3 Ways To Help Someone In Trouble

You know what is one of the best feelings in the world? When you get sick and have someone there to help you. You know those moments – it feels like everything’s going well in your life until out of nowhere you’ve caught a bug. If you don’t have someone there to help you, everything feels like a chore. Remember those days where it feels even impossible to stand up or get out of bed? Everything is out of the question – going outside, dealing with people, getting food, trying to cook, finding medicine. It all feels impossible to do by yourself, and we are so grateful when we have someone there to help us!

There’s nothing worse than being alone when we’re sick, and depression is just the same. People who are upset are reclusive and their symptoms are hard to follow, but it’s easy to be there for them when we catch on. People who are mentally down need the same care and attention that we would administer to someone who was physically ill. Both conditions have similar symptoms – we need to eat but it’s difficult; we need to go outside to shop, but it’s difficult; we need people around us to console us; we need good food and relaxing settings.

help_troubleIt’s easy to help someone who is depressed without letting them feel like we are being victimized by their state. If you suspect someone is feeling blue, here’s a few things you can do to brighten up their day without them feeling bad.

1. Contact them just to talk!

We are busy people these days, and don’t call our friends to say hi anymore enough. Even with the advances in social media chatting, we still don’t give our friends the time of day enough. For some, maybe it’s a bit too convenient, and we avoid it altogether to not seem clingy.

If you have a friend who is depressed, do not hesitate to say hi! It is a great gesture to reach out to someone. They will not suspect you’re acting as a doctor if you just talk about casual things. Don’t worry about catching up or discussing current events because it might just bring them back into their current predicament. Talk about fun things that will help take their mind off of things for a bit!

2. Insist they come out with you!

Depressed people are a tough bunch to get moving. When someone is sad they will avoid contact with others even though we all know that that kind of behaviour is not good for us. However, it’s still difficult to muster up the courage to be around people when we are ill.

In this case, it is your duty to get them up and running! If you’ve already been chatting to them then your friend will feel more comfortable with you. Convince them to come out for a walk through town, to get some coffee, or a drink and some food. Somewhere fun where their mind can wander a bit, and you will have them smiling and back to themselves in no time.

3. Going out of the “comfort zone”

People who are suffering from depression often stay the course because they are constantly surrounded by all the things which bother them. They stay home alone which is no good, and keep to their regular routines, which is also no good because it is predictable and too similar to their life when they are happy. What they need to do is see something completely new to remind them that there is a world outside of their unfortunate misery.

Time to go for a trip. You need to convince your friend to come somewhere totally new with you – maybe for a surprise, or you can plan an outing. Suggestions could be new parts of the city which you haven’t seen before, new cafes or interesting plazas, or somewhere outside of town in a rural, beautiful area if you are comfortable with chatting to your friend somewhere with no distractions.

Sometimes people just need to try something new to help remind them that there are things to see and emotions to be had outside of their next at home. It may take a lot of courage and pressure to get them going, but if they come they will be able to see the light sooner than later, and that’s the most important part of being a good friend.

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12 Dollhouses That Trace 300 Years of British Domesticity


© Victoria and Albert Museum, London

© Victoria and Albert Museum, London

As part of a new exhibition at the National Building Museum in Washington D.C., twelve dollhouses tracing the history of British domesticity have been lent by London’s Victoria & Albert Museum of Childhood. The show—Small Stories: At Home in a Dollhouse—spans 300 years and presents a miniature-sized, up-close-and-personal view of developments in architecture and design – from lavish country mansions, to an urban high-rise.


Whiteladies House (Moray Thomas, England, 1935). Image © Victoria and Albert Museum, London


Whiteladies House (Moray Thomas, England, 1935). Image © Victoria and Albert Museum, London


Jennys Home (Tri-ang, Northern Ireland, 1960s). Image © Victoria and Albert Museum, London


Betty Pinney’s House, set in 1910s (England, 1870). Image © Victoria and Albert Museum, London

Displayed chronologically, Small Stories encompasses a stately home, a lodging house, a suburban villa, and a wartime council estate. According to the curators, the “exhibition take[s] visitors on a journey through the history of the home, everyday lives, and changing family relationships.” The imagined stories of each house are brought to life by the characters who live or work there—the owners, tenants, children, and servants—as day-to-day life is illuminated through tales of marriages and parties; politics and crime.

The Tate Baby House, dating from 1760, was owned by the same family for 170 years, passed down from mother to eldest daughter. It includes original wallpapers and hand-painted paneling. In the lying-in room all set up for a home childbirth, Joanna, the pregnant doll, is ready with clean linens and a beautiful gold and red cradle for the newcomer.


Tate Baby House (England, 1760). Image © Victoria and Albert Museum, London

Tate Baby House (England, 1760). Image © Victoria and Albert Museum, London

Tate Baby House (England, 1760). Image © Victoria and Albert Museum, London

Tate Baby House (England, 1760). Image © Victoria and Albert Museum, London

Tate Baby House (England, 1760). Image © Victoria and Albert Museum, London

Tate Baby House (England, 1760). Image © Victoria and Albert Museum, London

Tate Baby House (England, 1760). Image © Victoria and Albert Museum, London

Tate Baby House (England, 1760). Image © Victoria and Albert Museum, London

Tate Baby House (England, 1760). Image © Victoria and Albert Museum, London

Tate Baby House (England, 1760). Image © Victoria and Albert Museum, London

At Henriques House, it is an early morning in October of 1828, and a crime has just taken place. Phineas Henriques has been robbed. With the candlesticks missing, broken railings, and an open window, the evidence points to an inside job. But the servant claims his innocence…


Henriques House (England, 1750-1800). Image © Victoria and Albert Museum, London

Henriques House (England, 1750-1800). Image © Victoria and Albert Museum, London

Whiteladies House is in the style of a Modernist country villa, and was designed by artist Moray Thomas in the 1930s. Here, a house party is in full swing, and the house features chrome furniture, a cocktail bar, and artworks by British Futurist Claude Flight as well as a swimming pool and garage.


Whiteladies House (Moray Thomas, England, 1935). Image © Victoria and Albert Museum, London

Whiteladies House (Moray Thomas, England, 1935). Image © Victoria and Albert Museum, London

Whiteladies House (Moray Thomas, England, 1935). Image © Victoria and Albert Museum, London

Whiteladies House (Moray Thomas, England, 1935). Image © Victoria and Albert Museum, London

Whiteladies House (Moray Thomas, England, 1935). Image © Victoria and Albert Museum, London

Whiteladies House (Moray Thomas, England, 1935). Image © Victoria and Albert Museum, London

Whiteladies House (Moray Thomas, England, 1935). Image © Victoria and Albert Museum, London

Whiteladies House (Moray Thomas, England, 1935). Image © Victoria and Albert Museum, London

Whiteladies House (Moray Thomas, England, 1935). Image © Victoria and Albert Museum, London

Whiteladies House (Moray Thomas, England, 1935). Image © Victoria and Albert Museum, London

Whiteladies House (Moray Thomas, England, 1935). Image © Victoria and Albert Museum, London

Whiteladies House (Moray Thomas, England, 1935). Image © Victoria and Albert Museum, London

The Hopkinson House was built in the style of London County Council’s 1930s suburb, the St. Helier Estate. The interior shows a World War II-era family in intricate detail, poised for an air-raid, with miniature gasmasks, ration books and torches for the blackouts. The children are upstairs packing, preparing to be evacuated from the war-torn city.


Hopkinson House (set in 1940s (England, 1980s-1990s). Image © Victoria and Albert Museum, London

Hopkinson House (set in 1940s (England, 1980s-1990s). Image © Victoria and Albert Museum, London

Hopkinson House (set in 1940s (England, 1980s-1990s). Image © Victoria and Albert Museum, London

Hopkinson House (set in 1940s (England, 1980s-1990s). Image © Victoria and Albert Museum, London

Hopkinson House (set in 1940s (England, 1980s-1990s). Image © Victoria and Albert Museum, London

Hopkinson House (set in 1940s (England, 1980s-1990s). Image © Victoria and Albert Museum, London

Hopkinson House (set in 1940s (England, 1980s-1990s). Image © Victoria and Albert Museum, London

Hopkinson House (set in 1940s (England, 1980s-1990s). Image © Victoria and Albert Museum, London

Hopkinson House (set in 1940s (England, 1980s-1990s). Image © Victoria and Albert Museum, London

Hopkinson House (set in 1940s (England, 1980s-1990s). Image © Victoria and Albert Museum, London

Hopkinson House (set in 1940s (England, 1980s-1990s). Image © Victoria and Albert Museum, London

Hopkinson House (set in 1940s (England, 1980s-1990s). Image © Victoria and Albert Museum, London

Jenny’s Home is a 1960s high-rise, telling the story of young people in the modern city. Here lives a young couple with a new baby, a Jamaican immigrant, and Jenny, a single girl listening to a transistor radio and getting ready to go out for some late-night dancing in her “groovy” new red dress.


Jennys Home (Tri-ang, Northern Ireland, 1960s). Image © Victoria and Albert Museum, London

Jennys Home (Tri-ang, Northern Ireland, 1960s). Image © Victoria and Albert Museum, London

Jennys Home (Tri-ang, Northern Ireland, 1960s). Image © Victoria and Albert Museum, London

Jennys Home (Tri-ang, Northern Ireland, 1960s). Image © Victoria and Albert Museum, London

Jennys Home (Tri-ang, Northern Ireland, 1960s). Image © Victoria and Albert Museum, London

Jennys Home (Tri-ang, Northern Ireland, 1960s). Image © Victoria and Albert Museum, London

Jennys Home (Tri-ang, Northern Ireland, 1960s). Image © Victoria and Albert Museum, London

Jennys Home (Tri-ang, Northern Ireland, 1960s). Image © Victoria and Albert Museum, London

Jennys Home (Tri-ang, Northern Ireland, 1960s). Image © Victoria and Albert Museum, London

Jennys Home (Tri-ang, Northern Ireland, 1960s). Image © Victoria and Albert Museum, London

Jennys Home (Tri-ang, Northern Ireland, 1960s). Image © Victoria and Albert Museum, London

Jennys Home (Tri-ang, Northern Ireland, 1960s). Image © Victoria and Albert Museum, London

Other Houses in the Collection


Amy Miles’ House (England, 1890). Image © Victoria and Albert Museum, London

Amy Miles’ House (England, 1890). Image © Victoria and Albert Museum, London

Betty Pinney’s House, set in 1910s (England, 1870). Image © Victoria and Albert Museum, London

Betty Pinney’s House, set in 1910s (England, 1870). Image © Victoria and Albert Museum, London

Betty Pinney’s House, set in 1910s (England, 1870). Image © Victoria and Albert Museum, London

Betty Pinney’s House, set in 1910s (England, 1870). Image © Victoria and Albert Museum, London

Killer Cabinet Dolls’ House (England, 1835-1838). Image © Victoria and Albert Museum, London

Killer Cabinet Dolls’ House (England, 1835-1838). Image © Victoria and Albert Museum, London

Killer Cabinet Dolls’ House (England, 1835-1838). Image © Victoria and Albert Museum, London

Killer Cabinet Dolls’ House (England, 1835-1838). Image © Victoria and Albert Museum, London

Joy Wardrobe (Edmund Joy, England, 1712). Image © Victoria and Albert Museum, London

Joy Wardrobe (Edmund Joy, England, 1712). Image © Victoria and Albert Museum, London

Peggy Lines’ Dolls’ House (England, 1933-1936). Image © Victoria and Albert Museum, London

Peggy Lines’ Dolls’ House (England, 1933-1936). Image © Victoria and Albert Museum, London

Small Stories: At Home in a Dollhouse is on display at the National Building Museum in Washington D.C. from May 21, 2016 to January 22, 2017. Small Stories: Dream Homes is also on display as part of the same exhibition.

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Second Dome / DOSIS


© Iwan Baan

© Iwan Baan


Courtesy of Dosis


Courtesy of Dosis


Courtesy of Dosis


© Iwan Baan

  • Architects: DOSIS
  • Location: London, United Kingdom
  • Architects In Charge: Ignacio Peydro Duclos, Isabel Collado Baíllo
  • Area: 315 sqm
  • Project Year: 2016
  • Photographs: Iwan Baan, Cortesy of DOSIS, Drones
  • Collaborators: Luis F Núñez, Irene Gigirey, Arantxa Fernández, Bruno Canales.
  • Construction: Arquitextil. Lastra & Zorrilla

© Drones

© Drones

Second Dome is an pneumatic living structure designed by the emerging Spanish architecture practice DOSIS for creative workspace provider Second Home. 


© Iwan Baan

© Iwan Baan

Axonometric

Axonometric

Courtesy of Dosis

Courtesy of Dosis

On 1 October 2016, Second Dome was inflated in London Fields in East London to host free community events for local families and children. The events were organized by the not-for-profit organization Shuffle, and include animation workshops, film screenings, pinata-designing and science experiments. 


Courtesy of Dosis

Courtesy of Dosis

This free day of activities in London Fields is part of Second Home’s commitment to supporting local communities and civic spaces.


Courtesy of Dosis

Courtesy of Dosis

Second Dome is a reconfigurable space that can transform within minutes from a single 65 sqm bubble to a multi-room structure with over 400 sqm and 8 meters high. No other type of structure can be assembled so quickly and also have the capacity to span large areas with a thickness of less than a millimeter. It is a technologic artefact that automatically responds to wind and pressure and that needs extremely low quantities of energy for fabrication and assembly. 


Courtesy of Dosis

Courtesy of Dosis

Second Dome was commissioned for Founders Forum 2016, Europe’s leading business and technology event to house a series of high-profile events including an exclusive talk on design and innovation with architect David Adjaye and iPod co-creator and Nest founder Tony Fadell.


© Drones

© Drones

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Raúl Sánchez adds pair of white boxes to La Carmina apartment in Barcelona

La Carmina by RAS studio

Two boxes covered in white tiles create new bathrooms in this Barcelona apartment, which has been overhauled by Spanish architect Raúl Sánchez to expose its original features. Read more

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@signordal Stay positive

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@signordal Close-up of the Steam Clock in downtown Vancouver, British Columbia Canada. #vancouver #steamclock #britishcolumbia #canada

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Union Studio Designs a Loft in a Former NoHo Factory

@signordal Magnificent sight. Humpback whale off the coast of British Columbia Canada

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ZOB Pforzheim / Metaraum Architekten BDA


© Zooey Braun

© Zooey Braun


© Zooey Braun


© Zooey Braun


© Zooey Braun


© Zooey Braun

  • Architects: Metaraum Architekten BDA
  • Location: Pforzheim, Germany
  • Architects In Charge: Wallie Heinisch, Marcus Lembach, Marcus Huber, Felix Bittmann
  • Area: 10000.0 sqm
  • Project Year: 2015
  • Photographs: Zooey Braun
  • Planning Of Traffic Facilities: Mailänder Consult GmbH, Karlsruhe
  • Structural Engineering: Engelsmann Peters Beratende Ingenieure GmbH, Stuttgart
  • Lighting Design: Day & Light Lichtplanung, München

© Zooey Braun

© Zooey Braun

The city of Pforzheim, located in the Northern Black Forest in Germany, is carrying out sucessive changes to public areas surrounnding its main railway station, in order to make the space more attractive to pedestrians.


© Zooey Braun

© Zooey Braun

An essential component of the areas reconfiguration is the new bus station, which features a total of 30 platforms housed under an elegant and prominent roof.


© Zooey Braun

© Zooey Braun

Site Plan

Site Plan

© Zooey Braun

© Zooey Braun

The roofscape of the new central bus station provides form to the hitherto shapeless area between the railway station and overpass, generating a new hub for modern mobility in a high-quality urban space. Instead of a monotone sequence of roofed walkways, an urban space has emerged as a real “place” with a high recognition value. Situated a suitable distance from the central railway station, the new central bus station presents itself as an extension to the historical building – a concise urban marker that gives form to the unsociable area to the east of the railway station building.


Diagram

Diagram

Plan

Plan

Roofing concept

The 1950s formal language of the historical railway station building is augmented with modern design. The rolling edges of the roof segments are inspired by the radii and loops typical of vehicle movement; the central bus station thus visibly manifests itself as a dynamic element in the traffic landscape of which it forms an integral part. Openings above the traffic lanes allow light and sunshine to stream through to the bus stops, whilst providing structure to the views from below and creating an interesting spatial experience through the organically evolving play of shadows.


© Zooey Braun

© Zooey Braun

Elements organised in a linear fashion form a compact summary of the central bus station’s necessary functions (information signs, time display, passenger information system and seating areas). They are small and easy-to-find islands of function – “places” rather than merely scattered individual elements. This achieves optical clarity, orientation and overview, enabling passengers to locate bus stops quickly and with certainty.


Roof Plan

Roof Plan

Product Description.The internal space-defining paneling of the supporting structure is formed using movable suspended cement-bound plaster supporting plates. The “graphical“ aspect of the required expansion joints underlines the dynamically elegant nature of the roof shell.


© Zooey Braun

© Zooey Braun

The brand is “Aquapanel” cementboard by Knauf. It is related to the projects architecture in view of the fact that it is the only “cheap” material to create elegant and smooth double curved surfaces whithout creating cracks or bulges as a result of extensions caused by difference of temperatures.


© Zooey Braun

© Zooey Braun

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