Peruvian Lighting › Lamps and Lighting › Andes › Ceiling Lights › Pot Rack Lights

Dynamic lighting.

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From historical illumination to interactive lighting in the urban environment. One of Peru’s main values ​​is its vast and rich historical and cultural heritage, a source of wealth and a motor of development for the public and private sectors. The lighting design puts these sites or sets in value, projects a strong visual identity and creates a safe and attractive night image. As it also does, responding to the new premises of change, the integration of interactive facilities and average facades in the urban environment. Past, present and future converse and interact with people, space and the city thanks to dynamic lighting.

Dean Skira.
Skira Architectural Lighting Design.
Visual, biological and emotional experiences in architecture of Peru

This renowned Croatian lighting designer, who has achieved important awards and has attracted international media attention thanks to his important projects of urban, commercial, hotel and residential lighting, maintains that “the light is not for architecture but for people who live in it”. That’s why all of its lighting solutions, creative and efficient, revolve around how the user feels using space and experimenting with architecture.


Peruvian Wall ART…/unravelling-mystery-behind-megalithic-stone-walls-saksay… › Wall Decor › Andes

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The history of Peruvian textiles is as rich and varied as any culture ever studied. Much of the high-quality, long-lasting fiber is taken from indigenous alpaca and llama, weaving a tapestry of not only the deeply formed Peruvian culture, but its link to the very heart of the Andean landscape that surrounds it.

Cloth was of primary importance in ancient Peru, As a form of wealth, it was traded and given as gifts between rulers, and even burned or sacrificed as offerings. It was placed in burials in great quantity and was well preserved in the arid desert climate. Woven garments expressed the status and occupation of an individual through style, fabric, and workmanship.

The Peterson Collection of Ancient Peruvian Textiles consists of 26 textiles and textile fragments collected by Harold F. Peterson in the early 1940s. Most of the textiles were probably made in the Central Coast, but the exact provenmiences remain unknown. Many of the subjects refer to religious ideas and symbols and to social status. It has been noted that motifs such as snales, birds, marine creatures, and felines, were already evident in Peru as early as 1800 B.C. at the archaeological site of Huaca Prieta. Images of composite creatures and human/animal combinations are also represented. The collection displays a variety of weaving techniques known in Peru, especially plain weave, slit tapestry, and embroidery.

Design in Peruvian Textiles

The designs of Peruvian textiles are as diverse and rich as the various cultures from which they spring. Realistic and abstract design, patterns and pictures, stories, or even just explosions of light and color can be seen in the immense variety of art and clothing.

Peruvian Flooring

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Peruvian flooring is usually a hard wood flooring with a colourful rug as a eye catcher
One of the bestselling Pergo XP floors, this floor features the attributes of natural mahogany from Peru in a durable and affordable solution. Exotic brown hues, with hints of red undertones, in a single-strip plank format enhanced with a smooth finish for added elegance. Peruvian Mahogany also includes:

  • PermaMax® Surface Protection for double the wear, double the durability of ordinary laminates.
  • ScratchGuard Advanced for superior scratch and scuff resistance
  • Patented Perfectfold® joint for easy installation
  • Premium attached underlayment for natural sound and added comfort
  • Lifetime limited residential and 5-year limited light commercial warranty


Product Type
Collection Name
Pergo XP
AC Rating
AC 4
Color Family
Additional Color 1
Additional Color 2
Surface Texture
Gloss Level
Edge Type
Milled Bevel
Plank Visual
Single Strip Plank
Sq. Ft./Carton
Plank Thickness
Appropriate Level for Installation
On, Above or Below Grade
Subfloor Type
Plywood or Concrete
Install Method

Historical Egyptian Furniture › Ancient for Historical egyptian Furniture

The Egyptians were experts, as we well know from museum pieces, in marquetrydecorating furniture with inlays of wood or ivory. Royal or upper class furniture featured rare woods and elaborate inlays, such as a box from Tutankahamens tomb that is composed of an estimated 33,000 individual pieces of wooden inlay. Middle-class furniture was somewhat simpler in style and made from cheaper materials. Working class Egyptians had a full range of furniture that still had a sense of style but were made for more functional than esthetic use. Of course, very poor people might have only had mud brick benches, covered with mats, in their homes as their primary furniture.

But for those who could afford it, furniture in ancient Egypt was much more than something to use for physical comfort. It was, in addition, another outlet for artistic perfection and connection with the beauty of the natural world. In royal circles, furniture was so prized that it was often given as a diplomatic gifteither in individual pieces or whole suitesto rulers of foreign lands.

We tend to think of the Egyptians as being entirely self-sufficient, having everything they needed at their disposal for construction or artwork. But when it comes to furniture, it was a different story. “Woods of trees native to Egyptacacia, almond, fig, date and dom-palms, persea, poplar, sider, sycamore, tamarisk and willow,” writes James Sibal for Egypt Revealed magazine, “tend to have knots, poor grain or poor strength.”

So the Egyptians imported wood from other regions for their furniture. Ash, beech box, cedar elm, fir, lime maple, oak, pine, plum and yew came from Syria, Lebanon and Turkey, writes Sibal. From the south, the area known as Nubia, came African Blackwood and from Ethiopia came ebony. Carob was also imported. According to Sibal, Sneferu, founder of the 4th Dynasty, sent 40 ships to Lebanon to obtain its famous cedar wood.

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Tadanori Yokoo

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A talented 24-year-old graphic designer with dreams of becoming a painter, Tadanori Yokoo arrived in Tokyo in 1960, just as the city was erupting into civil disobedience. His timing was perfect: something was in the air; Japan’s youth were feeling disruptive and so was Yokoo. Mixing Andy Warhol’s pop and Peter Max’s psychedelia with traditional Japanese woodblock prints, known as ukiyo-e, his commercial work – mainly posters for theatre productions and movie releases – became crazed visual poems, pieces of pure creative expression that had little to do with the subject matter. His subversive, autobiographical and playful style (a 1967 poster for the play John Silver features an apology to the director for finishing the artwork late) immediately chimed with Tokyo’s growing counterculture, and Yokoo soon found himself at the epicentre of all things avant-garde, collaborating with scandalous writer Yukio Mishima, theatre radical Shuji Terayama and even starring in Nagisa Oshima’s agitprop film Diary of a Shinjuku Thief.

Following a trip to New York in 1967, where Yokoo was introduced to Warhol, Robert Rauschenberg and Jasper Johns, the West woke up to Yokoo’s inimitable aesthetic. From The Beatles and Earth, Wind & Fire to Santana and Emerson, Lake & Palmer, he became the go-to artist for far-out rock bands; he lent his dreamy visuals to a poster for Roger Corman’s acid B-movie The Trip; and, in 1972, he was honoured with a solo show at MoMA. Today, with a museum of contemporary art in Kobe named after him, the 79-year old indulges in his childhood fantasy of painting canvases.

Roy Lichtenstein

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Commercial Success and Pop Art

In the late 1940s, Lichtenstein exhibited his art in galleries nationwide, including in Cleveland and New York City. In the 1950s, he often took his artistic subjects from mythology and from American history and folklore, and he painted those subjects in styles that paid homage to earlier art, from the 18th century through modernism.

Lichtenstein began experimenting with different subjects and methods in the early 1960s, while he was teaching at Rutgers University. His newer work was both a commentary on American popular culture and a reaction to the recent success of Abstract Expressionist painting by artists like Jackson Pollock and Willem de Kooning.

Instead of painting abstract, often subject-less canvases as Pollock and others had had done, Lichtenstein took his imagery directly from comic books and advertising. Rather than emphasize his painting process and his own inner, emotional life in his art, he mimicked his borrowed sources right down to an impersonal-looking stencil process that imitated the mechanical printing used for commercial art.

Lichtenstein’s best-known work from this period is “Whaam!,” which he painted in 1963, using a comic book panel from a 1962 issue of DC Comics’ All-American Men of War as his inspiration. Other works of the 1960s featured cartoon characters like Mickey Mouse and Donald Duck and advertisements for food and household products. He created a large-scale mural of a laughing young woman (adapted from an image in a comic book) for the New York State Pavilion of the 1964 World’s Fair in New York City.

Lichtenstein became known for his deadpan humor and his slyly subversive way of building a signature body of work from mass-reproduced images. By the mid-1960s, he was nationally known and recognized as a leader in the Pop Art movement that also included Andy Warhol, James Rosenquist and Claes Oldenburg. His art became increasingly popular with both collectors and influential art dealers like Leo Castelli, who showed Lichtenstein’s work at his gallery for 30 years. Like much Pop Art, it provoked debate over ideas of originality, consumerism and the fine line between fine art and entertainment.

Gustav Klimt

gustav klimt – google search images
Born in 1862, Austrian painter Gustav Klimt became known for the highly decorative style and erotic nature of his works, which were seen as a rebellion against the traditional academic art of his time. His most famous paintings are The Kiss and
Portrait of Adele Bloch-Bauer.

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In 1876, Klimt was enrolled in the Vienna School of Arts and Crafts (Kunstgewerbeschule), where he studied until 1883, and received training as an architectural painter. He revered the foremost history painter of the time, Hans Makart. Unlike many young artists, Klimt accepted the principles of conservative Academic training. In 1877 his brother Ernst, who, like his father, would become an engraver, also enrolled in the school. The two brothers and their friend Franz Matsch began working together; by 1880 they had received numerous commissions as a team they called the “Company of Artists”. Klimt began his professional career painting interior murals and ceilings in large public buildings on the Ringstraße including a successful series of “Allegories and Emblems”.

Klimt’s ‘Golden Phase’ was marked by positive critical reaction and success. Many of his paintings from this period utilized gold leaf; the prominent use of gold can first be traced back to Pallas Athene (1898) and Judith(1901), although the works most popularly associated with this period are the Portrait of Adele Bloch-Bauer I (1907) and The Kiss (1907 – 1908). Klimt traveled little but trips to Venice and Ravenna, both famous for their beautiful mosaics, most likely inspired his gold technique and his Byzantine imagery. In 1904, he collaborated with other artists on the lavish Palais Stoclet, the home of a wealthy Belgian industrialist, which was one of the grandest monuments of the Art Nouveau age. Klimt’s contributions to the dining room, including both Fulfillment and Expectation, were some of his finest decorative work, and as he publicly stated, “probably the ultimate stage of my development of ornament.” Between 1907 and 1909, Klimt painted five canvases of society women wrapped in fur. His apparent love of costume is expressed in the many photographs of Flöge modeling clothing she designed.
As he worked and relaxed in his home, Klimt normally wore sandals and a long robe with no undergarments. His simple life was somewhat cloistered, devoted to his art and family and little else except the Secessionist Movement, and he avoided café society and other artists socially. Klimt’s fame usually brought patrons to his door, and he could afford to be highly selective. His painting method was very deliberate and painstaking at times and he required lengthy sittings by his subjects.

Though very active sexually, he kept his affairs discreet and he avoided personal scandal. Like Rodin, Klimt also utilized mythology and allegory to thinly disguise his highly erotic nature, and his drawings often reveal purely sexual interest in women as objects. His models were routinely available to him to pose in any erotic manner that pleased him. Many of the models were prostitutes as well.

Leah Elizabeth


Hey everyone my name is Leah,
why I have chosen this course is because Interior Design has been my dream job since I was about ten years old,with interests in decoration it is my passion.It is my goal to achieve this course so that when completed I am able to start the diploma of interior decoration so that my bigger goals can be achieved.
while I am studying in this unit I would like to learn more about famous designers so that I could reference them in the late future that way I could  express my ideas clearly.
I apologise but I do no have any previous images to share with you all.

Marcel Breuer, The Hungarian-America Designer

Bauhaus Info

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Marcel Breuer, the Hungarian-American designer whose career touched nearly every aspect of three-dimensional design, from tiny utensils to the biggest buildings. Breuer moved quickly at the Bauhaus from student to teacher and then ultimately the head of his own firm. Best known for his iconic chair designs, Breuer often worked in tandem with other designers, developing a thriving global practice that eventually cemented his reputation as one of the most important architects of the modern age. Always the innovator, Breuer was eager to both test the newest advances in technology and to break with conventional forms, often with startling results.

Breuer’s Wassily Chair (1927-28) became an instant classic of modern design, and even today it remains one of the most recognizable examples of Bauhaus design. For this chair, he used the newest innovations in bending tubular steel for the entirety of the structural frame, thereby demonstrating the possibilities of modern industry applied to everyday objects.

Breuer’s early success in education often overshadows his brilliant career as an architect. Although Breuer assumed the role of primary designer for some of his most famous buildings, on several others he was happy to work alongside other giants in the profession, often generously sharing credit with his collaborators – a sharp contrast with many other high-profile architects in the post war era.

A pioneer of the International Style in his use of steel and glass, Breuer’s affinity for concrete later made him a key figure in the emergence of Brutalism, which has drawn criticism due to his designs’ heavy-handed massiveness. However, Breuer counterbalanced this tendency in his small-scale houses that are notable for their sensitive handling of traditional materials, such as wood and brick.

Breuer is one of the most important and best-known figures associated with the Bauhaus, where he was first a student and later led the furniture design workshop. His reputation as a teacher was further cemented when he joined Walter Gropius at Harvard University, teaching some of the most successful architects of the post war era, including I. M. Pei and Philip Johnson .

Club chair (model B3) (1927-1928)
Made of chair remains in production today.