For Casa Cor Rio 2016, the most important architectural and interior design event in Brazil, Gisele Taranto Arquitetura was challenged to create six different designs for a dining room. The 26th edition of the event takes place in a house surrounded by Burle Marx gardens in Gávea, an affluent residential neighborhood located in the South Zone of the city of Rio de Janeiro. Ovoo Dining Room by Gisele Taranto –..
In the spirit of Thanksgiving, ArchDaily looks back to present a compilation of the most stunning kitchens we’ve covered in the last year. While it may be a bit too late for this year, read on to get some inspiration for perfecting your feast and amaze your guests in 2017.
Weekend House in Downtown São Paulo / spbr arquitetos
Town House in Antwerp / Scup[IT]
Slanted House / Budi Pradono Architects
LANDHAUS / Thomas Kröger Architekt
House for Hermes / Andrew Simpson Architects
Skylight House / Andrew Burges Architects
S. Mamede House / Aires Mateus
J House / Pitsou Kedem Architects
Tenhachi House / .8 Tenhachi Architect & Interior Design
Church Conversion into a Residence / Linc Thelen Design + Scrafano Architects
Weston House / Antonio Maciá Mateu
House P / Yonder – Architektur Und Design
See more of our favorite kitchens on the ArchDaily Pinterest board.
You’re reading 11 Ways To Nurture Your Creative Spirit While Holding A Day Job, originally posted on Pick the Brain | Motivation and Self Improvement. If you’re enjoying this, please visit our site for more inspirational articles.
Many creatives will agree that holding a day job could hamper the creative spirit especially when the job is not a creative or challenging one.
According to research from Harvard University, many companies have managerial practices that kill the creative spirit because roles are not assigned based on creativity but rather on productivity. However, till managers reconcile creativity with job descriptions, here are 11 secrets creatives need to know in order to keep their creative spirit alive.
For most creative people the goal is to live a life fully or partially financed by their creativity. To achieve this the first thing is to write down your goals. If you ever thought you had it all in your head, you do not. Write your goals down, it leads to clarity, gives a sense and you will get more things done.
Malcolm Gladwell’s book the Outliners recommends 10,000 hours as the number to attain expertise. While the number has been a source of debate, it gives an idea of how much practice is needed to perfect a skill.
Since most of us hold day jobs, we often wonder how do we find time to practice. Here is what you can do.
After work and during weekends, get to know more about your interest. I study my camera, when I get back from work. I experiment shutter speed and low light capabilities of my camera in the dark and learn something new. During the weekends, I ask photographer friends if they have shoots I can come help with. Find time to hone thy craft.
Being creatives we hear a lot of negativities. “You cannot do it”, “No one will buy this?”. Someone once told me “that is not how you hold a camera” Trust me I was not holding the camera upside down. Hearing demoralizing statements is part of the journey, people will ask you to stop, ask if you are crazy, do not take them personal. Surround yourself with positive people who will encourage you and tell you the truth.
While you need positive people, you do not want someone who will encourage your excesses but someone who will encourage you to be truthful to yourself and encourage your creativity.
Listen, watch, read motivational and educative content. Surround yourself with inspiring and successful people, who have towed the part you are on now. Indulging in these acts have encouraged me greatly. When I feel like giving up and surrendering to a life behind the desk, these books, videos and others give me another push. Try and nourish your soul with positive things this will encourage you to keep your creative spirit alive.
I live in Nigeria, a country where creative works are seen as something for the uneducated, therefore finding creatives who are passionate about what they do and willing to teach is not an easy task. You might be wondering what I did.
I attended creative seminars near me and befriended other creatives in my field. From there I was able to assist photographers and gain more experience. I was only allowed to assist because I asked so do not be shy to ask.
Online I joined lots of creative forums to keep me inspired like Cole’s classroom, Phlearn, Sue Bryce and get constructive criticism on my work. These are photography forums but I am quite sure all creative categories have forums so join.
It is easy to get involved in your day job, and just eat and fall asleep. That’s how you die creatively. Learn how to dedicate three to four hours after work to your passion. Most nights I fall at sleep on my phone or laptop researching how to take myself a better photographer and writer. I wake up before dawn to write a short story or edit a photograph.
This will motivate you: Michael Punke the author of “The Revenant” holds a day job as the deputy United States ambassador to the World Trade Organization.
My boyfriend is a constant supporter of my creative spirit, but with work and weekend shoots I barely have time for him.
I try as much as I can to spend weekends with him. We do fun things like cooking dinner together and laugh about our colleagues at work to cool off. There really is no point being a lonely creative make time for our lover.
As creatives we are constantly in doubt of our capabilities. We question ever single art we create until we share it with the world and receive tremendous feedback. This self-doubt sickness is borne out of our fear of rejection. I constantly thought, I could not take the pictures I saw on social media or have my writings published anywhere least of all a popular website but I have done these things by simply believing in myself and giving it a go. You too can just believe in yourself and take action the world is waiting to receive you.
Who wants to be a baby forever? I know you do not. Leave your comfort zone. This will mean, you will face rejection, be scared most of the time, but you will turn to gold. A friend asked me to cover an event and I ended up with blurred photos. Totally embarrassing but I learnt focus and weddings are chaotic for photographers. As creatives there will be embarrassing days but you will grow and turn to gold.
Your thick skin will make you grow. Your work will be criticized some from people who love you and some who have no idea what they are saying. Learn to distinguish good advice form bad advice. That being said when you get constructive criticism learn not to be angry, instead ask how you can improve and work with it. You’ll offer your services to some people and they will turn you down, this does not mean you are not good enough do not let it bother you. Pitch to the next person.
You need a day job because you will have bills to pay and equipment to buy. I know day jobs can be annoying for creatives because must of them do not allow us to be innovative in any way, but we need these jobs. Yes, there will be times you will feel like quitting your day job and taking your chances. For those ready take your chances. For those of us still figuring things out, do this: visualize your future goals this will help you get through. I remember when I worked at a call center and I had joggle work and getting a masters degree those were dark days, but I never stopped seeing the end goal.
Hold your day job, and hone your craft when you start making more money on your creative job, than your day job then you can consider quitting.
You’ve read 11 Ways To Nurture Your Creative Spirit While Holding A Day Job, originally posted on Pick the Brain | Motivation and Self Improvement. If you’ve enjoyed this, please visit our site for more inspirational articles.
Introduction
‘House of Rolf’ is an ambitious transformation of a late nineteenth century coach house into a spectacular home and workspace. What is truly unique about this project is that all the materials used to carry out this transformation originated from a demolished office building that was located next to the coach house. The care and meticulous way in which these materials were reapplied can be witnessed in the end result. ‘House of Rolf’ is proof that waste can be turned into something beautiful.
From office building to sculptural home and studio
The former coach house that makes up the shell of ‘House of Rolf’ was originally built in 1895 in the back garden of a wealthy aristocrat’s home located on the stately Maliebaan in Utrecht, the Netherlands. In 1955 an outbuilding was constructed in wood between the residences on the Maliebaan and the coach house. Although initially intended as a temporary structure the building stood for 57 years. In 2008, when the stately office buildings on the Maliebaan were being turned into private homes, this wooden one storey office building remained, abandoned and unused. In 2011 Rolf Bruggink acquired this building, the coach house and the surrounding terrain with the intention of demolishing the former building. The demolition process was the trigger for Bruggink to use recovered materials to construct a new sculptural and functional structure within the shell of the coach house.
Spatial design
The spatial design of ‘House of Rolf’, the former coach house and the sculptural and functional object it contains, was carried out by Rolf Bruggink in consultation with his girlfriend Yffi van den Berg. The coach house itself is a rectangular brick building of 15 by 7 meters and 5.5 meters tall. 5 trusses carry the roof, which neatly divide the space into 6 equal bays. The design of the space is based on this simple structure with the house divided into 3 zones each consisting of 2 bays. The first zone is left completely empty so that the original coach house can be fully experienced. The middle zone contains a structure that stands completely free from the coach house shell so that you can easily look beyond it from the first zone. This second sections of the space houses the kitchen, bedroom, toilet, shower, bath and office. By positioning this sculptural structure in the middle of the house a front, middle and back division is created. This functional object thus simultaneously divides as well as connects the space. In the third zone, a second structure is located which together with the structure in the middle zone, form ‘House of Rolf’s sculptural living space. This second structure differs from the first, in the way that it is consciously attached to the shell of the coach house, merging with it. This back zone contains more intimate living spaces. A new large format panoramic window has been cut out of the back wall of the coach house allowing light to flood into the space. This is the only intervention made into the original building.
Layout
On the ground floor, the sculptural living space houses a separate kitchen, toilet and technical space. The first floor contains a shower room, bedroom, walk-in closet and an office with bath. All the rooms on the first floor are accessible from an elevated corridor that is connected to one of the coach house walls. On the ground floor the structure stands completely free from the coach house shell so that one can walk around it unimpeded.
The Build
Having determined the principle spatial design of ‘House of Rolf’, Rolf Bruggink invited Niek Wagemans to help design the project in more detail with the materials of the former office block as the sole construction material. There are no detailed technical drawings of the build, just a scale model in which the spatial design is presented. Using this model as a starting point, Rolf and Nick commenced the build developing the design further during the construction process. It was this mode of working that led to the ultimate form of the sculptural object.
The self-formulated goal of the project was to use all the materials of the office building, leaving nothing to waste. To achieve this objective, Niek Wagemans’ skills as a designer were particularly useful. Wagemans’ expertise is in designing and building architectural structures and furniture pieces using second hand materials. He finds ingenious ways to re-use materials that are ready to hand to create new functional objects. The staring point of the build was to erect two walls constructed from the numerous radiators salvaged from the office building. In this initial phase the office building had not yet been demolished. Shortly after this part of the job however, the building had to be dismantled in order to free up the materials necessary to continue the build. The vast quantities of materials that this generated, led to a giant task of working out which materials to allocate to which specific section of the design. Niek’s discerning eye in looking for and picking out the most well suited material for a particular part of the construction was very important in this process. A large related challenge was to store and conserve these large quantities of materials. A part was housed in old bungalow tents on the building site. The remainder had to be contained in the coach house itself for want of other storage options. All of this amounted to a big logistical challenge.
A fascinating aspect of this project was that initially there was a wealth of available materials. This being so as the office building presided over a 200 square meter surface area and the coach house a mere 50 square meters. This meant that materials could be applied liberally. For example the house includes a solid wooden partition wall constructed from trusses and purlins. A solid wooden floor was also constructed from floor beams. This generous application of materials meant however that towards the end of the build nearly the entire supply of materials had been used
Llewellyn House is a private home located in Marrickville, Australia. It was designed by Studioplusthree in 2015. Llewellyn House by Studioplusthree: “Inviting life into a once-derelict Marrickville cottage, a complete renovation and new extension establishes living and rehearsal space for two musicians. A comfortable retreat set within a garden; original Federation interiors are restored in crisp white, whilst new elements are introduced in a restrained palette of dark timber, steel..
💙 Treetrunk Drama on 500px by Richard Palasoff, Stockholm,… http://ift.tt/28YLmnJ
What’s the difference between a “road”, a “drive” and a “way”? Or between a “street”, a “boulevard” and an “avenue”? The naming conventions that we attribute to the networks that we use to move about are, in fact, a little more complex than you might imagine. In this film by Phil Edwards for Vox, the intricate world of road classification and definition is given a (long overdue) explanation – and one which might help you think a little deeper about urban mobility.
Film via Vox.
Rolling coverage of all the day’s political developments as they happen, including reaction to the autumn statement and the IFS press conference
8.17am GMT
Q: Are you saying you don’t believe the OBR forecasts? The Telegraph says you take these forecasts with a pinch of salt.
Hammond says forecasting is not a precise science. The OBR itself says there is a large degree of uncertainty. The government should not ignore these forecasts. It should include them in the range of possibilities for which it plans. It should not ignore the strengths of the economy. And it is right to keep something aside.
8.14am GMT
Q: This is higher debt than after the oil crisis or the banking crisis. Some people say this is not just an economic failure, but a moral failure. That is what the Tory manifesto said in 2015.
Hammond says the government has controlled public spending. It has generated nearly 2.8m new jobs. And the OBR says another 500,000 new jobs will be created this parliament.
8.12am GMT
Nick Robinson is interviewing Philip Hammond.
Q: Is it time to apologise for saying you would tackle the deficit when you haven’t?
8.10am GMT
As usual, the morning after the autumn statement, the chancellor and his Labour opposite number are doing a round of interviews. Philip Hammond will be on the Today programme shortly, and I will be covering his interview in full.
Yesterday Hammond told MPs that the Office for Budget Responsibility thinks Brexit will cost the country £59bn over the next five years. Tory Brexiteers have dismissed this analysis, and Iain Duncan Smith, the former work and pensions secretary, said this was “another utter doom and gloom scenario”. But last night David Gauke, the chief secretary to the Treasury, defended the OBR. He told Newsnight:
We have an independent body that makes the forecasts and it is sensible for a government to work on the basis that that independent body has got it right.
Related: Brexit will blow £59bn hole in public finances, admits Hammond
Politics blog | The Guardian http://ift.tt/2fabsJG
From the architect. The brief for the Victoria Gate masterplan was to design a new, vibrant, key urban block in Leeds city centre which provided retail and leisure uses anchored by a department store, with an associated car park. The visibility and identity of the department store was an important part of the brief.
The scheme needed to be designed as an extension of the Headrow, the city’s main civic axis, and Hammerson’s brief right from the beginning was that the scheme should not be a ‘mall’ but more a 21st century extension of the existing Victorian arcades for which Leeds is famous.
Victoria Gate,in the East of Leeds city centre, forms a natural extension of Victoria Quarter and Leeds’s retail district. The scheme includes a new John Lewis department store, multi storey car parking and two arcades with a mix of shops, restaurants and leisure facilities.
The buildings appear as three distinct elements with individual identities that relate to each other and the vernacular of Leeds.
The new John Lewis store anchors the scheme. Placed on the extension of the Headrow, the city’s main civic axis, the store forms a visible gateway into the city centre.
The materiality of the building draws on the history of terracotta façades in Leeds, often produced by the local Burmantoffs Terracotta works, providing a modern interpretation of a traditional material. The façade order is also influenced by the textile history of Leeds as well as John Lewis, and is designed as a layered terracotta skin reminiscent of woven fabric. The diagrid is the ordering element that repeats along the perimeter of the building ; the resulting diamonds contain infill panels which respond to the internal layout of the store and the immediate context, providing transparency and ornamentation to the building.
The Victoria Gate multi-storey car-park [MSCP] is visible from all main urban approaches. From the outset the intention was to separate John Lewis from the car-park, but to acknowledge their shared purpose and relationship to the façade.
Twisted aluminium fin cladding creates a diagrid pattern, emphasised by the shadows generated, which relates to the John Lewis façade. The façade efficiently provides vehicular restraint, daylight and natural ventilation.
The Arcades building is designed as a two storey, twin arcade with a complex glazed roofscape continuing the grand history of Leeds’s 19th century arcades. A large casino sits above the arcade, partially over-sailing it and creating a four storey civic frontage on Eastgate.
The exterior of the building evolves from the 19th and 20th century language of the surrounding Blomfield and Victorian brick and terracotta buildings, with sculpturally pleated brick elevations – brick-faced pre-cast concrete panels- changing in rhythm and scale responding to the context of the site.
The interiors of the arcades are inspired by the Victorian tradition through the use of curved glass and patterned stone floors, based on Leeds’s woolen herringbone cloth.
