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10. Modeling with Exact Dimensions

Bonnie Roskes O'Reilly Media ePub

When SketchUp was first introduced, the idea behind it was that you could produce great-looking computer models representing your rough sketches, rather than scratch out your designs on the back of a napkin. Whereas most conventional CAD applications require you to know the exact sizes of all your model's objects, in SketchUp you can design "by eye."

What many SketchUp users don't take advantage of, however, is that the application also enables you to create entire models using exact dimensions, despite its deceptively simple tool set, meaning you can use SketchUp as a start-to-finish design tool. (SketchUp Pro provides even more sophistication with LayOut, an application that enables you to produce fully annotated and dimensioned drawings of your SketchUp model.) In addition, if you're handed a model that was created without regard to scale or dimension, SketchUp enables you to easily resize the entire model or only selected objects within it.

All of SketchUp's editing and drawing tools can be used with exact dimensions. You can enter a dimension's value before or after the tool's operation is complete, and you can enter new dimensions, repeatedly if necessary, to change the results after the operation is complete. After you start a new object or activate a new tool, you can no longer enter new dimensions for the existing object.

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Comments by Marcus Bredt

Adrian Schulz Rocky Nook-IPS ePub

At first glance, architecture appears to be an easy subject—buildings don’t move, don’t need to be given instructions, and are available at all hours of the day and night. The tricky part of the job is getting to know the subject well enough to shed new light on an apparently everyday object. We walk past countless unobtrusive office buildings every day, and we usually use railway stations for their intended purpose without giving them a second glance. We do not generally consider factories and warehouses to be works of art. Our job is to make objects that are normally ignored interesting. This can be achieved by accentuating geometric form to the point at which its intrinsic aesthetic grace suddenly becomes apparent, or by capturing tiny details of a subject’s surroundings in such a way that an otherwise desolate-looking building develops its own particular beauty. But remember, a great architectural photo has nothing to do with clever effects or disguising the subject’s true nature (fig. 218).

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Social Orders

Henry Glassie Indiana University Press ePub

Technology’s political questions do not come into focus in the situation described as ideal by writers on vernacular architecture. In the ideal, design, construction, and use — domains of potential conflict — unify in a single man who gathers materials from his own land to build for himself the building he wants. Such things happen.

In 1938, Richard Hutto built a barn near Oakman, Alabama. He cut the trees on his own farm, dragged them to the site with a mule, and he raised them, alone, into a building. Its form is what scholars call a double-crib barn, and they can trace the plan from Alabama along the mountains to Pennsylvania, and from Pennsylvania to Central Europe. Mr. Hutto took the form from the memories he developed out of life in his locale. He trimmed the trees, cut them to length, and he notched their ends to interlock at the corner in a variety of timbering that the geographer Fred Kniffen named V-notching. Mr. Hutto called it “roof-topping.”

Richard Hutto’s barn was all his. It had only him to blame, it seems. But, when we talked in 1964, he attributed its failings to the times in which he worked. He told me he was thinking of tearing it down. It did not satisfy him because he had been forced to build it alone. He did not have the help of a black laborer as Pete Everett did when he built a barn, similar in form and construction, near Pine Hill, Mississippi, one year earlier. Mr. Hutto did it alone, but in the better days of the farther past, he said, a team of neighbors would have gathered to help. With more energy available, the timbers would have been hewn, rather than left in the round. Poles, he called them, not logs. The team would have included experts with the proper tools. The ends of the logs would have been trimmed cleanly with a saw, instead of raggedly with a chopping axe.

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5.2 Implementation of QA during construction

Low Sui Pheng Chartridge Books Oxford ePub

CHAPTER 5

A case study of ISO 9000 in large scale projects

5.1 Introduction

Although quality management systems were introduced more than a decade ago in the construction industries of the developed countries (in the United Kingdom, for example), the implementation of quality management systems in some less developed countries is still a relatively new phenomenon.

While quality management systems are now slowly making their presence felt in the less developed countries, there has been a lack of study of the problems faced by practitioners in implementing quality management systems for building projects during their infancy stage in the industry. This vacuum was, likewise, felt in the more developed countries like the United Kingdom when quality management systems were first introduced to their construction industries. This lacuna at the infancy stage means that the lessons and experiences learnt from implementing quality management systems in one particular building project are not necessarily transferred to benefit other projects. Apart from filling this vacuum, the aims of this chapter are to:

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1 Foreword

Adrian Schulz Rocky Nook-IPS ePub

The digital photographic medium is currently on an unprecedented roll, and ever-increasing numbers of people are beginning to experiment with the challenges and rewards of this most modern medium. Thanks to the digital revolution, architectural photography, with its endless variety of exciting subjects, has won many new fans among beginners and experienced photographers. Architectural photographers today are blessed with endless creative ways to capture and display their subject.

It is said that a picture is worth a thousand words, and this is particularly true in the field of architectural photography. There is no better medium than a balanced, well-taken photograph for capturing and displaying the look and feel of a building. This book uses numerous pictures to illustrate the examples described in the text, and provides answers to many theoretical and practical questions regarding equipment, technique, and the reasons why sometimes buildings look so different in a photo than they do in reality. There are also comprehensive sections on ways to improve your images and the opportunities presented by the magic of digital image processing.

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