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infinitely repeating square and the golden rectangle to distinguish these two functions. It is marked both in plan (by a smaller grain floor decking), in elevation (by horizontal slats increasing in interval spacing according to the Fibonacci series), and in a more dense spacing of overhead members. In plan, the square rotates into the section to become a golden rectangle and the golden rectangle becomes a square in elevation. I have recorded most of the past twenty years of my life in sketchbooks (now almost 40 of them) filled with daily drawings. A friend recently dubbed this addiction to visual recording as "note-itis." I see in drawings the creation of relationships. All of my work, teaching, designing, baking, writing, is influenced by my drawing, which demands daily refinement of one's awareness, visual acuity, and skilled hand to eye coordination, as in kneading bread. On each page of my sketchbooks are conscious and subconscious decisions-where text goes in relation to image, what medium I use and why, what type projection. This is surely the path to my life as a teacher. And it is, again, where bread baking and building converge. Training in the visual and applied arts has far reaching implications when one weaves the experience it provides into all disciplined production. The aesthetic concerns of a building's proportion or the shape of the dough which forms a loaf of bread become almost second nature to someone involved in routine baking and drawing. The product is nothing if you have not enjoyed the fragile beauty of a mountain of flour, the flow of ink on smooth toothed paper, or the disciplined struggle to calculate a set of dimensions. All photographs courtesy of the author.