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Assessing a Development Site Part 1

The essence of pre-planning viabilityOften you notice a development site advertisement may be for 3 units accompanied by the initials STCA (subject to council approval), but when you seek the agent’s opinion, they suggest that you might even get 4 units. Could it be their knowledge of planning laws is weak? The fact is agents are rarely adequately experienced to offer a judgment on the development prospects of any potential site.Many second rate developers go to council offices to consult with planning personnel, unfortunately they are told to present an application since the council will not offer an opinion on highest possible development prospects as different council workers will give you different opinions.Why is expert pre-planning necessary?In locations like Victoria, each piece of land is subject to the Res Code planning policy guidelines by the state government as well as the decisions and policies of the council which include its development plans, tree policies and at times some environmental management policies. Other authorities such Melbourne Water and Vic Roads also affect prospective developments.Apart from considering the above, you need to be conversant with recent property and planning law changes as these constitute often change. In addition every site has unique characteristics that deserve a developer’s attention. Land terrain, drainage and accessibility to transport will also contribute to limiting the number of residences to be constructed on a site.As with other types of investments, precise information of city planning increases the chances for achieving great financial returns. Pre-planning advice from a seasoned real property manager will tell you of prospective planning hitches early.Often, an application which most developers regard as simple, for example the nature of occupancy, can be delayed in the council for more than a year because of an objection by neighbours or councilor’s general opposition to the project.Using a planner with your project architect will tell you in advance of any chances of an objection to the development by the neighbours. Such knowledge allows you to organize a plan with high chances for rapid assessment.The importance of the above cannot be overstated. Developers have gone bankrupt waiting for applications to be dealt with by council officialsSetbacks and the building envelopeThere are a myriad of things to look for and consider when choosing a property for development and each type of development will have different criteria to meet; i.e. if your aim is for a 5 unit site there will be different setbacks required to those for a dual occupancy site. Setbacks relating to existing homes, where you want to put another dwelling, are usually different again.Definition of setback as per Legislation.vic.gov.au – “setback” from a boundary or building, means horizontal distance from that boundary or buildingBut firstly, what is the building envelope? This term refers to the area of land within the boundaries of a site that a building can be constructed on. Building envelopes vary from council to council and from site to site depending on their size. It is not a standard size.Even though this hypothetical block may well be above 900m2 you will see there are four constraints marked on the site;1. “E-1 Easement” running parallel to the rear fence2. A significant “Average Front Setback” for this street3. An allowance for the driveway4. An allowance for “Private Open Space”These four constraints alone can effectively halve your building envelope. Victoria’s Planning Scheme for residential developments RES CODES, Clause 55, defines 34 such constraints, so be sure you read it thoroughly and understand it. If you discover the building envelope of your site is too small, you will need to make some compromises. You may discover the compromises you need to make dramatically affect the outcome of your proposed development or subdivision. One way of keeping your proposed building size is to reduce the car parking. But this can creates a problem too – reducing the number of bedrooms you are permitted to have for example.Let’s say you want your development to consist of 3 three-bedroom townhouses, and you want them all to have double garages but you discover the building envelope is too small to allow for this. You will then have to scale it back; i.e. to maybe 2 three-bedroom townhouses with double garages and 1 two- bedroom townhouse with a single garage. In the worst case scenario you might find you have to change your development so it consists of two townhouses instead of three.It might even affect the feasibility of the whole development as your return may be too low to make it viable.There is a rule of thumb that many planners and developers use when it comes to working out the site allowance for each dwelling. Before deciding to purchase they allow 250m2 per dwelling. If there isn’t that much space they don’t purchase. They use this rule this rule of thumb without paying for the assistance of professionals.As a result they can run into problems when it comes to what can actually be permitted. Assumption can be a dangerous thing, especially in development. It may be they have a 900m2 parcel of land, they do their figures and come to the conclusion they’ll be able to get a planning permit for three townhouses because purely on a square metre basis, the land exceeds the allowance of 250m2 per dwelling.Where they come to grief is in working within the constraints of the local Council’s planning requirements. If you ignore them and your proposed development does not fit within these constraints, your site will not get a planning permit.Of course, there are times when the building envelope is just simply too small to develop the number of townhouses you’d like, and as we mentioned earlier sometimes if you have to scale back too far, the project ceases to be viableFront SetbacksNow, let’s say the house to the left of our proposed development site has a 6 metre setback from the front boundary, and the house to the right has a 3 metre setback. If you study the street line and you discover 3 metres is the average setback, then you can usually start the new dwelling at 3 metres. If, on your site, there is an existing dwelling with a setback of 6 metres, and you’re going to demolish it and re-build, you will have 3 metres more to build on than what is already there. You’ll find that setbacks usually follow the street line. The front setback rule varies from Council to Council. The usual formula is the average of the setbacks of the properties on either side. However, the setback formula can extend to more properties on either side as well as those across the roadConnections – look underground firstIt is of the utmost importance to know where the assets are in order to connect such as a new sewage pipe or new storm water system. I knew of one development in an old low-key area where there wasn’t huge amount of profit to begin with and the underground assets hadn’t been looked into prior to purchasing the property. The developer had permits granted and contacted us about a problem when he wanted to subdivide.The water authority for the area conducted a search in order to give him the information he needed to connect. They discovered their sewage pipe was 6.2 metres underground. Unfortunately according to their rules and regulations, anything below 6 metres required a manhole to be placed to give access to the asset. In most cases, for anything less than 6 metres we are able to use what is called maintenance shaft which is basically a shaft that goes down to the asset so the authority’s workers are able to access the asset in the case of a blockage or for other work that may be required. In this case, because it was deeper than 6 metres, they required a manhole.The price of the manhole was $15,000. This client had a profit margin of approximately $45,000 and he stood to lose $15,000 prior to starting the labothe slab – just to get the sewage connected! It was not a good situation to be in. The water authorities wouldn’t budge so he lost over 25% of his profit to a man hole.From this you can see why it is so important to establish where the assets are. Once you know how far underground the pipes are, it’s probably a wise idea to check with the water authority to ask if there’s anything specific that affects them. If there are any pipes more than approximately 2.5 metres underground, then I would definitely be checking with the water authority as they may have rules about how to connect and the costs. Some water authorities tell you which plumber to use. You can’t go to your own plumber and to negotiate a better deal, you have to use their plumbers. It’s a case of, ‘their asset, their property and their way.’ Checking where the easements lie and having a good look into what affects them, is something you need to do before you purchase.Condition of Existing homesIt is important that when you are purchasing an existing home you check the normal faults that are likely to exist if it has not been well care for. These very basic checks that will ensure you buy a good property.First check whether the structure has decayed because of possible water leak, or has termites, or other pests that destroy the structure, if a given property has evidence of these, then more investigation is necessary. A good starting point is the power stumps because you can always tell the condition of the property by looking at the bottom. If it is dirty and decayed it is time to call a professional inspector to check all of these for you. A good starting point to look for a good industry professional is http://www.plansandpermits.com.au.Make sure you also check other important factors such as the area in which the property is located as it will tell you more. Finally however the final decision lies with you.Among the questions you should be able to answer before parting with your money is whether it is liveable, or is substantial cleaning required before you can move in as it will add to your cost not even counting time used cleaning. Also, is the style of the property suitable for incorporation into new development, or will it need to be demolished? As demolition will add more cost to the project, is it possible to make improvements on the existing property by adding new design? Does the property need an additional carport or can it be converted to a room? Will the extensions need to be removed especially the rear ones?If you answer these questions satisfactorily you will find you have purchased a great property at a bargain price. For example the back yard may not meet development criteria (size wise) yet by removing a car port or extension – sometime even part of the home – it can open the door to a new dwelling. Obviously you don’t tell the agent!I once purchased a home in Bentleigh that developers had knocked because of lack of room in the rear yard. I ended up with a great purchase and placed 2 units in the rear by removing the extra living room at rear. Of course costs have to be taken into account prior to purchase, if you are planning on removing a part of the home so please do your homework or you may end up throwing all you profits away. Most people don’t realise that the existing home is the key to the success of the rear dwellings. If the site is a battle-axe block then the new home in the rear must complement the existing home. I have seen many developers do up a great new dwelling at the rear of existing dwellings only to totally forget about the old existing home, they are still wondering why three different agents and six months later why they can’t get a sale for their new dwelling??Res Code Requirements on Driveway widthsYou should always observe driveway widths when developing property. The Res Code clearly states the acceptable average driveway width for battle axe and Multi units’ sites is three metres between boundary walls, with some exceptions. In order to be on the safe side, it is advisable to follow the established rule of thumb, by going for properties that have a driveway width of 3.1 metres. You should remember that the measurement is taken from the eve to the boundary. This seems to be one of the most misunderstood rules, as in the 14 years I have been in the property development industry, I have only encountered one planner who knew the rule existed and can be enforced. If you want to be on the safe side then observe the Res Code.You can get a good deal if you encounter an agent unfamiliar with the property development business, as it is possible to convince them that the property is not for further development and it’s for use as a home or as investment as this will keep the price down.North facing propertyIt’s important, but not essential to locate north facing property. At least the proposed development should be positioned with the entrance facing north. If the living area is facing north the property is likely to attract more buyers. Most buyers want to have sunlight during morning and then later have the sun while having good time in the garden. Too much sun can be problem however if you need to put blinds to block the sun.Vegetation – trees and other mattersNow we are going to look in the back yard; the thing we need to find out about here is the vegetation or the trees. Most councils are in favor of keeping as many trees and as much greenery as possible, so if your back garden has trees, you need to get an arborist to tell you if you can cut the trees down. It is important to do this before purchasing the property. I have seen many applications for permits rejected because one tree couldn’t be removed. Remember the majority of councils will not allow the removal of a tree until they have an independent arborist’s report, stating it is not important to the area. If it is it will be difficult to remove but it may be dying or dangerous, in which case the arborist will state this and it may be deemed necessary by council to remove the tree, something the arborist can then organise to do. An arborist’s report will cost anything from $500 to $1000 depending on how much work is involved and it is definitely wise to use one prior to purchasing a property that has trees.
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A Strange Course of Photography

What do we mean when we say we have made an experience?
How to photograph and photo-retouching of food images to follow the rules of its archetypes.
The experiences in my life I have always held for me jealously. It was a bit ‘my system to make a barrier between me and the other because there is always someone who wants to be your own business and to tell everything they have heard from you, so my experiences were as a result, it became insignificant. So I learned to lie about what I was doing it my mood about all my experience. In fact, it is very hard to describe their own experience and make it clear to your listeners exactly as you saw you because it is something that touches some of our internal emotional strings. Ropes that are unique in all of us. An experience to remember because it is accompanied it our emotions experienced at the very moment in which we have had that experience. And tell our experienced it downgrades to a simple image that others have of you. But you can do an analysis of what and experience to understand how it binds to our ability to live, to love, to communicate and to understand things. You always have to start from knowing what you want to understand, know what they do not teach in school not because it does not exist as knowledge, but it seems that it is not important to know what we should know all, for example on key natural laws of our universe, on his geometry, on his lack of perfect symmetry, the symbology on the archetypes, what makes us sensitive and allows us to understand things, etc. etc… But you can do an analysis of what and experience to understand how it binds to our ability to live, to love, to communicate and to understand things. You always have to start from knowing what you want to understand, know what they do not teach in school not because it does not exist as knowledge, but it seems that it is not important to know what we should know all, for example on key natural laws of our universe, on his geometry, on his lack of perfect symmetry, the symbology on the archetypes, what makes us sensitive and allows us to understand things, etc. etc…We must always start from the origin of what you want to understand and then try to necessarily start from the archetypes of all things. What is an archetype? Basically, it’s the idea of something. It still has a meaning, not yet, but it has the idea of how to that particular thing. All we know of this universe we live in is recorded in our mind in the form of an idea how to be everything and these primordial ideas we have just called archetypes (a definition that is found abundantly on the Internet and on any dictionary). To explain their meaning and to understand why is there all this talk with photography I can give an example. We can use the food. What are the ideas of edible food, qualitatively good and palatable? To put it directly, we see what are the archetypes regarding food photography.Well, first of all, I must be very saturated. Any other non-vivid colour would correspond to the exact opposite of what constitutes an idea of palatable food. Then it must have a lot of glitter on the surface, because this means that the food was freshly cooked and then, in addition to having the right degree of humidity, especially fresh. And finally the last archetype concerning the palatable food: is very good light to pass through the mid-tones. What does it mean? It means that if the light passes through the mid-tones (light has a spectrum, a range of frequencies, the mids are simply the frequencies that are in the middle), the food is soft, it is still young. But what exactly determines that it is a qualitatively good food to eat? And ‘where the light passes through the mids that the colours become even more saturated. As the light cannot make it cross the colours are switched off or become much less saturated. If you want proof, take a slice of butter and look at it through the light of a bulb. Or a hand, a part of your body. The saturated colour of our archetypes is the life, is all that is natural is healthy.Anyone who faces food photography or photo-retouching of food unless it takes into account these simple archetypes does a poor job. You might even talk of meanings in photography because in this case, we would not have exceeded even the basics that are accessed by the inexperienced.There is another aspect to consider. A photograph is processed using the RGB colour space that has the quality to contain many more variations for each colour of the CMYK colour space instead is used for printing. In practice, it means that the RGB picture can contain very highly saturated colours even fluorescent colours. Be careful because once you convert photos to print, fluorescent colours disappear and then the food to our eyes, instead of switching on freshness archetypes, we turn on the stale food archetypes.Infinitely complex or evolved?- Digital photographyI would like at this point to clarify the difference between complex and evolved. In the chapter on I introduced the archetypes but even if I went in that direction I would complicate my story.I would immediately arrive to discover that photography is geometry, a geometry that embodies archetypal meanings, symbolic, conceptual and especially emotional, but I risk to get into complicated for me as I already wrote it. But what I want to realize with these items, it is a constructive talk, always in that direction, but always constructive and without complications within the theme doing photography.As an example of complication or evolution can be used in the advent of digital photography. Do you think the fact that the art of photography has gone digital is a complication or an evolution? The same comparison you could also do to the human race when you look at the West compared to African countries.The photographic art actually always respects the same rules, a photographer artist never based his art on the knowledge of the computer or camera, but his art he uses the moment they look into the camera viewfinder and shoot! This is its art, namely being able to take at the moment, in the position and perfect brightness. So the evolution of photography in the digital is not an evolution in photography, but a complication because all the photographers have had to learn new technologies. If anything, one can speak of an evolution of the cameras. Nor does the fact that today’s cameras can take thousands of times instead of one is an evolution because the real artist photographer knows when to shoot and do it once. All other digital shots, they go down the drain.The art has remained so since she was born, are the techniques, it is technology that has evolved. As evidence of this, I resurrected an old problem that had been at the beginning of the digital age.For any analogue photographer was a humiliating moment the digital switchover. Once, before the digital, development occurred through chemicals and various processes on an exposed film from the light, that was, in the sense if they could not change a single part in the colours created by the original light. It was completely altered with the products. Today the same photographers who initially developed the colors or black and white in the darkroom, some of them not all, claimed that the computer does not use it and do not even want to learn to use it because at this point the people in front of a beautiful photography would have said that was also photo-retouched. Today I think we are all adapted to computer use, it can not do without if only for the size of the files, but at the beginning of the digital era as well. That is their fear that it could be diminished the photographer’s art urged them not to learn the use. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. That is their fear that it could be diminished the photographer’s art urged them not to learn the use. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. That is their fear that it could be diminished the photographer’s art urged them not to learn the use. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong.E ‘can still perform a development of the photo without changing the numerical values of the same, that is, without performing editing. E ‘possible with a Photoshop technique to perform a second development changing what has been achieved in the first. This is not photo-retouching because they are not altered the colour information contained in the three channels. A real shame because maintaining this confusion, that is not addressing this complication at the time, has only contributed to downgrade the category. This method I learned from the man who is internationally regarded as the father of colour correction, Dan Margulis. Dan Margulis has always used Photoshop and knows every secret…Of consciousness and colours GeometryBut what it does that have to do the technology (and science) with human consciousness and (therefore spirituality)? What has to do primarily a photography course with human consciousness? When we hear that word, they were taught to think of religion to Catholicism if we are Italian, which means being bigots and even a little ‘annoying, because if we are, we are also moralists in the sense that we preach well but we scratch about very bad and there have inculcated that speak of consciousness is a big waste of time as well as much of a hassle. It is not marketing, it’s not something you eat, is not money, and above all is not science, and therefore, what is the use?I disapprove totally.As I mentioned earlier, we live with no one teaches us that between religion, or spirituality (I prefer the latter term because with religion we enter more specifically and complicated) and science there is a deep bond. Deepening these arguments one can not see a relationship difficult to ignore. I began to introduce the archetypes, talking about food, but I’ve only talked about archetypes thousandth class. The basic archetypes are little more than twenty, beginning with those who speak the sacred geometry of our universe. Leonardo certainly knew them as the Golden Spiral, the Vitruvian Man, he drew them precisely describing our geometry. A unique geometry throughout the universe. The number Phi, the Vitruvian Man, the Golden Spiral, the Mandala, the Fibonacci sequence, the Mandelbrot set and consequently the fractals, the Julia sets that show us how the Golden Spiral can draw all things in the world we know, everything coincides and describes only one geometry, our. Among all these archetypes, which basically are few, there is the first that could be precisely the idea of ​​geometric existence (because geometrical described by geometric archetypes) of our consciousness. After Consciousness is energy, modern scientists say it also, and it is energy occupies a space that must necessarily have a geometry. I say that could be the description of what in essence is consciousness because no one has ever tried this, but I would get with simple observations. Only Dr Malanga to my knowledge, scientist and chemist and physicist genius, I met many years ago during a conference on the Super Spin, went on to explain consciousness through the archetypes. I will not pretend to do the same thing now I mean, I would not have either the skills. It ‘a process that may be able to make a longer because of very complicated time. So instead of wallow in an attempt to show that the face of consciousness than simply Matches between archetypes, I step back and I look again all over again trying not to stare any complexity.You could also consider the quantum physics that states that only by taking into account the existence of the observer consciousness, you can explain certain laboratory experiments. But in addition to being very complicated, I find it rather boring and I do not have a laboratory capable of using photons for today.Instead, we offer our observation skills that not even centuries of Inquisition and other wars of all kinds have been able to take off. Our common sense and Treccani says common sense (or bonsènso; most com. COMMON SENSE) sm [expression cast fr. bon sens]. – natural Capacity, instinctive, judging uprightly, especially in view of practical needs. Now tell me if our common sense, it should not be an option for anyone, it is not really our conscience?The word consciousness, according to Jung, accurately defines what remains as a result of having had a positive and constructive experience. Any experience long as it is positive. There are many dictionaries from which I extract this meaning, but Jung, who knew something about the human psyche, defined the word conscience in this way. Technically it is what allows us to be different from others because everyone does their own experiences. What makes us different from the others that are in the first analysis, the consciousness born of the experiences we have with our parents when we are born, then the experience of the school, then for the experiences at work, with friends, with colleagues etc. etc. Where education is knowledge, and experiences are the conscience.It ‘a little’ how to join the Spirituality and Science. We are made of these two components, why this nonsense of enemy makes in our history?Yes, if we think about it, we are more aware of the areas where we have developed more experience, we are not where we have not developed, but it is also what others recognize us without this happening with a logical reasoning. We are a bit ‘as the works of art, if we are beautiful works we are nice people, if we are not it means that we have gained little conscience in our lives. It can also be inborn, of course, he inherited from the life of grandparents, great-grandparents and transferred to us as a form of memories and energy within us when we are born, but already born with two parents who know what love is, and grow with them, creates in us a certain (very specific and character) generous consciousness.It ‘s a bit like photosynthesis, if you are born when you come nourished by light, grow up healthy and strong if you get nourished by you will be able to play the same love, and you will have a strong vitality, normal, but not so much in common our society. The consciousness is the thing that distinguishes a work of art by an artisan work done as it should. What on earth will the work of art that stands out from everything else done as it should? It contains aware of the meanings that arouse in us emotions can make us feel an experience observing the work itself. The work itself will watch and we look at it through the emotions that she always did well for us. In practice an artwork contains the author’s message, contains the meanings aware that the author himself wanted to impress in his work.We all have a conscience, but we are losing the idea that consciousness is for us the most important thing in our lives. And it is true that every person, every animal, everything has its own consciousness. Although it may be little awareness of an object, as it expresses its use and that’s it, but it is always consciousness. Have you ever used a tool of another for the first time without knowing its true and proper use? beginning do not understand it, then when you see it used by the owner who has understood rather well the meaning, we understand well the meaning us. Seeing it used properly, it makes you recognize something about the object that only with our eyes do not see, of course, his conscious meaning. That is so simple and that’s all.A particular person who has made it his unique technique a real art, he always said: it is foolish not to teach because the person who comes to us the same, that we can not even if unable to explain it. What did he mean by that, he meant that those who acknowledge that manages to get close to his art learn it, those who do not have it he cannot even if he explains. It ‘very important to observe this in us when we approach to photography, in its development and in the eventual editing. One has to understand well what we are led to be able to do a job with passion, love and perhaps with a “conscience.” If we can find our passion when we work we reload, rather than if we do something we do not like, we consume.One thing that no one wants to learn, for example, in photography or in the photo processing is the use of colour spaces, ie the use of the colour geometry. But there is, it is a complication which required digital photography and does photography with a passion we have to understand what it is.This is referred to colours, colour geometry, resulting methods of viewing and printing and its translators who are the colour profiles (on this subject they have called so many that even today only a few have really understood the use of colour profiles and colour spaces using Photoshop with its render engine).