J. Mueller

Bartels - Interior Sliding Systems and Room Dividers Source

Wed, 17 Apr 2013 12:57:49 -0400

Bartels - Interior Sliding Systems and Room Dividers

DAILY PRODUCT PICK: U-Line’s modular refrigerators allow...

Wed, 17 Apr 2013 12:00:23 -0400

DAILY PRODUCT PICK: U-Line’s modular refrigerators allow you to seamlessly incorporate food storage under counters in just about any kitchen layout.

http://productfind.interiordesign.net/products/8848-u-line-3018rf3036rr-18-and-36-modular-refrigerator/

No. 5. Firm: Richard Meier & Partners Architects. Site:...

Tue, 16 Apr 2013 19:55:40 -0400

No. 5. Firm: Richard Meier & Partners Architects. Site: Bergamo, Italy. Idea: The iLab headquarters for Italcementi, one of the top concrete manufacturers in the world, is rocksolid but startlingly airy, too. The 250,000-square-foot building is constructed with a high strength, low maintenance reinforced concrete that Italcementi developed specifically for it. Photo: Scott Frances/Otto. From “100 Big Ideas”.

Firm: El Equipo Creativo. Site: Barcelona, Spain. Idea: The 2,700-square-foot interior of Ikibana restaurant references Japanese flower-arranging, using all parts of a plant to emphasize line and form: petal-shape tables, decorative foliage and a canopy of sinuous hardwood “branches.” Photo: Adrià Goula. From “100 Big Ideas”.

Filip Dujardin assembled D’Ville 001 out of 19th-century houses in Deauville, a resort town on France’s northeastern coast. Photo: Courtesy of the artist and the Highlight Gallery. From “Photographic Constructions by Filip Dujardin”.

Firm: Iroje KHM Architects. SIte: Seoul, South Korea. Idea: A clients’ respect for classic Korean architecture conflicted with a strong desire for both high security and the latest in design and technology. To reconcile these opposites, a 3,600-square-foot home encircles a 2,200-square-foot courtyard to maximize light penetration and air circulation. Photo: Sergio Pirrone. From “100 Big Ideas”.

D’Ville 005 transports an inland apartment house onto the beach. Photo: Courtesy of the artist and the Highlight Gallery. From “Photographic Constructions by Filip Dujardin.”

Firm: Ann Hamilton. Site: New York, NY. Idea: As swings dangled from the wrought-iron trusses of the Park Avenue Armory, its drill hall morphed into a playground called “The Event of a Thread.” Photo: James Ewing. From “100 Big Ideas”.

Guimarães 008’s shanties, digitally collaged from shots of assorted walls, stack up beneath a toll bridge in the northern Portuguese city. Photo: Courtesy of the artist and the Highlight Gallery. From “Photographic Constructions by Filip Dujardin”.

Firm: UID Architects. Site: Fukuyama, Japan. Idea: A house set in a suburban development in Fukuyama is constructed so the back of the two-level, 1,350-square-foot structure extends into unspoiled woods. Photo: Sergio Perrone. From “100 Big Ideas”.

Source

Statler City Hotel, Buffalo, NY Completed in 1923 to designs by...

Thu, 11 Apr 2013 07:16:00 -0400

Statler City Hotel, Buffalo, NY

Completed in 1923 to designs by George B. Post & Sons, the Hotel Statler was the successor to Ellsworth Statler’s first hotel, which opened in Buffalo in 1908. The new hotel’s interiors exemplified the elegant “Statler style” that blended Italian and English Renaissanceinfluences. It also featured the modern innovations, notably a bath in every room, that made Statler hotels the new standard of lodging in America. Located in the heart of downtown overlooking historic Niagara Square, the grand hotel was a jewel of the national Statler chain. It also served as a social center for generations of Buffalonians.

Significance

The Hotel Statler is an outstanding example of the early 20th century hotel by one of the foremost hotel innovators in American history. Completed in 1923, it was a gift from “America’s Extraordinary Hotelman” to his adopted city of Buffalo, NY. Ellsworth M. Statler came from humble beginnings in Ohio and West Virginia, and through hard work, shrewd business decisions, creative use of advertising, and adherence to high standards for his employees and their treatment of his customers, built one of the most successful hotel chains in the United States.

The company he founded built ten hotels and managed the colossal Hotel Pennsylvania in New York City; five of these properties are still functioning hotels, one is an apartment complex, three have been demolished, and one was on the National Trust for Historic Preservation’s 2008 list of 11 Most Endangered (Dallas Statler).

E.M. Statler’s innovations in the hotel industry - providing extraordinary conveniences for middle-class travelers in buildings designed by top American architects - earned him the title of “Hotel Man of the Half Century” in the 1950s, a quarter century after his death in 1928.

The 1923 Statler Hotel was the second hotel E.M. Statler built in Buffalo. In 1907, he built the first Hotel Statler, which revolutionized hotel design and set the standard for major hotels for decades to come. Devising the “Statler Plumbing Shaft,” he was the first to provide a bath for every guest room while maintaining reasonable rental rates. Each room was also provided with piped ice water, a closet with a light, a towel hook next to each sink, free stationery, newspaper, and later, telephones and radios. Staff were thoroughly trained to provide excellent service.

The success of this hotel prompted business leaders in other major American cities to entice Statler to build one of his hotels in their towns; by 1919, Statler had built hotels in Cleveland, Detroit, and St. Louis, and was operating the Pennsylvania Hotel in New York City.

Despite requests from Boston and Chicago, Statler decided to build his biggest hotel to date in his adopted city. The location of the Hotel Statler in Buffalo is a key aspect of its significance. By 1920, Buffalo was booming and Statler thought that the civic and political heart of the city would shift from Main Street to Niagara Square. Anticipating this, he bought an entire block on the square and began construction on his $8-million, 1,100-room hotel in 1921. To ensure its success, he bought and closed his main rival, the Iroquois Hotel, thus guaranteeing that the elite of Buffalo would frequent his establishment and make it the social center for the city. His building anticipated Buffalo’s magnificent [1931] City Hall by just a few years, and today is a major part of the streetscape that surrounds Niagara Square.

The new 10-story federal courthouse being built on the corner opposite the hotel has been designed specifically to pay homage to this local landmark.

For his second Buffalo hotel, Statler engaged the prominent New York City firm of George B. Post and Sons [Post also designed the demolished Erie County Savings Bank], with Louis Rorimer designing its interior. They created a stately Adamesque edifice with elaborate, revival style interiors. The hotel boasted a ballroom, four dining rooms, a lounge, tea room, cafeteria, swimming pool, Turkish bath and a 24-chair barber shop. Its massive lobby with a 28-foot ceiling was adorned with Botticino marble in the style of the Italian Renaissance.

It immediately became the city’s most luxurious hotel, and for decades remained the social center for Buffalonians. The building is unique in the region. It has hosted multiple presidential visits, enabled business and commerce, even facilitated birth of an international organization (Zonta International) and Grammy-nominated recordings. There are other major hotels from earlier and later periods, but none that so fully express Buffalo’s exuberance, ambition, and graceful accommodations of the 1920s.

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Lafayette Hotel, Buffalo, NY. This space was recently renovated ...

Thu, 11 Apr 2013 07:00:56 -0400

Lafayette Hotel, Buffalo, NY. This space was recently renovated it is in the basement of the hotel, the only thing that existed before the renovation was a concrete floor.

Lafayette Hotel, Buffalo, NY More information about this hotel...

Thu, 11 Apr 2013 06:55:00 -0400

Lafayette Hotel, Buffalo, NY

More information about this hotel can be found here

Lafayette Hotel, Buffalo, NY The Hotel Lafayette was recently...

Wed, 10 Apr 2013 23:14:00 -0400

Lafayette Hotel, Buffalo, NY

The Hotel Lafayette was recently added to the National Register of Historic Places. Developer Rocco Termini has converted the historic property into a mix of banquet and restaurant space, a boutique hotel and apartments. Though faded, the structure was recognized as the most important extant design of Louise Bethune (1856-1913), the first female in the United States to be officially recognized as a professional architect by the American Institute of Architects (1888; Fellow in 1889) and the Western Association of Architects (1885), the two professionally accepted organizations during late-nineteenth century. The original Lafayette Hotel was just half the size of the building than stands today as a series of additions were completed after it opened.

The Lafayette is significant as one of the finest examples of a grand early-Twentieth Century hotel in the City of Buffalo and a remarkably intact example of the French Renaissance style of architecture. Nationally, the period of significance has been set from 1902, the beginning of Louis Bethune’s involvement in the building’s design, until 1929, when the last alteration to the building was completed in harmony to the original Bethune design. Locally, the building’s period of significance begins in 1900, when the foundation was laid in preparation for the Pan American Exposition, until 1946, when the hotel underwent a series of interior updates during the World War II period.

The Hotel Lafayette is a seven-story building designed in the French renaissance style with richly decorated facades on Washington, Clinton and Ellicott Streets made of vitreous red brick and semi-glazed white terra cotta. The principal building was constructed between 1902 and 1911 by the architectural firm of Bethune, Bethune, & Fuchs of Buffalo, with two smaller, sympathetically designed additions by the Buffalo firm of Esenwein & Johnson in 1916-17 and 1924-26.

Hotels in Buffalo at the Turn of the Twentieth Century
Downtown Buffalo had an array of transient accommodations at the dawn of the Twentieth Century. Many were located near the southern side of the business core, near the railroad stations. Most predated the Civil War, including the Mansion House (c. 1840, owned by Philipp Dorsheimer, friend of Abraham Lincoln) at Main and Exchange Streets and the United States Hotel, (c. 1840) on the Lower Terrace at Pearl Street. There were also accommodations further up town, such as the Tifft House (1865), located on Main Street just north of Lafayette Square. The grandest hotels in downtown Buffalo, all of which were more than ten years old in 1900, were the Genesee Hotel (1882) at Main and Genesee Streets, the Broezel Hotel (1889) at Seneca and Wells Streets and the Iroquois (1889) at Main and Eagle Streets. The latter was the premier hostelry in the city. Unfortunately, all of these hotels have been demolished.

The approach of the 1901 Pan-American Exposition produced a great increase in hotel rooms to accommodate the anticipated crowds. Much of the increase, however, resulted from the remodeling of existing buildings. Practically every significant apartment building erected during the preceding decade was converted into a hotel, and several remained apartment hotels after the close of the exposition. One such example is the Lenox Hotel of 1896 at 150 North Street. Temporary hotels were also built, and several existing downtown hotels received additions. Most notably, the Iroquois Hotel was enlarged by a three-story, steel-framed Mansard roof perched atop the original load bearing walls. At the same time, the principal spaces of the ground floor were completely rebuilt. Many schemes for new hotel buildings were also floated, but only one, the Hotel Lafayette, came to fruition, and that was after the Exposition closed.

Early Plans for the Hotel Lafayette, 1899-1901
The Hotel Lafayette had an unusually long gestation period. In early 1899, plans were first noted for a hotel at the southeast corner of Washington and Clinton Streets, then occupied by the Eglise Francaise St. Pierre (1844), a small brick building commonly known as the “French church.” The architect for the project, that might have included a theater, was H. H. Little. By the fall of 1899, another local firm, Bethune, Bethune & Fuchs, were noted as architects for the hotel, which was now projected to be twelve stories tall and contain 300 guest rooms and to have no theater.

Although one of the most prominent architectural offices in Buffalo, Bethune, Bethune & Fuchs had little experience with planning and designing such a complicated building type as a grand hotel. Their choice as designers for the project may have been due to the fact that two of the promoters of the scheme, Charles A. Pooley and Joseph A. Oaks, were also directors of the Jav-O Cereal Coffee Company. In 1898, Bethune, Bethune & Fuchs had designed their factory (demolished) on Grote Street. The following year, the firm had also designed a house (demolished) for Joseph Oaks at 281 Parkside Avenue.

The developers anticipated that the new hotel would be ready in time to receive visitors to the Pan-American Exposition. This major international fair celebrating the arrival of the United States as a world power after the Spanish American War, was set to open in the spring of 1901. However, the architects’ limited experience in hotel design and the short construction schedule made this deadline problematic. In April 1900, the investors abandoned the Buffalo firm and replaced them with Henry Ives Cobb, a Chicago architect with a national reputation.

Cobb’s design called for a nine-story building with an additional story at the corner and a two-story rotunda for a lobby. By the summer of 1900, under Cobb’s direction, the church was demolished and two walls of the hotel’s foundations were built. However, soon after, financing collapsed and all construction ceased. At the opening of the Pan-American Exposition in early 1901, there was only a large hole in the ground at the corner of Washington and Clinton Streets where the hotel should have stood.

The Initial Building, 1901-1904, by Bethune, Bethune & Fuchs
In the summer of 1901, two of the original promoters, Charles J. Spaulding and Joseph A. Oaks, revived the hotel project. Bethune, Bethune & Fuchs were once again engaged as architects and visited many of the finest hotels in the country before completing their plans. Financing was still a problem until the summer of 1902, when Walter B. Duffy of Rochester stepped in to fund the entire project as an investment. One of the most prominent distillers in the nation, Duffy was the millionaire producer of Duffy’s Malt Whiskey. With funding secured, the plans were completed and filed on September 6, 1902. Work began at the end of that month.

The final design was for a fireproof seven-story, steel frame and concrete building that contemporaries described as in the French Renaissance in style of architecture. This style of architecture was introduced to France in the sixteenth century, as the developments in Italian High Renaissance architecture moved into Northern Europe.

When the hotel opened for business in 1904, the one-million-dollar structure was touted in the national press as “one of the most perfectly appointed and magnificent hotels in the country.” The principal entrance was at the northwest corner, facing Lafayette Square. From here, one entered the main lobby, which occupied the northwest corner of the first floor, extending 72 feet on Washington Street and 84 feet on Clinton Street. (This grand Neo-Classical lobby was replaced in 1942 by the present Art Moderne style lobby. Part of the original lobby was remodeled for commercial space.) The carriage entrance was at the middle of the Washington Street façade. All of the principal public rooms on the ground floor were richly decorated, and received natural light from enormous windows overlooking the street and from large skylights located in light courts.

The principal exterior material was dark red vitreous brick, supplied by John H. Black of Buffalo; it was trimmed with a generous amount of semi-glazed ivory white terra cotta manufactured by the Excelsior Terra Cotta Co. The first and seventh floors were almost entirely sheathed in terra cotta, which was also used extensively at the corners through all floors. The marquises over the entrances facing Lafayette Square, the carriage porch on Washington Street, and the numerous window balconies were of decorative wrought iron made by August Feine of Buffalo.

When it opened, the building extended 122½ feet on Washington Street and 147 feet on Clinton Street. (The original east end of the building was just beyond the vertical band of terra cotta in the center of the present north elevation.) The new hotel, however, did not remain this size for long. The popularity of the Hotel Lafayette led to its being expanded and remodeled several times in its heyday.

Source: National Register of Historic Places Registration Form, prepared by consultants Martin Wachaldo & Frank Kowsky and Daniel McEneny, New York State Historic Preservation Office.

Resource

dezeen: Xi’an Westin Hotel by Neri&Hu Photography by Pedro...

Sat, 09 Mar 2013 20:02:22 -0500

dezeen:

Xi’an Westin Hotel by Neri&Hu

Photography by Pedro Pegenaute

escapekit: Palm Spring mansion of the late Bob Hope A retro...

Sat, 09 Mar 2013 19:57:57 -0500

escapekit:

Palm Spring mansion of the late Bob Hope

A retro modern gem, this residence is primarily constructed of concrete and glass. A sweeping rounded structure sits atop it all and creates a massive organic awning around the home with a keyhole right at the top. It’s a home made for entertaining during the warm Summer Palm Springs nights complete with a fireplace and expansive patio areas.

enochliew: M3A2 Cultural and Community Tower by Antonini+Darmon...

Sat, 09 Mar 2013 19:57:18 -0500

enochliew:

M3A2 Cultural and Community Tower by Antonini+Darmon Architectes

The reflective yet translucent façade of perforated corrugated metal skin allows the solid volume to seem lightweight and ephemeral.

architizer: Renowned Photographer Balthazar Korab Dies, Leaves...

Wed, 16 Jan 2013 21:33:55 -0500

Image from “Balthazar Korab: Architect of Photography” by John Comazzi; Princeton Architectural Press

Image from “Balthazar Korab: Architect of Photography” by John Comazzi; Princeton Architectural Press

Image from “Balthazar Korab: Architect of Photography” by John Comazzi; Princeton Architectural Press

Image from “Balthazar Korab: Architect of Photography” by John Comazzi; Princeton Architectural Press

architizer:

Renowned Photographer Balthazar Korab Dies, Leaves Incredible Legacy

Cornell releases preliminary renderings of NYC Tech Campus

Fri, 07 Dec 2012 07:06:33 -0500

The central campus esplanade with large open space, a key feature of the proposed campus plan. © Kilograph

To celebrate the start of a seven-month land use review process, Cornell has released preliminary renderings of the first academic building planned for Cornell Tech – the new world-class technology and entrepreneurship campus in New York City that was masterplanned by Skidmore, Owings and Merrill (SOM).

The modern campus strives to rethink academic workspace, prioritize environmental performance, and exploit the unique urban condition of Roosevelt Island. In May, Pritzker Prize laureate Thom Mayne, founder of Morphosis, was appointed as architect of the first landmark building, which will set the stage for the carbon positive campus.

The tech plaza, with the first academic building and proposed solar canopy in the background. © Kilograph

“Just as Cornell Tech will be pioneering new approaches to graduate research and education, our campus won’t look like any other university campus that exists today,” said Daniel Huttenlocher, dean of Cornell Tech. “We are determined to innovate in every aspect of the development, from the way that students, faculty, researchers, industry and the community are intermingled, to the sustainability of our buildings and their iconic architecture.”

Construction on Roosevelt Island is expected to begin in 2014, with the first phase of the campus due to open in 2017. Current plans for Phase I will include the first academic building, a corporate co-location building, an executive education center with hotel facilities, a residential building for students, faculty, and staff, as well as more than one acre of public open space.

A rendering of the interior of the first academic building, with views across the East River and down 57th Street in Manhattan. © Morphosis

The Morphosis-designed academic building will incorporate the latest environmental advances, such as geothermal and solar power, to achieve net-zero and to harvest as much energy as it consumes.

The lush campus is designed to be open to everyone. A new pedestrian walk, connecting the campus to the city, will open up to a series of large public spaces. The route of the esplanade will capture views of the Manhattan and Queens skylines, as it links to the Southpoint and Kahn’s newly constructed Four Freedoms park at the Island’s southern tip – which will open this month, more information here.

When completed in 2037, the campus will include up to 2.1 million square feet housing approximately 2,000 full-time graduate students.

The tech plaza, with the first academic building and proposed solar canopy in the background. © Kilograph

designsbyfranklloydwright: Solomon R. Guggenheim Museum, New...

Sun, 11 Nov 2012 20:07:57 -0500

designsbyfranklloydwright:

Solomon R. Guggenheim Museum, New York City, 1959. Frank Lloyd Wright.

fuckyeahawesomehouses: cityhomeCollective Loft

Sun, 11 Nov 2012 20:02:17 -0500

fuckyeahawesomehouses:

cityhomeCollective Loft

STUNNING HOME LIBRARIES

Tue, 30 Oct 2012 22:21:00 -0400

Whether it holds a few shelves of favorite reads or floor-to-ceiling first editions, a home library is a window into the mind—and style—of its owner. We’ve rounded up more than a dozen book-filled rooms from the pages of AD that are studies in perfection

Text by Kate Jerde

It “makes vague reference to the classical Ionic order,” Katherine Newman says of the library in a postmodern Toronto house she designed with architectural designer/builder Peter Cebulak. The room’s finely carved capitals are complemented by a great number of noteworthy antiques, among them a circa 1790 satinwood worktable.

Photo: Tony Soluri

“I wanted to have a library that doubled as a dining room, where I could be surrounded by the books I love,” says best-selling author and historian Barbara Goldsmith, who hired interior designer Mica Ertegün to update and decorate her Park Avenueapartment.

Photo: Peter Aaron/Esto

In Washington, D.C.’s Georgetown neighborhood, Simon Jacobsen, a partner at Jacobsen Architecture, joined two 1863 row houses, creating aresidence for him and his family. A living room was transformed into a library with egg-cratelike shelving, chairs and tables by Le Corbusier and Eames, and a desk designed by the architect.

Photo: Robert C. Lautman

Designer Stephen Shadley and actress Diane Keaton, who has a passion for restoring old California homes, turned the double-height entrance hall of her Spanish Colonial Revival house in Beverly Hills into an entrance library, filling it with pots and other artifacts as well as books devoted to the visual arts. “The library sets the mood,” explains Shadley. “It’s a distillation of everything that goes on in the house.”

Photo: Scott Frances

In a 17,500-square-foot penthouse overlooking the port of Monte Carlo, Martin Kemp, head designer atCandy & Candy, produced an opulent yet inviting library in a once-cavernous space. Kemp chose the vast numbers of antiquarian and modern books for the room, which he confessed was “no chore, because I love books.”

Photo: Andrew Twort

At a house she remodeled in California’s Carmel Valley, designer Sally Sirkin Lewis encircled the library with shelves, added French doors to bring in views of the lush landscape, and outfitted the space with Le Corbusier Grand Confort armchairs.

Photo: Ken Hayden

Architect David Ling renovated an Upper East Side apartment for a bibliophile neurosurgeon and incorporated a rare-book library—which Ling described as “the centerpiece of the design”—to the mix. Medical books, some dating to the 15th century, line the modern shelves. The sitting area features a Mies van der Rohe Barcelona table surrounded by a Le Corbusier love seat and sling-back chairs.

Photo: Durston Saylor

Among the improvements designer Friederike Kemp Biggs (with architect George W. Sweeney) made to her penthouse on Manhattan’s Upper East Side was adding a mahogany-paneled library. The favorite retreat of her husband, Jeremy, the room features an antique desk and a flat-screen TV concealed behind faux book bindings. There is an inscription on the ceiling adapted from a letter Thomas Jefferson wrote to John Adams in 1815: “I cannot live without my books.”

Photo: Derry Moore

New York City decorator Thomas Jayne restored a 19th-century house in Philadelphia to its former glory. In the library, where French Empire chairs flank an English Regency table, the bookshelf also serves as a backdrop for art.

Photo: Pieter Estersohn

At a 1912 McKim, Mead & White building in Manhattan, Alexa Hampton installed custom bookcases that curve with the walls of the oval library. Gracing the space is a jewel-like metal frieze, while the curtains and tufted love seats, covered in powder-blue cotton velvet, add a gentle dose of color.

Photo: Kim Sargent

Architect Margaret Griffin, in collaboration with architect Elyse Grinstein, renovated a home on Los Angeles’s West Side, an area that has natural creeks and groves of indigenous trees. The star tree here is a 300-year-old sycamore that shades a small spring and lush slope in back. The snug library “started out with a full brick wall facing the tree,” explains the owner, but the brick was replaced by sheets of glass to bridge the room’s connection to the outdoors.

Photo: Arthur Matthew Gray

After Hurricane Katrina, designer Richard Keith Langham revisited and refreshed a Mississippi house he first decorated two decades ago. DealerKinsey Marable built the library’s varied book collection based on the owner’s interests; he also supplied the 19th-century ladder and antique globe.

Photo: Pieter Estersohn

For a house on Harbour Island in the Bahamas, Lea Ciavarra and Anne Marie Lubrano, of Lubrano Ciavarra Architects, utilized Bahamian colonial-era details and natural materials. The central gathering place is the soaring two-story library, a cube measuring 24 feet in all directions. As in most other portions of the house, the room is lined with dense, termite-resistant South American ipê wood.

Photo: Steven Brooke

A NORTH CAROLINA HOME GETS A STYLISH AND SUBTLE MAKEOVER

Tue, 30 Oct 2012 22:11:16 -0400

Using graphic prints, muted colors, and a Warhol or two, architect Russell Groves gives a baroquely appointed spec house a new look for a cosmetics executive and her family

Text by Dan Shaw |Photography by Simon Upton |Produced by Howard Christian

Melisse Shaban, left, and Jane Elizabeth Phillips asked architect and designer Russell Groves to recast a Raleigh, North Carolina, house to suit their taste.

The living room.

Groves removed the living room’s ornate chandelier and replaced the mantel with a streamlined marble piece flanked by Liz O’Brien Editions armchairs in aLee Jofa linen.

In the dining room, a Phillip Jeffries hemp wall covering provides a vibrant backdrop for a pair of Donald Sultan “Smoke Rings” photographs and a painting by Cynthia Pimentel Council; the rock-crystal pendant light is by CL Sterling & Son, the vintage Edward Wormley dining chairs are covered in a Jim Thompson silk, and the rug is by Patterson, Flynn & Martin.

The kitchen.

Shaban and Phillips were not fans of the kitchen’s original finishes and details, so Groves lacquered the cabinetry and the panels of the Sub-Zerorefrigerator in glossy white and installed thick Carrara-marble counters with straight edges, as well as industrial-style Restoration Hardware light fixtures and sleek Walker Zabriskie Furniture stools.

The guest bed, dressed in Restoration Hardware matelassé linens, is paired with a vintage Eames-style desk; the throw is by Anichini.

cabbagerose: casa claudia via: evelynmuller

Tue, 30 Oct 2012 21:21:10 -0400

cabbagerose:

casa claudia

via: evelynmuller

My Rendering on a Billboard!!

Fri, 24 Aug 2012 21:31:06 -0400

A rendering I completed was later placed on a billboard. Below is an image of the rendering.The rendering was completed using Google Sketch-Up with the plug-in Shaderlight.

Early Advertising Artworks By Dr. Seuss - DesignTAXI.com

Tue, 14 Aug 2012 19:55:36 -0400

Early Advertising Artworks By Dr. Seuss - DesignTAXI.com:

Did you know that Theodor Seuss Geisel (aka Dr. Seuss) was an advertising illustrator for magazines before he found fame as a children’s book author?

In a website titled ‘The Advertising Artwork of Dr. Seuss’ by the University of California, San Diego, it contains a trove of early advertising works illustrated by Dr. Seuss for major companies such as Ford, NBC and ESSO.

Most of his early advertising works already feature his signature style of drawing—as well as a few of his beloved characters from his books.

Trollstigen National Tourist Route, Romsdalen, Norway

Tue, 14 Aug 2012 19:51:22 -0400

Reilf Ramstad Architects’ Trollstigen National Tourist Route, Romsdalen, Norway, 2010. Photo by diephotodesigner.de.