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fhjdbvhj · 9 days

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Bungalows in New York City: A Hidden Architectural Gem

When people think of New York City, they often envision towering skyscrapers, bustling streets, and iconic landmarks like the Empire State Building or Central Park. However, nestled within the fabric of the city's vast architectural diversity is a lesser-known but charming housing style: the bungalow. While not as widespread as brownstones or high-rise apartments, bungalows NYC represent an intriguing slice of the city's history and architectural heritage.

What is a Bungalow?

Bungalows are a style of small, single-family homes typically characterized by one or one-and-a-half stories, low-pitched roofs, and wide front porches. They became especially popular in the early 20th century as part of the Arts and Crafts movement, which emphasized simple, handcrafted design and a close connection to nature.

Although the bungalow style is most commonly associated with suburban developments in places like California or the Midwest, a few neighborhoods in NYC boast clusters of these quaint homes. Their presence offers a unique contrast to the more vertical and densely packed cityscape that surrounds them.

Where to Find Bungalows in NYC

The Bungalow Colonies of Far Rockaway (Queens): One of the most notable concentrations of bungalows in NYC can be found in the Far Rockaway area of Queens, especially near the ocean. Originally built as summer vacation homes for middle-class New Yorkers in the early 20th century, these bungalows provided a seaside escape from the city's heat. Though many have since been replaced or modified, clusters of these charming homes still exist, retaining their original coastal charm.

Richmond Hill (Queens): Another area where you can spot a number of bungalows is Richmond Hill. Developed in the late 19th and early 20th centuries, the neighborhood has a mixture of architectural styles, including a small but significant collection of bungalows. These homes, while more permanent than their Far Rockaway counterparts, still reflect the simple, functional design that defines the style.

Bungalow Row in Staten Island: Staten Island, known for its more suburban feel compared to the rest of the city, also has its fair share of bungalow-style homes. Bungalow Row, located in the South Beach neighborhood, is a unique enclave of these homes, many of which have been preserved or restored over the years. Their proximity to the waterfront adds to their charm, reminiscent of their original intent as vacation homes.

Other Notable Areas: While these three neighborhoods boast the highest concentrations of bungalows, scattered examples of this architectural style can be found in other parts of Queens, Brooklyn, and even the Bronx. These homes often exist as part of older, historic districts that have managed to retain their architectural diversity.

The Evolution and Future of Bungalows in NYC

In the early 20th century, bungalows were seen as an affordable and practical solution for middle-class families. They provided a sense of homeownership and space, with a small footprint and limited upkeep. However, as New York City grew and evolved, many of these homes were either replaced with larger apartment buildings or significantly altered to accommodate modern living needs.

In recent years, there has been a renewed interest in preserving and restoring these architectural gems. Their historical significance, combined with the allure of single-family living in a city dominated by high-rises, has made them an attractive option for homebuyers and preservationists alike.

However, the challenge remains: many of these bungalows are located in areas prone to flooding or coastal erosion, particularly those near the beaches in Queens and Staten Island. This has led to discussions about how to best protect and preserve these homes in the face of climate change and rising sea levels.

Conclusion

Though they may not be the first image that comes to mind when you think of New York City architecture, bungalows have carved out a unique and enduring place in the city's landscape. From the beachside retreats of Far Rockaway to the charming enclaves of Staten Island, these homes offer a glimpse into a different era of New York living. For those willing to seek them out, they provide a quiet, nostalgic retreat amid the hustle and bustle of the city.

As NYC continues to grow and change, the future of its bungalows will depend on the balance between development and preservation. But for now, they remain a testament to the city's architectural diversity and history.

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krishnadudhat · 5 months

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How to Start a Home Business With No Money in 2024 - You Need to Try

Get more information, visit to link - https://shurtitalks.com/start-a-home-business-with-no-money/

Do you want to quit your job and become independent but capital is holding you back? Do not worry! You can be successful by starting a small business from home. Now is the time to take note of some of the best Start a Home Business with No Money.

Here's a way to think about it:

Create a YouTube Channel

Creating a YouTube channel is a fantastic way to Start a Home Business with No Money! Through this video you will be given the necessary information and tips to start a home business ideas.

What You Should Do

Social Media Marketing

Social media marketing is one of the best ways to Start a Home Business with no money in today's age, and the best part is that you don't need a lot of capital to start it!.

Here's how you can start a home business with no money for social media marketing:

Gain in-depth knowledge of social media platforms like Facebook, Instagram and WhatsApp. Learn content creation. Learn how to create compelling images and videos. Study copywriting. Learn to write attention-grabbing copy that engages your audience.

In what field are you knowledgeable? . Choose a topic like food, fashion, travel, fitness or digital marketing that you can create content about.

Create your business page on Facebook, Instagram and other social media platforms. Make your page attractive and post high-quality content.

Skill Based Services

Even if you don't have any capital, you can earn income by working from home. For this you need to have some special skills.

Here are some skills-based services you can offer:

Do you do good writing? So you can provide services like writing a blog, writing content for websites, writing advertisements. Can also do editing and proofreading work.

If you have good acquaintance with computer and designing software then you can design logo design, posters and banners for social media.

If you have knowledge of coding, you can take up website development as a freelancer. Or learn more and build more complex websites.

If you have a good understanding of a subject, you can run tuition classes from home. Apart from this, you can also earn by creating online courses.

Data entry is a simple job that can be done from home business. Typing speed should be good.

If you have a good grasp of two languages, you can do translation work.

Household Sharing

Home sharing means renting out extra space in your home with other people. Nowadays the cost of renting a house is increasing, so home sharing can be a good option. You can rent out a room in your house, a room in a flat or a small space in an independent bungalow.

Here are some popular home sharing apps:

Pet Sitting and Dog Walking

Are you single and want a few extra connections? Pet swanky and dog walking may be an option for you! It doesn't require a huge amount of money to start, just a love of helping and some preparation.

Here's how to get started:

Get Experience: If pet incident informants don't have experience, have students in the family become pet informant police. This helps explain your own needs.

Learn Education : Find online courses about dog training and animal education Get your knowledge.

Consider insurance : Consider getting pet insurance to protect your work. This will also increase the confidence of the customers.

Online Fitness Coaching

Online fitness coaching is a great way to start a home business that doesn't require a lot of money. If you are passionate about fitness and you love to guide people then this business is perfect for you.

Here are some steps to start a home business ideas with no money for an online fitness coaching :

Determine your eligibility: What type of fitness do you teach? Yoga, Zumba, strength training etc.

Enhance knowledge: Take a certification course in the field of your choice. Take online courses. Watch the tutorial on YouTube.

Build Social Media Presence: Establish yourself as a fitness expert by posting on platforms like Instagram and Facebook. Share workout videos and fitness tips

Formulate a strategy: Decide what kind of services you will offer. Individual coaching or group sessions. Include nutritional guidance?

Set your rate: Determine the rate based on your skills and experience. Maintain competitive but also profitable.

Create a Expert Cook

Do you have the knack of cooking delicious dishes in your home kitchen? So you can earn money from home with some skill and ingenuity.

Ideas to start a home business with no money in 0 Investment :

Provide food orders: You can advertise on WhatsApp groups or social media by cooking delicious home-cooked food from your home kitchen. Pre-order online can deliver on certain days of the week.

Offer Special Order Cooking Classes: You can run paid online classes for people who want to learn how to make Vishesh Riori.

Start a Food Blog : Love to write delicious recipes? So start a blog and share your recipe. You can earn by showing ads on the blog.

Dabba Seva: Can start a Dabba service for office goers or people living alone. Can deliver nutritious and delicious homemade Oot on a regular basis.

Catering Service: Can provide catering service by taking orders for private events like birthdays or small events.

The art of reusing unused items

Recycling is the process of repurposing old and useless items into new forms. We have a lot of things in our house which get little use or become useless. Instead of throwing away such things, by reusing them we can protect the environment and earn money at the same time.

Here are some ideas through which you can start a home business with no money by reusing items:

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architectuul · 4 years

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Emblem Of A Better Germany?

In 2014, at the 14th Venice Architecture Biennial, Alex Lehnerer and Savvas Ciriacidis placed the armoured limousine once used by then Federal Chancellor Helmut Kohl in front of the German Pavilion.

Read also “The Invisible Church”, “What Fundamentals? Revisiting Treasures in Disguise: The Ominous Ruins of Montenegrin Modernism” and “The Greek Experiment”

It was a black Mercedes-Benz car with its famous star that added the air of a different era, the Federal Republic of Germany before the fall of the Wall, when its capital was Bonn on the Rhine River in West Germany, and not Berlin. Placed before the steps of the monumental façade of the German pavilion, once build as the Bavarian pavilion and then decisively altered by Nazi Germany in 1938, every German visitor would read this car as a sign, an emblem of what came to be known as “Made in Germany”, high quality cars, machines, and other industrial goods that were seen as responsible for the so-called “Wirtschaftswunder” (economic miracle) after WWII, the economic rebuilding of West Germany.

On the one hand, this car is a desirable object, vintage and expensive. In my family, you knew you had made it when you could afford a Mercedes-Benz. You could tell, when my parents bought their first Mercedes-Benz, they were full of pride. And they still drive the same car and feel the same way about it, although now it’s a rather old car.

On the other hand, you could also read the continuities of 20th century German history into this juxtaposition of car and pavilion. Because what is the link between the Nazi façade and the later car? You might answer this question with the seamless integration of Nazis in German politics and business and the financial gains of many German companies (including Daimler-Benz) during the Nazi period thanks to forced labor, expropriation, and simple opportunism. The juxtaposition places you, at least as a German, between guilt and pride, haunting memories and desire.

Adjacent to the left of the big front door of the German pavilion in Venice, the visitor was greeted by an elegant section of a roof jutting out above a much smaller door. It was a hint that the interior of the pavilion was taken over by another structure, a partial replica of the former Chancellor’s residence in the former capital of the country formerly known as West Germany. A somewhat nostalgic remnant of a bygone past, a country and political system that were fundamentally altered by the fall of the Berlin Wall and the reunification of Germany. It was the Germany I was born into, with Bonn being the capital until 1999 and the Chancellor’s residence – or Kanzlerbungalow (‘Chancellor’s bungalow’) – constantly in the news. As much as it was nostalgic, Lehnerer and Ciriacidis’ pavilion had an uncanny feeling to it. Inside and outside were suddenly called into question, different times collapsed into each other, with the democratic bungalow inserted into the Nazi pavilion. Or was the story told more complex than that, as with the car parked in front of the pavilion? The story was, for sure, one about architectural representation.

The Chancellor’s bungalow was built in 1964 by the architect Sep Ruf for Ludwig Erhard, the second Chancellor of West Germany. Erhard was the German politician who stood like no other for the ‘economic miracle’ of West Germany after WWII. As the Federal Minister of Economic Affairs under Chancellor Konrad Adenauer from 1949 until 1963, when he became Chancellor himself for three rather unlucky years, he promoted what he termed the social market economy and gained widespread popularity with this economic concept. Although Erhard worked for the German state as an economist during the war, he rejected Nazism and was in contact with members of German resistance groups. It seems fitting therefore that as Chancellor he hired the fellow Bavarian Sep Ruf to design the new Chancellors residence in Bonn. Ruf was known for his functional designs in the tradition of the Bauhaus and older modern architects, who had mostly emigrated during the 1930s, like Ludwig Mies van der Rohe. Ruf’s elegant bungalow in Bonn payed homage to designs of the Bauhaus and Mies in particular. The latter’s Barcelona Pavilion, the German Pavilion at the 1929 International Exposition in Barcelona, has often been mentioned as a reference.

Dining room of the bungalow of the Chancellor in Bonn.

By 1964, Ruf had already worked for the federal government several times. Together with another modernist architect of the postwar period, Egon Eiermann, he had for example built the German pavilion for the world fair in Brussels in 1958. He was, thus, well informed about West Germany’s representational needs. The Chancellor’s bungalow spoke not only of the Bauhaus and the better, modern Germany that was supposed to be represented by buildings in its tradition like those of Ruf, Eiermann and others, but it also established a clear link to modern architecture internationally. Looking at the bungalow, some might be reminded of the famous Case Study Houses at the West Coast of the USA. After all, it was the declared aim of West German politicians to make the Federal Republic part of the Western political sphere (‘Westbindung’, or policy of the alignment with the West). I would guess that these two aspects, the tradition of a better, modern Germany and the alignment with the West, were first and foremost represented by Ruf’s bungalow in Bonn.

The second Chancellor of Germany, Ludwig Erhard.

The third Chancellor, Kurt Georg Kiesinger, took over from Ludwig Erhard in 1966. He was a former member of the NSDAP and disliked the Chancellor’s bungalow for its functional, ‘cold’ design. He had many things altered before he moved in and brought with him antique furniture pieces in stark contrast with Ruf’s modern architecture. Most of the other Chancellor’s after him agreed with Kiesinger’s view on their official residence. They were looking for something more comfortable and cosy (gemütlich). Under Chancellor Helmut Kohl the interiors had changed so fundamentally that it was hard to still see Ruf’s designs behind thick layers of carpet and bulky sofas and chairs. Not to speak of the new 1980s glittery lighting. Although partly preserved in the original building in Bonn, these alterations, additions and layers were not present in Venice.

Prince Philip, Queen Elizabeth II and the ex-Chancellor of Germany Helmut Kohl front of the bungalow of the Chancellor in Bonn.

It was a clearer picture or juxtaposition that Lehnerer and Ciriacidis drew. Only the brief blaze of fire in the Chancellor’s fireplace could have been something of a reminiscence to the other, the not-so-modern, not-so-open, cosy Germany that gathered around home-and-hearth. The Germany I grew up in. Just like the Mercedes-Benz, a fireplace was something quite desirable for the generation of my parents. You had to have one. And now, decades later, my parents even installed a new one. As if you couldn’t or wouldn’t want to live without it. Herman Miller’s Eames Collection that Erhard chose for his initial version of the bungalow at the River Rhine might have always been too expensive for most Germans, but they also represented a certain idea of Germany, like the whole bungalow an internationally oriented, better Germany – and not necessarily the real one. I wonder, does the real, and not the ideal, ever get represented? It might be an interesting task for a future German pavilion at the VAB.

The bungalow of the Chancellor in Bonn.

West Germany claimed the Bauhaus as its heritage since the 1950s, through the founding of the Bauhaus-Archiv in Darmstadt in 1960, countless exhibitions and books and buildings seemingly in its tradition (there were similar efforts in the GDR a little later). 2019, the year of the centenary of its founding, saw the Bauhaus at the height of its representational instrumentalization, it had become a major part of German cultural diplomacy. Yet, the Bauhaus has oscillated between national claims and International Style even before it was closed by the Nazis. This oscillating reception of the Bauhaus was crucial in making sure that the Bauhaus would continue to be productive until today. Looking back in 2020, the German Pavilion at the 14th VAB is also a vivid illustration of the complicated history of the Bauhaus and Germany.

***

VAB 06: Florian Strob

Florian Strob is an author and curator in the fields of architecture, literature and contemporary art. He holds a B.Sc. in Architecture from the Technical University in Berlin and a PhD in Medieval and Modern Languages from the University of Oxford. His main research interests are modern architecture, modern poetry and experimental prose, and the connections between built spaces and text. Florian currently works at the Bauhaus Dessau Foundation, where he curated the exhibit “Bauhaus Buildings Dessau: Originals retold”. For this, Dessau’s Bauhaus buildings, facades and interiors are on exhibit. They have been given a new and coherent narrative through an exclusive series of video clips which set historical images in motion using 2.5D animation. He also organized the international conference “Collecting Bauhaus” in December 2019. He is the head and curator for the Bauhaus residency programme 2020-2022, which invites artists and writers to live, work and exhibit in the historic Masters’ Houses in Dessau. The most recent exhibition in this series, “Gropius House || Fictional. Inge Mahn and Sujata Bhatt”, is on show until 20 September 2020. Most recently, Florian published “Bauhaus Dessau Architecture” (Hirmer 2019), including new photographs by Ostkreuz photographer Thomas Meyer. He is author, editor and contributor of several other books, including “Hiatus. Architekturen für die gebrauchte Stadt” (Birkhäuser 2017) and “Schreiben und Lesen im Zeichen des Todes. Zur späten Prosa von Nelly Sachs” (Winter 2016).

#vab #venice architecture biennial #cold cases

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hanumanwoodindustries · 3 years

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Everything you need to know about Wooden Pillars for Home

Wooden Pillars are the structural support for any building. They are commonly used for load-bearing or stabilizing functions as well as add aesthetic value. Pillars, commonly called columns are made of different materials and wood is the most popular material used.

Timber is a time-tested attraction. Even after the industrial revolution, the importance and its beauty remain undeniable. In the olden days, wooden columns have been used as a status symbol. With the growing technology, its cost has been made affordable, usage increased, and implementation has been widened. And they are the most go-to material for architecture.

This article is about to take you through its importance and as to why people prefer wood when it comes to designing a pillar!

Wooden Pillars are the statement pieces used in elevation. From five-star hotels to lavish bungalows, decorative wood pillars contribute much to the look of the building. Be it round wooden pillars or square-shaped ones, it gives a visual pop to the property with its intricate designs. Large pillars and exterior wood columns are seen as grand visual statements adding much to the external look.

Where to use wooden pillars for a house?

From solid wood columns to round and square wooden pillars are used in both home interiors and exteriors of a home. Exterior columns transform the entire look and entrance of your home. As timber is more flexible to cut, shape, and stain, it can be fitted to any style of home interior from traditional to modern.

Contemporary homes mostly opt for square-shaped wooden columns with modern finishes. Round and solid wood pillars are mostly considered the classic style. Even a minimalistic designed wooden column in the living room makes the place look rich and traditional.

Also, columns are not necessarily large and must connect the wall and ceiling. Small and decorative wood columns that are easy to move like furniture are also used. They augment the look of the whole place, where your imagination is the only limit in how you utilize it inside your home.

Types of wooden columns for home

Wooden columns can be designed and modeled in any size and shape. There is no definite shape, color, or style. It’s up to one’s imagination and needs that a pillar can be made into and utilized for. Here are some basic styles and different ways, it is utilized in homes.

Square wood column interior

The large square columns can be designed and painted in any way that you want. As in the second image, it divides the hall into a recreational place and dining area without the need for a wall.

Round wood column interior

The rounded pillars can be simple or carved. Two painted columns as in the second image can be used as a statement piece, making the pooja room look stunning and serving an aesthetic purpose.

Exterior wood columns

Columns come in small sizes too. Carving intricate designs in those pillars gives your home a traditional look. It makes a unique entrance and lends personality to your foyer area.

Small Pillars for home interior

Small wooden pillars are used as decorative pieces in homes. A sculptor, candle, fishbowl, plants, or creepers can be styled with it. Placing pillars on either side of a sofa, at the entrance, or beside the Tv unit gives a striking appearance. As in the last image, light effects on the pillars elevate your living standard as in a 7 Star hotel.

Advantages of using wooden pillars for a house

Wood is naturally a good insulating material that reduces heat.

Absorbing heat makes the wood dry out to become stronger.

Good acoustic insulator, preventing noises and echoes.

Helps maintain the natural vibe of a place.

Can be easily painted or stained to get the desired look.

Maintains humidity and cuts down heating and cooling costs in a room.

Positive health benefits by producing positive physiological results.

A natural renewable resource that promotes green living.

An easy and attractive way to increase the property value

Decorative support for furnishings

Defines space by acting as room dividers without using walls.

There are many more benefits added to it. It always complements your house’s style and makes your place stand out.

Why choose Hanuman Wood Industries, Bangalore?

Hanuman Wood Industry supplies the best quality wood and has got bespoke wooden pillar designs in Bangalore. The intricated carvings in the columns are performed by professionals, that are customized according to your likeness. Contact Hanuman Timbers for all the wood requirements for your home.

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hetvi1498 · 3 years

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PRE-WEEDDING PHOTOSHOOT LOCATIONS IN MUMBAI

Mumbai, the city of dreams and the city that never sleeps, has a rich history as well as some stunning photo opportunities. It's a diverse mix of ancient and new architecture, enabling you to try out several looks, themes, and styles for your photography. When it comes to photo shoot locations in Mumbai, most people think of the broad and expansive Marine Drive. You'll be pleasantly surprised at how many additional alternatives exist in the city.

Pictures have the power to transport you to various times and locations, allowing you to relive significant events in your life. Pre-wedding shoots are becoming increasingly popular, but the concept behind them is what makes them so appealing. These sessions are all about capturing and locking a few gooey moments in pictures! While you may have seen a lot of pre-wedding photography sites in Mumbai on Facebook, picking one for yourself or a loved one isn't simple, especially when you have so many other things to accomplish before the wedding, such as arranging your honeymoon trip. Choose from these famous and greatest photography locations in Mumbai and start posing right now!

10 BEST PRE-WEDDING PHOTOSHOOT LOCATIONS IN MUMBAI

There are lots of locations in Mumbai where you may strike a pose with your significant other and capture that ideal moment in time forever! Take your pick from this list of the best photo-friendly pre-wedding photography venues in Mumbai.

1. BEACHES

There are several beaches in Mumbai, some of which are commercial and popular, while others are quiet and calm. Plan a fun picture shoot at the beach, where the sun, sand, and water will provide the perfect backdrop. The trick is to select the appropriate beach for the type of shot you are planning. You can avoid the overwhelming crowds depending on the time of day at famous beaches such as Juhu Beach and Carter Beach, or go to Versova Beach for a more surreal experience. Isn't it picture ideal to have sand between your toes and your better half in your arms? Some isolated places are located a short distance from the main Juhu beach and can be used as posing grounds. Make a day of it with your bae at this seaside spot for a pre-wedding photography in Mumbai. If the beach you choose is a busy one, schedule an early morning shoot.

Entry Fees: NA

Timings: 24/7 (however, avoid extremely late nights)

2. BANDRA-WORLI SEA LINK/BANDRA FORT

The Bandra-Worli Sealink is one of Mumbai's most spectacular and contemporary buildings, and it is undoubtedly a source of pride for the city. Make your way to Bandra Fort and down to the beach to photograph the sea link as your backdrop. Head there at dusk or sunrise for the most breathtaking images, since it is one of Mumbai's most popular photography locations. The fort walls will also serve as a historic background for the shoot.

A rocky coastline, just at the end of the street where prominent Bollywood stars' houses and bungalows are located, is ideal for a romantic shot. Bandstand, one of Mumbai's most gorgeous photoshoot locations, offers a range of settings for your album, including a tiny garden, a fort, the sea, and the Sea Link.

Entry Fees: NA

Timings: 6 AM – 6:30 PM

3. GATEWAY OF INDIA

The Gateway of India is one of the greatest sites for photoshoots in Mumbai since it is historical, architecturally stunning, an iconic heritage monument, and Mumbai's pride. The fluttering pigeons and the huge sea, not to mention the flapping pigeons, contribute to the romance and appeal of this filming site.

There isn't a more renowned site in Mumbai for a pre-wedding photography! The Gateway of India, a significant landmark in the city, is built in the Victorian style. The monument by the sea, built in the mid-twentieth century, represents a gateway to fresh beginnings and firsts in your life.

The Taj Mahal Palace Hotel, with its bright red domes, is located just across from the monument. Don't forget to have your picture taken in front of it. Go early in the morning to avoid the crowds; nights are typically too crowded to allow for a nice shoot.

Entry Fees: NA

Timings: 24/7

4. SANJAY GANDHI NATIONAL PARK

Sanjay Gandhi National Park is the perfect choice for couples looking for a calm but intriguing location for their pre-wedding photography in Mumbai, as it has an abundance of lush vegetation and a plethora of good feelings. Isn't that what we all require? I'm a recluse who prefers to stay away from the hustle and bustle of city life. We certainly do! It is the world's largest protected urban tropical forest, with plenty of rusty and green background pictures. Believe us when we claim that with nature's bounty in the background, your photos will be truly stunning.

Sanjay Gandhi National Park is the perfect choice for couples looking for a calm but intriguing location for their pre-wedding shoot in Mumbai. It is the world's largest protected urban tropical forest, with lots of red and green backdrops for your pictures.

Entry fee: 30 per person

Timings: 7:00 AM- 6:00 PM

5. MARINE DRIVE – A BOULEVARD OF HEART-WARMING DREAMS

The Queen's Necklace, as it is known, is a boulevard that has sparked the interest of numerous filmmakers. Even after all these years, the allure remains. It's no surprise that it's one of Mumbai's most famous photo shoot locations!

Marine Drive is definitely a favourite choice for these shots, with the limitless ocean on one side. It is one of Mumbai's most popular and beautiful pre-wedding shooting sites, with views of the Arabian Sea and the city's picturesque skyline. Go early in the morning if you want to have a quiet moment. The evening is the finest time for a pre-wedding shoot in Mumbai and is ideal for things to do in Mumbai for couples because of the shimmer of city lights.

Entry Fees: NA

Timings: 24/7

6. MADH ISLAND

Just jump on a ferry and travel to Madh Island if you're looking for a romantic, "far from the madding throng" shot. It has beaches, charming cottages, beautiful green trees and grasslands surrounding shaky roads—you get the idea.

Entry Fees: Ferry price at approx. 3-10 Rs from Versova Jetty Point

Timings: 5:00 AM – 1:00 AM

7. VASAI FORT

If you want a calm and rural setting for your photoshoot, drive to the historic Vasai Fort. The brick walls and broken arches are lovely, and they make for a wonderful photo backdrop. It's one of Mumbai's least-used photography locations, but it has a lot of promise.

Vasai Fort, the setting for Coldplay's popular song Hymn for the Weekend, is ideal for couples who want to be surrounded by ruins. It's one of Mumbai's greatest pre-wedding picture settings, but make sure your outfits contrast with the brown walls of the Fort. Vasai Beach is close by for a couple beach pictures.

Entry Fees: NA

Timings: 9:00 AM- 6:00 PM

8. SOUTH BOMBAY'S VARIED ARCHITECTURAL BUILDINGS

South Bombay is home to a diverse range of architectural styles, including Gothic, Victorian, Art Deco, Modern, and Colonial. It may appear to residents of Mumbai as just another skyscraper, but its elegance and charming appearance are difficult to overlook! Simply wander around town, taking in the architectural joys of Colaba Market, Flora Fountain, and the Victoria Terminus, and strike a pose as you take in the architectural delights around you, while visiting one of Mumbai's most popular photography locations.

Entry Fees: NA

Timings: 24/7

9. A YACHT

One of the finest alternatives in Mumbai for a highly modern and elegant photography is to charter a yacht and sail out to the wide blue waters.

Entry Fees: Approx 8-10 thousand for 2 hours

Timings: Changes with the season, not available in Monsoons

10. ASIATIC LIBRARY - GREEK ARCHITECTURE IN UNFURLING HUES

Asiatic Library is a 19th-century building with a Greek revival style of design. The pillars, staircase, and street in front combine to make it one of the most beautiful locations for a pre-wedding photography in Mumbai. Wear bold colours to make the photographs pop and seem inviting because the structure is all gorgeous white. The shot is best done in the early morning.

Entry fee: NA Timings: 24/7

Mumbai, being the city that never sleeps, will astound you with its plethora of little surprises. With a little bit of love and a little bit of fun, you'll quickly discover the inspiration you need to do right to your pre-wedding shoot. Get in touch with a photographer of your choosing and go on a quest for each of these locations to capture your dream life in photos and create some unforgettable memories. What are your thoughts? Isn't one of these photography locations in Mumbai better than the other? You may use a variety of places from this list to create a unique appearance for your photoshoot.

#pre-weddingphotoshootinmumbai #photography #picofheday #pre-wedding shoot #mumbai #photooftheday #shoot #couples #love #places #location

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broadbyrich · 4 years

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Kind of House and land Packages Austral

6 Types of Houses that are Popular in Sydney

The perfect combination of energetic streets, relaxing scenery and unlimited possibilities for outdoor activities makes everyday life in Australia a magnet for people looking for a place to experience laid-back lifestyle. Much like other cities, Sydney is a home to people who are predominantly busy professionals; workers who take pleasure in travelling to work on foot. This culture paints an image of the city that is quite irresistible, what with the marriage of modern architectures and abundance of nature it showcases.

There is question why people coming from across the globe choose to settle in this very much alive city. Sydney’s real estate industry continues to soar in spite of the pandemic that hit globally; it remained resilient. Simple apartments and studios mostly belong in towering sky-scrapers, but if you are craving a familiar village feel then perhaps a neighbouring suburb suits you.

This article serves as a guide to the popular types of houses you should prepare to see when you make your house shopping in Sydney.

Victorian

Terraced houses in Australia relate closely to and serves as a replica of house architecture during the Victorian era. These are majorly found in the inner areas of Sydney. This popular style of housing was now adapted to modern suburban versions called “town houses”. Aside from the striking exterior, this style remains in-demand for house seekers because the location is close to the central business district of the city.

Federation

Federation architecture is the architectural style in Australia that was prevalent from around 1890 to 1915. During this era, Federation-style architecture was a symbol of Australia’s budding national identity. This style of housing is seen in cottages that are heavily influences by Queen Anne and Edwardian style in the United Kingdom. Though Federation style has a lot of similarities with its influences, it still takes after Australian themes like adding elements of nature to complement the pronounced timberwork of the houses.

War

Some parts of Australia share a dry, humid climate similar to California. This, along with strong American culture influences and the decorative Arts and Crafts design movement, influenced the California Bungalow architecture that is rampant in the country. California Bungalows support a simpler floor design; consisting of an entryway and drifting towards open-plan living.

Post-War

Post-war years presented architects and designer a new challenge of figuring out what houses are fit for the Australian conditions. Although the original design is considered basic or minimal, post-war houses are, nevertheless, highly sought after because of its family-friendly design. The style provides a conservative space contrasting the busy life in the city that surrounds it. A triple layered veneer fronting the single storied house with interconnected rooms appeals the most to families looking for a place to settle down in in Sydney.

Contemporary

While the aforementioned nostalgic house styles are still in trend, people are still on the look out for modern architecture that will bring a fresh view to their eyes. Contemporary houses exude class and artistry. Clever design is pronounced all throughout the perimeter, with soaring ceilings and symmetrical glass windows that allow light to fill the building. This particular house style possesses great elegance but, at the same time, creates a warm atmosphere comfortable enough to be living spaces for families.

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contexts-lml · 5 years

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Kenneth O’Halloran ( b.1968, Co.Clare ) is a Dublin based photographer whose series ‘Tales From The Promised Land’ follows the numerous property expos and ghost estates during the Celtic Tiger. Shortlisted for the Terry O’Neill Award 2010, the photographer has taken his hallmark thoughtful and sensitive approach and brought with it some tongue in cheek humour. I chose the image of the bored child as the starting point of this blog because I was that child. My parents were retirement age during the peak of the boom and bought property in Spain. The house loomed over me like a giant, terracotta step-sibling that I hated with a passion and many teenaged summers were spent locked in an air-conditioned bedroom with the curtains drawn, one hand in the air to get enough signal to load primitive social media in order to keep up with mates back in Ireland. Eventually, as all highs are followed by lows - the economy based on infinite credit collapsed and my parents were forced to live permanently in that pied-à-terre. Their pension travelled further on the Costa Blanca and thus at 19 years of age I was the sole occupant of my family home. When I stumbled across the series online, I was rumbled with an odd feeling of grief. Not only had my own home been fractured by promises of a better land in La Marina Urbanisation, but the scars of this grotesque period were already being dragged across the country with cement and decking. There are 621 ghost estates dotted around the 26 counties which bring untold problems in both social contexts and practical - with no maintenance on an unprofitable shell - these abandoned cash-cows have become dangerous, unsightly and a monument to the untold levels of greed. These half-finished houses, built as surplus in a time of plenty are even more of a sore point considering the state is experiencing one of the worse housing shortages in modern times. Fair Eireann is no stranger to bungling housing supplies - the lack of state initiative fueled the instant bestseller of 1971 ‘Bungalow Bliss’ - a catalogue of bungalow designs drawn by architect and engineer Jack Fitzsimons. This gave young Irish people a short term housing solution but ultimately resulted in a pockmarked countryside, an over-reliance on cars and the strangulation of rural town centres. O’Halloran proves that his work is no happy accident, his 2018 typology ‘Handball Alley’ documents the crumbling relics of the Gaelic Athletic Association’s forgotten 3rd sport. Reminiscent of Berndt and Hilla Bescher’s Blast Furnaces - he lovingly records these curious structures with the reverence of someone who understands the multitudes of uses or covert cover those three walls provided. “These are relics of a once vibrant chapter of Irish life. Like the dolmens John Montague crafted as a metaphor for the old people of his childhood, the ruins of these abandoned alleys bear silent testimony to a feature of Ireland that has perished through time and modernization. These plain walls were once the thriving open-air theatres of their day. They were familiar meeting points, where people played games long into long summer evenings, and others gathered for simple companionship and discourse. The alleys came alive at a time in Ireland when human interaction needed little in the way of sophisticated props or accompaniments. In rural Ireland in particular, handball captured the public imagination and societies grew around the games and the alleys which staged them. They became prized places of refuge, offering an escape from ordinary, hard-working lives.“ The ghost estates are without the romance of the handball alleys, but the photographer is no less careful in his approach and all are equally resonant with me for the uncanny ability to distil Ireland and the Irish into succinct moments. In this blog I will attempt to unpick the threads of enquiry that O’Halloran has provoked in me, and explore work based on or linked to this fledgeling nation state approaching its centenerary.

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homepictures · 6 years

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homedevises · 6 years

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amberparkus-blog · 5 years

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rgr-pop · 6 years

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Regarding the McMansion critique, some of the environmental impacts are very, very valid. But I think we tend to overlook that there are residents living in these structures. We tend to put a lot of stereotypes that we hold about the houses, and about the suburbs themselves, on these residents. The thought is that because they have a big house, the residents are anti-environmental, they don't value community, and they only care about themselves and about their privacy. These houses are assumed to be one, universal; and two, universally bad.

I spoke to the residents that are actually living in these homes and asked them what these homes meant to them. And in doing so, a lot of the stereotypes fell apart. That’s because a lot of those stereotypes were constructed in a post-war white middle-class framework, and don’t necessarily hold up in the face of new immigrants that are moving to suburbs. [...] The McMansion becomes that symbol of a lot of things that Asian Americans aren’t doing right to assimilate. Even the design critiques of these homes are about how they’re too outlandish. They’re trying to do this faux-Mediterranean look, but they're not even doing it right. It’s too tacky, you know? That, to me, is a broader critique of immigrants never really being American enough. I challenge the notion that Asian Americans should fit into a suburban neighborhood exactly the same way a white middle class family does.

This interview with Willow Lung-Amam is the first thing I recommend reading to start unraveling the mcmansion critique and its racial tones. Her book, Trespassers: Asian Americans and the Battle for Suburbia, about Fremont, CA, is one of many studies on American ethnoburbs, but one of a handful that deals directly with the specter of the mcmansion--Lung-Amam is a professor of architecture.

I feel a few ways about what she’s saying above, that a critique of mcmansions might emerge from a well-meaning assumption of the whiteness of suburbia, (and the contents of that suburban whiteness), an assumption that no longer maps onto how (and where) people are living in America. I basically agree, and I think it’s diplomatic. But her work (and the work of others, which I’ll get to) shows that in many cases, planners, critics and neighbors actually develop this critique of the mcmansion after the act of racialization, and wield that critique politically. In some cases, even, the same problematic houses don’t become a problem until they become inhabited by problem residents.

But take this a little blurb on Fremont: mcmansions are built in suburbs that look like a different kind of suburb, and that difference is made political through zoning, design review, etc. Those quotes in there are really something. In this case, it would be hard to convincingly argue that neighbors imposed an existing critique of the white mcmansion onto their neighbors. In their case--and this is my first major stake in this argument--the “white suburb” is imagined to be single-story, a modernist suburb. The whiteness of, say, the modernist ranch, is just as fantastical as the whiteness of the mcmansion, but it’s become unfashionable to make such a critique of those postwar suburbs, and I really don’t think it’s because your average Curbed content creator has read Andrew Wiese’s Places of Their Own, Bruce Haynes’s Red Lines, Black Spaces or Becky Nicolaides’ My Blue Heaven, or any of the other new suburban histories that complicate a history of white spaces (and white architecture). In fact, I think a rise in critique of the excessive mcmansion* has bolstered a new and growing mythologizing of modernist architecture, one that is intimately connected to what’s happening to modernist real estate right now. Remember that Curbed is a real estate website.

*to be clear, there have been critiques of the mcmansion since the mcmansion has existed, and these critiques have come from a lot of different perspectives. but it is true that these critiques have been multiplying, as have their platforms.

But I really agree with Lung-Amam’s implication that as architecture critics, we (yes we, I can be whatever I want to be) can’t know anything by looking, certainly not (ffs) by looking at staged real estate listings. Or, let me rephrase: what can we know about a space, just by looking? That’s my second major stake in this game, and it is my biggest fucking stake. Eight years ago Alexandra Lange wrote that Nicolai Ouroussoff's criticism "shrinks the critic’s role to commenting only on the appearance of the architecture. He might have been the perfect critic for the boom years, when looks were the selling point, but this formal, global approach seems incongruous in a downturn,” and, not to lowkey call out someone I look up to in the field, but what do we have now? We have 1000 words on how the style of houses that were made after the fifties is Bad.

Let me take a few steps backward, because what I just said is not actually my stake. It’s not that I’m unconcerned with image in architecture, and it’s absolutely not that I’m concerned only with program and function (god, function) in architecture. It’s also not even that I care that much that architecture critics can’t think themselves out of a paper bag with Style written on it. It’s that I outright reject an architecture criticism that mistakes a taste objection for a political position. It’s hollow and it is, wholesale, in every case, racist. I’ve been listening to a lot of Vincent Scully lectures lately and I find it hard to believe that this great defender of play and eclecticism, a man who told students that Venturi reclaimed wallpaper as a feminist statement and that anti-ornament manifestos of the turn of the century were homophobic, was really paving the way for us to write about how disgusted we are by an Armenian doctor’s Greek fountain, or that Muslim-Americans should plan the spaces of their home more economically if they want into the polity. Ohhkay! I feel I’ve digressed again.

As you know, my main fight is about interiors. And I’ve learned a lot by watching a meme critique of staged interior decoration launch itself to the top of so-called architecture criticism. Just as you can’t look at the elevation of house and learn (as much as people want to believe) about the sociopolitical content of that home, I believe it’s either dangerous or useless to stake social claims based on a photograph of an interior. I mean: looking at interior space, represented, instead of asking (not rhetorically asking), why might the people who live in this space have configured it as such? what is this space used for? where did these items come from?, the mcmansion critique says: this is wrong, it’s repulsive, it’s amoral. And worse: my revulsion is not only a critical position, but an ethical one. Questions become accusations: Why would anyone need an extra set of bedrooms? Why would anyone need an empty room with a stupid persian rug on the floor? Why would people want to have Mediterranean or Chinese things in their home? Why would an Australian have a corrugated metal roof? Moralistic judgments about lifeways based on the scopic only. I use “scopic” here because I think of this action as fundamentally an action upon, and I want to frame dumbass ethocentric judgment (cast as “criticism”) as a mode of cultural domination.

And okay, so many of these judgments are just funny mistakes that we can laugh at (why would someone in the county with the largest amount of house fires caused by lightning strikes have metal rods on their roof?). But my point is that it is a fundamentally ethnocentric (racist, is the word I like to use) (we’re just going to set “disabled people exist” aside entirely for now) project to advance a critique of bad taste (style) from a position of practicality, one centered on what you understand to be the right way to inhabit a space. Really a lot of words for something very simple! Really impossible to convince anyone of this! And, I conclude, the mcmansion critique is not a political critique, and (you’re gonna hate to hear this, tough love) a politics can’t emerge from a taste claim. The mcmansion critique is nothing more than a taste claim, one very hastily staked.

I actually came here to offer you a short bibliography and nothing else, whoops! I mention Lung-Amam’s work as the one that I’ve found really takes the category of the mcmansion to task, looking at what was just as often called the “monster house” in Fremont. Denise Lawrence-Zuniga, an anthropologist, wrote a book about Southern California historical preservation (Protecting Suburban America) with a chapter on San Gabriel Valley’s Alhambra. That chapter looks at the conflicts between the preservation board, design review board, planning commission etc. and residents, specifically immigrants. She notes how different understandings of governmentality (as in, the need to get certain kinds of permits, etc.), and different ways of living created conflict between local government and immigrants. There are bits about planners’ paranoia about remodels that promote density, like adding too many extra rooms to a historic house, or remodeling interiors in a way that might encourage subletting, that I find pretty disturbing. But the author only mentions the major point: these forms of intensive governmentality in the name of historical preservation were put into place as Alhambra witnessed the transition of nearby suburbs into ethnoburbs. Preservationist policy emerged as a governmental response to a perceived loss of white control. (Much has been said about Arcadia, Chinese investor development, “mansionization.” h/t @prettylittlecrier for this article!) I can’t say that I recommend this book entirely, unless you’re involved in preservation planning.

I’m not sure we can accurately call all of these homes in the SGV “mcmansions,” but people sure love to. In Lawrence-Zuniga’s chapter, Alhambra’s bungalow landscape “needed” to be defended from Arcadia’s mansionization--larger scale teardown and redevelopment, but also from any kinds of additions and modifications to existing bungalows that would alter their scale in relation to the lot and the neighbors, as well as (importantly) their inhabited density. I think it’s worth thinking through the differences between all of these things: subdivided land developed for large houses on small lots, redevelopment for the former, large houses built for large families on small surbuban lots where more “modest” houses might have once stood, or just... big houses on big lots.

I must have mentioned Becky Nicolaides and James Zarsadiaz’s “Design Assimilation in Suburbia: Asian Americans, Built Landscapes, and Suburban Advantage in Los Angeles’s San Gabriel Valley since 1970,” I was so excited when they published this article. They look at San Marino, and consider what they term “design assimilation” to describe the ways (and reasons) Chinese suburbanites chose to consent to preservationist codes and design review, and why they lived in a community that imposed these kinds of racialized codes:

For some, these suburban landscapes seemed to materialize positive images of America they harbored as children back in Asian home countries. Some openly appreciated the classic European inflected architecture, others the open spaces and aesthetic styles of country living. Asian suburbanites also grasped that support of American landscape aesthetics offered certain social and fiscal benefits. To their neighbors, it conveyed a willingness to assimilate through aesthetic behaviors, which helped maintain community peace and ensure social acceptance. Embracing American design styles also conferred a status distinction that positioned these Asian homeowners above those around them—including those in the ethnoburbs. In design-assimilated suburbs, property values were higher and schools were better, signaling a racialized valuing of space not lost on Asians themselves. Design assimilation, thus, was a facet of the production of affluent suburban space, in which white and ethnic Asian suburbanites played complicit roles.

They don’t pick up the McMansion explicitly, but they are marking its absence in a landscape. This is a really constructive piece, chiefly, here, as a concrete example of the ways that some suburbs were understood to be aesthetically Chinese by the eighties, that the mcmansion criticism can be seen to have been racialized by then.

I want to close with an excerpt from anthropologist Aihwa Ong’s 1996 article, “Cultural Citizenship as Subject-Making,” which picks up the problem of taste but also the figure of international wealth, and the Chinese developer rather than the middle class Chinese immigrant:

In wealthier San Franciscan neighborhoods, residents pride themselves on their conservation consciousness, and they jealously guard the hybrid European ambiance and character of particular neighborhoods. In their role as custodians of appropriate cultural taste governing buildings, architecture, parks, and other public spaces, civic groups routinely badger City Hall, scrutinize urban zoning laws, and patrol the boundaries between what is aesthetically permissible and what is intolerable in their districts. By linking race with habitus, taste, and cultural capital (Bourdieu 1984), such civic groups set limits to the whitening of Asians, who, metaphorically speaking still give off the whiff of sweat despite arriving with starter symbolic capital.

Public battles over race/taste have revolved around the transformation of middle-class neighborhoods by rich Asian newcomers. At issue are boxy houses with bland facades--”monster houses”--erected by Asian buyers to accommodate extended families in low-density, single-family residential districts known for their Victorian or Mediterranean charm. Protests have often taken on a racialist tone, registering both dismay at the changing cultural landscape and efforts to educate the new arrivals to white upper-class norms appropriate for the city. While the activists focus on the cultural elements--aesthetic norms, democratic process, and civic duty--that underpin the urban imagined community, they encode the strong class resentment against large-scale Asian investment in residential and commercial properties throughout the city. A conflict over one of these monster houses illustrates the ways in which the state is caught between soothing indignant urbanites seeking to impose their notion of cultural citizenship on Asian nouveaux riches while attempting to keep the door open for Pacific Rim capital.

In 1989 a Hong Kong multimillionaire, a Mrs. Chan, bought a house in the affluent Marina district. Chan lived in Hong Kong and rented out her Marina property. A few years later, she obtained the approval of the city to add a third story to her house but failed to notify her neighbors. When they learned of her plans, they complained that the third story would block views of the Palace of Fine Arts as well as cut off sunlight in an adjoining garden. The neighbors linked up with a citywide group to pressure City Hall. The mayor stepped in and called for a city zoning study, thus delaying the proposed renovation. At a neighborhood meeting, someone declared, “We don’t want to see a second Chinatown here.” Indeed, there is already a new “Chinatown” outside the old Chinatown, based in the middle-class Richmond district. This charge thus raised the specter of a spreading Chinese urbanscape encroaching on the heterogeneous European flavor of the city. The remark, with its implied racism, compelled the mayor to apologize to Chan, and the planning commission subsequently approved a smaller addition to her house.

However, stung by the racism and the loss on her investment and bewildered that neighbors could infringe upon her property rights, Chan, a transnational developer, used her wealth to mock the city’s self-image as a bastion of liberalism. She pulled out all her investments in the United States and decided to donate her million-dollar house to the homeless. To add insult to injury, she stipulated that her house was not to be used by any homeless of Chinese descent. Her architect, an American Chinese, told the press, “You can hardly find a homeless Chinese anyway,” Secure in her overseas location, Chan fought the Chinese stereotype by stereotyping American homeless as non-Chinese, while challenging her civic-minded neighbors to demonstrate the moral liberalism they professed. Mutual class and racial discrimination thus broke through the surface of what initially appeared to be a negotiation over normative cultural taste in the urban milieu. A representative of the mayor’s office, appropriately contrite, remarked that Chan could still do whatever she wanted with her property; “We just would like for her not to be so angry.” The need to keep overseas investments flowing into the city had to be balanced against neighborhood groups’ demands for cultural standards. The power of the international real estate market, as represented by Mrs. Chan, thus disciplined both City Hall and the Marina neighbors, who may have to rethink local notions of what being enlightened urbanites may entail in the “era of Pacific Rim capital.”

#i think i'm forgetting a sociologist...#architecture #landscapes of production #interiors

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leannezhang · 2 years

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Week 10 – Wednesday 23th March

Job list.

Scene design

Shot design

During the week I received feedback on the colour scheme and this feedback was very important to me. It was a good reminder of what I should do next. As my personal animation has two indoor scenes, one at Kathy's parents' home and the other at Kathy's grandparents' home. In Kathy's parents' home an argument breaks out, so a heavy colour palette can be used in Kathy's parents' home. Kathy's grandparents' home heals Kathy, so consider using warmer colours in Kathy's grandparents' home, which will also bring out the theme through colour.

Also, I received feedback about the outdoor scene of Kathy's parents' home. In this shot, I didn't do a good job of highlighting Kathy's parents' home that needed to be shown; both buildings in the frame look like they are in focus, so it doesn't quite highlight them. So I need its refinement on this issue.

Scene design. This week I have been revising and drawing the outdoor scene design for Kathy's parents' home. The problem I needed to think about before drawing was how to highlight Kathy's parents' home. The solution I came up with was to draw a shorter building in the middle of some tall buildings and use the zoom in effect to highlight that this is Kathy's parents' house.

Here are the reference images I found.

In my drawing process, my main idea was to 'highlight' the building of Kathy's parents' home. As my style is predominantly simple, my idea was to refer to some sketchy buildings to draw the outdoor scene of Kathy's parents' house. As I needed to show cars in my animation, I took this into consideration and set Kathy's parents' house near the road so that I could better show the cars walking around.

Firstly, I drew up a rough idea of the location of the building as a draft drawing. In the process of drawing this I made reference to the design of the simplified house. But it was not just the design of the houses that I needed to consider in this session, I also needed to think about the layout of the street as a whole. I thought that the houses should not be on the same level, but should be staggered, so the layout was something I spent a lot of time thinking about. Although there were some reference drawings of cartoon houses, I needed to pay attention to the design of the original houses, so I also spent some time researching the design of the houses. In designing the house I needed to highlight Kathy's house, so my idea was to distinguish Kathy's house from the other buildings, so I chose to draw a simple bungalow.

As I am not using outlines in the character design, I will also focus on colour in the scene design. I also had to think about the colour scheme, as my animation would be simple and cartoonish, I didn't want my colours to be complicated. So for the colour scheme I have tried to use bright colours for the buildings in the front of the screen as much as possible, while for the buildings in the back I have mainly considered using dark colours to overpower the background colours, but taking into account the fact that the dark colours do not make the screen feel abrupt.

For the design of the car I am referring to the image of the SUV for reference. And I made the wheels in separate layers, so that in the next animation the wheels can be rolled.

After drawing the scene in Procreate, I exported the file to PSD mode, saved it and merged the layers in Photoshop. Afterwards I put the merged layers into after effect for animation.

For shot1, I needed to do a zoom in shot, so I composited the whole frame, zooming in at the very outside. first I needed to K-frame the position and zoom, and then K-frame at the end, which completed the zoom in effect.

After that, there was another shot that also used this scene. However, as it was a night scene, I added a mask to the background in After effect and replaced the background with a dark colour. After that, I did a pan effect on the car in the composite. However, before the panning effect I enhanced the car dwell time to match the subsequent sound effects of the car starting. I then exported them to H.264 mode. After this, I started to think about sound effects. In my plan, I needed the car to stay in front of the house for a while before setting off. So, for the sound effects I needed to prepare a sound effect of the car starting up and a sound effect of the car driving out. These sound effects should ideally be coherent so that the sounds don't seem to be abruptly linked.

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architectnews · 2 years

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Honey and Walnut House Birmingham

Honey and Walnut House Birmingham, West Midlands Property Photos, English 1970s Bungalow

Honey and Walnut House in Birmingham

2 May 2022

Five projects have been awarded RIBA West Midlands Awards

Honey and Walnut House, Birmingham, central England, UK

Design: Intervention Architecture Ltd

Honey and Walnut House, Birmingham, West Midlands

Jury Report

In cleverly minimising new extensions and instead placing focus on opening the primary structure, Intervention Architecture has transformed this humble bungalow. Set within a row of traditional 70s bungalows, the new form is subtly striking and rebalances the proportions to reveal a secret vault of space internally.

Externally the re-alignment of a new roof form, which has been inset to create a parapet with sharper coping lines, establishes a new language to the street, whilst adhering to strict conservation area conditions, with a very simple, full-width extension at the rear of the property. Brick detailing has been delicately varied throughout the façade to represent changes to the perforation of the building façade.

Its upon entry that the building comes alive. The old, suspended ceilings were removed so that the sloping underside of this new roof could be revealed, overhauling an interior that once seemed small and cramped into one that feels bright and spacious.

The floor plan has been designed to work as hard as possible. The new layout divides the house neatly into three zones, with the living spaces in the centre, bedrooms and bathrooms on one side, and garage and utility spaces on the other. While the clients wanted their home to feel open, they were wary of creating a space that felt too cold and minimal. To avoid this, the Architects insisted that the furniture was planned from the outset as a means of subtly dividing space. The joinery details are all bespoke and the language of these is fluent throughout the building.

The innovative solution creates a lofty, unexpected family space, offsetting lighter honey toned floors, bright surfaces and a birch kids bedroom mezzanine, with darker walnut joinery insertions such as wall paneling, study and kitchen. A large glass sliding door creates a direct link with the kitchen, living area and garden, the light infiltration of this space creates drama throughout the plan.

The opportunity was also utilised as part of the retrofit to upgrade the thermal envelope and achieve improved air tightness beyond building regulations whilst optimising natural cross ventilation with window positioning.

Honey and Walnut House Birmingham – Property Information

RIBA region: West Midlands Architect practice: Intervention Architecture Ltd Date of completion: Dec 2020 Date of occupation: Dec 2020 Client company name: Private Project city/town: Birmingham

Contract value: Confidential Gross internal area: 195.00 m² Net internal area: 218.00 m² Cost per m²: Confidential Contractor company name: Kiwi Design and Build

Consultants

Structural Engineers: CDP Bromsgrove Joiners: MJM Bespoke

Awards

• RIBA Regional Award • Regional Award Short List

2022 RIBA West Midlands Awards Winners

Honey and Walnut House Birmingham – RIBA North West Awards Shortlist 2022 images / information received 270422

Location: Birmingham, West Midlands, England, UK

Birmingham Buildings

Birmingham Architectural Designs

Birmingham Architecture Designs – chronological list

Birmingham Architecture Walking Tours by e-architect – bespoke city walks

Contemporary Architecture in West Midlands – architectural selection below:

Dogpool Lane student residence, Selly Park South Design: Glenn Howells Architects image courtesy of architects practice Dogpool Lane Birmingham student residence

West Midlands Architecture

Contemporary Architecture in West Midlands – architectural selection below:

Birmingham Architecture

Commercial Building, Wolverhampton Design: Glenn Howells Architects photos courtesy of Brick Awards / architects i9 Office Building Wolverhampton Property

Comments / photos for the Honey and Walnut House Birmingham design by Intervention Architecture Ltd page welcome

The post Honey and Walnut House Birmingham appeared first on e-architect.

#e-architect

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homepictures · 6 years

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19 Ideas To Organize Your Own Homes Images Designs | homes images designs

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#home design #homes images designs #houses designs images #simple bungalow homes designs images

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bivocalbirds · 3 years

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Mandira Bedi’s Madh Island Adobe Built with All the Luxuries is Now Available for Rent on Airbnb

Mandira Bedi, an Indian actress, a fashion designer, television presenter did her start from TV serial “Shanti” is now a social media trend setter and fitness icon to her peers. Setting no limits, she has also anchored the ICC Cricket World Cup for 5 years. Apart from this, she has been successfully juggling through her roles as a wife, a daughter and a mother of two children.

Let’s know some of the facts related to her Madh Island Villa:

The couple listed their opulent island property in Madh on Airbnb. The home offers a pool, 4 bedrooms, and 5 bathrooms with a view of the sea.

The cost of a night's stay is said to be around Rs 42,000. Mandira Bedi was the second Bollywood celebrity to list her property for rent after Shah Rukh and Gauri who have been the pioneer among the celebs to list their property on Airbnb.

Airbnb posted a snapshot of Mandira Bedi posing at her villa on their Twitter account on 4th March. “I am amazed to hear about women who are working hard, pushing stereotypes, and earning financial freedom to become successful entrepreneurs supporting themselves and their families,” she said, according to the American rental firm. "Their adventures have tremendously impacted me," says @mandybedi, an actor and Airbnb host.

Mandira and her mother together made their investment in this villa and made it available as a shooting bungalow, thus it has been redone by many directors. As a result, the house needed a large renovation.

Also read, Malaika's simple but elegant living room will make you feel envy

The house faces the Arabian Sea that enhances the beauty of the location making it a worth relaxing place with a large swimming pool in the backyard.

The house has been carved beautifully with the contemporary interior having classy furniture that somewhat resembles her own house.

As seen in the picture, the bedroom consists of mirror walled glasses that makes it more spacious. The living room has been given a funky touch by the sofas enveloped with suede of golden and indigo colours.

She has been deeply involved since long time in the makeover of this house to make it a place that is worthy of holiday home.

Get 1bhk, 2bhk, 3bhk flats on rent in Noida extension with affordable prices.

Out breaking news left everyone in mourn

On 30th of June 2021, her husband’s sudden demise due to heart attack left everyone in shock and grief. Raj Kaushal and Mandira Bedi married in 1999, and their son Vir was born in 2011. Raj Kaushal was a film producer, writer, and director who directed films such as Pyaar Mein Kabhie Kabhie, Shaadi Ka Ladoo, and Anthony Kaun Hai. He started off as a copywriter. In 1998, he founded his own advertising production firm and has since directed over 800 advertisements. He later backed the film My Brother... Nikhil, which was released in 2005.

Also read, Plunge into the swanky house of Virat and Ankushka

In one of their picture the couple is seen enjoying in their wedding anniversary together. They have seen the ups and downs together in their life till 22 years. Nevertheless, death cannot depart a person from your heart.

We can see a happy family happily celebrating their son’s birthday together in the picture.

Mandira and Raj Kaushal welcomed 4-year-old Tara into their family in July of last year, after previously revealing their desire to adopt a daughter. Vir, the son of Mandira Bedi and Raj Kaushal, is now ten years.

Stereotype broken by Mandira

Mandira has always stood up strong like a pillar. She is a great example of the women empowerment that can be seen from her ways of accepting challenges. Bidding a weepy goodbye to her husband, she even broke that traditional ritual performing of gender stereotypes by performing the funeral rites of her husband.

She recently deleted her social media profile picture by not posting anything and replaced it with a black colour image with the subtitle there “Start where you are, use what you have, do what you can.”

#flat on rent #apartment on rent

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