The arbitrators, if they deem that the case demands it, are authorized to award to the party whose contention is sustained such sums as they shall deem proper for the time, expense and trouble incident to the appeal and, if the appeal was taken without reasonable cause, damages for delay. The arbitrators shall fix their own compensation, unless otherwise provided by agreement and shall assess the costs and charges of the arbitration upon either or both parties.

The award of the arbitrators must be in writing and, if in writing, shall not be open to objection on account of the form of the proceedings or the award.

A. I. A. Document 99

V. PROFESSIONAL PRACTICE OF ARCHITECTS, AND SCHEDULE OF USUAL AND PROPER MINIMUM CHARGES

Adopted by The American Institute of Architects and Revised, 1908

1. The Architect's professional services consist of the necessary conferences, the preparation of preliminary studies, working drawings, specifications, large scale and full size detail drawings, and of the general direction and supervision of the work, for which, except as hereinafter mentioned, the minimum charge, based upon the total cost of the work complete, is six per cent.

2. On residential work, alterations to existing buildings, monuments, furniture, decorative and cabinet work and landscape architecture, it is proper to make a higher charge than above indicated.

3. The Architect is entitled to compensation for articles purchased under his direction, even though not designed by him.

4. If an operation is conducted under separate contracts, rather than under a general contract, it is proper to charge a special fee in addition to the charges mentioned elsewhere in this schedule.

5. Where the Architect is not otherwise retained, consultation fees for professional advice are to be paid in proportion to the importance of the question involved and services rendered.

6. Where heating, ventilating, mechanical, structural, electrical and sanitary problems are of such a nature as to require the services of a specialist, the Owner is to pay for such services.

*The total cost is to be interpreted as the cost of all materials and labor necessary to complete the work, plus contractors' profits and expenses, as such cost would be if all materials were new and all labor fully paid, at market prices current when the work was ordered.

Chemical and mechanical tests and surveys, when required, are to be paid for by the Owner.

7. Necessary traveling expenses are to be paid by the Owner. 8. If, after a definite scheme has been approved, changes in drawings, specifications or other documents are required by the Owner; or if the Architect be put to extra labor or expense by the delinquency or insolvency of a contractor, the Architect shall be paid for such additional services and expense.

9. Payments to the Architect are due as his work progresses in the following order: Upon completion of the preliminary studies, one-fifth of the entire fee; upon completion of specifications and general working drawings (exclusive of details), two-fifths additional, the remainder being due from time to time in proportion to the amount of service rendered. Until an actual estimate is received, charges are based upon the proposed cost of the work and payments received are on account of the entire fee.

10. In case of the abandonment or suspension of the work, the basis of settlement is to be as follows: For preliminary studies, a fee in accordance with the character and magnitude of the work; for preliminary studies, specifications and general working drawings (exclusive of details), three-fifths of the fee for complete services.

11. The supervision of an Architect (as distinguished from the continuous personal superintendence which may be secured by the employment of a clerk-of-the-works or superintendent of construction) means such inspection by the Architect or his deputy, of work in studios and shops or a building or other work in process of erection, completion or alteration, as he finds necessary to ascertain whether it is being executed in general conformity with his drawings and specifications or directions. He has authority to reject any part of the work which does not so conform and to order its removal and reconstruction. He has authority to act in emergencies that may arise in the course of construction, to order necessary changes, and to define the intent and meaning of the drawings and specifications. On operations where a clerk-of-the-work or superintendent of construction is required, the Architect shall employ such assistance at the Owner's expense.

12. Drawings and specifications, as instruments of service, are the property of the Architect.

ADIRONDACK LODGE

Plan Shown on Opposite Page.

MECHANICAL DRAWING

PART I

The subject of mechanical drawing is of great interest and importance to all mechanics and engineers. Drawing is a method of showing graphically the minute details of machinery; it is the language by which the designer speaks to the workman; it is the most graphical way of placing ideas and calculation on record. A brief inspection of an accurate, well-executed working drawing gives a better idea of a machine than a lengthy written or verbal description. The better and more clearly a drawing is made, the more intelligently the workman can comprehend the ideas of the designer. Thorough training in this important subject is necessary to the success of everyone engaged in mechanical work.

The draftsman is dependent for his success, to a certain extent, upon the quality of the instruments and materials which he uses. As a beginner, he will find a cheap grade of instrument sufficient for his needs; but after he has become expert, it will be necessary for him to procure those of better construction and finish to enable him to do accurate work. It is a better plan to purchase the well-made instruments, if possible, at the start.

INSTRUMENTS AND MATERIALS

Drawing Paper. In selecting drawing paper, the first thing to be considered is the kind of paper most suitable for the proposed work. For shop drawings, a manila paper is frequently used on account of its toughness and strength, for these drawings are likely to be subjected to considerable hard usage. If a finished drawing is to be made, the best white drawing paper should be obtained, so that the drawing will not fade or become discolored with age. A good drawing paper should be strong; should have uniform thickness and surface; should stretch evenly and lie smoothly when stretched

or when ink or colors are used; should neither repel nor absorb liquids; and should allow considerable erasing without spoiling the surface. It is, of course, impossible to find all of these qualities in any one paper, as great strength cannot be combined with fine surface. However, a kind should be chosen which combines the greatest number of these qualities for the given work. Of the higher grades of papers, Whatman's are considered by far the best. This paper, either side of which may be used, is made in three grades: the hot pressed, which has a smooth surface and is especially adapted for pencil and very fine line drawing; the cold pressed, which is rougher than the hot pressed, has a finely grained surface, and is more suitable for water color drawing; and the rough, which is used for tinting. For general work, the cold pressed is the best as erasures do not show as plainly on it, but it does not take ink as well as the hot pressed.

Whatman's paper comes in sheets of standard sizes as follows:

The usual method of fastening paper to a drawing board is by means of thumb tacks or small one-ounce copper or iron tacks. First fasten the upper left-hand corner and then the lower right, pulling the paper taut. The other two corners are then fastened, and a sufficient number of tacks placed along the edges to make the paper lie smoothly. For very fine work, however, it is better to stretch the paper and glue it to the board. Turn up the edges of the paper all the way round-the margin being at least one inch-then moisten the surface of the paper by means of a sponge or soft cloth, and spread paste or glue on the turned-up edges. After removing all the surplus water on the paper, press the edges down on the board, commencing at one corner and stretching the paper slightly—if stretched too much it is liable to split in drying. Place the drawing board in a horizontal position until the paper is dry, when it will be found to be as smooth and tight as a drum head.

Drawing Board. The drawing board, Fig. 1, is usually made of well-seasoned and straight-grained soft pine, the grain running lengthwise of the board. Each end of the board is protected by a