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Central Steel Build’s FARMAbuild brand supplies and installs a full range of hay sheds, storage sheds, machine sheds, milking sheds, barns, workshops, and shearing sheds in standard sizes with a wide range of standard options. Trust Central Steel Build for farm sheds that are unmatched in robust construction and personal service.
Central Steel Build’s EXPANDAbuild division delivers the highest quality steel buildings with customised designs to suit your every need. We can help you design and build just the right utility or industrial shed or a whole complex of steel framed buildings to meet your business’ growing needs. From helping you select the best way to cover your outdoor playing fields to the design and construction of a multipurpose room and classroom complex, you can be sure with Central Steel Build that the outcome of your covered over learning area will only be high quality, built for safety and built to last.
Shearing Shed Renovation, or converting an existing shed into a shearing shed is a viable and sometimes more suitable alternative to building a new shed from scratch. At Higgins building Contractors we have the experience of 14 years in the renovation business to draw from and will work with you to review your current shearing set up, to understand what you need done to extend the working life of your current shed. There may be only a few minor adjustments that need to be made in order to bring your shearing shed up to standard. If more extensive renovations are required we will work with you to ensure everything is completed to your satisfaction and your shearing shed is operating at its optimum efficiency as quickly as possible. At Higgins Building Contractors we will partner with you to give you the best possible value within the budget you have set. Please also talk to us about the flexible finance options we can offer to help you with your cash flow.
Modern techniques and equipment have enabled stock farmers to handle greater numbers of sheep in a shorter period of time.
Wear and tear and the age of equipment can impact your production and contribute to poor or unsafe working conditions. Broken equipment and waiting for parts or repair can have a serious impact on your ability to process sheep and cattle efficiently and the disruption means lost money. Poor lighting and ventilation in your old shed can also have a long-term impact, reducing motivation and increasing sick days.
So, reviving your old shearing shed is a cost effective solution, improves health and safety for workers and stock and can give you long term cost benefits. So a lot has happened over the course of twenty years, some of it good, some of it not so good, some of it tragic, most of it pretty unpredictable. Writer, editor and curator Karen McCartney has definitely been on your coffee table at some point in your life. On a recent Sydney morning Karen talked to us more about the book, which will be launched along with an accompanying exhibition at Hotel Hotel’s Nishi Gallery at the end of the month. So I came up with the list of things to think about and then I sort of began to identify the makers, or spaces or people we wanted to include.
At first we (Glen, Karen and Sharyn) were drawn to a visual expression of these people’s aesthetic but as I began to interview them and go and visit their places they almost over delivered back to me. Well when you think of the traditional English upper class they have those corduroy jackets with patches on the arms. One thing I got really interested in was this idea of the mend and why we don’t mend things. So for me, being exposed to all these different kinds of philosophies and visual notions of what is beautiful has shifted what appeals to me. It’s so funny, that thing of having been an editor, and then I took these other roles at News Corp where I was Editorial Director and then I got this really grand title of Lifestyle Director across the whole newspaper and magazine group. MethodTo make the nori seaweed SchochuPour one 720ml bottle of shochu into a clean one litre jar. Once the infusion is finished, take out the seaweed and pour the shochu back into it’s original bottle. Looking back, I can see that the project has taught me that research is a very important part of a practice.
By focusing on a singular element — a chair — and spending focused time on the project — 100 days — I learnt so much.
The impact of this project was also external — it put me on the design map and communicated to the outside world a process and approach to design that was something quite different than what was being shown in design shows and magazines at the time.
The notion of ‘making’ is very much part of your process but equally the process of unmaking — taking a piece apart and understanding the way it has been considered and composed by understanding its scars. You also discover how people fix things over the years by adding screws or string or other materials to find ways of modifying the object.
In the unmaking or taking apart, I also find a way to deal with parts rather than the whole chair, which, in turn, makes a more interesting starting point. I think every new process that becomes more readily available creates an opportunity for a new perspective on design and making. For example, twenty years ago when desktop publishing software first became available, everyone was suddenly a graphic designer.
For me new technology becomes very interesting when combined with conventional technologies. When I meet the chairs again within a new city and context, I feel a bit like the ‘father figure’ of the chairs in a way.
Seeing the architecture of each city and the context that the chairs will be displayed within has an affect on the making of the 100th chair.
For me, the idea of showing one of my chairs or tables on a pedestal in a museum absolutely gives me goosebumps — I think this is the worst way of showing design.
I also wanted to develop the exhibition through a particular object — in this case the shelves — and in the context of design history but that became less important as the concept evolved.
It was very unconventional but I thought that both elements really helped each other to communicate the ideas — the shelves and objects were kind of talking to each other in a way. I visited your studio in London and it is clear that you have a particularly strong extended community that exists around you, including your wife artist Francis Upritchard, a young designer in your studio Gemma Holt (and by extension her partner Max Lamb) and your long standing collaboration with graphic designers Abake. When I was at the Royal College of Art, London (RCA), Ron Arad was leading the design products course and he always made sure the young designers were sharing a very small, intimate space. Later when I went back to the RCA to teach, this thinking really meant that I saw young designers like Gemma and Max as part of the community and working with them gives you a new perspective. Our intent at Design Hub is very centred around the notion of exchanging ideas — we like to take risks, experiment and ‘perform’ the process of developing design ideas with our audience. I see my role as taking away any idea of being too precious — as designers we don’t need to be worried about finding or coming up with ideas, as there are plenty of places around us to absorb them.


I think that when you are trying to work you have to create a platform, your own territory and a space for your own practice and research to operate so you can look at it more clearly. Barrie Barton by Lee GrantChris Barton by Lee GrantChris and Barrie Barton are the brothers from Right Angle Studio – a little studio whose motto is thoughts, words, deeds. Action take into consideration levels, heights, light, temperatures, access, yards, fit out type, etc.
Whether flying planes is your main business or auxiliary, HONGFENG airplane hangars provide a high-quality structure to keep your investment safe and out of the elements. HONGFENG not only provides peace-of-mind, we also offer a wide range of options to personalize your hangar.
HONGFENG works with you from the planning stages through the completion of your project, so you can focus on what you love, flying. When it comes to the aesthetics of your hangar, porches, wainscot and gutters can add style, while a variety of finishes including steel, brick, stone, vinyl and wood siding complete your building's look. Pre engineered buildings designed for aircraft hangar use by HONGFENG Steel Buildings are perfect for all your aviation storage needs. If this is the case we can have the work scheduled and complete very quickly and your old shed will be restored and looking like new. The high standard of our work means that you restoration will revive and restore your shed back to its former glory and help you to get those much needed efficiency gains.
This of course means their shearing operations are more cost effective and they are ultimately more competitive. But, you’re still here, living life, on your way back to your place at the end of quite a long day.
Across its 300 or so pages, they have chosen people and projects from all over the world (Hotel Hotel, and our own Nectar Efkarpidis and Don Cameron included) that celebrate craft, process and old stuff in a radical forward-thinking way. And actually all of the people we wanted to include, all but a couple, we managed to get into the book. Somebody would say, “I like to get so absorbed in my work that accidents can happen and I can fold them in.” So this whole idea of imperfection, failure and process became a big thing.
Karen says artist Adam Zelezny’s use of explosives and clay is emblematic of the idea of imperfection and process.
British artist Grayson Perry has talked about the aesthetic of decay being a particular taste of the upper class.
I’ve got all these sweaters that have been eaten by moths and I was thinking that maybe I should mend them with bright blue thread and celebrate the mend rather than be ashamed of it. It’s opened my eyes to appreciating different things and appreciating what is beautiful and the value of things and so forth and I hope it does the same for other people.
And dealing at that management level I sort of learnt then that I had a yearning to do something more creative. For the show, Karen, Sharyn, Glen and Hotel Hotel have pulled together perfectly imperfect objects from around the world including sculptures from Julian Watts and Nectar Efkarpidis, photography from Don Cameron and ceramics by Alana Wilson. Now nearly ten years on, what do you think you have learnt from the project and how has it continued to impact upon your ongoing practice?
The project was not commissioned in any formal way and there was no direct reason or client involved. Now, almost ten years later, these are ideas that my practice still draws upon — ergonomics, materials, mixing styles, improvisation — so the impact is still quite big. There are seats of power, there are chairpersons, there are tenured chairs, hot seats and so on. Was choosing the chair as a typology a deliberate move, or could it have been another singular object? It is much easier for me to imagine elements rather than dealing with a single object of a whole chair. For example with the Jasper Morrison ‘Air Chair’, I cut through the cross-section of the chair to see what was inside. However, I do think it is important that the idea is not generated just for the sake of using modern technologies.
How might the 100th chair you produced in Marugame, Japan be different than the one you might make in Melbourne, Australia for example? When they go back into their crates and move on I kind of forget about them and then when they emerge again, I really look at them and reconnect.
The space the chairs will occupy — the lighting, textures, the floor — all influence the process of making.
Kultur‘ you describe the importance of design curation as being contextual rather than simply a “lifestyle presentation within the structure of marketing.” How do you place design in a more politically and culturally engaged context?
Whenever I am thinking about an exhibition I try to contextualise the work within life so the furniture is never shown in a way that looks like a showroom — a graveyard. In fact, they are now owned by a gallery so they stay as a collection but I always find it really interesting that people are so keen to buy them even though they are made of rubbish. I came up with the idea that I would source objects from the private collections of other designers and artists — many of them I knew — and, in this way, I was relying on their curiosity to reveal how objects and collections inspire their work and process. This is what great design is — when many disparate objects are put together in the context of one another to tell us something about our place in the world; design is not something that is only ‘right now’ or sourced from a catalogue.
At university in Vienna, we formed a student group called USP so that we could break away from college and do our own thing while still being a collective. It created a very intense environment and we were very competitive with each other but we also shared and helped each other, so it was a healthy competition. I guess I wanted to make a little family in London — we all kind of needed each other, as London at the time was quite tough for a designer to survive.
Because if you always look to what’s happening outside – you are too critical or, possibly not critical enough, depending on how you interpret the endless supply of images. Corners can be places to escape into or they can be isolating — how might you start to respond to this as a designer? It’s difficult to describe what they do in general; it always comes out (inaccurately) as a Mad Men montage.
We ensure shearing sheds provide the best possible conditions for both animal and operator. Best of all, HONGFENG hangars are designed to withstand hurricane strength winds, meet local snow load requirements and are custom built to fit your needs. From energy efficient features such as insulation package, to functional choices like noise-deadening acoustical steel and even optional living quarters, if you can dream it, HONGFENG can build it.
Our airplane hangar metal buildings are pre-engineered with a clear-span steel building design that can be up to 100m wide – plenty wide enough to accommodate big planes, private planes and even commercial aircraft.


I think it was one of the ceramicists (in the book) who said, “You’re committing your work to fire. Adam’s work is photographed in 'Perfect Imperfect'.You’ve had a long career in design books and magazines. You know, Nectar said a good thing about mess to me; he said mess allows people something to hook onto. Being an editor is fun, it’s a good job, but… when I started doing my own projects I realised that I really enjoyed that feeling of making things happen. So much of the design is in the underbelly of a chair — how the connections and fixings are made in a very particular way. It was just about playing with the effects rather than really investigating what Photoshop could actually do to support design ideas. How do you draw these cultural differences out in the chairs through the composition and materials? Each of the 100th chairs recalls a particular place — the source of the materials, taking things apart, putting them together, placing them in the context of the other chairs. So by changing things by just five degrees and showing the objects in a new light, it can really capture people’s imagination.
I was looking for a narrative or experience that meant that someone could go to the exhibition and just look at one small element of it — one shelf or five objects — so that small element of interest would simply be enough.
So looking back I think I have always needed the space outside of an institution to develop my own work, but I also needed people to develop ideas collaboratively — I quickly realised that by sharing ideas I got a lot further and learned much more.
It is more about interfering at the right moment, having a conversation and giving people the opportunity to discuss what they are doing.
Of course, each new generation struggles but the sea of imagery and information about work all over the world via the websites, blogs, social media etc. This is always how I work as a designer and a teacher — I make a mental and physical space to work within.
Action work in close association with fit-out specialists to create the most efficient and cost effective shearing sheds.
Because doors are an essential part of your hangar, HONGFENG works with many different door manufacturers to provide a nearly endless variety of configurations including bi-fold, sliding, hydraulic, swing, overhead and accordion doors. HONGFENG airplane hanger metal buildings, storage aircraft hangars and military hangar operations steel buildings keep aircraft sheltered from the elements while providing ample space for equipment storage, plane maintenance and repair. It’s a confidence in a way that comes from the knowledge that nobody is going to think you’re poor. The project highlighted the importance of carving out the time and space to continue to research. Over time, it can become symbolic of who we are — almost as a reflection of ourselves, our style, age and preferences. Then in the studio, when I’ve brought all these chairs into the space, I deconstruct them, discovering and understanding who designed the object, how well it was designed, how it was constructed, what the material is and so on. In some cases it is thinking about how the workers in a factory would have put the components together and how elaborate that process was — it’s studying the morphology of the chair.
What’s interesting to understand is what you don’t see — the inside — what’s created through this process.
When it becomes a tool combined with other tools and even within a matrix of tools, that’s when it becomes exciting. Each chair is a synthesis of the travelling, the making and the conversations that I had in that place. A lot of the time you see furniture de-contextualised and photographed within a white background with no people etc. Alternatively, another person might go to the exhibition and study all of the shelving and look at each object within the entire exhibition. It was very hands on and process driven and we were not scared to try all sorts of methods and not be too precious with ideas.
When you are designing you are in a forest and often you simply can’t see the wood for the trees.
When you store your aircraft in a HONGFENG building, you can be confident that you have a company standing behind its safety . You will surely save money with HONGFENG pre engineered aircraft hangars because we ship all buildings direct from our nearest manufacture base. Something that’s less controlled, whether it’s a person or object, it allows you to have a connection.
Chairs reveal our intentions and anticipate what is going to happen in the space through the way we arrange and use them as functional props for our behaviour.
But the interesting thing is when we can really use the tool in combination with other processes and contexts. When you mix the digital with the handmade, they work together and yet question each other so you can really learn from the process. Sometimes teaching is simply showing students what is around them — contextualising the work. Aircraft hangars from HONGFENG Steel Buildings are pre-engineered at our factory and delivered to the jobsite as a ready-to-assembly metal building package.
Yet, like most objects in the world, chairs are part of a story and connected to a social, political context — furniture effects how people live, what happens in our houses, our public spaces, what we put on our table etc. They go up in less time than conventional airplane hangar construction and save you up to half in both time and materials off the cost of conventional construction while at the same time being Eco-friendly to the environment. So, yes, you can see that the process of taking the chairs apart is as important as the start of the process of making the new chair — it creates a clean slate, or a tabula rasa.
As consumers, we buy, use and then — when we find something we like better — we release them for a new thing. What you find on the street speaks to the ideas that society has rejected — it reveals something about our culture and the direction that we are taking as a community. Chairs are a pretty good example of us, wherever we live in the world — they leave a trace, they have a layout, they leave a good picture about what has happened.



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Author: admin | 17.12.2013 | Category: Small Sheds For Sale


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