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FAQs
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Are there any benefits to meth?
This Question noted 8 answers. An informed answer to the question was presented by one individual. It was very thoughtful, and included perspectives from several points of view. What I enjoyed was that it offered an answer to a question. The question wasn’t, “What are the bad points of using meth?”. Yet, as so many ‘in recovery’ want to do, the question was used as a place to vent their ideals. Something was a bad experience for them, or someone they cared about, and they are out to warn the masses. How brave. Maybe there’s a question about pit bulls and you can lecture the readers about the abuses and moral misgivings of dog fighting. Perhaps someone asks about gasoline fuel and you can stand on your environment/global warming soapbox. Way to be involved! Take a politically correct stance and listen to and feel the applause. Anybody who answered the question with an answer that included, “There are no …” should have written, “In my opinion”, or “In my experience” along side it. Otherwise, answer all of the hundreds of other meth questions. Leave this one to be answered by anyone who actually knows of some benefits. That is the information the question has asked for.Meth isn’t for everybody. Meth is also a dangerous street drug that has ruined many lives. Anybody who does not know that is not very informed about the real world. Meth should not be used because of any benefits listed by someone and they’re hoping to receive those same benefits. Meth affects every metabolism differently. Anything smoked and absorbed through inhalation by your lungs is dangerous to your health regardless of what it is. Any chemical compound used to ‘get high’ should only be done by adults out of the view of children, and only recreational drugs should be used to ‘get high’. Meth can be used in a recreational setting, by some. That’s a slippery slope, though.The benefits of meth may be to keep soldiers alert and energized to fight long battles, to fight fatigue when sleep is not an option and deadlines are approaching, to help stabilize adhd sufferers who find it difficult to focus on details that help them take care of themselves like brushing their teeth, and tying their shoes, and not forgetting the red light means to stop instead of wondering how many squirrels live on this street. Firefighters fighting fires for 20 straight hours might find benefits, as well as people who can’t stop putting food into their mouths. There are much more harmful effects from obesity than meth use. I’m going to take a wild guess and predict that more lives are lost to the harmful effects of obesity than are lost to meth. (That’s worded wrong. It should say the harmful effects of doughnuts. Obesity is a condition. Meth misuse is a condition. Meth use and doughnut eating are both forms of drug use.)Other benefits might include, but are not limited to, being more passionate about your job. Sometimes, people hate their lives, their job, their frame of mind is a dark cloud over them which can affect others negatively if they are an airline pilot, bus driver, surgeon, etc. Another benefit may be to help motivate a person to work out, or exercise. There are not many things better for the body than a good hard work out session. Exercising should begin with complete stretching and involve necessary fluid intake to avoid damaging muscles or becoming dehydrated. Proper breathing technique is also very helpful to the overall benefits of exercise.Mental health is another area where depression could be fought with administering a small amount of meth. Motivation and enthusiasm about what you are involved with is always beneficial. Lethargy and disinterest can lead to unhappiness, unfulfilled expectations, negative attitudes, and basically all around dickishness (may help a person not be such a dick).Anything powerful can be abused. The power of meth should be respected and used only as a tool, or an aide, and only after careful consideration based upon facts and documented study. Long term use may become a problem if ingested by the lungs, or too frequently. If not used wisely and in moderation, anything can become a problem.
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What are the best books about architecture?
If you are interested in architecture, I guess it would be nice for you to get a glimpse into two different sides of it – the technical and the subjective ones.As for the technical side, almost every architecture student will come across Architect's Data (commonly referred to as simply Neufert) during their university studies. This originally German book written by Ernst Neufert is a reference for spatial requirements in building design and site planning. It is meant to help students and architects in their initial design stage of a project by providing extensive information about spatial requirements. Dealing mostly with ergonomics and with functional building layouts, thousands of drawings illustrate the text, organized according to building typologies.Neufert will give you some ideas about the projecting practice in architecture.Below is an example of Neufert's content:As for the subjective side, I recommend you The Architecture of Happiness by Alain de Botton. This book discusses the importance of beauty. De Botton, inspired by Stendhal's motto "beauty is the promise of happiness," analyzes human surroundings and how human needs and desires manifest their ideals in architecture. This book was a source of some valuable lessons for me. One of them, which I ought to never forget, came from the quote below:The noblest architecture can sometimes do less for us than a siesta or an aspirin.The Architecture of Happiness is a great introduction to architecture as a subjective matter.Hope this helps!
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How do I read music notes?
Music is read from left to right, where going right represents moving forward in time. Since music is not capable of time-travel, it always moves forward, which means to the right. Certain symbols can tell you to go back to an earlier section of music, though, and play it again — which I guess is more like looking through a scrapbook than actual time-travel. Discuss. The grid of five lines is called the staff. Notes can be snapped to any of the lines themselves, or to any of the the four spaces between them. The higher up on the staff a note is situated, the higher its pitch relative to the rest of the staff. The the lower the note is placed on the staff, the lower its pitch. We can also extend the pitch-range of a given staff upward or downward by adding 'temporary' lines, called leger lines, above or below the staff on a note-by-note basis. You can see this has been done to the first note in the example, and it happens once again at the end of the example. Already, then, you can discern the notation well enough to tell that in the above example there is a trend in which the pitch gets higher as the music moves forward in time. If you can do that, you can read music. The rest is just filling in details, no kidding, and you simply get better with practice. Musical notation is not cryptic or arcane. Like any constructed and evolved system it has its discrepancies and idiosyncrasies, but on the whole it is quite accessible and intuitive. In the beginning, there was rhythmRhythm is sometimes neglected in the early stages of standardized music education. Because students and their teachers are so intensely concerned with making sure that the student knows where all the notes are on the instrument and where all the pitches are on the staff, sometimes rather less attention is paid to being able to understand where the notes are in time. This leads to stunted musical growth in some cases, and tragically prevents the development of many otherwise perfectly serviceable would-be funk guitarists. It is extremely important to understand that standard musical notation is not designed to tell us exactly how long the sounds last. It is only designed to tell us how long they last in relation to one another.The rhythmic values of notes, their lengths relative to one another, are in the German and American systems of nomenclature expressed as fractional relationships. Thus we have quarter notes and rests, half notes and rests, sixteenth notes and rests, and so forth. The British may have the upper hand on America in their use of the neat and logical metric system of measurements (which, you should remind them at every opportunity, they only appropriated from the French), but they must admit that they most backwardly continue the use of bizarre and uninformative names like minim, crotchet, and hemidemisemiquaver to describe these fractional relations in time-value. Though it is not at all intuitive that a semiquaver lasts one quarter the length of a crotchet, it is quite intuitive that a sixteenth note should last one-quarter the length of a quarter note: since 1/16 is 1/4 of 1/4, it takes four sixteenth notes to fill the same length of time that one quarter note fills. The Tree of Life or Holy Totem of Rhythmic Notation, then, looks something like this:one whole equals two halvesone half equals two quartersone quarter equals two eighthsone eighth equals two sixteenthsone sixteenth equals two thirtysecondsFrom this it follows that, say, four eighths equal a half, and eight eighths equal a whole. We are doing nothing more than expressing the division of time-lengths according to very basic fractional proportions which are often reducible at will to even simpler fractions. If you're brand new to reading rhythms, you may need to enlarge this diagram and study it closely — it may not 'hit you' all at once. And that's okay, as I'm sure there are still British people reading this who do not yet understand why crotchet is a very dumb name for a simple quarter note.The fraction at the left of the diagram, 4/4 (uttered as four four, not four fourths or four over four), is the time signature. In this case it tells us that there are four quarter notes, or the equivalent in duration of four quarter notes, in each measure. That is all it says. Do not let anyone (especially not anyone British) tell you that it means, "There are four quarter notes in a measure, and the quarter note gets one beat." Nothing in the time signature says the first thing about beats or who gets any of them. The top number says how many: four. No sooner than you have asked, "Four what?" the bottom number informs you: four, meaning one-fourth, representing the quarter note. So in this time signature there are four quarter notes or the equivalent in each measure. The measures, also known as bars, happen between the bar lines. Those are the vertical lines which cut through and segment the staff every so often (every four quarter notes, to be exact, in this case). Bar lines are visual references only, and have no time-value; they are not stop signs, or even yield signs.Notice that there are no quarter notes in the first measure, only one whole, and its equivalent, two halves. These two things — the whole note on top, and then the pair of half notes below — are occurring at the same time, and they occupy the same amount of time relative to one another since 1/2 x 2 = 1 (since two halves equal one whole). Since one whole also equals four quarters, hopefully you can see how the time signature works in establishing the length of a measure: though there are no quarters in the first measure, that measure still contains the equivalent of four quarters, as does every other measure pictured.Each one of these measures, then, occupies the same amount of time relative to every other measure. Though the number of notes is increasing in each measure as we move forward in time to the right, we are really just cramming more notes into the same amount of space with each passing measure: the measures are not getting longer, they are just getting busier. Those sixteen very busy-looking sixteenth notes at far right take exactly the same amount of time to go by in total as the lonesome single whole note at the beginning. You will note (terrible pun intended and in fact celebrated) that:the whole note is hollow, and has no stemthe half note is hollow, but does have a stem poking outthe quarter note is filled-in, but has no beams/flagsthe eighth note is filled-in, and has one beam/flagthe sixteenth note is filled-in, and has two beams/flagsThis is how we tell the notes apart. As the values keep getting halved going smaller in length from the sixteenth (thirty-second, sixty-fourth, etc.), we simply add one more flag each time. It takes some practice to become fluent at recognizing these values by their appearance on the page, just as it takes us time as children to learn our letters, but already you should grasp the underlying principles if I have done a half-decent job of explaining the whole thing. Sigh. A note represents a sound happening. For each of these note-values, there is a corresponding symbol called a rest. A rest is a place-holder which tells us that no sound is happening during that span of time:Each rest has a unique look, just as each kind of note does. You can see that the half rest is the whole rest turned upside-down, the quarter rest is sort of its own animal (like a crotchety Englishman, really), and the sixteenth rest is like the eighth rest only with two little doodads on it instead of one.Learning to recognize all of these different beasts quickly by sight just takes repetitious practice — it doesn't require any insightful knowledge. To see if you are grasping the basic concept of fractional/proportional rhythm and the time signature, try answering the following questions:Do six quarter notes take up more or less time than four half notes?How many eighth notes could we fit into one measure of 3/4 time?How many sixteenth notes could we fit into one measure of 6/8 time?If an incomplete bar of 4/4 time contains two eighth notes and a half rest, what one note or rest could we add that would rhythmically fill up and complete the measure? (the answers are at the bottom of this post, but don't tell anyone that.)We have not yet mentioned dotted notes. The rhythmic dot is a diabolical symbol we place just to the right of any note or rest to add half of its rhythmic value onto itself, that is, to make the dotted version 150% of the length of the un-dotted version. This means that since a quarter note is two eighth notes in length, a dotted quarter note is three eighth notes in length; since an eighth rest is two sixteenth rests in length, a dotted eighth rest is three sixteenths in length. Probably we should also mention ties. These are not the same as neckties, which I never wear if I can get away with it, since I enjoy breathing. A tie is a curved line or ligature which can join two notes together. In doing so, it combines their lengths into one sound. Therefore, the following two measures of music sound exactly the same:In the first measure there are two sounds, represented by two notes: one sound is represented by the half note and the other by the quarter. Though there are three quarter notes in the second measure, still there are only two sounds, since the first two quarters are tied together, making them sound just the same as one half note. It might not be immediately apparent why ties are needed at all; one common reason is for allowing a single sound to extend across a bar line, by tying together the notes just to either side of it.You can tie as many notes together in sequence as you wish. When an opera singer holds a high note so long that you begin to squirm in your seat, there is a pretty good chance that ties are involved somehow. Tempo, and "keeping the beat"If you are not yet dizzy and disoriented, you may be wondering how it is that musicians know how long these sounds are supposed to actually last, if the rhythmic values of the notes and rests, all these quarters and wholes and dots and ties, only describe fractional relations and not duration in terms of seconds or minutes or visits to the Department of Motor Vehicles.This is the question of tempo. If you visit Italy you'll be surprised to learn that this word can also refer to the weather, but for our purposes it means the speed of the music. We typically define tempo in terms of a steady pulse. That steady pulse can be assigned to any note value we choose. Try patting your right leg with your right hand roughly once per second, and keep that process going for a bit. It's not as important that you tick precise seconds as it is that the pulse be even and unchanging. Let's arbitrarily assign this pulse to the quarter note (in much of written music, the quarter note does get assigned the pulse, but it is by no means a rule). You are effect tapping a string of quarter notes, which looks like this:Now, while continuing to tap once per second on your right leg, take your left hand and tap your left leg twice per second, dividing each second into two even parts. For every one tap on your right leg, you will make two taps on your left leg, which also means that every other tap on the left should line up with a tap on the right. If this presents a coordination problem, you may be British. But you'll get it with a little persistence. Since a quarter note is as long as two eighth notes, you are now tapping eighth notes on the left leg while you tap quarter notes on the right leg:Try starting the process over from scratch, beginning with quarters on the right leg again and then adding equal eights, two per quarter, on the left leg — only this time, make the quarter notes go by rather faster. This means the eighth notes on the other leg will also go by faster, since they must maintain their proportion to the quarters, two to each. This is the concept of tempo applied to rhythmic notation. Feel free to let your fancy wander by speeding up and slowing down at will, but remember always to keep two eighths to each quarter.The tempo can change, and indeed any note value can be assigned to the basic pulse — quarter, eighth, whole, whatever — but the proportions of the note values, their fractional relationships to one another, do not change.We indicate general ideas about tempo using words, often dusty but beautiful old Italian words like Allegro (pretty lively), Adagio (quite slow), Presto (very fast), and so forth. We can also use a more scientific measurement called beats per minute (BPM), which is what a metronome madly ticks away at. Since we can assign the beat/pulse to any note value we want, metronome markings are generally given as "quarter note = 120 BPM," or "half note = 72 BPM," and these values are checked against the ticking of a metronome to give us the precise tempo we need. I have noticed that a common trope in dime-store theory books is to assign Italian tempo terms to ranges of BPM. Allegro might be given as 100 - 126 BPM, Andante as 72 - 88 BPM, and so on. You should know that this has no basis in reality, as these terms were invented and were in common use long before metronomes and BPM existed, and that those who claim that tempo terminology can be even approximately quantified in terms of BPM to any useful extent have been grossly misinformed. Humor me with two more brief rhythmic experiments. Define the speed of your quarter note as about once per second, as we did before (that's quarter note = 60 BMP in metronome-speak), and get it going for a bit on the right leg again, just to get your bearings. Now look at the following example:You can see that each measure of 4/4 time contains a quarter note followed by a quarter rest, twice over. Can you now 'play' this example by tapping it on your leg? Remember that the notes and rests are exactly the same length here relative to one another and to the pulse you have established — they are all quarters — and that we don't stop when we come to a bar line; bar lines are for visual reference only. If you have difficulty doing this at first, or aren't sure if you are right, try counting '1, 2, 3, 4' evenly, with each numeral representing a quarter note — just as if you are counting seconds. You should tap on 1 and 3, since that's where the notes are in each bar, and make no sound on 2 and 4, since that's where the rests are in each. Easy enough? You are now officially reading music, or at least its rhythmic aspect. Try reversing the pattern so that you rest on 1 and 3 but tap on 2 and 4 — swapping out the notes and rests — and imagine how that might look written down. For our second experiment, see if you can tap out the following:Don't fret over the new time signature (3/4). In fact, ignore it totally for the moment. Just concentrate on first establishing your quarter note pulse, and on remembering that two eighths must fit evenly into the same amount of time occupied by a quarter, relatively speaking. If we were to count this excerpt aloud, we might say:1 2 & 3 | 1 & 2 & 3You may find this slightly more difficult to do than our earlier efforts, because switching from quarters to eighths requires you to temporarily 'let go' of physically marking the pulse. In order to "keep the beat," you have to maintain an imaginary stream of even quarters in your head, just as if you were still marking them with one hand on one leg as we did at first. It is even better if you can maintain an imaginary stream of eighths in your head instead (1 & 2 & 3 & | 1 & 2 & 3 &), because this subdivision will help you internally mark the pulse with greater accuracy.This takes practice to master, particularly when the rhythms get more complicated than these. But you can do it, and you should try to master the idea very early on, because it is the heart of musicianship. PitchWe have said an awful lot about rhythm so far, because it is extremely important. But we of course also need to know how to read pitch, which tells us how high or low a note is. As we mentioned earlier, the higher the note is on the staff, the higher in pitch it is relative to the other pitches on the staff. But how do we know which pitch is A, and which is F, and which is R — wait, there is no R, as the pitches are only lettered A through G; perhaps the British have an R — how do we determine exact pitch just by looking at those lines and spaces? The answer is that the five lines and four spaces of the staff tell us nothing about pitch-letters until we place a clef on the staff. Clef is French for key, and while clefs do not at all determine 'key' in the musical sense, they are necessary for us to be able to name the pitches on the staff. The treble clef produces a series of pitches which looks like this:The first C, which is the first pitch given here, is known as middle C. The next C is pitched an octave above middle C, and the other C to the right is pitched two octaves higher than middle C. You can see that we name the pitches by counting A through G and starting over again, and that moving from one 'slot' to the next — from a space to the next line, or from a line to the next space — also moves us the distance of one letter name; none are 'skipped' when we advance one slot at a time in either direction. Try following this gamut of pitches slowly forward through time, one at a time, reciting the appropriate letter name as you come to each note. Then go backwards, that is, leftwards, and do the same thing. (Congratulations — you just broke the laws of music by time-traveling. Never do that again.)Notice that the notes can sit well below or above the staff if we temporarily extend the pattern of lines and spaces using leger lines. The bass clef produces a series which looks like this (this time we'll start at the top and descend as we move forward in time; you'll see why soon enough): Here is another crucial concept: in this example, we begin with middle C, the same pitch we began with in the treble clef, and then go down in pitch from there. That is, the first pitch in this example is exactly the same pitch, represented by the same key on the piano, for instance, as the first pitch in the previous example. This is how the treble and bass clefs are different, and yet linked. Look at the second C in this bass clef example, an octave below middle C, and imagine trying to represent that pitch using the treble clef. You'd have to draw many leger lines below the treble staff and then laboriously count them all to figure out what pitch is being represented. This is why we use different clefs (and there are others still, besides just treble and bass): because it makes the pitches on the staff easier to read depending on where we are in pitch-land at a given time. Some instruments, and all the voices, read music from a single staff and may change clefs mid-stream as needed. Still others — like the piano or the harp, which can play a very wide range of pitches — read music from two staves linked together by a bracket into a grand staff, most usually with one staff using the treble clef and the other the bass. That quite imposing structure looks and works like this:The area within the box represents the zone in which the two staves 'meet' and share exact pitches in common. Middle C is underlined as it is represented by each of the two clefs, and the D and E that follow are also pictured redundantly as they are represented by each clef. So, the C, D, and E that you see in the bass clef within the box are exactly the same pitches as the C, D, and E you see written in the treble clef within the box.As you may know, we can apply accidentals — sharps, flats, naturals, and some other even hairier critters — to these pitches in order to slightly alter them: C-sharp, E-flat, A-natural, and so forth. A sharp raises the pitch by the interval of one half-step, a flat lowers the pitch by one half-step, and a natural is most often used to cancel a sharp or flat that has just occurred somewhere earlier in the measure, so that A-sharp can be made just plain old A again, for example. Since sharps and flats require a basic understand of pitch-intervals, which is another topic entirely, I think this is a good place to stop our basic introduction to reading musical notation.This little primer is by no means comprehensive — it is not intended to be — but this should be enough of an info-dump to get you started. My hope is that you can see that the language of musical notation is actually rather simple in character, far more simple than written language, really. If it doesn't yet seem simple to you, have no fear — it takes persistent practice and study to get fluent at reading music, as with any language, but as you continue to gain fluency you will begin to see the simplicity and elegance underneath the all the symbols and their relationships to each other if you do not see it already. Remember: right = forward in time; up = higher pitch; down = lower pitch. Everything else is simply elaboration on these key bearings. Honestly, the most difficult part of reading musical notation lies in the ability to extemporaneously apply your knowledge of notation to the physical aspect of playing an instrument. That is, your understanding of musical notation isn't terribly much good until it is applied to actual music-making, which is a mental-physical behemoth all its own. When I first began reading music as a child comfortably accustomed to doing everything by ear, it was a tremendous struggle to get started. Now, about thirty years later, I can read even fairly complicated musical notation almost without conscious thought, with as little effort or less as I use to read the written word, and can hear in my mind with high accuracy the sounds represented on the page just as you can hear these words in your mind. It's just that it takes a very long time, and a lot of regular effort, to get to that point, and even now I'm not as fluent at it as I could potentially be! (And I can still play quite well by ear and can jam down at the bowling alley with the best of them. The 'wisdom' that reading music somehow harms your musicality is a nonsense notion invented by people who never bothered to learn notation very well.)Do take heart, as there are many British people who can read music. That means that you can, too. N.B.: I actually love Britain and its people, and have been there before without being arrested. Here are the answers to the rhythm questions that were asked in the section on note-values:Less time, since four halves = eight quarters, which is more than six.Six eighths could fit, since 3/4 holds the equivalent of three quarters, and one quarter is as long as two eighths, and 3 x 2 = 6.Twelve sixteenths could fit, since 6/8 implies the equivalent of six eighths, and there are two sixteenths in an eighth, and 6 x 2 = 12.A quarter. The bar of 4/4 allows for the equivalent of four quarters. The two eighth notes add up to one quarter, the half rest takes up the space of two quarters, and this adds up to the length of three quarters, leaving room for one more.J. S. Bach: from the manuscript to the Johannespassion. Just a bunch of very handsomely placed half, quarter, eighth, and sixteenth notes and rests.
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What are the most important architecture books?
Are you looking to get a degree in architecture? Or have you recently graduated and feeling the disassociation from studio life (all about you and your ideas) and starting at the bottom of work life? Once in a while I get questions from people like you asking for advice and recommended reading. After responding to a hopeful architect on Dwell.com I decided to flesh out my answer and include more intro to architecture books. So I created this list of must read architecture books for beginners and students (that I think seasoned architects would agree with too).Here is a list for you of architecture books you should read, broken down into categories. Naturally there is some overlap and some of these books could fit in multiple headings, this is architecture after all. I recommend getting a balanced reading from each of the categories, even if your current interest is learning about only one.Your future in architecture depends on your ability to learn and UN-learn - letting go of how things are and imagining new possibilities. Read on.The 3 Book Categories:Entrepreneurship - The Business of ArchitectureTheory + Design Process - Inspiration and A Look Behind the CurtainConstruction - Making it HappenEntrepreneurshipThere is a reason I am starting here and not with design. Being a successful architect takes more than creating a wonderful idea and presenting it to your client. The work involved in setting up your design firm can be overwhelming and 99% of it was never taught to you in school. If you take away one thing here, let it be this: How you start is how you go. Now start on the right foot.The Seven Habits of Highly Effective People by Stephen R. Covey - This is a universally loved book by people in every field. It is no surprise why. One great takeaway from this book that you can put into immediate action is his Time Management Matrix. Do you find yourself spending all your time on urgent and important matters? That is a result of neglecting not urgent and important work, which could have saved you. Learn and avoid repeating these mistakes.I once had a phone call with an architecture student asking for advice. I was telling her something about carving her own path and her response led me to believe it wasn't sinking in - instead of understanding that I was telling her to find her compass (an inner centering that guides you in ANY situation), as Stephen Covey would say, she thought I was giving her a map (directions for a particular situation). Perhaps I should have given her this book instead?The E-Myth Revisited by Michael E. Gerber - Consider this essential reading. Most creative people will shirk at this book thinking that automation is a dirty word that removes creativity...wrong! It enables you to have the time and mental space to be MORE creative, since you are spending less time with the monotonous tasks. Take this book to heart and read it over and over till the lessons sink in. You have to work ON your business, not just IN your business.How to Build and Maintain a Strong Client Base for Your A/E Firm by PSMJ - Several years ago I met PSMJ founder Frank Stasiowski at an AIA conference after he gave a presentation. I had never heard of PSMJ before then, but I am glad I did. They put out many publications and business resources specifically made for architects and engineers. This book is one of my favorites as it touches upon all signNowes of a design practice and how to make your unique firm the best it can be. Side note, I emailed PSMJ with a question after buying one of their earlier books and soon after they set up a phone call with Frank to answer my question. Pretty remarkable service!Architect + Entrepreneur: A Field Guide to Building, Branding, and Marketing Your Startup Design Business by Eric Reinholdt - I have many books on how to run an architecture business but chose this one in particular because it is up to date on contemporary marketing strategies. Eric Reinholdt is also a believer in the importance of systematizing your business, which I can't stress enough.The Interior Design Productivity Toolbox: Checklists and Best Practices to Manage Your Workflow by Phyllis Harbinger Once you read the e-myth you'll understand this pick. There are infinite ways of "being an architect" and each firm runs its own way. That said, systematizing and automating your routine tasks is the number one way to freedom, clarity, organization, and more time and headspace for the fun stuff. It will also make your projects go smoother and who doesn't want that? Enter the Id toolkit, which contains around fifty checklists for processes ranging from meetings and onboarding prospective clients to lists for designing wine cellars and home spas. This book is worth more than it's weight in gold. It's written and targeted to interior designers, but the vast majority of it applies to architects' work too. Bonus, all the checklists are downloadable word files via a password in the book. This is the best immediately actionable book I can recommend for day to day design work operations.Theory + Design ProcessThis would have been my favorite section when I was an architecture student.Architecture and Disjunction by Bernard Tschumi ......This is by far my most marked up, underlined, and starred architecture book. If you are feeling stuck this is the book to shake you up. In a way, it is a book of questions; questioning why things are the way they are, posing questions for the reader to ponder. His ten page chapter, "Questions of Space" reads like a trippy barrage that takes you from a room to outer space to consciousness, linguistics, and politics. And you thought architecture was just a floor plan.Towards a New Architecture by Le Corbusier - One of my first architecture books. When it comes to "un-learning", which I think is essential to becoming an architect, this book should be at the top of the pile. Corbu was living through the changes of the Machine Age and was drawn to the naked truth of machine design. He wanted to create architecture that was as truthful to its use as a machine is to its use. A classic that should be on every architect's shelf.Thinking Architecture by Peter Zumthor - Thinking architecture is a collection of essays and lectures that Zumthor gave, it feels like an intimate conversation. This book feels like fragments of a Tarkovsky movie, except you don't need the attention span of a saint to follow. When you are in the weeds of construction documents, RFI's, AFP's, and need a mind refresher, pick up Thinking Architecture.Tadao Ando Conversations With Students by Tadao Ando - Ando has always been one of my favorite architects since I "discovered" him at my undergrad architecture school library. His designs are so calm and clean that I expected a calm demeanor, but it was the opposite. Ando expressed a tenacity and persistence and explained in this book how that tenacity is essential in realizing your dreams. With some years under my belt, I've learned to understand this. It takes a strong willfulness to achieve that calm; otherwise it would be washed away by all the "necessities" of building and, to put it bluntly, corner cutting that could ensue with a less vigilant architect at the help. In a more unorthodox moment of vigilance, he punched a construction worker for throwing a cigarette into a concrete mix. Whatever it takes! I open this book whenever I need this kind of medicine. S,M,L,XL by Rem Koolhaas and Bruce Mau - This was a monumental, ground shifting book when it came out in 1995. Before then, architecture books were mainly stiff "portfolios" or theoretical treatises. The landscape is different now, see KM3 by MVRDV and more recently, Yes is More by Bjarke Ingels for example. This reads as a maniacal heart racing ride-along with renegade architects on the run. Diary entries, unashamed messy models and sketches, a dictionary running throughout the book in the margin, and construction photos all work together in a novel way to give the reader a front row seat in a fast moving and high profile architecture firm. Just get it and enjoy the ride. S,M,L,XL is one architecture book that could go in any category; because of the unique insight during the design process I put it here.Informal by Cecil Balmond - I went to the University of Pennsylvania's Architecture program for my master's degree in no small part because Cecil Balmond was teaching there. At the time he was leading Arup, one of the largest engineering firms in the world, and the hands on collaborator with many famous architects, namely Rem Koolhaas, Alvaro Siza, Shigeru Ban, and Daniel Libeskind, to name very few. Informal is a unique companion book to S,M,L,XL in that Balmond was a frequent collaborator with Koolhaas, so you can get a glimpse of the same projects through a different lens. You follow a project and see the discarded ideas along the way. Seeing the design thinking from the engineer's point of view who isn't shackled by the obvious solution but the best one is a treat. Lest any architect think that all structural engineers are just calculators, show them Informal.Architecture Workbook: Design Through Motive by Sir Peter Cook - Peter Cook was a main member of the neofuturist architecture group, "Archigram" in the 1960's. He is basically an architecture superstar before "starchitects" existed. The Archigram projects were so out of this world you could call them instigations more than projects. Fortunately for us, he didn't "grow out of this phase" and his built work is as exciting as his early sketches, see Kunsthaus Graz in Vienna for example. This book is divided into different motives, such as "Architecture as Theater" and "Can We Learn From Silliness?". The former chapter includes a thorough analysis of food kiosks across Europe. Sir Cook's writing reads as clear and conversation theory that is fun and engaging.ConstructionWhen you start working in an architecture firm and are tasked with drawing part of a building in design, you will invariably get stuck and have to look around the office for advice. In many firms, there is a technical "guru" who will be the go-to. You will find yourself asking what you think is a simple question, only to get an thirty minute answer that is the culmination of a life working in the field. Do not let your iPhone attention span ruin this teaching moment. If you are lucky enough to work with someone like this, ask them many questions! In the meantime, here are a couple easy to understand technical books to help you get started.Building Construction Illustrated by Francis Ching - the gold standard for simple to understand yet buildable diagrams. Clear and discrete details in varying situations with explanations, what more could you ask for?Graphic Guide to Frame Construction by Rob Thallon - If you find yourself working on wood frame construction, this is an excellent starter book to help you understand how framing works and how to start detailing under many different conditions. When you know how carpenters frame, you set yourself up for success because you can speak their language. It will also help you when you are creating unusual designs, because you will understand WHY typical details are the way they are. When you understand the rules on this level, it makes breaking the rules that much easier.BonusEven through a translator, the funniest architecture lecture I ever experienced was Tadao Ando's talk at Cooper Union. Before the talk I got him to sign his book, Ando: Complete Works 1975-2014, buy it here. His signature is a sketch of one of my favorite Ando works, the Church of The Light.This must read architecture book list tripled from what I originally thought it would be. Are there any architecture books to read that you think I left off the list? Let me know in the comments. Hopefully this list helps inspire, educate, and set you on your way to a life of learning and UN-learning!-Andrew
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What books should architects read?
Once in a while I get questions from people like you asking for advice and recommended reading. After responding to a hopeful architect on Dwell.com I decided to flesh out my answer and include more books to create this list of must read architecture books for beginners and students (that I think seasoned architects would agree with too).Here is a list for you of architecture books you should read, broken down into categories. Naturally there is some overlap and some of these books could fit in multiple headings, this is architecture after all. I recommend getting a balanced reading from each of the categories, even if your current interest is learning about only one. Your future in architecture depends on your ability to learn and UN-learn - letting go of how things are and imagining new possibilities. Read on.EntrepreneurshipThere is a reason I am starting here and not with design. Being a successful architect takes more than creating a wonderful idea and presenting it to your client. The work involved in setting up your design firm can be overwhelming and 99% of it was never taught to you in school. If you take away one thing here, let it be this: How you start is how you go. Now start on the right foot.The Seven Habits of Highly Effective People by Stephen R. Covey - This is a universally loved book by people in every field. It is no surprise why. One great takeaway from this book that you can put into immediate action is his Time Management Matrix. Do you find yourself spending all your time on urgent and important matters? That is a result of neglecting not urgent and important work, which could have saved you. Learn and avoid repeating these mistakes.I once had a phone call with an architecture student asking for advice. I was telling her something about carving her own path and her response led me to believe it wasn't sinking in - instead of understanding that I was telling her to find her compass (an inner centering that guides you in ANY situation), as Stephen Covey would say, she thought I was giving her a map (directions for a particular situation). Perhaps I should have given her this book instead?The E-Myth Revisited by Michael E. Gerber - Consider this essential reading. Most creative people will shirk at this book thinking that automation is a dirty word that removes creativity...wrong! It enables you to have the time and mental space to be MORE creative, since you are spending less time with the monotonous tasks. Take this book to heart and read it over and over till the lessons sink in. You have to work ON your business, not just IN your business.How to Build and Maintain a Strong Client Base for Your A/E Firm by PSMJ - Several years ago I met PSMJ founder Frank Stasiowski at an AIA conference after he gave a presentation. I had never heard of PSMJ before then, but I am glad I did. They put out many publications and business resources specifically made for architects and engineers. This book is one of my favorites as it touches upon all signNowes of a design practice and how to make your unique firm the best it can be. Side note, I emailed PSMJ with a question after buying one of their earlier books and soon after they set up a phone call with Frank to answer my question. Pretty remarkable service!Architect + Entrepreneur: A Field Guide to Building, Branding, and Marketing Your Startup Design Business by Eric Reinholdt - I have many books on how to run an architecture business but chose this one in particular because it is up to date on contemporary marketing strategies. Eric Reinholdt is also a believer in the importance of systematizing your business, which I can't stress enough.The Interior Design Productivity Toolbox: Checklists and Best Practices to Manage Your Workflow by Phyllis Harbinger Once you read the e-myth you'll understand this pick. There are infinite ways of "being an architect" and each firm runs its own way. That said, systematizing and automating your routine tasks is the number one way to freedom, clarity, organization, and more time and headspace for the fun stuff. It will also make your projects go smoother and who doesn't want that? Enter the Id toolkit, which contains around fifty checklists for processes ranging from meetings and onboarding prospective clients to lists for designing wine cellars and home spas. This book is worth more than it's weight in gold. It's written and targeted to interior designers, but the vast majority of it applies to architects' work too. Bonus, all the checklists are downloadable word files via a password in the book. This is the best immediately actionable book I can recommend for day to day design work operations.Theory + Design ProcessThis would have been my favorite section when I was an architecture student.Architecture and Disjunction by Bernard Tschumi ......This is by far my most marked up, underlined, and starred architecture book. If you are feeling stuck this is the book to shake you up. In a way, it is a book of questions; questioning why things are the way they are, posing questions for the reader to ponder. His ten page chapter, "Questions of Space" reads like a trippy barrage that takes you from a room to outer space to consciousness, linguistics, and politics. And you thought architecture was just a floor plan.Towards a New Architecture by Le Corbusier - One of my first architecture books. When it comes to "un-learning", which I think is essential to becoming an architect, this book should be at the top of the pile. Corbu was living through the changes of the Machine Age and was drawn to the naked truth of machine design. He wanted to create architecture that was as truthful to its use as a machine is to its use. A classic that should be on every architect's shelf.Thinking Architecture by Peter Zumthor - Thinking architecture is a collection of essays and lectures that Zumthor gave, it feels like an intimate conversation. This book feels like fragments of a Tarkovsky movie, except you don't need the attention span of a saint to follow. When you are in the weeds of construction documents, RFI's, AFP's, and need a mind refresher, pick up Thinking Architecture.Tadao Ando Conversations With Students by Tadao Ando - Ando has always been one of my favorite architects since I "discovered" him at my undergrad architecture school library. His designs are so calm and clean that I expected a calm demeanor, but it was the opposite. Ando expressed a tenacity and persistence and explained in this book how that tenacity is essential in realizing your dreams. With some years under my belt, I've learned to understand this. It takes a strong willfulness to achieve that calm; otherwise it would be washed away by all the "necessities" of building and, to put it bluntly, corner cutting that could ensue with a less vigilant architect at the help. In a more unorthodox moment of vigilance, he punched a construction worker for throwing a cigarette into a concrete mix. Whatever it takes! I open this book whenever I need this kind of medicine. S,M,L,XL by Rem Koolhaas and Bruce Mau - This was a monumental, ground shifting book when it came out in 1995. Before then, architecture books were mainly stiff "portfolios" or theoretical treatises. The landscape is different now, see KM3 by MVRDV and more recently, Yes is More by Bjarke Ingels for example. This reads as a maniacal heart racing ride-along with renegade architects on the run. Diary entries, unashamed messy models and sketches, a dictionary running throughout the book in the margin, and construction photos all work together in a novel way to give the reader a front row seat in a fast moving and high profile architecture firm. Just get it and enjoy the ride. S,M,L,XL is one architecture book that could go in any category; because of the unique insight during the design process I put it here.Informal by Cecil Balmond - I went to the University of Pennsylvania's Architecture program for my master's degree in no small part because Cecil Balmond was teaching there. At the time he was leading Arup, one of the largest engineering firms in the world, and the hands on collaborator with many famous architects, namely Rem Koolhaas, Alvaro Siza, Shigeru Ban, and Daniel Libeskind, to name very few. Informal is a unique companion book to S,M,L,XL in that Balmond was a frequent collaborator with Koolhaas, so you can get a glimpse of the same projects through a different lens. You follow a project and see the discarded ideas along the way. Seeing the design thinking from the engineer's point of view who isn't shackled by the obvious solution but the best one is a treat. Lest any architect think that all structural engineers are just calculators, show them Informal.Architecture Workbook: Design Through Motive by Sir Peter Cook - Peter Cook was a main member of the neofuturist architecture group, "Archigram" in the 1960's. He is basically an architecture superstar before "starchitects" existed. The Archigram projects were so out of this world you could call them instigations more than projects. Fortunately for us, he didn't "grow out of this phase" and his built work is as exciting as his early sketches, see Kunsthaus Graz in Vienna for example. This book is divided into different motives, such as "Architecture as Theater" and "Can We Learn From Silliness?". The former chapter includes a thorough analysis of food kiosks across Europe. Sir Cook's writing reads as clear and conversation theory that is fun and engaging.ConstructionWhen you start working in an architecture firm and are tasked with drawing part of a building in design, you will invariably get stuck and have to look around the office for advice. In many firms, there is a technical "guru" who will be the go-to. You will find yourself asking what you think is a simple question, only to get an thirty minute answer that is the culmination of a life working in the field. Do not let your iPhone attention span ruin this teaching moment. If you are lucky enough to work with someone like this, ask them many questions! In the meantime, here are a couple easy to understand technical books to help you get started.Building Construction Illustrated by Francis Ching - the gold standard for simple to understand yet buildable diagrams. Clear and discrete details in varying situations with explanations, what more could you ask for?Graphic Guide to Frame Construction by Rob Thallon - If you find yourself working on wood frame construction, this is an excellent starter book to help you understand how framing works and how to start detailing under many different conditions. When you know how carpenters frame, you set yourself up for success because you can speak their language. It will also help you when you are creating unusual designs, because you will understand WHY typical details are the way they are. When you understand the rules on this level, it makes breaking the rules that much easier.BonusEven through a translator, the funniest architecture lecture I ever experienced was Tadao Ando's talk at Cooper Union. Before the talk I got him to sign his book, Ando: Complete Works 1975-2014, buy it here. His signature is a sketch of one of my favorite Ando works, the Church of The Light.This must read architecture book list tripled from what I originally thought it would be. Are there any architecture books to read that you think I left off the list? Let me know in the comments. Hopefully this list helps inspire, educate, and set you on your way to a life of learning and UN-learning!-Andrew14 Books Every Hopeful Architect Will Need - Expert Advice
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What are the best books to learn architectural concepts?
I will also suggest the question needs a bit more background information to make our answers more useful. But having just written to my students about this I will offer some thoughts. If you mean concepts with a lower case 'c' - things like 'window-seat', importance of lighting and so on - then the previously recommended Ching and Hertzberger are excellent starting points. I particularly like Hertzberger's book because it breaks down buildings into nuggets like threshold, gathering, sitting, balconies and so on. It also draws on both historical, modern and Hertzberger's own work and focuses on his these nuggets are translatable rather than just repeatable.If you mean concept with an upper case 'C', as in 'my concept is man's uncertain position in the world', then I suggest you don't bother. This kind of thinking leads to what many call 'archibabble', lots of seemingly theoretical, philosophical or conceptual terminology that takes the place of the architecture actually doing something. I'll quote from my email to my students:"Abstractions and concepts are ways of thinking ABOUT things, not ways of MAKING things. Concepts, we propose, are embedded in everyday things. They do not exist as a separate language (abstraction, diagrams, pure geometry, vague sketchy or impressionistic imagery). A construction drawing (complete with dimensions and notes) can be read conceptually. A paper cup is a concept, a brick wall is a concept, and so on. Conceptual thinking is a shift in how you see things not a thing in itself. Therefore, the section we asked you to do at the outset, in all its detail, was a conceptual proposal – a first, intuitive and reactive attempt to say something in space.Concepts, seen in this way, are more complex and difficult than those expressed through abstractions. Abstractions allow for questions for remain vague and so more easily evade interrogation and critique – but more importantly, they reveal very little to the designer. Instead, they only (falsely) confirm your thinking. A concept expressed in plan or section makes you see, immediately, what it could mean in relation to material realisation, as a thing, as space and as a practice. And in the end isn’t what you are looking for is to see your concept evident in the final materialisation of the project?"To understand this you don't need books. You need to look at projects - good ones - and see how the most precise and materially specific conditions elaborate an idea (a word I prefer over concept). For example, to understand the work of Mies van der Rohe conceptually you have to see how the wall meets the floor and the ceiling, how he joints marble panels and how he treats the finish on materials. This 'something' extra - going beyond the face value of what is there - is what makes concepts signNow to the user and inhabitant rather than (only) to other architects.
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How do I quote cost for software development projects?
Every IT project starts with a plea or a pitch. If the abilities of one party meet the requirements of the other, we have a match So where do you take it from there? The fragile partnership-in-the-making might collapse because of the one wrong move and it’s a business proposal, or as they usually call it in development circles — a quote. Now there is a fine line between an alluring quote with underestimated time & material rates and a wary quote with vague rates. Both of these have a big chance of killing the project.A quote is the first important project task before you even start the project!Sounds a bit counterintuitive, but bear with me, as I’ll try to give you a quick tour on the Shakuro Quote Process works. Our CTO, Alex Chaly will provide some insights. This is not a guide by any means, just our little break down of the quote process and some principles we follow after getting our share of bumps and bruises in the business.Quote InceptionThe question any incoming project query contains is “how much?” That is what the leads do, and that is the question we want our sales to handle like pros by dexterously passing the request to a Project Manager. A PM is a key figure in the request-handling process. Their experience/vision is the first filter that potential projects have to pass through. Those that ignite a spark in a PM are the projects we adhere to in the first place.Different projects showcase multiple variables and uniquenesses that have to be taken into account from the get-go. Those include the first impression, the spokesperson, the industry, the ambitions, the terms, the cultural peculiarities of the project, and etc. A PM’s ability to decipher that valuable information and pick the wheat from the chaff is widely appreciated, and we are not an exception.Usually, the information presented within a quote request is superficial, but you can still pick up a lot from it. First, the identification of the client’s scope of involvement through these types of questions:Do they have experience in software development?How aware are they of the design process?Do they know a wireframe from a prototype?Are they familiar with outsourced work process?What are their terms and budget restrictions?It generally requires analytical skills, some knowledge of psychology, and a nose for business to make sense of the client’s project description. You don’t want to overextend yourself on a project that will never go off, as well as miss out on a big opportunity.One of the superpowers a PM can have is the ability to get into the head of the person making the request and look beyond their presentation into the core of the idea.Types Of QuotesJudging from that variety of factors, it’s PM’s objective to characterize an incoming project’s quote belonging to one of these 3 types:The rough quote.The custom quote.The elaborate quote.These are just the high-level initial types. Of course, there are intersecting projects, a lot of them require clarification, but as a general guideline this is the classification we use to maintain a big picture and not get lost in the details.The Rough QuoteThis one usually takes 1 to 2 hours. And is a PM’s subjective evaluation based on the brief information and the similarities found in the previous projects. This type of quote is very superficial and it is that because of the client’s need. So the PM’s workflow is typically the following:Study the project description in terms of meaning and form. Analyze the choice of words, try to catch the mood of the person in charge, as well the voice and tone of the brand if there is one.Find similarities in the implemented projects and pick basic design/development process stages from there.Analyze the efforts it previously took to build those similarities.Apply the data to the current situation.Consider visible risks and potential issues.Come up with a project proposal in 90 minutes or so.A quick and rough quote might be reconsidered once the first decision is made.Though being very rough and approximate, it is important for us to deliver as much relevance as we possibly can. This is where analytical skills come into play. You don’t need a first-hand experience in shoe sales to create a shoe depot website, online store, or an app. If you’ve ever dealt with e-commerce, the practices, pitfalls, and solutions you acquired there should be enough for you to see the parallels.There is a catch though. Developing solutions for multiple industries might give some people a false sense of awareness. Every industry these days is dynamic and nothing like it was 5 or 10 years ago, so if you are stuck in the 2005 thinking mode about some domain, you are unlikely to be on the same page as a client approaching you.As part of our policy, we encourage our Project Managers to explore the trends in global industries like commerce, gaming, art, finance, sports, entertainment, etc.The Custom QuoteWhenever the incoming information is every bit of substantial and urgency is not a factor, we try to go with a deeper and more complex version of the rough quote and it’s the custom one. The case where a project complexity shines through requires a collective estimation. So this is where the PM summons the team that usually includes a back-end developer, a UI/UX designer, a front-end developer, and QA engineer.By that point, the PM has done their research and can present the project in detail. So how does the team get involved? Everyone has their specific slice of the project and the responsibilities, so after the PM reveals the project, the team fills a special templated document with their estimations. The PM goes through those with a fine-tooth comb and assembles the design+development quote.Additional Quote ItemsThe time & material efforts of the team is a signNow part of the project estimation, but there are more things to it. First, it’s the infrastructure works, including server deployment, setup, CMS operations, etc.A separate entity that affects the initial quote and shapes it into a proposal is risk management. Every project comes in with a certain number of visible and disguised risks, that affect our performance. Over the years, we’ve accumulated enough experience to create a matrix of risks specific to our company. Those include:New and unfamiliar technologies to be used.Third-party platform integration requirements.Level of team commitment required.Internal policy (availability, employee seniority, etc.)All sorts of smaller shenanigans.According to that matrix, we figure out the risk index of a project and integrate it with the quote and see if we are still on the positive side. If we are, we kick it right off, if not — the work continues in re-evaluation to see what are the areas that can be improved. This type of quotes is a serious effort and it takes around 10 hours to deliver.The Elaborate QuoteEntering the deep waters we are. You know when you hit a cluster of loot in a video game and you are kind of lost and don’t know where to start? That is what sometimes happens when a large enterprise project gets drawn. These are the commonly found features of a big project:It requires a prototype because you can’t wrap your head around all the variables and functionalities it has.It also requires a detailed roadmap as per the technologies to be used, infrastructure, and even new employees to fill the gaps.At this point, the quote assembly becomes a hell of a job on itself, which in order to be done properly has to be paid for. This is where we draw the line between tendering and actually projecting the future work. The result of winning a tender is the reconsideration of what got you there, thus requoting.With our rockstar elaborate quote, we want to be as good as our words. That’s why we treat complex quote as a separate segment of the project and charge for it. This is the type of quote that we should really call ‘package’, as the price is not the only asset we deliver. The 50-hour subproject package includes the following items:High-fidelity wireframe. There is not a lot of options that can be representative of the proposed functionality enough to persuade a client. Prototypes we deliver with the help of the Axure software is certainly a good asset. We can recreate prototypes with conditional logic, dynamic content, UI animation, and UX interactions without having to write any code.Unbiased general estimate. The quotes we create after all the thorough research, presentation, and delivery are not company-specific. This means you can take it anywhere else to implement, put it on the shelf, have it peer-reviewed, or whatever you want because it’s your custom estimate and we stand for it. Of course, any project estimate is closely connected to the time period and is better implemented while fresh and by those who drew the map.Web App Quote ExampleI’ve seen quotes that look like personal emails with a lot of irrelevant information and “breaking-the-ice” techniques mixed between the cold numbers and technology lists. Every project we get involved in starts with an interview, or Q&A/AMA session, where we get a feel of the project in a verbal conversation. This is not a quote process yet, it’s the acquaintance with the project.And then, we can talk business. This is a sample custom quote (the second type), that was generated by a PM after the team meeting within 10 hours.We believe a quote has to be relevant to the request. Even though we do attempt to approach the quote process from a standpoint of using a template, every quote is unique. Different project objectives enable us to leverage specific parts and features, and we make sure we can demonstrate it in a quote.The quote has to fulfill its value, be memorable, and to the point. Over 10 years of experience in web/mobile design & development have taught us some valuable lessons on how to approach proposals, one of them being “don’t turn it into a show”. Instead, we try to embed it into our signature business process which is open, precise, and smooth.
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