If you’ve never been to New Zealand then you only need to ask a friend who has or read even the simplest tourist review to learn about its reputation for gorgeous sprawling green space, luscious nature, and waters fit for some of the best surfing around. It makes sense, then, that designers and architects in the area would be intent on building homes that take advantage of the views and..
The post Pattersons Design a Luxury Fortress Atop a Hill in Muriwai, New Zealand appeared first on HomeDSGN.
💙 Lurking on 500px by Fouad Otaki☀ Canon EOS 5D Mark……
Being an Architect: Then Versus Now
© Sharon Lam
Architecture, as a profession and discipline, has come a long way since Vitruvius. It continues to evolve alongside culture and technology, reflecting new developments and shifting values in society. Some changes are conscious and originate within the field of architecture itself, made as acts of disciplinary or professional progress; others changes are uncontrollable, arising from architecture’s role in the wider world that is also changing. Below are just some of the changes that have taken place in recent decades:
1. Drawing vs. Software
© Sharon Lam, using images via Wikimedia user <a href='http://ift.tt/2jqDkdH Rutten</a> licensed under <a href='http://ift.tt/2aA6y58 BY-SA 3.0</a>
Whether you like it or not, drawing boards have given way to computer screens, with CAD and parametric software now common architectural tools. However, the age old adage of being able to impress a client with a freehand sketch still stands true.
2. Lone Genius vs. Teamwork
© Sharon Lam
The historic image of the architect was a lone genius, whipping up sculptural forms instantaneously from their minds. Today, architects are more often seen working collaboratively and to great success, such as the Turner Prize-winning group Assemble, or Robert Venturi and Denise Scott Brown, who finally won an AIA Gold Medal in 2015 after a rule change that allowed the prize to be awarded to pairs.
3. Learning Classical Design Rules vs. Learning to Design Creatively
© Sharon Lam
Rules of symmetry, proportion and types of column only make appearances in architecture school these days in relation to history. Long gone are the days of strict design ordinances and in their place is an era of open, creative problem solving.
4. A Lot of Old White Men vs. Slightly Less Old White Men
© Sharon Lam, using images via Flickr user <a href='http://ift.tt/2grM3XO;, Wikimedia user <a href='http://ift.tt/2jqAntx; licensed under <a href='http://ift.tt/2d3G0ZW BY-SA 2.0</a>, and © United Press International
Though architectural history has been dominated by old white men, this is slowly changing. Women and people of color are starting to be recognized in architecture—recently the AIA Gold Medal went to its first black recipient. However, gender pay gaps and other imbalances mean that there is still progress to be made.
5. Media-less vs. Media-ness
© Sharon Lam, using an <a href='http://ift.tt/2jqJeeX by Iwan Baan</a>
As media in society has become increasingly prominent, so too has its relationship with architecture. Because our understanding and treatment of architecture is tied to its representation, this is a change that is both complex and important.
6. Exclusivity vs. Inclusivity
© Sharon Lam, using image via screenshot from <a href='https://www.youtube.com/watch?v=PPFcZ-Ux4Lg&t=73s'>YouTube</a> and <a href='http://ift.tt/2jB3rMM; >TED</a>
Increasing media exposure has also increased the inclusivity of architectural appreciation, with TV shows like Grand Designs, podcasts like 99% Invisible, and websites (like this one!) making architecture accessible to many more people than just those who work or study in the field.
7. Sufficiency vs. Sustainability
© Sharon Lam
Consideration of a building’s environmental impact has become a much more active driver of design in recent years, becoming the entire ethos of a firm in some cases. This is both due to greater awareness of increasingly pressing environmental concerns, as well as advances in technology making sustainability easier to implement.
8. Local vs. Global
© Sharon Lam
Unlike many historic building styles, it can be difficult to tell the location of new buildings through their design alone. Collaboration across cultures and international competitions and commissions now allow for design to transcend geographic boundaries—Foster + Partners alone have 15 different offices working on projects across 40 countries.
How To Publish Your Thesis Into A Book In 4 Steps
Completing your thesis is a seminal moment in your life. It represents your Magnum Opus. It’s your contribution to knowledge. After completing it, it’s hard to imagine that it will probably sit on a shelf and not contribute to humanity as much as you would like.
You might be wondering how to publish your thesis to a wider audience. It’s not as hard as it may seem. You can solve this by publishing your thesis as a book.
In 4 doable steps, you can turn your thesis into a book that people can get their hands on.
Reconfigure Your Thesis
A thesis may resemble a book in length and depth, but it’s not a book. One of the first tasks in PhD thesis publication is to reconfigure your thesis to be more like a book.
When you begin reconfiguring your thesis, you need to first determine what market you want your book to appeal to. Are you focused on fellow academics? Do you want it to be used as a resource in undergraduate courses? Do you want to appeal to those who are trying to expand their knowledge in the subject?
Once you have your target market in mind, you can proceed with reconfiguring your thesis. It may require you to remove certain chapters, change chapter order, merge chapters, and split chapters. As you begin this part, you’ll probably want to get help from someone who has experience publishing a thesis as a book. It’s important to know just how your material needs to flow to meet your target audience.
Edit Your Thesis
After you have a reconfigured your thesis, you can figure out the editing that you need. Again, your target market for your book is going to be different than for your thesis. You’ll need to ensure that your book resonates with people and is easily understood. This is probably the toughest step in turning your thesis into a book, but using a thesis editing service can make it much easier.
Changing the wording is a first step in editing your thesis. This goes hand in hand with improving reading ease. You’ll want to define words in the text or use simple to understand words.
For example, while it’s perfectly acceptable and standard to say that you used Stata 9.0 for analysis, it’s not commonly known outside of academia what Stata 9.0 is. Saying that you use the commercial statistical analysis program Stata 9.0 is easier to understand.
Sentence structure should be changed as well. Flesch–Kincaid readability tests are used to determine different reading levels of texts. The formula to determine level is dependent on the number of syllables used and the number of words in each sentence. Sometimes it’s difficult to use shorter words, but breaking up large sentences can be very effective at making your text more readable. Again, a thesis proofreading service has the expertise and knowledge to make this task easier for you.
Find a Publisher
Once you have finished editing your thesis, you are ready to find a publisher. While some publishers will provide editing services, it’s much better to edit before submitting to the publisher. This greatly enhances the chance that the publisher will publish your thesis since it’s closer to publication status.
First, you need to ask your professors about who you might get your thesis published. Your university might either have a university press that can handle your book or they might have a publisher that they regularly deal with. While this is generally a good start, it’s not the only research you should do. Depending on your market, you may or may not want to go with one of the suggested publishers.
Your target market will often determine what kind of publisher can best handle your publication. Search the internet and find publishers in your subject area that publish books for your target market. Look for small publishers who are open to niche books.
Failing this, you can always look into self-publishing. With a fully edited book ready to go and an idea of how to market your book, self-publishing can be a very good idea. Most of the work has already been done and there are many on-demand publishers who get your book quickly in print. Many of them will even make your book available on Amazon.
Promote Your Book
One of the last things you’ll want to do is to promote your book to your target audience. You can start by opening a blog, posting about your book on social media, and reaching out to people who are in your target market.
For example, if your goal is to be a resource for undergraduate courtesy, start contacting professors and share your book with them. Oftentimes, your publisher will handle the bulk of your marketing, but you have a stake in it as well.
These four steps, from reconfiguring and editing your thesis to finding a publisher and promoting your book, will help you know how to publish a thesis as a book. You can make your thesis be what you designed it to be: an important contribution to knowledge.
The post How To Publish Your Thesis Into A Book In 4 Steps appeared first on Dumb Little Man.
Dra. Campoy Dental Clinic / Jaime Sepulcre Bernad
© David Frutos
- Architects: Jaime Sepulcre Bernad
- Location: Murcia, Spain
- Area: 225.0 m2
- Project Year: 2012
- Photographs: David Frutos
© David Frutos
From the architect. On a perfectly square diaphanous room -15 x 15 m- with four central pillars, the project proposes the structuring of the future clinic in three programmatic bands of very similar proportions:
Sections
Waiting Area:
The first band is the most public, which is accessed and basically contains the reception and a large waiting room. All this generous space of reception and waiting opens its views towards an outer square through the great circles that make up the facade. The reception, organized in a circular piece of furniture, becomes the centerpiece of this first space and from it is controlled its operation. After the reception, there is a small administration office and a small relaxation room.
© David Frutos
Dental Space:
The most intimate and protected part of the clinic is the properly clinical band that appears alongside the back facade facing a boulevard. This dental care space is composed of a battery of five cabinets connected to each other visually. In this band also appears a secondary access for exclusive use of the personnel.
© David Frutos
Server Area:
Finally, between the most extrovert and the more introverted space appears an intermediate band that makes of filter and that contains all the uses properly servants. This servant band is carried out by the sterilization room around which the functioning of the dental offices gravitates. In this band are also the ray room, the laboratory, the engine room, the staff room, the wardrobe, the office of the doctor and the toilets for patients.
© David Frutos
Three materials:
Three material ideas formalize this space with vocation of continuous space – constant height 2.70 m-:
1 / The idea of achieving maximum transparency through the use of “glass”; 2 / The idea that the only pieces that appear loose are the three boxes that make up the intermediate band and that materialize like metal boxes, of “aluminum”; And 3 / the idea that the whole plane of the ground is a single material, continuous, and warm, human, “wood” – which is finally a good laminate-. And the rest, white.
© David Frutos
Urban Logo:
The idea for the facade was to take a fragment of the logo of the clinic and expand it to scale city. The new facade therefore relies on a corporate image that was already consolidated and now acquires an urban scene size.
© David Frutos
ITN Architects Complete a Renovation and Extension to an Old 1880’s Victorian Brick House in an Old Suburb of Melbourne, Australia
In our coverage of freshly built and redesigned homes, we often come across architectural projects that involve updating older homes to give them a fresh lease a life. Occasionally we find that contemporary changes and additions can detract from the older charm of the building or look out of place in an older neighbourhood, but designers who really invest in the project and take care in creating contrast between the..
💙 The Subway on 500px by Quynh Ton, Seattle,……
Sunbeams Music Centre / MawsonKerr Architects
© Simon Kennedy Photography
- Architects: MawsonKerr Architects
- Location: Penrith, United Kingdom
- Architect In Charge: Will Mawson
- Area: 600.0 m2
- Project Year: 2016
- Photographs: Simon Kennedy Photography
- Client: Sunbeams Music Trust
- Main Contractor: Thomas Armstrong Construction Ltd
- Structural Engineer: JS Engineering
- Cost Consultant : Johnstons
- Acoustic Consultant: DACS
- Service Engineers: JH Partners
© Simon Kennedy Photography
Completion of the £2.0 million Sunbeams Music Centre marks a significant milestone in an extraordinary journey for Sunbeams Music Trust and Newcastle based MawsonKerr Architects.
© Simon Kennedy Photography
This journey began 12 years ago as a university thesis project for MawsonKerr director Will Mawson then studying the charity for his final year project at Newcastle University; in an unusual turn of events this became a live project following unanimous approval by the board of trustees.
Pencil Render
Established in 1992, Sunbeams Music Trust deliver their ‘Music For Life’ programme to tens of thousands of needing members of society each year and were eager for a home.
© Simon Kennedy Photography
A green field site with transformational therapeutic qualities was generously donated overlooking Ullswater Valley near Penrith following which a lengthy fund raising period began for the centre including a number of sponsored “endurance challenges” by MawsonKerr and friends of the charity such as a Forrest Gump style 24 hour coast to coast run.
Floor Plan
MawsonKerr’s resultant building is designed to embody musical qualities of rhythm, timbre and melody within the landscape; shaped along the curved natural contours it grows with a crescendo at the canopy to the eastern main entrance. Inserted along the rhythmical elevation are a series of playful introverted volumes housing key activities.
© Simon Kennedy Photography
The architecture is intended to reflect synthesis between the natural context, a contemporary vernacular and musical union; housing several unique functions it is also importantly an outward facing advert for the charity.
© Simon Kennedy Photography
External envelope materials are primarily slate stone clad spine walls with an oak façade to the main curved elevation, a series of lozenge shaped cedar shingle clad volumes all topped with an extensive green roof; many of these materials continue internally to create a rich interior texture. Radially spanning glulam beams run with a rhythm throughout the building creating the projecting eaves and entrance canopy.
© Simon Kennedy Photography
The primary function of the centre is providing music therapy, in acoustically treated spaces specifically designed for group sessions or one on one. Secondly the important administrative requirement for a growing charity like Sunbeams Music Trust and thirdly the centre allows promotion of Sunbeams work throughout with exhibitions open to the public and music concerts generating funds for the programmes they run.
© Simon Kennedy Photography
There is a strong sustainable agenda to the design based on first principles; the six hundred square metre Sunbeams Music Centre is predominantly naturally ventilated, naturally lit and the heating provided by ground source heat pump. U-values are to passivhaus standards with a large amount of locally sourced sheep wool and carefully designed south facing elevation to limit overheating. All materials are sustainably sourced and from as local a source as possible.
Section
Integrated into the centre are a host of bespoke designed elements, such as the reception desk formed around the music signature of a harp, green walls, musically derived ironmongery, tiling incorporating imagery of the fund raising challenges and the main Glassical Hall (named after Philip Glass one of the patrons) whose oak clad walls are design to create an optimum acoustic performance.
© Simon Kennedy Photography
Product Description. Burlington Slate Wall – One of the key drivers to the design is in creating a beautiful aesthetic of natural materials that are resilient and locally sourced. We were able to have great buy in by local quarry Burlington who were the source of all the amazing stone which runs radially throughout the building internally and externally.
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Enjoy Concrete HQ / Govaert & Vanhoutte Architects
© Tim Van De Velde
- Architects: Govaert & Vanhoutte Architects
- Location: Veurne, Belgium
- Architect In Charge: Benny Govaert, Damiaan Vanhoutte
- Area: 6974.0 m2
- Project Year: 2014
- Photographs: Tim Van De Velde
© Tim Van De Velde
From the architect. Enjoy Concrete produces and installs architectural prefabricated concrete elements. The brief for their new corporate building was to combine a production hanger together with offices, while integrating their own product within the building. Being on a strategic point in between an industrial estate and a green canal, they wanted to be seen by the passing traffic, as well as to become a transition from green to industrial.
© Tim Van De Velde
The design for the headquarters for Enjoy Concrete became a true showcase for their own capabilities, being constructed entirely out of prefabricated concrete elements. Its facade are made out of concrete slabs of 6 by 3 meters. All windows share these same proportions.
© Tim Van De Velde
The building mainly consists out of a hall for production and storage. The office spaces are in front of the building, spread over 4 levels, allowing light and visibility onto the main road. A cantilevered volume (12m50 in total) containing the board room is located at the top corner of the building. This box also shares the same 6×3 meters proportion. The long volume was made out of a lighter steel structure, allowing large windows on the south west façade. The steel structure is internally anchored into the concrete staircase, creating a counter weight for the long cantilever. Inside the boardroom a solid steel table stands only on 2 legs, having an over span of 7m50.
© Tim Van De Velde
The facade is further characterized by a pattern image, of the beautiful treeline along the canal “Damse Vaart” on the prefab slabs through the application of the “Graphic Concrete” procedure. The digital image was broken down into big dots, making the total picture become clear only from a distance. The facade creates an interesting interaction between the building and its surroundings, as the building reflects the nature across the street and canal.
Section Detail
In essence the HQ for enjoy concrete is one big concrete block. The floating boardroom functions as an eye catcher for the approaching traffic, and also breaks the simple volume. The print of the treeline blends the concrete mass into the green surroundings.
© Tim Van De Velde
Product Description. – Enjoy Concrete produces and installs architectural prefabricated concrete elements. The brief for their new corporate building was to combine a production hanger together with offices, while integrating their own product within the building. Being on a strategic point in between an industrial estate and a green canal, they wanted to be seen by the passing traffic, as well as to become a transition from green to industrial.
© Tim Van De Velde
The design for the headquarters for Enjoy Concrete became a true showcase for their own capabilities, being constructed entirely out of prefabricated concrete elements. Its facade are made out of concrete slabs of 6 by 3 meters. All windows share these same proportions.
© Tim Van De Velde
The building mainly consists out of a hall for production and storage. The office spaces are in front of the building, spread over 4 levels, allowing light and visibility onto the main road. A cantilevered volume (12m50 in total) containing the board room is located at the top corner of the building. This box also shares the same 6×3 meters proportion. The long volume was made out of a lighter steel structure, allowing large windows on the south west façade. The steel structure is internally anchored into the concrete staircase, creating a counter weight for the long cantilever. Inside the boardroom a solid steel table stands only on 2 legs, having an over span of 7m50.
Section Detail
The facade is further characterized by a pattern image, of the beautiful treeline along the canal “Damse Vaart” on the prefab slabs through the application of the “Graphic Concrete” procedure. The digital image was broken down into big dots, making the total picture become clear only from a distance. The facade creates an interesting interaction between the building and its surroundings, as the building reflects the nature across the street and canal.
© Tim Van De Velde
In essence the HQ for enjoy concrete is one big concrete block. The floating boardroom functions as an eye catcher for the approaching traffic, and also breaks the simple volume. The print of the treeline blends the concrete mass into the green surroundings.
Sig Nordal 