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?
There is no need to worry, because, congratulations, you are at the right place to have a detailed suggestion of a versatile cutlery tool called Paderno World Cuisine A4982799 Tri-Blade Plastic Spiral Vegetable Slicer. Including the three multi-functional blades namely the shredder, chipper and flat, it can make a revolution in your meal preparation. Here it is:Read More
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
A couple transform their semi from awkward and outdated to modern and spacious – with the ultimate work-from-home studio space
IT’S NOT OFTEN you read about a renovation that’s completed within the original timeframe, to budget and with not one horror story. But for photographer Mike Long and his wife Deb, the transformation of their Melbourne semi, from an outdated boxy space to the light and airy home it is today, was seamless – if a little risky: it was completed just one week before baby Oscar arrived!
It did help that the couple had some DIY experience under their belts from a previous reno and a few good friends in the building industry. This time, though, they doubled their workload by converting a backyard garage into a photographic studio, making Mike’s commute to work all of a few seconds.
ALL CHANGE The three-bedroom semi was liveable and relatively new, but not to Mike and Deb’s taste. “It was a 1990s renovation with 45-degree angles that cut the flow of the house and made it feel a lot smaller,” Deb explains. To get a feel for the space, the couple lived in the home for 11 months before making any changes.
PLANNING STAGE With a clear vision for their new-look home, Mike – who has a passion for design and architecture – drafted the plans and enlisted the services of close friend David Dubois of Room Design Office in South Melbourne to bring his sketches to life. The goal? “Modern, clean lines with a fresh, open feel,” Mike says.
“We wanted the space to suit our style and taste but to also contrast well with original parts of the home.”
WORK IN PROGRESS
GETTING STUCK IN Not afraid of a little mess and muscle work, Mike was hands-on with the contractors: project managing, building, laying the deck and landscaping. The couple were lucky to have a builder in the family – Mike’s brother Nick – and the team from CBD Contracting who made the whole process smooth and problem-free.
BACK TO BASICS Sticking to mainly cosmetic changes to the front of the house, such as painting and installing plantation shutters, the couple decided to drastically alter the rear section. The interior was completely gutted and the entire back living space was rebuilt. A laundry and shower room were added behind the main kitchen, plus a butler’s kitchen complete with commercial coffee maker and second sink. “The butler’s kitchen is perfect for entertaining,” Deb says, “You can hide all the dirty dishes and prepare food out of sight.” An outdoor WC was added, too.
French doors in the living area were replaced with pivot doors to mirror the shutters of Mike’s photographic studio, built in the garage, just metres away from the house across the courtyard.
STAGE ONE Breaking up the renovation of the house into two stages, Mike and his builder brother Nick tackled the studio first, converting the large garage (pictured here, in the process of demolition) into a fully functional photographic studio complete with kitchen, which Mike currently uses for food photography.
It took just eight weeks to replace the rollerdoor, lay the polished concrete floor, open up the front wall with three huge sliding shuttered doors and create the clean, white, empty space (see right) needed for the studio.
DOUBLE DUTY Despite it being a workspace, the studio can create the illusion of an extra living area. Carefully planned to include the same materials, appliances, table and chair sets and colour palette as the main house, the entire space can act as one when the sliding doors open up to the courtyard, sandwiched between the two buildings.
INTERIOR STYLE The decor – Deb’s domain – was styled to suit the new-look space in a simple palette of black, creamy whites and timber, leaving the greenery and sunlight of the outdoors to add natural colour through the huge glass doors and reflective surfaces.
“Deb was in her element cleaning, decorating and styling the house – even at 36 weeks pregnant!” Mike laughs.
PERFECT PLANNING The finished result is just as the couple imagined and well worth the time they spent working on their plans at the very beginning. “It helps to spend a bit of extra time on the finer details,” Mike advises. “You need to work out a solid style idea that you really want and stick to it.” It might also be the reason why their renovation was so drama-free – they knew what they wanted and didn’t budge from it.
“We really love our home,” Deb says. “It’s comfortable and so easy to keep clean and tidy. And with all the open spaces it’s ideal for keeping an eye on Oscar,” she adds.
Mike and Deb aren’t finished yet – they are just about to tackle the front of the house, and are hoping for another pain-free process. “We’re incorporating a large ensuite and walk-in robes in the master bedroom and a new bedroom and space for Oscar,” Deb says. Watch this space!