Lighting: SATTLER

SATTLER

Sattler team design team consists of creative talent, Ulrich Sattler, and Sattler team internal and external designers. In a reciprocal process of work, conceptual designs and new developments are created, which consistently follow the  principle of “Nothing gets developed which already exists on the market in the exact same or in a comparable form.”. Following this principle has continuously enabled Sattler team to surprise the market with new developments and innovations in the last few years and has helped the team to establish the design ideas as an integral part of the lighting industry.

Sattler Team lighting design inspire my Japanese sleep/ study room design because if the shape the and light balance the colour of my room design. My sleeping/study room design is focus on the dimension of shape, wooden dark colour and modern design to combine the concept of Japanese traditional and modern into one design.

Here are some of the Sattler Team Lighting designs:

SKY

Aluminium profile frame, powder-coated in white
Bottom cover with translucent double layer film (fire rating B1)
Revisable through snap-in-system

Mounting:
Surface-mounted, or pendant with 5000mm/196.8″ steel cable suspension

Lamping:
LED neutralwhite 4000 K (69)

Size mm/ inch:
1243 x 1243 x 85 / 48.9 x 48.9 x 3.3

Optional:
LED-technology 24V warmwhite 3000 K (63)
LED-technology 24V coldwhite 5000 (62)
Acoustic fabric for noise reduction, Dimmable 1-10V or DALI

Design:

SATTLER

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AVVENI DOWNLIGHT

Downlight, light head can be taken off and is fully adjustable through a magnetic hinge system. Light heads are available as flood or spot versions (9 degree beam angle with lenses for 25, 36, and 60 degrees).


Mounting:
Recessed in ceiling with external power supply

Lamping:
LED-technology 36V, CRI > 95, extra warmwhite 2700K (27), warmwhite 3000K (30), neutralwhite 4000K (40)
Dimming 0-10V

Design:
ULRICH SATTLER  /  MICHAEL SCHMIDT

 

Sattler-Avveni-Downlights

AVVENI FLOOR 3

Aluminium structure with three light heads. The light heads can be taken off and is fully adjustable through a magnetic hinge system. Light head is available as flood or spot versions (9 degree beam angle with lenses for 25, 36, and 60 degrees).

Mounting:
Floor lamp with power supply cable including country specific plug

Lamping:
LED-technology 36V, CRI > 95, extra warmwhite 2700K (27), warmwhite 3000K (30), neutralwhite 4000K (40)
Dimming 0-10V

Design:
ULRICH SATTLER / MICHAEL SCHMIDT

Sattler-Floor3c

AVVENI CEILING 2 ( symmetrical / asymmetrical )

Aluminium structure with 2 light heads. Each light head can be taken off and is fully adjustable through a magnetic hinge system. Light heads are available as flood or spot versions (9 degree beam angle with adaptors for 25, 36, and 60 degrees). Cable suspensions are adjustable.


Mounting:
Direct ceiling mounting with power supply unit in canopy

Design:
ULRICH SATTLER  /  MICHAEL SCHMIDT

Lamping:
LED-technology 36V, CRI > 95, extra warmwhite 2700K (27), warmwhite 3000K (30), neutralwhite 4000K (40)
Dimming 0-10V

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AVVENI DOWNLIGHT PURE

Light heads are available as flood or spot versions (9 degree beam angle with lenses for 25, 36, and 60 degrees).

Mounting:
Recessed in ceiling with external power supply

Lamping:
LED-technology 36V, CRI > 95, extra warmwhite 2700K (27), warmwhite 3000K (30), neutralwhite 4000K (40)

Design:

ULRICH SATTLER  /  MICHAEL SCHMIDT

Avveni-pure-downlight-1

The price are hardly to find on ragular internet. To find out the price please contact the Company or Click on this link : http://www.sattler-lighting.com/en/contact/

LINKS

http://www.sattler-lighting.com/en/

http://www.sattler-lighting.com/en/company/awards/

For more Information about SATTLER

More product: http://www.sattler-lighting.com/en/products/

SATTLER project: http://www.sattler-lighting.com/en/projects/

about SATTLER: http://www.sattler-lighting.com/en/company/sattler-story/

Material: http://www.sattler-lighting.com/en/company/material-details/

 

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Elysian Fields Designed by Dan Funderburgh.

 

Elysian Fields Designed by Dan Funderburgh

Elysian Fields is a dense, intricate floral that utilizes carnivorous plants and bats instead of roses and robins. We love the irreverence of these unexpected elements within the classic stylings of the pattern work. Chose Antique Pink on Oatmeal for a soft traditional look or Licorice for some serious edge.

Flavor Paper produces wallpaper by hand screened and digital printing, sometimes both for special projects. All aspects of production are in-house, so we can maintain our exacting perfectionist standards. We use water based or eco-solvent inks to be as green as possible and only print on the finest materials. Flavor Paper quality is unsurpassed.

 

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Dan Funderburgh

Dan Funderburgh is a Brooklyn-based illustrator, artist, and wallpaper designer. Dan was born in Seattle and reared in the Midwest, receiving a BFA from the University of Kansas with a focus in illustration. After moving to New York in 2001, Dan established a partnership with the now Brooklyn-based wallpaper studio Flavor Paper, where his designs are hand screen printed.
The wallpapers have been featured at the Museum of Art & Design and are a part of the permanent collections of the Cooper-Hewitt and Brooklyn Museum. He currently lives and works in Brooklyn.

Dan’s illustrations and patterns can be found in the permanent collection of the Brooklyn Museum, on Gravis bags and footwear, and now on watches and apparel from his recent collaboration with Nixon for their 2014 Holiday season. His designs are even hand screen printed by Brooklyn wallpaper studio Flavor Paper. He has clearly found his niche in the city that never sleeps, but what catches the eye of such a detail orientated artist? Funderburgh shares with us seven favorite Brooklyn spots.

Links

https://www.flavorpaper.com/wallpaper/patterns/handscreened/elysian-fields

http://www.debutart.com/artist/dan-funderburgh

http://www.monsterchildren.com/24831/top-7-brooklyn-spots-dan-funderburgh/

http://fromyourdesks.com/2012/10/09/dan-funderburgh/

https://www.instagram.com/dannyfunds/?hl=en

http://mocoloco.com/utilitarian-objects-by-dan-funderburgh/

Spatial Flooring for a Dinning room

 

Stone Flooring for a Dinning room

The sophisticated grey-brown tones of Pietra Bronzea limestone include striking bronze metallic inclusions. The nature of the product has made it the stone of choice for leading architects and designers.
Natural stone has been an all-time favourite for flooring and other applications. There have been several innovations in tile design but new technology has not been able to take away the charm and glory of natural stone flooring.
When you combine the enormous range of colours and textures of stone with the many different cuts and edge treatments available, you have an almost unlimited number of designer options to choose from. You can then choose whether or not you want a natural, semi-gloss or gloss surface treatment. Every stone floor is a unique work of craftsmanship.
In warm and hot climates, nothing is better than stone. If you experience cooler winters in your area, it gives you the opportunity to add area rugs during the cooler months, for a seasonal decorator change. If you prefer, you can even install a heated floor for warmth on even the coldest nights.
Unlike carpet floors, which often hide allergens that can be difficult or impossible to remove, stone floors can be easily vacuum cleaned or washed. This makes them a hygienic choice.
Yes, your initial investment in a stone floor is likely to be more expensive than most of the alternatives. However, when it comes to value for money, you will discover that there are many advantages to stone floors. They will last a lifetime and add tremendous value to your home should you decide to sell. In the long run, stone flooring is one of the most cost effective investments you can make in your home.

Screen Shot 2017-05-31 at 12.34.52 pm

Polardur Brushed:

An anthracite/grey quartz-limestone with 40% quartz and 60% limestone, Polardur is highly resistant and durable with a beautiful homogeneity in color (sprinkled with occasional very art-like white quartz-veining).

Price: If it was just a small project/ order (say for just one living room), we would probably price the Pietra Bronzea (brushed or honed finish) tiles at $130+GST per squ. metre and 20mm thick honed slab at $320+GST per sqm. (slabs vary in size, current ones are 2750x1500mm).

Brand: ArtedomusScreen Shot 2017-05-31 at 12.41.00 pm

Artedomus is Australia’s leading supplier of unique, high quality stone, tiles, architectural surfaces, bathware and furniture for commercial and residential architectural projects. 
Founded in 1985 as Domus Ceramics, the company was built to import exclusive Italian floor and wall finishes to Australia with a focus on sourcing unique products that have a simple and natural intrinsic beauty; shunning short-term fashions and trends. With this philosophy and resulting outstanding product offering, Domus soon became a source of reference and inspiration for leading architects and designers.

Links

http://www.wfm.co.in/what-are-the-advantages-and-disadvantages-of-natural-stone-flooring/

http://www.artedomus.com/products/?type=stone

http://www.artedomus.com

More information about Stone Flooring – http://www.artedomus.com/products/?type=stone

French Architecture: Le Corbusier

Le Corbusier

Charles-Édouard Jeanneret, known as Le Corbusier (Born October 6, 1887 – Died August 27, 1965), was a Swiss-French architect, designer, painter, urban planner, writer, and one of the pioneers of what is now called modern architecture. He was born in Switzerland and became a French citizen in 1930. His career spanned five decades; he constructed buildings in Europe, Japan, India, and North and South America.

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Travel and first houses (1905–1914)

Le Corbusier began teaching himself by going to the library to read about architecture and philosophy, by visiting museums, by sketching buildings, and by constructing them. In 1905, he and two other students, under the supervision of their teacher, René Chapallaz, designed and built his first house, the Villa Fallet, for the engraver Louis Fallet, a friend of his teacher Charles L’Eplattenier. Located on the forested hillside near Chaux-de-fonds. It was a large chalet with a steep roof in the local alpine style and carefully-crafted coloured geometric patterns on the façade. The success of this house led to his construction of two similar houses, the Villas Jacquemet and Stotzer, in the same area.

During World War I

Le Corbusier taught at his old school in La-Chaux-de-Fonds, He concentrated on theoretical architectural studies using modern techniques. In December 1914, along with the engineer Max Dubois, he began a serious study of the use of reinforced concrete as a building material. He had first discovered concrete working with Auguste Perret in Paris, but now wanted to use it in new ways.

Toward an Architecture (1920–1923)

In 1922 and 1923, Le Corbusier devoted himself to advocating his new concepts of architecture and urban planning in a series of polemical articles published in L’Esprit Nouveau. At the Paris Salon d’Automne in 1922, he presented his plan for the Ville Contemporaine, a model city for three million people, whose residents would live and work in a group of identical sixty-story tall apartment buildings surrounded by lower zig-zag apartment blocks and a large park. In 1923, he collected his essays from L’Esprit Nouveau published his first and most influential book, “Towards an Architecture”. He presented his ideas for the future of architecture in a series of maxims, declarations, and exhortations. commencing with “A grand epoch has just begun. There exists a new spirit. There already exist a crowd of works in the new spirit, they are found especially in industrial production. Architecture is suffocating in its current uses. “Styles” are a lie. Style is a unity of principles which animates all the work of a period and which result in a characteristic spirit…Our epoch determines each day its style.. Our eyes, unfortunately don’t know how to see it yet,” and his most famous maxim, “A house is a machine to live in.” Most of the many photographs and drawings in the book came from outside the world of traditional architecture; the cover showed the promenade deck of an ocean liner, while others showed racing cars, airplanes, factories, and the huge concrete and steel arches of zeppelin hangers.

World War II and Reconstruction; the Unité d’Habitation in Marseille (1939–1952)

During the War and the German occupation of France, Le Corbusier did his best to promote his architectural projects. He moved to Vichy for a time, where the collaborationist government of Marshal Philippe Petain was located, offering his services for architectural projects, including his plan for the reconstruction of Algiers, but they were rejected. He continued writing, completing Sur les Quatres routes (On the Four Routes) in 1941. After 1942, Le Corbusier left Vichy for Paris. He became for a time a technical adviser at Alexis Carrel’s eugenic foundation, he resigned from this position on April 20, 1944. In 1943, he founded a new association of modern architects and builders, the Ascoral, the Assembly of Constructors for a renewal of architecture, but there were no projects to build.

Postwar Projects- The United Nations Headquarters (1947–1952)

n early 1947 Le Corbusier submitted a design for the Headquarters of the United Nations, which was to be built beside the East River in New York. Instead of competition, the design was to be selected by a Board of Design Consultants composed of leading international architects nominated by member governments, including Le Corbusier, Oscar Niemeyer of Brazil, Howard Robertson from Britain, Nikolai Bassov of the Soviet Union, and five others from around the world. The committee was under the direction of the American architect Wallace K. Harrison, who was also architect for the Rockefeller family, which had donated the site for the building.

Religious architecture (1950–1963)

Le Corbusier was an avowed atheist. but he also had a strong belief in the ability of architecture in to create a sacred and spiritual environment. In the postwar years he designed two important religious buildings and the Convent of Sainte Marie de La Tourette (1953–1960). Le Corbusier wrote later that he was greatly aided in his religious architecture by a Dominican father, Père Couturier, who had founded a movement and review of modern religious art.

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Source:

Information

video: https://www.youtube.com/watch?v=xeWEjVmRIFI

Le Corbusier Documentary
Part 1 – https://www.youtube.com/watch?v=rWbcbC7uUaQ
part 2 – https://www.youtube.com/watch?v=XnrPtcRaOhg

Images:

http://the189.com/architecture/why-people-love-and-hate-le-corbusier/
https://en.wikipedia.org/wiki/Le_Corbusier

Google search on Image – Le Corbusier

 

History and Culture of Japanese Architecture

Japanese Architecture

Traditional Japanese architecture emphasized Harmony between buildings and and nature. The Japanese like the Chinese based their architecture on wooden post and beams. In the 800’s and the 900’s and from the 1200’s to the 1400’s, the Japanese closely followed the Chinese in the construction of Buddhist temples. Like the Chinese, they used strong colours and heavy material. However, Japanese homes quickly lost all Chinese character. By the 1000’s , Japanese homes completely expressed Japanese living condition. Like light traditional houses seen today, they were built of light, uncoloured materials. A narrow platform ran around the outside of the house on the first-floor level. This platform made the house seem closely connected with the family garden.

General features of Japanese traditional architecture

Much in the traditional architecture of Japan is not native, but was imported from China and other Asian cultures over the centuries. Japanese traditional architecture and its history are as a consequence dominated by Chinese and Asian techniques and styles (present even in Ise Shrine, held to be the quintessence of Japanese architecture) on one side, and by Japanese original variations on those themes on the other. Partly due also to the variety of climates in Japan and the millennium encompassed between the first cultural import and the last, the result is extremely heterogeneous, but several practically universal features can nonetheless be found. First of all is the choice of materials, always wood in various forms (planks, straw, tree bark, paper, etc.) for almost all structures. Unlike both Western and some Chinese architecture, the use of stone is avoided except for certain specific uses, for example temple podia and pagoda foundations.
The roof is the most visually impressive component, often constituting half the size of the whole edifice. The slightly curved eaves extend far beyond the walls, covering verandas, and their weight must therefore be supported by complex bracket systems called tokyō, in the case of temples and shrines. Simpler solutions are adopted in domestic structures. The oversize eaves give the interior a characteristic dimness, which contributes to the building’s atmosphere. The interior of the building normally consists of a single room at the center called moya, from which depart any other less important spaces. Even in cases as that of Nikkō Tōshō-gū, where every available space is heavily decorated, ornamentation tends to follow, and therefore emphasize, rather than hide, basic structures.Being shared by both sacred and profane architecture, these features made it easy converting a lay building into a temple or vice versa. This happened for example at Hōryū-ji, where a noblewoman’s mansion was transformed into a religious building.

408674-wonderful-japan-landscape

Prehistoric period

The prehistoric period includes the Jōmon, Yayoi and Kofun periods stretching from approximately 5000 BCE to the beginning of the eighth century CE. During the three phases of the Jōmon period the population was primarily hunter-gatherer with some primitive agriculture skills and their behaviour was predominantly determined by changes in climatic conditions and other natural stimulants. Early dwellings were pit houses consisting of shallow pits with tamped earth floors and grass roofs designed to collect rainwater with the aid of storage jars. Later in the period, a colder climate with greater rainfall led to a decline in population, which contributed to an interest in ritual. Concentric stone circles first appeared during this time.

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Asuka and Nara architecture

The most significant contributor to architectural changes during the Asuka period was the introduction of Buddhism. New temples became centers of worship with tomb burial practices slowly became outlawed. Also, Buddhism brought to Japan and kami worship the idea of permanent shrines and gave to Shinto architecture much of its present vocabulary. Some of the earliest structures still extant in Japan are Buddhist temples established at this time.

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Heian period

At this time the architectural style of Buddhist temples began to influence that of the Shintō shrines. For example, like their Buddhist counterparts the Shintō shrines began to paint the normally unfinished timbers with the characteristic red cinnabar colour.

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Kamakura and Muromachi periods

During the Kamakura period (1185–1333) and the following Muromachi period (1336–1573), Japanese architecture made technological advances that made it somewhat diverge from its Chinese counterpart. In response to native requirements such as earthquake resistance and shelter against heavy rainfall and the summer heat and sun, the master carpenters of this time responded with a unique type of architecture, creating the Daibutsuyō and Zenshūyō styles.

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Azuchi-Momoyama period

During the Azuchi–Momoyama period (1568–1600) Japan underwent a process of unification after a long period of civil war. It was marked by the rule of Oda Nobunaga and Toyotomi Hideyoshi, men who built castles as symbols of their power; Nobunaga in Azuchi, the seat of his government, and Hideyoshi in Momoyama. The Ōnin War during the Muromachi period had led to rise of castle architecture in Japan. By the time of the Azuchi-Momoyama period each domain was allowed to have one castle of its own.

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Edo period

The Tokugawa shogunate took the city of Edo (later to become part of modern-day Tōkyō) as their capital. They built an imposing fortress around which buildings of the state administration and residences for the provincial daimyōs were constructed. The city grew around these buildings connected by a network of roads and canals. By 1700 the population had swollen to one million inhabitants. The scarcity of space for residential architecture resulted in houses being built over two stories, often constructed on raised stone plinths.

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Meiji, Taisho, and early Showa periods

Towards the end of the Tokugawa Shogunate, Western influence in architecture began to show in buildings associated with the military and trade, especially naval and industrial facilities. After the Emperor Meiji was restored to power (known as the Meiji Restoration) Japan began a rapid process of Western ization which led to the need for new building types such as schools, banks and hotels. Early Meiji Architecture was initially influenced by colonial architecture in Chinese treaty ports such as Hong Kong. In Nagasaki, the British trader Thomas Glover built his own house in just such a style using the skill of local carpenters. His influence helped the career of architect Thomas Waters who designed the Osaka Mint in 1868, a long, low building in brick and stone with a central pedimented portico. In Tōkyō, Waters designed the Commercial Museum, thought to have been the city’s first brick building.
Some architects built their reputation upon works of public architecture. Togo Murano, a contemporary of Raymond, was influenced by Rationalism and designed the Morigo Shoten office building, Tōkyō (1931) and Ube Public Hall, Yamaguchi Prefecture (1937). Similarly, Tetsuro Yoshida’s rationalist modern architecture included the Tōkyō Central Post Office (1931) and Ōsaka Central Post Office (1939).
A large number of buildings from the Meiji, Taishō and Shōwa eras were lost during and after World War II, such as the Rokumeikan. Taniguchi Yoshirō (谷口 吉郎, 1904–79), an architect, and Moto Tsuchikawa established Meiji Mura in 1965, close to Nagoya, where a large number of rescued buildings are re-assembled. A similar museum is the Edo-Tokyo Open Air Architectural Museum.
Colonial architecture
The colonial authorities constructed a large number of public buildings, many of which have survived. Examples include the large-scale concept of what is today Ketagalan Boulevard in central Zhongzheng District of Taipei that showcases the Office of the Governor-General, Taiwan Governor Museum, Taiwan University Hospital, Taipei Guest House, Judicial Yuan, the Kangyo Bank and Mitsui Bussan Company buildings, as well as many examples of smaller houses found on Qidong Street.

Late Showa period

After the war and under the influence of the Supreme Commander of the Allied Powers, General Douglas MacArthur, Japanese political and religious life was reformed to produce a demilitarised and democratic country. Although a new constitution was established in 1947, it was not until the beginning of the Korean War that Japan (as an ally of the United States) saw a growth in its economy brought about by the manufacture of industrial goods. In 1946 the Prefabricated Housing Association was formed to try and address the chronic shortage of housing, and architects like Kunio Maekawa submitted designs. However, it was not until the passing of the Public Housing Act in 1951 that housing built by the private sector was supported in law by the government.

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SOURCE 

Information of Japanese Architecture and picture: https://en.wikipedia.org/wiki/Japanese_architecture

 

Jens Risom

 

Jens Risom

RISOM_PORTRAITpdpRisom was born in Copenhagen, Denmark, on 8 May 1916. His father was a prominent architect, Sven Risom, a member of the school of Nordic Classicism. Risom was trained as a designer at the Copenhagen School of Industrial Arts and Design, where he studied under Ole Wanscher and Kaare Klint. He was classmates with Hans Wegner and Børge Mogensen.

Risom spent two years at Niels Brock Copenhagen Business College, before beginning work as a furniture developer and interior designer with the architectural firm of Ernst Kuhn. He later relocated to Stockholm , taking a job with a small architectural firm. From there he joined the design department of Nordiska Kompaniet where he was introduced to Alvar Aalto and Bruno Mathsson. 

In 1939, Risom traveled to New York City to study American design. He found it difficult to find work as a furniture designer in New York, however, and was forced to accept a number of textile designs that ultimately secured him freelance work with designer Dan Cooper. This led to his work being included in the Collier’s “House of Ideas” designed by Edward Durell Stone and constructed in front of Rockefeller Center during the 1939 New York World’s Fair.

In 1941, Risom teamed with entrepreneur Hans Knoll and in 1942, they launched the Hans Knoll Furniture Company with 15 of the 20 pieces in the inaugural “600” line designed by Risom. These works included stools, armchairs and lounges, made from cedar and surplus webbing—works which have since become design classics.

With the advent of World War II, Risom was drafted into the United States Army in 1943 and served under General George S. Patton. After completing his military service, Risom briefly returned to Knoll in New York, but soon decided to launch his own firm, Jens Risom Design (JRD), which he launched on 1 May 1946.

Risom’s reputation as a furniture designer continued to grow, and Risom began to promote Scandinavian design in home furniture to the broader American public. In the 1950s, JRD ran a series of ads featuring photography by Richard Avedon and the slogan “The Answer is Risom.” The result of this success was that in 1954, JRD launched a major expansion of its production facilities. In the late 1950s, JRD shifted its focus away from home furnishings and towards office furniture, hospital furniture, and library furniture. In 1961, Risom was one of six furniture designers featured in a profile in Playboy magazine. One of Risom’s executive office chairs became famous when Lyndon B. Johnson chose to use it in the Oval Office.

Risom died at his home in New Canaan, Connecticut, at the age of 100.

Lounge Chair, Model 654W. 1941 

 

Very rare walnut desk by Jens Risom. Has a single lockable drawer (no key) and original brown leather top with a slight scratch.

Source

https://en.wikipedia.org/wiki/Jens_Risom

https://www.1stdibs.com/creators/jens-risom/furniture/

http://www.wallpaper.com/design/jens-risom-exhibition-london

http://www.dwr.com/designer-jens-risom?lang=en_US

http://www.interiordesign.net/articles/12609-jens-risom-dies-at-100/

https://www.dwell.com/article/jens-risoms-block-island-family-retreat-d6731b93

 

Ancient Egyptian Furniture

 

Ancient Egyptian Furniture

Furniture History is a fascinating subject. Learning about furniture evolution gives you a vital understanding of how the craftsmanship of furniture began. The range of styles of furniture grew with the increased knowledge of the craftsmen as new materials and techniques became available, overseas trade and the economic conditions of the country. Furniture range was also dictated by the ruling monarch of the country and the conditions of the era. All those interesting facts about furniture will be described in a new rubric at FurnitureCartBlog.

The furniture of the Old Kingdom of Egypt (2700-2200 B.C.) was largely of stone, and little interest for us. Furniture was even less important in the Middle Kingdom. But for the time of New Kingdom (1570-1090 B.C.), there are many interesting examples of furniture, especially of armchairs, which are regarded as Egypt’s real contribution to furniture.

The furniture of the New Kingdom was small, beautifully designed, and highly ornamented. Carving and wood turning were used in making this furniture. Chairs and stools were often covered with cloth or skins, and the more elaborate ones were decorated with tooled leather. Tables were square, round, or oblong. They were supported either by a pedestal or by three legs. The pedestal or the legs

were often carved to represent a bending human form, a symbol of the contempt in which the Egyptians held their slaves and captives. The tops of the tables sometimes had carved inscriptions telling of the owner’s talents or achievements. Emblems of Egyptian gods also appeared on much of the furniture. Some of the more elaborate furniture used in Egypt was made in ancient Ethiopia, where the art of inlay, or decorating by laying a design in the surface, is said to have originated. Ancient records show that this furniture was included in the tribute paid by the Ethiopians to Ramses II, the Egyptian King.

kingtutbed

The bed displays features common to ancient Egyptian beds. Notice that it has the lion paw on drum foot design of the chair.  The direction these feet point indicate the front of the bed.  As with most Egyptian beds, the head is open and the decorative piece is the footboard.  It also dips in the middle and the head end is raised higher than the foot.  The bed surface is woven through slots punched in the rails.

Source

Ancient Egypt furniture – Chair

http://cowofgold.wikispaces.com

https://en.wikipedia.org/wiki/Tutankhamun

http://robbreport.com/art-collectibles/antiques-tut-uncommon

http://www.alamy.com/stock-photo/tutankhamen-mummy.html

Ancient Egypt Artwork

 

Sori Yanagi Aka

Sori Yanagi Aka

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Sori Yanagi aka Munemichi Yanagi (1915 – 2011)
After winning both 1st and 2nd place in the first Japan Industrial Design Contest in 1952 Sori Yanagi established his own design studio. In 1957 he was invited to participate in the 11th Milan Triennial where his “Butterfly Stool” won the golden prize. In 1980 he became the first designer to hold an exhibition at the prestigious Galleria d’Arte Moderna in Milan, Italy.

Yanagi was known for his unique forms, which brought simplicity and unexpected practicality into everyday homes through his industrial designs in everything from kitchenware and furniture to toys and even bridges. Yanagi never lost sight of aesthetic and artistic ideals. Yet his work was functional and practical, demonstrated by usage in the the everyday household day-in and day-out.Yanagi helped open doors as an international artist and paved the way for future designers to display their work abroad. He passed away on Christmas day, 2011

 

 

Design Sori Yanagi, 1954
Lacquered bent plywood, brass fittings
Made in Switzerland by Vitra

“true beauty is not made; it is born naturally”, Sori Yanagi.
Long admired for it’s sculptural silhouette, Sori Yanagi’s 1954 Butterfly Stool has been an elusive beauty to net. Vintage examples often command upwards of a few thousand dollars at auction. Originally produced and distributed only in Japan, Vitra has secured the authorization and license to produce and distribute this classic.

Designed by Sori Yanagi between 1997 and 2000, the keywords for their design are simplicity and functionality. In 1998, the series won the prestigious Good Design Award in Japan. These tools are produced in Niigata where is long famous for the quality of its stainless steel and its metal working skills. Sori Yanagi’s kitchen tools embody his values of simplicity and practicality. Influenced by the Japanese folk art movement and modernist ideals, Yanagi’s designs celebrate organic form, beauty and efficiency.

This stainless steel kettle, designed by legendary designer Sori Yanagi in Japan, functions both as the perfect cupping kettle and the everyday essential kettle for home. Easy to hold, and easy to pour, the manufacture of this beautiful kettle involves an elaborate process, and is Yanagi’s highest selling product since it was introduced in 1994. Winning the Japanese Good Design Award in 1998, this beautifully functional kettle is the perfect multi-purpose kettle.

Link

Sori Yanagi Aka Information 

Sori Yanagi Aka Butterfly StoolSori Yanagi Aka Butterfly Stool

Sori Yanagi Aka Steel Mixing Bowl

Sori Yanagi Aka Stainless Steel Kettle

David Nightingale Hicks

David Nightingale HicksPhotographed in 1959

David Nightingale Hicks (25 March 1929 – 29 March 1998) was an English interior decorator and designer, noted for using bold colours, mixing antique and modern furnishings, and contemporary art for his famous clientele.

David Hicks was born in the English country village of Coggeshall, Essex. After public school at Charterhouse and studies in art and design at the Central School in London, he launched his design career with the decoration of his own house in London in 1954.

Early clients mixed aristocracy, media and fashion. Hicks married Lady Pamela Mountbatten in 1960 and was soon making carpets for Windsor Castle and decorating the Prince of Wales’ first apartment at Buckingham Palace.

Hicks first started to design patterned carpets and fabrics in 1963 when he found none on the market that he could use. These and his dynamic colour sense formed the basis of a style which was much admired and copied. In 1967, Hicks began working in the USA, designing apartments in Manhattan for an international clientele, and at the same time promoting his carpet and fabric collections.

In the 1970s/80s Hicks shops opened in fifteen countries around the world. He designed, for example, guestrooms at the Okura Hotel in Tokyo, the public rooms of the British Ambassador’s Residence in Tokyo, with only mixed success, and the yacht of the King of Saudi Arabia. Hicks was a talented photographer, painter and sculptor and produced fashion and jewelry collections. He designed the interior of a BMW and scarlet-heeled men’s evening shoes.

He wrote, in one of his nine practical design books, David Hicks on Living With Taste, that his “greatest contribution… has been to show people how to use bold colour mixtures, how to use patterned carpets, how to light rooms and how to mix old with new.”Some of Hicks’s later work may be seen at Belle Isle, Fermanagh, where the Duke of Abercorn hired him to redecorate the interior of the castle in the 1990s. Hicks decorated the duke’s main house, Baronscourt, in the 1970s.

Hicks spent the last years of his life at Britwell House in Oxfordshire, where he created a garden.

A chain smoker, Hicks died from lung cancer, aged 69 at Britwell Salome, Oxfordshire. He designed his own coffin, in which he ‘lay in state’, according to his precise instructions, in the ground-floor room of his gothic garden pavilion. He was buried on 4 April 1998 in Brightwell Baldwin, Oxfordshire, where his grave is marked by an obelisk-shaped tombstone.

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David Nightingale Hicks

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Louis Henry Sullivan

 

Louis Sullivan                       

Louis_Sullivan_circa_1895
(c.1895)

Louis Henry Sullivan (September 3, 1856 – April 14, 1924) was an American architect, and has been called the “father of skyscrapers” and “father of modernism”. He is considered by many as the creator of the modern skyscraper, was an influential architect and critic of the Chicago School, was a mentor to Frank Lloyd Wright, and an inspiration to the Chicago group of architects who have come to be known as the Prairie School. In 1944, he was the second architect in history to posthumously receive the AIA Gold Medal. The AIA Gold Medal is awarded by the American Institute of Architects conferred “by the national AIA Board of Directors in recognition of a significant body of work of lasting influence on the theory and practice of architecture.

Some of Louis Henry Sullivan work:

  • Martin Ryerson Tomb is an Egyptian Revival style mausoleum designed by Louis Sullivan and completed in 1889. It is in the historic Graceland Cemetery in Chicago, Illinois, United States. Sullivan’s design melds two different types of Egyptian-style buildings, the pyramid and the mastaba.The base of the tomb building is the slant-walled mastaba which features three windows. The mausoleum is constructed from large blocks of highly polished Quincy granite, and was inspired by Egyptian funerary traditions.

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  • The Auditorium Building in Chicago is one of the best-known designs of Louis Sullivan and Dankmar Adler. Completed in 1889, the building is located at the northwest corner of South Michigan Avenue and Congress Street (now Congress Parkway). The building, which when constructed was the largest in the United States and the tallest in Chicago, was designed to be a multi-use complex, including offices, a theater and a hotel.

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  • The Wainwright Building (also known as the Wainwright State Office Building) is a 10-story red brick office building at 709 Chestnut Street in downtown St. Louis, Missouri. The Wainwright Building is among the first skyscrapers in the world. It was designed by Dankmar Adler and Louis Sullivan in the Palazzo style and built between 1890 and 1891. In May 2013 it was listed by a PBS program as one of “10 Buildings That Changed America” because it was “the first skyscraper that truly looked the part” with Sullivan being dubbed the “Father of Skyscrapers.

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Louis Sullivan information

ALA Gold Medal

Martin Ryerson Tomb

Auditorium Building

Wainwright Building 

Louis Sullivan GOOGLE