Interior Design
Product Description
We are skilled in 3D mas and CAD. Supply prefect design.
More Product FeaturesTrademark: aspiration
Model NO.: CA-1081-1
Standard: Hello
Productivity: 500, 000pcs/year
Company: Hello Interior Design Office
Villadom Design (CA1002-1)
Product Description
We supply 3D modeling design, highly photo-realistic renderings, perfect animation, panorama and working drawings. You can view your home before decoration.
Competitive Edges:
Excellent platform Easy to see
Quick modeling function Mass and updatable library
Photo-realistic lighting & rendering Multiple outputs of software results.
More Product FeaturesTrademark: hello
Model NO.: CA1002-1
Standard: international line
Productivity: 500,000pcs/year
Company: Hello Interior Design Office
Teenage Girls Bedrooms Photos Idea
The teenange girl’s bedroom dominated color of purple and colorful circle art in wallpaper and on the roof. Its equipped with unique lighting and bright accessories. This room use large space to show his design looks clear, bright,orderly, and sober.
Home Theatre Entertainment with Plasma TV
Home Theatre LCD TV
Home theatres for you entertainment are really expensive and care must be taken choosing the right one as it involves a considerable amount of investment. Do not forget to budget for a suitable projector screen if you will be making use of a video projector as a big screen TV solution for your home theatre.
Studio Banana Tv ::: Iñaki Ábalos
Studio Banana interviews Spanish architect Iñaki (Ábalos + Sentkiewicz architects).
Interior Design Of Mad Men
Sunday night is the season finale of Mad Men and Newsday has an article about the interior design of the show at 1960s 'Mad Men' style: So dated, it's daring.
The show doesn't show neutrality, writes Manhattan interior designer Valerie Onor, but "feminine or masculine styles and shades again."
Annette Tatum, author of the new book "The Well-Dressed Home: Fashionable Design Inspired by Your Personal Style" (Clarkson Potter, $35), suggests letting your taste in clothes guide your interior decorating:
As often as not, the actors themselves seem to serve as design elements; their wardrobe, makeup or personal effects add a definitive pop of color or sophistication that plays off their surroundings for a seamlessly styled scene.And don't miss our blog post about Don Draper's office furniture.
Bev & Mike
Landfair Furniture + Design Gallery
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on the boards: New National Museum in Oslo
on the boards: Nørreport Station
Copy
Some new things: in NS on Joshua Clover's 1989 book, on NS on the Stirling Prize, - and taking Urban Trawl to Cardiff for BD, which will be followed at some point by the obligatory footnoting, nuancing and whatever the opposite of nuancing is.
Neon Lights, Shimmering
The NASDAQ sign was loved and mourned mainly by those who had no love for its market values.
Marshall Berman, On the Town - 100 Years of Spectacle in Times Square
Or: some dialectic on enlightenment. There have been some very interesting recent books by American academics on the architectural culture of the Weimar Republic, all of which seem to be disguised ways of writing about contemporary architecture. Kathleen James-Chakraborty's German Architecture for a Mass Audience, Janet Ward's Weimar Surfaces and Sabine Hake's Topographies of Class all attempt to upend, with varying degrees of success, the versions of Modernism inherited from Philip Johnson's classicisation and bastardisation of Weimar in The International Style, and all of them rediscover an architecture of consumerism, flash and spectacle in an only retrospectively uneasy coexistence with an architecture of socialism and urbanist rationalisation - in more-or-less explicit critique of a cityscape unevenly divided between icons and blandness. One of the most intriguing elements in all of them is the discussion of a certain architectural culture of light. This reached its most extensive form in the Berlin Im Licht events of 1928, where the city's electrical companies collaborated in an urban light show. Meanwhile, the shopping streets and office blocks were regularly illuminated with an intensity and imagination only seen elsewhere at the time in New York. Neon as much as socialism is a neglected element in the modernist city, and it's good to be reminded of the notion of the city as bright lights, rather than slatted wood.
One of many reasons why I distrust the work of postmodernist theorist-architects Robert Venturi and Denise Scott-Brown is the way in which, in the pomo manifesto Learning from Las Vegas, they spend lots of time talking about a city where the architecture is essentially made of neon - a dematerialised, night architecture of signs, lurid artificial colours, of figures and objects moving in an unreal space, which is a wholly modernist environment, one celebrated by Marshall Berman in the context of Times Square in the fine On the Town, the love for neon adverts on the part of those who have no particular love for the products being advertised - and then eventually favour something much less interesting, a vernacular of deliberate dullness.
What bothers me about Venturi/Scott-Brown is that their actual architecture, and that of the overwhelming majority of postmodernist architects, seems to have so little interest in this architecture of light and technological city-design - in terms of the actual practice, the skewed modernish/traditionalish conjunctions and intellectual gameplaying seem far more important. Funnily enough, browsing through their website, it seems they've finally got round to designing a building where light is a major factor in the design, and it's in the form of a pair of skyscrapers in Shanghai, dressed with 'electronic ornaments' (image via this interview), in a place where their New Urbanist comrades won't be snooping to make sure all is sufficiently 19th century. The reason this is on my mind, other than it being firework night, is that winter is on the way, which in any big city is actually a rather exciting experience, where previously prosaic landscapes become quite exciting through their illumination. Some London examples: if you trace at night the Barbican walkways all the way past the Museum of London, you get to a junction of four buildings, one by Farrell, one by Foster, one by Eric Parry and one Rogers. Only the the latter would get a second glance from me during the day, but on a cold night, with the walkways leading their almost arbitrary paths through them, they become positively fascinating, their nasty stone, their formal ineptitude and their general lumpen blandness being effaced, and the promises of transparency and a city of light and suspension seems tantalisingly close to being fulfilled - though there is of course nothing to actually see but hundreds of rapidly emptying offices.
What bothers me about Venturi/Scott-Brown is that their actual architecture, and that of the overwhelming majority of postmodernist architects, seems to have so little interest in this architecture of light and technological city-design - in terms of the actual practice, the skewed modernish/traditionalish conjunctions and intellectual gameplaying seem far more important. Funnily enough, browsing through their website, it seems they've finally got round to designing a building where light is a major factor in the design, and it's in the form of a pair of skyscrapers in Shanghai, dressed with 'electronic ornaments' (image via this interview), in a place where their New Urbanist comrades won't be snooping to make sure all is sufficiently 19th century. The reason this is on my mind, other than it being firework night, is that winter is on the way, which in any big city is actually a rather exciting experience, where previously prosaic landscapes become quite exciting through their illumination. Some London examples: if you trace at night the Barbican walkways all the way past the Museum of London, you get to a junction of four buildings, one by Farrell, one by Foster, one by Eric Parry and one Rogers. Only the the latter would get a second glance from me during the day, but on a cold night, with the walkways leading their almost arbitrary paths through them, they become positively fascinating, their nasty stone, their formal ineptitude and their general lumpen blandness being effaced, and the promises of transparency and a city of light and suspension seems tantalisingly close to being fulfilled - though there is of course nothing to actually see but hundreds of rapidly emptying offices.
There's a few instances of this in my area of London, which exemplify this rule of dreadful architecture interestingly illustrated by its lighting schemes. Chief among them is SOM's Pan Peninsula, a absolutely vile block of flats in the Isle of Dogs, which markets itself with an impressive lack of ideological guile as 'the place to live above all others'. In the daytime it's a shocker, a white-tile clad, spectacularly ungainly and clumsy bit of yuppie-stacking, sterile in a drab rather than icy way, and the promise of 'inspired apartments' on the American Psycho-esque website fails to make up for its architectural shortcomings. What does almost make up for them is the lighting scheme. Now maybe I'm still a bedazzled provincial, but I always enjoy the light show it puts on, where the towers are illuminated by minimalist strips of neon which - oh yes - change colours as you watch. It has a palpable sense of urban drama which the building itself entirely lacks. Another, this time on my side of the river, is Farrell's new office blocks, a nearly as slapdash barcode-façade fest, adjoining the Millennium Dome. Again, during the day this is a terrible mess, but in the darkness their kitsch lighting schemes have a sublime poignancy and vacant beauty, something only emphasised by the drizzly sight of Canary Wharf in the distance.
To 'take a bath of light', as the striking epigraph to On the Town has it, you have to venture into enemy territory, whether it's to the tourist-centred mini-Times Square at Piccadilly Circus, or into the locked-down, privately patrolled citadels of capital at the City of London and Canary Wharf, its lights 'taking the piss' out of the surrounding area, as Dizzee Rascal once put it - then there's the neon film atop the BT Tower - beautiful, but a reminder of the privatisation of Eric Bedford's monument to 1960s Bennism. Weimar Berlin had much the same predicament - the Reklamarchitektur or 'advertising architecture' of Erich Mendelsohn, where light was at least as important as concrete and glass, was in implicit opposition to the residential architecture of Bruno Taut, which was blaringly bright during the day but necessarily visually quiet at night, as people have to sleep there. Contemporary with Mendelsohn and just before Berlin Im Licht, there were experiments in light architecture in the USSR, for the 10th anniversary of the October revolution. You can see clips of this in Dziga Vertov's Three Songs of Lenin, a reclamation of light architecture for the purposes of public celebration rather than the hawking of goods. Yet these celebrations coincided with the final quashing of the Left Opposition in the USSR, and the images in Vertov mainly consist of the ziggurat of Lenin's tomb being illuminated, using light to mystify rather than enlighten, as would Albert Speer, several years later. Whether for political or commercial reasons, light is an overlooked urban object, and I suspect any mundane block of flats that proposed 'electronic ornaments' on its façade would face the middlebrow wrath of CABE in an instant. Looking out of my window, the only thing which stands out among the murky yellow sodium, and an eternally comforting sight in that context, is the sign of the Hong Kong Garden takeaway. Its lurid hot pink banner offers little more than an all-too-frequently irresistible promise of monosodium glutamate, but it's the most beautiful thing on the street.
Modern Bedroom Design Ideas
Modern Bedroom Design
Luxury Bedroom Design Ideas
Bedroom Inspiration Ideas
Stylish and Luxury Bedroom Design
Bedroom Design In white
Bedroom Decoration
Luxury Bedroom Design Ideas
Bedroom Inspiration Ideas
Stylish and Luxury Bedroom Design
Bedroom Design In white
Bedroom Decoration
Aqueous
[Image: From Amphibious Architecture; photo by Chris Woebken].New York architects The Living, mentioned in an earlier post, are behind another noteworthy project: Amphibious Architecture. This one, completed in collaboration with xClinic, Natalie Jeremijenko, and many others, and commissioned by the Architectural League for the recent exhibition Toward the Sentient City, is an environmental monitoring station—a subtle filigree of colored lights—floating in the rivers of New York.
[Image: From Amphibious Architecture; photo by Chris Woebken].As such, it is more or less a direct outgrowth of their earlier project River Glow.
- Amphibious Architecture is a floating installation in New York's waterways that glows and blinks to provide an interface between life above water and life below... Two networks of floating interactive tubes, installed at sites in the East River and the Bronx River, house a range of sensors below water and an array of lights above water. The sensors monitor water quality, presence of fish, and human interest in the river ecosystem. The lights respond to the sensors and create feedback loops between humans, fish, and their shared environment. An SMS interface allows citizens to text-message the fish, to receive real-time information about the river, and to contribute to a display of collective interest in the environment.
[Image: From Amphibious Architecture; photo by Chris Woebken].Check out more of The Living's work on their website—and spend a few moments, while you're at it, with the decisively trans-species design work of their collaborator, Chris Woebken. Woebken's well-known Animal Superpowers project is particularly fantastic.
Cliff House
I randomly came across this image, below, of Adolph Sutro's now-lost Cliff House, perched on the rocks outside San Francisco. It stood for eleven years, from 1896-1907, before being destroyed by fire.
[Image: The Sutro Cliff House, San Francisco].
This gallery of images is extraordinary; the house is so badly situated on its site that it appears simply to be hovering over the rocks on an artificial ground plane. It's like a continental afterthought, the dream of western architecture pushed beyond its ability to retain anchorage. But it's a cinematic sight, to say the least.
For more about Adolph Sutro, meanwhile, don't miss the wave motors of California.
[Image: The Sutro Cliff House, San Francisco].This gallery of images is extraordinary; the house is so badly situated on its site that it appears simply to be hovering over the rocks on an artificial ground plane. It's like a continental afterthought, the dream of western architecture pushed beyond its ability to retain anchorage. But it's a cinematic sight, to say the least.
For more about Adolph Sutro, meanwhile, don't miss the wave motors of California.
New Home Designs
There are many ways to decorate a home inside and out; there are also some that can be used in both places like candles. They can be used inside to make a room appear warm and inviting and they can be used outside to set a mood of romance among the aroma and beauty of nature.
Home décor is as diverse as the family that lives in the home, some people like the appeal of the modern décor and home accents while others find beauty in Victorian home accents or antiques.There are a few things that will help to determine what type of accents will look right in a home, there is the furnishings to consider, the colors of the walls, the amount of light in the room and materials. If a room in a home has dark colored walls and modern furnishings then Victorian accents may not bring the warmth and appeal the person would like. However, if the walls are a deep color and the furnishings are a Victorian style then Victorian accents would do well in this room to give it a finished look.Home accents come in many different materials such as glass, wood, metal, stone and others, which means that there is some type of home accent to complement any furnishings. Glass and metal often fit will with modern furnishings, while colored glass, wood or even stone will fit well with Victorian or antique furnishings.Plants and lamps can also help to set a mood in a room for elegance and warmth and at the same time framed pictures of the family can lend a causal look to a room.
Home décor is as diverse as the family that lives in the home, some people like the appeal of the modern décor and home accents while others find beauty in Victorian home accents or antiques.There are a few things that will help to determine what type of accents will look right in a home, there is the furnishings to consider, the colors of the walls, the amount of light in the room and materials. If a room in a home has dark colored walls and modern furnishings then Victorian accents may not bring the warmth and appeal the person would like. However, if the walls are a deep color and the furnishings are a Victorian style then Victorian accents would do well in this room to give it a finished look.Home accents come in many different materials such as glass, wood, metal, stone and others, which means that there is some type of home accent to complement any furnishings. Glass and metal often fit will with modern furnishings, while colored glass, wood or even stone will fit well with Victorian or antique furnishings.Plants and lamps can also help to set a mood in a room for elegance and warmth and at the same time framed pictures of the family can lend a causal look to a room.
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