

and display area, 2) a map and other printed materials

collection and disp1ay cases, 3) rooms for special

displays and demonstrations, and 4) a music collection.

d) The learning and teaching spaces may be of

many types: 1) for large group instruction - auditorium,

lecture rooms (the half rear projection rooms), class­

rooms, assemb1y rooms, et cetera, 2) for small group

discussion - seminar rooms, recitation rooms, conference

rooms, music 1istening rooms, et cetera, 3) for

independent study - case study rooms (with audition and

preview faci1ities), case study areas (multi-media

carrels), et cetera.

e) The science 1aboratories shou1d be able to

meet the needs of students and professors in physics,

59.

chemistry, mathematics, biology, medicine, and engineering.

f) The Communication Centre must contain: 1) the

television-department studios, conference rooms, dressing

rooms, viewing gallery, offices, et cetera - for both

open and closed-circuit programs, 2) the film department­

studios, conference rooms, dressing rooms, rehearsal

rooms, offices, et cetera - for super 8, 16 and 35 mm

films, 3) the radio department-studios, collection

room, offices, et cetera - for both cable and non-cable

programs, 4) the distribution department, which will

contain aIl the transmitting facilities for the broadcast

services.

g) The Computer Centre will contain the central

processing room, offices, a room for mechanized storage

forms, as weIl as room for spare parts, testing equip­

ment, and a general storage.

e) The I.M.C.: A Building or a System Centre?

It is understandable that aIl the learning,

teaching and communication facilities that were listed

in the previous chapter cannot be ~oused in a single

architectural unit. Even the learning facilities have

to be housed in more than one unit, if the Conventional

University Library contains more than 100,000 volumes.

(The McLennan Library of McGill University contains some

565,000 volumes.) Of course, aIl these distinct archi­

tectural units will function in symbiosis, to make up

the Instructional Materials Centre of the University.

The first major sub-unit will contain: a) the

Conventional University Library (ample land must be

reserved for its expansion, as future requirements

demand); b) the Information Storage and Retrieval

Centre, and the housekeeping of aIl the programmed

learning (non-print) materials and equipment (even if

all these facilities were completely computerized,

there would be no necessity to locate the central com­

puter equipment within this building); and c) the

Library Science Department.

61.

62.

The second major sub-unit will contain:

a) the learning laboratories; b) the production

laboratories; c) the collection and display areas; and

d) the learning and teaching spaces.

These two major sub-units should be directly

connected by an adjoining one, which will house aIl

their common facilities, that is, staff areas, adminis-

trative areas, service areas, et cetera, so as to form

the first architectural unit, which will evolve as a

distinct facility type. Such a unit can then economically

provide:

1) An efficient arrangement of the odd room shapes

that are best for auditoriums, conference halls, lecture

rooms, et cetera. There are many ways of doing this

with a minimum of waste space.

2) Shared projection and listening areas,

allowing expensive equipment to be brought together and

used in one area. This insures prope~ care and adequate

utilization of the equipment.

3) A real working combination, evolved by cen-

tralizing aIl teaching facilities and locating aIl produc-

tion and learning spaces near them.

4) A central technical staff, working in one

area rather than being scattered among many buildings.

5) A focal point for training faculty in effec­

tive use of aIl instructional aids and media.

6) The ~ecessary special lighting and mechanical

systems - special circuitry and air conditioning, for

instance, are much more economical if centralized in

one unit rather than dispersed in many.

The third major sub-unit will contain: a) aIl

the Physical Science laboratories (for physics, chemistry

and mathematics); and b) aIl the Engineering laboratories.

The fourth major sub-unit will contain: a) aIl

the 8iological Science laboratoriesj and b) aIl the

Medical laboratories.

The last two major sub-units should also be

directly connected, in the some way as the first two, so

os to form the second architectural unit, which of course

must be built as close as possible to the first one.

This unit, too, will evolve as 0 distinct facility type,

which will then economically provide:

63.

1) Shared special services and facilities

designed for large groups or for groups of varying

sizes and equipped with special equipment.

2) Shared special classrooms, allowing expensive

equipment to be brought together in one area for multi­

media presentations.

3) Systematic analysis and evaluation of instruc­

tional functions, costs and results, for the purpose of

improving the teaching effectiveness of this large number

of laboratories.

4) A central technical staff which will include

qualified "specialists" and "generalists", working in

one area rather than being scattered among many buildings.

5) The necessary special technical and mechanical

services such as lighting, air-conditioning, special

circuitry, et cetera.

The e3tablishment of such a unit applies only

if it will be a part of the construction of a new

university campus, or of new science, engineering and

medical sub-units. In old university campuses, where

these faculties are housed in different buildings and

64.

often far from each other, aIl these laboratories will

be scattered among them. If this is the case, the se

laboratories can still be, under special considerations,

a part of the Instructional Materials Centre. In that

case, of course, the economic advantages that were out­

lined in the previous paragraph, will not be applicable.

The third and last architectural unit of the

University Instructional Materials Centre will consist of

the Communication Centre, which will contain the tele­

vision, film and radio departments (the distribution

department can be located several miles from the campus,

on a hill or in a tower), and the Computer Centre.

Of course, the se two sub-units of the third

architectural unit should be directly connected, in the

sarne way as the previous ones, so that this unit, too,

will evolve as a distinct facility type. Also, the whole

unit should be built as close as possible to the other

two, with which it will constitute the complete University

Instructional Materials Centre.

This is a highly sophisticated unit and by

placing its facilities together, it will then economically

65.

provide:

1) Shared special facilities designed for special

purposes and with special equipment such as recording

studios.

2) Shared other facilities su ch as conference

rooms, lecture rooms, dressing rooms, et cetera.

3) A real working combination, evolved by cen­

tralizing aIl studios and other special facilities and

locating them near the facilities for broadcasting

various types of programs.

4) A central technical staff, which will include

"specialists", "generalists" and "engineers", working in

one area rather than being scattered among many buildings.

5) The necessary very special technical and

mechanical services such as acoustic control, air­

conditioning, special circuitry, et cetera.

Again, the construction of such a unit applies

only if it will be a part of the construction of a new

university campus, or a part of the redevelopment of an

old one; that is, if the Computer Centre has to be moved

to larger and more convenient premises.

66.

67.

However, if the existing Computer Centre

applies to the needs of the University, then the

Communication Centre should, if possible, be built as

an extension to it, in order to take advantage of the

economic factors that were outlined in the previous

paragraphe

If this is not possible, then the Communication

Centre should be built very close to the first architec­

tural unit, and be connected with it, in order to provide

easy access to the studios for the professors and students

working ct the Production Laboratories of the first

architectural unit.

There is no doubt that su ch an Instructional

Materials Centre is an expensive undertaking; but for

large universities which require such facilities, it can

become their best long-term academic investment. The

many factors that make this building special and expensive,

make it imperative that its planning, and especially the

design, be entrusted to knowledgeable professionals and

not to uninformed persons.

f) University I.M.C.'s Teaching and Learnins Systems and Special Equipment

The recognition of the need for individualized

instruction in education, together with the technological

developments in electronic and mechanical audio-visual

devices, were, as explained in the introduction, the

result of work done for military purposes. After the

Second World War, their uses extended into other areas,

and today the use of these audio-visual devices for

educational purposes alone is rapidly growing into a

billion dollar market.

Since statistical records for the non-theatrical

film and audio-visual field came into use in 1956, the

market has grown twice as fast as the nation's ecol1omy,

showing an 9

83 percent growth.

While the market continues to grow, it is also

becoming more sophisticated and flexible, with new

approaches and dimensions in this area reaching the

education field every day. Thus, professors have to

continue to make revolutionary changes in teaching systems

with the new and sophisticated hardware and software

that is now available.

68.

It is absolutely necessary for the designer

of the University Instructional Materials Centre to

provide the conditions whereby evolution and revolution

can take place in the teaching and learning systems.

The main systems, and the special equipment

which is necessary in a new University I.M.C., are sur­

v~yed below.

A. Wireless teaching systems

The term "wireless" refers to systems in which

the transmission of information is achieved without wire.

However the equipment has to be plugged into standard

electrical outlets or use batteries. These systems can

be used in any space of approximately 10,000 square feet.

The programs can be broadcast from an ordinary

tape recorder, or Audio Notebook (special tape recorder

utilizing a tape with 22 master program tracks and one

erasable recording track), and radio (AM, FM, RM trans­

mission), and television, the professor's voice through

a microphone, a "Time-Master", or a record player.IO

These "closed-circuit radio network systems"

are very useful for the teaching of languages, business

69.

skills (stenography), et cetera, for the~ allow four

or eight lessons to be broadcast simultaneously.

B. learning (Language)laboratories

The language laboratory is defined as "a class-

room or other area containing electronic and mechanical

equipment designed and arranged to make foreign-language

learning more effective thon is usually possible without

't "Il 1 •

There are three systems of language

laboratories: 1) the "class system", directed by a

professor on a group basis; 2) the "self-instructional

system", which is designed for students working indepen-

dently and at their own convenience (dial access system);

and 3) the "portable system" or "mobile language labs".

The language laboratories are divided into three types:

1) Audio-passive type: the student listens to

the recorded program on a disc or a tape through head-

phones (wireless teaching system).

2) Audio-active type: the student listens to the

master recording, responds into an attached microphone,

and instantly hears his own voice through the headphones.

70.

3) Audio-active-comparative type: the student

listens to the master recording, responds into the

microphone, and then hears a recording of both the

master voice and his own.

c. Telephone-based teaching systems

In these systems the "amplified telephone" and

telephone lines are the main component. The main feature

of the telephone teaching systems are: a) they are

designed to reach larger numbers of students than would

otherwise be possible, or those that are in another

location far from the instructor; b) they can use both

"life" and "recorded" instructional sources.

The main telephone-based teaching systems are

the Blackboard-by-Wire and the Electrowriter.12

1) The Blackboard-by-Wire is a teaching system

that transmits voice communications and handwriting over

te le phone lines at a relatively low cost. For example,

a one-hour closed-circuit television transmission with

one-way audio between two cities will cost four times as

much as a similar transmission via the Blackboard-by-Wire

system, which also allows two-way audio transmission.

71.

While speaking from his classroom, office, or home, the

professor illustrates his remarks with an electronic

pen on the 8 x 6 inch writing surface of the system's

transmitting console. The handwriting is transmitted

over telephone lines to the television monitors at each

reception point. A question indieator panel and a micro­

phone at each reeeption point allow the students to ask

questions and diseuss ideas with the professor.

2) Similar to the "Blackboard-by-Wire" is a new

device called the "Eleetrowriter", whieh also allows two­

way audio transmission through telephone lines at a

remarkably low cost.

It differs from the "Blackboard-by-Wire" system

in that, on the Electrowriter, aIl handwritten notation,

and mathematical formulae, drawings, et cetera, are

enlarged to blackboard size or even larger, just as they

are written, and are received on a large sereen. With

the amplified telephone, the students are able to discuss

ideas with the professor.

72.

D. Programmed instructors

These teaching machines are electronic devices

capable of presenting programmed instruction materials,

and can be housed together in one location for individual

study. They are compact (they will fit on a small desk),

light-weight, portable, and easy to store. There are

five different types of programmed instructors:13

1) the

linear programmed teaching system; 2) the Multiple

Choice Programmed System; 3) the Carcl Source Audio­

Visual Devices; 4) the Tachistoscopes Reading Devices;

and 5) the Multi-Sensory Learning System.

1) The operation of the Linear Programmed Teaching

System by the student is very simple. The first question

frame is projected onto a small sereen in front of the

student. He writes his response on a strip of paper

which is ~rovided by the machine, and then presses the

Answer button. The machine then uncovers the correct

answer and the student compares his response with the

correct one and presses the Advance button to present the

next question. The programs may be purchased off the

shelf, or they may be prepared locally by the faculty.

73.

2) The Multiple Choice Programmed System is

similor to the Linear Programmed Teaching System des-

cribed ~bove. In this system, a frame with a multiple-

choice question is presented to the student. He

selects an answer by pressing a button which corresponds

to the letter of his answer on the frame. If the student

has answered correctly, this button directs the machine

to the next question frame. If he has answered

incorrectly, frames containing information to help lead

him to the correct response will be presented to him.

3) The Card Source Audio-Visual Deviees System

is not similar to the previous two systems, but its

operation by the student is very simple. He takes a

card, similor in size and shape to a computer punch card,

and inserts it into the machine. The card contains a

sound track, which the machine plays back over an

individual headset, and a drawing or picture to illustrate

the sound. The cards may be replayed by the student as

many times as he wishes, and may be prepared locally by

the faculty, using the machine to record sound t~acks.

74.

4) The Tachistoscope is a machine designed to

increase a student's reading speed, by presenting words,

letters, numbers and symbols to the student for brief

periods - as 1ittle as 1/100 of a second with sorne

devices. By gradual1y increasing the number of bits of

presented information or by reducing the length of the

presentation time, the reading speed is increased.

5) The Multi-Sensory Learning System (sometimes

described as a talking typewriter) is a much larger and

more sophisticated machine campared to the ones des­

cribed above. The typing keys are colaur-coded and lock

in such a manner that only the correct key can be

pressed by the student. This is a very effective system,

for it serves as a reinforcement to the 1earning process.

A page printer, and rear screen projector, and micro­

phone, and a speaker are included in this system.

E. Te1evision-based teaching systems

There are two types of television programs

which are used as a teaching aid, the Instructional

Television Programs (ITV), and the Educatianal Television

Programs (ETV).

75.

1

76.

The Instructional Television Programs are

generally planned for a particular teaching system, to

fulfill a specific instructional purpose within a lesson;

generally they originate through a closed-circuit system.

These ITV programs might be prepared by a professor, a

group of professors, a department, a group of departments

within a university, or a group of departments from

various universities.

The Educational Television programs are designed

for general educative enrichment and might include both

instructional programs and general educational informa-

tion broadcasts. These ETV programs are usually open-

circuit programs, but they may also originate within

closed-circuit systems.

Th h 14 f .. ere are t ree systems 0 transm~tt~ng

television programs: 1) the open-circuit system; 2) the

closed-circuit system, over the air; and 3) the closed-

circuit system via coaxial cable.

1) Generally commercial and educational television

stations broadcast over-the-air programs in an open-

circuit system. The signaIs are transmitted in aIl

directions and can be received by regular domestic

television sets; this is why it is referred to as an

"open-circuit system." In the future, the transmission

of television (and radio) programs via satellites will

play a very important role in educational television,

especially for those areas that are far from the major

metropolitan centres.

2) The microwave transmission is referred to as a

"closed-circuit system" because regular domestic tele­

vision sets are not designed to pick up those types of

signaIs, that is, those which are not transmitted in aIl

directions, as with the open-circuit syst~m, but from

77.

point to point. This system is used for several purposes,

su ch as the linking of two or more transmitters at separate

locations and possibly miles apart. This system also

provides the rare opportunity in a television system for

a two-way communication (talkback).

3) The "coaxial cable closed-circuit system" is

used very often as a television link between buildings

or groups of buildings which are not far apart. The

advantag~s of using this system rather than the micro­

wave system are that it is more econamical (if the

buildings are not far away fram each other) and the

receptian is mare reliable, since the cable is not

affected by atmospheric conditions. It is also possible

to send television images by the "blackboard-by-wire"

system, as described previously. There ore basically

three ways of displaying television programs, each of

which may use any of the systems mentioned above. These

are:

1) Individual viewing at a study carrel an a

small television receiver (the individual study carrel

will be described below).

2) Display to a classroom or lecture hall group

(up to 30 students) on one television receiver, or for

lorger groups on more thon one receiver.

3) Projection onto 0 large screen (front or rear)

for group viewing, by meons of a single television

projector, which con be supplied from 0 television camera,

television film chain (it includes more than one

projector, that is, film, filmstrip, opaque, slides,

78.

et cetera, attached to a television camera), or from a

videotape recorder (an electro-mechanical machine which

makes possible the recording and immediate playback of

images and sound on magnetic tape).

F. Teaching Programs Through Radio Networks

Many broadcasting corporations are continuing

to experiment in the production of programs designed

specifically for a university audience. These programs

are very much appreciated by both university professors

and students, and there is a real, although still quite

small, demand for exchange recordings of some of them.

The sound recording of lectures, informaI

talks, formaI discussions, poetry readings, drama, et

cetera on magnetic tapes, and the exchange of them among

universities (not through radio medium), presents no

difficulties, for there are many universities which at

the present time have a large collection of sound

recordings and records.

However, development in the radio medium calls

for a greater assurance that the programs will actually

be used by the larger university audiences for whom they

79.

are designed, and, that there will be better "feed-back"

from that audience thon what has yet been achieved.

Perhaps the most successful experiment in

providing university-level educational programs through

the radio medium is that of the "University of the Air"

(or "Open University,,)15 in England. This new national

academic institution, as mentioned above, is providing

for the home student the opportunity to proceed to a

degree by correspondence study, supplemented by the

radio, telephone and television.

The transmission of these programs is usually

provided by commercial or educational "over-the-air"

broadcast stations (airplanes may also be used for this

purpose), and in the near future transmission by satellite

will also be possible. In effect, the transmission is

provided by an "antenna", which can be used only for

one-way broadcasting of audio programs.

Quite often also the "audio cable system" is

used as a radio link between buildings or groups of

buildings. The advantage of such ~ system is that it con

be used for two-way broadcasting of audio programs.

80.

G. Dial Access Information Retrieval Sxstems (OAIRS)

It has become necessary in the past few

years for students to have individual study locations,

and to have access from these locations to aIl sources

of audia or visual information (such as slides, film-

strips, films, audio tapes, records, tele-lectures,

phonovid, electrowriter, microscope, commercial tele-

vision, CCTV, videotape, et cetera). It was in response

to this need that the dial access systems were adapted

from their original use as language laboratories, to

direct automatic access libraries of recorded as weIl as

live programmed audio-visuel information.

In dial access systems, the user location is

usually an individual multi-media study carrel. The

location of these carrels is not restricted to the

Instructional Materials Centrei they may be located any-

where in the university campus (in seminar rooms and

classrooms with dial outlet, in laboratory booths, in

professors' or graduate students' offices, et cetera) or

even off the university plant, in other universities,

dormitories, or private homes.

81.

-.,-:)

1

The individual multi-media study carrel must

be designed to accommodate not only aIl the necessary

equipment for the dial-access system (described below),

but also extra components such as writing surface, book-

shelf, cabinet or locker, projector area, small screen,

et cetera. The equipment necessary for the dial-access

t . 16

sys em 1.s:

1) A push-button selector for access to remote

recorded programs.

2) An "intercom telephone" which enables the

student to communicate with the operator at the control

room or the professor at the console (live programs).

3) Headphones or small built-in speakers, for

receiving any audio programs, and a microphone which

enables the student to record the se audio programs or his

own voice if necessary. (The tape recorder itself is

located in the control room and only the tape recorder

controls are built into the carrel.)

4) A small television screen to receive the video

components, and a separate cable which can carry the

audio signaIs to the earphones or the speaker.

82.

Because of the high cost of providing each

student with his own study carrel, the ones that are

to be located in general reading areas (that is, library,

laboratories, et cetera), should be designed to permit

double and even triple use of the space. In any case,

the carrels must be movable, an important consideration

in the flexible arrangement and use of reading spaces.

H. Computer-Controlled Teaching Systems

An educational computer system is a system

that uses standard techniques of data processing to

lead a student through a curriculum and to provide

analysis of test and examination data, et cetera. These

systems provide a rapid and very detailed analysis of

a student's progress and can keep an up-to-date record

of it, which will help the professor in his teaching

decisions. Also in the independent study situation it

will be possible for the computer ta suggest the next

phase of program study.

With these systems it is possible to overcome

some current teaching problems. The first is the

increasing size of classes and the resulting decrease in

83.

contact between individual students and the professor;

another is the minimized opportunity for two-way

communication imposed by room-darkening during film

84.

lessons or by interrup.ting film or television presentations.

There are four types of computer-controlled

teaching systems:17

1) The "Communicator System" is a classroom

response system with push-button units located at each

student position. The professor's desk is equipped with

a panel of indicator lights, each of which represents a

student station, with meters to register group responses,

and with devices to count individual scores. (Fig. 1)

2) The "Multi-Media Control System" integrates

the previous system with automatically-programmed audio­

visual materialsi it includes a two-track audiotape unit

and controls for one or more filmstrips, slides, or 16

mm film projectors. Also a rear screen projection,

overhead projectors, and television con also be integrated

with the system.

3) The "Large Group Response System" which con

serve up to four auditoriums with almost a thousand people

in each. To serve this number of students a "data

acquisition and recording system" is integrated with

the multi-media control system described above.

4) The "Multiple Answering Teaching Aid System"

is a typical one that cornes in both standard and mobile

models. The latter is more popular because ït can be

used in any learning space, and it cornes in three sizes -

for 20, 30,

, 1 1J.J5TRUCTORS

a LIGHT PAIJEL lIJDICATE5

b l''-IDIVIOUAL STUDE:I-IT RESPONSES METER5 RI:QISTER GROUP RESPONSES ETC.

85.

C EQLlIPMEt-lT TO PLAY AUDIO PORTIO/-..I OF LESSOIJ (TAPE UI-lIT)

d CClt-ITROLS FO~ 1..IGI-ITS, ffiO­JECrORS eTC.

2. 5TUDEt-JT RESPONDER. UNITS Educational Facilities Laboratories

Fig. l

l. Computer-Assisted Learning Systems

When the computer is used as the individual

student's guide through a pragrammed course, this system

is called "Computer-Assisted Learning System." There

are several types of this system currently available,

for example, the IBM, RCA, and GE, and each one uses a

different computer language. There is a lack of actual

written programs because the use of one computer language

limits the use of that program to the specifie computer

system that it was designed for, and the translation of

one program into another language is a very expensive

and difficult process.

The location of the central equipment de pends

on the number of terminaIs and the complexity of the

curriculum program. As an example, 1000 student terminaIs

and tutorial programs of medium complexity require one

control unit. The limitation in cable length is about

1000 feet from the control unit to the student terminal.

This means that the I.M.C. will require more than one

control unit if the student terminaIs are spaced far apart.

Each student terminal occupies approximately

86.

10 - 25 square feet of floor space. These terminaIs

can be arranged in many different groupings, such as a

single terminal in a conventional classroom, clusters

of carrels in flexible teaching spaces, or special

terminal rooms.

The most sophisticated so far developed is the

so-called "PLATO System," which is capable of controlling

simultaneous programmed instruction for as many as 1512

students, and permitting each student to proceed with

one of the 1510 programs ct his own speed. The student

terminal consists of:

1) A computer-controlled rear screen projector

for filmstrips and a central slide selector (122 slides).

2) An instructional visual display device on which

the central computer writes characters and draws diagrams.

3) An electronic keybo~rd with which the stugent

communicates with the central computer.

4) A light pen which provides faster student

response to multiple-choice questions.

5) Earphones through which instructions are

received.

87.

88.

6) A pull-out writing surface.

It should be noted that the student terminal

is designed for use under normal classroom conditions,

but the central computer area has special environmental

needs (dust-free, stable temperature and humidity,

special acoustic treatment). (Fig. 2)

\

1 IMAGE PROJ ECTOR ~OMPUTER-OCNTRO~ LED REA? SCREEr-J PROJECTOR FOR 0 FIL.M· STR/ p)

~ 2. UJSTRUCT/OI-J,I"L .............

DISPL.ÀY (CRT) 0 _.- --- -3 HEAD PHO I-J E: 5

4 KEY80ARD

5 LIGI-IT. PEt-.l

G PULL -OUT W?/TII-./G ... SU~FACE

TERMUJAL

Educational Facilities Laboratories

.Fig. 2: PLATO single student terminal system.

g) l.M.C. Personnel

The new and growing interest in improving

higher education through application of educational

technology leads us directly to the need to train and

educate professional educational personnel to carry out

aIl the programs offered by the new university I.M.C.

Obviously, at the present time, it is very

difficult to find people trained in aIl the aspects of

the l.M.C.; but graduate programs can be established for

the future training of these new educational personnel.

Then the audio-visual people will be able to move into

the presentation area as they learn about producing

presentations, research design, et cetera, and the

librarians will move into the individual study areas as

they learn about newer media used in individual study,

evaluation, guidance, programmed instruction, et cetera.

AlI of them should be troined and experienced (at an

audio-visual teaching laboratory), in the use of 011

types of materials and they should know how to teach

the students to use these aids independently.

The necessary l.M.C. professior.cl educational

89.

staff consists of: 1) the l.M.C. director; 2) the

director of the library and the information storage and

retrieval department; 3) the director of the production

and curriculum laboratories; 4) the director of the

graphies and film departments; 5) the director of the

television and radio departments; and 6) the technical

director. (Fig. 3, 4)

1) The l.M.C. director will report directly to

the dean of academic affairs, who together with his'

faculty will construct well-defined educational situations

for the students. The responsibility of the l.M.C.

director will then be to actualize these educational

situations, "to provide leadership in design, implemen­

tation and evaluation of programs."l8 He will perform as

a "generalist" or "middle man" between specialists like

the librarians, audio-visual instructors, and the

service organization, so he must understand both the

traditional library procedures and the new technology

and instruction.

2) The director of the library and the information

storage and retrieval department will perform as a

90.

specia1ist and will be responsib1e for the systematic

collection and acquisition of information. He will

supervise the classification, storage, and retrieva1 in

a11 book and non-book forms. A head 1ibrarian, who

will perform as an assistant director, will report

direct1y to him. He will act as a coordinator between

the other professiona1 1ibrarians (the seria1s, circula­

tion, technica1 services, reference information retrieva1

services), notify the professors of additiona1 library

resources which may aid in course planning, end endeavour

to make an optimum contribution to the teaching situation.

3) The director of the production and curriculum

laboratories, as a specialist in audio-visua1 materia1s,

will supervise the media experts and be responsib1e for

coordinating the activities in the learning 1aboratories,

providing guidance and assistance in the organization of

the information, transmission, and disp1ay systems. As

a specialist in programmed instruction, he will a1so

supervise the media producers and will be responsib1e for

producing programs, supervising research, and performing

evaluation of courses.

91.

4) The director of graphics and film departments

will supervise aIl the artists, photographers, film

producers, technicians, et cetera, and will be respon­

sible for the production and reproduction of the graphic,

photographic, film, and other forms of artistic visual

presentation mote~ials. He will provide guidance and

assistance in the consultation, design and layout phases

of production, for television, film and direct instruc­

tion.

5) The director of the television and radio

departments, as a specialist, will supervise the tele­

vision and radio program producers. He will then be

responsible for production of broadcast and closed-circuit

radio and television programs and video-tape services for

direct or supplementary instructions.

6) The technical director or director of

engineering will be responsible for the design, installa­

tion, maintenance, operation and expansion of aIl the

electronic components of the l.M.C. facilities throughout

the campus, and sometimes off-campus (dormitories, priva te

houses, other universities, et cetera).19

92.

1 ~'HE ,~

HUNMiITIES

<D 1

DllnCTOH. -LI BRAR Y DJFO. lŒ'LŒIVAL

1 HEAD

LIBrtARIAN

INSTRUCTIOiJAL MATF::1IALS CENTaE

LINE-STAFF' ADr"iINISTRATION CHART

D7·;:U: CF AC/IDEJUC A?7AIRS

I.l,:.C. DI17.F.CTŒl

STUDUn i,c j·JATU [tAL * SCCIAL GUIDANCE sCr::r:CES SCF;IJCES

,'. ....

'------ ------~--~- -------- ----_._----~ ~------ -~

® ® ® 1 l 1

DHŒCTOr. - DIriECTO] - DIRRCTCR -LABCRA TCmI~S R!,-DIO Atm FIIl,1 AND

'rEL'-:VIsrmr ~

GRAPHICS

1 1 l T'ŒDIA hlCD~JCTrON STUDIO CLERK !<AHAGER nANP.GER ..

1 ENGINEERING * 1

1

--- ________ ------.J

® 1

TF;CmaCAL DIRBCTCR

1 CHIEF

ErJGHJEER - -

* Systems Designer (A subject-matter oriented cO~~lunication media specialist) ", w

INSTRUCTIONAL MATEHIALS C1~NTRE

LINE-STAFF ORGANIZATION CHART

1 3 4 5 ~...,

HEAD -LIBRARIAN rviEDIA

i"-CLERK RADIO & TV PRODUCTION - GRAPHICS &

~'IIN STUDIO - CHIEF -ENG INEj~!(. MANAGER MANAGER

SeriaIs ~ Librarian

1

Media ~ Producer

1 Prorr,ram

1--Director f}raphic Arts

1--Supervisor

2 Audio F.np:infOers 1- .

1 l f'r.offOsnion

Au::üatnnt 2 l'roffl!müo

~n~istnnt 1

l ~)fI!t Df"nir;1 &. Con~truct.

1 ? Arti:Jt~ -II As~;iRtfl nts

Audio IJ. 1'f"chnici~n.;

Gircul.at~on Librarian -

1 6 Profession l? Part-time Assistants # & Shelvers

M,.dia Specialist -

1 3 Experts Il

Irechnicians .. '

A~f;ü)tant

Radio & TV 1--Supervisor

1 2 Traffic-

l'hotor:raphy 1-~up,.rvisor

1 l Photop:rap~ lTechnician~

4 Video ~ Enp:ineers

1 Video"

Technicia~s Cameramen' .

Techn. Serve 1'-Librarian

1 l l-ro.fession AStiistant ,

1,9 •• Clericalsll

Media TfI!acher t--.

1 2 Professi'6~ l'art-time Assistants

. Continuity E~perts

2 Studio t--trechnicians

1 Part-time /1

Film 1-q:r:~cialist

1 3 Artists #

Techniciams

l General . Engineer 1"-

J Profession" Assistants#

~.V. Techn.

Assistants

Reference Librarian r-

I l Profession ~ Part-time

Assistants/I

# The number varies according to the size and the needs of each university l.M.C.

h) Some Examples of Existing University I.M.C.i s

It was mentioned in the first paragraph of

Part l, that educational media programs in institutions

of higher education are known by various names, and that

they differ in the scope of their instructional services

as well.

There ore four main types of university

educational centres: 1) the "Audio-Visual Centres,"

which handle only nonprint materials; 2) the "Learning

Centres" or "Instructional Materials Centres" which com-

bine both print and nonprint materials; 3) the "Research

Centres" which place emphasis on research 'chat relates to

progress in instructional practices; and 4) the "Commu-

nication Centres," whose aim is the use of educational

technology to link universities and exchange teaching

between them.

Some examples of existing university educational

20 centres are:

1) Indiana University. The "Audio-Visual Centre"

95.

at Indiana University is a classic example of the educa­

tional media program, which handles only nonprint materials.

The present organization of the Audio-Visual Centre is

concerned primarily with: a)' off-campus rentaI circula­

tion of motion pictures and other visual materials; b)

on-campus audio-visual services to aIl departments and

faculty membersi c) production activities, including

films, photographie and graphie materials and tape and

dise recordings; d) on-campus closed-circuit televisioni

and e) professional education that leads to a doctoral

degree in audio-visual education.

2) San José 5 ta te College. The "Au dio-Vi sua 1

Division" at Son José State College also handles educa­

tional media services other than those related to printed

materials. The responsibilities of this division may be

described under the following categories: 0) services

dealing with utilization of materials and equipmenti

b) materials preparation services and production; c)

on-campus technical services and maintenance; and d) on­

and off-campus instructional television services.

3) Stephens College. The "Learning Centre" ct

Stephens College was established to bring together the

many modern technological aids to learning and the

96.

traditional library materials, and make them readily

available in combined facilities for faculty and student

use. The ai ms of this classic example of the second type

of university educational centre are: a) to provide the

modern educational materials resources and aids to learn­

ingi b) to create a favourable learning environmenti c) to

develop student capacity for self-education; d) to enable

faculty and students to utilize their time and ability

97.

with greater effectivenessi and e) to provide instructional

space and facilities designed for maximum utilization.

4) Florida Atlantic University. The "Learning

Resources Division" at Florida Atlantic University was

also established to make available to students all print

and nonprint materials and aids to learning that will

enable them to achieve maximum results with minimum

faculty direction and supervision. "The main functions

of the learning resources division are a) to put at the

disposal of the teaching faculty all media, technology,

services, and systems which will enhance the effective

communication of ideas in the pre-programmed place of

learningi b) to put at the disposal of the student 011

media, technology, services, and systems which will

enhance the effective communication of ideas in a self­

programmed place of learning. 1I21

5) The Pennsylvania State College. The IIDivision

of Instructional Services ll of the Pennsylvania State

University is an example of a university educational

centre with emphasis upon research. It was established

to grow out of a complex of research activities with

emphasis upon films, and later was transformed into an

institutional research effort related to the instruc­

tional programs of the University and focussed upon the

experimental development of closed-circuit television.

Its contribution to the University's instructional

programs are: a) instructional research and course

development; b) examination services; c) instructional

television; d) motion picture production; e) instructional

graphies; and f) still-photography services.

_ 6) The National Extension College, University of

Cambridge, England. The IIInter-University Research Unit ll

of the National Extension College is an example of a

university educational centre which places emphasis on

98.

research into the possibility of using educational

technology to link universities and exchange teaching

between them. This research had its origins in the

"Nine Universities Project" which carried out a syste­

matic one-year investigation of the various ways in which

modern techniques of telecommunication might help these

universities, and others in England that had established

central audio-visual units, "to pool their resources and

99.

thereby extend the range and broaden the scope of their

teaching, and to facilitate exchanges between research

workers by the cooperative use of educational technology."22

In 1969 the Inter-University Research Unit came up with

some important conclusions, the main one being that

university-level education on open-circuit television will

be universally availobl~ from 1971; and as a result of

these conclusions, the idea of an "Open University" was

then put into practice.

7) The State University of New York (SUNY). In

the past few years the ten colleges of SUNY (in 1970 they

had a total of 165,000 students) have undergone many

changes. They established "Instructional Resources

Centres" in thirteen major campuses in an effort to

change to multi-purpose institutions, by developing

television links and exchanging teaching between univer­

sities. At the present time, because the idea of

100.

importing teaching material from another campus has not

been as formidable as expected, there is some exchange

between them, and some materials are imported from outside.

These efforts enable students to follow courses which

otherwise would not be available to them. The instruc-

tional resources centres feel that there i5 so much that

con be done with the existing technology that they con

afford to wait and install new facilities only when the y

feel there is an absolute need for it.

8) "La Commission Interuniversitaire." Ten years

ago the Canadian French-speaking universities' extension

departments formed this Commission, which acts as an

inter-university link by administering a series of

broadcasting television and radio courses, (cours télévisés

et radio diffusés) with linked correspondence courses.

Also the Commission coordinates the examinations which

are organized by faculty members from aIl the member

101.

universities. The main reasons for the creation of

this Commission, besides the need for new forms of

teaching in higher education, were the problem of ex-

chan9ing materials between the campuses, because of the

difficulty of communications in winter in Quebec, and

because the C.B.C. felt that more air time should be

made available for university-level teaching to a group

of universities and not just to, say, the Université de

M ' l 23 ontrea •

i) Footnotes

1. DR. l. TRUMP: Independent Study Centers: Their

Relation to the Central library. The Collec­

tion of the National Association of Secondary

Scho01s Principals, Jan. 1966.

2. Appendix: pp. VI, XVIII.

C. DOXIADIS: Ekistiks: An Introduction of the

Human Sett1ement. Hutchison & Co., London,

1968.

3. R. BlAKElY: The Wit to Win. A.C.A. Bulletin,

Vol. 61, No. 2, Feb. 1967.

4. . . . . . . . . . . . Statistical Yearbook for 1964.

UNESCO, Paris, 1965.

5. Encyclopedia of Science and Technology.

McGraw-Hill, p. 542, 1966.

6. • •••••••••. The Impact of Technolo2Y on the Librarx

Building. Educational Facilities Laboratories,

1967.

7. E. HEILIGER: Advanced Data Processin2 in the

Universitx librarx. The Scarecrow Press Inc.,

1962.

102.

8. N. MACKENZIE, M. ERAUT, H. JONES: The Development

of Higher Education. UNESCO and I.A.U., 1970.

9.

10.

. . . . . . . . . . . New A-V Technolo9Y for Wide-Angled

Learning. American School and University,

April 1967.

. . . . . . . . . . . Instructional Hardware: A Guide to

Architectural Requirements. Educational

Facilities Laboratories, April 1970.

Il. A. HAYES: Language Laboratory Facilities. U. S.

Government Printing Office, 1963.

12. D. UNWIN: Media and Methods. McGraw-Hill, London,

1969.

13. W. SCHRAMM: Pro~rammed Instruction Today and

Tomorrow. The Fund for the Advancement of

Education, 1969.

14 ••••••••••• : Instructional Television Fixed Service.

National Education Association, 1967.

15. . . . . . . . . . . . The Nine Universities Research Project.

National Extension College, Aug. 1966.

16. H. REGENSTEIF: Why Stop at Languase Labs? Audio­

Visua1 Instruction, Vol. 7, May 1962.

103.

17. D. BUSHNELL, D. ALLEN: The Computer in American

Education. New York, Wiley, 1967.

18. J. BROWN, J. THORTON: New Media in Higher Education.

National Education Association, 1963.

19. J. BROWN, K. NORBERG: Administering Educational

Media. McGraw-Hill Inc., 1965.

20. • •••••••••. Audio-Visual Centres in Colleges and

Universities. National Education Association,

1965.

21. L. SINGER: Florida Atlantic University: Where

Tomorrow Begins. Audio-Visual Instruction,

April 1963.

22. H. PERRATON, D. WADE, S. FOX: Linking Universities

by Technology. National Extension College,

1969.

23. J. BRYNMOR REPORT: A.V. Aids in Higher Scientific

Education. H.M.S.O., London, 1965.

104.

PART III

ARCHITECTURAL ANALYSIS OF AN I.M.C.

a) Objective

This part of the study deals with the

architectural analysis, resulting from the direct

design influence of media on all those major sub-units

of the university instructional materials centre that

do not exist, or exist only on a small scale in few

universities.

These major sub-units are: a} the conventional

university library and the information storage and

retrieval centre; b) the learning and production

laboratories and the learning and teaching spaces (these

two major sub-units, as mentioned previously, form the

first architectural unit); and c) the communication

centre and the graphie arts department.

The other major sub-units that this study does

not deal with are common facilities that can be found

in any university. These sub-units are: a) the physical

106.

science and engineering laboratories;

science and the medical laboratories;

b) the biological

and c) the computer

centre.

The purpose of this stage of the study 1s the

development of specifie design methods for the organiza­

tion of main spaces according to the following design

criteria: a) environment; b) location; c) growth; and

d) technical.

107.

b) Relationships Matrix of Main Spaces

The first design method is the Relationships

Matrix which is a diagrammatic statement of aIl the main

space relationships arising from the design criteria

stated previously.

These main space relationships and the symbols

with which they are characterized in the relationships

matrix are:

1) Essential relationship ~

2) Desirable relationship 0 3) Neutral relationship 0

4) Desirably no relationship • 5) Absolutely no relationship À

6) No relationship (Blank) No symbol

108.

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",1 Vi .. w _ Tn 0 0 0 0 • 0 ~ À 0 0 ... 00 1 n"i ..... C!. ·-li nO' 0 0 D 0 0 • 0 À ~ Â 0 .0

.SSENTIAL ~ I.OCATICN r.qT'1'~~Ta

1 '.'"i n Flnn .. Location ~ 0 D 0 • ~ 60 ~ 0 0 0 00 DESIRABLE 0 7 1 .. ,~ T~ ... ~ .. 4~~ À • À • 0 0 À 0 • • 0 ••

'" ,.". __ ~_~ .. ~,., T ~ ... ~ .. i ~n 0 0 0 0 • • • 0 0 0 0 DO NEUTRAL 0 1. &,.,. ...... ".n M .. in Circulation ~ D 0 D • • • • 0 0 0 .0

.. ,.,. .. " ......... ~ .. ""nn" .. v (:, .. ,.", 'n 0 D 0 JO D 0 0 0 0 0 DO DESIRABLY NO • ~ ., ........ "' .. ,..~ V"",,".i,.,,1 r.<,...,. .. 1 'n D D D D D D 0 D 0 0 0 0 0

"' .. Dft .. ~ '~i n "'n"_~n ... _ ~ 0 0 0 • À À À • • • ... • ABSOLUTELY ,.0. À " ~ ~ n., <. •• . "'~ .. _~~ ... À • ... • • ~ 0 0 • • • 60 0 ,.,; "..... .... ~ .. ,...~ .. n,...,. ,. ,~ D D 0 0 0 0 0 0 0 0 0 0 0:

'."

~ ~ .... Q)

!

-0 Co S::Co

i ~ ~ c e e "'''' RELATIONSHIPS l Cl &. :::0 os

i Ci .., ... CI>

~ l ~ ; ~ ~ ,~ ... .!ë "" .. 0

;:. ~ t 2 ... MATRIX ! i ~ :;

~ ~ ;: s:: <~ s:: ] a ai

~ 0 § ~

.... > !-~ 0 ~ i 1 cv

E-o

~ .... ~ 2: ... .~

.~ ~ ~ ...

~ ~ Ul ,., Ô ~ ~ ~ t -< s::

-'l t' .::-: -' .... MAIN SPACES · .~ ~ ~ ] <:.> -:

~ .,

=' -:.:> ..3 OF

i CI>

l ] al ti ..

~ ] 1; ~ <.> '" t .., cr> l ~ ~ c x ~ ~ "" ... ... .v ~ ~ ti. ....

E-< ~ .. ~ . ~ .... ... ~ f g, !. f ~ "'" ~

z ,~ o-l <-= -." E-o "" ~ $ ...

] 1 ~ x sua-UNIT .<> .., 11) .s ....

~ ~ 0

'" 8 '; .-; .-; .-; ~ .-; oS ~ S 'i! «

l ~ Po.

J ::: s:: cu '" '" '" :0

~ t ê ... ~ .. ~ .... .... .... .... .... s:: ., .-; [ 7,

~ ... '" 0 .., .., .., ..,

V s:: .... .... ~ .~ ~

... ~

..., $ ~ ~ .~ .~ .~

.... ! UI 0 ~ " >< cu .... t': Q) ~ ..., ..,

"" :::: > en ... rtl cr. ~ " ('"

.-; N ,... - or .;) ~ N '" ... or '" c- ~ ~ N .... ...: or

COf·1:Ci-I '3F ACES i'.. 0 D D 0 0 0 ŒJ 0 ~ l ;.·~ain Lobb~r

, D 0 0 0 D 0 0 0 0 ;'! ' •• '",ini"t,..."ti 'J., ' ... ,,~ 0 , D 0 0 0 0 D 0 0 0 l ·:' .. i,. .. ~,...", ·' .. ,. .. ~ .. i~~ ,_~~ ~ 60' 0 0 D 0 D 0 0 0 0 4 '7'lcultv Area 0 0 0 "-• • 0 • D 0 0 ~ 0 5 Staff Accomodations 0 0 0 Ji'.. JO 0 •• ~ D • • • 6 Supuortine: Servic",s À • À • 0 '" À À D À À 0 0 À ... 7 3xternal Production Area • • • 0 0 0 '" À 0 • Do ~ • ~ 0 • $ ~·lechfln. &; El.ectr. Se:'"vice~ ... À À À • • • '" GRAi''fIC A.T::'S OSFT. , ~ Â D Do ~ ~ ~ D 0 1 PrOd1.lctiorr Studio • 0 0 0 • 0 0 À '" ~ ~ 0 ~ ~ ~ ~ 0 0 :2 Animation Studio • 0 0 0 • 0 • ... ~"'" 0 0 À 0 0 ~ ~ 0 0 3 Still Photo."rachv Area • • • 0 • 0 • À JO

"'" • À 0 ~D À À • • 4 ':;toran:e Area À À'" • 0 ~ 0 0 0 0 ........

• • • • 0 • • 0 0 5 Staff "lorkinp: Are., • • • 00 0 0 • 0 0 0 0 '" À À • • • • • 0 D 6 S",rvic", Ar .. a • •• 0 0 • • • 0 0 0 0 0 ,

FIIN OSPARTl·lENT L:.. ~ 0 0 ~ .~ ~ D 0 l Film Studio • 0 • 0 .0 0 À DO 0 0 0 0 ~ 0 Do~ 0 ~ 0 0 :2 Sound-fi~ Studio • O. 0 .0 .À 0 0 0 0 0 À ..... D À À 0 0 À À 3 Exte,...,.,,, l EI:cdllf::t-·'~" "', .. " • • À 0 0 0 OÀ •• À. À

.À 0 ÀO À Àa • À ... ... • 0 ~ 00 f--' 00 O~ 0 4 3tora;:re Area

• •• .0 0 • 0 0 5 Oressin" & I.:ake-un A,... .. " •• • O. • Il • 00 .... Il I.A. À. •• Il • 0 0 6 S",rvic", Ar .. " •• • 00 • • • DO o. 0 .

.., ,nT" m=.'o"".''''·'''' ÀO À ~~ 0 ~O 0 l Talk Studio BO .0 .0 À~ •• • A • • DÀ ~~ 0 .6. 0 0 :2 Versatil", Studio .0 .0 .0 ... .6. •• .... • .. 0 .A AD • ~ 0 0 3 Sound Recordin", ..,~~~ .0 .0 110 À~ •• .... • .. 0 À ~O 0 60 0 0 h Li:o;teninp' l'oom .0 .0 110 À~ •• .... • • ~ 0 À 0 À ... • • 5 St;ora",e Area ÀÀ . 110 ~II Il ÀÀ ÀO À

À À • • Il Il • 0 0 6 Service ..... " •• .0 O. aa •• aD 0 'l'If "'~" ,,,,,,,,''''1;'1'

.6. ~D D ~ ~ ~ D D 1 fro"ection SturlLn .0 • 011 0 OÀ 00 DO C 0 ~ D DoO 0 Do D 0 2 RecordinO' StllnLn .0 .0 aD IIÀ 00 DO C À À 0 À À D 0 À À h "'''''.p,...n"l -:,..."rl ,~ .... ~" "" .. h •• "'0-0 0 OÀ •• ÀII ... • À 0 A- D À À a • "',.." .. ,,~~ .p" ÀÀ .... O~ DO 00 ODo C

• • .. • 0 D 0 0 0 5 Or"ss:Lnr. &. j·:ak",-un Are" •• • 0 •• lia 00 .À Il À .. .. • • .. • 0 0 6 Service Area •• .0 011 ... DO oa C

IIII~I~IIII 010111101010 01110iOla11 1111!>101010 11110101110 Il.IOI~I~I~

11~1.1.llillr-IIIII~I~1111 011101010101 101011101010 010111111111 101110101111

1111~1110101 1~111~loloVt orOIIIOIDlDn»]oIIIDV OIOIOilllll1 IIIOIOV 1101!>1010101 11101/ 110101111101 1117 IIIIOI~I~I~I 17

Il!>IOIOIOIOI Ilill!>IOIOIO alal~I~I~I~1 111110101110 alll!>i!>I!>I!>1 IIIIIOI~I~I~

/31 Visitors Reception Area

11.1 Facultv Area

~IStaff

61 Supporting Service"

1 ? 1 ExternRl P"nrl,,~t.i nn A"""

g Il.jech. & Electrical Services

OI~IOloIOIDIOI~IO 011101010/0101110 01111/0/0/1/11011 01 !>I ~lolOlllliOI 1> OIOI~lo/[JIIIII~11> 0101~10101110101!>

DIOIOI!> 0/01010 0111010 1101010 011>1!>1!> ~I~I~I~

01010111010 01010111010 011101~1010 .1~1!>laIOIO OlaIOI~IOIO !>lalalolOIO

0101~111010 0101~111010 010101!>1111 OIII!>IOIOIO 01!>11101010 !>!011101010

II~I.IIIIII II~IIIIII!. al~11111111 aIOI~I~I~I~ 01~11111111 01110101010

OlalOI~IOIOI 10V

010101110101 101010IOI!>CI 010101110101 101010lDV 011101 ~IOIOI 101010V II~I!>IIIOIOI 1010V

!>IIIIIOIOIO/ V

OI~IIIIIOIII 10l!'

II~IIIIIIIII 1010101!>11>C7 111>101010111 1010101011 IIII~I~I~I~I /OIIIOV IIOI~I~I~I~I 111111

01110101010'1L

17

Il GRAPHIe ARTS llEf'T 1 , 1 lJ .... nA11 " .. .( n" Qt.llrH n

21 Animation Studio

111Still PhotOp",.aDhv Ar""

Area

~IStRff \~n"kin" Ar""

1 ~d q, .. r"ic:~ ta",,,,!).

FTI1"

1 1 1 Film' St"rli n

2Isound_filmq~.l1rH n

1 11 E"ternA 1 ll"nn,,~t. i nn S111h

.II 1. l~t.n".QlJ'1I A,.,..a

~ 1 n" .. ",li np" Fr 1.; .. k .. -I1O Ar,."

l.1 c ... " .. ". Arfl!A

DIIIIIO/OIDrOl_IO 0111110/010101110 01111101010101010 OI!>I~IOIOII/O/IIO 01011101010101110 01010101011101010

01111101010101110 01111101010101110 DIOI~IOIOIIIOI~IO OIOI~IOlollloIII() 0111110101110101() 0101010/011101010

I>IO/O/!> !>IOIOIO 01~1~1~ 11010/0 0101010 1101010

010101!> 1>10/010 011>11>11> 1101010 0101010 1101010

IIII~I~IIIII 101010101!>11 Il IlAnTrt ""

1 , IT~'lr q~l1rHn lu~ ____ ..... ;,. Q",tM;n

31 Sound Rtcording Room

41 Listening Room

51 Storar,e Area

61 Service Area

011111010101010101 II>II!III 0111010/0101010101 11>101010 011'1'010101010101 II>I~I~I~ 011111010101011101 10101010 0101.1010111010101 '10101010 010101010111010101 11101010

IIII~I~I.III 101010101/ IIII~I~IOIII /01011>11 Ol.I~I~lolll 1010C? Ilalalal~I~1 101/ OlllalDIII-1 1/

010101!>1011 010101011 011101/ 1111/ 01/ Il

Il TV !JE!-AR11·ŒN1'

11 Projection St1ldio

21 Recording Studio

31 External rroduction Slub

41 Stor!l~e Area

5111ressing & j,jake-up Area

61Service Area

011111010101011101 10101011> 01111101010/011101 I!>IOIOIO olol~loloIIIOI~IOI 101!>11>1!> Olol~lolDIIlolllol 11101010 01.11/010111010101 10/01010 010101010111010101 11101010

17

SVMBOLS

ISSENTIAL L:::.

DESIRABLE 0 ---

NEUTRAL 0

DESIRABLY NO • ABSOLUTELY ,...0. .A

l 't:I .... w

~ -0 "-

e co. ~ '" ct!

~ ~ ~ ~ :-:0

.~ ..,

~ ~ -' ~ ..,

.~ ,~ ë If:

~ E. .~ t:: '"-< ~ ~

c :" ~ ':::l :> ~ ~ -:; ~

.., Co. :; .-t 1 en ~3 ~ -= ~§

'C ~ ~ c . ' .... ....

..3 .~

~ -< •. ..,

<; .; ;3 ~ '" r '" :t: F: !; .;:. :.. :.. $: ë-< ~ -- ·d ....

;3:

1 .-'

~ .. -'l ::: ,'" ~ ~ 0: ~ ':; ..-<

:E ..... ri .....

C ct! '" :~~. .~ .. .' '~ .~ .... j ~ '" u u u u ...,

.~ " :i ~ .~ -~ ~ x U' :':=1 <")

....; " "" ....; '" ,.. - or .:;

0 0 0 0 0 0 [:] 0 2>-0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

• • 0 • 0 0 0 10 0 JO 0 • .6. 0 • • • A .A 0 .A .A 0 0 A .A

.A 0 • L:::.L:::. • A 0 • L:::. Â 0 L:::. L:::. L:::. L:::. 0 0 L:::. A 0 L:::. L:::. L:::. L:::. 0 0 0 0 A 0 0 L:::. L:::. 0 0 • A 0 .6.0 A .A a • • • • • 0 • • 0 0 AA • • • • • 0 0

L:::.L:::. 0 DL:::.. L:::. L:::.O 0 DL:::. 0 L:::.L:::. 0 L:::. 0 0 AA 0 .A.A 0 0 A A .A 0 .AD .A .AD • •• • .0 0 • 0 0 A.A • •• a • 0 0 . AO .A L:::.L:::. OL:::. 0 0 .0 .A L:::.L:::. 0 L:::.O 0 AO ... .6.0 • L:::. 0 0 A 0 .A L:::.O 0.6. 0 0

• L:::. 0 .A 0 .A.A a • A .A • a. • • 0 0

..6.. AD 0 L:::. L:::. L:::. 0 0 0 ..6.. 0 ÂO 0 L:::. 0 0 A A 0 .A ... 0 0 A A

• ... 0 .A 0 A Â a a • • • • 0 0 0 0 0 A A a • • a • 0 0

"'''''TOr'" :.' "." . T. "'''T~?''T

1 .:", tllra l I.i".ht

2 Vif!!!w - Out

, Vif!!!w - In

L. lJuif!!!t S" ,..,cl; nO"

"·1 C,UT-:iUA

-..l '.'"in Flnnr r.n""t 'on ITncl~ '.",,~ti nn

":\ nv ... ,..~":;" ,"n T .~ . L. a,..,.. ... .,'" t'.n M .. in Circulation

~ Acce .. ", to S .. ..,mnprv r.i r",,1 'n

h '",,, .. ,,,,,, ',ù VoertLcs.l ~ir_c.ul'n ? r.'n~~ tc , .., '"

"n~F" -.n :1"';v{llr~ '" ~ .. Q ,'n-A t'n O'..,A , ... .,,..~. '" ; t'.

RELATIONSHIPS

MATRIX

OF MAIN SPACES

sua-UNIT

v 4 -; -lcult.v Area

5 Stafr Accomodations

6 Supporting Services 7 .::xt,,::rn~l rroduction ,\re~

.s :·:ecné.n. cl: :::J.ect.r. Se:--" . .-ices

GRAP'fIC A:l73 OS" T.

1 rroduc:tion' Studio

2 Animation Studio

3 Still Photo~ra~hv Area

4 ~torar"l"~ Area

5 Staff ··/orkinp: Ar.·"

6 Service Area

FIU,i DSPAR.TI·~ENT

1 ?i1m Studio

2 30und-fi~ Studio

3 Ext"rnaJ Frodl1Ct" .'i1.uh.

4 3tora=!"e Area

5 ures"in", & 1·:ake-un Area

6 S~rvic~ .\r'~;"!

1 Talk Studio

2 Versatil~ Studio

3 Sound àecord in", -lnnm

4 Li~tenin~ :lOGm

5 Stora",e Area

6 Service Are",

1 Fro ~ection St~Q

2 ;{ecordin, Studio

1 Sxr(~rn"l·· <;luh

Sr.{')r~ ~p ',..p,., 5 Dres,cin", ,,< ;,-",ke-un Area

f. Service :\rea

1"-..

L:::. 0 L:::. 0 0 0 Â.A L:::. 0 AD 0 0 0 0 0 0 Â.A 0 0 .AO 0 0 0 0 • 0 L:::..A 0 0 .AO 0 0 0 0 0 • O.A L:::. Â O.

A 0 0 0 • A .60.6. 0 0 00 A • .A • 0 0 .AD • • O. 0 0 0 0 • a .0 0 0 00 L:::. 0 0 0 • • •• D 0 o. 0 0 0 D 0 0 0 0 0 0 00 0 0 0 0 0 0 0 0 0 0 00 L:::. 0 0 0 • .A .A.A • • • .A A • .A • • .6. 0 0 • • • .6. 0 0 0 0 0 0 0 0 0 0 DO

000 ~ A.A.Of"...

......... A ••• ~

• 0 0 0 • 0 a.A L:::. ,"-..

... A"'IIOL:::.OO 00[", ••• 0000. DODe::: •• aoo ••• Oooe

.oao.o .... • II"'OOOO.A ... .A .... 0.6.00 ••• 0aIlUD ••• 0011 ••

DO.O.üAL:::. .0.0.OA.6. .0.01l0.AL:::. .0.OaOA6 A ....... aO.6.aa ••• 00IiDa

DoDe DoDe •• .A • OOO.c:,

...... ...... •• ail

.'0 • 0 Il LJ 0'" 0 0 0 [

••• oaallll 00." ••• 00Da8 0001

•• '·ï~·· .~ •• •• •• r~ Mlil ... r. UU r _" V uv 1 1 Vi si tors Iteception Area ur uu V L.J vr- L.J L.J V L.J ...

00 alo DO 01 DO 00 00 BD DO 00 110 DO ~o _lU 1/ 1 J, l''a cultv Area DI 00 DO 01 a DO DO Da 00 ca DO aa •• DI 00 lB DO 01 •• .0 OV li Staff 01 ID 01 la 1 01 00 aa 1>0 ou III> 00 00 Il. 1>0 00 ID 1>0 00 ID V {, Supporting Service" 01> ·0 01 la 1> la 00 aa DO ao aa •• ~~ lia DO la la 011 lia IV ? Evt.ernHl r. 4,."0 00 .0 DI 1. 1> 01> r>r>

•• O. •• aa 1>'1> 1>1> •• O • ~. •• O. ~. V i~ j.,ech {.. Electri~pl !'l .. rvi~ .. <; 00 ~O O. 00 1> •• •• / GRAPHIe AitTS nEF!'

DO O. 00 . ~ •• •• 00 O. 00 00 l'--'IU 1>[/ , Inn 'lt ... ~;n 01 ID 00 01 a 1>0 DI> DO DI DO .~ •• •• fJO o. 00 00 DO 1/ 2 Animation Stud i 0 O. ID 00 01 a 1>0 00

O. O~ 00 a~ 1. •• 01 O. 00 00 OV Il Still PhotOl'rRnhv AreR 01 la 00 00 a O • . ~ . ~ t>a DO ao •• ~. •• 1>1 00 00 1/ Il, l 'lt.n"'"e Area 01> .0 01 01 a la 00

Da O~ DO O. •• •• Dan ~o 0 01/ : ~1C;t.,rr '·/n,.lrinp d,."o 00 ID 00 O. 0 00 00

1>1:1 la 00 o. 00 00 1>. lia 00 1/ d,.", 00 00 o. 00 0 .0 00

1/ l''Ill.} nm." nm,., ."""

DO ~. 00 I~ .1 •• DO Dt> t>11 l I!"ilm' St.lldi n 01 ID 00 01 a 00 Ov

DO • a DO .t> 00 o • 00 00 Il 21 !'lnlln~ _film St.n,li n 01 ID 00 01 a 1>0 00

DO Dt> Il •• ~~ ~~ OB 0:/ l Eyternn 1 \, Q1 .. h 00 ~O O. O~ a 01> 1>1>

Da [.>0 DO • 0 ~~ ~~ 1 • 1/ 'II, ~+ A" .. o 00 .0 O. 01 a la 00

01> aD 00 O~ aa 01 01/ 1" • 1r ;.;Rk",_"n d,.na 01 .0 DI 00 a 00 00

1>0 ao 00 O. 00 00 1/ l ,,1 ~.,.,ri~ .. Ar"R DO 00 01 00 a la 00

1/ IIAIlTrl ' ''1"m

liB ~ . •• 00 00 1>1/ 1 l '1'01 Ir 'lt .. ~;n 01 la 00 00 a 1>1 .1

• 1 ~~ 1 • 00 001/ ;, CH : ~ DI 00 00 00 0 1>0 00

Il ~~ O. 00 1>11 J Sound R~cording Room 01 la DO 00 a 1>. .~

OB ~~ 01 00 1/ 4 Listening Room 01 ID 00 01 a 00 00

1 aa a •• 01/ 5 tJtorap;e Area DO ID DI 00 O' 00 00

a aa a.1 1/ 6 Service Area 00 00 DI 00 a la 00

1/ TV UEr AI!'n,ŒN1'

0 DO 1>01/ l i'rojection St'Idio 01 ID 00 DI a 00 01>

0 00 01/ 2 Recordin!! Studio 01 ID 00 DI a 1>0 00

a 1 01/ J External l'roduction Slub 00 .0 01 O. a 01> 1>1>

1 Il II Stora!'e Ar/!a 00 ~O 01 DI 0 la 00

DI! li Uressinp: &; l.,ake-un Ar~a DI ID DI 00 a 00 00

1/ 6 Servi ce Area 00 00 01 00 0 la 00

Il

Ill.

c) Design Concepts Resulting from the Relationships Matrix of Mairi Spaces

The second design method is the space grouping,

which is a graphie statement (series of diagrams) of aIl

the main design concepts arising from the relationships

matrix of main spaces.

The symbols which appear in aIl the following

diagrams are:

1)

2)

3)

Access to pedestrian entrance

Access to delivery entrance

Emergency exit

4) Main circulation

5)

6)

7)

8)

Secondary circulation

Vertical circulation

InternaI flexibility

Future external expansion 1 1 1 1 L _______ .J

UNI T l -- Main floor location.

1

1 L ___ _ 1 1 - - .....

a. ENTRAiifCE ( stairs to basement, drop-in iJockets )

b. MAIN LOBBY ( checkine, new books dis).Jla,y, information )

c. CIRCULA'PION DEI ARTIÎlE;NT •

counter.

reserve area.

lost and found.

staff working area.

c ç staff lounge. :;

d. 'l'EC!{NICAL Sb:RVECES DE1AR'PMh1'j'P.

e. REFER.l!:NCE DEPARTMENT.

f. FOYER.

r~. AR'r COLl.,EC'rION AND DISFLAY AHEA.

h. A1JOITORTIil\1.

i. 1 RODUe'rION LABORATORIES DEPAR'PNJ';NT.

112

l

UNI T l -- Main floor location.

d c

: + =:::====:====;::::::====:;::::..

1 +- - - - - - - - - - - - --1

a. ENTRANCE.

b. MAIN LOBBY.

c. CIRCULATION DEI-AR'l'MENT.

d. TECHNICAL SERVICES DEPARTMENT.

e. RE~~RENCE DEPARTMENT.

e card catalogues. l

e 2 desk.

e3 rea.dine area.

f. INliDRMA'rION STORAGE AND RETRIEVAL.

a

113

UNI T l -- Main floor location.

a. ENTRANCE.

b. MAIN LOBBY.

c. CIRCULA'.rION DEPARTMENT.

d. REFERB:i'JCE DEPARTME~T.

e. INFORMATION S'rORAGE AND RETRIEVAI:.

f. TECHNICAL SERVICES DEPARTMENT.

fI loading area.

f 2 delivery and shilll;ing room.

f3 clerical area.

f4 offices.

f5 A. V. hardware stor[),ee area.

f6 staff area.

114

c

01

a

UNI T l -- Main f100r location.

c

==~======~==~======;:==~

a

, - -- - ---'

1 -----------1

a. EHTR.ANCI~ •

b. MAIN LOBBY.

c. G IRCU J.JAfr lOF DEPARTMENT.

d. FOYER.

e. ART COLLECTION AND DISfLAY AREAS.

f. AUDITORIUM. ( 500 - 600 )

fI audience area.

f2

llrepara.tion a.nd storage.

g. PRODUCTION LABORATORIES UEFARTMENT.

115

'-'"î 'l

J

UNI T l -- Main floor location.

a

a. MAIN :WBBY.

b. CIRCULATION DEPARTMENT.

c. AUDITORIUM ( preparation and storRge areH ).

d. PRODUCTION LABORATORIES DEPARTMIDTT.

dl r.~ji. production lél.boratories.

d2 students' production laboratories.

d3

da.rk room.

d4 eenerRl stora~e area.

d5 delivery and shipping room.

d6 loading area.

116

UNI T l -- Over ound location basement tA'

a. GENERAL SERVICE AREA.

al lobby ( tel.- exhibition a.nd dis·)lay area ).

a2 cloak:room.

a3

toilets.

a4

student lounge.

a5 student lockers.

b. STAFF ACCOMODATIONS.

C. FACULTY OF LIBRARY SCIID~CE.

Cl administrative and teaching area.

c2 library.

Il

î

UNI T l -- Over ound looation basement 'A' 118

c

+~==~====~==~~==========~

1 L _ _ _ _. __ ._ _ _ _ _ _ _ _ __ :

a. FACULTY OF LIBRARY SCIENCE.

al teaohing rooms.

a2 administrative area.

a3 toilets.

a4 library.

0; STAFF ACCOMODATIONS.

UNI T l -- Overground location ( basement 'A' )

+--1 1 1 1 1 1 1

1

1 .1.-

a. FACULTY OF LIBRARY SCIENCE.

bookstacks.

reading aren.

circulation areB.

delivery and clerical room.

offices.

administrative and teachin~ ~rea.

b. GENERAL SERVICE AREA.

c. STAl!'F ACCOMODATIONS.

119

UNI T l -- Overground location ( basernent AI )

c d

f L _____________ ---f

a. STUD.!:;NT LOUNGE.

al sitting area.

a2 vending ~achine area.

a3

toilets.

b. GENERAL SERVICE A~EA.

c. S'rUDENT LOCKERS.

d. STAFF ACCOMODATIONS.

e. GENERAI. STORAf}E AREA.

f. COVNgCTION rl ITfJ 3U B-UN T'l' V ( if needed ).

120

UNI T l - Over ound location

a. GENERAL S~RVICE AREA.

b. srrUOl!;l'!'l' LOUNGB ARb;A.

c. S'rAFF AGCOMODATIONS.

d. S'rUD~N'T LOCKERS.

e. GEJ:ERAL S'l'ORAGE AHBA.

el delivery raom.

e2 stor2ge room.

basement 'A'

f. r·;:C;CHANICAL ROm! ( sto.irs to basement '1)' )

,0;. ELl~CTRICAL Rami.

121

UNI T l - Over(,:round location ( tY'lÎcal floor )

+--1

1 1

1

1 1 1 1

1

c

'}. ADMIN I3TRA'nVE OR FACUL'rY AREA.

01

b. G~NERAL S8RVICE AREA. ( tel. - x.c.

bl

lobby.

b~~ smolrer-lounr:e.

b3

toi1ets.

c. LIBRARY INF'ORMATION RET1UEVAIJ CE:i'!TRE.

d. PRODUC'HON - IJEARNING - TEACHING CENTRE.

c

01

122

U liT l T l -- Overground location ( 2nd f'loor )

c

1 1 1-- - - - - - - _ - - - ______ .....J

a. CURR1~NT fERIODICALS DEPARTMEN"T.

al readinr: area.

a2 microf'ilm readin.-; room.

a 3 microf'ilm area ..

b. ~}OVERNMERT DO CIDi.2:NTS DELltR'l'MENT •

c. ADMIN ISTRN1' IVE AREA.

d. GENERAL SERVICE A'lEA.

1 1

d

L _____ _

123

UNI T l -- Overground location ( 2nd floor )

a. GOVERN1JIj~HT DOCUMENTS DEFAR'rMENT.

government documents area.

archives area.

a3

typine room.

b. CURR.8:NT l-ERIODICALS DEPARTl\'JEI~T.

c. GENgRAL SERVICE AREA.

d. ADMINISTRATIVE OR FACULTY AR1i:A.

e. STAFF AREA.

124

c

UNI T l -- Over ound location

1

~--

a. AUDIO-VISUAL DID'ARTME~~.

al A.V. case study area.

3rd floor

a 2 A.V. materials shelvinp, area.

a3

music collection and listéning area.

a4 A.V. case study rooms.

a5

A.V. software.

h.. FACULTY AHEA.

c. GENERAL Sr~RVICE AlmA.

d. TOILETS.

125

c

UNI T l -- Over

a. AUDIO-VISUAL DEPARTMENT.

al A.V. case study roorns.

a2 A.V. case study area.

:"l3 A.V. rnaterials shelvinp, area.

a4 A.V. software.

a5

typing roorn.

b. A.V.STAFF AREA.

c. GElilERALSERVICE AREA.

d. FACULTY AREA.

UNI T l -Overground location ( typica.l floor )

1

1-- - - - - - - - - - - - - - - - - - - - -1

a. CONV:b:NTIONAL LIBRARY.

book stacks.

readinp: area.

seminar roorn.

:14

la.nde room.

b. FACUnry AREA.

c. GENERAL ;3BHVICE AttEA.

d. TO 11.h:'rS •

1 -1---

c

127

UNI T l -- Overground looation ( typioal floor

a.

b.

o.

d.

r­I

CONVENTIONAL LIBRARY.

al book staoks.

a2 reading area.

a3 seminar room.

a4 typing room.

FACULTY AREA.

GEi'ifERAI, SERVICE AREA.

STAFF AREA.

c

UNI T l - Overground loca.tion .( .2nd floor )

2,. AUDITORIUM ( 500 - 600 )

a.l audience.

a2 projection room.

a3

foyer.

b. GgNER..I\..L SEi:lVICE AREA.

c. TOILETS.

d. AD~INISTRATIVE AREA.

o

e. LANGUAGE LABORATORIES DEPARTMENT.

1

1

1

1

~-----Io ---l

0-, "

129

U .N l 'r 1 -- Overground location ( 2nd floor )

t

1 1 1- _

a. GENERAL SERVICE AREA.

b. ADMINISTRATIVE AREA.

c. AUDITORIUM ( 500 - 600

d. LECTURE ROOM.

dl audience areB.

d2 renr projection brea.

e. LANGUAGE LABORA'PORY.

f. CONTROL ROON.

r;. RECITATION ROOM.

h. AS::;li:I@LY ROOM.

i. TOILETS.

130

_ __ ....1

1

UNI T l -- Over ound looation 3rd floor 131

d e

a. SYlECIAL DIS}LAY AND DEMONSTRATION AREA.

al auditorium.

2.2

projection and control room.

a3

mechanical, electricé'l ëlnd storage room.

a4 foyer.

b. GENERAL SERVICE AREA.

c. TOILE'l'S.

d. FACUlœy AREA.

e. CURRICULUM LABORATORIES DEIARTMENT.

UNI 'r l - Overground location ( 3rd floor )

c

1 ..... --

a. GENERAI. SE~WICE; AREA.

b. FACULTY AREA.

c. Sl-'ECIAL DISl-' IJI.Y AND DEMONSTRATION AREA.

d. CURRICULUM LABORATORIES DEPARTMENT.

dl laboratory.

d2 prepa.ration room.

d3

projection and control room.

e. A. V. TEACHnrG LABORATORY ARJ<JA.

el labora.t,ory.

e2

projection room.

e3

control room.

e4

preparation room.

f. ASSEMBLY ROnM.

g. TOlLETS.

132

UNI T l -- Overground loc~tion ( typicRI floor )

1 1

C 1 1 1 1

.f-------~ __ ..J

a

a. GENERAL SERV1CE AREA.

b. FACULTY AREA.

c. GENERAL TEACHDJG AREA.

d. COMPu'r.ER BASI<Jn 'l'EACEING Ai'ilD LEARNING AREA.

dl seminar room with " Communicator System. " ( 10 - 15 )

d2 classroom with " Multi-media Control System. Il ( 50 )

d3 classroom wi th " Large Group Res~)onse System." ( 100 )

e. COYlPUTER-ASSISTf!:D INDIVIDUAJJ JEAHNING ARE!A.

f. PROJECTION ROOM.

e. COMPUTER CONTROL ROOM.

h. TOlLETS.

133

UNI T l - Over ound location ( typical floor

, ~--

a. GENERAI." S.r.:RVICE AHEA.

b. FACULTY AR~A.

c. COMPUTER BASED TEACHThG fu'\TD J..:EARNING

d. I,ECTll Rb: !(OOM ( 150 )

e. LECTURE ROOM ( 120 )

f. REAR fROJECTION ROOM.

g. CLASSROOM ( 45 )

h. CLASSROOM ( 60 )

i. CLASSROOM ( 80 )

j. SEMINAR ROOM ( 10 - 15 )

k. TOILETS.

AREA.

134

S U B - UNI T V - Main floor location

J

1 A.. 1 1 ~ 1 L ________ ~

a. :MAIN ENTRANCE ( inform.<ttion, tel., st'ôtir~·) to basement ).

1,. CONFERENCE - REFI~Hl~NCE HOOlVi.

c. CONFEREN CE - HEH1!:AHSAL ROOl/ .•

d. FACULTY AREA.

dl ra.dio facul t.v offices.

d" T. V. faculty offices. c

d3

film facultv offices.

d4

eraphic arts faculty offices.

e. ADMINISTRATIVE AREA.

f. GENERAL SEI{IlIGE AREA ( toilets, lockers, refreshment bar ).

g. SUPl'ORTING AED PRODUCTION AR~-:A.

h. EXTERNAL PRODUC'l'lON SLUB.

i. CO:NNECTIO" HT'['H SUB-UNIT VI ( if needed ).

j. CONNECTION WITH UNIT l ( if not wi th sub-u!'li t V ).

135

S U B - U N T T V -- Main floor location

-.- - - - - - - - - - - - - - - - - - -t

1.... __

a. LOADIrG AHEA.

b. DELIV.I<";RY, SHIJ'PING AND ~IAnJTENANCE.

c. l:RODUCTION STAFF OFFICES.

d. l~QUIPM.b'NT srrOHAGE ROOM.

e. CENTRAI: STORAGF'; AREA.

f. MODEL AND SET SHOP.

g. EXrrER..1\i AI. PHODVCTION SLUB.

h. GRAPHIC AR'rS FACULTY OFFICES.

i. FILM AND 'r. V. FACUHrY OFFIC.fi;S.

1 1

136

-+

S U B - UNI T V -- Overground location ( 2nd floor )

a. S'rUDIOS.

al graphie arts.

a2

animation.

K

b. GRAf HIC AND B'ILM MAT1<mIAIJS srpORAGE.

c. tHOTOGRAPHY ROOM.

d. FILM MATERIALS PROCESSING.

e. EDITI!IG AND ASSEMBLY.

f. PREVIEvl.

r;. LOmmE.

h. GENERAL SERVICE AREA.

i. DRESSING AND MAKE-UP A.REA.

j. STAFF AREA ( for gra'lhic a.nd film de:,[lrtments ).

k. FILM DEPA.RTMEN"rr.

137

S U B - UNI T V -- Overground location ( 2nd f100r ')

r----

e

a. FILM STUDIO.

al interior studio.

a2 external nroduetion slub.

b. SOUND - B'ILM STUDIO.

bl

studio areB.

b 2 reeordinp: room.

e. STORAGB.

d. S~RVICE AREA.

e. FILM, VAULT.

f. COMMON SPACES ( ,graphie arts and film dep:-'rtments ).

,c:,'. GHAi'fUC ARTS DE1ARTMENT.

.'""\

138

-- --ï 1

;3 li B - UNI T V -- Overground looation ( 3rd floor )

a. VEHSA'.rILE STUDIO.

b. TALK S'll'UDIO.

bl

studio areB.

b2 announce bootb.

c. CONTROL ROOM.

d. SOUND R}!;COR DING ROO'NI.

e. LISTENING ROOM.

f. RECORDS AND TAPES COLLIWTION.

g. LOUNGE.

h. GENERAL SlmVICl!; AREA.

i. DRES3Ilm AND r.1A!Œ-UP AREA.

j. STAFli' AREA ( for radio and T.V. departments ).

1. T. V. DEPARTj'ViENT.

--1 1 1 1 1 1 1

139

S U B - UNI T V -- Overground looation ( 3rd floor )

ï-----------------1 1

a. T V }'ROJECTIQj\j STUDIO.

studio arA;.,.

l1ro,jeotion.

externe,l ')roduotion slub.

RECORDTNG STUDIO.

b1

studio aren.

b 2 reoordin.<::.

o. CENTRAL ENGD:EERTr'G ROOM.

d. STUDIOS' CONTROL ROOM.

e. STORAGB.

f. SERVICE AREA.

h

e. COMMON SPACE3 ( rallio and T If clepartrnents ).

h. RADIO DEPAHTkENT.

140

)

COMMUNICATION - ENVIRONMENT P.LANNING

THE HIDDEN DIMENSIONS OF ARCHITECTURAL SPACE

by Po1ydoros M. Zekkos Master's Student Departme~t of Architecture McGi11 University Fa11 1971

APPENDIX

Due to rapid technological progress, many

fundamental changes are taking place in the world today.

The Twentieth Century is known as the "electror.ic age"

because of the increasing emphasis placed on technology

in all fields.

This electronic world extended the range of

communication media so much that it affected the human

environment, changing it from a passive to an active one,

in which people are made aware of all new events and

developments as they happen.

In the following paper, prepared for a course

in December 1971, the influence of communication media

on today's man is examined, as well as its general effect

on the human environment and the way in which we will

adapt to the future (by discovering the new meaning of

architectural space and grasping its unprecedented scale

and its dimensions - "hidden dimensions.").

II

The paper is submitted as an appendix,

because the thesis is an extensio~ of the basic idea,

though dealing with a more specifie area, the effect of

communication media in the environment of higher educa­

tion, and the steps we must undertake in preparing for

the future by the establishment in stages of a complete

university instructional materials centre.

III

IV

Communication

From the moment that man becomes aware of the

need for group life, he requires means of communication

and expression.

With increasing urban concentration, communica­

tion media gain a larger audience and greater power.

Marshall McLuhan believes that "medium is the extension

of human senses," that's why communication between the

individual and the rest of the world acquires unprecedented

self-sufficiency: the home becomes a private control

tower. Yet, its interior space and furnishing have not

undergone any significant change; the new dimension afforded

by communications stands in direct conflict with the

traditional four walls of the house.

The technical advances that have extended

communications so much can have a similar effect on the

~nvironment. This might seem a dreadful thing at first,

but in one way or another it happens the moment a person

can get information about everything that is going on.

That such information can become an 1C0rnamental" back­

ground to his life, is perhaps no more than inevitable.

v

But this is only one example of the transformation of

communication media into an environment, for at the same

time man will be able to make varied use of it. Through

his own projection system, he will be able to change

his environment as he pleases and create the decorative

background that suits his mood.

The argument that, the ease with which communi­

cation means con be obtained, alienates man from his

privacy and makes him the victim of guided information,

is only the pessimistic point of view. But there is

another side to the coin: the tremendous amount of infor-

motion with which he is bombarded, allows man to see him­

self in relation to the rest of the world. Today, the

man in the street is capable of influencing his own fate

far more thon at any other time in human history. The

fears that often make him pessimistic, originate in the

knowledge that he can only affect the course of his life

with great difficulty and at a slow pace. Alvin Toffler

in his book Future Shock, explains the steps that man

has to undertake to reach tomorrow and what happens to

....-.\

VI

people who are oppressed by change. It is about the

ways in which we adapt or fail to adapt to the future.

Toffler talks about a rapid change and declares

that due to our technological progress, man's home, which

is now only a receiver, will one day become a transmitter

as weIl. Then his attitude will become equally active as

it is now passive, for he will be able, for example, to

vote from his home, to protest from it, or to do anything

else he may wish - aIl from within his own private

sanctuary. Through mass media his voice, his opinion will

carry far and spread beyond man's wildest dreams and as a

result, according to McLuhan, mass media will "retribalize

the 20th Century man into a team of sensual participation,"

which in fact transforms the "Globe into a Village," and

catapults today's man back to the 1ife of 1971 B.C.

VII

Environment Planning

The need to study of such a human environment

in an integrated way became apparent first to the archi-

tect and city-planner, through a sense of professionol

conscience. We are constantly called upon to create

environments for individuals or groups, and we discover

rather soon in our career that we perform this important

task in a completely arbitrary way. Perhaps not

arbitrary, but at best empirical and intuitive. So the

success of an architectural or city-planning design

becomes a hit-and-miss affaire

For this reason, Many efforts have been made

to integrate the sciences thot study man, his environment

and his settlements into a common approach, which the

Greek architect and town planner, C. A. Doxiadis called

"Ekistics." This rather sensible attitude presents almost

unsurmountable obstacles. First and foremost, architects,

planners, engineers, psychologists, sociologists, doctors,

economists, do not talk the same language. Each discipline

has its own scientific jargon, and guards it jealously.

This makes communication difficult, and preserves the

-~ :1 "

VIII

absolute system of watertight compartments in the sciences.

Another difficulty is that 011 the se people do not know

how to work together. They have different attitudes

and, more important, different mystiques about their

profession.

However, human problems are complex anci pressing.

Their successful solution urgently requires the combined

efforts of many disciplines. And this is the force that

will help us over-ride 011 the difficulties.

We have alr~ady made some small progress in the

co-ordinated approach to environment planning. And the

outline of a methodology starts to emerge.

The first step is the identification of the

human nucleus for the particular environment - that is,

what kind of people are going to live in it and use it.

It con be an individual, a group, a society or an

organized total of societies. This is not very difficult

to determine. However, human nuclei develop with time,

which environment, being a physical entity, is much less

flexible. A house or hospital may be usable for thirty

years or more. But the people who will use the building

IX

and its functions will change considerably in this

interval. For this reason in each case we are led to

examine a dynamically evolving human nucleus.

The second step is to determine the essential

needs of the nucleus to be satisfied; and, if possible,

to express these needs in quantified terms, so that they

are measurable and comparable. The French psychiatrist,

P. C. Racamier believes that, at this step, psychologists

and architects should work together to attain the proper

functioning of a settlem~nt and to satisfy the psycholo-

gical needs of man, for he claims that architecture not

only reflects the man but determines the man.

Basic human needs do not change, but activities,

that is, conscious or subconscious efforts of the human

nuclei to satisfy their needs, change tremendously alon9

cultural lines. This adds one more complication to the

problem.

Once human needs and the resulting activities

are known, it is not difficult to establish qualitative

correspondence with environment factors. But once we try

to express these correlations quantitatively, we get into

'-"'î 1 i

x

deep waters, and a lot of additional research is neces-

sary.

In the final phase, where the architect's work

really starts, we control environment factors in such a

way as to facilitate the satisfaction of human needs.

This presents negligible technical difficulties, because

modern technology has developed methods of operating

upon the natural landscape and of creating man-made

environment on an unprecedented scale. And it is a proof

of our lack of certainty and our timidity, that we have

not been able to use these tools in a more creative way.

This type of integrated approach to environment

planning will be generally applicable only if we will

be able to grasp this unprecedented scale, its dimensions -

"hidden dimension" - and the new meaning of architectural

space. And it is hoped that such a method of studying

and planning our milieu will prove both theoreticclly

meaningful and applicable to current problems.

--î .J

XI

The Hidden Dimensions of Architectural Space

Perhaps the only conclusion which can be drawn

from the research presented in the previous chapters

is that mon transcends the influence of the physical

environment and, thus, his behaviour in relation to the

surrounding space cannot be explained in purely mechanis-

tic terms. Those who tried to view the physical

dimensions of the environment as independent variables

and study their effect on human life (from a sociological,

psychological or even biological standpoint) have failed

so far to establish any relationships presenting some

regularity comparable to that found in natural phenomena;

in most cases their assertions are even contradictory.

It would be erroneous, however, to infer from this fact

that human behaviour is more or less independent of the

physical environment. To the contrary, it is because of

man's constant interaction with his environment at aIl

levels that their transactions are so complex as to

elude aIl theories which tend to isolate the physical

features of the environment by stripping it of its human

meaning. Space inhabited by man is not only a space

XII

"to live in" but also a space "to be lived," something

to be felt and experienced. Thus its physical dimen­

sions are always interwoven with some hidden dimensions

which stem from human consciousness. To what extent

the se hidden dimensions are susceptible to empirical

analysis and scientific scrutiny we do not know. Yet

human sciences cannot ignore them and they do try to

grasp them ond to assess their role within the

"man-environment" system.

A fundamental question which has been

sufficiently elucidated by experimental psychology is

how man perceives his surrounding space. The work of

the Gestalt psychologists has demonstrated that perception

in general is not built up by the accumulation of

elementary sensory information; it is articulated from

the very outset and correlated with the functional opera­

tions of psychical life as a whole. Thus, space perception

can only be explained as a highly complex and yet primordial

experience. Man does not live in an abstract isotropie

space, but in a space which is heterogeneous both

XIII

objectively (due to gravit y) and subjectively (due to

the dependence of visual, tactile, acoustical and

kinetic sensations upon the spatial position of the

human body). As M. Merleau-Ponty has amply shown, it

is through his body, experienced as a centre of sensa-

tions and as a system of potential movements and actions,

that man belongs to and embraces space. In relation to

the human body, space acquires an existential signifi-

canee and its perception can be understood only within

the context of a broad perceptual field which offers to

the specifie subject the possibility of an anchoring.

By synthesizing the experience from his immediate

surroundings around his own body, man develops "a sense

of spatial identity" which is fundamental to his vital

functions. Seeking to define a place of his own in a

world subjected to change and discontinuity, he projects

himself into the physical space and enriches it with

meaning and values. Between himself and the surrounding

objects there is not only a geometrical distance, but an

experienced distance that measures at each moment the

amplitude of his own life.

XIV

Some of the links that bind man to space are

perhaps Inherent to his biological structure for they

have been noticed in animaIs as weIl. Most living

organisms have the habit of laying claim to a specifie

area and of defending it against their own kind. To

illustrate this habit, the English ornithologist, H. E.

Howard who first described it, coined the term

"territoriality.1I Later on, the famous Swiss zoologist,

H. Hediger, analyzed various aspects of territoriality

and tried to explain the mechanisms by which it operates.

Many others have also pointed out the critical signifi­

canee of space in animal behaviour, as weIl as the

pathological phenomena which accompany spatial restriction.

Another weIl known phenomenon, closely related to

territoriality, is the IIdominance behaviour" exhibited

by animaIs confined to a limited space which does not

allow for the development of individual territories.

Since similar phenomena have been observed among humans,

especially among those living in confinement, territoria­

lit Y and other related concepts are increasingly used in

the study of man's spatial behaviour. At the same time,

xv

psychology and small group sociology began to pay

attention to spatial variables such as the distance

between individuals or their relative position in a

certain milieu. Combining the evidence from this sort

of research with personal observations made in various

countries, the American anthropologist, Edward T. Hall -

whose own expression 1 borrowed for the title of this

chopter - succeeded in showing all the wealth of psycholo-

gical and social dimensions of space as weIl as the

varying ways in which people from different cultures

treat it as expressive means. A siffiilar, but more

specialized effort, was recently made by the American

psychologist, Robert Sommer, who emphasized the impor-

tance of "personal space" in regard to architectural

design. He defined this term to include both the

emotionally charged zone around each person - Hall had

called this zone a "bubble" - and the processes by which

people personalize the spaces they inhabit.

The hidden dimensions of architectural space

have also been "discovered" by contemporary aesthetics.

XVI

Already at the turn of the century the "Einfuhlung"

theorists of art had attempted to explain aesthetic

experience as a kind of sympathy with the symbolic

expressiveness of art forms. Scientific empiricism

has also acknowledged the symbolic character of the

work of art, but consistent with its anti-metaphysical

bias it condemned any attempt at building up a philoso­

phical theory of art. For analytical philosophers, art

is a language used simply to express certain feelings

and evoke emotional responseSi thus it does not have

any theoretical value. The language of art and the

language of science have nothing in common. This

dichotomy had even been present within the natural

language itself by distinguishing the logical and the

emotive uses of language. As opposed to this positivis­

tic outlook, the followers of the idealistic tradition

insisted on the cognitive character of artistic

activity. The philosopher, Ernst Cassirer, in his

Philosophy of Symbolic Forms, had placed art among

those systems in which the human vision of the world is

objectified and, in a later essay, he defined it as "a

•. __ !

XVII

symbolic language" that enables man to "understand and

interpret, to articulate and organize, to synthesize

and universalize his human experience." On the funda­

mental concept of "symbol," as universalized by

Cassirer, Suzanne Langer built up a more systematic

and comprehensive theory of art. Taking her point of

departure from an analysis of musical significance

which she had made in an earlier book, Langer, in her

now classic Feeling and Form, defined art as "the creation

of forms symbolic of human feeling." The symbolic

import of each artistic form, she explained, is

indissolubly bound to its articulation which is the

logical expression of a sensuous and emotional experience.

The work of art is "0 developed metaphor, a non-discursive

symbol that articulates what is verbally ineffable - the

logic of consciousness itself." Within the theoretical

framework, Langer dealt with architectural space in a

novel way. She took it to be, irrespectively of its

practical usefulness, a virtual entity, a created place

that symbolically defines and expresses "a realm of

XVIII

functional existence." Langer's theory of architec­

ture, though of a purely philosophical origin, agrees

with the findings of some anthropologists and sociolo­

gists who among both primitive people and modern city

dwellers found symbol-making to be a fundamental process

through which man tries to organize the impressions he

has from his physical environment and to establish some

safeemotional relations with it. On the other hand,

Langer's general theory of art bears some significant

resemblances with views held by thinkers of a quite

different origin, such as Heidegger, Jaspers, Buber

and Sartre.

Parallel to Langer's, but of a somewhat

different character, is the effort made by some contem­

porary thinkers to interpret architecture in the light

of a general "theory of signs." Such a theory had been

postulated at the turn of the century by both the Swiss

linguist, F. de Saussure and the American philosopher,

C. S. Peirce; the first had called it "semiology,"

while the second, "semiotics." Important contributions

to the foundation of this theory came originally from

XIX

the attempts of the logistics to formulate a purely

logical language, but the first to give it a broader

scope was the American philosopher, Charles W. Morris.

In its later development, the theory of signs, followed

the path set by linguistics especially in its structura­

list orientation as advocated by Saussure and his

followers. The distinctions and methods promoted by

linguistic structuralism have olso been adopted by some

French scientists in other fields of research, such as

anthropology, literary criticism, and the history of

ideas. The first attempt to view art from a semiological

standpoint was made by Morris himself who, in an article

in 1939, maintained that the work of art is a sign and

hence aesthetics is part of semiotics. Morris, though

of a neo-positivist descent, tried to evade the clear-cut

distinction between logical and emotive meaning and

eventually recognized that values, as embodied in a work

of art, are "objectively relative" properties of both

signs and signified objects. Morris's work and linguistic

structuralism led some contemporary students to a search

for explanations of art based on "semiology" or

xx

"information theory." Within this conceptual framework

there have been some attempts to view also architecture

as "a system of signs." We cannot say, however, that

the semiological approach to architecture has proved to

be fecund. Essentially, it has limited itself to

spe.ch about architectural forms, revolving round the

natural language which, as Barthes pointed out, remains

the common and almost necessary tool for the semiological

analysis of aIl non-linguistic codes.

~ 1 i

XXI

1. ANNOTATIVE BIBLIOGRAPHY

a) McLuhan, Marshall: Understanding Media. McGraw­

Hill Book Company, New York, 1964.

b) McLuhan, Marshall: War and Peace in the Global

Village. Bantam Book Company, New York, 1968.

c) Hall, Edward T: The Hidden Dimension. Anchor Book

Company, Inc., New York, 1966.

d) Doxiadis, Constantinos A: An Introduction of the

Human Settlements. Hutchinson & Co., London, 1968.

e) Racamier, P. C: Psychology of Space. Architecture

Formes et Fonctions, No. 14 - 1968 (pages 39-41).

f) Toff1er, Alvin: Future Shock. Bantam Book Company,

New York, 1970.

XXII

McLuhan, Marshall

He studied at Manitoba University and he

received his Ph.D. in Eng1ish 1iterature at Cambridge

University. He taught at severa1 universities in the

U. S. and Canada and present1y he is the Director of

the Centre for Culture and Techno10gy at the University

of Toronto.

a) Understanding Media

The two main themes in thd book are (1) Medium

is the message, and (2) Hot and co1d media.

(1) Medium is the message is his key formula.

McLuhan be1ieves that medium is the extension of the

human senses, that is why he states that it is a persona1

reaction, based on the way the receiver receives the

message and not what the message tries to determine to

the receiver.

(2) ~ot and co1d media - concerned with mass

production, hot medium is defined as "highly information"

and as a result on1y few con comprehend or decipher the

exact message. Hot medium according to McLuhan are films,

~ 1 . ,

XXIII

books and print. Cold medium on the contrary is a

"low information" which the majority is capable of

deciphering and comprehending, su ch as messages which

are conveyed in telephone conversations, discussions and

television.

b) War and Peace in the Global Village

McLuhan declares that down through the ages,

i means by which man communicates have determined his

thoughts, his actions, his life and that the mass media

evokes a "communication awareness." He also declares

that mass media of today ~lso acts as a dividing element,

in that it re-tribalizes the 20th Century man - the man

of the e1ectronic age - into a team of sensual participa­

tion, which in fcct transforms the "globe into a village,"

and catapu1ts today's man back to the 1ife of 1971 B.C.

XXIV

Hall, Edward T.

He got his B.A. from Denver University, his

M.A. from the University of Arizona and his Ph.D. in

Anthropology from Columbia University. He taught at

several universities in the U.S. and presently he is a

professor in Anthropology at North-Western University,

Evanston, Illinois.

c) The Hidden Dimension

The message that Hall tries to determine with

this book is that no matter how hard man tries, it is

impossible for him to divest himself of his own culture,

for it has penetrated to the roots of his nervous system

and determines how he perceives the world. Most of cul-

ture lies hidden and is outside voluntary control, making

up the warp and weft of human existence. Even when small

fragments of culture are elevated to awareness, they are

difficult to change, not only because the y are so

personally experienced, but because people cannot act

or interact at 011 in any meaningful way except through

the medium of culture.

xxv

The above is the author's summary in the

briefest possible sense, about what he declares in

this book, The Hidden Dime~sion, Page 188.

-~

1

XXVI

Doxiadis, Constantinos A.

He is a Greek architect and townplanner. He

vas Minister of Public Works for several years as well

as professor at the National Technological Institute

of Athens, Greece. Presently he is the President of

the Athens Technological Organization as well as director

and professor of the Athens Centre of Ekistics, which is

organizing every year the Delos Int~rnational Symposium.

d) An Introduction of the Human Settlement

The word "ekistics" that Doxiadis introduces in

his book comes from an ancient Greek word and can be

interpreted as an overall science concerning the founda-

tion of a house, a habitation, a city or astate.

However, Doxiadis feels that there is a problem

which most people fail to see and that is that "the

shell" or covering for humans must be keeping up with

the human's culture. As a result he feels that before

the architect and town planner start the design of a

"shell" or of a "city," they should work - study, with a

number of professionals, people from various fields -

such as educators, psychologists, sociologists, lawyers,

-1 \

XXVII

politicians, et cetera so as to gain a better insight

of the people they will be designing for. He colIs

this study - science "ekistics" and he believes that

only through it we will be able to solve the crisis con­

fronting human settlements. These are constituted

according to him from the following five elements - man,

society, networks, shells and nature.

XXVIII

Racamier, P. C.

He is a French psychiatrist and psychologist

and taught at severol universities in France and

Switzerland. Presently he is a member of the Inter-

national Society of Psychologists as weIl as a member in

several other societies.

e) Psychology of Space

In this book Racamier claims that architecture

is the most characteristic element of a civilization,

because it integrate~ the technological evolution, the

sociological evolution, the psychological evolution and

the aesthetical evolution.

He believes that psychologists and architects

should work together, to attain the prope~ functioning

of a settlement and to satisfy the psychological needs

of man, for he claims that the architecture not only

reflects the man, but the architecture determines the man.

For example, he believes that the psychologists could be

of help to the main dilemma in architecture, the main

dilemma being whether we should build open or closed

î 1

XXIX

living spaces. This is, as weIl, a psychological

dilemma because human needs calI for both freedom and

security.

xxx

Toffler, Alvin

He is a journalist and presently a former

associate editor of Fortune. He has been a visiting

professor at Cornell University on the "sociology of

the future." He is now a visiting scholar at the

Russell Sage Foundation.

f) Future Shock

In this book, Toffler explains the steps that

we have to undertake to reach tomorrow and what happens

to people who are oppressed by change. It is about the

ways in which we adapt or fail to adapt to the future.

He talks about a rapid change mainly due to

our technological progresse This change is so powerful

that it snifts our values and changes the relationship

between people in family, friendship, sex, politics as

weIl as the relationships between people and tneir

dwellings, tneir education, their business, et cetera.

Toffler concludes that the "Future Shock" will

be realized if the tools with which we are equipped to

face tomorrow are obsolete, or are futile in that they

are not born in view of our rapid transition.

'"î 1 ;

XXXI

II. READING LIST

1. CARPENTER, C.R. Territoria1ity: A Review of

Concepts and Prob1ems. 1958.

2. CHERRY, C. On Human Communications. 1965.

3. DeFUSCO, R. Architecture Come Mass Medium. 1967.

* 4. DOXIADIS, C.A. Architecture in Transition. 1963.

* 5. DOXIADIS, C.A. An Introduction to the Science of

*

*

*

the Human Settlements. 1968.

6. DUNCAN, H.D. Communications and Social Order. 1968.

7. EINSTEIN, A. Concepts of Space by Max Summer. 1960.

8. FATOUROS, D.A. The Physica1 Environment as a

Learning Space. 1968.

9. FERKIS, V. X. Techno1ogical Man. 1969.

10. FRIED, M. Some Sources of Residential

Satisfaction in an Urban SIum. 1961.

Il. GIEDION, S. Space, Time and Architecture.

12. HALL, E.T. The Silent Language. 1959.

13. HALL, E.T. The Language of Space. 1960.

14. HALL, E.T. Quality in Architecture: An

Anthroeological View. 1963.

1954.

XXXII

* 15. HALL, E.T. The Hidden Dimension. 1966.

16. HALL, E.T. The Anthropo1ogy of Space. 1966.

* 17 e HEDIGER, H. The Evolution of Territorial

*

*

*

*

*

*

*

8ehavior. 1961.

18. JACOBS, S. The Death and Life of Great

American Cities. 1961.

19. KLING, V. Space: A Fundamenta1 Concept in

Design. 1959.

20.

21.

LANGER, S.

LANGER, S.

Feeling and Form.

Prob1ems of Art.

1953.

1957.

22. LYNCH, K. The Image of th~ City. 1960.

23. LYNCH, K. Site Planning. 1962.

24. LYNCH, K. The View from the Road. 1963.

25. LYNCH & RODWIN. The Theory of Urban Form. 1964.

26. MASS MEDIA. The Uncertain Mirror. 1970.

27. McLUHAN, M. The Gutenberg Ga1axy. 1962.

28. McLUHAN, M. Understanding Media. 1964.

29. McLUHAN, M.

30. McLUHAN, M.

31. McLUHAN, M.

Medium is the Message. 1967.

War & Peace in the Global Village. 1968.

From Cliché to Archetype. 1970.

*

*

*

*

*

XXXIII

32. MEAD, M. Cultural Patterns and Technica1

Change. 1958.

33. MEAD, M. Vicissitudes of the Study of the

Communication Process. 1964.

34. MICHAEL, D. N. The UnErepared Society. 1968.

35. MILLER, G. A. The Psycho1ogy of Communication.

1967.

36. MORRIS, C. Esthetics and the Theory of Signs.

1939.

37. MORRIS, C. Signification and Significance. 1964.

38. RACAMIER, P.E. Psychology of SEace. 1968.

39. RODWIN, L. The Future Metropo1is. 1961.

40. SCHRAMM, W. Mass Communications. 1960.

41. SEARLES, H. The Non-Human Environment. 1960.

42. SMITH, A. G. Communications and Culture. 1966.

43. SOMMER, R. Persona1 Space. 1959.

44. SOMMER, R. Design for Friendship. 1961.

45. SPREIREGEN, D.D. The Architecture of Towns and

Cities. 1962.

46. STEIN, C. Toward New Towns for America. 1969.

*

XXXIV

47. THEAL, D. F. The Medium is the Rear View

Mirror. 1971.

48. THOMSON, G. The Foreseeab1e Future. 1960.

49. THOMPSON, S.P. Instructiona1 Communications.

1969.

50. TOFFLER, A. Future Shock. 1970.

51. TUNNARD & PUSHKAREV. The Man Made America. 1966.

52. WINGO, L. Jr. Cities and Space. 1963.

53. WIRTH, L. On Cities and Social Life. 1964.

54. WOLSTENHOLME, G. Man and his Future. 1963.

55. ZWICKY, F. Commission on the Year 2,000. 1967.

* Books that were used in this paper.

xxxv

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~ '1 i

XXXVI

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î 1

XXXVII

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XXXVIII

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XXXIX

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XXXX

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XXXXI

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XXXXII

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XXXXIV

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XXXXV

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