Ceiling Design Quotes

The interior designer must’ve been a medieval vampire, judging from the cold, lifeless colors and the giant iron chandeliers hanging from the ceilings.

I wanted to study graphic design, because I wanted to work in an office with designer desks, ergonomic chairs, pool tables, and walls so colorful it looks like a flock of flamingoes exploded and splattered evenly from floor to ceiling.

Everything--the section of comfortable chairs in the middle, the long colourful chains that dangled lights from the ceiling--seemed designed to make you feel like you were part of something larger, without actually being made to feel small.

A visionary company is like a great work of art. Think of Michelangelo’s scenes from Genesis on the ceiling of the Sistine Chapel or his statue of David. Think of a great and enduring novel like Huckleberry Finn or Crime and Punishment. Think of Beethoven’s Ninth Symphony or Shakespeare’s Henry V. Think of a beautifully designed building, like the masterpieces of Frank Lloyd Wright or Ludwig Mies van der Rohe. You can’t point to any one single item that makes the whole thing work; it’s the entire work—all the pieces working together to create an overall effect—that leads to enduring greatness.

For example, they recently had a piece on a character--I think his name was Ambrosio D'Urbervilles--whose "design statement" was to stuff an entire apartment from floor to ceiling with dark purple cottonballs. He called it "Portrait of a Dead Camel Dancing on the Roof of a Steambath.

The best answer I’ve heard came in a sermon given by an elderly priest many years ago. He was traveling in the Middle East and was overwhelmed by the majesty of the Persian rugs he saw. Those gorgeous creations so skillfully woven into such beautiful designs. One day he was in a shop where those rugs were on display. He walked behind one that was hanging on hooks from the ceiling. Looking at it from behind, he was shocked to behold a confusing array of threads that led nowhere. Such beauty on one side, total disharmony on the other, but both part of the same plan. It was then that the message became clear to him. In this life we see only the back side of the rug. We don’t know how or why our unspeakable hardships are part of a beautiful design. That is why having faith is so important.

How do I know that a table still exists if I go out of the room and can’t see it? What does it mean to say that things we can’t see, such as electrons or quarks—the particles that are said to make up the proton and neutron—exist? One could have a model in which the table disappears when I leave the room and reappears in the same position when I come back, but that would be awkward, and what if something happened when I was out, like the ceiling falling in? How, under the table-disappears-when-I-leave-the-room model, could I account for the fact that the next time I enter, the table reappears broken, under the debris of the ceiling? The model in which the table stays put is much simpler and agrees with observation. That is all one can ask.

Years later, Taylor was inspecting the jails of the kingdom; and in the one at Nittur the ceiling had been covered, in barbaric colours, which time was subtilizing before erasing them, by a Muslim fakir's elaboration of a kind of infinite Tiger. This Tiger was composed of many tigers in the most vertiginous fashion : it was traversed by tigers, scored by tigers and it contained seas and Himalayas and armies which seemed to reveal still other tigers. The painter had died many years ago in this very cell; he had come from Sind, or maybe Guzerat, and his original purpose had been to design a map of the world. Indeed, some traces of this were yet to be discerned in the monstrous image....

What in the fuck," Carter muttered after walking into the rather large skull of an animal I didn't think I'd ever seen before. "It's certainly not the interior design choice I would have gone for," Kelly whispered to him. "You think? Nothing says 'welcome to my murder shack' like skeletons hanging from the ceiling." "Is that a jar of eyeballs on the shelf?" "What? No, don't be stup—that's a jar of eyeballs on the shelf. Well, now I'm officially that person that shouldn't have gone inside the house.

We know of ESB's potential for mind control largely through the work of Jose Delgado. One signal provoked a cat to lick its fur, then continue compulsively licking the floor and bars of its cage. A signal designed to stimulate a portion of a monkey's thalamus, a major midbrain center for integrating muscle movements, triggered a complex action: The monkey walked to one side of the cage, then the other, then climbed to the rear ceiling, then back down. The animal performed this same activity as many times as it was stimulated with the signal, up to sixty times an hour, but not blindly— the creature still was able to avoid obstacles and threats from the dominant male while carrying out the electrical imperative. Another type of signal has made monkeys turn their heads, or smile, no matter what else they were doing, up to twenty thousand times in two weeks. As Delgado concluded, "The animals looked like electronic toys." 
Even instincts and emotions can be changed: In one test a mother giving continuous care to her baby suddenly pushed the infant away whenever the signal was given. Approach-avoidance conditioning can be achieved for any action simply by stimulating the pleasure and pain centers in an animal's or person's limbic system. 
Eventual monitoring of evoked potentials from the EEG, combined with radio-frequency and microwave broadcasts designed to produce specific thoughts or moods, such as compliance and complacency, promises a method of mind control that poses immense danger to all societies —tyranny without terror.

This was why love was so dangerous. Love turned the world into a garden, so beguiling it was easy to forget that rose petals sails appeared charmed. They blazed red in the day and silver at night, like a magician’s cloak, hinting at mysteries concealed beneath, which Tella planned to uncover that night. Drunken laughter floated above her as Tella delved deeper into the ship’s underbelly in search of Nigel the Fortune-teller. Her first evening on the vessel she’d made the mistake of sleeping, not realizing until the following day that Legend’s performers had switched their waking hours to prepare for the next Caraval. They slumbered in the day and woke after sunset. All Tella had learned her first day aboard La Esmeralda was that Nigel was on the ship, but she had yet to actually see him. The creaking halls beneath decks were like the bridges of Caraval, leading different places at different hours and making it difficult to know who stayed in which room. Tella wondered if Legend had designed it that way, or if it was just the unpredictable nature of magic. She imagined Legend in his top hat, laughing at the question and at the idea that magic had more control than he did. For many, Legend was the definition of magic. When she had first arrived on Isla de los Sueños, Tella suspected everyone could be Legend. Julian had so many secrets that she’d questioned if Legend’s identity was one of them, up until he’d briefly died. Caspar, with his sparkling eyes and rich laugh, had played the role of Legend in the last game, and at times he’d been so convincing Tella wondered if he was actually acting. At first sight, Dante, who was almost too beautiful to be real, looked like the Legend she’d always imagined. Tella could picture Dante’s wide shoulders filling out a black tailcoat while a velvet top hat shadowed his head. But the more Tella thought about Legend, the more she wondered if he even ever wore a top hat. If maybe the symbol was another thing to throw people off. Perhaps Legend was more magic than man and Tella had never met him in the flesh at all. The boat rocked and an actual laugh pierced the quiet. Tella froze. The laughter ceased but the air in the thin corridor shifted. What had smelled of salt and wood and damp turned thick and velvet-sweet. The scent of roses. Tella’s skin prickled; gooseflesh rose on her bare arms. At her feet a puddle of petals formed a seductive trail of red. Tella might not have known Legend’s true name, but she knew he favored red and roses and games. Was this his way of toying with her? Did he know what she was up to? The bumps on her arms crawled up to her neck and into her scalp as her newest pair of slippers crushed the tender petals. If Legend knew what she was after, Tella couldn’t imagine he would guide her in the correct direction, and yet the trail of petals was too tempting to avoid. They led to a door that glowed copper around the edges. She turned the knob. And her world transformed into a garden, a paradise made of blossoming flowers and bewitching romance. The walls were formed of moonlight. The ceiling was made of roses that dripped down toward the table in the center of the room, covered with plates of cakes and candlelight and sparkling honey wine. But none of it was for Tella. It was all for Scarlett. Tella had stumbled into her sister’s love story and it was so romantic it was painful to watch. Scarlett stood across the chamber. Her full ruby gown bloomed brighter than any flowers, and her glowing skin rivaled the moon as she gazed up at Julian. They touched nothing except each other. While Scarlett pressed her lips to Julian’s, his arms wrapped around her as if he’d found the one thing he never wanted to let go of. This was why love was so dangerous. Love turned the world into a garden, so beguiling it was easy to forget that rose petals were as ephemeral as feelings, eventually they would wilt and die, leaving nothing but the thorns.

The more I stare at it, the more the popcorn ceiling above me resembles an exquisite mosaic. Yellow rings from a leaky roof add pizazz to the imperfect white mounds; the reflection of a parked car outside the hotel room highlights the design in a brilliant, abstract pattern. I try to find a name for this provocative image and decide on “Cottage Cheese, Glorified.” And that’s when it becomes obvious that I’m distracting myself from thinking about the U-turn my life just took. I wonder if Galen is back yet. I wonder what he’s thinking. I wonder if Rayna is okay, if she has a killer headache like I do, if chloroform affects a full-blooded Syrena the way it affects humans. I bet that now she really will try to shoot my mom with her harpoon, which reminds me again of the past twenty-four hours of craziness.

Reacher was led through the door on the left and onward to an interview room. Which had no windows. Just four blank walls, and a table bolted to the floor, with two chairs on one side and one on the other. The room had not been designed by the dining room guy. That was clear. There was no blond wood or carpet. Just scuffed white paint on cinder block, and a cracked concrete floor, and a fluorescent bulb in a wire cage on the ceiling.

In the realm of sense and reason it seemed logical for something to make sense for no reason (natural order) or not make sense for some reason (the deliberate design of deception) but it seemed perverse to have things make no sense for no reason. What if you colonize your own mind and when you get inside, the furniture is attached to the ceiling? What if you step inside and when you touch the furniture, you realize it’s all just cardboard cutouts and it all collapses beneath the pressure of your finger? What if you get inside and there’s no furniture? What if you get inside and it’s just you in there, sitting in a chair, rolling figs and eggs around in the basket on your lap and humming a little tune? What if you get inside and there’s nothing there, and then the door hatch closes and locks? What is worse: being locked outside of your own mind, or being locked inside of it?

When Dad wasn’t telling us about all the amazing things he had already done, he was telling us about the wondrous things he was going to do. Like build the Glass Castle. All of Dad’s engineering skills and mathematical genius were coming together in one special project: a great big house he was going to build for us in the desert. It would have a glass ceiling and thick glass walls and even a glass staircase. The Glass Castle would have solar cells on the top that would catch the sun’s rays and convert them into electricity for heating and cooling and running all the appliances. It would even have its own water-purification system. Dad had worked out the architecture and the floor plans and most of the mathematical calculations. He carried around the blueprints for the Glass Castle wherever we went, and sometimes he’d pull them out and let us work on the design for our rooms. All we had to do was find gold, Dad said, and we were on the verge of that. Once he finished the Prospector and we struck it rich, he’d start work on our Glass Castle.

At Newgrange, the owl goddess' round eyes, multiple beaks, and brow ridges peer down from the ceiling. They appear in a peculiar quadrupled design and in association with snake coils, zigzags, lozenges, and winding snakes. Eyes and snake coils are interchangeable on many megalithic monuments. Further symbolic fusions of symbols include eyes and suns, with the sun featuring radiating rays or concentric circles with a center dot. These symbols, so elaborately engraved on stones, evoke the goddess' sacred power and energy however she was worshiped: as owl, snake, sun, or moon.

THIS IS WHAT they want. The words tumbled through Sophie’s mind as she raced up the spiral staircase, counting her steps, trying to guess which door to take. The first handle she tried was locked. Another opened into darkness. A third revealed a path that glowed with eerie blue balefire sconces. The floor shook as she hesitated and threads of dust slipped through the ceiling, scratching her throat and making it hurt to breathe. She followed the flames. Back and forth the halls snaked—a careful maze, designed to deceive. Swallow. Separate. The tremors grew with every step, the shifting subtle but unmistakable. And too far away. No one else would feel the ripples swelling, like waves gathering speed. They were too focused on their celebration. Too caught up in their imagined victory. Too trusting. Too blind. Too late. The ground rattled harder, the first fissures crackling the stones. This is what they want. ONE THIS IS A security nightmare!” Sandor grumbled, keeping his huge gray hand poised over his enormous black sword. His squeaky voice reminded Sophie more of a talking mouse than a deadly bodyguard. Several prodigies raced past, and Sandor pulled Sophie closer as the giggling group jumped to pop the candy-filled bubbles floating near the shimmering crystal trees. All around them, kids were running through the confetti-covered atrium in their amber-gold Level Three uniforms, capes flying as they caught snacks and bottles of lushberry juice and stuffed tinsel-wrapped gifts into the long white thinking caps dangling from everyone’s lockers. The Midterms Celebration was a Foxfire Academy tradition—hardly the impending doom Sandor was imagining. And yet, Sophie understood his concern. Every parent roaming the streamer-lined halls. Every face she didn’t recognize. Any of them could be a rebel.

Marie Antoinette would have loved this place!" Piper Donovan stood agape, her green eyes opened wide, as she took in the magical space. Crystal chandeliers, dripping with glittering prisms, hung from the mirrored ceiling. Gilded moldings crowned the pale pink walls. Gleaming glass cases displayed vibrant fruit tarts, puffy éclairs, and powdered beignets. Exquisitely decorated cakes of all flavors and sizes rested on pedestals alongside trays of pastel meringues and luscious napoleons. Cupcakes, cookies, croissants, and cream-filled pastries dusted with sugar or drizzled with chocolate beckoned from the shelves. "It's unbelievable," she whispered. "I feel like I've walked into a jewel box---one made of confectioners' sugar but a jewel box nonetheless.

I DIDN’T START OUT AS A BOOK LOVER,” admits Phillip Lim. “Initially, it was more about pragmatism: seeking knowledge having to do with research on work, on my interiors, building a home, even a word I wanted to understand more. But what I love about books is, once you start, you get to go deeper and deeper and deeper into a subject, and from there you go to another book, and another book, and soon after, you have a wall of books. And then you have two walls of books. And then—” The designer indicates the floor-to-ceiling bookcases that serve as the focal point of his loft apartment. “Books are how I learn,” Lim continues, “but I’m not nostalgic. I hate to look back; books inform you, but then they also become decoration. That may sound horrible to a true book lover, but I feel I honor them by making these objects part of my aesthetic world.” PHILLIP LIM

Rosie’s heart swelled with pride. She had poured her heart, her soul, and her life savings into this venture. Rosie had spent hours painstakingly deliberating over every inch of the shop. Her past life as an interior designer meant she knew just how to make the shop into the welcoming time capsule that made her heart soar every time she stepped inside. There was a herringbone floor, finished with a walnut stain, which was complimented by the dark wallpaper adorning the walls, covered with floral blooms in muted pinks, blues, yellows, oranges, and whites. It was dramatic - the perfect backdrop to selling snippets of people’s lives. Velvet pink lampshades with tassels hanging from the ceiling flooded the shop with light. Rosie had displayed the vintage clothes, jewellery, shoes, bags, and accessories in several ways. From shelves made of driftwood, an up-cycled antique sideboard, and brass clothes rails.

I select the right practice gun, the one about the size of a pistol, but bulkier, and offer it to Caleb. Tris’s fingers slide between mine. Everything comes easily this morning, every smile and every laugh, every word and every motion. If we succeed in what we attempt tonight, tomorrow Chicago will be safe, the Bureau will be forever changed, and Tris and I will be able to build a new life for ourselves somewhere. Maybe it will even be a place where I trade my guns and knives for more productive tools, screwdrivers and nails and shovels. This morning I feel like I could be so fortunate. I could. “It doesn’t shoot real bullets,” I say, “but it seems like they designed it so it would be as close as possible to one of the guns you’ll be using. It feels real, anyway.” Caleb holds the gun with just his fingertips, like he’s afraid it will shatter in his hands. I laugh. “First lesson: Don’t be afraid of it. Grab it. You’ve held one before, remember? You got us out of the Amity compound with that shot.” “That was just lucky,” Caleb says, turning the gun over and over to see it from every angle. His tongue pushes into his cheek like he’s solving a problem. “Not the result of skill.” “Lucky is better than unlucky,” I say. “We can work on skill now.” I glance at Tris. She grins at me, then leans in to whisper something to Christina. “Are you here to help or what, Stiff?” I say. I hear myself speaking in the voice I cultivated as an initiation instructor, but this time I use it in jest. “You could use some practice with that right arm, if I recall correctly. You too, Christina.” Tris makes a face at me, then she and Christina cross the room to get their own weapons. “Okay, now face the target and turn the safety off,” I say. There is a target across the room, more sophisticated, than the wooden-board target in the Dauntless training rooms. It has three rings in three different colors, green, yellow, and red, so it’s easier to tell where the bullets it. “Let me see how you would naturally shoot.” He lifts up the gun with one hand, squares off his feet and shoulders to the target like he’s about to lift something heavy, and fires. The gun jerks back and up, firing the bullet near the ceiling. I cover my mouth with my hand to disguise my smile. “There’s no need to giggle,” Caleb says irritably. “Book learning doesn’t teach you everything, does it?” Christina says. “You have to hold it with both hands. It doesn’t look as cool, but neither does attacking the ceiling.” “I wasn’t trying to look cool!” Christina stands, her legs slightly uneven, and lifts both arms. She stares the target for a moment, then fires. The training bullet hits the outer circle of the target and bounces off, rolling on the floor. It leaves a circle of light on the target, marking the impact site. I wish I’d had this technology during initiation training. “Oh, good,” I say. “You hit the air around your target’s body. How useful.” “I’m a little rusty,” Christina admits, grinning.

The corporate system is interconnected and now share a common invested interest, the ability to control through business, the people. It is an inevitable path the parameters set will take the beast down following the easiest way to collective profits, to control the ones that provide them. It is also logical to protect your own, from ones that are shedding light through Art on the grey water they may have stepped into to reach their fullest profit potentials. It is the logical solution to what would be, just business. So the Matrix story albeit written to lift for all the ceiling of what is possible, has inevitably shined a light on the entire path that was chosen and the pre-chosen road ahead that collective corporations were on creating a separate state of politically connected elite and those seeking award through serving them. A natural progression of what was set in place from the beginning. The flaw was in the design of the collective corporate system, globally intertwined now, and immersed in politics, protecting its own, making the question real this time, how to balance the equation.

My dwelling was small, and I could hardly entertain an echo in it; but it seemed larger for being a single apartment and remote from neighbors. All the attractions of a house were concentrated in one room; it was kitchen, chamber, parlor, and keeping-room; and whatever satisfaction parent or child, master or servant, derive from living in a house, I enjoyed it all. Cato says, the master of a family (patremfamilias) must have in his rustic villa "cellam oleariam, vinariam, dolia multa, uti lubeat caritatem expectare, et rei, et virtuti, et gloriae erit," that is, "an oil and wine cellar, many casks, so that it may be pleasant to expect hard times; it will be for his advantage, and virtue, and glory." I had in my cellar a firkin of potatoes, about two quarts of peas with the weevil in them, and on my shelf a little rice, a jug of molasses, and of rye and Indian meal a peck each. I sometimes dream of a larger and more populous house, standing in a golden age, of enduring materials, and without gingerbread work, which shall still consist of only one room, a vast, rude, substantial, primitive hall, without ceiling or plastering, with bare rafters and purlins supporting a sort of lower heaven over one's head—useful to keep off rain and snow, where the king and queen posts stand out to receive your homage, when you have done reverence to the prostrate Saturn of an older dynasty on stepping over the sill; a cavernous house, wherein you must reach up a torch upon a pole to see the roof; where some may live in the fireplace, some in the recess of a window, and some on settles, some at one end of the hall, some at another, and some aloft on rafters with the spiders, if they choose; a house which you have got into when you have opened the outside door, and the ceremony is over; where the weary traveller may wash, and eat, and converse, and sleep, without further journey; such a shelter as you would be glad to reach in a tempestuous night, containing all the essentials of a house, and nothing for house-keeping; where you can see all the treasures of the house at one view, and everything hangs upon its peg, that a man should use; at once kitchen, pantry, parlor, chamber, storehouse, and garret; where you can see so necessary a thing, as a barrel or a ladder, so convenient a thing as a cupboard, and hear the pot boil, and pay your respects to the fire that cooks your dinner, and the oven that bakes your bread, and the necessary furniture and utensils are the chief ornaments; where the washing is not put out, nor the fire, nor the mistress, and perhaps you are sometimes requested to move from off the trap-door, when the cook would descend into the cellar, and so learn whether the ground is solid or hollow beneath you without stamping. A house whose inside is as open and manifest as a bird's nest, and you cannot go in at the front door and out at the back without seeing some of its inhabitants; where to be a guest is to be presented with the freedom of the house, and not to be carefully excluded from seven eighths of it, shut up in a particular cell, and told to make yourself at home there—in solitary confinement. Nowadays the host does not admit you to his hearth, but has got the mason to build one for yourself somewhere in his alley, and hospitality is the art of keeping you at the greatest distance. There is as much secrecy about the cooking as if he had a design to poison you. I am aware that I have been on many a man's premises, and might have been legally ordered off, but I am not aware that I have been in many men's houses. I might visit in my old clothes a king and queen who lived simply in such a house as I have described, if I were going their way; but backing out of a modern palace will be all that I shall desire to learn, if ever I am caught in one.

[Nero] castrated the boy Sporus and actually tried to make a woman of him; and he married him with all the usual ceremonies, including a dowry and a bridal veil, took him to his house attended by a great throng, and treated him as his wife. This Sporus, decked out with the finery of the empresses and riding in a litter, he took with him to the assizes and marts of Greece, and later at Rome through the Street of the Images,​ fondly kissing him from time to time. That he even desired illicit relations with his own mother, and was kept from it by her enemies, who feared that such a help might give the reckless and insolent woman too great influence, was notorious, especially after he added to his concubines a courtesan who was said to look very like Agrippina. Even before that, so they say, whenever he rode in a litter with his mother, he had incestuous relations with her, which were betrayed by the stains on his clothing. He so prostituted his own chastity that after defiling almost every part of his body, he at last devised a kind of game, in which, covered with the skin of some wild animal, he was let loose from a cage and attacked the private parts of men and women, who were bound to stakes, and when he had sated his mad lust, was dispatched​ by his freedman Doryphorus; for he was even married to this man in the same way that he himself had married Sporus, going so far as to imitate the cries and lamentations of a maiden being deflowered. He made a palace extending all the way from the Palatine to the Esquiline, which at first he called the House of Passage, but when it was burned shortly after its completion and rebuilt, the Golden House. Its size and splendour will be sufficiently indicated by the following details. Its vestibule was large enough to contain a colossal statue of the emperor a hundred and twenty feet high; and it was so extensive that it had a triple colonnade​ a mile long. There was a pond too, like a sea, surrounded with buildings to represent cities,​ besides tracts of country, varied by tilled fields, vineyards, pastures and woods, with great numbers of wild and domestic animals. In the rest of the house all parts were overlaid with gold and adorned with gems and mother-of‑pearl. There were dining-rooms with fretted ceils of ivory, whose panels could turn and shower down flowers and were fitted with pipes for sprinkling the guests with perfumes. The main banquet hall was circular and constantly revolved day and night, like the heavens. His mother offended him by too strict surveillance and criticism of his words and acts. At last terrified by her violence and threats, he determined to have her life, and after thrice attempting it by poison and finding that she had made herself immune by antidotes, he tampered with the ceiling of her bedroom, contriving a mechanical device for loosening its panels and dropping them upon her while she slept. When this leaked out through some of those connected with the plot, he devised a collapsible boat,​ to destroy her by shipwreck or by the falling in of its cabin. ...[He] offered her his contrivance, escorting her to it in high spirits and even kissing her breasts as they parted. The rest of the night he passed sleepless in intense anxiety, awaiting the outcome of his design. On learning that everything had gone wrong and that she had escaped by swimming, driven to desperation he secretly had a dagger thrown down beside her freedman Lucius Agermus, when he joyfully brought word that she was safe and sound, and then ordered that the freedman be seized and bound, on the charge of being hired to kill the emperor; that his mother be put to death, and the pretence made that she had escaped the consequences of her detected guilt by suicide.

The granite complex inside the Great Pyramid, therefore, is poised ready to convert vibrations from the Earth into electricity. What is lacking is a sufficient amount of energy to drive the beams and activate the piezoelectric properties within them. The ancients, though, had anticipated the need for more energy than what would be collected only within the King's Chamber. They had determined that they needed to tap into the vibrations of the Earth over a larger area inside the pyramid and deliver that energy to the power center—the King's Chamber —thereby substantially increasing the amplitude of the oscillations of the granite. Modern concert halls are designed and built to interact with the instruments performing within. They are huge musical instruments in themselves. The Great Pyramid can be seen as a huge musical instrument with each element designed to enhance the performance of the other. While modern research into architectural acoustics might focus predominantly upon minimizing the reverberation effects of sound in enclosed spaces, there is reason to believe that the ancient pyramid builders were attempting to achieve the opposite. The Grand Gallery, which is considered to be an architectural masterpiece, is an enclosed space in which resonators were installed in the slots along the ledge that runs the length of the gallery. As the Earth's vibration flowed through the Great Pyramid, the resonators converted the vibrational energy to airborne sound. By design, the angles and surfaces of the Grand Gallery walls and ceiling caused reflection of the sound, and its focus into the King's Chamber. Although the King's Chamber also was responding to the energy flowing through the pyramid, much of the energy would flow past it. The specific design and utility of the Grand Gallery was to transfer the energy flowing through a large area of the pyramid into the resonant King's Chamber. This sound was then focused into the granite resonating cavity at sufficient amplitude to drive the granite ceiling beams to oscillation. These beams, in turn, compelled the beams above them to resonate in harmonic sympathy. Thus, with the input of sound and the maximization of resonance, the entire granite complex, in effect, became a vibrating mass of energy.

She was, in essence, one of the first missionaries. And she was someone whose designated “place” was in the reject pile.

Jon Stone spoke thirteen languages and was fluent in six, French being one. He spoke it so well the girls thought he was a native Parisian pretending to be an American. This ability to blend with the natives was a valuable tool when Jon plied his trade. Jon eased from the bed. Floor-to-ceiling sliding glass doors lined the back of his house, ten-foot-tall, custom-designed monsters so Jon could Zen on the view. Golden lights glittered to the horizon, ruby flashes marked ghetto-bird prowlers, jets descending toward LAX were strung like pearls across a tuxedo black sky. The doors were heavy as trucks, but silent as silk when they slid open. Jon stepped out and went to the pool. Pike was a silhouette cutout, backlit by the city as Jon swaggered close. “What

As dazzling as the vault of the apse was, Arthur and Claire looked downward because the central area of the apse incorporated the ceiling of the crypt. And here Gaudi’s genius shined as profoundly as anywhere in the basilica. The vault of the crypt was surrounded by glassed and arched windows that penetrated the floor of the apse rising within the presbytery to the height of a man. The design allowed worshipers to gaze heavenward to the light-filled vault, the place where God resided, but also to gaze down into the crypt, the place of death and human repose.

From my vantage point at the top of the grand staircase, the opulent, open floor design of the first level looked like a truck had backed up to the bronze double doors and dumped a load of SpaghettiOs all over the floor. Everything was splattered with red and gunk, like a fleet of cannons had shot an endless stream of ravioli against the walls and ceilings – lots of chunks of lots of different types of matter that usually belonged inside a body.

In ancient times, urine was a prophylactic, a health drink. John XXI, the only medical doctor ever to become pope, drank it religiously until the ceiling he designed himself fell on his head, killing him. Galen wasn’t a big fan of urine therapy—he couldn’t stand the smell—but did suggest drinking “gold glue,” the urine of an innocent boy stirred in a copper pot.

We are a boutique art and design firm. We live at the nexus of art design and architecture, specifically by creating customized ceilings and walls for commercial spaces with fully integrated, backlit, recessed LED lighting. The combination of our art direction, architectural fabric mediums, and LED integration consistently results in marvelous results for our satisfied commercial and residential clients.

Ashley sat in the bar of the boutique hotel, admiring the gorgeous tiled light fixtures hanging from the high ceiling above, the colorful Mexican plates displayed on shelves, the framed chalkboard on the wall indicating live music later that night. Being in Tulum made her feel so far away from her five-bedroom mid-century modern house in Santa Monica, with its floor-to-ceiling windows facing west, and sleek but slightly uncomfortable gray furniture. With its closets full of more shoes than she could ever wear—the garage boasting designer cars and every toy and gadget her two daughters could ever want—its backyard home to a pool and hot tub she hadn’t so much as dipped a toe in for months.

With sufficient international support, these countries can seize the opportunity to leapfrog the wasteful and polluting technologies of the past. And if they channel GDP growth into creating economies that are distributive and regenerative by design, they will start bringing all of their inhabitants above the Doughnut’s social foundation without overshooting its ecological ceiling.

But I do feel like I’ve seen tiles like this in other places.” “You have,” says Bronca, grinning, “because back before people with no taste started replacing every beautiful thing in this city with cheap bullshit, it was one of the most distinctive architectural forms in the world—an art movement that was centered in New York. They’re called Guastavino tiles. Obsolete now, but back in the day they were designed to be fireproof and self-stabilizing. Perfect for a city that’s half-underground and full of flammable trash.” She taps the ceiling in the photo. “There’s only a few examples of this left in the city. So…

We turn acoustic issues into artistic solutions. Our one-of-one, customized acoustic textiles solve soundproofing issues while simultaneously creating a visually stunning brand asset for happy clients. Our range of acoustic textiles offer artists and architects the means to turn entire walls and ceilings into sound absorbing surfaces, and they can even be integrated with recessed LED lighting for unparalleled and eco-friendly design versatility.

General lighting / cleaning lighting: A ceiling lamp or light fixture that spreads ambient light over the whole room. Work lighting / task lighting: A reading lamp by the armchair or sofa; lighting over work surfaces in the kitchen; a desk lamp. Spot lighting: Accent lighting or spotlights directed at a wall of pictures, a work of art, a bookcase, or shadow play on the wall. Atmospheric lighting / decorative lighting: Mood lighting, dimmable small lamps, string lights, candles.

Fowl Ceiling lights Flush lights Track lighting Recessed lighting Pendant lamps Something in Between Floor and reading lamps Table lamps on taller bureaus and sideboards Clamp spotlights on the bookcase Picture lights Spotlights with the light directed at walls or works of art Pendant window lamps Fish Low lamps standing on the windowsill Candles and votives on the side tables Low floor lamps Spotlights inset in the floor LED strings on the baseboards or in window recesses

1930s Functionalism/Modernism Exterior •Facade: Cube shapes and light-color plaster facades, or thin, standing wood panels. •Roof: Flat roof, sometimes clad in copper or sheet metal. •Windows: Long horizontal window bands often with narrow—or no—architraves; large panes of glass without mullions or transoms. Emphasis on the horizontal rather than on the vertical. Windows run around corners to allow more light and to demonstrate the new possibilities of construction and materials. •Outside door: Wooden door with circular glass window. •Typical period details: Houses positioned on plots to allow maximum access to daylight. Curving balconies, often running around the corner; corrugated-iron balcony frontage. Balcony flooring and fixings left visible. The lines of the building are emphasized. Interior •Floors: Parquet flooring in various patterns, tongue-and-groove floorboards, or linoleum. •Interior doors: Sliding doors and flush doors of lamella construction (vaulted, with a crisscross pattern). Masonite had a breakthrough. •Door handles: Black Bakelite, wood, or chrome. •Fireplaces: Slightly curved, brick/stone built. Light-color cement. •Wallpaper/walls: Smooth internal walls and light wallpapers, or mural wallpaper that from a distance resembled a rough, plastered wall. Internal wall and woodwork were light in color but rarely completely white—often muted pastel shades. •Furniture: Functionalism, Bauhaus, and International style influences. Tubular metal furniture, linear forms. Bakelite, chrome, stainless steel, colored glass. •Bathroom: Bathrooms were simple and had most of today’s features. External pipework. Usually smooth white tiles on the walls or painted plywood. Black-and-white chessboard floor. Lavatories with low cisterns were introduced. •Kitchen: Flush cupboard doors with a slightly rounded profile. The doors were partial insets so that only about a third of the thickness was visible on the outside—this gave them a light look and feel. Metal-sprung door latches, simple knobs, metal cup handles on drawers. Wall cabinets went to ceiling height but had a bottom section with smaller or sliding doors. Storage racks with glass containers for dry goods such as salt and flour became popular. Air vents were provided to deal with cooking smells.

For Vanni and Paul, Joe designed a larger version of Paul’s house, but with changes that although slight, gave it a different appearance altogether, so it didn’t look like a copy and was better suited for a growing family. The features they loved were there—the wide hallways, spacious rooms, high ceilings, large garage. And it had to have more bedrooms—Paul was going to fill her with babies. He

the original commission for the ceiling was a plan designed by the pope and his closest advisers. Jesus was to have been the focal point of the project, surrounded by his apostles and probably also Mary and John the Baptist. This commission was especially dear to the pope’s heart, since the chapel had originally been built by his uncle Sixtus IV and would be an eternal monument to their family’s glory. Now Michelangelo was about to subvert the entire project to secretly promote his own beliefs, especially those of humanism, Neoplatonism, and universal tolerance. He had already somewhat appeased the pope with his ploy of putting him in the place of Jesus—but how was he going to get the pope to pay for the world’s largest Catholic fresco without a single Christian figure in it?

Michelangelo managed to join the preexisting flooring with his new ceiling design into a unique statement. The result was an uncanny illustration of the ancient Kabbalistic tenet “As below, so above; as above, so below.” In other words, the spiritual design of the floor reflected the spiritual design of the ceiling, and vice versa. Michelangelo had fully absorbed the mystical teaching from ancient Judaic sources that our actions on earth, whether good or evil, can indeed influence the universe. Here was a concept that appealed to Michelangelo as a disciple of the school of Neoplatonism as well.

He infused his ceiling fresco with Kabbalistic images that reflected the Kabbalistic pavement design below. He linked the Jewish ancestral tree to Jesus. He connected pagan philosophy and design with Judaism and Christianity. He joined his love of male beauty to his love of God. He narrated the entire story of the universe, beginning with creation, in a way that makes us realize humanity’s common ancestry.

In case Dr. Jones's point still seems obscure or excessive, consider the celebrated "cock-eyed room" designed by Dr. Albert Ames. This is discussed in Blake's Perception mentioned above and has often been shown on educational television. This room is designed so that the brain, using its ordinary programs and metaphors, will classify it as an ordinary room. It is not ordinary, however: it has walls and ceiling and floor designed at odd angles which optically produce in educated humans the same signals as a "normal" room. (Some evidence suggests that children under 5 years of age are not taken in by this illusion.)

In America’s Gilded Age palaces the opulence of France’s ancien régime was the style most often simulated. As a result, the first-class lounge on A deck, the showiest of the Titanic’s public rooms, had been designed to emulate Versailles—though with some English coziness added in the patterned carpeting and comfortably upholstered sofas with large green pillows. The walls were paneled in oak with carved rococo detailing, although the use of gilding was restrained, reserved for some details on the plastered ceiling, a gilt ormolu wall clock, and the statuette of the Artemis of Versailles on the marble mantelpiece. At the far end of the room stood a mahogany, glass-fronted bookcase that held the ship’s library, and from its shelves

I lie splayed out on the bed, staring numbly at the world's most beautiful bedroom. I've been given the Duchess Suite, a relic from the days when husbands and wives slept in separate rooms. The bedroom's damask walls are painted robin's-egg blue, the same shade as Tiffany's famous little boxes, with matching curtains framing the French windows. The ceiling above my bed is gilded in a mosaic pattern, and impressionist paintings grace the walls. Delicate white-and-gold furniture softens the room's edges, and the freshly cut peonies in a vase on my bedside table lend the air a sweet smell.

I slid into one of my black suits (why other colors existed was beyond me. Black was suitable for every occasion. The only exception I made was with gray sweatpants, because those were practically considered lingerie for men) and wandered out of the master bedroom. I descended down the three marble steps to the living room. Black, sleek chandeliers dripped from the ceiling, and upholstered black leather couches and recliners filled the room. The three walls that weren’t floor-to-ceiling windows were bare, raw concrete. Everything about my place was dark, indulgent, and dangerous. An apartment carefully designed in the aesthetic of a modern douchebag.

Paragon Interiors are Reading’s premier commercial interior alterations company. We’ve been offering commercial refurbishments, suspended ceilings and partitionings to businesses across Berkshire for over 20 years.

Two appendages lowered from a port in the ceiling and passed a few feet from his face: they were complex, robotic hands, a left and a right. They were sleek in design, and had a flat-black finish. One of them positioned itself near Will's outstretched hand, and a glistening, curved blade popped out of one of its fingertips—the thumb. It moved in slowly, and all Will could do was watch as it approached. He felt cold metal touch his skin, and the blue-metallic blade slowly sliced its way under his left thumbnail, vibrating as it moved. It dug in about half way to the cuticle, and stopped. His thumb throbbed and burned at the same time, and the pressure mounted even though the blade remained still. After about five minutes, it continued on its path to the nail bed, and paused. His legs and arms twitched uncontrollably, but the blade remained stationary. A few minutes later, another blade popped out from the mechanical hand, and slowly carved a path under his left index fingernail. It took another five, long minutes to reach the nail bed. Will screamed sporadically, his voice diminishing to a raspy whisper, as the procedure was repeated for each of his fingers. After about two hours, the machine had finished inserting blades into the ten nail beds, and the program paused as the pressure in his fingertips increased. The fluid that oozed from under his nails had gone from blood to a clear liquid, and he heard it drip on the floor. Just as Will's nerves were beginning to settle, the bladed, mechanical fingers started to tap. Tap tap tap ... the machine played a tune of pain. Every muscle in his body convulsed with each minute percussion of the blades. After what seemed like an eternity, the program reached a final phase: the twisting of the blades. Will whimpered pitifully, continually on the verge of passing out.

In my newly acquired silence, I remember what sacred space means. It’s much more than a brightly lit room and high ceilings. Sacred space is a state of consciousness. When I talk about creating a space, I’m referring to the act of freely allowing for your possibilities; the liberty to let yourself explore and take risks in a safe atmosphere of non-judgment. This space is created by shifting your consciousness and thoughts. This sacred space opens room for new possibilities. There’s the space around you and the area inside of you.

Art enables us to express what words often cannot, a symphony of colors and strokes that dance upon the canvas of emotions." "Ceiling fans: where design and function intertwine, creating a gentle breeze at harborbreezefanc.com of elegance in any room.

The passageway leads to a spiraling staircase. Back on Earth I wouldn’t be able to climb anything so steep. But ability is contextual. Whatever we’re able to do—and whatever meaning we make of that—changes from one environment to another. We make all of our own environments now. To design a place that others can’t possibly move through or inhabit is the same as raising up a drawbridge, dropping down a toothy portcullis, or punching a row of murder holes through a ceiling. It writes down a clear, solid message in the language of architecture: You are not welcome here. You don’t even have the right to exist here. Please cease to exist as soon as possible. That’s what the stairs would have said to me, back on Earth. But we aren’t on Earth. I bound up that staircase, which cannot object.

Dozens of shiny brass wall sconces created the sort of dim and atmospheric lighting I'd only ever seen in old movies and haunted houses. And the room wasn't just darkly lit. It was also just... dark. The walls were painted a dark chocolate brown that I vaguely remembered from art history classes had been fashionable in the Victorian era. A pair of tall, dark wooden bookshelves that must have weighed a thousand pounds each stood like silent sentinels on either end of the room. Atop each of them sat an ornate brass, malachite candelabra that would have seemed right at home in a sixteenth-century European cathedral. They clashed in style and in every other imaginable way with the two very modern-looking black leather sofas facing each other in the center of the room and the austere, glass-topped coffee table in the living room's center. The latter had a stack of what looked like Regency romance novels piled high at one end, further adding to the incongruity of the scene. Besides the pale green of the candelabras, the only other color to be found in the living room was in the large, garish, floral Oriental rug covering most of the floor; the bright red, glowing eyes of a deeply creepy stuffed wolf's head hanging over the mantel; and the deep-red velvet drapes hanging on either side of the floor-to-ceiling windows.

Black choked out every pleasant feeling you might possibly have as soon as you walked through the big iron-studded doors. The interior designer must’ve been a medieval vampire, judging from the cold, lifeless colors and the giant iron chandeliers hanging from the ceilings. Even the floor was so dark that it looked like I was hovering over an abyss, a fraction of a second from falling into nothingness.

The home I grew up in was something you might expect to find in an F. Scott Fitzgerald novel. Domed ceilings with ornate moldings, inlaid marble floors, and more powder rooms than people. It was a small palace. Mom loved French architecture and décor and would take trips overseas to find unique antiques. There were two exterior swimming pools, a tennis court, a pavilion, plus a rose garden, Italian stepped stone fountains, and grounds galore. A branch of the Trinity River flowed near stone-covered walking paths, swaths of carefully tended grass in green spaces waving nearby.

Listen. The Sinspire is nearly sixty yards high, one thick Elderglass cylinder. You know those, you tried to jump off one about two months ago. Goes down another hundred feet or so into a glass hill. It’s got one door at street level, and exactly one door into the vault beneath the tower. One. No secrets, no side entrances. The ground is pristine Elderglass; no tunneling through it, not in a thousand years.” “Mmmm-hmmmm.” “Requin’s got at least four dozen attendants on each floor at any given time, plus dozens of table minders, card dealers, and waiters. There’s a lounge on the third floor where he keeps more out of sight. So figure, at minimum, fifty or sixty loyal workers on duty with another twenty to thirty he can call out. Lots of nasty brutes, too. He likes to recruit from ex-soldiers, mercenaries, city thieves, and such. He gives cushy positions to his Right People for jobs well done, and he pays them like he was their doting mother. Plus, there are stories of dealers getting a year’s wages in tips from lucky blue bloods in just a night or two. Bribery won’t be likely to work on anyone.” “Mmmm-hmmmm.” “He’s got three layers of vault doors, all of them ironshod witchwood, three or four inches thick. Last set of doors is supposedly backed with blackened steel, so even if you had a week to chop through the other two, you’d never get past the third. All of them have clockwork mechanisms, the best and most expensive Verrari stuff, private designs from masters of the Artificers’ Guild. The standing orders are, not one set of doors opens unless he’s there himself to see it; he watches every deposit and every withdrawal. Opens the door a couple times per day at most. Behind the first set of doors are four to eight guards, in rooms with cots, food, and water. They can hold out there for a week under siege.” “Mmmm-hmmmm.” “The inner sets of doors don’t open except for a key he keeps around his neck. The outer doors won’t open except for a key he always gives to his majordomo. So you’d need both to get anywhere.” “Mmmm-hmmmm.” “And the traps…they’re demented, or at least the rumors are. Pressure plates, counterweights, crossbows in the walls and ceilings. Contact poisons, sprays of acid, chambers full of venomous serpents or spiders…One fellow even said that there’s a chamber before the last door that fills up with a cloud of powdered strangler’s orchid petals, and while you’re choking to death on that, a bit of twistmatch falls out and lights the whole mess on fire, so then you burn to a crisp. Insult to injury.” “Mmmm-hmmmm.” “Worst of all, the inner vault is guarded by a live dragon attended by fifty naked women armed with poison spears, each of them sworn to die in Requin’s service. All redheads.” “You’re making that up, Jean.” “I wanted to see if you were listening. But what I’m saying is, I don’t care if he’s got a million solari in there, packed in bags for easy hauling. I’m inclined to the idea that this vault might not be breakable, not unless you’ve got three hundred soldiers, six or seven wagons, and a team of master clockwork artificers you’re not telling me about.” “Right.” “Do you have three hundred soldiers, six or seven wagons, and a team of master clockwork artificers you’re not telling me about?” “No, I’ve got you, me, the contents of our coin purses, this carriage, and a deck of cards.

THIS IS WHAT they want. The words tumbled through Sophie’s mind as she raced up the spiral staircase, counting her steps, trying to guess which door to take. The first handle she tried was locked. Another opened into darkness. A third revealed a path that glowed with eerie blue balefire sconces. The floor shook as she hesitated and threads of dust slipped through the ceiling, scratching her throat and making it hurt to breathe. She followed the flames. Back and forth the halls snaked—a careful maze, designed to deceive. Swallow. Separate. The tremors grew with every step, the shifting subtle but unmistakable. And too far away. No one else would feel the ripples swelling, like waves gathering speed. They were too focused on their celebration. Too caught up in their imagined victory. Too trusting. Too blind. Too late. The ground rattled harder, the first fissures crackling the stones. This is what they want. ONE THIS IS A security nightmare!

The cab pulled up to our building on St. Louis between Decatur and Chartres Streets, a three-story cement stucco town house in the old creole style. It was painted pale pink and covered with delicate ironwork like a lace veil. It had an arched opening with a wrought-iron gate and an old metal lock. Inside, the ground-floor hallway had high, rounded ceilings and a dark caramel tiled floor leading to a garden in the back. It was drippy and heavy with the scent of jasmine, just like me. Wisteria rolled down from the top-floor balconies all the way to the garden below and curled around the legs of the iron tables and chairs like beautiful prison shackles. Everything about the building looked like it was from another century, and having never been to New Orleans I did not yet know that everything was.

I stood under the arch and absorbed the image. Rose and blue and ancient oriental rugs held pale pink loveseats with curved arms and perfectly faded silk upholstery. Sheer white-winged angels floated on a ceiling of baby-blue sky with clouds of spun gold. And eastern-facing windows of blue stained glass held paler blue stained-glass crosses in the middle. Daylight and streetlamps were obliterated by thick velvet curtains with gold tasseled ropes, and a small, dusty beam of faded light managed to seep past the heavy drapes, making it look like the tail end of the day instead of the early part of the afternoon. His home was lavish and seductive, and I thought it rare that a man living alone could create a thing of such intensity. For the second time in two days I found myself having to adjust my opinion of Michael Bon Chance. It was a marble fountain that ended my reverie and brought me back down to earth. It was the true centerpiece of the room, with water slowly seeping from a cracked jug and dripping over a statue of a nude couple, bathing. I cringed at the sound. Michael looked at me. "Something wrong?" "It's the dripping." He went over to the bar and poured me a glass of wine. "You're tense. Maybe this will help." I took a sip from the glass and put it down on the fireplace mantel. I caught a glimpse of Michael and myself in the mirror above the fire and felt trapped by how beautiful we looked in the rose glow of the dragon's-head lamps with pale pink bulbs.

What is a pancake? Cooked batter, covered in sugar and butter. It is food. But it is not as food, not as sustenance that we crave the pancake. No, the pancake, or flapjack if you will, is a childish pleasure; smothered in syrup, buried beneath ice cream, the pancake symbolises our escape from respectability, eating as a form of infantile play. The environments where pancakes are served and consumed are, in this context, special playrooms for a public ravenous for sweetness, that delirious sweetness of long-ago breakfasts made by mother, sweetness of our infancy and our great, lost, toddler’s omnipotence. Look around. Notice, if you will, these lighting fixtures suspended from the ceiling like pretty mobiles over a crib. Notice the indestructible plastic orange seating materials designed to repel spills and stains. Notice these menus that unfold like colorful, laminated boards in those games we once played on rainy days at home, those unforgettable indoor days when we felt safe and warm, when we knew ourselves, absolutely, to be loved. We come to the Pancake House because we are hungry. We call out in our hearts to our mothers, and it is the Pancake House that answers. The Pancake House holds us! The Pancake House restores us to beloved infancy! The Pancake House is our mother in this motherless world!

AN ANSWER TO OUR QUESTION Places of worship embody the aspirations of their architects, and the communities they represent, to ideal beauty. Their chosen means of expression feature color, geometry, and symmetry. Consider, in particular. the magnificent plate HH. Here the local geometry of the ambient surfaces and the local patterns of their color change as our gaze surveys them. It is a vibrant embodiment of anamorphy and anachromy-the very themes that our unveiling of Nature's deep design finds embodied at Nature's core. Does the world embody beautiful ideas? There is our answer, before our eyes: Yes. Color and geometry, symmetry, anachromy, and anamorphy, as ends in themselves, are only one branch of artistic beauty. Islam's injunction against representational art played an important part in bringing these forms of beauty to the fore, as did the physical constraint of structural stability (we need columns to support the weight of ceilings, and the arches and domes to distribute tension). Depictions of human faces, bodies, emotions, landscapes, historic scenes, and the like, when they are allowed, are far more common subjects for art than those austere beauties. The world does not, in its deep design, embody all forms of beauty, nor the ones that people without special study, or very unusual taste, find most appealing. But the world does, in its deep design, embody some forms of beauty that have been highly prized for their own sake, and have been intuitively associated with the divine.

Modern biomimicry is far more than just copying nature's shapes. It includes systematic design and problem-solving processes, which are now being refined by scientists and engineers in universities and institutes worldwide. The first step in any of these processes is to clearly define the challenge we're trying to solve. Then we can determine whether the problem is related to form, function, or ecosystem. Next, we ask what plant, animal, or natural process solves a similar problem most effectively. For example, engineers trying to design a camera lens with the widest viewing angle possible found inspiration in the eyes of bees, which can see an incredible five-sixths of the way, or three hundred degrees, around their heads. The process can also work in reverse, where the exceptional strategies of a plant, animal, or ecosystem are recognized and reverse engineered. De Mestral's study of the tenacious grip of burrs on his socks is an early example of reverse engineering a natural winner, while researchers' fascination at the way geckos can hang upside down from the ceiling or climb vertical windows has now resulted in innovative adhesives and bandages. Designs based on biomimicry offer a range of economic benefits. Because nature has carried out trillions of parallel, competitive experiments for millions of years, its successful designs are dramatically more energy efficient than the inventions we've created in the past couple of hundred years. Nature builds only with locally derived materials, so it uses little transport energy. Its designs can be less expensive to manufacture than traditional approaches, because nature doesn't waste materials. For example, the exciting new engineering frontier of nanotechnology mirrors nature's manufacturing principles by building devices one molecule at a time. This means no offcuts or excess. Nature can't afford to poison itself either, so it creates and combines chemicals in a way that is nontoxic to its ecosystems. Green chemistry is a branch of biomimicry that uses this do-no-harm principle, to develop everything from medicines to cleaning products to industrial molecules that are safe by design. Learning from the way nature handles materials also allows one of our companies, PaxFan, to build fans that are smaller and lighter while giving higher performance. Finally, nature has methods to recycle absolutely everything it creates. In natures' closed loop of survival on this planet, everything is a resource and everything is recycled-one of the most fundamental components of sustainability. For all these reasons, as I hear one prominent venture capitalist declare, biomimicry will be the business of the twenty-first century. The global force of this emerging and fascinating field is undeniable and building on all societal levels.

White ceiling tiles. Low-energy bulbs in cylindrical down-lighters. Walls and chairs in Hospital Yellow. A colour so blatantly designed to soothe those in medical distress that it makes me want to bubble blood from the corners of my mouth, just to show it who’s boss. ‘I

Current theories regarding the function and construction of the pyramid fall short. A credible theory would have to explain the following conditions found inside the Great Pyramid: -The selection of granite as the building material for the King's Chamber. It is evident that in choosing granite, the builders took upon themselves an extremely difficult task. -The presence of four superfluous chambers above the King's Chamber. -The characteristics of the giant granite monoliths that were used to separate these so-called "construction chambers." -The presence of exuviae, or the cast-off shells of insects, that coated the chamber above the King's Chamber, turning those who entered black. -The violent disturbance in the King's Chamber that expanded its walls and cracked the beams in its ceiling but left the rest of the Great Pyramid seemingly undisturbed. -The fact that the guardians were able to detect the disturbance inside the King's Chamber, when there was little or no exterior evidence of it. -The reason the guardians thought it necessary to smear the cracks in the ceiling of the King's Chamber with cement. -The fact that two shafts connect the King's Chamber to the outside. -The design logic for these two shafts—their function, dimensions, features, and so forth.

While they rested, he searched for landmarks. The mountains they’d walked into were gone, a hazy gray ceiling of storm clouds in their place. It gave him the unsettling feeling of being caught inside a box. Ash turned and looked back the other direction. His attention caught on the forked top of a pine tree and he frowned. What the hell…? That looks like the same tree we passed fifteen minutes ago. It felt for a moment like he was in a poorly designed game and had just come across a repeating landscape. His gaze dropped down to the path where they’d just passed. His stomach churned uneasily. The trail was a faded smudge, the line of it almost too faint to follow in the gathering darkness, but there was a small outcrop of rocks in the trees that also looked familiar. His attention jumped back to the pronged top of the branches. “What the…?

From ancient times and into the Middle Ages, man had dreamed of taking to the sky, of soaring into the blue like the birds. One savant in Spain in the year 875 is known to have covered himself with feathers in the attempt. Others devised wings of their own design and jumped from rooftops and towers—some to their deaths—in Constantinople, Nuremberg, Perugia. Learned monks conceived schemes on paper. And starting about 1490, Leonardo da Vinci made the most serious studies. He felt predestined to study flight, he said, and related a childhood memory of a kite flying down onto his cradle. According to brothers Wilbur and Orville Wright of Dayton, Ohio, it began for them with a toy from France, a small helicopter brought home by their father, Bishop Milton Wright, a great believer in the educational value of toys. The creation of a French experimenter of the nineteenth century, Alphonse Pénaud, it was little more than a stick with twin propellers and twisted rubber bands, and probably cost 50 cents. “Look here, boys,” said the Bishop, something concealed in his hands. When he let go it flew to the ceiling. They called it the “bat.” Orville’s first teacher in grade school, Ida Palmer, would remember him at his desk tinkering with bits of wood. Asked what he was up to, he told her he was making a machine of a kind that he and his brother were going to fly someday.

The steel that is printed with a pattern comes in a variety of designs. In recent times, due to its attractive appearance, ease of use, and excellent corrosion resistance It has been extensively utilized for household appliances, furniture, and building decorations. Wanzhi Steel, a professional supplier of color-coated sheets, can offer many patterns to meet your needs. The pattern, color, and even the painting can be made to order. Here are a few products we've produced. Applications of Steel Pattern Prepainted 1. Home appliances, including the shells of air conditioners and microwaves, as well as video equipment. 2. Constructions, such as ceilings, walls as well as partition walls, fireproof doors, and sandwich panels. They are often used for interior decoration. 3. Transportation, for instance, the trim panel inside the vehicle, marine bulkhead, etc. 4. Windows & Doors include door panels, garage doors, and security doors, as well as window or door frames. What is the reason for the pattern Printed Steel? 1. Different Colors and Patterns The color-coated steel comes in many designs and colors. It makes the structures appear stunning. Additionally, it has a smooth surface which means there's no need for additional decoration. 2. Light in weight The color-coated coil is simple to install and transport because of its lightweight. This speeds up construction time. One in three is as weighty as brick walls. 3. Fantastic Corrosion Resistance Steel sheet with patterns printed on them uses zinc-coated steel sheets, also known as AL-ZN, as the base metal. This is the reason why the sheet has great resistance to corrosion and rust. In addition, its impact on the heat insulation properties is fantastic. 4. High Strength It preserves the tensile and yield strength of steel so that it has a high strength to withstand breakage and crushing. 5. Environmental-friendly Prefabricated homes made of prepainted printed steel sheets can be recycled and produce less pollution. Besides, it greatly reduces human labor, which makes it more environmentally friendly. The pattern-printed steel is a cost-effective but useful product. Wanzhi Steel offers quality products for a reasonable cost. We can help you select the right patterns for your design. Contact us if you need more details.