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Killexams : Business-Objects Professional thinking - BingNews Search results Killexams : Business-Objects Professional thinking - BingNews Killexams : Four Elements for Finding the Right Career Path

When people contemplate a career change, astute thinking alone won’t necessarily take them in the right direction.

Instead, when career changes and other huge life-changing experiences are at stake, people should tap into their “full self” to help them make the decisions that are best for them, argues Timothy Butler, senior fellow and faculty advisor to Career and Professional Development Programs at Harvard Business School. His research focuses on career decision making.

In this interview, Butler discusses his new book, The Four Elements: Finding Right Livelihood in the 21st Century, which outlines four key dimensions that can help people navigate career transitions: Identity, Community, Necessity, and Horizon.

Dina Gerdeman: Can you discuss the research behind your book?

Timothy Butler: Most of my research has been big data-driven, using psychometric assessments to identify the ways in which people find their way to the work roles and work environments that will be most rewarding.

This book was different. It is more of a reflection, looking back over my 40 years of working as a psychologist and a trainer of coaches and counselors. The question I asked was: “What issues are always present when individuals are faced with major career and life decisions?” I arrived at an heuristic that I refer to as the Four Elements model, which looks at four dimensions that are archetypal in that they are always present at these times of decision, whether we are aware of them or not.

Gerdeman: Could you briefly explain each of the Four Elements?

Butler: Sure, the first is Identity. Identity is a lifelong project in which we, and simultaneously the people in our world, have a growing sense of our place in the world in terms of our personal qualities, our deeply embedded life interests, and the skills that we bring to any given situation.

The two root questions for Identity are: “What work roles will allow me to express my deeply embedded life interests?” and “What are the signature skills that I bring to any life situation?”

The second element is Community. The root question for Community is: “What types of people and what organizational cultures will allow me to thrive and make my biggest contribution?”

The third element is Necessity. It is indeed important to understand our passions and find work that fulfills them, but we all live our lives within the gravitational field of necessity. The root question for the Necessity element is: “What are the nonnegotiable obligations and constraints that bear upon my current work and life choices?”

The fourth element is Horizon. The Horizon element is concerned with what we are walking toward in life; there is that in life which pulls us. This is the dimension concerned with our deepest sense of values, meaning, and priority. The root question for the Horizon element is: “How do I understand and move closer to life in its fullest?”

Gerdemen: In your work, how do you help individuals discover how the force of each element is factoring into their life situation?

Butler: At the core of my work with individuals, and my writing on this topic, is my model of implicit and symbolic intelligence. Each of us, at any given moment, has the capacity to experience the whole of our life. Right now, as you sit here, you have what psychologist Eugene Gendlin would call a deep “felt sense" of how everything is interacting together to provide your experience of your total life situation. You cannot use this implicit knowledge, however, because it is preverbal, presymbolic.

What you know deeply, but only implicitly, needs to be transformed into symbolic intelligence. This requires, again and again, finding fresh new language so that you can explain, both to yourself and to others, what is occurring for you within each of the Four Element arenas. This movement from access to implicit knowledge to finding new language for what is implicit is at the core of my work on the coaching process. In the Four Elements book, I lead the reader through this experience for each of the Elements.

Gerdemen: How do you do that in the book?

Butler: Most of us, when faced with a life decision, fall back on our analytical intelligence. We try to use the brute force of thinking to push the situation forward. What is required, however, is an genuine new experience about our current reality and both an implicit and symbolic understanding of that new experience. This will never come from employing our conditioned current mental model to problem solve, which is what our analytical intelligence does, even though this approach is highly rewarded in our current world culture.

In the book, I teach the reader the practice of free attention. This is a process not of thinking about oneself, but actually self-observing in real time as our implicit felt senses of our current life situation form. It is similar in some ways to certain meditation practices. I lead the reader into a state of free attention and then, for each of the elements and for a final integration, lead them through an exercise that’s specific for uncovering the current forces at play in each of the Four Element areas.

For the Identity element, we arrive at fresh new language for the day-to-day work activities that are most likely to be fulfilling, as well as new language for our signature skills.

For the Community element, each reader is guided through a process that allows them to create their own personal model of organizational culture which enables them to identify the dimensions of a culture that are most important.

For Necessity, from a place of free attention, each reader is guided through an experience that helps them to identify the most pressing necessities and obligations in their life at the current moment. These obligations may be quite different from what they were even six months before.

The Horizon exercise guides the reader to an understanding of what they already know about life in its fullest, which people represent for them life in its fullest, and what touchstones, such as books, music, poems, memories, places, experiences, objects, and so on, allow them to reconnect with life in its fullest.

Tue, 28 Jun 2022 12:00:00 -0500 en text/html
Killexams : Maker Day: Thinking in 3D On March 16 Is Chattanooga’s 1st 3D Printing Event

The Chattanooga Public Library in partnership with CO.LAB is presenting Chattanooga’s first 3D printing event, Maker Day: Thinking In 3D, on Saturday, March 16, from 11 a.m.-4 p.m. on the fourth floor of the downtown branch. 

The free event will showcase the art and science of 3D printing, a rapidly-developing technology, from an exciting array of perspectives including education, manufacturing, the visual arts and entrepreneurship.

Maker Day: Thinking in 3D will be an explosion of 3D technologies in action in a fun and educational environment designed to engage all ages and interest levels. The Maker Day program, a first of its kind in Chattanooga, will feature expert demonstrations, information kiosks, Q+A opportunities, displays of high definition 3D prints and models, as well as fun interactive activities with 3D scanners and more.

3D printing is a way to make physical objects on a desktop from a single digital file. Whether it is a prototype of an original design or a protective case for a cell phone, the power of 3D printing and digital DIY is emerging quickly.  

“The Chattanooga Public Library’s mission is to be the community’s catalyst for lifelong learning. Events like Maker Day help us bring the tools and technology that will be at the center of jobs in the not-so-distant future into the public realm right now,” said Chattanooga Public Library Executive Director Corinne Hill. “We look forward to introducing more programs and hands-on opportunities for everyone to explore this exciting technology at the library.”

Parents, students, hobbyists, and business and creative professional are encouraged to attend. A display of Chattanooga’s first 3D model of Downtown will be on view, in cooperation with SimCenter Enterprises, Inc., UTC/SimCenter, and Second Site, LLC. Bring the kids for interactive edu-tainment using Tinker CAD and 3D scanners. Watch 3D video conferencing and much more.

Demonstrations, talks and exhibit booths will be presented by NovaCopy, Engage3D, Chattanooga Regional Manufacturing Association, Virginia Tech’s DREAMS Lab, UTC College of Engineering and Computer Science, PlayCore, Chatt*Labs and the CHAMakers meetup group.

Maker Day: Thinking in 3D is sponsored by Ultimachine, SimCenter Enterprises, Inc., UTC/SimCenter, Second Site, LLC, CO.LAB and Big River Grille and Brewing Works. More information is available on the CHAMakers website

Wed, 29 Jun 2022 12:00:00 -0500 en text/html
Killexams : Inside ‘The Looking Lab,’ a Princeton course where visual arts spark entrepreneurial thinking

Lucy Partman believes that sometimes you have to get as far away from technology as possible to hatch the next great innovation.

For the first assignment for her new course “Looking Lab: Experiments in Visual Thinking and Thinking About Visuals,” she told her students: Ditch your phone, walk away from your computer, choose one object — a real object, not a digital image — and look at it for 10 solid minutes. Then draw it — not as an artist would but just a simple sketch.  Annotate it with details about its components like colors and materials. Then write one page about the experience.

Senior Mary Murphy, a concentrator in the School of Public and International Affairs, chose a 1959 photograph of Princeton rowers for one "close looking" assignment, noting details like the "one rolled down sock" worn by the rower at far right.

Photo courtesy of Mary Murphy

Partman’s “Looking Lab” is the first course at Princeton to marry the visual arts and entrepreneurship. In the first half of the semester, students learn the skills of “close looking” and research the experience of close looking itself; in the second half, they work in teams as entrepreneurs to design new tools to help people engage with the visual world and each other.

For that first assignment, one student chose a $20 dollar bill. Another picked a page from a knitting instruction book. Another looked at the movie poster for Quentin Tarantino’s “Once Upon a Time in Hollywood” on their dorm wall.

Lauren Howard, a member of the Class of 2022 and a mechanical and aerospace concentrator who also earned a certificate in creative writing, chose the cover of a 1979 paperback of Kurt Vonnegut, Jr.’s “Player Piano,” which has an illustration on it. She couldn’t believe how challenging the assignment was.

After about two minutes, your brain thinks it’s already seen everything it needs to see,” she said. “At about five minutes, your eyes get less antsy, and suddenly you’re seeing things you didn’t notice before. Once those 10 minutes were up, I felt that my relationship with the visual world had shifted. I realized how rarely we take the time to truly look at something, and as a result there are so many facets of knowledge that we miss out on.”

That’s exactly what Partman, a lecturer in art and archaeology, wanted to happen.

“To look at and actively engage with one visual for 10 minutes can be tremendously — and suprisingly — uncomfortable!” said Partman, who earned her Ph.D. from Princeton in 2021. “Human vision has evolved to allow for quick and seemingly effortless interfacing with the visual world — but how does it work on us? Close looking is a way of thinking; they’re not separate things.”

The term “close looking” is borrowed from art history but Partman is working to reimagine it. She believes it can be valuable in all fields for collaboration and innovation, “and as a life practice,” she said.

Visuals as ‘a problem-solving approach’ to innovation

The students applied close looking and other visual thinking “experiments,” as Partman calls them, to their final projects.

Rob van Varick, a lecturer in the Keller Center for Innovation in Engineering Education and professional product designer, led a workshop on storyboarding — borrowed from advertising, film and many other fields — which uses visuals to tell stories in a business/pitch setting. In “Crazy 8's," students sketched eight different ideas — one minute per idea — to envision possible solutions to a problem their team had defined. In the “persona” experiment — used in fields ranging from website development to marketing — students drew their product’s potential users, depicting demographic and environmental details such as where they live, work or play.

The second half of the course is designed as an entrepreneurial incubator, where students work in small teams workshopping new tools and ventures. One team developed a plug-in to help YouTube users engage in a more active and self-aware way with the content they consume.

Image courtesy of Javin Lu, Class of 2022, and Titi Sodimu and Alexis Sursock, both Class of 2023

One team created a pitch for a consulting service to work with video game developers and companies to help them integrate tools to make games more accessible to players with visual impairments. Another designed a plug-in to help YouTube users engage in a more active, self-aware way with the content they consume.

Partman intentionally mixed students with different academic concentrations for the teams. Senior Mary Catherine Lorio (physics) said the visual elements of the persona experiment helped her and teammates Fahd Nasser (history) and Emmandra Wright (computer science) clarify the user experience for their project: a venture that acquires, produces and distributes physical objects for hands-on, multi-sensory learning in all different disciplines and levels.

Each of us envisioned different users — teachers, parents and students,” she said. “We found it easier to communicate ideas by drawing them out rather than explaining them to one another. It was initially challenging but it was ultimately very rewarding. One ‘aha’ moment was when Emmandra pictured herself as a teacher in the classroom. As she explained what it was like for the students and teacher, we were able to draw out the situation and better understand how the product would be a helpful tool for different users.”

The course — which is cross-listed in visual arts, entrepreneurship, and art and archaeology — filled the day registration opened, with all but two of the 15 slots taken by seniors across STEM fields, the humanities and social sciences. Partman said that diversity of concentrations was what she’d hoped for.

“It was an incredible opportunity to think about big, real-world problems and questions with students who are about to graduate and go in all different directions,” she said. “I wanted to help them develop the ability to learn from and collaborate with people who have different background and specializations. Visuals can help you do that. And they allow you to see how the many parts of a whole interact and work together — that is a problem-solving approach in itself.”

To introduce the idea of visualizing knowledge across disciplines, Partman asked students to share a visual from their academic concentration.

Nasser shared “Black Power Salute,” a Life magazine photo of two American sprinters raising fists in the air at the 1968 Olympic Games. Senior Muhammad Umar (economics) showed a graph depicting how “choice overload” affects consumers. Senior Julie Shin (sociology) shared illustrations from a New Yorker article about Korean culture and names.

A true lab: ‘No lectures, no textbooks’

The students analyzed dozens of portraits of Frederick Douglass, one of the most photographed Americans of the 19th century. Guest speakers included Na Yeon Kim, a developmental cognitive neuroscientist at the California Institute of Technology. Readings ranged from Ralph Waldo Emerson’s 1836 essay “Nature” to the 1995 book “Thinking in Pictures,” by Temple Grandin, a leading designer of livestock equipment who self-identifies as autistic.

Partman intentionally mixed students from different academic concentrations for the final project teams. Seniors (left to right) Emmandra Wright (computer science), Mary Catherine Lorio (physics) and Fahd Nasser (history) developed a venture that acquires, produces and distributes physical objects for hands-on, multi-sensory learning in different disciplines and at different levels.

They visited the AccessAbility Center on campus, where Liz Erickson, director for disability services, and Brian Belcher, accommodations coordinator, explained the physical design of the space. Howard said it was her favorite day: It was amazing to see how the visual cues and physical details were picked so that the space would be useful and comfortable for any body and any mind.”

Partman designed the course by borrowing tools and approaches from her own academic journey, which spans the arts, natural sciences and entrepreneurship.

After receiving conservatory training in the visual arts at LaGuardia High School of Music & Art and Performing Arts in New York City, she earned her bachelor’s at Yale University in biology and the history of art. Her dissertation at Princeton focused on the teaching practices of 19th-century educator and physician William Rimmer.

“Rimmer was an innovative educator, an artist, a physician-scientist and anatomist,” Partman said. “In order to unpack and think about what he was doing, I had to look at many different fields, which for him were all connected.

“It's not about bringing STEM to the humanities or the humanities to STEM,” she said. “In the Looking Lab, we start with problems and bring together knowledge and methods from all different fields to develop new practices and solutions. The drawing part is borrowed from engineering and the visual arts, the lab notebooks students keep are like field journals anthropologists use, and so on.”

She continued: “There are no lectures, no textbooks, no ‘content dump.’ It’s a laboratory. We’re working together to ask questions, develop hypotheses, conduct experiments and create new tools.”

As a graduate student, postdoc and lecturer, Partman has been steeped in bringing the humanist’s perspective to entrepreneurship and experimental pedagogy at Princeton. She is actively involved with the Keller Center, the McGraw Center for Teaching and Learning, the Princeton Entrepreneurship Council, the Princeton Startup Bootcamp, the GradFUTURES program and the professional development team of the Graduate School.

“Many of the skills scholars develop — finding gaps in markets, dealing with vast amounts of ambiguity, building things from scratch — are those common to entrepreneurs,” Partman said. “I deeply believe that graduate students and Ph.D.’s can be agents of innovation, change and leadership inside and outside of academia.”

Creating a ‘lab community ethos,’ honing ‘close looking’ skills

On March 1, in a seminar room in Green Hall, the lab compared four versions of the front page of The New York Times: the May 24, 2020, print and digital editions, when the coronavirus death toll in the U.S. neared 100,000, and the Feb. 21, 2021, print and digital editions, when the U.S. death toll passed 500,000.

On the eve of midterms, Partman knew her students were stressed and tired. She also knew the subject matter of this lab session was dark and fraught. She began, as she did many lab meetings, with a check-in. She invited each student to describe a visual that represented how they were feeling that day.

Students had a mix of responses: “Jackhammer.” “Hiking uphill.” “Trudging through a snowstorm.”

This informal check-in is baked into the “lab community ethos” Partman sets in the syllabus. “Creating a safe space is one of the key elements of this course, so that we can question what we take for granted and explore what makes us uncomfortable,” she said.

The May 24, 2020, print version of the Times ran the names of the 100,000 dead, covering the whole front page, some followed by a tiny bio such as “Jorge F. Casals, 75, Manchester, Conn. Put himself through college.”

One student pulled up the digital version — which represented each death with 100,000 icons of a standing person, also interspersed with tiny bios — on his phone. “You can hover on each person, all the other people go away, and the bio of the person pops up,” he said. “It’s like an Instagram feed and you don’t want to stop. If you Google each person, you get an article about them.”

Partman passed around the Feb. 21, 2021, print version, which used a dot to represent each of the 500,000 deaths running the full-length of the page, like a cutaway into the core layers of the earth, with the darkest swath at the bottom.

She asked: “What do these visuals allow us to understand? Are they getting at some kind of feeling or emotion that a number is not going to capture?”

“Because it’s a newspaper, it has to be objective and data-driven,” one student said. “But the graphic is also emotional. It starts out light and gets so much darker. It’s like a sorrow.”

Another student observed: “Having spent two years with graphs in the pandemic, nothing summed it all for me as well as this single graphic. I got the gravity of the individual and of the group level. It’s really devastating.”

To explore the impact of the interplay of image and text, the lab compared the print and digital versions of the front pages of The New York Times, when the U.S. death count from the coronavirus pandemic reached 100,000 deaths and then 500,000. Partman asked: “What do these visuals allow us to understand? Are they getting at some kind of feeling or emotion that a number is not going to capture?”

Images courtesy of Lucy Partman

Entrepreneurship incubator

Senior Riley Held (economics) was on a team with seniors Mary Murphy (School of Public and International Affairs) and Gabriella Carter (anthropology), who became an entrepreneur even before arriving at Princeton — she founded Growing with Gabby, which helps students secure scholarships.

Their project is an app called BePresent, which incentivizes people to put their phone away while they're out to eat with a group. Everyone turns on the app’s "engagement mode," which stays active — earning each member of the group credits that can be redeemed for deals offered by participating restaurant partners — until one member leaves the app.

“We think BePresent could be a great way to help families, friend groups and romantic partners connect with each other in conversation without the distraction of their devices and save some money along the way,” Held said. His interest in visual problem-solving and entrepreneurship was sparked his first year at Princeton in the Keller Center's eLab Accelerator program.

Partman said many students in the class said they would be excited to invest in and use BePresent if it came to market.

She will teach the course again in the fall, this time with 12 students: half seniors, half juniors. It filled quickly. Partman is excited to continue her experiment.

“Education primarily focuses on teaching people how to read, write and deal with numbers,” she said. “But what about learning how to look closely and critically at images, at the world around us, and at ourselves?"

Tue, 21 Jun 2022 02:54:00 -0500 en text/html
Killexams : The 7 Things You Should Not Do, To Avoid Hiring A Bad Agency

Clients who make agency decisions, live in a world of career consequences, good or bad. Given the stakes, why, then, do so many bad agencies seem to win so many pitches? The consequence is that client/agency relationships that used to last for decades, suddenly fizzle out in 2 to 3 years.

When the pitch becomes a “beauty contest” and, a creative shootout, it doesn’t tell you much of anything. Very few shops are brave enough to go out on a limb these days. It's just too risky. They're absolutely going to play it safe, no matter what. They are going to look at what you've done in the past, get a sense of what you like, and supply you more of the same. More of the same may not be what your brand needs. Perhaps because of that, 90% of the “winning campaigns” in a pitch never see the light of day!

Marketers just don’t understand, or seem to ignore, the harm that picking a bad agency can do to their career. The big holding companies spend more time chewing over revenue, margins, operations, staffing and process, than is ever spent talking about brands, clients or ideas. Perhaps, because of this thinking, CMOs pay the price of a short tenure and are replaced every 3 years.

Instead of a superficial “creative beauty contest”, as it were, a smarter pitch would be focused on the agency team, including a nod to hiring a group of people who truly understand that creative isn’t just a commodity. For them, marketing isn’t a science, and data isn’t the answer—it’s just another way to look at the problem.

Hire a passionate team, where a copywriter thinks about your business problem while walking their dog; a strategist who goes for coffee just to come up with more insights; an account person who researches stores in their own time, just to find out what the competition is doing. Teams that are all-in as the brand’s biggest fans.

Many pitches are already doomed before they’ve even started. The first mistake that many marketers often make is, to mortgage their brand and their career to the procurement department. They do so by letting a procurement executive run the pitch. Procurement executives may be terrific at negotiating, mostly for tangible objects like travel or furniture. However, they don’t have a broad knowledge of the essence of ‘agency-ness’.

The second sure way to screw up a pitch is marketers that manage the pitch on their own. They, too, lack a deep knowledge of agencies’ talent and momentum. The mistake marketers often make is, that, they look at hiring an agency as an isolated event, whereas hiring an agency must be viewed from the larger perspective of the supply chain.

Sadly, the pitch is sometimes the high point in the agency/client relationship. Agencies may over-promise and then, under-deliver, but, equally, clients may brief poorly or be seduced by enticing showmanship or short-term tactics. The objective evaluation of the agencies selected to pitch is the answer:

Don’t be dazzled by personality and technical wizardry. A degree of showmanship is fine but, behind this, there always needs be a substantial and workable proposal. Agencies know how to seduce clients with a dazzling pitch, often without substance. If you choose an agency based on an emotional reaction to a campaign, chances are that you're not going to wind up with the right fit agency.

Don’t be swayed by size or reputation. Big agencies may not be better than small ones, and the quality of resources devoted to your account will depend on how thinly the team is spread over several clients. A great team in a mediocre agency is better than a mediocre team in a great agency. A pitch is not about hiring an agency, you are hiring the team within the agency. You are hiring, mostly, the 7 or 8 people who work at these agencies and will be your day-to-day team.

Don’t hire a professional pitch team. The people who present to you should be the everyday people who will be working on your account. Be wary of professional pitch teams. They are often very impressive but will be of no use to you if they have little or no day-to-day involvement with your account.

Don’t ignore the importance of stability. You need to evaluate just how long the people who will be working on your account been together as a cohesive group. Do they seem to work well as a team? Find out what is the rate of staff turnover. Finally, ask yourself does the agency has long term clients, or a high rates of client churn?

Don’t be sold something you didn’t ask for. Each agency pitching will have experience and strengths but don’t allow this to dictate your decision if they are irrelevant to your brief.

Don’t think short term. Choose an agency that you will be comfortable working with for the next decade, at the very least.

Don’t buy on price. This works both ways. Advertising is a professional service, and you’ll need to pay the right rate for the talent you want to work with. On the other hand, you certainly do not wish to pay high rates to subsidize the holding company’s overhead or swanky offices.

Thu, 16 Jun 2022 04:03:00 -0500 Avi Dan en text/html
Killexams : Credential Sharing as a Service: The Hidden Risk of Low-Code/No-Code No result found, try new keyword!If you're thinking that there are better solutions ... most services issue tokens that are valid for 12 months. Let's say a business professional creates an application. Instead of having to ... Mon, 20 Jun 2022 02:20:00 -0500 en text/html Killexams : 25 best architecture firms in Mumbai

Mumbai, built on what was once an archipelago of seven islands in the Arabian Sea, has developed over millennia into what is today among the most populous cities in the world, with a population of 20 million. A South Asian financial, civic and cultural center, Mumbai has an architectural stock that includes buildings ranging from centuries-old Hindu temples to those constructed from the 17th to 20th centuries and influenced by Portuguese and British rule. Mumbai-based designers are inherently challenged to navigate questions of tradition in the face of modernity and an always-developing metropolis. Here we highlight 25 contemporary architecture and design studios operating out of greater Mumbai today, and producing pioneering new work for India. 

photo_credit Mr. Dinesh Mehta
Mr. Dinesh Mehta

1. Sanjay Puri Architects
A firm of over 70 people based in Mumbai, Sanjay Puri Architects offers design solutions which are contextual, responsive and foster social interaction. With a diverse portfolio of townships, schools, hotels, retail and office buildings, the firm explores innovation and sustainability at a large scale. Its portfolio includes such projects as ‘The Street’ - an 800-room student hostel located in India’s Mathura city. Designed in 5 blocks each 4 levels high, this collection of buildings with articulated windows snakes across a wedge-shaped site, each twisting and turning along its length.



photo_credit Suleiman Merchant
Suleiman Merchant


SHROFFLEóN is a Mumbai-based architecture, landscape and interior design studio. It is headed by Kayzad Shroff and Maria Isabel Jimenez Leon. As a boutique practice that offers bespoke solutions to client needs, SHROFFLEóN claims to approach each project with a ‘mix of child-like naivety and curiosity’ which enables the creation of novel and well-curated living and working spaces. The firm’s portfolio includes ‘Aurelia -House Under a Pool’, which tucks a two-bedroom home under a pool on a sloped site.



photo_credit Edmund Sumner
Edmund Sumner

3. Architecture BRIO

Architecture BRIO focuses on creating beautiful and sensitive environments within a contextually appropriate framework. Established in Mumbai in 2006 and led by principals Robert Verrijt and Shefali Balwani, Architecture BRIO is a design-based practice focusing on architecture and interior design. It combines exposure and knowledge of European innovation and detailing with the richness of Asian tradition and culture. Its portfolio includes ‘House on a Stream’, a retreat in the region of Alibag, India, delicately woven into the landscape, which alternately opens up and closes itself to the different characteristics of its lush site.


photo_credit ©PHX India, Sebastian Zachariah
©PHX India, Sebastian Zachariah

4. Atelier Design N Domain, ADND

Cofounded by Ar. Anand Menon and Ar. Shobhan Kothari, the partnership ADND is an architecture and interior firm focused on boutique residential, corporate, hospitality and retail work. The firm has a team of over 20 designers and a philosophy that design is, above all, a process. It has completed such work as ‘Casa Feliz’ in southern Mumbai - a 10,000 ft² courtyard-centered house spread across a 2-acre site with dense flora and a small water body.


photo_credit David Phan
David Phan

5. RSP Architects Planners & Engineers
RSP Architects Planners & Engineers is an established professional practice headquartered in Singapore with offices in China, Vietnam, the United Arab Emirates, Malaysia and India. Its international workforce brings diverse perspectives to the design process, creating innovative and sustainable solutions. RSP’s integrated multidisciplinary expertise, honed over six decades of experience, has produced award-winning projects in architecture, engineering, town and master planning, urban design and interior design.


photo_credit Amit Pasricha
Amit Pasricha

6. Studio PKA
Founded in 1993 as Puran Kumar Architects and Designs, and later renamed Studio PKA, the firm is an established practice that provides complete design solutions for interior architecture. From large corporate offices – both domestic and multinational – to residential projects that range from apartments and bungalows to villas, PKA’s repertoire of architecture and interior projects is varied and simple. The studio’s projects include ‘The Loft’, the renovation of a 100-year-old Victorian era building in the art district of South Bombay. 

photo_credit Photographix India
Photographix India

7. Spasm

Spasm is an architecture studio set up in 1995 by two partners, Sangeeta Merchant and Sanjeev Panjabi. Run as an intimate, research and innovation based studio, the focus is on unique user-friendly projects. The studio has completed projects such as ‘Gomati’, where an existing house was demolished to make way for a new house and new way to occupy the site. Spasm retained and recycled the debris of the demolished building as a mound, and organized the new home’s sleeping spaces as an introverted assembly around existing trees.



photo_credit Zheng Yan
Zheng Yan

8. M Moser Associates

M Moser is a global strategy, design and delivery firm that focuses on crafting work environments for organizations that want to transform. M Moser brings data and insights gained from projects completed around the world, providing high performance workplaces. Its portfolio includes the ‘Nest Art Center’ in China, which places an organic ovoid of timber within a rectilinear metallic structure as a symbiotic relationship between the building and the surrounding natural environment.


photo_credit Bharath Ramamrutham
Bharath Ramamrutham

9. Malik Architecture

Malik Architecture is a firm of architects, interior designers and  building services consultants that has over three decades designed a number of prestigious projects in India and overseas. The office operates on a philosophy to provide comprehensive design capabilities by harnessing new technologies. It has completed institutional buildings, healthcare facilities, research facilities, education facilities, corporate office buildings, residential complexes, hotels, hospitals and interiors. It attempts to resurrect the Indian Artisan as well as cultivate the use of local materials, exemplified by works that incorporate load-bearing brick masonry, stone masonry and exposed concrete.


photo_credit Sebastian zachariah (PHX)
Sebastian zachariah (PHX)

10. Dig Architects

Dig Architects is a multidisciplinary design practice established in 2009. Based out of Mumbai, the practice has conceived and executed various architecture, interior design and branding projects. The primary objective of the practice is to create "atmospherics" which resonate the spirit of the time. The practice is equally interested in its cultural endeavors as much as its technological ones. Dig Architects is involved in research and education which is an integral part of its design process. The office currently employs a staff of 10 architects and interior designers.


photo_credit Carlos Chen
Carlos Chen

11. RMA Architects
Rahul Mehrotra is an architect, urbanist and educator who is the founder principal of RMA Architects as well as a professor of urban design and planning and Chair of the department of Urban Planning and Design at Harvard University’s Graduate School of Design. Mehrotra has designed projects that range from recycling urban land and master planning in Mumbai to the design of art spaces, boutiques, weekend houses, factories, social institutes and office buildings across India – engaging diverse issues, multiple constituencies and varying scales from interior design and architecture to urban design, conservation and planning.


photo_credit Rajesh Vora
Rajesh Vora

12. DCOOP 
DCOOP is a Mumbai-based architecture practice established in 2003 by Quaid Doongerwala and Shilpa Ranade. The firm has worked on a diverse range of projects including individual houses, retail stores, offices, institutional projects and master planning in various regions of the country. The firm believes that any exercise of design should derive from a deep study and understanding of the history, context and lived realities of a given site and program. Quaid and Shilpa’s independent research and interest in social and cultural aspects of the immediate environment have given the firm a positive interdisciplinary grounding and a critical edge. DCOOP’s projects are characterized by refined proportions and a sense of balanced restfulness.



photo_credit © Jatinder Marwaha
© Jatinder Marwaha

13. Morphogenesis

Morphogenesis has offices in Mumbai, Bengaluru and New Delhi. The studio reinterprets India’s architectural roots and consistently employs passive design solutions to sculpt a unique contextual language. Its work encompasses a range of typologies across architecture, interiors and landscape urbanism. With projects in 8 countries, 95 International and National Awards and hundreds of publications globally, it is the first Indian firm to be awarded the Singapore Institute of Architects Getz Award for its contributions to shaping the changing landscape of Asia. The firm’s work has been published in a monograph by Images Publishing as part of its Master Architect Series.


photo_credit Yamini Krishna Photography
Yamini Krishna Photography

14. Alcove Design Consultants
With more than 25 years of experience, Alcove Design Consultants has the capability to deliver projects from concept to execution. Its planning solutions strive to introduce new ways of productive working within the built environment. Alcove’s knowledge based approach, research, analysis and interpretation helps organizations to build better environments. Its clients include corporations like Facebook, Sony Pictures Networks, India Infoline Limited, Johnson & Johnson, Regus, Agfa Imaging, 91 Springboard, Times Now and Sterlite Technologies.


photo_credit Sameer Tawde
Sameer Tawde

15. JDAP
JDAP is a design, architecture and planning firm with a core approach self-labeled as 'Design that is closer to Nature'. The firm’s philosophy is: not only do the conception and development of an idea hold value, but the complete life cycle of the idea - its production and material manifestation - need to be incorporated and developed into the ethos of each project. JDAP’s projects include an expansion for a school for girls in suburban Mumbai, which features a delicate steel staircase inserted within the court formed by an existing C-shaped building, becoming the primary path of entry to the school.


photo_credit Mr. Rajesh Vora
Mr. Rajesh Vora

16. IMK Architects

Founded in 1957, IMK Architects is an architecture and urban design practice headquartered in Mumbai with a second office in Bengaluru. It is led by the father-son duo of I. M. Kadri and Rahul Kadri, who are supported by a 35-strong multidisciplinary team of architects, designers, planners, engineers and visualization artists. The practice’s early journey is intrinsically tied to that of independent India, and more specifically, to that of the country’s financial capital of Mumbai - its diverse work is a reflection of changing times and imaginations as a young nation developed into a self-sufficient metropolis and business and political center. IMK Architects focuses on exploring the potential of architecture within the paradigms of culture and civilisation to serve the needs and aspirations of the communities it serves. Social consciousness, sustainability, and robust designs have been the cornerstones of the practice.


photo_credit Niveditaa Gupta
Niveditaa Gupta

17. Samira Rathod Design Associates

Samira Rathod is an architect, teacher, writer and editor and graduate of MIT with a progressive outlook and attitude towards innovation. The studio’s portfolio includes the ‘House of Concrete Experiments’, located in the coastal town of Alibaug, near Mumbai - a project that explores concrete in all its aspects including its use in planning, construction, structural design, material usage, services and light.



18. Aum Architects 
Aum Architects is a team of dedicated professionals engaged in consultancy services for architectural, civil, project management and interior design, with a wealth of experience covering residential, commercial and industrial projects. The firm states: “What sets us apart is that we believe in optimizing limited resources to design buildings and interiors that are functional.” Aum recognizes the value of information technology by amalgamating the latest digital technologies available to meet the challenges and demands of the construction industry in the current environment.



19. ARK Reza Kabul Architects

ARK Reza Kabul Architects is a comprehensive global design studio with three decades of proven expertise in project design and delivery ranging from master plans and townships, to industrial, hospitality, commercial, institutional, educational and residential projects. Founded in 1988 by Reza Kabul, ARK is headquartered in Mumbai with offices in Pune and San Francisco. It is a full-service firm that is also a pioneer of high-rise design in India. ARK is known for such landmark projects as ‘Transcon Triumph’, which was named the Best Residential High Rise Development in India by the Asia Pacific International Property Awards in 2015.


photo_credit Rajesh Vora
Rajesh Vora

20. SJK Architects

Established in 1990, SJK has designed and executed architectural and interior projects that range from high-end corporate offices and showrooms to houses, resorts, hotels, factories, schools, colleges and museums. Its projects include the ‘Leaf House’ - a series of living spaces topped by leaf-like structures made of dense concrete and a steel web to generate beamless shells, supported over concrete-filled steel columns.


photo_credit Sebastian Zachariah, Ira Gosalia, Photographix
Sebastian Zachariah, Ira Gosalia, Photographix

21. S+PS Architects

Shilpa Gore-Shah and Pinkish Shah are the founding partners and design principals of Mumbai-based S+PS Architects. The studio’s impressive ‘Collage House’ was designed to accommodate four generations of the same family - reused windows and windows, as well as antique wooden columns and other found objects are combined to form the facade of this house in Mumbai.


photo_credit ©Hufton+Crow

22. Serie Architects 
Serie Architects is an international practice based in London, Mumbai and Beijing. Serie works in the fields of architecture, urbanism and design. The practice is fascinated by the evolution and mutation of building types in today’s cities. Working typologically, or in the studio’s terminology, “thinking and exploring in series by harnessing the cumulative intelligence of building types,” is key to the work of Serie. The work of the practice is closely linked to the research conducted at the Architectural Association, where the practice’s principle, Christopher Lee holds the position of the Director of the AA Projective Cities MPhil Programme. Kapil Gupta, principal of Serie India, is also director at the Urban Design Research Institute in Mumbai, which is leading several research projects in the City.



23. Somaya and Kalappa

Somaya and Kalappa is a full-service architectural firm offering each client a combination of imaginative design, expertise and intense involvement. The studio’s reputation is based on providing the highest quality of professional services. It strives to produce work that is innovative and practical, while keeping in mind the social, economic, environmental and aesthetic issues relevant to each project.



24. Designers Group
Designers Group is a leading core hospitality firm in India founded by Ar. Khozema Chitalwala, with his wife and partner Sujata Chitalwala. The studio has extensive experience in interior architecture. Believing in simple, yet ground-breaking design, this global hospitality firm outlines concepts which prove to be smart, user-interactive and stand up to the specifications of the global market. The high-end hospitality interior architecture projects handled by the firm showcase its commitment to excellence.



photo_credit PHX India
PHX India

25. Studio Nishita Kamdar

Studio Nishita Kamdar is an award-winning multidisciplinary design practice started in Mumbai in 2014. The studio is engaged in both architectural and interior design projects such as holiday homes, standalone architectural projects, residential interiors and commercial spaces. Its portfolio includes ‘Under the Mango Tree’ - a residential project which offers unobstructed views of a surrounding sprawling farm from any location in the house.



The selection curated by the Archello editorial team is based on a mixture of the amount of featured projects and the views they generated. For a more comprehensive list of Mumbai architects you can take a look here.

Thu, 14 Jul 2022 12:00:00 -0500 en text/html
Killexams : Surprise! One of this year’s more delightful video games is an interactive escape room No result found, try new keyword!Locals Coin Crew Games and iam8bit combine forces to release "Escape Academy," a digital escape room game that puts the emphasis on group play. It's a delight. Thu, 14 Jul 2022 08:44:15 -0500 en-us text/html Killexams : Go to Derby: see how a museum can help shape a better future

What is the role of museums in civic life? Are they merely containers of memory or can they be agents for change? When I visited the Potteries Museum and Art Gallery in Stoke-on-Trent recently – the museum I grew up with, even worked at during the holidays – I ended up with a feeling of profound melancholy, despite my usual pleasure in the richness of its ceramics collection. I could hear fellow visitors, who were locals (though the museum was sadly almost empty) sharing memories of a pottery industry that had contracted greatly in the late 20th century; I chatted to a man whose mother had once been a highly skilled tube-liner at a well-known potbank (tube-lining is a decoration technique). Of course, understanding and thinking about the past has always been the primary role of museums. But – perhaps especially in the case of industrial museums in deindustrialising areas – there is a danger of nostalgia. Of lamentation, even.

About 40 miles east of Stoke, Derby’s Museum of Making is pioneering a different approach. The museum is housed in a former water-powered silk mill, originally built in 1721, that has some claim to be the first modern factory in the world. Shortlisted for the Art Fund Museum of the Year award, which is awarded on 14 July, the institution was until recently a standard-issue industrial history museum. But since it reopened last May after a redevelopment, it has been doing something rather different, and the clue is in the purposeful title. The museum certainly contains relics of a lost manufacturing history. There’s no more silk-making, after all; and formerly major firms, such as the foundry Handyside, which manufactured everything from pillar boxes to railway bridges, are gone. But it is also about the industrial present.

When you walk into the museum, the first two things you see are a magnificent Trent 1000 Rolls-Royce engine suspended from the ceiling of the glassed-in hallway; and, above your head, the components of a Toyota Corolla. Both firms are major employers in the city (Rolls-Royce employees, Derby Museums’ executive director Tony Butler told me, like to have their wedding photos done by the engine). Between the two modern objects, running up a stairway, is a selection of things once or still made in the city, from bus-stop signs to Crown Derby china.

The Museum of Making in Derby has been shortlisted for the Art Fund Museum of the Year prize. Photograph: Emli Bendixen/Arts Fund/PA

Continue through the museum and you’ll get an understanding of the history of manufacturing of this city. Crucially, no bones are made about the exploitation of labour at home and in the empire: there’s no British exceptionalism, no unique British “genius” rolled out to explain the industrial revolution. Aside from being truthful, that hardheadedness also goes a long way towards eradicating wistfulness about a lost greatness.

The museum, instead, is practical. The exhibits – a policy guided by early public consultation – are largely organised by material (wood, ceramic, metal). It’s a maker’s way of looking at the world. And everywhere you go, you are confronted by people actually doing things, whether it’s staff doing a bit of crafting while looking after the tills, or a volunteer helping visitors have a go on a hand loom.

There is a maker-in-residence scheme, currently held by a accurate graduate in product design, Joel Aspinall, who is working on 3D-printed ceramics and bespoke jewellery – using a studio space free of charge, and being supported by the museum more generally (when we chat, he is just about to meet up with the in-house marketing team). Those who join a membership scheme can access co-working spaces and rent time in workshops, too.

Here makers – whether accurate graduates who need some bench space, professional artisans or retired hobbyists – can go to use seriously good equipment (a kiln, a CNC lathe), and talk through projects with technicians. Butler told me they were explicitly hoping to be a resource and practical inspiration for young people who might not want to go to university, but who could end up with skilled jobs in local industries.

How has it done all this? Crucially, Derby’s museums were spun out of direct control of the council and are run by a trust, which gives them freedom, including the ability to raise their own endowment. (Many council-run institutions have limited autonomy, their directors buried deep within a municipal hierarchy.) However, and in large part owing to Westminster’s outsourcing of austerity to local councils in the years after 2010, Derby’s museums receive only about 50% of their funding from public sources. The rest they raise and earn themselves, so that the Museum of Making is a catering business and an event space too – a modern neoliberal model that, pushed too far, risks deflecting the institution from its civic responsibilities. The museum, free of charge to enter, is clearly thriving – it was buzzing with life on a Tuesday lunchtime – but Covid’s parting gift has been a deficit that must be eradicated by 2026. Not easy.

Derby, like so many towns and cities in the UK, has watched Covid hollow it out, leaving high-street retail units empty that may never be refilled as shopping moves rapidly online. What might a new kind of city centre look like, now that retail-led regeneration is effectively over? Could there be more housing, more units for small-scale businesses and manufacturers, more and better cultural spaces? If museums are one of the most important ways in which the identity of a city is explored, the Museum of Making is certainly staking a claim to Derby’s future – not just its past.

Fri, 01 Jul 2022 01:19:00 -0500 Charlotte Higgins en text/html
Killexams : D.C.-area business leaders respond to Supreme Court's vote to overturn Roe v. Wade No result found, try new keyword!Stan Soloway, CEO of government contracting consulting firm Clereo Strategies LLC and the former president and CEO of the Professional ... Business Journal "This landmark decision changes our ... Mon, 27 Jun 2022 01:08:00 -0500 text/html Killexams : Micro Core by Seek Thermal Wins 2022 Best of Sensors Award Using LightPath's Optical Assembly

ORLANDO, FL / ACCESSWIRE / July 14, 2022 / LightPath Technologies, Inc. (NASDAQ:LPTH), ("LightPath" or the "Company"), a leading vertically integrated global manufacturer and integrator of proprietary optical and infrared technologies is pleased to announce that its partner, Seek Thermal, won the 2022 Best of Sensors award in the opticals and cameras category for its Micro Core Product. Micro Core uses an optical system designed and produced by LightPath for their specific needs.

For over two decades, the Best of Sensors Awards has shone a spotlight on the best and most innovative products, technologies, teams, and people in the sensors industry. Presented by Sensors Converge and Fierce Electronics, the goal of the awards program is to honor and promote wide recognition of the industry's most transformative technologies and teams.

Micro Core is a high-performance thermal sensor in a market-leading size footprint. Designed for small form factor, low power and lightweight applications, the Micro Core delivers high-end thermal capabilities, accuracy and performance that is unmatched in its price range.

Mike Muench, CEO and President of Seek Thermal, said, "Micro Core furthers Seek's mission to make thermal imaging a part of everyday life. Innovative design, high performance, small size and low price allow integration into a wide variety of applications. LightPath is a key partner with Seek to bring Micro Core to the market."

Commenting on the award, Sam Rubin, CEO of LightPath said, "We are proud of our partner's accomplishment and we believe this helps to validate the work we do to bring value-added solutions to customers' needs. Our domain expertise allows us to produce innovative design solutions to meet complex customer needs."

About Seek Thermal:

The company was founded in 2012 by two industry pioneering scientists, Bill Parrish, PhD, and Tim Fitzgibbons, PhD, who spent 40 years advancing the state of military and professional-grade thermal imaging technology. Following their previous two companies, Amber Engineering and Indigo Systems, each with successful acquisitions, Seek Thermal is their third venture with the mission to make thermal imaging a part of everyday life.

An unseen world of energy surrounds us. We only see some of it with our eyes, light from a source of energy reflected on objects around us. But even though we can't see it, all objects produce or retain heat. When viewed through a Seek Thermal camera, this world of heat can be converted to images, providing important information useful in solving everyday problems that are otherwise invisible to the naked eye. Seek thermal imaging lets you see the world of heat instead of the world of light.

About LightPath Technologies:

LightPath Technologies, Inc. is a leading global, vertically integrated provider of optics, photonics and infrared solutions for the industrial, commercial, defense, telecommunications, and medical industries. LightPath designs and manufactures proprietary optical and infrared components including molded glass aspheric lenses and assemblies, custom molded glass freeform lenses, infrared lenses and thermal imaging assemblies, fused fiber collimators, and proprietary Black DiamondTM ("BD6") chalcogenide-based glass lenses. LightPath also offers custom optical assemblies, including full engineering design support. The Company is headquartered in Orlando, Florida, with manufacturing and sales offices in Latvia and China.

LightPath's wholly-owned subsidiary, ISP Optics Corporation, manufactures a full range of infrared products from high performance MWIR and LWIR lenses and lens assemblies. ISP's infrared lens assembly product line includes athermal lens systems used in cooled and un-cooled thermal imaging cameras. Manufacturing is performed in-house to provide precision optical components including spherical, aspherical and diffractive coated infrared lenses. ISP's optics processes allow it to manufacture its products from all important types of infrared materials and crystals. Manufacturing processes include CNC grinding and CNC polishing, diamond turning, continuous and conventional polishing, optical contacting and advanced coating technologies.

For more information on LightPath and its businesses, please visit

Investor Contact:

Brian M. Prenoveau, CFA
MZ Group - MZ North America
+561 489 5315

SOURCE: LightPath Technologies

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Thu, 14 Jul 2022 16:30:00 -0500 en text/html
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