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sheet-1 · 1 year ago

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Revolutionising Elegance: Unveiling the Essence of SHEET-1 - A Haven for Women's Accessories

In the heart of Lisbon lies SHEET-1, an innovative multi-brand luxury store that marks a new epoch in the realm of fashion and art. This visionary boutique transcends traditional boundaries, ushering in a novel era of fashion that melds seamlessly with art within a digital dimension. Represents a paradigm shift in luxury shopping, offering meticulously curated collections and immersive experiences. This exclusive establishment introduces a fresh approach to opulence, featuring a diverse ensemble of internationally acclaimed designers, exclusive limited editions, and promising emerging brands.

A Fusion of Fashion and Art: Redefining Luxury Shopping

Exalted presence in Lisbon is not merely a store; it's a masterpiece in itself. The synergy of fashion and art is palpable from the moment one steps into its digital universe. The traditional concept of luxury shopping has been artfully reformed, delivering an experience that transcends the mundane. Established designers from around the globe converge under one digital roof, showcasing their masterpieces in perfect harmony with artistic aesthetics.

Within this haven of innovation, doesn't merely offer women accessories; it elevates them to objets d'art. Every piece is thoughtfully chosen to represent not just a fashion statement, but a profound artistic expression. The store's penchant for limited edition collaborations further enhances its allure. These collaborations yield unique creations that seamlessly merge fashion with artistic ingenuity, catering to those who seek the extraordinary.

A Tapestry of Diversity: Emerging Brands and Established Icons

Allure doesn't rest solely on established designer labels; it's equally enamoured with the raw talent of emerging brands. This holistic approach presents an opportunity for new voices to be heard and new styles to be celebrated. The store's embrace of emerging designers is a testament to its commitment to shaping the future of luxury fashion.

From exquisite jewellery that graces the wrist to intricate handbags that redefine elegance, encapsulates the essence of women's accessories. The meticulously curated collection ranges from timeless classics to avant-garde pieces that challenge conventional norms. The store's enigmatic aura ensures that each accessory carries a story, a narrative that intertwines the worlds of art, fashion, and the individual.

A Digital Odyssey: Bridging Realities for a Singular Experience

Shatters the confines of brick-and-mortar shopping, ushering in a new era of the digital shopping experience. The digital universe created by serves as a gateway to a world where the boundaries between fashion and art blur into oblivion. The digital platform offers a unique vantage point, allowing patrons to explore collections, discover inspirations, and curate their personal narratives with the accessories they choose.

Women's accessories are more than adornments; they are conduits of self-expression and vessels of artistic brilliance. The store's commitment to revolutionizing luxury shopping is evident in every carefully selected piece that graces its digital shelves. From intricate necklaces that delicately cascade to statement handbags that exude confidence, each accessory is an ode to the marriage of fashion and art.

A Transformational Journey: SHEET-1's Distinctive Legacy

In the realm of ladies accessories, has carved a distinctive niche, transcending the ordinary and embracing the extraordinary. This multi-brand luxury store in Lisbon's heart doesn't merely cater to the desire for elegance; it embodies the fusion of fashion and art. It's a testament to the power of curation, collaboration, and creativity. With a commitment to both established excellence and burgeoning brilliance, legacy is woven into the fabric of modern luxury fashion.

SHEET-1's digital universe is a sanctuary where women's accessories become conduits for individuality, style, and the beauty of artistic expression. In a world where luxury often teeters on the edge of conventionality, stands tall, a beacon of innovation, a nexus of elegance, and a gateway to an unprecedented digital journey. This is the embodiment of the future, where women's accessories and the art of fashion coalesce in perfect harmony, courtesy of SHEET-1.

#women clothing

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nomadman108 · 5 years ago

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Writing on a Wall: One Person's Legacy

Tagging. There's no doubt about it, this form of graffiti is controversial to say the least. Some see it as mindless vandalism, while others see it as a valid form of self expression. Who's to say which view is right? Not me. I don't interest myself in such debates: they are always there, ongoing, and pointless because they really are not concerned with what is, but only with what one group or another thinks should be.

Loosely defined, Tagging is the writing of a symbol or symbols on a wall or other surface that stand for the tagger's name, or as a way to mark territory. Tagging is seen (by some) as a primitive form of graffiti; others see it as the forerunner of 'real' graffiti. Full-blown works of art, murals and the like, are often the logical next steps for some who develop their artistic skills through Tagging.

You will most often see tags in very public places: for some the point of making these marks is to let the world know that 'I was here' or 'This is my turf. Keep out'. Sometimes, it is said, the tagger will make their mark in order to impress others with their daring, and this is why you will see tags in difficult to reach, even dangerous places.

Then there is the view that Tagging is a counter, a fight back, if you will, to the appropriation of public spaces by rich corporate interests whose billboards, neon lights and other advertising, disfigure (in the minds of some) and control those spaces which belong to us all.

As I said, none of this debate or the various opinions and viewpoints holds much interest for me. I am deeply interested however, in the world I see as I wander through it. And I want to tell you about a tag I saw yesterday, as well as a little about how it's got me feeling.

Rather than being in some downtown, very public, and visible location, this particular tag adorns a stone and brick wall that shields a street of suburban houses from a footpath and a busy through road. The local government has planted trees and shrubs to shield the wall itself.

What I'm getting at here is this: the tag isn't really visible at all; I only saw it because I noticed some markings through a gap in the trees and went to investigate, And once I reached the tag, I have to say I was impressed by what I saw.

Not so much the tag itself, but more the way it has in a sense adapted itself to the wall, become a part of the environment upon which it was painted. Also, the sense of isolation I felt in this spot, shielded as I was from passers-by (there were none though) and from passing traffic of any kind, enhanced this sense of being in a distinct and whole environment.

As you can see from the photo I made of the tag and that section of the wall (made with my phone and untouched. I also have an enhanced version I'll add to the bottom of this post as my tribute), the tag looks to have been originally white paint, most likely sprayed onto the orange bricks of the wall.

Over time, the paint has faded, and seems to me to have almost 'melted' into the bricks. Almost but not quite. As I stood looking at the tag, I felt as if the tag actually was an integral part of the wall, and not something added later.

I think it's quite beautiful actually. I suppose that's a controversial statement in itself but I am pleased I see it that way. I mean, no judgements about what should or should not be; no criticism or praise of the tagger; no angst about that person's right to do this thing or about society's opinions one way or another about the rights and wrongs.

Instead, I saw what is there; and it was pleasing to look at and pleasing to experience being pleased - if that makes sense. As well, I had and have questions: Why here in this really rather secluded and hidden spot? Actually, why do it at all, is the first question I could ask. Was it to say 'I am here'? The possible reasons a person will make a mark to claim their presence are pretty much endless and it's a good question to reflect upon.

Is it a person's name? The name of the tagger? Or maybe someone else important to that person? We will never know. And of course, we don't need to or have to know do we?

And a biggie: We've been calling the person who made these marks The Tagger, but very often Tagging is a way, an entry, into art. Yes, many a well-known graffiti artist began their careers by doing tags. So, what's this person doing now? Has she or he continued on the creative road?

Related to that question is an equally intriguing one: does the artist ever revisit this spot? Does she or he see what has become of their work?

Again, we can never know the answer to these questions. All I do know is that here in the aridity of a sprawling suburbia, hidden by planted trees, on a wall designed to be a rampart, there is a scrawl of white paint - a signature, a statement of presence, a mark of defiant protest - against orange brick, that has melded with the material of the wall to actually transform that structure into what we can genuinely call an Objet d'art.

A slightly enhanced version of my photo of the tag on the wall. A tribute to the work itself and to the artist who made her or his mark here.

Peace and love to all of you from me

#art #tag #tagging #graffiti #suburbia #suburban #wall #street #streetart #travel #nomadman108 #nomadic #painting #signiture #belonging #make a mark #presence #self #philosophy #public art

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sunken-standard · 8 years ago

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For the drabble meme: 37(I had a dream about you) and 95(I never liked it, I lied) please. If you don't mind. Thank you

“A murder mystery weekend.”

“Yes.”

“And you’re…? preventing anactual murder…?”

“No.” Sherlock’s facescrewed up like she’d just suggested he eat a mothball dipped inroofing tar and rolled in spider legs. "Art theft. You watchtoo much telly.“

"And John can’t go because hecouldn’t find his bollocks in the bottom of Mary’s handbag?”

“Basically.”

Good for her, Molly thought. Couldn’t be easy having a baby chained to her boob twenty-four hoursa day. Going to the toilet by herself was probably like a month inthe Bahamas.

“And you can’t go alone becauseyou need a lackey.”

“Can’t go stag to a murder mysteryweekend, don’t want to look suspicious. And you’ll be an assistant,not a lackey.”

“What could possibly go wrong.”she said lightly.

“Are you alright?” wereSherlock’s first words after coming-to.

“Mm, fine,” she said,checking his vitals. He’d gone down like a sack of bricks after he’dgot spritzed in the face with some honest-to-God James-Bond-levelspy-spray (probably Fentanyl, if she had to guess). He should havestayed behind the folding screen with her. She supposed she shouldjust be glad he hadn’t been shot.

“I had a dream about you,” hewheezed, blinking and shaking his head before trying to sit up.

“Did you have pigtails and rubyslippers?” she asked, checking his pupils.

“Wh—? No, don’t bother, notgoing to remember it anyway.” He pulled off his tie and undidthe first two buttons of his shirt.

“Are you having troublebreathing?”

“It’ll pass,” he said,finally struggling himself upright.

“Who, ah, who was that? I thoughtwe were waiting for one of the actors.”

“‘Actors’ is a generousdescriptor,” he muttered, fishing his phone out of his jacketpocket. "That was most definitely SVR RF.“

"Who?”

“KGB, these days,” he said,fingers flying.

“Why does the KGB want areproduction Fabergé egg?”

“Obviously it’s not the egg theywant, it’s what’s inside. Probably Cold-War Era microfilm, judgingby the provenance.” Then, mostly to himself, “Why do theyalways hide things in objets d'art? Why not, I don’t know, shoes? Or hatbands? They all wore hats back then.”

After a beat of silence in which Mollypondered why men’s hats had fallen out of fashion she asked, “Sodid you know about this, or did you just get lucky?”

“Hardly call this entire weekend'getting lucky,’ between the horrible food, miserable guests,costumes, and pouring you into bed only to have your snoringkeep me up the entire night,” he said, scowling down at hisphone. "Tsch. 'Do not engage,’ of course. Mycroft.“

"You haven’t eaten anything sinceFriday morning, you haven’t done more than grunt at anyone who’stalked to you who wasn’t a suspect, you love disguises, and,in my defence, drinks were two-for-one between six and nine.”

“Yes, and that doesn’t mean youhave to drink twice what you normally would.”

“They were really strong! Like,'I’ve got a three-day weekend and I plan on forgetting two of them’strong. I mean, say what you will about everything else, but they donot skimp on the booze here.”

“How do you still have a liver? And the bartender is quitting in a few days, she was making themdouble-strength as a final salute to hotel management.” Heperked up and listened. "Screen, now, move!“

"How many fingers am I holding up,Dorothy?” She held two fingers in front of him.

“Wh—? No, nevermind. Reallydon’t care.” His focus was laser-sharp as always; he was fine. He was going to have one hell of a black eye, though.

Molly rotated her hand to show him witha gesture exactly what she thought of his attitude.

“Should I, ah, phone theambulance? Or is this still part of the mystery package?” oneof the guests asked.

“No, it’s fine, I’m actually adoctor and he's—”

“Perfectly alright. Though a bitof ice would be lovely, thanks,” Sherlock said quickly, shootingher a look.

“I really am sorry about that,”Molly said. "It was a bit your own fault, though.“

"How was that my fault?”Sherlock asked, pressing gingerly at his cheek. "I didn’t hitmyself in the face with an ice bucket.“

"At least it was empty! You should’ve, I don’t know,announced yourself or something! You were supposed to bechasing him, not the other way 'round!”

“I will be so glad to get thisdress off,” Molly said as the squad car took away two castmembers. The ambulance followed with the hotel’s assistant managerin the back; the bartender had submitted her resignation in a prettypainful sort of way after security had wrestled him to the ground. “Kind of like the gloves, though. I feel like Audrey Hepburn.”

Sherlock did that twitchy eye-rollthing he did when he didn’t want to actually waste breath on adismissal. "I get the shower first, I can’t wait to get this…product… out of my hair. I could fry chips with all this grease.“

"You definitely look better withyour normal hair.”

“You said you liked my hair likethis,” he said, sounding genuinely wounded.

“I never liked it, I lied.”

He looked at her, mouth open and browsdrawn together, affronted.

“Sorry! You were just really intothe whole dressing up thing, I didn’t want to hurt your feelings.”

He scowled at her. "And you don’tlike the suit, either.“

"Plaid’s not really your colour.”

#anon #drabble ask meme round 2 #sunken's secret stash

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namejason13-blog · 5 years ago

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The Charlotte M. Tytus House - 10 East 77th Street

Not only was Richard W. Buckley a partner with Robert McCafferty in the development firm of McCafferty & Buckley; he was the firm’s architect—a significant cost savings. In 1895 the partners started construction of seven high-end homes at Nos. 4 through 16 East 77th Street. Unlike the nearly identical high-stoop brownstones erected a generation earlier; McCafferty & each of Buckley’s handsome neo-Renaissance style residences, completed in 1897, was given its own personality. Perhaps to compensate for the sloop of the street, the two eastern-most houses were designed on the English basement plan, which provided them with high stone stoops.

Like its neighbors, the central house, No. 10, was 25-feet wide and rose five stories. An American basement dwelling, its entrance was just two steps above sidewalk level. The ground floor was clad in a seemingly random arrangement of small, rough-cut blocks. The understated entrance and the service doorway flanked a window. Directly above a wide, curved oriel all but engulfed the second floor where planar-faced limestone was interrupted by bands of undressed stone. The upper three floors were faced in sandy-colored Roman brick and trimmed in limestone. A pretty frieze of bows and swags ran below a band of egg-and-dart molding under the bracketed cornice.

No. 10 is the centerpiece of the odd-numbered row. Record & Guide, April 11, 1896 (copyright expired)

In 1897 McCafferty & Buckley sold the house to Charlotte Mathilda Tytus, widow of Edward Jefferson Tytus who had died in 1881 at the age of 35. Tytus had been a partner in the wholesale paper business Tytus, Van Buren & Company. Moving into the new house with Charlotte was her 20-year-old son, Robb de Peyster Tytus, who graduated from Yale that same year.

It was not long before Charlotte addressed what she apparently felt was a lack of light within the house. On November 18, 1898 architect W. H. Whittal filed plans for a "new glass and iron skylight." It was no small project, costing Charlotte the equivalent of more than $28,000 today.

An accomplished artist, Robb's sketches appeared in magazines. Many of them depicted scenes he captured while traveling abroad with his mother. He became fascinated with Egypt and, subsequently, archaeology. Before long the Tytuses visited that country annually. The Washington Times mentioned in 1903 that Robb "is not connected in business in any way in Egypt, but has a dahabieh, on which he and his mother take their winter excursion up the Nile."

The year 1903 was momentous for Robb de Peyster Titus. The New-York Tribune reported that Yale University "gave him a degree of A. M. for research work in Egypt" and on May 19 he was married to Grace Seeley Henop in Grace Church. The New Haven, Connecticut newspaper The Daily Morning Journal and Courier called it "one of the largest church weddings of the season." The New-York Tribune chimed in saying "The church was crowded with friends and acquaintances, among whom the old Knickerbocker element was largely represented." Indeed, among the families mentioned were Livingstons, Barnes, Stokes, Schieffelin, Gallatin, Duncan, and Potter.

Newspapers nationwide picked up on a detail of Grace's wardrobe. The South Carolina paper The County Record noted "The buckles on the bride's shoes were of rhine stones, the same worn by Dolly Madison at her wedding." The New-York Tribune reported "A part of the honeymoon will be spent at the bridegroom's camp in the Adirondacks, and afterward the couple will visit China and Japan, proceeding by way of India and the Red Sea to Egypt for a trip up the Nile next winter."

Robb de Peyster Tytus would go on to have a celebrated, if relatively brief career. With an English archaeologist he made several excavations in Egypt. The New York Times later recalled "he obtained from the Khedive of Egypt a concession to make explorations at Luxor, where he found, among other things, that King Amenhotep had built eight bathrooms of cement, with tubs twelve feet long, six feet wide and eighteen inches deep, for the use of the royal family." In 1907 he was elected to the Massachusetts Legislature. He and Grace purchased a 1,500-acre estate in Tyringham, Massachusetts where he built a country villa costing more than $2.5 in today's dollars. He died of tuberculosis of the throat in August 1913.

In the meantime, with her son gone, Charlotte left the East 77th Street house, selling it to J. Horace Harding in March the following year. In reporting on the sale on April 2, 1904 the Real Estate Record & Guide noted "One of the fixtures of the house is a large pipe organ."

Born in Philadelphia, Harding had entered the banking profession at the age of 20. In 1898 he married Dorothea Barney, and was taken into her father's banking firm, Charles D. Barney & Co. (it would later become Smith-Barney). By the time the couple moved into the 77th Street house he was a partner with J. P. Morgan, the chairman of the board of the American Express Company, and a director in two dozen others.

He and Dorothea had four children, Charles, Catherine, Laura, and William Barclay. The couple were close friends with Henry Clay Frick and his wife and traveled with them to Europe on art-buying trips. The 77th Street house was filled with irreplaceable masterpieces and antique objets d'art.

Harding was an early automobile enthusiast. On March 24, 1905 The Sun reported on a shocking turn of events--the Morris Park raceway, long a haunt of the fashionable horse set, would be the scene of an automobile race. "In the wake of the horse comes the motor car," the article said. "The tracks of the famous ground where thousands have watched the thoroughbreds is to become a new home for automobile racing this summer."

Highly involved in the revolution was Harding, who had helped form the Morris Park Motor Club earlier that year. The Sun reported "J. Horace Harding, the Wall Street broker, and J. S. Bunting, both members of the Automobile Club of America, will be vice-president and treasurer, respectively."

His love of mechanized transportation had gotten him in trouble for speeding earlier that year. On February 20 The Sun reported "Bicycle Policeman Rensselaer saw a machine in which J. Horace Harding, the banker, and a chauffeur were riding. After a short chase they were overtaken and Mr. Harding went to the station and bailed out the driver, George Sailor."

It would appear that Harding had always intended his family's stay at No. 10 to be temporary. On November 15, 1905 The Evening Post had reported that construction had begun on a six-story mansion on Fifth Avenue designed by C. H P. Gilbert. Now, on March 7, 1908 the Record & Guide reported that Harding had sold No. 10. "He moves around the corner to 953 5th av, a beautiful modern residence." As an interesting side note, the couple escaped almost certain death by a caprice of fate four years later. Having toured Egypt with the Fricks, J. Horace and Dorothea took the parlor suite on the new R. M. S. Titanic after J. P. Morgan, who had initially booked the massive space--Suite B 52/54/56--changed his plans. But nearly at the last minute J. Horace was able to book an earlier ship. Their suite was then given to the White Star's director, J. Bruce Ismay.

In the meantime, stock broker Edmund Q. Trowbridge, senior member of Trowbridge & Co., was the buyer of the 77th Street house, title to which was put in his wife's name. He and his wife, the former Gertrude Harrison, had been married in London on July 1, 1901. Edmund had graduated from Yale University two years earlier. They had two daughters, Nancy and Barbara Harrison Trowbridge. The family maintained a summer house in Guilford, Connecticut.

The Trowbridges would remain at No. 10 for years. Barbara attended the exclusive Foxcroft School and was introduced to society in the fall of 1923 at the Colony Club. On May 15, 1925 her mother hosted a luncheon during which her engagement to Joseph Potter Murphy was announced. The wedding was held in the 77th Street house on November 4, 1925 with Nancy acting as her sister's maid of honor. The New York Times noted "Autumn foliage, palms and chrysanthemums decorated the house."

On July 8, 1927 The New York Sun reported that Gertrude had sold the house. The purchaser was John Howie Wright, president of the Dry Goods Credit Adjustment Corporation and editor of the magazine Postage. The family's summer home was Seaside Cottage at East Hampton, Long Island.

The Wright's daughter, Anne, enjoyed a privileged upbringing. On August 26, 1932 The East Hampton Star reported "Forty young summer residents were the guests of Miss Anne Wright on Saturday, at a party arranged by Mrs. John Howie Wright at the Devon Yacht Club, in celebration of her daughter's 12th birthday."

The house was the scene of a society wedding on September 4, 1937. The Mount Vernon, New York newspaper The Daily Argus reported that Betty Devine, Mrs. Wright's niece, would was married to George Byron Smith, 2nd, here. Both of their families lived in Pelham. Anne was a bridesmaid.

As Anne grew the social spotlight turned to her. Her coming out was celebrated in the fall of 1938. On November 14, 1938 The New York Sun reported, "Miss Anne Wright, debutante daughter of Mr. and Mrs. John H. Wright of 10 East Seventy-seventh street...will participate in the cavalcade of dances to be staged by Ned Wayburn as the feature of the Miami-Biltmore fashion show and ball to be held on December 16 at the Waldorf-Astoria as a benefit for the Goddard Neighborhood Center."

And a month later, on December 6, the newspaper wrote, "Miss Anne Wright, member of the junior committee for the Caucasian Allaverdy Ball to be held at the Plaza on December 9, agave a tea yesterday at her home, 10 East Seventy-seventh street, for the other members of the committee."

The Wrights sold No. 10 in July 1943, and in 1950 it was purchased by Daniel Saidenberg and his wife, Eleanor Block. Although Saidenberg's career had been as a cellist and conductor, and Eleanor had been a professional dancer in Chicago, they were now focused on modern European art. Eleanor had been working as a private art dealer since soon after moving to New York in 1943. Now the ground floor of No. 10 became the Saidenberg Gallery.

Theirs was a significant venue. In December 1955 they opened a Picasso exhibition, and they showed the works of artists like Paul Klee and George Braque. On November 10, 1959 The New York Times' John Canaday wrote "Picasso is with us again, this time in an exhibition called 'Faces and Figures' at the Saidenberg Gallery, 10 East Seventy-seventh Street. For some reason the master's social aplomb is more apparent than usual. The seventeen paintigs are dominated by half a dozen of such witty elegance that the charging bull of modern art appears to have been caught in a moment of atypical amiability."

Among the Picasso paintings in the 1959 exhibition was the 1909 Portrait of Manuel Pallares (from the collection of the Detroit Institute of Arts)

The Saidenbergs sold No. 10 in January 1964 to the Government of the Union of Burma for use as its Permanent Mission to the United Nations. The New York Times reported the $300,000 price was paid in cash. Now the Permanent Mission of Myanmar, it continues to own the property.

Source: http://daytoninmanhattan.blogspot.com/2019/05/the-charlotte-m-tytus-house-10-east.html

#read more #see more #check it out #interesting #learn more

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birchleo1-blog · 6 years ago

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The Charlotte M. Tytus House - 10 East 77th Street

No. 10 is the centerpiece of the odd-numbered row. Record & Guide, April 11, 1896 (copyright expired)

Among the Picasso paintings in the 1959 exhibition was the 1909 Portrait of Manuel Pallares (from the collection of the Detroit Institute of Arts)

Source: http://daytoninmanhattan.blogspot.com/2019/05/the-charlotte-m-tytus-house-10-east.html

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iqvts · 7 years ago

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26505 Placer Lane, Lake Arrowhead, CA 92352 from iQ Visual Tours on Vimeo.

For more information: cbskyridge.com/listing/29-112292/26505-placer-lane-lake-arrowhead-ca-92352

This wonderful home has been beautifully cared for and shows Pride of Ownership throughout. The living room features soaring beamed ceilings, dramatic brick fireplace and decks on both sides. The open kitchen has a breakfast bar, garden window & wood floors. The spacious dining room also has wood floors & includes a built-in cabinet with glass doors for your Objets D'art. There is a bedroom with charming window seat & bath on the main level. The huge, very private, master suite is upstairs and has a cozy fireplace & sexy master bath with spa tub & skylights. There is plenty of room for an office area in the Master Bedroom. Downstairs is the 3rd bedroom or possible bunkroom/family/game room combination with wet bar or craft area with sink. New carpet. Direct access garage. 2 great deck areas overlooking the trees & National Forest. Most furniture is negotiable. Lake Rights! A terrific full-time or vacation home!

Contact: Vicki Smith (909) 499-9639 [email protected]

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fashion-sight · 7 years ago

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Would You Sit on a $100000 Louis Vuitton Toilet? - Vogue.com

Would You Sit on a $100000 Louis Vuitton Toilet? Vogue.com While the idea of a cheeky Louis Vuitton toilet may seem novel, there are actually many fashion objets d'art currently making the rounds. Back in September of 2016, Supreme released a $30 brick that was soon after listed at $1,000 on eBay. And just ... and more »

#LouisVuitton #Vuitton

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gachvietceramichailinh-blog · 8 years ago

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Bật mí 10 mẫu gạch ốp lát cao cập, hiện đại nhất 2017

Nhiều người gặp phải khó khăn trong quá trình chọn lựa các mau gach op lat

phù hợp cho phòng khách. Ngoài bảo đảm về thẩm mỹ và nghệ thuật, công năng, size,... Cũng yên cầu lựa chọn kĩ càng hợp với từng con mắt của mọi người. Hải Linh xin đưa ra một vài mẫu gạch ốp lát hot nhất bây chừ cho Anh chị em cùng tìm hiểu thêm.

1. Fragments

Sự phá cách kết kệp pha trộn, phối hợp những mảng hình học với nhau gắn kết thành 1 mảng khiến cho khoang cảnh sinh động với phong cách thiết kế hình tiết, hoa văn bát mắt. không gian sẽ trở nên lớn hơn khi được tạo cho bởi các mảng hình vuông và chữ nhật.

>> Mua gạch lát nền ở đâu giỏi, uy tín số 1 Việt Nam?

2. Hit the bricks

sản xuất gạch là cả một quy trình liên tực và thông liền nên rất nhiều mẫu đc sản xuất ra theo từng phong thái, từng mùa khác nhau. Như Xu thế năm 2017 với kiểu xây cất mộc mạc nhìn tựa như một bức tường cũ kỹ với sự cố tràn của vữa phối kết hợp thêm những viên đá cẩm thạch cùng họa tiết vân gỗ mang về một không khí văn minh, phá cách riêng cho từng ngôi nhà.

3. Chevron Chic

Chevron là phong thái lấy cảm giác từ các thiết kế cổ, thi công này sử dụng cac mẫu gạch ốp lát như: gạch men sứ ốp bên trên trần, tường và lát theo kiêu xương cá.

4. Along the right lines

xu hướng năm trước, ta đã thấy các xây dựng này đc thay đồi từ các bước căn bản từ: dày-mỏng, ngang-dọc, thẳng-cắt nhau, bằng phẳng-ba chiều. Với thiêt kế tuyển tính này rất thịnh hàng theo chiều sâu và tập trung vào không gian của căn phòng.

5. Objet d'art

Objet d'art là đặc quyền của công ty gạch Italy. có thể gọi đây như một phiên bản vễ nghệ thuật và thẩm mỹ đường phố được những nhà thầu xây dựng vận dụng vào các bạn dạng vẽ thiết kế cho những mau gach op lat. không chỉ thế còn ảnh hưởng trực sau đó gạch ốp lát.

6. Soft spot

đó là phong cách được gia công thể hiện sự ấm áp, mềm mại và mượt mà hơn cho bề mặt cứng của gạch. kèm theo mốt số các hiệu ứng như phun đá cẩm thạch, tước gỗ và vải giúp cấu tạo gian phòng trở nên mềm mượt, Màu sắc ấm áp hơn.

7. Greyscale

Tuy màu sắc của những mau gach op lat rất đa dạng nhưng màu xám vẫn là sự lựa chọn tốt nhất có thể cho 1 không khí tân tiến. nếu như bạn là kẻ luôn luôn theo dõi xu hướng của từng năm thì rất có thể thây năm 2016, màu xám đc sử dụng rất nhiều trong bộ siêu tập gạch Italy. Để tạo ra sự tuyệt vời nhất thì bạn có thể tích hợp màu xám và màu be, bổ sung cập nhật thêm cấu tạo, tạo sự biến hóa về màu sắc bền vững sẽ đưa về sự hài lòng cho người áp dụng.

8. Life aquatic

kiến tạo phòng tắm theo phong thái life aquatic mang lại không khí hiện đại, thoáng mát với màu xanh nước biển.

10 mau gach op lat theo các phong thái không giống nhau tạo cho vẻ đẹp tinh tế và độc đáo cho từng không gian. ngoài những họa tiết thiết kế này, nếu bạn muốn tư vấn thêm gachvietceramics.com/mau-gach-lat-nen-dep/ thì rất có thể qua showroom Hải Linh số 532 Đường Láng, Q. Đống Đa, Hà Nội nhé!

9. 3 chiều wall

3 chiều wall là sự phối hợp của gạch men Italy với nếp gấp 3D mang về những đường lằn gợn sóng li ty, một khối hình học lồi lên lõm xuống. Sự kết hợp của các mẫu gạch ốp lát này sẽ khởi tạo một bức tường 3D đậm chất ngầu và cá tính, độc đáo và khác biệt với mặt phẳng điêu khắc liền lạc gây tuyệt vời cho cái nhìn trước tiên.

10. Supersize me

đấy là phong thái liên tiếp rất được ưa chuộng năm đinh dậu. Loại dạch men sứ mỏng manh có kích thước lớn được vận dụng để phủ trên bề mặt: bàn, của hay đồ thiết kế bên trong,...

#mau-gach-op-lat

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jeniferdlanceau · 8 years ago

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Threefold Architects adds staggered floors and narrow stairwell to London terrace

Threefold Architects has overhauled this terraced house in London to include cut-back floors offering glimpses between its various levels.

The North London studio wanted to create light and open spaces in the narrow the four-storey-high property in a Redchurch Street conservation area.

They named the project Fissure House because of a three-storey void the architects created along an angled corner on one side of the residence.

A wooden staircase with a golden metal handrail occupies the gap so that the rest of the property can be used for living areas.

"Space was optimised by creating a single linear staircase occupying a triple height void or 'fissure' along the edge of the building," said the architects.

Inside, each level is staggered to views between different spaces, as well as light to flood down from a large skylight.

"Internally, variety and excitement was achieved between floors by cutting back each floor plate to create dramatic views and glimpses of different living spaces," said the architects.

Large openings feature on the road-facing side, while each level on the rear steps backwards with glass doors that open to outdoor terraces.

"New openings and external terraces were introduced at the rear transforming a once crowded and claustrophobic site into a spacious, light and multi-layered home," said the architects.

The master bedroom is placed at the rear of the ground floor and lit by a skylight, while a second bedroom and bathroom also occupies this level.

An open-plan kitchen and dining room occupies the level above with black cabinets complementing the dark window frames.

An L-shaped living area on the second floor surrounds the glass banisters wrapping the cut-out gap, including a bench for reading in the corner.

A sofa, table and black wooden console are placed in the larger area. From here a separate staircase, featuring wooden treads, black-painted sides and a golden handrail, runs alongside a white-painted brick walls.

It leads to the renovated attic space facing the large skylight and occupied by built-in bookshelves and a study desk.

Wooden parquet flooring is used throughout the interiors, along with white-painted walls.

Threefold Architects is led by Hosea with Matthew Driscoll and Renée Searle. Other projects by the trio include the transformation of a workshop and shop to create combined gallery and home, a north London house filled with objets d'art and a studio in the Norfolk countryside.

Extra-tall windows connect Studio Octopi's Slot House with its patio garden

Photography is by Charles Hosea Photography.

Project credits:

Architect: Threefold Architects Structural engineer: Webb Yates Contractor: High-Spec Build

The post Threefold Architects adds staggered floors and narrow stairwell to London terrace appeared first on Dezeen.

from RSSMix.com Mix ID 8217598 https://www.dezeen.com/2017/01/08/fissure-house-threefold-architecture-london-renovation-england/

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juliandmouton30 · 8 years ago