Arch Daily |
- Uber EMEA Headquarters / Assembly Design Studio + Cannon Design
- Call For Entries: Baghdad Design Centre
- Andon Zako Çajupi Theatre / Bolles + Wilson
- By the Way House / KWK Promes
- Men in Black / XS Studio for compact design
- Twin Tea House / Hill Architecture
- No.1986 Coffee & Restaurant / Le House
- Hwasim / Engineforce Architects
- Shaoxing CTC Mall Interior Design / ATAH
- Diocesan School for Girls Music & Drama Centre / McIldowie Partners
- Squarespace Offices / A+I
- House on Alma / Paul Bernier Architecte
- 11 Kanye West Albums Reimagined as Architecture
- Off-Grid Guest House / Anacapa
- Full-Size Replica of Le Corbusier's Villa Savoye Sunk in Danish Fjord
- Casa Boipeba / daarchitectes
- Running a Practice from the Road: Tips from a Digital Nomad
- FIU School of International and Public Affairs / Arquitectonica
- Online Course Probes Cultural Context of Asian Vernacular Architecture
- What Should You Charge for an Architectural Rendering?
| Uber EMEA Headquarters / Assembly Design Studio + Cannon Design Posted: 31 Jul 2018 10:00 PM PDT  © Jasper Sanidad
 © Jasper Sanidad Text description provided by the architects. With services offered in more than 65 countries and over 450 cities worldwide, Uber is one of the tech industry's fastest global expansions. The key to Uber's rapid globalization was to "think local to expand global". In 2017, Uber moved and expanded their EMEA headquarters in Amsterdam to establish a global presence, connect people and cultures, and understand the ever-evolving markets around them.  © Jasper Sanidad As design lead on the project, Assembly Design Studio worked with Uber to create an international office in Amsterdam that celebrates and embraces the diversity and culture of their global community. While still incorporating Uber's core values of grounded, populist, inspiring, highly evolved, and elevated, the EMEA headquarters reflects the pulse and influences of Amsterdam while highlighting different regions of Europe, Africa, and the Middle East. What emerged was a fusion of colors, materials, and patterns that perfectly expresses the notion of bringing people together.  © Jasper Sanidad The space is built around the concept of activity-based working. There are no assigned seats, instead employees are placed within team-based neighborhoods. Each neighborhood is multi-functional and akin to a small office. There is an opportunity to personalize, an opportunity to come together in a comfortable setting, and an opportunity to meet formally all within the open environment. Featured in every neighborhood is at least one "mantle," a simple but warm way to allow each team to collectively personalize their space.  © Jasper Sanidad Woven throughout the space is a complex network of places to meet and work. Every style of collaboration is represented from casual lounge spaces to tucked away hubs overlooking the canals, from an espresso bar to a restaurant. The diversity of space doesn't end with collaboration and meeting spaces. The designers sought to incorporate how each person transitions and works throughout the day, by creating different experiences and alternative types of postures while working from standing work top tables to semi-private nooks to walking paths.  © Jasper Sanidad Visible throughout the atrium is a central staircase that acts as a connective spine between all four floors. The green, concentric rings, inspired by Amsterdam's canals, spiral upward and become a central gathering point at each floor landing. Clean lines, timeless materials, and local products are core to the Dutch design and bridges the surrounding neighborhoods and regions together.  © Jasper Sanidad The EMEA regions are expressed on each floor by richly, colored hues that also serve as a wayfinding guide. The palette for each was determined by the natural colors of its region - bright, rich blues of the Mediterranean; warm, inviting yellows of the Middle East; lush, vibrant greens of Western Europe. Every wall is moment of inspiration and is as rich as the backgrounds and diversity of the people who work here.  Floor Plan Uber wanted to establish a sense of community throughout their workspace by placing a restaurant on the ground floor, putting it front and center. The layout is open with a variety of seating arrangements, and the materials are reminiscent of the cobblestones and bricks lining the portals and retail shops along the streets of Amsterdam. "We wanted to make this space feel comfortable, where employees could come together. Uber's culture at their EMEA headquarters is welcoming and has become a true melting pot. The teams see real value in taking a pause from their workday to come together over a meal, and we wanted to create a place to continue that tradition in their new space" says Liz Guerrero, Principal of Assembly.  © Jasper Sanidad Uber EMEA's multi-cultural design story creates a crisp, fresh natural environment that allows every individual from any region feel represented, comfortable, and welcomed. Based around an activity-based work environment with choice of meeting spaces, both formal and informal, tucked away nooks, espresso bar and restaurant, lounge areas, adaptable work postures—the modern, local work environment is transformed within a global context.  © Jasper Sanidad  This posting includes an audio/video/photo media file: Download Now |
| Call For Entries: Baghdad Design Centre Posted: 31 Jul 2018 08:30 PM PDT  Call for entries: Baghdad Design Centre Tamayouz Excellence Award launched the "Baghdad Design Centre," an international architectural competition to transform the current unused site of the Old Governorate Building into the Baghdad Design Centre in the city's Cultural District; Al-Rusafa. This year's competition has been under the spotlight as stakeholders and the architectural community in the country urged the local authorities to halt implementation of their own scheme for the site and wait for the results and recommendations of the competition.  Courtesy of Tamayouz Excellence Award The competition hopes to see a new architectural approach that helps Baghdad celebrate its architecture and heritage. The transformation of the site into a Design Centre that showcases the best of contemporary design and is also a space for creative collaboration forms the basis of the brief. Whilst creating a new and optimistic vision for the future of design within Iraq the proposals should also set a benchmark for the respectful treatment of cultural heritage in a true fusion of the old and the new. This is the 2nd cycle of the Competition, in its first cycle, the theme was Rebuilding Iraq's Liberated Areas: Mosul's Housing, which Ania Otlik from Poland won. Winners of the Baghdad Design Centre Competition receive a trophy design by the Internationally renowned artist Dia Azzawi alongside a host of other benefits: A cash prize of $8,000, flights and accommodation to attend the annual ceremony covered by the organisers, invitation to join the weeklong design workshop, a certificate, inclusion in an exhibition, inclusion in a yearbook publication, interviews to be featured on national and regional channels, an invite to the annual ceremony gala, hosted by Tamayouz Excellence award for networking, a trip with all the winners of the award categories to Petra in Jordan.  Courtesy of Tamayouz Excellence Award Jury
Eligibility Architects, students, engineers, and designers are invited to participate in this prize. Participation can be on an individual or team basis (maximum of four team members). We encourage the participation of multidisciplinary teams.  Courtesy of Tamayouz Excellence Award Schedule
The winning entries will be celebrated during the annual ceremony of Tamayouz Award. This year's ceremony will take place in Jordan followed by a weeklong International Design Charrette looking into the growth scenarios of the city of Amman in 2030, winners of all Tamayouz Excellence Award competitions will be invited to join the Charrette. Register for the competition here: http://www.tamayouz-award.com/register.html
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| Andon Zako Çajupi Theatre / Bolles + Wilson Posted: 31 Jul 2018 08:01 PM PDT  © Roman Mensing
 © Roman Mensing Text description provided by the architects. Re-scripting Korca's theatre: The theatre in Korca was initially a present from Moscow prior to Albanian Communism's falling out with Post-Stalinist Russia. Its Soviet classicism was then stripped back to a sort of Balkan Art déco.  Concept  © Roman Mensing The large triangular Theatre Square, big enough for nationalistic parades, became a subject for re-formatting when in 2009 BOLLES+WILSON won the international planning competition for the historic centre of Korca. The main axis of the now almost fully implemented masterplan is the Bulevard Shën Gjergji (St. George), the new hub of the city, a pedestrian promenade culminating in the Theater Square (now anchored by BOLLES+WILSON's 2014 Red Bar in the Sky – which focuses the Theatre Square, the concluding phase of the B+W 2009 masterplan. The campanile which functions as a lookout tower for Korcians to appreciate the delicate grain of their historic city is located at the end of the central pedestrian boulevard (landscaping by B+W).  © Roman Mensing The next intervention was the theatre itself – quite literally given a new face (or lots of new faces). Seating capacity was increased by converting a two-tier auditorium to a large raked plane.  © Roman Mensing  © Roman Mensing  © Roman Mensing The design method as with all BOLLES+WILSON Albanian projects involved Peter Wilson's hand drawn concept interpreted by a local facilitating office (in this case DEA Studio). A methodology that baits 'lost in translation' misinterpretations (as was the case here when the contractors were found scratching their heads at a book of 'Albanian Bling Renderings' but no details, a problem solved by Peter Wilson further sketching, this time 1:1 details direct on the wall).  Plan The masks of comic and tragedy belong to theatre iconography, here they are joined by 140 smaller masks – the audience, hand crafted in terracotta by the local potter Vasillaq Kolevica. The 80 cm high individualized masks each occupy a grid square of the Art déco facade. The black tragic mask is convex, the white comic mask is concave – the construction principles for these were again hand sketched.  © Roman Mensing The comic mask is on a side annex (that now houses an internal grand stair), a cube clad in black basalt. The perimeter of the mask is defined by a stainless steel profile inside of which the white plaster indentation is recessed. The ominous black silhouette of the tragic mask is built up of polystyrene insulation blocks. Edge radii were sketched but ultimately a 1:1 demonstration with a bread knife was necessary to communicate the idea to he builders. The surface here is again plastered to resemble a giant Japanese ' No-theatre' mask.  Comic mask  This posting includes an audio/video/photo media file: Download Now |
| Posted: 31 Jul 2018 07:00 PM PDT  © Juliusz Sokoàowski  © Jarosàaw Syrek Text description provided by the architects. The investor had his own vision of the interior arrangement with the living area on the first floor. Additionally, he wanted to place a house in the middle of the plot, far away from the river, where a marina was supposed to be.  © Olo Studio  © Olo Studio  © Juliusz Sokoàowski We decided to wrap functions arranged by the client and connect: entry, house and marina. It brought us to the idea of the ribbon, which was stretched across the entire area. First, from the entry as a road, then twisted and shaping ceilings and walls of the house, wrapping the interior.  © Olo Studio  Level 0  © Olo Studio Next, the ribbon was unrolled as a pier connecting the raised living room with the garden level. Then wriggling - the ribbon ran towards the river. So the road pierced the house. The garage with a glass wall interfered the living space.  © Jarosàaw Syrek  This posting includes an audio/video/photo media file: Download Now |
| Men in Black / XS Studio for compact design Posted: 31 Jul 2018 06:00 PM PDT  © Amit Gosher
 © Amit Gosher Text description provided by the architects. Have you ever noticed that most small apartments seem to be white?  © Amit Gosher The apartment is located in a building at the city center with preservation status. Architects: Dov Hershkowitz, 1931. Bar-Orian, 2017.  © Amit Gosher As if the challenge of a 44-square-meter apartment for two tenants wasn't enough, about 12 square meters are non-movable shelter room walls. Hence, it is important for the rest of the space to be as open as possible.  Floor plan In order to avoid partitions, the functions are located on both sides of the main living space: the kitchen and sofa on one side and the dark cabinetry on the other. At the far end of the space a wide glass window brings the urban landscape and light into the apartment.  © Amit Gosher A huge wooden cabinet covered with black veneer accompanies the public space. The cabinet stores functions such as a liquor bar, audio system, air conditioning and more. Books, collections, television and ornaments are displayed on the cabinet's shelves. On the entrance side, the cabinet makes room for "the Pole Dancer".  Axo 03 Height plays a significant role in the feeling of this space and its use. A ladder embedded in the kitchen Cabinet allows easy access to the high storage in the kitchen and cabinet on both sides.  © Amit Gosher "The Pole Dancer"  © Amit Gosher In such a small apartment every square-meter counts. Since the tenants don't cook a lot, we created a minimal working surface in the kitchen. On the other hand, the tenants said that when hosting, they like to cook and be part of the conversation. Therefore, the moving wooden plate on the kitchen's work surface allows more seating space and more work space at the same time.  © Amit Gosher The bathroom is in the common area near the entrance. In order to allow some natural light, we created a large circular window with frosted glass. The window complements the unique appearance of the rotating furniture. In order not to waste valuable kitchen space, the washing machine and dryer were placed in the bathroom under the sink.  © Amit Gosher The only bedroom in this small apartment is the Mamad (safe room), about 10 sqm. This was the only option to place a bedroom without compromising the quality of the common area of the apartment. So, when the tenants asked for a cozy bedroom with plenty of room to store clothes, the need for flexibility within this predefined space arose. This need created a piece of furniture that envelops the bed and goes on to another side to store clothes and other household items.  © Amit Gosher  This posting includes an audio/video/photo media file: Download Now |
| Twin Tea House / Hill Architecture Posted: 31 Jul 2018 05:00 PM PDT  Nightview. Image © Ryan Chiu
 South Side. Image © Ryan Chiu Text description provided by the architects. The design idea is based on the Sleeping Cloud Pavilion in the retreat garden of Tongli Town, Wu Jiang. With the double-layer structure, one layer of the pavilion is a summer pavilion. The steps of artificial mountain stone around the pavilion lead to the second layer of tea kiosk with twists and turns. The sight is bright once mounting the tea kiosk.  Entrance. Image © Ryan Chiu  Courtyard. Image © Ryan Chiu The Pavilion of Fragrance Waters, Thatched Cottage of Quiet Meditation and lotus pond on the other side can be seen clearly. Based on the experience of the Sleeping Cloud Pavilion, the tea house is designed as a double-layer structure, with a bathroom and a hand-made studio on the first layer, and a tea house on the second layer.  Masterplan Sketches. Image © Ryan Chiu A gentle slope footpath is around the main body of the building. A guardrail is made of angle iron andbamboo. The end of the ramp is the entrance to the tea house. The entrance door is customized by recycled embossed iron. Mottled and rugged texture is harmonious and unified with concrete wall.  North Side. Image © Ryan Chiu A cast-in-place reinforced concrete structure is applied in the whole tea house.Pine formwork is used in the outside, and smooth wooden formwork is applied in inner side. There is a sharp internal and external contract between the pine template texture in architectural appearance retained after demembrane and delicate and smooth wood form in the room.The structural characteristics of reinforced concrete is used to design the second layer of window of tea house into cantilever form, thus making appearance of the building form two mutually bite cubes, one of which is concrete material, another is glass material. Through the contrast of materials, the two blocks form real and virtual space relationship.  © Ryan Chiu  © Ryan Chiu Many recycled materials are used in the tea house, like old slate, tin, pine template, old bricks, bamboo, etc. Indoor seats and furniture are made from recycled cloth and wood. The recycled materials are mottled with time marks, thus making tea house form simple and Zen-like space atmosphere.  Section  Customized Iron Door. Image © Ryan Chiu There is a relatively small pond on the side of the tea house. Bluestone is used as an extension of waterscape. Growing plants abound the Stone Garden and pond include willow trees, camphor, pine, bamboo, plantain, nandina, ophiopogon and moss. Recycled stone, cloud column, fine brick, pillar foundation are used to embellish functional landscape sketch.  Sculpture. Image © Ryan Chiu The courtyard is surrounded by dense vegetation, which is isolated from the surrounding noisy environment. A large number of natural materials are used to form a rich visual and tactile experience. Along the ramp, we enter into the tea house.We can seat by the window and listen sound of flowing water in pond. The surrounding scenery is in sight by indoor large-area floor-to-ceiling glass, people are happy about it.  Courtyard Landscape. Image © Ryan Chiu  This posting includes an audio/video/photo media file: Download Now |
| No.1986 Coffee & Restaurant / Le House Posted: 31 Jul 2018 04:00 PM PDT  © Hiroyuki Oki
 © Hiroyuki Oki "Have you ever wondered how to make a design impressive? Just give an architecture the basic material, he will create the miracles". This project does light up those said.  © Hiroyuki Oki .jpg?1532676466 "First Floor Plan") First Floor Plan  © Hiroyuki Oki The front made from natural materials tricked us into illusions as the layout divides the floor with the large floor space connected by two blocks of special long stairs, leads us every step up to "Paradise". "Now" and "then" is apparent in every dimension simultaneously. If the old brick wall stays, the furniture and decorations put in don't have the connection, but greenery give the common voice.  © Hiroyuki Oki when we walk through the lobby door, what we want to show is not displaying dense furniture items and the large bar for barista. The things I want everyone to know are the world where they have a discover adventure as the soul of the North girls. These things are shine upon all the shade tree on the surface of the water and a school of fish swims gently together. We don't want the coffee shop is standardized.  © Hiroyuki Oki .jpg?1532676621 "Section") Section  © Hiroyuki Oki I would like to come to a quiet garden and watch it from all sides, watch the sunshine's emotions today which is short or long, grumpy summer or early fall. After all, sitting and having a little taste coffee will be very interesting hobbies. If you don't believe, please visit "Mot Chin Tam Sau (No.1986) coffee, best black coffee, iced milk coffee in Hai Phong city".  © Hiroyuki Oki  This posting includes an audio/video/photo media file: Download Now |
| Hwasim / Engineforce Architects Posted: 31 Jul 2018 02:00 PM PDT  © Efrain Mendez
 © Efrain Mendez  © Efrain Mendez 'The Minimum Built'  © Efrain Mendez After two frustrations, our conclusion was that we should identify the problems in the conventional methods for design and construction and find out the way to reduce the unnecessary processes. For instance, we tried to find ways to build a house with minimum processes from building structures to cladding exterior finishes. However, we want this house to meet the goal constantly to have much less energy consumption than the conventional houses and have more pleasant environmental quality.  © Efrain Mendez  First Floor Plan  © Efrain Mendez Our proposed method was to build the house with ten columns, 200mm flat slabs, four thousands of 6-inch blocks, and 200~400mm external insulation. In those processes, the serious discussion with a builder was a very important part. We are making efforts to search for more effective methods by extending this attitude from drawings to a construction site. We believe that we can overcome limits and make the smarter and more comfortable residential environment with the minimal construction processes that were solutions developed from our simple concerns about increased construction costs.  © Efrain Mendez  This posting includes an audio/video/photo media file: Download Now |
| Shaoxing CTC Mall Interior Design / ATAH Posted: 31 Jul 2018 01:00 PM PDT  © Shiromio
 © Shiromio Text description provided by the architects. The CTC（China Textile Center）is an atypical practice of art-involved commercialand has officially opened at the end of June 2018. The project is surrounded by eight high-rise towers and two super high-rise buildings under construction. It is a brand new entertainment destination integrating commercial streets, shopping malls, service apartments and office buildings.  © Shiromio Focusing on textile handcraft culture, the overall strategy of architects is carried out in two dimensions: macro and micro. Macroscopically based on the theme of water town and textile, the overall master-plan is organically organized. The differentiated density leads the people flows into the commercial street like the capillaries, and fall into the sunken square and the shopping center. Microscopically, select several drama nodes along the mainly circulation were selected to be delicately designed . These flash points also carry the requirements for integration and interaction with the art display.  © Shiromio  Level 1 After the main body of the building was completed, the ATAH office led the design of the interior design of the shopping center. The layout of the interior space conforms to the shape of the olive-shaped mall, and the central part of the shopping center forms a grand atrium.The shadow of the ceiling structure is like a layer of silk sprinkled in a light-colored room. Two groups of non-parallel long-span bridges interweave the north-south business lines. Four groups of escalators lead customers from the basement to the cinema in the high area.  Mall Section A total of four layers of ceiling and ground form logic continue the presentation of textile texture, and the texture features of each layer are formed by the integration of different mapping and ceiling systems. The side of thebridge is covered with a simple light-colored aluminum plate to hide the light. The circular marble texture of the central hall on the first floor is like a squat in the middle of the hall, but it looks like a star.  © Shiromio The three-story location connects the shopping center and the north side of the sky bridge, which is called the "eye of celebration" because of its morphological blasting posture. The best public view of the outdoor central plaza is provided in the profile relationship. It is also a holy place for event-based art events. In response to this space, we unify the division of ceiling and roof aluminum panels through the perspective matrix, and light up the eyebrow part through the BARRISOL ceiling. A romantic touch of star net was applied at the bottom of the bridge.  Courtesy of ATAH  Courtesy of ATAH The architectural design of the entire CTC Commercial Center was completed by the design team led by Architect Guang Xu, together with MADA s.p.a.m.. From the outside to the inside, the architect provides a continuous flow of expression for the project with special cultural content. It shows a fluid, fashionable, muti-perspective spatial view with the trajectory, providing a stage for art and events.  © Shiromio  © Shiromio  This posting includes an audio/video/photo media file: Download Now |
| Diocesan School for Girls Music & Drama Centre / McIldowie Partners Posted: 31 Jul 2018 12:00 PM PDT  © Patrick Reynolds
 © Patrick Reynolds Text description provided by the architects. Music, drama and dance education is proven to nurture a child's development. In fact, research has found that learning these creative subjects helps students excel in other subjects and can even increase a child's IQ[1].  © Patrick Reynolds Auckland's Diocesan School for Girls is acutely aware of the benefits of integrating the arts into the student learning experience. The school recently completed their exciting new Music & Drama Centre, which is unsurprisingly located at the heart of their campus.  Site plan Architects McIldowie Partners and Upton Architects wanted to celebrate the school's award-winning music, drama and dance programmes by designing a new creative home for students.  © Patrick Reynolds "The school's Music & Drama departments were excelling in their standards of production and performance, but both were accommodated in facilities well below the Diocesan School standard, in adaptively reused buildings," says Craig Brown, Director of McIldowie Partners.  © Patrick Reynolds "While the classrooms were not hindering education outcomes at the time, the school identified the need to enable a high-level delivery of these important subjects well into the future."  © Patrick Reynolds The new building accommodates music practice rooms for soloists, ensembles, orchestras and choirs, and sprung-floor performance studios for drama and dance troupes.  © Patrick Reynolds Acoustically-isolated recording and percussion studios are wired into the performance spaces to professionally capture and engineer the music produced.  © Patrick Reynolds Internally, each windowed doorway offers glimpses at the activities within the rooms, inviting curiosity and ambition. Every student can aspire to be in the band, the orchestra, the chorus.  © Patrick Reynolds Externally, the building design is a deceptively simple three-storey form that sits alongside the school's splendid Chapel of St Barnabas, built in 1854. The Chapel's choral legacy is now embodied by its new neighbour. McIldowie Partners and Upton Architects carefully created a contemporary design respectful of the heritage-listed Chapel.  © Patrick Reynolds The architects wrapped the building in a gently faceted 'curtain' of perforated aluminium lacework, reflecting the rhythm and movement of music and drama. This subtly undulating veil shifts in tone and shade throughout the day, cleverly filtering the harsh western sun through an intricate woven leaf pattern.  © Patrick Reynolds The Music & Drama Centre is the latest stage in the school's 15-year masterplan, prepared by McIldowie Partners and Upton Architects in 2005. The building is a key component of Diocesan School for Girls' continued development of young, world-class musicians, actors and performers. [1]Schellenberg, E. G. (2006). Long-term positive associations between music lessons and IQ. Journal of Educational Psychology, 98(2), 457-468.  © Patrick Reynolds  This posting includes an audio/video/photo media file: Download Now |
| Posted: 31 Jul 2018 10:00 AM PDT  © Magda Biernat
 © Magda Biernat Text description provided by the architects. New York-based architecture, design, and strategy firm A+I is pleased to announce the completion of Squarespace's Global Headquarters in New York City - a new home to one of the world's leading voices in website publishing. With approximately 100,000 square feet, the new Squarespace Headquarters span three full floors, a roof deck, and an expansive ground-floor lobby/event space, in the historic Maltz Building – a manufacturing hub in the Printing House District throughout the mid-20th century.  © Magda Biernat  Presentation Floor Plans  © Magda Biernat A+I conducted a 3-month workplace strategy exercise which informed and optimized the architectural designs. The goal was to create an environment in which creativity, comfort, and collegiality could coexist, while allowing employees to effortlessly pivot between individual and collaborative work modes.  © Magda Biernat  © Magda Biernat A+I was committed to translating the Squarespace brand into a highly functional, elegant workplace that represents the same sophistication as the company's product. Honoring Squarespace's aesthetics, the A+I design refrains from using color - depth, texture and warmth are created by the use of natural materials such as polished concrete floors and custom concrete workstations, wood slats as wall treatment along the main circulation paths, leather benches, and walnut accents.  © Magda Biernat Squarespace and A+I were committed to creating sophisticated spaces that strike a balance between workspace and hospitality experience. The multi-functional entry lobby that features rotating art installations (currently in collaboration with Sperone Westwater), the library, the roof terrace, and the 12th floor panorama bar offer space to work, collaborate, relax, and socialize in an elegant environment.  © Magda Biernat Founded in 1996 by Brad Zizmor and Dag Folger, A+I has grown to be an internationally renowned practice of architecture, strategy, and design. The firm has been recognized for its thought leadership in workplace strategy, its award-winning projects, and its meticulous, research-based designs. Recently completed projects include Global Headquarters for Horizon Media, Tumblr, iHeart Media, Hain Celestial, and others; Flagship Retail for Under Armour, Carolina Herrera, Worth and W by Worth, Malin&Goetz, and Under Armor; and renovation and development of Public Spaces at theMART.  © Magda Biernat  This posting includes an audio/video/photo media file: Download Now |
| House on Alma / Paul Bernier Architecte Posted: 31 Jul 2018 08:00 AM PDT  © Adrien Williams
 © Adrien Williams Text description provided by the architects. The original house is one of those pretty "shoe boxes", these small one-story houses, typical of this area of Little Italy in Montreal. Its façade presents a beautiful masonry work and an ornamented parapet. This building already had a partial floor for the bedrooms, added 10 years earlier, but this one was too small and difficult to occupy. Our clients are the parents of 2 young children. The mandate they gave us was to make a new floor for the rooms and to improve the link with the ground floor.  © Adrien Williams The proposed addition on the roof of the original house advances forward while preserving a setback from the facade on the street of the original house. We believe that it is important not to align with the front façade of the original house in order to let it stand out. The small house of origin is thus highlighted, not by trying to imitate it but rather by juxtaposing, in the background, a contemporary intervention that clearly marks the two periods of intervention. The space on the roof created by this setback makes it possible to create a terrace for the room of the parents.  Section The interior space is divided into two areas separated by a large black cedar wall that crosses the floor from the front to the back. A first zone houses the parent's bedroom in a gesture of opening onto the landscape with a high ceiling projecting towards the sky and a large window opening on a roof terrace that allows a view on the treetops and the steeple of Saint-Édouard Church.  © Adrien Williams A second, more closed area, marked by a sloping roof, covers the children's rooms. The intention is to create a headquarters for the children, a place they can take possession of and at the same time to give the parents the space and peace sought for in an urban family home. Natural light is an important component of the project. The volume of the parents' room opens onto a new space in double height crossed wood trellis bridge.  First Floor Plan  Second Floor Plan A skylight in the ceiling of this space allows a natural light supply in the center of the habitat down to the ground floor. The interior space is expressed on the façade of the addition by the material continuity of the interior volumes. The volume of wood that houses the children's rooms is present on the façade. Also, the white surface of the walls and ceilings of the interior projects outwards like a folded plane that defines the volume of the new intervention.  © Adrien Williams  This posting includes an audio/video/photo media file: Download Now |
| 11 Kanye West Albums Reimagined as Architecture Posted: 31 Jul 2018 07:00 AM PDT  Graduation. Image © Amaory B. Portorreal Designer Amaory B. Portorreal has produced a series of illustrations depicting houses inspired by the music of Kanye West. The series is in response to the hip-hop artist's recent announcement that he would be launching a new architecture venture focusing on low-income housing. More than a commentary on West's interactions with architecture, the series presents an intriguing example of the connection between music and architecture, transitioning from a lyrical, melodic art form to one based on space and materiality. For the 11 illustrations, Amaory takes "the musical and aesthetic diversity of Kanye West's hip-hop albums" as his inspiration, with each home telling a unique story about "marrying beauty and low-income housing." "Kanye has proven both his serious work ethic and passion with every creative endeavor, so I am excited to see what Yeezy Home will bring not only to architecture but also to the discussion of low-income housing," said Amaory. The album illustrations are laid out below in chronological order, reflecting Amaory's chronological crafting of the collection to track the sonic shifts in West's career. The College Dropout College Dropout. Image © Amaory B. Portorreal West's debut solo album "The College Dropout" tackles issues such as excessive materialism, minimum wage labor, and institutional prejudice prevalent in the artist's upbringing. In response, Amaory's illustration depicts a simple form reminiscent of the homes found in Chicago's impoverished community. Late Registration Late Registration. Image © Amaory B. Portorreal The "Late Registration" album features more sophisticated samples and string orchestration, representing a refined evolution of West's first album. Amaory's home depicts this through a more upscale, sophisticated version of "The College Dropout" house, inspired by Chicago Greystone. Graduation Graduation. Image © Amaory B. Portorreal Amaory's house for "Graduation" takes inspiration from the album artwork by Japanese artist Takashi Murakami, drawing on circular shapes and patterns reflecting Japanese Bubble homes. Amaory compliments this with pastel patches mirroring the electric sound of the album. 808's & Heartbreak 808's & Heartbreak. Image © Amaory B. Portorreal The minimalist sound palette of West's "808's & Heartbreak" album deals with themes of loss and alienated fame, translating into a home with cold concrete facades. Meanwhile, colored windows reflect the complex emotions portrayed through the album. My Beautiful Dark Twisted Fantasy My Beautiful Dark Twisted Fantasy. Image © Amaory B. Portorreal West's fifth album "My Beautiful Dark Twisted Fantasy" dealt with themes of excess and consumer culture, at a time when the artist exiled himself to Hawaii. Amaory's response is a gothic-style home symbolizing opulence and seclusion, depicted as a castle in the sky to symbolize isolation and retreat. Watch the Throne Watch the Throne. Image © Amaory B. Portorreal Similar to "Graduation," the house for "Watch the Throne" draws inspiration from album artwork, designed in this instance by Ricardo Tishci. Laced with intricate, patterned gold to reflect the illustrious career of West and album collaborator Jay-Z, the cover is translated by Amaory into a house with black stone clad walls overshadowed by a patterned golden rain screen. Cruel Summer Cruel Summer. Image © Amaory B. Portorreal Amaory's home for "Cruel Summer" draws inspiration from the album cover by Virgil Abloh and Joe Perez. The contemporary summer villa contains a large motif of a woman on the exterior, referencing the album's summer-in-paradise-style statuesque woman surrounded by foliage. Yeezus Yeezus. Image © Amaory B. Portorreal West's album "Yeezus" is defined by its clear cover with a single red strip on the side, inspired by the design philosophy of Braun designer Dieter Rams. Similarly, Amaory's home adopts a simple, minimalist agenda with a glass cube and red entrance. The Life of Pablo Life of Pablo. Image © Amaory B. Portorreal "The Life of Pablo" is renowned for demonstrating West's ability to take samples and use them as the building blocks for emphasizing a statement, or introducing a chorus. In reference to this, Amaory's home uses the typology of a shipping container as the building block to create a more complex geometry. Ye Ye. Image © Amaory B. Portorreal West's "Ye" album was written in as little as two weeks at his ranch in Wyoming, following controversy surrounding the artist's political views. In response to the album, one of West's most self-analyzing and tumultuous, Amaory created a secluded cabin with the Teton Range as a backdrop. Kids See Ghosts Kids See Ghosts. Image © Amaory B. Portorreal The final album in Amaory's series "Kids See Ghosts" dealt with psychedelic and dramatic themes, depicted in an album cover once again designed by Japanese artist Takashi Murakami. In response, Amaroy has created a Japanese courtyard home, featuring bent trees as a centerpiece. Other creative works by Amaory B. Portorreal can be found on his website here.  This posting includes an audio/video/photo media file: Download Now |
| Off-Grid Guest House / Anacapa Posted: 31 Jul 2018 06:00 AM PDT  © Erin Feinblatt
 © Erin Feinblatt Text description provided by the architects. Located on one of the last remaining undeveloped coastal areas in California, this modern guest house resides on a wildlife preserve; exemplifying a successful balance of residential development and ecological preservation. Nestled into a steep hillside, the residence was designed with low visual and environmental impact on the surrounding landscape. Disguised by a low profile and green roof, the home itself invites sweeping (nearly 360 degree) views of the Pacific Ocean and surrounding rolling hills, through a generous amount of sliding glass and expansive decks, which cantilever over the foundation's steep rock face.  © Erin Feinblatt A high level of sensitivity to environmental impacts was exercised throughout all phases of design and construction. Anacapa and Willson Design employed green building practices, resulting in sustainable systems and material selection.  Plan The guest house, as well as the owner's nearby main residence, are completely off-grid out of necessity, there is no electricity available in this remote area. The home is 100% powered by a photovoltaic energy system. LED lighting and low-usage appliances were selected to reduce energy demands and usage.  © Erin Feinblatt The home has a private well and water treatment system; wastewater is directed to a septic tank and dry well. A combination of radiant floor heating, cross ventilation from the abundance of operable sliding glass, and an insulating green roof are used to regulate interior temperatures. A green roof helps the home blend into its landscape, while conserving water.  © Erin Feinblatt The house is elemental, made of materials that integrate seamlessly with the landscape and that will weather and patina naturally over time. A simple material palette of steel, concrete and glass were selected, while rich walnut accents and custom fixtures and furnishings by Jessica Helgerson Interior Design add warmth and character to the space.The design includes a detached garage, which is also discretely built into the hillside.  © Erin Feinblatt  This posting includes an audio/video/photo media file: Download Now |
| Full-Size Replica of Le Corbusier's Villa Savoye Sunk in Danish Fjord Posted: 31 Jul 2018 05:00 AM PDT  Courtesy of Asmund Havsteen-Mikkelsen A giant replica of Le Corbusier's iconic Villa Savoye has been half-sunk off a Danish fjord as part of the country's Floating Art 2018 festival. The installation titled "Flooding Modernity" has been designed by artist Asmund Havsteen-Mikkelsen as a "comment on the sinking of the public sphere after the disclosure of the Cambridge Analytica scandal and the manipulation of democratic elections through social media." As part of the summer art festival hosted by the city of Vejle and the Veijle Art Museum, the five-tonne model was towed into the fjord and sunk to sit as a half-submerged testament to a once visionary future. The six-meter-tall installation, representing a 1:1 mock-up of a corner of the Villa Savoye, is the latest example of Havsteen-Mikkelsen's engagement with the influential 1931 project, having previously created 25 drawings and nine paintings of the scheme.  Courtesy of Asmund Havsteen-Mikkelsen  Courtesy of Asmund Havsteen-Mikkelsen
 Courtesy of Asmund Havsteen-Mikkelsen  Courtesy of Asmund Havsteen-Mikkelsen The styrofoam replica is one of ten works to be exhibited at the Vejle Fjord during the Floating Art festival, which seeks to encourage "young, courageous artists and architects to reflect and investigate their contemporaries." Other works on display include a message-in-a-bottle installation titled "Floating Thoughts from a Waiting Position" by Kristian Blomstrøm Johansson and the Red Cross, and the "Floating Blanket" by Tina Helen which carries visitors around the fjord in response to the currents.  Courtesy of Asmund Havsteen-Mikkelsen  Courtesy of Asmund Havsteen-Mikkelsen The Floating Art festival runs from June 23rd to September 2nd 2018. News via: ICON Magazine / Asmund Havsteen-Mikkelsen  This posting includes an audio/video/photo media file: Download Now |
| Posted: 31 Jul 2018 04:00 AM PDT  © Michel Rey Photographe
 © Michel Rey Photographe Text description provided by the architects. Located on the island of Boipeba in Brazil, this summer house with simple volumes and raw materials, results from a work on porosity between inside and outside.  © Michel Rey Photographe  Plan  © Michel Rey Photographe Materials are simple and rustic, concrete for the structure, wooden slats for the blackout parts and concrete cobogos to filter view and light on gables.  © Michel Rey Photographe  © Michel Rey Photographe Circulations are made by external peripheral corridors leading from the night part to the day part.  © Michel Rey Photographe  This posting includes an audio/video/photo media file: Download Now |
| Running a Practice from the Road: Tips from a Digital Nomad Posted: 31 Jul 2018 02:30 AM PDT  © Dan Farrar This article was originally published on Archipreneur by architect Chris Barnes who, with his wife Bonnie Robin, runs the practice Field Office Architecture. There aren't many architects I know who do not love to travel, and I've always felt the two things are intrinsically linked. Maybe it's our constant quest for visual inspiration and new ideas, or perhaps our fascination for how people live their lives and how wildly that varies from border to border, and the impact that has on our physical environments. Either way, in the age of Instagram and unavoidable envy at the seemingly constant stream of images of laptops by the beach, cocktail in hand my wife and business partner Bonnie Robin, and I were keen to try this thing called digital nomadism for ourselves.
So in 2017, we packed into bags what we could of our 3 year old residential Architecture practice, Field Office Architecture, Airbnb'd our Melbourne home, and hit the road for 3 months as we travelled throughout Bali, Malaysia, mainland Indonesia and Singapore. Working out of cafes, coworking spaces, airports and yes, the occasional beach side lounge chair, we managed to run the practice (almost) as we would back home, however, not without its challenges.  Courtesy of Field Office Architects via Archipreneur So if you've ever felt curious about taking your own Architecture practice, and running it from your dream location, here's a few tips from our experience… #1 Hire wellAs a small practice of only three (and two of us headed away), we decided we needed to hire someone a little more senior to be the "face" of the business in our absence. Rather than hire out to a fulltime position, we found a great candidate in Daniel who had his own practice but was able to dedicate two days a week to helping us out. With his experience and levelheadedness, we were able to have him attend sitemeetings, review drawings that were being issued, and even pitch a job for us to a potential client. Even though we had a junior graduate working with us, and a documentor, our more senior guy was able to dip in and out as required and do those high level things.  © Dan Farrar #2 Network with another practiceDespite having a strong set up with Daniel helping out, there were a couple of times we felt a bit light on with a couple of tasks requiring urgent attention. We were fortunate enough to share an office in Melbourne with another architecture and interior design practice who were able to lend us staff for an afternoon to complete a quick site measure, and another time to do some 3D renders. It would have been a nightmare to hire someone new remotely, so it was great to have the flexibility to fill the gaps where we needed to. I'd recommend anyone in a similar situation to do the same. #3 Systems. Systems. Systems.In theory, we were always available via phone, and if we weren't at our computers, we made sure in case of emergency, we weren't too far away. However, in my experience, this level of availability with clients and staff can be chaotic even when you're working in the same place as them, let alone an 8 hour flight away. So we decided to set up a fixed time slot every day where we would meet staff via phone conference to go through the items of that day, and any issues that were being worked on. This applied whether there were items to discuss or not, because even a quick 10 minute chat to discuss where we were at meant that staff felt comfortable each day knowing we were across everything, and we felt good getting briefed.  Courtesy of Field Office Architects via Archipreneur Similarly with clients, even though Daniel was regularly going to site meetings (we had 3 projects on site at the time), we had a weekly checkin organised with all our clients at generally a set time which allowed us and them to save up all the little items that required discussion. Other than that, we'd certainly suggest setting up some sort of cloud based project management system, not just for staff, but for clients and consultants. #4 Software.Everything in the cloud. Everything online. We'd always used Dropbox for our file storage and management, but the trip did really encourage us to examine the way we had set up all of our internal systems and we were fortunate that we did. On top of cleaning up everything in Dropbox and organising it so that 4 people could be using it efficiently, we also started using Slack for all internal correspondence which was a lifesaver. It's such an organized way of quickly chatting to team members, sharing files, quick sketches, audio files, etc, and it all gets neatly tied in with other programs ie GMail, Google Calendar, Asana, etc.  © Dan Farrar Asana for project management. Probably the easiest one we've used for keeping track of everything. Skype, for obvious reasons. On top of that, it was really the first time we really put the Ipad to use, and I'm not sure we could have done without it, particularly the app PDF editor. With printing only available intermittently, it was incredibly easier just to mark up drawings and images using this app and the Apple Pencil, so much so that it's continued to be the only the way we do it. #5 Manage your ClientsWe had projects in the early design phase, documentation and on site, so there were various expectations and understandable concerns from clients when we approached them with our plans. Obviously, we gave as much notice as we could, and certainly presented it as not a holiday but a studio relocation and working trip, and generally everyone was very supportive, one client going as far to suggest that the trip should be an annual studio feature.  © Dan Farrar However, it was important to also to convey that yes the systems and studio structure are set up so their projects would run smoothly, but we would not always be as available to them. I think all in all, this aspect went smoothly, and there were no major issues That said in future for these types of trips, we would likely introduce our clients to some sort of online project management page or system, maybe with Dropbox or Asana, which allowed them to log on and visibly interact with drawings, notes and progress. There was a feeling with a couple of clients that "we weren't there", and that maybe freaked them out a little bit, particularly with projects that were on site. I think by giving them a regularly updated interface, they would feel far more confident we were across everything despite being a country or two away. #6 Don't change your working hours to suit home.That all being said, wherever you go, stick to what works for you as comfortable working hours. Your clients, staff and networks will already understand that you are not there for them exactly the hours you may have been before, so this will allow you to a) work to how you work best and b) give you precious hours (for us it was in the late afternoon) where the emails and phone calls stop because they are well outside home business hours, to really get some deep work done. It's important to remind yourself regularly that you're not required on call all the time. #7 CoworkingCoworking spaces will be your best friend. Despite doing our best to build systems that allowed us to work anywhere, there were times that you really just need the structure of a studio, and coworking spaces gave us everything we needed. Big desks that you can lay out everything, good strong wifi, printers, meeting rooms with skype and conference infrastructure, fresh coconuts and coffee delivered straight to your desks (yes really), it was a well needed relief to have some of these modern and professional comforts.  Courtesy of Field Office Architects via Archipreneur However, the most memorable part of coworking are the people you meet along the way, all from different parts of the world, all working in completely different fields. Besides making some great friends, it also helped us challenge some of our accepted norms that sometimes remain unchallenged in the architecture world. We were very fortunate to work in some amazing coworking spaces but our favorites would have had to have been Outpost in Ubud and Dojo Bali in Canggu. #8 Keep a contingency fund for an emergency visit backSometimes in what we do, you just need to get there to sort out whatever minor / major emergency requires your attention. I had already planned an intermittent trip back home for a few days for personal reasons midway through the trip, but it turned out to be a godsend in dealing with a couple of significant issues with a project on site. Such a visit back doesn't cost too much in the scheme of things, but saved a heap in terms of relationships and resolution of a particular issue. At the very least, telling the client that you can come back should the necessity arise gives them a strong sense of assurance.  © Dan Farrar #9 Have fun.The reason why we did this was to experience something fulfilling and to find a way to do what we love but in a flexible manner. There wouldn't have been any point if we were just buried behind the laptop the whole time, worried about issues back home. Make sure you really embrace wherever you find yourself, reach out and engage with the local communities, join some local meetup groups, visit some Architecture practices in the area. See if there's something you can share or collaborate on. We ended up working on a feasibility study for an island resort with a local consortium it didn't work out but was a wonderful experience.  Courtesy of Field Office Architects via Archipreneur This article was originally published on Archipreneur. Chris Barnes is an Architect and the Director of Field Office Architecture, based (mostly) out of Melbourne, Australia. Field Office Architecture is a small boutique design practice specialising in residential and small commercial projects along with specialty product design. The practice is particularly focused on providing a better template for how people live their lives. In a world that is becoming ever more complicated and busier, they look to the way one's environment can positively improve our outlook through the principals of pause, slow living and retreat.  This posting includes an audio/video/photo media file: Download Now |
| FIU School of International and Public Affairs / Arquitectonica Posted: 31 Jul 2018 02:00 AM PDT  Courtesy of Arquitectonica
 Courtesy of Arquitectonica Text description provided by the architects. Design for the 56,000 SF (5,200m2) School of International and Public Affairs constructed on the main University Park campus of Florida International University. In aiming to achieve FIU's vision, the new building provides a state-of-the art venue for the many activities - classes, lectures, workshops, performances, conferences, and faculty and graduate student research.  Courtesy of Arquitectonica The structure represents the founding idea of the school as an International University, recognizing the multicultural community of Miami as the crossroads of trade, finance and culture. Faculty from various departments merge here to advance the study of social and political sciences, international relations and humanities to foster interdisciplinary, thematic, and professional degrees and programs alongside the traditional disciplinary offerings. The building provides a striking physical symbol of the international dimension of the University's mission and identity.  Courtesy of Arquitectonica  Sketch  Courtesy of Arquitectonica The School of International and Public Affairs is one of FIU's first new buildings to be part of its university-wide LEED program for all new construction. SIPA achieved LEED-NC Gold level certification which recognizes the inherent sustainability of the building design. The solar panels on the classroom/office tower and a vegetated roof of the auditorium, the largest built in South Florida, as well as natural light for all the classrooms and offices, low-VOC content materials, lighting controlled by occupant-sensors, energy-efficient mechanical systems, low water use plumbing fixtures and drought tolerant landscaping all contribute to the LEED-NC Gold level rating.  Courtesy of Arquitectonica  This posting includes an audio/video/photo media file: Download Now |
| Online Course Probes Cultural Context of Asian Vernacular Architecture Posted: 31 Jul 2018 01:00 AM PDT  The Ise Grand Shrine in Osaka, Japan. . Image © Flickr User Tetsuya Yamamoto A new online course offered by the University of Hong Kong (UHK) through knowledge-sharing platform edX will probe the relationship between Asian culture and the continent's vernacular architecture. Free and open to anyone, the introductory course entitled "Interpreting Vernacular Architecture in Asia" has an inclusive mission: to make the often alienating world of art and architectural history accessible to the general public by removing barriers to entry.  Tai O fishing village, Hong Kong The course's content mirrors the inclusivity of its enrollment process, explicitly deviating from architectural history's traditional focus on monumental structures to instead examine the everyday. Professors David P. Y. Lung (of UHK) and Howard Davis (of the University of Oregon) say in their course description that they prioritize the "built environment that the ordinary people live in" over "royal palaces." And instead of centering building techniques, as an architecture studio would, the thrust of the class is socio-cultural, highlighting "the processes through which people make their building decisions." .jpg?1532917316 "Courtesy of edX") Courtesy of edX The professors' deliberate positioning of the course as antithetical to both a traditional art historical perspectives and to architectural practice forges a middle ground–one in which architecture isn't a lofty academic pursuit, but rather a relevant cultural entity that ought to be studied as such. In this excerpt from the first week of the course, for example, footage of food, nature, and cultural ceremonies gets nearly as much screen time as do examples of Asian vernacular architecture itself. In this case, it seems that cultural context is not an aside—it's what makes architecture interesting. As Professor Lung says in the class' sneak peak video, "These places have people still living in them. They are not archaeological sites." For more information on enrolling in the course, read the course description, watch the course trailer, and check out these short excerpts.  This posting includes an audio/video/photo media file: Download Now |
| What Should You Charge for an Architectural Rendering? Posted: 30 Jul 2018 11:00 PM PDT  © Urban Future Organization + CR-Design
It's no secret that many architectural visualizers find themselves completely at a loss when trying to find clients and complete assignments on a recurring basis. No doubt you've lived this situation: after a brief negotiation, you finally give in and reluctantly get to work. You know your work is worth more than what you're charging for it, but you don't know how to avoid low rates. If you've never been sure about how much to charge for a render or a 3D model, we've designed a "short method" for determining your fees. With this, you will learn three strategies to price a 3D rendering or whichever other services you provide. To start, the root of the problem isn't your price, it's the lack of strategy in generating potential clients. Once you fix this issue, you will be able to charge standard prices that are in sync with the market and will allow you to work with dignity. How Much for a 3D Rendering?There are various pricing models to use to charge for your services — by the hour, by project, by commission, by objectives, by predetermined values — and every one of them has its pros and cons, but keep in mind that the problem you're focusing on is price. However, what we should focus on is getting clients. "The Short Method" is based on an hourly rate: if you're new to the game and want to work freelance in architecture, this is the norm. But why? Frankly, clients understand it. A client would be amazed if you were to give them a complete estimate for a large project of 20 renderings. This can be intimidating for clients and many don't like to make such big agreements. The majority of clients feel much more comfortable with an hourly rate. Simplify things: using other price models requires experience to be done correctly. Otherwise, you could run into problems down the road and get caught up in a project that will lose you time and money; however, with an hourly rate, you will eliminate this risk and can start quickly without any issues. Reduce risks for the client: remember that your client doesn't know you yet and people are (understandably) risk adverse. With an hourly rate, you reduce risks for the client and, if they aren't satisfied with your work, they can cut ties with you whenever they want, saving themselves, and you, time and money. So, rule number one: don't obsess too much over your price. Many professionals get paranoid trying to set a price for their work. Just remember two things:
Here are three ways to determine your price:  © HTA Design Option 1: R30 ("Remove 3 Zeros")With this method, take the annual salary that you would like and remove the last three zeros: if you want to earn €35,000 per year, the rate will be €35/h. Of course, this rule doesn't work 100% of the time. In fact, if you are still new to your niche, don't expect to earn €150 per hour if you are looking for architecture gigs at €1,000 per month. Option 2: Double Your 'Angry' RateYour angry rate is the minimum rate that you would accept for the work without feeling angry or resentful for doing so. For sure, knowing this rate is absolutely great because it makes decision-making so much easier. For example, if you think "Ugh, €15/h is the minimum that I'll get out of bed for, any less than that and I'd rather walk my dog," well then, great! €15/h is your angry rate. Double it and charge €30/h as your normal rate. Option 3: Imitate the CompetitionResearch how much other visualizers with your level of experience and ability are charging and set the same price or a little more than them. Many freelance architects hate this advice, however, supply and demand apply to everyone. When you have more clients than you know what to do with, you'll be able to raise your prices as much as you want. This method is simple, ask your friends, colleagues, or google how much to charge for a rendering in your country. Try to find the rate that aligns with your abilities. Never charge below this rate, as you'd be putting yourself in a competition for price, which is never a winning strategy. The Reality of Rendering PricesThere are two truths: never think about your price for more than 30 minutes. Choose one, and then send it to the market for testing. The other, 99% of the time, is that the problem isn't your price, it's your marketing strategy. In other words:
Download this PDF guide (Spanish) for more information if you are dealing with these issues.  This posting includes an audio/video/photo media file: Download Now |
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