architect project

7

Dilido Island Residence in Miami 

In the words of the architects Brillhart Architecture:

This project is on Dilido Island, part of a chain of manmade islands known as the Venetian Islands, located within the City of Miami Beach. As this was a bayside site, we wanted to heighten the experience of living on – or in – the water. We sought inspiration from the long-standing pool culture of Miami Beach, where the artificial and the natural come together in diverse and spectacular ways.

9

Beach House in Praia do Felix 

From the architects Vidal & Sant'Anna:

Since this project initial conception it was treated as a “case” to be deployed in areas of high conservation restriction on the slope of the Serra do Mar, Praia do Felix. In order to preserve maximum environmental conditions the project establishes the principle of total mimicry with nature not to be perceived externally.

The project opts for circulations made by external stairs and separates the social and service, located across the slope from intimate area located along the slope below the ground. Very light, the residence, made of certified wood and glass, explores small and minimal rooms to meet the programmatic needs without losing the sense of sustainability. With 3 bedrooms, family room, 2 bathrooms, living room, toilet, kitchen, service area and spacious terrace, the house with 155.00 m2 of built area, deployed against the contour preserving characteristics of soil and original ground vegetation. With cross ventilation and air chambers on the roofs / decks environmental comfort is guaranteed without the need for equipment for temperature equilibrium.

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Iulia Hasdeu Castle: The Eerie Romanian Castle Designed by a Ghost

In 1888, Romanian intellectual Bogdan Petriceicu Hasdeu’s daughter Iulia died at the age of 18, leaving him devastated.

Iulia Hasdeu’s early death significantly altered the course of Bodgan’s life. In the years after she passed, he dedicated much of his time, energy, and wealth into remembering and memorializing his daughter. Hasdeu was inspired by the Spiritism movement, through which he claimed he was able to communicate with Iulia beyond the grave.

Iulia, named after her mother, was born in November of 1869. She was an extraordinary child from an early age. Iulia was gifted in music and languages; by 11 she had graduated from St. Sava Gymnasium and the Music Academy of Bucharest, having studied both piano and voice.

By her early teens, Iulia had mastered seven languages, and she continued her secondary education at the S?vign? College of Paris. Her peers and professors considered her to be a genius, as she excelled in academia as well as drawing, painting, piano, and singing. She also wrote poems and short stories; a collection of her work was published after her death.

At the age of 16, Iulia began studying in the Faculty of Letters and Philosophy at La Sorbonne in Paris. She was a dedicated pupil, and the pride of her father’s life.

A month before she turned 19, while working on her doctoral thesis, Iulia was suddenly stricken with–and passed away from–tuberculosis. Her distraught father built her a temple in the family vault at the Bellu Cemetery in Bucharest.

But this monument wasn’t enough for Bogdan Hasdeu.

The next “temple” that Hasdeu dedicated to Iulia took the form of a castle, located in the country town of Campina. Hasdeu and his wife were visiting friends in the summer of 1893 when they saw the property, and decided it would be the ideal place to build a shrine to their daughter. They purchased the land and began the planning process immediately.

The head architect on the project, Hasdeu claimed, was none other than Iuelia Hasdeu herself.

Hasdeu said that Iulia had been communicating with him in short bursts, giving him plans for the castle’s design. Special attention was paid to what Iulia considered “magic” numbers, 3 and 7. There are three towers, three rooms underground, and staircases made of seven steps each. Other details include a massive stone door entrance, hung on a diamond bearing. On either side of the door are stone thrones, on which rest two female sphinxes; above the door is the “eye of the world,” as well as the date “July 2,” which Hasdeu used as a symbolic representation for his wife and daughter–the two Iulias.

The castle has been described as deeply spooky; there are rooms designed specifically for spiritualist rituals, complete with seats for attending ghosts. Many claim that Hasdeu was not using it for memorializing Iulia at all, but rather for worshiping Satan. Others report seeing Iulia’ spirit, haunting the castle to this day, dressed in white and clutching daisies.

Whether its origins were sinister or merely sentimental, the Iulia Hasdeu Castle today stands as a museum, where visitors can see Hasdeu family memorabilia, including furniture, photographs, and original manuscripts.

keated  asked:

'We'? How many people were working on Unstable? Is that different from the prior Un-sets? I always thought you worked on those sets mostly just yourself?

I lead the design but I had a design team.

I did though design a higher percentage of cards than I usually do.

And I was on the development team.

And I was the Product Architect overseeing the project.

And I did extensive work on names and flavor text (a lot more of the latter).

In short, I have been more involved in Unstable than I have been of any set in quite a while.

But I sure didn’t do it alone. I worked with a lot of very talented people from design to development to art to flavor to editing.

And, as you will see, it shows. This is the best Un-set we have ever done. I can’t wait for you all to play with it.

yarrayora  asked:

i dont actually follow overwatch but sometimes i think about symmetra having a hard time befriending people her own age because of her autism (like me) and she ends up great at connecting with kids

Oh my gosh, yarra, that’s such a friggin cute idea??

I can see one of things she’s really likes about children is how straight forward they are. Especially in the very competitive, corporate circles she tends to move in, interactions are very high stakes, tightly controlled, and nuanced. Satya has studied the communication for a long time – she probably spent more time memorizing facial expressions and tonal shifts than she ever did reading, which came easily to her. She’d get in trouble by the professors at the Academy for reading comics, thinking she was slacking, but the assigned classwork was too easy for her and she was actually using the stylized expressions in the comics to help her learn. So much is left unsaid during “grown up” conversations and she’s constantly on edge for that, so even when she’s not in a business sort of meeting she can find herself getting exhausted very easily. Making friends can be hard for a number of reasons, but definitely a prominent one is the fact that she feels like she can never let her guard down, can never fully trust them not to be secretly mocking or challenging her without her knowing. Even just being able to tell that someone wants to be her friend is baffling – more than once she has walked away from an interaction feeling mournful because she’d thought that person was quite enjoyable but sure that they weren’t interested in pursuing a friendship or relationship, while the other person is also feeling disappointed because apparently this charming intelligent woman wasn’t interested in them after all. Miscommunications are a bitch, and it’s a bitch Satya lives with all the time.

Children are so easy in comparison.  Satya never spent a lot of time with children growing up – she was taken from her family at a young age, and though she did see younger children in the Academy as she climbed through the ranks, she had little to do with them since they were in different classes and dorms than her and her more advanced classes. So the first time she was really forced to interact with a child she was very nervous – how are you supposed to take care of a child?? what if it cries?? do they talk the same, what if it wants to “play” with her?? she had no idea.

So she was pleasantly surprised by how easy it was to understand this small human.  They were so emotive, and so honest about what they were thinking.  Satya found it unspeakably refreshing and enjoyable. (And she grows rather offended when people act like their child is inscrutable and bizarre, like an incomprehensible alien rather than a human with their own agency and thoughts – all you have to do is listen.)

And the children really adore her as well!  Satya treats them differently than a lot of adults – she treats them very seriously and honestly, she’s keen to share what she knows and is always happy to learn more – “I will correct my mistakes” is one of my favourite quotes of hers, she is willing to acknowledge when she’s wrong about something and improve. So often I see adults that refuse to admit they’re wrong and that the child who corrected them is right, like it’s somehow a hit on their pride for a ~kid~ to know something better than them, and it’s a really gross way to teach kids who are still excited about learning, it should be encouraged and Satya definitely does that. If the child knows more about a certain subject than her, you can bet your ass she will be interested and accepting of this new information.  And if the child wants to learn things from her?  She can engage them in the “but why” game for ages and honestly quite enjoy herself.  She’ll also sit and listen with absolutely sincerity when the children are talking about whatever they’re interested in… even if she doesn’t get it at all.  She so completely understands being so passionately and wholly in love with something and not being able to talk about it (even in Vishkar, people get glassy eyed and annoyed if she starts trying to talk too excitedly about the complex mechanics and theories of hard-light manipulation) that she will happily sit and let their words wash over her as they tell her about a game, a show, a friend, a toy, a school subject. (Children, she has discovered, tend to be remarkably well-versed in subjects like dinosaurs, space, locomotion, and horses. Fascinating. She had never known so much about construction vehicles before meeting children.)

She might not always understand when someone is subtly trying to signal that they’d like to get drinks with her, but she absolutely understands when a child walks up, takes her hand, and tells her that they want to draw with her.

She’ll draw intricate pictures of castles and pirate ships and towers and cities, with the sort of effortlessness that comes from years and years of training, and then give them to the children she’s with and let them populate the buildings with princesses and heroes and dragons and monsters and heroes and omnics and familes all drawn in crayon over her sharp, neatly inked lines.

Plus, how would a child not be amazed by a lady who can create toys with a wave of her hand?? And she loves seeing children exercising their creative abilities – if they can draw her a “blueprint” (she’ll explain how professionals draw pictures of what things should look like before they’re made) and describe it to her, she’ll make it for them. And if it doesn’t work, if it’s not strong enough to support itself, or won’t move properly, she shows them why it doesn’t work and lets the child try again.  Adults so often underestimate the joy children get by being confronted by puzzles and challenges when they aren’t being graded but Satya understands.

I can imagine one Vishkar dinner.  I sort of feel like Vishkar (the bastards) are always leery about bringing Satya to social functions because they never quite know what sort of impression she’ll make and Vishkar is not the sort of business that likes things to behave with anything less than strict regularity.  But Satya is their prodigy and the head architect of many projects, and it would seem unprofessional of them for her not to be present.  As it happens, Satya isn’t overly fond of these functions either because of the strain that level of noise and bustle put on her as well as the stress from so much socializing, but Vishkar doesn’t give a damn about that, so she learns to cope.

So this one dinner is meant to be a big one hosted by Vishkar during one of the holidays for all sorts of clients and potential clients. It was encouraged to bring family – wives, husbands, and children – because they’re trying to emphasize a sense of warmth and love and community – a sort of yeah we’re totally the good guys, big old wholesome family values sort of corporation, let us bring this into your city with our beautiful designs.  All bullshit, but pretty bullshit.  A beautiful lie.

Anyways, most of the children are mingling in a specific room, “out of the grown-ups’ way” and Satya ends up wandering that way when she feels like she’s about to drown in a sea of mixing, conflicting voices and the increasingly sharp clatter of crystal and silverware. There she finds the children, some interacting with each other, but mostly bored out of their minds, stuffed in tight, fancy clothes and deprived of all forms of entertainment. Their parents brought them for the “look” of things, but they know its all business and has nothing to do with them, they could be in a hotel room watching tv right now.  Satya gravitates into their room, feeling the former tension gradually slide off and the need to stim fade until it was only a background longing rather than a crushing need that must be suppressed before her supervisors and superiors see her.

At the end of the evening, a considerable time after her superiors began to realize it had been a while since they’d seen her around the cocktails, she was found with the children, the room in disarray. All the children are shrieking, laughing – playing.  All of them have little blue hard-light toys.  Satya is there in the middle of it all, finally looking at peace, showing a small group of particularly building-oriented children how to use a projected wire frame to create three-dimensional designs. (Which is everything she wants from an evening – childhood curiosity and ingenuity, her special interest, and the ability to subtly stim with hard-light without being caught out.)

The Vishkar executives are mortified.  To see one of their top agents acting in such a way is unspeakable. Never have they been so embarrassed.

And yet – and yet – Vishkar receives several rather hefty offers of work in the following days.  It seems a number of important executives were impressed by how happy the children were at the end of a long business evening, and were even more impressed by the intricacy of the toys they brought home.  If this level of craft can be achieved on the fly, we look forward to seeing more work done by you in the future, Vishkar is told.  Satya isn’t punished, and she remembers it as being one of the most enjoyable evenings she had had in a very long time.

(She’s still in contact with one of the little girls who had been so intrigued by the wireframe – Satya might recommend her as a candidate for the Academy if her interest holds, and it seems very likely it will.)

Yeah, I dunno, I’m having a lot of feelings about this now. Imagine once she joins Overwatch and after a mission they end up with a bunch of distressed, traumatized children while they try to relocate parents. Everyone’s scrambling, trying to figure out how to calm them down, look for Ana because, hey, she’s a mom, how do you child???? Only to find a moment later that Symmetra of all people has gotten right into the centre of the children’s cluster and they’re all… surprising… calmer. (Everyone on the team is Baffled because they’ve know Symmetra mostly as a very rigid, professional, and cold sort of person, and yet her she seems to be all gentleness and sweetness – they start to realize maybe there’s more to the Vishkar retainer than meets the eye.)  Or heck, even just let her meet Törbjorn’s mob of kids! Give Satya kids!!

and while we’re on the subject, let her meet this child again, give me that angst I need it

anonymous asked:

When you're an architect do you make plans and have companies buy them? Like is that mainly how architects get their earnings or it different for everyone depending on what they choose to do? I want to study architecture in the near future but right now I don't really understand how the whole business/legal side of it works

Architects don’t produce designs or “plans” to be sold to the highest bidder. The client chooses an architect to design their project and you agree on the fees to services before starting work. Clients may choose the architect by open requests for qualifications and/or proposals, interviews or by referrals. Architects will spend considerable resources pursuing projects, doing business development, networking and marketing. Maybe Architect Definition: What Does An Architect Do? can help understand better the profession.

Originally posted by architecturalmodels

Percabeth Headcanons
  • Annabeth is the kind of person to wake up and go to bed around the same time every day
  • Percy will either wake up extremely early or stay up extremely late
  • Annabeth is a waffle person and Percy is a pancake person
  • Annabeth hates extra pillows but Percy loves them so they settle for somewhere in between
  • There’s tons of blueprints everywhere
  • They have one of those glass coffee tables that lets you put stuff under the glass
  • And inside is a bunch of blueprints that are either already built or just in theory
  • There’s also a few shells from their trips to the beach
  • Percy tries out a bunch of different jobs
  • The one thing he really enjoyed was teaching at Camp
  • So he’s thinking about asking Chiron if he could work full time there
  • Annabeth is a pretty well known architect and gets projects all over the place
  • They still live in New York though
  • One, so they’re close by in case of an emergency, and two, so Percy can see his little sister
  • Percy takes his sister out for ice cream or something similar most Saturdays
  • Percy also keeps up his garden on the fire escape
  • The moonlace is still at his mom’s apartment though
  • He grows plants that are okay if you forget to water them incase he and Annabeth get called for a quest or something like that
  • Though they try to avoid quests as much as possible
  • During Halloween they give out blue candy
  • For Christmas, Percy puts out a bowl of candy canes for the kids that live on their floor to take when they go by
  • They live a few blocks away from Percy’s mom’s apartment
  • That way they have some space but they’re still close by

concepts for episodes of Midsomer Murders (and fic ideas I’ll never write):

  • plots with fairy tales as central elements such as:
  • Charles Perrault’s fairy tale Bluebeard -> a wealthy lord with a dark reputation marries yet again. But this time, it is not his wife who dies. The string of dead and disappeared wives gives a lot of suspects.
  • folktale The Devil’s Bridge, where an old local bridge, said to have been built by the Devil, is about to be destroyed. The architect of the project is found dead, and rumor has it that the Devil hates competition…
  • Grimm’s Hansel and Gretel -> an old woman is again under the suspicion of a whole village when a child disappears in the woods near her house, and many worries it is the start of a new wave of child disappearances.
  • Charles Perrault’s Cinderella -> the whole county of Midsomer is in turmoil when a mystery guest makes an appearance at a lord’s annual fancy party, charming a wealthy foreign prince and perhaps also responsible for the theft of a valuable jewel…

anonymous asked:

This may be an odd question, and you don't have to answer it if it makes you uncomfortable or if you just don't want to, but I was just curious: what do you do for a living? :)

architect/designer/project manager/technical designer/project coordinator

We remember architect Zaha Hadid with her visionary design for The Peak Project from our collection. Hadid proposed a transformation of the site itself by excavating the hills of Kowloon and using the rock to build artificial cliffs. Into this new topography, she interjected cantilevered beams, shardlike fragments, and other elements that seemed to splinter the structure into its myriad constituent parts, as if it had been subjected to some powerful de–stabilizing force. Hadid’s work was exhibited in MoMA’s 1988 show Deconstructivist Architecture.


[Zaha Hadid. The Peak Project, Kowloon, Hong Kong, China (Exterior perspective). 1991. The Museum of Modern Art, New York. © 2016 Zaha Hadid]

How has architecture and design addressed notions of shelter in light of today’s global refugee crisis?

Insecurities: Tracing Displacement and Shelter explores the projects by architects, designers and artists, that work to address the circumstances brought about by forced displacement. For more, visit http://mo.ma/citizensborders.

[Installation view of Insecurities. The Museum of Modern Art, New York, October 1, 2016-January 22, 2017. © 2016 The Museum of Modern Art. Photo: Jonathan Muzikar]