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Executive office desk
REF: 01770
COUNTRY: Germany
MANUFACTURER: müller möbelfabrikation
MODEL: M 10
MATERIAL: chrome-plated metal, lacquered steel, walnut veneer
YEAR: 2012
CONDITION: new production
DIMENSIONS: h.: 76 cm x w.: 180 cm x d.: 95 cm
Luxury lounge chair
REF: 00936
STYLE: Streamline Modernism
DESIGNER: Alvar Aalto
COUNTRY: Finland
MATERIAL: chrome-plated flat steel, leather upholstery
YEAR: 1983
CONDITION: original
DIMENSIONS: h.: 80 cm x w.: 81 cm x d.: 99 cm
Wall light
REF: 01754
STYLE: Bauhaus Modernism
DESIGNER: ZEITLOS – BERLIN
COUNTRY: Germany
MANUFACTURER: ZEITLOS – BERLIN
MATERIAL: chrome plated metall, glass
YEAR: 2005
CONDITION: new
DIMENSIONS: diameter: 75 cm
Modern Kitchen Interior Design
Modern Kitchen Interior Design, 1611 x 1093, 333 KB, ribboncasket.blogspot.com/2014/12/modern-kitchen-design-g...
Feel free to use this image for your page or blog post as long as you include an image credit with our name and a clickable (hyperlinked) and followed link to Highmark Builders website. www.highmark-builders.com
Mueller Design is a full-service firm offering residential and commercial architectural services, interior design, space planning, old-world residential renovations, hillside construction, site planning, landscape design, and project management with offices in Los Angeles and New York.
This identity was created for a change in business emphasis, from staging to interior design. Pangaea Interior Design has a contemporary look and feel. It is inviting, friendly, and modern.
5dm2 | 16-35mm | @35mm | F11 | -2 ---0--- +2 |
Thanks for your visits, comments and favorites.If you are interested feel free to visit my homepage www.bolc-fotografie.de
www.rogue-designs.co.uk, rogue-andmore.blogspot.com, vibrant modern interior designs from rogue designs modern interiors design services in oxford. kitchen planning and installation, bathroom designs and planning, bespoke and fitted furniture, project management, property restoration and period property renovation. scandinavian and retro vintage furniture and design, handmade wallpaper and fabric.
interior designers, design, designs,oxford,oxfordshire,cotswolds,period properties,property,restoration,renovation,project management,rogue,kitchen,bathroom,wallpaper,living etc,fabrics,screen print,art,artists,craft,crafts,arts and crafts,fitted furniture,bespoke,furniture,shelving,cabinets,solid wood, worktops,handmade kitchens,designer,swedish,scandinavian,danish,retro,vintage,eames,panton,hans wegner,marimekko, paints,painting,paint effects
Interior Design Ideas Attic Bedroom
Awesome Interior Design One Bedroom Apt
Finest Interior Design For Bedroom As Per Vastu
Interior Design Of Bedroom According To Vastu
Interior Design Bedroom Black And White
Interior Design 2 Bedroom Apartment
Interior...
Desain Interior Annahape Studio .Lokasi Proyek Interior: Bumi Serpong Damai Tip selengkapnya dapat dibaca klik di sini .
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Executive office desk by Mauser
REF: 01655
STYLE: German Streamline Moderne
COUNTRY: Germany
MANUFACTURER: Mauser Werke, Waldeck
MODEL: Köln/S
MATERIAL: lacquered and drawn sheet steel, polished aluminium, chrome-plated metal, coral red Linoleum
YEAR: 1939
CONDITION: original
DIMENSIONS: h.: 74 cm x w.: 162 cm x d.: 84 cm
DESCRIPTION:
This furniture provenient from the estate of a famous Berliner film producer was perfectly conserved and presents an exquisite patina. The Mauser Company describes it in its own catalogue from the 30´s like it follows:
“ The depository space is composed by a rounded slippery element integrated in the courved volume in such a way that in the general image of the both rounded table columns, the circularity of those volumes is preserved.“
Lit.: Mauser Produktkatalog, 1939, in: Vegesack, Alexander von, Deutsche Stahlrohrmöbel – 650 Modelle aus Katalogen von 1927–1958, München: Bagert, 1986, S. 142.
Office chair by Mauser
REF: 01554
STYLE: German Modernism
DESIGNER: company design Alfons Mauser
COUNTRY: Germany
MANUFACTURER: Mauser Werke, Waldeck
MATERIAL: chrome plated tubular steel, lacquered metall, leather upholstery, lacquered wood
YEAR: 1939
CONDITION:original
DIMENSIONS: h.: 94 cm x w.: 53,5 cm x d.: 61 cm
Desk lamp by Christian Dell
REF: 01313
STYLE: Bauhaus
DESIGNER: Christian Dell
MODEL: K
MATERIAL: nickel-plated metal, lacquered metal, Bakelite
YEAR: 1929
CONDITION: original
DIMENSIONS: h.: 45-83 cm, radius: 68 cm
The second guest room was turned into a study room, the new partition glass wall enhances the visual space and brings in natural daylight to the house.
Website:
Feel free to use this image for your page or blog post as long as you include an image credit with our name and a clickable (hyperlinked) and followed link to Highmark Builders website. www.highmark-builders.com
An interior designer needs to be well versed with these principles to arrange/organize the elements so that a good composition is achieved. So without further ado, let’s jot down these principles of interior design and understand their significance in the world of interior design!
1. Unity
The principle of Unity, as the name implies stresses on the fact that there should be a sense of uniformity or harmony among all the elements used. Interior design should serve as a visual guide for a person to understand a living space, and without unity, the visual guide will only end up confusing the person. All the elements used should complement one another and a smooth transition should exist from one to another. A good understanding of Alignment of objects, Similarity of color/pattern/texture, Proximity (spacing) of objects, Repetition (grouping) of elements based on similarity, Continuation and Overlapping of interior design elements are a few ways to achieve ‘Unity’ in an interior design arrangement.
2. Balance
The principle of balance refers to the ordered distribution of elements of equal visual weight to achieve a visual equilibrium. Balance is only achieved when the visual weight of the elements are evenly distributed along a central axis or point that can be both real and imaginary. Balance can be achieved by three popular ways namely Symmetrical, Asymmetrical and Radial. In Symmetrical, a space is divided into two equal halves centered on a central axis and both the halves are equally compensated to give out a calm feel to the living space. In Asymmetrical, any odd number of elements can be used by keeping an imaginary central axis as the focal point. Though asymmetrical balance is a little hard to achieve when compared to symmetrical, the output is more natural and energetic when compared to the former. Radial balance involves a central piece (like a chandelier or a round dining table) from which all other elements seem to radiate to arrange themselves in circular symmetry.
3. Rhythm
The principle of Rhythm essentially suggests a connected movement between different elements of interior design. This movement is essential to maintain a visual tempo between elements that have different visual weights. Elements repeated in an orderly fashion and the spaces between them create a sense of rhythm. Rhythm can be achieved in any living space by following these three methods – Repetition, Alternation and Progression. Repetition refers to the repeated use of the design elements like color, texture and pattern or any other physical attributes like home décor items in an orderly way. Alternation is the method of creating rhythm by alternating two or more elements in a pre-defined fashion like ABABAB or ABCABC and so on. In Progression, elements are arranged ascending or descending based or their size, color gradient or any other distinctive characteristic.
4. Emphasis
Emphasis, as the name suggests, is a principle of interior design that says that a central piece of art or furniture must play the role of a focal point or attention grabber of a particular living space. Elements like color, pattern and texture must be used to emphasize a particular focal point. In fact these elements must be used in such a way that the focal point dominates the rest of the décor items and pulls the room together. Other items that surround the focal point must complement the latter and share a contrast that puts the focal point in the top priority.
5. Contrast
Contrast refers to the difference in the luminance or color of objects that differentiates them from one another. In interior design, contrast can be achieved by three elements namely color, form and space. One can use pillows or prints of two opposite colors like black and white to achieve contrast and make an object distinguishable. Contrast can also be achieved by combining two or more forms; for example one can combine a circular mirror and a rectangular sofa to balance and distribute the attention between both the items. One can also achieve contrast in a living space by dividing the available space efficiently into usable positive and negative spaces.
6. Details
Details are like cherries on an ice cream, they might seem extra but without cherries the ice cream isn’t just complete! Be it the small embroideries on a pillow cover or the color within those embroidery patterns, every detail adds a little bit of life to the overall interior design, adding their own distinctive feature to the overall composition. Another way is to add faux stone panels on the accent wall.
Once you are sure that you have achieved all of the above mentioned principles, it’s time for details to take over and beautify the place further.
Posterus-Event www.posterusevent.com
Representing Design/Engineering and visionary ideas within,
Yachting,Yacht design, aerospace, architecture and automotive, etc.
This colorful little girls room in franklin, tennessee was designed by cke interior design, ckeinteriordesign.com and is so much fun.
Interior Design Letterhead desing template by Lisa Harris.Showcased on Inkd.com.
This letterhead is appropriate for an interior design firm looking to convey a professional, sophisticated image.
Sorry for the absence. Instead of photography, photoshop, and flickr, I’ve been putting all my creative energy and time into furnishing, decorating, and interior design at our new vacation cabin in Carmel Valley. For the living room (shown here) I sought out two vintage Coleman lanterns from the early 1970’s that were in similar condition. (This is the same lantern my folks took camping when I was a kid). I took out the gas tubing and valves and wired them to take two 40 watt bulbs each and connected them both to a wall dimmer switch. The effect at night with the wood stove going and creek just outside flowing is simply stunning.
The contemporary ceiling fan between the pair of Coleman lanterns is the next thing to go. It’s just too modern and will never fit in. Most of the wall decorations are vintage fishing and hunting memorabilia used by my parents and grandparents.
And now for some shots with the 50mm, of the details and fittings of the church. More to follow.
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Augustus Welby Northmore Pugin (1 March 1812 – 14 September 1852) was an English architect, designer, artist and critic, chiefly remembered for his pioneering role in the Gothic Revival style; his work culminated in the interior design of the Palace of Westminster. Pugin designed many churches in England, and some in Ireland and Australia.[1] Pugin was the son of Auguste Pugin, and the father of E.W. and Edmund Peter Paul Pugin, who continued his architectural firm as Pugin & Pugin.
Pugin was the son of a French draughtsman, Auguste Pugin, who had come to England as a result of the French Revolution and had married Catherine Welby of the Denton, Lincolnshire Welby family.[3] Augustus was born at his parents' house in Bloomsbury. Between 1821 and 1838 Pugin's father had published a series of volumes of architectural drawings, the first two entitled, Specimens of Gothic Architecture, and the following three, Examples of Gothic Architecture, that were to remain both in print and the standard references for Gothic architecture for at least the next century.
As a child he was taken each Sunday by his mother to the services of the fashionable Scottish presbyterian preacher Edward Irving (later founder of the Holy Catholic Apostolic Church), at his chapel in Cross Street, Hatton Garden.[4] He soon rebelled against this version of Christianity: according to Benjamin Ferrey, Pugin "always expressed unmitigated disgust at the cold and sterile forms of the Scotch church; and the moment he broke free from the trammels imposed on him by his mother, he rushed into the arms of a church which, pompous by its ceremonies, was attractive to his imaginative mind.
Pugin learned drawing from his father, and for a while attended Christ's Hospital. After leaving school he worked in his father's office, and in 1825 and 1827 accompanied him on visits to France.[6] His first commissions independent of his father were for designs for the goldsmiths Rundell and Bridge, and for designs for furniture at Windsor Castle, from the upholsterers Morrel and Seddon. Through a contact made while working at Windsor, he became interested in the design of theatre scenery, and in 1831 obtained a commission to design the sets for the production of a new opera called Kenilworth at Covent Garden.[7] He also developed an interest in sailing, and briefly commanded a small merchant schooner trading between Britain and Holland, which allowed him to import examples of furniture and carving from Flanders,with which he later furnished his house at Ramsgate.[8] During one voyage in 1830 he was wrecked on the Scottish coast near Leith,[9] as a result of which he came into contact with Edinburgh architect James Gillespie Graham, who advised him to abandon seafaring for architecture.[10] He then set up a business supplying historically accurate carved wood and stone details for the increasing number of buildings being constructed in the Gothic style, but the enterprise soon failed.
In 1831, aged nineteen, Pugin married the first of his three wives, Anne Garnet.[11] Anne died a few months later in childbirth, leaving him with a daughter. He had a further six children, including the architect Edward Pugin, with his second wife, Louisa Burton, who died in 1844. His third wife, Jane Knill, kept a journal of their married life together, between their marriage in 1848 and his death; it was later published.[12] Their son was Peter Paul Pugin.
Following his second marriage in 1833, Pugin moved to Salisbury with his wife,[13] and in 1835 bought half an acre of land, at Alderbury, about a mile-and-a-half outside the town, On this he built a medieval-inspired house for his family, called "St Marie's Grange".[14] Charles Locke Eastlake said of it "he had not yet learned the art of combining a picturesque exterior with the ordinary comforts of an English home".
In 1834, Pugin became a Roman Catholic convert,[16] and was received into the faith in the following year.[17] His conversion resulted in the loss of some commissions,[citation needed] but also brought him into contact with new patrons and employers. In 1832 he had made the acquaintance of John Talbot, 16th Earl of Shrewsbury, a Roman Catholic, sympathetic to his aesthetic views who employed him in alterations and additions to his residence Alton Towers, which subsequently led to many other commissions.[18] Shrewsbury commissioned him to build St. Giles' Catholic Church, Cheadle, completed in 1846, and Pugin was also responsible for designing the oldest Catholic church in Shropshire, St Peter and Paul at Newport,
n 1836, Pugin published Contrasts, a polemical book which argued for the revival of the medieval Gothic style, and also "a return to the faith and the social structures of the Middle Ages".[19] Each plate in the book selected a type of urban building and contrasted the 1830 example with its 15th-century equivalent. In one example, Pugin contrasted a medieval monastic foundation, where monks fed and clothed the needy, grew food in the gardens – and gave the dead a decent burial – with "a panopticon workhouse where the poor were beaten, half starved and sent off after death for dissection. Each structure was the built expression of a particular view of humanity: Christianity versus Utilitarianism."[19] Pugin's biographer, Rosemary Hill, wrote: "The drawings were all calculatedly unfair. King's College London was shown from an unflatteringly skewed angle, while Christ Church, Oxford, was edited to avoid showing its famous Tom Tower because that was by Christopher Wren and so not medieval. But the cumulative rhetorical force was tremendous."
In 1841 he left Salisbury,[20] finding it an inconvenient base for his growing architectural practice.[21] He sold St Marie's Grange at a considerable financial loss,[22] and moved temporarily to Cheyne Walk, Chelsea. He had however already purchased a piece of land at the West Cliff, Ramsgate, where he proceeded to build himself a large house and, at his own expense, a church on which he worked whenever funds allowed. His second wife died in 1844 and was buried at St. Chad's, Birmingham, a church which he had himself had designed.
Following the destruction by fire of the Palace of Westminster in 1834, Pugin was employed by Sir Charles Barry to supply interior designs for his entry to the architectural competition which would determine who would build the new Palace of Westminster. Pugin also supplied drawings for James Gillespie Graham's entry.[24] This followed a period of employment when Pugin had worked with Barry on the interior design of King Edward's School, Birmingham. Despite his conversion to Catholicism in 1834, Pugin designed and refurbished both Anglican and Catholic churches throughout the country.
Other works include St Chad's Cathedral, Erdington Abbey and Oscott College, all in Birmingham. He also designed the college buildings of St Patrick and St Mary in St. Patrick's College, Maynooth; though not the college chapel. His original plans included both a chapel and an aula maxima, neither of which were built because of financial constraints. The college chapel was designed by a follower of Pugin, the Irish architect J.J. McCarthy. Also in Ireland, Pugin designed St Mary's Cathedral in Killarney, St Aidan's Cathedral, Enniscorthy (renovated in 1996) and the Dominican church of the Holy Cross in Tralee. He revised the plans for St Michael's Church in Ballinasloe, Galway. Pugin was also invited by Bishop Wareing to design what eventually became Northampton Cathedral, a project that was completed in 1864 by Pugin's son Edward Welby Pugin.
Pugin visited Italy in 1847; his experience there confirmed his dislike of Renaissance and Baroque architecture, but he found much to admire in the medieval art of northern Italy.
In February 1852, while travelling with his son Edward by train, Pugin suffered a total breakdown and arrived in London unable to recognise anyone or speak coherently. For four months he was confined to a private asylum, Kensington House. In June, he was transferred to the Royal Bethlem Hospital, popularly known as Bedlam.[26] At that time, Bethlem Hospital was opposite St George's Cathedral, Southwark, one of Pugin's major buildings, where he had married his third wife, Jane, in 1848. Jane and a doctor removed Pugin from Bedlam and took him to a private house in Hammersmith where they attempted therapy, and he recovered sufficiently to recognise his wife.[26] In September, Jane took her husband back to The Grange in Ramsgate, where he died on 14 September 1852.[26]
On Pugin's death certificate, the cause listed was "convulsions followed by coma". Pugin's biographer, Rosemary Hill, suggests that, in the last year of his life, he was suffering from hyperthyroidism which would account for his symptoms of exaggerated appetite, perspiration, and restlessness. Hill writes that Pugin's medical history, including eye problems and recurrent illness from his early twenties, suggests that he contracted syphilis in his late teens, and this may have been the cause of his death at the age of 40.
In 1844, having won the architectural competition to design the new Palace of Westminster, Sir Charles Barry, asked Pugin to supply detailed designs for the interior of the new building, including stained glass, metalwork, wood carving, upholstery, furniture and a royal throne. Pugin's biographer, Rosemary Hill, shows that Barry designed the Palace as a whole, and only he could coordinate such a large project and deal with its difficult paymasters, but he relied entirely on Pugin for its Gothic interiors, wallpapers and furnishings.[28]
At the end of Pugin's life, in February 1852, Barry visited him in Ramsgate and Pugin supplied a detailed design for the iconic Palace clock tower, officially dubbed the Elizabeth Tower, but more popularly known as Big Ben. The design is very close to earlier designs by Pugin, including an unbuilt scheme for Scarisbrick Hall, Lancashire. The tower was Pugin's last design before descending into madness. In her biography, Hill quotes Pugin as writing of what is probably his best known building: "I never worked so hard in my life [as] for Mr Barry for tomorrow I render all the designs for finishing his bell tower & it is beautiful & I am the whole machinery of the clock."[29] Hill writes that Barry omitted to give any credit to Pugin for his huge contribution to the design of the new Houses of Parliament.[30] In 1867, after the deaths of both Pugin and Barry, Pugin's son Edward published a pamphlet, Who Was the Art Architect of the Houses of Parliament, a statement of facts, in which he asserted that his father was the "true" architect of the building, and not Barry.