Next picture. That is that dome at the Montreal, in the winter of 1950. And then skinned when the Spring came, and the skins are pulled outwardly. The skins are smaller than the dome itself, but pulled outwardly at vertexes so they get hyperbolic parabola surfaces by pulling them that way and they won't flutter in the winds either. If you put skins over the outside, they tend to wear out on a frame, but on the inside pulled outwardly, they do not tend to do so. We have done a great many of these pulled outwardly skins. They are extremely successful.

Next picture. Here, then is a pulled outwardly skin. This one went to a project down in Newfoundland.

Next picture. And you can see those hyperbolic parabola surfaces very, very accentuated there. This is a very light delicate, you can count your frequency by taking the icosahedronal edge and counting along, just 1,2,3, that was a 16-frequency geodesic. And I made it out of just light wires, that was the kind of wire, fence wire, and we spot welded it. We made it up in, I gave you the other day "diamond sections" and "rafts." And we made those up in the "rafts" and their ends overlapped at other rafts and they just got actually taped together, but it made an extremely delicate, very, very beautiful structure.

Next picture. Now this is the one at MIT, the boy, Zane Yost there in the background picture. This one was made out of wood with wood hubs. This is one, this type has been used a whole lot since, in the dome book and so forth, and the kids find this excellent. They came up to like spools, the wood pieces then addressed to the spool, and there is a top and a bottom circular plate of wood that held them into the spool, and they are made very well.

Next picture. We are still here back in around 1950, '51.

Next picture. Then this is at a this is a little different now. North Carolina State College and I had a number of very interesting projects there as the years went on. And this is what I call the automatic cotton mill. You remember that my first job that I had when I left Harvard, my first informal separation, was up in this cotton mill in Canada, and, incidentally, I'll tell you a little there that I think is important input.

On that job in Canada, working with those cotton millwrights from Lancastershire, England, plus one from Germany who felt rather competitive with the Lancastershiremen. And he was a big spinning frame man. I, they vied really to teach me a little better than one or the other. It was a very exciting experience. At any rate, this machinery being all from abroad. America did not produce any cotton mill machinery. Some how or other the people who controlled commerce and so forth up to the time of W.W.I did not allow cotton mill machinery to be built in the United States. We had to import it all, primarily from England. And this is some of that machinery, and a great degree of cast iron in it. Parts were very often broken in the shipping cases coming across the ocean, many, many broken parts and the man who was the leader, foreman of the group would take me, this was the young man who had been sent up there by the head office to learn about the game. He said, "here are these broken parts, will you find someplace in Cherbourg, Quebec to replace these. And I didn't know anything about metallurgy but I began to learn really quite rapidly. And I found that there were three or four places where there were foundries in Cherbourg, Quebec.

Incidentally the week I arrived there it stayed 45 degrees below 0 for the whole week. It was quite an experience and in those days there were no such thing as snow plows, and the snow just piled up deeper than a house, so in that town by this time the street was going by the second story windows, so you go out and you go up the railroad track and walk because it is the only way you can get to the mill. And, till I found these other factories where the one of the big Fairbanks Morse Company and so forth, I found good foundries, other machine shops, one place and another, I got where somebody in the machine shop began to tell me what that metal was and what I needed to do, and gradually I learned an enormous amount about metallurgy and certain about machinery, because the workmen would allow me to stay around while they made their patterns, and their castings, and their forms, or as they were cutting it out of a bar stock, or plate stock, or whatever type of steel it might be that had to be machined. And I really learned all the different types of machines that you would processes it to get the shape you wanted. It was terrific kind of experience for a kid.

Now my experience, then, with cotton mills, it happened that when I came to North Carolina State they were eager to have the architectural department do things with other departments of North Carolina State. That is rather unusual in Universities, but they did decide that they might, there were two very powerful departments in North Carolina State where they had world eminence. One is their textile school, manufacturing, because the cotton mills came out of north of America and were moved down into the southern parts when the labor unions began to organize at the time of Sacco and Vanzetti, and so forth. The labor unions in New England began to organize and the owners simply moved right down into the Carolinas and the unions were not prepared for it, and they cut way down, in fact the numbers of operators that I had in Canada compared to the operators on machines in North Carolina they had been cut down 10 to 1, and gotten a lot of automation in so that very few people were attending machines in comparison to my early days. At any rate, they had then, considered by far, the best textile engineering school in America, and possibly in the world, and I developed, then, working with the textile mills and the architectural students, we visited all the textile factories around in North Carolina and I talked to them, the kids, a great deal about this. So then we developed an automatic mill. Whereas the mill that I installed the machinery in in Cherbourg, Quebec the first time was a four-story mill, it was that because you did have water wheels and you there was at that time then the idea of having those overhead shafts, a minimum length. And the mill that I and we did have the same shafting, and the same problems of belting down to the machines, you see this was well before W.W.I.

And, then, when the electric motors did come in and so forth, and when the mills were transferred down into the south from New England, the cotton mill owners doing this in a very overnight kind of a way. They put in electric motors, and they built one-story buildings, and just had concrete floors because the machinery has to be well held, it is very heavy and a lot of vibration, so that everything is one story, and individual electric motors.

So I found, the most modern design of cotton mills, were where they were doing that still.. Now all of this also has to compound the fact that one of the very important conditions the temperatures in the mills. If the temperatures are there are optimum temperatures for production of your fabric.

There are optimum conditions in relation to just the electrostatics and the lintels and things to get around sticking on things and so forth, so they are all air conditioned. So here they are in the south with enormous roof and the sun beating down on that roof, and they're spending a lot of money on the air conditioning. So, what I found to be very fascinating, was we asked to then take the architectural school and go over and see if we might do some kind of a project with the textile engineering, and I did, I undertook to teach these kids about cotton mills, and we did visit all the factories and so forth, and we did then undertake to designing what I hoped would be a very highly automated, almost completely automated textile mill. And there are certain with the first machines where the unbailings and the breaking opens and then as you get into first cartings and cleanings ups and so forth, and gradually get into a beautiful twisted line and then getting into larger threads and then into making finally into making your fabrics.