Kansas State University - Royal Purple Yearbook (Manhattan, KS)

Page 107 text:

GAMMA THETA UPSILON international geography honor society FRONT ROW: Doug McKinney, Brian Fisher, Eugene Seagle, Duane Nellis. SECOND ROW: Rob Vetter, Jeff Nolte, Erik Peterson, Shawn McCune, Tod Meyn. BACK ROW: Virgil Wiebe, Lori Siltman, Kara Brown, Lou Young, Eirene Tatham, Jerry Woolfolk. GULDEN KEY made. The final part of the class was spent with application programs. Students figured least-cost feed rations according to beef cattle performance. The real goal here is if we train kids right, they will be able to work out of the computer manuals on their own, Brent said. The class spent a little time programming in BASIC language. The students used their knowledge of BASIC to program mailing lists. Many purebred operators advertise by direct mailing. A program like this would simplify advertising, Brent said. Brent expected most of his students to return to the farm following graduation. He hoped his students would implement their computer skills into their operations. The computer classroom, which was a remodeled storage room, contained five Radio Shack computers. Two sections of 10 students each shared the room. The programs used for the class were commercial except for a few spread-sheet programs Brent wrote himself. I have never taken a computer class. I bought a computer for private business and taught myself how to use it. Brent predicted the class would not be offered in three years because high school computer instruction would make his class obsolete. High school students will graduate with enough knowledge of computers that will only need to make computers available to them. I also think some college students will have their own computers, Brent said. —Lori Bredow FRONT ROW: Russell Rausch, Lance Lewis, Kelly Du bbert, Scott Anderson, Vincent Berry, David Salava. SECOND ROW: Julie lmthurn, Sherry Mooney, Everett Rosey, William Royster, Jerome Stein. THIRD ROW: Lisa Hettwer, Diane Legleiter, Teresa Temme, Julie Reaser, Susan Baird, Tonie Rohrbaugh. BACK ROW: Ronald Rausch, Vera McMinimy, Gisele McMinimy, Susan Herring, Jeanie Brown, Sharon Chalker, Timothy Massey. GULDEN KEY FRONT ROW: Barry Hofer, Andy Martin, Brent Lilley, Dan Costello, Louis Bastin, Kenneth Mercer, Paul Krueger. SECOND ROW: Lisa Stover, Donna Olberding, Renae Slatt, Raphael Yunk, Steven Cashman, Khiem Dao. THIRD ROW: Julie Morin, Hari Paramesh, Victoria Lavezzi, Kelly Conyac, Warner, Rodney Driscoll. BACK ROW: Janna Adkinson, Debbie Shaw, Barbara Rowe, Lora Jones, Stacy Mercer, Michelle Clifford, Stephanie Case. GOLDEN KEY EXECUTIVE COMMITTEE FRONT ROW: Kelly Dubbert, Lance Lewis, Russell Rausch. BACK ROW: Diane Legleiter, Sharon Chalker, Jeanie Brown. GRAIN SCIENCE AND INDUSTRY CLUB FRONT ROW: Brad Johnson, Mark Davidson, Glen Fisher, Russell Godfrey. SECOND ROW: Martin Guthrie, Darin Duffin, Shawn Gouldie, Paul Liebeno, Darcy Mathes. THIRD ROW: Ed Rathert, Shabad Abdul-Muttalib, Glenn Ninemire, Curt Thompson, Danny Claycamp. BACK ROW: Tim Steele, Anthony Olberding, Karen Wolters, Fred Gatschet, Juan Carlos Rodriguez. 117 Barn Computers

Page 106 text:

Memorial Stadium, built between 1924 and 1938, was constructed as a memorial to K-State students who died in World War I. In the theme of the memorial, several artists painted an 8-foot-by-17- foot mural in the breezeway of West Stadium depicting a war scene. The mural is a fresco; an art process where paint is applied to damp plaster. The fresco was a collectivist painting, a group project. Eight students, including two high school teachers, finished a two- week fresco workshop offered through the art department. The group agreed on basic elements and enhanced, enlarged and modified as they went along, said Jerry Linton, instructor of art. Murals have to do with architecture or purpose, he said. Names of K-State students killed in the war are in the fresco and indicate that the building is a war memorial. The fresco is roughly divided into four horizontal sections. Each morning one of the students came early to soak with water the section on which they were working. Then they would trowl the intonaco (the surrounding surface that is painted), transfer the drawing to the intonaco, then paint. They began at 8:30 a.m. and would work until about 2:30 p.m., when it got hot, Linton said. Jeaneane Johnson puts some finishing touches on a World War I memorial fresco painting in the breezeway of West Stadium as part of a painting class. (Photo by Scot Morrissey) 114 Fresco Painting

Page 108 text:

The domed-shaped helidon appears as though it is from outerspace. But the architectural design facility is very down to earth, providing a place for architecture and design students to test models in simulated sunlight. The helidon is a 36-foot-diameter hemisphere with mounted spotlights that simulate the positions of the sun during specific days throughout the year. The helidon is used as a design facility by both students and practicing said Keith Christensen, associate professor of architecture. The helidon is simply a ' sun machine ' , Christensen said. Models of buildings were used to see how the sun hit the building at different times of the day and year. The model was placed on a table, set at the same latitude as Manhattan, and the architect turned on different light switches depending on the time of day he needed. The helidon showed where the sun would shine on the building and where the shadows would What we (the architects) are the most concerned about is energy use; the second factor is comfort. Since solar energy has become an issue, people are concerned with their ' sun rights ' , Christensen said. ' Sun rights ' are simply your right to the sun. A neighboring office cannot construct a building that will block all the sun off your property. Because of high electric bills, natural daylight has become a concern, Christensen said. The other reason for using the helidon was determining comfort. If the sun blares through your office window, you will not be comfortable. We want to design your building so some light will come through your window but not too much, Christensen said. Lectures and demonstrations were given to architecture and design classes inside the helidon. The students were able to use the helidon for determining the lighting on their projects. I found the helidon very useful. I would use it to take photographs of how the sun Lighting in the heliodon enables students to study shadows created at 9 a.m. (top), noon (center) and 3 p.m. and all other daylight hours. (Photo by Andy Nelson) Working with a model, Mark Pankratz observes shadows simulated in the heliodon during the summer. (Photo by Andy Nelson) 118