Interior Styling Quotes

The search for a life-style involves a journey to the interior. This is not altogether a pleasant experience, because you not only have to take stock of what you consider your assets but you also have to take a long look at what your friends call “the trouble with you.” Nevertheless, the journey is worth making.

There are no mistakes, only journeys.

I wondered how television worked. I thought about how an interior decorator decided on colors and styles. I wondered, when babies tarted learning how to walk, if they didn't know that that couldn't walk.

In the words of the famous tea master Sen no Rikyu, a delicious cup of tea should be served so that it is cooling in summer and warming in winter.

It is ridiculous to lay down to people where a thing should stand, design everything for them from the lavatory pan to the ashtray. On the contrary, I like people to move their furniture so that it suits them (not me!), and it's quite natural (and I approve) when they bring the old pictures and mementos they have come to love into a new interior, irrespective of whether they are good taste or bad.

You will all be assailed, my dear friends, by the very real temptation to believe that you have been forsaken by God – that your priesthood is in vain, and that the weight of mortal grief and sin is more than you can bear. In the midst of your anguish you will ask of Him a sign, some visible ray of His unchanging light in a world of hideous darkness. I am sorry to say that this visible sign will rarely be given. The burning bush of Moses, the jewel-encrusted dove of Theresa, the Tolle lege of Augustine – these are no longer the style, as in the simpler days of saint and prophet. The light will be interior; you must look for it within

Mexico is a lawless place. I don’t care what the UN says, or what the State Department travel advisories tell you. The fact is that Mexico, as a whole, is a narco-state run by powerful regional cartels, with a hollow and largely irrelevant central government that is nothing more than window-dressing to appease the international community. Freedom is for those who can afford it, law is for sale, and what is fair is determined by who is most powerful. That’s the reality of Mexico. Cancun, Playa, Cabo, Puerto Vallarta- they are all much better than the interior of Mexico, but that is only because their survival depends on a steady flow of tourists with money to burn. To protect that, the government does a good job maintaining the appearance of western-style law and order through the direct threat of massive military intervention. Underneath it all, those places are not much different from the rest of Mexico.

A critic named John Carter was so exercised by Wyatt’s predilection for ripping out ancient interiors that he dubbed him “the Destroyer” and devoted 212 essays in the Gentleman’s Magazine—essentially his whole career—to attacking Wyatt’s style and character. At

Grace cut across an Oriental rug done in a plum, navy, and cream geometric pattern. The colors in the carpet pulled the richness of the furniture together. She noticed that Cade walked the perimeter of the room, sticking to the hardwood floor. Off to the right, a glassed-in sunroom caught the first rays of sunshine from the overcast day. The forest-green wicker furniture, abundant greenery, and a small bookcase with monthly magazines and mystery novels offered peace and solitude.

about shape and style. A new era truly has dawned, was the feeling those cars gave you. At some point in that decade, American society changed abruptly in tone and mentality. Instead of being preoccupied above all with survival, it became a consumer society. A world of toil was transformed into a world of enjoyment. Domestic interiors were still full of things from the 1930s and 1940s, but amid the brown furniture and crocheted rugs a different lifestyle was emerging, with all the features of the old austerity but a cheerful sense of amazement as well. ‘What sort of fairyland is this we suddenly find ourselves in?’ was the general mood. These were the years of what became known as the ‘baby boom’. The birth rate shot up by

AESTHETIC SIMPLICITY For some people simplicity is an aesthetic value, so one further sense that might be attached to the notion of simple living is a preference for an uncomplicated, uncluttered living environment. Imagine, for instance, an apartment with white walls, white trim, bare wood floors, simple wooden furniture, plain white kitchenware, white towels in the bathroom, and white blankets on the simple wooden beds. Or a house where the brick walls and overhead beams are left exposed, the furniture is rustic, and any artwork on display is clearly local and amateurish. Or a study containing nothing but a desk and a chair. All these are interiors that people deliberately create for themselves. Simplicity of this sort is not necessarily frugal. The uncluttered apartment could be in the center of Paris; the plain wooden furniture might be custom-made. Wittgenstein designed a house in Vienna for his sister Margaret characterized by austere, almost minimalist aesthetic lines, yet built with no concern for cost. But although such setups may not be cheap, they make no exhibition of expense. And the styles have symbolic significance. They bespeak sympathy with the plain, the unpretentious, the unostentatious. They connote honesty, purity, and a mind focused on essentials. In the case of country retreats, closeness to nature may also be sought and expressed.

The Arcades Project further elaborates the relation of the dialectical image to history as it emerges in the scene of reading. As Benjamin tells us: What distinguishes images from the ‘essences’ of phenomenology is their historical index. (Heidegger seeks in vain to rescue history for phenomenology abstractly through ‘historicity’.) These images are to be thought of entirely apart from the categories of the ‘human sciences,’ from so-called habitus, from style, and the like. For the historical index of the images not only says that they belong to a particular time; it says, above all, that they attain to legibility only at a particular time. And, indeed, this acceding ‘to legibility’ constitutes a specific critical point in the movement at their interior. Every present day is determined by the images that are synchronic with it: each ‘now’ is the now of a particular recognizability. In it, truth is charged to the bursting point with time. (This point of explosion, and nothing else is the death of the intentio, which thus coincides with the birth of authentic historical time, the time of truth.) It is not that what is past casts its light on what is present, or what is present its light on what is past; rather, image is that wherein what has been comes together in a flash with the now to form a constellation. In other words: image is dialectics at a standstill. For while the relation of the present to the past is purely temporal, the relation of what-has-been to the now is dialectical: not temporal in nature but figural [bildlich]. Only dialectical images are genuinely historical – that is, not archaic – images. The image that is read – which is to say, the image in the now of its recognizability – bears to the highest degree the imprint of that critical, dangerous moment that lies at the ground of all reading [den Stempel des kritischen, gefährlichen Momentes, welcher allem Lesen zugrunde liegt].51

Finally, he allowed me to turn the key in the lock and the front door, with its porthole-shaped window, swung open. I don’t know what I’d expected. I’d tried not to conjure up fantasies of any kind, but what I saw left me inarticulate. The entire apartment had the feel of a ship’s interior. The walls were highly polished teak and oak, with shelves and cubbyholes on every side. The kitchenette was still located to the right where the old one had been, a galley-style arrangement with a pint-size stove and refrigerator. A microwave oven and trash compactor had been added. Tucked in beside the kitchen was a stacking washer-dryer, and next to that was a tiny bathroom. In the living area, a sofa had been built into a window bay, with two royal blue canvas director’s chairs arranged to form a “conversational grouping.” Henry did a quick demonstration of how the sofa could be extended into sleeping accommodations for company, a trundle bed in effect. The dimensions of the main room were still roughly fifteen feet on a side, but now there was a sleeping loft above, accessible by way of a tiny spiral staircase where my former storage space had been. In the old place, I’d usually slept naked on the couch in an envelope of folded quilt. Now, I was going to have an actual bedroom of my own. I wound my way up, staring in amazement at the double-size platform bed with drawers underneath. In the ceiling above the bed, there was a round shaft extending through the roof, capped by a clear Plexiglas skylight that seemed to fling light down on the blue-and-white patchwork coverlet. Loft windows looked out to the ocean on one side and the mountains on the other. Along the back wall, there was an expanse of cedar-lined closet space with a rod for hanging clothes, pegs for miscellaneous items, shoe racks, and floor-to-ceiling drawers. Just off the loft, there was a small bathroom. The tub was sunken with a built-in shower and a window right at tub level, the wooden sill lined with plants. I could bathe among the treetops, looking out at the ocean where the clouds were piling up like bubbles. The towels were the same royal blue as the cotton shag carpeting. Even the eggs of milled soap were blue, arranged in a white china dish on the edge of the round brass sink.

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back, change into something formal. I’m taking you out to the most famous restaurant in all of Paris,’ he said proudly. She giggled. Listening to him make every effort to be the romantic tickled her to bits. Though she was a seasoned and toughened law enforcement agent, she still wasn’t beyond feeling giddy when it came to Pope’s courting efforts. For their long overdue holiday, a honeymoon-before-the-wedding kind of thing, Pope splashed out. The sky was the limit. Five months ago, when he asked her where she wanted to go, she had said Paris. So, Paris it had to be. There were no ifs or buts. And they were going to do it in style. He booked them a room at the Banke Hôtel for the entire duration of their stay. Luckily, he got it at a special rate, otherwise a Federal employee like him wouldn’t have been able to stretch the budget that far. Housed in a former bank, the Baroque revival hotel had an ornate columned façade. The interior was grand in scale and lavishly decorated. The room didn’t disappoint. Charming period detailing had been retained; in their

Someone—Tony or Warner Bros.?—had decided that the grueling schedule and the added tension in the band might be alleviated somewhat by the relative comfort of bus touring versus Old Blue. It was a nice idea. It might have even been a gambit to see if the camaraderie of sharing a luxurious living situation might heal the band’s broken bonds. So we loaded all of our gear into the parking lot behind our apartment and waited for our new accommodations to arrive. Everyone, I think even Jay, was excited about the prospect of spending at least some small part of our lives seeing what it was like to tour in style. That was until he laid eyes on the Ghost Rider. What we were picturing was sleek and non-ostentatious like the buses we had seen parked in front of theaters at sold-out shows by the likes of R.E.M. or the Replacements. Instead, what we got was one of Kiss’s old touring coaches—a seventies-era Silver Eagle decked out with an airbrushed mural in a style I can only describe as “black-light poster–esque,” depicting a pirate ship buffeted by a stormy sea with a screaming skeleton standing in the crow’s nest holding a Gibson Les Paul aloft and being struck by lightning. The look on Jay’s face was tragic. I felt bad for him. This was not a serious vehicle. I’m not sure how we talked him into climbing aboard, and once we did, I have no idea how we got him to stay, because the interior was even worse. White leather, mirrored ceilings, and a purple neon sign in the back lounge informing everyone, in cursive, that they were aboard the “Ghost Rider” lest they forget. So we embarked upon Uncle Tupelo’s last tour learning how to sleep while being shot at eighty miles per hour down the highway inside a metal box that looked like the VIP room at a strip club and made us all feel like we were living inside a cocaine straw. Ghost Rider indeed.

The womb of the world births us. My filth comes from the same earthwork that gives rise to all stories. My interior light connects me with all the other creatures that inhabit this world of rocks, air, grass, woods, and water. My genetic code links me inextricably with all of nature. I enter the medley in the river of life with the ability to respond as life unfolds before my childlike eyes. My homemade medicinal poultice might not be of any benefit to other people. Nonetheless, we should each write our stories because each of us aims to attain a greater degree of awareness of our own authenticity. We owe a moral obligation to our family, friends, and ourselves as well as to the community to make a determined effort to wring the most out of life. We must applaud all efforts to investigate the human condition. Even if my writing amounts to nothing more than a clumsy attempt to travel the same tracks other people burnished with much more insight, clarity, precision, and style, it is an act of self-definition to ascribe to any philosophy. Philosophy represents a living charter; it is a life of action.

when it comes to interior design, Zen is a true reflection of balance, peace and harmony. Even though Zen is not an official design style and does not come with a list of strict rules, it is often sought after due to its minimalism, simplicity and purity of lines. It is more of a way to arrange your home such that it creates an atmosphere that will offset the stresses and problems of your daily life.

When it comes to interior design, cushions, or pillows, often hold the key to creating the perfect ambiance and style within a space. Far from being mere soft […]

The settlement of Kikoka is a collection of straw huts; not built after any architectural style, but after a bastard form, invented by indolent settlers from the Mrima and Zanzibar for the purpose of excluding as much sunshine as possible from the eaves and interior. A sluice and some wells provide them with water, which though sweet is not particularly wholesome or appetizing, owing to the large quantities of decayed matter which is washed into it by the rains, and is then left to corrupt in it.

I-Merlin, son of Corwin-am a sorcerer, of a variety seldom encountered in the areas I have frequented in recent years. Lucas Raynard-also known as Prince Rinaldo of Kashfa-is himself a sorcerer, albeit of a style different than my own. And the Cat, who seemed somewhat sophisticated in those matters, could well have been correct in assessing our situation as the interior of a spell.

Of course, Amsterdam’s flourishing mercantile classes did not invest only in art. Trade also financed the construction of the concentric canals encircling the city. Each of these was given a name indicative of the class of resident it hoped to attract: the Gentleman’s Canal (Herengracht), the Prince’s Canal (Prinsengracht), the Emperor’s Canal (Keizersgracht). A northern Venice was born, albeit with colder weather and worse food. Along the canals, handsome townhouses were built in classical or neo-Renaissance style, complete with ornamented façades, large windows and high-ceilinged rooms for entertaining guests. The houses were taxed according to their width at the front, so a unique shape of building evolved: narrow fronted but very tall and surprisingly deep, often with a sizable garden hidden Tardis-like at the back. Many included what the Dutch called doorzonwoningen, individual rooms running the whole length of the house, so that sunlight could shine all the way through from the windows at either end. Steep staircases saved valuable space inside, with elaborate systems of ropes and pulleys enabling front doors to be opened from upstairs by tugging on a loose end. Building smaller rooms on the upper floors than on the lower ones helped enhance the sense of perspective when one looked up from the street, exaggerating the height of the buildings. Gabled rooves were topped with flagpole holders pointing out like fingers, together with cranes and pulleys for lifting in furniture that would not fit through the narrow interior staircases.

Very bad,” she muttered. Benedict looked up. “Did you say something?” She crossed her arms mutinously. “Just that you’re a very bad man.” He chuckled. She’d known he would chuckle, and it still irritated her. He pulled the curtain away from the window and looked out. “We’re nearly there,” he said. He’d said that he was taking her directly to his mother’s residence. Sophie remembered the grand house in Grosvenor Square as if she’d been there the night before. The ballroom was huge, with hundreds of sconces on the walls, each adorned by a perfect beeswax candle. The smaller rooms had been decorated in the Adam style, with exquisitely scalloped ceilings and pale, pastel walls. It had been Sophie’s dream house, quite literally. In all her dreams of Benedict and their fictional future together, she’d always seen herself in that house. It was silly, she knew, since he was a second son and thus not in line to inherit the property, but still, it was the most beautiful home she’d ever beheld, and dreams weren’t meant to be about reality, anyway. If Sophie had wanted to dream her way right into Kensington Palace, that was her prerogative. Of course, she thought with a wry smile, she wasn’t likely ever to see the interior of Kensington Palace. “What are you smiling about?” Benedict demanded. She didn’t bother to glance up as she replied, “I’m plotting your demise.” He grinned— not that she was looking at him, but it was one of those smiles she could hear in the way he breathed. She hated that she was that sensitive to his every nuance. Especially since she had a sneaking suspicion that he was the same way about her. “At least it sounds entertaining,” he said. “What does?” she asked, finally moving her eyes from the lower hem of the curtain, which she’d been staring at for what seemed like hours. “My demise,” he said, his smile crooked and amused. “If you’re going to kill me, you might as well enjoy yourself while you’re at it, because Lord knows, I won’t.” Her jaw dropped a good inch. “You’re mad,” she said. “Probably.” He shrugged rather casually before settling back in his seat and propping his feet up on the bench across from him. “I’ve all but kidnapped you, after all. I should think that would qualify as the maddest thing I’ve ever done.” “You could let me go now,” she said, even though she knew he never would. “Here in London? Where you could be attacked by footpads at any moment? That would be most irresponsible of me, don’t you think?” “It hardly compares to abducting me against my will!” “I didn’t abduct you,” he said, idly examining his fingernails. “I blackmailed you. There’s a world of difference.” Sophie was saved from having to reply by the jolt of the carriage as it ground to a halt. -Sophie & Benedict

After Venus lost its oceans to a runaway greenhouse, the interior also would have started to dry out, and this might have shut down plate tectonics. The question has forced a closer look at how and why plate tectonics works on Earth. We’ve learned there are many ways that plate tectonics is aided and lubricated by the presence of our planet’s pervasive hydrosphere. Venus could have started out with Earth-style plate tectonics and then lost its ability to recycle its surface and interior, as it lost its water to a runaway greenhouse, and the interior of the planet was slowly wrung dry.

create interiors for modern living that are informed by a classic perspective with timeless appeal. In order to design spaces that work for who

St. Sergius through the small doorway in the southwest corner and was immediately enveloped in its cool, dim interior, infused with the scent of incense and beeswax. He loved the ancient Egyptian-Byzantine basilica and visited it often in his early days in the city. Its use of Islamic motifs, the inlaid wooden stars of the iconostasis screen, presented a certain harmony. It soothed him. An intermingling of Islamic and Coptic styles stretched back centuries and was a hallmark of this part of Cairo.

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After traversing the open plain, the road led through a grove of young ebony trees, where guinea-fowls and a hartebeest were seen; it then wound, with all the characteristic eccentric curves of a goat-path, up and down a succession of land-waves crested by the dark green foliage of the mango, and the scantier and lighter-coloured leaves of the enormous calabash. The depressions were filled with jungle of more or less density, while here and there opened glades, shadowed even during noon by thin groves of towering trees. At our approach fled in terror flocks of green pigeons, jays, ibis, turtledoves, golden pheasants, quails and moorhens, with crows and hawks, while now and then a solitary pelican winged its way to the distance. Nor was this enlivening prospect without its pairs of antelope, and monkeys which hopped away like Australian kangaroos; these latter were of good size, with round bullet heads, white breasts, and long tails tufted at the end. We arrived at Kikoka by 5 P.M., having loaded and unloaded our pack animals four times, crossing one deep puddle, a mud sluice, and a river, and performed a journey of eleven miles. The settlement of Kikoka is a collection of straw huts; not built after any architectural style, but after a bastard form, invented by indolent settlers from the Mrima and Zanzibar for the purpose of excluding as much sunshine as possible from the eaves and interior. A sluice and some wells provide them with water, which though sweet is not particularly wholesome or appetizing, owing to the large quantities of decayed matter which is washed into it by the rains, and is then left to corrupt in it. A

Wide angles are favored by slow cinema. A tableau, whether exterior or interior, offers multiple points of interest. One can see the action, the surroundings, the people talking, the people listening, the weather, and so on. The frame doesn’t direct the viewer’s gaze; it frees it to wander.

I read somewhere that “the hall is the gateway between the home and the outer world,” and if that is so, it’s vital that it should not be a bottleneck.

I do not have one perspectival view, then another, along with a link established by the understanding; rather, each perception passes into the other and, if one can still speak here of a synthesis, then it will be a 'transition synthesis'...My point of view is for me much less a limitation on my experience than a way of inserting myself into the world into its entirety...Within the interior and exterior horizon of the thing or the landscape there is a co-presence or a coexistence of profiles that are tied together through space and time. The natural world is the horizon of all horizons, and the style of all styles, which ensures my experiences have a given, not a willed, unity beneath all of the ruptures of my personal and historical life; the counterpart of the natural world is the given, general, and pre-personal existence in me of my sensory functions, which is where we discovered the definition of the body.

In October, Louise showed several new paintings at the Panoras Gallery on Fifty-Sixth Street. During this period, she painted nudes, interiors, several versions of MacDuff, many portraits, at least two paintings set in public buses, and other New York street-life subjects. Her stylized figures were often inspired by random encounters and eavesdropping. Observing underdogs and outsiders in action, she was drawn to faces and to cityscapes and to a style that incorporated storytelling and allegory. Louise’s new work was influenced by the scene painting of the Works Progress Administration and Mexican muralists; by Käthe Kollwitz and German expressionists like Max Beckmann, Oskar Kokoschka, and Egon Schiele; by Alice Neel, Francis Bacon, and other portraitists—and, to an increasing extent, by medieval tapestries and frescoes by Bolognese Renaissance artists such as Pellegrino Tibaldi. Louise kept working to reveal the lives behind the faces she portrayed—their backstory—and began to introduce some southern imagery from her own memories. She was fascinated by the story beneath the surface and whatever metaphysical qualities she could draw from the depths of her subject.

... This style of interior design that developed during the 1940s and 1950s has been understood as a specifically Swedish form of modernism, later called ‘Swedish Modern’, and clearly associated with the broader concept of ‘Scandinavian Design

do not waste time taking photographs of interiors they are underexposed and not in the least artistic.

We are here to bring the interior designer inside all of us to life. To turn a house into a home full of style. To turn your space into a place that is always inviting and warm, like an embrace from your loved ones. We are here to help you create a space you always want to come back to. We search out the world’s most gifted artisans, find and develop fashion-forward trends, and handcraft exclusive products; always with you at the forefront of our mind.

When it comes to interior design, all too often we use it as a way of expressing our identity, to show our style, status, power, or wealth. These are all extrinsic, or external, considerations. What if we were to turn this around and instead take an intrinsic approach, drawing on what matters most to us, making every design choice an opportunity to improve our physical and mental well-being? What would it look, feel, smell, or sound like? Could your home make you feel better?

Your tastes are so much bigger than a single trend—no one can find their entire self in a style of interior design. People are way too complicated for that.

I’m so often ill, I’ve learned to appreciate reading novels in a feverish haze. It’s with a fever I fell in love with W.G. Sebald, Marguerite Duras, Annie Ernaux, and Hervé Guibert—their prose somehow lends itself to the restless heat of illness. As far as personal or essay writing goes, I prefer a colder persona, revealed through form and style over interiority or intimacy.

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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.

the person who lacks a practical understanding of the stages of prayer and the mystical life places themselves at a distinct disadvantage, especially when hardships come. For instance, the person who doesn't understand that progress in prayer often means long dry spells devoid of all consolation can easily turn away from the true path and become a kind of religious "thrill seeker", gladly pursuing all those trendy New Age styles of mind-blanking prayer and a preoccupation with the self rather than the Divine.

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These are things that serve the purpose of an interior space. Designing and designing tables, chairs, cabinets ... Not only serve the use but also an important factor to create architectural style.

100. Nether fences don’t connect to regular fences. Use them to make a neat-looking fence. 102.

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A simple way of doing this is to draw on the floor plan the movements you and the rest of the family make over the course of a day.

The grid derives from the golden ratio and the simpler rule of thirds: it divides your photograph into three segments both horizontally and vertically. The idea of the grid is that you should position your main motif (for example, the person you are photographing) on one of the points where the lines intersect rather than in the middle of the grid, which will improve the composition of the photograph.

Buy a really large and striking pot, or put a much larger plant on the floor so that it stands out from all the other potted plants. Or hang an unexpected little picture.

furniture should never be positioned so that anyone has to sit with their back to the door or that the head of the bed should never be at the door end of the bedroom.

storage expert Lu Wei calls the “2:8 principle,” the idea being that the “visual noise” of a home can be minimized by allowing only 20 percent of your things to be visible and putting away 80 percent. That

In terms of lighting, a good start is to plan on every room having at least five to seven lighting points, though some people recommend between seven and nine.

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.

Over the kitchen table, interior architects usually agree on a vertical height of 20 to 24 inches (50 to 60 cm) above the tabletop, though the particular light fixture and the height of family members also play a part.

The principle is the same when planning a kitchen island or breakfast bar with seating, even though the work surface in this case will be farther from the floor than a standard tabletop. Having more than one pendant light is a good idea if the size

the lampshade prevents the beam of light from covering the whole surface. And if you do hang a number of lamps in a line, the usual rule of thumb is to leave one and a half times the width of the lampshade between each of them.

If you do decide on a pendant lamp in the hall, make sure it isn’t open at the bottom end, as that can lead to glare. Choose a model that filters the downward light.

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

How high should you hang your pictures? American interior designers often say that “57 inches to the center” is the rule of thumb for hanging pictures.

If you are afraid of food being trodden in under the kitchen table, you obviously shouldn’t tempt fate by putting a long-pile rug there—better to choose a naturally resistant, flat-weave woolen rug.

The more we allow ourselves to lean into our light and creativity, the easier it is to lean into our calling.

We don’t pretend the South has reconciled itself—this is a land that has been built by and taken from enslaved people. We are committed to having the uncomfortable discussions, telling the truth, and letting our curiosity fuel questions, in the name of moving civil liberties, gender equality, and race relations forward. I am merely a photographer and storyteller, but my goal is to shine light on the idea that art and creativity reveal that we are far more alike than different.

My stillness spoke to me and I realized that in order to progress, I had to surrender to my discomfort and move toward my fears. When you embrace the shadows within yourself, you strengthen your own light.

Living in the light inspires others to do the same.

Courage is the ability to connect with another human and share our truth.

You are more likely to create harmony if you go for a few large objects rather than many small knickknacks.

To decide on the length of rod you need and how high to attach it, you need to measure the width of your window from one outer edge of the frame to the other and then add at least 4 inches (10 cm) to each side.

North-Facing Windows: Cool and Shady Choose… green, nonflowering plants and plants with large, soft leaves. Plants whose natural habitat is on the ground are suitable here, as they need less in the way of light and are more likely to survive in a north-facing window.

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.

The bitterness of poor quality remains long after the sweetness of low price is forgotten.” —Benjamin

Standing a table lamp on the TV console adds some coziness to the room, and setting a midlevel lamp close to the TV also helps to dull the sharp contrast between a very bright TV and a dark room.

A rough comparison might be the distribution of colors when someone is wearing a suit: 60 percent comprises the jacket, pants, and vest. 30 percent is the shirt. 10 percent is the tie and pocket handkerchief.

Since halls are often quite constricted and include several doors, I usually recommend long, narrow, smooth rugs that don’t add much height and don’t collect dirt and grit.

I haven’t yet come across a bathroom that isn’t improved by a bigger mirror over the sink.

Put up open shelving on the unit behind the toilet. Use the back of the door for hooks on which to hang bath towels and robes, or put up a hook rack instead of hooks, using the holes already drilled in the tiles.

The work surface between the sink and the oven should be between 32 and 47 inches (80 and 120 cm) wide.

A sofa should not take up more than two-thirds of the wall it sits against. Anything more than that and the room will feel overfurnished.

A coffee table should not be more than two-thirds the length of the sofa.

Assuming the sofa is of standard height, a good height for the coffee table is 16 inches (40 cm). There should be about 12 to 16 inches (30 to 40 cm) between the edge of the sofa and the table, so that sitting down is not a problem, but the table has to be close enough to allow a newspaper or coffee cup to be put down without the need to stand up or stretch too far.

20 to 24 inches (50 to 60 cm) is a reasonable space to leave for a passageway.

Do you prefer light wood or dark wood? Do you like warm or cold metals (chrome, silver, pewter, brass, or copper)? Do you enjoy natural materials or powder-coated finishes?

In a purely technical sense, Sens Cathedral is probably the first Gothic church. When Abelard and Bernard met there in the spring of 1140, they probably did not notice that an architectural revolution was taking place over their heads. Its builders pioneered many of the characteristic elements of the Gothic style, from ribbed interior vaults and a three-part elevation, to the famous pointed Gothic arch for its windows.

Other Furniture® is a lifestyle design company specializing in custom made furniture and interior manufacturing based in Singapore and Italy. Founded in 2016 by Czech architect and designer Lukas Drasnar, the initial concept of the brand was to bring design innovation into traditional wood handcrafted furniture. Since then, Other Furniture® developed its own sophisticated style, enhancing furniture designs with unique concepts; premium materials; handmade craftsmanship; and quality/price balance.

Artifex produces furniture of only the highest standard. Our products are borne of master craftsmanship & exceptional design. We offer the highest quality of workmanship, use of the best materials and detail second to none. In our pieces, rare timber species, exotic veneers and dramatic fabrics combine with clever concepts and impeccable style to form a distinctive range of beautiful furniture. Furniture built to last.

Kate had been inside enough grand London homes not to publicly gape at the obvious wealth and beauty of the furnishings, but even she was impressed by the interiors, decorated with elegance and restraint in the Adam style. Even the ceilings were works of art—done up in pale shades of sage and blue, the colors separated by white plasterwork so intricate it almost appeared to be a more solid form of lace.

At MGM, Arthur Freed and Vincente Minnelli made their last musical together, Bells Are Ringing (1960), reunited with Comden and Green. Dean Martin joined the Broadway package, replacing Sydney Chaplin, Charlie’s eldest son.13 Adding Martin’s star persona to the Judy Holliday vehicle produced another close match of movie star to musical role. As Jeff Moss, a Broadway playwright who’s been hitting the bottle harder than the typewriter, Martin fit the public perception of his romance with the grape. Even those who don’t care for the liquid Martin style find him charming in this musical.14 The vivacious answering-service operator Holliday nurses him back to sobriety and success, and the laid back, breezy Martin hoofs with Holliday in casual soft-shoe duets like “Just in Time.” In “Drop that Name,” Minnelli’s eye adds stylish brilliance to a satire of New York’s pretentious social elite, a Black-and-White Ball of burlesques and grotesques in answer to An American in Paris. Though Bells Are Ringing is neither vintage Freed nor vintage Minnelli—cramped by a middle-class present, a CinemaScope frame imprisoned in stageset interiors, and self-conscious disguises for Holliday’s shape—it is pleasant enough Holliday and Martin.

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.

showroom interior design style is one of the fields that Ly Moc Kien Xinh - Design has been developing in recent years. HotLine: 0906211404.

I flew home with Iran Air, which gave me six and a half hours to truly appreciate the impact of the international sanctions first hand. The scratchy seat fabric, cigarette-burned plastic washbasins and whiff of engine oil throughout the cabin reminded me of late seventies coach travel, which was probably the last time these planes had had a facelift. I tried to convince myself that Iran Air had prioritised the maintenance of engines and safety features over the interior decor but I wasn’t convinced, especially when the seatbelt refused to budge. The in-flight entertainment had certainly been spared an upgrade, consisting of one small television at the front of the plane showing repeat screenings of a gentle propaganda film featuring chador-clad women gazing at waterfalls and flowers with an appropriately tinkly soundtrack. The stewardesses’ outfits were suitably dreary too. Reflecting Iran Air’s status as the national carrier of the Islamic Republic, they were of course modest to the point of unflattering, with not a single glimpse of neck or hair visible beneath the military style cap and hijab. As we took off, I examined my fellow passengers. Nobody was praying and as soon as we were airborne, every female passenger removed her headscarf without ceremony.

Below, Mockienxinh offers models of interior showrooms that are stylish, impressive, attract guests, arrange reception areas, sale services, and a harmonious selection of styles.

Contrary to Le Corbusier’s adage of modern architecture, a traditional Japanese house is not simply a “machine to live in,” but a home for the soul.

The various styles are at the rendezvous if you choose to brighten your home per your astrological sign. Will you dare? Capricorn (December 22 – January 19) Being a practical person, Capricorn considers interior decoration to be a significant matter. The normal style is the most suitable option. Military green, white, navy blue, and grey are the normal tones that cross the ages, and that they blend easily with the rich grain of the woodwork.

Being a practical person, Capricorn considers interior decoration to be a significant matter. The normal style is the most suitable option. Military green, white, navy blue, and grey are the normal tones that cross the ages, and that they blend easily with the rich grain of the woodwork.

Transform your space effortlessly with our stunning peel-and-stick wallpapers—where style meets simplicity.

Divan Bed Frame "A divan bed set offers a practical and elegant bedding solution, combining a divan base and a matching mattress for a cohesive and functional design. Known for their space-saving benefits, divan bed sets often include built-in storage features such as drawers or ottoman-style lift-up compartments, making them a smart choice for homes with limited space. The divan base is upholstered in premium fabrics, available in a variety of colors and textures to suit any bedroom aesthetic. Its sturdy construction ensures reliable support and durability, forming the ideal foundation for the mattress. The included mattress is designed to cater to a range of comfort preferences. Options include pocket-sprung mattresses for precise support and memory foam for pressure relief and body contouring. Many sets also feature an optional headboard, adding an extra touch of style and comfort. Available in multiple sizes—single, double, king, and super king—divan bed sets accommodate diverse needs and room dimensions. Whether for modern or classic interiors, they combine functionality, comfort, and style in one compact package

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When revamping your home, incorporating practical tips in interior design can make all the difference. Start by selecting a harmonious color palette that reflects your style and enhances the ambiance of your space.

Laser Cutting: Precision and Innovation with Creative Roots A novel process that blends accuracy, effectiveness, and adaptability, laser cutting has surfaced in the constantly changing fields of design and manufacturing. In the UAE, this cutting-edge method is revolutionizing sectors like advertising, interior design, automotive, and architecture. Our specialty at Creative Roots is offering excellent laser cutting services that let companies realize their concepts with unparalleled precision and originality. What Is Laser Cutting and Why Is It Revolutionary? With laser cutting, materials can be sliced, engraved, or etched with remarkable precision using a focused light beam. The procedure is quite adaptable and can work with a variety of materials, including cloth, metal, wood, acrylic, and glass. It is a popular option for both industrial and artistic applications due to its capacity to produce complex patterns and faultless finishes. Laser cutting, in contrast to conventional cutting techniques, provides unmatched speed and accuracy, enabling the production of intricate designs without sacrificing quality. For companies looking to attain excellence in their projects, this efficiency is a vital tool because it results in shorter production times and lower costs. Creative Roots: Redefining Laser Cutting Services in the UAE We at Creative Roots take great satisfaction in being industry pioneers in laser cutting. Our highly qualified staff and cutting-edge machinery guarantee that every job is completed to the highest standard. Whether it's industrial components, ornamental panels, or custom signage, we customize our services to each client's specific requirements. Our areas of competence are: Tailored Solutions: We provide designs that precisely match your concept, whether they are complex patterns or large-scale projects. Superior Finishes: We guarantee crisp edges, precise cuts, and faultless details by using cutting-edge laser cutting technology. Sustainability: We minimize waste and maximize material utilization in our ecologically sensitive procedures. Applications of Laser Cutting with Creative Roots Architectural and Interior Design: Custom architectural elements and interior design are best created with laser cutting. Our services, which range from ornamental wall panels to precisely created room dividers, bring style and creativity to any area. Signage and Branding: Use custom-cut signage to increase brand awareness. Stylish, superior logos and signage that make an impression are produced by us laser cutting services. Gifts and Promotional things: Use our accurate laser cutting capabilities to create one-of-a-kind, customized gifts and promotional things. We make your brand stand out with custom-cut hardwood pieces or personalized glasses. Industrial Applications: Laser cutting provides dependable solutions for industries needing precision components. Whether it's machine parts or automobile parts, we always deliver precision and longevity. Why Choose Creative Roots for Laser Cutting? For laser cutting services, Creative Roots has made a reputation for itself in the United Arab Emirates. What makes us unique is this: Knowledge and Creativity: To produce outstanding outcomes, our team of experts blends technical know-how with imaginative vision. Customer-Centric Approach: To comprehend our clients' demands and surpass their expectations, we collaborate closely with them. With our cutting-edge laser cutting services, we at Creative Roots are dedicated to assisting companies in reaching their functional and artistic objectives. We make sure that every element, from conception to implementation, captures the spirit of your company.

Upgrade your living space with our luxurious 3 piece sofa set, crafted for ultimate comfort and style. Made with high-quality materials, it adds sophistication to any home. Perfect for family gatherings and relaxation, this set is a must-have for modern interiors. Shop now at LeDivano Italia!

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