Arch Daily |
- Marignane Development Center Airbus Helicopters / Michel Rémon & Associés
- Experience the Sir John Soane's Museum, Virtually
- House Rehabilitation in Valencia / DG Arquitecto Valencia
- The Commons / Department of Architecture
- Storytelling Street Furniture Featured in URBE 2016
- Material Focus: Expansion Inspired by Portuguese Tiles by João Tiago Aguiar
- Una Pavillion / Apiacás Arquitetos
- 99% Invisible Discusses How Algae Biotechnology Can Affect the Urban Environment
- These Architectural Playscapes Provide Therapy for Children with Autism
- B.Amsterdam / NEXT architects
- 10 Ways to Improve Your Architecture CV and Get Through the Interview Process
| Marignane Development Center Airbus Helicopters / Michel Rémon & Associés Posted: 17 Dec 2016 09:00 PM PST .jpg?1481804483 "© Sergio Grazia") © Sergio Grazia
.jpg?1481804390 "© Sergio Grazia") © Sergio Grazia Whiter than White "A block of sky carrying a piece of Mediterranean soil": this is how Michel Rémon describes the building he designed for the Airbus Helicopters Research and Development Center. Among the "white" buildings on the surrounding industrial site – all different in their envelopes of metal or concrete - the Airbus monolith shines like a unique nugget, radiant by its simplicity, rigor and purity. .jpg?1481804581 "© Sergio Grazia") © Sergio Grazia This immaculately white parallelepiped serves three main goals: to give a prestigious identity to this new brand base; to offer the teams modern, collaborative and integrated working conditions; and to upgrade the site's image by landscaping the outdoor areas for the well-being of company personnel. .jpg?1481804429 "© Sergio Grazia") © Sergio Grazia This final goal is met well beyond specifications: on the east side of the building, a green carpet of pines and heath rooted in three meters of earth rises from the ground to climb up to the northeast corner of the site. .jpg?1481804518 "© Sergio Grazia") © Sergio Grazia  Site Plan .jpg?1481804496 "© Sergio Grazia") © Sergio Grazia A tribute to the incredible vertical ascension of a helicopter? Without doubt, just like the mirror of the glass façades reaching into the sky toward these magical, humming insects. Made of self-cleaning silk-screened glass, these façades protect the building from the heat of the sun by breathable double glazing with integrated venetian blinds. On the various floors, the natural light is soft and omnipresent, all the way to the central core dedicated to social spaces and large stairways. .jpg?1481804607 "© Sergio Grazia") © Sergio Grazia "At the center of a landscape which has been carefully planted by landscape architect Laure Planchais, the building brilliantly manifests the R&D activity that is both secret and emblematic." This posting includes an audio/video/photo media file: Download Now |
| Experience the Sir John Soane's Museum, Virtually Posted: 17 Dec 2016 08:00 PM PST  Temple of Vesta in Plaster of Paris model by François Fouquet. Image © Sir John Soane's Museum The Sir John Soane's Museum is often cited as a seminal inspiration for architects of all generations. Located in London's Lincoln's Inn Fields, the house—designed by Soane (born in 1753), architect of the Bank of England—is a remarkable biographical bricolage of unique spaces, objects and ideas. Kept exactly as it was at the time of Soane's death in 1837, the museum is packed with paintings, sculpture, furniture and drawings – all curated and composed by the architect himself to "enhance their poetic qualities."  Soane's ingenious design for the courts in Westminster. Image © Sir John Soane's Museum The house and collection was gifted to the United Kingdom upon the condition that "it should be preserved as it was at that time and that it should be kept open and free for the public's inspiration and education." Now, using 3D technology to scan and digitize a number of the museum's rooms and objects on display (including the famous model room, and King Seti I's sarcophagus), curious minds no longer need to visit London to get to know the museum. Discover it virtually, here. This posting includes an audio/video/photo media file: Download Now |
| House Rehabilitation in Valencia / DG Arquitecto Valencia Posted: 17 Dec 2016 06:00 PM PST  © Mariela Apollonio
 © Mariela Apollonio From the architect. Our projects always begin with a detailed study of some preliminary premises: The space, in this case is an old townhouse with almost a hundred years of history located in one of the towns near Valencia, with a small backyard, and the needs of the clients, a young couple with three year old daughter.  © Mariela Apollonio The new layout of the house comes out as a result of introducing these premises into de project, preserving the essence of the original housing, and opening the main spaces to the backyard.  © Mariela Apollonio The original structure of the house, of wooden beams and beam fills, turns into an important part of the new layout as well as the old wooden doors that, althoug being in a new position, are all restored and reused to delimit the new spaces.  © Mariela Apollonio Located back in the house there are the living spaces, living room, kitchen and the main room so that the backyard becomes the key area of the house, being a direct extensión of the interior spaces.  Previous State  Reformed state The new layout of the house and the backyard are proposed in three areas: The central area in with the most important rooms of the house are located: the entrance, hallway, the living room, the dinning room and the orchard area. The upper area where the rooms are located, two smalller rooms lighted up with the house´s access road, the master bedroom and the pool area.  © Mariela Apollonio The lower area in which the kitchen area, laundry and barbacue are located.  © Mariela Apollonio This posting includes an audio/video/photo media file: Download Now |
| The Commons / Department of Architecture Posted: 17 Dec 2016 12:00 PM PST  © Ketsiree Wongwan / W Workspace
 © Ketsiree Wongwan / W Workspace For Bangkok, or any other modern-day cosmopolitan cities, living conditions and spatial form continue to evolve. Bangkokians are now yearning for new possibilities of outdoor living space that can effectively answer to the tropical heat and its dense living condition where there is not much space for the outdoor. 'The Commons', a small retail development in the city center, is an attempt to create a new active outdoor space where people can comfortably enjoy it at anytime of the year.  © Ketsiree Wongwan / W Workspace 'The Commons' proposes a vertical open-air public space folding upward as a backbone of the building. It starts with 'the Ground' which is a landscape of steps and ramps integrated with platforms, seatings, planting and small kiosks. The area is well shaded by the third and the fourth floor structure above protecting the entire space from the sun and the rain. 'The Ground' vertically opens up through large voids on the upper floors, connecting to a large public open-air area occupying nearly thirty percent of each of the third and the fourth floor plate. The space vertically and horizontally flows in and out the entire building and allows for natural ventilation throughout. Two sets of industrial fans are incorporated into the ceiling screen below the skylight. One set draws hot air upward and out; the other set blows the wind downward to effectively increase the air movement in extra hot days. This airy semi-outdoor space is well incorporated with gardens on all levels. It becomes an active vertical urban living area. It is a place for strolling and relaxing at any time and in any seasons.  © Ketsiree Wongwan / W Workspace  Section  © Ketsiree Wongwan / W Workspace 'The Commons' also provides a solution answering to a classic challenge of a multi-storey retail building on how to draw people upward to the upper levels. The wide 'Ground' with its gradual series of steps and platforms connecting the street level to the second floor naturally draws people to walk up leisurely. A series of openings in the third and the fourth floor further enhance a continuity of the vertical space. Shops on the upper levels are clearly seen from different angles from 'the Ground'. People flow to every floor effortlessly.  © Ketsiree Wongwan / W Workspace A building skin on the upper floors answers to another challenge. While the project wants to open up the facade for a through ventilation, the different identities of various shops on the façade would have made the building appear to be fragmented. The project applies a thin sheer steel mesh over the façade to partially mask off the differences among the shops providing a unified surface while allowing for visual transparency from the inside, a through ventilation, and the lightness appearance from the outside.  © Ketsiree Wongwan / W Workspace The ceiling of 'the Ground' is carefully up-lighted creating a floating effect to the mass above and give a cozy atmosphere to the area. The exterior light on the meshed façade fades in and out slowly. With light, the surface of the building skin comes into presence, while when the light fades away, the façade becomes transparent and briefly reveals what is inside. It feels as if the walls could breathe and the building itself is alive. Product Description. Expanded Metal - V&P  © Ketsiree Wongwan / W Workspace Wood Substitution - Tree Concept.  © Ketsiree Wongwan / W Workspace This posting includes an audio/video/photo media file: Download Now |
| Storytelling Street Furniture Featured in URBE 2016 Posted: 17 Dec 2016 08:00 AM PST  © Etudio Guto Requena From the 4-6 of November, the Mediterranean Real Estate Fair, URBE 2016, featured an installation by São Paulo architect and urban planner Guto Requena. The public artwork, entitled "Can you tell me a secret?" is a collection of temporary street furniture: a phone booth that records visitors' stories and plays them back randomly into five wooden benches.  © Etudio Guto Requena At night, the pieces transform into light sculptures that use warm colors and movement to coincide with the volume and tone of the audio recordings. LED lights are mounted inside the furniture pieces, amplifying the installation's presence in Coronel Fernando Prestes Square and developing a dreamlike landscape.  © Etudio Guto Requena The site is an energetic public square within the Bom Retiro neighborhood in São Paulo, which is now populated largely by immigrants but served as the site of torture and repression during Brazil's period of Military Dictatorship. The work is one component of Estudio Guto Requena's ongoing investigations into the nexus between emotion, memory, design, and digital technology. It encourages viewers to engage reflectively with their everyday urban surroundings, looking deeper into the transition between private and public spheres. News via: Estudio Guta Requena This posting includes an audio/video/photo media file: Download Now |
| Material Focus: Expansion Inspired by Portuguese Tiles by João Tiago Aguiar Posted: 17 Dec 2016 06:00 AM PST  © Fernando Guerra | FG+SG This article is part of our new series "Material in Focus", where we ask architects to share with us their creative process through the choice of materials that define important parts of the construction of their buildings. Casa Restelo was designed by Portuguese studio João Tiago Aguiar - architects. The 225 square meter project consists of the expansion of a 50's residence in the Restelo neighborhood, an area of semi-detached houses. For this project they also completely renovated the exterior facades, keeping the current look in mind while creating a new interpretation of the patterns inspired by traditional Portuguese tiles. We talked with the architect João Tiago Aguiar to know more about the material choices and the challenges of this project. What were the main materials used for this project? JTA: We used phenolic panels on the posterior façade, wood for the floors, stone, and glass.  © Fernando Guerra | FG+SG What were your biggest sources of inspiration and influences when choosing the materials used in this project? JTA: Traditional Portuguese architecture with the use of cement tiles and colored tiles with patterns.  © Fernando Guerra | FG+SG Describe how the material decisions influenced the design of the project. JTA: To start with we wanted to make something more traditional. Then we took the concept to using modern materials and traditional methods but reinvented it and adapted it for the present day.  © Fernando Guerra | FG+SG What were the advantages that this material offered for the construction of the project? JTA: It created a unique and different look and also helped solve the issues of shade and security.  © Fernando Guerra | FG+SG Did the choice of materials create any challenges for the project in any way? JTA: Yes, a little, since we needed to think of a light, durable, resistant solution that at the same time wasn't too expensive.  © Fernando Guerra | FG+SG Did you ever consider other possible materials for the project? How would that have changed the project? JTA: Yes, metal plates or laser-cut lacquered aluminum, for example, or even GRC (glass fiber reinforced concrete). After some discussion and comparing costs, thicknesses, decisions on sliding brackets, etc., we ended up going with the phenolic panels. They seemed like the perfect solution for the desired effect. As I mentioned, if we had opted for one of the other materials, the slenderness and lightness on the whole, would certainly not be the same. It would have another thickness, another weight, and probably would have ended up being more expensive as well. However, I think that in spite of everything the effect would be quite similar and the concept that served as the basis for the whole project wouldn't have changed much. How did you research the suppliers and builders appropriate to the materials used in the project? JTA: To be honest, I didn't do much research. Fortunately, one of the contractors who was bidding for the project and who ultimately got it had an excellent sub-contractor for metal work and we developed the details with them and they helped make the concept something real and tangible.  © Fernando Guerra | FG+SG Check out the full project below: Restelo House / João Tiago Aguiar Arquitectos This posting includes an audio/video/photo media file: Download Now |
| Una Pavillion / Apiacás Arquitetos Posted: 17 Dec 2016 05:00 AM PST  © Leonardo Finotti
 © Leonardo Finotti From the architect. Located in a residential condominium in Barra do Una (a beach located near of São Paulo city), the project Pavilion Una signed by the brazilian architecture office Apiacás Arquitetos had the feasibility as a premise, considering the choice of materials and mainly focusing on the constructive details, capable of organizing the assembly system. Therefore, the structure is made up of standardized and modular elements: the foundation was executed in concrete, followed by pillars and beams in Cumaru wood, strategically placed in central axes in order to give greater freedom to the pivotal doors that make up the facade.
These closures consist of interspersed wooden slats that end up acting as vertical bricks, exerting a double function of protecting the construction and revealing the Atlantic Forest where it is inserted. The ground is suspended 50 cm from the ground in order to avoid any flooding due to its proximity to an existing stream. All the connections were made in metal parts in order to facilitate the assembly and guarantee better structural performance for the meeting of pieces. In this way, the wooden fittings consequently become simpler and faster in their execution. The roof, in metallic tiles, has a continuous shutdown, all around the perimeter, favoring the circulation of the air by convection, in addition to balancing the light filtered by the closing panels.  © Leonardo Finotti  Maquete  © Leonardo Finotti The set of furniture was also idealized according to the initial premises of the project: made of the same kind of wood, they follow the rigor and simplicity of the constructive logic designed for the work. Reaffirming our premise of looking at a tectonic coherence no matter the scale of the object.  © Leonardo Finotti .jpg?1481769491 "Sections") Sections  © Leonardo Finotti This posting includes an audio/video/photo media file: Download Now |
| 99% Invisible Discusses How Algae Biotechnology Can Affect the Urban Environment Posted: 17 Dec 2016 04:00 AM PST  © BIQ via GOOD In a recent article for 99% Invisible, Kurt Kohlstedt explores how integrating microalgae into buildings can create a dualistic system of living and built, in order to perform services like create shade, generate power, and work with HVAC systems to modulate interior environments. Projects that utilize such technology include bioreactors that produce oxygen and bio-fuel, a building with a bio-adaptive façade, and a street lamp that filters carbon dioxide from the urban environment. Learn more about how microalgae pushes boundaries in building ecosystems by reading the 99% Invisible article, here. News via 99% Invisible. This posting includes an audio/video/photo media file: Download Now |
| These Architectural Playscapes Provide Therapy for Children with Autism Posted: 17 Dec 2016 01:30 AM PST  © Sean Ahlquist, University of Michigan This article was originally published on Autodesk's Redshift publication as "Architecture for Autism Could Be a Breakthrough for Kids With ASD." Good architects have always designed with tactile sensations in mind, from the rich wood grain on a bannister, to the thick, shaggy carpet at a daycare center. It's an effective way to engage all the senses, connecting the eye, hand, and mind in ways that create richer environments. But one architecture professor at the University of Michigan in Ann Arbor is working on a tactile architecture-for-autism environment that does much more than offer visitors a pleasing and diverse haptic experience: It's a form of therapy for kids like 7-year-old daughter Ara, who has autism spectrum disorder (ASD).
Social Sensory Architectures, an ongoing research project led by Sean Ahlquist, creates therapeutic structures for children with ASD. One prototype, the sensoryPLAYSCAPE, is a tent-like pavilion made of tensile fabric stretched over rods to create an immersive environment. Responding to touch, sounds are triggered, and 2D imagery is projected onto the fabric's surface, as if on a screen. This visually demonstrates the connection between motor skills and auditory and visual feedback, helping children with autism adjust the amounts of force appropriate to apply at a given movement—a common issue among those on the autism spectrum. As a PhD researcher at The Institute for Computational Design (a hub at the University of Stuttgart for research in lightweight architectural materials, where Frei Otto founded the Institute for Lightweight Structures), Ahlquist focused on pre-stressed tensile structures. When he came to Michigan in 2012, he continued his research using a CNC knitting machine, which gave him the ability to create his own textiles. The more he researched different kinds of light, tactile materials, the more he noticed something odd about how people interact with them once they're fitted together into a structure. A piece of fabric is a thing to be touched; a fabric structure is to be experienced from a distance. "The structures we were developing had a really intimate quality to them, but in terms of the architecture, the second you build it into a quote-unquote 'architectural system,' the materiality quickly becomes a passive backdrop," he says. "It becomes a thing that goes around you, as opposed to the thing that you actually engage."  © Sean Ahlquist, University of Michigan Ahlquist wondered if he could bridge this sensory gap. Could he make an immersive space that encourages direct tactile interaction? His daughter's autism muted her senses, making her crave "really strong tactile feedback," he says, but her motor-control skills were underdeveloped. Social Sensory Architectures connect these motors skills to visual and auditory feedback in an all-encompassing, whirling web of parabolas and spirals. If she's not intuitively aware of how hard she's pressing on something, the visual and auditory cues clue her in. Social Sensory Architectures (which won the Speculative and Prototyping Category in in SXSW's Place by Design competition) relies on architecture's unique ability to work on multiple senses at once—and as such, it's required a diverse project team to bind all these elements together. Ahlquist worked with computer scientists on the software, as well as experts in music, autism therapy, psychiatry, and kinesiology. Soon they'll begin a series of pilot studies, starting with samples of four to five kids. The team's working hypothesis: "If we can improve motor skills, there is a correlation to creating opportunities for social interaction," Ahlquist says. For kids on the autistic spectrum, observing and appropriately responding to social cues is often a challenge. He hopes his work can help kids with ASD better network their own senses and, subsequently, improve social relationships with each other. For example, some of the visual responses that the structures can produce can only happen when two kids synchronize their interactions with the textile surfaces. And the child-size tunnels and cones in the pavilion beg for helpful dads like Ahlquist to pick up kids and let them slide through. These interactive moments form "circles of communication"—a term learned through collaboration with the PLAY Project—which are especially critical when kids are otherwise nonverbal, like Ara.  © Gregory Wendt/Sean Ahlquist, University of Michigan The fabric in Social Sensory Architectures is given shape by flexible glass fiber–reinforced polymer rods. A Microsoft Kinect sensor detects when the surface of the fabric is stretched in gradients, from a hard to a soft touch, and feeds this information through software developed by Ahlquist and his team. The Kinect is housed in a hardware tower (with a computer, speakers, and a projector) a few feet from the pavilion. It works a bit like a "textile iPad interface," Ahlquist says. One software program for the pavilion surrounds children with a swarm of fish—each with their own signature wind-chime theme—that scatters with a light touch, but is attracted to stronger, continuous pressure. Another program, developed for the 2D screen, lets kids paint in colors that range from light to dark depending on the force exerted. (A delicate swipe makes a yellow mark; a hearty punch generates red). The 2D screen is currently installed at Ara's autism therapy center, where she works on fine-tuning motor skills through sequential tasks, like stacking blocks. When kids with autism lose patience for tasks like these, they recharge in sensory rooms that—like Ahlquist's project—feature lots of kinesthetic and sensory impressions. Ahlquist wants his project to break down the barrier between task-like therapeutic activities and fun sensory room play. "If both of those two things are needed, wouldn't it be better if we could actually merge both of them together and minimize the task-oriented nature of developing whatever skill they're trying to develop?" he says.  © Sean Ahlquist, University of Michigan In today's world, immersing oneself in multisensory media screens isn't usually seen as a recipe for developing skills. Psychologists often warn that the digital interfaces bombarding children's ears and eyes are overstimulating—keeping them from sleeping at night and shredding their attention spans. But for Ahlquist, the connection to movement and motor skills differentiates these multisensory screen-based environments. The visual and auditory stimuli that might mindlessly hypnotize on a smartphone screen works on a much more holistic level in sensory architecture. "We're teaching to the whole body," Ahlquist says, "instead of teaching to the head. The experience becomes dynamic and engaging, rather than repetitive and engrossing." Architecture is one of the few design mediums that requires full physical interaction. Creating responsive, sensory environments like these—physical spaces that support increased mind-body connection, help develop skills, and expand social interaction—could be a powerful tool in the treatment of autism. This posting includes an audio/video/photo media file: Download Now |
| Posted: 17 Dec 2016 01:00 AM PST  © Francisco Nogueira
 © Francisco Nogueira From the architect. What can be done with a 18.000 m2 empty office building situated at the outskirts of the city and that has been deemed unsuited for redevelopment for the last 11 years? This is the big challenge faced with B.Amsterdam at the Johan Huizingalaan in Amsterdam. From the start, NEXT architects was closely involved in the transformation of this static cube-shaped building into a lively hotspot for startups, freelancers and creative entrepreneurs. Strategic interventions are used to strengthen the quality, experience and identity of the building.  © Francisco Nogueira B.Amsterdam is a new working space concept in the former IMB headquarters building in the Rieker Business Park in Amsterdam's Nieuw-West district. Usually, this is the place to find monofunctional office buildings, lack of occupancy, and, outside office hours, a chronic absence of entertainment. It is exactly here that B.Amsterdam's 5 stores building is re-thought as a lively and dynamic city. Just as with any city, different functions are present that grow and develop organically. People can go to B.Amsterdam for work, sports, dining, events, and, most recently, to enjoy lunch or dinner on the rooftop restaurant Bureau.  © Francisco Nogueira  Floor Plan  © Francisco Nogueira NEXT was involved in developing the vision of the building as a city, with a recognisable, industrial appeal and re-use of materials. An important intervention is the new entrance situation, which now focuses on the experience and the quality of the entrance space for dwelling and encounters. Likewise, the raising the external fire staircase with the characteristic orange top makes the building highly recognizable from the road.  © Francisco Nogueira  © Francisco Nogueira The crowning glory on the building is without a doubt the recently inaugurated restaurant Bureau. The restaurant is situated on the rooftop of B.Amsterdam in IBM's former installation space. Bureau is surrounded by a green roof park with a rich vegetable garden, daily providing the restaurant with fresh seasonal products, vegetables and herbs. For the roof's transformation, NEXT used existing elements to preserve the place's raw and dynamic character. The most eye-catching amongst these elements are the large industrial sliding doors to create continuity between in- and outdoor spaces, the use of shipping containers and the remarkable bathtubs to serve as flowerpots. The result is a successful transformation project where innovation and creativity are put centre stage.  3D Model This posting includes an audio/video/photo media file: Download Now |
| 10 Ways to Improve Your Architecture CV and Get Through the Interview Process Posted: 17 Dec 2016 12:00 AM PST  Harvard Graduate School of Design. © Matt, via Flickr. CC. Used under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>Creative Commons</a> One of the main difficulties encountered by students when looking for a job is dealing with a lack of professional experience. This fact is a paradox since people who apply for a trainee position have often never worked in the chosen area. Therefore, it is vital to invest in education and also to know the cultural diversity that’s available. Below we have 10 tips that serve as guidelines for students who want to build up their CV and get through the interview processes: 1. NETWORK  Via startup101.com.br Networking means the ability to establish a network of contacts or connections with something or someone. It serves as a personal marketing tool whose effectiveness will depend on authentic communication, a proactive stance, and the ability to cultivate strong interpersonal relationships. In addition, it functions as a system of mutual collaboration for sharing services and information between individuals who have common interests. For example, hearing about a job opening through a colleague. Therefore, it’s important to participate in social networks related to your areas of interest and also to maintain regular contact with people who can contribute to your professional and personal development. Without a doubt, helping and being helped are rewarding experiences, resulting in beneficial partnerships for all involved. 2. VOLUNTEER  Via Gazeta do Povo There are numerous NGOs (non-governmental organizations) that offer on-site collaborations with volunteers and the community, in order to achieve a specific objective (their mission). The projects they do emphasize teamwork and the importance of being civic-minded. In addition, it’s an opportunity to develop your technical skills and at the same time get to know other ways of living and contribute to the transformation of a place and the people who live there. 3. PARTICIPATE IN DISCUSSION GROUPS If discussion groups meet in your area, try to attend. Usually, texts on current and / or relevant themes are discussed. In addition, sessions of documentaries or films that portray the problems and realities of the architectural universe may be shown. If no such group exists, organize one with your peers and ask for help from your professors so that they can suggest readings and films / documentaries related to the subjects they teach. The exchange of information and opinions with colleagues directly contributes to gaining professional knowledge. 4. TAKE MORE CLASSES Just participating in the courses for your degree isn’t enough if you want to excel professionally. You should further develop your skill set through specialized classes that correspond to what interests you. There are several options offered by public and private educational institutions, among them: distance learning courses, technical vocational courses, seminars, certification classes and technical training courses. 5. ATTEND LOCAL EVENTS  Via Expo Revestir Be aware of the calendar of events in your field (architecture, urban planning, design, landscaping and construction), including international fairs, forums, symposiums, conventions, round tables, architecture and urbanism week, regional / national / international meetings for architecture and urban planning students, etc. Choose which ones you’d like to participate in from the available options. 6. PARTICIPATE IN STUDENT COMPETITIONS Participating in a competition means fully meeting all the requirements set out in the call for proposals, whose work will be evaluated by skilled and technically qualified judges. It’s essential that the project is presented in the requested formatting since any non-compliance is cause for disqualification. All these types of experiences are valuable, even if your project doesn’t win since participating demonstrates attention to detail, discipline, teamwork, and organization in order to fulfill all the requirements. In addition, the projects you make can be included in your portfolio (see tip 10) and also mentioned on your CV. 7. VISIT IMPORTANT WORKS OF ARCHITECTURE  Copan Building. © Rhcastilhos - via <a href='https://creativecommons.org/licenses/by-sa/3.0/'>Wikimedia</a> commons Researching architectural and urban projects that were or are relevant to society allows an architecture student to expand his repertoire of projects. However, seeing the places you studied in person and getting to know them is an irreplaceable experience in the training of an urbanist architect. Being physically in a place stimulates the senses of the human body because it is possible to experience different smells, noises, tastes, textures and sights all at the same time. In addition, observing people interacting with a space provides critical analysis for the architect in decision making. If you can’t travel right now, try to get to know the history and the architectural structures in your own city or even your neighborhood. There are always at least a few interesting places to visit and in many of them are free. Oh! Always bring a notebook to write down your impressions and ideas. 8. PARTICIPATE IN RESEARCH Participating in research is the starting point for those interested in delving into a specific subject or pursuing an academic career. In general, the interested student integrates with some research group at an institution and develops a project together with the instructor, which in turn encourages him to participate in conventions and seminars, as well as to publish articles in newspapers and magazines. In addition, you can obtain research grants by sending in grant applications and project summaries whose relevance will be evaluated by the technical committee of the requested institution. 9. PARTICIPATE IN AN EXCHANGE PROGRAM  Florence. © Irene Grassi, via Flickr. CC. Used under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>Creative Commons</a> A professional who has already participated in an exchange program stands out in the job market because the experience acquired is associated with a series of challenges that the person has already overcome, among them: dealing with distance from family and friends, learning different customs, adapting to the reality of a new country and, above all, to communicate in another language. An exchange student learns the importance of teamwork and has experience with the cultural diversity of another country. Additionally, you make new friends and expand your network (see tip 1), you acquire new knowledge, responsibility, and independence and, again, can become fluent in a foreign language. There are different exchange programs, some of which offer scholarships and housing and food aid. It is important to thoroughly research the available information and look it over well to determine what destination and length of stay fit your budget. 10. MAKE A PORTFOLIO Your portfolio is a kind of "display case", whose main objective is to demonstrate the quality of the projects you’ve done. Students who are planning their careers should gather their work done both at university and from student competitions (see tip 6) so that the portfolio ends up being creative, organized, and well structured. Make sure you always keep it up to date. Article written by Tarsila Miyazato, Master of Architecture and Urbanism - FAUUSP. She is currently a professor of architecture and urban planning and civil engineering courses at Cruzeiro do Sul University (UNICSUL) and works as an architect at Companhia Paulista de Trens Metropolitanos (CPTM). This posting includes an audio/video/photo media file: Download Now |
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