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- Малые разрешения космоса: Малюсенькие & высокорослые шкафы
- От Foreclosed к свеже Remodeled
- Интервьюируйте с Виктория Meyers архитекторов hanrahanMeyers
- Подсказки для покупать для сбывания недвижимостью Предпринимателя (FSBO)
- Типы настила: Дома с любимчиками
Малые разрешения космоса: Малюсенькие & высокорослые шкафы Posted: 08 Feb 2011 06:30 AM PST Если вы в процессе реновации, то что-то которое правоподобно для того чтобы прийти вверх по многочисленнDp временам принципиальная схема хранения. Namely, создающ больше. Живете ли вы в доме годовалого 200 или доме годовалого 20, кажется, что находит больше хранения всегда на квитанции для как раз около каждого вида жилища. Но чего вы делаете когда вы не имеете квадратный отснятый видеоматериал для фантастичных walk-in или «правильно» измерений для плоск-упакованных блоков стойки одних? Почему, вы выходите ваша думая крышка -- и ваши измеряя лента и уровень -- и вы себя строите их! |
От Foreclosed к свеже Remodeled Posted: 08 Feb 2011 04:49 AM PST Семьи любят Sandy и Socorro Biero Спринг Юилл, Флорида rejoicing в их заново доступном доме. Bieros, и товарищеские резиденты графства Hernando, получили итог $3 миллиона в государственных средствах для программы стабилизации района. В сути, NSP позволяет общинам подавленный foreclosure примениться для правительственной помощи. Администраторы программы после этого принимают foreclosed дома с рынка и фиксируют их вверх для покупкы низк-ипотеки умеренным к малообеспеченный семьям. Эта программа также кладет много местных профессионалов как контракторы и агенты недвижимости назад к работать-которым изумительна для местной экономии. Но самые личные преимущества приходили к семьям. Примите Sandy и Socorro, который услышали о программе NSP когда они жил в квартире $700-a-mont настолько малюсенькой что они не смогло иметь гостей сверх, котор нужно посетить. Их компенсация ипотеки сегодня простые $450. Пары прикладные для программы, нашли foreclosed дом и ждали remodeling подъемы, котор нужно сделать. Теперь их мастерские кровать и ванна самостоятельно большле чем их вся старая квартира. Они имеют комнату гостя, и fenced-in задний двор для их внучат сыграть. Для пары полюбите Bieros-awed на как их жизни были благословлены этим изменением интересов работ программы снабжения жилищем-, в буквальном смысле слова. Они могут иметь дом на the first time внутри их жизни. Заканчивать связь страница ресурса на этой программе которая, направленной через положение, помогает местным профессионалам и индивидуалам. Если вы хотел были бы закупить дом с помощью NSP, то программа спрашивает что вы пожалуйста свяжетесь grantee NSP в вашей области. См. страницу контактов Grantee NSP для больше информации. |
Интервьюируйте с Виктория Meyers архитекторов hanrahanMeyers Posted: 08 Feb 2011 02:38 AM PST Victoria Meyers is a founding partner of New York City-based hanrahanMeyers architects (hMa). The firm designs within the public and private realms, creating spaces that are often spiritual and always maintain a connection to nature. The work of hanrahanMeyers in 2010 encompassed the Infinity Chapel, an urban chapel for the Tenth Church of Christ, Scientist in Greenwich Village, NYC; the Amrhein / Swenson Bridge-Studio, a retreat for an artist couple in Pennsylvania; the Digital Water Pavilion, an installation in Battery Park City, NYC, designed in collaboration with composer Michael Schumacher; and the Won Dharma Center, a net zero Buddhist community in upstate New York. Ms. Meyers also maintains two blogs on design and culture, and is currently researching her second book. We spoke with her about her inspirations, design philosophy and approach to creating architecture. It’s rare for the principal of an architecture firm to regularly update a blog, let alone two. Your blogs aren’t just for marketing purposes; what insights have you gained from writing? The blogs have been a great way for me to catalogue what I’m thinking about. At various intervals, I print the entire sites out to have a collection of my thoughts. The way I’ve approached architecture has always been related to the intellectual concepts I have about what space is and what it means. I think if you don’t have that—you can build things, but you aren’t being an architect. What inspires you as an architect?
What works in architecture was true 2,000 years ago and is still true today. If you go to the Parthenon, it blows your mind because there is a series of amazing relationships that are created between landscape and man-made form based on various proportioning systems—form, music, sound and other natural phenomena. The experience of walking through that space is very mind-boggling. You can have the very same feeling when walking through the landscape designed by Frank Lloyd Wright at Taliesin West. When I was touring the compound, at one point I lost sight that we were walking through architecture and all I could see was that we were walking through desert canyons. It blew my mind; this man is a genius. I’ve read Frank Lloyd Wright since I was a kid. I actually tailored my studies to follow his career. That’s why I got a joint degree in civil engineering and art history before I ever went to architecture school. I wanted to be fully formed in terms of what I thought architecture was because I did not want to be negatively influenced by professors. I felt that Wright was telling me something very intelligent when he said that schools of architecture can be factories of stylism. In studios I’ve taught, every single student does a different project because I want to tap into what they are thinking about, rather than saying “this is the party line and you will copy what I’m telling you to copy.” I’m kind of traditionalist, in that I think that if you don’t look at the great masters like Michaelangelo, and you don’t figure out what they did and how they did it, you’re never going to be that good at what you do. I also find it interesting to reconnect with artists that I left behind in my past, like I recently rediscovered Patti Smith. There is so much heart and soul in everything that she does; she has a complete belief system around what she’s producing and giving to people. I think that if you’re not producing things in that manner, you’re really not making architecture, you’re just doing ‘stuff.’ How has living and practicing in New York influenced your work?
One of the things that is great about New York is that you can run into anyone at any given moment, like while riding the subway. That’s how I initially ‘kind of’ met Michael Schumacher, a composer with whom I’ve collaborated artistically. I was sitting on the train one day 12 years ago, and Michael got on with his son and sat down, looking frustrated. His son asked, “what’s wrong, Daddy?” and Michael replied, “it’s nothing, Daddy forgot his synthesizer.” And I had been looking at him thinking, “I can tell that guy is a composer! I should introduce myself and tell him I’m an architect and that I like to collaborate with composers.” Two years later, a mutual friend introduced us and I recognized him as the guy from the subway. When I lived on 19th Street I’d run into John Cage and Merce Cunningham constantly. There’s this great synergy that happens in New York, where you are always rubbing elbows with people who have set the bar for their artistic output at a really high level. The minute you give up doing things at a certain level, you run into someone like John Cage, and you say, “You know what? I really have to pick up my game.”
The simplicity of your work is refreshing; the forms are clean and legible, and you keep the material palette honest. Would you consider design a reductive or additive process?
Design is always a conversation with the client. Some architects approach design by listening to what the client wants and giving them exactly that. But sometimes the client doesn’t know what the hell they want. Your job as an artist is to look at this person, figure out where they are coming from, and how to create an envelope that addresses their issues. How can I create something that is so beautiful that you engage with it on a very deep psychological level? I’ve always been pretty honest—I’m the kid who told the Emperor about his (lack of) clothing. When the tagline was “architecture with a capital ‘A’,” I was asked what I thought about it. Though others said they found it disgusting, I said “I believe in architecture with a capital A, that’s the only thing I ever plan to produce for the rest of my life.”
A uniting theme in your work is ‘framing nature’ and the incorporation of natural light. How do you accomplish this in urban projects, such as the Infinity Chapel?
The Infinity Chapel is a minimalist box, but I used natural materials within—a gallery to frame natural elements. I encouraged the Church to convert a courtyard in back that had previously been used for garbage into an outdoor chapel. Now it’s their favorite part of the project. During church meetings, they can look out the window at beautiful greenery. It’s a great way to provide a release valve from being in New York City, which on the one hand is fantastic because you are surrounded by so many creative and intelligent people, but at the same time, you are very separated from the natural condition. Sustainability is also a recurring theme in your work, and your firm donates 2% of profits to nature conversation groups to offset construction. Describe some sustainable but practical building strategies that you often employ.
Unfortunately, LEED certification adds significantly to a budget in terms of paperwork and the various professionals you have to bring on board. Or you can affordably approach sustainable design, as we did with the Won Dharma Center. We attained zero carbon footprint very cheaply by installing a biomass boiler at the center of the complex for heat, and solar heat gain panels on the roof for hot water. We specified sustainably harvested wood, which you can now buy at Home Depot. And we are using spray foam insulation. From the research that I’ve done, spray foam plus really good triple glazed windows is a great strategy to reduce heat and cooling loads. Also, we follow passive design strategies; for example, if you are designing for a warm climate, choose a light colored roof, and design deep overhangs and south-facing exposures.
You published the book, “Designing with Light” and are currently developing a book entitled “Designing with Sound.” What have you learned in your research and how has it influenced your recent designs? What I find interesting is how divorced people have become from natural phenomena. For example, people didn’t really understand that not having a healthy relationship with light can actually kill you. Artificial light is really damaging. If you aren’t in synch with these natural rhythms of daylight and dark, you can get really sick. By the same token, sound and the way that you are in touch with it has a lot to do with your physiological well-being. Most of the sounds that we hear on a day-to-day basis are jarring industrial sounds rather than forms of communication. People in our civilization rarely listen to sounds in nature because they are so disconnected. I’ve always found physics fascinating, especially Einstein when I was growing up. When I researched the book on light, one of the key players was Lene Hau, a Professor of Physics at Harvard. She figured out a way to control the speed of light; she created a machine that looks like a pinball machine, and she shoots laser beams through it. There is a foil bag outside of the machine that contains Bose-Einstein condensation, which is the closest that matter can get to absolute zero. I wondered, if I touched it, would my finger would fall off? And I asked her, “did you build this whole thing by hand?” and she said, “yes, that’s the only way I could do it.” That’s so amazing. Again, if you are not in touch with the art and craft of what you are trying to study, you are not going to make any progress.
How do you find time to do it all—architecture, blogging, collaborating, researching, writing, etc.?
It’s really difficult to fit it all in, and I probably drive everyone in my office crazy because I’m constantly starting new projects that spin off the old ones. If you don’t throw a lot of stuff out there, it’s not going to stick. If you aren’t constantly looking at different ways of expressing yourself as an artist, you’re going to get really stale.
We’d like to thank Ms. Meyers for sharing her insight on architecture and design. We greatly admire her passion for her craft and her impressive portfolio of work. |
Подсказки для покупать для сбывания недвижимостью Предпринимателя (FSBO) Posted: 07 Feb 2011 11:46 AM PST Если вы сделай-сам тип когда это прибывает в домашними улучшениями, то вы можете хотеть рассматривать эти же общаясь с трудыами недвижимости. Лицензированный агент недвижимости необходим во время домашних трудыов хотя если вы себя, то неопытный или не имеете время управлять делом мы предлагаем работать с агентом по мере того как он наиболее вероятновероятн сохранит вас время и деньги. Общаться с для сбыванием свойствами Предпринимателя (FSBO) собой будет требовать, что вы посоветовали с юристом недвижимости для того чтобы разрешить все юридические вопросы и кредиторы могут типично работать с вами для того чтобы управлять финансовохозяйственной обработкой документов. Находить недвижимость и дома FSBO может быть трудным процессом но здесь некоторые подсказки ища. 1. Управляйте районом Как с любым поиском недвижимости самое лучшее набрать внутри на районе вы хотите купить внутри и потратить некоторое время управляя через его во время всех времен дня и недели получить чывство для района также, как ищите для сбывания подписывает внутри ярды. Вы будете хотеть найти знаки non-агента если вы изыскиваете свойства FSBO и эти типично очень родовой смотреть. |
Типы настила: Дома с любимчиками Posted: 07 Feb 2011 09:00 AM PST In this second part of a four-part series, we take a look at how to choose types of floors based on the needs of your household. In this week’s edition, we concern ourselves with our fuzzy, four-legged friends. Or maybe they have scales and a tail – whichever. Some types of flooring suit Rover and Fluffy down to the ground more than others. Or at least, some floors are more low-maintenance on this front than others are. Find out which ones may be the better choice here. And note that nail-clipping and being vigilant when it comes to messes, whether due to ‘accidents’, or simply from spilled water dishes, are all concerns that require your attention no matter which type of flooring you decide on. Your floor’s best ally is you, after all. But, you knew that. If you want to enlarge the graphic, just click on it. A new window will open. Then, click it again to enlarge. And please bark or meow at us in the comments section to let us know what you think. If you’ve still got questions about flooring and pets, or about anything you’ve taken from this graphic, please don’t hesitate to call our helpful sales team, who know a thing or two about floors of all kinds. Email them at sales@builddirect.com or call them toll-free in North America at 1 877 631 2845. Stay tuned (or better yet, subscribe to this blog!) for next week’s entry, Types of Flooring: Homes With Allergies Cheers! Would you like to embed this graphic to your own website? Easy! Just copy the code below, and paste it in when creating your post. Types of Flooring: Homes With Pets is a post from: BuildDirect. We cover a variety of home improvement products including laminate flooring, hardwood floors, bamboo flooring, tile, decking and more. We also offer a wide range of info on interior design, housing trends, home how to, green building and living, and more. Related posts: |
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