As a freelancing draughtsperson, I have received widespread experience for my contributions in both mechanical and electrical draughting while being involved in product development, presentation, and design reviews. My work involved a combination of technical expertise and creativity. I also brings together technologies from different environments and works inventively. In so doing, I am able to translate ideas into working products that meet the needs. I also endeavour to help engineering designers in improving their productivity. My primary function was to identify the specific needs of professionals designers within the construction industry and then to meet these requirements in a professional, time sensitive and cost-effective manner. I also offer services as complex as Concept Design, Project Planning and Compiling Design Applications or Presentations. I work with a team of skilled and experienced draughtsman from different disciplines who are dedicated to providing reliable and professional service that is on time every time. We use the latest Synchronous 3D modelling software and also use laser as well as infrared reflector-less surveying equipment onsite when producing layout drawings, assembly or detail drawings and mechanical surveying depending on the clients requirements.

Sunday, June 26, 2016

Herb Garden Deco | Design

Art Deco (/ˌɑːrt ˈdɛk/), or Deco, also known as Style Moderne, is a style of visual arts, architecture and design that first appeared in France just before World War I. It became popular in the 1920s and 1930s and influenced the design of buildings, furniture, cars, movie theaters, trains, ocean liners. It took its name, short for Arts Décoratifs, from the Exposition Internationale des Arts Décoratifs et Industriels Modernes (International Exposition of Modern Decorative and Industrial Arts) held in Paris in 1925. Unlike the preceding Art Nouveau style, Art Deco features geometric shapes, clear and precise lines, and decoration which is attached to the structure. One of its major attributes is an embrace of technology. During its heyday, Art Deco represented luxury, glamour, exuberance, and faith in social and technological progress. The later period of the style, called streamline moderne, features curving forms and long horizontal lines. The style is often characterized by rich colors, bold geometric shapes and lavish ornamentation. It was a transitional style between Art Nouveau and Modernism, and was the first truly international architectural style, with examples found in in European cities, Russia, Latin America, Africa and Asia.

Planting herbs in your vegetable and flower beds works quite well, as long as you plant your herbs in sunny location with well-drained soil. But you can also design a garden bed devoted entirely to herbs. When to plant your herbs depends on the plant, but you can't go wrong planting herbs the same way you plant vegetable seedlings; that is, plant them out in the garden after all danger of frost is past. The reason this strategy works for most herbs is that a lot of them aren't especially cold-tolerant.This technique also gets them in the ground under encouraging conditions: warm soil, warm air, and a good summer stretching out ahead of them. They should surge right into robust growth. Adding edible herbs to a vegetable garden is a good idea. They like the same growing conditions of fertile soil and full sun, and when you're in the mood for a spontaneous summer meal, everything you need is right at hand. Some favorite choices include basil, dill, parsley, cilantro, fennel, thyme, and chives.

For many gardeners, the best solution for growing herbs is just to put them all in their own garden. Follow the usual rule for flower gardens; namely, place taller herbs to the back or in the middle of a bed, with shorter ones at the front, so you can see, appreciate, and access everything. Choosing from many types of herb gardens, generally herb gardens are either formal or informal. It will be wise to plan a formal garden ahead on paper, making a geometric design. Edging plants such as small box plants, germander, or a sheared low hedge of lavender or dusty miller also work but require more care. A casual bed devoted to all herbs can look delightfully cottage-gardeny, or it can look like a jumble. So make a plan on paper for this sort, too — set it up like your vegetable garden or favorite flower garden — and then see what happens, making alterations as you see fit. Aim for a harmonious mix of foliage colors and types, with the occasional exclamation point of a flowering herb.

Mamphake Mabule
c. 2016, Mabule Business Holdings

Friday, June 24, 2016

Modernism Design | Architecture

Mendes da Rocha attended the Universidade Presbiteriana Mackenzie College of Architecture, graduating in 1954. Working almost exclusively in Brazil, Mendes da Rocha has been producing buildings since 1957, many of them built in concrete, a method some call "Brazilian Brutalism", arguably allowing buildings to be constructed cheaply and quickly. He has contributed many notable cultural buildings to São Paulo and is widely credited as enhancing and revitalizing the city.


Paulo Mendes da Rocha of Sao Paulo, Brazil, inspired by the principles and language of modernism, as well as through his bold use of simple materials, has over the past six decades produced buildings with a deep understanding of the poetics of space. He modifies the landscape and space with his architecture, striving to meet both social and aesthetic human needs. Adhering to a social vision commensurate with the new world, he reminds us that architecture is foremost a human endeavor inspired by nature’s omnipresence. The vast territory of his country has given this architect a rich lineage to harness and reconcile nature and architecture as congruent forces. His signature concrete materials and intelligent, yet remarkably straightforward construction methods create powerful and expressive, internationally-recognized buildings. There is no doubt that the raw materials he uses in achieving monumental results have had influences the world over.

Mendes da Rocha was Professor at the Architecture College of University of São Paulo, known as FAU-USP, until 1998. His work is influenced by Brazilian architect Vilanova Artigas, from the paulist Brazilian School. He was honored with the Mies van der Rohe Prize (2000), the Pritzker Prize (2006) and the Venice Biennale Golden Lion for lifetime achievement (2016). Few would argue that independence and modernism are clear-cut states of being, or that they are necessarily mutually reinforcing. The process of de-colonization often takes years, if not decades, and vestiges of dependency—in corporate exploitation, military installations, and trade—can linger long after a declaration of independence. Modernism, meanwhile, is usually anti-local and was, as Manuel Herz writes, “one of the very motifs that the empires used to colonize Africa during the nineteenth century.” Asking architects to brush aside that history and approach modernism in a vacuum, as some African governments did, took some gall. As such, the architecture of this era in these countries purports to be fiercely modern and independent, but is thick with contradiction. Take Nairobi’s Kenyatta International Conference Centre, an exquisite mashup of skyscraper, auditorium, and plaza by Norwegian architect Karl Henrik Nøstvik. Originally planned as the headquarters of the then-ruling Kenya African National Union, the center—given an opportunity to host the 1973 World Bank annual summit—saw its building program changed, tower height tripled, and identity linked forever to global capitalism rather than national independence.

The architecture on display hails from five countries—Ghana, Cote d’Ivoire, Senegal, Kenya, and Zambia—and is organized by their former colonial overlord, England or France. These countries have had considerably different cultural and economic fortunes; however, they are all tropical and all possessed by a spirit of aspirational modernity. The first populist leaders in each country seized on an opportunity to channel this yearning into a national identity. Civic and educational buildings began springing up in and around cities, often as direct extensions of presidential vision. Ceremonial spaces rich with symbolism, like Ghana’s Independence Square in Accra, supplanted colonial enclaves; state industry and central banks sometimes came with hives of workers’ housing; university campuses and trade fair sites embraced complex geometries and dizzying concrete landscapes; and urban resorts, like the Hotel Ivoire, in Abidjan, Cote d’Ivoire, with their lagoon, bars, and restaurants, signified the economic miracles that would preface collapse.

 Meanwhile, the glazed high-rises, imports from Europe and North America, were ill-equipped to handle the equatorial sun. Concrete did better with shade and ventilation, particularly when louver panels were folded into façades, but Brutalist trappings were never far off.Italian architect Rinaldo Oliveri responded by setting out to conquer the tyranny of the rectangle. His La Pyramide in Abidjan, completed in 1973 and a highlight of the show, is a 12-story mixed-use, concrete-and-steel pyramid taking cues from traditional market shelters. It seeks to re-create the liveliness of the African marketplace at its base, with tapering floors shaded by broad awnings. Bold, yes. Successful? No. The ratio of rentable space to circulation space was all wrong and the building sits mostly empty at the center of town.But the nascent nations can hardly be faulted for commissioning foreign architects. Some design firms even kept a practice in the colonies as there wasn’t the professionalization of architecture at the time. Eventually African architects, like Ghana’s Samuel Opare Larbi, took the reins, coming up through new institutions of higher education and famed schools abroad such as the Architectural Association’s Department of Development and Tropical Studies (now the Development Planning Unit), in London.

While the chapter on the “architecture of independence” is closed for these five countries, its psychological and compositional influences bump against neo-classical tastes in the haphazard cities that remain today. So the question remains: Can modernist architecture in Africa truly be considered African or is it more European?

Sunday, June 12, 2016

Sliding Door Designs | Interior

While the hardware on this sliding door is no joke, the construction of the door isn't particularly complicated which is an inspiration for any contemporary home office. These doors are likely supported by the hangers which are attached to the front of the door. There may be a bottom guide secured to the floor to help keep the door in line.

When coming to most doors sold at hardware stores today, there is little more than utilitarian molded metal or plain wooden slabs; special-order models from factories offer better design and craftsmanship. But for doors with a timeworn patina or made from old-growth wood—much of which isn't logged anymore—visit an architectural salvage yard. There you'll find models to suit a range of personal tastes, house styles, and uses both practical and creative. A matched lot of six-panel interior doors rescued from a demolished 1860s house, for instance, would be period-appropriate replacements for the hollow-cores in a new Colonial Revival. And a 19th-century barn door with wrought-iron strap hinges could be repurposed as a rustic garden gate between stone pillars, for example. Now, Check out our Classic Flat Track sliding hardware! It can support doors without looking "heavy duty." It's our most popular kit.....

Mamphake Mabule
c. 2016, Mabule Business Holdings

VIntage Reusable Designs | Deco

Flowers have always been a part of our live, whether we just like to receive them or having them in our homes. What do you do when your plant need more space to grow or simply what do you do when normal planters aren’t enough for your specific needs? My suggestion would be to make your own planters or why not recycle some other planter you may have and use them. If you think that making your own planter is rocket science you can’t be more wrong. The vintage/retro trend has been going strong for quite a few years now. But whether it's vintage second-hand clothing, retro photo filters, nostalgic gifts, 1920's themed weddings or shabby chic furniture, the trend doesn't seem to be disappearing in a hurry. So why do we love vintage so much? Is it just the cycle of fashion or is there an underlining reason we are drawn to vintage/retro design? After doing some exploring, we found some of the reasons vintage has been so successful.

Quality and Craftsmanship

We live in a world where everything from clothes to electronics are made to be easily accessible and disposable. With high street brands churning out every product we could ever want at low enough prices, there is no room for real lasting quality and real design is often replaced with short-lived and lifeless, mainstream trends. Let's face it, in the good ol' days, things were made to last. Before mass production, our possessions had higher value and longer shelf life. The vintage trend has proved quite a response by a new appreciation for lasting, unique designs. Although brands are not reverting to the old way of manufacturing, they are refocussing the aesthetic design to appear as if they had. Vintage design gives consumers the feeling of a robust, high quality product with attention to decorative detail. Perhaps the vintage fascination is a little like the Arts and Craft movement, rebelling against the mind-dulling "mass produced" look. People are opting for the hand-made and hand-me-down look - whether it's true vintage or vintage inspired.

Expression and Uniqueness

Everyone wants to be unique and expressive. Vintage has opened the door to decades of bespoke pieces and broken down the barriers of what is "in". The vast variety allows us to experiment, express ourselves and stand out. Vintage and retro inspiration has created an almost "anything goes" trend where fashion from the 1920's - 1980's is acceptable and interchangeable. I sometimes wonder how we will be remembered? Every decade has it's own design movement, but will our decade be remembered as the big mix? It's true that fashion has always taken inspiration from the best bits of the past, but perhaps todays trend has gone a step further with so many designs and products completely replicating vintage designs.

Penny pinching & Going Green

The vintage phase is in tune to the economy and the rise in people opting for cheaper, greener and more sustainable lifestyles. Small groups of people are going as far as leaving the 21st century completely and basing their lives in the 30's, 40's and 50's. Once upon a time it was not cool to buy clothes from charity shops - now charity shops are no longer for charity - there is simply too much money to be made! Vintage / Retro can be a pretty cheap option in a time when people have less to spend.

Celebration of the Past

Overall, making things look dated makes you feel like you are being transported into a happy memory of past. Vintage celebrates history, great designs of the past and the early days of new technology such as photography. What do you think? when will vintage start looking shabby and out-dated? Or will that rustic, authentic look stand the test of time?

Making a planter from a wooden crate is both simple and very good looking and of course original. Due to their generous size these planters can manage a lot more than a simple plant. You can use them to transform your patio in a salad garden or to plant some fresh herbs or spices for your cooking. Nature takes care of most of the hard work so the only things you’ll need to do is to fill the planters with some fertile soil, make sure that the water can drain and then when the plants will grow you can be proud if your work as well as having a fresh spot of vegetation on your balcony or patio.

Mamphake Mabule
c. 2016, Mabule Business Holdings