Foundation Building Drawing
Eva Dunckel
What type of foundation are you using stem wall, monolithic? You can generate a building outline then offset the building outline in the thickness of your exterior wall material. Then erase the outside building line.
The current building is a standard full basement but the addition will be a post and pier foundation and I'm having trouble getting the rest of the homes foundation to remain when I build the grade beam on piers option, how do I represent both at the same time on this print?
You may notice the siding on the inside of the house, that is from the original/current home shape and the membrane roof portion is new. I'm working on setting new layer defaults so that I can better show the current layout vs planned build but that will take some time and hopefully that is the correct first step but not the issue I really need help with now. Thanks again for taking the time to look over my question.
yes, same thing but different wording. I should have caught that but used my phrasing the first time then the wording chief has for what I'm looking the second. It looks like that will work though, currently it's defaulting to a footing instead of beam on pier but I'll look over it and expect that will be an option.
Edit the Crawlspace room so the floor thickness is zero and the foundation wall height is zero. Select the 2 grade beam walls and uncheck 'sill plate'. For the Addition Room, set the framing group to 2.
On this plan I wanted the rest of the house to be full basement but then have that addition portion drawn as a different foundation, would you still recommend editing the defaults for that? I know I should start focusing on learning to properly use the defaults either way though as I'm surely wasting some time editing things
When I'm drawing an addition to a house with a foundation wall and an assumed footing, I don't show the footing in plan view UNLESS there has been exploratory excavation to determine the footings existence and size OR unless there are building plans available for the existing structure. I make clear delineation in all drawing types between existing structure and new structure. A simple method for you to consider is to show all existing structure with a medium grey line color and a light grey solid fill.
Berlin and Moscow based renowned architect Sergei Tchoban, has joined with Sergey Kuznetsov of SPEECH Tchoban & Kuznetsov, to create a space for architectural drawings. The new museum will provide a home for the internationally renowned Tchoban Foundation collection as well as for temporary exhibits from leading cultural institutions around the world. Architect and passionate collector Tchoban has finally realized his dream to create the ideal setting for architectural drawings.
The Museum for Architectural Drawing is an exceptional example of contemporary architecture in its construction, design and choice of materials. The powerful expression of its formal language cannot be overlooked though it still responds sensitively to its surroundings. The coloured concrete and glass faades of the building are rich in contrast and layers. Its closed surface is detailed with strong magnified fragments of architectural sketches in relief form. The museum has a floor area of approximately 490 square metres, and contains an entrance area, two exhibition rooms, the museum depository and a conference room.
Sergei Tchoban, born in 1962 in Saint Petersburg, developed a passion for architectural drawing during his student years at the Russian Academy of Arts in his home city. Here he discovered his love for the old Masters and began himself to draw. In 2001, the purchase of a drawing by Pietro di Gottardo Gonzaga was the foundation stone for his collection. Since then, the collection has grown to include several hundred sheets from different periods: from architects of the 16th century to the present day, from Cerceau to Gehry.
Since I sell a large number of nucs each spring, I need to draw thousands of deep combs of foundation every year. But due to our drought in California, this this has become difficult. So I was curious as to whether bees would better draw foundation on heavy or light syrup.
Experimental Objectives: To test whether, given the same amount of sugar, colonies would draw more foundation if that sugar were fed in a concentrated or a dilute syrup.
Run #1, June 17-30: light nectar flow on, other hives in yard maintaining weight. Chose 2 groups of 5 hives each. Gave 6 feedings each, for a total of 6 gallons of heavy syrup, or 12 gallons of light syrup. Was dry and hot for the first three feedings, rain and/or high humidity for the last three.
Run #2 July 6-15: Removed the drawn boxes and replaced with fresh boxes of foundation. Reversed the treatments for each group (the light syrup group now got heavy syrup), censoring the same hive as in the first run. As expected, comb building commenced more quickly than in the first run. Needed only 3 feedings over 9 days to draw the comb (for a total of 3 gal of heavy, or 6 gal of light syrup).
Run #3 July31-August 16: As before, removed the drawn boxes and replaced with fresh foundation, and reversed treatments. In order to cut back on feeding labor, I tried feeding from open 4-gal tubs with straw, again protected by an empty super, giving either 2 gal heavy, or 4 gal light syrup. By August 6 the syrup was not being taken well, so I poured the remaining syrup back into chick waterers as per the first two runs. A few days later I did one additional feeding, again for a total of either 3 or 6 gallons. In this run, the amount of weight gain suggested that there may have been a slight gain due to a natural honey flow.
Figure 3. Not all colonies drew their combs equally from the center out, so I reordered them for better comparison. More foundation was drawn on light syrup, but the difference was not statistically significant.
Figure 4. It is always important to replicate any experiment. In Run #2, at the start of the run, the brood chamber was already full of honey, so the bees immediately started drawing comb. In this run, the bees drew more combs on heavy syrup, but the difference was again not statistically significant.
Combined results: overall, there was no significant difference in comb drawing between the two concentrations of syrup in the three replicates (Fig. 6). Nor did it seem to make much difference in the total weight gain of the supers.
Figure 6. There did not appear any substantial difference in the amount of comb drawn by feeding either heavy or light syrup. Despite the slight apparent edge for light syrup, taking labor into consideration, it would be considerably cheaper to feed heavy syrup in order to produce the same amount of drawn comb.
It is often suggested that beekeepers should rotate out their combs on a regular basis (although many experienced beekeepers scoff at the idea). Since I sell thousands of combs in my nucs each season, I wondered just how much the cost (in honey or syrup) is for a colony to draw a comb of foundation.
Practical application: there is a cost to rotating out combs. If you can sell your honey for $2.50/lb (a ballpark figure), then it would cost roughly $5.00 in lost honey production to draw a single comb (not to mention the cost of the frame and foundation). Perhaps a more reasoned recommendation for comb rotation is that if the brood looks healthy, then the comb is likely not contaminated, and perhaps can be of service for a while longer.
As always, my buddy Pete Borst helped immensely with research for this article. I also thank beekeeper Brion Dunbar for his assistance in grading the frames, and my sons Eric and Ian for help in feeding.
Notes and citations
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Can't figure this out. Walls for two interior rooms - walk in closet and laundry/pantry combo - are extending through the floor. When I build the foundation it builds separate foundations under those rooms. Tried deleting and re-drawing with same result. Wall and room structure specs same as other rooms. Toggling "Build foundation below" on and off has no effect. Any ideas? Thank you.
Located on the site of the Pfefferberg, a former brewery whose landmarked brick buildings now house artist studios and cultural institutions, the museum occupies a 26-by-39-foot plot and adjoins the firewall of an existing historic structure. Small and arresting, it gently mediates between the industrial context and the surrounding 19th-century residential buildings. Its facade rises to 72 feet, the typical height of eaves on inner-city Berlin buildings, and the concrete's parchment tone harmonizes with the pastel exteriors of the surrounding apartment blocks. Even the dramatic glass box that cantilevers out above the concrete facade can be considered a bold interpretation of the setback level completing the typical Berlin block. The scored concrete also acknowledges, but does not imitate, the brewery's brick architecture, as both display muscular forms that lay bare their materiality.
More than mere signifiers, the concrete facades are the supporting structure. The building is constructed as a massive reinforced-concrete shell, like a hollow tower. Upon completion, the floor levels were inserted into this form. The bays jutting out from the second and third levels, respectively, provide bracing. On the concrete's inner side, a layer of cellular glass insulation acts as a vapor barrier. Behind that, a limestone-masonry wall, coated with lime-cement plaster, regulates the interior moisture content and air quality. As a result, the building requires a relatively small HVAC system.
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