Podcasts about architectural

There's been lots of buzz around Milwaukee Public Museum's new building coming in 2026 and instead of talking about what's going to be inside, this week Nate and Bobby are talking about the building itself. MPM's Chief Planning Officer Katie Sanders, and architects Jarrett Pelletier of Ennead and Chris Ludwig of Kahler Slater share the inspiration behind the Future Museum design.Read more: https://onmilwaukee.com/articles/mpm-future-museum-talks

Concrete is the second most used material on earth after only water. There are more than half a trillion tons of it weighing down the earth. Which is a problem. Where did concrete come from? And why are we so addicted to it?To get into the nitty gritty with Dallas is Barnabas Calder who is Head of the Architectural and Urban History Research Group at the University of Liverpool and the author of “Raw Concrete: The Beauty of Brutalism” and “Architecture: From Prehistory to Climate Emergency.”Edited by Stuart Beckwith, Produced by Freddy Chick, Senior Producer is Charlotte Long Hosted on Acast. See acast.com/privacy for more information.

Présentation de l'invité : C'est après avoir traversé les Rocheuses américaines à pied en se nourrissant exclusivement de burgers que Rudy Guénaire cofonde avec Graffi Rathamohan, PNY : des burgers fabriqués à partir d'ingrédients soigneusement sélectionnés et qui à chaque bouchée, vous envoient à l'autre bout du monde. De l'assiette, au packaging des boîtes, en passant par la lumière et le mobilier, rien n'est laissé au hasard et chaque restaurant devient un terrain propice aux obsessions architecturales de Rudy. Dans ce nouvel épisode, Rudy Guénaire revient sur tout son parcours, sa traversée des États-Unis à pied, la genèse de PNY, leur succès, leur obsession du branding et de l'architecture, comment il travaille avec Graffi Rathamohan, la cofondatrice, son obsession de l'architecture, ses inspirations ou encore son envie de créer des hôtels. « Tu viens dans un resto pour la bouffe, mais tu reviens parce que le staff est cool et qu'il se passe quelque chose dans ce lieu. » Ce que vous allez apprendre dans cet épisode : Rudy se présente Sa traversée des États-Unis à pied Comment gérer la rencontre avec un grizzli La genèse de PNY Qu'est-ce qu'un bon burger Pourquoi un tel succès Leur Branding La singularité de leur architecture Leur newsletter Sa façon de travailler avec Graffi Rathamohan, la cofondatrice Leurs apprentissages et leurs échecs Le financement de leurs restaurants Son avis sur les substituts de viande Son obsession de l'architecture Sa vision de l'architecture et de l'art Les gens qui l'inspirent Son envie de créer des hôtels Son avis sur l'IA et la créativité Qui il souhaiterait entendre dans ce podcast « Avec Instagram et Pinterest, c'est facile de faire des trucs bien, c'est facile de faire des trucs beaux : on a accès à tellement de références facilement que ce n'est plus vraiment ça qui a de la valeur. Il faut avoir quelque chose à dire. Est-ce que j'ai quelque chose à dire ? Je ne sais pas, en tout cas je cherche et j'y travaille. Quelque chose qui sort vraiment de soi-même, c'est peut-être ça qui est le plus intéressant. » « Graffi est le moteur de PNY et moi l'âme. » « Mon job est un peu schizophrénique : il y a une partie très entrepreneuriale, avec beaucoup d'énergie, de vitesse, d'impulsivité et une autre, complètement noyée dans la créativité, plus profonde, dans une sorte de réalité alternative. Ce sont deux extrêmes vraiment très agréables. » N'oubliez pas de vous inscrire à la newsletter de Entreprendre Dans La Mode, les industries créatives et l'art de vivre sur www.entreprendredanslamode.com. Aussi, si vous souhaitez me contacter ou me suggérer de nouveaux invités, vous pouvez le faire sur Instagram sous le pseudonyme @entreprendredanslamode. Enfin, le plus important : laissez-moi un avis sur Apple Podcast ou iTunes, 5 étoiles de préférence ; cela m'aide à faire connaître le podcast à plus de monde et me motive à faire de meilleures interviews ! Merci de soutenir ce podcast et à bientôt pour un nouvel épisode ! Références : PNY : https://www.pnyburger.com/ Rudy Guénaire : https://www.instagram.com/rudyguenaire/?hl=fr CUT architectures : http://www.cut-architectures.com/ Mathilde Selli : https://mathildeselli.ovh/ Leur Newsletter : https://www.pnyburger.com/pny-burger-news Audacia : https://www.audacia.fr/ Generis Capital : http://www.generiscapital.com/ Initiative et finance : https://www.initiative-finance.com/ L'Ultrafragola d'Ettore Sottsass : https://www.beauxarts.com/lifestyle/le-miroir-ultrafragola-dettore-sottsass-idole-dinstagram/ Bernard Dubois : http://www.bernarddubois.com AJP - Albert, Jean et Pedro : http://www.albertjeanetpedro.com/ Officine Universelle Buly : https://buly1803.com/ Aman : https://www.aman.com/ Saint-Lazare : https://saint-lazare.co/fr Atelier Franck Durand : https://www.atelierfranckdurand.com/ Super:futur : https://superfutur.co.uk/

Philip Ross, A&E and Construction Lead at Anchin, and Joseph Molloy, CPA Tax Partner at Anchin, join us for episode 299 of Art of Construction.  Anchin is more than just accountants. They serve as advisors to Architectural, Engineering and Construction companies and contractors across multiple topics and issues. The AEC department at Anchin specifically works together with these firms to propel their success and growth. ​Much of their work revolves around helping their clients find and utilize valuable tax benefits, including an R&D tax credit that was recently legislated. It's often the case that a company will dismiss the idea that they may qualify for an R&D tax credit if not in a technology industry, specifically, but any company trying to value engineer the work they do to make it better and more efficient may qualify. The R&D Tax credit has tremendous value to the AEC industry as an immediate source of cash for many small and midsize companies. The credit is also a significant reduction to current and future tax liabilities and is much stronger than a deduction.​ Join Devon, Phil and Joe as they discuss the intricacies of R&D and other tax credits and how to know if they apply to your business, how to structure employment, contracts, equipment purchasing and more to best take advantage of construction tax codes, and some financial best practices for growing your business and never running out of cash when the tax man comes to collect. 

Architectural glass artist Elizabeth Devereaux traveled across the globe looking for an international education in art and architecture, from San Rafael to Vienna, then Munich. She founded her California studio in 1969, and more than 50 years later is an accomplished architectural glass artist with works installed all over the US and Canada.  Devereaux states: “In an architectural setting, I always like to work in a site-specific way, noting the place and region itself, as well as the architectural style the artwork is in, the light, the interior and exterior environment. I work collaboratively, which then requires me to listen to the client/committee's story, to define their identity and understand what has meaning for them, and then to synthesize all of the information within my own style and artistic vision.” One of Devereaux's most notable liturgical commissions, Christ Cathedral Memorial Gardens, Garden Grove, California, is located at an architectural pilgrimage destination. The Cathedral buildings are designed by three of the 20th century's most significant architects – Philip Johnson, Richard Neutra, and Richard Meier. The new Memorial Gardens' focus was to be “The Risen Christ” worshiped by two angels. It needed to be highly visible from the exterior, giving reference to life's journey and connecting Baptism (in the Cathedral) to death and resurrection (in the Mausoleum). Relying on reflective light, 24-carat gold luster paint allowed the windows to be clearly seen from the Cathedral opposite, as well as in the Mausoleum, which was flanked by 12 large panels of amber stained and shaded clear glass. These 12 panels were fabricated by Derix Studio in Germany; the rest of the commission was fabricated in Devereaux's Chico studio. Forty-four clerestory windows created in mouthblown cobalt streaky on clear German Lamberts glass link the interior rooms. Between each are prisms referring to the tower at the Cathedral. In another major liturgical project, at Our Lady of New Clairvaux Abbey, Vina, California, Devereaux expressed The Cistercian charism of simplicity in a contemporary style with a reference to its ancient history. The new monastery at New Clairvaux was originally a 12th-century monastery in Northern Spain. In the early 1930s William Randolph Hearst bought the monastery and imported it to California. Shortly afterwards, the Great Depression and World War II made it impossible for Hearst to build it, and he deeded it to the City of San Francisco. There it languished for 40 years behind the De Young Museum until Father Thomas Davis, a young monk newly arrived to the New Clairvaux Monastery, heard the story and had a vision of acquiring the stones for the new Abbey. The Abbey consulted with British and Spanish historians, and hired German stone carvers to re-form and recut the missing stones. The art glass in 12-century European Cistercian monasteries is abstract, simple, and often soft amber and white in color. Devereaux's windows appear simple at first glance, but in fact, are complex in their fabrication. The Fremont Antique glass was custom mouthblown to shade from white opak to clear, allowing the exterior landscape to be part of the design. It was also painted and kiln-fired with amber stain, then intersected vertically with handmade prisms. Since the monks worship during the day and night, the artist painted and fired a reflective 24-carat gold luster pattern onto the surface, bringing the translation of New Clairvaux or “Valley of Light” to life. In San Francisco, for Noe Valley Ministry's Coming to the Center window, Devereaux selected triple-flashed, mouth-blown glass, which was etched to the clear layer to portray the constellations. The transition from “sky” to “center” was accomplished by selecting custom blown rose to clear and purple to aqua glass. This allowed the glass to be sprayed and fired with orange luster, creating the subtle transition from lavender to amber. The amber “center” was leaded and laminated front and back with lead “overlay” “branches” to reference beloved artist Ruth Azawa's twig-like cross in the sanctuary. The center spiral links to the labyrinth in the space. Devereaux explains: “I always loved transparency—working with watercolor, silkscreen, overlaying color. When I discovered glass, I realized the incredible aspects of painting with light. Mouth-blown textures and color can be designed to meet direct sunlight and be projected in mysterious ways across the interior space. Or if the window is facing an unwanted view, it is possible to use translucent glass, allowing light in, but not the view or the glare. I also love the use of reflective materials, polished metals, in conjunction with glass, but sometimes mirror, and 24-carat gold, silver, and platinum lusters sprayed and fired onto glass. This allows the window to have a nightlife, different from the day. I also love pattern, making a “logo” or distillation of the meaning of the commission, then repeating it into a fabric woven into the artwork.” Devereaux has always been active in her architectural and liturgical communities, serving on the National Advisory Board of Interfaith Forum on Religion, Art, and Architecture (IFRAA), a Knowledge Community of the American Institute of Architects (AIA) from 2009- 2014 and as a Juror for Faith & Forum/ IFRAA Religious Art & Awards, Seattle, WA, 2005. Her own IFRAA and Faith and Form awards include: 2018 Honor Award for Religious Art in New Clairvaux Abbey, Vina, CA; 2018 Codaworx Liturgical Art Award, Holy Family Catholic Church, Fond du Lac, WI.; 2008 Design Merit Award, St. Maximilian Kolbe, Westlake Village, CA; 2006 Design Honor Award, Blessed Trinity, Frankenmuth, MI; 1992 Visual Arts Award, St. Joseph Cathedral, San Jose, CA. She has also been presented with Ministry & Liturgy Annual Visual Art Awards, Bene & Best of Show in 2008, 2005, 2003, 2000, 1999, 1998, 1997, 1996, 1994, 1992.  Devereaux's non-liturgical commissions are numerous and include New Mexico Behavioral Health Institute, Las Vegas, New Mexico, for which she won a Public Art Award; George Sim Community Center, Sacramento, California, Public Art Award; and Chico City Plaza, Chico, California, Design consultant team and Public Art Award. Her present commission is Dignity French Hospital Swanson Chapel in San Luis Obispo, CA, and includes 700 square feet of laminated art glass. Devereaux and her studio crew – Owen Gabbert, longtime project manager, Marie Swanson, Devereaux's son, Chris Tallant, and nephew, Abraham Devereaux – are responsible for many public art, hospital, and corporate commissions. Though her studio's main focus remains liturgical commissions, every window designed is site specific and custom made for that specific place. Devereaux knows how to listen and let inspiration find her, in a melding of her talent with the soul of each location.  

There are a lot of things going on behind the scenes on the Life of an Architect podcast. In today's episode, we cover some changes that we think you will find amazing and some other changes that might merely be incredible. We are pulling the curtains back and discussing 2023 in a way that we've never done before.

What comes next for photographers, videographers, and creatives? Community. It's the simple solution to almost every problem that arrises. How do you become more successful? Community. How can you refine technique? Community. How can you work on your craft, your creativity, avoid burn out, fight impostor syndrome, achieve a more consistent workflow, and enjoy your work more? Community. This episode is a live, completely unscripted and off the cuff conversation with the four members of the leadership team for the Photographic Collective. We're peeking behind the curtain on an all new platform that is being prepared for our community that will include modules for training, small and large group sub communities, and collaborations with world class educators. It is a big task trying to cast vision for something that can affect the industry as a whole and these are the voices of a few of the people who are looking to do just that. If you're looking for a business coach, an accountability team, an editing workflow, a marketing strategy, or just a friend in the imaging industry we're discussing today something being built simply to serve you. This conversation with UK educator Tom Wright, US based film maker and director Brandon Buccheri, Architectural and portrait photographer, producer, and musician Jared Mark Fincher and Fujifilm Global Ambassador and wedding photographer Miles Witt Boyer is a candid, organic, raw approach to casing that vision. PhotoCo is a production of the Photographic Collective LLC hosted by Miles Witt Boyer and Jared Mark Fincher based in Bentonville, Arkansas. Copyright 2023, all rights reserved. --- Support this podcast: https://anchor.fm/mwbpodcast/support

This week, Sydney and Walker are joined by celebrated interiors and architectural photographer and best selling author, Alyssa Rosenheck.Some of the things covered in their conversation include:Alyssa's journey with cancer and how it led her to pick up a camera and do the inner work of nourishing her mind, body, and soulComing back home to yourself and beginning your own revivalUsing creative rest to counteract burnout Toxic hustle cultureDelegation in business and taming the chaosHow to get back into your power if you feel out of alignment in business or lifeWhy clarity and consistency are the biggest keys to slow growing successHaving the willingness to fail so that you can grow and evolveAlyssa Rosenheck is a bestselling author of “The New Southern Style”, a leader in interiors and architectural photography with over 900+ magazine features, and an expert in helping others tap into their creative courage and healing. Nationally, Alyssa Rosenheck has been recognized as a business leader, named one of the leading interior and architectural photographers in the country by Architectural Digest and CNN Create, and the voice of the new South in outlets like Forbes, The Washington Post, InStyle, Good Housekeeping, Rue and People magazine. Alyssa is helping individuals tap into their creative courage and community with her first book, The New Southern Style. Alyssa is amplifying the voices of the next generation of creatives and turning messages into movements. Alyssa is speaking at the 2023 Renaissance Women's Summit in Nashville on February 25th! There is still time to get tickets at www.renaissancewomenssummit.comBuy Alyssa's book, The New Southern Style on her website: https://alyssarosenheck.com/Follow Alyssa on Instagram:https://www.instagram.com/alyssarosenheckAbout Renaissance Marketing Group: Renaissance Marketing Group is a full-service social media marketing agency based in Nashville. The Renaissance team is made up of a talented group of passionate creatives and marketers, committed to the success of their clients and passionate about helping business owners succeed. Founded in December 2014, the female-founded company delivers proven social media marketing results. Their services include social media management, content creation, paid digital advertising, email and SMS Text marketing, influencer marketing, graphic design, branding, professional photography and videography, TikTok and Reels creation, digital marketing strategy, podcast production, and more. Renaissance is committed to influencing optimal revenue and online growth, while exceeding their client's expectations. In 2021, Renaissance announced the launch of their nonprofit, The Mona Lisa Foundation. The Mona Lisa Foundation was created from a love and passion for supporting women on their entrepreneurial journeys and focuses on offering mentorship, marketing, and business education, grant money, and community to Nashville-based female business owners. Learn more: www.renaissancemarketinggroup.com Join Us For The Renaissance Women's Summit on February 25th in Nashville.Get Tickets: www.renaissancewomenssummit.com

Andrew Daley and Danielle Tellez of Architectural Workers United join the podcast to discuss fighting for representation for architectural workers, the push for unionization, and transparency within the industry. CEU Credit Here

Getting a job as an architectural intern is important, it is critical to gain an understanding of what type of firm and what sort of projects you will want to work on as a practicing architect. Welcome to Episode 118: Architectural Interns.

In this podcast episode, Randy Wilburn sits with Mike Woeber, Co-Founder of Corporate Tax Advisors (CTA), to discuss how design firms can learn how to qualify for R&D tax credits and maximize their business growth to unlock potential savings. When Mike Woeber left his career at Ernst & Young, he became a tax partner. In the process, he discovered the lucrative, yet often overlooked, Research and Development Tax Credit, which he and his partner Dawson Fercho used to develop relationships with nationwide clients and save them millions of dollars in taxes. You will learn how your Design Firm can qualify for R&D tax credits and maximize your business' growth to unlock potential savings."I always encourage firms in this space to think about the things they're being hired to do. And when you look at those things, what are their technical elements? What kinds of people do you have to hire and have on your staff to be able to solve the problems that your customer has?"Mike Woeber is the CEO and founder of Corporate Tax Advisors (CTA). This nationwide tax credit advisory firm has helped clients save over $75 million in tax credits since its founding in 2012.Mike Woeber began his career at Ernst & Young and built a strong foundation in the income tax world. After working his way up to a tax partner for a local firm in North Alabama, Mike learned a lot about the R&D tax credit and how it applied to the aerospace and defense industry. After meeting Dawson Fercho and forming a friendship, they decided to create CTA to focus on building relationships with their clients. After nine years, CTA has built a practice with a nationwide client base, helping companies from Miami to Anchorage save millions in taxes. Mike educates his clients on identifying which activities qualify for the R&D tax credit and how it can save companies money in the long run when recruiting and retaining talented people.In this episode, you will learn the following:1. How can companies leverage the R&D tax credit to reduce costs and attract talented employees?2. What are the four-part test qualifications that must be met to claim R&D credits?3. How can businesses identify and differentiate between activities that qualify and do not qualify for R&D credits?All of this and much more on this episode of The Zweig Letter Podcast.Connect with Corporate Tax Advisors:Corporate Tax Advisors WebsiteCorporate Tax Advisors on LinkedInCorporate Tax Advisors Case StudiesMike Woeber on LinkedInResources:Get your FREE Subscription to the Zweig Letter Newsletter.Other episodes you'll enjoy:Mancini Duffy is a Triumvirate of Excellence in the Design Industry

Father Larry discuss whether or not architectural beauty matters in the church --- Send in a voice message: https://anchor.fm/william-wannall/message Support this podcast: https://anchor.fm/william-wannall/support

Arizona have a unique charm.  Mixture of architecture ranging from ultra-modern and contemporary to traditional, southwestern, country, and territorial.  All brought into settlements by early residents.  Plus answering questions about cast iron pipes, roof replacement, gas tankless water heaters and more!

Baby Stumpy's still in the belly, so Kelly and Lizz are bringing you an episode that is nothing if not chaotic.  In today's millennial word segment we learn Gen Z slangs so we can be less lame. Today's word is ‘jump scare.' Kelly also adds an idiom of the day because Lizz knows absolutely none of them. Today's idiom is ‘still water runs deep' which launches the duo into a trip down memory lane reminiscing about Kelly's car salesman days. Kelly's binging Architectural digest celebrity house tours on YouTube, comparing celebrities vs. influencers, and rants about how we need to stop saying ‘wait until' and ‘at least' to mothers for her driveway dump.  The hate eight of household chores decides which is the worst of the worst. Going head to head for the most hated crown are: changing bedsheets and duvet cover; doing laundry; paying bills; washing dishes; cleaning the toilet, shower and bathtub; taking out the trash and breaking down boxes; pet care and cleaning up dog hair; and cleaning floors. Automotive Gossiper, aka car buying expert, Zack Sheska from Car Edge, joins Kelly and Lizz for a zesty industry news today. Is Tesla quaking in their boots? Zack gives the gals the scoop on tax incentives and why the company might be dropping their prices. Cash is king according to Zack in the car buying arena right now and he predicts we'll see incentives make a comeback. Zack also gives his take on Carvana and sight unseen car purchases. Matza ball soup is for dinner tonight at Zacks and he shares his super simple recipe so you can ditch the drive-through, too.  → To share your ditch the drive-through recipe with us, call (959) CAR-POOL and leave us a message! → Want our advice on literally anything? Shoot us an email for a chance to get your questions featured on the show at hello@thecarmomofficial.com Follow the Carpool Podcast on IG Follow the Carpool Podcast on YouTube Follow Kelly on IG Follow Lizz on IG Visit thecarmomofficial.com Learn more about your ad choices. Visit megaphone.fm/adchoices

An architect renowned for his work, but also for breaking racial barriers, has been the focus of a photo exhibit at the Nevada Museum of Art in Reno.

No, there's not a ban on gas stoves. But concerns over indoor air pollution's effect on our health led the US Consumer Product Safety Commission to discuss the possibility of the first ever safety regulation of new gas stoves. Reset discusses how this debate fits into the push to reduce our reliance on fossil fuels with Loyola University Chicago's Baumhart Center for Social Enterprise and Responsibility, Karen Weigert and Brent Stephens, Professor and Department Chair in the Department of Civil, Architectural, and Environmental Engineering at Illinois Tech. Then Reset learns about the difference between induction and gas stoves with reporter Khaya Himmelman.

In this special replay episode, Phil Bernstein of the Yale School of Architecture joins the podcast to talk about teaching his pro practice course that encourages architecture students to push beyond the traditional business model, value propositions of architecture, encouraging collaboration when working in isolation, and much more. LinksPhil Bernstein on TwitterPhil's ARCH 2230b course at Yale School of Architecture entitled Technology and Practice – Exploring New Value in Design PracticeArchitecture | Design | Data – Practice Competency in the Era of Computation by Phillip BernsteinEvan's YouTube videos mentioning Phil's inspirationPaper Drawings Need to Die! (Digital Built Week Seattle 2019)Architectural tech, practice, and education in Charleston!Phil's articles that elaborate more on the topics in this episode:Phil Bernstein Shares Ten Thoughts on the Future of PracticeWhy the Field of Architecture Needs a New Business ModelMore TRXL Podcast episodesCheck out my other podcast too: Archispeak & PeopleverseMy YouTube channelConnect with EvanTwitterLinkedInInstagramYouTubeEmailSponsorContent is more than Revit families. If it's digital, AVAIL can handle it. Learn more today at https://getavail.com and future-proof your firm's technology investment.

What does it take to publish an architectural monograph? When is the right time to publish your work in this format? Celebrated architect and designer Orlando Diaz-Azcuy recently published "Soul: Interiors by Orlando Diaz-Azcuy" with the help of author Jorge Arango. In this episode, we speak with Arango, who gives tips and answers to commonly asked questions about publishing an architectural monograph.   To learn more about Jorge visit his: Website: http://js-arango.com/contact.html   Or contact him at: Email: jorge@jsarango.com   ► Feedback? Email us at podcast@businessofarchitecture.com   ► Access your free training at http://SmartPracticeMethod.com/   ► If you want to speak directly to our advisors, book a call at https://www.businessofarchitecture.com/call   ► Subscribe to my YouTube Channel for updates:   https://www.youtube.com/c/BusinessofArchitecture   *******   For more free tools and resources for running a profitable, impactful, and fulfilling practice, connect with me on: Facebook: https://www.facebook.com/groups/businessofarchitecture Instagram: https://www.instagram.com/enoch.sears/ Website: https://www.businessofarchitecture.com/ Twitter: https://twitter.com/BusinessofArch Podcast: http://www.businessofarchitecture.com/podcast iTunes: https://podcasts.apple.com/us/podcast/business-architecture-podcast/id588987926 Android Podcast Feed: http://feeds.feedburner.com/BusinessofArchitecture-podcast Google Podcasts: https://podcasts.google.com/feed/aHR0cHM6Ly9idXNpbmVzc29mYXJjaGl0ZWN0dXJlLmxpYnN5bi5jb20vcnNz   *******   Access the FREE Architecture Firm Profit Map video here: http://freearchitectgift.com   Download the FREE Architecture Firm Marketing Process Flowchart video here: http://freearchitectgift.com     Carpe Diem!

What you'll learn in this episode:   How Ukraine's built landscape has inspired Inesa's designs Why sketching jewels and gemstones is uniquely challenging, and which techniques can make this process easier What Inesa's students learn through Draw Me a Jewel classes Why technical and material innovation is essential for any jewelry brand that wants to last How the ability to draw jewelry can help a designer expand and communicate their ideas   About Inesa Kovalova   Coming from the architectural background, Inesa Kovalova started her career in jewelry with an internship in Van Cleef and Arpels and then worked for international fine and high jewelry companies. Driven by the recent challenges of the luxury industry, Inesa moves on to create jewelry reflecting our life today.   Art, design and architecture inspired, Inesa's jewelry explores the relationships between material, craftsmanship and design. Her pieces range from re-defined precious classics to contemporary 3d printed art jewels.   She is also the founder of Draw Me a Jewel, a jewelry illustration school and community for professionals and jewelry enthusiasts. Since launching online in 2020, more than 500 students all over the world have taken her courses. Inesa also teaches at Central Saint Martins, the Victoria and Albert museum in London and DiVA museum in Antwerpen. Additional Resources: Inesa's Website Inesa's Linker.ee Inesa's Instagram   Photos Available on TheJewelryJourney.com   Transcript: A jewelry designer doesn't have to draw to create beautiful jewels—but it certainly doesn't hurt. The ability to render gems and jewelry before creating them can help designers communicate ideas, market their brand, and show clients one-of-a-kind pieces before they're finalized. That's the idea behind Draw Me a Jewel, a jewelry illustration school founded by designer Inesa Kovalova. She joined the Jewelry Journey Podcast to talk about jewelry illustration techniques; why the definition of high jewelry should expand; and how her Ukrainian heritage inspires her architectural designs. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. Today, I'm pleased to welcome Ukrainian jewelry designer Inesa Kovalova. In addition to her innovative jewelry designs, which clearly demonstrate her training as an architect, she's also the founder of Draw Me a Jewel, a school that teaches jewelry illustration. Welcome back.    Are all your courses virtual, or do you teach them in person too?   Inesa: They are 90% virtual, but I also collaborate with museums. When I was living in London, I was teaching a drawing gems course in the Victoria and Albert Museum, so it was an occasion to go and learn offline. It was a couple of years ago. Here I also collaborate with the DIVA jewelry and diamond museum. From time to time, maybe a couple of times a year, I run weekend master classes.    Sharon: This goes back to what I asked before. Can you teach this drawing virtually?   Inesa: Yes, that's very easy. It's video tutorials. There's online education everywhere.    Sharon: I know you've lived all over the world because you're talking to us from Amsterdam. You've lived in London. You started interning at Van Cleef. How did you find the influence of architecture and being Ukrainian and high jewelry? How did you find that?   Inesa: In the very beginning, you can clearly read architecture influence in my jewels. When I think about the architecture that inspired it, it was really unconscious influence. I grew up in an industrial town. There was a lot of machine building production, as it is a big industry in the area. When you think about steelworks plants, you have a lot of straight lines, a lot of volumes intersecting, sometimes just due to practical reasons, not because of the design. The design is completely rational, and there's this heavy industry. It's how it looks inside. When you see the plant from a distance, you see a lot of straight lines intersecting, and then you can see lights blinking here and there. That's actually how things inside look. The same metalworks plant still exists in Donetsk. In my hometown, there was a commercial building plant. This was one of the largest in the Soviet Union during Soviet Union times, and on a Ukrainian scale, it was quite a big production center.   I never thought about this architecture as an inspiration for my work. I thought mostly about master plans. I worked in urban planning. When you look at the city, you see the master plan. Many cities have straight grids, so when I worked on my first collection that was called Urban, influences—   Sharon: Which was what? I'm sorry.   Inesa: The name of my first collection, which was my collection from Central St. Martins. I named it Urban.   Sharon: Urban?   Inesa: Urban, yeah. It was definitely an influence of architecture. Afterwards, when I started showing my pieces to my friends I studied with in Ukraine from the same landscape, they all recognized the influence of industrial architecture. They basically recognized all the commercial building plants. It was a friend of mine who said, “Well, I don't know what inspires you to design this way, but I can clearly see the metalworks part in it.” It was really insightful.    Indeed, when I look at my mood boards, I have a lot of grids; I have a lot of lines. I think it's all together. When studying architecture, I was really interested in industrial areas. One of my diploma projects was about revitalization of industrial areas, like how to bring abandoned industrial sites to life. I even forgot about it when I started designing jewelry, but all of a sudden it pops up very unconsciously.   Sharon: Do you find you have other influences unconsciously, say, high jewelry or modernist or art jewelry?   Inesa: Yes, obviously, like French modernists at the beginning of the previous century. They are my great inspiration. That's actually another point and driver of my research. I always look at materials and techniques, how they influenced the jewelry industry. When we think 100 years back, it was exactly what the Exposition of 1925 brought into jewelry. It was all about new materials. It was all about new industrial inspiration at that moment. Now our world has changed completely, so we have much more innovative materials developed that are not perceived as precious, but they do find their place in jewelry, including high jewelry.    I really believe the definition of high jewelry should expand. The closest one, to me, seems to be the definition given by the Committee of Exhibition when they describe what modern jewelers should aim for and what they are willing to accept to exhibit at an art fair. They look for innovative and excellent craftsmanship and excellence in design. There are few companies that really make jewelry an art. Without any technical or material innovation, when we go back to traditional jewelry and we keep on producing the same things for 100 years, it becomes much less interesting. What I take from modernism as my inspiration is that I love to have jewelry that is from today, from this century.   Sharon: When did you decide you wanted to have part of your business be illustration, as opposed to 100% of your business doing design?   Inesa: When I started the illustration school, it was probably a lucky chance. It all came from passion. I really like jewelry painting and I love drawing by hand. There was a moment when I was not yet working anywhere abroad, but I saw more and more digital models replacing drawing, and I was worried that people had stopped drawing. I had students. I had people who wanted to learn, and it just grew naturally. There were people asking for classes. When there were too many people, it was completely reasonable to make a group and teach a group class. Then when there were even more people from different cities, it was completely reasonable to record. In fact, our illustration school is a wonderful community of people. I met so many people thanks to it. I love it.   Sharon: Do you teach other things besides hand drawing? Do you teach people how to use CAD?   Inesa: No, it's very specific. It's a couple of techniques I find important working in jewelry design. Gouache is a great tradition. It's purely for external communication when I talk to clients. Sometimes gouache might not be reasonable for smaller productions. There are people whose process through making, not through drawing. That's also completely fine, but when I think about gouache, I think of a particular craft that is a pleasure of its own and could have no practical implementation. As a sketching technique, it's essential for any designer who would make it specific for jewelry. We don't sketch a building or an apartment, but we do sketch a ring. So, it's something for people to understand. It's super helpful for many designers when they communicate with jewelers, when they communicate inside the company, when they quickly need to sketch their ideas to explain.   Sharon: Has anybody brought you a design or an idea that's art jewelry or made of very different materials, and you felt like, “What is this?” or “Can I help?”   Inesa: It's also myself. My 3D printed jewels, I cannot draw them. So, when making them, I don't start with a drawing. I do, but it's mostly a compositional drawing. Then I have my own process that is based on making. I cannot design that sort of jewel just with a pencil in my hand.    Sharon: Have people come to you and said, “I'm afraid to take your class because you might steal my designs”?   Inesa: Yes. You may see my designs. Luckily, this didn't happen. Of course, confidentiality is a thing in the jewelry business, but there were more people coming and saying, “I'm afraid to take a class because I'm not sure if I will be able to draw it.” Someone could stay afraid, but there are those who dare to try. They do.   Sharon: But they haven't brought you anything you couldn't help with, that you couldn't shed some light on?   Inesa: No, I haven't had that yet. When it's something I don't know how to draw, I try to look for a solution with the person. Last year, I ran a masterclass. They all had different ideas, very brave, very experimental ones. Something could be more difficult to draw than simple classical designs, and then I tried to break the jewel into smaller, more understandable parts. Sometimes I looked for examples of how it could be done to try to come up with idea of how to illustrate a jewel in a way that will translate what this jewel is about. We might keep some detailing, for example, that can give an impression of the volume. We can help a person to understand what is in front of us.    Sharon: Do you consider yourself an artist or an illustrator? What do you consider yourself?   Inesa: I consider myself a designer. I like to think about ideas and concepts. Then, when it comes to designing objects, that is a result of an extensive thinking process and research.   Sharon: I also use the example of you're at a party or work event and people say, “What do you do?” You say you're a designer.   Inesa: I say I'm a designer. When they ask, “What do you design?” I say jewelry. Most of the people there are very surprised, because there are not many jewelry designers working on the streets. There are, but you need to know where to look.   Sharon: If I heard somebody say they're a designer, I'd want to know, “Can you design a cup for me? Can you design this for me?”   Inesa: When a person is a designer they can design anything. Of course, maybe you will need to study. You'll need to research how to design specific mechanisms. You need to learn the process, what is happening with the object, how people use it or what this object should do. Then you probably will be able to come up with a solution.   It's a great thing from architecture. It's all about thinking three-dimensionally. It's also about thinking about the contexts, about a bigger city as a living organism and the intersection of different spheres, like social, sometimes political. You think about all this when designing a city. Of course, you don't think that when designing a material; you think about other things. You think about the processes in your flat: how you open a cupboard, how you take your cup out of it, and that drives the design solutions.   Sharon: Do you ever look at people's jewelry they have on and say—   Inesa: I do look. I don't always dare say, but I memorize jewels well. I might forget the name, but I would remember the jewel.   Sharon: But do you look at the jewel and think, “I would have done it this way instead”?   Inesa: No.   Sharon: No, O.K.   Inesa: I think it's very personal. There are so many different reasons and so many different options a person chooses. I find it's very, very personal. You could just be happy that a person found what she or he likes.   Sharon: Do you start your school with people signing a confidentiality agreement? It seems like you would be inspired or have the influence to buy their ideas or what they're trying to do.   Inesa: No, we don't sign those types of confidential agreements because everything is not about design; it's about illustration. People can work with their own designs since they would like to illustrate during the process, but we also work a lot with references of existing jewels. You choose what you want to draw and then you draw it.    Sharon: How did you learn about gems and jewels if you didn't study it? You studied architecture and illustration, and you said you learned about how light reflects on different gems and jewels. How did you learn about that?   Inesa: How light reflects in general I learned from art school. Then I studied in a creative academy. It's a private school run by Richemont Group in Milan. It's a very specific training for people who'd love to work as designers for luxury brands. The school teaches you a lot about the luxury industry, starting from marketing management and communication. They also have specific training in illustration and design and different techniques you might need to apply. So, the courses are a combination of what I practice myself as a designer and what I know from art and architecture school. I put together a lot of insights from different learning experiences, and, of course, it all comes from practice.   Sharon: Did you have to learn different illustration techniques for new things like 3D printing?   Inesa: Yes, I had to learn 3D. We design these integrated structures that I print with a 3D printer afterwards. I cannot brief anyone to design it for me, so I have to open the program and do it myself. I had to learn at least the basics of the program. I'm not a very advanced user. I know things that I need to create my volumes, but if I would need to create something else, I would look for tutorials and probably would do it that way.   Sharon: I really appreciate you being with us today. I hope next time we'll hear a lot more about the school and the people who come and your designs. Thank you very much.   Inesa: Thank you, Sharon. It's been a pleasure to talk to you.   Sharon: It's been so nice to talk to you.   We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

Episode 69 with Hector Sanchez. Hector is a photographer who specializes in Interior & Architecture. Hector gives his background and his advice to designers trying to be published and what to look for in a photographer. Follow Hector @hectormsanchezphoto If you can leave a review and subscribe to my Podcast on Apple Podcast or wherever you listen to this it would be greatly appreciated

What you'll learn in this episode:   How Ukraine's built landscape has inspired Inesa's designs Why sketching jewels and gemstones is uniquely challenging, and which techniques can make this process easier What Inesa's students learn through Draw Me a Jewel classes Why technical and material innovation is essential for any jewelry brand that wants to last How the ability to draw jewelry can help a designer expand and communicate their ideas   About Inesa Kovalova   Coming from the architectural background, Inesa Kovalova started her career in jewelry with an internship in Van Cleef and Arpels and then worked for international fine and high jewelry companies. Driven by the recent challenges of the luxury industry, Inesa moves on to create jewelry reflecting our life today.   Art, design and architecture inspired, Inesa's jewelry explores the relationships between material, craftsmanship and design. Her pieces range from re-defined precious classics to contemporary 3d printed art jewels.   She is also the founder of Draw Me a Jewel, a jewelry illustration school and community for professionals and jewelry enthusiasts. Since launching online in 2020, more than 500 students all over the world have taken her courses. Inesa also teaches at Central Saint Martins, the Victoria and Albert museum in London and DiVA museum in Antwerpen. Additional Resources: Inesa's Website Inesa's Linker.ee Inesa's Instagram   Photos Available on TheJewelryJourney.com   Transcript: A jewelry designer doesn't have to draw to create beautiful jewels—but it certainly doesn't hurt. The ability to render gems and jewelry before creating them can help designers communicate ideas, market their brand, and show clients one-of-a-kind pieces before they're finalized. That's the idea behind Draw Me a Jewel, a jewelry illustration school founded by designer Inesa Kovalova. She joined the Jewelry Journey Podcast to talk about jewelry illustration techniques; why the definition of high jewelry should expand; and how her Ukrainian heritage inspires her architectural designs. Read the episode transcript here.    Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week.    Today, I'm pleased to welcome Ukrainian jewelry designer Inesa Kovalova. In addition to her innovative designs, which clearly demonstrate her training as an architect, she's also the founder of Draw Me a Jewel, a school that teaches jewelry illustration. She has worked and studied at some of the most well-known names in jewelry around the world. Inesa, we're so glad to have you today.   Inesa: Thank you, Sharon. It's a pleasure to talk to you. I love your podcast a lot. That's the complete truth.   Sharon: This is a little different today, but we're managing. Tell us about your jewelry journey.   Inesa: I feel like I'm still in a journey. It's still a process. I'm Ukrainian, and I was born and raised in a small town in the eastern part of Ukraine, Kramatorsk. It's far away from where I've been. When I think about my jewelry journey, it feels like a time lapse. I'm remembering some moments, like me working in a small jewelry enterprise in Kramatorsk. Then five years goes in a blink, and I remember myself being in Paris. Then I have another blink that brings me to London. In a few blinks, I arrive where I am now.   Sharon: Does everybody ask you about the fact that you're Ukrainian? How do you feel about that?   Inesa: Nowadays, I'm asked a lot about this. Of course, I am Ukrainian, and I have my family and friends there. I'm constantly following the news and trying to help as much as I can these days.   Sharon: When did you know you wanted to become a jeweler? Were you artistic when you were younger? You're young now, but—   Inesa: I started in art school. It's a funny story. I definitely had no talent in music, so my parents brought me to drawing school to study art. I grew up drawing since I was very young. I didn't know that a professional jewelry designer existed, but I was always curious. I remember myself drawing elaborate garnets, with attention to earrings or necklaces. I clearly had this interest always.   Sharon: Could you see any of this around you? Was there a Tiffany or a Van Cleef?   Inesa: No, there was no Tiffany or Van Cleef. I didn't know these names, but luckily in my city, there were a few jewelry enterprises. They were basically small manufacturers producing mass market jewelry. That's actually how I started. My first experience working in jewelry was as a sales assistant in one of the small shops in Kramatorsk during the summer. The owner, who was also the manufacturer of a little jewelry brand, knew I studied architecture and I liked drawing. My mom is a lovely lady and suggested that I try to design something. I was clearly very keen to design something.    Then the director of design for this small enterprise gave me a bag with a few sapphires and said, “Come back in a week and bring some sketches for them.” I was shocked, but I tried to do some things. In a couple of weeks, I arrived back with a number of sketches. When she looked through them, 70% she chewed up. Then she picked up the others and said, “Yes, this can be done. Our jewelry designer will explain to you what to adjust, how to put things together, which details to add.” That's how I was taught.    Then I joined this company working for about a year. It was the place where I learned everything. For Kramatorsk, for the Ukrainian scale, it was quite a decent sized company. It was like 100 people working, and they had a full cycle of production. There were people who were working with 3D models. There were jewelers who were working on a piece from casting to setting everything. I didn't know anything about gemstones or production at that point, so I was really lucky to learn how the jewelry enterprise operates as a cycle.    I read as many books as I could. I think the books in the library influenced me a lot, and I still have this passion. There was this book of modern design from a French jewelry brand. It was really one of the first books I got enchanted with. I started learning about high jewelry, the history of jewelry, how it caused a sensation in Paris.    Sharon: Do you think architecture influenced the fact that you could draw?   Inesa: Yes, obviously. Of course, I have quite a good drawing background. I went to art school and was taught still lifes and drawing portraits. Ukrainian education in the field of architecture, when I started, was pretty based on construction and drawings. So, we had extensive training in drawing every week up to about week eight. We had 12 hours of drawing every week as well during the first years. So, the ability to draw and to synch dimensionally is something that is always helpful to have when it comes to designing anything.   Sharon: You started an illustration school to teach people how to illustrate the designs they have in mind. You have several courses. I'm looking at some of the things you have. If you wanted to design an engagement ring but you don't know how to express it, you could learn that. Did you find that people had trouble learning to draw?   Inesa: Yes, I definitely found that people have trouble learning to draw. I myself, knowing how to draw and having a very good foundation of drawing, when it comes to jewelry drawing, it's a specific technique. Partly it's a technique, and another part is an understanding of the volume. That's actually what I try to teach through my courses. Everything is based on understanding volume and thinking about light and shadow, how these volumes interact with the light and how we can depict them. It's actually a sequence of logical facts, like here have a shadow; here we have the light, and when we place them here and here, we will see it's a sphere or it's cube.    Of course, jewelry is a different plane, but you can always break every complex object into simple ones. That's definitely something I take from architecture, from constructive, three-dimensional drawing, from this architectural background and understanding the volumes and how they're placed in space. It helps me teach and helps people clarify for themselves what they're drawing and why they need to do this or that.    I'm a big fan of the question “why.” Answering a question and making everything reasonable actually places me in illustration. You can have different types of illustration and a lot of thinking about it strategically. Which technique do we need to choose to draw a certain type of jewel? It also depends on what we want to tell, to whom we want to show it. I see illustration as a really important tool for communication in jewelry.   Sharon: I like that, communicating. That's very interesting. That's the problem. Do you find that people come to you—let's say they have an idea, but they say, “O.K., forget it. I can't do it. You do it. You make the item or draw it”? Do you make the item?   Inesa: The school is more about illustration, not the design. Clearly, we are not designing for our students, and the students come to learn from our templates. We have templates to practice gemstones. We have certain volumes, like when it comes to painting metals. There are templates to draw bowls, cylinders and everything. It's definitely not about designing a piece the students want to design, because design is a separate process.    I cannot create a volume for a person who wants to design, but when they come with certain questions like, “I have this design and I need to illustrate it,” then of course we can talk about it. When we have a course going on live, we have webinars. Students can come with their questions, and we can review what they need to do. I don't draw it for them, but I do explain how to approach it sometimes. I can help break the piece into smaller details and help a person see their volume. It helps them to proceed further. Then they can say, “Ah, understood. Yes, indeed. There is a cylinder, and then there's a line going there. It's bent.” That's how we are communicating about it.    Sharon: Let me ask you. I personally do not have any background in drawing human forms or architectural forms or designing jewelry or anything. Could you teach me? What happens? Who attends your school?   Inesa: We have students from different levels. There are indeed many people who have no background in drawing. Therefore, when it comes to very specific illustration, I try to simplify everything step by step. I would say it's a 90% chance that you will do everything good enough to evolve if you follow the step-by-step instructions. That's how the process is organized. We have step-by-step videos. At first comes the theoretical part, so you understand what is happening here and why we are drawing the shadow here. I quite enjoy breaking the diamond into two simple volumes and then analyzing the transparency and how the light shines through it. Then as a practical exercise, you would also need to learn which materials we use, how we use the brush. Most people succeed, and it's always a pleasure to see sterling examples. Our students' drawings are really good.   Sharon: Are they mostly young people? Are they people who work in the business? Do they come with different kinds of jewelry?   Inesa: I would say the audience is quite different. We have a very small percentage of professional designers who work in the industry. They come with very practical questions, and it's always a pleasure to teach them. You can go further with them. You can explain more, and you also enjoy their progress a lot. We also have a lot of people working around the jewelry business. It might be a gemologist; it might be a jeweler, but not all jewelers draw. Many jewelers come to learn to draw. Among these people, some have some experience but very little, or some of them start from the beginning. That is about learning tips and tricks. What would be the most useful for you in your business? Why do you need these drawings? Some of them need to illustrate their process to create social media content to communicate with their clients. It actually becomes very helpful to them. They can communicate more clearly, and there is always a certain magic attached to something created by hand by yourself.   You asked about age. They are all ages. The youngest participant I remember, it was years ago. She wanted to draw, and she found this course. I don't know if I was helpful to the parents, but she was keen to learn. She has a wonderful Instagram with many books she has already created at this age. We help many older people. I would probably say the same age as me. We have people about 50, 60. Recently we had a student who was 63. She talked openly about her age, so I think I can mention it.   Sharon: You mentioned gouache. Is everything done that way, or do you have different kinds of paint for different kinds of stones?   Inesa: We have two major courses. It's also about answering the question of what we need to draw. When we need to draw simple jewels with volumes and perspective, then there is a sketching course. In the sketching course, we work with markers. It's all about volumes, like how to sketch jewels in perspective.   Sharon: Which kind of course?    Inesa: Sketching jewelry.   Sharon: Sketching.   Inesa: Yeah.   Sharon: We will have photos posted on the website. Please head to the JewelryJourney.com to check them out.

Ian Strange isn't your traditional street artist, hell, he isn't your traditional installation artist. Architectural interventionist? Spatial performance artist? On his website, he notes, "His practice includes collaborative community-based projects, architectural interventions, and exhibitions resulting in photography, film, sculpture, installation, site-specific works, research, and documentary works." When looked at a whole, Strange is doing something more collective, more universal. He is talking about home, what it means to have a home and how home shapes the places we have seen and the people we become. Over the course of this Radio Juxtapoz podcast, our first release of the new 2023 calendar year, Doug Gillen speaks with Strange about a wide-range of topics in regards to his practice, his recent installation in Ohio and that beautifully sublime and complex topic of home. The Radio Juxtapoz podcast is hosted by FIFTH WALL TV's Doug Gillen and Juxtapoz editor, Evan Pricco. Episode 102 was recorded in early January 2023. Follow us on @radiojuxtapoz

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Architect Nate McBride founded his eponymous firm, McBride Architects in 1983. The firm has completed many award-winning residential, cultural and educational projects. You may have seen their work featured in publications such as Architectural Record, Elle Decor, the Boston Globe, and more. In today's episode, you'll discover how McBride developed his design firm, including the challenges and bumps along the way.   To learn more about Nate visit his: Website: https://www.mcbride-architects.com/about Instagram: https://www.instagram.com/mcbridearchitects/?hl=en   ► Feedback? Email us at podcast@businessofarchitecture.com   ► Access your free training at http://SmartPracticeMethod.com/   ► If you want to speak directly to our advisors, book a call at https://www.businessofarchitecture.com/call   ► Subscribe to my YouTube Channel for updates:   https://www.youtube.com/c/BusinessofArchitecture   *******   For more free tools and resources for running a profitable, impactful, and fulfilling practice, connect with me on: Facebook: https://www.facebook.com/groups/businessofarchitecture Instagram: https://www.instagram.com/enoch.sears/ Website: https://www.businessofarchitecture.com/ Twitter: https://twitter.com/BusinessofArch Podcast: http://www.businessofarchitecture.com/podcast iTunes: https://podcasts.apple.com/us/podcast/business-architecture-podcast/id588987926 Android Podcast Feed: http://feeds.feedburner.com/BusinessofArchitecture-podcast Google Podcasts: https://podcasts.google.com/feed/aHR0cHM6Ly9idXNpbmVzc29mYXJjaGl0ZWN0dXJlLmxpYnN5bi5jb20vcnNz   *******   Access the FREE Architecture Firm Profit Map video here: http://freearchitectgift.com   Download the FREE Architecture Firm Marketing Process Flowchart video here: http://freearchitectgift.com   Carpe Diem!

Javad Mohammadi is an assistant professor in the Department of Civil, Architectural, and Environmental Engineering at The University of Texas at Austin. His research interests include multi-agent optimization and machine learning in networked cyber-physical systems, including smart grid-interactive buildings, power grid, and electrified transportation systems. In short, he's solving problems and figuring out how to make our electric grids smarter with artificial intelligence! Find Javad Mohammadi online: Javad's Homepage at University of Texas Javad's Homepage Javad Mohammadi on Twitter INFORMS Homepage Donate to This Sustainable Life: Solve For Nature Click here to support the podcast, so I can continue to pay my editor and get more episodes out per month! Subscribe on your favorite podcast platform! Anchor.fm: The Podcast Homepage at Anchor.fm Google Podcasts: TSL: Solve For Nature on Google Podcasts Apple Podcasts: TSL: Solve For Nature on Apple Podcasts Spotify: TSL: Solve For Nature on Spotify Pocket Casts: TSL: Solve For Nature on PocketCasts RadioPublic: TSL: Solve For Nature on RadioPublic Breaker: TSL: Solve For Nature on Breaker --- Support this podcast: https://anchor.fm/solvefornature/support

In this episode of

In this truly special interview, join Fr. Dom and James, as they welcome Dr. Denis McNamara to The Manly Catholic! Dr. Denis, or "D-Mac" as Fr. Dom knew him in seminary, is an Associate Professor and Executive Director of the Center for Beauty and Culture at Benedictine College. He holds a BA in the History of Art from Yale University and a PhD in Architectural History from the University of Virginia. From 2000 to 2019 he was a faculty member at the Liturgical Institute of the University of Saint Mary of the Lake. He served as Associate Professor of Sacramental Aesthetics, Academic Director, Liturgy Director, and Music Director.Dr. McNamara was bringing the heat and sweetness of music, architecture, and history in this action-packed episode. Learn how music is the most beautiful form of prayer, why the liturgy should be sung whenever possible, and how architecture should order the Church and our lives. Like what you heard? Maybe you just enjoy reading James's show notes? Please prayerfully consider supporting the podcast on our Patreon page. to help grow the show to reach as many men as possible! Thank you for your prayers and support.  Partners: Grab an amazing cup of coffee at CatholicCoffee.com! Use code Manly at check-out to get 15% off your order!  Rugged Rosaries started on a holy mission and continues to this day. They produce manly Rosaries that will withstand children's snot, getting caught on the door handle, and so much more! James finally found a Rosary that won't break on him. Use the special code: MANLY12 to get 12% off your order!  As always, please pray for us! We are men who are striving every day to be holy, to become saints and we cannot do that without the help of the Holy Ghost!  Get social with us: Subscribe to our YouTube page to see our manly and holy faces Contact us directly:themanlycatholic@gmail.comResources mentioned in the episode:Benedictine Collage Center for Beuty and CultureThe Liturgy Guys on Apple PodcastsPrayers for dedication of a ChurchTake courses at the Liturgical Institute Catholic Church Architecture and the Spirit of the Liturgy by Dr. DenisThe Symbolism of the Christian Temple by Jean HaniThe Divine Liturgy: Insights Into Its Mystery by Jean HaniSolemnities: Celebrating A Tapestry of Divine Beauty by Dr. DenisSupport the show

This week, I'm speaking with Jake Rudin and Erin Pellegrino, Founders of Out of Architecture, a career consulting firm interested in exploring the value of their skills both in and out of the architectural profession. Jake has a decade of experience in building things from the ground up. At Adidas, he leads teams in Computational Design, Digital Technologies, and Pattern Engineering. Previously, Jake was the Director of Business Development at an EdTech Startup, worked around the world as a designer for top architecture and design firms, and taught extensively in the architecture and design fields. Erin is a designer and registered architect with a decade of experience in the fields of design, business development, and creative consulting. She currently works as the Founder and Principal of Matter, a design firm that solves problems that span from brand and digital experiences to the built environment. Erin has worked extensively in the venture and start-up space in the Northeast, with early-stage companies as well as VC funds on design, visual, narrative strategy, and brand development. She has also taught and coached in architecture and design fields at universities including Harvard, Cornell, Parsons, The City University of New York and the New Jersey Institute of Technology.     In this episode, Jake and Erin discuss the disconnect between architecture education and the profession, how our skills and training can be invaluable to many different roles in different industries, and how you can create and design an architecture career that fits you.   We speak about their new book Out of Architecture, why many firms are losing out on talent and talent retention due to their hiring processes We discuss the challenges that university education faces with the education of the architect  And we discuss the taboo or concerns that some young architects may face simply because they are part of a network that is exploring possibilities outside of the traditional profession      Get in touch with Erin and Jake via their: Website: https://www.outofarchitecture.com/ Erin's LinkedIn: https://www.linkedin.com/in/erin-pellegrino/ Jake's LinkedIn: https://www.linkedin.com/in/jakerudin/   ► Feedback? Email us at podcast@businessofarchitecture.com ► Access your free training at http://SmartPracticeMethod.com/ ► If you want to speak directly to our advisors, book a call at https://www.businessofarchitecture.com/call ► Subscribe to my YouTube Channel for updates: https://www.youtube.com/c/BusinessofArchitecture   *******   For more free tools and resources for running a profitable, impactful, and fulfilling practice, connect with me on: Facebook: https://www.facebook.com/groups/businessofarchitecture Instagram: https://www.instagram.com/enoch.sears/ Website: https://www.businessofarchitecture.com/ Twitter: https://twitter.com/BusinessofArch Podcast: http://www.businessofarchitecture.com/podcast iTunes: https://podcasts.apple.com/us/podcast/business-architecture-podcast/id588987926 Android Podcast Feed: http://feeds.feedburner.com/BusinessofArchitecture-podcast Google Podcasts: https://podcasts.google.com/feed/aHR0cHM6Ly9idXNpbmVzc29mYXJjaGl0ZWN0dXJlLmxpYnN5bi5jb20vcnNz   *******   Access the FREE Architecture Firm Profit Map video here: http://freearchitectgift.com   Download the FREE Architecture Firm Marketing Process Flowchart video here: http://freearchitectgift.com     Carpe Diem!

Bezos donation; Florida Bar Foundation; 'Jacksonville's Architectural Heritage'; 'Elf The Musical'

This week David and Marina talk about the power of not checking emails; architects claiming to have no design process; architectural agendas; architects whose projects all look the same (but claim otherwise); branding and niching; designing different kinds of projects; and conveying design to clients. At 01:10:00 we chat about Netflix's The Crown and social media. This episode is supported by Brizo • Monograph • Sky-Frame • Miele • Graphisoft SUBSCRIBE  • Apple Podcasts  • YouTube  • Spotify CONNECT  • Website: www.secondstudiopod.com • Instagram • Facebook  • Call or text questions to 213-222-6950 SUPPORT Leave a review :) EPISODE CATEGORIES  •  Interviews: Interviews with industry leaders.  •  Project Companion: Informative talks for clients.    •  Fellow Designer: Tips for designers.  •  After Hours (AH): Casual conversations about everyday life. •  Design Reviews: Reviews of creative projects and buildings.

This week, Anna and Amber hunker down around the campfire to talk about things that go bump in the night, and encounter some common themes from around the world. Amber fangirls over a baby-snatching Mesopotamian demon and stumbles upon a familiar monster in Native American myth, while Anna offers some DIY advice for combating medieval witches.To learn more about these (and other!) boogeypeople, check out: The Epic of Atraḥasis (Livius)Heffron, Yağmur. “Revisiting ‘Noise' (rigmu) in Atra-ḫasīs in Light of Baby Incantations.” Journal of Near Eastern Studies, Vol. 73, No. 1 (April 2014), pp. 83-93.Michel, Cécile. “Une incantation paléo-assyrienne contre Lamaštum.” Orientalia, NOVA SERIES, Vol. 66, No. 1 (1997), pp. 58-64.Potts, D.T., D.L. Martin, K. Baustian and A. Osterholtz. “Neonates, infant mortality and the pre-Islamic Arabian amuletic tradition at Tell Abraq.” Liwa, Vol. 5, No. 9 (June 2014), pp. 3-14.Kinnier Wilson, J. V. . “Gleanings from the Iraq Medical Journals” Journal of Near Eastern Studies, Vol. 27, No. 3 (Jul., 1968), pp. 243-247.Typhoid Fever and Paratyphoid Fever: Symptoms and Treatment (CDC)15 Bogeymen From Around The World (Listverse)Brightman, Robert A. “The Windigo in the Material World.” Ethnohistory, vol. 35, no. 4, 1988, pp. 337–379. JSTOR, JSTOR, www.jstor.org/stable/482140.Nazare, Joe. “The Horror! The Horror? The Appropriation, and Reclamation, of Native American Mythology.” Journal of the Fantastic in the Arts, vol. 11, no. 1 (41), 2000, pp. 24–51. JSTOR, JSTOR, www.jstor.org/stable/43308417.Waldram, J. (2004). Revenge of the Windigo: The construction of the mind and mental health ofNorth American Aboriginal peoples. Toronto: University of Toronto Press.Ahenakew, Cash. “The birth of the ‘Windigo': The construction of Aboriginal health in biomedical and traditional Indigenous models of medicine.” Critical Literacy: Theories and Practices 5:1 2011.Forbes, J. D., & Forbes, J. D. (2008). Columbus and other cannibals: The wétiko disease of exploitation, imperialism, and terrorism. New York: Seven Stories Press.Malleus Maleficarum (Wikipedia)Merrifield, Ralph. “Witch Bottles and Magical Jugs.” Folklore, vol. 66, no. 1, 1955, pp. 195–207. JSTOR, JSTOR, http://www.jstor.org/stable/1257932.Merrifield, Ralph. (1987). The Archaeology of Ritual and Magic. B.T. Batsford, Ltd., London.Hoggard, Brian (2004), "The archaeology of counter-witchcraft and popular magic", in Davies, Owen; De Blécourt, William, Beyond the Witchtrials: Witchcraft and Magic in Enlightenment Europe, Manchester University Press, ISBN 978-0-7190-6660-3Manning, M. Chris (2012), Homemade Magic: Concealed Deposits in Architectural

Find out how to say "history" in Chinese with the specialist on the Liao dynasty, Jonathan Dugdale. Also, discover how a small Buddhist structure still exerts its influence in the Chinese language in the modern day.

Take a trip through Santa Fe, and you'll undoubtedly notice that this city wears its design diversity with pride. Architectural storyteller Rachel Preston Prinz joins host Charlotte Jusinski to discuss the history of Museum Hill, Santa Fe's remarkable collection of museums just outside downtown.  The episode focuses on the Museum of International Folk Art, by engineer-turned-architect John Gaw Meem, and its Girard Wing, which currently displays over 10,000 pieces of folk art. Built in 1953, MOIFA is considered a revolutionary testament to Modernism in the city and an anomaly among New Mexico's museums.  As it approaches its 70th anniversary, MOIFA is preparing for the next wave of design conversations, scouring its archives for treasures that will inspire fresh stories. MENTIONED IN THIS EPISODE EC0105: An Underground Love Affair, The Palace Seen and Unseen with Archaeologists Cordelia Snow & Stephen Post First Unitarian Church of Albuquerque St. John's College Santa Fe La Reina Bar at El Ray Court Compound Restaurant Visit https://newmexicoculture.org for info about our museums, historic sites, virtual tours, and more. *** Encounter Culture, a production of the New Mexico Department of Cultural Affairs, is produced and edited by Andrea Klunder at The Creative Impostor Studios. Hosted by Charlotte Jusinski, Editor at El Palacio Magazine Technical Director: Edwin R. Ruiz Recording Engineer: Kabby at Kabby Sound Studios in Santa Fe Executive Producer:  Daniel Zillmann Show Notes: Lisa Widder Associate Editor: Helen King Associate Producer: Alex Riegler Theme Music: D'Santi Nava Instagram: @newmexicanculture For more, visit podcast.nmculture.org.

The Irish Aesthete, Ten Years in the Making: an exhibition of Robert O'Byrne's photographs - Had he lived, yesterday would have been Jimi Hendrix' 80th birthday - Netflix's spin on DH Lawrence's Lady Chatterley's Lover, directed by Laure de Clermont-Tonnerre, starring The Crown's Emma Corrin.

Learn “old” in Chinese along with top historian Jonathan Dugdale, an expert on the Liao dynasty. Be sure to understand the different words for “old” and how to use them in a non-offensive way. Chineasy creator ShaoLan will teach you how!

In today's episode, Stacy is back in the Hudson Valley for the first of two shows recorded in front of a live audience. Stacy talks to Reggie Young from Hudson Valley House Parts. Reggie explains the logistics of the architectural salvage business and shares fascinating stories about the dire future of our historic built environment.  Also, the always hilarious Daniel Kanter joins Stacy for listener Q&A. They discuss their favorite reference books for historic restoration and rehabilitation. To request a transcript of this episode, please reach out via the contact page. PLEASE SUPPORT OUR SPONSORS The Window Course from Scott Sidler of The Craftsman Blog will teach you everything you need to know to restore your original wood windows. For 10% off, use the coupon code truetales. Sutherland Welles - Maker of exceptional polymerized tung oil finishes since 1965. To save 10% on your first order, use the coupon code truetales. Preservan - A unique preservation franchise opportunity developed by long-time window restoration pro Ty McBride - Learn more about becoming a part of the Preservan family and mission: PreservanFranchise.com/truetales. TRAVEL: Read all the details and book the True Tales From Old Houses 2023 Canadian Adventure

On Friday 18 November Nick Bevin was made a Distinguished Fellow of Te Kāhui Whaihanga, New Zealand Institute of Architects at the New Zealand Architecture Awards. It recognises not just Bevin's own long award-winning career as an architect, but his substantial work in saving our modern public architectural heritage.

Amanda Gunawan, Co-Founding Principal of OWIU Design and an award-winning architectural designer, knows firsthand the undeniable power of taking a leap of faith. After a childhood spent in Indonesia and Singapore, Amanda came to California to study architecture, opening her own design studio at the age of 25 with partner Joel Wong in 2018.   At 29, Amanda is also an accomplished product designer and is in the process of getting her contractor's license — not bad for the 8-year-old girl who told her class she was going to be a real estate developer. Amanda joins Tracy this week on the Potential to Powerhouse Podcast to discuss how to build the beginnings of a dream into the business of reality. Links: Instagram: https://www.instagram.com/amandagnwn/?hl=en Facebook: https://www.facebook.com/amandagnwn/ LinkedIn: https://www.linkedin.com/in/amanda-gunawan-95826a200/ Website: https://www.owiu-design.com/   SUMMARY KEYWORDS business, home, aesthetic, grew, people, building, entrepreneur, amanda, architecture, design, parents, call, school, business partner, age, powerhouse, architect, money, tracy, real estate developer

Learn the word for “city” in Chinese along with top historian on the Liao dynasty, Jonathan Dugdale. Find out why some of the Chinese place names used today were given to cities in China over a thousand years ago.

After reviewing hundreds of Architectural sets over the years, here are the main pain points we see most often. - Stair stringers have width - Do final coordination with your engineer before issuing the documentation - Use grids (and coordinate) - Know the actual dimensions of materials like masonry - Dimension walls to face of stud - Be a builder. Not an artist. Thanks for joining us this week! Make sure you check out our sponsor Trimble ProjectSight! - https://projectsight.trimble.com/ Please consider subscribing! SUBSCRIBE TO OUR YOUTUBE CHANNEL Like us on LinkedIn! Like us on Facebook! Follow us on Instagram! Eddie's LinkedIn Tyler's LinkedIn (Our day job) See omnystudio.com/listener for privacy information.

Modern art has always been a battleground — and the highly influential Museum of Modern Art has been partisan since its inception. Architectural historian Patricio Del Real discusses two differing political visions of modernism and modern architecture: one rooted in the left, and associated with figures such as Communist muralist Diego Rivera, and the other on the right, represented by the architect and fascist sympathizer Philip Johnson. He weighs in on the role of MoMa in promoting a view of modernism in Latin America, stripped of its radical politics and racial fusions, and radiating American power and hegemony. Resources: Patricio del Real, Constructing Latin America: Architecture, Politics, and Race at the Museum of Modern Art Yale University Press, 2022 The post MoMa and Cultural Imperialism in Latin America appeared first on KPFA.

Learn the word for “king” in Chinese with Chinese historian Jonathan Dugdale. Listen in to the fascinating discussion with ShaoLan about the importance of dynasties in China and how the influence of their legacies can still be felt today.

One of our listeners took a guy back home and left him alone for a couple of minutes… But, whatever happened was enough to make him change his mind and bail! Find out what scared him off in a brand new Second Date!

Blair & Kurt (Architectural Fright Fest) Part 1 by Live 95.5

Blair & Kurt (Architectural Fright Fest) Part 2 by Live 95.5

One of our listeners took a guy back home and left him alone for a couple of minutes… But, whatever happened was enough to make him change his mind and bail! Find out what scared him off in a brand new Second Date!

Acoustics is the science of sound! But what happens when the art and design of a massive building has to accommodate flawless acoustics as well? This is where architectural acoustics come into play. The talented Architectural Engineers and Architects of the world have mastered this skill, allowing us to enjoy pristine sound when at the theater, opera, and concerts. But how do they make it so a building or structure can look great and provide a great listening experience as well? That is what we're here to tell you! Listen on to find out how architectural acoustics works, the tricks used to help carry sound, and learn about some costly mistakes that were made along the way.

In 1784, Thomas Jefferson was a broken man. Reeling from the loss of his wife and humiliated from a political scandal during the Revolutionary war, he needed to remake himself. And to do that, he traveled. Traipsing through Europe, Jefferson saw and learned as much as he could, ultimately bringing his knowledge home to a young America. He wrote a travelogue called “Hints to Americans Traveling in Europe.”Jefferson documented his trip in order to educate the infant nation on cutting-edge techniques in agriculture and architecture. He included sketches of buildings with Roman domes and columns, which he thought should be incorporated into America's buildings to celebrate one of the ancient world's greatest democracies. But he also indulged in European luxury and spent a gilded carriage's worth on wine, ivory-handled knives, and porcelain statuettes, and (most odd) an organ for teaching songs to birds. More than two hundred years later, Derek Baxter, a devotee of American history, decided to follow in his footsteps and see what he could learn from the Founding Father. Baxter is today's guest and author of “In Pursuit of Jefferson: Traveling Through Europe With the Most Perplexing Founding Father.” He stumbled on Jefferson's travelogue and used it as a roadmap, embarking on a new journey, following Jefferson to the same French wineries and rivers, even eating period-accurate food at Monticello. The goal was to figure out how to make sense of Jefferson and the multitude of contradictions in his life, the most debated being that he was a slaveholder who also wrote a world-historical testament to freedom. This is an unflinching look at a founding father, and a moving personal journey. We explore how we can be better moving forward only by first looking back.