Home Architect - Design Your Floor Plans In 3D Crack Highly Compressed
Irmgard Verzi
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Given the highly compressed 42-month schedule, the project team was engaged in multiple concurrent activities between design, coordination, construction in the field and final documentation. The construction documents were split into a series of packages driven by the construction sequence and needs of the field operation.
Home Architect - Design Your Floor Plans In 3D Crack Highly Compressed
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MEMBERS CLUB & WORKSHOPSBUILDING PLAN TESTIMONIALS"April saved the day for us with the perfect small home to fit our budget. We had tried to use plans online and do everything ourselves, but it took April's know-how to design a functional, beautiful home and work with local officials on approval. A lot of people gasp when we say our house is fewer than 500 square feet with a 200 square foot loft, but they always gasp again when they go inside -- because it doesn't feel "tiny.". The ample porch space, the open floor plan, and the lots of windows help keep the space from feeling too small. Throughout the building process, April has helped inform our decision to keep our budget reasonable and build the best for our climate. We couldn't have made our dream a reality without her and her invaluable expertise! Building a home is one of the most important things we have done. We tried to cheap out on it. Luckily, April was there to save our dream."
"Especially in the architect field, you are a gem to find because not everyone wants or can build a high end, luxury home. Some of us just want a eco friendly home of a small/moderate size, but finding an architect to do that is a challenge. A lot of architects only want to design typical stick built houses with huge, expensive floor plans. I didn't want a poorly done, mass produced home. I was losing hope on ever getting our home built and ready to hang up our plans until I spoke with you."
Text description provided by the architects. In Mill Run, Pennsylvania in the Bear Run Nature Reserve where a stream flows at 1298 feet above sea level and suddenly breaks to fall at 30 feet, Frank Lloyd Wright designed an extraordinary house known as Fallingwater that redefined the relationship between man, architecture, and nature. The house was built as a weekend home for owners Mr. Edgar Kaufmann, his wife, and their son, whom he developed a friendship with through their son who was studying at Wright's school, the Taliesin Fellowship.
THE UP STUDIO TEAM
Our team of architects and designers work together to simultaneously design ourcustom homes. This allows us to carry the design language from the exterior into every interior materialselection we make.
Architect TaeByoung Yim designed this 570-square-foot house in Seoul, Korea, for JaeHoon Han, an adjunct professor and retired CFO who sought to build a second home with space for studying and entertaining. "He needed a place where he could focus on his writing and research, but he also wanted an elegant house where friends and family would be able to visit," says the architect.
In the middle of bustling Hanoi, Vietnam, ODDO Architects designed the CH House for a family of six spanning three generations under the same roof. The narrow, elongated site allowed the architects enough space to build a home measuring just under 14 feet wide and 114 feet deep.
The architects drew inspiration from traditional Hanoi houses with interior courtyards, staggering the floors and ceiling heights across the five-level plan. The volumes are capped with sections of clear roofing that allow light to cascade into the home. "This design provides an unexpected spacious feeling, despite the limited width of the house," explain the architects.
The floor plans of the first sixteen floors were made as large as possible to optimize the amount of rental space nearest ground level, which was seen as most desirable. The U-shaped cut above the fourth floor served as a shaft for air flow and illumination. The area between floors 28 and 31 added "visual interest to the middle of the building, preventing it from being dominated by the heavy detail of the lower floors and the eye-catching design of the finial. They provide a base to the column of the tower, effecting a transition between the blocky lower stories and the lofty shaft."[39]
The Chrysler Building is renowned for, and recognized by its terraced crown, which is an extension of the main tower.[39] Composed of seven radiating terraced arches, Van Alen's design of the crown is a cruciform groin vault of seven concentric members with transitioning setbacks.[41][48] The entire crown is clad with Nirosta steel, ribbed and riveted in a radiating sunburst pattern with many triangular vaulted windows, reminiscent of the spokes of a wheel.[41][33][49] The windows are repeated, in smaller form, on the terraced crown's seven narrow setbacks.[33][49] Due to the curved shape of the dome, the Nirosta sheets had to be measured on site, so most of the work was carried out in workshops on the building's 67th and 75th floors.[50] According to Robinson, the terraced crown "continue[s] the wedding-cake layering of the building itself. This concept is carried forward from the 61st floor, whose eagle gargoyles echo the treatment of the 31st, to the spire, which extends the concept of 'higher and narrower' forward to infinite height and infinitesimal width. This unique treatment emphasizes the building's height, giving it an other worldly atmosphere reminiscent of the fantastic architecture of Coney Island or the Far East."[39]
The lobby is triangular in plan,[59][60][42] connecting with entrances on Lexington Avenue, 42nd Street, and 43rd Street.[61] The lobby was the only publicly accessible part of the Chrysler Building by the 2000s.[62][63] The three entrances contain Nirosta steel doors,[64] above which are etched-glass panels that allow natural light to illuminate the space.[65] The floors contain bands of yellow travertine from Siena, which mark the path between the entrances and elevator banks.[64][60][66][65] The writer Eric Nash described the lobby as a paragon of the Art Deco style, with clear influences of German Expressionism.[5] Chrysler wanted the design to impress other architects and automobile magnates, so he imported various materials regardless of the extra costs incurred.[61][67]
In April 1928, Reynolds signed a 67-year lease for the plot and finalized the details of his ambitious project.[145] Van Alen's original design for the skyscraper called for a base with first-floor showroom windows that would be triple-height, and above would be 12 stories with glass-wrapped corners, to create the impression that the tower was floating in mid-air.[33][146] Reynolds's main contribution to the building's design was his insistence that it have a metallic crown, despite Van Alen's initial opposition;[5] the metal-and-crystal crown would have looked like "a jeweled sphere" at night.[55] Originally, the skyscraper would have risen 808 feet (246 m), with 67 floors.[7][147][146] These plans were approved in June 1928.[148] Van Alen's drawings were unveiled in the following August and published in a magazine run by the American Institute of Architects (AIA).[149]
With the design complete, groundbreaking for the Reynolds Building took place on September 19, 1928,[150]but by late 1928, Reynolds did not have the means to carry on construction.[151] Walter Chrysler offered to buy the building in early October 1928,[152][153] and Reynolds sold the plot, lease, plans, and architect's services to Chrysler on October 15, 1928,[41][151][18] for more than $2.5 million.[154] That day, the Goodwin Construction Company began demolition of what had been built.[155][18] A contract was awarded on October 28,[156] and demolition was completed on November 9.[155] Chrysler's initial plans for the building were similar to Reynolds's, but with the 808-foot building having 68 floors instead of 67. The plans entailed a ground-floor pedestrian arcade; a facade of stone below the fifth floor and brick-and-terracotta above; and a three-story bronze-and-glass "observation dome" at the top.[41][18] However, Chrysler wanted a more progressive design, and he worked with Van Alen to redesign the skyscraper to be 925 ft (282 m) tall.[157] At the new height, Chrysler's building would be taller than the 792-foot (241 m) Woolworth Building, a building in lower Manhattan that was the world's tallest at the time.[158][18] At one point, Chrysler had requested that Van Alen shorten the design by ten floors, but reneged on that decision after realizing that the increased height would also result in increased publicity.[159]
From late 1928 to early 1929, modifications to the design of the dome continued.[133] In March 1929, the press published details of an "artistic dome" that had the shape of a giant thirty-pointed star, which would be crowned by a sculpture five meters high.[86][33][160] The final design of the dome included several arches and triangular windows.[133] Lower down, the design was affected by Walter Chrysler's intention to make the building the Chrysler Corporation's headquarters, and as such, various architectural details were modeled after Chrysler automobile products, such as the hood ornaments of the Plymouth (see Designs between setbacks).[33][7] The building's gargoyles on the 31st floor and the eagles on the 61st floor, were created to represent flight,[26] and to embody the machine age of the time.[33][7] Even the topmost needle was built using a process similar to one Chrysler used to manufacture his cars, with precise "hand craftmanship".[161] In his autobiography, Chrysler says he suggested that his building be taller than the Eiffel Tower.[162][11]
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