Matheson Hammock Park – Florida – USA (by Anish Patel)
For some homeowners, architects, and designers, it’s all about interiors. Perhaps you’re quite pleased with the structure and design of your home on the outside but the inside could use a facelift? In our experience, these make for some of the most unique living spaces, particularly when there’s wooden finish involved. We’re always obsessed with the inclusion of gorgeously glossed or textured wood in home decor, but there’s a specific..
This article was originally published on ArchSmarter.
For all the work you do in Revit, there’s a keyboard shortcut that can help you do it faster.
Here’s a roundup featuring some of my favorite Revit keyboard shortcuts to create and organize your model. Keep reading to learn how to create your own shortcuts.
This shortcut cheat sheet is also available in a convenient pdf form; simply sign up here to download it.
CS – When element is selected, creates new similar element
DL – Create detail lines
DR – Create Door
M + Space – Match properties
MV – Move
UP – Unpin
RM – Create room
RT – Insert room tag
SL – Split elements
Arrow Keys – Nudges the selected element
Shift + Arrow – Nudges the selected element 10x.
CTRL – Select multiple elements
MD – Activate the Modify tool
TAB – Cycle through multiple overlapping elements
SHIFT + TAB – Reverse the order of TAB cycling
HI – Isolate element
HH – Hide element
HC – Hide category
SD – Shaded with edges
TL – Thin Lines
VV – Visibility / Graphics dialog for the current view
WF – Wire frame
ZE – Zoom to fit
SHIFT + Middle Mouse – Orbit in 3D views or pan in 2D views. Selecting an object before pressing SHIFT + Middle Mouse will cause the orbit to rotate around the selected object.
CTRL + O – Open a new file
CTRL + N – Create a new project file
CTRL + S – Save the current file
ALT – Activates the keyboard designation for all the items on the interface. Might be useful if your mouse kicks the bucket before you’ve saved your file.
You can easily program your own Revit keyboard shortcuts. To do so, go to View > User Interface > Keyboard Shortcuts or type “KS”.
This will open the Keyboard Shortcuts dialog box.
All of the default keyboard shortcuts are listed. Any shortcut listed in gray is a system shortcut and cannot be changed. To add a shortcut, find the command in the “Command” column or enter the command name in the “Search” field. Once you’ve selected the command, enter the shortcut combination in the “Press new keys” text box then click the “Assign” button.
You have a lot of flexibility assigning shortcuts. A single command can have multiple shortcuts. Likewise, a single shortcut can be used on multiple commands. In this case, you use the arrow keys to cycle through the commands as displayed in the status bar. Once you have the command you want, press the space bar to execute the command.
Some custom shortcuts you might want to consider are:
33 – Default 3D View
AA – Activate view
DD – Deactivate view
JJ – Join geometry
ML – Manage Links
MM – Macro Manager
SAV – Select all instances in view
SAS – Select all instances in project
WS – Worksets
WW – Create walls
Want some more suggestions? Check out this discussion on LinkedIn.
Speed is king when it comes to naming your shortcuts. Consider defining your shortcuts using the same letter or letters closely located on the keyboard. JJ for Join Geometry or AA for Activate View are two good examples.
You can even create three or four letter shortcuts if you need similarly named shortcuts. You could define WW for Create Wall and WWW for Worksets.
This method minimizes the amount of hunting and pecking required to find your shortcuts. It lets you keep one hand on the keyboard and the other on the mouse.
So how about you? How do you save time in Revit? What are your favorite shortcuts?
You can also download a convenient PDF of these shortcuts – simply sign up here to get the PDF, the ArchSmarter Newsletter, and free access to the ArchSmarter Toolbox, a library of time-saving Revit tools.
If you’re feeling stressed or anxious, you’re probably carrying around a lot of baggage that you don’t really need. Simplifying your existence can help you focus on what’s really important and get rid of what’s not.
To live a happier life, try to let go of the following 11 things.
Sure, there’s value in considering all of your options and in planning ahead. However, over-analyzing will destroy your mood and block your intuition.
Breathe deeply and slowly, clear your mind and trust your gut. Your body knows what you need.
It’s your life so don’t live it for anyone else. Believe that you know what’s right for you and follow that path. Those who truly love you will support you in all you do, and won’t need you to conform to their expectations or preferences.
Every one of your decisions and experiences has led to you becoming the person you are today. And that’s the person you need to be. Look to your past to learn important lessons, but let go of any shame and regret you feel about it.
Don’t run after people who don’t reciprocate your kindness or interest. The people you need in your life don’t need to be chased—they’ll come to you. Respect your own worth by refusing to engage in a one-sided relationship.
Worrying just attracts negativity, so let it go! Believe that good things are coming your way, and you’ll soon see them manifest. View the future with excitement and anticipation, not dread—there’s so much joy still waiting for you.
Remember, you can’t change the past, but you can stop it from ruining your present or future. Forgive those who have wronged you, and turn your attention to the things that bring you pleasure and fulfillment.
See Also: I’m Saying Thanks For Breaking My Heart
We’ve all had friends who only contact us when they need something. This is disrespectful and devaluing, and these people aren’t worth your time or energy. Draw boundaries when people try to use you, and don’t let fake friends back in.
You run your own race, so only compare yourself to what you want to achieve. Our perceptions of others are rarely accurate, so stop thinking everyone else is happier, powerful or more successful. Set your own goals, and concentrate on meeting them.
Self-doubt paralyzes you, keeping you stuck in the same old place. In the end, you will only regret the chances you did not take. Step out of your comfort zone, believe you can handle anything life can throw at you, and reap the rewards!
Respect your own time, and use it to live the life you want instead of living by the minute. Prioritize the things you truly care about and stop scrambling to keep up with other people’s demands on your time.
When you feel negative thoughts creeping in, replace them with something positive. Come up with things that make you feel grateful, do a meditation exercise, or contact someone who makes you smile. If you let go of negativity, you’re guaranteed to live a happier and more successful life.
See Also: 7 Simple Ways To Overcome Negative Thinking & Set Yourself Up To Win This Year
The post 11 Things You Should Let Go Of To Be Happy appeared first on Dumb Little Man.
Yesterday, the Board of La Biennale di Venezia appointed Yvonne Farrell and Shelley McNamara of Grafton Architects as curators of the 2018 Venice Architecture Biennale.
Farrell and McNamara established Grafton Architects in 1978. They have held the Kenzo Tange Chair at Harvard GSD and the Louis Kahn Chair at Yale University. The pair has also been invited as visiting teachers at EPFL in Lausanne and the Accademia d’Archittettura, in Mendrisio, where they were appointed as teachers in 2013, in addition to visiting several other universities worldwide for lectures and crits.
At the end of last year the Royal Institute of British Architects (RIBA) awarded their UTEC Engineering and Technology University – UTEC project with the first RIBA International Prize, hailing it for “setting a new global standard for architectural achievement.” The award was judged by a grand jury chaired by Richard Rogers.
In addition to UTEC, you can see all of Grafton Architects’ projects featured on ArchDaily via the links below:
From the architect. In the project we started, facing the current situation – an old warehouse, part of Tel Aviv port complex of restored warehouses (from the Tel Aviv Bauhaus period). The task was to design a showroom of four different kitchen types for two kitchen companies, Le Cornue and SieMatic.
We decided to use the existing cross plan, thus carrying out the idea of four sleeves – four show spaces, each with its very distinguished and articulated character, offering different experience, while part of an organism that functions and breathes with all its parts as one.
The building was ripped off, the four spaces were cleaned of all that is unnecessary, left naked on their construction, this way exposing the authentic materials – bricks, metal and concrete structure of the building.
The four show spaces were knitted together by the overall rough background and the installation ducts passing through it – the electricity and air conditioning, placed in black ducts, while the brass light lines extended like golden threads. The electric installation ducts are exposed and stretched, in order to emphasize the linearity and the horizontality of the space and interconnect everything altogether, being like life veins of the organism, supplying the necessity to each space.
Materials were chosen to make the linkage and to give the desired atmosphere in a performance. On one hand there is the background that is with the authentic bricks, metal and concrete, on the other hand – the repeating brass theme across the building, seen in the library, the delicate light long threads, the decorative lamps over the working area, as well as the elements in the “Le Cornue” part.
The “Le Cornue” kitchens with their particular design like old vintage suitcases gave us a platform to play with materials and forms, turning the space into a scene, giving to it a specific atmosphere. All La Cornue appliances, placed individually, present its real character and pop out like jewels, thanks to the contrast between the luxury metals and the rough background. We added the pot hanger that added character as well as the mirror doors that multiply space and materials, and create illusion.
Left from the entrance, the “Pure Black” SieMatic island has its video art wall as a modern way to experience the kitchen space. In the front the “Urban” kitchen is treated as a loft which also enables the salesmen to use the space as a working place for them. The fourth kitchen type is the “Classic White” kitchen.
When we think “contemporary houses”, our minds automatically go to a number of features. For example, we start to picture clean white surfaces and colour schemes, bright pops of accent colour, unconventional decor shapes, and lots of crystal clear glass. If that sounds like the kind of contemporary house you enjoy most too, then you simply must check out the photos of Turned House in Treviso, Italy! Turned House is..
The post MZC Plus Design a Contemporary Home in Treviso, Italy appeared first on HomeDSGN.
“When you read Love in the Time of Cholera you come to realize the magic realism of South America.” Yvonne Farrell, Shelley McNamara and I were nestled in a corner of the Barbican Centre’s sprawling, shallow atrium talking about the subject of their most recent accolade, the Royal Institute of British Architects inaugural International Prize, awarded that previous evening. That same night the two Irish architects, who founded their practice in Dublin in the 1970s, also delivered a lecture on the Universidad de Ingeniería and Tecnologia (UTEC)—their “modern-day Machu Picchu” in Lima—to a packed audience in London’s Portland Place.
While this project firmly angled a spotlight on their work, they were today revealed as directors of the 2018 Venice Architecture Biennale – the most important architectural event on the cultural calendar.
Farrell and McNamara, who together lead a team of twenty-five as Grafton Architects, are both powerful thinkers, considered conversationalists and unobtrusively groundbreaking designers. For a practice so compact their international portfolio is exceptionally broad. The first phase of the UTEC in the Peruvian capital, which began following an international competition in 2011, represents the farthest territory the practice have geographically occupied. It is, in their words, a “man-made cliff” between the Pacific and the mountains – on one side a cascading garden, and on the other a “shoulder” to the city cast from bare concrete.
The scale and character of the UTEC belie a rich portfolio of smaller projects, which began in the mid-1990s. A specialism in higher education buildings has evolved out of successive competitions, culminating (prior to UTEC) in Milan’s Universita Luigi Bocconi (2008). Burrowed into a small site along one of the city’s wide, tall streets, the monumental twenty-two-meter cantilever of the building appears to defy gravity – or, in their words, exists “in dialogue with gravity.” The spatial control required to achieve this structural feat was, for Farrell, a simple matter of “positing the two main beams on the roof, and then hanging the offices so they could be like soffits, adjusted.” Stood in the marble-lined, brightly lit ante-space, one is acutely aware of the weight suspended above.
Ireland, where Shelley and McNamara were both born and educated, and from where they now teach and practice, has been crucial to the development of their temperament as architects. The country is defined on the one hand by geological, primal coasts and landscapes and, on the other, elemental vernacular structures. “The places that you love do seep into your unconscious,” McNamara says. “And they have probably also seeped into our way of thinking. We found at a certain moment that in order to find a way of discussing our own work to ourselves—to be liberated from just the plan, section and elevation—required a different sort of language. We would ask: is it a cliff? Is it something floating, like a cloud?” These sorts of terms have partially transposed Grafton’s practice from the confines of their own discipline into another area of thought.
“At the same time,” Farrell argues, “there is also a fantastic heritage of town, sprawl, and street in Ireland. When I was a child I was part of a town structure but I could always run out and into the fields – there exists this duality between urban and rural.” “Ruined monasteries, tower houses, and fragments standing in the landscape are all incredibly strong,” McNamara suggests. And there is certainly a particular sort of elementalism to these images, particularly where the west coast of the country faces the uninterrupted expanse of the Atlantic. “We’re aware of sky and we’re aware of wind; we’re on an island in which things are constantly changing,” Farrell states. “We are very conscious of weather and, therefore, outside and inside change.”
“We often say that James Joyce,” the great Irish poet and novelist, “held Dublin in the words of a book,” Farrell recalls. “In a similar way I think that we also imagine verbally, and then make.” Projects become more than just a story or a narrative – they become an inhabited physical reality. “When you read Thomas Hardy, for example, you realise that he was an architect. Literature, words, imagination and making are all very deeply connected.”
This approach to architecture has, in recent decades, become more and more a part of how Irish architecture is perceived around the world. “It’s a value system,” Farrell believes. “Irish architects are very well trained. Shelley and I have taught in many architecture schools around the world but the thing about Irish schools of architecture is that students have their feet on the ground, but their eyes on the stars.” This culture developed through the generosity of heads of schools, McNamara recalls. “They gave young architects teaching jobs which meant, for instance, that Yvonne and I were working as teachers only one year out of college. It means that we now have twenty-five years of conversation with people about their work, and our work.”
For a practice born in such an intimate context, Grafton have emerged as highly international. Alongside their creative leadership of the 2018 Venice Architecture Biennale, they are currently working on the London School of Economics’ Paul Marshall Building in London, the Institut Mines Telecom in Paris, the University of Economics in Toulouse, and a new city library for Dublin. “This sort of global practice,” Farrell explains, “can be about learning from new places; being mobile enough to go and understand them. Or it can be about cultural imperialism and homogenisation. Earlier I was reading about what was supposedly the first university in the world, with primarily Chinese and Indian scholars. It was about nothing more than the exchange of culture and ideas – and certainly not about one taking over the other. So ‘globalised’ practice is not about conquering something, or asserting your presence someplace – it’s about contributing to something that you find is good.”
Yvonne Farrell and Shelley McNamara Named Artistic Directors of 2018 Venice Architecture Biennale
//cdn.embedly.com/widgets/platform.js
Sig Nordal 