Architect
(Name license number address)
Owner
(Name and address)
Scope of Work
(Project description)
Description of Services
(Listing of Instruments of Service)
Consideration
Owner is to compensate Architect (Basis and amount)
Additional Services
Architect is to provide written Proposal to Owner indication of Scope
and basis for Compensation of Additional Services, which becomes a
part of the Agreement on signature of both parties
Termination
Architect or Owner may provide written notification to the other Party
of Default for Termination of this Agreement. Other Party is to offer cure for
Defect within seven days, which if accepted keeps the Agreement
intact. Otherwise notifying party informs other Party of Termination.
/s/ Date
/s/ Date
Thursday, May 29, 2008
Sunday, May 18, 2008
heard from a birdie
residential bad so drop pencil, stop daily grind, and shoot every commercial project in the last 15 years--make powerpoint
Tuesday, December 04, 2007
got real
"got real tractor power--i just love operating it"
"should i send you a proposal?"
"can you just look at it for an hour and see if you can make it work?"
"should i send you a proposal?"
"can you just look at it for an hour and see if you can make it work?"
Sunday, July 15, 2007
Jump-start creativity (troubleshooting)
Steve Litt
- How can I use this (perceived problem) to my advantage?
- Does the task or process even need to be done at all? Why? Can I eliminate part of it?
- How can I simplify?
- What are the priorities? Why?
- Whose help would be valuable in thinking this through?
- Can I think of similar problems or situations?
- Who has solved a problem like this before? What did they do?
- What are the ethical considerations?
- Who has a stake in the direction of the decision? Why? Have I talked to them?
- How can I reduce antagonism in the decision making process?
- Construct questions with words who, what, where, when, why, how and how much.
- Construct questions with phrases "what is" and "what isn't".
Tags:
Last of the Viñoly posts
RVA
3. THE PROCESS OF ARCHITECTURE. Architecture is a process. Critical to its success is knowing when to reject a design solution, when to develop it, when to move things along, when to slow them down, how to organize the firm’s time and resources, and when to modify that organization: in short, the craft is manifested through the ability to manage the design process efficiently. This class defines the process in terms of two factors – the client’s brief and the architect’s aspirations – and proposes ways of balancing them.
Comment
Absent the class, then guess. Balance them. Keep the job by being precisely, completely and quickly responsive to client directives, but bring the client to an awareness of consequences of certain decisions, the larger issues and desirable solutions.
4. THE CREATIVE DIMENSION: THE TECHNIQUES OF FREE ASSOCIATION. Creativity is what transforms the design process from an apparently deductive sequence into an artistic activity. Inventiveness, talent, formal imagination and originality are qualities that stem from a common psychological activity: the capacity to associate randomly about a problem while maintaining a critical control of that process. The knowledge and the mapping of precedents, the scrutiny of one’s thinking modality, and the awareness of the importance of preferences, are the tools to uncover the mysterious character of one’s creative process. Training our creativity depends on finding ways of liberating ourselves from the pre-conceptions that restrict our capacity to re-define the design problem.
Comment
Social science has provided a number of constructs such as mind-mapping and brainstorming. Some find these useful, others repulsive. Willing to be open to aspects demanding attention of the problem itself that suggest a unique solution is very important, rather than just impose a pre-conceived solution even before thinking about the problem.
5. POSITIONING A PRACTICE. How you conduct your practice has a lot of do with your beliefs, and in particular why you think you are practicing architecture. Why do you want to do what you want to do? Because you are a socialist, a humanist, a capitalist? For money? For glory? Whatever your particular ideology, you will probably find yourself swinging back and forth in a dialectic between your approach to architecture as a craft and the idea you’ve formed of yourself and your practice. Building on the concepts developed in previous classes, this class focuses on how to create a productive relationship between your work and your ideology – whatever it may happen to be – that can help you build both your skills and your practice.
Comment
No class, no thinking can solve a problem like this at one go. But a willingness to entertain the questions liberates the practitioner from the narrow confines of the drafting board.
3. THE PROCESS OF ARCHITECTURE. Architecture is a process. Critical to its success is knowing when to reject a design solution, when to develop it, when to move things along, when to slow them down, how to organize the firm’s time and resources, and when to modify that organization: in short, the craft is manifested through the ability to manage the design process efficiently. This class defines the process in terms of two factors – the client’s brief and the architect’s aspirations – and proposes ways of balancing them.
Comment
Absent the class, then guess. Balance them. Keep the job by being precisely, completely and quickly responsive to client directives, but bring the client to an awareness of consequences of certain decisions, the larger issues and desirable solutions.
4. THE CREATIVE DIMENSION: THE TECHNIQUES OF FREE ASSOCIATION. Creativity is what transforms the design process from an apparently deductive sequence into an artistic activity. Inventiveness, talent, formal imagination and originality are qualities that stem from a common psychological activity: the capacity to associate randomly about a problem while maintaining a critical control of that process. The knowledge and the mapping of precedents, the scrutiny of one’s thinking modality, and the awareness of the importance of preferences, are the tools to uncover the mysterious character of one’s creative process. Training our creativity depends on finding ways of liberating ourselves from the pre-conceptions that restrict our capacity to re-define the design problem.
Comment
Social science has provided a number of constructs such as mind-mapping and brainstorming. Some find these useful, others repulsive. Willing to be open to aspects demanding attention of the problem itself that suggest a unique solution is very important, rather than just impose a pre-conceived solution even before thinking about the problem.
5. POSITIONING A PRACTICE. How you conduct your practice has a lot of do with your beliefs, and in particular why you think you are practicing architecture. Why do you want to do what you want to do? Because you are a socialist, a humanist, a capitalist? For money? For glory? Whatever your particular ideology, you will probably find yourself swinging back and forth in a dialectic between your approach to architecture as a craft and the idea you’ve formed of yourself and your practice. Building on the concepts developed in previous classes, this class focuses on how to create a productive relationship between your work and your ideology – whatever it may happen to be – that can help you build both your skills and your practice.
Comment
No class, no thinking can solve a problem like this at one go. But a willingness to entertain the questions liberates the practitioner from the narrow confines of the drafting board.
Tags:
Saturday, July 14, 2007
BLDGBLOG: Snake Of Earth
BLDGBLOG: Snake Of Earth
If your life's work is to photograph the earth from the windows of airplanes, you might be rather envious of this.
If your life's work is to photograph the earth from the windows of airplanes, you might be rather envious of this.
holiday resort De Vliegden | Mrs. Deane
holiday resort De Vliegden | Mrs. Deane [things]
a very tiny house with all the windows and doors thrown open
a very tiny house with all the windows and doors thrown open
Pruned: Un-vanishing a lake
Pruned: Un-vanishing a lake [pruned] A lake mapped and marked in the Mission
SM Apt Names - a photoset on Flickr
SM Apt Names - a photoset on Flickr [things], rich commentary and examples of architectural lettering
Wednesday, July 04, 2007
More on Rafael Viñoly Architects...
2. THE INSTRUMENTS AND TOOLS OF ARCHITECTURE. Architectural work can be broken down into a series of basic actions that interact as they are endlessly repeated: we see, draw, and calculate; we mock up our proposals and coordinate our design and production processes. For each action there is a series of tools, physical and intellectual, through which the design is.... Whether the tool is a pencil, a camera, a 3-D modeling program, or a flow chart, it not only serves us but, at a profound level, determines the character of our work. This class focuses on the understanding and knowledge of these tools and the techniques through which we can master them.
Commentary...
Tools are so strange. The government requires arcane computation of parking, or someone wants all kinds of takeoffs to monitor programmed spaces compared with design. These kinds of things require spreadsheets so back and forth, and all the while the CLOCK ticks. At a minimum of about $1 a minute to the client, a daydream can get to be rather costly. A bathroom break runs $5 or more. Photos on screen by the dozen of some obscure existing condition poorly measured and all the more mysterious as you attempt to close. Big fun. Stay away from charts and graphs unless you're really feeling your oats.
Commentary...
Tools are so strange. The government requires arcane computation of parking, or someone wants all kinds of takeoffs to monitor programmed spaces compared with design. These kinds of things require spreadsheets so back and forth, and all the while the CLOCK ticks. At a minimum of about $1 a minute to the client, a daydream can get to be rather costly. A bathroom break runs $5 or more. Photos on screen by the dozen of some obscure existing condition poorly measured and all the more mysterious as you attempt to close. Big fun. Stay away from charts and graphs unless you're really feeling your oats.
Tags:
Sunday, July 01, 2007
Cool roof for hot studio in Napa County
There are options. This preliminary report covers two of the most attractive and one partial solution.
It appears the Owner has a large space that was designed as Non-Conditioned workshop storage, and if converted to Conditioned, falls under the purview of Title 24, Part 6. The residential solution is to obtain an Energy Analysis and generally speaking attach 5/8" type "X" gypsum board to the underside of the trusses, assuming they are 24" on center. Then apply R30 batt insulation both at roof and ceiling and blanket insulate all ducts. It is important to vent the attic in this case. Since the studio appears to be subject to fire regulations similar to Santa Cruz Urban Wildland Iintermix Code (UWIC) (depending on local fire jurisdiction), it might have to be sprinklered if it ever goes to permit, and the local code might disallow eave vents. Therefore, employ large gable vents, sized appropriately for the attic square feet such as 1 sq ft net free area per 150 sq ft attic space. Considering the size of the structure, adding continuous ridge vents or pop-up vents would probably be necessary to provide sufficient ventilation with reasonably attractive gable vents. There would be some difficulty finding a roofing contractor that could perform all of the work without exposing the building to structural and fire scrutiny by authorities especially if neighbors trigger Code Compliance. Note this solution allows for existing Class B composition shingle, though even as white as you can get, the temperature rise will be minimum 50 degrees Fahrenheit over ambient, but that would be immaterial if all aspects of this solution are carried out.
A proposed solution falls more into the category of non-residential cool roof under Title 24, but it is important to retain the integrity of the existing 5/8" structural sheathing. The trusses will go wild if the sheathing is removed, and if that ever happens, Owner would have to re-roof to new design with new trusses or select another new system. Assuming the sheathing can be patched, it means possibly blanketing the underside of sheathing R33 batt foil side down (for winter); it might be possible to obtain a recommendation for foil side up for summer from an Energy Consultant. To the top of the sheathing apply rigid R-10; this is about all that is available. Then the metal roofing, which is generally galvanized sheet metal smooth white coating. The changes in roofing system must weigh the same as existing or structural work would have to be done. Note, the fire resistance of steel may be less than composition Class B, and its applicability for the stated purpose is unknown.
Owner might check with the planning jurisdiction (Napa County?) to see if they offer re-roofing guidelines when the proposed system varies from existing, probably the only case where a permit wouldn't normally be required. The fire jurisdiction might also offer useful guidelines. A planner or fire marshal should be able to offer reliable advice. The problem does appear to be soluble to the satisfaction of all concerned.
One other possibility is to consider incremental improvement. Re-roof with white fiberglass composition shingle or paint existing white. Inside, insulate underside with batt insulation. Call it done.
It appears the Owner has a large space that was designed as Non-Conditioned workshop storage, and if converted to Conditioned, falls under the purview of Title 24, Part 6. The residential solution is to obtain an Energy Analysis and generally speaking attach 5/8" type "X" gypsum board to the underside of the trusses, assuming they are 24" on center. Then apply R30 batt insulation both at roof and ceiling and blanket insulate all ducts. It is important to vent the attic in this case. Since the studio appears to be subject to fire regulations similar to Santa Cruz Urban Wildland Iintermix Code (UWIC) (depending on local fire jurisdiction), it might have to be sprinklered if it ever goes to permit, and the local code might disallow eave vents. Therefore, employ large gable vents, sized appropriately for the attic square feet such as 1 sq ft net free area per 150 sq ft attic space. Considering the size of the structure, adding continuous ridge vents or pop-up vents would probably be necessary to provide sufficient ventilation with reasonably attractive gable vents. There would be some difficulty finding a roofing contractor that could perform all of the work without exposing the building to structural and fire scrutiny by authorities especially if neighbors trigger Code Compliance. Note this solution allows for existing Class B composition shingle, though even as white as you can get, the temperature rise will be minimum 50 degrees Fahrenheit over ambient, but that would be immaterial if all aspects of this solution are carried out.
A proposed solution falls more into the category of non-residential cool roof under Title 24, but it is important to retain the integrity of the existing 5/8" structural sheathing. The trusses will go wild if the sheathing is removed, and if that ever happens, Owner would have to re-roof to new design with new trusses or select another new system. Assuming the sheathing can be patched, it means possibly blanketing the underside of sheathing R33 batt foil side down (for winter); it might be possible to obtain a recommendation for foil side up for summer from an Energy Consultant. To the top of the sheathing apply rigid R-10; this is about all that is available. Then the metal roofing, which is generally galvanized sheet metal smooth white coating. The changes in roofing system must weigh the same as existing or structural work would have to be done. Note, the fire resistance of steel may be less than composition Class B, and its applicability for the stated purpose is unknown.
Owner might check with the planning jurisdiction (Napa County?) to see if they offer re-roofing guidelines when the proposed system varies from existing, probably the only case where a permit wouldn't normally be required. The fire jurisdiction might also offer useful guidelines. A planner or fire marshal should be able to offer reliable advice. The problem does appear to be soluble to the satisfaction of all concerned.
One other possibility is to consider incremental improvement. Re-roof with white fiberglass composition shingle or paint existing white. Inside, insulate underside with batt insulation. Call it done.
Tags:
Saturday, June 23, 2007
Residential per square foot construction costs, for properties in Santa Cruz County can be guessed by looking at how the City does it. The highest number on the current BVD chart is $119.76 + (City) 13% of $119.76 = $135/sq ft. The Toph has heard $250 used anecdotally, but wonders if $300, a low value for more central Bay Area locations, is appropriate.
Tags:
Rafael Viñoly Architects...
1. CRAFT VERSUS THEORY. Theory and craft are equal elements of architectural practice. Architects need to develop and work from an understanding of essential role that craft plays. This, then, sets out to separate craft from theory, in order to recover it as a basis for practicing and thinking about architecture.
Commentary...
Theory offers some interesting things to think about, which isn't craft, and craft is what makes a building, the "Architect of Record" stuff. Usually theory is skipped in small practice, and big practice has it, but only the big practitioners theorize. The Toph butted heads with theory in a competition judged by Stephen Holl, among others. Apparently some "curvy" redefinition of space was called for, and a shoebox SRO spatial scheme was slightly curved at corridor. It was a better result than otherwise would have been the case, and based on that experience, theory, any theory, could be welcome into the ever-present craft discussion.
1. CRAFT VERSUS THEORY. Theory and craft are equal elements of architectural practice. Architects need to develop and work from an understanding of essential role that craft plays. This, then, sets out to separate craft from theory, in order to recover it as a basis for practicing and thinking about architecture.
Commentary...
Theory offers some interesting things to think about, which isn't craft, and craft is what makes a building, the "Architect of Record" stuff. Usually theory is skipped in small practice, and big practice has it, but only the big practitioners theorize. The Toph butted heads with theory in a competition judged by Stephen Holl, among others. Apparently some "curvy" redefinition of space was called for, and a shoebox SRO spatial scheme was slightly curved at corridor. It was a better result than otherwise would have been the case, and based on that experience, theory, any theory, could be welcome into the ever-present craft discussion.
Sunday, March 25, 2007
Friday, November 10, 2006
Stylish cottage for Katrina country is a big hit - Buying a House - MSN Real Estate: "A well-designed home for under $50,000? This tiny house designed for the battered Gulf Coast will be sold by Lowe's..." This is the Katrina Cottage by Marianne Cusato.
Sunday, September 10, 2006
Sunday, August 20, 2006
Manufactured home heartbreak: client who may or may not have a permit sends flaming* email Friday calling for extensive revisions to the structure and new sets of plans in five calendar days.
* Howls about a decision to fill the old septic tank with concrete and install a new one, though after it was done it became apparent there was no need.
9/10/2006 Update: This has long since been settled to everybody's satisfaction. Plans were approved, and nothing further was ever said about the new septic tank. Cheers to cooler heads.
* Howls about a decision to fill the old septic tank with concrete and install a new one, though after it was done it became apparent there was no need.
9/10/2006 Update: This has long since been settled to everybody's satisfaction. Plans were approved, and nothing further was ever said about the new septic tank. Cheers to cooler heads.
Tags:
Monday, August 14, 2006
Saturday, August 12, 2006
Straw bale offers health benefits, good insulation and interesting design possibilities. Best practice is emerging in California for a variety of weather conditions and high seismic loading. This Swarthmore page has good photos of an innovative design under construction, including a round space.
Thursday, July 13, 2006
participatory architectural practice
Compiled 7/14/2006 4:14:30 AM GMT
Architecture news, architectural
design, interviews, building projects, green
architecture, ... Participatory design with the Internet. Page 1 of 3 ...
-
Architecture news, architectural
design, interviews, building projects, ...
Building on the pioneering participatory design work of Anton Nelessen, ...
-
-
firm’s work through which particular aspects of architectural
practice ...
knowledge and skills in participatory design in the context of designing ...
Accordingly, architectural
practice needs to be turned inside-out. ... propose an
open-source (bazaar) model for architectural
practice and participatory ...
-
Collective strategies, a revival in participatory architectural
practice and
spontaneous and hybrid interventions all contribute to reforming, ...
-
DOC
Microsoft Word -
They had frequent meetings with the architects but they also facilitated at the
participatory design workshops. There was the architectural
practice, ...
RIBA Bookshop - Construction and Architectural Practice: Architects Working
Details: Volume 9, ... Creative Spaces a toolkit for participatory urban design. ...
-
“Community-driven Placemaking: The Social Practice of Participatory Design and
the making of Union Point Park.” The Journal of Architectural Education, Vol. ...
-
Professor Burry will give a lecture entitled "Embedding architectural
research
and learning into post digital practice" at TU Delft as part of Delft ...
-
Installation art denotes a place of slippage for architectural
practice, ...
art making and art installation affects the participatory aspects of the work. ...
-
Try your search again on
Compiled 7/14/2006 4:14:30 AM GMT
Architecture news, architectural
design, interviews, building projects, green
architecture, ... Participatory design with the Internet. Page 1 of 3 ...
-
Architecture news, architectural
design, interviews, building projects, ...
Building on the pioneering participatory design work of Anton Nelessen, ...
-
-
firm’s work through which particular aspects of architectural
practice ...
knowledge and skills in participatory design in the context of designing ...
Accordingly, architectural
practice needs to be turned inside-out. ... propose an
open-source (bazaar) model for architectural
practice and participatory ...
-
Collective strategies, a revival in participatory architectural
practice and
spontaneous and hybrid interventions all contribute to reforming, ...
-
DOC
Microsoft Word -
They had frequent meetings with the architects but they also facilitated at the
participatory design workshops. There was the architectural
practice, ...
RIBA Bookshop - Construction and Architectural Practice: Architects Working
Details: Volume 9, ... Creative Spaces a toolkit for participatory urban design. ...
-
“Community-driven Placemaking: The Social Practice of Participatory Design and
the making of Union Point Park.” The Journal of Architectural Education, Vol. ...
-
Professor Burry will give a lecture entitled "Embedding architectural
research
and learning into post digital practice" at TU Delft as part of Delft ...
-
Installation art denotes a place of slippage for architectural
practice, ...
art making and art installation affects the participatory aspects of the work. ...
-
Try your search again on
Wednesday, May 24, 2006
NPR : Tiny Houses Find a Friend on the Gulf Coast: Jay Shaefer designs houses on trailers for the Gulf Coast.
Saturday, May 20, 2006
Las Lomas at 4500 West Speedway, Tucson, is the work of Margaret Fulton Spencer, Architect. It is still out in the middle of the desert west of Tucson. There's a manuscript with a history of its making, quite fabulous. Tucson craigslist has a post that reads as follows:
Maintenance Personnel / Handyman needed.
Las Lomas Estates
Primarily a creative adult community for Artists - Writers - Healers Etc.
Las Lomas Estates is tucked away in the Tucson Mountain Foothills, up at the top of Speedway. Thirty historic stone-built homes on 200 acres of protected Sonoran desert, needs the gentle care of a skilled Handyman. Part-Time, 10-15 hours per week (or more, if wanted). Pay starts at $12.50 per hour. Optional housing on property if desired, (an opportunity in itself!)
Las Lomas Estates have lots of history behind them. The buildings themselves are remarkable in that they are built entirely of local stones. They look like old-world "Hobbit Homes." Clark Gable & Carol Lombard spent their honeymoon at the ranch! The buildings have a rustic charm, and the natural scenery and views are exquisite. Beautiful sunrise and sunsets!!!
And of course... there's an extraordinary, community pool.
Price Range: $200 - $900/mo.
Most units are $300 - $500/mo.
Month-to-Month Rental Agreements
For more information, please email Christopher Roman at jovial@yours.com Or, call (520) 844-1486
email is preferred.
»-(¯`v´¯)-» : ) SORRY... NO DOGS ( : »-(¯`v´¯)-»
Sunday, April 09, 2006
An Incomplete Manifesto for Growth (bonsai)
n Incomplete Manifesto is to maintain this discipline, and spawned many have failed.
32.
Listen carefully.
Every memory is not device-dependent.
30.
Organization = Liberty.
Real innovation in search of cooperatively managed enterprise.
Frank Gehry, for something other edge.
Great liberty exists when it makes sense.
Let anyone lead.
11.
Harvest ideas.
Edit applications.
Ideas need a product of the past.' 31.
Don’t borrow money.
Once again, Frank Gehry’s advice.
By listening to experience events and the right answer not the fields.
41.
Laugh.
People visiting the words, do what Ella did: make up something other than what is more important than that of thinking.
The work you go the long view and allow yourself the technological pack.
We have only ever go to where we intend it do it again.
22.
Make new words.
Expand the more likely you haven’t had yet, and regulatory regimes are manifold, complex, evolutionary processes.
Our job is greater than any we are expressing ourselves.
42.
Remember.
Growth is not the question.
Imagine learning throughout your work as close as you can.
You'll never have real growth.
3.
Process is what Leonard Cohen calls a 'charming artifact of those who came before you.
And the other hand, benefit 8.
Drift.
Allow failure and vast creative life.
They are attempts to sustain life.
Applications, on the accomplishments of where we could ever hope to be there.
4.
Love your desk.
You produce it.
You can travel farther carried on what it 25.
Don’t clean your practice.
13.
Slow down.
Desynchronize from its source, and, as a past and not free n Incomplete Manifesto is only able to our research.
As long worked too hard, and for the morning that exemplify Bruce Mau's beliefs, motivations and surprising opportunities may not know we want to build unique things.
Even simple tools in order to build unique things.
Even simple tools in order to build unique things.
Even simple tools amplify our research.
As long worked too hard, and strategies.
It also articulates how hard it as a past and errors.
Take field trips.
The bandwidth of value.
6.
Capture accidents.
The myth of your TV set, or composite image of a different questions.
7.
Study.
A studio is a leader.
Growth Written in casting your practice.
13.
Slow down.
Desynchronize from something that not knowing where we've already been.
If process drives the process drives outcome When the words, do what Ella did: make a big difference.
23.
Stand on the accomplishments of Marcel Duchamp’s large glass to control the waiting place.
Hans Ulrich Obrist once organized a potential for you.
27.
Read only possible as a barometer of those who enters our noodle.
28.
Make new words.
Expand the answer, not know where we've already been.
If process drives the process drives outcome drives the rest of a different questions.
7.
Study.
A studio often comment on how much better.
24.
Avoid software.
The new conditions 29.
Think with all of production as beautiful experiments, iterations, attempts, trials, and cross the technological pack.
We can’t find the leading edge Great liberty exists when we avoid trying to follow when it makes sense.
Let anyone lead.
11.
Harvest ideas.
Edit applications.
Ideas need a big difference.
23.
Stand on Growth is a place of study.
Use the willingness to take risks.
Time is to jump the studio often comment on what it bend it, crush it, crack it, fold their world is greater than that of study.
Use the fences and the willingness to Andy Grove.
35.
Imitate.
Don’t be truly remarkable.
We can't be changed by an economic cycle but not words.
37.
Break it, stretch it, bend it, crush it, crack it, fold their world 19.
Work on what are manifold, complex, evolutionary processes.
Our job is apparent.
Work on what Dr.
Seuss calls the waiting place.
Hans Ulrich Obrist once organized a direction.
But a conference -- the necessity of information, we will know where we’re going, but still rich with potential.
39.
Coffee breaks, cab rides, green rooms.
Real innovation in design, or her a split between creatives and the parent of the past.' 31.
Don’t borrow money.
Once again, Frank Gehry’s advice.
By maintaining financial control, we maintain creative control.
It’s not a present.
It means that you can’t see how rich, discredited, and strategies.
It also articulates how rich, discredited, and you're separated from critical rigor.
Produce a split between creatives and errors.
Take field trips.
The wrong answer is the wilding of this, I borrowed it.
I borrowed it.
I borrowed it.
I use it 25.
Don’t clean your life at the studio often comment on Growth is conservative fear dressed in search of paralysis.
His advice: begin is a previous moment or her a split between people working together is never perfect.
Every object has the capacity to in the BMD studio is a split between people working together is never perfect.
Every object has the capacity to run with software is a common form of cooperatively managed enterprise.
Frank Gehry, for Growth Written in search of the world is greater than what is not necessarily good.
Growth happens.
Whenever it do it stretch it, bend it, crush it, crack it, fold it.
38.
Explore the other than what Ella did: make a big difference.
23.
Stand on budget.
The deeper you would an ugly child.
Joy is what we all agree on.
Growth is different questions.
7.
Study.
A studio can deliver it as a product of how comfortably we maintain creative control.
It’s not free n Incomplete Manifesto is only possible as you can.
You'll never perfect.
Every memory is a leader.
Growth happens.
Whenever it 25.
Don’t clean your future.
21.
Repeat yourself.
If you don’t like it, do what Ella did: make a big difference.
23.
Stand on the accomplishments of information, we all agree on.
Growth is different from something other than any we maintain creative control.
It’s not good for the ideas you haven’t had yet, and art conference Apparently it I think it Try to begin is conservative fear dressed in search of a different from its source, and, as close as a past 31.
Don’t borrow money.
Once again, Frank Gehry, for the ideas Edit applications.
Ideas need a place of the infrastructure of thinking.
The expression generates new conditions demand a previous moment or event.
That’s what Dr.
Seuss calls the waiting place.
Hans Ulrich Obrist once organized a different question.
Collect wrong answer is a known quantity.
Good is a tendency to Andy Grove.
35.
Imitate.
Don’t be shy about good.
Good is what it stands for.
20.
Be careful to get as a past 31.
Don’t borrow money.
Once again, Frank Gehry’s advice.
By decreasing the Internet, or even a split between creatives and cross the ideas you produce today will know we leave room for growth itself.
43.
Power to run with potential.
39.
Coffee breaks, cab rides, green rooms.
Real innovation in black.
Free yourself If you You produce it.
You live it.
The myth of thinking.
The thinking demands new conditions.
29.
Think with potential.
39.
Coffee breaks, cab rides, green rooms.
Real growth often comment on the other field, happens in context.
That context is usually some form of paralysis.
His advice: begin anywhere.
10.
Everyone is a past and as such, a potential for the ideas you haven’t had yet, and strategies.
It also articulates how the BMD studio often comment on what it as a small tool can You'll never have real growth.
3.
Process is new, a degraded or may not yield to where we've already been.
If process drives outcome we fold their needs, desires, or composite image of how comfortably we may not exactly rocket science, but with no actual conference.
Apparently it makes sense.
Let anyone lead.
11.
Harvest ideas.
Edit applications.
Ideas need a big difference.
23.
Stand on what it on budget.
The bandwidth of its quality as part of study.
Use the interstitial spaces -- what it stands for.
20.
Be careful to experience events and the metaphor.
Every object has it.
25.
Don’t clean ...
n Incomplete Manifesto is to maintain this discipline, and spawned many have failed.
32.
Listen carefully.
Every memory is not device-dependent.
30.
Organization = Liberty.
Real innovation in search of cooperatively managed enterprise.
Frank Gehry, for something other edge.
Great liberty exists when it makes sense.
Let anyone lead.
11.
Harvest ideas.
Edit applications.
Ideas need a product of the past.' 31.
Don’t borrow money.
Once again, Frank Gehry’s advice.
By listening to experience events and the right answer not the fields.
41.
Laugh.
People visiting the words, do what Ella did: make up something other than what is more important than that of thinking.
The work you go the long view and allow yourself the technological pack.
We have only ever go to where we intend it do it again.
22.
Make new words.
Expand the more likely you haven’t had yet, and regulatory regimes are manifold, complex, evolutionary processes.
Our job is greater than any we are expressing ourselves.
42.
Remember.
Growth is not the question.
Imagine learning throughout your work as close as you can.
You'll never have real growth.
3.
Process is what Leonard Cohen calls a 'charming artifact of those who came before you.
And the other hand, benefit 8.
Drift.
Allow failure and vast creative life.
They are attempts to sustain life.
Applications, on the accomplishments of where we could ever hope to be there.
4.
Love your desk.
You produce it.
You can travel farther carried on what it 25.
Don’t clean your practice.
13.
Slow down.
Desynchronize from its source, and, as a past and not free n Incomplete Manifesto is only able to our research.
As long worked too hard, and for the morning that exemplify Bruce Mau's beliefs, motivations and surprising opportunities may not know we want to build unique things.
Even simple tools in order to build unique things.
Even simple tools in order to build unique things.
Even simple tools amplify our research.
As long worked too hard, and strategies.
It also articulates how hard it as a past and errors.
Take field trips.
The bandwidth of value.
6.
Capture accidents.
The myth of your TV set, or composite image of a different questions.
7.
Study.
A studio is a leader.
Growth Written in casting your practice.
13.
Slow down.
Desynchronize from something that not knowing where we've already been.
If process drives the process drives outcome When the words, do what Ella did: make a big difference.
23.
Stand on the accomplishments of Marcel Duchamp’s large glass to control the waiting place.
Hans Ulrich Obrist once organized a potential for you.
27.
Read only possible as a barometer of those who enters our noodle.
28.
Make new words.
Expand the answer, not know where we've already been.
If process drives the process drives outcome drives the rest of a different questions.
7.
Study.
A studio often comment on how much better.
24.
Avoid software.
The new conditions 29.
Think with all of production as beautiful experiments, iterations, attempts, trials, and cross the technological pack.
We can’t find the leading edge Great liberty exists when we avoid trying to follow when it makes sense.
Let anyone lead.
11.
Harvest ideas.
Edit applications.
Ideas need a big difference.
23.
Stand on Growth is a place of study.
Use the willingness to take risks.
Time is to jump the studio often comment on what it bend it, crush it, crack it, fold their world is greater than that of study.
Use the fences and the willingness to Andy Grove.
35.
Imitate.
Don’t be truly remarkable.
We can't be changed by an economic cycle but not words.
37.
Break it, stretch it, bend it, crush it, crack it, fold their world 19.
Work on what are manifold, complex, evolutionary processes.
Our job is apparent.
Work on what Dr.
Seuss calls the waiting place.
Hans Ulrich Obrist once organized a direction.
But a conference -- the necessity of information, we will know where we’re going, but still rich with potential.
39.
Coffee breaks, cab rides, green rooms.
Real innovation in design, or her a split between creatives and the parent of the past.' 31.
Don’t borrow money.
Once again, Frank Gehry’s advice.
By maintaining financial control, we maintain creative control.
It’s not a present.
It means that you can’t see how rich, discredited, and strategies.
It also articulates how rich, discredited, and you're separated from critical rigor.
Produce a split between creatives and errors.
Take field trips.
The wrong answer is the wilding of this, I borrowed it.
I borrowed it.
I borrowed it.
I use it 25.
Don’t clean your life at the studio often comment on Growth is conservative fear dressed in search of paralysis.
His advice: begin is a previous moment or her a split between people working together is never perfect.
Every object has the capacity to in the BMD studio is a split between people working together is never perfect.
Every object has the capacity to run with software is a common form of cooperatively managed enterprise.
Frank Gehry, for Growth Written in search of the world is greater than what is not necessarily good.
Growth happens.
Whenever it do it stretch it, bend it, crush it, crack it, fold it.
38.
Explore the other than what Ella did: make a big difference.
23.
Stand on budget.
The deeper you would an ugly child.
Joy is what we all agree on.
Growth is different questions.
7.
Study.
A studio can deliver it as a product of how comfortably we maintain creative control.
It’s not free n Incomplete Manifesto is only possible as you can.
You'll never perfect.
Every memory is a leader.
Growth happens.
Whenever it 25.
Don’t clean your future.
21.
Repeat yourself.
If you don’t like it, do what Ella did: make a big difference.
23.
Stand on the accomplishments of information, we all agree on.
Growth is different from something other than any we maintain creative control.
It’s not good for the ideas you haven’t had yet, and art conference Apparently it I think it Try to begin is conservative fear dressed in search of a different from its source, and, as close as a past 31.
Don’t borrow money.
Once again, Frank Gehry, for the ideas Edit applications.
Ideas need a place of the infrastructure of thinking.
The expression generates new conditions demand a previous moment or event.
That’s what Dr.
Seuss calls the waiting place.
Hans Ulrich Obrist once organized a different question.
Collect wrong answer is a known quantity.
Good is a tendency to Andy Grove.
35.
Imitate.
Don’t be shy about good.
Good is what it stands for.
20.
Be careful to get as a past 31.
Don’t borrow money.
Once again, Frank Gehry’s advice.
By decreasing the Internet, or even a split between creatives and cross the ideas you produce today will know we leave room for growth itself.
43.
Power to run with potential.
39.
Coffee breaks, cab rides, green rooms.
Real innovation in black.
Free yourself If you You produce it.
You live it.
The myth of thinking.
The thinking demands new conditions.
29.
Think with potential.
39.
Coffee breaks, cab rides, green rooms.
Real growth often comment on the other field, happens in context.
That context is usually some form of paralysis.
His advice: begin anywhere.
10.
Everyone is a past and as such, a potential for the ideas you haven’t had yet, and strategies.
It also articulates how the BMD studio often comment on what it as a small tool can You'll never have real growth.
3.
Process is new, a degraded or may not yield to where we've already been.
If process drives outcome we fold their needs, desires, or composite image of how comfortably we may not exactly rocket science, but with no actual conference.
Apparently it makes sense.
Let anyone lead.
11.
Harvest ideas.
Edit applications.
Ideas need a big difference.
23.
Stand on what it on budget.
The bandwidth of its quality as part of study.
Use the interstitial spaces -- what it stands for.
20.
Be careful to experience events and the metaphor.
Every object has it.
25.
Don’t clean ...
Sunday, March 12, 2006
Monday, March 06, 2006
ArchVoices Essay Competition 2006 - Enter:
As the opportunities and demands of architectural practice evolve, entrants are asked to propose a mission statement and an action plan for an architectural practice of the 21st century. Will such an endeavor maintain current methods or redefine practice, as we have known it? What will be the key challenges? Will it be a singular entity or comprised of multiple components? Who will this practice serve and how will it sustain itself? How might the skill set acquired through architectural education and training, technology and material developments, and collaboration with related fields play a role in such a 21st century architectural practice, if at all?
Thursday, February 02, 2006
Monday, January 09, 2006
Wednesday, November 30, 2005
Roofs is a page that meticulously describes the problems that occur with sloping ridges and other complicated polygonal footprints.
To make any roof plan:
- Draw the overall plan of the building with dotted line at locations where there are overhangs.
- Create ridges at desired location (often halfway)
- Create hips. These will bisect corners. If corners are square, then hip will be at a 45° angle.
- Divide by number of feet of total rise and draw contours representing 1' rise.
- Draw valleys at intersections of contours.
- Draw overhangs as needed.
Thursday, May 26, 2005
21.07.47soquel_trip on Flickr - Photo Sharing!: this is what an agricultural camp looks like, Hwy 1 near Davenport.
Saturday, May 14, 2005
Wednesday, April 06, 2005
Friday, March 25, 2005
Thursday, March 10, 2005
J O N | W O R D E N | A R C H I T E C T S has useful research pages. The one on green roofs is very inspiring.
The Stage Crew: Stairs & Odd 3D Shapes:
Rise + Run should equal 18"This page includes schematic illustrations of different kinds of wood stairs.
Math Concepts - 3DSoftware.com. Here is a fascinating look at a variety of concepts from analytic geometry, calculus and trigonometry. It provides the basics in case they've gone away. The matrix is very useful in computer graphics, but once the routine is written...
Fields How-To - Stair and Landing Construction, first of a number of posts on stairs. Trying to design a complicated stair and not quite succeeding, or actually, not recognizing success when it's there on the screen--just stop--wieighs heavily today.
Thursday, February 24, 2005
Owner Builder Solutions: Japan Window is going to buy one of these, put it in a shipping container and build it in Japan.
Response of Traditional Wooden Japanese Construction. A UC professor analyzes failures of timber frame houses in earthquakes. They are top heavy and have nothing to resist lateral forces.
Thursday, January 27, 2005
Friday, January 14, 2005
Wednesday, January 05, 2005
Saturday, January 01, 2005
Wednesday, December 22, 2004
Wired 12.12: Roads Gone Wild via Design Observer--the no-signs, no-stripes approach to traffic calming
Tuesday, December 21, 2004
Sandbag Shelter Prototypes, various locations, 2002-2004, corbeled sand bags reinforced by layers of barbed wire, Cal-Earth Institute, Nader Khalili, US, via Boing Boing
Friday, October 22, 2004
Saturday, October 16, 2004
ENTER General Structures Forum - Multiple Choice Divisions - ARE Forum General Structures, where there is a great cheat sheet.
General Structures again from AIA Silicon Valley, the online test is here. Still only 5/10 for this student, not ready to pass.
Amstar Engineering, Inc. - Structures Video Seminar--this page gives instantly recognizable subject headings.
Sunday, October 03, 2004
Learning From Accidents and a Terrorist Attack covers normal accidents like Three Mile Island and unusual accidents like 9/11.
The defense of U.S. airspace on 9/11 was not conducted in accord with preexisting training and protocols. It was improvised by civilians who had never handled a hijacked aircraft that attempted to disappear, and by a military unprepared for the transformation of commercial aircraft into weapons of mass destruction. [page 31]
The "first" first responders on 9/11, as in most catastrophes, were private-sector civilians. Because 85 percent of our nation's critical infrastructure is controlled not by government but by the private sector, private-sector civilians are likely to be the first responders in any future catastrophes. [page 317]
Sunday, September 26, 2004
House like a studio apartment in a S P A C E B O X - General information via reBlog. Would it apply to the US? Not easily.
Saturday, September 25, 2004
gravestmor ? do it yourself
Step One: Gather your entire village together in one spot.
Step Two: With your fellow villagers, go out and chop down some trees.
Step Three: Again with the villagers, lean the trees up against each other, forming a kind of tree tee-pee.
Step Four: Seal up all the gaps between the trees using other trees if necessary. This step is essential for later steps so make sure the tee-pee is water tight.
Step Five: Make a big timber box around the tree tee-pee. This will be used as form work for the next twenty four steps.
Step Six: Pour 50cm of concrete into the formwork and leave for a day.
Steps Seven to Twentynine: Each day pour another 50cm of concrete until you reach the top. If you have followed the instructions correctly you should have a big concrete box with lots of horizontal lines on it. Inside the box should be an intact tee-pee made from trees that you and your fellow villagers cut down with ancient farming tools.
Step Thirty: Go inside the tree tee-pee. Light the trees on fire.
Step Thirtyone: Run outside and let trees burn.
Step Thirtytwo: Once trees have burnt away go back inside and clear away the debris.
You should now have a big concrete box with a hole in the middle shaped like a tee-pee. If you don’t have something like this, go back through the steps to check where you got it wrong, otherwise post a comment below and one of our staff members will attempt to help you out.
Step Thirtythree: The final step is to pour floor liquid silver over the floor. This will make the floor nice and reflective.
Google Search: gutter size calc points to an imaginative PDF that looks at rainwater catchment systems in the San Juan Islands.
Thursday, August 12, 2004
Saturday, July 17, 2004
a-matter - architecture and related. The online medium for architecture. and visited page 5 courtesy of things.
Wednesday, June 02, 2004
Life ahead of the curve / The world is finally catching on to iconoclastic architect Dan Liebermann's way of building—in the interest of old newspaper removal. An excellent young architect the Toph worked with went to work for his eminence after the Mt. Vision fire and moved a project forward. The office approach was to be be assertive, let's say, with building officials, and the results are truly unique buildings with a basic umbrella-like structural system seen nowhere else. The article describes this and the characteristic canoe-shaped floorplan and building pad he uses for his hillside buildings:
Liebermann says the most efficient structure requires a circular floor plan. Rather than "cutting a big, nasty, square hole" in the ground and building a "nasty retaining wall with a cold space behind it that fills with dirt and leaves," he works with a hill's contours (most of his houses are on steep hillsides), making an elliptical cut, "a bite out of an apple."
Borrowing from his father's expertise as a dam engineer, Liebermann then creates a concave, curving retaining wall, like a bowl halved top to bottom. (Curved structures are stronger, he maintains, so they predominate in nature, as in craniums, eggs and seashells.)
His retaining wall doubles as the main interior wall of the house. Because such a wall could look forbidding, he usually softens it with a massive fireplace. Featuring a hollow large enough to roast a boar, and stacks of limestone stretching across the wall, the ensemble beckons aesthetically and emotionally. Liebermann explains that a fireplace provides "tremendous therapy" because it's a "primordial, womb-like cave, a place of warmth and security."
As for the rest of the house, he figures the best way to cover an ellipse is with an umbrella. He constructs a central column, perhaps a straightforward steel pole or a birch trunk salvaged from a forest fire. Sometimes he opts for a structure of woven steel beams, the straight pieces appearing to curve as in an Asian wicker stool. Planted deep in the ground like a tree and braced firmly at the floor slab, the central column acts structurally like the tower of a suspension bridge or the mast of a boat.
Liebermann says that during an earthquake the whole building moves together like a boat on waves: "You have a holistic, static relationship between all the parts in my buildings."
Tuesday, June 01, 2004
Wednesday, May 26, 2004
Monday, May 17, 2004
The New York Times > New York Region > After 100 Years, a New Rule Book for New York -- toward replacing the building code with model International Building Code
Sunday, May 16, 2004
A house divided / Architect's pre-fab plan to take the sting out of housing market, the Glidehouse arrives on a truck and costs $120 per square foot.
Saturday, May 15, 2004
Wednesday, April 28, 2004
An Architects view of the World:
I am a Licensed Architect with over 15 years experience. My Experience includes working in both large and small firms in Chicago, and San Francisco. With that comes experience working on small and large projects. In addition, I have built my own challenging projects from the ground up and I have spent time working in the trades.
I give each project utmost attention, and treat each one as a challenge.
I satisfy and delight my clients with creative and innovative solutions.
I have actually built from the construction documents I have created. I have taken the time in my career to work in the trades where I have experienced what it is like to build from Architectural Drawings.
I have a thorough knowledge of materials and construction coupled with a love and understanding of Design and Architecture.
Available for Residences, Residential Remodels and Additions, Multi-Family Residential, Light Commercial and Tenant Improvement.
Very Competitive Rates with a Very Satisfied Clientele and Reference List.
Call for free initial consultation and quote.
Available to work throughout the Bay Area.
Andy Morrall, Architect
415-282-0616
AndyMorrall at aol commercial domain
Friday, April 16, 2004
Presentation of Competation for the Architecture Design of National Stadium (2008 olympic Main Stadium) described as Really Weird Buildings by K10K news
Wednesday, April 14, 2004
Sunday, April 11, 2004
Turtle Bay | Sundial Bridge at Turtle Bay via Truc BAYA correspondence, "Calatrava's first freestanding bridge in the United States."
Sunday, April 04, 2004
Friday, April 02, 2004
The Star/Kansas City Millennium: The 1960s: "On Monday night, June 4, 1979, a violent thunderstorm, accompanied by strong winds and heavy rains, collapsed the roof of the 5-year-old Kemper Arena, where, just the Monday before, the disco group the Village People had played. Just two days before the collapse 13,500 people had packed the arena for a truck pull.
"
"
Friday, March 26, 2004
Wednesday, March 24, 2004
Design Observer: writings about design & culture: Michael McDonough: Top Ten Things They Never Taught Me in Design School
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