Archive for category Building and Construction

How A Volume Home Builder Compares In Price To A Local Home Builder

Volume Builder Pros:
Offers very competitive prices that are difficult to beat. They buy in bulk which means they get large discounts on their materials. They also get good trade rates as they can provided constant and ongoing work.

Volume Builder Cons:
A good percentage of a volume builders profit is made through variations. Anything that you decide that you want to change after you have signed the contract is going attract a application fee for a variation (approx $500) and a large premium on the actual variation. Make sure you have nutted out the inclusions list as much as possible and don?t leave any decisions till later.
For example: Even if the variation is just a minor one like putting in an extra light or power point it will cost you around $700-$800 with a volume builder whereas a local builder will put it in and might not even charge you for it.
If you want a bit of flexibility when building then your overall cost can blow out much more with a volume builder.
A volume builders advertised price will not include things like: site costs, class H slab, flooring, driveway etc. So make sure you ask what is included because come contract signing time you might get a bit of a nasty surprise.

Local Builder Pros:
Can also offer very competitive prices as they have much less overheads than the volume builders ? Advertising costs like tv commercials, running of several display houses, number of employees, office costs etc. all stack up for a volume builder as compared to your local builder.
You will get more for what you pay for with a local builder both in terms of quality and inclusions:
- Local builder has much less turnover of houses and will be onsite and actually building the house so you have a qualified builder constructing your house as opposed to a hired site supervisor. This will usually translate into a better quality house.
- Local builder will is more likely to have more inclusions in his base price as compared to a volume builder.
A local builder will be more open to negotiations in terms of price so if you want to go with a certain builder but think they are too expensive then simply find a cheaper price and show them. They are much more likely to give you a cheaper price if they see the competition is offering a better deal.
It always helps to get lots of quotes and compare. Its not always just about price but also about who gives you the most confidence. Do your research and try to get both anyway!!

Local Builder Cons:
What a local builder charges can vary vastly. It will be anywhere from $7,500 per square to $10,000 per square which is a big difference in the overall cost. To get an idea ask approximately how much they charge per square, why and what is included in that price.

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Don?t Agree ? What are your thoughts on the matter ? I?m always interested in hearing some feedback so email me at: erdal@studleyhomes.com.au or visit studley homes

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International Construction On Demand

The largest manufacturers of heavy construction equipment are located in the United States, Japan, Germany, France and the United Kingdom. Whereas the second largest and less competitive manufacturers of heavy construction equipment are found in Canada, China, Russia, Latin America, South Korea, Italy, Belgium and Sweden. Yet this position can shift easily with today’s ever changing market trends and with developing countries being able to attract heavy construction equipment manufacturers by offering low material and labor costs.

The global demand of heavy construction equipment is widespread and on a large-scale of production with almost thirty percent entering the foreign market every year. This market has been defined by the major flows among the already developed countries and by the large-scale importing by the developing countries with little domestic production.

Next to the United States, Japan has been the dominant net exporter of heavy construction equipment with Germany and the United Kingdom following close behind. The United States is also a major importer of heavy construction equipment, importing in ample amounts and running a moderate sized trade surplus. In a developing world and given the variety of construction equipment prevailing in major geographic regions and even in individual countries, it’s typical for heavy construction equipment to find some use by private contractors and public agencies as well. Purchasing used heavy construction equipment is also an option.

Production designs and manufacturing technology for heavy construction equipment are well established and are making advances on a regular basis. Tractors, loaders, mixers, cranes and other heavy construction equipment containing automatic transmissions, electric controls, engine monitoring systems and many can now be programmed to repeat the same cycles. Other advances to enhance operator comfort are air conditioned cabs, tilting steering wheels and noise reduction devices.

The global heavy construction equipment industry primarily consists of almost one thousand companies, with smaller businesses specializing in small equipment, e.g. parts and attachments. Some of the major manufacturers include: Caterpillar, Komatsu, Case, Volvo, Deere, New Holland and Hitachi. All heavy construction equipment manufacturers must plan strategically and decide whether their company will continue to expand and stay strong or whether their company should draw back, perhaps sell out and abandon the industry. These decisions have many companies choosing to form partnerships with other companies as an effort to flourish and continue on, as Caterpillar had fused with New Holland to form CNH, Inc. The emphasis is on cost-cutting, competitiveness and down sizing.

There is an increased emphasis on research and development, making the manufacturers of heavy construction equipment seek a competitive edge in many ways. With Caterpillar and Komatsu, for example, being two of the leading producers and spending the most on research and development by using computer design along with manufacturer systems. As technology develops, all major manufacturers of heavy construction equipment will find new and improved way to test and improve their products to stay one step ahead in the competition.

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Do I Need A Home Survey Before I Buy A House?

If you are preparing or even thinking of trying to purchase a property then the natural subject of discussion is the mortgage. This for the majority will be the biggest personal financial commitment of your life and should be taken seriously if you are to consider becoming a home owner.

So being an important financial decision you may need to take a form of advice before you proceed, and the same applies to the actual house itself. Like so many other ventures things can appear very clear and understandable on the outside but only when you delve a little closer can things become more complicated and not so attractive.

This is why you must be sure that what you are planning to buy is built on solid foundations and that is where the property surveyor can become more important than financing the property itself.

A property survey is the equivalent to an MOT for a car. It helps identify potential or current problems and a surveyor will provide you with a report to ultimately help you make an informed decision. If your buying a property it is advisable to have a survey completed before you enter into a binding contract, in Scotland the rules are slightly different where by you must have a survey completed before you can even make an offer for a property.

A surveyor will evaluate will evaluate the overall condition of a property, but only on parts of the house that is easily accessible, a surveyor will not be obliged to test for gas leaks, the water supply, and wiring but they will comment on their condition to a certain extent.

There are two types of surveys provided by property surveyors on a home:

Homebuyer Survey and Valuation (HSV)

The Home Buyer Survey and Valuation is appropriate for conventional properties built within the last 150 years, and which are in reasonable condition. The report details important problems that could make a difference to the value of the property and gives an opinion on its valuation.

Building Survey (Full Structural Survey)

The Building Survey - also known as a Full Structural Survey - provides a detailed report on the property’s construction and condition. It can be applied to any age of property but is particularly helpful for dilapidated properties and those that have been extensively altered. Building Surveys are also useful if you plan to renovate or convert the property.

A survey can be regarded as a money saving tool, it can form a negotiating tool for the sale price to reflect potential repairs or it may lead you to not buying the property at all. Each type of survey will incur different costs and this will depend on the firm you choose to use, it is important that the property surveyor is a member of the Royal Institute of Chartered Surveyors as they have the authority in this sector and they will advise on which type of survey will suit you the most.

If you require a Quantity Surveyor in Sussex, Lawrence Foote and Partners is a well established firm of RICS Surveyors, with a wealth of experience based in Sussex, London and Birmingham.

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Good Tips About Roof Shingles

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Construction Job Bids

When to Bid or not Bid a construction bid

The decision to bid or not bid a job board is often times one of the greatest dilemmas a contractor faces following an inquiry to a construction bid. Often times, the immediate temptation is to bid on most projects that become available in order to keep work coming in and avoid idle production.

Yet the decision to place a government job on a construction project which is not suitable for a particular company can have costly ramifications not only financially, but could just as well damage the future credibility of the company. Often times, passing up on the opportunity to place a government contractors on a project is the best decision a builder can make.

How then, does a contractor faced with this dilemma make an informed decision whether to bid the job? While there is no clear cut answer to this question, the builder should consider the following after receiving the bidding documents and reviewing the project:

Competition: Who else is likely to place a construction bid this job? How many bidders will there be? Are the bidders equal, or are they smaller contractors with lower overhead?

Nature of the job: Is the firm capable of building the project? Has the company done any similar work in the past? Do the firm?s superintendents and project managers have the right kind of experience to handle the job?

Market conditions: Is the job extended over a long period? Will there be many unknown factors such as labor rates, material prices, or other prevailing economic conditions which may upset the project?

Firm?s previous experience with the owner or architect: Has the company done any work with them in the past? Has the relationship been satisfactory? Are they a good client or a good architect? Would it be prudent to work for them again? Is the company obliged to submit a bid due to this past relationship?

Cost to prepare a proposal: Does the probability of getting the job warrant the cost of preparing the proposal? What are the chances of winning the job at a reasonable profit?

All of these factors should be considered in a logical way in order to reach a decision to bid or not bid a job. It is also important that the contractor pursue this thinking as early as possible and reach a firm decision in order to allow as much time as possible for the estimating staff to prepare an accurate bid.

Good planning and sound decision making during the bidding process can make the difference between a successful project and an unsuccessful one, but the decision to bid or not bid a project is arguably the most important factor in the success of a business.

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Good Information Model Making Advice For Students

Let me explain first of all that I am writing this from the perspective of someone who has had personal experience of having to make architectural models with limited resources. Although I am now a professional model maker I was once a student at the Welsh School of Architecture where they viewed models as an important part of the design process. Through my three years on the course and subsequent many years in the model making profession I have seen, or made myself, most of the common mistakes people make when setting out to produce an architectural model. Hopefully I can help you avoid these errors and save you a lot of wasted time and effort.

Planning your architectural model

The first and most important step for any architectural model making project is to establish a clear goal for the model. In other words, what is the model for, what is its purpose, what does it need to communicate? Very few people have the budget and resources to make a model that shows everything about their project. It is more realistic to choose an aspect of your design that the model can show well.

For example, if you are designing a building in a sensitive area, a monochrome massing model can show the overall form and layout of your design and how it sits in its context. This will give viewers an instant general understanding of your project. The colours, materials and any other detailed elements can be explained through additional drawings, photographs, swatches, etc.

Another approach is to let your drawings show the general overview of your project and use an architectural model to illustrate one of the detailed aspects. For example you could make a part-model of a particularly interesting area of the building; an entrance feature perhaps or a decorative elevation. Or you could make a sectional model that slices through the building to show the internal spatial organization.

The important thing is to start with a clear purpose for your architectural model and then work out what sort of model will best achieve your goals.

What scale should the architectural model be?

Once you have decided what your model needs to illustrate, the next step is choose the most appropriate scale. This decision is affected by two things; how big an area you need to model and how much detail you want to show. If you need to show a big area, perhaps for a site context model, you would have to choose a smaller scale, say 1:500 or even 1:1000. This is to avoid the model becoming too big to be practical. But at these smaller scales you need to be aware that is not really possible to show much in the way of detail.

If the purpose of the model is to show just the building itself you could consider 1:200 or even 1:100 scale. At these scales you can show windows, doors, balconies, etc. However, if your goal is to illustrate a particular area or detailed element of the building you may well need to go bigger again, say 1:50 scale or even 1:20 scale.

Whatever the purpose of your model, being able to understand scales will enable you to work out practical, achievable options for your particular project. Many students will already have a clear understanding of scales and those who have can skip this next bit, but if you are a little unclear on the subject it is probably worth reading.

Scales are actually very simple. The scale of architectural models is a ratio - in other words, the relative size of the model to the real thing. For example, 1:1 scale (we would say it as “one to one”) would be a life size model. Whereas, 1:10 scale (”one to ten” or “one tenth scale”) would be one tenth of actual size. Likewise, 1:100 would be one hundredth of actual size, and so on. The larger the scale indicator number, the smaller the model, which means less detail can be shown.

Another useful way to think about scales is to work out how many millimetres represent one metre at the particular scale you’re considering. We do this by dividing 1000 by the scale indicator number. For example, for 1:200 scale, divide 1000 by 200 and you get the answer 5. Which tells you that one metre in real life will be represented by 5mm on the model. So if the area you need to model is 100 metres x 100 metres square, your 1:200 scale model would be 500mm x 500mm (100 x 5mm).

For particularly large sites you will need to use a much smaller scale, say, 1:1000. At this scale the architectural model will be one thousandth of the actual size. To work out how many millimetres will represent a metre we redo the sum we did above, 1000 divided by the scale indicator number (in this case also 1000). The answer is obviously 1, meaning that one metre on site will be represented by 1 millimetre on the model. A square site 1000 metres x 1000 metres would therefore be 1000 millimetres square as a 1:1000 scale model.

Architectural model making methods and materials

For the purposes of this general guide I will not go into a lot of specific detail on architectural model making techniques and materials as this is a very broad area and will be covered in a separate article. Here are some basic rules to follow though.

Be realistic about what you can achieve with the time, materials and facilities available to you. Don’t try and make the model show every detail of your design or you just won’t finish it. Very often it is students with good model making skills that do not finish their architectural model, simply because their enthusiasm has got the better of them and they have tried to show too much. Or, the model does get finished but it has taken up so much of their time and energy that other important parts of their presentation have to be rushed or do not get done at all.

It is tricky to get the balance right but it is better to be a little less ambitious with the model and focus on submitting a coordinated, fully realized overall presentation.

The use of colour is another area where models can go wrong. Sometimes it’s safer to keep things monochrome (white, for example, can look quite “architectural” and stylish) unless you’re very confident with colour or it’s a vital part of what your model is trying to show.

Always present your model on a good, solid base with a clean edge finish - this acts almost like a picture frame and enhances the general appearance of your model.

As far as materials are concerned, unless you have easy access to a workshop and a reasonable level of experience with machinery, it would be best to work with card or foam-board or similar, easy-to-cut materials such as Balsa or Lime wood. In other words, anything that you can cut with either a sharp blade or junior hack saw and stick together with conventional shop bought glues.

And when you are cutting, if possible, try to use a square, especially if you are cutting out floor plates or elevations. Keeping everything square is crucial if you want to achieve a neat, crisp finish for your building. It is also worth investing in a metal ruler as you will find a plastic or wooden ruler will get damaged very quickly.

Whether you are cutting with a craft knife or a scalpel, it’s better to use several light passes rather than trying to cut all the way through with one go. You will get a cleaner cut and you are less likely to slip and cut your finger.

Sourcing materials can be difficult, but your best bet is to investigate your local Art & Craft shop and check also if there is a hobbyist model shop in the area. These shops will usually have a good range of materials but do get what you need early. It is surprising how quickly a group of students all working on a similar design brief can empty the shelves of all the best materials.

If you cannot get what you need locally there are several model making supplies companies with on-line catalogues who provide a good mail order service. Visit my web site www.modelmakers-uk.co.uk and click on Links at the top right hand side of the page where you will find a list of useful links for architectural model making supplies. Or use a search engine and see what that turns up.

Good luck with building your architectural models. If there is only one thing you remember from this information make it this - it will take twice as long as you think it will.
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Awesome Information About Blob Architecture

Blobitecture, also called “blob architecture” or “blobism”, refers to modern buildings with an amorphous, blob-like shape. “Blobitecture” is a term actually coined by New York Times Magazine writer William Safire, who used it to sardonically describe the sudden rise of amoeba-like buildings. Contrary to his intention, architects happily adopted “blobitecture” to describe a new and exciting architectural movement.

Blobitecture is a dynamic form of architecture still widely in use today. Blobitecture is unlike any other architectural form because it completely originates from computer-aided design (CAD). In software architect job, architects use CAD to manipulate buildings’ outlines to virtually any shape. While they do this, the software automatically calculates mathematical equations that instill structural soundness into the design. Before CAD’s development, architects adhered to mainstream geographical shapes since they were confident of these shapes’ structural stability. Now, thanks to CAD software, a building’s shape has boundless possibilities.

Today, most architects implement blob architecture for glass-and-steel structures. Rarely is it used for private residential homes, because the glass and steel materials makes “blob buildings” fairly transparent. Rather, it is much more frequently used for tourist attractions, such as museums, theatres, and concert halls. It is also increasingly used for scientific buildings, such as geodesic domes used for weather observatories and greenhouses. Lastly, a greater number of commercial buildings are blob structures, such as London’s City Hall and the Future Systems architectural firm.

Blobitecture arose during the 1990s when CAD systems were first being developed for architects and interior designers. In 1993, the first blobitecture building was erected: the Water Pavilion in the Netherlands, which was completely designed in CAD. Other large-scale projects followed in rapid succession, the most well-known of which is likely the Guggenheim Museum Bilbao. This museum, located in Bilbao, Spain, was designed by renowned Canadian-American architect Frank Gehry. Opened to the public in 1997, it consists of various concave and convex curves. Since it is located on a port, it glass and titanium curves reflect the light from both the sky and water. Moreover, its curved silhouette resembles that of a ship. This modern-art museum strongly contributes to making Bilbao a Spanish tourist attraction.

The United States has its own ‘blobitecture’ buildings. Seattle has the Experience Music Project museum, another Gehry-designed building, opened in 2000. Like the Guggenheim Museum Bilbao, this museum consists of seemingly random curves made up of sheet-metal. The building’s undulations give it a fluid silhouette, perhaps as a tribute to the museum’s musical exhibits. While the Guggenheim museum’s shape reflects its port vicinity, the Project’s shape can be summarized as “form follows function.”In fact, Gehry directly attributed the building’s shape to that of a smashed Stratocaster electric guitar, made famous by Jimi Hendrix. Unlike the Guggenheim, the Experience Music Project also incorporates more colors into its exterior design, though its metal reflects as much light as the Guggenheim.

Other cities have recognizable examples of blobitecture. England contains blob structures not only in London, but in other cities. For instance, the northeastern city of Gateshead has the Sage Gateshead building, which was designed by the Foster and Partners architectural firm. This building is a performing-arts center and musical institution. This structure has a caterpillar-like shape, made up of multiple spheres that contract and dilate as the building progresses. Its materials include glass and stainless steel, allowing it to shimmer from capturing all angles of sunlight. Its free-flowing shape may be said to reflect this institution’s philosophy that all musical genres are equal.

Berlin, furthermore, has another “form follows function” blobitectural structure. This structure is the Philological Library, designed by English architect Norman Foster. Opened in 2005, the Library is part of the Free University of Berlin campus. In keeping with the university’s intellectual purpose, the Library resembles a human brain. Like many other blobitecture buildings, its principal components are steel and glass.

Architects today rely on numerous CAD software programs to construct blob architecture. Contrary to its appearance, many mathematical calculations go into ‘blobitecture’ designs. Most CAD programs, such as AutoCAD, permit the user to create a basic three-dimensional “sketch” and manipulate those lines in numerous directions. Blob architecture arises when the user makes those lines “wavy” and irregular, and “inflates” the building design. In the later stages of the structure’s design, architects can use CAD to specify the building materials and interior components of the project.

As a measure of blobitecture’s popularity, architectural students may now take college courses in blobitecture. There are also online courses featuring blobitectural study. Many architects who concentrate on urban-planning architecture decide to learn about blobitecture, since blobitecture is mainly prevalent in metropolitan areas. Furthermore, many CAD courses, offered both online and on-site at educational institutions, permit architects to gain hands-on practice with blobitectural design.

As more architects break away from established geometrical forms, blobism will likely become part of more international cityscapes. CAD will generate infinite forms of blobitecture in both exterior and interior design. Many ambitious architects are exploiting blobism to push architecture to its outermost limits. In addition, many entry level architect jobs demand CAD experience; so many architectural students are choosing to use blobitecture to gain fluency in CAD.

A. Harrison Barnes is the founder and CEO of EmploymentScape, the parent company of more than 90 job-search websites, employment services, recruiting firms and student loan companies. EmploymentScape (originally Juriscape) employs several hundred employees in 14 offices throughout the United States, Asia, and Europe. These companies were literally started from Harrison’s garage several years ago after Harrison quit his job.

Harrison has worked for the United States Department of Justice, a federal district judge and the law firms of Quinn Emanuel Urquhart Oliver & Hedges and Dewey Ballantine. After three years of practice, Harrison founded Juriscape, under which he developed a collection of industry-specific job-search websites that revolutionized the way job seekers access employment postings from around the world. Harrison and his companies began serving the legal industry with BCG Attorney Search and LawCrossing. Following on the success of those endeavors, the company soon broadened its range to include the 90+ EmploymentCrossing websites, each specific to a particular industry or field. Juriscape changed its name to EmploymentScape in 2007 to reflect the company’s broadening focus.

In addition to the EmploymentCrossing websites, EmploymentScape employs top job recruiters nationwide and offers resume development and distribution services through EmploymentAuthority and LegalAuthority.

Harrison’s latest venture is Hound.com. Using technology that took two years to develop, Hound is able to pull job listings from company sites throughout the world, giving its members the best opportunities to find and apply to jobs.

Harrison resides in Malibu, California. He is a sought-after motivational speaker and writes articles relating to the legal community. Harrison is an active philanthropist and advocate for people reaching their full potential in their careers. Given his passion for job seekers and them reaching their full ability, Harrison recently started offering a limited number of coaching engagements to job seekers.
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