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The decorations in this room were also by Giuseppe Borsato and were carried out in 1838 prior to the arrival of Emperor Ferdinand I, as the King of Lombardy-Venetia. Designed as the Throne Room, over the years it actually had different functions. In particular, it was used as a waiting room when the next, larger room was used for private audiences first by the emperor or viceroy, and then by Empress Elisabeth. At the base of the ceiling vault with trompe l’oeil architectural elements in chiaroscuro, there are panels with classical arms and two coats of arms of the Lombard-Venetia kingdom, with the Biscione (grass snake) of the Milanese Visconti family and the Venetian lion of St. Mark’s while above is the Iron Crown of Lombardy supported by pairs of allegorical figures. The red and gold wall hanging (Rubelli, Venice) is a faithful reproduction of the one that was placed here in 1854 (probably French) and preserved under today’s. The elegant imperial furniture is all original. The large glass chandelier with multicoloured flowers was made on Murano in the eighteenth century.
Visita il Museo Correr
The decorations in this room were also by Giuseppe Borsato and were carried out in 1838 prior to the arrival of Emperor Ferdinand I, as the King of Lombardy-Venetia. Designed as the Throne Room, over the years it actually had different functions. In particular, it was used as a waiting room when the next, larger room was used for private audiences first by the emperor or viceroy, and then by Empress Elisabeth. At the base of the ceiling vault with trompe l’oeil architectural elements in chiaroscuro, there are panels with classical arms and two coats of arms of the Lombard-Venetia kingdom, with the Biscione (grass snake) of the Milanese Visconti family and the Venetian lion of St. Mark’s while above is the Iron Crown of Lombardy supported by pairs of allegorical figures. The red and gold wall hanging (Rubelli, Venice) is a faithful reproduction of the one that was placed here in 1854 (probably French) and preserved under today’s. The elegant imperial furniture is all original. The large glass chandelier with multicoloured flowers was made on Murano in the eighteenth century.
Visita il Museo Correr
The decorations in this room were also by Giuseppe Borsato and were carried out in 1838 prior to the arrival of Emperor Ferdinand I, as the King of Lombardy-Venetia. Designed as the Throne Room, over the years it actually had different functions. In particular, it was used as a waiting room when the next, larger room was used for private audiences first by the emperor or viceroy, and then by Empress Elisabeth. At the base of the ceiling vault with trompe l’oeil architectural elements in chiaroscuro, there are panels with classical arms and two coats of arms of the Lombard-Venetia kingdom, with the Biscione (grass snake) of the Milanese Visconti family and the Venetian lion of St. Mark’s while above is the Iron Crown of Lombardy supported by pairs of allegorical figures. The red and gold wall hanging (Rubelli, Venice) is a faithful reproduction of the one that was placed here in 1854 (probably French) and preserved under today’s. The elegant imperial furniture is all original. The large glass chandelier with multicoloured flowers was made on Murano in the eighteenth century.
Visita il Museo Correr
From 1856 on this spacious room was used as Empress Elisabeth’s bed chamber. As there was no fireplace, there used to be a large ‘column-shaped’ majolica stove to heat the room. The neoclassical decoration on the ceiling vault is from the Napoleonic period and was completed around 1810. The geometrical panels, possibly by Giuseppe Borsato, are interspersed with frescoed figures by Giovanni Bevilacqua in pleasant soft colours (Venus and Peristera with Cupid, Venus before Jupiter, The Toilet of Venus, Judgement of Paris). The lavish neo-Baroque hangings in blue and light gold were added in 1854, when renovation was carried out. Once again, the original is preserved under the one you can see, which is an accurate reproduction (Rubelli – Venice). Although no longer present, we know that the empress’ bed was in the rococo style, surrounded by curtains hanging from a metal baldachin; today an outstanding piece of historical furniture commemorates the function of this room: the pure imperial style bed of Napoleon’s step-son, Eugene Beauharnais (his initials can be seen on it), viceroy of the short-lived Kingdom of Italy founded by Bonaparte between 1806 and 1814. This dormeuse is one of the few pieces of furniture from the Napoleonic period to have remained in the palace. The other pieces in the room are from the same period and in the same style. The neoclassical gilded bronze chandelier is of great elegance.
Visita il Museo Correr
Hier kostet die "Redentore Suite" im Mai 2018 momentan noch € 13'500 pro Nacht.
Was man dafür erhält?
Beschreibung:
Die zweistöckige REDENTORE TERRAZZA SUITE, ein kürzlich enthülltes, verstecktes Juwel, befindet sich im obersten Stockwerk des Palazzo mit einer internen Wendeltreppe, die zu einer beispiellosen 250 Quadratmeter großen Dachterrasse und einem kleinen Pool führt.
Man überblickt den Canal Grande, Venedigs Südliche Lagune, und Palladios Meisterwerk, die Kirche der Redentore auf der Insel Giudecca.
Ein privater Aufzug führt von der Lobby direkt in die gemütliche Dachgeschosswohnung der Suite, wo das Wohnzimmer szenische Dekorationen zeigt, und ein Schlafzimmer ist mit wertvollen Stoffen von Lorenzo Rubelli dekoriert.
In jeder Palazzo Canal Suite kann ein 6-Sitzer-Esstisch mit Zimmerservice versorgt werden.
Das Bang & Olufsen Entertainment-System im Wohnzimmer umfasst einen 46-Zoll-Flachbildfernseher BeoVision und eine BeoSound Docking Station.
Das Schlafzimmer beherbergt einen zusätzlichen 40-Zoll-Flachbildfernseher von BeoVision sowie ein bequemes Kingsize-Bett.
Premium Acqua di Parma Annehmlichkeiten begleiten den doppelten Waschtisch des Marmorbadezimmers.
Die Suite Redentore Terrazza mit einem Zimmer im venezianischen Stil kann zu einer Suite mit zwei Schlafzimmern kombiniert werden.
Standard Annehmlichkeiten:
Ein wahrhaft indianisches Erlebnis erwartet Sie im Gritti Palace in Venedig. Seltene antike Möbel, kostbare Stoffe und Leuchten aus Muranoglas sind von Mauern umgeben, die Erinnerungen und Anekdoten aus mehr als fünf Jahrhunderten Geschichte zum Leben erwecken.
Ergänzt durch luxuriösen Komfort und persönlichen Service, vereinen die raffinierten Räumlichkeiten unserer 82 Gästezimmer und Suiten modernste Technologie mit Filmen im Zimmer und High-Speed Internetanschluss.
Jedes Gästezimmer und jede Suite ist einzigartig.
Von unseren Grand Canal Suiten haben Sie einen atemberaubenden Blick auf den Canal Grande.
Geräumiges Badezimmer:
Fön, Make-Up/Rasierspiegel, Bademantel, Hausschuhe, Badezimmer Telefon, Bidet.
Bett Eigenschaften: Luxuriöses Bett der Luxusklasse.
Essen: Selbstbedienungs-Minibar, Alkoholfreie Getränke, Snacks. 24-Stunden-In-Room Dining. Essbereich im Zimmer, Kostenloses Mineralwasser.
Unterhaltung: Pay-Per-View-Filme, Satelliten-Kanäle.
Büro/Telekommunikation: Voicemail, Schreibtisch, Direktwahltelefon.
Zimmerausstattung und Dienstleistungen:
Elektronischer Safe, Nächtlicher Aufdeckservice, Schuhputzservice, Weckdienst verfügbar, Elektronischer Raumschlüssel, Individuelle Klimaregelung, Reiche Stoffe, Verbindungszimmer verfügbar.
Internetzugang: Kostenloser Internetzugang steht allen SPG-Mitgliedern zur Verfügung, wenn sie Starwood-Websites, mobile Websites, SPG-Apps oder nur Kundenkontaktcenter buchen. Die Vorteile variieren je nach Mitgliedschaftsstufe.
Kabelgebundener und kabelloser High-Speed Internetanschluss (kostenlos).
Einige der oben genannten Annehmlichkeiten sind möglicherweise nicht in allen Zimmern verfügbar. Gebühren für bestimmte Annehmlichkeiten / Dienstleistungen können anfallen.
Check in: 3:00 PM Check out: 12:00 Uhr
Lausig! So viele Euros und nicht mal ein persönlicher Butler oder einen Gratis-Transfer vom Flughafen .. tztztztz.
Lousy! So many euros and not even a personal butler or a free transfer from the airport ..
More informations: www.thegrittipalace.com/
.
¡Maldito! Tantos euros y ni siquiera un mayordomo personal o un traslado gratuito desde el aeropuerto.
.
Más informaciónes: www.starwoodhotels.com/luxury/property/overview/index.htm...
This is the sumptious Great Chamber Bedroom in the Hall, formerly the chapel end of the great hall before the floor was put in. The bed is a new Tester made from velvet from Rubelli of Venice, and the giant headboard is covered with an Elizabethan hunting motif fabric designed by Melissa White.
Rubellite Tourmaline crystal in a very interesting matrix of what appears to be Calcite and some light blue mineral...maybe Fluorite?
This from the Latpanla mine between Mogok & Mandalay, Myanmar
For our day out in Venice, Mike and I headed to Piazza San Marco. During our time there, we visited the Museo Correr, which is housed in the Procuratie buildings that once served as the Palazzo Reale (Royal Palace).
After entering through the palace's ballroom, we began our self-guided tour of the museum in the Imperial Rooms, which once served as the royal apartments of the Hapsburg Empress Elisabeth (''Sissi''). Here, you can see a view of the Camera da Letto dell’Imperatrice (Empress's Bed Chamber). In place of the empress's missing rococo-style bed, the bedroom features a small dormeuse that belonged to to Napoleon's stepson, Eugene Beauharnais, who served as viceroy of the Kingdom of Italy. A portrait of Empress Elisabeth hangs on the wall.
Informational placards provided more details on this room and the Imperial Apartments; I've transcribed those descriptions below:
Camera da Letto dell’Imperatrice (The Empress's Bed Chamber)
From 1856 on, this spacious room was used as Empress Elisabeth's bed chamber. As there was no fireplace, there used to be a large column-shaped majolica stove to heat the room.
The neoclassical decoration on the ceiling vault is from the Napoleonic period and was completed around 1810. The geometrical panels, possibly by Giuseppe Borsato, are interspersed with frescoed figures by Giovanni Bevilacqua in pleasant soft colors (Venus and Peristera with Cupid, Venus before Jupiter, The Toilet of Venus, and Judgement of Paris). The lavish, neo-Baroque hangings in blue and light gold were added in 1854, when renovation was carried out. The original wall covering is preserved under the current one, which is an accurate reproduction by Rubelli of Venice.
Although no longer present, we know that the empress's bed was in the rococo style, surrounded by curtains hanging from a metal baldachin. Today, an outstanding piece of historical furniture commemorates the function of this room: the imperial-style bed of Napoleon's stepson, Eugene Beauharnais, viceroy of the short-lived Kingdom of Italy founded by Bonaparte between 1806 and 1814. This dormeuse (which bears Eugene's initial) is one of the few pieces of furniture from the Napoleonic period to have remained in the palace.
The other pieces in the room are from the same period and in the same style, including the elegant, neoclassical, gilded-bronze chandelier. The painting between the windows is an altarpiece by Carlo Caliari, son of the celebrated 16th-century painter Paolo Veronese. It was originally made for a church in northern Veneto (Belluno) and requisitioned during the Napoleonic period, and was later placed in the altar of the Chapel of the Royal Palace.
Stanze dell’Imperatrice Elisabetta (Imperial Rooms)
The ''imperial'' rooms of the Royal Palace opened to the public in July 2012 after a meticulous and complicated restoration process of nine rooms that were formerly used as public offices. The decoration of these rooms goes back to the Hapsburg period, although some valuable elements from the Napoleonic age have remained. It took place in two stages: the first in 1836-38, prior to the arrival of Emperor Ferdinand I, who stayed here when he was crowned King of Lombardy-Venetia in September 1838 in Milan; the second in 1854-56, before the state visit of the young sovereigns Franz Joseph and Elisabeth (''Sissi''), which lasted 38 days between November 1856 and January 1857. The Empress was then to live here for another seven months between October 1861 and May 1862 with her husband ''Franzi'', who came from Vienna by train at least 10 times. Her apartment rooms, including the boudoir that is pervaded by an atmosphere of intimacy and peace, are the most fascinating and evocative of the whole itinerary.
The decorations in this room were also by Giuseppe Borsato and were carried out in 1838 prior to the arrival of Emperor Ferdinand I, as the King of Lombardy-Venetia. Designed as the Throne Room, over the years it actually had different functions. In particular, it was used as a waiting room when the next, larger room was used for private audiences first by the emperor or viceroy, and then by Empress Elisabeth. At the base of the ceiling vault with trompe l’oeil architectural elements in chiaroscuro, there are panels with classical arms and two coats of arms of the Lombard-Venetia kingdom, with the Biscione (grass snake) of the Milanese Visconti family and the Venetian lion of St. Mark’s while above is the Iron Crown of Lombardy supported by pairs of allegorical figures. The red and gold wall hanging (Rubelli, Venice) is a faithful reproduction of the one that was placed here in 1854 (probably French) and preserved under today’s. The elegant imperial furniture is all original. The large glass chandelier with multicoloured flowers was made on Murano in the eighteenth century.
Visita il Museo Correr
Rio San Polo - sullo sfondo Canal Grande - Palazzo Corner Spinelli sede di Rubelli
Rubelli, azienda familiare fondata a Venezia nel 1858, produce e commercializza tessuti per arredamento di alta gamma, broccati, damaschi, velluti, sete, lampassi, che fanno tendenza nel mondo del design tessile. Con in portafoglio marchi storici e prestigiosi quali Lisio, Bises, Dominique Kieffer e Donghia, il gruppo Rubelli è oggi uno dei più importanti del panorama mondiale del settore tessile arredamento. Rubelli esporta in tutto il mondo ed è presente con propri show room nelle maggiori città italiane ed estere. Ha un proprio ufficio stilismo, una tessitura (con telai di ultimissima generazione, ma anche telai a mano risalenti al Settecento), un archivio storico con migliaia documenti di varie epoche ed una ricca biblioteca.
For our day out in Venice, Mike and I headed to Piazza San Marco. During our time there, we visited the Museo Correr, which is housed in the Procuratie buildings that once served as the Palazzo Reale (Royal Palace).
After entering through the palace's ballroom, we began our self-guided tour of the museum in the Imperial Rooms, which once served as the royal apartments of the Hapsburg Empress Elisabeth (''Sissi''). Here, you can see a view of the Sala del Trono Lombardo-Veneto (Lombardy-Venetia Throne Room), which features original period furnishings and an 18th-century Murano glass chandelier.
Informational placards provided more details on this room and the Imperial Apartments; I've transcribed those descriptions below:
Sala del Trono Lombardo-Veneto (Lombardy-Venetia Throne Room)
The decorations in this room were by Giuseppe Borsato and were carried out in 1838 prior to the arrival of Emperor Ferdinand I as the King of Lombardy-Venetia. Designed as the Throne Room, over the years it actually had different functions. In particular, it was used as a waiting room when the next, larger room was used for private audiences -- first by the emperor or viceroy, and then by Empress Elisabeth.
At the base of the ceiling vault with trompe l’oeil architectural elements in chiaroscuro, there are panels with classical arms and two coats of arms of the Lombard-Venetia kingdom, with the Biscione (grass snake) of the Milanese Visconti family and the Venetian lion of St. Mark, while above is the Iron Crown of Lombardy supported by pairs of allegorical figures.
The red and gold wall hanging (Rubelli, Venice) is a faithful reproduction of the one that was placed here in 1854 (probably French). The elegant imperial furniture is all original. The large glass chandelier with multicolored flowers was made on Murano in the 18th century.
Stanze dell’Imperatrice Elisabetta (Imperial Rooms)
The ''imperial'' rooms of the Royal Palace opened to the public in July 2012 after a meticulous and complicated restoration process of nine rooms that were formerly used as public offices. The decoration of these rooms goes back to the Hapsburg period, although some valuable elements from the Napoleonic age have remained. It took place in two stages: the first in 1836-38, prior to the arrival of Emperor Ferdinand I, who stayed here when he was crowned King of Lombardy-Venetia in September 1838 in Milan; the second in 1854-56, before the state visit of the young sovereigns Franz Joseph and Elisabeth (''Sissi''), which lasted 38 days between November 1856 and January 1857. The Empress was then to live here for another seven months between October 1861 and May 1862 with her husband ''Franzi'', who came from Vienna by train at least 10 times. Her apartment rooms, including the boudoir that is pervaded by an atmosphere of intimacy and peace, are the most fascinating and evocative of the whole itinerary.
For our day out in Venice, Mike and I headed to Piazza San Marco. During our time there, we visited the Museo Correr, which is housed in the Procuratie buildings that once served as the Palazzo Reale (Royal Palace).
After entering through the palace's ballroom, we began our self-guided tour of the museum in the Imperial Rooms, which once served as the royal apartments of the Hapsburg Empress Elisabeth (''Sissi''). Here, you can see a view of the vaulted ceiling in the Camera da Letto dell’Imperatrice (Empress's Bed Chamber). The ceiling decorations date from the Napoleonic period (circa 1810) and features frescoes by Giovanni Bevilacqua that depict Venus and Peristera with Cupid, Venus before Jupiter, The Toilet of Venus, and Judgement of Paris.
Informational placards provided more details on this room and the Imperial Apartments; I've transcribed those descriptions below:
Camera da Letto dell’Imperatrice (The Empress's Bed Chamber)
From 1856 on, this spacious room was used as Empress Elisabeth's bed chamber. As there was no fireplace, there used to be a large column-shaped majolica stove to heat the room.
The neoclassical decoration on the ceiling vault is from the Napoleonic period and was completed around 1810. The geometrical panels, possibly by Giuseppe Borsato, are interspersed with frescoed figures by Giovanni Bevilacqua in pleasant soft colors (Venus and Peristera with Cupid, Venus before Jupiter, The Toilet of Venus, and Judgement of Paris). The lavish, neo-Baroque hangings in blue and light gold were added in 1854, when renovation was carried out. The original wall covering is preserved under the current one, which is an accurate reproduction by Rubelli of Venice.
Although no longer present, we know that the empress's bed was in the rococo style, surrounded by curtains hanging from a metal baldachin. Today, an outstanding piece of historical furniture commemorates the function of this room: the imperial-style bed of Napoleon's stepson, Eugene Beauharnais, viceroy of the short-lived Kingdom of Italy founded by Bonaparte between 1806 and 1814. This dormeuse (which bears Eugene's initial) is one of the few pieces of furniture from the Napoleonic period to have remained in the palace.
The other pieces in the room are from the same period and in the same style, including the elegant, neoclassical, gilded-bronze chandelier. The painting between the windows is an altarpiece by Carlo Caliari, son of the celebrated 16th-century painter Paolo Veronese. It was originally made for a church in northern Veneto (Belluno) and requisitioned during the Napoleonic period, and was later placed in the altar of the Chapel of the Royal Palace.
Stanze dell’Imperatrice Elisabetta (Imperial Rooms)
The ''imperial'' rooms of the Royal Palace opened to the public in July 2012 after a meticulous and complicated restoration process of nine rooms that were formerly used as public offices. The decoration of these rooms goes back to the Hapsburg period, although some valuable elements from the Napoleonic age have remained. It took place in two stages: the first in 1836-38, prior to the arrival of Emperor Ferdinand I, who stayed here when he was crowned King of Lombardy-Venetia in September 1838 in Milan; the second in 1854-56, before the state visit of the young sovereigns Franz Joseph and Elisabeth (''Sissi''), which lasted 38 days between November 1856 and January 1857. The Empress was then to live here for another seven months between October 1861 and May 1862 with her husband ''Franzi'', who came from Vienna by train at least 10 times. Her apartment rooms, including the boudoir that is pervaded by an atmosphere of intimacy and peace, are the most fascinating and evocative of the whole itinerary.
For our day out in Venice, Mike and I headed to Piazza San Marco. During our time there, we visited the Museo Correr, which is housed in the Procuratie buildings that once served as the Palazzo Reale (Royal Palace).
After entering through the palace's ballroom, we began our self-guided tour of the museum in the Imperial Rooms, which once served as the royal apartments of the Hapsburg Empress Elisabeth (''Sissi''). Here, you can see a view of the Sala del Trono Lombardo-Veneto (Lombardy-Venetia Throne Room), which features original period furnishings and an 18th-century Murano glass chandelier.
Informational placards provided more details on this room and the Imperial Apartments; I've transcribed those descriptions below:
Sala del Trono Lombardo-Veneto (Lombardy-Venetia Throne Room)
The decorations in this room were by Giuseppe Borsato and were carried out in 1838 prior to the arrival of Emperor Ferdinand I as the King of Lombardy-Venetia. Designed as the Throne Room, over the years it actually had different functions. In particular, it was used as a waiting room when the next, larger room was used for private audiences -- first by the emperor or viceroy, and then by Empress Elisabeth.
At the base of the ceiling vault with trompe l’oeil architectural elements in chiaroscuro, there are panels with classical arms and two coats of arms of the Lombard-Venetia kingdom, with the Biscione (grass snake) of the Milanese Visconti family and the Venetian lion of St. Mark, while above is the Iron Crown of Lombardy supported by pairs of allegorical figures.
The red and gold wall hanging (Rubelli, Venice) is a faithful reproduction of the one that was placed here in 1854 (probably French). The elegant imperial furniture is all original. The large glass chandelier with multicolored flowers was made on Murano in the 18th century.
Stanze dell’Imperatrice Elisabetta (Imperial Rooms)
The ''imperial'' rooms of the Royal Palace opened to the public in July 2012 after a meticulous and complicated restoration process of nine rooms that were formerly used as public offices. The decoration of these rooms goes back to the Hapsburg period, although some valuable elements from the Napoleonic age have remained. It took place in two stages: the first in 1836-38, prior to the arrival of Emperor Ferdinand I, who stayed here when he was crowned King of Lombardy-Venetia in September 1838 in Milan; the second in 1854-56, before the state visit of the young sovereigns Franz Joseph and Elisabeth (''Sissi''), which lasted 38 days between November 1856 and January 1857. The Empress was then to live here for another seven months between October 1861 and May 1862 with her husband ''Franzi'', who came from Vienna by train at least 10 times. Her apartment rooms, including the boudoir that is pervaded by an atmosphere of intimacy and peace, are the most fascinating and evocative of the whole itinerary.
Say first, for Heav'n hides nothing from thy view
Nor the deep Tract of Hell, say first what cause
Mov'd our Grand Parents in that happy State,
Favour'd of Heav'n so highly, to fall off
From thir Creator, and transgress his Will
For one restraint, Lords of the World besides?
Who first seduc'd them to that foul revolt?
Th' infernal Serpent; he it was, whose guile
Stird up with Envy and Revenge, deceiv'd
The Mother of Mankind, what time his Pride
Had cast him out from Heav'n, with all his Host
Of Rebel Angels, by whose aid aspiring
To set himself in Glory above his Peers,
He trusted to have equal'd the most High,
If he oppos'd; and with ambitious aim
Against the Throne and Monarchy of God
Rais'd impious War in Heav'n and Battel proud
With vain attempt. Him the Almighty Power
Hurld headlong flaming from th' Ethereal Skie
With hideous ruine and combustion down
To bottomless perdition, there to dwell
In Adamantine Chains and penal Fire,
Who durst defie th' Omnipotent to Arms.
John Milton - Paradise Lost
Narra tu prima (poiché nulla il cielo,
Nulla l'inferno agli occhi tuoi nasconde),
Narra qual mai cagion gli antichi nostri
Padri, sì cari al cielo e in sì felice
Stato locati, a ribellarsi mosse
Da lui che gli creò. Mentre signori
Eran del mondo, un suo leggier divieto
Come romper fur osi? Al turpe eccesso
Chi sedusse gl'ingrati? Il Serpe reo
D'inferno fu. Mastro di frodi e punto
Da livore e vendetta egli l'antica
Nostra madre ingannò, quando l'insano
Orgoglio suo dal ciel cacciato l'ebbe
Con tutta l'oste de' rubelli Spirti.
Su lor coll'armi loro alto a levarsi
Ambìa l'iniquo e d'agguagliarsi a Dio
Pensò, se a Dio si fosse opposto. Il folle
Pensier superbo rivolgendo in mente,
Incontro al soglio del Monarca eterno
Mosse empia guerra e a temeraria pugna
Venne, ma invan. L'onnipossente braccio
Tra incendio immenso e orribile ruina
Fuor lo scagliò dalle superne sedi
Giù capovolto e divampante in nero,
Privo di fondo disperato abisso;
Ove in catene d'adamante stretto
A starsi fu dannato e in fiamme ultrici
Qual tracotato sfidator di Dio.
John Milton - Il Paradiso perduto
This is the Great Chamber Bedroom in the Hall, formerly the chapel end of the great hall before the floor was put in. The bed is a new Tester made from velvet from Rubelli of Venice, and the giant headboard is covered with an Elizabethan hunting motif fabric designed by Melissa White.
Università degli Studi di Milano
Via Festa del Perdono 7
Interni THINK TANK
Think Tank? "Nel pragmatico mondo anglosassone, dove il concetto nasce, nel periodo a ridosso della seconda guerra mondiale, il think tank è un incubatore, una piattaforma in cui si condividono dei temi: politica sociale, strategia, economia, scienza e tecnologia". Francesco Morace
The Wooden Beacons di MATTEO THUN e CONSUELO CASTIGLIONI - MARNI
con Tom Lacey, Antonio Rodriguez e Hannah Foden per AMERICAN HARDWOOD EXPORT COUNCIL realizzazione R1920 illuminazione Volume
Photo by Yuri Palermo Crea
© yuricrea
www.yuricrea.com | art direction | media design | photography
Università degli Studi di Milano
Via Festa del Perdono 7
Interni THINK TANK
Think Tank? "Nel pragmatico mondo anglosassone, dove il concetto nasce, nel periodo a ridosso della seconda guerra mondiale, il think tank è un incubatore, una piattaforma in cui si condividono dei temi: politica sociale, strategia, economia, scienza e tecnologia". Francesco Morace
The Wooden Beacons di MATTEO THUN e CONSUELO CASTIGLIONI - MARNI
con Tom Lacey, Antonio Rodriguez e Hannah Foden per AMERICAN HARDWOOD EXPORT COUNCIL realizzazione R1920 illuminazione Volume
Photo by Yuri Palermo Crea
© yuricrea
www.yuricrea.com | art direction | media design | photography
Università degli Studi di Milano
Via Festa del Perdono 7
Interni THINK TANK
Think Tank? "Nel pragmatico mondo anglosassone, dove il concetto nasce, nel periodo a ridosso della seconda guerra mondiale, il think tank è un incubatore, una piattaforma in cui si condividono dei temi: politica sociale, strategia, economia, scienza e tecnologia". Francesco Morace
The Wooden Beacons di MATTEO THUN e CONSUELO CASTIGLIONI - MARNI
con Tom Lacey, Antonio Rodriguez e Hannah Foden per AMERICAN HARDWOOD EXPORT COUNCIL realizzazione R1920 illuminazione Volume
Photo by Yuri Palermo Crea
© yuricrea
www.yuricrea.com | art direction | media design | photography
Università degli Studi di Milano
Via Festa del Perdono 7
Interni THINK TANK
Think Tank? "Nel pragmatico mondo anglosassone, dove il concetto nasce, nel periodo a ridosso della seconda guerra mondiale, il think tank è un incubatore, una piattaforma in cui si condividono dei temi: politica sociale, strategia, economia, scienza e tecnologia". Francesco Morace
The Wooden Beacons di MATTEO THUN e CONSUELO CASTIGLIONI - MARNI
con Tom Lacey, Antonio Rodriguez e Hannah Foden per AMERICAN HARDWOOD EXPORT COUNCIL realizzazione R1920 illuminazione Volume
Photo by Yuri Palermo Crea
© yuricrea
www.yuricrea.com | art direction | media design | photography
Rubellite Tourmaline crystal in a very interesting matrix of what appears to be Calcite and some light blue mineral...maybe Fluorite?
This from the Latpanla mine between Mogok & Mandalay, Myanmar
La facciata del 1940 del Bauer è stata aggiunta per emulare una nave attraccata, come tributo alla rinomata storia marinara di Venezia e come contrasto contemporaneo all’architettura barocca della Chiesa di S. Moisè. La favola continua entrando nelle stupende sale, percorse da famiglie reali, leggende e luminari; potrete ammirare la miscela intrigante degli interni. Antica arte veneziana sotto forma di murali, candelabri in vetro di Murano, candelabri a muro e sculture, tessuti veneziani famosi in tutto il mondo provenienti dalle fabbriche di Rubelli e Bevilacqua si mischiano armoniosamente con i mobili e gli accessori Art Deco in stile europeo e con l’arte contemporanea di artisti locali e internazionali, creando un’atmosfera fresca che si inserisce nella cultura, nell’intelletto e nel fascino di Venezia.
The Bauer's 1940's facade was added to emulate a docking ship in both a tribute to Venice's renowned maritime history as well as a contemporary contrast to the Baroque architecture of S. Moisè Church. The tale continues as you enter its hallowed halls, walked by royalty, legends and luminaries, and see for yourself an intriguing mix of interior dècor. Ancient Venetian art in the form of a wall sketching, Murano glass chandeliers, sconces and sculpture, world-famous Venetian fabrics from the houses of Rubelli and Bevilacqua are all blended with European-style Art Deco furniture and accents as well as contemporary art by both local and international artists for a fresh atmosphere to engage in the culture, intellect, and glamour of Venice.
Ghe sofa
The family room includes a vintage Jacques Adnet armchair, cocktail tables by Descience Laboratories, and framed prints by Rachel Whiteread; the sofa is covered in a Rubelli fabric, and the accent rug is from Cristina Grajales Gallery.
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#interior #homedesign
A transport out of time, elegant and distinguished.
Here, comfort combines with a traditional or contemporary style : like an ode to repose in a personalized surrounding, to enchant you. 32 rooms of a luxurious hotel, two steps from La Baule. To clothe your nights, fabrics bearing the signature of great names such as : Rubelli, Kenzo, Manuel Canovas, Pierre Frey…
To illuminate your days, the unspoilt view opens onto an enchanting vision of the square courtyard embellished by its 100 year old limetree, or the sweet languor of the pond.
You have understood, here exception is the rule and the art of living the motto…
"Modena" Silk Lampas Jacquard
Manufacturer: Rubelli
A silk lampas jacquard fabric on steroids! The meandering, flame-stiched design is edged by a border of fine metallic gold eyelash fringe. The colors are tan, cocoa and cream. The background cream silk is ribbed. The vertical repeat is 6.5” and the horizontal repeat is 7.5”.
Walnut and gray oak are complemented by brown and gray leather inserts and fabrics are from Armani Casa and Rubelli. The full beam master gets the full treatment of the larger hull side windows and a settee to the starboard side allows you to lounge in privacy with a waterfront view.
For more tests, reviews, captain's report go to Monte Carlo Yachts 65 model page
Rubellite Tourmaline crystal in a very interesting matrix of what appears to be Calcite and some light blue mineral...maybe Fluorite?
This from the Latpanla mine between Mogok & Mandalay, Myanmar
Rubellite Tourmaline crystal in a very interesting matrix of what appears to be Calcite and some light blue mineral...maybe Fluorite?
This from the Latpanla mine between Mogok & Mandalay, Myanmar
Ghe sofa
The family room includes a vintage Jacques Adnet armchair, cocktail tables by Descience Laboratories, and framed prints by Rachel Whiteread; the sofa is covered in a Rubelli fabric, and the accent rug is from Cristina Grajales Gallery.
I do not own any of the texts posts, photos....
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img.bellasofa.vn/wp3/2018/12/30/interior-2863-993/
#interior #homedesign
Vivienne Griffin, showroom manager for Rubelli - with Kiki!
for design news and photos follow me on www.twitter.com/sunnyholt
Love London, with 180 photographs of the capital, teamed with over 100 quotes (from 15th century poetry to modern blogs) costs £6.89 post free from
www.amazon.co.uk/Love-London-Barbara-Chandler/dp/1849940118
A new range of Love London merchandise will be in John Lewis March 2013.
Lorenzo Rubelli provided fabrics for patterns from its archives for new upholstery, curtains and the silk wall coverings that line the refurbished guest rooms. © 2013 Ralph Grizzle
Nicolo Favaretto Rubelli, fifth generation of Venetian family firm, with just a few of his company's sumptuous fabrics.
for design news and photos follow me on www.twitter.com/sunnyholt
Love London, with 180 photographs of the capital, teamed with over 100 quotes (from 15th century poetry to modern blogs) costs £6.89 post free from
www.amazon.co.uk/Love-London-Barbara-Chandler/dp/1849940118
A new range of Love London merchandise will be in John Lewis March 2013.