Luxury and Modern Sofa

It turns out that to find yourself in heaven is sufficient to doberesh to the new coach of Gaetano Peshe for Meritalia – Nubola. If previous attempts to imitate the vision and the air “texture” of clouds rely on unconventional materials such as paper imitating Paper Cloud of Tokudzhin Yoshioka, now the focus is on straight heavenly comfort. “The idea of Nubola is to embody the softness of the cloud and to capture fluid movement of air” comment from Meritalia.

Modern and stylish sofa design

The concept is not as unusual as the piece that makes Nubola recognizable. The back and side backs are covered with large colored buttons for which the model looks “air.” Upholstery may be of textiles and leather, as a large selection of colors. The dimensions are 238/120 cm 277/120

Luxury Sofa Interior Design

Sofa Quilt e actual addition to the portfolio of the British company Established & Sons. Designed by Ronan and Ervan Burulek. “We searched the effect of charismatic Chesterfield – unique sofa, but inconvenient. Therefore, our goal was to achieve the comfort of modern furniture, “said Ronan. Quilt like a fallen football. Each piece resembles a pocket filled with polyurethane foam. The structure of the couch is fiberglass with a metal base. Fabric is high-tech textiles. The model is available in three colors – black, red and gray.

Black and white sofa radiation black

Modern Sofa Design

Luxury Interior Decorating – Artificial Lighting

ARTIFICIAL lighting is an exceedingly important subject, and yet, in many households, it seems to be ignored in inverse ratio to its importance, of course with deplorable consequences.

Luxury lighting fixture Italian

The whole subject falls naturally into two divisions: (1) fixed lighting, whose arrangement constistutes a part of the fixed decorations and is architectural rather than otherwise in its affinities; and (2) portable lighting, which belongs wholly in the realm of furnishing. The former, as its nature implies, is largely determined by the architectural character of the background, first as regards pattern, material and scale of the equipment, and second, as, regards the placement of lighting appliances. The latter admits of almost unlimited latitude in placement, in the selection of divers types of appliance and in the choice of illuminating medium.

Whether the lights be fixed or portable, certain general principles obtain, almost without exception, and these principles must be carefully observed. To begin with, under ordinary circumstances a blazing glare is painful to the eyes as well as ugly and disastrous to the aspect of any room, even though it be well furnished. A number of dim or subdued lights, therefore, are infinitely preferable to one or two powerful, glaring lights. The diffused glow from the more numerous and mellower lights is vastly more comfort-able to the eye and more kindly to the furnishings. In the next place, it is both unreasonable and uncomfortable either to have one or two blazing illuminations in proximity to the ceiling or to have a number of less vigorous luminaries lighting the upper part of the room and leaving the lower in gloom. Likewise, the various methods of indirect lighting, although purposely devised to eliminate glare and secure diffusion, which they often do admirably, nevertheless throw most of the light on the ceiling. This does very well for public places, but is usually objectionable and ugly in a house. It is not necessary, nor in many cases would it be desirable, to have the artificial light fall from precisely the same quarter as the light by day, but it is highly desirable and eminently logical to have the light at night coming from approximately the same level as the day-light and to illuminate, not the ceiling, but the region of the room humanly inhabited.

With the foregoing dicta the illuminating experts and factors of sundry approved modern and ultra-scientific lighting systems, aye, and various doctors to boot, will probably take serious issue and promptly adduce fifty-seven different reasons to prove that they are right and we are wrong. To their accusations we cheerfully answer that their “systems,” their inverted appliances and their fiercely illuminated ceilings blazing above a substratum of milder effulgence may be all very well for offices, shops, auditoria and railway stations—doubtless they are—but we humbly submit that our homes are none of these nor can we, for the life of us, see why we should seek to introduce the atmosphere of those places into our domestic circle.

In the third place, the quality and intensity of the artificial light must also be taken into account. It should not be harsh nor sharp in effect nor of such intensity as to distort the relative values of illumination and shadow. Above all, the colour of the rays must not be of a character to falsify or kill the colours in the furnishing. Mellowness is the chiefest desideratum in domestic lighting, save in such exceptional cases as ball-rooms or salons upon occasion of large and somewhat formal gatherings, when brilliancy is not only quite permissible but often distinctly desirable.

The illuminants to be considered upon grounds of decorative desirability or expedience are candles, oil, gas and electricity. Of these, the first most completely fill all the ideals of quality just mentioned. There is no light so restful and agreeable in quality to the eye as candle light and no light is kindlier to the appearance of a room. The radiance is mild and diffused, shadows are not cut sharp and exaggerated, and the colours in furniture and decorations are not outraged. Incidentally, it may not be amiss to note that ladies are well aware that they appear to greater advantage in the glow of candles than by any other light.

Candles as a means of lighting are perfectly practicable. The only possible objections that can be urged against them with any show of validity are cost and bother. Neither obstacle is very serious; the former can be ingeniously circumvented, if necessary; the small amount of the latter is not worth considering if one values the agreeable effect of their rooms. Wax candles, of course, are desirable, but stearic acid candles and other substitutes for wax are thoroughly satisfactory for general use.

It is well to have a good broad glass bobeche for each candle socket. Any drippings can then be easily removed without dirt or trouble. As a rule, the use of shades on candles is finically effeminate, foolish, fussy, reprehensible and anomalous. A candle is, in itself, an object of grace and beauty, but its chaste and dignified simplicity of line is marred and hidden when its shaft is surmounted with a top-heavy, frilly contrivance resembling an abbreviated ballet skirt. Upon the making of such shades entirely too much valuable energy is wasted. The flame of the candle, too, is an essential part of its beauty and ought not to be concealed. Its gleams are, not distressing to the eye if the candle is of proper height and properly placed. For the dinner table use tall candles, tall enough to keep the flame above the level of the eye. For the library, living-room or drawing-room, sconces will be at a sufficient height and portable candles may be so disposed on mantels, the tops of bookshelves, tables or cabinets that the flames are comfortably above eye level. Using no shades and keeping the flame a little above eye level is one of the secrets of successful candle use.

It is well both to group candles at certain points and also to use them singly or in pairs symmetrically placed. The objections to candle lighting usually come either from those that have never really been used to them and do not know how they should be used or else from those whose ridiculous and savage obsession for a multiplicity of blazing lights prompts them to jeer at candles as antiquated or obsolete. To the latter charge one may reply that good taste, like good manners, is not a thing of the moment or of caprice. Like good manners, it has a permanent, enduring quality, unaffected at bottom by minor ephemeral variations of fashion. And good taste recognises no temporal disability. If a thing is good, as the sound decorative principles on which candle lighting is based shew it to be, it is perennially in order.

Next in place comes oil. The light is agreeable to the eye and satisfactory in its action upon decorations and furnishings. The degree of light and its regulation depend entirely upon the kinds of lamps used and the shades employed. It is a sufficient and convenient illuminant and practicable if the lamps are intelligently tended. For purely practical reasons small lamps are generally undesirable and better results are gained by using medium-sized or large lamps.

Gas, unless shaded and tempered in varying degrees, is trying to the eye, the shafts of light are sharp and harsh in effect and colours suffer under the rays. When burned through chemically prepared filaments or other intensifying devices, the greenish or intense white quality of the light is especially disagreeable to the eye, disastrous to colour and produces a ghastly effect. Heat and a certain amount of smoke are also objectionable features. If gas is used, discreet shading is absolutely necessary. Its cardinal recommendations are convenience and cheapness. Diminutive, dim flames rising from porcelain sham-candle burners are absolutely indefensible on the score of either utility or decorative fitness.

Electricity is convenient and clean and its brilliance commends it to them that like floods of artificial light. When used for domestic lighting it must be judiciously shaded; otherwise, it is even harder on the eyes than gas and casts sharp, exaggerated shadows. The use of either gas mechanically or chemically intensified, or of electricity with high voltage unshaded bulbs may be appropriate and convenient in public places and commercial establishments ; in domestic interiors they have no proper place. Considered from the point of view of either convenience or decorative propriety, it is indefensible to mount electric bulbs atop of imitation candles. They are so patently shams that they are foolish and they have just about as much place in decoration as the vermiform appendix or wisdom teeth have in the human anatomy. Their presence is utterly inexcusable in view of the many really admirable and satisfying fixtures that competent designers have devised. Electric bulbs, whether globular or pear-shaped, are not objects of beauty and should be screened from view by shades or by devices for diffusing the light and when they are perched on sham candles the shade should be large enough and of such shape as to hide the offensive deception.

The. architectural or fixed lighting appliances may be divided into those (1) that depend from the ceiling and those (2) that are affixed to the walls. (The pimples and carbuncles of glass sometimes set in the ceiling we shall not discuss. They are barbarous and would be appropriate only in german interiors.) The first or dependent group includes chandeliers, hanging lamps, hanging lanthorns and drops. The second, or affixed group, includes sconces, wall lanthorns, girandoles, wall lamps and sundry sorts of brackets. Impressive and large chandeliers are appropriate in large or stately and formal rooms or in lofty halls, hanging, perhaps, in the open space of the stair well (Plate 100). In small or informal rooms they have no place at all. The smaller chandeliers with only a few lights, known as “hanging branches” until the early part of the eighteenth century, allow a greater latitude of use. As designers of gas and electric appliances for chandeliers have generally conformed to candle traditions, the principles applying to the use of one sort apply to the others also. When chandeliers are used there should also be sufficient side lights at a lower level. Otherwise, unless it be for a ball-room or some similar apartment, the centre of illumination is too high to be agreeable. It is only in exceptional eases that a chandelier can be used successfully as the sole source of illumination, even when candles are burned.

Hanging lamps for halls, entries, stair wells and rooms, especially large rooms, permit more freedom of use than chandeliers. The same may be said of lanthorns (Plate 100). It is scarcely necessary to call attention to the many admirable designs to be found in both cases. Drops, usually and preferably for electric lights properly shaded, are to be recommended for use above dressing stands.

Hybrid solar lighting

Sconces, girandoles, wall lanthorns, wall lamps, brackets and all other affixed lighting appliances, every one of which may and ought to have a very real decorative as well as utilitarian function, should be placed ,(1) where they will be useful; (2) not too high so that the major part of the light goes to the ceiling; (3) and, if possible, in a balanced or symmetrical manner. Whether candles, oil, gas, or electricity be the illuminant, equally good designs may be used, wholly consistent with the character of the architectural background and the general decorative milieu. If electricity be used, it is suggested that the bulbs be enclosed in some of the wall lanthorn or lamp forms with ground glass to diffuse the light or with a rice-paper shield, such as they often use in japan. In this way the unprepossessing bulb is completely screened. For many admirable historic designs of affixed light appliances the reader is referred to the numerous illustrations in the fore part of the book, while adaptations and purely modern designs of merit are to be found here and there through all parts. Finally, let the number of the affixed lights as well as their placing be sufficient to ensure an agreeably diffused illumination.

Portable lighting appliances include candlesticks, candelabra, torcheres, and standing lanthorns as well as all the numerous family of lamps.

CANDLESTICKS AND CANDLES

In addition to their obvious usefulness candlesticks are a strong decorative asset. The soft glint of metal or the beauty of colour in pottery or decorated surface which they supply would be severely missed in many decorative schemes.

Kris Kross screen, made in a similar manner to the lamps, with woven bamboo.

Kenneth Cobonpue bamboo lighting

Kenneth Cobonpue Molly hanging lamp

As with lamp standards we may say that those of period form are best because they are the best designed (Plate 102). Those of wood, carved and gilded, are excellent, and the simple turned ones either in mahogany or painted and decorated are attractive and reasonable in price. Many beautiful candlesticks have also been made during various periods in pottery, glass and other materials, and among these should not be overlooked the unusual things of Oriental origin.

Even if but occasionally used candlesticks should not be without their candles—otherwise they are as marred as a watch without its hands. A beautiful thing primarily made for use is partially deprived of its beauty when its function is obviously removed. Be-sides, the cylinder of wax is of itself a beautiful thing.

Boyd lighting kentfield crystal modular lighting

Boyd lighting kentfield crystal lighting cascade luminaire

Decorative candles are sometimes useful and among the best are the Japanese ones, larger at the top than at the base, with excellent conventional flower design in red and dark blue. The square white candles with black lines, fit well with some decorative schemes, and those of bayberry are particularly good with odd Japanese or other candlesticks with green as part of their colouring.

Candles are also to be had specially decorated in accordance with period designs, but handsomely decorated candles are so obviously intended not to be burnt that their use is decidedly questionable.

Brightly hued candles, such as canary yellow, are not open to this objection and their use often gives a happy colour note. They are of particular value in “Modern” decoration and they also relieve a candle-stick or torchere of iron or other dull effect.

The present writers have before now shown their impatience of the exaltation of personal preferences into decorative dicta and so far are they from willing to err in this direction that they frankly and perhaps amusingly record a considerable difference of opinion among themselves. One of the authors has an unalterable distaste to “things hanging down from the ceiling.” He is doubtless generally right so far as mod-ern decoration is concerned, but another feels that as such “things” have depended in all ages they are permissible in some cases.

The ideal lighting for the dining-room is, of course, side-lights, with lighted candles upon the table, and if further strength of light is required the present writers advise the helping out of these with a pair of torcheres set conveniently near upon the floor. This was advanced as an original suggestion, but, alas for modern originality! since it was written we find in selecting illustrations that precisely this arrangement was used in the fifteenth century Davanzati palace.

Waazwiz lighting furniture sofa mar

There are, however, tasteful but practical people who in the hurry of a dark winter’s breakfast, for instance, will “bother” with neither torchere nor candles and for these the writers see no objection to an unobtrusive lighting arrangement above the table. A “dome,” of course, is abhorrent, but there are other devices, such as an electric drop, the bulbs and other “machinery” being concealed at the sides by an appropriate shade and beneath by shirred gathered taffeta centred at a button or tassel.

LAMPS

Said the innocent small-householder : “I have just spent $60.00 for a new chandelier.” And when we groaned : “Why a chandelier?” his injured surprise was as great as if he had been asked, “Why a breakfast?”

Yet why a chandelier in a small house or apartment? They have their appropriate places—as we have seen—but it is not here. Yet nothing seems so dear to the heart of “the people.” Happily it has largely passed out of use with those of taste, except in its proper sphere, but the present affliction is scarcely less intense —the inverted dome reigns supreme! Why should the strongest light be thrown upon the ceiling? The portion of the room to be illuminated is naturally that which we ourselves occupy : the farther corners and the upper and lower areas may well go off to halftone and shadow, thus giving relief and charm.

In general and for the modern well-furnished’ home, it may be said that the only sources of illumination worth considering are side lights, lamps and candles. The first and the last may find only occasional employment, but the use of the lamp is constant.

Except for the slender standard, lamp which has no receptacle for oil, the same styles are adapted for electricity, oil or gas. The electric system is the most convenient and the only objection to it is the necessary wire : this we shall have to dispose of as best we can. Perhaps some day we shall have “wireless” lamps. Here Mr. Marconi might help us out.

THE PURCHASE of THE LAMP

Henry James, in his novel, “The Ambassadors” gives us the phrase, “a deep suspicion of the vulgar.” This suspicion should constantly dwell with the decorator or homemaker in all his work but never more so than in the selection of – lamps. The commercial-fixture man has laid many traps for the unwary in the way of brass and fancy metals with opalescent shades in disagreeable variations of green and yellow: there are pottery lamps—as there are jardinieres—in which the tones or blending of tones have that quality of vulgarity so to be discriminated against; and even not all the Chinese and Japanese lamps of modern make are good.

Apart from its environment no decorative object should for a moment be considered, for, no matter how intrinsically beautiful it may be, if it does not fit both usefully and decoratively into the existing scheme of things, its advent will bring not beauty but discord and discontent.

There are, it will be seen, a few matters to consider before a lamp is purchased :—For what room is it to be used? Should the lamp be handsome or simple? Is a strong light needed over a large area or is a softened illumination desired? Upon what sized table is it to stand? What should be the lamp’s height? Should it be slender or of more rounded form? Of what character are the furnishings with which it is to go? What is to be its background or particular situation, and of what colour or combination of colours should or might it be? Should its tone be light or dark? Do you need something striking or restrained, colourful or quiet?

The lighted lamp is likely to be the greatest centre of interest in any room, and attracts attention even when unillumined. For this reason the expenditure of perhaps fifty dollars or more for a handsome and unusual lamp would often prove a better decorative in-vestment than the spending of the same amount on a piece of furniture. A lamp for reading or sewing should be of convenient height to give proper illumination, while the light itself should be strong and unimpeded by fringe. A fringe of beads, particularly, casts a swaying and annoying shadow. For such purposes the light should also retain its whiteness, so that, if shades of a pronounced colouring are chosen, they should be lined with white. If the light is to be diffused over a wide area, it is well that the shade should be light in tone and of sufficient transparency

Lighting in room

Where a room is throughout of a definite period-character the lamp—as other lighting fixtures—should of course follow the period. Where, as in many in-stances, it contains more or less period furniture but is pleasantly and not erratically eclectic, the choice is wide. If the room is of non-committal character, the lamp may be anything that is generally attractive and harmonious. If the room be furnished in the “newer” modern mode, the form of the lamp should be simple and the colour definite.

In a large room, even where side-lighting fixtures are supplied, a pair of matching or similar lamps will often be needed. They may be placed near the two ends of a long table as illustrated in the group of lamps in their environment, or on two smaller ones. More interesting sometimes than this uniformity is a large lamp supplemented by one or two smaller ones of differing character placed elsewhere about the room. These supplementary lamps need not always or generally be lighted, but should be placed in advantageous situations, so that if it is required to illuminate that particular portion or any interesting feature it may easily be done.

LAMPS OF MANY VARIETIES

The description and picturing of museum pieces would be of little value to the average householder. Far better will be some treatment of such lamps as are not absolutely prohibitive in price, together with simple but, in their way, artistic products. At first the variety seems bewildering, but a little consideration will consign most of them to certain classes.

Bowl or Vase and Pedestal or Standard Lamps comprise most of them, though there are attractive things which do not come under these heads and which must be treated separately. These two may be equally handsome or equally simple, and consequently a choice is apt to resolve itself into the selection of the particular example which best pleases us. It may be noted, however, that, speaking generally, the bowl shape has the more homelike appearance, while the pedestal possesses the more formal quality. If space on the table is any consideration, the pedestal lamp is naturally the one chosen ; or else a tall and slender bowl.

BOWL SHAPES

These are made of almost every conceivable material, but among the best are those of porcelain and pottery with silken or parchment shades. These bases may be found in many beautiful shapes, colourings and textures, and in plain tones, mottled, blended or decorated. The shades, likewise, are of many shapes and colourings, and plain, brocaded, embroidered, or with figures, birds, plants, etc. Not only do these lamps of plain or blended colouring come from Europe and the Orient, but it is pleasing to be able to say that many kinds, and some of them among the very best, are made right here in our own land.

Two good styles of handsome lamps without decoration may be especially mentioned: vase shaped bowl of pottery mottled in the baking, soft rose or tan, with dark metal base, with shades in richer tones of the same and handsome silk fringe of the same or of gold : black porcelain, vase-shaped, with teak-wood base, the porcelain having a strongly reflective surface; dome-shaped shade of Burgundy silk with fringe of the same and four heavy silk cornering tassels depending but slightly below the fringe. When illuminated, the effect of the shade reflected in the upper surface of the bowl is of extreme richness.

Luxury Lighting Designs

If the reader has not long ago reached the conclusion that the most beautiful vase, lamps extant are the Chinese, he will probably do so when he studies the examples shown in the accompanying plates.

Of Chinese pottery one almost fears to let himself go in eulogy, but nothing approaching it has ever been accomplished in other Keramic art except in that of their neighbours of Japan. In form the Greeks have always been acknowledged supreme, yet it is doubtful if even they exceeded the grace of some of the Chinese contours, while in the realm of colour, either lavish or restrained, the Oriental stands alone.

For the person of average means there are reproductions. Remarkably good ones were made by the Chinese themselves, and in some of the famous European factories in early days, but these are probably now also practically unprocurable. Modern European reproductions are usually poor and so are some of the modern Oriental ones, but many of the latter are of great beauty—certainly of greater beauty for lamps than any other porcelain at our command.

Luxury Lighting Designs ideas

Though some writers have dwelt upon the difference in spirit between Oriental and European art, Orientalism runs through the whole cycle of Western decoration. It was even rampant among the Italians, many Renaissance motifs being of Asiatic influence, to say nothing of the wave of ” Chinese taste’ ‘which swept eighteenth century England, France and Italy. We, need, therefore, have no more hesitation in introducing Chinese lamps than Oriental rugs into any rooms where the general scale of richness and colour makes them appropriate. Those of simple design and colouring may with equal discretion be used in simple rooms and some of the tones of yellow, grey-blue and green are so exquisite that it seems as if no decoration could enhance their loveliness. A lamp of this simple contour and with a handsome but not unduly elaborate shade is shown at the left of the group of three Chinese lamps illustrated.

Amanda pendant lamp

One may sometimes see in an Oriental store a vase which particularly takes his fancy and which can be bought for from $8 to $20. Base and fittings can be added by an electric-light fitter and a shade of any desired style made to accompany it.

The art of Japan is second only to that of China. The bronze lamp illustrated is an excellent example (Plate 108 C). The modern work is known to us all. Speaking in general only, the designs in the modern Keramic pieces are apt to be large and effective and usually less adapted to Western interiors than are Chinese ware and the finer patterns in the pottery and porcelain of Japan.

For rooms done in the “modern” vein, some of the plain colours previously mentioned would be admirable. The greys could have shades in rose, or yellow, and a bowl of Chinese yellow might be accompanied by a shade to match, edged and panelled in black or deep blue. A grey lamp with shade of translucent grey edged in the same way with Chinese red would be equally good. The lamps of plain colour Japanese pottery with brown wicker and silk shades—also wickered —are excellent for many simple rooms, and those surrounded with basket work are equally good for porches.

The dull green pottery lamps, both American and European, have been a good deal overdone and they are neither particularly interesting nor individual.

One of the lamps illustrated has a design of peacock-feathers in blue and grey (Plate 104 B), and there are many other charming things of odd design. Wedge-wood ware is dignified and appropriately accompanies eighteenth century English furniture. Those of Dresden and similar European wares are likewise attractive in appropriate situations.

In metal there are many good shapes in bowl lamps; and one should not close this section without a mention of those of this style now made in mahogany. As the wooden bowl, even in this wood, does not seem either particularly logical or elegant they are better painted or decorated. They may simply be painted and then lined about the turning with a harmonising or contrasting colour, or, as their forms are usually classical, they would be excellent with an Adam design on the bowl, or medallions, in addition to the lining. Before painting, the finish should be rubbed down with fine sand-paper, so that the colour will take well and evenly.

Masiero crystal lighting fixtures

PEDESTAL LAMPS

The best of the pedestal lamps are naturally those of faithful period styles because they are the best de-signed, but there is nevertheless an almost bewildering array of attractive things of modern origin. `

A word of caution has already been given as to the appropriate employment of period lamps, and one would think that flagrant and evident incongruity would naturally be avoided. Yet we recall a photograph of a particularly ornate lamp and a frivolous bust ornamenting (?) a bulbous Jacobean table in a dignified Tudor hall. Pedestals of simple classical style will accord with Georgian furniture and often with the corresponding classical periods in France and Italy.

The Empire pedestal lamps with frosted and cut glass shades and suspended prisms are excellent and too well known to need illustration.

The wooden pedestals are generally of simple con-tour, being based on the good old eighteenth century Classic, and are among the best reasonably priced lamps for sitting and bedrooms (Plate 110 D). Being, however, so frequently used, they need a rather unusual but appropriate shade to give them originality.

• GREAT LUXURY INTERIOR DESIGN
• LUXURY ITALIAN INTERIOR DESIGN

The wooden pedestals may be painted and deco-rated. For rooms in the “modern” style they are excellent in strong colours, striped around the turning in black, deep blue or white and with shades to match.

Pedestal lamps sometimes have an accompanying figure as has one of the charming little boudoir lamps illustrated (Plate 110 B).

Among modern things are pedestal lamps which have been more or less based on period styles but which are sufficiently non-committal for use in most situations.

VARIOUS DESIGNS

It would scarely be fair to, apply the word novelty to many of these lamps, because while they are unusual they also possess dignity and value. The central ex-ample of the group of three Chinese lamps (Plate 107) where a figure is employed as a base, is of this character. So also are others in which dainty western figures, Chinese Foo dogs and other objects have been utilised in the same way.

Wrought iron standards are of excellence when well designed.

The writers recall a handsome brass affair where the base was a pan, with feet, from the centre of which arose a plain standard branched for three lights under a metal shade and with a lifting handle at the top. This would be very good for a library or living-room of strong, dignified character.

CANDELABRA, TORCHERES AND STANDARD LIGHTS

Masiero crystal lighting fixtures

Candelabra and other standard lights have always played an important part in interior furnishing and they are of equal use to-day. They are especially appropriate with floors of marble, mosaic and tile, and decorated or sand-finished walls (Plate 100 B).

The ubiquity of the standard piano lamp has rather discredited all varieties of the floor lamp with people of individuality unless it and its shade are unusual. Certainly the candelabrum with several candles, or with electric fitting, or with the lanthorn top, possesses far greater distinction.

The suggestion of employing these for dining-rooms has already been made: they are of equal use for the illumination of desks and study tables, and for the bringing into additional relief of some special feature of decoration, such as an unusually handsome cassone or chest, a valuable tapestry or picture. In a rather dusky corner of a library, such a light with electric bulbs, quickly switched on, would prove of value in consulting the volumes.

Such standards, whether of metal or wood, plain, painted or decorated, may either be simple and attractive or highly wrought. Appropriateness in the use of the latter is of course necessary; i.e., a magnificent lighting arrangement naturally should not be used to illuminate an inconsiderable desk or table.

SHADES

The principal requisites are that shades should be in harmony of likeness or of contrast with the lamp and appropriate to the surroundings.

Such a variety of styles, shapes and materials are illustrated that one may easily find a good model for any lamp, but a few words of caution are necessary.

The pattern, scale and spirit of lamps and shades must not be incongruous if one is conventional in design and the other naturalistic, the spirit in each is opposed and the divergence will annoy; or if the pattern in one is larger than in the other, this will prove equally exasperating.

Modern Lighting Design Ideas

Shades should not come down too low on the lamp. In the group of lamps in their environment note the rather clumsy appearance given by this fault in the second example as compared with the others. Nor, on the other hand, should they stand too high, as a skimpy appearance will then result. The lines of shade and lamp together should make a graceful and pleasing contour.

Modern Lighting Design

• Luxury Apartment Interior Design
• Luxury home interior and contemporary exterior
• Beach House Architecture

Interior Decorating – The Arrangement and Balance of Furniture

THE arrangement of furniture is taken up before the subject of furniture itself, because most persons are already possessed of at least a portion of what is to be used. Furthermore, the matter of arrangement and balance is so important that it should be mastered before, new furniture is purchased.

We have already, then, in our houses the constructional items of doors, windows, fireplaces and paneling, if this be used. Frequently, too, in new houses or apartments, there are such built-in features as china-cupboards, wardrobes and bookcases. All, therefore, that usually confronts us is the existing space into which we must pleasantly arrange our household effects, and possibly provide for others. When we mobilize these effects they seem of great variety, but their uses are so well defined that this in itself often aids their placing. In a bedroom of the usual size, for instance, the purpose of the room defines the appropriate furniture. Often, too, from the construction of the room, it is at once evident where the bedstead should go, and there remain but a few wall spaces into which we may fit a chest of drawers with mirror above, or a dressing-table, a highboy, wardrobe or chiffonier, a small table or two, chairs, and perhaps, if the room be sufficiently large, a couch, and the like. The fact that we should have a good light by which to dress, will probably determine the place of the dressing-table, while a wardrobe or highboy may go into a darker space, so that by natural circumstances our progress has greatly been aided (Plate 88 A and B). In any event, we have arrived at the precept that it is well to begin with the principal pieces of furniture, after-wards disposing of the others.

Spiritual balance bathroom furniture

BALANCE

In order, however, that the final result should show a correct balance of arrangement, we shall need to use other principles. Some of them are at once evident, as, if we were to load a boat, we should not naturally place all the bulky freight on one side and the light on the other, ‘so we shall not arrange all the tall pieces of furniture on one side of a room and place the low pieces on the opposite side. By so doing we should not actually tip the room as we should the boat, but we should tip its appearance. Furthermore, even if we disregarded for the moment the looks of the whole room and considered either side alone, we should see how montonous is a series of pieces of more or less uniform height. We must, therefore, intersperse high and low to secure a proper balance.

Spiritual  Balance Bathroom Furniture

Balance, in its simplest form, is that in which the objects on each side of a larger central feature are the same in character and arranged in the same manner. This is illustrated in the beautiful group of Italian Renaissance furniture in which the chairs and torcheres are alike on both sides of the handsome credenza (Plate 89 B). This arrangement, being formal in its character, is particularly in place for stately rooms, but is equally appropriate in such humbler surroundings as a quiet eighteenth century room where two chairs flank a Queen Anne sofa with an old portrait above. The formality here is combined with quaintness, both of which are charming in an interior of this old-time type.

A further development of the principle of balance is that in which the objects on the two sides of the central object are not the same or even of the same character. Such an. arrangement, as we shall by-and-by see, does away with formality, and imparts a more familiar and homelike atmosphere to the room where it is used.

Although balance of this nature is simple and easily accomplished, it is often neglected or but imperfectly managed. An example of such faulty balance is shown in the illustration where, on the right of a fireplace, a tea-table with two small pictures above fails to balance the antique organ on the left. The readiness with which such an imperfection can be remedied, is shown in the corresponding illustration where the two small and poorly hung pictures have given way to a larger picture properly placed.

Balance Patio Furniture

An example of what amounts not only to disorganization in furnishing, but to loss of homelike feeling, is that of a room of generally attractive character with its comfortable sofa and chair on opposing sides of a fireplace and a stand placed stiffly between (Plate 91). It is evident that the chair fails to balance the sofa in length and that the stand is disjointed from either. Now if the chair were pulled slightly forward, and the stand moved back, not directly to the side of the chair but to the side and just forward of its edge, where it would be handy to the chair’s occupant, it will at once be plain that an altogether different atmosphere of invitation and restfulness had entered into the composition. If a rug were laid down before the fireplace, the windows simply curtained, some of the objects removed from the mantel and a larger clock or other object introduced to give centralization, the whole effect would be changed. It will, therefore, be seen that the treatment of this one room is a small object-lesson in decoration, and points out what an infinite improvement a few changes in position and addition can make in an interior which is already generally good, so far as it goes.

Modern furniture and good design create style

The principle of balance being so clearly shown, it might prove interesting to try a few experiments with light pieces of furniture in one’s own household, especially if there are young people in the family. The future of good household-art naturally lies with the rising generation, and if those who are now young can be interested in such matters the benefit may prove immeasurable. Parents might also find their children taking a vital interest in the attractiveness and neatness of their own rooms. The writers, therefore, indicate a few such experiments :

White balance

If, for example, we have a fireplace, or other large object, with a small space on each side of it, we may place a chair with a picture above it in each space. Such an arrangement is balanced but is formal, and we may prefer a small table in one of the spaces. If it is approximately of the size of the removed chair we shall still have balance, but, if the table is long, we shall immediately see that this balance is disturbed, and it will be better to substitute a couch for the chair on the other side, thus matching the long table in shape.

White balance

We may, however, alter the arrangement which first existed by the use of a tall object instead of a long one —we may wish to place on one side of the central fireplace a mahogany bookcase which, although not much wider than the chair, if bulky, may happen to exceed it considerably in height. It is plain that we shall have to remove the one picture in order to give place to the bookcase, and we then have the case on one side and the chair with picture above it on the other. If the picture be of strong character in a dark frame and the chair also dark, we still have a good balance to the case on the other side, but if the chair be small or light in colour and the picture be likewise, we shall not have balance. The question of “value” has, therefore, entered into the problem as well as that of size. Value is the lightness or darkness of an object irrespective of its colour. Balance may be described as equal weight of effect, and it is that which we must secure.

Chinese furniture in room designing

Another principle with which we are all familiar is the avoiding of top-heaviness—we should not place a very large picture, hanging or mirror above a small chair or table. It is really surprising sometimes to see how little is required in this direction to spoil an effect and to “get upon one’s nerves” when constantly seen. In such instances, we should recall here, also, the principle of value; for, although the sizes of the two objects may be in proper relation, the arrangement will, nevertheless, be bad if the upper one be too strong and dark for the lower. If the lower is also frail in build, the bad result will further be intensified.

Two varieties of treatment have been considered—that in which the objects on each side of a larger central feature were alike in character and similarly arranged, and that in which they were different but were either of themselves or by the addition of other objects of equal general effect.

Occasionally in household arrangement two other contingencies arise. It may be that on the one side of the central object (such as a fireplace) we wish to use some such piece of furniture as a bookcase of moderate size and on the other side a table and chair. We so place them at equal distances from the fireplace on its two sides, but are disappointed to find that the appearance is wrong, that the latter articles do not sufficiently balance the former. Even when we place a lamp or other object of some height upon the table the result is but little improved. We could build up the effect by a picture upon the wall, but we may already have done all we wish in this direction and may really prefer a change from the formal balance. It may easily be secured. It will be remembered that the writers’ definition of balance was “equal weight of effect”: in order therefore to give the object or group which is the lighter in effect the same weight which the larger possesses we must give more leverage to the lighter. In other words, as we move it farther from the central object it gains in weight of effect. A few inches will usually be sufficient, because the original discrepancy should not be great.

The second contingency is where there is no central object or room for one, but where the wall space is sufficiently large for the placing of two objects or groups. In this case the procedure is precisely the same except that instead of working from a central object we work from a central point. Measure the wall space and find its centre; if the two objects or groups are of equal weight of effect place them equidistant from this central point. If one is lighter than the other move the lighter farther away from the central point until it is felt that the balance is correct. There will likely be other circumstances in our household arrangement in which we shall, have to exercise this balance of feeling and to which this will be a guide. Mathematical calculation would be too abstruse, and a little experiment will make is unnecessary as well.

OBJECTS OF CENTRAL INTEREST

Every large wall space should have an object of central interest about which other objects may group, and if it be not there we must either supply or create it. It may be supplied by one of the larger and taller pieces of furniture, by a large mirror, or a tapestry or other hanging; it may be created by building up a series of objects.

As these built-up effects are among the most interesting and attractive decorative facilities we possess, several of them will be suggested.

First of all, they give us the opportunity of making the most of and of bringing out the true beauty of fine pieces which yet are not of large size. One might, for instance, be the happy possessor of such a handsome inlaid console cabinet as that shown in Plate 92 A, but be so unknowing as to place it, because of its size, in some convenient but undistinguished corner where its beauty would be hidden and its effect as a decoration fatally lost. On the other hand, but little is required to make of it a center of interest worthy the name—the placing upon it of a few choice objects and the hanging above it of the unusual but simple mirror shows its true value. This group might be flanked by handsome chairs or settees, thus furnishing the side of a room which it would be a pleasure to enter.

A different but similar result may be obtained by the use of a long but low bookcase. Above this we may hang a panel nearly as long as the bookcase and, upon the latter, place a few objects that will unite the two and give interest. These objects might be a plaque or vases, a couple of small pictures and a pair of candlesticks. Or as a centralizing object we might use an attractive table or chest with a panel, mirror, or picture hanging above it, and a sconce on each side.

For a stately room, no better centralized group could be imagined than such an arrangement as that of the Italian Renaissance furnishings shown in Plate 89 B, and if one lack such distinguished materials much the same result might be obtained by articles of far less cost.

Probably as comfortable and homelike a composition as could be desired is that which occupies the end of a little room illustrated in Plate 92 B. Here is a roomy couch with a backing to match the covering, hung from a brass rod upon the wall. There are abundant cushions, and above it is a panel consisting of a series of four attractive and colorful Japanese prints in one mat and frame, flanked by a sconce on the one hand and an upright panel between the long one and the antique bookcase on the other. As usual, photography has emphasized the pattern of the covering. A Sheraton settee with quieter coverings has since taken the place of the couch.

Small hangings are less often used in such situations than mirrors, but if one is on the lookout for such things it would be possible sooner or later to pick up some attractive and unusual piece of drapery that would give individuality to such a setting.

Carved woodwork, polychromatic decoration, a plaster panel or a Chinese or Japanese decoration would all be appropriate for this or similar places.

Of the built-up effects that have been suggested it may be said that each of these devices has its own interest and that all might be used, each in its own situation.

FIREPLACES

We have the expression “Hearth and Home,” and when there is a fireplace, it is the central object of interest and should be so treated. In many old houses, a settle often stood endwise to the room at one or both sides of the fireplace, and in modern use the same device may be employed. A tea-table, sensibly set at its end, does much to relieve the stiffness of a settle and adds to the home-like atmosphere of the composition.

Bloch design glass fireplaces

In more elegant rooms it is now happily quite customary to place a sofa in the same position. An excellent example of fireplace treatment is shown in Plate 56. If space is limited it is sometimes better to employ an easy-chair, with perhaps a stand or small table, for the opposing side. There should be a hearth rug and cricket, hassock or a sitting pillow or two upon the floor. Such an arrangement at once gives an air of comfort and rest. If a room is too small to admit of a full-length couch or sofa, we could use one of the double-chair settees, or simply another comfortable chair. Sofas are sometimes placed directly before the fireplace and backed by a table.

In large living-rooms or libraries, it is often pleasing to draw up a small table with books and a chair before the fireplace, placing them sufficiently far away to avoid any appearance of crowding. If, owing to the arrangement of the room, this should be found to look artificial, take them away—nothing but sincerity is tolerable.

Showroom Fireplace

DOUBLE AND MINOR CENTERS OF INTEREST

In a great salon, one central object (even with minor ones) on a long unbroken wall space would probably not be sufficient. In such a case two large and hand-some companion cabinets could be used. They would be placed with less space between them than at their sides, so as to give good appearance and keep the companionable relations of the two without the monotony of too close a neighborhood. With these should, of course, be pleasantly arranged other pieces of lesser size forming attractive groups. As such cases usually call for the services of an interior decorator it is hardly worth while to take up other expedients here.

In large rooms especially, all furniture should not be arranged along the wall, but some pieces should be placed out upon the floor space; on the side of a long room, it is, otherwise almost impossible to escape stiffness and formality. This is taken up a little later on.

If, however, a room be long but too narrow to allow other than a wall arrangement, we should, in addition to the main center, establish other minor centers of interest. If, however, an imposing fireplace is the main center, we may place a cabinet or bookcase in the middle of the long wall space on one side, and one of our built-up effects on the other: these, with lower pieces of furniture interspersed, will he sure to give desirable variety and interest. In all cases where there is room for a considerable amount of furniture it should, when well arranged, fall into groups, each attractive in itself, natural in appearance, and composing well with the groups about it.

CORNERS

Corners are usually a consolation and convenience rather than a source of worry (Plate 89 A). Frequently pieces on the side wall are close enough to the corner sufficiently to occupy it, while the other corners of the room prove the natural resting places for such things as desks, tables (rectangular or round), tall clocks, small cabinets or bookcases, screens not in constant use, sewing and serving tables, and finally, in the room where it is used, the ubiquitous sewing-machine—at present usually the ugliest and often the most offensively ornamented object with which decent humanity is afflicted. To hide it with a screen is as yet the only resource.

Fireplace from Napoleon

The main precaution to take regarding corners is that they should not look weak, and for this reason they are not the best places in the world for chairs, unless thee be roomy.

In drawing-rooms a grand piano often finds its best situation with its “nose” in a corner and its flat side almost parallel with one wall, rather than swung out into the room at a disagreeable angle. As a grand piano is not high, a large picture or hanging on the wall occupied by its flat side and a picture hung upon the other wall will be advisable.

The placing of a desk or other such piece of furniture diagonally across a corner is unpleasing unless there is a jut of the wall partially filling the space be-hind and so justifying the arrangement. This is frequently the case in new steel-construction apartment houses. Kidney-shaped desks are by their form particularly suited to corners. A tea-table set in a corner with a chair behind it and a muffin stand at the side is a hospitable arrangement and entirely unobjectionable, because the corner is filled. It is the empty triangular space behind pieces of furniture that is unreasonable and unpleasant.

THE SETTING OF FURNITURE OUT INTO THE ROOM

We have just looked over a series of interiors of modern club-houses and handsome dwellings and the first expression occurring thereat was decidedly nonliterary. It seems to be a weakness of human nature that where an allowance is made for the sake of variety and use it too often becomes an obsession. As many of these interiors with furniture set “anyhow” over the floor can only be described as a conglomeration, it is well for us to take warning.

Let us consider then what we may properly do in the placing of furniture out upon the floor space. We may do nothing if it will result in crowding, Even the setting of a single table in the center of a room is bad if we must spoil our tempers to get around it. In small rooms we may, however, make another disposition of a table which is pleasing and convenient. Instead ,of placing it flat against a window or wall space, with a chair before it, its back to the room, or instead of placing a chair at either end, we may set the table end wise to the wall, or to one side of the window, and a chair at one or both sides of the table. With a few interesting objects upon the latter. we shall find that we have an attractive grouping.

A small table or stand in front of an end of a sofa or by a large chair at once commends itself because convenient.

The arrangement of a sofa backed by a table has its convenience—we may sit on the sofa and read by the light placed upon the table—but we should be careful that the two pieces chosen agree better than they some-times do. One “set-out” arrangement which seems to have widely spread among householders is the placing of a couch or seat at the foot of a bedstead (Plate 88 A) —another good device under proper conditions. But often we have been obliged to smile at the absurdity of an imposing couch at the foot of a negligible bedstead, an amusing example of the “tail wagging the dog.” We often wonder why persons who use common sense in most concerns of life fail to do so in such simple matters. Is it that they are determined to follow a vogue of which they have heard, at whatever cost?

Chairs in front of bookcases, wardrobes and cabinets are annoying, as each time a door is opened the chair must be moved; and why add to human misery by strewing chairs and stools everywhere around to fall over or stumble against : in short, why so crowd a room with set-out furniture that our progress through it becomes a process or a pilgrimage? The blocking of doorways is equally bad practice.

It is also to be remembered that the littering of a room with all sorts of unrelated objects and personal effects is utterly destructive of repose and charm.

Finally, the large pieces of furniture set out upon the floor space should follow the direction of the one wall or the other. Impossible angles distract us through disturbing the harmony of line. Women, through a mistaken idea that “setting things catercorner” gives homelike character, are notable offenders in this respect. A chair, or resting stool or two, may be left at the convenient angle at which naturally occupied, but if we go beyond this we have disturbance.

SCALE AND PROPORTION

The importance of considering the relative sizes of various accompanying objects (the relation is technically called scale) runs throughout the subject of interior decoration and must everywhere be taken into account. With it is intimately associated the matter of weight, real or apparent. Though in actual avoirdupois a wooden moulding be not heavy, we may not rightly put up a cornice so out of scale that it appears as if it might bring down the ceiling upon our heads.

This is so obvious that it seems few would transgress, yet is it more obvious than the following which we frequently see: window poles stout enough for an athlete’s horizontal-bar from which depend curtains of filmy net or lace weighing but a few ounces ; fragile tables groaning under the weight of huge lamps; carpets and upholstery of strong and sweeping pattern in tiny rooms, and the heterogeneous mixture of furniture formal and sprawling, heavy and light?

In every age save the present one of high enlight enment has there been an instinctive sense of fitness and proportion even among “the people”—witness the admirable congruity between furniture and interior in the old English cottage and the houses of Continental peasants. Hardly nowadays shall we find that sense even among them that consider themselves the educated and elect.

“We have taken the most delightful house—Tudor, you know : with dark oak paneling,” says Mrs. A. She has, most unfortunately, and proceeds to fill it with a number of van loads of accumulated mahogany furniture. Not only do oak and mahogany go badly together as regards color, but they are of an entirely different provenance and spirit, having precisely as much in common as an eighteenth century gentleman and Sir Walter Raleigh. “Other times, other manners.”

“Our apartment living-room,” remarks Mr. B., the broker, “is so homelike, with its low, heavy beamed ceiling.” By the fireplace of that truly long, low, comfortable room with its horizontal lines you would find a big easy-chair—for Mr. B. values his comfort. But Mrs. B. is “refined” and evidences that quality by the tall, high-shouldered, spindle-leg furniture, upholstered in fabrics in attenuated color and small pattern. One looks up from these egg-shell pieces to the massive beams above and trusts they will not fall.

And at No. —,Street (we can readily fill the blanks) the lofty room with its fine old mantel and woodwork in white and beautifully modeled plaster ceiling is occupied by dumpy mission and a mid-Victorian black-walnut bookcase!

EXPERIMENTATION

Interior decoration is not a mystery : it is the use of enlightened common sense. Experience leads us to the conviction that even those who are unskilled in home arrangement have more intrinsic ability in this direction than they realist, and it is the aim of the present writers to aid them in using that which they possess. Bearing in mind the simple and gradually developed suggestions that have been made, if the reader will be-gin with the practice, we fancy that the intrinsic knowledge of which we have spoken will rally to his aid. In other words, most persons, when they see a thing, have a fairly good eye for balance, distance and scale; their difficulty usually has been that they have not looked and considered; even those who flatter themselves upon their artistic ability often fail to weigh sufficiently and so fall into error.

Experimentation is the best teacher. Begin as has been suggested, with the principal and obvious pieces, afterward. grouping the others as well as possible. Then, using one’s own natural eye for balance and effect, weigh the result. It will probably be seen at once that a certain piece will not do “here” but will do “there,” or that it must be moved in one direction or the other. If a happy result is secured with any one group, learn to let it alone; pass on to another until each group is satisfactory, and all the groups pull satisfactorily together.

You will then have accomplished a gratifying result in interior arrangement, with correct balance, scale and line.

It has justly been said that not only must each of the four walls of a room look well, but that each must look well in relation to that next to it—that the diagonal result must also be good. To this may be added that the view from each doorway should be attractive and inviting.

Interior Decorating – The Renaissance

IN taking up this first influence we may, very practically, ask: How did it manifest itself in the arts —in short, what was it? The popular superstition is that when the great awakening took place in Italy the masters of the Renaissance period simply brought to life the art of the Greeks and Romans which was their heritage—a very convenient formula for those who do not think. The truth, briefly, is that during all the centuries which lay between the fall of Rome and the year 1400 the wide internationalism to which we have referred was quietly doing its work; treasures of Oriental art were continually finding their way thither both direct and through the Copts and Spanish Moors. Renaissance architecture (and decoration) was never therefore the pure Classicism of Greece and Rome. It was the fusion of all three of the great artistic influences, the Gothic, the Oriental and the Classic, with the Classic for the time being as the inspiration and informing influence.

So practical is the aim of these chapters that no further will they go until they take into account a very prevalent circumstance of modern life.

Victorian style home interior

The very term interior decoration is indicative of the fact that through all periods the interior architecture has had its share of attention and decoration. But a large proportion of tasteful people today live in rented apartments or houses, and few care to panel or decorate walls for the benefit of a landlord only too likely to seize the advantage given and increase the rental so soon as the lease expires. Even those of some considerable means and occupying their own houses may not, in these days of many uncertainties, care to go to the large expense involved in elaborate wall-decoration. What, then, shall be done if such persons wish to adopt the Renaissance style of furnishing—or that of any succeeding age ?

The answer must be that if period decoration is to continue in use, then it must show itself adapted to the changing conditions of modern life and circumstance; and that it is so adaptable is the very purpose of these chapters to demonstrate. Common sense teaches us that if we wish to surround ourselves with the beautiful objects produced by the genius of the past, or their reproductions, and yet that our walls must remain plain, the obvious course is frankly to combine the two conditions. And if any justification for such a procedure beyond the enlightened common sense, which must be the basis of all art and of all beauty, must be established, if a precedent must be found to back up all our proceedings, it is found right here—for, during the Italian Renaissance, one of the greatest art periods of the world’s history, where walls were not decorated, they were entirely plain.

Renaissance living room interior ideas

THREE METHODS OF TREATMENT

It is at once evident, therefore, that we may adopt, according to circumstances, any one of three methods of treatment; and these apply to the subsequent epochs as well as to that we are now considering.

I. If the premises are of elaborate character and the means of the owner in accordance, the more elaborate phases of the epoch may be chosen and followed.

II. With both large and small premises the simpler but still decorative phases of any period may be adopted. Or, as in some periods these simpler forms have not been largely preserved and pictured for our guidance, simplifications may intelligently be made.

III. As first mentioned, we may use period furnishings with walls entirely plain but appropriate in colour and treatment to the period chosen.

We may also combine any two of these three—employing the more elaborate decoration for public rooms and the simpler for bedrooms, morning rooms and the less public parts of the house.

Renaissance dining room interior ideas

ELABORATE WALLS

In order that the statement of this method of International-Inter Period Decoration may be complete in itself and readily comprehended, it has been written independently of Part I. That Part, however, gives a complete digest of all particulars regarding the decoration of the various periods during the four great movements, and for full details regarding any epoch it should be carefully considered. Illustrations are there also given of the architectural backgrounds of all the countries.

It is only necessary, therefore, to epitomise the matter of Renaissance backgrounds by saying here that the small square or the rectangular panelling of oak was the typical style of Renaissance England; that, while such panelling was used to some extent in the northern section during early Renaissance times, it was not typical of Renaissance. Italy, where the walls were plain, diapered, or highly decorated in colour and gilding; Spain, always influenced by Italy, largely followed the Italian ideals, but these were naturally modified by the powerful Moorish element prevailing in Spanish art; they were plain or plain on their upper portion, the lower being a dado of many coloured tiles or of painted canvas ; in France, walls were sometimes at first in the small panelling, but they were more generally of stone or plaster, which might be painted or frescoed, some-what in the Italian style. Hangings were largely employed with these walls. Later, these isolated hangings were less used and walls were panelled in larger panelling and often moulded and gilded. Or they might be frescoed or covered with tapestry or other hangings.

Luxury Renaissance interior ideas

In the various countries under Renaissance influence there were also, of course, constructional and stylistic differences in ceilings, windows, doors and mantels—all duly treated in Part I.

EXTERIOR AND INTERIOR

In considering the use of the more ornamental back-grounds a question at once arises. As will now have been seen, great differences existed in the treatment of the interiors of the various nationalities under Renaissance influence, and in exterior architecture the dissimilarity was still more fundamental. It is obvious that, in general, exterior and interior architecture should agree, so that with our system of the use of international furnishings and furniture the enquiry at once springs to the fore : Is it permissible and is it feasible to employ the fixed architectural backgrounds of the various nationalities under Renaissance influence under one roof ?

Luxury Renaissance interior ideas

To this question the writers are not going to give as answer a categorical, but a qualified yes. This procedure has been followed by Stanford White and a few other architects of great ability—and it requires genius of this order satisfactorily to combine such elements. We know that Italian architects and craftsmen working in England and France grafted Renaissance characteristics upon the national developments of architecture both exterior and interior, and did it successfully, too. How far such national characteristics may to-day successfully be mingled will depend largely upon the ability of the architect or decorator employed. Suffice it to say that if he be a genius his versatility will be tempered by discretion and the result of his efforts will in no wise resemble a museum or a melange. If architecture is to be more than correct archeology it is well to ask ourselves if it is not in this very direction of the blending of elements that are largely congruous, be-cause informed with the same spirit, that architectural life and development lies. Absolute originality—a start de novo, a breaking with the traditions of the past —means foredoomed failure; intelligent combination may put new vigour into the architecture of to-day. Especially might this be true of American architecture —America being itself a combination, and, by its associations in the past war likely to become still more cosmopolitan.

In deciding upon any period decoration it is not only interesting but necessary to learn how far our choice is free and unhampered and how much it is determined for us by existing exterior architectural conditions. Where this exterior is definite it must naturally exert a largely determining influence. But this general rule is, like every other, subject to qualifications. It does not follow that because a New York apartment house is in style French Chateau or Flemish, each one of the fifty or hundred apartments it contains must preserve that style of decoration—in apartments we may choose any style desirable in other respects. Nor, if we are reasonable and liberally inclined, should the narrow front of a city house not pronouncedly definite be allowed to impede our catholicity. The old brown-stone front of New York is of a debased period that we may well ignore, and the brick houses of Philadelphia and Boston, though derived from the earlier Georgian, need not cause us many qualms. What there is good in them is mainly classical and so sufficiently adapted to most styles of decoration. A country house, with all sides exposed and of definite exterior architecture, is another story. If one does not care to live in an interior in accordance with the epoch of its outward appearance he had better secure another house. The mere mention of an Elizabethan house with Rococo panelling will be sufficient to point the lesson.

TREATMENTS OF MODERATE SCOPE

As has been said, we may choose the less elaborate phases of Renaissance, or any other wall decoration. In such cases also, unless one has knowledge and facility, the services of a decorator will be required. If the architectural lines and details are not already quite approximately correct they should be made so before panelling or decoration is applied. Either may be comparatively simple but should be according to the period. Elaborate carving of mantels, cornices and door-jambs may be omitted, but architecturally they should be right. In rented apartments or houses, in-consistencies, if not pronounced, may be excused. If the Italian Renaissance style is chosen, the diapered wall is an excellent resource. What may be done in the way of intelligent adaptation is admirably shown in the living-room illustrated by Plate 70 B in the chapter on Wall Treatment, where also is described the manner in which this attractive effect was gained.

PLAIN WALL TREATMENTS

Italian walls, when plain, were in sand-finished or smooth-finished plaster and in natural tones or of creams, ochres, light chocolate or grey. It is, therefore, evident that any such existing wall will admirably answer for a Renaissance interior. If the walls have been papered, a sand-finished paper may be applied. If the property is rented and the existing paper is in too good condition to be replaced, it would answer, providing that it has the general appearance of a perfectly plain surface in the right colouring—such as a cream felt or granite paper would afford.

An illustration is shown (Plate 128) of a remodelled farmhouse with plain walls, in which the Renaissance effect is excellently given by the tapestry and well-chosen furniture of England and Spain, with an Oriental touch in the lamp and rug.

FURNISHINGS AND FURNITURE

Interior Decorating – The Renaissance ideas

At this point the decorator, retailer or householder arrives at much easier going than hitherto ; for it is a fact that all movable decorative objects are in all ages much more likely to be affected by the decorative influence then prevailing than is the more massive and fixed architectural structure; and so the furnishings and furniture under that influence approach each other much more nearly, though always somewhat differentiated by national characteristics. It is this very difference that adds variety and charm in our system of inter-national decoration and gives it its value. By this plan also, as has been intimated, we are enabled to bring within our scope many beautiful objects from other lands, or their reproductions, which would be forbidden us by a closer adherence to the one-period, one-country method of furnishing. How far this immense advantage will still further be enlarged we shall realise when we come to the consideration and addition of the inter-period element of this method.

It has been felt advisable, in these chapters, to give as many illustrations of the furniture of Continental Europe as limits permit rather than to exhaust space with cuts of the well-known English furniture. Those who wish to make comparisons can readily do so by referring to “The Practical Book of Period Furniture” by Eberlein and McClure, where British and American forms are described and illustrated in detail.

Croscill townhouse collection bedding

There is little of the movable furnishing of strictly Renaissance provenance originating in one country that may not be employed in the interiors of another. The word “strictly” is here used because not a great while after the full flowering of this influence another movement arose—the Baroque—which blended with it. For the avoidance of all confusion, however, this will later and separately be treated, so that for the present we may confine ourselves to the furnishings of the Renaissance.

As has been mentioned, wall hangings were largely employed and may be considered one of the notes of Renaissance furnishing. These were of tapestry, brocade, velvet or embroidery. Any such Renaissance pieces, or reproductions thereof, may be used.

Floors were largely uncovered. In England, however, rushes were spread over them, and when these were, to phrase it gently, soiled, more rushes were spread over these again, till sanatory conditions be-came what would be as horrifying to us as we trust the present state of our streets would be to those living a few years hence. Oriental rugs have always been employed to some extent and may be used in Renaissance interiors to-day. Plain or bordered rugs might also well be employed provided the borders are plain, or of lines, or of a dignified design appropriate to a Renaissance setting (Plate 80).

The fact that the furniture of other nations in a particular period may be introduced in the interiors of any one, is fortunate for the owners of Elizabethan or Tudor houses. Probably the most creditable action of Henry VIII of tainted memory was the introduction of the Renaissance into England. There it had its influence, but England was then a less polished nation than Italy in the domestic arts, and till early Stuart times the furnishings of British houses were few. Wall furniture (chests, buffets, cupboards and cabinets) composed its bulk. Tables were but few, their place being mostly supplied by boards on trestles. Benches and joint-stools usually comprised the seating furniture. Chairs were most infrequent and were at first of the character known as wainscot chairs, and there was little upholstered furniture till the Restoration or near it. The bedsteads always occupied a position of state, and these were immensely large and heavily carved. The furniture of Renaissance England must, therefore, be supplemented from that of the succeeding epoch or from other countries under Renaissance influence if we are to have what is now considered an habitable home.

With such barrenness and to some extent rudeness as has been described we may contrast the dignified and elegant furnishings of Continental Europe during the same period. There, too, the rooms were of enormous proportions, and anything approaching the crowding of furniture was sedulously avoided. The pieces were large and generally of the same materials—oak and walnut. Wall furniture there also occupied a position of much importance, but tables and seating furniture existed in great variety and beauty, the latter being upholstered in rich velvets, brocades, damasks and needlework. In addition to wall-hangings there were mural ornaments, pictures and carved ornaments of wood, often painted and gilt. Sculpture and pottery were abundant. Candlesticks and candelabra were of carved and gilded wood and of iron with ornament of colour and gilt.

The chests, or cassoni, were frequently carved by the great sculptors of Italy, the panels often embellished by the painters whose names are household words with us. These and other wall-pieces were often treated with gesso and then with colour and gilding.

No one knowing the indebtedness of English literature to Italian sources, realising the spread of Renaissance influence, and appreciating that only time and the march of progress were necessary to bring this added refinement to England, will hesitate to select from such furnishings and add them to those, belonging to a British interior of Tudor times.

Common sense will give us the general precept that the correct course is to use principally and as a foundation the furniture appertaining to the nationality of the architectural background, supplementing it by that of other nations under the same influence. Where there is no distinctive background we may choose as a basis what we will, and give variety by the addition of these other pieces. National characteristics will always assert themselves through a general resemblance, and they give us a happy many-sidedness and versatility of decoration impossible of being realised when we con-fine ourselves to an absolute reproduction of an English, French, Italian, Flemish or Spanish style. A study of the pieces of furniture illustrated herewith will demonstrate both this unity and variety. In viewing them we shall at once see their generally rectilinear character. Curves there are, to be sure, but we shall only have to become familiar with those of the succeeding Baroque and Rococo influences, to realise the Classic features everywhere informing Renaissance design. It is by this comparison of varying forms that stylistic differences are quickly apprehended, rather than through reams of detailed description.

Renaissance wall interior decorating

THE ASSOCIATION OF FURNITURE OF VARIOUS NATIONALITIES

In Plate 89 is a grouping of an excellent Italian cabinet flanked by two Italian chairs of the most rigidly formal type, with runner beneath the feet, and properly upholstered in velvet with gold galons. The upper finials of such chairs are almost always gilded. The candelabra are of iron.

The adaptability to association of nearly all the pieces selected for illustration will be evident. Instead of the cabinet, just mentioned, might be used with good result such a piece as the Italian armoire or the longer credenza in Plate 129, the double cabinet in the same plate, the French cabinet (Plate 131 B), the Elizabethan coffer (Plate 132 B) or one of the Spanish Varguenos (Plate 133 B or Plate 134 A). Even the Italian pillar-base table (Plate 130 F) placed between these chairs and aided by a pair of tall Renaissance candle-sticks would do well. Associated’ with such furniture in imposing rooms might be the large Italian armoire (Plate 129 A), the French armoire (Plate 131 A) or the Spanish armoire showing Moorish influence (Plate 133 C).

It is equally evident that if one of the pieces foreign to Italy were chosen, the result would be more interesting than if the cabinet remained, for of recent years the strictly Italian Renaissance period has been extensively treated and has lost its novelty. Furthermore, if one is the possessor of such a foreign piece of furniture he is by this method enabled to employ it to the greatest advantage, whereas he could not use it if he were adhering to an exclusively Italian Renaissance style of decoration.

On the other hand, should we allow the cabinet to remain, we might, by the present system, appropriately use with it the Italian scroll-arm chairs in the Davanzati room with plain walls (Plate 13) the curule chair in the interiors shown in Plate 15, the English wainscot in the remodelled farm-house (Plate 128), the French Renaissance (Plate 132 A), the chair in wonderful needlework (Plate 130 A), that adjoining it, or those in Plate 134 B, C and D. The Spanish chair, with brass mounts (Plate 134 F), would be of special interest in such surroundings.

Much other interesting Renaissance furniture will be seen in the rooms of the various nationalities under that influence in Part I and in Plates 127 and 135 in this chapter. They excellently illustrate the points of re-semblance and difference which make for unity and variety in the furniture of different nations. A comparison of these pieces will be illuminating and will familiarise the reader with national characteristics.

Even during the Renaissance there were smaller or more homelike pieces of furniture than those so far mentioned, and some of these also are illustrated. The English gate table used in the remodelled farmhouse (Plate 128) has proved so universally useful that we may well wonder why there are no reproductions of such pieces as the non-folding but certainly most desirable Italian circular table shown in Plate 130 D. The chair to its right is attractive, and that on the left would make an admirable hall chair. The Spanish chest and small chairs,. with tapestry, in. Plate 133 are good pieces, and the Spanish table (Plate 134 E), of which there are many variations, would impart decided interest into a Renaissance home.

Bedsteads are not so interchangeable as other furniture. Some of the French and Italian beds resemble each other, but the introduction of one of the well-known bulbous-posted Elizabethan bedsteads in an interior so definitely Italian and restrained as that of the Davanzati bedchamber (Plate 15 A) would be a mistake. It has already been mentioned that not every piece of furniture of Renaissance inspiration will go with every other piece, and it may be added that such discrimination as the above is necessary as regards their use in the interior to be furnished.

It is to be noted as a general principle that the introduction of but one piece of foreign furniture may be a disturbing influence : it is better to “back it up” with one or more additional pieces of the same or a different nationality, for by this procedure the intention of a varied furnishing is made evident and the room with all its different elements becomes immediately interesting.

The arrangement characteristic of Renaissance rooms, with the absence of any superfluity and crowding of decorative elements, is well shown in all the original Renaissance interiors illustrated and in the modern interior shown in Plate 135.

THE PRACTICALITY OF INTERNATIONAL FURNISHING TODAY

While, naturally, original pieces of furniture of the highest type or even of lesser elegance are beyond the reach of all but the wealthy, it is encouraging that good reproductions are being made. “Adaptations” are still more frequent than faithful reproductions, but the latter can be secured of good English and Italian forms, some French and Spanish may be obtained, and more will doubtless be placed upon the market as manufacturers perceive the demand. It is also to be hoped and expected that the practice of adapting will die out with the advance of knowledge on the part of buyers, their insistence upon authentic styles, and their refusal to accept the vagaries of commercial present-day de-signers in lieu of the forms and proportions provided by the masters of the past. It may here be mentioned that international furnishing in the eighteenth century periods is less expensive than Renaissance furnishing or that of other early epochs.

CHARACTERISTICS OF THE RENAISSANCE

The adaptability of Renaissance furnishing to our uses to-day may be gathered from its main characteristics. Perhaps its most outstanding qualities are spaciousness, dignity, formality and richness. Its earlier manifestations were marked by more simplicity and its later by increasing magnificence—which should be noted by those who are considering its use. That its qualities are not inconsistent with home feeling to-day is shown in all three of the modern examples referred to in this chapter.

That this style is not adapted to modest houses with small rooms, or to larger ones where the occupants lead a happy-go-lucky or merely frivolous existence is self-evident. It implies a certain amenity of life, a certain degree of self-respect, culture and appreciation. It is well suited to spacious apartments, particularly of the duplex variety, and to studios. If the rooms are fairly large, even though few, it would be admirably suited to the apartment of a family of scholarly or artistic attainments, because it would fit into their natural mode of life.

THE INTER PERIOD ELEMENT

Renaissance Element Preview

The international (horizontal) phase of this system has now been considered, and we have seen how fully the furnishings of all the nations under Renaissance influence may be used together. We must now take up the inter period (perpendicular) element and learn to what degree the interiors and furnishings of the succeeding movement may be combined with those of the Renaissance.

Renaissance blue and gold elements

This next influence is the Baroque. As the Renaissance did not utterly rout the Gothic, so the Baroque in its turn did not put to flight the Renaissance, but grafted itself upon it. Most curious and interesting is the manner in which a new artistic impulse, totally different in spirit from the old though it be, yet amalgamates itself with it to the production of a result not chaotic but still beautiful. The Baroque movement has been unduly condemned. Though erratic and disproportioned in its most extravagant phases, many of its developments are interesting and of permanent artistic value.

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PARIS STORE INTERIOR DESIGN

Burberry paris store – Luxury Boutique interior design

Successful branding is a necessity for any brand that wants to survive in a world populated by consumption were filled consumer society. It does not allow this momentum and established names to rest on laurels. Or worse – a lack of laurels. Few outside the UK were impressed by anything with a label Burberry before 2001. Even the island’s brand is not enjoyed a particularly strong image, rather prashasala fame, dating from late 19 century and has not undergone a corporate castle. While the 2001 does not appear …

Burberry paris store photos

Christopher Bailey
Youngster has become characteristic of the brand in the Box brand of luxury. Bailey was awarded Designer of the 2009 British Fashion Awards. “The golden boy of Burberry”, and called him TIMES last year, is responsible for creating the overall image of the company, fashion design for all products, advertising image, corporate image and design boutiques worldwide.

Burberry paris store

New face
The newest brand boutique opened in Paris in February. On 450 square meters collections were collected Burberry Prorsum, Burberry London and Burberry Brit, and presented new proposals are a collection spring / summer 2010, Bailey chose a person whose grown reader of Harry Potter Emma Watson. The interior is designed in beige, white and dark brown – no surprises here, Bailey remains true vision of London.

Burberry paris store

Burberry paris store

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LUXURY VILLA – VILLA MODA IN BAHRAIN

Villa Moda

What can make brands Louis Vuitton, Hermes, Bottega Veneta, Dolce & Gabbana, Nina Ricci, Christopher Kane, Comme des Gar?ons, Junya Watanabe, Gucci and Fendi to stand together, to break away from Milan, New York and Paris to obey the will of a designer? Simple – the gold one Arab sheikh and the madness of a commercial genius. Sheikh Sabah Al-Madzhed, whom Time magazine called “Sheikh-chic” is known for its taste for fashion and his Bohemian lifestyle. Descendant of an old Kuwaiti family, the Arab nobleman has enough ideas, money and influence to not afford the services of someone else, but to Marcel Wanders.

Villa Moda Shoppyng center

Land of the Sheikh, the country’s Wanders
However, why stop to say it? “I wanted to hire someone who has never done a true fashion boutique,” says Sheikh. Simple and clear. So, inexperienced designer Marcel Wanders began studying local traditions. For inspiration are known to stop all commercial districts, known as “twist”. “I wanted to create something unexpected, a place where every time you go, find something new,” says Wanders.

Villa Moda shopping center interior design

Beads from the East
The unique facade that resembles oval pearls, also carries its message – it is analogue with the glory of Bahrain as the “pearl of pearls on the market in the Middle East. Customers are greeted in a long narrow corridor that leads them into the heart of “Wandersland”. The ceilings are high and dramatic – everything is covered by handmade carpets, modular furniture and wallpapers that mimic the curves of traditional Arab motifs. “Yes, we have sought the help of local craftsmen, but not get me wrong! Make them draw things as they would never have done, “said Marcel Wanders. Among the unique workings is a sculptural element floral frame and interpretations behind a mosaic Bisazza.

Villa Moda- shopping center-luxury style

Shopping Games
“It’s like a playground for lovers of shopping,” said Sheikh Al-Sabah. “You can buy for ? 20 shirt or robe to ? 20,000 … You can get a Karim Rashid Vase or a book of Pierre Asulin – importantly, the atmosphere is unforgettable, locked Sheikh. Who said he can not buy happiness?

Villa Moda design photos

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LUXURY BOUTIQUE HOTEL IN NEW YORK

Sitting Room Gramercy park Hotel

For bohemians in New York is a favorite place for decades – Gramercy Park – the only private park in the metropolis. It on Lexington Avenue is located at a posh From hotels in the world – Gramercy Park Hotel. Whether because of their position or because of uncompromising luxury offering, the hotel is on the list of all the jet-set maniyatsi. “Calling card” is impressive – up is Ian Schrager Company in collaboration with artist and filmmaker Julian Shneybal and partnership of Hendaye and Karstin Andrew Bailey. Reference – Ian Schrager Company was founded five years ago by Jan Shreydzhar, whose portfolio included the legendary Studio 54 nightclub Palladium, founder of boutique hotels in the world – Morgans. “The hotel is home away from home, the hotel is a theater, I think of hotels as a way of life. I want to change the way people live, so create an environment for learning, as no one has ever created before. I am fascinated by passionate this, so always try to “break” the generally accepted concepts and to “conquer” uncharted territories “- says Yang.

Lobby

History lesson
Gramercy Park Hotel is the number one choice of travelers from high class since it opened in 1925 It is located on the same “sacred” place where the writer Edith Wharton and architect lived Stanfort White, a favorite spot for generations of writers and artists, musicians . Joseph Kennedy also lived in a hotel with his family, including the future 35th president of the United States. “This place has a long tradition. We have worked hard to preserve the DNA of the hotel because it has a very special place in the hearts of people – tells Shreydzhar. Today the Gramercy Park Hotel is the same hotel. Just now is better. ”

Restaurant

Hotel
“In 1984 we created Morgans – design hotel, which did not exist then. Now, more than ten years later, he was one of hundreds of exclusive designer hotels, interior, beyond all styles. This idea has” embraced “by most entrepreneurs and similar type hotels became the rule rather than the exception – says Shardzhar. – I anticipated the paradigm of change. Nothing could be more exclusive or more experimental than that because it was invented. This makes it impossible to distinguish itself as a brand because everything was available. designer hotel lost its character and uniqueness, and therefore the importance behind it. Everyone already had. ceased to be a particular alternative or opposite of statutkvoto. Now the only way to distinguish yourself is being yourself and chasing completely personal vision … one that will set, formalities form without following any rules and not part of a group. The Gramercy Park Hotel is finally design hotel, he Apotheosis of characteristic . organized wonderland evocative, unique as a fingerprint. A new genre of hotel, a new era of individualism where personal expression, authenticity, the original substance and meaning are most important. Gramercy Park Hotel is an oasis, Twelve revolutionary new concept for how in which people must live. ”

Table

Bohemian Rhapsody
The most valuable project that does not offer any another “art” solution, nor enter into the category “cool”. Gramercy Hotel actually has a really class – something increasingly elusive in our struggle for brand image, which is like. “This is not art hotel. Nothing that reminds of how artists live and work. There is a big difference. Walking inside, the experience is similar to the adventure that awaits you in the studio or house painter, artist. The Gramercy Park Hotel is mature, confident temple of the “new”, the posh bohemians such as Peggy Guggenheim and Dominique de varies. Breathed his new radical classicism … The style can be described only as a rock with baroque elements. Most importantly is the epicenter of a new paradigm – the indicator for a new era in which people who are bored by the eccentric term “super cruel, are hungry for something new with real strength and uniqueness of character behind it.

Suite

For luxury … with love
“This is a new era of luxury. Luxury is not measured only by the price he has experience. A hotel should make you feel special. I think I everything I’ve ever done, and I put it in this hotel

For art
More in our welcoming lobby with a spectacular exhibition of art works of art of XX century, including Sai Tuombli, Andy Warhol, Jean-Michel Baskin, Deymien Hirst, Richard Prince and Dzhuliyan Shneybal. Those works are changed periodically. “This idea is valuable because it allows a wide range of people to experience art in new ways – says Shreydzhar.
Gramercy Park Hotel has 185 rooms, including six apartments, one penthouse and one exclusive suite with a huge terrace. Prices per night start at $ 425.

For eclecticism
In the spirit of charming European hotels, each room is designed with a different decor in bright renesnsova provocative palette. “Seemingly random combinations are surreal elements and modern furniture from centuries past, creating an alternative universe that looks like a 3D picture. Tranformirana Classical vocabulary is a new sharp tongue – Shreydzhar shares. Effect of the eclectic mix of luxurious textures and rough plaster, Moroccan tiles and hand-woven carpets, and is reinforced by the choice of old furniture that have a total redesign. Classical furniture with vision are arranged in surprising combination of original paintings by Schnabel and products Ba’th Martin. And Rose Bar Jade Bar, two of the most original rooms in the hotel, is one of the most popular clubs in New bohemians York.Every hotel guests have access to the legendary Gramercy Park-the only one private park in New York. For the most exclusive hotel experience offers a unique private club on the roof.

New spirit
“This new modernism is irrational, emotional, intuitive – everything that is not the old modernism not color the walls are what excites me. Has never been so. It’s about to grab the spirit of time” – says Shreydzhar.

Suite

Modern Lobby Interior Decorating Ideas
Luxury Celebrity Home Design
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AMAZING APARTMENT INTERIOR DESIGN

Amazing and luxury apartment interior design

The apartment is located in Sofia area of 330 square meters, and actually three apartments combined into one. The interior design was done by designers Antonia Ludmil Alexandrov and Alexandrova studio of Interior Design TXT poetry and has named Susanna.

Facilities and materials
The floor throughout the apartment is marble. There are two marble panels on the floor in the hallway. Water column is lined with glass mosaic imported from Italy. The system (collectors, pumps, installation) is made of firm SPSwatergroup, drawing on designers. Ceiling stretched ceiling company Decomat. Ornaments on the walls are made with a water cut vodoustoichiv material (staklomagnezit) as one side of the corridor is very ornament, while the other – his “cut”. This ceiling is again stretched ceiling of the same company. Ornament is a water cut from waterproof materials, painted and hung on the ceiling after the tension. In the dining area has a ceramic panel, also imported from abroad. The living room is separated from the corridor with glass portal with two sliding doors. Decoration of glass is constructed in pesakostruyka loner project complies with this interior. The walls in the hallway, living room and bedroom were filled with plaster with satin effect with decorative paint company Valpaint. Executed is the same company. In tapezariyata wall is made of laser cut panels and inox color painted joints between them. Column in the hallway is lined in a glass mosaic of small pieces of different sizes. Water runs down from all sides of the column. By integrating different styles of spaces throughout the interior corridor. This is the first thing a visitor sees every request and designers, he was not impressed.

Dining room interior decor ideas

Furniture
The living room and dining room upholstered furniture chandeliers imported directly from abroad. Furniture, ceramics and carpet in the bedroom were also imported from abroad. The kitchen is made in project design and designers abroad and vposredstvie installed in Bulgaria. The doors of kitchen furniture are made in technology vakumfolio on MDF. The back of the kitchen – black glass is lakobel by “Kristian Neiko. All built-in furniture in the apartment were made by Bulgarian producers. Furniture in children’s rooms are also imported from abroad. The “pink” room for two of the walls are painted flowers such as the veil. Accessories are Genesis, Verrsus, Home studio. Pot with bonzai China is in firm Lechuza Plant design, a bonsai is very firm Tilia.

Luxury apartment style

Difficulties
“The biggest difficulty in implementing the project were received from the fact that we were absolute pioneers in the implementation of two of the preliminary interior. These are: the water column in the hallway – because of specific design and decoration and mostly decorative hanging ornament in the stretched canvas on the ceiling in the living room. It was a different and hopefully innovative and aesthetically. In reality, due to its huge size, this ornament does an impressive, forward excitement of the successful outcome of Antonia Alensandrova Interior Design TXT.

Living room furniture in art deco style with black leather art wall decor

Project against reality
According to the designers no significant difference between the original draft and the final realization, the idea has been followed. The margin of difference is obtained by purchasing part of the furniture. Their personal opinion is that 3D projects not confuse customers, but rather their presence makes communication between the ideas of the designer and the client easier. And that the more unusual is an idea, the more necessary it is 3D-for it to be understood by the client.

Kitchen interior ideas

Amazing stylish bedroom interior design

Best luxury bedroom interior design

Guest bedroom interior design ideas

Kinder room colorful interior design

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Penthouse in nature for millions

Freedom is the driving force behind the decision of the interior of this penthouse, in the words of Milena Mileva by Aqua Graphics, designer of the project. Made a conscious desire for freedom – freedom of beliefs, tastes and dreams. The apartment is located on the sixth floor of the building of new construction located in Boyana in Sofia and covers an area of 500 square meters as has a garden of 8000 sq.m. With entry into the apartment most vivid impression 4 meters high ceilings, huge windows, taken to a spacious balcony that reveals the unspoiled nature around. The selection of colors in brown, white, black, red accents with multiple, seemingly looking for nonstandard cozy home, but their precise combination chosen brings a sense of luxury.

Luxury apartment, modern interior design

Distribution
The apartment is covered in the entrance hall, living room and conducted to three separate corners, kitchen (with an impressive approach to the storage room), guest toilet, two bedrooms with bathrooms and walk towards them, and additional storage room. The whole house is surrounded by terraces.

Luxury interior design and decorating ideas

Furniture and materials

In the spaces are mainly used natural materials – stone and wood in many species sufistitsiran. Small part of the corpus furniture has been made in Bulgaria. Most of the furniture factories are known and designers – Boffi, Molteni, Tre-Piu … realization of their owner searches, together with the talented Bulgarian designer furniture found at Roche Bobois, in parketa of Element 7 lighting system from Lutron, Murano sink in the bathroom. Bath and fireplace located in the master bedroom are from Devon & Devon.

Difficulties and solutions
The biggest difficulties Milena Mileva met when the project was the coordination of construction companies and interior teams in the process of execution itself. Clearly is that the volume of light and space are the solutions in the interior, and that like most, and that watching it is not yet completed would have changed anything in it.

Modern living room interior design with luxury fresh furniture minimalist design

Customer
According to Milena Mileva significant difference between initial and final project implementation almost none. It has long been aware of the client, which led to work in unison and then to the absence of a logical compromise. “3D projects usually want people who can not imagine how the space would look like a drawing or a combination of a scale drawing and photographs. In general 3D project does not provide exactly the actual volume of the premises, unnecessary lost time, but depending on the situation can be decisive. In this case, customers do not want such a project.

Bedroom Modern interior design

Ideas and inspiration
The project is hath Milena ideas and inspiration from the very situation of the house – the last floor, amazing view, great space. Is searching for the latest trends in furnishings and materials and determine the style of a modern home with eclectic touches, clean … “If I had a word with which they liken to a dwelling, it would be … Freedom. Well said. Omitted to say only that its price is 1.2 million euros.

Kitchen interior decorating and luxury ideas

Super Stylish Bathrooms interior design

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