#Modern double curtains in gables

[allwindowsblinds]

How to Keep Your Home Cool in Summer with the Right Window Coverings

Summer brings longer days and sunny skies, but it also brings soaring temperatures. Keeping your home cool without over-relying on air conditioning can be a challenge. One effective way to combat the heat is by choosing the right window coverings. At All Windows and Blinds, we offer a variety of solutions to help you maintain a comfortable home while reducing energy costs. Here’s how you can beat the summer heat with the perfect window treatments.

1. Block Out the Sun with Blackout Blinds

Blackout blinds are a popular choice for reducing heat and light during the summer months. These blinds are designed with dense fabric that blocks sunlight entirely, keeping rooms cooler and more comfortable. They’re perfect for bedrooms and media rooms where complete darkness is often preferred.

2. Go Green with Cellular Shades

Cellular shades, also known as honeycomb blinds, are one of the most energy-efficient options available. Their unique structure traps air within their cells, creating a layer of insulation between your windows and the interior of your home. This reduces heat transfer and keeps your living spaces cool without overworking your air conditioner.

3. Reflect Heat with Roller Blinds

Roller blinds with reflective or solar fabrics can minimize heat gain while still allowing natural light to filter through. These blinds are ideal for spaces like kitchens and living rooms where you want to maintain a bright and airy feel without the added heat.

4. Add Style and Functionality with Plantation Shutters

Plantation shutters are not only stylish but also incredibly effective in controlling sunlight and heat. Their adjustable louvers allow you to regulate the amount of sunlight entering your home, offering a balance between cooling and natural light. Made with durable materials, these shutters also provide excellent insulation.

5. Layer Curtains with Blinds for Extra Protection

Pairing curtains with blinds offers an additional layer of insulation against summer heat. Light-colored, thermal-lined curtains reflect sunlight and work well with roller or Venetian blinds to create a multi-functional window covering system.

6. Opt for Motorized Solutions

Motorized blinds and curtains provide convenience and efficiency. With smart technology, you can automate the opening and closing of your window coverings based on the time of day or temperature, ensuring your home stays cool even when you’re not there.

7. Consider Outdoor Blinds for Ultimate Heat Reduction

Outdoor blinds and awnings are excellent for blocking direct sunlight before it reaches your windows. These coverings can significantly reduce indoor temperatures and are particularly effective for large windows or patio areas.

Why Choose All Windows and Blinds?

At All Windows and Blinds, we pride ourselves on offering high-quality, energy-efficient window treatments tailored to your needs. Whether you’re looking for stylish plantation shutters or functional blackout blinds, we’ve got you covered. Our expert team can help you select the best options for your home to ensure maximum comfort during the hottest months.

Conclusion

Investing in the right window coverings is a smart and stylish way to keep your home cool this summer. From energy-efficient cellular shades to versatile plantation shutters, the options are endless. Visit AllWindows and Blinds today to explore our wide range of products and beat the heat in style!

[stregasbookofshadows]

OC Week Day 7

April 9th - Exploration - Feel free to choose anything about this character you wish to elaborate on. If you wanted to dive deeper into their relationships or if you wanted to explain their past more, or if there’s anything at all that you want to talk about now is the time!

I’ve been meaning to do this forever, and here, at last, is my opportunity: A tour of The Rose Suite, Strega’s apartment in the Abbey. This is a VERY image-heavy post, and I’ve done my best to provide adequate descriptions of them all for anyone using a screen-reader to access this blog.

[ID: a small wooden plaque on a grey brick pillar to the right of a closed dark wooden door. The plaque bears the Rose Suite name in brass letters, a crown above the name and decorative nailheads in each corner. Photo posted to TripAdvisor by Wendy S, April 2015. ]

The Rose Suite is an actual place - one of two private rooms available for rental in Warwick Castle in England.

[ID: Floor plan of the Rose Suite from the Warwick Castle website. Visible in the plan, clockwise from the upper left, are a wet room with a walk-in shower, a double bed, a water closet, the main entrance to the suite, a round table with two chairs, and several gabled windows.]

The actual floor plan of the suite does not quite match the way I’ve described it in the past; the wet room and water closet are in opposite locations, and the wet room in my version of the Suite includes a tub as well as a shower. 

I was lucky enough to find a review on TripAdvisor with a number of excellent photos, several of which I’ve included below. I also found a video tour of Warwick Castle featuring the Rose Suite; the tour of the suite itself begins at 12:00.

[ID: Photo of the Rose Suite; the curtains framing the edges of the image suggest it was taken while sitting in the window seat along the left hand wall. The room has very high, arched ceilings, with dramatic uplighting mounted in crown-shaped wrought iron fixtures. Moving left to right in the image we see: an ornate wooden wardrobe; a surprisingly modern champagne bucket on a stand; a stone fireplace along the same wall; a four poster bed with heavy red draperies; a carved wooden press at the foot of the bed, with two white towels folded to resemble swans resting atop it; a Queen Anne style chair with red and gold brocade cushions, sitting in front of a gable window with matching drapes; a wooden vanity table with a wide mirror; a VERY heavy extra-wide cheval mirror with an ornate frame, and the open door to the water closet. Photo posted to TripAdvisor by Fiona, October 2020.]

[ID: A photo of the same window from which the previous picture was taken, though the red-and-gold draperies are now closed. The walls are half-paneled with bare white bricks above the paneling. In front of the drapes we see a small round table; a bottle of champagne is flanked by two flutes, accompanied by two bottles of water (one still, one sparkling) and an assortment of brochures. Two wide wooden chairs are covered in red and gold striped cushions. Photo posted to TripAdvisor by Fiona, October 2020.]

[ID: The wardrobe, which also contains extra bedding and a mini-fridge; a small ironing board is leaning against one side. The carving at the top of the wardrobe perhaps ironically suggests a confessional booth to me. Photo posted to TripAdvisor by Fiona, October 2020.]

[ID: A Queen Anne chair sits in front of a gable window in one corner of the room, red and gold draperies tied back with heavy golden cord. The edge of the bed can just be seen along the left edge of the photo; a two-drawer nightstand sits between the bed and the chair, a small lamp with twin candelabra-style bulbs atop it. To the right of the photo a tea and coffee service is set up on the edge of the vanity table. Photo posted to TripAdvisor by Fiona, October 2020.]

[ID: The lining of the bed’s canopy is reflected in a cheval mirror sitting atop the vanity table. The canopy lining is faded red silk, gathered into a rosette at the center. The canopy itself is carved in a rose pattern. Photo posted to TripAdvisor by Fiona, October 2020.]

[ID: Closeup of the ornate carving at the top of the full-length mirror next to the water closet. There is a rose in the center, and a leaping dolphin at the top. One of the aforementioned black crown light fixtures emerges from behind the mirror. Photo posted to TripAdvisor by Fiona, October 2020.]

***

@ghostbcfandomevents​

[sturdished]

Build your 'she shed' - The ultimate guide to buying the customized cabin shell in Texas

Invest in a cabin shell rather than a traditional build to store unused items and use the place as an additional living unit. Cabin shells come customized and are spacious to offer extra room for storing items. However, certain things need consideration before you consider getting the cabin shell for sale for your backyard. These Gable Cabin Shell are livable units and can be your quiet getaway retreat. Furthermore, the Gable shell works excellently as a 'she shed.' Although ‘Man Caves’ have been extremely popular, installing a 'she shed' for the women brigade is more prevalent nowadays. Women are now self-independent and need some time for rejuvenation, and nothing is better than a 'she shed' customized as per her needs.

Where to start?

Every dream begins with the dreamer, but if you want a cabin shell installed in your backyard, you also need the permits and licensing. Unfortunately, Texas has very strict laws when it comes to permits. So rather than installing DIY sheds, invest wisely and design your cabin shell with SturdiShed design consultants. We creatively design the shed, keeping in mind your preferences as well as the local laws of the land. Here are some ideas of a 'she shed' that can make the stay worthwhile.

Beach Shed

You don't have to stay by the beach to enjoy a beach shed. SturdiShed brings the ocean aura and recreates the space with ocean shells, beach-style hues, and palms. Our customized beach-themed she-shed can make you taste the ocean with just one look. The white and blue hues add an oceanic touch and feel to the beautiful shed framing. Our superior craftsmanship ensures that the sheds are long-lasting and strong. The walls and roof have Hurricane ties with a wall stud of 16" in the Center. There are double wall studs every 4'. The SturdiShed structure is painted with "Lifetime Sherwin Williams Duration Paint." The paints last long and don't stain or fade easily. As a result, your beach shed will appear pristine and white and add an aesthetic delight for years.

Vintage Classic Shed

A shout-out to all the vintage lovers. This shed is beautiful, and the floral wallpaper with delightful hues and décor is a mix of retro and classic. You can get velvety curtains and a zebra throw rug to bring back the old-time beauty and combine that with modern retro class. Sturdished can customize the she-shed with the vintage appeal if you love everything elegant and beautiful. Our products have a 15-year warranty. Weather resistance and security is maintained by installing hurricane Ties on the floor, heavy-duty hinges, 6" locking barrel bolts, and so on. The Metal Door Threshold and strike plates are additional features for the security of the she-shed and climatic control.

Paint Studio Shed

Building a she-shed can be the perfect art studio for the lady if your girl likes painting and is interested in art. There is no need to invest in decorating the walls as the artwork is the perfect lining for the walls. Furthermore, SturdiShed allows excellent ventilation and prevents moisture build-up and condensation. The weatherproof shed has a gravel pad installation elevated from the ground and offers better drainage.

Final Words

If you have an interesting idea for the personalized she-shed in mind, let us know. Our consultants are all ears to learn about your dreams and ideas and ensure that all come true under one shed. Check out the cabin shell for sale now and make your pick. Get the shell customized as a she-shed.

[architectnews]

3101 West Coast Highway, Newport Beach CA

3101 West Coast Highway, Newport Beach, Californian Commercial Real Estate, CA Mixed-Use Project, USA Architecture Photos

3101 West Coast Highway in Newport Beach

27 Apr, 2022

Design: ShubinDonaldson

Location: Newport Beach, California, USA

Photos: Benny Chan

3101 West Coast Highway, CA

Located at Mariner’s Mile in Newport Beach, 3101 West Coast Highway is a renovation and adaptive reuse of a 4-story Cape Cod-style building from the 1980s into a modern articulation of the marine coastal aesthetic

Situated on a concrete podium 6’ above West Coast Highway, this project creates a modern aesthetic by removing existing embellishments to enhance the clean and timeless geometry of the gabled roofs, all while staying within compliance with the Coastal Commission’s strict reframing constraints.

The existing dormers were demolished to create inset terraces providing tenants with fresh air, natural light, and unobstructed bayside views.

Removing floor slabs enable double-height spaces while opening-up bayside gable walls with floor-to-ceiling curtain walls create transparency from the street to the bayside. Tenant spaces were also demised in a north/south direction to provide all tenants with bayside views throughout the building.

The bayside connection was shifted from walking through a parking garage to utilizing a public plaza, encouraging pedestrian traffic along the waterfront. The existing stairs and boat ramp were demolished and replaced with an ADA-accessible ramp that winds around new concrete-stepped planters, creating a meandering circulation that provides a slow and peaceful walk to the public podium.

On the podium level, the existing boat storage was converted into a public plaza with planters and custom teak furniture, while outdoor patios off the east façade enhanced the ambiguity between interior/exterior conditions. Following the Mariner’s Mile design framework, which encourages connections to the waterfront as much as possible, a 10’ easement on the bulkhead side and east side of the property allows for public access to the bay.

Elevated by the rejection of typically provided bulky trim pieces, the project’s standing seam panels use custom break metal details throughout the project to create clean corner conditions. Exposed steel connections at the top of the columns emphasize the appearance of the horizontal channels floating above, while existing interior framing elements are exposed and sandblasted to provide a warm yet minimal space.

The building’s juxtaposition of transparent and opaque surfaces creates tonal shifts and spatial depth throughout the façade. As the sun rises, standing seam metal panels glow with metallic luster while interspersed high-performance glazing reflects the sunset’s gradations.

The building’s sense of transparency is enhanced by the cable rails installed by local sailors, which provide physical safety without compromising the bay’s vistas. Other local marine elements include the main entry canopy, reminiscent of an inverted boat hull built by a local builder using marine-grade ply covered in resin. In addition, Ipe trellis columns and canvas covering materials draw inspiration from nautical masts and booms.

3101 West Coast Highway in Newport Beach, California – Building Information

Design: ShubinDonaldson – ShubinDonaldson

Project size: 36000 ft2 Site size: 56628 ft2 Completion date: 2022 Building levels: 4

General Contractor: Slater Builders Lighting Consultant: Oculus Light Studio Landscape Architect: Terremoto Structural Engineer: KPFF Civil Engineer: Joseph C. Truxaw and Associates, Inc. MEP Engineer: AMA Group

Photography: Benny Chan

3101 West Coast Highway, Newport Beach CA images / information received 270422

Location: Newport Beach, North California, USA

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Big Ranch Road Retreat in the Napa Valley Design: WDA (William Duff Architects) photograph © Matthew Millman Photography Napa Valley Barn Renewal

Hanover Page Mill Associates, LLC, Stanford Research Park, Palo Alto Design: Form4 Architecture photo courtesy of The Chicago Athenaeum Hanover Page Mill Palo Alto Building

The Italian Swiss Colony Building Lobby Architects: jones | haydu photograph : Matthew Millman The Italian Swiss Colony Building Lobby

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Comments / photos for the 3101 West Coast Highway, Newport Beach CA page welcome

The post 3101 West Coast Highway, Newport Beach CA appeared first on e-architect.

[stargategarageflorida]

Understanding How a Roller Garage Door Works

When it comes to modern conveniences, garage doors rank high up there in the list of home gadgets that we cannot do without. This preference may be traced back to the fact that, throughout the UK, people have shown an increased preference for driving their own cars rather than commuting to and from work. In fact, in Great Britain alone, the proportion of households with access to a car increased from 52 to 75% during an almost 40-year period (1971-2007). Thus, with many households now purchasing vehicles at a rapid rate, the need to protect such investments at home has also become of high concern. This is where garage doors come in.

These come in various materials and basic operating mechanisms. This article introduces one of the most popular types in the UK- roller garage doors.

What is a roller garage door? Garage doors differ in many aspects; primarily, they differ in terms of the operating mechanism used to open and close the door. A roller door gets in name from the way a curtain of galvanized, lightweight material rolls up or down a tube that is placed on top of the garage entrance. Roller garage doors are different from other mechanisms in that they are lightweight, easy to maintain, and easy to operate.

What is it made of? Most of the roller doors sold in the UK are typically made of sheets of galvanized plastic-coated steel or double-skinned aluminum lath. Compared with a sectional door, for example, the roller door does not feature wide panels but instead uses a hinged design to facilitate efficient rolling up or down motions for the roller door. Other materials include tracks that run the height of either side of the garage entrance, rubber weatherproof seals that close the gap between the door and the spaces around the opening, and a tubular drum attached on top of the entryway onto which the curtain is stored when the door is in use.

What are the advantages of having one? Roller garage doors are particularly advantageous for those who have limited and narrow garage paths, as well as those with rather small garages that can fit only a single car. This is because the operating mechanism of a roller door does not require ample space outside nor inside the garage. Also, since roller doors are made of durable materials, they are guaranteed to withstand stronger impact and not be subjected to denting and warping. This type of door is also popular because they are relatively easier to maintain compared with other types that employ counterbalance mechanisms.

Can it be automated? Yes, roller doors can easily be automated if this is your preference. Using an electric door opener, such as the effective Hormann Supramatic or Ecostar, any manual roller door can be automated, allowing for remote operation from within a vehicle or inside a garage using a handheld device. Other companies also sell extra accessories such as a touchpad that facilitates keyless entry and lights that go on when the roller door is activated.

With these features, it is easy to see why garage doors have become popular options among UK homeowners and entrepreneurs.

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[biofunmy]

The Charleston You Haven’t Seen

After years of working in creative industries, Karen Baldwin was intent on engaging the artistic community of Charleston, S.C., when she began planning to make a home there.

“There’s a whole creative side of Charleston that people aren’t even aware of,” said Ms. Baldwin, 59, who previously lived in New York, where she studied fine arts at Parsons School of Design, was a longtime employee of Michael Kors, worked as an interior designer and was a founder of the New York-based fashion accessories brand Fairchild Baldwin.

Visitors to the city “go to the plantations, or go downtown and do a garden tour,” she continued, “but there’s a lot of really young, creative people who have been moving here.”

Impressed with Charleston’s mix of traditional Southern charm and fresh new energy, Ms. Baldwin decided to build a home — or two — there.

In 2015, she began working with Kevan Hoertdoerfer, a Charleston architect with a history of designing provocative contemporary structures, to transform a cinder-block house across from Hampton Park into a modernist gem.

Then, the following year, she bought a 1950s ranch house on a double lot just down the street for $415,000, with plans to demolish it, subdivide the lot and build a replacement with Mr. Hoertdoerfer’s help.

The initial idea was that the second house would be a spec home to sell. But as work progressed, Ms. Baldwin turned the plan on its head, deciding to keep the second house and put the first one up for sale.

To make her new home as distinctive as possible, she tapped as much burgeoning talent as she could. “What was supposed to be just a construction project ended up turning into this collaborative art installation,” she said.

Ms. Baldwin gave Mr. Hoertdoerfer limited instructions and then set him loose. “The only direction was the programming,” he said. “She wanted three bedrooms and open kitchen, living and dining.”

There was also the exterior color. “I had just come back from New Zealand and had also been in Scandinavia, where I had noticed a lot of black contemporary houses,” Ms. Baldwin said. “So I said to Kevan, ‘How do you feel about a black house?’”

Mr. Hoertdoerfer thought it was a fine idea and proceeded to design a building that bears little resemblance to its red-brick and white-porch neighbors.

“We just went back to basics, with a quintessential gable-roofed form,” he said, completely cloaked in black. A standing-seam aluminum roof folds down over two sides of the house, creating a simple wrapper, while the two ends are clad in black-stained cedar shiplap paneling.

Many of the tightly clustered houses in the neighborhood have side windows covered by curtains for privacy, so Mr. Hoertdoerfer decided to do away with those windows altogether, adding floor-to-ceiling glass at either end of the house instead. That opened up sightlines to the most desirable views: the park across the street and the backyard garden, where Mr. Hoertdoerfer added a cabana.

To animate one side of the home, Ms. Baldwin and Mr. Hoertdoerfer recruited McKenzie Eddy Smith and Elliott A. Smith, artists and designers who own the firm MES Creative Services, to create a dot-based mural that runs up a wall and onto the roof.

For the front yard, Mr. Hoertdoerfer designed a sculpture garden of overlapping artificial-turf-covered squares, where a piece by Carey Morton, a local sculptor, was given pride of place. Mr. Morton’s creations also populate Ms. Baldwin’s empty lot next door, which she may eventually use to build an art studio, or a spec house to sell.

As the project progressed, Ms. Baldwin and Mr. Hoertdoerfer seized on the design process as a teaching tool for elementary school students. “In a lot of cities, schools are cutting out art programs, which, being an art major, just breaks my heart,” Ms. Baldwin said.

Working with Charleston’s Redux Contemporary Art Center, she and Mr. Hoertdoerfer developed a weeklong summer program to introduce children to contemporary architecture. (Ms. Baldwin also held a fund-raiser for Redux at her house). The students received instruction from Mr. Hoertdoerfer, toured Ms. Baldwin’s house and designed dream homes of their own.

After 13 months of construction, the 2,245-square-foot house was completed in May, at a cost of about $700,000, and Ms. Baldwin moved in.

Inside the house, the palette is the opposite of the exterior: white and bright, with flashes of vivid color. Even the concrete ground floor is finished in brilliant white epoxy.

“I loved feeling like I was walking into a gallery, so I wanted to keep it super clean and very contemporary,” she said. “But I also wanted to have a pop of color, since everything is white.”

She installed a spare mix of furniture and accessories, most of it from Iola Modern in Charleston, to put the emphasis on the art hanging on the walls.

But guests shouldn’t expect things to remain that way for long.

“I’m definitely one of these people that needs to be creative on a daily basis,” Ms. Baldwin said, “and to surround myself with creative people.”

For weekly email updates on residential real estate news, sign up here. Follow us on Twitter: @nytrealestate.

Sahred From Source link Real Estate

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[allamericanroofing1]

How To Get The Perfect American Style Home In Australia

How To Get The Perfect American Style Home In Australia

A 2017 Domain article highlighted a growing love and demand of America-style houses in Australia. South East Queensland in particular was facing a shortage of Hamptons-style houses in response to growing popularity. Across Brisbane and both Gold and Sunshine Coast, these homes were in high demand and low supply.

But why are American-style homes becoming so popular here? What is it about them that buyers are finding attractive? What makes them so at home in Australia, so far away from their place of origin?

We’ll take a look at two of the most popular styles of American homes, their key features, and what to look out for to get that truly authentic look.

1: Hamptons Style

Since we mentioned it in the introduction, we’ll start with the Hamptons style of home.

A Hamptons-style home is a home of contradiction; it’s effortless, relaxed, and casual, but at the same time, timeless and sophisticated. It’s at once a home that’s very beautifully designed, but not so immaculate that you feel like you’re living in an Ikea catalogue.

Named after the popular seaside community in Long Island, Hamptons style homes have high pitched roofs and broad, open interiors. You’ll usually find them as 2 storey houses rather than single level.

Designed to embrace the bohemian comfort and relaxation of beach living, it’s not hard to see why the beach-loving population of SE Queensland has fallen hard for this design.

Beyond Queensland, the style is also incredibly popular — and lucrative — in Sydney. Hamptons-style homes have been selling for upwards of $3.4 million in the city. Many real estate agents are loving the design, as they’re finding them incredibly easy to sell.

Hamptons home interiors typically feature

        Gable style roof with large balconies

        Extensive use of a crisp white palette with smatterings of pale blues and soft greys

        Timber wall paneling and dado rails

        Timber flooring

        Shutters and sheer curtains

        Pendant lighting

        Ornate tapware

        Tiling in bathrooms and on splashbacks – pressed metal is popular

        Marble or stone benchtops

        Country or shaker style cupboards

        Lantern-style lighting externally

        Lots of gorgeous soft furnishings – cushions and throw rugs

Don’t think that the homes are only suitable for coastal communities. With their open planning, high roofs, and laidback styling, they’re just as welcome in outer suburbs, in rural communities, just as they are at the sea shore.

This helps contribute to the Hamptons style’s popularity across the country. Whether you’re spending your mornings waking up to the ocean breeze, or out in the country, the Hamptons style is a house that makes a lovely home.

2: Cape Cod Style Home

Where Hamptons-style homes are typically dual level, Cape Cod style homes are usually single-level designs.

Image Source

This style of home was brought to America from English puritans, and you can see the farm cottage roots in its appearance. These homes were designed to withstand the stormy, dark weather of Cape Cod. For example, the steep, high-pitched roof is meant to prevent snow and ice from building up — admittedly not something most Australians have to worry about, even in the colder southern reaches.

Like the Hamptons-style above, open planned, relaxed living is key here. Elegant and laid back; stylish but liveable. The Cape Cod design is meant to house a family, and it feels like it.

Cape Cod style homes are popular across Australia. Like the Hamptons, they’re particularly attractive to beachside and rural areas. Developers and real estate agents are finding it difficult to meet up with the demand for the style. Many property owners are even buying homes to strip them down and build a Cape Cod style in its place.

Cape Cod style homes often feature

Symmetrical exteriors.

Low ceilings — intended to conserve heat, but modern designs (or those in Australia) often feature higher ceilings than traditional.

Gabled dormers

Double-hung windows with shutters

A central hall inside around which other rooms are laid out

Clean lines with little aesthetic detailing

Bedrooms in dormers or under gables.

There are certainly more types of American homes, but these two standouts appear to be taking the imagination of Australian home buyers and property developers by storm.

Yet, it’s one thing to get the right design of house. For a truly American experience, there’s actually something a little more important than just the layout.

The Authentic American-Style Finishing Touch

Look at the roof of any home in Australia and what do you see?

Typically, tin or tile. They’re the two most common roofing materials in the country.

Now look at roofs in America. Those are tiled too, right?

Surprise; they’re not.

American homes almost overwhelmingly use GAF asphalt roof shingles.

In Australia, most try and capture the look by using tile – but it rarely works. While tin is more suited to a rural style of home rather than an American style.

For a genuine American style of home, nothing else comes close to capturing the perfect look.

Asphalt roof shingles have a distinct look made of interlocking rectangles of different shades of grey. Nothing else quite looks like them.

GAF are the largest suppliers of roof shingles in the United States of America. More homes in that country have GAF shingles than there are houses in Australia. If you’re looking to get the authentic finishing touch for style and reliability, you want the best — and GAF is the best.

GAF asphalt roof shingles don’t just look great; they’re a sturdy, reliable roofing material that can withstand the harshest Australian weather. GAF also supplies the other roofing materials you need to put together a beautiful asphalt shingle roof, such as drip edge and flashing.

So long as roof shingles are installed properly, you’ll enjoy maximum safety and comfort combined with distinct aesthetics for years to come.

The post How To Get The Perfect American Style Home In Australia appeared first on Roof Shingles For Australian Homes.

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[itsworn]

Hollywood Stars Align With Racers and Rodders at 1958 Motorsports Events

Starstruck.

It should come as no surprise that photojournalists chasing interesting people, places, and things would lead interesting lives, themselves. Some of their shared experiences were documented on film that no Petersen staffer expected to ever be seen outside of the photo lab, recorded for internal entertainment only. Six decades further down the road, however, such outtakes glisten like gold amongst familiar, published negatives. Often, what determines whether or not such a nugget is selected for these pages is the story behind it—or lack thereof. We strive not only to identify who’s in a shot, but also why the credited staff writer or photographer deemed the particular scene worthy of fully 1/12 of that roll of medium-format, 12-shot film. Perhaps only that one person can say—or would’ve said, had we gotten to him in time. Those roving reporters were mostly in their mid-to-late twenties or thirties, already. Add 60 years, and it’s easy to understand why a tempting image might be rejected today only because its shooter either can’t remember or, more commonly, took that inside information to his grave. (Prime example: Fully half of this installment’s photography is the work of the late Eric Rickman, whom historians haven’t been able to pester since 2009.)

Luckily for HOT ROD Deluxe and y’all, Spence Murray and Bob D’Olivo are still around, able, and willing to suffer dumb questions about obscure images that neither had seen since their film was processed and proofed in 1958. The irony of using modern technology to digitize, share, and identify ancient negatives that belatedly appear here as black dots on paper—same as ever—is not lost on either nonagenarian. Though Rod & Custom‘s founding editor has been physically slowed by strokes that hinder typing, wife Carolyn expertly transmitted Spence’s memories of building, driving, touring, and crashing the Dream Truck. The same month he crashed into a Kansas ditch, D’Olivo bumped into Jill St. John at Riverside Raceway. Along with Bob’s four frames of the actress, we noticed Motor Trend‘s main photographer was shooting some 35mm film, instead of the larger formats used almost exclusively by Robert E. Petersen and his hirelings since the start. Mature readers will recall that the smaller, lighter, single-lens-reflex (SLR) design was as nearly as revolutionary in its time as Apple’s camera phone became. For this issue, the longtime Petersen photographic director listed the advantages of 35 mm for race coverage.

Another thing that this latest round of archive research uncovered was an unprecedented number of entertainers and other celebrities not normally associated with our hobby. Stateside interest in sports-car racing was booming, especially now that underdog Corvettes and Thunderbirds dared to challenge European exoticars. Entertainment figures had been associated with hot rod shows since the very first one, in 1948, for which young Robert E. Petersen lined up some B-list beefcake to lure wives and girlfriends to the Los Angeles Armory (while Pete peddled the Jan. ’48 HOT ROD outside). Relationships created during and after his postwar stint as a Hollywood agent would increasingly bring those worlds together in Petersen-produced magazines, promotions, indoor shows, and special events. Thus does his incomparable photo collection contain a unique combination of show-biz and automotive milestones, along with mug shots of the employees who documented them. Many more examples await discovery. We can hardly wait to peek behind the curtain at 1959’s outtakes, next, before blasting into the ’60s.

Of approximately 3 million black-and-white negatives in the Petersen archive, this one was surely among the most mutually painful for an editor and his audience. Through five years and four custom iterations, Rod & Custom readers were encouraged to submit suggestions for modifications that would be performed in the magazine, then seen in person at the 47 car shows across America that featured the Dream Truck. Its 48th would’ve been Iowa’s 1958 International Motor Sports Show, had the tow vehicle’s left-rear tire lasted just 60 more miles. Editor Spencer Murray and helper Jim “Buzzie” Blair escaped uninjured. The new-model Chevy Fleetside with custom Barris grille and paint also survived. In fact, after a wrecker yanked the shiny side up, Spence drove it the rest of the way to Des Moines at the request of a nervous show promoter whose patrons were expecting to meet the editor and see a customized California pickup. (If any of you attendees took pictures of the damaged pickup on display, we’d love to share them in HRD.) Murray briefly referred to the October 21st incident in his Jan. and Feb. ’59 editions—the last two installments of a series that established the formula for long-term magazine projects. The Dream Truck appeared in too many R&Cs to list here, starting with Sept. ’53. (Also see Mar. ’58 HOT ROD; July & Oct. ’58 Motor Life.) The pre-crash ’58 Fleetside mild custom got a spread of its own in R&C’s Jan. ’59 truck issue.

If you young ‘uns ever wondered why the last inside page is consistently missing from Grandpa’s old Car Crafts, it probably went someplace his mother did not. Carol Grace’s turn in CC’s monthly “Coming Attraction” department teased in more ways than one, pointing (sorry!) young readers to Ted Long’s F100 custom and the upcoming truck issue. (See May & June ’58 CC.)

Richard Boone stood a respectable 6-foot-one, but the Have Gun, Will Travel guy looks like a giant in a toy car. Bob D’Olivo rushed a few shots for a May ’58 Motor Trend piece allegedly penned by “Paladin” himself (no byline, but written in the first person). Therein, we learned how Bill Devin—whose fiberglass Ferrari Monza knock-off came in 27 sizes and wheelbases from 75 to 100 inches—adapted this miniature model to the 80-inch wheelbase of a hot Porsche Speedster that Boone had crashed on location.

Hot rodding’s most-famous trophy was still jointly awarded for America’s Most Beautiful Competition Car and America’s Most Beautiful Roadster. Oakland’s big winners were Romeo Palamides’ canopied fueler and Richard Peters’ radical ’29 roadster pickup. The Ala Kart, destined to repeat as 1959’s AMBR, was built by George Barris (seen in the background—for once!). (See Oct. ’58 HRM; Dec. ’58 CC.)

“Have Camera Will Travel,” read the headline of a May ’58 HRM “house” ad, followed by the subscription pitch: “A man of action, our photo editor Eric Rickman is everywhere! You can go, too, by keeping your subscription to HOT ROD up to date. GO, MAN! $3.50 year, $6.00 for two.” We prefer this outtake because it shows more of Rick’s famous Corvette—here in recovery mode, following a single-vehicle street crash—and also because his camera case’s cool decals were “airbrushed out” for publication. We asked his longtime boss, photographic director Bob D’Olivo, about the hardware. “At the top is my personal Eastman Kodak 4×5 view camera,” e-mailed D’Olivo. “Coming down, one item looks like nothing I’ve ever seen, a small camera on a strap. Never saw him use it. On the bottom is my 4×5 Graflex Pacemaker Speed Graphic. The company had no equipment like this when I started there in August of 1952; we used the stuff that my wife and I brought from New York in my ’40 Ford Deluxe tudor when we moved to California in 1950.”

Four years before Carol Cox singlehandedly pressured Wally Parks into accepting the first female participant in NHRA-produced events, Rickman got this ironic pan shot of her and hubby Lloyd’s family car at sanctioned Inyokern Drag Strip. (See Aug. ’58 HRM.) The couple alternated driving at the drags and El Mirage dry lake—where Carol initially broke an unwritten rule against women racers by disguising herself in Lloyd’s overalls and signature hat until she was accepted. In 1962, Carol would wheel her daily-driven ’61 Ventura to SS/Automatic class wins at NHRA’s only two national events (Pomona and Indy).

What the heck were sprint cars doing on Riverside Raceway’s road course—running in the wrong direction, yet? All we knew was that Rickman submitted a few rolls identified as “CRA 500” for processing on June 2. Curators Jim Miller (American Hot Rod Foundation) and Greg Sharp (NHRA Motorsports Museum) each came through with details about a 500-mile California Racing Association show during the track’s official grand-opening Memorial Day weekend on May 30. The $10,000 purse was considered huge (equivalent to about $87,000 now). The course direction was reversed to counterclockwise for oval-track drivers accustomed to turning left. Some teams installed oversized fuel tanks to minimize pit stops.

Riverside winner Bud Rose was congratulated by a virtually unknown, 21-year-old trophy queen named Dyan Cannon. The hunky dude stepping on the tire is John Smith, soon to become famous on the Laramie series. Rose (whose given name was Harry Eisle) prevailed in the same, ancient Offy that he’d stunt-driven for Clark Gable’s action scenes in 1950’s To Please a Lady. Afterward, Joe Gemsa bought the roadster from the studio and named it the Clark Gable Special. Rose/Eisle was obviously a dead ringer for the movie star. (During filming, Gable supposedly told his double, “You drive the race cars, and I’ll take care of the broads.”)

You’d look befuddled, too, if your boss fired off a flash bulb first thing one morning—particularly if he was Wally Parks, not exactly a major prankster. HRM tech editor Ray Brock was probably sharing this Indianapolis motel room with Parks and possibly another staffer for Memorial Day weekend (note rollaway cot and partial person in foreground).

Would you believe Shirley MacLaine, queen of the 500? She was 24. The popular actress stayed through the race that opened with Pat O’Connor’s fatal first-lap crash on a restart to reward Jimmy Bryan with three big kisses in the winner’s circle.

A rare, unposed portrait of Parks was taken from telephoto range by colleague Tom Medley during the Indy 500 weekend. It’s no wonder the guy often looked worried while juggling simultaneous responsibilities as HRM Editor, editorial director of Petersen’s automotive titles, NHRA president, and drag-race promoter.

Another Medley photo from the crew’s Indy trip is a self-portrait that not even his son had seen. Gary Medley is a chip off the old block, continuing to publish new/old artwork featuring the adventures of his multitalented parent’s alter ego, Stroker McGurk. (See strokerbymedley.com.)

Although Backstage Past prioritizes unpublished outtakes over pictures you might’ve seen in the magazines, we’re making this exception partly to address HRM’s inexplicable failure to attach any caption to Tex Smith’s classic action shot in the Sept. ’58 issue—a rare showdown between the most-controversial dragsters of the preceding season: the California car that ignited the 1957-1963 fuel ban by running 166.97 versus the Florida fueler that reportedly reached 176.40 the previous November. HRM readers might’ve been informed that Wichita Falls was the farthest west that Don Garlits had yet traveled; that a $450 guarantee was his first-ever appearance fee; that he reset both the strip and Texas state records to 9.12/163.33; that the runnerup (far lane) was Kansan Loyd Davis in the former Cook & Bedwell fueler.

Four months before the Dream Truck’s crash, R&C’s editor posed at home with the fourth-and-final version of a ’50 Chevy that was first customized in 1952. A who’s who of custom shops contributed body modifications (e.g., Barris, Metz, Winfield, Valley Custom). Now 91, Murray’s memory is intact. Via e-mail, he answered all of our questions in detail, except one: Asked to identify the lovely lady in his driveway—twice—Spence curiously suffered amnesia, coming back with “Just a friend” and “One of my exes.”

Near-simultaneous exposures by HRM’s Brock and Parks accidentally produced mirror images of Pikes Peak champs Nick Sanborn Jr. (Stock Car), Bobby Unser (Championship Car), and Ak Miller (Sports Car). Both staffers can be seen in the opposing backgrounds. Brock (wearing backward ball cap) appears to be climbing some poor schmuck’s shoulders to get the high-angle, forward-facing composition that happened to include his boss (behind Miller in the sunglasses and white Mobil sweatshirt).

All we know about this intriguing frame is staff photographer Colin Creitz’s three-roll entry in the photo lab’s film log: “Art Center School.” The assignment was issued by Motor Life, but our incomplete collection failed to produce a related article. Experts’ predictions and artists’ impressions of Detroit’s upcoming compact cars were newsstand staples in the late ’50s. The clay models seem to hint at future Chrysler products. The custom-looking pickup makes us wonder why Dodge never produced an “El Dart-o” to compete with the so-called “car-trucks” introduced by Chevy and Ford for 1959.

Various closeups of the Scotty’s Muffler Service Special and team from this August photo session were published in tabloids as prerace publicity for NHRA’s Nationals. What’s unusual about our outtake is the absence of Wally Parks and the appearance of a full camera-and-sound crew, possibly outside its studio. Car-owner Charles “Scotty” Scott (behind seat) was joined by 9-year-old Billy “The Kid” Scott, his future Top Gas and Top Fuel prodigy, and mechanic Cub Barnett. Both Scotts are gone. Barnett still builds race motors and campaigns one of nostalgia racing’s winningest roadsters. As for Miss HOT ROD, a caption printed in Drag News—likely written by Wally himself—reveals that “Hollywood starlet Christine Callas was chosen by more than 70,000 hot rodders throughout the nation to reign over the 1958 National Championship Drag Races in Oklahoma City, Labor Day weekend. She is auburn-haired, blue-eyed, with 36-24-36 measurements.”

This may not be the first pair of rails ever to pull side-by-side wheelstands, but Eric Rickman’s example is the earliest we’ve noticed on archive film. The state-of-the-art California cars of Tommy Ivo (far lane) and Jim Nelson were tangling for Top Eliminator at Santa Ana. What seems like a sizable holeshot might’ve been calculated caution by Ivo, who held a half-second advantage. Earlier this Sunday, his Kent Fuller frame and injected Max Balchowsky Buick combined for a shocking, all-time-record e.t on gas, 9.50 seconds (at 141.68). The Aug. 23 Drag News ran a similar photo and reported that Ivo’s A/Dragster beat the carbureted-Chevy B/D by two lengths. Nelson sat in the second chassis built with Dode Martin. Dubbed the Drag Master, the car’s name would be merged into one word when the pals launched Dragmaster Co. with a handshake. (See respective car features in Feb. ’59 and Mar. ’59 CC; Apr. ’59 HRM.)

No, your old eyeballs are not seeing double, nor did Photoshop exist to fake us out 60 years ago. At the opposite end of this radical custom, a second pair of headlight housings was installed in the leading edge of the hood. CC Editor Dick Day brought the weirdness home from the World’s Fair Auto Show in Springfield, Massachusetts

Another of Tom Medley’s great portraits captured Bob D’Olivo with one of the earliest 35mm cameras used by his photographic team. “It’s an Asahi Pentax 35mm SLR (single lens reflex) model,” he tells us. “It had a no-return mirror, meaning that after the shutter is released, you see nothing until film is advanced. At least, it was a beginning. I also used a 35mm Nikon rangefinder model with a couple of lenses. Nikon SLR cameras did not exist yet. The advantages of 35mm equipment were compact size, higher shutter speeds, motor drives, wide-angle lenses and longer-focal-length lenses for racing, and getting 36 exposures in a small cassette [versus 12 frames per medium-format roll].”

Utah mechanic Athol Graham drew quite a crowd when his homemade streamliner lumbered onto the salt for the first time. Starting with a B-29 belly tank and a surplus Allison V12, he’d invested 12 years and about $2,500 in the project. An oil-pressure problem forced Graham to abort his first-and-only shakedown run, slowing to 84 mph. In the push-off photo, HRM’s Ray Brock approaches with a camera. Graham’s speed would improve the next year to 344 mph—shockingly close to Mickey Thompson’s 364-mph record in Challenger I’s debut. Shooting for the first 400 in 1960, he’d be killed after the left-front wheel reportedly snapped off, flipping him end over end. Nevertheless, the City of Salt Lake was rebuilt twice, raced at Bonneville by two true believers, and still exists.

Among the mysteries raised by this round of archive research is why such a killer Rickman shot of the season’s most-important match did not appear in extensive NHRA Nationals coverage in Petersen monthlies. Absent the late photographer and Wally Parks, who oversaw all automotive titles as PPC editorial director, we can only guess that the obvious darkness influenced rejection by a safety-obsessed boss whose other job was running—and protecting—NHRA. Parks had already convinced two slower quarterfinalists to bow out, eliminating one daylight-eating round of Top Eliminator. Ted Cyr (near lane) received no cash for beating Al Eshenbaugh in 10.04 seconds and earning 1958’s national championship, though he and partner Bill Hopper won the keys to a new Chevy Fleetside pickup. The California team had entered two rails in NHRA’s second gas-only Big Go, hoping to unload this older model here, plus an A/Altered coupe that Hopper drove. Amazingly, all three could’a, would’a, should’a competed in the quarterfinals that never happened, had Hopper’s class-winning Fiat not been one of the two cars prematurely dropped by darkness. Ted drove both dragsters in the semis, where only a sideways launch in the new car prevented an all-Cyr & Hopper final round.

You won’t find Barbara Livingston’s name in any 1958 mastheads, but backstage, the former HRM secretary and future Mrs. Wally Parks remained involved as unofficial proofreader and fierce protector of Petersen and NHRA publications; too involved for editors and contributors who resented her outsized influence and interference (e.g., she and artist Pete Millar waged a running battle over the “butt cracks and flies” that Barbara faithfully erased from his illustrations). All PPC editors seemed to be go-kart enthusiasts. Wally’s twin-engined model rode atop an entry-level Delray sedan delivery thought to be NHRA’s first official vehicle, subsequently lettered and assigned to ex-HRM staffer Tex Smith.

Sporty-car fans’ favorite two couples could not have been more different. For starters, garage operators Max and Ina Balchowsky drove their homebuilt “special” the 60 miles from home to Riverside for USAC’s inaugural U.S. Grand Prix, while Lance Reventlow’s large crew was delivering not one, not two, but all three of the existing Scarabs on fancy trailers. Reventlow, whose supportive mom was Woolworth heiress Barbara Hutton, got rear-ended on the first lap and spent the day spectating alongside already-famous actress Jill St. John, his future wife. Team mechanic-driver Chuck Daigh salvaged their day by winning the main event in another Scarab. Meanwhile, Balchowsky ran near the front until a broken Jaguar gearbox—reportedly the only “foreign” part in his entire car—restricted Old Yeller to high gear only and a seventh-place finish. (See May ’58 ML; June ’58 & Jan. ’59 HRM; Jan. ’59 MT; May ’16 HRD.)

After aging out of the Mousketeers, child-stars Annette Funicello and Tommy Kirk might’ve been practicing a magic trick or how to slow dance without swallowing a playing card, for all we knew. Our historical sources were likewise stumped until Margaret Simmons, a bride of 1958, recalled the “Suck-and-Blow” party game played by teens of the time—with one key difference: Instead of positioning the card vertically, for transfer by the lips, these crazy kids used their teeth. (No sucking and blowing allowed by Disney, apparently.) Later, they costarred in cheesy, teen-romance films such as Pajama Party, in which Tommy plays a clueless Martian who gets wooing lessons from Annette.

Spence Murray had the wreckage trucked back to L.A. as freight. He was not compensated personally for the Dream Truck’s loss, and George Barris’s $1,000-plus repair estimate left no practical option to stripping and selling an old, badly bent body and frame that nobody expected to see again. The custom made its final magazine appearance in the HOT ROD Mart classifieds in 1959 and was presumed lost for the three decades before freelance photojournalist Michael Lamm spotted it on a Stockton street. Bruce Glasscock tracked the truck down and started a restoration before selling to Kurt McCormick, who completed the job, and still has it. The body retains a surprising percentage of its old steel, including the signature fins that Bob Metz installed (now reattached to replacement fenders).

We can see why fuel economy wasn’t the main concern of folks shopping for new cars this fall. Sorry about ruining your next trip to a corporate filling station, though Mohawk’s pricing isn’t all that great, adjusted for inflation and modern technology: In today’s money, we’d be paying only $2.20, but that gallon wouldn’t take a ’59 Studebaker nearly as far as any modern gas compact. Motor Life averaged just 16.1 mpg testing a 90hp Lark that needed 20.7 seconds to reach 60 mph. (See Feb. ’59 ML.)

Had Mickey Thompson and Fritz Voigt dragged their dual-Hemi, 4WD monster directly to Oklahoma City’s NHRA Nationals this summer—as previously planned—rather than detouring to Bonneville for a test run of new Bob Sorrell bodywork, the overweight, second-hand dragster probably would’ve been footnoted in history as an early round Top Eliminator victim of much-quicker gas dragsters. Instead, they ran 242 right off the trailer, on gasoline, before borrowing some nitro and deciding to stick around for record runs. Eight passes later, the two drag racers had America’s fastest car, claiming both the unlimited streamliner record (266.204 avg.) and Top Time of Speed Week (294.117). Nobody we asked (including Danny Thompson) knows whether the Feb. ’59 HOT ROD Mart ad resulted in a sale, or where the car went. Greg Sharp suggests that the early image is an illustration, possibly commissioned for sponsor pitches (evidently unsuccessful, in the case of a cam company whose name never appeared on a car that ran Isky’s stuff). (See Nov. ’58 HRM; Nov. ’58 & Feb. ’59 MT; Dec. ’58 R&C; Dec. ’58 & Aug. ’59 CC.)

The post Hollywood Stars Align With Racers and Rodders at 1958 Motorsports Events appeared first on Hot Rod Network.

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Kitchen of the Week: A Cost-Conscious Kitchen in Sweden

Since Christmas 2015, Maria Förstberg, a librarian and weaver, has been living in a home tailor-made for her in Linköping, in southern Sweden. The structure, a pair of gabled volumes clad in corrugated aluminum looks much like a child’s drawing come to life, and is the work of her son, architect Björn Förstberg, and his partner, Mikael Ling. It was Förstberg Ling‘s very first project.

Originally dreamed up as an entry for a sustainable housing exhibition in Linköping—planned back in 2013 and opening this September—House for Mother instantly became a Pinterest sensation (and has us encouraging our own children to consider a career in design). We’re especially drawn to the double-height, plywood-clad kitchen, which overlooks a living area complete with a greenhouse. The architects explain that they aimed to “balance spatiality with intimate rooms, formal simplicity with strong materiality.” Translation: The design manages to be both airy and embracing, clean-lined and full of life. And all of the materials choices are budget friendly. Join us for a look.

Photography by Markus Linderoth, courtesy of Förstberg Ling.

Above: With its soaring ceiling and exposed beams and trusses, the design references barn construction. The rooms are wrapped in plywood and parts of the kitchen are set off with a graphite-colored stain from Osmo. A full-height fridge and freezer are tucked into a pantry on the other side of the sink wall.

Above: Open plywood shelves serve as storage and display. The kitchen island is fitted with cabinets and, on the side facing the sink, refrigerator drawers by Liebherr. The metal pendant LED light, the w103 Sempé from Wästberg, is available as a single shade and in various combinations.

Above: The cooking area has a stainless steel counter and simple white tiled backsplash. It incorporates an Ikea stove, Ikea dishwasher (concealed behind a plywood front), and inset sink with a Vola faucet. On the side wall, shelves stocked with Ikea Knagglig crates form an orderly open pantry.

Above: The floor is concrete, which rises to form a bench along the perimeter of the room. The natural plywood on the walls is sealed with Polyx-Oil, a wax oil from Osmo.

Above: The space opens to an ethereal all-white living room. The dining table is Ilse Crawford’s cork-topped trestle design from her Sinnerlig collection for Ikea. It’s lit by steel Levels Lamps by Form Us With Love.

Above: Floor-to-ceiling white paint creates a literal dividing line between the two halves of the room. “By not using plaster and gypsum boards, the white areas don’t feel too clinical and develop patina with age,” say the architects.

Above: Tucked off the living room, the greenhouse is composed translucent corrugated polycarbonate sheets applied to a framework of wooden studs. It’s fitted with open shelves and a restaurant-style stainless steel worktop.

Above: A barn door opens to a back terrace.

Above: Situated on a narrow lot in a still-underway planned community, the house’s two corrugated steel structures are staggered: The volume in the foreground has two bedrooms and an art studio, and the other contains the kitchen and living areas, as well as a bathroom, laundry room, and greenhouse. Go to Vallastaden 2017 to learn about the development and forthcoming expo.

Working on your own kitchen? Go to Kitchen of the Week for ideas, including:

A Modular Kitchen in Stockholm with a Seasonal (and Swappable) Palette

A Dutch-Modern Curtained Kitchen

A Kitchen with a Monumental Marble Counter

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Designing for Climate: The Benefits of Combining Shutters with Curtains in Norwest’s Unique Weather

In Norwest, the climate can present a challenge for homeowners when it comes to maintaining comfort and energy efficiency in their living spaces. One effective solution lies in the design of window treatments. Combining shutters with curtains in Norwest offers numerous benefits that enhance both functionality and aesthetics, making homes more adaptable to the region’s specific weather conditions.

The Role of Shutters in Climate Control

Shutters serve as a robust barrier against external elements. They are excellent for regulating indoor temperatures, blocking out heat during hot days, and providing insulation during cooler evenings. By installing shutters, homeowners can enjoy better control over their indoor climate without relying solely on heating and cooling systems.

When paired with curtains, shutters with curtains in Norwest create a comprehensive window treatment solution that maximizes energy efficiency. This combination allows for greater flexibility in light management, enabling homeowners to adjust their environment according to the time of day and changing weather conditions.

Curtains: Adding Style and Softness

While shutters provide a strong and practical layer of protection, curtains add a touch of softness and style to any room. They come in various fabrics, colors, and patterns, allowing homeowners to personalize their spaces. Curtains can complement the sturdiness of shutters, creating a visually appealing contrast.

When choosing curtains to pair with shutters, consider lightweight fabrics for a casual look or heavier materials for a more formal ambiance. This blend of design elements enhances the overall aesthetics while offering functional benefits.

Energy Efficiency and Cost Savings

Using shutters with curtains in Norwest not only improves comfort but also contributes to energy savings. The combination acts as an additional layer of insulation, minimizing heat loss during winter and reducing heat gain during summer. This efficiency translates to lower energy bills, providing long-term financial benefits for homeowners.

Moreover, by effectively managing indoor temperatures, this dual approach can extend the lifespan of heating and cooling systems. Less reliance on these systems means they require less maintenance and incur lower operating costs over time.

Versatility in Light Control

One of the standout features of combining shutters with curtains is the versatility it provides in light control. Shutters can be adjusted to allow varying degrees of natural light into a room while maintaining privacy. Adding curtains enhances this capability, offering homeowners the option to filter light softly or block it completely when desired.

This flexibility is particularly beneficial in Norwest, where sunlight can be intense during certain seasons. Homeowners can adapt their indoor environments to ensure comfort without sacrificing style.

Conclusion

Designing for the climate in the Northwest involves thoughtful choices that enhance both comfort and aesthetics. Combining shutterswith curtains in Norwest presents a practical solution for managing indoor climates while also adding a layer of elegance to homes. This pairing not only improves energy efficiency but also provides versatility in light control, making it an ideal choice for homeowners in the region.

Investing in this dual window treatment approach helps create inviting spaces that cater to the unique weather conditions of Norwest. With the right combination of functionality and design, homeowners can enjoy the benefits of a comfortable, stylish home year-round.

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The Best Commercial Blinds in Norwest: Elevate Your Workspace

At All Windows Blinds, we understand the importance of creating a productive and stylish workplace. One key element that often gets overlooked is the right window treatment. That's where we come in! We offer a range of high-quality commercial blinds in Norwest, tailored to suit the specific needs of offices, showrooms, and retail spaces.

Why Choose Commercial Blinds?

Commercial blinds are not just about aesthetics; they serve a functional purpose by controlling light, reducing glare, and providing privacy. In bustling commercial areas like Norwest, businesses benefit from creating a comfortable environment for employees and clients alike. Our blinds are designed to enhance energy efficiency by blocking excessive sunlight, keeping your space cooler during summer months.

 Our Range of Commercial Blinds in Norwest

At All Windows Blinds, we offer a variety of options to match your business's style and needs. Whether you're looking for Venetian blinds, roller blinds, or vertical blinds, our products are available in an array of materials and colors. Each blind is custom-made to fit your windows perfectly, ensuring seamless installation and an improved professional appearance.

Tailored Solutions for Every Business

 No two businesses are the same, and neither are their window treatment requirements. Whether you're running a corporate office or a retail store, we can provide the perfect commercial blinds in Norwest to enhance your workspace. Our team of experts will work closely with you, offering professional advice on the best choices for your specific needs.

Get in touch with All Windows Blinds today and discover how we can transform your commercial space with high-quality, durable, and stylish blinds. Let us help you elevate your business environment!

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Custom Solutions for Every Window: Unveiling the Versatility of Plantation Shutters Curtains in Box Hills

When it comes to elevating the aesthetics and functionality of your home, window treatments play a crucial role. Among the many options available, plantation shutters curtains in Box Hills stand out for their versatility, elegance, and practical benefits. Homeowners in the area have increasingly turned to this combination as a custom solution to enhance both traditional and modern spaces.

Combining the timeless appeal of plantation shutters with the softness of curtains offers the best of both worlds. Whether you're looking to control light, add privacy, or simply elevate the look of your interior, this option can be tailored to suit every window type.

Why Plantation Shutters with Curtains Are Gaining Popularity

The combination of shutters with curtains in Norwest is becoming a favorite among homeowners for several reasons. First, this solution offers superior light control. Plantation shutters, with their adjustable slats, allow you to control the amount of sunlight entering your space. Pairing them with curtains adds an extra layer of customization, letting you filter light or completely block it out as needed.

Additionally, the combination enhances insulation. Plantation shutters are already known for their ability to keep homes cooler in the summer and warmer in the winter. Adding curtains provides another layer of insulation, making this option both energy-efficient and cost-effective.

The Elegance of Plantation Shutters Curtains in Box Hills

Plantation shutters curtains in Box Hills offer more than just functionality—they add a level of sophistication to any room. Whether your home has a contemporary or classic design, this combination effortlessly blends into different styles. The shutters provide a clean, structured look, while the curtains add softness and texture, creating a balanced and refined atmosphere.

Another advantage is the wide variety of design options. Plantation shutters come in different materials, such as wood or PVC, and can be custom-painted to match your interior. Meanwhile, curtains offer endless possibilities in terms of fabrics, colors, and patterns. This customization allows homeowners in Box Hills to create window treatments that reflect their personal style while complementing their home’s decor.

Enhancing Your Space with Shutters and Curtains

Shutters with curtains in Norwest are not just about appearance; they also enhance the functionality of your space. In living rooms, this combination creates a cozy and inviting atmosphere, while in bedrooms, it offers maximum privacy and light control. The versatility of plantation shutters curtains in Box Hills means they can be adapted to suit any room in your home.

In addition to their aesthetic and practical benefits, this solution is easy to maintain. Plantation shutters are known for their durability and low-maintenance nature, requiring only occasional dusting. Curtains, depending on the fabric, can be easily removed and cleaned, ensuring that your window treatments remain fresh and beautiful for years.

Why Custom Solutions Matter

Every window is different, which is why custom solutions are essential. Opting for plantation shutters curtains in Box Hills allows you to work with experts who can design the perfect fit for your windows, taking into account their size, shape, and function. This level of customization ensures that your window treatments not only look great but also perform exactly as needed.

Shutters with curtains in Norwest are a long-term investment that can significantly improve your home’s value and comfort. By choosing a tailored solution, you ensure that your window treatments are built to last and are perfectly suited to your lifestyle.

Conclusion

Plantation shutters curtains in Box Hills offer a versatile and elegant solution for any home. By combining the structure of shutters with the softness of curtains, homeowners can enjoy the benefits of light control, insulation, and enhanced aesthetics. Shutters with curtains in Norwest provide a customizable, long-lasting window treatment that adds both beauty and functionality to any space.

[allwindowsblinds]

Transform Your Box Hills Home with Plantation Shutters and Curtains

When it comes to enhancing the aesthetic and functionality of your home in Box Hills, few solutions can match the elegance and practicality of plantation shutters and curtains. At All Windows Blinds, we believe that every home deserves the perfect blend of style and utility, which is why we offer a wide range of plantation shutters and curtains that are tailored to meet the unique needs of Box Hills residents.

Why Choose Plantation Shutters?

Plantation shutters have long been a favorite among homeowners for their timeless appeal and versatility. Here’s why they might be the perfect fit for your Box Hills home:

Classic Elegance: Plantation shutters add a touch of sophistication to any room. Their clean lines and classic design make them suitable for both modern and traditional interiors.

Light Control: With plantation shutters, you have complete control over the amount of natural light entering your home. This feature is particularly beneficial in Box Hills, where sunlight can be intense during certain times of the year.

Energy Efficiency: These shutters act as an additional layer of insulation, helping to keep your home cooler in the summer and warmer in the winter, thereby reducing your energy bills.

Durability: Made from high-quality materials, plantation shutters are built to last, making them a wise long-term investment for any Box Hills homeowner.

Classic Elegance: Plantation shutters add a touch of sophistication to any room. Their clean lines and classic design make them suitable for both modern and traditional interiors.

Light Control: With plantation shutters, you have complete control over the amount of natural light entering your home. This feature is particularly beneficial in Box Hills, where sunlight can be intense during certain times of the year.

Energy Efficiency: These shutters act as an additional layer of insulation, helping to keep your home cooler in the summer and warmer in the winter, thereby reducing your energy bills.

Durability: Made from high-quality materials, plantation shutters are built to last, making them a wise long-term investment for any Box Hills homeowner.

The Perfect Pair: Plantation Shutters and Curtains

While plantation shutters are stunning on their own, pairing them with curtains can elevate your home’s interior to a whole new level. Here’s how:

Layered Look: The combination of shutters and curtains creates a rich, layered look that adds depth and dimension to your windows. This is especially effective in larger Box Hills homes with expansive windows.

Enhanced Insulation: Curtains provide an extra layer of insulation, making your home even more energy-efficient. This is particularly useful during the cooler months in Box Hills.

Personalized Style: With the wide range of fabrics, colors, and patterns available at All Windows Blinds, you can customize your curtains to perfectly complement your plantation shutters and overall home decor.

Why Box Hills Residents Trust All Windows Blinds

At All Windows Blinds, we understand the unique needs of Box Hills homeowners. Our team of experts is dedicated to helping you find the perfect plantation shutters and curtains that not only enhance your home’s beauty but also improve its functionality. Here’s what sets us apart:

Custom Solutions: We offer bespoke solutions that are tailored to your specific needs. Whether you’re looking for plantation shutters, curtains, or both, we’ve got you covered.

Quality Products: We only use the finest materials to ensure that your window treatments stand the test of time.

Expert Installation: Our professional installation team ensures that your plantation shutters and curtains are fitted perfectly, providing you with peace of mind and a flawless finish.

Conclusion

If you’re looking to upgrade your Box Hills home, consider the timeless elegance and practicality of plantation shutters and curtains. With the help of All Windows Blinds, you can create a stylish and comfortable living space that reflects your personal taste. Contact us today to learn more about our range of products and services tailored specifically for Box Hills residents.

Enhance your home with the best in window treatments—choose All Windows Blinds for your plantation shutters and curtains in Box Hills.

[allwindowsblinds]

Transform Your Gables with Modern Double Curtains

Gables can add architectural interest and charm to any home, but dressing them can be a challenge. Enter modern double curtains, a sophisticated solution that enhances both style and functionality. At All Windows Blinds, we specialize in helping you find the perfect window treatments, and our modern double curtains in gables are no exception.

Modern double curtains consist of two layers: a sheer layer that allows natural light to filter through and a heavier layer for privacy and insulation. This combination not only gives you versatile control over light and privacy but also adds a layered, elegant look to your gable windows.

One of the key benefits of choosing modern double curtainsfor your gables is their ability to complement various interior styles. Whether your home has a contemporary, minimalist aesthetic or a more traditional, cozy feel, these curtains can be tailored to match your decor. All Windows Blinds offers a wide range of fabrics, colors, and patterns, ensuring that your curtains are a perfect fit for your home’s design.

Moreover, modern double curtains can improve your home’s energy efficiency. The heavier layer helps keep your home warm in the winter and cool in the summer, reducing energy costs.

When you choose All Windows Blinds, you benefit from our expert advice and professional installation services. We take pride in delivering high-quality products and exceptional customer service. Transform your gables today with modern double curtains in gables from All Windows Blinds and experience the perfect blend of style and functionality.

For more information or to schedule a consultation, visit our website or contact us today.

[architectnews]

NOA designs timber-clad hotel on an Alpine meadow

Two wood-clad buildings with jagged facades are connected by a corridor hidden beneath an artificial hill at this hotel and wellness centre in South Tyrol by Network of Architecture.

The new spaces were commissioned by the Ramoser family, which wanted to expand on a cluster of historic barn buildings that since 1972 have housed the Lobishof guesthouse and restaurant on a green plateau with expansive views of the alps.

Located just to the north of this existing site, the new Aeon Hotel comprises a block of 15 guest rooms alongside a wellness centre which includes a bistro and bar, pools, saunas and relaxation and yoga spaces.

Top: Aeon Hotel was designed by NOA and is located in Italy. Above: the hotel is comprised of two wood-clad buildings

Italian practice Network of Architecture (NOA) drew on the vernacular barn structures of the neighbouring guesthouse and used local timber to clad the two new buildings, with gabled forms that appear to have been broken apart to reveal balconies and terraces.

"The creation of an ambivalent tension between the centuries-old tradition of the rural complex and an exclusively modern statement was the basic principle underlying the design process," said NOA partner Christian Rottensteiner.

Wanting a design that would "allow the landscape to flow through and become part of it," a low artificial hill cuts between the two buildings, concealing a subterranean corridor below that provides direct access between the two for guests.

The two buildings are adjoined by an artificial hill and each has a jagged facade

The same approach has been used for a carpark to the north, which sits under another artificial hill on a driveway that leads to the main reception inside the wellness centre.

"The gentle topography we found and the arrangement of open and at the same time protected outdoor spaces conditioned the layout of the individual building volumes," continued Rottensteiner.

Read:

Network of Architecture raises "treehouse" hotel on stilts above park in South Tyrol

Each of the 15 guest rooms has its own terrace or balcony facing west with whirlpools on the ground floor, and six larger double-aspect suites also look out to the east with an additional hanging double bed and terrace.

Corridors with communal sitting areas connect the suites to the stairs and lift. On the ground floor, these lead into a subterranean corridor through to a private entrance into the wellness centre reception.

The interior of the hotel has a blue and white finish

On the ground floor of the centre a bar and bistro extends onto surrounding terraces, while on the first floor a spa opens onto an infinity pool that reaches out to the southwest.

Throughout, the interiors contrast bright whites with deep blues in wall finishes, fabrics and furniture, with a coloured datum on the wellness centre wall extended to a series of hanging white curtains.

"We have carefully chosen the fabrics, woods and colours that play both with and against each other at the same time," said interior designer Patrick Gürtler, describing the contrasting white and blue as a "sharp, unconditional break".

Rooms were visually split in two by blue and white furnishings and paint

NOA has previously completed several projects in South Tyrol, including a hotel extension with gabled guest rooms elevated on stilts and a viewing platform at the top of an Alpine ridge.

Elsewhere in Italy, Count Benedikt Bolza transformed a 1,000-year-old Italian castle into a hotel, restaurant and spa.

The photography is by Alex Filz.

The post NOA designs timber-clad hotel on an Alpine meadow appeared first on Dezeen.