All of us must have at least once been to a restaurant, where all the dished are served in the most appetizing layout. Have you ever thought you can be able to make as lovely meals as the restaurants ‘chefs do right in your kitchen? Going to hold a home party with your friends, or simply a Saturday dinner for your whole family after a...
Avenue South Space and Interior By reissuing the patterns of such luminaries as Verner Panton, Anni Albers, and Alexander Girard–and weaving the fabrics to high standards–the brothers Maharam have reinstated an important modernist legacy. In addition to making such historically important textiles available again, the company...
Bear and Moulton Bear and Moulton’s original area of expertise after graduating from the architecture program at the University of California at Berkeley. The promising duo then secured a commission to design Holcomb and Yamashita’s New York pied-a-terre. On this second project, Union Studio applied furniture design’s...
Are you aware that each time a person washes your own car inside your driveway or even at the suppress you could end up being cleaning toxic chemicals to the environment which are bad for a person, kids, domestic pets, and animals?Read More
All of us must have at least once been to a restaurant, where all the dished are served in the most appetizing layout. Have you ever thought you can be able to make as lovely meals as the restaurants ‘chefs do right in your kitchen? Going to hold a home party with your friends, or simply a Saturday dinner for your whole family after a hard-working week, why don’t you prepare an impressive meal with a great deal of delicious dishes just from the most popular vegetables?
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Avenue South Space and Interior
By reissuing the patterns of such luminaries as Verner Panton, Anni Albers, and Alexander Girard–and weaving the fabrics to high standards–the brothers Maharam have reinstated an important modernist legacy. In addition to making such historically important textiles available again, the company exhibits great zeal in bringing the energies of leading contemporary designers to bear on the field. (Recently, Maharam has added Dutch industrial designer Hella Jongerius, Canadian graphic designer Bruce Mau, and French interior designer Andree Putman to its stable.) Not to mention that a consistent push for technological innovation has resulted in introductions of high-performance fabrics that are as functional as they are beautiful. Such an impressively multipronged approach to high level design and development could only be the work of a perfectionist.
As befits that character description, Michael Maharam interviewed 30 to 40 architects when the time came to refurbish the company’s network of corporate and sales offices and showrooms. “I was despondent. I couldn’t find anyone with whom I felt on the same page,” he says. That frustration prevailed until, through a mutual friend, he found husband-and-wife team Solveig Fernlund and Neil Logan. Their firm, Fernlund + Logan, concentrates on residential and commercial work for clients with highly evolved visual sensibilities. “A lot of our clients are photographers. We have a very niche business,” Logan says with a laugh. At Maharam’s Park Avenue South space–in the same building as George Nelson’s onetime studio–the firm had to tackle two entire floors, encompassing 14,000 square feet slated to accommodate 32 people.
Inside The Space
On the lower floor, occupied by marketing and sales staff, Fernlund + Logan cleared away a warren of corporate cubicles and replaced them with Vitra’s Ad Hoc workstations, a move that imposes a more consistent white color palette and lowers some barriers. “We’ve opened up lines of communication by literally breaking down the walls,” says Michael Maharam. “There’s a decrease in pettiness as information becomes less something to guard.”
Principals and designers inhabit the penthouse level, pared down to show off 16-foot ceilings, multiple skylights, and elegant half-moon windows. Birch-plywood desks and storage cabinets, pale maple floors, industrial felt rugs, white laminate surfacing, cheap recliners and conference tables topped by crisp white Corian populate the largely unobstructed space. Almost none of the furnishings are mass-produced; all workstations, storage files, and tables were fabricated by a Brooklyn woodworker.
Orderliness was the highest priority, but creating pleasant surroundings came a close second–hence the upper floor’s African tribal masks, Donald Judd cadmium prints, Tapio Wirkkala glassware, and 20th-century chairs. During the past five years, Michael Maharam has been steadily moving toward more rarefied acquisitions. “I stumbled across chairs as a sculptural idiom,” he says of his 150 pieces by the likes of Jean Prouve, Gerrit Rietveld, and Arne Jacobsen. “They never stay in one place very long. After hours and on weekends, I move them around, put some away in storage, take some out. Change keeps us all stimulated.”
In keeping with the firm’s collection, Maharam’s office is more evocative of an art gallery or a retail setting than a contract environment. The interior is furthermore intended to serve as a benchmark for company sales offices and showrooms around the country, Now, if only someone would replace that stone-colored Xerox copier with a snowy-white model, even Michael Maharam might achieve full aesthetic harmony.
Bear and Moulton
Bear and Moulton’s original area of expertise after graduating from the architecture program at the University of California at Berkeley. The promising duo then secured a commission to design Holcomb and Yamashita’s New York pied-a-terre. On this second project, Union Studio applied furniture design’s concern for materials, scale, and craft to the larger canvas of an interior–sharing all tasks with extraordinary equity. When the-couple moved to a larger residence in San Francisco, Union Studio won the job again, giving the firm a chance to work on finishes and fixtures as well as the plan and furnishings.
Built in 1941 by Anshen + Allen, the house was a duplex high above the Castro district, with views of the city and the bay beyond. Union Studio’s first goal was to open up the plan. To take advantage of the incredible views, the designers removed walls on the top floor, which featured a balcony running the entire length of the front facade. The designers placed French doors along that wall as well as along the rear courtyard, set into the rise of a hill. “The most outstanding thing about the original architecture was the siting, the way the house wraps around the courtyard,” Moulton says.
The upstairs, originally divided between the house’s two apartments, is now a single space. Each half, however, maintains a distinct personality: one for formal entertaining and dining, one for more casual living. Both of the two original units featured fireplaces, backed against each other at the dividing wall, and Union Studio preserved them while removing flanking plaster and studs. This creates separation without sacrificing the easy flow of light and visitors. Similarly, opening doorways all the way from floor to ceiling makes surrounding walls seem like isolated floating volumes.
When Holcomb and Yamashita bought the house, the units featured original dark-walnut wall paneling, sun-bleached after years of neglect. Although the treatment was unsalvageable, the designers decided that it had established a space-defining vocabulary. Panels of rift-sawn white oak now play the same role. The texture of the paneling, the white plaster ceiling and walls, and the near-blackness of the stained-oak floor keep the eye in motion, traveling from the lounge and den, past the fireplace, to the formal entertaining areas and the kitchen.
Behind the kitchen and master bedroom, in the huge bathroom, the floor is tiled in black porcelain hex, the walls in light blue glass mosaic squares. The blue is luminous in the sunshine, managing to feel simultaneously underwater and celestial. A freestanding tiled wall divides a storage area, with dark jarrah-wood shelving and towel bins, from a skylit sunken shower. A jarrah vanity supports a porcelain basin sink. A Japanese-style soaking tub made of epoxy-coated jarrah offers a view–through custom vertical shades concealing the bather from his neighbors.
Access to the top floor is via an existing staircase. “The stair’s big, curved plaster form was really compelling. It serves as a counterpoint to the crisp forms we like to work in,” Moulton says. At the foot of a second staircase, a small guest room is almost wholly devoted to a built-in bed. A full-length mirror and a silk-screen blowup of the house’s original blueprints, mounted on a sliding panel, conceal storage space.
Down the hall is the home office. Here, Holcomb and Yamashita set aside the formality of the upstairs as papers, photos, and knickknacks spill out of Union Studio’s elegantly capacious shelving. It is in this room that modernist austerity makes room for the Eamesian dictum about comfort and the making of a home, a sentiment immortalized by Yamashita’s little booklet that noteworthy Christmas.
Union Studio (“A Perfect Union,” page 184) was formed in 1995 by Matthew Bear and Scott Moulton, two furniture designers who earned their bachelor’s degrees in architecture from the University of California at Berkeley and met on staff at a woodworking magazine. The San Francisco Museum of Modern Art acquired their oak-and-walnut console and three-legged spring-back chair in maple in 1997. 1046 39th Street, Emeryville, CA 94608; 510-652-0602.
At a Conference about Furniture Design and Housing Business
Tulga Beyerle, a furniture designer who works for Section. a Art Design Consulting, a Viennese firm, spoke about the larger design context into which laminates fit. The audience, being mostly technically-minded, listened politely. When it came to the time for questions, none came immediately from the audience. As I was moderating, it was my job to generate some.
“Is it your opinion,” I asked, “that if the laminate industry would work more closely with designers, consumers might pay a higher premium for those designer-oriented products?”
“Absolutely,” she said. I waited for follow-up questions from the audience but none came, so I continued.
“We’ve been listening to great ideas about how to increase our margins by squeezing costs out of the process of making laminates. But what you are saying is, we can also increase our margins by creating products with higher design values?”
Product Category of Furniture Design
“Designers–and their clients–will pay more for great design in many product categories, such as Single seat: chair, lift chair, recliner, stool; Multiple seats: bench, couch, divan, love seat; sleeping: bed, futon, mattresss, sofa bed; entertainment: Television set, billiard table; Tables: desk, lowboy, computer desk,…” Ms Beyerle told us. “They perceive them to be worth more, even though they are created with the same raw materials and with the same processes as products that are not as appealing.”
Still no questions from the audience. After one more paper, the conference broke for lunch, and a very interesting thing happened. As Ms Beyerle left the conference stage, a crowd quickly formed around her, wanting to hear more about her ideas. I was surprised; it was as if an idea as abstract as creating profits through good design–rather than from the concrete sciences of production and materials–was something that should only be discussed in private!
I was reminded of this experience at the Surfaces exhibition in Las Vegas (North America’s Domotex) at the end of January. Noted European designer Clara Welkens of Toko Design was telling me how she was showing a concept to a potential client in their stand at the exhibition. Attendees walking by got very excited by the design, thinking it was a sample of a product they could purchase from the fair. Needless to say, that made an impression on the company looking at Ms Welkens’ designs.
“We put a lot of soul into our designs,” says Hungarian-bom Ms Welkens. “Without soul you can’t do anything. Our designs tend to look like they’ve been lived on, not pristine and new, so they have a `life’ to them that many designs lack. Everything we do is very dimensional, not flat, and even though many laminate flooring producers use them, they do not look mass produced.
“We don’t design to any trends or specific goals, but we make sure our designs are realisable: they work with the technology that decor printers have. You can do very fine designs, but nobody can reproduce them. To be successful, designs must be practical, but this doesn’t mean that they have to be flat or uninteresting.”
Because Toko designs are unique among the many woodgrains and tiles in the laminate flooring market, they can command a higher premium when sold by companies that understand how to market design. This isn’t easy for an industry that has long sold its products as lower-cost alternatives to `real’ materials, and has had to force its own costs down–sometimes at the cost of quality–to maintain profitability. But it can be done, and those who master this approach will be the ones to watch for the future.
Vintage Sofas, Vintage Best Recliners , and other Vintage Furnitures Can Help Transform A Room Into A Modern Work Of Art
Vintage Furniture: An Old Style Coming Back
Vintage furniture has made a major comeback in the past few years. The styles of the furniture (for instant, a reclining chair or a sofa) used in the days of old are quickly becoming hot ticket items in second hand stores across the globe. Interior decorators are incorporating this trend into their designing by using vintage items in their décor themes.
A vintage leather sofa and A vintage leather recliner: Popular choices
Thrift stores are finding that they can get nearly the same amount out of the vintage items, as they are the newer modern styled furniture. Very popular furniture items are a vintage leather sofa and a vintage leather recliner; these are often bought before tags can even be placed on them. Those that want to incorporate a leather sofa into their décor search high and low for them, often waiting months to find one. The modern furniture makers have caught on to these trends and have begun designing brand new modern models of an older vintage sofa, as well as other hot selling older styled furniture.
While vintage furniture has made a comeback, so have many of the other items that were used to decorate a home during the same era. A lava lamp for example is a very popular item among teens today as it was during its original release. These lamps and other furnishings are not only popular with the younger crowds; they are just as widely used by those that are older.
Delightful Furniture and Furnishings
Some people are having fun finding the same delightful furniture and furnishings that were a big part of their younger years. These people enjoy using identical items to decorate their homes as those that were used to decorate the homes they grew up in. Often certain items are found that are a memoir to a deceased relative and are incorporated into design plans as a way to forget that loved one.
It is truly amazing how items from so long ago can become as popular today if not more so than when it was created. Some people have ditched their modern furniture and are using only vintage items in their homes. Other people are having fun mixing and matching modern and vintage items together to create some of the most dazzling displays of design seen in our times. For example, vintage leather reclining chairs can be decorated with a modern set of tables and sofas.
Why using vintage furniture?
One benefit of using vintage furniture is that it can often be bought for less than modern furniture, though with the trend becoming increasingly popular this may not be the case for long. A lot of the furnishings from the days of old are actually very fashionable and can easily be found in thrift stores and at yard sales all over the world. Some specialty items can be purchased from online vintage shops as well.
Watch the following video for decorating ideas with vintage furnitures
Where to get vintage furnitures?
If considering decorating with vintage items, one good place to begin the quest is at an older relative’s home. Often some of the best vintage finds can be items that a grandparent, parents or older aunts and uncles no longer have a use for. Many of these items will be free or reasonably priced with a family discount. If there is no luck with the relatives, the next place to start looking is in the thrift stores. For vintage furniture style, the recliner reviews site provides many good advises. Leaving wish lists with the managers of these shops may help you score items before they are priced and set out for display.
Vintage furnishings is cozy….!!!
Homes that are filled with items from days gone by offer a bit of nostalgia and nearly everyone that enters the home will recognize a particular item and be able to relate to it in some fashion from a childhood memory. Vintage furnishings can create a cozy atmosphere that many people enjoy being surrounded with. These items are sure to be the topic of many conversations when guests visit.Read More
We found the answers in these four inspiring spaces
Decor in the rest of your home
IF YOU WORK FROM HOME you want a space that’s functional yet doesn’t keep out of step with the decor in the rest of your home. You need storage (and lots of it!), a great filing system, a desk that’s practical and pleasing to the eye, and a comfy chair that doesn’t look clunky and corporate. While it may seem like a long wishlist, it’s something you can create in your own home quite easily.
We tracked down four stylish offce spaces to find out how the owners resolved their organisational and aesthetic needs. And while each person created their own solutions, they’ve done it within an entirely different look
from Scandi-inspired space, to faded grandeur with modern industrial and a touch of glamour in between. Read on for lots of office inspiration.
Starting point with spaces
STARTING POINT A former ginger beer factory in Sydney’s Annandale, the space had orange walls and orange lightshades. CHANGES Installed some walls, lights and ceiling fans, and painted the walls white
PRACTICALITIES Tess and Maja, the designers behind Polli (Polli.com.au), create jewellery and homewares, so when they moved
into this industrial studio they wanted to create different work zones. “The space is much more ergonomic with tall benches for standing tasks and lower tables for sitting tasks,” Tess says.
“We have ergonomic chairs and proper task lighting. These simple changes have increased efficiency and made it a much more positive work environment.”
PAPERWORK Tess and Maja use lots of ring binders. “We colour code them for their different contents,” Tess says. “We designed and printed our own stickers for the spines of the folders so they were more ‘Polli’ and easy to identify
CLEVER IDEA The central table in the office is a combination of industrial steel legs and an Laminex kitchen benchtop. “We needed the surface to be white so we could easily see the metal pieces,” Tess says, “and it needed to be durable, so a kitchen solution was perfect.”
STARTING POINT A once derelict home was revived to showcase its former glory. Previously, this room (pictured left) had been interior designer Debra Cronin’s (Debracronindesign.com) bedroom but as her business expanded she needed more space. “It’s one of the grandest rooms in the house and as I spend so much time in my office it made sense to use this room.”
NEEDS Good storage, extra space and surface area, and a place to display moodboards. “I’ll pull out a thousand samples when putting together a scheme for a client,” Debra says
CHANGES Debra left her large antique wardrobe in the room and used it to store reference materials and samples, as well as the printer and office supplies. The old wooden desk had been her former dining table, while
shelves from an old shoe factory were used to store folders. A lovely display case, originally from a museum, houses her magazine and book collection. PRACTICALITIES Because the room has so much character, Debra keeps technology items hidden in antique cupboards. Even in her living room she hides the TV and stereo.
Office for Future space
STARTING POINT The office for Futurespace is in Sydney’s CBD. “When we moved in it was pretty shabby and not in great condition, with floor-mounted power outlets everywhere,” Angela recalls. NEEDS Angela and Stephen wanted a “creative studio space that felt more like a boutique hotel than a typical office”, Angela says. “We also didn’t want the aesthetic to date too quickly.” CHANGES “We removed the power outlets and generally cleared the space, then put in new carpet, painted and wallpapered all the walls, created a meeting area and different work spaces, a kitchenette and production area. For the outdoor area we bought furniture, did some planting and bought a barbecue for our Friday night drinks and monthly team barbecues,” Angela says. PRACTICALITIES The studio needed to provide plenty of space to accommodate the company’s products, samples and reference library.
STORAGE SMARTS A library zone has been created for all the company’s samples, binders and moodboards. Bookshelves house magazines and a reference library. Display ledges are used in meeting rooms for presentations, and tambour-door storage units, which hold project files in ring binders, are placed at the end of each workstation. (Tambour doors slide and retract into the cabinet to save space.)
PAPERWORK All information related to different projects is stored in folders. Samples and materials are catalogued in a different space.
STARTING POINT The office is located in an old building in Sydney’s Pitt Street and had previously been the base for a backpacker services business.
The walls were bright blue. NEEDS “We wanted to create a high-impact, interesting space but without the spend,” Karen says. She wanted it to be quirky and functional, too, and based on the concept of a cube to play off the company’s name
CHANGES The space was virtually demolished before any changes were made. However, the existing flooring was retained due to time and cost restraints. PRACTICALITIES The office needed to not only accommodate
staff but be a space that could receive candidates for interviews. STORAGE SMARTS Karen’s aim was for a paperless office, however, as in any office space there are still filing needs
Cupboards are kept behind a wall – out of sight from clients. PAPERWORK Each desk has a filing drawer. Custom-built cupboards house stationery and other paperwork.
FURNITURE “We decided on black and white desks, with a splash of yellow, as it was practical, cheap and distinctive,” Karen says. “Furniture is a mix of replica and original. I believe it is very important to have excellent-quality chairs for staff