Today, new buildings often disappoint us:

Today, new buildings often disappoint us:
they are not so perfect as the CAD images which we have seen of them,

Sent directly to a factory where a manufacturer can cut the shape immediately from the architect’s pattern-drawing. This replicates in part some of the methods of Renaissance architects in which the only drawings, which existed for fabrication, were the Modano.
Most contemporary architects use CAD to either show perspective views of space or to make forms autonomous from hand-work and the tactile qualities of drawing which connect us immediately to the hapticity of spatial experience.
Today, new buildings often disappoint us: they are not so perfect as the CAD images which we have seen of them, people and weather intrude in reality and mar the effects of the architect’s dream-like visualization of virtual light and dislocated atopia.
 Like Leonardo’s anatomy drawings, modern buildings are often arid and enervating spaces, lacking material depth; all the shiny surfaces and brittle reflections miscast us as intruders in the private fantasies of the designer; we flicker there like ghosts.
 The relationship between lived experience and its supposed opposite, the objective view point, can be seen clearly not only in the god-like view of an aerial perspective but in the architecture which comes from these images.
Can we see in modern techniques of drawing a clue to the same immateriality of the spaces? Certainly, the example of Michelangelo suggests not only that what and how you draw something affects what you draw, but also what you think and perhaps, more importantly,how you think.
This is clear in the resulting material quality of spaces and clearly shown in the design drawings.
 I suggest that the essential difference between the work of contemporary architects such as Norman Foster and Frank Gehry, and Michelangelo, is the exact ontological significance of matter and form and their relationship made possible in drawing and modelling and other modes of description.
See Robert Harbison, Reflections on Baroque, Reaktion, 2001, for an attempt to argue that contemporary architects such as Coop Himmelblau and Gehry are ‘neobaroque’
and not simply drawing meaningless shapes; and also the writres  refutation of Harbison in his
review of this book in Building Design 09/03/01.

AEC 2013 - Wrap of Day2 - Private Sector and Political Leadership - African Development Bank

AEC 2013 - Wrap of Day2 - Private Sector and Political Leadership - African Development Bank

Financial Inclusion for a Sustainable and Inclusive Growth in Africa - African Development Bank

Financial Inclusion for a Sustainable and Inclusive Growth in Africa - African Development Bank

Combating Climate Change with Landscape Architecture | asla.org

Combating Climate Change with Landscape Architecture | asla.org

archiabyssniya

archiabyssniya

New Magazine Startup Guide

Having the text keyed-in and thoroughly proofed before it goes to production can help reduce errors and costs associated with revising proofs.

Many people have a "Great Idea" for a magazine but before you begin a magazine launch there is a lot you need to know and plenty of financial support will be required.

Unfortunately, there is no guide book, start up course, or specialized business consultants to help new magazine developers learn the terminology of the industry or the perils that could lie ahead. Unless you have been involved in the magazine business in some form - everything will be new and unfamiliar.

Approximately only one out of ten new magazine ventures will ever be successful. If an individual or business entity cannot absorb the loss of investment in starting and growing a magazine venture, then such a venture should never be undertaken. Magazine publishing is both speculative and risky.

Successful magazines seem to find a special niche or have an identifiable difference from magazine titles that are currently on the market. Also - the successful titles seem to serve a relevance or a need for the consumer market they cover. Many magazine titles serve consumer's passions with increasing numbers focusing on very specific niches. Give your magazine the difference and relevance test.

Magazine Publisher's Startup Guide is just an overview. It was written to help individuals and businesses looking to develop a magazine get a better understanding to what is involved and needed in a magazine startup. It is intended to give you a better overview of the new challenges ahead and a better understanding of magazine requirements and terms. After which you can find more detailed and useful magazine information within web site www.MagazinePublisher.com

Let's Do It!

Design & Layout

You can hire a professional production company to design and layout your magazine pages...or do the work yourself. Keep in mind there are technical specs in which magazines must be submitted in order to print. Only a few layout programs are acceptable. For complete details see Magazine Publisher's "Custom Magazine Design" or "Submitting Print Ready files".

Content

Organizing content for your issues can be a detailed application. It is your responsibility to pull together all editorial and advertising content to be used in each issue. If you have multiple writers it is important to convey to them how you want their stories submitted. It is important that advertisers supply their ads in proper formats. Clearly communicating on the front end what you expect will help eliminate headaches.

It is best to first organize all advertisers that will be included in the upcoming issue of your magazine. Identify placement (if the advertiser has requested a specific location like inside the cover) and verify that all the digital art for each advertisement is complete. Any ads needing creation by the digital department will need to be done first so the advertiser has time to approve the layout. The next step is to categorize your articles and pull together the text files and accompanying photos to be used. Having the text keyed-in and thoroughly proofed before it goes to production can help reduce errors and costs associated with revising proofs. 

Once completed and organized it is time to turn over the files for issue production to your production staff. Remember a clear identification of stories text, photos, captions and ad placements can help direct production artist as they begin to digitally create each page for the magazine. A small hand-made "mock-up" magazine can even be put together with notations on what goes where to help direct the production artist.

‘sketching’ will really help you when creating a CANVAS from scratch.

ARTISTIC  language or taking a course of  design sessions

 

 For a lot of Sketches document, the most useful reference and the most effective method to learn about sketch is through design tutorials instead of just reading a publication on a particular ARTISTIC  language or taking a course of  design sessions. Similar to some other type of tutorials, they are created to guide you through the detailed processes to let you see everything you need to undertake to get from beginning to finish

In today’s post, we provide you once again with a new compilation of ‘sketching’ that will really help you when creating a CANVAS from scratch. These description or outline are free to experiment with. Thus, take time to master every procedure so that you will be able to create an effective IN ‘sketching’   without having to spend a great amount of money or assistance of an expert.

Here is essential which provides cool tips in creating a ART. 
If you are planning to BE AN ARTIST  then better browse this post as the description  listed below give a simple and faster way to get your CANVAS done while not having to undergo a lengthy process. Have a great time browsing

• The word ‘drawing’ presents a general term, whereas ‘sketching’ focuses on a specific technique. Both can take the form of an action or object, verb or noun, as each can imply movement. 
• The Oxford English Dictionary defines a sketch as a brief description or outline ‘to give the essential facts or points of, without going into details.’ Sketches document the primary features of something or are considered ‘as preliminary or preparatory to further development’(1985).
•  Historically, the act of sketching or drawing on paper involves line. At its most basic level, the production of line constitutes making marks with a pointed tool, initiated by movement and force. 
• In reverse, eyes follow a line and with that action the ‘line’s potential to suggest motion is basic’ (Lauer, 1979, p. 151). A line, or mark, made with the bodily action of the hands, demonstrates its ability to cause reflective action, as it attracts the human eye to follow it. 
• This cognition spurs associative thoughts, as the line suggests new forms (Lauer, 1979). Much of the ‘motion’ of a sketch comes from the physical action of the hand; in this way, the tool becomes an extension of the body and reflects the human body. James Gibson, the psychologist and philosopher, writes concerning human contact with a drawing and suggests that making marks is both viewed and felt (1979). 
• The ‘gesture’ of this intimate participation with a sketch gives it meaning and individuality. The control of a hand on the drawing tool yields not a consistent line, but one that is varied, thick or thin.
•  The quality of the mark is important, since individual lines produce association in the minds of architects. Gibson believes, in company with philosophers such as Aristotle, that it is reasonable to suppose that humans can think in terms of images (1982). Conversely, but consistent with his theories of visual perception, there cannot be vision without the cognitive action of thought. Sketches can be analogous for actions that do not involve a mark on paper. For example, a quick skit by a comedian may be deemed a ‘sketch,’ although it does not involve the mark on a surface. 
• Thus, a sketch may be defined by its preliminary and essential qualities. Sketches may also comprise three-dimensional actions preliminary to architecture, such as the fast ‘sketch’ model, or be conceived of digitally as a wire-frame massing in the computer. In such ways, the intention takes precedence over the media. 
•  How sketches act to assist design thinking designates their value. As these definitions imply, sketches are notoriously imprecise; valueless physically, and seen as a means to find something or communicate rather than as prized objects in and of themselves. 
• They are usually, but not necessarily, loose and lacking in detail. Some architects make simple but precise diagrams, while others may use sketches purely for communication
•  HOPE WE MAKE SENSE !!! SAY A WORD ABOUT IT AND SHARE WHATS OWN YOUR HEART…