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The architecture of the United States has included a wide variety of styles throughout its history. Home styles in the U.S. are regionally diverse and the shapes they have taken on have been influenced by many other types of architecture. The result is an eclectic mix of different home styles can often be found within the same neighborhood, even on the same block. Here are some of the most popular types of houses that can be found in most parts of America.
The Cape Cod style home originated in colonial New England and they were built as early as the 1600s through the 1930s, 1940s, and 1950s. In colonial days, a Cape Cod house was a simple, one-story structure made of wood with a single chimney in the center and a symmetrical appearance. Cape Cod houses have a steep roof with side gables, dormers for light, shutters, and little exterior ornamentation.
Georgian Colonial was a popular architectural style during the 1700's through the 1850s and can be mainly found in the east and south. Spacious and comfortable, Georgian Colonial homes are square and symmetrical in shape with a paneled door in the center. A distinctive, decorative crown usually adorns the entrance before a medium pitched roof. Columns or flattened columns can be found on either side of the door. Sound familiar? The most famous example of late Georgian architecture is the White House.
In the mid-19th century, many prosperous Americans believed that ancient Greece represented the spirit of democracy. It is no wonder then that during this time period, Greek Revival was a popular form of architecture. Greek Revivals have details reminiscent of the Parthenon, with pillars and a stately appearance. Greek Revival houses usually have a symmetrical shape, pedimented gables, and bold-but-simple moldings. Many Greek Revival houses also tend to have a front porch with columns, decorative pilasters, and narrow windows.
The Queen Anne style became an architectural fashion in the 1880s and 1890s. The industrial revolution brought new technologies that enabled builders to use pre-cut exterior trim that had been mass produced to create whimsical looking houses. Victorian Queen Anne homes often have round or square towers, turrets, wrap-around porches, and other fanciful details. Queen Anne houses may also have a steep roof, front facing gables, an asymmetrical shape, bay windows, and ornamental spindles and brackets.
With Tudor Revivals, the name almost suggests that these houses were built in the 1500s during the Tudor Dynasty in England, but really they are early 20th century re-inventions of Medieval cottages and even palaces. In fact, they are also referred to as Medieval Revivals. Tudor Revival houses have decorative half-timbers exposed to give the appearance of a medieval house. They may even include a false thatched roof. Decorative woodwork and some brick-work can be found on the exterior walls. Tudor style homes may also have steeply pitched roofs, massive chimneys, prominent cross gables, and narrow windows with small panes.
Victorian Stick houses grew in popularity during the mid-19th century. Victorian Sticks can often be mistaken for Tudor Revivals, as they also have exposed timbers or "stickwork" and other details borrowed from medieval times. However, most Tudor Revival houses are sided with stucco, stone, or brick, while Victorian Stick style houses are usually made with wood. Victorian Stick homes tend to have a rectangular shape, steep gabled roofs, overhanging eves, and decorative braces and brackets.
Colonial Revival became a standard in the 19th and 20th centuries as Americans sought to express their patriotism and return to classic architectural styles. During that time, builders romanticized colonial architecture, designing rectangular brick homes that were 2 to 3 stories tall. The living areas are on the first floor and bedrooms are on the upper floors. Colonial Revival houses have a symmetrical façade, brick or wood siding, simple detailing, a gabled roof, and dormers. Some may even have a temple-like entrance, with pillars or columns and porticos topped by pediments. The Colonial Revivals were so popular, homes of this style were still being built until the mid-1950's.
California Bungalows, Craftsman Bungalows, and Chicago Bungalows were variations of affordable housing type that swept across the U.S. throughout much of the 20th century. Bungalow houses come in many styles, but most have simple box-like, horizontal shapes, are one and a half stories tall, have an efficient floor plan with living spaces on the ground floor, rooms connected by hallways, and a living room at the center. The kitchens also tend to have built-in cabinets, shelves, and seats.
The Foursquare style home, sometimes called the Prairie Box, was pioneered by Frank Lloyd Wright in the early 20th century. As the name suggests, they have a simple box shape and a four-room floor plan. Simple Foursquare houses were built in brick, stone, stucco, concrete block, or wood and have large central dormers. Full-width porches with wide stairs are also popular in Foursquare style architecture.
Uncomplicated Ranch houses evolved from several 20th century styles, including ramblers and bungalows. Sometimes referred to as a California Rambler, Ranch Style houses are usually one-story tall and rectangular, L-shaped, or U-shaped in design. They tend to have a low-pitched gable roof, deeply-set eaves, attached garages, large windows and sliding glass doors.
Contemporary landscape architecture is characterized by a subjective determination to sculpt the landscape into spaces that reflect the human living experience. It develops these spaces with respect to Nature, and in some way or another always works to create a relationship between architecture and the contemporary landscape. Contemporary landscape architecture can be used either unify architecture and the surrounding landscape, or it can be utilized to starkly contrast the differences between the two. The exact nature of the relationship is always determined by the project itself, its location, and the type of environment being worked in. Because it flows along the lines of contemporary design in general, and because of its highly subjective characteristics, contemporary landscape architecture can be found in almost any setting where the experience of living itself is used to create forms and structures outdoors.
When attempting to visualize a clear differentiation between contemporary landscape architecture and more traditional forms of landscaping design, think infrastructure. Facilities such as libraries, hospitals, corporate campuses, civic centers, academic institutions, and sports stadiums all create a human experience characteristic of the urban living experience. Any open spaces that are not technically inside these buildings are then developed into planned environments that improve the quality of human life through manipulation of natural forms and outdoor spaces. Traditional landscaping seeks to emphasize and sculpt the beauty of Nature for the purposes of human appreciation. This is predicated on the belief that Nature itself offers a certain spiritual, emotional, or aesthetic meaning to life itself. Contemporary landscape architecture, on the other hand, is far more Existential and seeks to create only forms that are based on some practical function dedicated to improving the quality of life.
This is not the first time such a mindset has taken hold in a society. The idea of mirroring the human experience in natural forms goes back to the Roman Empire, where civil engineering and outdoor projects were used to build an infrastructure that united the entire Mediterranean coast into a single cultural entity. Wherever the Romans went, they built their arenas, amphitheaters, gymnasiums, aqueducts, roads, and temples as reflections of themselves. Even in the rural parts of Spain and Gaul, agricultural regions were landscaped into Roman-style villas and estates to remind conquered people that man was the master of Nature, and that Rome was the master of all men. Pure lovers of Nature, (both then and now), find this concept distasteful, and prefer tend to gravitate instead toward more aesthetic forms of landscape design whose forms represent states of mind rather than functions that serve humanity. This is why we see very little contemporary landscape architecture around private residences, but an almost universal adherence to its utilitarian principles in any public setting where civil engineers and planners have decided to integrate the natural world into human life itself, allowing people to experience the landscape on uniquely human terms. Movement through the landscape is encouraged as much as possible. Clean lines in gardens and low-growth trees help put the landscape on more of what you might call an eye-level experience for human beings that makes them feel comfortable and confident when walking through outdoor areas like city plazas, parks, and streets.
Because of the need to bring contemporary architecture into unity with the landscape itself, variety of species in plantings is frequently replaced with geometry as a means of mirroring the structural features of buildings. By contrasting only a few plant materials and low-growth trees with linear bed lines and stark geometric designs, the contemporary landscape architect can take a single open space and convert it into many blocks of form and space, woven together, much like a building containing hallways and rooms with specific lines of movement and specific functions and unique experiences contained therein.
Elegance is a must if you want to decorate your place. One material of decoration which is very popular is a poster. Indeed, posters are ubiquitous decorating material which are liked by everyone. Anywhere you go, be it a hotel, restaurant, resort, a friends house or a museum, you can find many architecture posters in big sizes. These look beautiful as well as elegant. If you will go to market to buy some really good such stuff then it may happen that you are disappointed.
It is a fact that despite of their popularity you can not get variety of architecture posters in general shops. There you would get very common posters which are available everywhere. Now, if you want a beautiful poster of Dunguaire Castle or Eiffel Tower at dusk or Eiffel Tower at night where would you go. I am sure that such kind of variety can not be found anywhere. In that case you can opt for online shops. There are various poster websites which can get you world's most famous buildings and architecture which you can not get anywhere else.
Be it Bavarian Castle, Big Ben, Brooklyn Bridge, Burj Al, Chateau Chenonceau, Dunguaire Castle, Empire State Building, Firenze, Kinkakuji of Japan, La Baiser, Liverpool St. Station, London Eye, or Manhattan, you can take home any of the world famous architecture at your home. See, compare and choose architecture posters of your choice and decorate your place with them.
These can be the delight for eyes and at the same time cost-effective also. Many people are fond of architecture pieces and styles. You can gift these architecture posters to them also. These are very beautiful gifts. Internet gives you immense options of choosing them. So choose your building and architecture style and buy for decoration and gifting. These buildings are inspiration also. To be strong and tall.
Architectural area lights feature an aesthetic component that differentiates them from the purely functional fixtures used in typical site lighting. Although the lamps used in both architectural area lighting and site lighting are often similar--if not identical-- light sources, architectural area lights are made with a noticeably higher level of decorative design and ornamentation. As such, purchasing costs can be rather high, and this can deter municipalities, academic institutions, and even small corporations from making an investment that would otherwise serve their outdoor lighting needs on a number of levels ranging from public appeal to commercial branding. When commercial site developers, architects, and contractors encounter this type of resistance, they can turn to Commercial Lighting for adjunct lighting design support that will enable them to propose cost-effective, energy saving light sourcing that offers both tangible benefits and ROI on multiple levels.
Contractors frequently encounter office buildings, churches, museums, civic centers, municipal headquarters, universities, restaurants, resorts, and country clubs that require a highly customized, often very sophisticated architectural area lighting system that will contribute certain key elements to their property, building architecture, and public image. The fixtures and lamps that will ultimately be used to build these systems must completely accommodate the multiple demands of dark sky laws, increasingly strict LPW efficiency codes, minimum foot candle requirements, and bring the client measurable ROI through reduced power requirements and minimized ongoing maintenance.
If you are a commercial developer or sole proprietor working as a DIY electrical contractor, you can quickly and accurately accommodate these many demands in an expeditious manner is to work with a vendor like Commercial Lighting that offers complimentary, adjunct design services with a systematic approach. Before we suggest any specific lamps or fixtures, we first want to learn more specifics from you regarding your client's site. When we understand architectural area lighting to actually be a combination of four separate elements- parking lot lighting, parking garage lighting, building architectural lighting, and security lighting- the right questions to ask become readily apparent. Does your client have a parking lot, a parking garage, or both? What is the total number of buildings located on the property? Are there public park areas, open landscapes, recreational areas, or walkways that require special lighting? How many people work or visit the facility at night? What is the total acreage of the property if it is located on a considerably large piece of land? How much light will the entire system output, what it will cost, and what will be the expected return on investment for your client?
The data gathered from this dialogue is now inputted into sophisticated lighting design software that enables us to calculate on a point by point level the exact photometric requirements needed to determine which specific fixtures will best provide building accent light, perimeter and walkway security, glare free, well-lit parking areas, and aesthetic, shadow-free landscape, and an energy savings package that offers a measurable ROI by means of energy and maintenance cost savings. By eliminating the guesswork from architectural area lighting,
Commercial Lighting helps contractors first determine exactly what lighting levels and power requirements are optimal to propose, and second, which actual products will most effectively and affordably offer clients lasting solutions that are affordable, reliable, and aesthetically superior. By giving smaller design firms and individual lighting design consultants access to software normally affordable only to larger firms, Commercial Lighting also helps level the lighting design playing field, arming small companies and consultants with competitive advantages that can rival even the largest firms in photometric accuracy, specification grade quality, and multiple benefits at the line item level.
Commercial Lighting maintains a full selection of architectural area lighting fixtures, lamping options, commercial lighting poles, and mounting accessories that allow the contractor to offer more options to the client at the line item level. As a representative of a number of reputable, domestic, and established manufacturers, we can offer any commercial developer, architect, or lighting designer impeccable lead time on products made here in the United States and drop shipped anywhere in the country to expedite time to market delivery of products and services.
To stay on top of today's increasingly regulated and competitive marketplace of architectural lighting design, you must focus on service beyond customer service. This may sound like an odd thing to say if you are a contractor who takes pride in exceeding client expectations and relies on customer service to win bids. Hear us out for a moment and consider this point of view as well: your service alone to the client will end when the system is finished, and the client will probably hope that you will not have to return with a labor invoice for additional service fees for maintenance and replacements. The type of service they are looking for comes not so much from you (although courtesy and professionalism are always a given in business), but rather equipment and solutions that serve them every evening when the doors close and the lights come on.
A system developed along these principles of architectural lighting design is something of an intuitive beast that anticipates expectations on two levels. On one level, it reliably performs without mishap on a consistent basis in accordance with how it is intended to perform. On an entirely different level, superior architectural lighting design anticipates increasingly strict government regulations that increasingly mandate more green technology both in terms of power costs and material builds associated with equipment manufacture.
To be a leader in architectural lighting design, you have to think ahead, and you have to install equipment that in spite of its lack of "thinking" ability, behaves as though it can think and satisfies both the client and surrounding community with performance above and beyond what is generally expected.
To create this level of excellence, you must take either take extraordinary measures to design an architectural lighting system or work with an exceptional vendor who can offer you some unique and very proprietary support services. Architectural lighting design on the scale that we are talking about requires investing in very expensive software that many smaller companies and freelance contractors simply cannot afford, but desperately require nonetheless to develop site lighting and exterior lighting proposals that simultaneously speak to cost consciousness, governing authorities, employee morale, branding and advertising, and power conservation. Without tools such as this to work out all the math and angles of incidence necessary to determine wattage, voltage, foot candle densities, required LPW, and CRI index, finding the right industrial lighting fixtures for the system at a price your clients can afford and still make you a profit can be like searching for a needle in a haystack in today's online marketplace of foreign manufactured goods, inflated promises, and endless discount offers on shortcut engineering that costs more money in the long run that it saves in the short term.
Consider instead the benefits of working with a vendor like us who has already spent the money on architectural lighting design software so you won't have to, and who will offer its full functionality to any client at no additional costs to the price of the equipment you buy. If you are a small, privately owned business, you can now compete with large architectural firms and lighting designer powerhouses that previously outcompeted because they had access to resources you lacked. If you are a larger company considering purchasing a suite of programs that will then requiring expanding your staff in a time of cutbacks and recession, don't. Let our staff assist you with the process of turning conceptual, intuitive architectural lighting design into a scientific, mathematically sound schematic of the actual hardware to be used and the recommended positions of every fixture and lamp in the system.
Not only will such a partnership save you time by streamlining the proposal development process, but it will also make your line items more precisely targeted toward the long term objectives of energy code compliance, reduced maintenance and replacement costs, light pollution control, and optimal aesthetic compliments that any client can justifiably and reasonably expect from their investment in architectural lights. When all of these variables are correctly factored into the lighting design equation, the outcome promises reliable service, a compliment to operations and aesthetics, and multiple sources of ROI ranging from savings on power bills to an increase in business resulting from a safer work environment and a more attractive face to the business world.
Many - including me - evangelize on the noble goal of creating a Enterprise Architecture before setting out on an IT project. One of the key issues with that is that the ‘Enterprise’ hardly ever acts as such. The typical enterprise is at best a federation of little fiefdoms, that more often than not are in constant political warfare against each other. That gets even worse when the enterprise has been assembled by acquisition and worst with hostile takeovers. It is highly unlikely that these fiefdom chiefs will be too happy to collaborate with other chiefs on creating a new Enterprise Architecture. Even if there is c-level buy-in and a champion has been chosen, bureaucratic resistance makes many projects falter. I am quite certain that one reason is wrong expectations set by over-hyped marketing.
Several BPM and application vendors promote the benefits of model-driven development and some even claim that they make that available to the business user (fiefdom chief). Some BPM vendors want the business user to work with a flowcharting tool and others with a requirements wiki/blog thing. This amazing business user would then ‘model’ the necessary business entities. I am sure that comes natural for most, right? This ‘ExtremlySMART’ process software would then generate the process CODE to execute those models. I have to admit that I am in awe. Supposedly that functionality - as simple as described here - ensures a dynamic enterprise with the agility to handle rapid change. Hmm? The user not only can create enterprise models and deploy them automatically but can foresee the necessary changes and how those will impact the current generated code? Amazing. A few abstract models supposedly do the trick. Astonishing. In less than three month those users make it all happen? Wow!
We propose to make much simpler features than architecture models available to business users and more often than not that fails quite miserably. So our software must be less good than our competition? I think not, it is just our marketing that is less blunt. Business users aren’t architects. They do not care about architecture. Just defining what processes one business unit needs and to get them tested takes certainly already longer than three months! Without architectural considerations. No implementation yet. Certainly not the final thing.
But I agree that the reuse and sharing of conceptual business knowledge would be the only chance to properly sell the benefits of a business architecture to business users. It has to be made visible and usable and allow them to not only participate but utilize the existing models to speed up their own implementation and deployment. Business users think in business terms, in content and what they see. Some may even think in rules. Finito. Thats as far architecture will go.
The benefits of creating a consolidated process and content driven architecture are:
The next element to be created by business is the business content. Not documentation or descriptive text, but documents that contain relevant business data and information. There is no content without process and process without content you don’t need. (Here I go again) Based on their authorization business users can assemble and create new business content from a library of texts and logic building blocks. These are linked to task/activity/todo and stored in a business library of processes.
To be able to work with the content the users have to be able to define their processes/cases. I propose (as you know) that there should not be any rigid processes. Users simply drag and drop content and business objects into the case. The process is owned and created by the relevant business users. Creating content outside the context of a business case/process should ideally be impossible.
Now, how can the process/case be controlled and propagated? I propose further that if you start with the right user role/policy authorization and your content is assigned the right role/policy definition for its executable methods, then many complex process definitions fall by the wayside. If only one user role is authorized to change the case state then no further business rules or decision blocks are necessary. But obviously it is possible that a fairly complex rule has to be added that controls what can or can not be done. In this case the business user or analyst can add business rules to the case model, ideally in a non-technical manner. Rules that are linked into the context of the business process are connected to it by events that trace the relationships and therefore complex resolution algorithms such as RETE are not required.
Let’s not forget that each user likes his own very special way how the workload should be presented to him/her. I suggest that the users should be allowed and enabled to freely customize their own user interface to their liking. With your typical forms, Java or Ajax interfaces that is not feasible or maintainable.
Last but not least: would it not be nice if the system could discover by itself what summary content state will drive the process state forward. I propose that this has to be the future.
Yes, we can and we should strive to empower the business user. But it has to be more than a marketing announcement. Those you will find predominantely in the BPM community. From giving away flowchart design tools to business users, to requirement wikis there are many so-called revolutionary ideas that at best are incremental progress if at all. The revolutionary ideas are found in the Papyrus Platform.
Several BPM and application vendors promote the benefits of model-driven development and some even claim that they make that available to the business user (fiefdom chief). Some BPM vendors want the business user to work with a flowcharting tool and others with a requirements wiki/blog thing. This amazing business user would then ‘model’ the necessary business entities. I am sure that comes natural for most, right? This ‘ExtremlySMART’ process software would then generate the process CODE to execute those models. I have to admit that I am in awe. Supposedly that functionality - as simple as described here - ensures a dynamic enterprise with the agility to handle rapid change. Hmm? The user not only can create enterprise models and deploy them automatically but can foresee the necessary changes and how those will impact the current generated code? Amazing. A few abstract models supposedly do the trick. Astonishing. In less than three month those users make it all happen? Wow!
We propose to make much simpler features than architecture models available to business users and more often than not that fails quite miserably. So our software must be less good than our competition? I think not, it is just our marketing that is less blunt. Business users aren’t architects. They do not care about architecture. Just defining what processes one business unit needs and to get them tested takes certainly already longer than three months! Without architectural considerations. No implementation yet. Certainly not the final thing.
But I agree that the reuse and sharing of conceptual business knowledge would be the only chance to properly sell the benefits of a business architecture to business users. It has to be made visible and usable and allow them to not only participate but utilize the existing models to speed up their own implementation and deployment. Business users think in business terms, in content and what they see. Some may even think in rules. Finito. Thats as far architecture will go.
The benefits of creating a consolidated process and content driven architecture are:
- Create a reusable business architecture by doing local projects that are managed in a repository
- Grow the applications by involving business users iteratively within the project to define content, views and processes (not models!)
- Utilize version controlled change management to deploy the architecture models into a scalable production environment
- Processes are not rigid flows that require analysis effort but are assembled by users and controlled by rules and trained patterns
- Enable business users to enter simple natural language business rules
The next element to be created by business is the business content. Not documentation or descriptive text, but documents that contain relevant business data and information. There is no content without process and process without content you don’t need. (Here I go again) Based on their authorization business users can assemble and create new business content from a library of texts and logic building blocks. These are linked to task/activity/todo and stored in a business library of processes.
To be able to work with the content the users have to be able to define their processes/cases. I propose (as you know) that there should not be any rigid processes. Users simply drag and drop content and business objects into the case. The process is owned and created by the relevant business users. Creating content outside the context of a business case/process should ideally be impossible.
Now, how can the process/case be controlled and propagated? I propose further that if you start with the right user role/policy authorization and your content is assigned the right role/policy definition for its executable methods, then many complex process definitions fall by the wayside. If only one user role is authorized to change the case state then no further business rules or decision blocks are necessary. But obviously it is possible that a fairly complex rule has to be added that controls what can or can not be done. In this case the business user or analyst can add business rules to the case model, ideally in a non-technical manner. Rules that are linked into the context of the business process are connected to it by events that trace the relationships and therefore complex resolution algorithms such as RETE are not required.
- The first level of task assignment should be by role authorization and queue visibility.
- If one or more users or departments share the same role assignments then automatic load balancing must take over (load, availability, priority).
- Rather than coding complex decision trees, decision maps, and decision tables the training if decision patterns is more efficient.
- Simple time controlled state changes can ensure that service level agreements are adhered to in the process.
- Event listeners can trigger rules and rules can send events to interconnect object attribute value changes
- Rules can not only be simple IF/THEN statements but also commands and object-relational queries and searches.
- The context of the rule in the process and its event linkage avoids the need for conventional forward or backward chaining.
- Process state can simply decide whether a process requires human interaction or can run in lights-out mode. (aka straight-through processing).
Let’s not forget that each user likes his own very special way how the workload should be presented to him/her. I suggest that the users should be allowed and enabled to freely customize their own user interface to their liking. With your typical forms, Java or Ajax interfaces that is not feasible or maintainable.
Last but not least: would it not be nice if the system could discover by itself what summary content state will drive the process state forward. I propose that this has to be the future.
Yes, we can and we should strive to empower the business user. But it has to be more than a marketing announcement. Those you will find predominantely in the BPM community. From giving away flowchart design tools to business users, to requirement wikis there are many so-called revolutionary ideas that at best are incremental progress if at all. The revolutionary ideas are found in the Papyrus Platform.
What is 3D architectural rendering? The 3d modeling visualization technology provides a three dimensional view of any object. We all love to see 3D views or animations for any object, it allows us to think how the live object will look. However this service it expensive, but yes it is more exciting than any other 2D object view.
With 3D architectural renderings, 3D animations & illustrations you can have a great opportunity to play with your thoughts or imaginations. You can build more realistic impressions for your structure and find out how a house or building project will look in future.
3D architectural rendering provides you an animation effect that helps to understand your construction project much better. Using 3D renderings you are able to view particular construction point for your project more clearly from different angles, this is not possible with 2D rendering services.
Benefits for Architectural 3D rendering & illustration services:
3D architectural rendering, 3D animation & illustration is a creative process. This service is very much similar to a simple photography, as you can produce great images from these. 3D architectural rendering can add great realistic lightings, colors, texture and other additional effects to your objects, buildings or landscapes.
These architectural animations help you to decide realistic colour for your building interiors and exteriors. Exterior renderings as well as interior renderings and site plan walkthroughs. These could be colored, textured rendering or black and white conceptual sketches.
If you are an architect these services will help you a lot to impress your clients, as clients just love to see how their construction project will look after the final construction. Now a day’s 3D architectural renderings play an important/ part in architect’s life. Professional architects understand that 3D architectural rendering provides visual presentations for landscape projects, buildings and other structural or non-structural objects. Rendering services includes floor plan, house plans, interior and exterior architectural renderings.
Remember
Use architectural 3D rendering technology andv isualize your dreams yourself.
With 3D architectural renderings, 3D animations & illustrations you can have a great opportunity to play with your thoughts or imaginations. You can build more realistic impressions for your structure and find out how a house or building project will look in future.
3D architectural rendering provides you an animation effect that helps to understand your construction project much better. Using 3D renderings you are able to view particular construction point for your project more clearly from different angles, this is not possible with 2D rendering services.
Benefits for Architectural 3D rendering & illustration services:
- Full project visualization
- High quality presentations within affordable project cost
- Provides better understanding for your project with 3D details
- Best project control with more results in less time
- Faster Building or Project Designs
- Increases in Productivity
- Minimize errors in project due to accurate designs
- High Quality web/video/brochures presentations
3D architectural rendering, 3D animation & illustration is a creative process. This service is very much similar to a simple photography, as you can produce great images from these. 3D architectural rendering can add great realistic lightings, colors, texture and other additional effects to your objects, buildings or landscapes.
These architectural animations help you to decide realistic colour for your building interiors and exteriors. Exterior renderings as well as interior renderings and site plan walkthroughs. These could be colored, textured rendering or black and white conceptual sketches.
If you are an architect these services will help you a lot to impress your clients, as clients just love to see how their construction project will look after the final construction. Now a day’s 3D architectural renderings play an important/ part in architect’s life. Professional architects understand that 3D architectural rendering provides visual presentations for landscape projects, buildings and other structural or non-structural objects. Rendering services includes floor plan, house plans, interior and exterior architectural renderings.
Remember
Use architectural 3D rendering technology andv isualize your dreams yourself.
Architecture has always been one of the most desirable career fields. Today, like always, many students are thinking of getting architects jobs later in life and are carefully planning their way. But how do you get an architecture job, and more important, is it worth it? Architects usually design the building and hand it down to engineers who design the structural composition of the buildings to make it stand - this means they do things like calculating how big the columns should be to make an 8-storey building stand.
Surprising as it may seem, architects often think engineers earn more than them. But the problem is not that simple: depending on their vision and creativity, architects can charge anywhere between $85.00 and $185.00 an hour to draw. Perhaps the best way to answer a money – related question to a student is to have them work for an architect to see if it is worth it. Architecture jobs may not be easy to find as a student, but once you do get one you will soon realize whether you are made for it or not.
When discussing architects jobs, students often wonder what to take – architecture or engineering. This is a simple question, as it boils down to what you want. If you are more into creating the building and designing how it will function and how it would look like, you should take up architecture; architecture jobs will sure make use of your talent. Your artistic taste and originality will show very clearly in this profession. But if you like math and you are interested on how to make a building stand, you should choose engineering. Many engineering positions are closely related to architecture jobs. Either way, you can have your private practice, if this is what you are looking into.
Architects often influence students – in fact, they know their job best. When asked who should pursue an architecture career, most architects say that people who are more a creative, curious person, who likes reading and learning from history are the most suitable forarchitecture jobs. Yes, it is true that it takes a lot of work to become an architect, but these are the first qualities a future architect needs.
When it comes to advice, architects agree on one thing: architecture is everywhere, so all students have to do is just look around, and they can see what they would like to do, and certainly what they would not want to do. Spending some time with both architects and engineers is the best way of getting a real approach to finding the right answer to their career questions.
Regarding money, this issue should be forgotten. Of course, money is very important, but anyone should focus on deciding what they like and whether or not they are comfortable with working a lot in that specific field. When they find these answers, money comes naturally, as a result. This applies not only to architecture jobs, but for any career one wants to pursue.
Surprising as it may seem, architects often think engineers earn more than them. But the problem is not that simple: depending on their vision and creativity, architects can charge anywhere between $85.00 and $185.00 an hour to draw. Perhaps the best way to answer a money – related question to a student is to have them work for an architect to see if it is worth it. Architecture jobs may not be easy to find as a student, but once you do get one you will soon realize whether you are made for it or not.
When discussing architects jobs, students often wonder what to take – architecture or engineering. This is a simple question, as it boils down to what you want. If you are more into creating the building and designing how it will function and how it would look like, you should take up architecture; architecture jobs will sure make use of your talent. Your artistic taste and originality will show very clearly in this profession. But if you like math and you are interested on how to make a building stand, you should choose engineering. Many engineering positions are closely related to architecture jobs. Either way, you can have your private practice, if this is what you are looking into.
Architects often influence students – in fact, they know their job best. When asked who should pursue an architecture career, most architects say that people who are more a creative, curious person, who likes reading and learning from history are the most suitable for
When it comes to advice, architects agree on one thing: architecture is everywhere, so all students have to do is just look around, and they can see what they would like to do, and certainly what they would not want to do. Spending some time with both architects and engineers is the best way of getting a real approach to finding the right answer to their career questions.
Regarding money, this issue should be forgotten. Of course, money is very important, but anyone should focus on deciding what they like and whether or not they are comfortable with working a lot in that specific field. When they find these answers, money comes naturally, as a result. This applies not only to architecture jobs, but for any career one wants to pursue.
Completed in the summer of 2007, the Grand Teton National Park Discovery and Visitor Center -- officially the Craig Thomas Discovery and Visitor Center -- by Bohlin Cywinski Jackson still racks up the awards, most recently a 2009 AIA Seattle Honor Award and a 2009 Western Red Cedar Architectural Design award. It's easy to see why in the playful yet restrained design that echoes the surrounding mountains of northwest Wyoming.
[photo by Nic Lehoux]
When I think of a national park visitor center the one overlooking Mount Rushmore, as portrayed in Alfred Hitchcock's North By Northwest, comes to mind, mainly because I've never been to a national park appointed with such a building. I'm not sure if the cafeteria in the visitor center in the film is modeled on the real thing, but a few things come across in the film set: a spacious interior, a modern/rustic aesthetic, and expansive views of Mount Rushmore. The Grand Teton Visitor Center has all these qualities, though its view is much less focused than the South Dakota landmark.
[photo by Nic Lehoux]
The main parti of the design is a U-shape that creates an intimate outdoor space and opens up a large perimeter of windows to the mountain views to the north. Services and other ancillary spaces are located on the east and west (an auditorium addition is planned for the west side), leaving the central spaces open with generous light from the south-facing courtyard. [floor plan]
[sketch and plan by Bohlin Cywinski Jackson]
Further, the sloping section means the north-facing glazing is taller than the exterior walls facing the courtyard. This may seem at odds with the particularly cold Wyoming winters, but it serves more of a symbolic than a practical purpose: the slope and expanse of glass open up the building towards the mountains while the serrated plan echoes their rugged topography.
[photo by Nic Lehoux | sketch by Bohlin Cywinski Jackson]
In terms of appearances, the building brings to mind the phrase "extreme vernacular," in the sense of "to the extreme!" The Visitor Center recalls traditional wood buildings -- mostly in the courtyard and solid east-west ends -- but it departs sharply from the vernacular by combining the sloping roofs with a highly irregular plan and large expanses of glass.
[photos by Nic Lehoux]
Even the tree-trunk columns and beams depart from any traditional role in the selective use of them: they are not continuous, only used in an upside-down U-formation when needed at varying angles that echo the exterior wall but do not follow them precisely.
This last photograph clearly illustrates the expansive views captured with the 30-foot (9-meter) high glass walls. In this large space the Discovery displays get a little lost; I can see people quickly gravitating to the glass walls and benches past them. Remembering North by Northwest, I can see a lovely cafeteria in this space.
[photo by Nic Lehoux]
When I think of a national park visitor center the one overlooking Mount Rushmore, as portrayed in Alfred Hitchcock's North By Northwest, comes to mind, mainly because I've never been to a national park appointed with such a building. I'm not sure if the cafeteria in the visitor center in the film is modeled on the real thing, but a few things come across in the film set: a spacious interior, a modern/rustic aesthetic, and expansive views of Mount Rushmore. The Grand Teton Visitor Center has all these qualities, though its view is much less focused than the South Dakota landmark.
[photo by Nic Lehoux]
The main parti of the design is a U-shape that creates an intimate outdoor space and opens up a large perimeter of windows to the mountain views to the north. Services and other ancillary spaces are located on the east and west (an auditorium addition is planned for the west side), leaving the central spaces open with generous light from the south-facing courtyard. [floor plan]
[sketch and plan by Bohlin Cywinski Jackson]
Further, the sloping section means the north-facing glazing is taller than the exterior walls facing the courtyard. This may seem at odds with the particularly cold Wyoming winters, but it serves more of a symbolic than a practical purpose: the slope and expanse of glass open up the building towards the mountains while the serrated plan echoes their rugged topography.
[photo by Nic Lehoux | sketch by Bohlin Cywinski Jackson]
In terms of appearances, the building brings to mind the phrase "extreme vernacular," in the sense of "to the extreme!" The Visitor Center recalls traditional wood buildings -- mostly in the courtyard and solid east-west ends -- but it departs sharply from the vernacular by combining the sloping roofs with a highly irregular plan and large expanses of glass.
[photos by Nic Lehoux]
Even the tree-trunk columns and beams depart from any traditional role in the selective use of them: they are not continuous, only used in an upside-down U-formation when needed at varying angles that echo the exterior wall but do not follow them precisely.
This last photograph clearly illustrates the expansive views captured with the 30-foot (9-meter) high glass walls. In this large space the Discovery displays get a little lost; I can see people quickly gravitating to the glass walls and benches past them. Remembering North by Northwest, I can see a lovely cafeteria in this space.
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