9 Tips For An Entrepreneur For Constant Motivation

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Do you want some enterpreneur tips on how to keep motivated?

Being a new entrepreneur means indulging in risky gambles and having a lot of responsibilities. You fear the unknown and you wind up feeling lost. So what really keeps you going is the ongoing motivation for the achievement of your goals.

This makes one wonder that how do you stay motivated in a business?

success quote

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You don’t have to be brave only in battle. It’s your job to find motivation within you and remember that you are in charge of your own life.

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Lift yourself up with these motivational tips.

1. Limiting Decision-Making in Other Aspects

With so many decisions regarding your business on a daily basis, sometimes it’s best to keep things simple elsewhere.

A good way to make your abilities stay sharp is if you limit your decision making in the other aspects of your life throughout the rest of your day. It can keep you motivated because then you can focus on the other tough decisions you have to make regarding your business.

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2. Having a Personal Mission Statement

Every business should have a proper and defined mission statement. A mission statement is something which describes your visions and goals, and values. Knowing where you should head towards helps to lead you in a proper direction. It’s imperative to have a pre-defined route.

Your mission statement should be a constant reminder of your need to success. You should memorize it and carry it around with you everywhere.

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See Also: 5 Lesser-Known Must-Read Books For Entrepreneurs

3. Constructing a Plan

plan construction

Your mission statement is obviously useless if you don’t put forth a plan to execute it. A personal and professional plan can contain short and long term goals. Don’t adhere to it as a golden rule, as plans are always subject to change according to your circumstances.

The main purpose to have a plan is to have a proper and clear understanding in what you hope to achieve, and how you’re going to go about doing that.

4. Remember to Reward Yourself

The human mind is wired to respond according to incentives. So what better to provide motivation in your work?

Set rewards for yourself if you establish a goal. To avoid burning out, you should identify and reward small victories along the way to your long-term goals.

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Will Curran, President of Endless Entertainment said, “By fighting the small battles. I get joy in overcoming obstacles, and by celebrating after a small win. This includes rewarding myself for a job well done. You can get overwhelmed by focusing too much on the big picture.

5. Get a Quarter of Your Work Done Soon after Waking Up

productivity performance

Studies have shown people have shown the most amount of productivity in the first hours after waking up. This is also when some of the top startups plan their day to ensure more success.

Get to work within an hour of waking up and you’ll soon see the differences in your performance and how much you’re able to accomplish before your coffee break as well.

6. Stay Stubborn in Your Desire

What makes a successful entrepreneur?

Some of the most successful people I know are those who refused to give up even when times were tough. They had perseverance and patience. One of the key things in keeping an entrepreneur motivated is their ambition and desires. The fuel they needed to achieve and flourish in their goals lay in their desires to be successful which prevented them from giving up after they failed.

It is indeed very challenging to hold on to your morale when you’re not quickly getting the success you hoped for. Surround yourself with people who motivate you. Remember, each hindrance you suffer is a lesson, not a disappointment.

According to Neil Patel, co-founder of Crazy Egg and KISSmetrics, “Running a business is like riding a roller coaster. Although it is fun and exciting, there will be times when you’ll be scared and feel powerless. During the bad times, there isn’t much you can do, other than to keep on pushing forward,”

7. Inspiration Comes From Your Peers

Like I said in the previous point, keeping close to people who motivate you can do wonders. You can talk to other entrepreneurs and small business owners and look at them for support and constant inspiration. You can look to each other for feedback. It also feels better to know that there are other people going through the same challenges.

It’s also good to read success stories and the challenges faced by the other entrepreneurs when they first set out. Listen to some famous TED Talks by entrepreneurs to drive home some motivation.

See Also: How To Pay Bills & Start A Business – 5 Entrepreneurs Share Their Secrets

8. Turn your competition the other way around

It’s natural to compare yourself with your competitors. By looking at their perfectly crafted business and success stories, use that as an inspiration to achieve more and be better instead of letting yourself down. It’s stupid to feel down just because someone you know is doing better than you.

Don’t let that negative energy affect you, as each person’s journey and endeavors are different. Staying positive and viewing your competition as a benchmark is much better as compared to putting yourself down and self-blaming.

Adam Martin, Founder of Laabn Social Haircare Inc. talks about looking for another enterpreneur in the same niche and then talk weekly or daily to discuss challenges, ideas, and achievements. This helps keep both this person and yourself accountable.

9. Work with Others

If you work alone, you may find it helpful to surround yourself with people on the same wavelength as you to cure that boredom and loneliness you might be feeling. Chances are high that you’ll find yourself encouraged in other aspects of life as well.

Juanita Hines, Owner of Regional Consulting talks about being around successful and inspirational people.

success quotes

With all the good and bad times new business brings, remembering these tips while moving at your own particular pace will help you stay rational and positive. Always keep in mind what roused you to wind up as a business visionary, framing key connections along the way, and setting sensible objectives. It will no doubt all add to your developments and achievements.

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“Importing staff from overseas is bad for the UK design industry”

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Comments update: design education in the UK was the hot topic among Dezeen readers this week, as industry figures claimed they prefer to hire graduates from overseas during Dezeen’s Brexit design summit, and a survey revealed 25 per cent of architecture students have mental health problems. (more…)

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L House / Estudio PKa


© Alejandro Peral

© Alejandro Peral


© Alejandro Peral


© Alejandro Peral


© Alejandro Peral


© Alejandro Peral

  • Architects: Estudio PKa
  • Location: La Costa Partido, Buenos Aires Province, Argentina
  • Author Architects: Ignacio Pessagno & Lilian Kandus Arquitectos
  • Area: 175.0 sqm
  • Project Year: 2014
  • Photographs: Alejandro Peral

© Alejandro Peral

© Alejandro Peral

This beach house is located in the Atlantic coast of Argentina, 10 kilometers away from Pinamar, and 400 meters away from the beach, where the sound of the sea is constant. One of the main premises was to respect the coniferous forest, along with the “L” shape facing north. It is developed in one-story with the open possibility to build a new floor on top (one of the patios sets the space for the potential stairs). This “L” configuration allows to separate the public area from the private, articulating these spaces through three patios which capture light. The house is introverted towards its front façade, providing intimacy as well as a sense of mystery to the passersby. A compact “box”, where the attention is stolen by the pedestrian ramp, which finishes in the residence’s entrance patio.


© Alejandro Peral

© Alejandro Peral

Context
The interior/exterior relationship is fluid, the residence lives the landscape in a direct way, since it is surrounded by the existent vegetation. Facing north the openings are from floor to ceiling, and it matches with most of the view towards the forest. The lot is uneven as it rises from front to back. The house joins into this movement: the public nave, 3 meters high, is positioned by taking the sides of the lot, in the front, and is settled at +0.5 meters. The private nave, respecting the existent soil, sets at +0.9 meters.


Plan

Plan

Materials
The constitution of the residence is based on noble materials: masonry, independent concrete structure and wood. In the public area – living room, dining room and kitchen – the exposed concrete slab is the main character principally because local wood has been used for the formwork, leaving its print in the ceiling. The 3 meters pivotal main door, covered in “petiribí” (cordia trichotoma) finish this space warmly. There is a clear opposition between the dark exterior and the whiteness of the interior. The patios, which generate reflections in the interiors, along with the constant sound of the sea make of this house a place to truly rest and relax.


© Alejandro Peral

© Alejandro Peral

System
The house is accessed through a ramp, which intercepts the blind wall in the front and articulates with the first patio of the residence. The social space opens to the north and to the landscape. Going through the second patio – between the public and private areas – and going up a few steps, the circulation connecting the rooms is found, where a projected linear slab and an opening in the bottom that takes the entire circulation, bathes the space with light, projecting it sharply on the floor, and generating intimacy in the rooms. The rooms live the landscape with openings from floor to ceiling. The third patio is articulated with the main room, creating a “camera of air and light” between the guest or kids rooms and the main dormitory.  


© Alejandro Peral

© Alejandro Peral

Bonds
This beach house exceeded the owners expectations; since it has transformed into a permanent residente and gave a closer bond with the wildlife. It has become a frame to admire the landscape, a container for reading and meditation; habits that are hard to achieve when coexisting with the noise and pace of the city. The main nave, with its scale and opening towards the forest, calls for family and social gatherings.


© Alejandro Peral

© Alejandro Peral

Research
The biggest challenge facing this project and building this house was to work on a tight budget. We prioritized the orientation, in order to use the energy efficiently in both winter and summer; the flexibility in the spaces – because this was designed as a summer house, it was an important premise that needed to be accomplished -; and also the use of regional and noble materials, along with simplicity and synthesis in the details.


© Alejandro Peral

© Alejandro Peral

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Tesla to merge with solar power company SolarCity



Business news: Elon Musk is moving closer to his vision for a “one-stop solar and storage experience”, with the announcement that his company Tesla is set to buy solar panel manufacturer SolarCity. (more…)

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Design Museum films show iconic objects travelling across London



London’s Design Museum has commissioned a series of films showing classic objects from its collection making their own way to its new building, including a Vespa Clubman and an Anglepoise lamp (+ movies). (more…)

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On Trails: An Exploration

Franconia Ridge Crop

In the Beginning, there were the Ediacarans: “brainless, jelly-quivering do-nothings.” They lived in the nasty bacterial mats and toxic sediment that carpeted the littoral waters off Mistaken Point, Canada, 565 billion years ago, in the wake of the worldwide glaciation event known as Snowball Earth. Now, Ediacarans may well have looked like “a bag of mud,” but journalist Robert Moor is being a little rough with the “do-nothing” gibe, for these creatures cut the oldest known trails on earth. And when you are writing a deep history of trails on earth, as is Moor in his good, rangy, and spry On Trails, Ediacarans are the Beginning.

Your own first steps are high up in life’s celebratory moments. What do we do with this newfound locomotion? We blaze a path to the cookie jar. We cut a trail from one point, mother’s lap, to another point, the land of cookie, whence we may move on to the watering hole (that would be the toilet bowl) or return to the point of origin, mother’s lap. That, for Moor, is the crux: trails “persist because they connect one node of desire to another: a lean-to to a freshwater spring, a house to a well, a village to a grove. Because they both express and fulfill the collective desire, they exist as long as the desire does; once the desire fades, they fade too.” Trails are lines of desire, here muddy — real, sucking glop — and there, metaphorical.

Trails are a “tactful reduction of options,” writes Moor, evolving to serve a need: spiritual, philosophical, directional, often rolled into one. Trails have authors — water, ants (“arguably the world’s greatest trail-makers”), the cow paths that became Boston’s street plan (“Well, there are worse surveyors,” wrote Ralph Waldo Emerson) — but every creature that comes behind is an editor, adding proof marks to the simple, organic, and iterative trails. Like all communal projects, trails morph with time, like work songs, old jokes, and recipes. Shortcuts are found — “geographic graffiti” — that rebuke a path’s waywardness or subvert the tyranny of a trail’s constraints. Intentions change as well. A path once skirted a mountain’s peak but now seeks out its field of view. Or, as Moor neatly puts it: “A trail sleekens to its end.”

Moor is a boots-on-the-ground empiricist of trails. No armchair explorer, he has hoofed the Appalachian Trail, just for an example, which is serious trail cred. He is a connoisseur of toe fungus, crotch rot, and twisted ankles. He walks alone and with a pleasing selection of oddfellows and fruitcakes. Gratifyingly, he has also tramped the literature, from professional, contemporary trail-makers to great walker/writers of the past. William Cronin may bemoan that by “imagining that our true home is in the wilderness we forgive ourselves the homes we actually inhabit.” Yet how often do we get a chance to touch the untamed landscape, the truly wild? You know that Moor has experienced something like a trail’s mystic transport when he tenders, without trepidation, one of Henry David Thoreau’s juiciest transcendences, experienced when he was caught in a lightning storm on the flank of Mount Katahdin: “This was the Earth of which we have heard, made out of Chaos and Old Night. Here was no man’s garden, but the unhandseled globe . . . It was Matter, vast, terrific . . . rocks, trees, wind on our cheeks! the solid earth! the actual world! the common sense! Contact! Contact!” Contact, and goosebumps.

Moor doesn’t moon about as he seeks the meaning — the soul — of trails. His is a serious endeavor. Occasionally his writing will become painfully dry to appropriate science in making a point, sometimes quoting others (“life is ‘a self-perpetuating chemical reaction’ or ‘a self-assembling dynamic system’ “), sometimes constructing his own frames: a trail is “a collective, externalized mnemonic system.” Both true, if spontaneously combusting. Let them go. Better to walk along with Moor as he reads trails, offering “a rich cultural creation and a source of knowledge in themselves,” an archive of botanical, zoological, geographical, ethical, genealogical, cosmological, and esoteric wisdom. There are the trail networks, some human and some nonhuman, that collapse “a complex environment down into neat, easily recognizable lines, like the color-coded lines of a subway system,” this one taking you to medicinal herbs, or a stone circle, or Piccadilly Circus.

In one beautiful episode recounted by Moor, an old Apache cowboy quietly recites to himself a long list of place names. Asked what he is doing, the man replies that he “talked names” all the time. This activity also goes by the word topogeny, the reciting of place names one after another; “storytelling at its most spare, rendering a narrative down to a string of dense linguistic packets, like seeds, which flower in the mind.” Or, as the old cowboy shaved it clean: “I like to. I ride that way in my mind.”

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“You Can’t Eat Four Gold Medals”

Jesse Owens Crop

Jesse Owens made history eighty years ago this week, winning four gold medals in track and field events at the 1936 Berlin Olympics, an achievement not matched until Carl Lewis won the same four events (100 m, 200 m, 4×100 m relay, long jump) in Los Angeles in 1984.

History has also credited Owens with a qualified victory in the racial-political arena. The Nazi attempt to appropriate the 1936 Games as a demonstration of Aryan superiority was mathematically successful — Germany won eighty-nine medals, thirty-three more than the second-place United States — but even the German crowds cheered the Owens victories. That he did not use his moment in the spotlight to vigorously denounce Hitler’s racist propaganda has, say some commentators, tarnished his legacy.

Owens did speak out on the topic later, especially at home, where the same racial discrimination that had disadvantaged him during his record-setting college track career continued to shape his life. At the ’36 Olympics he had been approached by Adi Dassler, who wanted him to use his new track shoes. After Owens did so, helping launch the Adidas brand to international success and making him the first male African-American athlete to gain such sponsorship, he hoped that his own fortunes might improve. But as David Goldblatt notes in his just-published The Games: A Global History of the Olympics, no southern newspaper had even carried a photo of Owens or any of the other African-American medalists, and even the assistant coach of the American track team attributed their achievements to being “closer to the primates than the white man.” As Owens bitterly acknowledged decades later, he was eventually reduced to pumping gas and racing against horses to earn a living:

People say that it was degrading for an Olympic champion to run against a horse, but what was I supposed to do? I had four gold medals, but you can’t eat four gold medals. There was no television, no big advertising, no endorsements then. Not for a black man, anyway.

Usain Bolt, one of the favorites to win next week’s 100 m event, reportedly makes more than $20 million a year, and if he chooses to stay in the Rio Athletes’ Village he will be alongside many other athlete-millionaires. In Players: The Story of Sports and Money, and the Visionaries Who Fought to Create a Revolution, Matthew Futterman explains how, to use his introductory example, the Dallas Cowboys went from paying their star quarterback in 1971 (Roger Staubach) a salary of $25,000 a year to giving their current star quarterback (Tony Romo) a six-year contract worth $108 million:

In the span of a generation, everything about the sports business changed . . . In this world money determines everything from who plays for what teams, to how dynasties are created. It determines how the stars of tomorrow are made. It shapes the star-centric style of play that dominates many of the world’s top sports leagues. It even determines how big a commitment children and their families are expected to give their travel soccer team. This world is about the business of creating champions in societies conditioned to worship them . . .

In his upcoming From Russia with Drugs, David Walsh shows how the business of creating Olympic champions can lead not only to institutionalized corruption but personal tragedy. The title’s allusion to 007-style intrigue is more than casual, given that the full story of what happened in Russia relies heavily on the revelations made by Vitaliy Stepanov, a former member of the country’s anti-doping squad, and by his wife, Yuliya, a former Russian track star. Their decision to “turn Judas” (Vladimir Putin’s term) put their careers, marriage, and even lives at risk.

True amateurism in sports may now be but a sepia memory, but one of its defining moments, says Duncan Hamilton in For the Glory, is Eric Liddell’s decision at the 1924 Olympics not to run his 100 m heat because it was scheduled on a Sunday, violating his religious beliefs. Liddell won gold at 400 m and then chose missionary work over fame:

Overnight Liddell could have become one of the richest of “amateur” sportsmen. But he wouldn’t accept offers to write newspaper columns or make public speeches for cash. He wouldn’t say yes to prestigious teaching sinecures, refusing the benefits of a smart address and a high salary. He wouldn’t endorse products. He wouldn’t be flattered into business or banking either. He made only trivial concessions to his celebrity. He allowed his portrait to be painted. He let a gardener name a gladiolus in his honor at the Royal Horticultural Show. In everything else Liddell followed his conscience, choosing to do what was right because to do anything else, he felt, would sully the gift God had given him to run fast.

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Video: Pierre Bélanger Explains “EXTRACTION”, the Canadian Contribution to the 2016 Venice Biennale

In this interview, presented in collaboration with PLANE—SITE, Pierre Bélanger, curator of the Canadian contribution to the 2016 Venice Biennale—explains why Canada’s practices of mining and extraction should be carefully understood for their architectural implications. Together with his firm OPSYS, Bélanger conceived of a miniaturized experience of an “inverted territorial intervention” so that Biennale visitors could personally experience and relate to “the complex ecologies and vast geopolitics of resource extraction.” 

With emphasis and exuberance, Bélanger asks us to reconsider Canada’s image as a pacifist nation, imploring that “we need to understand that essentially our mode of consumption, our mode of living is entirely based on the separation of means of production and territories of extraction. Your life depends on territories in other places where we extract resources.” 

He concludes, “We’re personally interested in how we can change people one person at a time. So, it’s not a pavilion, it’s a counter-pavilion; it’s not an exhibition, it’s not an installation; it’s an intervention, and what’s right behind me is essentially a counter-monument.”

See more of the interviews we conducted with PLANE—SITE and the rest of our Biennale coverage at http://archdai.ly/2016biennale.

‘EXTRACTION’ Exhibition to Represent Canada at 2016 Venice Biennale
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‘EXTRACTION’ Exhibition to Represent Canada at 2016 Venice Biennale
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Doorm Student Housing / Luís Rebelo de Andrade


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG


© Fernando Guerra | FG+SG


© Fernando Guerra | FG+SG


© Fernando Guerra | FG+SG


© Fernando Guerra | FG+SG

  • Client: Doorm Residência de Estudantes
  • Constructor: CivilCasa – Construções, S.A.

© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

From the architect. The project in the old glass factory “Gaivotas” has brought to it an innovative program: the first student residence in the enter of historic Lisbon. With an innovative program, this project, in an old glass factory, brought to the historic center of Lisbon its first student residence. Some of the factory’s elements with significant value, but largely destroyed, were refurbished – the façade of Fernando Tomas Street and the old brick chimney – and a new core was built. 


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

Section

Section

The implantation of the new volumes, in dialogue with it’s surrounding context, results in two buildings: one that pops up  behind the pre-existing façade, and another that connects – with an L shape – to the back of the plot, the “beco do carrasco” alley. Around this second building, arise landscaped courtyards where the social functions are faced.


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

The existing façade, sustained and attached to a metallic structure, is assumed as a mask, which hides a second skin, designed according to the metric of the new interior spaces. The tiles, a portuguese tradicional coating material, was chosen to apply in this historical façade. 


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

Plan

Plan

© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

Inside the plot, the building emerges with a corrugated metal sheet coating material – reference to an industrial past –  giving a singular environment to the patios.


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

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A Virtual Look Into A. Quincy Jones and Frederick Emmons’ Case Study House #24


Courtesy of Archilogic

Courtesy of Archilogic

As A Quincy Jones rightly said, “There’s no unimportant architecture”.[1] The late architect worked alongside his colleague, Frederick E. Emmons, putting their hearts and souls into the design of Case Study House #24, but sadly it was never built. The location in which Case Study House #24 was to be constructed was once a part of the Rolling Hills Ranch, the area which is now popularly known as San Fernando Valley.

The design of the house started with the surrounding environment, which is richly brought out in the architectural drawings by the architects. The region with its lush green vegetation invites swimming, barbecuing, horse riding and other such outdoor activities.


Courtesy of Archilogic


Courtesy of Archilogic


Courtesy of Archilogic


Courtesy of Archilogic

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The San Fernando Valley is one of the commuter towns of LA where temperature variation is a huge factor in the construction of houses. During the post-war era, in 1945, many of the designs were being selected for community purposes and San Fernando provided an excellent place to start one. Case Study House #24 was actually a communal plan for 260 homes in all. The complete design consisted of a shared park and recreational facilities. However, it all commenced with the plan of the 1736-square-foot house, proposed by Jones and Emmons and sponsored by the post-war estate developer, Joseph Eichler.[2]


Courtesy of Archilogic

Courtesy of Archilogic

The design was planned as a partially underground structure to control the temperature in the area and provide a certain level of privacy to the home owner. The Hammer Museum in LA holds a model of the original plan put forth by Quincy and his associate. Apart from the semi-underground trick, another idea that made #24 a part of the 36 case study designs, was the fact that it held a water reservoir on its roof. Again, this was intelligently done in order to naturally control the temperature during the hottest LA weather. This reservoir was to be connected with an irrigation system which could water the trees and plantation. The above-ground portion of the facade was to be covered with sliding glass doors, offering access to the courtyards created within the retaining walls for the indoor-outdoor lifestyle many post-war buyers wanted.


Courtesy of Archilogic

Courtesy of Archilogic

One element where a great deal of experience and insight from Jones came through was the kitchen. Notably, this space included the introduction of a scullery. According to A Quincy Jones, the kitchen was the heart of most family activities and presented the need for multiple experiences, and was therefore split into two. The main space was intended to be servant-less, while a secondary space, the scullery, could be barred off from the living room and the kitchen. This arrangement allowed the owner to close off the untidy part of the home and easily receive guests, at any time. All the dishwashing and similar dirty chores would take place in the scullery while the sitting area would be in the “actual” kitchen.[3]


Courtesy of Archilogic

Courtesy of Archilogic

Lastly, Jones and Emmons made the growth of trees a part of the design. According to their thought process, a calming atmosphere within the household could only be created if the trees were grown in such a way that they blocked both sound and light.

We encourage you to experience Archilogic’s Virtual Experience in your Browser, create your own designs and share your tours online. To join the Archilogic Platform Sign up here and enjoy the free trial version of the pro subscription.


Courtesy of Archilogic

Courtesy of Archilogic

Archilogic transforms 2D floor plans into interactive, accessible and customizable 3D virtual tours in 24 hours from $69 upwards. Don’t miss Archilogic’s previous models shared on ArchDaily:


Courtesy of Archilogic

Courtesy of Archilogic

References:

  1. Kaplan, Sam Hall. “Quincy Jones, the Architect and His Legacy,” LA Times, 3/26/1988
  2. Case Study House 24,” Arts & Architecture Magazine, December 1961
  3. ibid.

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