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architizer:Durable, Low-Maintenance, And Inexpensive: Why Fiber Cement Panels Are All The Rage

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Today in 2971, Pink Floyd's epic Meddle was released
it featured songs such as:
One of these days
Echoes
NEXT Architects Wins International Competition Pedestrian Bridge at Meixi Lake
The corten steel is another material thatâs really taken off!
Take a look at the 60 projects on Archilovers that use Cor-ten as an exterior skin http://bit.ly/173RQYD
CarĂsimo e inaccesible acĂĄ, peeeeroâŚ

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El Anatsui
Broken Bridge II
Hey you Social Media Lovers, check this out! theQ Camera - Connecting Users to Social Media Source: jebiga.com
Cantilever Tunnel Vision: How Far Would You Go For That View?
Happy Birthday to Annie Erin Clark aka St. Vincent
St. Vincent- Marrow

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Correlations of Observation
As I traveled through Germany this summer, I developed two sketching handsâone I called the âempirical sketchâ and the other I called the âexperiential sketch.â I routinely drew the same scenes multiple times so as to exercise and compare each hand. My goal was to find which approaches to sketching would result in the best mental comprehension of a given scene before me.
One strategy involved two sketches of the same scene by alternating between the empirical and experiential hands. By exercising both hands, I mentally comprehended the scene before me in a relatively short amount of time. Both approaches to observation were complimenting the other. For instance, the empirical sketch emphasized accurate line, perspective, and geometry. This provided the mental scaffolding for the experiential sketch, which could expound upon an already memorized structure of the drawing. In reverse, the experiential sketch provided the gestures from which an empirical structure could be derived from.
Another strategy involved sketching a scene in only one hand. By focusing on only empirical or experiential observations, I could create accurate and vivid sketches of a scene. However, in order to master such a drawing, I had to sit in one location for a much longer period of time.
This all leads to the questions: How do empirical and experiential observations accumulate? Do they correlate? And if so, what role do they play in mental comprehension and memory?
I hypothesize that both approaches to observing work in tandem with the brainâs ability to achieve comprehension. (In this experiment, the comprehension happens to be visual, though I find that other stimuli work the same way)
Letâs look a series of mental diagrams:
First notice the two timelinesâone for empirical and one for experiential. Their time begins at the discovery of a scene or an object of interest. During the time spent directly engaged with the object, these observations accumulate to reach mental comprehension.
As comprehension strengthens, a memory bank begins to form. Observations of how details appeared, how systems worked, the height, size, texture, and color of the object all make up the empirical memory. Observations of the light, shadows, feelings, and emotions aroused all make up the experiential memory.
When departing the scene or object, all direct engagement immediately ends and all observations are now stored in memory. Overtime, these memories fade in order to make room for new observations elsewhere. Yet, an occasional revisit just might awaken those memories and pull them back together.
If the amount of time directly engaged with the site or object increases, so does mental comprehension and memory.
If the amount of time is shortened, the ability for memory to accrue might never be reached. Yet here in example 3, we see that one might still reach comprehensionâbut only if both empirical and experiential observations are working together. Notice that comprehension is not achieved when focused on only one approach.
This is a tricky zone of mental comprehension that requires more study. When does one truly comprehend something? And does this happen before, during, or after memory begins to accrue? Are these diagrams fair comparisons of empirical and experiential observations? Is there more to observing than just these two variables measured against time? I think there is. For now, these charts serve as a model.
My next entry will begin to test this hypothesis against architecture and how we discover it, live it, depart it, and remember it.
Richard Whadcock
The Act of Making
For the entire existence of man, we have used our hands to create, invent, investigate, and make our way through time. The act of making an object grants its maker a level of intimacy with that object that would not be possible without the physical connection that is established throughout the process of the creation.  The striking image comes to mind of a blind person examining oneâs beauty not through visual observation but through the simple sense of touch.Â
Historically, the architectural profession has been considered a profession of craft. The architect was the original master builder. This was true because of a close physical relationship between the architect and the physical construction of the design.  Divisions of labor in the construction industry along with the excessive digitalization of our field have disestablished the architect as the master builder. The sensibility practiced by a craftsman such as the conscious manipulation of materials and the relationship between the maker and the made object is something that could be immensely beneficial for us to examine as architects. The role that drawing plays for the architect is not simply a form of two-dimensional representation, but it is the architectâs method for investigating their design. Therefore, rather than simply drawing lines, we imagine the third dimension that we create. We feel the materials, walk across the floors, and experience the spaces. If this is true, and I donât think that any architect would make the argument that drawing does not have a purpose in the design process, then the physical connection that is practiced through the act of making would provide a knowledge equal or greater to that of drawing.
With the continual push towards a fully digital architectural design process, we risk reaching a point where the haptic connection between the designer and his/her creation is absent. The human hand serves as a bridge between mind and matter. Without some sort of physical connection between the designer and the practiced design we cannot accomplish a holistic creation.  The digital resources that we have access to as designers present an efficiency that is hard, nearly impossible to deny. This discourse will investigate this connection between the designer and their work at different points and scales throughout the design process from small-scale investigation models to full scale and the role of design/build.

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"Peace is the breathing-space between destinations, between excitements, an occasional part of the journey, if youâre lucky. Peace is a space you move through very rarely, and very brieflyâbut youâre not allowed to stay there. You have to keep moving, and go do what you do. Because you can."
Neil Peart
HAPPY BIRTHDAY PRATT!!Â