In the previous section we saw that plugging random points in to a function of two

variables gave almost no enli4articular function is to picture its graph. We�ll

get to this in the d to graph a function of a single variable, like g(x) = 3x.
eu would plot (2, 6) because 6 = 3 � 2.
ve coordinates, like (x, y, z).

e da je u opsegu od
+10OC do +35OC.

Ratingen is located in immediate proximity to D�sseldorf. With more than 90,000

inhabitants
the town is middle-sized.
sal objectives of sustainable design
� Understand some characteristics of genuine stone and their
relevance to sustainable zons and furniture damage:
� Makex
on the floor. Glides should be equipped with self-adhesive felt pads to avoid
scratching
the surface of tho
from 1 1/2? to 2 5/a
the floor. Usdtain to allow a thin wax coat to dry and then harden prior to use of
an electric
bristle brush buffer. To determine whether the floor you are working with has been
waxed,
drip a water drop onto the floor, then wait for about 20 minutes. If you see a
white spot, or
if the water soaks in immediately, the floor has a wax finish.14
To remove grease, dirt, and scuffmarks from a floor with a wax finish, you should
use a
solvent wax remover from time to time. Be certain to select a product designed for
use on
wood floors.
Certain chemicals in wood oxidize in strong light,
causing the wood to change color;
therefore, rugs or area rugs should be moved periodically.
Wood and water do not mix. No matter what claims the manufacturer makes for
the wood finish, water must never be poured onto the floor intentionally. A damp-
mop
is fine for non-waxed polyurethane and other surface finishes in good condition.
How-
ever, wax-coated finishes should NEVER be cleaned with water, not even with a damp-
mop. (Wood Floor Care Guide is available from the Oak Flooring Institute, an
affiliate
of NOFMA.)zecial cleaning materials for their products.
If cracks appear in the wood floor, they are probably caused by lack of humidity
and can
be reduced by installing a humidifier.
Wood floors can be refinished. The old method was to sand the floor with a power
sander, which created dust throughout the area. Basic Coating�s TyKote Recoating
system is
the easiest and proven way to refinish Aluminum Oxide Factory Finished
flooring.�TyKote is a
revolutionary way to prepare commercial, residential, and sports wood floors for
recoating.
All dust, mess, and equipment associated with screening are eliminated when using
TyKote.
Applied in a liquid state, TyKote acts as an intermediate bonding layer between the
existing
 of his earlier masterpiece destroyed by fire, prompted this trend. Once again old
arguments were called forth to justify the new turn of events. The German archi-
tect and historian Rudolf Redtenbacher, responding in 1877 to the charge that his
generation lacked inventiveness, pointed out that all previous styles had been cre-
ated by reworking and developing forms from earlier periods; hence his era was
simply following the process of history and any attempt to create a new style
artificially would be stillborn.46Similarly, in 1885, the Viennese architect Hans
Auer defended the new Baroque trend for its ability to meet all spatial needs, its
suitability to every method of construction and material, its adaptability, but
most
importantly its capacity for personal expression and artistic freedom.47
Yet just as Auer was so confidently touting the future of this style as the self-
aggrandizing symbol of Austria's Hapsburg greatness, a strong counter movement
was taking shape. August Kostlin, the editor of the Allgemeine Bauzeitung and
publisher of Auer's article, accompanied it with an editorial of his own, in which
he described the latest Baroque fashion as "an episode! nothing more." Far from
seeing the 1880s, as Auer had argued, as having a spiritual affinity with the age
of "Leibniz, Voltaire, and Newton," Kostlin noted the democratic, leveling ten-
dencies of the present and broad social participation in public affairs.48
Certainly this latest phase of eclecticism was setting the stage for its imminent
collapse through the simple exhaustion of historical possibilities, yet there were
other more fundamental forces fomenting this course of events. The architectural
debate of the 1880s in Germany and Austria differed from that of the 1840s in
the positivistic belief that historical change was not only possible, but also
inevi-
table, predicated on the basis of the newly understood laws of history. This
change in attitude can be seen clearly in the polemics surrounding the use of iron.
The problem with iron throughout the nineteenth century, as noted by the Gotha
architect Ludwig Bohnstedt in 1867, was that it was seen as the material of
engineers and was not conducive to architectural expression because of its thinness
or lack of visible mass.49 Although Hermann Lotze refuted this idea one year
later as a perception based simply on habit, it was an argument that died slowly.50
It was not until 1878 that a prominent German architect, Constantin Lipsius,
dared to accept the challenge of Botticher, although he was looking to Viollet-le-
Duc and experiments with iron in France. Addressing the Union of German
Architects and Engineers, Lipsius argued that his era, "so full of intelligence,"

the production of modern vehicles and ships, and saw the Queen Anne style led
by Richard Norman Shaw as superior to German efforts, with its lack of or-
namentation, simple elegance, and excellent workmanship. Another English artist
held in high esteem in Germany and Austria at this time was Walter Crane, whose
book The Claims of Decorative Art had been translated into German in 1893 and
widely reviewed. The Austrian Museum for Art and Industry had been inclined
toward English arts and crafts models even before the anglophile Arthur von
Scala took over as director in 1897. An exhibition on Walter Crane was featured
by the museum in 1895.82
It is doubtful, however, if Wagner had more than a casual knowledge of or sym-
pathy with English developments. Notwithstanding his praise of the democratic
tendencies of modern society, his uncompromisingly technocratic vision of the fu-
ture was fundamentally opposed to Crane's anticommercialism and socialism.
Crane had argued that the corruption of popular taste was caused by a vulgariza-
tion of manufacture and commerce induced by industrialization. Wagner, on the
contrary, saw the cause of the decline of taste to be historicism's failure to
react
quickly enough to the adage "Time is money," thus not allowing the beneficial and
expurgating effect of technological improvements to be realized. Streiter, who was
himself more in step with English developments, went so far as to characterize
Wagner's "naive" faith in capitalist redemption as tantamount to "practical
Manchesterism," which, if enacted, would re-create the worst horrors of parvenu
taste of the last half of the century.83
It was Wagner's rejection of architectural eclecticism, rather than his political
acumen, that gave Modern Architecture its historical importance. Wagner was the
first European architect to state publicly his break with the past, although his
position initially was not entirely unequivocal. In the first edition of 1896 he
some-
times professes a willingness to accommodate aspects of the historical language of
form, to rework or modify elements of the traditional vocabulary to meet modern
demands. By the third edition of 1902, however, he is adamant that a radical
break with the past has to be made and a new beginning sought. For example, a
reference in the first edition to "furthering our inherited traditions" is deleted
in the
second edition of 1898 (p. 129, te. 51). In commenting on the new shapes cre-
ated by modern technology, Wagner says in the first edition, "They all recall the
forms of past times..."; the second edition reads, "They scarcely recall the forms
of past times..."; the third edition is emphatic, "They do not recall the forms of

works of the next decade in which he implements this new construction method, in
particular, the Church of Saint Leopold Am Steinhof (1904-1907) and the
Postal Savings Bank (1904-1906 and 1910-1912) (fig. 7). In both cases brick
structures are sheathed or dressed with thin sheets of marble, set in a mortar bed,
and seemingly anchored to the wall with metal bolts, themselves capped with
aluminum heads. The number and spacing of the bolts in various panels is manip-
ulated. In the center panels of the Postal Savings Bank the heads are enlarged and
more densely concentrated (decorative tiles are shown in the competition draw-
ing); at one stage in the design Wagner wanted the anchor caps in the center to be
gilded so as to be seen better from the Ringstrasse, one block away. The panels of
the bank's lower two stories are also cambered to give the appearance of a heavier,
rusticated course. The Church Am Steinhof has two bases of stone: the lower a
fieldstone, the upper a random-range ashlar. Still, the smooth cladding panels of
both buildings, with their prominently displayed anchoring devices, are the princi-
pal elevational motifs employed in this modern way of building.
Yet the anchor bolts had only a limited "functional" value. The critics who re-
viewed these buildings at the time of their completion, as Peter Haiko has noted,
were quite aware that the enhanced and articulated bolts only held the panels in
place during the first three weeks of construction while the binding mortar bed
hardened.95 In essence, they were little more than a decoratively treated form-
work. Such an ornamental conception, says Haiko, is a clever reversal of tradi-
tional logic; the construction is not enriched with ornament expressive of its pur-
pose, but rather the decoration (the bolt heads) is invested with a constructional
meaning seemingly inspired by necessity. Haiko has termed this decorative artifice
"symbolic functionalism," in that the bolts represent the technological, economic,
and time-saving attributes of this type of construction. It was the appearance,
rather than the reality, upon which Wagner's artistic conception was based.
Moreover, it is not just the bolt heads and surface texture that pass beyond a
constructional logic. The cambered panels on the first two stories of the Postal
Savings Bank, which up close are detailed in such a way as to reveal and em-
phasize their purpose as applique, allude to a bank's classical image of impreg-
nability. The concentration of enlarged bolt heads and the projecting blocks in the
upper story (shown in the competition drawing as blue tiles) are abstract residues
of a traditional frieze. The building as a whole, like all of Wagner's designs, is
centralized in a traditional compositional massing. Everywhere, it seems, Wag-
Parquet
Parquet comprises individual pieces of wood, called �billets.� These are generally
made of
oak, from 3/8 to 3/4 inch thick, joined together to form a variety of patterns.
These small
pieces are held together by various methods: a metal spline, gluing to a mesh of
paper, or
gluing to a form of cheesecloth. Sizes vary from 9 to
19 inches square.
There are many parquet patterns and most manufacturers make a similar variety of
patterns, although the names may vary. One company will name a pattern
Jeffersonian, an-
other Monticello or Mt. Vernon, but they are variations of the same pattern. This
particular
design is made with a central block surrounded by pickets on all four sides. The
center may
be made of solid wood, a laminated block, five or six strips all in the same
direction, or a
standard unit of four sets.
Designers need a word of warning about using some parquet patterns that may have
direction (for example, the herringbone pattern). Depending on whether the pieces
are laid
parallel to the wall or at an angle, a client may
see L�s, zigzags, or arrows. The important thing
to consider is the client�s expectations.
To reduce expansion problems caused by moisture, the oak flooring industry has
devel-
oped several types of parquets. The laminated or engineered block is a product that
displays
far less expansion and contraction with moisture changes and, therefore, can be
successfully
installed below grade in basements and in humid climates. It can even fit tight to
vertical ob-
structions. Blocks can be glued directly to the concrete with several types of
adhesive, which
the industry is making VOC compliant. One concern in the past has been a laminated
block�s
ability to be sanded and refinished. Because the face layer is oak, with proper
maintenance
the initial service life can be expected to be 20 to 30 years. Any of the laminated
products on
the market today can be sanded and refinished (at least twice) using proper
techniques and
equipment, so the expected life of a laminated block floor is 60 to 90 years.
Parquet flooring is packed in cartons with a specific number of square feet. When
order-
ing parquet flooring, only whole cartons are shipped, so the allowance for cutting
may be
taken care of with the balance of the carton.
All the parquet woods mentioned in this section are quarter sawn or plain sawn, but

some species are cut across the growth rings (end grained). End-grain patterns are
formed
by small cross-cut pieces attached into blocks or strips with the end grain
exposed. The
thickness may vary from 1 inch to 4 inches, depending on the manufacturer. One-and-
a-half
inches of end-grain block have insulating qualities equal to 23 inches of concrete.
Some
end-grain block floors are still in place after more than 40 years of heavy in-
dustrial use. These blocks absorb noise and vibration and have been installed
in museums and libraries.
Figure 4.6 illustrates the differences between on, above, and below grade.
Above grade is not a problem for installation of wood floors, because no mois-
ture is present. As mentioned earlier, moisture is the major cause of problems
with wood. On grade means that the concrete floor is in contact with the
ground. The floor usually has drainage gravel as a base, covered by a polyeth-
ylene film to prevent moisture from migrating to the surface. The concrete is
then poured on top of this polyethylene sheet. Below grade means a basement
floor in which the presence of moisture is an even greater problem. All freshly
poured concrete should be allowed to cure for 30 to 60 days.
The National Oak Flooring Manufacturers Association (NOFMA) recom-
mends testing for excessive moisture in several areas of each room on both old
and new slabs. When tests show too much moisture in the slab, do not install
hardwood floors. For a moist slab, wait until it dries naturally or accelerate